Format your response according to MLA guidelines for margins, spacing, name, date, headers, etc. as outlined on the "simple stuff" page. Works cited pages are unnecessary for critical responses. Even without works cited pages, do still follow MLA conventions for documenting quotations as explained in Q1-4 on the quotations page.

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On deck:

None. We're done!

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Previous critical response topics—no longer valid for submission:

1.1 Due Tuesday, January 17th: Epics typically convey a variety of core ideals from the nation, culture, or people depicted in the work. Quoting Gilgamesh at least twice to illustrate your claims, explain what traits, qualities, or ideals this epic reveals as important to the ancient Babylonian society depicted in the poem. For the mechanics of citing poetry, see Q4.

1.2 Due Thursday, January 19th:If you had to pin down one theme as the central overriding "message" of Gilgamesh, what would this message be?  Identify the most important plot elements or events that help the author deliver this message, and back up your assertions with at least two quotations from the poem itself. For the mechanics of citing poetry, see Q4.

1.3 Due Tuesday, January 24: Choose one—do not address both:  
a) Compare the relationship between gods and humans, or the involvement of the gods in the lives of mortals, in Gilgamesh and the first few books of the Odyssey. Include at least three quotations from two or more of the Odyssey's "books" to illustrate your claims. For the mechanics of citing verse in a multi-part (or -"book") poem, see Q4, and especially Q4mp.

b) Discuss the cultural or personal qualities or ideals The Odyssey suggests were important to the Greeks in the time of Homer, including at least three quotations from different "books" to illustrate your claims. For the mechanics of citing verse in a multi-part (or "book") poem, see Q4, and especially Q4mp. 

1.4 Due Thursday, January 26: Explore the continuing development of Odysseus's character or personality in Books VII-XII, including at least one quotation from two separate "books" to support your observations. Basically, discuss leading traits or qualities in Odysseus demonstrated through his adventures in Books 7-12.  For the mechanics of citing verse in a multi-part (or multi-"book") poem, see Q4, especially Q4mp. 

1.5 Due Tuesday, January 31: Address either a or b, not both:
a) Being careful to avoid plot summary (nugget 1), discuss the use of deception in Books XIII-XVIII (by Odysseus, certainly, and others as well). Identify different types of deception and analyze the different motives behind each instance of deception you discuss. Include quotations from at least three different "books" to illustrate your claims. For the mechanics of citing verse in a multi-part (or multi-"book") poem, see Q4, especially Q4mp. 

b) Open assignment: respond analytically to anything that strikes you as interesting or significant in any two or more different "books" in Tuesday's reading (XIII-XVIII), including at least three quotations, at least two coming from different books.  Be careful to avoid plot summary (see nugget 1). For the mechanics of citing verse in a multi-part (or multi-"book") poem, see Q4, especially Q4mp. 

1.6 Due Thursday, February 2: Address one, not both:
a) What are we to make of the ancient Greeks' attitudes about women, at least as far as they are conveyed in the Odyssey? You may discuss events from anywhere in the entire epic, but do quote from Books XIX-XXIV at least twice in your response (see Q4, especially Q4mp).

b) The traditional epic, by definition, focuses on a central character of great significance to his people or nation—a king, or a mighty warrior, or a champion of his people in different important respects. And most of the central characters in epics tend to be of high social standing (royalty, nobility, "upper class" in whatever social system the epic portrays). Discuss the thematic importance of common characters in the conclusion of the Odyssey ("common" meaning essentially "working class"). Note that you must speak on matters of theme here: it would be a matter of plot to say that certain common characters "help Odysseus," e.g. Concentrate on how the common characters help convey one or more of the work's overriding "messages." Quote from Books XIX-XXIV at least three times to illustrate your claims (see Q4, especially Q4mp).

1.7 Due Tuesday, February 7: Address one, not both:
a) Discuss the play's opposing philosophical or religious views involving fate or destiny vs. humanity's responsibility for our own lives. While the play expresses views on both sides of the debate, which side does Sophocles seem ultimately to endorse? Discuss, offering at least two quotations supporting each viewpoint on the issue (four quotes total, see Q4).

b) Frequently one of the most difficult and widely debated elements in the Aristotelian conception of tragedy is the catharsis. According to his Poetics, Aristotle believed that a tragedy should arouse pity and fear in the audience for the purpose of purging these emotions in the members of the audience themselves. How do you think readers of Oedipus are supposed to feel "better" after reading this play? Focusing specifically on how the experience pity and also fear, explain how viewing or reading a tragedy a positive experience for the audience.

1.8 Due Thursday, February 9: Identify and explore two or three different ways the ancient Medea still holds great relevance for readers today. Address different avenues of relevance in separate paragraphs, and include at least two quotations in support of each main point (four total, minimum).

1.9 Due Tuesday, February 14: Address one, not both:
a) Citing at least four passages from Lysistrata, explain how the male and female choruses support and illuminate the play's central theme(s).

b) It has been said that comedy often presents a scenario that the author could easily have made tragic, if he or she were so inclined. In no more than 350 words (and no fewer than 200), re-plot and retell the story of Lysistrata's rebellion as it might unfold in a serious tragedy—be sure to indicate her tragic flaw directly. Note: This is a rare opportunity for purely creative writing in a non-creative-writing course. If you are creative and enjoy the challenge, this is all to the good. But do keep your word count in tight rein—regardless of how much you write, I'm going to read only your first 350 words!

1.10 Due Thursday, February 16: Discuss Catullus's portrayal of powerful emotions in any three or four of the lyric poems we're reading (pp. 904-21): what makes his portrayal of particular emotions so powerful? Explain, quoting each poem you discuss at least once.

1.11 Due Tuesday, February 21: one, not both:  
a) Compare Aeneas with Odysseus as an epic hero: what qualities in Books I-IV does Aeneas share with Odysseus, and even more, how is Virgil's Aeneas a radically different character from Odysseus? Include at least three quotations, and don't forget the mechanics of citing verse in a multi-part (or multi-"book") poem: see QD4, and especially QD4mp.

b) Discuss Virgil's portrayal of the relationship between Aeneas and Dido in Book IV, citing the text at least three times to illustrate your claims; here, too, don't forget the mechanics of citing verse in a multi-part (or multi-"book") poem: see Q4, especially Q4mp. 

1.12 Due Thursday, February 23: Discuss the Roman cultural values and ideals suggested in our second day's readings from The Aeneid. Include at least three quotations to illustrate your claims, following the guidelines for citing verse in a multi-part (or multi-"book") poem outlined in Q4, especially Q4mp. 

2.1 Due Thursday, March 2: Discuss the code of chivalric (knightly) honor presented in our first installment of The Song of Roland (pp. 220-51 in Volume B), being careful to avoid plot summary and including three or more quotations to support your observations (following the MLA guidelines for quotations of verse outlined in Q4).

2.2 Due Tuesday, March 7: Address one—not both:  
a) Discuss Roland's refusal to blow the horn for help when the French rearguard are first attacked and then his decision to blow the horn after all at the end of the battle: explore different possible motivations in both cases, including at least two quotations from each episode to illustrate your claims (see Q4).

b) Discuss the French values and cultural ideals revealed in the latter half of The Song of Roland, including at least three quotations to support your observations (see Q4).

2.3 Due Thursday, March 9: Discuss contemporary relevance in any of the excerpts we're reading from The Thousand and One Nights (pp. 597-628), including at least three quotations to illustrate your claims.

2.4 Due Tuesday, March 14: Consider how Sir Gawain and the Green Knight, a medieval romance, suggests different ideals of noble (or chivalrous or knightly) behavior from those presented in the chanson de geste Song of Roland. What specific knightly behaviors does the first half of Sir Gawain and the Green Knight recommend as admirable? Quote the poem at least three times in your response. For the mechanics of citing poetry, see Q4.

2.5 Due Thursday, March 16: Open assignment: respond to the second half of Gawain in whatever analytical fashion you like, so long as you avoid plot summary (nugget 1). What strikes you as interesting or noteworthy in the last two parts of Sir Gawain and the Green Knight? Quote the poem at least twice in your response, following the mechanics of citing poetry outlined in Q4.

2.6 Due Tuesday, March 28: Consider how any of the punishments of specific sins are especially appropriate in our first reading from Dante's Inferno, including at least three quotations to illustrate your observations (follow Q4 and Q4mp).

2.7 Due Thursday, March 30: Address one, not both:  
a) Continue discussing how specific punishments are appropriate for particular sins in Cantos XII-XXIII, including at least four quotations to illustrate your claims (follow Q4 and Q4mp).

b) Evaluate Dante's ranking of particular sins as we descend further into hell in Cantos XII-XXI: more specifically, explain why you agree with his ranking of sins in increasing order of seriousness in some cases but disagree in others. Include at least three quotations in your discussion (follow Q4 and Q4mp).

2.8 Due Tuesday, April 4: Address one, not both:  
a) Quoting from Cantos 24-34 at least three times to illustrate your claims, argue both for and against Dante's ranking of treachery as the gravest of all sins. That is, in separate paragraphs, explain how Dante's ranking of treachery as the worst of all sins may be seen as accurate and also how some might see any other particular sin(s) as worse than treachery. Indicate which side of the argument you believe yourself, and explain why. (See Q4 and Q4mp.)

b) Open assignment: respond analytically to anything that strikes you as significant or noteworthy in Cantos 24-34 of the Inferno. Avoid plot summary (nugget 1) and quote the text at least twice in support of your analysis (see Q4 and Q4mp).

2.9 Due Thursday, April 6: Erasmus's The Praise of Folly is a satire, a literary work that uses humor and/or irony, sarcasm even, to point out flaws in humanity or in society so that readers will recognize significant problems and then work to improve themselves or their societies.  Discuss several different types of "folly," or foolishness, that Erasmus identifies in our reading.  Also note whether the particular types of foolishness are still prevalent today.  Include at least four quotations to illustrate your observations.

2.10 Due Tuesday, April 11: Address one, not both:  
a) Discuss Don Quixote's notions of what it means to be chivalrous or "knightly." From Cervantes's mockery of it in the novel, identify key elements of the "chivalric code" presented in the types of romances that have driven Don Quixote "mad," including at least three quotations to support your claims.