- Born in Ireland
in 1667, Swift attended Dublin's Trinity College during the anti-Catholic
Revolution of 1688.
- Irish Catholic
reaction led him to seek safety in England
- Ordained as an
Anglican priest in 1695
- A Tale of a Tub (1704) is made up of 3 satiric sketches on
religion and learning
- Battle of the Books (1697) is a “mock” epic concerning ancient
and “modern” literature.
- Wrote political
and satirical religious pamphlets under the pseudonym "Isaac
Bickerstaff"
- He became the
leading writer for the Tory party by 1710, awarded the deanery of St. Patrick's
Cathedral in Dublin (1713)
- Once back in
Ireland, his works attempted to expose English wrongdoing and unfair treatment
of Ireland
- Gulliver's Travels (1726)
- A Modest Proposal (1729)
This site is designed for students at the School of the Arts in Rochester, NY taking Advanced Placement English Literature & Composition.
Wednesday, February 29, 2012
Jonathan Swift
Essay #1: Analysis of Swift's Poetry
When attempting the analytical essay on poetry it is important to:
1. Read the question. Then read the poem.Directions: Jonathan Swift is remembered as Britain's foremost satirist. Swift originally published his work under a pseudonym and was a well-regarded church authority, holding the position of Dean at St. Patrick's Church in Dublin. Read the following poem carefully (A Description of a Morning). Write an essay discussing how the use of detail, prosody, tone, and other literary elements effectively create the author's purpose.
2. Then re-read the question. Then re-read the poem. The first 5-10 minutes of your time dealing with this essay should be spent reading and rereading the question posed and, of course, the text. Take notes on the poem the second time you read it through or between readings, whichever works for you.
3. Do not restate the prompt in your introduction, but open with a quick interesting, appropriate to the topic, attention-grabbing sentence before writing the rest of your intro. Paraphrase the question in your own words so that you are not tempted to copy the prompt into your intro. This usually goes after the attention-grabbing sentence. Finally, conclude your intro with a clear and concise thesis. Usually this can be broken down into three parts (3-body paragraph topics).
4. Your intro should include: the title of the poem, the name of the poem (spell this correctly since it's given to you...), quickly include any background information necessary for understanding your thesis (remember not to simply restate the question)--and state the main point you want to make in a clear and concise sentence. Do not put your thesis as the first sentence of your intro. It goes at the end of the paragraph, not the beginning.
5. Your body should include an exploration of the subtopics of the main point. Use one or two paragraphs per subtopic. Use information, including quotations, line citations, and examples to support your point. Support your thesis with textual material that supports your point as well. So you are supporting your main idea AND how that connects to supporting your THESIS in these body paragraphs. A good rule of thumb is 2-3 supporting examples with commentary how these examples illustrate your subtopic and then how the subtopic relates back to the thesis.
6. Finally, your conclusion should restate your main points (usually three of them) and summarize your argument. The conclusion must explain how your essay supports your thesis, but ends with a closing statement or remark that connects the relevance of the idea to the larger picture.
Monday, February 27, 2012
Advice About Essays
The advice here is meant to improve AP Exam scores. It is not necessarily what you should do in college and academic writing.
1. Do not summarize the plot or explain how great an author is.
2. Your thesis statement should be clear and reflect what you intend to discuss in the body of your essay.
3. Do not restate the prompt if possible. Instead, a good formula is "The text shows X in order to show Y." The word "shows" could also be: highlights or accomplishes, etc. By text we mean
4. Connect literary devices to the EFFECT they have on the work. Be specific when using literary language and vocabulary.
5. 90% of all teen essays start the same way. A good 50% start with "In this essay..." or restate the prompt mechanically. If you can create an impression that is something memorable, but not wacky, it may bring your score up. Sound intelligent.
6. Prompts most often ask for a connection between technique (literary devices, figurative language, style, etc.) and some larger purpose the author has in writing the work. Tie your argument to "the meaning of the work as a whole."
7. Control your language. In order to receive the higher scores (6-9) your writing must be grammatical, concise, direct, and persuasive. Word choice is incredibly important. Do not confuse effect with affect, for instance. A narrative poem is not a story. A play is not necessarily a book.
8. Vary your sentence structure. Short declarative sentences are well placed as paragraph main ideas or topic sentences. The rest of the paragraph should vary sentence type and flow with logical and concise thought.
9. For the last time: titles of major works are italicized or underlined (because you cannot italicize with handwriting), while shorter works (35,000 words or less), most poems, short one act plays, etc. are quoted. Most poems given to you on the exam should be in quotes. The work you use for the free response should be underlined.
10. Don't be afraid in your conclusion to make a larger connection, use a metaphor or simile, or any other rhetorical literary device IF relevant.
Let's take a look at Jonathan Swift's poem. With a partner, read the poem, identify the following:
1. Do not summarize the plot or explain how great an author is.
2. Your thesis statement should be clear and reflect what you intend to discuss in the body of your essay.
3. Do not restate the prompt if possible. Instead, a good formula is "The text shows X in order to show Y." The word "shows" could also be: highlights or accomplishes, etc. By text we mean
4. Connect literary devices to the EFFECT they have on the work. Be specific when using literary language and vocabulary.
5. 90% of all teen essays start the same way. A good 50% start with "In this essay..." or restate the prompt mechanically. If you can create an impression that is something memorable, but not wacky, it may bring your score up. Sound intelligent.
6. Prompts most often ask for a connection between technique (literary devices, figurative language, style, etc.) and some larger purpose the author has in writing the work. Tie your argument to "the meaning of the work as a whole."
7. Control your language. In order to receive the higher scores (6-9) your writing must be grammatical, concise, direct, and persuasive. Word choice is incredibly important. Do not confuse effect with affect, for instance. A narrative poem is not a story. A play is not necessarily a book.
8. Vary your sentence structure. Short declarative sentences are well placed as paragraph main ideas or topic sentences. The rest of the paragraph should vary sentence type and flow with logical and concise thought.
9. For the last time: titles of major works are italicized or underlined (because you cannot italicize with handwriting), while shorter works (35,000 words or less), most poems, short one act plays, etc. are quoted. Most poems given to you on the exam should be in quotes. The work you use for the free response should be underlined.
10. Don't be afraid in your conclusion to make a larger connection, use a metaphor or simile, or any other rhetorical literary device IF relevant.
Let's take a look at Jonathan Swift's poem. With a partner, read the poem, identify the following:
- Who is speaking? (characterize the speaker of the poem)
- What is the purpose for the speaker to speak?
- To whom is the poem addressed?
- What theme or main idea is presented in the poem?
- What literary devices are found in the poem?
- And what is each device's effect on the poem as a whole?
Sunday, February 26, 2012
Oh, the Women! Spotlight on Women Writers
When the Restoration reopened the theaters after their brief but memorable absence, women were now allowed to act on stage. Very soon afterward, women also started to write plays and contribute their voices to the body of work in the Western Canon. Here's a few key playwright literary figures and (because they're important) a few female authors who will help establish the Gothic literary style. Eventually this literary style will result in female authors like Poppy Z. Bright, Anne Rice, and Stephanie Meyer to write their paranormal romances, while the playwrights will lead to Caryl Churchill, Lillian Hellman, Paula Vogel, Wendy Wasserstein, Beth Henley, and many others. All of these women will inspire the great women authors of the Romantic period (Jane Austen, the Bronte sisters, Mary Shelly, etc.). Learn about these ladies here. Take notes and put notes in your notebook (what a novel idea...):
Aphra Behn (1640-1689):
Ann Radcliffe (1764-1823)
Aphra Behn (1640-1689):
- A dry lecture about Aphra Behn
- The Rover (theater trailer)
- The Dream (poem performance)
- Love Revenged (poem performance)
- The Gaming Table (Intro); The Gaming Table (preview)
- The Old English Baron (1778)
- The Belle's Stratagem (1780)
Ann Radcliffe (1764-1823)
- The Mysteries of Udolpho (1794)
Saturday, February 25, 2012
British History Background
British History Material:
Horrible Histories: English Civil War
Kings and Queens of England: The Stuarts
Oliver Cromwell (Monty Python) (and a version with pictures)
Horrible Histories: Cromwell & King Charles II (the Merry Monarch)
Oliver Cromwell (part 1) 1970 film
Slimy Stuarts: King Charles II & the Crown Jewels
What the Stuarts Did for Us (part 2, science) documentary
The Worst Jobs in History: The Stuart Age
William of Orange (King William III) documentary
Queen Anne (1665-1714)
Queen Anne (lecture/performance)
Richard Lovelace: To Althea, from Prison
Robert Herrick: To the Virgins (song)
Other Material:
When the King Enjoys His Own Again (song)
The Vicar of Bray (song)
Important Dates:
Horrible Histories: English Civil War
Kings and Queens of England: The Stuarts
Oliver Cromwell (Monty Python) (and a version with pictures)
Horrible Histories: Cromwell & King Charles II (the Merry Monarch)
Oliver Cromwell (part 1) 1970 film
Slimy Stuarts: King Charles II & the Crown Jewels
What the Stuarts Did for Us (part 2, science) documentary
The Worst Jobs in History: The Stuart Age
William of Orange (King William III) documentary
Queen Anne (1665-1714)
Queen Anne (lecture/performance)
The Cavalier Poets:
Richard Lovelace: To Althea, from Prison
Robert Herrick: To the Virgins (song)
Other Material:
When the King Enjoys His Own Again (song)
The Vicar of Bray (song)
Important Dates:
- King James I (1603-1625)
- The Gunpowder Plot (1605)
- King Charles I (1625-1649)
- English Civil War (1629-1651)
- The Restoration (1651-1660)
- King Charles II (1660-1685)
- The Great Plague of London (1665)
- The Great Fire of London (1666) & The Great Fire of London - Animated
- King James II (1685-1688)
- The Glorious Revolution (1688)
- Queen Mary II (with King William III) (1689-1702)
- Queen Anne (1702-1714)
Monday, February 20, 2012
Feb. Break Reminder
Forum questions have been posted. Please note the following:
1. Read the blog posts below before you get too far into these texts. I covered some material in class as lecture, but reading the material below will be helpful in dealing with Swift and Moliere.
2. Gulliver's Travels part IV is required. The other parts are optional.
3. Moliere is optional.
Friday, February 17, 2012
Moliere & Swift
Please read Jonathan Swift's Gulliver's Travels (part IV) is required. You may read more than one part, if you'd like for extra credit. To gain extra credit, please post a response on the forum to parts I, II, or III.
Also for extra credit, you may wish to read Moliere's A School for Wives and post a forum response to this play. You have until the end of the marking period to post on Moliere & Swift's extra credit. The required response to Part IV is due by March 1.
HOMEWORK: Gulliver's Travels (part IV) read and respond to the forum question.
Moliere: Read A School for Wives
Gulliver's Travels (parts I, II, or III)
Also for extra credit, you may wish to read Moliere's A School for Wives and post a forum response to this play. You have until the end of the marking period to post on Moliere & Swift's extra credit. The required response to Part IV is due by March 1.
HOMEWORK: Gulliver's Travels (part IV) read and respond to the forum question.
Moliere: Read A School for Wives
Gulliver's Travels (parts I, II, or III)
Neoclassicism: An Overview
The literature of the Neoclassical period brought about a lot of
rules concerning how something could be created and what subject matter
could be written. To your joy, you should note that inversion, conceit
and metaphorical language, such as Shakespeare used, is clarified and
simplified. This does not, however, stop long, rambling sentences broken
by semicolons and other digressive thought processes. What does this
mean for us? Well, literature from this time period is still pretty
tiring to read, but you'll understand more of it.
The ideal style of prose in Neoclassicism is to be clear and lucid. Moderate is a good word for the style of the day (although to us, it seems this is not so). Neoclassical works are often based or modeled after the classical period. For writers like Racine and all those Opera composers (Mozart, Verdi, and ) tragedy rears its hubris in masterpieces like
Crude humor is left to the lower classes who can laugh at a fart joke. As a result melodrama (the mixing of comedy and tragedy in one form like Shakespeare did) is a no-no. Verisimilitude is a key element in all literature of this period and will continue even unto this day. The piling of detail upon detail allows fiction to appear more realistic, as if what is false is made true by naming specifics and adding details. These details slow us down as the writers are attempting to describe almost absolutely everything.
Themes in Neoclassical literature tend to revolve around social issues and man's place in society. Good manners and following society's rules are considered the manifestation of self control and consideration.
Literary Genres appearing (or reappearing) in this time period:
--Tragedy (particularly in Opera)
--Satire (Steele & Addison, Alexander Pope, and Jonathan Swift are the best examples, but there's also the French Moliere, Voltaire, and Denis Diderot)
--Epic Poetry (as well as the Mock Epic)
--Non-fiction (Essays, criticism and travel guides being the most prominent, but also history and educational works like Samuel Jonson's Dictionary and Diderot's Encyclopedia)
--Philosophy
and oddly enough:
--Gothic Horror (the book The Castle of Otranto by Horace Walpole)
Additional works:
Jonathan Swift's Gulliver's Travels (the first section of part IV) and part two. The 1960 movie "The Three Worlds of Gulliver" And here's the Max Fleischer animated film in its entirety: Gulliver's Travels. The etext of Gulliver's Travels. The etext of Battle of the Books.
Daniel DeFoe's Robinson Crusoe and Moll Flanders. The text of Robinson Crusoe. A Journal of the Plague Year.
Samuel Pepys Diary.
A Sentimental Journey through France & Italy by Laurence Sterne and a clip from Tristam Shandy.
Alexander Pope's Essay on Man. Some of Pope's fancy epithets.
Jan Svankmajer's animated Castle of Otranto and part two. The original text of the novel by Horace Walpole. And another trailer.
Samuel Johnson's Dictionary (Black Adder episode)
William Hogarth's paintings:
The ideal style of prose in Neoclassicism is to be clear and lucid. Moderate is a good word for the style of the day (although to us, it seems this is not so). Neoclassical works are often based or modeled after the classical period. For writers like Racine and all those Opera composers (Mozart, Verdi, and ) tragedy rears its hubris in masterpieces like
Henry Purcell: Dido & Aeneas and the Fairy QueenAristotle and his rules regarding tragedy are to be followed. They are misinterpreted, however, in such rules as the adhering to the Unities of Time, Place, and Action. Plots are cut down to one main subject matter. Characters actions center on the idea of reason and rational thought. Error and tragedy (and comedy) come about by being unreasonable or irrational.
Handel: Alexander's Feast (based on John Dryden's work)
Gluck's Orfeo & Euridice
Franz Joseph Haydn: Armida, Philemon & Baucis and Orlando Paladino
and you probably know about this guy:
Amadeus Wolfgang Mozart: Don Giovanni, the Marriage of Figaro, The Magic Flute
Crude humor is left to the lower classes who can laugh at a fart joke. As a result melodrama (the mixing of comedy and tragedy in one form like Shakespeare did) is a no-no. Verisimilitude is a key element in all literature of this period and will continue even unto this day. The piling of detail upon detail allows fiction to appear more realistic, as if what is false is made true by naming specifics and adding details. These details slow us down as the writers are attempting to describe almost absolutely everything.
Themes in Neoclassical literature tend to revolve around social issues and man's place in society. Good manners and following society's rules are considered the manifestation of self control and consideration.
Literary Genres appearing (or reappearing) in this time period:
--Tragedy (particularly in Opera)
--Satire (Steele & Addison, Alexander Pope, and Jonathan Swift are the best examples, but there's also the French Moliere, Voltaire, and Denis Diderot)
--Epic Poetry (as well as the Mock Epic)
--Non-fiction (Essays, criticism and travel guides being the most prominent, but also history and educational works like Samuel Jonson's Dictionary and Diderot's Encyclopedia)
--Philosophy
and oddly enough:
--Gothic Horror (the book The Castle of Otranto by Horace Walpole)
Additional works:
Jonathan Swift's Gulliver's Travels (the first section of part IV) and part two. The 1960 movie "The Three Worlds of Gulliver" And here's the Max Fleischer animated film in its entirety: Gulliver's Travels. The etext of Gulliver's Travels. The etext of Battle of the Books.
Daniel DeFoe's Robinson Crusoe and Moll Flanders. The text of Robinson Crusoe. A Journal of the Plague Year.
Samuel Pepys Diary.
A Sentimental Journey through France & Italy by Laurence Sterne and a clip from Tristam Shandy.
Alexander Pope's Essay on Man. Some of Pope's fancy epithets.
Jan Svankmajer's animated Castle of Otranto and part two. The original text of the novel by Horace Walpole. And another trailer.
Samuel Johnson's Dictionary (Black Adder episode)
William Hogarth's paintings:
Satire
Satire: An artistic form in which human vices, folly, abuses, or
shortcomings are held up to censure (judgment) by means of ridicule,
derision, burlesque, irony, sarcasm, or other such measures - in an
attempt to bring about improvement.
“SATIRE is a sort of glass wherein beholders do generally discover everybody's face but their own; which is the chief reason for that kind reception it meets with in the world, and that so very few are offended with it.” Jonathan Swift, Author's Preface, The Battle Of The Books
“... satire being leveled at all is never resented for an offense by any, since every individual person makes bold to understand it of others, and very wisely removes his particular part of the burden upon the shoulders of the world, which are broad enough and able to bear it.” Preface, A Tale Of A Tub
John Dryden divided satire into 2 kinds: Comic satire and tragic satire
Comic: Based on Horace. The character of the satirist is that of a man of the world who is concerned about folly, which he sees everywhere, but who is moved to laughter rather than to indignation or rage. Examples may include: South Park, The Simpsons, to some extent Gulliver's Travels, Candide, The Loved One, etc.
Tragic: Based on Juvenal. An upright man looks with horror on the corruptions of his time, his heart consumed with anger and frustration. These are more serious works of satire. Examples may include: Brave New World, 1984, A Clockwork Orange, etc.
“SATIRE is a sort of glass wherein beholders do generally discover everybody's face but their own; which is the chief reason for that kind reception it meets with in the world, and that so very few are offended with it.” Jonathan Swift, Author's Preface, The Battle Of The Books
“... satire being leveled at all is never resented for an offense by any, since every individual person makes bold to understand it of others, and very wisely removes his particular part of the burden upon the shoulders of the world, which are broad enough and able to bear it.” Preface, A Tale Of A Tub
John Dryden divided satire into 2 kinds: Comic satire and tragic satire
Comic: Based on Horace. The character of the satirist is that of a man of the world who is concerned about folly, which he sees everywhere, but who is moved to laughter rather than to indignation or rage. Examples may include: South Park, The Simpsons, to some extent Gulliver's Travels, Candide, The Loved One, etc.
Tragic: Based on Juvenal. An upright man looks with horror on the corruptions of his time, his heart consumed with anger and frustration. These are more serious works of satire. Examples may include: Brave New World, 1984, A Clockwork Orange, etc.
The Age of Reason: Background
Feeling as if they were leaving ignorance, blind faith, and
unscientific thought behind them, the movement called "The
Enlightenment" attempted to understand the human condition through
careful scientific observation, critical reasoning, and rational
thought. Here is logos at its best.
While we are simply glancing over this period by reading a few short works rather than longer ones, for those of you who wish to enhance your understanding and appreciation of this time period, please feel free to make the most of these links and the posts above this one.
First of all, a little info:
The Enlightenment is also referred to as the Neoclassical Period (c. 1660-1790) due to the influence of Classical literature on the writers of these centuries. General characteristics of the Enlightenment include a preference for logos (logic) and dislike for superstition. Odd then that Gothic literature makes its debut in this period.
We may break this long period up into three parts:
I. Restoration Period (c. 1660-1700): The period marks the restoration of the monarchy in England after a long period of Puritan domination in England. Where do the Puritans go? You're living there.
Authors such as John Dryden, Samuel Pepys, and Jean Racine and Moliere (in France) are good examples of this time period. Aphra Behn becomes the first female playwright of the English stage, and second in popularity to only John Dryden during her lifetime.
II. The Augustan Age (c. 1700-1750): This period is marked by the imitation of Virgil and Horace's literature
in English brought about by Pope's translation of the Iliad and Odyssey from its Greek tomb. Principal English writers include Addison, Steele, Swift, and Alexander Pope. In France, Voltaire is your man.
III. The Age of Johnson (c. 1750-1790): This period transitions into Romanticism. At the edges here, the writing has more in common with the next age we will cover: Romanticism. Major writers and thinkers include Dr. Samuel Johnson, Robert Burns, William Blake and Thomas Gray. In American lit this is called the Colonial Period and includes all them American leader-types like Jefferson, Ben Franklin, and such.
The 18th century had a passion for order, logic, and "reason." Partly due to the uncertainties of governments at the close of the 17th century and the rise of scientific advancement in philosophy and society. This was the age when Newton and Locke changed the ancient, outdated beliefs in the natural order of things. We remember these people, puffy powdered wigs and all, mainly due to how their thinking led to our own Revolution in 1776. Social grace, refinement, logic, and reason were the key words of the day.
But beneath all those wigs were minds that not only delighted in science and exploration, logic and reason, but also wit. They were nothing if not seriously interested in living...even with their adornment (in clothing and language, as well as Baroque music, for example).
During this time Britain expanded its borders, explored deeper into the African and American continents. London and Paris became world centers for business and economy boomed for these cultures. The Spanish and Dutch were close behind.
Queen Anne (last of the Stuart line) died without an heir in 1714. The Whigs threw the conservative Tory party out of office and granted succession to Anne's cousins from Hanover, Germany: George I (reigned 1714-1727), George II (1727-1760), and George III (1760-1820) who was born and reigned long in England.
The end of the century ended in a variety of upheavals including our own (the American Revolution, and the French Revolution) all stemming from the great gap between rich and poor and the ideas presented by a whole series of philosophers.
HOMEWORK: for Wednesday. Please read the following article and prepare to report to the class the highlights of the information you glean therein. Please sign up for a topic.
The Age of Enlightenment (web text)
While we are simply glancing over this period by reading a few short works rather than longer ones, for those of you who wish to enhance your understanding and appreciation of this time period, please feel free to make the most of these links and the posts above this one.
First of all, a little info:
The Enlightenment is also referred to as the Neoclassical Period (c. 1660-1790) due to the influence of Classical literature on the writers of these centuries. General characteristics of the Enlightenment include a preference for logos (logic) and dislike for superstition. Odd then that Gothic literature makes its debut in this period.
We may break this long period up into three parts:
I. Restoration Period (c. 1660-1700): The period marks the restoration of the monarchy in England after a long period of Puritan domination in England. Where do the Puritans go? You're living there.
Authors such as John Dryden, Samuel Pepys, and Jean Racine and Moliere (in France) are good examples of this time period. Aphra Behn becomes the first female playwright of the English stage, and second in popularity to only John Dryden during her lifetime.
II. The Augustan Age (c. 1700-1750): This period is marked by the imitation of Virgil and Horace's literature
in English brought about by Pope's translation of the Iliad and Odyssey from its Greek tomb. Principal English writers include Addison, Steele, Swift, and Alexander Pope. In France, Voltaire is your man.
III. The Age of Johnson (c. 1750-1790): This period transitions into Romanticism. At the edges here, the writing has more in common with the next age we will cover: Romanticism. Major writers and thinkers include Dr. Samuel Johnson, Robert Burns, William Blake and Thomas Gray. In American lit this is called the Colonial Period and includes all them American leader-types like Jefferson, Ben Franklin, and such.
The 18th century had a passion for order, logic, and "reason." Partly due to the uncertainties of governments at the close of the 17th century and the rise of scientific advancement in philosophy and society. This was the age when Newton and Locke changed the ancient, outdated beliefs in the natural order of things. We remember these people, puffy powdered wigs and all, mainly due to how their thinking led to our own Revolution in 1776. Social grace, refinement, logic, and reason were the key words of the day.
But beneath all those wigs were minds that not only delighted in science and exploration, logic and reason, but also wit. They were nothing if not seriously interested in living...even with their adornment (in clothing and language, as well as Baroque music, for example).
During this time Britain expanded its borders, explored deeper into the African and American continents. London and Paris became world centers for business and economy boomed for these cultures. The Spanish and Dutch were close behind.
Queen Anne (last of the Stuart line) died without an heir in 1714. The Whigs threw the conservative Tory party out of office and granted succession to Anne's cousins from Hanover, Germany: George I (reigned 1714-1727), George II (1727-1760), and George III (1760-1820) who was born and reigned long in England.
The end of the century ended in a variety of upheavals including our own (the American Revolution, and the French Revolution) all stemming from the great gap between rich and poor and the ideas presented by a whole series of philosophers.
HOMEWORK: for Wednesday. Please read the following article and prepare to report to the class the highlights of the information you glean therein. Please sign up for a topic.
The Age of Enlightenment (web text)
Spotlight on: John Milton
Milton helped shape the Restoration. Apart from Shakespeare and
Chaucer, he had a big hand in shaping English literature for centuries.
He created a true English "Epic" in Paradise Lost,
and this work is both important in literature and religion. The work
gives Satan a personality and human characteristics which we still
attribute to the fallen angel. His writing is religious and reverent in
tone, but he also has an aspect of humanity that his characters portray.
Milton was a Puritan and he was quite a scholar as well. He was an
advocate for divorce (having done so 3 times), went blind but continued
to write, and was even imprisoned briefly, his property seized. His
daughters helped him write "Paradise Lost" and "Paradise Regained"
taking down his dictation.
In England during the Restoration, the monarchy was overthrown after seven years of civil war (ending in 1649 with the beheading of Charles I). The Puritan Commonwealth reigned sternly from 1649-1660. Ending when Charles II (the Merry Monarch) was set back on the throne.
Anglicans and Puritans went head-to-head. Social status was challenged, religious conflicts created more sects and Christian orders. People began to think about how society could be better, what life after death might hold, etc. Additionally, the rise in the middle class and scientific experiments lead to a progressive Europe.
Change and severity were key words of the 17th century but also important was "reason" -- logic the code word of the day. There, amidst the coffeehouses in London, metaphysical wit and Cavalier writing led to the rise of the memoir and non-fiction--as found in newspapers, religious tracts, and scholarly works.
In England during the Restoration, the monarchy was overthrown after seven years of civil war (ending in 1649 with the beheading of Charles I). The Puritan Commonwealth reigned sternly from 1649-1660. Ending when Charles II (the Merry Monarch) was set back on the throne.
Anglicans and Puritans went head-to-head. Social status was challenged, religious conflicts created more sects and Christian orders. People began to think about how society could be better, what life after death might hold, etc. Additionally, the rise in the middle class and scientific experiments lead to a progressive Europe.
Change and severity were key words of the 17th century but also important was "reason" -- logic the code word of the day. There, amidst the coffeehouses in London, metaphysical wit and Cavalier writing led to the rise of the memoir and non-fiction--as found in newspapers, religious tracts, and scholarly works.
Thursday, February 16, 2012
Practice Test & Jonathan Swift
Today you are going to take a practice test using the Shakespeare plays you read or know. This essay test question is based on the free response on the AP exam. You will have only 40 minutes to take the exam, so use your time productively. Again, during the exam you will need to portion your time adequately to complete the three essay questions within the time limit. Today, then, is practice doing that.
If you can (particularly if you going to be absent tomorrow) please pick up a copy of Gulliver's Travels by Jonathan Swift from the library. You may also pick up Moliere as an extra credit option. Information about Jonathan Swift and Moliere will be posted tomorrow. Please read PART IV of Gulliver's Travels. You may read the other parts of the book for extra credit (see Friday's post).
HOMEWORK: The packet reading on John Milton is due tomorrow.
If you can (particularly if you going to be absent tomorrow) please pick up a copy of Gulliver's Travels by Jonathan Swift from the library. You may also pick up Moliere as an extra credit option. Information about Jonathan Swift and Moliere will be posted tomorrow. Please read PART IV of Gulliver's Travels. You may read the other parts of the book for extra credit (see Friday's post).
HOMEWORK: The packet reading on John Milton is due tomorrow.
Tuesday, February 14, 2012
King Lear: Act 5
So it's come to this at last. In Act 5, we are resolving our play. The characters have come to their catastrophe as set up in the climax from Act 3.
Act 5 is divided into three scenes:
Scene 1: Albany and Regan's armies are ready to kick some French butt, but that pesky letter changes Albany's mind as to who his true friends are. Edmund must decide which of Lear's children he is going to honor: Regan or Goneril.
Scene 2: The French are defeated. All is lost.
Scene 3: And finally, the scene to wrap up everything. Lear and Cordelia are caught and imprisoned. Edmund commissions their execution. Edgar and Edmund fight, with Edgar defeating his bastard brother. Then the body count begins to grow. Gloucester is dead. A messenger enters with the news that Lear's daughters are dead. Edmund confesses his crimes. Kent searches for Lear, but too late. Cordelia is dead. Lear arrives just in time to have his heart broken: his kingdom divided and he dies of "grief." Albany, Kent, and Edgar are left to pick up the pieces.
Here's the last Act in play video format:
Act 5 is divided into three scenes:
Scene 1: Albany and Regan's armies are ready to kick some French butt, but that pesky letter changes Albany's mind as to who his true friends are. Edmund must decide which of Lear's children he is going to honor: Regan or Goneril.
Scene 2: The French are defeated. All is lost.
Scene 3: And finally, the scene to wrap up everything. Lear and Cordelia are caught and imprisoned. Edmund commissions their execution. Edgar and Edmund fight, with Edgar defeating his bastard brother. Then the body count begins to grow. Gloucester is dead. A messenger enters with the news that Lear's daughters are dead. Edmund confesses his crimes. Kent searches for Lear, but too late. Cordelia is dead. Lear arrives just in time to have his heart broken: his kingdom divided and he dies of "grief." Albany, Kent, and Edgar are left to pick up the pieces.
Here's the last Act in play video format:
Act IV, Scene 6
Act IV, Scene 6 (Laurence Olivier)
Act V, Scene 1
Act V, Scene 2
Act V, Scene 3
Act V, end of play (Laurence Olivier)
Friday, February 10, 2012
Act Four: King Lear
The falling action of a 5-act play often occurs in the fourth act. At this point our protagonist is well on his/her way to his/her ultimate fate. What occurs here is like squeezing the action through a funnel--as we go further into the plot, the choices the characters make become limited, until no choice exists.
Let's take a closer look at King Lear's: Act Four.
Scene 1: Edgar finds his poor, now-blind father and agrees to escort him to the cliffs of Dover.
Scene 2: Goneril and Edmund (now a little closer than they were before) go back to Albany's castle and report what has transpired. Albany is upset and sides with Lear and Gloucester.
Scene 3: Here we are in the French camp. Cordelia returns and learns about her father from Kent and the Gentleman Knight.
Scene 4: Cordelia sends out a party to search for her father. In contrast, of course, with her other two sisters' behavior in Act III.
Scene 5: Regan finds out that Goneril and Edmund have become somewhat close. She would like the bastard for her own (now that her husband is dead). She becomes jealous of Goneril. Sibling rivalry, don't you know.
Scene 6: Edgar fools his father, who wishes to throw himself off the cliffs at Dover. Lear converses with Gloucester. Oswald is skewered by Edgar. A letter of treason is found!
Scene 7: Lear is taken to his daughter's camp. A doctor fears for Lear's health and mind.
HOMEWORK: Please post a response to Wit on the forum.
Let's take a closer look at King Lear's: Act Four.
Scene 1: Edgar finds his poor, now-blind father and agrees to escort him to the cliffs of Dover.
Scene 2: Goneril and Edmund (now a little closer than they were before) go back to Albany's castle and report what has transpired. Albany is upset and sides with Lear and Gloucester.
Scene 3: Here we are in the French camp. Cordelia returns and learns about her father from Kent and the Gentleman Knight.
Scene 4: Cordelia sends out a party to search for her father. In contrast, of course, with her other two sisters' behavior in Act III.
Scene 5: Regan finds out that Goneril and Edmund have become somewhat close. She would like the bastard for her own (now that her husband is dead). She becomes jealous of Goneril. Sibling rivalry, don't you know.
Scene 6: Edgar fools his father, who wishes to throw himself off the cliffs at Dover. Lear converses with Gloucester. Oswald is skewered by Edgar. A letter of treason is found!
Scene 7: Lear is taken to his daughter's camp. A doctor fears for Lear's health and mind.
HOMEWORK: Please post a response to Wit on the forum.
Thursday, February 9, 2012
Wit (Forum Post)
Please complete the play Wit and post a response to the play based on the posed question on the forum.
After reading the play, take a look at this ending scene from the film with Emma Thompson.
After reading the play, take a look at this ending scene from the film with Emma Thompson.
Wednesday, February 8, 2012
King Lear: Act Three & Freytag's Theories
When we discuss plot and its construction (and the ultimate effect on reader, viewer, or character in a work), the 19th century German playwright Gustav Freytag came up with this handy graphic organizer to explain how plays (mainly from his time period and working backward toward the Renaissance) function.
Today, in English-type classes, we use (and misuse) Freytag's pyramid for the books we have you read.
So some literary theory in a quick nutshell:
According to Freytag, there are five distinct movements in a drama that make-up the dramatic arc.
The point of the rising action is to complicate or develop the basic conflict by introducing secondary conflicts
The point of climax is the turning point of the story. Some English teachers call this the TURNING POINT, as opposed to CLIMAX. It's the same thing, essentially. The climax is when the main character makes the single big decision that defines the outcome of his story and/or defines who he is as a person. The climax occupies the middle of the story, and contains the point of climax: the highest point of dramatic tension.
But the phase can be broken down further:
What would you consider to be Lear's good or bad decision? What tragic flaw is exposed in the climax? How does the climax connect the first two phases of the dramatic arc with the last two?
Today, in English-type classes, we use (and misuse) Freytag's pyramid for the books we have you read.
So some literary theory in a quick nutshell:
According to Freytag, there are five distinct movements in a drama that make-up the dramatic arc.
- Exposition
- Rising Action
- Climax
- Falling Action
- Denouement, Resolution, or Catastrophe
- A comedy ends BETTER for the protagonist
- A tragedy ends WORSE for the protagonist
The point of the rising action is to complicate or develop the basic conflict by introducing secondary conflicts
The point of climax is the turning point of the story. Some English teachers call this the TURNING POINT, as opposed to CLIMAX. It's the same thing, essentially. The climax is when the main character makes the single big decision that defines the outcome of his story and/or defines who he is as a person. The climax occupies the middle of the story, and contains the point of climax: the highest point of dramatic tension.
But the phase can be broken down further:
- The beginning of the third phase (Climax) is marked by the protagonist having cleared away the barriers set forth in the first two stages. He is usually ready to engage with his adversary (antagonist). Both protagonist and antagonist are driven to win against the other. The third phase sees them going against one another in direct, or nearly direct, conflict.
- This struggle results with neither character completely winning, nor losing (stalemate). Usually, each character's plan is partially successful, and partially foiled. The protagonist makes a decision which shows us his moral quality, and this decision will determine his fate. In a tragedy, the protagonist here makes a bad decision, that often connects or explains the appearance of his tragic flaw.
What would you consider to be Lear's good or bad decision? What tragic flaw is exposed in the climax? How does the climax connect the first two phases of the dramatic arc with the last two?
Tuesday, February 7, 2012
Wit
Please read the play Wit by Margaret Edson. Here's a bit of background for you and a discussion with the author.
HOMEWORK: Please read Wit by Friday. We will continue to read King Lear in class.
HOMEWORK: Please read Wit by Friday. We will continue to read King Lear in class.
Monday, February 6, 2012
King Lear: Act Two
After answering any questions about John Donne & the Metaphysical poetry selections (George Herbert, Andrew Marvell), we will continue our reading of King Lear: Act Two.
In Act Two, Scene One, Edmund further complicates his subplot by forcing his brother to flee under the pretense that Gloucester is hunting for him. Gloucester, when he sees his bastard son cut and wounded by the "false" Edgar, disowns his true son and elevates Edmund as his rightful heir. Regan and Albany arrive and believe Edmund, taking him into their service.
In Scene Two: Kent (still in disguise) meets Oswald and they get into a fight. The result is that Kent is punished for his behavior and he is put in the stocks.
In Scene Three: Edgar, having run for his life, disguises himself as the poor beggar Tom o'Bedlam.
In Scene Four: Lear arrives at Gloucester's castle (being between Goneril and Regan's castles). He finds Kent locked up in the stocks and finds that Regan, like her sister in Act One, has refused to see him. Lear goes mad when he is reduced to giving up all his knights, and storms out of the castle, just as a storm begins. Regan and Goneril shut Gloucester's castle to their father, providing him no shelter from the storm and cementing their separation from their father.
These complications help to develop our plot and, as a consequence, also develop character.
In Act Two, Scene One, Edmund further complicates his subplot by forcing his brother to flee under the pretense that Gloucester is hunting for him. Gloucester, when he sees his bastard son cut and wounded by the "false" Edgar, disowns his true son and elevates Edmund as his rightful heir. Regan and Albany arrive and believe Edmund, taking him into their service.
In Scene Two: Kent (still in disguise) meets Oswald and they get into a fight. The result is that Kent is punished for his behavior and he is put in the stocks.
In Scene Three: Edgar, having run for his life, disguises himself as the poor beggar Tom o'Bedlam.
In Scene Four: Lear arrives at Gloucester's castle (being between Goneril and Regan's castles). He finds Kent locked up in the stocks and finds that Regan, like her sister in Act One, has refused to see him. Lear goes mad when he is reduced to giving up all his knights, and storms out of the castle, just as a storm begins. Regan and Goneril shut Gloucester's castle to their father, providing him no shelter from the storm and cementing their separation from their father.
These complications help to develop our plot and, as a consequence, also develop character.
Thursday, February 2, 2012
John Donne & His Poetry
The Metaphysical Poets
appeal to the head (or soul). The poems can be read as physical love
poems, but there is often a second meaning that is more spiritual. When
reading a metaphysical poem, it is always helpful to ask "How can the
poem be read literally, but ALSO metaphorically--often commenting on God
and holy devotion." Donne suggests the macrocosm and microcosm. That
what occurs in the larger picture is also what affects the smaller, more
intimate picture. "As above, so below" and the theory of
correspondence: that the individual is the universe. What happens to the individual, happens to the world.
Please read and listen to Donne's poems and take a few notes in your notebook regarding them and your analysis. You should note conceit. Note also artificial objects compared to living things, astrology, and animals. Identify the poetical argument in these poems and note down questions or observations.
John Donne:
The Sun Also Rises (Hemingway), For Whom the Bell Tolls (Hemingway), Death Be Not Proud (John Gunther), and many others.
Please read and listen to Donne's poems and take a few notes in your notebook regarding them and your analysis. You should note conceit. Note also artificial objects compared to living things, astrology, and animals. Identify the poetical argument in these poems and note down questions or observations.
John Donne:
- The Flea
- The Flea (animated)
- The Flea (another animated)
- The Flea (text)
- The Sun Rising
- The Sun Rising (another reading)
- The Sun Rising (text)
- The Good Morrow (Richard Burton)
- The Good Morrow (Fiona Shaw)
- The Good Morrow (Text)
The Sun Also Rises (Hemingway), For Whom the Bell Tolls (Hemingway), Death Be Not Proud (John Gunther), and many others.
King Lear: Act One
In Act One, as always in Shakespearean plots, we are introduced to the primary plot. In this case King Lear has decided to retire and divide his kingdom among his three daughters. Two of them are married. The youngest is about to be married. We have begun to see the relationships between characters that will grow through the plot. Additionally (but not traditionally) we are also introduced to the secondary plot (the bastard Edmund's machinations against his father and brother).
What you MUST know:
What you MUST know:
A. Lear has banished both his youngest daughter Cordelia and the Earl of Kent (his most loyal supporters). Goneril and Regan make a sisterly pact, fearing their father's future wrath and inconsistency.HOMEWORK: Please read and complete the homework packet on the Metaphysical Poets. This homework is due Monday, Feb. 6.
B. Lear divides his retirement time living first with Goneril (his eldest) and Regan (middle child). In a huff, he leaves Goneril to go live with Regan.
C. Edmund tricks both his brother Edmund and his father into believing that each other is unfaithful to the other.
D. Kent returns in disguise to serve his liege. He sticks up for Lear and runs afoul of Oswald, Goneril's servant.
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