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Save your game and continue north. The next room will be your final puzzle. There will be nine braziers in a three by three grid. A door will be sealed and there will be two large jeweled statues. The left one holds a red jewel while the one to the right holds a blue jewel. At the entrance will be a red and blue torch.

Take the red torch and climb the ladder to light the brazier of the red jeweled statue. Notice the squares on the three by three grid that light up? This matches the format that the braziers in this room are in. Put the torch back and grab the blue one. Light the blue jeweled statue's brazier to learn that you must light 5,7 and 9. Do so and the path will be opened. Return the torch and carry on.

Approach the stone tablet and read it to learn that the world was divided into four sources. If artifacts are returned to their rightful place, the world will reveal it's true character. Notice the weird looking object on the floor? Search it to discover a LandShard.

Kiefer remembers seeing a drawing of a shard like that in an ancient tome. Head east and you will be in a room with four pedestals. Examine one of them and you Minstrel 680 Sailing Boat 40 will learn that you must put the correct shard into place. Head north and claim another LandShard on the floor. Head west and you will enter a very large room with four small buildings that you cannot access, as well as a locked door to the north.

Search the funny looking piece of paper on the ground to find a World Map. Also note that where you found this map on the ground is an image of a lone island, the island you are currently on! Go west and south to discover two more rooms with pedestals. Notice how each room has a different color and there are four of them? The world was divided into four Head back to where you found the second LandShard piece and inspect the north western pedestal.

Notice how you can select a shard and rotate it into place with the "L" and "R" buttons? Place the two shards onto the pedestal and Kiefer will note that it looks like you are one shard short.

Kiefer suggests that you can either investigate more or head back home, it's your call. Backtrack all the way out of this ancient fane and Kiefer will notice that you spent the whole night in there as it's now morning. Kiefer says he is going back to the castle to do some research about the shards and requests that if you find anything, to bring it to him. Return to Fishbel and the Amitt Harvest will have concluded.

Head home and your father and Hondara will be there. Hondara ate your dinner. Speak to Borkano to find out that the fishing trip was a huge success. Borkano will reflect back to the harvest in which you were born prematurely at 5 months of age.

Anyways, your father mentions that he caught something unusual and hands over a LandShard! As you try to leave, Hondara will take back his SunStone. Now head to Estard and see the prince at once. Show Kiefer the LandShard and he will join up with you again. Head back to the ancient fane and as you approach the entrance, Maribel will make an appearance.

She has followed you and you must take her with you or she is telling. Accept her offer to join and make your way deep into the fane and place the newly acquired LandShard on to the pedestal. Suddenly a light will come from the shards and the three of you will be whisked away to a new land Everyone will be alright and no one will recognize the area or know where they are.

Maribel will note how dark it is before taking off to go home. Head north a bit and you will hear Maribel scream. Kiefer will chase after her and when you catch up, they will be surrounded by three slimes.

Finally, it's time for your first battle of the game! Go into "Plan" in the battle menu and select all characters to "Manual". This will grant you control over their battle actions. Simply pound away on the slimes and you will be victorious. After the battle Maribel will complain about everything, including how it's Kiefers fault that she was "forced" to accompany the both of you.

Kiefer is just thrilled with the fact that he just killed monsters and Maribel will request to be taken home. Head north and you will eventually come across a female warrior near some grave stones.

Startled, she will ask who you are before Kiefer makes introductions. Upon hearing that Kiefer is from Estard, the mysterious warrior will say "it can't be". After a little banter between Maribel and Kiefer, she will introduce herself as Matilda.

Maribel will ask why she is out so late at night cutting weeds and Matilda will explain that they are offerings for the graves near by.

Maribel will then give Matilda some flower seeds that she can plant instead and Matilda notes that they will help calm the dead spirits. Matilda then asks where you are headed and explains that you won't be able to make it home any time soon, but that there is a place you can rest in a village to the east.

She offers to accompany you there and will join your party although you can't control her in battle. Exit to the north and you will be on the world map. You should notice the village a few steps to the east as well as a tower further east and a cave to the south. The island will be very small and you can get in random battles on the world map.

Matilda will be extremely powerful in battle if you'd like to take advantage of her and level up a bit. Enter the village when you are ready which is called Rexwood. As soon as you enter town Matilda will have disappeared. Speak to people and you will see that people are willingly destroying their homes and property out of fear that their kidnapped love ones will be hurt if they don't.

Cross the bridge to the middle part of town and speak to someone to learn the legend of Rex, the hero of the village.

Say yes to learn that twenty years ago when the monsters first came, the villagers put aside their differences and worked together to defeat the beasts.

One courageous fellow was sent off alone to the monsters lair. The others were to follow but not one person had enough courage. The young warrior battled on while waiting for backup that never came. After defeating the enemies, he fell to his knees and died just outside of the enemies lair.

Enter the inn and search the dresser for a Cloth Shirt. Head east and enter the small cabin to speak to the man in green. He will blurt out accidentally that this house really belongs to a fellow named Hank but they traded places as Hank is hiding from monsters. He gets upset with himself for letting that information slip before offering you weapons and armor.

Smash the vase in the cabin for 12 Gold. Head to the lone shack at the north end of town and enter it. You will be greeted by a small young boy named Patrick, who then closes the door behind you. He will then ask you if you have come upon a woman named Matilda. Answer truthfully and he will explain that she protects the village from monsters but hasn't been seen recently.

He also comments that his father Hank is injured. Hank will then begin to groan from his bed. Speak with Patrick again to learn that the mine south of town houses items called colorstones and that if a green colorstone is found, his father may be saved as he is far to injured for normal medicines to recover him.

Even a fragment, called a Green Orb, may be enough to save his life. The mine is dangerous due to the monsters and all the villagers are scared and weak. He was going to ask Matilda to help but can't find her. Make some preparations if necessary and leave town for the mine.

Inside the cabin a wounded warrior will warn you of the dangers of the mine. Enter the mine now and head west at the fork and you will eventually bump into Matilda. Fancy meeting her here. She will then suddenly excuse herself and says that she cannot concern herself with Patrick before leaving. Guess it's all up to you now. Read the sign that Matilda was standing beside to learn that colorstones break easily.

Go north and at the fork head west to smash some barrels for 40 Gold and a STRseed. Now go east and take the stairs. From here head west a bit and then south. When you reach the fork, head east and notice the two red stones and the set of stairs.

Push the two stones so that they touch one another and they will both shatter. Take the stairs and you will be in a room blocked off by a few colorstones. Push the two yellow ones together and then the blue ones to reach the stairs. From here head north and you should pass a few colorstones before taking the stairs. You will now be in a small room with many colorstones but the puzzle isn't as tricky as it may look at first.

First start by pushing the two blue stones together. Now go back and from the east, start pushing the red stone west all the way until the it shatters with red stone which is right beside a yellow stone.

Now push the two yellow stones together and then finally push the red ones together and take the stairs. You will now be in a larger room with even more colorstones that before.

First push the blue stones together, then push the red stone all the way west to break the other red stone. Now push the two other red stones to the right one space and go around to push one of the yellow stones to the center of the room. Go back around and push the yellow stone all the way west to make the path to the stairs open.

Now you will be in an even larger room than before which will have colorstones all bunched together in bunches. There will be a lone green colorstone in the middle of the room. Make your way to the stone and Matilda will approach. She decided to return as she was worried about you and apologizes for her earlier actions before touching the green colorstone.

Suddenly it will light up and a small piece will fall off. She then presents you with this piece, a Green Orb, to give to Patrick. She also gives you her good luck charm, a Wood Doll. She then leaves. Backtrack all the way out of the mind and return to Hanks shack in Rexwood. Speak to Patrick and he will ask if you ran into Matilda. Patrick will then use the Green Orb that you handed over on his father before thanking you for all your help.

He then gives you a little bit of information on the mysterious Matilda. Apparently Hank tried to go through the monsters tower alone to bring back the kidnapped women and children. Patrick followed him and eventually found him laying in a pool of his own blood with Matilda standing over him. Apparently she had come to his aid and fought the monsters off by herself, thus saving his life.

She then carried him back to the village. Patrick then explains that the town inn has been prepaid and that you should rest for the night. The scene will then change to the bedroom at the inn with Maribel telling everyone how nice it was of Patrick to pay for the inn. Kiefer will be sound asleep so Maribel will ask if you think you'll ever return to Fishbel and if you will get lonely if you don't. A flashback scene will play of a young Matilda warning her brother that it's too dangerous to go by himself and that he should wait for others.

Her brother will be Rex, the man in the town legend who died while defending the town while no one came to his aid. Rex reassures Matilda that he will be fine before giving her the Wood Doll. Day will break and after returning to Hanks cabin, you will find that Hank's injuries have been completely healed.

Speak with Patrick and he will describe in morbid detail how his father has made a remarkable recovery. Talk with Hank who apparently was unaware that Matilda rescued him and he will ask why you have come to the village. Maribel will explain the odd situation and Hank decides that if the evil is driven away from the area, that you may find a solution on how to return home. Hank will suggest that you defeat the monsters in the eastern tower and will request to accompany you along the way.

Say yes and he will join your party as a non playable character. Upgrade your weapons and armor if you'd like before departing for the tower.

The eastern path will bring you to an Herb in a vase. Exit the tower now and take either diagonal stairway to the next floor. Climb the stairs and approach the Golem blocking the door. The Golem will recognize Hank before attacking. Blaze also seems to do decent damage as well. Keep your health up as the Golem is fairly strong.

Hank tends to heal when your HP runs low so keep pounding away on the Golem until it is killed. After the battle the Golem will have dropped a treasure chest. Inside will lie a WindShard. I'd return to Rexwood and spend a night right now at the inn. Because Hank is in your party, inn visits will be free. Head through the door and go north to take the stairs. Go south and take the next set of stairs and head north to reach two chests.

You now have the choice of taking the stairs to the east or the west. Take the eastern stairs and you will make your way to a room with a chest and a vase.

A Leather Shield will be inside the chest while 5 Gold can be claimed by smashing the vase. Return and this time take the western stairs and travel through a few more sets of stairs to reach the top. When you make it be careful not to fall off or you will have to start all over again. Head east to reach the stairs and after taking them head north to the next set of stairs. Head west to find the next set of stairs while going north to find the next set of stairs.

From here grab 80 Gold and a DEFseed from the chests before taking the next set of stairs. Head north while being careful not to fall off the ledge and speak with the small monster.

The monster will explain that his leader isn't there, but that he will crush you anyways. You are then attacked. Boss Battle - Clawser Clawser will cast Blaze and has high defense. Keep attacking him and you will eventually win. He may drop a chest containing a DEFseed after the fight. Clawser curses you out and states that the only reason you won was because their leader isn't there.

The leader will finally show up and it will be Matilda! Clawser will urge her to finish you off but Matilda kills Clawser instead before declaring that she is the root of all evil and ordered the monsters to not let the women return to Rexwood.

She then reveals her true form and explains that even though she looks like a monster, she still has human emotions. She really meant it when she offered weeds as a gift to the dead and Patrick had awoken her human side. Hank declares he will kill Matilda and she explains how Patrick reminded her of herself when her brother got murdered so many years ago. Hank realizes that Matilda is the sister of Rex. When she chased after her brother she became possessed by a beast which caused her to hate the cowardly towns people who left her brother to die.

Her hate transformed her into the monster she now is. Hank will wish that the women are returned to Rexwood and that everything can be back to normal or he will cut her down. Matilda will explain that the fact that she exists is preventing the women from returning and that as long as she lives, they will never return.

Hank will then attack her. Boss Battle - Matilda This isn't really a battle as Matilda will just defend. If you want her to live, simply run away, otherwise cut her down to free the women. After the battle you can try to stop Hank from delivering the final blow. Either way she will disappear but not before telling you to return to the forest area that you first met her at to find a way home. The darkness will have lifted so return to Rexwood village.

All the women will have returned but will have no recollection of what happened. Return to the cabin and Patrick will be waiting outside. Patrick will be very happy and wishes to tell Matilda what happened. Hank will explain that Matilda already knows before handing over the bowels of a CatMage to Patrick as a war trophy. Patrick will then wander off by himself. Hank will invite you inside and feel remorse for Matilda's fate.

He then reminds you of Matilda's last words and says his farewell. Now head to the forest. Patrick will be at the gravestones Minstrel 680 Sailing Boat Mod and the flowers that Matilda planted will have bloomed.

Give Patrick the Wood Doll and return to the area you came from at the beginning of this ordeal and there will be a blue swirl. Touch the swirl and you will be magically warped back to the fane! He wonders where that place was and if it was all a dream. Maribel will have another moody bit before admitting that she did have fun.

She mentions that she needs to get going home and Kiefer will suddenly worry that his dad will be upset with him and takes off. Maribel requests that you escort her home. Note that you have both a Wind and FireShard in your inventory.

Before leaving, go and find where they belong. Head west and as you make your way across the room where you found the World Map, you should notice a small island just north of Estard on the floor map. Enter the western door and you will be in the red room, or the "FireShard" room.

Inspect the north west pedestal and put the shard in place. Head south now to reach the "WindShard" room. Also place the shard on the north west pedestal. Now backtrack through the ancient fane once again and return to Fishbel. Maribel will be sleepy and returns to her home. Speak with the near by lady to learn that everyone is excited about a new island that has appeared. Go home and speak to your mother. After scolding you she will mention that your father and Amitt have gone to Estard Castle regarding the rumor of the new island.

Leave Fishbel now and head to Estard. A big meeting is being held in the castle but the castle gates are closed so you cannot enter. A guard near by mentions that Kiefer left the castle and went to visit his grandfather You will find Kiefer just outside of the crazy old man on the cliffs place.

On the way speak with your uncle at his place and he will give you HolyWater if you confirm that the castle meeting with Borkano and Amitt is true. Speak to Kiefer and he will mention how an expedition team has been formed to investigate the new island. Kiefer is upset that he isn't a part of the team and says that it's time to use the secret weapon. He asks you to meet him in the cave on the shoreline in Fishbel.

Enter the Fishbel cave and Kiefer and Maribel will be waiting. Smash the vases and inspect the stone lid to remove it with the help of the others. A staircase is hidden so take them down and follow the linear path to eventually come upon a small boat.

Kiefer will surprise you and mention that the boat is fixed up and ready to go. Speak to Maribel to learn that this boat used to belong to her father but he decommissioned it because it was a safety hazard. So naturally, board the ship and speak with Kiefer. He will confirm if you are ready to set sail and Maribel will hop on before the boat departs. You will appear on the world map just south of Fishbel. Now try using the World Map that you got as an item or press the square key Notice the small island just north of Estard?

Sail there. The island will look exactly how the Rexwood area looked minus the tower or the forest. Head into town. The people seem to be normal and think it's quite odd that you believe that the island just appeared from out of nowhere.

The lady in the house to the south west of town will mention that monsters can attack you at sea. The older lady will have no idea why the town is called Rexwood.

Search the table to find a shard. The old lady will offer it to you officially and you will possess the WindShard. There is a condition however. You must tell her husband, who found the shard in the colorstone mine and should be at the pond across the bridge. Speak to the old man and he will mention that more stones like that shard exist in the colorstone mine to the south.

West of the inn a man will sell you weapons and armor. Make some upgrades if you can and head to the temple to smash the vases to claim an Herb.

Cross the bridge and enter a very large building. Smash the vases on the way to the top to grab an Antidote. The man on the roof of the building will explain how the village has been twice taken by monsters in the past, but the second time they stole the towns women and the blue from the sky.

Then a brave man defeated the monster and the village was saved. Apparently the events you witnessed previously had occurred in the past Enter the building near by to learn that the big building is called "Hanks Tower". Rummage through the dresser to steal a Leather Hat. Head towards where Hanks cabin used to be to find another cabin.

Smash the vases near by for 25 Gold. Leave town when you are ready and head south to the colorstone mine. Notice there is no tower though. The barrels by the cabin hide 13 Gold. Speak to the man guarding the mine entrance and he will let you inside provided you stoke the earlier shard from the old lady. The layout will be exactly as you had explored this area in the past. Smash the barrels at the north end to find a MysticNut.

Notice that you won't be attacked by monsters here. Progress deeper into the mine and when you make it to the room with the colorstones, push the blue ones at the bottom together, then the yellow ones, then the red and finally the blue to solve this simple puzzle. Take the stairs and push the red stone up five spaces before pushing it all the way east to break the other red stone.

Now push the blue stone once east, then once south and then all the way east to get through. Take the stairs and in this room push the blue stone west once, then push the second yellow stone west to break the other stone before finally pushing the other yellow stone west to reach the stairs. Now it can get tricky. Go north and push the red stone down until it breaks with the other red stone.

Now go all the way east and come from behind the red stone at the south west area and push it up and then east to free the blue stone. Push the blue stone from the east all the way west and take the stairs. This room will have random battles so be careful. Make your way to the stairs and you will be in a room that didn't exist in the past.

You will have the option to push a blue color stone in all four directions to create a path. East, south, and west lead to dead ends, so go north to find a FireShard. Do so and speak to the western guard for the drawbridge to lower.

Once inside the castle you should note that a few areas have been blocked off due to the important meeting that is still on going. Head to the fortune tellers room and he will have visions of a huge fire. Take the stairs down in this room and you will eventually make it to the old man on the cliff who is arguing with the guard to Minstrel 680 Sailing Boat 50 open up the gate.

The old man will ask Kiefer to use his pull so that he can visit his friend past the gate. Speak to the guard and you will be granted access. Follow the old man and he will be greeting his friend, an aging captain. The old man will mention to the captain that he needs that "important" piece.

Speak to the old man and Kiefer will wonder what the old people are talking about. The old man will bluntly ask you if you know about the new land that has appeared and Kiefer will confess your adventures so far regarding the ancient fane and the mysterious new world.

The old man then asks the captain if her understands which he will admit to before the old man states that something you request lies behind the castle walls.

He feels that you may find it by using the near by raft. He mentions that he will explain more if you can bring "it" back. Hop on the raft and sail behind the castle.

You should notice a door just under princess Leesa's balcony. Continue on and dock the raft at the stairs. Now you can walk the perimeter of the castle. Head east from where you got off and enter the small door. A guard will be standing behind a large table with a map spread upon it. Speak to him and he will mention that someone with a vivid imagination drew the map but it might possibly depict new lands. Head downstairs and speak with the prisoner if you'd like.

Now make your way back and enter the large door underneath the princesses balcony to continue on into a basement. Smash the vase for an AGLseed. Head towards the bookshelf and inspect it. It can be moved! Push it when prompted and enter the next room to find a treasure chest. Inside will be a FireShard. Return back to the old man and speak to him.

He mentions that he found that shard when he was a kid, but prince Kiefers grandfather confiscated it. He mentions that you should use that shard to make a new land appear. Backtrack out of the castle and note that if you ever get lost on your journey, the fortune teller will give clues detailing what you should do or where you should go next.

Speak to Hondara if you haven't already to make sure you have the HolyWater. Head to the ancient fane and enter the large room with the four small buildings when you found the World Map. Notice how the blue building to the south east has it's torch lit? You can enter the small building and inside will be a mysterious swirling whirlpool of magic. Walk into it and you will be transported to a room with a solid steel door to the south.

Go through the door and Kiefer will mention how you are in the cave that you've always explored. The door was previously magically sealed if you had tried to enter from the other side. If you head east you will be on a shoreline and it looks like some mysterious boat is under the water.

Head west and you will make your way to the ruins that the characters were exploring at the very beginning of the game. This is a shortcut to the tablets so you don't have to go through the whole fane each time you find a shard. Head to the FireShard room now and place the final pieces into the pedestal.

You will once again be warped to a new land in the past. You can step on this swirling thing to return to the present time if you ever needed to. From here head all the way east and then south, past a volcano, and enter the town.

This is the town of Engow where they worship Fire and the God of Flame. Speak to the people to learn of a festival in which they honor the God of Flame called the procession of Fire. The God of Flame also lives in that volcano you previously passed. Smash the vase for an Antidote by the man on the west side of town.

The vase on the south east part of town has 10 Gold while 6 Gold will be inside a vase in the building to the north. Speak to the man in the house north of this one to learn that his mother is very ill. After he leaves to go get some medicine, speak to his mother and she will mention that "Pamela" told her that if her son ever leaves the village that he will never come back alive.

Pamela appears to be some kind of fortune teller. The ill mother actually is quite fine, she is just faking her illness so her son won't leave town.

Steal the Cloth Shirt from the dresser. Speak to the little boy hidden behind the church and he will put over Pamela's skills. A LifeAcorn will be in the vase by the man on the north west part of town. Enter the town elders house and smash the barrel for an Antidote.

The old lady on the first floor will describe the Procession of Fire up Mt. Head upstairs and life the Horned Hat from the dresser. Birchall" Laws E26 Mary's Jail" Laws dE51 Dyer the Baby Farmer" Rudolph" Patrick's Day in the Morning" Gavan Sawyer" Laws G5 Carpenter" Genny's Fox-Hunting Song" Malo" Stephen and Herod " Child 22 Gray and George Spaulding The Herald Angels Sing " Susanna " Stephen Foster Miss Molly" Sails " Morse , Edward Madden The Dogs Do Bark " Boys, Cheer!

For the Fall of Sebastopol " V Yeats , believed to have been inspired by Roud V Retrieved 4 May Retrieved 5 July Retrieved 13 December Retrieved 20 March Retrieved 30 January Vaughan Williams Memorial Library.

Retrieved 1 May Consider an Odyssey which started in i with Odysseus leaving Troy. Consequently they would lose much of their excitement as a personal reminiscence, and of their significance as an extended exercise in heroic self-revelation. One would not know what the hero was returning to, and why his return was so urgently needed. We would lose the rich and subtle characterization of, and interaction between, the people in the Ithaca to which he returns.

Far from losing perspective on the previous twenty years, the reader is endowed with a far sharper and more telling focus on it, because the events of the intervening years are selected by, and told through the mouths of, the characters themselves.

Consider three critical moments when the past thrillingly interlocks with the present. First, in Book 18, Penelope announces that she has made her decision to remarry.

At the moment when we know Odysseus has returned and the signs that events are moving to a climax have never been better, this looks like an act of supreme folly or disloyalty.

But nothing can be more moving than the reason Penelope gives: when Odysseus left for Troy, she says, he took me by the hand and urged me among other things to remarry if he had not returned by the time his son the newly born Telemachus had reached manhood v. Penelope acknowledges that her son is a grown man. Consequently, she must now remarry. Second, the trial of the bow. Penelope decides to find a new husband by setting up the axes and challenging the suitors to string the bow and shoot an arrow through them.

What this actually means is disputed: it is probable that Homer only dimly envisaged it certainly no Greek artist that we know of depicted it. Now this bow has a long and compelling history. It belonged to Eurytus, and he was the great bowman who had been taught by the archer-god himself, Apollo iii. But, as the poet gently says, Odysseus used it only for hunting and never took it to Troy When she goes to fetch them, in a poignant gesture she lays them on her knees and weeps It is as if she is saying her final farewell.

The youthful Telemachus sets up the axes, and tries to string the bow himself. He would have done it, says Homer, if Odysseus had not stopped him: true son of his father The suitors fail hopelessly. But when Odysseus finally gets his hands on his old bow, twenty years on, he checks it first for woodworm before stringing it like a singer stringing a lyre, and plucking it.

Why a swallow? As every Greek knew, swallows migrate and return to the nest they previously inhabited. Odysseus aims and shoots through the axes If Homer passes over the moment with supreme casualness, in his fashion, the reader cannot help but wonder whether, twenty years on, Odysseus will have lost his strength or his finesse.

The lyre simile Apollo is god of the lyre. He is also god of the bow. Third, the recognition scene between Odysseus and Penelope. So persuasive is Odysseus in his disguise as a beggar � Penelope swallows completely his story that he was Aethon, brother of Idomeneus She seeks therefore for a sign; and the sign she seeks relates to the bed which Odysseus himself constructed more than twenty years before when they were first married iv. He had built the bedroom around the bole of an olive-tree, which formed one leg of their marriage-bed.

Only Odysseus, she and a maid Actoris long since dead knew about it. So she innocently thanks the beggar for killing the suitors and says she will have the bed moved for him to sleep on. When Odysseus explodes with indignation at how this could be, Penelope falls into his arms. The past has once again given the key to the present In an epic of return and recognition, how could it not? One moment that Homer does not precisely record for us is the moment when the suitors invade the house.

One reason must be that Homer is interested primarily in the consequences, of their intrusion, because this is what makes the return of Odysseus so urgent. But I suspect he did not know exactly how the suitors came to dominate the palace as they do in the twentieth year, and in particular, he would have been hard pressed to have depicted their arrival in detail without explaining why everyone acquiesced in it.

What, in particular, was Laertes doing? Why did not Mentor summon help v? Homer suppresses these questions because it is not in his interest to have them asked. It is worth remarking the skill with which Homer has set this situation up. Odysseus could, return to a situation in which Telemachus is too young or too disaffected to help him. Homer does not go down that road. In so choosing, he presents himself with a problem: how can he make Telemachus interesting enough without either taking the limelight off Odysseus or reducing Telemachus to a mere cipher when his father returns?

The answer is masterly: he makes the growing up of Telemachus an issue, of the epic. Is this young man fit to be the son of such a hero? If so, how will he prove it? Homer is less successful in solving a similar problem with the companions of Odysseus in 9�12 � a generally rather colourless crew.

Having taken the decision, Homer has another problem to solve. For how long must Odysseus be away so that his son can reach maturity? If his son is say aged seven when Odysseus leaves, Odysseus will have to be away thirteen years.

Ten at Troy, three on the high seas� excellent. Again, Homer ignores that easy option. Had he chosen it, Telemachus would be a young man with memories of his great father, with a faint outline image of the example he had to imitate. Again, when the recognition came 16 , it would be far less dramatic. So Homer elects to make Telemachus a newly born babe when Odysseus leaves for Troy v.

It is a brilliant decision. The reunion scene when it does come will be that much more poignant. But to engineer this, Homer has to find some way of keeping Odysseus away for twenty years. Hence, it appears, Calypso, with whom Odysseus was conveniently trapped for seven years.

One aspect of the story of Telemachus which causes problems for contemporary readers is the interminable speeches about the returns of heroes and the deeds of Odysseus to which Telemachus patiently listens on his embassy to Nestor in 3 and Menelaus in 4.

Ostensibly, his purpose is to find out about Odysseus � is he alive or not? These heroes from the Trojan War may be able to help him. But Athene has another purpose in sending him � to gain him a good reputation. So, first, what Telemachus hears from Nestor and Menelaus and Athene in disguise in i and 2 is that he has all the attributes of his father: his looks, stature and way with words.

Second, the context for these remarks is the return of the great heroes of the Trojan War and the exploits of Odysseus. These fill out and complement the Iliad, story which ends before Troy even falls , but also establish for Telemachus a sense of the world which heroes inhabit.

The young hero learns from what other heroes have to tell him, as much as from acting himself. Penelope is a woman in conflict: with herself � should she stay or remarry? The constant pressure under which she lives has the effect of turning her into a woman who hangs grimly on to the past, and finds solace and comfort only in the world of sleep and dreams, though even these can be painful for her.

She clutches at every straw of hope though she denies it and fluctuates between hope that Odysseus may return and absolute certainty that he will not. But her intelligence and beauty are never in doubt, as the suitors acknowledge 2.

The Suitors. There are of them, coming from Ithaca and the surrounding islands and mainland. For all their wickedness � and the moral lesson which Homer inserts into 1.

It is never precisely clear how marriage to Penelope will bring that about, but marriage to her is their immediate goal. Something must be said briefly about xenia, this obligatory bond of solidarity between insiders and outsiders. It is noticeable how many such scenes there are in the Odyssey,. Telemachus entertains Athene in 1, Nestor entertains Telemachus in 3, Menelaus entertains him in 4, Calypso welcomes Hermes in 5, Nausicaa and then the Phaeacians welcome Odysseus in 6 and 7, Cyclops treats Odysseus and his men to his special brand of xenia, in 9, as do Aeolus and Circe in Eumaeus is the soul of hospitality to the beggar Odysseus in 14 and Of the two leading suitors, Antinous is vicious and uncompromising, Eurymachus.

The most significant characteristic of the two, as of all the suitors, is that they constantly think one thing and say another e. Such duplicity is untypical of Homeric characters. In the Iliad, heroic thought and action are all of a piece: once a hero thinks of something, he does it.

This is what gives the heroes so much of their uncomplicated and forthright liveliness. This is why Odysseus and Telemachus need to scheme and deceive as they do in order to match, and then beat, them; hence the disguise of Odysseus, the patience of Telemachus, the shroud trick of Penelope see especially It is a characteristic that has not always met with favour.

Odysseus himself, as we shall see pp. But simplicity, straightforwardness and plain honest dealing are, found in the Odyssey, not so much in the persons of the main characters as in the humbler supporting roles. Another of the great glories of the Odyssey, memorably matched in the Iliad, in its similes, is the celebration of the humble life which surfaces in the stories of the faithful servants of Odysseus � especially Eumaeus and Eurycleia.

Eurycleia and Eumaeus. Eurycleia was bought as a young girl by Laertes at a price of twenty oxen: a high valuation. Eumaeus was the son of Ctesius, king of two cities in a place called Syrie by Homer. Phoenicians on a trading mission there corrupted a slave-girl of the household to run away with them, and she took the little Eumaeus with her he would, she said, fetch a good price.

When the Phoenicians arrived in Ithaca, Laertes purchased the young boy When the sister was married off, Eumaeus was sent to a country property. But after the death of Anticleia and the arrival of the suitors in the palace, Eumaeus has had no occasion to go there. His farm had flourished Eurycleia and Eumaeus are clearly not slaves of the sort we associate with American plantation slavery of the nineteenth century.

Indeed, slavery of that sort is unknown in the Greek world. The system Homer describes is patriarchal: a slave is a valued piece of property, attached to the family to serve it in any way the master prescribes.

Eurycleia was loved and trusted by Telemachus it is only to her, not Penelope, that he confides his plans to travel abroad at 2. She is able to comfort Penelope when she hears the news 4. The foot-washing episode at Eumaeus is drawn with equal liveliness.

Distant from the family he may be, but his grief at the loss of Odysseus is no less real for that 14 passim , and when Telemachus returns from his travels, Homer describes how Eumaeus greets him as a father greets a son. The simile is doubly poignant, since the meeting takes place in the presence of the beggar-Odysseus, who has not set eyes on his son since he left him as a new-born baby in Ithaca twenty years before Most of all, Eumaeus has a keen sense of right and wrong, and his simple piety and open, uncomplicated generosity to the beggar-Odysseus although he is hardly the wealthiest of men make us warm to him This, our first glimpse of Eumaeus, is a brilliant cameo.

They represent what the palace used to be like � and will be again, when its master is restored. Slavery is an abomination to us, and it is easy to hold in contempt slaves like Eurycleia and Eumaeus who acquiesce in their state.

Such a view would have been incomprehensible to Homer and his audience, for whom slavery was a condition of existence and the inevitable consequence of pirate raiding and defeat in war which explains why there are more female than male slaves: the males except the very old and young would all have been killed off � unless, of course, Homer intentionally removed the male slaves to increase the isolation of Odysseus in the battle in the hall against the suitors.

If loyalty is rewarded, disloyalty is ferociously punished No slave would have expected otherwise. It is wholly appropriate that Eumaeus and Philoetius should join Telemachus in the execution of the faithless maidservants and in the gruesome mutilation of Mel-anthius. It is generally agreed that the Iliad, and Odyssey, were composed in the style, of oral poetry.

Whether they were actually, orally composed is a matter of some debate. Since writing, developed from the Phoenician script, became increasingly accessible in Greece from about BC,1 and we date the Odyssey, to about the same time, it is possible that Homer was literate, and used writing to help him construct, perhaps even compose, his epics. However that may be, the style, of the poetry is oral.

Oral poetry was chanted to a lyre kitharis, 8. It is distinguished from written poetry largely by the extent of its verbal repetitiveness. This technique of oral composition is learned, one imagines long apprenticeships, attached to a master bard and is very largely traditional, i.

This is the inevitable consequence of an oral style of composition. In fact one soon gets used to the repetitions and begins to enjoy them: their effect is to remind us of the permanent, eternal qualities of the people and objects so described, and to reinforce our own sense of pleasure at the repeated, relaxing routines of existence.

The second feature will not be as apparent as the first. Since oral composition is traditional, much of the subject-matter of the poems has been handed down over hundreds of years. The result of this is that the poems as we have them do not faithfully reflect the cultural and social conditions of any particular time, but rather an amalgam of such conditions, spread over hundreds of years, some going back as far as the twelfth century BC.

For example, the eighth century BC in which Homer lived was an iron age, but weapons and armour are constantly referred to as bronze. This reflects the bronze-age twelfth-century world. But when Homeric heroes die, they are not buried, as twelfth-century custom demanded, but cremated � the contemporary practice of the eighth-century world.

It is as well to say here that the more we come to know about oral poetry, the clearer it becomes that the oral poet reflects his own society to a much greater degree than we had previously imagined. It is very difficult to believe that the Iliad, and Odyssey, should reflect anything of value to historians about the world which they seem to wish to describe: that of the great heroes of the bronze age and of the Trojan War, some five hundred years earlier.

However the poet learned the business of becoming a professional bard, he must in the process have fully assimilated the technique of oral reproduction of epic poetry, becoming master of the formulae, whole lines and type-scenes which allowed him to recite in the first place. He must have been able, to improvise too, if required. But improvisation should surely not preclude intensive prior thought and rehearsal, even elements of recollection and memorization too, and, as we have seen, writing may have played a part somewhere.

But what was he to sing about? The tradition provided him with his material. In our Odyssey, Phemius sings about the returns of heroes from Troy 1.

But there was no law that forced the poet to stick to material within the traditional story. It is, for example, clear that the poet has introduced all sorts of non-Odyssean material into the Odyssey,. The Ares-Aphrodite story just mentioned is obviously one. Calypso is probably an invention to allow time for Tele-machus to grow up see p. Sometimes the joins in such material show. Again, consider the effect of the bow-contest upon the narrative.

What we have to imagine then is a bard who is the absolute master of the technique of oral reproduction of traditional epic tales, and has at his disposal a large range of traditional material. Over a long period of time, and with much experimentation, he gradually welds this material into an epic the size of the Odyssey,. But to be sung to whom? And in what context?

The Iliad c. They would each have taken between twenty and thirty hours to sing. Who could possibly listen to them? We do not know, but the evidence of the activity of the bards in the Odyssey, inclines me to believe that the context must be a royal palace, the audience the dining nobles. The finished product � if the poet understood such a concept � must have been years in the making. I for one cannot see any other likely context in eighth-century Greece where an endeavour of this size and intricacy could be possible.

This raises another large and awesome problem. If Homer was in fact an oral poet, how did the poems come to be written down, and � given the freedom with which the oral poet adapts his material � what relation does our version bear to any version that Homer sang? Even if one believes that Homer could write, the problem will not go away. In the BC the Athenian tyrant Peisistratus is said to have produced a definitive text of the Homeric epic for recitation at the great All-Athenian Panathenaic festival which he instituted.

Consequently the issue of whether Homer could write is not central to the problem of authenticity. On the other hand, of course, a Homer who had been working up his uniquely complex and massive version over many years, possibly with the help of writing, may well have had a greater sense of a definitive version than the more typical travelling bard, orally improvising and adapting his far shorter songs to the needs of whatever audience he could gather.

The Mycenaean age of Greece, so called after Mycenae, one of its leading power-centres, was a bronze age. This world flourished from the sixteenth to the twelfth century BC, when it collapsed, for reasons which are not entirely clear.

It was a civilization centred on great palaces like those of Mycenae and Pylos, ruled by powerful and wealthy kings. It was aggressively expansionist, conquering Crete and taking over its centre Cnossus in the fourteenth century BC and as the archaeological record shows trading vigorously as far west as Spain, as far east as Syria and the Black Sea, and with contacts probably as far north as the Baltic, as far south as Africa.

Moreover, it was a civilization which knew writing. The script, now called Linear B, was preserved for us on clay tablets baked hard in the fires that destroyed the palaces, and subsequently excavated in their thousands.

In I it was discovered that Linear B was in fact a form of Greek, and since then the work of translating and making sense of it has gone on apace. The clay tablets have turned out to contain not literature, but the record of the economic transactions of the palace societies where they have been dug up largely in Mycenaean Cnossus and Pylos.

It is this world that Homer purports to be recording. Perhaps they have been forgotten. At all events, the Linear B script died with the collapse of Mycenaean civilization in the twelfth century, and for four hundred years Greece was illiterate.

In the German adventurer Heinrich Schliemann dug into a mound in modern Hisarlik in the north-west corner of Turkey. No wonder that, when Schliemann discovered an ancient strongly fortified citadel there, he thought that he had discovered Troy.

And it is perfectly possible that he had. This may well be the Troy that Greeks besieged in the thirteenth century and took after ten years, to become the subject of song for future generations.

It is equally possible that it is not. Dates too are troublesome. Troy 6, was destroyed c,. Finally, there is no evidence that Greeks, besieged Hisarlik, let alone. Oral poets exploit traditional material to please their contemporary audience. That raises a large and interesting question: what is it about the eighth-century world that makes epics about Troy so important to it? Since the dialect of and locational knowledge shown by the poems suggest strongly that they were composed on or off the western coast of Greek-inhabited Ionia, not on the Greek mainland, it may well be that the Greeks who had come over to settle there since felt some special sympathy for epics about Greek triumphs in Ionia and successful returns back home to Greece.

And it is conceivable that Homer himself knew Hisarlik and constructed his epic around its ruins. The eighth-century Greek world experienced dramatic Minstrel 680 Sailing Boat China growth and expansion. True, this is not the universal, picture. On Lefkandi, for example, in Euboea, a massive heroic shrine, or possibly residential building, dating to , has been uncovered, together with burial complexes filled with goods of eastern origin; and a large adjoining settlement still awaits excavation.

These clusters of villages, probably joining together for mutual self-protection, in some cases even fortifying themselves, present a vision of a society quite different from that of the Mycenaean world, where the great local palace and its overlord dominated and controlled the outlying settlements. When we observe that temple construction and the establishment of cults to a city deity consistently begin in such sites in the eighth century, we have good evidence for the beginnings of that sense of community solidarity and self-identification which act as the precursors of the tightly knit communities known as the poleis, singular.

I make some large assumptions here, but observe: 1. When Odysseus describes the Cyclopes, he emphasizes that they have no assemblies for making laws, no established legal codes, but everyone makes laws for himself and cares nothing for his neighbours 9. Law-making, assemblies and community solidarity are all hinted at here, priorities surely for any community at embryo stage.

Later on, Odysseus says the Cyclopes have no ships or ship wrights, so that they cannot visit foreign places as other nations do 9. This is surely a reference to a world of burgeoning trade, and fits well with other references to Greek contacts with Egypt which started up again at roughly this time; cf.

He is aware that in the epic world kings are the norm, but how kingship worked is not clear to him. This fluid situation, where aristocratic nobles such as the Ithacan suitors seem able to exert arbitrary power with little reference to anyone else despite the presence of an assembly on Ithaca, 2.

But a warning is in order. We cannot date Homer with absolute accuracy, and while many people favour a late eighth-century date for him, there are others who would wish to place him in the seventh century.

Linguistic considerations alone suggest strongly, but not conclusively, that the Iliad, came before the Odyssey, and that both came before the farmer-poet Hesiod, who is certainly a seventh-century figure. We see nothing strange about Odysseus sitting on the very seat which the god Hermes has just abandoned 5.

Two of the reasons for the successful blending of these separate worlds are that Homer keeps the outrageous, the bizarre and the grotesque firmly at bay.

It requires no great leap of the human imagination to envisage one-eyed giants who are cannibals, or witches who can tame animals, but excesses are firmly repressed. Second, these supernatural figures work within the norms of Greek civilization. Calypso knows how visitors should be entertained, just as Telemachus does 5. Circe has servants who prepare hot baths and lay tables as is done in Ithaca Cyclops is a master-shepherd and cheese connoisseur, with a particularly commendable line in kitchen organization 9.

The blending is especially noticeable in Phaeacia, the divinity of whose surroundings and human character of whose inhabitants � the bumbling, genial Alcinous, the delightful Nausicaa � produce an especially memorable mix. The gods too know their place. In the Iliad, divine intervention is commonplace. Gods appear either as themselves or in disguise usually the former and are ever-present, helping their favourites and hindering their enemies.

In the Odyssey, their presence is far less noticeable, and with the possible exception of Zeus himself remains on the whole apart from the action, and when he does intervene, he is a quite unlliadic god of human justice. In other words, the gods are concerned about the justice of human behaviour in a way in which they are not in the Iliad,.

The moral lesson is firmly drawn at their slaughter She stands by her favourite and guides his steps almost continually, and the teasing encounter they enjoy at But it is important to emphasize that in Homer the gods help only those who are worthy of it.

Her willingness to help his son Telemachus is a similar index of his, value. The fine dividing-line which separates human from divine in the Odyssey, is matched by an even finer one separating the real from the unreal, especially real from unreal identity,. The answer is, of course, a man of masterful cunning, as he is proclaimed to be at the very opening of the.

This hero needs more than martial skills if he is to survive, return home see p. His cunning is evinced in many different episodes: consider, for example, his disguise at Troy 4. Restraint and endurance, deception and disguise: these Odys-sean characteristics are shared, of course, by Athene, and willingly embraced by Telemachus when he is reunited with his father in In the prevailing atmosphere of ignorance of the true nature of things in which characters wallow from the very beginning of the Odyssey, e.

Telemachus at 1. The ancients, of course, listened to Homer, and it is well worth following their example. But whether listening or reading, newcomers to Homer will find their pleasure heightened if they are aware of some typical features of his style and compositional technique.

Expect some degree of repetition at the level of word, phrase and sentence, most apparent in epithets attached to characters and objects, and in formulas of speaking and answering. Expect repetition at the level of scene e.

Observe, for example, how Odysseus is attacked not once in his palace but four times � and once outside � 17�20 , each attack building on the last. Observe how, with certain larger-scale sequences, Homer combines fixity with flexibility. Take, for example, the scene of welcoming and entertaining a guest at 1.

The sequence can be analysed down to the following outline: 1. Athene leaves , 2. Telemachus sees, her , 5. Telemachus goes to meet, her , 6. Athene is led in, and her spear taken, , This sequence will occur again, with variations, at 3.

Digression is a common feature of epic. Homer digresses to describe exotic places e. He keeps control of his narrative by returning at the end of the digression to the point at which he began it, with almost the same words. Take, for example, the scar episode. It is an extremely common controlling device in Homer. Then she will send him a to Sparta and b to Pylos to find out about his father.

As it so happens, Homer reverses this order of events. Athene goes to Ithaca first 1. And Telemachus goes to Pylos first 3. The example quoted above characterizes another feature of Homeric narrative, that is, that events which one should expect to take place simultaneously are narrated as if they are taking place one after another, e.

Athene goes to Ithaca and Telemachus tours the Peloponnese; then, and then only, does Hermes set off with his orders to Calypso. Repetitions and lack of grammatical complexity both help to make Homer a swift, lively, vivid and easy read.

Psychologically, too, there is a straightforwardness about Homeric characters quite different from those in the post-Freudian modern novel.

But the fact that Homer does not have the vocabulary does not mean that his understanding of human behaviour is unsophisticated. If there is no overlay of authorial comment in Homer, the reason is that there is no need for it. It is all there in the words and the actions. Rich rewards await those who submit to careful literary analysis the ways in which characters speak and behave towards each other e. Nausicaa and Odysseus in 6, Penelope and Odysseus in That said, however, while it is true that the Odyssey, lays out an ethical programme in 1 which is fulfilled with the death of the suitors in 22 see p.

Are we to read anything into the fact that Helen puts drugs into the drinks of her guests at 4. Is the relationship between Helen and Menelaus in 4 one of unalloyed bliss, or strained incompatibility? Both views have been quite recently urged. The fifth-century BC historian Herodotus was the first person to say that Homer composed the Iliad, and the Odyssey, and did not, compose a number of other epics associated with him Histories, 2.

The ancients generally agreed with that judgement on their greatest poet. But when, at the behest of Ptolemy the Greek King of Egypt and a great patron of the arts and sciences , scholars set to work in third-century BC Alexandria to produce a definitive text of Homer, they found that neither the honour in which Homer was held nor the Peisistratean recension see p. Still, they produced their text, and it is from this edited by the great Alexandrian scholar Aristarchus that our text ultimately derives.

Aristarchus, of course, could have got it wrong. But it is a relief that he took the decision not to cut out what he regarded as dubious, but simply to mark it with a dash in the margin athetesis, is the technical term , especially since he tended to athetize repetitions, the very essence of oral poetry! Debate about what is and what is not Homeric in our text did not begin with Aristarchus we hear of scholars debating the issue in the sixth century BC , and it did not end with him either.

For example, we learn that both Aristarchus and another distinguished editor Aristophanes not, the comic poet made Does that mean that everything after that is not Homeric? Or that it was an alternative Homeric version? Under these terms, for example, debate was joined on the following issues: 1.

The travels of Telemachus in 3�4: what possible function can these serve since Athene knows all along that Odysseus is about to return? This happens in It is then entirely forgotten, and.

Penelope and Odysseus in 18 and are there signs here that they have recognized each other already? Three points must be made. No one ever notices these problems except when they are pointed out, or under the most intensive scrutiny of the text.

In the recitation of the story, they surely passed unnoticed. Inconsistencies do not of themselves mean that different people were responsible for the text. An oral poet experiments ceaselessly with his material, drawing it from many different sources. Some of it may be incompatible. Such inconsistencies may merely indicate where the poet made his own joins between incompatible source-material.

Folk-motifs particularly can cause confusion. A hero can be disguised because of the passage of time or because of divine intervention. The poet must have known and handled both conventions. If he confuses them, doubtless he was not the first, and the overall effect of each recognition, however technically inconsistent, is highly dramatic.

Traditional stories often possess a logic of their own. Subject to rational analysis, they may not make perfect sense was Little Red Riding Hood really, that unobservant?

The more we learn about oral poetry, the more difficult it becomes to define those boundaries accurately. That said, the sheer feebleness of the ending of the Odyssey, makes it difficult for me at any rate to believe it is by Homer. There have been three common responses to the hero of the Odyssey,. First, he is the loyal hero-husband, whose eyes are fixed on one goal only: return home.

Whatever his trials, tribulations and temptations, everything is subsumed to this ultimate imperative. Second, he is the eternal wanderer, fired with a passion for knowledge and experience. Even when he returns home, he must set out again and continue wandering till death. Third, he is an anti-hero, a mean, selfish time-server who employs disguise and deceit often to gain the most disreputable ends classical Greeks and Romans frequently.

Of these responses, it is fair to say that the second initiated by Dante in his Inferno, and developed by, for example, Tennyson in his Ulysses , is not Homeric. For Homer, Odysseus is driven, helpless and against his will, during his travels in 9� He listens to the song of the Sirens because he is going that way anyway and Circe has told him how to do it. The two other interpretations do arise naturally from the Homeric text.

Odysseus leaves Calypso, who even offers him immortality, has no truck with the Lotus-eaters, parts from Circe when his men prompt him, and bids farewell to the luxury-loving Phaeacians. Despite the disasters he knows he will meet on the way and at his return foretold by Teiresias at He heartlessly exploits Eumaeus. He harps on his hungry stomach to the point of embarrassment.

It is easy to accuse of betrayal or bad leadership the man who cuts and runs from the Laestrygonians Many of these problems vanish if we regard Odysseus as a hero facing very different challenges from those on the battlefield. His disguises and deceptions are all means to a justifiable and suitably heroic end.

But here perhaps is the greatest problem for readers of the Odyssey,. However badly the suitors have behaved, is their mass slaughter an appropriate, punishment, especially given that Odysseus not only kills them but also plans to seek compensation for their depredations by raiding their property Four points need to be made on top of what has already been said about xenia, on p.

First, in the ancient world, the survival of any household depends on its ability to feed itself. Anyone who threatens the economic self-sufficiency of a family is, in the long term, threatening its very survival.

Second, the suitors are unambiguously warned that their behaviour will lead to their destruction, but they ignore such warnings 2. Fourth, without any sort of state intervention in matters of crime and punishment, responsibility for righting wrongs lies with the family.

Odysseus, down the ages, has been a man of many parts. But the text of our Odyssey, invites us to admire its multifariousness: it is the secret of its enduring hold on our imagination.

Howard Clarke summarizes those qualities which make our Odyssey, what it is:. This version of the Odyssey, is, in its intention at any rate, a genuine translation, not a paraphrase nor a retold tale.

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