The Lavenders and Surrender return!

Just a quick update between homework assignments: two of the projects I contributed script work to have resumed! Both of these are considered NSFW with graphic violence, nudity and sexual content.

http://www.starshipmoonhawk.com/comic1/cosmic-feline-surrender/ <- Cosmic Feline: “Surrender” – Recounts the tale of Ael Delenaria during the Chotan War. It highlights PTSD and the lasting effects of war on a person’s psyche. Trigger warnings for this story with depictions of graphic violence and torture.

http://www.lavendercomic.com/ <- “The Lavenders” – Is a super natural drama following half-vampire, Darlene Lavender and her vampire mother, Rose, as they deal with a serial killer targeting vampires and stalking Darlene. A touch of high school drama, procedural cop drama, and coming of age story as Darlene must learn how to control her budding vampiric powers amongst the chaos of Neo San Diego where humans are being pitted against the supernatural species that live among them.

 

The Dream of Rood and Christ as a Hero

Early Anglo-Saxon religion had heavy Norse influences with an emphasis on a warrior culture. When Christianity was first introduced with Jesus Christ depicted as the Savior of mankind- he must have paled in comparison to the native Norse gods such as Thor, the god of thunder or Balder, the Sun god who were beloved and accomplished warriors. The dreamer in “The Dream of the Rood” describes Christ as “The Hero young begirt Himself, Almighty God was He”. (“The Dream”, 38) But how is “hero” defined?

“Definition of Hero:
b : an illustrious warrior ;
c : a man admired for his achievements and noble qualities;
d : one who shows great courage” (Merriam-Webster)

“…Then saw I mankind’s Lord/Hasten with mickle might, for He would sty upon me” (“The Dream”, 32-33). This quiet resolve is truly a courageous deed and that he did so to redeem mankind is noble. Norse heroes charged into battle with weapons raised high but this Christian hero sacrificed himself.

Sacrifice to a god was quite common in pagan religious practices in order to bring about various good effects, such as a fertile harvest. The most common sacrifices were animals and it was only on rare occasions that a human being was killed.  It was unheard of to hear of Gods willing to sacrifice themselves for mankind.

“…which Almighty God suffered upon/for all mankind’s manifold sins/and for the ancient ill-deeds of Adam./Death he tasted there, yet God rose again/by his great might, a help unto men.” (“The Dream”, 98-102)

The sacrifice of Jesus, presents to us an unspoken spiritual battle against the sins of mankind and mankind’s desire for repentance personified by the reversal of goodness and sin, with Christ’s body as the manifestation of mankind’s sin and the actions of his torturers as repentance.  With the death of Christ (mankind’s sin) and his subsequent rebirth (mankind’s salvation) the battle was won. This sort of battle is typical of Christian symbolism since it is not a physical one but a metaphysical one.

There is more symbolism that was originated in paganism but has been incorporated into Christian mythology. An example of a pagan belief adopted by Christianity was the narration by the tree. This personification was common in paganism in which the trees were thought to be the slumbering spirits of the forest unless their knowledge was sought out. Legend has it that the dogwood tree was once able to grow large and tall like an oak but it was appalled for having been used as the cross that killed Christ and now bears the markings of the crucifixion and no longer allows itself to grow that large again.

Queen Elizabeth and Elizabethan Era Literature

  1. Queen Elizabeth was considered an icon of her era, glorified as the “Virgin Queen” since she ruled in a patriarchal society without a king or prince ruling beside her and without a serious commitment to marriage. In her own writings and speeches, she spoke about the subject of her gender and lack of a partner as a way to inspire her subjects.

    “I know I have the body but of a weak and feeble woman; but I have the heart and stomach of a king, and of a king of England too, and think foul scorn that Parma or Spain, or any prince of Europe, should dare to invade the borders of my realm; to which rather than any dishonour shall grow by me, I myself will take up arms, I myself will be your general, judge, and rewarder of every one of your virtues in the field.” (Elizabeth I, Speech to the Troops at Tilbury)

    As a queen, she tried her best to be fair and listen to her councilors, even to the point of not marrying a man that she loved against the wishes of her parliament. (Crofton, 148-149) Elizabeth never married and this sort of romantic ideal of refusing to marry if she could not marry the man she loved seems to be echoed in the literature of the era. The best example of this in her own words would be in her poem, “On Monsieur’s Departure”, “Let me or float or sink, be high or low;/Or let me live with some more sweet content,/Or die, and so forget what love e’er meant.” (16-18)

    2. Literature within the Elizabethan era was full of religious allegory intermingled with the mysticism of the old Gods. Edmund Spenser’s “Faerie Queene” was a prime example of the intermingling of religious iconography with the added benefit of making reference to Queen Elizabeth within the epic poem. “And cursed heauen, and spake reprochfull shame/Of highest God, the Lord of life and light;/A bold bad man, that dar’d to call by name/Great Gorgon, Prince of darkness and dead night,/At which Cocytus quakes, and Stya is put to flight.” (Book I, Canto I)

    The transition from the medieval displacement of troubles to devils to the blame upon the people themselves is more evident in Shakepeare’s “King Lear” where the ill luck that falls upon the King are the folly of his own mislaid trust. It is a sharp contrast to the mischief caused by magic and faeries in Shakespeare’s “Midsummer Night’s Dream”.

    3. Shakespeare’s humor and love of honesty shines through in Sonnet 130 “I grant I never saw a goddess go;/My mistress, when she walks, treads on the ground:/ And yet, by heaven, I think my love as rare/As any she belied with false compare.” And again in “King Lear” with the lovely Coredlia’s statement of plain love for her father, “I love your Majesty./According to my bond, no more nor less.” Shakespeare writes a create variety of characters in all of his plays but it seems that he favors words of wisdom coming from unexpected places, such as from the Fool in “King Lear”. “I marvel what kin thou and thy daughters are. They’ll have me whipped for speaking true; thou’lt have me whipped for lying; and sometimes I am whipped for holding my peace.” (Act 1 Scene 4, 186-189) To have the foolish speak wisdom and the wise speak foolishly it says to me that Shakespeare feels that the real wisdom comes from whom you least expect. He also seems to make t plain that often times the truth is a plain thing that cannot be concealed in falsehoods.

    Work Cited:
    Crofton, Ian. The Kings and Queens of England. New York: Metro Books, 2006. Print.

    Shakespeare, William. King Lear. New York: Signet Classic, 1998. Print.

    Spenser, Edmund. The Faerie Queene. The Norton Anthology. Ed. Steven Greenblatt. Norton & Company, 2006. Print.

    Queen Elizabeth I. “On Monsieur’s Departure.” The Northon Anthology. Ed. Steven Greenblatt. Norton & Company, 2006. Print.

    Queen Elizabeth I. “Speech to the Troops at Tilbury.” The Norton Anthology. Ed. Steven Greenblatt. Norton & Company, 2006. Print

Paradise Lost as an epic

John Milton’s Paradise Lost is an epic according to the Webster’s New Dictionary definition of epic as “a long narrative poem in a dignified style about the deeds of a hero or heroes” (p. 219).  To classify Paradise Lost as an epic forces the reader to take into consideration the subject matters of the fall of Lucifer from Heaven; the fall of mankind from the Garden of Eden; and, if a reader can classify the actions of Adam, Eve or even Lucifer during these events as “heroic”.   Taking into consideration that a hero is defined as “any person, esp. a man, admired for courage, nobility” (Webster’s New Dictionary, p. 303), I can think about what actions I might personally consider noble or courageous.  Some of the things that I consider courageous are accepting responsibility for one’s one actions; speaking out for the greater good when it is unfavorable; or fighting against overwhelming odds to accomplish a goal.

In Milton’s poem, both Adam and Lucifer acted in ways that I consider courageous, albeit a little foolish but courageous nevertheless the fact that they faced death or banishment for their actions.  Surprisingly, the actions of Lucifer are the ones that stand out as the more heroic despite the notion that he is generally perceived as the source of evil and hatred in the world.  Lucifer’s plans to pervert all that is “good” to “evil” becomes heroic when the reasoning for his evil actions becomes what appears to be the desire to be free from life of servitude rather than jealousy.  “…but rather seek / Our own good from ourselves, though in this vast recess, / Free, and to none accountable, preferring/ Hard Liberty before the easy yoke / Of servile Pomp.” (Milton, 252-257)  It becomes harder to consider Lucifer a villain when he is the main focus of many of the twelve books of Paradise Lost.  The reader does follow Adam as well but Adam’s actions when compared to Lucifer’s appear more consequential.  Adam only accepts responsibility for disobeying God after initially denying all blame and then tries to repent for his actions.

Works Cited

“Epic.” Webster’s Fourth New World Dictionary. 2003. Print.

“Hero.” Webster’s Fourth New World Dictionary. 2003. Print.

Milton, John. Paradise Lost.  New York: Signet Classics, 2010. Print