Characteristics of an Epic Hero Many, but not all epic heroes have these qualities.                 The Hero’s mother is a royal virgin The Hero’s father is a king The Circumstances of the Hero’s birth are unusual The Hero is reputed to be the son of a god At the birth of the Hero there is often an attempt to kill him. He may be kidnapped or sent away for his protection The Hero is often reared by foster parents in a distant land The Hero is told nothing of his childhood When the Hero reaches manhood, he returns or goes to a future kingdom After victory over a king, dragon, giant, or wild beast, he marries a princess The Hero then becomes the king The Epic Hero is larger than life and embodies the values of particular society An epic hero is superhuman. His braver, stronger, smarter and cleverer than an ordinary man The epic hero is on a quest for something of great value to him or to his people The villain who try to keep the hero from his quest are usually uglier, more evil, and more cunning than anyone we know in ordinary life The divine world interferes with the human world The epic hero often experiences a symbolic death or has to travel to the underworld The Epic The epic is generally defined: A long narrative poem on a great and serious subject, related in an elevated style, and centered on a heroic or quasi-divine figure on whose actions depends the fate of a tribe, a nation, or the human race. The traditional epics were shaped by a literary artist from historical and legendary materials which had developed in the oral traditions of his nation during a period of expansion and warfare (Beowulf, The Odyssey, The Iliad). Epic Conventions, or characteristics common to both types include: 1. The hero is a figure of great national or even cosmic importance, usually the 2. 3. 4. 5. 6. ideal man of his culture. He often has superhuman or divine traits. He has an imposing physical stature and is greater in all ways than the common man. The setting is vast in scope. It covers great geographical distances, perhaps even visiting the underworld, other wortlds, other times. The action consists of deeds of valor or superhuman courage (especially in battle). Supernatural forces interest themselves in the action and intervene at times. The intervention of the gods is called “machinery.” The style of writing is elevated, even ceremonial. Additional conventions: certainly all are not always present) 1. Opens by stating the theme of the epic. 2. Writer invokes a Muse, one of the nine daughters of Zeus. The poet prays to the muses to provide him with divine inspiration to tell the story of a great hero. 3. Narrative opens in media res. This means “in the middle of things,” usually with the hero at his lowest point. Earlier portions of the story appear later as flashbacks. 4. Catalogs and geneaologies are given. These long lists of objects, places, and people place the finite action of the epic within a broader, universal context. Oftentimes, the poet is also paying homage to the ancestors of audience members. 5. Main characters give extended formal speeches. 6. Use of the epic simile. A standard simile is a comparison using “like” or “as.” An epic or Homeric simile is a more involved, ornate comparison, extended in great detail. 7. Heavy use of repetition and stock phrases. The poet repeats passages that consist of several lines in various sections of the epic and uses homeric epithets, short, recurrent phrases used to describe people, places, or things. Both made the poem easier to memorize. Aristotle described six characteristics: “fable, action, characters, sentiments, diction, and meter.” Since then, critics have used these criteria to describe two kinds of epics: Serious Epic     fable and action are grave and solemn characterrs are the highest sentiments and diction preserve the sublime verse Comic Epic     fable and action are light and ridiculous characters are inferior sentiments and diction preserve the ludicrous verse When the first novelists began writing what were later called novels, they thought they were writing “prose epics.” Daniel Defoe, Henry Fielding, and Samuel Ruichardson attempted the comic form. Yet what they wrote were true novels, not epics, and there are differences. The Epic       oral and poetic language public and remarkable deeds historical or legendary hero collective enterprise generalized setting in time and place rigid traditional structure according to previous patterns Comic Epic       written and referential language private, daily experiencer humanized “ordinary” characters individual enterprise particularized setting in time and place structure determined by actions of character within a moral pattern “An extended narrative poem, usually simple in construction, but grand in scope, exalted in style, and heroic in theme, often giving expression to the ideals of a nation or race. ” Sidelight: Homer, the author of The Iliad and The Odyssey, is sometimes referred to as the “Father of Epic Poetry.” Based on the conventions he established, classical epics began with an argument and an invocation to a guiding spirit, then started the narrative in medias res. In modern use, the term, “epic,” is generally applied to all lengthy works on matters of great importance. The Rhapsodoi, professional reciters, memorized his work and passed it on by word of mouth as part of an oral tradition. Back to Beowulf or Assignments or Home. Updated 10 July 2006. 1 Major Themes Love and Friendship When we first meet Gilgamesh, he is a tyrant king who terrifies the people of Uruk. Only after meeting Enkidu and becoming his friend does Gilgamesh transform into a hero worthy of memory. This transformative effect is also exacted on Enkidu, who Gilgamesh helps move beyond his fears. The platonic love the two have for each other helps Gilgamesh become a better leader to his people by allowing him to better understand and identify with them. When considered in tandem with the theme of death in the poem, love and friendship can be viewed not only as a part of life, but as a necessary component to give existence meaning. Death The major theme of the poem is that of mortality. Gilgamesh must learn the difficult lesson that, even as a king, he too must face the reality of his own death. On their way to the Cedar Forst to face Humbaba, Enkidu expresses his concerns about death, which Gilgamesh laughs off, telling Enkidu that no one lives forever and that life is short. However, when Enkidu dies, Gilgamesh is so distraught that he seeks out Utnapishtim to learn the secret of immortality. Despite his hopes, Utnapishtim tells Gilgamesh the story of the flood. He explains to Gilgamesh that the quest for immortality is a futile one, as creation itself also contains the seed of death, making it inescapable. The Gods, he explains, intentionally did this. Gilgamesh returns to Uruk having learned that the quality of one’s life is measured not by wealth or fame, but by the quality of the time he spent while alive and the people with which he surrounded himself. The Hero’s Journey or Quest A common theme in mythology and ancient stories, Gilgamesh’s story is no exception. The hero must embark on a journey or quest in order to discover who he is. Initially, Enkidu travels from the wilderness with Shamhat to civilization to meet Gilgamesh. Gilgamesh begins his quest with Enkidu by traveling to the Cedar Forest to defeat Humbaba. After Enkidu’s death, Gilgamesh’s personal journey begins. He seeks out Utnapishtim to learn the secret of immortality. His journey concludes with his return to Uruk. In this case, Gilgamesh’s journey is a direct reflection of his internal struggle and “journey” to become a better, selfless leader. The Wrath of the Gods Gilgamesh expresses his jealousy towards the gods and the immortality they enjoy. He and Enkidu learn firsthand that incurring the wrath of the gods can have disastrous consequences. Rather than wise, omniscient beings, the gods in Gilgamesh are vengeful and easily angered. Gilgamesh and Enkidu first encounter this wrath after Gilgamesh rejects Ishtar’s advances. Ishtar immediately turns to her father, Anu, to send the Bull of Heaven to punish Gilgamesh. At first, Anu rejects Ishtar’s request but she threatens to raise the dead to devour the living. Anu is frightened by Ishtar’s threat and releases the Bull of Heaven to appease her. When Gilgamesh and Enkidu slay the Bull of Heaven, they further insult Ishtar by throwing the Bull’s hindquarters at her face. Enkidu later dreams that the gods have decided 2 that he must die for these transgressions. After twelve days of suffering, he dies a painful death. Utnapishtim also tells Gilgamesh the story of a great flood exacted on the people of Shurrupak. Ea informs Utnapishtim of the coming flood and instructs him to build a great boat and to stock that boat with all the creatures of the land. It is important to note that when Utnapishtim asks Ea about why the flood is coming and about whathe should tell the people of Shurrupak, Ea has no specific answer for him, stating only that Enlil is angry. This suggests that the wrath of the gods can also be incurred without any obvious insult or explanation. Gateways Gateways and doors by their very nature symbolize separation, but also transition. Although a physical doorway is not present in the beginning, Enkidu must transition from the wilderness to civilization. In this sense, Shamhat herself represents a gateway. Enkidu then enters Uruk with Shamhat, passing through the city’s great walls. Enkidu and Gilgamesh later discuss Enkidu’s fear at the gate to the Cedar Forest. They cut down the tallest tree in the forest to make into a gate for Uruk. On his journey to find Utnapishtim, Gilgamesh must pass through the gate of Mashu, guarded by the Scorpion men. At each point when a gateway is encountered, a decision must be made by Gilgamesh or Enkidu as to whether they will continue or turn back. Utilized in this manner, gateways also serve as an effective literary device to force characters to make decisions that affect the overall narrative. Baptism or Ritual Cleansing Water is continually used by characters in Gilgamesh at key points in the story to wash themselves but also marks an important point of transition. In this way, water is used in a baptismal manner. Enkidu washes himself after meeting Shamhat, marking his transition from the wilderness to civilization. Gilgamesh and Enkidu wash themselves after slaying the Bull of Heaven. Gilgamesh bathes himself after acquiring the magic plant to achieve immortality. In each case, a ritual cleansing marks an important moment in the story. Enkidu is transformed, leaving behind the world of animals and nature and entering the world of humans. Gilgamesh loses the magic plant but transitions to accepting his mortality. Responsibility Gilgamesh is introduced to us as a tyrant king who does as he pleases and has little regard for his subjects. Aruru creates Enkidu to strike a balance against Gilgamesh’s tyrannical ways. His purpose in the story is to help Gilgamesh become the king he needs to be and to teach him about what is most valuable in life. Through this ordeal, Gilgamesh loses his best friend and must face reality. The recklessness with which he previously had lived his life is evidently unsustainable. Gilgamesh learns that just as he will not live forever, he will age, and with that age must come maturity and wisdom if he is to live a life worth living. Global Migration Migration became more popular in the last twenty years. Many countries host immigrants and welcome them. Immigrants have laws that need to be followed. Some countries such as Qatar and Singapore, immigrants can work for limited time, not forever. On the other hand, United States allows immigrants to stay for long time. The purpose of migration is even for job or sometimes to make more money from what they make in their homeland. The common factor of migration is leaving from poor country to one richer. Immigrants can make more money in richer countries than they make in their homes. They couldn’t find job in their countries so they had to move. As Jo “ In 2010, about 73 million people went from poor country to a richer one” (McEntire & Williams, 142). Although people move from poor countries to richer once, there are people move from poor countries to other countries that are not rich. A lot of people went from the Dominican Republic to United States Even though the Dominican Republic host to many people from Haiti. These immigrants move to countries that are not rich just for job. “ The United Notions estimates that there are almost 74 million of these immigrants”. (McEntire & Williams, 143). McEntire, Jo, and Jessica Williams. Making Connections 2 (2nd Ed). New York: Cambridge University Press,(2013).prent To sum this up, the purpose of migration is both money and job. In the Dominican Republic people left from there to United States. Haitians went to The Dominican Republic While the Dominicans were leaving to United States. The Dominicans wanted to jobs because they missed them in the homeland. Also Haitians came from Haiti to the Dominican Republic to make more money than they do in Haiti. Research Paper /Format 1 2 3 4 5 6 7 8 9 10 After you have chosen which theme or themes you want to apply to your research paper and have completed your sentence outline ( an outline of the theme from the article or essay you chose), you are to start looking for that theme in the novel or selection and how it is presented or represented.. Since your research paper is a literary analysis paper, you will be looking for how your particular theme works in the novel/selection once you begin your paper. I suggest that you do not attempt to work on the paper until you have a clear and concise understanding of your theme and have read the entire novel/selection. Make sure you mark significant passages in your novel/selection that will help to strengthen your argument. Always introduce your direct quotation, paraphrase and summary. Also make sure you comment afterwards. By doing this introduction and commentary, your voice will be sure to be heard in the paper. Make sure you remain as objective as possible. Note using the first person “I” in a paper makes it subjective. The second person “you” is not an indefinite pronoun. A useful pronoun to use is “one” then follow it with “s/he.” Or make the subject plural and follow it with “they.” The length of your paper should be 6-8 full pages for ENGL 102 and 8-10 for Humanities with the Works Cited page not counting as one of those pages. All pages should be numbered beginning with the first and ending with the Works Cited page. Papers are to be submitted in Word 97-2003. For a paper this length you should have at least 6 sources. Three of these sources must be critical, from a collection of essays or an article in a refereed journal. A refereed journal is a journal that specializes in the topic where the paper has been sent to at least three of the author’s peers and then published. Do not use Wikipedia as a source. You may use it as a means to obtain a clear and precise idea of you topic. Sometimes Wikipedia will give you a link to a credible source that you may be able to use. If you do a cover page, MLA dictates that an outline of the paper should follow. You will be turning all materials into me in a portfolio on the due date. Do not bold, underline or italicize your titles, and please try to be creative with them. JSTOR, MLA Bibliography, ABELL are just a few of the databases where you can obtain a refereed article. They are under Literature and Languages via of research port. They are online databases that you can retrieve from the University Library homepage. Before you submit your paper make sure you make an appointment with The MSU Writing Center .