The Underworld and How It Reflects the Goals and Realities of Virgil and Homer

In epic stories the hero is traditionally confronted by supernatural entities that either strive to encourage or hinder him. In Virgil’s Aeneid Aeneas deals with the such supernatural interferences all of which focus on the goal of Aeneas creating Rome and its people. Throughout the books Aeneas is a truly ‘haunted’ individual faced with ghost, gods and even fate itself all of which attempt to prompt and govern his choices. Aeneas is subjected to the power of these forces as they lead him throughout a journey to create his fated city, propelling him to victory.

There has long been a fashion among critics and historians, including Sir James Frazier and Graham Hancock, to insist upon taking the account of Odysseus' voyage to Hades in Book XI of the Odyssey at near face-value as a description of people and places familiar to a Greek audience of Homer's day. Both linguistics and comparative history have been employed to discover exactly how accurately this originally oral epic conveys this gritty realism. Something, however, is not right with this purely empiric approach. What is missing is an examination through the lens of ancient religious practices. Surely a literary work so teeming with deities-wise Athena, spiteful Poseidon, impish

The Odyssey by Homer is a literary classic that presents many themes about the natures of both man and god. Although the characters of the book display characteristics relatable to those of the people today, one of the most prevalent differences between the two eras and their people is the intense violence that takes place throughout the entirety of the epic. This violence serves several functions in the work as a whole. The violence that is enacted upon the characters of The Odyssey serve as a device to convey the Greek cultural value of reverence of the gods and as a method for the author to create nuances to his characters.

Throughout Virgil’s Aeneid, there are characters such as Anchises, Creusa, and Dido, whose deaths are relatable to the deaths of heroes in works the audience would be familiar with such as the Odyssey, the Iliad, and The Oresteia. However, Priam’s death differs as being relatable to the deaths of other heroes and by Virgil’s over-dramatization of Priam’s death through incorporating a snake metaphor as well as with the excessive abuse Priam faced on his way to the altar. In other ancient literary works such as the Odyssey, the Iliad, and The Oresteia, the use of a snake references serves to indicate important plot elements. Analyzing the use of the snake metaphor surrounding Priam’s death suggests that comparing the snakes between book two and book five highlight the change of fortune for the Trojans and Aeneas, on their journey to Italy.

In both Homer’s Odyssey and Virgil’s Aeneid, the heroes make the dauntless adventure into the underworld. Both of theses visits occur around the middle of the stories, and they bring information about the lives of heroes ' loved ones. The heroes also get very important information from these loved ones; information that they require to continue on their journeys. However these are not the only things that are similar about the heroes visits. The influence of the Homeric writings of the Iliad and the Odyssey on Virgil’s writings is clear - especially in Book VI of the Aeneid. Throughout this paper we will talk about the similarities that occur throughout the two poems, and how the two authors beliefs shine through. These beliefs are two very different views on the idea of death. Homer’s Iliad depicts death as something that is something souls do not enjoy. Whereas Virgil’s Aeneid depict it more as a final rest for souls – something that relieves them of the troubles of life.

Dante’s Inferno is a narrative poem, with a very complicated rhyme scheme, originally written in Italian. It documents the author’s, Dante, trip through hell, where he learns how hell is organized and the way in which sinners are punished. Dante is guided by the great poet Virgil, who leads him throughout hell. The Odyssey, is an epic authored by the Greek, Homer. The epics centers on Odysseus’ protracted journey home. The protagonist, Odysseus, visits the underworld for a very short amount of time. The two literary works contain many common elements, such as characters being punished, the protagonists interacting with those in the underworld, repeating characters, and the misery of the underworlds. There are also differences

The aim of my report is to explain how the view of the afterlife in Ancient Greece has shaped works of art, books and the mentality of people. In order to do this I am going to explore how ancient Greek people saw the underworld as well as Roman people and the Renaissance period. Because Greeks saw the underworld as a dark, dreadful and gloomy place, many of the works that refer to it, either in Roman times or the Renaissance, are influenced by this view. In particular works like the Odyssey by Homer or The Phaedo by Plato, explained to a certain level the structure of the afterlife in ancient Greece. These two pieces of literature severely influenced works like the book VI of the Aeneid by Virgil where he depicts the underworld referencing to the Greek point of view. But a deeper description of the underworld is given by Dante in his Divine Comedy where he uses Virgil as his guide, from the depths of hell to the Purgatory while Beatrice, Dante’s ideal woman, guides him through heaven. All these time periods shared the idea of the underworld as being a place where souls pay the sins they committed during their lives.

In this essay, I will examine popular Greek ideas concerning fate and their relationship to characters in Homer's Odyssey.

Virgil’s The Aeneid is a Latin epic poem that tells the legendary story of Aeneas, a Trojan who travelled to Italy, where he became the ancestor of the Romans. The poem details the journey of Aeneas and his men after they are forced to flee burning Troy and as they wander the seas in search of land suitable to found a new Troy. Throughout the many books, the Trojans suffer through the Trojan War, the loss of their home, fierce storms, horrible monsters, and the wrath of the gods. A major theme of The Aeneid is human suffering as the characters in the poem experience the full front of despair and pain.

Literary theorist Thomas Pavel takes a new approach in interpreting myth in his article Reflections on the Oedipus Myth. Pavel’s main theme throughout the article consists of arguing that while Levi-Strauss’s structuralist interpretation of myth is important, it is too simplistic and does not suffice in giving an accurate analysis alone. He essentially uses Levi-Strauss 's binaries as framework to approach the myth, but focuses on details within the oppositions to depict the consequences of action. In the Aeneid, an epic poem by Virgil, the binary opposition of voluntary associations versus blood relations is presented through Aeneas’s relationship with his father versus his relationship with Dido. When interpreting the myth solely through

In ancient poetry, gods were people too; early epic was history but a history adorned by myth. This fantastical, mythical element came via the gods, envisaged as anthropomorphic deities. In Virgil’s Aeneid these gods function in epic as literary vehicles and as characters no less detailed and individual than the people in the poem. In this world where the mortal and the supernatural not only coexist but interweave with one another, the Aeneid follows the mortal Trojans as their world moves from war to peace and as they attempt, often unsuccessfully, to overcome the supernatural obstacles put in their path.

When comparing “The Aeneid” to “The Odyssey”, it is impossible not to notice the similarity between Homer and Virgil 's poems. Both heroes leave Troy, granted one barely escapes and the other leaves victoriously, and both in one sense or the other are trying to reach their home, whether it is the old or future home. The adventures of the two heroes are incredibly similar on a number of accounts with the trip to the underworld being most intriguing.

The epic poem The Aeneid, by Vergil adapts scenes, similes, and characters from the Odyssey written by Homer. The works of both authors include the simile of Artemis/Diana. Other characters do overlap in some of Vergil's scenes for instance, Aeneas and Odysseus encounter Cyclops. Both authors also reference the scene of the underworld. Although, Virgil adapts similarities from Homer's epic, each encounter has noticeable comparisons and/or differences. Vergil presents the epic of the Aeneid with a different purpose. At the beginning of the Aeneid, Aeneas leaves his home with other Romans after the Trojan War. Homer starts his epic with Odysseus wanting to return home form Troy.  The motives that guide each character differ from one another. Homers the Odyssey is more of the journey of a man longing to be home again, after the trojan war has ended. His actions are somewhat selfish at times. Virgil's main character Aeneas is driven by more of a scene of duty to the gods, because he is instructed to help build Rome for future generations.

Pulsing with a dynamism of purpose and characterization, Virgil’s Aeneid artfully mimics Homer’s precursory Grecian masterpieces, while maintaining a clarity of voice and pith in its mythical portrayal of the fateful course of Trojan refugee Aeneas and his subsequent relocation to and founding of Rome. Tossed asunder by a seaborne disturbance amid this quest for national establishment, the Trojan and his company of sojourners are forced upon the shores of Carthage. Sorely abused by the forces of fate, Queen Dido persists within this region, governing the loyal portion of Phoenician residents, with whom she fled the treacherous Pygmalion and slain Sychaeus—the regent’s brother and husband, respectively (991). Within the fourth book of the literary epic, the fleeting presence of Dido appears charged with philosophical insight— embodying human errancy, demonstrating the fallacious nature of the Greco-Roman deities, and coupling with Aeneas to formulate a commentary upon the vulnerability of humanity and indifference of fate. Foremost among such items, frequent divine interference serves as the preeminent causation of the Phoenician’s fall—eclipsing sinful exploits and presiding over the work’s entirety.

In Book XI, within Homer’s Odyssey, we get a peek into the Greek Underworld, as it was professed from Homeric times and before, around the start of the Archaic period. Homer’s writings are the original to be noted on this