Manual Big Tobe: Retribution (Project Queen Book 3)

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Latin writers provide the most colourful descriptions of these goddesses. Aeschylus, Libation Beaers ff trans. You handmaidens, look at them there: like Gorgones, wrapped in sable garments, entwined with swarming snakes!. Strabo, Geography 3. Jones Greek geographer C1st B. Pausanias, Description of Greece 1. Jones Greek travelogue C2nd A. It was Aiskhylos Aeschylus who first represented them with snakes in their hair. But on the [cult] images neither of these nor or any of the underworld deities is there anything terrible.

Quintus Smyrnaeus, Fall of Troy Way Greek epic C4th A. Tisiphone, dishevelled as she was, shook her white hair and tossed aside the snakes that masked her face. The baleful Erinys stood. The snakes, dislodged, gave hissing sounds; some crawled upon her shoulders; some, gliding round her bosom, vomited a slime of venom, flickering their tongues and hissing horribly. Then from her hair she tore out two with a doom-charged aim darted them. Down the breasts of Athamas and Ino, winding, twisting, they exhaled their noisome breath; yet never any wound to see, the fateful fangs affect their minds.

Tisiphone brought with her poisons too of magic power: lip-froth of Cerberus, the Echidna's venom, wild deliriums, blindnesses of the brain, and crime and tears, and maddened lust for murder; all ground up, mixed with fresh blood, boiled in a pan of bronze, and stirred with a green hemlock stick.

And while they shuddered there, she poured the poisoned brew, that broth of madness, over both their breasts right down into their hearts. Then round and round she waved her torch, fire following brandished fire. She went, and loosed the snake she'd fastened round her waist. Virgil, Georgics 4. Fairclough Roman bucolic C1st B. Propertius, Elegies 3. Goold Roman elegy C1st B. Seneca, Hercules Furens 86 trans. Miller Roman tragedy C1st A.


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Seneca, Hercules Furens ff : "Begin, [Erinyes] handmaids of Dis [Haides], make haste to brandish the burning pine; let Megaera lead on her band bristling with serpents and with baleful hand snatch a huge faggot from the blazing pyre. Seneca, Hercules Furens ff : "Fiery Erinys cracks her brandished scourge, and closer, closer yet, holds out before my face brands burnt on funeral pyres.

Cruel Tisiphone, her head with snakes encircled. Seneca, Medea ff : "Whither hastes that headlong horde of Furiae [Erinyes]? Whom seek they? Against whom are they preparing their flaming blows? Whom does the hellish host threaten with its bloody brands? A huge snake hisses, whirled with the writhing lash.

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Whom does Megaera seek with her deadly torch? Valerius Flaccus, Argonautica 4. Statius, Thebaid 1. By chance she sat beside dismal Cocytus, and had loosed the snakes from her head and suffered them to lap the sulphurous waters. Straightway, faster than fire of Jove [Zeus] or falling stars she leapt up from the gloomy bank: the crowd of phantoms gives way before her, fearing to meet their queen; then, journeying through the shadows and fields dark with trooping ghosts.

A hundred horned snakes erect shaded her face, the throning terror of her awful head; deep within her sunken eyes there glows a light of iron hue, as when Atracian [Thessalian witches'] spells make travailing Phoebe [the Moon] redden through the clouds; suffused with venom, her skin distends and swells with corruption; a fiery vapour issues from her evil mouth, bringing upon mankind thirst unquenchable and sickness and famine and universal death.

From her shoulders falls a stark and grisly robe, whose dark fastenings meet upon her breast: Atropos [one of the Fates] and Proserpine [Persephone] fashion her this garb anew. Then both her hands are shaken in wrath, the one gleaming with a funeral torch, the other lashing the air with a live water-snake. She halted, where the sheer heights of vast Cithaeron rise to meet the sky, and sent forth from her green locks fierce repeated hisses, a signal to the land, whereupon the whole shore of the Achaean gulf and the realm of Pelops [the Peloponnese] echoed far and wide.

Then the Furia Fury , swooping headlong upon the Cadmean towers, straightway cast upon the house its wonted gloom [as a curse upon the house].


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Statius, Thebaid 4. The other heard the sound: by chance she was standing near her sire [Haides]. Forthwith she broke through the massive earth, and stood beneath the stars: the Manes Ghosts rejoice, and as the nether darkness grows less thick, so wanes the light above. Her fell sister receives her, and clasps her hand. Apuleius, The Golden Ass 5. Walsh Roman novel C2nd A. Nonnus, Dionysiaca Rouse Greek epic C5th A. His eyes grew bloodshot as he stared about under vagrant impulses; inside his wagging head the flimsy brains rolled about behind his brows.

(1-1) Introduction

The blasts of the Eumenides [Erinyes] had carried away the troubles of mortal life, and his tongue was laden with the cries of madness. When he moved his face about he saw as his forehead turned a false transformed shape of the unseen Megaira.

So the madman shook with a distracted spasm, and tried to tear the whip of snakes from the grim hand of the reason-destroying goddess; he bared his sword in the face of the Avenger [Alekto], and tried to cut the viper-curls of Tisiphone. At times, again, she showed a face like some wild beast; a mad and awful lion with thick bristles upon his neck, threatening Dionysos with bloody gape.

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Now Megaira Megaera black in her infernal robe went back into the darkness, and sent many spectral visions to Lyaios Lyaeus. Showers of poison-drops were shot upon the head of Bromios and big fat sparks; ever in his ears was the whistling sound of the hellish whip which robbed him of his senses. How do the divisions move toward and illustrate the collapse of Igbo society?

What is the point of view of the narrator? How does the point of view contribute to our understanding of the conflicting cultures? What techniques does the narrator use to evoke a participatory role for the reader? How does this contrast with the ending, when Okonkwo is deliberating about an adequate response to the British humiliation of the Igbo elders in jail?

Achebe uses storytelling flashbacks to describe the relationship of Okonkwo and Unoka. What do the flashbacks reveal about their relationship? What is the effect of the use of storytelling to illustrate the flashbacks? In Chapter One, how does Achebe foreshadow the presence and ultimate fate of Ikemefuna?

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Describe the judicial function of the egwugwu and its relationship to the living, particularly to Igbo women. Why is it also related to the spiritual world? How does Achebe illustrate the blending of the spiritual and real worlds? How does the killing of Ikemefuna foreshadow the fall of Okonkwo? Why is Okonkwo exiled? Why is the exile ironic? When and how is the white man introduced? What attitudes toward the Igbo people do the white men bring and how do their attitudes determine their treatment of the Igbo people?

How does Achebe use incidents to paint the general character of the white colonizers? Character and Conflict 1. How does Okonkwo achieve greatness as defined by his culture?

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Why is Unoka, who suffers from a swelling in the stomach, left to die in the evil forest? How does Okonkwo differ from his father? What are his feelings toward his father? Cite examples in the attitude and actions of Okonkwo that show the Igbo division of what is considered manly and what is considered womanly. Why is Okonkwo unhappy with his son and heir? How do his feelings toward Nwoye compare with his feelings toward Ikemefuna? Why is Ikemefuna killed? How does Nwoye react to the sacrifice?

Okonkwo changes significantly after the killing of Ikemefuna. Why does Nwoye convert to Christianity? How does his conversion affect his relationship with his father? Describe Mr. How is his portrayal different from the Igbo characters? Compare and contrast him with other white colonists.