...The resemblance regarding the hellish nightmares of tortured souls, desecrated bodies, and the regrets of the dead and living are scattered all over in descriptions regarding the Underworld in Greek and Roman literature; in Homer's Odyssey and of Vergil's Aeneid, both had a noticeable emphasis on their own definition of the, “invisible world,” but while both showed off that particular brand of afterlife rather vividly in their own styles ways and particular reactions to it, many people argue that the Aeneid copied from the Odysseus heavily. However, while the Aeneid did copy verses and the general progression of the story from the Odyssey, the centuries of separation between works and cultures show themselves as the two poems are examined more in-depth. Some of the more prominent reasons that many see that the Aeneid copied...
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...Greek and Roman legends have always been very similar to each other. For example, they have all the same gods and goddesses, but under different names – Jupiter and Zeus, Mercury and Hermes, Diana and Artemis. But the two myths The Odyssey and The Aeneid parallel each other so severely that it’s fairly disarming. Their plots, adventures, romances, and time periods all coincide with one another. They have the potential to be compared and contrasted endlessly. The similarities of these two works begin in the titles themselves. The main characters of these two works are Odyssey and Aeneas – their stories’ respective titles reflect their names. These tales both take place shortly after the Trojan war. Odysseus, a Greek, was on the winning side, and is leaving victorious. Aeneas, however, has lost the war, and is fleeing Troy as he was instructed to by the gods. Odysseus believes he is finished with his adventures for the time being. It has been prophesized to Aeneas that he is to discover Rome. Both these men are seeking a home: Odysseus is trying to make his way back to Ithaca, whist Aeneas is looking for a new one. Both of them are surrounded by crew members. Both of them will be alone by the time the stories draw to a conclusion. Odysseus and Aeneas both have a god – or goddess – working against them. Odysseus, after injuring the Cyclops Polyphemus, son of Poseidon (Neptune, Roman form), has made an enemy in the god of the sea. Aeneas, on the other hand, has done nothing wrong...
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...purpose was to create a connection to ancient Roman republican society as well as the Greeks and their democratic values. It was also meant to create a new American mythos to enshrine values, illustrate manifest destiny, and show that the United States was created by divine providence just as Rome was founded. We can see this in many of our monuments and artwork from the time period, as well as in the way the American story is told and taught to us. The Jefferson Memorials construction began in 1939 when President Franklin Roosevelt laid its cornerstone and was completed in 1943. It is dedicated to Thomas Jefferson our third president and was modeled after the Pantheon in Rome. It was...
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...Aeneas: The Death of a Trojan Throughout The Aeneid, Aeneas embarks on a series of journeys, both within himself and with his men as an army. Aeneas, one of few remaining survivors of Troy, transitions from a Trojan character to a Roman character throughout the text. This transformation marks the end of a state wracked so severely by tragedy, the land was found in ruins and the population destroyed to near genocide. Aeneas' transition from Trojan to Roman was long and onerous both on a personal level, and on a higher level which led to a greater outcome - the founding of Rome and with that the example of the ideal Roman citizen. There in lies the problem: Aeneas was not a Roman citizen, he was a Trojan, and by adhering to fate and the will of the gods, he lost his identity. Though the city of Troy had been destroyed, the Trojan mindset still lived within Aeneas. As Troy burned and disintegrated before him, Aeneas was told not to stay and fight to the death as he had intended but was instead given a task. There was something much greater for him to do. The ghost of his dead wife shares with him, “A long exile is your fate... the vast plains of the sea are yours to plow until you reach Hesperian land, where Lydian Tiber flows with its smooth march through rich and loamy fields, a land of hardy people. There great joy and a kingdom are yours to claim.” (Virgil 2:966-972) Still not completely convinced, Aeneas reaches out for his wife three times, hesitating to leave his beloved...
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...Homer’s Iliad and Virgil’s Aeneid are two great classical epics of Greek and Roman mythology. Both poetries convey heroism, pride, love, fate and duty. However, Homer focuses on his hero Achilles at the end of the Trojan War and Virgil focuses on his hero Aeneas after the Trojan War; eventually becomes the founder of a new Roman civilization. Besides the fact that they fight on the opposite sides of the Trojan War, the major difference between these two heroes is their ideas of who they are. Achilles stands as a symbol of self-serving person, while Aeneas is a symbol of self-sacrificing. Homer portrays Achilles as a selfish and revengeful warrior. Achilles decides not to fight for Greek when king Agamemnon takes his battle prize Briseis away. However, Achilles allows Patroclus to wear his armor. He also instructs Patroclus to drive Trojans back from Achaeans’ ship but not to take over the city as it is only Achilles to win. His selfishness and self pride forbids Patroclus to try to win the battle, even if they can without Achilles’ help. He wants to show King Agamemnon that without Achilles’ help, Achaeans can’t win the battle. Unfortunately, Patroclus disobeys Achilles and pursues the Trojans all the way to the gates of Troy. Apollo wounds Patroclus from behind, which helps Hector to kill him. Achilles becomes revengeful, even though disobeying his instruction makes Patroclus die. To take his revenge, not only Achilles kills Hector, he drags Hector’s body behind the chariot...
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...connection with spirituality. Aeneas was continually enriching his spirituality and reminded by the gods his duty. His words to Dido in books four and six expressed his commitment to obey fate rather than indulge his feeling of genuine romantic love. Aeneas’s self personal investment in the future of Rome increased as the story progressed. The events of book five , in which the Trojans sail away from Carthage toward Italy, and book six, in which Aeneas visited his father in the realm of the death, depict Aeneas’s growth as a leader. In book five, he showed his sympathy for the affliction of others by allowing the impaired and unwilling to stay behind. He also grows in compassion in the underworld when he observed the lot of the unburied dead. He carried these lessons into the war that followed, taking care to ensure the proper burial of both ally and enemy. Whereas, Odysseus was often self investing on his fame and glory. Sometimes his...
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...polarity and uniqueness. Revenge tragedy in its general sense defines the real dramatic motivation behind which blood and violence lies. Kyd, as an Elizabethan dramatist wanted to show his uniqueness with academic tradition and for this he owns a great deal to Lucius Annaceus Seneca who was a successful dramatist of Roman tyrants. In Senecan tragedies blood-revenge for murder, supernatural elements and delay are presented in realistic perspective. This style is followed by Kyd in his The Spanish Tragedy. As a revenge tragedy, The Spanish Tragedy starts with supernatural effect or the ghost of Andrea in Act I. Just like medieval or Senecan dramas Kyd introduced the drama with a ghost who has connections between the plays main protagonist character and future development of the plot. As Don Andrea was killed in a fair battle an Elizabethan audience would have little sympathy for him so Kyd also introduced the partial hero Horatio who is good in every sense and perspective so that audience have sympathy for his death and also feels sympathetic for his father (the main protagonist , Hieronimo). Then Kyd shows us geography of underworld of Virgils The Aeneid where he introduces “the third way” which is a mixture of Christianity and pagan universe. The third way is important for the character of Andrea who is not fit as lover or evil. This third way gives Kyd a chance to delay where the person seeking revenge requires proof or failure of legal...
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...The Olympians Zeus - Roman name: Jupiter or Jove. The sky-god Zeus rules Mount Olympus. His weapon is the thunderbolt, and his bird is the eagle. The central figure of the myths, Zeus epitomizes their complexity. At times he is divine and represents a pure, eternal sense of justice; at other times, he is capricious and cruel. Hera - Roman name: Juno. Zeus’s wife and sister, Hera is a very powerful goddess known mostly for her jealousy. She is often vicious and spiteful, and it is usually Zeus’s infidelity that incites her. Many unfortunate mortals endure hardships by provoking Hera’s wrath. Poseidon - Roman name: Neptune. The god of the sea, Poseidon is Zeus’s brother and second only to him in power. Poseidon holds a decade-long grudge against Odysseus. The often cruel and unpredictable violence of the seas is assumed to be a result of his anger. Hades - Roman name: Pluto. The brother of Zeus and Poseidon, Hades rules the underworld, the realm of the dead, with his wife, Persephone. Pallas Athena - Roman name: Minerva. Usually just called Athena, this goddess emerges from Zeus’s head fully-grown and armed. Associated with war, cleverness, and wit, it is no surprise that she favors Odysseus. Athena is the goddess of Wisdom, Reason, and Purity and is chaste, like Artemis and Hestia. Phoebus Apollo - Usually just called Apollo. A son of Zeus and Leto and Artemis’s twin, he is the god of Light and Truth, the master of Poetry and Music, and the god of Archery. His Oracle...
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...THE HERO WITH A THOUSAND FACES JOSEPH CAMPBELL BO I. L I N G EN SERIES XVII PRINCETON UNIVERSITY AND PRESS P R I N C E T O N OXFORD Copyright © 2004 by Princeton University Press Published by Princeton Unhxmt^Pms, U WiffiaM SUrtt, Pnnceton, New Jersey 08540; im^inii!-. •:-..• punght i 1-49 by Botiingen e d i t i o n l n ' i l h Foundation, rc't.'itii.yi •: • andpttt t*j''!' !_•"' . !.,.: b% :''ohi: •• Bough, one-volume edition, p. 386. Copyright, 1922 by The MacmiUan Company and used with their permission). Compare Sigmund Freud: "I recognized the presence of symbolism in dreams from the very beginning. But it was only by degTees and as my experience increased that I arrived at a full appreciation of its extent and significance, and I did so under the influence of . . . Wilhelm Stekel. . . . Stekel arrived at his interpretations of symbols by way of intuition, thanks to a peculiar gift for the direct understanding of them. . . . Advances in psycho-analytic experience have brought to our notice patients who have shown a direct understanding of dream-symbolism of this kind to a surprising extent. . . . This symbolism is not peculiar to dreams, hut is characteristic of unconscious ideation, in particular among the people, and it is to be found in folklore, and in popular myths, legends, linguistic idioms,, proverbial wisdom and current jokes, to a more complete extent than in dreams." {The Interpretation of Dreams, translated by...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...DIVINATION SYSTEMS Written by Nicole Yalsovac Additional sections contributed by Sean Michael Smith and Christine Breese, D.D. Ph.D. Introduction Nichole Yalsovac Prophetic revelation, or Divination, dates back to the earliest known times of human existence. The oldest of all Chinese texts, the I Ching, is a divination system older than recorded history. James Legge says in his translation of I Ching: Book Of Changes (1996), “The desire to seek answers and to predict the future is as old as civilization itself.” Mankind has always had a desire to know what the future holds. Evidence shows that methods of divination, also known as fortune telling, were used by the ancient Egyptians, Chinese, Babylonians and the Sumerians (who resided in what is now Iraq) as early as six‐thousand years ago. Divination was originally a device of royalty and has often been an essential part of religion and medicine. Significant leaders and royalty often employed priests, doctors, soothsayers and astrologers as advisers and consultants on what the future held. Every civilization has held a belief in at least some type of divination. The point of divination in the ancient world was to ascertain the will of the gods. In fact, divination is so called because it is assumed to be a gift of the divine, a gift from the gods. This gift of obtaining knowledge of the unknown uses a wide range of tools and an enormous variety of ...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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