In The Bissula Analysis

A less theoretical definition of poetry is, “putting the best words in the best possible order.” A poet may incorporate the theory as follows. The poet may astutely choose words possibly with a double meaning in order to indirectly convey a message, evoke emotions, or to slander. Then, the poet may unconventionally place such words and phrases perhaps out of expected order for the sake of creating a “word picture,” emphasizing the speaker’s feelings, or offering tangibility to the poem. By implementing this idea onto poetic works, the poet will have auspiciously written a superb poem. This theory may be applied to a few of Catullus’s poems specifically “Carmen 5”, “Carmen 8”, and “Carmen 85.” Catullus’s meticulous choice of words and arrangement highlight the central focus of the poem, obliquely criticize traditional Roman law, manipulate the audience’s attitude, transmit the speaker’s emotions, paint “word pictures,” and offer symbolic meaning consequently producing a successful poem.

Alcohols role within this work does not stop there. Instead we see it have an effect on the confidence of the characters within this work. Unferth for example becomes very loud, and boastful when he is drinking. He even goes as far as to insult Beowulf while drinking. To which Beowulf replies: “Well, friend Unferth, you have had your say / about Breca and me. But it was mostly beer / that was doing the talking” (530-531). Even Beowulf is suspicious that this false confidence is coming from the

Mulisch shows this new motif in another simile seen, “As when a drop of ink falls into a glass of water” (127). This distinguished simile presents the spreading of an initial thought or idea while illustrating the growth and change occuring before shifting into something, while similar to what it began, is new and unique. This look into a dreamy thought process that Mulisch has exposed to the reader teaches the lesson of change and showcases the importance of change throughout the novel. By putting this depth and confusing nature into the novel immediately after Anton has gone down into the deep water, it is used to relate the two as his body had just returned from the deep dark water, but his mind is still reeling from entering the dark corners of his mind and the memories and emotions from the assault. This inner dream dialogue needed to be placed in a situation just as swirled and confusing as the situation that the novel is based upon-

There are really only two ways that history can withstand the test of time; that is for stories to be passed down to each generation by speech, or for those stories to be written so they can be cemented in history for eternity. Much to all of what is known about Rome and the ancient world has been traveled down by great works of art and literature. More importantly, the feelings towards each one of these cultures is essentially a direct product of what is read. This only stresses the importance of Livy and Aeneas’ literary works about the pre-history of Rome.

The focal point of this report will be on the content of poem 64 and how it, reflects Catullus himself and his relationship with Lesbia. Further, I will examine the mirroring of characters and emotions and ambiguity of the poem as it stands in relation to his other works.

Virgil’s The Aeneid is a Latin epic poem that tells the legendary story of Aeneas, a Trojan who travelled to Italy, where he became the ancestor of the Romans. The poem details the journey of Aeneas and his men after they are forced to flee burning Troy and as they wander the seas in search of land suitable to found a new Troy. Throughout the many books, the Trojans suffer through the Trojan War, the loss of their home, fierce storms, horrible monsters, and the wrath of the gods. A major theme of The Aeneid is human suffering as the characters in the poem experience the full front of despair and pain.

The author says, “Should every creature drink but I, Why, man of morals, tell me why?” this exemplifies how the author knows that most readers are going to disagree with him. We cant tell he talking about alcohol when he says, “ Fill all the glasses then,” meaning more glasses with alcohol so they can drink which is natural. The author comes from the perspective that he is drunk and is trying to make a joke at how drinking is natural.

In Edgar Allan Poe’s “The Cask of Amontillado,” one of the main details involved in the plot is alcoholism. Fortunato thoroughly enjoys good wine and drank a lot. Not only did he drink often, but he also was extremely knowledgeable about “fine wines” as Poe writes. Fortunato liked to think of himself as a judge of whether a wine was good or not. Based on all this, Montresor decided to tap into this weakness of Fortunato’s to seek his revenge after Fortunato mocked Montresor’s family name. Montresor then caused Fortunato to become drunk. In this and other stories, alcoholism and drug usage are very prevalent in Poe’s writing, but the references always seem to reflect his own life addictions and show us how truly depressed he was.

In each of the poems, both Medusa and the Duke of Ferrara represent the fickleness of power and how it fluctuates in daily life. Duffy’s manipulation of a paradox within ‘Medusa’ displays the extent to which power plays a part in the Greek myth of Medusa. The extended metaphor of Medusa with “filthy snakes” that “hissed and

“The story that the dreamer remembers combines the two classical versions even though they are, or seem to be, irreconcilable. This reconciliation is, we must remember, an act of memory protected by the fiction of the dream; it can be most easily seen in the composite character of Aeneas. He is Virgil’s epic hero and Ovid’s false lover, admirable and treacherous. As such, he and his story are an appropriate visual summary of the value of fame which is inherently ambiguous. From his memory of two old things, the dreamer has created a “new thing” an eccentric retelling that recognizes the validity of conflicting truths in history – “fals and soth compouned” (Buchmaster 284).

The language in this poem is quite harsh, emphasising the anger ‘Medusa’ feels for this man. There is a lexical field of destruction and disgust ‘shattered’ ‘filthy’ ‘stank’ that connotes the negative feelings of envy and fury that the poet is feeling. The poem as a whole is very figurative, mirroring

Two epic poems from two great civilizations depict their authors' varying views of the Underworld: The Odyssey and The Aeneid. The Greek poet Homer describes the hardships of Odysseus and his struggle to return home to his beloved wife and family after the Trojan War in The Odyssey. The Roman poet Virgil composed The Aeneid for the first emperor of the Roman Empire, Caesar Augustus, in order to rebuild Rome after the civil war had ended. The Aeneid portrays a demigod, Aeneas, whose mission is to create a grand city that will be known as Rome. This paper analyzes the differences and similarities in how Virgil and Homer view the Underworld in The Odyssey

The imagery of “Intellect” is challenging: the poem features a fountain, a wave, the shore, and wings—all in just six lines. This abstract imagery allows us to tap into our own intellect and it leaves room for the reader to interpret its meaning. Let us contemplate the fountain first. A fountain is often used to symbolise the source for something desirable: whether it be a drinking fountain, a fountain of youth, or the fountain of life we come across in Christian doctrine. Often times we crave rules; or we might just crave direction or someone to tell us what to do. Unfortunately, the source of these rules is often society. We choose to listen to the voice of society for direction, instead of turning inward. Perhaps by writing

Virgil was Rome’s unwilling epic poet, he gave the Roman people a cohesive narrative that tied them to the past and propelled them towards the future. This narrative, The Aeneid, had its basis in local lore as well as ties to the older Greek epics of Homer. The Aeneid almost functions as an extension of The Iliad and Odyssey, with its protagonist, Aeneas, being a minor figure in the earlier poems, and the work itself academically divided into “Odyssean” and “Iliadic” parts. In this relationship Virgil owes a creative debt to Homer, and there is a resemblance that can be seen with striking clarity when the experiences of Homers’ Odysseus and Virgil’s Aeneas are examined side by side. Odysseus and Aeneas are both honour bound to reach the destinations of their respective journeys, Odysseus to rule Ithaca and Aeneas to found Rome, and while ones journey often mirrors the others, there are significant differences between the two. The major differences that can be observed lie in their characters and forms of heroism and these variations shape the course of their narratives, yet the similarities of their internal journeys and ultimate fates remain intact.

The tale of the Aeneid tells the story of Aeneas and how he founds the Roman people. The most well known version of this story is Virgil’s Aeneid. The traditional interpretation of Virgil’s depiction of the hero and the myth is that it was used as propaganda for the new imperial system that the emperor Augustus had introduced. In contrast with this is the Harvard School interpretation, which states that Virgil’s Aeneid is actually undermining the Imperial system. Despite there being some evidence for this, Virgil’s illustration best fits under the traditional interpretation. In contrast with this is Ovid’s Little Aeneid found in his Metamorphoses. This essay will analyse these illustrations