Who Is Almásy's Histories Of Herodotus?

Herodotus, consider as the father of history, was born in the ancient Halicarnassus, current Turkey, and lived between 485 and 425 BC, about 150 years previous to the creation of the Library of Alexandria. Moreover, due to Persian rule over greece, Herodotus fled to Samos resulting from his conflicts with the local government and will not return until 450 BC, when he participated part in the campaign to defeat Lygdamis, to once again leave the city after the completion of the campaign. Furthermore, Herodotus traveled to Athens at the time of its peak, allowed him to contemplate the great political and cultural boom of the city. During his stay in Athens, Herodotus met Pericles, and became friends with both Sophocles and Anaxagoras, focusing

In order to gain a proper perspective on the concept of what a tragic hero is, we must synthesize information from the following play’s, “The Death Of A Salesman”, and “Oedipus The King”. Both plays takes the stance on the idea that validates the ultimate notion,  “tragic hero. From Willy’s hubris personality to his questionable and mysterious death, to Oedipus dynamic and complex choices and kingly personality that determines his fate. A tragic hero is a literary character who makes a judgement that leads to his/her downfall. In other words, even though both characters made incredible contributions and left a very noble legacy, their choices and decisions determined their ultimate fate. In today’s world tragic heroes are commonly present,

Even as he suffers, the parallel of his grief to that of the woman’s dissipates for we are privy to the knowledge that Odysseus is likely to have once been a man who cut down the father of another home. Though the language of grief is universal, spreading itself to Odysseus in likeness, the application of it remains ironic because the self-pursuant and capable hero persists in the blindness that his own hands brought about the same pain in many

In Herodotus’ The History and in the Mike Webster Sports Injury Series articles, both Croesus and Mike Webster are significant examples of being a “horrible warning”. The characters become fixed on something they believed defined them; for Croesus it was being king and for Mike Webster it was being the face of football. The obsession of keeping what they believed defined them, ruined both of their lives. They kept on looking at what they possessed in material goods and not on the important things, such as health or family until it was too late.

The Odyssey is the epic that has been read time and time again, by varying ages, digging its way into our hearts, becoming an instant classic. Odysseus and the adventures of his homecoming create a much different tale than Homer’s other work, the Iliad, provided. The epic is not about bloodthirsty men trying to get their hands on kleos anymore; it is about the homecoming of a man who uses his wits, not his weapon. In the Odyssey, the characters balance – Homer provides contrasting characters to show the readers the traits that Odysseus holds and how it builds his character development and even those who are foils to him. Odysseus’ own son, Trojan War

Even though Agamemnon made a success for his homecoming, what was waiting for him was her wife’s conspiracy with Aegisthus and his death (262-263). Namely, his nosmos was rather a failure and he also faced fate of his failed household. This Agamemnon’s gives a comparison with Odysseus future success for preserving his family and throne. Furthermore, Clytemnestra’s unfaithfulness and infidelity provides a foil to Penelope’s faithfulness and loyalty. Clytemnestra’s merciless and brutal actions, not sealing Agamemnon’s eyes while he was dying, adds contrasting characteristics between Odysseus and Agamemnon’s wives. Note that here, the story of successful vengeance for Agamemnon by Orestes gives a foil to Telemachus’ weakness and deficiency. Orestes here is depicted as a heroic example with murder of Aegistus after he comes of age (264). On the contrary to Orestes who saved his household and restored order in his family’s kingdom, Telemachus, as he came of age, couldn’t serve as protecting his household and repel his mother’s suitors in the absence of his father. In the light of comparing each heroic figures’ sons, the son of Achilles is also depicted as successful warrior with great strength and fame in the battlefield against Trojan, adding a foil to Telemachus’ unsuccessful position as a son (266).

For example, the suitors are referred to as a “mob” who are “plotting [Telémakhos’] ruin”. With the negative connotation of the word “mob”, Fagles is able to communicate his negative opinion of the suitors to the reader in a way that the word “crowd” could not—thus further influencing the reader’s opinion of the suitors. Similarly, Fagles notes that Odysseus may “take revenge on all [the suitor’s] violence.” Using the verb “revenge” as opposed to Fitzgerald’s “have it out”, Fagles conveys a much stronger image of Odysseus and the emotion that he will feel towards the suitors. Another example of Fagles’ strong diction is shown in the line, “If only the bright-eyed goddess chose to love you just as she lavished care on brave Odysseus.” Through clarifying the verb “loved” with the more descriptive “lavished care”, Fagles is able to emphasize both the emotion Athena feels towards Odysseus and this emotion’s influence on his life. Fagles also translates that if Athena bestows her help onto Telémakhos, “many a suitor then would lose all thought of marriage, blotted out forever.” Through the use of the word “blotted”, Fagles conveys that the suitors’ desire to court Penelope will be somehow wiped out—as if it were a very foggy memory. This choice in wording, compared to Fitzgerald’s “quit”, provides a more permanent solution to the problems caused by the

The extent of which Othello is a tragic hero has been open to much debate; the basis on which he is judged falls to Aristotle’s established view of the crucial elements that distinguish whether a person is truly tragic. According to Aristotle, a tragic protagonist is a nobleman or person from high status, who contributes to his own demise and illustrates a flaw or weakness in judgment. The tragic protagonist must make a fall from a high state of being to a low state or death. The tragic hero’s downfall, said Aristotle, was brought upon by some error of judgement. Aristotle’s theory is not the final word on tragedy, however it can support in pinpointing the pivotal traits in

1. Although Herodotus and Thucydides did not use poetry in their writing, they still found other ways to engage their audiences. Breisach stated that Herodotus engaged his audience by, “relying on human curiosity and on the internal tensions of stories.” (17) On the other hand, Breisach declares that Thucydides engaged his audience by, “searching for the essence of history” and “finding history's stylistic counterpart in a sparse.” (17) 2.

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.

In Robert. B Palmer’s article, Apology for Jason, Palmer argues the treatment of the Greek hero Jason from Euripides’ Medea by discussing the context for the time of the play and also the importance of the terminology used. Palmer begins his argument stating that critics of Greek tragedies, especially those by Euripides, all consistently agree with the notion what Jason is an unlikeable hero. Palmer disagrees with this and brings forth his argument that the 5th century audience would have been more understanding towards Jason than the more recent critics of the 19th and 20th century (49).

“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).

Many people consider him the father of history; others prefer to call him the father of lies. Whatever may be your perception of Herodotus’ work, the truth is that Herodotus began a new manner of writing history in which human psychology takes a fundamental place. He was the first historian who really considered the reasons why things happen and did not limit his narrative to just facts. His book The Histories evidences all the distinctive features that he employs through his description of facts as well as the intrinsic analysis that he includes to his storyline about controversial topics like the definition of what heroes really are. Indeed, The Histories’ book 7 reveals Herodotus’ astonishing and unique view of heroism. During his

As Herodotus develops his History he diverges from the main aspect of his narrative many times throughout the text. Many wonder why Herodotus diverges from the main point by introducing minor characters who do not seem relevant to the central theme. Some consider this method of narrative confusing and pointless but I believe that Herodotus has a purpose for including these minor figures and that these characters help express Herodotus ideology towards proper moral and political systems. These minor figures are developed and manipulated by Herodotus in order to express his ideas and he is able to accomplish this because these characters are flexible in the sense that the readers (and listeners) do not have a

Thésée’s accusation of “d 'inceste et d 'adultère” against Hippolytus triggered him to confess his love for Aricia as a defense. However, it enraged Thésée even more as he perceived it as his son’s atrocious attempt to cover up his “brutale insolence”. This scene helped to transit the play to the ‘falling action’ in which Hippolytus and Thésée unwittingly became the victims of Oenone’s perfidy.