Motif In Literature Quotes

Nevertheless, the potential and actual importance of fantastic literature lies in such psychic links: what appears to be the result of an overweening imagination, boldly and arbitrarily defying the laws of time, space and ordered causality, is closely connected with, and structured by, the categories of the subconscious, the inner impulses of man's nature. At first glance the scope of fantastic literature, free as it is from the restrictions of natural law, appears to be unlimited. A closer look, however, will show that a few dominant themes and motifs constantly recur: deals with the Devil; returns from the grave for revenge or atonement; invisible creatures; vampires; werewolves; golems; animated puppets or automatons; witchcraft and sorcery; human organs operating as separate entities, and so on. Fantastic literature is a kind of fiction that always leads us back to ourselves, however exotic the presentation; and the objects and events, however bizarre they seem, are simply externalizations of inner psychic states. This may often be mere mummery, but on occasion it seems to touch the heart in its inmost depths and become great literature.

The Correspondence-School Instructor Says Goodbye to His Poetry Students Goodbye, lady in Bangor, who sent me snapshots of yourself, after definitely hinting you were beautiful; goodbye, Miami Beach urologist, who enclosed plain brown envelopes for the return of your very “Clinical Sonnets”; goodbye, manufacturer of brassieres on the Coast, whose eclogues give the fullest treatment in literature yet to the sagging breast motif; goodbye, you in San Quentin, who wrote, “Being German my hero is Hitler,” instead of “Sincerely yours,” at the end of long, neat-scripted letters extolling the Pre-Raphaelites: I swear to you, it was just my way of cheering myself up, as I licked the stamped, self-addressed envelopes, the game I had of trying to guess which one of you, this time, had poisoned his glue. I did care. I did read each poem entire. I did say everything I thought in the mildest words I knew. And now, in this poem, or chopped prose, no better, I realize, than those troubled lines I kept sending back to you, I have to say I am relieved it is over: at the end I could feel only pity for that urge toward more life your poems kept smothering in words, the smell of which, days later, tingled in your nostrils as new, God-given impulses to write. Goodbye, you who are, for me, the postmarks again of imaginary towns—Xenia, Burnt Cabins, Hornell— their solitude given away in poems, only their loneliness kept. Galway Kinnell

the conventional sociology of literature or culture, which modestly limits itself to the identification of class motifs or values in a given text, and feels that its work is done when it shows how a given artifact “reflects” its social background, is utterly unacceptable.

Dream House as Sodom Like Lot’s wife, you looked back, and like Lot’s wife, you were turned into a pillar of salt(44), but unlike Lot’s wife, God gave you a second chance and turned you human again, but then you looked back again and became salt and then God took pity and gave you a third, and over and again you lurched through your many reprieves and mistakes; one moment motionless and the next gangly, your soft limbs wheeling and your body staggering into the dirt, and then stiff as a tree trunk again with an aura of dust, then windmilling down the road as fire rains down behind you; and there has never been a woman as cartoonish as you—animal to mineral and back again. --- 44. Thompson, Motif-Index of Folk-Literature, Type C961.1, Transformation to pillar of salt for breaking taboo.

To be sure, in the case of such long episodes as the one we are considering, a purely syntactical connection with the principal theme would hardly have been possible; but a connection with it through perspective would have been all the easier had the content been arranged with that end in view; if, that is, the entire story of the scar had been presented as a recollection which awakens in Odysseus’ mind at this particular moment. It would have been perfectly easy to do; the story of the scar had only to be inserted two verses earlier, at the first mention of the word scar, where the motifs “Odysseus” and “recollection” were already at hand. But any such subjectivistic-perspectivistic procedure, creating a foreground and background, resulting in the present lying open to the depths of the past, is entirely foreign to the Homeric style; the Homeric style knows only a foreground, only a uniformly illuminated, uniformly objective present.

The alien concept has been expanded to explain isolation as well, with studies of “the black geek” in literature and an array of self-created modalities that infer a discomfort in one’s own skin. In summer 2012, Emory University’s African-American Studies Collective issued a call for papers for their 2013 conference, titled “Alien Bodies: Race, Space, and Sex in the African Diaspora.” Held February 8 and 9, 2013, the conference examined the alien-as-race idea and looked at transformative tools to empower those who are alienated. It explored how “we begin to understand the ways in which race, space and sex configure ‘the alien’ within spaces allegedly ‘beyond’ markers of difference” and asked, “What are some ways in which the ‘alien from within as well as without’ can be overcome, and how do we make them sustainable?” Afrofuturist academics are looking at alien motifs as a progressive framework to examine how those who are alienated adopt modes of resistance and transformation. Stranger

Persecution and martyrdom were taken for granted by the Christians as normal conditions of the Church's life. They had been foretold in the gospels and had found their supreme archetype in the example of Christ himself. The martyr was following in his master's steps, and his death expressed that identity between the Head and the Members which was the key principle of the Pauline theory of the Church. Consequently it is not surprising that the idea of martyrdom is the dominant motif of early Christian literature and thought throughout the whole of this period from the New Testament to Eusebius. In the first age of the Church the ideal of sanctity was embodied in the figure of the martyr - the man who 'bears witness' with his blood to the Christian faith.

Retrieving the medieval concept of the heroic quest—reinventing it for the modern mind—is one of the signal achievements of their work. Whether in epics such as Beowulf or romances like Malory’s Morte d’Arthur, Tolkien and Lewis both found in medieval literature a set of motifs and ideals worth recalling.81

Although the stories of the Cailleach are essentially British, her origins are not. Exploring the earliest literary references to the Cailleach takes us to the classics of ancient Greece and Rome. References in writings by Herodotus, Strabo and Pliny suggest her worship as a Celtic tutelary goddess on the Iberian peninsula of Spain two and a half thousand years ago. Moving beyond literature and focusing on the similarities in motifs, such as her giant size and stone-carrying, leads us to Neolithic Malta. There are distinct similarities between the Cailleach and the Maltese giantess Sansuna, credited by legend with building the Ggantija temples on the island of Gozo. These impressive buildings are the oldest religious structures in the world, predating monuments like the Pyramids and Stonehenge.

The tree of life motif is especially prominent in the medieval poem “The Dream of the Rood.” Probably first written in the late seventh or early eighth century, the extant version of this Anglo-Saxon epic poem was discovered among a collection of other Old English religious literature in the Cathedral library at Vercelli in northern Italy. The text recounts the Passion from the cross’s point of view, making it the chronicler of its own story, starting from its youth as a green sapling, and concluding with its being hewn down and fashioned into the instrument of crucifixion.

If we assess the results of this swift foray into the ancient Celtic literature, we can conclude the following: dwarfs are handsome or ugly, hostile or helpful, sometimes thieves or kidnappers. They inhabit kingdoms that are located on islands, in lakes, or in the sea, or are even underground. They live in communities there that are headed by a king. They celebrate festivals, play music, ride small horses, possess magical objects, and have supernatural powers. It appears they are excellent craftsmen. It is important that we underscore the fact that this image of the dwarf owes much to the romances, and the ancient features it contains no longer hold any value. It is obvious that there are several races of dwarfs—as the terms corr and afanc attest—who are deeply entangled with the otherworld, which does not seem to be restricted only to the land of Faery, and on this point the Celtic dwarfs and the dwarfs of the romances are opposites. But through the channel of the Matter of Britain, a veritable bridge set down between the Celtic world and the Romance world, certain peculiarities of these dwarfs from green Ireland and Wales have crossed over into France and combined with other motifs—motifs which, in this case, stem from the Germanic world.

the writer feels free to invent an inner language for the characters, to give their dialogues revelatory shape, to weave together episodes and characters with a fine mesh of recurrent motifs and phrases and analogies of incident, and to define the meaning of the events through allusion, metaphor, and symbol. The writer does all this not to fabricate history but in order to understand it. In this elaborately wrought literary vehicle, David turns out to be one of the most unfathomable figures of ancient literature.

in scholarly and lay circles alike, Paul’s references to Christians’ glory and glorification are too often understood either on the basis of preconceived cultural notions of glory as splendor or radiance or on the basis of assumed lexical definitions of glory as the presence of God manifested in light phenomena. Unfortunately, this notion of glory has affected the message of redemption in Romans and thereby also the meaning of “conformed to the image of [God’s] Son” in Romans 8:29b. Romans 8:29b can be understood only when the motif of glory in its surrounding context (especially Rom 5:2; 8:17, 18, 21, 30) is properly understood within the larger context of Romans and within the parameters of its use in Jewish literature set in the previous chapter.

The sacred marriage is an archetypal motif, and for this reason we find many examples of it in literature, legends and world religions. Common to many fairy tales is the royal wedding in which a prince and princess, each from a different country, are brought together by fortuitous circumstances and then united in marriage. The stories repeatedly involve a long search or heroic deeds, full of perils and fraught with hardship and despair. Psychologically, the sacred marriage symbolizes the union of opposites. It is the coming together, in equal status, of the masculine and feminine principles, the conjoining of consciousness and unconsciousness, of spirit and matter. This psychic process, writes Jung, brings about "the 'earthing' of the spirit and the spiritualizing of the earth, the union of opposites and reconciliation of the divided.

Pitrè did in folklore what Verga had done in literature; he was the first folklorist to transcribe not only traditional motifs or linguistic usages, but the inner poetry of the stories.

In the third and final section of the Alf laylah frame, the two men return home. The King Shahriyār eventually adopts a policy of taking a virgin each night and having her killed in the morning, which he continues until, suitable virgins in increasingly short supply, his vizier’s daughter offers herself, and thus the king meets the formidable. [Emmanuel] Cosquin asserted that the “fabric” of this motif was Indian, and he gave various instances in which a young woman delays a dreaded event by telling a succession of stories.

For Penina Mezei petrify motive in folk literature stems from ancient, mythical layers of culture that has undergone multiple transformations lost the original meaning. Therefore, the origin of this motif in the narrative folklore can be interpreted depending on the assumptions that you are the primary elements of faith in Petrify preserved , lost or replaced elements that blur the idea of integrity , authenticity and functionality of the old ones . Motif Petrify in different genres varies by type of actor’s individuality, time and space, properties and actions of its outcome, the relationship of the narrator and singers from the text. The particularity of Petrify in particular genres testifies about different possibilities and intentions of using the same folk beliefs about transforming, says Penina Mezei. In moralized ballads Petrify is temporary or eternal punishment for naughty usually ungrateful children. In the oral tradition, demonic beings are permanently Petrifying humans and animals. Petrify in fairy tales is temporary, since the victims, after entering into the forbidden demonic time and space or breaches of prescribed behavior in it, frees the hero who overcomes the demonic creature, emphasizes Mezei. Faith in the power of magical evocation of death petrifaction exists in curses in which the slanderer or ungrateful traitor wants to convert into stone. In search of the magical meaning of fatal events in fairy tales, however, it should be borne in mind that they concealed before, but they reveal the origin of the ritual. The work of stone - bedrock Penina Mezei pointed to the belief that binds the soul stone dead or alive beings. Penina speaks of stone medial position between earth and sky, earth and the underworld. Temporary or permanent attachment of the soul to stone represents a state between life and death will be punished its powers cannot be changed. Rescue petrified can only bring someone else whose power has not yet subjugated the demonic forces. While the various traditions demons Petrifying humans and animals, as long as in fairy tales, mostly babe, demon- old woman. Traditions brought by Penina Mezei , which describe Petrify people or animals suggest specific place events , while in fairy tales , of course , no luck specific place names . Still Penina spotted chthonic qualities babe, and Mezei’s with plenty of examples of comparative method confirmed that they were witches. Some elements of procedures for the protection of the witch could be found in oral stories and poems. Fairy tales keep track of violations few taboos - the hero , despite the ban on the entry of demonic place , comes in the woods , on top of a hill , in a demonic time - at night , and does not respect the behaviors that would protect him from demons . Interpreting the motives Petrify as punishment for the offense in the demon time and space depends on the choice of interpretive method is applied. In the book of fairy tales Penina Mezei writes: Petrify occurs as a result of unsuccessful contact with supernatural beings Petrify is presented as a metaphor for death (Penina Mezei West Bank Fairytales: 150). Psychoanalytic interpretation sees in the form of witches character, and the petrification of erotic seizure of power. Female demon seized fertilizing power of the masculine principle. By interpreting the archetypal witch would chthonic anima, anabaptized a devastating part unindividualized man. Ritual access to the motive of converting living beings into stone figure narrated narrative transfigured magical procedures some male initiation ceremonies in which the hero enters into a community of dedicated, or tracker sacrificial rites. Compelling witches to release a previously petrified could be interpreted as the initiation mark the conquest of certain healing powers and to encourage life force, highlights the Penina.