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the idea of metamorphosis in literature
the idea of metamorphosis in literature
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On a fundamental level, both Acrasia’s and Adonis’ gardens exist in a perpetual battle between Eros and Thanatos. Moreover, in both environments, flesh is the one uncontrollable factor that ultimately leads to death. However, in Acrasia’s garden, her intemperance (excess, covetousness, greed, envy, and narcissism) catalyze the destruction of the flesh. In stanza 52, a foreshadowing occurs when Spenser incorporates a few of Ovid’s Metamorphosis characters such as Rhodope who commits suicide “of Rhodope...herself for grief did kill” and shortly after Daphne Phoebus kills herself out of a love sickness, “fair Daphne Phoebus heart with love did gore.” Later in the story, Guyon reverses Acrasia’s Circean spell that turns Verdant (her boy toy) and all of her other lovers that she turned into beasts back into men, “yet being men they did unmanly look...but one above the rest in special.” The previous line shows men who no longer behaved like men after spending their bodies with Acrasia and hyperbolized in the “one above the rest” called Grille, “that now he chooseth, with vile difference / to be a beast, and lack intelligence” (II.12.86-87). …show more content…
Significantly, Grille’s passage shows a congruity between Spenser and Aristotle’s notion that a soul must actuate knowledge in order to be considered a living soul as opposed to a soul that does not exercise knowledge—who in effect is asleep/dead. Moreover, the characteristics of a negative love’s ability to corrupt the soul and imbalance the humours ultimately lead to
“Mrs. May’s bedroom window was low and faced on the east and the bull, silvered in the moonlight, stood under it, his head raised as if he listened- like some patient god come down to woo her- for a stir inside her room. The window was dark and the sound of her breathing too light to be carried outside. Clouds crossing the room blackened him and in the dark he began to tear at the hedge. Presently they passed and he appeared again in the same spot, chewing steadily, with a hedge-wreath that he had ripped loose for himself caught in the tips of his horns. When the moon drifted into retirement again, there was nothing to mark his place but the sound of steady chewing. Then abruptly a pink glow filled the window. Bars of light slid across him as the venetian blind was split. He took a step backward and lowered his head as if to show the wreath across his horns.” (311)
Images of male homosocial and homoerotic relations pervade Athenian culture. From plays to poetry and jugs to the justice system one can find these relations represented pictorially and in words. But do all these images align with each other or are there irreconcilable differences between them? To look at this question we will take two small pieces of culture, a philosophical treatise, Plato's Symposium and the lyric poetry of Theognis and Anacreon.
Throughout their early life, children feel oppressed by their parents. From being constantly nagged to being misunderstood, children can feel that their parents dislike them. With screams and threats, with lions lurking, Ray Bradbury utilizes foreshadowing and symbolism to uncover those dark feelings that dwell within a child.
Sappho’s works exemplify the recognition of Aphrodite by including her as a vital role in the lyric poems. By recognizing Aphrodite, Sappho is able to convey her emotions and sentiments about love. For example, in Poem 1, the speaker calls out to Aphrodite pleading for unrequited love for a person. Sappho begins with addressing her as “deathless Aphrodite”. This use of terms emphasizes Aphrodite immortality. Throughout the poem, Sappho, once more, uses “deathless” as a way to describe Aphrodite, displaying her everlasting life, furthermore emphasizing her capabilities as a goddess. Her tone towards Aphrodite often changes from a praising tone to a satirical sense from lyric poem to lyric poem. For example, Poem 1 shows her praising Aphrodite and pleading for help over her unrequited love. On the other hand, Fragment 102 uses the phrase “slender Aphrodite” in a more
In Symposium, a selection from The Dialogues of Plato, Plato uses historical allusions to demonstrate Alcibiades’ frustration with both social expectations for the phallus and his inability to meet these expectations. Alcibiades’ inability to have a productive sexual relationship effectively castrates him and demonstrates the impotence caused by an overemphasis on eroticism. The tragedy of Alcibiades is that he realizes he is unable to gain virtue through sexual relationships and will therefore be forced to remain mortal, yet he is unable to alter his condition.
Throughout the story “In the Lake of the Woods”, there are footnotes every few chapters. In the footnotes, different people all speak on whatever is currently happening in the book at different points in time. Each footnote is presented as a piece of evidence which include stories from some of the people who knew both Kathy and John. In the footnotes, the narrator is speaks in the first person, which implies that he, like the main character, fought in Vietnam. The footnotes add legitimacy to what is being told in the story, instead of destabilizing it. They also give the story a new layer because they skip time periods ranging from when he was a boy, to the war, and to his current situation. The reason that the footnotes work is because, instead of coming out of nowhere, the facts being presented, are almost from the author himself so it is not just a bunch of random information thrown at the reader all at once.
It is the reversal of “tradition, order” and “all things”. In her commitment to revenge, Medea defies the expectation of Greek society, transforming from the “poor Medea”, who is “scorned and shamed”, “[lying] collapsed in agony, into a “vile murderess”, who’s “rage will not relax till it has found its victim”. Medea is an anti-hero; she underplays the supposedly righteous and moral principles of society in demonstrating the contradictions of Jason’s character and generally men, who are themselves guilty of being “swayed by passion” and being “oath breakers, guest deceivers and liars.” As much as Jason is disloyal, Aegeus is equally loyal; he is so beguiled by Medea’s offer of being “granted fertility”, that he is willing to provide “sanctuary” in Athens for a “child killer”. Just as Medea is motivated by her personal passions in neglect of civilised laws, no less are the men in the play. Furthermore, the fact that the ending of the play unfolds in the manner that it does, where Medea evades punishment “in this chariot which the Sun has sent to save her from the hands of enemies” is a testimony to the idea that the constructs of society and their supposedly cultivated principles are arbitrary in the larger scheme of our existence. Through the deus ex machina ending of the play, Euripides condemns humanity’s fixation on contrived ideals and values that ultimately affect greater merit than is actually
What is Charles Dickens Attitudes to the french Revolution and how does it affect how the novel is understood?
The identification of the soul parts as the contributors and main elements for the function of the most important human activity (reasoning), marks the inevitable psychological asset of Aristotle’s thinking; specifically, the classification of human virtues derives from the analysis of the soul’s types, attributing to human beings the ability of reasoning which distinguishes human beings from the rest of ‘natural bodies.’ Indeed, reason exists in two parts of the soul, namely the rational and the appetitive (desires or passions), and so it expresses within two different virtues, the moral and intellectual ones. Moral virtues satisfy the impulses of the appetitive part and the intellectual virtues hav...
Sartre and Shakespeare accomplished portraying man’s attempts at seeking the meaning of life in death. Garcin and Hamlet on surface are so different, but grapple with the same inner strife and question of their personal ability to accept fate. In order to look within themselves, they must look outwards, and find the ornament and skull as keys to the map of life.
Many famous writers use foreshadowing. An author needs to use different instances of foreshadowing. Charles Dickens was a great British author who used foreshadowing. A Tale of Two Cities, written by Charles Dickens, contains many examples of foreshadowing.
Plato’s Republic introduces a multitude of important and interesting concepts, of topics ranging from music, to gender equality, to political regime. For this reason, many philosophers and scholars still look back to The Republic in spite of its age. Yet one part that stands out in particular is Plato’s discussion of the soul in the fourth book of the Republic. Not only is this section interesting, but it was also extremely important for all proceeding moral philosophy, as Plato’s definition has been used ever since as a standard since then. Plato’s confabulation on the soul contains three main portions: defining each of the three parts and explanation of their functions, description of the interaction of the parts, and then how the the parts and their interaction motivate action. This essay will investigate each segment, and seek to explain their importance.
In classical Greek literature the subject of love is commonly a prominent theme. However, throughout these varied texts the subject of Love becomes a multi-faceted being. From this common occurrence in literature we can assume that this subject had a large impact on day-to-day life. One text that explores the many faces of love in everyday life is Plato’s Symposium. In this text we hear a number of views on the subject of love and what the true nature of love is. This essay will focus on a speech by Pausanius. Pausanius’s speech concentrates on the goddess Aphrodite. In particular he looks at her two forms, as a promoter of “Celestial Love” as well as “Common Love.” This idea of “Common Love” can be seen in a real life context in the tragedy “Hippolytus” by Euripides. This brings the philosophical views made by Pausanius into a real-life context.
Actaeon, Narcissus, and Adonis, are likened to Dorian to reveal a particular aspect of his character and his dilemma. Actaeon’s curiosity reflects Dorian’s unaware discovery of sexuality within the pure Sibyl. Whereas, both Narcissus and Adonis (as seen in Sources 8 and 9), echo his beauty and disinterest in the opposite gender. Furthermore, Narcissus emphasizes the character’s vanity and Adonis represents the portrait. This is because Adonis’ death and resurrection represents the decay and recovery of the plant year, which is similar to how the ugliness of aging had been transferred into Dorian’s portrait and restored his
...of the body, and no problem arises of how soul and body can be united into a substantial whole: ‘there is no need to investigate whether the soul and the body are one, any more than the wax and the shape, or in general the matter of each thing and that of which it is the matter; for while “one” and “being” are said in many ways, the primary [sense] is actuality’ (De anima 2.1, 12B6–9).Many twentieth-century philosophers have been looking for just such a via media between materialism and dualism, at least for the case of the human mind; and much scholarly attention has gone into asking whether Aristotle’s view can be aligned with one of the modern alternatives, or whether it offers something preferable to any of the modern alternatives, or whether it is so bound up with a falsified Aristotelian science that it must regretfully be dismissed as no longer a live option.