Week 2 B reading notes

- Week 2 B reading notes ● Broadview 211–221 ● Broadview 224–231 ● Norton 2044–2062 (from chp 33) Week 2B class notes 1. Terminal Punctuation - Period (.) - Comma (,) ● in compound sentences before FANBOYS conjunctions - The paper is well-written, but the conclusion is weak. ● in complex sentences before subordinating conjunctions when the subordinate clause contradicts the main clause or when the subordinate clause comes first - He accepted the job, although the salary was very low. ● After introducing words/phrases before main sentence pattern ● To separate list of items - oxford/serial comma (they add comma before the word ,and) ● Parenthetical elements in a sentence - The tickets, which I received as a gift, must be returned to avoid conflict-of-interest problems ● To introduce or integrate dialogue/quotations with attributes - Zonnefeld comments, “It is also intriguing that these dates indicate that Homo erectus overlapped temporally with one or more other human species.” - Quotation marks ● Direct quotations ● Altering quotations - ORIGINAL: “Mathematics is the only way to combine the vast number of studies done on cancer into one cohesive framework,” said Hillen. - ADAPTED: “Mathematics … combine[s] the vast number of studies done on cancer into one cohesive framework,” said Hillen. - Use ellipses - to delete words (...) - whatever you remove should still make grammatical sense - whatever you remove can’t change the meaning of the original quote - to be dishonest - accurately reflects the original ● Titles: quotation marks - When part of something big “Self-healing Cementitious Materials: A riverview of Recent” all the poems - When not part of something bigger: The Big Bang Theory, The Edmonton Journal, ● Quoting Verse: (broadview 213) - Quote exactly - indicate line breaks - In response to her implied criticism of his choice, he acknowledges, “True: a new mistress now I chase,/The first foe in the field” (lines 5–6). - Quoting longer passages; indenting; you don’t need quotation marks; also period before citing - Rossetti insists on the indissoluble bonds between the sisters: Golden head by golden head, Like two pigeons in one nest Folded in each other’s wings, They lay down in their curtained bed. (lines 184–7) - - - - Hyphens ● Hyphenated compounds: sister-in-law ● End of sentences - only when hand-writing ● Adjectival compound - combining words to make an adjective - The man is sixty years old - He’s a sixty-year-old man - Dates in particular: An eighteenth-century novel Apostrophes (’) ● Contractions - will not = won’t ● Possession - the instructor's expectations Colon (:) ● Must have a full sentence: anything that explains/illustrates/gives an example of what you say in the sentence. ● RIGHT: Remember the eight Cs of effective professional writing: clear, concise, concrete, complete, courteous, coherent, constructive, and grammatically correct. ● WRONG: Make sure your writing is: clear, concise, concrete, complete, courteous, coherent, constructive, and grammatically correct. ● Using a colon to set up a quote; ● Sentence (claim/assertion): “supporting quotation” (citation) (evidence). Sentence. (comment/explanation) - From the first line, we are in the middle of a conflict, one in which we hear only one speaker as he attempts to silence and out-argue his romantic partner: “Tell me not, sweet, I am unkind” (line 1). - Parenthetical citation; in-text ● Poem - “verse” (lastname line#). (period goes after) ● Prose - “verse” (lastname page#). Semic-colon (;) ● Sentence; sentence ● Don’t have fragments after the semi-colon - ● You should be able to replace it with a period. ● Real logical connection between the 2 sentences ● NOTE - used in a complex list of items. Like a super comma. - Before: For my business management class, I interviewed Darren Wong, the CEO, Brenda O’Malley, the CFO, Curtis Schmidt, one of the founding partners, who has since retired, Terrence de Souza, the former chief accountant, two midlevel managers, Anna Song and Fatima Assad, and my mother, who works for a competing firm. - After: For my business management class, I interviewed Darren Wong, the CEO; Brenda O’Malley, the CFO; Curtis Schmidt, one of the founding partners, who has since retired; Terrence de Souza, the former chief accountant; two midlevel managers, Anna Song and Fatima Assad; and my mother who works for a competing firm. Question mark (?) ● Rhetorical question Exclamation mark (!) ● Not used in academic/formal writing Incorporating Quotations 1. Inserting quoted words and brief phrases into your sentences Examples: - The speaker's ship travels perilously "'Tween rock and rock" (line 3). - As his torment overwhelms him, his rational mind is "Drown'd" (line 13), and he thinks that "death were light in such a case" (line 6). - Love is both his "foe" (line 3) and his "lord" (line 4). 2. Attributions and signal phrases to incorporate longer quotations Examples: - Describing his misery, he writes, "A rain of tears, a cloud of dark disdain,/Have done the wearied cords great hinderance" (lines 9–10). - He complains that "The stars be hid that lead me to this pain" (line 12), so he is lost at sea without their guidance. 3. Using a colon to incorporate longer quotations Examples: - The final line of the sonnet emphasizes his sense of helplessness: "And I remain, despairing of the port" (line 14). - He develops his central metaphor with details of the storm that threatens the ship: "An endless wind.../A rain..., a cloud" (lines 7, 9). - His diction suggests the destructive, controlling nature of the love he experiences: "and eke my foe, alas,/That is my lord, steereth with cruelness" (lines 3–4). Works Cited Angelou, Maya. “Still I Rise.” The Norton Introduction to Literature, shorter 14th edition, edited by Kelly J. Mays, WW Norton, 2022, pp. 866–867. "End-stopped.” Poetry Foundation: Glossary of Poetic Terms, https://www.poetryfoundation.org/learn/glossary-terms/end-stopped “Enjambment.” The Poetry Archive, https://poetryarchive.org/glossary/enjambment/ Larkin, Philip. “This Be the Verse.” The Norton Introduction to Literature, shorter 14th edition, edited by Kelly J. Mays, WW Norton, 2022, p. 875. Mays, Kelly J. The Norton Introduction to Literature, shorter 14th edition, edited by Kelly J. Mays, WW Norton, 2022. McKay, Claude. “The Tropics in New York,” The Norton Introduction to Literature, shorter 14th edition, edited by Kelly J. Mays, WW Norton, 2022, p. 849. Parker, Dorothy. “One Perfect Rose.” The Norton Introduction to Literature, shorter 14th edition, edited by Kelly J. Mays, WW Norton, 2022, p. 915. Week 3 A reading notes Sir Philip Sidney, Loving in truth" (Astrophel and Stella I) Loving in truth, and fain in verse my love to show, That she, dear she, might take some pleasure of my pain,–– Pleasure might cause her read, reading might make her know, Knowledge might pity win, and pity grace obtain,–– I sought fit words to paint the blackest face of woe; Studying inventions fine her wits to entertain, Oft turning others' leaves, to see if thence would flow Some fresh and fruitful showers upon my sunburn'd brain. But words came halting forth, wanting invention's stay; Invention, Nature's child, fled step-dame Study's blows; And others' feet still seem'd but strangers in my way. Thus great with child to speak and helpless in my throes, Biting my truant pen, beating myself for spite, "Fool," said my Muse to me, "look in thy heart, and write." Sir Philip Sidney, With how sad steps, O Moon" (Astrophel and Stella XXXI) With how sad steps, O Moon, thou climb'st the skies! How silently, and with how wan a face! What, may it be that even in heav'nly place That busy archer his sharp arrows tries! Sure, if that long-with-love-acquainted eyes Can judge of love, thou feel'st a lover's case, I read it in thy looks; thy languish'd grace To me, that feel the like, thy state descries. Then, ev'n of fellowship, O Moon, tell me, Is constant love deem'd there but want of wit? Are beauties there as proud as here they be? Do they above love to be lov'd, and yet Those lovers scorn whom that love doth possess? Do they call virtue there ungratefulness? Bartholomew Griffin, "My lady's hair is threads of beaten gold" from Sonnets to Fidessa (1596) My lady's hair is threads of beaten gold, Her front the purest crystal eye hath seen, Her eyes the brightest stars the heavens hold, Her cheeks red roses such as seld have been; Her pretty lips of red vermilion dye, Her hand of ivory the purest white, Her blush Aurora or the morning sky, Her breast displays two silver fountains bright, The spheres her voice, her grace the graces three; Her body is the saint that I adore; Her smiles and favours sweet as honey be; Her feet fair Thetis praiseth evermore. But oh, the worst and last is yet behind For of a griffin does she bear the mind Henry Constable, "My lady's presence makes the roses red" My lady’s presence makes the roses red Because to see her lips they blush for shame. The lily’s leaves, for envy, pale became, And her white hands in them this envy bred. The marigold the leaves abroad doth spread, Because the sun’s and her power is the same. The violet of purple colour came, Dyed in the blood she made my heart to shed. In brief: all flowers from her their virtue take; From her sweet breath their sweet smells do proceed; The living heat which her eyebeams doth make Warmeth the ground and quickeneth the seed. The rain, wherewith she watereth the flowers, Falls from mine eyes, which she dissolves in showers. William Shakespeare, "My mistress' eyes are nothing like the sun," My mistress’ eyes are nothing like the sun; Coral is far more red than her lips’ red; If snow be white, why then her breasts are dun,2 If hairs be wires, black wires grow on her head. I have seen roses damasked red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground. And yet, by heaven, I think my love as rare As any she belied with false compare. William Shakespeare, "Let me not to the marriage of true minds," Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: Oh, no! it is an ever-fixèd mark, That looks on tempests and is never shaken; It is the star to every wandering bark, Whose worth’s unknown, although his height be taken.9 Love’s not Time’s fool, though rosy lips and cheeks Within his bending sickle’s compass come; Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved. William Shakespeare, "Shall I compare thee to a summer's day?" Shall I compare thee to a summer’s day? Thou art more lovely and more temperate. Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date. Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed; And every fair from fair sometime declines, By chance or nature’s changing course untrimmed. But thy eternal summer shall not fade, Nor lose possession of that fair thou ow’st, Nor shall Death brag thou wand’rest in his shade, When in eternal lines to time thou grow’st. So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. William Shakespeare, "Not marble, nor the gilded monuments," Not marble, nor the gilded monuments Of princes, shall outlive this powerful rhyme; But you shall shine more bright in these contènts Than unswept stone, besmeared with sluttish time. When wasteful war shall statues overturn, And broils root out the work of masonry, Nor Mars his sword nor war’s quick fire shall burn The living record of your memory. ’Gainst death and all-oblivious enmity Shall you pace forth; your praise shall still find room Even in the eyes of all posterity That wear this world out to the ending doom. So, till the judgment that yourself arise, You live in this, and dwell in lovers’ eyes. William Shakespeare, "Th' expense of spirit in a waste of shame," Th’ expense of spirit in a waste of shame Is lust in action; and, till action, lust Is perjured, murderous, bloody, full of blame, Savage, extreme, rude, cruel, not to trust; Enjoyed no sooner but despisèd straight: Past reason hunted; and no sooner had, Past reason hated, as a swallowed bait, On purpose laid to make the taker mad: Mad in pursuit, and in possession so; Had, having, and in quest to have, extreme; A bliss in proof, and proved, a very woe; Before, a joy proposed; behind, a dream. All this the world well knows; yet none knows well To shun the heaven that leads men to this hell. William Shakespeare, "That time of year thou mayst in me behold"; That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruined choirs, where late the sweet birds sang. In me thou see’st the twilight of such day As after sunset fadeth in the west; Which by and by black night doth take away, Death’s second self, that seals up all in rest. In me thou see’st the glowing of such fire, That on the ashes of his youth doth lie, As the deathbed whereon it must expire, Consumed with that which it was nourished by. This thou perceiv’st, which makes thy love more strong, To love that well which thou must leave ere long. John Donne, "Batter my heart, three-personed God," Batter my heart, three-personed God; for You As yet but knock, breathe, shine, and seek to mend; That I may rise and stand, o’erthrow me, and bend Your force, to break, blow, burn, and make me new. I, like an usurped town, to another due, Labor to admit You, but Oh, to no end! Reason, Your viceroy in me, me should defend, But is captived, and proves weak or untrue. Yet dearly I love You, and would be loved fain, But am betrothed unto Your enemy: Divorce me, untie or break that knot again, Take me to You, imprison me, for I, Except You enthrall me, never shall be free, Nor ever chaste, except You ravish me. John Donne "Death, be not proud"; Death, be not proud, though some have callèd thee Mighty and dreadful, for thou art not so; For those whom thou think’st thou dost overthrow Die not, poor Death, nor yet canst thou kill me. From rest and sleep, which but thy pictures be, Much pleasure; then from thee much more must flow, And soonest our best men with thee do go, Rest of their bones, and soul’s delivery. Thou art slave to Fate, Chance, kings, and desperate men, And dost with Poison, War, and Sickness dwell; And poppy or charms can make us sleep as well, And better than thy stroke; why swell’st thou then? One short sleep past, we wake eternally And death shall be no more; Death, thou shalt die. John Milton, "When I consider how my light is spent" When I consider how my light is spent, Ere half my days, in this dark world and wide, And that one talent which is death to hide Lodged with me useless, though my soul more bent To serve therewith my Maker, and present My true account, lest he returning chide; “Doth God exact day-labor, light denied?” I fondly ask; but Patience to prevent That murmur, soon replies, “God doth not need Either man’s work or his own gifts; who best Bear his mild yoke, they serve him best. His state Is kingly. Thousands at his bidding speed And post o’er land and ocean without rest: They also serve who only stand and wait.” Week 3A class notes - Sonnet history: ● Historical context - individual context - historical movement - development over time ● Learning to think how texts interact with history ● These poems are about unrequited love, painful love - deeply love someone they can’t love ● relationship is set up as a power relationship - speaker looking up the believer lowley and desperate looking for her love, he is longing for her but actually can’t reach her - the beloved is powerful in her beauty - she has control - lack of control and helplessness - fantasy project - she doesn’t love me back so she is mean - she is at fault. Shakespeare changes the dynamic, the speaker has the power because he is the writer and he is giving eternal life to the beloved, different perspective ● In reality the men have control - the women don’t have control of who they are even married - the women has no control of the fantasy projection - idealized she has no say and can’t say no I am not like this ● Sonnets were written in sequence - one looking from one direction to another - all about same thing - but they look from different perspective - meant to be read in this sequence order ● Technical pattern - 14 lines, octet/octave & sestet pattern, strict rhyme scheme, ● Rhyme scheme - ABBA, ABBA, CA ● Meter - Iambic pentameter ● Dante; La Vita Nuova - Idealize someone who is not available - Dante writing about Beatrice sonnet was about women who were unavailable - had the angelic feminine who is perfect and idealized by the poet ● Petrarch; La Vita Nuova - Petrarch writing about Laura - Wyatt’s poem was a translation of Petrarch’s poem ● - Renaissance; (rebirth) period inspired by the Islamic/Arab world and influenced the new cultural development of western europe - Started in Italy - close geographical influence - Wyatt from England ( they were behind) went to Italy and got inspired by sonnets - Sir Philips Sidney picks up on this and wrote sequence of Sonnets - he wrote them in manuscript - handwritten - they were published after his death and they became massive success - His book is called “ Astrophil and Stella” - Stella is the woman - he gives her this name - so it would be exotic comes from Latin - meaning ‘star’ - it can also show how far away she is from him. Astrophil means - lover of stars - Everyone started using Sonnet - so people stopped writing and started a different way of writing - John Donne started the trend - they changed the subject matter from just the beloved and the speaker to Metapoetry - poem about poetry - how to write poem, other stuff is - metacognitio Week 3B reading notes Chief Dan George, "Lament for Confederation How long have I known you, Oh Canada? A hundred years? Yes, a hundred years. And many, many seelanum more. And today, when you celebrate your hundred years, Oh Canada, I am sad for all the Indian people throughout the land. For I have known you when your forests were mine; when they gave me my meat and my clothing. I have known you in your streams and rivers where your fish flashed and danced in the sun, where the waters said ‘come, come and eat of my abundance.’ I have known you in the freedom of the winds. And my spirit, like the winds, once roamed your good lands. But in the long hundred years since the white man came, I have seen my freedom disappear like the salmon going mysteriously out to sea. The white man’s strange customs, which I could not understand, pressed down upon me until I could no longer breathe. When I fought to protect my land and my home, I was called a savage. When I neither understood nor welcomed his way of life, I was called lazy. When I tried to rule my people, I was stripped of my authority. My nation was ignored in your history textbooks _ they were little more important in the history of Canada than the buffalo that ranged the plains. I was ridiculed in your plays and motion pictures, and when I drank your firewater, I got drunk _ very, very drunk. And I forgot. Oh Canada, how can I celebrate with you this centenary, this hundred years? Shall I thank you for the reserves that are left to me of my beautiful forests? For the canned fish of my rivers? For the loss of my pride and authority, even among my own people? For the lack of my will to fight back? No! I must forget what’s past and gone. Oh God in heaven! Give me back the courage of the olden chiefs. Let me wrestle with my surroundings. Let me again, as in the days of old, dominate my environment. Let me humbly accept this new culture and through it rise up and go on. Oh God! Like the thunderbird of old I shall rise again out of the sea; I shall grab the instruments of the white man’s success _ his education, his skills, and with these new tools I shall build my race into the proudest segment of your society. Before I follow the great chiefs who have gone before us, Oh Canada, I shall see these things come to pass. I shall see our young braves and our chiefs sitting in the houses of law and government, ruling and being ruled by the knowledge and freedoms of our great land. So shall we shatter the barriers of our isolation. So shall the next hundred years be the greatest in the proud history of our tribes and nations. Week 3B class notes - It is in the liminal middle ground - not a prose, but more like prose poem - mixture - - Prose poem - a composition printed as prose but distinguished by elements common in poetry such as contrived rhythms, figures of speech, etc Rhythmic chant - oh canada, oh god, i have known, i have known Paratext - materials accompanying a text, such as a title, authorial attribution, date of publication, preface. These materials afford resources for interpretation, allowing readers to channel and delimit their inferential activities by situating texts within generic categories Elements of defiance - I shall rise - shows agency Week 4A class notes - Elements of fictional narrative; ● Genre ● Narrative ● Plot - conflict - a structure to what happens in sequence ● Characters - major & minor/supporting characters ● Setting - place (physical/geographical) and time (temporal) - Types; ● Prose vs poetry ● Narrative (vs lyrics) ● Fiction vs nonfiction ● Short stories vs novel - short story have less characters than novels Freytag’s pyramid; ● Exposition ● Inciting incident ● Rising action ● Climax ● Falling action - denouement - wrapping up ● Resolution - - Types of narrators; ● First person narrator - protagonist/participant vs witness/onlooker - Reliability - to what extent do we believe the trustworthiness of the story unreliable narrator on purpose (crime stories/deliberately lying) - Objectivity ● Second person narrator ● Third person narrator - Omniscient - limited - Intertextuality; ● Idea no text exists as a single bubble on it’s own - you are able to find other texts you can connect to - it is responding to another text - it is one moment amongst many many larger moments - alluding to other texts - i.e shakespeare started innovatively as a way to respond to the other cliche sonnets that existed at that time Week 4B class notes - - - - - - - Categories are; ● Fiction ● Fantasy ● Science fiction ● Satire ● Travel log ● non-fiction Novel - a prose narrative about characters and their actions in what was recognizably everyday life and usually in the present, with the emphasis on things being new or a novelty Romance - usually concerned with characters (and thus with events) who live in a courtly world somewhat remote from the everyday. This suggests elements of fantasy, improbability, extravagance, and naivety. It also suggests elements of love, adventure, the marvelous, and the mythic. For the most part the term is used rather loosely to describe a narrative of heroic or spectacular achievements, of chivalry, of gallant love, of deeds of derring-do. Satire - a literary genre or mode that uses irony, wit, and sometimes sarcasm to expose humanity’s vices and foibles. Through clever criticism, satirists debunk and deflate their targets, whether persons, groups, ideas, or institutions. Unlike comedy, which is primarily geared toward amusement and entertainment, satire generally has a moral purpose: to provoke a response to correctable human failings, ideally some kind of reform. - goal of moral reform/improvement - moral judgment - harsh edge - it is about things that are correctable, aimed at those who are powerful, not about mocking the vulnerable or those who are Satirist is thus a kind of self-appointed guardian of standards, ideals, and truth; of moral as well as aesthetic values. He is a man (women satirists are very rare) who takes it upon himself to correct, censure, and ridicule the follies and vices of society and thus to bring contempt and derision upon aberrations from a desirable and civilized norm. Thus satire is a kind of protest, a sublimation and refinement of anger and indignation Gulliver suggests that we should approach texts with hermeneutics of suspicion Satire part Issue of reliability - talks about he should be trusted absolutely - the more they say it repeatedly - the more skeptical - his unreliability in the sense that his moral judgment is flawed Quest narrative - king arthur and holy grail, some sort of treasure/place the hero has to get to - Worst is always relative to other things - it is impossible to sustain - relative worth vs absolute worth - relate to the circumstances you found yourself in Week 5A class notes - Traditional Epistemology - way of knowing - highest form of knowledge - revelation from God, then the next level is - authority (king, pope) - however Gulliver thinks human rationality/reason is better - by observing them - and using rational minds to develop theories - Week 5B class notes - - - Biographical criticism - a form of literary criticism or analysis that seeks to demonstrate a relationship between the work and life of its author Biographical fallacy - aka autobiographical fallacy - bad from - a form of literary criticism or analysis that assumes a direct or unproblematic relationship between the work and the life of its author Dandy:1.1. “One who studies above everything to dress elegantly and fashionably: a beau, fop, Exquisite.” - mainly used for men as women were expected to dress this way Aestheticism - a movement that developed in Europe in the second had of the nineteenth century and whose proponents insisted on the separation of art from mortality , maintaining that art need not be moral to have value. L’art pour l’art (art for art’s sake) was the rallying cry for writers who valued art for its inherent aesthetic quality rather than for its didactic potential Carnival-esque - Bakthin came up with this idea - art in general is a carnival-esque space - a time the normal rules we operate under don’t apply Meta drama - drama about drama, or any moment of self-consciousness by which a pay draws attention to its own fictional status as a theatrical pretense ● A set of performance - for example the proposal scene - it doesn’t matter that he is proposing and loves her but how he proposes matters Week 6A reading notes William Wordsworth, "London, 1802," Milton! thou should’st be living at this hour: England hath need of thee: she is a fen Of stagnant waters: altar, sword and pen, Fireside, the heroic wealth of hall and bower, Have forfeited their ancient English dower Of inward happiness. We are selfish men; Oh! raise us up, return to us again; And give us manners, virtue, freedom, power. Thy soul was like a Star and dwelt apart: Thou hadst a voice whose sound was like the sea; Pure as the naked heavens, majestic, free, So didst thou travel on life’s common way, In chearful godliness; and yet thy heart The lowliest duties on itself did lay William Wordsworth "The world is too much with us"; The world is too much with us; late and soon, Getting and spending, we lay waste our powers: Little we see in Nature that is ours; We have given our hearts away, a sordid boon!5 This Sea that bares her bosom to the moon; The winds that will be howling at all hours, And are up-gathered now like sleeping flowers; For this, for every thing, we are out of tune; It moves us not.—Great God! I’d rather be A Pagan suckled in a creed outworn; So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn; Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathèd horn. Percy Bysshe Shelley, "Ode to the West Wind"; I O wild West Wind, thou breath of Autumn’s being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The wingèd seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o’er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odors plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, oh, hear! II Thou on whose stream, mid the steep sky’s commotion, Loose clouds like earth’s decaying leaves are shed, Shook from the tangled boughs of Heaven and Ocean, Angels of rain and lightning: there are spread On the blue surface of thine aëry surge, Like the bright hair uplifted from the head Of some fierce Maenad, even from the dim verge Of the horizon to the zenith’s height, The locks of the approaching storm. Thou dirge Of the dying year, to which this closing night Will be the dome of a vast sepulcher, Vaulted with all thy congregated might Of vapors, from whose solid atmosphere Black rain, and fire, and hail will burst: oh, hear! III Thou who didst waken from his summer dreams The blue Mediterranean, where he lay, Lulled by the coil of his crystàlline streams, Beside a pumice isle in Baiae’s bay, And saw in sleep old palaces and towers Quivering within the wave’s intenser day, All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantic’s level powers Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean, know Thy voice, and suddenly grow gray with fear, And tremble and despoil themselves: oh, hear! IV If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power, and share The impulse of thy strength, only less free Than thou, O uncontrollable! If even I were as in my boyhood, and could be The comrade of thy wanderings over Heaven, As then, when to outstrip thy skyey speed Scarce seemed a vision; I would ne’er have striven As thus with thee in prayer in my sore need. Oh, lift me as a wave, a leaf, a cloud! I fall upon the thorns of life! I bleed! A heavy weight of hours has chained and bowed One too like thee: tameless, and swift, and proud. V Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one! Drive my dead thoughts over the universe Like withered leaves to quicken a new birth! And, by the incantation of this verse, Scatter, as from an unextinguished hearth Ashes and sparks, my words among mankind! Be through my lips to unawakened earth The trumpet of a prophecy! O Wind, If Winter comes, can Spring be far behind? Elizabeth Barrett Browning, "How Do I Love Thee?"; How do I love thee? Let me count the ways. I love thee to the depth and breadth and height My soul can reach, when feeling out of sight For the ends of Being and ideal Grace. I love thee to the level of every day’s Most quiet need, by sun and candlelight. I love thee freely, as men strive for Right; I love thee purely, as they turn from Praise; I love thee with the passion put to use In my old griefs, and with my childhood’s faith. I love thee with a love I seemed to lose With my lost saints—I love thee with the breath, Smiles, tears of all my life!—and, if God choose, I shall but love thee better after death. Christina Rossetti, "In an Artist's Studio"; One face looks out from all his canvases, One selfsame figure sits or walks or leans; We found her hidden just behind those screens, That mirror gave back all her loveliness. A queen in opal or in ruby dress, A nameless girl in freshest summer-greens, A saint, an angel—every canvas means The same one meaning, neither more nor less. He feeds upon her face by day and night, And she with true kind eyes looks back on him Fair as the moon and joyful as the light: Not wan with waiting, not with sorrow dim; Not as she is, but was when hope shone bright; Not as she is, but as she fills his dream. Edna St Vincent Millay, "Women have loved before as I love now," Women have loved before as I love now; At least, in lively chronicles of the past— Of Irish waters by a Cornish prow Or Trojan waters by a Spartan mast Much to their cost invaded—here and there, Hunting the amorous line, skimming the rest, I find some woman bearing as I bear Love like a burning city in the breast. I think however that of all alive I only in such utter, ancient way Do suffer love; in me alone survive The unregenerate passions of a day When treacherous queens, with death upon the tread, Heedless and wilful, took their knights to bed Edna St Vincent Millay "I, being born a woman and distressed," I, being born a woman and distressed By all the needs and notions of my kind, Am urged by your propinquity to find Your person fair, and feel a certain zest To bear your body’s weight upon my breast: So subtly is the fume of life designed, To clarify the pulse and cloud the mind, And leave me once again undone, possessed. Think not for this, however, the poor treason Of my stout blood against my staggering brain, I shall remember you with love, or season My scorn with pity,—let me make it plain: I find this frenzy insufficient reason For conversation when we meet again. Edna St Vincent Millay "I will put Chaos into fourteen lines"; I will put Chaos into fourteen lines And keep him there; and let him thence escape If he be lucky; let him twist, and ape Flood, fire, and demon—his adroit designs Will strain to nothing in the strict confines Of this sweet Order, where, in pious rape, I hold his essence and amorphous shape, Till he with Order mingles and combines. Past are the hours, the years, of our duress, His arrogance, our awful servitude: I have him. He is nothing more nor less Than something simple not yet understood; I shall not even force him to confess; Or answer. I will only make him good. Countee Cullen, "Yet Do I Marvel"; I doubt not God is good, well-meaning, kind, And did He stoop to quibble could tell why The little buried mole continues blind, Why flesh that mirrors Him must some day die, Make plain the reason tortured Tantalus1 Is baited by the fickle fruit, declare If merely brute caprice dooms Sisyphus2 To struggle up a never-ending stair. Inscrutable His ways are, and immune To catechism by a mind too strewn With petty cares to slightly understand What awful brain compels His awful hand. Yet do I marvel at this curious thing: To make a poet black, and bid him sing! Claude McKay, "The White House"; Your door is shut against my tightened face, And I am sharp as steel with discontent; But I possess the courage and the grace To bear my anger proudly and unbent. The pavement slabs burn loose beneath my feet, And passion rends my vitals as I pass, A chafing savage, down the decent street, Where boldly shines your shuttered door of glass. Oh, I must search for wisdom every hour, Deep in my wrathful bosom sore and raw, And find in it the superhuman power To hold me to the letter of your law! Oh, I must keep my heart inviolate Against the poison of your deadly hate Billy Collins, "Sonnet"; All we need is fourteen lines, well, thirteen now, and after this one just a dozen to launch a little ship on love’s storm-tossed seas, then only ten more left like rows of beans. How easily it goes unless you get Elizabethan and insist the iambic bongos must be played and rhymes positioned at the ends of lines, one for every station of the cross. But hang on here while we make the turn into the final six where all will be resolved, where longing and heartache will find an end, where Laura will tell Petrarch to put down his pen, take off those crazy medieval tights, blow out the lights, and come at last to bed. e.e. cummings, "next to of course god america i"; “next to of course god america i love you land of the pilgrims’ and so forth oh say can you see by the dawn’s early my country ’tis of centuries come and go and are no more what of it we should worry in every language even deafanddumb thy sons acclaim your glorious name by gorry by jingo by gee by gosh by gum why talk of beauty what could be more beautiful than these heroic happy dead who rushed like lions to the roaring slaughter they did not stop to think they died instead then shall the voice of liberty be mute?” He spoke. And drank rapidly a glass of water Sherman Alexie, “Monosonnet for the Matriarchy, Interrupted” When A Woman Asks You To Owl Dance (O, O, O, O, the owl dance, two steps forward, one step back, O, O, O, O, listen to the drummers attack that drum, O, O, O, O, if a woman asks you to owl dance, you have to accept her offer, O, O, O, O, but if you still have the nerve to decline, then you must pay her want she wants, O, O, O, O, give her some money, honey, fill her coffers, O, O, O, O, and then you have to stand in front of the entire powwow and tell everybody exactly why and how you refused her, O, O, O, O, and if you refuse to detail your refusal, you will be named and shamed out of the powwow, O, O, O, O, but, mister, why would you want to say no to your sister, O, O, O, O, but, brother, why would you want to say no to your mother, O, O, O, O, all of these women are your sisters and mothers, O, O, O, O, they're somebody's sisters and mothers, so, mister, so, brother, dance with the women, mister, brother, dance with the women, mister, brother, dance with the women, mister, brother, dance with the women, mister, brother, they're everybody's sisters and mothers), You Should Always Honor The Chance. Week 6A class notes 3 parts of the final exam; 1. Part 1 (15 points - 15 mins) - Identification and short answer - 4 passages - choose 3 - 5 points each (15 points for the whole thing) - Identify author (1 point) - Title (1 point) - A brief short answer (worth 3) - tell me what’s important about this passage? What large idea does it connect to? What did she highlight in class 2. Part 2 & 3 - short essay - Part 2 essay (24 points/ 45-50 mins) - poetics - similar to 1st essay - she will give us a poem we haven’t studied but by an author we have studied - identify the form, rhymes, describe poetic elements, then describe how they contribute to the meaning of the poem - we can quote from the poem directly - Part 3 essay (24 points - 45-50 mins) - hermeneutics - similar to 2nd essay has 2 topics (choose 1) - use two texts from our reading lists as examples in the essay - explain an idea/critical lens and how it applies to the text - define the term and how it is applied in the text - concepts/ideas we discussed in class ● 4 point for content/ides ● 4 points for evidence/support - we don’t need to specifically have evidence ● 4 points for organization/structure - Identify author in intro ● 4 points for language ● 4 points for grammar/mechanics Tips; - Keep track of time - don’t spend too much time on first section - Plan before writing - spend 5 mins max, scribble down the poem, first do close reading, choose what elements you want to talk about (major point is Meter - don’t ignore it), then start writing, plan thesis and etc before writing - Pull out the notes and syllabus - read them through - go through the slides - pull out the key terms and make a list of them - make sure you understand them - if she asked about that topic - make a list of texts and examples you can reference through as examples 14th century and Italian renaissance; - Founded by Dante and Petraich Early 16th century: (1530s) - English renaissance - Wyatt brings Sonnet to England - nobody else picks it up Late 16th century (1590s) - Sonnet craze - unrequited love - Sidney - Constable (tries to make it special) - Shakespeare (tries to make it special) - Griffin (low quality Sonnet) Early 17th century - Dying of the Sonnet - Donne and Milton ( trying to do something unique with Sonnet form - change the subject matter, instead of longing for a beloved woman, we long for God) Late 18th century ( 1780s) - Resurrect the sonnet - after it died for a while - Period of real cultural explosion - Romanticism - interested in radically new things revolutionary/transformatory - politically - American Values - equality and French Revolution - overthrowing old structures of power - trying to establish a new radical form of government - In music, painting, architecture - William Wordswath - Shelley - Longing for change - subject matter is freedom, a different world Percy Bysshe Shelley - - Lived in depression for a decade - confined in her room Didn’t want anyone to marry and leave the house - she had to elope a get married - he considered her dead and would never speak to her and didn’t allow siblings to contact her Once she moved out of the room - her health got better Christina Rosetti - Her family was artistic Her brother did art and wanted to revive/reimagine old art - his name was Dante like the author guy He painted virgin mary - used Christina as a model - the image of the Goblin Market paintings He fell in love with one of the models - Elizabeth Sybil - she had fair skin and long thick red hair Christina’s brother and Elizabth got addicted to opioid addiction - Elizabeth died very young - Christina was close to her He became obsessed with her - hundreds of her drawings - he painted his dead wife as Beatrice for Dante’s beloved lost woman