Vous êtes sur la page 1sur 8

Best Answer: Explicit is clear and direct.

Basically anything someone tells you in clear language is

Implicit is implied, rather than directly stated. A facial expression can be an implicit signal. But, any hint
you give indirectly is an implicit signal.
I'll try to give some examples:
Let's say you have 2 sauces on a table, a green one and a red one, and I'm trying to tell you that the red
one is spicy.
"Do not eat the red sauce! It's way too spicy." - Very explicit
"I think the green sauce is better, I don't like spicy things that much" - Implicit. I'm saying I don't like the
red that much, and I don't like spicy things. Since the two pieces of information are given at the same
time, you can probably guess the red one is spicy.
"Wow, a little bit of the red sauce is more than enough." (while I drink water) - Implicit. So we know the red
sauce must be strong. Since water calms spiciness, and I'm drinking water, it's likely that the red sauce is

TASk 7 Alice Low

The tone of the story of Orpheus is serious because it aims to deliver the message of
acceptance seriously to the readers that they may understand that some things even if how hard
we try, if it's not meant to be, it's not gonna be meant to be. The mood is tragic or sad because
after all the efforts that Orpheus exerted, he still failed to get back his wife. The technique used
in the story is simple narration in a way that it can be understood by readers of all ages. The
purpose of the story is probably to remind everyone that sometimes, the best solution is to
accept that some things are meant to be gone.

The mood of Orpheus, The Great Musician retold by Olivia Coolidge is

sorrowful. Orpheus loses his lover. She dies, but he thinks he can get her
back only to be disappointed again. Finally the resolution of the story occurs
when Orpheus is killed while singing about his deceased lover Eurydice. The
women of Thrace killed Orpheus because they were infuriated by Orpheus's

contempt. The whole story is filled with sadness and Orpheus seems to
spread his sadness to normally happy people.

Alice Low (1926-) Biography - Personal,

Addresses, Career, Member, Honors
Awards, Writings, Adaptations,

york book illustrated stories

Born 1926, in New York, NY; Education: Smith College, B.A., 1947; attended
Columbia University, 1956-58. Hobbies and other interests: "Painting and
ceramics were my first interests. I still sing in a local chorus. Travel stimulates,
and many a line has come to me on a tennis court."

AgentScott Tremel, 434 Lafayette St., New York, NY 10003.

Warren Schloat Productions, Tarrytown, NY, writer and producer of
educational filmstrips, 1968-72; Birch Wathen School, New York, NY, teacher
of creative writing, 1972-73; freelance reading program editor for Random
House and Harcourt Brace, New York, NY, beginning 1975; Scholastic Book
Services, New York, NY, editorial consultant to Children's Choice Book Club,
1978-85, co-editor, then editor. Volunteer at Metropolitan Museum of Art.

Authors Guild, Authors League of America, American Society of Composers,
Authors, and Publishers (ASCAP), PEN, Society of Children's Book Writers
and Illustrators.

Honors Awards
Notable Children's Trade Book in the Field of Social Studies selection,
Children's Book Council, 1985, and Washington Irving Children's Book Choice
Award, Westchester Library Association, 1988, both for The Macmillan Book
of Greek Gods and Heroes.

Open up My Suitcase, illustrated by Corinne Malvern, Simon & Schuster (New
York, NY), 1954.
Grandmas and Grandpas, Random House (New York, NY), 1962.
Out of My Window, Random House (New York, NY), 1962.
Summer, illustrated by Roy McKie, Random House (New York, NY), 1963.
Taro and the Bamboo Shoot (adaptation of a folk tale), Pantheon (New York,
NY), 1964.
A Day of Your Own: Your Birthday, illustrated by Roy McKie, Random House
(New York, NY), 1965, girl's edition illustrated by Lisl Weil, 1964.
What's in Mommy's Pocketbook?

Read more: Alice Low (1926-) Biography - Personal, Addresses, Career,

Member, Honors Awards, Writings, Adaptations, Sidelights - York, Book,
Illustrated, and Stories - JRank
Articles http://biography.jrank.org/pages/1087/Low-Alice1926.html#ixzz4D8v88MGB

Myth Summary
Chapter 16: Orpheus and Orphism: Mystery Religions in Roman Times


The Thracian bard ORPHEUS [orf'e-us] summoned HYMEN [heye'men], the god of marriage, to be
present at his marriage to his beloved EURYDICE [you-ri'di-see]. The omens, however, were bad, and
the new bride was bitten on the ankle by a snake and died.
The grieving Orpheus was so inconsolable that he dared to descend to the Underworld, where he
made his appeal to the king and queen themselves, Hades (Pluto) and Persephone (Proserpina), in a
song sung to the accompaniment of his lyre. In the name of Love, Orpheus asked that his Eurydice be
returned to him in life; if not, he would prefer to remain there in death with his beloved. His words, his
music, and his art held the shades spellbound, and the king and queen were moved to grant his
request, but on one condition: Orpheus was not to turn back to look at Eurydice until he had left the
Underworld. As they approached the border of the world above, Orpheus, anxious and yearning,
turned and looked back, through love. At his gaze, Eurydice slipped away from her husbands embrace
with a faint farewell, to die a second time. Orpheus was stunned, and his appeals to Charon that he
cross the Styx again were denied. Overwhelmed by grief, he withdrew to the mountains and for three
years rejected the many advances of passionate women. Thus he was the originator of homosexuality
among the Thracians.
While he was charming the woods, rocks, and wild beasts to follow him, a group of Bacchic women,
clad in animal skins, caught sight of him and, angry at his rejection of them, hurled weapons and
stones, which at first did no harm because they were softened by his song. As the madness and the
frenzied music of the maenads grew more wild and the bards song was drowned out, he was
overcome and killed and finally torn to pieces by their fury. His limbs were scattered, but his head and
lyre floated on the river Hebrus out to sea, both all the while making lamentations. They were washed
ashore at Lesbos. Here, Apollo froze into stone a serpent that was about to bite the head of Orpheus.
Orpheus now at last was reunited with his Eurydice in the Underworld, where they remain together,
side by side, forever.
The summary above is of Ovids version of the myth in hisMetamorphoses (translated in full, MLS,
Chapter 16). The other classic version is by Vergil, at the end of his Georgics (see Archives). It is
rewarding to compare the poetic emphasis of the two and analyze the reasons for variations in
incident, drama, and purpose; both, in different ways, immortalize the theme of tragic love and
devotion. The most important factual difference in Vergils treatment is that he holds ARISTAEUS
(ar-is-tee'us), or ARISTAIOS, the keeper of bees, responsible for Eurydices death, a detail absolutely
essential for the incorporation of the Orpheus myth into the thematic material of his Georgics, a work
about farming.
Orpheus of Thrace was the son of Apollo (or the Thracian river-god Oeagrus) and the muse Calliope.
Through music and poetry and with extraordinary art, he delivered a persuasive religious message,
the foundation of a mystery religion called Orphism. This message is linked both to Apollo and to
Dionysus, gods often antithetical in nature. Orpheus is torn to pieces by fanatical Bacchic maenads;
this mirrors the fate of Pentheus and suggests that his death was prompted not only by his sexual
rejection of women but also because of the nature of his religious teaching.
The Orphic Bible. With its myth of creation, the Orphic bible was linked in some of its details to the
Hesiodic account but differed radically in its spiritual content. The first principle is Time (Chronos) and

Eros, or Love, is the first born of the deities, called PHANES [fa'neez] and hatched from an egg.
Fundamental for dogma was the myth of Dionysus (see MLS, Chapter 13), in which the infant god was
torn to pieces and devoured by the wicked Titans; from the ashes of the Titans (smitten by Zeus
thunderbolt), humans were created; hence the immortality of the soul, sin and virtue, reward and
Christianity shares many characteristics with other mystery religions of antiquity, which are called
mystery religions because of their concern with the fundamental mysteries of human existence: life
and death, questions about god, the soul, and the afterlife. Also, these mysteries involved secrets
revealed only to members of the religious group, the initiates.
Thus a form of initiation into a mystery religion was mandatory, requiring some kind of ritual such as
baptism to set the initiate apart from the profane outsiders. A mystery religion preached a dogma to
be believed and directions to be followed for happiness and redemption. Faith in the concept of god or
the gods was primary, as well as a conviction in the immortality of the human soul, which partook of
divine characteristics. In conflict with the purity and immortality of the divine soul were the sin and
degradation of the mortal body. Communion, the sacramental partaking of food and drink, linked the
initiate with the divine.
A strong sense of virtue and sin and reward and punishment in an afterlife was fundamental,
embracing various concepts of immortality, involving the transmigration of souls, rebirth,
reincarnation, resurrection, and redemption.
Many mystery religions (in addition to Christianity) developed and flourished during the Roman

The Mysteries of Dionysus/Bacchus (see MLS, Chapter 13): The vine of Dionysus (Ariadnes
savior) became a symbol of renewed life and Christian resurrection and redemption.

The Mysteries of Demeter at Eleusis (see MLS, Chapter 14).

The Mysteries of Cybele and Attis (also discussed in MLS, Chapter 9): the priests were
eunuchs called Galli, and rites of initiation included baptism by the blood of a slain bull,
the taurobolium.

The Mysteries of the Persian god Mithra (Mithras).

The worship of Atargatis, Dea Syria (the Syrian goddess) and Tammuz.

The Mysteries of the Egyptian goddess Isis and Osiris, her consort: most fully documented by
Apuleius in hisMetamorphoses, or The Golden Ass, as he describes the experiences of the
initiate Lucius.

The Mysteries of the Cabiri, called the great gods (theoi megaloi).

Syncretism: in the development of Greco-Roman religious thought the process of SYNCRETISM

(growing together) becomes increasingly apparent. This term describes the harmonizing by
different religions of their gods and myths into some sort of unity. In Apuleius, the great

Egyptian deity Isis has absorbed the identity of other similar goddesses and may be invoked
by their names, Cybele, Athena, Aphrodite, Artemis, Demeter, Persephone, and Hera.


Character Analysis

Orpheus- The protagonist of this myth is Orpheus. Orpheus was a lyre player. His father was Apollo and his mother
was one of the Muses, therefore his musical skills were quite impressive. Orpheus fell in love with a girl name
Eurydice. When she died at a young age, it was Orpheus who decided to take the long journey to the Underworld to
bring her back, so that their love could live on (if you see a pun in that there was no pun intended). When Orpheus
reached the Underworld, it was his music that saved him numerous times and helped him reach Hades, whom he
charmed with his lyre. Orpheus almost got his true love back, but he looked back at Eurydice which broke his deal
with Hades. Orpheus lost the love of his life forever.


Eurydice- Even though her name appears in the title of the myth, Eurydice does not appear that much in the tale of
Orpheus and Eurydice. She was the love interest for Orpheus. They both were married when she went for a stroll
alone one day. While she was walking she stepped on a snake and died. Eurydice's soul was taken to the
Underworld like all souls were when the body that they belonged to died. She was almost brought back to life, but her
husband looked at her and she was taken back to Hades.


Hades- Like in all other myths, Hades is the God of the Underworld. He has two brothers, Zeus and Poseidon. He is
the ruler of the dead. Orpheus pleaded to Hades to bring his wife back to life. When Hades saw his queen
Prosephone's sad face as Orpheus begged to him, Hades agreed to let Eurydice go. We all know Hades as the evil
god but truthfully, even though he did add the condition that Eurydice would not be able to go free if Orpheus looked

back, Hades' actions were meant kindly. It is not the job of the God of the Underworld to bring us back to life, it's his
job to control the dead. So for him to give someone even the chance for someone to continue their life is a huge deal
and a very compassionate idea.

The greatest strength of Orpheus was his great musical talent while his weakness was lost of
faith ( to the Gods that's why he look back) and his extreme excitement to be reunited again with
his wife.

Centres d'intérêt liés