(1)Laius In Greek mythology, King Laius, or Laios of Thebes was a divine hero and key personage in the Theban founding myth.
(2)Creon Creonis a figure in Greek mythology best known as the ruler of Thebes in the legend of Oedipus.
(3)Delphi
Delphi is both anarchaeological site and a modern town in Greece on the south-western spur of Mount Parnassus in the valley of Phocis. The site of Delphi was believed to be determined by Zeus when he sought to find the centre of Grandmother Earth.
(4)Sphinx
A sphinx is a mythical creature with, as a minimum, the body of a lion and a human head.
(5)Antigone
In Greek mythology, Antigone is the daughter of Oedipus and Jocasta, Oedipus' mother.
Sappho was a Greek lyric poet, born on the island of Lesbos. The Alexandrians included her in the list of nine lyric poets.The bulk of her poetry, which was well-known and greatly admired through much of antiquity, has been lost, but her immense reputation has endured through surviving fragments.
2. gay
He is a gay . (X)
He is gay . (O)
3. 女生「蕾絲邊」出處
Deathless Aphrodite of spangled Mind
4.悲劇三大詩人
(Aeschylus) , Sophocles, Euripides
5. 亞歷山大的帝王學「讀聖賢書，所為何事?」
(1)Aristotle
Although an inferior race, the Persians control at least four fifths of the known world. But, is it possible that the source of Egypt's mighty river Nile could rise in these distant mountains of the outer Earth? If so, an experienced navigator could find his way here, by this river, east, down into the great plains of India, out into the eastern ocean and end of the world, and by this route, up the Nile, back to Egypt, into the Middle Sea and home to Greece.
It's the Most Wonderful Time of the Year-Andy Williams
There'll be parties for hosting
Marshmallows for toasting
And caroling out in the snow
There'll be scary ghost stories
And tales of the glories of
Christmases long, long ago
It's the most wonderful time of the year
There'll be much mistltoeing
And hearts will be glowing
When love ones are near
It's the the most wonderful time of the year
(2)marshmallow (放進熱咖啡或熱巧克力)
(3)movie : While You Were Sleeping
2. What is tragedy?
Tragedy is a form of drama based on human suffering that invokes in its audience an accompanying catharsis or pleasure in the viewing. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization.
3. Dionysus
Dionysus was the god of the grape harvest, wine making and wine, of ritual madness and ecstasy in Greek mythology.
4. Prometheus
In Greek mythology, Prometheus is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and gives fire to humanity, an act that enabled progress and civilization.
5. Song : Today by John Dener
6.Satyr play
Satyr plays were an ancient Greek form of tragicomedy, similar in spirit to the bawdy satire of burlesque. They featured choruses of satyrs, were based on Greek mythology, and were rife with mock drunkenness, brazen sexuality, pranks, sight gags, and general merriment.
1. What role does fate play in the emotional and psychological effect of The Iliad? Why does Homer make his characters aware of their impending dooms?
Homer’s original audience would already have been intimately familiar with the story The Iliad tells. Making his characters cognizant of their fates merely puts them on par with the epic’s audience. In deciding to make his characters knowledgeable about their own futures, he loses the effect of dramatic irony, in which the audience watches characters stumble toward ends that it alone knows in advance. But Homer doesn’t sacrifice drama; in fact, this technique renders the characters more compelling. They do not fall to ruin out of ignorance, but instead become tragic figures who go knowingly to their doom because they have no real choice. In the case of Hector and Achilles, their willing submission to a fate they recognize but cannot evade renders them not only tragic but emphatically heroic.
2. How does Homer portray the relationship between gods and men in the Odyssey? What roles do the gods play in human life? How does this portrayal differ from that found in the Iliad?
In the Iliad, the gods relate to human beings either as external powers that influence the lives of mortals from without, as when Apollo unleashes plague upon the Achaeans, or from within, as when Aphrodite incites Helen to make love to Paris or when Athena gives Diomedes courage in battle. In the Odyssey, the gods are often much less grand. They function more as spiritual guides and supporters for their human subjects, sometimes assuming mortal disguises in order to do so. The actions of the gods sometimes remain otherworldly, as when Poseidon decides to wreck the ship of the Phaeacians, but generally they grant direct aid to particular individuals. In a sense, the change in the behavior of the gods is wholly appropriate to the shift in focus between the two epics. The Iliad depicts a violent and glorious war, and the gods act as frighteningly powerful, supernatural forces. The Odyssey, in contrast, chronicles a long journey, and the gods frequently act to guide and advise the wandering hero.
3. To what extent is the Aeneid a political poem? Is it propaganda?
The Aeneid’s main purpose is to create a myth of origins that consolidates Rome’s historical and cultural identity. This search for origins of a race or culture is a political endeavor, in that it seeks to justify the Roman Empire’s existence and to glorify the empire through the poem’s greatness. Yet the Aeneid is also an artistic endeavor, and therefore to dismiss the poem as mere propaganda is to ignore its obvious artistic merit.
In many of the passages referring explicitly to the emperor Augustus—in Anchises’s presentation of the future of Rome, for example—Virgil’s language suggests an honest and heartfelt appreciation of Augustus’s greatness. It is worth noting, however, that in addition to being the emperor, Augustus was also Virgil’s patron. It would thus have been impossible for Virgil to criticize him outright in his work. One can argue that Virgil may not have truly believed in Augustus’s greatness and that the impossibility of explicit criticism forced him to resort to subtle irony in order to air any grievances regarding Augustus’s policies or ideology.
