<div class="span index">1</div> <span><a class="" data-remote="true" data-type="html" href="/series/action-academy-replace-the-job-you-hate-with-a-life-you-love">Action Academy | Replace The Job You Hate With A Life You Love</a></span>
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Welcome to Ascend! We are a weekly Great Books podcast hosted by Deacon Harrison Garlick and Adam Minihan. What are the Great Books? The Great Books are the most impactful texts that have shaped Western civilization. They include ancients like Homer, Plato, St. Augustine, Dante, and St. Thomas Aquinas, and also moderns like Machiavelli, Locke, and Nietzsche. We will explore the Great Books with the light of the Catholic intellectual tradition. Why should we read the Great Books? Everyone is a disciple of someone. A person may have never read Locke or Nietzsche, but he or she thinks like them. Reading the Great Books allows us to reclaim our intellect and understand the origin of the ideas that shape our world. We enter a "great conversation" amongst the most learned, intelligent humans in history and benefit from their insights. Is this for first-time readers? YES. Our goal is to host meaningful conversations on the Great Books by working through the texts in chronological order in a slow, attentive manner. Our host Adam Minihan is a first-time reader of Homer. We will start shallow and go deep. All are invited to join. Will any resources be available? YES. We are providing a free 115 Question & Answer Guide to the Iliad written by Deacon Harrison Garlick in addition to our weekly conversations. It will be available on the website (launching next week). Go pick up a copy of the Iliad! We look forward to reading Homer with you in 2024.
Welcome to Ascend! We are a weekly Great Books podcast hosted by Deacon Harrison Garlick and Adam Minihan. What are the Great Books? The Great Books are the most impactful texts that have shaped Western civilization. They include ancients like Homer, Plato, St. Augustine, Dante, and St. Thomas Aquinas, and also moderns like Machiavelli, Locke, and Nietzsche. We will explore the Great Books with the light of the Catholic intellectual tradition. Why should we read the Great Books? Everyone is a disciple of someone. A person may have never read Locke or Nietzsche, but he or she thinks like them. Reading the Great Books allows us to reclaim our intellect and understand the origin of the ideas that shape our world. We enter a "great conversation" amongst the most learned, intelligent humans in history and benefit from their insights. Is this for first-time readers? YES. Our goal is to host meaningful conversations on the Great Books by working through the texts in chronological order in a slow, attentive manner. Our host Adam Minihan is a first-time reader of Homer. We will start shallow and go deep. All are invited to join. Will any resources be available? YES. We are providing a free 115 Question & Answer Guide to the Iliad written by Deacon Harrison Garlick in addition to our weekly conversations. It will be available on the website (launching next week). Go pick up a copy of the Iliad! We look forward to reading Homer with you in 2024.
"Ignorance of Scripture is ignorance of Christ." Today, Dcn. Harrison Garlick is joined by Mr. Thomas Lackey and Mr. Adam Minihan to discuss how to read the Bible like Jesus, St. Paul, the Early Church Fathers, St. Thomas Aquinas, and Dante! There are four senses: literal, allegorical, moral, and anagogical. The guys explain Divine Authorship, Dante's thesis that you read his Comedy like you Scripture, and then explain each sense and give examples. Check our thegreatbookspodcast.com for resources on the Iliad, Odyssey, Dante's Inferno, and more! Summary : St. Jerome states, “Ignorance of the Scriptures is ignorance of Christ” (CCC 112). In other words, we come to know the reality of Jesus Christ by reading Holy Scripture. Yet, what if we read the Bible incorrectly? If the Scriptures are a source of knowledge about our Lord, would not a wrong reading of the text twist our understanding of Christ? We, especially as moderns, are always in danger of distorting the Gospel to meet our own ideological standards. As Bishop Konderla teaches, “We are called to measure ourselves against the teaching of Christ and His Church, not our own imaginations or standards.” He continues, “We must receive the Jesus Christ who came two-thousand years ago, not create a ‘Jesus’ who meets the fashions and fads of this age” (God Builds a House, 6). If we are to discipline ourselves to receive Jesus—and not manufacture a “Jesus”—then a vital part of that reception is a proper understanding of how to know Christ in Holy Scripture. How then does the Church teach us to read Holy Scripture? In the 1300s, the Italian poet Dante Alighieri wrote a letter to his patron, Lord Cangrande della Scala, regarding how one should read the Divine Comedy. His answer was simple: you read the Comedy the same way you read the Bible. In summary of Sacred Tradition, Dante explains that there are four senses or ways to read Holy Scripture: literal and three spiritual ways, i.e., allegorical, moral, and anagogical. These four senses were also taught by St. Thomas Aquinas (STI.1.10) and are contained in the modern Catechism of the Catholic Church (“CCC” 115-19). They represent the time-tested wisdom of the Church on how to come to know and love Jesus Christ through the Holy Scriptures. Let us examine each “sense” of biblical interpretation, how it relates to the others, and how they all draw us into a deeper relationship with our Lord. The literal sense of Scripture is also known as the “historical sense.” St. Thomas notes the literal sense is the meaning the author intended. For example, Dante gives the simple illustration of the passage: “When Israel went out of Egypt.” He observes, “If we look at it from the letter alone it means to us the exit of the Children of Israel from Egypt at the time of Moses.” The literal is simply the intended, historical meaning of a text. It is important, however, to interpret the literal correctly, because “all other senses of Sacred Scripture are based on the literal” (CCC 116). Similarly, Aquinas states that the spiritual sense of Scripture—allegorical, moral, and anagogical—is “based on the literal and presupposes it.” The importance of the literal sense of Scripture as foundational to all other senses emphasizes how vital it is that Catholics read commentaries that are faithful to the magisterium. Like a broken foundation of a home, a slanted literal sense can distort the greater spiritual senses built upon it. The allegorical sense is the first of the three types of the “spiritual sense.” In the allegorical sense, Dante teaches that the aforementioned verse about Israel exiting Egypt “means for us our redemption done by Christ.” But what does the exodus of Israel have to do with Christ? A lot. In the allegorical sense, the reader is always looking for types or signs of how one thing in Scripture signifies another. For example, Israel in bondage to Egypt is similar to us in bondage to sin. Here, Moses would be a type of Christ. He leads the People of God out of Egypt to the Promise Land, as Christ leads us out from sin and into grace and salvation. Moses serves as a sign pointing forward to the reality of Christ. Moreover, both Israel and the Christian faithful find the portal of their salvation through water: the Red Sea and Holy Baptism (CCC 117). In their journey to the Promised Land, the Israelites are given bread from heaven, mana; and in our earthly journey toward our Promised Land, heaven, we are given the Bread of Angels, the Holy Eucharist. Christ himself makes this allegorical comparison in the Eucharist Discourse (John 6). The relationship between the allegorical and the literal gives rise to a fundamental principle of reading the Bible: the Old Testament foreshadows the New, and the New Testament perfects the Old. This dynamic between the Old and New Testament, as expressed in signs, serves as an allegorical foundation to both the moral sense and the anagogical sense. The moral sense answers the question: how should I act? It is arguably the spiritual sense with which we are most familiar when trying to read Scripture. The Church teaches, “The events reported in Scripture ought to lead us to act justly” (CCC 117). What moral lesson does Dante draw from Israel leaving Egypt? As noted, the moral sense is informed by the allegorical. For example, Dante presents Israel leaving Egypt as “the conversion of the soul from the struggle and misery of sin to the status of grace.” We take the comparisons drawn from the allegorical sense and apply them to our own pursuit of holiness. If Israel leaving the bondage of Egypt is like humanity being delivered by Christ, then how can I apply this lesson to my own moral life? How can I leave behind sin and pursue holiness? St. Thomas says the moral sense focuses on “things done in Christ,” and “what we ought to do.” The allegorical can help the moral dimension of Scripture unfold into a beautiful guide to our earthly pilgrimage. The anagogical sense is arguably the most foreign to modern readers of Scripture. The Catechism expresses that the term anagogical comes from the Greek term anagoge which means “leading” (CCC 117). What is the Scripture ultimately leading us toward? The Church teaches that in the anagogical sense: “We can view realities and events in terms of their eternal significance, leading us toward our true homeland” (CCC 117). If the moral is how should I act? then the anagogical is what does this teach me about my final end, i.e., eternal happiness with God in heaven? Like the moral, the anagogical draws from the allegorical to find types and signs. As St. Thomas observes, the anagogical looks for signs that “signify what relates to eternal glory.” For example, Dante notes that the anagogical lesson of Israel leaving Egypt is the final salvation of “the blessed soul from the slavery of this corruption to the freedom of eternal glory.” The anagogical sense always points us toward our heavenly home. “Ignorance of the Scriptures is ignorance of Christ.” The four senses of Holy Scripture are a gift from our Sacred Tradition to delve deeper into the mystery of the Bible and thus, in turn, into the mystery of Jesus Christ. Interpreting Scripture aright allows us, as Bishop Konderla instructed, to receive the Jesus Christ that entered into history and not manufacture a “Jesus” out of the fads and fashions of our age. The literal, moral, allegorical, and anagogical senses are an invitation to configure ourselves to Jesus Christ and inoculate us against the errors of the present. May we, like Aquinas and Dante, come to love Jesus Christ in the Holy Bible. Check out thegreatbookspodcast.com for more!…
Lying is a sterile act that impedes the purpose of the intellect. Today, Dcn. Harrison Garlick is joined by Sean Berube and Shannon of Catholic Frequency to discuss "Lying as Contraceptive Speech." Dcn. Garlick gives several short talks pulling from Dante's Inferno, the Gospel of St. John, and liberalism with responses from Sean and Shannon from a live recording on X (Twitter). Check out thegreatbookspodcast.com for more help to read the great books! Master Adamo lies a bloated mass of “watery rot.” His amorphous frame bears his diseased paunch and distended limbs, as his lips curl and crack under his parching fever—despite being a waterlogged waste. He lies before Dante the Pilgrim and Virgil and explains how King Minos poured him into the last ditch of the eighth circle of hell. He was a counterfeiter of Florentine florins. He blurred the lines of reality in life and now he lays blurred—a poor counterfeit of his former self. In Dante’s Inferno, the eighth circle of hell is composed of ten ditches populated by flatterers, fortune tellers, deceivers, alchemists, and other fraudulent souls. It is not surprising such souls suffer eternal torment, but it is surprising that Dante the Poet has them suffer with greater severity than murderers or the lustful. Why, for example, would a flatterer suffer a worse fate in hell than Attila the Hun? Why would an alchemist merit greater suffering than Cleopatra or Achilles? The structure of hell, as presented by Dante the Poet, moves from the lesser sins of incontinence—lust, greed, prodigality, etc.—to the greater sins of malice: violence and fraud. For Dante, fraud is more perverse than violence, because it represents an abuse of that which is highest in man: the intellect. The suffering of Master Adamo invites us to three considerations: first, how acting contrary to reason creates a counterfeit anthropology; second, how the intellect suffers when it satiates on untruth; and third, how lying is an act of sterility that leads to a superficial embrace of reality. It will remain, however, to question who is to blame for these unrealities becoming culturally normative, and the steps we must take to purge our imaginations of these counterfeits of Creation... Check out the article that inspired this podcast on the Josias: Our Contraceptive Speech .…
The frozen heart of hell. Today, Dcn. Harrison Garlick is joined by Mr. Evan Amato to discuss the frozen wastes of the 9th Circle of Hell - the damned guilty of treachery (or complex fraud). Check out thegreatbookspodcast.com for other great books to read! A few questions from our guide to Dante's Inferno: 78. What happens in the ninth circle of hell: Treachery (Complex Fraud) (Canto 34)? Pressing onward, Virgil leads the Pilgrim to “Judecca”—named after Judas Iscariot—in which those souls that have betrayed their benefactors or their lords are frozen completely in the ice. [1] The Pilgrim notes the distorted figures, saying: “To me they looked like straws worked into glass.” [2] Finally, the Pilgrim sees the gigantic figure of Satan. The figure of Lucifer, the arch-traitor against his Benefactor and Lord, God, is frozen in the ice to the waist as his six bat-like wings eternally beating—thus, causing the wind that freezes all in the pit of hell. [3] The Pilgrim observes, Satan, who has three faces on his head, “wept from his six eyes, and down three chins were dripping tears mixed with bloody slaver.” [4] Each one of Satan’s faces bears a distinct color—red, yellow, and black—and in each mouth Lucifer “crunched a sinner.” [5] In the mouth of the central red face, Judas, who “suffers most of all,” and is inserted headfirst. [6] The other two souls are inserted legs first and they are Brutus in the black face—“see how he squirms in silent desperation”—and Cassius in the yellow face." [7] Bringing their journey to an end, Virgil, with the Pilgrim on his back, first climbs down the hairy shanks of Satan, and second, after passing the center of the earth, climbs up the legs of Satan. [8] Heading out toward the Mount of Purgatory, the Pilgrim and Virgil exit the earth and behold the stars in the sky. [9] 79. Why does Dante the Poet use ice to describe the bottom of hell? In Aristotle’s Metaphysics , when he must answer how does the Unmoved Mover move all things if the Unmoved Mover does not move, he answers: love ( eros ). God is Pure Act, and all things are drawn to him by love—in other words, though unmoved himself, he is the source of all movement in the cosmos. As such, the pit of hell would be the furthest from God; thus, evil, as a type of anti-movement and anti-love finds a poetic home in the imagery of ice. Furthermore, evil is a privation of the good. Evil is not something real but rather something unreal, a lack. Evil is like a hole in the ground or like darkness is to light. Similarly, evil is like cold is the heat. Coldness is not necessarily real per se but is rather the absence of heat. Evil is the absence of good. As such, ice again makes a good image of evil and a fitting pit to a hell structured according to love. 80. Why is the betrayal of family a lesser sin than that of country or political party? In the ninth circle, we see betrayal of family come before betrayal of a political body or party. Again, one turns to Dante the Poet’s understanding of the common good to order these sins. Things can be ordered according to execution or being. In the order of execution, a chair, for example, would have its parts come first. The leg is made prior to the chair. Here, the family comes before the polis or political body (“state” in modern terms), and would thus seem more important. However, in the order of being, the leg only comes into existence for the sake of the chair—the part for the sake of the whole. Similarly, the family comes into existence for the sake of the polis, and the polis is the common good in which all the parts participate. Without a chair, there is no purpose for the leg. Similarly, no family is autonomous and must participate in the community. 81. How is hell an act of mercy? No matter how horrific the contrapasso is for a sinner, even Judas, it is a mercy. The finite creature can never truly bear the punishment for its sin against the infinite God. How can the finite make amends for an injustice against an infinite good? The just punishment for rejecting God is not bearable by man. All of hell is tempered by mercy and less than what man deserves for his sin. [...] Congrats! You have finished the Inferno . Check out thegreatbookspodcast.com for more great books to read! You can read the Iliad , the Odyssey , Hesiod’s Theogony , and Aeschylus’ Oresteia with Ascend. Podcasts are all posted and written guides are available on our Patreon page. If you formed a small group for Lent to read Dante’s Inferno , keep meeting together. Pick a new text, maybe the Iliad , and read it together. Ascend will continue with the Greek plays in first half of 2025 with studies into Aeschylus, Sophocles, Euripides, and Aristophanes, and we will start to study Plato in the early fall of 2025. We plan to read Dante’s Purgatorio for Lent in 2026. You can read the great books with Ascend! [1] Musa, 384; the contrapasso of the Ninth Circle of Hell may be, as Musa states, “the gelid abode of those souls in whom all warmth of love for God and for their fellow man has been extinguished.” Musa, 384. It is worth noting that in each region of Cocytus, the sinners are frozen deeper into the ice: in Caina, they are frozen to their waists; in Antenora, they are frozen to the chin; in Tolomea, they are frozen with their faces upward; and in Judecca, they are completely frozen. Also note that Lucifer, the arch-traitor, is the cause of everything being frozen. [2] XXXIV, 12. [3] Musa, 384; [4] XXXIV, 53-4; Musa notes that the three faces are first and foremost another tripart and hellish distortion of the Holy Trinity, see Musa, 384. [5] XXXIV, 55; for colors, XXXIV, 37-45; Musa adds, “Highest Wisdom would be opposed to ignorance (black), Divine Omnipotence by impotence (yellow), Primal Love by hared or envy (red).” Musa, 385. [6] XXXIV, 61, cf. 62-3. [7] XXXIV, 66, cf. 64-9; while Judas betrayed Christ, Brutus and Cassius betrayed Julius Caesar, representing treason against the Church and the State (Empire). See, Musa, 385. [8] See XXXIV, 79-81; Musa, 385-87. [9] See Musa, 387.…
We finish the 8th Circle of hell! Dcn. Harrison Garlick and Dr. Donald Prudlo of the University of Tulsa discuss pits 8-10 of the 8th Circle of Dante's Inferno (Cantos 26-31). Dr. Prudlo is an incredibly talented Catholic scholar! You'll want to hear what he has to say - especially about Odysseus, Troy, and the Garden of Eden. Visit thegreatbookspodcast.com for more resources! From our guide: 64. What happens in the eighth ditch (Cantos 26-27)? Overlooking the eighth ditch, the Pilgrim and Virgil view the punishment of those souls King Minos found guilty of deception or evil counsel. [1] The Pilgrim sees columns of flames, and Virgil explains, “there are souls concealed within these moving fires, each one swathed in his burning punishment.” [2] Dante the Pilgrim observes a “flame with its tip split in two,” to which Virgil explains the flame contains the souls of both Ulysses and Diomedes. [3] The contrapasso of the eighth bolgia is that these deceivers burn as tongues of flame just as their tongues in life brought forth pain and destruction. [4] Moving on, the Pilgrim and Virgil meet another soul, Guido da Montefeltro, “a soldier who became a friar in his old age; but he was untrue to his vows when, at the urging of Pope Boniface VIII, he counseled the use of fraud in the pope’s campaign against the Colonna family. He was damned to hell because he failed to repent of his sins, trusting instead in the pope’s fraudulent absolution.” [5] Virgil and the Pilgrim press on, where, coming to the ninth ditch, they see “those who, sowing discord, earned Hell’s wages.” [6] 65. Does fire have a special role in the Inferno ? Given its name, most expect fire to be the normative punishment of the Inferno —but it is not. The question is whether the role fire does play has a special pedagogical purpose. Dr. Prudlo sets forth that fire, especially as seen here as “tongues of fire,” represents an “anti-Pentecostal sin.” Fire plays a role in the punishment of the blasphemers, sodomites, usurers, simonists, and false counselors. Fire, as Dr. Prudlo notes, is the “most noble element in Dante’s world,” and it plays a certain “refined punishment” in the Inferno . It seems to signify a certain “unnatural abuse” within the sin, an “abuse of some special gift that God has given us.” The role of fire in the Inferno merits further consideration. 66. Is there a special relation between Ulysses (Odysseus) and Dante? Dante the Poet arguably has a certain fondness for Ulysses. As Dr. Prudlo observes: “genius untethered to virtue is one of the most dangerous things that can possibly exist.” Dante the Poet and Ulysses are both geniuses. Yet, Ulysses cannot find rest upon returning to Ithaca—the question for knowledge calls him away from his wife, son, and kingdom to journey out into unknown Ocean. He sails passed the Pillars of Heracles, which mark the boundaries of mortal men, and, upon seeing Mount Purgatory, God strikes his ship and all lives are lost. Dr. Prudlo remarks that where Ulysses attempted to make it to Mount Purgatory despite God, Dante the Pilgrim will make it to Mount Purgatory with God. Ulysses appears as a warning to Dante the Pilgrim—the dangers of genius without virtue. 67. How is the fall of a Troy a secular original sin? The fall of Troy is the original sin within the Roman mind. As Dr. Prudlo sets forth, for the Romans, the Trojan horse was the deception, the original sin, that led to the fall of Troy. Ulysses, the deceiver, is, as Dr. Prudlo notes, a type of anti-Aeneas. Whereas Aeneas tries to save his family in the fall of Troy, Ulysses abandons his. The escape of Aenaes from Troy to eventually found Rome, as described by Virgil in his Aeneid , is a type of felix culpa or “happy fault” that came about from the fall of Troy. From the fall of Troy, Rome is allowed to rise. Check out thegreatbookspodcast.com for more! [1] The sin punished in the eighth bolgia has been traditional thought to be “evil counsel,” but, as the notes below explain, it is probably more likely for the sin to be deception or evil rhetoric. Most notably the souls in the eighth and ninth bolgia are referred to as “like filth,” denoting a special disgust against these sins by Dante the Poet. See Musa, 313-14. [2] XXVI, 47-8. [3] XXVI, 52, 55. [4] cf. Musa, 313-14. [5] Musa, 315; the fraudulent absolution here is that it was offered before the friar committed the sin. The friar, a victim of fraud, then engages in fraud via deception or evil rhetoric. [6] XXVII, 136.…
Seducers, Flatterers, Sorcerers, and more! Dcn. Harrison Garlick is joined by Noah Tyler, CFO of the Classic Learning Test, and Gabriel Blanchard, a staff writer for CLT, to discuss the first part of the 8th Circle: Simple Fraud (Cantos 18-25). Check out thegreatbookspodcast.com for more information. Check out our written GUIDE to Dante's Inferno: 80+ Questions and Answer . FROM THE GUIDE: 53. What happens in the Eighth Circle of Hell: Simple Fraud (Canto 18) The Eighth Circle of Hell holds the souls of those King Minos found guilty of simple fraud and is composed of “ten stone ravines called Malebolge (Evil Pockets), and across each bolgia is an arching bridge.” [1] Each of the ten bolgias (pits, ditches, pockets, etc.) is filled with souls guilty of a different species of simple fraud: (1) panders and seducers (2) flatters (3) simoniacs (4) sorcerers (5) barrators (6) hypocrites (7) thieves (8) deceivers (9) sowers of discord and (10) falsifiers. Each bolgia in Malebolgia exhibits a different contrapasso . 54. What happens in the first ditch (Canto 18)? After leaving Geryon, the Pilgrim observes the souls in the first ditch. Here, “two files of naked souls walked on the bottom” with each line walking a different direction. [2] The Pilgrim also notes, “I saw horned devils with enormous whips lashing the backs of shades with cruel delight.” [3] The souls here are pimps or panders in one line and seducers in the other. Notably, Dante the Pilgrim sees Jason the Argonaut suffering amongst the seducers. [4] Notice, however, that these seducers are not those who fell into passion, like Francisca, but rather those who act with malice to deceive others. It is the malice of malevolent nature of these sins that distinguish them from the incontinent sins. 55. What happens in the second ditch (Canto 18)? Leaving the first bolgia (ditch), the Pilgrim and Virgil come upon the souls of the flatters suffering in the second ditch. The Pilgrim observes, “Now we could hear the shades in the next pouch whimpering, making snorting grunting souls… from a steaming stench below, the banks were coated with a slimy mold that suck to them like glue, disgusting to behold and worse to smell.” [5] Here, grunting in a ditch of excrement, are the flatterers. The contrapasso of the second ditch invites a stark juxtaposition between the honeyed words of flattery and the sordid reality of their deception. The Pilgrim makes this quite evident in his observation of Thais: “that repulsive and disheveled tramp scratching herself with shitty fingernails, spreading her legs while squatting up and down.” [6] Repulsed by Thais, Virgil and the Pilgrim move on. It should be noted, however, that this flattery is a malicious flattery intended to deceive. 56. How is flattery a worst sin than lust, murder, or suicide? Recall that hell is structured according to three general areas: incontinence, violence, and fraud. Though violence and fraud are malevolent, fraud is worse because it is a greater corruption of the intellect. In general, the corruption of the best is the worst. The higher the angel, the greater the demon it becomes. As such, fraud, for Dante, is the greater than incontinence or violence, because fraud is the corruption of what makes us uniquely human: reason. Truth is the conformity of the mind to reality, and our intellect is an appetite that seeks truth. A person who uses his or her intellect to deceive others uses it for an unnatural purpose. It is a disorder of what is most divine in us. As such, the category of fraud is the worst sin, and within fraud, those who betray natural bonds of love are the worst; therefore, in the ninth circle, we will see fraud against those people held natural bonds of love, e.g., family, country, guests, and benefactors. Visit thegreatbookspodcast.com for more!…
We enter the circle of violence. This week Dcn. Harrison Garlick is joined by Fr. Thomas Esposito, O. Cist., a Cistercian priest who teaches at the University of Dallas, to discuss the seventh circle of Dante's Inferno: (1) violence against neighbor (2) violence against self and (3) violence against God & nature. Check out our website for more info: thegreatbookspodcast.com . Check out our 80+ Question and Answer Guide to the Inferno. From the guide: 43. What happens in the Seventh Circle of Hell: Violence Toward Neighbor (Canto 12)? As Virgil and the Pilgrim press on toward the Seventh Circle of Hell, Virgil explains the topography of hell. The City of Dis marks the transition from upper hell to lower hell, while the Seventh Circle of Hell marks the beginning of the sins of violence (represented by the lion in the dark woods in Canto 1). Virgil explains, “violence can be done to God, to self, or to one’s neighbor.” [1] Next, Virgil explains there are two types of fraud. First, there is the “simple fraud” of the second circle of lower hell, the Eight Circle of Hell overall, in which “hypocrites, flatters, dabblers in sorcery, falsifiers, thieves, and simonists, pander, seducers, grafters, and like filth” are punished.” [2] Second, there is “complex fraud" of the final circle of hell, the Ninth Circle, in which are punished traitors who betrayed the “love Nature enjoys and that extra bond between men which creates a special trust.” [3] Virgil and the Pilgrim enter into the Seventh Circle of Hell, which is guarded by the Minotaur—a half-man and half-bull creature from classical mythology known for its undying rage. [4] With the Minotaur consumed by its own anger, Virgil and the Pilgrim continue on and come upon a great “river of blood that boils souls of those who through their violence injured others”—known as the Phlegethon. [5] The contrapasso is made more severe by herds of centaurs galloping along the bloody riverbanks and shooting with arrows at “any daring soul emerging above the bloody level of his guilt.” [6] As the Pilgrim observes, the souls are sunk in a river of blood to a depth commensurate with their violence: the tyrants, such as Alexander, Dionysius, and Attila, who “dealt in bloodshed and plundered wealth” are sunken to their eyelids; the murders who dealt in bloodshed are sunk up to their throats; and the rest of the violent are sunk to various lesser degrees. [7] Musa notes, “the sins of violence are also the Sins of Bestiality,” and the bestial and violent nature of these sins are seen in the theme of half-animal and half-human creatures: the furies on the walls of the City of Dis, the Minotaur whose very enraged existence spawned from an act of bestiality, and the centaurs who were known in classical mythology for violence and rape. [8] 44. What else should be noted about the first area of the seventh circle? Lower hell is characterized by sins of malice, and Fr. Thomas offered malevolent as another good descriptor of these sins: an evil willing. Fr. Thomas suggested that the Minotaur and the centaurs serve as bridges between incontinence and violence, as, for example, the centaurs are usually violent to satiate an incontinent desire, i.e., lust. Again, what is the distinction between the sin of violence and the sin of wrath? The latter is one of incontinence, while the former is one of malice—and the former is one that has an external action, i.e., harm. Fr. Thomas posits it may also be possible to be violent without being wrathful, i.e., some cold and calculated act of violence not committed out of passion. Check out our guide for more!…
Today, we finish lower hell. Dcn. Harrison Garlick is joined by Dr. Jason Baxter of Benedictine College to discuss cantos 6-11 of Dante's Inferno. Check out thegreatbookspodcast.com for other great books! Check out our Patreon for our 80+ Question & Answer guide to the Inferno. From our guide: 27. The Third Circle of Hell – Gluttony (Canto 6) Musa explains the third circle and the contrapasso , “the shades in this circle are the gluttons, and their punishment fits their sin. Gluttony, like all the sins of incontinence, subjects reason to desire; in this case desire is a voracious appetite. Thus, the shades howl like dogs—in desire, without reason; they are sunk in slime, the image of their excess. The warm comfort their gluttony brought them in life here has become cold, dirty rain and hail.” [1] The beast Cerberus—a “three-headed doglike beast”—dwells in the third circle. [2] The beast both represents the sin of gluttony through its own immense appetite and further punishes those shades in the third circle as he “flays and mangles” the shades of that circle. [3] Musa also notes “with his three heads, he appears to be a prefiguration of Lucifer and thus another infernal distortion of the Trinity.” [4] On their way toward the fourth circle, Dante the Pilgrim asks Virgil whether the punishment of the souls in hell will be increased or lessened on the Final Judgment. [5] Virgil explains that the pain of those in hell will be “more perfect” after the Final Judgment, as the souls in hell will be reunited with their bodies after the bodily resurrection. [6] 30. The Fourth Circle of Hell – the Prodigal & Miserly (VII) As Virgil and the Pilgrim enter into the fourth circle of hell, they are greeted by Plutus (Pluto), the Roman god of wealth, who speaks incoherently and whom Virgil dismisses by calling him “cursed Wolf of hell.” [1] The reference to “wolf” recalls the she-wolf at the beginning and reminds the reader the Pilgrim is still journeying through the circles of sins related to incontinence. Here the Pilgrim sees shades “to the sound of their own screams, straining their chests, they rolled enormous weights, and when they met and clashed against each other… screaming ‘Why hoard?,’ the other side, ‘why waste?’” [2] The Pilgrim sees the contrapasso of the miserly and the prodigal, who, forming two semi-circles, push their heavy weights (symbolizing their material wealth) and shove against each other (as their disordered uses of wealth were opposite). [3] Virgil teaches the Pilgrim about Lady Fortune, who serves as an angel of God determining the fortunes of men and nations. [4] Note that Lady Fortune is often depicted with a wheel, and that this circle of hell resembles a giant broken wheel of the shades that mismanaged their fortune. [5] 34. What happens in the Fifth Circle of Hell: the Wrathful & Slothful (Cantos 7-8)? Virgil and the Pilgrim leave the broken wheel of the fourth circle and come upon “a swamp that has the name of Styx.” [1] The river Styx, the sordid marsh-like second river of hell, serves as the fifth circle. Here, the Pilgrim sees “muddy people moving in that marsh, all naked, with their faces scarred by rage,” who “fought each other, not with hands alone, but struck with head and chest and feet as well, with teeth they tore each other limb from limb.” [2] These are the wrathful souls, “the souls of those that anger overcame,” who are punished alongside another group of souls who lay face up under the murky surface. [3] The identity of these souls is debated. [4] The souls beneath the surface, “who make the waters bubble at the surface,” say to the Pilgrim: “sluggish we were in the sweet air made happy by the sun, and the some of sloth was smoldering in our hearts; now we lie sluggish here in this black muck.” [5] The best take is that these souls represent slothfulness or acedia ; thus, the fifth circle, like the fourth, has two related sins in the same circle: wrath (excess) and acedia (deficient). [6] Virgil and the Pilgrim cross the river Styx with the help of the boatman, Phlegyas, a wrathful son of Mars from Roman mythology. [7] As they cross the river, a wrathful soul rises up and is rebuked by Dante the Pilgrim in stanch contrast to the pity he showed the sinners in the second and third circles. [8] Dante rebuking the sinner and remembering it fondly shows more of an alignment with the Divine Will than pitying them. Check out our guide for more questions and answers ! Good work!…
Dante approaches the gates of hell! Dcn. Harrison Garlick is joined by Dr. Jennifer Frey, the Dean of the new Honors College at the University of Tulsa, and Dr. Jessica Hooten Wilson, the Fletcher Jones Chair of Great Books at Pepperdine University, to discuss cantos 2-5 of Dante's Inferno. Check out thegreatbookspodcast.com . Check out OUR GUIDE to Dante's Inferno: 80+ Questions and Answers . 13. What happens in the Vestibule of Hell (Cantos 2-3)? The narrative of the Dark Woods in Canto 1 is arguably the introduction to the entire Divine Comedy, and as such, Canto 2 serves as the introduction to the first volume or canticle, the Inferno . [1] Note that Dante begins the Canto by invoking the Muses, which was common in the “classic epic tradition.” [2] The Canto explains that the Virgin Mary took pity on Dante, and she told Saint Lucia to help him. St. Lucia then asked Beatrice, a soul in heaven who knows Dante, to help Dante; Beatrice then went into hell and asked Virgil to be Dante's guide. [3] Whereas the three beasts of Canto I represent the threefold structure of hell, the three ladies of Canto 2 represent grace. [4] His heart emboldened, Dante and Virgil enter the “deep and rugged road” and arrive at the gate of hell. [5] The inscription of the gate reads: I AM THE WAY INTO THE DOLEFUL CITY / I AM THE WAY INTO ETERNAL GRIEF, / I AM THE WAY TO A FORSAKEN RACE. JUSTICE IT WAS THAT MOVED MY GREAT CREATOR; / DIVINE OMNIPOTENCE CREATED ME, / AND HIGHEST WISDOM JOINED WITH PRIMAL LOVE. BEFORE ME NOTHING BUT ETERNAL THINGS / WERE MADE, AND I SHALL LAST ETERNALLY. / ABANDON EVERY HOPE, ALL WHO ENTER. [6] Upon passing through the gates, the Pilgrim hears the “sighs and cries and shrieks of lamentations echo[ing] throughout the starless air of Hell.” [7] Virgil and the Pilgrim enter into the Vestibule of Hell, which is populated by souls who lived a lukewarm life with “no blame and no praise,” and by the angels who at Lucifer's great rebellion remained undecided. [8] Here, Dante the Poet introduces the concept of contrapasso , i.e., “the just punishment of sin, effected by a process either resembling or contrasting with the sin itself.” [9] In the Vestibule, the contrapasso for the souls and angels who lived undecided is to eternally march after a banner. [10] Amongst “great a number,” the Pilgrim sees the shade of the “coward who had made the great refusal.” [11] While there are many interpretations, “perhaps it is most likely that this shade is Pontius Pilate, who refused to pass sentence on Christ.” [12] Virgil and the Pilgrim come to the river Acheron where they are ferried across by the demon Charon—“the boatman of classical mythology who transports the souls of the dead across the Acheron into Hades.” [13] As they cross the Acheron, a mighty wind blows against the Pilgrim and he swoons—a literary device that serves to close a narrative and introduce another. [14] 14. How is Dante the Pilgrim going on a hero’s journey? The tradition presents many heroes who have adventured down into the underworld and returned, including Heracles, Odysseus, and Aeneas. Dr. Wilson notes that while Dante the Pilgrim will also travel into the underworld, he does not do so as a hero in the classical sense. Dante the Pilgrim is weak and spiritually malformed. He undergoes his journey for the sake of his own formation and spiritual maturation. As Dr. Frey observes, the movement of Providence is evident in these cantos, as everyone is sent: the Blessed Virgin Mary sends St. Lucy, St. Lucy sends Beatrice, and Beatrice sends Virgil. Ultimately, Dante the Pilgrim is sent into hell. 16. Who is Beatrice? When he was a child, he first saw the young girl Beatrice when she was eight or nine years old. He is said to have fallen in love with her, though it is not clear that he even spoke to her until several years later. When he was a child, Dante was promised in marriage to another, but Beatrice—whom he never seems to have known well—remained his muse. He wrote courtly love poems about her and her beauty. She died in AD 1290. In his Comedy , whereas Virgil represents human reason unaided by grace, Beatrice will represent grace and beauty. Her beauty becomes an icon of God’s beauty calling Dante the Pilgrim’s soul down through hell and up through purgatory. Dante the Pilgrim will have to learn how to allow this love for the beauty of Beatrice to perfect into a love for the beauty of God. 18. What is a contrapasso ? With the lukewarm souls that both heaven and hell reject, the reader is introduced to the concept of the contrapasso . In sum, each punishment of the damned is tailored to their particular sin and this tailoring always has a pedagogical purpose. For example, here the lukewarm, who stood for nothing in life, are forced to march behind a banner for all eternity. The contrapasso reveals something about the nature of the sin punished, which is then catechetical for the reader. Note, as Dr. Frey observed, that the lukewarm are harassed along by insects or rather the source of their movement is external to them. The lukewarm lack the inner capacity to move, just as they did in life. 22. The First Circle of Hell – Limbo (Canto 4) The Pilgrim awakes, and Virgil leads him into the First Circle of Hell. The Pilgrim hears “the sounds of sighs of untormented grief” of “men and women and of infants.” [18] The circle is known as Limbo and is populated by naturally virtuous non-Christians and by unbaptized infants. As Virgil states: “But their great worth alone was not enough, for they did not know Baptism, which is the gateway to the faith you follow.” [19] The contrapasso of Limbo is that the virtuous souls live out eternity in a paradise devoid of the Beatific Vision. Like themselves, it is naturally good but lacks the grace of God. Dante the Poet equates Limbo with Sheol or Abraham's Bosom in the Old Testament; thus, Virgil tells him of “a mighty lord” who entered Limbo—Christ's Harrowing of Hell—and liberated Adam, Abel, Noah, Moses, Abram, David, Israel, Rachel, and “many more he chose for blessedness.” [20] Dante sees many famous Greek and Roman poets in Limbo, which in turn greet Dante as a fellow poet. [21] The Pilgrim approaches a castle in Limbo and “the inhabitants of the great castle are important pagan philosophers and poets, as well as famous warriors.” [22] Most notably, the Pilgrim sees Aristotle, the “master sage,” to whom “all pay their homage.” [23] He is sitting with his “philosophy family” with Socrates on one side and Plato on the other. [24] For Dante the Poet, “Aristotle represented the summit of human reason, that point that man could reach on his own without the benefit of Christian revelation.” [25] In fact, “with the exception of the Bible, Dante draws most often from Aristotle.” [26] Virgil and the Pilgrim leave the great castle and approach the “place where no light is.” [27] 25. The Second Circle of Hell – Lust (V) Virgil and the Pilgrim come upon King Minos, the judge of Hell. In classical literature, King Minos “was the son of Zeus and Europa” and “as the king of Crete he was revered for his wisdom and judicial gifts.” [28] In Virgil's Aeneid , King Minos serves as the “chief magistrate of the underworld,” and Dante the Poet retains this classic notion; however, in the Inferno , King Minos has certain bestial qualities, most notably a tail, which, after the “evil soul appears before him, it confesses all,” wraps around himself and throws them in the corresponding circle of hell. [29] For example, King Minos would wrap his tail twice around himself for a shade condemned to the second circle of hell. Virgil and the Pilgrim continue and come upon an “infernal storm, eternal in its rage” blowing thousands of souls around in the wind. [30] The contrapasso of the lustful souls who “make reason slave to appetite” is to be blown around and battered by a great wind—just as they allowed their reason to be blown around by their passions. [31] Here, the Pilgrim sees Cleopatra, Helen, Achilles, Paris, Tristan, and others. [32] The Pilgrim speaks to two souls buffeted by the winds: Francesca da Rimini and Paolo. It is in the Second Circle of Hell that Dante the Pilgrim’s pity is shown as disordered and contrary to the Divine Will, as he falls prey to the rhetoric of Francesca. [33] As she tells the story of her life that led her to the Second Circle of Hell, the Pilgrim is moved toward pity: “Francesca, the torment that you suffer brings painful tears of pity to my eyes.” [34] The Pilgrim's journey through hell will have several such encounters in which the Pilgrim will need to discern the true nature of sin and comprehend the divine justice that placed the soul there. [1] Id., 77-9. Canto 1 as an introduction to the whole Comedy is further evidenced by the fact the Inferno as 34 cantos, while Purgatorio and Paradiso have 33 each. The extra canto in the Inferno is an introduction to the whole. Dr. Wilson also noted that canto 1 is the introduction of Dante the Pilgrim, while canto 2 is the introduction of Dante the Poet. [2] Id., 84, noting that similar invocations will be made at the beginning of the Purgatory and the Paradise . [3] The Blessed Mother taking “pity” on Dante begins a “major motif of the Inferno ,” which plays an important part in the “education of the Pilgrim.” Musa, 83, ln. 5. [4] Id., 85-6. [5] Canto II, ln. 142. [6] Canto III, lns. 1-9. Note the inscription above the gate mentions omnipotence, wisdom, and love—a triad formula that has been interpreted as “the gate of Hell was created by the Trinity moved by Justice.” Musa, 93, ln. 5-6. Dr. Frey and Dr. Wilson note that “through me” not “I am” is a better translation. [7] Canto III, ln. 22-3. [8] Canto III, ln. 36, see also 40-42 on angels. [9] Musa, 94, ln. 52-69. [10] Id., Canto III, lns. 52-57. The belief that there were neutral angels that would not choose to follow God or Satan seems to be a narrative of Dante’s own invention. [11] Canto III, ln. 60. [12] Musa, 95, ln. 60. [13] Canto III, lns. 78, 94; Musa, 95. [14] Musa, 96, ln. 136. [15] See Esolen, 423-24. [16] Esolen, 19. [17] Esolen, canto 3, ln. 103. [18] Canto IV, lns. 28, 30. [19] Canto IV, lns. 34-6. [20] Canto IV, lns. 52-63. [21] Musa, 103, lns 91-93. [22] Musa, 204; lns. 112-44; along with virtuous Greek and Romans, Dante includes three virtuous medieval Muslims, i.e., the warrior Saladin, and two Islamic commentators on Aristotle: Avicenna and Averroes. See Musa, 106-108. [23] Canto IV, lns. 130-35. [24] Canto IV, lns. 132, 134. [25] Musa, 106; ln. 131. [26] Id. [27] Canto IV, ln. 150. [28] Musa, 114-15, ln. 4. [29] Canto V, lns. 4-12. [30] Canto V, lns. 31-33. [31] Canto V, lns. 31-39. [32] Canto V, lns. 55-69. [33] Musa, 114. Dr. Wilson makes a comparison between Paolo and Francesca reading a book and falling into lust, with St. Augustine taking up and reading Scripture to be delivered from lust in the Confessions . Similarly, Dr. Frey posits that Dante the Poet could be acknowledging that poetry can lead people into sin, especially the courtly love poetry popular at the time. Possible Dante the Pilgrim fainting is him realizing his courtly love poetry could lead to a soul being condemned for all eternity. [34] Canto V, lns. 116-17; in the fourth circle, see Dante's pity for Ciacco (Musa, 126, ln. 59); Francesca is in hell for lust, for seduction, and in telling her tale, she seduces Dante the Pilgrim. She is still practicing the sin for which she was condemned.…
We are reading the Inferno together! Dcn. Harrison Garlick is joined by Dr. Jeremy Holmes of Wyoming Catholic College to give an introduction to Dante's Inferno and discuss the first canto. Visit thegreatbookspodcast.com for more information. Reading Schedule for Lent 2025: Introduction & the Dark Woods 1. Intro & Canto 1 (3.4.25) with Dr. Jeremy Holmes (Wyoming Catholic) Vestibule of Hell, Limbo & Lust 2. Cantos 2-5 (3.11.25) with Dr. Jennifer Frey (TU) and Dr. Jessica Hooten Wilson (Pepperdine). Gluttony, Spendthrift/Hoarders, Wrathful/Acedia & Heretics 3. Cantos 6-11 (3.18.25) with Dr. Jason Baxter of Benedictine College. Violence: Against Neighbor, Self & God 4. Cantos 12-17 (3.25.25) with Fr. Thomas Esposito, O. Cist., of the University of Dallas. Simple Fraud: Pits 1-7 5. Cantos 18-25 (4.1.25) with Noah Tyler, CFO of CLT, and Gabriel Blanchard, Staff Writer for CLT. Simple Fraud: Pits 8-10 6. Cantos 26-31 (4.8.25) with Dr. Donald Prudlo (TU) Complex Fraud: The Traitors 7. Cantos 32-34 (4.15.25) with Evan Amato. Questions from our Reader's Guide: What is the Divine Comedy by Dante Alighieri? The Divine Comedy (or the Comedy as Dante called it) tells the story of Dante the Pilgrim’s penitential journey through hell, purgatory, and heaven in three volumes or canticles: Inferno , Purgatorio , and Paradiso . It is called a comedy in the classical sense of ending well, as opposed to tragedy which ends poorly. Dante the Poet masterfully weaves together Holy Scripture, Greco-Roman mythology, Aristotle, Roman history, St. Thomas Aquinas, and more to present the reader an excellent map of the human soul and its loves. “It is the Summa Theologiae in poetry,” says Dr. Prudlo, “and I think it's one of the greatest, greatest achievements, single achievements by a human being that's ever been attained.” What is the Inferno ? The Inferno tells of Dante’s pilgrimage through hell alongside his pagan guide, the Roman poet Virgil. The Inferno is less an eschatological treatise attempting to explain the actual geography of hell and more a moral tale on the reality of human desire and the soul. It not a mystical vision akin to St. John’s Revelation or the ecstasies of St. Teresa of Avila. As such, Dante the Poet will place mythological characters in hell, like the three-headed dog Cerberus or the Roman god of the underworld, Pluto. The purpose is not literal but pedagogical. In a similar fashion, the placement of a soul in hell, like a Pope Nicholas III or Helen of Troy, is not a eschatological claim of who is actually in hell but a moral one. Everything in the Inferno is intended to instruct us in virtue and the proper rectitude of the soul. Why should we read Dante’s Inferno ? The Inferno is an invitation to examine your soul. Dante the Poet is a master of the soul and its loves. He tears away the acceptable veneer on human desire and exposes the ugly reality of sin and its transformative effect upon the human soul into something imploded and bestial. And Dante the Poet invites the reader to contemplate his or her soul and its loves within an ordered whole. As stated, the Divine Comedy is St. Thomas Aquinas’ Summa Theologiae is poetic form, and Dante the Poet weaves together Holy Scripture, Aristotle, mythology, astronomy, and more into one intelligible cosmos. Reality is intelligible and holds lessons for our sanctification and salvation. We are invited to become students of our own souls by understanding a hell structured around love, the horror of sin, and the ugliness of evil. Dante wants to save your soul, as Dr. Holmes notes. We join ourselves to Dante the Pilgrim, an analogue of humanity, and mature with him throughout his penitential journey. You can read Dante's Inferno with Ascend!…
Dcn. Harrison Garlick is joined by Dr. Frank Grabowski and Mr. Thomas Lackey to discuss the end of the Oresteia, the second part of the Eumenides. Check out thegreatbookspodcast.com . Check out our guide to the Oresteia . The first half of the Eumenides demonstrates Aeschylus’ ability to dramatize philosophical questions. The old system of justice, bound to the Furies’ blood-soaked vengeance, has proven incomplete. The Olympian purity rituals are not a sufficient answer either. Athena’s brilliance is found in pushing the concept of justice forward into a more dispassionate, procedural affair while also discovering how to incorporate the ancient powers. As Lackey notes, “Justice here becomes communal—rooted in reason but enriched by tradition.” The second half of the Eumenides promises a trial that will decide not only Orestes’ fate but that of justice itself. The second half of Eumenides begins with a dramatic shift in scene. Athena elects to conduct the trial at the Areopagus also known as the “Crag of Ares” or the “Hill of Ares.” It is a mythical place of justice, as it bears its name from when Ares was accused of murder and tried there by the gods. It is a place of divine judgment. It was also said to be an ancient place of council for the Athenians. As such, Aeschylus bridges mythology and Athenian politics to create a new myth on the maturation of justice. Overall, the trial allows Aeschylus to bring the contrasts he’s been making throughout the Oresteia into explicit dialogue. The trial begins, and Apollo serves as an advocate for Orestes (582). One wonders whether Agamemnon is helping his son as well (604). Notice the questions from the Furies are reductive and without nuance (591). The Furies again do not recognize the murder of a spouse as meriting their vengeance (611). Apollo appeals to the authority and power of Zeus (626), and one wonders whether justice here is reducible to the will of he who has the most power. The Furies makes the clever argument that even Zeus shackled his own father, Cronos (648), and Apollo retorts that Cronos could be unchained—he was not murdered (655). Next up we are reading Dante's Inferno for Lent! Then we'll return to the Greek plays to read Prometheus Bound by Aeschylus.…
Dcn. Harrison Garlick is once again joined by Dr. Frank Grabowski and Mr. Thomas Lackey to discuss the first part of the Eumenides, the third play in Aeschylus' Oresteia. Check out thegreatbookspodcast.com for more information. Check out our written guide to the Oresteia. The final play of Aeschylus’ Oresteia , The Eumenides , sets forth the transformation of justice from the familial mechanics of the blood avenger to a more mature procedural justice set within the polis. It is a story of civilizational maturation. Whereas Agamemnon and the Libation Bearers dealt with the house of Atreus, the Eumenides deals with Athens—a movement from family to polis in consideration of justice. The first half of the Eumenides establishes the groundwork for the plays central conflict: the trial of Orestes with the Furies and Apollo vying against each under with Athena as the judge. The play seeks to find a resolution between two warring worldviews: the more primordial justice of the Furies and the more rational Olympian sensibilities represented by Apollo. What is brought forth by Athena is a new answer to the question: what is justice? To the degree her answer is new, however, is a topic to discuss. Lean more by checking out our guide !…
Dcn. Harrison Garlick, Mr. Thomas Lackey, and the Adam Minihan come together to discuss the second part of the Libation Bearers, the second play in Aeschylus' Oresteia. Visit thegreatbookspodcast.com for guides and more information. Support us on Patreon and get access to guides! The second half of the Libation Bearers moves decisively toward the climax of Orestes’ role as blood avenger, culminating in the deaths of Clytemnestra and Aegisthus. He will enact the justice that is demanded, and in turn be guilty of murdering his own blood—his mother. As Adam observed, “Orestes is both hero and victim.” This tangled question of justice—whether Orestes can fulfill his father’s demand without succumbing to his mother’s curse—creates the tension from which Aeschylus will bring forth a narrative not in Homer—the third part of the triad, the Eumenides . I. Orestes’ Plan: Vengeance Under the Guise of Guest Friendship (634) Orestes arrives at the house of his father disguised as a stranger (634). Notice, however, that the dynamics of xenia in this scene are subtly off-kilter from the start. First, no one is answering the door (636). Second, the porter asks the stranger for his name (639), an immediate breach of Homeric norms in the Iliad and Odyssey where hospitality was always extended before the host asks who the guest is. The cultural norm of guest-friendship being poorly shown by the house of Clytemnestra and Aegisthus is a subtle sign that the house is disordered and unhealthy. Like Odysseus, Aeschylus has Orestes come home in disguise and lie about his identity (556). Thomas noted the complexity and methodical planning of Clytemnestra’s murder of Agamemnon juxtaposed with the simplicity of Orestes’ plan of revenge. A key part of this deception is his claim that he, Orestes, has died, a declaration that seems unnecessary for his mission (665). Why does Orestes tell them he’s dead? One answer could be another parallel Aeschylus is making with the Odyssey : like Odysseus the beggar testing the loyalty of those in Ithaca prior to his reveal, so too is Orestes using news of his death to test those in the palace at Argos. In other words, he can observe who shows true despair at the news of his death—those are his friends in this mission of vengeance. Check out our written guide for more information!…
This week Dcn. Garlick is joined by Mr. Thomas Lackey and the Adam Minihan to discuss part one of the Libation Bearers, the second play in Aeschylus' Oresteia. Check out thegreatbooksdpodcast.com for more resources. Check out our Patreon for a written GUIDE to the whole Oresteia. From our guide: The Libation Bearers presents Orestes as both the hero and the victim. The cycle of violence will both demand his action and condemn it. “The one who acts must suffer,” as Aeschylus observes. The play builds an incredible tension within the current mechanics of justice and primes the audience to desire some lasting resolution—a resolution that will only come in the Eumenides . Aeschylus’ Libation Bearers , the second play in the triad of the Oresteia , places Orestes within the moral tension of lex talionis and its cycle of violence. He is the son who, to avenge his father, must kill his mother, Clytemnestra. Aeschylus presents us with fundamental questions on justice—a primitive justice that demands blood for blood, an eye for an eye. The cycle of violence both demands action and condemns it. What makes the Libation Bearers such an essential and resonant part of the Oresteia is its relentless focus on the mechanics of justice and its interplay between violence and fate. Aeschylus "pushes us to think not only about the relationships in play but about larger moral questions.” Through Orestes’ struggle to fulfill his divine obligation as blood avenger, and through Electra’s own crisis of prayer, the play asks profound questions about the nature of justice. Aeschylus’ beautiful line, "The anvil of justice stands fast... fate beats out her sword" (628), is arguably the moral heart of the play. A tale of pain, justice, and fate. I. Orestes Returns Home (1) The story begins several years after the murder of Agamemnon, when Orestes, now a young man of eighteen or so, secretly returns home from exile. [1] Much of the tragedy lies in understanding Orestes’ difficult situation: to be a blood avenger for his father, he must kill his own blood, his mother. Orestes’ opening monologue invokes Hermes—who fittingly serves as the bridge between the living and the dead (1). The opening invocation to the divine was seen in Agamemnon as well and will be seen again in the Eumenides . The relationship between the living and the dead is a key theme in this play and a perennial question that makes this a great book. It will contain both prayers on behalf of the dead and the intercession of the dead for the living. It is notable that in the absence of having a father, Orestes is presented as a confident, determined figure ready to do the unthinkable. In the Odyssey , he served as the role model for Telemachus, and here we see him lack the timidity and self-doubt that plagued the fatherless Telemachus. It raises the question, however, of who or what shaped Orestes into a character ready to face this grave moral burden? To use a phrase, who was his Mentor? As we will see in the text, as Telemachus had Athena, Orestes had Apollo.... Keep up the good work! [1] Fagles, 305.…
We are reading Aeschylus' Oresteia. This week Dcn. Garlick, Adam Minihan, Thomas Lackey, and Dr. Frank Grabowski discuss part two of Aeschylus' Agamemnon, the second part of the first play of the Oresteia. Check out thegreatbookspodcast.com for more sources. Check out our written guide to the Oresteia. I. Clytemnestra and Agamemnon: Murder, Manipulation & Denial (795) Clytemnestra dominates Agamemnon as a complex figure of cleverness, rage, and manipulation. Upon Agamemnon’s return, she denies him a true homecoming by rolling out the red tapestries and inviting him to walk on them (901). Two main observations on the red tapestries. First, Clytemnestra is literally denying Agamemnon the satisfaction of setting his foot on Argos’s soil. It is a denial of him truly coming home. Compare this denial to the herald who praises the soil of Argos upon his return (493). Second, walking on the tapestries is an act of hubris and impiety. Even Agamemnon states it is an act reserved for the gods (915). It said that the dye needed to make these tapestries would have been incredibly laborious and expensive—and upon walking upon them, they would be ruined. Note also their comparison to streams of blood (903). Clytemnestra is inviting Agamemnon to a prideful, impious, and prodigal act. The invitation should be compared to Agamemnon’s opening lines that praise and give gratitude to the gods (795). Clytemnestra hatred is profound. Her actions reflect years of planning, deep-seated hatred, and extraordinary control over the narrative surrounding the king’s return. She is leading Agamemnon into impiety so that he will die at odds with the divine. It is akin, in Catholic parlance, to leading someone into mortal sin prior to murdering them. It is a supernatural cruelty similar to Achilles intentionally throwing bodies in the river to deny them their burial rites in the Iliad . Agamemnon's behavior in this moment reflects his characteristic weakness. He is effeminate, weak-willed, and impressionable. Clytemnestra is clever and dominative (935). He even states that Clytemnestra is treating him “like a woman” (912). His inability to assert himself as either husband or king leaves him vulnerable to Clytemnestra's intellectual superiority. She remarks: “The power is yours, if you surrender your free will to me,” underscoring how she undermines his authority on every level (939). One should recall the wife of Odysseus, Penelope, the “matchless queen of cunning,” who through her wit and fidelity preserved King Odysseus’ kingdom and herself until his return. One may see Clytemnestra as an evil Penelope—a queen whose wit is turned against her king to his destruction. II. The Chorus and the Tragedy of Cassandra (977) The old men of Argos, the chorus, “huddle in terror” as Agamemnon and Clytemnestra enter the palace. They are afraid and inept. Notice the imagery of a man’s blood wetting the earth and whether it can then sing (1017). It is difficult not to think of the story of Cain and Abel, and how Abel’s blood cried out to God (Genesis 4:10). Clytemnestra reemerges from the palace and attempts to coax Cassandra, the Trojan princess, into the palace. Cassandra is silent, which is expected, as it was tradition only two persons would speak on the stage at a time—and here Clytemnestra and the leader of the chorus are both speaking. As an aside, one of the most comical moments of the entire Oresteia was when Cassandra was revealed (947). Agamemnon steps down from his chariot in front of a wife who hates him only to reveal the young, beautiful Trojan princess. It is a darkly comedic moment in which one imagines the internal hatred churning in Clytemnestra at the sight of Cassandra. Aeschylus plays with his audience’s assumption that Cassandra is not a speaking character. When Clytemnestra goes into the palace, it would have been a surprise enough to have Cassandra speak—but Aeschylus has her scream (1072). As Lackey describes, Cassandra’s scream would have shocked the audience and created a sense of foreboding. Lackey compares the moment to a “jump scare in a horror movie,” emphasizing how unexpected and unsettling it would feel to a Greek audience accustomed to the constraints of the dramatic tradition. Aeschylus draws heavily from the myth of Cassandra. To wit, Apollo, the god of prophecy, desired Cassandra, but in the act of coupling with her, she drew away from him (1213). It is a rare occurrence of the divine act lacking fecundity. As such, Apollo cursed Cassandra with the gift of prophecy, but no one will believe her (1218). The one caveat is that when someone does finally believe her, it will be a sign of her death is imminent (1219). [1] Her prophetic warnings go unheeded, as per her curse, but her vivid descriptions of the family’s blood-soaked history and impending doom deepen the play’s tension. “The house that hates god, an echoing womb of guilt… soil streaming blood,” Cassandra cries, invoking the horrors of Tantalus and Atreus (1088). Aeschylus uses Cassandra to explain the action that will occur offstage, as she describes Agamemnon’s death (1126). Justice in Agamemnon is reduced to cycles of revenge, a primitive form of blood vengeance that sustains violence rather than resolving it. Cassandra herself is tangled in this cycle, a figure of tragic innocence like Iphigenia before her. As Lackey notes, “Cassandra is innocent in so many ways… the most innocent of victims,” and yet she is offered no way out of her fated demise. She is the “last ember” of Troy (1173). One should recall too that in addition to suffering the fall of Troy and the death of her family, Cassandra was raped by little Ajax in the temple of Athena in Troy. It was this evil she suffered that caused Athena to curse the Achaeans with Poseidon’s help during their journey home... Check out our guide, linked above, for more! [1] Fagles, 302.…
Dcn. Garlick, Dr. Frank Grabowski, and Thomas Lackey are reunited to discuss the first part of Agamemnon, the first play in Aeschylus' Oresteia. Check out thegreatbookspodcast.com for more information. From our written guide available to our supporters: The first play of the Oresteia tells of the homecoming of Agamemnon and is predominately animated by revenge. Aeschylus presents us with questions concerning the legitimacy of the Trojan war, how Argos has suffered without its king, and why Clytemnestra has plotted to murder her husband. Though chronologically Odysseus has not return home yet, one should compare this text to the Odyssey and Odysseus’ own homecoming – written almost three hundred years prior by Homer. Aeschylus draws heavily from Homer but changes small but significant details, which creates a narrative that presents a profound lesson on the weaknesses of lex talionis as enacted by the blood avenger model. Throughout Agamemnon and into Libation Bearers , we are invited to consider whether a new model of justice is needed. I. The Opening: Unease and Gender Inversions (1) The play begins with an invocation to the gods, as will the following two plays. Through the watchman, Aeschylus communicates the time and setting to his audience in a manner typical of Greek drama. The watchman’s opening monologue conveys a disquieting mood of fear and quiet dread. As observed, Lackey describes the opening as “a little eerie and a little bit off.” Notably, the watchman yearns for the return of Agamemnon, his king, and we note the king’s absence has left the kingdom, Argos, in suffering (24, 37). One thinks here of the suffering of Ithaca without Odysseus in the Odyssey . The opening passages invites us to ask: “What has life been like in Argos over the past decade during the king’s absence?” and “What is the effect of the empty throne of Argos upon its people?” From the outset, Aeschylus will play with gender roles and descriptions. Notice Clytemnestra, Agamemnon’s wife, “maneuvers like a man” (13), while Agamemnon himself will be presented as effeminate. This thematic inversion invites readers to examine Aeschylus’ pedagogical purpose for such language. As Dr. Grabowski observes, the toying with gender traits parallels Shakespeare’s Macbeth , wherein Lady Macbeth similarly exhibits masculine qualities of ambition and dominance. As the play progresses, readers gain insight into life in Argos during Agamemnon’s ten-year absence. The people long for an end to their suffering, for “an end to their pain” (23). Notably, Aeschylus allows us to see how Argos viewed the Trojan war (44), which is largely presented, at first, as a just war in which Agamemnon was the “great avenger” of Zeus punishing Troy for its violation of guest-friendship (45), i.e., Prince Paris absconding with Menelaus’ wife, Helen. The reader should note whether Agamemnon’s return starts to adjust this narrative.... Check out our whole guide on the Oresteia.…
Dcn. Harrison Garlick and Adam Minihan are reunited to intro Aeschylus, the Father of Greek Tragedy. Aeschylus (b. 525 BC) was a warrior, statesman, and the father of Greek tragedy. Born into nobility, he grew up in Athens during its pivotal transition from tyranny to democracy. Furthermore, he famously fought in the Battle of Marathon (490 BC), defending a nascent Western civilization against Persian invasion. Aeschylus died in 456 BC, leaving behind a legacy that shaped the foundation of Greek drama. Check out thegreatbookspodcast.com for more information. From our guide on the Oresteia : 1. What is the Ionian Revolt? To understand Aeschylus, we must first understand the Greco-Persian War (c. 499 BC to 429). In sum, what is called the “First Persian Empire,” founded by Cyrus the Great around 550 BC, stretched from modern-day Iran, Asia Minor, modern day Israel, and Egypt. In Asia Minor, this Persian empire ruled over Hellenistic city-states. One may recall that Troy, a polis with both Hellenistic and eastern traits, was also located in Asia Minor. In 499 BC, the city-states rebelled against their Persian overlords with the support of Athens in what is known as the “Ionian Revolt.” The revolt failed and the Persians retained control of Asia Minor; however, King Darius of the Persian Empire believed Athens should be punished and elected to invade Greece. 2. What was the first invasion in the Greco-Persian Wars? The Ionian Revolt sparked the larger Greco-Persian Wars and led to King Darius’ invasion of ancient Greece in 492 BC. Athens led the federation of city-states against the Persians, and Aeschylus fought for the Athenian army. Notably, Aeschylus and his brother both fought at the famous Battle of Marathon in 490 BC at which the first Persian invasion was defeated. [1] Aeschylus’ brother, however, died in the conflict. [2] The Battle of Marathon is often held as a watershed moment in the birth of Western culture. The battle is also the namesake of running a marathon , as the legend has it that an Athenian runner ran the twenty-six miles from Marathon to Athens to tell them of the Athenian victory. 3. What was the second Persian invasion in the Greco-Persian Wars? Ten years later, a second Persian invasion was headed by King Darius’ son, King Xerxes. This is the setting for the famous Battle of Thermopylae (480 BC), in which the smaller Spartan force of approximately 7000 men under King Leonidas held off 120,000-300,000 Persian invaders. The word Thermopylae means “hot gates” and takes its name from the hot springs in that area—it is also fittingly one of the mythological entrances to Hades. After Thermopylae, the Athenians won a great naval battle against the Persians at Salamis in 480 BC. Notably, Aeschylus is said to have fought in this battle as well and wrote his play The Persians about the conflict. The Greeks, led by the Athenians and Spartans, would eventually expel the Persians and bring peace in 449 BC. 4. What do we know about Aeschylus’ writings? Aeschylus is the “earliest Greek tragic poet whose work survives,” and “he wrote some seventy to ninety plays.” [3] Aeschylus is considered the “real founder of Greek tragedy.” [4] He won his first victory as a tragic poet in 484 BC. It should be noted that the competitions for best tragic play were religious and civil festivals; thus, the plays have deep ramifications for the spiritual and political realities of the Athenians. [5] Only seven of his plays still exist: the Persians (472), the Seven Against Thebes (476), the Oresteia triad (458), the Supplicants (463), and Prometheus Bound —the last of which has disputed authorship and was produced after Aeschylus’ death. [6] 5. Why do we read the Oresteia ? Aeschylus is a teacher. He is a teacher of justice, suffering, and order. The Oresteia is a triad or three plays telling the story of the death of Agamemnon, the death of Clytemnestra, and the trial of Orestes. Aeschylus takes a story well known in Homer and masterfully moves it into a story revealing how Athens matured in its understanding of justice. The execution of justice moves from a familial blood avenger model to a more procedural model of the polis. It represents a considerable step forward in the Greek understanding of justice. In many ways, Aeschylus’ Oresteia gives us a more robust ending that what we received in the Odyssey . Looking forward, it brings us one step closer to considerations of justice in Plato’s Republic . The Oresteia , like all great books, comments on the human condition, and offers perennial truths for those with the patience to listen. Coming up! Join us in reading the Oresteia: Agamemnon Part I Agamemnon Part II Libation Bearers Part I Libation Bearers Part II Eumenides Part I Eumenides Part II Footnotes: [1] Companion, 15. [2] Companion, 15. [3] Companion, 15. [4] Companion, 15. [5] Companion, 16. [6] Companion, 15.…
Dcn. Harrison Garlick, Dr. Frank Grabowski, and Mr. Thomas Lackey come together to discuss Hesiod's Theogony - a poem about the origin of the gods and the cosmos. Key conversations: The role of the Muses The four primordial gods - especially Chaos Eros as the generative and binding force of the cosmos Zeus as a bringer of civilization The Prometheus myths Women as the beautiful evil Hesiod is a contemporary of Homer. Homer composed the Iliad around 750 BC and the Odyssey around 725 BC, and Hesiod was active in the mid 700s and into the 600s. [1] Hesiod, like Homer, has roots in Asia Minor. His father is believed to have been a merchant who moved from Asia Minor to Mount Helicon in ancient Greece. [2] Notably, Mount Helicon had several springs that were sacred to the Muses, and it serves as the setting of the opening of the Theogony . Hesiod lived an agricultural life working his family farm and writing poetry. Hesiod is similar to Homer insofar as both are the recipients of a large treasury of Greek mythology. Hesiod is dissimilar to Homer insofar as Hesiod most likely originally wrote his plays—as opposed to them existing first as oral rhapsodies that were then reduced to writing, like with Homer’s Iliad and Odyssey . Check out our Musings of the Theogony written guide! Check out our website for more resources. [1] See A Reader’s Guide: 115 Questions on the Iliad , Ascend: The Great Books Podcast. [2] See Ed. M. C. Howatson, Oxford Companion to Classical Literature (Oxford University Press: Oxford, 2013), 294.…
You can read the Greek plays with Ascend! Dcn. Harrison Garlick flies solo this week as he explains why you should read the Greek plays. He discusses how the plays are an intellectual bridge between Plato and Homer and explains some of the major themes you can expect in their writings: justice, eros, fate, divinity, etc. He'll then introduce each Greek play to be read and why it is worth reading. Join us! Schedule below: HESIOD'S THEOGONY & GREEK PLAYS (2025) 1/1 Intro to the Greek Plays 1/7 Hesiod's Theogony THE ORESTEIA by Aeschylus 1/14 Into to Aeschylus 1/21 Agamemnon Part I 1/28 Agamemnon Part II 2/4 Libation Bearers Part I 2/11 Libation Bearers Part II 2/18 Eumenides Part I 2/25 Eumenides Part II READ DANTE'S INFERNO WITH ASCEND We are reading Dante's Inferno over LENT 2025. 3/4 Introduction & Canto I 3/11 Cantos II-V 3/18 Cantos VI-XI 3/25 Cantos XII-XVII 4/1 Cantos XVIII-XXV 4/8 Cantos XXVI-XXX 4/15 Cantos XXXII-XXXIV BACK TO THE GREEK PLAYS 4/22 Prometheus Bound with Dr. Jared Zimmerer THE THEBAN PLAYS by Sophocles 4/29 Antigone Part I 5/6 Antigone Part II 5/13 Oedipus Rex 5/20 Oedipus at Colonus Part I 5/27 Oedipus at Colonus Part II 6/3 The Bacchae Part I with Dr. Frank Grabowski 6/10 The Bacchae Part II with Dr. Frank Grabowski 6/17 Roundtable on the Tragic Plays Aristophanes 6/24 The Clouds by Aristophanes with Dr. Zena Hitz 6/1 The Frogs by Aristophanes with Tsh Oxenreider Find out more at thegreatbookspodcast.com .…
This week Dcn. Garlick is joined by Alberto Fernandez, a former U.S. diplomat and Vice President of the Middle East Media Research Institute (MEMRI) in Washington, D.C., to discuss "The Tower of the Elephant," one of the best Conan the Barbarian stories by Robert E. Howard. Deacon and Alberto discuss the life and philosophy of Robert E. Howard along with key elements of the "Tower of the Elephant" short story (which is available online for free). Topics: Civilization v. Barbarism HP Lovecraft Nietzsche Vitalism In 2025, we are reading Hesiod, the Greek plays, Dante, and Plato! Join us! Check out thegreatbookspodcast.com for more information.…
Dcn. Harrison Garlick is joined by Kyle Washut, President of Wyoming Catholic College, to discuss the Odyssey as the restoration of Catholic Culture and the unique educational approach of Wyoming Catholic College. Eastern Catholicism John Senior Odyssey as the restoration of culture President Washut takes on the question: "Why go to a great books college" and gives an excellent answer. They have a brief detour into the importance of Eastern Catholicism before discussing the influence of John Senior on education and how the Odyssey serves as a metaphor for rebuilding culture. The conversation also highlights the integration of horsemanship as a means of personal development and the necessity of great teachers in the pursuit of a meaningful life. Quotes: "Horsemanship is soul craft." "You need to submit yourself to great teachers." "The Odyssey is a guide for rebuilding culture." "Religion is a natural virtue." Keywords : Great Books, Wyoming Catholic College, John Senior, Eastern Catholicism, Patristic Tradition, Odyssey, Education, Theology, Horsemanship, Benedictine, classical education, poetics, realism, Odysseus, Greek mythology, immortality, sacrifice, civilization, Homer, philosophy Visit thegreatbookspodcast.com for more information!…
THE FINAL BOOK! Dcn. Garlick is joined by Adam Minihan, David Niles, Thomas Lackey, and Dr. Frank Grabowski to discuss Book 24 of the Odyssey: Peace. Check out thegreatbookspodcast.com for more information. From our guide: 111. What happens in book twenty-four? Hermes leads the souls of the suitors to Hades, to the fields of asphodel, where they meet Achilles and Agamemnon (24.130). One of the suitors tells Agamemnon their story, and Agamemnon praises Odysseus calling him “happy” and praises his wife Penelope in contrast to his wife, Clytemnestra (24.210). Meanwhile, Odysseus and his men arrive at his country estate, and he elects to test his father, Laertes (24.238). Laertes passes the test, and Odysseus reveals himself to his father by showing him the scar (24.368). Elsewhere on Ithaca, the families of the suitors have discovered their deaths and cries arise in the city (24.457). Eupithes, father of Antinous, rallies the kinsmen of the suitors to take revenge upon King Odysseus (24.471). Medon, the bard, warns the mob that the deathless gods helped Odysseus (24.485), and Halitherses, a seer, tells them it was due to their own “craven hearts” that the massacred occurred (24.501). Athena intercedes on Odysseus’ behalf, and Zeus declares there should be peace in Ithaca (24.534). The mob arrives outside the country estate, and Odysseus, Laertes, Telemachus, and others prepare for combat (24.552). Athena strengthens Laertes to spear Eupithes in the head (24.576), and then she brokers peace between the two factions (24.584) 112. Who gained the most glory: Achilles, Agamemnon, or Odysseus? The opening passage on the plains of asphodel serves to compare the lives of Achilles, Agamemnon, and Odysseus. Agamemnon recounts the funeral of Achilles and the glory he achieved there, e.g., the Muses sang, he’s buried in a golden urn made by Hephaestus, etc. (24.64). Agamemnon explicitly states Achilles has achieved immortal glory (24.100), and Achilles’ death and burial serves as a comparison to the ignoble death of Agamemnon (24.30). If Agamemnon would have died in glory at Troy, he too could have had immortal glory—but instead, he was betrayed and slaughtered by his own wife. Despite Achilles having the better of the glory, we have already seen that he would trade it all in to be alive again—even if only to be a dirt farmer. Thus, when Agamemnon calls Odysseus “happy,” this seems to be a final judgment that Odysseus has found the best path: he has the glory ( kleos ) of both fighting in Troy and returning home—but he also now has political and familial peace. In a certain way, whereas Achilles had to choose between two fates (glory or peace), Odysseus has been given both. Good work everyone!…
Dcn. Harrison Garlick is joined by Mrs. Rachel Greb to discuss Book 23 of the Odyssey: The Great Rooted Bed. Check out thegreatbookspodcast.com for more resources! From our written guide: 108. What happens in book twenty-three? The old maid Eurycleia, laughing with delight, runs and tells Penelope that the day she’s dreamed of is here: Odysseus has come home (23.05). “Penelope’s heart busts in joy” upon hearing that the beggar in the hall was actually her husband (23.34). Penelope, however, falls back into her guarded skepticism (23.75). She enters the hall and sits in silence studying his face in “numbing wonder” (23.100). Meanwhile, Odysseus counsels Telemachus on the threat of the suitors being avenged and asks that the whole house be full of dancing and merrymaking to hide the fact the suitors have all been slain (23.146). Odysseus is bathed, and Penelope instructs her servants to drag the marital bed out the chamber for this “strange man” to sleep on (23.193). Odysseus falls into a “fury,” as he knows the marital bed he made cannot be moved: it is made of the stump of an olive tree still rooted in the ground (23.203). Odysseus passes the test, and Penelope runs to him and embraces him in tears (23.230). Odysseus tells her of his penitential journey he must undertake to appease Poseidon (23.282), and, after the two delight in each other, he tells her of his journey home (23.349). The book ends with Odysseus, inspired by Athena, going out into the country to visit his father (23.407). 109. What should be noted about the reunion of Penelope and Odysseus? Penelope’s “heart bust[ing] in joy” at hearing the beggar was Odysseus again raises the question of what she already suspected. Despite the reaction, she quickly resumes her guarded skepticism (23.75). Most notably, Penelope is not convinced by the scar (22.83), and we should recall Telemachus’ earlier concern that a god could deceive them in the guise of Odysseus. Penelope shares this concern (23.250). What test has Penelope devised to avoid this fate? Note that Telemachus cannot understand what is happening between the man of twists and turns and the matchless queen of cunning (23.111). Penelope’s test is one of the intimate knowledge between husband and wife. The knowledge of the marital bed is the “secret sign” between them (23.226), as it is carved in part from a stump still rooted in the ground (23.222). The immovable marriage bed is an analogue for Penelope’s fidelity to her husband. It is the final answer to the parallel narrative of Agamemnon and Clytemnestra. Next week Book 24 and the end of the Odyssey!…
Slaughter in the hall! This week Dcn. Harrison Garlick is joined by Dr. Adam Cooper of Wyoming Catholic College to discuss Odysseus' revenge upon the suitors in Book 24. Check out thegreatbookspodcast.com for more information! 103. What happens in book twenty-two? The time has come. Odysseus stands at the threshold of his home, cries out to Apollo, and lets loose an arrow straight through the neck of Antinous (22.15). It is chaos in the hall, as the “bread and meats [were] soaked in a swirl of bloody filth” (22.21). Eurymachus attempts to broker a true between Odysseus and the suitors—but it is rejected (22.57). Eurymachus then calls the suitors to arms and is subsequently slaughtered by Odysseus (22.73). Telemachus brings armor and weapons to his father, the swineherd, and the cowherd (22.121), but the goatherd, however, is able to sneak weapons and armor to the suitors as well (22.151). On his second run for weapons, the cowherd and swineherd intercept the goatherd and tie him up and hang him from the rafters (22.196). Athena first arrives in the guise of Mentor (22.217) and then becomes like a sparrow perched on the rafters assisting Odysseus in his slaughter (22.250). She reveals her “man-destroying shield of thunder” and the suitors fall into a panicked madness; as Odysseus and his men went “wheeling into the slaughter, slashing left and right, and grisly screams broke from skulls cracked open—the whole floor awash with blood” (22.311). With only a few suitors left in the hall, Odysseus has no mercy on their prophet but spares the bard and the herald (22.327). The slaughter of the suitors is complete. Odysseus has the old maid, Eurycleia, send in the female servants who were disloyal (22.458), and these women help to carry out the corpses and clean the home of gore (22.471). Telemachus then oversees the disloyal women being slowly hanged in the courtyard—a “pitiful, ghastly death” (22.487). The goatherd is retrieved and mutilated to death by the swineherd and cowherd (22.500). Odysseus purifies his home with fire and brimstone (22.518). The book ends with the loyal maid servants of the house surrounding Odysseus, and the king breaks down and weeps (22.528). 104. What should be noted in how the suitors are slaughtered Odysseus invokes Apollo, the god of archery, on his feast day to help him with his slaughter (22.07). Notice that Homer makes it explicit that the suitors are killed while feasting (22.09). Homer writes, “food showered across the hall, the bread and meats soaked in a swirl of bloody filth” (22.21). It recalls Odysseus’ statement that he is going to give them the feast they deserve (21.477). The mixed imagery of food and slaughter gives credence to seeing Odysseus as the cyclops consuming his guests. One wonders whether Antinous being shot in the throat is symbolic of his constant vile rhetoric throughout the narrative (22.15). Consistent with what we have previously observed, Eurymachus attempts to talk his way out of the situation, which includes an appeal for the king to spare his own people (22.57). Notice Odysseus says they can fight or flee, but it is not apparent that they can actually flee the situation nor that Athena would permit it (22.69). Arguably, Odysseus kills Antinous and Eurymachus first to deprive the suitors of their leadership—a fact he would have observed as the beggar. The suitors, which greatly outnumber Odysseus and his men, could overwhelm Odysseus, but instead their cowardice allows them to be picked off individually. Lastly, as with the cyclops narrative, Odysseus and his men are aware of the irony of guest-friendship, as they, for example, refer to throwing a spear as a guest-gift (22.304). 105. What should be made of the death of the serving women? The death of the female servants is one of the most disturbing scenes in Homer. Note the disloyal female servants are made to gather the bodies and clean the gore of the suitors—many of whom were their lovers (22.462). Odysseus makes this comparison explicit when he states the female servants will lie with the suitors in death as they did in life (22.469). Note, however, they Odysseus commands they be cut down with swords (22.468). Telemachus, however, has more cruel designs in mind in recompense for the abuse the disloyal women laid upon him and his mother (22.488). In one of the more famous scenes of the Odyssey , Telemachus has the women hanged slowly (22.497). The deaths are a sign that disloyalty is one of the graver faults in the Homeric world—a lesson shown best in the death of Melanthius, the goatherd. Keep up the good work!…
Dcn. Harrison Garlick is joined by another Catholic deacon, Dcn. Adam Conque to discuss Book 21 of the Odyssey: Odysseus Strings His Bow. Check out more at thegreatbookspodcast.com Help support the podcast and get access to guides! From the guide: 100. What happens in book twenty-one? The time has come for Penelope’s test and the slaughter the suitors (21.05). Penelope brings out Odysseus’ bow, one he received as a gift of friendship (21.40), and Telemachus sets out a line of ax heads the suitors must shoot through (21.140). Telemachus gives the first attempt and fails to even bend the bow (21.143). Leodes, a suitor, attempts and fails to even bend the bow as well (21.170). Antinous, who has been mocking everyone, has the goatherd attempt to limber the bow with fire and grease (21.198). Meanwhile, Odysseus takes the cowherd and swineherd out and reveals himself as their king—the three then plot the death of the suitors and return to hall. Eurymachus tries and cannot even bend the bow (21.274). Antinous, noting that Penelope has given them a test of archery on the feast day of Apollo, leads the suitors in a libation to the Archer God (21.289). Odysseus the beggar asks to try and is mocked by the suitors—but with the help of Penelope, Telemachus, and the swineherd, he is given his bow (21.314). The suitors look on with horror as he plucks the string with ease like a musical virtuoso (21.456). Odysseus lets an arrow fly, and the arrow passes through the ax heads perfectly (21.469). The book ends with Odysseus calling his son to arms, as it is time to provide the suitors their supper (21.473). 101. What should be noted about Odysseus’ bow? First, note that the bow was given to Odysseus as a gift, and one given in friendship (21.40). Second, it is a foreign bow (21.15). One wonders whether Odysseus’ ability to use the bow is not simply a test of strength but a test of techne , i.e., there is a cleverness needed to understand how to use the bow. Note that he seems to use a stool (21.467). Such a test would be more aligned with Odysseus as coupling of both cunning and strength. Third, it is notable that he did not take the bow to Troy with him. Moreover, one may question the veracity of Telemachus’ attempt (21.149). To wit, his failure and his commentary on it seems so dramatic that one wonders whether he is presenting himself as weak, as non-threatening to mislead the suitors right before the trap is sprung. Notice his language: “must I be a weakling, a failure all my life,” and “come, my betters” speaking of the suitors (21.150, 53). He speaks like the old Telemachus before his maturation, but the new Telemachus is confident and knows his father has come home. Is Telemachus channeling the rhetoric of his father and presenting a falsehood? Penelope running interference for Odysseus the beggar to attempt the test to become her suitor lends again to her knowing or having a suspicion of who he truly is (21.350). Moreover, pay attention to how she speaks of the beggar fondly (21.373). We are in the final stretch of our Year with Homer!…
Dcn. Harrison Garlick is joined by Dr. Jennifer Frey of the University of Tulsa Honors College to discuss Book 20 of the Odyssey: The Portents Gather. Check out thegreatbookspodcast.com for guides and more! From the written guide: 97. What happens in book twenty? After his conversation with Penelope, Odysseus the beggar lays in bed alert to the fact the maidservants are leaving the house to go sleep with the suitors (20.08). Athena causes him to fall asleep (20.59), and in the morning Odysseus prays to Zeus for an omen of support (20.109). His prayer is answered and his “heart leapt up… convinced he’d grind the scoundrels’ lives out in revenge” (20.134). The palace is alive in preparation for a feast in honor of Apollo (20.173). We are introduced to a new character, the cowherd, who is immediately reminded of king Odysseus when he sees Odysseus the beggar the first time (20.224). Athena stirs up the suitors (20.316), and one of the suitors throws on “oxhoof” at Odysseus (20.320). Telemachus chastises the suitor (20.339), and the suitors ask Telemachus to have Penelope choose a new husband (20.370). Athena whips the suitors up into a frenzy (20.385), and the prophet, Theoclymenus, leaves the palace—as he is so troubled by his visions of the house drenched in blood (20.390). The book ends with the suitors mocking Telemachus, Telemachus bearing it stoically while looking at his father, and Penelope listening to every word said in the hall (20.439). 98. What should be made of Odysseus’ request of Athena? Odysseus’ request of Athena gives structure to the rest of the text (20.41). First, recall that it is Zeus that oversees guest-friendship; thus, Odysseus understands he needs divine permission to kill the guests in his home. Second, note the concern that if he does kill the suitors, their avengers will come to kill him (20.45). Here, we need to understand the judicial custom of blood avengers. In short, if a person in the family was murdered, a member of the victim’s family bore a responsibility to then avenger the death of their relative. This is the underpinning to the story of Orestes killing Aegisthus for the murder of his father, Agamemnon. Later in Aeschylus’ Oresteia , the tragedian will take up this story and explore the shortcomings with this understanding of justice. One such fault with the blood avenger model of justice is that is perpetuates circles of violence. For example, Odysseus will kill the suitors, but the family of the suitors will then seek to murder him; in turn, if they do murder Odysseus, Telemachus would then be bound to avenge father. As such, the concern is how does the cycle of violence stop? The answer to that question will be given one way at the end of the Odyssey and in another at the end of the Oresteia . Returning to the text, note that Athena does not answer him (20.47). Odysseus needs to have faith, as he’s not given a detailed explanation of the divine plan. It is notable the passage ends with Homer using “loosed his limbs” as an idiom for sleep—as its normally an idiom for death (20.61). One wonders then if we are not on the verge of a rebirth for Odysseus. Finally, despite Athena’s response, note that Odysseus still asks Zeus for a sign—and Zeus gives it to him (20.109). More questions and answers in our guide!…
Dcn. Harrison Garlick is joined by Mary Pat Donoghue, Executive Director of the Secretariat of Catholic Education at the USCCB, to discuss Book 19 of the Odyssey: Penelope and her guest. Check out thegreatbookspodcast.com for more! From our written guide: 93. What happens in book nineteen? With the suitors retired for the evening to their own houses, Odysseus and Telemachus clear the hall of weapons, as Athena carries a golden lamp to light their way (19.35). Odysseus is harassed by the maidservant Melantho (19.70), and Melantho is warned by both Odysseus the beggar and Penelope that judgment is coming (19.97). Odysseus sits down with Penelope, and the two begin to trade carefully crafted responses (19.110). Odysseus, still disguised as a beggar, spins a falsehood for his wife about his history, which includes that he had met Odysseus (19.193). Penelope tests the beggar by asking about Odysseus’ clothing, which Odysseus is easily able to answer (19.259). Odysseus the beggar tells Penelope her husband is alive and returning soon (19.310). Penelope, skeptical of the claim (19.354), arranges for the old maid, Eurycleia, to wash Odysseus’ feet (19.406). Eurycleia recognizes Odysseus due to his scar—and we hear the story of how Odysseus received his name (19.445). Odysseus threatens the old servant, his old wetnurse, into silence (19.554). The book ends with Odysseus interpreting a dream for Penelope, and Penelope tells Odysseus the beggar how she intends to test the suitors (19.644). 94. What should be noted in the dialogue of Odysseus and Penelope? The matchless queen of cunning and the man of twists and turns have their reunion—to a degree. Notice that Odysseus’ original answer to Penelope is a non-answer (19.114). Penelope, in response however, appears to be quite open with her beggar-guest (19.137). What is the impetus of her openness to this stranger? Is she simply isolated, exhausted and recognizes in the beggar a noble spirit to which she can decompress? Or is Penelope’s openness and invitation for the beggar to be open, because she suspects it is Odysseus? If Argos the dog can recognizes his master through this disguise, why not his cunning wife? The question of when Penelope suspects the beggar is Odysseus haunts the text. Odysseus arguably loves Penelope because of her wit, and she sharing the story of the loom would have been quite endearing to him (19.169). Odysseus tests his wife—recall the Clytemnestra episode—but the reader should be cognizant of to what degree Penelope is testing Odysseus (19.248). She certainly tests him in the story he presents, but one wonders to what degree she is testing him in her suspicions of who he really is. One notes how often Odysseus the beggar refers to his wife as “noble wife of Laertes’ son, Odysseus” (19.299, 384). It is notable as well that the oath given is on the hearth of the home of Odysseus and Penelope (19.349). Odysseus’ commentary on curses for those who are cruel toward guests and glory for those who are kind toward colors both his return home and his episode with the cyclops (19.376). Note also that xenia can be a source of glory and fame (19.382). In other words, glory comes not simply from wartime excellence but also peacetime hospitality. It reveals a path to glory in peace, which aligns with the Odyssey being a parallel to the city of peace of Achilles’ shield. The book ends with another episode of Penelope seeming to be overly open to this beggar in her house, as she tells him her dream (19.603). Again, one wonders what she suspects and whether her openness is supposed to draw out a reciprocal openness. Her weeping at the end lends to theories that she suspects the beggar is Odysseus but the safeguards she has put in place around her heart will not admit it (19.680). Join us!…
Dr. Jared Zimmerer of Benedictine College returns to the podcast to discuss Book 18 of the Odyssey with Dcn. Garlick and Adam Minihan. Check out thegreatbookspodcast.com for more. From our written guide: 90. What happens in book eighteen? Another beggar, a man nicknamed Irus, arrives at Odysseus’ palace and begins to harass Odysseus, the beggar in disguise (18.13). Antinous, the suitor, elects to host a battle between Odysseus the beggar and Irus—the winner will dine with the suitors and loser will be cast out (18.56). Odysseus soundly beats the would-be beggar king (18.121) and is rewarded with a meal from the suitors (18.136). Penelope comes forth, blessed by Athena, and the “suitors’ knees went slack, their hearts dissolved in lust” (18.241). The suitors bring Penelope gifts, and Odysseus sees his wife’s actions for what they are—a plot to lure gifts from the suitors (18.316). The suitor Eurymachus offers Odysseus the beggar work, but Odysseus’ response causes him to throw a stool at him (18.437). The book ends with Amphinomus calling for peace and leading the suitors in a libation to the gods (18.463). 91. Could a suitor repent? It appears the fate of the suitors is already locked in fate. Notice that despite Amphinomus’ forebodings that something is wrong, Athena has already bound him to the fate of death (18.178). Similarly, Athena goads the suitors into acting worse (18.391). In fact, Telemachus appears to intuit this fact (18.459). To wit, it appears that the suitors no longer have the capacity to repent. Athena is holding them to their violent fate and even festering the problem. One may recall that Odysseus’ coming home was compared to the “shadow of death,” and it appears after that moment the fate of the suitors was sealed. 92. What else should be observed in book eighteen? The mockery of guest-friendship continues, as the suitors have the beggars fight each other for food (18.56). It is important to note that Penelope critiques the suitors for their violation of guest-friendship on the grounds they have deviated from the “time-honored way” and should have been bringing animals to her house “to feast the friends of the bride-to-be” (18.309). Assuming we take this assertion to be true, it is an important insight into how the suitors are violating the norms of guest-friendship. Regardless, we see that Odysseus delights in his wife’s wit, the matchless queen of cunning, as he recognizes her ploy to receive gifts from the suitors in recompense for their violations (18.316). Notice that Eurymachus is sleeping with the servant girl, Melantho (18.368). The disloyalty of the servant women to the house of their master, Odysseus, should be noted. Moreover, the polished rhetorical mask of Eurymachus slips at Odysseus’ quips (18.437). It is a notable scene as both rhetoricians are wearing a mask, so to speak, and Odysseus proves himself the better rhetorician. The fact that neither Telemachus or Odysseus will act until Athena gives them approval may be read that it is ultimately Zeus that oversees and judging guest-friendship; thus, it is not until the divine is ready to pass judgment that the mortals can act. Our Year with Homer continues next week!…
Dcn. Harrison Garlick is joined by Dr. Jared Zimmerer to discuss Book 17 of the Odyssey: The Stranger at the Gates. Dr. Jared Zimmerer is the Content Marketing Director and Great Books adjunct professor for Benedictine College in Atchison, Kansas. The former Senior Director of the Word on Fire Institute and the Dean of Pastoral Fellows. He holds a PhD in Humanities from Faulkner University and a master’s degree in Theology from Holy Apostles College. He and his wife Jessica live in Atchison, Kansas, with their six children. Check out more resources at thegreatbookspodcast.com . From the guide: 86. What happens in book seventeen? Telemachus returns home and presents himself to his mother (17.36). He tells of his journey to Pylos and Sparta, and how Menelaus told him that Odysseus was being held captive on the island of Calypso (17.45). The prophet, Theoclymenus, declares that Odysseus is already on Ithaca (17.168). Meanwhile, the Swineherd and Odysseus—in the guise of a beggar—start to make their way to the palace and are mocked by the goatherd, Melanthius (17.231). As they approached the palace, Odyssey sees the dog he trained as a puppy, Argo, “invested with ticks, half dead from neglect” laying on a pile of dung (17.319). Argo recognizes his master and Odysseus hides his tears (17.330). As Odysseus enters his home, “the dark shadow of death closed down on Argo’s eyes” (17.359). Odysseus, as the beggar, tests the suitors by asking each one for a scrap to eat (17.398). The suitor Antinous mocks him and throws a stool at Odysseus (17.492). Odysseus is “unstaggered” by the blow, silent, “his mind churning with thoughts of bloody work” (17.513). The book ends with Penelope inviting Odysseus the beggar to come and tell her his story face to face (17.588). 87. How does the theme of guest-friendship ( xenia ) inform book seventeen? The predominant theme in book seventeen is that Odysseus returns home and does so as a guest in his own house. Homer is arguably drawing a parallel between Odysseus’ return home and cyclops narrative. As Odysseus raided the cyclops’ cave and intended to pervert guest-friendship to receive gifts, so too does he now find guests in his own home devouring his goods. Moreover, as the cyclops consumed his ill-intentioned guests, so too will Odysseus consume his. The two narratives are linked explicitly by the curse the cyclops asks of Poseidon after Odysseus escapes and reveals his name. Other aspects of xenia to observe include the prophet, Theoclymenus, making an oath according to the table of hospitality (17.169). Moreover, we see that xenia is not only something upon which an oath may be made but also a standard of judgment—as it is for the suitors and their treatment of Odysseus the beggar (17.397). We also see guest-friendship expose the irony that the suitors—who are devouring the house of their host—mock Odysseus the beggar as bleeding the house dry (17.425, 492). Notably, the suitors are aware, in part, of Antinous’ violation of guest-friendship, as they condemn him hitting Odysseus the beggar with the stool (17.531). Much more in our written guide!…
Dcn. Harrison Garlick is joined by independent scholar and friend of the podcast Mr. Thomas Lackey to discuss book 16 of the Odyssey: Father and Son. Check out thegreatbookspodcast.com for our written guide! From the guide: 83. What happens in book sixteen? Telemachus arrives at the home of the Swineherd and, the Swineherd greets him like a father welcoming “home his darling only son” (16.19). Telemachus meets Odysseus disguised as a beggar, and the three men discuss the problem of the suitors (16.100). Telemachus tells the Swineherd to tell Queen Penelope he is back in Ithaca (16.148), and to have one of her servants tell Laertes the same (16.172). After the departure of the swineherd, Odysseus sees Athena outside the house under the guise of a woman “beautiful, tall and skilled at weaving things” (16.179). Odysseus goes to meet her, and she says now is the time to reveal himself to his son, Telemachus (16.189). She transforms him back into Odysseus the hero, and Telemachus is “wonderstruck” and believes some god has entered the house of the Swineherd (16.194). Odysseus tells Telemachus he is his father (16.212) and, after some disbelief, the father and son embrace and weep together (16.243). The two then discuss the slaughter of the suitors and form a plan in which Odysseus, disguised again as a beggar, will go into his own home with the suitors until Athena tells him the time is right (16.298). Meanwhile, the suitors are told that Telemachus escaped their ambush and is back in Ithaca (16.382). Antinous, one of the suitors, calls for the murder of Telemachus (16.401), and Penelope overhears the plot and chastises Antinous (16.453). The book ends with the Swineherd returning home and feasting with Telemachus and Odysseus—who is once again disguised as a beggar by Athena (16.505). 84. What do we see in the reunion of Odysseus and Telemachus? It seems fitting that Odysseus, who has been testing everyone, would in turn be tested by his son upon his grand reveal (16.220). Notably, the concern that a spirit or god would attempt to trick Telemachus with an imposter Odysseus (16.220) is a concern that Penelope shares and will later voice—but it is only the latter who has devised a test to avoid that fate. Telemachus seems to eventually simply trust Odysseus’ testimony (16.243). Telemachus still appears unexperienced with the gods, as he confuses his father for one (16.202) and doubts Athena’s plan (16.273). It is hard not to read Odysseus’ response about whether Athena and Zeus will be adequate as sarcasm (16.291). Telemachus, however, has grown into his own wit as shown by his retort: “off in the clouds they sit” (16.299). He has also grown in confidence of his own strategic thinking (16.342). Odysseus shares with Telemachus he’ll return to his home in disguise and bear whatever he must until Athena says it is time (16.303). The strategy behind Odysseus’ return seems patterned off the Agamemnon narrative, but the problem itself seems patterned off his episode with the cyclops. He will come home to find guests of malintent within his home and then consume them. The YEAR WITH HOMER continues!…
Dcn. Harrison Garlick and Adam Minihan continue the YEAR WITH HOMER by discussing Book 15 of the Odyssey: The Prince Sets Sail for Home. Check out our guide at thegreatbookspodcast.com . 80. What happens in book fifteen? Athena goes to Sparta and inspires the young Telemachus to return home quickly (15.10) and advises him on how to avoid the ambush set by the suitors (15.31). Menelaus gives Telemachus kingly gifts and sends him and Nestor’s son back to Pylos (15.112). Telemachus asks Nestor’s son to leave him at his ship and not take him back to Nestor’s house—as to be able to return home quickly and not be hosted again by the old king (15.222). As Telemachus is praying to Athena before launching his ship (15.246), a stranger approaches and asks to sail with him (15.286). Telemachus agrees, and the prophet Theoclymenus joins him on his journey back to Ithaca (15.312). Meanwhile, Odysseus the beggar tells the Swineherd he plans to go beg from the suitors (15.351). The Swineherd tells Odysseus the beggar his own story—and we discover that the Swineherd comes from a royal line (15.463). He was a toddler kidnapped, sold into slavery, purchased by Laertes, Odysseus’ father, and raised by Odysseus’ mother (15.540). The book ends with Telemachus returning to Ithaca and heading to the home of the Swineherd (15.618). 81. What is notable about the story of the Swineherd? The story of the Swineherd reveals him to be royalty (15.437). To wit, he was kidnapped by a female servant who was subsequently killed by Artemis (15.534), and he ended up being purchased by Laertes, Odysseus’ father (15.540). The noble soul of the Swineherd now has a fitting backstory. Note also the contrast between the unworthy servant who kidnapped him and the noble servant he has become. The piety or gratitude the Swineherd shows Odysseus’ family is remarkable given the opportunities he has for bitterness. One may argue that the Swineherd shows the arete or excellence of a simple life—the excellence of a servant, as Penelope shows the excellence of a wife. One should return to the Swineherd’s epithet, the “foreman of men,” and discern whether Homer has placed here a second meaning: a man who is the best of men. [1] [1] We are thankful to Alec Bianco for raising many of these questions and exploring the richness of the Swineherd. Be sure to check out the podcast on Book 15 for further discussions.…
Dcn. Harrison Garlick and Adam Minihan are joined by Alec Bianco of the Circe Institute to discuss Book Fourteen of the Odyssey: The Loyal Swineherd. Check out thegreatbookspodcast.com for more! From our guide: 77. What happens in book fourteen? Odysseus, disguised as an old beggar, makes his way to the home of his loyal swineherd, Eumaeus (14.32). Odysseus is welcomed warmly, as the swineherd reiterates that “every stranger and beggar comes from Zeus” (14.66). The swineherd shows great affection for his king that sailed away for Troy, but believes he is now most likely dead (14.155). Odysseus the beggar swears by the “table of hospitality” of the swineherd that “Odysseus will return” (14.189). Odysseus then fabricates a long backstory about how he was a soldier at Troy (14.270), and how he came to hear news of Odysseus’ return (14.363). The swineherd tells Odysseus the beggar to not try and “charm” him with lies (14.438). Odysseus pushes back and says the swineherd can toss him off a cliff if Odysseus does not return, but the swineherd remains skeptical (14.451). The book ends with Odysseus testing the hospitality of the swineherd, but the swineherd remains a gracious host and makes a warm bed for Odysseus by the fire (14.585). 78. What should be observed about the Swineherd? Eumaeus is a slave and swineherd whose name means “seek after the good.” He demonstrates a remarkable fondness and loyalty toward his king, Odysseus (14.44). Notably, Homer again shifts into second person when speaking of Eumaeus, as he did for Patroclus in the Iliad (14.63). He is an exemplar of guest-friendship (14.66) and displays an intimate knowledge of his master’s goods (14.115). His epithet “foremen of men” refers to his role overseeing the swineherds, but it may also be a reflection on the quality of his character. The Swineherd gives us an insight into how Odysseus the King treated his subjects, which raises an arguably contrast to how Odysseus treated his men on the journey home (14.159). Quite notably, the Swineherd seems to be somewhat resistant to Odysseus’ rhetoric (lies) or at least suspect of it (14.411, 438 His reply to Odysseus’ rhetoric is arguably one of the first examples of sarcasm in ancient literature (14.453). The Swineherd also displays a notable piety, as he makes three distinct pious gestures before the feast (14.479). There is always much speculation about whether the Swineherd recognizes or at least suspects Odysseus the beggar’s true identity (14.502). Our Year with Homer continues!…
In this episode, Deacon Harrison Garlick, along with guests Alan Cornett and Dr. Richard Meloche, delve into the french Dominican A.G. Sertillanges' influential book "The Intellectual Life." They explore the significance of cultivating an intellectual life, the role of courage and discipline, and the importance of community in intellectual pursuits. The conversation emphasizes that everyone, regardless of their background or age, is called to engage in the life of the mind and that it can lead to profound personal and spiritual growth. Main Takeways: The intellectual life is a vocation for everyone. Courage and discipline are essential for intellectual growth. It's never too late to start cultivating your mind. Reading great books can transform your life. Community plays a vital role in the intellectual journey. You can surprise yourself with your intellectual capabilities. The pursuit of truth is a service to others. Daily habits can significantly impact your intellectual life. Intellectual growth requires intentionality and effort. The life of the mind enriches both personal and communal life. Join us as we explore the classic: "The Intellectual Life."…
Dcn. Garlick and Adam Minihan are joined by Dr. Pavlos Papadopoulos of Wyoming Catholic College to discuss BOOK THIRTEEN of the Odyssey. Check out thegreatbookspodcast.com for more. From our guide: 73. What happens in book thirteen? King Alcinous makes good on his promise and sends Odysseus back to Ithaca (13.108). Odysseus sleeps the whole way home (13.91), and the Phaeacians lay a sleeping Odysseus on the beach and leave (13.133). Poseidon, meanwhile, convinces Zeus to punish the Phaeacians for their hospitality and aid of Odysseus (13.142). Back in Ithaca, Odysseus awakes and fears he’s been hoodwinked by the Phaeacians and must now suffer yet another unknown island (13.227). Athena, under the guise of a shepherd boy, tells Odysseys he’s on Ithaca (13.252), and he spins for her some grand tale regarding his background (13.290). Athena reveals herself, and she and Odysseus enjoy a warm conversation about her role in bringing him back to his home (13.329). She helps him hide his treasure in a cave (13.412), and then they sit to plot the death of the suitors (13.429). The book ends with Athena telling Odysseus to go to his loyal servant, the swineherd, and she leaves for Sparta to call Telemachus home (13.449). 74. Why are the Phaeacians punished? Poseidon tells Zeus that the Phaeacians helping Odysseus is a sign of disrespect, and that the Phaeacians should be punished (13.142). Zeus says they are in Poseidon’s power, and Poseidon plans to destroy the ship that brought Odysseus home and “pile a huge mountain” around the Phaeacian port (13.166). Zeus suggests that Poseidon wait to destroy the ship in front of the Phaeacian people (13.174), and Poseidon does just this (13.181). The Phaeacians, in turn, recall the prophecy that one day Poseidon would be angry with them for escorting men home across the sea (13.194). Homer leaves the narrative untold with King Alcinous leading his people in sacrifices to Poseidon to hopefully avoid the mountain being placed on their port (13.207). Why does Zeus, who oversees guest-friendship, allow the Phaeacians to be punished for helping Odysseus? It should be recalled the Phaeacians are close to Poseidon, as both King Alcinous and Queen Arete are his descendants. Moreover, it should be noted that King Alcinous and the Phaeacians continued to abide by guest-friendship and assist strangers who landed on their island even when they knew about the prophecy—which may inform why King Alcinous was originally hesitant to assist Odysseus when he first fell at the knees of Queen Arete. Zeus’ suggestion that the ship be destroyed in view of the Phaeacians may be seen as an opportunity for pity and reconciliation, as it allows the Phaeacians to understand what is happening and make sacrifices to Poseidon. Check out more: thegreatbookspodcast.com…
Dcn. Harrison Garlick and Adam Minihan discuss Book Twelve of the Odyssey: The Cattle of the Sun. Check out more at thegreatbookspodcast.com . From our guide: 68. What happens in book twelve? Odysseus and his men return the island of Circe and bury their comrade, Elpenor, who had spoken to Odysseus from the underworld (12.10). Circe tells Odyssey—and Odysseus alone—what trials await him on his journey (12.36). First, he and his men will sail by the Sirens and their irresistible song of temptation (12.44). Next, Odysseus will have to choose between sailing through the path of unavoidable “Clashing Rocks” (12.66) or sail through a strait with two monsters. On one side, there is the six-headed horror named Scylla that will pluck men off the ship (12.94) and on the other side the whirlpool monster named Charybdis that will swallow the entire ship (12.115). Lastly, they will come to the island of the where the sun god’s cattle graze (12.137) and must not under any circumstances harm the cattle (12.148). If they can do this, they will return home, but if not, then the best that could happen is Odysseus returns home alone “all shipmates lost… a broken man” (12.153). Odysseus tells his men about the Sirens (12.172) and Charybdis (12.239) but not Scylla (12.242). After escaping the Sirens, his men are navigating past Charybdis when Scylla snatches six of Odysseus men off his ship (12.269). Odysseus and his men land on the island of the sun god’s cattle, and Odysseus has his men swear an oath they will not harm the animals (12.328). The men, however, become stranded on the island due to unfavorable wind and begin to starve (12.350). Odysseus’ men elect to eat the sacred cattle (12.386), and, as they finally leave the island, Zeus strikes the ship with a lightning bolt (12.447). All perish save Odysseus who, clinging to debris, is swept back to Charybdis and must hang onto a fig tree to avoid being swallowed (12.466). The book ends with Odysseus drifting until he lands on the island of Calypso (12.485). 69. Who are the Sirens? The sirens are “female creatures who had the power of drawing men to destruction by their song.” [1] Though Homer does not describe them, they were generally “represented as half-woman and half-bird”—but “in time they came increasingly to be shown as beautiful women.” [2] Odysseus follows Circe’s advice (12.53) by stuffing beeswax in the ears of his men (12.189). It is notable that Circe intuits that Odysseus will want to experience the song of the Sirens (12.55). He follows her advice and has his men tie him to the mast in order that he may hear the Sirens but not jump overboard (12.194). The episode speaks to what Odysseus’ spirit ( thumos ) is willing to endure for the sake of knowledge. Note the Siren’s song itself sings of being able to grant Odysseus wisdom and make him a “wiser man” (12.200). One may also question whether Odysseus enduring the song of the Sirens prepared him at all to decline Calypso’s offer of immortality or the marriage to Nausicaa. Moreover, the episode shows a level of trust between Odysseus and his men—a trust that is arguably fracturing after the Cyclops incident and one that will be largely broken following Scylla and Charybdis. Later myths have the Sirens drowning themselves due to Odysseus’ escape. [3] The Sirens will later come to represent music, including the music of spheres as presented by Plato. [4] 70. Who are Scylla and Charybdis? Circe warns Odysseus of the creature Scylla who she calls “a grisly monster” with “six long swaying necks” who lives on the cliffside (12.94). In some myths, Scylla was originally a beautiful woman who was turned into the grotesque monster. [5] Other myths are more specific, stating that Scylla was a beautiful sea-nymph loved by the sea-god Glaucus. [6] When Glaucus failed to attract Scylla, he turned to Circe to make him a love potion to use on Scylla; however, Circe attempted to seduce Glaucus, but Glaucus would not give up his love for Scylla. [7] Enraged at the rejection, Circe created a poison and used it on the unexpecting Scylla turning her into a hideous monster with serpentine necks and dog-like faces. [8] Thus, it is notable that Circe calls Scylla an “immortal devastation, terrible, savage, [and] wild,” if Scylla is indeed a product of Circe’s own act of cruelty and malice (12.128). Moreover, Circe speaks of Scylla’s mother: “she spawned her to scourge mankind, she can stop the monster’s attack” (12.134). One may question whether this is a reference to a distinct origin myth or a statement of irony given Circe is the mother of Scylla in monstrous form. Charybdis is the daughter of Poseidon and Gaia who, being under the water, sucks the ocean down through a whirlpool three times a day. [9] She is opposite of Scylla in the Straits of Messina. [10] Odysseus follows Circe’s advice that it is better to lose men to Scylla than his entire ship to Charybdis (12.120). Though Odysseus does push back on a way to fight Scylla (12.123), he ultimately does not tell his men about the danger of Scylla (12.167). Notably, he does show up on deck prepared to fight Scylla (12.241), but it is to no avail. We may note how personal Homer portrays the deaths of the sailors to Scylla. Those plucked by the monster cry out Odysseus’ name (12.269) and fling their arms toward him (12.278). Odysseus tells his audience: “Of all the pitiful things I’ve had to witness… this wrenched my heart the most” (12.282). We may question whether Odysseus tells his audience this story with such a personal veneer to better justify his decision to not inform his men, e.g., he really did care for them. The narrative arguably fractures the last bond of trust Odysseus has with his men. Notice Odysseus’ reference to the incident with the Cyclops where he states, “my presence of mind and tactics saved us all” (12.230). His revisionist history avoids that he himself put them in that situation and then caused Poseidon’s curse to fall upon them; moreover, note that in both incidents—Cyclops and Scylla—Odysseus loses six men. [1] Companion, 525. [2] Companion, 526. [3] Companion, 525. [4] Companion, 526, citing the myth of Er at the end of the Republic . [5] Companion, 515. [6] Hamilton, 314. [7] Hamilton, 314. [8] Hamilton, 315. [9] Companion, 140. [10] Companion, 140.…
Dr. Frank Grabowski and Thomas Lackey return to discuss Book Eleven of the Odyssey with Dcn. Garlick. Check out thegreatbookspodcast.com for more resources. From the guide: 60. What happens in book eleven? Odysseus and his men sail to the edge of the world into the endless darkness and the house of death (11.21). Following the ritual Circe prescribed, Odysseus fills a trench with blood, and the shades of the dead came out to meet him (11.40). Odysseus first speaks to Elpenor, his comrade who fell off the roof of Circe’s house and lays unburied back on Circe’s island (11.57). Odysseus then sees his mother, who he did not know was dead, but first speaks to Tiresias, “the famous Theban prophet” (11.100). Tiresias warns Odysseus he will come upon the cattle of the sun god, Helios, and he is not to harm them (11.123). Moreover, if Odysseus does make it home to Ithaca, he will have to leave his home again and go on a penitential journey to appease Poseidon (11.139). Odysseus then speaks to his mother about what is happening in Ithaca (11.173). He then sees “a grand array of women,” famous women from antiquity, sent by Persephone, the queen of the underworld, to drink the blood and speak with him (11.258). Odysseus then speaks to Agamemnon (11.457); and then to Achilles (11.530); and then he tries to speak with Ajax, but Ajax refuses, “blazing with anger” at Odysseus (11.620). Odysseus then sees several figures from mythology and speaks to the hero Heracles (or Hercules) who compares his exploits to that of Odysseus (11.690). The book ends with the shades of the dead overwhelming Odysseus, and he and is men running back to the ship in terror (11.723). 61. What is notable about Odysseus’ discussion with Elpenor? After Odysseus fills his trench with blood, the shades of the dead come out of Erebus—the “darkness” (11.41). [1] The first to speak to Odysseus is Elpenor, his comrade who died on Circe’s island (11.57). Notably, Elpenor does not have to drink the blood to speak to Odysseus (11.66). Though some interpret this scene as Odysseus not knowing that Elpenor had died, it seems clear that Odysseus and his men intentionally left Elpenor unburied (11.60); thus, Homer offers the juxtaposition of Odysseus hurrying to the house of the dead for his own sake while neglecting the rites of a dead comrade. Elpenor’s plight is reminiscent of Patroclus’ in the Iliad , where it seems he needs the rituals to find rest in the afterlife; moreover, it may be that Elpenor’s state of having a body unburied and his capacity to speak without drinking the blood are connected. Lastly, it should be noted he asks for his oar to be planted atop his tomb (11.86). [1] Erebus (darkness) was one of the four original primordial deities to come forth from Chaos. The others were Gaia (Earth), Eros (Love), and Nyx (Night). See Companion, 139.…
Dcn. Garlick flies solo to explore the depths of BOOK TEN of the Odyssey: The Bewitching Queen of Aeaea. Check out thegreatbookspodcast.com for more resources. From the guide: 53. What happens in book ten? Odysseus and his men come to the floating island of King Aeolus [1] who Zeus had made the “master of all the winds” (10.24). After hosting them for a month, King Aeolus stuffed all the winds into a bag, except a favorable west wind, and gave it to Odysseus (10.29). Leaving the island, they sailed for nine days until they came so close to Ithaca they could see men “tending fires” on the shore (10.34). Odysseus’ men, however, open the bag of winds, causing a maelstrom, blowing them all the way back to King Aeolus’ island (10.66). The king rejects them as cursed by the gods (10.79), and Odysseus and his fleet sail to the island of the Laestrygonians (10.89). There, Odysseus’ entire fleet, save his own ship, is lost in a surprise attack by the man-eating inhabitants of the island (10.132). Odysseus’ lone ship comes upon a new island, and Odysseus’ men find a hall and hear a woman singing inside (10.242). The woman is Circe, a goddess, who welcomes all the men to a feast and then changes them into pigs (10.253). Eurylochus, the only one to not go into the hall, runs back and tells Odysseus (10.269). Odysseus sets off to the hall, but along the way runs into Hermes, the messenger god, who tells him how to overcome Circe’s spells (10.305). Odysseus obeys, and Circe is made to swear an oath she will not harm Odysseus (10.380). Odysseus’ men are restored, younger and more handsome (10.436). They remain guests of Circe’s house for a year until Odysseus’ men remind him of his journey home (10.520). The book ends with Circe telling Odysseus he must travel to the house of death and speak to the prophet Tiresias (10.540). 54. What is the relationship between Odysseus and his men after the Cyclops affair? The narrative of King Aeolus and the bag of winds reveals the lack of trust festering between Odysseus and his men. Note that Odysseus will not trust the ship to any of his crew (10.37), and the crew assumes Odysseus is withholding treasure from them (10.40). Moreover, after the loss of the fleet in the Laestrygonian cove, the spiritedness of the crew, their thumos , is broken. When Odysseus orders his men to scout the hall on what we know to be Circe’s island (10.170), the “message broke their spirits” and they weep (10.217). We see this particularly with Eurylochus, who, when reporting back to Odysseus that Circe has turned the men to pigs, pleads with Odysseus to abandon the men and leave the island (10.289). It worth noting that Odysseus himself was tempted to allow his spirit to break, as after the incident with the winds he had to overcome the temptation of suicide (10.55). Later, when Odysseus has made a truce with Circe, Eurylochus has a “mutinous outburst” in which he states that Odysseus is to blame for the men eaten by the Cyclops (10.480). It makes explicit the tension throughout book ten. Odysseus is inclined to kill the man but is tempered by his men (10.483). The antagonisms between Odysseus and his remaining crew will continue as a predominant theme throughout the end of Odysseus’ recounting of his story in book twelve. [1] King Aeolus was “a mortal, king of the floating island of Aeolia and friend of the gods, to whom Zeus gave the custodianship of the winds.” In later mythology, “he was thought of as the god of the winds.” Companion, 14.…
Dcn. Garlick and Adam Minihan discuss BOOK NINE of the Odyssey: Odysseus and the Cyclops. Odysseus finally gives his name and starts to tell his story. Book Nine is one of the most important books in the Odyssey. Check out thegreatbookspodcast.com for more information. From the guide: 48. What happens in book nine? The guest of good King Alcinous finally declares, “I am Odysseus” (9.21), and he begins to tell his story (9.33). After Troy, Odysseus and the ships under his command raided a city on the island of Ismarus (9.44) where, the next morning, he lost men to a counterattack by the islanders (8.69). Next, Zeus hit Odysseus’ fleet with a storm, a “demonic gale” (9.76), and then, when free of the storm, his fleet was again taken off course by a rip-tide (9.89) that brought them to the land of the “Lotus-eaters” (9.94). Having saved his crew, Odysseus and his men come to a lush, uninhabited island (9.129), and across the strait see an island with signs of habitation (9.185). Odysseus and his men go to the island only to end up trapped in a cave with a cyclops (9.271). Though they plead for protection as guests under Zeus, Homer tells us: the cyclops grabbed two men, beat them against the ground “their brains gushed out all over, soaked the floor—and ripp[ed] them limb from limb to fix his meal” (9.324). He washes down the human flesh with raw milk (9.334). Odysseus and his men cannot escape the cave due to the enormous stone blocking the entrance, and they cannot kill the cyclops in his sleep for the same reason—they would be trapped in the cave. In the morning, the cyclops bolts down two more men (9.348) and leaves to tend his herds. Odysseus concocts a plan to escape (9.370). Upon his return, the cyclops devours two more of Odysseus’ men, and Odysseus offers the cyclops a strong wine to wash down the “banquet of human flesh” (9.389). The cyclops asks Odysseus’ his name, and Odysseus tells him his name is “Nobody” (9.410). With the cyclops drunk, Odysseus and his men ram a stake into the cyclops’ eye blinding him (9.428). Odysseus and his men escape the cave, but Odysseus tells the cyclops his name (9.560). The book ends with the cyclops asking his father, Poseidon, to curse Odysseus’ journey home and to “let him find a world of pain at home” (9.595).…
This week Dcn. Harrison Garlick and Mr. Eli Stone, formerly of the TU Great Books Honors College and now teaching at a classical school, discuss Book VIII of the Odyssey: A Day for Songs and Contests. We have a 50+ page guide to the Odyssey. Visit thegreatbookspodcast.com for more resources. From the guide: 42. What happens in book eight? King Alcinous and Odysseus go to the meeting grounds, as Athena whips up the curiosity of the islanders to come and see the stranger who “looks like a deathless god” (8.16). King Alcinous, still not knowing the identity of his guest, calls for the Phaeacians to prepare a ship to take the stranger home (8.39), and he calls for a feast, a “hero’s welcome” (8.49). As they feast, the bard sings the ballad of “The Strife between Odysseus and Achilles,” a tale from Troy, and Odysseus quietly weeps—unnoticed by all save King Alcinous (8.111). King Alcinous then calls for games, and the young men gather to race, wrestle, box, and throw a discus (8.140). A man named “Broadsea” goads Odysseus into competing, and Odysseus, in his anger, throws a heavy discus farther than any of them (8.116). As a good host, King Alcinous deescalates the situation (8.267), and calls for the Phaeacians to dance (8.284). The bard returns and sings of the story of Aphrodite’s adultery against Hephaestus (8.301). King Alcinous calls for parting gifts for Odysseus, and Broadsea gives the King of Ithaca a bronze sword in amends for his disrespect (8.441). Another feast is held, and Odysseus asks the bard to sing of the wooden horse at Troy (8.552). Odysseus again weeps quietly (8.586), and King Alcinous again notices (8.599). The book ends with the King finally asking Odysseus to reveal his name and his homeland (8.618). [1] 43. Why does Homer include the myth of Aphrodite’s adultery? Homer dedicates over one hundred lines of poetry to tell the story of “The Love of Ares and Aphrodite Crowned with Flowers” (8.301). First, one may note a shift in the mythology, as Hephaestus was married to a Grace in the Iliad and is now married to Aphrodite in the Odyssey . A myth about adultery in the Odyssey recalls several narratives: the story of Clytemnestra, (Agamemnon’s wife), the narrative of Odysseus with Calypso, and the suitors pursuing Penelope. In a subtle manner, Homer is likely presenting Hephaestus as Odysseus. Notice that that Odysseus mentions his legs are in poor shape, and he cannot race against the Phaeacians (8.260). Odysseus’ poor legs are analogous to the crippled legs of Hephaestus; moreover, Hephaestus is compared to Ares who has “racer’s legs,” like the Phaeacians (8.352). Homer describes Hephaestus overcoming Ares as the “slow outstrips the swift” (8.372) and “the cripple wins by craft” (8.375). If one takes Aphrodite to be Penelope, the myth is a warning to Odysseus that he will overcome the suitors not by swiftness but by craft. Similarly, one could read Aphrodite as Nausicaa and Ares as the Phaeacians; thus, we return to a narrative of Nausicaa being a temptation for Odysseus—but a temptation he could indulge if done by wit and craft. The myth presents certain analogues to Odysseus’ present situation but seems to fall short of presenting a full allegory. [1] Thank you to Mr. Eli Stone who joined us on the podcast to discuss Book 8.…
This week Dcn. Garlick and Mr. Eli Stone discuss Book Seven of the Odyssey: Phaeacia’s Halls and Gardens. Check out thegreatbookspodcast.com for more resources. FROM THE GUIDE: 36. What happens in book seven? Athena hides Odysseus in a mist and leads him, in the guise of a child, toward the palace (7.17). She reiterates the advice of Nausicaa by telling Odysseus to go to Queen Arete (7.61). Odysseus enters the magnificent palace and throws his arms around the queen’s knees, as Athena withdraws her mist (7.168). Odysseus pleads for mercy and then falls into the ashes underneath the hearth (7.182). All are silent until the old man Echeneus cries out for his king to welcome the stranger (7.185), and King Alcinous, spurred by his subject, welcomes Odysseus with food and drink (7.199). Without asking Odysseus’ name or where he is from, the king convenes the evening and calls for an assembly in the morning to help the stranger return home (7.221). Queen Arete takes Odysseus to his lodgings and is the first to question him about his name and homeland— and where he received his clothes (7.272). Odysseus gives a long answer that finally lands at stating that his clothes are from Nausicaa (7.340). King Alcinous reassures Odysseus that he’ll provide a passage home—but also states he could stay and marry Nausicaa (7.353). Odysseus reiterates his desire to return home (7.379), and the book ends with Odysseus finally finding rest in the house of King Alcinous (7.394). 37. What is to be made of King Alcinous’ offer to Odysseus to marry Nausicaa? Most notable in book seven is King Alcinous offering Nausicaa in marriage to Odysseus (7.358). The temptation of Nausicaa becomes explicit ( Question 33 ). Note that both King Alcinous and Queen Arete are descendants of Poseidon (7.65), and that the gods come to the island openly due to the people being their “close kin” (7.241). [1] In addition to its divine favor, the island enjoys advanced technology, as the dogs outside King Alcinous’ palace are automatons made by Hephaestus (7.106). The island is, in many ways, a utopia. Odysseus is being asked to restart his life amongst almost perfect mortal happiness. He would be grafted into a family of Poseidon’s mortal descendants (which bears a certain irony given Poseidon’s current wrath) and be married to a beautiful, clever princess, a young Penelope. The offer of King Alcinous is the more natural temptation than that of Calypso, because it is an offer that aligns with the nature of man and his desire for happiness. Notably, Odysseus never seems to acknowledge the offer, but simply expresses his gratitude again for the king’s willingness to take him home (7.379). To what degree the king’s offer has affected Odysseus is a question to keep in mind throughout the rest of the Odyssey . [1] Odyssey, 498, 508.…
Dcn. Harrison Garlick and Adam Minihan are joined by Eli Stone, formerly of the TU Great Books Honors College and now with Holy Family Classical School in Tulsa, Oklahoma, to discuss BOOK SIX of the Odyssey: The Princess and the Stranger. Check us out at thegreatbookspodcast.com . From the guide: 32. What happens in book six? Athena inspires Nausicaa, the daughter of King Alcinous, to go with her handmaids to the river and wash clothes (6.20). Her father grants her permission, and she takes a wagon of clothes to be washed (6.75). As she waits for the clothes to dry, she and her handmaids have a picnic out by the river (6.107). With a little influence from Athena, Odysseus awakes to the sound of the girls playing with a ball (6.130). Odysseus emerges naked, covering himself with a “leafy branch” (6.140)—“a terrible sight, all crusted, caked with brine” (6.151). All the women scatter save Nausicaa in whom Athena has planted courage (6.153). Odysseus tells the princess of his plight (6.163), and she welcomes him as a stranger sent from Zeus (6.227). To avoid scandal, Nausicaa instructs Odysseus on how to enter the city alone, find the queen, and grasp her knees (6.313). The books ends with Nausicaa leaving Odysseus in a sacred grove, and Odysseus praying to Athena (6.352). [1] 33. Is Nausicaa another temptation for Odysseus, like Calypso? The desire of Nausicaa to be married is a predominate theme in book six and seven. We see Athena state her marriage is “not far off” (6.30); we see Nausicaa be too shy to express her desire for marriage to her father (6.74), but her father sees through his daughter’s coyness and confirms his supports her, i.e., “I won’t deny you anything” (6.77); and we see Nausicaa, after seeing Odysseus glorified by Athena, say: “if only a man like that were called my husband” (6.270). Moreover, the princess is “still a virgin, unwed” (6.121) and compared to the virgin-goddess Artemis (6.113, 165). Her intuition and political savvy are displayed in the narrative of avoiding scandal and how to seek mercy from the queen (6.313). She is arguably presented as a young Penelope: beautiful and clever. The concern is that whereas Calypso represented an unnatural temptation ( Question 29 ), Nausicaa will represent a very natural one for Odysseus. One may note that naked Odysseus emerging to speak to the young girls is presented in predatory language, e.g., “as a mountain lion exultant in his power…” hungry and stalking sheep (6.143). The opening predatory metaphor seemingly stands in contrast with Odysseus’ restraint to not run and hug the knees of Nausicaa (6.161). The main principle of his opening speech to Nausicaa is presented in his earlier internal dialogue of whether the island inhabitants are savages or civilized persons (6.132). Guest-friendship is the sign and standard for civilization (6.133). Odysseus arguably mentions Artemis (6.165), Apollo’s altar in Delos (6.178), the custom of grasping by the knees (6.185), and the need for he, as a stranger, to be welcomed (6.193) to see if she is civilized. Moreover, it also reveals that Odysseus—the strange man emerging from the bushes—is civilized himself. [2] If guest-friendship is the standard for civilization (6.133), then it is one Nausicaa responds to well in both speech and practice (6.227). Those who see Nausicaa as a temptation, point to Odysseus’ flattery of her: “I have never laid eyes on anyone like you” (6.175). As with most Odyssean rhetoric, one may debate to what degree this statement reflects his interior disposition as opposed to simply a statement intended to cause an effect in his listener. The dialogue between Odysseus and Nausicaa has him comparing her to a god, but later she believes he looks like a god (6.269). Moreover, Nausicaa subtlety tells Odysseus that she thinks he’s handsome and available for marriage (6.303). There is much in book six to suggest that marriage to Nausicaa will be the next major temptation of Odysseus. [1] Thank you to Mr. Eli Stone who joined us on Ascend: The Great Books Podcast to discuss and lead us through books six and seven. [2] On the podcast, Mr. Eli Stone submitted the theory that Odysseus mentions Artemis explicitly to imply that he is safe and will not harm Nausicaa. In addition to being one of the virgin-goddesses, Artemis punished men severely for even seeing her naked much less touching her. As such, by Odysseys comparing Nausicaa to Artemis, he’s communicating that he, as a rational man, would never dare to touch her.…
Dcn. Harrison Garlick and Adam Minihan are joined by Evan Amato of Rewire the West to discuss Book Five of Odyssey: Odysseus escapes Calypso's Island. Check out thegreatbookspodcast.com for a written guide to the Odyssey. A couple questions from the guide: 28. What happens in book five? King Odysseus is trapped on Calypso’s island. Zeus, at Athena’s pleading, agrees to two proposals: first, Odysseus may leave the captivity of Calypso; and second, Athena may help Telemachus escape the trap set by the suitors (5.24). Hermes, the messenger god, goes and tells Calypso that it is Zeus’ will that Odysseus be set free upon a make-shift raft, and Calypso, though upset, acquiesces to the will of Zeus (5.125, 176). [1] She tells Odysseus he may leave, and he has her promise she is not plotting some new harm against him (5.202). After four days of working on the raft, Odysseus sets sail on the fifth with gifts and provisions from Calypso (5.288). Poseidon, who is returning from Ethiopia, sees Odysseus has left the island and, “it made his fury boil even more” (5.313). Poseidon sends a storm to sink Odysseus (5.321). As he’s being battered by the waves, a goddess of the sea, Ino, pities Odysseus, and tells him to strip off his clothes, tie her scarf around his waist, and swim for land (5.377). Poseidon smashes the raft to pieces (5.403), and Odysseus, with the help of Athena, makes it to the shore (5.471). The book ends with Odysseus falling asleep beneath two olive trees (5.544). [2] 29. Why does Odysseus refuse Calypso’s offer of immortality? Calypso tells Hermes that she has offered immortality to Odysseus (5.151), and again makes the offer after Odysseus knows he’s free to leave the island (5.230). How can Odysseus refuse immortality? How can a mortal man refuse an immortal life with a beautiful goddess? A subtle clue is found in the opening of book five. It does not repeat the typical line of Dawn and her rosy fingers but instead invokes Dawn’s lover, Tithonus (5.01). [3] It is said that Dawn (Eos) asked Zeus to make her mortal lover, Tithonus, immortal, and Zeus agreed—but Zeus did not grant Tithonus immortal youth. Thus, Tithonus, immortal, continued to age until he “became an old shriveled creature little more than a voice.” [4] Tithonus attempts to graft onto human nature something that is unnatural to it: immortality. As Dr. Patrick Deneen observes: “Tithonus accepts what is unacceptable for mortals to attain, but which is nevertheless clearly tempting to normal mortal desires.” [5] One aspect of the unnaturalness of immortality in man is the necessity for the possibility of death to achieve glory ( kleos ). It is in facing death that man achieves renown. Without death, what is man? Furthermore, observe how those who are without death, the immortal gods, are presented: imploded personalities, obsessive, petty, and narcissistic. The sinews between man, death, and glory are one to observe, as the story of Odysseus continues to develop. Similarly to Tithonus, we should observe Homer references the goddess Ino who was “a mortal woman once” (5.367). Ino, the sister of Semele, was driven mad by Hera, and she jumped into the sea with her son in her arms. She was transformed by Zeus into the sea goddess Learchos and her son the sea god Palaemon. [6] Here, we may observe on a preliminary level, that Ino’s transformation to the divine is tethered to two things unnatural to man: madness and suicide. Moreover, it is unclear that Ino made any intentional decision to become divine. If we accept the premise that immortality is unnatural to man, Odysseus is then right in rejecting Calypso’s offer, but we are still left to discern how Odysseus can reject what is so tempting to mortals. Knowing what one ought to do and doing it are distinct. Homer presents this as a mystery to unravel, as we are introduced to Odysseus years after he’s left Troy. We are not told yet what experiences he underwent prior to being captive on Calypso’s island that may have helped form him to withstand such a temptation. [7] Notes: [1] Hermes presumably tells Calypso of Zeus’ will that Odysseus be sent away on a make-shift raft (5.27), because Calypso does so (5.176) without Homer recording any explicit line to that effect from Hermes. [2] Thank you to Evan of Rewire the West who joined us to discuss book five. [3] Deneen, 44-45. [4] Companion, 572-73l Deneen, 44-45. [5] Deneen, 44. [6] Companion, 314, 208. [7] Deneen, 41-45.…
This week Adam Minihan returns to discuss Book Four of the Odyssey with Father Bonaventure, OP - a Dominican Friar of the Province of St. Joseph. The out our website for a 50+ page guide to the Odyssey. 23. What happens in book four? Telemachus arrives in Sparta to find King Menelaus hosting a “double-wedding feast;” as Menelaus’ daughter is marrying the son of Achilles, and Menelaus’ son is marrying a girl from Sparta (4.04). Telemachus and Nestor’s son, Pisistratus, are received warmly (4.68). Though a gracious host, Menelaus still mourns for his brother, Agamemnon (4.103), and for all the men lost in the Trojan war, especially Odysseus (4.120). Menelaus and Helen recognize Telemachus by his likeness to his father (4.131, 158). The next day, Menelaus tells Telemachus of his journey home from Troy (4.391). He and his men were stuck on the island of Pharos (4.396). After wrestling Proteus, the Old Man of the Sea, he is told he failed to offer sacrifices to the deathless gods before leaving Troy (4.530); and now for penance, he must return to Egypt and make a “splendid sacrifice” (4.535). Menelaus asks about the fate of his comrades, and Proteus tells him the stories of little Ajax, Agamemnon, and Odysseus—the last of which is held captive by the sea nymph Calypso (4.627). Menelaus did as the Old Man of the Sea said, and he then returned home to Sparta (4.657). The narrative shifts to Queen Penelope in Ithaca (4.703). The suitors, led by Antinous, discover Telemachus has taken a ship to Pylos (4.711), and they elect to send out their own ship to ambush him (4.753). Penelope is told Telemachus is gone and that the suitors plan to murder him (4.784). Eurycleia, the old nurse, tells Penelope she helped Telemachus prepare for his departure, and advises the queen to pray to Athena (4.836). Penelope prays to Athena, and Athena sends a phantom of Penelope’s sister to reassure the queen Telemachus is safe (4.930). The book ends with the suitors setting sail to ambush Telemachus (4.947). 24. What do we observe about the character of Menelaus? Notice that Menelaus agrees to welcome Telemachus and Pisistratus by first recalling all the hospitality he received on his journey home (4.38). He displays a certain gratitude and dare we say humility in passing on what he has received. A similar disposition is found in his piety of not wanting to be compared to Zeus (4.87). The pious but somber Menelaus declares: “So I rule all this wealth with no great joy,” as he recalls the death of his brother, Agamemnon (4.103). Moreover, he seems to lament the entire Trojan war, stating he would have rather stayed home with the wealth he had and the friends he lost at Troy—note, however, the implications of this statement regarding his wife, Helen (4.108). Check out the rest of the guide at thegreatbookspodcast.com.…
Dcn. Harrison Garlick, Dr. Frank Grabowski, and Mr. Thomas Lackey discuss Book Three of the Odyssey: KING NESTOR REMEMBERS. The lovable old man from the Iliad returns to help set Telemachus on his way. More on Telemachus' coming of age story What power comes to rest on Telemachus? How did Great Ajax die?! (ignobly...) What caused the Achaeans to suffer the wrath of Athena? Check out Dcn. Garlick's 50+ page guide to the Odyssey. What happens in book three? Telemachus arrives in Pylos to find King Nestor sacrificing eighty-one bulls to Poseidon and hosting a feast for forty-five hundred people (3.06). Athena, under the guise of Mentor, encourages Telemachus to speak to Nestor (3.16). Telemachus and Athena are welcomed warmly by Nestor’s son (3.40), and, after their meal, Nestor asks them who they are (3.77). Telemachus asks Nestor for news of his father, Odysseus (3.91), and Nestor recalls the “living hell” of Troy (3.113). Nestor tells Telemachus of the disaster that was the Achaean army returning home from Troy (3.147). Telemachus tells Nestor of the plight of the suitors (3.228), and Nestor tells Telemachus of Athena’s favor for his father, Odysseus—as Athena sits there in the guise of Mentor (3.247). Telemachus asks Nestor to tell the story of how Agamemnon died (3.282), and Nestor tells of how Agamemnon was betrayed by his wife and murdered (3.345). As the conversation turned to returning to Nestor’s halls, Athena, disguised as Mentor, transformed into an eagle and flew away (3.415). Nestor explains to Telemachus what favor he must have with the goddess (3.420) and prepares a splendid sacrifice to Athena in her honor (3.429). He has the heifer’s horns sheathed in gold (3.488), and Athena returns pleased with this sacrifice (3.485). The book ends with them obeying Athena’s orders by preparing a chariot to take Telemachus to Menelaus in Sparta (3.335). Join us as we read the Odyssey in this YEAR OF HOMER.…
Dcn. Garlick, Dr. Frank Grabowski, and Mr. Thomas Lackey come together to discuss Book Two of the Odyssey: Telemachus sets sail. Summary of the book Discussion on key themes Aristotle's Metaphysics John Wayne references And more! Check out our website for 60+ page reader's guide to the Odyssey . What happens in book two? Inspired by Athena, Telemachus addresses the assembly of Ithaca (2.25) and condemns the suitors and invokes the gods against them (2.70). In response, Antinous, a suitor, blames Telemachus’ mother, Penelope, the “matchless queen of cunning” (2.95) for refusing to return to her father’s house and letting him choose for her a new husband (2.125). Thus, the suitors will “devour” Telemachus’ house until a new husband for Penelope is chosen (2.136). Telemachus refuses to tell his mother to return to her father’s house (5.154) and announces he is leaving for Sparta and Pylos to seek news of his father (2.238). Athena, takes on the guise of Mentor—the man Odysseus left in charge of his affairs (2.250)—and reassures him in his mission (2.302). Telemachus has his nurse prepare provisions for his journey and swears her to secrecy (2.384). The book ends with Telemachus setting sail with his crew and pouring out libations to Athena, the goddess with the “flashing sea-gray eyes” (2.472). Click HERE for more resources.…
Dcn. Harrison Garlick and Adam Minihan are joined by Jason Craig of Sword and Spade magazine to discuss the theme of fatherhood in the Odyssey. The fatherhood of Odysseus The problem of fatherlessness in Ithaca The coming of age story of Telemachus And more! Check out Sword and Spade magazine. Check out our 60+ page guide to the Odyssey. Join us as we read the Odyssey as part of our Year of Homer!…
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