4/5/2011 Caitlin Anderson English Department Advisors: Jeff

Total Page:16

File Type:pdf, Size:1020Kb

4/5/2011 Caitlin Anderson English Department Advisors: Jeff 4/5/2011 Caitlin Anderson English Department Lamia: Serpent and Disease. How John Keats’s Medical Background and Personal Experience With Consumption Imprinted Themes of Disease Onto His Poem “Lamia” Advisors: Jeff Cox (English) Paul Youngquist (English) Other Committee Members: Jane Garrity (English) Caitlin Anderson 2 Vicki Grove (Germanic and Slavic Languages and Literatures) Introduction John Keats was intimately acquainted with disease. Throughout his life he witnessed the death and physical decay of those around him. Even his career as an apothecary1 led him closer to illness. Especially later in his short life, the mark of sickens can be seen in Keats’s poetry. One significant example is the poem “Lamia” (1820). In this poem the hand of disease is seen in the serpentine form of the title character as well as in her bodily decay once she becomes human. She suffers from Tuberculosis, caused by her own humanity, and her suffering from the illness destroys the lives of those around her. Much like how Keats’s life was destroyed by illness. Before an understanding can be attained of the disease in “Lamia”, first one must understand the disease itself. Tuberculosis is now considered to be a well understood and, in 1st world countries, nonexistent disease. However, at Keats’s time in the early 19th century, much less was known. It was an aggressive disease. By first understanding what is known now, and then examining what was known then about the disease, one can better understand how tuberculosis affected Keats’s life and informed his poetry. Keats lived a life shaped by, and surrounded by death. Because of comparatively inferior medicine, loss of loved ones was much more common in the early 19th century than it is now. Even so, Keats experienced a large amount of death in his short life. This gave him an intimacy with death and disease that he put to use in a medical career. He chose to pursue a medical career before he decided to be a poet. This gave him a superior 1 The name for an individual with medical training who was in charge of dispensing medicine and advice to other medical practitioners as well as patients. The closest modern day equivalent would be a combination of a pharmacist and a family practitioner. Caitlin Anderson 3 knowledge, for the time, about health and illness. It was with this knowledge that he wrote his poems, and, more specifically, his later poems such as “Lamia”. After one learns of Keats’s life and background, one can better examine his poem “Lamia” for the presence of disease. With this lens, the poem gains an obvious plotline of disease and dying. The poem, while still a typically lyrical poem of the romantic era, also becomes a medical poem and an outpouring of the grief and anger that Keats experienced when his family members died of Tuberculosis. Through all the other aspects of this poem that are rife with disease, one stands out. That is that Lamia’s humanity is her disease. Caitlin Anderson 4 Tuberculosis or Consumption Before looking into Keats himself, one must first understand a little about the disease that so shaped his life. The disease Keats died of is known today as Tuberculosis or TB. It is a degenerative bacterial disease that usually attacks the lungs but can also settle in other organs. It is passed from person to person as aerosolized droplet form from coughing, sneezing, or even singing. It is commonly passed from person to person in groups that are living close to one another, such as within a household. If someone contracts bacterial TB today, it is easily treated with a range of antibiotics before it begins to destroy tissues (U.S. Natl. Library of Medicine). Even viral TB (which is much harder to treat) is not a death sentence with today’s medicine. However, left untreated, TB is a rather aggressive illness. TB commonly attacks the lungs, so the first symptom of the disease is a persistent cough with fluid or mucus present. This cough can be accompanied with fever and fatigue, and the presence of mucus can cause secondary symptoms such as shortness of breath or a sore throat. At this point in time, the disease can either continue its attack until it kills the host or it can become dormant. This is known as a latent TB infection. An individual with a latent TB infection “[does] not feel sick and [does] not have any symptoms” (CDC). The individual will then later become sick and die. When a person is in the later stages of a TB attack, he develops the symptoms that we now associate with the disease through movies and television. When a person is beginning to die of TB, he will have what is known as a hemorrhage. The disease weakens the walls of the lungs and, consequently, the walls of Caitlin Anderson 5 the blood vessels in the lungs. Therefore, when the individual has a particularly aggressive coughing, fit the vessels in his lungs will rupture and spill blood into the lungs. This blood is then coughed up. This causes a lot of pain in the chest and also precipitates the coughing. The disease will continue to weaken the body through blood loss, fever, loss of appetite, and the degradation of the lungs until the host dies. Sadly, not this much was known about this very common disease in Keats’s time. Known as consumption during the 19th century, TB was often thought to be a hereditary disease of the constitution. This was so because, when one person in a family contracted the illness, others in the family soon did as well because of their proximity. Because of this, diet was often restricted in those ill because it was believed that not eating would help to rebalance the constitution of the body. However, this treatment just served to make people sicker, as their bodies did not have the nutrition needed to fight off the infection. Also, because medicine was so primitive, TB was rarely diagnosed until an individual suffered their first hemorrhage. By that point in time, the disease already had a hold on their body and was in the process of breaking it down. While the stethoscope had been invented in 1816, it was usually used to listen to the heart and so was not usually used in diagnosis of a pulmonary disease (Howard Hughes Medical Institute). Also, what is now a manageable but still present disease in third world countries was the number one killer of individuals in industrialized cities and countries (Contagion). It is not surprising, then, that Keats lost two members of his family to the disease before succumbing to it himself. Caitlin Anderson 6 Life of John Keats John Keats was born to a family that belonged to what would become known as the middle class. In 1795 when he was born to parents who managed a livery stable in northern London and would later go on to manage a pub (Bate, 1). Because they were not entirely well off, it was desired that Keats not only received a sufficient education, but also the training necessary to have a profession later in life. Therefore, his parents sent him to Enfield academy when he was eight years old so that he might receive a good education. His youth, however, was marred by multiple deaths in his family. First was his father, Thomas Keats. Thomas Keats died in 1804 when he fractured his skull when his horse fell on the cobblestones (Bate, 12). Because of the death, the Keats family was suddenly without anyone to earn for them. Consequently, Keats’s mother remarried and the children went to live with their grandmother. The marriage was not a happy one, and before too long Keats’s mother had left her new husband to live with her mother and children. The actions of his mother had removed the financial strain from the family; however, it also seemed to mark the beginning in the decline of her health. Though his mother’s health was declining, it was Keats’s grandfather who next perished. In 1805 Keats’s maternal grandfather died, and, though he left money to his family in his will, it was not nearly the standard of living that they were used to (Bate, 13). The tragedies at home did not seem to affect Keats at this point in time. He was happy and well liked at his school. It was not long, though, before his mother’s health deteriorated more. By the Christmas holidays of 1809, when Keats was only 14, his mother was gravely ill. During this time Keats, the eldest of his siblings, took on the Caitlin Anderson 7 responsibility of caretaker to his mother. He was “jolted into a sudden sense of responsibility” by the illness of his mother and took to staying up wither her, giving her medicine, cooking for her, and even reading novels to her (Bate, 21). By March 1810 Keats’s mother had died. Keats took the death hard and was said to have “crept … into ‘a nook under the master’s desk’ in the schoolroom at Enfield” where he sat in an “‘impassioned and prolonged’ sense of loss” (Bate, 21).2 Though the cause of his mother’s death is not certain, her symptoms and deterioration seem to be those of consumption.3 The next major death in Keats’s life came in 1818 when his younger brother Tom Keats died of consumption. While Keats was caring for his sick brother, Keats himself fell ill as well.
Recommended publications
  • Lamia by John Keats Lamia by John Keats 1819
    Lamia by John Keats www.keats-poems.com Lamia by John Keats 1819 Lamia – part 1 Upon a time, before the faery broods Drove Nymph and Satyr from the prosperous woods, Before King Oberon’s bright diadem, Sceptre, and mantle, clasp’d with dewy gem, Frighted away the Dryads and the Fauns 5 From rushes green, and brakes, and cowslip’d lawns, The ever-smitten Hermes empty left His golden throne, bent warm on amorous theft: From high Olympus had he stolen light, On this side of Jove’s clouds, to escape the sight 10 Of his great summoner, and made retreat Into a forest on the shores of Crete. For somewhere in that sacred island dwelt A nymph, to whom all hoofed Satyrs knelt; At whose white feet the languid Tritons poured 15 Pearls, while on land they wither’d and adored. Fast by the springs where she to bathe was wont, And in those meads where sometime she might haunt, Were strewn rich gifts, unknown to any Muse, Though Fancy’s casket were unlock’d to choose. 20 Ah, what a world of love was at her feet! So Hermes thought, and a celestial heat Burnt from his winged heels to either ear, That from a whiteness, as the lily clear, Blush’d into roses ’mid his golden hair, 25 Fallen in jealous curls about his shoulders bare. From vale to vale, from wood to wood, he flew, Breathing upon the flowers his passion new, And wound with many a river to its head, To find where this sweet nymph prepar’d her secret bed: 30 In vain; the sweet nymph might nowhere be found, And so he rested, on the lonely ground, Pensive, and full of painful jealousies Of the Wood-Gods, and even the very trees.
    [Show full text]
  • Prehistory - Central Balkans Cradle of Aegean Culture
    Prehistory - Central Balkans Cradle of Aegean culture By Antonije Shkokljev Slave Nikolovski – Katin Translated from Macedonian to English and edited By Risto Stefov Prehistory - Central Balkans Cradle of Aegean culture Published by: Risto Stefov Publications [email protected] Toronto, Canada All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system without written consent from the author, except for the inclusion of brief and documented quotations in a review. Copyright 2013 by Antonije Shkokljev, Slave Nikolovski – Katin & Risto Stefov e-book edition 2 Index Index........................................................................................................3 COMMON HISTORY AND FUTURE ..................................................5 I - GEOGRAPHICAL CONFIGURATION OF THE BALKANS.........8 II - ARCHAEOLOGICAL DISCOVERIES .........................................10 III - EPISTEMOLOGY OF THE PANNONIAN ONOMASTICS.......11 IV - DEVELOPMENT OF PALEOGRAPHY IN THE BALKANS....33 V – THRACE ........................................................................................37 VI – PREHISTORIC MACEDONIA....................................................41 VII - THESSALY - PREHISTORIC AEOLIA.....................................62 VIII – EPIRUS – PELASGIAN TESPROTIA......................................69 IX – BOEOTIA – A COLONY OF THE MINI AND THE FLEGI .....71 X – COLONIZATION
    [Show full text]
  • Canidia: Meta-Muse of Anti-Elegy
    Studia Antiqua Volume 18 Number 1 Article 4 July 2019 Canidia: Meta-Muse of Anti-Elegy Hanna Seariac Follow this and additional works at: https://scholarsarchive.byu.edu/studiaantiqua Part of the Biblical Studies Commons, Classics Commons, History Commons, and the Near Eastern Languages and Societies Commons BYU ScholarsArchive Citation Seariac, Hanna. "Canidia: Meta-Muse of Anti-Elegy." Studia Antiqua 18, no. 1 (2019): 23-37. https://scholarsarchive.byu.edu/studiaantiqua/vol18/iss1/4 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Studia Antiqua by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. CANIDIA: META-MUSE OF ANTI-ELEGY HANNA SEARIAC Hanna Seariac is earning a BA in classical studies and philosophy from Brigham Young University. She hopes to pursue a PhD in classical studies and a career as a professor. Abstract: This paper attempts to analyze Canidia as the meta-muse of anti-elegy (rather than Paule’s characterization of her as the “anti- muse of elegy”) by looking at all of her appearances within Horace’s works. Canidia is compared to other elegiac muses to show her transformation into more of an iambic figure. She is also exam- ined within the context of Grecian witchcraft. She disgusts Horace, but he still continues to write poetry about her. She must there- fore be viewed as a muse who combats the norms of elegiac poetry. INTRODUCTION he Epodes, the classical poet Horace’s collection of poems that were drawn Tfrom bucolic predecessors, do not disgust nearly as much as his muse, Canidia the witch, does.
    [Show full text]
  • Hybrid Monsters
    HYBRID MONSTERS IN THE CLASSICAL WORLD THE NATURE AND FUNCTION OF HYBRID MONSTERS IN GREEK MYTHOLOGY, LITERATURE AND ART by Liane Posthumus Thesis presented in partial fulfilment of the requirements for the degree Master of Philosophy in Ancient Cultures at the University of Stellenbosch Supervisor: Prof. J.C. Thom Co-supervisor: Dr. S. Thom Faculty of Arts and Social Sciences Department of Ancient Studies March 2011 Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the authorship owner thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: 28 February 2011 Copyright © 2010 University of Stellenbosch All rights reserved i ABSTRACT The aim of this thesis is to explore the purpose of monster figures by investigating the relationship between these creatures and the cultures in which they are generated. It focuses specifically on the human-animal hybrid monsters in the mythology, literature and art of ancient Greece. It attempts to answer the question of the purpose of these monsters by looking specifically at the nature of man- horse monsters and the ways in which their dichotomous internal and external composition challenged the cultural taxonomy of ancient Greece. It also looks at the function of monsters in a ritual context and how the Theseus myth, as initiation myth, and the Minotaur, as hybrid monster, conforms to the expectations of ritual monsters. The investigation starts by considering the history and uses of the term “monster” in an attempt to arrive at a reasonable definition of monstrosity.
    [Show full text]
  • Eidinow, E. (2019)
    Eidinow, E. (2019). "The Horror of the Terrifying and the Hilarity of the Grotesque": Daimonic Spaces—and Emotions—in Ancient Greek Literature. Arethusa, 51(3), 209-235. http://muse.jhu.edu/article/719085 Peer reviewed version Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Johns Hopkins University at http://muse.jhu.edu/article/719085 . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ “THE HORROR OF THE TERRIFYING AND THE HILARITY OF THE GROTESQUE”: DAIMONIC SPACES—AND EMOTIONS—IN ANCIENT GREEK LITERATURE ESTHER EIDINOW 1. INTRODUCTION: QUESTIONS OF CATEGORIES* The title of this paper quotes a phrase from Jean-Pierre Vernant’s discussion of the Gorgon that focuses on the ways in which representations of the gorgoneion (a Gorgon mask) were depicted as “disrupting the features that make up a human face,” producing “an effect of disconcerting strangeness that expresses a form of the monstrous that oscillates between two extremes: the horror of the terrifying and the hilarity of the grotesque” (1991.113).1 This portrayal ushers the reader into a murky world of concepts of alterity: as Vernant puts it, the Gorgon’s mask “expresses and maintains the radical otherness, the alterity of the world of the dead, which no living person may approach” (1991.121), and his analysis reveals this otherness as comprising a network of ideas that associate not only the realm of the dead, but also night, some particular qualities of the female, and monstrosity.
    [Show full text]
  • (I) Hera Zeus' Habitual Marital Infidelities Are an Old Theme in Greek Mytholo• Gy
    APPENDIX 1WO ORIGINS OF THE STEPMOTHER MYTHS 1. Stepmothers Prior to the 5th Century (i) Hera Zeus' habitual marital infidelities are an old theme in Greek mytholo­ gy. In the famous passage from Iliad 14 where Hera's seduction of her husband is described, Zeus, with superb lack of tact, offers a catalogue of previous amours (and their products) in order to make the point that he has never known such passion as he feels on the present occasion (lines 313ff.). Although no reference is made here to jealousy on Hera's part, the enmity of the goddess towards her most famous 'stepson' Heracles, is well-established elsewhere in the poem. Apart from general allusions (e.g. at 18.119 the thought that no one can escape death is illustrated by the fact that even mighty Heracles was laid low by Fate and the XOA0s"Hp11s ('wrath of Hera'), there are references to specific incidents: Hera's attempts to delay Alcmena's delivery (19.90ft), the tale of Hera sending Heracles off in a tempest to Cos, where he had to be rescued by an irate Zeus (15.24ff), and the stories of Hera's punishment for her treatment of Heracles. Other manifestations of Hera's malevolence towards Heracles, however, are known only from literature of a later date: for instance, her attack on him in the cradle is first alluded to by Pindar (Nern. l.33ff.), while her role in driving Heracles to the mad­ ness that resulted in his murdering his wife and children, is first found in Euripides' Herac/,es.
    [Show full text]
  • Lamia, Isabella, and the Eve of St. Agnes Eros and “Romance”
    4 JEFFREY N. COX Lamia, Isabella, and The Eve of St. Agnes Eros and “romance” Keats’s final lifetime volume of poetry, published in the summer of 1820, is named for its three romances – Lamia, Isabella, The Eve of St. Agnes, and Other Poems – and the title page identifies the poet as “Author of Endymion,” his longest romance of all. Keats and his publishers sought to present him as a narrative poet on a literary scene dominated by popular writers of romances, such as Scott and Byron. This is remarkable, not only because Endymion had been ridiculed, but also because Keats himself had seemed intent to secure his name, like Homer or Milton, through epic. In Sleep and Poetry, the finale to Poems (1817), he imagined bidding farewell to the poetry of delight, “the realm .../Of Flora, and old Pan” (101–2), in order to treat “the agonies, the strife / Of human hearts” (124–25), matter for epic or tragedy. This pivot is most revealing, however, in projecting the way Keats’s farewells to romance stay dialectically engaged with it. Even his last attempt at epic, The Fall of Hyperion (late 1819), begins in a romance setting, amid the remnants of an Edenic feast, and takes the form of a Dantean dream-vision, a motif from quest-romance. From the 1817 Poems, with its various gestures of romance (“Lo! I must tell a tale of chivalry,” begins Specimen of an Induction to a Poem), through Endymion, to the 1820 volume and after, Keats seems always on a quest to write a few fine quest romances.
    [Show full text]
  • (OSU-Ugent): Studies in Ancient Ethnography. Barbarians in Strabo's
    Ghent University Faculty of Arts and Philosophy The Herodotos Project (OSU-UGent): Studies in Ancient Ethnography. Barbarians in Strabo’s ‘Geography’ ( Isseans - Zygi). With a case-study: the Britons. Promotor: Paper submitted in partial Prof. M. Janse fulfilment of the requirements Co-promotors: for the degree of Prof. Brian D. Joseph (Ohio State University) “Master in de taal - en letterkunde: Dr. Christopher Brown (Ohio State University) Grieks- Latijn” b y Anke De Naegel 2014-2015 2 dergelijke meer last zouden veroorzaken wanneer ze door de moerassen moesten dan dat ze nuttig Nederlandse samenvatting zouden zijn. De mogelijke wapens die genoemd worden zijn zwaarden, messen en speren. Ze hadden ook een schild. Opvallend was dat ze strijdwagens gebruikten. In deze thesis wordt eerst een inleiding gegeven die meer informatie geeft over het Herodotos Vervolgens worden hun levensomstandigheden bekeken. Ze woonden meestal in eenvoudige hutten project. Deze inleiding is samen geschreven met Julie Boeten. In deze inleiding komt naar voren wat die ze bouwden op een open plek in het bos. Aangezien hun vee tussen hun hutten graasde waren ze dit project juist is en wat ons aandeel daarin was, dat is: we hebben alle volkeren die in Strabo’s genoodzaakt verder te trekken wanneer het groen opraakte. Er zijn verschillende opvattingen over Geografie voorkomen in tweeën gedeeld en alle informatie die Strabo over ons deel van deze hun politieke organisatie; volgens sommigen zijn ze democratisch terwijl anderen zeggen dat elke volkeren schrijft verzameld. Deze informatie is terug te vinden achteraan deze thesis in de appendix. stam een eigen koning of prins had.
    [Show full text]
  • The Greek Myths 1955, Revised 1960
    Robert Graves – The Greek Myths 1955, revised 1960 Robert Graves was born in 1895 at Wimbledon, son of Alfred Perceval Graves, the Irish writer, and Amalia von Ranke. He went from school to the First World War, where he became a captain in the Royal Welch Fusiliers. His principal calling is poetry, and his Selected Poems have been published in the Penguin Poets. Apart from a year as Professor of English Literature at Cairo University in 1926 he has since earned his living by writing, mostly historical novels which include: I, Claudius; Claudius the God; Sergeant Lamb of the Ninth; Count Belisarius; Wife to Mr Milton (all published as Penguins); Proceed, Sergeant Lamb; The Golden Fleece; They Hanged My Saintly Billy; and The Isles of Unwisdom. He wrote his autobiography, Goodbye to All That (a Penguin Modem Classic), in 1929. His two most discussed non-fiction books are The White Goddess, which presents a new view of the poetic impulse, and The Nazarene Gospel Restored (with Joshua Podro), a re-examination of primitive Christianity. He has translated Apuleius, Lucan, and Svetonius for the Penguin Classics. He was elected Professor of Poetry at Oxford in 1962. Contents Foreword Introduction I. The Pelasgian Creation Myth 2. The Homeric And Orphic Creation Myths 3. The Olympian Creation Myth 4. Two Philosophical Creation Myths 5. The Five Ages Of Man 6. The Castration Of Uranus 7. The Dethronement Of Cronus 8. The Birth Of Athene 9. Zeus And Metis 10. The Fates 11. The Birth Of Aphrodite 12. Hera And Her Children 13. Zeus And Hera 14.
    [Show full text]
  • JOHN KEATS's THEORY of IMAGINATION by KENDALL
    JOHN KEATS’S THEORY OF IMAGINATION Item Type text; Electronic Thesis Authors Pearce, Kendall Renee Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 22:32:23 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/630275 JOHN KEATS’S THEORY OF IMAGINATION By KENDALL RENEE PEARCE ____________________ A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelors degree With Honors in English THE UNIVERSITY OF ARIZONA M A Y 2 0 1 8 ApProved by: Dr. Homer Pettey Department of English Abstract Romantic poets, including John Keats, were known for their emphasis on nature as an imaginative cognizance of external objects. They believed the imagination was signified as the coincidence and fusion of the expressed and inexpressible. Keats’s contemporaries thought of the imagination as deeply intertwined with these poet’s fervent emphasis on nature and therefore, their creative emphasis on imagination. Keats however, had a unique perspective of the imagination compared to his fellow Romantics. The vital force behind his poetry was his power to apply imagination to every aspect of life. His poetry exposes the delusive fantasies that create our reality, a reality which lingers in uncertainty beyond its aesthetic potential. The imagination embraces what Keats coined as negativity capability and obstinately refuses to establish social and political constructs.
    [Show full text]
  • Maria Rita Viana
    Viana 1 From “a Serpent, a Lamia” to a Rainbow-Sided Creature: Keats’s Lamia and the Metamorphoses of the Monster Maria Rita Drumond Viana (UFMG) The abundance of female characters in Keats’s works has generated a long tradition of criticism, especially by feminist theorists, who have divided them into “mortal maidens” and “omnipotent goddesses” (Alwes 1), ascribing them the diegetic functions of means of preservation and agents of destruction of the male heroes’ identities. Whereas the first type occurs mainly in the poems of 1817, the latter is more typical of poems written in and after 1819. Composed in the summer of that year, Lamia depicts a female character who is neither a mortal maiden nor an omnipotent god, but can be seen as a transitional stage between the two types. The title character is a monster who wishes to be human and “move in sweet body fit for life, / And love, and pleasure, and the ruddy strife / Of hearts and lips!” (I.39-41). Her purpose is not evil in itself, as opposed to the mythological figure, who feasts on the blood of children. She is mortal to Lycius but only indirectly, when her own death causes him to die of grief. Neither is she omnipotent, since she needs the help of Hermes to escape the “wreathed tomb” of her serpentine body. However, her complicated categorisation is not only due to her transitional stage between the types of female characters, but also because of what she represents in the poem. In Lamia , the figure of the mythological snake-woman is problematised as a monster when she is opposed to the philosopher Apollonius, and this opposition comes to represent that between poetry and science.
    [Show full text]
  • The Goddesses of Ancient Greece Rebecca Lozier [email protected]
    The University of Akron IdeaExchange@UAkron The Dr. Gary B. and Pamela S. Williams Honors Honors Research Projects College Fall 2018 Immortality in Literature: The Goddesses of Ancient Greece Rebecca Lozier [email protected] Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: https://ideaexchange.uakron.edu/honors_research_projects Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the Literature in English, British Isles Commons Recommended Citation Lozier, Rebecca, "Immortality in Literature: The Goddesses of Ancient Greece" (2018). Honors Research Projects. 807. https://ideaexchange.uakron.edu/honors_research_projects/807 This Honors Research Project is brought to you for free and open access by The Dr. Gary B. and Pamela S. Williams Honors College at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Honors Research Projects by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Lozier 1 Rebecca Lozier Heather Pollock English Honors Project Fall 2018 Immortality in Literature: The Goddesses of Ancient Greece “There is only one woman in the world. One woman, with many faces.” – Nikos Kazantzakis Studying the influence of ancient Greece on Western Civilization, understanding it’s fascination with the mythology of the past, reveals through the manifestation of that influence in art and literature details about the treatment of women during both ancient and Romantic time periods.
    [Show full text]