Afterlife In The Odyssey

In both Homer’s Odyssey and Virgil’s Aeneid, the heroes make the dauntless adventure into the underworld. Both of theses visits occur around the middle of the stories, and they bring information about the lives of heroes ' loved ones. The heroes also get very important information from these loved ones; information that they require to continue on their journeys. However these are not the only things that are similar about the heroes visits. The influence of the Homeric writings of the Iliad and the Odyssey on Virgil’s writings is clear - especially in Book VI of the Aeneid. Throughout this paper we will talk about the similarities that occur throughout the two poems, and how the two authors beliefs shine through. These beliefs are two very different views on the idea of death. Homer’s Iliad depicts death as something that is something souls do not enjoy. Whereas Virgil’s Aeneid depict it more as a final rest for souls – something that relieves them of the troubles of life.

Aeneas is son of Anchises, the prince of Dardaria and Venus, goddess of beauty and love. Aeneas was a Trojan military leader during the Trojan War. Aeneas was also one of the lone survivors after the siege of Troy. After the fall of Troy, Aeneas is divinely lead to Carthage by Juno because she has a grudge against the Trojans. While in Carthage, queen Dido falls deeply in love with Aeneas. Jupiter afraid that Aeneas is abandoning his destiny sends Mercury to order Aeneas to leave Carthage and travel to Italy. Once he arrives in Italy he is visited by his father’s ghost which tells him he needs to travel to the Underworld. Aeneas ends up going to the Underworld to

In Homer’s Odyssey (Book XII) and Virgil’s Aeneid (Book VI) the visit to the land of the dead occurs in the middle of the poem because in these centrally placed books the essential values of life are revealed. Dante, while adopting the convention, transforms the practice by beginning his journey with the visit to the land of the dead. He does this because his poem’s spiritual pattern is not classical but Christian: Dante’s journey to Hell represents the spiritual act of dying to the world, and hence it coincides with the season of Christ’s own death. (In this way, Dante’s method is similar to that of Milton in Paradise Lost, where the flamboyant but defective Lucifer and his fallen angels are presented first.) The Inferno represents a false start during which Dante, the character, must be disabused of harmful values that somehow prevent him from rising above his fallen world. Despite the regressive nature of the Inferno, Dante’s meetings with the roster of the damned are among the most memorable moments of the poem: the Neutrals, the virtuous pagans, Francesca da Rimini, Filipo Argenti, Farinata degli Uberti, Piero delle Vigne, Brunetto Latini, the simoniacal popes, Ulysses, and Ugolino impose themselves upon the reader’s imagination with tremendous

Ancient Rome produced a number of literary geniuses, which included Marcus Cicero, Horace, and Virgil. The following excerpt from The Humanistic Tradition describes one of Virgil’s most famous works, “The Aeneid was not the product of an oral tradition, as were the Homeric epics: rather, it is a literary epic . . . No summary of the Aeneid can represent the monumental impact of a work that would become the foundation for the education of the Latin language” (Fiero 146). Ancient Roman works such as The Aeneid have had a profound influence on countless writers, poets, and literary scholars including Shakespeare, James Joyce, and Robert Graves. These ancient civilizations also made a variety of other contributions to western civilization.

Virgil’s The Aeneid is a Latin epic poem that tells the legendary story of Aeneas, a Trojan who travelled to Italy, where he became the ancestor of the Romans. The poem details the journey of Aeneas and his men after they are forced to flee burning Troy and as they wander the seas in search of land suitable to found a new Troy. Throughout the many books, the Trojans suffer through the Trojan War, the loss of their home, fierce storms, horrible monsters, and the wrath of the gods. A major theme of The Aeneid is human suffering as the characters in the poem experience the full front of despair and pain.

We figure that Virgil spent so much time writing the Aeneid – invoking the Muses, speaking in

It was very critical to Virgil that a believable sense of history be achieved in his writing. At the beginning of Book VI, the story of Daedalus and his son Icarus is introduced when the Trojans see it carved into the temple doors (lines 21-50). There is a second time in the text that such a reference to the past is made in a similar fashion. This occurs in Book I when Aeneas observes the carvings on the walls of Juno’s temple at Carthage (lines 619-762). In these two incidents, the same technique of recalling history is employed. Virgil seems to imply that the best way that he can describe history is to tell it with the help of the gods, which in this case that would be the Muse that he has called upon in Book I to assist him (line 13). At the time, the knowledge of the Muses was considered to be the objective truth while the knowledge of the mortals was considered to be secondhand and imperfect. The distinction between the two is made with the story of Daedalus. Virgil gives an elaborate account of what he knows of the event, and then omits the ending which he does not know: "Twice your father tried to shape your fall in gold, but twice his hands dropped." (Book VI, lines 49-50) By wording the story so that Daedalus does not describe his own son’s

Aeneas on the other hand is much more focused on the future; he is also trying to get home, but that home does not exist yet, besides that, while seeing his old friends he also finds out about the future of his generations and yet even more about the city he is on his way to establish. This could bring us to the point of Homer 's vs. Virgil 's reasons for writing their poems; as mentioned earlier, Homer wrote his poem for entertainment purposes. This explains why the majority of book eleven is made up of Odysseus meeting his old friends and great warriors of the war; through telling their stories, Homer entertained the readers and the audience by letting them imagine how the heroes act after their death (what still matters to them, which quarrels have not been forgotten etc.). Virgil on the other hand skips most of the greetings of Aeneas with old friends and focuses instead on the meeting with his father. There, while including sentimentality, the main point of the meeting is for Aeneas and the readers to find out about where the rulers of Rome came from. Aeneas in the underworld gets to see, although not speak to, his future son, the future Caesars and learns all about the glory of the future empire.

In the poem, Virgil says that all Romans ought to have two certain virtues: he must remain a pious Roman citizen, and he must remain loyal to the Roman race. In Virgil’s poem, he uses Aeneas as a portrayal of not only a roman hero, but also as the ideal Roman citizen.

Arguably, like the fathers of the Old Testament, he foresaw what would occur though not precisely knowing the saving details. Also, like the Hebrew prophets, his work is filled with an underlying sadness. The Aeneid ends, not with the joy or inevitably glory and majesty that would be Rome, but with the bitter, angry Aeneas plunging his sword into the breast of Turnus, howling for revenge for the dead Pallas. Thus, it is not surprising that Virgil ends up in precisely the same place as the writers of the Old Testament: Limbo. While in the first circle of the damned, a list is given of these souls which include Moses, Noah, Abel, “the patriarch Abraham” (IV.58), etc. However, “Out of our midst [Christ] plucked [these shades]” (IV.55) shortly after the poet’s death. These are not the only similarities between Virgil and the old prophets: as many came to reach goodness in and through the Old Testament, so did the poet Satius, who appears in Purgatorio reach Christianity only by the help of Virgil. True, there is some awkwardness when Statius confesses this fact to Virgil, but this awkwardness translates also to the rift between the old prophets and the new, as depicted in the Earthly Paradise in Purgatorio:

The Aeneid, written by Virgil, was written in Rome between 30 and 19 B.C. Virgil wrote many of his writings during the time of Octavian, the estranged nephew to Caeser. During the beginning of the times of Octavian and the time of these writings Rome was in a state of civil war, which later turned into the most peaceful place in the world. Many people were torn from their homes and new boundaries were created. It is important to know the culture and gender roles of the people, the person in power, and the system of government in place at the time of the writing.

Two epic poems from two great civilizations depict their authors' varying views of the Underworld: The Odyssey and The Aeneid. The Greek poet Homer describes the hardships of Odysseus and his struggle to return home to his beloved wife and family after the Trojan War in The Odyssey. The Roman poet Virgil composed The Aeneid for the first emperor of the Roman Empire, Caesar Augustus, in order to rebuild Rome after the civil war had ended. The Aeneid portrays a demigod, Aeneas, whose mission is to create a grand city that will be known as Rome. This paper analyzes the differences and similarities in how Virgil and Homer view the Underworld in The Odyssey

In book two, Aeneas remains to fight despite clear indications from the gods that it is better to escape and carry on the Trojan race. However, Aeneas is overcome by the Homeric notions of duty and honor. Virgil purposely does this to show that while Aeneas acted only with a view to the narrow Homeric concept, he grows later to fully understand his duty (Mudlo).

In Canto II, Dante says he is unworthy to make the journey with Virgil. Dante summarizes what happens in The Aeneid when Aeneas descends into the underground and sees his father. Later, the descendants of Aeneas establish Rome. Dante believes God favored Virgil as a Roman because eventually St. Peter would be in Rome. “In that quest, which your verses celebrate, he learned those mysteries from which arose his victory and Rome’s apostolate” (25-27). Dante names St. Paul as another person who preached Christianity in Rome, “bearing the confirmation of that Faith which is the one true door to life eternal” (29-30). Virgil convinces Dante that he has been sent by God to guide Dante through Hell. In Canto III, Dante and Virgil arrive at the first river of Hell, Acheron, which was part of Greek mythology. Charon, the ferryman, is also from Greek mythology.

The horrendous death of the trojan priest Laocoön and his sons is a classical event associated with the final days of Troy, inspiring works in literature as well as visual arts. Book 2 of The Aeneid, by the Latin poet Virgil, and the 1st Century CE marble sculpture ‘Laocoön and Sons’ are two famed works that are inspired by the Laocoön Episode. Though both the sculpture and the text are canonical works of their own genre, the latter is more superior in terms of delivering a comprehensive narrative on the Laocoön episode. The Aeneid amplifies movements of Laocoön and the serpents using literary devices and adopts a time frame spanning from the arrival of serpents to the death of Laocoön to deliver a complete narrative, whereas the sculpture, though using dynamic movements and utilizes a single moment within the time frame of the text, fails to contain a general, uninformed viewer within the episode’s context.