Compare & Contrast Essay - How to Train Your Dragon and Eragon
By Aastha Kumar
How to Train Your Dragon and Eragon are both types of literature texts, which later were turned into featured films by DreamWorks Production and Davis Entertainment. Eragon is named after the book’s main protagonist ‘Eragon’ while the main character in How to Train Your Dagon is Hiccup Horrendous Haddock III. Both texts have a similar plot and characters, the texts revolve around the central theme of dragons. Both the main characters encounter a dragon, who later become their companions through their journey/mission. In Hiccup’s case his dragon is a male ‘night fury’ who he names ‘Toothless’ while Eragon names his dragon after his father’s dragon-Saphira. Eragon finds his dragon as an egg and raises her himself, whereas Hiccup encounters Toothless as a fully-grown adult dragon. The way these writings investigate these components is imperative since it is a way of linking the characters
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Eragon is an orphan who was raised by his uncle, with limited money and supplies. He is raised in a deprived and meagre environment, and must work on his uncle’s farm and hunt animals to feed and care for himself and his family. On the other hand, Hiccup is the son of the chief, and thus is pampered and privileged. He is not shown as spoilt or obnoxious but nevertheless lives a decent life with 3 sufficient meals a day and a bed to sleep on. Yet, he is not trusted or considered worthy by his father until he proves himself a leader after saving his tribe. After defeating Durza the shade Eragon is ‘knighted’ and renamed Eragon the Shadeslayer thus bringing him honour and glory. His lifestyle and way of living changes completely after that, for Eragon begins to reside in the royal quarters of the Varden and thus adapts a luxurious lifestyle, as he comes to be a nobleman. Hiccup’s lifestyle on the other hand remains the same as he does not gain nor lose a social
When referring to archaic writing, it is clear to see the recurring archetypes and symbols throughout plots and situations. Understandably, certain patterns involving such motifs have continued through centuries, resulting in various works based around the same monomythic template with slight variations. All the big movie titles we love, Aladdin, Shrek, even, Sharknado contain more than traces of these archetypal patterns, consisting of a hero, a mentor, a dark figure and so on. Prime examples of this archetypal plot structure, with their own unique adaptations, may be found within the two poetic narratives Beowulf and Sir Gawain and the Green Knight. Aside from their completely disparate backgrounds and morals, both works include and follow the monomythic journey, as perceived by Joseph Campbell in The Hero with a Thousand Faces, as well as in the secondary works of others who have helped to further our understanding of this analytical method. This generalization, however, is shifted when one dissects further into these two pieces of literature. As in the majority of monomythic quest narratives, the protagonist often practices and displays the characteristics of courage, loyalty, humility
All of the characters in this plot have to fight for something, and Haimon, Creon's son and Antigone's Fiance falls victim to their determination. Antigone buries her brother, which means Haimon has to face the fatality of his loves execution and Creon is the one to punish Antigone so Haimon feels his father couldn't care about anything but the way he is viewed as King.Haimon has a lot to contest for and uses the three appeals, pathos, logos and ethos to do this.His fiance Antigone breaks the king’s laws and therefore has to face the consequences. She is punished with death by the laws holder.This tragic sister welcomes death, as it is an honor for whom she encounters it for. But Haimon won’t accept this and knows that If anybody were to
Clark, Gorge. “The Hero and the Theme.” In A Beowulf Handbook, edited by Robert Bjork and John D. Niles. Lincoln, Nebraska: Uiversity of Nebraska Press, 1997.
In the last and final phase of the sequence, according to Sigmund Freud’s psychoanalytic theory of personality, the Superego is the component of personality composed of our internalized ideals that we have acquired from our parents and from society. The Superego works to suppress the urges of the id, and tries to make the ego behave morally, rather than realistically (Friedman). The fight with the dragon is the ultimate test of Beowulf’s maturity. Beowulf grew
Dragons lie in the realm of fantasy; legendary creatures who are deeply rooted in magic and have captivated audiences for centuries. The depiction
Clark, Gorge. “The Hero and the Theme.” In A Beowulf Handbook, edited by Robert Bjork and John D. Niles. Lincoln, Nebraska: Uiversity of Nebraska Press, 1997.
After fighting and winning many battles, Beowulf's life enters a new stage when he finally becomes king of his homeland, Geatland. Even in his old age, his code of honor still obligates him to fight against an evil, fiery dragon. For fifty years he has governed his kingdom well. While Beowulf is governing, the dragon "...kept watch over a hoard, a steep stone-barrow" (Norton 55). Under it lays a path concealed from the sight of men. Over centuries no one had disturbed the dragon’s kingdom until one day when a thief broke into the treasure, laid hand on a cup fretted with gold, which infuriated the dragon. "The fiery dragon had destroyed the people's stronghold, the land along the sea, the heart of the country" (Norton 57).
Beowulf is a poem about strength and courage. This is illustrated in the eighth section of the story called “Beowulf and the Dragon.” A slave, a hero and a dragon play a big role in this section. The characters are well developed, as is the setup for the conclusion of the poem.
The Arthurian legends of Iwein and Gawain and the Green Knight are two examples of the medieval initiation story: a tale in which a character, usually in puberty or young adulthood, leaves home to seek adventures and, in the process, maturity. Through the course of their adventures, including a meeting with the man of the wilderness, temptations at the hands of women, and a permanent physical or mental wounding, the character grows from adolescent awkwardness and foolishness to the full potential knightly honor. While both Arthurian legends fit this format, the depth of character development, specifically in terms of relationships, is vastly different. Whereas Gawain and the Green Knight does little more with relationships than demonstrate the evils of female temptations, Iwein effectively explores the formation, destruction, and resurrection of numerous male and female relationships.
In contrast, Beowulf is seen as a hero, even when exemplifying the violent and dangerous qualities the dragon is feared for. Anglo-Saxon society prized loyalty, personal valor, and fame. In order to be a hero, one must recognize the need to act, and not shy away from it. The dragon, based on that definition, embodies the Anglo-Saxon idea of a hero: it is loyal to its cause, it is a good warrior, and it recognizes the need to act. It even has a sense of justice and a sense of wrong, shown by the way it reacted to the theft of the chalice. The dragon becomes vengeful and defensive, using cruelty as a means to correct the wrong. Described as “the guardian of the mound” (2302), the dragon’s intent is identical to Beowulf’s. Beowulf is seen as a hero not only because of his actions, but because he is human. The only thing that makes the dragon different is its inhuman qualities, and therefore it is a monster, a “ground-burner” (2713). Heroism in Anglo-Saxon society is a concept embodied by warriors and guardians, who would vie to be the most well-known. Heroism, to the Anglo-Saxons, is an excuse to use cruelty as a way to further one’s fame. It is a social crutch of sorts, leaned on for the vain chance to be immortal. When Beowulf agrees to fight the dragon, it is to have a heroic death, so he may be remembered. In the battle, just as with Grendel and Grendel’s mother,
Yet this slave does more than stumble upon the dragon’s mound; he also “[handles] and [removes] a gem-studded goblet; it gained him nothing, though with a thief’s wiles he [outwits] the sleeping dragon” (ln. 2216-2219). Thus disturbed, the dragon is enraged. It is due to this slave’s selfish motives—and those of the men with whom he returns to pillage more—that the dragon’s wrath on people burns. Thus, out of revenge “[the] hoard-guardian [scorches] the ground as he [scours] and [hunts] for the trespasser who had troubled his sleep. Hot and savage, he ke[e]p[s] circling and circling the outside of the mound” (ln. 2293-2295).
ath. Through Haimon’s character, Sophocles reveals the importance of staying true to one’s beliefs no matter the circumstance. In Antigone and Things Fall Apart, the readers are left with glaring lessons of injustice that, if left unchecked and unquestioned, would never change. Achebe and Sophocles offer characters who go against society’s norms and traditions for the good of humankind.
I have recently become acquainted with the story plot of Antigone by the renowned author Sophocles. In this marvelously put together tragedy there are multiple characters that we can each individually relate to. I found that the character I related to the uttermost was Haemon, son of Creon. Haemon and I are similar in many ways; some ways more than others, but similar nonetheless. Vladimir Nabokov wisely stated, "Resemblances are the shadows of differences.
The Epic of Gilgamesh and The Odyssey both are held in high respect by literature analysts and historians alike for the characterization of the hero and his companion, the imagery brought to mind when one of them is read, and the impressive length in relation to the time period it was written in. The similarities that these two epics share do not end with only those three; in fact, the comparability of these works extend to even the information on the author and the archetypes used. However, The Odyssey and The Epic of Gilgamesh contrast from one another in their writing styles, character details, and main ideas. Both epics weave together a story of a lost man who must find his way, but the path of their stories contrast from one another.