Critical discourse on the “Cyclops” episode of Ulysses has remained remarkably consistent over its history. Much of the analysis focuses the episode’s dual expression through narration and what David Hayman calls the narrative “asides,” with other attention paid towards the episode’s narrative structure and characterization. In this paper, I will explore the episode’s history of critical discourse, beginning first by looking at the process of its creation as explicated by Michael Groden in his essay “‘Cyclops’ in Progress, 1919.” I will then compare the analyses of David Hayman and Hugh Kenner of 1974 and 1980 respectively, the latter of which having been informed in no small part by the former, before briefly looking at a modern analysis of the episode as opera by Timothy Martin in 2000. Groden writes that “Cyclops” is the first episode that entirely departs from the original narrative style of Ulysses. In the first ten episodes, up to and including “Wandering Rocks”, the novel is written in the style of “the combination of third person, past tense objective description and first person, present tense interior monologue” (Groden 123). In the eleventh episode “Sirens”, Joyce begins to deconstruct this ordinary technique–call it the “monologue method”–with the introduction of music into his prose, “by imposing the fugal forms and musical patterns onto it” (123). “Cyclops” is narrated by a first-person unnamed narrator who David Hayman describes as an “insistent and
Shakespeare's play, “Othello, the Moor of Venice,” is a powerful example of a tragedy and it’s main character, Othello, is an excellent illustration of what Aristotle constitutes as a tragic hero. The play imitates life through basic human emotions such as jealousy and rage. In addition, Othello is far from being a perfect character - another quality that meets Aristotle's requirements. Othello also matches Aristotle's ideas of tragic hero because our Othello realizes the error of his ways, causing us to feel sympathy for him. If we carefully examine the third scene in the third act, we can see how Othello fits into Aristotle's definition of tragic hero. This passage reveals how much Othello has deteriorated as far as his ability to reason
Lizeth Marin Honors Introduction to Literature Period 3 18 April 2008 Odysseus: Hero or Villain? Heading home, to Ithaca, Odysseus is faced upon many obstacles that he and his men try to overcome, but in the end substantiate that Odysseus is a villain. “The old soldier in despair: He has spent ten years (seven of them as Calypso’s not entirely unwillingly captive) trying to get home” (652, summary). Evidence proves that Odysseus is a villain, because he tries to convince that he was kept unwillingly by Calypso. However, it is true that Odysseus was kept as Calypso’s captive for a time. Yet he can still be judged as a villain, because he does not just stay as a prisoner, no, he assists Calypso by being with her for the pleasures that
One of the major themes of Homer’s Odyssey is the importance of cunning over strength. This also happens to be the case with Odysseus and his long ten year journey home from fighting in Troy. Odysseus uses his intelligence over strength to ‘fight’ through tough times and bring himself home to Ithaca. Odysseus uses his intelligence when he has his men tie him down while passing the Sirens, so he himself will be able to hear their beautiful song, but not be entranced by their singing. He also uses cunning to escape from the Cyclops’ cave without being harmed. He then uses his cunning by storing away all of the armory, shields, and knives from the suitors so he is able to kill them easily.
Cyclops (Polyphemus, specifically) is a gigantic one eyed monster, considered the sons of Titans, Uranus, Gaea, and the other Cyclopes were his brothers.Polyphemus was considered a skilled metalsmith craftsman fashioning useful items like certain tools, kitchenware, tableware, jewellery, and weapons out of various metals and he was very strong, but also stubborn. One weakness would be his one eye, so the Cyclopes could be easily blinded. One short myth on Polyphemus is that,Odysseus and his men entered a cave that Polyphemus lived in but he wasn’t there at the time.So Odysseus and his men helped themselves to the food and drink they found there. Then Polyphemus, returned to the cave.Finding Odysseus and his men in the cave
Characters within a Greek tragedy should follow a basic set of guidelines in order to fit the premise of Aristotle’s poetics. The characters presented to the viewer should “be consistent, good, likeable, and of high status and reputation, but do not need to perfect” (Connelly).
The mythology of Ancient Greece and Rome appears in the characterization, imagery, allusion, and theme of this play. The references to the classical period are both bold and subtle as Shakespeare weaves them into the work.
Another critical element in the perfect tragedy (in order from greatest to the least) is the presence of strong “Plot, Character, Language, Thought, Spectacle, and Melody” (Aristotle 780-781). These, in Aristotle’s opinion, are the “six constituent elements” that comprise a marvelous tragedy (780). Of the six, Aristotle focuses
Often times we live our lives based on what our environments pour into us. Friends, family, media, books and experiences shape our way of thinking. Friends give opinions on what they think should be, family will tell you right from wrong; or at least what they consider right from wrong, media will paint an elaborate picture and give visuals of how to, when to and what to expect, and books open our minds to fairy tales, realities and possibilities. After indulging in some of the “great books” that include The Odyssey and The Symposium, I can say that these readings, without a doubt, can and will influence and shape the way we understand our lives. This essay will defend the notion that these “great books,” The Symposium; The poems: Ulysses, Ithaka and Penelope are considered to be fundamentally vital to the human condition. These great readings take us on a journey, a journey of love, loyalty, Perseverance, faith, and the goodness of life. The stories point out some of the most vital aspects of life.
As society has progressed, composers have adapted and appropriated the archetypal quest so as to reflect the values of the time’s culture appropriately. This has been a necessary course of action, to ensure their writing conveys the quest and its respective elements in a manner that will be understood by the responder in the relevant time period. The texts ‘The Odyssey (Homer 8th Century BC), In the Shadow of No Towers (Art Spiegelman 2004) and The Picture of Dorian Gray (Oscar Wilde 1890) have appropriated the archetypal quest in their respective time periods to reflect the values of their context.
Roman art spread as its empire throughout the Mediterranean Sea and was powerfully influenced by the Greeks and Etruscans. Dionysus with Pan, a Roman marble sculpture from 50-150 A.D, depicts Dionysus, -Bacchus to the Romans- the god of wine; and Pan, a mystical forest creature with a head and torso of a human and the legs and horns of a goat. Dionysus myth starts way back before this sculpture was made and I want to discuss how Dionysus was just an excuse people used, to get intoxicated and justify irrational behavior in his name. Dionysus back story started with the myth of his birth. He was the son of Zeus and Semele.
There are many challenges throughout the Odyssey the most significant being his arrogance that Odysseus must overcome in order to reach home. In book 9, beginning with line 113 Odysseus and his men begin a journey in the land of the Kyklops. This set of challenges for Odysseus shows the reader the battle between arrogance and wisdom within Odysseus. The choices that Odysseus makes during this portion of his journey home will help him to realize his arrogance and the downfalls of yielding to it, which he must overcome to regain his kingdom and property from the suitors.
In this essay, This will analysis the main character Ulysses Everett McGill and compare him to Odysseus. In first paragraph, a summery of film Oh Brother, Where Art Thou will be discussed. The analysis of the main character Everett will be mentioned in the second paragraph.
In the Poetics, Aristotle provides an outline of how the artist is to portray or represent the perfect Tragedy. A Tragedy, of course, was nothing more than a drama, in which the characters appeared "better" than in real life (in a comedy, they appeared "worse," according to Aristotle). Aristotle's Poetics makes several references to other dramatic works to illustrate his points, but he most commonly calls upon The Odyssey to support his argument for how a dramatic structure should be designed. However, along with the Odyssey, Aristotle extensively references Sophocles' Oedipus Rex. Both poetic works were enormously popular in their time (the former had been passed down orally for generations, and the latter won the top prizes at the dramatic festivals). Therefore, Aristotle is comfortable using both to support his viewpoint concerning Tragedy and the Tragic Hero. This paper will analyze the standards that Aristotle sets out concerning the definition of the Tragic Hero and show how Sophocles' Oedipus exemplifies Aristotle's definition of a Tragic Hero.
The play Cyclops, written by Euripides is an ancient greek satyr that represents a parody of an episode in Homer's Odissey. It tells the story of the voyage back home from Trojan War where the warrior Odysseus and his crew have lost their way and made a stop in an uninhabited place. It can definitely work for a modern audience despite the difficult language, because of its thoughtful story. Modern times can easily be related to the play because of the similar conflicts in ancient times. Another reason that makes it work for a modern audience is the humorous story, which is considered a satyr drama, similar to the burlesque style,supposed to be funny. It based on Greek mythology which can call the audience's attention, because of the interest
Foreshadowing is a tool used by playwrights and authors of all types as a means to direct the audience into a path of questioning and intrigue throughout the course of a novel or play. After reading both of these theatrical works, it struck me just how often I dismiss/fail to acknowledge the big red flags stuck within the ground of the text and thus proceed to give myself incredibly undeserved credit at the end of every reading for having figured out what was going to happen “all by myself”. Therefore, I have taken it upon myself to examine the importance of this technique in order to credit the playwrights and show how their use of foreshadowing creates tension, credibility and a specific atmosphere in both of their fictitious worlds. ‘Oedipus