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<a href="https://greekgodsandgoddesses.net/gods/charon/">Charon: https://greekgodsandgoddesses.net</a> - Greek Gods & Goddesses, November 16, 2021
<a href="https://greekgodsandgoddesses.net/heroes/aeneas/">Aeneas: https://greekgodsandgoddesses.net</a> - Greek Gods & Goddesses, October 21, 2019
<a href="https://greekgodsandgoddesses.net/heroes/minos/">Minos – King of Crete and Judge of the Dead: https://greekgodsandgoddesses.net</a> - Greek Gods & Goddesses, January 7, 2022
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Beard, Mary. Women & Power Liveright (New York, London) 2017 [Female Speech in The Divine Comedy - In Mary Beard’s powerful essay, “The Public Voice of Women,” she traces the roots of misogyny to their classical, Greco-Roman roots. As far back as Homer’s Odyssey and Ovid’s Metamorphoses, Beard demonstrates how public speech was defined as inherently male and the voice of women was often silenced or distorted. When it comes to women being allowed to speak publicly in the classics, there are two exceptions Beard points to: speaking out as a victim or martyr (think Lucretia or Philomela) and speaking in defense of their homes, children, or husbands. In Canto 4 of Inferno, Dante’s Virgil refers to Homer as “the supreme poet.” There “among so much wisdom” Ovid is also mentioned. The greatest evidence for Dante’s admiration is his recurring reference to both Vergil’s version of Homer’s Odyssey and Ovid’s Metamorphoses. How might Dante’s high regard for these ancient poets affect his own representation of female speech in the Divine Comedy? In what ways does he perpetuate Beard’s theory? In what ways might he subvert it?] (CJ)