George Stearn: Week 3

“Not Man, though man I once was and my blood

 was Lombard and both my parents Mantuan

. I was born, though late, sub Julio, and bred

In Rome under Augustus in the noon

 of the false and lying gods. I was a poet

and sang of old Anchises’ noble son

Who came to Rome after the burning of Troy.

 But you- why do you return to these distresses

 instead of climbing that shining mount of Joy?”

- (Dante’s Inferno, Canto I, 67-75)

One central theme in Dante’s Inferno is identity, and why wouldn’t it be? What is the Inferno but Dante’s own interpretation of the afterlife, a central belief in any Religion and an integral part of the identity of anyone living in the Middle Ages.  Identity first shows up as a theme early in the novel. After avoiding the Lion and She-wolf, Dante meets Virgil, who identifies himself by relating his parentage and country of origin. “…and my blood was Lombard and both my parents Mantuan…and bred in Rome under Augustus and the false and lying gods” (Canto I, 67-71). Virgil’s connection with his ancestry is evidence of a preoccupation with ancestry not present in today’s society. In many cultures, parentage and land of origin had a great deal to do with the social standing of citizens. Indeed, the Odyssey and Illiad are essentially ancient celebrations of everything Greek.

 Later in the passage it becomes evident that Virgil’s death brought some significant changes in belief, and no doubt brought his identity into question. “…I was born, though late, sub Julio in Rome under Augustus in the noon of the false and lying gods.” (Canto I, 69-71). In Life, there is little doubt that Virgil ascribed to the Polytheistic deity system propagated by the Roman Empire, so it is interesting that in death he would openly defame the gods he once worshipped. He even goes so far as to call them “false” and “lying”. If one descends deeper into the mythos created by Dante however, Virgil’s bitterness becomes clear: because in Life he failed to worship the one true God, in death he was sent to the uppermost tier of the Inferno. It seems a cruel fate for a poet that Dante held in high esteem, but Virgil’s pagan beliefs were unacceptable in Dante’s time, resulting his placement with the Virtuous Pagans.

At the end of the selection, Virgil poses a question to Dante: “why do you return to these distresses instead of climbing that shining mount of joy?” (Canto I, 74-75). That question relates back to identity as a theme in Dante’s Inferno. The woods in the first Canto are symbolic it seems of Dante’s own confusion with his identity, and Virgil is the heavenly spirit that lifts him out of the fog. Virgil, a fellow writer and inspiration of Dante’s, takes the author on a journey through a construct of his religion, affirming his faith and belief in himself. Dante’s ultimate victory comes when he reunites with Beatrice in Il Paradiso, an event symbolic of his own spiritual awakening, and as history reveals, the author’s disturbing desire outside of the fictional world he created. 

Week 3, Noah Aigner

In many novels, scenes are lavishly
laid out; giving detail after detail until eventually the reader is bogged down
with words that begin to mean nothing. It takes a great writer to be able to
lay out a scene that the reader can vividly see using only a few words. A good
example of this use of diction is in “Beowulf”. The author is able to use a
limited number of words but in such a way that the entire scene is laid out
before us as readers without bombarding us with a barrage of details.

I find
the best examples of this method of writing in the attacks of the monster
Grendel. The author knew that there were insignificant details that could be
left out of these sections and still be able to get the picture across. For
example, when Grendel comes in the night to feast on the nobles he is “creating
havoc: greedy and grim”. (Line 121-122) The word havoc can tell a reader much
more about the scene than an entire line can. It tells the reader of the
atmosphere created by the monster and how it is such a terrible happening, while
greedy and grim clearly explain the mood of Grendel. The author could have used
an entire paragraph to explain every occurrence of the attack but was able to
use creative diction to easily get across the point using a few choice words.
An important method that the author used to succeed in word choice was the
choice of narrator. If the narrator had been either Beowulf or Grendel the view
and opinions given to the reader would have been greatly limited. But with the
narrator as the omniscient viewer he is not limited to a single way to see the
happenings in this story. “The monster
back-tracking, the man overpowering. The dread of the land was desperate to
escape, to take a roundabout road and flee to his lair in the fens.” (Line
760-764) Had this passage merely been from one of the combatants’ point of view
there would of course be some special input as to how they were feeling, but in
this situation those details are unnecessary, and so the existing narrator is
able to give a sufficient view of the encounter and the intentions of the beast
all in one fell swoop.

Though
it doesn’t always rise to the top as a significant part of literature, the use
of diction plays a significant role in writing. When properly used, a paragraph
explaining, in great detail, the hellish attack on a home can easily be
translated into but a few words which are able to give almost exactly the same
experience to the reader.

Kate Boothman Week 3

Grendel, the bloodthirsty and fearsome monstrosity, reigned in the land, using fear and horror to keep his control over the people. Through his poetry, the author shows that, at his heart, Grendel, though a formidable foe, was really an unworthy coward, accustomed to running back home to his lair.  The author addresses the issue of being a coward and shows that it caused the end of Grendel.

“At heart he feared,
sorrowed in soul, -- none the sooner escaped!                                                                                                    Fain would he flee, his fastness seek,
the den of devils: no doings now
such as oft he had done in days of old!” ( lines )

This passage in Beowulf especially addresses the issue of being a coward.  It is illustrated using this monster Grendel and his ultimate foe, Beowulf. Grendel, though mighty and terrifying, is suddenly realizing that he has met his match. The creature of terror is himself terrified, and finds himself to be a coward wishing to be home with mother. Beowolf is the greater for finding his heart ripe for the battle, unmatched as he is to the great evil monster.  His heart and his bravery win the day over fainthearted brawn. Later we find that Grendel is ripped apart by Beowulf. 

Giving a closer view, the poet shows that Grendel could not run and use his swiftness to escape. That is the point, Grendel was used to running away, to slink away in the night from whence he came, doing his shameful and wicked deeds and then disappearing.  The poetry shows that he was nothing but a coward at heart, not willing to match skill with skill, without any honor to match Beowolf’s honor.

“God's foe sounding his grisly song,
cry of the conquered, clamorous pain
from captive of hell. Too closely held him
he who of men in might was strongest
in that same day of this our life.”

As this passage addresses the issue of cowardice, it contrasts that with Beowolf’s bravado, and it helps to give listeners or readers the courage to conquer, the will to win, the heart to face the troubles that are prevalent, even life-threatening.  It shows the honor and beauty of good conquering evil.

 At the time this poem was written, there were always hostilities between differing people groups and much fighting ensued. Young men were asked to fight and risk their lives for their community. After the hearing of this story, warriors would have been bolstered with new courage to conquer their enemies. The poem would help them to view their enemies as just cowards at heart.  This poem, Beowolf, gave the people a “super-hero” to look up to---someone whom they could imitate. When Beowulf revealed the heart of Grendel being filled with fear, it gave people hope to have the strength to overcome their adversaries.

Week 3: Lauren Greb

"Then down the brave man lay with his bolster

under his head and his whole company

of sea-rovers at rest beside him. 

None of them expected he would ever see

his homeland again or get back

to his native place and the people who reared him.

They knew too well the way it was before,

how often the Danes had fallen prey

to death in the mead-hall. But the Lord was weaving

a victory on His war-loom for the Weather-Geats.

Through the strength of one they all prevailed;

they would crush their enemy and come through

in triumph and gladness. The truth is clear:

Almighty God rules over mankind

and always has." 

-Beowulf, translation by Seamus Heaney, lines 688-702

 This passage of Beowulf stands out because in today's modern world, fate or a higher power plays quite a small role, if any. When looking at the arts of the Dark Ages, the early Renaissance, and the Roman Empire era, God, gods, and goddesses make several appearances. Considering the manuscript of Beowulf is believed to be created between the 10^th and 11^th century, it is no surprise that God makes an appearance. If we look at modern works of literature, it is uncommon for the main character to be driven by fate or believe that God is guiding them through life. In Literary Theory, it is said that “literature… [engages] the mind in ethical issues, [and induces] readers to examine conduct (including their own) as an outsider or a reader of novels would” (Culler, 37). If this is so, Beowulf does this; it makes the reader question their own beliefs and wonder if it is possible that the main character is guided by fate or by some higher being.

In the beginning of this passage, the author says that “none of them expected he would ever see his homeland again or get back to his native place,” (691-693). This shows how they, meaning the people of the city, were lacking in faith. And why shouldn’t they be? All other previous men who had tried to defeat Grendel had failed. They did not think Hrothgar was any different. As the passage moves on it says that the “Lord was weaving a victory in his war-loom,” (696-697). Despite the people’s lack of faith, the Lord will restore it by providing Hrothgar to help defeat Grendel. Also in this phrase, it includes a fate perspective intertwined with a religious one. God, the ruler of the universe, acts like the fates by weaving a tapestry. The passage concludes by saying that “Almighty God rules over mankind and always has,” (701-702). This is where the questioning of personal beliefs is brought to life. We’ve been built up with faith being the main focus and then it gives us a statement saying that God rules all. There is no faltering to the statement which in essence makes the reader wonder if maybe the character is meant to defeat Grendel or if he has faith that God will help him succeed. It makes the reader a third party to a situation and they are then able to determine their thoughts on it.

It is extremely important for readers to be unsettled on their ethics and conduct when reading a piece of literature. For example, in Woman at Point Zero, the main character is a prostitute. In general, the word prostitute conveys a negative connotation and so when she declares herself as one, she automatically receives a negative label. But as you read on, you cannot help but feel like she is actually the heroine. When a reader’s morals and ideas are shaken, they are then able to open their eyes and see new possibilities. Perhaps Beowulf is sending a religious message about faith. Maybe it is about pride. The point is these thoughts would have never occurred if this passage of faith and religion had not appeared. Personally, when my ideas are shaken is when I am able to analyze a text the best.

Week 3: Michelle Dennis

During the time The Aeneid was written, it was believed that everything happened for a reason and destiny or fate would always be the determining factor. This epic poem teaches us that one should never let their emotions make them lose sight of reality. In a sense, it is warning us that giving into human emotions, such as infatuation or love, can be a weakness that comes with serious consequence.

Dido was once viewed as a courageous leader and Queen of her city of Carthage. This began to change once she was “consumed with passion to her core” (line 144), causing her to lose her grip on reality.

When Dido’s infatuation with Aeneus began, she sought guidance from her sister, Anna, who began to fill her mind with things that were escaping reality.

Lines 67-70

What a great city you’ll see rising here,

And what a kingdom, from this royal match!

With Trojan soldiers as companions in arms

By what exploits will Punic glory grow!

Dido got caught up in this “fairytale.” She allowed herself to become vulnerable to love, letting her emotions get the best of her; sacrificing everything she had for love and the idea of what could be. Dido believed her union with Aeneas was legitimate like a marriage, when in reality it was more like “a roll in the hay."

From the beginning, the author uses adjectives and imagery with a negative connotation when referring to Dido’s emotions for Aeneas. He hints that Dido is not going to come out of this for the better. She is not described as feeling happy or giddy about her infatuation, but rather tortured by it. In line 3, Dido’s passion for Aeneas is described as “a wound or inward fire eating her away.” In line 10 Dido is described as “this queen, far gone and ill …” In other words she is now a woman that is so lovesick she has lost her senses, she was once strong but is now weak.

Aeneas, on the other hand, is portrayed as strong. He had enough strength to resist the lure of love focus on his destiny to return to Italy and provide a kingdom for his son to rule. He controlled his human emotions and followed his duty to follow fate.

Line 95-102 refers to Dido as “unlucky Dido, burning in her madness…” the author uses the imagery of the doe “hit by an arrow shot from far away by a shepherd hunting…” (98) to hint to the reader that Dido is not going to come out of this in a positive manner. He says “The fatal shaft clings to her side,” suggesting that she is blinded by love and it would ultimately lead to her demise. After the union between her and Aeneus, line 233 confirms for the reader the future fate of Dido. “That day was the first to cause death, and first of sorrow.”

In the end fate, destiny, and divine intervention overpower the human emotion of love, suggesting that they are often at odds with each other. Just as Dido’s unreturned love had caused her to feel there was no other alternative than to take her own life, this outcome also hints that her city of Carthage fall to Italy when Aeneas accomplishes his duty and follows his destiny to Rome. This reminds us that fate cannot be altered, even by love.

Week 3: Miles Bruck

After reading the poem the Odyssey I was able to make some connections throughout the story regarding battle tactics, the difference between good and evil, and finally the historical context in which this story took place.

The Odyssey is considered an epic poem because it’s thought to be a long narrative which critically analyses and explains a hero or god’s life. Throughout the poem Odysseus is faced with many hardships and challenges which ultimately test his abilities as a leader and as a man. One of many of Homer’s points throughout the poem is that although Greece has a strong military, there are other ways to deal with war and with battle. In the Odyssey, Odysseus is challenged with an enemy 5 times his size and happens to be very hostile. Instead of fighting the Cyclops monster vs. man, he devises a plan to outsmart the Cyclops in order to return his crew and himself home safely. As a part of this plan when the Cyclops asks Odysseus his name, he tells the beast that his name is “nobody”. After he tricks the beast into drinking lots of wine, Odysseus gouges the Cyclops one eye with a burning torch. As the Cyclops is screaming with pain he asks his friends, and family to help but when they ask who is hurting him the Cyclops simply responds “Nobody’s killing me not by force but by fraud” (Homer pg. 224). Polyphemus and the other residents of the island do not believe the Cyclops, and therefore Odysseus escapes. This proves that although man for man the humans were beat it’s really the intellectual battle which wins the war.

Throughout the story Homer tries to separate the good and evil characters but as I was reading the poem I almost felt bad for the Cyclops because of the mistreatment he received from Odysseus. I do not approve of the Cyclops eating people, but I still felt a sense of sadness because that was how the Cyclops basic instincts and that’s how he’s supposed to act. I asked myself the question why it is okay for us to eat meat and not okay for the Cyclops to eat humans. I know coming from the human perspective that’s a tough concept to comprehend but I tried to put myself in the monsters shoes in order to broaden my view and perspective on the issue. In addition after Odysseus clearly defeats him he continues to taunt the Cyclops from his boat which clearly shows his disrespect for other creatures.

In conclusion I in fact really enjoyed learning about this story and it has really given me a new perspective on old literary works. Previously I couldn’t necessarily find the value or information in ancient literature but after dissecting and analyzing this story so profusely I have a new desire to learn from these records.

Week Three: Ashley Fisher

A well-read person understands that there are many different levels that accompany any text. Text does not just sit on a page, but it speaks to the reader, evokes emotions, deepens understanding and lastly, performs. In The Odyssey by Homer, there are many levels of performance that take place within the text and story, and understanding those levels can help the reader take more away from this epic poem.

In Book Nine of The Odyssey, a textual example of performative language is when Odysseus declares to the Cyclops “Nobody-that’s my name. Nobody so my mother and father call me, all my friends,” (Homer 223). When Odysseus tells the Cyclops that his name is “Nobody,” it is an example of performative language since by saying that he is “Nobody,” Odysseus is taking on the role of “Nobody.” Odysseus is also now performing a new character in front of the Cyclops and his fellow comrades. While this performative language is occurring in the story, another performance in happening at the same time. At the beginning of Book Nine, the first line describes how “Odysseus, the great teller of tales, launched out on his story,” (211). This shows that in the poem, two performances are happening; one within the story itself where Odysseus is fighting the Cyclops, and another where Odysseus is telling the tale of his journey to the Phaeacians after King Alcinous demands to know who he is, where he has been, and where he hopes to travel next.

This information about the different levels of performance influences how one can look at Odysseus’ travels. The readers have already witnessed Odysseus’ intense thirst for glory, which makes readers question whether the story that Odysseus tells the Phaeacians about tricking and defeating the Cyclops is true, or whether he may have curved the truth to make him appear as the powerful and confident leader that he aspires to be. Whether or not the story Odysseus tells is entirely truthful or not, he does tell his story with an excessive measure of pride which is something readers should take into account when analyzing his character.

Furthermore, The Odyssey is believed to have been composed sometime during the end of the eighth century B.C., and was an ancient oral performance. It was a story that was meant to be heard rather than read, and was likely performed by an aoidos - epic poet and singer, - or a rhapsode - a professional performer. What does this mean to the story itself? One can begin answering this question by identifying how the story differs to an audience when it is read opposed to when it is performed out loud. This answer may differ from person to person, however, the fact that it was intended to be multiple performances inside a performance reveals a different side to this poem that should be taken into account while reading it.