DOCSLIB.ORG

GM Compare:Contrast Student Sample

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
GM Compare:Contrast Student Sample Student Writing Samples Questions to consider... • Is the paragraph focused on one topic (a similarity or difference)? • Does the writer use supporting details to elaborate on the topic? • Does the writer directly draw comparisons between both stories? 1. There are many similarities between the two Greek stories, “Daedalus” and “The Great Musician.” One of the most relevant similarities between these two stories is the idea of trust and obedience. In “Daedalus,” the title character warns his son not to fly too close to the sun, for his man-made wings would melt. In “The Great Musician,” Orpheus travels to the Underworld to find his dead lover. The gods tell Orpheus that his love will come back if he returns to the surface of the earth, that she will follow him but he can never look back at her. In both of these stories, characters fail in what they are trying to accomplish. Icarus, Daedalus’ son, does in fact fly into the sun and then falls down to the sea, just as he had been warned. Similarly, Orpheus looks back, needing to see his wife who he has not heard walking behind him. It is revealed that she is a ghost behind him, but because he did not listen to the gods, he will not get to be with her until the afterlife. Both characters get sidetracked and don’t trust what other had told them. Both characters also disobeyed what they had been told not to do, and that leads to their peril. 2. In the stories “Pyramus and Thisbe” and “Baucis and Philemon,” both are love stories that end with death. But the differences between both stories is that in “Pyramus and Thisbe” is that they are young lovers and in “Baucis and Philemon” they are old. Another difference is that in “Pyramus and Thisbe” there are family members who don’t like each other. In the story of “Baucis and Philemon” they wanted to live until they both died and in “Pyramus and Thisbe” they died at a young age because they weren’t together that often. So that is the similarities and differences of both stories. Teacher Sample: Comparing and Contrasting for LOVE ! Greek myths explore many topics in life. These stories show the human experiences of life, love, loss, and even death. The two stories, “The Lover of Beauty” and “The Great Musician,” both portray different aspects of love, one showing anguish and one showing glory. In comparing the two, the reader notices a similar theme of the power of love to control and isolate. While both of these ancient Greek tales are love stories, the types of love portrayed differ greatly. The first story, “The Lover of Beauty,” depicts a love based on pure admiration, adoration, and faithfulness. Pygmalion, the artist, created a sculpture of a woman that is described as “his ideal in every way” (111). Just as he admired his beautiful sculpture, he also adored Aphrodite and always gave “every honor that was due to her” and even lived his whole life “in worship of the goddess” (112). As a reward for the purity of his love and the faithfulness he showed toward Aphrodite, she turns his sculpture into a human so that they can be together forever. Here, love is literally a life-giving force. The story of “The Great Musician,” on the other hand, shows that faithfulness does not always pay off and that love can lead to anguish. In “The Great Musician,” Orpheus’s lover, Eurydice, was bitten by a snake on her wedding day and died as a result. Unable to live without her, he went into the underworld to plead with Hades to let her return. Orpheus’s love, depicted through his great sorrow and melancholy music, was powerful enough to convince Hades, who was “was touched by the love and longing of the music” (107). His return to the world of the living was marked by “toil” and “despair,” as he did not know if her ghost was following. Ultimately, he did lose Eurydice -- proof that love, no matter how fierce, cannot overcome death. Noting the differences between these two stories is a reminder that while “love” is one word, it can represent wildly different experiences. Despite the marked difference in the outcomes of these two stories, the power of love to control a person is evident in both. Each story depicts a man driven by one singular desire -- to see the face of the woman he loves -- and each shows the men shunning all others until that can happen. For Pygmalion, his obsessive search for beauty caused him to “work over his statues morning to night...always in search of a loveliness beyond his powers of expression” (111). Despite the lovely maidens who would come to admire him, he found them “trivial,” “noisy,” and “ugly.” Instead of loving the girls around him, he fell in love with his own sculpture -- the figure who embodied his ideal of beauty; however, even then he did not find satisfaction. Now, he was lost in his love for her, for hours, then days. Eventually, “[h]e became pale and exhausted; his dreams wore him out” (112). Similarly, Orpheus’s love for Eurydice had such control over him that it even lead to his death. After losing Eurydice, he was lost, as well. Not wanting to live without her, he sat listlessly on the banks of the Styx for a full week, unable to sing or play. Eventually, he stumbled back up to the world, but he was unable to escape his love for Eurydice and it isolated him: “Men and women he could bare no longer, and when they came to hear him, he drove them away.” (110). It was this isolation and “contempt” that drove the women of Thrace to mob and kill him. Ultimately, both stories end on a happy note: Pygmalion’s sculpture comes to life and Orpheus finds Eurydice in the underworld. Despite the hopeful endings, love’s dark, controlling nature plays a large role in both of these tales..
Load more

Recommended publications
  • The Story of Orpheus and Eurydice in Coetzee and Rilke
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Debrecen Electronic Archive ACTA UNIVERSITATIS SAPIENTIAE, PHILOLOGICA, 8, 1 (2016) 41–48 DOI: 10.1515/ausp-2016-0003 The Story of Orpheus and Eurydice in Coetzee and Rilke Ottilia VERES Partium Christian University (Oradea, Romania) Department of English Language and Literature [email protected] Abstract. J. M. Coetzee’s The Master of Petersburg (1994) is a text about a father (Dostoevsky) mourning the death of his son. I am interested in the presence and meaning of the myth of Orpheus and Eurydice in the novel, compared to the meaning of the myth in R. M. Rilke’s poem “Orpheus. Eurydice. Hermes.” (1904). I read the unaccomplished encounter between Orpheus and Eurydice as a story that portrays the failed intersubjectity plot of Coetzee’s novel(s). Following Blanchot’s reading of the myth, I examine the contrasting Orphean and Eurydicean conducts – Orpheus desiring but, at the same time, destroying the other and Eurydice declining the other’s approach. I argue that Orpheus’s and Eurydice’s contrasting behaviours can be looked at as manifestations of a failure of love, one for its violence, the other for its neglect, and thus the presence of the myth in The Master of Petersburg is meaningful in what it says about the theme of intersubjectivity in Coetzee’s oeuvre. Keywords: Orpheus, Eurydice, encounter, intersubjectivity. J. M. Coetzee’s seventh novel, The Master of Petersburg (1994), is a novel about the trauma of losing a son; it is a mourning text both in the sense that in it the protagonist Dostoevsky tries to work through the trauma of loss (and through him Coetzee tries to work through the trauma of the loss of his own son1) and in the sense that the novel textually performs the work of mourning by trying – and failing – to understand this loss.
    [Show full text]
  • Mechanical Miracles: Automata in Ancient Greek Religion
    Mechanical Miracles: Automata in Ancient Greek Religion Tatiana Bur A thesis submitted in fulfillment of the requirements for the degree of Master of Philosophy Faculty of Arts, University of Sydney Supervisor: Professor Eric Csapo March, 2016 Statement of Originality This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Tatiana Bur, March 2016. Table of Contents ACKNOWLEDGMENTS ....................................................................................................... 1 A NOTE TO THE READER ................................................................................................... 2 INTRODUCTION ................................................................................................................ 3 PART I: THINKING ABOUT AUTOMATION .......................................................................... 9 CHAPTER 1/ ELIMINATING THE BLOCAGE: ANCIENT AUTOMATA IN MODERN SCHOLARSHIP ................. 10 CHAPTER 2/ INVENTING AUTOMATION: AUTOMATA IN THE ANCIENT GREEK IMAGINATION ................. 24 PART II: AUTOMATA IN CONTEXT ................................................................................... 59 CHAPTER 3/ PROCESSIONAL AUTOMATA ................................................................................
    [Show full text]
  • Ancient Thunder Study Guide 2021 1
    BTE • Ancient Thunder Study Guide 2021 1 Ancient Thunder Study Guide In this study guide you will find all kinds of information to help you learn more about the myths that inspired BTE's original play Ancient Thunder, and about Ancient Greece and its infleunce on culture down to the present time. What is Mythology? ...................................................2 The stories the actors tell in Ancient Thunder are called myths. Learn what myths are and how they are associated with world cultures. When and where was Ancient Greece? ..................... 10 The myths in Ancient Thunder were created thousands of years ago by people who spoke Greek. Learn about where and when Ancient Greece was. What was Greek Art like? ..........................................12 Learn about what Greek art looked like and how it inspired artists who came after them. How did the Greeks make Theatre? .......................... 16 The ancient Greeks invented a form of theatre that has influenced storytelling for over two thousand years. Learn about what Greek theatre was like. What was Greek Music like? ..................................... 18 Music, chant, and song were important to Greek theatre and culture. Learn about how the Greeks made music. What are the Myths in Ancient Thunder? ................. 20 Learn more about the Greek stories that are told in Ancient Thunder. Actvities ........................................................................................................... 22 Sources ..............................................................................................................24 Meet the Cast .................................................................................................... 25 2 BTE • Ancient Thunder Study Guide 2021 What is Mythology? Myths are stories that people tell to explain and understand how things came to be and how the world works. The word myth comes from a Greek word that means story. Mythology is the study of myths.
    [Show full text]
  • 4. Icarus the Labyrinth from Which Theseus Escaped by Means of The
    4. Icarus The labyrinth from which Theseus escaped by means of the clew of Ariadne was built by Daedalus, most skillful artificer. It was an edifice with numberless winding passages and turnings opening into one another, and seeming to have neither beginning nor end, like the river Maeander, which returns on itself, and flows now onward, now backward, in its course to the sea. Daedalus built the labyrinth for King Minos, but afterward lost the favor of the king, and was shut up in a tower. He contrived to make his escape from his prison, but could not leave the island by sea, as the king kept strict watch on all the vessels and permitted none to sail without being carefully searched. "Minos may control the land and sea," said Daedalus, "but not the regions of the air. I will try that way." So he set to work to fabricate wings for himself and his young son Icarus. He wrought feathers together, beginning with the smallest and adding larger, so as to form an increasing surface. The larger ones he secured with thread and the smaller ones with wax, and gave the whole a gentle curvature like the wings of a bird. Icarus, the boy, stood and looked on, sometimes running to gather up the feathers which the wind had blown away, and then handling the wax and working it over with his fingers, by his play impeding his father in his labors. When at last the work was done, the artist, waving his wings, found himself buoyed upward and hung suspended, poising himself on the beaten air.
    [Show full text]
  • From the Iliad by Homer Translated by Robert Fagles
    from the Iliad By Homer Translated by Robert Fagles Background: Homer has long been recognized as one of the world’s greatest poets. It is likely that Homer heard singer-poets narrate tales about the Trojan War, a ten-year war waged by Greeks against the wealthy city of Troy, or Ilium, in Asia Minor. In the late 19th century, archaeologists discovered the ruins of ancient Troy. Most scholars now believe that Greek armies probably did attack Troy sometime in the 1200s B.C. Many scholars think that the Iliad was created in the 700s B.C. The Greek warrior Achilles enters the battle when his best friend, Patroclus, has been killed by the Trojan hero Hector. Achilles kills every Trojan in his path until he finally meets Hector in single combat outside the city walls. Athena1 luring him [Hector] on with all her immortal cunning— and now, at last, as the two came closing for the kill it was tall Hector, helmet flashing, who led off: “No more running from you in fear, Achilles! Not as before. Three times I fled around the great city of Priam—I lacked courage then to stand your onslaught. Now my spirit stirs me to meet you face-to-face. Now kill or be killed! Come, we’ll swear to the gods, the highest witnesses— the gods will oversee our binding pacts. I swear I will never mutilate you—merciless as you are— if Zeus2 allows me to last it out and tear your life away. But once I’ve stripped your glorious armor, Achilles, I will give your body back to your loyal comrades.
    [Show full text]
  • *Some of the Myths Below Are Very Compressed and May Not Work As Well As Other Versions You Discover, However, They Are All Correctly Cited
    *Some of the myths below are very compressed and may not work as well as other versions you discover, however, they are all correctly cited. Perseus and Medusa In Greek mythology Perseus was the young hero who slew Medusa, one of the fearful Gorgons who turned to stone anyone who dared to look at them. Perseus was the son of Zeus, king of the gods, and Dana, the beautiful daughter of Acrisius, king of Argos. Acrisius had banished mother and son because an oracle had said Dana's son would one day kill him. Polydectes was king of the island where Dana and Perseus had been carried under Zeus's guidance. The king wooed Dana, but knew that he would have to get rid of Perseus before he could win Dana's hand. So he sent the youth to bring back the head of Medusa, thinking Perseus would be killed. Medusa was one of three terrible sisters called Gorgons. They had leathery wings, brazen claws, and writhing poisonous snakes in place of hair. Anyone who looked at them turned to stone. But Perseus was helped by the gods. Athena lent him her brightly polished shield, and Hermes gave him a magic sword. Perseus came to the land of night where the three Gray Sisters (the Graeae) lived. They had only one eye and one tooth among them. They refused to help Perseus, but he stole their eye and returned it only when they told him where to find the Gorgons. With winged sandals that enabled him to fly, the helmet of Hades that made him invisible, and a bag in which to conceal the head, he set out again and finally found the three Gorgons asleep.
    [Show full text]
  • “Daedalus and Icarus” from Greek Myths by Geraldine Mccaughrean T E Island of Crete Was Ruled by King Minos, Whose Reputation for Wickedness Had Spread to Every Shore
    ACTIVITY 1.13 continued ABOUT THE AUTHOR My Notes Geraldine McCaughrean was born in England, where she studied theater and began writing her versions of traditional texts such as The Canterbury Tales and Shakespeare’s plays. Her goal was to retell these challenging texts in language that young readers could enjoy and understand. She has received numerous awards for her books, and her writing is noted for its strong use of imagery and narrative structure that bring her stories alive for young readers. Myth “Daedalus ” and Icarus from Greek Myths by Geraldine McCaughrean T e island of Crete was ruled by King Minos, whose reputation for wickedness had spread to every shore. One day he summoned to his country a famous inventor named Daedalus. “Come, Daedalus, and bring your son, Icarus, too. I have a job for you, and I pay well.” King Minos wanted Daedalus to build him a palace, with soaring towers and a high, curving roof. In the cellars there was to be a maze of many corridors—so twisting and dark that any man who once ventured in there would never f nd his way out again. “What is it for?” asked Daedalus. “Is it a treasure vault? Is it a prison to hold criminals?” But Minos only replied, “Build my labyrinth as I told you. I pay you to build, not to ask questions.” So Daedalus held his tongue and set to work. When the palace was f nished, he looked at it with pride, for there was nowhere in the world so f ne.
    [Show full text]
  • The Flight of Daedalus Long, Long Ago Lived a Proud and Terrible King
    The Flight of Daedalus Long, long ago lived a proud and terrible king. His name was Minos. With a fist of iron, he ruled the kingdom of Crete. Daedalus, another proud man, also lived on the island of Crete. He was a sculptor and a builder. He may have been the finest builder of his time. Daedalus built many fine buildings for King Minos. The most famous structure that Daedalus built for Minos was the Labyrinth. It was designed as a prison and a trap. No one could find a 'way out of its passageways without knowing the design. Minos imprisoned his enemies there. One day Minos became very angry with Daedalus. The builder had given away the secret of the Labyrinth. In anger, Minos imprisoned Daedalus in the Labyrinth. Within a short time, however, Daedalus managed to escape. Minos had been foolish to imagine that Daedalus could not escape from his own trap. The sculptor found his son, Icarus, and planned to flee from Crete. But Minos was determined to recapture Daedalus. The king's soldiers searched all the ships before they left the island. Minos knew that Daedalus and Icarus were hiding in the countryside, but he didn't care. He was sure that Daedalus and Icarus could not escape from Crete. So Minos decided to let Daedalus wander free for a while. "Soon the master builder will realize that he is trapped here. He will have to admit that he is in my power and will give himself up. Then I will give him many difficult tasks to perform." Daedalus tried many times to find a way to escape from the island.
    [Show full text]
  • Athena and Poseidon Compete for a Coastal Town Athena Was the Goddess of Wisdom
    Athena and Poseidon compete for a coastal town Athena was the goddess of wisdom. She could get angry, but more typically, she was wise, and kind, and understanding. Athena was born very oddly. Her father was the mighty Zeus. But she did not have a mother. Instead, as the myth goes, she was born directly out of Zeus' brain. Zeus loved all his children. But one of his favorites was Athena. Athena held a powerful position in the ancient Greek god world. She was an Olympian, one of the council of 12, who held a seat on Mount Olympus. She also had a home there. Here is a myth about Athena that shows how clever and practical she was. Nearly every town in ancient Greece had a god that looked after the townspeople. Towns rarely had more than one god to keep an eye on their best interests. Most gods did not share well. So usually, it was one town and if the town was lucky, one god to watch over it. Poseidon loved watching over towns. He usually picked coastal towns since he was the Lord of the Sea. Poseidon was a very powerful god. His brothers were Zeus and Hades. Poseidon was a moody fellow, but he loved his wife and children and he loved attention. He liked having people build temples in his honor and bring him gifts. They were not very useful gifts for a god, but he enjoyed getting them anyway. As Greece grew and developed, new towns sprang up all the time. Poseidon was always on the lookout for new coastal towns.
    [Show full text]
  • The Myth of Daedalus and Icarus
    The myth of Daedalus and Icarus The myth of Daedalus and Icarus is one of the most known and fascinating Greek Myths, as it consists of both historical and mythical details. While in Crete Daedalus created the plan for the Minoan Palace of Knossos, one of the most important archaeological sites in Crete and Greece today. It was a magnificent architectural design and building, of 1,300 rooms, decorated with stunning frescoes and artifacts, saved until today. The sculpture of Ariadne in Knossos and many others in Elounda and Karia are also his. King Minos and Daedalus had great understanding at first, but their relationships started deteriorating at some point; there are several versions explaining this sudden change, although the most common one is that Daedalus was the one who advised Princess Ariadne to give Theseus the thread that helped him come out from the infamous Labyrinth, after killing the Minotaur. The Labyrinth was a maze built by Daedalus; King Minos wanted a building suitable to imprison the mythical monster Minotaur, and according to the myth, he used to imprison his enemies in the labyrinth, making sure that they would be killed by the monster. Minos was infuriated when found out about the betrayal and imprisoned Daedalus and his son Icarus in the Labyrinth. The flight of Daedalus and Icarus Icarus was the young son of Daedalus and Nafsicrate, one of King Minos’ servants. Daedalus was way too smart and inventive, thus, he started thinking how he and Icarus would escape the Labyrinth. Knowing that his architectural creation was too complicated, he figured out that they could not come out on foot.
    [Show full text]
  • On the Greek Origins of Architectural Craftsmanship
    $UFKLWHFWXUDO Holst, J 2017 The Fall of the Tektōn and The Rise of the Architect: On The Greek Origins of Architectural Craftsmanship. Architectural +LVWRULHV Histories, 5(1): 5, pp. 1–12, DOI: https://doi.org/10.5334/ah.239 RESEARCH ARTICLE The Fall of the Tektōn and The Rise of the Architect: On The Greek Origins of Architectural Craftsmanship Jonas Holst The origins of architectural craftsmanship in ancient Greece are to be found in the archaic arts of tectonics. The first Greek architects, appearing under that name around the 6th century BC, rose out of and based their work on this age-old tectonic tradition, which semantically underwent a transformation during the time from Homer to Plato, the latter relegating the tektones to a lower rank in the order of craftsmanship. Through a detailed reading of the ancient Greek testimonies of the tectonic tradition, the paper demonstrates that in the Homeric tradition the tektones were hailed as versatile, first-rate crafts- men who created wonders out of matter, but in classical times they fell from their high status of old. In Plato’s writings tectonics ends up at the lower end of the epistemological and ontological scale. Introduction highly skilled work on the ancient tectonic crafts, which formed an important part in the erection of the first mon- Hector went to the fine (kala) house of Alexandros. umental stone temples. He’d built (eteuxe) it himself with fertile Troy’s best Despite the obvious etymological link between tecton- craftsmen (aristoi tektones). (Iliad VI 313–15) ics and architectonics, the broader semantic implications of the relationship between the two concepts remain rela- Every architect (architektōn), too, is a ruler of work- tively unexplored.
    [Show full text]
  • Icarus and Daedalus.Pdf
    MYTHS Icarus and Daedalus Greece Daedalus’s feat of human flight is now taken for granted, but the human desire to achieve greater and greater heights still seems boundless. Like another mythical character from ancient Greece, the winged horse Pegasus, Daedalus’ name has over the centuries come to be associated with human imagination and invention For the full introduction to this story and for other stories, see The Allyn & Bacon Anthology of Traditional Literature edited by Judith V. Lechner. Allyn & Bacon/Longman, 2003 From: Old Greek Folk Stories Told Anew by Josephine P. Peabody. London: George Harrap, 1910. pp. 36-39. Among all those mortals who grew so wise that they learned the secrets of the gods, none was more cunning than Dædalus. He once built, for King Minos of Crete, a wonderful Labyrinth of winding ways so cunningly tangled up and twisted around that, once inside, you could never find your way out again without a magic clue. But the king’s favour veered with the wind, and one day he had his master architect imprisoned in a tower. Dædalus managed to escape from his cell; but it seemed impossible to leave the island, since every ship that came or went was well guarded by order of the king. At length, watching the sea-gulls in the air—the only creatures that were sure of liberty— he thought of a plan for himself and his young son Icarus, who was captive with him. Little by little, he gathered a store of feathers great and small. He fastened these together with thread, moulded them in with wax, and so fashioned two great wings like those of a bird.
    [Show full text]