and heart', in anticipation of the marital relationship of Alcinous and Arete, the rulers of Homer's Phaeacia, Krenkel (of girls on sale in a slave market). Daughter of Arete and Alcinous. Helps Odysseus make his way to her parents' palace. Polyphemus. Cyclops who eats some of Odysseus's men. Is stabbed in. In book 7 of The Odyssey, Odysseus is taken in by King Alcinous and Queen Arete. What is the importance of Alcinous (Alkinoos) and Polyphemus (Polyphemos) in Book 9 of Homer's In Book VII of The Odyssey, why does Alcinous offer his daughter as Odysseus' bride?.
At the end of the story Arete can only be herself, for the Phaeacians, as we have seen, are left to an uncertain future, and Athena can have no part in that.
In his farewell speech to Arete, as he leaves the palace for the waiting Phaeacian ship, Odysseus explicitly recognizes that the Phaeacian queen is indeed a mortal Odyssey May you fare well always, O queen, until old age and death come, which are the condition of men.
I will return home; but in this house may you rejoice in your children and people and in Alcinous the king. The scene is electric with anticipation, and it is nothing short of stunning that Arete makes no response. We have already noted that Alcinous also makes no immediate response, and we have found good reason for that in an inherited tension that has to do with an old quarrel between Odysseus and Nestor.
But Alcinous was not appealed to directly by Odysseus, and, prodded by the aged retainer Ekheneos, he also reacts to Odysseus's presence well before Arete does.
Arete eventually breaks her silence and when she does the illusion that she is Athena Polias has already begun to dissipate. Her identification with Athena Polias is never as strong again once she speaks. This idea has implications for what the ancient image of Athena Polias, which is nowhere described for us, actually was.
For at the moment of supplication Arete is represented as sitting at the hearth, holding the distaff, and spinning. Nausicaa has already told Odysseus that this is how he will find her Odyssey 6. Arete is described in exactly these terms at her first appearance in the poem as well: She sat at the hearth with her serving women, spinning sea-purple wool from a distaff.
Thus the scene has already been set twice before Odysseus enters the Phaeacian palace, and there is no need to describe it a third time. We already have in mind the figure whose knees Odysseus grasps when he makes his supplication.
He only repeated what was commonly said about it, that it fell from heaven. The image itself was doubtless much older, but how old we do not know. It played a central part in traditions about the Cylonian conspiracy of about BC: Iliad 6 offers a parallel for such a full-size seated image of Athena Polias in the Homeric era: Taking the robe fair-cheeked Theano placed it on the knees of beautiful-haired Athena. One thing is clear: It was very likely of a different order from other images, including those of Athena Polias in Troy and other cities.
The question of what this image was should be approached with an open mind. The fourth-century inventories reveal one very important thing about the image itself: This means that its right hand was extended. In representations of women spinning, the right hand is extended to spin wool drawn from a distaff, which is held at a higher level by the left hand; the pose is seen in this example: Perpetual fire is the essential element here, and from a Greek standpoint perpetual fire could be provided by either a hearth or a lamp.
The hearth probably became a lamp when the aegis and gorgoneion were added to the image itself, perhaps as early as the early sixth century. In front of them Pallas Athena held a golden lamp and made a beautiful light. Right then Telemachus quickly addressed his father: Surely some god is within, one of those inhabiting the wide sky. When Odysseus finishes his appeal to Arete and the rest of the Phaeacians, he sits in the ashes next to the hearth and the fire Odyssey 7.
So speaking he sat down by the hearth in the ashes near the fire. The scene of a suppliant seated in the ashes was presumably a familiar one in the temple of Athena Polias.
But when Alcinous, with sacred power, heard this, he took the hand of wise Odysseus, with inventive mind, and raised him from the hearth and sat him on the shining chair.
The goddess herself in her temple would of course apparently do nothing during such an act, and that is what Arete does, apparently nothing.
It is precisely by doing nothing that she becomes the goddess in this tableau. Being compared to a god is not unique to Arete Alcinous himself is compared to an immortal when he sits next to her and drinks wine, Odyssey 6.
There are fifty of them and their tasks include grinding corn, weaving, and spinning Odyssey 7. In his palace are fifty servant women, some of whom grind yellow grain on millstones, and others weave fabric and spin wool, seated like the leaves of a tall poplar; liquid oil runs from the close-woven cloth.
Notes on Encouragement
The passage continues, saying that just as the Phaeacian men excel at seafaring, the women excel at weaving, for Athena has given them, beyond others, knowledge of beautiful crafts and good wits Odyssey 7. As much as the Phaeacian men are skillful beyond all others at driving a swift ship on the sea, so the women are skillful at weaving; for Athena granted them beyond others understanding of beautiful works and good wits.
But it is really Arete whom they emulate in this domain, as is indicated by the two descriptions of her spinning by firelight, in which the maidservants are very much her extension.
In the end, of course, this comes back to Athena herself if Arete plays the part of Athena Polias. Athena herself, however, is not incidental to this story; she manages the episode from beginning to end.
Twice more Athena directs events from behind the scenes: Nausicaa does not want him to go all the way into town with her, fearing the comments of the townspeople. Then at once he prayed to the daughter of great Zeus: Grant that I come dear and pitied to the Phaeacians. Odysseus does not know what Athena is doing for him even now, because she does not appear to him openly. But this is only part of the story. Then at once he prayed to the daughter of great Zeus. So much-enduring shining Odysseus prayed there.
This is a complex situation, and it is carefully managed so that the two figures, Athena and Arete, do not interfere with each other. Indeed Athena, as soon as she has told Odysseus about Arete, removes herself from the scene by flying to Athens, leaving center stage to the figure that she has just introduced.
Public Relations - Notes on Encouragement : MarketingProfs Article
Thus it is not only respect for Poseidon that keeps Athena from appearing openly to Odysseus. The hidden identity of Arete simply would not work if it had to compete with the presence of Athena in her own persona.
Nausicaa has played her part and attention now shifts to Arete. I have focused first on Arete, arguing that she represents Athena as a mother goddess; but Athena is also of course a virgin goddess, and both sides of her seem to be represented by the Phaeacians.
When Odysseus reaches shore in Phaeacia and falls asleep, Athena contrives to have Nausicaa find him there and bring him part way to town. In the dream in which she appears to Nausicaa she tells the princess that she must go and do her washing in the morning for her wedding is near: Athena then leaves Scheria and goes to Olympus, and just as her second departure identifies her as Athena the city goddess of Athens, her first departure identifies her as Athena the Olympian.
At once beautiful-throned Dawn came, who awakened her, beautiful-robed Nausicaa. There is another parallel between Arete and Nausicaa themselves, and it is, dramatically, the most striking.
The silence that follows his appeal raises the level of tension higher still. Only one other moment in the Phaeacian episode compares with this in intensity, namely when Odysseus supplicates Nausicaa. The stakes are no less high, for Odysseus has just burst nearly naked onto a group of maidens not long from their baths in the river.
At the Heart of the Matter Instead, I'm going to try something gentler: If you are fortunate and attentive—you see, the thing about getting older is you get a chance to see the patterns and recurring themes if you attend to them—you can find the self-renewing springs of encouragement.
In short, you can find just enough of what you—and your company—need Revisiting Strengths When I'm facing a tough situation—for example, a deadline that seems nearly impossible or a business problem that seems to have no right answer—there is a habit of mind that I fall back on. But you find, upon attempting it, that your work is full of fits and starts. And there is half-heartedness in your efforts. It's at these times that I identify the elements of that task at hand that seem the easiest, most fun or inspirational.
I start with those. In other words, I revisit my strengths. I find the things that I know I'm good at and I build from there. It may seem like the equivalent of starting a meal with the dessert. But, if the meal doesn't appear particularly palatable, at least at first, maybe dessert isn't a bad place to start. Similarly, I believe that companies must—and not only in times of crisis—revisit their strengths. One way of doing this is to spend time visiting your customers.
Everything you want to know about the relevance of your company's brand and the value of its products and services is out there, among your customers.
The good that you have done will be plainest among them. Over the years, the most encouraging conversations that I've ever had in my professional life have been with customers. And that's why you're in the pickle that you're in. But, I'll tell you this. When you visit your customers revisiting your company's strengths through conversations with them —and listen closely—you will hear more than just what you and your company have been.
You will hear intimations of what your company might yet become. It is in their work, their challenges, their fears and their opportunities that you will find all the inspiration and encouragement you need. Reversing the Polarity Back in the early 's, sometimes we Maher kids would attempt to turn on the rabbit-eared TV in the family room and, well, get nothing.
Part 3. Athens
It was like there was no electricity. So my Dad, who was the very opposite of anyone good with repairs, would offer what sounded like magic words: Worked like a charm. So, when you're facing some tough odds, and there just doesn't seem to be any juice in the wires, how do you reverse the polarity? I'll give you an example. I was recently meeting with a homebuilder client who needed to create a better relationship with a key channel: Now, the typical homebuilder rolls out cookie-cutter, me-too realtor programs that target every warm body with a realty license.
These programs reflect about as much forethought and intelligence as the conversation between a drunken conventioneer and a compensated escort. Clearly, such programs are what you get when you have conversations that go something like this: Here's the homebuilder's thought process: In order to win over the realtors, we need to raise our commissions and offer more bonuses.
That's how we'll sell more homes. Plus, let's face it, folks don't really need a realtor, anyway. Begin a discussion with this question: Here's one sample answer: In almost every marketing situation that I've ever been invited to ponder, this concept of flipping things around is a powerful, generative one. Remember, every great pitcher needs an equally skillful catcher.
Making Room for Inspiration We've seen how encouragement can come from revisiting your strengths and adopting a different perspective on a challenge by flipping things around. And, if you've noticed that finding sources of encouragement is similar to creative problem-solving, you've uncovered the great secret of this article. Now it's time to take a walk. Get out of the office. Go see a movie. Take your mind off what's vexing you.