Ulysses here takes care of Telemachus’s practical concern by explaining that his change in appearance is not his own doing, but Minerva’s work.

To understand why this seems to convince Telemachus, recall that Minerva was the same goddess who helped Telemachus in Book 1, so it would make sense to him that she should be the one to reunite him with Ulysses here.

Ulysses’s tone here carries the didactic clarity of a father explaining something to his son, and by adopting this paternal position, he eases Telemachus into his new filial role.

In the world of The Odyssey, it’s very conceivable that some spirit would spellbind Telemachus and try to deceive him, so his reluctance to believe that this man is in fact Ulysses is actually quite prudent.

But there is also reason to suspect that there is more behind Telemachus’s reluctance to recognize Ulysses. After all, this man is, despite his resemblance to Telemachus, virtually a stranger. And in spite of how much Telemachus yearned to be with Ulysses and vice versa, the reunion was bound to have some level of discomfort and awkwardness, and this is exactly what Homer conveys in this tense passage.

Although Telemachus refers to Ulysses as “stranger” here, it’s important to remember that Telemachus should recognize his own features in this man— he may suspect that this is what Ulysses should look like.

After all, Minerva says to Telemachus in Book 1:

But tell me, and tell me true, can Ulysses really have such a fine looking fellow for a son? You are indeed wonderfully like him about the head and eyes…

And King Menelaus says of Telemachus in Book 4:

His hands and feet are just like Ulysses; so is his hair, with the shape of his head and the expression of his eyes.

Minerva has finally given Ulysses permission to reveal his true identity to his son, but notice how she does so seemingly only as a means to “lay your plans for the destruction of the suitors,” because she is “too eager for the fray.”

This reunion scene is bracketed by consideration of the suitors, too, since Telemachus and Ulysses immediately begin planning their destruction of the suitors after Telemachus finally accepts that Ulysses is who he says he is. This bracketing conveys the underlying presence of the suitors in the backs of these characters' minds, and this concern seems to taint this much anticipated reunion.

With these famous opening lines, Herodotus tells readers both his idea of the purpose historical writing and the main subject of this work— the Greco-Persian Wars.

Herodotus' purpose is extremely broad, but it ultimately values and celebrates humanity’s feats, yet always with a critical eye. Herodotus is fascinated by individual characters such as Croesus, Cambyses, Leonidas and Xerxes, and he searches for the root causes of great events, whether it be Xerxes' overreaching ambition or divine jealousy.

Herodotus celebrates Greeks and “Barbarians” alike in this work. The “Barbarians” referred to in this book are the people of Asia Minor. Although it still may have carried a pejorative connotation, the Greek word was used to describe anyone who wasn’t Greek.

Venus was the Roman goddess of sensual love, and this question is symbolic of Prospero’s desire for Miranda to remain chaste:

Look thou be true; do not give dalliance
Too much the rein

Remember that Prospero is directing this masque, and the spirits are saying what he wants them to say.

Ceres was the Roman goddess of agriculture and fertility. She was often invoked in Roman marriages.

Ceres was the Roman goddess of agriculture and fertility. She was often invoked in Roman marriages.

She appears in the masque in The Tempest in Act 4 Scene 1 after Iris summons her to celebrate Ferdinand and Miranda’s wedding.

Note that the actual goddess isn’t a character in The Tempest, but only portrayed by one of the spirits.