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What is the significant role of the gods in the odyssey
What is the significant role of the gods in the odyssey
Gods in the Odyssey and their roles
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Little Heroism in Homer's Odyssey "Could I forget that kingly man, Odysseus? There is no mortal half so wise; no mortal gave so much to the lords of the open sky." proclaims Zeus, the king of all gods in Homer's The Odyssey. He, among countless others, harbors high regards for Odysseus, the mastermind of the Trojan War turned lost sailor. However, the epic poem is sprinkled with the actions of gods and goddesses pushing Odysseus towards his path home to Ithaka, giving the mortal war hero little exposure to the limelight. So when does all the high and mighty talk of Odysseus' power prove true? Only in the absence of godly intervention can the title character live up to his name. In Homer's The Odyssey, excessive reliance on the gods' assistance weakens the overall effect of Odysseus as the hero; while, as a break from the norm, Odysseus' single-handed defeat of the Kyklops Polyphêmos adds true suspense to the story as well as merit to Odysseus' character. The gods interfere with Odysseus on his quest in one of two ways, for the better or for the worse. Zeus, Athena, Hermês, Persephone, and the Nereid Ino all help Odysseus return home. On the other hand, Poseidon and Hêlios, the embodiment of the sun, hinder his journey home. While the nymph Kalypso and the witch Kirkê balance between helping and hindering. Athena, the goddess of wisdom and daughter of Zeus, plays the most crucial role in the story. Odysseus' patron goddess practically weaves the outcomes with her own fingers. At the very beginning, Athena pleads for Zeus to offer help to Odysseus, who is trapped on Kalypso's island. "O Father of us all, if it now please the blissful gods that wise Odysseus reach his home agai... ... middle of paper ... ... for this to happen. The sweat-inducing suspense and the thickening of Odysseus' originally paper-thin character make Book IX the highlight of the beginning half of The Odyssey. The chapter's success can be attributed to the lack of godly intervention. Moreover, as the Kyklops' one eye is his most valuable feature, then Book IX of The Odyssey, devoid of divine intervention, is the epic's most valuable chapter. Works Consulted: Bloom, Harold. Homer's Odyssey: Edited and with an Introduction, NY, Chelsea House 1988 Crane, Gregory. Backgrounds and Conventions of the Odyssey, Frankfurt, Athenaeum 1988 Heubeck, Alfred, J.B. Hainsworth, et al. A commentary on Homer's Odyssey. 3 Vols. Oxford PA4167 .H4813 1988 Homer. The Odyssey. Trans. Robert Fagles. New York: 1996 Tracy, Stephen V. The Story of the Odyssey Princeton UP 1990
In the Hero’s journey, The Odyssey, the main protagonist, Odysseus, changes in a way which helps him gain self-knowledge. Odysseus ' experiences transformed his personality from how he was in the beginning to the end, by leading him through a heroic journey, also known as a quest. The real reason for a quest never involves the stated reason, and this is no different with Odysseus. As the story developed, many of Odysseus’ sides were exposed through the challenges he faced. Out of the countless dangers and obstacles every step back home, him and his crew have only acquired minimal character changes. Even though they are minimal, they are those which take many decades to achieve.
In every journey the hero also has a mentor. In this story Athena, the gray-eyed goddess of wisdom, has taken on this role for both Odysseus and Telemachus. Athena was by Odysseus’ side as a guide for much of the beginning of his Journey. Athena also is a guide to Odysseus when he’s not even aware o...
Heubeck, Alfred, J.B. Hainsworth, et al. A commentary on Homer's Odyssey. 3 Vols. Oxford PA4167 .H4813 1988
Cyberpunk has been present on the literary scene for almost twenty years now, being the most trendy and mainstream sub-genre of science-fiction and, although announced dead by some critics, has not been replaced by any other science-fiction movement so far. But how should we define what cyberpunk is and distinguish it from what is merely cyberpunkish? Appignanesi points out that the major feature of the cyberpunk world is a "total intrusion of technology into human lives" (129) and this may be used as a sufficient...
In Bruce Sterling's article, "Cyberpunk in the Nineties," he explained how public opinion had defined himself, Rucker, Shiner, Shirley, and Gibson as the cyberpunk "gurus" in the 1980's. Because of being labeled cyberpunk "gurus," the public had come to understand the definition of cyberpunk as "anything that cyberpunks write." To break this definition of cyberpunk established by popular public opinion, I will pursue giving cyberpunk a more definite definition. After reading numerous cyberpunk fiction stories, I noticed reoccurring themes in these stories. I believe these themes can form a criteria under which a story can be defined as cyberpunk. These criteria are total enhancement and integration of everyday life by technology, some degree of pleasure (by the author) in explaining this technology, cyber-lingo, and some degree of global connectiveness.
So many opinions exist about what is and isn't Cyberpunk Fiction. Three elements have been (generally) agreed upon to be traits of the genre. They include reflections of the pop-culture of the eighties, combining of hard and soft technology, and an element of realism. Cyberpunk is more than an extension of Science Fiction, it is a literary movement that is growing and maturing. Though it has lost some of its young rawness, Cyberpunk remains a saucy defiance to the mainstream.
...velopment. Homer introduces Odysseus at a low point to emphasize the growth of Odysseus’s spirit from beginning to end. If Homer had shown Odysseus in a good spirit first, then the growth would not have seemed as prevalent, and the epic would not be as “epic,” which indeed makes The Odyssey the better epic.
Cyberpunk is, as its authors would have it, a revolutionary new genre. The Movement is made up of radical new authors breaking from traditional SF ideology and prose. The style evokes a sense of fear and paranoia while overloading the reader with information. Aside from these indefinable feelings evoked by the genre, cyberpunk contains several concrete, identifiable themes in every story. The central theme is about fringe characters -- outsiders -- living in a grimy, seedy world ruled over by huge, all-encompassing megacorporations. The megacorps permeate the world of these characters with an impersonal, hopeless aura. One can either work for them as a wage-drone in mediocrity, or against them as against gods in a pitiful fight to outwit them. The cyberpunk world is completely overwhelmed, infused, and inundated by corporate technology such as decks, the Matrix, "prosthetic limbs, implanted circuitry, cosmetic surgery, genetic alteration" (Sterling xiii), and artificial intelligences. The megacorporate philosophy that everything can be bought and sold, like the technology that is bought and sold, makes human life cheap and worthless. Technology has replaced humans, much like machines today have already replaced workers on the assembly line.
Cyberpunk is supposed to be the vision of a new technological world. However, the negative portrayal of the integration of technology and society is a fundamental tenet of the literature. This presents a pessimistic view of scientific advancement. The genre’s dark tones, seen repeatedly in Neuromancer, emphasize the bleak images throughout the futuristic fiction. The constant conflict between the individual and a technologically advanced society is a major theme as it stresses man’s insignificance. These characteristics are interwoven into the fabric of cyberpunk and form a bleak image of science fiction and the future. Gibson is very vague when describing the specific architecture and nuances of technology used in the designs of the futuristic objects. This lack of definite details is due to the fact that cyberpunk literature resists the concepts of technology.
The other difference in the technology that is described in cyberpunk is how it is used. Almost every person in the stories has access to the technology. More importantly, the technology involved normally allows for extreme human inter-action with it. The writer will make computers and humans connect, and allow the computer to alter the mind, human social behaviors, and/or society itself. Cyberpunk futures make computers not only become a part of everyday life, but a integral element for survival and prosperity. This aspect is the main plot in Gibson's novel. His main character, Chase, needs to find a way to reverse the damage in a chip in his head for him to do the type of work he wanted to do. Before cyberpunk, humans had control over their technology, and it was a separate entity, but now the distinction over how much a person is human and how much of them are machine is not so clear.
Heubeck, Alfred, J.B. Hainsworth, et al. A commentary on Homer's Odyssey. 3 Vols. Oxford PA4167 .H4813 1988
William Gibson, one of the five writers associated with the cyberpunk genre, is credited by critics and peers for typifying the cyberpunk writing form in his popular novel Neuromancer. Bruce Sterling, Rudy Rucker, John Shirley and Lewis Shiner, the other four writers who helped launch the movement, agree that Gibson's Neuromancer influenced the categorization of the new science fiction as cyberpunk. Therefore, Gibson's novel can be used as a reliable source for defining the cyberpunk genre.
The term was used to describe a human being augmented with technological "attachments". In popular fiction author Martin Caidin wrote the sci-fi fiction novel 'Cyborg' in 1978, later adapted in the 1973 television series "The six million dollar man". In this time, music also played a role in the popularizing the Cyborg - with an entire generation being familiar with the term. Kraftwerk (1981). “ComputerWorld”; Billy Idol (1993). “Cyberpunk”; The Prodigy (1995). "Music For The Jilted Generation"; Underworld (2007). "Oblivion With Bells".
The issue of technology and its integration into society is a major pillar of most science fiction; however, it is not an essential feature of cyberpunk. The concepts of cyberpunk literature are futuristic, but technology is not prevalent in the literature. In "Rock On" synthesizers, special effects, lasers, and other virtual objects bring forth images of the future and technology. But the major theme revolves around the fact that the main character is trapped in the constructs of this world. Another example is seen in "The Girl Who Was Plugged In", because the author took much care in trying to explain the possible scientific advances, yet again the major theme in the story is the character's struggle to find her individuality amongst the technology. Much of science fiction is about how the individual uses the technology to overcome the problems that confront him, conversely in the realm of cyberpunk the character's individuality is in conflict with the impersonalness of technology.
In conclusion, the “Odyssey” is one of the greatest literary works ever known and this literary analysis should help the reader to understand the important components of the novel such as theme, characters, relationships, symbols, motifs, literary devices, and tone.