how is telemachus journey similar to odysseus

Unraveling the Mythical Journey of Telemachus: A Hero's Quest

Telemachus, a central character in Homer's Odyssey, has an important role in Greek mythology as more than just the son of Odysseus and Penelope. His story is one of growth, wisdom, and heroism. He embarks on a journey to find his father who has been absent from his life since leaving to fight in the Trojan War. 

While Odysseus struggles to return home after the war, Telemachus faces his own set of challenges, including dealing with suitors vying for his mother's hand in marriage. Athena, the goddess of wisdom, plays a crucial role in guiding Telemachus on his quest to find his father. 

In this blog post, we take a look at Telemachus' parentage, his adventures in searching for his father and the impact of Odysseus’ absence on his upbringing. Without further ado, let’s get straight to the point.

The Lineage of Telemachus: Son of Odysseus and Penelope

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Parentage and early life

Telemachus was born to Odysseus and Penelope in Ithaca, before the Trojan War. Odysseus was a Greek hero, famous for his role in Greek mythology , while Penelope was a virtuous and loyal queen. As a child, Telemachus was raised by his mother, who instilled maternal wisdom in him while his father fought in the war.

Growing up in Ithaca, his early life was mostly spent within the palace, learning about his heritage and understanding his dual legacy, from both his father and mother. As he reached manhood, Telemachus became increasingly aware of his parents' importance and the responsibility that he would one day bear.

Impact of Odysseus' absence on his upbringing

Odysseus' prolonged absence due to the Trojan War and his subsequent odyssey had a significant impact on Telemachus' upbringing. Without his father's guidance, he relied on maternal wisdom and his father's loyal friends for support. His mother, Penelope, remained steadfast in her loyalty to Odysseus , teaching Telemachus the value of patience and resilience.

In the years that followed, Ithaca became overrun with suitors seeking Penelope's hand in marriage, believing that Odysseus was dead. Despite the hardships and challenges, Telemachus managed to maintain his composure and displayed wisdom, patience, and courage - traits inherited from both Odysseus and Penelope. 

He eventually embarked on a journey to find his father and restore order to their kingdom, embracing the paternal legacy bequeathed to him.

The Call to Adventure: Telemachus' Quest Begins

Telemachus finds himself troubled by the presence of aggressive suitors vying for his mother's hand in marriage. This predicament sets the stage for his own journey in the ancient Greek epic, the Odyssey. 

In this critical phase of his life, Telemachus is introduced to the goddess Athena, who disguises herself as his father's old friend, Mentes. In their very first encounter, Athena plants the seed of adventure within the young prince, telling him his father is still alive.

The characteristics of Telemachus' quest are as follows:

• Mentorship and Guidance : Throughout his journey, Athena serves as his mentor and protector, assisting him in various forms, whether it's supporting his decisions or providing him the tools for his success.
• Facing Challenges : Telemachus must overcome the resistance from suitors, elders, and even his own mother Penelope, who are hesitant about him embarking on this perilous journey.
• Growth in Character : As the son of a hero, Telemachus learns to embrace his youth, assert himself, and establish his own identity and responsibilities as a rightful prince. His tale highlights the importance of resilience and self-discovery.

Telemachus' journey eventually leads him on a quest for knowledge about his father, Odysseus' whereabouts, and ultimately a reunion with his long-lost father. By navigating the challenges and obstacles in his path, he gradually emerges as a more knowledgeable and confident individual.

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In this captivating story that unfolds in parallel to Odysseus' own trials, readers of the Odyssey are guided through the fascinating evolution of Telemachus, from a timid young man to a more assertive and responsible prince. The call to adventure and the influence of a mentor like Athena help shape Telemachus into a Greek hero of his own.

Trials and Tribulations: Challenges Telemachus Faced

Telemachus, the son of Odysseus and Penelope, embarked on a journey filled with challenges throughout Homer's epic poem, The Odyssey. As a young man growing up in a world of Greek mythology, his early life was marked by the absence of his father, who had been away at the Trojan War for nearly two decades.

One significant challenge faced by Telemachus was dealing with the suitors who overran his household, harassing his mother Penelope and consuming the family's resources. Telemachus was unsure how to protect his family and home. Without a father figure or mentor, he struggled to find a way to assert his authority and defend his family's honor.

Thankfully, Athena, the goddess of wisdom, took an interest in the young prince and guided him on a quest to discover his father's fate. Telemachus traveled to the courts of Nestor and Menelaus, who shared their knowledge and advice with him. 

Upon returning to Ithaca, Telemachus faced a vicious ambush orchestrated by the suitors; they sought to kill him before he could reassert his position as the rightful heir. With the help of deus ex machina and his now cunning mind, he managed to thwart their attack. 

Telemachus was also instrumental in a climactic battle alongside his father, Odysseus. Together, they triumphed over the oppressive suitors, reclaiming their household and restoring honor to their family. These hardships forge him into the strong, capable leader that he had always aspired to be.

The Return: Telemachus' Reunion with Odysseus

In Greek mythology, the reunion between Telemachus and his father, Odysseus, holds a significant and emotional place in the story of the Odyssey. As the son of the legendary hero Odysseus, Telemachus has grown up without his father's guidance, and in his absence, his home has been invaded by unruly suitors seeking to marry his mother, Penelope.

Telemachus sets out on a journey to gather information about his father, guided by the wise Goddess Athena. During his travels, Telemachus matures and learns about his father's adventures, as well as the need for bravery and loyalty. He attends an Assembly in Ithaca, where he addresses the Elders and gains their respect and support.

Meanwhile, Odysseus returns to Ithaca in disguise, aided by Athena. He stays with Eumaeus, a loyal and humble swineherd, who is unaware of the true identity of his guest. It is in Eumaeus' hut that the long-awaited reunion between Telemachus and Odysseus finally takes place.

Upon arriving at the hut, Telemachus initially mistakes his father for an old beggar. However, with the help of Goddess Athena, Odysseus reveals his true identity to his son. Their emotional reunion is marked by tears of joy and relief, as they realize that they can finally stand together against the suitors.

Key elements of the reunion:

• Telemachus' journey of self-discovery
• Odysseus' return to Ithaca in disguise
• The emotional moment of recognition
• The strengthened bond between father and son

Telemachus and Odysseus' reunion signifies the importance of loyalty and trust in their relationship. They join forces, and with Athena's guidance, they plan their revenge on the suitors who have disrespected their home and family.

In conclusion, the reunion of Telemachus with Odysseus is a pivotal moment in the Odyssey, demonstrating the importance of family, loyalty, and perseverance in the face of adversity.

In wrapping up the mythical journey of Telemachus, it is evident that his story is a quintessential coming-of-age tale that has resonated through the ages. The growth and maturation of Telemachus, from a passive observer in his own home to an assertive and wise leader, reflect the universal challenges of growing up and finding one's place in the world. 

His journey, under the guidance of Athena, showcases the transformation from boyhood to heroism, a narrative that continues to inspire modern interpretations and adaptations.

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Telemachus' legacy in Greek literature is significant; he symbolizes the potential within all young people to rise above their circumstances through courage, wisdom, and perseverance. His adventures and trials contribute vitally to the central plot of the Odyssey, intertwining his fate with that of his father, Odysseus, and highlighting the enduring bonds of family and loyalty.

Who is Telemachus in the Odyssey, and what role does he play?

Telemachus is the son of Odysseus and Penelope, and a central character in Homer's Odyssey. As his father embarked on his journey to Troy, Telemachus was just an infant. He grows up devoted to his mother and maintaining his father's estate. During the events of the Odyssey, Telemachus embarks on a journey to find his wandering father and faces challenges that reveal his own growth and maturity as a hero. 

How is Telemachus's relationship with Athena portrayed in the Odyssey?

In the Odyssey, Athena, the goddess of wisdom and war, takes a keen interest in Telemachus. She guides and advises him throughout his journey, giving Telemachus the courage and wisdom to stand up against the suitors and search for his father. 

What does the character of Telemachus symbolize in Greek literature?

Telemachus's character represents growth, maturity, and the transition from boyhood to manhood. His journey to find his father and the challenges he faces along the way symbolize the universally relatable struggles of self-discovery, forging an identity, and finding one's place in the world. 

How did Telemachus contribute to the events in the Odyssey?

Telemachus plays a pivotal role in the Odyssey by embarking on a journey to locate his father and gather information about his possible fate. While he does this, he also learns valuable life lessons and develops his skills as a leader. Telemachus ultimately helps Odysseus to reclaim their family's estate from the suitors who have overrun it in his absence.

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Telemachus: The Original Greek Coming of Age Story

Telemachus was a young Greek hero whose adventures are seen as the Greek version of the coming-of-age story. Read on to discover his adventures from childhood to adulthood.

The coming-of-age narrative arc is a popular and widely recognized theme for storytelling. Telemachus had a famous father — Odysseus — who traveled most of the known Greek world, generating many fascinating myths. Likewise, Telemachus himself had many adventures on the journey to adulthood. The first four books of the Odyssey are also known as the “Telemachy” as they relate to the story of the young hero’s travels in search of news about his father. Parallels with the modern conception of the coming-of-age narrative are clear. In this story we can see the basis of the genre — its birth lies in Greek myth.

Who is Telemachus? 

Telemachus was the son of Penelope, and Odysseus, who ruled the kingdom of Ithaca in ancient Greece. His name means “far from battle” which alludes to his first appearance in Greek myth as a baby who Odysseus had reluctantly left behind to go to war far away on the plains of Troy . Odysseus did not return home for another twenty years and his story is told in the Odyssey .

Telemachus was born to Penelope and Odysseus just before the outbreak of the Trojan War. When recruiters came to summon Odysseus to the war, he pretended to be mad; he attached an ox and a donkey to his plow and began driving up and down the fields in a frenzy. When a man named Palamedes took Telemachus from his crib and placed him in front of the plow, Odysseus immediately ceased the act to protect his son. In another version of the myth, when Odysseus was feigning madness, Palamedes snatched Telemachus from Penelope’s arms and drew his sword as if to kill the baby. Odysseus then confessed his act in order to stop Palamedes from killing his child.

Telemachus grew up without his father in the picture. At home, he lived with his mother, Penelope, but their house was soon invaded by suitors who wished to marry Penelope in Odysseus’ absence. As a result, he had to endure the rude behavior of the suitors who insulted him and refused to listen to the young boy in his own house. Coming-of-age stories often begin with a turbulent time — for Telemachus, this was the suitors, who were squandering his home. The protagonist often wishes for a way to change their situation, and so this young man dreams of changing life on the island.

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Telemachus did have one advantage on his side: the goddess Athena . In Greek mythology, Athena was the goddess of wisdom, skill, and war. She appears in many Greek myths helping heroes (such as Perseus , Achilles, and Odysseus) giving them wise advice.

Athena was also the patron goddess of the House of Odysseus due to the family’s propensity for intelligence. Athena particularly favored those with a keen and intelligent mind, and she saw potential in Telemachus. Role models are a key feature of coming-of-age stories. The need for someone to look up to, a trusted advisor, is key for the development of the psychological and social relations of adolescents moving into adulthood. Athena takes this role.

Athena disguises herself as a family friend named Mentor, which is where the modern word “mentor”,  comes from. In this form, Athena gives valuable advice and guidance to Telemachus. As a goddess who symbolized wisdom, she often inspires the development of wisdom in mortals. It is apt then that Athena is involved in the life of our young hero, whose youth is of particular importance — he is still developing the wisdom that Athena so admires in his father, Odysseus.

Telemachus and the Suitors

In the Odyssey , Telemachus is first introduced as an inexperienced teenager, lost in his own thoughts . He despairs due to his lost father, the grief of his mother, and the disrespect from the suitors, who are plundering his house and hounding his mother with marriage proposals when his father is not even confirmed dead.

He was just one young man against 108 suitors, fully-grown men. These men had taken up residence in his house with designs to marry Penelope. Therefore he was in a fragile position: if his father was confirmed dead, he could rightfully claim his title as heir and head of the household. But Telemachus could not confidently claim this, because Odysseus’ whereabouts were unknown, and Penelope’s son was unsure how to get rid of the suitors by himself.

In one attempt to disperse the suitors, Telemachus organizes a meeting for the elders of the island to discuss the suitors’ bad behavior.

“My distinguished father is lost… My home and all I have are being ruined. My mother wanted no suitors but like a pack They came— […] They squander everything… Expel them, yes, if only I had the power… My house is being plundered: is this courtesy? Where is your indignation? Where is your shame?” ( Odyssey 4.49-80)

Some of the elders are impressed with Telemachus’ speech, but the suitors rudely mock him for his youth and inexperience. As a result, his speech is unsuccessful, and he is placed in an even worse position; the suitors hate him even more and secretly make plans to kill him. He is encouraged by Mentor-Athena to set out on a journey to discover news about his father. According to Athena’s standards, Telemachus must first gain knowledge, to increase his strength, before finally returning home with the ability to defeat the suitors.

Telemachus’ Travels

Telemachus and Mentor-Athena set off on a journey to visit the great kings of Greece, who were old friends and comrades of Odysseus. This is the beginning of the hero’s coming-of-age narrative. His first stop is at the kingdom of Nestor , in Pylos. Just before getting off the ship, he hesitates, doubting his skill at speech and worrying that he will appear rude and uneducated to Nestor.

“Mentor, how can I do it? How approach him? I have no practice in elaborate speeches, and For a young man to interrogate an old man Seems disrespectful…” ( Odyssey 3.22-25)

This self-doubt is key to the coming-of-age trope; many characters in this narrative begin with doubt and grow in confidence as they learn from new experiences. Mentor-Athena notices his uncertainty and tries to rouse his confidence. Athena assures him that he has the ability: “reason and heart will give you words, Telemachus, and a spirit will counsel others.”

And so, Telemachus approaches Nestor and asks about his father. Nestor is very impressed with the young man’s speech — he praises him for having the eloquence of his father. This is a very high compliment as Odysseus was known among the Greeks for his silver-tongue. Among other things, Nestor teaches Telemachus about the importance of loyalty, and faith in the gods. This enhances the young protagonist’s psychological growth as a maturing young man.

After this, Telemachus visits King Menelaus and Queen Helen , who live in Sparta. Here he learns that his father is alive but trapped on the island of Calypso. Menelaus also admires the likeness of Odysseus in Telemachus, which helps him gain confidence in his parentage, which he sometimes doubts. Inspired by the news that his father is alive, Telemachus is reinvigorated with hope and self-assurance.

Return Home: Reunion with Odysseus

Whilst Telemachus had been traveling, the suitors had been plotting “the death plunge for Telemachus.” ( Odyssey 4.897) Telemachus avoids the ambush that he had expected by taking shelter with a swineherd. Unbeknownst to Telemachus, his father Odysseus has also arrived from his twenty-year-long journey and is resting inside the same swineherd’s shelter. Odysseus is disguised as an old man — a magic trick courtesy of Athena.

Telemachus is gracious to the “old man” and shows the exemplary behavior of a young prince on the verge of adulthood. He accepts the responsibility of care for the old man but shows concern regarding his ability to keep his guest safe in his own home due to the presence of the violent suitors. During their conversation, Telemachus mentions how much he misses his father, which is heart-warming for Odysseus to hear.

“If men could choose, and have their choice, in everything, we’d have my father home.” (Odyssey 16.172-3)

Odysseus, having waited to gauge his son’s character, eventually reveals himself once he is proud of what he has seen. A happy reunion ensues.

“Then, throwing his arms around this marvel of a father, Telemachus began to weep. Salt tears Rose from the wells of longing in both men, And cries burst from both” ( Odyssey 16.252-6)

Reunited, father and son begin to devise a plan to eradicate the suitors and finally reunite their family.

Reuniting with Penelope

Odysseus (once again disguised) and Telemachus, keeping a low profile, return to the palace. Once there, Telemachus secretly creeps into the palace and gathers weapons. He stores them in a hidden but accessible location so that they can arm themselves against the suitors when the time is right.

First, Penelope is reunited with Telemachus. He shows personal growth — key to coming-of-age narratives — in his improved attitude towards his mother. At the beginning of the story, he appeared impatient and brusque, chiding her for her laments. However, Telemachus’ attitude towards his mother changes by the time he returns home. He shows newfound respect for her, being courteous and apologetic.

“Mother… I know the meaning of these actions now, both good and bad. I had been young and blind.” ( Odyssey 18.283-6)

Telemachus also shows concern for her mental health; one of his first thoughts when reaching the island is a desire to let Penelope know that he and Odysseus are alive so that she will not despair. He later shows a protective attitude concerning his mother. In one scene, he commands Penelope to leave the courtyard and return to her room to continue her weaving. He then has her locked in the room. This appears to the onlookers as if Telemachus is being rude, however, Telemachus knows that a battle is about to commence, and so his actions ensure that Penelope is out of danger, and as safe as possible.

Reclaiming Home

In the courtyard, Telemachus sets up the trial of the bow: Penelope had announced to the suitors that whoever could shoot an arrow through twelve ax-heads with Odysseus’ old bow, would become her new husband.

There is symbolism in Telemachus’ own attempt to fire the arrow. He fails three times to string the bow, but on the fourth attempt, it appears that he could have been successful. However, upon a secret signal from Odysseus, he retreats from the challenge. The plan was for the suitors to fail at the challenge, and for Odysseus to step up last and reveal his identity. Telemachus’ almost-victory shooting the arrow conveys how he has almost completed his passage from childhood to adulthood, and that he is undeniably the heir of Odysseus.

Once Odysseus completes the challenge, Telemachus and his father begin the purging of the suitors. It soon becomes apparent that the door to the room with the weapons has been left open, and the suitors are able to arm themselves. Without hesitation, Telemachus owns up to this mistake.

“It is my own fault, Father, mine alone. The storeroom door — I left it open. They were more alert than I.” (Odyssey 22.171-3)

His humble acceptance of his own mistake shows maturity, and his responsible nature speaks to his growth into adulthood. Nevertheless, with the magical aid of Athena, Odysseus and Telemachus are able to kill all the suitors in a violent battle.

Parallels with Other Coming-of-Age Narratives

A vital part of the coming-of-age storyline is the personal growth the protagonist experiences on the way to becoming an adult. In particular, Telemachus’ example highlights Homeric Greek society’s expectations of what psychological changes an adolescent may experience when growing up: self-doubt to confidence, arrogance to humility. Telemachus learns responsibility and respect.

Telemachus’ journey across the sea, from his hometown to mainland Greece, is considered dangerous. As such, the journey proves that he has grown in bravery. The physical journey reflects the psychological journey. A major part of Telemachus’ growth is about confidence. He begins the journey unsure of himself because he had been unable to send away the suitors, as they had overpowered him in the meeting. When first arriving at Pylos, this self-doubt almost stops him at the beginning of his journey.

With the support and encouragement of a role model (Athena in the disguise of Mentor) Telemachus is slowly able to overcome his insecurities. On his return, he is able to confidently assume his place in the household and rid his property of the suitors. Doubt does not hold him back this time.

Emotional responses are a huge part of growing up. Telemachus gets angry at his mother and the suitors at the beginning of the Telemachy — this is manifest frustration at an inability to claim independence and power in his own home on the brink of adulthood. However, on his return, his naive lack of appreciation for his mother has become humble respect. With regards to the suitors, Telemachus is able to calmly deal with them and claim his power in the house as the rightful heir of Odysseus.

A Hero’s Growth

By the end of the Odyssey , Telemachus has grown into a responsible young man who is accepting of his flaws and yet wise in his efforts to improve himself. The end of the Odyssey is by no means the end of Telemachus’ story, but the conclusion to his coming-of-age arc, and the beginning of his life as an adult.

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By Bethany Williams BA Classics and English, MA Literature Bethany is a Masters student, currently studying the adaptation of Greek myth in modern literature. She is a graduate of Classics and English (BA), during which she studied Ancient Greek language, classical reception within its own time and throughout history, as well as Greek and Roman history. Apart from her studies, she has an appreciation for art, philosophy, and travel. She may be based in England, but her heart is in Greece.

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The Odyssey

Ask litcharts ai: the answer to your questions, telemachus quotes in the odyssey.

You should be ashamed yourselves, mortified in the face of neighbors living round about! Fear the gods' wrath – before they wheel in outrage and make these crimes recoil on your heads.

Some of the words you'll find within yourself, the rest some power will inspire you to say. You least of all – I know – were born and reared without the gods' good will.

Would I were young as you, to match my spirit now, or I were the son of great Odysseus, or the king himself returned from all his roving – there's still room for hope! Then let some foreigner lop my head off if I failed to march right into Odysseus's royal halls and kill them all. And what if I went down, crushed by their numbers – I, fighting alone? I'd rather die, cut down in my own house than have to look on at their outrage day by day.

Go back to the Homer page for more texts and other resources.

Telemachus in the Odyssey

Discusses the development of Telemachus during books I-IV of The Odyssey.

Telemachus dominates the first four books of The Odyssey. A character who is himself unsure whether he belongs with boys or men, he has the weight of expectation upon his shoulders. It is only with the divine intervention of Athene that he raises himself to his rightful position within his own home, as his mother Penelope entertains potential husbands. During the first four books, we see the transition of a teenager lounging around the family home into a young man beginning to assert himself amongst his mother?s suitors. He leads a ship in search of his father to Pylos and Sparta, meeting with Nestor, Menelaus and Helen. All this time, he lives in the shadow of his resourceful and long-suffering father Odysseus. It is Athene who ventures to Ithaca to encourage Telemachus into manhood. Disguised as an old family friend, she gives Telemachus the encouragement necessary for him to hold his shoulders back and go in search of the truth about Odysseus. From Telemachus? point of view, he does not have a relationship with Athene as such as she appears as Mentes and Mentor. Both figures that command Telemachus? respect, Athene is responsible for setting Telemachus up and guiding him on the beginning of his journey. Even upon his arrival in Pylos, Telemachus has a touch of cold feet, dithering as he disembarks his ship. Athene reassures him, saying ?where your own intelligence fails, a god will inspire you. For I think the gods have blessed both your birth and your progress to manhood.?. Having grown up in a home without a father, we could expect Telemachus to have a strong bond with his mother. The evidence in the first four books of The Odyssey is somewhat to the contrary. There is conflict between Telemachus and Penelope on two levels, primarily relating to the presence of the Suitors in his house and secondly as to whom is in charge of the family home. As the young man who has come of age, it is Telemachus who should make the decisions. Prompted by Athene, Telemachus? dissatisfaction with the presence of the Suitors takes on a practical form: ??I propose that we all take our places in assembly, so that I can announce my demand that you quit my palace.?. In line 354 of book one, we read of the first time that Telemachus takes the upper hand with his mother, sending her to her own rooms. His decision to depart Ithaca without consulting his mother, although divinely encouraged, signifies some development from boy-about-house to a young traveller rejecting the maternal atmosphere of his family home. We are left in little doubt as regards the relationship between Telemachus and his mother?s Suitors. They have extended the tradition of xenia to farcical limits, stunting Telemachus? growth into the position of alpha male. They hold power over his home and island, being both strong in number and the sons of the members of the Assembly. Although Odysseus left instructions that Penelope should remarry when Telemachus came of age, he did surely not mean for his land to be taken over by the massed ranks of privileged young Ithacans. Telemachus does not change his view of the suitors, but changes his approach to the problem. Instead of self-pity, he instructs them to leave, with all the authority (in their eyes) of a ten year-old rejecting Mum?s New Boyfriend. Their indignation is reflected in later plans to assassinate Telemachus. As the first of his father?s friends whom he visits, Nestor signifies a turning point in Telemachus? development. Telemachus deals now with his father?s contemporaries, man to man. This change from boy- to manhood is one of the stepping stones that Athene guides him to. He learns nothing of his father from Nestor, and is instead treated to a wild goosechase of a yarn about the other Greek warriors. By meeting with Nestor, Telemachus develops some confidence of his own, as opposed to that which is instilled in him by Pallas Athene. The second port of call on Telemachus? journey is the palace of Menelaus and Helen in Lacedaemon. Here he is treated to greater details of Odysseus? exploits in Troy, and informed by Menelaus that his father was seen last by Proteus on the island inhabited by the Nymph Calypso. Menelaus remarks upon his style of speech, which we were earlier told Telemachus would be granted with. The question here is whether Telemachus has himself developed as a man or through being guided by Athene. Telemachus, having never met his father, is reliant upon the recollections of others for any image of the long-suffering Odysseus. We might well understand if Telemachus resented his father for being absent, but Telemachus realises that like everyone, Odysseus is at the mercy of the gods. He has a relationship with a mental image of a resourceful and long-suffering Odysseus, and in books one through four he makes only a slight progression from the myth to the man. It is with this difference in mind that we approach the development of Telemachus during the first four books of The Odyssey. Up to Telemachus? arrival at the home of Nestor, he is under the divine influence of Pallas Athene. All his ?decisions? up until then could be attributed to Athene. Certainly, by the time he meets with Menelaus and Helen, he begins to act for himself, if such a thing is indeed possible. He is very much the tool of both Homer and the gods, and is developed for ends which he desires without being sure why.

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Telemachus, Heredity, and the Persistent Weirdness of Parent-Child Relationships

Caption: Upon being reunited, Odysseus hugs Telemachus and kisses his face. Oil on canvas painting by Henri-Lucien Doucet (1880), Reunion of Odysseus and Telemachus.

By Natalie Dean

Poets such as Sappho and Pindar garnered plenty of attention during their lifetimes, but many of them also led rich afterlives in which they continue to influence the world of poetry. In the current pop culture scene, works inspired by or retelling Greek and Roman myths are very popular, including loosely inspired children’s books such as the Percy Jackson series and edgy, politically relevant retellings such as the musical Hadestown . One might understand these and similar works as continuations of the ancient storytelling tradition, albeit with a change in format. When examining the ways in which Greek myth is transformed in modern iterations, it is clear that no matter how much time passes, there are intrinsic truths of the human experience at the root of these myths, and from these truths, we are still learning to understand love, rage, humanity, and ourselves. 

In this essay, I will examine the relationship between Telemachus and Odysseus in Homer’s Telemachia of The Odyssey and Ocean Vuong’s Telemachus , analyzing the ways in which the latter reinterprets the titular character and arguing these reinterpretations can affect our retroactive understanding of Telemachus as a reflection of the human condition.

Homer’s Telemachia

Books I – IV of The Odyssey tell the story of Telemachus, Odysseus’ now-grown son, as he searches for his father who has not yet returned from the Trojan War and who, at this point, seems unlikely to ever return. Telemachus has gone his entire life without a father, and as he comes of age, he finds himself lacking something this relationship might have provided. His quest to learn more about his father can, in this way, be understood as a quest to learn more about himself. 

When a stranger at Telemachus’ gates reveals herself as Athena, she speaks with familiarity and warmth to Telemachus, saying, “[A]re you / Odysseus’ son? You are so tall! / Your handsome face and eyes resemble his” (Wilson Book I, lines 206 – 208). Immediately, there is an established connection between Telemachus and Odysseus. This at first seems innocent, even insignificant. It is only physical, as is expected of heredity, but the poet’s intention in mentioning it becomes clear in the next block of dialogue, as this is a source of discomfort and insecurity in Telemachus. The response from Telemachus is: “I cannot be sure […] / I wish I were the son of someone lucky” (I.215 – 217). This vagueness and uncertainty in regards to his father is extremely important to understanding their relationship, or rather, lack thereof. A physical resemblance to a man he cannot remember means nothing to Telemachus, as even this most basic, primal link between himself and his father is rendered so ineffectual that he is unconvinced it exists at all. 

Beyond that, Telemachus bears an underlying sense of resentment towards his father. As he goes on to explain, the gods have cursed Odysseus, which has in turn sent Ithaca into turmoil and dysfunction. Telemachus, brazen, tells Athena that “if [Odysseus] had died, it would not be this bad” and explains his grievances, most notably the suitors whom his mother does not send away and whom he suspects will soon kill him (I.236). To Telemachus, the root of his problems is that his father is alive, since if he were dead, he would have earned sufficient honor and fame for the royal family that the suitors would not be so disrespectful. It is clear through how he speaks about his father’s absence, making it the source of his problems, that he does not yet think himself adult enough to find solutions by himself. Being quite young, he is looking for help in a missing father figure, Odysseus. Instead, it is Athena who gives Telemachus a strategy for how to proceed, to which Telemachus says, “[Y]ou were so kind to give me / this fatherly advice” (I.307 – 308). The operative word here, of course, is ‘fatherly,’ as it implies Telemachus does have an understanding of fatherly tendencies even though he has never experienced them. The Greek here reads, “ ὥς τε πατὴρ ᾧ παιδί ” and most simply translates to “as a father to his son,” assigning Athena to the role of father and himself to the role of son. Because we might assume this is the first time Telemachus has been put in the role of a father’s son, his change in demeanor after this discussion is also notable, as he leaves the interaction “feeling braver, more determined, and with his father more in mind” as well as “godlike” (I.321 – 322, 324). The implication here seems to be that by interacting with a father figure, particularly in a conversation about his own father, Telemachus grows. Being described as “godlike,” the same word often used for heroes such as Odysseus and Achilles, Telemachus becomes more like his father simply by having his father “more in mind.” What the epic seems to be showing us is that Telemachus really did need the advice of a father figure in order to solve his problems, and that as soon as he got that advice, regardless of who gave it, he was able to move forward. A father’s guidance, therefore, is necessary for, using the colloquial term, growing up. 

We can imagine Telemachus thinks of Odysseus in much the same way as the audience does: he is a man of myth, a story passed down through time, and more concept than human. He says of his father, “[H]e is nameless and unknown” (I.242). At a glance, this seems repetitive, but the difference in the two descriptions here is poignant. First, to examine the weight of the word ‘nameless,’ we must remember that Greece was a monarchical and hierarchical culture in which parentage held great weight. Throughout Homer’s works, characters are referred to as their father’s sons, sometimes exclusively and without listing their own name. Even Athena, in this same interaction, has yet to refer to Telemachus by name, though she does skillfully call him “Son of Penelope” rather than Odysseus, picking up on the current tension. That is to say, names are core to identity, and lineage matters in a social sense as well as political. Again, there is an inherited connection between Telemachus and Odysseus which Telemachus finds difficult to accept. As the only son of a war hero and prince, Telemachus should be reaping the rewards of high status and honor, but instead, he feels alone against the suitors. The name Odysseus has given him does not protect him, so Telemachus rejects it. In referring to his father as ‘nameless,’ Telemachus dismisses not only his father, but the part of his own identity that comes from his father. 

The second word, ‘unknown,’ succinctly defines the existing relationship between these characters. Telemachus knows his father’s name well enough to discard it, but his feelings toward his father himself—the flesh and blood man, not the story he has been told since childhood—are not so heated. There is nothing here for him to reject; it is neutral. ‘Unknown’ is not resentful or hateful or otherwise emotional; it is fact. Any anger he feels toward his father is vague and ill-defined, because at the core of it, he does not know his father. Hate requires one to know the subject; hate requires details. This is the true relationship between them: they do not know each other well enough to have one.

The Greek here, “ ἄιστος ἄπυστος ,” can be translated more literally as “out of sight, out of hearing/sound.” The words themselves take the negative ἄ – prefix to denote lack, similar to the English un- and -less used by Wilson. This prefix (and suffix, in Wilson’s translation) is significant because it adds nuance to the word choice. Rather than using already negative words with the same sentiment, such as ‘silent’ or ‘blind’ or simply ‘gone,’ Homer uses positives and twists them negatively. Something which is unheard has the capability of being heard, and something unseen has the capability of being seen, as is not the case for deafness or blindness. This subtle choice reiterates the feeling of betrayal and hurt that Telemachus is communicating; his father could have been seen and heard, but he is not. Emily Wilson’s translation does change the literal meaning here; however, the sentiment remains similar, and her wording provides stronger connotation for English readers.  

Before Telemachus sets out on his journey to discover his father’s fate, Athena delivers a long monologue in which she assures him he will achieve his goal, so long as he is like his father. She reiterates this sentiment many times in the same speech: “Telemachus, you will be brave and thoughtful, / if your own father’s forcefulness runs through you. […] / If you are not his son, his trueborn son, / I doubt you can achieve what you desire. […] /  You do possess your father’s cunning mind / so there is hope you will do these things” (I.270 – 280). Athena leaves no room for interpretation: Telemachus’ success is contingent on his similarity to his father. Crucially, this is the first time she calls him by personal name rather than parentage. Using his own name should be a moment of affirming his individual identity, but instead, she uses it to introduce a speech which reiterates that his identity needs to derive from his father’s. His worth is conditional; he is only a good, capable man so long as he is his father’s son, and Athena will call him by first name only in order to tell him as much. Again, there is an emphasis on inherited traits suggestive of the importance of parentage in this culture; heritage is not only biological but psychological, to the point that Athena is expecting Telemachus to have enough of an intrinsic bond with Odysseus that he will be able emulate Odysseus without ever having met the man. 

The final leg of Telemachus’ journey takes him to Menelaus and Helen, friends of Odysseus who remember him fondly and relay to Telemachus their best memories of him. After speaking, Menelaus tells Telemachus, “My boy, your words are proof of your good blood,” which again enforces the idea that in order for Telemachus to be ‘good’ or otherwise worthy of praise, he must be similar to Odysseus (IV.611). In this way, Telemachus is not given the opportunity to prove his own goodness; every good action of his is an ode to Odysseus’ goodness, which is only being borrowed by Telemachus. His merits are inherited. From this, we can understand that everything Telemachus learns about his father on his journey, he is also learning about himself.

The Odyssey seems to take the stance that lineage, regardless of a person’s personal relationship to their ancestors, is important and quantifiable. Even though Telemachus and Odysseus have not met in any meaningful way, Odysseus is present in Telemachus’ life through Telemachus’ own actions, personality, speech, and appearance. Telemachus is his own father; his sense of self may not be tied to his father, as he tells us when he explains he is unsure of his parentage, but his identity is. It is not a paradox: he is certainly and irrevocably defined by his father, but he is unaware of it. The bond between them is so primal and basic that it does not need to be acknowledged in order for it to exist.

When Telemachus returns home, his father has beaten him there, and Telemachus does not recognize him. This idea will be expanded upon in the final section, but for now: despite the perceived insistence that Telemachus’ biological connection to his father is enough to shape his own personality and abilities, it is not enough for him to genuinely know his father, and it does not supplement a relationship with his father. We should approach Ocean Vuong’s related work with this in mind. 

Ocean Vuong’s Telemachus

Celebrated Vietnamese-American poet Ocean Vuong often centers his work around very personal experiences, such as loss and grief, sexuality and queer identity, the immigrant experience, and most importantly for the purposes of this essay, the aftermath of the Vietnam War with a concentration on its lasting effects on family relationships. 

With this in mind, the poem is included below: 

Telemachus, by Ocean Vuong

Like any good son, I pull my father out           1

of the water, drag him by his hair

through white sand, his knuckles carving a trail

the waves rush in to erase. Because the city

beyond the shore is no longer

where we left it. Because the bombed

cathedral is now a cathedral

of trees. I kneel beside him to show how far

I might sink. Do you know who I am,

Ba? But the answer never comes. The answer         10

is the bullet hole in his back, brimming

with seawater. He is so still I think

he could be anyone’s father, found

the way a green bottle might appear

at a boy’s feet containing a year

he has never touched. I touch

his ears. No use. I turn him

over. To face it. The cathedral

in his sea-black eyes. The face

not mine — but one I will wear         20

to kiss all my lovers good-night:

the way I seal my father’s lips

with my own & begin

the faithful work of drowning.

The poem, written in 24 lines to mirror the 24 books of the original work, uses Telemachus’ name as the title to give readers some baseline context. Keeping the title in mind as we read through the poem, we are able to get an understanding of the scene Vuong is setting of a child receiving their father upon his return from war. 

The most immediately striking detail of the relationship between the father-son pair is a sense of duty. Vuong’s speaker writes that in dragging his father from the water, which we can interpret as bringing an end to the long return journey, he was only doing what is expected of “any good son” (ln. 1). The words used here are flat and generalizing. There is no warmth or love for the father in this first line, setting the tone for the rest of the poem. Vuong’s speaker is immediately dismissive of any emotion behind his actions, opting instead to portray the sense of obligation that the speaker feels toward his father. Here the speaker acts almost without agency to meet the requirements to which he is bound. There is no sense of control over this action, nor a sense of wanting to do it. This idea is reiterated in the final line of the poem, bracketing the entirety with this tone of somber duty-fulfillment, in which the speaker begins “the faithful work of drowning” (ln. 24). “[F]aithful” is the operative word here. Faithfulness has a religious connotation, painting a picture of unquestioning devotion to a being whom one does not understand. The speaker acts not out of love or care but an unquestioning belief that this is his duty. Again, any semblance of emotional weight is missing here, where we might otherwise have expected a happy reunion. The return of the father does not bring the speaker joy, but rather binds him to acting, almost puppet-like, in the way that is expected of him.

Building onto this lack of emotional resonance is the sheer unfamiliarity between the speaker and the returned father. The speaker’s father is mute and unresponsive. When the speaker asks to be recognized by him, the father says nothing. Vuong tackles this concept succinctly in this exchange: “do you know who I am, / Ba? […] The answer / is the bullet hole” (ln 9 – 11). War has altered the relationship between the two so completely that there is not even recognition between the father and son. Without recognition, the degree to which the speaker and the father are able to form a relationship is severely limited. This is a reversal of the original story, in which Odysseus recognizes Telemachus on sight but is not recognized in return. Yet, there is a truth to the poem that is pervasive even in The Odyssey , which is that, in all reality, the parent and child do not know each other. Odysseus is, to Telemachus, a stranger. Telemachus is, to Odysseus, a taller version of the baby he left behind. At the time of meeting, there is no substance to their relationship. Odysseus recognizes Telemachus, but he does not know him. Vuong takes this concept a step further by naming war as the actor in this relationship. If we are to understand the father as Odysseus, at least in an allegorical sense, the bullet hole literally filling with seawater becomes a beautiful, gruesome visual of what the journey home has done to the father, covering his wounds with more and more travel instead of giving them the care and attention needed to heal. It is because of war that Odysseus was kept from his son for so long in the first place, and it is the long journey home that allowed the situation in Ithaca to escalate to the point it has. War is the perpetrator. 

This unfamiliarity between speaker and father is continued in lines 19 – 21: “The face / not mine — but one I will wear / to kiss all my lovers good-night.” Here, Vuong examines the objective biology of a parent-child relationship; no matter how little emotion exists between the two, they will never be fully rid of the link that binds them. Physical similarity is complicated and difficult to rectify with oneself when one’s father’s identity comes in the way of their own identity, as seems to be the case for Vuong’s speaker. Because he feels that his face is associated with his father and that he does not know his father, he is left with a dissociation toward his own features and identity. 

It is the same struggle Telemachus feels on his journey. He is told how similar he is to his father, but his father is not there, so he must learn about his father in order to learn about himself. However, Vuong’s speaker pushes back against this, daring the reader to ask: is it possible to find any amount of your identity from someone you don’t know, regardless of their relationship to you? Within the poem, the answer is complicated. On the one hand, no, the speaker feels no connection to his father, nor his face, which leads him to speaking in an apathetic, detached manner. But on the other hand, yes. In the lines, “I seal my father’s lips / with my own” the reader is able to see that there is indeed a separation between the two men’s faces. Earlier, the speaker refers to his father as “Ba” rather than by name (22 – 23, 10). These lines imply that the speaker does understand himself as being completely distinct from his father and understands their relationship as one of parent and child. The usage of “Ba” here is especially interesting because it rings so false. The word does not hold the same informality as the English “Dad,” but the use of a familial term at all suggests the speaker is acutely aware of the relationship they are missing. 

We can compare it to the original story by looking at Telemachus’ first words to his father after learning his identity, in which he calls Odysseus “ πάτερ φίλε ” (XXVI.222). Many English speakers will recognize ‘ φίλε ’ as the origin of the root word, ‘phil,’ and the phrase can be translated as ‘beloved father.’ In both iterations, the relationship between father and son is arguably nonexistent, yet when they finally are face-to-face, the son is only capable of expressing love. An optimistic reading of this would be that familial love is powerful enough that it does not need to be cultivated in the way that romantic or friendly love does. It is a reflex; it does not need to be learned. A less optimistic reading would be that the title “ πάτερ φίλε ” is unearned and lacks substance. Succinctly, one might say the way Telemachus speaks to his father in both iterations is misplaced, but not insincere. 

Retrospective and Telemachus as the Human Experience

Though The Odyssey itself is a story of post-war aftermath, Odysseus himself never quite leaves the fray. Even back home, Odysseus is fighting, and the story ends before he has the chance to process and be changed by the trauma. Vuong’s poetry forces the readers to consider the ‘post-post-war,’ when all the fighting is done and has been done for some time, and how this new era might have felt for Telemachus. We can apply the characterization suggested by Ocean Vuong to the original myth to adapt our interpretation of both the myth itself and what the myth says about the human experience.

Vuong’s poem truly reinforces Odysseus as a tragic character; though he found his way home, it is unknown to him, just as he is unknown to it. This idea is touched upon in The Odyssey , which frequently reminds the reader of how different Ithaca is now that the suitors have all but overtaken the city, especially through Telemachus’ dialogue such as: “They keep eating, / consuming my whole house, and soon they may / destroy me too,” and Athena’s assessment of the suitors: “They look so arrogant and self-indulgent, / making themselves at home. A wise observer / would surely disapprove of how they act” (XVI.128 – 130, I.237 – 239). When Odysseus and Telemachus meet for the first time, Telemachus does not recognize Odysseus. Even after Athena lifts his disguise, Telemachus has to be told who Odysseus is. Even after learning more about his father than he has ever known, he does not know him. Telemachus’ inability to recognize his father is an integral, intentional undermining of the epic’s earlier assertion that Telemachus can build his own identity upon his father’s despite never meeting. Hearing about his father is not a substitute for knowing him, and if Telemachus does not know his father, can he know himself? The epic and Vuong both seem to be united on the answer: no. Using Vuong’s words: the face is not his. Telemachus is not himself, but an empty apparition of his father.

Modern psychology and data from modern soldiers indicate Odysseus would likely have experienced severe post-traumatic stress lasting until the end of his life. Though The Odyssey does not explore this idea—of course, we cannot reasonably fault it for this as the field of psychology is extremely young even by modern standards and remains full of controversy—it does begin to broach the subject of what happens to soldiers after the fighting is done in Odysseus’ visit to the underworld. There, he meets several of his contemporaries and former war-buddies, including Achilles. This scene is most notably characterized by the miserable and solemn tone. Achilles, whom Odysseus continually calls the best of the Achaeans, expresses his regrets. He is mourning himself. This is arguably a very early representation of the PTSD that awaits soldiers, and because Odysseus has not died, this fate will instead find him in Ithaca. Vuong’s poem allows us to retroactively develop this concept by applying the more advanced modern understanding of post-traumatic stress to the characters. His poetry is as much a reflection of modern soldiers as it is a speculation on the remainder of Odysseus’ life. Vuong pushes his readers to the idea that the cost of war is not only higher than the reward of coming home but that the cost of war actually negates the reward of coming home.

Vuong pushes the idea that parent-child relationships cannot be born solely from genetics. Using his poetry, we can come to the interpretation that whatever intrinsic, deep-rooted, biological connection Telemachus was searching for in his Telemachia , he will not find. For a child to have a relationship with their father, they must know him, and vice versa. 

A parent-child relationship is one of the few things which every person experiences to some varied degree, regardless of whether that parent or child is theirs biologically, whether that parent or child is physically nearby, or whether that parent and child are close. It is one of our most core experiences: the knowledge that we are a part of someone else, that we are the culmination of our ancestors, and that our children are a piece of ourselves made conscious. The parent-child connection is not always positive, even in the most loving relationships, but it is always present, and perhaps because of that, it is easy to disregard how strange this phenomenon is. To some degree, Telemachus is a reflection of every child. He embodies the act of growing up by depicting the identity crisis that is so natural to the young adult years, during which we either learn from our parents or become them. Neither option is inherently good.

Telemachus expresses a truth that is universal and core to the human experience: to be a parent or child is not strictly a biological phenomenon. A man is not your father until he makes himself so.

Natalie is a student with the Classical Studies Post-Bacc program at the University of Pennsylvania.

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