12/15
In Chapter III, Voltaire uses irony, diction, tone, and sentence structure to satire war, religion, the philosophy of optimism, and the human failing of lust. When Voltaire writes that the Bulgars, who represent the Prussians, and the Avars, who represent the French, fought in a “splendid, brilliant, smart or orderly” manner, he is criticizing war and the glorification of it. He uses situational irony to say that the instruments of war “produced a harmony whose equal was never heard in hell,” though the reader knows that war is nothing like “harmony” and that the commanders of war are the ones who are most likely going to “hell.” Voltaire writes that the “rifle fire removed from the best of worlds about nine or ten thousand men.” This is an understatement because the narrators describes nonchalantly that 9,000 to 10,000 men were killed, though they only died because of the “heroic carnage.” The use of “or” says that those thousand soldiers between 9,000 and 10,000 were just a statistic and only that. Voltaire says that after the war, “Te Deums,” or hymns, were sung. He satirizes religion because there is nothing sacred about war and it is quite the opposite of the ideals of harmony and peace expressed in religion. Voltaire states that Candide went “elsewhere to reason about cause and effect” even though the battlefield is enough to show this, mocking war and the philosophy of optimism. Voltaire then says how soldiers from both nations had destroyed the nearby villages “in accordance with international law,” satirizing how government support destroys innocent people.
Showing posts with label honors european literature. Show all posts
Showing posts with label honors european literature. Show all posts
Thursday, May 6, 2010
Sunday, August 30, 2009
Pride and Prejudice Notes
Elizabeth: independent -> social commentary on upper class -> customary, traditional, obsolete -> merit and sense
Darcy-Bingley
Jane-Elizabeth
Gardiners-Bennets
Climax is Elizabeth’s reaction to Darcy’s proposal
Collins thinks he is a burden all the time
Bingley arrives
Meryton dance, Darcy doesn’t dance
Lucas dance, Elizabeth refuses to dance with Darcy
Jane gets sick, Elizabeth visits her
Mr. Collins comes, proposes to Elizabeth
Elizabeth denies Mr. Collins
Elizabeth meets Wickham
Society
Society’s expectations – class, behavior
Stereotypes: based on individuals, family reputation, proper upbringing – music, “Being out”
Elizabeth more realistic about Mr. Bennet
-critiques his parenting + Lydia going to Brighton
-foil -> greater significance
Darcy-Bingley
Jane-Elizabeth
Gardiners-Bennets
Climax is Elizabeth’s reaction to Darcy’s proposal
Collins thinks he is a burden all the time
Bingley arrives
Meryton dance, Darcy doesn’t dance
Lucas dance, Elizabeth refuses to dance with Darcy
Jane gets sick, Elizabeth visits her
Mr. Collins comes, proposes to Elizabeth
Elizabeth denies Mr. Collins
Elizabeth meets Wickham
Society
Society’s expectations – class, behavior
Stereotypes: based on individuals, family reputation, proper upbringing – music, “Being out”
Elizabeth more realistic about Mr. Bennet
-critiques his parenting + Lydia going to Brighton
-foil -> greater significance
Beowulf Notes
Themes – good vs. evil
Apposite – describe a noun, usually begins with a, an, the.
Kenning – two word metaphor
Caesura – break in middle of line
Apposite – describe a noun, usually begins with a, an, the.
Kenning – two word metaphor
Caesura – break in middle of line
One Day in the Life of Ivan Denisovich Notes
3rd and 1st narration
-omniscient
-detached style
-facts (can be changed)
-limited emotions
-protection from government (Solzhenitsyn)
Kolkhoz-collective farm, zev-prisoner
Shukhov: doesn’t accept bribes, not lazy, ideal Soviet worker, survival, dignified, integrity, opti-mistic
Shukhov tries to gain favor from Tsezar by standing in line. Guards inspect parcels, take a lot of it, empty containers. Parcels similar to letters by both being censored.
Camp’s situation -> Shukhov’s perspective + appreciate/value ordinary
Alyosha more dangerous because of his faith
-omniscient
-detached style
-facts (can be changed)
-limited emotions
-protection from government (Solzhenitsyn)
Kolkhoz-collective farm, zev-prisoner
Shukhov: doesn’t accept bribes, not lazy, ideal Soviet worker, survival, dignified, integrity, opti-mistic
Shukhov tries to gain favor from Tsezar by standing in line. Guards inspect parcels, take a lot of it, empty containers. Parcels similar to letters by both being censored.
Camp’s situation -> Shukhov’s perspective + appreciate/value ordinary
Alyosha more dangerous because of his faith
Comparison of Carpe Diem Poets
Andrew Marvell: urges love to marry him, religious allusions, matter of fact tone, hyperbole
Robert Herrick: nature metaphors, hopeful tone, personification, organized in fourths
John Suckling: girls only sometimes for guys, rhetorical questions, repetition, angry tone, ironic, puts the blame on the girl not the guy
Between Marvell and Herrick: against coyness, conceits
Between Suckling and Marvell: organized into thirds, structures arguments clearly into a cause-effect argument
All: carpe diem, rhyme, marriage
Robert Herrick: nature metaphors, hopeful tone, personification, organized in fourths
John Suckling: girls only sometimes for guys, rhetorical questions, repetition, angry tone, ironic, puts the blame on the girl not the guy
Between Marvell and Herrick: against coyness, conceits
Between Suckling and Marvell: organized into thirds, structures arguments clearly into a cause-effect argument
All: carpe diem, rhyme, marriage
Compare and Contrast of John Donne and Ben Jonson's Poetry
John Donne: spiritual, serious, more use of conceits, subtle arguments, metaphors and vague phrasing, higher level vocabulary, more paradoxical, deeper poetry, longer poems, writes sometimes in prose, indifferent toward life and death
Ben Jonson: materialistic, not as serious, strove for the perfection and harmony he found in his classical authors, clarity and graceful, elegiac, more succinct, more quotable, lighter poetry, shorter poems
Together: metaphysical, women subjects, rhyme, symbolic, epigrammatic, modernists, repetition
Ben Jonson: materialistic, not as serious, strove for the perfection and harmony he found in his classical authors, clarity and graceful, elegiac, more succinct, more quotable, lighter poetry, shorter poems
Together: metaphysical, women subjects, rhyme, symbolic, epigrammatic, modernists, repetition
A Room of One's Own Outline
In A Room of One’s Own, Virginia Woolf provides evidence to show how money, and the lack of it, restricts women and their potentials, just as money, and the lack of it, suppresses the capa-bilities of immigrants to the United States.
I will show this by describing women’s conditions from a feminist and Marxist viewpoint, and relate these issues to the plight of the immigrants.
The inadequate dinner of the scholars from the women’s college of Fernham prevents them from having meaningful conversations.
Fernham is on the verge of economic collapse while the men’s colleges have many donations.
They would be no Mary Seton if her mother would have sought money.
Law and custom prevent women from owning property, undoubtedly from lack of money.
Money was more important than the right to vote because it produces tangible results instantly.
The narrator no longer has to work jobs anymore to support herself now that she has financial security.
Women jobs, like raising children, are not deemed as important as men jobs, like coal mining, so men receive more money.
Women are financially bound to their husbands.
“Intellectual freedom depends on material things. Poetry depends upon intellectual freedom. And women have always been poor, not for two hundred years merely, but from the beginning of time.” That is why women write novels.
Gaining a room of one’s own can simply mean to close a door and lock it, but gaining money (500 pounds) is hard work.
Stock market crash happened at same time of publishing: symbolic
I will show this by describing women’s conditions from a feminist and Marxist viewpoint, and relate these issues to the plight of the immigrants.
The inadequate dinner of the scholars from the women’s college of Fernham prevents them from having meaningful conversations.
Fernham is on the verge of economic collapse while the men’s colleges have many donations.
They would be no Mary Seton if her mother would have sought money.
Law and custom prevent women from owning property, undoubtedly from lack of money.
Money was more important than the right to vote because it produces tangible results instantly.
The narrator no longer has to work jobs anymore to support herself now that she has financial security.
Women jobs, like raising children, are not deemed as important as men jobs, like coal mining, so men receive more money.
Women are financially bound to their husbands.
“Intellectual freedom depends on material things. Poetry depends upon intellectual freedom. And women have always been poor, not for two hundred years merely, but from the beginning of time.” That is why women write novels.
Gaining a room of one’s own can simply mean to close a door and lock it, but gaining money (500 pounds) is hard work.
Stock market crash happened at same time of publishing: symbolic
Psychoanalytic Literary Criticism with Others
Who: Sigmund Freud and his followers of Carl Jung and Jacques Lacan
What: A literary approach where critics see the text as if it were a kind of dream, where the text represses its real content behind obvious content. The process of changing from real to obvious content is known as the dream work, and critics analyze the language and symbolism of a text to reverse the process of the dream work and arrive at the underlying real thoughts.
Where: Hamburg, Germany. Freud was formulating his psychoanalytic beliefs there, and he reasoned that the same process that can be used to interpret dreams can be used to interpret literature.
When: Initially proposed in the 1890s, became popular in the 1920s and after.
Why: As hypothesized by many psychologists, certain events (mostly childhood events) are re-pressed by the holder. Only by talking about the past are these events brought up and re-solved. Characters in literary works can have a deep, underlying experience that affects how they deal with people or events. If one is to understand the present, then it is necessary to understand the past as that may very well have affected that person.
Marxist: economic conditions determine social conditions
Feminism: tries to show how women were suppressed and how this affected them.
New Historical: ideas frameworked within its historical era, based on cukture and events.
Formalism: analyze grammar, syntax, and literary devices.
Deconstructionism: text can be analyzed by more than one viewpoint
What: A literary approach where critics see the text as if it were a kind of dream, where the text represses its real content behind obvious content. The process of changing from real to obvious content is known as the dream work, and critics analyze the language and symbolism of a text to reverse the process of the dream work and arrive at the underlying real thoughts.
Where: Hamburg, Germany. Freud was formulating his psychoanalytic beliefs there, and he reasoned that the same process that can be used to interpret dreams can be used to interpret literature.
When: Initially proposed in the 1890s, became popular in the 1920s and after.
Why: As hypothesized by many psychologists, certain events (mostly childhood events) are re-pressed by the holder. Only by talking about the past are these events brought up and re-solved. Characters in literary works can have a deep, underlying experience that affects how they deal with people or events. If one is to understand the present, then it is necessary to understand the past as that may very well have affected that person.
Marxist: economic conditions determine social conditions
Feminism: tries to show how women were suppressed and how this affected them.
New Historical: ideas frameworked within its historical era, based on cukture and events.
Formalism: analyze grammar, syntax, and literary devices.
Deconstructionism: text can be analyzed by more than one viewpoint
Pride and Prejudice Dialectical Journal 2
“I am not now to learn ,” replied Mr. Collins, with a formal wave of the hand, “that it is usual with young ladies to reject the addresses of the man whom they secretly mean to accept, when he first applies for their favour; and that sometimes the refusal is repeated a second or even a third time. I am therefore by no means discouraged by what you have just said, and shall hope to lead you to the altar ere long.” Chapter 19, Page 93
Literary devices: irony, humor, indirect characterization, and voice
Mr. Collins’s refusal to accept Elizabeth’s denial of his proposal is ironic and funny. In a way it is dramatic irony because the audience knows that Elizabeth really is denying Mr. Collins and not trying to tease him, though it is mostly situational irony because males are the courters in marriage while the females are docile and teasing about refusing; in this case, Mr. Collins is the one who is not accepting Elizabeth’s refusal, while Elizabeth is firm in her reply. This creates humor not only because of Mr. Collins’s blindness to Elizabeth’s refusals but also because it is funny to see someone rejected. The humor invoked by Mr. Collins provides social commentary against him, the clergy, and the upper class. He is not only embarrassing but also impractical, and his desires to be associated with the upper class, as evident in his obsession with Lady Catherine, only serve to mock him and the upper class’s superfluities. Mr. Collins is also indirectly characterized as quixotic and foolish because he is unable to see the truth while maintaining that Elizabeth’s refusals are all to add to the romantic effect. Mr. Collins’s firm belief that women are supposed to refuse several times before accepting a marriage proposal provides social commentary of society at that time. Girls were meant to be sweet, unintelligent, and playful, whereas Elizabeth provides Jane Austen’s voice through her refusal to accept marriage based on society’s expectation that women should be married. Mr. Collins is a clergyman, and since he his actions are foolish and outdated, Austen characterizes the church as trivial and obsolete. However, the fact that Mr. Collins agrees to marry Elizabeth despite the Bennets’ class shows how Mr. Collins somewhat rebels against society’s expectations of marriage. Mr. Collins is only marrying Elizabeth as a way to compensate the Bennets for inheriting the house, indirectly characterizing Mr. Collins as overly sorrowful, for marriage was an important event, and criticizing entailment. Mr. Collins’s firm belief that women are to deny several times before accepting mocks society’s expectations that children’s upbringings should teach them to accept marriage proposals. Elizabeth’s repeated refusals and contrasted against Charlotte’s solitary acceptance of Mr. Collins’s proposal and shows how they are character foils through their different opinions of marriage.
Literary devices: irony, humor, indirect characterization, and voice
Mr. Collins’s refusal to accept Elizabeth’s denial of his proposal is ironic and funny. In a way it is dramatic irony because the audience knows that Elizabeth really is denying Mr. Collins and not trying to tease him, though it is mostly situational irony because males are the courters in marriage while the females are docile and teasing about refusing; in this case, Mr. Collins is the one who is not accepting Elizabeth’s refusal, while Elizabeth is firm in her reply. This creates humor not only because of Mr. Collins’s blindness to Elizabeth’s refusals but also because it is funny to see someone rejected. The humor invoked by Mr. Collins provides social commentary against him, the clergy, and the upper class. He is not only embarrassing but also impractical, and his desires to be associated with the upper class, as evident in his obsession with Lady Catherine, only serve to mock him and the upper class’s superfluities. Mr. Collins is also indirectly characterized as quixotic and foolish because he is unable to see the truth while maintaining that Elizabeth’s refusals are all to add to the romantic effect. Mr. Collins’s firm belief that women are supposed to refuse several times before accepting a marriage proposal provides social commentary of society at that time. Girls were meant to be sweet, unintelligent, and playful, whereas Elizabeth provides Jane Austen’s voice through her refusal to accept marriage based on society’s expectation that women should be married. Mr. Collins is a clergyman, and since he his actions are foolish and outdated, Austen characterizes the church as trivial and obsolete. However, the fact that Mr. Collins agrees to marry Elizabeth despite the Bennets’ class shows how Mr. Collins somewhat rebels against society’s expectations of marriage. Mr. Collins is only marrying Elizabeth as a way to compensate the Bennets for inheriting the house, indirectly characterizing Mr. Collins as overly sorrowful, for marriage was an important event, and criticizing entailment. Mr. Collins’s firm belief that women are to deny several times before accepting mocks society’s expectations that children’s upbringings should teach them to accept marriage proposals. Elizabeth’s repeated refusals and contrasted against Charlotte’s solitary acceptance of Mr. Collins’s proposal and shows how they are character foils through their different opinions of marriage.
Pride and Prejudice Vocabulary Part 3
# Word Definition Sentence
21 Forbearance patience, tolerance, or self-control, especially in not responding to provocation; noun Charlotte does not show forbearance by marrying Mr. Collins because he may be her last suitor.
22 Imprudent showing no care, forethought, or judgment; adjective, noun When Mr. Wickham stole the money from Mr. Darcy, he was being imprudent.
23 Hauteur a haughty manner, feeling, or quality; noun Miss Bingley and Mrs. Hurst are hauteur.
24 Diffidence Distrust of one's self or one's own powers, lack of self-reliance, modesty, modest reserve, bashfulness; noun Mr. Collins has quite the amount of diffidence, as he considers himself a burden to all people.
25 Lamentation an expression of grief or sorrow; noun Jane has several lamentations when Mr. Bingley leaves and does not communicate with her.
26 Abhorrence a feeling of intense disapproval of something; noun Mrs. Bennet had a strong abhorrence to Mr. Darcy at the beginning because he did not dance with many girls.
27 Incredulous unable or unwilling to believe something or completely unconvinced by it; adjective At first when Charlotte accepts Mr. Collins’s proposal, Elizabeth is incredulous.
28 Repine to feel dissatisfied or fretful about something and complain or grumble about it; intransitive verb Lydia is repined by her bonnet because as soon as she bought it, she hates it.
29 Impropriety conduct that is not considered correct, moral, or appropriate in a given context; noun When Mr. Wickham tries to elope with Miss Darcy, he shows impropriety.
21 Forbearance patience, tolerance, or self-control, especially in not responding to provocation; noun Charlotte does not show forbearance by marrying Mr. Collins because he may be her last suitor.
22 Imprudent showing no care, forethought, or judgment; adjective, noun When Mr. Wickham stole the money from Mr. Darcy, he was being imprudent.
23 Hauteur a haughty manner, feeling, or quality; noun Miss Bingley and Mrs. Hurst are hauteur.
24 Diffidence Distrust of one's self or one's own powers, lack of self-reliance, modesty, modest reserve, bashfulness; noun Mr. Collins has quite the amount of diffidence, as he considers himself a burden to all people.
25 Lamentation an expression of grief or sorrow; noun Jane has several lamentations when Mr. Bingley leaves and does not communicate with her.
26 Abhorrence a feeling of intense disapproval of something; noun Mrs. Bennet had a strong abhorrence to Mr. Darcy at the beginning because he did not dance with many girls.
27 Incredulous unable or unwilling to believe something or completely unconvinced by it; adjective At first when Charlotte accepts Mr. Collins’s proposal, Elizabeth is incredulous.
28 Repine to feel dissatisfied or fretful about something and complain or grumble about it; intransitive verb Lydia is repined by her bonnet because as soon as she bought it, she hates it.
29 Impropriety conduct that is not considered correct, moral, or appropriate in a given context; noun When Mr. Wickham tries to elope with Miss Darcy, he shows impropriety.
Pride and Prejudice Dialectical Journal 1
[Lady Catherine:] “Are any of your younger sisters out, Miss [Elizabeth] Bennet?” “Yes ma’am, all.” “All!—What, all five at once? Very odd!—And you only the second.—The younger ones out before the elder are married!—Your younger sisters must be very young?” “Yes, my youngest is not sixteen. Perhaps she is full young to be much in company. But really, Ma’am, I think it would be very hard upon younger sisters that they should not have their share of society and amusement because the elder may not have the means or inclination to marry early.—The last born has as good a right to the pleasures of youth as the first. And to be kept back on such a motive!—I think it would not be very likely to promote sisterly affection or delicacy of mind.” “Upon my word,” said her ladyship, “you give your opinion very decidedly for so young a person.—Pray, what is you age?” “With three younger sisters grown up,” replied Elizabeth smiling, “your Ladyship can hardly expect me to own it.” Lady Catherine seemed quite astonished at not receiving a direct answer; and Elizabeth suspected herself to be the first creature who had ever dared to trifle with so much dignified impertinence. “You cannot be more than twenty, I am sure,—therefore you need not conceal your age.” “I am not one and twenty.” Chapter 27, Page 142
Literary Devices: ethos, pathos, and humor
Through Lady Catherine’s surprise and confusion over all of the Bennet daughters being out, Jane Austen mocks the upper class. Though the use of exclamation points and interjections, as well as an incredulous tone, Lady Catherine is characterized as being very conservative and old-fashioned towards the aristocratic lifestyle. Her shock that Elizabeth did not answer her question directly adds to her haughty nature by perceiving Elizabeth’s indirect answer as an affront. The reason that Lady Catherine is so stunned by the Bennet situation is that upper-class society believes that only the eldest daughter should be out before she is married. Through Elizabeth, and to a lesser extent the Bennets for allowing their daughters to all be out, Jane Austen’s voice is heard. Elizabeth backs her parents decision to have all their daughters out by using ethos (in arguing that the eldest may not have the means or inclination to marry early) and pathos (in arguing that the youngest has as good a right to the pleasures as the first), characterizing her as intelligent and perceptive. Lady Catherine expresses her surprise at Elizabeth by asking how old she is. In addition to being irrelevant, since wisdom does not necessarily come with age, Lady Catherine criticizes Elizabeth for being too smart. Elizabeth, however, does not take this as an insult and instead replies indirectly to the highest ranking and wealthiest person that she had met, characterizing her as unmoved by people’s status and wealth as a sign of power, again criticizing the aristocratic lifestyle. Lady Catherine then suggests that the reason that Elizabeth concealed her age was because she was embarrassed about it. Lady Catherine believes that anyone older than twenty is embarrassed about their age because it appears that they are too old to be married. However, twenty-one and older are still quite young, especially since Jane is twenty-two and still unmarried. Austen uses Elizabeth to chisel away the superfluities and societal norms of the upper class to reveal a cold group of people dominated by avarice and pride.
Literary Devices: ethos, pathos, and humor
Through Lady Catherine’s surprise and confusion over all of the Bennet daughters being out, Jane Austen mocks the upper class. Though the use of exclamation points and interjections, as well as an incredulous tone, Lady Catherine is characterized as being very conservative and old-fashioned towards the aristocratic lifestyle. Her shock that Elizabeth did not answer her question directly adds to her haughty nature by perceiving Elizabeth’s indirect answer as an affront. The reason that Lady Catherine is so stunned by the Bennet situation is that upper-class society believes that only the eldest daughter should be out before she is married. Through Elizabeth, and to a lesser extent the Bennets for allowing their daughters to all be out, Jane Austen’s voice is heard. Elizabeth backs her parents decision to have all their daughters out by using ethos (in arguing that the eldest may not have the means or inclination to marry early) and pathos (in arguing that the youngest has as good a right to the pleasures as the first), characterizing her as intelligent and perceptive. Lady Catherine expresses her surprise at Elizabeth by asking how old she is. In addition to being irrelevant, since wisdom does not necessarily come with age, Lady Catherine criticizes Elizabeth for being too smart. Elizabeth, however, does not take this as an insult and instead replies indirectly to the highest ranking and wealthiest person that she had met, characterizing her as unmoved by people’s status and wealth as a sign of power, again criticizing the aristocratic lifestyle. Lady Catherine then suggests that the reason that Elizabeth concealed her age was because she was embarrassed about it. Lady Catherine believes that anyone older than twenty is embarrassed about their age because it appears that they are too old to be married. However, twenty-one and older are still quite young, especially since Jane is twenty-two and still unmarried. Austen uses Elizabeth to chisel away the superfluities and societal norms of the upper class to reveal a cold group of people dominated by avarice and pride.
Pride and Prejudice Vocabulary Part 1
r~ Word
I 1 I Discretion
- Definition (POS) ----~1--- Sentence
, , , , When Elizabeth kindly rejects Mr.
the good Judgment and sensitivity ell'" I h
[2
I
1--;-
4
I
' , 0 inS S marnage proposa , s e
needed to avoid embarraSSing or h d d' .
, sows goo Iscretlon not to
--L-! upsetting others (noun) d enounce h'1 m ru d e I y,
I to make changes to something, After previously being jealous of
A d ~I especially a piece of text, in order Elizabeth, Miss Bingley makes
men to improve or correct it (transitive amends with her by telling her that
_______ _ __ .verb, intransitive verb) ____ Mr, Wickham is not to be trusted.
A ' bl friendly and pleasant to be with Jane and Elizabeth, among others,
mla e (adjective) ______ ~_amiable.
the first of two things or people ,
, d ( d") h I Mr. Bingley and Mr. Darcy are both
mentlone noun, a Jectlve ; t e , h f " d
Former I d f I h
' h aristocrats; t e ormer IS nIce an
secon 0 two peop e or t Ings t at .
I
' I dances with everyone, whereas the
latter have been mentioned, or that are I h h 'd d I
" atter as too muc pn e an on y
I being conSidered or referred to dances with those that he knows,
_____ ~--- (noun, a~jective_) -----t
I" , Mr. Collins's marriage proposal to
C' 'I I polite, but In a way that IS cold and EI' b h' .. / d Id f h' d
-r _____ +-__ but nonetheless rejected: _ After Jane becomes sick after taking
I to make som
5 ~ __IV _I_ _~ formal (adjective) Iza et IS elVI an 0 - as lone,
ebody feel deeply a horse to Netherfield Park at the
umiliated (transitive
request of her mother, Mrs. Bennet
ansitive verb)
~ , Mortified ashamed and h
verb, intr
___ --+-1 _~~ortified_, __ I Charlotte Lucas has felicity over her
ontentment (noun) I acceptance of Mr. Collins's
I marriage proposal.
h
' I Elizabeth has indignation that
somet Ing seems , ;;~
bl ( ) I human virtues are not being
easona e noun fulfilled.
----
isplaying behaviors In upper class society, common
o be correct or propriety states that men should I
riate (noun) dance all the time during a ball~
eing provoked to Miss Bingley becomes vexed when
ance, anxiety, or Mr. Darcy pays more attention to
5S (noun) Elizabeth than her.
t-=-----1------
I 7 I FeliCity happiness or c
8 I Indignation
anger because
unfair or unr
-
the quality of d
9 Propriety
I
thought t
approp
-- --f---
the state of b
110 Vexation slight annoy
I distre
I 1 I Discretion
- Definition (POS) ----~1--- Sentence
, , , , When Elizabeth kindly rejects Mr.
the good Judgment and sensitivity ell'" I h
[2
I
1--;-
4
I
' , 0 inS S marnage proposa , s e
needed to avoid embarraSSing or h d d' .
, sows goo Iscretlon not to
--L-! upsetting others (noun) d enounce h'1 m ru d e I y,
I to make changes to something, After previously being jealous of
A d ~I especially a piece of text, in order Elizabeth, Miss Bingley makes
men to improve or correct it (transitive amends with her by telling her that
_______ _ __ .verb, intransitive verb) ____ Mr, Wickham is not to be trusted.
A ' bl friendly and pleasant to be with Jane and Elizabeth, among others,
mla e (adjective) ______ ~_amiable.
the first of two things or people ,
, d ( d") h I Mr. Bingley and Mr. Darcy are both
mentlone noun, a Jectlve ; t e , h f " d
Former I d f I h
' h aristocrats; t e ormer IS nIce an
secon 0 two peop e or t Ings t at .
I
' I dances with everyone, whereas the
latter have been mentioned, or that are I h h 'd d I
" atter as too muc pn e an on y
I being conSidered or referred to dances with those that he knows,
_____ ~--- (noun, a~jective_) -----t
I" , Mr. Collins's marriage proposal to
C' 'I I polite, but In a way that IS cold and EI' b h' .. / d Id f h' d
-r _____ +-__ but nonetheless rejected: _ After Jane becomes sick after taking
I to make som
5 ~ __IV _I_ _~ formal (adjective) Iza et IS elVI an 0 - as lone,
ebody feel deeply a horse to Netherfield Park at the
umiliated (transitive
request of her mother, Mrs. Bennet
ansitive verb)
~ , Mortified ashamed and h
verb, intr
___ --+-1 _~~ortified_, __ I Charlotte Lucas has felicity over her
ontentment (noun) I acceptance of Mr. Collins's
I marriage proposal.
h
' I Elizabeth has indignation that
somet Ing seems , ;;~
bl ( ) I human virtues are not being
easona e noun fulfilled.
----
isplaying behaviors In upper class society, common
o be correct or propriety states that men should I
riate (noun) dance all the time during a ball~
eing provoked to Miss Bingley becomes vexed when
ance, anxiety, or Mr. Darcy pays more attention to
5S (noun) Elizabeth than her.
t-=-----1------
I 7 I FeliCity happiness or c
8 I Indignation
anger because
unfair or unr
-
the quality of d
9 Propriety
I
thought t
approp
-- --f---
the state of b
110 Vexation slight annoy
I distre
Romantic Notes
To a Louse: connection to nature; to criticize the upper class; vanity
To a Mouse: Be prepared for the future to change; be in harmony with nature
Lamb and Tyger: lamb a symbol for God, tiger a symbol for Devil, white-good, red-bad; lamb-tranquil, tiger-rage, hammer, anvil, chains, fire – Industrial revolution, lightning – Lucifer falling
Chimney Sweeper: chimney – coffin, words like sweeping motion, Tom Duker – went to sleep, go to afterlife and be happy
Ode to a West Wind – write down that he is not evil; West Wind vs. Spring Wind, death vs. Life, leaves to seeds/flowers, destroyer vs. preserver
To a Mouse: Be prepared for the future to change; be in harmony with nature
Lamb and Tyger: lamb a symbol for God, tiger a symbol for Devil, white-good, red-bad; lamb-tranquil, tiger-rage, hammer, anvil, chains, fire – Industrial revolution, lightning – Lucifer falling
Chimney Sweeper: chimney – coffin, words like sweeping motion, Tom Duker – went to sleep, go to afterlife and be happy
Ode to a West Wind – write down that he is not evil; West Wind vs. Spring Wind, death vs. Life, leaves to seeds/flowers, destroyer vs. preserver
Candide Notes
Objects of Satire
-religion
-war/military
-philosophy of optimism
-race/gender/class
-human feelings
Understatement – “only”
Incongruity – do not make sense
-specify meaning in every sentence
-define diction and syntax
-specifics
-comment on how it is satire
-syntax: commas add information
-complex sentence + multiple ideas = more detailed portrayal, confusing -> ambigious meaning, more examples -> more convincing
-religion
-war/military
-philosophy of optimism
-race/gender/class
-human feelings
Understatement – “only”
Incongruity – do not make sense
-specify meaning in every sentence
-define diction and syntax
-specifics
-comment on how it is satire
-syntax: commas add information
-complex sentence + multiple ideas = more detailed portrayal, confusing -> ambigious meaning, more examples -> more convincing
Macbeth Notes
Macbeth is a courageous man, but he has hubris.
I.i: The three witches meet and discuss how they will meet up with Macbeth in bad weather.
I.ii: The battle occurs and the king says that the Thane of Cawdor needs to be killed and have Macbeth take his position.
I.iii: The witches meet with Macbeth and Banquo and tell them that Macbeth will be Thane of Cawdor and the king. They leave and Ross and Angus say that Macbeth now is the Thane of Cawdor.
I.iv: Duncan says that Malcolm must be king. Arrives at Duncan’s castle.
I.v: Lady Macbeth thinks Macbeth is weak.
I.vi Guests arrive at Macbeth’s castle.
I.vii: Lady Macbeth and Macbeth debate whether or not to kill Duncan.
I.i: The three witches meet and discuss how they will meet up with Macbeth in bad weather.
I.ii: The battle occurs and the king says that the Thane of Cawdor needs to be killed and have Macbeth take his position.
I.iii: The witches meet with Macbeth and Banquo and tell them that Macbeth will be Thane of Cawdor and the king. They leave and Ross and Angus say that Macbeth now is the Thane of Cawdor.
I.iv: Duncan says that Malcolm must be king. Arrives at Duncan’s castle.
I.v: Lady Macbeth thinks Macbeth is weak.
I.vi Guests arrive at Macbeth’s castle.
I.vii: Lady Macbeth and Macbeth debate whether or not to kill Duncan.
Saturday, August 29, 2009
To An Athlete Dying Young / Ex-Basketball Player
To An Athlete Dying Young
A.E. Housman
The time you won your town the race
We chaired you through the market-place;
Man and boy stood cheering by,
And home we brought you shoulder-high.
To-day, the road all runners come,
Shoulder-high we bring you home,
And set you at your threshold down,
Townsman of a stiller town.
Smart lad, to slip betimes away
From fields where glory does not stay
And early though the laurel grows
It withers quicker than the rose.
Eyes the shady night has shut
Cannot see the record cut,
And silence sounds no worse than cheers
After earth has stopped the ears;
Now you will not swell the rout
Of lads that wore their honours out,
Runners who renown outran
And the name died before the man.
So set, before its echoes fade,
The fleet foot on the sill of shade,
And hold to the low lintel up
The still-defended challenge-cup.
And round that early-laurelled head
Will flock to gaze the strengthless dead,
And find unwithered on its curls
The garland briefer than a girl’s.
Ex-Basketball Player
John Updike
Pearl Avenue runs past the high-school lot
Bends with the trolley tracks, and stops, cut off
Before it has a chance to go two blocks,
At Colonel McComsky Plaza. Berth’s Garage
Is on the corner facing west, and there,
Most days, you’ll find Flick Webb, who helps Berth out.
Flick stands tall among the idiot pumps –
Five on a side, the old bubble-head style,
Their rubber elbows hanging loose and low.
One’s nostrils are two S’s, and his eyes
An E and O. And one is squat, without
A head at all – more of a football type.
Once Flick played for the high-school team, the Wizards.
He was good: in fact, the best. In ‘46
He bucketed three hundred ninety points,
A county record still. The ball loved Flick.
I saw him rack up thirty-eight or forty
In one home game. His hands were like wild birds.
He never learned a trade, he just sells gas,
Checks oil, and changes flats. Once in a while,
As a gag, he dribbles an innertube,
But most of us remember anyway.
His hands are fine and nervous on the lug wrench.
It makes no difference to the lug wrench, though.
Off work, he hangs around Mae’s Luncheonette.
Grease-gray and kind of coiled, he plays pinball.
Smokes those thin cigars, nurses lemon phosphates.
Flick seldom says a word to Mae, just nods
Beyond her race toward bright applauding tiers
Of Necco Wafers, Nibs, and Juju Beads.
A.E. Housman
The time you won your town the race
We chaired you through the market-place;
Man and boy stood cheering by,
And home we brought you shoulder-high.
To-day, the road all runners come,
Shoulder-high we bring you home,
And set you at your threshold down,
Townsman of a stiller town.
Smart lad, to slip betimes away
From fields where glory does not stay
And early though the laurel grows
It withers quicker than the rose.
Eyes the shady night has shut
Cannot see the record cut,
And silence sounds no worse than cheers
After earth has stopped the ears;
Now you will not swell the rout
Of lads that wore their honours out,
Runners who renown outran
And the name died before the man.
So set, before its echoes fade,
The fleet foot on the sill of shade,
And hold to the low lintel up
The still-defended challenge-cup.
And round that early-laurelled head
Will flock to gaze the strengthless dead,
And find unwithered on its curls
The garland briefer than a girl’s.
Ex-Basketball Player
John Updike
Pearl Avenue runs past the high-school lot
Bends with the trolley tracks, and stops, cut off
Before it has a chance to go two blocks,
At Colonel McComsky Plaza. Berth’s Garage
Is on the corner facing west, and there,
Most days, you’ll find Flick Webb, who helps Berth out.
Flick stands tall among the idiot pumps –
Five on a side, the old bubble-head style,
Their rubber elbows hanging loose and low.
One’s nostrils are two S’s, and his eyes
An E and O. And one is squat, without
A head at all – more of a football type.
Once Flick played for the high-school team, the Wizards.
He was good: in fact, the best. In ‘46
He bucketed three hundred ninety points,
A county record still. The ball loved Flick.
I saw him rack up thirty-eight or forty
In one home game. His hands were like wild birds.
He never learned a trade, he just sells gas,
Checks oil, and changes flats. Once in a while,
As a gag, he dribbles an innertube,
But most of us remember anyway.
His hands are fine and nervous on the lug wrench.
It makes no difference to the lug wrench, though.
Off work, he hangs around Mae’s Luncheonette.
Grease-gray and kind of coiled, he plays pinball.
Smokes those thin cigars, nurses lemon phosphates.
Flick seldom says a word to Mae, just nods
Beyond her race toward bright applauding tiers
Of Necco Wafers, Nibs, and Juju Beads.
THE LOVE SONG OF J. ALFRED PRUFROCK
S’io credessi che mia risposta fosse
a persona che mai tornasse al mondo,
questa fiamma staria senza piu scosse.
Ma per cio che giammai di questo fondo
non toron vivo alcun, s’I’odo il vero,
senza tema d’infamia ti rospondo1.
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question…
Oh, do not ask, “What is it?”
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate,
Time for you and time for me,
______________________
1 From Dante, Inferno, XXVII, 61-66. The speaker is Guido da Montefeltro, who is imprisoned in a flame in the level of Hell reserved for false counselors. He tells Dante and Virgil, “If I thought my answer were given to one who might return to the world, this flame would stay without further movement. But since from this depth none has ever returned alive, if what I hear is true, I answer you without fear of infamy.”
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair—
(They will say: “How his hair is growing thin!)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin –
(They will say: “But how his arms and legs are thin!)
Do I dare?
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all—
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
The how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows?...
I should have been a pair of ragged claws
Scuttling across the floors of silent seas…
And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep…tired…or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Thought I have seem my head (grown slightly bald) brought in upon a platter2,
I am no prophet –and here’s no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it towards some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—
If one, settling a pillow by her head,
Should say: “That is not what I meant at all.
That is not it, at all.”
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along
the floor—
And this, and so much more? –
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
“That is not it at all,
That is not what I meant, at all.”
_______________________
2 Like the head of John the Baptist
No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous –
Almost, at times, the Fool.
I grow old…I grow old…
I shall wear the bottom of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
T.S. Eliot, 1917
Analysis Questions
1. This poem may be understood as a stream of consciousness passing through the mind of Prufrock. The “you” and “I” of line 1 may be different aspects of his personality. Or perhaps the “you and I” is parallel to Guido who speaks the epigraph and Dante to whom he tells the story that resulted in his damnation –hence, “you” is the reader and “I” is Prufrock. The poem is disjointed because it proceeds by psychological rather than lofical stages. To what social class does Prufrock belong? How does Prufrock respong to the attitudes and values of his class? Does he change in the course of the poem?
2. Line 92 provides a good example of literary allusion (see the last stanza of Marvel’s “To His Coy Mistress,”). How does an awareness of the allusion contribute to the reader’s response to the stanza here?
3.That night the songs of the mermaid (1. 124) signify, and why does Prufrock think that they will not sing to him (1. 125)?
4. T.S. Eliot once said that some poetry “can communicate without being understood.” Is this such a poem?
a persona che mai tornasse al mondo,
questa fiamma staria senza piu scosse.
Ma per cio che giammai di questo fondo
non toron vivo alcun, s’I’odo il vero,
senza tema d’infamia ti rospondo1.
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question…
Oh, do not ask, “What is it?”
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate,
Time for you and time for me,
______________________
1 From Dante, Inferno, XXVII, 61-66. The speaker is Guido da Montefeltro, who is imprisoned in a flame in the level of Hell reserved for false counselors. He tells Dante and Virgil, “If I thought my answer were given to one who might return to the world, this flame would stay without further movement. But since from this depth none has ever returned alive, if what I hear is true, I answer you without fear of infamy.”
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair—
(They will say: “How his hair is growing thin!)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin –
(They will say: “But how his arms and legs are thin!)
Do I dare?
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all—
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
The how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows?...
I should have been a pair of ragged claws
Scuttling across the floors of silent seas…
And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep…tired…or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Thought I have seem my head (grown slightly bald) brought in upon a platter2,
I am no prophet –and here’s no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it towards some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—
If one, settling a pillow by her head,
Should say: “That is not what I meant at all.
That is not it, at all.”
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along
the floor—
And this, and so much more? –
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
“That is not it at all,
That is not what I meant, at all.”
_______________________
2 Like the head of John the Baptist
No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous –
Almost, at times, the Fool.
I grow old…I grow old…
I shall wear the bottom of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
T.S. Eliot, 1917
Analysis Questions
1. This poem may be understood as a stream of consciousness passing through the mind of Prufrock. The “you” and “I” of line 1 may be different aspects of his personality. Or perhaps the “you and I” is parallel to Guido who speaks the epigraph and Dante to whom he tells the story that resulted in his damnation –hence, “you” is the reader and “I” is Prufrock. The poem is disjointed because it proceeds by psychological rather than lofical stages. To what social class does Prufrock belong? How does Prufrock respong to the attitudes and values of his class? Does he change in the course of the poem?
2. Line 92 provides a good example of literary allusion (see the last stanza of Marvel’s “To His Coy Mistress,”). How does an awareness of the allusion contribute to the reader’s response to the stanza here?
3.That night the songs of the mermaid (1. 124) signify, and why does Prufrock think that they will not sing to him (1. 125)?
4. T.S. Eliot once said that some poetry “can communicate without being understood.” Is this such a poem?
People and Places in Part One of Pride and Prejudice
In Hertfordshire
I. Longbourne
(twenty-four miles from London)
Mr. Bennet=Mrs. Bennet
Jane Elizabeth (Lizzy, Eliza) Mary Catherine (Kitty) Lydia
22 20 15
II. Meryton
(one mile from Longbourn)
Mr. Philips=Mrs. Philips (Mrs. Bennet’s sister)
The Militia (in temporary quarters)
III. Lucas Lodge
Sir William=Lady Lucas
Charlotte Maria Other Children
27
IV. Netherfield Park
(three miles from Longbourn)
(parentage not included)
Charles Bingley Luisa Bingley=Mr. Hurst Caroline Bingley
22
I. Longbourne
(twenty-four miles from London)
Mr. Bennet=Mrs. Bennet
Jane Elizabeth (Lizzy, Eliza) Mary Catherine (Kitty) Lydia
22 20 15
II. Meryton
(one mile from Longbourn)
Mr. Philips=Mrs. Philips (Mrs. Bennet’s sister)
The Militia (in temporary quarters)
III. Lucas Lodge
Sir William=Lady Lucas
Charlotte Maria Other Children
27
IV. Netherfield Park
(three miles from Longbourn)
(parentage not included)
Charles Bingley Luisa Bingley=Mr. Hurst Caroline Bingley
22
Glossary of Literary Terms
The Canterbury Tales:
1. Characterization—indirect & direct
2. Allusion
3. Imagery
4. Tone (variations)
The Prince:
5. Simile
6. Metaphor
7. Rhetorical Questions
8. Parallel Structure
9. Antithesis
10. Syntax
11. Diction
12. Repetition
13. Ethos/Pathos/Logos
14. Shift in perspective
15. Exaggeration
16. Generalization
1. Characterization—indirect & direct
2. Allusion
3. Imagery
4. Tone (variations)
The Prince:
5. Simile
6. Metaphor
7. Rhetorical Questions
8. Parallel Structure
9. Antithesis
10. Syntax
11. Diction
12. Repetition
13. Ethos/Pathos/Logos
14. Shift in perspective
15. Exaggeration
16. Generalization
My Last Duchess / A.E Housman Answers
Full credit
The last duchess appears to have been murdered by a man hired by the speaker because she appeared to be cheating on him.
In lines 45–46, the speaker says, “I gave commands; / Then all smiles stopped together.”
The speaker continues to push on for marriage with his client, regardless of how much the client is fearful of the speaker’s past actions. The speaker does not care for money since the wife that he is to get is the real object. This shows how women were treated as objects and only valued for their sexuality. Thus, the speaker is characterized as materialistic and selfish.
The Duke shows the Count’s agent the portrait of his dead wife to show the agent his previous marriage. Since his late wife was high-class, the Duke must have status to marry his late wife.
The Duke became more suspicious of his wife after she grew increasingly happier.
The Duke solved this conflict by ordering a man to kill her.
If he were to marry his second wife, chances are that he would be more controlling of her so that she does not cheat on him. She would become too suppressed and rebel.
The speaker means that the strength of her anger of her past regrets is equal to the strength of her love to her lover.
The kind of love expressed is unconditional love. The speaker loves all actions of her lover and does not stop loving him because of loss of faith or turn from praise.
In the first stanza, the athlete had won a race, picked up, and cheered. In the second stanza, the athlete is picked up, but this time he is in a coffin.
Fame fades faster than life. There is no more cheering after death. Never will that athlete be heard anymore.
That line means that the athlete’s fame died before he did.
Housman does not completely believe that the young athlete was smart to die because while his dame dies at the same time as him, and thus he does not have the agony of becoming hum-bled, he cannot live life anymore.
I would include how the athlete could have become even better and possible ascended to high levels, such as the professional level, as well as break record. Now everyone must live with a what-if attitude.
In “To an Athlete Dying Young,” the attitude of youths is that it is a travesty when they die be-cause they have lived an incomplete life and have not lived it to the fullest. In “When I Was One-and-Twenty,” the attitude of youths is that they are selfish and live in the moment.
The trochaic meter makes the speaker seem silly by emphasizing less important sounds while excluding important ones.
The counterpoint rhythm reinforces the line’s meaning by repeating and emphasizes the point by emphasizing words.
The last duchess appears to have been murdered by a man hired by the speaker because she appeared to be cheating on him.
In lines 45–46, the speaker says, “I gave commands; / Then all smiles stopped together.”
The speaker continues to push on for marriage with his client, regardless of how much the client is fearful of the speaker’s past actions. The speaker does not care for money since the wife that he is to get is the real object. This shows how women were treated as objects and only valued for their sexuality. Thus, the speaker is characterized as materialistic and selfish.
The Duke shows the Count’s agent the portrait of his dead wife to show the agent his previous marriage. Since his late wife was high-class, the Duke must have status to marry his late wife.
The Duke became more suspicious of his wife after she grew increasingly happier.
The Duke solved this conflict by ordering a man to kill her.
If he were to marry his second wife, chances are that he would be more controlling of her so that she does not cheat on him. She would become too suppressed and rebel.
The speaker means that the strength of her anger of her past regrets is equal to the strength of her love to her lover.
The kind of love expressed is unconditional love. The speaker loves all actions of her lover and does not stop loving him because of loss of faith or turn from praise.
In the first stanza, the athlete had won a race, picked up, and cheered. In the second stanza, the athlete is picked up, but this time he is in a coffin.
Fame fades faster than life. There is no more cheering after death. Never will that athlete be heard anymore.
That line means that the athlete’s fame died before he did.
Housman does not completely believe that the young athlete was smart to die because while his dame dies at the same time as him, and thus he does not have the agony of becoming hum-bled, he cannot live life anymore.
I would include how the athlete could have become even better and possible ascended to high levels, such as the professional level, as well as break record. Now everyone must live with a what-if attitude.
In “To an Athlete Dying Young,” the attitude of youths is that it is a travesty when they die be-cause they have lived an incomplete life and have not lived it to the fullest. In “When I Was One-and-Twenty,” the attitude of youths is that they are selfish and live in the moment.
The trochaic meter makes the speaker seem silly by emphasizing less important sounds while excluding important ones.
The counterpoint rhythm reinforces the line’s meaning by repeating and emphasizes the point by emphasizing words.
Subscribe to:
Posts (Atom)
Posts
