Literary Terms for Section a - Presentation

7/24/2019 Literary Terms for Section a - Presentation

1/45


2/45

The Epic Poem

The epic or heroic poem is a long narrativepoem on a serious subject, centred around the

actions of an heroic figure on whose actions

depend the fate of a nation or race. The traditional epic poems were shaped from

the legends of the Greek heroic age, when the

ykenaean Greeks or Akhaeans were on the

move and engaged in military con!uest and

e"pansion during the Trojan #ar.


3/45

Characteristics of Epic Poetry

The hero is a figure of great national or

international importance.

The setting is large in scale, sometimes world$

wide, or at least of the known world.


4/45


5/45

Characteristics of Epic Poetry

The poet begins by stating his theme, then invokes

the uses to help him with his undertaking.

The narration usually begins in the middle point of

the action and at a crucial point& the events thathappened before the narrative opening are introduced

later on.

There are catalogues of some of the main characters,

introduced to the reader in formal detail.


6/45

Narrative Features of Epic Poems

'pic poems were initially performed as oral

traditions, by wandering professional bards,

and this has an impact upon the narrative of

the poem.


7/45

(igressions

Anecdotes

yths and stories

'pithets

)epetitions

)ecurrent lines and phrases

Narrative Features of Epic Poems


8/45

Recurrent Lines and Phrases

There is the repetition at length by a speakerof another speaker*s, their own or thenarrator*s earlier words.

The repetition of epithets. Similar phrases used to introduce and+or

conclude speeches.

Single lines or a group of lines whichdescribe everyday life e.g. beginning ameal- or events e.g. (awn-.


9/45

Construction of Characters

haracterisation is the way that the characters

are constructed, which then develops their

specific characteristics or nature.


10/45

Six ain !ays of Constructing a

Character

The habitual behaviour of the character.

The physical description of the character.

The known judgements and reaction of

other characters to them.


11/45

The character is shown in specific episodes.

The use of epithets or stock phrases to

describe the character.

Specific biographical details are provided

about the character.

Six ain !ays of Constructing a

Character


12/45

Construction of the Epic "ero

The epic hero isthe central figureof the epic poem,

whose actionsinvolve heroicdeeds in battle or

a long andarduous journey.They are favouredor opposed by theimmortals.

/dysseus.

Agamemnon.

Akhilles.

0estor.

enelaus.

Aia".


13/45

Construction of Relationships

Gender

1ower

1olitics

2amily or oikos

%mmortals and mortals

ortality


14/45

The Plot

%t is the story line of the epic poem.

The plot is the system of actions, which are

carried out by the characters.


15/45

Structure of an Epic Poem

The structure of an epic poem is the

organisation of the plot. %t is the order in

which the episodes that make up the plot arepresented to the audience.

The main type of structure for an epic poem is

non$linear.

2lashbacks are used to facilitate a non$linear

structure.


16/45


2lashbacks are interpolated descriptions or

scenes representing events that happened

before the point at which the plot opens.


17/45


The narrator of the poem changes on

occasions. 3omer uses himself, other epic

heroes, other bards and even /dysseus as the

narrator on occasions.


18/45


(espite the comple" structure of The /dyssey,

there is a unity of action within the poem.

3ow does 3omer achieve this4


19/45

The Physical Setting

The physical setting is the locale in which theaction takes place.

ost of the physical setting of The /dyssey is

in %thaka, but it also includes the sea, the5nderworld and various other lands during/dysseus* adventures.

Troy is also part of the physical setting whenstories of /dysseus* warrior !ualities arereferred to by other characters.


20/45


The physical setting is created by6

%magery

(escriptive words and phrases

Similes

etaphors


21/45


The action of the poem occurring in a

particular physical setting can have impact on

characterisation.

/dysseus* characterisation in the sea and in

the 5nderworld.


22/45

The Social Setting

The social setting is the period in which the

action takes place.

%n The /dyssey, the social setting is the 3eroic

Age which is a conglomeration of the societies

of the ykenaean and (ark Ages.


23/45

The Social Setting

The social setting can be the macro setting of

3eroic society

or

the social setting can be the micro setting of

particular societies, such as the values,customs and norms of the 1haeakia or %thaka

or the land of the 7yklopes or the Lotus eaters.


24/45

Stylistic Features of Epic Poems

%magery

(escriptive words and

phrases Similes

etaphors

%rony

'pithets

Symbolism

Suspense

lima" 1athos

ontrast


25/45

#magery

%magery is used to signify descriptive passages

that create mental pictures for the audience.

%t can be used to describe a setting, a characteror an action.

%magery is often created by figurative

language, especially similes and metaphors.


26/45

$escriptive !ords and Phrases

(escriptive words and phrases are often used

to create imagery or enhance characterisation

through their impact and association in the

mind of the audience.


27/45

Similes

%n a simile a comparison between two

essentially different items is e"pressly

indicated by a term such as like or as.


28/45

etaphors

%n a metaphor, a word which in ordinary use

signifies one kind of thing, !uality or action is

applied to another, without e"press indication

of a relation between them.


29/45

#rony

%rony is a mode of speech in which the implied

attitudes or evaluation are opposed to those literally

e"pressed.

1raise or approval that implies dispraise or

disapproval is more fre!uent than the converse form.

/ften the audience is aware of the irony of a situation

while the characters are not.


30/45

Epithets

'pithets or stock phrases are a device of oraltraditions, designed to give the bard a stagedpause to assist in composition and to assistwith the poetic metre.

Those associated with characterisation help todevelop that character by reinforcing particularaspects of their character.

The adjectives also add colour to theircharacter.

The epithets used in conjunction with commonnouns are included more for the re!uirementsof metre.


31/45

Sym%olism

Symbolism is applied to a word or a phrasesignifying an object which itself hassignificance, that is, the object referred to has

meaning beyond itself. The olive tree is a symbol of rebirth

throughout The /dyssey.

Throughout The /dyssey the physical andsocial problems in %thaka are symbolic of theabsence of /dysseus from his homeland.


32/45

Suspense

Suspense is an an"ious uncertainty about what

is going to happen, especially to those

characters with whom the audience has

established bonds of sympathy.


33/45


34/45

Pathos

1athos is attributed to a scene or passage

designed to evoke tenderness, pity, sympathy

or sorrow from the audience.


35/45

Contrast

ontrast allows the poet to highlight features

of one setting or character with those of

another.

This is used to enhance both imagery and

characterisation.


36/45

Themes

Themes are the abstract concepts which are

embodied in the plot and the structure of the

epic poem.

Themes should raise issues with a

contemporary audience.


37/45

Themes

Love

Loyalty

Gender

Se"ual (esire

3onour 3eroism

(eath

'ndurance

unning

1ower

2riendship 3ospitality


38/45

Themes

/rder

2amily

Servitude 1atriarchy

8iolence

Suffering

Adolescence

Temptation

)espect 3uman nature

)eturning veterans


39/45

ultiple Readings

The way that different societies interpret the

issues of the themes are referred to as multiple

readings.


40/45

ultiple Readings

ultiple readings often !uestions 9gaps and

silences* in te"ts.

This can be read as6

9#hose voice or viewpoint is not addressed4*

or 9#ho is not given e!ual value in the power

structures of this society4*


41/45

Example& 'thene

Athene, although a goddess, has many

masculine symbols associated with her shield,

helmet and aegis-.

A multiple reading of The /dyssey may

e"plore why in Greek society, to be accepted

as powerful enough to move and advise within

male society, a goddess must be invested withmasculine symbols to legitimise this role.


42/45

ultiple Readings

The reading would then e"amine other female

characters who lack these masculine symbols,

e"plore the characteristics of these females, ande"amine why these females instead are

constructed either as passive 1enelope or

0aussika- or dangerous 7alypso, 7lytemnestraor 3elen-.


43/45

ultiple Readings

A character like 7irke sits in the middle6 she is a

female with a phallic symbol, thus her

intermediary status constructs her as able to

facilitate passages between the male and female

world, as well as between the 5nderworld and

the physical 9real* world.


44/45

ultiple Readings

5ltimately then, by e"amining the construction

of these female characters, we can formulate

theories about power and patriarchal structures

in Greek society.


45/45

ultiple Readings

3omer may not necessarily have overtly

recognised these, but in constructing his

characters like this, he has allowed us symbolic

access to deconstruct them in our framework.

Documents

Literary Terms for Section a - Presentation