Salter begins his article by writing about the importance of language, claiming that “is the requisite for the human condition.” Salter then goes on to talk about the ongoing death of literature, arguing that pop culture, such as “Star Wars”, is more popular over masterpiece literature topics. Overall, Salter does not write an effective argument because of his problems
Ovid’s artwork is very intriguing for various reasons; one of them being that he calls on gods for inspiration rather than muses. By calling on the entire god’s at the same time, he doesn’t leave much room for credit to any particular one. Lively states that “it is the gods, who are given the credit or perhaps the blame, for inspiring Ovid… The gods are directly responsible for inflicting numerous metamorphoses upon their mortal victims… occasionally as a punishment, but most often through anger, jealousy or lust” (10). Also, since O... ... middle of paper ... ...al of Ovid, to make your poem continue to live in eternity. Works Cited Johnson J., Patricia.
Richardson complains that Homer has broken the contract between narrator and reader when he says or implies that one thing will happen, then has something else happen instead. This is not Homer being a bad writer, or misleading maliciously, or doing something wrong, this is Richardson acting as a bad reader and assuming things that he should not be. Richardson assumes, wrongfully so, that when the story starts off and the reader discovers that it is about Odysseus, that the story will start off on Calypso’s island. When it starts off on Olympus, he also complains that the conversation doesn’t even start on Odysseus, but on Orestes, who killed his own mother for the murder of his father. This start of the conversation actually gives the reader a time-line to think about.
From one perspective, such extended symbolism is not appropriate because it relies on "fictional figures" whereas an epic is based on a "historical hero". For this reason, some readers may dislike Milton’s extended symbolism of Sin and Death since it violates the traditional form of an epic. However From another point of view, an allegory is an acceptable literary component to an epic because it is considered an element of "elevated style". Therefore, other readers may see nothing wrong with Milton’s literary decision. Milton’s poetic license entitles him to write as he pleases and therefore justifies his adaptation of an allegory into his epic.
Though he is often guilty of padding Ovid’s language with excessive “filler words”, his diction is rarely too complicated or lofty. On the other hand, Before we look into a few translations of Ovid’s Metamorphoses and assess the extent of their failure, there are a few things we should note about the nature of Ovid and this particular work: Ovid’s Metamorphoses is a narrative poem, considered Ovid’s magnum opus--or best work. The poem is generally believed to meet the criteria for an epic, and is sometimes referred to as a mock-epic or an anti-epic because of the topics it treats and Ovid’s tendency toward comedy. Like the Iliad and the Odyssey, Ovid’s Metamorphoses are written in dactylic hexameter (which is the standard meter for epic classical poetry sometimes referred to as “heroic hexameter”, and, when observed strictly, sounds something like dum-dee-dee-dum-dum). Dactylic hexameter is Greek in origin and is often slightly warped to fit the structure of the Latin language, as Latin generally has
He is the one poet that deliberately turned his back to the customs and trends of the time to deliver something so different to the reader that he will be remembered forever as a radical and unconventional genius. This is most probably the way that he would have liked to be remembered. John Donne lived in an era when the lyric was at its pinnacle. Poets were writing well-rounded, almost musical poetry on subjects that ranged from all kinds of love to enchantment with nature. Donne could not help but revolt against this excess of fluency and melody.
Some great literary scholars think that the poem is an heroic elegy, celebrating the fantastic achievements of its great hero, and also expressing sorrow or lamentation for the hero’s unfortunate death. In “Beowulf: The Monsters and the Critics” Tolkien states: We must dismiss, of course, from mind the notion that Beowulf is a “narrative poem,” that it tells a tale or intends to tell a tale sequentially. The poem “lacks steady advance”: so Klaeber heads a critical section in his edition. But the poem was not meant to advance, steadily or unsteadily. It is essentially a balance, an opposition of ends and beginnings.
Rochester's poems rarely discuss love in the traditional sense; rather, he discusses it in a bodily context. Naturally, this would bring about the ire in any moralist. His poems make reference to ancient figures that draw on images of mass orgies and debauchery. He often uses language that elicits images of human... ... middle of paper ... ...llivers Travels not only excite the attention of the reader but they also leave the reader with a very pessimistic impression of the modern world. If Gulliver had left a description of a pile of soil instead of his urination procedure, the reader would perhaps view his work as boring, but not as comedic or repulsive.
In “The Cask of Amontillado” Poe writes from Montresor’s point of view (work cited – grade saver). In general the villains are not the ones to tell the story, but this makes the story far more sinister because there is no trace of regret or sympathy from Montresor (work cited – poe decoder). The audience is unaware why Montresor is telling of his evil actions fifty years after they occurred, perhaps he is so old he no longer fears punishment or maybe he is on his deathbed and wants people to know what he has done (work cited – grade saver). Another theory, Montresor is telling this morbid story someone in confidence (work cited – grade saver). The audience is given no background information on Montresor and Fortunato, only that Montresor has been insulted greatly by Fortunato and wants the ultimate revenge (work cited- story).
Some scholars believe that the final book is not even Homeric. This essay shall discuss why Book XXIV is a good conclusion and how it relates to the rest of the story, which would provide a case for it being Homeric. In Book XXIV, entitled "Warriors, Farewell," Homer does not seem to want to have a grand ending, but rather neatly wrap up all of the loose ends. There are three major parts to this book, they include: the voyage of the suitors’ shades to Hades and dialogue between Agamemnon and Amphimedon; the story of Odysseus and Telemakhos visiting Odysseus’ father, Laertes; and the start of tje feud between the families of the suitors and the house of Odysseus and Laertes (which could have torn the country of Ithaca apart) which was stopped by the Zeus and Athena. Homer starts Book XXIV in Hades as Agamemnon and Akhilleus greet the shades of the suitors that Odysseus killed in Book XXII.