Odysseus         The spirit level of Odysseus in the epos poem, the Odyssey, is a tre workforcedous fraud of the classical gunman and the endangers that he has. It is also the tale of an half(prenominal)(prenominal)(prenominal) wiz, a title-holder who moldiness(prenominal) learn and jumble with the b to each whiz and his unconscious(p) mind mind and grow to be f on the whole(prenominal) the true hero who liter tot every(prenominal)yy and cosmogoni plowy earth- cupboard coif bureau. It is also the news report of us all in all, and our struggle towards completion. t aside ensemble three of these stories are wrapped into the character of Odysseus. His essays are more than than than just the story of the prototype of the hero utilize brains and muscleman to destroy his enemies and get the girl. Through the latent glut of Odysseus adventures we vex over not only the emblemic meaning of the events that gather in place and the creat ures that Odysseus coming upons solely we quite a little relate Odysseus expedition towards stool and his education to our own lives. Odysseus adventures are really a psychological experience that we disclose through the physical adventures. A dick that lends itself real well to Odysseus adventures is the cosmogonic roulette wheel. This is a literary nib that is written ab get hold out of the closet by Joseph Cambell in his book, The Hero with A Thousand Faces. Without spill into too much detail, the cosmogonic cycle per second is a cycle that flock be found more or less in all literature. It is the base story of the journey of the hero in literature. It fits well with Odysseus because he is often catched at as the prototypical literary hero. The Cosmogonic cycle can be envisioned at like a Brobdingnagian locomote. The tidy sum can be broken up into cardinal halves the diadem half(a) universe the conscious, light, or life and the fall into place hal f be the unconcious, dark, or death. Most ! stories generate with the hero at theatre, at the top of the circumference. The hero then experiences a call to adventure which flummoxs their betoken. As the hero continues on his quest he originates to go around the circle until he reaches the underside half of the circle. The bottom half of the circle is the area of the unconscious/ fantasm/death. Once he is in the bottom half of the circle the hero must(prenominal)(prenominal) go through a serial of trials and learn a number of social occasions before he is skilled to re-emerge in the top half of the circle and cut home, into the light, the hero. If he fails to learn these things or fails to meet these challenges he is doomed to be forever trapped in the hell on earth and he can never really come home. He can never precise become the hero. This is where we begin to see the Odyssey fitting into this cycle. In the beginning of the desperate we fall upon the story of Agamemnon. This is an of the essen ce(p) part of the story of Odysseus because it shows us a hero who did not complete his journey. When Agamemnon sinked home he had not assume everything that he was supposed to learn and as a result, he was killed. His death trapped him forever in the sin literally and cosmogonically, he never was sufficient to rightfully production home. This serves as a warning to us and in a strength to Odysseus showing what can happen if we fail to learn the things that we must learn and we do not shed the ignorance and desires that we need to.         The to the highest degree significant place for us to begin to look at Odysseus is when he is already at ocean. The ocean is a very important tokenization end-to-end the entire story. Throughout the grandal if it is not water that is directly effecting him, it always has a role. In fact, the water is the root priming for Odysseus being lost. It is very important, then, that we look at the meaning of water i n The Odyssey. The Dictionary of type by, Hans Bied! ermann, describes the sea (or water) as the deeper layers in the psyche (Biedermann 372) and the primordial self-possessed from which all life comes (372) it says that water is also associated with the afterlife (373). This symbol is a good matchless because in Odysseus aspect it plays all three. In the case of Odysseus himself, the sea is a symbol of his unconscious and the struggle that he must have with it and in it. This hold still fors that when Odysseus is at sea he is cosmogonically in the stage of the unconscious/ fossa (afterlifeÂ) and the adventures that he has are the tests that he must go through in say to be educated and return home the hero. They are the most important part of the epic because it is where Odysseus changes and becomes the hero that the literary world comes to know.         another(prenominal) important reoccurring symbol throughout the epic is Odysseus work force. After the sea they are the important symbol in his adve ntures. A lot of the trouble that he gets into is a result of the actions of his workforce. The symbolization that we find in Odysseus custody is nearly the same symbolism that we find in the sea. Odysseus work force are mainly a symbol of Odysseus unconscious. Evidence of this can be seen in adventures like the brushwood with Aeolus, and the encounter with Thrinacia. In both of these encounters Odysseus men did something that got everyone in trouble or did something that took them save away from home. Also, more importantly for the symbolism, in both of these encounters the men did this when Odysseus was sleeping, or in his unconscious. They did things that were totally ir shrewd and completely impulse motivated. In the case of Aeolus it was their untrustworthiness and craving for treasure. In the case of Thrinacia it was their proneness for food, even though they knew that they were not to debacle the oxen because it belonged to the sun god. These two encounte rs are good examples of the reason that Odysseus is n! ot home. They show the constant struggle that Odysseus is going through with his unconscious. He wants very badly to go home only the unreadiness and involuntariness to give up his primeval lust keeps him away from truly coming home. It is that conflict and turmoil that he must gather up peace with before he can come home.         some other good example of the men succumbing to their lusts comes when Odysseus and his men encounter Circe. In this encounter one of the main authorships, that is also a reoccurring matter throughout the epic, is the old instinct of sexual lust. In the encounter with Circe, any man who had sex with Circe was turned into, a pig, a wolf, or a lion.
These three savages can respectively symbolize gluttony, sexual lust, and rage. All of these things are forms of lust, lust for food, lust for sex, and lust for anger. They are all examples of the lust that Odysseus must shed in site to return home. It is a symbol of the repercussions of succumbing to the animate being instinct, those who succumbed to their animal instinct became animals themselves. This incident is the most obvious example of bulls optic showing us the animal lust (because in this adventure the men actually turn into animals) that Odysseus must overcome to come home. The men are a different symbol of the unconscious than the sea because Odysseus must make peace with the sea. However, with Odysseus men, as they begin to die out so do Odysseus primal lusts and it is these primal lusts that blind reason and prevent Odysseus from reemerging into the conscious/light. It is t hat reason, untainted by primal lusts, that prevents ! Odysseus from being killed, and ending up in the sin (again literally and cosmogonically) when he returns home, like Agamemnon was. A smaller only reoccurring event with the men is that when they are killed they always are killed in groups of three. The signifigance of the number three is, as Hans Biedermann describes it in The Dictionary of Symbolism, a symbol of godliness and perfection (Biedermann 240). So to apply that symbolism to Odysseus, every time Odysseus encounters something on his adventures that provokes that primal lust, as all his adventures do, he learns a little and grows more toward perfection. His men show those primal lusts as they die out so does Odysseus ir acuteity. As his irrationality is taken away he takes steps toward being able to return home a perfectly rational man that is able to fend off his killers and restore beau monde to his house.         The final symbolism of all of this comes when Odysseus leaves the island of Ogygia and frees himself from Calypso. This is a time when all of his men are dead and he finally decides on his own that he is ready to return home on his own will. He overcomes his physical lust for Calypso. This is the last thing that he must do. His men are dead and the sea is calm. All of the other symbols of his unconscious struggle have at rest(p) away and become peaceful. The only thing that he must do now is decide for himself that he wants to re-emerge in the world of the conscious/light and return home. When he is on the raft and then naked that is the time when he becomes one with his unconscious and he re-emerges into the world of the light/life/conscious. He re-emerges a new man. His nakedness, nakedness of a baby, and coming out of the water, the unconscious, suggest a rebirth into the world of the light. He is repossess a new man and he is now able to go home and not be killed by the suitors. He is now educated and is prepared to truly go home and become the hero. If you w! ant to get a full essay, give it on our website:
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