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Essay on symbolism in literature
Importance of Symbolism in literature
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The Power of Myth
"Why is Eurydice such a bitch?" was the comment asked of me during a lesson on the poem "Eurydice" by H.D. "Doesn't she realize that Orpheus loves her and is only trying to rescue her? Why is she so harsh to him?" It was during a unit on mythology that the students were reading H.D's poetryówe had recently completed the small "Orpheus and Eurydice" blurb in Edith Hamilton's Mythology when I came across H.D's effort and decided to introduce it to my students. We had previously explored the roles of women in several contextsóhistorically and religiously. Now we encountered the first female speaker who activated the Greek myth with her strong, powerful language.
Initially, I wanted the students to engage in a comparison of Hamilton's and H.D's female figures. The myth of Orpheus and Eurydice is one I have instructed in the past, and is relatively brief. Orpheus had a gift of music with which he used to enrapture his young bride, Eurydice. Upon their wedding day, Eurydice suffered a deadly bite from a serpent and subsequently died, thus leaving Orpheus in despair. He descended into the Underworld in order to "rescue" his wife and return her to the upper world. He seduced Hades (the god of the Underworld) and Hades' wife Persephone with the music and was therefore allowed to bring Eurydice back from the deadóon one condition, that Orpheus never turns around to see if she is following. Orpheus, holding his wife's hand, braves the unfriendly terrain of the Underworld to escape with Eurydice and at the entrance, he makes the mistake of turning back. Eurydice's mythical character was only allotted one word ("Farewell") in Hamilton's text. Conversely, poet H.D's lengthy work allowed Eurydice to voice her frust...
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...ction of Classic Texts." Special Issue: Feminist Philosophy of Religion. Hypatia. 9/22/94. Retrieved from Electronic Library April 16 2001. http://www.elibrary.com
Additional Resources
Bolen, Jean Shinoda. Goddesses in Everywoman: A New Psychology of Women. Designed by Gloria Steinem. Harper Collins Publishers, 1985.
Estes, Clarissa Pinkola. Women Who Run with the Wolves: Myths and Stories of the Wild Woman Archetype. New York: Ballantine Books, 1996.
Knapp, Bettina. Women in Myth. New York: State University of New York Press, 1997.
Larrington, Carolyne. Ed. The Feminist Companion to Mythology. New York: Pandora/ Harper Collins. 1992. Now reprinted as The Woman's Companion to Mythology. (1997).
Woolger, Jennifer Barker with Roger. J. Woogler. The Goddess within: A Guide to the Eternal Myths That Shape Women's Lives. Fawcett Book Group, 1989.
Kristof, Nicholas and Sheryl WuDunn (2009) Half the Sky: Turning Oppression Into Opportunity for Women Worldwide. New York: Random House.
Pessoni, Michele. “‘She was laughing at their God.’: Discovering the Goddess Within Sula.” African American Review 29 (1995): 439-451.
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).
Lies, Betty Bonham. "The Wise Goddess Athena." Earth's Daughters: Stories of Women in Classical Mythology. Golden, CO: Fulcrum Resources, 1999. Print.
Women have given birth to new generations for centuries and have the common stereotype of being caring and gentle. But in the creation myth, women were given to man as a punishment. In the book of collected Greek tales, " Mythology Timeless Tales of Gods and Heroes", by Edith Hamilton, women take up important roles that shape each story. Although women are usually characterized as being helpful and motherly, Greek mythology, on the other hand, portrays them to cause distress, fear, and anxiety to numerous men. Women’s actions are shown to be influenced with jealousy and vengeance which gives them an evil nature.
Medea and Lysistrata are two Greek literatures that depict the power which women are driven to achieve in an aim to defy gender inequality. In The Medea, Medea is battling against her husband Jason whom she hates. On the other hand, in Aristophanes' Lysistrata, the protagonist Lysistrata plotted to convince and organize the female gender to protest against the stubbornness of men. In terms of defining the purpose of these two literatures, it is apparent that Euripedes and Aristophanes created characters that demonstrate resistance against the domination of men in the society.
The society in which classical myths took place, the Greco-Roman society was a very patriarchal one. By taking a careful gander at female characters in Greco-Roman mythology one can see that the roles women played differ greatly from the roles they play today. The light that is cast upon females in classical myths shows us the views that society had about women at the time. In classical mythology women almost always play a certain type of character, that is to say the usual type of role that was always traditionally played by women in the past, the role of the domestic housewife who is in need of a man’s protection, women in myth also tended to have some unpleasant character traits such as vanity, a tendency to be deceitful, and a volatile personality. If one compares the type of roles that ladies played in the myths with the ones they play in today’s society the differences become glaringly obvious whilst the similarities seem to dwindle down. Clearly, and certainly fortunately, society’s views on women today have greatly changed.
Virgil’s The Aeneid, to this day, remains one of the most influential epics to ever grace the merciless limitations of manuscript, inspiring, in pop culture as well as literature, an onslaught of themes, mythology, values, and the general sense of what a hero must be-or do- in order to overcome the obstacles of the gods and man. Written somewhere between 29 and 19 BC, consisting of twelve books (although never completely finished), The Aeneid takes us through the turbulent journeys and prophesied triumphs of Aeneas, a warrior and man bound by piety and destiny. Like usual, in every great epic, there are many battles: heads gashed open and gore galore; however, to say that this master piece is just for men would be atrocious, considering that Venus, Aeneas’s mother (the goddess of hunt, extremely beautiful), plays a major role in the book from beginning to end, but, although women are portrayed as a symbol of strength (most of the time, at least), one cannot ignore the invocation to the muse at the very beginning: “I sing of arms and of the man” (3). Through the wars, travels, monsters, and grief that awaits our protagonist, I feel that the relationship between Aeneas and Dido, the queen of Carthage, holds special relevance in my life, for I have loved and lost as well, but one thing may surprise you, I have seen it through the eyes of Dido, not Aeneas. Fortunately, for me, I didn’t have to sacrifice myself, but I did learn to love, relish it, and then, sadly, let it go.
Nussbaum, Felicity. “Risky Business: Feminism Now and Then.” Tulsa Studies in Women’s Literature 26.1 (Spring 2007): 81-86. JSTOR. Web. 11 Mar. 2014.
In learning about the feminist movement, we studied the three articles and discussed and reviewed the different authors perspectives on the topic and learned how important the role of woman in Greek Mythology. In presenting the feminist theory to the class we analyzed the three articles, Women in Ancient Greece; Women in Antiquity: New Assessments; and Women in Greek Myth, and discussed how although the three articles provided different views on Feminism in mythology, they all essentially are aiming to teach the same basic concept.
In the story of Orpheus and Eurydice, the two get married but Eurydice quickly perishes. Overcome with grief Orpheus convinces Hades to let him bring back Eurydice to the world of the living. He agrees but on one condition; Eurydice has to walk behind Orpheus and he cannot look back to see if she's following. Orpheus agrees, but when the couple are just about to leave Erebus, Orpheus looks back to see his lover. With a final "Farewell" Eurydice
Euripides, one of Ancient Greece’s most famous playwrights, could be considered as one of the earliest supporters of women’s rights. With plays such as Alcestis and Medea, he clearly puts an emphasis on the condition of women, and even integrates them in the Chorus of the latter play, a feat that was not often done in Ancient Greece. Throughout the years, it has been argued that the two central characters in each of those plays offer conflicting representations of women in those times, and I can safely say that I agree with that argument. I will expand on my view by pointing out an important similarity between Alcestis and Medea, followed by a key difference, and will finish it off by contrasting them with the Ancient Greek depiction of an “ideal woman.”
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
Freedman, E. B. No turning back: The history of feminism and the future of women. New York: Ballantine, 2002.
Within the writings of Greek mythology women commonly display certain attributes that the Greek society associated with women or femininity back in the day. A common quality demonstrated amongst the women in Greek society, and more specifically in Greek mythology, is deception. Throughout the Greek literature discussed in class, women have commonly showed their deception and trickery in different ways and for numerous different reasons. The Odyssey, Theogony, and Homeric Hymm all displayed Greek women showing some form of deception within the stories and poems. These stories show various ways and reasons for Greek women being deceiving and disingenuous, reasons for which there needs to be more discussion.