Studied by 18 people
flashcards reworded / taken from : hiiiiii652 (quizlet), emkate_knml (knowunity), PsychoMunchkin ('GetRevising'), emilynorthover (quizlet), Kemi_The_Hamster (quizlet), Freya :) (brainscape), happy studying!
what does Finely say about heroes in the Odyssey?
that there is only one real hero, which is Odysseus
Clarke-Telemachus
that his development from boy to man in books 1-4 is key to the plot, as he plays a major role later on
Clarke - Homeric heroes
that they are driven by their need for social validation
What does Morrison say about the Suitors
the Suitors are bad guests and go against xenia
what does Morrison say about the Suitors’ deaths?
it represented good triumphing evil
What does Morrison say about Penelope
that her suffering is equal to Odysseus’
Jenkyns - Nausicaa
that she resembles a goddess
Griffin - the Phaeacians
that they’re a bridge between fantasy and reality, allowing Odysseus to transition back to the real world
what does Griffin say about Penelope
that she is like Odysseus with her self-command and intelligence
Sowbery - Polyphemus?
that his love for animals redeems him slightly
what does Sowbery say about Argus (one of the suitors)
his death marked the end of the period of neglect
Sowberry - the Suitors
that bc they had weapons, Odysseus is more heroic as he isn’t fighting unarmed men
Clayton - book 9 of the Odyssey
Odysseus compensates for his lack of physical impressiveness in Book 9 with his verbal skill
Jones - Polyphemus
that his defeat is Odysseus' greatest triumph
what does Jones say about Penelope
Penelope's contest suggestion buys her more time for Odysseus to return
Jones- Antinous
his death represents how insensitive his crimes were, as he dies ingloriously
Jones - Odysseus and revenge
No Greek would have argued that Odysseus had no right for revenge
what does Schien say about Polyphemus
Polyphemus' savagery is exaggerated by eating his victims raw
Bowra - heroism in the Odyssey
The Odyssey lacks heroism as Odysseus faces supernatural inferiors, rather than people and challenges greater than him
Barker - Odysseus
that he learns not to brag and to keep his identity a secret
Barker - Circe
that she’s of more use to Odysseus than Calypso
Murnaghan - disguise in the Odyssey
Odysseus' disguise could only be maintained with Athene's help, so divine intervention necessary
William - Aeneas as a person
he’s a complex and realistic character as he isn’t always a good leader or person
Gransden - Aeneas and his roles
his role as a father figure is as important as his role as a man of piety
Quinn - Aeneas and Augustus
that Augustus wanted to read an epic poem with himself as the hero (Aeneas helped make Augustus look like a better leader)
Gransden - fate in the Aeneid
it’s everywhere and controls everything but though events are predetermined, circumstances can change / it’s flexible
what does Quinn say about the characters in the Aeneid
they are easy to feel sympathy at one moment, and easy to feel sympathy for others at the next
Sowerby - relationships in the Aeneid
he says that father/son relationships are the closest bond in the poem
Williams - Aeneas
Aeneas is puppet-like, made out to be a symbol
McKey - Aeneas’s shield
that it represents Rome’s greatness
what does Sowerby say about the Aeneid and Roman history
that the Aeneid is forever intertwined with Roman history
what does Gransden say about Jupiter
he’s more stoic and dignified compared to Homer’s Zeus
Williams - Aeneas’ heroism
that we’d expect it to be like Achilles
Sowerby - furor and Aeneas
that Aeneas quickly succumbs to furor (end of epic)
Williams - Aeneas’s fate
that he’s lost, it’s not his fate to find Rome but his son’s
Williams - Aeneas’ status
Aeneas is an ordinary mortal man
Sowerby - Aeneas and adventure
that he doesn’t have the same want for adventure that Odysseus has
what does Sowerby think about Aeneas
he is the chosen instrument of divine will
Quinn - furor in the Aeneid
it disgraces Aeneas’s humanity and it controls and motivates him in the last four books
Gransden - Virgil and war
it creates sympathy for both sides
Gransden - Juno
the tension resolves when she accepts the Roman destiny is inevitable
Patty - Aeneas and war
he’s greatly unhappy about war
Quinn - heroism in the Aeneid
it focuses on a new type of stoic heroism
Gransden - Turnus’s death
it can be seen as pious as Aeneas had a duty to Evander
Gransden - heroism in the Aeneid
it transforms the Homeric hero into something new, more Roman
what does Pattie say about fate in the Aeneid
that he is free to leave his mission, he’s not bound by fate
Xinyue - Camilla
her gender will define her and she is a woman before she is a warrior
Reilly - gender roles in the Aeneid
Traditional gender roles are challenged i.e. Dido and Camilla (but they still demonstrate typical roman ideals)
Stuttard- the Bacchae
that it is one of Euripides’ most disturbing plays
what does Roisman say about Agave
that no parent can watch Agave’s realisation and not feel sympathy
Roisman - the Bacchae
that it is the most tragic Greek play
Stuttard - themes in the Bacchae
themes of gender, identity, madness, and vengeance
Morwood - Dionysus in the Bacchae
he is the most terrifying and most gentle to mortals
Morwoood - Dionysus’ affect
he disrupts the city’s social structure
Wyles - Pentheus’ cross-dressing
it shows Dionysus’s control over him
what does Garvie say about the Bacchae
that the despair is heightened due to the joy that came before it
what does Roisman say about Pentheus
Pentheus tries to suppress his want to see sex and Dionysus releases this in him
Mills - Pentheus
he thinks Dionysus’ religion is only an excuse for women to have sex and drink wine
what does Garvie say about Oedipus as a play
that it perfectly reflects Aristophanes’ theory of tragedy
what does Garvie say about Oedipus as a person
that by assuming he knows everything is in fact ignorant
Garvie - Tiresias and Oedipus
Tiresias is physically blind, while Oedipus, the physically sighted, knows nothing
Garvie - irony
that Sophoclean irony is most prominent in Oedipus Rex
Garvie - Oedipus’ ending
that in one sense, Oedipus didn’t fall as he wanted to find out the truth and did
Garvie - Oedipus’s fall
it was caused by both fate and Oedipus’s character but more his discovery than his crimes
Higgins - Oedipus and the audience
that as the audience watches everything unfold, we identify with Oedipus, sharing the horror
what does Higgins say about Oedipus’s pride
that his over-eagerness in insisting Creon betrayed him showed his arrogance
Higgins - catharsis
(for Oedipus)
that pity and terror brings catharsis, realising that fate can’t be overpowered by will
Fagles - Oedipus
that Oedipus is his own destroyer
Goldhill - Oedipus
that he’s a paradox, both a saviour and a monster (going against societal norms)
Battendorf - Frogs
Frogs is not literary criticism but political action
what does Dover say about Old Comedy
that oppressed classes like slaves and women often played prominent roles
What does Jones say about comedy
that it is not an effective medium for political intervention
what does Redfield say about Frogs
it shows the conflict between old and new politics
what does Redfiled say about Aeschylus winning
it’s a rejection of the new lifestyle, and a return to the old
Argocs - Aristophanes
that he is the greatest in his genre
Russel- Dionysus in Frogs
that he’s a buffoon and coward
MacDowell - comedy
that much of the comic effect must be visual
what does MacDowell say about Aristophanes
that he uses gods as comic characters
what does MacDowell say bout Xanthius
he has a strong strength of character, more than slaves in earlier Greek theatre
Cartledge - comedy
that it takes normal life and twists it
Kirk - Homer’s gods
that they create a change of atmosphere and mood because the gods are so different to our heroes
Griffins - Homer’s epics
Homer’s epics are filled with impressive gods
Sowerby - Gods’ morality
the gods are characteristically amoral
Haynes - the gods
they’re unpredictable and destructive like the natural world they are connected with
Haynes - worship
people may have partook in worship out of fear or social obligation
Haynes - statues
they were a representation and manifestation of the gods
parker - how people viewed gods
details were left open, so each person could imagine the gods how they wanted
Aston - sacrifice
the whole point was to give something economically or socially important to you
Aston - temples
it’s where people could contact or communicate with the gods
Zaidman and Pantel - Eleusinian mysteries
initiates were united by the shared experience
Seaford - Eleusinian mysteries
the aim was to remove the fear of death
Parikh - anatomical votives
it shows the process of healing as well as communication with a god
Burkert - sacrifice
sacrifice is an emotional experience
garland - gods and sacrifice
the gods took pleasure in the smoke from sacrifices
Garland - nature of the gods
the gods were all too human: greedy, petty, deceitful
Mikalson - gods vs literature
the human-like gods in greek literature were not the same the deities worshipped
Garland - Eleusis
the cult of Eleusis was centrally concerned with the afterlife
Garland - religion and society
there was no barrier between religion and society
Zaidman - festivals
festivals and civic life were inseparable
Garland - the Parthenon
it was a vanity box to show off the statue of Athena
Note 
Flashcard (46)