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Women of the Epics In Homer's epics women were very respected by journey and warrior men. The women were looked upon as beautiful, nurturing human beings. The mortal women in Homer's "Iliad" were mostly known for being faithful wives and very giving mothers. These women care for their children, such as Odysseus's mother did, when he was in great need of confidence and reassurance. After the death of Odysseus's mother, she returned as a shade from the underworld to tell Odysseus, "Your wife weeps for your return as she lives in your house with a loyal heart, and your son has kept your kingdom whole."(90) This gave Odysseus the confidence in his heart to continue on home to Ithaca, to reunite with his dear wife, Penelope. A perfect example of how nurturing and dedicated the women were, not only to their children, but also to their husbands. The women of Homer's epics were also viewed as a "prize of honor."(49) Noblemen were awarded women as prizes, given to them by the Gods. These women that were earned by the noblemen were considered possessions of wealth and symbols of honor. Regardless of the beauty they possessed, the women were still subjected to a life of war, slavery and deprivation. Although the women were regarded as slaves, their intelligence and beauty played a major role in the respect the noblemen had for female divinity. In Virgil's epic the "Aeneid," women were viewed much the same way as in the Homeric epic's. Their beauty possessed such charm that the noblemen had great respect and trust for the women. After the scheming ways of Venus, to make Dido (queen of Carthage) fall in love with Aeneas, Dido became more of a mother and confidant to Aeneas. As a confidant to Aeneas, Dido said, "Tell us, from the beginning, about the strategy the Greeks devised to capture Troy, about the suffering of your people, and about your wanderings over land and sea for these seven long summers."(123) Dido was kind and generous to Aeneas and his men, but Aeneas had a calling from Jupiter to leave Carthage, and without hesitation was on his way. Regardless of the feelings, Aeneas may have had for Dido, his priorities were not with the woman, and not leaving was never an option.
The Odyssey: Portrayal of Women How does Homer portray women in the epic, The Odyssey? In order to answer this question you must look at woman and goddesses as two separate groups of people who are "people". This is because they are portrayed in two separate ways. You see, a regular woman like Penelope is looked at as beautiful but has.
Not only does Virgil present women as completely vulnerable to their emotions, but he also shows the problems that arise when these women engage in decisions where they put their own feelings ahead of their people. Virgil explicitly shows women neglecting important responsibilities when he describes passages concerned with Dido’s affair and her death, the Trojan women burning their own ships, Queen Amata’s opposition to Latinus’s proposal and her tragic death. Once Dido falls in love with Aeneas, Virgil uses a simile to describe the wound that Dido suffers from. The flame keeps gnawing into her tender marrow hour by hour, and deep in her heart the silent wound lives on. Dido burns with love—the tragic queen.
Judged by modern Western standards, the treatment of women by men in Homer's Odyssey can be characterized as sexist. Women in Homer's Odyssey are judged mainly by their looks. If important men and gods consider a woman beautiful, or if her son or husband is a hero or has an important position such as king, the woman is successful. The way women in The Odyssey are treated is based on appearance, the things men want from them, and whether the woman has any power over men. During Odysseus' journey to the underworld he sees many different types of women. We hear about their beauty, their important sons, or their affairs with gods. We hear nothing about these women's accomplishments in their lifetime. Odysseus tells how Antiope could "boast a god for a lover,"(193) as could Tyro and many other women. Epikaste was called "that prize"(195) her own son unwittingly married.
Yet, despite the fact that no two women in this epic are alike, each—through her vices or virtues—helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks. Before we delve into the traits of individual characters, it is important to understand certain assumptions about women that prevailed in the Homeric Age. By modern standards, the Ancient Greeks would be considered a rabidly misogynistic culture. Indeed, the notoriously sour Boetian playwright Hesiod-- who wrote about fifty years before Homer-- proclaimed "Zeus who thunders on high made women to be evil to mortal men, with a nature to do evil (Theogony 600).
The women in The Odyssey are a fair representation of women in ancient Greek culture. In his work, Homer brings forth women of different prestige. First there are the goddesses, then Penelope, and lastly the servant girls. Each of the three factions forms an important part of The Odyssey and helps us look into what women were like in ancient Greece.
...ow Greek civilization was founded by women; they were the ones who gave birth to the heroes. Similarly, The Odyssey is a story created by women. The plot revolves around the actions of women. Athena orchestrates all the events. The seductresses, such as Circe, the sirens, and Calypso, attempt to stop Odysseus from reaching home. The helpmeets, such as Nausicaa, Arete, and Athena, aid Odysseus in his homecoming. The wise and virtuous Penelope is the object of Odysseus’ quest. Unlike Helen who forsakes her husband, Penelope remains faithful. Unlike Clytemnestra who assassinates her husband, Penelope patiently waits for Odysseus. She becomes a model of female patience and of female intelligence. Her craftiness is the only one which can match up to Odysseus’. The Odyssey presents a wide array of women and demonstrates the influence that women have in the life of a hero.
Both Virgil and Milton portray femininity and women as a threat to the divine higher order of things by showing women as unable to appreciate the larger picture outside their own domestic or personal concerns. For example, in the Aeneid, it is Dido, the Queen of Carthage, who out of all the battles and conflicts faced by Aeneas, posed to the biggest threat to his divinely-assigned objective of founding a new Troy. Like Calypso detains Odysseus in Homer's epic, Dido detains Aeneas from his nostos to his "ancient mother" (II, 433) of Italy, but unlike Calypso, after Dido is abandoned by Aeneas she becomes distraught; she denounces Aeneas in violent rhetoric and curses his descendents before finally committing suicide. Therefore, Virgil demonstrates how women have a potent and dangerous resource of emotions, which can ambush even the most pious of men. Indeed, Dido's emotional penetrate the "duty-bound" (III, 545) Aeneas who "sighed his heart ou...
Greek women, as depicted in their history and literature, endure many hardships and struggle to establish a meaningful status in their society. In the Odyssey, Penelope’s only role in the epic is to support Odysseus and remain loyal to him. She is at home and struggles to keep her family intact while Odysseus is away trying to return to his native land. The cultural role of women is depicted as being supportive of men and nothing more. Yet what women in ancient Greece did long ago was far more impressive than what men did.
In the era of Homer, women played a very specific role in society, and even in literature. Women of this time were basically put in a box, and expected to never step out of line. If they did go against the arbitration of men, then they were faced with serious consequences. However, female characters play a huge role in both aiding, and delaying Odysseus’s journey home. I will proceed to analyze, and interpret the actions and intentions of every major female character in The Odyssey.
In considering the relationship between the meanings of myths and their representation of women, we learned that the major role in shaping the narratives was played by men. Myths reveal to us the experiences of women living in the patriarchal society and we gain the symbol value accorded to women and we come to realize what the term "Woman" meant to the ancient Greek man. Reading through the various stories on Goddesses and queens, monsters and more. Princesses, we learn that there are three major levels of women in Greek mythology. The first level is composed of the divine beings known as the goddesses.
...n in order to command the attention of the readers, and to evoke a reaction towards Dido. If she had not been wronged, the reader would feel nothing towards her. But because we feel, we acknowledge her presence and take an interest in her character. Rather than sympathy towards Dido, our feelings are those of reverence and respect for Aeneas because of how he deals with the issue of love versus civilization. Virgil is not a shameless misogynist because he does not belittle Dido; rather, he makes her a powerful, expressive, vibrant persona. When the reader truly sees the big picture – i.e. the importance of the founding of Rome – then he/she is able to understand that the tragedies that befall Dido are imperative to accomplishing a grand aspiration. As such, Virgil creates Dido, not to evoke sympathy, but to create a powerful epic full of love, loss, and honor.
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
127). McLeish explains that Virgil described her as being a real person with emotions, actions, and wholeness that real people posses. In Virgil’s time, any Roman would look at Dido as weak. She was married to a king that died and left all the power to her. Romans would immediately move from love to duty as they searched for a new ruler to protect their land. Dido on the other hand, vowed against that very thing, placing devotion to romance over devotion to duty and government. Because of this, pious Romans would have urged Aeneas to move away from the weak ruler in pursuit of a greater prize, Rome. In direct contrast to Dido, Aeneas is a perfect picture of the pietas that Romans aimed to exemplify in their lives as citizens. He mourns for the fallen Troy when sees the Trojan War depicted in Dido’s temple, showing his deep care for his city (p. 128). Dido’s stark contrast to the Roman belief system at the time was specifically designed by Virgil to pull the support of Romans to the divine mission of Rome and to encourage pious behavior among them. Had Virgil depicted Dido as a role model after Aeneas left her, the purpose of the epic to encourage
In The Odyssey, the poem seems to be a man world and have women portrayed as a muse or siren that lures men “When Calypso, that lovely Goddess, tried to keep me with her in hollow caves, longing for me to be her husband, or when, in the same way, the cunning witch Aeaean Circe held me in her home filled with keen desire I’d marry her, they never won the heart here in my chest” (Bauschatz, 22). In the Iliad, it has similar connections when it comes to portraying women compared to the Odyssey, but not quite. The Iliad has women like trophies or prizes. Agamemnon was threatening Achilles of taking Briseus from him “but I shall take the fair-cheeked Briseis, your prize, I myself going to your shelter, that you may learn well how much greater I am than you, and another man may shrink back from likening himself to me and contending against me” (Bauschatz, 6). In Works and Days, the Women have a duty in the household and getting married “Don’t put things off to tomorrow and then to the next day; no sluggish worker f ills up his barn, and neither does a man who delays. It is care that prospers the work; Do-it-tomorrow wrestles with ruin (Bauschatz,
The first example of women being treated as property is found at the very beginning of the poem, when Agamemnon agrees to give Chryseis back to Calchas. "But fetch me another prize, and straight off too, / else I alone of the Argives go without honor. / That would be a disgrace. You are all witness, / look--my prize is snatched away" (1.38-41)! The women are described as prizes, on par with weaponry, gold, and other honors of war. In fact, Achilles gives other women away as prizes during the funeral games for Patroclus. "For the winner a large tripod made to stride a fire / and worth a dozen oxen, so the soldiers reckoned. / For the loser he led a woman through their midst, / worth four, they thought, and skilled in many crafts (23.782-785). Not only was she a prize in a contest, she was a prize for the runner up. This is a very demeaning and degrading position.