Scholarship

• Davenport [Odyssey’s main message]


  The Odyssey is a poem about the triumph of mind over force
• Griffin [Homer’s language]


  The difference between narrative and direct speech helps us make judgements on characters
• Camps [Reflection]


  When characters reflect on the Trojan war, it is always with sorrow
• Bowra [Odysseus’ opponents]


  Odysseus is not faced by equals, but inferiors and monsters
• Griffin [Justice]


  Justice is both done and seen to be done
• Rieu [Epithets]


  Epithets tell us of the permanent qualities of what they describe
• Morrison [Agamemnon references]


  The characters of the story act as role models
• Jones [Oikos]


  The oikos is the center of the Odyssey
• Halverson [Oikos]


  Oikos is more important than Nostos
• Griffin [Oikos]


  Oikos is more important than Kleos
• Morrison [Xenia]


  Pylos‘ excellent Xenia is a huge contrast to that of Ithaca
• Jenkyns [Lower classes]


  The story gives prominence to even slaves and beggars
• Parks [Athene’s hidden identity]


  Just as Athene hid her identity and later revealed it, so does Odysseus
• Jones [Odysseus‘ 3 definitions]


  Firstly, a loyal husband

  Secondly, an eternal wonderer

  Thirdly, a self anti-hero
• Jones [Odysseus’ metis]


  Book 9 shows Odysseus’ greatest triumph, emphasising his metis (cunning/intelligence)
• Jones [Odysseus story]


  Odysseus story allows him to present himself as heroic
• Jones [Odysseus, Athene and Telemachus]


  They all share the qualities of restraint, endurance, deception and disguise
• Bowra [Odysseus]


  At the crisis of his fortunes, Odysseus must act alone
• Bowra [Cunning]


  Odysseus’ need for cunning is enforced by his own recklessness
• Griffin [Odysseus’ death]


  Odysseus must be prepared to beg, accept humiliation and conceal his feelings in order to return to Ithaca
• Jenkyns [Odysseus‘ character]


  There are two kinds of Odysseus, Heroic odysseus of the Iliad, and cunning odysseus of the Odyssey
• Fagles [Odysseus and Penelope]


  It is a marriage of intellectual equals
• Griffin [Self control]


  The ability to conceal one’s feelings is important
• Clayton [Odysseus]


  Odysseus compensates for lack of physical impressiveness by means of verbal skill
• Morrison [Reliant on the Gods?]


  While he receives advice from the Gods, he makes the choice whether to use it or not
• Parks [Guilt]


  Odysseus’ feeling of guilt highlights his devotion to saving his crew
• Wilson [Penelope]


  Penelope has many admirable qualities
• Wilson [Penelope’s sex]


  While Odysseus has many choices, Penelope only has one due to her marital status
• Finley [Penelope]


  Penelope is the key unity/motivator of the poem
• Griffin [Wives]


  Penelope greatly contrasts Clytaemnestra
• Smith [Telemachus]


  Initially he is presented as weak but grows stronger
• Jones [Telemachus]


  The young hero learns from what other heroes tell him
• Jones [Orestes]


  Telemachus is constantly compared to him
• Jones [Suitors]


  No Greek would question whether Odysseus was correct o kill them
• Bowra [Suitors]


  They are a degenerate corruption of heroes
• Morrison [Penelope’s trick]


  The trick doesn’t say much to the mental quickness of the suitors
• Morrison [Suitors xenia]


  The suitors clearly violate the codes of Xenia
• Jones [Suitors/Crew]


  The gluttony of the crew reminds us of the suitors
• Camps [Supernatural powers]


  Supernatural powers are at work everywhere
• Jones [Gods]


  Gods helping mortals only amplifies their heroic stature