A Wife Now Living

What Does the Frieze in the Villa of Mysteries Reveal About the Dionysian Mystery Cult? By Margaret   The Dionysian Mystery Cult is full of secrets and questions. However, we can gain a small glimpse into its culture and rituals through a two-thousand-year-old frieze preserved on the outskirts of Pompeii. The frieze is thought to depict the initiation ceremony of a young woman into the Cult, though much of its meaning is not overt.      One of Dionysus’ main symbols was the thyrsus. The thyrsus was a staff made of fennel, wrapped in ivy or leaves and topped with a pinecone. The pinecone often represented a phallus and was covered in honey to symbolise fertility. The thyrsus is traditionally associated with Dionysus’ Roman counterpart, Bacchus, though the two personas are almost interchangeable as characters. Those participating in Dionysus’ thiasus would carry the thyrsus , particularly male satyrs. This was probably to exhibit the Cult’s encouragement of sensual and promiscuous behavi

  How does Creon try to convince Oedipus that he is to be trusted?  By Margaret Creon begins his speech with a strong opening statement: ‘That’s not the case, if you applied reason as I do’. This highlights Creon’s strong use of logos  in this address; he uses sound logic and reasoning to show Oedipus that that he is being irrational. Creon’s clear and direct way of outlining his points shows Oedipus that he means well and has Oedipus and Thebes’ best interests at heart.             Furthermore, Creon uses several rhetorical questions throughout his speech: ‘Do you think that anyone/would choose to rule… if he had the same level of power?’ T he use of these questions helps to engage Oedipus in what Creon is saying, forcing him to reflect on the rationality of his argument. Again, Creon’s use of logos is compelling Oedipus to perceive Creon as a legitimate opponent whose words are worth consideration.             Moreover, Creon also uses some form of pathos to co nvince Oedipus of his

  The Tempest: A Review By Margaret Palm trees, Prospero and pizza; Wednesday, 12 October, was a day to remember. 6am saw the Drama and Literature classes of Years 11, 12 and 13 loading onto a coach for a 7-hour, music-filled ride to Shakespeare’s Globe, London. After a bite to eat and a browse at the Globe gift shop, we took our places in the Yard, channelling the spirits of the Elizabethan groundlings of old.  Shakespeare’s The Tempest is a wild ride in its tamest form. However, we were unprepared for the delightfully chaotic, zany, roguish rollercoaster of a comedy we experienced. Sean Holmes’ modern, beach-resort take on this classic play was the perfect combination of slapstick humour, drunken frivolity and fiery romance. This was well-balanced with thematic undertones of freedom, colonialism, power and justice, which added a rich tone to the performance.  The stage was brimming with captivating actors– Prospero gave an especially winning performance while sporting a bright yello

  How Does Marlowe Present Faustus in the Prologue and in the First Soliloquy of the Play? By Margaret Marlowe’s ‘Doctor Faustus’ uses the framework of a typical medieval morality play. H owever, Marlowe chooses to begin  his  play by highlighting how it is  different  from many of the types of plays to which the Elizabethan audience were accustomed. ‘Not marching in the fields of Trasimene’, says the chorus, ‘Nor sporting in the dalliance of love/... /Nor in the pomp of proud audacious deeds’ will this play be set. Right from the beginning, Marlowe wants his   audience to know who Faustus is. He is not a war hero, or a romantic and he is not a prince or king doing noble or brave deeds. Marlow is very clear about his intentions for his character and he wants the audience to understand that.      Marlowe then moves on to describe Faustus in more detail: ‘he is born, of parents base of stock/... within a town call’d Rhode’. Again, this subverts the audience’s expectations by making his p

How Does Marlowe Present Faustus in the Prologue and in the first soliloquy of the play? By Oliver  " Never regret thy fall, O Icarus of the fearless flight, For the greatest tragedy of them all, Is never to feel the burning light. "  -Oscar Wilde              The prologue and the soliloquy at the beginning of Doctor Faustus give the audience a valuable insight into the play's titular character. Through the prologue Marlowe gives his audience a glance at Faustus' life, we learn about his history, growing up 'base of stock' in 'Rhode' and are told about his interest in 'cursed necromancy'. and how this will lead to him forfeiting the 'cheifest bliss' of heaven. whereas the prologue gives us an outsider's view of Faustus, the opening soliloquy lets the audience enter Faustus' mind. During his soliloquy the audience finds out what motivates Faustus, the type of person he truly is ,and begin to understand how his Impossible pursuit

  Love in Larkin's 'An Arundel Tomb'   By Oliver " Time has transfigured them into    Untruth. The stone fidelity They hardly meant has come to be    Their final  blazon , and to prove    Our almost-instinct almost true:    What will survive of us is love." 'An Arundel Tomb' recounts Larkins' visit to the tomb of the earl and c ountess of Arundel. The tomb acts as a complex symbol of human attitudes towards love and art through which Larkin expl ores the evanescence of power and identity . Throughout the poem Larkin considers how the meaning of this 'effigy' has 'blurred' and how modern visitors of the tomb insert themselves into the place of the Earl and Countess; transforming the monument into an emblem of unyielding devotion. Larkin approaches this interpretation with cynicism , sugg esting that the tenderness portrayed in the tomb is one of deceit and 'untruth' and that a marriage of that time would have mor