Literary Devices in The Odyssey
The Odyssey is an epic poem that served an educational purpose for those who heard it. It relates historical stories with fantastical elements of myth, legend, and divine intervention. Epics begin in medias res (in the middle of things) and explore a vast world or universe, generally that involves mythological landscapes such as the home of the gods. It uses symbolism, imagery, and allegory to elevate the story to the fantastical realm of myth and legend. Heroes often give long speeches and represent the ethos of their civilization. Thus, they lack in what we would understand as emotional resonance and instead demonstrate honor, bravery, and courage.
Literary Devices Examples in The Odyssey:
Given what we know of Athena's intentions here, it's likely that the "gift" she gives Telemachus will be his father, returning at last from his voyage. It seems unlikely, however, that Telemachus will be able to give Athena a gift of equal value, since his father's return may as well be priceless to him. We will have to wait and see what, if anything, comes of this promise.
Keep in mind that the suitors aren't that interested in Penelope herself, but want control over Odysseus's land, livestock, and estate. Though Eurymachus claims they can't go after other women, in fact, they can, but choose not to do so. Their brash refusal to change course is a fine example of "hubris," the Greek word for pride. In a classic Greek tragedy, hubris would be the primary character flaw of a hero, but in The Odyssey, it's a trait of the villainous suitors, who are blinded by their self-interest.
A prophet and friend of Odysseus who, like Mentor, remained in Ithaca to help Telemachus while his father was at war. Like Penelope's soothsayer, his ability to read the future is questionable, but is used by Homer as a way to foreshadow things that take place later in the poem. In that sense, Halitherses' prophecy is a way for Homer to structure the narrative and establish the timeline (up until this moment, we didn't know that Odysseus had been gone twenty years).
Telemachus leveled this same threat at the end of Book I. The repetition implies that it hasn't been effective and that Telemachus still feels insecure about his position here. This entreaty to the gods and councillors wouldn't be necessary if Telemachus had control of the situation, and in emphasizing the fact that he doesn't, Homer makes it all too clear that Telemachus can't live up to his father. Even this meeting, so seemingly bold, is someone else's idea.
This descriptor, known as an "epithet," appears throughout The Odyssey. It's one of many epithets (like high-hearted or wine-colored) that Homer uses to fill the constraints of dactylic hexameter (a form of meter consisting of six "feet" of one long and two short syllables). Such epithets were also used as mnemonic or memory devices to help performers remember where they were in their recitation of the poem.
This is Homer’s second use of this epithet, used to remind those reciting the poem of where they are in the story.
It is ironic that Athena prays to Poseidon since she is actively working against the god who is punishing Odysseus by giving advice to his son, Telemachus.
Notice how this image is very similar to one in Book II. Homer uses repetition to emphasize important images or ideas. This image emphasizes Telemachus’ reliance on the goddess Athena, who has taken on the form of Mentor.
The ancient Greeks, drawing on Aristotle's philosophies about human behavior, believed in hamartia, or a fatal flaw of personality that affected many heroes. One of the most common flaws was hubris, that is, pride or boasting.
Following Agamemnon's murder, his estate would've fallen into the hands of Aegisthus and Clytemnestra, then passed again to Orestes, Agamemnon's son, after he avenged his father. Traditionally, Menelaus would've become King of those lands in his brother's wake, but since he was away, he wasn't able to claim his rights in the matter.
Keep in mind that at this point in the narrative Achilles has been dead at least ten years, and if he gave his consent to the marriage while at Troy, as Menelaus did, that means this engagement lasted anywhere from ten to twenty years. Why the gods waited so long after Achilles' death remains a mystery.
The form that Athena takes is consistent with dream visions depicted in the Iliad and elsewhere. The god or goddess appears in the dream and hovers in the form of a trusted friend or relative near the head of the dreamer. This typically makes the person to whom the god speaks more receptive.
Odysseus speaks of himself in the third person in order to incite the bard to tell stories about the Trojan Horse. Keep in mind that we've heard another version of this story from Helen, and that it wasn't uncommon in ancient Greek texts for there to be multiple conflicting accounts of a single event.
Notice how this image parallels an earlier description of Penelope, who's often depicted as standing near or leaning against a bearing-post at home. Homer draws this parallel to show both Nausicaa's goodness and Odysseus' attraction to her.
Notice that this is virtually the same gift Menelaus offers Telemachus: a goblet to use during drink-offerings, which thus becomes a daily reminder of the giver. Homer deliberately draws this parallel between father and son to show Telemachus is maturing and how their timelines are beginning to merge.
This phrase is one of many phrases that appears repeatedly throughout the Odyssey—another mnemonic formula.
If temperance was a virtue to the ancient Greeks, then naturally, gluttony was a vice. Again, Homer uses Odysseus’s men to act as foils for his heroism. Each of these stages in their journey is another chance for Odysseus to prove himself before the gods.
The apathetic Lotus-eaters serve as foils for Odysseus’s unwavering determination. Homer exploits their passivity as a chance for Odysseus to prove his tenacious character and heroism.
Not only do some of his men fall prey to temptation, but they disregard the Greek virtue of temperance. Their excessive pride, or hubris, they get from sacking the town results in a bloody battle. The virtuous Odysseus triumphs over temptation and survives, as opposed to some of his men, who serve as foils for his heroic character.
Homer draws a parallel between Peleus and Laertes, Odysseus' father, who has been described multiple times as old and feeble. Taken together, these two examples suggest that the ancient Greeks didn't revere their elderly and were prone to disrespecting and usurping kings in their old age.
Polysyndeton, or the unnecessary repetition of words and phrases, is a common literary device in Greek tragedies. The purpose is to slow the rhythm of the reading and emphasize each word or phrase. Here, Odysseus stresses that he wants Tiresias to tell him the whole truth, however long or difficult it might be.
Remember that the sun, in a previous chapter, spied on Ares and Aphrodite for Hephaestus and informed him of his wife's infidelity. Make sure to differentiate between Apollo, the god of the sun, and the sun itself, Helios, a divine entity with its own powers and agendas.
This is the home island of Helios (also, Apollo), the sun god. In Book I of The Odyssey, Homer told us that Odysseus' men had slaughtered Apollo's cattle and been punished, so we know even before Tiresias completes his prophecy that this is true and will come to pass shortly.
This is the second time Athena has interceded on Odysseus's behalf by making him less visible in order to protect him; the first time was during his walk to Alcinous's cloister. Notice how Homer is attributing these circumstances to the gods while simultaneously using them as a device for controlling the elements of the plot.
In this passage, Eumaeus has effectively denounced this "stranger," accusing him of being a liar and a swindler unworthy of his respect. He admits that Odysseus' story is interesting, but doesn't believe it because it's too fantastic (a metafictional response written by Homer to underscore the unlikeliness of Odysseus' return, which seems all the more incredible because of it).
Homer draws a parallel between the suitors and Telemachus, who has manners and respect where the suitors do not. In this way, the suitors act as foils for the main characters, emphasizing their good qualities by revealing what it's like not to have them.
The love that Eumaeus has for Telemachus is described as the love a father has for a son. Homer's choice of words here juxtaposes Eumaeus's and Odysseus's responses to Telemachus's arrival to demonstrate the difference between a man who has been like a father and an absentee biological one.
Telemachus said the same thing earlier in this book. It's unclear whether this is a belief that was generally held in ancient Greece or if it's something that Odysseus made sure to teach his family, because of his high moral values and respect for the traditions of xenia. This repititon emphasizes the connection between mother and son.
Homer may be emphasizing how large and well-defended the house is to prepare us for a later battle. It's also possible that he's showing off Odysseus' considerable wealth by saying that one building "keeps following on" after another, suggesting an entire complex, not just a house.
Notice how Homer briefly recounts the main adventures of The Odyssey for his audience's sake. Since this was traditionally shared aloud by a narrator, such repetition helps to remind the listeners what has transpired during the course of events.
Recall that Odysseus did attempt to embrace his mother, Anticlea, when her spirit spoke to him from Erebus in Book XI, but that he was unable to touch her because her form was incorporeal. This inversion (where Anticlea can't embrace him) reflects the emotional burden that both son and parents have felt during their separation.
Recall that Agamemnon's brother, Menelaus, asked almost the same question of Telemachus when they spoke in an earlier book. This repetition emphasizes their familial bond and further suggests that this kind of death (occurring during the process of stealing) was in fact very common in ancient Greece.