* Çؼ³: HomerÀÇ Odyssey: ¼¾ç ÃÖÃÊÀÇ ÀåÆí ¼»ç½Ã |
Iliad¿Í OdysseyÀÇ Homer´Â °í´ë ±×¸®½ºÀÇ ÃÖÃÊÀÇ ½ÃÀÎÀ̾ú´Ù. ±×¿¡ ´ëÇؼ´Â ±â¿øÀü 10¼¼±â°æ¿¡ ¼Ò¾Æ½Ã¾ÆÀÇ AegaeanÇØ ¿¬¾È¿¡ »ì¾Ò´ø ¹æ¶û½ÃÀÎÀ̾ú´Ù´Â °Í ¿Ü¿¡´Â ¾Ë·ÁÁø °ÍÀÌ °ÅÀÇ ¾ø´Ù. Iliad¿Í Odyssey´Â TroyÀüÀï°ú ±× ÈÄÀÇ À̾߱âÀÌ¸ç ¹®ÀÚ·Î ±â·ÏµÈ ÃÖÃÊÀÇ ¼¾ç¹®ÇÐ ÀÛÇ°ÀÌ´Ù. Iliad´Â ºñ±ØÀÌ°í Odyssey´Â ÀÏÁ¾ÀÇ ¼Ò¼³ÀÌ´Ù. Odyssey´Â Troy ÀüÀïÀÌ ³¡³ ÈÄ 10³â°ºÎÅÍ À̾߱Ⱑ ½ÃÀÛµÇ°í ±ÍÇâÇÏ´Â ±×¸®½º ¿µ¿õµéÀÇ ¸ðÇè´ãÀ» ´Ù·ç°í ÀÖ´Ù. Homer´Â ¿µ¿õµéÀÇ À̾߱⸦ µû¶æÇÑ ½Ã°¢À¸·Î Àü´ÞÇÏ°í ÀÖ´Ù. ÀϺΠ¿µ¿õµéÀÇ ¸¸Çà¿¡ ´ëÇؼµµ ¿ëÀÎÇϴ ŵµ¸¦ ÃëÇÑ´Ù. ¿î¸íÀÇ ÀÛ¿ëÀ̳ª ÀÚ½ÅÀÇ ¾î¸®¼®Àº ÇൿÀ¸·Î ¾²·¯Áö°Å³ª °í³À» ´çÇÏ´Â Àι°µéµµ ¿ÂÈÇÏ°Ô Æ÷¿ëÇÑ´Ù. Àß ½Î¿ìÁöµµ ¸øÇÏ°í ¸Ó¸®¿¡ µç °Íµµ ¸¹Áö ¾ÊÀº ÀþÀº º´»ç, °î½ÄÀ» ¸Ëµ¹¿¡ °¥°í ÀÖ´Â Çã¾àÇÑ ³ë¿¹ ¼Ò³à, ¿äÁ¤ CalypsoÀÇ ºñź, Odysseus ¾î¸Ó´ÏÀÇ ½½ÇÄ, ¿¹¾ðÀÚ Cassandra °øÁÖÀÇ Á×À½ÀÇ ºñ¸í, Odysseus¸¦ ¸¸³ª±â À§ÇØ Ä¡ÀåÇÏ´Â ¿äºÎ ¿©½Å Circe, Odysseus¿¡°Ô ÆÐÇÏ¿© Á×À½À» ´çÇÏ´Â »ç¾ÇÇÑ ±¸È¥ÀÚµé, ºñÂüÇÑ ¿î¸íÀ» ½½ÆÛÇÏ°í ÀÖ´Â OdysseusÀÇ ´ÄÀº ¾Æ¹öÁö Laertes, ´«ÀÌ ¸Ö°Ô µÈ ÀÜÀÎÇÏ°í ³Í´õ¸®³ª´Â ±«¹° Cyclops, µî Homer´Â ¼±¾ÇÀ̳ª Ú¸õÝ(¹ÌÃß)¸¦ ÃÊ¿ùÇÏ¿© ¸ðµç Àι°µéÀ» µ¿Á¤ÀûÀ¸·Î ±×¸®°í ÀÖ´Ù.
Homer´Â ãêµé¿¡ ´ëÇؼµµ Àΰ£¿¡ ´ëÇÑ °Í°ú °°Àº °üÁ¡À» °¡Áö°í ÀÖ´Ù. ±âµ¶±³¿¡¼´Â Àΰ£Àº ½ÅÀÇ Çü»ó¿¡ µû¶ó âÁ¶µÇ¾úÁö¸¸ HomerÀÇ ¼¼°è¿¡¼´Â ãêÀº ºÒ¸êÀÇ Á¸Àç(immortal)À̱â´Â ÇÏÁö¸¸ Àΰ£°ú °°Àº ÀÌÁö¹Ì¸¦ °¡Áö°í ÀÖ´Ù. Àΰ£ÀÇ Çü»ó¿¡ µû¶ó ½ÅÀÌ Ã¢Á¶µÇ¾ú´Ù´Â °ÍÀÌ´Ù. ±×·¡¼ ½Å°ú Àΰ£Àº ÔÒ×¾(µ¿·ù)¶ó°í ÇÒ ¼ö ÀÖ´Ù. ½Åµéµµ Àΰ£Ã³·³ »ç¶ûÇÏ°í ¹Ì¿öÇÏ°í ÁúÅõÇÏ°í Á¤¿°ú ¿å¸Á¿¡ »ç·ÎÀâÈ÷±âµµ ÇÑ´Ù. ´Ù¸¸ Àΰ£Àº Á×À½À» ÇÇÇÒ ¼ö ¾ø´Â À¯ÇÑÀûÀÎ Á¸Àç(mortal)ÀÌ°í ½ÅµéÀº Á×À½ÀÌ ¾ø´Â ºÒ¸êÀÇ Á¸Àç(immortal)¶ó´Â °ÍÀÌ´Ù. ±×¸®°í ½ÅµéÀº º¯½ÅÀÌ °¡´ÉÇÏ´Ù. Homer´Â ÀÚÀ¯ºÐ¹æÇÏ°í ÇູÇÑ ½ÅµéÀÇ ¹«¸®¿Í »ýÁ¸À» À§ÇØ ÍÈ÷ã(°íÅõ)ÇÏ°í °í³úÇÏ´Â Àΰ£µéÀ» ´ëºñ½ÃÅ°¸ç ÃÊÀÎÀûÀÎ ¿µ¿õÀÌµç ¹ÌõÇÑ ÇʺÎÇʳàÀÌµç ¸ðµç Àΰ£µé¿¡ ´ëÇØ µû¶æÇÑ ½Ã°¢À¸·Î ¹Ù¶óº»´Ù. Odyssey´Â Àΰ£ ±àÁ¤ÀÇ ÀåÆí ¼»ç½ÃÀÌ´Ù.
47. The Odyssey
47-1-361
¥°.Characters
Odysseus
Odysseus has the defining character traits of a Homeric leader: strength, courage, nobility, a thirst for glory, and confidence in his authority. His most distinguishing trait, however, is his sharp intellect. Odysseus¡¯s quick thinking helps him out of some very tough situations, as when he escapes from the cave of the Cyclops in Book 9, or when he hides his slaughter of the suitors by having his minstrel strike up a wedding tune in Book 23. He is also a convincing, articulate speaker and can win over or manipulate his audience with ease. When he first addresses Nausicaa on the island of Scheria, for example, his suave, comforting approach quickly wins her trust.
Like other Homeric heroes, Odysseus longs to win kleos (¡°glory¡± won through great deeds), but he also wishes to complete his nostos (¡°homecoming¡±). He enjoys his luxurious life with Calypso in an exotic land, but only to a point. Eventually, he wants to return home, even though he admits that his wife cannot compare with Calypso. He thinks of home throughout the time he spends with the Phaeacians and also while on Circe¡¯s island. Sometimes his glory-seeking gets in the way of his home-seeking, however. He sacks the land of the Cicones but loses men and time in the process. He waits too long in the cave of Polyphemus, enjoying the free milk and cheese he finds, and is trapped there when the Cyclops returns.
Homeric characters are generally static. Though they may be very complex and realistic, they do not change over the course of the work as characters in modern novels and stories do. Odysseus and especially Telemachus break this rule. Early in his adventures, Odysseus¡¯s love of glory prompts him to reveal his identity to the Cyclops and bring Poseidon¡¯s wrath down on him. By the end of the epic, he seems much more willing to temper pride with patience. Disguised as a beggar, he does not immediately react to the abuse he receives from the suitors. Instead, he endures it until the traps he has set and the loyalties he has secured put him in a position from which he can strike back effectively.
47. ¿Àµð¼¼À̾Æ
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Odysseus
Odysseus´Â Èû, ¿ë±â, °í°áÇÔ, ¿µ±¤¿¡ ´ëÇÑ °¥¸Á, ÀÚ½ÅÀÇ ±ÇÀ§¿¡ ´ëÇÑ È®½Å µî HomerÀû ÁöµµÀÚÀÇ Æ¯¼ºµéÀ» ¹àÇôÁÖ´Â(defining)Àι°ÀÌ´Ù. ±×·¯³ª ±×ÀÇ °¡Àå ¶Ù¾î³ Æ¯¼ºÀº ±×ÀÇ ¿¹¸®ÇÑ ò±àõ(Áö¼º)ÀÌ´Ù. OdysseusÀÇ ¹ÎøÇÑ »ç°í·Â(thinking)Àº Book 9¿¡¼ ±×°¡ Cyclops(¾Ö²Ù´« °ÅÀÎ)ÀÇ µ¿±¼·ÎºÎÅÍ Å»Ãâ ÇÒ ¶§Ã³·³, ȤÀº Book 23¿¡¼ ±×°¡ À½À¯½ÃÀÎÀ¸·Î ÇÏ¿©±Ý ÃàÈ¥°¡¸¦ ¿¬ÁÖÇÏ°Ô ÇÔ¿¡ ÀÇÇؼ ±×ÀÇ ¾Æ³»¿¡°Ô ±¸È¥ÇÏ´Â ÀÚµéÀ» ÇлìÇÒ Àǵµ(slaughter)¸¦ ÀºÆóÇÒ ¶§Ã³·³, ±×°¡ ¸Å¿ì ¾î·Á¿î »óȲ¿¡¼ ¹þ¾î³ª´Âµ¥ µµ¿òÀ» ÁØ´Ù. ±×´Â ¶ÇÇÑ ¼³µæ·ÂÀÌ ÀÖ°í Á¶¸® ÀÖ´Â(articulate:ºÐ¸íÇÏ°Ô ¸»ÇÏ´Â) ÈÀÚÀÌ°í ûÁßÀ» ½±°Ô ²ø¾îµéÀÌ°í(win over) Á¶Á¾ÇÒ ¼ö ÀÖ´Ù. ¿¹¸¦ µé¾î¼, ±×°¡ Scheria¼¶¿¡¼ Nausicaa¿¡°Ô óÀ½À¸·Î ¸»À» °É ¶§¿¡ ±×ÀÇ »ó³ÉÇÏ°í ¾È¶ôÇÑ Á¢±Ù¹æ¹ýÀº ±×³àÀÇ ½Å·Ú¸¦ »¡¸® ¾ò°Ô ÇÑ´Ù.
HomerÀÇ ´Ù¸¥ ¿µ¿õµéó·³ Odysseus´Â kleos[À§´ëÇÑ ¾÷Àû(deeds)À» ÅëÇؼ ȹµæÇÏ´Â ¿µ±¤]¸¦ µ¿°æÇÏÁö¸¸ ¶ÇÇÑ ±×ÀÇ nostos(±ÍÇâ: homecoming)À» ¿Ï¼öÇϱ⸦ ¿øÇÑ´Ù. ±×´Â À̱¹ÀûÀÎ ¶¥¿¡¼ Calypso¿Í ȣȽº·¯¿î »îÀ» Áñ±âÁö¸¸ ´ÜÁö ¾î´À Á¤µµ±îÁö ÀÌ´Ù. ±×´Â ±×ÀÇ ¾Æ³»°¡ Calypso¿Í´Â ºñ±³°¡ µÉ ¼ö ¾ø´Ù´Â °ÍÀ» ÀÎÁ¤ÇÏÁö¸¸ °á±¹ ÁýÀ¸·Î µ¹¾Æ¿À±â¸¦ ¿øÇÑ´Ù. ±×´Â Phaeacians(¾Æ¸§´Ù¿î ¿äÁ¤µé)¿Í ÇÔ²² º¸³»´Â ½Ã°£ Àüü¸¦ ÅëÇؼ, ±×¸®°í ¶ÇÇÑ Circe(¾Æ¸§´Ù¿î ¸¶³à ¿©½Å)ÀÇ ¼¶¿¡ ÀÖÀ» µ¿¾È¿¡µµ ÁýÀ» »ý°¢ÇÑ´Ù. ±×·¯³ª ¶§·Î´Â ±×ÀÇ ¿µ±¤Ãß±¸°¡ ±×ÀÇ ±ÍÇâÃß±¸¿¡ ¹æÇØ°¡ µÉ ¶§µµ ÀÖ´Ù. ±×´Â CiconesÀεéÀÇ ¶¥À» ¾àÅ»ÇÏÁö¸¸(sack) ±× °úÁ¤¿¡¼ ºÎÇϵé°ú ½Ã°£À» ÀҴ´Ù. Polyphemus(°ÅÀÎ Á· ÁßÀÇ Çϳª)ÀÇ µ¿±¼¿¡¼ ±×°¡ ¹ß°ßÇÑ °øÂ¥ ¿ìÀ¯¿Í Ä¡Á Áñ±â´À¶ó°í ³Ê¹« ¿À·¡ ±â´Ù¸®°í ±×·¡¼ CyclopsÀÌ µ¹¾Æ ¿Ã ¶§ ÇÔÁ¤¿¡ ºüÁø´Ù.
HomerÀÇ Àι°µéÀº ÀϹÝÀûÀ¸·Î ð¡îÜ(Á¤Àû)ÀÌ´Ù. ºñ·Ï ±×µéÀº ¼ºÇâÀÌ ¸Å¿ì º¹ÀâÇÏ°í Çö½ÇÀûÀÌÁö¸¸, ÀÛÇ°ÀÇ °úÁ¤¿¡¼ Çö´ë ¼Ò¼³À̳ª À̾߱⠼ÓÀÇ Àι°µéÀÌ ÇÏ´Â °Íó·³ º¯È¸¦ ÇÏÁö ¾Ê´Â´Ù. Odysseus¿Í ƯÈ÷ Telemachus°¡ ÀÌ ±ÔÄ¢À» ±ú¶ß¸°´Ù. ±×ÀÇ ¸ðÇèÀÇ ÃÊ¿¡´Â, ¿µ±¤¿¡ ´ëÇÑ OdysseusÀÇ »ç¶ûÀº Cyclops¿¡°Ô ÀÚ½ÅÀÇ Á¤Ã¼¸¦ ¹àÈ÷µµ·Ï ÀçÃËÇÏ°í ±×·¡¼ PoseidonÀÇ ºÐ³ë¸¦ °¡Á® ¿Â´Ù. ±× ¼»ç½Ã(The Odyssey)ÀÇ ³¡¿¡ °¡¼´Â, ±×´Â Àγ»·Î¼ ±×ÀÇ ÀںνÉÀ» ¿ÏȽÃų ¶æÀÌ ÈξÀ ´õ ¸¹Àº °Íó·³ º¸ÀδÙ. °ÅÁö·Î °¡ÀåÇÑ ±×´Â ±¸È¥ÀÚµé·ÎºÎÅÍ ¹Þ´Â Çд뿡 Áï°¢ ´ëÀÀÇÏÁö ¾Ê´Â´Ù. ±× ´ë½Å, ±×´Â ±×°¡ ¼³Ä¡ÇÑ ÇÔÁ¤°ú ±×°¡ È®º¸ÇÑ Ã溹µé(loyalties)ÀÌ È¿°úÀûÀ¸·Î ¹Ý°ÝÇÒ ¼ö ÀÖ´Â À§Ä¡¿¡ ±×¸¦ ³õÀ» ¶§±îÁö ±×°Í(Çдë)À» °ßµò´Ù.
47-2-362
Telemachus
Odysseus¡¯s son. An infant when Odysseus left for Troy, Telemachus is about twenty at the beginning of the story. He is a natural obstacle to the suitors desperately courting his mother, but despite his courage and good heart, he initially lacks the poise and confidence to oppose them. His maturation, especially during his trip to Pylos and Sparta in Books 3 and 4, provides a subplot to the epic. Athena often assists him.
Penelope
Wife of Odysseus and mother of Telemachus. Penelope spends her days in the palace pining for the husband who left for Troy twenty years earlier and never returned. Homer portrays her as sometimes flighty and excitable but also clever and steadfastly true to her husband.
Poseidon
God of the sea. As the suitors are Odysseus¡¯s mortal antagonists, Poseidon is his divine antagonist. He despises Odysseus for blinding his son, the Cyclops Polyphemus, and constantly hampers his journey home. Ironically, Poseidon is the patron of the seafaring Phaeacians, who ultimately help to return Odysseus to Ithaca.
Zeus
King of gods and men, who mediates the disputes of the gods on Mount Olympus. Zeus is occasionally depicted as weighing men¡¯s fates in his scales. He sometimes helps Odysseus or permits Athena to do the same.
Antinous
The most arrogant of Penelope¡¯s suitors. Antinous leads the campaign to have Telemachus killed. Unlike the other suitors, he is never portrayed sympathetically, and he is the first to die when Odysseus returns.
Eurymachus
A manipulative, deceitful suitor. Eurymachus¡¯s charisma and duplicity allow him to exert some influence over the other suitors.
Amphinomus
Among the dozens of suitors, the only decent man seeking Penelope¡¯s hand in marriage. Amphinomus sometimes speaks up for Odysseus and Telemachus, but he is killed like the rest of the suitors in the final fight.
Telemachus
OdysseusÀÇ ¾Æµé. Odysseus°¡ Troy·Î ÇâÇØ Ãâ¹ßÇÒ ¶§ ¾Æ±â¿´´ø Telemachus´Â À̾߱âÀÇ ÃÊ¿¡ ¾à 20ÀÌ´Ù. ±×´Â ±×ÀÇ ¾î¸Ó´Ï¿¡°Ô ÇÊ»çÀûÀ¸·Î ±¸¾ÖÇÏ°í ÀÖ´Â ±¸È¥Àڵ鿡°Ô´Â ÇϳªÀÇ ÀÚ¿¬½º·± Àå¾Ö¹°ÀÌÁö¸¸ ±×ÀÇ ¿ë±â¿Í ¼±ÇÑ ¸¶À½¿¡µµ ºÒ±¸ÇÏ°í óÀ½¿¡´Â ±¸È¥Àڵ鿡°Ô ¹Ý´ëÇÒ ÀÚ¼¼¿Í ÀڽۨÀÌ ºÎÁ·ÇÏ´Ù. ±×ÀÇ ¼º¼÷Àº, ƯÈ÷ Books 3°ú 4¿¡¼ Pylos¿Í Sparta·Î ¿©Çà µ¿¾È¿¡, ±× ¼»ç½Ã¿¡ ºÎÂ÷ÀûÀÎ ÁٰŸ®¸¦ Á¦°øÇÑ´Ù. Athena (ÁöÇýÀÇ ¿©½Å)ÀÌ ±×¸¦ Á¾Á¾ µµ¿ÍÁØ´Ù.
Penelope
OdysseusÀÇ ¾Æ³»ÀÌ°í TelemachusÀÇ ¾î¸Ó´Ï. Penelope ´Â 20³âÀü¿¡ Troy·Î ÇâÇØ ¶°³ª°£ ÈÄ µ¹¾Æ¿ÀÁö ¾ÊÀº ³²ÆíÀ» ±×¸®¿öÇÏ¸ç ³¯µéÀ» º¸³½´Ù. Homer´Â ±×³à¸¦ ¶§¶§·Î º¯´ö½º·´°í ÈïºÐÇϱ⠽±Áö¸¸ ¶ÇÇÑ ¶È¶ÈÇÏ°í ³²Æí¿¡°Ô È®°íÇÏ°Ô ¼º½ÇÇÑ °ÍÀ¸·Î ±×³à¸¦ ±×¸®°í ÀÖ´Ù.
Poseidon
¹Ù´ÙÀÇ ãê. ±¸È¥ÀÚµéÀÌ Odysseus¿¡°Ô Àΰ£(mortal:Á×¾î¾ß ÇÒ ¿î¸íÀÇ, Àΰ£)À¸·Î¼ Àû´ëÀÚÀ̵íÀÌ PoseidonÀº ãêÀ¸·Î¼ Àû´ëÀÚÀÌ´Ù. PoseidonÀº ±×ÀÇ ¾Æµé Cyclops PolyphemusÀÇ ´«À» ¸Ö°Ô ÇÑ Odysseus¸¦ Çø¿ÀÇÏ°í(despise: °æ¸êÇÏ´Ù, Çø¿ÀÇÏ´Ù), ±×·¡¼ ±×ÀÇ °íÇâ °¡´Â ±æÀ» ²÷ÀÓ¾øÀÌ ¹æÇØÇÑ´Ù. ¾â±Ä°Ôµµ,PoseidonÀº Ç×ÇعÎÁ·ÀÎ PhaeaciansÀεéÀÇ º¸È£ÀÚ Àε¥, PhaeaciansÀεéÀº °á±¹ Odysseus°¡ Ithaca·Î µ¹¾Æ°¡´Â °ÍÀ» µµ¿ÍÁÖ°Ô µÈ´Ù.
Zeus
Olympus»ê Á¤»ó¿¡¼ ãêµéÀÇ ºÐÀïÀ» ÁßÀçÇØÁÖ´Â ãêµé°ú Àΰ£ÀÇ ¿Õ. Zeus´Â °¡²û Àΰ£ÀÇ ¿î¸íÀ» ±×ÀÇ Àú¿ï¿¡¼ Àç°í ÀÖ´Â °ÍÀ¸·Î ¹¦»çµÇ°í ÀÖ´Ù. ±×´Â ¶§¶§·Î Odysseus¸¦ µµ¿ÍÁÖ°í Athena°¡ ±×·¸°Ô ÇÏ´Â °ÍÀ» Çã¿ëÇÑ´Ù.
Antinous
PenelopeÀÇ ±¸È¥ÀÚ Áß¿¡¼ °¡Àå °Å¸¸ÇÏ´Ù. Antinous´Â Telemachus¸¦ Á×À̱â À§Çؼ ÀüÀïÀ» À̲ø¾î °£´Ù. ´Ù¸¥ ±¸È¥ÀÚµé°ú´Â ´Þ¸® ±×´Â °áÄÚ µ¿Á¤ÀûÀ¸·Î ¹¦»çµÇÁö ¾ÊÀ¸¸ç Odysseus°¡ µ¹¾Æ ¿Ã ¶§ Á¦ÀÏ ¸ÕÀú Á×À½À» ´çÇÑ´Ù.
Eurymachus
Á¶ÀÛ¿¡ ´ÉÇÏ°í ±â¸¸ÀûÀÎ ±¸È¥ÀÚ. EurymachusÀÇ Ä«¸®½º¸¶¿Í Ç¥¸®ºÎµ¿(duplicity: ÀÌÁß¼º)Àº ±×·Î ÇÏ¿©±Ý ´Ù¸¥ ±¸È¥Àڵ鿡°Ô ¿µÇâÀ» ¾î´À Á¤µµ ³¢Ä¡°Ô ÇØ ÁØ´Ù.
Amphinomus
¼ö½Ê ¸íÀÇ ±¸È¥ÀÚµé Áß¿¡¼ Penelope¿ÍÀÇ °áÈ¥À» Ãß±¸ÇÏ´Â À¯ÀÏÇÏ°Ô Ç°À§°¡ ÀÖ´Â Àι°. Amphinomus´Â Odysseus¿Í Telemachus¸¦ ¿ËÈ£ÇÏÁö¸¸ ±×µµ ¸¶Áö¸· ÀüÅõ¿¡¼ ³ª¸ÓÁö ±¸È¥ÀÚµé°ú ÇÔ²² Á×À½À» ´çÇÑ´Ù.
47-3-363
Eumaeus
The loyal shepherd who, along with the cowherd Philoetius, helps Odysseus reclaim his throne after his return to Ithaca. Even though he does not know that the vagabond who appears at his hut is Odysseus, Eumaeus gives the man food and shelter.
Eurycleia
The aged and loyal servant who nursed Odysseus and Telemachus when they were babies. Eurycleia is well informed about palace intrigues and serves as confidante to her masters. She keeps Telemachus¡¯s journey secret from Penelope, and she later keeps Odysseus¡¯s identity a secret after she recognizes a scar on his leg.
Melanthius
The brother of Melantho. Melanthius is a treacherous and opportunistic goatherd who supports the suitors, especially Eurymachus, and abuses the beggar who appears in Odysseus¡¯s palace, not realizing that the man is Odysseus himself.
Melantho
Sister of Melanthius and maidservant in Odysseus¡¯s palace. Like her brother, Melantho abuses the beggar in the palace, not knowing that the man is Odysseus. She is having an affair with Eurymachus.
Calypso
The beautiful nymph who falls in love with Odysseus when he lands on her island-home of Ogygia. Calypso holds him prisoner there for seven years until Hermes, the messenger god, persuades her to let him go.
Polyphemus
One of the Cyclopes (uncivilized one-eyed giants) whose island Odysseus comes to soon after leaving Troy. Polyphemus imprisons Odysseus and his crew and tries to eat them, but Odysseus blinds him through a clever ruse and manages to escape. In doing so, however, Odysseus angers Polyphemus¡¯s father, Poseidon.
Circe
The beautiful witch-goddess who transforms Odysseus¡¯s crew into swine when he lands on her island. With Hermes¡¯ help, Odysseus resists Circe¡¯s powers and then becomes her lover, living in luxury at her side for a year.
Laertes
Odysseus¡¯s aging father, who resides on a farm in Ithaca. In despair and physical decline, Laertes regains his spirit when Odysseus returns and eventually kills Antinous¡¯s father.
Eumaeus
¼ÒÄ¡´Â »ç¶÷ Philoetius¿Í ÇÔ²² Ithaca·Î ±Í±¹ÇÑ Odysseus°¡ ¿ÕÁ¸¦ ŻȯÇÏ´Â °ÍÀ» µµ¿ÍÁÖ´Â Ã漺½º·± ¾çÄ¡±â. ±×´Â ±×ÀÇ ¿ÀµÎ¸·¿¡ ³ªÅ¸³ ¹æ¶ûÀÚ°¡ Odysseus¶ó´Â °ÍÀ» ¸ð¸£´Âµ¥µµ Eumaeus´Â ±×¿¡°Ô À½½Ä°ú Àº½Åó¸¦ Á¦°øÇÑ´Ù.
Eurycleia
Odysseus¿Í Telemachus°¡ ¾Æ±â¿´À» ¶§ ±×µéÀ» Å°¿ü´ø Ã漺½º·± ´ÄÀº Çϳà. Eurycleia´Â ±ÃÁ¤¿¡¼ ÀϾ°í ÀÖ´Â À½¸ð¸¦ Àß ¾Ë°í ±×³àÀÇ ÁÖÀο¡°Ô ºñ¹ÐÀ» ¾Ë·ÁÁÖ´Â »ç¶÷À¸·Î¼ ºÀ»çÇÑ´Ù. ±×³à´Â TelemachusÀÇ ¿©ÇàÀ» Penelope¿¡°Ô ºñ¹Ð·Î ÇÏ°í ±× ÈÄ OdysseusÀÇ ´Ù¸®¿¡ ÀÖ´Â ÈäÅ͸¦ È®ÀÎÇÏ°íµµ ±×ÀÇ Á¤Ã¼¸¦ ºñ¹Ð·Î ÇÑ´Ù.
Melanthius
MelanthoÀÇ ÀÚ¸Å. Melanthius´Â ±¸È¥ÀÚµé ƯÈ÷ Eurymachus¸¦ Áö¿øÇÏ´Â ¹Ý¿ªÀûÀÌ°í ±âȸÁÖÀÇÀûÀÎ ¿°¼ÒÄ¡±â·Î¼, OdysseusÀÇ ±ÃÀü¿¡ ³ªÅ¸³ °ÅÁö¸¦, Odysseus ÀÚ½ÅÀ̶ó´Â °ÍÀ» ±ú´ÝÁö ¸øÇÏ°í, ¹Ú´ëÇÑ´Ù.
Melantho
MelanthiusÀÇ ÀÚ¸ÅÀÌ°í Odysseus ±Ã±ÈÀÇ Çϳà. ±×³àÀÇ ¿Àºüó·³ Melantho´Â ±× ³²ÀÚ°¡ Odysseus¶ó´Â °ÍÀ» ¸ð¸£°í ±Ã±È¿¡ ³ªÅ¸³ ±× °ÅÁö¸¦ ¹Ú´ëÇÑ´Ù. ±×³à´Â Eurymachus¿Í ¿¬¾ÖÁßÀÌ´Ù.
Calypso
Odysseus°¡ ±×³àÀÇ ¼¶ ÁýÀÎ Ogygia¿¡ »ó·úÇÏ¿´À» ¶§ ±×¿Í »ç¶ûÀ» ÇÏ°Ô µÈ ¾Æ¸§´Ù¿î ¿äÁ¤. Calypso´Â ÞÅíº(»çÀÚ) ãê Hermes°¡ ±×³à¸¦ ¼³µæÇÏ¿© Odysseus¸¦ ¶°³ª°¡µµ·Ï ÇÒ ¶§ ±îÁö 7³â µ¿¾È ±×¸¦ Æ÷·Î·Î ±×°÷¿¡ ºÙµé¾î µÐ´Ù.
Polyphemus
Odysseus°¡ Troy¸¦ ¶°³ ÈÄ °ð µµÂøÇÏ°Ô µÈ ¼¶¿¡ »ç´Â Cyclopes(¹®¸íµÇÁö ¾ÊÀº ¿Ü´«¹ÚÀÌ °ÅÀεé) ÁßÀÇ Çϳª. Polyphemus´Â Odysseus¿Í ±×ÀÇ ¼±¿øµéÀ» Àâ¾Æ¸Ô±â À§ÇØ °¡µÎ¾î ³õÁö¸¸, Odysseus´Â ¿µ¸®ÇÑ °è·«À» ½á¼ ±×ÀÇ ´«À» ¸Ö°Ô ÇÏ°í Å»ÃâÇÏ°Ô µÈ´Ù. ±×·¯³ª ±×·¸°Ô ÇÏ¸é¼ Odysseus´Â PolyphemusÀÇ ¾Æ¹öÁöÀÎ PoseidonÀ» ȳª°Ô ÇÑ´Ù.
Circe
Odysseus°¡ ±×³àÀÇ ¼¶¿¡ ºÎÇϼ±¿øµéÀ» »ó·ú½ÃÄ×À» ¶§ ±×µéÀ» µÅÁö·Î º¯Çü½ÃÅ°´Â ¾Æ¸§´Ù¿î ¿äÁ¤¿©½Å. Hermes(½ÅµéÀÇ »çÀÚ)ÀÇ µµ¿òÀ¸·Î Odysseus´Â CirceÀÇ ¸¶·Â¿¡ ÀúÇ×À» ÇÏ°í ±×·¯°í ³ª¼´Â ±×ÀÇ ¿¬ÀÎÀÌ µÇ¾î 1³â µ¿¾È ±× ³à ¿·¿¡¼ ȣȽº·´°Ô »ê´Ù.
Laertes
OdysseusÀÇ ¿¬·ÎÇÑ ¾Æ¹öÁöÀ̸ç IthacaÀÇ ³óÀå¿¡ °ÅÁÖÇÏ°í ÀÖ´Ù. Àý¸Á°ú À°Ã¼Àû ¼è¾à ¼Ó¿¡ ÀÖ¾úÁö¸¸ Laertes´Â Odysseus°¡ µ¹¾Æ ¿ÔÀ» ¶§ Á¤½ÅÀ» ȸº¹ÇÏ°í ¸¶Ä§³» AntinousÀÇ ¾Æ¹öÁö¸¦ Á×ÀδÙ.
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Tiresias
A Theban prophet who inhabits the underworld. Tiresias meets Odysseus when Odysseus journeys to the underworld in Book 11. He shows Odysseus how to get back to Ithaca and allows Odysseus to communicate with the other souls in Hades.
Nestor
King of Pylos and a former warrior in the Trojan War. Like Odysseus, Nestor is known as a clever speaker. Telemachus visits him in Book 3 to ask about his father, but Nestor knows little of Odysseus¡¯s whereabouts.
Menelaus
King of Sparta, brother of Agamemnon, and husband of Helen, he helped lead the Greeks in the Trojan War. He offers Telemachus assistance in his quest to find Odysseus when Telemachus visits him in Book 4.
Helen
Wife of Menelaus and queen of Sparta. Helen¡¯s abduction from Sparta by the Trojans sparked the Trojan War. Her beauty is without parallel, but she is criticized for giving in to her Trojan captors and thereby costing many Greek men their lives. She offers Telemachus assistance in his quest to find his father.
Agamemnon
Former king of Mycenae, brother of Menelaus, and commander of the Achaean forces at Troy. Odysseus encounters Agamemnon¡¯s spirit in Hades. Agamemnon was murdered by his wife, Clytemnestra, and her lover, Aegisthus, upon his return from the war. He was later avenged by his son Orestes. Their story is constantly repeated in the Odyssey to offer an inverted image of the fortunes of Odysseus and Telemachus.
Nausicaa
The beautiful daughter of King Alcinous and Queen Arete of the Phaeacians. Nausicaa discovers Odysseus on the beach at Scheria and, out of budding affection for him, ensures his warm reception at her parents¡¯ palace.
Alcinous
King of the Phaeacians, who offers Odysseus hospitality in his island kingdom of Scheria. Alcinous hears the story of Odysseus¡¯s wanderings and provides him with safe passage back to Ithaca.
Arete
Queen of the Phaeacians, wife of Alcinous, and mother of Nausicaa. Arete is intelligent and influential. Nausicaa tells Odysseus to make his appeal for assistance to Arete.
Tiresias
ÁöÇϼ¼°è¿¡ °ÅÁÖÇÏ°í ÀÖ´Â ThebesÀÇ ¿¹¾ðÀÚ. Tiresias´Â Odysseus°¡ Book 11¿¡¼ ÁöÇϼ¼°è¸¦ ¿©ÇàÇÒ ¶§¿¡ ±×¸¦ ¸¸³´Ù. ±×´Â Odysseus¿¡°Ô Ithaca·Î µ¹¾Æ°¡´Â ¹æ¹ýÀ» º¸¿©ÁÖ°í Odysseus °¡ Hades(Àú½Â)¿¡ ÀÖ´Â ´Ù¸¥ È¥·Éµé°ú Åë½ÅÇϵµ·Ï ÇØ ÁØ´Ù.
Nestor
PylosÀÇ ¿ÕÀÌ°í TroyÀüÀïÀÇ îñ Àü»ç. Odysseusó·³ Nestor´Â ¿µ¸®ÇÑ ü¥íº(ÈÀÚ)·Î¼ ¾Ë·ÁÁ® ÀÖ´Ù. Telemachus´Â Book 3¿¡¼ ±×¸¦ ¹æ¹®ÇÏ¿© ±×ÀÇ ¾Æ¹öÁö¿¡ °üÇؼ ¹°¾îº¸Áö¸¸ Nestor´Â OdysseusÀÇ Çà¹æ¿¡ ´ëÇؼ´Â °ÅÀÇ ¸ð¸¥´Ù.
Menelaus
SpartaÀÇ ¿ÕÀÌ°í AgamemnonÀÇ µ¿»ýÀÌ°í HelenÀÇ ³²ÆíÀÎ ±×´Â TroyÀüÀï¿¡¼ ±×¸®½ºÀεéÀ» À̲ô´Â °ÍÀ» µµ¿Ô¾ú´Ù. Book 4¿¡¼ Telemachus°¡ ±×¸¦ ¹æ¹®ÇÒ ¶§ ±×´Â Telemachus°¡ Odysseus¸¦ ã¾Æ°¡´Â Ž±¸¿©Çà¿¡¼ Telemachus¿¡°Ô ¿øÁ¶¸¦ Á¦°øÇÑ´Ù.
Helen
MenelausÀÇ ¾Æ³»ÀÌ°í SpartaÀÇ ¿©¿Õ. TroyÀεéÀÌ Sparta·ÎºÎÅÍ HelenÀ» ³³Ä¡ÇØ°£ °ÍÀÌ TroyÀüÀïÀ» Ã˹߽ÃÄ×´Ù. ±×³àÀÇ ¾Æ¸§´Ù¿òÀº ºñ±³ÇÒ µ¥°¡ ¾øÁö¸¸ ±×³à°¡ Troy ³³Ä¡Àε鿡°Ô ±¼º¹ÇÏ¿© ±×·Î ÀÎÇØ ¸¹Àº ±×¸®½º ³²ÀÚµéÀÇ ¸ñ¼ûÀ» Èñ»ý½ÃÄ×´Ù´Â ºñÆÇÀ» ¹Þ´Â´Ù. ±×³à´Â ¾Æ¹öÁö¸¦ ã¾Æ Ž±¸¿©Çà ÁßÀÎ Telemachus¿¡°Ô µµ¿òÀ» Á¦°øÇÑ´Ù.
Agamemnon
MycenaeÀÇ îñ±¹¿ÕÀÌ°í MenelausÀÇ ÇüÀÌ°í Troy ÁֵРAchaea±ºÀÇ »ç·É°ü. Odysseus´Â Hades¿¡¼ AgamemnonÀÇ ¸Á·É°ú ¸¸³ª°Ô µÈ´Ù. AgamemnonÀº ÀüÀïÀ¸·ÎºÎÅÍ µ¹¾Æ¿ÀÀÚ ¸»ÀÚ ±×ÀÇ ¾Æ³» Clytemnestra¿Í ±×³àÀÇ ¿¬ÀÎ Aegisthus¿¡ ÀÇÇؼ »ìÇصȴÙ. ±× ÈÄ¿¡ ±×ÀÇ ¾Æµé Orestes°¡ ¾Æ¹öÁö¸¦ À§ÇØ º¹¼öÇÏ¿´´Ù. ±×µéÀÇ À̾߱â´Â Odyssey¿¡¼ ²÷ÀÓ¾øÀÌ ¹Ýº¹µÇ¸é¼ Odysseus¿Í TelemachusÀÇ ¿î¸í¿¡ ´ëÇÑ ¹Ý´ë À̹ÌÁö¸¦ Á¦°øÇÑ´Ù.
Nausicaa
PhaeaciaÀεéÀÇ Alcinous¿Õ°ú Arete¿ÕºñÀÇ ¾Æ¸§´Ù¿î µþ. Nausicaa´Â Scheria Çغ¯¿¡¼ Odysseus¸¦ ¹ß°ßÇÏ°í ±×¿¡ ´ëÇÑ ½ÏÆ®´Â ¾ÖÁ¤¿¡¼ ºÎ¸ðÀÇ ±ÃÀü¿¡¼ ±×°¡ µû¶æÇÑ Á¢´ë¸¦ ¹Þµµ·Ï ÇØÁØ´Ù.
Arete
PhaeaciaÀεéÀÇ ¿©¿ÕÀÌ°í AlcinousÀÇ ¾Æ³»ÀÌ°í NausicaaÀÇ ¾î¸Ó´ÏÀÎ Arete´Â ÃѸíÇÏ°í ¿µÇâ·ÂÀÌ °ÇÏ´Ù. Nausicaa´Â Odysseus¿¡°Ô µµ¿òÀ» ¹Þ±â À§ÇÑ È£¼Ò¸¦ Arete¿¡°Ô Ç϶ó°í ¸»ÇÑ´Ù.
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¥±. Settings
The Odyssey was composed around the year 700 B.C.E. The poem is set about 500 years earlier, around 1200 B.C.E., a period known as the Bronze Age. The poet imagines this time as a golden age in which kings enjoy extraordinary wealth, warriors possess almost superhuman strength, and women are supernaturally beautiful. The gods walk among humans. Monsters pose a threat to any traveler who strays off the map. In many respects, however, the world of The Odyssey reflects the era in which it was written rather than the era in which it is set. The feudal society of Ithaca belongs to the eighth century B.C.E. rather than the twelfth. Sometimes, the poem¡¯s armor and weapons are made of bronze, as they would have been in its Bronze Age setting, but at other times they are made of iron. In some respects, the two worlds are the same. When Odysseus tells stories of piracy and slave-trading, he is describing the reality that faced seafarers on the Aegean right up to the nineteenth century. Above all, the values which motivate the poem¡¯s characters, like respect for the guest-host relationship, would also have motivated the poem¡¯s earliest readers.
The Odyssey repeatedly contrasts two kinds of setting: domestic and wild. The poem¡¯s characters often find themselves in luxurious domestic settings, the palaces of kings and goddesses. In these locations Odysseus and Telemachus negotiate the subtleties of the guest-host relationship, and often the sheer wealth and luxury of the settings makes this negotiation difficult. Telemachus proves his growing maturity when he tactfully explains that his own homeland is too rocky for the chariot he is offered by the spectacularly wealthy Menelaus. Odysseus is lulled by the incredible luxury of Circe¡¯s home into wasting a year on her island. At other times, the poem¡¯s characters find themselves in unknown, untamed spaces, where they face serious threats. At sea they are threatened by storms and the wrath of gods and monsters. In unknown lands they face hostile armies. Odysseus¡¯ most dangerous encounter comes when he mistakes a wild setting for a domestic one. He seeks out the home of Polyphemus the Cyclops because he expects a guest-gift, only to find that the Cyclops pays no heed to human laws.
¥±. ¹è°æ
Odyssey´Â 700 B.C.E.(Before the Common Era)³â °æ¿¡ ¾²¿© Á³¾ú´Ù. ±× ãÌ´Â À̺¸´Ù ¾à 500³â À̸¥, ûµ¿±â ½Ã´ë·Î ¾Ë·ÁÁø, 1200 B.C.E °æÀ¸·Î ¼³Á¤µÇ¾î ÀÖ´Ù. ½ÃÀÎÀº ÀÌ ½Ã´ë¸¦ ¿ÕµéÀº Ưº°ÇÑ ºÎ¸¦ ÇâÀ¯ÇÏ°í, Àü»çµéÀº °ÅÀÇ ÃÊÀÎÀûÀÎ ÈûÀ» °¡Áö°í ÀÖÀ¸¸ç, ¿©ÀεéÀº ÃÊÀÚ¿¬ÀûÀÏ ¸¸Å ¾Æ¸§´Ù¿ü´ø Ȳ±Ý½Ã´ë·Î »ó»óÇÑ´Ù. ãêµéÀÌ Àΰ£µé ¼Ó¿¡¼ °É¾î ´Ù´Ñ´Ù. ±«¹°µéÀº Áöµµ¿¡¼ ¹þ¾î³ª ¹æȲÇÏ´Â ¿©ÇàÀÚµéÀ» À§ÇùÇÑ´Ù. ±×·¯³ª ¸¹Àº Á¡¿¡¼ OdysseyÀÇ ¼¼°è´Â ±×°ÍÀÌ ¼³Á¤µÈ ½Ã´ëº¸´Ù´Â ±×°ÍÀÌ ¾²¿© Á³´ø ½Ã´ë¸¦ ¹Ý¿µÇÏ°í ÀÖ´Ù. IthacaÀÇ ºÀ°Ç»çȸ´Â ±â¿øÀü 12¼¼±â º¸´Ù´Â ±â¿øÀü 8¼¼±â¿¡ ¼ÓÇÑ´Ù. ¾î¶² ¶§´Â ±× ½ÃÀÇ °©¿Ê°ú ¹«±â´Â ¸¶Ä¡ ±×°ÍµéÀÌ Ã»µ¿±â½Ã´ë¿¡ ¸¸µé¾î Á³´ø °Íó·³ ûµ¿À¸·Î ¸¸µé¾îÁ® ÀÖÁö¸¸ ´Ù¸¥ ¶§¿¡´Â ±×°ÍµéÀº ö·Î ¸¸µé¾îÁ® ÀÖ´Ù. ¾î¶² Á¡¿¡¼´Â ±× µÎ ¼¼°è´Â µ¿ÀÏÇÏ´Ù. Odysseus°¡ ÇØÀû°ú ³ë¿¹¹«¿ªÀÇ À̾߱⸦ ÇÒ ¶§´Â ±×´Â AegeanÇØ Ç×ÇØÀÚµéÀÌ ¹Ù·Î 19¼¼±â ±îÁö Á÷¸éÇÏ¿´´ø »ç½ÇÀ» ¹¦»çÇÏ°í ÀÖ´Ù. ¹«¾ùº¸´Ùµµ, ãÌÀÇ Àι°µé¿¡°Ô µ¿±â¸¦ ºÎ¿©ÇÏ´Â °¡Ä¡´Â, ¼Õ´Ô°ú ÁÖÀÎÀÇ °ü°è¿¡ ´ëÇÑ Á¸Áß °°Àº °¡Ä¡´Â, ¶ÇÇÑ ½ÃÀÇ ÃÖÃÊÀÇ µ¶ÀÚµéÀÇ ¸¶À½µµ ¿òÁ÷¿´À» °ÍÀÌ´Ù.
Odyssey´Â Áý°ú ¾ß»ýÀ̶ó´Â µÎ Á¾·ùÀÇ ¹è°æÀ» ¹Ýº¹Çؼ ´ëÁ¶½ÃŲ´Ù. ½ÃÀÇ Àι°µéÀº Á¾Á¾ ¿Õµé°ú ¿©½ÅµéÀÇ ±ÃÀüÀΠȣȽº·¯¿î ½Ç³» ¹è°æ ¼Ó¿¡ ÀÖ´Ù. ÀÌ·¯ÇÑ Àå¼Ò(locations)¿¡¼ Odysseus ¿Í Telemachus ´Â ¼Õ´Ô-ÁÖÀÎ °ü°èÀÇ ¹Ì¹¦ÇÑ Á¡À» ÇùÀÇÇÏ°í, ±×¸®°í ¹è°æÀÇ ¼ø¼öÇÑ(sheer:¾ãÀº, ¿ÏÀüÇÑ) ºÎ¿Í ȣȽº·¯¿òÀÌ Á¾Á¾ ÀÌ ÇùÀǸ¦ ¾î·Æ°Ô ¸¸µç´Ù. Telemachus´Â ¾öû³ª°Ô ºÎÀ¯ÇÑ Menelaus°¡ ±×¿¡°Ô Á¦°øÇÏ´Â ÀüÂ÷°¡ ´Ù´Ï±â¿¡´Â ÀÚ½ÅÀÇ ³ª¶ó´Â ³Ê¹« ¹ÙÀ§°¡ ¸¹´Ù°í ÀçÄ¡ ÀÖ°Ô ´ë´äÇÒ ¶§ ±×ÀÇ Áõ´ëÇÏ´Â ¼º¼÷¼ºÀ» Áõ¸íÇØ º¸ÀδÙ. Odysseus´Â CirceÀÇ ÁýÀÇ ¾öû³ ȣȷοò¿¡ ¸¶À½ÀÌ ²ø·Á¼ ±×³àÀÇ ¼¶¿¡¼ 1³âÀ» ³¶ºñÇÑ´Ù. ´Ù¸¥ ¶§¿¡´Â ½ÃÀÇ Àι°µéÀº ¹ÌÁöÀÇ °ÅÄ£(untamed) ¶¥(spaces)¿¡ µé¾î°¡¼ Áß´ëÇÑ À§Çù¿¡ Á÷¸éÇÏ°Ô µÈ´Ù. ¹Ù´Ù¿¡¼ ±×µéÀº ½Åµé°ú ±«¹°µéÀÇ ºÐ³ë¿¡ ÀÇÇØ À§ÇùÀ» ´çÇÑ´Ù. ¹ÌÁöÀÇ ³ª¶ó¿¡¼ ±×µéÀº Àû´ëÀûÀÎ ±º´ë¿Í Á÷¸éÇÏ°Ô µÈ´Ù. OdysseusÀÇ °¡Àå À§ÇèÇÑ Ãæµ¹Àº ³ÆøÇÑ ¶¥(setting)À» ¿ìÈ£ÀûÀÎ(domestic) ¶¥À¸·Î ¿ÀÀÎÇÒ ¶§¿¡ ÀϾÙ. ±×´Â ¼Õ´Ô ¼±¹°À» ±â´ëÇÏ¿´±â ¶§¹®¿¡ CyclopsÁ· PolyphemusÀÇ ÁýÀ» ã¾Æ³»Áö¸¸ CyclopsµéÀº Àΰ£ÀÇ ¹ý¿¡´Â °ü½ÉÀ» ÁÖÁö ¾Ê´Â´Ù´Â °ÍÀ» ¹ß°ßÇÒ »ÓÀÌ´Ù.
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¥². Plot Overview
Ten years have passed since the fall of Troy, and the Greek hero Odysseus still has not returned to his kingdom in Ithaca. A large and rowdy mob of suitors who have overrun Odysseus¡¯s palace and pillaged his land continue to court his wife, Penelope. She has remained faithful to Odysseus. Prince Telemachus, Odysseus¡¯s son, wants desperately to throw them out but does not have the confidence or experience to fight them. One of the suitors, Antinous, plans to assassinate the young prince, eliminating the only opposition to their dominion over the palace.
Unknown to the suitors, Odysseus is still alive. The beautiful nymph Calypso, possessed by love for him, has imprisoned him on her island, Ogygia. He longs to return to his wife and son, but he has no ship or crew to help him escape. While the gods and goddesses of Mount Olympus debate Odysseus¡¯s future, Athena, Odysseus¡¯s strongest supporter among the gods, resolves to help Telemachus. Disguised as a friend of the prince¡¯s grandfather, Laertes, she convinces the prince to call a meeting of the assembly at which he reproaches the suitors. Athena also prepares him for a great journey to Pylos and Sparta, where the kings Nestor and Menelaus, Odysseus¡¯s companions during the war, inform him that Odysseus is alive and trapped on Calypso¡¯s island. Telemachus makes plans to return home, while, back in Ithaca, Antinous and the other suitors prepare an ambush to kill him when he reaches port.
¥². ÁٰŸ® °³°ü
Troy ¸ê¸Á ÀÌÈÄ 10³âÀÌ Áö³ª°¬°í ±×¸®½ºÀÇ ¿µ¿õ Odysseus´Â ¾ÆÁ÷µµ Ithaca¿¡ ÀÖ´Â ±×ÀÇ ¿Õ±¹À¸·Î µ¹¾Æ°¡Áö ¸øÇÏ¿´´Ù. OdysseusÀÇ ±ÃÀüÀ» Á¡·ÉÇÏ°í ³ª¶ó¸¦ ¾àÅ»ÇÑ ±¸È¥ÀÚÀÇ ³ÆøÇÑ ¹«¸®µéÀÌ ±×ÀÇ ¾Æ³» Penelope¿¡°Ô ²ö´öÁö°Ô ±¸¾Ö¸¦ ÇÑ´Ù. ±×³à´Â Odysseus¿¡°Ô Ãæ½ÇÇÏ¿´´Ù. OdysseusÀÇ ¾ÆµéÀÎ Telemachus ¿ÕÀÚ´Â ±¸È¥ÀÚµéÀ» ÂѾƳ»±â¸¦ Àý½ÇÇÏ°Ô ¿øÇÏÁö¸¸ ±×µé°ú ½Î¿ï¸¸ÇÑ ÀڽۨÀ̳ª °æÇèÀÌ ¾ø´Ù. ±¸È¥ÀÚµé ÁßÀÇ ÇÑ ¸íÀÎ Antinous´Â ±ÃÀü¿¡ ´ëÇÑ ±×µéÀÇ Áö¹è¿¡ À¯ÀÏÇÏ°Ô ¹Ý´ëÇÏ´Â ±×¸¦ Á¦°ÅÇϱâ À§ÇÏ¿© ÀþÀº ¿ÕÀÚ¸¦ ¾Ï»ìÇÒ °èȹÀ» ¼¼¿î´Ù.
±¸È¥Àڵ鿡°Ô´Â ¾Ë·ÁÁ® ÀÖÁö ¾ÊÁö¸¸, Odysseus´Â ¾ÆÁ÷ »ì¾Æ ÀÖ´Ù. ±×¿¡ ´ëÇÑ »ç¶û¿¡ »ç·ÎÀâÈù ¾Æ¸§´Ù¿î ¿äÁ¤ Calypso´Â ±×¸¦ ±×³àÀÇ ¼¶ Ogygia¿¡ °¡µÎ¾î ³õ´Â´Ù. ±×´Â ¾Æ³»¿Í ¾Æµé¿¡°Ô µ¹¾Æ°¡±â¸¦ °¥¸ÁÇÏÁö¸¸ ¹èµµ ¾ø°í ±×ÀÇ Å»ÃâÀ» µµ¿Í ÁÙ ¼±¿øµéµµ ¾ø´Ù. OlympusߣÀÇ ½Å°ú ¿©½ÅµéÀÌ OdysseusÀÇ ¹Ì·¡¸¦ µÎ°í¼ ³íÀïÀ» ÇÏ°í ÀÖÀ» µ¿¾È ãêµé Áß¿¡¼ OdysseusÀÇ °¡Àå °·ÂÇÑ ÁöÁöÀÚÀÎ Athena´Â Telemachus¸¦ µµ¿ÍÁÖ±â·Î °á½ÉÇÑ´Ù. ¿ÕÀÚÀÇ ÇҾƹöÁöÀÎ LaertesÀÇ Ä£±¸ÁßÀÇ Çϳª·Î À§ÀåÀ» ÇÑ ±×³à´Â ¿ÕÀÚ°¡ ±¸È¥ÀÚµéÀ» ºñ³ÇÒ ¼ö Àִ ȸÀǸ¦ ¼ÒÁýÇϵµ·Ï ¿ÕÀÚ¸¦ ¼³µæ½ÃŲ´Ù. Athena´Â ¶ÇÇÑ ¿ÕÀÚ°¡ Pylos¿Í Sparta ±îÁö ¿©ÇàÇϵµ·Ï Áغñ½ÃÅ°´Âµ¥ ±×°÷¿¡¼ ÀüÀï µ¿¾È OdysseusÀÇ µ¿·áµéÀÎ Nestor¿Õ°ú Menelaus¿ÕÀº Odysseus´Â »ì¾ÆÀÖÀ¸¸ç CalypsoÀÇ ¼¶¿¡ ÀâÇôÀÖ´Ù´Â °ÍÀ» ±×¿¡°Ô ¾Ë·ÁÁØ´Ù. Telemachus ´Â ±Í±¹ÇÒ °èȹÀ» ¼¼¿ì°í ¹Ý¸é¿¡ Ithaca¿¡¼´Â Antinous¿Í ´Ù¸¥ ±¸È¥ÀÚµéÀÌ Telemachus°¡ Ç×±¸¿¡ µµÂøÇÏ¸é ¸Åº¹Çؼ ±×¸¦ Á×ÀÏ Áغñ¸¦ ÇÑ´Ù.
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On Mount Olympus, Zeus sends Hermes to rescue Odysseus from Calypso. Hermes persuades Calypso to let Odysseus build a ship and leave. The homesick hero sets sail, but when Poseidon, god of the sea, finds him sailing home, he sends a storm to wreck Odysseus¡¯s ship. Poseidon has harbored a bitter grudge against Odysseus since the hero blinded his son, the Cyclops Polyphemus, earlier in his travels. Athena intervenes to save Odysseus from Poseidon¡¯s wrath, and the beleaguered king lands at Scheria, home of the Phaeacians. Nausicaa, the Phaeacian princess, shows him to the royal palace, and Odysseus receives a warm welcome from the king and queen. When he identifies himself as Odysseus, his hosts, who have heard of his exploits at Troy, are stunned. They promise to give him safe passage to Ithaca, but first they beg to hear the story of his adventures.
Odysseus spends the night describing the fantastic chain of events leading up to his arrival on Calypso¡¯s island. He recounts his trip to the Land of the Lotus Eaters, his battle with Polyphemus the Cyclops, his love affair with the witch-goddess Circe, his temptation by the deadly Sirens, his journey into Hades to consult the prophet Tiresias, and his fight with the sea monster Scylla. When he finishes his story, the Phaeacians return Odysseus to Ithaca, where he seeks out the hut of his faithful swineherd, Eumaeus. Though Athena has disguised Odysseus as a beggar, Eumaeus warmly receives and nourishes him in the hut. He soon encounters Telemachus, who has returned from Pylos and Sparta despite the suitors¡¯ ambush, and reveals to him his true identity. Odysseus and Telemachus devise a plan to massacre the suitors and regain control of Ithaca.
Olympus»êÀÇ Zeus´Â Odysseus¸¦ Calypso·ÎºÎÅÍ ±¸Çϱâ À§ÇØ Hermes¸¦ ÆÄ°ßÇÑ´Ù. Hermes´Â Calypso¸¦ ¼³µæÇÏ¿© Odysseus°¡ ¹è¸¦ ¸¸µé¾î¼ ¶°³ªµµ·Ï ÇÑ´Ù. °íÇâÀ» ±×¸®¿öÇÏ´Â ¿µ¿õ(Odysseus)Àº ÃâÇ×À» ÇÏÁö¸¸ ÇؽŠPoseidonÀÌ °íÇâÀ¸·Î Ç×ÇØÇÏ°í ÀÖ´Â Odysseus¸¦ ¹ß°ßÇÏ°í ÆødzÀ» º¸³»¼ OdysseusÀÇ ¹è¸¦ ³ÆĽÃŲ´Ù. PoseidonÀº Odysseus°¡ ±×ÀÇ ¸ðÇè Çà·ÎÀÇ Ãʱ⿡ PoseidonÀÇ ¾Æµé Cyclops PolyphemusÀÇ ´«À» ¸Ö°Ô ÇÏ¿´±â ¶§¹®¿¡ Odysseus¿¡ ´ëÇؼ Áöµ¶ÇÑ ¿øÇÑÀ» Ç°°í ÀÖ¾ú´Ù. Athena°¡ °³ÀÔÇÏ¿© PoseidonÀÇ ºÐ³ë·ÎºÎÅÍ Odysseus¸¦ ±¸ÇØÁÖ°í °í³À» ´çÇÏ°í ÀÖ´Â(beleaguered: Æ÷À§µÈ, °í³À» ´çÇÏ´Â) ¿Õ(Odysseus)Àº PhaeaciansÀεéÀÇ º»±¹ÀÎ Scheria¿¡ »ó·úÇÑ´Ù. Phaeacian °øÁÖÀÎ Nausicaa´Â ±×¸¦ ¿Õ±ÃÀ¸·Î ¾È³»ÇÏ°í Odysseus´Â ¿Õ°ú ¿Õºñ·ÎºÎÅÍ µû¶æÇÑ È¯¿µÀ» ¹Þ´Â´Ù. ±×°¡ ÀÚ½ÅÀÌ Odysseus¶ó¸ç ½ÅºÐÀ» ¹àÈ÷ÀÚ Troy¿¡¼ÀÇ ±×ÀÇ °øÀû¿¡ ´ëÇؼ µé¾î¼ ¾Ë°í ÀÖ´Â ÁÖÀεé(¿Õ°ú ¿Õºñ)Àº ±ô¦ ³î¶õ´Ù. ±×µéÀº ±×¿¡°Ô Ithaca ±îÁö ¾ÈÀüÇÑ ÅëÇàÀ» ¾à¼ÓÇÏÁö¸¸ ¸ÕÀú ±×µéÀº ±×ÀÇ ¸ðÇè¿¡ °üÇÑ À̾߱⸦ µè±â¸¦ °£Ã»ÇÑ´Ù.
Odysseus´Â ±×°¡ CalypsoÀÇ ¼¶¿¡ µµÂøÇϱâ±îÁöÀÇ (leading up to) ÀÏ·ÃÀÇ È¯»óÀûÀÎ »ç°ÇµéÀ» ¼³¸íÇÏ¸é¼ ¹ãÀ» º¸³½´Ù. ±×´Â Lotus Eaters (lotus: ±× ¿¸Å¸¦ ¸ÔÀ¸¸é ¼¼»óÀÇ ±«·Î¿òÀ» ÀØ°í Áñ°Å¿î ²ÞÀ» ²Ù°Ô µÈ´Ù´Â »ó»óÀÇ ½Ä¹°)ÀÇ ¶¥À¸·ÎÀÇ ¿©Çà, Polyphemus the Cyclops¿ÍÀÇ ÀüÅõ, ¸¶³à ¿©½Å Circe¿ÍÀÇ ¿¬¾Ö, Á×À½ÀÇ SirensÀÇ À¯È¤, ¿¹¾ðÀÚ Tiresias¿Í »ó´ãÇϱâ À§ÇÏ¿© Hades·ÎÀÇ ¿©Çà, ¹Ù´Ù ±«¼ö Scylla¿ÍÀÇ ½Î¿ò¿¡ ´ëÇؼ ÀÚ¼¼È÷ À̾߱â ÇÑ´Ù. ±×°¡ À̾߱⸦ ³¡³ÂÀ» ¶§ PhaeacianÀεéÀº Odysseus¸¦ Ithaca·Î µ¹·Áº¸³»°í °Å±â¿¡¼ ±×´Â ±×ÀÇ Ãæ½ÇÇÑ µÅÁöÄ¡±â EumaeusÀÇ ¿ÀµÎ¸·À» ã¾Æ³½´Ù. Athena´Â Odysseus¸¦ °ÅÁö·Î º¯Àå½ÃÄ×Áö¸¸ Eumaeus´Â ±×¸¦ µû¶æÇÏ°Ô ¸ÂÀÌÇÏ°í ±×ÀÇ ¿ÀµÎ¸·¿¡¼ ±×¸¦ º¸È£ÇØÁØ´Ù(nourish: ¿µ¾çºÐÀ» ÁÖ´Ù, º¸È£ÇÏ´Ù). °ð ±×´Â ±¸È¥ÀÚµéÀÇ ¸Åº¹¿¡µµ ºÒ±¸ÇÏ°í Pylos¿Í Sparta·ÎºÎÅÍ µ¹¾Æ¿Â Telemachus¿Í »óºÀÇÏ°í ±×¿¡°Ô ±×ÀÇ Á¤Ã¼¸¦ ¹àÈù´Ù. Odysseus¿Í Telemachus´Â ±¸È¥ÀÚµéÀ» Á×ÀÌ°í(massacre:ÇлìÇÏ´Ù) IthacaÀÇ Áö¹è±ÇÀ» ´Ù½Ã ãÀ» °èȹÀ» ¼¼¿î´Ù.
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When Odysseus arrives at the palace the next day, still disguised as a beggar, he endures abuse and insults from the suitors. The only person who recognizes him is his old nurse, Eurycleia, but she swears not to disclose his secret. Penelope takes an interest in this strange beggar, suspecting that he might be her long-lost husband. Quite crafty herself, Penelope organizes an archery contest the following day and promises to marry any man who can string Odysseus¡¯s great bow and fire an arrow through a row of twelve axes—a feat that only Odysseus has ever been able to accomplish. At the contest, each suitor tries to string the bow and fails. Odysseus steps up to the bow and, with little effort, fires an arrow through all twelve axes. He then turns the bow on the suitors. He and Telemachus, assisted by a few faithful servants, kill every last suitor.
Odysseus reveals himself to the entire palace and reunites with his loving Penelope. He travels to the outskirts of Ithaca to see his aging father, Laertes. They come under attack from the vengeful family members of the dead suitors, but Laertes, reinvigorated by his son¡¯s return, successfully kills Antinous¡¯s father and puts a stop to the attack. Zeus dispatches Athena to restore peace. With his power secure and his family reunited, Odysseus¡¯s long ordeal comes to an end.
Odysseus°¡ ´ÙÀ½ ³¯ ¿©ÀüÈ÷ °ÅÁö·Î À§ÀåÇÏ°í ±ÃÀü¿¡ µµÂøÇÒ ¶§¿¡ ±×´Â ±¸È¥ÀÚµé·Î ºÎÅÍÀÇ ¹Ú´ë¿Í ¸ð¿åÀ» °ßµò´Ù. ±×¸¦ ¾Ë¾Æº¸´Â À¯ÀÏÇÑ »ç¶÷Àº ±×ÀÇ À¯¸ð EurycleiaÀÌÁö¸¸ ±×³à´Â ±×ÀÇ ºñ¹ÐÀ» Æø·ÎÇÏÁö ¾ÊÀ» °ÍÀ» ¸Í¼¼ÇÑ´Ù. Penelope´Â ±×°¡ ¿À·¡Àü¿¡ ÀÒ¾î¹ö¸° ³²ÆíÀÏÁöµµ ¸ð¸¥´Ù°í »ý°¢ÇÏ¸é¼ ÀÌ ¼ö»óÇÑ °ÅÁö¿¡ °ü½ÉÀ» °¡Áø´Ù. ±× ÀڽŠ¸Å¿ì ¿µ¸®ÇÑ(crafty: ±³È°ÇÑ) Penelope´Â ´ÙÀ½³¯ ±Ã¼ú´ëȸ¸¦ ¿°í OdysseusÀÇ Å« È°À» ´ç°Ü¼ ¿¬¼Ó 12°³ÀÇ µµ³¢¸¦ °üÅëÇÒ ¼ö ÀÖ´Â ³²ÀÚ¶ó¸é ±× ´©±¸ÇÏ°íµµ °áÈ¥ÇÏ°Ú´Ù°í ¾à¼ÓÇÑ´Ù.¡ªÀÌ°ÍÀº Áö±Ý±îÁö Odysseus¸¸ÀÌ ÇÒ ¼ö ÀÖ¾ú´ø ¹¦±â(feat: ¹«ÈÆ, ¾÷Àû)ÀÌ´Ù. ±× ½ÃÇÕ¿¡¼ °¢ ±¸È¥ÀÚ´Â È°À» ´ç±â·Á°í ½ÃµµÇÏÁö¸¸ ½ÇÆÐÇÑ´Ù. Odysseus´Â ±× È°¿¡ ´Ù°¡°¡¼ °ÅÀÇ ¾Æ¹«·± Èûµµ µéÀÌÁö ¾Ê°í È»ìÀ» ½î¾Æ 12°³ÀÇ µµ³¢¸¦ °üÅë½ÃŲ´Ù. ±×·¯°í ³ª¼ ±×´Â È°À» ±¸È¥ÀÚµéÀ» ÇâÇؼ ½ð´Ù. ±×¿Í Telemachus´Â ¸î ¸î Ã溹µéÀÇ Áö¿øÀ» ¹ÞÀ¸¸ç ¸ðµç ±¸È¥ÀÚµéÀ» ¸¶Áö¸· ±îÁö Á×ÀδÙ.
Odysseus´Â ÀÚ½ÅÀÇ Á¤Ã¼¸¦ Àü ±ÃÀü¿¡ ¾Ë¸®°í »ç¶ûÇÏ´Â Penelope¿Í Àç°áÇÕÇÑ´Ù. IthacaÀÇ º¯¹æÀ¸·Î °¡¼ ¿¬·ÎÇÑ ¾Æ¹öÁö Laertes¸¦ ¸¸³´Ù. ±×µéÀº Á×Àº ±¸È¥ÀÚµéÀÇ ¾Ó½ÉÀ» Ç°Àº(vengeful) °¡Á·µé·ÎºÎÅÍ °ø°ÝÀ» ¹ÞÁö¸¸ ¾ÆµéÀÇ ±Íȯ¿¡ ¿ë±â¸¦ µÇã°Ô µÈ Laertes´Â AntinousÀÇ ¾Æ¹öÁö¸¦ Á×ÀÌ´Â µ¥ ¼º°øÇÏ¿© °ø°ÝÀ» Áß´Ü ½ÃŲ´Ù. Zeus´Â Æòȸ¦ ȸº¹½ÃÅ°±â À§ÇÏ¿© Athena¸¦ ÆÄ°ßÇÑ´Ù. ±Ç·ÂÀ» È®º¸ÇÏ°í °¡Á·°ú Àç°áÇÕÇÏ°Ô µÇ¾î¼, OdysseusÀÇ ½Ã·ÃÀº ³¡³ª°Ô µÈ´Ù.
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¥³. Plot Analysis
The Odyssey tells the story of a heroic but far from perfect protagonist who battles many antagonists, including his own inability to heed the gods¡¯ warnings, on his arduous journey home from war. Along the way the poem explores ideas about fate, retribution, and the forces of civilization versus savagery. While The Odyssey is not told chronologically or from a single perspective, the poem is organized around a single goal: Odysseus¡¯s return to his homeland of Ithaca, where he will defeat the rude suitors camped in his palace and reunite with his loyal wife, Penelope. Odysseus is motivated chiefly by his nostos, or desire for homecoming, a notion in heroic culture that encouraged bravery in war by reminding warriors of the people and institutions they were fighting for back home. Odysseus¡¯s return represents the transition from life as a warrior on the battlefield back to life as a husband, father, and head of a household. Therefore, Odysseus is ultimately motivated by a desire to reclaim these elements of his identity and once again become the person he was before he left for the Trojan War so many years earlier.
The chief conflict in the poem is between Odysseus¡¯s desire to reach home and the forces that keep him from his goal, a conflict that the narrator of the Odyssey spells out in the opening lines. This introductory section, called a proem, appeals to the Muse to inspire the story to follow. Here, the narrator names the subject of the poem—Odysseus—and his objective throughout the poem: ¡°to save his life and bring his comrades home.¡±
¥³. ÁٰŸ® ºÐ¼®
Odyssey´Â ÀüÀï¿¡¼ °íÇâÀ¸·Î µ¹¾Æ¿À´Â ºÐÅõÀûÀÎ(arduous:¾î·Á¿î, ÇèÇÑ) ¿©·Î¿¡¼, ãêµéÀÇ °æ°í¿¡ ÁÖÀÇÇÏ´Â ´É·ÂÀÌ ¾ø´Â °ÍÀ» Æ÷ÇÔÇؼ, ¸¹Àº Àû´ëÀÚµé°ú ÀüÅõ¸¦ ÇÏ´Â ¿µ¿õÀûÀÌÁö¸¸ °áÄÚ ¿Ïº®ÇÏÁö ¸øÇÑ ÁÖÀΰøÀÇ À̾߱⸦ ÇÏ°í ÀÖ´Ù. ±Í·Î¸¦ µû¶ó(along the way) ãÌ(the Odyssey)´Â ¿î¸í, ÀÀº¸, ±×¸®°í ¹®¸í Óß ¾ß¸¸¿¡ °üÇÑ »ç»óÀ» Ž±¸ÇÏ°í ÀÖ´Ù. Odyssey´Â ¿¬´ë¼øÀ¸·Î ¶Ç ´ÜÀÏ ½Ã°¢(perspective:¿ø±Ù¹ý, °ßÁö, Àü¸Á)À¸·Î ¸»ÇØÁöÁö ¾Ê´Â ¹Ý¸é¿¡ ÇϳªÀÇ ¸ñÇ¥¸¦ Áß½ÉÀ¸·Î ½Ã°¡ ±¸¼ºµÇ¾î ÀÖ´Ù: OdysseusÀÇ °í±¹ Ithaca¿¡·ÎÀÇ ±ÍȯÀ̸ç Ithaca¿¡¼ ±×´Â ±ÃÀü¿¡ ÁøÀ» Ä¡°í ÀÖ´Â ³ÆøÇÑ ±¸È¥ÀÚµéÀ» Æйè½ÃÅ°°í Ã漺½º·¯¿î ¾Æ³» Penelope¿Í Àç°áÇÕÇÏ°Ô µÉ °ÍÀÌ´Ù. Odysseus´Â ÁÖ·Î nostos¿¡ ÀÇÇؼ µ¿±âÀ¯¹ßÀÌ µÇ¸ç nostos´Â ±Í±¹¿¡ ´ëÇÑ ¿å¸ÁÀ» ÀǹÌÇϸç Àü»çµé¿¡°Ô ±×µéÀÌ À§ÇØ ½Î¿ì°í ÀÖ´Â °íÇâÀÇ »ç¶÷µé°ú Á¦µµ¸¦ »ó±â½ÃÅ´¿¡ ÀÇÇؼ ¿ë±â¸¦ ºÏµ¸¿ì´Â ¿µ¿õ½Ã´ëÀÇ ¹®È¿¡ ³ªÅ¸³ª´Â °³³äÀÌ´Ù. OdysseusÀÇ ±ÍȯÀº ½Î¿òÅÍÀÇ Àü»ç·Î¼ÀÇ »îÀ¸·ÎºÎÅÍ ³²ÆíÀ¸·Î¼, ¾Æ¹öÁö·Î¼, °¡¹®ÀÇ ¼öÀåÀÇ »îÀ¸·Î ÀÌÇà(transition)ÇÏ´Â °ÍÀ» ³ªÅ¸³½´Ù.
±×·¯¹Ç·Î Odysseus´Â ±×ÀÇ Á¤Ã¼¼ºÀÇ ÀÌ·± ¿ä¼ÒµéÀ» Àç»ý(reclaim)ÇÏ¿© ´Ù½Ã ±×Åä·Ï ¿À·¡Àü¿¡ TroyÀüÀïÀ¸·Î ¶°³ª°¡±â ÀüÀÇ ±×¿´´ø »ç¶÷(°ú°ÅÀÇ ÀÚ½Å)ÀÌ µÇ±â À§ÇÑ ¿å¸Á¿¡ ÀÇÇÏ¿© µ¿±âÀ¯¹ßÀÌ µÈ´Ù. ãÌ¿¡¼ ÁÖµÈ °¥µîÀº °íÇâ¿¡ µ¹¾Æ°¡·Á´Â OdysseusÀÇ ¿å¸Á°ú ±×ÀÇ ÀÌ·± ¸ñÀûÀ» ¸·´Â ¼¼·Âµé »çÀÌ¿¡ Á¸ÀçÇϸç ÀÌ °¥µîÀº OdysseyÀÇ ³»·¹ÀÌÅÍ°¡ ¼µÎ(opening lines)¿¡¼ ÀÚ¼¼È÷ ¼³¸íÇÏ°í ÀÖ´Ù. proem(¼µÎ, ¼¹®)À̶ó°í ºÒ¸®´Â ÀÌ ¼Ò°³ ºÎ¹®Àº À̾߱⸦ À̾ ¼ö ÀÖµµ·Ï ¿µ°¨À» ´Þ¶ó°í Muse(À½¾Ç°ú ½ÃÀÇ ¿©½Å)¿¡°Ô °£Ã»ÇÑ´Ù. ¿©±â¿¡¼ ³»·¹ÀÌÅÍ´Â ãÌ(Odysseus)ÀÇ ÁÖÁ¦¿Í ãÌÀüüÀÇ ¸ñÀû¡ª ±×ÀÇ ¸ñ¼ûÀ» ±¸ÇÏ°í µ¿·áµéÀ» ±Í±¹½ÃÅ°´Â °Í¡ªÀ» ¸»ÇÑ´Ù.
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The narrator identifies the causes of Odysseus¡¯s struggle to return home, naming both the sun god, Helios, and Odysseus¡¯s fellow sailors themselves as responsible: ¡°The recklessness of their own ways destroyed them all, the blind fools, they devoured the cattle of the sun and the sun god blotted out the day of their return.¡± The narrator next identifies Poseidon as one of Odysseus¡¯s main antagonists, as all the gods took pity on Odysseus except Poseidon, who ¡°raged on, seething against the great Odysseus until he reached his native land.¡± Finally, the proem tells us that the Odyssey will be the story of Odysseus¡¯s successful journey home: ¡°the exile must return!¡±
The inciting action of the story begins with the arrival of Athena in Ithaca, where Odysseus¡¯s son, Telemachus, and wife, Penelope, are frantic about the suitors eating all their food and drinking all their wine. Athena, disguised as a sailor, tells Telemachus that his father is still alive, and he should set out on a journey to find out what happened to him after the Trojan Wars. Doubtful that Athena is telling the truth, Telemachus nevertheless sets sail, after warning the suitors to leave his mother in peace. We see Telemachus as doubtful of himself as a leader, but emboldened to take on responsibility and follow in his father¡¯s footsteps as king.
³»·¹ÀÌÅʹ žç½Å Helios¿Í OdysseusÀÇ µ¿·á Ç×ÇØÀÚµéÀÌ Ã¥ÀÓÀÌ ÀÖ´Ù°í ÇÏ¸é¼ OdysseusÀÇ ±Í±¹ ±æÀÇ °í»ý(struggle: ºÐÅõ)ÀÇ ¿øÀεéÀ» È®ÀÎÇÏ°í ÀÖ´Ù: ¡°±×µé ÀÚ½ÅÀÇ ¿å¸Á(ways: ¹æ¹ý, ½À°ü, ÀÇÁö, ¹ö¸©)ÀÇ °æ¼ÖÇÔÀÌ ´« ¸Õ ¹Ùº¸µéÀÎ ±×µé ¸ðµÎ¸¦ Æı«ÇÏ¿´°í ±×µéÀº žçÀÇ ¼ÒµéÀ» Àâ¾Æ¸Ô¾ú°í ±×·¡¼ žç½ÅÀº ±×µéÀÇ µ¹¾Æ¿À´Â ³¯À» Áö¿ö¹ö·È´Ù.¡± ±× ´ÙÀ½ ³»·¹ÀÌÅÍ´Â ¡°Odysseus°¡ ±×ÀÇ °í±¹¿¡ µµÂøÇÒ ¶§±îÁö À§´ëÇÑ Odysseus¿¡ ´ëÇÑ ºÐ³ë°¡ ÆÞÆÞ ²ú¾î¿À¸£±â ¶§¹®¿¡, °è¼Ó ³¯¶Ù´Â(rage on)¡± PoseidonÀ» Á¦¿ÜÇÑ ¸ðµç ½ÅµéÀÌ Odysseus¸¦ µ¿Á¤Çϱ⠶§¹®¿¡ PoseidonÀ» OdysseusÀÇ ÁÖµÈ Àû´ëÀÚÁßÀÇ Çϳª·Î È®ÀÎÇÏ°í ÀÖ´Ù. ¸¶Áö¸·À¸·Î, ãÌ´Â Odyssey´Â OdysseusÀÇ ¼º°øÀûÀÎ ±ÍÇâ¿©·ÎÀÇ À̾߱Ⱑ µÉ °ÍÀ̶ó°í ¿ì¸®¿¡°Ô ¸»ÇÑ´Ù: ¡°À¯¶ûÀÚ(exile: ¸Á¸í, Ãß¹æÀÎ, À¯¹èÀÎ)´Â µ¹¾Æ¿Í¾ß ÇÑ´Ù!¡±
À̾߱âÀÇ Èï¹ÌÁøÁøÇÑ(inciting) ÇàÀ§´Â Ithaca¿¡ AthenaÀÇ µµÂø°ú ÇÔ²² ½ÃÀ۵Ǹç Ithaca¿¡´Â OdysseusÀÇ ¾Æµé Telemachus¿Í ¾Æ³» Penelope°¡ ±×µéÀÇ ¸ðµç ½Ä·®À» ¸Ô¾îÄ¡¿ì°í ±×µéÀÇ ¸ðµç Æ÷µµÁÖ¸¦ ¸¶½Ã°í ÀÖ´Â ±¸È¥ÀÚµé ¶§¹®¿¡ Á¤½ÅÀÌ È¥¶õ»óÅ¿¡ ºüÁ® ÀÖ´Ù. ¼öºÎ·Î º¯ÀåÇÑ Athena´Â Telemachus¿¡°Ô ±×ÀÇ ¾Æ¹öÁö´Â ¾ÆÁ÷ »ì¾Æ ÀÖÀ¸¸ç ±×´Â Troy ÀüÀï ÈÄ¿¡ ±×ÀÇ ¾Æ¹öÁö¿¡°Ô ¹«½¼ ÀÏÀÌ ÀϾ´Â°¡¸¦ ¾Ë¾Æ³»±â À§ÇÏ¿© ¿©ÇàÀ» ¶°³ª¾ßÇÑ´Ù°í ¸»ÇÑ´Ù. Telemachus´Â Athena°¡ Áø½ÇÀ» ¸»ÇÏ°í ÀÖ´ÂÁö¸¦ ÀǽÉÇϸ鼵µ ±¸È¥Àڵ鿡°Ô ±×ÀÇ ¾î¸Ó´Ï¸¦ Æò¿ÂÇÏ°Ô ³öµÎ¶ó°í °æ°íÇÑ ÈÄ¿¡ ÃâÇ×ÇÑ´Ù. ¿ì¸®´Â Telemachus°¡ ÁöµµÀڷμÀÇ Àڽſ¡ ´ëÇؼ ÀǽÉÇÏ°í ÀÖÁö¸¸ ±×·¡µµ Ã¥ÀÓÀ» ¶°¸Ã°í ¿ÕÀ¸·Î¼ ¾Æ¹öÁöÀÇ ¹ßÀÚÃ븦 µû¶ó°¡´Â Telemachus¸¦ º¸°Ô µÈ´Ù.
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The next several books detail Telemachus learning that his father is being held captive on Calypso¡¯s island, and hearing about his father¡¯s bravery during the war as well as the incredible losses he suffered in battle. As Telemachus was just a baby when his father left, this is the first time he learns anything about his father. He also experiences Greek hospitality as his hosts bathe him in oil, prepare feasts in his honor, and pile him with gifts when it¡¯s time for him to depart.
The rising action of the poem concerns Odysseus, who, after being freed from Calypso¡¯s island by Athena, sets out for home, but is shipwrecked by Poseidon, still angry that Odysseus blinded his son the Cyclops. Odysseus washes up in Phaeacia, where he tells his hosts the story of his long and arduous journey after leaving Troy. In this speech we see Odysseus¡¯s character as bold, curious, and confident. Everywhere he goes he is eager to find out what the locals are like, wanting to know whether they are ¡°men like us who eat bread,¡± who will offer Odysseus and his crew the hospitality they prize. He lingers in the Cyclops¡¯ cave out of curiosity, and makes his men tie him to his mast, rather than plug his ears, because he wants to hear the song of the Sirens. He repeatedly ignores Athena¡¯s warnings and angers the gods, and they vow retribution but stop short of killing him, instead promising that they will make his journey home as difficult as possible.
´ÙÀ½ ¸î Book´Â ±×ÀÇ ¾Æ¹öÁö°¡ CalypsoÀÇ ¼¶¿¡ ÀâÇôÀÖ´Ù´Â °ÍÀ» ¾Ë°Ô µÇ°í ¾Æ¹öÁö°¡ ÀüÅõ¿¡¼ ÀÔÀº ¾öû³ ¼Õ½ÇÀº ¹°·Ð ÀüÀﵿ¾È ¾Æ¹öÁöÀÇ ¿ë°¨¼º¿¡ °üÇؼ µè°í ÀÖ´Â Telemachus¿¡ ´ëÇؼ »ó¼¼È÷ ±â¼úÇÏ°í ÀÖ´Ù. ¾Æ¹öÁö°¡ ¶°³ª °¥ ¶§ Telemachus´Â °Ü¿ì ¾Æ±â¿´±â ¶§¹®¿¡ ÀÌ°ÍÀº ±×°¡ ¾Æ¹öÁö¿¡ ´ëÇؼ ¹¹¶óµµ ¾Ë°Ô µÇ´Â ù ¹ø° ÀÌ´Ù. ±×´Â ¶ÇÇÑ ±×¸¦ ÃÊ´ëÇÏ´Â ÁÖÀεé(hosts)ÀÌ ±×¸¦ ±â¸§¿¡ ¸ñ¿åÀ» ½ÃÅ°°í ±×¸¦ °æÀÇÇÏ¿© ¼ºÂùÀ» ÁغñÇÏ°í ±×°¡ ¶°³¯ ½Ã°£ÀÌ µÇ¸é ±×¿¡°Ô ¼±¹°À» ¹«´õ±â·Î ½×¾Æ ÁÖ´Â ±×¸®½ºÀûÀΠȯ´ë¸¦ °æÇèÇÏ°Ô µÈ´Ù.
ãÌÀÇ »ó½Â ÁٰŸ®(action)´Â Odysseus¿¡°Ô ÁßÁ¡À» µÎ°í ÀÖ°í(concerns), ±×´Â Athena¿¡ ÀÇÇؼ Calypso ¼¶À¸·ÎºÎÅÍ Ç®·Á³ ÈÄ¿¡ °íÇâÀ» ÇâÇØ Ãâ¹ßÇÏÁö¸¸ Odysseus°¡ ±×ÀÇ ¾Æµé CyclopsÀÇ ´«À» ¸Ö°Ô ÇÑ °Í¿¡ ´ëÇØ ¾ÆÁ÷µµ È°¡ ³ª ÀÖ´Â Poseidon¿¡ ÀÇÇØ ³ÆÄ´çÇÑ´Ù. Odysseus´Â PhaeaciaÀÇ Çغ¯¿¡ ¶°¹Ð·Á¿À¸ç ±×°÷¿¡¼ ±×¸¦ ÃÊ´ëÇÑ ÁÖÀε鿡°Ô Troy¸¦ ¶°³ ÀÌÈÄ ±×ÀÇ ±æ°íµµ Çè³ÇÑ ¿©Á¤¿¡ °üÇÑ À̾߱⸦ ÇÑ´Ù. ÀÌ À̾߱â(speech)¿¡¼ ¿ì¸®´Â OdysseusÀÇ ¼º°ÝÀÌ ´ë´ãÇÏ°í È£±â½ÉÀÌ ¸¹°í ÀڽۨÀÌ ÀÖ´Ù´Â °ÍÀ» ¾Ë°Ô µÈ´Ù. ±×´Â°¡´Â °÷ ¸¶´Ù ±× Áö¿ª »ç¶÷µé(locals)ÀÌ Odysseus¿Í ±×ÀÇ ¼±¿øµé¿¡°Ô ±×µéÀÌ ¼ÒÁßÈ÷ ¿©±â´Â(prize) ȯ´ë¸¦ Á¦°øÇØÁÙ ¡°¿ì¸®Ã³·³ »§À» ¸Ô´Â »ç¶÷µé¡±ÀÎÁö¸¦ ¾Ë±â¸¦ ¿øÇÏ¸é¼ ±× Áö¿ª »ç¶÷µé(locals)ÀÌ ¾î¶² Àΰ£µéÀÎÁö¸¦ ¾Ë±â¸¦ ¿¸ÁÇÑ´Ù. ±×´Â È£±â½É¿¡¼ CyclopsÀÇ µ¿±¼¿¡¼ ¶°³ªÁö ¾Ê°í ²Ù¹°°Å¸®¸ç, SirensÀÇ ³ë·¡ ¼Ò¸®¸¦ µè±â¸¦ ¿øÇϱ⠶§¹®¿¡ ±×ÀÇ ±Í¸¦ ¸·±â º¸´Ù´Â ºÎÇϵ鿡°Ô ±×¸¦ µÀ´ë¿¡ ¹°Ô ÇÑ´Ù. ±×´Â AthenaÀÇ °æ°í¸¦ ¹Ýº¹Çؼ ¹«½ÃÇÏ°í ãêµéÀ» ȳª°Ô ÇÏ¸ç ±×·¡¼ ãêµéÀº ¡¹úÀ» ¸Í¼¼ÇÏÁö¸¸ Á×À½Á÷Àü¿¡¼ Á×ÀÌÁö´Â ¾Ê°í ´ë½Å ±×ÀÇ ±Í·Î¸¦ °¡´ÉÇÑ ÇÑ Èûµé°Ô ÇÏ°Ú´Ù°í ¼¾àÇÑ´Ù.
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The climax of the poem happens after Odysseus has left Phaeacia and at last returns to Ithaca, where his story merges with Telemachus¡¯s and father and son are reunited to face one final obstacle. They go to the castle with Odysseus disguised as a beggar, echoing his actions during the Trojan Wars and enabling them to test the loyalty and values of their countrymen. The suitors abuse Odysseus rather than extending hospitality, essentially sealing their doom and reinforcing the importance of the host-guest relationship in the poem. After several suitors fail Penelope¡¯s challenge to shoot an arrow through twelve axe handles, Odysseus strings his bow and accomplishes the feat with ease, proving not only that he is the rightful husband of Penelope, but that he still has his warrior-like strength and agility. Odysseus and Telemachus kill the suitors and the servants, reconciling Odysseus¡¯s former warrior persona with his current role as husband, father, and king, and confirming Telemachus¡¯s evolution into a brave and decisive leader. In the poem¡¯s falling action Odysseus is reunited with his wife and father, and the poem concludes with Athena erasing the suitors¡¯ parents¡¯ memory of the battle, restoring peace to Ithaca.
ãÌÀÇ ÃÖ°íÁ¶´Â Odysseus°¡ Phaeacia¸¦ ¶°³ª¼ ¸¶Ä§³» Ithaca¿¡ ±ÍȯÇÒ ¶§¿¡ ÀϾ°Ô µÇ¸ç Ithaca¿¡¼ ±×ÀÇ À̾߱Ⱑ TelemachusÀÇ À̾߱â¿Í °áÇÕÇÏ°Ô µÇ¸ç ¾Æ¹öÁö¿Í ¾ÆµéÀº ¿¬ÇÕÇÏ¿© ¸¶Áö¸· ÇϳªÀÇ Àå¾Ö¹°°ú ´ë°áÇÏ°Ô µÈ´Ù. ±×µéÀº TroyÀüÀï µ¿¾ÈÀÇ ±×ÀÇ ÀüÅõÇàÀ§¸¦ ȸ»óÇÏ¸é¼ ±×¸®°í ±×µéÀÌ µ¿Æ÷µéÀÇ Ã漺½É°ú °¡Ä¡¸¦ ½ÃÇèÇÏ´Â °ÍÀ» °¡´ÉÇÏ°Ô ÇÏ¸é¼ Odysseus°¡ °ÅÁö·Î À§ÀåÇÑ Ã¤ ±Ã¼ºÀ¸·Î °£´Ù. ±¸È¥ÀÚµéÀº ȯ´ë¸¦ È®ÀåÇÏ°í, º»ÁúÀûÀ¸·Î ±×µéÀÇ ¿î¸í¿¡ ºÀÀÎÀ» ÇÏ°í(È®½ÇÈ÷ ÇÏ°í), ãÌ¿¡ ³ªÅ¸³ª´Â ÁÖÀΰú ¼Õ´Ô °ü°èÀÇ Á߿伺À» °ÈÇϱ⠺¸´Ù´Â ¿ÀÈ÷·Á Odysseus¸¦ ¹Ú´ëÇÑ´Ù. ¼ö¸íÀÇ ±¸È¥ÀÚµéÀÌ ÇϳªÀÇ È»ì·Î 12°³ÀÇ µµ³¢Àڷ縦 °üÅë½ÃÄÑ¾ß ÇÏ´Â PenelopeÀÇ µµÀü¿¡ ½ÇÆÐÇÑ ÈÄ¿¡, Odysseus´Â ±×ÀÇ È°ÀÇ ½ÃÀ§¸¦ ´ç°Ü¼ ±× µµÀü(feat: À§¾÷, °øÀû)À» ½±°Ô ¼ºÃëÇÏ°í ±×°¡ PenelopeÀÇ Á¤´çÇÑ ³²ÆíÀÏ »Ó ¾Æ´Ï¶ó ¾ÆÁ÷µµ Àü»ç¿Í °°Àº Èû°ú ¹Îø¼ºÀ» °¡Áö°í ÀÖ´Ù´Â °ÍÀ» Áõ¸íÇÑ´Ù. Odysseus¿Í Telemachus´Â ±¸È¥ÀÚµé°ú ÇÏÀεéÀ» Á×ÀÌ°í OdysseusÀÇ îñÀι°°ú ³²Æí°ú ¾Æ¹öÁö¿Í ¿ÕÀ¸·Î¼ÀÇ ¿ªÇÒÀ» ÀÏÄ¡½ÃÅ°¸ç TelemachusÀÇ ¿ë±â ÀÖ°í °á´Ü·Â ÀÖ´Â ÁöµµÀÚ·ÎÀÇ Áøȸ¦ È®ÀÎÇÑ´Ù. ãÌÀÇ ÇÏ° ÁٰŸ®¿¡¼ Odysseus´Â ±×ÀÇ ¾Æ³»¿Í ¾Æ¹öÁö¿Í Àç°áÇÕÇÏ°í ±×¸®°í ãÌ´Â Athena°¡ ±¸È¥ÀÚµéÀÇ ºÎ¸ðµéÀÇ ÀüÅõ±â·ÏÀ» »èÁ¦ÇÏ°í Ithaca¿¡ Æòȸ¦ º¹±¸½ÃÅ°´Â °á·ÐÀ¸·Î ³¡³´Ù.
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¥´. Themes
The Power of Cunning over Strength
If the Iliad is about strength, the Odyssey is about cunning, a difference that becomes apparent in the very first lines of the epics. Whereas the Iliad tells the story of the rage of Achilles, the strongest hero in the Greek army, the Odyssey focuses on a ¡°man of twists and turns¡± (1.1). Odysseus does have extraordinary strength, as he demonstrates in Book 21 by being the only man who can string the bow. But he relies much more on mind than muscle, a tendency that his encounters showcase. He knows that he cannot overpower Polyphemus, for example, and that, even if he were able to do so, he wouldn¡¯t be able to budge the boulder from the door. He thus schemes around his disadvantage in strength by exploiting Po1yphemus¡¯s stupidity. Though he does use violence to put out Polyphemus¡¯s single eye, this display of strength is part of a larger plan to deceive the brute.
Similarly, Odysseus knows that he is no match for the host of strapping young suitors in his palace, so he makes the most of his other strength—his wits. Step by step, through disguises and deceptions, he arranges a situation in which he alone is armed and the suitors are locked in a room with him. With this setup, Achilles¡¯ superb talents as a warrior would enable him to accomplish what Odysseus does, but only Odysseus¡¯s strategic planning can bring about such a sure victory. Some of the tests in Odysseus¡¯s long, wandering ordeal seem to mock reliance on strength alone. No one can resist the Sirens¡¯ song, for example, but Odysseus gets an earful of the lovely melody by having his crew tie him up. Scylla and Charybdis cannot be beaten, but Odysseus can minimize his losses with prudent decision-making and careful navigation. Odysseus¡¯s encounter with Achilles in the underworld is a reminder: Achilles won great kleos, or glory, during his life, but that life was brief and ended violently. Odysseus, on the other hand, by virtue of his wits, will live to a ripe old age and is destined to die in peace.
¥´. ÁÖÁ¦
¹°¸®Àû ÈûÀ» ¾ÐµµÇÏ´Â ÊÌòª(°£Áö)ÀÇ Èû
Iliad°¡ Èû¿¡ °üÇÑ °ÍÀ̶ó¸é Odyssey´Â °£Áö¿¡ °üÇÑ °ÍÀ̸ç ÀÌ°ÍÀº ±× ¼»ç½Ãµé(Iliad¿Í Odyssey)ÀÇ ¹Ù·Î ù ãÌú¼(½ÃÇà)µé¿¡¼ ºÐ¸íÇØ Áø´Ù. Iliad°¡ ±×¸®½º±º ÃÖ°ÀÇ ¿µ¿õÀÎ AchillesÀÇ ºÐ³ëÀÇ ½ºÅ丮¸¦ À̾߱âÇÏ°í ÀÖ´Â ¹Ý¸é¿¡ Odyssey´Â ¡°ÀÓ±âÀÀº¯ÀÇ ³²ÀÚ¡±¿¡ ÃÊÁ¡À» ¸ÂÃß°í ÀÖ´Ù. Odysseus´Â Book 21¿¡¼ È°ÀÇ ½ÃÀ§¸¦ ´ç±æ ¼ö ÀÖ´Â À¯ÀÏÇÑ »ç¶÷ÀÌ µÊ¿¡ ÀÇÇؼ º¸¿©ÁÖ´Â °Íó·³ Ưº°ÇÑ ÈûÀ» ºÐ¸íÈ÷ °¡Áö°í ÀÖ´Ù. ±×·¯³ª ±×´Â ±ÙÀ°º¸´Ù´Â Á¤½Å¿¡ ÈξÀ ´õ ¸¹ÀÌ ÀÇÁ¸Çϴµ¥ ÀÌ°ÍÀº ±×ÀÇ À§Çè°úÀÇ ¸¶ÁÖħ(encounters)ÀÌ º¸¿©ÁÖ´Â ¼ºÇâÀÌ´Ù. ¿¹¸¦ µéÀÚ¸é ±×´Â Polyphemus¸¦ ¾ÐµµÇÒ ¼ö ¾ø´Ù´Â °Í°ú ¸¸¾à ±×·¸°Ô ÇÒ ¼ö ÀÖ´Ù ÇÏ´õ¶óµµ ¹®À¸·ÎºÎÅÍ ±× µ¹À» ¿òÁ÷ÀÏ ¼ö ¾ø´Ù´Â °ÍÀ» ¾Ë°í ÀÖ´Ù. ±×·¡¼ ±×´Â Èû¿¡¼ÀÇ ºÒ¸®ÇÑ °ÍÀ» Po1yphemusÀÇ ¿ìµÐÇÔÀ» ÀÌ¿ëÇÏ¿© ±Øº¹ÇÑ´Ù. ºñ·Ï ±×´Â PolyphemusÀÇ ¿Ü´«À» ¸Ö°Ô Çϱâ À§Çؼ Æø·ÂÀ» »ç¿ëÇÏÁö¸¸ ÀÌ ÈûÀÇ Ç¥½Ã´Â ±× Áü½Â °°Àº Àΰ£À» ¼ÓÀ̱â À§ÇÑ º¸´Ù ´õ Å« °èȹÀÇ ÀϺÎÀÌ´Ù.
ºñ½ÁÇÏ°Ô, Odysseus´Â ±×ÀÇ ±ÃÀü¿¡ ÀÚ¸® Àâ°í ÀÖ´Â °ÇÀåÇÑ ÀþÀº ±¸È¥Àڵ鿡°Ô Àû¼ö°¡ µÇÁö ¸øÇÑ´Ù´Â °ÍÀ» ¾Ë°í ±×ÀÇ ´Ù¸¥ °Á¡, Áï òªÕô(Áö·Â)À» ÃÖ´ë·Î È°¿ëÇÑ´Ù. ÇÑ °ÉÀ½¾¿ ÇÑ°ÉÀ½¾¿ ±×´Â À§Àå°ú ±â¸¸À» ÅëÇؼ ÀÚ±â È¥ÀÚ¸¸ ¹«ÀåÀ» ÇÏ°í ±¸È¥ÀÚµéÀº ±×¿Í ÇÔ²² ¹æ¿¡ °¤Çô ÀÖ´Â »óȲÀ» Á¶¼ºÇÑ´Ù. ÀÌ·± ´É·Â(setup: ÀÚ¼¼, ŵµ, ±¸¼º, ÀåÄ¡)ÀÌ ÀÖ´Ù¸é AchillesÀÇ Àü»ç·Î¼ÀÇ ¶Ù¾î³ Àç´ÉÀº ±×·Î ÇÏ¿©±Ý Odysseus°¡ ¼ºÃëÇÏ´Â °ÍÀ» ±×µµ ÇÒ ¼ö ÀÖ°Ô ÇÒ °ÍÀÌÁö¸¸ OdysseusÀÇ Àü·«Àû ±âȹ¸¸ÀÌ ±×·± È®½ÇÇÑ ½Â¸®¸¦ °¡Á® ¿Ã ¼ö ÀÖ´Ù. OdysseusÀÇ ±ä ¹æ¶ûÀÇ ½Ã·ÃÀÇ ¸î¸îÀº Èû¿¡¸¸ ÀÇÁ¸ÇÏ´Â °ÍÀ» Á¶·ÕÇÏ´Â °Íó·³ º¸ÀδÙ. ¿¹¸¦ µé¾î¼ ¾Æ¹«µµ SirensÀÇ ³ë·¡¿¡ ÀúÇ×ÇÒ ¼ö°¡ ¾øÁö¸¸ Odysseus´Â ºÎÇϵ鿡°Ô ÀÚ½ÅÀ» ¹¾î³õ°Ô ÇÏ°í ±× ¾Æ¸§´Ù¿î ¸á·Îµð¸¦ ±Í¿¡ °¡µæÇϵµ·Ï µè´Â´Ù. ÁøÅð¾ç³(Scylla and Charybdis: Scylla´Â Á¼Àº ÇØÇùÀÇ ¹ÙÀ§À§¿¡ »ç´Â ±«¹°. Charybdis´Â ±× ÇØÇù ¸ÂÀºÆí¿¡ ÀÖ´Â °Å´ëÇÑ ¼Ò¿ëµ¹ÀÌ)ÀÇ »óȲÀ» ÇÇÇÒ ¼ö´Â ¾øÁö¸¸ Odysseus ´Â Çö¸íÇÑ ÀÇ»ç°áÁ¤°ú ÁÖÀÇ ±íÀº Ç×Çطμ ¼Õ½ÇÀ» ÃÖ¼ÒÈÇÒ ¼ö ÀÖ´Ù. ÁöÇϼ¼°è¿¡¼ Odysseus¿Í AchillesÀÇ ¸¸³²Àº ÇϳªÀÇ ¾Ï½Ã(reminder: »ý°¢³ª°Ô ÇÏ´Â °Í)°¡ µÈ´Ù: Achilles´Â »ì¾Æ ÀÖÀ» µ¿¾È¿¡ À§´ëÇÑ kleos(¿µ±¤)À» ¼ºÃëÇÏÁö¸¸ ±× »ý¾Ö´Â ª¾Ò°í ³ÆøÇÏ°Ô ³¡³µ´Ù. ¹Ý¸é¿¡ Odysseus´Â ±×ÀÇ ÁöÇý ´öÅÿ¡ ¿Ï¼÷ÇÑ ³ë³â±îÁö »ì°í Æò¿ÂÇÏ°Ô Á×µµ·Ï ¿î¸í Áö¿öÁø´Ù.
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The Pitfalls of Temptation
The initial act that frustrated so many Achaeans¡¯ homecoming was the work of an Achaean himself: Ajax (the ¡°Lesser¡± Ajax, a relatively unimportant figure not to be confused with the ¡°Greater¡± Ajax, whom Odysseus meets in Hades) raped the Trojan priestess Cassandra in a temple while the Greeks were plundering the fallen city. That act of impulse, impiety, and stupidity brought the wrath of Athena upon the Achaean fleet and set in motion the chain of events that turned Odysseus¡¯s homecoming into a long nightmare. It is fit that the Odyssey is motivated by such an event, for many of the pitfalls that Odysseus and his men face are likewise obstacles that arise out of mortal weakness and the inability to control it. The submission to temptation or recklessness either angers the gods or distracts Odysseus and the members of his crew from their journey: they yield to hunger and slaughter the Sun¡¯s flocks, and they eat the fruit of the lotus and forget about their homes.
Even Odysseus¡¯s hunger for kleos is a kind of temptation. He submits to it when he reveals his name to Polyphemus, bringing Poseidon¡¯s wrath upon him and his men. In the case of the Sirens, the theme is revisited simply for its own interest. With their ears plugged, the crew members sail safely by the Sirens¡¯ island, while Odysseus, longing to hear the Sirens¡¯ sweet song, is saved from folly only by his foresighted command to his crew to keep him bound to the ship¡¯s mast. Homer is fascinated with depicting his protagonist tormented by temptation: in general, Odysseus and his men want very desperately to complete their nostos, or homecoming, but this desire is constantly at odds with the other pleasures that the world offers.
À¯È¤ÀÇ ÇÔÁ¤
±×Åä·Ï ¸¹Àº Achaea(±×¸®½ºÀÇ ÇÑ Áö¹æ)»ç¶÷µéÀÇ ±ÍÇâÀ» ÁÂÀý½ÃŲ ÃÖÃÊÀÇ ÇൿÀº ÇÑ Achaea»ç¶÷ ÀÚ½ÅÀÌ ÇÑ ÀÏÀ̾ú´Ù: ±×¸®½ºÀεéÀÌ ÇÔ¶ôµÈ µµ½Ã(Troy)¸¦ ¾àÅ»ÇÏ°í ÀÖÀ» µ¿¾È¿¡ Ajax (Odysseus°¡ Hades¿¡¼ ¸¸³ª´Â ¡°ÓÞ¡±Ajax ¿Í È¥µ¿ÇÏÁö ¸»¾Æ¾ß ÇÒ »ó´ëÀûÀ¸·Î Áß¿äÇÏÁö ¾Ê´Â ¡°á³¡±Ajax )°¡ TroyÀÇ ¿©ÀÚ»çÁ¦ÀÎ Cassandra¸¦ »ç¿ø ¾È¿¡¼ °°£ÇÑ °ÍÀÌ´Ù. ±×·± Ã浿ÀûÀÎ ÇàÀ§¿Í ÜôÌ×(ºÒ°æ)°ú ¾î¸®¼®Àº ÇൿÀÌ ±×¸®½º ÇÔ´ë¿¡ AthenaÀÇ ºÐ³ë¸¦ ÃÊ·¡ÇÏ°í OdysseusÀÇ ±ÍÇâÀ» ±ä ¾Ç¸ùÀ¸·Î º¯È½ÃŲ »ç°ÇÀÇ ¿¬¼â¸¦ ÀÛµ¿½ÃÄ×´Ù. °Ô´Ù°¡ Odysseus¿Í ±×ÀÇ ºÎÇϵéÀÌ Á÷¸éÇÏ°Ô µÇ´Â ¸¹Àº ÇÔÁ¤µéÀº µµ´öÀû ¾àÁ¡°ú ±×°ÍÀÇ ÅëÁ¦ ºÒ´ÉÀ¸·Î ºÎÅÍ ¾ß±âµÇ´Â À¯»çÇÑ Àå¾Ö¹°µéÀ̱⠶§¹®¿¡ Odyssey´Â ±×·¯ÇÑ »ç°Ç¿¡ ÀÇÇؼ µ¿±âÀ¯¹ß µÈ´Ù´Â °ÍÀÌ ¸Â´Â ¸»ÀÌ´Ù. À¯È¤ ¶Ç´Â °æ¼ÖÇÔ¿¡ ±¼º¹µÇ´Â °ÍÀº ãêµéÀ» ºÐ³ëÇÏ°Ô Çϰųª Odysseus¿Í ±×ÀÇ ºÎÇϵéÀÌ ¿©·Î·ÎºÎÅÍ ºø³ª°¡°Ô ÇÑ´Ù: ±×µéÀº ±¾ÁÖ¸²¿¡ ±¼º¹ÇÏ¿© žç½ÅÀÇ ¾ç¶¼¸¦ µµ»ìÇÏ°í ·ÎÅͽºÀÇ ¿¸Å¸¦ µû ¸Ô°í °íÇâÀ» ¸Á°¢ÇÏ°Ô µÈ´Ù.
½ÉÁö¾î kleos(¿µ±¤)¿¡ ´ëÇÑ OdysseusÀÇ °¥¸Á(hunger)µµ ÀÏÁ¾ÀÇ À¯È¤ÀÌ´Ù. ±×´Â Polyphemus¿¡°Ô ±×ÀÇ À̸§À» ¹àÈú ¶§¿¡ ±× À¯È¤¿¡ ³Ñ¾î°¡¼ ±×¿Í ±×ÀÇ ºÎÇÏ¿¡°Ô PoseidonÀÇ ºÐ³ë¸¦ ÃÊ·¡ÇÑ´Ù. SirensÀÇ °æ¿ì¿¡´Â ±× ÁÖÁ¦(À¯È¤ÀÇ ÇÔÁ¤)´Â ´ÜÁö Èï¹ÌÀÚü¸¦ À§ÇØ ¹Ýº¹µÈ´Ù(´Ù½Ã À¯È¤¿¡ ³Ñ¾î°¡°Ô µÈ´Ù). ±×ÀÇ ºÎÇϵéÀº ±Í¸¦ Ʋ¾î ¸·°í Sirens ¼¶ ¿·À» ¾ÈÀüÇÏ°Ô Ç×ÇØÇÏÁö¸¸ Odysseus´Â SirensÀÇ ¸ÅȤÀûÀÎ ³ë·¡¸¦ µè±â¸¦ °¥¸ÁÇÏ¸é¼ ±×ÀÇ ºÎÇϵ鿡°Ô ±×¸¦ ¹èÀÇ µÀ´ë¿¡ ¹À¸¶ó´Â ¼±°ßÁö¸íÀÌ ÀÖ´Â ¸í·É¿¡ ÀÇÇؼ¸¸ÀÌ ¾î¸®¼®Àº Çൿ(folly)À¸·ÎºÎÅÍ ±¸Á¶µÈ´Ù. Homer´Â ±×ÀÇ ÁÖÀΰøÀÌ À¯È¤¿¡ ÀÇÇؼ °íÅë ¹Þ´Â °Í¿¡ ¸ÅȤ µÈ´Ù: ÀϹÝÀûÀ¸·Î Odysseus¿Í ±×ÀÇ ºÎÇϵéÀº ±×µéÀÇ nostos(±ÍÇâ)À» ¿Ï¼öÇÏ·Á°í ÇÊ»çÀûÀ¸·Î ¿øÇÏÁö¸¸ ÀÌ ¿å¸ÁÀº ¼¼»óÀÌ Á¦°øÇÏ´Â ´Ù¸¥ Äè¶ôµé°ú ²÷ÀÓ¾øÀÌ Ãæµ¹ÇÏ°Ô µÈ´Ù.
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Divine Justice
Early in The Odyssey, Zeus explains his vision of justice. The gods mete out suffering fairly, he says, but some mortals suffer more as a result of their unwise or wicked actions: ¡°From us alone, they say, come all their miseries, yes,/But they themselves, with their own reckless ways,/Compound their pains beyond their proper share.¡± In some cases, The Odyssey shows its characters suffering as a result of their own actions. Polyphemus is blinded after he kills several of Odysseus¡¯s men. Odysseus¡¯s men die when they ignore the commands of Odysseus and the gods not to kill the Cattle of the Sun. The poem¡¯s most dramatic comeuppance befalls the suitors, who are killed for insulting Odysseus and consuming his wealth. It¡¯s debatable, however, whether the murder of the suitors is just. Odysseus believes one of the suitors, Amphinomus, is blameless. Odysseus even risks blowing his cover to warn Amphinomus about the danger to his life: ¡°I say he¡¯s right at hand—and may some power save you.¡± Nevertheless, ¡°Athena had bound him fast to death,¡± so Amphinomous is murdered along with the rest of the suitors.
In other cases, The Odyssey shows unambiguously that the gods place their personal pride ahead of justice. The Odyssey is deeply concerned with the moral code binding hosts to treat strangers and travelers kindly. Throughout the poem, Zeus punishes anyone who violates this code. When Poseidon complains to Zeus that the Phaeacians have offended him by extending hospitality toward Odysseus, however, Zeus does nothing to protect these excellent hosts. The Phaeacians not only give their guest Odysseus shelter, they restore all his lost wealth and give him direct passage home to Ithaca. The Phaecians help Odysseus because they are good hosts, not because they have any desire to thwart Poseidon. There is no way for them to know that by doing their duty and helping a guest they are offending Poseidon. Nevertheless, Zeus endorses Poseidon¡¯s plan to prevent the Phaecians from ever helping travelers again. Zeus says that Poseidon may ¡°Do what you like¡± to punish the Phaeacians. In assuring justice to his fellow god, Zeus denies justice to the innocent Phaecians.
ãêÀû Á¤ÀÇ
OdysseyÀÇ ¼µÎ¿¡ Zeus´Â Á¤ÀÇ¿¡ ´ëÇÑ ±×ÀÇ °üÁ¡À» ¼³¸íÇÑ´Ù. ãêµéÀº °íÅëÀ» °øÆòÇÏ°Ô ¹èºÐ ÇÏÁö¸¸ ¾î¶² Àΰ£µé(mortals)Àº ±×µéÀÇ ¾î¸®¼®°Å³ª »ç¾ÇÇÑ ÇൿÀÇ °á°ú·Î °íÅëÀ» ´õ ¸¹ÀÌ ¹Þ´Â´Ù°í ±×´Â ¸»ÇÑ´Ù: ¡°¿À·ÎÁö ¿ì¸®µé·ÎºÎÅÍ ±×µéÀÇ ¸ðµç °íÅë(misery: ºñÂü, °ï±Ã, °íÅë)ÀÌ ³ª¿Â´Ù°í ±×µéÀº ¸»ÇÑ´Ù, ±×·¡,/±×·¯³ª ±×µé ÀÚ½ÅÀÌ ±×µé ÀÚ½ÅÀÇ °æ¼ÖÇÑ Çൿ(ways:¹æ¹ý, ½À°ü, ¿å¸Á, Çൿ) ¶§¹®¿¡/ ±×µéÀÇ °íÀ¯ÀÇ ¸ò(¿ø·¡ ÇÒ´ç ¹ÞÀº ¾ç)ÀÌ»óÀ¸·Î °íÅëÀ» ¸¸µé¾î³½´Ù(compound:Á¶Á¦ÇÏ´Ù, ÇÕ¼ºÇÏ´Ù).¡± ¾î¶² °æ¿ì¿¡´Â, Odyssey´Â Àι°µéÀÌ ±×µé ÀÚ½ÅÀÇ ÇൿÀÇ °á°ú·Î °íÅë ¹Þ´Â °ÍÀ» º¸¿©ÁØ´Ù. Polyphemus´Â OdysseusÀÇ ºÎÇÏÁßÀÇ ¸î ¸íÀ» Á×ÀÎ ÈÄ¿¡ ´«ÀÌ ¸Ö°Ô µÈ´Ù. OdysseusÀÇ ºÎÇϵéÀº žçÀÇ °¡ÃàµéÀ» Á×ÀÌÁö ¸»ÇÏ´Â ãêµé°ú OdysseusÀÇ ¸í·ÉÀ» ¹«½ÃÇÒ ¶§¿¡ Á״´Ù. ãÌÀÇ °¡Àå ±ØÀûÀÎ ÀÀº¸´Â ±¸È¥Àڵ鿡°Ô ¶³¾îÁö´Âµ¥ ÀÌ´Â À̵éÀÌ Odysseus¸¦ ¸ð¿åÇÏ°í ±×ÀÇ Àç»êÀ» ÅÁÁøÇÏ¿´±â ¶§¹®¿¡ Á×À½À» ´çÇÑ´Ù. ±×·¯³ª ±¸È¥ÀÚµéÀ» Á׿©¾ß ÇÏ´ÂÁö¿¡ ´ëÇؼ´Â ³íÀïÀÇ ¿©Áö°¡ ÀÖ´Ù. Odysseus´Â ±¸È¥ÀÚµé ÁßÀÇ ÇѸíÀÎ Amphinomus´Â °á¹éÇÏ´Ù(innocent)°í ¹Ï´Â´Ù. Odysseus´Â ½ÉÁö¾î Amphinomus¿¡°Ô ±×ÀÇ »ý¸íÀÌ À§ÇèÇÏ´Ù´Â °ÍÀ» °æ°íÇØÁÖ±â À§ÇØ ÀÚ½ÅÀÇ Á¤Ã¼¸¦ ¹àÈ÷´Â(blow one's cover) ¸ðÇè±îÁö ÇÑ´Ù: ¡°³ª´Â ±×°¡ °ð ³ªÅ¸³¯ °ÍÀ̶ó°í ¸»Çϳë¶ó¡ª. ±×¸®°í ¾î¶² ±Ç´É(power)ÀÌ ±×´ë¸¦ ±¸ÇØÁֱ⸦ ±â¿øÇϳë¶ó.¡± ±×·³¿¡µµ ºÒ±¸ÇÏ°í ¡°Athena´Â ±×¸¦ Á×À½¿¡´Ù ´Ü´ÜÈ÷ ¹¾î ³õ¾Ò´Ù,¡± ±×·¡¼ Amphinomous´Â ³ª¸ÓÁö ±¸È¥ÀÚµé°ú ÇÔ²² »ìÇصȴÙ.
´Ù¸¥ °æ¿ì¿¡´Â, Odyssey´Â ãêµéÀÌ Á¤ÀǺ¸´Ù´Â ±×µéÀÇ ÀÚÁ¸½ÉÀ» ¿ì¼±ÇÑ´Ù´Â °ÍÀ» ¸í¹éÇÏ°Ô º¸¿©ÁØ´Ù. Odyssey´Â ³¸¼± »ç¶÷µé(strangers)°ú ¿©ÇàÀÚµéÀ» Ä£ÀýÇÏ°Ô Á¢´ëÇϵµ·Ï ÁÖÀε鿡°Ô Àǹ«¸¦ Áö¿ì´Â(binding) µµ´ö¹ýÀü¿¡ ±íÀÌ °ü¿©ÇÏ°í ÀÖ´Ù. ãÌÀüü¸¦ ÅëÇؼ Zeus´Â ÀÌ ¹ýÀüÀ» À§¹ÝÇÏ´Â ¸ðµç »ç¶÷µéÀ» ó¹úÇÏ°í ÀÖ´Ù. ±×·¯³ª PoseidonÀÌ Zeus¿¡°Ô Phaeacia»ç¶÷µéÀÌ Odysseus¿¡°Ô ȯ´ë¸¦ º£Ç®¾î ÁÜ(extend: »¸´Ù, º£Ç®´Ù)¿¡ ÀÇÇؼ ±×¸¦ ¼º³ª°Ô ÇÏ¿´´Ù°í ºÒÆòÇÒ ¶§ Zeus´Â À̵é ÈǸ¢ÇÑ ÁÖÀεé(Phaeacia»ç¶÷µé)À» º¸È£Çϱâ À§ÇØ ¾Æ¹«·± Çൿµµ ÇÏÁö ¾Ê´Â´Ù. Phaeacia»ç¶÷µéÀº Odysseus¿¡°Ô ¼÷¼Ò¸¦ Á¦°øÇØÁÙ »Ó ¾Æ´Ï¶ó ±×ÀÇ ¸ðµç ÀÒ¾î¹ö¸° Àç»êÀ» º¹±¸½ÃÄÑÁÖ°í ±×¿¡°Ô °íÇâ Ithaca·Î °¡´Â Á÷Çà Åë·Î¸¦ Á¦°øÇÑ´Ù. Phaeacia»ç¶÷µéÀº ±×µéÀÌ PoseidonÀ» ¹æÇØÇϱâ À§ÇÑ ¿å¸ÁÀ» °¡Áö°í Àֱ⠶§¹®ÀÌ ¾Æ´Ï°í ¼±ÇÑ ÁÖÀεéÀ̱⠶§¹®¿¡ Odysseus¸¦ µµ¿ÍÁØ´Ù. ±×µéÀÇ Àǹ«¸¦ ÇàÇÏ°í ¼Õ´ÔÀ» µµ¿ÍÁÜ¿¡ ÀÇÇؼ ±×µéÀÌ PoseidonÀ» ȳª°Ô ÇÏ°í ÀÖ´Ù´Â °ÍÀ» ±×µéÀÌ ¾Ë ¼ö ÀÖ´Â ¹æ¹ýÀÌ ¾ø´Ù. ±×·³¿¡µµ ºÒ±¸ÇÏ°í Zeus´Â Phaeacia»ç¶÷µéÀÌ ¿©ÇàÀÚµéÀ» ´Ù½Ã µµ¿ÍÁÖ´Â °ÍÀ» ¸·À¸·Á´Â PoseidonÀÇ °èȹÀ» ½ÂÀÎÇÑ´Ù. Zeus´Â PoseidonÀÌ Phaeacia»ç¶÷µéÀ» ¹úÁÖ±â À§Çؼ ¡°´ç½ÅÀÌ ÇÏ°í ½ÍÀº ´ë·Î Çصµ ÁÁ´Ù.¡±¶ó°í ¸»ÇÑ´Ù. µ¿·á ãê¿¡°Ô Á¤ÀǸ¦ º¸ÁõÇÔ¿¡ ÀÖ¾î¼ Zeus´Â ÁË ¾ø´Â Phaeacia»ç¶÷µé¿¡°Ô´Â Á¤ÀǸ¦ ºÎÁ¤ÇÑ´Ù.
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Homecoming
The Odyssey is the ultimate endorsement of nostos, or homecoming, the idea that a heroic warrior¡¯s greatest triumph comes when he returns from war to his own home and family. Odysseus¡¯s trials end with the offer of not one but two alternative wives, and two alternative places to live. As Calypso¡¯s husband, Odysseus could live forever in divine luxury. As Nausicaa¡¯s husband, Odysseus would be a prince in the richest, most untroubled country he has visited. Without hesitation he rejects both these offers. He prefers Penelope and Ithaca, not necessarily because they are better, but because they are his: ¡°Mine is a rugged land but good for raising sons—/and I myself, I know no sweeter sight on earth than a man¡¯s own native country.¡± At the same time, nostos is not an uncomplicated idea in The Odyssey. When Agamemnon returns home, he is murdered by his wife. Menelaus and Helen have an unhappy marriage which is destined to last for all eternity. Even Odysseus¡¯s own home is troubled. Telemachus speaks harshly to Penelope and criticizes her to other people, even after Odysseus has returned and revealed his identity.
Nostos is only possible if a warrior¡¯s home is still there when he returns, unchanged from when he left. Accordingly, what makes a home valuable in The Odyssey is not its happiness as much as its stability and continuity. Odysseus and Penelope are reunited when Odysseus is able to describe their marriage bed, which is literally unshakeable because it is (again literally) rooted in the soil of Ithaca. Nestor suggests that Agamemnon is fortunate, even though he has been murdered by his wife, because his son has avenged him. What matters is the continuance of Agamemnon¡¯s family and reputation: ¡°Ah how fine it is, when a man is brought down,/to leave a son behind!¡± Odysseus¡¯s own homecoming is not complete until he has revealed himself to Laertes, so that Laertes can relish the continuity of his own family and reputation: ¡°What a day for me, dear gods! What joy—/my son and my grandson vying over courage!¡±
±ÍÇâ
Odyssey´Â nostos(±ÍÇâ)À» ±Ã±ØÀûÀ¸·Î ½ÃÀÎ(endorsement: ÀÎÁõ, º¸Áõ, ½ÃÀÎ)ÇÏ´Â °ÍÀε¥ ÀÌ°ÍÀº ¿µ¿õÀûÀÎ Àü»çÀÇ °¡Àå À§´ëÇÑ ½Â¸®´Â ±×°¡ ±× ÀÚ½ÅÀÇ Áý°ú °¡Á·¿¡°Ô µ¹¾Æ ¿Ã ¶§ ÀÌ·ç¾îÁø´Ù´Â »ç»óÀÌ´Ù. OdysseusÀÇ ½Ã·ÃÀº ÇÑ ¸íÀÌ ¾Æ´Ñ ¾çÀÚÅÃÀÏÇØ¾ß µÇ´Â(alternative) µÎ ¸íÀÇ ¾Æ³»µé°ú ¾çÀÚÅÃÀÏÇØ¾ß µÇ´Â µÎ °³ÀÇ »ç´Â Àå¼ÒÀÇ Á¦¾ÈÀ¸·Î¼ ³¡³´Ù. CalypsoÀÇ ³²ÆíÀ¸·Î¼ Odysseus´Â ãêÀÇ »çÄ¡ ¼Ó¿¡¼ ¿µ¿øÈ÷ »ì ¼ö ÀÖÀ» °ÍÀÌ´Ù. NausicaaÀÇ ³²ÆíÀ¸·Î¼ Odysseus´Â ±×°¡ ¹æ¹®ÇÑ ³ª¶óµé Áß¿¡¼ °¡Àå ºÎÀ¯ÇÏ°í °¡Àå Æò¿ÂÇÑ ³ª¶óÀÇ ¿ÕÀÚ°¡ µÉ °ÍÀÌ´Ù. ¸Á¼³ÀÓ ¾øÀÌ ±×´Â ÀÌ µÎ Á¦¾ÈÀ» °ÅºÎÇÑ´Ù. ±×´Â Penelope¿Í Ithaca°¡ ¹Ýµå½Ã ´õ ÈǸ¢Çϱ⠶§¹®ÀÌ ¾Æ´Ï¶ó ±×µéÀÌ ±×ÀÇ °ÍÀ̱⠶§¹®¿¡ Penelope¿Í Ithaca¸¦ ¼±È£ ÇÑ´Ù: ¡°³ªÀÇ ¶¥Àº ¹ÙÀ§Åõ¼ºÀÌÀÇ ³ª¶óÀÌÁö¸¸ ÀڽĵéÀ» Å°¿ì±â¿¡ ÁÁÀº °÷ÀÌ°í¡ª/±×¸®°í ³» ÀÚ½ÅÀº, ³ª´Â ¼¼»ó¿¡¼ »ç¶÷ÀÇ °íÇ⳪¶óº¸´Ùµµ ´õ ÁÁÀº °÷(sight:¸í¼Ò)Àº ¾ËÁö ¸øÇÑ´Ù.¡± µ¿½Ã¿¡ Odyssey¿¡¼ nostos´Â ´Ü¼øÇÑ(uncomplicated) °³³äÀº ¾Æ´Ï´Ù. AgamemnonÀÌ ÁýÀ¸·Î µ¹¾Æ ¿Ã ¶§ ±×´Â ¾Æ³»¿¡ ÀÇÇؼ »ìÇصȴÙ. Menelaus¿Í HelenÀº ¿µ¿øµ¿¾È Áö¼ÓµÉ ¿î¸íÀÎ ºÒÇàÇÑ °áÈ¥À» ÇÑ´Ù. ½ÉÁö¾î Odysseus ÀÚ½ÅÀÇ Áýµµ ¹®Á¦°¡ ÀÖ´Ù. Telemachus´Â ½ÉÁö¾î Odysseus °¡ µ¹¾Æ¿Í¼ ÀÚ½ÅÀÇ Á¤Ã¼¸¦ ¹àÇû´Âµ¥µµ Penelope¿¡°Ô °ÅÄ¥°Ô ¸»ÇÏ°í ´Ù¸¥ »ç¶÷µé¿¡°Ô ±×³à¸¦ ºñÆÇÇÑ´Ù.
Nostos´Â Àü»çÀÇ °¡Á¤ÀÌ ±×°¡ µ¹¾Æ ¿ÔÀ» ¶§ ¶°³¯ ¶§¿Í º¯ÇÔ¾øÀÌ ¿©ÀüÈ÷ ±×´ë·Î ÀÖÀ» ¶§¸¸ÀÌ °¡´ÉÇÏ´Ù. µû¶ó¼ Odyssey¿¡¼ °¡Á¤À» °¡Ä¡ ÀÖ°Ô ¸¸µå´Â °ÍÀº °¡Á¤ÀÇ Çູº¸´Ù´Â °¡Á¤ÀÇ ¿¬¼Ó¼º°ú ¾ÈÁ¤¼ºÀÌ´Ù. Odysseus¿Í Penelope´Â Odysseus°¡ ±×µéÀÇ °áȥħ»ó¿¡ ´ëÇؼ »ó¼¼È÷ ¼³¸íÀ» ÇÒ ¼ö ÀÖÀ» ¶§ Àç°áÇÕÇÏ°Ô µÇ´Â µ¥ °áȥħ´ë´Â IthacaÀÇ ¶¥¿¡ (´Ù½Ã ¹®ÀÚ ±×´ë·Î) »Ñ¸®¸¦ ³»¸®°í Àֱ⠶§¹®¿¡ ¹®ÀÚ ±×´ë·Î Èçµé¸± ¼ö ¾ø±â ¶§¹®ÀÌ´Ù. Nestor´Â AgamemnonÀº ºñ·Ï ¾Æ³»¿¡ ÀÇÇؼ »ìÇØ µÇ¾úÁö¸¸ ±×ÀÇ ¾ÆµéÀÌ ±×ÀÇ º¹¼ö¸¦ ÇØÁÖ¾ú±â ¶§¹®¿¡ ¿îÀÌ ÁÁ´Ù°í ¾Ï½ÃÇÑ´Ù. Áß¿äÇÑ °ÍÀº Agamemnon°¡Á·°ú ¸í¼ºÀÇ Á¸¼Ó(continuance: °è¼Ó, ¿¬¼Ó)ÀÌ´Ù: ¡°¾Æ! »ç¶÷ÀÌ ÆĸêÀ» ´çÇÒ ¶§ ¾ÆµéÀ» µÚ¿¡ ³²±ä´Ù´Â °ÍÀº ¾ó¸¶³ª ÁÁÀº ÀÏÀΰ¡.¡± OdysseusÀÚ½ÅÀÇ ±ÍÇâÀº ±×°¡ ÀÚ½ÅÀÇ Á¤Ã¼¸¦ Laertes¿¡°Ô ¹àÈ÷°í ±×·¡¼(so that) Laertes°¡ ÀÚ½ÅÀÇ °¡Á·°ú ¸í¼ºÀÇ Á¸¼ÓÀ» Áñ±æ ¼ö ÀÖÀ» ¶§ ±îÁö´Â ¿Ï¼ºµÇÁö ¾Ê´Â´Ù: ¡°ãêµéÀÌ¿© Àú¿¡°Ô´Â ÁÁÀº ³¯ÀÔ´Ï´Ù! (I have had a great day. ¸Å¿ì ±â»Þ´Ï´Ù¡ª/³» ¾Æµé°ú ¼ÕÀÚ°¡ ¿ë±â¸¦ µÎ°í ¼·Î °æÀïÇÏ°í ÀÖÀ¸´Ï!¡±
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Cunning
Although The Odyssey begins with the Trojan Wars that separate Odysseus from Ithaca and touches on themes of warfare throughout, mental agility is as crucial as physical prowess to Odysseus¡¯s homecoming. Athena praises Odysseus for being cunning, a trait she considers herself to have as well, and may be especially inclined to help him because she admires his mental ability. Even Odysseus¡¯s epithet, the man ¡°of twists and turns,¡± suggests a mind that works cleverly and not always in a straightforward, honest manner. Odysseus¡¯s cunning is most clearly displayed in the episode with Polyphemus the Cyclops. Odysseus tricks Polyphemus twice. First, Odysseus tells the Cyclops his name is ¡°Nobody,¡± so that the Cyclops is forced to say that ¡°nobody¡± is hurting him. Second, Odysseus instructs his men to hide under the Cyclops¡¯ sheep as they leave the cave, so that the now-blind Cyclops will only feel his sheep¡¯s wool as they go out the cave door. Odysseus also uses cunning at the end of the poem when he disguises himself as a beggar, to discover who on Ithaca remains loyal to him after his long absence.
ÊÌòª(°£Áö)
Odyssey´Â Odysseus¸¦ Ithaca·ÎºÎÅÍ ºÐ¸®½ÃÅ°´Â TroyÀüÀïÀ¸·ÎºÎÅÍ ½ÃÀÛÇÏ¿© óÀ½ºÎÅÍ ³¡±îÁö ÀüÀïÀ» ´Ù·ç°í ÀÖÁö¸¸ OdysseusÀÇ ±ÍÇâ¿¡ Á¤½ÅÀûÀÎ ¹ÎøÇÔµµ À°Ã¼ÀûÀÎ Èû¸¸Å °áÁ¤ÀûÀ¸·Î Áß¿äÇÏ´Ù. Athena´Â ±×³à Àڽŵµ °¡Áö°í ÀÖ´Ù°í »ý°¢Çϴ Ư¼ºÀÎ °£Áö¸¦ °¡Áö°í ÀÖ´Ù°í Odysseus¸¦ ĪÂùÇÏ°í ¾Æ¸¶µµ ±×³à´Â ±×ÀÇ Á¤½ÅÀûÀÎ ´É·Â¿¡ °¨ÅºÇϱ⠶§¹®¿¡ ±×¸¦ µµ¿ÍÁֱ⸦ Ưº°È÷ ¿øÇÏ°Ô µÉ °ÍÀÌ´Ù. ½ÉÁö¾î OdysseusÀÇ º°¸í ¡°ÀÓ±âÀÀº¯¡±ÀÇ ³²ÀÚµµ ¿µ¸®ÇÏ°Ô ±×¸®°í Ç×»ó ¼ÖÁ÷ÇÏ°í(straightforward: ¶È ¹Ù¸¥, ¼ÖÁ÷ÇÑ, Á¤Á÷ÇÑ) Á¤Á÷ÇÑ ¹æ¹ýÀ¸·Î¸¸ ÀÏÇÏÁö ¾Ê´Â Á¤½ÅÀ» ¾Ï½ÃÇÑ´Ù. OdysseusÀÇ °£Áö´Â ¾Ö²Ù´« °ÅÀÎ Polyphemus¿ÍÀÇ ¿¡ÇǼҵ忡¼ °¡Àå ¼±¸íÇÏ°Ô µå·¯³´Ù. Odysseus´Â Polyphemus¸¦ µÎ ¹ø ¼ÓÀδÙ. ù ¹ø° ±×´Â ¾Ö²Ù´« °ÅÀÎ(Cyclops)¿¡°Ô ÀÚ½ÅÀÇ À̸§ÀÌ ¡°Nobody¡±¶ó°í ¸»ÇÑ´Ù. ±×·¡¼ Cyclops´Â ¡°nobody¡±°¡ ±×¸¦ ÇØÄ¡°í ÀÖ´Ù(¡°¾Æ¹«µµ ±×¸¦ ÇØÄ¡°í ÀÖÁö ¾Ê´Ù.¡±ÀÇ ¶æÀÌ µÇ¾î¹ö¸°´Ù.)¶ó°í ¸»À» ÇÏ°Ô µÈ´Ù. µÑ° Odysseus´Â ±×ÀÇ ºÎÇϵ鿡°Ô ±×µéÀÌ µ¿±¼À» ºüÁ® ³ª°¥ ¶§ CyclopsÀÇ ¾çµéÀÇ ¹è ¹Ø¿¡ ¼ûÀ¸¶ó°í Áö½ÃÇÑ´Ù. ±×·¡¼ Áö±Ý ´«ÀÌ ¸Ö¾îÀÖ´Â Cyclops´Â ±×µéÀÌ µ¿±¼ ¹®À» ³ª°¥ ¶§¿¡ ¾çµéÀÇ Åи¸ ¸¸Á®¼ ´À³¢°Ô µÉ °ÍÀÌ´Ù. Odysseus´Â ãÌÀÇ ³¡¿¡ °¡¼ ±×ÀÇ ±ä ºÎÀç Áß¿¡ Ithaca¿¡¼ ´©°¡ ±×¿¡°Ô Ã漺Çϴ°¡¸¦ ¹ß°ßÇϱâ À§Çؼ ÀÚ½ÅÀ» °ÅÁö·Î À§ÀåÇÒ ¶§ ¶Ç °£Áö¸¦ ÀÌ¿ëÇÑ´Ù.
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¥µ. Motif
Storytelling
Storytelling in the Odyssey, in addition to delivering the plot to the audience, situates the epic in its proper cultural context. The Odyssey seems very conscious of its predecessor, the Iliad: Odysseus¡¯s wanderings would never have taken place had he not left for Troy; and the Odyssey would make little sense without the Iliad and the knowledge that so many other Greek heroes had to make nostoi, or homeward journeys, of their own. Homer constantly evokes the history of the Odyssey through the stories that his characters tell. Menelaus and Nestor both narrate to Telemachus their wanderings from Troy. Even Helen adds some anecdotes about Odysseus¡¯s cunning during the Trojan War. Phemius, a court minstrel in Ithaca, and Demodocus, a Phaeacian bard, sing of the exploits of the Greek heroes at Troy. In the underworld, Agamemnon tells the story of his murder, while Ajax¡¯s evasion prompts the story of his quarrel with Odysseus. These stories, however, don¡¯t just provide colorful personal histories. Most call out to other stories in Greek mythology, elevating the Odyssey by reminding its audience of the epic¡¯s rich, mythic tradition.
¥µ. µ¿±â
À̾߱âÇϱâ
Odyssey¿¡¼ À̾߱âÇϱâ´Â °üÁߵ鿡°Ô ÁٰŸ®¸¦ Àü´ÞÇÏ´Â °Í ¿Ü¿¡µµ ±× ¼»ç½Ã(Odyssey)¸¦ ¹®ÈÀû ¹è°æ(context: ¸Æ¶ô, ȯ°æ)¼Ó¿¡ À§Ä¡ÇÏ°Ô ÇÑ´Ù. Odyssey´Â ±×°ÍÀÇ îñø¹(ÀüÆí:predecessor:ÀüÀÓÀÚ)ÀÎ Iliad¸¦ ¸Å¿ì ÀǽÄÇÏ°í ÀÖ´Â °Íó·³ º¸ÀδÙ: OdysseusÀÇ ¹æ¶ûÀº ±×°¡ Troy¸¦ ¶°³ªÁö ¾Ê¾Ò´õ¶ó¸é °áÄÚ ÀϾÁö ¾Ê¾ÒÀ» °ÍÀÌ´Ù; ±×¸®°í Odyssey´Â Iliad°¡ ¾øÀÌ´Â ±×¸®°í ±×Åä·Ï ¸¹Àº ±×¸®½º ¿µ¿õµéÀÌ ±×µé ÀÚ½ÅÀÇ nostoi(°íÇâÀ¸·Î ÇâÇÏ´Â ¿©Çà)¸¦ ÇØ¾ß µÈ´Ù´Â Áö½ÄÀÌ ¾øÀÌ´Â Àǹ̰¡ °ÅÀÇ ¾ø¾îÁú °ÍÀÌ´Ù. Homer´Â ±×ÀÇ Àι°µéÀÌ ÀüÇÏ´Â À̾߱⸦ ÅëÇؼ OdysseyÀÇ ¿ª»ç¸¦ ²÷ÀÓ¾øÀÌ È¯±â½ÃŲ´Ù. Menelaus¿Í Nestor´Â Telemachus¿¡°Ô ±×µéÀÇ Troy·Î ºÎÅÍÀÇ ¹æ¶û¿¡ ´ëÇØ À̾߱â ÇÑ´Ù. ½ÉÁö¾î Helenµµ TroyÀüÀï ÁßÀÇ OdysseusÀÇ °£Áö¿¡ °üÇÑ ¸î °¡Áö ìïü¥(ÀÏÈ)¸¦ º¸ÅÄ´Ù. IthacaÀÇ ±ÃÁ¤ À½À¯½ÃÀÎÀÎ Phemius¿Í PhaeaciaÀÇ À½À¯½ÃÀÎ Demodocus´Â Troy¿¡¼ÀÇ ±×¸®½º ¿µ¿õµéÀÇ °øÀûÀ» ³ë·¡ÇÑ´Ù. ÁöÇϼ¼°è¿¡¼ AgamemnonÀº ±×ÀÇ Çǻ쿡 ´ëÇؼ À̾߱âÇÏ°í ¹Ý¸é¿¡ AjaxÀÇ µµÇÇ´Â ±×ÀÇ(Agamemnon) Odysseus¿ÍÀÇ ¾ðÀï¿¡ °üÇÑ À̾߱⸦ »ý°¢³ª°Ô ÇÑ´Ù(prompt). ±×·¯³ª À̵é À̾߱âµéÀº ´ÜÁö ´Ùä·Î¿î °³Àλ縸 Á¦°øÇÏ´Â °ÍÀÌ ¾Æ´Ï´Ù. À̵é À̾߱âÀÇ ´ëºÎºÐÀº ±×¸®½º ½Åȸ¦ ȯ±â½Ã¸ç(call out to), Odyssey¸¦ °üÁߵ鿡°Ô ¼»ç½ÃÀÇ Ç³ºÎÇÑ ½ÅÈÀû ÀüÅëÀ» ȯ±â½ÃÅ´¿¡ ÀÇÇؼ Odyssey¸¦ °í¾ç½ÃŲ´Ù.
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Disguises
The gods of Greek literature often assume alternate forms to commune with humans. In the Odyssey, Athena appears on earth disguised as everything from a little girl to Odysseus¡¯s friend Mentor to Telemachus. Proteus, the Old Man of the Sea whom Menelaus describes in Book 4, can assume any form, even water and fire, to escape capture. Circe, on the other hand, uses her powers to change others, turning an entire contingent of Odysseus¡¯s crew into pigs with a tap of her wand.
From the first line of the epic, Homer explains that his story is about a ¡°man of twists and turns¡± (1.1). Quick, clever, and calculating, Odysseus is a natural master of disguise, and the plot of the epic often turns on his deception. By withholding his true identity from the Cyclops and using the alias ¡°Nobody,¡± for example, Odysseus is able to save himself and his crew. But by revealing his name at the end of this episode, Odysseus ends up being dogged by the god Poseidon. His beggar disguise allows him to infiltrate his palace and set up the final confrontation with the suitors. It also allows Homer to distinguish those who truly love Odysseus—characters like Eurycleia, Penelope, and even his dog, Argos, begin to recognize their beloved king even before he sheds his disguise.
Seductresses
Women are very important figures in the Odyssey, and one of the most prominent roles they fulfill is that of seductress. Circe and Calypso are the most obvious examples of women whose love becomes an obstacle to Odysseus¡¯s return. Homer presents many other women whose irresistible allure threatens to lead men astray. The Sirens enchant Odysseus with their lovely song, and even Penelope, despite all of her contempt for the suitors, seems to be leading them on at times. She uses her feminine wiles to conceal her ruse of undoing, every night, her day¡¯s work on the burial shroud, and even gets the suitors to give her gifts, claiming that she will marry the one who gives her the nicest things. While these women do gain a certain amount of power through their sexual charms, they are ultimately all subject to divine whim, forced to wait and pine for love when it is absent.
ˤˌ
±×¸®½º ¹®ÇÐÀÇ ãêµéÀº Àΰ£°ú »ç±Í±â À§ÇÏ¿© Á¾Á¾ ´ëüÇüŸ¦ ÃëÇÑ´Ù. Odyssey¿¡¼ Athena´Â ¾î¸° ¼Ò³à·ÎºÎÅÍ OdysseusÀÇ Ä£±¸ Mentor¿Í Telemachus¿¡ À̸£±â ±îÁö º¯ÀåÀ» Çؼ Áö»ó¿¡ ³ªÅ¸³´Ù. Menelaus°¡ Book 4¿¡¼ ¹¦»çÇÏ´Â ¹Ù´ÙÀÇ ³ëÀÎ Proteus´Â üÆ÷¿¡¼ Å»ÃâÇϱâ À§Çؼ ¸ðµç ÇüŸ¦, ½ÉÁö¾î ¹°°ú ºÒ±îÁöµµ, °¡ÀåÇÑ´Ù. ´Ù¸¥ ÇÑÆí Circe´Â ´Ù¸¥ »ç¶÷µéÀ» º¯Çü½ÃÅ°±â À§Çؼ ±×³àÀÇ ¸¶·Â(power)À» »ç¿ëÇϸç OdysseusÀÇ ºÎÇϼ±¿øµé ¹«¸®Àüü(contingent)¸¦ ±×³àÀÇ ÁöÆÎÀÌ·Î ÇÑ ¹ø µÎµå·Á¼ µÅÁö·Î º¯Çü½ÃŲ´Ù.
±×ÀÇ ¼»ç½ÃÀÇ Ã¹ ÁÙºÎÅÍ Homer´Â ±×ÀÇ À̾߱â´Â ¡°ÀÓ±âÀÀº¯¡±¿¡ °üÇÑ °ÍÀ̶ó°í ¼³¸íÇÑ´Ù. ¹ÎøÇÏ°í ¿µ¸®ÇÏ°í °è»êÀûÀÎ Odysseus´Â À§ÀåÀÇ ÃµºÎÀûÀÎ ¸í¼öÀÌ°í ¼»ç½ÃÀÇ ÁٰŸ®´Â ±×ÀÇ ¼ÓÀÌ´Â °Í¿¡ Á¾Á¾ ¸ÂÃß°í ÀÖ´Ù. ¿¹¸¦ µé¾î¼, Cyclops¿¡°Ô ÀÚ±âÀÇ ÁøÂ¥ Á¤Ã¼¸¦ ¹àÈ÷´Â °ÍÀ» Áö¿¬½ÃÅ´(withhold)¿¡ ÀÇÇؼ ±×¸®°í Nobody¶ó´Â º°¸íÀ» ÀÌ¿ëÇÔ¿¡ ÀÇÇؼ Odysseus´Â ÀڽŰú ÀÚ½ÅÀÇ ¼±¿øµéÀ» ±¸ÇÒ ¼ö ÀÖ°Ô µÈ´Ù. ±×·¯³ª ÀÌ ¿¡ÇǼҵåÀÇ ³¡¿¡ °¡¼ À̸§À» ¹àÈû¿¡ ÀÇÇؼ ±×´Â Poseidonãê¿¡ ÀÇÇؼ ²ø·Á ´Ù´Ï°Ô(dogged)µÇ´Â °ÍÀ¸·Î ³¡À» ³½´Ù. ±×ÀÇ °ÅÁö À§ÀåÀº ±×°¡ ±ÃÀü¿¡ ħÅõÇÏ¿© ±¸È¥ÀÚµé°ú ÃÖÈÄÀÇ ´ë°áÀ» ÇÒ ¼ö ÀÖ°Ô ÇÑ´Ù. ±×°ÍÀº(°ÅÁö À§Àå) ¶ÇÇÑ Homer°¡ Áø½Ç·Î Odysseus¸¦ »ç¶ûÇÏ´Â »ç¶÷µéÀ» ±¸º°Çϵµ·Ï ÇØÁش١ªEurycleia¿Í Penelope¿Í ±×ÀÇ °³ Argos°°Àº µîÀåÀι°µéÀº ½ÉÁö¾î ±×°¡ À§ÀåÀ» ¹þ±â±â Àü¿¡µµ ±×µéÀÇ »ç¶ûÇÏ´Â ¿ÕÀ» ¾Ë¾Æº¸±â ½ÃÀÛÇÑ´Ù.
³²ÀÚ¸¦ À¯È¤ÇÏ´Â ¿©Àεé
Odyssey¿¡¼ ¿©ÀÚ´Â ´ë´ÜÈ÷ Áß¿äÇÏ¸ç ±×µéÀÌ ¼öÇàÇÏ´Â(fulfil) °¡Àå Áß¿äÇÑ(prominent: Ź¿ùÇÑ, ¶Ù¾î³) ¿ªÇÒ ÁßÀÇ Çϳª´Â À¯È¤ÇÏ´Â ¿©ÀÎÀÇ ¿ªÇÒÀÌ´Ù. Circe¿Í Calypso´Â ±×µéÀÇ »ç¶ûÀÌ OdysseusÀÇ ±Íȯ¿¡ Àå¾Ö°¡ µÇ´Â ¿©Àε鿡 ´ëÇÑ °¡Àå ¸í¹éÇÑ ¿¹ÀÌ´Ù. Homer´Â ÀúÇ×ÀÌ ºÒ°¡´ÉÇÑ À¯È¤(allure: À¯ÀÎ, ¸Å·Â)ÀÌ ³²ÀÚµéÀ» Ÿ¶ô½ÃÅ°·Á°í(lead...astray:³ª»Û ±æ·Î À̲ø´Ù) À§ÇùÇÏ´Â ¸¹Àº ´Ù¸¥ ¿©ÀεéÀ» º¸¿©ÁØ´Ù. Sirens´Â ±×µéÀÇ ¾Æ¸§´Ù¿î ³ë·¡·Î Odysseus¸¦ ¸ÅȤ½ÃÅ°°í ½ÉÁö¾î Penelopeµµ, ±¸È¥Àڵ鿡 ´ëÇÑ ±×³àÀÇ °æ¸ê¿¡µµ ºÒ±¸ÇÏ°í, ¶§¶§·Î ±×µéÀ» ²ø¾îµéÀÌ´Â °Í(lead on)ó·³ º¸ÀδÙ. ±×³à´Â ³·¿¡ ¸¸µç áöëý(¼öÀÇ:burial shroud)¸¦ ¹ã¸¶´Ù ÇØüÇÏ´Â (¼öÀÇ ¸¸µå´Â ÀÏÀ» ³¡³»Áö ¾Ê±â À§Çؼ) °è·«À» ¼û±â±â À§Çؼ ¿©¼º´Ù¿î °£Áö¸¦ ÀÌ¿ëÇÏ°í, ½ÉÁö¾î ±×³à¿¡°Ô °¡Àå ÁÁÀº ¹°°ÇÀ» ÁÖ´Â »ç¶÷°ú °áÈ¥ÇÏ°Ú´Ù°í ´Ü¾ð(claim)ÇÏ¸é¼ ±¸È¥ÀÚµéÀÌ ±×³à¿¡°Ô ¼±¹°À» °¡Á®¿Àµµ·Ï ÇÑ´Ù. ÀÌ·± ¿©ÀεéÀº ±×µéÀÇ ¼ºÀû ¸Å·ÂÀ» ÅëÇؼ ¾î´À Á¤µµÀÇ ±Ç·ÂÀ» ȹµæÇÏ´Â ¹Ý¸é¿¡ ±×µéÀº ¸ðµÎ ±Ã±ØÀûÀ¸·Î ãêÀÇ º¯´ö¿¡ ±¼º¹ÇÏ¿© »ç¶ûÀÌ ¾øÀ» ¶§´Â »ç¶ûÀ» ±â´Ù¸®°í °¥¸ÁÇÒ ¼ö¹Û¿¡ ¾ø´Ù.
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¥¶. Symbols
Food
Although throwing a feast for a guest is a common part of hospitality, hunger and the consumption of food often have negative associations in the Odyssey. They represent lack of discipline or submission to temptation, as when Odysseus tarries in the cave of the Cyclops, when his men slaughter the Sun¡¯s flocks, or when they eat the fruit of the lotus. The suitors, moreover, are constantly eating. Whenever Telemachus and Penelope complain about their uninvited guests, they mention how the suitors slaughter the palace¡¯s livestock. Odysseus kills the suitors just as they are starting their dinner, and Homer graphically describes them falling over tables and spilling their food. In almost all cases, the monsters of the Odyssey owe their monstrosity at least in part to their diets or the way that they eat. Scylla swallows six of Odysseus¡¯s men, one for each head. The eats humans, but not sheep apparently, and is gluttonous nonetheless: when he gets drunk, he vomits up wine mixed with pieces of human flesh. The Laestrygonians seem like nice people—until their queen, who is described as ¡°huge as a mountain crag,¡± tries to eat Odysseus and his men (10.124). In these cases, excessive eating represents not just lack of self-control, but also the total absence of humanity and civility.
The Wedding Bed
The wedding bed in Book 23 symbolizes the constancy of Penelope and Odysseus¡¯s marriage. Only a single maidservant has ever seen the bed, and it is where the happy couple spends its first night in each other¡¯s arms since Odysseus¡¯s departure for Troy twenty years earlier. The symbolism is heightened by the trick that Penelope uses to test Odysseus, which revolves around the immovability of their bed—a metaphor for the unshakable foundation of their love.
¥¶. »ó¡
À½½Ä
¼Õ´ÔÀ» À§Çؼ ÀÜÄ¡¸¦ º£Çª´Â °ÍÀº ȯ´ëÀÇ °øÅëµÈ ºÎºÐÀÌÁö¸¸ ¹è°íÇÄ°ú À½½ÄÀÇ ¼Òºñ´Â Odyssey¿¡¼ ºÎÁ¤ÀûÀÎ æáßÌ(¿¬»ó)°ü°è¸¦ °¡Áø´Ù. ±×°ÍµéÀº Odysseus°¡ CyclopsÀÇ µ¿±¼¿¡¼ ´ÊÀåÀ» ºÎ¸± ¶§³ª, ±×ÀÇ ºÎÇϵéÀÌ SunÀÇ °¡ÃàÀ» Àâ¾Æ¸ÔÀ» ¶§³ª, ȤÀº ·ÎÅͽºÀÇ ¿¸Å¸¦ ¸ÔÀ» ¶§Ã³·³ ±â°(discipline: ÈÆ·Ã, ¼ö·Ã, ¡¹ú, Çй®)ÀÇ ºÎÁ·À̳ª À¯È¤¿¡ ´ëÇÑ ±¼º¹À» »ó¡ÇÑ´Ù. ´õ¿íÀÌ ±¸È¥ÀÚµéÀº Ç×»ó ¸Ô°í ÀÖ´Ù. Telemachus ¿Í Penelope°¡ ±×µéÀÇ ÃÊ´ë¹ÞÁö ¾ÊÀº ¼Õ´Ôµé¿¡ ´ëÇؼ ºÒÆòÇÒ ¶§ ¸¶´Ù ±×µéÀº ±¸È¥ÀÚµéÀÌ ±ÃÀüÀÇ °¡ÃàÀ» ¾î¶»°Ô µµ»ìÇϴ°¡¸¦ ¼³¸íÇÑ´Ù. Odysseus´Â ±¸È¥ÀÚµéÀÌ ½Ä»ç¸¦ ¸· ½ÃÀÛÇÒ ¶§¿¡ ±×µéÀ» Á×ÀÌ°í Homer´Â ±×µéÀÌ ½ÄŹÀ§·Î ¾²·¯Áö°í À½½ÄÀ» È긮°í ÀÖ´Â °ÍÀ» »ý»ýÇÏ°Ô(graphically:±×¸²À¸·Î º¸´Â °Í °°ÀÌ) ¹¦»çÇÏ°í ÀÖ´Ù. °ÅÀÇ ¸ðµç °æ¿ì¿¡ ÀÖ¾î¼, OdysseyÀÇ ±«¹°µéÀº ±×µéÀÇ ±â±«ÇÔÀ» Àû¾îµµ ºÎºÐÀûÀ¸·Î´Â ±×µéÀÇ À½½ÄÀ̳ª À½½ÄÀ» ¸Ô´Â ¹æ¹ýÀÇ Å¿À¸·Î µ¹¸°´Ù(¹æ¹ý ¶§¹®ÀÌ´Ù). Scylla(¸Ó¸®°¡ 6°³ÀÎ ±«¹°)Àº ¸Ó¸® Çϳª¿¡ ÇÑ ¸í¾¿ OdysseusÀÇ ºÎÇÏ 6¸íÀ» Áý¾î»ïŲ´Ù. Cyclops´Â »ç¶÷À» ¸ÔÁö¸¸ ºÐ¸íÈ÷ ¾çµéÀº ¸ÔÁö ¾Ê°í ±×·¯¸é¼µµ ¸¹ÀÌ ¸Ô´Â´Ù: ±×°¡ ¼ú¿¡ ÃëÇÒ ¶§´Â Àΰ£ÀÇ »ì Á¶°¢ÀÌ ¼¯¿© ÀÖ´Â ¼úÀ» ÅäÇØ ³½´Ù. Laestrygonians´Â ¡ª¡°¹ÙÀ§»êó·³ °Å´ëÇÑ °Í¡±À¸·Î ¹¦»çµÇ´Â ±×µéÀÇ ¿©¿ÕÀÌ Odysseus¿Í ±×ÀÇ ºÎÇϵéÀ» Àâ¾Æ¸ÔÀ¸·Á°í ½ÃµµÇÒ ¶§ ±îÁö´Â¡ªÁÁÀº »ç¶÷µéó·³ º¸ÀδÙ. ÀÌ·± °æ¿ì¿¡´Â, °úµµÇÑ ½Ä¼ºÀº ÀÚÁ¦·ÂÀÇ ºÎÁ·»Ó ¾Æ´Ï¶ó Àΰ£¼º°ú ¿¹ÀýÀÇ ºÎÀ縦 ³ªÅ¸³½´Ù.
°áȥħ´ë
Book 23ÀÇ °áȥħ´ë´Â Penelope¿Í OdysseusÀÇ °áÈ¥ÀÇ ºÒº¯¼ºÀ» »ó¡ÇÑ´Ù. ÇÑ µ¶½Å ÇϳุÀÌ ±× ħ´ë¸¦ º» ÀûÀÌ ÀÖÀ¸¸ç ±×°ÍÀº 20³â Àü¿¡ Troy¸¦ ÇâÇÑ OdysseusÀÇ Ãâ¹ß ÀÌÈÄ·Î ±× ÇູÇÑ ºÎºÎ°¡ ÇÔ²² ù ¹ø° ¹ãÀ» º¸³»´Â Àå¼ÒÀÌ´Ù. ±×°ÍÀÇ »ó¡¼ºÀº Penelope°¡ Odysseus¸¦ Å×½ºÆ®Çϱâ À§ÇÏ¿© ÀÌ¿ëÇϴ å·«¿¡ ÀÇÇؼ °ÈµÇ¸ç ±× Å×½ºÆ®´Â ħ´ëÀÇ À̵¿ºÒ°¡´É¼ºÀ» Áß½ÉÀ¸·Î ½ÇÇàµÇ´Â µ¥, ÀÌ´Â »ç¶ûÀÇ È®°íºÎµ¿ÇÑ ¹ÙÅÁ¿¡ ´ëÇÑ ÀºÀ¯°¡ µÈ´Ù.
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¥·. Tone
The tone of The Odyssey evolves from somber and mournful to joyfully excited as Odysseus gets closer to completing his quest. The book begins in a depressive tone, as Telemachus and Penelope despair of ever seeing Odysseus again and the situation with the suitors is becoming dire. We first hear about Odysseus in the opening lines, when he is described as ¡°heartsick on the opening sea,¡± having suffered ¡°many pains.¡± When we meet Telemachus, his heart is ¡°full of grief,¡± and Penelope is ¡°wary and reserved,¡± and soon bursts into tears. These characterizations create a tone that is mournful and pessimistic, despite Athena¡¯s assurances that Odysseus is still alive. Rather than rejoicing and sharing the news with his mother, Telemachus sneaks out of the house while she¡¯s asleep, keeping his mission to find his father a secret. This creates suspense, as well as the sense that Telemachus is not at all sure his quest will succeed. When Telemachus stays with King Menelaus, he is still doubtful that his father is alive. Menelaus says the last he heard, Odysseus was on Calypso¡¯s island, ¡°weeping live warm tears,¡± increasing the tone of mournful regret.
Once the story switches to Oydsseus¡¯s experiences the story shifts toward a more optimistic and excited tone. At first, Odysseus seems similarly despairing of ever seeing Ithaca again, and is filled with sadness over his lost comrades who died at Troy and along his journey to Calypso¡¯s island.
¥·. À½Á¶
OdysseyÀÇ À½Á¶´Â Odysseus°¡ Ž±¸¸¦ ¿Ï¼ºÇÏ´Â °ÍÀ» ÇâÇØ ´õ °¡±îÀÌ °¨¿¡ µû¶ó À½¿ïÇÏ°í ½½Ç °ÍÀ¸·ÎºÎÅÍ Áñ°Ìµµ·Ï Èï¹ÌÁøÁøÇÑ °ÍÀ¸·Î ÁøȵȴÙ. ±× Ã¥Àº Telemachus¿Í Penelope°¡ Odysseus¸¦ ´Ù½Ã º¸°Ô´Â °Í¿¡ ´ëÇØ Àý¸ÁÇÏ°Ô µÇ°í ±¸È¥ÀÚµé°úÀÇ »óȲÀÌ ´õ¿í ±ä¹ÚÇØ°¡¸é¼ ¿ì¿ïÇÑ À½Á¶·Î ½ÃÀ۵ȴÙ. ¿ì¸®´Â ¸ÕÀú ¼µÎÀÇ ½ÃÇà¿¡¼ Odysseus°¡ ¡°¸¹Àº °íÅ롱À» ´çÇÏ¿´±â ¶§¹®¿¡ ¡°³ÐÀº ¹Ù´ÙÀ§¿¡¼ »ó½ÉÇØ ÀÖ´Ù¡±¶ó°í ¹¦»çµÉ ¶§¿¡ Odysseus¿¡ °üÇؼ µè°Ô µÈ´Ù. ¿ì¸®°¡ Telemachus¸¦ ¸¸³¯ ¶§¿¡´Â ±×ÀÇ ¸¶À½Àº ¡°½½ÇÄÀ¸·Î °¡µæ Â÷ ÀÖ°í¡± Penelope´Â ¡°±äÀåµÇ¾î ÀÖ°í(wary) ¸»ÀÌ Àû¾ú°í¡± °ð ¿ïÀ½À» ÅͶ߸°´Ù. ÀÌ·± ¼º°Ý¹¦»ç´Â Odysseus°¡ ¾ÆÁ÷ »ì¾Æ ÀÖ´Ù´Â AthenaÀÇ È®¾ð¿¡µµ ºÒ±¸ÇÏ°í ½½ÇÁ°í ºñ°üÀûÀÎ À½Á¶¸¦ âÃâÇÑ´Ù. Telemachus´Â ±×ÀÇ ¾î¸Ó´Ï¿Í ±× ´º½º¸¦ °øÀ¯ÇÏ°í ±â»µÇϱ⠺¸´Ù´Â ¾î¸Ó´Ï°¡ Àáµé¾î ÀÖ´Â µ¿¾È ¾Æ¹öÁö¸¦ ãÀ¸·Á´Â ±×ÀÇ ÀÓ¹«¸¦ ºñ¹Ð·Î ÇÏ¸é¼ ÁýÀ» ¸ô·¡ ºüÁ®³ª¿Â´Ù. ÀÌ°ÍÀº Telemachus°¡ ±×ÀÇ Å½±¸´Â ¼º°øÇÒ °ÍÀ̶ó´Â °ÍÀ» ÀüÇô È®½ÅÇÏÁö ¸øÇÏ°í ÀÖ´Ù´Â ´À³¦Àº ¹°·Ð ±äÀå°¨À» ¸¸µé¾î ³½´Ù. Telemachus°¡ Menelaus¿Õ°ú ÇÔ²² ÀÖÀ» ¶§¿¡ ±×´Â ¿©ÀüÈ÷ ±×ÀÇ ¾Æ¹öÁö°¡ »ì¾ÆÀÖ´Ù´Â °ÍÀ» È®½ÅÇÏÁö ¸øÇÑ´Ù. Menelaus´Â Odysseus°¡ ¡°¶ß°Ì°í »ý»ýÇÑ(live) ½½ÇÄÀÇ ´«¹°À» È긮¸é¼¡± CalypsoÀÇ ¼¶¿¡ ÀÖ´Ù´Â °ÍÀ» ¸¶Áö¸·À¸·Î µé¾ú´Ù°í ¸»ÇÏ´Â µ¥, ÀÌ°ÍÀº À½¿ïÇÑ(mournful: ½½ÇÂ, À½¿ïÇÑ) ½½ÇÄ(regret)ÀÇ À½Á¶¸¦ ÁõÆø½ÃŲ´Ù.
À̾߱Ⱑ ÀÏ´Ü OydsseusÀÇ °æÇèÀ¸·Î ¹æÇâÀ» Ʋ ¶§´Â À̾߱â´Â ´õ ³«°üÀûÀÌ°í ÈïºÐµÈ À½Á¶·Î º¯ÇÑ´Ù. óÀ½¿¡´Â Oydsseus´Â Ithaca¸¦ ´Ù½Ã º¸°Ô µÇ´Â °Í¿¡´Â ¶È °°ÀÌ (similarly) Àý¸ÁÇÏ´Â °Íó·³ º¸À̸ç Troy¿¡¼ ±×¸®°í CalypsoÀÇ ¼¶À¸·Î °¡´Â ¿©·Î¿¡¼ Á×Àº ÀÒ¾î¹ö¸° µ¿Áöµé¿¡ ´ëÇÑ ½½ÇÄÀ¸·Î °¡µæ Â÷ ÀÖ´Ù.
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But once King Alcinous throws him a party and he engages in the sports competitions, he perks up, and tells the tale of his past adventures in a boastful tone, as when he tells the Cyclops his name is ¡°Nobody¡±: ¡°laughter filled my heart to think how nobody¡¯s name – my great cunning stroke – had duped them all.¡± While he expresses regret over the crew he lost in the Cyclops¡¯ cave and leaving Circe¡¯s island, he generally seems proud of his adventures. Here, the epithet used to describe Odysseus expands from ¡°man of pain,¡± to ¡°master of exploits, man of pain,¡± marking a change in the tone toward optimism.
By the end of the poem, the tone is admiring, as we finally see Odysseus engaged in battle, and both he and Telemachus are invigorated by their fight with the suitors. The tone in the final books of the poem is optimistic, and also serious, underscoring the sense that the gods are controlling the action and Odysseus is fated for victory over the suitors, whose deaths are inevitable. The end of the poem is the most bloody, violent, and unrestrained, with the action related in an unapologetic tone. Homer describes the bloodshed, such as Telemachus¡¯s murder of the servant women, in great detail, and with little remorse: ¡°so the women¡¯s heads were trapped in a line, nooses yanking their necks up, one by one, so all might die a pitiful, ghastly death¡¦ they kicked up heels for a little – not for long.¡± This mercilessly gory tone echoes the beginning of the poem, as in the repetition of the phrase ¡°warm tears,¡± but this time there is the sense of resolution, as the violence is described as inevitable for the peace that ends the poem.
±×·¯³ª Alcinous¿ÕÀÌ ±×¿¡°Ô ÀÜÄ¡¸¦ º£Ç®°í ¿îµ¿½ÃÇÕ¿¡ Âü°¡ÇÒ ¶§ ±×´Â ±â¿îÀ» Â÷¸®°í ±×°¡ Cyclops¿¡°Ô ±×ÀÇ À̸§Àº ¡°Nobody¡±¶ó°í ¸»ÇÒ ¶§Ã³·³ °ú°ÅÀÇ ¸ðÇèÀÇ À̾߱⸦ ÀÚ¶ûÇÏ´Â À½Á¶·Î¼ ¸»À» ÇÑ´Ù: ¡°nobodyÀÇ À̸§ÀÌ ¡ª³ªÀÇ À§´ëÇÑ °£ÁöÀÇ Â±â¡ª±×µéÀ» ¾î¶»°Ô ¼Ó¿´´Â°¡¸¦ »ý°¢ÇÏ¸é ¿ôÀ½ÀÌ ³» °¡½¿À» °¡µæ ä¿ü½À´Ï´Ù.¡± ±×°¡ CyclopsÀÇ µ¿±¼ ¾È¿¡¼ ±×¸®°í CirceÀÇ ¼¶À» ¶°³¯ ¶§¿¡ ÀÒ¾î¹ö¸° ºÎÇϵ鿡 ´ëÇؼ ½½ÇÄÀ» Ç¥ÇöÇÏ´Â ¹Ý¸é ±×´Â ÀϹÝÀûÀ¸·Î ÀÚ±âÀÇ ¸ðÇè¿¡ ´ëÇؼ ÀÚ¶û½º·¯¿öÇÏ´Â °Íó·³ º¸ÀδÙ. ¿©±â¼ Odysseus¸¦ ¹¦»çÇÒ ¶§ »ç¿ëµÇ´Â º°¸íÀÎ ¡°°íÅëÀÇ ³²ÀÚ¡±´Â ¡°À§¾÷ÀÇ ¸íÀÎ, °íÅëÀÇ ³²ÀÚ¡±·Î È®ÀåµÇ°í ÀÌ°ÍÀº À½Á¶¿¡ ÀÖ¾î¼ ³«°üÁÖÀÇ·ÎÀÇ º¯È¸¦ Ç¥½ÃÇÑ´Ù.
ãÌÀÇ ³¡¿¡ °¡¼, ¿ì¸®°¡ ÃÖÁ¾ÀûÀ¸·Î Odysseus°¡ ÀüÅõ¿¡ Âü¿©ÇÏ°í ÀÖ´Â °ÍÀ» º¼ ¶§Ã³·³, À½Á¶´Â °¨ÅºÇÒ¸¸ÇÑ °ÍÀÌ°í ±×¿Í Telemachus µÑ ´Ù ±¸È¥ÀÚµé°úÀÇ ÀüÅõ¿¡ ÀÇÇؼ È°±â¸¦ ¶ç°Ô µÈ´Ù. ãÌÀÇ ¸¶Áö¸· Books¿¡¼ À½Á¶´Â ³«°üÀûÀÌ°í ¶ÇÇÑ ½É°¢Çϸç, ÀÌ°ÍÀº ãêµéÀÌ ÇàÀ§(ÁٰŸ®)¸¦ ÅëÁ¦ÇÏ°í ÀÖÀ¸¸ç Odysseus´Â ±¸È¥Àڵ鿡°Ô ½Â¸®ÇÒ ¿î¸íÀÌ¸ç ±×·¡¼ ±¸È¥ÀÚµéÀÇ Á×À½Àº ºÒ°¡ÇÇÇÏ´Ù´Â ´À³¦À» ºÐ¸íÈ÷ ³ªÅ¸³»´Â °ÍÀÌ´Ù. ãÌÀÇ ¸¶Áö¸· ºÎºÐÀº °¡Àå ÀÜȤ(bloody)ÇÏ°í Æø·ÂÀûÀÌ¸ç °Å¸®³¦ÀÌ ¾ø°í(unrestrained: ¾ïÁ¦µÇÁö ¾ÊÀº), ÇàÀ§(À̾߱â)´Â ¾î¶² º¯¸íµµ ¾ø´Â À½Á¶·Î¼ ¸»ÇØÁø´Ù( with the action related=and the action was related=the action being related=the action related). Homer´Â TelemachusÀÇ Çϳàµé »ìÇØó·³ ±× Çлì(bloodshed)À» ¿¬¹ÎÀÇ Á¤µµ(remorse:ÈÄȸ, ¾ç½ÉÀÇ °¡Ã¥, µ¿Á¤) °ÅÀÇ ¾øÀÌ ¹¦»çÇÏ°í ÀÖ´Ù: "·¡¼ ±× ¿©ÀεéÀÇ ¸Ó¸®´Â ÇÑ ÁÙ·Î µ£ ¼Ó¿¡ ¹¿© ÀÖ¾ú°í, ¿Ã°¡¹ÌµéÀÌ ±×µé °¢°¢ÀÇ ¸ñÀ» Àâ¾Æ´ç±â°í ÀÖ¾ú°í ±×·¡¼ ¸ðµÎ°¡ ºñÂüÇÏ°í(pitiful) ¹«½Ã¹«½ÃÇÑ Á×À½À» ÇÏ°Ô µÉ °ÍÀÌ´Ù. . .
±×µéÀº Àá½Ã µ¿¾È ¹ß²ÞÄ¡¸¦ À§·Î á´Ù¡ªÀá½Ã µ¿¾È." ÀÌ ¹«ÀÚºñÇÏ°Ô À¯Ç÷ÀûÀÎ À½Á¶´Â "¶ß°Å¿î ´«¹°"ÀÇ ¾î±ÍÀÇ ¹Ýº¹¿¡¼Ã³·³ ãÌÀÇ ½ÃÀۺκÐÀ» ¹ÝÇâÇÏ°í ÀÖÁö¸¸ ÀÌ ¹ø¿¡´Â ã̸¦ ³¡³»´Â Æòȸ¦ À§Çؼ´Â Æø·ÂÀÌ ºÒ°¡ÇÇÇÑ °ÍÀ¸·Î ¹¦»çµÇ´Â °Íó·³ °á´ÜÀÇ ´À³¦ÀÌ ÀÖ´Ù.
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¥¸. Foreshadowing
Given the narrative complexity of The Odyssey, foreshadowing plays an important role in the poem by reassuring the audience that, despite the many twists and turns of the plot, Odysseus will ultimately return to his family in Ithaca and defeat the suitors. However, his journey will be neither easy nor swift, and the pain he endures along the way is foreshadowed throughout the poem.
Odysseus¡¯s arduous journey home
At the beginning of Book 1, Zeus says he is fond of Odysseus but that Poseidon feels differently, foreshadowing Odysseus¡¯s coming clashes with Poseidon. Poseidon is absent from this scene, and his anger at being left out, as well as his continued wrath at Odysseus for blinding his son, mean he will get in one last jab at Odysseus. In an instance of ironic foreshadowing, Zeus says, ¡°Poseidon, I trust, will let his anger go.¡± In fact, Poseidon¡¯s not so quick to forgive, and in Book 5 says, ¡°I¡¯ll give that man his swamping fill of trouble,¡± creating a huge storm as Odysseus sails away from Calypso¡¯s island. Calypso also foreshadows Odysseus¡¯s troubles getting home when she tells him, ¡°if you only knew, down deep, what pains are fated to fill your cup before you reach that shore, you¡¯d stay right here.¡± Throughout, Odysseus is identified with the epithet, ¡°man of pain,¡± or ¡°born for pain,¡± suggesting he is fated to suffer greatly in his life. At one point he is described as ¡°master of exploits, man of pain.¡± In fact, his appetite for exploits, and his unwillingness to heed the gods¡¯ warnings, is exactly what causes him so much pain, and extends his journey home by so many years.
¥¸. ÀüÁ¶
OdysseyÀÇ À̾߱âÀÇ º¹À⼺À» °í·ÁÇϸé, ÀüÁ¶´Â ÁٰŸ®ÀÇ ¸¹Àº ¿ì¿©°îÀý¿¡µµ ºÒ±¸ÇÏ°í Odysseus´Â °á±¹ Ithaca¿¡ ÀÖ´Â °¡Á·¿¡°Ô·Î µ¹¾Æ°¡¼ ±¸È¥ÀÚµéÀ» Æйè½Ãų °ÍÀ̶ó°í °üÁßÀ» ¾È½É½ÃÅ´¿¡ ÀÇÇؼ ãÌ¿¡¼ Áß¿äÇÑ ¿ªÇÒÀ» ÇÑ´Ù. ±×ÀÇ ¿©ÇàÀº ½±Áöµµ ¾Ê°í ºü¸£Áöµµ ¾ÊÀ» °ÍÀÌ¸ç ±×·¡¼ ±×°¡ ¿©·Î¿¡¼ °ßµð´Â °íÅëÀº ãÌ Àüü¸¦ ÅëÇؼ ÀüÁ¶µÈ´Ù.
OdysseusÀÇ ÇèÇÑ ±ÍÇâ ¿©·Î
Book 1ÀÇ ½ÃÀÛ¿¡¼ Zeus´Â Odysseus¸¦ ÁÁ¾ÆÇÏÁö¸¸ PoseidonÀº ´Ù¸£°Ô »ý°¢ÇÑ´Ù°í ¸»ÇÏ´Â µ¥, ÀÌ´Â OdysseusÀÇ ±ÍÇâÀÌ Poseidon°ú Ãæµ¹ÇÏ°Ô µÉ °ÍÀ̶ó´Â °ÍÀ» ÀüÁ¶ÇÑ´Ù. PoseidonÀÌ ÀÌ Àå¸é¿¡¼ ºüÁ® ÀÖÀ¸¸ç ±×´Â Odysseus°¡ ±×ÀÇ ¾ÆµéÀ» ´«¸Ö°Ô ÇÑ °Í¿¡ ´ëÇÑ °è¼ÓÀûÀÎ ºÐ³ë´Â ¹°·Ð, ±×°¡ ¼Ò¿ÜµÈ °Í¿¡ ´ëÇÑ ºÐ³ë´Â, ±×°¡ Odysseus¿¡°Ô ÃÖÈÄÀÇ ÀÏ°ÝÀ» °¡ÇÒ °ÍÀ̶ó´Â °ÍÀ» ÀǹÌÇÑ´Ù. ÚãåÞîÜ(¹Ý¾îÀû)ÀÎ ÀüÁ¶ÀÇ ÇÑ ¿¹¿¡¼ Zeus´Â ¡°³ PoseidonÀÌ È¸¦ Ç® °ÍÀ̶ó°í ¹Ï°í ÀÖ¾î¿ä.¡±¶ó°í ¸»ÇÑ´Ù. »ç½ÇÀº, PoseidonÀº ¿ë¼¸¦ ½±°Ô ÇÏÁö ¾ÊÀ¸¸ç, ±×¸®°í Book 5¿¡¼ ¡°³ª´Â ±× »ç¶÷¿¡°Ô °¡µæ ³ÑÄ¡´Â(swamp: ½ÀÁö, ¹°¿¡ Àá±â´Ù) ¾çÀÇ °íÅëÀ» ÁÙ °ÍÀ̿䡱¶ó°í ¸»Çϸç, Odysseus°¡ CalypsoÀÇ ¼¶À» ¶°³ª Ç×ÇØ ÇÒ ¶§ °Å´ëÇÑ ÆødzÀ» ÀÏÀ¸Å²´Ù. Calypsoµµ ±×³à°¡ ¡°¸¸¾à ´ç½ÅÀÌ Àú Çؾȿ¡ µµÂøÇϱâ Àü¿¡ Àú ¹Ù´Ù ¾Æ·¡ ±íÀº °÷¿¡ ¾î¶² °íÅëÀÌ ´ç½ÅÀÇ ÀÜÀ» ä¿öÁÖ°Ô µÇ¾î ÀÖ´Ù(fated)´Â °ÍÀ» ¾È´Ù¸é ´ç½ÅÀº ÀÌ°÷¿¡ ¸Ó¹° °ÍÀÔ´Ï´Ù.¡±¶ó°í ±×¿¡°Ô ¸»ÇÒ ¶§ ±ÍÇâ Áß¿¡ Odysseus°¡ ´çÇÒ °ï¶õÀ» ÀüÁ¶ÇÏ°í ÀÖ´Ù. óÀ½ºÎÅÍ ³¡±îÁö, Odysseus´Â ¡°°íÅëÀÇ ³²ÀÚ¡± ȤÀº ¡°°íÅë ¹Þ±â À§ÇØ ÅÂ¾î³ (»ç¶÷)¡±À̶ó´Â ±×ÀÇ º°Äª°ú µ¿ÀϽõǰí ÀÖÀ¸¸ç, ÀÌ°ÍÀº ±×°¡ ±×ÀÇ »î¿¡¼ Å©°Ô °íÅë ¹ÞÀ» ¿î¸íÀ̶ó´Â °ÍÀ» ¾Ï½ÃÇÏ°í ÀÖ´Ù. ÇÑ ½ÃÁ¡¿¡¼ ±×´Â ¡°À§¾÷ÀÇ ¸íÀÎ, °íÅëÀÇ ³²ÀÚ¡±·Î¼ ¹¦»çµÇ°í ÀÖ´Ù. »ç½Ç, ±×ÀÇ À§¾÷¿¡ ´ëÇÑ ¿å¸Á(appetite), ±×¸®°í ãêµéÀÇ °æ°í¿¡ ÁÖÀǸ¦ µèÁö ¾ÊÀ¸·Á´Â °ÍÀÌ Á¤È®È÷ ±×¿¡°Ô ±×·¸°Ô ¸¹Àº °íÅëÀ» ÀÏÀ¸Å°´Â ¿øÀÎÀÌ°í ±×ÀÇ ±ÍÇâÀ» ¿©·¯ ÇØ ¿¬Àå½ÃŲ´Ù.
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Odysseus¡¯s skill as an archer
In Book 8, Odysseus brags about his skills as an archer, foreshadowing his triumph at the end of the poem when he alone is able to shoot an arrow through a row of axe handles. When King Alcinous arranges a display of sports and games to amuse Odysseus, Odysseus says he can outperform all the athletes: ¡°Well, I know how to handle a fine polished bow, the first to hit any man in a mass of enemies¡¦ Of the rest I¡¯d say that I outclass them all.¡± This speech foreshadows his prowess as a warrior in general, useful to the audience since we don¡¯t see any actual scenes of Odysseus in battle until the end when he takes on the suitors with Telemachus. As ten years have passed since the Battle of Troy, and Odysseus has spent much of that time sitting around on Calypso¡¯s island, he and the audience may be questioning if he is as fit as he once was. In the scene with the sports competitions he proves himself still a powerful competitor, foreshadowing his ability to take on the suitors, even though they are younger than him.
The battle with the suitors
In Book 1, Telemachus has a daydream that his father arrives unannounced and drives away all the suitors plaguing his house, a direct foreshadowing of what happens when Odysseus arrives in Ithaca at the end of the poem. Describing Telemachus, the narrator says ¡°He could almost see his magnificent father, here.. if only he might drop from the clouds and drive these suitors all in a rout throughout the halls and regain his pride of place and rule his own domains!¡± This wish is echoed by Athena, disguised as Mentes, when she says, ¡°Oh, how much you need Odysseus, gone so long – how he¡¯d lay hands on all these brazen suitors!¡± When Odysseus does finally arrive, he doesn¡¯t exactly drop from the clouds, but the revelation of his identity is a surprise to Telemachus. The two together slaughter all the suitors, fulfilling the fate foreshadowed by Telemachus¡¯s daydream.
Ïáâ¢(±Ã¼ö)·Î¼ÀÇ OdysseusÀÇ ±â¼ú
Book 8¿¡¼ Odysseus´Â ±Ã¼ö·Î¼ÀÇ ÀÚ½ÅÀÇ ±â¼ú¿¡ ´ëÇؼ ÀÚ¶ûÇϴµ¥, ÀÌ°ÍÀº ãÌÀÇ ³¡¿¡ °¡¼ ±× È¥ÀÚ¸¸ÀÌ ÇѹßÀÇ È»ì·Î ÀÏ·ÃÀÇ µµ³¢ÀÚ·çµéÀ» °üÅëÇÒ ¼ö ÀÖÀ» ¶§ÀÇ ±×ÀÇ ½Â¸®¸¦ ÀüÁ¶ÇÏ´Â °ÍÀÌ´Ù. Alcinous¿ÕÀÌ Odysseus¸¦ Áñ°Ì°Ô Çϱâ À§Çؼ ¿îµ¿°æ±â´ëȸ¸¦ °³ÃÖÇÒ ¶§¿¡ Odysseus´Â ¸ðµç ¼±¼öµéÀ» ÀÌ±æ ¼ö ÀÖ´Ù°í ¸»ÇÑ´Ù: ¡°³ª´Â Àß Á¤ºñÇÑ (polish:´Û¾Æ¼ À±À» ³»´Ù, ¸¶¹«¸® ÇÏ´Ù) È°À» ´Ù·ê ÁÙ ¾Ð´Ï´Ù, ÀûÀÇ ¹«¸®µé Áß¿¡¼ ±× ´©±¸¶óµµ ¸íÁß½Ãų ¼ö ÀÖ½À´Ï´Ù. . . ³ª¸ÓÁö¿¡ ´ëÇؼ´Â ³ª´Â ±×µé ¸ðµÎ º¸´Ùµµ ¶Ù¾î³³´Ï´Ù.¡± ÀÌ ¸»Àº Àü»ç·Î¼ÀÇ ±×ÀÇ ¿ë¸ÍÀ» ÀüüÀûÀ¸·Î ÀüÁ¶ÇÏ´Â °ÍÀ¸·Î¼ ÀÌ°ÍÀº ±×°¡ Telemachus¿Í ÇÔ²² ±¸È¥ÀÚµé°ú ´ë°áÇÏ´Â(take on) ³¡¿¡ ¿Ã ¶§ ±îÁö´Â ¿ì¸®´Â ÀüÅõÁßÀÎ OdysseusÀÇ ½ÇÁ¦ Àå¸éÀ» º¸Áö ¸øÇϱ⠶§¹®¿¡ °üÁß¿¡°Ô´Â À¯¿ëÇÏ´Ù. Troy ÀüÅõÀÌÈÄ 10³âÀÌ Áö³ª °¬°í Odysseus´Â ±× ½Ã°£ÀÇ ¸¹Àº ºÎºÐÀ» CalypsoÀÇ ¼¶¿¡¼ ºóµÕ°Å¸®¸ç º¸³Â±â ¶§¹®¿¡ ±×¿Í °üÁßÀº ±×°¡ ¿¾³¯ ±×·¨´ø °Íó·³ Áö±Ýµµ ´É¼÷ÇÑÁö¿¡ ´ëÇØ Àǹ®À» Ç°À» ¼öµµ ÀÖ´Ù. ¿îµ¿°æ±â Àå¸é¿¡¼ ±×´Â ¿©ÀüÈ÷ °·ÂÇÑ °æÀïÀÚ¶ó´Â °ÍÀ» Áõ¸íÇϸç ÀÌ°ÍÀº ±×°¡ ±¸È¥ÀÚµéÀÌ ±× º¸´Ùµµ ÀþÁö¸¸ ±¸È¥Àڵ鿡 ´ëÇÑ ±×ÀÇ ´ë°á ´É·ÂÀ» ÀüÁ¶ÇÑ´Ù.
±¸È¥ÀÚµé°úÀÇ ÀüÅõ
Book 1¿¡¼ Telemachus´Â ±×ÀÇ ¾Æ¹öÁö°¡ »çÀü ÅëÁöµµ ¾øÀÌ µµÂøÇؼ ±×ÀÇ ÁýÀ» ±«·ÓÈ÷°í ÀÖ´Â(plague:¿ªº´, ±«·ÓÈ÷´Ù) ¸ðµç ±¸È¥ÀÚµéÀ» ¸ô¾Æ³»´Â ¹éÀϸùÀ» ²Ù´Âµ¥, ÀÌ°ÍÀº ãÌÀÇ ³¡¿¡ °¡¼ Odysseus°¡ Ithaca¿¡ µµÂøÇÒ ¶§ ÀϾ´Â °Í¿¡ ´ëÇÑ Á÷Á¢ÀûÀÎ ÀüÁ¶ÀÌ´Ù. Telemachus¸¦ ¹¦»çÇÏ¸é¼ ³»·¹ÀÌÅÍ´Â ¡°±×´Â ±×ÀÇ ÈǸ¢ÇÑ ¾Æ¹öÁö¸¦ °ÅÀÇ º¼ ¼ö ÀÖ¾ú°í, ¿©±â¿¡¼. . .¸¸¾à ±×°¡ ±¸¸§À§¿¡¼ ¶Ù¾î ³»·Á¿Í ÀÌ ¸ðµç ±¸È¥ÀÚµéÀ» ¸ðµç ¹æ¿¡¼ ±Ë¸ê½ÃÄѼ ¸ô¾Æ ³½ µÚ(rout:±ºÁß, ÆÐÁÖ. drive...in a rout Æйè½ÃÄÑ µµ¸Á°¡°Ô ÇÏ´Ù) ±ÃÀüÀÇ À§¾öÀ» ȸº¹ÇÏ°í ÀÚ½ÅÀÇ ¿µ¿ªÀ» ÅëÄ¡ÇϽŴٸé (ÁÁÀ» ÅÙµ¥)!¡± ÀÌ ¼Ò¸ÁÀº Mentes·Î º¯ÀåÇÑ Athena¿¡ ÀÇÇؼ ±×³à°¡ ¡°¿À, ´ç½ÅÀº ¶°³ª°£ Áö ¿À·¡µÈ Odysseus¸¦ ´ë´ÜÈ÷ ¸¹ÀÌ ÇÊ¿ä ÇÏ°Ú¾î¿ä.¡ª±×°¡ ÀÌ »·»·½º·¯¿î(brazen) ±¸È¥ÀÚµéÀ» °ø°ÝÇÒ ÅÙµ¥!¡±¶ó°í ¸»ÇÒ ¶§¿¡ ¹ÝÇ⠵ȴÙ. Odysseus°¡ ¸¶Ä§³» µµÂøÇÒ ¶§´Â ±×°¡ Á¤È®È÷ ±¸¸§À§¿¡¼ ¶Ù¾î³»¸®Áö´Â ¾ÊÁö¸¸ ±×ÀÇ Á¤Ã¼ÀÇ ÌöãÆ(°è½Ã)´Â Telemachus¿¡°Ô´Â ³î¶ó¿î ÀÏÀÌ µÈ´Ù. ±× µÎ »ç¶÷Àº ¸ðµç ±¸È¥ÀÚµéÀ» Á×ÀÌ°í ±×·¡¼ TelemachusÀÇ ¹éÀϸù¿¡ ÀÇÇؼ ÀüÁ¶µÈ ¿î¸íÀ» ÃæÁ·½ÃŲ´Ù.
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Odysseus¡¯s arrival disguised as a beggar
In Book 4, Helen tells the story of how Odysseus disguised himself as a beggar to sneak into Troy during the Trojan War, foreshadowing the disguise he uses to enter Ithaca at the end of the poem. ¡°Throwing filthy rags on his back like any slave, he slipped into the enemy¡¯s city, roamed its streets – all disguised, a totally different man, a beggar,¡± Helen recalls. This exactly foreshadows the tactics Odysseus employs, with Athena¡¯s help, to reenter Ithaca. His disguises are significant because they indicate his cunning and intelligence in outwitting the enemy – first the Trojans, then the suitors at his home in Ithaca. In telling the story, Helen says she recognized Odysseus despite his disguise – ¡°I spotted him for the man he was¡± – foreshadowing Penelope¡¯s suspicions about the beggar¡¯s true identity when Odysseus arrives in Ithaca.
°ÅÁö·Î º¯ÀåÇÑ OdysseusÀÇ µµÂø
Book 4¿¡¼ HelenÀº Troy ÀüÀï Áß Troy·Î ÀáÀÔÇϱâ À§ÇØ Odysseus°¡ ¾î¶»°Ô °ÅÁö·Î À§ÀåÇÏ¿´´Â°¡¿¡ ´ëÇÑ À̾߱⸦ Çϸç ÀÌ°ÍÀº ãÌÀÇ ³¡¿¡ Ithaca¿¡ µé¾î°¡±â À§ÇØ ±×°¡ »ç¿ëÇÏ´Â º¯ÀåÀ» ÀüÁ¶ÇÑ´Ù. ¡°´õ·¯¿î ´©´õ±â¸¦ ³ë¿¹Ã³·³ µî¿¡ µÎ¸£°í ±×´Â ÀûÀÇ µµ½Ã·Î ÀáÀÔÇØ µé¾î°¡ °Å¸®¸¦ ¹èȸÇÏ¿´´Ù¡ª¿ÏÀüÈ÷ º¯ÀåÀ» ÇÏ¿© ÀüÀûÀ¸·Î ´Ù¸¥ »ç¶÷ÀÎ ÇϳªÀÇ °ÅÁö¿´¾î¿ä,¡±¶ó°í HelenÀº ȸ»óÇÑ´Ù. ÀÌ°ÍÀº Ithaca¿¡ ÀçÀÔ¼ºÇϱâ À§ÇÏ¿© Odysseus°¡ AthenaÀÇ µµ¿òÀ» ¹Þ¾Æ¼ äÅÃÇÏ´Â ¹æ¹ý(tactics: Àü¼ú, ¹æ¹ý)À» Á¤È®ÇÏ°Ô ÀüÁ¶ÇÑ´Ù. ±×ÀÇ º¯ÀåÀº ±× º¯ÀåÀÌ º¸´Ù ³ªÀº ²Ò·Î Àûµé¡ªÃ³À½¿¡´Â Troy»ç¶÷µé, ±× ´ÙÀ½¿¡´Â IthacaÀÇ ±×ÀÇ Áý¿¡ ÀÖ´Â ±¸È¥Àڵ顪À» ÀÌ±æ ¶§¿¡ ±×ÀÇ °£Áö¿Í Áö´ÉÀ» ³ªÅ¸³»±â ¶§¹®¿¡ Àǹ̽ÉÀåÇÏ´Ù. ±× À̾߱⸦ ÇÒ ¶§, HelenÀº Odysseus¸¦ º¯Àå¿¡µµ ºÒ±¸ÇÏ°í ¾Ë¾Æ ºÃ´Ù°í ¸»ÇÑ´Ù¡ª¡°³ª´Â ±×°¡ º»·¡ÀÇ ±× »ç¶÷À̶ó´Â °ÍÀ» ¾Ë¾Æë¾î¿ä¡±¡ªÀÌ°ÍÀº Odysseus°¡ Ithaca¿¡ µµÂøÇßÀ» ¶§ ±× °ÅÁöÀÇ ÁøÁ¤ÇÑ Á¤Ã¼¼º¿¡ ´ëÇÑ PenelopeÀÇ ÀǽÉÀ» ÀüÁ¶ÇÑ´Ù.