Beethoven's Third Symphony and Homers "The Odyssey" .
The Heroic Mode can be applied to a variety of Art and Literature. Two Types of Art and literature which can be included under this sec of Modality is Homers "Odyssey" and Beethoven's Third Symphony. The literary definition of the Heroic Mode encompasses aspects relating to courage or elevated concepts of honor, decency, or even superhuman behavior, which would allow someone to do something great or spectacular. It is marked by grandeur, massiveness, formality, universality, and powerfully articulated themes. The ultimate heroic act is to risk one's life for the greater good of humanity. These types of heroic pieces of literature often include larger then life characters. The musical definition can be defined as non-representational and has no fixed meaning; one can only speak of creating a "heroic mood" or "heroic emotion" in music. The sound patterns are expected to create an emotion that is similar to the one created when we read or hear about heroic behavior. Several things are at the disposal of a composer.
A scene in chapter 16 in Homers "Odyssey" many characteristics involving the Heroic mode are established. The opening scene in this chapter, tells of a man named Telemachus who has reached Eumaeus's hut, he finds the swineherd talking with a stranger (Odysseus in disguise). As Eumaeus recounts Odysseus's story he suggests that the stranger stay with Telemachus at the palace. Telemachus unfortunately is afraid of what the suitors might do to them. This in turn forces Eumaeus to the palace alone to tell Penelope that her son has returned.
When father and son are alone in the hut, Athena, who has many characteristics relating to the heroic mode, appears to Odysseus and calls him outside. When Odysseus reenters the hut, his old man disguise is gone, and he stands in the pristine glory of his heroic person.