Comparing the Forgotten God of Love in Robert Bridges’ Poem EPÙÓ and Anne Stevenson’s Poem Eros

Greek myths are fascinating stories, they are stories of powerful men and women with powers. They teach us life lessons and how to get through problems in life. A good example is, odysseus and penelope, in the painting penelope and odysseus, heinrich uses penelope to reunite with odysseus to show that a secretive situation it causes distrust between 2 people, and causes them to separate, while in her poem “you are odysseus”, linda pastan uses the same scene to show that in order to have a healthy relationship, people must be there for each other. In “you are odysseus”, linda pastan uses imagery, to that people need communication to have a healthy relationship. Pastan states that penelope says “hide my songs under my tongue.”

What does an overbearing mother, a flower, and a pomegranate have in common? They’re all symbols of the myth Persephone. This paper is over the mythological goddess Persephone, who is “married” to Hades. This myth is a conflict of interest given how it’s viewed upon by the reader. To some it’s a tale of extreme love from a mother and god of hell, but to others it’s a crazed god after a young maiden who just wants to get away from her mother.

follows him everywhere, just like how Aschenbach will become obsessed with Tadzio and will follow him everywhere (Jalic). Aschenbach sees artistic aesthetic when he looks at Tadzio, but he doesn’t look for an Apollonian form in Tadzio, he looks for a Dionysian form. Aschenbach compares Tadzio’s beauty to the Eros. Eros is a Greek god depicted as a beautiful and carefree young man. Eros is the god of love and passionate, physical desire (Cartwright). “Without warning [Eros] selects his targets and forcefully strikes at their hearts, bringing confusion and irrepressible feelings or in the words of Hesiod he ‘loosens the limbs and weakens the mind’” (Cartwright). This Dionysian comparison suggests that Aschenbach is giving in more and more to

The sculpture Apollo and Daphne, created by Gian Lorenzo Bernini, is based off a story from Book 1 of Ovid's Metamorphoses. It is a portrayal of when Daphne is turned into a tree when trying to escape Apollo after they were both shot with an arrow by Eros. The sculpture is a powerful visual of Daphne and Apollo’s emotions as Daphne was captured by him. To evaluate the photo further I will discuss the feeling of empathy the sculpture made me feel and two connections the sculpture has to Ovid’s story.

When one becomes familiar with mythology through Ovid’s Metamorphoses, a collection of preexisting myths, strung together with the unifying theme of metamorphosis and divine intervention, a new language of allusions is discovered. This is used by Christopher Marlowe to better express the themes of beauty and sexuality through an Ovidian aesthetic in his epyllion, “Hero and Leander.” Marlowe writes of two naïve lovers, equal in beauty, separated by the Hellespont, Leander in Abydos and Hero in Sestos. During the festival of Venus and Adonis in Sestos, Leander falls in love with Venus’ nun, Hero, who vowed chastity to the goddess. Despite this, Leander continues to court her with passionate and persuasive language. Hero overcome by her own feelings,

In “Ovid: love and transformation”, it starts off by saying, “The very first love of Phoebus Apollo was Daphne, daughter of the river-god Penues” (Ovid). The story between Apollo and Daphne starts off with Apollo joking around with Eros, the god of love, that he is a better archer than him. As a revenge, Eros decides to take his magic arrows and shoots it at Apollo’s heart to make him falls in love with Daphne. After that, Eros pulls out another arrow and shoots it to Daphne. However, the arrow Eros shoots at Daphne makes her hates Apollo immediately.

Ovid, a Roman poet wrote about how powerful gods are until they fall in love. Apollo, the most powerful god and great warrior, falls in love with Daphne, and loses his power. The story shows the limits of the god’s power and that love limits power or that love is the most powerful god of all. In this story, it is important to know about why Cupid wanted Apollo to be fallen in love with Daphne but why he did not make Daphne fallen in love with Apollo? The story gives us a lesson about love and power that love can defeat the power, such as how it changes a person including their personality, power and understanding of love just like Apollo’s story.

In ancient Rome and Greece, love elegies were written on wax tablets. The tablets were not only used as a place for the poets to record their love elegies, but they were also used as love notes to send back and forth between lovers. Not only does Ovid use love tablets several times in his poems in the Amores, but before this, Propertius also used loved tablets in his poems. As many poets surely discuss these love tablets, Robert Baker has found a correlation between Ovid’s use of the tablets and Propertius’ use of the tablets. In Baker’s article Duplices Tabellae: Propertius 3.32 and Ovid Amores 1.12, he proposes that Ovid’s use of the love tablets is built off of Propertius’ early ideal tablets but in a duplices or deceitful way.

To earn a good mark on a test, one must be willing to study continuously, in spite of the hassle of doing so. To win gold in the Olympics, one must be dedicated to the sport and train constantly, despite the difficulty. From the smallest of objectives to the greatest, never has anyone achieved anything important for their lives without commitment and hardship. In Sean Armstrong’s short story, “Eros and Psyche”, these very same attributes are presented in order to acquire love. By Psyche agreeing to accomplish Aphrodite’s tasks and facing the jealousy and wrath of the goddess in order to gain back the love of her life, Eros, she has introduced herself to a journey of trials and tribulations.

What this story tells us is that even toe Eros is the god of love he doesn't use it almost

On a fundamental level, both Acrasia and Adonis’ garden exist in a perpetual battle between Eros and Thanatos. Moreover, in both environments, flesh is the one uncontrollable factor that ultimately leads to death. However, in Acrasia’s garden, her intemperance (excess, covetousness, greed, envy, narcissism) catalyzes the destruction of the flesh, an almost irreligious suicide. Contrastingly, in Adonis’ garden, the uncontrollable power of time leads to the destruction of the flesh. Significantly, the characteristics of a negative love’s ability to corrupt the soul and imbalance the humours ultimately lead to self-destruction. Although a good love is in a perpetual struggle between Eros and Thanatos, it is an exalted love because it is a love

The prologue of Longus’ Daphnis and Chloe exemplifies the usage of ekphrasis common in Greek prose writings of the second century A.D., and how this inspired his romantic story. In this passage, Longus vividly describes a painting he stumbled upon in Lesbos featuring a myriad of scenes and reveals that Daphnis and Chloe was inspired by this particular painting due to its aesthetic nature. Each aspect of the painting corresponds to the particular events that transpires in Daphnis’ and Chloe’s quest to marry each other. Furthermore, his story is “an offering to Love… and something for mankind to possess and enjoy” (Longus, 289).

The poetic depiction of the first woman emanates a feeling of mystery, because she exists within the poem but not the setting – that is, she appears only for the effect of comparison – and because of her mysterious circumstances: why would she feel so pained as to be “wailing”? Who, and what, is her “demon-lover”? The speaker’s illustration of the second woman also exudes mystery, for she too exists but not in the scene, and because she originates from an unexplained vision and sings of the non-existent “Mount Abora” (739.I 41). This musical woman also appears to embody creativity, both as a creator of music and as the inspiration for the speaker to build a vast dome. Through such inspiration, the male speaker directs the creativity of this woman toward his own, thereby deriving from her his own generative impulse; thus, the speaker attempts to, in a word, appropriate her creativity for his own use. He deepens this appropriative effect by admitting that his power stems from “[drinking] the milk of Paradise” (739.I 54), which the previously mentioned females essentially prepare through the succession of powerful female images. The layers of the male’s exploitation of the females’ power bring to light the speaker’s own incapacity for original emotion and creativity, and, as a result, expose his true frailty.

Regardless, discourse concerning eros in the Republic has taken place and one such example of that is David H. McNeill. He argues that human eros cannot involve the desires of something other worldly, at least in the Republic which he contrasts with the Phaedrus. Of the two works, art is something approached very differently and is a part of a philosophical orientation that Plato is assigning to each, according to McNeill. The problem is that each discuss it by very different means. In the Republic such things as poetry and paintings are dismissed fairly easily as imitations while the Phaedrus gives an account that suggests divine inspiration for these things. McNeill uses this to suggest that human

In ancient Greece, Eros was a big influence to the greek people. Eros was the god of love and had the power to make any god or mortal to fall in love. He was considered a primordial god, which is a god born from the void of Chaos.