Objective(s): Students will be able to: Recognize the ‘The Road Back’ in hero journeys. Explain what the tenth stage of the hero journey is. Identify and provide examples of the tenth stage of the hero journey in other texts. Standards/Frameworks/GLEs: List the MO Standards‚ Frameworks‚ and GLEs that this lesson covers. A reference may be found at HYPERLINK "http://www.dese.state.mo.us" www.dese.state.mo.us Missouri Learning Standards: Grade-Level Expectations (Adopted April 2016 for implementation
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happened to them once they died. They did not have a place where they their souls went to rest in peace. Instead‚ they went to where they were tortured for the rest of their immortal lives. This is shown in both epics‚ The Odyssey by Homer and The Aeneid by Virgil. In the Odyssey Odysseus into the underworld and you get his count on the awfulness of Hades‚ and too Aeneas goes to the underworld and you see the different parts and find out the meaning of each section. Both texts have similarities and
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Violence and death are a persistent and dominant theme in the Aeneid and Oresteia. In both plays‚ violence and death are justified as an act of vengeance and response to injustice. Though Virgil and Aeschylus justify violence‚ they both differ in two aspects. One takes away the power of the protagonists to choose and the other allows the protagonists to make their own decisions. The house curse influences Clytaemnestra to kill Agamemnon and Apollo commands Orestes to kill Clytaemnestra‚ his mother
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The Significance of Female Roles in The Aeneid Though there are female characters in The Aeneid who are commonly interpreted as having a negative impact on Aeneas’ journey‚ Juno and Dido contribute to Aeneas’ legend as a mythical hero. The female characters‚ Juno and Dido‚ are known for wreaking havoc in the epic‚ since they both express anger toward Aeneas. Because of their treacherous actions‚ Dido and Juno play significant roles in the epic as they impact Aeneas’ conquest to found the Roman Empire
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archetypal figures and patterns play a dramatic role in the story of the “boy who lived.” Readers first meet Harry as an orphaned infant in Harry Potter and the Sorcerer’s Stone. Although the reader is initially unaware of Harry’s future reluctant hero status‚ there is an almost stately importance surrounding Harry as he arrives on Privet Drive. Professor McGonagall asks‚ “You think it – wise – to trust Hagrid with something as important as this?”[2] To which the clever Professor Dumbledore replies
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and accepts their duties to the gods‚ their family‚ and most necessarily their empire. Moreover‚ heroism intertwines with pietas which demonstrate the ability to make sacrifices for the benefit of an empire. Hence‚ in the epic poem of Virgil’s The Aeneid‚ the protagonist Aeneas is a well-known leader who is also simultaneously an apprehensive and dynamic character that agonizes with fully committing himself to the ideology of heroism and pietas.
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The Aeneid and Medea Book IV of The Aeneid is an epic poem that is considered one the best known works of Virgil in 20 B.C for the Roman civilization. On the contrary‚ Euripides was known throughout Troy for one of his tragic epic’s named Medea. Virgil and Euripides are from different civilizations and wrote the plays in different years‚ they might not have known each other but in both works they describe the dangers of excessive pride. Hubris is another word for pride by the Greeks. Book IV of
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Destiny‚ the Gods‚ and Fate in the Aeneid Playwright Lucius Annaeus Seneca said that “Fate leads the willing‚ and drags along the reluctant‚” (Beautiful Quotes) and perhaps nowhere is this idea better illustrated than in Virgil’s epic poem The Aeneid. Fate drives the course of events throughout the twelve books of The Aeneid‚ pushing both the mortal and divine‚ to the unwavering destinies laid before them‚ and destroying those who attempt to defy‚ or even hinder‚ the course of destiny. Today
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Heroism and Bereavement Vergil’s Aeneid is an epic that illustrates the determination that displays heroism amongst an individual‚ and furthermore‚ how this perception of heroism is shifted throughout the play. An example of this modification in Vergil’s perception of heroism was presented in Book 10‚ during the dreadful death of Lausus by the hands of Aeneas. Vergil presented the death of Lausus as a very extreme and vicious act. Nevertheless‚ Vergil illustrated Lausus’ death in such a vicious
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Walk Two Moons: Hero or Heroine’s Journey? Sal and her grandparents have decided to go to Lewiston‚ Idaho‚ to see her mother. The thing is‚ her mother’s birthday is seven days from the day they leave‚ and Sal is determined to get there on her mother’s birthday. Sal’s trip‚ or journey‚ is one of a heroine because it is family oriented‚ the trip itself acts as an escape from Euclid‚ and Sal learns things about herself as well as the people around her. Sal’s whole reason for the trip is to see her
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