Odyssey Non-PJo scholars attribution

only use as "answer with term"

Davenport

the Iliad is a poem about force, but the Odyssey is a poem about the triumph of the mind over force

Griffin

in the Odyssey, unlike the Iliad, the individual hero stands against the group

Griffin

the plot of the Odyssey creates tension between the dashing Iliadic fighter and the wily hero who must use guile

Clarke

the Homeric hero is solely defined by his membership of a specific generation or race at a specific point in time

Clarke

Odysseus’ vengeance is the heroic race asserting supremacy over later and lesser men

Clarke

the Homeric warrior is driven to action by his need for social validation

Clarke

fame is surrogate immortality

Clarke

the Odyssey moves beyond the glamour of heroism to a more fundamental level of the human condition

Hall

when Odysseus describes the Cylcops’ island, he speaks with the discerning eye of the colonist

Hall

Odysseus the mythical explorer is related to the real-life archaic age Greeks who sailed into unknown waters

Rieu

the Odyssey may well reflect contemporary developments in the Greek world

Morrison

the characters in the Agamemnon story are both positive and negative role models

Motto

the tale of Agamemnon is explicitly a model for Odysseus

Miller

Odysseus is both an opponent of the suitors and monsters and one of them

Jenkyns

the two types of Odysseus are the wily trickster and the Iliadic hero

Clarke

Odysseus’ wanderings reduce him to the barest common level of humanity

Clarke

Odysseus’ return is a symbolic rebirth

Clarke

Odysseus’ slaughter of the suitors brings his heroic self to the fore again

Clayton

Odysseus compensates for his lack of physical impressiveness with his verbal skills

Bowra

his need for cunning is enforced by his own recklessness

Camps

one of Odysseus’ distinctive features is his ability to inspire affection and regard

Griffin

unlike other heroes, Odysseus tries as hard as he can to avoid death

Clarke

Eumaeus is the antithesis of the Suitors

Murnaghan

Eurycleia is a doublet for Odysseus’ mother

Fenik

Penelope is feckless, lachrymose, and rather tiresome

Wilson

Penelope is trapped by her marital status

Finlay

Penelope is key to the unity of the poem

Felson and Slatkin

Penelope is a major force in restoring her marriage

Felson and Slatkin

the poem celebrates Penelope’s metis in service of the oikos

Murray

there is more to Penelope than the faithful wife

Murray

Penelope’s desires are ultimately unknowable

Murray

Penelope is as much the heroine of the poem as Odysseus is its hero

Doherty

the two figures in the poem who most closely resemble Odysseus’ characteristic excellence are Penelope and Athene

Griffin

the contrast between Penelope’s fidelity and Clytemnestra’s betrayal is repeatedly emphasised

Ni Mheallaigh

we cannot underestimate the quiet, subversive power of these weaving women

Jenkyns

through Nausicaa, Homer shows us that girlishness can be divine

Kelly

on Scherie, marriage is a crucial problem

Kelly

Nausicaa has the same potential to prevent Odysseus’ return as any of his other opponents

Wilde

the encounter with Nausicaa presents a moment of sexual fantasy

Griffiths

Arete’s control is benign but complete

Chrystal

it is Arete, not Alcinous, who holds the key to Odysseus’ nostos

Smith

Telemachus is weak and powerless in the beginning, but eventually slays one of his tormentors

Rieu

Antinous is vicious and uncompromising

Rieu

Eurymachus is oily and hypocritical

Bowra

the suitors are the opposite of the heroic ideal

Folit-Weinberg

the only place where Odysseus forgets his nostos is Aeaea

Felson and Slatkin

the ease of life on Scherie threatens Odysseus’ nostos and the preservation of his oikos

Nagy

the Odyssey is the nostos to end all nostoi

Nagy

Odysseus’ kleos is connected to his nostos

Minchin

characters in the Odyssey tell stories to persuade or deceive

Hardie

the theme of disguise pervades the Odyssey

Hardie

Homer uses lack of disguise to create poignancy and impact

Hardie

disguise is a divine attribute

Hardie

Penelope’s disguises are subtle and nuanced

Murnaghan

in Ithaca, Odysseus advances strategically

Murnaghan

the recognition scenes are segregated from the central action

Camps

in Homer, supernatural powers are at work everywhere and always

Mirto

sinners are only punished because they have gone against the gods

Hastings

even the gods are subject to fate

Griffin

the gods have supreme power, but they are not omnipotent

Griffin

men have free will

Kelly

the gods are moral agents and enforces of justice

Graziosi

Homeric gods fail to behave in the dignified manner one would expect

Graziosi

the gods seem silly

Taplin

Homer constantly poses questions of human responsibility

Kearns

gods are an unquestioned part

Kearns

these are not poems about gods, but about humans

Kearns

Poseidon’s absence gives the poem its impetus

Kearns

Zeus outlines at the beginning of the poem that mortals’ sufferings are due to their atasthalia

Strauss Clay

the gods are only relatively superior to mortals

Clarke

the misery and exaltation of the heroic experience is a device for exploring man’s struggle under the carefree gods

Silk

few modern readers would condone Odysseus’ revenge killing

Hall

the Suitors’ actions exactly mirror Odysseus’ in the land of the Cyclopes

Griffin

justice is both done and seen to be done

Kearns

it is simply right that Odysseus should triumph over all his enemies

Clarke

the punishment of the Suitors is an act of absolute and timeless justice

Clarke

the Suitors have abandoned the laws of due restraint

Stanton

Odysseus’ revenge killings show a developing concept of retributive justice

Thorpe

the bond between host and guest was considered of supreme importance

Thorpe

the gifts were intended to demonstrate the alliance

West

hospitality offers an opportunity to extend one’s reputatoin

McDonald

family is always and everywhere aristocratic

Felson and Slatkin

the Odyssey emphasises the oikos and marriage

Felson and Slatkin

the oikos is a political space

Goldhill

there is a repeatedly a threat to Odysseus when a woman wants to make him her husband

Felson and Slatkin

the resumption of Odysseus and Penelope’s marriage provides closure

Felson and Slatkin

the Odyssey attributes Odysseus and Penelope’s reunion to their metis

Felson and Slatkin

the Odyssey puts marriage at the centre

Felson and Slatkin

Odysseus differs from Agamemnon because he does not bring his affairs home

Griffin

to men, women are inscrutable

Beard

the Odyssey features the first recorded example of a man telling a woman to shut up

Chrystal

Nausicaa, Penelope, and Helen are free to come and go as they please

Wilson

the Odyssey shows male fears about female power

Felson and Slatkin

Circe and Calypso’s independence means that a husband is less a partner and more an erotic object

Kahane

the Sirens’ song underscores the dangerous power of female singer’s words

Kelly

Odysseus’ girlfriends are designed to portray a range of feme archetypes

Thalmann

slaves are divided into good and bad

Griffin

Homer tells the stories of farmers and servants with care and attention

Murnaghan

the relationship between master and servant is permanently unequal

Murnaghan

Odysseus depends on the loyalty of his social subordinates