Distortion In The Penelopiad

In the first section of Odyssey, mortal women are presented to us as controlled by the stereotypes and expectations of the culture of the day, and it is only within that context that we can consider the examples Homer provides of women to be admired or despised. He provides us with clear contrasts, between Penelope and Eurycleia on the one hand, and Helen and Clytemnaestra on the other.

For thousands of years it can be considered debatable on the true view of women over the years but one thing is for sure, many women suffered one commonality - discrimination. For decades women have been told the classics; “you can’t”, “you’re not strong enough”, “stay in the kitchen”, and because of this, young women today believe this is what they are viewed as. In “The Odyssey” there are many characters that share their disgust with the female gender and many who worship them,just like today. There is a possibility, even though it’s 2017, that there may be some men who believe men were given certain jobs to do and women should stick to what they were “meant to do”. It’s an issue - it’s teaching young men and women that women cannot do the same as men. It teaches women the true heroes are men, that women cannot be the ones to sail across the sea, to fight monsters, or even to simply be in charge of themselves. Since specific roles are assigned in “The Odyssey” to both men and women, it can teach women that while times have changed, in society it’s somehow important for women to be second next to men, when in reality that is not true.

Lizeth Marin Honors Introduction to Literature Period 3 18 April 2008 Odysseus: Hero or Villain? Heading home, to Ithaca, Odysseus is faced upon many obstacles that he and his men try to overcome, but in the end substantiate that Odysseus is a villain. “The old soldier in despair: He has spent ten years (seven of them as Calypso’s not entirely unwillingly captive) trying to get home” (652, summary). Evidence proves that Odysseus is a villain, because he tries to convince that he was kept unwillingly by Calypso. However, it is true that Odysseus was kept as Calypso’s captive for a time. Yet he can still be judged as a villain, because he does not just stay as a prisoner, no, he assists Calypso by being with her for the pleasures that

After centuries of serving as background noise to her husband Ulysses’ odes of sea storms, sirens, and celebrity, the mythological Penelope finally steps into the light in Miriam Waddington’s poem “Ulysses Embroidered” (1992). Functioning as a revisionary text to both the Alfred, Lord Tennyson work “Ulysses” (1833) and The Odyssey itself, “Ulysses Embroidered” quickly strikes its readers as a fiercely feminist re-envisioning of Penelope and her tale. Waddington’s work permits an age-old legend to be told in a bold new way with a female lead, but to what end does the feminist adjustment remark on Tennyson’s work? By both reading against the grain and “constantly [engaging] in

In essence, society’s notion of female inferiority is reflected through the misogynistic views and actions towards women, as shown in the Greek society The Odyssey. These views, such as expectations of chastity towards women, continue on today. By recognizing sexist actions in literature, similar current actions can be acknowledged and

Even as he suffers, the parallel of his grief to that of the woman’s dissipates for we are privy to the knowledge that Odysseus is likely to have once been a man who cut down the father of another home. Though the language of grief is universal, spreading itself to Odysseus in likeness, the application of it remains ironic because the self-pursuant and capable hero persists in the blindness that his own hands brought about the same pain in many

INTRO: Despite difference of around 400 years between them Greek poet Homer and tragedian playwright Euripides explore many of the same themes in their works the Odyssey and Trojan Women (written by each respectively). Both works are inspired by the events of 12th Century BCE Trojan War that Homer previously explored in the Iliad. The two examine the worth of cunning over brute strength, the dangers of temptation and the role of women in their respective time periods. Despite having extremely similar central ideas, the techniques employed by each are markedly different. These differences arise as the result of changes in socio-historical contexts and format of each work’s presentation, for example the critical shift of the 5th century which saw the rise of sophistry and a certain scepticism in regard to Athenian leadership and the very existence of the gods.

For this informative report I will attempt to point out the roles women and how they are viewed in ancient Greece. I will then show how these views are present in Homer’s "The Odyssey." How are women, goddess or mortal, conveyed in "The Odyssey?"

     Many people regard Homer’s epics as war stories—stories about men; those people often overlook the important roles that women play in the Odyssey. While there are not many female characters in the Odyssey, the few that there are, play pivotal roles in the story and one can gain a lot of insight by analyzing how those women are portrayed. Homer portrays the females in contradictory ways: the characters of Athena and Eurykleia are given strong, admirable roles while Melantho, the Sirens and Circe are depicted in a much more negative way. Penelope—the central female character—is given both negative and positive attributes.

Margaret Atwood’s The Penelopiad re-envisions Homer’s Odyssey by following Penelope’s life and thoughts in the place of Odysseus’s. By using Penelope’s viewpoint, Atwood is able to expose the double standards and misogyny in the Odyssey, as well as alter Penelope’s original character into someone with intellect and an astute way of thinking. For instance, a double standard found in the Odyssey was that being a good and heroic man meant one must have sex with a lot of women; but if a woman was to have sex with lots of men, she would be considered tainted and impure. Essentially stating that for a man to achieve greatness and success, multiple women have to be forced to submit and accept failure in the Odyssey’s concept of womanliness. Atwood’s

Homer’s epic poem The Odyssey follows Odysseus on his long journey home. The Epic also includes the stories of Odysseus’ family left behind: the travels of his son, Telemachus, and how plenty, of what we would now call “home wreckers”, suitors pressured his wife, Penelope, into marrying one of them. The characters are beautifully crafted and the story is truly epic. All the elements presented can bring in any reader from any century, the Cyclops, the Gods, the trickery of Penelope, and the disguises of Odysseus, are all legendary literary hooks . There are many things to learn—about writing, about the world around us, the world ahead of us, and the past behind us—from The Odyssey. (26) It is undeniably evident that this ancient text has

There has long been a fashion among critics and historians, including Sir James Frazier and Graham Hancock, to insist upon taking the account of Odysseus' voyage to Hades in Book XI of the Odyssey at near face-value as a description of people and places familiar to a Greek audience of Homer's day. Both linguistics and comparative history have been employed to discover exactly how accurately this originally oral epic conveys this gritty realism. Something, however, is not right with this purely empiric approach. What is missing is an examination through the lens of ancient religious practices. Surely a literary work so teeming with deities-wise Athena, spiteful Poseidon, impish

The role of women in Greek literature has demoralized them and showing them in a maligned light. The women are portrayed as frail, cruel, insensitive, or as seductresses. These characteristics have been integrated into today’s society and [have] built the standards and defined the moral outlook of women. However, in Greek mythology, powerful and strong women are not as well celebrated, such as Athena. Homer’s The Odyssey construes the positive and negative role of women through the epic poem. The women in the poem are depicted through the contrasting actions of Penelope and the maids, in addition with the opposite personalities between the goddess Athena and the nymph Calypso.

Women in ancient Greece had very few rights in comparison to male citizens. Women were unable to vote, own property, or inherit wealth. A woman’s place was in the home and her purpose in life was to rear children. Considering this limited role in society, we see a diverse cast of female characters in Greek mythology. We are presented with women that are powerful and warlike, or sexualized, submissive and emotionally unstable. In many myths, we encounter subversive behavior from women, suggesting, perhaps, the possibility of female empowerment. While produced in an ostensibly misogynistic and oppressive society, these myths consider the possibility for a collapse of male power and the patriarchal system. In Homer’s epic poem The Odyssey,

A modern adaptation of Homer 's Odyssey – one of the most widely read ancient literary works in the world – Margaret Atwood 's novella, The Penelopiad, retells this classic story, this time from the perspective of Penelope, Odysseus ' wife, who spent ten long years waiting faithfully for him to return form the Trojan war, and is now lameting her life from the greek underworld, Hades. The Penelopiad deconstructs the portrayal of penelope in the Odyssey, showing that instead of waiting and wasting away, she instead employed her wits, feminine charm and strength of character to build a strong empire and achieve her own ends, or at least, that 's what she would like us to believe. Chapter 26 is a courtroom scene, where Odysseus is on trial for the hanging of the 12 maids, which he justifies by convincing the judge of their supposed indescretions. Atwood employs various literary devices, such as the exploitation of genre and dark humour, to convey the double standard between genders, the failures of the justice system, and the lack of consequences awarded to those in power.