Odyssey Aeneid Comparison Comp.:Tain

Transcription

1 Name Epic: Odyssey Outlines 2017 Epic LC HL Questions: Odyssey Aeneid Comparison Comp.:Tain 16 Suitors and Hall Battle 1) Aeneas-Duty Worlds Od. And Tain 2) Bk ) Love/Justice Venus Ferdia/Turnus 2) Odysseus Action Hero 14 1) Penelope/Telemachus gods/dido/aeneas warfare 2) Eumaeus 13 Odysseus as leader Aeneas-admire, not like death and violence Medbh/Penelope 12 Poseidon/Athena Rome s greatness Underworld Aeneas/Cuch. 11 Od.in Phaeacia Anchises,fathers voyages Primary 10 Suitors/bad maids gods Tel/Ascanius 09 Cyclopes and Odysseus Didaneid Odysseus/Ulixes Primary/Sec. 08 Tel. from opening to Hall easier to admire A. than like Venus/Athena Turnus/Ferdia 07 love and justice Rome s greatness/destiny Underworld Penelope/Medbh 06 Pen. and Tel. 1) Juno and Venus war and Aeneid 2) Aeneas s duty 05 1) Hospitality Bk. 2 and Aeneas Odysseus Aen. 2) Phaeacia 04 1)23: Pen and Od. Anchises Odysseus world of Odyssey 2) Homer s emotion 03 loyalty Turnus voyages Aeneas and Turnus 02 1) interesting tribute to country 2) Aggy and Orestes 01 Od. As master of invention Aeneas and Dido Underworld 00 1) Telemachus Juno; gods and humans Od. s details 2) Od. As greedy braggard 99 1) Od. And Athena Bk. 2 and Aeneas Od. Supernatural 2) Suitors 98 C/C fathers Ae. 1-6 and Od. Od. Primary epic 97 1) gift-giving Aeneas unemotional women 2) Pen. And Suitors 96 Odysseus as leader 1) greatness of Roman history 2) deaths of young warriors 95 Role of the gods re. justice Aeneas s suffering Telemachus/Ascanius 94 Role of women 1) Why Virgil write Aeneid? 2) sympathy for Dido and Turnus 93- Odysseus s stay in Phaeacia 1) Didaneid (Dido/Aeneas) 2) concerns of Virgil s day 92- Final two books (23-24) Book VI Polyphemus 91- Eumaeus s role 1) Primary/secondary epic 2) Aeneas and Dido/Odysseus and Nausicaa 90- build-up of tension before battle Aeneas as prototype of Augustus Life after Death 89- depiction of Greek society Aeneas is unsatisfactory hero Dido/Calypso 88- recognition scenes Dido/Nausicaa 87-1) hospitality/inhospitality voyages of Od. and Aeneas 2) mixed morality but heroism of Od. 86-1) Pen. towards Od. after battle gradual clarification of 2) Homer s devices re. length and interest Aeneas s mission 85-1) women Turnus more interesting than Aeneas 2) as primary epic

2 Epic LC HL Questions-Full (i) (a) From your reading of Homer s Odyssey, describe how Odysseus defeats the Suitors in the Battle in the Hall. (30) (b) Do you think that the Suitors and the disloyal maidservants deserved their fate? Give reasons for your answer. (20) (ii) Aeneas s most admirable characteristic is his strong sense of duty. (a) Discuss this statement, supporting your answer by reference to Virgil s Aeneid. (40) (b) Do you think Aeneas s strong sense of duty makes him a more interesting character or a less interesting character? Explain your answer. (10) (iii) (a) Explain how the Trojans are persuaded to bring the wooden horse inside the city walls in Book 2 of Virgil s Aeneid. (10) (b) Virgil is renowned for his powerful descriptions of suffering and sadness. Discuss this view with reference to Book 2 of Virgil s Aeneid. (40) (iv) In your opinion, how does the world of Homer s Odyssey compare with the world portrayed in the Irish epic the Táin? Support your answer with reference to both texts. (50) 2015 (i) Compare and contrast the character of Ferdia in the Táin with the character of Turnus in the Aeneid. (50) (ii) Discuss the view that love and justice are central themes of Homer s Odyssey. Support your answer with reference to the Odyssey. (50) (iii) (a) Outline the role of Venus in Virgil s Aeneid. (35) (b) In your opinion, were Venus interventions always helpful to Aeneas? Explain your answer by reference to the Aeneid. (15) (iv) Odysseus shows all the qualities of a great action hero in Homer s Odyssey. Discuss this view supporting your answer with reference to the text. (50) 2014

3 (i) (a) Explain how Poseidon became a bitter enemy of Odysseus in Homer s Odyssey. (10) (b) How did Poseidon show his enmity for Odysseus on his journey from Troy to Ithaca? (15) (c) How important to Odysseus was the help he received from Athena in enabling him to triumph over the Suitors? (25) (ii) Odysseus and Aeneas both visit the Underworld. In your view, what are the main differences between the accounts in Homer s Odyssey and Virgil s Aeneid? (50) (iii) Compare and contrast the character of Cúchulainn in the Táin with the character of Aeneas in Virgil s Aeneid. (50) (iv) Virgil s Aeneid is, above all, a celebration of the greatness of Rome. Discuss this statement supporting your answer with reference to the Aeneid. (50) 2011 (i) (a) Give a brief account of Odysseus stay among the Phaeacians in Homer s Odyssey. (30) (b) Odysseus rejects the offer to stay in Phaeacia. In your opinion, what aspects of the Phaeacian way of life do not suit Odysseus? (20) (ii) (a) Outline the role of Anchises in Books 2 to 6 of Virgil s Aeneid. (25) (b) Discuss the importance of fathers in Virgil s Aeneid. (25) (iii) Explain how the voyages of Odysseus in Homer s Odyssey compare with and differ from the voyages made by Aeneas in Virgil s Aeneid. (50) 2010 (iv) C om pare the features of the Táin and Homer s Odyssey which are typical of primary (oral) epic. (50) (i) In Homer s Odyssey, the Suitors and the disloyal maidservants receive terrible punishment for their crimes. Do you think that they deserved such punishment? Support your answer by reference to the text. (50) (ii) Compare the role played by Odysseus son Telemachus in Homer s Odyssey with the role of Aeneas son Ascanius in Virgil s Aeneid. (50) (iii) Though Juno is a relentless enemy of Aeneas, he does have friends among the gods. Discuss the role played by the gods in Virgil s Aeneid in the light of the above statement. (50) (iv) Compare the status of women in the Táin with the status of women in either the Odyssey or the Aeneid. (50)

4 (i) Identify and compare the features of the Táin as a primary (oral) epic and those of Virgil s Aeneid as a secondary (literary) epic. (50) (ii) (a) Briefly recount the Cyclops episode from Homer s Odyssey. (30) (b) What does this episode reveal about Odysseus character? (20) (iii) Compare the treatment of the character of Odysseus in Homer s Odyssey with the treatment of Ulysses in Virgil s Aeneid. (50) (iv) Book 4, which deals with Aeneas affair with Dido, has long been regarded as the greatest and most moving of all the books of Virgil s Aeneid. Do you agree with this statement? Support your answer by reference to the text. (50) (i) Compare the character of Turnus in the Aeneid with the character of Ferdia in the Táin. (50) (ii) Compare the role of Venus in the Aeneid with the role of Athena in the Odyssey. (50) (iii) Trace the development in the character of Telemachus from the opening of the Odyssey to the Battle in the Hall. (50) (iv) It is easier to admire Aeneas than to like him. Discuss this view of Virgil s hero. (50)

5 (i) Odysseus seems always to be able to find the right words for whatever situation in which he may find himself. He is a master of invention as well as of tact. Discuss this statement with reference to Homer s Odyssey. (50) (ii) Discuss the view that friendship between the warrior-heroes is a much stronger feature of the Táin than of either the Odyssey or the Aeneid. (50) (iii) Odysseus and Aeneas both visit the Underworld. In your view, what are the main differences between Homer s treatment of this episode and Virgil s treatment of the same episode? (50)

6 (iv) (a) Analyse Aeneas behaviour towards Dido in Virgil s Aeneid. (30) (b) Show how the bitterness of Dido s tragedy is heightened in the story. (20) 2000 (i) Discuss the view that the Odyssey gives a much more detailed picture of a range of lifestyles andcharacters than does the Táin. (50) (ii) During the Odyssey, Telemachus develops from an insecure and depressed young man into a confident and strong support to his father in the destruction of the Suitors. Trace this development and explain what brought it about. (50) (iii) (a) Outline the part played by Juno in Virgil s Aeneid. (40) (b) What impression do we get from her behaviour of the attitude of gods to humans? (10) (iv) It is true that he is going home, but he does not want to miss a thing or a gift on the way, and he wants to make sure that the people he meets remember that he is none other than Odysseus, hero of the battle of Troy. Discuss this statement with reference to Odysseus adventures on his return to Ithaca. (50) (i) From your reading of the Odyssey, what is your opinion of Odysseus a leader of his men? (50) 1995 (ii) In the Odyssey, the Gods are concerned with the justice of human behaviour. (Peter Jones). Discuss the role of the Gods in the Odyssey in the light of this comment. (50)

7 1994 (i) Discuss the role of women in Homer s Odyssey. (50) 1993 (i) Give a brief account of Odysseus stay in Phaeacia? What does this episode add to the poem? (50) 1992 (i) After the slaying of the suitors in Book XXII of the Odyssey, what artistic purpose, in your opinion, do the final two books perform? (50) 1991 (i) Describe how Homer used the swineherd Eumeaus in the tale of Odysseus return to Ithaca. (50) 1990 (i) By what means does Homer build up tension in the period before the slaughter of the suitors? (Avoid long accounts of particular incidents.) (50) 1989 (i) No ancient society has been better pictured than the view of Greek society we get in the Odyssey. Briefly discuss how Homer has made his depiction of the society so vital. (Avoid long accounts of particular aspects. (50) 1988 (i) A number of recognition scenes occur throughout the Odyssey. Discuss the effects produced by the use of such scenes, making reference to specific examples. (50) 1987 (i) Discuss the Greek notion of hospitality as we find it portrayed in the Odyssey, including comment on the consequences of inhospitality. (50) (ii) Odysseus isn t a model of moral integrity, but is a realistic mixture of good and bad. Discuss this assessment of Odysseus character and briefly demonstrate how Homer is successful in making a hero out of such a character. (50) 1986 (ii) (a) Describe the attitude and behaviour of Penelope towards Odysseus from the time when she hears of the slaying of the suitors up to the point where she becomes convinced of his identity. (b) Do you find her attitude and behaviour understandable in the circumstances? (50) (iii) What devices did Homer use in the Odyssey to help narrate this long story and to maintain the interest of the audience in it? (50) 1985 (i) Homer s description of women in the Odyssey shows extraordinary psychological insight, delicacy and truth. Discuss this statement briefly, with reference to any two women who appear in the Odyssey. (50) (ii) Briefly explain what we mean when we say that the Odyssey is a primary epic. (50)

8 Privilege List 2017 Odyssey Potentials 1. Hospitality/gifts 2. Odysseus: (variations: particular books, as character, as husband/father, as king/leader) 3. Circe/Calypso (what we learn about Odysseus while with them) 4. Aggy/Clyte/Orestes 5. Build-up varied world of Homer (Details) 7. importance of home (oikos) 8. Athena/gods (role; relationship with Od., Tel. and Pen.; gods in general) 9. as primary, oral epic 10. Women (Penelope, Helen, Nausicaa, Arete...) 11. Telemachus 12. Eumaeus (and Eurycleia; slavery in general) 13. Suitors a) Homer paints a varied and vivid portrait of the Classical Greek world in the Odyssey. Explain. b) "According to Classical values, Odysseus is a good husband, a great leader and an awesome epic hero/character." Discuss. c) "Despite a few qualms (reservations), there is no doubt that the suitors deserve their fate when we judge them according to Classical values." Discuss. d) The Odyssey shares the mantra (motto, guiding proverb) of 'There is no place like home' with a latter day epic. Odysseus, however, must do more than just click his heels to get home. Discuss how the importance of oikos is a driving force for both the hero and the epic. e) "Despite the limits of a clearly patriarchal society (male-dominated), the women of the Odyssey emerge as characters of strength and interest." Discuss. f) In Homer s wide-ranging epic, both kings and slaves play significant parts. Discuss. g) Discuss the importance of hospitality (xenia) in the Odyssey. h) Discuss Telemachus s predicament (tough situation) in the Odyssey and his development as a young man and hero. i) "Penelope manages to earn both our sympathy and respect over the course of the Odyssey." Discuss. j) "'The Book of the Dead' serves an important role in the plot of the Odyssey, but it also showcases Homer's talent for mixing romance, horror, action and philosophical treatise." Discuss.

9 1. Women 1985 (i) Homer s description of women in the Odyssey shows extraordinary psychological insight, delicacy and truth. Discuss this statement briefly, with reference to any two women who appear in the Odyssey (i) Discuss the role of women in Homer s Odyssey. Gen Intro: emphasise despite misogyny, stereotypes, sexism Homer s women are vivid, lively, interesting, compelling etc They rise above the stereotypes and appear as true indiviuals. range of ages, social status etc Penelope: Faithful, enduring wife, but much more. Beautiful First appearance with maids.. Loved by the gods..athene Homely always spinning, modest Courteous even to suitors and beggars Cunning shroud trick..gifts like Od. Loving Mother (with complications) Conflict but proud of Tel.

10 Helen: Famous, star quality, Beautiful Well-travelled Hospitable..to Tel Humourous re. Odysseus Daughter of Zeus special Causer of war, but gods and forgiven

11 Nausicaa: princess, young, innocent, what-might-have-been romance Washing laundry: wealthy but double standard, playful Reaction to Od.: interested but demure, innocent but sensible (gossip) Good advice to Od. Realistic glimpse of young (wealthy) woman s life

12 Eurycleia: slave but origins Close relationships with family Loyal Vicious/Rewarded Queen Arete: Influence, power but even settles men s disputes

13 2. Hospitality/gift-giving: 1997 No single detail in the life of the heroes receives so much attention in the Odyssey as gift-giving. (Finley) Comment on the practice of gift-giving and its significance in the world of Odysseus. (50) 2005 Discuss the importance of hospitality and of gift giving in the world of Homer s Odyssey. In your answer, refer to events in the text. Candidates must show familiarity with both elements. They should be clear on the general principles underlying the whole theme of hospitality and gift-giving and be able to refer to the text. While it is possible that candidates will write more on hospitality, for very high marks examiners will look for reference to reasons for the importance of hospitality, and also for a discussion of gift-giving (not just examples). Main points are: Zeus is the protector of guests and travellers: a stranger is welcomed, not asked to identify himself, offered food and drink: he may even be bathed by the women of the house. Eventually, he will be asked who he is. The departing guest will often be offered a gift. Gifts are fundamental to the society of the Odyssey. They are a sign of a man s standing and they are in regular circulation. The more exalted the giver or the maker of the gift, the greater its value. The gift is taken home and kept in the store-room to be passed on to an honoured guest. Evidence is everywhere in the epic but Telemachus visit to Menelaus and Odysseus stay amongst the Phaecians are particularly instructive. Opening: Hospitality is the free and generous acceptance and accommodation of travellers. Gift-giving is often the last stage in this tradition: the giving of gifts as the guest leaves. Importance of xenia to culture: structure and protocol for travel in world without international law. Mark of civilization. And honest materialism: stuff matters in a culture of material, especially luxury scarcity. Range in Odyssey, from kings to slaves. Interest to the audience: realistic account of O and T s travels, but also wow /Hello factor: rich variety of hosts and their gifts. Define and detail: Process of hospitality: 1) Greeting (no name) 2) wash 3) libation/sacrifice 4) food 5) entertainment both ways 6) chat 7) sleep 8) gift. Emphasise gift-giving as an important and useful social ritual: guest acquires valuable material goods and host spreads good reputation. Can be handed on. Examples: Telemachus to Mentes To suitors From Nestor From Menelaus To beggar(s) Odysseus from Phaeicians Penelope to Suitors To beggars Calypso/Circe to Odysseus, Hermes Eumaeus to beggar/odysseus Bad Xenia: Suitors Polyphemus

14 1: defining 2: processs 1-3 Nestor, Men, 3: process4-6 4: Eumaeus/Calypso 5: Bad Hosp: Suitors Polyphemus offends the tenets of hospitality as a host by actually eating his guests but the Suitors disregard its rules as guests and it is this sin against hospitality that is partly responsible for their doom. Their initial position as guests is ostensibly fine but this quickly goes sour. As suitors they should bring gifts and supplies and they only respond when Penelope asks them directly (Quote). They stay too long. (years?) They insult their hosts. () They try to kill their hosts. They used up all their hosts supplies. They sleep with their maids. The Suitors stand out in the Odyssey for their flouting the rules of hospitality. Cian s 20 oxen. Too late!

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16 The Development of Xenia and Its Role in The Odyssey Xenia, the Greek concept of hospitality and the guest-host relationship, was, according to M.I. Finley in The World of Odysseus, a powerful institution in Ancient Greek times which solidified relationships between peoples and created alliances (100). The guest-host relationship, powered by the observance of xenia, as a social institution was probably something familiar in the life of the contemporary audience of The Odyssey and it s poet. Indeed, it is worked into The Odyssey as a major theme, and comes to influence the plot in significant ways. For the modern reader, it is difficult to discern the nature of the guest-host relationship and its application without explicitly studying it. Fortunately, an analysis of the episodes in the epic where the guest-host relationship is explored reveals that there is a formula for its development, and that there are certain elements of hospitality necessary for a guest to be properly received. Furthermore, these elements and the function of the guest-host relationship assist the development of the plot, especially in the latter half of the epic when Odysseus must shed his disguise as a guest of Telemachus and come to restore his household. The guest-host relationship is explored in a number of episodes throughout The Odyssey. Much of the first half of the epic features Telemachus and Odysseus arriving at someone s lands and being received as a guest; the interactions Telemachus and Odysseus have with their hosts during these episodes reveal the processes in which the guest-host relationship is developed. An analysis of these interactions demonstrates that the development of this relationship is formulaic, as each episode shares a number of common elements of hospitality. These elements include the bath, the feast, the question of who the guest is, the guest-gift, and the promise of transport and protection. The first episode demonstrating the development of the guest-host relationship is Telemachus s stay with King Nestor at Plyos. Telemachus arrives at Plyos while Nestor and his people are holding a grand feast, is welcomed by them, and participates in the feasting. Following this, Nestor says Now s the time, now they ve enjoyed their meal, to probe our guests and find out who they are. Strangers friends, who are you? Where did you sail from, over the running sea-lanes? (Odyssey 228). Later, he offers Telemachus a gift, the sacrifice of a yearling heifer broad in the brow, unbroken, never yoked by men. I ll offer it up to you- I ll sheathe its horns in gold (236). The following day, Telemachus is bathed and also clothed by Polycaste, Netor s youngest daughter, who rinsed him off now, rubbed him down with oil, and drew a shirt and handsome cape around him (238). Following this, Nestor orders for Telemachus to be transported by horses, a good full-manned team hitch them to a chariot he must be off at once (238). Thus, from Telemachus s stay with Nestor these major elements of the guest-host relationship are first revealed. Telemachus is feasted by Nestor, questioned on his identity, given a guest-gift, provided a bath and clothed by a female host, and finally provided transportation. During Telemachus s stay with his next host, King Menelaus of Sparta, the development of the guest-host relationship is again demonstrated and these elements again displayed. Telemachus arrives at Menelaus s kingdom and is bathed by the women of Menelaus s palace, who also draw warm fleece and shirts around their shoulders (240). Menelaus then welcomes him with a feast. He tells Telemachus to Help yourselves to food, and welcome! Once you ve dined we ll ask you who you are (240). Thus, immediately already three elements of the developing guest-host relationship, the bath, the feast, and the questioning of the guest, have again been demonstrated. Menelaus later promises to fulfill the remaining elements of the guest-host relationship by telling Telemachus that I ll give you a princely send-off shining gifts, three stallions and a chariot burnished bright- and I ll add a gorgeous cup so you can pour libations out to the deathless gods on high and remember Menelaus all your days (253). Here, then, he offers Telemachus his guest-gift and promises to provide him with horses and a chariot, which can serve as transportation. Because this episode between Telemachus and his host shares these same elements of the guest-host relationship with the earlier episode, it is becoming apparent that the development of the guest-host relationship is formulaic; it requires these showings of hospitality to happen. The next episode, where Odysseus is hosted at the land of the Phaeacians, further demonstrates this. Odysseus washes up on the shore of the Phaeacian s island and comes into contact with Nausicaa, the daughter of King Alcinous. She offers him immediately the hospitality that she can, providing him with a cloak and shirt for him to wear, they gave him the golden flask of suppling olive oil and pressed him to bathe (276) and set before Odysseus food and drink, and he ate and drank (277). Odysseus is taken to the palace of King Alcinous, where

17 Alcinous promises him transport, saying, let us press on and grant him escort. No one, I tell you, no one who comes to my house will languish long here (288). Alcinous orders the lords of Phaeacia to give Odysseus guestgifts, saying Come, let s give him the parting gifts a guest deserves. Let us each contributes a fresh cloak and shirt and a bar of precious gold (297). Finally, Alcinous asks Odysseus where he is from and who he is, asking him tell us your own story now, and tell it truly. Where have your rovings forced you? (301). As was the case of Telemachus s interactions with his hosts, the interaction between Odysseus and Alcinous again makes use of these key elements to develop the guest-host relationship. If these episodes demonstrate the successful navigation of the guest-host relationship, then the episode between Odysseus and the Cyclops demonstrates its failure. First, the Cyclops Polyphemus fails to provide Odysseus and his men with food, instead eating it all for himself. As he eats he discovers Odysseus and his men from the light of his flame, and immediately asks them Strangers! Now who are you? Where did you sail from, over the running sea-lanes? (307). Seen here is the questioning of Odysseus and his men about their identities, a recurring element in the development of the guest-host relationship. However, in this episode the Cyclops asks this question having not provided his guests a feast, a deviation from the formula of guest-friendship derived from the other episodes. Odysseus responds by saying that he and his men are Men of Achaea we are and bound now from Troy! (307), but having recognized that the guest-host relationship has not yet begun to develop, he tells the Cyclops that we re at your knees in hopes of a warm welcome, even a guest-gift, the sort that hosts give strangers. That s the custom. Respect the gods, my friend. We re suppliants at your mercy! (308). Odysseus makes this petition because of Polyphemus failure to uphold his role as host in the guest-host relationship, having deviated from the formula. He tells the Cyclops what the customs of xenia are and tells him that he and his men are suppliants, therefore presenting the Cyclops with the opportunity to provide them with protection and transport, an element of hospitality present in the other episodes. Yet Polyphemus refuses to accept this, and instead begins to kill Odysseus s men. Here, then, he fails in providing the protection a suppliant is to be given by a host. Later, he promises to give Odysseus a guest-gift, but the guest-gift turns out to be nothing more than a promise to eat Odysseus last. Thus, even though Polyphemus operates within the formula for developing the guest-host relationship by offering a guest-gift, he corrupts it by making the guest-gift something intangible, something without worth. His gift is simply to spare Odysseus until he is the last man, and then eat him. Lastly, Odysseus and his men are trapped within the Cyclops s cave, and only escape by hiding themselves under the Cyclops s rams. Because of this, it is clear that Polyphemus fails to uphold his responsibility as host to provide his guests transportation, and rather does the opposite by keeping them held in his cave. The episode between Polyphemus and Odysseus stands in stark contrast to the previous episodes, where the guest-host relationship is developed according to a formula and where the hosts uphold their responsibilities. Xenia is largely absent, or corrupted, in this episode. The Cyclops episode demonstrates the failing of a host to provide his guests with hospitality, and can thus be contrasted against the earlier episodes to illuminate further these necessary elements of hospitality. First, Polyphemus asks the identity of the guests before any development of the relationship has begun. It is the first thing, which he does. This is completely unlike the other episodes, where Menelaus, Nestor, and Alcinous have all welcomed their guest and provided him with a feast before asking for their identity. Agathe Thornton makes note of this in her People and Themes in Homer s Odyssey, observing that guest-friendship implies good manners. The stranger must not be kept waiting. He may be offered a bath and fresh clothes. The main item of hospitality is of course a meal. After the meal, not before, comes the question: who are you? and what is your need? (39). Thus, the importance of good manners is integral to developing the guest-host relationship; the guest must be taken in and served before he is to be questioned about his identity and his purpose. It is the responsibility of the host to provide for his guest before anything is to proceed, despite not even knowing the identity or intentions of the stranger. Next, the Cyclops offers to provide Odysseus a guest-gift, but it ends up being a promise to eat Odysseus last. This is the corruption of the guest-gift, and Thornton says it is an instance of the flouting of the obligations of the guest-friendship this is hubris, and the Cyclops is punished by losing his sight (39). Thus, corrupting the guest-gift ruins the relationship between the guest and the host, demonstrating its importance as an element of hospitality. Indeed, it is such an egregious violation of the formula that, as Thornton says, Odysseus and his men punish the Cyclops for his hubris, from which this promise of a corrupted guest-gift was derived. Finally, the Cyclops traps Odysseus and his men in his cave, without the intention of letting them go. This is the antithesis of offering his guests transportation and travel to their intended destination, and because of this the Cyclops must be tricked and deceived so that Odysseus can escape. The Cyclops episode demonstrates how a host

18 can fail to uphold the formula of hospitality and hosting a guest, making the correct way more apparent. A guest must be provided for before he is to be questioned. This is, again, good manners on the part of the host and an integral part of developing the relationship according to Thornton. Though it doesn t matter whether providing a bath and clothes comes before or after the revelation of the guests identity, for it does both in the analyzed episodes, it does matter that such hospitality is offered and that a meal, the main item of hospitality is provided before the guest is questioned. Finally, transportation and protection must be afforded upon the guest during their stay at the home of the host. The elements of xenia, of hospitality and the guest-host relationship, have thus been revealed by the episodes in which the relationship is explored. Now the application of the guest-host relationship and the role of xenia in shaping the events of the epic can be examined. A, perhaps the, major narrative within the epic is of Odysseus s journey home, his disguised homecoming, and the reclaiming of his home from the suitors. It s clear that concealing his identity is something which Odysseus does much of throughout his journey and return. He hides his name from the Phaeacians, where Norman Austin in his Name Magic in the Odyssey' says his tactic is evasion rather than pseudonym, he carries caution almost to the point of incivility (4). At Ithaca Odysseus practices the same caution, but under a disguise and pseudonym. Odysseus s disguise, of course, is warranted. Austin makes this clear when he says A man who is always suspicious of possible treachery, who provokes the hostility of gods and men, and is absent from his home for twenty years has good reason to shield his identity (5). Odysseus is disguised as a stranger at his home, and thus, as has been revealed by the analysis of the guest-host relationship, must be taken in hospitably as a guest by the members of his household. The end-state of Odysseus s disguised stay at his home is his killing of the suitors and the revelation of his identity. This, of course, can only be done through the assistance and cooperation of his hosts. Perhaps, then, xenia plays a role in allowing Odysseus to shed his disguise during his return home and when he is prepared to fight the suitors. Indeed, the plot of The Odyssey establishes a positive connection between recognition and the observance of hospitality. In Phaeacia and on Ithaca, the hospitable reception of Odysseus as a guest and the development of the guest-host relationship lead to the recognition and revelation of his true identity. In Disguise and Recognition in The Odyssey, Sheila Murnagham argues that this demonstrates the close connection between identity and social position and between the recognition of identity and other forms of recognition or acknowledgment (91). An analysis of these episodes of hospitality and Odysseus s interactions with his hosts confirms her hypothesis, and also demonstrates the connection between the successful guest-host relationship and the revelation of true identity. Odysseus arrives at the island of Scheria, the land of the Phaeacians, without any outward signs of identity. His interaction with Nausicaa begins the process in which his identity is restored. She provides him with food, a bath, and clothes, transforming his appearance from a naked, brutish state back into that of a civilized man. When he arrives at the palace, King Alcinous honors Odysseus s requests as a suppliant, as required from a host in order to provide hospitality. He is impressed by Odysseus, and wishes he could incorporate Odysseus into his family as son-in-law by saying, Seeing the man you are, seeing we think as one you could wed my daughter and be my son-in-law and stay right here with us. I d give you a house and great wealth (286). Thus, the Phaeacian society is able to recognize and acknowledge Odysseus s merits by offering him a position of honored person, the benefits of which are clear from Alcinous s offer of a house and possessions along with his daughter. Furthermore, because King Alcinous is offering to incorporate Odysseus into his own family, the offer demonstrates that Odysseus s social position is recognized as being a member of the kingly class, like he is back at Ithaca. The following day, Odysseus Alcinous arranges for Odysseus to receive guest-gifts from the other leaders of Scheria and seeks to impress Odysseus by holding sporting contests. Odysseus demonstrates his capacity for sports and his physical acumen by winning in the sporting contests. By doing so, he thereby illuminates further his heroic identity as a champion and man of great strength. Alcinous responds to Odysseus s victory by offering Odysseus a display of Phaeacian dancing with a song about how Hephaestus discovers Ares and his wife Aphrodite in an affair and punishes them for it. He does this so that Odysseus can tell his friends, when he reaches home, how far we excel the world in sailing, nimble footwork, dance and song (293), and is thus trying to impress Odysseus with Phaeacian society as he tried with the contest. Indeed, M.I. Finley speaks of the lavish entertainment inherent in the institution of hosting a stranger, the guest. Thornton builds upon this by saying that the very word xenos means both guest-friend and stranger or foreigner. An instance of lavish entertainment of a stranger is, of course, Odysseus s reception by the Phaeacians (39). Odysseus praises the dancing, saying that you boasted Phaeacia s dancers are the best they prove your point I watch and I m amazed. In doing so, Odysseus is

19 fulfilling his portion of the guest-host relationship by being appreciative to his host, and Alcinous reciprocates by suggesting that Odysseus be given another guest-gift. Yet, as Thornton points out, its no wonder that Odysseus was delighted with this song: in terms of a divine comedy it foretold the triumph of his own intelligence over the Suitors who were wooing his wife (45) Thus, it is paving the way for Odysseus to reveal his identity, as it recognizes Odysseus as a mighty intelligence under the image of Hephaestus with Areas, the War-god himself (45). Murnagham asserts that, by receiving guest-gifts because of his successful navigation of the guest-host relationship, Odysseus s current status as honored guest is formalized in a permanent relationship of guestfriendship. At this point, Odysseus has been recognized by the Phaeacians through the creation of a relationship that is in accord with his proper identity (98). From this point forth, Odysseus asserts himself more forcefully, asking for a song to be played about the Trojan War, in which he had a decisive role. When the song plays, Odysseus breaks out into tears, and this prompts Alcinous to ask Odysseus who he really is, for that surely no man in the world is nameless, all told. Tell me your land, your people, your city too, so our ships can sail you home (300). Odysseus does not conceal his identity any further, as he has been received into a relationship with his hosts befitting of his identity, and because Alcinous frames the question so that Odysseus s revelation of his name and identity is required for the transport element of the guest-host relationship to be fulfilled. Odysseus s identification is thus the inevitable consequence of his reception as a guest-friend by the Phaeacians. It is a process in which Odysseus gives displays of his civilized and heroic qualities, which the Phaeacians respond to by receiving him into a series of roles befitting his identity suppliant, bridegroom, and guest-friend. The process for the reception of strangers practiced by the Phaeacians has enabled Odysseus to earn his recognition without the help of any external mark of identity. It has allowed Odysseus to integrate himself into a place in Phaeacian society befitting of his heroic character, his identity. Murnagham reiterates this point by saying This smooth progression from Odysseus s acceptance into the role of guest-friend to his identification implies an exact match between Odysseus himself and the social role he has attained, between the concealed identity of the destitute and anonymous wanderer washed up on the Phaeacian shore and the attractive figure created through Odysseus s integrating behavior (101). Because this episode demonstrates the positive connection between hospitality and the revelation of Odysseus s identity, it can be considered the antithesis of the Cyclops episode. Polyphemus refuses to respect the custom of hospitality, telling Odysseus that you must be a fool, stranger, or come from nowhere, telling me to fear the gods or avoid their wrath I ll never spare you in fear of Zeus s hatred, you or your comrades here, unless I had the urge (308). As a result, while in the Cyclops s presence Odysseus keeps his true identity disguised. Indeed, he tricks the Cyclops by claiming his name is nobody, the ultimate lack of identity. Thus, it can be concluded that, as the Phaeacian s hospitality enabled Odysseus to reveal his true identity, the Cyclops s inhospitality prevents Odysseus from revealing his identity. Further, the disguise he puts on to outsmart the Cyclops is as nobody, a word denoting no identity. Hospitality, then, leads to the complete revelation of identity; inhospitality leads to its complete concealment. Like on Scheria, Odysseus s interactions with those who host him on his home island of Ithaca demonstrate the correlation between hospitality and the recognition of identity. The circumstances, however, are quite different. Whereas on Scheria Odysseus s disguise was his maintenance of anonymity and his identity safe until he chose to reveal it, on Ithaca his premature recognition could have dangerous consequences, and thus he must actively disguise himself. As on Scheria, Odysseus can only be identified after having been received into relationships that acknowledge his true status and identity. On Ithaca this serves a strategic purpose; he cannot identify himself until he has attained the status of guest of Telemachus and Penelope through the mechanisms of the guest-host relationship, because until then he is vulnerable to the suitors. Thus, he cannot disclose himself and defeat those who are hostile to the laws of hospitality until his various loyal members of the household receive him hospitably. Additionally, the connection between hospitality and recognition of identity reinforces the distinction between good and bad characters, those who observe the laws of hospitality and those who do not. Accepting the disguised Odysseus as guest becomes tantamount to accepting his return, rejecting him brings about its negative consequences.

20 Odysseus s initial interactions are with his swineherd Eumaeus, who confers hospitality upon Odysseus by taking him in as a suppliant and providing him a meal. Recognizing Eumaeus s hospitality, Odysseus swears that Odysseus s return is imminent, and that as a reward for his prediction when he returns, The moment he sets foot in his own house, dress me in shirt and cloak, in handsome clothes. Before then, poor as I am, I wouldn t take a thing (369). Thus, Odysseus is framing an element of the guest-host relationship, the clothing of the guest, along the premise of his return. He is proposing as his reward, a gift of clothes, something that constitutes the success of the prediction, the removal of his disguise. Hospitality, then, is connected with the revelation of his identity. The interaction between Eumaeus and Odysseus culminates in a false tale by Odysseus where he hints that he would like to be loaned a cloak, which Eumaeus hospitably loans him for overnight. Because Odysseus s disguise consists of a state of destitution, for him to be given any new garment diminishes that disguise and, like the guestgifts from Phaeacia, thus brings him closer to his proper status and identity. However, the hint Odysseus provides for the cloak attempts to illuminate the characteristics of his true identity. He says Oh make me young again and the strength inside me steady as a rock! One of the swineherds here would lend a wrap now they spurn me, dressed in filthy rags (377). Thus, Odysseus characterizes Eumaeus s lending of a cloak as a hospitable charity but also a denial of Odysseus s disguise of weakness and old age. It enables the development of Odysseus s true identity as a strong and heroic character and the diminishing of his disguise to occur without explicitly revealing his identity, at least not yet. Odysseus s interactions with Penelope later play an important part in bringing about his explicit recognition. She offers him all the elements of hospitality, saying Come, women, wash the stranger and make his bed, with bed tomorrow at daybreak, bathe him well and rub him down with oil, so he can site beside Telemachus in the hall, enjoy his breakfast there (425). Thus, she offers him a bath, a bed, and a breakfast next to Telemachus, so therefore a meal and protection. She is hosting him in a manner befitting his true identity; he has now become a guest-friend of Penelope, a relationship that will have importance later. By providing him the bath, an element of hospitality, Penelope also unintentionally leads to the premature revelation of his identity to the maid Eurycleia, who spots his scar. This allows, however, for Eurycleia to be involved in Odysseus s plot against the suitors and thus assist his ultimate revelation of identity. The interactions between Odysseus and Telemachus along the lines of guest-host are especially important. Odysseus reveals his identity explicitly to Telemachus early on in his homecoming, but maintains his disguise around him while at his home. Telemachus s acts of hospitality, specifically his protection of Odysseus from the abuses of the suitors, are designed along the lines of the guest-host relationship but serve a double purpose; his hospitality allows Odysseus to take the steps necessary to kill the suitors and reveal his identity, done through the bow, without facing harm. This protection, an element of the guest-host relationship, is evident when Telemachus dresses down Ctesippus for throwning an oxhoof at Odysseus, saying You can thank your lucky stars you missed our guest Else I would have planted my sharp spear in your bowels. Enough. Don t let me see more offenses in my house, not from anyone! (450). The most important act of hospitality Telemachus and Penelope perform is allow Odysseus access at the bow, and thus access to the tool that he uses to kill the suitors and reveal his identity. Penelope refutes the suitors petitions against Odysseus receiving the bow, saying how impolite it would be, how wrong, to scant whatever guest Telemachus welcomes to his house (459). Thus, referring to Odysseus as a guest, she makes it clear that a stranger will be treated hospitably by Telemachus and her and therefore will have access to the bow. Telemachus frames the matter in terms of a guest-gift, an element of the guest-host relationship, by saying that Of all the lords in Ithaca s rocky heights or the islands facing Elis grazed by horses, not a single one will force or thwart my will, even if I decide to give our guest this bow- a gift outright- to carry off himself (460). Telemachus and Penelope are asserting their wills as hosts, and as such are defending their right to provide Odysseus, their guest, hospitality by giving him the bow. Of course, once in the hands of Odysseus the bow is used to kill the suitors, and as he does so he reveals his true identity as Odysseus. This episode demonstrates again the correlation between hospitality and the revelation of true identity. Telemachus and Penelope act as hosts confer hospitality upon Odysseus, eventually enabling him access at the tool necessary to reveal his identity safely and reclaim his house, while loyal members of his household take steps to reveal his identity through hospitable actions beforehand. An additional importance of this hospitality is in how it distinguishes those who provide it from those who do not. As was seen by the episode with the Cyclops, inhospitality leads to the concealment of identity and punishment. Those who are hospitable to Odysseus in the episode on Ithaca are his loyal servants, while those who are inhospitable to Odysseus are the suitors. Accordingly, the suitors are the ones who fail to recognize Odysseus in any manner until a weapon is in his hands, and are killed. Those who provided hospitality to Odysseus, meanwhile, are spared. Indeed, the suitors, like the Cyclops, corrupt the elements of the guest-host relationship in a number of instances. Alcinous, a prominent member of the

21 suitors, refuses to provide the disguised Odysseus with food, saying What spirit brought this pest to plague our feast? Back off! (413) and then proceeds to throw a stool at Odysseus. Thus, Alcinous is failing to provide the main item of hospitality. Later, Ctesippus corrupts the guest-gift. He says How impolite it would be, how wrong to scant whatever guest Telemachus welcomes to his house. Look here, I ll give him a proper guest-gift too (449) and then throws an oxhoof at Odysseus. Thus, like in the episode of the Cyclops, the corruption of an element of the guest-host relationship brings about the concealment of Odysseus s identity from the suitors as well as a punishment. In this case, the punishment is death at the hands of Odysseus. An analysis of the episodes where the guest-host relationship is developed reveals it s necessary formula and the elements of hospitality involved. They include the bath, the feast, the questioning of the guest, and the offer of transportation. Contrasting these episodes to the episode of the Cyclops, which demonstrates the failure of host hospitality, further illuminates these elements. An understanding of what constitutes the guest-host relationship and xenia allows the reader to then understand its role in The Odyssey and recognize that the role it plays is significant. Hospitality, as has been demonstrated, leads to the revelation and recognition of concealed identity. This is of great significance because a major element of the main narrative of the epic is Odysseus s disguised homecoming, and in order to reclaim his house he must be able to shed his disguise. Hospitality and the development of the guest-host relationship between Odysseus and Telemachus and Odysseus and Penelope enables Odysseus to take the steps necessary to secure his position back in his household, discern who is worthy of punishment and who is not, get his hands on the tool used to kill those who deserve punishment, and thus reveal his identity and reclaim his household. Hospitality is the medium through which this crucial moment in the epic is built up to and through which it can be sparked. Works Cited Austin, Norman. Name Magic in the Odyssey'. California Studies in Classical Antiquity 5 (1972): JSTOR. Web. 20 Nov Finley, M.I. The World of Odysseus. New York: The Viking Press, Print. James, Heather, et al. The Norton Anthology of Western Literature, Volume 1.8th Edition. Norton, W. W. & Company Inc, Print. Murnagham, Sheila. Disguise and Recognition in The Odyssey. New Jersey: Princeton University Press, Print. Thornton, Agathe. People and Themes in Homer s Odyssey. London: Methuen & Co Ltd, Print. November

22 3.Telemachus Potential questions: development Difficulties relationships o w/ Od. o w/pen o Suitors o Gods Outline : Trace the Development of Telemachus, with special attention on his relationship with Penelope. 1) Early: frustrated, crying, immature, but shows hospitality to Mentes o Problematic situation re Suitors and Penelope 2) Athene s visit and encouragement 3) Nestor 4) Menelaus 5) Return, Penelope to room, 6) Return of Od and prep for battle 7) Battle and afterwards Two parts: Development and explanation, though may overlap. Athena s intervention in Bk 1, the example of Orestes, Tel s address to assembly, and, in particular visits to Nestor and especially Men and Helen are all important steps in his maturing. We see him getting more and more confident, albeit a confidence that shows shyness or immaturity at times. Some treatment after reunion with Od necessary.

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24 4. Details 1989 No ancient society has been better pictured than the view of Greek society we get in the Odyssey. Briefly discuss how Homer has made his depiction of the society so vital. (Avoid long accounts of particular aspects.) Opening: Epic as the story of a race. Wide-ranging palette/palate, inclusiveness, picaresque: genre, story within story, episodic, High and Low Society Kings: Aggy, Menelaus/Helen, Alcinous, Nestor, Odysseus Life: luxuries, delicasies, gold/bronze cups, slaves (Helen 3), generosity, food, palace Character: Mostly intelligent, sensible and even fair.. not absolute: elements of aristocracy and even democracy Alcinous in particular has princes/counsellors All positive to/about Odysseus and Tel s breeding (in the blood) Aggy s mistake Slaves/Beggars: Eumaeus s hut offers hospitality too, very loyal, brave Eurycleia- nursemaid to Odysseus, close relationship, role vs suitors (bad Melantho, Irus,) Slave origins: war prizes, well born.. Fantasy/Reality/Horror/Mythology Fantasy: Polyphemus (H- vomiting wine and flesh), Calypso (cave, nectar), Circe (transformation), Charybdis/Scylla (Horrible creatures, mythological origins), Hades Orion (hero), Tantalus, Jocasta.. Reality: references (similes) to fishermen, slaves washing clothes, Nausicaa: washing clothes, dancing brothers, Od. building rafts, Polyphemus with cheese and sheep, life for Eumeaus, life for Alcinous, food,..

25 Action/Love (Emotions) A: Cyclopes, on raft (waves), Circe, Charybdis/Scylla, Underworld L/E: Cyclopes and his ram (primitive but realistic), Od and Pen (reunion) marital, Od and Anticleia (Hades) maternal, Tel and Od- paternal, Eum and Od, Eurycleia and Penelope/OD/Tel- household, Nestor and Odysseus (friendship), Odysseus and Nausicaa (might have been ) Age/ Youth Tel/Od/ Laertes/ Eumaeus Nausicaa/Helen/Pen/Anticleia Gods/Mortals C/C, Athena/Od-Tel, Zeus, Poseidon Men/Women Nausicaa/brothers; Arete/Alcinous; Helen/Men.;

26 5. Eumaeus (and Eurycleia; slavery in general) 1991 Describe how Homer used the swineherd Eumeaus in the tale of Odysseus return to Ithaca. Slavery as integral part of Greek life. Part of the accepted hierarchy. Not racially based like American, but consequence of birth or war. Close relationships possible but also harsh punishments. Eumaeus: First: cutting pair of sandals: Origins: King s son, kidnapped by nurse, good genes Misses his master: Imposes order as he can (contrast Melanthius): Homer s direct address: Loves Penelope: Loves Telemachus: Hates Suitors: Helps Od upon his return: Accepts beggar with hospitality Battle of wits over cloak and tunic Practical help after revelation: Reward: torture maids and Melanthius: Eurycleia First: folding of clothes of Tel.: Nursed Odysseus Origins: bought at high price, respected by Laertes Role in finale: Recognition and threat Punishment of Melantho, etc

27 6. The ACOA: The Agamemnon/Clytemnestra/Orestes/Aegisthus Story 2002 (a) Discuss the importance in the Odyssey of Agamemnon, his death, and the revenge gained by his son Orestes. (b) Why do you think Homer makes so much use of this story? (50) Marking Scheme: (a) 40 marks. This whole episode figures prominently at various points in the Odyssey but particularly in Books 1 4 where it is used by Athena and the other gods as an example of how humans wrongly blame the gods for their troubles and by almost everyone else as a model for Telemachus to follow. In Book 11, the faithfulness of Penelope is highlighted by Agamemnon in contrast to the treachery of Clytemnestra (and all other women!) and when the dead Suitors descended into Hades in Book 24, it is Agamemnon who is used to question them and to praise Odysseus feat. In general, the episode is an example of justice being done. (b) 10 marks. There may be a certain amount of repetition here of answers given in (a) and candidates should be given marks if they have covered it already. Mine: Why is the ACOA story repeatedly referred to? Significance? Contrast with OPT (S for suitors but Pen resists). ACOA is how Odysseus s story might have ended up but for Pen loyalty, Odysseus cunning, Tel s efforts and of course fate (Athena s help). Undercurrent of misogyny of the Classical Gk world: Clyte is the archetypical unfaithful woman. Orestes is caught by fate (must avenge Dad by killing Mom- Furies) Book I: 28-47: Zeus: What a lamentable thing it is that men should blame the gods when it is their own transgressions.consider Aegisthus: it was not his destiny to steal Agamemnon s wife and murder her husband For Orestes was bound to avenge Agamemnon... Athene: May all who act as he did share his fate. It is for Odysseus that my heart is wrung 4:522: Ag's sad fate again by Menelaus Bk 11:(In Hades to Odysseus) 11:384: wicked woman 11:413 Horrible simile for Agamemnon's death Aggy's disordered household is similar but ultimately different to Od.'s oikos: Penelope stays. 11: 424: Clyte is a "bitch": "There is nothing more shameful than a woman who can contemplate and carry out deeds like the hideous criome of murdering " 11:440 Ag.'s advice: 'Never trust women, but of course, Pen. Is above reproach, but then again, you never know ' Contrast of Pen. With Clyte Bk 24 (In Hades to Suitors) Odysseus success in contrast to Agamemnon is confirmed in the last book. The suitors have explained their fate. Aggy in reply praises Pen. and denounces Clyte.by addressing the absent Odysseus: You are such a fortunate man to have won a wife of such pre-eminent virtue: How faithful was your flawless Penelope!...What a contrast with Clytaemnestra, and the infamy she sank to when she killed me She has destroyed the reputation of her whole sex, virtuous women and all. Agamemnon s Homecoming Agamemnon: The returning hero. Comes home too quickly and openly: murdered by wife and her lover. Clytaemnestra: The hero s wife. Gives in to temptation, commits adultery, helps murder husband Is punished eventually by Orestes. Aegisthus: The seducer. Violates all standards of morality and decency by seducing Clyt by Orestes. Orestes: The hero s loyal son. Grieved by father s death; prompted by gods to avenge him. Odysseus s Homecoming Odysseus: The returning hero. Returns home slowly, stealthily and in disguise: kills wife s suitors and reclaims wife and household. Penelope: The hero s wife. Resists all temptation (yet keeps options open) and is rewarded by Odysseus s return. Suitors: The seducers (would-be) Violates all standards of morality and decency by improperly trying to seduce Pen. Are punished by Od. and T. Tel.: The hero s loyal son. Grieved by father s absence; prompted by gods to find him or news of him.

28 7. Circe/Calypso 1998 Odysseus spent a number of years living with two goddesses. Compare his relationship with Calypso to his relationship with Circe. Also: Wow factor to including episodes involving beautiful, tempting nymphs. Odysseus show his rhetorical skills (Pen cannot compare to you) and goes from cold lover to a last roll in the (taking pleasure) cave wastes time (plot demands) Calypso shows good hospitality to Hermes and parting gift to Odysseus. Odysseus (finally) shows his practical talents building raft. Also, Odysseus s distrusting Ino Circe: wow factor of sexy sorceresss stories (including changeling: oldest in the book) Od: stupid to go but supplies, booty Od hunts stag for his men; shares out. Opportunity for Eurylochus s dissent saves men in the end again, combination of divine help (Hermes) but also self-reliance forced to share bed Fantastic version of Realistic fear of sailor and merchant wives (and the husbands dream)? Never come home Why a year? Enchanted or..

29 8. importance of home/family (oikos) Epic of two plotlines: Odysseus trying to get home and Tel and Pen trying to preserve home. Odysseus does stop along the way but refuses to stay with C and C (forever): home/family is priority. When he gets back: re-establishes household (olive tree bed symbolic of organic rightness) Tel/Pen try to preserve home: for Odysseus s return, and also their other options. Suitors are committing offences against the sanctity of the home. Other homes: Sparta, Pylos, Eumaeus s hut, Polyphemos (uncivilised), Laestrygonians (unnatural)

30 9. as primary, oral epic 2013: Candidates should show that they are familiar with the hallmarks of primary epic: formulas; catalogues; repetition; epithets; stories within stories; free-flowing tales with no definite beginning or end point; heroism and warfare; elements of supernatural; emphasis on place names; elements of folklore. Examples of these should be given from both epics Briefly explain what we mean when we say that the Odyssey is a primary epic. Epic: a work of art (usually a poem) on a grand scale, written in a grand style, with heroic figures involved in a great tale or adventure; the Odyssey is a defining type of the genre with a unified plot diversified by numerous episodes and such features as divine machinery, set speeches, formal epithets and extended epic similes (man and nature contrasted: both in vividly drawn images). as a farmer turns like puppies like two bird of prey Remember the Odyssey is not a narrowly defined epic (like the Aeneid) but also can be described as an adventure story, a moral tale, picaresque fiction and even the first novel. As primary or oral epic: not written to be read (like the Aeneid) but tales and myths collected and compiled by/composed by Homer (around 8 th C. BC) for oral recitation and some improvisation by rhapsodes, the travelling bards who sang/chanted their tales. The bard could edit his material, adapting the story to local needs, whether the tastes of the audience or time constraints. Oral elements: Formula-recurring phrases or longer set pieces, which the bard found easy to commit to memory as they fit his metre (hexameter). Dawn spread her fingertips. Also: setting out to sea, making sacrifices, preparing meals Epithets- type of formula: regular adjectives used to describe persons, places and things: rugged Ithaca, cunning Odysseus, wine-dark sea Sometimes see out of place: Thoughtful Telemachus loses his temper and shouts at the assembly Menelaus of the loud war-cry shouts for more wine from the slaves Why? 1) Reflects essential qualities of the character, not necessarily being revealed at the moment 2) traditional epithets are linguistic fossils: The Odyssey is composed of a fusion of Greek dialects from different places and times. These epithets are some of the oldest pieces and though Homer s audience would have been familiar with them, they would have retained an archaic, special flavour. 3) respect for gods and important people/places. Metre: Written in dactylic hexameter: easier to memorise and on the ear References to bards: Homer compliments the bard of Phaecia (Demodocus) and Homer than acts like a bard: several in-jokes about divine bards Repetition: of formula but also the telling of events that just happened Cyclopes and sheep Story-within-a-story: suits the episodic nature of oral recitation.

31 Direct Speech: Homer addresses Eumaeus but half of the epic is told by Odysseus or other story-tellers: adds variety and lessens cumbersome omniscience of the narrator Irony: there are plenty of puns (form of Verbal Irony) (Antinous, No-one) and in jokes, and all the disguises lead to dripping ladle-fulls of Dramatic Irony; king disguised as beggar is also Situational Irony Plot errors : Death of Agamemnon: Book 4: Old Man of the Sea tells Menelaus who tells Telemachus (and us) that 20 murderers were involved. Bk 11 and 24: Aggy gives different account: just Aegisthus and Clyte. Why? Different oral stories: include both; smooth out or ignore contradictions. Visit to Hades: mad, blood-guzzling wraiths of first part of Book 11: then, calm and composed heroes of the Elysian Fields Trial of the Bow: confusion over whose idea is it: Is Penelope following Odysseus s instructions as Suitors later claim? Why then the bed leg test? Emphasis is on entertainment.

32 10. Athena 1999 (i) Analyse the relationship between Odysseus and the goddess Athena in Homer s Odyssey. (50) Athena and Odysseus: Traditional Deity and champion, but also moral sense of justice; Fulfil fate, but also influence/nudge it Different- more personal, playful: Similarities in personality: disguise, cunning, self-reliant,.. Significant interventions: Book I-II: Get him out of Oggyia Bk. V: Athene refers to him as a loving king Bk. VI: Spruce him up on Phaeacia Bk. XXII: Pushes suitors to behave badly., turns spears away (despite pledge to stay out of it) BK. XXIV: role in making peace with suitors families Athena and Pen and Tel spurs Tel on by encouraging travel.. Appears as Mentes allows Tel to show qualities..

33 .comforts Penelope Puts her to sleep Plot device: Moves plot along gets Tel and Od. moving but Homer admits: Why not tell him yourself? Athene and other gods: plays Zeus like a woman : subtle power of influence not old skool like Poseidon Odysseus and Athene The relationship between Odysseus and Athene is a close one. This is immediately obvious in book 1 when Athene asks Zeus to allow the return of Odysseus to Ithaca. Also, in book 1, Athene visits Telemachus to tell him that Odysseus is alive and that he should visit Nestor and Menelaus. Athene continues to assist Telemachus, even travelling to Pylos with him disguised as Mentor. Athene also shows consideration for Penelope by appearing to her in a dream (disguised as her sister) in book 4. These actions of Athene are unique in Homeric Epic. Typically the gods only assist the hero directly not their friends or family. Odysseus, of course, receives help from Athene on a very regular basis. She makes him taller and sturdier when he meets Nausicaa, gives him sound advice on his return to Ithaca and, disguised as a young girl, gives him directions to the palace of the Phaecians. In Homeric Epic the gods do not dictate every single action performed by the hero. This means that Odysseus often has to rely on his own skill and ingenuity. A good example of this occurs in book 22 when Odysseus courage falters during the battle against the suitors. Athene criticises Odysseus, saying, Where is your spirit Odysseus? Where has your prowess gone? You are not the man you were when for nine relentless years you fought the Trojans for royal Helen of the white arms, killed your man in the bitter struggle time and time again, and planned the stratagem that captured Priam s town with its broad streets. So how can it be that now, when you are in your very own home, and amongst your own possessions, you whine about your lack of courage in face of the suitors? It makes sense that Homeric heroes are not assisted by the gods every step of the way. If they were they would not be heroic. This device also means that Athene cannot be blamed for Odysseus mistakes. There is a message here for Homer s audience; mortals must take responsibility for their own actions. What do the gods receive in return for helping the hero? Well, the hero must ensure that he does not disappoint his patron by his actions. He is expected to take his patron s advice, show courage at all times and treat the god(s) with the respect they deserve. When Odysseus is insulted by a Phaecian nobleman during the games in book 8 he immediately challenges him to a contest and throws the discus much further than anyone else. Athene is delighted by this because it is exactly how a Homeric hero is supposed to behave.

34 11. Odysseus (leader, husband, father ) 2013 Discuss the idea that Odysseus was a great leader of men Three points ( ). Max 45 if the candidate only deals with Odysseus voyage. Odysseus can be described as a great leader of men, but candidates could argue against this too. In favour, he saves his men from the Lotus Eaters and from Circe. He protects them from the Sirens and tries to prevent them from angering the Sun God on the island of his cattle. On the other hand, his men refused to heed Odysseus orders to leave Ismarus; he clashes with them on Circe s island where they clearly don t trust his judgement because he was so wrong in leading them into the cave of Polyphemus. This was entirely his mistake and led to the deaths of some of his men. Their mistrust of him is also revealed in the bag of winds episode where he did not tell them what was in the bag. Finally, he arrives at Ithaca without a single member of his crew, which could be described as a failure. However, it could be argued that this was due, not to his leadership, but to his men s stupidity in eating the cattle of the Sun God. We hear stories of Odysseus leadership at Troy from Nestor and Menelaus. Finally he leads his men in the battle against the suitors with success and rallies his men for the subsequent attack from the suitors relatives. (50) 1996 From your reading of the Odyssey, what is your opinion of Odysseus as leader of his men? 1987 Odysseus isn t a model of moral integrity, but is a realistic mixture of good and bad. Discuss this assessment of Odysseus character and briefly demonstrate how Homer is successful in making a hero out of such a character. Bad: 1) all his crew are dead and 2) Odysseus s curiosity/greed is partly to blame and 3) lapses in judgment and performance, Good: 1) bad leader makes good character/hero (plot reasons) 2) he warns/ he tries to save them 3) duty as captain to secure booty (and he shares fairly) 4) Cultural values: Odysseus as individual (Aeneas as pious servant of god and country) and oikos is more important: duties as leader of household 5) good leader/king when he returns to Ithaca and Fate/Plot means he has to return alone, to make the last 10 books interesting! Epic story of a man and his family not a race! A bit of a scoundrel (lies, cheats ) modern style anti-hero: exciting! Negative, then positive: various delays/raids: Laestrygonians Cicones provides booty for men (and interest to audience) delays with Circe outwits Circe, hunts for and saves men Polyphemus- curiosity, braggard outwits Polyphemus, tough choices (plot too) regret Scylla Charybdis: does not tell full truth.. Odysseus holds back on the full horrors of S and C so that they do not lose courage and carry on: Dishonesty but perhaps necessary Scylla and Charybdis: tough choices, sacrifices six regret..

35 Sirens Sirens: interest to reader safe? Aeolus Not his fault but perhaps a better leader would have Sun-god s cattle: Warned them convenient sleep for plot reasons Odysseus as hero: Heroes in Homeric Epic meet a very specific set of criteria; these are: 1. The hero is of divine or noble birth. 2. They are brave and skilled in warfare. 3. They are intelligent and capable of using this intelligence in dangerous situations. 4. They are favoured by a god or gods. 5. They are mortal and therefore imperfect i.e. they do occasionally make mistakes. Although all Homeric heroes meet these basic criteria each one is unique with their own distinct personality. Odysseus, for example, in contrast to Achilles, is renowned for his intelligence and cunning. Odysseus is definitely a hero. He is the ruler of Ithaca, descended from a noble line. Status is very important in Homer s world and Odysseus makes sure to establish his credentials when he meets Circe and again when he is staying with the Phaecians. Odysseus bravery and martial prowess cannot be questioned either. The obvious example of this is the stringing of the bow and killing of the suitors in book 22. Other characters in the Odyssey praise Odysseus bravery. Menelaus, for example, when he meets Telemachus in book 4. The examples of Odysseus intelligence are numerous; the use of the wooden horse in Troy, escaping from the Cyclops, masquerading as a beggar on his return to Ithaca. Odysseus is regularly described as wise, cunning, resourceful and clever. In book 9 when revealing his identity to the Phaecians Odysseus says, I am Odysseus, Laertes son. The whole world talks of my stratagems, and my fame has reached the heavens! Clearly Odysseus is favoured by the gods Athene in particular. Athene is a very appropriate patron for Odysseus as she is the goddess of wisdom. She petitions Zeus on Odysseus behalf in book 1, watches over Penelope and Telemachus, saves the hero from drowning in book 5 and disguises him as an old beggar on his return to Ithaca. Athene appears to be extremely fond of Odysseus. The best example of this is in book 13 (lines ) when Odysseus lands in Ithaca. Odysseus is far from perfect. His curiosity results in the deaths of some of his men at the hands of the Cyclops and the same incident is also responsible for Poseidon s hatred of Odysseus. Lapses in his leadership also result in errors such as the release of the winds from Aeolus bag. Ultimately Odysseus leads all of his men to their death. This concept of the flawed hero is true of all Homeric heroes. In contrast, Aeneas in the Roman Epic, The Aeneid, rarely makes mistakes.

36 12. The Suitors 2010 (i) In Homer s Odyssey, the Suitors and the disloyal maidservants receive terrible punishment for their crimes. Do you think that they deserved such punishment? Support your answer by reference to the text. (50) 1999 (a) 40 (14,13,13) (10 x 4) -lack of hospitality in their treatment of many -treatment of Tel and Pen -Loud, boorish and aggressive-treatment of Odysseus as beggar-athena s role in preparing us (b) 10 marks Structure: Character: 108 best young men from the area; leaders: sly, sneaky Eurymachus and straightforward Antinous; good suitor Amphinomus; Leodes Temporal/Chronological: 1) First Impressions 2) Debate with Telemachus and plot to ambush 3) various warnings by gods and other characters 4) mistreatment of Odysseus as beggar 5) finale/battle/hades The suitors wanton and conscious destruction of Odysseus s household and reckless disregard for the bond of xenia are enough to justify their deaths. Antinous: vicious and uncompromising; Eurymachus: oily, hypocritical duplicitous: they think one think; say the other justifies the trickery on Od, Tel and Pen. 1) Initial position as suitors is legitimate, but they abuse their position and take advantage of situation. I: Athenian Mentes finds the insolent Suitors living it up: insolent-epithet? ill-mannered company ; uproar The Suitors came swaggering in courtin g my mother (justifiable) and eating me out of house and home (unjustifiable) ; dissolute mob Tel upbraids them: sounder scheme to destroy one man s estate Antinous: this bold and haughty way of speaking Eury: But by all means keep your own belongings.. 2) Personally and individually rude: Tel Bk2 3) Other characters opinions? Warnings unheeded? Athene: How disgraceful! Nestor, Men, Theo. 4) Odysseus s return: Abuse hospitality yet show no hospitality/pity for suppliants 5) Battle- deserve to die? spared? 6) Sympathy? Not all? Position Shroud trick