Structurally, Walcott creolizes the epic genre and makes it his own. Homeric epics deal with battles and honor, which reflects the culture of the Ancient Greeks. Walcott is doing the same; he is reflecting the experience of the new empowered people of the receding empire and telling the struggle of his own tribe. The reader often comes across a reference that resonates with something read in the classic epics, and it would be unfair for Walcott to expect the reader to refrain from these associations and allusions made in the text. By Walcott expressing the struggles for identity in the Caribbean in Omeros, he is also expressing the hybridity of the islands by these associations. The names Walcott decides to use in his epic does not only draw from Homeric works, but it represents the colonial space where slave owners would give their slaves names from their homelands. This mirrors the Caribbean, as it too is a collection of associations rather than a completely whole culture. Walcott is among many others, such as Virgil and James Joyce, who have adapted the classic epics. Classically, an epic is usually a long narrative poem, on a serious subject, and centers on a hero who takes on a larger than life persona. There are also some other indications such as an opening in media res, an invocation to the Muse, concerns with the fate of a nation, extended similes, divine intervention, and at times a visit to the underworld. Walcott’s Omeros has some of these elements and is separated into seven books containing sixty-four chapters. The two opening and closing books are set in St. Lucia, books three through five encompass African, European, and North American influences that fuse in the Caribbean and island of St. Lucia. Each ... ... middle of paper ... ...nts of the cultural ritualistic ceremonies that have survived in St. Lucia. Walcott shows how his epic is different from the traditional epic and writes: This was the shout on which each odyssey pivots, that silent cry for a reef, or familiar bird, not the outcry of battle, not the tangled plots of a fishnet, but when a wave rhythms with one’s grave, a canoe with a coffin, once that parallel is crossed, and cancels the line of master and slave… And I’m homing with him, Homeros, my nigger, My captain, his breastplates bursting with happiness! (30.2.7-17) It is the landscape and Achille has found his happiness and appreciates the only home he knows and what ties him to this homeland. Walcott has taken the frame of the epic and given the Caribbean voice and struggle. Works Cited Walcott, Derek. Omeros. New York: Farrar Straus Giroux, 1991. Print.
Duong Thu Huong’s novel, ‘Paradise of the Blind’ creates a reflective, often bittersweet atmosphere through the narrator Hang’s expressive descriptions of the landscapes she remembers through her life. Huong’s protagonist emphasises the emotional effects these landscapes have on her, acknowledging, “many landscapes have left their mark on me.”
“The contents of Vodou rituals – from private healing consultations to public dances and possessions-performances- are composed from the lives of the particular people performing them. When I began to bring my own life to the system for healing, I began to understand more of what it meant for Haitians to do that (Brown, 134).”
“I like to repeat that I write neither in French nor in Creole. I write in Maryse Conde,”1 (“Liaison dangereuse,” 2007) is a statement that could not be less accurate for the Guadeloupean writer. Writing in French is especially problematic for post-colonialist Francophone authors; using the language of the colonizer while attempting to dismantle cultural and linguistic hierarchy seems to be an act of futility. To be sure, Conde, the author of Crossing the Mangrove, apparently writes in the French language but she capably deconstructs the notion that a language must be necessarily tied to the culture and history it traditionally represents. Through careful practice of intertextuality (the shaping of one text's meaning through reference or application of a previous text) and narrative experimentation in Crossing the Mangrove, Conde demonstrates that objectivity in every sense is impossible. Using the French language is not an act of capitulation to the colonizer and acceptance of all things “French” in the same way that one person's retelling of an event is not the ultimate truth. In Crossing the Mangrove, Conde presents the strange and dark history of Francis Sancher from multiple perspectives and simultaneously works in aspects of the Western literary canon (specifically, William Faulkner). This emphasis on literary and real-life incoherency is iterated by the symbolic motif of trees and their roots throughout the novel. In analyzing Crossing the Mangrove, it is evident that the amalgamation of intertextuality, shifting narrative perspectives, and the motif of trees and their roots contextualizes the fragmented nature of diasporic identity. Truly, it i...
In all stories, a central conflict is paramount in creating an interesting narrative that keeps readers engaged throughout the totality of a tale. The different ways in which different writers can achieve this through literary devices while telling the same story speaks to the diversity of literature, and to the fickle nature of translation, as exemplified through The Odyssey. One great moment of contention is on Circe’s island. Shewring acknowledges Odysseus’s resistance to Circe’s magic, “…Never has any other man resisted this drug, once he has drunk it and let it pass his lips. But you have an inner will that is proof against sorcery. You must surely be that man of wide-ranging spirit, Odysseus himself; the Radiant One of the golden wand
The epic The Odyssey is about a hero named Odysseus that must go through many life threatening situations in order to return to his loving family. Odysseus undergoes many trials and obstacles in the form of mythological beasts that stand in the way of arriving home. All of the archetypes that show up in Ancient Greek culture are very similar to the ones that appear in modern times. The Odyssey takes place in the twelfth century B.C where its plot setting stretches from the Aegean and surrounding seas to his birthplace of Ithaca. This epic is an example in which its main story is covered by what writers base their characters off of today:archetypes. Homer wrote The Odyssey to get readers excited to learn about the archetypes that relate to the
The article equips the reader with the tools needed to better understand other cultures, in terms of their own beliefs and rituals. Miner’s original approach does create a certain level of confusion that forces the reader to critically evaluate his purpose. “Body Ritual among the Nacirema” by Horace Miner ultimately brings people together, by illuminating the eccentricities present in all
The epic poem, Beowulf, is one of the oldest European epics in existence. When Beowulf was written, the writer incorporated many of the ideals of the Anglo-Saxons. Some of these ideals included loyalty, bravery, selflessness, and justice and were demonstrated in the hero. Both the characters Beowulf and Grendel represent aspects of both good and evil, Christianity and Paganism, and what occurs when they collide with one another. A characteristic of an epic poem is the concern over struggles that humans face, which is presented in a serious manner. The hero often embodies the religious, national, and cultural values of his homeland and abroad. The premise of the story is quite simple: the Danes were in distress because of the great monster Grendel, so Beowulf, a native of the Geats, sails to engage in battle with Grendel and become victorious in saving the seemingly faithless Danes. Throughout the epic, there are many instances where examples of the thirteen epic conventions are used in the writing of Beowulf and in describing both the ideals of the Anglo-Saxons and the underlying challenges with mortal problems, such as good versus evil.
"No man is an Island, entire of himself; every man is a piece of the Continent, a part of the Main."
Since the beginning of time epic tales have been passed on from generation to generation as a form of entertainment. Even though each epic is different in its plot, every epic has certain features in common. The prime example of their similarities is their main character, the hero of the epic. The hero's behavior changes from the beginning to the end of the tale. Since the plot revolves around the epic hero, in most cases, they are made to seem God-like, or larger then life, in their capabilities and strengths. The hero constantly has to conquer major obstacles to achieve their initial and final goal. Usually the hero is tremendously suspicious of other characters intensions. Also, this character usually demonstrates examples of hubris throughout the tale, which ultimately makes his journey more difficult. The epic heroes differences vary but in the epic tale, The Odyssey written by Homer, and the Greek drama, Oedipus The King written by Sophocles, the differences is what makes Oedipus fail and Odysseus succeed. In both these tales, the powerful gods enormously affect their decisions and the consequences they eventually have to face.
Homer’s epic, the Odyssey, is a heroic narrative that follows the adventures of Odysseus, the powerful King of Ithaca. The main story involves Odysseus’s return journey to his homeland after the Trojan War. However, Homer skips around in the action periodically to give the reader a better understanding and interest in what is going on in the epic. Homer takes his audience from the present action involving Telemakhos’ search for news of his father’s return, to the past where Odysseus tells the Phaiakians of his tragic journey home after the war. The events in Homer’s epic are not in order but still prove more effective at guiding the reader through the narrative. Although the events in the Odyssey are not in chronological order, the story line is enriched by Homer’s use of the in media res method because it introduces characters that were not involved in Odysseus’ adventure, because it shows the urgency of Odysseus’ return to his kingdom, and because it allows the reader to become more interested in the opening chapters without having to wait for a climax in the action.
Although both epics justify a status quo, codify a national mythology, preserve cultural memories, and establish literary tropes, they are united by sensibility and are traditionally poetic. They both almost have the same exact core values such as in the end, but project influence into a number to areas of cultural identity. Once more, after analyzing both texts, it is possible to conclude that Aeneas is the better leader, and The Odyssey is the greater epic. Knowing that this is the proper proposition made, this affects the readers of both well-known stories.
The Polynesian peoples have a lifestyle quite different than that of any other culture, as living on an island requires a level of flexible adaptability in order to cope with such a different, sometimes difficult environment. We see the way diverse cultures build their lives around their circumstances and how they respect them in their cultural myths and stories. The Polynesian legends emphasize the physical environment that they live in. They are quite different than any other region in the world, but the beauty and individuality of the Polynesian culture is prominent as seen in their mythology.
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.
The epic poem Beowulf centers around the hero. From the character of Beowulf, the reader can see the importance of community, orality, and heroism. Beowulf, as a result, is an icon of his ancient Germanic heritage. He is mimetic of the world around him. In addition, he reflects the past?s tradition of heroes; he follows in Shield and Sigemund?s footsteps, mirroring their characteristics and actions. Thus, when Beowulf passes on, both the ancient world and the new world collapse.
Sometimes the beauty of it seems unreal…” She then goes on to describe its beauty like the clouds couldn’t be any whiter, or how the darkness fades, and the gorgeous sunshine surrounds them all the time. This explanation is capped off by her statement, “And what might it do to the ordinary people who live in this way…what might it do to them to live such heightened, intense surroundings day after day?” I agree with her explanation about Antigua being too beautiful, and how the people who live there, nothing can compare to it, even when they are treated poorly for so