from the gods and from your ancestors, and you apply the same standards as they when voting for conviction; secondly avenge the dead man; and at the same time rescue me, for I am left all alone. [4] For you are my nearest kin. The ones who should by rights have acted as the dead man’s avengers and as my allies have proved to be the dead man’s killers and have become my adversaries. What allies is a man to seek, where else will he go for refuge, except to you and to justice? [5] I am amazed at my brother. Whatever does he mean in appearing as my opponent? Does he think that piety consists in not abandoning his mother? Personally, I think it far more impious to abandon the vengeance due to the dead man, especially as his death was unplanned and unintentional on his part, while the murder was deliberate and intentional on hers. [6] And he cannot claim that he knows for certain that his mother did not kill our father. For he refused the one source of sure knowledge, from torture, while he welcomed sources which could not provide information. Yet he should have been eager, and this was the substance of my challenge, to investigate what really happened. [7] For if the slaves did not support me, he could have offered a vigorous defence against me based on certain knowledge and his mother would have been rid of this charge. But where he refused to put the facts to the test, how can he possibly have knowledge of matters he refused to ascertain? [8] What defence will he offer, I ask myself. For he was well aware that torture meant she could not be saved; he thought her salvation lay in refusing the torture. They believed that the facts could be suppressed by this means. So surely his oath that he knows for certain cannot be true, if he refused to obtain sure information when I was willing to use the fairest test, the torture, in this matter? [9] For to start with I offered to put to the torture his slaves, who knew that this woman, their mother, had also plotted earlier to kill my father with drugs, that my father had caught her in the act and that she made no denial beyond claiming that she was administering them not to kill him but as a love potion. [10] This was my reason for wishing to put them to the test in this way. I put accusations against this woman in writing and invited my opponents themselves to act as questioners in my presence, so that the slaves would not be forced to answer questions put by me; instead I was satisfied if the questions in my document were used. (And it is right that this should count as evidence for me, that I am pursuing my father’s killer properly and

2002 ◽  
pp. 45-46
Keyword(s):  
The Dead ◽  
The One ◽  

sacrifice. [17] Philoneos’ concubine went along for the sacrifice. When they were in Peiraieus, Philoneos sacrificed, of course. And when he had completed the sacrifice, the female wondered how to administer the drug to them, before or after dinner. And as she considered the matter she concluded that after dinner was better; she was also acting on the instructions of this Klytaimestra, my brother’s mother. [18] The full account of the dinner would be too longwinded for me to tell and you to hear. I shall try to give as brief an account as I can of the rest, of how the poison was administered. After dinner, naturally, since one was sacrificing to Zeus of Possessions and entertaining the other, and one was about to go on a voyage and was dining with a close friend, they made a libation and offered incense for their future. [19] And while Philoneos’ concubine was pouring the libation for them – as they offered prayers which would never be fulfilled, gentlemen – she poured in the poison. Thinking she was being clever, she gave more to Philoneos in the belief perhaps that if she gave him more she would win more affection from him – she had no idea that she was my stepmother’s dupe until disaster struck – while she poured less in our father’s drink. [20] They for their part after pouring their libations took their final drink, holding in their hands their own killer. Philoneos died at once on the spot; our father was afflicted with a sickness from which he died after twenty days. For this the assistant who carried out the act has the reward she deserved, though she was not to blame – she was put on the wheel and then handed over to the public executioner; the guilty party, the one who planned it, will soon have hers, if you and the gods will it. [21] Note how much more just my plea is than my brother’s. I urge you to avenge the dead man, who is the victim of an irreparable wrong. For the dead man my brother will offer no request, though he deserves your pity and support and vengeance for having his life taken in a godless and inglorious manner before his time by the last people who should have done this. [22] His plea will be for the murderess, a plea which is unprincipled, unholy, which deserves neither fulfilment nor attention either from the gods or from you; he will seek with his plea (to induce you not to convict her for her crimes) though she could not induce herself not to devise them.* But you must give your support not to those who kill but to the victims of deliberate

2002 ◽  
pp. 47-48

Author(s):  
L. A. Kurysheva

One of the popular plots of the Russian literary ballad of the last third of the 18th – the first decade of the 19th century was the story of treacherous love. Ya. B. Knyazhnin’s Flor and Lisa. A Tale in Verses (1778) is one of the first Russian ballads. In addition, this is the first Russian ballad with the appearance of the dead man – the plot situation is so productive in the subsequent, romantic period. It is characteristic that at the early stage of the formation of a new literary genre, the nomination “ballad” does not appear for all authors. Poets get along either without a genre designation, or use more familiar nominations, genres in origin related to a lyro-epic ballad: song, romance, “fairy tale in verses”. We observe, on the one hand, the variability of genre nominations for the lyric-epic narration of a personal dramatic event, and on the other hand, the instability of ideas about the formal and substantive components of the genre of “ballad”. The most typologically close to Flor and Lisa is the N. M. Karamzin’s ballad Alina (<1790– 1791>). Both ballads are devoted to the theme of infidelity and both develop a ballad version of the fairy-tale plot “The husband at the wife’s wedding”, which ends with the transition to the world of the dead and the reunion of lovers. In addition, the similarity lies in a detailed narrative manner and the psychologization of the ballad conflict through direct author commentary. In Flor and Lisa, all events – love, betrayal and the reunion of lovers in death – are presented as extraordinary. The tragic ending is due to the mysterious connection of the fate of the two characters, reinforced by the mythology of the “plant code”. The verification technique (quatrains, four-footed iambic, cross-rhyme, alternating female and male clauses) emphasizes the tightness of the love story. In Karamzin’s Alina, the course of action is due to a combination of universal laws of human existence and the fateful connection of characters. The ballad event is the final union of lovers, despite their stay in different worlds, earthly and heavenly. The mythopoetic basis of the plot is composed of images of changing elements and nature. The verification technique (non-strophic four-foot iambic with free rhyme) supports the idea of fluidity, whimsicality of the elements of life.


has done, you would be right to hate him. [23] For if he has brought up his sons in such a way that they feel neither fear nor shame to commit offences in his presence, offences at that which in some cases carry the death penalty, what punishment in your view could not reasonably be inflicted on him? For myself, I think that this is evidence that he did not respect his own father either; for if Konon personally had honoured and feared his own father, he would have demanded that his sons too honour and fear him. [24] Please take these laws too, the law dealing with outrage and the one about clothes-stealers. For you will see that they are liable under both. Read it. Laws Konon’s actions render him liable under both laws; he committed both outrage and clothes-stealing. And if we have chosen not to sue under these laws, though we would rightly be recognized as peaceful and reasonable, he is a criminal all the same. [25] Indeed, if anything had happened to me, he would have faced a charge of murder and the most terrible punishment. At any rate, in the case of the father of the priestess at Brauron, though it was agreed that he did not touch the dead man, the Council of the Areopagos exiled him because he urged on the man who struck the blow. And rightly so; for if bystanders instead of checking people attempting a wrongful act through wine or anger or any other cause actually incite them, there is no hope of escape for anyone who falls into the hands of men of violence, and it will be his lot to suffer outrageous treatment until they give up. And this is what happened to me. [26] Now I want to tell you what they did when the arbitration took place. This too will show you their recklessness. They prolonged the time beyond midnight by refusing either to read out the depositions or to hand over copies and just taking our supporters one by one to the stone and making them take an oath, and drafting utterly irrelevant depositions, to the effect that this was his son by a mistress and that he had been treated in this way or that, behaviour which roused the disapproval and disgust of every person present, including finally their own. [27] Anyway, when they tired and had had enough of this conduct, they issued a challenge aimed at causing delay and preventing the sealing of the

2002 ◽  
pp. 98-98
Keyword(s):  
The Dead ◽  
The Law ◽  
The One ◽  
A Charge ◽  

Author(s):  
Dalmacito A Cordero

Abstract Recent correspondence highlighted the complicated process of grief in the time of COVID-19 where some family members and the dying person too are undergoing distress. New rituals can lighten the process of coping with grief or death, one may find it difficult to hurdle such situation and move on without first redirecting one’s perception on the different realities of life. There are things that we can control but at the same time, things that are beyond our reach. With these realities, acceptance plays a key role to handle the situation. Acceptance is a person’s assent to life’s realities. Creativity in accepting grief or death is finding ways to lighten the heavy emotion of the ‘ones left and the one leaving’ through a preservation of memory. This is done through safeguarding and reliving the memories of the dead with various programs and advocacies.


2017 ◽  
Vol 45 (2) ◽  
pp. 293-320
Author(s):  
Natalie Prizel

This essay tells a story of endurance: the endurance of a person and the endurance of an object in an archive, both of which have survived despite their apparent fungibility and ephemerality. It focuses on a Jamaican veteran of the navy and merchant marine – one Edward Albert – who lost his legs while at sea and therefore took to working at various intervals as a crossing sweeper, beggar, shop-owner, and author in London and Glasgow. Albert should have been lost. His shipmates burnt his legs to the point of bursting, and his doctors presumed him to be dead following their amputation. I located Edward Albert initially in the pages of Henry Mayhew's massive, unwieldy, almost unnavigable archive, the four volumes of London Labour and the London Poor. Mayhew interviews Albert in his home and then refers to a small chapbook Albert sells to accompany his begging. A simple WorldCat search led me to a copy of the book, housed at the University of Washington in Seattle. It had endured.


1968 ◽  
Vol 1 (3) ◽  
pp. 156-156
Keyword(s):  
The Dead ◽  

SINCE this paper was submitted for publication a further case relevant to the issue of the sentencing of youthful manslaughter has been reported (R. v. Turrise; Sydney Morning Herald 4.7.1968). In brief, the youth, aged 17 years, was charged with the murder by shooting of his 24-year-old brother. T. had his plea of guilty to manslaughter accepted by the Crown. The evidence indicated that the accused was of good character, and that he had bought a .22 repeating rifle to protect himself from his brother who was a “violent hoodlum who was released from prison a week before his death”. Mr. Justice Allen is reported as saying that “It was tragic to see a schoolboy charged with the murder of his brother”. He said that “in his view the Crown's acceptance of the manslaughter plea was completely appropriate because there was undoubtedly a large element of provocation”. He continued, “the dead man had been described as a hoodlum, a man of violence and probably a psychopath”. Mr. Justice Allen sentenced T. to 3 years gaol, but suspended execution of the sentence on his entering a $500 bond for three years.


1987 ◽  
Vol 107 ◽  
pp. 182-182
Author(s):  
Reynold Higgins

A recent discovery on the island of Aegina by Professor H. Walter (University of Salzburg) throws a new light on the origins of the so-called Aegina Treasure in the British Museum.In 1982 the Austrians were excavating the Bronze Age settlement on Cape Kolonna, to the north-west of Aegina town. Immediately to the east of the ruined Temple of Apollo, and close to the South Gate of the prehistoric Lower Town, they found an unrobbed shaft grave containing the burial of a warrior. The gravegoods (now exhibited in the splendid new Museum on the Kolonna site) included a bronze sword with a gold and ivory hilt, three bronze daggers, one with gold fittings, a bronze spear-head, arrowheads of obsidian, boar's tusks from a helmet, and fragments of a gold diadem (plate Va). The grave also contained Middle Minoan, Middle Cycladic, and Middle Helladic (Mattpainted) pottery. The pottery and the location of the grave in association with the ‘Ninth City’ combine to give a date for the burial of about 1700 BC; and the richness of the grave-goods would suggest that the dead man was a king.


PMLA ◽  
1937 ◽  
Vol 52 (4) ◽  
pp. 1183-1190
Author(s):  
George W. Whiting

To the student of writing and literature few inquiries are more interesting and valuable than that into an author's practices in revising his own work. To observe the various stages in the evolution of the final version, to note carefully an artist at his work of pruning the dead wood, adding fresh material, smoothing away harsh phrases, selecting just words, and letting light into obscure places—to do this is to come somewhat nearer to an understanding of what in spite of all analysis will remain essentially a mystery. Especially fascinating and instructive is the study of Conrad's revision, for here one sees a supreme artist at work. In his vigorous hewing and rebuilding there is conclusive proof of the artist's untiring industry and consummate skill. Conrad's revision of Nostromo is of particular interest, for this novel occupies a critical place in the evolution of Conrad's prose. Mr. Richard Curie has justly characterized the change that came over Conrad's prose—a change perceptible in the “Amy Foster” of Typhoon and fully marked in from Under Western Eyes onward. This evolution has smoothed away the cadence, has concentrated the manner, has toned down the style of Conrad's former exuberance. At first glance the later and the earlier Conrad appear two totally different men. The unruly splendor of the one has given way to the subtle and elastic suavity of the other … His earlier prose is sometimes uncertain, sometimes exaggerated, but his later prose has the uniform temper of absolute mastery.


2021 ◽  
Vol 3 (4) ◽  
pp. 119-126
Author(s):  
Hadeel EJMAIL

Death is one of the most difficult topics a person can talk about. The human being is busy with how to continue his life and improve its conditions. This study aims is to explore the writing of Facebook pages of the dead. The research used the qualitative approach through a content analysis, where (50) publications were found on fifteen pages of a dead person with an intentional sample, and the results of the research showed that writing people in the pages of the dead included two directions, the first direction is a desire to immortalize the dead and a kind of preserving their roots Alive. As for the other direction, it was weeping over their ruins and showing the end of a person's death and his end life. Sometimes in the same post include both directions together, meaning "the use of the deceased’s account by his family by changing the profile picture of the dead, and at the same time inviting the deceased’s friends through his page to the memorial event. People write on the pages of the dead in order to weep over their ruins on the one hand, and to immortalize their memories on the other side. Facebook as a social platform and the interaction of people with the pages of the dead shows the great social interaction that takes place in this space, and research in this field is not consistent with one and only claim, as some posts are either temporary or permanent; Therefore, I have used screen capture technology to collect and retain information. The pages of the dead included referring to them, writing memorials and longing, etc. Facebook has become a social platform that allows those who lose a dear person to share their grief through it, and enables them to deal with death and relieve their pain


2016 ◽  
Vol 3 (4) ◽  
pp. 251
Author(s):  
María Gómez Requejo

Las ceremonias que se tenían lugar cuando se producía el fallecimiento de un monarca de la casa de Austria, tanto las pre como las post mortem, eran el  vehículo de un lenguaje simbólico cargado de representaciones y emblemas que le recordaban al súbdito tanto el poder del rey muerto como el que iba a tener su sucesor y asimismo ponían de manifiesto la unión de la dinastía con la Iglesia Católica. Enfermedad, muerte y exequias se convierten, con estos monarcas, en un espectáculo fastuoso que requiere escenografía, actores, vestuario, guion  y un público –los súbditos- del que se busca una participación ya sea consciente y activa o pasiva, como mero espectador, pero en todo caso necesario para que el espectáculo cumpla su objetivo: persuadir del poder real. Abstract The ceremonies around the death of a Habsburg king in Spain, where the vehicle to a symbolic language, full of representations and emblems, used to remind to his loyal subjects not only the power of the dead king and the one his heir and successor was going to hold, but also the relationship between the dynasty and the Roman Catholic Church. With the Habsburg’s, the illness, death and exequies of the monarch were converted into a sumptuous show that needed: a set, actors, lavish costumes, script and audience –the loyal subjects- to which audience participation, whether it be active or passive, was essential to fulfill its objective: to be persuaded of the king’s power.


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