Though not the focus of epic poetry, female characters in this ancient genre play a central role, as they have a great impact on the male heroes’ journey. In a genre which idealizes manliness and heroism—that is, acts of courage, strength, and cunning — women are set in opposition to these ideals and therefore less valued. At the same time, women who attempt to take on more “masculine” roles are vilified. Here, antagonist is defined as anyone in opposition to the hero’s goals. Female agency—their free will and ability to wield power—is correlates to their role in epic poetry; that is, the more agency a female character has, the more antagonistic of a role she plays. This agency is often enacted through sexuality or supernatural powers, and …show more content…
This again enforces male superiority, because the only way a female character is able to challenge a male hero is through non-human powers, suggesting that in the real world it is impossible for women to successfully challenge men. Consider Scylla and Charybdis in the Odyssey, both of whom are females too powerful to be conquered by Odysseus, are obstacles physically in Odysseus’ path, and are described as vile monsters. Scylla specifically is labelled “the bane of mankind” (Homer 12.126) and Odysseus is advised that against her “the best course of action is flight,” (Homer 12.121). This female character is therefore powerful enough to invert the masculine heroic ideals of bravery and warfare, which can only be justified by portraying Scylla as a monster. Likewise, Odysseus states, “The divine Calypso was certainly for keeping me in her cavern home because she yearned for me to be her husband and with the same object Circe, the Aeaean witch, detained me in her palace…” (Homer 9. 29-30); Calypso and Circe are able to restrain Odysseus from continuing his journey only because they possess powers beyond those of human women. Similarly, Ishtar, a goddess in the Epic of Gilgamesh, is a major antagonist with great power who creates an obstacle for Gilgamesh by sending the Bull of Heaven to kill him. When begging her father for the bull, she threatens “I shall smash [the gates of the Netherworld, right down] to its dwelling, to the world below I shall grant [manumission,] I shall bring up the dead to consume the living, I shall make the dead outnumber the living,” (George 6.97-100). The active denotation of these words shows a woman with immense agency taking on the active role reserved for men, and so she is portrayed as a villain. Harris notes “She has…assumed an active, aggressive
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.
Gender plays a role in literature, often reflecting the culture at the time of their creation. In such cases, it is also easy to tell the expectations of men and women in society. Gender roles in the works The Odyssey and The Epic of Gilgamesh are similar to which there is an obscure line between the two genders. Although most women are presented as maternal figures in both works, they are mainly seen as tools at the disposal of men.
The Odyssey - Scylla and Charybdis & nbsp; One of the most difficult tasks as a parent is to teach your child life lessons. Many have tried, and many have failed. But over the ages, the most successful ideas have come in the form of a story or tale. Aesops Fables, nursery rhymes, and other tales of caution are used even today to teach this common knowledge one must have. In the Greek civilization, thousands of years ago, many children were taught through these fun and interesting stories.
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 epic poem Gilgamesh is the first heroic epic of world literature. The role of the primary mortal woman mentioned in it is only to benefit and please men, and with little or no consideration as to how she feels...
Homer's great epic, "The Odyssey" was written several thousands of years ago, a time in human history when men played the dominant role in society. The entire structure of civilization was organized and controlled by men; It was an accepted fact that women held an inferior position in society. Society was constructed as if women were around only to serve the men. The involvement of women in any circumstance was almost completely dominated by what the men allowed. The women were valued in society, only they were not given important roles or any decision making power. It is as if they held no power in the ancient Greek society. This is why Homer's Odyssey is very unique, Homer put women into roles that were previously unheard of for women to possess. Unlike in The Iliad, where women served merely as an object to men; female characters of Odyssey are distinctive because they possess personality, and have intricate relationships with the male characters of the Odyssey. By characterizing the women in "The Odyssey", a reader may come to some conclusions about the role of women in this epic. Along with the belief that women played a secondary role to men in society, the female characters displayed certain traits that could not be exhibited by the men. Athena demonstrated the most intelligence and valor out of all the characters in "The Odyssey." The male characters play the most significant roles in this epic, but without the support of the females in "The Odyssey", Odysseus would not have made it through his journey.
Mortal and immortal women inspire many of the events that take place in The Odyssey and The Epic of Gilgamesh. For example, without the harlot, who “tames” Enkidu, the story of Gilgamesh would not be, as we know it. A chapter entitled, “Women in Ancient Epic” from A Companion to Ancient Epic by Helene Foley compares Ishtar in Gilgamesh to Calypso and Circe in The Odyssey. By comparing the role of immortal and mortal women in both The Odyssey and The Epic of Gilgamesh, one will be able to discern how the feminine figures have played a pivotal role in shaping the destiny of the epic heroes, as well as, understanding the interrelation amongst the female figures of both ancient epics.
Throughout Antigone, Electra, and Medea, many double standards between men and women surface. These become obvious when one selects a hero from these plays, for upon choosing, then one must rationalize his or her choice. The question then arises as to what characteristics make up the hero. How does the character win fame? What exactly is excellent about that character? These questions must be answered in order to choose a hero in these Greek tragedies.
This essay explores the role of women in Homer's Odyssey, James Joyce's Ulysses (1922) and Derrick Walcott's Omeros (1990), epics written in very different historical periods. Common to all three epics are women as the transforming figure in a man's life, both in the capacity of a harlot and as wife.
“A woman cannot be herself in the society of the present day, which is an exclusively masculine society, with laws framed by men and with a judicial system that judges feminine conduct from a masculine point of view” (Ibsen). This saying also applied to the times of the Odyssey, an epic constructed by the blind, eight century B.C.E. poet, Homer. As one of the few representatives of ancient Greek social order, the blind, Homer witnessed women as substandard to men, regardless of their actions; many of them existed as seductresses, prostitutes, or slaves. He engraved into his poem women’s roles; the roles of women, as mothers, wives, seductresses, and goddesses are exemplified in this epic, when shown in comparison to the men of that era.
Women play an influential role in The Odyssey. Women appear throughout the story, as goddesses, wives, princesses, or servants. The women in “The Odyssey” dictate the direction of the epic. Homer the blind creator may have contrived the story with the aim to depict a story of a male heroism; but the story if looked at from a different angles shows the power women have over men. The Sirens and women that posses the power of seduction when ever they are encountered take the men off their course, and lead many to their death. The power women in the Epic pose can be seen from the goddess all to the wives. From The nymph Calypso who enslaves Odysseus for many years posses all the way back to Penelope who many argue is of equal importance to
Women in The Epic of Gilgamesh plays a very significant role. Women were not considered as the most powerful gods nor the strongest or wisest of all humans but they still had great influence over others around them, at that time of Mesopotamia. Though the main characters of the story, Gilgamesh and Enkidu were men, women did not necessarily play a minor role. The roles of women in The Epic of Gilgamesh were mixed. Women are represented as harlots (Shamhat), wise (Ninsun) and as gods (Ishtar. In the epic of Gilgamesh, it can be seen that while men were considered to be the most powerful and wisest humans and gods, women had the power to significantly influence these men. Several women mentioned and described in the Epic of Gilgamesh carried roles that had important effects on the men they encountered. One woman I found very interesting is Ishtar, the goddess of love and fertility. I will discuss how women were being portrayed in the story using her character to support my analysis and how the creators of this epic portrayed women in Mesopotamia through this character.
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.
The poem “Iliad,” by Homer, is known for its violence between men during a war, but under that violence, is the different type of women who play a significant role in the poem (Homer 189). This poem’s narrative seems to show a male dominated world between the Greek commanders. This male dominated world cannot happen on its own, thus the different background roles of women are needed in order to make sense of all this rage. As the University of Michigan article How Do Women Make Their Way Into This Cycle states, “They are seen as the objects of both lust and domesticity, yet they are also used to excuse war, cause conflict, and display the power of men” (www.umich.edu). The focus in this poem steers towards the rage between the men, but this rage most of the time is inspired and initiated by a woman. The women of Iliad play a significant role in the poem such as war prizes, male hero partners, and women gods.
In contemporary society, feminism is emerging as a theory of social construct. In literature it is often challenging to discover female characters that go beyond the limits of marginalized female stereotypes and roles as a means to transgress beyond societal norms. Women are characterized as subordinate objects, amid the dominant patriarchal nature entrenched amid the epic. In The Ramayana, women are portrayed as powerless objects that succumb to the manipulation of men as the text portrays a false empowerment of women, which ultimately succumb to common archetypes accustomed to women in literature; implementing a hierarchy of gender that institutionalizes male dominance amid female inferiority. The women of The Ramayana struggle to oppose the systemic patriarchy and pursue a pathway towards attaining dynamic elements of power, that enable their ability to embody autonomous authority. In Valmiki’s The Ramayana, while women appear to be empowered, ultimately they are feeble instruments utilized to fulfill the desires of men.