"
Odysseus" is a collaborative effort between the Cairo Opera House and Renato theater group in many aspects, namely, the operatic singing, the ballets solos and the actual set.
On the first leg of his journey,
Odysseus arrives at the mine, "the kingdom of Circe, a very dominant vixen." According to the playbill, "Women are in charge, and men are treated as slaves." Interestingly enough, this kingdom where women have power over men is reminiscent of hell with images of fire throughout.
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In Homer's work, when
Odysseus introduces himself to King Alcinoos on the island of Scheria, which is thought to be Corfu, he describes his homeland in terms that baffled scholars for centuries.
Stanford (1964) traces the permutations of
Odysseus in literature through almost three thousand years of development, and considers Kazantzakis's Odyssey and James Joyce's Ulysses as "the most elaborate portraits of
Odysseus in the whole post-Homeric tradition." Kazantzakis's Odyssey, he says, offers as much scope for ethical, theological and artistic controversy as Joyce's Ulysses.
This is the second time in the poem that Penelope has mentioned Pandareus's offspring in relation to herself: in Book 19, she had told the disguised
Odysseus that she is like Pandareus's daughter Aedon, the nightingale, in her distressed nocturnal lamentation (19.515-524).
Most impressive are his transitions from scholarly consideration of "The Odyssey" to intimate stories of his family life, as when the class discussion of
Odysseus' reunion with his wife, Penelope, at the end of his 10-year voyage home from Troy flows effortlessly into a magical moment, witnessing Jay as he offers a heartbreakingly beautiful tribute to his wife of more than six decades.
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Odysseus said the station could not meet its multiple obligations with the current strength of numbers.
In contrast, the Odyssey begins by asking its Muse for the story of
Odysseus, 'the man of many ways, who wandered much, / After he sacked the sacred city of Troy' (1.1-2).