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"The Odyssey" and "The Aeneid", 2007.
A comparison of the acquisition of power in "The Odyssey" by Homer and "The Aeneid" by Virgil.
1,337 words (approx. 5.3 pages), 2 sources, MLA, £ 30.95
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Abstract
This paper explores the concept of power in both "The Odyssey" by Homer and "The Aeneid" by Virgil. The paper suggests that within "The Odyssey", power comes to Odysseus through a combination of bravery, versatility, patience and virtue and the approval of the gods. In contrast, it suggests that in "The Aeneid", power comes to Aeneas through piety and the consequent approval of the gods.
From the Paper
"Further, Aeneas is sincerely rather than falsely or conveniently pious toward the gods, which is another of his strengths. We know this because Aeneas is not ever prompted by Venus, his mother, or by any of the other gods or goddesses that are in the Aeneid to be pious or to display piety. Instead, he is simply deeply, sincerely pious, in all circumstances, good ones and bad ones. Aeneas's piety therefore is eventually noticed by all: gods; goddesses, and mortals. Throughout the Aeneid, Aeneas in fact accomplishes all that he eventually does, as a result of his faith; forbearance; and self-control - qualities that are ultimately substantially rewarded by fate within the poem, and that are major sources of Aeneas's power as well."
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'The Odyssey' and 'The Aeneid', 2006.
A review and comparison of 'The Odyssey' and 'The Aeneid'.
1,704 words (approx. 6.8 pages), 2 sources, MLA, £ 38.95
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Abstract
This paper reviews, discusses and compares Homer's 'The Odyssey' and Virgil's 'The Aeneid'. According to the paper, both employ an epic hero who embodies the values of his country. Odysseus represents the individual hero of the Greeks, while Aeneas represents the more collective spirit of the Romans. Both Odysseus and Aeneas undertake a dangerous sea voyage, face obstacles, and encounter distractions from women along the way.
From the Paper
"Because he angered the sea god, Poseidon, Odysseus had a difficult journey home. He became the captive of Calypso on her island, and "though he fought shy of her and her desire, he lay with her each night, for she compelled him. But when day came he sat on the rocky shore and broke his own heart groaning, with eyes wet scanning the bare horizon of the sea" (Homer 85). Odysseus is allowed to leave the goddess Calypso, but his journey is far from over.
In true heroic fashion, Odysseus experiences a situation where he hears of himself and the events at Troy spoken of at a banquet where he eventually reveals his identity. "
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?Aeneid? and "Odyssey", 2002.
A comparative analysis of the themes and plot of Virgil's epic, ?Aeneid?, to Homer's "Odyssey".
1,155 words (approx. 4.6 pages), 0 sources, £ 27.95
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Abstract
This paper examines how many of the elements of Virgil's classic, "Aeneid", are extremely reminiscent of Homer?s "Odyssey" and attempts to delineate some of the scenes, methods, and manners that Virgil adapted from the "Odyssey" in formulating the construction of his own classic, great, epic work. It looks at how Virgil attempted to draw many parallels between the two works in terms of their methodology and content. It shows how both works begin in medias res, or in the middle of the action of the story, rather than starting at the initial temporal point of departure for the story, and how both epics deal with the issue of flight from Troy, although one flees in victory and the other in defeat. It also discusses how both heroes encounter women who love them and try to hold them captive because of this love and how both works ultimately are about finding a ?home.?
From the Paper
"Like the great Homerian work, The Odyssey, Aeneas? story begins in media res, or ?in the middle of things.? The story does not open on the original action of the book. The Odyssey opens in this similar fashion. Instead of opening just as Odysseus is departing from Troy, the great epic begins by illustrating the scene in which Odysseus is detained by the sea nymph, Calypso. By opening in the middle of things, the story immediately keeps the readers attention and leaves the elements of the past a mystery for later discovery. Similarly, The Aeneid begins not at the temporal beginning of the story but in its middle after Aeneas has already embarked upon his journey. In Book I of the Aeneid, Aeneas gets shipwrecked on the Northern coast of Africa. It is here that he encounters Dido, the Phoenician Queen that is building Carthage."
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"Aeneid' and "Odyssey", 2006.
This paper examines the narrative technique used in both Virgil's "Aeneid" and Homer's "Odyssey."
771 words (approx. 3.1 pages), 2 sources, MLA, £ 18.95
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Abstract
The writer of this paper contends and explains that without Virgil and Homer's first-person narration, each story would be lacking, as they would not have a personal appeal. This paper examines the manner in which Virgil's narrator is able to retain harmony, between the hero and his strength, through the act of telling his story. The narrative technique in the "Aeneid" allows the reader to see how Aeneas matures, while understanding that his life is simply a smaller part of a much larger operation. This paper also delves into the narrative technique in Homer's poem. The writer discusses the manner in which Odysseus must confront the many issues of his past and as a result is moved to repentance. The writer explains how the the first-person narrative encourages the reader to view Odysseus as a wise and mature individual, much the same as Aeneas.
From the Paper
"In contrast, Odysseus in Homer's The Odyssey, has quite a different experience toward becoming a hero than Aeneas. Odysseus is renown for his great adventures and honor and seeing things from his perspective allows us to understand the complexity of his personality. He is a man of honor and this is best represented when we see this from his perspective. In addition, to this, he is a man that honors his own reputation. For example, when he boldly declares to the Phaeacians that his name is Odysseus and "Men hold me/formidable for guile in peace and war:/this fame has gone abroad to the sky's rim." Here we see a proud and confident man that is persistent and intelligent."
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Similarities and Differences in ?The Aeneid? and ?The Odyssey?, 2002.
A comparison paper that analyzes the similarities and differences between Virgil's work and Homer's.
943 words (approx. 3.8 pages), 2 sources, MLA, £ 23.95
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Abstract
This paper points out ways in which ancient Greek poet Virgil drew from Homer's work, "The Odyssey" for his own poem "The Aeneid" and ways in which he differed. It shows similarities of plot, theme, and style in both these epic poems. The paper shows that the similarities between the two poems are many and yet, when each similarity is analyzed with a discerning eye, it is apparent that Virgil, by deliberately borrowing concepts, styles, themes and details from his predecessor, was on a quest to create an epic that would incorporate all the necessary classic requirements with his own unique additions that enhance the poem and possibly allow himself to surpass Homer.
From the Paper
"Virgil?s epic masterpiece, The Aeneid, consciously draws from techniques, themes, imagery and plot from the great work of Homer, The Odyssey. While the similarities are striking and at times seem practically identical, it is clear that Virgil borrowed from Homer only to enlarge upon the themes and techniques employed by his predecessor in order to create a masterfully crafted work of art. All of the similarities between the two works contain subtle differences that allow for Virgil, who sees himself as the heir to Homeric poetry, to create a unique and distinctive poem that builds and expands upon Homer?s trailblazing originality."
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Strong Heroes and Steady Trees, 2004.
Examines the tree imagery within the epics, "The Iliad" and "The Odyssey", by Homer, and "The Aeneid", by Virgil.
2,640 words (approx. 10.6 pages), 2 sources, MLA, £ 54.95
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Abstract
In the three great ancient epics, "The Iliad" and "The Odyssey", by Homer, and "The Aeneid", by Virgil, all three heroes are compared to trees, showing two attributes that the heroes share. Firstly, the paper shows that Achilles, Odysseus, and Aeneas manifest their heroic qualities through tree imagery. Heroic attributes allow heroes to rise to the occasion and tend to display qualities that exceed average human capabilities. While each has a different concept of heroism, the tree imagery shows that the three characters are similar because they possess chivalrous attributes. The paper shows that, secondly, the tree imagery manifests the relationships that each of the characters has with a particular goddess. Like strong trees that are helped by nature, Achilles, Odysseus, and Aeneas, all have powerful attributes, but use the force of a higher power, or a goddess, for assistance.
From the Paper
"The idea of relating Aeneas to an oak tree is interesting. Oak is used for building homes, and although Aeneas does not specifically build Rome, the idea of city development reminds the reader about Aeneas?s heroic duty to discover Rome and also reflects on Aeneas?s stay in Carthage, where he helps build the future rival city of Rome. Also like an oak tree, Aeneas is steadfast and unmoving when listening to Dido?s pleas, managing to remain dedicated to his heroic duty and the gods? wishes. Every heroic action that Aeneas takes is defined by his duty to the gods (for example, leaving Carthage and finding Rome), displaying the heroic nature of duty; duty inspires Aeneas to ?do the right thing.? "
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Epic Heroic Literature, 2000.
An examination of Greco-Roman (Homer's "Odyssey" and Virgil's "Aeneid") and Indian ("The Ramayana of Valmiki" and "The Mahabharata") epics and how they reflect their cultures' myths, beliefs, and heroic values.
1,800 words (approx. 7.2 pages), 10 sources, £ 43.95
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Abstract
This research will examine four epics from the Greco-Roman and Indian cultures: Homer's Odyssey, Virgil's Aeneid, The Ramayana of Valmiki, and The Mahabharata
From the Paper
"This research will examine four epics from the Greco-Roman and Indian cultures: Homer's Odyssey, Virgil's Aeneid, The Ramayana of Valmiki, and The Mahabharata. The research will discuss the degree to which these epics reflect the heroic context of a given society's past and/or its present concerns.
There appears to be fairly wide agreement among commentators on epic literature and cultural myths that certain consistent patterns of narrative action and treatments of human experience can be discerned across cultures. One is heroic activity in poems that deal with the history, actions, personal development, and destiny of one or more heroic figures. What these heroes do, what is done to them, and their ultimate destiny take on symbolic weight and become determinants of what is valued and distinctive in a culture.
Epic focus on heroes of a mythic past may be relevant to a..."
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Representation of Travel, 2006.
An analysis of three classical works of travel, "The Odyssey" by Homer, "Aeneid" by Virgil, and "The Upanishads", a religious Hindu text.
1,956 words (approx. 7.8 pages), 1 source, MLA, £ 43.95
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Abstract
The paper analyzes the journey of Odysseus from the classical Greek work, "The Odyssey". The writer concludes that this story shows people today that obstacles can be overcome and that they should not give up hope without making an effort first. The paper analyzes the journey of Aeneas from the epic Roman work "Aeneid". The writer concludes that Aeneas is portrayed as a man of honor, respect and courage, similar to Odysseus. The paper analyzes the journey of the soul in "The Upanishads". The writer concludes that this journey is reflected in the Indian society, which believes in a more spiritual world and sees the world we live in as an illusion. Table of Contents: "The Odyssey" Introduction Role of the Traveler Observations Values and Beliefs "Aeneid" Introduction Role of the Traveler Observations Values and Beliefs "The Upanishads" Introduction Role of the Traveler Observations Values and Beliefs References
From the Paper
"While he struggled for twenty long years in order to fight, face the storms and deal with the anger of gods, he recognizes that he has some marvelous qualities that make him distinctive from other normal people. He also proved himself as a warrior and a courageous man in the Trojan War. He led the whole battle and kept the operations of his army under control so that they can move towards success. He performed as a great fighter as well as a smart decision maker. When his warriors kept trying to invade troy for more than a decade and didn't succeed, he used his wisdom and planned to invade the city through a tricky strategy of using a wooden horse. This smart decision led to the success of his people over the Trojans. He not only himself exhibited these warrior virtues during his journey to Ithaca but also observed that his loyal fellows possess qualities like honor, bravery and faithfulness. Moreover, he also discovered some other hidden aspects of human motivation and emotion. Finally, by the end of his journey, he realized the meaning of human suffering and pain. He discovered as to why human beings experience pain and grief. In addition to this, he also realized that humans are enslaved to the whims of God."
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Virgil's "Aeneid": Plagiarism or Propensity, 2002.
This essay discusses the differences and similarities in the works of Virgil and Homer.
1,405 words (approx. 5.6 pages), 8 sources, £ 32.95
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Abstract
This paper discusses the idea of whether or not Virgil was a plagiarist of Homer?s works. The author provides criteria for evaluation and specific examples from the texts of "The Iliad", "The Odyssey", and "The Aeneid". It also contains critical views cited from other noted authors.
From the Paper:
"When one studies Virgil?s "Aeneid" in parallel to Homer?s "Odyssey" and "Iliad", similarities will arise. So much so that one would begin to dismiss Virgil as a mere plagiarist, rejecting his talent altogether. Kenneth Quinn, author of the book, "Virgil?s Aeneid: A Critical Description", writes, Virgil?s characters and situations keep reminding us of Homeric characters and situations. His poem expressly recalls Homer?s story and constantly evokes Homer?s conventions. It is my opinion, however, that to study the Aeneid a little deeper is to find Virgil unique and quite separate from Homer and his works."
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"The Aeneid", 2002.
A critical analysis of Virgil?s epic poem ?The Aeneid?, often described as the poet?s response to Homer?s epics ?The Iliad,? and ?The Odyssey? in that it details the Trojan War and its aftermath from the Roman perspective.
1,170 words (approx. 4.7 pages), 1 source, MLA, £ 27.95
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Abstract
The following paper discusses the problems with a literary analysis of ?The Aeneid? as it presents itself with some problems not present in a similar analysis of Homer?s inspiring works. Although the actual status of Homer as either a poet or a collective name of several poets is uncertain, Homer?s works formed the basis of virtually all of Greek classical literature. The writer contends that ?The Iliad? and ?The Odyssey? became the cornerstones of Greek culture, something all Greeks could refer to as a common source of moral values, of rhetoric, and of mythological history. However, this paper claims that as the work of a single individual at a fixed and relatively later point in time and culture, ?The Aeneid? does not have a similar quality of assembled stories, but of a work of more clear design than its Greek predecessors do.
From the Paper
?Throughout the text, Virgil not only details the destiny, but also enters into the persona and voice of Dido, of the Latins whom Aeneas defeats, as well as the gods who both support and oppose Aeneas? destiny. By giving life to such competing voices of the truth, it is difficult to view the text simply as an idealized version of Roman history. Rather the ?Aeneid,? like its protagonist, tells a complicated history of origins. Although the Emperor Augustus may trace his own origins to the fate of Aeneas, the victory of the central character does not come without great costs to others. Virgil obliquely, by allowing other voices to speak and to die over the course of the poem, shows that the founding of any regime of power, like its destruction, is never seamless, and never without some bloodshed and heartache on both sides.?
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"Odyssey" and "O Brother Where Art Thou?"., 2002.
A comparison between Homer's epic novel the 'Odyssey' and the adapted screenplay version of the epic film,"O Brother Where Art Thou?", directed and produced by Joel and Ethan Coen .
1,310 words (approx. 5.2 pages), 4 sources, MLA, £ 30.95
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Abstract
The following paper draws parallels between Homer?s "Odyssey" and the Coen Brother?s "O Brother Where Art Thou?". In the year 2000, the inventive and provocative filmmakers Joel and Ethan Coen reworked the Odyssey in a liberal way, changing scenes, settings and characters. The writer compares the original epic and the original screenplay and discusses dozens of small but meaningful comparisons. For instance, Odysseus and his men descend into Hades where they encounter several ghosts from Odysseus?s past; in the film the boys meet a fellow inmate who they thought was dead. Odysseus from the original epic and Ulysses from the film (played by George Clooney) both have to prove to their wives that they are true: Ulysses must bring Penny the ring to redeem himself. In the Odyssey, Book 23, Penelope declares that ?there are tokens with which we two alone are acquainted,? (Butler trans.). Although it was written millennia ago in ancient Greece, the parables of the Odyssey remain extant for a reason: Its themes are universal and accessible and adaptable for all time. The Coen brothers' movie "O Brother Where Art Thou?" exemplifies Homer?s timelessness, as well as their own versatility.
From the Paper
"Homer?s Odyssey is more than an epic tale of a man ?who wandered far and wide,? across the sea; it is an archetypal journey with universal and enduring import. It is not difficult to find parallels between Odysseus?s adventures and modern ones, for ultimately the Odyssey transcends its details. Homer erected a narrative structure that lends itself to adaptation and reconstruction. Most notable to modern reinterpretations of Homer?s Odyssey is James Joyce?s Ulysses, which focuses on and develops the relationship between father (Odysseus/Leopold Bloom) and son (Telemachus/Stephen Dedalus). In the year 2000, the inventive and provocative filmmakers Joel and Ethan Coen reworked the Odyssey in an equally liberal way, changing scenes, settings, and characters. But whereas Joyce?s version of the Odyssey is microcosmic, its journey more psychological than physical, the Coen brothers? O Brother Where Art Thou? rambles through a decidedly physical and farcical tale. At first glance the film resembles Homer?s epic little: only certain elements are obvious like George Clooney?s character?s name (Ulysses) and the three sirens by the river. A deeper investigation of the film and the original text reveals numerous, if more subtle, references."
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'The Aeneid', 2003.
A review of Virgil's 'The Aeneid'.
1,410 words (approx. 5.6 pages), 1 source, MLA, £ 32.95
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Abstract
This paper takes a look at Virgil's epic poem, 'The Aeneid'. According to the paper, 'The Aeneid' is essentially the story of the founding of Rome told through the adventures of Aeneas, the son of a mortal Trojan and the goddess of love, Venus.
From the Paper
"In book eight, preparations of war are described. Aeneas is presented with armor that depicts the future of Rome on the shield. Books nine, ten, and eleven detail the events of the war including a council held by the gods who determine that the mortals' fates are in their own hands because of the bickering caused in the heavens. Book twelve ends with Juno finally giving in to the fate that Aeneas brings, but bargains with Jupiter that the Trojans will at least adopt the Latin language. Turnus, the suitor, is slain by Aeneas in a duel, and the battle, and the epic poem, is finally ended."
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The Odyssey, 2004.
A review of two modern novels that both deal with the theme of a personal odyssey.
1,657 words (approx. 6.6 pages), 3 sources, MLA, £ 36.95
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Abstract
This paper presents a review of two novels, both of which use Homer's ideas in "The Odyssey". The first is Mary Piak Lee's autobiography, "Quiet Odyssey: A Pioneer Korean Woman in America", in which the author travels to America as a child. The second, Lydia Yuri Minatoya?s odyssey within her memoir, "In Talking to High Monks in the Snow: An Asian American Odyssey", is also about finding her place in the world.
From the Paper
"Mary Piak Lee's autobiography, Quiet Odyssey: A Pioneer Korean Woman in America, is the story of her childhood in career, and her life after she and her parents move to America. Quiet Odyssey begins unassumingly enough as Paik Lee notes, "Korea, a small country attached to the northeast of china had been independent for centuries before 1882." She notes that the Japanese takeover of Korea in the early 1900s "began a long history of aggression against Korea and created the unhappy world in which the Koreas have lived since 1905. It is in the climate of this political upheaval that Paik Lee's journey begins. She enjoys a quite life in Korea, with extended family."
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Virgil's "Aeneid": Imitation or Plagiarization?, 2005.
This paper examines the more significant instances of literary imitation in Virgil's "Aeneid."
3,406 words (approx. 13.6 pages), 12 sources, MLA, £ 66.95
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Abstract
This paper examines how "The Aeneid" is an entirely different poem in character than Homer's the "Iliad" and the "Odyssey" even though it seems to be constructed largely by the re-molding of Homeric materials. It looks at how, with the help of a list of many of the instances of "Virgilian imitation," it is possible to make some useful inferences about the way Virgil uses Homeric epic to create a unique tale of his own. It also considers why this is not plagiarism.
From the Paper
"Homer deliberately begins with the situation in Ithaca, for "he meant his audience to picture clearly the ultimate destination towards which his hero would be struggling" (Otis 92). When Odysseus sets sail from Calypso's isle, he is at last on his homeward journey. Technically, it is from this point that Aeneas's voyage begins to parallel Odysseus's. But since Virgil does not use an introduction like that of the Odyssey (Books 1 - 4), we are given a different impression entirely: "it is... as though [Aeneas] has as little idea of his destination as we do; and this landing in Africa represents not a stage on his direct journey home, but a detour, a deflection from the straight line of duty" (Anderson 4)."
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