Essay about The Imagery of Fire in Virgil’s Aeneid

The Imagery of Fire in Virgil’s Aeneid In discussing fire imagery in the Aeneid I will attempt in the course of this paper to bring in an analytic device to aid in assembling the wide array of symbols into a more uniform set of meaning. Consistently throughout the Aeneid, fire serves to provoke the characters to action. Action which otherwise it is not clear they would enter upon. Fire clears the way for the juggernaut plot to advance. Juno, first of all, described as burning - pondering (with her hatred of the Dardans) goes to Aeolus with the idea of sending the winds to create an under-handed storm to destroy the Trojans, at the sight of their fleeing ships and successful escape from the Greeks (I.75)1. Fire from the Greeks burns down†¦show more content†¦The central characters are all described principally in terms of their incendiary capacity. Dido burns, and burns, and burns, and burns. The plan of Venus (and of Juno as well) is to inflame the queen to madness (I.920). Later: The words of Ana feed the fire i n Dido, hope burned away her doubt and destroyed her shame, (IV.75). And unhappy Dido burns (IV.90), Whirled around in fire by the furies (IV.514). Dido, broken by fate can only call for an avenger [to] rise up from my bones, one who will track with fire brand and sword the Dardan settlers, (IV.863). Turnus after the visit by Allecto burns with a continuous rage which compels him unalterably to murderous action. Aeneas does not burn, not so much, but instead is confronted with fire -destructive fire he must run through and away from. Ever endangered by fire it seems to surround him throughout the work. Fire threatens to cut off his escape, as when his ships at the beach in Italy only divinely escape destruction, fire is also evoked to draw him forward. A clear example of this is the arrow that Acestes launches in a futile gesture that bursts into flames and disappears, regarded by all as an unmistakable sign to continue (V.690). Aeneas even has dreams of fire in book IV he rests and sleeps after completing preparations to leave Carthage, but dreams something, resemblingShow MoreRelatedThe Role of Fire in Romantic and Family Love on Reading the Aeneid1224 Words   |  5 PagesThere are two integral pieces of love in Virgils epic Aeneid: the romantic, lustful love (as felt by Dido for Aeneas) and the grounded, honest, family love (as felt between Aeneas and Anchises). There is a dynamic relationship between the two sides of love which causes each to emphasize the other Ââ€" an emphasis that is facilitated by Virgils common use of fire and flame imagery to describe both types of love. Upon analyzing the lustful episode between Dido and Aeneas and the imageRead MoreEssay on Dantes Inferno and Classical Mythology1823 Words   |  8 Pagesplace in Virgil’s Aeneid, Homer’s Iliad and Odyssey, and Ovid’s Metamorphoses. Some of the most important references, however, are the most obvious ones that are easily overlooked simply because of the fact that they are so blatant. Dante is being escorted through Hell by the poet Virgil, and this is Dante’s first homage to Greco-Roman mythology. The second reference is the actual descent into the underworld. This reference is pulled directly from Homer’s Odyssey and Virgil’s Aeneid and DanteRead MoreDantes Beasts2989 Words   |  12 Pagesthe next monster Dante encounters is also associated with thefigure of Satan due to his description of il gran nemico, as herepresents greed which was seen as the source of all ills (2).   Hisrepresentation of greed and avarice is stre ngthened by Virgils rebuketo him,   Taci, maladetto lupo! (3)  As this associates Plutus with the She-wolf from Canto I who is correlated with one of the triple divisions of Hell, the sins of the disordered appetite, and this inherent connection with greed is markedRead MoreThe Textual Relationship Between Virgil And Lucretius2063 Words   |  9 Pagesspecifically passage 1.474: â€Å"ignis Alexandri Phrygio sub pectore gliscens clara accendisset saevi certamina belli†. Although Virgil could have had this passage in mind, there is another use in Lucretius which can bring new context and understanding to Virgil’s use of gliscit. Scholars before have noted the relationship between Aen. 12.9 and DRN 4.1069; however, it has not been analyzed why Virgil might be invoking this specific passage. This paper proposes that Virgil uses gliscit to describe Turnus’Read MoreShot Through The Heart : Passage1285 Words   |  6 Pageswith just,impartial eyes. There’s no faith left on earth! He was washed up on my shores,helpless,and I, I took him in,like a maniac let him share my kingdom, salvaged his lost fleet,plucked his crews from death. Oh I am swept by the Furies,gales of fire! Now it’s Apollo the prophet,Apollo’s Lycian oracles: they’re his masters now,and now,to top it off, the messenger of the gods,dispatched by Jove himself, comes rushing down the winds with his grim-set commands. Really!What work for the gods who liveRead MoreElizabethan Era11072 Words   |  45 Pagesperhaps more remarkable than his powers of execution. Some of the stiffness which is inevitable in new methods of poetic exposition is apparent in his phraseology and versification. But his sense of stately rhythm, and his fertile command of poetic imagery, went far beyond the range of any preceding sixteenth century poet in England. From the historical point of view Sackvilles second literary endeavor is perhaps more notable than his first. With another lawyer, Thomas Norton (1532-84)

Hear Her Roar the Feminist Strengths in Phenomenal Woman...

Hear Her Roar: The Feminist Strengths in Phenomenal Woman and Still I Rise Trista James English Composition 1102 Professor Cameron Indian River State College April 10, 2013 Maya Angelou Maya Angelou Abstract Growing up during times of common race and gender discrimination, Maya Angelou has proven to people she is a strong African American woman who would not allow inequality of any kind bring her down. This paper describes the feminist strengths Angelou refers to and implies in her two famous poems Phenomenal Woman and Still I Rise. Hear Her Roar: The Feminist Strengths in Phenomenal Woman and Still I†¦show more content†¦She tells the reader that she will overcome anything. In this poem she also proves to be a strong independent women by displaying her self-confidence by writing, â€Å"Does my sexiness upset you?† or â€Å"Does my sassiness upset you?† She lets males know sensuality and sexiness is okay, which as a result, demands respect from them. In addition, she is also telling the reader that she knows she is sexy which shows self-confidence. In this poem, Angelou attempted to show that through all of her trials and tribulations she had gone through in her younger years she is now a strong woman who is capable of overcoming the inner demons that haunts her memory. Another way Angelou proves to be a strong woman in this poem is when she says, â€Å"You may shoot me with your words, you may cut me with your eyes, you may kill me with your hatefulness, but still, like air, I’ll rise.† She is telling the reader no matter what negativity or obstacles brought to her, she will conquer it and still come out above. â€Å"Did you want to see me broken?† This verse proves to the reader that she will not break or lower her values and standards to whoever she is speaking to. â€Å"Her poetry is not â€Å"serious†; rather, it is, as she herself puts it in the title poem Still I Rise (Sylvestor 1995). To conclude, Maya Angelou defines the ultimate example of what a woman with powerful leadership and

Brand Loyalty vs Generic Brands Free Essays

Brand Loyalty: Brand Names vs. Generic Brands Why do we as, customers and consumers chose to stay loyal to specific brands? Are you guilty of being loyal to one brand and not attempt to try other brand names and/or generic brands? I am. There are so many different products, materials, strategies, etc. We will write a custom essay sample on Brand Loyalty vs Generic Brands or any similar topic only for you Order Now that companies compete with each other to try to get us (the consumers) to be loyal to that brand. Example: Coke vs. Pepsi; ATT vs. Sprint. There are also, people that wonder are their big differences in products when it’s a brand name vs. eneric brand. Upon my research I hope to answer these questions that we all have, a time or two, have wondered about? Definition The extent of the faithfulness of consumers to a particular brand, expressed through their repeat purchases, irrespective of the marketing pressure generated by the competing brands. (www. businessdictionary. com) Brand Loyalty ranges from foods, clothing, cars, places, electronics, etc. How they get us to stay loyal There are many reasons why we stay true to the brands we’ve developed to familiar ourselves with such as: knowing the quality in the product, don’t trust other brands or don’t care to try it, costs, availability, and /or easier resources, such as internet, the reputation of the brand by word of mouth and society standards. Companies are always developing newer and better ways to outdo their products, and old products and the products of their competitors. Brand Name vs. Generic Brand People have also stayed loyal when it comes to comparing the same products, but the difference is one is a brand name and the other is a generic. Such as, Tylenol vs. generic store name such as equate (wal-mart store brand). There is a difference in price? The generic (store brand) is always less in cost but is the product the same? Yes, the generic store brand of Tylenol is the same as the brand name Tylenol, the dosage, effects, risks, safety and strengths are the same, except for the price the store brand is cheaper and that’s because the manufacturer has not had the expenses of making and selling a new drug. Interviews on brand name loyalist: I have interviewed the following people to compare their loyalty to a brand and why? Questions asked: Friend: 1. Q: What brand are you loyal to? And Why? A: Sony, the picture, sound and quality of the different products. Nike, the comfortability of the shoes, larger range of styles, the different professional athletes under that name; meaning that they’re producing more of the products that allows the cost to lower, making it more affordable. Lexus, the quality, the appearance, the non-depreciate value it has compared to other brands and the reputation of the name? 2. Q: How long have you been loyal to the brand? A: Sony, 1995 is when I purchased my first Sony product; Nike, 1984 in High School, I bought a new pair of sneakers; Lexus, 2010. I bought my first Lexus, and currently I’m driving my second Lexus. 3. Q: Have you tired other similar/competitors brands? And what was your outcome? A: Yes. a. before my Sony, I owned a Zenith, RCA, and Magnovox and none of them have compared to the quality of Sony. Sony’s bottom of the line product is better than the Vizio’s top of the line products. All the electronics currently in my house is all Sony. b. I had Adidas sneakers in the past but the quality doesn’t compare to Nike. How to cite Brand Loyalty vs Generic Brands, Essay examples

The Jazz Age Essay Example For Students

The Jazz Age Essay The Jazz music of the Big Band Era was the peak of over thirty years of musical development. Jazz was so innovative and different that it could literally sweep the world, changing the musical styles of nearly every country. Big band Jazz that makes the feet tap and the heart race with excitement that it is recognized with nearly every type of music. The musical and cultural revolution that brought about Jazz was a direct result of African-Americans pursuing careers in the arts following the United States civil war. As slaves African-Americans has learned few European cultural traditions. With more freedom to pursue careers in the arts and bringing African artistic traditions to their work, African-Americans changed music and dance, not only in the U.S., but all over the world. For after the war, African American dancers and musicians created work that was not similar by hundreds of years of musical and dance traditions brought from the peasant villages of Europe. The music of Europe had a more base structure. European music through the nineteenth century was melodically based, with a square or waltz rhythmic structure. Differently, much African music has an organization which is based around rhythm and accent, rhythms and accents that may actually shift and move in relation to each other as the music progresses. The big change that took place in music rhythmically was the shift away from the rhythmic structure. African musical tradition tends to count towards the accented beat so that an African may count 2 on the same beat a European would count 1. It is typical of West African music to have rhythms of different lengths overlapping each other, creating shifting accents, sort of like a mix. Which is to say that by the late 1920s African-American Jazz music had developed a tradition where musicians put a strong rhythmic accent on 2 and 4 and melodic accents anywhere BUT on 1.The first popular musical trend in the United States produced by this African-European c ombination was Ragtime, which first achieved popularity in the late 19th century. Ragtime musicians often used what are called ragged rhythms. Ragged rhythms were African-influenced rhythms, shortened so that the accent was off the beat, instead of in rhythm with the beat. Ragtime musicians also occasionally used what were called blue harmonies and notes. Blue harmonies and notes used notes that didnt fit into the European concept of melody or harmony. Some of the notes dont even exist in European musical scales, so they were not recognized easily. The New Orleans bands of the late 19th century from which Big Bands evolved were varied. Some were social bands that played popular songs and music for dancing, some played marches and rags for weekend picnics and parties. Others specialized in their own variations on work and blues songs. Big Band Jazz had its start in New Orleans in 1898 at the end of the Spanish-American war. Military bands returned to the port to flood the city with u sed band instruments. And African-Americans interested in music quickly bought up hundreds of these instruments and began to form bands. Starting from square one, enthusiastic African American musicians taught themselves to play. This had two results: unconventional playing techniques and unconventional rendering of popular musical tunes. The playing techniques led to new and interesting sounds entering musicians vocabulary: trumpet and trombone growling sounds, wah-wah sounds, the use of odd household objects as mutes, and others. The unconventional rendering of popular musical tunes led to Jazz. An African-American playing a popular tune would play it adding some African musical traditions, different musical scales and different and complex rhythms. These early Jazz bands played music that was, to put it mildly, loosely structured. A soloist or an instrumental section of the band played the melody and the remaining musicians improvised the harmony and rhythmic embellishments. Many Jazz bands arranged their music by rehearsing it by ear many times until all the musicians were in agreement about what went where, when. These Jazz bands often changed personnel, sometimes on a weekly basis. This frequent changin g also helped the evolution of Jazz, preventing bands from becoming hidebound and determined to have a particular style or sound. On into the 1930s change was the watchword of Jazz. The first Jazz record Livery Stable Blues, coupled with Dixie Jass Band One Step was made in 1917 by a White band from New Orleans called The Original Dixieland Jazz Band. The band was one of the first to bring the New Orleans style of Jazz to New York. After a music agent heard them in Chicago and brought them to New York, where, within weeks, they were a sensation. Soon after their first record Victor records signed them for several more. The music recorded by the band was nearly conventional with no blue notes and only a smattering of ragged rhythms. Even so, the record sold over one million copies and had a profound effect on musicians and the public all over the U.S. As Jazz got popular, many New Orleans-based bands began spreading out across the country, playing in Chicago, New York City, Los Angel es, San Francisco, or hitting the smaller towns. The first Jazz record by an African Americans, was by Kid Orys band recording under the name of Spikes Seven Pods of Pepper Orchestra. The songs Orys Creole Trombone and Society Blues where recorded in Los Angeles in 1922. After 1923 the flood gates were open and African American Jazz became widely recorded. Early stars included other New Orleans musicians like King Oliver and Jelly Roll Morton, a Creole musician who, in the early 1920s, recorded over a hundred of his own and others Jazz tunes. Some of the records are solo piano, but many are of Jelly Roll with his band the Red Hot Peppers. These early releases were great hits and record companies began recording nearly anyone who even claimed to be a Jazz musician. With records coming out by the hundreds, thousands of young people across the U.S. decided they wanted to be Jazz musicians. The Jazz music boom had begun. But the enthusiasm for Jazz was not shared by everyone. Many in Wh ite middle America were concerned, and magazine and newspaper articles decrying the influence of African American music on society and the scandalous behavior, including dancing, it supposedly led to were not uncommon. Jazz had arrived and it had made an introduction. .u69293604602224fb3127dbbe85685d2e , .u69293604602224fb3127dbbe85685d2e .postImageUrl , .u69293604602224fb3127dbbe85685d2e .centered-text-area { min-height: 80px; position: relative; } .u69293604602224fb3127dbbe85685d2e , .u69293604602224fb3127dbbe85685d2e:hover , .u69293604602224fb3127dbbe85685d2e:visited , .u69293604602224fb3127dbbe85685d2e:active { border:0!important; } .u69293604602224fb3127dbbe85685d2e .clearfix:after { content: ""; display: table; clear: both; } .u69293604602224fb3127dbbe85685d2e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u69293604602224fb3127dbbe85685d2e:active , .u69293604602224fb3127dbbe85685d2e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u69293604602224fb3127dbbe85685d2e .centered-text-area { width: 100%; position: relative ; } .u69293604602224fb3127dbbe85685d2e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u69293604602224fb3127dbbe85685d2e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u69293604602224fb3127dbbe85685d2e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u69293604602224fb3127dbbe85685d2e:hover .ctaButton { background-color: #34495E!important; } .u69293604602224fb3127dbbe85685d2e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u69293604602224fb3127dbbe85685d2e .u69293604602224fb3127dbbe85685d2e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u69293604602224fb3127dbbe85685d2e:after { content: ""; display: block; clear: both; } READ: Colombia newsleter EssayAs a decade of rebellion, the Roaring 20s was made for Jazz. The young and the hip delighted in anything that was new and exciting. The more staid and uptight members of society thought Jazz decadent and a moral which gave Jazz, for some, extra appeal. But the exciting new rhythms and harmonies was the huge force behind societys acceptance of Jazz. The first bandleader to achieve national recognition was Fletcher Henderson who formed a band in the early 1920s. Originally his band was a dance band, playing waltzes and foxtrots. Over the course of a few years Jazz rhythms and blue notes became more prominent in the bands music. By the time the band to ok over at Roseland Ballroom and featured Louis Armstrong on trumpet, the band had become a Jazz band. Duke Ellington, a formally trained musician, also formed his band in the 1920s, again as a dance band. The arrival of an innovative trumpeter named Bubber Miley and a talented saxophonist named Sidney Bechet exerted a profound influence on the Ellingtons work, gradually helping to change the band into a remarkably creative Jazz big band. In 1935 that Jazz with a Swing beat achieved national attention and then in large part to Benny Goodman. As a youth Goodman was an extremely talented clarinetist. He studied with a respected Jazz clarinetist in Chicago, leaving Chicago in 1928 for NYC where he was successful as a sideman. However, he didnt form his own band until a few years later when he got a recording contract thanks to the great Jazz impresario John Hammond. Soon after that he bought some scores from Fletcher Henderson, some of them arranged by Henderson himself. Despite Hender sons fine arrangements, his band hadnt been doing well. Goodman, at the urging of John Hammond, hired Fletcher. The same arrangements which brought Hendersons band lukewarm interest proved to be dynamite for the Goodman band. For the next several years Henderson arranged tunes for Goodman band in a Jazz/Swing style. Hendersons arrangements are credited with helping sweep the Goodman band to national popularity the following year at the finish of an apparently unsuccessful cross-country tour in California. As it turned out, the radio broadcasts of the tour were scheduled too late for people in the east and midwest. On the west coast, however, the broadcasts gained a devoted audience who, surprising the band, swarmed its final concerts. And it was with Benny Goodman that the Swing big band boom began, and our narrative on Jazz draws to a close. After Goodmans dramatic success ignited the Big Band craze, excellent musicians who had been working as sidemen for other bands found encourag ement to start their own bands. Bands led by the Dorseys, Glenn Miller, Bunny Berrigan, Lionel Hampton, Harry James, and Gene Krupa sprang into being.With big band Swing music in full bloom, it was only logical that jitterbug dancing should also rocket to national popularity, which it did. Jazz music had an amazing affect on the Roaring Twenties. It tells many stories of sadness, experience and most of all, life.