English 2111 critical responses, fall 2024

Turn in critical responses either in hard copy or D2L, and be sure to exceed the 200 word minimum (in the body of the response, excluding name, date, header, etc.): responses shorter than 200 words will not pass. Avoid plot summary or straightforward retelling of "what happens" in the work—see nugget 1.

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

2.1 Due Tuesday, October 8th: In terms of cultural values and ideals, how does the world depicted in our first installment of Beowulf differ significantly from those we explored in Classical times (the ancient Greeks and Romans)? How is "heroic behavior" different in Beowulf? How does the Scandinavian warrior culture depicted in Beowulf differ significantly from the cultures we see in the epics of Homer and Virgil? See Q4 for the mechanics of citing verse.

On deck:

2.2 Due Thursday, October 10th: Open assignment. Respond to the second installment of Beowulf however you like, so long as your response is analytical and avoids plot summary (see nugget 1). Comment on any events or aspects of the poem in pp. 871-912 that strike you as interesting or noteworthy in important respects. Quote the poem at least twice in illustration of your claims. For the mechanics of citing poetry, see Q4. Note: If you want a nudge in topics, you might think about the differences between the younger Beowulf in the earlier portions of the epic and the older and more mature Beowulf we have in the last third of the poem.

Previous critical response topics—no longer valid for submission:

1.1 Due Tuesday, August 20th: 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 suggests were important to the ancient Babylonian society depicted in the poem. For the mechanics of citing poetry, see Q4mp.

1.2 Due Thursday, August 22nd: If you had to pin down one theme as the central overriding "message" of Gilgamesh, what would this message be? Review the definition of "theme" on the elements of fiction page, and Identify the most important events or elements of the narrative that help the author deliver this message. Support your assertions with at least two quotations from the poem itself. For the mechanics of citing poetry, see Q4mp.

1.3 Due Tuesday, August 27th: Address one, not 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, especially Q4mp.

1.4 Due Thursday, August 29th: Explore the continuing development of Odysseus's character 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 demonstrates 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, September 3rd: Address 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, September 5th: 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, September 10th: Discuss Sappho's portrayal of powerful emotions in any three or four of the lyric poems we're reading (pp. 381-89): what makes her portrayal of particular emotions so powerful? Explain, quoting each poem you discuss at least once. See Q4 for MLA guidance on citing poetry.

1.8 Due Thursday, September 12th: 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.

1.9 Due Tuesday, September 17th: 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).

1.10 Due Thursday, September 19th: Compare Aeneas with Odysseus as an epic hero: what qualities in Books I-III 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, especially QD4mp.

1.11 Due Tuesday, September 24th: 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, September 26th: Why might our Norton editors suggest that Ovid's Metamorphoses is a kind of "anti-Aeneid"? Explore two or three different ways that our first reading from Metamorphoses does indeed provide a significant "answer" or contrast to Virgil's "official Roman epic," commissioned by Emperor Caesar Augustus himself. You might start with the striking differences in how the gods interact with humans in Ovid's poem and Virgil's. Include at least four quotations from the selections of Book I and Book V in our Norton text. See Q4, especially Q4mp.

1.13 Due Tuesday, October 1st: Analyze the depiction of sex, sexuality, and power in our selections of Books IX and X of Metamorphoses. Include at least three quotations from these books. See Q4, especially Q4mp.