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The Gods in Homer's The Iliad and The Odyssey
In Homer's epics, The Iliad and The Odyssey are personalities, both gods and men. The gods, as well as the people, are very clearly depicted and fully reflect the consciousness, morals, and social relations of the Greeks in Homer's time. Homer portrays the gods as both human-like and god-like. Individuals did not control their destinies. Instead, the gods were responsible for the fate of human affairs.
The Return of Persephone by Alec Derwent Hope
Gliding through the still air, he made no sound;
Wing-shod and deft, dropped almost at her feet,
And searched the ghostly regiments and found
The living eyes, the tremor of breath, the beat
Of blood in all that bodiless underground.
Gargantua and Pantagruel by François Rabelais
The French humanist, narrator, physician, and monk François Rabelais wrote five comic novels Gargantua and Pantagruel from 1532, when he was about 37, until the end of his life. The first book, Pantagruel, was published in 1532, and the second, Gargantua, in 1534. The third book was published in 1545, the fourth in 1552, and the last, after Rabelais' death, in 1564. The censors of the Collège de la Sorbonne stigmatized it as obscene, and in a social climate of increasing religious oppression in a lead up to the French Wars of Religion, it was treated with suspicion, and contemporaries avoided mentioning it.
François Rabelais: How Pantagruel, being at Paris, received letters from his father Gargantua, and the copy of them
Pantagruel studied very hard, as you may well conceive, and profited accordingly; for he had an excellent understanding and notable wit, together with a capacity in memory equal to the measure of twelve oil budgets or butts of olives. And, as he was there abiding one day, he received a letter from his father in manner as followeth.
Inspiration for The Man with a Hoe by Edwin Markham
American poet Edwin Markham wrote the poem The Man with the Hoe after he saw a painting called L'homme a la houe by the French artist Jean-François Millet. This poem was first presented publicly at a New Year's party in 1898. It was first published in the San Fransisco Examiner in January 1899 and also reprinted in many other newspapers across the United States because it dealt with the working class. It was used as the opening poem in Markham's 1902 collection The Man with a Hoe and Other Poems.
Aleksa Šantić - Naš stari dome
Naš stari dome, kako si oronô!
Kapije tvoje niko ne otvara,
po njima mirno crv dube i šara -
grize, kô čežnja jedno srce bono.
Vasko Popa - Stolica
Umor lutajućih bregova
Dao je oblik svoj
Telu njenom sanjivom
Ežen Jonesko - Uvek je bilo dovoljno razloga da me mrze, nikad dovoljno da me vole
STARAC: Mnogo sam patio u svom životu... mogao sam nešto da budem, da sam bio siguran u podršku Vašeg Veličanstva... nisam imao nikakve podrške... da niste došli, sve bi bilo prekasno... vi ste, Sire, moja poslednja nada.
STARICA, odjek: Poslednja nada... Sire... ... slednja nada.
Velibor Gligorić - O komediji Pokojnik Branislava Nušića
Nušić je u Pokojniku dosledan svome patrijarhalnom stavu prema braku. I tu je žena "nevaljalica" koja vara muža, zbog nje je muž prinuđen da beži u svet, da odigra nešto slično od one istorije u Tolstojevom Živom lešu. Za vreme dok on stranstvuje kao fingirani samoubica, "pokojnik", beskrupulozni naslednici odnose mu lažju i prevarom imovinu i naučne radove.
Mrtvo more
U alegorijsko-satiričnoj pripoveci Mrtvo more Radoje Domanović prikazuje društvene pojave u Srbiji krajem XIX veka za vreme vladavine Obrenovića. Njen naziv ukazuje na veliko Mrtvo jezero u Jordanu, koje je devet puta slanije od mora, pa u njemu nema života osim za neke vrlo otporne mikroorganizme i bakterije. U ovoj pripoveci Mrtvo more postaje metafora za malograđansku uparloženu sredinu u kojoj nema istinskog života i vlada mrtvilo.
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