This document provides an overview of Victorian poetry and poets such as Tennyson, Browning, and Arnold. It discusses their backgrounds and major works. It also analyzes sample poems, including Tennyson's "In Memoriam A.H.H." which mourns the loss of his friend Hallam, and Browning's dramatic monologue "My Last Duchess" which reveals the controlling nature of the Duke through his story. The document examines poetic forms, themes of loss and faith, and encourages close reading and considering the speaker's perspective.
Analysis of the poem, my last duchess in the psycho analytical frameworkDayamani Surya
My Last Duchess is perhaps known as the most popular poem by Robert Browning. It stands as a perfect example of his dramatic monologue. The speaker of the poem is the Duke of Ferrara. The location of the poem is the duke's palace. The poem reveals him as a proud, possessive and self seeking individual. He regarded his late wife as a mere object. When she was alive he was enamored by her beauty but never liked her qualities. Moreover, now he was is complete control of the portrait as a pretty art object that he can show to his wife.
Analysis of the poem, my last duchess in the psycho analytical frameworkDayamani Surya
My Last Duchess is perhaps known as the most popular poem by Robert Browning. It stands as a perfect example of his dramatic monologue. The speaker of the poem is the Duke of Ferrara. The location of the poem is the duke's palace. The poem reveals him as a proud, possessive and self seeking individual. He regarded his late wife as a mere object. When she was alive he was enamored by her beauty but never liked her qualities. Moreover, now he was is complete control of the portrait as a pretty art object that he can show to his wife.
1)Read chapter 20 in CoffinStacey. (read something about Coffin.docxNarcisaBrandenburg70
1)
Read chapter 20 in Coffin/Stacey.
(read something about Coffin/Stacey and write just one pragpragh about it)
2)
read some selections of
Romantic Poems
and write a one-page paper in which you examine some of the main characteristics of the Romantic era. Please be sure to include quoted material.
Romantic Poems
:
Samuel Coleridge
, "Kubla Khan" (1798)
In Xanadu did Kubla Khan
A stately pleasure-dome decree;
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round;
And here were gardens bright with sinuous rills
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.
But O, that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e'er beneath a waning moon was haunted
By woman wailing for her demon-lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced;
Amid whose swift, half-intermittent burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher's flail.
And 'mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean;
And 'mid this tumult Kubla heard from far
Ancestral voices prophesying war!
The shadow of the dome of pleasure
Floated midway on the waves;
Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure-dome with caves of ice!
A damsel with a dulcimer
In a vision once I saw.
It was an Abyssinian maid,
And on her dulcimer she played,
Singing of Mount Abora.
`Could I revive within me
Her symphony and song,
To such a deep delight 'twould win me
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise.
William Wordsworth
, "The Solitary Reaper" (1807)
Behold her, single in the field,
Yon solitary Highland Lassl
leaping and singing by herself;
Stop here, or gently passl
Alone she cuts and binds the grain,
And sings a melancholy strahl;
O listen for the Vale profound
Is overflowing with the sound.
No Nightingale did ever chaunt
More welcome notes to weary bands
Of travellers in some shally haunt,
Among Arabian sands:
A voice so thrilling ne'er was heard
In spring-time from the Cuckoo-bird,
Breaking the silence of the seas
Among the farthest Hebrides.
Will no on.
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Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
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It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
The Art Pastor's Guide to Sabbath | Steve ThomasonSteve Thomason
What is the purpose of the Sabbath Law in the Torah. It is interesting to compare how the context of the law shifts from Exodus to Deuteronomy. Who gets to rest, and why?
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
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2. Business / Participation
Midterm next Thursday and Friday.
Read Jekyll & Hyde for Thursday please!
Dickens as philanthropist
◦ he did have some money, not as much known
for donating it.
◦ raised lots of money through readings and
performances—benefits.
◦ became advisor for one of the richest women in
England on how to do charitable work: house for
criminal/fallen women. Dickens managed the
house for years. Goal: emigration and marriage.
Why don’t I have more bitmojis?
I’ll give you two overall participation points if
you send me a bitmoji.
Participation for today.
◦ Two individual points.
◦ Two extra points if you didn’t say anything in our
full discussion last Thursday!
◦ One point for the one person who connects the
song before class to today’s lecture.
5. Alfred, Lord Tennyson (1809-1892)
Middle class, father in the church
Cambridge, joined secret society where he met
Arthur Hallam; Hallam engaged to AT’s sister.
1833: Arthur dies of sudden stroke in Prague.
1842 poetry collection was immediately popular.
1850: In Memorian A.H.H.
1850: appointed Poet Laureate (until his death).
Queen Victoria loved In Memoriam A.H.H.
Married longtime girlfriend.
Became baron in 1884.
Buried in Poet’s Corner, Westminster Abbey.
6. Robert Browning (1812-1889)
Solidly middle class; father a bank clerk.
Tutored well at home; could not to Oxbridge
because of parents’ religious beliefs.
1846: married semi-invalid Elizabeth Barrett
(spinal injury, opium dependent), eloped to Italy.
1855: Men and Women, later recognized to be a
great work.
1861: EBB dies in Florence.
1868: The Ring and the Book: long poem about
old murder case. Won his full recognition.
Buried in Poet’s Corner.
7. Lyric Form
“Dover Beach”
By Matthew Arnold
The sea is calm tonight.
The tide is full, the moon lies fair
Upon the straits; on the French coast the light
Gleams and is gone; the cliffs of England stand,
Glimmering and vast, out in the tranquil bay.
Come to the window, sweet is the night-air!
Only, from the long line of spray
Where the sea meets the moon-blanched land,
Listen! you hear the grating roar
Of pebbles which the waves draw back, and fling,
At their return, up the high strand,
Begin, and cease, and then again begin,
With tremulous cadence slow, and bring
The eternal note of sadness in.
Sophocles long ago
Heard it on the Ægean, and it brought
Into his mind the turbid ebb and flow
Of human misery; we
Find also in the sound a thought,
Hearing it by this distant northern sea.
The Sea of Faith
Was once, too, at the full, and round earth’s shore
Lay like the folds of a bright girdle furled.
But now I only hear
Its melancholy, long, withdrawing roar,
Retreating, to the breath
Of the night-wind, down the vast edges drear
And naked shingles of the world.
Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.
QUESTIONS to consider:
Who is the poetic speaker here? Who is the “I”?
What is the situation of this poem?
What is our relation to the poem and the poetic
speaker?
Two different ways of
imagining other people.
8. Lyric Form
“Dover Beach”
By Matthew Arnold
The sea is calm tonight.
The tide is full, the moon lies fair
Upon the straits; on the French coast the light
Gleams and is gone; the cliffs of England stand,
Glimmering and vast, out in the tranquil bay.
Come to the window, sweet is the night-air!
Only, from the long line of spray
Where the sea meets the moon-blanched land,
Listen! you hear the grating roar
Of pebbles which the waves draw back, and fling,
At their return, up the high strand,
Begin, and cease, and then again begin,
With tremulous cadence slow, and bring
The eternal note of sadness in.
Sophocles long ago
Heard it on the Ægean, and it brought
Into his mind the turbid ebb and flow
Of human misery; we
Find also in the sound a thought,
Hearing it by this distant northern sea.
The Sea of Faith
Was once, too, at the full, and round earth’s shore
Lay like the folds of a bright girdle furled.
But now I only hear
Its melancholy, long, withdrawing roar,
Retreating, to the breath
Of the night-wind, down the vast edges drear
And naked shingles of the world.
Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.
QUESTIONS to consider:
Who is the poetic speaker here? Who is the “I”?
What is the situation of this poem?
What is our relation to the poem and the poetic
speaker?
◦ inhabit their consciousness
◦ experience their experience in the present
◦ sympathy
This is what Ralph W. Rader has called the
dramatic lyric.
An “I” speaking about a specific event that we then
participate in.
Two different ways of
imagining other people.
9. FERRARA
That’s my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now; Fra Pandolf’s hands
Worked busily a day, and there she stands.
Will’t please you sit and look at her? I said
“Fra Pandolf” by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, ’twas not
Her husband’s presence only, called that spot
Of joy into the Duchess’ cheek; perhaps
Fra Pandolf chanced to say, “Her mantle laps
Over my lady’s wrist too much,” or “Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat.” Such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart—how shall I say?— too soon made glad,
Too easily impressed; she liked whate’er
She looked on, and her looks went everywhere.
Sir, ’twas all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace—all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men—good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody’s gift. Who’d stoop to blame
This sort of trifling? Even had you skill
In speech—which I have not—to make your will
Quite clear to such an one, and say, “Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark”—and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and made excuse—
E’en then would be some stooping; and I choose
Never to stoop. Oh, sir, she smiled, no doubt,
Whene’er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will’t please you rise? We’ll meet
The company below, then. I repeat,
The Count your master’s known munificence
Is ample warrant that no just pretense
Of mine for dowry will be disallowed;
Though his fair daughter’s self, as I avowed
At starting, is my object. Nay, we’ll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!
10. Browning: “My Last Duchess”
Who is the poetic speaker here?
What is the situation of this poem?
What is our relation to the poem and the
poetic speaker?
Form: dramatic monologue.
Robert Langbaum: reader’s attitude is
“sympathy and judgment”
Rader: “we become them (sympathy), while
remaining ourselves (judgment).”
Rader: difference in “cinematic images” we
experience in our heads when we read each
poem:
◦ dramatic monologue: specific scene with the
Duke in a time and place.
◦ dramatic lyric: we do NOT see the poetic speaker
in our head; rather, we see through their eyes.
11. Judgment
What does it mean that we can experience
“judgment” of the poetic speaker in a
dramatic monologue?
How does the Duke want us to see him?
How do we see him?
What does his story tell the messenger? Why
is this happening? What is the Duke’s
intention?
Invites a suspicious reading:
--is the Duke careless? Is he telling us more
than he intends?
--is the Duke mad? Is he in control of what he
is telling us?
--is the Duke calculating? If so, how? Why?
12. In Memoriam A.H.H., Tennyson
Form?
Rhyme scheme?
Narrative of loss—more specifically, multiple types of
loss.
1. loss of best friend: deep grief (like in the Christmas
passages) to eventual acceptance (in 127-130).
2. potential loss of religious faith: see last two stanzas
of Prologue.
Forgive my grief for one removed,
Thy creature, whom I found so fair.
I trust he lives in thee, and there
I find him worthier to be loved.
Forgive these wild and wandering cries,
Confusions of a wasted youth;
Forgive them where they fail in truth,
And in thy wisdom make me wise.
3. homoerotic love and loss
13. Towards a queer reading
What did you notice about the affection here and
how it was expressed?
Lyric 93: (Tennyson speaking to Hallam’s ghost)
Descend, and touch, and enter: hear
The wish too strong for words to name,
That in this blindness of the frame
My Ghost may feel that thine is near.
Contemporary readers also noticed this and were
occasionally uncomfortable:
◦ Ricks: “Some Victorians, who found Shakespeare’s
Sonnets troubling, found In Memoriam troubling.”
◦ The Times review was bothered by the poem’s “tone
of amatory tenderness.”
What does this reveal about Victorian anxieties?
1850: “Touch, and enter [me.]” (In Memoriam)
PROBLEM
1862: “Hug me, kiss me, suck my juices” (Goblin
Market)
NO PROBLEM!
14. Poetic speaker’s queer comparisons
Lyric 6:
O somewhere, meek, the unconscious dove,
That sittest ranging golden hair;
And glad to find thyself so fair,
Poor child, that waitest for thy love!
[…]
And even when she turned, the curse
Had fallen, and her future Lord
Was drowned in passing through the ford,
Or killed in falling from his horse.
O what to her shall be the end?
And what to me remains the good?
To her, perpetual maidenhood,
And unto me no second friend.
Lyric 8:
A happy lover who has come
To look on her that loves him well,
Who ‘lights and rings the gateway bell,
And learns her gone and far from home;
Lyric 9:
My Arthur, whom I shall not see
Till all my widowed race be run;
Dear as the mother to the sun,
More than my brothers are to me.
Lyric 13
Tears of the widower, when he sees
A late-lost form that sleep reveals,
And moves his doubtful arms, and feels
Her place is empty, fall like these;
15. Jeff Nunokawa and the homosexual “phase”
Lyric 59:
O Sorrow, wilt thou live with me
No casual mistress, but a wife,
My bosom friend and half of life;
As I confess it needs to be?
[…]
My centered passion cannot move,
Nor will it lesson from today;
But I’ll have leave at times to play
As with the creature of my love;
Nunokawa: Tennyson’s “heterosexual situation
is thus defined as the ghost of prior passion;
marriage is an elegy for earlier desire.”
In this way, boyhood homoeroticism is a type
of “phase” that eventually translates into
heterosexual marriage.
Part of English public school culture at this
time.
◦ 19C Etonian: “It’s all right for fellows to mess
one another a bit… But when we grow up we
put aside childish things, don’t we?”