Locus Amoenus

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Natalan - U'Ghamaro Mines - Zahar'ak - Sapsa Spawning Grounds - The Sylphlands - Loth ast Gnath - Ok' Vundu - Isle of Zekki - Djanan Khat - Lydha Lran - Watts' Anvil - Hopl's Stopple Two scouts sent by Vasco da Gama are fooled by a fake altar created by Bacchus into thinking that there are Christians among the Muslims. Thus, the explorers are lured into an ambush but successfully survive with the aid of Venus. Venus pleads with her father Jove, who predicts great fortunes for the Portuguese in the east. The fleet lands at Melinde where it is welcomed by a friendly Sultan. In the medium, I saw an opportunity—to create something with any available material I can manipulate; to have a technique that is deliberate, almost meditative regardless of the scale; to say what I wanted to say and make my ideas tangible with the simplest possible material.

The poem consists of ten cantos, each with a different number of stanzas (1102 in total). It is written in the decasyllabic ottava rima, which has the rhyme scheme ABABABCC, and contains a total of 8816 lines of verse. Stephen Hinds, ‘Landscape with Figures: Aesthetics of Place in the Metamorphoses and its Tradition’, in Philip Hardie, ed., The Cambridge Companion to Ovid (Cambridge University Press, 2002) 125–126. Ala Gannha - Ala Ghiri - Aleport - Camp Bronze Lake - Coldhearth - Costa de Sol - Empyreum - Fallgourd Float - Forgotten Springs - The Goblet - Idyllshire - The Lavender Beds - Mist - Rhalgr's Reach - Reunion - Revenant's Toll - Shirogane - Tailfeather - Tomra - Vesper Bay - WineportThe eclogue of the Island of Love [ edit ] Pictorial book in Municipal Library of Campo Maior, in Piauí, Brazil. Many Shakespearean critics discuss points of similarity with Ovid, and, like Jonathan Bate, I suggest that Ovid and Shakespeare share ‘an interest above all else in human psychology, particularly the psychology of desire in its many varieties; the transformations wrought by the extremes of emotion’. 1 The locus amoenus is an example of a textual space depicting an idealized landscape which is used to facilitate exploration of the boundaries of human emotion and desire. Despite differences between Metamorphoses and Titus Andronicus, I aim to show that the idea driving Shakespeare’s sinister revision of the locus amoenus is, in fact, Ovidian in origin. The concept of a sometimes ambiguous ‘pleasant place’ in Ovid’s practice acts specifically as a topos through which to explore emotional excess leading to fundamental, often violent, transformations of the self and indeed the pleasant place. After briefly exploring how Ovid reinvigorated the locus amoenus I turn to Shakespeare’s Titus Andronicus, 2 where the connotations of a wood, superficially ‘ amoenus’ but in fact ‘ violens’, are radically remodelled and even undercut. The setting provides Shakespeare with a dramatic context in which the raw, defining antagonisms and conflicts pervading the play are clarified, come to a head and are augmented. Keywords

A locus amoenus will have three basic elements: trees, grass, and water. Often, the garden will be in a remote place and function as a landscape of the mind. It can also be used to highlight the differences between urban and rural life or be a place of refuge from the processes of time and mortality.

Examples of dynamic descriptions include the "battle" of the Island of Mozambique, the battles of Ourique and Aljubarrota, and the storm. Camões is a master in these descriptions, marked by the verbs of movement, the abundance of visual and acoustic sensations, and expressive alliterations. There are also many lyrical moments. Those texts are normally narrative-descriptive. This is the case with the initial part of the episode of the Sad Inês, the final part of the episode of the Adamastor, and the encounter on the Island of Love (Canto IX). All these cases resemble eclogues. The speech that Jupiter uses to start the meeting is a finished piece of oratory. It opens with an exordium (1st strophe), in which, after an original welcome, Jupiter briefly defines the subject. This is followed, in the ancient rhetorical fashion, by the narration (the past shows that the intention of the Fados is the same one that the orator presented). There is then a confirmation of suggestions already put forth in the narration of the 4th strophe. This episode then ends with two strophes of peroration, where Jupiter appeals to the benevolence of the gods concerning the sons of Lusus, with Jupiter's speech eventually settling the debate.

The Corvosi have flying carpets. Corvosi fabrics are similar in style to the nearby Radz-at-Han. Grapes are known to be indigenous to Corvos. A type of ore mined in Corvos can power some devices such as radios, and proximity to the ore can ward off primal tempering. See Klaus Garber, Der locus amoenus und der locus terribili.s. Literatur und Leben,Vol. XVI n.F. (Cologne, Vienna: Böhlau, 1974), pp. 226ff. Ryan Villamael (b. 1987), as the foremost artist working with paper as sculptural medium, has been exploring themes, tensions, and trajectories of his chosen material since his first solo exhibition, Cut Felt, a decade ago at Silverlens, which currently represents him. Beginning with a tactile and intuitive approach into one of the most delicate—and historically enduring—human inventions, which entailed cutting out shapes, details, and holes without a pre-planned design and resulted in a staggering array of abstract metamorphoses, Villamael then shifted his attention to how paper could become a locus of multiple and overlapping meanings, through which ideas on the natural world, domestic sphere, and urban landscape may be negotiated.Amalj'aa - Amaro - Ananta - Ancient - Auspice - Bangaa - Dragon - Dwarf - Ea - Fairy - Fuath - Garlean - Gigants - Goblin - Gnath - Ixal - Kobold - Kojin - Lightwarden - Loporrit - Lupin - Mamool Ja - Matanga - Moogle - Namazu - Nu mou - Omicron - Padjal - Qiqirn - Sahagin - Seeq - Sylph - Tonberry - Vanu Vanu