A Christmas Passage by David Saperstein, George Samerjan

By David Saperstein, George Samerjan

It's the main excellent time of the 12 months for some--and the worst for others. yet in the center of each Christmas, lies a unique shock for everyone...

Christmas Eve morning at a crowded airport threatens to develop into Christmas Day whilst a heavy snowstorm waylays 5 strangers on their approach to Asheville, North Carolina. Marta's touring with young children and the load of a sour divorce on her shoulders...Andy, a widower and Vietnam vet, reminisces on the airport bar while he notices the presence of a feminine soldier...Specialist Ilena is on depart from Iraq, fraught with guilt approximately leaving her comrades...Reggie, a laid-off meeting employee, contemplates his doubtful future...and prosperous businessman John is stricken via the premature loss of life of his high-powered, workaholic father.

As the tourists think about their lives, a brand new problem quickly arises: their aircraft is grounded. yet within the spirit of the season, a superb samaritan bargains to force them to Asheville. Then her van will get caught on a snowy road--and the true trip starts for an not likely team who've extra in universal than meets the attention as they embark on a mystical passage that might convey them the genuine that means of Christmas...

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To that extent they represented a transitional form between the bard and the actor. As the recognized possessors of Homer’s “unpublished writings,” members of the Homerid guild could claim direct Homeric authorship for the prologues they wrote. The few which are still extant were collected in later antiquity and combined with five longer myth poems under a single title, Homeric Hymns, misleading in both its terms. C. 9 That was a truly astonish­ ing error in judgment. The language of the “hymns” is Homeric, and the comparison ends right there; they arc on a lower plane not only as literature but in their conceptual world, in their view of the gods.

The bits of Olympian mythology fit anywhere. The genius of the Iliad and Odyssey does not he in the in ­ dividual pieces, or even in the language, for that was all a common stock of materials available to any bard in excessive 28 The World of Odysseus quantity. The pre-cminence of a Homer lies in the scale on which he worked and in the freshness with which he selected and manipulated what he inherited, in the little variations and inventions he introduced— in the stitching. Paradoxically, the greater the mass of accumulated materials, the greater the poet’s freedom, given a desire and the ability to exercise it.

With the Iliad and the Odyssey Greek heroic poetry reached its glory. Soon the bard who composed as he chantcd began to give way to the rhapsodist who was primarily a reciter of memorized lines, and to the hack who prepared rehashed versions with scant literary merit. New forms composed in writing, the short lyric and then the drama, replaced the oral epic as the vehicles of artistic expression. Just when the shift occurred is disputed by the experts without end, and without a semblance of agreement.

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