Summary Of Looking For The Holy Grail
Barber, Richard. "Looking For The Holy Grail." History Today 54.3 (2004): 13-19. Academic Search Complete. Web. 20 Nov. 2016. The grail represents mysticism in Christianity, according to Richard Barber; and Troyes account of Perceval seeing the holy object, is not a borrowed older idea, but the “first appearance of the Holy Grail in literature” (Barber 13). This story is an example of the spiritual journey that many Christians would undertake in the Age of Faith; the experience of the journey focuses the person on faith and exposes the foolishness and failures of the person involved. Perceval sees the holy object before him, but he does not realize the importance of the moment; “bemused by what appears before him, fails to ask its purpose”
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The unheroic sister choose well, and still “has life and all of the possibilities that it presents” (Kirkpatrick 406). Antigone loses more than she needed to, and is not the sister to be admired in the story. Kirkpatrick does not summarize the role of Ismene as that of a passive sister, and supports this point by reminding of the public stand that she takes with Antigone. The complex relationship portrayed by Sophocles is not Kreon and Antigone but that of the sisters (404). Kirkpatrick builds the case that Ismene’s refusal to act “overtly” does not make her less of a hero (402). Antigone acts in a louder manner, while honoring her brother and protecting her sister, and Ismene is quietly willing to suffer with her sister, “neither sister seems to want the other to die” (411). Antigone, as the tragic hero, receives most of the literary attention; yet Kirkpatrick asks why. The pragmatic love of life that Ismene possesses seems absent in her sister (424). Kirkpatrick ends his analysis asking how the tragedy might have been different if the emphasis was more on the “silent acts” of Ismene; her cunning and more measured response may have brought more possibility and less “woe, destruction, and violence” (424). He sees the resistance of Ismene as wiser and a better example for those who appear powerless. She took a firm stand, but she keeps hope alive and a different future a possibility.
Molina, Antonio Munoz. "Don Quixote Or The Art Of Becoming." Hudson Review 68.3 (2015): 373-382. Academic Search Complete. Web. 20 Nov.
The unheroic sister choose well, and still “has life and all of the possibilities that it presents” (Kirkpatrick 406). Antigone loses more than she needed to, and is not the sister to be admired in the story. Kirkpatrick does not summarize the role of Ismene as that of a passive sister, and supports this point by reminding of the public stand that she takes with Antigone. The complex relationship portrayed by Sophocles is not Kreon and Antigone but that of the sisters (404). Kirkpatrick builds the case that Ismene’s refusal to act “overtly” does not make her less of a hero (402). Antigone acts in a louder manner, while honoring her brother and protecting her sister, and Ismene is quietly willing to suffer with her sister, “neither sister seems to want the other to die” (411). Antigone, as the tragic hero, receives most of the literary attention; yet Kirkpatrick asks why. The pragmatic love of life that Ismene possesses seems absent in her sister (424). Kirkpatrick ends his analysis asking how the tragedy might have been different if the emphasis was more on the “silent acts” of Ismene; her cunning and more measured response may have brought more possibility and less “woe, destruction, and violence” (424). He sees the resistance of Ismene as wiser and a better example for those who appear powerless. She took a firm stand, but she keeps hope alive and a different future a possibility.
Molina, Antonio Munoz. "Don Quixote Or The Art Of Becoming." Hudson Review 68.3 (2015): 373-382. Academic Search Complete. Web. 20 Nov.