Young Octavia's Identity

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.

In a world where today, we can hardly hope for fidelity and allegiance in the one we choose to give our love to, it might be difficult to understand the plight of Penelope and Telemachus. Even

Although neither party can interfere with fate, patience displays strong mental endurance that lasted for two decades. The strength of the couple’s relationship can be seen through Penelope faith, Odysseus’ disinterest in other women, and the importance of their secret. Odysseus and Penelope is a powerful example on how emotions and beliefs can shape a relationship. Yet, with modernization in society, to the two influential elements can have a negative effect. People will not change, but the mindset of the society can change one’s approach to a

It is often—in books, poems, paintings, and sculptures—that one hears of and sees the goddess of love. But when is it that one hears of the god? In Greek mythology, Eros is the god of love, and a god who is many times overlooked. In Robert Bridges’ “EPÙÓ” and Anne Stevenson’s “Eros”, the idea that Eros is overlooked is portrayed, but in two separate ways. Techniques such as diction, imagery, and tone are used to help convey the idea.

Her demeanor suddenly changes. He makes her feel intellectually and physically stimulated. Her feminine sexuality awakens. She turns the conversation of the chrysanthemums into something sexual. “When the night is dark-why, the stars are sharp-pointed, and there’s quiet. Why, you rise up and up! Every pointed star gets driven into your body. It’s like that. Hot and sharp and lovely” (444). She completely surrenders herself to him as manifested by her kneeling before him “like a fawning dog” as she hands him the chrysanthemum shoots. But despite all that, the traveler holds no interest in her or her flowers. This symbolizes society’s rejection of women in the workforce no matter their talents.

Greek mythology dates back to over two thousand years ago when Rome was a powerful nation. Classical literature has retold the famous stories of Greek gods, heroes, villains, and monsters over and over. A great book written by C.S. Lewis, Till We Have Faces, retells the story of Orual, and Cupid’s love for her sister, Psyche. However, even though Orual and Psyche are sisters, there are many differences between them. First, Orual was selfish and unknowingly jealous of her sister.

Analytic Response of Cupid and PsycheCupid and Psyche retold by Sally Benson is a famous Ancient Greco-Roman myth. The story begins with a king and queen who have three daughters. The youngest daughter, Psyche, is of such exceptional beauty that “the poverty of language is unable to give her due praise.” People travel to her, proclaiming the girl is the second coming of Aphrodite, and make offerings to her instead of the Goddess herself. Aphrodite, the Goddess of love and beauty, becomes jealous. Aphrodite tells her son Cupid, a young man with golden wingswho represents unrestrained passion, to go to Psyche, and make her fall in love with some low, ugly person. This essay will examine Cupid and Psyche by Sally Benson and how the author has

Shortly after Butler was born, her father died leaving Butler's mother and grandmother to raise her. Octavia’s mother used to read her bedtime stories until she was six years old. As soon as she got to like the stories, her mother said, “Here's the book. Now you read.” She didn't know what she was setting her both up for. Just at the age of ten Octavia

In “The Odyssey”, the protagonist Odysseus must face a series of obstacles throughout a 20 year journey back to his homeland of Ithaca. A surprising number of obstacles involve women in some way or form, either as a mortal or a goddess. The women present some form of danger Odysseys must work his way around. “The Odyssey” presents women as dangerous beings, an interesting contrast of the ancient greek view of women of their era. Through characters such as Helen, Calypso, Kirke or the sea monsters, we see how each provides some sort of danger that must be surpassed by the protagonist Odysseus and how “The Odyssey” portrayal of such women provide a commentary by Homer on the social view of Greek women of the era.

Zeus and his sister, Hera, soon after the fall of the Titans had a son named Eelos. Eelos was a very handsome god and surpassed Apollo. He was a very kind god, teaching man to love at the age of five. Aphrodite had taught man to love before, but Eelos taught them to love deeper and think for one another, this made Aphrodite jealous. All the gods admired Eelos for his work, which made man more humble, and therefore made them worshipped the gods more. All but Aphrodite were pleased by Eelos, who felt robbed of her position on Mount Olympus. Aphrodite was also very jealous of Eelos’ beauty since it was more than she, herself had. Aphrodite spent many days planning to take Eelos’ source of power, his beauty, and give it to herself. Aphrodite created a crafty plan to seek

Another love that is classified in the play is romantic love in which Hippolyta voices a desire for, or at least an attraction to, the romantic love which Hermia and Helena experience. In response to Theseus’ comment concerning his disbelief in the lovers’ stories, Hippolyta argues, “But all the story of the night told over, / And all their minds transfigured so together, / More witnesseth than fancy’s image, / And grows to something of great constancy” (5.1.23-26). Hippolyta seems to want to believe the lover’s tales; she wants to trust in their romantic notions. In an attempt to persuade Theseus, she uses the rational argument that because all the lovers experience the same transforming power, their experiences do not represent mere figments

character, Clarke Griffin played by Eliza Taylor who does a wonderful job at playing the main role. You instantly connect with her character and can tell the people look up to her, while she isn't the leader of the entire 100 she definitely has a lot to say for herself and is respected by a lot of our characters.

Why was I so blinded by love?’ his thoughts starts to wander on the reason why. Kate was shocked when she saw Harry standing there. From there it was history, Harry turns from lovely to cruel towards her. He never hit her but he did wanted her to suffer. Within three days, Kate was homeless and living in the streets with nobody. His heart held together with stitches; it refused to be touched. Alcohol and cigarettes comforted him in the best yet worst possible way. It comforted him but gave vivid images of Kate which made him angry. Harry perspective of love changed. Five years later, he meets Aria Crespo, the girl who changed his life

Upon encountering Daphne, Apollo falls madly in love with her. Overcome by Cupid's arrow, Apollo sets aside reason and becomes engulfed by his hope of attaining his love. Before being transformed, Apollo would most likely have paid little or no attention to Daphne, but now, Apollo is overcome by his lust for beauty. Ovid compares Apollo's love for Daphne to a flame in a brush. This metaphor used by Ovid is very effective. The change that goes through Apollo is very sudden and fast. The imagery of a flame rapidly spreading through brush conveys the idea of an almost violent change. The god is consumed with a desire for the girl. His chase is fueled by a hope to overcome the ultimate futility of his actions. He sees every part of her as beautiful, her eyes, hair, face and even speculates as to the beauty of her hidden regions. Unsatisfied by the sight of Daphne and wanting more than just a glimpse of her beauty, Apollo follows Daphne as a hound chases a rabbit. The hope for his fruitless love keeps Apollo close on Daphne's trail, and fear motivates Daphne to stay just out of reach. When Ovid tries to convey the intensity of the flight, he says, 'He gave the fleeing maiden no respite, but followed close on her heels, and his breath touched the locks that lay scattered on her neck,';(p. 43) Finally, burdened by mortal exhaustion, Daphne prays to her father to deliver her from her torment. As the words leave her mouth, Daphne is transformed for the second

While Raina’s doubts show her self-awareness and intelligence, the ease to which she is convinced of Sergius’s nobility reveals the depth of her insecurities regarding their relationship. Even Raina’s physical gestures suggest a preoccupation with dramatics as she “flings her arms passionately round her [mother].” She has become swept up in what her idea of a romantic relationship should be; one that exists in “a glorious world for women who can see its glory and men who can act its romance”. Her expectations of love are far too great, and it is only just that she has doubts about them, especially as such an intelligent young woman. Raina and Sergius have spent so long acting out this strange, fictitious love that they have both begun to believe that they have reached personal fulfillment. It is fair to infer that Raina’s desire for a noble and heroic love comes from her affluent upbringing. Seeing her parents’ marriage, with her father as a high-ranking general, and being acutely aware of her family’s