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The best possible answers will address the questions thoughtfully, using evidence from the readings and taking into consideration the lectures. Be certain that your answers are essay length (2 to three double-spaced pages each that’s about 750 words each or a page and a half single spaced) and supported by lots of specific evidence from the text; don’t take anything for granted. (These are essays not research papers, so it is not necessary to list your references at the end, but if you quote or paraphrase in the body of the essay, be sure to name your source within your text.) Be certain your answers are clearly NUMBERED, and also be sure you double space between answers.
1. Dante built his version of hell utilizing rather equal measures of Roman Catholic doctrine and his own personal perspective (sometimes rather vindictive) regarding the guilt or sins of the people he put there. Pick one character who seems to be in hell for reasons the Catholic church of the time would approve, and one who seems to be there simply because Dante was getting even Explain how this is so in each case using details from the poem (as well as from whatever historical sources you wish to reference).
2. We know by now that lyric poems are likely to have many characteristics in common with one another whenever and wherever they have been written. Certainly, the conditions of life in imperial China must have been in many ways quite different from the circumstances of life in Sapphos Greece, or the Nile Valley of the Egyptian love poems. Contrast their poetic styles, temperaments, subject matter, and general attitudes in a way that shows that you understand how it is that these poets are all lyric poets and yet quite different from one another in their personal concerns and poetic practices, and tell as well where Marie de Frances lai Lanval might fit among the lyrics..
3. We’ve discussed them extensively in class and on WebCampus, so now, which of the heroes (epic, or tragic) we’ve read about (Gilgamesh, Odysseus, Oedipus, Rama, Kumagai or Atsumori, Lanval, Beowulf, Gawain, Hamlet) comes closest to our contemporary concept of heroic This answer will require you to define what you and your contemporaries consider heroic, if anything, as well as to detail the ways in which the character you’ve chosen measures up to that definition and the ways the others fail to measure up. Many very clever people have claimed that we live in an anti-heroic age (not believing in heroes any more at all.) (Noah is, in literary terms, neither an epic nor tragic hero do not use him in this answer no matter how heroic he may seem to you personally.)
4. Gawain and the Green Knight represents a kind of poem we call Medieval Romance. Use your knowledge of all the other poetry weve read to show how it is that this tale of King Arthurs court from the fourteenth century represents the extension of the heroic or epic literary mode into Christian Medieval Europe (the blending of Christian, Celtic, and Germanic cultures) and is at the same time a bridge between (or combination of) the epic and lyric traditions in European poetry. In other words, what features and attitudes of both epic and lyric poetry does Gawain and the Green Knight contain?
5. We’ve talked a lot this semester about the idea of fate, comparing it to religious determinism (God has a plan) and to the rationalists or humanists notion of free will (Oedipus deserved his fate, because . . .) Write an essay on the differences between the various concepts of fate weve encountered in our readings here. You must use characters from at least 4 (four) of the heroic readings to illustrate your point(s) regarding FATE. (Noah is not a hero in this sense, either.)
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