Is it appropriate to describe Virgil Aeneid Essay Example for Free

Is it appropriate to describe Virgil Aeneid Essay The Aeneid as written by Virgil is the great epic of one man who followed his destiny. He was both aided and hindered in his travels by the gods who watched his movements with great interest. But Aeneas was a hero, he understood what he was fated to do, what destiny needed fulfilling and despite great set backs, of war and loss, Aeneas forges on to complete his task of founding Rome. The Aeneid is in certain respects a poem of tragedy, of what must be lost to regain anything more and in the first books of the poem this loss is focused on. The destruction of Troy, the ruin of a city and of the honorable men within, a city that held against the sons of Atreus for ten years but finally was brought down. Aeneas personal losses in his wife and father, necessary though the former may have been, to allow Aeneas to begin a new family line, it was a painful loss. The death of a parent is not to be taken lightly and Aeneas is distraught over his fathers passing, but regardless of this all he pushes onwards, showing a sense of duty, reaching forever outwards to the goal of Rome, nudged on by the gods who champion him. His piety is unquestionable and proven again and again, this obligation to the gods, his family, and his city. Book four is the episode that encounters Dido, Queen of Carthage, who has suffered tragedy in her own forms, my husband was murdered and our home broken up by my brothers murderous act. Dido whose city and person offer Aeneas what he so longs for. He has craved settlement, to be still in a city he can make his own, to find peace. There seems little other reason for Aeneas to linger in Carthage save that therein he finds a much-needed calm to prepare himself. An audience waits also for Aeneas to gather himself together and set sail, as the gods do, but there is a steady calm in the everyday life of Carthage that is as lethargic and enjoyable to an audience as to Aeneas. The introduction of a romance is a way for Virgil to return Aeneas to the reality of a man and not yet a great hero who is still swayed by temptation. This episode in Carthage exposes a greater view of Aeneas, he is shown as a man but also his understanding of his mission his made obvious and his devotion to his destiny overrides his demands as a man and he is able to remove himself from the comfortable life in Carthage, true commitment to the task set out before him. Book four follows Dido and Aeneas as they experience this relationship and the hiatus in Aeneas plans. They are encouraged from many sides, Didos sister suggests, With the Trojans as our comrades in arms, what heights of glory will not we Carthaginians soar to! , and Juno, growing aware of the love Dido harbors for Aeneas goes to Venus and together they too conspire to bring the two together. How Dido and Aeneas later perceive their connection comes into question as to whether Aeneas was justified in his leaving but also in the tragedy of the story. They were brought together in a cave and Dido began to see her relations with Aeneas as a marriage, though he was not of the same mind. He seems to feel little by the way of obligation towards her, theirs was a political connection, one that allows him power over Carthage and fame throughout Africa. She perceives their bond as a permanent one, the beauteous Dido deigns to have her name linked with his. Perhaps it is in this self deception that lies tragedy, a woman who refuses to see what has been laid before her, to understand the prophecies recited to her by Aeneas that prove he must push on to Italy and that she does not lie in this destiny. By not acknowledging this information she leads herself to her own demise. Virgil had a good understanding of the need for great passion in his poem, the scenes with Nisus and Euryalus are paid long attention by the poet, he draws out their pain as well as their joy for the audience, using the tragic death of the characters to swing the emotions of an audience to and fro, to give a rest between the search of a hero for his destiny and show a level of more personal pain and feeling. The culture Virgil wrote from respect emotion and was enthralled by it, with other great authors producing love poetry, Propertius, Ovid, All his works fully shared the romantic ethos of his culture. (S. Farron. ) Virgil joined the ranks of these poets with The Aeneid, the romantic and destructive love characters possess fascinated Virgil and these episodes appeal to audiences, the culture and Virgil himself. Enabling the poet to include in his poem a contemporary understanding of romance and to allow his audience to exercise a need for cathartic explosion of emotion, swinging between great joy and great hurt. The emotions of Dido and Aeneas in book four are felt by the audience as well as their positions and backgrounds are known to the audience. There is an understanding between Virgil and his spectators, that he will tell a good tale and bring to an audience all emotions and display to them a range of characters. He constructs a situation for Aeneas to display his dedication, simultaneously forming a set of circumstances that make way for tragedy, for drama in the early parts of the poem. Virgil has been required in his epic to draw out Aeneas journey so that he may grow into a hero who was great enough to found Rome, along this journey he must be tested by grief and prove his capabilities as a leader. The first few books of the Aeneid have covered the excitement of war and constant movement, Aeneas cannot linger too long, and audience would weary of him and Virgil thus generates a commotion, the death of Dido, a tragedy that has been formed for these purposes. The nature of tragedy is called into question with the Dido-Aeneas affair. What troubles brought Aeneas to Dido, what caused him to leave, the culture of the ancient Romans, the misunderstanding of the characters, what each has encountered in their lives previous to their meeting and what their parting does to each of them. These subjects all lead to the end of the affair between Dido and Aeneas and to later conflicts but therein lies the tragedy and whether this particular chapter in the Aeneid qualifies as a tragedy. For tragedy has many formats but doubtless the end is the cruel and undeserved death of a character who perhaps merited more from a life, a poet or an audience. The nature of tragedy, as laid out by the Greek tragedies, is one that was used by Virgil. He understood Aristotle in his suggestion that tragedy consists of two emotions, By means of pity and fear effecting a catharsis of such emotions. Virgil builds for the listener the emotions of Dido, her lament takes precedence through thee final pages of the book and fear for her, her own fear, and great pity is created in the audience. These elements of the story aid the idea of tragedy in the book, tragedy that is a disastrous event ending in loss and distress. The Greek plays by Euripides and Aeschylus lay down an example of what tragedy is, what was perceived by the ancient peoples as terrible loss, and these ideas carried through into the Roman era. Tragedy cannot be easily defined, whether a situation is or is not a tragedy by definition cannot be determined through by examination but through emotion, what is felt by the audience, the characters who surround the tragic character. It is difficult to say what is tragic as there are no clear divisions in the understanding of the genre and emotions except what is experienced by the audience. Tragedy is a mood, that lights on an audience hearing of a characters unfortunate fate, though it does not belong to the listener is felt by him regardless. Upon reading the incident between Dido and her lover there is great shock left in the mind of the audience, how can Aeneas have allowed this, how can Dido who was so staid have done this to herself? It is the shock that remains as the an audience encounters the following books, not quite able to get Dido out of mind as Aeneas carries on with his journey that suggests tragedy, it lingers around the poem and in an understanding of Aeneas, for his character and behavior played such a role herein. There are in the Greek plays elements that define a tragedy. The emotions of a tragic play include pity, compassion between characters, grief, pain-at a destructive incident occurring to one who does not deserve it, fear, anger, stress, confusion. A list of emotions that are laid before an audience experienced by both audience and characters, but not positive emotions, deep felt sorrow, but passionately felt. If the Greek tragedies help characterize tragedy and all of its meaning better then Dido and her position in book four can indeed be classified as a tragedy, a short one in regards to a play but heartrending nonetheless. With regards to the physical structure and meaning of tragedy, the odes and chorus that occur in the template plays of the Attic Greeks. These do not exist in this book; it was not designed to mimic a tragedy in its forms but in its emotions. Virgil chose to focus on Dido and play for his audience a scene of great pain, not long and drawn out but a scene of sorrow slotted in between so many others but more poignant and personal to an audience, the loss of love being accessible in the minds of a romantic culture. The tragedy of the piece remains without the traditional structure. Death has a key role in tragedy, most tragedies contain death, if not of the protagonist then of the supporting characters. Oedipus is the focus of his own horror story but it is his wife/mother Jocasta who dies first though the tragedy lies more in Oedipus fate than hers, in the Orestia the deaths of Agamemnon and later Clytemnestra are as much tragedy as the dismal lives of their children. This suggests that perhaps it is not the death or the deceased that is tragic but the misery in the lives of those who live. This would note then that the gory death of Dido is not quite tragedy, for she most likely mourned by those close to her but not by Aeneas. The tragedy of this character is not in those around her but in the life she lived that was not always easy and a death that was public, without glory, and a terribly sad end for a queen, a life cut short that could have been lived longer and successfully. There are to tragedy many pieces, from the structure to the emotions; the same lies in the Aeneid book four. It is the story of the end of a good woman who loved deeply a man out of her reach, fated to greater things than her. Virgil drew from the Greeks before him and fashioned a poem into tragedy drawing on the emotional pieces of conventional tragedy to enhance his own tragic heroine. Her ending is terribly tragic due to the futility of her passing. She was a young woman, a queen, who would have found suitors elsewhere. She was a victim of the gods whim, her own fate and Aeneas, but she was to die at her own will, for whatever reasons, be they Virgils literary desires, the whim of a god or fate. Book four becomes tragic because it finishes with death. Any love that does not happen for any reason is a tragedy. Tragedy is defined by the audience who witness the events, to me, book four of the Aeneid is tragic for its loss of hope and a life. Bibliography Brasher, W. R. The Gorgons Head University of Georgia 1977 Farron, S. Virgils Aeneid a Poem of Grief and Love E. J. Brill 1993 Frye, P. Romance and Tragedy University of Nebraska Press 1908 Kitto, H. D. F. Greek Tragedy Routledge 1939 Monti, R. The Dido Episode and the Aeneid E. J. Brill 1981 Stanford, W. B. Greek Tragedy and the Emotions Routledge 1983 Valency, M. Tragedy New Amsterdam, 1991 Virgil, C. Day Lewis Translation The Aeneid Oxford University Press 1952.

Angels, an objective view :: essays research papers

A poll that was published in TIME magazine showed that 69 percent of people believe in Angels, 46 percent of which believe they have a personal guardian angel. Descriptions of these angels include a wide range of appearances. Some are only lights or a hovering golden halo; while others describe their angel as human, half human, or even animal! Angels are said to descend upon those who are in need of salvation (from evil or hell), or who need direction in life, in pain or suffering physically or emotionally, or to those who need simple things such as directions or a winning lottery ticket. Angelic encounters are sometimes life-changing, but always leave the experience spiritually/physically/emotionally revived, comforted, and less negative. "Rocky" situations in one's life are handled easier and with less stress. "Angel contactees" usually describe an instance when things are so bad that they go to a solitary place alone (a bedroom, etc...). An angel then appears. Heavenly music and/or joyful music is heard, a warm, tingly light is felt, sometimes invisible arms are felt embracing the person in distress. Communication is usually telepathic, not always in words but emotion (like a transfer of positive energy). There are numerous other angel stories which involve deceased loved ones visiting those they left behind to reassure the grieving of their well being after death. Or someone will get a vivid image or sudden thought of a close friend or family member minutes before learning about their death. Other stories include lights from familiar sources "forming" into angels (or angelic shapes), a halo suddenly hovering over one's head, or even a mysterious person who saves one's life or helps them out in any way. The "angel" then disappears before being thanked, giving the bewildered a conclusion that they were "touched by an angel". Sometimes angels are not seen but felt. For example, someone may be approaching unseen danger when they are suddenly yanked or pushed out of harm's way by an unseen force. An old wives tale says that when you hear your name called, and you look around to find yourself alone, your guardian angel just saved you from danger or temptation. Angels or angelic-like beings are mentioned in many other religions including several middle-eastern religions, often as animal spirit guides in native American or pagan cultures. However, the majority of angels are reported by people of Catholic or Christian (Protestant) faiths.

Scarlet Letter by Nathaniel Hawthorne

Writers of literature, especially those in the genre of stories, used different types of themes and symbolisms to represent an idea and concept that is not directly mentioned by the writer. Most themes especially about life, human nature and society are implied rather than explicitly stated. It’s the writer’s choice if he or she would want to use figures, objects or characters to illustrate an abstract idea to create various realizations on the part of the readers. The aesthetics of literature depends on how the writer seamlessly and creatively associates symbolisms to the themes of the story. In the story Scarlet Letter by Nathaniel Hawthorne, he used the title as a symbol itself, the characters, and the Biblical allusions as a point of comparison to the consequences of sins happened in the story. The Scarlet letter is used as a significant symbolism of shame that often identify the main protagonist, Hester. The â€Å"letter† word in the story functions as the reminder of her sin. Hester’s adultery receives harsh judgment and retaliation from the self righteous Puritan community. Her sin excludes her in the society or in a pattern known as unity versus exclusion in literature. Hester single mistake in the past made her an outcast who automatically separated her from ordinary social interaction. In the beginning of the story in the episode of the marketplace, the â€Å"scarlet letter† â€Å"was so fantastically embroidered and illuminated upon her bosom. It had the effect of the spell, taking her out in the ordinary relations with humanity, and enclosing her in a sphere by herself† (Robinson 104). Here, Hawthorne already revealed how the scarlet letter symbolizes Hester’s authenticity as a character and fate. The letter becomes â€Å"the object of severe and universal observation† in the Puritan community (Robinson 114). Moreover, Hester’s presence in the â€Å"crowd had been of such deep social interest† not because of her as a character but because of what the scarlet letter says about her past (Robinson 138). The Scarlet Letter symbolizes the community’s system of judgment and punishment that greatly used symbols and externals to question one’s morality. The scarlet letter in the story is a figurative thing intended to represent sin and a mark of shame. This figurative object went to her after the adultery she committed with Dimmesdale. The setting of the story belonged to a Puritan community who strictly follows the standard of morality. Hester’s adultery from this kind of society received harsh judgment and retaliation from the Puritan community. Despite the painful judgment, Hester chose to stay in the community because running away would be an acknowledgment of society's power over her. Scarlet Letter embodies Hester’s identity that was determined to create her own individuality rather than allowing others to determine it for her. She chose not to conform to the society’s rules and standard. She knows deep inside that she is more than her sins. Her sins were all part of her but the journey of life still continues. Scarlet Letter illustrates Hester’s acceptance of her sins. She admitted though that the letter is a mark of shame but removing the letter or running away would be an acknowledgment of society's power over her. Hester was a symbol for hope, restoration and transformation. The judgmental community unconsciously transformed and challenged her character to be compassionate and capable woman. Her pains made humble. Her innate good nature was fully expressed from her challenging yet sorrowful faith. The scarlet letter as a symbolism is all in connection to the twists and turns of the story as well as to the character. Pearl, Hester’s daughter also noticed that, her mother wear a scarlet letter among all the grown up women in the community. â€Å"Mother†, said the little Pearl, â€Å"the sunshine does not love you. It runs away and hides itself, because it is afraid of something on your bosom†¦ It will not flee from me, for I wear nothing on my bosom yet! â€Å"Nor ever will my child, I hope†, said Hester. â€Å"And why not mother? † asked Pearl, stopping short†¦ â€Å"Will it not come of its accord, when I am a grown woman? † (Robinson). In this conversation, it highlights the reality that the scarlet letter is intended to represent sin and Pearl as a child doesn’t fully comprehend her mother’s peculiar situation. Pearl’s innocent and pointed questions create suspense since it makes the characters feel uncomfortable. Moreover her character illustrates perception and honesty that separates her from the corrupt minds of the adulthood. Pearl’s innocent questions motivated those people around her to think and to reflect on the truths that are often overlooked. Pearl herself is the embodiment of the scarlet letter and Hester accordingly clothes her in a â€Å"beautiful dress of scarlet, embroidered with gold thread, just like the scarlet letter upon Hester's bosom† (Robinson). Pearl illegitimacy in the story and as a product of sin mysteriously takes the consequences of her parents’ guilt. The story of the â€Å"The Scarlet Letter† can be compared to some of the stories mentioned in the Old Testament. The plot depicting the extreme portrayal of Puritanism can be compared to the way old people from the Bible regard shame, rules and order. Just like Adam and Eve, Hester and Dimmesdale’s sins particularly adultery separated them from the divine and community (the way Puritan community perceives it). Sins excluded and alienated them in the society. Dimmesdale and Hester’s state of sinfulness led them to personal growth, sympathy and speculation about human nature and larger moral questions. At the end, the inner wisdom that Hester accumulated from the judgmental community greatly benefited her character and sense of individuality. The scarlet letter for Hester according to Nathaniel Hawthorne in one of his interviews after the creation of this wonderful story â€Å"was her passport into regions where other women dared not to tread. Shame, Despair, Solitude! These had been her teachers—stern and wild ones—and they had made her strong, but taught her much amiss†. Though the setting happened during Puritan community but the themes are timeless- judgmental society, personal responsibility and unconformity.

The History of Microfinance Free Essay Example, 4500 words

Marketing strategies are used differently by stores, particularly the small and big ones. This portion of the study looks at the marketing strategies of Shoe Mart, a big department store and two smaller stores, the Baby Phat and Women s Secret. Women s Secret is a leading Spanish brand name of lingerie, underwear and casual wear for women. The company has been established in 1993. Women s Secret always comes up with new design, concept and innovative styles. Baby Phat is a baby idea of Kim Somora Jones, a noted fashion model. She put up this company in 1993 and decided to fill up the gap of high end and hip-hop style of fashion market of women. Kim Sonora uses high fashion elegance in the design of her clothes wear and has placed a premium cost on her product wears (Sojones). SM Shoemart is a big department store specializing in retail sales. Its advertising campaign is We have it all for you . This is true since everything that you could think of falls into one large roof. SM Shoe mart is the largest department store in the Philippines and the biggest retail dealer. We will write a custom essay sample on The History of Microfinance or any topic specifically for you Only $17.96 $11.86/page Everything is available, and arrangement is classified into sections. There is a variety of items to choose from. It is easier to do business with Baby Phat and Women s Secret because of its specialty item which is concentrated on their own brands. The products are focused and will not require a lot of time shopping. Services: SM uses customized service. There is one or two designated salesperson for every area. Customers are free to choose on items, and then call the salesperson for help in ordering. They serve only when called. I consider