In Hecuba, the main character, Hecuba, is first seen as an extremely passive character, whose peers push her around. However, after the deaths of her children, her world view changes. Once these murders take place, she becomes an active character, no longer letting the world take advantage of her. In this essay I will analyze how the deaths of Polydorus and Polyxena were what caused Hecuba to no longer be a passive character, but an active character who takes care of her own issues. The first time Hecuba speaks it is about a prophetic dream she had the previous night. In this dream, “Achilles’ phantom came above the high crest of the tomb. He was demanding as a prize some one of the many-troubled Trojan women” (83). Although she suspects that the victim will be her daughter, she prays to the gods for intervention instead of When she identifies the corpse, she begins to recite “irregular, sung, lyrics” (105), known as the “Bacchic song, from a god of Vengeance” (105). Bacchus is known as the god of ritual madness and fertility who favors women, so Hecuba hopes that invoking his name will help her seek revenge on those who wronged her. This is the last time she puts her faith in the gods, later stating that Persuasion is “the sole ruler of mankind” (110). From this moment on, the play focuses on Hecuba enacting revenge on Polymestor, the man who murdered her son. Instead of letting terrible things happen to her, she decides to take charge and create her own vengeance. Hecuba accomplishes this when she and the Trojan women blind Polymestor and kill his two sons. With these actions, Hecuba is no longer passive, but an active character. All in all, the murders of Polyxena and Polydorus were the catalyst that caused Hecuba to become an active character. Without these two deaths, Hecuba would have accepted the necessity of being a slave, forever staying a passive
Greeks are known for many things. We know them for their poetry, for their philosophy, their politics--and also we have come to know them for their childish, petty, lustful, little gods. These gods, vengeful in the extreme, have been a source of much literature. However, not all the gods have the same publicity agent, and have suffered in obscurity for much too long. One of these gods, one of the Twelve Olympians, has been obscure in the least. He is different in most ways from the other gods, and I am here to illuminate him further to you. His name? Hephaistos.
Captivatingly, both women act daringly, regardless of the culturally constructed labels as women, products of incest and wickedness. They use their “otherness” as a power mechanism, rather than an excuse to passivity. In conclusion, Elphaba and Antigone challenge conventional roles of gender, as they are strong, courageous figures of rebellion and exemplify a lack of traditional gender normativity.
Prometheus Bound is quite different from other tragedies in that it is peopled entirely by gods. The play focuses on the story of Prometheus, and we have versions of this myth in Hesiod's famous works. There is reason to think that the author of Prometheus Bound was not only acquainted with Hesiod's version but actually drew on Hesiod directly in this play. This essay therefore aims to establish in what ways the author of Prometheus Bound seems to have drawn from Hesiod's version of myth, in what ways he has diverged from it, and what reasons he might have had for making these changes and innovations. This might therefore highlight any particular emphasis or purpose of Prometheus Bound and what its author might have been trying to get across. Though there is not space in this essay to discuss the problems of attributing this play, it must be recognised that this ambiguity of authorship and dating makes it even more difficult than usual to look at views and purposes behind the play.
Over the course of time, the roles of men and women have changed dramatically. As women have increasingly gained more social recognition, they have also earned more significant roles in society. This change is clearly reflected in many works of literature, one of the most representative of which is Plautus's 191 B.C. drama Pseudolus, in which we meet the prostitute Phoenicium. Although the motivation behind nearly every action in the play, she is glimpsed only briefly, never speaks directly, and earns little respect from the male characters surrounding her, a situation that roughly parallels a woman's role in Roman society of that period. Women of the time, in other words, were to be seen and not heard. Their sole purpose was to please or to benefit men. As time passed, though, women earned more responsibility, allowing them to become stronger and hold more influence. The women who inspired Lope de Vega's early seventeenth-century drama Fuente Ovejuna, for instance, rose up against not only the male officials of their tiny village, but the cruel (male) dictator busy oppressing so much of Spain as a whole. The roles women play in literature have evolved correspondingly, and, by comparing The Epic of Gilgamesh, Sir Gawain and the Green Knight, and The Wife of Bath's Prologue, we can see that fictional women have just as increasingly as their real-word counterparts used gender differences as weapons against men.
Branscome, David, comp. "Greek Hesiod, Theogony, Lines 1-210 "invocation to the Muses and Creation" [Hugh G. Evelyn-White, Tr. Hesiod, Theogony and Works and Days. Cambridge, MA., Harvard University Press; London, William Heinemann Ltd. 1914.]." Ancient Mythology East and West. Print.
Yet, despite the fact that no two women in this epic are alike, each—through her vices or virtues—helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks. Before we delve into the traits of individual characters, it is important to understand certain assumptions about women that prevailed in the Homeric Age. By modern standards, the Ancient Greeks would be considered a rabidly misogynistic culture. Indeed, the notoriously sour Boetian playwright Hesiod-- who wrote about fifty years before Homer-- proclaimed "Zeus who thunders on high made women to be evil to mortal men, with a nature to do evil (Theogony 600).
Literature is the key to our world or language. Many writers have emerged from this subject such as Homer who wrote The Odyssey and Euripidies who wrote about the evil Medea. Also mentioned in this paper are the Thousand and One Arabian Nights which is a collection of folktales and stories that are compiled into one. Each of these works of literature has a woman character that has many similarities in solving their problems. In The Odyssey the woman character that will be in comparison is Penelope which is Odysseus’s wife. In the story of Medea, Medea is of course the character we will be discussing and Shaharazad is the woman character from the Thousand and One Arabian Nights that will also be in comparison. Each of these women find themselves in a particularly “sticky situation.” However, Penelope, Medea, and Shahrazad are three strong women whose perseverance and cleverness help them to attain their goals.
In the Blood’s roots are firmly planted in Aristotelian tenets. Hester La Negrita, the tragic heroine, is struggling to “get her leg up” and start life anew for herself and her children, Jabber, Bully, Trouble, Beauty and Baby. Adhering to the principals of Tragedy recorded in Poetics, In the Blood utilizes a classical Greek Chorus, in the form of “Confessions”, which provide exposition, commentary and the foreshadowing of events. As in all Greek Tragedy, Hester’s Fate is pre...
Anthony Doerr’s novel All the Light We Cannot See shows the reader how children would deal with war and how it shaped who they are today. Doerr’s purpose for writing this novel is to highlight how mentally taxing the war was and that there was no permanent escape from the war. Both Marie-Laure and Werner believed they could escape the war both physically and mentally, yet their involvement in it makes it more difficult. Marie-Laure’s fear of her father going to jail shows how she becomes involved in the war. Werner struggled with trying to escape the war through his fascination with radios when it just brought him further into the war. After understanding the effect on certain individuals; the story zooms out showing how the majority
The play involves a highly respected senator, Brutus, who decides to join the conspiracy to kill Julius Caesar, in the effort to keep democracy intact. Brutus believes that if Julius Caesar is allowed to live, Caesar will take a kingship and turn the government into a monarchy. Brutus, Cassius, and the other conspirators kill Julius Caesar, yet they find Antony, a loyalist of Caesar, seeks revenge on them. Plato set out rules on the traits a tragic hero must possess. A tragic hero must neither be an evil villain nor a great hero, instead the tragic hero must be either a flawed hero or a villain with some good traits. Also, the tragic hero must not deserve what mighty punishment is dealt to him. Another key feature of a tragic hero is the fact that a tragic hero must be a high-standing individual in society. The tragic hero must not deserve his punishment for the play to be a tragedy. Also, a tragedy happening to someone in high authority, will affect not only the single person but also society as a whole. Another reason for the tragic hero to be in high authority is to display that if a tragedy may happen to someone such as a king, it may just as easily happen to any other person. Julius Caesar fits the role of a tragic hero. Julius Caesar is a high standing senator that possesses hamartia, failings of human nature. Julius Caesar’s imperfections may be seen in three distinct aspects of Caesar, such as the following: his pride, his vacillation, and his ambition.
(Hecuba, Andromache in Book VI). We saw stereotypical characterizations of them as fickle (Helen in Book VI), seductive,
real reason he got blind. He knows that seeing the eclipse without protection wasn't the
The novel Lord of the Flies was written by William Golding. Golding wanted the story to be about a group of young boys whose plane crashed on an island, trying to escape war. The whole concept of this was so that he can show what a group of people can become given a set of inflicting conflicts that can change them for better or for worst. He gives great detail on how they go from sane to insane in a matter of time and turn into someone completely different all together. One of the boys on the island is named Simon. Simon’s personality and traits are similar to Jesus Christ because they both posse a form of insight, spirituality, and compassion.
“The Odyssey” is an epic poem that tells the story of Odysseus and the story of his many travels and adventures. The Odyssey tells the main character’s tale of his journey home to the island of Ithaca after spending ten years fighting in the Trojan War, and his adventures when he returns home and he is reunited with his family and close friends. This literary analysis will examine the story and its characters, relationships, major events, symbols and motifs, and literary devices.