The Two Kings

I didn't realize we were blogging about the movie, so I apologize for my late entry.

    Aragon is similar to Aeneas in that he too will be founding and ruling a new country, one that brings forth peace during a time of civil unrest.  Both men sacrifice much of themselves in order to fulfill a destiny and to better serve the people.  Additionally, both men are making up for a failure on the part of their ancestors. The part of the movie that brought this to my attention was when Aragon was speaking with the father (i cannot remember his name for the life of me) in the tent before the battle.  The father tells him that he may have hope and Aragon responds, basically saying that he saves his hope for the people not for himself.  

    It is also interesting that the two characters share a similar motif, fathers and sons.  Aragon is fatherless and his ancestor has caused all of Middle Earth to suffer.  This scene with a surrogate father reminds me of Aeneas and Evander.  Advice is given by both father figures who are unable to join in the battle.  

Lastly, both men receive special weapons made by magical figures for their battle.  I am sure that the list of coincidences could go on forever, but my point is that Aragon is more of a Virgilian hero; he sacrifices everything for his cause and never seeks fame.  Moreover, he is a humble servant of the people, who just so happens to wield a heavy sword.

The Symbols of Tolkien

Tolkien user a series of symbols throughout his Lord of the Rings series, and I wish to point out the significance of tobacco, and its function as one of the many religious-based acts of ritual.

The smoking of pipes in The Return of the King lends itself to the sense of enabling, or identification with the hero for the everyman. In Chapter 5 of Apperson's Tobacco History, he states that, culturally, "Tobacco was still the symbol of good-fellowship ... 'He's no good-fellow that's without ... burnt Pipes, Tobacco, and his Tinder-Box.'" Within Tolkiens story, we see how it works as a device to unite not only the characters, but the reader themselves to them.

Additionally, tobacco, being a plant, serves to further illustrate the importance placed on nature in the story. Curiously, however, the use of the plant is typically associated with an establishment of humanity. Perhaps here it represents a convergence of man and nature, and the harmony of "good."

Apperson, George Latimer. Tobacco History: The Social History of Smoking. 1914

Return of the King

Aragon is the destined to be the "King of Men". He encompasses all the positive qualities of epic heroes and almost appears devoid of the negative ones. His constant concern is to protect and serve. Can this be compared to Milton's construction of the Son of God? He is also destined to lead and save all of mankind. He is humble in nature and divine in spirit. While God has created the Son in his likeness, Aragon is also a composite of all the great kings that reigned before. Like the Son, Aragon is assisted by divine intervention and is more than a vehicle for God to attain his goals. He is always doing the "right thing" in love and even in war. They each possess the heavenly gift of light to conqueror evil.
The looming question remains: Do these epic figures attain their aims at the conclusion of each story? With the forged sword, Aragon has overcome the rival armies. The Son of God has sacrified himself to save us all from sin. Both appear to be successful yet the division of good vs. evil will continue to exist for mortal men. The reign of goodness is almost fleeting and the assumption that it will be challenged shortly is evident. Perhaps each figure allows the "hope for mankind" to be rekindled in such a way that restores their own plight and purpose. The Son of God and Aragon are champions of goodness and are necessary forces in these poems that transcend our own human nature.

The Quest For A Hero

Lord of the Rings poses a very similar question to Paradise Lost - - - Who is the HERO? After examining the film, I feel there are four possible candidates that could be given this title. They are: Frodo, Sam, Gandolf, and Aragon; each of these characters influence the outcome of the epic in some way. Similarly, they all have flaws but are able to triumph over evil. Frodo is the one who ultimately destroys the ring; however I strongly feel that without the help of Sam, this deed would have never been done. We also see Frodo being overcome with temptation at the very end; he takes on some of the negative characteristics we see in Gollum. He also turns against his best friend who is one of the main reasons why he has been able to come this far. Sam has helped Frodo in mind, spirit, and even goes as far as picking Frodo up and carrying him so they can complete their quest. Beyond Sam's motivation of Frodo to keep going, he also looks after him as though he is his father. He is very responsible and even saves Frodo’s life on more than one occasion. In addition, Gandolf is definitely a godly force who helps all of the characters throughout the story and has wisdom that surpasses all. Although, it is important to note that even though he is the "white wizard" he cannot dictate what is going to happen, nor can he prevent it. Furthermore Aragon is able to defeat the Orcs once he convinces the decease army to fight in order to free their spirits. He then becomes king and ruler. Every character mentioned has contributed to the triumph over evil and undertaken a tremendous journey. However, it is still unclear to me who deserves the title of epic hero.

Although in my mind, there is a lack of a designated hero, I feel that Tolkien does an admirable incorporating a vast amount of settings in his epic poem. This element combined with the various journeys help constitute it as an epic. It is also important to recognize that Tolkien has incorporated many of the previous great epic poets into his work. You can see hints of Homer, Vergil, and Milton throughout and it serves as a reminder that all of these poets continue to build off of one another.

The Quest For A Hero

Lord of the Rings poses a very similar question to Paradise Lost - - - Who is the HERO? After examining the film, I feel there are four possible candidates that could be given this title. They are: Frodo, Sam, Gandolf, and Aragon; each of these characters influence the outcome of the epic in some way. Similarly, they all have flaws but are able to triumph over evil. Frodo is the one who ultimately destroys the ring; however I strongly feel that without the help of Sam, this deed would have never been done. Sam also motivates Frodo to keep going and looks after him as though he is his father. He is very responsible and even saves Frodo’s life on more than one occasion. Gandolf is definitely a godly force who helps all of the characters throughout the story and has wisdom that surpasses all. Furthermore Aragon is able to defeat the Orks once he convinces the decease army to fight in order to free their spirits. He then becomes king and ruler. Every character mentioned has contributed to the triumph over evil and undertaken a tremendous journey. However, it is still unclear to me who deserves the title of epic hero.

Adam's Repent

Please forgive me if this is a repeat of my previous post, I posted this last week, but do not see it up on the blog :-)

The final segment of Paradise Lost plays an important role; we see a different side of Adam. Up until this point I viewed Adam as almost insignificant. However, in Book 10, Adam makes a transformation. He not only becomes more of a round character, but also seems to make a transformation from innocence to moral and self awareness. Adam's initial reaction to repentance, blameful and unknowing, gives way to an enlightened awareness of self acceptance and vision into the future. Adam finally sees that part of his new place in the world is to take responsibility for his actions, bare the consequences, and carve out a new world for future generations. Up until this realization Adam was stuck in a self absorbed state; attempting to justify his fall with excuses of corruption and blame on Eve.

"Lord of the Rings" Epic Connections

Having been a first time "Lord of the Ring" watcher as well, I found myself constantly trying to connect the various plots to the epics we covered this semester. I discovered the following similarities:

• There were various subplots; almost every character had there own specific conflicts. There were no insignificant characters; everyone in the movie played a specific role and served an important purpose.
• Various layers of moral significance surfaced: similar to Paradise Lost and the Aeneid, "Lord of the Rings" brings forth the idea of sacrifice for the common good over one's self. Another illustration of morality lies in the fight between good and evil that plagues the entire work.
• One may be able to validate the idea of Mordor symbolizing Hell and Lord Sauron and the Ring of Power symbolizing Satan.
• The idea of temptation, like in the other epics covered, is very prevalent. The power of the ring and its promise of riches and wealth to its owner is a significant source of temptation throughout the story. Only an individual who is strong willed and keeps the good of others in mind over self gratification will survive. (In this case, Frodo and Sam, ultimately possess this power of temptation.
• Similarly to Paradise Lost, there is the premise that evil will always exist, however, the question lies in who will follow this evil power. Just as Satan and his devils had a choice, so do the characters in Middle Earth.
• In contrast to the idea of evil is the existence of good. We see that good, similar to its role in Paradise Lost, is not vengeful. Rather, it places in its roots in the ideals of putting others first. After all, if Biblo had killed Gollum all would have been lost; as Gollum played an integral role in destroying Sauron's power.

First Time Ring Watcher

Although I read the Lord of the Rings many years ago, I honestly remembered very little of the storyline. I was then very surprised to watch it now and see all of the literary tropes present in the epics we studied in class. In fact, I found myself ticking them off in my head during the film.
Watching the characters overcome the many obstacles set before them paralleled those same obstacles which Odysseus, Achilles and Aeneas struggled with as well.
Makes me want to go back and re-read the book!!

The epic attributes and similarites in the Return of the King

I've found many epic traits in the Return of the King. One is the geneology which is patronymic similar to the other epics we've read. This appears with Aragorn, whose epithet is son of Arathorn which shows the importance of his patrilineal line. Like the other epic heroes he is of aristocratic birth, however he is a ranger and will reacquire his rightful position as king of Gondor his home which, like Odysseus, has taken him a long time to return to. Also to continue the similaries between Aragorn and Odysseus, Aragorn must deal with the temptation of Eowin who he could choose to be with instead of returning to Arwin. However, his love for Arwin is strong and he remains faithful to her and likewise she, like Penelope, remains faithful to him by waiting for him.
Another important epithet I saw was when Theoden was called the horse master which is similar to epithets given to Hector in the Iliad "Hector, tamer of horses." He is also of an aristocratic background, however, he is called by Saruman a "lesser son of greater sires."
Another similarity is feasting which Merry and Pippin do after the battle with Saruman's forces and the ents. They also feast as a group when they return to Rohan. This is the opposite for the loser, Saruman, who is told that he will be put on the gibbets where the crows will feast on him which is similar to the epics we have read because animals feasting of humans emphasizes death whereas humans feasting is an affirmation of life and victory.

The Quest for Knowledge/Disobedience

There are essentially two different epic plots in Paradise Lost (that clearly overlap):
Epic #1: War in Heaven, Satan's descent to Hell, Satan's mission to work against evil (similar to the Homeric and Virgilian epics)
Epic #2: Creation of Paradise, Adam & Eve's fall from grace, Adam and Eve's mission for redemption (different kind of epic)

At the heart of both epics is the issue of obedience. We have already discussed Satan's disobedience, so I will focus solely on Adam and Eve's act of disobedience. Book IX illustrates how the quest for knowledge leads to disobedience and thus the tragedy of the epic. In Book VII Milton uses a simile to compare the necessity of knowledge to food. Raphael says to Adam, "But knowledge is as food, and needs no less" (126). Raphael states that the individual does not need a surplus of knowledge; he only needs enough to survive. In Book VIII Raphael warns Adam not to seek knowledge, "Solicit not thy thoughts with matters hid,/ Leave them to God above, him serve and fear" (167-168). Raphael tells Adam to live his life as simply as possible and warns him to not request answers from the authority that has created the rules for living well.

I wonder what Milton is really trying to say here. His use of repetition with regard to the knowledge/food metaphor would indicate that he believed humans should be content with what they know and avoid seeking further information. However, Milton's body of work would indicate that he strongly believed in the quest for knowledge. As a political writer and poet, Milton was constantly working to gain knowledge and make sense of important contemporary issues.

Love conquerors all

Despite my growing suspicions that indeed this God appeared like a "puppet master" setting a stage for destruction to occur, I must admit in the end all he wanted was unconditional love and devotion! Adam and Eve suffer great losses that lead to pain and heartache. Adam laments and is consumed with remorse and sorrow. It is Adam that decided to beg for God's forgiveness. Instead of listening to Eve's intentions on committing suicide, Adam remains committed to God. He is indeed going to be obedient this time and appears to have learned his lesson. His rational and logical thinking allow them to repent and pray. This "confession" leads to humility and grace. Eve and Adam will no longer create and reside in their own "Hell".

In many ways Milton is making significant statements regarding the Our Father in Heaven above. After walking and falling with Adam and Eve we learn that we can still be saved and pray becomes the conduit to God. It is this form of obedience that is intimate and sacred for the mortal soul. This breathes new life into both the epic poem and Milton's purpose. It is refreshing and leaves the reader with a deeper level of reverence for God as well as Adam and Eve. All have suffered but can repair and repent for a promising, hopeful existence!

Achilles reference

In Book 10 during Satan's speech there is a line "I am to bruise his heel;/ His seed (when is not set) shall bruise my head" (10. 498-9). I thought this line was important because it seems like Milton is referencing Achilles by making it God's heel that Satan believes he has injured. However, by Satan saying that he merely bruised God's heel it shows that that God has not really been wounded. This quote also shows that Satan believes that mankind is God's weakness.

This quote is also important because it shows that Satan knows that the Son will take a mortal form in order to save mankind from sin, although he does not know when. This is shown because he says that God's seed, the Son, will bruise his head which is where Sin was born from.

Overestimating and Underestimating

The fall of man could have been avoided in a variety of ways. However, it’s important to examine how this idea of overestimating and underestimating is intertwined throughout the corruption and downfall. Adam overestimates Eve’s obedience while Eve underestimates the forces of temptation. If Adam were to take the time to discuss and further explain the importance of Raphael’s story, perhaps Eve would have been a little less trusting and more cautious. Instead, he really doesn’t discuss what Raphael tells him because he thinks Eve knows better than to disobey God. In addition, although Eve knows what is right and wrong, she underestimates Satan and his manipulative ways. In the end, not only is she responsible for the downfall and corruption of Adam, but she is also depicted as a weak woman who cares more about superficial things than anything else. To further emphasize this, the second she realizes what she has done, instead of repenting, she immediately looks for Adam so he can eat the apple and be fallen just like her. Once again, both of them underestimate the powers of Satan and overestimate their free will to make the right choices.

In a similar fashion, God overestimates Adam and Eve’s loyalty and obedience. He created Adam and then Eve in the hope that they would be obedient and start mankind. However, he is sadly mistaken when they bring about the fall and tarnish all things after. Similarly, Satan underestimates God and the Son. He feels victorious when he tempts Adam and Eve to eat from the Tree of Knowledge, however he doesn’t realize that back in Pandemonium, all of the fallen angels and little devils have been turned into snakes. In addition, they are constantly tormented by beautiful trees with ripe fruit that turns into ash when they attempt to eat it (connects back to Tree of Knowledge).

Finally, one of the greatest examples of overestimating in the poem is the knowledge Adam and Eve believe they will obtain when eating from the Tree of Knowledge. They think they will become god-like creatures but ironically, the only knowledge gained is the good that they had and that is now lost. Here, they also underestimate the power of God and all that he’s given them. They desire to be more and as a result they become less and lose everything.

Intuition vs. Common Sense

Milton continuously wrestles with the notion of "faith" throughout his poem. It must be noted that in Paradise Lost , faith is represented by a system of merit; merit can be earned gradually or achieved through birthright (such as with the son), but must be continually up-kept. Throughout his poem, Milton uses the idea of merit to justify the importance of faith in a God we cannot possibly understand (1.26). A character’s merit as a hero is equal to the amount of faith they display (It is for this reason that we can justify the hero of the poem to be the Son, as he is the only character to show unquestioning faith). Milton’s idea of heroism is also solitary, the act of the individual who, with faith alone, must stand against the majority opinion. Over and over again in Milton’s work the words “hero,” “merit” and “faith” are linked.

The problem arises, however, with the consideration of the antiheros, and the characteristics that define them as such. It seems that the biggest sin that could be committed is that of the obtainment of "knowledge." Therefore, if faith defines heroism, then its opposite must be this knowledge. Satan's education and superior thinking are what lead to his downfall; the expulsion from heaven. Adam's and Eve's only reason to obey God is their faith; their knowledge, too, is what earns their dismissal from paradise. This leads the reader to ask the question, however, of "why is it that knowledge is so disdained?" It would seem then that the only way to regain paradise would be to take up faith, and reject education.

It is for this reason that the reader must now question God's reasoning for this (Sinning erewhile), and wonder why it is that Milton's God so despises anything other than the intuition derived from faith. What would happen if we learned too much? Is it that God doesn't want us to find out his power is not as great as we think? Will we learn of the "Matrix?"

The answer is provided through the story of the creation, and the fact that Milton's reader is given four different versions of it. These varying stories all rely on faith to establish their validity. Looking past faith, however, and applying knowledge (given to us by Milton) we are meant to see that God is not the "creator" of man, but is rather the one that awakens the conception of the divine within man.

A Reward for Disobediance

I keep thinking about Satan's line that it is better to reign in Hell than to serve in Heaven. I know this is an odd concept, but I keep thinking that in a way by being cast out of Heaven, Satan was rewarded for his disobediance.

Now don't get me wrong, if given the choice I would much rather serve in Heaven than the alternative, but Satan is a different breed---thank God. And he did after all get his wish. God may have cast him out, but in exchange for this he received a brand new world, created especially for him, in return. Given the kind of character he is, he would not have been happy with Heaven the way it was, even if he had somehow defeated God he would have ended up turning it into Hell anyway, so in a way he was rewarded for his disobediance. Perhaps this was also God's way of saying what we have been saying in class all along-in order to be truly good, you have to know evil, so Hell had to be created as a point of comparison-and the perfect leader is Satan.

The Father and the Son...relationship

The Father and the Son possess a strange relationship. The Father readily elects his Son as the leader to be obeyed by all. The Son readily welcomes this responsibility. However, when conflict arises, the Father does not elect his Son but the Son humbly offers his service. The Son does not appear obligated but instead calm and confident. He is prepared to combat evil. If the Father has the keen awareness of what the future holds, did He create his Son in his likeness for this very purpose? Is this perhaps the reason that the Father does not resist the Son's offer or even consider going Himself? Where does the distinction between the Father and the Son reside if he was created and formed for these intentions? This certainly adds to the peculiarity of this divine relationship. Is it one in the same OR just divine intervention at its best?

The "unholy" trinity

There are many mirrors which exist in this poem, however, one of the more powerful ones is the image of the "unholy" trinity.  While in heaven, God, the Son & the Holy Ghost exist in peace, Satan, Sin & Death have made war their home (naturally).  Sin is the creation of Satan (his daughter) and, after he rapes her, she is the mother of Death (who then rapes Sin creating the hell hounds).  

It is interesting that Satan tries to conquer Death when trying to open the gates.  It begs the comparison to the Son's sacrifice for mankind.  God allows his Son to die to save man, while Satan tries to kill his to corrupt man.  Additionally, Satan notices, "the likeness of a kingly crown" when he first observes Death (l. 673).  The Son is noted as the King of man in the next book, "Son both of God and man, / anointed universal King" (314/5).  Moreover, this idea of the trinity is reinforced in the description of the gates of Hell, "and thrice threefold the gates; three folds were brass, / three iron, three adamantine rock" (l. 645/6). 

The diction used when describing each trinity, the holy & unholy, differentiates the two.  When describing Sin & Death, Milton uses words such as foul, hideous, abhorred, black, dreadful & monster. When describing God & his Son, Milton uses words such as ambrosial, joy, radiant, bloom, summer & jubilee.  Thus, Milton shows the reader the extreme differences between the two.  While one is filled with hate, malice & aggression, the other is filled with love, joy & empathy.  And, eventually, the reader knows that the Son is going to kill Death (something Satan could not do); therefore, love kills hate.

Milton's Desire to be the Best

Based on the first line of book one, we know that this poem will deal with man and his inability to obey the rules as well as God’s wishes. Milton then proceeds to further build his claim of disobedience throughout the first several books. However, while he plants these seeds of the plot and conflict, he also incorporates information about himself and his mentality on how he views his epic.

From the very beginning of the poem, we see Milton not only make big claims but also provide you with many ideas of what the poem is going to discuss and examine. He states that this will be the best epic poem ever written and even creates a double lineage between himself and Moses. Milton also immediately introduces to the audience that the spirit he is invoking is bisexual. This is not a common idea nor have we seen this in the previous epics of Homer and Virgil. We also know that Milton is attempting to exceed these poets and their poems because he takes it one step further and doesn’t call for the same type of muse used in these previous poems; instead, he calls for a muse that helped inspire Moses to write Genesis.

“Sing, Heavenly Muse, that on the secret top / Of Oreb or of Sinai didst
inspire / That shepherd who first taught the chosen seed / In the beginning
how the heavens and earth / Rose out of Chaos; or, if Sion hill / Delight
thee more, and Siloa’s brook that flowed / Fast by the oracle of God, I
thence / Invoke thy aid to my adventurous song,” (I. 6-13).

The muse he desires also lives in Oreb which is considered to be “the mountain of God.” By not having one of the traditional/classical nine muses and requesting one who assisted Moses further emphasizes Milton’s desire to be the best. Milton also declares that this will be an “adventurous” epic right from the start which assists in engaging the audience. He then states that this poem will deal with “things unattempted yet in pose or rhyme” (I. 16). This line is a direct reference to Homer and Virgil. Milton will use some of the same ideas from the previous epic poets but in the end, his epic will surpass all of them.

From the first twenty-six lines of the poem, we are left wondering if Milton will be able to establish himself as the best epic poet and if so what he will do differently to accomplish this glorious task. I guess only time will tell…

Obedience/Disobedience

The issue of disobedience is consistently addressed throughout the course of the poem. The results of disobedience are clearly illustrated in book VI of the text. Raphael begins by describing a nonsense war to his listeners. Milton points out to the reader that the concept of war in Heaven is redundant simply because angels cannot die; they are only temporarily ruined.

"For spirits that live throughout
Vital in every part, not as frail man
In entrails, heart or head, liver or reins,
Cannot but by annihilating die" (VI: 344-347).

The fighting lasts for days. On the first day, Heaven’s angels are victorious because Michael’s sword has sliced though Satan’s right side:

"Descending, and in half cut sheer, nor stayed,
But with swift wheel reverse, deep entering sheared
All his right side; then Satan first knew pain" (VI: 325-328).

However, Satan’s wounds heal, and on the next day, Hell’s angels are victorious with the invention and implementation of the cannon. In response to this new fighting technique, Heaven’s angels lift up the hills and bury Satan’s army. However, the buried emerge from the entrapment and are prepared to fight on the third day. On the third day, God intervenes and announces the end of the war and the victory of Heaven. God states,

"Visibly, what by deity I am,
And in whose hand what by decree I do,
Second omnipotence, two days are past,
Two days, as we compute the days of heaven,
Since Michael and his powers went forth to tame
These disobedient; sore hath been their fight,
As likeliest was, when two such foes met armed;
For to themselves I left them, and thou know’st,
Equal in their creation they were formed,
Save what sin hath impaired, which yet hath wrought
Insensibly, for I suspend their doom;
Whence in perpetual fight they needs must last
Endless, and no solution will be found…
Two days are therefore past, the third is thine;
For thee I have ordained it, and thus far
Have suffered, that the glory may be thine.
Of ending this great war, since no one but thou
can end it" (VI: 682-703).

It is important to notice how God labels the opposing force as “these disobedient.” This directly addresses the subject of the text and implies that it is bad to disobey God. God explains both armies were equally formed, only one was impaired because of sin (disobedience); thus, God defines disobedience as a sin, a defect. In addition, God exerts his power by stating that he has held off the doom of the disobedient; further, only he has the power to end the war.

"Armed with thy might, rid heaven of these rebelled,
To their prepared ill mansion driven down
To chains of darkness, and the undying worm,
That from thy just obedience could revolt,
Whom to obey is happiness entire.
Then shall thy saints unmixed, and from the impure" (VI: 337-342).

Satan’s rebellion is pointless; he cannot emerge victorious. According to the text, there is no higher power than God. I'm not exactly sure of where I'm going with this, but I do think it is interesting to note the details that pertain to the concept of obedience/disobedience.

The Grandeur of Milton's Hell

Satan does a quick tour of hell at the end of Book II when he starts his quest. Here, hell begins to sound a bit like Virgil's underworld — devils are engaging in games (2.530) singing, and even philosophy, as they "found no end, in wandering mazes lost" (561). Satan sees the four rivers of Hell; Styx, Cocytus, Phlegethon, and Lethe (575-583). The Furies are there and souls are ferried over Lethe, but because Milton is a Christian he cannot allow them to drink of Lethe - although they try very hard, there is no reincarnation here! (607-610). Hell is a ghastly place, "Created evil, for evil only good" (623); however, it seems much more rich in atmosphere than a religious reader might expect.

I would like to call attention to the several, and widely varying, aspects of hell as described to us within Paradise Lost.

First we have the stereotypical lake of fire into which the fallen angels are originally cast.

There is the hall of Pandemonium; the "temple" of Lucifer and his minions.

Finally, there are the vast plains of extremes through which Lucifer travels to reach the gates.

Despite all of these different locations, there is no so terrible that we truly see the rebellious angels truly suffering for their insolence. I believe that the reason for this is the fact that physical eternal torment is only a part of the final stage of punishment. As readers, we must also consider the "psycological warfare" that God uses to undermine Lucifer's power. Not only do the fallen angels suffer through their environtment, but they are under the constant anxiety of the reclaimation of Heaven.

The Tempest in Paradise Lost

In Vergil's Aeneid and Homer's the Odyssey there are a lot of times when the hero has to deal with problems at sea. For example, Aeneas's crew deal with the whirlwind sent by Aeolus who is asked by Juno and Odysseus's crew facing the Scylla. Milton uses similes to the ocean in order to recreate the tempest that appear in his predecessors' works. In Book 2, after Satan gives his speech to the council declaring that he will be the one to go to Eden and disturb God's new creation man, there is a simile of the sea after a tempest. This simile reminded me of Juno's fury in the Aeneid when she attacks his fleet using Aeolus. The simile in Paradise Lost talks about the sound of winds still remaining on the rocks and the state of the sailors who survived the sea's fury (2.285-290). This simile shows the intensity of Satan's speech being like a tempest and it shows that his power over speech is as strong as Juno's fury which results in the tempest in the Aeneid.

Also when Satan is going through chaos and trying to get to the realm of man, he is compared to Odysseus when the narrator says "Or when Ulysses on the larbord shunned Charybdis and by the other whirlpool steered" (2.1019-1020). This simile makes the realm of chaos seem like the massive ocean which Satan is trying to persevere through. As Odysseus survived the whirlpool of the Scylla, Satan also survives the whirlpool, that is Chaos's wild abyss.

Paradise Lost in summary

"Of Man's first disobedience, and the fruit Of that forbidden tree whose mortal taste Brought death into the World, and all our woe,With loss of Eden, till one greater Man Restore us, and regain the blissful seat,Sing, Heavenly Muse, that, on the secret top Of Oreb, or of Sinai, didst inspire That shepherd who first taught the chosen seed In the beginning how the heavens and earth Rose out of Chaos: or, if Sion hill Delight thee more, and Siloa's brook that flowed Fast by the oracle of God, I thence Invoke thy aid to my adventurous song, That with no middle flight intends to soar Above th' Aonian mount, while it pursues Things unattempted yet in prose or rhyme."

I find it truly fascinating that Milton sums up all twelve book in the first few lines of the epic. What this does is foreshadow all of the events of the epic and pull the reader into how each of the events summarized, come to be.

Additonally, the idea of the serpant and the apple may be common knowledge, but the conversations between Satan and his minions were particulary interesting. In fact, I found them to be more interesting than the conversation between God and His Son. I found the dialogue where the fallen angels discuss the manner by which they plan to assert their own power, away from God, to be particulary noteworthy. Whether to begin all out war, or to establish authority through evil.

An attempt to TOP all epics

Paradise Lost lets on from the start that it is superior to the epics that came before it, those of Homer and Vergil. In the invocation to Paradise Lost Milton calls upon his muse, but this muse is different from those that inspired Homer and Vergil. Milton's muse is the one who inspired Moses...his is the Holy Spirit.

Sing Heav'nly Muse, that on the secret top

Of Oreb, or of Sinai, didst inspire

That Shepherd, who first taught the chosen Seed,

In the Beginning how the Heav'ns and Earth Rose out of Chaos: Or if Sion Hill

Delight thee more, and Siloa's Brook that flow'd

Fast by the Oracle of God; I thence Invoke thy aid to my adventrous Song,

That with no middle flight intends to soar Above th' Aonian Mount, while it pursues

Things unattempted yet in Prose or Rhime.

And chiefly Thou O Spirit, that dost prefer

Before all Temples th' upright heart and pure,

Instruct me, for Thou know'st; Thou from the first

Wast present, and with mighty wings outspread

Dove-like satst brooding on the vast Abyss

And mad'st it pregnant: What in me is dark

Illumin, what is low raise and support;

That to the highth of this great ArgumentI may assert Eternal Providence,

And justifie the wayes of God to men. (Paradise Lost, 1.6-26).

Milton's special muse, the Holy Spirit, is perceived to be better than the muses of the Aonian Mountain; Milton has divine intervention in the composition of his epic, thus making it superior. By invoking the muse in the first place Milton shows us that he recognizes Homer and Vergil, but he plans on taking his epic further because he is inspired by God. We are introduced to a Christian perspective, unlike the Homeric and Virgilian epics. Milton mentions God as he asks him to let the Holy Spirit inspire and "instruct" him. Milton appears to display a type of transient knowledge that those that came before him did not. When Milton speaks about, "the beginning," he clues his readers into the idea that his epic will be different from those before. He draws us into the idea that he has the whole story of the world and its creation. Those that came before him were not privileged to know the story of humankind's first act of disobedience, thus making them subservient to Milton.

The "code" of arms

It may be because I am seriously contemplating Homer and Virgil's weapons of war for my paper that I chose this topic to dicuss.

Achilleus seems to set the bar in terms of respected and honored warriors. His desire to attain kleos and demonstrate valor and virtue paved a path for future epic warriors to follow. He willingly entered war and proved to be a mighty and mindful fighter despite the loss of his closest companion. Achilleus is by no means a flawless hero but his mortality seems to redeem himself and invites others created in his image to prevail.

This is evident in Book 8 where yet again a promising warrior must be protected, I mean shielded, from impending doom.Venus knows that the war will be brutal so she asks her husband Vulcan to make a strong shield for Aeneas as great as the ones that he made for Achilleus. Vulcan makes the strongest possible, a seven-ply shield.

The scenes carved into the shields are chosen carefully. On Aeneas's shield the Battle of Actium is important because it is when Augustus put an end to a tumultous civil war. These images are captured on the shields similar to the weaving of the shroud. Each attempt to deflect doom while paying homage to those that have come and conquerored before. It is serves as a reminder to the audience and epic figures alike that prior victories can influence and even assist future ones.

The Warrior Bees

I wanted to talk about the Virgil's symbol of the bees which is similar to the bee simile in the Iliad. In Homer's bee simile in the Iliad he is describing the King's and their warriors in a cluster "fluttering in swarms together this way and that way" (2.90). In this simile the bees are in swarms and dangerous, however, there are only forming groups and marching not really acting in a hostile manner.

In the Aeneid, Virgil uses two bee similes one which appears in the prophecy given to Latinus when he is worrying about the marriage of his daughter. The simile begins simply as a portent at the laurel tree, with "bees/ in a thick swarm, born through the limpid air/ with humming thunder, clustered high on top/" (7.85-87). Here the bees are in a swarm that is discordant and their noise is described as thunder which shows that it is a foreshadowing of war and uphevel that causes them to group together. This omen becomes a simile for the future events of Turnus and his men grouping together to fight Aeneas who is the "stranger advent" (7.91) whom the soothsayer tells Latinus of and the cause for the bees swarming.

Another bee simile shows up during Aeneas's time in the underworld. Here Aeneas views a thousand nations who are compared to "bees in meadows at the height of summer/ hover and home on flowers and thickly swarm on snow-white lilies, and the countryside/ Is loud with humming" (6.948). This description of the bees has them not as warriors but docile bees swarming and in contrast to the previous simile the bees are humming in a countryside setting as opposed to thundering.

The Symbolism of the Entrance

I want to bring attention to the reoccuring image of gates throughout the poem, and mull the significance of their symbolism...

Consider how Juno opens the gates of war; Aeneas leaves the underworld by the gate of false dreams rather than by the gate of true spirits; gates of Troyare breached in Book 2; In Book 9 Turnus breaks through Trojans gates and escapes once locked in.

The caverns, thresholds, doors, and gates all suggest the sexual entrance of the areas of which they are established to protect, and the breaking/entering of them almost appears as a rape.

Keep these images in mind in order to discuss parallels to the gates in Milton's Paradise Lost.

History 101

    Reading book 8 with some basic knowledge of Roman history adds quite a bit to the analysis.  I had very little memory of Roman history so I began to google like crazy! After re-reading this book it became clear to me that Aeneas = Augustus.  

    During book 8 we are given an exact moment in Augustus' life, The Battle of Actium, which coresponds to Aeneas' own conquest.  In this battle, Augustus is fighting Antony over, supposedly, a woman - Cleopatra.  Of course, becoming the Emperor of Rome may have had more to do with this battle than defending his sister, Octavia's honor.  Antony married Octavia in order to force an unsteady truce with Augustus.  Soon after, however, he marries Cleopatra (some even say before he divorced Octavia). Probably

    More similarities exists within the book:   First, Augustus is fighting two foes, Antony & Cleopatra. Aeneas is fighting two foes as well, Turnus & Mezentius.  Moreover, in this book, Aeneas brings together two gods who formerly did not get along, Juno & Hercules.  This bringing together of the two is representative of the Pax Romana which Augustus brings to Rome.  And lastly, Aeneas helping the Estuscans is an example of how Rome aided its neighbors & rather than just conquering & pilfering a land they would protect & rule it.

   Knowing the history behind the information provided in this book explains why nothing really happens.  Virgil is offering an examination of Rome's glory/history for the readers.  In addition, he reveals his patrons greatness while at the same time furthering the theme of good overthrowing evil.

What is Destiny?

The idea of destiny is introduced early on in the poem. “He came to Italy by destiny.” This refers to Aeneas’s epic journey from Troy to the new found land where he is “destined” to be. However, throughout the poem, Aeneas seems to be forced to go places due to the Gods wishes and orders. There’s this idea of following your destiny, yet it seems that it is already decided by the Gods. For example, Aeneas meets Dido and falls in love. Unfortunately, he cannot stay with her though since the Gods do not wish him to rebuild a new empire there. He is then forced to leave but again, this is not due to his own free will.

Destiny for many in this poem is something that happens after you make it happen. Therefore you have to be involved. Aeneas leads a difficult life in the sense that he abides to the Gods wishes and commands. This is also largely due to the fact that there is a stronger sense of religion in this poem opposed to The Odyssey and The Iliad. However, I still question this idea that it’s part of Aeneas’s destiny to rebuild an empire as part of his destiny when he’s constantly being told what to do by the Gods. Furthermore, you would think that the Gods would help him out a little and monitor Juno. Juno seems to be interrupting his quest for destiny at every corner; especially in book VII when she involves Allecto. In the end, Aeneas has no choice but to do what’s asked of him and that will ultimately determine his destiny.

Odysseus and Aeneas

It appears that Aeneas is a figure that represents a culture while Odysseus represents his own character. Odysseus goes to the underworld to ask Tiresias the way home and receives prophecies about his own life. Aeneas, on the other hand, receives prophecies not only for his own future, but for the futures of all Roman heroes that are still to come.

Experiencing this underworld section makes me wonder if Aeneas is actually in search of spiritual growth, after all, according to Virgil, Pius living will result in rewards in the afterlife. We discussed in class that Odysseus is not a character that necessarily changes and experiences growth throughout his journey. Aeneas, however, being a character created in a "religious" world, appears to be in search of a better self. He always seems to fulfill his responsibilities to his family,country, etc. as does Odysseus. Aeneas, unlike Odysseus appears to do this without being selfish. Aeneas is in constant battle to put others ahead of himself. Odysseus wants to get home, but he definitely has a selfish side. He puts himself before his men and does whatever he has to do, despite its ethical substance, to reach his goal. This idea returns us back to my initial statement. Odysseus and Aeneas went to the underworld for two different reasons. Odysseus traveled to the underworld in search for HIS way home. His trip was one of self preservation. Aeneas, on the other hand, comes to the underworld to see a future he will build.

The two depictions to the underworld appear quite different according to Homer and Virgil. For Homer death brings the same ending to all. Despite how one lives on earth everyone is doomed to exist in the underworld. For Homer, his heroes live hard and die in search of glory. This idea of living life in the fast lane puts forth the perspective that one should live life to the absolute fullest while on earth because the result after death is not a happy one. Virgil, on the other hand, demonstrates that one who lives a good life is destined to enter a glorious afterlife while those who are wicked will be in eternal torment.

Dido, the woman scorned

I personally found the figure of Dido more complex and fascinating than that of the supposed hero of the epic, Aeneas. The passion she expresses both during the love affair and after the rejection is one that was missing certainly in the proud Helen and also in the loyal Penelope.

Not only is Dido a female ruler, but also a woman who takes a chance on love again after the murder of her husband. Betrayed by those closest to her, such as her brother Pygmalion, she risks betrayal again in her relationship with Aeneas. And unfortunately this man too turns his back on her. I realize that he was given no choice by the gods, but at the same time he knew what was expected of him when he began the relationship. Additionally, he had ordered his ships be readied before even telling Dido that he was leaving. He knew he had to leave her at some point and the pitiful final attempt he makes at reconciliation when he sees her in the Underworld is yet another example of too little too late.

I realize that much of these events were orchestrated by the gods, and that neither Dido nor Aeneas truly had control over the situation. It seems that the power given to the gods by the ancient Greeks is not only a way of explaining the unexplainable in terms of nature, but also the unexplainable in terms of man. Every amoral action of an individual can be explained by “the devil made me to it” attitude or in the case of the ancient Greeks, “the gods made me do it.”

Setting Up a Blog for your own classes

Some of you have expressed interest in setting up and using a blog in your own classes, so here are some suggestions on how to get started. I find that using online blogging sites is easier than programs like Blackboard. The two best online blogging tools/sites are: Blogger (google-based, which I use) and WordPress. I find Blogger easier as an interface when you are trying to get students to all post to the site.

Setting Up a Blog with Blogger:

1. You will need a google account (or you will be prompted to create one). Go to www.blogger.com.
2. Click on the "get started" link and it will walk you through the process.
3. For step-by-step help on how to create a "team blog" i.e. have multiple authors (your students) write to the blog, click here: team blog
4. the "Layout" tab will let you change the layouts and add elements to your blog.

Play around with the options -- you don't need to know HTML, and it's pretty intuitive. Let me know if you have any questions: I'm not an expert, but can probably help you with basic things!

Relevance for 9th Grade Audience

"I wonder why do you hold such an angry grudge against me? Is it because I am dirty, and wear foul clothing upon me, and go about as a public beggar? The need is on me, for such is the lot of vagabonds and men who are homeless. I too was one who lived in my own house among people, prospering in wealth, and often I gave to a wanderer according to what he was and wanted when he cam to me; and I had serving men by thousands, and many another good thing, by which men live well and are called prosperous, only Zeus, son of Kronos, spoiled it all-somewhow he wished to. So, woman you should now beware leste you lose all of that glorious look with which you shine among the handmaidens..." (Book 19, lines 71-83)

When teaching The Odyssey to 9th graders, as most of us know, it is important to make some aspect of the text relevant to the students, or we lose them. The above passage directly addresses the issue of fate vs. free will and our lack of ability to completely control what happens in our lives. A direct text to text comparison can be made to Of Mice and Men ("The best laid plans often go awry"). In this passage, Odysseus is addressing the importance of treating others, even those who are supposedly below your station, kindly and/or with respect because you may one day lose your good fortune, and be of a similar lowly status as a result of forces beyond your control.

In addition, this passage addresses the issue of deception in disguise, and the idea that things may not always be as them seem.

From Nil: Action as a Response to Mortality

It is apparent that Odysseus and Achilles have chosen two pathways as a response to algining themselves with their impending mortality-as warrior, and as a servant to their community.

Like Achilles, Odysseus realizes that death is a distinct possilbity in his battle at Troy. Although neither hero welcomes death, the glory that would be achieved with dying in battle is a cultural code which cannot be ignored. This notion, is however short-lived in the mind and conscience of Achilles. Achilles reflects on the true cost of battle after the death of Patroclus in his sonnet immediately prior to re-entering the war. He again reiterates this in his meeting with Odysseus in Hades when he reappears in The Odyessey. Although Achilles realizes the futility of his life as a warrior and understands that death is looming near, his obligations as a soldier outweigh the obligations he feels to himself as a mortal man.

The second pathway is cloesly linked with that of the first. Both Odysseus and Achilles are compelled to enter the war at Troy because of their sense of community, that is their sense of responsibility to Agamemmnon and Menelaus. They are called upon by these other kings and their moral obligation precludes any sense of mortality that either may feel. Achilles re-enters the war after the death of Petroclus as an act of revenge, but he returns the body of Hector as an act of service to the community. Granted it is not his community, but his hand in the destruction of this community again links him morally to its well-being.

just a few observations...

     After Tuesday's class I started looking for things such as weaving & shining women which seem to repeat throughout the tale.  While we do see Penelope standing by the pillar and shining, another thing maybe worth discussing in class further is the constant reference to Odysseus as a bird (in particular a bird of prey).    This occurs many times and the characters always do the work for us when they analyze Homer's symbol as a representation of Odysseus.  I guess Homer didn't want us to miss that! 

     Another lens I looked through the story with was one that looked for mirrors of other portions of the tale or even the Iliad.  I find it interesting that Odysseus has to invade his own country (in disguise as a beggar).  It is perhaps intended to bring the story "full-circle;" he left to invade Troy and now upon his return, he must invade Ithaka. Additionally, again we have our hero wearing a disguise upon his entry, which we learned in previous book (book 3, I think) that he did the same thing in Troy (only Helen recognized him).

     In response to Stephanie's blog, I think that he did change in regards to resisting temptation.  In the last few tales he resists the urge to fight the suitors who taunt him, & he resists the urge see & tell Penelope who he is.  The taunting I feel is almost a test he must pass because we learn that the Gods not only allow the taunting , but encourage it.  Earlier in the tale Odysseus, cannot resist temptation in many instances (in particular with Polyphemus, the Cyclops).  Later he avoids temptation when having his men tie him to the mast.  And finally, he resists the temptation on his own when he returns home.

Motivations and Actions of the Gods

Homer does an impressive job of incorporating the Gods throughout The Iliad and The Odyssey. Although the main characters are mortals, they are constantly influenced by the Gods. I often find myself asking what exactly motivates the actions of the Gods. Although the relationship between the Gods is somewhat complex and ever changing, they can easily be swayed to one side or the other and even though they have the power to change things, many of them are restricted. Ironically, you see many of the mortals act more “god-like” than the actual Gods. Instead, many of the Gods appear to be selfish and egotistical. They have little concern for the general good of everyone and usually base their decisions on their personal gains and what can be acquired. Again these self-centered attributes are often the exact opposite than those of the mortals.

In addition, Homer portrays many of the Gods as deceitful or problematic. This can especially be seen when various Gods disguise their own identity. Athena does this throughout The Odyssey to help both Odysseus and Telemachus. Unfortunately, you also see many Gods change their identity right before someone is supposed to be killed – there is this idea of self hope and then before you realize it, you’ve been fooled. This was certainly the case with Hektor before his allotted amount of time on earth ran out. Homer integrates the Gods in practically every book of The Iliad and Odyssey, but leaves the audience to decide exactly how they should be perceived.

Homer's Time

As I read Homer's epics I wondered if Homer intended to only record the history of Mycenaean era or highlight aspects of the past society that are lacking in his present day Greece. I began to think about this when the Iliad discussed how the kingdoms and tribes of the Achaeans came together to fight the Trojans. During Homer's time perhaps there was not this kind of unity in Greece since there was the development of city-states and perhaps the Greeks were becoming more divisive whereas in this past era in the Iliad that Homer recounts the Greeks were able to unite despite their differences. I wondered if Homer intended to promote unity in this epic and if there was a need for it during his time.
Homer also stresses the necessity of other aspects of domestic society in the Odyssey such as xenia, the faithfulness of wives shown through Penelope who is contrasted with Aphrodite who is not faithful to her husband as well as wives holding up their houses shown by their leaning on the columns. I also saw the description of Telemachus putting his spear against a pillar which possibly signifies the responsibility of the son who must protect the wealth and household of his father. Although xenia and all of these aspects of past Greek society most likely existed during his time, perhaps Homer saw changes or devaluing of these aspects of society and he wanted to reaffirm old values.
If so then Odysseus could represent the past and the past returning to the present. I thought of this because people in the story often say how they believe Odysseus is lost forever meaning perhaps that past ways are lost forever. However, Odysseus remains in Calypso's cave, which in the navel and Eric saw the cave's description as being a symbol of the womb. If so perhaps Homer is saying that the past or Odysseus will return in the new generation starting with the womb if he is an allegory for the past. Therefore, although many characters believe Odysseus who represents the old ways or the past is lost forever, this epic shows that the past ways can return to the present, because Odysseus returns restored to appear youthful and glowing. In this way Odysseus or the return to past values can fit in the new society just as his return made things right in the new Ithaka that does not look like the old Ithaca that Odysseus left.

Who was the audience of Homer's epics?

Although Homer's epic poetry was composed for, and at the time of, oral performance (most likely to educate a largely non-literate population), I would see it necessary to address an audience that is the closest parallel to the protagonists of the tales, as they would benefit most from its morals. Consider, also, the length of an epic poem; it is far too long to be heard/read by an average citizen. It seems more likely that only a member of the upper or ruling class would be able to afford to spend the length of time necessary for recitation.

If you give credit to the speculation that Achilles's quest in the Iliad was written to be an 'anti-war' poem, think about to whom it would be best addressed. It would make sense to think the rulers - those responsible for the declaration of wars - were meant to be the listeners, as they would be in the position to be most influenced by it.

Further support for this hypothesis is in the introduction of Homer's Odyssey, in which the poet claims the poem is about "a man," an epic of the individual, hence applicable to all (wo)men who encounter it. The emphasis is solely on human will and the action of one person. This idea of individuality is contradicted, however, by the council of the gods immediately following the beginning and their consequent reference to the fallibility of humans who do not heed their advice. Furthermore, not only is his quest far removed from that of an average citizen, but Odysseus himself is referred to as being "godlike," thus removing all ties from the common person.

Closing thoughts on the Iliad...opening thoughts on the Odyssey

I am interested in analyzing why Homer brought Achilles through a type of transformation toward the end of the epic. What underlying factors brought Achilles toward this stream of conciseness that causes his anger to finally dissipate?

Isn’t it funny that the original conflict that we all expect the epic to revolve around, the war over Helen, is somewhat overshadowed by the conflict between Achilles and Hector? Who would have thought?!

Regarding the Odyssey:
Many argue that Odysseus appears to transform throughout his journey in the Odyssey. It appears that his hubris almost begins to give way to a sense of self awareness. Odysseus begins to learn that in order to be successful he must put his pride aside and actually think through situations. There are several points within the epic where Odysseus seems to gain insight on why lack of self control and overt pride will ultimately bring forth a negative outcome (The land of the Lotus Eaters, Helios’ Cattle, etc.) and others where he simply cannot help but to exert his power and feed his curiosity (The Cyclopes). What makes him change his ways toward the end of the epic? Despite his caution when returning back to Ithaca does he truly transform…after all…he shows no mercy on the suitors in the hall.

Course Website

There is now a website for this course: Encyclopedic Epic

It has all the basic course information, a link to the blog, and under the "Links" section, I will upload some useful links each week. If you come across links, pictures, information etc that you would like to share with the class, send them on to me and I will upload them. Sites useful for teaching purposes would be especially appreciated! My hope is to put together a list that you could potentially use in your own classes.

Singing Muses...

Welcome to the blog for our class. You should have received an email from me "inviting" you to become a contributer ("team member" in Googlespeak). Some of you will need to open Google accounts if you do not already have one in order to post to the blog. Let me know if you have any trouble. I look forward to reading your thoughts on the Odyssey!