Margaret Yoon: Syllabus Presentations

I enjoyed the presentations; they were very unique and intriguing in their various themes and goals. However, I do not think the task of presenting a “World Literature” syllabus is practical. There is too much literature that constitutes such, and the term itself changes with every individual. Thus, I focused my presentation on a specific psychological approach to world literature, specifically with the German texts from the Enlightenment to post Modernism. In this way, I think the class would be more effective as a learning experience and would have more of a focus. The students would come away with thorough knowledge about a specific period, which they would be able to apply to future literature classes and their own worldview.

Margaret Yoon: Sufi Poetry

I enjoyed reading Sufi poetry because all three poets, Attar, Hafiz of Shiraz, and Jelaluddin Rumi express the depths of spiritual life very lyrically. I felt like when they describe their relationship with God, or the path to achieving reunion with God, it could almost seem like a “profane” or wordly relationship with another human being if taken out of context. They employ passionate tones that express their desire for complete oneness with God. Sufi poetry has had great influence on world literature, such as Goethe. He published his West-ostlicher Divan, a collection of lyric poems inspired by a German translation of Hafiz. American poet Ralph Waldo Emerson admired Persian poetry as well and published many essays that discuss it: Letters and Social Aims, From the Persian of Hafiz. A question I have for the Sufi poets is: How do you realize your purpose in the beginning? What made you desire this reunion with God-what was the stimulation?

Catullus Poetry

I find Catullus amusing because just by devoting himself entirely to poetry, he was rebelling against what was expected of him in upper-class Roman society. He uses colloquial language in his work and was thus acknowledged as one of the Poetae Novi, or “Neoteric Poets.” He is truly revolutionary as a poet, for he ignores the public audience and writes passionately about his personal experience for an audience of fellow-poets only. Many of his poems examine his affection for his two great loves, Clodia and Juventius.

Because Catullus was an admirer of Sappho, and he is considered to have used a meter that Sappho developed, called the Sapphic strophe, which is an Aeolic verse form spanning four or three lines.

Sappho Poetry

I’ve never read Sappho poetry before, so it is rather interesting to me. The poems are full of emotion, passion, and desire. I stress that it is not possible to draw certain conclusions as to whether Sappho’s poetry is a reflection of her own sexual orientation or situation, because we know so little about her as it is. I would like to think it is her own portrayal of her feelings, because her positive presentation of Helen is expressed with a tone that would render her words meaningless if they were not her personal sentiments.

Sappho’s poetry has such clarity and simplicity. Her images are very sharp, such as the sparrows that draw Aphrodite’s chariot and the solitary red apple at the tree-top. I think it is very effective that she quotes the direct words of conversations, real or imaginary, to have immediacy.

Margaret Yoon; Othello

After finishing Othello, I was more convinced of Othello’s foolishness. He bases his accusations on Desdemona and Cassio solely through his trust in Iago, falling prey to the grand scheme Iago prepares for all of them, but this also emphasizes the great level of Iago’s cunning. I thought the scene towards the end of the play where Roderigo and Cassio are injured and the others are gathering to try to discern what has happened is executed with great rapidity. I felt the action was very crammed and out of control, which is perhaps a technique Shakespeare utilizes to create an atmosphere where one can really feel Iago’s plan come to realization.

Desdemona reminds me of Sita in The Ramayana because they both embody faithful wives. However, Sita becomes outraged when Ram questions her chastity after he brings her back, whereas Desdemona continues to profess her love for her husband, even after he has accused her of being with Cassio.

Contrasting from the other malicious characters in the Greek plays we have read, Iago seems to go unpunished. What is Shakespeare’s purpose in creating a world where evil is not necessarily penalized?

Margaret Yoon: Medea

Medea is quite different from the works we have read because of the power given to the female figure, Medea, as well as the important role the Chorus of women plays. Similar to how others think Clytemnestra is manly in Agamemnon, Medea shows characteristics that were thought to be manlike at the time, such as her aggressiveness and potency. Clytemnestra and Medea also use language very cunningly to realize their goals. For example, Clytemnestra receives her husband with great welcome, as if to present a pretense of joy, and Medea convinces Jason that she has turned from her foolish anger and realized his good purpose to ensure their sons a bright future. But their words are empty, for their underlying intentions involve murder. Medea is more extreme to me in her desire for revenge, however, because she goes so far to kill her own children. Even though she has moments of weakness and indecision as to whether she should kill her children or take them with her to Athens, when she thinks of Jason’s unfaithfulness, she is fully resolved to continue her schemes again.

I think it was noteworthy that Jason slanders her with being a foreigner, connecting her crimes to her origins. He says, “I was mad before, when I brought you from your palace in a land of savages into a Greek home-you, a living curse, already a traitor both to your father and your native land” (179). Jason is beyond angry at this point, but I don’t think that excuses him from saying this, for Medea committed those crimes for his sake. By condemning her for killing her brother and deceiving her homeland, he envelopes the misunderstanding that spans the whole play-that he does not appreciate her full devotion to him in the past, evident in his marriage to Creon’s daughter.

Margaret Yoon: Oedipus Rex

Even though I have read Oedipus Rex a few times before, my reading of it this time was different in that I had a more heightened awareness to the rhetorical devices Sophocles uses. For instance, dramatic irony is used almost excessively, for the reader or the audience know Oedipus’ fate, even before Oedipus becomes suspicious of his past. Whether it is the Chorus, Tiresias, or another character foreshadowing the impending agony truth brings to Oedipus and Thebes, the reader is fully aware of the course of events, which makes it more effective. I felt a sense of dread that continued to build throughout the play because I knew that something terrible would follow after Oedipus learns he has killed his father and slept with his mother. I could not even imagine what it must be like to experience such a thing-it is a shame beyond shame.

Oedipus’ ignorance reminded me of an Italian short story called “Una Voce,” or “A Voice” by Luigi Pirandello. In the story, there is a blind man, Silvio, who falls in love with Lydia, or more like his idea of her. Because he cannot see her, he just imagines her as a stunningly beautiful woman, which hurts Lydia and makes her run away in the end before Silvio receives his sight. I just thought that it was similar to Oedipus’ ignorance because Silvio is so blinded (not only physically but metaphorically) by his own design of Lydia that he fails to accept the possibility that she is just an “average” but kindhearted lady. Likewise, Oedipus fails to accept the truth in the beginning because he is blinded by his pursuit to find the person guilty for Thebes’ calamity, when it is himself.

One thing that confused me a little were the references to people or gods on p. 114, when the text mentions Cyllene’s lord, Pan, and Dionysus, because I do not have enough background to grasp the connection to further the ambiguity and anxiousness of knowing Oedipus’ origins.

Margaret Yoon

Agamemnon, a Greek tragedy by Aeschylus, became more intriguing as the plot unfolded. I liked the character of Cassandra because she was a little mysterious, for her prophesying abilities, granted by Apollo, told of her and Agamemnon’s fates long before in dialogue before the Clytemnestra actually kills them. This however, strangely did not take away from the suspense and tension that heightens towards the impending murders. Revenge is a recurring theme, for Agamemnon goes to war to avenge the abduction of Helen, his brother’s wife; Clytemnestra kills her husband because Agamemnon is stained by the blood of their daughter’s death; Aegisthus plans Agamemnon’s death to avenge the wrongs Agamemnon’s father, Atreus, committed by tricking Aegisthus’ father, Thyestes, into eating his own children; and Cassandra foretells Clytemnestra that her son Orestes will avenge her for Agamemnon’s death.

When the Chorus fears a flood, evident in its dread that “the deluge is in store” (line 1535), I saw a parallel to the creation myths, especially Genesis, for God brings about the flood to cleanse man’s sin. I interpret the Chorus’ dread as the gods potentially destroying Clytemnestra for killing her husband, as well as delivering punishment to undue sin in general.

I did not like how Aegisthus is so cold-hearted and rude to the elders, for he threatens to punish them for chastising him in planning Agamemnon’s death. I think he is too strong-headed and blind in his desire for revenge.

Margaret Yoon

The Agamemnon is an interesting read because I become more familiar with a character that was already mentioned in my previous reading of The Iliad. The play presents an interesting theme of gender roles from the beginning, for Clytemnestra professes, “These are a woman’s words” (line 348 Aeschylus), whereas the chorus immediately responds with, “Lady, your words are like a man’s, both wise and kind” (line 351). Because she rules Argos in her husband Agamemnon’s absence, she takes on “manly” characteristics, evident in her strength and forthrightness. She reminds me of Medea in Euripides’ play, because both are rather frightening in their clever words. They both persuade those around them, which makes their words their weapons.

One thing I had a little difficulty with was following which side Zeus is on, for in The Iliad, he listens to Achilles’ mother, Thetis’ plea to make the Achaean army suffer, but it seems that he is fully on Greece’s side in the Agamemnon. Perhaps there is a discrepancy because I have not read the entire Homeric epic.

Margaret Yoon

The Ramayana was difficult to understand at first, but once I acquired background knowledge about the epic, I found the different cantos from the books a pleasure to read. It is interesting that Rama and Sita are perfect figures; they serve as sources of ideals and wisdom for common life. Her abduction by Rakshasa, or the king of Lanka, is comparable to the Achaean’s abduction of Chryseis and Briseis in The Iliad. However, Sita, being the ideal wife, puts up a much stronger and angrier response to the abduction. She wishes to remain with Rama at all costs because they are incomplete without each other. I was not sure if Ravan actually rapes Sita, for it does not explicitly state so, but there are literary implications to the deed, such as the connotations of being Rama’s “ravished dame.”

The Iliad: Books 1 and 22

Books 1 and 22 of The Iliad consist of captivating accounts of the quarrel between Achilles and Agamemnon as well as the death of Hector, the mightiest warrior in the Trojan army. It seems that pride and honor are most valued among the warriors and gods in the tale, and that anyone who dares to injure or violate someone’s pride prompts a response of great wrath and vengeance. I found it rather foolish of Agamemnon to take away Achilles’s prize, Briseis, when it is bound to incur Achilles’s anguish and rage. Achilles, though he is egoistical, is able to control his anger through Athena’s calming words as well as those of his mother’s. However, in Book 22, he is cold and shows no compassion for Hector’s wish for Achilles to send his body home for proper burial.

One question I had in my reading arose during Achilles’ speech, “If down in Hades men forget their dead, even there I will remember my companion” (line 389, Book 22). Why do the characters assume they are going to hell? Do they not believe in forgiveness or the possibility of salvation? By being warriors and killing others, do they automatically accept their fate?

Margaret Yoon

I greatly enjoyed reading Book I of Metamorphoses because I found the literary style of the text quite appealing. By utilizing dactylic hexameter, the narrative flows beautifully, making the text pleasurable in auditory terms. Also, the text does not have much repetition, unlike Genesis or Gilgamesh, which directly connects to the different purposes of the creation myths. Unlike the Bible’s intentions of spreading Christianity and acquiring followers or Gilgamesh’s objective to reinforce a sense of community and collective culture, Metamorphoses functions simply as a story and for recording. The flood stories vary in cause and reason, for God is punishing mankind for his sin in Genesis, Enlil is bringing the disaster for a greater necessity in controlling the population growth, and Jove is exercising his power, encouraged by Lycaon’s disrespect for him. Even though they have concrete differences, a notable similarity is that the survivors of each flood embody devotion or virtue, gaining a divine power’s favor. By receiving blessings from a higher power, they are able to survive and continue their lives after the calamity.

Genesis 6-9 and Gilgamesh Tablets I and XI

In Tablet XI, I found many parallels to the biblical story of Noah, such as the ordering of all living things to go into the boat, the exact dimensions of how the boat was built, and the sending of the dove from the boat. Though the stories may seem similar, however, there are also marked differences. In the biblical story, man’s wickedness incites God into punishing man and bringing forth the flood. God chooses Noah to survive because God finds favor in him, emphasizing that righteousness will be unforgotten and rewarded. However, Enlil sends the flood for cleansing and controlling the population growth. Although the gods in Gilgamesh do not explicitly state feelings of regret over the flood, God in Genesis states his repentance for cursing man and every living thing. Also, the people’s tumultuous experience during the flood is described in Gilgamesh, unlike Genesis. The Bible is clearly for spiritual guidance and dogma, for it glorifies the holy God, encouraging followers to become like Him. But Gilgamesh is presented simply as a story without intentions of acquiring followers.

When Urshanabi takes Gilgamesh away to the washing place and he casts off his animal skin, it reminded me of The Dawn Treader, when Eustace turns into a dragon. I felt as if both characters were shedding not only their skin, but their sins so they could have spiritual renewal.

Margaret Yoon: Genesis 6-9

Although I am well-acquainted with the book of Genesis, I had only read the stories from a religious point of view. Thus, it was interesting for me to study it as world literature, instead of solely as a spiritual doctrine.

I felt that because God loved Noah and saved him from the flood, along with the family members and animals that went with him into the ark, it showed God’s love for those who please Him and lead righteous lives. However, for the rest of the world, which was filled with sin, He destroyed, revealing God’s strength and wrath.

Since God sent Jesus to the earth to become man, I see qualities in him that are quite human. For instance, after the floods, God declares that He will never curse mankind and every living thing again. It seems that God is remorseful for His actions and thus, He blesses Noah and his sons to lead prosperous lives.

After the flood, Noah plants a vineyard and becomes drunk. It was puzzling to me that he cursed Canaan, even though it seemed like Ham was simply trying to help him become clothed again. Is it not Noah’s fault that he is naked in the first place? Why is it such a big matter, and why can he not find forgiveness? I feel that Noah’s actions were unjust and could have been less severe.

The most recent flood movie I saw was an international film called Haewundae, and while reading the text I was reminded of the terror and agony that seized the victims in the movie. Although the Bible does not venture deeply into those who actually suffer the floods, I was able to picture the terrible experience. It also gives light to God’s vengeance, punishing the sinful and saving those who are pleasing to Him.