1. Structure
• 70 lines, divided into three verse paragraphs.
• Can a four-part division be made?
– rejection of his barren life – first five lines
– fond recall of heroic past – end of first verse
– dismissal/recognition of Telemachus’ governance
– consideration given to another journey
• How long is each section? What does this tell us?
• Which sections use least enjambment? Are most
monosyllabic? Why?

2. Use of enjambment (run-on lines) vs
short declarative sentences.
Enjambed lines (e.g. ‘All experience…)
•does he sometimes run away with himself?
•does he like the sound of his own voice?
Short sentences, often monosyllabic (e.g. ‘He works his
work, I mine.)
•creates abrupt/blunt tone
•overall impact: stop/go feeling is created…when is he expansive, when
brief?
•Caesurae or mid-line pauses (sing. Caesura)
(e.g. ‘The long day wanes: the slow moon climbs: the
deep/moans…’)
• perhaps builds reflective/meditative mood/slows pacing down

3. Antithesis
• Contrasting of opposites in parallel phrases
– ‘rust unburnishd’/’shine in use’
– ‘I have enjoyed greatly, have suffered greatly’
– ‘little remains…something more’
•  tone
– Discursive?
– Meditative?
– Inwardly debating?

4. Language
• Consider each verse paragraph in turn
– Image-clusters?
– Key images?
– Extended metaphors? Similes?
– Use of sound
• Use of monosyllable:
– ‘hoard and sleep and feed and know not me’ etc
•  Tone of voice?

5. Form
• Blank verse = iambic pentameter 
conversational tone/pattern of everyday
speech
– But regular rhythm interrupted (why?):
• E.g. spondees (‘…I mine’…)  forcefulness
• Dramatic monologue: single speaker
– To whom is Ulysses speaking?
• Contemplative soliloquy? Or address?
• Does the poem move from soliloquy to address?
• Does the poem move location?

6. Tensions, Questions
• Heroic/Bronze age Greece vs…?
• How should we view Ulysses?
– resolute and heroic?
– as running away from his responsibilities?
– heroic zeal or foolish excess?
• View of self? View of others?
– Egoism or recognition of abilities?
– Contempt, condescension?

7. Classical and Medieval settings
Why use these settings?
Classical – Ancient Greece Medieval – myths and legends of bravery and gallantry
Debate: positive and negative ideas relating to this use of imagery and setting
Why use classical settings? Recognisable to readers, familiar stories, escapism – from
contemporary demands and restrictions, reinvigorate imagery in poetry, possibly he
uses the past to criticise his contemporary world.
Greek myths provide very masculine and heroic characters which he can explore
through different ways, he can subvert the well-known characters and surprise the
reader.
He has to find a way to express his grief – not acceptable for men to demonstrate their
emotions – how else can he explore them through his poetry, he has to use a decoy
(characters from Greek mythology).

8. Introducing Literary Theory
Different ways of reading and viewing texts
You do not need to feel intimidated or worried about using literary
theory.
All theorists do, is read texts and offer different interpretations of
them.
By using and applying theory, you are showing that you
are aware of some of the different ways a text can be
interpreted or read.
Literary theory does not mean that a text is necessarily
feminist or Marxist, etc, rather the text can be read in
that way.

9. Can a picture book teach you
anything about theory?

10. Now read the text again and
analyse it through the lens of a
particular theory.
• Any new insights gained by approaching the
book through this lens?
• Consider also whether the book loses
anything from being read from a specific
critical perspective.

11. • What are the benefits and the limitations of
reading a text from a single critical
perspective?
• In what ways could these insights be used as
part of your own reading of the text?

12. Choose two of the Tennyson
poems we have looked at.
• Apply your theory to your reading of the
stories. What similarities or differences do
the stories offer, from your perspective?
• Feedback.
• What does this tell us about narrative and
interpretation?

13. Moral
• For me, literature is nothing unless it teaches
its reader something and helps them
become better people.
• All good literature is basically moral and
uplifting.
• It is important to consider the themes in the
text, to understand its moral purpose.

14. Postcolonial
• I began by being interested in texts which
explore the black struggle against injustice and
oppression. I am aware of the negative
portrayals of black people, and their absence
generally, in white literature.
• I am aware when Eurocentric attitudes are taken
for granted, and I look in the text for cultural,
regional, social and national differences in
outlook and experiences.
• I am interested in the way colonial countries and
people are represented in texts by Western
writers. I also explore the ways in which
postcolonial writers write about their own
identity and experiences.

15. Genre Theory
• I believe that all literature can be classified
into various types or forms, e.g. tragedy,
comedy, romance, thriller, epic, lyric etc.
• I look for ways in which the text relates to
the conventions of its genre. You can only
really make sense of a text when you
recognise the tradition to which it belongs.

16. Feminist
• I believe that ‘feminine’ and ‘masculine’ are
ideas constructed by our culture, and it is
important to be aware of this when reading
texts from periods and cultures different from
our own.
• I prefer to read literature which explores
women’s experience of the world.
• I am interested in how women are represented
in texts written by men, and how these texts
display the power relations between the sexes.

17. Psychoanalytic
• Because of my interest in the unconscious, I
pay most attention to what is glossed over
or ‘repressed’.
• I want to look beyond the obvious surface
meaning to what the text is ‘really’ about.
• I also look for representations of
psychological states or phases in literature,
and am more interested in the emotional
conflicts between the characters or groups
in a text than in its wider context.

18. Historical
• I read historical and other relevant texts,
alongside literary ones, in order to see more
clearly the context in which the literature was
produced, and to recover its history.
• I look at the ways these texts have been
packaged and consumed in the present day.
However, I also analyse the text closely, in
order to question previous ways in which the
text has been read.
• I consider all forms of culture, popular as well
as high culture, to be relevant.

19. Marxist
• I look for hidden messages in a text and I
examine how the characters interact and
whether there is harmony or power struggle.
• I look at the level of luxury that characters
experience: their possessions, what they have
and why.
• I do not necessarily believe that individuals have
free-choice, they are always conforming to the
will of those in power and I look for the illusion
of freedom and free-thought in texts.

20. Structuralist/Post-structuralist
• I am not interested so much in when a text was
written, or who it was written by, or even what it is
about.
• I believe that we use language, not simply to
describe the world, but to construct it. Therefore, in
literature, I am most interested in how the text is
constructed: its form, its overall structure and the
patterns of language in it, especially pairs of
opposites.
• Texts from popular culture, societies, belief systems
are all structures which can be explored and
analysed like a literary text. Some critics who, like
me, were interested in patterns and structures
became more interested in the gaps, silences and
absences in texts. They became known as post-
structuralists.