The Passion of the Christ is a 2004 film co-written, co-produced and directed by Mel Gibson. It is based primarily on biblical accounts of the arrest, trial, and crucifixion of Jesus Christ, events commonly known as "The Passion". The film’s dialogue is in Aramaic, Latin, and Hebrew, with subtitles. It was filmed in Matera, Italy and Cinecittà Studios, Rome.
It was Gibson's intention to be faithful to the spirit of the biblical account. With some embellishments from modern sources (see Source material), the plot adheres largely to the accounts found in the Canonical gospels of the New Testament, primarily John, and covers the period from Jesus' vigil in the Garden of Gethsemane up to his resurrection.
There are some changes that will be evident to most viewers. A few examples here will be enough to give an impression of the kind of change made by Gibson. For more detail on changes discussed by scholars see Differences from the New Testament.
Jesus is tempted in the garden by a personified Satan, who appears as an androgynous albino. Mary, mother of Jesus, awakes from a dream with feelings of foreboding and quotes from the Passover Seder, Why is this night different than other nights, and Mary Magdalene replies with a traditional response: Because once we were slaves and we are slaves no longer. When questioned by Caiaphas, Jesus pronounces the ineffable Name of God in his response, which justifies Caiaphas' subsequent charge of blasphemy before witnesses. Herod Antipas is depicted as an effeminate pederast. The people in the crowd that demands the freedom of Barabbas rather than Jesus have been paid to do so by Caiaphas.
An event similar to the story of Saint Veronica is in this account, but the woman is named "Seraphia" in the cast list. Although it is one of the Stations of the Cross, the story of Veronica wiping Jesus' brow with her veil on the Via Dolorosa is not present in the canonical gospels.
Childe Roland to the Dark Tower Came
"Childe Roland to the Dark Tower Came" is a poem by Robert Browning, written in 1855 and first published that same year in the collection entitled Men and Women. The title, which forms the last words of the poem, is a line from William Shakespeare's play King Lear.
The poem opens with Roland's speculations about the truthfulness of the man who gives him directions to the Dark Tower. Browning does not retell the Song of Roland; his starting point is Shakespeare. The gloomy, cynical Roland seeks the tower and undergoes various hardships on the way, although most of the obstacles arise from his own imagination. The poem ends abruptly when he reaches the tower, so what he finds there is never revealed. In this case it is more important to travel than to arrive.
Browning explores Roland's journey to the Dark Tower in 34 six line stanzas with the rhyme form A-B-B-A-A-B and iambic pentameter. It is filled with images from nightmare but the setting is given unusual reality by much fuller descriptions of the landscape than was normal for Browning at any other time in his career. In general, however, the work is one of Browning's most inaccessible. This is, in part, because the hero's story is glimpsed slowly around the edges; it is subsidiary to the creation of an impression of the hero's mental state.
The poem opens with Roland's speculations about the truthfulness of the man who gives him directions to the Dark Tower. Browning does not retell the Song of Roland; his starting point is Shakespeare. The gloomy, cynical Roland seeks the tower and undergoes various hardships on the way, although most of the obstacles arise from his own imagination. The poem ends abruptly when he reaches the tower, so what he finds there is never revealed. In this case it is more important to travel than to arrive.
Browning explores Roland's journey to the Dark Tower in 34 six line stanzas with the rhyme form A-B-B-A-A-B and iambic pentameter. It is filled with images from nightmare but the setting is given unusual reality by much fuller descriptions of the landscape than was normal for Browning at any other time in his career. In general, however, the work is one of Browning's most inaccessible. This is, in part, because the hero's story is glimpsed slowly around the edges; it is subsidiary to the creation of an impression of the hero's mental state.
Cad Goddeu
Cad Goddeu (English: The Battle of the Trees) is a sixth century Welsh poem from the Book of Taliesin. It is set during a battle fought between Gwydion and Arawn, the god of the underworld, Annwn, in which Gwydion animates the trees of the forest to fight for him. According to a summary of the story preserved in Peniarth MS 98B, the fight breaks out after the divine plowman Amaethon, steals a dog, a lapwing, and a roebuck from Arawn, and Gwydion ultimately triumphs by guessing the name of one of Arawn's men, Bran (possibly Bran the Blessed).
Graves's interpretation of this tale and other Welsh mythologies has been separately contested by Welsh scholars Marged Haycock and Mary Ann Constantine. Both subscribe to the idea that Cad Goddeu does not encode heresies about ancient pagan religions as Graves believed, but that the poem is a burlesque, a grand parody of bardic language. Francesco Bennozo argues that the poem represents ancient fears of the forest and its magical powers. While such arguments are far more measured than Graves's theories, they may represent a simplification of the difficult and bewildering poem.
John Williams used a version of Cad Goddeu translated into Sanskrit for the score to the film Star Wars Episode I: The Phantom Menace. He also directly based the second movement of his 2004 Horn Concerto off the "Battle of the Trees." The motif of an army of trees was possibly well known in British folklore; it appears in William Shakespeare's Macbeth (which itself was an inspiration for Tolkien's Ents in The Lord of the Rings as well as C.S. Lewis' Prince Caspian.)
Graves's interpretation of this tale and other Welsh mythologies has been separately contested by Welsh scholars Marged Haycock and Mary Ann Constantine. Both subscribe to the idea that Cad Goddeu does not encode heresies about ancient pagan religions as Graves believed, but that the poem is a burlesque, a grand parody of bardic language. Francesco Bennozo argues that the poem represents ancient fears of the forest and its magical powers. While such arguments are far more measured than Graves's theories, they may represent a simplification of the difficult and bewildering poem.
John Williams used a version of Cad Goddeu translated into Sanskrit for the score to the film Star Wars Episode I: The Phantom Menace. He also directly based the second movement of his 2004 Horn Concerto off the "Battle of the Trees." The motif of an army of trees was possibly well known in British folklore; it appears in William Shakespeare's Macbeth (which itself was an inspiration for Tolkien's Ents in The Lord of the Rings as well as C.S. Lewis' Prince Caspian.)
Beowulf
Beowulf is an Old English heroic epic poem of anonymous authorship. This work of Anglo-Saxon literature dates to between the 8th and the 11th century, the only surviving manuscript dating to circa 1010. At 3183 lines, it is notable for its length. It has risen to national epic status in England.
In the poem, Beowulf, a hero of the Geats, battles three antagonists: Grendel, who is attacking the Danish mead hall called Heorot and its inhabitants; Grendel's mother; and, later in life after returning to Geatland (modern southern Sweden) and becoming a king, an unnamed dragon. He is mortally wounded in the final battle, and after his death he is buried in a barrow in Geatland by his retainers.
Beowulf was written in England (north), but is set in Scandinavia. It is an epic poem told in historical perspective; a story of epic events and of great people of a heroic past. Although the author is unknown, its themes and subject matter are generally believed to be formed through oral tradition, the passing down of stories by scops (tale singers) and is considered partly historical.
At the same time some scholars argue that, rather than transcription of the tale from the oral tradition by a literate monk, Beowulf reflects an original interpretation of the story by the poet. M. H. Abrams and Stephen Greenblatt argue in their introduction to Beowulf in the Norton Anthology of English Literature that, "The poet was reviving the heroic language, style, and pagan world of ancient Germanic oral poetry it is now widely believed that Beowulf is the work of a single poet who was a Christian and that his poem reflects well-established Christian tradition."
In the poem, Beowulf, a hero of the Geats, battles three antagonists: Grendel, who is attacking the Danish mead hall called Heorot and its inhabitants; Grendel's mother; and, later in life after returning to Geatland (modern southern Sweden) and becoming a king, an unnamed dragon. He is mortally wounded in the final battle, and after his death he is buried in a barrow in Geatland by his retainers.
Beowulf was written in England (north), but is set in Scandinavia. It is an epic poem told in historical perspective; a story of epic events and of great people of a heroic past. Although the author is unknown, its themes and subject matter are generally believed to be formed through oral tradition, the passing down of stories by scops (tale singers) and is considered partly historical.
At the same time some scholars argue that, rather than transcription of the tale from the oral tradition by a literate monk, Beowulf reflects an original interpretation of the story by the poet. M. H. Abrams and Stephen Greenblatt argue in their introduction to Beowulf in the Norton Anthology of English Literature that, "The poet was reviving the heroic language, style, and pagan world of ancient Germanic oral poetry it is now widely believed that Beowulf is the work of a single poet who was a Christian and that his poem reflects well-established Christian tradition."
La Belle Dame sans Merci: A Ballad
"La Belle Dame sans Merci" (French: "The Beautiful Lady without Pity") is a ballad written by the English poet John Keats. It exists in two versions, with minor differences between them. The original was written by Keats in 1819, although the title is that of a fifteenth century poem by Alain Chartier.
Although "La Belle Dame Sans Merci" is short (only twelve stanzas of four lines each, with an ABCB rhyme scheme), it is full of enigmas. Because the knight is associated with images of death—a lily (a symbol of death in Western culture), paleness, "fading", "wither[ing]"—he may well be dead himself at the time of the story. He is clearly doomed to remain on the hillside, but the cause of this fate is unknown. A straightforward reading suggests that the Belle Dame entraps him, along the lines of tales like Thomas the Rhymer or Tam Lin. More recent feminist commentators have suggested[citation needed]. that the knight in fact raped the Belle Dame, and is being justly punished — this is based on textual hints like "she wept, and sigh'd full sore". Ultimately, the decision comes down to whether Keats wrote the poem as a simple story, or as a story with a moral: given his other work, this may be more an evocation of feeling than an intellectual attempt at moralising.
The poem describes the encounter between an unnamed knight and a mysterious fairy. It opens with a description of the knight in a barren landscape, "haggard" and "woe-begone". He tells the reader how he met a beautiful lady whose "eyes were wild"; he set her on his horse and she took him to her "elfin grot", where she "wept, and sigh'd full sore". Falling asleep, the knight had a vision of "pale kings and princes", who cried, "La Belle Dame sans Merci hath thee in thrall!" He awoke to find himself on the same "cold hill's side" where he is now "palely loitering".
Although "La Belle Dame Sans Merci" is short (only twelve stanzas of four lines each, with an ABCB rhyme scheme), it is full of enigmas. Because the knight is associated with images of death—a lily (a symbol of death in Western culture), paleness, "fading", "wither[ing]"—he may well be dead himself at the time of the story. He is clearly doomed to remain on the hillside, but the cause of this fate is unknown. A straightforward reading suggests that the Belle Dame entraps him, along the lines of tales like Thomas the Rhymer or Tam Lin. More recent feminist commentators have suggested[citation needed]. that the knight in fact raped the Belle Dame, and is being justly punished — this is based on textual hints like "she wept, and sigh'd full sore". Ultimately, the decision comes down to whether Keats wrote the poem as a simple story, or as a story with a moral: given his other work, this may be more an evocation of feeling than an intellectual attempt at moralising.
The poem describes the encounter between an unnamed knight and a mysterious fairy. It opens with a description of the knight in a barren landscape, "haggard" and "woe-begone". He tells the reader how he met a beautiful lady whose "eyes were wild"; he set her on his horse and she took him to her "elfin grot", where she "wept, and sigh'd full sore". Falling asleep, the knight had a vision of "pale kings and princes", who cried, "La Belle Dame sans Merci hath thee in thrall!" He awoke to find himself on the same "cold hill's side" where he is now "palely loitering".
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