Discuss the themes of identity explored in "King Oedipus" and "Waiting for Godot".
Victoria Ulett World Literature Paper 1 Discuss the themes of identity explored in "King Oedipus" and "Waiting for Godot". Identity is made up of individual characteristics by which a person is recognized individually, as a member of a group, and of a wider society. We can draw this identity from our environment and setting, other individuals, memory, and also by contrast and similarities. Identity is needed to give people the ability to know who they are and to exude their individuality, as a form of existence, upon others. The forms of identity explored in these two plays are; the confirmation of identity and the sense of self. We can then maintain our identity by having physical identification and keeping personal relationships. The search for identity is a theme in Sophocles' Ancient Greek tragedy, "King Oedipus". Oedipus lacks sense of self because of a curse set upon him from birth. Before he was born, a curse stated that he would fulfill the prophecy of killing his father and marrying his mother. The play focuses on the gradual and delayed revelation of this oracle that he has already fulfilled. Moreover, it specifically focuses on Oedipus' quest for his inner identity. In "King Oedipus", Oedipus has drawn his identity from his surroundings. The setting of the palace, the riches, and the status define Oedipus, which is one reason as to why he is
Determining Freezing Point Depression Constant for Acetic Acid
Noelle Carpenter -01736014 chem 132-3 July 27 2009 Project #1- Freezing Point Depression Constant for Acetic Acid Introduction: The purpose of this lab was to experimentally determine the colligative property; freezing point depression constant, for acetic acid. Colligative properties are properties of solutions that depend on the number of molecules in a given amount of solvent and not on properties such as size or mass of the molecules. Colligative properties include: vapor pressure; boiling point; depression of freezing point and osmotic pressure. Freezing point is the equilibrium between a liquid and solid phase and is lowered by the presence of a solute compared to a pure solvent. The solute particles cannot enter the solid phase, hence, less molecules participate in the equilibrium so equilibrium is achieved at a lower temperature at which the rate of freezing becomes equal at the rate of solidifying. Because an impurity is being added the freezing temperature of the pure acetic acid would be higher than when acetylsalicylic acid is added to the solution, when the molecules of the solvent freeze they form crystals of pure solvent. At the freezing point of pure solution there was a equilibrium of molecules joining and detaching from the solid but when a solute is added to the solution in the crystals remain as pure solvent so the solute cannot join. The solute
Classical studies
TMA 03 PART 3 CLASSICAL STUDIES PART ONE, Short answer. The Colosseum was the first permanent amphitheatre to be built in Rome. Its huge size, as well as the practical and efficient way it dealt with organising of events and ways of controlling large crowds in a safe manner makes it one of the greatest architectural buildings ever constructed in the Roman Empire and was a gift from Emperor Vespasian and finished under Emperor Titus. The building itself is a vast ellipse with tiers of seating for about 50,000 spectators around a central elliptical arena. There are 76 entrances into the amphitheatre to allow crowds to arrive and leave safely and quickly. The architects had recognised the need for more permanent seating in the Colosseum as opposed temporary wooden benches or the piles of earth used in previous amphitheatres located in other cities. This was after all the centre of the known world and home to the Emperor and so had to be built on a grand scale never seen before. Firstly it had to be a safe place for people to visit and stay for periods of time. Many revolutionary safety devices were designed and attached to the Colosseum, such as the podiums that were built with top rollers that prevented the wild animals and convicts from climbing on top and into the crowd. There is also the design of the exterior to consider. Despite the main activity going on inside the
Dramatic irony in Oedipus Rex.
DRAMATIC IRONY IN OEDIPUS REX Oedipus Rex is a Greek tragedy written by Sophocles in the early days of antiquity and is based upon an even more ancient story in Greek mythology. Sophocles, knowing that his audience is aware of the outcome of the play, utilizes that knowledge to create various situations in which dramatic irony play key roles. To begin with, dramatic irony is when the audience knows the tragic truth before the characters do. Through Sophocles's use of irony he manages to avoid retelling an old tale, even though the audience is aware of the story's ending, they are intrigued by the irony present in the story. From the beginning of the play, Oedipus is ignorant of the dreadful acts he has committed: the murder of his father and marrying his mother. But the audience, watching the play, is already well aware of these facts. Therefore, every word and every reaction of Oedipus' with regard to the murder leads itself to dramatic irony. The story revolves around two different attempts to change the course of fate: Jocasta and Laius' killing of Oedipus at birth and Oedipus's flight from Corinth later on. In both cases, an oracle's prophecy comes true regardless of the characters' action. Jocasta kills her son only to find him restored to life and married to her and Oedipus leaves Corinth only to find that in doing so, he has found his real parents and carried out
Compare the portrayal of Clytaemnestra in both Aeschylus’ Agamemnon and Euripides’ Electra. Which portrayal do you think is more effective and why?
Louise Phillips U6 EYS Compare the portrayal of Clytaemnestra in both Aeschylus’ Agamemnon and Euripides’ Electra. Which portrayal do you think is more effective and why? The character of Clytaemnestra is portrayed very differently in both Aeschylus’ Agamemnon and Euripides’ Electra. In Agamemnon, we see a very strong female ruler, who is completely absorbed by her passion for vengeance, whereas the figure in Electra is far more maternal, and shows a concern for her family and reputation, which was not apparent in Aeschylus’ play. This subdued version of Clytaemnestra shows a stark contrast to the fierce and dominant character in Agamemnon, however both characters remain fascinating for different reasons. The Clytaemnestra of Agamemnon seems to be fearless of retribution, with an infallible belief in her own righteousness; ‘I have no fear that his avenger’s tread shall shake this house’. In Electra, however, we see a very different character, humbled over the years, and afraid of Orestes, ‘I’m terrified…they say he is full of anger for his father’s death’. These different reactions to the same topic emphasise how greatly the character of Clytaemnestra differs in each play, from the meek and subdued housewife of Electra, to the self-assured and confident murderess of Agamemnon. One explanation for the changes in character of Clytaemnestra in
In Milton's Paradise Lost, Satan, one of the main characters in the story, exhibits all the qualities of a tragic hero.
Aristotle's tragic hero has certain characteristics which can be applied to Oedipus the King and Milton's Satan. Aristotle states that a tragic hero can be classified as a person that falls from the state of being happy to one of misery because of his own mistake. This can be seen in both Oedipus and Satan, since they are miserable as a result of their own doing. According to Aristotle, the tragic hero must fall through his or her own error, or hamartia. This term is also interpreted as "tragic flaw", usually applied to overwhelming pride, or hubris, which causes fatal error. Satan and Oedipus show that they have hubris and this is probably one of the main contributing factors for their fall. Although, the main characteristic of the tragic hero, as stated by Aristotle, is their ability to make the reader or audience to empathize with them, he wants there to be a sense of fear and mistrust because of their devious nature. In Milton's Paradise Lost, Satan, one of the main characters in the story, exhibits all the qualities of a tragic hero. He has fallen, literally and figuratively, from grace. Once one of God's more powerful angels in heaven, Satan questions God's power and forms an alliance to overthrow Him. Satan's army fights diligently only to have God "...cast him out from Heaven, With all his host of rebel angels..." (Paradise Lost, Book1, Line 37). Book One of Paradise
In this essay I will be examining the characteristics of the characters Aeneas and Dido as they appear in the first book of the Aeneid.
Aeneas and Dido in the First Book of The Aeneid In this essay I will be examining the characteristics of the characters Aeneas and Dido as they appear in the first book of the Aeneid. In the first book of the Aeneid, Virgil introduces Aeneas. Aeneas is shown to be a Trojan hero and prince who survived the siege and sacking of Troy and managed to lead a band of survivors to safety. Aeneas is the son of Anchises and the goddess of love, Venus. After fighting in the Trojan War, Aeneas escaped after the Greeks sacked the city, leading a small band of survivors on a quest to find Latium, where, it had been revealed, the descendants of Aeneas would found the beginnings of the Roman Empire. After leaving Sicily, on what the Trojans believe to be the final stage of their journey, Juno sends a storm, which wrecks some of the ships and scatters the rest. She does this because she believes a race descended from the Trojans will destroy her beloved city of Carthage. After the storm, Aeneas makes his way to the shores of Libya, where he is met by is mother, Venus, disguised as a huntress. She tells him to make for the city of Carthage. There he is welcomed by Queen Dido, and reunited with the rest of his followers who have survived the storm. Dido invites the Trojans to a great banquet where Venus arranges that Dido will fall in love with Aeneas. Aeneas displays many qualities that
Oedipus.Try to visualize Oedipus as a forceful, powerful ruler who begins the trilogy in absolute control of the situation. As the story progresses, however, Oedipus' power and pride are broken down. How do you see him at the end of Oedipus the King?
OEDIPUS Try to visualize Oedipus as a forceful, powerful ruler who begins the trilogy in absolute control of the situation. As the story progresses, however, Oedipus' power and pride are broken down. How do you see him at the end of Oedipus the King? Some readers imagine a broken, pitiful old man who's been crushed by the avenging gods. Others see him as a wiser, soberer man, rising majestically above his misfortunes. How do you see him just before his death at the end of Oedipus at Colonus? Although Oedipus is the title character of the first two plays, you don't know his exact age or his physical traits. Some readers believe that Sophocles left out these essential character details because he was more concerned with developing Oedipus' inner nature- his moral and ethical qualities- than in developing a character for performance by an actor. Other readers point out that the lack of details is characteristic of Sophocles' economical writing style. (Athenians would probably have already had a mental picture of the legendary Oedipus, anyway.) Oedipus isn't given a lot of physical action, either. He enters, exits, kneels, prays, shouts, struts, weeps, yells, and dies. His most significant action is blinding himself, but that takes place offstage. Why does Sophocles omit physical movement for Oedipus? Perhaps Oedipus must seem stately and regal, so he will stand as a symbol
Odysseus has no real feelings for the female characters he encounters on his travels. How far do you agree with this view?
"Odysseus has no real feelings for the female characters he encounters on his travels." How far do you agree with this view? Odysseus encounters many female characters on his prolonged journey back to Ithaca, including Nymphs and goddesses. Although his resistance temptation is often tested, his remaining nostos seems to surpass any feelings he has towards his female 'obstacles', and it is likely that he in fact has no real feelings towards the women he meets; simply using them for his own benefit to aid him on his voyage. In Ancient Greece, it was not considered adultery if a man slept with servants or foreigners. This means that in principle, Odysseus could have slept with every woman he met on his travels (though there would have still been consequences), but he only sleeps with the two goddesses, Circe and Calypso. I believe he does show some signs of feeling towards the women he meets, but it never compares to the love and longing he feels for his wife Penelope. The first female character the audience hear of Odysseus encountering on his voyage back to Ithaca is the Nymph Calypso. She is in fact one of the most alluring of all the women he meets, as he does end up staying on her beautiful island where 'even an immortal visitor must pause to gaze in wonder and delight' for almost ten long years. However, the first we hear of Odysseus that he is 'sitting disconsolate on
How are the figures of Telemachus, Odysseus and Athena presented in Books I to V?
Homers Odyssey Due 6th November N.B.: All texts referenced fully in the Bibliography, Page 7. How are the figures of Telemachus, Odysseus and Athena presented in Books I to V? Throughout the formative books (namely I to V) that shape the consensus of the poem as a whole, the author portrays a series of consistent motifs and themes - primarily utilising literary mediums akin to epic poetry of this period. Indeed, a great deal of this is highlighted through initial character portrayal and their subsequent interactions with those around them as the story progresses. This is particularly evident in the cases of the legendary Odysseus, his estranged son Telemachus (the main protagonists of the poem) and the Goddess Athene - who oversees the well being of the aforemented heroes. Odysseus, the central character of the poem, is repeatedly portrayed as a courageous character renowned for his cunning; everyone who comes into contact with Odysseus is left in awe of his abilities. The author reiterates this point without fail whenever Odysseus becomes the topic of conversation, and the diction employed is always wholly complimentary (Cook, Book I, l.128 "stout-hearted Odysseus", Book III, l.98 "noble Odysseus", Book IV, l. 270 "stout-minded Odysseus"). As with most heroes of epic poetry, the usual