Paper #2 and Friday's Reading

REMEMBER to finish the book for Friday's class! We'll have a Discussion Quiz over Books 23 and 24, so bring your book to class. The paper assignment I gave out in class is pasted below--let me know if you have any questions: 

Paper #2: The Hero of Twists and Turns

From The Hero With a Thousand Faces (1956): “the labyrinth is thoroughly known; we have only to follow the thread of the hero-path. And where we had thought to find an abomination, we shall find a god; where we had thought to slay another, we shall slay ourselves; where we had thought to travel outward, we shall come to the center of our own existence; where we had thought to be alone, we shall be with all the world.”

According to Joseph Campbell, when the hero undertakes the Hero’s Quest (which all heroes of legend undergo), he/she emerges as a true “god,” having slain themselves (their ego), having returned home (both literally and figuratively) and having saved the ‘world’ for the next generation. Arguably, Odysseus has done all of these things, and the story celebrates his victory with the restoration of his household and family, and Ithaca itself.

And yet, the poem leaves us with some nagging questions…

• Does Odysseus find the “gods” within the “monsters”?
• Does Odysseus slay his ego/hubris to be reborn?
• Does he ever take credit for his failures, or share the spotlight with his victories?
• Does he make the world ‘whole’ again? Or is it just a temporary victory?
• Does he actually ‘fail’ at his quest like Gilgamesh? Is his victory somewhat hollow?
• Is his victory the triumph of good/justice over evil/injustice?
• Is he an active agent of his own destiny, or a mere play-thing of the gods?

In this paper, I want you to discuss which Odysseus the text offers us. Granted, we might interpret the text based on our cultural context and biases, but based on  the text alone (the language, events, etc.) are we supposed to read Odysseus as Campbell’s mythic hero, or merely a guy who is too desperate to lose? Which reading does the text most support? Did the Greeks expect us to identify with him and admire him? Or did even the Greeks expect us to recoil from his methods and realize that winning isn’t always reserved for the ‘good’ or the ‘just’? Examine a few passages that helped shape your opinion of Odysseus, and as you do so, ask yourself, how do I know which Odysseus I’m supposed to see? Where are the clues or signs in the poem itself?

To help you examine his ‘twisting’ character, I want you to reference at least TWO outside sources, which could include Peter Jones’ Introduction to the Penguin edition, The Epic of Gilgamesh, The Ramayana, anything by Joseph Campbell (we have his books and videos in our library), articles or books on The Odyssey, or Greek myth. QUOTE useful passages in your paper to respond to and bounce off of, and cite them according to MLA format as follows: As Peter Jones writes in his Introduction to The Odyssey, “Restraint and endurance, deception and disguise: these Odyssean characteristics are shared, of course, by Athene, and willingly embraced by Telemachus when he is reunited with his father” (Penguin xli). This is important because… [always respond to a quote—tell us how you read it or why it’s important to your discussion]

REQUIREMENTS

• At least 4 pages, though you can do more
• At least 2 other primary or secondary sources (not counting The Odyssey)
• Must quote from the book, examining a few key passages (don’t summarize—analyze); cite all sources according to MLA format
• DUE Friday, October 11^th by 5pm [no class that day]

For Wednesday: The Odyssey, (at least) Books 20-22

Feel free to finish the entire book for Wednesday, but there's a lot to unpack here, so we'll have to go pretty slowly. So for next time, at least read the next three books, which aren't too long. Consider the questions below just for these books (we'll pick up the final two in our Discussion Quiz on Friday):

Answer TWO as usual...

Q1: Athena seems to take an increasingly active role in the final books of the story (after being relatively silent after her business with Telemachus). Why do you think this is? She not only seems eager to punish the Suitors, but is also constantly testing Telemachus and Odysseus, even chiding the latter for being weak in the heat of battle. What might this say about the poet's concept of the gods--or of Odysseus' relationship with them? 

Q2: In the midst of the ghastly slaughter, Odysseus spares two of the servants and tells them, "My son has saved you so that you may know in your hearts--and tell others--that doing right is a much better policy than doing wrong" (Book 22, lines 373-375). Is this how we're supposed to read the slaughter of the Suitors, as divine justice? While they have clearly done 'wrong,' so have Odysseus and the entire Greek army which destroyed "sacred Troy." Are these just more "winged words" of Odysseus, or do you feel the poet truly believes them? 

Q3: What role does Penelope play in these penultimate Books? Though she still remains in the shadows, she comes out several times to chide the Suitors and even argue with her son. Is she meant to be read as a loyal, but relatively naive woman (as Telemachus sees her)? Or is she just as "twisting and turning" as her husband, and is driving the plot forward as much as Athena? Clues toward either reading? 

Q4: Does the poet ever show any pity or humanity toward the Suitors or the slave-girls in Book 22? After all, the entire hall is bathed in blood, and the slave-girls are made to cart off their bodies and clean up the tables before being humiliated and strangled. Is this overkill? What purpose does this accomplish? Do you feel the poet considers this the "will of the gods?" Or is it another example of Odysseus' hubris (pride) and misogyny?  

For Monday: The Odyssey, Books 16-19

Note: it's okay if you don't read completely through Book 19, but get as close as you can. I want to try to finish the book by Wednesday or Friday at the latest. 

Answer TWO of the following:

Q1: Why does Odysseus decide to reveal himself to Telemachus in Book 16, after carefully hiding his identity from everyone else? Is it simply because Athena commands him to (though she earlier said not to show himself to anyone in his family!). Is this a heavenly command--or a sudden inspiration? 

Q2: One of the most touching scenes in the book occurs in Book 17, when Odysseus encounters his old dog, Argus, who has seen better days. The poem spends far more time on this scene than the story might require. Why do you think this is? Why is this episode important, and how might it reflect larger events in the story? 

Q3: These books show the Suitors in much greater relief than we've seen so far in the book. How does the poet condemn their actions in these books, and what, specifically, seems to be their greatest 'sin'? How aware are they of transgressing social laws and the favor of the gods? 

Q4: Odysseus fears disloyalty above all else, and his disguise is largely undertaken to ferret out the true sentiments of his household (kind of like an episode of "Undercover Boss"--as Bryce pointed out in his comments!). How does he test the various people in his household, including his own wife? What does he want them to say or act to prove virtuous? Does he seem to take into account the context of their situation? 

Link to Emily Wilson's article about translating The Odyssey

On Friday we're going to write about the meaning of a single word in The Odyssey and the various ways that translators have translated it. It's the very first adjective in the poem that describes Odysseus, the Greek work "polytropos," which means, literally, "many twists/turns." The question is, based on your reading of his character, how should you render that word into English, since "many twists and turns" doesn't make colloquial sense. 

Emily Wilson, the scholar who has the distinction of being the first woman to translate The Odyssey into English, gave a fascinating interview to the New York Times Magazine about translating The Odyssey, and why gender matters as a context for any translation. If you would like to read the entire article, here it is: https://www.nytimes.com/2017/11/02/magazine/the-first-woman-to-translate-the-odyssey-into-english.html

For Wednesday: The Odyssey, Books 13-15

Answer TWO of the following for Wednesday's class:

Q1: Eumaeus is one of the most vividly drawn characters in the book, and the poet gives him plenty of room to speak. What seems to distinguish him--a mere servant in a book of heroes and gods--from the other characters in the book? As a loyal servant, how does he compare with his master?

Q2: When Athena encounters Odysseus in Ithaca, he assumes a fake identity (like one of the gods!) and tells a ridiculous story of killing someone and having to steal off to Ithaca to avoid revenge. Athena listens to this and responds, "You were always an obstinate, cunning and irrepressible intriguer. So you don't propose, even in your own country, to drop the tricks and lying tales you love so much!" (Book 13). Is this praising or critiquing him here? Also, does this validate our suspicions that Odysseus is more of a tale-spinner than a bona fide hero? 

Q3: Related to the above, why does the poet allow Odysseus to tell Eumaeus a gigantic story about his alter ego, a native of Crete, which goes on for several pages? Since we know the story is a lie, what good does it to us to hear it? OR, why doesn't he simply tell Eumaeus the truth? 

Q4: Athena claims that the point of sending Telemachus off to Sparta was "so that he would win fame from his journey there" (Book 13). When we finally catch up with him in Book 15, what "fame" has he won? How has this aided him on his quest? Is fame somehow better/different than the favor he already enjoys from the gods? 

For Monday: The Odyssey, Books 10-12

Try to get through or close to through Book 12 for Monday's class; however, as always, I would rather you read one or two books closely than all of them superficially. Try to enjoy the reading and get something out of it rather than making it an assignment. This is one of the greatest books in the world, after all! :) 

Answer TWO of the following:

Q1: In Book 10, Odysseus' companion, Eurylocus, exclaims that "It was this man's reckless folly that cost them their lives" (154). Why is Odysseus' reaction to this outburst telling? Are we supposed to ready Eurylocus as a 'bad apple' who has lost the faith? Or is he, alone, speaking the truth of the gods?

Q2: How does Circe compare to previous women in the book, particularly Calypso? Is she presented to us as a one-dimensional villain, another 'witch' out for blood? Or is she, too, given a more well-rounded, sympathetic treatment? (note that Odysseus stays with her for quite a while as well--is he forced to?) 

Q3: How does Odysseus' experience in Hades among the dead compare to Enkidu's dream of the underworld in The Epic of Gilgamesh? Who does he meet there and what do they tell him about life after death?

Q4: Does Agamemnon's speech about his wife and women in general contradict the earlier scene with Helen of Troy? Or with the depiction of women in general in the book? Does his voice carry more truth since he's dead and speaking from Hades? Or is this meant to deceive Odysseus? 

Q5: In Book 12, Odysseus seems to hoard information from his crew--both of the sirens' song and of Scylla's threat. Why does he do this? Is this a self-sacrificing action, or another sign of his hubris? 

For Wednesday: The Odyssey, Books 5-6 & 9

"Calypso" by George Hitchcock)

NOTE: You can skip Books 7 and 8 if you wish, as they are more or less about Odyssey's reception at Alcinous' Palace (Nausicaa's father) and the games they  play in his honor. It's interesting, but doesn't advance the plot in a major way, and I would rather focus on the other books and give you less reading this week if you like  (but read them if curiosity overtakes you).

Answer TWO of the following:

Q1: In the ancient world, good manners/customs are as important as looking good or noble. Though Athena often paves the way for Odysseus and Telemachus, their manners often save the day, and make others accept them and/or render them aid. What seems to be the definition of 'good manners' in Homer's Greece? What qualities/actions did they expect men and women to display in public? 

Q2: Calypso is yet another "evil woman" in ancient literature, though Homer offers a much more nuanced portrait of her motives. How does she compare to Helen of Troy in Book Four, particularly in her response to the gods to release her hold on Odysseus? Again, you might consider whether or poet is a "man" or a "woman" in writing this (I'm speaking generally--meaning only, are they more sympathetic to a woman, or more judgmental). 

Q3: Odysseus proves quite clever in defeating the cyclops, Polyphemus, but he ultimately loses this adventure. What is his fatal flaw in this encounter, and how might it tie in with the theme of the work in general? Where else have we seen men 'fail' in the same way? 

Q4: In general, how does Odysseus compare as a ruler to Gilgamesh? Is he also a royal tyrant, a greedy ruler? Or just "one of the guys"? How might his adventure with the cyclops illustrate his essential nature--and would Gilgamesh have acted the same? 

For Monday: Homer, The Odyssey, Books 1-4

NOTE: Remember that Paper #1 is due on Friday by 5pm [no class]. Please let me know if you have any concerns or questions. The assignment can be found a few posts beneath this one.

Answer TWO of the following for Monday's class:

Q1: Why does Athena take the form of Mentes, an old family friend, rather than simply appearing to Telemachus in her natural form? Is Telemachus (or others) fooled by the disguise? What might this suggest about the gods' relationship with mankind, and how might it relate to what we read in The Epic of Gilgamsesh?

Q2: In Book 3, Athena tells Telemachus, "where your own intelligence fails, a god will inspire you" (30-31). Throughout the book, the gods prod our heroes and give them direction (often, quite insistently) about what to think and how to act. Are heroes still heroic if they are merely the puppets of the gods? Can we celebrate the achievement of mere mortals if they require the insight of the gods to achieve their successes?

Q3: In Book 2, how do the suitors justify squatting on Odysseus' property and besieging his wife with offers of marriage? Is this the moral or ethical thing to do? Does the text hint that they are transgressing what is right? Or given the circumstances, are they perfectly within their rights to do so? What are the arguments for and against? (you might also consider the gods' opinion)

Q4: Book 4 is fascinating in that it imagines Helen of Troy living back with her husband, Menelaus, after the Trojan War (the war was fought because she ran away with Paris to Troy, and Menelaus and his brother, Agamemnon, had to raise an army to bring her back). How does the poem depict Helen at this stage of her life? Is she given the Pandora or Eve treatment here (as we discussed in class on Wednesday)? Is this a man's depiction of a justly repentant wife? Or is it more nuanced and dramatic?