Show the stages of the plot development of Ulysses according to the given G. Freytag’s pyramid scheme below:
Exposition
Conflict
Part 2: The Wanderings of Ulysses, in particular that Molly is going to sleep with Boylan
Along one plot line (that of Molly's adultery), the main conflict in the novel is that Bloom knows that Molly is going to sleep with Boylan before the day is out. Along another, say, Stephen's, the main conflict is that ever since the death of his mother he has been isolated from the world. Stephen needs a way to get back into the human fold. There are a number of different conflicts that arise in The Wanderings of Ulysses as Bloom confronts death at Dignam's funeral, Stephen presents his Hamlet argument, and Bloom speaks out against prejudice and shortsighted Irish nationalism.
Setting
Dublin
Ulysses was written between the years 1914 and 1921. During this time, Joyce was in self-imposed exile from Ireland, first in Trieste, then in Zürich, then in Paris. Yet all of his work is set in his native Dublin, and he is absolutely fanatical about the details of the city. In a chapter like "The Wandering Rocks," as the viceregal cavalcade (horse-drawn procession carrying the earl of Dudley to a charity gathering) moves through the city, we get so much detail that we could practically draw a map of Dublin based on the procession of the cavalcade. In other episodes, such as "Lestrygonians," we find that Bloom's thoughts are constantly woven into the sights and sounds of Dublin. If he passes a butcher's shop, his thoughts turn to meat. If he passes a soap shop, his thoughts turn to hygiene.In fact, on June 16 every year, there's a holiday called "Bloomsday" where people wander around the city and re-trace Bloom's steps in honor of Joyce.
Rising action
Complication
Part 2 The Wanderings of Ulysses, in particular the fact that Bloom is going to let Molly sleep with Boylan
Along that main plot line, the complication begins to develop when we realize that Bloom has no real intention of stopping Molly from sleeping with Boylan. His passivity can be maddening, and we are forced to alter our sense of the conflict. Rather than wondering how Bloom is going to prevent the thing from happening, we have to start wondering how he is going to come to terms with it.
Climax
Climax
"Circe"
The action reaches a peak in 'Circe' when Stephen has a vision of his dead mother, knocks over Bella Cohen's chandelier with his ashplant (cane) and screams Non Serviam before running out of the brothel and getting in a fight with an English constable. In terms of our understanding of the characters, "Circe" is also a climax because we approach something like full disclosure. Their subconscious thoughts seem more liberated than they are anywhere else in the novel. In the long dreamscapes that make up "Circe," we see into Leopold Bloom's most base neuroses and his most absurd vanities. On another level, it's here that the subconscious of the book itself is let loose – all the things that were percolating between the lines of earlier chapters but could not be said are here given voice.
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Falling action
Suspense
"Eumaeus" and "Ithaca"
There is still a great deal of unresolved conflict after "Circe." Namely, we still don't know what Leopold Bloom is going to do about his wife's affair, if anything. We also don't know whether or not Stephen and Leopold will get along as well as we would like them to (they don't). Through much of the novel, we have been made to anticipate a sort of reunion between the two in which Bloom fills the role of surrogate father for Stephen and Stephen fills the role of surrogate son for Bloom.
Resolution
Denouement
"Ithaca"
"Ithaca" is, to many readers, the most satisfying episode in the entire book. Stephen and Bloom have been united, and it is here that they begin to get along and have a long discussion in Bloom's kitchen before he shows Stephen out. It is after 2am and for both of them, it is clear that the action of their day has passed and that things are now winding down.
Conclusion
"Penelope"
Bloom's day concludes at the end of "Ithaca," when he kisses his wife Molly on the butt and nods off to bed. But throughout the book we have constantly been re-evaluating Bloom, looking at his situation in a number of different lights. Molly's perspective has been missing from the rest of the book, and here we get it in full force. New tension arises as we wait to see what her final judgment on Bloom will be.
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17. Sir Thomas Malory “The death of Arthur”
| Physical appearance He is described as a powerful warrior, who is able to personally slay 960 men in one charge. |
| Place (scene) Most scenes in Britain and France |
| Action period 15 century |
| Hero’s language ENGLISH |
| Reader's attitude towards the hero Arthur is heroic not only because he is brave and courageous but also because he strives to live up to the code of honor he sets for his knights. He really tries to follow his code even when it is not of benefit to him. |
| Act of hero, motive Behaved cruelly because of betrayal |
| Hero (personage) KING ARTHUR |
| Author’s attitude towards the hero |
| Role of the hero in the semantic content |
| Hero's inner state |
(the image of an artist) Artistic image as a spokesman of the author’s ideas; the synthesis of literature and painting caused by the presence of the image of an artist in the text. But the phenomenon in question hasn’t been considered as a component of the image system of a work of art yet, which testifies to the vitality of the given paper aiming at investigating the literary essence of the concept “the image of an artist” and its place in the image system of a work of fiction. In literary criticism the notion of image is one of the most important ones. Most of the scholars consider it to be a defining component of a work of art. The profound research of this category contributes to a deeper comprehension of the ideological content and the artistic peculiarities of a literary work.
Obviously, with good reason in the concept of "artistic image" can only include images of person-characters. In other cases, the use of this term implies a certain amount of conventionality, although the "broad" its use is entirely acceptable.
The artistic image is one of the most multifaceted and complex literary and philosophical categories. And it is not surprising that the scientific literature devoted to him is extremely great.
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Types of the artistic image
according to the principle of typification
according to the level of generalization (realistic, romantic, fantastic, (literary type, image-character, image-picture satiric, etc.) image-idea, image-detail, image-object, etc.)
Summary
The enchanter Merlin advises King Uther Pendragon to establish the fellowship of the Round Table, which will be comprised of the 140 greatest knights in the kingdom. Merlin is to continue his role of Uther’s counselor with Uther’s son, Arthur, who will maintain and immortalize the tradition of the Round Table.
Arthur’s life begins as the result of an illicit affair between Igraine, the duchess of Tintagel and the wife of Gorlois, and Uther Pendragon. Merlin’s magic art had allowed Uther to visit Igraine in the likeness of her husband, of whose death she is as yet unaware. Arthur is conceived as a result of this deception. Ignorant of his true origin, he is brought up from infancy by one of Uther’s knights.
In Arthur’s youth, the Lady of the Lake, Nimue, presents him with the sign of his kingship: Excalibur, a great sword encrusted with precious stones. Still ignorant of the identity of his mother, Arthur has a brief love affair with Morgause, the queen of Orkney and one of Igraine’s three daughters—and, thus, Arthur’s half sister. The product of this incestuous liaison is Mordred, who is both King Arthur’s nephew and his illegitimate son. Sir Gawain, a knight intensely loyal to Arthur, is the son of King Lot of Orkney and his queen, Morgause. Gawain is, therefore, Arthur’s nephew.
Arthur takes Guinevere as his queen. Lancelot, a French knight and warrior of almost superhuman capabilities, joins the Round Table and becomes the courtly lover of Queen Guinevere. He is practicing a medieval convention in which a knight chastely loves and honors a lady without regard to her marital status. This chaste love eventually becomes carnal, sowing the seeds of destruction for Arthur’s kingdom.
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In Camelot, seat of Arthur’s court, Lancelot and Guinevere have begun a love affair. Mordred and Sir Agravain—one of Gawain’s several brothers, who dislikes Lancelot intensely—plot to capture Lancelot and the queen in flagrante. The king goes hunting, allowing Mordred and Agravain the opportunity to substantiate, if they can, their charges against the lovers. Lancelot indeed visits the queen’s chamber. The two conspirators and an additional twelve knights of the Round Table trap Lancelot within the queen’s chamber and demand that he surrender himself to them. When Lancelot finally emerges, he slays Agravain and his twelve companions. Only Mordred, wounded, escapes. Lancelot entreats Guinevere to go away with him but, grief-stricken at the disastrous results of her adultery, she tells him she will stay.
Guinevere is to be burned at the stake for her offense. Arthur bids Gawain and his brothers, Gaheris and Gareth, to lead the queen to the fire. Gawain respectfully declines, but his brothers reluctantly obey; they refuse, however, to bear arms. Lancelot rides to the queen’s rescue, slaying all who oppose him. Unfortunately, in the crush of battle, he unwittingly kills the unarmed Gaheris and Gareth. He takes Guinevere to Joyous Garde, his castle in England. Gawain, formerly Lancelot’s dear friend, now becomes his implacable enemy. After the pope arranges a truce between the forces of Lancelot and the king, Lancelot returns Guinevere. He and his kin leave England to become rulers of France.
Arthur, encouraged by Gawain, invades France and renews the war. Mordred takes advantage of Arthur’s absence and declares himself king. He attempts to marry Guinevere, but she escapes. Upon learning of Mordred’s treachery, Arthur and his army return to England. Gawain’s life is taken when a battle ensues on the landing grounds. Before he dies, however, he repents for pressing Arthur to make war on Lancelot. Arthur is urged in a dream to make a one-month truce with Mordred; the usurper agrees, but both he and the king tell their men to attack if a sword is brandished. Unluckily, a knight is bitten on the foot by an adder, and when he raises his sword to kill the serpent, a general battle breaks out. One hundred thousand participants are killed and, at the conclusion of the carnage, Arthur and Mordred meet in single combat. Arthur runs his son through with his spear but simultaneously receives a mortal wound to the head. Finally, only he and Sir Bedivere remain alive.
The dying Arthur instructs Bedivere to cast Excalibur into the lake. Bedivere, seduced by the richness of the sword, twice hides it and lies to the king. The third time, however, Bedivere obeys. A hand reaches up, grasps Excalibur, and draws it beneath the surface. Bedivere puts the king on a barge containing three queens clad in mourning—his sister, Queen Morgan la Fée; the queen of North Wales; and the queen of the Waste Lands, all accompanied by Nimue, the Lady of the Lake. As he is being rowed away, Arthur tells Bedivere he is going to Avilion (a possible earthly paradise) either to die or to recover from his wound. Bedivere later discovers a chapel where a hermit tells him of a number of ladies who had visited at midnight with a corpse for him to bury.
No one is certain that King Arthur is dead. The inscription on his tomb refers to him as the once and future king—he may come again if England needs him. Guinevere becomes a nun and Lancelot a priest, ever doing penance for their sins.
18. W.Shakespeare “Romeo and Juliet”
What does the prologue suggests? What is described in the given below prologue?
The prologue to the play:
“Two households, both alike in dignity
(in fair Verona, where we lay our scene),
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-crossed lovers take their life,
Whose misadventured piteous overthrows
Doth with their death bury their parents’ strife.
The fearful passage of their death-marked love
And the continuance of their parents’ rage,
Which, but their children’s end, naught could remove.”
Shakespeare opens his play with the first line, illustrating the "ancient" grudge that has been happening in Verona. Shakespeare does this to show that the conflict has been ongoing and isn't likely to stop. He describes it as "ancient"' to illustrate how ingrained the conflict is with the families - it is a part of their daily lives.
The families in question are equal in rank and stature. The use of “dignity” suggests that both families are of noble blood. The setting is “fair Verona.” The use of “fair” to describe the city, by contrast, highlights the disruption caused by the families’ quarrel. It also indicates the time of year, Spring.
“Civil” is used twice. “Civil blood” suggests that Verona citizens have died. “Civil hands” indicate that Verona citizens have caused the crime and are, therefore, “unclean.” “Civil” also indicates the feud is public and affects the affairs of government.
Line 5 contains alliteration: “From forth the fatal loins of the two foes.” This begins the second quatrain and marks a change in focus from the feud of the two families to the dalliances of the two lovers in question. “Fatal loins” is also a pun. Both Romeo and Juliet have come from the loins of feuding families. Loins also represent sexual organs, and the young lovers’ lust for each other contributes to their downfall.
The lovers mentioned in line 5 are cursed and commit suicide.
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