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.