Earth : Vertumnus And Pomona Essay

   Passionate lust is a blinding force. When jealousy and desire control actions, the outcome is never what it is envisioned to be. Ovid's Metamorphoses provides an clear example of love turned terribly wrong. Throughout the novel, overwhelming desire controls actions and emotions, leaving behind sadness and grief wherever it strikes. With this kind of love, nobody gets what he or she wants in the end.

Jealousy is a major factor of the urges that come from temptation. Odysseus’ men were driven by temptation to open the bag of what

Unlike Odysseus Penelope is confined by the gender roles of her time and cannot use physical strength against the suitors or even direct verbal rejection, instead Penelope resorts to her emotional resilience and wit in order to challenge the suitors. She wrongly reassures the suitors that once she finishes weaving a gift for Odysseus’s father, she will choose someone to marry her, “’Young men, my suitors, let me finish my weaving, before I marry’…every day she wove on the great loom but every night by torchlight she unwove it.” (II. 103-104, 112-113) Penelope’s actions are strategic and well calculated. Her main goal, like Odysseus, is to successfully overcome her situation. She understands that she may not be able to physically fight the suitors but she can trick them until Telemachus or Odysseus are able to. By crafting a lie that delays the suitors from marrying her immediately, Penelope restrains the suitors from seizing Ithaca, her household, and posing a threat to Telemachus or Odysseus. Her lie gives Odysseus a crucial advantage in the physical fight against the suitors as he comes back to a city and household where Penelope

Furthermore, Penelope is an important character as her identity “functions as a stable and unchanging reference point for the adventures of Odysseus” (Katz, 6). As Katz explains, Odysseus’ travels are interwoven with his lust for home and his desire to be with his wife again. As well, her identity becomes a parallel to Odysseus’ identity through her use of polutropus (tricks and turns). She proves, by the end of the poem, that she is the perfect match for Odysseus as both of them share the same skills with rhetoric and language to get what they want. Their like-mindedness is evident during the recognition scene between the two. Penelope tests Odysseus’ knowledge of their marital bed - before blindly trusting his claim of identity - by asking the slaves to move their immovable bed: “[putting] her husband to the proof-but Odysseus/ blazed in fury, lashed out at his loyal wife” (Homer, 23.203-204). In his angry response to Penelope’s test, Odysseus proves his identity to his wife as he explains why the bed cannot move. When she hears their familiar story of the creation of their bed, - which only the two and a slave know about - Penelope submits to her long-lost husband in an emotional reunion. Her caution, before accepting Odysseus’ claim, shows the wary protectionism stance that she had to adopt while her husband was gone so she could protect the kingdom from the suitors.

Myths explain our circumstances in the world and the universe. A prime example of this is the myth of Icarus and Daedalus. Pieter Brueghel painted a picture decrypting the moment of Icarus fall from the heavens. And the two poets William Carlos Williams and W. H. Auden each wrote a poem based on Brueghel's painting, both of which developed a deep meaningful message to the reader. Diction, connotation, and denotation are all used to help describe the emotions and tragedies that Brueghel's painting portrays. These poems are written based on the myth of Icarus.

The science that is connected with planet earth encompasses geosciences or earth science among others. Containing old histories, this is considered as a part of planetary science while it possesses holistic and reductionist approaches in the science of the planet Earth. This discipline can cope with lithosphere, atmosphere, biosphere or hydrosphere. Quantitative understanding has been developed by the scientists to understand the ground systems with the tools by mathematics, physics, chronology, biology, chemistry alike that help to know how the universe is evolved.

His lust contradicts the divine will, where sex is only functioned as the tool of procreation (Confessions, Book II, Chap. 2). Even after Augustine arrives at Carthage, where he is supposed to study, he is surrounded by a hissing cauldron of lust (Confessions, Book III, 1). The increased level of devotion to sex and more undisguised ways Augustine utilizes to express his horny minds indicate his developing enthusiasm in lust. He says, “to love and to have my love returned was my heart’s desire, and it would be all sweeter if I could also enjoy the body of the one who loved me” (Confessions, Book III, 1). Not as later when he realizes that truth of God and knowledge of wisdom are more important, he still adores the shallow fleshy satisfaction. At the early stage of his life, Augustine uses sex to satisfy his personal demand and commits this sinful act against God. He prioritizes his personal satisfaction beyond his pursuit of God. Similarly, Aeneas arrives at Carthage and is trapped in the love of Queen Dido. He falls into the abyss of love and lust, where he commits illicit sex with Dido in the cave (Aeneid, Book IV, 219). He experiences transient diversion from his purpose to build his lineage in Rome. His people build city walls for Carthage instead for

Though the Greek hero overcomes many hardships in his twenty-year journey back, he shows no mercy to the young women who slept with the suitors. Heroes, who are expected to be the gleaming, godlike examples for humanity to aspire to, should not penalize miscreants with death. Instead, like Apollo required Hercules to perform twelve labors, Odysseus might punish the maids with difficult intellectual or physical tasks or actually forgive them of their ‘sins’. The ‘hero’ also spares no thought to the fact that the maids are forced into sexual relations with the suitors, rather than being willing participants in them. Time and again, Homer establishes the unruly behavior of the suitors, who “after [putting] aside desire for food and drink…set their minds on other pleasures,” making a sly reference to their harassment of the maids who carouse with them (82). Yet, Odysseus still refuses to acknowledge the result of coercion that clearly merits forgiveness. Furthermore, the maids are unmarried, but Odysseus sees their relationships as a breach of his own relationship with the maids, though he was not reluctant to have adulterous sex with Circe. Odysseus “[mounts] Circe’s gorgeous bed,” quickly, and without any visible qualms (241). While readers might argue that Odysseus needed to sleep with Circe in order to return home to Ithaca, his maids, and ever-faithful Penelope, Odysseus exhibits tells that show he in fact, wanted to stay in Aeaea amid his comrades, “feasting on sides of meat and drafts of heady wine” until a year “had run its course”

Male sexual impotence would seem at first to be an unpromising subject for poetry, especially poetry which could loosely be defined as “neo-Classical” and is based on compositional models from the Classical world of ancient Greece and Rome. Yet scholars such as Richard Quaintance and Claude Rawson have traced the history of a literary sub-genre within the neo-Classical tradition that does deal with male sexual impotence, whether through failure to achieve erection or through premature ejaculation. This literary sub-genre includes Restoration poems like Aphra Behn’s “The Disappointment” and the Earl of Rochester’s “Imperfect Enjoyment,” and Quaintance in fact dubs the genre the neo-Classical “imperfect enjoyment poem” after Rochester’s title. Quaintance situates both Rochester and Behn within French neo-Classical models (Quaintance 190), but actual Latin works were their ultimate models: Rawson notes that Ovid himself had written a poem on the subject in his third book of love elegies, Amores III.vii, and Petronius, the great courtier-satirist of Nero’s Rome, had structured his Satyricon as a parody of Homer’s Odyssey—but where Odysseus is pursued by the wrath of Poseidon, God of the Sea, the protagonist

love." Odysseus was asked by the goddess Circe to make love with her in order

When Odysseus returns to Ithaka, his curiosity in viewing whether people remembered and missed him drives him toward testing people. His own beloved wife, Penelope, is apart of his trial making. Without approaching her in his true form and telling her who he is, he rather has a conversation with her lying that he entertained Odysseus. From the deceiving stories of Odysseus, Penelope listened as “ her tears ran and her body was melted… as Penelope wept for her man, who was sitting there by her side” (287. 205). Causing her so much sorrow and grief through Odysseus’ trials. He even has “ pity for his wife as she mourned for him” (287. 210). In his reckless curiosity he generates more pain and suffering upon her fragile self than deserved. Also, Odysseus tests his father in curiosity “to see whether he will know [him] and his eyes recognize [him], or fail to know [him]” (350. 217). However, Odysseus takes it too far, using words of mockery, and even seeing his father break down in tears over him, Odysseus continues in his deceit. Speaking to the extent that Laertes “ caught up the grimy dust and poured it over his face and grizzled head, groaning incessantly” (353. 315). In those days such was the epitome of mourning, to cover ones face in ashes and dirt. Out of Odysseus’ reckless curiosity, Laertes who is already old and weary has to endure mockery and mourning from his own

In the epic The Odyssey by Homer, the protagonist Odysseus is traveling home from the war in Troy. Odysseus has been traveling home for twenty years and throughout his journey longs for his son Telemachos and his wife Penelope as well as his estate in Ithaca. Odysseus is a man with a penetrating mind as well as outstanding valor; however, a weakness of Odysseus is his sensualness. Odysseus always encounters women throughout his journey home. These women adore Odysseus because of his attractive looks and brave spirit and wish for Odysseus to remain with them. Although Odysseus is vulnerable to the rich and beautiful women he encounters, he rejects their kind offerings with the determination to be reunited with his wife Penelope.

It’s no secret the ancient Greeks were fans of sex. From large scale orgy parties to everyday polygamy, ancient Greek culture heavily revolved around sex and the pleasures of the body. In the epic poem, The Odyssey, Homer recounts the famed journey home of the Greek hero Odysseus, from the Fall of Troy to his home on the Isle of Ithaca to be reunited with his wife Penelope. Along the way, however, Odysseus finds trouble everywhere he looks, especially when it comes to sex. Throughout his ten year journey home, sex acts as an instrument of power, self-preservation and intimacy.

Most of the murals and paintings in Pompeii are of the wealthy and prosperous upper class, since most paintings were found in elegant structures for houses. Although women were in theses prosperous classes, they were still not equal to men. These women didn’t have the titles that men had, they were only referred to as the “wives of the men.” In the painting of “Terentius and His Wife” a woman is accompanied by her husband who is a prominent businessman and magistrate, an elected official. In the painting, the man, Terentius is fully named in the painting while his wife is not. Since Terentius has important titles such as a businessman and magistrate, it is only necessary to show his name and not the wife. The painting represents how the women are not considered equal to men since they aren’t named in paintings alongside their husband. The women are mostly looked at as just a piece of property of the men, therefore not needing to be named. Although these men and women are in the same social class it is clear that the men are still always superior to the women.

On the other end, Capellanus views the trophy of virginity as futile and counters that while you know “some other man is enjoying the embraces of your beloved, this will make you begin to value her solaces all the more” (2.2, 3). Furthermore, he makes the argument against adultery, again opposing the views of Ovid. Capellanus explains his argument in detail by stating that a man in love is adorned “with the virtue of chastity, because he who shines with the light of one love can hardly think of embracing another woman, even a beautiful one” (1.4, 2).