Paradise Lost (Books I-III)

We are reading a major portion of Paradise Lost, one of the most influential works of British literature and the definitive literary epic in English. For this post, please choose three passages of about 8-20 lines that you regard as significant, one each from Books 1, 2, and either 3 or 4. (Our anthology gives only a small portion of Book 3.) Explain why you chose those passages. Focus on the actual poem, not the prose "Argument" previews. 

Book 1: p. 924, Lines 237-250

            In this passage, Satan finalizes his move to Hell. What caught my attention was the first sentence, after he has landed: “Such resting found the sole of unblessed feet.” Sole is almost a pun with soul, which would be highly ironic. If his unblessed feet had a soul, it would not matter anyway, because they are unblessed. This makes the point that Satan is totally evil, and is accepted by the inherent evil of Hell.

            Next, plot-wise, Satan and his “mate” demonstrate that they are as powerful “as gods, and by their own recovered strength, not… supernal [celestial] power” (Lines 240-241). This foreshadows the strength of the conflict to come. The bad guy is firmly established as a threat to good. The next paragraph describes Satan as “the lost archangel,” emphasizing the good that has turned to evil. This unnaturalness and betrayal makes Satan all the more threatening.

            However, Satan is not exactly overjoyed to be gone from Heaven. He does not find Hell’s “mournful gloom” as appealing as “celestial light” (Lines 244-245).  He bids “farewell [to the] happy fields, where joy forever dwells,” unconsciously admitting that he will not destroy Heaven or joy (Lines 249-250). This complication, that Satan would rather be in Heaven, sets the stage for an eternal struggle.

Book II: p. 938, Lines 496-505

            This passage is important because it contains what I believe is Milton’s direct commentary on the state on mankind. The speaker is an unknown third person omniscient narrator, a credible character. The passage begins with “O shame to men!”  and proceeds to bemoan the state man has put himself in ( Line 496). Milton is saying that man is self-destructive, and susceptible to Satan’s wiles.

Book III: p. 947, Lines 56-69

            Milton demonstrates particularly fine writing in this description of the greatness God can see in Heaven. In contrast to the previous scenes with Satan and Hell, the mood of this passage is one of wonder. Milton uses majestic diction and hyperbolic imagery to quickly fabricate a completely convincing mood. God sits “high throned above all height,” a praise-worthy and unbeatable feat (Line 58). His status could not be any more elevated. The saints around him are as numerous, or “thick as stars,” an impressive image (Line 61). Not only does this simile conjure an image, it also reinforces God’s status. The universal diction reminds us that God is the master of everything, and that what he surrounds himself with is great in itself, like the stars.

John Milton

Do both of the following: 

At this point you have read a variety of Renaissance and 17th-century sonnets and short lyric poems. Take one of Milton's sonnets (908-09) and in a substantial paragraph, compare it in subject and rhetorical strategy with an earlier sonnet or short lyric. For example, compare Milton's sonnet 7 ("How soon hath Time") with Shakespeare's sonnet 12; or Milton's sonnet 16 or 18 with Philips "Upon the Double Murder" or "On the Third of September, 1651."  

Find a significant passage (such as a paragraph) in Areopagitica and explain why you chose that passage.

Milton’s Sonnet 16 “To the Lord General Cromwell” and Philips’ “Upon the Double Murder of King Charles”

Milton is known for being very political. Compared to most other seventeenth century poets, Milton’s works are less lyrical, perhaps because his subject is often a pressing political issue. Katherine Philips also wrote political poetry, but with a different rhetorical strategy. While Milton uses the second person plural, acting as the voice of all of Cromwell’s supporters, Philips writes in the first person. Milton wants to reach a national audience, while Philips is more concerned with defending her own credibility.  However, they both use Christian references and royal imagery to impress the gravity and truth of their claims.

Areopagitica, p 911-912

Areopagitica is a speech in defense of the freedom of book publication that Milton delivered to the English Parliament in 1644. I chose the paragraph that runs from pages 911 to 912 because of its content and its style. This paragraph frames a good point in Milton’s argument by calling into question the faulty logic behind pre-publication censorship. He facetiously argues that “[i]f we think to relegate printing… we must regulate all recreations and pastimes, all that is delightful to man,” including music, dancing, and architecture (911). This logic is faulty because not only is it undesirable and impossible to regulate these art forms, they would not truly be art if they were so strictly regulated.  The specific examples, such as music, dancing, and architecture, give passion and credibility to the argument. Unlike the introductory paragraph, this one has a more artistic style. Rather than one long, pompous sentence, this paragraph has sentences of several lengths. The rhetorical questions and repetitive syntax rhythm make this paragraph closer to flowing poetry than the preceding ones.

17th Century Poetry

1.     Donne, Holy Sonnets 5 and 7 (pp. 846-7). Compare and contrast how Donne uses of world and earth in the poems and where the images lead him in each case. Cite specific lines.

2.   Wroth, “Railing Rhymes” p. 854 and Philips “Upon the Double Murder of King Charles” p. 893. Each poem responds to another writer’s poem. What is the narrator’s tone and her major claim(s)? Why, do you think? Cite specific lines.

John Donne’s “Holy Sonnets” 5 and 7

            In both sonnets, the speaker is zealously repentant, and asks to be rid of evil. The speaker describes himself (or herself) as “a little world” in Sonnet 5 and in Sonnet 7 describes the “round earth” (Sonnet 5, Line 1 and Sonnet 7, Line 1). Earth’s image is central to both poems. In the first, the world is more conceptual and metaphorical. His being is divided into two separate parts and seas can be poured into his eyes (Lines 4, 7). I picture the speaker’s being represented by a globe, whose state reflects the state of his Christian morality. Contrastingly, the second poem considers a very tangible, physical Earth. The speaker is “here on this lowly ground” (Line 12). Earth is lowly and human compared to the divine perfection of sinless Heaven, where the speaker aims to go. This poem evokes darker images of the death and desolateness that the speaker wishes to overcome.

Lady Mary Wroth’s “Railing Rhymes” (page 854)

Wroth indignantly responds to Lord Edward Denny’s “spiteful words against” her and her book, The Countess of Montgomery’s Urania (Line 3). She defends her book as “harmless,” and further insults Denny and his son-in-law (Lines 3-4). She also claims that Denny’s “slanderous flying flames” are drunken, and that he “know[s they] are false,” and ends by calling him “a lying wonder” and a fool (Lines 13-14, 24-25). Not only is Wroth’s tone indignant, but it is also mocking. Besides defending the legitimacy of her work, she wants to insult Denny. She took phrases from his poem, and turned them against him in her response. This daring confrontation told Denny that under no circumstances would admit that her book was based on his family.

Katherine Philips’ “Upon the Double Murder of King Charles” (page 893)

            Unlike Wroth, Philips’ refute focuses more on Vavasor Powell’s argument than his person. Powell’s “Libelous Rhyme,” as Philips calls it in her subtitle, no longer exists, so I had some difficulty understanding all of Wroth’s response. However, since Powell was a “Nonconformist preacher, who believed in the… illegitimacy of earthly kings,” I suspect that he questioned the legitimacy of King Charles (Footnote 2). Wroth thought his comments were uncalled for, since Charles is deceased and therefore deserves “a quiet grave” (Line 12). She evidently thought that Powell owed Charles better, as she remarked that “Great Charles his double misery was… unfaithful friends, ignoble enemies,” implying that Powell is one of the two (Lines 15-16). Her tone is chastising and disappointed, because she wants Powell to be ashamed of his stance toward the King, and change his views.

King Lear, Acts IV-V

Act 4.7 (begins p. 145 – Cordelia is reunited with Lear) and Act 5.3 (begins p. 154). The post has two parts.

1. Look at the ending of a filmed version of King Lear (see below) and in a paragraph compare it with the text of the play. What does the film emphasize and what does it downplay or leave out? Comment on how the speeches are complemented (or not) by the staging, action, sound effects, music.  

I watched the BBC version of King Lear. The lines remained true to the play; I didn’t catch anything made up. There were some chunks of text left out of the film, but nothing that drastically altered the story.

The staging really emphasized the emotional tension between the characters. The set was fairly simple. The white, foggy background made it seem as if the story could be taking place anywhere, at any time. The costumes also drew the attention solely to the characters and their emotions, rather than the aesthetics. All the men wore similar shades of plain brown, except for Lear and Cordelia, who wore basic white robes to symbolize the death of uncorrupted love. These simplicities allow the viewer to focus on the relationships between the characters, one of Shakespeare’s strengths. This is a testament to the brilliance of Shakespeare, that the emotional issues his characters face are still relevant enough to drive the play.

 2. For you, in what ways is King Lear a tragedy? As a tragedy in what ways is it like or unlike Dr. Faustus or The Tragedy of Mariam? This is a big topic but I want you to think about it while the experience is fresh – a paragraph will be fine.

            The first characteristic that comes to mind when I think of tragedy is death. In King Lear, all of the main characters – and a good portion of the minor ones – die. The death of significant characters in Dr. Faustus and The Tragedy of Mariam defines those works as tragedies as well. Also, it ends tragically, with a hopeless outlook on man. As Albany says to his few fellow survivors, “Our present business is general woe” and that they should not expect to “live so long” as those who recently died (186). This ending differs from that of Dr. Faustus, which is a moralist play. Dr. Faustus is responsible for his death; it is clear that his deal with the devil was evil and unnatural, and that he must die. In King Lear, characters like Regan are also directly responsible for their death. Others made choices that inadvertently led to their death. Shakespeare’s tragic characters face emotionally complex trials and while the consequences are often foreshadowed, they are not immediately obvious. This realism is perhaps more tragic than the didactic cause-and-effect story of Dr. Faustus.

King Lear

Acts I and II

A. Choose one of the following combinations of Lear’s speeches.  1) give the gist of all the chosen speeches, 2) offer detailed analysis about one of the speeches, including the context, Lear’s tone and attitude, and 3) pose any questions you have. Line numbering is from our Broadview edition. 

Act 1, scene 4: 1.4.191-254 [starting “Does any here . . . ..” Lear’s words are punctuated by others’ speeches but treat his words as one unit], 1.4.262-77 

This first speech is Lear’s reaction to Gonerill’s treachery. She claimed that his neglect to handle his supposedly disorderly knights is a sign of his mental infirmity. Indeed, Lear’s first response indicates that he is mad, and does not know who he is. He wants to leave, and renounces Gonerill as his daughter for her lies and unfaithfulness. He even goes so far as to curse her to be childless, or have a child who will show her the pain of a “thankless child” as she did to her father (Line 254).

Lear becomes increasingly angry, yet also increasingly lucid over the course of this speech. At first, he cannot believe that Gonerill has turned against him. Lines 191-197 are mostly questions, highlighting his confusion and agitation. After he decisively declares Gonerill a “degenerate bastard,” his speech contains more commands and exclamations (Line 216). He figures out the situation, and his disbelief turns to wounded fury, which he expresses at length. The length of his sentences also increases. Longer and more complicated syntax is often associated with higher and truer thought. This signifies that Lear perceives the truth about Gonerill.

Lear also mentions the motif of the natural versus the unnatural in relation to family. He says that when he disowned Cordelia and accepted the rule of her sisters, his “frame of nature” was not in its “fixed place” (Lines 233-234). The footnotes on that same page explain these two phrases to mean “natural disposition” and “natural location,” In other words, Lear is saying that what was natural got messed up, proving that his choice was a mistake. In this play, the idea of natural is associated with rightness, while the unnatural is wrong and potentially even evil. This motif unites Lear with his parallel character Gloucester. For Gloucester, the issue of what is natural and what is not surfaces in the conflict between his legitimate (or natural) and illegitimate (or unnatural) sons. Both men will find that in family, naturalness does not matter. Lear is betrayed by his first two daughters, and Gloucester is taken advantage of by his illegitimate son Edmund. A natural child is as capable of betrayal as an unnatural child.

In his next speech, Lear addresses the Duke of Albany, Gonerill’s husband. He insults Albany by explaining that not only is he ashamed of crying, but that he detests that his unworthy family is the reason. He vows never to cry for the same reason again. Then, there is a slight shift in which Lear speaks more to himself or the audience than to Albany. He plans to go to Regan, who he believes will remain true to him.

B. Choose one of the following. Give the gist of the passage in several sentences and explain why you regard it as important. 

Act 2, Scene 2 begins with a struggle between Gonerill’s servant Oswald, and the disguised Kent. Oswald has just arrived at Regan’s house. Kent has not forgotten Oswald’s earlier insolence, and is hostile. After listing the other’s faults, Kent fights Oswald. The most basic function of this scene is to provide the comic relief that Shakespeare in famous for including, to hold the attention of all kinds of audience members. However, it also touches on central issues such as love, duty, and concealed identity.

The Tragedy of Miriam, Acts IV-V

1. Take two speeches by Herod (Acts 4-5) and explore how he views the/his situation. 

2.  Based on your response for 10-8 on Acts 1-3, bring up one or two issues that need exploration in class. 

  

Herod is out of his mind in Act IV, Scene iv, when he believes that Miriam tried to poison him. He condemns her to death, yet as soon as the guards bear her away, he forgets the words he spoke just a few seconds previous and changes his mind (Lines 74-81). Specifically, in Line 76, he cries, “Here take her to her death. Come back! Come back!” This shift occurs with no warning, in the action or the text. There is nothing stronger than a period to foreshadow this sudden change. Herod is losing control and his rash actions prove it.

Herod’s final speech is full of praises about Miriam. She was the “imperial crown” of the female gender and “matchless” among women (Lines 164, 172). He wretchedly faces the fact that she is dead and he is “the villain that have done the deed, the cruel deed (Lines 186-187). His praises of her contrast with his view of himself. This leads Herod to wish that he will not live much longer.

In my last post, I observed “the abab rhyme scheme [in Miriam’s opening speech]. Instead of couplets, which traditionally symbolize unity and thus a working romance, the alternating lines symbolize two people on different pages.” I would like to discuss the significance of that, and other rhyme schemes (and maybe even other poetic devices within the text). For example, the Chorus always speaks in ababcc, with the last couplet indented. What kind of poem is this? Why does the Chorus always speak in the same form?

In my discussion of Act III, I mentioned that “marriage [is seen] in the context of different relationships, which makes the messages [about marriage] more universal.” Now that we have finished the play, what are Elizabeth Cary’s points about marriage?

The Tragedy of Mariam, by Elizabeth Cary

Questions:   Who was Joseph Swetnam and how does he figure in writing by women in the early 17^th century? What views of women did he and other male writers of his time assume? When and where did Senecan tragedy start being performed in England? Explain what is meant by this term, “Senecan tragedy,” and why the English liked it.   

Then, turning to the text of Tragedy of Mariam, take in Mariam's first soliliquy, the opening of the play. Consider how she characterizes her marriage. Then, still in Act 1, find a passage that contains a revealing interchange between two characters. Explain what is revealing or interesting about the interchange. Do the same for Acts 2 and 3. You will have commented on three passages by the end of your response. Your questions about the play and its context are of course welcome.  

BABL Questions

            Joseph Swetnam wrote An Arraignment of Lewd, Froward, and Unconstant Women in 1615. Seventeenth century literature about women was “overwhelmingly male-authored” and blamed women and women only for sexual temptation (481). However, his pamphlets did inspire some women to print responses in defense of their gender.

            Seneca was a Roman playwright whose tragedies, written in Latin, resurfaced in drama in England during the 1550’s. His works were a category of tragedy, known as Senecan tragedies. They center off of set-piece speeches, in which the most exciting events are told by an actor, rather than shown. The English liked the lively action, even though it was not performed. This made the plays refined enough for the upper class to enjoy.

The Tragedy of Mariam Acts I-III

Mariam’s marriage to Herod is not one to be envied. She says, “Oft I have wished that I from him were free.. Oft I have wished his carcass dead to see” (Act I, Scene i, Lines 16-18). Although she does not hate him after his death as much as she did when he lived, she would “rather still be foe than friend” (Line 61).

Lines 19-22 describe how their marriage fell apart. They did once love each other, but his jealous temper made her hate him, and so he hated her in return. What first interests me about this passage is the abab rhyme scheme. Instead of couplets, which traditionally symbolize unity and thus a working romance, the alternating lines symbolize two people on different pages. They make their rhymes and live their lives separately. This passage explains how distant and non-existent Mariam and Herod’s relationship had become.

In Act II, Pheroras marries his slave Graphina. At the end of his opening monologue, Pheroras asks Graphina if her “silence is a sign of discontent,” and she reassures him that it is not (Act II, Scene i, Lines 41-47). While Graphina appreciates that Pheroras never took advantage of her, as most masters would, their marriage does not completely equalize their relationship. This passage pairs powerful diction with subservient distinction. For example, Pheroras calls Graphina a “fair creature” (Line 41). The first word implies romance and a valued quality, while the second relegates her to a sub-human status. Graphina replies, “Mistake me not my lord,” which mixes a command with a subservient address (Line 45). The normal social class distinctions no longer apply to these lovers. However, this may indicate that the power in their relationship is unstable, and will become problematic.

In Act III Pheroras is worried about his marriage and Salome is celebrating the coming death of Constabarus (Scene ii, Lines 19-32). They begin by moaning or exalting over their respective romantic situations and not responding to each other. This illustrates the play’s messages about marriage in the context of different relationships, which makes the messages more universal. The contrast between the two character’s attitudes shows how they view love and marriage differently.

The Tragical History of Dr. Faustus, Acts 3-5

1. Create 2 discussion questions (total) for Acts 3 and 4 of The Tragical History of Dr. Faustus. Give the full context to understand your question and your literary reasons for asking. The models for 10-2 may be helpful. I also encourage you to draw on our previous class discussion and previous responses (yours or others students') in framing these. If one of your questions for 10-2 relates to Acts 3, 4, or 5, just repost that and create one more. 

2. For Act 5, choose a passage that you regard as significant to this part of the play, or to the entire play, and support your choice. The passage can be one speech, a dialogue of two or more characters, even a short scene. Give the line numbers and be sure to quote from the play at least briefly in your response.

1. In Act 4, Scene 1, the Knight at Emperor Charles V’s court is skeptical of Dr. Faustus’ magical ability. He disdainfully remarks of Dr. Faustus, “I’faith, he looks much like a conjurer,” and “I’faith, that’s as true as Diana turned me to a stag” (Lines 12, 64). What is the significance of the repeated “I’faith,” particularly in relation to the Knight’s character? Is Marlowe satirizing the Knight like Chaucer did?

2. In Act 5, Scene 1, Lines 36-47, the Old Man encourages Dr. Faustus to repent. Is he supposed to be a wise counselor or a prophetic fool? How do the religious references influence our perception of him? I am interested in this character because I would like to know about the origins of either of those archetypes for old man characters.

In Act 5, Scene 2, Dr. Faustus’ death draws near, in accordance with his deal with the devil. From when he hears the clock strike eleven to when it strikes eleven-thirty, he bemoans that he has but one hour to live, and he desperately tries to come up with an alternative to going to hell. This segment of this speech runs from Line 66 to 97.

Dr. Faustus is left all alone to face death, which is why he addresses himself in the third person. There is no one with which to converse, save himself. He cries out to the planets, the sun, God, Christ, Lucifer, mountains, hills, the ground, and the stars, but none of them acknowledge him. His plea to the devil, “oh spare me Lucifer!” is as futile as commanding the planets to “stand still” and the mountains to “come, come, and fall on me” (Lines 82, 69, 86). He knows he cannot escape hell; everyone and everything knows he cannot escape hell. In this speech, Dr. Faustus’ fate is realized.

Christopher Marlowe’s The Tragical History of Dr. Faustus

Blog prompt for October 2, Marlowe, The Tragical History of Doctor Faustus, Prologue and Acts 1-2  

One of the main issues in starting this play is dealing with the language and the dramatic form.

1.  In three or four sentences, give the gist (main sense) of lines 7-28 of the play’s Prologue, starting “Only this, gentlemen: we must perform / The form of Faustus’ fortunes, good or bad” and ending “And this the man that in his study sits.” Be sure to show that you examined some of the footnotes defining terms and concepts.

2.  In several sentences, give the gist of one of these speeches by Faustus. Be sure to show that you examined some of the footnotes defining terms and concepts. Then set the speech in context—where and to whom it is spoken (if that is clear), Faustus’s tone, his apparent purpose, and any other context that seems relevant.

3.  Frame two discussion questions for Tuesday.  

Discussion Questions

1. Dr. Faustus reads the terms of his agreement with Mephastophilis and Lucifer in Lines 96-108. He is unable to find one word to entirely describe a being’s physical body. He first says that he “may be a spirit in form and substance,” and then that Mephastophilis may “appear… in what form or shape soever he please” (Lines 97, 101). What Elizabethan ideas about the being would have influenced this uncertainty? Is there a different word we would use today?

2. In Lines 36-47, the Old Man encourages Dr. Faustus to repent. Is he supposed to be a wise counselor or a prophetic fool? How do the religious references influence our perception of him? I am interested in this character because I would like to know about the origins of either of those archetypes for old man characters.

The Prologue (Lines 7-28)

The chorus introduces Dr. Faustus and his alarming ambitions. Eerily similar to Marlowe, Dr. Faustus grew up in a family “base of stock” and received a good Protestant education, followed by his doctorate, despite difficulties with the university (Line 11). (See footnotes 4-6.) Then however, Dr. Faustus’ scholarly thirst for knowledge becomes an arrogant search for power. He is interested in necromancy.

                   

Dr. Faustus’ Speech in Act 1, Scene 1, Lines 79-100

            The Angels of Good and Evil each state their case concerning Dr. Faustus’ interest in dark magic, but he is excited by the Evil Angel’s suggestions of great power. Dr. Faustus considers all the things he could do with a magic spirit, from gathering riches to changing geography. Most importantly, he could replace Alessandro Farnese as king.

            Dr. Faustus is still in his study, perhaps pacing back and forth, as he mulls over what the Angels told him. He is thinking out loud, not really addressing anyone but himself, until he calls for Valdes and Cornelius at the end of his monologue. He becomes increasingly agitated, as evidenced by the lengthy sentence in which he lists what might be possible with such power (Lines 83-98). He intends to think rationally, but he gets caught up in his excitement.

English Sonnets

Your comments on the audio program by Boland and Hirsch on the sonnet (see syllabus), a short paragraph. Be sure to include some specifics from the program. 

A detailed, longer paragraph comparing two of the assigned sonnets by different authors. Emphasize the assumed audience for the sonnet and the strategies used, not only the subject(s) treated. Try to apply what you learned from the Boland and Hirsch discussion here.

            The main concept I focused on in this audio program is the universality of the sonnet. Eavan Boland discussed how the sonnet is “infinitely adaptable”. Edward Hirsch agreed, saying it “moves from country to country and language to language quite fluently.” The sonnet form exists even outside the Western world, in Israel and Arab republics. They offered several explanations for its universal popularity. First, it “has the quality of the argument.” The turn allows for an alternate perspective, prediction, or admonition – some sort of change that is not in thorough agreement with the first part of the poem. Any claim that can be argued for and against can be the basis for a work of literature. Next, Shakespeare and his brand of sonnets often “distill one emotion down to its essence,” according to Hirsch. Emotions transcend political and linguistic boundaries. Finally, Boland says that sonnets are frequently an “interior conversation in a poet’s life… and we recognize something of ourselves in that interior dialogue.” They are personal, yet relatable, which makes any connection we find to the poem more profound.

Edmund Spenser’s Amoretti Sonnet 15 and Shakespeare’s Sonnet 20

            Both selected sonnets deal with love. They also use some of the same literary techniques to craft entirely different tones. Spenser praises his wife’s virtues, while Shakespeare bitterly regrets the gender of a lover.

            The English sonnet is composed of fourteen lines, usually with an abab cdcd efef gg rhyme scheme, and often in iambic pentameter. Sonnet 15 follows these guidelines, but Sonnet 20 is composed on eleven-syllable lines to mirror the motif of “adding one thing” (Line 12). In another structural difference, Sonnet 15 is neatly divided into four sentences, marked with indentations. It is attractive to look at, which reflects Spenser’s description of his wife’s beauty. Sonnet 20 indents the couplet, as something added on to the rest of the poem. Theses variations coincide with Boland and Hirsch’s comments on the versatility of the sonnet’s structure, which gives it the universality to encompass any emotion or message.

            Spenser’s Amoretti is written about the first years of his relationship with his girlfriend and wife, Elizabeth Boyle, so he likely penned his poems with her eyes in mind. Sonnet 15 however, is addressed to unknown “tradefull Merchants” (Line 1). These merchants could be a fictional audience merely for narrative and metaphorical sake, or they could be men who frequently change romantic partners. It is possible then, that Spenser intended for Boyle and any admirers she might have, to be aware of his sincere admiration of her. Shakespeare’s addressee and audience are much more ambiguous. A confusing jumble of gendered pronouns makes it difficult to discern h the lover is male or female. This poem seems like a personal matter, but as a member of The Lord Chamberlain’s Men, Shakespeare knew his works were read by many people. Therefore, it is possible that he wrote this sonnet to encourage others to sympathize with the speaker and consider his predicament.

Historical Background for 16th and 17th British Literature

You should read the entire introduction, and you will be responsible for major ideas from it on our next exam. Your blog response for September 24 should include four substantial and substantive paragraphs as follows. Remember that detailed questions can be part of your response. Give yourself 2-4 hours for this assignment.  

 The Renaissance and Humanism

Although it is clear that the Dark Ages were not so dark and ignorant as we often portray them to be, there is nevertheless a wide gulf of disconnect between the medieval period and the eras that follow, in which modern times are rooted. The cultural and intellectual movements that make up the Renaissance, which in turn influenced Humanism, are much more comfortable to study. Perhaps the Renaissance and Humanism are more credible, because they were responses to “works from classical Greece and Rome” (467). While the Dark Ages have less relevance to the times preceding and following, classical and Renaissance thought are still in effect today.

Wales, Scotland, and Ireland

The term British arose after “the accession of King James VI/I brought a de facto union of England and Scotland” (466). Does this mean then, that works written in Scotland after this date are included in our anthology of British literature? Politics can influence thought and culture, but it seems more appropriate to define British literature based on when the literature of the four nations began to interact in a historically relevant way. If “the Welsh language does not seem to have been threatened… despite English incursions,” and if “Irish resentment of and resistance to English colonial policies would continue far into the future,” it does not seem likely that their literature was cohesive (475, 477).

Elizabeth I and Gender

Elizabeth I is an interesting paradox. On one hand, “men tended… to think of her as manly,” but on the other, she was “an icon of female virtues” (479, 480). Her male colleagues would have approved of her more if she had married, yet in their eyes a King “would have brought a diminution of [her] authority” (480). Her political advisor’s “sleight-of-hand” with legal jargon must have been highly and widely effective; I would have thought that the Elizabethan paradox would have sparked a theme of confusion over irreconcilable forces in the literature written during her rule (480). Several centuries later, when England’s socioeconomic structure is mangled by the Industrial Revolution, the literature of the period does address this theme. For example, Robert Louis Stevenson’s “Strange Case of Dr. Jekyll and Mr. Hyde” is about the mental gymnastics of accepting that two opposing entities can be housed in one body.

Literature in Prose and the Development of Print Culture

This section quickly brought up two questions about the evolution of English and rhetorical culture. First, did Gutenburg’s printing press in 1476 and the invention of moveable type cause a decrease in oral tradition? Today, film is taking the place of books, in terms of how society shares stories. Before books, the primary way of sharing stories was by word of mouth. Furthermore, what was lost when stories were created to be written? With film, we lose some analysis of literary devices that can be done only by looking at the text. Before stories were written, they could be changed easier; maybe they were more fluid and imaginative. Second, when and how did the transition from Middle English to Latin occur in Britain? At the beginning of the 1400’s, Julian of Norwich and Margery Kempe thought it best to write in Old English. Less than a hundred years later, Latin takes center stage. My guess is that Christianity is the cause, since Latin is the language of Christianity. Religion became prominent with all the political attention it received, and the printing press increased the availability of the Bible.

The English Language

            The printing press gradually resulted in “the standardization of spelling,” and the standardization of pronunciation soon followed (515). What was the effect of this conformity on the British psyche, and which social themes encouraged unifying the language? Was Britain able to feel more united than it had before? When people have a better ability to communicate with more people, they gain more knowledge and can then increase their power. Ideas and counterarguments are spread faster. It is easier to find similarities with others. Judging by the emerging strength of the British Empire during the sixteenth and seventeenth centuries, the conformity of language did not inspire negative connotations, but fostered pride and confidence in the nation.

Female Authors of Middle English Works

"A Revelation of Love" and "The Book of Margery Kempe"

Frame three detailed questions you have about A Revelation of Love by Julian of Norwich. By detailed I mean grounded in specific chapters and passages. I encourage you to address what is disturbing or confusing about this work.  Try to answer your questions by using the intro material and by engaging with other passages / chapters of the Revelation.

1. What is the significance of the number sixteen? Julian of Norwich deliberately numbers her visions, one through sixteen: “the second is… the third is… the fourth is…” (349).

Keeping an accurate account is part of Norwich’s style. In Chapter 3, she very precisely recounts that she “lay [sick] three days and three nights; and on the fourth night I took all my rights” (351). The factual tone lends credibility to the story of her visions.

2. Why is the “mind and feeling of his [God’s] blessed passion” referred to as a “wound” (351)?

Chapter 2 mentions “three gifts of God: the first was mind [remembrance or recollections, according to the footnotes] of the passion, the second was bodily sickness… the third was to have of God’s gift three wounds… the wound of very contrition, the wound of kind compassion and the wound of willful longing to God” (350). The wound in question is the “second wound, of Our Lord’s gracious gift,” which would be the compassion of the third gift (351). The narrator desires to empathize with Christ’s pain. This allusion to the crucifixion sheds light on why the word “wounds” was chosen, but I still do not understand it completely.

3. Are “pain” and “sin” interchangeable? See Chapters 27 and 28. “Thus I saw how Christ hath compassion on us for the cause of sin. And right as I was before in the passion of Christ fulfilled with pain and compassion… (355).” Usually, I think of pain as the cause or result of sin.

In Chapter 27, sin includes “all the pains that ever were or shall be” (354).This supports my claim about pain. However, when Norwich says that Christ’s compassion provides “comfort in our pain,” it seems that the meaning of pain is very close to the meaning of sin (355).

Do the same for The Book of Margery Kempe.

1. Why does Kempe refer to herself as a “creature” when she describes how she wrote this tale (367)?

Julian of Norwich does the same thing in her introduction, who calls herself “a simple creature that could no letter [i.e. who could not read]” (350). It could be a reflection of how women perceived themselves. Their familiarity with worship and the church would have made them aware of the limitations of their knowledge; they were not scholars, but they would have known that there were studious men reading and writing about Christianity. Norwich and Kempe may have regretted their lack of education.

Alternatively, “creature” may serve to highlight the magnificence of God over fragile, sinful humans. The book begins with the assertion that “whatever grace he works in any creature if for our benefit” (366). In this case, it seems that everyone can be labeled as a creature.

2. Who is the devil, to Margery Kempe? How tangible, real, or personable is he? While “the devil put it into her mind that God had forsaken her,” he seems to be more of an anti-Holy Spirit-like force, rather than a person (372).

When “Christ said in her soul, ‘Daughter, there is much tribulation coming to you,’” it seems that Kempe experienced a gut feeling rather than heard a direct voice (374). However, Kempe and Christ go on to have a conversation. This makes ethereal communication more human, yet the deity or devil is not thought of in terms of human characteristics.

3. Why does the story end early?

I looked this text up on SparkNotes, which said that the story goes on to describe the end of Margery’s life, including the death of her husband and a journey with her daughter-in-law. Her character is aptly described where our class version chooses to end, with Margery “greatly thanking God” for an act most would curse (380). If this is the main message of Margery’s life, then perhaps this is a reasonable place to conclude the story.

The General Prologue of “The Canterbury Tales”

The General Prologue of “The Canterbury Tales”

If you have never read the General Prologue before (and even if you have): What is the point of the first 18 lines (“Whan that Aprill . . . seeke)? Why do you think it takes so long – one very long sentence – for Chaucer to say it? Which lines are the most confusing or problematic for you?

The first sentence of The General Prologue introduces the pilgrimage. It sets the stage for a journey full of unknowns through the wilderness, against a backdrop of timelessness and dominating power of nature. Since travelers in Chaucer’s time lived off the land during their journeys, the weather dictates when a pilgrimage can take place. If the pilgrims leave before April, they will not be able to find enough water along their journey (Lines 1-2). Spring also means that vegetation is growing, so the pilgrims can forage for food (Lines 4, 7). The position of the sun could indicate that winter is completely gone, and it is warm enough to live outdoors (Lines 7-8). This could have already been implied by the sweetness of the wind (Line 5). However, the wind also pushes the pilgrims along or becomes a deterrent. It is unclear if Zephirus blows towards the west or from the west. If he goes towards the west, he would be encouraging the pilgrims, or perhaps creating a sense of urgency, to reach Canterbury. If he comes from the west, the wind becomes a trial to overcome and a warning to turn back to Southwark. Either way, Canterbury is on the western coast of England, so it is the place where Zephirus begins or ends. After only ten lines, the setting has been described. When the specifics are introduced – there is a pilgrimage to Canterbury – the pilgrims easily appear in the mind’s eye on a journey through England.

Compare and contrast three of the portraits, such as the Knight, the Yeoman, and the Shipman; the Prioress, the Monk, and the Wife of Bath; or the Monk, the Clerk, and the Parson.

The Knight, the Yeoman, and the Shipman would probably not interact on a personal level, unless they found themselves in a situation outside the usual protocol of hierarchical society, like a pilgrimage. The Knight is of significantly higher status than the Yeoman and the Shipman. While the Yeoman is only a servant, his fine clothes and weaponry may earn him more respect for his station than the drunken Shipman (Lines 103-4, 112-3, 396). Nevertheless, all three men possess qualities important to their work and that will make them hardy travelers. The Knight is worthy and chivalrous (Lines 43, 45). The Yeoman is Christian, which the Knight probably values, and a forester, which makes him a good choice for a journey (Lines 105, 107). The Shipman is fair and compassionate, and experienced in navigating dangerous situations (Lines 399-402).

Compare and contrast these three: the Friar, the Pardoner, and the Summoner.

The Friar, the Pardoner, and the Summoner are all men of the Christian church. They are also all hypocrites; their positions demand that they be pious and pure, but each man has his fault. The Friar performs some of his duties, but neglects helping the poor in favor of enjoying women and collecting money for himself. The Summoner encourages law-breaking even though he works in a court. Not only does the Pardoner sell indulgences, he also sells fake holy relics. They share two strange characteristics. They are irresistible to women, despite having a lisp, bad skin, and being unable to grow a beard. They also view money as a cure-all for earthly problems. The Friar and the Pardoner evade poverty and the Summoner recommends bribes.

Sir Gawain and Lanval

Write on both of these.

1) What is going on in the opening lines (ll. 1-24) of Sir Gawain and the Green Knight? Why do you think it opens this way? 

2) As you read Sir Gawain and the Green Knight, what seems to be similar to Lanval? What is different?

Sir Gawain and the Green Knight, The Reasons Behind Lines 1-24

The poem begins in antiquity, will the fall of Troy. It then speedily progresses through the founding of other great city-states and kingdoms, ending with the settlement of Britain. It transitions into the main story, set during Arthur's reign, by claiming that the war-ready, "valiant" Brits attracted momentous events of both "joy and turmoil" (Lines 21, 18).

This historical introduction serves to glorify the infallible strength of Britain. In contrast to Troy, Britain and the other nations established by impressive men are eternally successful. Rome, that pinnacle of civilization to which all other attempts are compared, receives two whole lines. Little description is offered of Tuscany or Lombardy, but Britain is clearly robust. It is set on a pedestal on lower than Rome’s. In fact, Britain’s settler Felix Brutus, is described in the same manner as Rome’s Romulus; they are both “noble” (Lines 8, 20). Although this connection is not as strong in the original Anglo-Norman text, the “rych” Brutus is reminiscent of “riche Romulus” (Lines 20, 8). Britain and its people are a power on par with Rome.

Lines 2 through 21 also establish the significance of a nation’s founder. The character of the man correlates to the majesty of his kingdom. Great kingdoms require great men to sustain them. Therefore, the abundance of legendary men in Camelot is explained by the qualities of its founder.

Finally, it is common for legends to begin in a historical context. That a story is important even when viewed on a scale that spans much time, adds drama to a tale. However, the fantastic is counterbalanced by the historical references, which create a backdrop of credibility.

Sir Gawain in Comparison to Lanval

            Both poems were written in the Anglo-Norman period of feudalism and chivalry. Therefore, the knight and his qualities are central in each work. Sir Gawain and Lanval are both men of their word, expected to be brave, loyal, and respectful of women. They are tested by temptresses, and succumb pardonably. They differ in that Lanval has a lady to be faithful to, and Sir Gawain does not. Lanval’s lady is a main character. She comes to his rescue, which slightly diminishes his masculine solidarity and chivalry. Sir Gawain on the other hand, exemplifies these characteristics exactly by refusing to abandon his mission and abstaining from romance.

The Crossroads of Government and Culture in Historical Documents

This post is based off of, though not directly adhering to, the following prompt:

“England After the Norman Conquest:” In a solid paragraph, summarize, comment, and ask questions about (portions of) BABL “The Medieval Period: England After the Norman Conquest” 12-29, 32-34.  Some terms/concepts that may provide a focus: feudalism, Domesday Book, anti-Semitism, Magna Carta, Arthurian narratives, roman/romance, lai, exemplum, saint’s life, spiritual “self-help” book, and visionary writing, “Ricardian” poets, craft guilds and confraternities, the Fourth Lateran Council, fraternal orders, development of English national identity, the Great Famine, the Hundred Years’ War, the Black Death, Uprising of 1381. 

The Crossroads of Government and Culture in Historical Documents

The three hundred years that followed the Norman Conquest of England saw great leaps in the government and societal infrastructure that were part of England’s national identity through the Enlightenment. Many of these developments can be traced through government documents such as the Domesday Book and the Magna Carta.

In an attempt to legitimize his new English holdings, William the Conqueror kept an account book of all his land, called the Domesday Book. While “it would take some time before the mechanisms of government could make efficient use of such burdensome archives of documents,” the act of keeping tangible records helped secure many vassals (14).

The Magna Carta was forced upon King John by his nobles. It was “the first time” the King of England’s authority was “limited by the terms of a written document” (20). The language and structure resonated so powerfully, that the Magna Carta served as the model for other revolutionary government documents, such as the American Constitution and Bill of Rights.

Besides making great strides in developing the English government, these two documents also set up two institutions of English society. The Domesday Book’s record of promised allegiances strengthened the feudal system, and the Magna Carta claimed certain political freedoms for the church. These documents are prime examples of the important events that occur at the crossroads of history and national identity. Since the Magna Carta is reflective of its time period and greatly impacted English culture, should it be studied as literature? Were the political engineers behind the Magna Carta influenced by the style of romans, lays, or religious texts? It would be interesting to compare the famous charter to a fictional work of the same style and organization, if such literature exists from the thirteenth century.

"The Medieval Period." 2011. The Broadview Anthology of British Literature. Ed. Joseph Black. 2nd ed. Vol. A. Peterborough, Ont.: Broadview, 2011. 13-21. Print.

The Dream of the Rood and Beowulf

What changes in outlook, or tone, does the speaker of “The Dream of the Rood” go through? Which lines would you pick that cue us to changes?

Beowulf ll. 1-661: Offer a few comments or questions on the Prologue and sections 1-2. Then choose one or more of the speeches in sections 3-9, by the watchman, Beowulf, Hrothgar, or Unferth, and consider what the speech’s purpose is, why it might be suited to the speaker and the occasion, and any other issues that you see in it.

If you can, also frame two questions about any of the day’s reading in your blog response.

How Tone Changes and Functions in The Dream of the Rood

The speaker of “The Dream of the Rood” is anonymous, an unremarkable person who is no more or less prone to sin than the rest of humanity. Yet this narrator is privy to a fantastic retelling of Christ’s crucifixion via a dream.

He – let’s assume he is male – begins his tale with excited reverence, as he describes the tree and angels in terms of man’s most precious earthly possessions: “gold” and “gems” (Line 6). He also uses superlatives to illustrate the importance of the “sweetest dream” and “most wondrous tree” (Lines 1, 4).

A shift soon occurs in Line 11, when the heavenly image is marred by the arrival of a man “fouled by sins.” While the change in tone was hinted at by mentioning the “felon’s gallows,” a symbol of death and therefore of mankind, the change occurs because the speaker bemoans his obscene unworthiness before the pure piece of heaven. This humble attitude is adopted by the tree, as it tells the story of Christ’s crucifixion.

The other changes in tone are signified by the beginning on new stanzas. The tree’s tone becomes somewhat proud in Line 76, while he briefly becomes the featured character. With the address, “Now I bid you, my beloved hero,” the tree’s proud tone increases to a didactic level in the next stanza (Line 94). The final stanza is narrated hopefully and piously by the speaker, who uses a smooth blend of earthly and heavenly diction.

Thoughts on the first part of Beowulf, Prologue through Line 660

Prologue, Line 11: “That was a good king!” Is this sarcasm? How did medieval readers regard sarcasm in literature?

Prologue, Lines 50-52: “Men do not know how to say truly…who received that cargo [the ship carrying Scyld Scefing’s body].” What is foreshadowed in the prologue? Where could Scyld Scefing have gone, and what would that imply about the fate of his people?

Beowulf is said to be a mighty warrior, but it is not until he encounters the watchman on the Danish shore that the reader gets to see him in action. The watchman, “a fearless officer,” is Beowulf’s first test (Line 287). “This thane of Hrothgar” is strong, intelligent, observant, loyal, and courageous (Line 234). He would clearly pose a challenge to an invader. However, Beowulf and his men have the advantage of numbers, and the presence of the hero himself. Therefore, the watchman’s speech gives Beowulf an opportunity to show his character. Not only does he respect and impress the watchman, Beowulf asserts himself as a likely hero.



Works Cited

"Beowulf." 2011. The Broadview Anthology of British Literature. Ed. Joseph Black. 2nd ed. Vol. A. Peterborough, Ont.: Broadview, 2011. 62-110. Print.

"The Dream of the Rood." 2011. The Broadview Anthology of British Literature. Ed. Joseph Black. 2nd ed. Vol. A. Peterborough, Ont.: Broadview, 2011. 58-60. Print.