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.

---

3.1 Due Tuesday, May 6th by 8:00 a.m.: Review the list of readings we've done this semester and in two or more paragraphs, offer your opinion on why any four of the works we've read are still valuable reading for contemporary Americans lo these centuries and millennia after they were first written. Include two works pre-midterm and two post-midterm. Explain why these works have relevance today beyond simply presenting different times and cultures in World history.

 

---

On deck:

None!

---

Previous critical response topics—no longer valid for submission:

1.1 Due Tuesday, January 14th: 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 the first seven tablets of this epic suggest were important to the ancient Babylonian society depicted in the poem. For the mechanics of citing poetry, see Q4mp.

1.2 Due Thursday, January 16th: 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 Thursday, January 23rd: 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 Books 1, 5, and 6 of the Odyssey. Include at least three quotations from at least two different of the Odyssey's "books" to illustrate your claims (three total, not all from just one book). 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 Tuesday, January 28th: Explore the continuing development of Odysseus's character in Books 7-10 and 16, including at least one quotation from three separate "books" to support your observations. Basically, discuss leading traits or qualities in Odysseus demonstrates through his adventures in these books. For the mechanics of citing verse in a multi-part (or multi-"book") poem, see Q4, especially Q4mp.

1.5 Due Thursday, January 30th: 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 19-24 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 19-24 at least three times to illustrate your claims (see Q4, especially Q4mp).

1.6 Due Tuesday, February 4th: 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.

1.7 Due Thursday, February 6th: Address one, not both:
a) Discuss Sophocles's portrayal of 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 ultimately 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 Tuesday, February 11th: Address one, not both:
a) Discuss Aristophanes's depiction of stereotypes of both men and women. Are any of the stereotypes still evident today, or are those in Lysistrata essentially dated and no longer relevant? Include at least four passages from the play.

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 a tight rein on the word count—regardless of how much you write, I'm going to read only your first 350 words!

1.9 Due Thursday, February 13th: Discuss Catullus's portrayal of powerful emotions in any three or four of the lyric poems we're reading: what makes his portrayal of particular emotions so powerful? Explain, quoting each poem you discuss at least once.

1.10 Due Tuesday, February 18th: Compare Aeneas with Odysseus as an epic hero: what qualities in Books I-II 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.

1.11/1.12 Due Tuesday, February 25th: do one, not both (or if you did one for the canceled class Thursday, you may do the other for Tuesday the 25th):
a) 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. 

b) 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. 

1.13 Due Thursday, February 27th: Open assignment: avoiding plot summary (see nugget 1), discuss anything that strikes you as interesting, curious, and significant in any two of the brief stories assigned for this day. Include two or more quotations from each story.

2.1 Due Thursday, March 6th: Open assignment: avoiding plot summary (see nugget 1), discuss anything that strikes you as interesting, puzzling, or significant in our selections from the Bhagavad-Gita. Be sure to read the headnote first, and illustrate your observations with at least three quotations from the work.

2.2 Due Tuesday, March 11th: 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.

2.3 Due Thursday, March 13th: 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.

2.4 Due Tuesday, March 25th: Discuss the portrayal of women, positive and negative, in Marie de France's 12th-century "lais," "Bisclavret" and "Laüstic." Include at least two quotations from each lai (i.e., a short poetic tale) to illustrate your observations. Are there hints in either or both works that the author is a woman?

2.5 Due Thursday, March 27th: Consider how any of the punishments of specific sins are especially appropriate in our first reading from Dante's Inferno (Cantos I-XII), including at least quotations from at least three cantos to support your analysis (follow Q4 and Q4mp).

2.6 Due Tuesday, April 1st: 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-XXIII: 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).

2.7 Due Thursday, April 3rd: 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).

2.8 Due Tuesday, April 8th: Discuss contemporary relevance in any portion of our reading from The Thousand and One Nights (pp. 1109-29), including at least three quotations to illustrate your claims.

2.9 Due Thursday, April 10th: Comment on Chaucer's depiction of women as suggested by the Wife of Bath's prologue and tale. How is the Wife of Bath something of a prototypical feminist? At the same time, how is Chaucer's presentation of her "anti-feminist" (or chauvinistic)? Explore, quoting the Wife's prologue and/or tale at least four times in your discussion.

2.10 Due Tuesday, April 15th: Address one:  
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.

b) Discuss the importance of Sancho Panza in Don Quixote. How is he essential to the book's comedy? How is he essential to Cervantes's criticism or mockery of chivalric romance? Include at least three quotations.

2.11 Due Thursday, April 17th: Address one, not both:  
a) Open assignment: respond analytically to anything that strikes you as significant or interesting in our second reading from Don Quixote. Avoid plot summary (nugget 1) and quote the novel at least three times in support of your analysis.

b) Write a brief parody of some common genre of book or film in today's world following Don Quixote as a pattern—that is, in 400 words or less, tell a brief story of someone whose "madness" consists of believing life to be like it is portrayed in some specific genre from our own time.

2.12 Due Tuesday, April 22nd: Discuss Shakespeare's commentary on the nature of power in The Tempest, focusing solely or mostly on Act 1. Consider those who hold power, those who want it but don't have it, and those who feel oppressed by the power others hold over them. This is a wide-ranging topic indeed: consider all of the characters in the play, and include at least three quotations to illustrate your observations.

2.13 Due Thursday, April 24th: Address one, not both:
a) Considering both the pro and the con views, examine the proposition that this play presents criticism of imperialist colonization of primitive peoples or cultures by European nations. More precisely, consider whether Caliban should be seen with sympathy or with some other feeling. Include at least three quotations from Acts 2-3 to illustrate your claims.  

b) Open assignment: respond to anything in Acts 2-3 that strikes you as particularly interesting, intriguing, or significant. Support claims with four or more quotations, including at least one from each act.

2.14 Due Tuesday, April 29th: Address one, not both:
a) Discuss elements of The Tempest that mark it as being not purely comedic. That is, consider how despite the generally happy ending, there are elements of a darker nature, perhaps tragic, that seem not wholly resolved by the play's end.  Include at least two quotations in your discussion to illustrate your claims.

b) Explore the notion of Prospero representing Shakespeare himself: in what ways might Prospero's art be seen as resembling or representing Shakespeare's? Explain, including at least three quotations from Acts 4-5 to support your claims. You might in particular consider the view that The Tempest was consciously intended as a "farewell play," as Shakespeare's grand finale. You could focus especially on 4.1.146-63, 5.1.33-57, and the epilogue, but if and where you can, also consider how this play includes themes and subjects from earlier Shakespeare plays and treats them with appropriate "finality."