Explanation of Tissue ID Histology presentation rubric

Explanation of Tissue ID Histology presentation rubric

Below are descriptions of some of the range. A score of 4 or 2 are in the middle. For example, #1 , a 4 would be the purpose is “somewhat” clear, and a 2 would be “somewhat evident but not entirely clear”.

Content

1- states the purpose and captures the audience

5 The purpose is clear and the audience is captured and attentive

3 The purpose is apparent, the audience is captured at time but not always

1 The purpose is not evident, the audience is not captured

2- Organizes the content

5 The content is organized logically with transitions to capture and hold the listeners attention throughout the entire presentation

3 The organization is evident and transitions are made fluently with some loss of listeners attention

1 The content lacks organization; transitions are randomly made and lose the listeners attention.

3- Supports the content

5 Important details add interest and depth; all content is supported and sited.

3 Basic details added to give interest; most content is supported and sited.

1 The majority of information is unsupported or explained. Content is not sited.

4- Covers all topic areas

5 All assigned topic areas are covered and explained thoroughly

3 All assigned topic areas are covered, not all areas are explained thoroughly

1 All topic areas are not covered or are not explained

5- Summarizes the content

5 The conclusion unites the important points and encourages future discussion

3 The conclusion summarizes the main ideas

1 The conclusion is presented

Delivery

1- Demonstrates awareness of the audience

5 The choices of language as depicted at assignment help shows the correct grammar usage in academic writing , examples and aids ignite the listener’s attention. Eye contact is used. Energy and enthusiasm for the subject is contagious to the listener.

3 The language choices are appropriate. Enthusiasm is evident. Eye contact is evident.

1 The presentation is uninteresting. The choice of words is incorrect.

2- Speaks clearly and confidently

5 The presenter is confident in material and speaks in a tone and volume all listeners can hear and understand

3 The presenter is confident, clarity and voice level are evident.

1 The presenter lacks confidence and cannot be heard or understood

3- Uses appropriate vocabulary and pronunciation

5 The pronunciation and vocabulary is appropriate and clear throughout the presentation

3 The pronunciation and vocabulary is appropriate throughout most of the presentation

1 The pronunciation and vocabulary is misused and not pronounced correctly through out the presentation

4- Speaker interaction

5 Aids, gestures and use of materials is captivating: drawing all listeners attention

3 Aids, gestures and use of materials is interesting: drawing most listeners attention

1 Aids, gestures and use of materials lacking: listeners are not paying attention

5- Complexity of thought

5 Variations of thought, voice and sentence structure and examples hold all listeners attention

3 Variations of thought, voice and sentence structure and examples hold most listeners attention

1 Variations of thought, voice and sentence structure and examples are not used and listeners are not paying attention – speaker is reading rather than presenting

`Hardcopy, minimum 5-7 pages (this does NOT include the cover page or bibliography – you don’t have to have a cover page), typed, double spaced, one inch margins, 12 pt. Font. All of your ideas should be backed up with data from a research source, make sure to give that source credit (i.e. cite appropriately) and put information in your own words using proper sentences. Review the PPT on Blackboard called ‘Library Resources and Research Work for more details on how to cite sources correctly along with other relevant information about this assignment. Develop a consistent theme to create a cohesive work with claims/ideas supported by research/data.

Do NOT write your work as if you are simply writing an annotated bibliography – you will lose 75 points.  5 points will be taken off for improper paragraph structure (not enough paragraphs, paragraphs that are too short (2 sentences or less). 2 points will be taken off for each sentence with incorrect grammatical structure. Points will also be taken off if the work does not meet the minimum 5-7 page requirement (this will vary depending on the amount of work completed).

Research PaWorkper Summary & Analysis (200 points):  https://onlyessayhelp.com/category/homework-help-service/

1. You need to have a minimum of 5 research sources not including your textbook that are incorporated into your work – it is fine to have more sources. At least 3 of your 5 sources must be scientific articles unless you select the 1 book (counted as 2 scientific articles) and 1 scientific article option. You have the option of utilizing more sources if you would like. (20 points each x 5)

 Make sure that you describe what you learned from each of your sources in enough detail that someone reading your work can understanding your points without having read the articles/sources that you used.

2. Your 6th source is your textbook. Incorporate class concepts in your analysis. Determine which chapter(s) primarily impact your topic and using class concepts analyze the ways in which the dynamics of thinking and behavior of individuals could be understood or partly explained by their social context. If we haven’t gone over information that is useful / relevant to include in your work, you can still review that PowerPoint/chapter in your book utilize any key concepts that aid your analysis. Of particular relevance in selecting which chapters would be most applicable for your analysis is is the age of the youth you are studying as the textbook is organized by chronological years of development. (100 points)

 Select at least 1 theoretical perspective to include in your analysis. All of the PowerPoints include information about liberal and conservative viewpoints among others. You can also include opposing or multiple perspectives in your analysis if you would like. Include in your work why you selected the theoretical perspective(s) that you did and how you organized your analysis around that/those perspective(s). Another possibility might be to compare a theoretical perspective with what seems to be popular opinion/dominant discourse on your topic.

3. Part 2-Work-Choose any one (1) of the following. Each work should be four (4) paragraphs. Please write the work in a blue book with your name on it IN PEN!!!! (40 points). You may use these examples or your own. YOU DO NOT HAVE TO USE THESE EXAMPLES OR QUESTIONS. HOWEVER, YOU SHOULD WRITE AN WORK ABOUT HOW AUTHORS USE THE SPECIFIC LITERARY ELEMENT IN YOUR COMPARISON/CONTRAST, PLEASE DO NOT JUST SUMMARIZE THE READINGS USED AS EXAMPLES. THIS WORK SHOULD INCLUDE A THESIS THAT REPRESENTS YOUR OWN CRITICAL THINKING AND LITERARY ANALYSIS ABOUT YOUR SPECIFIC CHOICE(S)

4.

5. 1. Theme: In Paradise Lost and The Rape of the Lock, consider the theme of falling from glory and working towards redemption in both works. In Paradise Lost, Satan falls from grace with God just as Adam and Eve. Both struggle afterwards to redeem themselves from their mistakes. A similar theme exists in The Rape of the Lock, when the main heroine’s symbol of beauty and power (her hair) is cut against her will. After this symbolic fall from grace, she battles for both internal and external redemption. She goes through both a physical and psychological battle for redemption of the beauty and power represented by the severed locks.

6.

7. 2. For this economics assignment help Characterization- Pick characters from at least two different texts and analyze them to show how they are alike in relation to their respective situations. (Ex.- The King of Coramantien in Oroonoko and Faustus in Dr. Faustus. Both are greedy and power lusting men. Both have numerous women, access to wealth and can’t be satisfied with what they already have. They continually want more. Furthermore, both take full advantage of their power. (ie- Faustus wants to know all the eternal secrets of the world/ The King ships Imoinda off into slavery because Oroonoko breaks in to visit her and take her virginity).

8.

9. 3.Symbolism-Describe at least two different objects from any writing we’ve read in the second half of the semester and reflect on the how the meanings connected to them may be related. (Ex.-The lock in The Rape of the Lock. The handkerchief in Othello). Both could be interpreted as objects representing desired conquest.  https://onlyessayhelp.com/tag/economics-assignment-help/

10.

11. 4. Allegory-Reflect on at least one example from any second half writing we’ve read of several things that may have one similar meaning(s). (Ex-Dr. Faustus representing the hypocrisy of his religion(s)). Reflect on the idea of this religious figure using sexual allurement (lust) to fulfill his desires. Dr. Faustus continually hides behind a false sense of religion to renege on his deal with the Devil and try to repent with God at the last possible moment. He uses Satan’s power to obtain Holy objects.

12.

13. 5. Plot-Reflect on any two writings from the second half and elaborate on how the plot affects the story. Does the use of plot (or lack thereof) make the story more interesting, boring? How, why? How does it affect your interpretation of the reading? Why is this important? (Ex.-Dr. Faustus and Satan want to take away from the same perfect existences that God and Satan offer the heroes of Paradise Lost and Dr. Faustus respectively-“living forever in the Garden of Eden” and “The secrets of the universe/all worldly desires”).

The Classical Quarterly

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MEDON MEETS A CYCLOPS? ODYSSEY 22.310–80

Tim Brelinski

The Classical Quarterly / Volume 65 / Issue 01 / May 2015, pp 1 – 13 DOI: 10.1017/S0009838814000573, Published online: 02 April 2015

Link to this article: http://journals.cambridge.org/abstract_S0009838814000573

How to cite this article: Tim Brelinski (2015). MEDON MEETS A CYCLOPS? ODYSSEY 22.310–80. The Classical Quarterly, 65, pp 1-13 doi:10.1017/S0009838814000573

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MEDON MEETS A CYCLOPS? ODYSSEY 22.310–80*

ὣς φάτο, τοῦ δ’ ἤκουσε Μέδων πεπνυμένα εἰδώς· πεπτηὼς γὰρ ἔκειτο ὑπὸ θρόνον, ἀμφὶ δὲ δέρμα ἕστο βοὸς νεόδαρτον, ἀλύσκων κῆρα μέλαιναν.

So [Telemachus] spoke, and wise Medon heard him; for he had crouched down and was lying under a chair, and had wrapped around himself the newly flayed skin of an ox, avoiding grim death. (Od. 22.361–3)

Immediately following the death of the suitors, near the end of Odyssey 22, we witness three scenes of supplication in quick succession. The first and unsuccessful suppliant is Leodes, the only suitor to survive, albeit briefly, the Mnesterophonia. The second and third suppliants, respectively, are the bard Phemius and the herald Medon. Leodes pleads directly with Odysseus for his life, citing his previous conduct, that he had said or done no wrong to the women of the household. He also claims that he had actu- ally attempted to keep the suitors’ bad behaviour in check, an assertion corroborated by the narrator’s own words (21.146–67). Odysseus rejects Leodes’ plea and decapitates the prophet, putting a sudden end to his supplication (22.310–29).1 After this failed sup- plication, Phemius nervously considers either seeking refuge at the altar of Zeus Herkeios, located in Odysseus’ courtyard, or directly supplicating Odysseus. He chooses the latter and also appeals to Telemachus as witness that he sang for the suitors only under compulsion (330–53). Telemachus intervenes and Medon, who overhears Telemachus’ plea for mercy on behalf of Phemius and Medon, suddenly jumps up, throws off the ox hide under which he has escaped notice, grasps Telemachus by the knees, and asks the young man to vouch for and save him from Odysseus too (354–77).

These three scenes of supplication, moving as they do from hostility, to seriousness, to humour, certainly take us, in an almost step-by-step fashion, from violence to levity. Opinion among commentators, in fact, is nearly universal that this discovery of Medon

* I wish to thank Daniel Holmes for reading and commenting on an earlier draft of this article. Special thanks are owed to Jenny Strauss Clay both for her many helpful comments and criticisms on this paper and for her unflagging support generally. Finally, I wish to express my gratitude to the editor Andrew Morrison and the anonymous referee of Classical Quarterly for their challenging and thought-provoking comments and suggestions.

1 For a thorough discussion of supplication and a bibliography of previous scholarship, see F.S. Naiden, Ancient Supplication (Oxford, 2006); for these three supplications: pp. 3–4 and 11. See also M. Dreher, ‘Die Hikesie-Szene der Odyssee und der Ursprung des Asylgedankens’, in A. Luther (ed.), Geschichte und Fiktion in der homerischen Odyssee (Munich, 2006), 61–75, at 55–6; K. Crotty, The Poetics of Supplication: Homer’s Iliad and Odyssey (Ithaca, NY and London, 1994), 121–9 and 151–6; V. Pedrick, ‘Supplication in the Iliad and the Odyssey’, TAPhA 112 (1982), 125–40, at 133–4; J. Gould, ‘Hiketeia’, JHS 93 (1973), 74–103, at 80–1.

Classical Quarterly 65.1 1–13 © The Classical Association (2015) 1 doi:10.1017/S0009838814000573

 

 

under an ox hide is intended to evoke humour and provide relief from the high tension and drama of the Mnesterophonia.2 Indeed, Odysseus himself genuinely smiles for the first time in the poem when Medon hastily throws off the newly flayed skin and grasps Telemachus by the knees in supplication (22.371).3 This transitional scene, however, accomplishes more than simply lending humour and providing respite to the audience at a crucial point in the narrative. This deeper significance derives from an earlier inci- dent, the escape of Odysseus and his men from the Cyclops. Although some have noted that the herald’s method of concealment hearkens back to the seals’ skins under which Menelaus and his men hide in order to ambush Proteus (4.436–40),4 the larger context sug- geststhat Medon’s escape is an allusion toOdysseus’ ownandmore recentlynarrated escape from the cave of the Cyclops.5 This allusion is, in fact, part of a much larger web of allusions to the Cyclopeia on Ithaca, which ultimately point to a central issue of the Odyssey: the prob- lem of the reintegration of Odysseus into the post-heroic world of Ithaca.

There are several factors that favour such a reading of Medon’s method of escape. First are the numerous references to the Cyclopeia in the Ithacan sequence. The earliest is in Book 13. When Odysseus awakes on the shore of Ithaca but is unaware that he is finally home, he exclaims (13.200–2):

ὤ μοι ἐγώ, τέων αὖτε βροτῶν ἐς γαῖαν ἱκάνω; ἤ ῥ’ οἵ γ’ ὑβρισταί τε καὶ ἄγριοι οὐδὲ δίκαιοι, ἦε φιλόξεινοι καί σφιν νόος ἐστὶ θεουδής;

‘Oh no! Whose land have I come to now? Are they violent and savage and unjust, or are they friendly to strangers and god-fearing men?’

2 W.B. Stanford, Homer: Odyssey Books XIII–XXIV (London, 19652), 386, at line 362; M. Fernández-Galiano, J. Russo and A. Heubeck, A Commentary on Homer’s Odyssey, vol. 3: Books XVII–XXIV (Oxford, 1992), 282–3, at lines 362–3; I.J.F. de Jong, A Narratological Commentary on the Odyssey (Cambridge, 2001), 540, at line 371.

3 A point noted by both Stanford (n. 2), 386, at line 371 and Fernández-Galiano (n. 2), 284, at line 371. Odysseus does smile at 20.301, but this smile, as Stanford remarks, is more of a ‘sardonic humourless grimace’ occasioned by Ctesippus’ verbal and (attempted) physical abuse of Odysseus; see also D. Lateiner, The Sardonic Smile: Nonverbal Behavior in Homeric Epic (Ann Arbor, 1995), 193–5, for more on this sardonic smile. For the meaning of Odysseus’ smiles and how these smiles occur at important points in the action, mirroring the different stages of the hero’s resumption of power on Ithaca, see D.B. Levine, ‘Odysseus’ Smiles: Odyssey 20.301, 22.371, 23.111’, TAPhA 114 (1984), 1–9 (5–7 for an analysis of this particular grin).

4 Stanford (n. 2), 386, at line 362; Fernández-Galiano (n. 2), 283, at lines 362–3. The adjective νεόδαρτος, which is used in both scenes to describe the animal skins that conceal Menelaus and his men (4.437) and Medon (22.363), appears to be responsible for the focus on parallels with Menelaus. This is not to suggest that Menelaus’ hiding under a seal’s skin cannot be recalled here as well. Hiding under animals or animal skins and even inside animals (i.e. the Wooden Horse) is a common theme in a poem almost obsessed with the opposition of concealing and revealing (cf. E. Block, ‘Clothing makes the man: a pattern in the Odyssey’, TAPhA 115 [1985], 1–11, on cloth- ing, disguise and lying). Note too Odysseus’ earlier disguise as beggar to infiltrate Troy (4.242–9), and Calypso, whose very name suggests ‘concealing’ and ‘covering’, and Odysseus’ clever adoption of the name that is ‘no-name’. The numerous references to the Cyclopeia in these scenes, I argue (see below for details), prepare us to view Medon’s method of escape as belonging to this same series of allusions.

5 B.B. Powell, Composition by Theme in the ‘Odyssey’. Beiträge zur klassischen Philologie 81 (Meisenham am Glam, 1977), 46 correctly sees a parallel here with Odysseus’ escape from Polyphemus, but he simply mentions this in passing and does not develop the point further: ‘a vari- ation of the ruse by which Odysseus saved himself and his men from Polyphemus’.

TIM BRELINSKI2

 

 

Odysseus utters this same phrase just two other times in the poem, the first on his awa- kening on Scheria (6.119–21), and the second before he sets out to reconnoitre the land of the Cyclopes (9.175–7). Now, finally on the shores of Ithaca, he is asking, in effect, whether this land will be inhabited by people like the Phaeacians or the Cyclopes. And the answer, interestingly, is both. Just as Odysseus will recombine elements of the Cyclopeia in his own palace so, too, will the Ithacans represent examples of both good xenia (Eumaeus and Penelope) and bad (the suitors and their partisans: especially Melanthius and Melantho).

Book 20 opens with an even more explicit reference to the Cyclopeia. As Odysseus lies down to sleep on the night before the archery contest, he hears his maids running about the place for a night-time tryst with the suitors. This causes him to exclaim aloud to himself (20.18–21):

τέτλαθι δή, κραδίη· καὶ κύντερον ἄλλο ποτ᾽ ἔτλης, ἤματι τῷ, ὅτε μοι μένος ἄσχετος ἤσθιε Κύκλωψ ἰφθίμους ἑτάρους· σὺ δ᾽ ἐτόλμας, ὄφρα σε μῆτις ἐξάγαγ᾽ ἐξ ἄντροιο ὀιόμενον θανέεσθαι.

‘Come on now, heart, endure! You endured another and more shameful thing on that day when the Cyclops, irresistible, devoured my good men; but you bore it until your cunning led you, certain you were dead, out of the cave.’

Odysseus’ reference to these past events is an important reminder to himself that, just as he had then to endure Polyphemus’ cannibalism,6 so now, too, he must endure the maids’ infidelity and the suitors’ devouring of his goods, if he is not to be the victim again, this time in his own ‘cave’. For his own palace has become a very dangerous place. The parallels with his former situation are obvious: if Odysseus had followed his first impulse and killed Polyphemus, he and his companions would have perished inside the cave; if he punishes the maids now, he will lose the element of surprise and the 108 suitors will make quick work of him.7

This dilemma leads Odysseus’ thoughts to another and related problem: what to do after the suitors are dead. Still unable to fall asleep, he is visited by Athena. He asks the goddess a most pertinent question, ‘What happens if I do kill the suitors?’ (20.41–3):

πρὸς δ᾽ ἔτι καὶ τόδε μεῖζον ἐνὶ φρεσὶ μερμηρίζω· εἴ περ γὰρ κτείναιμι Διός τε σέθεν τε ἕκητι, πῇ κεν ὑπεκπροφύγοιμι; τά σε φράζεσθαι ἄνωγα.

‘There’s something else too, and more important, on my mind: “If you and Zeus will it and I kill the suitors, how could I possibly escape and to where? Come on and think this over.”’

6 When Odysseus, enraged at Polyphemus’ first meal of man-flesh, contemplates stabbing the mon- ster, he suddenly realizes that to do so would mean their certain doom since they would not be able to remove the stone from the cave’s entrance (9.299–305). For a thorough discussion of the similarities between these two situations, see J. Strauss Clay, The Wrath of Athena: Gods and Men in the Odyssey (Lanham, MD, 19972), 121–5.

7 Cf. also Odysseus’ deliberation about how to respond to Melanthius’ abuse at the spring of the Nymphs (17.204–38). There, too, he chose restraint to keep his true identity hidden.

MEDON MEETS A CYCLOPS 3

 

 

Just as he must think twice before he acts in the matter of his maids, so here too must Odysseus keep his wits about him. If he does not, he will be caught in his own house and be surrounded again, this time not by a band of Cyclopes, but by his own towns- people. In fact, this is just what Odysseus successfully avoids by advising Telemachus, immediately after the Mnesterophonia, to bring in Phemius and the maids, who are to sing and dance so that anyone passing by would imagine that the house is celebrating a wedding (23.137–40):

μὴ πρόσθε κλέος εὐρὺ φόνου κατὰ ἄστυ γένηται ἀνδρῶν μνηστήρων, πρίν γ᾽ ἡμέας ἐλθέμεν ἔξω ἀγρὸν ἐς ἡμέτερον πολυδένδρεον. ἔνθα δ᾽ ἔπειτα φρασσόμεθ᾽ ὅττί κε κέρδος Ὀλύμπιος ἐγγυαλίξῃ.

‘Lest the rumour of the suitors’ slaughter spread through town before we get out to our many- treed farm. And there, then, we’ll see what plan Olympian Zeus will hand us.’

Even earlier, when faced with a similar situation, Odysseus, to prevent the suitors from alerting the townspeople, stationed Eumaeus at the one spot (ὀρσοθύρη) where his opponents could conceivably carry the news of their ambush to the outside (22.126– 30). This idea was first aired by Eurymachus after Odysseus had refused his offer of a settlement (22.75–8). A little later, Agelaus attempted to implement the same plan and urged his companions to get to that very spot to raise the alarm (22.132–4). Whether captive or captor, Odysseus’ forethought nearly always renders his enemies resourceless.

These, then, are some concrete examples of the poet returning to the theme of the Cyclopeia immediately upon the arrival of Odysseus on Ithaca and even on the very night before and day of the Mnesterophonia. In a sense, Odysseus’ home has become the Cyclops’ cave; to escape these dangers Odysseus must employ both self-control and cunning: his signature qualities as embodied in the epithets πολύμητις and πολύτλας.

In addition to these references to the events and dilemmas Odysseus encountered and overcame in the Cyclops’ cave, there are also many repeated elements from the Cyclopeia which actually cast Odysseus in the unexpected role of Polyphemus,8 a role that has received too little scholarly attention.9 A brief review of the more obvious

8 This is not to suggest that Odysseus’ situation and actions on Ithaca simply repeat Polyphemus’ in the cave. Odysseus, as I will demonstrate below, reprises significant elements of the ogre’s role there, but he also repeats some of his actions as Polyphemus’ captive (e.g. he keeps the suitors from announ- cing their plight to the townspeople, which is parallel to Odysseus’ assumption of a false name to ren- der Polyphemus’ cries for help useless). Odysseus, thus, combines in this action his former role as captive (keeping his enemy from seeking help) and Polyphemus’ former role of captor (keeping his opponents shut in).

9 For an excellent but somewhat brief discussion of Odysseus as Cyclops, see M. Alden, ‘An intel- ligent Cyclops?’, in Σπονδὲς στὸν Ὅμηρο. Μνήμη Ἰ.Θ. Κακριδῆ (Ithaki, 1993), 75–95, who lists many of the following parallels between Polyphemus and Odysseus. Alden herself does not offer a convincing explanation for this pairing of hero and ogre other than to appeal (p. 76) to S. Fenik’s discussion of doublets (Studies in the Odyssey. Hermes Einzelschriften 30 [Wiesbaden, 1974], p. 142), suggesting only that the Cyclopeia is a preparatory doublet for Odysseus’ return to Ithaca as an intelligent ogre. While I agree with her characterization of Odysseus as an intelligent Cyclops, I offer a different solution to this unexpected pairing in the pages that follow. For additional discussion of the interconnectedness of Odysseus and Polyphemus, see particularly W.T. Magrath, ‘Progression of the lion simile in the “Odyssey”’, CJ 77.3 (1982), 205–12; N. Austin, ‘Odysseus

TIM BRELINSKI4

 

 

details will suffice to illustrate this fact. Odysseus comes home to find his house occu- pied by strangers, who are slaughtering his animals, drinking his wine and eating his food, a situation not unlike the one Polyphemus experiences when he returns home only to find Odysseus and his men eating his cheeses, drinking his milk, and planning to steal his sheep (9.215–27). Just as Polyphemus makes certain his captives cannot escape by placing a huge door on his cave’s exit (9.240–3), so too Odysseus locks the suitors in his house and blocks their escape (21.240–1). Odysseus’ size and strength are also considerably greater than the suitors’. Our hero claims that Polyphemus lifted a massive rock and put it into place over the cave’s entrance as easily as a man puts a lid on a quiver (9.313–14). This brief archery simile looks forward to the slaughter of the suitors by a master bowman, who is also a master storyteller, which two roles are com- bined in the narrator’s description of Odysseus as he strings his bow on Ithaca. There the narrator notes that this bow, which no suitor is able even to bend (21.249–55; 24.170–1), is strung by Odysseus as easily as a bard fits a string to his lyre (21.404–11). And Odysseus does all this while seated (21.420)! Just as Polyphemus’ size shocks Odysseus (9.187–92), so too do the suitors stare in amazement at the beggar’s mighty arms and legs as he prepares to fight Irus (18.66–71). And Antinous recalls seeing Odysseus years ago and comments on his exceptional strength, noting that there is no man among them now like Odysseus was then (21.85–95). Descriptions of blood and brains also abound in both the Cyclops’ cave and in Odysseus’ palace. Polyphemus dashes the heads of Odysseus’ companions against the rock like puppies, and their brains and blood wet the ground (9.289–90); he also tells his favourite ram that he would splatter his cave with Nobody’s brains, if he could just get hold of that good-for-nothing Nobody (9.458–60). Athena likewise assures Odysseus that the suitors’ blood and brains will splat- ter the threshold (13.394–6). And in the case of Antinous, Odysseus’ first kill, the blood that flows from his nostrils is described with an adjective, ἀνδρόμεος ‘of man, human’ (22.19), that appears only four times in the Odyssey; the other three occurrences are all applied to Polyphemus’ meals of man-flesh (9.297, 347, 374).10 Odysseus’ first victim, then, is connected semantically with the Cyclops’ victims, which suggests that the type of slaughter that is to follow Antinous’ death will be as bloody and inexorable as Polyphemus’. Then there is Theoclymenus’ eerie vision (20.351–7) of the suitors’ coming death, which includes a description of the beautiful walls and pillars spattered with their blood. And Odysseus and his allies, after the suitors have been routed by Athena and

and the Cyclops: who is who?’, in C.A. Rubino and C.W. Shelmerdine (edd.), Approaches to Homer (Austin, 1983), 3–37; and E.J. Bakker, ‘Polyphemus’, Colby Quarterly 38.2 (2002), 135–50. The sui- tors, too, act in many ways like Polyphemus, particularly in their eating and drinking and treatment of strangers. Ctesippus, a suitor described as knowing ἀθεμίστια (20.287), an adjective applied to Polyphemus’ thoughts as well (9.189), even goes so far as to throw an ox’s hoof at Odysseus as a ξείνιον (20.287–303), an obvious reference to Polyphemus’ promise to eat Nobody last as a ξείνιον (9.355–70). For detailed discussion of this and other features shared between Polyphemus and the suitors, see especially S. Reece, The Stranger’s Welcome: Oral Theory and the Aesthetics of the Homeric Hospitality Scene (Ann Arbor, 1993), 165–87. Cf. also Alden (this note), 75–6, 89–94; Powell (n. 5), 43–6; and S. Saïd, ‘Les crimes des prétendants, la maison d’Ulysse et les festins de l’Odyssée’, in Études de littérature ancienne (Paris, 1979), 9–49. There is, of course, much more to be said about the poet’s use of narrative repetition in general, and Odysseus’ reprisal of the Cyclopeia on Ithaca in particular. Just such a study forms a chapter in my dissertation ‘Narrative patterns in the Odyssey: repetition and the creation of meaning’ (Diss., University of Virginia, 2008), 59–104, which I am currently revising for publication.

10 Both Saïd (n. 9), 40–1 and Reece (n. 9), 174–5 discuss this connection but to make a different point, that the poet is linking the punishment visited upon the suitors with that applied to Polyphemus.

MEDON MEETS A CYCLOPS 5

 

 

simply run for any cover they can find, pace back and forth throughout the halls and strike the suitors on the head and the ground is said to flow with blood (22.308–9; 24.183–5). Finally, in a manner reminiscent of Polyphemus’ sitting in the doorway of his cave and waiting for Odysseus and his companions to attempt to escape, Odysseus, perhaps recal- ling the earlier escape of Phemius and Medon, returns to the slaughtered suitors lying in the blood and dust to see if any are trying to escape death by concealment (22.381–2).11

In addition to the above reminiscences of the Cyclopeia, all of which favour a read- ing of Medon’s successful escape as one more reference to the events in that dark cave, Medon’s situation also corresponds more closely to Odysseus’ in the cave than to Menelaus’ on the beach. Odysseus hides under a ram to escape a menacing monster who knows no mercy (9.424–61); Menelaus lies under a skin to ambush a god (4.435–55). The former is defensive, seeking to escape certain death, the latter aggres- sive. Moreover, the hide with which Medon is concealed is the by-product of the suitors’ depredations on Odysseus’ herds, a fact made clear by the adjective applied to this ox hide (νεόδαρτον, 22.363). Thus, Medon attempts to escape detection under the hide of an animal that belongs to Odysseus, just as Odysseus escaped death beneath an animal that belonged to Polyphemus. The shared predicament and method of escape, then, of both Odysseus and Medon are alone sufficient reason for reading Medon’s escape as an allusion to Odysseus’ own. The palace has become the cave and Odysseus the Cyclops.

Assignment: Essay

Assignment: Essay #3 Due electronically by Monday, 12/6

Write two papers as described in ONE of the following prompts. To jog your memory, the poetry exercises are posted below. If you’d like to write on a prompt that’s attached to a poetry exercise your section didn’t get a chance to do, please email me and I’ll make arrangements for you to complete the exercise in question.

A. Part 1: Write 300-500 words reflecting on your experiences during poetry exercise 1. Part 2: Choose a character other than Odysseus. Write an essay (between 1200 and 1500 words in length) in which you explain how Homer identifies that character’s speeches in the Odyssey as belonging to that character (other than just saying “X said Y,” of course.) What words, subjects, themes, literary devices and/or forms of self-reference are characteristic of your chosen character’s way of speaking?

B. Part 1: Write 300-500 words reflecting on your experiences during poetry exercise 2. Part 2: Choose a character other than Odysseus or Telemachus. Write an essay (between 1200 and 1500 words in length) in which you a.) identify one or more passages of narrative (NOT speech) that are narrated from that character’s point of view (i.e., focalized on that character); b.) say which textual details allowed you to identify the passage(s) you’ve chosen; and c.) having done all that, say what this investigation adds to your understanding of the character you’ve chosen.

C. Part 1: Write 300-500 words reflecting on your experiences during poetry exercise 3. Part 2: Choose a character with whom Odysseus interacts in the Odyssey. Write an essay (between 1200 and 1500 words in length) that addresses the following questions: What information does your chosen character provide Odysseus? Identify one or more things that Odysseus learns from your chosen character without his asking about them directly. How does Odysseus elicit this information without asking about it directly? Offer a hypothesis as to why Odysseus might prefer to elicit this information by indirect means.

Medon Meets a Cyclops

1. Two Summaries

Read “Medon Meets a Cyclops” and “Epic Ways of Killing a Woman,” then write a summary of that article, no more than ½ page in length, which explains the article’s main claim and the arguments it uses to support that claim.

2. One poem

Write 20-40 lines of epic poetry about your life.  How you make it poetry is up to you; you may want to use rhyme, meter or other formal devices.  How you make it “epic” is also up to you, but you can apply some of the things you’ve learned in lecture and section to make what you write more like the Odyssey.  Like Odysseus, you should not feel bound by a strict respect for the truth.

For Part 1, write 400–500 words analyzing characterization and point of view

For Part 1, write 400–500 words analyzing characterization and point of view in “A&P,” “The

Yellow Wallpaper,” and “Lust.” The main characters in each of these stories are young people

coming of age. Compare and contrast the author’s techniques in developing each character. How

does the perspective of each story enhance our understanding of each character’s personality? Be

sure to refer to specific points in each story to support your analysis. You must use at least two

quotes in your response.

For Part 2, choose one of the following activities and write 400–500 words providing the

required analysis. Include sufficient support from the story for your analysis and conclusions.

You must use at least two quotes in your response. You’ll use standard essay format.

1. Analyze the style and tone in “Killings” and “Famine.” What techniques does the

author use to establish the mood of the story? How does language contribute to tone?

Compare and contrast how diction, voice, and irony affect the way each story is told.

2. Analyze the themes of “Popular Mechanics” and “Janus.” What do you believe are the

themes for these stories? Compare how theme is developed through the plots and

characters of each story.

For Part 3, choose one of the following activities and write 400–500 words providing the

required analysis. Include sufficient support from the poem for your analysis and conclusions.

You must use at least two quotes in your response. You’ll use standard essay format. Be sure to

work through the writing process outlined in your textbook, use MLA for textual and workscited

documentation, and apply standard written conventions.

1. Analyze the word choice, tone, and images found in “The Supremes” and “The

Schoolroom on the Second Floor of the Knitting Mill.” How do the authors capture the

experience of being in school? What words and images in each poem help convey the

tone? Explain how these elements of each poem work together to create a

familiar/recognizable impression on the reader.

2. Analyze the symbol, allegories, irony, and figures of speech found in “Schizophrenia”

and “The Joy of Cooking.” How do figures of speech enhance each poem’s meaning?

Remember to not just identify the kind of language being used but to also analyze the

significance behind this language.

After going through the presentation Tone, Style and Irony what do you think is the tone of the story Courting a Monk (pages 394-405) by Katherine Min. Your answer must be 150 words

 After going through the presentation Tone, Style and Irony what do you think is the tone of the story Courting a Monk (pages 394-405) by Katherine Min. Your answer must be 150 words

Expectations and challenges are perceived by the student at the Master of Health Services Administration program for health professionals

Expectations and challenges are perceived by the student at the Master of Health Services Administration program for health professionals

Roger Button stopped before we had reached the green and pointed.

A Village After Dark (2001) By Kazuo Ishiguro There was a time when I could travel England for weeks on end and remain at my sharpest—when, if anything, the travelling gave me an edge. But now that I am older I become disoriented more easily. So it was that on arriving at the village just after dark I failed to find my bearings at all. I could hardly believe I was in the same village in which not so long ago I had lived and come to exercise such influence.

There was nothing I recognized, and I found myself walking forever around twisting, badly lit streets hemmed in on both sides by the little stone cottages characteristic of the area. The streets often became so narrow I could make no progress without my bag or my elbow scraping one rough wall or another. I persevered nevertheless, stumbling around in the darkness in the hope of coming upon the village square—where I could at least orient myself—or else of encountering one of the villagers. When after a while I had done neither, a weariness came over me, and I decided my best course was just to choose a cottage at random, knock on the door, and hope it would be opened by someone who remembered me.

I stopped by a particularly rickety-looking door, whose upper beam was so low that I could see I would have to crouch right down to enter. A dim light was leaking out around the door’s edges, and I could hear voices and laughter. I knocked loudly to insure that the occupants would hear me over their talk. But just then someone behind me said, “Hello.”

I turned to find a young woman of around twenty, dressed in raggedy jeans and a torn jumper, standing in the darkness a little way away.

“You walked straight past me earlier,” she said, “even though I called to you.”

“Did I really? Well, I’m sorry. I didn’t mean to be rude.”

 

 

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“You’re Fletcher, aren’t you?”

“Yes,” I said, somewhat flattered.

“Wendy thought it was you when you went by our cottage. We all got very excited. You were one of that lot, weren’t you? With David Maggis and all of them.”

“Yes,” I said, “but Maggis was hardly the most important one. I’m surprised you pick him out like that. There were other, far more important figures.” I reeled off a series of names and was interested to see the girl nodding at each one in recognition. “But this must have all been before your time,” I said. “I’m surprised you know about such things.”

“It was before our time, but we’re all experts on your lot. We know more about all that than most of the older ones who were here then. Wendy recognized you instantly just from your photos.”

“I had no idea you young people had taken such an interest in us. I’m sorry I walked past you earlier. But you see, now that I’m older, I get a little disoriented when I travel.”

I could hear some boisterous talk coming from behind the door. I banged on it again, this time rather impatiently, though I was not so eager to bring the encounter with the girl to a close.

She looked at me for a moment, then said, “All of you from those days are like that. David Maggis came here a few years ago. In ’93, or maybe it was ’94. He was like that. A bit vague. It must get to you after a while, travelling all the time.”

“So Maggis was here. How interesting. You know, he wasn’t one of the really important figures. You mustn’t get carried away with such an idea. Incidentally, perhaps you could tell me who lives in this cottage.” I thumped the door again.

“The Petersons,” the girl said. “They’re an old house. They’ll probably remember you.”

“The Petersons,” I repeated, but the name meant nothing to me.

 

 

3

“Why don’t you come to our cottage? Wendy was really excited. So were the rest of us. It’s a real chance for us, actually talking to someone from those days.”

“I’d very much like to do that. But first of all I’d better get myself settled in. The Petersons, you say.”

I thumped the door again, this time quite ferociously. At last it opened, throwing warmth and light out into the street. An old man was standing in the doorway. He looked at me carefully, then asked, “It’s not Fletcher, is it?”

“Yes, and I’ve just got into the village. I’ve been travelling for several days.”

He thought about this for a moment, then said, “Well, you’d better come in.”

I found myself in a cramped, untidy room full of rough wood and broken furniture. A log burning in the fireplace was the only source of light, by which I could make out a number of hunched figures sitting around the room. The old man led me to a chair beside the fire with a grudgingness that suggested it was the very one he had just vacated. Once I sat down, I found I could not easily turn my head to see my surroundings or the others in the room. But the warmth of the fire was very welcome, and for a moment I just stared into its flames, a pleasant grogginess drifting over me. Voices came from behind me, inquiring if I was well, if I had come far, if I was hungry, and I replied as best I could, though I was aware that my answers were barely adequate. Eventually, the questions ceased, and it occurred to me that my presence was creating a heavy awkwardness, but I was so grateful for the warmth and the chance to rest that I hardly cared.

Nonetheless, when the silence behind me had gone unbroken for several minutes, I resolved to address my hosts with a little more civility, and I turned in my chair. It was then, as I did so, that I was suddenly seized by an intense sense of recognition. I had chosen the cottage quite at random, but now I could see that it was none other than the very one in which I had spent my years in this village. My gaze moved immediately to the far corner—at this moment shrouded in darkness—to the spot that had

 

 

4

been my corner, where once my mattress had been and where I had spent many tranquil hours browsing through books or conversing with whoever happened to drift in. On summer days, the windows, and often the door, were left open to allow a refreshing breeze to blow right through. Those were the days when the cottage was surrounded by open fields and there would come from outside the voices of my friends, lazing in the long grass, arguing over poetry or philosophy. These precious fragments of the past came back to me so powerfully that it was all I could do not to make straight for my old corner then and there.

Someone was speaking to me again, perhaps asking another question, but I hardly listened. Rising, I peered through the shadows into my corner, and could now make out a narrow bed, covered by an old curtain, occupying more or less the exact space where my mattress had been. The bed looked extremely inviting, and I found myself cutting into something the old man was saying.

“Look,” I said, “I know this is a bit blunt. But, you see, I’ve come such a long way today. I really need to lie down, close my eyes, even if it’s just for a few minutes. After that, I’m happy to talk all you like.”

I could see the figures around the room shifting uneasily. Then a new voice said, rather sullenly, “Go ahead then. Have a nap. Don’t mind us.”

But I was already picking my way through the clutter toward my corner. The bed felt damp, and the springs creaked under my weight, but no sooner had I curled up with my back to the room than my many hours of travelling began to catch up with me. As I was drifting off, I heard the old man saying, “It’s Fletcher, all right. God, he’s aged.”

A woman’s voice said, “Should we let him go to sleep like that? He might wake in a few hours and then we’ll have to stay up with him.”

“Let him sleep for an hour or so,” someone else said. “If he’s still asleep after an hour, we’ll wake him.”

At this point, sheer exhaustion overtook me.

 

 

5

It was not a continuous or comfortable sleep. I drifted between sleep and waking, always conscious of voices behind me in the room. At some point, I was aware of a woman saying, “I don’t know how I was ever under his spell. He looks such a ragamuffin now.”

In my state of near-sleep, I debated with myself whether these words applied to me or, perhaps, to David Maggis, but before long sleep engulfed me once more.

When I next awoke, the room appeared to have grown both darker and colder. Voices were continuing behind me in lowered tones, but I could make no sense of the conversation. I now felt embarrassed at having gone to sleep in the way I had, and for a few further moments remained motionless with my face to the wall. But something about me must have revealed that I was awake, for a woman’s voice, breaking off from the general conversation, said, “Oh, look, look.” Some whispers were exchanged, then I heard the sound of someone coming toward my corner. I felt a hand placed gently on my shoulder, and looked up to find a woman kneeling over me. I did not turn my body sufficiently to see the room, but I got the impression that it was lit by dying embers, and the woman’s face was visible only in shadow.

“Now, Fletcher,” she said. “It’s time we had a talk. I’ve waited a long time for you to come back. I’ve thought about you often.”

I strained to see her more clearly. She was somewhere in her forties, and even in the gloom I noticed a sleepy sadness in her eyes. But her face failed to stir in me even the faintest of memories.

“I’m sorry,” I said. “I have no recollection of you. But please forgive me if we met some time ago. I do get very disoriented these days.”

“Fletcher,” she said, “when we used to know one another, I was young and beautiful. I idolized you, and everything you said seemed like an answer. Now here you are, back again. I’ve wanted to tell you for many years that you ruined my life.”

 

 

6

“You’re being unfair. All right, I was mistaken about a lot of things. But I never claimed to have any answers. All I said in those days was that it was our duty, all of us, to contribute to the debate. We knew so much more about the issues than the ordinary people here. If people like us procrastinated, claiming we didn’t yet know enough, then who was there to act? But I never claimed I had the answers. No, you’re being unfair.”

“Fletcher,” she said, and her voice was oddly gentle, “you used to make love to me, more or less every time I wandered in here to your room. In this corner, we did all kinds of beautifully dirty things. It’s odd to think how I could have once been so physically excited by you. And here you’re just a foul-smelling bundle of rags now. But look at me— I’m still attractive. My face has got a bit lined, but when I walk in the village streets I wear dresses I’ve made specially to show off my figure. A lot of men want me still. But you, no woman would look at you now. A bundle of stinking rags and flesh.”

“I don’t remember you,” I said. “And I’ve no time for sex these days. I’ve other things to worry about. More serious things. Very well, I was mistaken about a lot in those days. But I’ve done more than most to try and make amends. You see, even now I’m travelling. I’ve never stopped. I’ve travelled and travelled trying to undo what damage I may once have caused. That’s more than can be said of some others from those days. I bet Maggis, for instance, hasn’t worked nearly as hard to try and put things right.”

The woman was stroking my hair.

“Look at you. I used to do this, run my fingers through your hair. Look at this filthy mess. I’m sure you’re contaminated with all sorts of parasites.” But she continued slowly to run her fingers through the dirty knots. I failed to feel anything erotic from this, as perhaps she wished me to do. Rather, her caresses felt maternal. Indeed, for a moment it was as though I had finally reached some cocoon of protectiveness, and I began once more to feel sleepy. But suddenly she stopped and slapped me hard on the forehead.

“Why don’t you join the rest of us now? You’ve had your sleep. You’ve got a lot of explaining to do.” With that she got up and left.

 

 

7

For the first time, I turned my body sufficiently to survey the room. I saw the woman making her way past the clutter on the floor, then sitting down in a rocking chair by the fireplace. I could see three other figures hunched around the dying fire. One I recognized to be the old man who had opened the door. The two others—sitting together on what looked like a wooden trunk—seemed to be women of around the same age as the one who had spoken to me.

The old man noticed that I had turned, and he indicated to the others that I was watching. The four of them proceeded to sit stiffly, not speaking. From the way they did this, it was clear that they had been discussing me thoroughly while I was asleep. In fact, as I watched them I could more or less guess the whole shape their conversation had taken. I could see, for instance, that they had spent some time expressing concern for the young girl I had met outside, and about the effect I might have on her peers.

“They’re all so impressionable,” the old man would have said. “And I heard her inviting him to visit them.”

To which, no doubt, one of the women on the trunk would have said, “But he can’t do much harm now. In our time, we were all taken in because all his kind—they were young and glamorous. But these days the odd one passing through from time to time, looking all decrepit and burned out like that—if anything, it goes to demystify all that talk about the old days. In any case, people like him have changed their position so much these days. They don’t know themselves what they believe.”

The old man would have shaken his head. “I saw the way that young girl was looking at him. All right, he looks a pitiful mess over there just now. But once his ego’s fed a little, once he has the flattery of the young people, sees how they want to hear his ideas, then there’ll be no stopping him. It’ll be just like before. He’ll have them all working for his causes. Young girls like that, there’s so little for them to believe in now. Even a stinking tramp like this could give them a purpose.”

Their conversation, all the time I slept, would have gone something very much like that. But now, as I observed them from my corner, they continued to sit in guilty silence,

 

 

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staring at the last of their fire. After a while, I rose to my feet. Absurdly, the four of them kept their gazes averted from me. I waited a few moments to see if any of them would say anything. Finally, I said, “All right, I was asleep earlier, but I’ve guessed what you were saying. Well, you’ll be interested to know I’m going to do the very thing you feared. I’m going this moment to the young people’s cottage. I’m going to tell them what to do with all their energy, all their dreams, their urge to achieve something of lasting good in this world. Look at you, what a pathetic bunch. Crouching in your cottage, afraid to do anything, afraid of me, of Maggis, of anyone else from those times. Afraid to do anything in the world out there, just because once we made a few mistakes. Well, those young people haven’t yet sunk so low, despite all the lethargy you’ve been preaching at them down the years. I’ll talk to them. I’ll undo in half an hour all of your sorry efforts.”

“You see,” the old man said to the others. “I knew it would be this way. We ought to stop him, but what can we do?”

I crashed my way across the room, picked up my bag, and went out into the night.

The girl was still standing outside when I emerged. She seemed to be expecting me and with a nod began to lead the way.

The night was drizzly and dark. We twisted and turned along the narrow paths that ran between the cottages. Some of the cottages we passed looked so decayed and crumbling that I felt I could destroy one of them simply by running at it with all my weight.

The girl kept a few paces ahead, occasionally glancing back at me over her shoulder. Once she said, “Wendy’s going to be so pleased. She was sure it was you when you went past earlier. By now, she’ll have guessed she was right, because I’ve been away this long, and she’ll have brought the whole crowd together. They’ll all be waiting.”

“Did you give David Maggis this sort of reception, too?”

“Oh, yes. We were really excited when he came.”

 

 

9

“I’m sure he found that very gratifying. He always had an exaggerated sense of his own importance.”

“Wendy says Maggis was one of the interesting ones, but that you were, well, important. She thinks you were really important.”

I thought about this for a moment.

“You know,” I said, “I’ve changed my mind on very many things. If Wendy’s expecting me to say all the things I used to all those years ago, well, she’s going to be in for a disappointment.”

The girl did not seem to hear this, but continued to lead me purposefully through the clusters of cottages.

After a little while, I became aware of footsteps following a dozen or so paces behind us. At first, I assumed this was just some villager out walking and refrained from turning round. But then the girl halted under a street lamp and looked behind us. I was thus obliged also to stop and turn. A middle-aged man in a dark overcoat was coming toward us. As he approached, he held out his hand and shook mine, though without smiling.

“So,” he said, “you’re here.”

I then realized I knew the man. We had not seen each other since we were ten years old. His name was Roger Button, and he had been in my class at the school I had attended for two years in Canada before my family returned to England. Roger Button and I had not been especially close, but, because he had been a timid boy, and because he, too, was from England, he had for a while followed me about. I had neither seen nor heard from him since that time. Now, as I studied his appearance under the street lamp, I saw the years had not been kind to him. He was bald, his face was pocked and lined, and there was a weary sag to his whole posture. For all that, there was no mistaking my old classmate.

 

 

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“Roger,” I said, “I’m just on my way to visit this young lady’s friends. They’ve gathered together to receive me. Otherwise I’d have come and looked you up straightaway. As it was, I had it in my mind as the next thing to do, even before getting any sleep tonight. I was just thinking to myself, However late things finish at the young people’s cottage, I’ll go and knock on Roger’s door afterward.”

“Don’t worry,” said Roger Button as we all started to walk again. “I know how busy you are. But we ought to talk. Chew over old times. When you last saw me—at school, I mean—I suppose I was a rather feeble specimen. But, you know, that all changed when I got to fourteen, fifteen. I really toughened up. Became quite a leader type. But you’d long since left Canada. I always wondered what would have happened if we’d come across each other at fifteen. Things would have been rather different between us, I assure you.”

As he said this, memories came flooding back. In those days, Roger Button had idolized me, and in return I had bullied him incessantly. However, there had existed between us a curious understanding that my bullying him was all for his own good; that when, without warning, I suddenly punched him in the stomach on the playground, or when, passing him in the corridor, I impulsively wrenched his arm up his back until he started to cry, I was doing so in order to help him toughen up. Accordingly, the principal effect such attacks had on our relationship was to keep him in awe of me. This all came back to me as I listened to the weary-looking man walking beside me.

“Of course,” Roger Button went on, perhaps guessing my train of thought, “it might well be that if you hadn’t treated me the way you did I’d never have become what I did at fifteen. In any case, I’ve often wondered how it would have been if we’d met just a few years later. I really was something to be reckoned with by then.”

We were once again walking along the narrow twisted passages between cottages. The girl was still leading the way, but she was now walking much faster. Often we would only just manage to catch a glimpse of her turning some corner ahead of us, and it struck me that we would have to keep alert if we were not to lose her.

 

 

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“Today, of course,” Roger Button was saying, “I’ve let myself go a bit. But I have to say, old fellow, you seem to be in much worse shape. Compared with you, I’m an athlete. Not to put too fine a point on it, you’re just a filthy old tramp now, really, aren’t you? But, you know, for a long time after you left I continued to idolize you. Would Fletcher do this? What would Fletcher think if he saw me doing that? Oh, yes. It was only when I got to fifteen or so that I looked back on it all and saw through you. Then I was very angry, of course. Even now, I still think about it sometimes. I look back and think, Well, he was just a thoroughly nasty so-and-so. He had a little more weight and muscle at that age than I did, a little more confidence, and he took full advantage. Yes, it’s very clear, looking back, what a nasty little person you were. Of course, I’m not implying you still are today. We all change. That much I’m willing to accept.”

“Have you been living here long?” I asked, wishing to change the subject.

“Oh, seven years or so. Of course, they talk about you a lot around here. I sometimes tell them about our early association. ’But he won’t remember me,’ I always tell them. ’Why would he remember a skinny little boy he used to bully and have at his beck and call?’ Anyway, the young people here, they talk about you more and more these days. Certainly, the ones who’ve never seen you tend to idealize you the most. I suppose you’ve come back to capitalize on all that. Still, I shouldn’t blame you. You’re entitled to try and salvage a little self-respect.”

We suddenly found ourselves facing an open field, and we both halted. Glancing back, I saw that we had walked our way out of the village; the last of the cottages were some distance behind us. Just as I had feared, we had lost the young woman; in fact, I realized we had not been following her for some time.

At that moment, the moon emerged, and I saw we were standing at the edge of a vast grassy field—extending, I supposed, far beyond what I could see by the moon.

Roger Button turned to me. His face in the moonlight seemed gentle, almost affectionate.

 

 

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“Still,” he said, “it’s time to forgive. You shouldn’t keep worrying so much. As you see, certain things from the past will come back to you in the end. But then we can’t be held accountable for what we did when we were very young.”

“No doubt you’re right,” I said. Then I turned and looked around in the darkness. “But now I’m not sure where to go. You see, there were some young people waiting for me in their cottage. By now they’d have a warm fire ready for me and some hot tea. And some home-baked cakes, perhaps even a good stew. And the moment I entered, ushered in by that young lady we were following just now, they’d all have burst into applause. There’d be smiling, adoring faces all around me. That’s what’s waiting for me somewhere. Except I’m not sure where I should go.”

Roger Button shrugged. “Don’t worry, you’ll get there easily enough. Except, you know, that girl was being a little misleading if she implied you could walk to Wendy’s cottage. It’s much too far. You’d really need to catch a bus. Even then, it’s quite a long journey. About two hours, I’d say. But don’t worry, I’ll show you where you can pick up your bus.”

With that, he began to walk back toward the cottages. As I followed, I could sense that the hour had got very late and my companion was anxious to get some sleep. We spent several minutes walking around the cottages again, and then he brought us out into the village square. In fact, it was so small and shabby it hardly merited being called a square; it was little more than a patch of green beside a solitary street lamp. Just visible beyond the pool of light cast by the lamp were a few shops, all shut up for the night. There was complete silence and nothing was stirring. A light mist was hovering over the ground.

Roger Button stopped before we reached the green and pointed.

“There,” he said. “If you stand there, a bus will come along. As I say, it’s not a short journey. About two hours. But don’t worry, I’m sure your young people will wait. They’ve so little else to believe in these days, you see.”

 

 

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“It’s very late,” I said. “Are you sure a bus will come?”

“Oh, yes. Of course, you may have to wait. But eventually a bus will come.” Then he touched me reassuringly on the shoulder. “I can see it might get a little lonely standing out here. But once the bus arrives your spirits will rise, believe me. Oh, yes. That bus is always a joy. It’ll be brightly lit up, and it’s always full of cheerful people, laughing and joking and pointing out the window. Once you board it, you’ll feel warm and comfortable, and the other passengers will chat with you, perhaps offer you things to eat or drink. There may even be singing—that depends on the driver. Some drivers encourage it, others don’t. Well, Fletcher, it was good to see you.”

We shook hands, then he turned and walked away. I watched him disappear into the darkness between two cottages.

I walked up to the green and put my bag down at the foot of the lamppost. I listened for the sound of a vehicle in the distance, but the night was utterly still. Nevertheless, I had been cheered by Roger Button’s description of the bus. Moreover, I thought of the reception awaiting me at my journey’s end—of the adoring faces of the young people— and felt the stirrings of optimism somewhere deep within me.

Literature reviews help to provide boundaries of what is known about a particular field and serve to guide researchers in their quest to uncover the mysteries and nuances of a selected issue or problem

Literature reviews help to provide boundaries of what is known about a particular field and serve to guide researchers in their quest to uncover the mysteries and nuances of a selected issue or problem. A well-developed review of literature is essential to a thorough, well-considered paper. Whether the writing is intended for a high-end scholarly journal or a student’s weekly assignment, the literature review pertains to uncovering the body of knowledge that previous researchers have generated. It is a savvy researcher who is able to take advantage of the existing base of knowledge in the creation of a new line of inquiry. A literature review should be conducted at the beginning of a research study.

Using Chapter 2 of the Creswell text as guidance, write a literature review for your preferred area of criminal justice study. To successfully complete this study, you must

  • Identify a particular area of criminal justice.
  • Define the area’s boundaries by explaining the methodologies and statistical techniques used.
  • Describe the specific canon of literature found.
  • Define the field in general.
  • Critique the field, including areas requiring further examination.

The literature review

  • Must be three to five double-spaced pages in length (not including title and references pages) and formatted according to APA style as outlined in the Writing Center (Links to an external site.) (sample Literature Review (Links to an external site.) in the Writing Center).
  • Must include a separate title page with the following:
    • Title of paper
    • Student’s name
    • Course name and number
    • Instructor’s name
    • Date submitted
  • Must use at least five peer-reviewed sources in addition to the course text.
  • Must document all sources in APA style as outlined in the Writing Center.
  • Must include a separate references page that is formatted according to APA style as outlined in the Writing Center.

Carefully review the Grading Rubric (Links to an external site.) for the criteria that will be used to evaluate your assignment

In this assignment, you will create a slideshow presentation explaining the influences of Enlightenment ideas on eighteenth-century British literature.

In this assignment, you will create a slideshow presentation explaining the influences of Enlightenment ideas on eighteenth-century British literature. The slideshow presentation should include relevant research from credible sources, effective visual aids, and appropriate formatting.