S by Doug Dorst

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).

Understanding the perspective of someone other than yourself is an important lesson for a young reader, as well as incorporating cross-curricular learning in one lesson for peak instructional efficiency. In an article titled “Why and How I Teach With Historical Fiction”, by author, Tarry Lindquist, she expresses the significant role that historical fiction literature has for young adult readers and students. This genre introduces readers to more serious topics and situations, that include both fact, such as actual events, but also fiction, such as characters and incidents that are not real but could have very well happened. This article applies to the novel “The Birchbark House,” by Louise Erdrich as well as “Salt to the Sea” by Ruta Sepetys.

At the end of a day, Theseus became a very brawny and a savvy human being. He is the main character that changed throughout the story. Identically like other stories, they both have a nerve-racking villain, in this case, the two villains were called Grendel and Minotaur. Something unique about Theseus’s story is that Ariadne can be considered as an ally or lover.

Theseus, the newly found prince of Athens, embarks on several hero journeys including on against Minos’ Minotaur and the Labyrinth. Joseph Campbell’s representation of the hero’s journey fully encompasses Theseus’ narrative throughout his quest to defeat the Minotaur. Beginning with a call to adventure on through the crossing of the threshold and on to the reward and resurrection. Compared to Rank’s hero’s journey which includes a revelation and transformation with atonement, Campbell’s process fits more precisely to Theseus’ story.

Our first introduction of Ariadne is of her abandonment by Theseus. Ariadne looks on as Theseus abandons her on the island “ bearing wild furies in the heart.”

Intro: There are a wide variety of themes present throughout the Odyssey, written by Homer. Be it hospitality, perseverance, vengeance or power of the Gods, loyalty is truly the theme that brings the whole book together. Being 10 years after the Trojan War, many have forgotten about Odysseus and his men as they constantly brave what the gods throw their way. This essay will be talking about Odysseus and Penelope’s mutual loyalty to one another, the loyal relationships between Gods and men and finally, the loyalty Odysseus’ men show for him until death. This essay with prove to us that without loyalty, Odysseus’ legendary journey would have been put to an end near where they started. The general theme of loyalty is what kept Odysseus

Within the myth of Perseus, the plot generally follows the structure of the archetypal hero’s journey. These aspects can be clearly identified throughout the lifetime of Perseus.

personality while comparing him to Theseus. The main characters are not the only aspect of this

“A bound is set to our knowing, and wisdom is not to search beyond it. Men are only men” (Renault 332). The King Must Die, is the story of a boy named Theseus who believes he is the son of Poseidon. Even though his father is far from godly, Theseus experiences many earth-shattering trials and victories, and along the way, he discovers the attributes it takes to be a great man. In The King Must Die, Theseus actions show the development of the themes honor, leadership, and moira, and explains to the readers the importance of these themes in any person’s life.

It’s easy to tell that the ocean is a mysterious and isolating place from all of the tragic tales we hear from sailors both real and fictional. Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” and an anonymous author’s “The Seafarer” are quite similar in that they both revolve around said tragic tales told by sailors. However, there seem to be more commonalities between their themes, tones, and messages rather than their seaward-bound settings. But before we can discuss these similar settings and deeper themes, we have to tackle their origins.

The Ship of Theseus, also known as Theseus’ Paradox, is a thought experiment that questions whether an object is fundamentally the same object after having all of its parts replaced. The story goes that Theseus, a mythical hero of Athens, went on an endeavor to kill the Minotaur who had been harassing the townspeople. When Theseus returned successful, his ship was left in the harbor to commemorate his victory. Consequently, the ship’s planks had deteriorated and were replaced one by one. Thus, the question begs: is this the same ship, or a different one? Throughout this paper I will argue the stance that Theseus’ ship is not the same ship nor has it ever been the same ship the second it left the port in which it was built.

In these four novels, they illustrate some critical tragedies that had taken place in different scenarios relating to one main theme, which is tragedy, created by four infamous authors, King Lear written by William Shakespeare, Oedipus the King written by Sophocles, Wind From An Enemy Sky written by D'Arcy McNickle, and ultimately Agamemnon composed by Aeschylus. These writers depicted these novels as a distinctive and dynamic catastrophe implied for the benefit of heart winding up going into miserable spirals of catastrophe. Others surveyed these stories as a “felicitous renderings of catastrophe in which … faithfulness to the ancient content meets poetic phrasing and meticulousness of imagery’’ (Andreas Markantonatos). Whereas in my point of view I viewed these stories as a 'well' suited novel implied to be headed towards catastrophe in which I believe instead, its given more of its content illustrating a more graceful expression and carefulness of symbolism rather than it's normal assumption of tragedy.

Within the course of the text, it is evident to the reader that the novel portrays communication and chaos seen through the eyes of the protagonist Oedipa Maas. Oedipa, embarks on a journey of mystery, she is hold accountable with settling the property of her former boyfriend. Through the course of the text, Oedipa uncovers an

Professor Meyers utilizes this text to develop Almásy’s copy of The Histories of Herodotus as a key component in developing the novel’s plot. He begins the article by discussing the tale of King Candaules, who is consumed by his braggadocio over his queen’s beauty and usurped by his soldier Gyges who claims his throne and wife. While a typical analysis would correlate the Candaules-Queen-Gyges triad to the Clifton-Katharine-Almásy trio, Meyers asserts that this interpretation is slightly fallacious since Almásy himself states, “This man was in no way a portrait of Clifton” (234). Thus, Candaules’s tale serves as more of warning that foreshadows misfortune for Katharine and Almásy, rather than an exact depiction. It is worth noting at this point that Almásy’s reliability as a narrator should not be vastly questioned because Caravaggio’s morphine concoction

Both the ‘The Odyssey’ 1(1616) and ‘One Thousand and One Nights’ 2 (2010) feature male protagonists who traverse the seas, and the concepts and themes of men seafaring is common throughout most canonical texts. For example, the allusion of Odysseus’ difficult journey is made when a minor male character in Apuleius’ ‘The Golden Ass’ (1998) describes his seafaring adventures as being ‘positively Ulyssian’3 (Kenney: 29) (‘Ulyssian’ thus being a reference the Roman naming of Odysseus). Furthermore, both texts share themes, such as: seafaring, the supernatural, trials and tribulations, tradition, belief systems, and the geographical setting and pride in the protagonist’s home city play a key role to the overarching plots of the texts in the sense of the protagonist’s endurance and motivation to both leave and return home. Likewise, the supernatural is used to further the plot of both texts.