The Lion the Witch and the Wardrobe

Many epic conventions seem to be in this one on closer examination. There are roman/greek like creatures such as centaurs and giants, and an animal godlike being who is like Christ. This reminds me of the mention of the various Greek and Roman gods in epics like Paradise Lost. It also seems to reflect Lewis' own education culturally and his deep spiritual beliefs. Thinking of this in terms of epic is interesting to think about and many elements are certainly there.

Gladiator

This movie seems to reflect some epic themes. It's almost like a lost bit of Virgyl. The arming scenes are reminiscent of Aristea. The hero also has Pietas and pays tributes to the gods and dreams of Elysian fields. Glory in the tradition of Iliad seems present in killing, but the hero seems to be moving beyond that and has more of a love like Achilles did for Helen, fileo (I think that's it).

Voltaire

Voltaire's satyrical epic is very interesting in that he subverts much of the conventions to reflect perhaps his cynicism about his own time. I wonder how heroic his characters are in the end and how much of the epic tradition is reflected in the rest of his work?

Star Wars: Heir to the Empire

The comparison with The Chimaera from Heir to The Empire with the past Chimaera's was a very good comparison. The mythical monster that represents sort of evil, but chaotic seemed to fit Grand Admiral Thrawn well. (I've read the book) He's the empire (evil) but still kind of a wild card (chaotic). The different portrayals of the Chimaera were also helpful in understanding it's place in Epic literature.

Sundiata

The power of song and poetry is evident in this selection from the poem. The sorcerer or presence of a magic indicates some form of theology. The presence of kings and rulers is another hallmark of epic tradition. A war is inevitable in the last sentence. This is a quite interesting piece that reminds me of the Kalevala, where words are used to fight in this selection, instead of swords as usual. I'm quite intrigued by this and want to read more.

Descent of Alette

It's poetry, and I'm assuming it's been read by the author, so this at least has oral tradition in it. Kind of lost on what else is epic about it.

Descent into Blindness
Totally lost on how this is epic...

Dante's Inferno

Certainly this is a deviation from the normal epics, yet it remains largely true to much of the conventions. The descent through hell mirrors the descent to the underworld which dates back to the epic of Gilgamesh. The long poetic form also contributes to its sense of epic. It also does have an oral tradition, being the pre-written scripture passed for generations among Jews, the old testament. In this sense, Dante takes the scripture, and probably much folklore based on hell (Virgil, even) and compiles it into his own epic. Fascinating stuff.

It was fascinating seeing our old friends Dido, Celpatra, Helen, Achiiles and Paris swooping around down there in hell! EPIC!

The Matrix

Reading (viewing) the Matrix as an epic is quite fun, especially in the context of the first movie. The wounding scene of Neo is particularly reminiscent of older epics, as is the prophecy about, “The One”. What is The Matrix compiled from, however? What is the source material? Certainly, it isn't an oral tradition. William Gibson's Neuromancer, as well as cyberpunk culture, internet chat rooms and games, underground and subversive scenes, are these the stuff of the oral tradition of The Matrix?

Return of the King: Chapter VI The Battle of Pelennor Fields

There are many epic elements in this reading. Aristea is very prominent in many forms including taunting of the victim, arming, the return of the hero and more. Also, the battle scenes that were so consistent with The Iliad and the Aeneid are back, although they seem to be less the focus, and it is not about the glory of how many are killed. It seems very epic and that Tolkien paid tribute to these past epics.

It is interesting how Tolkien turns a few conventions on their head, such as having a female hero defeating one of the main villains. This was a very enjoyable read and I think LoTR is one of the closest things we have to a modern epic, with the exception of it being community generated. In a sense it is, since it incorporates so much of previous epics, but Tolkien is the main imaginator and compiler. The tension still exists, I guess, as it always has since the Iliad.

Omeros Book VII

"His wound healed slowly. He discovered the small joys that lay in a life patterned like those on the quilt and he would speak to her in his normal voice." 309

The cultural wounds that the people of the island has received will heal slowly, like the wound, yet they will find new life and joy amidst their lives and time that heals. I think this is what Walcott is saying.

Omeros Book VI

"of fake African masks for a fake Achilles rattled with the seeds that came from other men's minds." (228) Walcott seems to be speaking once again from the point of view of the colonized who lack a tie to their original culture and have had to deal with the external ideas coming from around the conquerers.

Omeros Book V

"Their condition the same, without manacles. The chains were subtler, but they were still hammered out of the white-hot forge." 210

Again Walcott comments on the state of the people of the island that now work in ways and conditions not that far removed from the worse conditions not long ago.

Omeros Book IV

Once again, Walcott mixes up the styles and interjects a poem about a house. I like the way that he changes up the form of the novel/poem/epic/postmodern whatever you want to call it. More references to things like, "cablevision" feel strangely out of place in an epic. Maybe in 1000 years they will be as quaint as the references we see in older epics. Is an epic only an epic after a certain amount of time? Certainly, epics must undergo an aging process like fine wine.

Omeros Book III

on p.137 I thought there were some interesting features where the writing looks like a play. Afolabe asks Achille what his name means, but both have forgotten.

"you nameless son are only the ghost of a name"

indeed, Achilles is a name long removed from its origins. Likewise, the character himself feels long removed from his origins.

Omeros Book II

So much irony here, vessels named Marlborough....

p. 107 has a monologue that speaks about, "a cruise back to slavery in liners like hotels you cannot sit inside" speaking about the tourism industry. It's bittersweet, the slaves are, "free" but only work in jobs that are for serving upper classes.

In God We Troust is another play on words that shows the culture within culture.

Omeros Book I

This book felt unconventional and jarring to me in many ways having been through the past epics we've read. It's kind of ironic, since this is more modern than anything else so far. The poetry and laid back atmosphere, the loosely connected narratives, all contribute to this feeling very different from everything else. I'm not enjoying it very much because I have a hard time understanding what's going on. I appreciate the references to past epics, but feel like they're there just to pay tribute, or sort of mock. That's ok, and it serves a purpose. I'm just having a hard time getting used to this style. It's weird seeing Coca Cola in an epic (16).

Paradise Lost 12

Adam deals with the sovereignty of God in this chapter. It is a complex discussion that Milton evokes, "O goodness infinite, goodness immense! That all this good of evil shall produce and evil turn to good more wonderful than that which by Creation first brought forth light out of darkness!" (469-474) What of evil in the world, does God allow it by stepping away from it? Or, will he turn all of it to good eventually? It is a comfort to think that latter, and Adam seems to take refuge in this last chapter.

Paradise Lost 11

The revealing of the future to Adam serves to establish more backstory, in an odd way, but also ties this epic, which exists in a portion of the Bible to a larger part of the Bible. The scope of this chapter seems to be greater than all of the previous epics combined, with the fate of humankind in question, instead of just that of a nation. This marks another deviation from the epic tradition that Milton seems to be pioneering.

Paradise Lost 10

"What better can we do than to the place repairing where He judged us prostrate fall before him revernet and there confess humbly our faults and pardon beg, with tears watering the ground and with our sighs the air frquenting, sent from hearts contrite to sign of sorrow unfeigned and humiliation meek? Undoubtedly He will relent and turn from His displeasure, in whose look serene when angry most he seemed and most severe What else but favor, grace and mercy shown?" (1086-1096) So far, this is one of my favorite passage in the book. This is a beautiful response to the sorrow that Adam and Eve both have and their want for death and outlines how they can respond to it. This is the contrast to Satan, again, and what Milton seems to have as the didactic purpose of the book. These passages are indeed an important element of the epic.

Paradise Lost 9

In contrast to the last time Adam and Eve make love, now that they have taken the fruit, they are in sin. Having gone outside of God's will, they have lost "Just Confidence and Native Righteousness And Honor from about them" (1056-1057). He then ties them to other old testament stories, Dalilah and Samson. Sexual sin seems to be a large topic of examination in this epic. Why was it a sin? Because they had eaten the fruit. I'm a little confused about this still. It does seem similar to the warnings against furor in the older epics, but now is more obvious.

Paradise Lost 8

Adam learns a lot from the angel, but is warned to not ask seek out too much. Is this a relevant statement for today? Science is often a blessing, but sometimes is a curse. Here we find an early critique perhaps of positivism. Do we do something with science just because we can? Do we do it for the sake of science? Is it really right to inquire how to do certain things that perhaps shouldn't be done? While it may seem dated and backwards, the critique is actually relevant today.

Paradise Lost 7

Milton calls upon the Muse, paying tribute to older epics, but also making it relevant by invoking the Holy Spirit. It serves to tie this epic to the past epics while also establishing it as something distinct. The accounts of Genesis are related and expanded upon. The extensiveness of the backstory in Paradise Lost also distinguishes it from the older epics, which have backstories but do not necessarily go so far in telling them in the main narrative.

Paradise Lost 6

Abdiel's repentance foreshadows and demonstrates God's grace and plan for the redemption of humanity, where he turns back to God in contrast to Satan's refusal to do so. The battle in heaven is very epic, with cannons (!) on the side of Satan. Is this a jab against technology by Milton? The evil side uses cannons, while the angelic side uses more natural means.

Paradise Lost 5

Interesting in this chapter is where Milton seems to deviate from the doctrine of the trinity that I assume was around at his time. "This day I have befot whom I declare my only Son and on this holy hill Him have anointed whom ye now behold At My right hand." (603-604) Instead of a trinity godhead that each together have the traits of God (omnipotent, eternal, omnipresent, etc.), Milton instead defines Christ as having an originating point instead of being consistently eternal backwards and forwards in existence.

Paradise Lost Book 4

Satan briefly considers repentence: "But say I could repent and could obtain By act of grace my former state." (94-95) but chooses not to. This mirrors Adam and Eve's sin later when they do not consider repentance, at least for Eve's sin initially. It was interesting that Satan posed as a large bird as he ran rampant through the garden in this account. Important in this chapter also is how Adam and Eve making love is not viewed as sinful but instead as how God intended.

Paradise Lost 2, 3

Paradise Lost 2
The council of devils and their different plans are an interesting take. Freedom to do whatever they choose seems to be their main goal. Are they being portrayed as heroic? The rumors circulating of the invention of man set the devils on their new course of action instead of the other alternatives they had thought of. What if they had followed Belials plan? Would man have still fallen?

Paradise Lost 3
Despite all of the machinations of the devils and the coming fall of mankind, God is still described as, having “sov'reign sentence” for mankind. The heavenly choir makes me think the Handel's Messiah and paints a more vivid scene in my mind of heaven. I liked the reference to “Elysian flow'rs” in heaven. Once again, Milton subtly ties this to epics of the past and makes it a more seemless connection to call this epic.

Paradise Lost 1

This chapter portrays the throngs of hell, the armies of the dead. Among them, we find the Greek gods and the chief of the underworld, Satan. Milton appeals to a heavenly muse to find inspiration for his writing. The muse, however, is different from the muses of past epics. Instead, here, we find an appeal to a heavenly muse and the Holy Spirit. This is a Christian work that does not hesitate to define itself as different from the religious traditions of the older greek and roman works. I thought it was interesting the Beelzebub and Satan were different characters, I thought they were supposed to be the same?

Lusiads 1-5

Lusiads 1
The council of the gods establishes the intent of fate to support the expansion of the empire. I am looking for more empire support through the rest of this propaganda leaflet we call an epic.

Lusiads 2
They meet the Sultan. De Gama dresses in ceremonial garb to meet him.

Lusiads 3
"It was Heaven permitted this, and not the might of your armies; for so was prophesied in the Ancient Word..." I don't know what prophecies he's drawing from, but this might be a way that the expansion of empire was justified.

Lusiads 4
"This was ordained by Divine Heaven, which spoke its will by many signs"... again, more justification for empire?

Lusiads 5
Paragraph 23 was very interesting. It says that if old philosophers had known the discoveries De Gama's fleet had, that they would have left better writings. This is a sort of nostalgia, and Hegelian notion that everything has been a progression and is moving forward. Would the Greeks had written better philosophy? Maybe they would have just played Playstation instead.

Aeneid 11, 12

Aeneid 11
The scene with Pallas's death is vaguely reminiscent of death scenes in the Iliad, with concepts of honor for the dead. Aeneus loses him much like Achilles loses his right hand man. The uneasy truce is reminiscent also of the uneasy peace as Achilles and Priam talk about what to do with the corpse. The king is surprisingly placid for having lost his son. He is the most unrealistic character in the book for me.

Aeneid 12
Turnus finally agrees to single combat having failed in all other options. However, war breaks out before the battle can be held. It is interesting that another woman kills herself in this chapter. I don't remember a suicide in the Iliad (maybe I'm not thinking hard enough). Is it a metaphor that those who don't go along with Rome and just killing themselves? I'm not sure. The end is not very merciful for Turnis as Aeneus slays him, and Turnus even admits he deserves it. I'm not sure what to make of this. The characters, especially the non-Trojans, seem so unrealistic at time

Aeneid 10

Interesting in this chapter was the slaying of Lausus, and the subsequent fall of Mezentius. Both are brave fighters and face Aeneus. Lausus is too brash, however, and does not have armour to stand up to Aeneus. Mezentius, though wounded, bravely charges Aeneus on his horse. When he meets his death, he does so bravely, without begging, but also very acceptingly once he is beat. Perhaps this is an admonition of countries conquered by Rome. Yes, they fight bravely, but they do best if they just accept their fate and allow themselves to be dominated, to accept the inevitable and to not beg for their lives, their culture or their people, but accept Roman rule.