12-LITERATURE: Fri 9-Oct

There is a kinship between the Oresteia and ourselves; a mutual need to recognize the fragility of our culture, to restore some reverence for the Great Mother and her works, and especially to embrace the Furies within ourselves, persuading them, perhaps, to invigorate our lives. – Fagles

The PREP this weekend is:

  • Post your ‘stolen style’ sentences as a comment on this post [ASAP]
  • Complete some self-guided revision of ‘Agamemnon’
  • Email me your poem resource [Due Monday]

EDMOB out.

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5 thoughts on “12-LITERATURE: Fri 9-Oct

  1. Throughout the novel, McCarthy explores the psychological developments of his protagonist, John Grady. Readers recognise a distinct change from the innocent and uninitiated personality apparent in Part One in the assertion “about a hundred years.”

    “wildness about him, the wildness within” reflects the tendency of the protagonist to be connected to McCarthy’s pastoral “deep violet haze” and “gauze of golden dust.” McCarthy juxtaposes this with the “iron,” “cold,” and “dark” of Mexico which gives rise to Cole’s frequent association with the real violence of the world he inhabits.

    Many of the adjectives used by Eliot, and his disillusioned narrators, in describing their surroundings can be used to describe the narrators themselves.

    John Grady Cole’s quest to maintain the idealised Western fantasy through his journey of Mexico and its harsh realities depicts the values of the romanticised world that were worshipped before the modernity

  2. In ‘All the pretty horses’ McCarthy uses John Grady Cole’s innocent perspective to express admiration for the cowboy life which is then contradicted with the protagonists experience.

    Throughout ‘portrait of a lady’ Eliot makes a transition from ‘December’ to ‘October’ reinforcing the speed at which society moves that is perpetuated in the poem through the protagonists loss of ‘self-possession’.

    Permeating the various narrative perspectives of Cate Kennedy’s short stories ‘Dark Roots’ is an undercurrent of longing, a feeling of frustration as characters struggle to express true feelings.

    Through his keen use of Polysyndetic coordination and train like rhythm, McCarthy conjures a reality in which his protagonist, along with others, drifts between the physical and topographical reality and the internal constructs of his own mind.

  3. • At its core, McCarthy’s presentation of ‘death’, ‘violence’ and the harsh reality contrasts the romanticism which reflects upon the world of the Wild West in the novel, All the Pretty Horses.

    • The idea of being constrained to the romanticised world of the Old West in a modern world is explored in All the Pretty Horses, where language expresses the nature of the ‘harsh’, and ‘stony’ world of a ‘lost nation’.

    • The ‘blood’, violence and ‘Fury’ denotes Aeschylus’ contrasting view of women’s position during his time.

    • Cormac McCarthy uses his novel All the Pretty Horses to shatter his reader’s preconceived idea of being able to achieve a life romanticised through dreams and deep connections with the lands while the world is heading towards modernity.

    John Grady Cole, the protagonist of Cormac McCarthy’s work of modern western novel, All the Pretty Horses has a romantic view and connection with the land and horses.

  4. “Eliot describes the “grimy” scraps of “withered” leaves about one’s feet, seeing the dirtiness of a place once grand so fallen and “lonely.””

    “The cruel and violent, unfair nature of life is revealed through Alejandra’s reflection on her past.”

    “The decrepit, “withered” state of the world Eliot sees is revealed through the “twisted” and “dull” visages he paints.”

    “The characters of All The Pretty Horses are bound in a cast-iron net of death and violence, “blood” and “stone.””

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