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Patriarchy English literature
Patriarchy in literature
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In this passage, Athena appears on top of the temple to address Ion and his mother after Ion’s identity as son of Creusa and Apollo has just been revealed by the discovery of the cradle in which Creusa exposed Ion as a child. Ion is still skeptical about his paternity and thus Athena arrives as a favor to Apollo to clarify the story of Ion’s birth. This paper will discuss the implications of Athena’s presence and Apollo’s absence and how this moment refocuses and brings new meaning to the play. Explaining her presence at the temple, Athena also explains how Apollo does not think it right to come in case there were some residual feelings of blame due to the past rape (Ion 1557-1558). While Apollo nods to this injustice of his actions, he …show more content…
From the beginning of her speech Athena starts shifting the focus to Athens when she mentions that Ion and Creusa are in her good graces there (in Delphi) and in Athens (Ion 1554). She also brings up the connection between her, Ion, Creus and Athens in the line “ἐπώνυμος δὲ σῆς ἀφικόμην χθονὸς/ Παλλάς, (I Pallas have come from the eponymous land of yours)” (Ion 1555-56). Therefore, Athens belongs to all three of these characters. The claim Ion has on Athens is particularly brought out in this passage. A significant point is that while most of the play had been focused on the issue of who Ion’s father is, once it this issue is resolved it is important to consider the implications of who his mother is. Twice in this passage Athena explicitly states Ion’s parentage: first in the line “ὡς ἥδε τίκτει σ᾽ ἐξ Ἀπόλλωνος πατρός, (that she bore you from Apollo as father)” (Ion 1560) and then in the line “σέ θ᾽ ὡς πέφυκας τῆσδε καὶ Φοίβου πατρός (and that you were born of her and of Phoebus as the father)” (Ion 1568). In both instances Creusa is mentioned before Apollo and is referenced with the deictic -δε. This emphasis brings to the forefront the fact that Ion is Creusa’s son and thus an Erechthed and the next ruler of
In this essay I will examine the war-of the-sexes taking place in The Eumenides, the final play of The Oresteia. The plot of The Eumenides pits Orestes and Apollo (representing the male gods and, to a certain extent, male values in general) against the ghost of Clytemnestra and the Furies (equally representative of female values.) Of more vital importance, however, is whether Athene sides with the males or females throughout the play.
As you can see, it seemed that Ares wasn’t really meant to happen. It was just one of the jealous actions of Hera. This being the case Zeus & Hera really didn’t bond so much with young Ares. In Fact, Zeus discovered Ares was missing but he really didn’t care. What happened was that Ares was abducted by two playmates, the Aloadai twins. They captured him and put him in a bronze jar. Ares stayed in the bronze jar, almost losing his mind, until the stepmother of the twins figured out what had happened and told Zeus' assistant, Hermes, who was able to release Ares from the jar. After all of that Hera thought it was good for Ares to be living with Priapus one of the minor gods, who should Ares the art of dancing and later on, martial arts.
Women in ancient Greek times did not have equal or political rights. Athena and Antigone, who were both very heroic women went above and beyond the stereotypical woman. In society today, women are still not looked as an equivalent to men. Athena and Antigone share the Greek heroic traits of honor, perseverance, and of living in a higher class. In Sophocles’ Greek tragedy, Antigone, and Homer’s epic, The Odyssey, the female characters, Antigone and Athena are not solely traditional female characters, instead, they embody the heroic characteristics, honor, perseverance, and high social standing.
Deep into the first story of “The Oresteia,'; better known as “Agamemnon,'; Cassandra, who has been cursed by Apollo to be a seer who will never be believed, envisions the death of Agamemnon and herself. It is in this vision that she sees an avenger who will come about and bring justice to the murdered victims, “ We will die, but not without some honor from the gods. There will come another to avenge us, born to kill his mother, born his father’s champion. The gods have sworn a monumental oath: as his father lies upon the ground he draws him home with power like a prayer.'; ( Aeschylus. The Oresteia U.S.A.: Penguin, 1975.) This vision proves to be very important when speaking about the innocence of Orestes and his heroism as well. Before the incident even takes place, we know that the gods have destined Orestes to avenge his father’s death. During this period of time, when the gods were on your side, you were doing the right thing! Another way to prove Orestes innocence is through the god of sun, song, and prophecy, better known as Apollo.
Duty is an ever-prominent theme found throughout Virgil’s The Aeneid. In a close analysis of Aeneas’ journey for the rebirth of Rome, he is seen as a transfiguring character, or, to me, one that is seen to undergo significant changes to result in a better form of one’s self to carry out a duty. It is evident that Aeneas’ duty is one that transfigures the wandering and emotionally lost leader into a divine, all-knowing one who is able to find himself in the rebirth of Troy and the well being of future Romans. In order to develop the idea of Aeneas’ change as one to a divine form, I will draw upon the extreme importance of his fate, what is encompassed in such a divine leader, and attainment of Rome, the new Troy, through suffering.
Grant, Michael, and John Hazel. "Athena." Gods and Mortals in Classical Mythology. Springfield, MA: G. & C. Merriam, 1973. Print.
The Differences between Apollo and Dionysus are not difficult to see. Though both Gods are associated wi...
In Greek mythology having power and control over others was the greatest achievement that any character could achieve. In order to gain this dominance many characters had to use fraudulent tactics. These tactics were learned from earlier generations and then tweaked in order for future success. This path was an example of how Ouranos, Cronos and Zeus all came to power. In the poem Hesiod’s Theogony, the Greek family relationships between the husband, wife and their children are a repeated cycle, built on the characteristics of power, deceit and achievement that maintained the family dynamic in Greek life.
Euripides'version is much more dramatic. The play begins with Electra's marriage to a peasant. Aegisthus had tried to kill Electra. but Clytemnestra convinced him to allow her to live. He decided to marry her to a peasant so her children will be humbly born and pose no threat to his throne. Orestes and Pylades arrive. Orestes says that he has come to Apollo's shrine to pledge himself to avenge his father's. murder. Orestes, concealing his identity, talks with Electra about the recent happenings in Mycenae. She admits that she is sad that her brother had been taken away at such a young age and the only person that would recognize him to be her father's old servant. She also discusses her scorn of Aegisthus desecrating the monument over. Agamemnon's grave and his ridicule of Orestes. When the old servant. arrives, after being summoned by Electra, he recognizes and identifies.
Hesiod’s Theogony has transcended generations, delivering to vast audiences the traditional stories of the Greek gods as well as ancient Greek conceptions of the world. One particularly well known aspect of the Theogony, the section that tells the tale of Prometheus, is unique in that it has little intrinsic worth; its value is in its ability to enhance other stories and conceptions. Across the globe, people know well the story of the one who deceived Zeus and stole fire for man, but few recognize its role in Hesiod’s work as a whole. The story of Prometheus serves two primary purposes for Hesiod and his audience. First, it solidifies Zeus’s position as king of the gods, providing one of the first characterizations of his temperament, and second, it serves as a mode of explanation for those evils in the world which plague mankind.
No blood, no baby, and none of the stuff she had left with him was there either. Then, after a time, she married Xuthus, who helped her father in war so she was given to him as a reward. He was considered a stranger and an alien and when they weren’t able to have children, the Athenians did not see it as a misfortune. Xuthus did see this as a misfortune as he greatly desired a son. The two then went to Delphi to find out the truth. Creusa left her husband in the town and went to the sanctuary by herself. She found a young man at the outer court and started a conversation with him, not knowing that this man was her son. The young man stated that she seemed to have good fortune and was blessed. She denied this. He then introduced himself as Ion and told her that he did not know where came from and how he was found by Apollo's priestess and prophetess lying on the temple stairway. He also tells her how they took care of him like a mother and how is happy to serve and work for the temple. She then tells him how she came to Delphi to talk to Apollo about her story, but instead of saying that the story was about her, she said it was about a friend of
The Greek gods were not only intimately involved in the action of the Trojan War, they were also the impetus for the war. Although the overt cause of the war was Paris' abduction of Helen, this act was the result of quarrelling goddesses. The Trojan prince Paris was forced to choose the fairest amongst the goddesses Hera, Aphrodite, and Athena. Each goddess attempted to sway Paris with offerings, and Aphrodite's temptation was Helen; this leads to the war and the immortal alliances that overshadow its mortal activities. The story that the poem implicitly addresses is of the Achaen king Agamemnon and his daughter Iphigenia. The Achaen forces have gathered at Aulis before mounting their attack on Troy when one of Artemis' stags is killed; this, coupled with Agamemnon's boasting of the act, is why "Artemis is offended" (51). In retaliation, the goddess imprisons the troops at Aulis by preventing the wind from powering their fleet. In order to appease the goddess and begin the war, Agamemnon sacrifices his own daughter Iphigenia as "the child" who will become "the victim of Aulis." Although Artemis intervenes and makes Iphigenia one of her priestesses, only the goddess knows that Iphigenia escaped death.
According to the Homeric tale, Apollo traveled throughout Greece in search of the perfect site for his temple. H...
The action takes place at the time when city of Troy was being besieged by Achaeans. Achaean leader Agamemnon takes Chrysies as his prize. She prays Apollo, who sends a plague on Achaeans. Achaean hero Achilles asks his mother sea-nymph Thetis to ask Zeus to punish Achaeans for being ignorant towards Achilles:
Agamemnon is the first part of the trilogy known as the Oresteia. Agamemnon is a story where the main character sacrifices his own daughter to a God, Artemis to win a battle and then his wife revenge him for the sacrifice. The concept of fate plays an important role in the tilogy Agamemnon which led to the tragic endings of the play. According to the meaning of fate it means the development of events outside a person’s control, regarded as predetermined by a super natural power. Fate is what send Agamemnon to the war with Menelaus to fight against Paris, fate is what predetermined Agamemnon to sacrifice his own blood for the sake of his ship and companions and fate is what determined Cassandra his wife to plot to kill him and to revenge him for her daughter.