Known for the manipulation of literary devices to create two wholly different meanings of her poetry, Margaret Atwood expects her readers to discover both figurative and literal translations. She uses allusions and metonymy in her popular poem “Orpheus” to encourage her readers to draw meaning from their own personal interests. If one’s area of expertise is Greek mythology, the reference to Orpheus is prevalent; however, if one is enthusiastic about revolutionary history, then he may perceive this poem as a tribute to martyrs in history. Though interpretations may differ, the main theme of the poem is self-sacrifice for love of another or perhaps an entire population.
While Atwood creates allusions to Greek mythology in several of her poems, her use of this device is rather unique in “Orpheus,” for the lucent evidence only appears in the title. The poet never mentions the name Orpheus directly within the poem; rather, she employs a third-person point of view and refers to the subject of the work as he: “Whether he will go on singing / or not, knowing what he knows / of the horror of this world…” (1-3). A reader not previously familiar with mythology who may overlook the title would find difficulty deciphering this literary piece in connection to Orpheus; however, by paying attention to the title, one can relate literally every line to the mythological figure.. In the actual myth, Orpheus is an extraordinary singer whose voice is unsurpassed by any mortal or god. He loses his wife Eurydice because of a serpent bite, after only a few days into their marriage. Devastated by his loss, he travels to the underworld in order to sing to Hades and ask for the return of his wife. The speaker describes hell in the following: “He was not w...
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...nt for which he sacrifices his life tends to gain drive and force.
In reference to the subtlety of language, Robert Frost once said, “Poetry is what gets lost in translation.” Without the allusion to Greek mythology and use of metonymy, the poem may diminish any sympathy the reader feels for Orpheus. Additionally, the literary devices contribute a sense of mystery that captivates the reader, especially regarding the description of the Underworld, a place one thinks about and reads about but cannot witness before death. On the contrary, the inclusion of these devises may raise awareness for the reader in regard to passionate leaders within his own society. Therefore, one must read between the lines of Margaret Atwood’s poetry in order to discover her true intentions.
Works Cited
Atwood, Margaret. Selected Poems II: 1976 - 1986. Vol. 2. Mariner Books, 1987. Print.
Throughout literature authors have written to express a message to their intended audience. This is no exception for the plays, Oedipus Rex and Darker Face of the Earth, written by Sophocles and Rita Dove, respectively. The similarities in plot, characters, and motifs are not the sole concurrencies between both plays; the overall message to the audiences in both plays is one in the same, one cannot escape their fate. Sophocles and Dove both illuminate this message through their use of the chorus. While Sophocles uses a single chorus of Theban elders, Dove illustrates the grimness of fate through several minor characters: the chorus, the prayers and the players, the rebels, and three female slaves. Dove’s usage of Phebe, Diana, and Psyche further accentuate the battle between free will and fate, as well as the role of women, a concept absent in Sophocles’ play.
...he realisation of an aberrant knowledge, a painful truth. The closely relative journeys of Santiago and Orpheus are equally linked in abject failure, however are far more closely bound by the fact that both of them were enriched from loss. They both received a victory from defeat.
Sophocles' Oedipus Tyrannus can be argued that it is related loosely to Rita Dove's The Darker Face of the Earth. This comparative and contrasting characteristics that can be seen within both plays make the reader/audience more aware of imagery, the major characters, plot, attitudes towards women, and themes that are presented from two very different standpoints. The authors Sophocles and Dove both have a specific goal in mind when writing the two plays. In this paper I will take a closer look of the two, comparing and contrasting the plays with the various elements mentioned previously.
As one of the most well known ancient Roman love poets, Ovid has demonstrated bountiful talents within his writing. When reading myths from his book titled Metamorphoses, you gain an enlightening insight of how he viewed mythology. To Ovid, love was the origin of everything. Therefore, it should not come as a surprise that most of his poems relate to the theme of love. However, not all poets are the same and every re-telling of a myth has its own unique perspective. In this paper I will compare and contrast the myth of Medea in Euripides Medea and Ovid’s Metamorphoses Book 7. I will then explain how Ovid’s approach to love and loss correlate to his general approach to myth as a whole. I will support my belief with evidence from Ovid’s Metamorphoses Book 14.
In Oedipus Rex by Sophocles and “The Lottery” by Shirley Jackson, there is a deception where readers think one thing, but are presented with a different point of view. They are profoundly similar for various reasons regarding structure and theme. They are complementary in establishing the primary conflict of drama during the storyline; however, Oedipus Rex encompasses foreshadowing that divulges drama from past experiences. Additionally, the authors incorporate violence as a key component in the conflict presented. However, the drama differs in plot, as well as symbolism, in which the reader understands it before or amid the story through gradual discovery. The themes and presentation of these dramatic plots are initially compelling, distinctive,
Each literary work portrays something different, leaving a unique impression on all who read that piece of writing. Some poems or stories make one feel happy, while others are more solemn. This has very much to do with what the author is talking about in his or her writing, leaving a bit of their heart and soul in the work. F. Scott Fitzgerald, when writing The Great Gatsby, wrote about the real world, yet he didn’t paint a rosy picture for the reader. The same can be said about T.S. Eliot, whose poem “The Lovesong of J. Alfred Prufrock,” presents his interpretation of hell. Both pieces of writing have many similarities, but the most similar of them all is the tone of each one.
Aeschylus’ tragic trilogy, the only play to survive from Ancient Greece, repeatedly calls our attention upon a central concept of justice: justice as revenge. This is a relatively simple concept, with a powerful emotional appeal, linking vengeance to the family and their feelings for each other and for their collective honor. However, one must look past this superficial theme in order to fully appreciate and understand the depth and beauty of Aeschylus’ work, and regard it as a philosophical investigation into the concepts of justice rather than a great artistic fiction or a poetic exploration. The former approach is unfortunate because the Oresteia is not a rational argument. It is, on the other hand, an artistic exploration of abstract and theoretical issues. What matters in this case is the complexity of the feeling that emerges from the characters, the imagery, the actions, and the ideas in the story. In other words, the writer is dealing with a case of how human bei...
Poets Louise Gluck and Percy Bysshe Shelley use symbols and poetic techniques to convey themes of human experience such as death and haunting memories. In the poem, “Gretel in darkness,” Louise Gluck draws out a childhood fairytale and suffuses it with two fundamental human experiences: guilt and fear. In “Ozymandias”, Percy Bysshe Shelley discusses the idea that time and nature stop for no one. The poems reinforce the main themes through a variety of techniques. Louise Gluck’s, “Gretel in darkness” is a haunting poem about the horrors the speaker, Gretel, faces and tries so hard to forget.
Death is the end to the natural cycle of life and is represented as dark, melancholic and even menacing. The underworld is depicted as a murky and sinister realm where the dead are trapped in a world of eternal darkness. Ancient drama, however, defies the conventional perceptions and representations of death. Despite the foreboding associated with it, characters in ancient drama embrace death in its frightening glory, rather than face the repercussions of their actions, especially when their honor and pride are at stake. Deceit is also an integral part of ancient drama and characters, particularly women, fall prey to it and unwittingly unleash chaos that more often that, negatively impacts the lives of the characters. This paper demonstrates how gender biases can be interpreted from the depiction of death and the characters’ justifications of it in two of Sophocles’ plays – Ajax and Women of Trachis and also demonstrates how female deception leads to the death of the principal character(s).
In Ithaca, the depth of Joyce's irony is displayed. The denouement of this odyssey is perfect for this story, while at the same time leaving us with the exact opposite of the resolution in the tale the book proclaims to emulate. Odysseus' public apotheosis parallels Bloom's private shame. The concise question and answer format which Ithaca adopts, found no where else in the book, is refereed to by many critics as reminiscent of a catechism. The description is well deserved given the overt religious themes in Ulysses. The almost mathematical precision of the text in juxtaposed with gut wrenching emotion surrounding infidelity. The parallels that one can draw between the characters of Ulysses and the Odyssey are perhaps the deepest in Ithaca while the themes and undertones of the work drift further apart.
As such, Odysseus’ journey to Hades sheds light upon the differing views of life from those who were subjected to the savagery of war and those not. When speaking with a variety of deceased individuals, Odysseus is told numerous stories of regret, accounts of death which could only be understood by one on the battlefield. Odysseus does not initially wish to speak with his mother, though he eventually recalls, “I stayed where I was until my mother / came up and drank the dark blood” (11.150-151). The interpreted symbolism behind this act is almost paradoxical, while representing the underlying theme of a different perception of mortality. Perhaps honor in a distinguished, fighting death is merely a cover for the unbearable consequences of
The depiction of the Greek and roman myths are given unique insights from different authors. The Hymn to Demeter and Ovid's Metamorphosis provide and insight to Demeter's love for her daughter, Persephone, and explores its affect on the surrounding environments. The theme of separation and isolation is present in both of these myths, however, in Ovid's Metamorphosis, he symbolizes the environment in important events, has characters playing different roles, and empowers female deities.
The affair between Ares and Aphrodite poses the question of whether Odysseus will return home to find Penelope with another man. The story of Klytemnestra and Agamemnon is a theme itself throughout most of the poem. Therefore its is hard to ignore it as both hold the same story with different outcomes. In addition, the level of anxiety builds through Penelope's actions and the contradicting traits of different women.
Sophocles’ tragic play, “Oedipus the King”, or “Oedipus Rex” as it’s known by its Latin name, is the Athenian drama that revolves around the events which lead to the demise of Oedipus Rex. The King Oedipus is forced down a preordained path that throws his entire world into a spiral of tragic providence, in this trilogy of a Theban play. Sophocles assigns the tragic hero to a downfall with the impossibility of changing the written fate; perhaps the views of today’s society would feel sympathy for the predicament that Oedipus is forced into, however, the publics of ancient Greece would accept that the path laid before them was a creation of the Gods. “Oedipus the King” reflects the ancient Greek credence in the belief that a person can do nothing to avoid their destiny, an idea that contrasts with what society believes today.
The Editors of Encyclopædia Britannica. "Orpheus (Greek Mythology)." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 30 Mar. 2014.