2008 - Communication Across the Curriculum (CAC)

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E n g l i s h Free will is an interesting paradox in Milton’s Paradise Lost. At the same time, free will is the cause of man’s fall since through the abuse of free will, Satan tempted Adam and Eve and the two succumbed to this temptation, but free will also brings grace and deliverance. God and Christ give man free will and then through Their own free will devise a way for man to be reunited with God, and man, in turn, responds to the “prevenient grace” given by God and Christ to man, and repentance and regeneration follow. Milton presents free will as often in conflict with itself, at once the means of damnation and the road to healing, at the same time a stumbling block and a steppingstone. It is through free will that man falls, but it is through grace provided by free will that man is saved. While free will may be a paradox, it is a glorious one, allowing for all of the pain, sorrow, and ultimately, and paradoxically, joy in the lives of men. Works Cited Elledge, John. “God.” Paradise Lost. Ed. Scott Elledge. New York: W.W. Norton & Company, Inc. 1975. Elledge, John. “The Fortunate Fall.” Paradise Lost. Ed. Scott Elledge. New York: W.W. Norton & Company, Inc. 1975. Fish, Stanley Eugene. Surprised by Sin: The Reader in Paradise Lost. Berkeley: University of California Press. 1971. Frye, Northrop. “The Story of All Things.” Paradise Lost. Ed. Scott Elledge. New York: W.W. Norton & Company, Inc. 1975. Greenblatt, Stephen. The Norton Anthology of English Literature. 8th edition. New York. London: W.W. Norton & Company, 2006. Footnote. 2021. Holy Bible, The King James Version. Nashville: Holman Bible Publishers, 2000. Milton, John. Paradise Lost. The Norton Anthology of English Literature. Ed. Stephen Greenblatt. 8th edition. New York. London: W.W. Norton & Company, 2006. Nicholson, Marjorie Hope. A Reader’s Guide to John Milton. New York: Syracuse University Press. 1963. Samuel, Irene. “The Dialogue in Heaven.” Paradise Lost. Ed. Scott Elledge. New York: W.W. Norton & Company, Inc. 1975. 3 5 W r i t i n g A c r o s s t h e C u r r i c u l u m
English 1302: Composition and Rhetoric II- Writing about Shakespeare’s Works. In her essay “Complexities in the Character Gertrude,” Kyla Castleberry compares and contrasts the critical opinions of three literary critics concerning the character of Queen Gertrude from the play Hamlet by William Shakespeare. Using relevant critical articles from the LSC-Montgomery College Library database collection, Kyla examines the opinions of each of the critics in turn, highlighting the radical differences apparent in their expert opinions. The paper begins with an introduction that includes questions designed to catch the readers’ attention and to lay the groundwork for the comparisons that will follow. In this short essay, Kyla conveys the heart of each critic’s argument and gives the reader considerable food for further thought. One of the strengths of this paper is Kyla’s careful use of quotes and her correct citation of sources. Her use of MLA format is excellent and worthy of emulation. Kyla’s presentation of the three critical opinions is clear, balanced and interesting. She saves her most potent argument for last, agreeing with the third critic that Queen Gertrude is best understood as a type from myth and folklore. This type of critical analysis is exactly right for the field of literary criticism and shows the analytical style needed to write a “Review of the Literature” in a wide variety of academic disciplines. C o m p a r i n g C r i t i c s Debbie Cox Complexities in the Character Gertrude by Kyla Castleberry Gertrude, Queen of Denmark, in Shakespeare’s play, Hamlet, is perhaps the most puzzling female character in all of Shakespeare’s plays. Was she shallow or quickwitted and discerning Guilty of sinful lust or justified by wise discretion Was she a conniving villainess or nothing more than a weak-minded pawn Each one of these characteristics mentioned in these questions has been applied to the queen. Misunderstanding of the queen has made it difficult for Shakespearean critics to categorize her personality, character, or even to define her purpose in the play. Because she is the quietest character in the play, it is easy for the audience to make assumptions about her character or to give her up to ambiguity. In her article for the Shakespeare Quarterly, “The Character of Hamlet’s Mother,” Carolyn Heilbrun takes up the position of the V o l u m e I V : F a l l 2 0 0 8 3 6
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2008 - Communication Across the Curriculum (CAC)

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