Odyssey scholars Flashcards

1
Q

E. Hall (Context)

A

a distinct rhythm and dialect featuring conventional formulaic phrases

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2
Q

Camps (The Gods)

A

Supernatural powers are at work everywhere and always in the Homeric poems

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3
Q

Camp (context)

A

The version of the Odyssey that we have now has been passed down over 350 years since it was originally composed

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4
Q

Camps - Zeus

A

He is secure and relaxed in his supremacy (…) and benevolent in the exercise of it

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5
Q

Jones (Context - Pisistratus)

A

In the 550s Peisistratus is said to have produced a definitive text of the Homeric epic… this suggests that there were many versions of ‘Homer’ in circulation at the time

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6
Q

Morrison (Context - Homer)

A

‘Homer was a singer who performed his epic songs live

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7
Q

Jones (structure)

A

‘This structure [of books 9-12] means that the excitement is kept.

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8
Q

Jones (Calypso)

A

‘Calypso is an invention to give Telemachus time to grow up - she holds Odysseus for 7 years to allow Telemachus to go from being 11 to 18 - she is just a plot device but essential to the plot’

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9
Q

Tracy (Zeus)

A

‘Moreover, the use of Zeus allows the plot to be arbitrary without seeming to be’

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10
Q

Griffin (Free will)

A

‘Men have free will and are responsible for their own actions’

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11
Q

Bowie (Humor)

A

‘The humor of the Odyssey is of a sophisticated, subtle, and varied kind

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12
Q

Mheallaigh (Stories)

A

the Odyssey is about the telling of stories

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13
Q

Kahane’s (Athena)

A

“One of the main agents driving the Odyssey’s plot is Odysseus’ patron, the Goddess Athena”

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14
Q

Lattimore (Athene)

A

“Athene merely acquiesces on the suffer of Odysseus out of respect for Poseidon”

.

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15
Q

Morrison’s (Athene)

A

“Athene is quite intent on helping Odysseus return home”

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16
Q

Jones (the introduction to the EV Rieu translation - Iliad)

A

‘Homer and Hesiod for the first time gave the gods an individual human face and made a community out of them.’

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17
Q

B. Graziosi (Gods)

A

‘Homeric gods are embarrassing.

18
Q

Howard (double standard)

A

‘There’s a double standard in ancient Greece (…) these men sleep with goddesses without the stigma that a woman would suffer’

19
Q

Howard (lives of woman)

A

‘their [women’s] place was still firmly in the home to rear children, prepare food, spin and weave.’

20
Q

Morrison (3 definitions of a Hero)

A

‘In a narrow sense, a hero is a mortal with one human and one Devine parent’
‘In a looser sense, anyone who lived in the Heroic age was a hero’
‘someone may be a hero by his or her actions’

21
Q

Morrison (Calypso)

A

‘Calypso is the first in a series of what we might call “Surrogate wives”, women who in one way or another try to take the place of penelope’

22
Q

Morrison (Women)

A

‘in Homer’s patricidal, macho world, woman can more easily mirror the tricky heroism Odysseus demonstrates than the military heroism of the Iliad

23
Q

Morrison (Penelope)

A

‘Penelope in particular shows how endurance and craftiness lead to success - she is no less heroic than her husband’

24
Q

Silk (killing)

A

‘Few of Homer’s modern readers would condone revenge killing (…) let alone acclaim it, but the Odyssey does - or does it?’

25
Q

Rosenfelder (nostos / women)

A

‘In the epic, the sirens form part of a chain of women, nymphs and Goddesses who (…), threaten the hero’s all important homecoming to Ithaca”

26
Q

West (Eumaeus and xenia)

A

‘We learn a great deal about Eumaeus as he (…) demonstrates that good hospitality does not depend on wealth’

27
Q

Jones (The Gods)

A

‘The gods play a relatively small role in the Odyssey - much less than the Iliad.’

28
Q

Jones (Context - society of poet)

A

‘The oral poet reflects his own society to a much greater degree than we had imagined” e.g. dead are cremated (8th c. practice) rather than buried (12th c. practice).’

29
Q

Jones (Xenia and the suitors)

A

‘Reckless disregard for the bond of Xenia are enough to justify their deaths’

30
Q

Morrison (Homer and Xenia)

A

recognise appropriate behaviour in accordance with the code of hospitality’

31
Q

Jones (Nausicaa and Xenia)

A

’ Nausicaa goes into a full xenia sequence (…) to be followed by some beautifully disguised questions’

32
Q

Walcot (Phaeacians)

A

‘There is something ‘unreal’, too soft, too easy going about the subjects of King Alcinous, and their hospitality has limitations’

33
Q

Murray (Penelope and Nostos)

A

‘Homer presents the return to Ithaca as a return from fantasy to reality, to the home where Odysseus truly belongs, and this figure s embodied in the figure of Penelope, a Woman who is every but his match’

34
Q

E. Hauser (Xenia - plot)

A

‘Xenia (…) is an important way of Greek heroic society’
Xenia is an important in the Odyssey as a primary theme

35
Q

E. Hauser (Xenia - Greek ideals)

A

Agathos = a good man / a rich man
Kakos = a bad man / a poor man
The Agathos (the suitors) do not act as they should, showing awful xenia. But the Kakos Odysseus meets (Eumaeus) is far more moral and shows good xenia.
The audience of the Odyssey is thus challenged by this

36
Q

E. Hall (Xenia)

A

By the end of the Odyssey, everyone who violated Xenia was punished and if they showed good Xenia, they were rewarded

37
Q

B. Graziosi (odysseus)

A

“By turns a comic character, a tragic hero, a stoic sage, and a villain, Odysseus could never, and cannot yet, be pinned down.

38
Q

B. Graziosi (penelope)

A

“For all the dangerous girls, women, goddesses, and monsters Odysseus meets on his way home, it is Penelope herself who constitutes the greatest peril for him.”

39
Q

Morrison (tricky hero)

A

Homer offers his audience something of a paradox: a tricky hero

40
Q

Knox (Women in the odyssey)

A

women, human and divine, have important roles