An Unexpected Adventure Writing Entry

What did you learn from writing this piece?

I’ve learned through this piece that it is often very difficult to write a story that has a fairly complicated series of events. This is because it is difficult to tell a complicated story to readers that have not had the same experience while keeping them interested and able to follow the story. I also feel that it is difficult for me to write a story in first person that has me as the narrator without having it sound like “I did this, then I did that.” However, I think I learned how to write better using this point of view, and hopefully it will inspire me to do it more often. I also learned that even my own personal experiences can be like fables, and writing about them helped me realize that even they can have morals behind them.

Cellini/Aciman Reading Journal Entry

How do the two authors portray themselves differently in their autobiographical works?

In Cellini’s autobiography he seems to portray himself as a person who is making a mark on the places he lives and goes in Italy whereas Aciman portrays himself as being profoundly shaped and affected by the city of Rome itself. Cellini also first tells the story of his parents before he talks about himself, yet after that he gives himself a heroic image. For instance, this is apparent when he writes of his memory of picking up a scorpion and refusing to give it up at the young age of five (p20), and when he describes his bravery when attempting to protect his brother who got involved in a brawl: “But I stayed my ground till some tough soldiers came up from the San Gallo gate and, astonished at finding such great courage in someone so young, rescued me from that furious mob” (p24).

In contrast, Aciman writes as though he is constantly humbled by Rome, with its amazing sites, culture, history, and atmosphere. He writes about his life in Rome as though it is a dream, and as though the city of Rome has more control over him than he does over it. For instance, he writes, “And this, without question, is the most beautiful city on earth, just as it is the most serene. Not only is the weather and everything around us serene, but we ourselves become serene. Serenity is the feeling of being one with the world, of having nothing to wish for, of lacking of nothing. Of being, as almost never happens elsewhere, entirely in the present.” This is a much more humble outlook about himself and his life in Italy.

Which one is more conscious of the reader’s presence (wants to make a particular impression on audience)? Why do you say this?

I think Cellini is more conscious of the reader’s presence and wants to make a particular impression on the audience for the same reasons that I stated above. Aciman seems to want to make the reader just as enchanted with Rome as he is, but Cellini shows that he wants the reader to think particular things about him (i.e. that he is talented, heroic, brave, intelligent, special, etc). Cellini also addresses the reader directly at times, which is certainly successful at engaging the reader further. For instance, he writes, “Now as far as the few honours that I myself have won for my family—living the sort of life that we know is lived today, and by means of my art, although it does not amount to much—I shall talk about them in the appropriate place” (17). Here, Cellini is guiding the reader through his story, making sure that the reader understands what he is telling and what he plans to tell in the near future. For me, Cellini’s piece speaks to me as a story-telling, with addresses to the reader, dialogue, and flare. Even though Aciman does a great job of describing things, he does not engage the reader as much as Cellini does.

Which author is more convincing or believable? Why?

I think Cellini is more convincing because he really does show more than he tells. He does this through dialogue, through occasional mentioning of places, through a tone and a voice that comes off as someone telling you a story in person. He even shows some negative qualities about himself from time to time during the course of his writing, like his tendency to be a little conceited or rude. Rather than simply describing a city and how it affects him—like Aciman—Cellini focuses more on people and characters within the cities that the reader can easily imagine. Cellini’s unique and personal characteristics are revealed more in his writing than in Aciman’s, which for me, makes the story much more convincing and believable.

Machiavelli Writing Journal Entry

What process did you use to select and narrow down anecdotes to use in your piece?

When I started writing my fable, I first turned to the handout on constructing a fable that was given to us. I initially brainstormed about the context and the context elements, thinking of a good way to set up the story with a strong character and strong themes. I also decided what I wanted my reversals to be before I started writing, for I knew that the reversals were the most important elements of a fable, as they help convey the message or the moral. After coming up with reversals, I was able to think of an explicit moral, and after those steps had been completed, it was fairly easy to come up with the anecdotes for the other elements of the story.

Is your Resolution positive or negative?

My Resolution is both positive and negative. It is positive for the couple in my story that was used by the main character, Melinda, but was negative for Melinda herself. I like this choice, as I believe there is a reversal in the reader’s opinion of Melinda as a character. Initially, one feels sorry for Melinda because of how hideous she believes she is, but by the end, you feel little sympathy for her as a result of her greedy actions.

What is the Moral?

There are three morals in my story. The first moral, which has to do with my first cycle of the fable structure, is that one should not openly trust strangers. Cynthia and John agree to follow Melinda to her cottage where she promises them more delicious oranges, leading to the spell that is cast upon Cynthia and the “kidnapping” of John. The second and third morals, which have to do with the second cycle of the fable structure, are that one should not try to break apart true lovers and that one should not be overly greedy. Melinda believes that she can make John fall in love with her because of her new beauty, but she fails at this, for John loves Cynthia. She also tries to call upon the witch to solve her problems, but because of her greed and neediness, she is turned back into her original, hideous state.

Do you think your Reversal comes off successfully; does it “surprise” the reader? Why or why not?

I think my final reversal does come off successfully. I think that it conveys the moral well, and that the reader doesn’t necessarily expect Melinda to call upon the Witch again or for the Witch to come and reverse the spell.

Did you return to Machiavelli’s fable as an example and point of reference while you constructed your piece?

I never really turned to Machiavelli’s fable as a point of reference, mainly because his fable was a satirical piece, and mine was not. The handout on fable structure, however, was fairly helpful, and our discussions in class about how to structure fables were also very helpful. Sometimes I would think of Machiavelli’s piece when I was writing, but his style and tone was so different than mine that I did not take much inspiration or advice from it.

What was the most challenging part of the assignment?

The most challenging part of the assignment was including two fable cycles in one two to three page story. At first, I did not think I could achieve this, but somehow I was able to fit it all in. I’m glad I was able to do this, for I realized that the most important morals of my story (the ones in the second cycle) would not be able to be conveyed without the second reversal.

Do you feel better prepared to construct your next story after having done this assignment? Why or why not?

I think this assignment has prepared me for the construction of my next story to some extent, but I also feel that the fable has such a unique structure that it will not necessarily apply to my future story-writing. However, just the fact that I had to work within the restrictions of the fable structure has helped me, as it forced me to write in a style that I had never used before.

Machiavelli Reading Journal Entry

How is the Context set in Belfagor; are there the standard European “three context elements” present in the story following the initial setting? If so, what are they?

Belfagor is set in Florentine history, with a holy man who believes that the misery of men is caused by their wives. It is also set up within Hell, where the judges of Hell along with Pluto are the ones left with the task of discovering the truth or falsity behind this belief. Belfagor, the archdevil, is sent into the world to recover the truth. I believe the three context elements are present in the story following the setting. It seems that they are the three daughters that Belfagor (Roderigo) possesses and that Gianmatteo comes to exorcise. The first is the daughter of Ambruogio Amidei, the second is the daughter of King Charles, and the third is the daughter of King Louis VII. These three context elements are what drive the story and its characters forward.

Which sentence begins the Turning Point in the story?

I believe the turning point of the story begins with, “Roderigo, on the other hand, seeing no way out of his dilemma, and knowing that his infernal powers were limited by his agreement, decided to flee at all costs; one morning he escaped on horseback through the Gate of Prato, which was near where he lived” (424). This is the point at which Roderigo becomes truly vulnerable, setting up the context in which he must ask Gianmatteo for help.

What are the Actions of the main character (I’m not looking for every detail here, but the general core Actions which move the story forward)?

The general actions of Roderigo are 1) being sent into the world by Pluto, the king of the underworld, to find out the truth about the pains of marriage; 2) marrying Onesta and falling madly in love with her; 3) going bankrupt as a result of spending all his money on Onesta’s needs; 3) fleeing Florence; 4) asking Gianmatteo to protect him and promising to make him rich in return by possessing women and having Gianmatteo exorcise him; 5) possessing three separate women and only promising to be exorcised from the first two; 6) refusing to be exorcised by Gianmatteo from the daughter of King Louis VII, as he wishes to show that he can give and take away as he pleases; 7) fleeing from the celebration that Gianmatteo organized because of the mention that the noise and processions were his wife coming to reclaim him.

Is there a Moral and if so where does it fall in the story and is it explicit?

I think the moral of the story is that the pious, wise, and humble peasant man will always persevere against the over-indulgent “archdevil” or heathen. This moral falls at the end of the story and it is the most explicit in the last paragraph, as it states, “Thus, Belfagor, on his return to Hell, testified the evils that a wife brought into a household. And Gianmatteo, who knew more about such things than the devil, returned home a happy man” (429).

What is the Reversal in the story? Is there more than one; if so, what are others?

There are three reversals in the story. The first is when Belfagor becomes vulnerable as a result of his bankruptcy and flees Florence. The second is when Belfagor refuses to be exorcised from the daughter of King Louis VII, knowing that Gianmatteo will be hanged if he does not cure her. The third and final reversal is when Gianmatteo figures out the way to win against Belfagor, by having the king arrange this procession that will cause Belfagor to flee. Here, Gianmatteo forces Belfagor to flee by mentioning his wife, the character who also caused the first reversal in the fable.

What is the Resolution?

The resolution is that Belfagor returns to Hell to testify about the evils of marriage and Gianmatteo returns home a happy man.

What did you like most about Machiavelli’s piece?

My favorite part of the story was the dialogue, mainly between Belfagor and Gianmatteo. I liked the way Machiavelli used dialogue to develop the plot and to tell us more about the characters and their relationship.

Ovid Writing Journal Entry

Why did you choose the characters you did for your myth?

I knew I wanted to write my myth about some object that is very common in our modern-day world. I decided to write a myth about lightning rods, and it was only natural to include Zeus in my story. I always think of birds perched on top of lightning rods, so I thought I would include that imagery in my piece, and incorporate nature. Because of this, Daphne was a character that also seemed natural to include, as she was a nymph who turned into a tree in Ovid’s Metamorphoses.

Did you find the employment of metaphor in your piece challenging or natural?

The employment of metaphor was not very challenging to include in my piece. I like to use metaphor a lot when I write creatively, and once I had chosen what the main subject of my myth (lightning rods) was going to be, the rest came fairly naturally.

How did your choice of point of view from which you told the myth impact the telling of it and what response do you expect your readers to have because of it?

I think the point of view for my story will prove interesting to many of my readers. The story is written from a first person omniscient point of view, and sometimes the narrator switches to first person or second person. The narrator of my myth is the son of a goddess himself, so we know that he is at least part god. His mother is also a friend of Zeus in this story, so I think the point of view makes the reader side with Zeus, and wish that Zeus could find some way to save Daphne from Marcus. I believe that my readers will feel as though the son of Ceres is actually telling them this story, which would mean that they, too, know this god in some way.

Why did you choose to or not to include dialogue between the characters in your piece?

I chose to include dialogue when Marcus stumbles upon Daphne in the fields where she picks flowers. I did this because the scene from Hawthorne’s Demeter/Persephone myth in which Hades steals Persephone away inspired this similar plot development. I liked when Hawthorne used dialogue between Hades and Persephone in his retelling of the myth, as it made it easier for the reader to make conclusions about what kind of person the characters were. I also think that dialogue can make a story more interesting, as the dialogue itself can speak to the reader rather than having a narrator retell the story.

What was the most challenging part of this assignment?

The most challenging part of this assignment was the length restriction. My myth is over two pages, and if I wanted to, I think I could really flesh out this piece and make it even longer. Even though my myth is a half page over the suggested length, it was very hard for me to keep it shorter than three pages.

Reading Journal Entry Myths

How is the theme of transformation envisioned differently in Metamorphoses than in Invisible Cities?

In Metamorphoses, the theme of transformation is envisioned in a much more concrete way than in Invisible Cities. In Ovid’s myth, he uses descriptions of literal transformation as explanations for the way things have come to be. For instance, Ovid writes, “And hardly had she finished, when her limbs grew numb and heavy, her soft breasts were closed with delicate bark, her hair was leaves, her arms were branches, and her speedy feet rooted and held, and her head became a tree top…My tree at least you shall be! Let the laurel adorn, henceforth, my hair, my lyre, my quiver: Let Roman victors, in the long procession, wear laurel wreaths for triumph and ovation” (975). Here, Ovid uses the theme of transformation very literally to explain why laurels are used in the Roman procession and why Apollo is always adorned with them. In contrast, Calvino uses the theme of transformation in an abstract way in his descriptions of the invisible cities. There is always a transformation in the mood of his descriptions, as there is often a contrast between something that is positive about the city and something that is negative. In this way, the transformation actually happens within the reader, as our ideas and perceptions of the invisible cities are transformed through these shifts.

What are some of the similarities you notice between the two texts?

In Metamorphoses and Invisible Cities, both authors use very rich and descriptive language. In addition, there is a sense in Ovid’s and Calvino’s works that the settings of their stories are completely imaginary and incomprehensible to the reader. The stories seem to take place in some kind of mystery land that the reader has not experienced. For instance, Ovid writes, “The Golden Age was first, a time that cherished of its own will, justice and right; no law, no punishment, was called for, fearfulness was quite unknown, and the bronze tablets held no legal threatening; no suppliant throng studied a judges face; there were no judges, there did not need to be” (964). This is a time that is completely incomprehensible to the reader, as none of us have lived through a time that did not need fear or law or punishment. Similarly, the reader has trouble understanding Calvino’s descriptions of cities: “…but what was bizarre has become usual, what seemed normal is now an oddity, and virtues and faults have lost merit or dishonor in a code of virtues and faults differently distributed. In this sense nothing said in Agaura is true…” (67). However, even though both authors seem to create a setting that is completely foreign to the reader, the stories of the people and their interactions within the settings are easy to imagine. In the end, both works include a component of human interaction and feeling with which many of us can identify. An example of this would be stories of fruitless pursuit or lust, one in which Apollo chases after Daphne and ultimately cannot have her in Metamorphoses (972) and one in which men chase after a women and are only trapped in the city of Zobeide in Invisible Cities (45).

How would you describe the relationship between gods and humans in Ovid’s work? Why?

It seems that in Ovid’s work, the relationship between gods and humans is a constant power struggle. In some cases gods have control over humans and can exert their will, and in other cases, the gods have very human characteristics and are unable to control fate. For example, Ovid writes of the creation of humans: “The stones the man had thrown turned into men, the stones the women threw turned into women, such being the will of God” (971). In contrast, Gods are given very human characteristics in Metamorphoses. This can be seen in the story of Apollo’s love for Daphne, as was mentioned above, and in the story of the Deification of Caesar. In the Deification of Caesar, Venus is shown as having very human emotions, as she does not wish for Caesar to be killed and made into a god in order to justify his son (989). In this story, she cannot stop the deification of Caesar, as the Gods could not “shatter the iron mandates of the ancient sisters,” therefore making her less powerful and more human (990). Even though the Gods do have some power over humans, they are also fallible and have very human emotions.

Does the creation myth in Ovid’s work resemble any other creation myths you are familiar with and in what ways?

For me, Ovid’s creation myth seems to resemble the Christian story of Genesis. This can be seen mainly in the beginning of the reading, in which Ovid writes, “Till God, or kindlier Nature, settled all argument, and separated Heaven from earth, water from land, our air from the high stratosphere, a liberation so things evolved, and out of blind confusion found each its place, bound in eternal order, the force of fire, that weightless element, leaped up and claimed the highest place in heaven… (962). In this myth, there is one god that does create the world, creating something out of nothing. He shapes the world into what it is now, what is very similar to Genesis. Also, in Ovid’s description of the flood, the fact that one man and one woman create all other humans greatly reminds me of Adam and Eve in Genesis.

What is Ovid’s tone in this work?

It seems that Ovid is very removed from his work. I believe that there is little tone that actually comes from Ovid himself, as many myths are objective and do not necessarily include one omniscient narrator that is attempting to invoke his own emotions or opinions into the story. It seems that Ovid is simply telling the story, as if the myth is common knowledge, without any bias or distinct opinion.


In what ways are the versions of the Demeter/Persephone myth different from one another?

The difference that was most striking between the two works is that Homer’s version of the Demeter/Persephone myth is a poem whereas Hawthorne’s version is prose, or like a story. Because of this, Homer version was more formal and contained words that I did not recognize, whereas Hawthorne’s piece was an easier read. Also, Hawthorne spent a lot more time developing the relationship between Persephone and Hades, whereas Homer did not.

Are the figures drawn in a different light and if so, describe how.

In Hawthorne’s version, Persephone was portrayed as being very naïve and a lot younger than she was in Homer’s version of the myth. I thought this was an interesting choice, as it puts more of the blame on Persephone for her kidnapping. In addition, whereas Demeter was a God in Homer’s version, Demeter was simply a powerful woman with no truly divine qualities. Yes, she did have control over what grew in the land where she lived, but she was never directly referred to as a God. Lastly, in Hawthorne’s version of the myth, Hades, or King Pluto, is portrayed in a much better light. The reader actually is sympathetic toward Pluto by the end of the story, as Persephone develops a much closer relationship with him in Hawthorne’s piece.

Calvino Writing Journal Entry

The theme that was easiest to use in my writing was “death/after-life.” For me, I have read a lot of literature that uses death or after-life imagery, as this imagery also often has a religious connotation associated with it. It was easy to borrow such imagery not only from Calvino, but from past works I have read. It was also much easier for me to write the city descriptions when I had a theme with which to begin my writing as a base. The theme provided a common thread that I could incorporate into the description—not only in the imagery, but also in the development of a plot.

The most difficult part of the assignment was writing the description of the city without a pre-determined theme. I struggled with this, as it was much more difficult to choose just one city in my imagination. Ultimately, I built on an image from my childhood, and the description of the city became much easier to build from there. Occasionally I was able to borrow language from Calvino in my descriptions, and incorporating some of my favorite phrases from his writings was very helpful in bringing out my creativity. Other times, I simply did not borrow from anything and wrote what came to mind, as there was a certain flow that guided my writing.

Rome does seem like a kind of invisible city to me, as it is full of strange and extreme contradictions. Contradiction is definitely a theme I would choose to describe Rome. The graffiti on the historic buildings, the small cars that zoom by the Coliseum, and the black market vendor sellers who set up near the Campo de Fiori’s historic vegetable market. It all gives the sense that Rome is a fantasy city, unique and secret to anyone who lives outside its limits. I think Rome would also provide great inspiration for descriptions of other invisible cities.

Calvino Reading Journal Entry

Writing Assignment #1:

1. A) Diomira
B) “…and from the terrace a women’s voice cried ooh!”
C) home, shelter, happiness

2. A) Isidora
B) “…buildings have spiral staircases encrusted with spiral seashells.”
C) wanting

3. A) Dorothea
B) “…four aluminum towels rise from its walls flanking seven gates…”
C) quantity, newness

4. A) Zaira
B) “…hanged usurper’s swaying feet…”
C) movement

5. A) Anastasia
B) “…one morning your desires awaken all at once and surround you…”
C) sin

6. A) Tamara
B) “tiger’s passage”
C) fakeness, mystery

7. A) Zora
B) “…your gaze runs over patterns following one another as in a musical score…”
C) remembering

8. A) Despira
B) “…an embroidered saddle with glittering fringe between two spotted humps…”
C) separation, opposites

9. A) Zirma
B) “city’s spires”
C) repetition

10. A) Isaura
B) “…the rock’s calcareous sky.”
C) controlling water/nature, domination

11. A) Maurilia
B) “…young ladies with white parasols in the place of the munitions factory.”
C) missing

12. A) Fedora
B) “…a possible future became only a toy in a glass globe.”
C) fantasy

13. A) Zoe
B) “…the rumble of wheels from the howl of wolves?”
C) confusion

14. A) Zenobia
B) “undecipherable”
C) undistinguishable

15. A) Euphemia
B) “golden muslin”
C) story-telling

16. A) Zobeide
B) “…streets wound about themselves as in a skein.”
C) fruitless pursuit

17. A) Hypatia
B) “…crabs were biting the eyes of the suicides.”
C) loneliness

18. A) Armilia
B) “underground veins”
C) wonder

19. A) Chloe
B) “a tattooed giant”
C) disconnection

20. A) Valdrada
B) “railed parapets”
C) consequence

21. A) Olivia
B) “…fringed cushions on the seats by the mullioned windows.”
C) illusion

22. A) Sophronia
B) “…the death-ride with crouching motorcyclists…”
C) fragmentation

23. A) Eutropia
B) “declivity”
C) renewal, rebirth

24. A) Zemrude
B) “…gaze down along the drainpipes and we can no longer detach it from the cobblestones.”
C) monotony

25. A) Agiaura
B) “…punctilious regard for rules…”
C) falsehood

26. A) Octavia
B) “spider-web city”
C) danger

27. A) Ersilia
B) “…spider webs of intricate relationships seeking a form…”
C) emptiness

28. A) Baucis
B) “long flamingo legs”
C) detachment

29. A) Leandra
B) “Gods of two species”
C) conflict

30. A) Melania
B) “…a hundred thousand king’s sons fallen in low estate and awaiting recognition.”
C) infinity

31. A) Esmeralda
B) “…dominating from every point of their airy paths all the points of the city…”
C) perpetual newness

32. A) Phyllis
B) “onion dome”
C) elusiveness

33. A) Pyrrha
B) “yellowish dust flies”
C) all-knowing

34. A) Adelma
B) “…kaleidoscope of eyes, wrinkles, grimaces…”
C) death, after-life

35. A) Eudoxia
B) “arabesques”
C) divinity

36. A) Moriana
B) “…the shadows of dancing girls with silvery scales swim beneath the medusa-shaped chandeliers…”
C) hiding

37. A) Clarice
B) “chipped grimcracks”
C) torment

38. A) Eusapia
B) “…lathers the cheekbones of an actor learning his role, studying the script with hollow sockets…”
C) ambiguity, underworld

39. A) Beersheba
B) “fingernail-cuttings”
C) idealism, perfection

40. A) Leonia
B) “…street cleaners are welcomed as angels…”
C) cleanliness v. waste

41. A) Irene
B) “…a hazy glow smells like a milky sponge…”
C) generality, similarity

42. A) Argia
B) “worm tunnels”
C) darkness, Hell

43. A) Thekla
B) “…he sees cranes putting up other cranes…”
C) industry, technology

44. A) Trude
B) “…looking through the same goblets at the same swaying navels…”
C) trap, imprisonment

45. A) Olinda
B) “flow of lymph”
C) never-ending growth

46. A) Laudomia
B) “eggplant-colored barracans”
C) life vs. death, insignificance

47. A) Perinthia
B) “…the order of the gods is reflected exactly in the city of monsters…”
C) perverse divinity

48. A) Procopia
B) “…a stretch of blue sky shaped like a trapeze…”
C) overwhelming

49. A) Raissa
B) “…the bent heads at least conceal the gentle grim gaze…”
C) simple pleasures

50. A) Andria
B) “…cogs in a meticulous clockwork…”
C) connection, consequence

51. A) Cecilia
B) “…driving a tinkling flock along the walls…”
C) ambiguity

52. A) Marozia
B) “…transparent as a dragonfly…”
C) rebirth

53. A) Penthesilea
B) “…a street if scrawny shops with fades amid patches of leprous countryside…”
C) vast emptiness

54. A) Theodora
B) “progeny”
C) dominance

55. A) Berenice
B) “fried squash flowers”
C) justice v. injustice

The narrator in Calvino’s work is Marco Polo. Historically, Marco Polo was a great traveler and discoverer, going to many places that not many men had ventured to before. In Calvino’s work, there seems to be an overarching theme of old versus new, a world in which he morphs different times and eras together into his stories of invisible cities. Perhaps Calvino chose to have Marco Polo be the narrator in order to stay with this theme, linking the past with the present and creating an imaginary world in which time knows no boundaries. Having Marco Polo be the narrator of stories of invisible cities also implies that there is still much to be discovered in the world, which gives the reader hope that they can make discoveries just as Marco Polo did.

Occasionally Calvino changes the point of view of his descriptions of cities from first person narrative, first person omniscient, and third person narrative. I believe Calvino does this so that the reader can imagine the cities from different points of view, either as cities visited by Marco Polo himself, cities visited by Kublai Khan in his own imagination, or as cities visited by the reader (him)herself. The different points of view also give a sense of who is actually able to visit the cities: Marco Polo or the reader. In the third person narrative, it seems possible for the reader to visit the invisible cities whereas in the first person narrative or first person omniscient, the cities seem more distant or inaccessible. Moreover, perhaps the changes in point of view have to do with the fact that, in reality, all fifty-five invisible cities are the same one. The reader does not fully discover this fact until near the end of the book, and the changes in point of view could be a way to confuse the reader initially in order to eventually lead them to the conclusion that Marco Polo is talking about a single city.