The Captain’s Doll

"The future is like a big tangle of black thread. Every morning, you begin to untangle one loose end—and that's your day. And every evening you break off and throw away what you've untangled and the heap is so much less: just one thread less. One day less" (84). To Captain Hepburn, this is all the future is. After considering this statement, I find some truth in it. Each person has to find a purpose to his existence and work towards making some sort of meaning with his life. But, it is rather depressing if your purpose does not advance your situation or that of any one else. The relationships we have with others give our lives meaning. I suppose that since Captain Hepburn was emotionally detached from all those around him, he could never see any more substance to his life simply because it did not exist. Lawrence also focuses upon reminding his audience that there is a finite amount of time in life. Each person much decide which threads he will work upon untangling: hopefully, at the end of the day he will be able to sleep at night with a clear conscience.

Once a widow, Captain Hepburn developed some strange ideas about marriage. He determined it would be best for his next wife to honor and obey him. In return, he would "love" her as a wife, but he would not love her as a man should love a woman. In considering Hepburn's new idea on the concept of marriage, I was reminded of Margaret Fuller's ideas on marriage in "The Great Lawsuit" and four types of marriages. 1) The household partnership, 2) Intellectual companionship, 3) Mutual idolatry, and 4) Religious or journey to a common goal. Fuller's descriptions of marriage seem right on the money. Captain Hepburn's first marriage seemed to be one of mutual idolatry (his only goal was to make her happy). He found this marriage unfulfilling, so he hopes his second marriage will be a household partnership. But the Countess knows that this type of marriage is not the ideal so she is hesitant to attach herself to him.

The subject of the doll must be addressed to some degree: Hepburn was controlled like a puppet by his wife. After her death, he was controlled by the false roles he assumed a man should take in a marriage.

Remembrance of Things Past: Place Names: The Place

In ROTP, Proust makes many references to the art of photography. In his mind, this art form is not perfected and lacks many of the qualities other works of art have. I cannot wholly agree with this argument. Photography has the ability to represent to represent reality in ways other art forms lack completely. Proust finds that "a photograph acquires something of the dignity which it ordinarily lacks when it ceases to be a reproduction of reality and shows us things that no longer exist" (821). But don't all photographs represent a moment in time which can never be recaptured? Even if the person continues to live or the structure continues to stand, it will never be as it was in that moment.

Proust writes that "children have always had a tendency either to depreciate or to exalt their parents" (828). In today's society, this seems especially true. Children do change the priorities and lifestyle of parents. The responsibility of parents is very great: they have the opportunity to mold a child into a responsible adult. Each child is born with their own personality, and it the duty of parents to ensure the child does not grow up without restraints believing they are the center of the universe. Many parents cater to a child's world; these individuals grow up selfish and with entitlement issues. To my own parents, I am grateful for your love and support. With your example, I was taught to be aware of the world and to give to others freely. I am not the most important person in the world, and I am quite all right with that. If I can improve the world in some small way, I have completed my task. I apologize for my tangent.

My reading of Proust seems to have come to a standstill. I have finished the first thousand pages, but cannot force myself to continue. Perhaps in the winter I'll finish the remainder, but for now I want to read something a bit lighter,

Remembrance of Things Past: Place Names: The Name & Madame Swann at Home

You hear it said that each person is given the same amount of time in their day. To a certain degree, I suppose this to be true. But Proust introduces a concept that I had not considered that "in our lives the days are not equal" (424). He further explains his theory by stating days come in different gears. He finds that "there are mountainous, arduous days, up which one takes an infinite time to climb, and downward-sloping days which one can descend at full tilt, singing as one goes" (424). Each day contains 24 hours; each hour has 60 minutes; each minute has 60 seconds… But a day can contain many different moments that can last a second or an afternoon. Or a day can simply contain the 1440 minutes and have no extraordinary moments. In life, there are times—often unpleasant—that simply seem to drag on. Those fleeting moments of happiness seem to be more difficult to hang on to.

Marcel's infatuation with Gilberte Swann also sparks some insightful remarks about humanity. With each individual that one has interactions with, "a new personality" is developed (465). Around different people, someone can exaggerate certain traits that will fit that particular group. In a family setting, someone is completely different than at work or out with friends. On that same thought, love has the ability to create "a supplementary person whom the world knows by the same name, a person most of whose constituent elements is derived from ourselves" (505). In English when someone is in love and has a relationship, the lovers know one another on entirely different levels than regular acquaintances. One person is able to have those multiple personalities to fulfill their different roles.

Proust wrote Remembrance of Things Past more than a century ago, yet it continues to mirror some aspects of current American life. The growing dissatisfaction and inability to find contentment grows further out of many people's reach. Proust finds that people "continue to struggle and hope a little longer, but happiness can never be achieved" (672). Why? Once we overcome our circumstances, there is nothing to fight for and we lose our sense of appreciation for that which we strive for. We find "the phenomenon of happiness either fails to appear, or at once gives rise to the bitterest reactions" (672). If we continue to pursue empty dreams, we will never be fulfilled.

In the middle of Madame Swann at Home, one small snippet discusses the magic of the New Year and new beginnings. Marcel is disappointed in people who "cease to believe in the New Year" and believe any new goals are futile (526). I pondered this for a bit and hope that I shall never become one of those who don't believe in the magic of the New Year. I firmly believe that every individual has the ability to change, reform habits, and grow as an individual. The New Year offers every one the opportunity to examine their lives and improve them.

Remembrance of Things Past: Swann in Love

In the first half of Swann's Way, I thought Swann would be someone I could really look up to. He seemed to be able to function for every social clique and was above the constraints of both upper and middle class culture. He was educated and appreciated the arts. But then Swann in Love happened; how could such an amazing individual get hung up on a manipulative creature like Odette?

Marcel makes some amazing observations about humanity: "Three-quarters of the mental ingenuity and the mendacious boasting squandered ever since the world began by people who are cheapened thereby, have been aimed at inferiors" (209). In modern American culture this is apparent in countless ways. People seem to use every possible way to prove they are better than their neighbors by competing with the Joneses. The rat race is completely ridiculous and Proust explicitly states that those who attempt to elevate themselves about the rest of society are "cheapened" because the squander so much of their time and energy. Those who try to compete are often left unsatisfied and discontent. It is a shame that humanity has become more involved with this behavior since Proust published ROTP.

The use of flowers in ROTP continues to amaze me. The flower Odette gives to Swann in that fateful carriage ride is none other than the chrysanthemum (239). Chrysanthemums are the flower of the dead. They are often placed on graves to remember the departed. This could be no accident: the flower seems to represent Swann's loss of life and vitality and his enslavement to Odette. Also the cattleya mentioned repeatedly in Swann in Love refers to an orchid that takes 5-7 years to bloom. After years of cultivating this stick, you have a beautiful flower for 10 days and then it dies. The effort is not worth the reward. Similarly, the effort Swann puts into the relationship is not worth the reward that he obtains.

Remembrance of Things Past: Overture & Combray

To maintain a healthy level of insanity, I've decided to read Proust's Remembrance of Things Lost this summer. All 1.5 million words of it. The use of memory and reflections upon the past are prominently featured throughout the work—especially in the madeline sequence (48-51). Like many other modernist writers, Proust focuses upon sensory details like taste and smell to describe his memories. In these first two chapters, Marcel reflects on his childhood and impressions he has of people. I doubt he is entirely reliable (a modernist technique, no doubt), but he it is his unreliability which is one reason the work is so endearing. Marcel himself seems to realize the problem memories can have in relation to truth. He finds: "We try to discover things, which become precious to us on that account, the reflection of what our soul has projected on to them; we are disillusioned when we find that they are in reality devoid of the charm which they owed, in our minds, to the association of ideas" (93). How many times has an individual gone back to visit people or places of the past and they are simply not right? They have lost the charm they once had and no longer resemble those precious memories which we have created and cherish.

Marcel delves into the issue of society and its impact upon the characters within the book. Marcel's family falls within the middle class and his compares France's society to a Hindu caste system in which sharply defined castes are determined at birth. One's station in life cannot be changed unless there is "the accident of an exceptional career or of a 'good' marriage" (17). Everyone accepted their role within society and seemed to play the part they had been given happily.

Hamlet: Is He an Unlikely Hero?

Hamlet is the not the typical hero many would envision when considering Joseph Campbell's The Hero with a Thousand Faces, but he does have many of the characteristics that other heroes have. His call to adventure comes from the ghost of his father. Though Hamlet has many helpers on his journey, he never seems to fully trust any around him and kills or has killed all who seem to act as allies (Rosencrantz and Guildenstern) or mentors (Polonius). Perhaps this is because the hero must act alone and complete the journey without any outside aid. As stated on the handout, "the action occurs in a heroic past. With the exception of Omeros epics feature the heroes of a culture: the kings and warriors. The churls and gravediggers are of little consequence. In epics, the heroes illustrate how members of society should behave to create a better world for all. How Hamlet accomplishes this, I'm stumped. Also, after the hero completes his task i.e. avenging the death of his father, he should emerge with some great wealth (whether tangible gold or a great revelation), but Hamlet is left to die. (In fact, everyone seems to die; the body count is remarkably high even for a Shakespearian tragedy.)

The Lion, the Witch, and the Wardrobe

CS Lewis is an amazing writer, but I had never considered his work TLTW&TW to be an epic. This idea has completely reinvigorated the work for me and makes we want to read the entire work again as an epic. The selection from Lewis' work has part of Aslan's aristeia: he is taunted continually by his enemies. After being shaved, the mob remarks that "he's only a great cat after all!" (150). In "Deeper Magic From Before the Dawn of Time," the audience is exposed to many of the prophesies that are traditionally found in the epics. Aslan reveals "that when a willing victim who has committed no treachery was killed in a traitor's stead, the Table would crack and Death itself would start working backwards" (160). This prophesy allows "the gods" to play a role in TLTW&TW. Also the gathering of the followers of Aslan together seems reminiscent of so many other epics. In Lord of the Rings a council met to discuss the fate of the rings, in Iliad both gods and men come together to discuss the next actions in the Trojan War, in Paradise Lost the council in heaven discussing the war with Satan also seems to influence this work.

Candide

As much as I love Voltaire' Candide, I can't seem to wrap myself around this satire as an epic. First off, the story seems to begin more ab ovo. There is a clear beginning; it almost starts with a once upon a time. Through a series of unfortunate events, Candide begins a journey that doesn't seem to be as straight as those in other epics. He is often taken off course and pursues other adventures. His entire quest is for the lovely Cunegonde. In the end, he does find Cunegonde, but she is not the girl of his dreams. His entire "epic" journey has been a bit of waste. She isn't beautiful, she's sun-burnt, with bloodshot eyes, a withered neck, wrinkled face, red scaly arms. His prize is rotten! At the end of a hero's journey, he is supposed to have something to show for it. He doesn't have a beautiful girl; perhaps, Candide is one of those fellows he ends up with wisdom only the hero may gain—but he seems to reject all of the knowledge he has gained through his experiences and refuses to better society, content to live the remainder of his days cultivating his garden. He is too selfish to share his wisdom (if he has gained any, which I don't believe he did, he just kind of quit). Don't get me wrong; Candide's an amazing satire—I cannot classify it as an epic.

Kalevala

The Kalevala seems to integrate many of the elements of the epic tradition within its work. Although "the power of a man lay not only in the strength of his arms" there is still an element of competition and warriors take a genuine pride in a job well done (15). In the "Singing Contest," Joukahainen is determined to "battle" the great warrior Vainamoinen. Like in the Lusiads and the old man yelling from the dock his warning not to proceed, Joukahainen's parents plead with him not challenge the old wizard. Although this is not the typical epic battle we are used to where men attempt to hack each other to death, it contains many of the elements of the aristeia. At their meeting, Joukahainen brags about his amazing knowledge and his many accomplishments just like many of the warriors in past epics like Iliad, Aeneid, and Lusiads. Vainamoinen taunts Joukahainen stating that his "is the learning of women" (19). Vainamoinen reminds me faintly of Achilles in The Iliad: before Patroclus' death, Achilles is offered a huge amount of booty to join the ranks and fight the Trojans, yet he resisted. Vainamoinen is offered an array of fabulous prizes, but only the promise of an amazingly beautiful young girl is able to persuade Vainamoinen to release the magic holding Joukahainen.

Dante & His Fiery Inferno

Although Dante wrote his Divine Comedy in verse, I'd never considered it "epic" before. While reading Canto V, it became apparent that it follows many of the same conventions found throughout the course. Dante's references to characters used in previous works seem especially pertinent. In the second circle of hell are those which are carnal and unable or unwilling to control their physical desires. Dido, Cleopatra, Helen, Achilles, Paris, and Tristan all were doomed to this eternal torment. Dido, Helen, and Paris I can understand the reasoning behind their presence because of the epics which I've studied. (I believe Dido cannot truly be held responsible for her actions because it was the gods that influenced her decision to fall in love. Also Helen and Paris seem to have caused one another enough pain in their mortal existence—it seems cruel to continue their punishment since they were never able to truly enjoy the decision they made.) But I don't quite understand how Achilles ended up there. Achilles did not fight throughout much of Iliad because he was unwilling to humble himself before Agamemnon. Upon hearing Patroclus died, Achilles was filled with a furor that was unmatched. He had a great love and respect for his friend, and fought to honor his friend. I don't see him as one who was unable to control his appetites because in the end, he forfeited every comfort to avenge his friend's death.

Lord of the Rings

On the Tolkien and Medievalism handout, the "responsibility to be a good lord and repay fealty with honors and love" is documented. The lord and his servant have a working relationship to allow both parties to better their situation. I think that this closely resembles both Aeneas in Aeneid and the Portuguese in Lusiads because both the heroes within those epics were willing to sacrifice everything for the good of the state. Time and time again, we see Aeneas torn between his desires as a man and the sense of duty that continually drives him to sacrifice his own happiness.

The Lord of the Rings contains many other epic elements that are similar to those past epics, yet in the reading we see two unlikely heroes: a hobbit and a woman. These are definitely NOT the heroes Homer or Virgil would have written about. Yet in this trilogy we see the ordinary doing the extraordinary which is radically different from most epics (Omeros also falls into this category). Tolkien's variety of heroes seems to appeal to a much wider audience—there seems to be a hero that each individual could find admirable and perhaps emulate. If epics teach society how to behave and sacrifice for the greater good, Lord of the Rings certainly does accomplish that task.

Midnight's Children

Throughout Midnight’s Children, Saleem uses the image of a perforated sheet to illustrate how his family and his country is severly fragmented. Before the wedding, his grandparents were a little strange. His grandmother grew up wanting to remain unseen by men. This proved difficult when she became sick, so her family allowed her to be examined by a doctor. The doctor could only view the patient through a seven inch hole in sheet. Over time, the doctor grew to fall in love with the many body parts of his patient (including her blushing bottom); the pair was married. After the wedding, the good doctor realized it was only the parts of the woman he loved—not the whole woman. Saleem’s mother could not love her husband as a whole—instead, she had to break him into parts. She could love the pieces, but not the parts. In addition to these parallels, Saleem and India are handcuffed or chained to one another. Since Saleem is falling apart (cracking up), it can only be assumed that India is falling into pieces as well. And who wouldn’t? This country included so many different fragments of culture and religion that India represents the fragmented history of Saleem and his family.
Now if I could only figure out why Brass Monkey burns up shoes…

Omeros Book 7

I can’t seem to get over Walcott continueally referring to Helen as a panther. Early in book 1, Helen is like a panther when she is selling masks or t-shirts. She looks “just as a pantheress [who] stops swinging its tail to lightly leap into the grass, she yawned” (36). She simply watches the surroundings and swiftly disappears like some large cat. In the next chapter, Helen is provoked and the “claws raked [Achille’s] face in a flash…he fine teeth sawed his knuckles, she clawed at his good clothes” (39). Panthers are thought to be fierce and powerful, yet very elusive. Helen’s description as a panther seems to reveal more about her character than long, drawn-out descriptions. But Walcott, continues to use this image. Throughout her pregnancy, Helen looks like a feline. In one of the last scenes in Omeros, we are brought back to this image of the panther as Helen waits tables since Helen’s “slow eyes approaching you with the leisure of a panther” (322). It gives the audience the impression that the story is not yet over. Helen has the power to erupt once more if she is provoked. It seems to decribe the whole island: if they are provoked, they might rise up and attempt to free themselves from the Western world and its constraints upon the economy and the people.

Omeros Books 5-6

In Book 5, Walcott seems to question authority and why/how a society determines what is acceptable and what is not. In chapter 38, the reader is asked who determines the value of time, money, history… Walcott emphatically declares that all of these things are determined by various groups of people in England. All of these concepts have power because society believes and places value upon it. What is time really? At birth, individuals are not aware of the value of a second, minute, or hour. Children must be taught. Whether we remember as children waiting for the time to pass or as adults we are constantly hounded how much longer it will take, it makes no difference. Time only has value because someone a long time ago came up with this crazy concept and it stuck. Money is the same way (though some people never come to fully understand or grasp the value or lack thereof of money). Walcott recognizes that “the Corn Exchange” is responsible for setting the market or the economy (197). Yet these consepts seem trivial in Omerors. Hector seems to adopt this value system established by the authority in Great Birtain, but his life is not happier. He is still dogged by tourists taking his picture and has to play the part of the ignorant native to win a few pieces of silver from the tourists.

Omeros Books 3-4

In book 2, Walcott introduces a simile in which the conquering party feels like the pope and reveals how the people of the Antilles will become slaves by taking jobs on cruise ships (106-107). Later this concept of re-enslavement becomes more prominent. Walcott depicts several different native groups that over time lose their freedom. He focuses much of his energy upon the Native American tribes like the Cherokee and the Sioux. The Trail of Tears and the many times that the United States government signed false treaties with Native Americans is elaborated upon. In post-colonial studies, America proves difficult to classify. It plays the role of both the conquered and the conquerors. In Omeros, the conquered and their adaptation/acceptance of this role emerges as a motif. The Carribbean lifestyle that Hector, Achille, and Helen have had to adopt seems to parallel the Native Americans. The culture that these island nations once had is forever gone. Achille cannot even remember his name—he states that he has “forgotten”—and its meaning is forgotten as is everything: how could he or any other remember the history and culture of his nation? But Walcott does celebrate the survival of the conquered. These groups were able to grow into a culture which can integrate fragments of history and continue to thrive despite the harsh conditions.

Omeros Books 1-2

Walcott's choice in names for his primary characters seems intentional. It cannot be accidental that Achille, Hector, and Helen appear in Walcott's epics. His use of similes is a departure from many of the Homeric similes found in other epics. Most of these similes are short, and do not carry on like Homer's or Milton's. Early on a man compares himself to a horse. This horse is not the majestic stallion or a strong, valiant steed. Instead, this horse is patient and "rattling its mane or swishing its tail as flies keep circling its sores" occupies its time (22). This is not the image of a predator that most epics would record. Also Achille feels "like a dog that is left to nose the scraps of her footsteps" (38). These are images of the conquered, those that are defeated. Rage, honor, and shame still play a prominent role in this epic like in The Iliad. When Helen considers her current situation and realizes that "Yesterday, all my troubles seemed so far away" (38), I couldn't help but think of Helen in The Iliad. In one of the scenes when she was with Paris, she remembered her past life with Menelaus and how happy she was. She wished she could go back and live like that.

Paradise Lost Books 10-12

The visions Adam sees in Paradise Lost cause him to declare: "Better had I lived ignorant of future, so had borne my part of evil only, each day's lot enough to bear!" (Book 11, lines 763-765). A part of me has always wanted to know what the future has in store, but I'm not sure if that is wise. I wouldn't necessarily want to avoid making "bad" decisions because some choices I have made that might seemed to be unwise, have shaped and molded me into the person I am today. Since I don't know what lies ahead, I admit I am confused at how my life should be. At this time, I'm thinking about what I will do after college. Should I continue on with my schooling and pursue a career? Perhaps at this time, I need to concentrate upon other areas of my life that would challenge me and allow me to grow in other ways, but I don't think I should wait for something that might never be. Adam had that knowledge and wished he had not known what lay ahead for him and his sons. I don't believe his knowledge eased his pain, but only created more. I wouldn't choose to look in any crystal ball even if it might make things easier now. Life has so much pain; I have no desire to anticipate the anguish I have to look forward to.

Paradise Lost Books 8-9

In Books 8 and 9, Milton discusses the relationship of Adam and Eve in detail. In Book 8, Christ explains his rational for creating woman since "the brute cannot be the human consort. They rejoice each with their own kind" (lines 391-393). According to Milton, men and women were designed to be companions to one another. I couldn't help but remember this play by Edward Albee about Martin and Sylvia… Even after five centuries and a sexual revolution, bestiality remains a forbidden topic. I've digressed: moving back to the text, this part of Milton's work seems to be without controversy. At times, Adam and Eve seem to be placed as equals in the garden. Eve was "worthy well [Adam's] cherishing, [his] honoring, and [his] love, not [his] subjection" (book 8, lines 586-570). Adam is not to rule over Eve, but to be her life partner. But I don't see Adam and Eve as equals. Eve's plan to work solo is quickly shot down by Adam; Adam doesn't think her strong enough to withstand temptation. Perhaps in Milton's mind, she wasn't strong since Satan's "guile into her heart too easy access won" (book 9, 733-734). Her actions are "rash" (book 9, line 780). I'm intrigued by the reference to Samson and Delilah. I've always thought Samson a fool to be tricked by the wily woman, but I don't see Eve as that crafty, cunning woman.

Paradise Lost Books 5-7

Milton's Garden of Eden is not like I picture the Garden. Before they tasted the fruit from the Tree of Good and Evil, I have always believed Adam and Eve to be innocent and naïve. It is difficult for me to fathom they would be able to consummate their relationship as Milton indicates (Book 4, line 339), but Eve's dream in Book 5 really pushed me over the edge. Eve dreams that someone is persuading her to eat the fruit. This dream disturbs the couple (lines 130-131); I can't understand why. The pair has no knowledge of evil or good, why would a strange dream disturb like this alarm them? It's a great literary device which has been used in many other epics to foreshadow events to come, but it's difficult for me to suspend my disbelief because I am so familiar with the story. I do not know if readers of other epics struggled with a similar problem regarding The Iliad, The Aeneid, The Lusiads…

In Book 6, the counsel in heaven with God and the Messiah is reminiscent of those in The Iliad and the Aeneid. One line reminded me of Homer. I don't exactly understand the meaning at this point: "War seemed a civil game to this uproar" (lines 667-668). War to the gods in the Iliad and the Aeneid were distractions and games. This battle in heaven is so much more horrible and fatal than any other. The weapons in this battle are certainly more impressive, but it doesn't seem all that different from a battle between the Greeks and Trojans. But like the other epics, God declares: "I have ordained it thus far have suffered that the glory may be thine of ending this great war since none but Thou can end it" (lines 700-703). Just like Zeus, God lays everything out. He knows exactly what will happen and allows things to play out so they can follow his plan.

Paradise Lost Book 4

I can understand why so many critics have been fascinated with Satan. In Book 4, the reader can understand his motives and why he is the way he is. He hates the sun since it causes him to remember “from what state [he] fell” (lines 38-39). His pride and his ambition caused him to fall from the presence of God. He is disappointed he has lost his position, but he is unwilling to submit to the God’s will: the very thought fills him disdain and “dread of shame” (line 82). I’ve been thinking a lot about how Satan is free because he does not have to answer to anyone, yet he is unable to progress or achieve the greatness he once had. His situation reminds me of Agent Smith in the first Matrix. Smith hates his existence and continually fighting with humanity, but continues in this state of misery because there seems to be no alternative. Satan’s existence does not give him any pleasure or joy, but he continues because he feels he has no alternative—he will not submit to another’s will. Satan enjoys the freedom his existence allows him to have, but without the possibility of happiness is this a profitable existence?

Paradise Lost Books 2-3

Milton really loves his epic similes. In Book 3, Satan is compared with a scout who surveys the enemy’s camp at night (3.543-587). The scout climbs hills (line 546) and sees an amazing city (line 549). Within the scout simile, Milton uses another simile to describe the beautiful islands the scout sees in the distance. The descriptions are gorgeous and flowery and very poetic, but I find them really distracting from the work as a whole. Reading these 44 lines, I forgot what Milton was even talking about until he mentions “Fiend” and then I remember, oh yeah, Satan… (line 588). It’s a fabulous description, but a little over the top for my modern tastes; perhaps a reader from the Renaissance or one with more refined tastes would enjoy a Homeric simile like this.
This is going to read strange, but I don’t really like God. Let me clarify: I don’t really like Milton’s God. In Book 3, He knows that “Man will hearken to his [Satan’s] glozing lies And easily transgress the sole command” (lines 93-94). I don’t think this statement applies only to the transgression in the garden. I read this generalization and believe Milton’s God has little hope in humanity emerging into a moral civilization. Maybe we never did, from His point of view. Consider Sodom and Gomorrah. Even now, Darfur is certainly not the prime example of the good within humanity. But I have to live with the hope that perhaps someday, the world will be a better place. I can do my part and influence those in my part of the world to be better. Maybe then Milton’s God will not assume my behavior is because I “hearken to his glozing lies.”

Paradise Lost Book 1

Like Homer, Virgil, and Camoes, Milton employs many of the epic devices early in Paradise Lost. The "Heav'nly Muse" is called early in the work to assist Milton with his epic (Book 1, Line 6). The first book also has many epic similes scattered throughout. Similes like the meteor (587-593) and the bees (768-777) seem to grow longer and longer and become more involved (almost like Milton is acknowledging past poets influence, but showing he can do it much better). In The Lusiads, Camoes integrated the Roman gods with Christian ideology. Milton dismisses the religions of past epics and uses many references within the Old Testament like Camoes used the Roman gods.
It is refreshing to discover Christianity has shifted the responsibility of actions onto the individual. Satan acknowledges that "The mind is its own place and in itself Can make a Heaven of Hell, a Hell of Heaven. ... Here at least We shall be free" ( 254-255, 258-259). If the opposition realizes the power of freedom, perhaps the heroes will have the same belief. Milton writes that Satan and the angels that followed him lost "the flow'r of Heav'n [that was] once yours" and their names were "blotted out and razed By their rebellion" (316, 362-3). Satan and "his industrious crew" now strive to corrupt the souls of men. It reminds me of Lewis and his Screwtape Letters.

Lusiads IX-X

In Canto IX, de Gama sees many things in the world. In de Gama’s experience, he does not see “one ruler anxious for the public good” (canto 9, stanza 27). All of those who are entrusted to serve the people are too consumed with their own self-interest and advancing their own position to be able to serve the greater good within a society. De Gama also witnesses those who are responsible “to show God’s love to the poor and charity to all” focusing upon obtaining power and money (Canto 9, stanza 28). I am confused about this observation: Camoes has been opposed to the Reformation of the Church, yet he points out the flaws within it. Lawmakers also pass laws in the interest of the king and “the rights of the people are decreasing” (canto 9, stanza 28). Camoes seems concerned by the suppression of human rights, but realizes people are “all led astray by perverse desires” (canto 9, stanza 30). It is a normal occurrence that cannot be avoided. In many of his end of canto sermons, Camoes is quick to denounce ambition and money, but he recognizes that temptation is too great. He never seems to give a more sound reason on why we should avoid money.

Lusiads Cantos XII-XIII

At the beginning of Canto XII, Camoes rips into every other European nation to show his readers their inferiority to the Portuguese. While Europe is fighting amongst itself, those who reject Christianity continue to thrive. He challenges all nations to join the Portuguese “in punishing such vile acts” and promises praise above that which they already have earned (canto 7, stanza 13). Throughout Canto XIII, Camoes further illustrates the superiority of the Portuguese nation by using God and stating the Portuguese are a chosen people. These people are guided in their destiny by God (canto 8, stanza 23, 29).
On first description, Sarama Perimal’s mighty kingdom seems unusually civilized for an Islamic nation. Before the king left for Mecca, he freed his subjects and rewarded those who were most worthy (canto 7, stanza 34). It seems like a prospering nation with industrious people. Camoes seems unable to leave this small nation in a favorable light: he reveals that they are unclothed savages that are impure like the Samaritans (canto 7, stanza 37,39).
Finally, Camoes sermon at the end of Canto XIII denounces gold and those who pursue it. I couldn’t help but be confused with the last two lines: “How this enchanter [gold] can corrupt and tarnish, But all the while preserving virtue’s varnish!” (Canto 8, stanza 99). After spending two stanzas stating how evil gold and the riches of the world are, Camoes claims that gold is necessary to create virtuous people and build Christ’s kingdom on earth. It seems like the Portuguese are able to be above the evil effects of money and the ambition it causes in some.

Lusiads Cantos IV-VI

In the Lusiads, Camoes also uses epic similes. There were several in this section which made me pause to consider their meaning. In Canto IV, the Portuguese are compared to “a fierce lioness” (stanza 36). On the surface, this does not appear to be too different: after all, Homer used many wild animals like lions, boars, and wolves in The Iliad to describe the warring factions. Yet this simile, introduces the female lion. She leaves her cubs in a safe haven to hunt for her children. The cubs “are stolen by a shepherd” (Canto 4, stanza 36). The mother’s instincts kick in; she releases a “furious roaring and rampaging” (Canto 4, stanza 37). The lioness will do everything to ensure her cubs are brought back to her safe keeping. The Portuguese are then invited to behave like the lioness to “defend your native soil” and protect their liberties and the lives of their families (canto 4, stanza 37). This is very empowering to the Portuguese until you realize that they are not on their home soil. They are traveling to take to the homes of others and spread imperialism. They are working to spread the glory of Portugal, not to guarantee life, liberty, and the pursuit of happiness.

Lusiads Cantos II-III

I was really struck de Gama’s trust of the Muslims after they betrayed him. “So easily can a trusting soul be taken in by appearances” (canto 2, stanza 16). Like many of my peers, I was wondering just how stupid the Portuguese could be. They keep allowing themselves to be burned by everyone. But then my professor mentioned how the Christian convicts sent to investigate the Muslims reminded her of UN Weapons Inspectors. This got me thinking about how Americans keep letting themselves be burned just like the Portuguese. Prior to 2001, the United States fell victim to terrorist attacks by Muslim fundamentalist. The WTC bombings, the Cole, in Africa one of the American embassies was bombed… But it didn’t sink in until 9/11 that there were people who were against America. (Now I have some wicked crazy ideas about the attack that are not popular with everyone. There's a really interesting article from a professor at BYU I think every American should be familiar with titled "Why Indeed Did the WTC Buildings Collapse?" by Steven E. Jones. Any major search engine can find it.) So I think we have to ask ourselves, do we want to live in a country that trusts people or do we want to live in a country we can be burned? I like my civil liberties, so I vote that live in a country that allows us to trust people and maybe be burned or have another attack like 9/11.
Back to the Lusiads, I really love his epic similes. They are very different from Homer or Virgil, but they are extremely poignant. In canto 2, stanza 23 features a simile about ants that really shows how the nymphs struggled to keep the Lusitanians alive. It shows how the odds were stacked up against them, but they continue to fight for their freedom.

Lusiads Canto I

Camoes’ familiarity with the great epids like Virgil’s Aeneid and Homer’s Iliad and Odyssey is apparent. He seems to reference them very quickly, but he also states that his epic will be different from others. His work references “a loftier code of honor” (stanza 3).
Camoes also employs many of the same devices as Homer and Virgil—specifically the epic simile. The debate on Mount Olympus is compared to the wind (stanza 35). The battle between the Christians and the Muslims is likened to a bullring (stanza 88).
Although Camoes is writing a Christian epic which seems to celebrate “the Son of David” as a creator who underwent “disgrace and insult…[and] descended from the heavens to earth to raise us mortals to our heavenly worth” (stanzas 71, 65), he incorporates many of the gods used in previous epics. The Portugese travelers seem to be devouted Christians, yet Camoes still utilizes the gods and the role of fate in this work. The gods argue between themselves and still seem to aid or hinder the progression of the Portugese.
The depiction of Muslims expecially intrigues me. Their portrayal is not in any way favorable. The Sheik is described as “malevolent” (stanza 69). Further degradation is revealed in the comparision between the Muslims and “dogs baring their teeth” (stanza 87). The Muslims fight by “flinging rocks and sticks and pebbles, the very weapons of desperation” (stanze 91). The Christians fight with “lead balls” (stanza 89). Camoes points out that these two groups are not on the same playing field. The Muslims fight like children on the playground, the Portugese fight like men in war. It’s been a while since I’ve read my Edward Said, but I smell the traps of Orientalism.
Though I do love how Camoes closes this canto “O the vicissitudes of life’s journey! That wherever a people place their trust, The little they rely on turns to dust” (stanza 105). Each life will have its struggles, but individuals need to place their trust upon an internal power in order to persevere. Anything else will fade into oblivion.

Aeneid Book XII

At the end of the Aeneus' rampage (perhaps aristeia is a more appropriate term), I have to wonder if Turnus really had to die. If he had not carried Pallas' belt around like a trophy, Aeneus would have shown him mercy. In Fagles' translation, we see that Turnus' pleas for mercy "began to sway him more and more" (Book XII, lines 1096-7). In Fitzgerald's translation, Turnus' words "began to bring [Aeneus] round from indecision" (Book XII, line 202-3). The sight of the belt "flaunted" by Pallas' enemy was too much, so Aeneus strikes Turnus down. But by defeating Turnus in such a manner was Aeneus putting his own interests before the interests of the Roman state? Throughout the Aeneid, we see Aeneus putting the public's interests before his own. Keeping a strong warrior like Turnus around could have been a real boon to New Troy or Rome, but would Turnus' survival have been a threat to Aeneus and Rome? I must admit it has been some time since I took Western Civilization 1; I don't really remember too much about ancient Rome, but I doubt a Caesar would have allowed an enemy to remain alive. Also, Aeneus becomes the Achilles in the Iliad completely after Turnus has been killed by his hands.

Aeneid Book XI

In the Fagles' translation, this book is titled "Camilla's Finest Hour." In Virgil's work, Camilla seems to epitomize a strong character. Other female characters are not portrayed as well. Creusa "wails with anguish" (Book 2, line 847). Sure her home is being destroyed by the Greeks, but it seems this behavior is still unacceptable. She disappears into the night--no one knows how she met her fate, but she is dead. At first, Dido seems to be a successful queen in a thriving city. Driven to by the gods to love a man she can never have, Dido kills herself. Finally, Camilla emerges. Since her infancy she has been raised to become a warrior princess. She leads a group of Amazons to fight the Trojans. She slaughters just like any other man. She is described as a falcon preying upon a dove which "hooked talons rip its insides out" (Book 11, line 853). Camilla is on fire. Yet Virgil doesn't allow women to thrive in his Roman epic. The woman must die, but unlike Creusa or Dido, Camilla dies with her dignity intact. Her final thoughts are for the Italians. In reading about her death, I thought of Patroclus in Iliad and how Hector killed him. The gods are the only ones able to kill her. In both texts, Apollo aids Hector and Chloreus in killing these two. Without the meddling of the gods, both might have survived. But Virgil could not have a strong female actually survive through his entire work.

Aeneid Books IX-X

I’m amazed at the similarities between this part of The Aeneid and The Iliad. Virgil explores the costs of war and its effect upon society. Several passages struck me. When Euryalus’ mother discovers her son has died on the battle field in book 9, she openly mourns her loss. Euryalus was “the only balm” or comfort of his mother in his later years (line 551). She fears his corpse will be mutilated and devoured by dogs and birds (line 556). She wishes she could have prepared the body for burial, and is grieved at the thought of his mutilated corpse. The war left behind mothers, wives, and children. Like Homer, Virgil reminds us of this.
Shortly thereafter in the same book, Numanus is taunting the Trojans. His jeers and insults break my heart. His culture has been bred to be warriors. They do not appreciate the humanities. The children are toughened up in “bitter icy streams” (line 687). The boys spend their childhood “up all night, hunting, scouring the woods” (line 688). The youth become “calloused by labor” and live their lives by “the hard edge of steel” (lines 690, 692). They live off the booty they can pillage from others. And Numanus has a deep sense of pride in this. It seems unreal that a society can have a value system that is so different from any other that I have encountered.
In book 10, Jove declares “Each man has his day, and the time of life is brief for all, and never comes again. But to lengthen out one’s fame with action, that’s the work of courage” (lines 553-556). Honor and glory still dictate how the Trojans will live their lives.

Cinderella Revisited

It's a classic story. Rich boy meets poor girl. Boy seduces girl. Boy impregnates girl. Girl kills baby. Boy lives happily ever after. Maybe not so classic, but I wonder how the Cinderella story evolved in this strange way.
While considering this concept I have been thinking about Hetty in Adam Bede and Tess in Tess of the d'Urbervilles. The actions of Arthur and Alec do not leave the gentlemen blameless-perhaps in this life they might have received some sort of moral punishment, but Eliot and Hardy aim to illuminate society to the injustice of the working-class, uneducated woman.
Eliot praises virtue in the characters of Dinah and Adam and condemns the actions of Arthur and Hetty. I have just begun reading Tess, but I do not believe Hardy will have this same type of juxtaposition between right and wrong.

Aeneid Books VII-VIII

I have two bones to pick with Virgil.
#1 What is up with snakes? I never realized snakes were so prominent in the Mediterranean. It seems like every book, a snake appears and it acts as an omen or fulfills some type of prophesy. It seems really strange.
#2 Why does Virgil hate women? I cannot recall a woman who was represented as an intelligent, rational, powerful individual throughout their entire role in The Aeneid. From Dido to Helen, the role of Virgil's women is to bring down the men. A strong man-like Aeneus-is able to overcome the vile vixens who plague mankind.
The section in that spurns this train of thoughts was the death of Amata. She's upset that her daughter Lavinia will marry Aeneus so a "viper breathes its fire through the frenzied queen" (Book 7, linme 410). In one sequence, Virgil is able to utilize his trademark snake to destroy his sworn enemy-a woman. But the snake does not just kill the woman: it seems to almost become an intregal part of her. After all, "she feels nothing, no shudder...senses nothing at all" (Book 7, lines 408-9). The snake becomes part of her adornment. It is her choker and her headband.
The once-proud queen's existence ends in a most curious manner. She spins around like a top. But Virgil elaborates upon this simile for seven lines. Her life ends and she is being compared to a child's toy. This seems to be the ultimate degradation.

Aeneid BooksV-VI

There was so much that was covered in Book VI, it's hard to focus on one particular point. The most interesting concept I would like to discuss is the idea of political propaganda that Virgil uses. While Sibyl is describing Caesar Augustus (the emperor who would be Virgil's contemporary) she notes that "his coming has been promised" and as "the son of a god, he will bring back the Age of Gold. . . [and] expand his empire" (Book 6, lines 914, 915, 917). Augustus is represented like Christ is in Christian cultures. Like Jesus, "his coming has been promised." Throughout the Old Testament in the Bible, it is prophesied that the Messiah would come and deliver his people. Augustus is described as "the son of a god." Consider the Christian belief that Christ if the son of God. His conception is called "immaculate" in many Christian sects. The conception of Christ allows him to be born without the stain of original sin. But, Augustus' primary goal was not to save teh souls of men. His focus was maintained upon expanding the Roman Empire. The similarities between Virgil's representation of Augustus Caesar and Jesus Christ are striking. I'm not sure I would classify Virgil as a Christian like many in the Middle Ages did.
In addition, I wondered how Augustus would be represented now in American culture. I can't think of any Americans that believe our leaders rule by Divine Right. Many Americans are uncomfortable with expansion and have been since the Spanish-American War at the beginning of the 20th century.

Aeneid Books III-IV

Andromache was one of my favorite characters in The Iliad, so I was excited to see she was in The Aeneid. I read it and couldn't help but be disappointed. I don't think Virgil was true to the character Homer created. Andromache seemed like such a strong woman and unwilling to simply allow the Greeks to destroy her hope. After Hector's death, we do see her drop her veil—this action shows that she realizes her life will be forever changed. The veil represented her virtue. Hector could no longer protect her from predators; she acknowledges with this one act that she is now vulnerable, but I do not believe she would still act as she does in The Aeneid. When seeing Aeneus' clan of fighters, "she faints, and after a long pause barely finds the breath to whisper" (Book 3, Lines 369-370). Why does she faint? Is she overcome with fear? Joy? Or has she simply become such a weak woman that the slightest surprise causes her to lose control over her facilities? Andromache has become a lady in need of smelling salts! She weeps and is "inconsolable" (Book 3, Line 376). The love between Hector and Andromache was amazing, but I always expected her to have better coping skills after Hector's death. I hoped she would still remain the strong woman Homer introduced in The Iliad.

Adam Bede

"No gentleman, out of a ballad, could marry a farmer's niece." Adam Bede, George Eliot

Arthur knows this truth--he declares it before he even seduces Hetty, but for some reason he cannot seem to stop himself. He rationalizes his decision to pursue this relationship when he knows it not good. He hides it from everyone since he values their good opinion and cannot lose face. Perhaps his character is most revealed in a childhood story: he feels like kicking so he kicks over a man's dinner. He realizes after that this wrong, so he tries "to make all the offences forgotten in benefits" (313). It's too late. Things cannot be undone. A pencil case and pocket knife won't feed the hungry man. Likewise, the seduction cannot be undone. Hetty cannot suddenly become unpregnant. The consequences eventually catch up to you.

Aeneid Books I-II

The Aeneid was definitely written to celebrate the greatness of the Roman Empire. The very first book reveals the end of Aeneas and the rise of the empire. Juno declares he has granted them an “empire without end” (Book I, line 334). This nation is the be-all, end-all of sovereignties. In comparing this epic to The Iliad, I’m amazed that the Tyrians have built their city—not conquered it. The “cluster of huts” developed into a community with “gates and bustling hum and cobbled streets” (Book I, 511,512). The Tyrians are certainly not the warriors Homer would have written of. These individuals are invested in creating and maintaining a home. It is a refreshing change from studying epics about those who were strong soldiers. These people work “at their tasks as bees in early summer” (Book I, 520). Unlike the Greeks or Trojans, lions, jackals, and natural disasters do not describe these people. These people are ordinary. Perhaps this is why they appeal to me. They seem to more closely resemble a society or culture which I would like to be a member of. They seem to be a peaceful nation, not perfect, but still a marked improvement over any society portrayed in The Iliad outside of a soldier’s memory of some almost forgotten home and family.

Poetics

I know this class is Epic Traditions in Epic World Literature, but while reading Aristotle’s Poetics, I couldn’t help but focus on the traditions the philosopher uses in describing comedy. Aristotle dismisses ancient comedy. I don’t know much about Greek comedies, but I remember most of the comedies were crass and the most popular comedies involved actors wearing very short skirts that revealed just about everything. Keeping this in mind, it makes sense that Aristotle thought comedies were trash. (Think if the only comedies you had to consider in the genre were like Little Man. Would you argue that comedy had little artistic value?) But some very important characteristics of comedies are documented which seem to continue this tradition. By taking a movie like Meet the Parents, I think you will be able to see how Aristotle continues to have some valid points.
One of Aristotle’s claims is that comedies imitate inferior people (9). This concept can infuriate many people—no one wants to admit people are not equal. But in all relationships there is a balance of power. In this particular comedy, Greg Focker is definitely inferior. He can do nothing right to win over his future father-in-law. The entire movie plays with one mistake after another that features Greg sinking further and further into a pool of inferiority. It is not on the same plane as enslavement, but there certainly is a balance of power.
Aristotle also uses the idea that there are universalized stories and plots. While I doubt any would believe that any of these things could happen to one person (breaking sister-in-law’s nose before wedding, painting cat’s tail, flushing toilet), Aristotle says “Probable impossibilities are preferable to implausible possibilities” (41). Even though this description was given for epics, this comedy seems to take advantage of it. All of the events could happen. It also states that “anyone who hears the events which occur shudders and feels pity at what happens” (22). This idea reminded me of the film. At the dinner table, grandmother’s urn is broken and her ashes are desecrated in the one of the worst possible ways imaginable. This scene is painful to watch and I “shudder” each time I see it.
Aristotle’s also criticizes comedies in which the bitterest enemies “go off reconciled in the end” (22). This bothers me in comedies as well. In Meet the Parents there is a reason; Pam and Greg are to be married, but still the whole film features this feud and at the end, everything is hunky-dory. It seems unrealistic. Even though Aristotle dismisses comedies from his era, he still managed to influence comedies in this time.

Iliad, Books XXII-XXIV

It's been no secret that Hector has been my favorite character: reading Book XXIV is always a challenge. To hear the Trojans mourn the loss of Hector is heartrenching. Maybe it's because after all of my reading and hoping that Hector will pull through and defeat the Greeks, he dies. Troy falls. I think it's interesting, Homer closes his epic with Andromache and Helene grieving over the loss of Hector. The poem's portrayal of the brutality of war ends with the women (the survivors) coping with the cost of battle. Andromache realizes her life must change after Hector's death--Troy will fall, she will be taken prisioner, their son will be persecuted. But Andromache seems most heartbroken that they did not spend his last moments together. Hector's last words were a prophesy about Achilles' death, not about love or life or happiness. Helen has the distinct honor of being one of the last speakers in the epic. This seems fitting since the Trojan War began with her kidnapping. Her love and respect for Hector is amazing. He is the man who restrained others from cursing her, not her beloved husband Paris (Book XXIV, line 906). Is it any wonder taht Hector is my favorite character? He seems so much more human and likable than god-like Achilles.

Norman Rockwell

"Without thinking too much about it in specific terms, I was showing the America I knew and observed to others who might not have noticed." Norman Rockwell

Norman Rockwell always wanted to be an artist. Rockwell was born in 1894. At the age of 14, he began taking art classes in New York City. At 18, he was a full-time illustrator of children's books and magazines. In 1916, Rockwell began to work at the Saturday Evening Post: he was only 22.
The Saturday Evening Post gave Rockwell a gallery for his work for over 40 years. His work appeared on 322 covers. As pieces of art, covers for magazine have some built-in limitations. A painting on a magzine cover must relate to the size and shape of the magazine. It cannot obscure the magazine's name, date, price, and so on. The painting must be meaningful and pleasing to a vast number of people and offend no one (or as few people as possible). It must instantly understandable without title or caption. It may amuse, edify or inspire, but it must do so at the first glance. No one will take the time to puzzle out the meaning of an obscure picture.
Most magazine covers appear one week and disappear the next. Yet the Rockwell Post covers have acquired a life of their own; they will continue to be cherished throughout the ages. The magic of Rockwell's work was its appeal to the general population. His paintings portrayed poignant moments most people have experienced at some point in their life. The settings show a rural America most adults are familar with. Rockwell presented this America always a little nicer than real life. The world he painted was always an idealized one.

Heart of Darkness

Throughout Heart of Darkness, colors describe people and objects. The colors further describe symbols to help the audience understand importance. Of course, white and black are featured predominately throughout the work. It can be assumed these represent good and evil, respectively. Yet, Conrad doesn’t always use white as a color of good and innocence. White men are not very well respected. At times clothing is white, without blemish—these characters were not necessarily innocent, just oblivious to the horrors which surround them. The white fog conceals the dangers of an ambush. Black could represent the “shadows of disease and starvation” or the trustworthy first-mate Marlow protects from the cannibals. Color is not absolute. The color of a person’s soul is often contrasted to the color of their skin. Red, according to Marlow, indicates “some real work is done,” so red might be a color with positive connotations. Later, red-eyed devils drive men to violence, greed, and hot desire. Red also describes the pool of blood under the wheel. On two separate occasions, the landscape appears silver, perhaps representing some hidden treasures that could never be discovered. When yellow is used, it seems cowardly and sickly. Kurtz’ complexion before he dies is ivory; the same color as the riches he sought in Africa and that stole his humanity. I don’t quite understand the pink pyjamas: maybe the little fat man is effeminate in some way, or exaggerates the lack of culture or society which women sometimes bring into western cultures. Overall, these mixed messages about colors indicate the world is not full of absolutes, but only shades of gray.

Iliad, Books XIX-XXI

More than any other section, Book XIX seems to celebrate the Greek and Trojan lifestyles. Hephastestus’ gorgeous armor features life with and without war. The armor seems to document a life cycle. Weddings and festivities are juxtaposed against a murder and bribery. Another scene shows a war; soldiers defend the liberties and freedoms of wives and children. Rich farmland and a king’s estate create a sense of nostalgia for a simpler, more peaceful time that probably never existed the way that it is represented. Vineyards and cattle abound; it’s a tranquil setting. The people are struck with joy and happiness flourishes. But Hephastestus’ picture does not seem realistic to me. The “good old days” never seem to exist the way they are remembered. Rose-colored glasses taint the memories and make them unreliable. In the last century, the good old days were colored with war, economic depression, civil unrest, and discrimination. But in many people’s memories, Mom had freshly-baked chocolate chip cookies waiting for children after school. Dad cheerfully mowed the lawn on Saturdays. The kids would play with the dog, ride bicycles, complete their homework without whining. At the end of a long day, the whole family would come together and watch television. Both pictures may be accurate to a degree, but not completely.

Iliad Books XVI-XVIII

In class, we discussed the concept of artesteia (a soldier’s killing rampage). There are five distinct points to the artesteia. 1) Hero arms himself, 2) Turns the tide of battle, 3) Wreaks havoc, 4) Wounded, prays, healed, killed important foe, and finally, 5) Battle for corpse. At this point in the text, I’ve been considering this cycle in regards to Patroclus. In Book XVI, Patroclus arms himself in Achilles’ armor (line 156). Patroclus rallies the troops and turns the tide of the battle. Even the enemy—Hector—realizes that the ball has shifted into the Greek court (Book 16, line 427-8). Although Patroclus is described as being superhuman (Book 16, line 914), he becomes wounded. He struggles to live, and offers a prayer to Zeus with a prophesy regarding Hector and his fate (Book 16, line 986-1000). But death comes; he does not seem to complete a full artesteia. He does kill important foes, but he does not kill THE FOE (Hector). This has been left to Achilles. Book XVII does feature the battle for Patroclus’ body. Menelaus emerges as a strong warrior.
So along these lines of the artesteia, I have been musing over how modern popular culture has seemed to adopt this idea. Think of Star Wars. Luke arms himself with a lightsaber and receives the proper training on how to wield a weapon “for a more civilized age.” At the end of A New Hope, the tide of the battle turns when Luke destroys the Death Star. In Empire Strikes Back, Luke wreaks havoc on Hoth by destroying the AT-ATs. In fact, it was Luke who told the Rogue Squadron how the AT-ATs could be taken down. Later in the same film, Luke is wounded by Darth Vader—his hand is cut off. He prays (seeks wisdom from Yoda and Obi-Wan). He is physically healed, but more importantly, he learns the truth about his family and his role. In Return of the Jedi, Luke goes on to destroy Darth Vader. (When Vader follows Luke’s counsel and destroys the Emperor, Vader dies and Anakin emerges.) Battle for the corpse is a bit of a stretch, but Luke does take the suit and burns it to show respect similar to the Greeks.

Can Literature be Apolitical?

I believe that literature is always about politics. Politics are the processes in which groups make decisions. It always seems to be a power struggle--how can a group maintain power and how can they acquire more. Power can be made manifest through many different ways. Of course, most consider freedoms that are guaranteed in the Constitution and its subseqent amendments. Perhaps we must also consider how large a relationship power and money have. Even within a nation that pledges that all individuals are created equal, we see that might be true in theory, but in practice many circumstances create advantages and disadvantages. Education and sex are also ways that power can be exchanged between different groups. In a nutshell, since the literature I have read (and I really haven't read that much) seems to deal with power and relationships individuals have with one another.

Iliad, Books XIII-XV

The deaths of numerous soldiers in Book XIII truly depict the cost of war. These deaths are all brutal. Both Acheans and Trojans alike fall. Homer reminds the audiences both the winners and the losers suffer losses in war. There is no true victory. Homer’s use of epic simile further imprints death upon the minds of his audience. Strong soldiers fighting in battle are compared with massive trees that are cut down (Book 13, line 454). A more striking simile can be found beginning at line 660. This soldier is grasping for life; his dying breaths haunt my memory. The death of Harpalon is compared to the death of an earthworm (Book 13, line 754). We have all seen worms lying on the sidewalk after the rain. They die in mass, scorched by the hot sun. It is not the death of a hero. It is absolutely pointless. I can find no honor in this type of death.
Irony seems rich in Book XIV. Zeus and Hera have the weirdest possible marriage. When Zeus is overcome with lust for his wife, he convinces her to be with him by reminiscing about past flings. Hera doesn’t let it faze her, probably because she is only seducing him to advance the Acheans in battle.

Iliad, Books X-XII

In my readings I came across a phrase that I cannot shake. A walking Verfremdungseffekt (no, I’m not making the term up) refers to making strange what has become familiar. To the Greeks, the art of warfare has become familiar and commonplace. These factions have been warring for nearly a decade. Yet, Homer seems to make the war extraordinary. True many of his epic similes refer war and the soldiers to things in nature, but these still seem very foreign. Almost like Homer has to convince the audience that while war has many costs, it also seems to be natural.
Homer’s use of epic similes continues to really bring The Iliad to life. In a previous entry, I mentioned the description of two Achaean brothers who are like lions. Book XI compares the Trojans to a less noble creature—the jackal. Unlike the lion, these predators do not attack the strong and healthy animals. These Trojans prey upon the wounded. They simply finish off what another man has started (Book XI, lines 560-1). There is no honor in this. Furthermore, Homer seems to celebrate the hunted stag (in this case, I believe this to be honor or the spoils of war) as a resilient beast, able to escape the hunter but not the arrow. The stag sprints without becoming fatigued. Eventually, the strength has gone and these “ravening carrion packs begin their feasting” (Book XI, line 564). The Trojans are no better than vultures which come to gorge themselves upon rotting flesh. But, the noble lions (Agamemnon’s armies) are driven to the battle and the jackals (Trojans) flee like cowards. The lions receive all the glory from the war. What I find most interesting about this metaphor is that neither side kills the stag. It is the hunter which wounds the beast. Really, it is the gods who control fate and continue to pull the strings. Only by their approval does either side enjoy the spoils of war.

Iliad Books VII-IX

Throughout Homer’s epic, there seem to be countless references to fate. In Book VII, there is an allusion to Troy—“her doom is sealed” (line 465). On an individual level, Achilles knows there are two fates which he cannot escape (Book IX, line 499). The Argives and Trojans did not fight their destiny. They accepted it whole-heartedly and believed that since it was the will of the gods it must be for the best. These soldiers listen to the gods and follow their advice. Time and time again, someone gets offended and is ready to kill someone. He stops to listen to the gods and avoids making a fatal error.
This seems so foreign to me as an individual. Perhaps it’s because I like the idea that I am in control of my life. Each individual has the opportunity to select how he will live. Circumstances might influence the choice, but it still exists. A person can choose the action, but not the consequence. In sharp contrast, few seem to take responsibility for their actions. When you have no one to blame but yourself for your situation, it’s easy to become depressed. American culture also runs too quickly for a person to stop and listen to the gods.

The Dead

Perhaps I should clarify: I only wish to discuss the two ladies which I find to be the most interesting--Lily and Gretta. Both characters seem to have some degree of difficulty accepting their specific role as a woman. (Molly Ivors seems to be a well-adjusted, strong woman; in my view, she has completely rejected her role and created a new one.)

As a very minor character, Lily is only present in th efirst few pages of "The Dead." As the caretaker's daughter, she seemed to accept her role with grace and dignity. She was competent and her employers both found her to be useful. She has completed her schooling, so now she must marry. Gabriel emphasizes these expectations most notably. Lily's bitterness is apparent: her opinion of men is very low. She has no intentions of marrying at this point in her life. The audience has no knowlegde as to what spurned this bitterness, but Lily has no desire to follow the traditional path.

Early in her life, Gretta was at a crossroads. Her first love, Michael Furey didn't want her to move to the convent, but Gretta knew what her role was. She tried to explain what was expected of her and of him, but he did not want to live in that worls. Her death reminds her of the choices she made to accept her own social role. As a result, she has no love towards her husband.

Iliad, Books IV-VI

It always amazes me how within this epic leaders come to a truce, only to have the peace shattered so quickly. It isn’t that different from today I suppose. Also I kept focusing on just a small part of Book IV. Every generation always seems to think their generation is the best. Even in ancient Greece, soldiers are proclaiming “we are far, far greater than our fathers” (Book IV, line 471). The rising have very little appreciation for their elders. Technology and more education rarely produce wisdom.
It’s been a while since I’ve looked in epic similes. If I recall, they are extended metaphors/similes. There were several which might qualify, but one of my favorites was in Book V comparing Diocles’ two sons to two young lions (Book V, lines 637-641). Its emphasis on the brutality of these lions creates incredible insight into the pair’s combat style. These lions ravage and maul until they are hacked down.
Book VI features Helen in a completely different light (as close to the TMZ version as ancient Greece had). Her regrets and self-deprecation always startle me. Paris is in the room; he can hear EVERYTHING. After ten years of listening to your wife say, “I never should have left my first husband,” and “he was such a better man” I cannot understand why Paris and the Trojans do not sent her on the next plane packing. Different times, perhaps.
The Iliad really should be Hector. Throughout the entire work, he remains constant. He is a devoted husband and father and I love reading this chapter to see how he interacts with his beloved Andromache and their young son. Troy’s under attack, Hector’s life is in jeopardy, yet Hector’s primary concern is for his wife. Her agony and subsequent slavery gives him the most grief (Book VI, line 539-540). I’m not a romantic person, but this gets me every time.

Iliad, Books I-III

This isn’t my first time reading The Iliad. Each time I begin it, I am always amazed at the many reasons why people go to war and choose to fight. Achilles notes that “The Trojans never did me damage, not in the least” (Book I, line 180). His purpose in fighting was to secure more glory and riches for Agamemnon. Honor and disgrace play large roles in this decision to battle enemies. The Achaens make no efforts to hide their true aim: they wish to plunder Troy (Book II, line 156). In the end, Mother Earth embraces her children within her arms, leaving wives and children behind (Book II, line 798). These are some of the victims in the war, the ones who suffer.
The portrayal of Helen has always fascinated me. I’ve never really understood her. She had a really good thing going on with Menelaus. Then Paris comes, and Menelaus is suddenly not good enough. She throws away her old life with no regard to any of the consequences. If Hollywood were to present this story it would have Paris and Helen living happily ever after. But Homer shows his audience the honeymoon is over. Paris and Helen both regret the current situation. Helen is “lashing out at her husband” (Book III, line 499) and just rips her lover to shreds. But Helen’s contempt is not enough to cool Paris; his physical appetite has been whetted. Their entire relationship has been built upon sex. This dysfunctional couple seems to be the polar opposite of Hector and Andromache which is represented in Book VI.

Introduction

I've finally done it! One of my professors suggested using a blog as a journal to record some of my thoughts on the assigned reading. While I fully intend to use this blog for this purpose, I'm too busy to maintain more than one blog so I might add additional blogs about other stuff. Judging from my school load this semester, it will probably not be that often.