Professor Keefer's Literature
Zachary Papazahariou's Webfolio
Oedipus Rex by Sophocles
It is not the tragic subject matter of the text which is of primary interest
– but rather the manner in which the plot is developed. As we discussed
in class, the story line progresses as if the reader is "unpeeling an onion."
The tale of King Oedipus is well known. An enraged Oedipus unknowingly
slays his father (Laiusq, King of Thebes) and supplants him as monarch and as
husband to his own mother (Queen Jocasta). As each successive "layer of the
onion" is unpeeled, Oedipus is brought a step closer to realizing the true nature
of his actions. Foretold in prophecy and initiated by his anger, the downfall
of Oedipus comes to fruition as all facts gradually come to light.
This "enlightening" starts with the revelations of a blind prophet named
Tiresias. Though sightless, Tiresias can "see" the truth. He argues with Oedipus
"…you have your sight, and do not see… . Yea, you are ignorant…
."(Sophocles, 15). Understandably, Oedipus is enraged at the prophet’s
accusations and fatally insists on investigating the murder of King Laius.
In Aristotle’s Poetics, it is stated that a tragedy must be
complete – having a beginning, middle and end. Of equal importance "…the
sequence of events, according to the law of probability or necessity, will admit
of a change from bad fortune to good or from good fortune to bad."(Aristotle,
15).
The impetus for the downfall of Oedipus, "Known far and wide by name" (Sophocles,
1), is his anger. Enraged he slew King Laius and in anger he hastily pursued
his own ruination. From the aforementioned recriminations of Tiresias to the
conflict with his brother-in-law Creon (his ill temper again displayed –
"Tempers such as yours most grievous to their own selves to bear,… .(Sophocles,
25); through the revealing exchanges with his wife/mother Jocasta and her slave
(whose pity saved the infant Oedipus), damming insight grows in a logical sequence,
all the while fueled by the Oedipal rage. Realizing the heinous nature of his
actions, Oedipus blinds himself in a fit of anger and remorse – now, as
Tiresias, he can see.
In an age where popular entertainment is apparently guided by the maxim
"more is better" (see the body count in any popular "action thriller") and "special
effects" dominate, Oedipus Rex achieves its climax in a refreshingly
concise and intelligent manner. "For the plot ought to be so constructed that,
even without the aid of the eye, he who hears the tale told will thrill with
horror and melt to pity at what takes place. This is the impression we should
receive from hearing the story of the Oedipus."(Aristotle, 24).
In 1500 years will The Phantom Menace be as revered?
Works Cited
- Sophocles. Oedipus Rex. New York: Dover Publications, Inc., 1991.
- Aristotle. Poetics. New York: Dover Publications, Inc., 1997.
Zachary Papazahariou
Hamlet by William Shakespeare
It is clear Hamlet can be interpreted from a multitude of perspectives on
numerous levels. I cannot quite grasp Mr. Bloom's contention that this is
a work of near biblical importance nor can I accept his allusions to Jesus
or the Buddha. "Hamlet remains apart; something transcendent about him places
him more aptly with the biblical King David, or with even more exalted scriptural
figures."(Bloom, 384). My immediate response is that when Mr. Bloom shuffles
off this mortal coil, I don't believe Billy Shakespeare will be waiting with
a pint of ale.
Professor Schechner's enjoyable production increased my appreciation of the
value of wardrobe and inflection of voice. Prior to this performance I did
not see Polonius as a buffoon (as portrayed by Mr. Shapli), nor the incestuous
nature of Ophelia's familial relationships (Ms. Cole's ability to transform
from coquette to lunatic was shocking). Doubtless there are near as many interpretations
of Hamlet as there are Shakespearean aficionados.
My own expertise lies in the political arena. I believe Hamlet could
be construed as a treatise on aggressive, imperialist behavior.
Throughout the Dramaturgic Analysis of Hamlet Prince of Denmark the
indecisiveness of Hamlet is noted. He does not immediately seek vengeance
but continually schemes, rants and raves (both in his rational and insane
moments). Whether cowardice, caution, or simply indifference dominate his
persona is unclear - what is clear is his distaste for his own behavior: "How
stand I then, That have a father kill'd, a mother stain'd,…And let all
sleep, while to my shame I see The imminent death of twenty thousand men…
(sic)." (Shakespeare, 116).
The impending doom of the twenty thousand men alludes to a campaign waged
by Fortinbas, the Prince of Norway. Though the battleground is said to be
of little value, Fortinbas is warring on principles of honor and the subsequent
expansion of Norway.
An enraged Hamlet mistakenly slays Polonius. Rosencrantz and Guildenstern
are sent to their inconsequential deaths only when he is inspired by pirates
to save his own life. These murders involved no elaborate schemes but were
simply enacted. Yet with all his planning, his opportunities, his justification,
why can he not kill Claudius?
The portrayal of the pirates as "merciful thieves" (Shakespeare, 124) and
the fact that warlike Fortinbras succeeds in Poland and obtains the Kingdom
of Denmark by play's end - may be a commentary on decisive, imperialistic
behavior. Hamlet and all save the scholarly Horatio lie dead due to inaction.
A dying Hamlet states "On Fortinbras, he has my dying voice." (Shakespeare,
152). Fortinbas is thus rewarded with Hamlet's adulation (considering his
disdain for his contemporaries - quite an accomplishment), and by the acquisition
of new lands.
In my mind, Shakespeare clearly condones strong aggressive action to further
one's ends - a viewpoint more in line with the burgeoning British Empire rather
that the teachings of the Buddha or Christ.
Works Cited
- Shakespeare, William. Hamlet. New York: Bedford Books of St. Martin's
Press, 1994.
- Kitchen, Jeffrey. Dramaturgic Analysis of Hamlet Prince of Denmark.
1991.
- Bloom, Harold. Shakespeare The Invention Of The Human. New York:
Riverhead Books, 1998.
Zachary Papazahariou
Whereas the extent of my poetic appreciation lies in a decided distaste
for Dante and a zest for limericks concerning Nantucket - it behooves me
to discuss a poem that my limited capacities can grasp. Fable by
Nina Cassian is just such a poem. I view this piece as Ms. Cassian's perspective
on life (a "sentence" or an obligation), death, and sadly, the fact that
most people do not appreciate the beautific nature of existence.
I understand the first stanza as a depiction of man's earthly plane as
a sort of testing ground for "angels" - a place where beings are concerned
with the development of spirit, "to master imbalance."
The second and third stanzas I interpret as the transformation of the ethereal
spirit to a corporeal state. The "angel plummeted" and thus left spiritual
beauty in a quest for purity.
The angel,s descent is clearly painful: "…feathers carbonized, his
sole wing impotent, dangling." Though the cost of corporeal existence is
dear, I believe Ms. Cassian sees this as an obligation which must be met,
a "sentence."
The final sentence is the saddest. The nature of this newly formed being
is mundanely categorized. The "people" fail to see its purpose and its intrinsic
beauty; by extension, they have lost their own missions, their own true
value. They have forgotten God.
The second poem was written by an astonishingly brillant N.Y.U. student
hoping to receive an "A" in an introductory literature course taught
by a fascinating (and underpaid) professsor.
12/2/97 is the date that this author spent approximately six minutes dead.
He had minored in theology and had developed a healthy scepticism concerning
all religions. The author had laughed at so called "near-death experiences
-" believing them either fantasy or resultant of a chemical secretion of
the frontal lobe in times of catastrophic distress.
This erstwhile pillager of the business world, this glorified "strett hustler"
discovered upon his demise that as the "people" of Fable he had lost
his way, his appreciation, his God.
12/2/97 is a somewhat pedestrian attempt to broadly express this experience
and explain his longing for completion of this "experiment." When the "obligation"
is paid and the "sentence" is fulfilled I want to go home.
12/2/97
A clear brightness.
Beautiful, warm, serene.
Pure, so pure.
Where?
What?
When?
In me.
Outside of me.
It's not time.
Please.
It's not time…
Works Cited
- Cassian, Nina. Life Sentence. New York: W.W. Norton & Company,
Inc., 1990.
Zachary Papazahariou
The focus of A Tale Of Two Cities concerns the impetus and fervor
of 18th century European socio-political turmoil, its consequences,
and what Dickens presents as the appropriate response of an enlightened
aristocracy and just citizenry.
The tale opens with Dr. Manettte having spent the last 18 years of his
life in the Bastille - innocent of all crimes save his disdain for the base
actions of a French Marquis. The heinous nature of his confinement induced
a madness remedied only by the devoted love of his Lucie.
We next encounter these characters five years later attending the trial
of Charles Darnay - a nobly born French immigrant who relinquished his station
rather than partake in the barbarous class structure of 18th
century France.
The beautiful and virtuous Lucie Manette is admired by both Sydney Carton
and his repugnant legal partner, C.J.Stryver. It is the inherently ethical
Carton, not the aristocratic (and bellicose) Stryver who realizes that marriage
to Charles Darnay would bring the greatest happiness to Lucie. Their bliss
is short lived however,as the honor bound Darnay returns to Paris.
His prosecution is propelled by a vengeful and newly empowered Madame Defarge
a "patriot of the revolution" who utilizes the revolutionary "People's Tribunals"
to redress grievances committed by the Evremonde clan. Aided by her cohort
(aptly given the code name of "Vengeance") retribution, not justice, is
her sole concern. "…I have this race a long time on my register, doomed
to destruction and extermination."(370).
This savage character - "Madame's resolute right hand was occupied with
an axe,…and in her girdle were a pistol and a cruel knife"(244) - exhibits
an anger so resolute and ferocious that its like may be comparable only
to newly divorced female students here at N.Y.U. - but that is simply my
experience.
Dickens does not portray Madame Defarge and her compatriots as morally
bankrupt but rather depicts their inevitable creation in the oppressive
aristocratic class structure of 18th century Europe. A Tale
Of Two Cities is written in a perfectly linear progression of this theme.
It initially portrays the oppressive nature of the aristocracy (the imprisonment
of Dr. Manette, the accidental death of a child and the trite response of
the Marquis - among other graphic illustration) which leads to the fervor
of revolutionary assassins seeking justice. These zealots empty the Bastille
and destroy all remnants of the oppressive regime in freedom's name, yet
as products of this abusive system there is a hatred latent in their persona.
These "patriots" recreate the system which they so despised - "…the
new oppressors who have risen on the destruction of the old…" (404);
as Madame Defarge, they no longer seek justice but vengeance. The graphic
depictions of mob bloodlust hammer this point home.
European aristocratic society is not doomed however. Carton redeems his
wasted existence by sacrificing his life for the life of Darnay and thus
insures the happiness of his beloved Lucie. This redemption brings honor
to his name for generations to come. Charles Darnay's renouncement of his
Family's ill gotten wealth results in his ultimate happiness. The implication
is clear: the wastrels of the British aristocracy may yet redeem their virtue
and save their love (Mother England) by pursuing societal equity and justice.
It is only the noble pursuit of justice which can produce a society of the
just. The hatred latent in oppressive societies results only in socio-political
turmoil and the manifestation of evil.
Dickens harkens to the moral fiber of Charles Darnay and
Sydney Carton as a necessity for the preservation of British society and
European aristocracies in general. The heroism displayed by these two characters
would avert the horrors of a mob inspired rebellion in England - thus such
sacrifices would be - to paraphrase Dickens, a far, far, better thing to
do.
Works Cited
1. Dickens, Charles.A Tale of Two Cities. England: Penguin Books Ltd.,
1970
Zachary Papazahariou.
Ulysses by James Joyce
Though I realize that Ulysses is a masterful paradigm of innovative techniques
(or so the faculty of N.Y.U. would have one believe) - it is the conflicting
natures of Buck Mulligan and Stephen Dedalus which I find of primary (if not
sole) interest.
Dedalus is a disillusioned, Jesuit trained academic with literary aspirations.
His academic pursuits have led to a symbolic burning of his wings (his emotional
detachment) as he rose to "the enlightenment of the Sun." He tolerates neither
the abusive Buck Mulligan nor the condescending Oxonian Haines (the coinhabitants
of Martello Tower) and feigns interest in the citizenry of Dublin.
Buck Mulligan is a cynical man of action. He mocks Dedalus' beliefs and intellectual
prowess. Whereas Dedalus fears water (perhaps symbolizing baptism) - Mulligan
once saved a drowning man. Mulligan "plunges into life" while Stephen meekly
questions existence and his place in reality. Mulligan can ingratiate himself
to the "peasantry" (see the encounter with the unpaid Milk woman) while Dedalus
broods on Irish history and appears the elitist.
Stephen has been "blinded by the Sun" and lives in a shapeless world. His feelings
of guilt (primarily concerning his mother's hideous death and the abandonment
of his sisters to poverty) coupled with his sense of estrangement necessitates
a continuous introspection as recourse. His relentless pursuit of absolute truths
(a concept dear to the Aristotelian Jesuits) clarifies little and fuels his
discontent. As a teacher he is uncaring - oblivious to the inadequacies of his
students. As an employee he is held in light regard. "You were not born to be
a teacher, I think…To learn one must be humble" states the schoolmaster,
Mr.Deasy (35). His literary views are scorned by his contemporaries and he is
not considered a poet of any promise.
Yet Dedalus is a hero of a different ilk. Stephen is a sincere "thinker" and
as such is diametrically opposed to Mulligan - "the man of action." He considers
the import of his actions and grieves his perceived sins - Mulligan hides in
cynicism.
Stephen is stumbling towards his goal of self-enlightenment despite societal
conventions and his own inadequacies. Though displaced and disempowered by the
"usurper" Mulligan (23) - he struggles onward.
Ulysses battled the gods and his own character flaws to regain his kingdom
and his happiness. Stephen Dedalus has embarked on his own odyssey in search
of intellectual freedom - a freedom which society's Mulligans and Deasys can
hardly aspire.
Works Cited
1. Joyce, James.Ulysses. New York: Vintage International, 1990.
Zachary Papazahariou
Far Darrig in Donegal by Letitia Maclintock
Though I am uncertain as to the exact meaning of a "Far Darrig," (a bizarre
tale perhaps) - I was nonetheless immediately entranced by this short story.
The prospect of being powerless in uncertain circumstances and to then discover
one's weakness in his own environment - is frightening.
The traveling tinker, Pat Diver is a common man who seeks only a night's
shelter. Forced to bed in an ordinary barn he encounters four extraordinary
men in a hideous act. Though hidden, he is summarily acknowledged and enlisted
as a participant with threat of heinous reprisals should he perform his
duties imprecisely. Failing to do so - he seemingly escapes to a drain,
hides, again is nonchalantly discovered, and is again enlisted by the four
men and warned of the consequence of failure to properly complete his tasks.
A third time he escapes and is discovered yet again - this time at the site
of a newly dug grave. Finally he is saved by a cock's crow that prompts
the men to depart - telling Diver the grave was his own.
What gives this tale a nightmarish quality is the climax. Months after
the grave site incident, the tinker encounters one of the men at an innocuous
fair. An extraordinary being, a being that can invade the ordinary life
of an ordinary man, a creature that is relentless, is the stuff of nightmares.
Works Cited
1. Maclintock, Letitia. The Book of Irish Weirdness. New York: Sterling
Publishing Co., 1997.
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