Homeric

Kaylynn McGuire December 2, 2014 Dr. Elaine Phillips World Literature 1:00-2:25 Research Paper The Odyssey: What were the roles of women and how did they differ from Ancient Greece to Ancient Rome? In an amazingly well written epic poem such as The Odyssey, a tale of a male hero, how can one describe the life as short-coming in details as the life of women? Homer, in writing both The Iliad and The Odyssey, hinted at the lifestyle bore to women. Moment after moment one could analyze the dialect

An Unusual Hero (An Analysis of the Ways that Plato is an Unusual Epic Hero) From the crooked heights of Troy to the winding streets of Athens, the ancient West was fascinated by epic heroes. Bards sang poems about the fleet footed Achilles and the cunning Odysseus. Every man, woman, and child knew the stories of Jason, Hercules, and Hector. However, there is one man who achieved fame akin to the epic heroes of olden times with neither strength nor skill. His name was Socrates. In ancient Greece

Is Virgil’s Aeneid an Anti-War Poem?      Virgil opens the ‘Aeneid’ with the words ARMA virumque cano ( I sing of arms and of men). The central role that war plays in this Roman epic is made apparent from the very first word of the ‘Aeneid’ by the emphatic placing of the word arma at the very beginning of the poem. A fair chunk of Virgil’s ‘Aeneid’ is set on the battle field but its violent and gory descriptions of death and its frequent battles alone cannot make this

believed women to be incapable of not exercising their sexual charms and that the results were catastrophic, irrespective of whether or not women set out to cause trouble deliberately or acted in a blissful ignorance of what they were doing” (39). In Homeric tales we see the character Odysseus being held by Calypso and Circe due to their sexual appeal despite him journeying home to be reunited with his wife Penelope after twenty years. However, Penelope is portrayed as being chaste while she waits for

Critical discourse on the “Cyclops” episode of Ulysses has remained remarkably consistent over its history. Much of the analysis focuses the episode’s dual expression through narration and what David Hayman calls the narrative “asides,” with other attention paid towards the episode’s narrative structure and characterization. In this paper, I will explore the episode’s history of critical discourse, beginning first by looking at the process of its creation as explicated by Michael Groden in his essay

Is Virgil's Aeneid an Anti-War Poem? Virgil opens the ‘Aeneid' with the words ARMA virumque cano ( I sing of arms and of men). The central role that war plays in this Roman epic is made apparent from the very first word of the ‘Aeneid' by the emphatic placing of the word arma at the very beginning of the poem. A fair chunk of Virgil's ‘Aeneid' is set on the battle field but its violent and gory descriptions of death and its frequent battles alone cannot make this poem an anti-war poem. Virgil

Heroics (A Comparison of Heroic Traits Displayed by Achilles and Odysseus in Homer’s, Iliad and Odyssey) Humanity has always strived for greatness, and is destined to continue this attempt till the world stops spinning. Through the art of storytelling, and literature, we have weaved images of what the ideal human should be. Countless works of literature depict such humans as “heroes”, due to the inspiration they stir within our imperfect souls. Truly epic heroes shape future stories, and remain

and commonly decorated in sculpture; on the Parthenon they were made of marble. The Parthenon “included ninety-two metopes showing scenes of mythical battle.” They referred to “Athenian national honor: the Lapiths against the Centaurs, the Homeric Greeks against the Amazons and the Trojans, and the Olympian gods versus the giants.” The Parthenon’s pediment on the east facade reflected the birth of Athena, and the pediment on its west facade demonstrated a power struggle between Athena and

his great gift of poetry that was so evident in college, and Francis says that Everard had been working on twelve books about King Arthur but threw them into the fire. It seems that Everard thought “nothing new was said” and the books were mere “Homeric echoes, nothing-worth.” Francis says he has saved one book from the fire. The speaker’s ears prick up, and he remembers the talent of his friend. After some urging, the poet begins to read. The noise of battle goes on all day. All of the men of the

Translating text creates the opportunity for more people to gain a richer understanding of previously inaccessible information; even so, it is an imperfect act that is easily influenced by the translator’s subconscious inclinations. Even Homer’s Iliad, an epic poem that seems to be set in historical and literary stone, is subject to translational biases. Richmond Lattimore and Robert Fagles, both translators of the Iliad, produced two visibly distinct interpretations of its narrative. Through seemingly