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Katabasis in Eliot's the Waste Land
“I had not thought death had undone so many”: Katabasis in Eliot’s The Waste Land Research Thesis Presented in partial fulfillment of the requirements for graduation with research distinction in English in the undergraduate colleges of The Ohio State University by Noah Mastruserio The Ohio State University May 2018 Project Advisor: Professor Sebastian Knowles, Department of English 1 Introduction Of the many works referenced in Eliot’s The Waste Land, Dante’s Divine Comedy holds the most prominent position. Eliot’s dedication to Pound on the title page alludes to a line from Purgatorio, and Dante makes an appearance in every section of the poem, either by direct quote or veiled allusion. Such an association brings Dante’s journey through the Underworld to the forefront of the mind when reading The Waste Land, and provides one of the easiest avenues toward unpacking the poem’s density. But I propose that the poem’s exploration of the Underworld extends beyond a kinship to Dante and toward a deeper structural and thematic debt to the narrative of the katabasis, the descent into the Underworld. I suggest that the five parts of The Waste Land can be united via a traditional katabasis narrative, a narrative of metamorphosis and self-refinement. The katabasis is only one of the many classical and mythological structures Eliot employs throughout the poem. Already thoroughly explored in criticism are his use of the Grail legend1 and the burial and rebirth of a dying god figure. Less so is the appearance of the katabasis in the poem. The poem’s debt to Dante is obvious, but the presence of katabasis extends beyond Eliot quoting pieces of Inferno. -
Travel As Hell: Exploring the Katabatic Structure of Travel Fiction Warwick Frost and Jennifer Laing
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... Travel as Hell: Exploring the Katabatic Structure of Travel Fiction Warwick Frost and Jennifer Laing Introduction Literature contributes to and influences our imaginings of travel, both in a positive and negative sense. Many novels depict travel in terms of ‘hell,’ depicting journeys that are exhausting, dangerous, and nightmarish. This narrative can be explored using the concept of the katabasis. Drawn from Ancient Greek mythology, it literally means ‘the descent,’ and more generally a journey to hell and back. 1 The underworld is a ‘realm of death,’ where sacrifices are often demanded and the ‘other’ is encountered. 2 Where the traveller returns, they are usually irrevocably changed by the experience. Erling Holtsmark observes that the central motif of these sojourns is identity: “The journey is in some central, irreducible way a journey of self-discovery, a quest for a lost self.”3 Through suffering, the traveller learns what they are capable of and understands themselves more deeply. The reader also absorbs the lesson that while travel is not necessarily straight-forward or enjoyable, the difficult passages and twists are intrinsically rewarding and enlightening. The mythic concept of the katabasis has been applied more broadly to cover fictional journeys drawn from many cultures and across different forms of 4 media, including books and film. It also appears to apply across genres, Dr Warwick Frost is an Associate Professor in the Department of Marketing and Tourism and Hospitality at La Trobe University. -
Late Sophocles: the Hero's Evolution in Electra, Philoctetes, and Oedipus
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Late Sophocles Late Sophocles The Hero’s Evolution in Electra, Philoctetes, and Oedipus at Colonus Thomas Van Nortwick University of Michigan Press Ann Arbor Copyright © Thomas Van Nortwick 2015 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and ex- cept by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2018 2017 2016 2015 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Van Nortwick, Thomas, 1946– . Late Sophocles : the hero’s evolution in Electra, Philoctetes, and Oedipus at Colonus / Thomas Van Nortwick. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11956- 1 (hardcover : alk. paper) — ISBN 978- 0- 472- 12108- 3 (ebook) 1. Sophocles— Criticism and interpretation. 2. Sophocles. Electra. 3. Sophocles. Oedipus at Colonus. 4. Sophocles. Philoctetes. I. Title. PA4417.V36 2015 882'.01— dc23 2014049364 For Nathan Greenberg colleague, mentor, and friend Preface Oh children, follow me. I am your new leader, as once you were for me. (Sophocles, Oedipus at Colonus 1542– 431) Sophocles’s Oedipus at Colonus ends with his most famous character walking serenely through the central doors of the stage building (skēnē) in the Theater of Dionysus and into the grove of the Eumenides. -
Devising Descent Mime, Katabasis and Ritual in Theocritus' Idyll 15 Hans Jorgen Hansen a Thesis Submitted to the Faculty of Th
Devising Descent Mime, Katabasis and Ritual in Theocritus’ Idyll 15 Hans Jorgen Hansen A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics. Chapel Hill 2010 Approved by: Dr. William H. Race Dr. Owen Goslin Dr. Werner Riess Abstract Hans Jorgen Hansen: Devising Descent: Mime, Katabasis and Ritual in Theocritus’ Idyll 15 (Under the direction of Dr. William H. Race) In this thesis I investigate the genres and structure of Theocritus’ fifteenth Idyll, as well as its katabatic and ritual themes. Though often considered an urban mime, only the first 43 lines exhibit the formal qualities of mime found in Herodas’ Mimiambi, the only other surviving corpus of Hellenistic mime. The counterpoint to the mimic first section is the Adonia that makes up the last section of the poem and amounts to an urban recasting of pastoral poetry. A polyphonic, katabatic journey bridges the mimic and pastoral sections and is composed of four encounters that correspond to ordeals found in ritual katabases. The structure of the poem is then tripartite, beginning in the profane world of the household mime, progressing through the liminal space of the streets and ending in the sacred world of the Adonia. This progression mirrors Theocritus’ evolution from Syracusan mimic poet to Alexandrian pastoral poet. ii Table of Contents Introduction 1 Chapter 1: Mime and Structure in the Adoniazusae 6 1.1: Introduction 6 1.2.1: The Formal Features of Herodas’ Poetry 12 1.2.2: Homophony and Herodas’ Fourth Mimiamb 21 1.3.1: Theocritus’ Household-Mime 26 1.3.2: The Streets of Alexandria and Theocritus’ Polyphonic Mime 32 1.4: Conclusion 41 Chapter 2: Katabasis and Ritual in the Adoniazusae 44 2.1: Introduction 44 2.2: The Katabatic Structure, Characters and Imagery of Theoc. -
Either a Daimon, Or a Hero, Or Perhaps a God:” Mythical Residents of Subterranean Chambers
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 15 | 2002 Varia “Either a Daimon, or a Hero, or Perhaps a God:” Mythical Residents of Subterranean Chambers Yulia Ustinova Electronic version URL: http://journals.openedition.org/kernos/1385 DOI: 10.4000/kernos.1385 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 2002 ISSN: 0776-3824 Electronic reference Yulia Ustinova, « “Either a Daimon, or a Hero, or Perhaps a God:” Mythical Residents of Subterranean Chambers », Kernos [Online], 15 | 2002, Online since 21 April 2011, connection on 01 May 2019. URL : http://journals.openedition.org/kernos/1385 ; DOI : 10.4000/kernos.1385 Kernos Kemos 15 (2002), p. 267-288. "Either a Daimon, or a Hero, or Perhaps a God:" Mythical Residents of Subterranean Chambers In his list of seers who uttered gods' orders and messages to mortals not only when alive, but also after their death, Strabo1 mentions "...Amphiaraos, Trophonios, Orpheus, Musaios, and the god of the Getae, formerly Zalmoxis, a Pythagorean, who is in our time Dekaineos, the diviner of Byrebistas... ,,2 Aristides groups together Trophonios, Amphiaraos, Amphilochos and the Asclepiads.3 Celsus includes Zalmoxis, Mopsos, Amphilochos, Amphiaraos, and Trophonios in his register of mortals who died and were nevertheless worshiped, whieh makes Origen wonder, "whether one of these is either a daimon, or a hero, or perhaps a god, more active than mortals" (ft ècr'tt nç èv 'toîç 'tOtQU'tOlÇ Eï'tE 8atllcov Eï'tE llPcoÇ Eï'tE Kat 8E6ç, èVEPYéOv 't!Va lldÇova ft Ka'teX av8pco1tov;).4 The bewilderment of Origen 'is reasonable, given the elusiveness of these figures. -
Interpv31issue1 1 29 04 (Page 1)
Volume 31 Issue 1 Interpretation, Inc. 11367-1597 U.S.A. Flushing, N.Y. Queens College 31/1 A JOURNAL OF POLITICAL PHILOSOPHY Interpretation Fall 2003 3 Ronald Hamowy Two Whig Views of the American Revolution: Adam Ferguson’s Response to Richard Price Discussion: 37 Patrick Coby Mind Your Own Business: The Trouble with Justice in Plato’s Republic 59 Sean Steel Katabasis in Plato’s Symposium Book Reviews: 85 Martin Yaffe The Beginning of Wisdom: Reading Genesis by Leon R. Kass 93 Mera Flaumenhaft Colloquial Hermeneutics: Eva Brann’s Odyssey 103 Wayne Ambler Our Attraction to Justice Devin Stauffer The Idea of Enlightenment: Hanover, PAHanover, 17331 109 Fall 2003 Fall U.S. POSTAGE U.S. POSTAGE Non-Profit Org. A Post-Mortem Study by Permit No. 4 Robert C. Bartlett PAID A JOURNAL OF POLITICAL PHILOSOPHY Editor-in-Chief Hilail Gildin, Dept. of Philosophy, Queens College Associate Editor Erik Dempsey General Editors Seth G. Benardete (d. 2001) • Charles E. Butterworth • Hilail Gildin • Leonard Grey • Robert Horwitz (d. 1978) • Howard B. White (d. 1974) Consulting Editors Christopher Bruell • Joseph Cropsey • Ernest L. Fortin (d. 2002) • John Hallowell (d. 1992) • Harry V. Jaffa • David Lowenthal • Muhsin Mahdi • Harvey C. Mansfield • Arnaldo Momigliano (d. 1987) • Michael Oakeshott (d. 1990) • Ellis Sandoz • Leo Strauss (d. 1973) • Kenneth W. Thompson International Editors Terence E. Marshall • Heinrich Meier Editors Wayne Ambler • Maurice Auerbach • Robert Bartlett • Fred Baumann • Amy Bonnette • Eric Buzzetti • Susan Collins • Patrick Coby • Elizabeth C’de Baca Eastman • Thomas S. Engeman • Edward J. Erler • Maureen Feder-Marcus • Pamela K. Jensen • Ken Masugi • Carol M. -
Lecture 9 Good Morning and Welcome to LLT121 Classical Mythology
Lecture 9 Good morning and welcome to LLT121 Classical Mythology. In our last exciting class, we were discussing the various sea gods. You’ll recall that, in the beginning, Gaia produced, all by herself, Uranus, the sky, Pontus, the sea and various mountains and whatnot. Pontus is the Greek word for “ocean.” Oceanus is another one. Oceanus is one of the Titans. Guess what his name means in ancient Greek? You got it. It means “ocean.” What we have here is animism, pure and simple. By and by, as Greek civilization develops, they come to think of the sea as ruled by this bearded god, lusty, zesty kind of god. Holds a trident. He’s seriously malformed. He has an arm growing out of his neck this morning. You get the picture. This is none other than the god Poseidon, otherwise known to the Romans as Neptune. One of the things that I’m going to be mentioning as we meet the individual Olympian gods, aside from their Roman names—Molly, do you have a problem with my drawing? Oh, that was the problem. Okay, aside from their Roman names is also their quote/unquote attributes. Here’s what I mean by attributes: recognizable features of a particular god or goddess. When you’re looking at, let’s say, ancient Greek pottery, all gods and goddesses look pretty much alike. All the gods have beards and dark hair. All the goddesses have long, flowing hair and are wearing dresses. The easiest way to tell them apart is by their attributes. -
Orality, Fluid Textualization and Interweaving Themes
Orality,Fluid Textualization and Interweaving Themes. Some Remarks on the Doloneia: Magical Horses from Night to Light and Death to Life Anton Bierl * Introduction: Methodological Reflection The Doloneia, Book 10 of the Iliad, takes place during the night and its events have been long interpreted as unheroic exploits of ambush and cunning. First the desperate Greek leader Agamemnon cannot sleep and initiates a long series of wake-up calls as he seeks new information and counsel. When the Greeks finally send out Odysseus and Diomedes, the two heroes encounter the Trojan Dolon who intends to spy on the Achaeans. They hunt him down, and in his fear of death, Dolon betrays the whereabouts of Rhesus and his Thracian troops who have arrived on scene late. Accordingly, the focus shifts from the endeavor to obtain new knowledge to the massacre of enemies and the retrieval of won- drous horses through trickery and violence. * I would like to thank Antonios Rengakos for his kind invitation to Thessalo- niki, as well as the editors of this volume, Franco Montanari, Antonios Renga- kos and Christos Tsagalis. Besides the Conference Homer in the 21st Century,I gave other versions of the paper at Brown (2010) and Columbia University (CAM, 2011). I am grateful to the audiences for much useful criticism, partic- ularly to Casey Dué, Deborah Boedeker, Marco Fantuzzi, Pura Nieto Hernan- dez, David Konstan, Kurt Raaflaub and William Harris for stimulating conver- sations. Only after the final submission of this contribution, Donald E. Lavigne granted me insight into his not yet published manuscript “Bad Kharma: A ‘Fragment’ of the Iliad and Iambic Laughter” in which he detects iambic reso- nances in the Doloneia, and I received a reference to M.F. -
CG Jung's Katabasis
Junguiana v.38-1, p.87-100 C. G. Jung’s katabasis: from ancient myths to modern visionary experiences Pedro Henrique Costa de Resende* Mateus Donia Martinez** Abstract Keywords This article aimed to revisit C.G. Jung experienc- was rescued historically (1) in classical antiquity Katabasis and es of katabasis, or in other words the experiences through greek mythology, (2) in the medieval and anabasis, C.G. of descending to the underworld, or world of the modern period, through the works of Dante Alighie- Jung, The Red dead, followed by the return to the world of the ri, Emmanuel Swedenborg and William Blake, and Book, history of psychology, living, the anabasis. In psychological terms, these (3) finally in Jung’s own life with an emphasis on life and work. experiences mean confronting the unconscious the constitution of The Red Book. The katabasis ex- and the subsequent expansion of consciousness. periences were of vital importance to Jung and cul- To revisit C.G. Jung’s experiences of katabasis, it minated in the genesis of analytical psychology. ■ * PhD student in psychology at the Federal University of Juiz de Fora (UFJF), Master in psychology from the Federal University of São João Del-Rei (UFSJ), graduated in psychology and phi- losophy from UFSJ. Member of Research Center in Spirituality and Health (NUPES) at UFJF. email: <pedrohenriresende@ icloud.com> ** PhD student and Master in social psychology from the Uni- versity of São Paulo (USP) and graduated in psychology from the Pontifical Catholic University of São Paulo (PUC-SP). He is a member of Laboratory of Psychosocial Studies: belief, subjec- tivity, culture & health (INTERPSI) at USP and Research Group on Religious Experience and Altered States of Consciousness (GEALTER) at PUC-SP. -
Hades, Homer and the Hittites the Cultic-Cultural Context of Odysseus’ ‘Round Trip’ to the Underworld
Chapter 3 Hades, Homer and the Hittites The Cultic- Cultural Context of Odysseus’ ‘Round Trip’ to the Underworld Gunnel Ekroth One* of the most well- known round trips to Hades in antiquity is found in Book 11 of Homer’s Odyssey.1 The section, often labelled the Nekyia, tells of how Odysseus travels to the land of the Kimmerians at the outskirts of the world, which lies in eternal darkness, in order to consult the dead seer Teiresias to learn how he is to find his way back to Ithaka. Odysseus arrives at a lonely and deserted place where the rivers of the Underworld flow into Okeanos. Here he digs a hole in the riverbank, performs libations and sacrifices two black sheep, letting their blood flow into a pit so that Teiresias and other souls of the departed can drink and answer questions. The first dead person he encounters is his comrade Elpenor, followed by his mother Antikleia. Eventually Teiresias shows up, drinks of the blood and gives the required information as well as explains how Odysseus is to pro- pitiate Poseidon who is preventing his return. Teiresias also reveals that any soul that is allowed to drink of the blood will reveal the truth to Odysseus. Next follows a visit from 14 famous heroines who tell their stories and the encounter with three illustrious heroes of the Trojan War: Agamemnon, Achilles and Ajax. Then Hades opens up, and Odysseus is offered a glimpse of the topography of the realm of the dead, including Minos on his throne and Tityos, Tantalos and Sisyphos being punished. -
Katabasis “Down Under” in the Novels of Margaret Mahy and Maurice Gee
chapter 17 Katabasis “Down Under” in the Novels of Margaret Mahy and Maurice Gee Elizabeth Hale Two writers of fiction for young adults have dominated the New Zealand liter- ary scene in the past few decades. Margaret Mahy and Maurice Gee are well- known, both at home and abroad, for their intelligent, sensitive, and dramatic fantasy, historical, and science fiction novels, which bring exciting action to the shores of this small country in the Southern Pacific Ocean. New Zealand consists of three islands, and is located in the very far South. Along with Australia it is affectionately known as the Antipodes, or “Down Un- der.” The first human inhabitants, Polynesians, are thought to have migrated to the islands in the thirteenth century, forming the seeds of what became the Maori culture. They called the islands Aotearoa, or Land of the Long White Cloud. The first Western sighting of Aotearoa was in 1642 by the Dutch explorer Abel Tasman; the Dutch called the place Nova Zeelandia. The name became Anglicised after James Cook visited the islands in 1769–1770. European migra- tion began in the nineteenth century, first by missionaries and then by set- tlers, in an organised scheme of land purchase and farming. The country was claimed as part of the British Empire, following the Treaty of Waitangi in 1840; it has remained in the Commonwealth, and the bulk of its population is of Brit- ish origin. The population is currently around four million people. It has strong political ties to Australia, the uk, and the United States, and is a leader in the Pacific region, with links to Asia as well. -
Homer in Virgil
Anthós (1990-1996) Volume 1 Number 3 Article 5 6-1992 Homer in Virgil Thomas Kerns Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/anthos_archives Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the Ancient Philosophy Commons Let us know how access to this document benefits ou.y Recommended Citation Kerns, Thomas (1992) "Homer in Virgil," Anthós (1990-1996): Vol. 1 : No. 3 , Article 5. Available at: https://pdxscholar.library.pdx.edu/anthos_archives/vol1/iss3/5 This open access Article is distributed under the terms of the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. HOMER IN VIRGIL Thomas Kerns fter studying Virgil's Aeneid one can A surmise. that Virgil understood Homer's epics, and that he wanted to incorporate both The Odyssey and The Iliad within The Aeneid. Although Virgil drew upon a large .array of predecessors including Lucretious, Appolonious, Homer, and Plato (to name a few), I believe that the biggest influence was Homer. It can also be said that Virgil did not just imitate Homer, but that he transformed his works to make them the base of his own poem (Knauer 402). In this essay, I will show how Virgil has made use of Homer's epics, their structures and units of action, and a few select characters that Virgil deemed important enough to imitate in a related yet diverse fashion to benefit his own poem and intent.