Critical Reading Of James Joyce Ulysses English Literature Essay

Critical Reading Of James Joyce Ulysses English Literature Essay James Joyces Ulysses, is generally regarded as a modernist novel. At the time when Joyce was: à ¢Ã¢â€š ¬Ã‚ ¦writing Ulysses he had set himself the task of writing a book from eighteen different points of view and in as many styles  [1]  . Historically, modernism is frequently linked with the rise of industrialization. The basic conflict was that modern life was different than the life of the past. Peoples lives had become increasingly complex at the time, and they were forced to play a number of different societal roles, the result was that life came to be fragmented and disjointed. In the modern world, language was being stressed upon as people tried to identify with one another. This essay will determine the modernistic ideas that James Joyces Ulysses presents, and the relation of it with Homers Odyssey. The essay will focus on the literary devices Joyce uses in his writing, and the effect of them on the readers and characters within the stories. In Ulysses, Leopold Bloom corresponds to Odysseus, however it is not easy to just read the story as a re make of the Odyssey as Leopold Bloom also corresponds to Leopold Bloom. Ulysses is in fact a particularly realistic novel, and Joyce makes sure he does not let the storyline be forced upon by allegory. Joyce turns a normal day in a mans life into a heroic tale by opening and analyzing his inner thoughts in depth. He attempts to bring in the motion of the story beginning with the sphere of conflict, and swiftly moving to the sphere of the mentality. There are many differences than similarities in the two stories of Ulysses and The Odyssey. While Odysseus goes from place to place, Joyce goes from style to style  [2]  . In many ways, Telemachus is simply a less formed version of Odysseus. He is shown to be a tad misogynist, while Odysseus is in many ways more womanly. He possesses several traits which only Homers female characters share, and he identifies with women in a way that no one else can, mainly with Penelope. In the Odyssey, Telemachus, the son of the hero Odysseus, grows up in a world of greed and disregard; he is one of the most significant characters throughout the whole story. During Telemachus journey to search for the news of his father, he is shown going through the development of growing up as an adult. From the start of the text he is conveyed as a simple silhouette of his father, however towards the end he is shown to become more like his father in terms of compassion and initiative. Although he comes into his adolescence at the beginning of the book, growing up without a father still makes Telmachus to some extent wretched without initiative. Telemachus was evidently younger than Odysseus, and he had less patience. Odysseus however, being older, had a more knowledgeable outlook to most things therefore he knew he had time. Telemachus is the first to attack without a thought, whereas Odysseus thought hard through his attack, and was better at protecting himself. There are many similarities and differences between both characters. Ulysses is a book in which countless characters are brought out and developed through a number of disparate ways. The most momentous development that occurs in the story is the development of Telemachus. Joyce illustrates his character as an incredibly complex person, and continues to develop his personality from beginning to end int he story.  At the start of the text he is shown to be a mere shadow of his father whereas towards the end he is considered just as audacious as his father use to be. Many factors influence Telemachus as he grows into a man, his name signifies far from battle,  this name in many ways can be seen and revealed to be ironic in the book as T elemachus ends by taking part in two battles. Not having any fatherly figure in his life as a child persistently affects Telemachus character in the book.   He develops into an apprehensive, withdrawn and weak individual who is to the uppermost scale spoiled by his one and only mother.   A number of literary techniques are evidently used in Telemachus. It is shown to be a journey of manhood, which through the use of a various number of literal devices transmits the significance of a respective society. The story is a narrative poem which presents us the readers with a traditional journey that the character undergoes. Joyce uses the method of using the flashback technique in order to portray readers when there is a change in the setting or when there is a change in the time frame. This technique is widely used by authors in modern day society to illustrate a surprising yet easier to understand storyline. The imperative change on the chain of events that takes place in the text adds to the complexity of the story. When this method is used it gives us the readers the power of time travel, allowing us to view events out of their given time structure. Flashbacks in many ways can help to make the story more interesting and help draw the reader in. They are normally used to give us the readers a better view and understanding of the overall story. Important information about the protagonists and elements of the story are revealed to the reader through the use of flashbacks. Homer makes use of this device in The Odyssey when King Nestor repeats the story of the Trojan War. This flashback in particular allows readers to grasp and identify with the character of Odysseus. This method is also used to tell the story of Odysseuss adventures as he fought his way home through a various number obstacles. The structure of the story is a narrative poem; it presents the storyline in a style which proves to be very flexible. This type of literary constitution allows for a difficult or even a straight forward poem to be either long or short. Narrative poems are normally passed down to the next generation by the continuous retelling of stories. Children in todays society grow up hearing different stories as a tradition; they then pass those stories down to their own children. Joyce presents his, stylistic diversityà ¢Ã¢â€š ¬Ã‚ ¦towards the truthful depiction of reality  [3]  . The Odyssey on the other hand, is a story in structure of a classical journey, the male protagonist in the story is shown to be on a mission suffering from encounters with supernatural beings, consisting of monsters and gods. Repetition is also a technique which is used in Ulysses to emphasize the descriptions, dialogues, and verbal communications in the story. The fact that repetition is used allows the story to be much easier told. By only having one narrative in the story really cuts down on the amount of things that need to be remembered by the readers. It also provides itself as a benchmark style that helps the narrator act it out, or even improvise on the spot. The use of repetition helps add to the exhilarating effect of the story. Repeating certain things over and over again allows readers to be familiar with the repetition and what is going on. When this repetition is presented, our minds as the readers begin to wander leaving our thoughts and imaginations open for submission. The Odyssey is a text that makes use of similar passages; however the main repetition Homer uses is in the portrayals of the images presented in the text. For example, Pallas Athena is continuously referred to in relation t o her eyes. She is usually referred to as the beautiful eyed goddess. In this case reiteration is used in order to highlight a specific point that Homer tries to put across about her character. The Odyssey makes use of brutal imagery to convey the theme of reprisal. This staggering imagery in reality catches the readers interest and is a great means of expression for the theme of revenge. In conclusion Joyce uses different characters in order to bring out a more modernist meaning and feel to his story. It is clear to identify the differences and similarities both Ulysses and The Odyssey possess, Joyce tries to convey a new adaptation by altering and modifying his characters, whereas Homers Odyssey exists only in the past. Joyce evidently brings out a more modernistic experience and surrounding to the text in order to relate it to the modern world, this therefore allows readers to relate to it and allows it exist in a more contemporary world. The literary devices Joyce chooses to use create enigmatic and realistic settings to his story, he specifically uses for example techniques such as flashbacks, and repetition in order to bring across a captivating setting by leaving an attractive impression on the readers. Word: 1646

The Birthmark :: essays research papers

Are you unhappy with your looks? If you are, then you should feel at home as a member of human kind. You can dye your hair and wear colored eye contact lenses. Humankind is the only place where one can receive a "boob-job" or have a tattoo put on your chest and then have it removed when you are ready for a change. An instant, effortless weightloss program? Just step into my office and we will discuss lyposuction. And while we are at it, we should discuss removing that†¦thing. It just doesn’t become you. As one can see, it seems quite easy in today’s world to redo nature’s intent. Yes, the field of medical science has greatly advanced within the confines of the past two hundred years or so. Skills and procedures that have been learned during this time can be used in such powerful ways. Anyone can become practically anybody else they choose—just a clip here, slice there, take fat cells from here and add them to there, and voila†¦a new person. However, Mother Nature as been around for quite a bit longer, and she knows what she is doing—leave her alone! Messing with nature’s intent is dangerous and I wouldn’t go there. Aylmer Chillingworth, a scientist in Hawthorne’s short story, "The Birthmark," has married a young woman, a certain Georgianna, despite the fact she possesses a birthmark upon the center of her left facial cheek. Aylmer feels that he has ignored this "ugly marking" long enough and decides he can "make her better." " ‘Geogianna,’said he, ‘has it never occurred to you that the mark upon your cheek might be removed?’" Of course, Mrs. Chillingworth has grown up from child to woman with this birthmark and she feels nothing of it. "To tell you the truth, it has been so often called a charm†¦" However, Chillingworth is just being the scientist that he is, and thinks he can fix this "†¦visible mark of earthly imperfection.’" Through many acts of persuasion and begging, Georgianna begrudgingly agrees to undergo the operation of removing the birthmark from her body. However, the op eration procedure is dangerous and, once the procedure is over with and Aylmer is happy with his work ("My peerless bride, it is successful! You are perfect!), Georgianna dies. "My poor Aylmer†¦You have aimed loftily;†¦Do not repent that†¦you have rejected the best that earth has to offer. Aylmer, dearest Aylmer, I am dying.

The Return: Nightfall Chapter 22

Bonnie was disturbed and confused. It was dark. â€Å"All right,† a voice that was brusque and calming at once was saying. â€Å"That's two possible concussions, one puncture wound in need of a tetanus shot – and – well, I'm afraid I've got to sedate your girl, Jim. And I'm going to need help, but you're not allowed to move at all. You just lie back and keep your eyes shut.† Bonnie opened her own eyes. She had a vague memory of falling forward onto her bed. But she wasn't at home; she was still at the Saitou house, lying on a couch. As always, when in confusion or fear, she looked for Meredith. Meredith was just returning from the kitchen with a makeshift ice pack. She put it on Bonnie's already wet forehead. â€Å"I just fainted,† Bonnie explained, as she herself figured it out. â€Å"That's all.† â€Å"I know you fainted. You cracked your head pretty hard on the floor,† Meredith replied, and for once her face was perfectly readable: worry and sympathy and relief were all visible. She actually had tears pooling in her eyes. â€Å"Oh, Bonnie, I couldn't get to you in time. Isobel was in the way, and those tatami mats don't cushion the floor much – and you've been out for almost half an hour! Youscared me.† â€Å"I'm sorry.† Bonnie fumbled a hand out a blanket she seemed to be wrapped in and gave Meredith's hand a squeeze. It meantvelociraptor sisterhood is still in action . It also meantthank you for caring . Jim was sprawled on another couch holding an ice pack to the back of his head. His face was greenish-white. He tried to stand up but Dr. Alpert – it was her voice that was both crusty and kind – pushed him back onto the couch. â€Å"You don't need any more exertion,† she said. â€Å"But I do need an assistant. Meredith, can you help me with Isobel? It sounds as if she's going to be quite a handful.† â€Å"She hit me in the back of the head with a lamp,† Jim warned them. â€Å"Don't ever turn your back on her.† â€Å"We'll be careful,† Dr. Alpert said. â€Å"You two stayhere ,† Meredith added firmly. Bonnie was watching Meredith's eyes. She wanted to get up to help them with Isobel. But Meredith had that special look of determination that meant it was better not to argue. As soon as they left, Bonnie tried to stand up. But immediately she began to see the pulsating gray nothingness that meant she was going to pass out again. She lay back down, teeth gritted. For a long time there were crashes and shouts from Isobel's room. Bonnie would hear Dr. Alpert's voice raised, and then Isobel's, and then a third voice – not Meredith, who never shouted if she could help it, but what sounded like Isobel's voice, only slowed down and distorted. Then, finally, there was silence, and Meredith and Dr. Alpert came back carrying a limp Isobel between them. Meredith had a bloody nose and Dr. Alpert's short pepper-and-salt hair was standing on end, but they had somehow gotten a T-shirt onto Isobel's abused body and Dr. Alpert had managed to hang on to her black bag as well. â€Å"Walking wounded, stay where you are. We'll be back to lend you a hand,† the doctor said in her terse way. Next Dr. Albert and Meredith made another trip to take Isobel's grandmother with them. â€Å"I don't like her color,† Dr. Albert said briefly. â€Å"Or the tick of her tocker. We might as well all go get checked up.† A minute later they returned to help Jim and Bonnie to Dr. Albert's SUV. The sky had clouded over, and the sun was a red ball not far from the horizon. â€Å"Do you want me to give you something for the pain?† the doctor asked, seeing Bonnie eyeing the black bag. Isobel was in the very back of the SUV, where the seats had been folded down. Meredith and Jim were in the two seats in front of her, with Grandma Saitou between them, and Bonnie – at Meredith's insistence – was in the front with the doctor. â€Å"Um, no, it's okay,† Bonnie said. Actually, she had been wondering whether the hospital actually could cure Isobel of infection any better than Mrs. Flowers' herbal compresses could. But although her head throbbed and ached and she was developing a lump the size of a hard-boiled egg on her forehead, she didn't want to cloud her thinking. There was something nagging at her, some dream or something she'd had while Meredith said she'd been unconscious. Whatwas it? â€Å"All right then. Seat belts on? Here we go.† The SUV pulled away from the Saitou house. â€Å"Jim, you said Isobel has a three-year-old sister asleep upstairs, so I called my granddaughter Jayneela to come over here. At least it will be somebody in the house.† Bonnie twisted around to look at Meredith. They both spoke at once. â€Å"Oh, no! She can't go in!Especially not into Isobel's room! Look, please, you have to – † Bonnie babbled. â€Å"I'm really not sure if that's a good idea, Dr. Alpert,† Meredith said, no less urgently but much more coherently. â€Å"Unless she does stay away from that room and maybe has someone with her – a boy would be good.† â€Å"A boy?† Dr. Alpert seemed bewildered, but the combination of Bonnie's distress and Meredith's sincerity seemed to convince her. â€Å"Well, Tyrone, my grandson, was watching TV when I left. I'll try to get him.† â€Å"Wow!† Bonnie said involuntarily. â€Å"That's the Tyrone who's offensive tackle on the football team next year, huh? I heard that they call him the Tyre-minator.† â€Å"Well, let's say I think he'll be able to protect Jayneela,† Dr. Alpert said after making the call. â€Å"But we're the ones with the, ah,overexcited girl in the vehicle with us. From the way she fought the sedative, I'd say she's quite a ;;terminator' herself.† Meredith's mobile phone beeped out the tune it used for numbers not in its memory, and then announced, â€Å"Mrs. T. Flowers is calling you. Will you take the – † In a moment Meredith had hit thetalk button. â€Å"Mrs. Flowers?† she said. The hum of the SUV kept anything Mrs. Flowers might be saying from Bonnie and the others, so Bonnie went back to concentrating on two things: what she knew about the â€Å"victims† of the Salem â€Å"witches,† and what that elusive thought while she was unconscious had been. All of which promptly flew away when Meredith put down her mobile phone. â€Å"What was it? What?What? † Bonnie couldn't get a clear view of Meredith's face in the dusk, but it looked pale, and when she spoke shesounded pale, too. â€Å"Mrs. Flowers was doing some gardening and she was about to go inside when she noticed that there was something in her begonia bushes. She said it looked as if someone had tried to stuff something down between the bush and a wall, but a bit of fabric stuck up.† Bonnie felt as if the wind had been knocked out of her.†What was it?† â€Å"It was a duffel bag, full of shoes and clothes. Boots. Shirts. Pants. All Stefan's.† Bonnie gave a shriek that caused Dr. Alpert to swerve and then recover, the SUV fishtailing. â€Å"Oh, my God; oh, my God – he didn't go!† â€Å"Oh, I think he went all right. Just not of his own free will,† Meredith said grimly. â€Å"Damon,† Bonnie gasped, and slumped back into her own seat, tears welling up in her eyes and overflowing. â€Å"I couldn't help wanting to believe†¦Ã¢â‚¬  â€Å"Head getting worse?† Dr. Alpert asked, tactfully ignoring the conversation that had not included her. â€Å"No – well, yes, it is,† Bonnie admitted. â€Å"Here, open the bag and give me a look inside. I've got samples of this and that†¦all right, here you go. Anybody see a water bottle back there?† Jim listlessly handed one over. â€Å"Thanks,† Bonnie said, taking the small pill and a deep gulp. She had to get her head right. If Damon had kidnapped Stefan, then she should be Calling for him, shouldn't she? God only knew where he would end up this time. Why hadn't any of them even thought of it as a possibility? Well, first, because the new Stefan was supposed to be so strong, and second, because of the note in Elena's diary. â€Å"That's it!† she said, startling even herself. It had all come flooding back, everything that she and Matt had shared†¦. â€Å"Meredith!† she said, oblivious to the side look which Dr. Alpert gave her, â€Å"while I was unconscious I talked withMatt . He was unconscious, too – â€Å" â€Å"Was he hurt?† â€Å"God, yes. Damon must have been doing something awful. But he said to ignore it, that something had been bothering him about the note Stefan left for Elena ever since he saw it. Something about Stefan talking to the English teacher about how to spelljudgment last year. And he just kept saying,Look for the backup file. Look for the backup†¦before Damon does .† She stared at Meredith's dim face, aware as they cruised slowly to stop at an intersection that Dr. Alpert and Jim were both staring at her. Tact had its limits. Meredith's voice broke the silence. â€Å"Doctor,† she said, â€Å"I'm going to have to ask you something. If you take a left here and another one at Laurel Street and then just drive for about five minutes to Old Wood, it won't be too far out of your way. But it'll let me get to the boardinghouse where the computer Bonnie's talking about is. You may think I'm crazy, but Ineed to get to that computer.† â€Å"I know you're not crazy; I'd have noticed it by now.† The doctor laughed mirthlessly. â€Å"And I have heard some things about young Bonnie here†¦nothing bad, I promise, but a little difficult to believe. After seeing what I saw today, I think I'm beginning to change my opinion about them.† The doctor abruptly took a left turn, muttering, â€Å"Somebody's taken the stop sign from this road, too.† Then she continued, to Meredith, â€Å"I can do what you ask. I'd drive you all the way to the old boardinghouse – â€Å" â€Å"No! That would be much too dangerous!† † – but I've got to get Isobel to a hospital as soon as possible. Not to mention Jim. I think he really does have a concussion. And Bonnie – † â€Å"Bonnie,† Bonnie said, enunciating distinctly, â€Å"is going to the boardinghouse, too.† â€Å"No, Bonnie! I'm going torun , Bonnie, do you understand that? I'm going torun as fast as I can – and I can't let you hold me up.† Meredith's voice was grim. â€Å"I won't hold you up, I swear it. You go ahead and run. I'll run, too. My head feels fine, now. If you have to leave me behind, youkeep on running. I'll be coming after you.† Meredith opened her mouth and then closed it again. There must have been something in Bonnie's face that told her any kind of argument would be useless, Bonnie thought. Because that was the truth of the matter. â€Å"Here we are,† Dr. Alpert said a few minutes later. â€Å"Corner of Laurel and Old Wood.† She pulled a small flashlight out of her black bag and shone it in each of Bonnie's eyes, one after another. â€Å"Well, it still doesn't look as if you have concussion. But you know, Bonnie, that my medical opinion is that you shouldn't be running anywhere. I just can't force you to accept to take treatment if you don't want it. But I can make you take this.† She handed Bonnie the small flashlight. â€Å"Good luck.† â€Å"Thank you for everything,† Bonnie said, for an instant laying her pale hand on Dr. Alpert's long-fingered, dark brown one. â€Å"You be careful, too – of fallen trees and of Isobel, and of something red in the road.† â€Å"Bonnie, I'm leaving.† Meredith was already outside the SUV. â€Å"And lock your doors! And don't get out until you're away from the woods!† Bonnie said, as she tumbled down from the vehicle beside Meredith. And then they ran. Of course, all that Bonnie had said about Meredith running in front of her, leaving her behind, was nonsense, and they both knew it. Meredith seized Bonnie's hand as soon as Bonnie's feet had touched the road and began running like a greyhound, dragging Bonnie along with her, at times seeming to whirl her over dips in the road. Bonnie didn't need to be told how important speed was. She wished desperately that they had a car. She wished a lot of things, primarily that Mrs. Flowers lived in the middle of town and not way out here on the wild side. At last, as Meredith had foreseen, she was winded, and her hand so slick with sweat that it slipped out of Meredith's hand. She bent almost double, hands on her knees, trying to get her breath. â€Å"Bonnie! Wipe your hand! We have to run!† â€Å"Just – give me – a minute – â€Å" â€Å"We don't have a minute! Can't youhear it?Come on! â€Å" â€Å"I justneed – to get – my breath.† â€Å"Bonnie, look behind you. And don't scream!† Bonnie looked behind her, screamed, and then discovered that she wasn't winded after all. She took off, grabbing Meredith's hand. She could hear it, now, even above her own wheezing breath and the pounding in her ears. It was an insect sound, not a buzzing but still a sound that her brain filed underbug . It sounded like the whipwhipwhip of a helicopter, only much higher in pitch, as if a helicopter could have insect-like tentacles instead of blades. With that one glance, she had made out an entire gray mass of those tentacles, with heads in front – and all the heads were open to show mouths full of white sharp teeth. She struggled to turn on the flashlight. Night was falling, and she had no idea how long it would be until moonrise. All she knew was that the trees seemed to make everything darker, and thatthey were after her and Meredith. The malach. The whipping sound of tentacles beating the air was much louder now. Much closer. Bonnie didn't want to turn around and see the source of it. The sound was pushing her body beyond all sane limits. She couldn't help hearing over and over Matt's words:like putting my hand in a garbage disposal and turning it on. Like putting my hand in a garbage disposal†¦ Her hand and Meredith's were covered with sweat again. And the gray mass was definitely overtaking them. It was only half as far away as it had been at first, and the whipping noise was getting higher-pitched. At the same time her legs felt like rubber. Literally. She couldn't feel her knees. And now they felt like rubber dissolving into gelatin. Vipvipvipvipveeee†¦ It was the sound of one of them, closer than the rest. Closer, closer, and then it was in front of them, its mouth open in an oval shape with teeth all around the perimeter. Just like Matt had said. Bonnie had no breath to scream with. But she needed to scream. The headless thing with no eyes or features – just that horrible mouth – had turned ahead of them and was coming right for her. And her automatic response – to beat at it with her hands – could cost her an arm. Oh God, it was coming for her face†¦. â€Å"There's the boardinghouse,† gasped Meredith, giving her a jerk that lifted her off her feet.†Run!† Bonnie ducked, just as the malach tried to collide with her. Instantly, she felt tentacleswhipwhipwhip into her curly hair. She was abruptly yanked backward to a painful stumble and Meredith's hand was torn out of hers. Her legs wanted to collapse. Her guts wanted her to scream. â€Å"Oh, God, Meredith, it's got me! Run!Don't let one get you!† In front of her, the boardinghouse was lit up like a hotel. Usually it was dark except for maybe Stefan's window and one other. But now it shone like a jewel, just beyond her reach. â€Å"Bonnie, shut your eyes!† Meredith hadn't left her. She was still here. Bonnie could feel vine-like tentacles gently brushing her ear, lightly tasting her sweaty forehead, working toward her face, her throat†¦She sobbed. And then there was a sharp, loud crack mixed with a sound like a ripe melon bursting, and something damp scattered all over her back. She opened her eyes. Meredith was dropping a thick branch she had been holding like a baseball bat. The tentacles were already sliding out of Bonnie's hair. Bonnie didn't want to look at the mess behind her. â€Å"Meredith, you – â€Å" â€Å"Come on – run!† And she was running again. All the way up the gravel boardinghouse driveway, all the way up the path to the door. And there, in the doorway, Mrs. Flowers was standing with an old-fashioned kerosene lamp. â€Å"Get in, get in,† she said, and as Meredith and Bonnie skittered to a stop, sobbing for air, she slammed the door shut behind them. They all heard the sound that came next. It was like the sound the branch had made – a sharp crack plus a bursting, only much louder, and repeated many times over, like popcorn popping. Bonnie was shaking as she took her hands away from her ears and slid down to sit on the entry-hall rug. â€Å"What in heaven's name have you girls been doing to yourselves?† Mrs. Flowers said, eyeing Bonnie's forehead, Meredith's swollen nose, and their general state of sweaty exhaustion. â€Å"It takes too – long to explain,† Meredith got out. â€Å"Bonnie! You can sit down – upstairs.† Somehow or other Bonnie made it upstairs. Meredith went at once to the computer and turned it on, collapsing on the desk chair in front of it. Bonnie used the last of her energy to pull off her top. The back was stained with nameless insect juices. She crumpled it into a ball and threw it into a corner. Then she fell down on Stefan's bed. â€Å"What exactly did Matt say?† Meredith was getting her breath back. â€Å"He saidLook in the backup – orLook for the backup file or something. Meredith, my head†¦it isn't good.† â€Å"Okay. Just relax. You did great out there.† â€Å"I made it because you saved me. Thanks†¦again†¦.† â€Å"Don't worry about it. But I don't understand,† Meredith added in her talking-to-herself murmur. â€Å"There's a backup file of this note in the same directory, but it's no different. I don't see what Matt meant.† â€Å"Maybe he was confused,† Bonnie said reluctantly. â€Å"Maybe he was just in a lot of pain and sort of off his head.† â€Å"Backup file, backup file†¦wait a minute! Doesn't Word automatically save a backup in some weird place, like under the administrator directory or somewhere?† Meredith was clicking rapidly through directories. Then she said, in a disappointed voice, â€Å"No, nothing there.† She sat back, letting her breath out sharply. Bonnie knew what she must be thinking. Their long and desperate run through danger couldn't all be for nothing. Itcouldn't . Then, slowly, Meredith said, â€Å"There are a lot of temp files in here for one little note.† â€Å"What's a temp file?† â€Å"It's just a temporary storage of your file while you're working on it. Usually it just looks like gibberish, though.† The clicking started again. â€Å"But I must as well be thorough – oh!† She interrupted herself. The clicking stopped. And then there was dead silence. â€Å"What is it?† Bonnie said anxiously. More silence. â€Å"Meredith! Talk to me!Did you find a backup file? â€Å" Meredith said nothing. She seemed not even to hear. She was reading with what looked like horrified fascination.

Theme Of Suffering In The Aeneid - 1032 Words

Virgil’s The Aeneid is a Latin epic poem that tells the legendary story of Aeneas, a Trojan who travelled to Italy, where he became the ancestor of the Romans. The poem details the journey of Aeneas and his men after they are forced to flee burning Troy and as they wander the seas in search of land suitable to found a new Troy. Throughout the many books, the Trojans suffer through the Trojan War, the loss of their home, fierce storms, horrible monsters, and the wrath of the gods. A major theme of The Aeneid is human suffering as the characters in the poem experience the full front of despair and pain. One of the major themes present in lines 295-332 in Book VI of The Aeneid is human suffering. In this book, Aeneas travels to Dis in order†¦show more content†¦After seeing the miserable souls and listening to the Sibyl’s explanation, Aeneas stands still, aghast and troubled, pondering much, and pitying in mind their unkind fate (constitit Anchisa satus et vestigia pressit multa putans sortemque animo miseratus iniquam). Aeneas is so struck by the suffering of the deceased souls that he has to pause and thoroughly consider their painful and unkind ordeal. Human suffering as a major theme in Virgil’s piece is also evident in a speech that Aeneas delivers to his men in lines 198- 207 in Book I. In this scene, the remaining Trojans are forced to the shores of Libya after an intense storm and unforgiving winds which push the fleet off course. In his speech, Aeneas reminds his companions of more deadly adversities that they have previously faced and the destined mission to found a new Troy towards which they strive. After ten years of siege and warfare, the Trojans lost their home and many members of their families and fellow soldiers. After the winds called upon by Juno strand them on the coast and result in the loss of even more companions, Aeneas addresses the weary and discouraged men, saying, â€Å"Oh comrades - for surely we are not ignorant of troubles before - Oh men having suffered rather serious things, the gods will also give an end to this† (O socii - neque enim ignari sumus ante malorum - O passi graviora, dabit deus his quoque finem)Show MoreRelatedFate : Fate And Fate In Virgils Aeneid1637 Words   |  7 PagesVirgil’s Aeneid, tells the story of Aeneas, the hero and object of fate who is also well known for fitting every description of a classic epic hero. He is of noble and supernatural birth, he faces and successfully overcomes temptations, and he acts as the vessel the gods wish him to be. 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