The Influences of Latin
The Influences of Latin Latin has been an influence on English throughout its history. Its influence on English was profound as the Roman army and merchants gave new names to local objects such as: pise 'pea', catte 'cat', cetel 'kettle', candel 'candle' and a numerous number of other common words. The influence of Latin on Old English was profound because Latin was considered the language of a highly developed civilization. For several hundred years, while the Germanic Tribe who became the English were still occupying their home land, they had various relations with the Romans through which they acquired a considerable number of Latin words. Not only did Latin influence the vocabulary of the English language, but its syntactic style had an impact on the English of the 16th century. Marcus Tullius Cicero work was particularly imitated, as there was a search for an oratorical contrast and balance. Latin's contribution to modern English has not been more than just derivatives. The concept of grammar also came from the artificial structure of Classical Latin which can be defined as the Latin used for poetry, oratory, and by the upper classes. Early English had no grammar, no rules. Latin provided an example of excellent grammatical structure and an oratory contrast that English eventually adopted. Latin has probably impacted legal English the most, as it shares with
Is Milton's Satan rightly regarded as a tragic hero?
Is Milton's Satan rightly regarded as a tragic hero? Aristotle, inventor of the concept of heroism, defined the hero as 'noble or honourable by birth or deed'. Both classical myth and history influenced Milton greatly in his writing, and no doubt he knew Aristotle's works and applied his formulae to the creation of perhaps his most attractive character, Satan. He is certainly of noble birth, having been created by God as the brightest of all the archangels, but do his deeds justify his title as 'a tragic hero'? Since the writing of 'Paradise Lost' there has been an ongoing argument as to whether Satan is a tragic hero. Romantics such as W. Hazlitt regard him as the 'most heroic subject that ever was chosen for a poem', whilst others, such as C.S. Lewis, see him as fundamentally flawed in both his tragic and heroic intentions. Satan's conduct throughout Paradise Lost displays many attributes which facilitate his status as a tragic hero. He is tragic in the extent of his loss. He has fallen from Heaven's 'happy realms of light' to a 'dungeon horrible'. There is a tragic sense of waste in his fall; in Heaven he was the glorious Lucifer, brightest of all the angels; now he is the 'new possessor' of 'profoundest hell'. Such loss may also be argued as undeserving, as Satan was rebelling against the 'fixed laws of Heaven', implying oppression under God. If he were fighting for
Fate and freedom in Marvell and Milton.
Fate and freedom in Marvell and Milton The concluding image in Marvell's lyric 'The Definition of Love' starkly depicts the separation intrinsic to the lovers' existence: As lines (so loves) oblique may well Themselves in every angle greet: But ours so truly parallel, Though infinite, can never meet. (25 - 8) The perfection and harmony of their love paradoxically prevent them ever from combining or meeting 'as one'. That is to say, the lovers will never meet to consummate their affections and their union can only remain emotional or intellectual, and certainly not physical. Yet this mixture of 'Despair / Upon Impossibility' (3 - 4) does not in any respect demean the value of the love or lessen its intensity: rather, it is from this that it reaches its perfection by transcending the ordinary. In finding a way to resist Fate's 'tyrannic power' (16) they accomplish a fuller union than they otherwise would: Therefore the love which us doth bind But Fate so enviously debars, Is the conjunction of the mind, And opposition of the stars. (29 - 32) Although Fate has placed them 'as the distant Poles' and any physical union will only be the result of freak planetary accident, they have nonetheless defied her and found solace in pursuing more than 'feeble Hope' (7). They have overcome the immediate circumstances of the universe and uncovered a richer 'divine' existence
There are many indications within the poetry of Tony Harrison that he considers his work within the context of the canon.
'Whether one thinks of the canon as objectionable because formed at random or to serve some interests at the expense of others, or whether one supposes that the contents of canons are providentially chosen, there can be no doubt that we have not found ways of ordering our thoughts about the history of literature and art without recourse to them.' (Kermode, p.20). In what ways do you believe Tony Harrison to be affected by the canon. Use analyses of the poem to illustrate your answer. There are many indications within the poetry of Tony Harrison that he considers his work within the context of the canon. The repeated referencing of other poets1 and conscious emulation of the form of other poems ('v.' is an adaptation of Gray's 'Elegy on a Country Churchyard' ) suggest that Harrison's work is heavily influenced by other poets, despite his seemingly original style. The way that he uses his referencing is not straightforward, however; it could be suggested that the more traditional references are ironic, as Harrison contrasts his brash modern style with the more 'genteel' feel of the poets in the canon. The continual allusions to the opposition his poetry has faced, and his subsequent under confidence, can have said to have led to a need for the reassurance of the canon: using the models of other poets to validate the worth of his own poetry. Alternatively, Harrison may feel
How does Milton use generic systems in Paradise Lost?
How does Milton use generic systems in Paradise Lost? Paradise Lost is most obviously a long poem with Judeo-Christian subject matter, placing particular emphasis on the struggles and successes of individual characters. The size of these characters (Satan, God, Adam, Eve, Raphael) allows them all to be seen as heroes. This overriding concern with heroes and the nature of heroism categorises Paradise Lost firmly as epic, which, according to J. A. Cuddon, is at its simplest level 'a long narrative poem, on a grand scale, about the deeds of warriors and heroes' (264). Milton's poem can be further termed an epic because of its incorporation of a large number of different forms and modes within its primary narrative of 'man's first disobedience'. Rosalie Colie has mentioned that Homer's epics were the source of all arts and sciences - philosophy, mathematics, history, geography, military art, religion, hymnic praise - and all literary forms (22 - 3). By including a wealth of references to other epics, a model of classical tragedy, several pastoral episodes, various lyric forms and a number of dramatic elements, Milton extends the range of his subject matter so that his poem becomes almost a master-epic, embodying a panoply of literary kinds and strengthening its affinity with Homeric epic. His inclusivist approach aligns him equally with Sidney and Spenser, his greatest English
John Milton's "Doctrine and Discipline of Divorce" argued that the most valid reason for divorce was that of incompatibility and his prophetic vision of this
Heather Glazier Dr. Frances Batycki English 414 4 Apr. 2005 Milton's Prophetic Vision of Divorce John Milton's "Doctrine and Discipline of Divorce" argued that the most valid reason for divorce was that of incompatibility and his prophetic vision of this reason for divorce is the one now primarily relied on to end marriage in our modern culture. His view contrasted with the social and religious laws of the time and he was both criticized for advocating such a radical change in the marriage laws and accused of having selfish motivations for his position since his own marriage was proving to be problematic at the time he wrote "Doctrine and Discipline of Divorce". If John Milton was alive today I think he would be both elated and impressed that the lawmakers had finally seen the issue of divorce through his eyes, although he would have serious issues with the basis and sometimes flimsy reasons on which incompatibility is established and possibly have some objections to the fact that that women have as much right to pursue this path to freedom as men do. Whatever his motivations were in writing the "DDD" he backed his position up solidly with logical thinking and authoritative support from the bible and in the end it is a farsighted and amazing work for its time. The current Alberta Divorce Act allows divorce on the basis of marriage breakdown due to incompatibility.
Satan: Hero or Villain?
Julie Jentzen ENG 320 A Dr. O'Neill April 19, 2003 Satan: Hero or Villain? When picturing a heroic act, one would usually envision a feat that involves doing something courageous; such as rescuing a damsel in distress or single-handedly slaying an enemy army. The common element that links together the typical pagan epic heroes are these type of impressive public actions (5). In Paradise Lost, Milton depicted Satan as an almost praise-worthy figure. Milton's Satan bears many of the qualities similar to the classic Greek hero: he is strong, courageous, and charismatic (4). In Paradise Lost, Milton's character of Satan depicts the role of a hero in a non-conforming way. It is fascinating that Milton chose to begin his epic with the introduction of Satan, a figure who has been world-renowned for the prevalent representation of evil throughout history. Traditionally in an epic poem, the first character to be introduced to the reader would be the heroic figure. This is a bold move on Milton's part because he is daring enough to break away from the traditional structure of an epic poem without knowing what his audiences' response will be. Due to the fact that Satan is the only character knowledgeable of the early events in the poem, he is by default proclaimed the heroic figure of Paradise Lost. The opening scenes of Paradise Lost unveil Hell as a fiery and horrifying
Paradise Lost Books IX and X "Discuss the development of the characters of Adam and Eve and their relationship" The major theme of 'Paradise Lost' is the development of the relationship between Adam and Eve
Paradise Lost Books IX and X "Discuss the development of the characters of Adam and Eve and their relationship" The major theme of 'Paradise Lost' is the development of the relationship between Adam and Eve. Throughout the poem we are asked to draw conclusions on the many different events that we come across as well as the reactions that we see from the two major characters. Indeed, the only real clear-cut thing that we see from Adam and Eve is their unreliability with each other. Milton's presentation of Adam and Eve in "Paradise Lost" book IX changes as a transition occurs throughout the different stages of the 'fall of man'. The prelapsarian innocence and postlapsarian guilt and sin of Adam and Eve are presented and separate characterisations start to emerge. The description that Milton uses to describe the Garden at the start of the poem is very beautiful. In turn, we see the same sort of idyllic scene with Adam and Eve, side by side working together; "With grateful smell, forth came the human pair and joined their vocal worship to the choir". Milton's language here creates a very calm and picturesque portrayal of the garden when in fact; it is merely the calm before the storm for both the garden and the relationship between Adam and Eve. Milton lures us into a false sense of security and then shows us the other side to the pair in the quite heated discussion they have
In 1664 John Milton wrote what is now one of his most famous works, the Areopagitica.
Areopagitica In 1664 John Milton wrote what is now one of his most famous works, the Areopagitica. It was labeled by him as "A speech for the liberty of unlicensed printing to the parliament of England." (Milton, 1). Milton wrote his Areopagitica during a time of social change that saw the breakdown of authoritarianism and the dawning of libertarianism. Milton believed in the freedom of speech and was against the harsh printing laws that existed at the time. He wrote the Areopagitica to advocate the abolition of censorship; he believed in a free marketplace of ideas and felt that the restrictions on the printing press were only hindering the spread of wisdom. Milton explores many ideas throughout his piece, but the first argument that he starts discussing is the issue of censorship in relation to the church. Milton was very much against the Catholic Church. He disagreed with its values, and blamed the emergence of the censorship of the press on them, saying that they stop perfectly good books from being born, by implementing their law of prior restraint: "...first the inventors of it to be those whom ye will be loath to own; next what is to be thought general of reading, whatever sort the books be; and this order avails nothing to the suppressing of scandalous, seditious, and libelous books, which were mainly intended to be suppressed." (Milton, 3). Milton felt that
Show how Ngugi uses his narrative to contrast the inner emotional qualities in his characters- (chapter 7 pages 99-107)
Show how Ngugi uses his narrative to contrast the inner emotional qualities in his characters- (chapter 7 pages 99-107) After a long hard struggle, In 1963 Kenya was finally on the verge of grasping their long awaited independence from the British. The novel, 'A Grain of Wheat', takes the reader back to the period between the fighting and the so-called 'new world'. It is a true manifestation of emotional individuality of both the colonized and colonizer alike, where they reflect on what has been gained by their triumph, but more importantly what has been lost in their fight for sovereignty. It is a poignant novel of love, betrayal and sacrifice, which in them selves are strong emotional qualities, and are only emphasized by the narrative. In this extract it becomes clear that Ngugi allows the reader to decide what the characters are feeling by contrasting different events and characters, sometimes even by distinguishing between past and present actions. Therefore it is suggested that through the contrasting narrative Ngugi wants the reader to make certain judgments upon his characters. The first contrast that comes into light is the revelation of Kihika's departure to fight in the forest and join the other freedom fighters. This is not surprising to the reader, since we see Kihika's strong passion, for the cause, formed at a young age where even his 'heart hardened towards'