Tag Archives: Calypso

“Odyssey” by Homer: Book XII – Sea Perils and Defeat

Source: Symbol Reader

Source: Symbol Reader

A lot happens in this short section of the epic. Odysseus returns to Circe’s island after consulting with the dead, and she gives Odysseus more instructions on how to deal with the next set of challenges that he must face. First, he and his crew sail past the sirens and he alone is tied to the mast with unplugged ears so he can hear their song. Then the ship navigates between the dreaded Scylla and Charybdis. Then they arrive at Helios’ island where his crew slaughters the sacred cattle of the Sun for food, the result of which is Zeus destroying his ship and killing all his crew, and he winds up on Calypso’s island.

So, in my post on Book XI, I pointed out the irony that Alkinoos stated how honest Odysseus was. It made me think that maybe this whole story is one big lie. Odysseus is, after all, a manifestation of the Trickster archetype.

I washed my hands there, and made supplication
to the gods who won Olympos, all the gods—
but they, for answer, only closed my eyes
under slow drops of sleep.

Now on the shore Eurylokhos
made his insidious plea:

‘Comrades,’ he said,
‘You’ve gone through everything; listen to what I say.
All deaths are hateful to us, mortal wretches,
but famine is the most pitiful, the worst
end that a man can come to.

Will you fight it?
Come, we’ll cut out the noblest of these cattle
for sacrifice to the gods who own the sky;
and once at home, in the old country of Ithaka,
if ever that day comes—
we’ll build a costly temple and adorn it
with every beauty for the Lord of Noon.
But if he flares up over his heifers lost,
wishing our ship destroyed, and if the gods
make cause with him, why, then I say: Better
open your lungs to a big sea once for all
than waste to skin and bones on a lonely island!’

(Fitzgerald Translation: p. 221)

So, if Odysseus was asleep, then how could he know about the conversation Eurylokhos had with the crew? Obviously, he is making this all up. Essentially, he is telling a great big lie to manipulate Alkinoos and the Phaeacians. The entire “odyssey” is really nothing but a story told by the Trickster to get others to do what he wants them to do. Odysseus is one crafty dude, I give him that much.

Thanks for stopping by, and hope you enjoyed the post. Cheers!



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“Odyssey” by Homer: Book V – Sweet Nymph and Open Sea

N.C. Wyeth

N.C. Wyeth

This is the first book in the epic where we actually encounter Odysseus. After Athena convinces Zeus to intervene on Odysseus’ behalf, Zeus sends Hermes to Calypso’s island and instructs her that it is Zeus’ will that Odysseus is released. Calypso helps Odysseus build a raft and give him provisions. After leaving the island, Odysseus spends 18 days at sea (18 being 2×9; remember the importance of the number 9 in Book III). Poseidon then creates a storm that strands Odysseus on the island of Scheria.

So for this post, I want to focus on the final passage in this section:

A man in a distant field, no hearthfires near,
will hide a fresh brand in his bed of embers
to keep the spark alive for the next day;
so in the leaves Odysseus hid himself,
while over him Athena showered sleep
that his distress should end, and soon, soon.
In quiet sleep she sealed his cherished eyes.

(Fitzgerald Translation: p. 95)

This passage was the most interesting for me. I interpret this as a symbolic rebirth of Odysseus. The ember is the spark of consciousness that continues to live after one’s physical body dies. Odysseus is then buried under leaves, which represents death. Even the fact that Athena “sealed his cherished eyes” implies something more than just normal sleep, adding a sense of permanence to his state. But the spark of the divine consciousness remains, and when the new day dawns, it will reignite Odysseus’ consciousness and resurrect him from his grave beneath the leaves.

The symbolic rebirth of the hero is not uncommon in epic literature, and I would not be surprised if this theme presents itself again further on in the text. Thanks for taking the time to read my thoughts, and have a blessed day!


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“Odyssey” by Homer: Book I – A Goddess Intervenes

Image Source: Wikipedia

Image Source: Wikipedia

In this opening section of the Odyssey, the goddess Athena petitions Zeus for permission to intervene on Odysseus’ behalf and is granted permission to go to Ithaca to speak with Telemachus, Odysseus’s son. It has been ten years since the Trojan War ended and Odysseus has yet to return. As a result, suitors seeking Penelope’s hand in marriage are gathering and taking advantage of the estate. Athena meets with Telemachus in the form on Mentes, a friend of Odysseus, and advises him on how to deal with the suitors. She then instructs him to journey to Pylos and Sparta to inquire after his father.

For this post, I am going to focus on the sea as a metaphor for the subconscious.

When Athena is petitioning Zeus, she mentions Odysseus’ captivity on Calypso’s island. She states that Calypso is Altas’ daughter and that Atlas is one who knows all the depths of the seas.

But my own heart is broken for Odysseus,
the master mind of war, so long a castaway
upon an island in the running sea;
a wooded island, in the sea’s middle,
and there’s a goddess in the place, the daughter
of one whose baleful mind knows all the deeps
of the blue sea—Atlas, who holds the columns
that bear from land the great thrust of the sky.

(Fitzgerald Translation: p. 3)

What is implied here is that Atlas understands the deeper aspects of the collective unconscious. That is what the sea symbolizes here. This collective unconscious is the realm of archetypes. And Odysseus is one of the archetypes that exist in this realm. So in the following passage, where Athena is conversing with Telemachus and she states that “never in this world is Odysseus dead,” she is implying that he is one of the eternal archetypes.

But never in this world is Odysseus dead—
only detained somewhere on the wide sea,
upon some island, with wild islanders;
savages, they must be, to hold him captive.
Well, I will forecast for you, as the gods
put the strong feeling in me—I see it all,
and I’m no prophet, no adept in bird-signs.
He will not, now, be long away from Ithaka,
his father’s dear land; though he be in chains
he’ll scheme a way to come; he can do anything.

(ibid: p. 7)

It is important to note that Athena asserts that Odysseus will “scheme a way to come.” He is already being cast as the Trickster archetype; although, he is also an incarnation of the Wanderer archetype.

As Athena’s meeting with Telemachus nears its end, Telemachus begins to suspect the divine nature of the being who is with him. He acknowledges that she must return to the sea, of the realm of consciousness where gods and archetypes exist, but offers her a gift before she leaves.

“Friend, you have done me
kindness, like a father to his son,
and I shall not forget your counsel ever.
You must get back to sea, I know, but come
take a hot bath, and rest; accept a gift
to make your heart lift up when you embark—
some precious thing, and beautiful, from me,
a keepsake, such as dear friends give their friends.”

(ibid: p. 11)

There are many other interesting aspects about this opening book, but to quote a famous writer, “Brevity is the soul of wit,” so I will just mention a couple more things that caught my attention. First, I was fascinated by the passage that discussed the responsibility of the son to avenge the father, whether directly or through guile. It made me think a lot about the connection between characters like Telemachus, Orestes, and Hamlet. Lastly, I loved the image of the poet as a weaver of spells. I have always considered poetry to be a form of evocative magic, conjuring through the use of words and cadence.

Phêmios, other spells you know, high deeds
of gods and heroes, as the poets tell them;

(ibid: p. 12)

If you are reading along, I would love to hear your thoughts and comments. Please feel free to post below and we can engage in a conversation.

Read on!!


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Joyce’s “Ulysses” – Episode 4


This episode corresponds with Calypso in Homer’s Odyssey. It is also where we first meet Mr. Leopold M. Bloom, the “hero” of Joyce’s novel. For those of you who need a refresher, “Calypso was a nymph in Greek mythology, who lived on the island of Ogygia, where she detained Odysseus for several years.” In this episode, it is Molly Bloom, Leopold’s wife, who symbolizes Calypso.

The episode begins with the giant letter M beginning the phrase “Mr Leopold Bloom.” One must assume that there is some symbolism here. It may be that the M represents that Part II of the book is the main or middle section (note that there are three parts). It may also represent Leopold himself, M being the first, last, and middle letter in his full proper name: Mr. Leopold M. Bloom. If you remember back to the first part, which began with a giant S, the main figure in that part was Stephen Dedalus, whose name also begins and ends with the oversized letter. And yes, there is another very intriguing interpretation for which I will abstain from sharing at this point until after we complete the book, since it ties in with greater themes and the overall structure which is better addressed later on. Anyway, something to keep in the back of your mind as you read the book.

As I mentioned earlier, Molly is the archetype of the nymph. She is depicted as very sensual and it appears that she is involved in a clandestine affair with Blazes Boylan. To add to this imagery of Molly, there is a painting above their bed of the Bath of the Nymphs and Leopold likens Molly to the naked nymphs in the painting.

The Bath of the Nymphs over the bed. Given away with the Easter number of Photo Bits: Splendid masterpiece in art colours. Tea before you put milk in. Not unlike her with her hair down: slimmer. Three and six I gave for the frame. She said it would look nice over the bed. Naked nymphs: Greece: and for instance all the people that lived then.

(p. 65)

Painting by Gérard de Lairesse

Painting by Gérard de Lairesse

There is also some triple goddess symbolism in this episode. The triple goddess symbolizes the three stages of the female life cycle which combined form the Divine Feminine. The three stages are Maiden, Mother, and Crone. Leopold interacts all three aspects of the goddess. He encounters the Maiden at the butcher shop and silently lusts after your youthful beauty.

A kidney oozed bloodgouts on the willowpatterned dish: the last. He stood by the nextdoor girl at the counter. Would she buy it too, calling the items from a slip in her hand. Chapped: washing soda. And a pound and a half of Dennny’s sausages. His eyes rested on her vigorous hips. Woods his name is. Wonder what he does. Wife is oldish. New blood. No followers allowed. Strong pair of arms. Whacking a carpet on the clothesline. She does whack it, by George. The way her crooked skirt swings at each whack.

(p. 59)

The Mother aspect of the Goddess is obviously Molly. The Crone Leopold encounters after leaving the butcher shop.

No, not like that. A barren land, bare waste. Vulcanic lake, the dead sea: no fish, weedless, sunk deep in the earth. No wind would lift those waves, grey metal, poisonous foggy waters. Brimstone they called it raining down: the cities of the plain: Sodom, Gomorrah, Edom. All dead names. A dead sea in a dead land, grey and old. Old now. It bore the oldest, the first race. A bent hag crossed from Cassidy’s clutching a noggin bottle by the neck. The oldest people. Wandered far away over all the earth, captivity to captivity, multiplying, dying, being born everywhere. It lay there now. Now it could bear no more. Dead: an old woman’s: the grey sunken cunt of the world.

(p. 61)

On pages 64 and 65, there is discussion regarding metempsychosis, or the transmigration of the soul. Simplified, this is the Greek philosophical version of the concept of reincarnation, where the soul, being divine, continues to exist after physical death and can be reborn in a new physical form. As I read this section, which is too long to include here, I thought about how this ties in with the book. I believe that Joyce is implying that the soul, like an archetype or a trope, is destined to be resurrected as it migrates along the path of human existence. The souls, the symbols, and the stories that originated with Homer continue to be reborn and in Joyce’s case are manifest in his book. If I remember correctly from when I read this book 20 years ago, I think this is a theme that recurs throughout the book.

I want to end this post by saying that I found this episode to be pretty funny. There are lots of sexual puns woven in, which work well with the episode’s theme of the nymph. For example, there is the image of the woman “whacking it” that appears in one of the previous quotes. Another example is when Molly makes a sexual joke about someone’s name.

—Yes. Get another of Paul de Kock’s. Nice name he has.

(p. 64)

For those of you reading along, next week I will cover episode 5, which ends on page 86 in my version with the phrase: “…a languid floating flower.” Read on!!

Previous Posts on Ulysses:

Episode 1

Episode 2

Episode 3






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“The Book of Legendary Lands” by Umberto Eco


Let me start out by saying that I loved this book. Then again, I’m kind of an Umberto Eco fanboy. I think he is one of the most brilliant writers and scholars around today, which is why I didn’t think twice about spending the $50 for a hardcover copy of this book, and it was worth every penny. Not only is the writing superb and the quotes inspiring, but it is richly illustrated with stunning artwork. This is a worthy addition to any bookshelf.

In the book, Eco explores legendary lands which he defines as “lands and places that, now or in the past, have created chimeras, utopias, and illusions because a lot of people thought they existed or had existed somewhere.” (p. 7) Examples of legendary lands include biblical lands, places depicted in Homer’s The Odyssey, El Dorado, Atlantis, the interior of the Earth, and so forth. Eco writes about these places and the legends that grew concerning them. He then includes an array of quotes from primary sources that are lengthy enough to give you a good sense of what the writers thought concerning these realms. He also looks at the historical impact of these legends, as well as the historical facts that helped proliferate the legends, since “legends are always born on the basis of a historical truth.” (p. 44)

I found the chapter on The Odyssey to be very interesting. Eco explores theories regarding the locations of the places in the poem, and there are quite a few. There are also some beautiful maps showing the supposed locations. In the end, though, Eco concludes that there is no way to determine whether the information in the poem is accurate or whether the places truly existed or not, but emphasizes the importance that the legend has had on humanity should not be discounted.

This book is not intended to establish Ulysses’ true periplus. The poet (or poets) later made things up on the basis of legendary information. The Odyssey is a beautiful legend, and all attempts to reconstruct it on a modern map have created just as many legends. One of those we have mentioned is perhaps true or plausible, but what fascinates us is the fact that over the centuries we have been entranced by a journey that never happened. Wherever Calypso lived, a great many men have dreamed of spending a few years in her sweetest of captivities.

(p. 75)

Of course, no discussion of legendary lands would be complete without a look at the legend of Atlantis.

Of all legendary lands, Atlantis is the one that, over the centuries, has most exercised the imagination of philosophers, scientists, and seekers of mysteries (cf. Albini 2012). And naturally what has reinforced the legend more and more is the persuasion that a vanished continent really existed and that it is difficult to rediscover traces of it because it sank into the sea. The notion that there were once lands above water that subsequently vanished is by no means a crazy one. In 1915 Alfred Wegener formulated the theory of continental drift, and today it is believed that 225 million years ago, the Earth consisted of a single continent, Pangaea, which then (about 200 million years ago) began to split up slowly, giving rise to the continents we know today. And so in the course of the process, many Atlantises may have arisen and then disappeared.

(p. 182)

One of the things that really fascinated me regarding Atlantis was the effect it had on Nazi occultists who sought to discover evidence that the white Aryans were actually descendants from the Atlantean race.

Atlantis also seduced many occultists who gravitated to the Nazi party. For this, see the chapter on Thule and Hyperborea, but it is worth remembering that Hans Hörbinger’s theory of eternal ice maintained that the submersion of Atlantis and Lemuria was caused when the Earth captured the moon. In Atlantis die Urheimat der Arier (Atlantis, the Original Homeland of the Aryans, 1922), Karl Georg Zchaetzsch had written, followed by one of the maximum theorists of Nazi racism, Alfred Rosenberg, about a dominant “Nordic-Atlantean” or “Aryan-Nordic” race. It is said that in 1938 Heinrich Himmler had organized a search in Tibet with a view to finding the remains of the white Atlanteans.

(p. 199)

As a kid, I remember watching “Journey to the Center of the Earth” and thinking how cool it was, the idea that below the Earth’s surface could exist another world populated with dinosaurs and fantastic creatures. Eco points out that humans have long been fascinated with realms hidden below the ground and that this fascination has led to an abundance of legends.

The idea of penetrating the heart of the planet, beneath the crust, has always appealed to human beings, and some have seen in this passion for caves, recesses and underground passages a reaching out toward a maternal womb into which to return. No doubt we all remember how, when we were young, before falling asleep, we loved to huddle under the blankets and fantasize about some subterranean journey, isolated from the rest of the world; a cave could be a place where lurked monsters of the abyss, but also a refuge against human enemies or other monsters of the surface. With regard to caverns, people have dreamed of hidden treasures and imagined underground creatures such as gnomes; the Jesus of many traditions was not born in a stable but in a cave.

(pp. 348 – 350)

People who know me have probably heard me criticize Dan Brown, stating his books are little more than watered-down versions of Umberto Eco for the masses. For this reason, I found it ever so amusing when Eco himself criticized Brown in this book, focusing on how Brown propagated legends through books like The Da Vinci Code by claiming “Ninety-nine percent of it is true.” Eco is quick to point out that “If this really were a historical reconstruction, then there is no explanation for the umpteen blunders that Brown gaily sprinkles throughout his narrative.” (p. 420) I literally laughed out loud when I read this.

I have only scratched the surface of this book. There is a lot of great information and artwork here, but you should not be intimidated. It is written in a manner that makes these arcane legends accessible and enjoyable. If you have ever read a book and fantasized about a place being real, then this is definitely a book you will enjoy.


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