AP English Literature & Composition

The Tempest: Act IV & V

2012-01-24T13:40:00.001-05:00

Please complete your reading of Acts IV & V. There will be a quiz on the play when you return from mid-term week.

Act IV & V have only one long scene each, but much happens to reconcile the plot. First of all, Act IV opens with Prospero's confrontation of Ferdinand's true feelings for his daughter. As his father was tested by the harpy, Ferdinand makes his feelings for and intentions to marry Miranda clear.

Prospero is pleased and grants the young lovers a wedding present: a play within a play. The silly scene with the goddesses: Iris, Ceres, and Juno are incidental. They were meant to please the audience with grand costumes and spectacle. The Masque has an interesting history of which you may inform yourself by reading this. Each goddess represents the greatest human master/servant relationship, i.e, marriage. Iris represents the rainbow--or as the heavenly promise of prosperity for a newly wedded couple. She is followed by the alighting of Ceres, goddess of plenty and the hearth, and finally Juno (representing love) who blesses the union of Ferdinand and Miranda. Juno was, incidentally, the patron goddess of women and makes up part of the Roman trinity: Jupiter, Juno, and Minerva.

The show is interrupted by the treachery of Stefano & Trinculo. However, the two are stopped by their own vanity and greed, then Prospero sets magical hell-hounds and goblins on the clowns.

Act V finds Prospero casting his last magic, much like Shakespeare, himself. Ariel enchants and gathers Prospero's enemies. Here Prospero explains his plot and confronts his wicked brother. In a tragedy, Prospero's revenge might be bloody (like in Titus Andronicus, Macbeth, or Hamlet), but this is a comedy and so Prospero takes the moral high-ground and forgives the trespasses of his enemies. Miranda has married the next king of Naples (a step up from being a duke of Milan). King and son are reunited, King and servants are reunited and scolded, and even the shipmaster and boatswain return with the news that all is well. Finally, Prospero is as good as his word and frees Ariel, as promised. Everyone lives happily ever after.

Here's a few performances of The Tempest:
Julie Taymor's 2010 film (trailer) with Helen Mirren.
BBC Animated Shakespeare (part 1)
BBC Animated Shakespeare (part 2)
Christopher Plummer in the Stratford Festival production of The Tempest: Act 5
Sir John Gielgud performs the Epilogue

The Tempest: Act III

2012-01-23T14:01:00.004-05:00

Act III is divided into 3 scenes, each detailing the theme of treachery and power. In the first, Ferdinand is compelled to move logs, a pointless task, but one he is willing to do. Miranda offers to take up his burden out of care for her father's new "slave." Compare the servants (those who serve) in this play with each other: Trinculo & Stefano (servants of the king), Ariel & Caliban (servants to Prospero), Gonzalo (counselor to the king), the spirits (servants of Prospero's magic), and the shipmen (servants to the king or crown, as well as to the safety of those aboard). Miranda represents compassion, as all good masters must show to their charges, and she's a chip off the ol' block. The first scene in Act III allows us to see the lovers fall more deeply in love than their first meeting. By the fifth act, the pair are inseparable, playing chess together, just as Prospero plays "chess" with his brother Antonio and the king.

Act III, Scene II deals with Caliban, Stefano, & Trinculo. Like in Act II, Scene I, Caliban convinces Stefano to do away with his master. Some silly stage business and "thumping" goes on as well.

Act III, Scene III deals with the treachery of the king and his court. In a scene reminiscent of the Aeneid, Prospero (using Ariel as his mouthpiece) confronts the king with his crimes. We can consider this act to be the starting turning point of the play. It is the darkest moment for some of our characters (Alonso, Sebastian, & Antonio) as they are confronted with their terrible guilt.

Please finish reading the Tempest on your own. There will be a brief quiz on it when we return Monday, January 30.

The Tempest: Acts 1 & 2

2012-01-20T14:08:00.000-05:00

The first act of a Shakespeare play establishes exposition. We are generally introduced to the main plot, its central or important characters, the setting, major conflict, and so forth. In our case, The Tempest, the exposition is explained in Act 1, Scene 2. We have been introduced to all our major characters: Antonio, Prospero, Alonso, Gonzalo, Sebastian, Ariel, Caliban, Ferdinand and Miranda.

Act II complicates the plot as we get to know the villains of our play. Antonio (that wicked brother of Prospero) convinces Sebastian (brother to the king) to attempt regicide--they are stopped by Ariel, however, before such treachery can occur. In scene ii, too drunken fools Trinculo and Stefano meet Caliban and get him drunk. Caliban, thinking Stefano is a god for giving him 'firewater', convinces the two fools to kill Prospero (more treachery) and take over the rule of the island.

If you're keeping score:

Prospero (the right ruler of Milan) is overthrown by his evil brother Antonio, and is exiled
Prospero exacts his revenge by sinking the ship carrying his brother and the King of Naples, et al.
Prospero wants Miranda to fall in love and marry Ferdinand (the king's son), but forces him into "slavery" for a while until Miranda and he can confirm their honest love for each other. Nothing gets to a girl, guys, but making her sorry for you...or so Shakespeare seems to suggest
Sebastian wants to overthrow Alonso (the King of Naples)
Caliban wants to overthrow Prospero
Ariel wants his freedom

HOMEWORK: Please finish reading Act II.

Conceit, Anastrophe, Paradox, & The Pastoral

2012-01-19T13:49:00.000-05:00

Language was changing fast and creatively during the Elizabethan period. While spelling and syntax (word order) was shifting constantly, it is during this time that English as a language gathers to itself a huge word-hoard (kenning), making English one of the most beautiful and flexible languages in the world (if inconsistent).

The following are a few favorite rhetorical strategies used constantly in the period:

Conceit (an old word for concept) is an elaborate, (read here intelligent or intellectually creative, perhaps far-fetched) poetic comparison or image (analogy, simile, or metaphor) The comparison may be brief or extended. In John Donne's "Valediction: Forbidding Mourning" for example, lines 21-32, the poet compares his soul and his lover's--first to gold and then to a drawing compass (whose foot in the center allows the other foot to draw a perfect circle).

Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to aery thinness beat,

If they be two, they are two so
As stiff twin compasses are two ;
Thy soul, the fix'd foot, makes no show
To move, but doth, if th' other do.

And though it in the centre sit,
Yet, when the other far doth roam,
It leans, and hearkens after it,
And grows erect, as that comes home.

When we compare, we are often using conceit. Robert Bly (I'm paraphrasing) states that this gap in logic (forcing us to compare one unlikely thing to another) is the poetic chasm that all writers and poets risk when attempting to use these literary devices (specifically analogy, metaphor, simile, symbol, allegory, etc.). If the poet does this skillfully, we enjoy the leap and land on the other side (reader sees the connection), otherwise the comparison fails.

Anastrophe: The order unnatural of syntax in a sentence. Shakespeare will use this a lot. As we read the Tempest, pay attention to this. Shakespeare uses anastrophe usually to keep a meter and rhythm to his lines. Metered lines (all the rage in this period) were easier for actors to memorize (hence their use). Further examples can be found on the hyperlink (or: examples on the hyperlink can be found).

Paradox: A self contradictory or absurd (albeit sometimes plausible) statement. It is often used to present an idea in a new way (to make it sing, although it may not have a voice). An example from Julius Caesar: "Cowards die many times before their deaths" (Act II, Scene ii)

Pastoral: A work of art (often plays, poems, dances, visual art, and music) that deals with nature and humans in such a natural setting. As You Like It, Two Gentlemen of Verona, Timon of Athens, Midsummer Nights' Dream, King Lear, and even The Tempest are considered to have Pastoral themes.

HOMEWORK: The Elizabethan packet of songs and court poems is due tomorrow.

Extra credit work for this marking period: the Ballad, Once & Future King, Your own version of Hell or such, and/or a travelogue or bestiary is due Monday, Jan. 22.

Spotlight on: Shakespeare & The Tempest

2012-01-18T13:20:00.000-05:00

Likely the most influential writer in all of English literature and certainly the most important playwright of the English Renaissance, William Shakespeare was born in 1564 in the town of Stratford-upon-Avon in Warwickshire, England.

Around 1590 he left his family behind and traveled to London to work as an actor and playwright. Public and critical success quickly followed, and Shakespeare eventually became the most popular playwright in England and part owner of the Globe Theater.

His career bridged the reigns of Elizabeth I (ruled 1558-1603) and James I (ruled 1603-1625). Wealthy and renowned, Shakespeare retired to Stratford, and died in 1616 at the age of fifty-two.

Shakespeare's works were collected and printed in various editions in the century following his death, and by the early eighteenth century his reputation as the greatest poet ever to write in English was well established.

The Tempest is Shakespeare's last play. It is often classified as a "romance" and has elements of tragedy and comedy. Like many other plays, the play is a revenge play, but the conclusion Prospero comes to is that revenge isn't worth a fig. The wise man will turn from revenge, forgive the trespasser, and save himself (and others) from tragedy.

The Tempest takes place in a green world. Like the forest in Midsummer, on the island anything can happen. Like Marlowe's Dr. Faustus or Shakespeare's Midsummer Night's Dream, it is filled with surprises, special effects, and magic. Some of its comedy comes from commedia dell'arte, but other than stage business, the play seems to be a very personal "farewell to the stage" -- since it was Shakespeare's last production. It captures such historical works as A Discovery of the Barmudas (1610), A True Declaration of the Estate of the Colonie in Virginia (1610), among other pamphlets and the popular topic of the day as England explores America. This is Shakespeare's opinion, some critics say, about what the Bard thought about colonization and America. It is often seen as an allegory, a farewell, a revenge comedy, a romance. It is the culmination of Shakespeare's skill and stands out as one of his best plays.

Further information on the Tempest can be found here.

And info from the Folger library here.

Shakespeare's Life

Shakespeare's Theatre

Drama majors (and other interested students): It behooves you to learn about Shakespeare's theater, his life, and information about the Folger Library (a good source to carry with you to college). Please check out these links and take notes on the subject. By reading and taking notes on academic material, we are reinforcing learning. Later in your life this trivia and knowledge may translate into being well-read, self-confident, and interesting. The skills you learn now translate into practice for upper level post secondary education (college) and post-graduate work.

Preparing for the Midterm: Part One

2012-01-17T13:04:00.004-05:00

Multiple Choice:
The multiple choice section of the exam tests your reading comprehension. As such, the texts selected are often abstract (i.e., poetic or imaginative writing). They will be chosen from a variety of literary time periods (usually from the Elizabethan period to Post-Modern). As we have not covered all of these time periods so far (mid course), what you learned from previous years may help you.

You can also look here for assistance. Literary Time Periods.

Some students have difficulty with multiple choice exams. Here's a few pointers:

Look at the entire bank of questions before you answer. The writers of the test are suggesting an “interpretation” that will color the passage or text.
Eliminate obvious incorrect answers
Enter each answer into the “equation” – make sure it makes the most sense!
You may find it helpful to read the passages twice. Once to begin, once after you’ve looked at what the questions are asking.
Only omit if you have no idea as to the answer. If you can narrow your answers down to at least 50%, then guess. It is statistically to your advantage.
Often, go with your first instinct.
Work slowly, but with purpose. Keep track of time.

Finding sample exams
You cannot cram for this exam. You get better at reading comprehension by reading (so far in this course alone we have read over 15 major works, not counting essays, single poems, or small selections of the Western Canon!) The homework you have been given, the responses to the forum, etc. have all been practice. If you've skipped much of this, you have skipped your rehearsal or practice.

What you CAN study is the this:

The type of questions LIKELY to be on the exam. Being familiar with previous exam questions can be somewhat helpful, but not necessary
Knowing the literary periods and trends for your essays
Knowing your literary forms and techniques
Reviewing your grammar

Apart from the few samples I give you in class, please check the AP College Board Website (link on the link section of this blog as well). Good luck!

Renaissance Writers: Part II

2012-01-13T13:34:00.002-05:00

Today we will pick up where we left off. Additionally, we will learn about these writers:

Edmund Spenser
Robert Southwell
Robert Greene
George Peele
Thomas Kyd
Christopher Marlowe
Fulke Greville
Sir Walter Raleigh
Thomas Hariot
Thomas Campion
Sir John Davies
Michael Drayton
Mary Sidney Herbert
Emilia Lanyer

Any author not covered today will be dealt with when we return Jan. 17.

HOMEWORK: Please remember to post your responses to the questions on the forum concerning Titus Andronicus. Additionally, please read the handout article: "One Day at a Time: What Daily Life Was Like" for Elizabethan citizens for Tuesday, Jan. 17.

Renaissance & Elizabethan Writers

2012-01-12T14:01:00.000-05:00

Today we will begin learning about (and giving our presentations on):

Sir Thomas More
John Heywood
Thomas Sackville
Sir Thomas Wyatt
John Lyly
John Foxe
George Gascoigne
Sir Philip Sidney
Thomas Nashe

and if time allows: Edmund Spenser

HOMEWORK: Please post your response to Titus Andronicus on the forum.

Titus Andronicus Questions

2012-01-10T13:32:00.001-05:00

As we move toward a conclusion of our play (we're likely to finish tomorrow), please respond to the play on our classroom forum for Friday, Jan. 13. Response questions can be found on the forum (there are 3) and the script of Titus Andronicus can be found here.

Elizabethan Theater History

2012-01-04T23:07:00.002-05:00

It occurs to me that I assumed you knew more than you probably did about Theater History. Unsure of how my colleagues cover Shakespeare each year (and whether or not you come from a tradition that includes the study of Shakespeare) it's my duty to give you a little info.

Theater as we know it in Shakespeare's day as being performed in a typical PLAYHOUSE didn't occur until 1576. It was James Burbage who built the first playhouse called "the Theater"--a permanent building dedicated to showing plays for commercial interest. Before then, plays were generally performed in courtyards and inns or guild houses. Private showings for the nobles or upper classes would be commissioned as well in indoor theaters.

Actors joined an acting company. Shakespeare, for example, first belonged to the Chamberlain's Men, then to the King's Men (after Elizabeth's death). Only men were allowed to act in the Elizabethan theater. Younger actors (boys) often played the female roles because they would have looked more like women (i.e., no beard). This helps to explain why so many of Shakespeare's plays include cross-dressing. New actors were often given smaller roles so as to train with the experienced actors--who often played the major roles.

Plays were written (often in collaboration) by the actors in the company (who also doubled as the house manager, director, props master, producer, etc.) This helps to explain why some characters in Shakespeare's plays disappear mid play or return as new characters in the 4th or 5th acts. It's hard to be on stage while also taking money at the door.

Lines for a play were written on sides and distributed to the company members. It would be rare for an actor to have a complete script (the writer would, of course) but printing costs money, so copies were kept at a minimum. This helps explain why there are A sides and B sides to Shakespeare's works. Some lines or sides were changed by the actors or the writer during the performances. Famous actors might even change the author's lines by slipping in a bit of well-rehearsed and well-known comedic business for the audience's benefit. Finally, having one's works collected in a book or quarto would have been rare. Scripts that got out of the hands of a company could be stolen by other theater companies, so copies were not passed around generally. The King's Men must have thought a lot about Shakespeare to have his works printed and bound! Luckily they did--or we could not frustrate future high school students!

More information about all of this can be found here.

Titus & Titus Andronicus

2012-01-04T13:05:00.001-05:00

If we were to divide Shakespeare's tragedies, a good deal would take place in Rome or Greece. These plays include: Titus Andronicus, Coriolanus, Julius Caesar, Anthony & Cleopatra, Troilus & Cressida, Timon of Athens (Greece), etc., while others take place in Italy (Romeo & Juliet, for example). Titus Andronicus is based on the story of Procne and Philomela found in Ovid's Metamorphoses. Procne avenges the dismemberment of her sister Philomela, whose tongue is cut out after she is raped by Procne's husband Tereus, by killing her son and feeding him to her husband. Just as Procne is driven by revenge, the characters in Titus Andronicus are driven by revenge fueling the rape and carnage that occurs throughout the play. Some of Titus' sons are killed during the war with the Goths, and as a result Titus sacrifices Alarbus, the oldest of Tamora's sons, perpetuating the conflict between the Andronicus family and Tamora. With the intention of revenge, Tamora orders her sons Chiron and Demetrius to rape Lavinia, Titus' daughter. Not only is Lavinia raped, but she is brutally dismembered as her tongue and hands are cut off. Titus eventually takes revenge on Tamora by killing and then cooking Chiron and Demetrius into a pie and serving it to the Queen.

The play has characteristics similar to the work of Seneca, specifically his play Thyestes, which included horrific scenes of severed hands, cannibalism, and rape. Although violence was not uncommon in Elizabethan plays, Titus Andronicus stands out due to the volume and extremity of the violent acts committed. Unlike his other works, the play contains an uncanny number of crude and savage moments, which has sparked debate among critics as to whether or not the play was actually composed by Shakespeare.

Shakespeare likely would have been familiar with from Ovid's work, or Livy's work The History of Rome. It has been noted by critics that the play contains very few subplots in contrast to other works by Shakespeare such as Twelfth Night and A Midsummer Night's Dream.

Titus (1999)
Director: Julie Taymor (Across the Universe 2007; Frida 2002)

Cast (in order of appearance)
Osheen Jones.... Young Lucius
Dario D'Ambrosi .... Clown
Anthony Hopkins .... Titus Andronicus
Jessica Lange.... Tamora
Raz Degan .... Alarbus
Jonathan Rhys Meyers.... Chiron
Matthew Rhys.... Demetrius
Harry J. Lennix.... Aaron
Angus Macfadyen.... Lucius
Kenny Doughty.... Quintus
Blake Ritson.... Mutius
Colin Wells.... Martius
Alan Cumming.... Saturninus
Constantine Gregory.... Aemelius

Trivia: Director Julie Taymor fought against an NC-17 rating for the film, but finally agreed to make cuts in the Roman orgy scene in order to obtain an R rating. None of the gruesome violence, however, was considered inconsistent with an R rating.
• Following the death of Caesar, the two princes' supporters carry banners with the same colors as modern Rome's two rival soccer teams: A.S. Roma (yellow/red) and S.S. Lazio (white/pale blue).
• The microphone used during the election at the beginning of the movie sports the logo SPQR News, SPQR, stands for "Senatus Populusque Romanus" which means "the Senate and people of Rome." The letters were used to denote official entities. They can still be seen in many parts of the city of Rome to this day.
• In a TV profile on British TV in 2002 Hopkins confirmed that he had found the experience of working on this film so stressful that he decided at the time to retire from film acting. In the same interview Hopkins points out that in the dinner scene towards the end of the film he mimics the great British 'Knight' actors of Shakespeare, John Gielgud, Ralph Richardson and Laurence Olivier
• Goofs: Continuity: The position of the spoon as Lucius jams it down Saturninus' throat.

Titus Andronicus (Prep)

2012-01-03T12:40:00.001-05:00

Titus Andronicus is believed to be Shakespeare's first tragedy. He may have co-authored it with George Peele (although we can't be certain) between 1588 and 1593. Popular in his day, the play is thought to be needlessly violent and the most bloody of all his revenge plays.

The play is set at the end of the Roman Empire and tells the fictional story of a Roman general, Titus, who runs afoul of Tamora, Queen of the Goths. As you watch the play/film (see below) please take notes on the following for your notebook.

Major Characters:

Titus Andronicus – A renowned Roman general
Tamora – Queen of the Goths; afterwards Empress of Rome
Aaron– a Moor; involved in a sexual relationship with Tamora
Lucius – Titus's eldest son
Lavinia – Titus's daughter
Marcus Andronicus – Titus's brother
Demetrius – Tamora's son
Chiron – Tamora's other son; allusion to the centaur Chiron
Saturninus – Son of the late Roman Emperor; afterwards declared Emperor
Bassianus – Saturninus's brother; in love with Lavinia

Minor Characters:

Quintus – Titus's son
Martius – Titus's son
Mutius – Titus's son
Young Lucius – Lucius's son
Publius – Marcus's son
Nurse
Clown
Sempronius – Titus's kinsman
Caius – Titus's kinsman
Valentine – Titus's kinsman
Alarbus – Tamora's son (non-speaking role)

Themes/Motifs:

Revenge
Human Kindness & Pity (and its limitations) (Cruelty, as well)
Limbs (usually being hacked off)
Animals
Astrology (reference to Fate and the stars)

Allusions:

Ovid's Metamorphoses (the story of Philomela)
Seneca's play Thyestes (the myth of the House of Atreus--The Orestia)

Information about Julie Taymor (director; also directed The Lion King on Broadway, Across the Universe, Spiderman the Musical (on Broadway) and Frida) and the cast of Titus (1999)

The Problem with Shakespeare

2012-01-03T12:08:00.003-05:00

In the hands of a skillful director, with excellent actors and performed live, Shakespeare can be quite enjoyable. Having to read Shakespeare in an English or Drama class can be torturous at best. Still, it is important to get comfortable with Shakespeare's language. It is the most difficult literature you are likely going to have to encounter on the AP English Lit exam.

Up to now, much of classical literature was translated. Starting here with Shakespeare (for our purposes), the modern English language is formed and solidified into the language you are familiar speaking today. Prior to and during Shakespeare's time, the grammar and rules of English were not fixe^d.Shakespeare's plays helped contribute to the standardization of the English language, with many Shakespearean words and phrases becoming embedded in our language.

Did you know that Shakespeare created these words?:

Accommodation (Othello)
Addiction (Henry V & Othello)
Advertising (Measure for Measure)
Aerial (Othello)
Alligator (Romeo & Juliet)
Anchovy (Henry IV)
Arch-villain (Timon of Athens)
Assassin (Macbeth)
Bandit (Henry VI)
Bedazzled (The Taming of the Shrew)
Bedroom (Midsummer Night's Dream)
Belongings (Measure for Measure)
Birthplace (Coriolanus)
Bloodstained (Henry IV)
To cater (verb) (As You Like It)
To champion (verb) (Macbeth)
Cold-blooded (King John)
Coldhearted (Anthony & Cleopatra)
Critic (noun) (Love's Labour's Lost)
To dislocate (verb) (King Lear)
Distasteful (Timon of Athens)
Downstairs (Henry IV)
To drug (verb) (Macbeth)
Embrace (Henry VI)
Enthroned (Antony & Cleopatra)
Eyeball (The Tempest)
Fashionable (Timon of Athens)
Flawed (King Lear)
Fortune-teller (The Comedy of Errors)
Freezing (Cymbeline)
Half-blooded (as in Prince) (King Lear)
Hot-blooded (King Lear)
Immediacy (King Lear)
Inauspicious (Romeo & Juliet)
Laughable (the Merchant of Venice)
Leaky (The Tempest)
Mimic (Midsummer Night's Dream)
Moonbeam (Midsummer Night's Dream)
Motionless (Henry V)
Noiseless (King Lear)
to Numb (verb) (King Lear)
Outbreak (Hamlet)
Puking (As You Like It)
Puppy-dog (King John/Henry V)
Restoration (King Lear)
Schoolboy (Julius Caesar/Much Ado About Nothing)
Shooting Star (Richard II)
Shudder (Timon of Athens)
Silliness (Othello)
Tardiness (noun) (King Lear)
Time-honored (Richard II)
Unappeased (Titus Andronicus)
Uncomfortable (Romeo & Juliet)
Watchdog (The Tempest)
Well-read (Henry IV)
Worthless (Henry VI)

And many more. Shakespeare is also one of the most quoted and alluded to authors of all time (right next to god, if you consider the Bible). He has influenced us in ways we can only imagine. Still, he remains problematic for most young people who think Shakespeare worthless (even if he DID create the word....)

An Introduction to the Renaissance

2012-01-02T22:48:00.004-05:00

The Renaissance: A Short Introduction
Class & Homework: Please research the following items and complete the handout on key concepts of the Renaissance to turn in by Monday, Jan. 9. You will find the appropriate links here:

The Great Chain of Being...
Humanism...
Imitation...
The Reformation...

Finally, please research the following people (who are they, what did they do, etc.):

Kings and Queens:
The House of Tudor...

Henry VII
Henry VIII
Edward VI
Queen Jane
Mary I
Elizabeth I

The House of Stuart...

James I of Scotland
Charles I
Charles II
James II

The Common Wealth...

Oliver and Richard Cromwell...
William III and Mary II of Orange...

Our journey into the Renaissance will primarily cover only England and English Literature. Those of you taking (or having taken) AP Art History or World History may remember that there are very important people in the Renaissance of Europe. While we are not covering them thoroughly, they are excellent to know and familiarity with the following is helpful:

Leonardo da Vinci
Nicolaus Copernicus
Galileo
Tycho Brahe
Johannes Kepler
Donatello
Botticelli
Michelangelo
Raphael (not the teenage mutant turtle)
Hieronymus Bosch
the Medici Family
The music form The Madrigal
English musician: William Byrd
Claudio Monteverdi (Italian Musician)
Petrarch
Giovanni Boccaccio
Niccolò Machiavelli

A few excellent web offerings (hopefully your Art Major teachers have covered this material, but if not, please watch for your own information/education) These are optional resource materials:
Judith Wechsler's films about Renaissance and Modern Painters
Art: Western Art: Renaissance Art I Video Lecture
Renaissance Dance: The Pavane; The Galliard; The majesty of Renaissance Dance
Renaissance Theater (video lecture)
Renaissance Architecture
Renaissance Music (video lecture)
Birth of a Dynasty: The Medici Documentary

There's a lot more than Shakespeare out there. While Shakespeare is undoubtedly our most famous playwright and the foundation of our modern English language literature, he is by no means the only writer of his time.

RESEARCH ASSIGNMENT: Please sign up for one of the following authors and prepare a short 2-3 minute speech given to the class in which you explain the importance of the author and his/her impact on the English Renaissance or future generations (i.e., why is this person important?) You will find the information you need at this website. Your job will be to read the information presented, sift through the material, and take notes on the most relevant information to bring back to the class. Have your research completed by the beginning of next week (right after our viewing of Titus Andronicus).

Authors:

Sir Thomas More
John Heywood
Thomas Sackville
Sir Thomas Wyatt
John Foxe
George Gascoigne
John Lyly
Thomas Nashe
Sir Philip Sidney
Edmund Spenser
Robert Southwell
Robert Greene
George Peele
Thomas Kyd
Christopher Marlowe
Sir Walter Ralegh
Thomas Hariot
Thomas Campion
Mary Sidney Herbert
Sir John Davies
Michael Drayton
Fulke Greville
Emilia Lanyer

HOMEWORK: Complete the handout for notes on key concepts of the Renaissance Unit. This is due Monday, Jan. 9. Please research the author you signed up for and prepare a 2-3 minute speech to the class starting Thursday, Jan. 12.

Paradisio: A Brief Glimpse of Heaven

2011-12-31T15:39:00.002-05:00

As the Inferno and Purgatorio are divided into levels (rings or plateaus) the Heavenly realm is divided into heavenly bodies (i.e., the planets and satellites). Beatrice informs Dante that attaining knowledge through sensory perception and reason are insufficient for grasping the spiritual realities of the heavens. Divine power is distributed among the stars. Each heavenly body represents a portion of the whole Divine picture.

Dante arrives in the first canto where we left him in Purgatorio (i.e., at the top of Mount Purgatory). This is the terrestrial paradise (still attached to Earth) spoken of in Genesis, before the fall. Dante and Beatrice's ascension to the celestial realm occurs as Dante stares into Beatrice's eyes, which are themselves fixed on the sun. Lovely.

Our first stop in Heaven is the moon. Unlike Buzz Aldrin, Dante finds the moon inhabited. He speaks to Piccarda Donati (the sister to Gemma Donati, Dante's wife--and sister to Corso Donati, Dante's brother-in-law who was partly responsible for Dante's excommunication. Dante is told in the Purgatorio that when Corso Donati dies, he will be lost to the Inferno.) and the Great Constance (wife to Emperor Frederick II). The moon is assigned to those who for one reason or another did not maintain their religious vows. The traditional literary/classical significance of the Moon is a satellite devoted to Diana, the virgin goddess, and the planet of "mutability or inconstancy"--Oh, inconstant Moon! (be careful boys with those "inconstant virgins...!")

Next comes Mercury. Mercury is named for the Roman messenger god who interceded between Heaven and Earth (gods and mortals, respectfully). There are various religious discussions, the primary one concerning why God became a man in the form of Jesus (the Son). This leads to lengthy discussions of incarnation, original sin, and redemption. Jesus being the wergild, if you will, to release humankind from original sin (betraying God's laws in the Garden of Eden).

On to Venus. Venus is named for the Roman goddess of love. The first three "planets" reflect back to the first three plateaus of Purgatory and the antechamber and two circles of Hell. Thus unfulfilled vows (Moon) are akin to the unbaptized in Limbo, glorious achievements (Mercury) reflect the neutrals in the first level of the Inferno, and irrepressible love (Venus) contrast with the lustful buffeted by the winds in the second circle of Hell.

The Sun is next. Okay, Dante's order is a bit weird, but go with it. The Sun is reserved for wise spirits, who, like the bonfires of the pagan scholars in Limbo, shine brightly in Heaven. Here Dante meets Thomas Aquinas, the Venerable Bede, Bonaventure, St. Augustine, St. Francis de Assisi, St. Dominic, among others.

After the Sun, Dante visits Mars. Mars, the Roman god of war, is echoed in the spiritual warriors found in this sphere. Joshua (Moses' successor), Judas Maccabeus, Charlemagne, Roland, and a few others are mentioned and pointed out by Dante's great-great-grandfather Cacciaguida. Like his sympathetic discussion with Brunetto Latini in the Inferno and Marco Lombardo in the Purgatorio, Cacciaguida represents Dante's father-figure--a guide and teacher. This important section of the poem alludes to a Medieval text called The Dream of Scipio. Nothing you need to concern yourself with yet.

Cantos 18-20 describe Jupiter, the sphere of just rulers. Spirits shape the celestial body of an Eagle, representing the Roman Empire as well as the Roman god Jove or Jupiter. "A major lesson of the episode of Jupiter is the inscrutability of God's will, the idea that no one--not even the spirits in Paradise with their prophetic power--can probe completely the depths of divine knowledge and justice. Dante poetically illustrates this point in his selection of the six lights who receive special recognition among the blessed rulers by forming the eye of the eagle." These lights include David (the Biblical king who slew Goliath), the Roman Emperor Trajan, the Emperor Constantine, and William II of Sicily, among others. Certain souls are chosen--or predestined--to be saved (the concept of predestination). This doctrine was debated by Christian theologians throughout the Middle Ages--and even today scholars discuss it.

Saturn is our last recognizable planetary body. Here we meet Peter Damian (1007-72) a Benedictine monk who led a simple life of spiritual worship and contemplation. In his day Peter championed the renewal of spiritual values in Church practice. One of Peter's letters (his writings consist of 180 letters, some collected in short books) contains the image of the ladder of contemplation, and another exhorts his fellow cardinals to renounce lavish material comforts and to live honest, virtuous lives. These are criticism that Martin Luther will use to create his protests. Peter teaches Dante that God's ways are ultimately cut off from human understanding (and even from that of angels) and should therefore not be probed without measure (21.91-9). He also delivers a vivid assault on Church corruption and hypocrisy by contrasting the ascetic humility of two of Christianity's founding fathers (Peter and Paul) with the decadent lives led by priests of Dante's day (21.127-35). Dante witnesses blessed spirits moving along a celestial golden ladder that leads to the Empyrean (the true home of souls in Paradise.)

The Fixed Stars of Heaven include the Zodiac. Dante is allowed to view the moving celestial bodies from this vantage point (the other planets he has visited). Here Dante is quizzed by Peter, James, and John on the three theological virtues: faith, hope, and love. Dante also meets and discusses things with Adam. Peter grows angry at the state of the Papacy on Earth and condemns it. Dante spends six hours (of his three-day journey) in this constellation of Gemini (his birth constellation).

Our second to last stop is the Primum Mobile ("first mover") which moves the other spheres of Heaven. It represents the creative working of God's mind, and as such is transparent. Here Dante witnesses nine fiery rings whirling about a central point of intense light. Beatrice explains that these are the nine orders of angels, hierarchically arranged according to their proximity to God. The number nine is an important motif in the work, as it represents the Holy Trinity three times (3+3+3=9).

Finally, we arrive at the Empyrean--the mind of God. The true home of all the blessed is with God in the Empyrean, a heaven of pure light beyond time and space. Dante describes this realm as a white rose protected by the Virgin Mary. Dante penetrates the eternal, divine light to view the underlying order of the universe. This magnificent vision Dante describes as ephemeral. Upon witnessing how the universe is bound together by love, Dante forgets much of what he sees. We are left with Dante's image of the Trinitarian Circles within which he witnesses the Holy Trinity: God (the father), God (the son), and God (the holy spirit).

Purgatorio: A Brief Glimpse

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While we are not reading the second or third part of Dante's epic poem, students seemed interested in what happens in this part of the underworld.

Purgatory:

The Roman Catholic tradition of purgatory dates back to the worldwide practice of praying for the redemption of the dead. According to the Church there are venial and mortal sins. Venial or small sins are or can be forgiven, thus, allowing the soul to rise to Heaven and perfection eventually. A mortal sin is one that can be forgiven ONLY in the sacrament of confession. If you died with a mortal sin unconfessed--straight to the Inferno you go!

Purgatory (as the name implies) is meant to cleanse. The purpose of such a "waiting place" is to purify the soul to be ready (and clean) enough to enter Heaven. Faithful human prayer is then essential for those souls to advance to glory in paradise. No one wants an imperfect soul stinkin' up heaven. Sometimes you gotta wash.

Medieval theologians used the element of fire as a cleansing agent (symbolic of the holy spirit) for purgatorial punishments. The Western concept of purgatory proved to be a sticking point in the Great Schism between East and West. The Catholic Church believed that the living could help those whose purification from their sins is not yet completed by prayer and by gaining indulgences or pardons for the dead souls (who were unable to help themselves) by the act of intercession with prayers. This is similar to the concept of the Anglo-Saxon wergild (payment in this case to the Church by loved ones (family members) of the deceased who felt that the dead soul needed more assistance or insurance that it would rise to Heaven.)

Dante's The Purgatorio

1. Opposed to the souls in Hell who abandon hope of ever going anywhere, the souls in Purgatory HAVE hope. They will eventually climb the mountain and arrive in Heaven.
2. The poem starts with Dante & Virgil emerging from Hell. They find themselves on the other side of the world on an island. Cato instructs Virgil to wash Dante of the stink and filth of the underworld, which he, being a good guide, does. Dante is now ready to travel up the path of redemption. All this, by the way, takes place on Easter Sunday.
3. A ship of souls arrives (similar to the long line of sinners awaiting the boat to the Inferno), and the newly dead embark. There is some delay as Dante visits with a deceased friend of his. Cato reprimands the souls for lazing around--better get climbing!
4. At the base of the mountain, Dante & Virgil find the excommunicated. This area is considered Ante-purgatory (not anti (against), but ante as in antechamber). Along with the excommunicated, are the late penitent, and the Preoccupied (souls who were not given the sacrament of confession of sins due to excommunication (they couldn't), laziness or because they were too busy to confess their sins. All have HOPE of returning, progressing, or being cleansed of their venial sins.
5. Souls travel up the mountain (gaining forgiveness and removing sin) during the day. When the sun goes down, they rest with the protection of Angels to keep sin (in the form of serpents) from the sinners.
6. Dante climbs the mountain with the help of St. Lucy & Virgil. After St. Peter's Gate, the mountain, like the circles of Hell, is comprised of cornices or plateaus that reflect the venial sins these souls have committed. The sinners are delayed by dragging boulders, or singing, or chanting prayers, or being blind (the Envious, for example, have their eyes wired shut to prevent them from falling into more sin by looking at what others have...neat). All the way up the mountain Angels flit here and there, assisting Dante's progress.
7. The sins of pride, envy, wrath, sloth, covetousness, gluttony, and lust are countered by the virtues of love, hope, justice, diligence, patience, temperance, and chastity.
8. Dante has several interesting (theologically) discourses on free will and love. As he moves up the mountain, he is cleansed of his own pride, envy, wrath, etc. He meets family members, friends, and other poets. All Cantos include people Dante chats with to hear their story.
9. At the top of the mountain we find the Garden of Eden and the entrance to Heaven. Here Beatrice greets Dante & Virgil. She takes over as guide. Virgil cannot enter Heaven. Dante drinks from Lethe and his sins (as in Baptism) are washed away. He is now ready to enter the Heavenly realm.

Extra Credit: Your Own Inferno Project

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Create your own Hell in 3-7 pages. Choose a historical or literary figure--who is a). dead and b). means something to you. Have this guide guide you (yes, you) through at least 3 circles of your own ironic Hell. In each "Canto" you should talk with at least one soul and mention other souls that are in that layer or level of the underworld. Please include at least one extended metaphor (to prove you know how to identify this sort of thing) and use irony where appropriate.

You may choose to write your infernal journey in tercets, but this is not required.

Due date: Jan. 17. No late papers will be accepted for extra credit.

Cantos 32-34

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Finally in the 9th circle, we come to the focus of Dante's situation. Feeling betrayed by his own party, his own friends, from his own city, Dante visits the four circles Caina, Antenora, Ptolomea, and Judecca. In Canto XXXIII we hear the tragic story of Ugolino. You will remember him from the Canterbury Tales.

And, of course, traitors against their own benefactors are punished in the deepest pit of Hell, cold, cold, so cold. Here we find Cassius, Brutus, and Judas--and Mr. Satan himself: Lucifer. His eating the trio of betrayers with his trio of mouths recalls the betrayal and punishment of Ugolino (Ugolino is foreshadowing for Lucifer's punishment).

The climbing of Satan indicates, as strange as it seems, that Dante has traveled through the Underworld--in fact the entire Earth. He has come out of the dark wood on the opposite side. It is from here that he will journey up the mountain of Purgatory--the next installment of the Divine Comedy.

Cantos 27-31

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Dante invents an original version of the final chapter of Ulysses' life, a voyage beyond the boundaries of the known world that ends in shipwreck and death. Ulysses is killed by Telegonus, son of the enchantress Circe in the original myth.

T. S. Eliot uses the lines:

"If I thought my answer was
to someone who might return to the world,
this flame would move no more;
but since from this depth it never happened
that anyone alive returned (if I hear right),
without fear of infamy I'll answer you." as the epigraph to his famous poem: "The Love Song of J. Alfred Prufrock."

The sowers of schism or derisiveness are found in the ninth pouch.

Still very much part of the collective memory in Dante's world were the crusades of the 12th and 13th centuries, when Europe's Christian armies fought--mostly unsuccessfully and with heavy losses--to drive Muslims from the "holy land" (Jerusalem).

Dante puts both Mohammed--the founder of Islam--and Mohammed's cousin and son-in-law (Ali) as sowers of religious schism (not just boxers). The schism creates the break between Sunnis and Shiites in Islam. One popular view for Dante's contemporaries is that Mohammed was rumored to have been a cardinal who, his papal ambitions thwarted, caused a great schism within Christianity when his followers splintered off into Islam.

Dante selects the French poet--Bertran de Born (c 1140-1215)--because he supposedly instigated a rift between King Henry II of England and his son, the young prince Henry. Bertran is now himself physically divided: he carries his decapitated head, which manages to speak. Nice touch there, Dante!

Sinon is the bastard who in the Trojan War convinces the Trojans to build the large wooden horse to placate the goddess (Athena) whose statue Ulysses and Diomedes stole from Troy. The Greeks sneak in and hide in the horse's belly to be rolled into the city. Thus, good-bye Trojans.

Master Adam is an English counterfeiter who passed off his false coins to the Italians for trade goods.

XXXI allows us a rare glimpse into the ninth circle of Hell, where the betrayers reside.

Cantos 22-26

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If we are to believe Fergusson's thesis (read the handout I gave you...) that each of Dante’s Cantos are the imitation of one action with a beginning, middle, end that rise to a kind of complete climax and resolution, then Cantos XXI-XXIII are the exception, or perhaps the critic is incorrect.

The lovely thing about criticism is that it allows a scholar or writer to have a differing opinion. It is important though to note Fergusson's essay when refuting or supporting similar ideas in the event you feel the need to examine this epic with your Aristotelian Criticism. When writing criticism it is not necessary to take on the whole epic in a vague or broad sweep of generality. Instead one might use Fergusson to write that this critic is incorrect when examining Cantos XXI-XXIII and others.

Most of Dante's Cantos are complete episodes (as Fergusson suggests), but here the funny demons are still with us. Just as the Centaurs were between Cantos 12-13 and the entrance into Dis is carried over into a second canto (Cantos VIII & IX). These continued themes carry over and are not completed in neat breaks in the structural unit of the canto. Like enjambment, the poem carries theme and meaning from one Canto to the next. While it is true that we don't usually carry over a conversation with a shade from one canto to the next, the action doesn't necessarily end with the end of the canto.

Ulysses' last voyage is discussed in Canto XXVI.

Cantos 18-21

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Circle VIII has ten pouches or separate areas where those who have committed fraud or lying are punished.

Liars or the fraudulent include:
panderers or seducers ("I luv you, baby--yeah, only you!"), flatterers ("you look great in those shoes! Can I have a raise?), simonists (selling forgiveness for sins, selling sacraments), astrologers/magicians (Harry Potter is a lie and so is that trick with the cups and ball!), Barrators (suing people without just cause or reason, selling church positions), Hypocrites (saying one thing, doing another), thieves (cheating people out of their possessions), counselors (giving false counseling or advice), sowers of scandal (gossips; breaking groups apart for the sake of drama), falsifiers (metal & coins, words, and persons; for example a counterfeiter).

In 1300, Pope Boniface granted what the Church calls a Jubilee (a holy year) or celebration. He granted indulgences for all manner of sins.

Simon Magus attempted to buy the holy spirit (something he cannot do and was chastised by St. Peter against this wrong thinking). This is found in the New Testament (Acts 8:9-24)

The medieval punishment for hired murderers was to be placed head first into a pit and then buried.

Malebranche is translated as "evil claws." Their leader is Malacoda "evil tail or bad end", thus the joke at the end of the canto. Barbariccia means "curly-bearded one."

Magic #'s for the Church: 3 (the trinity), 7 (seven heavenly virtues, seven sacraments, seven deadly sins), 10 (the ten commandments, also the sum of the other two holy numbers).

Beast and Man: Symbols in Literature

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Throughout the Inferno, Dante meets various creatures/monsters who have both animal and human bodies or parts. This blending of the natural form with the human form is often seen as a symbol of the animalistic (non-reasoning aspect) side of human intellect or passion.

Thus: the Minotaur symbolizes the stubborn or brutal violence (without thought) of the standard bull. The head, being the animal part, holds the significance.

The Centaurs then are quite intelligent (having the heads and upper bodies of men) but are typically depicted in mythology as rapacious or lustful in terms of their lower bodies (horse bodies--with everything that entails, for instance).

The other hybrids you will meet include Geryon, Plutus, the Harpies, the Gorgons, Minos, etc.

Cantos 12-17

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Canto XII finds us in the seventh circle of Hell where the violent are tortured. Here is your classical depiction of Hell as a burning pit of fire. Actually, it is a boiling river of blood with fire raining from the "skies".

Violence in the Inferno takes three forms according to its victim: other people (one's neighbor), oneself, or God (Inf. 11.28-33). Those who perpetrate violence against other people or their property--murderers and bandits--are punished in the first ring of the seventh circle, a river of blood (Inferno 12). Those who do violence against themselves--suicides inhabit the second ring, a horrid forest where the souls are transformed into the trunks of twisted trees (Inferno 13).
They are joined by the squanderers (violent to one's possessions).

The third ring--inside the first two--is a barren plain of sand ignited by flakes of fire that torment three separate groups of violent offenders against God: those who offend God directly (blasphemers: Inferno 14); those who violate nature, (sodomites: Inferno 15-16; see below); and those who harm industry and the economy, (usurers: Inferno 17).

Although writers of classical Rome admired by Dante allowed--and even praised--suicide as a response to political defeat or personal disgrace, his Christian tradition emphatically condemned suicide as a sin without exception, although it makes for good Opera.

Dante's inclusion of sodomy--understood here as sexual relations between males but not necessarily homosexuality in terms of sexual orientation--is consistent with strong theological and legal declarations in the Middle Ages condemning such activities for being "contrary to nature." In Dante's day, male-male relations--often between a mature man and an adolescent--were common in Florence despite these denunciations. Problematic today, the sin of Sodom is also seen as inhospitality, not homosexuality. Although, in a Christian sense (at least for Dante) sex for anything but procreation is seen as a sin. If one engages in intercourse without the intent of procreation, it is as if the earth is infertile (a desert). We commit violence against the Christian God and doctrine when one turns away from the "natural" order of things.

Usury was similarly condemned, particularly after it was equated with heresy (and therefore punishable by the Inquisition) at the Council of Vienne in 1311. Medieval theologians considered the lending of money at interest to be sinful.

Canto XIII is a perfect example of how Dante uses irony throughout the Inferno. Those souls who did harm to their physical bodies in life are punished by being unable to hurt themselves in the afterlife. The branches and trees are, however, broken by the squanderers who are hunted down by packs of wild dogs and torn limb from limb. These poor souls contrast with the suicides. Being careless about one's body or being careless about one's possessions is a sin. Refer to the story of the prodigal son, for example in the Bible.

The rivers of the underworld are defined in Canto XIV.

Canto XV includes more irony. The sodomites forever cross a barren and scorched landscape, the fire of Heaven raining down upon them. Bruno Latini was one of Dante's teachers. It is with compassion that Dante greets his old mentor and is one of the more touching moments in the Divine Comedy.

Geryon is the mythological king of Spain who was killed by Hercules, and he was traditionally represented as having three heads and three bodies. Like Minos in the earlier sections, this figure has been transformed in Hell into a monster.

Gustave Dore; Cantos 10-11

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As mentioned in Canto IX, we have arrived in the burning city of Dis where the arch heretics are burned in their red-hot coffins or tombs. Canto X continues the trend as Dante talks with a variety of heretics, including Epicurus, contemporary Florentines Cavalcanti and Farinata, and Frederic II.

Heresy includes the various disputes over Christian doctrine. Crusades were waged against "heretical sects," (Jews, Muslims, etc.) and individuals accused of other crimes or sins--e.g., witchcraft, usury, sodomy--were frequently labeled heretics as well. This sort of thinking is a great black mark on the history of the Catholic Church when it attacks Heretics in such grand events as the Inquisition, for example. No one expects that.

Interested in Art: Check out Gustave Dore's illustrations of the Divine Comedy.

Cantos 6-9

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In the third circle of Hell we find Cerberus (3-headed dog) who originally in the Aeneid is sated by cakes soaked in honey thrown to him by the Sybil. In Dante's version, Virgil makes a "filth" ball and lets the demon chew on that instead.

The gluttonous are found here rolling around in the filthy rain and hail, being torn up by Cerberus' nails and going deaf from the vicious barking of the demon dog.

The name "Ciacco" may be a reference to "hog" or "pig" in Florentine dialect. Dante accepts the common medieval belief in the essential relationship between names and the things (or people) they represent. Shakespeare will use this a lot ('Prospero', 'Gratiano', etc., often ironically) (as will Poe in such ironic names as 'Fortunato' in the short story "The Cask of Amontillado") J.K. Rowling, of course, continues the trend in the contemporary period.

In Inf. 6.94-6, Dante alludes to the Last Judgment (the Apocalypse or the Second Coming of Christ), which in the medieval Christian imagination marks the end of time when God comes--as Christ--to judge all human souls and separate the saved from the damned. Some contemporary religious organizations harp on this point a lot while making a lot of noise and spreading hypocrisy and intolerance. Scripturally the Last Judgment is based on Matthew 25:31-46 and the Book of Revelation (Apocalypse).

Now we're rolling along. In Canto VII we are in the fourth circle of Hell. We meet the demon Plutus (originally the Greek god Pluto--not the planet, whose underworld was a rich place of gemstones and precious metals, as well as being the underworld)--who guards the avaricious and prodigal.

Cantos VII-IX largely cover the fifth circle of Hell. In the fifth circle we find the sullen (immersed) and wrathful (floundering) in the muddy Styx. The river will give way to the great city of Dis. The demons here bar Dante's way and Virgil must call upon the power of Heaven--who sends an angel to clear the way for our travelers.

The city of Dis encompasses the sixth, seventh, eighth (the Malebolge), and ninth circles of Hell and separates the incontinent sins from those premeditated. It is guarded (as is Heaven guarded by the Angels) by the fallen Angels (those who joined Lucifer in the War in Heaven).

The Furies (the Eumenides) are Megaera, Tisiphone, and Allecto. They threaten to show Dante the gorgon Medusa--which will undoubtedly be the end of our hero, had his guide (and Heaven) not been there to protect him.

Cantos 4-5

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In Canto 4, Dante visits what Virgil called the Elysian Fields in the Aeneid. Here the Greek and Roman philosophers sit chatting around the bonfires of their intellect. See--they were bright!

Virgil, when asked, makes reference to the Harrowing of Hell--where Jesus (after crucifixion) conquered death by releasing all appropriate souls from Limbo, before being resurrected on Easter Sunday. Dante will be taking a similar journey. The action of his Divine Comedy begins on Good Friday, and ends on Easter.

Canto V finds us in the second circle where the lustful are blown and buffeted about by strong winds. We find Dido here, as well as other historical figures like Cleopatra. Our primary concern is with Paolo & Francesca da Rimini ( ) who after reading about the illicit affair between Lancelot and Guenever, "read no more that day"--(i.e., entertained themselves in another way...). We are told by Boccaccio in The Decameron that Gianciotto (Francesca's deformed husband) found the lovers in a compromising situation and attempted to run Paolo through with a sword. However, Francesca, to save her lover's life, stepped in the way and was skewered herself. Gianciotto proceeded to dispatch Paolo and will be found (we are told) in the lake of blood further down in Hell. The lovers were buried in a single tomb. Paolo and Francesca were contemporaries of Dante and their story known to his audience.

Francesca's eloquent description of the power of love (Inf. 5.100-107) is emphasized by the use of anaphora.

Characteristically, Dante faints at the end of this canto. "And then I fell as a dead body falls."

The Architecture of Hell

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Dante divides his hell into 9 circles. Of these the first few: limbo, lust (circle 2), Gluttony (circle 3), Avarice & Prodigal (hoarders and spenders or selfish) (circle 4), and wrath (circle 5) are sins of incontinence--these souls could not help themselves, were swept up in their various passions or deadly sins. We can sympathize, then, with these souls--feel sympathy for those souls unfortunate enough to be born before the possibility of redemption (limbo), or feel for the passionate love between Paolo & Francesca, or pity for Ciacco, wallowing in his own filth.

By the time we cross the Styx, there is really no going back. The stinking mire that surrounds the City of Dis hold a host of worse sinners than those in the "suburbs." From physical impulses and incontinence, we move to errors or sins of the mind. The heretics have chosen to follow a false path, for instance, and this misunderstanding is sinful, as it leads others astray from God's path. Entrance into this dreadful place can only be assisted by a heavenly host--this is God's power and He wills Dante's progress. As the angel blasts the entrance to Dis, so, too, will God open the way for the righteous.

Phlegyas (the bloody, boiling river) is our last river in Hell. There are 3 rivers, just as there are three sins that stop Dante's progress (the leopard, the lion, and the wolf), the three furies, or the three graceful ladies who await Dante's arrival at the gates of Heaven.

Dante's Inferno: Canto 3

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Canto 3 opens with the famous inscription on the gates of Hell. Abandon every hope, who enter here...

The number 3 represents the Holy Trinity. For Christianity God is divided into three aspects: Father (Divine Power), Son (Highest Wisdom), and Holy Spirit (Primal Love).

The antechamber of Hell is reserved for the neutrals--those angels and people who never took a stance on anything (in particular to follow God against Satan in the great war in Heaven--but also indicating those Florentines who waffled in their political life). Theological allusion may be found in Revelations 3:16: "But because thou art lukewarm and neither cold nor hot, I will begin to vomit thee out of my mouth." If you're going to be a monster, Grendel, be the best monster you can be. If you're going to be good--be good for goodness sake! There is no room here for pussy-footing around.

Charon is the ferryman who in classical lore punts the dead from the land of the living across the Styx to the land of the dead. It is a one-way trip.

Archeron is the first of the rivers and marshes of Virgil's underworld

Dante's Inferno: Cantos 1-2

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Please use the handouts to help you as you read Dante's Inferno.

Key allusions/notes in Cantos 1-2:

The poem is an epic. If we recall our epic qualities, we may include:

opening in media res (in the middle of the action)
the setting includes a vast area; includes a variety of cultures
begins with an invocation to the muse
contains long lists of items
features long set speeches
divine intervention
supernatural events
protagonist models key beliefs or values of a culture
heavy use of epithet, metaphor, or repetition
often includes battles or conflict between dualistic ideas (light vs. dark), etc.

The "dark wood" is a metaphor for Dante's life. Remember: he's been exiled and betrayed from the land and people he loves. Dark days indeed! Dante has traveled 1/2 his life (about 35 years old--or better known as a mid-life crisis).

The leopard, the lion, and the she-wolf: are thought to symbolize desire, violence, and fraud. Other critics (and our translator) associate them with envy, pride, and avarice--the three sins of Florence. They carry political meaning as well: the wolf as a representation of Rome. Dante likely drew inspiration for the beasts from the Bible: "Wherefore a lion out of the wood hath slain them, a wolf in the evening hath spoiled them, a leopard watcheth for their cities: every one that shall go out thence shall be taken, because their transgressions are multiplied, their rebellions strengthened" (Jeremiah 5:6).

The Greyhound represents Christ.

The three blessed ladies: Beatrice, the Virgin Mary, and St. Lucia.

The following post will help you if you get stuck while I'm not there. It can also be found on the sidebar under links.

Dante Background Info

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In order to understand Dante's Inferno, there is some background information that is helpful. Please take the class today to examine the links, jot down important notes in your notebook.

Where did Dante get his idea for the underworld?
Mostly from the epic Aeneid.

At this website you may read a quick overview of the plot in The Aeneid. Book Six is of particular interest to us, as it provides the historical background and structure for Dante's work. You may like to read this portion of the Aeneid.

Who was Vergilius or Virgil/Vergil?

Who was Dante?

What was life like in Florence?

What was going on in Italian politics? Who were the Guelphs and Ghibellines?

What were the 7 Deadly Sins? (You can see the 7 Holy Virtues as well, but these aren't as much fun.)
What sin is killing you? Take this quiz and find out!

Terza Rima. The end of the second line in a tercet, rhymes with the following first and third lines of the next stanza.

Canterbury Tales: Presentations

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After the general prologue, Chaucer writes the Knight's tale.

After the Knight gives his story, the Miller tells his tale. The rest of the pilgrims go as follows:

Knight
Miller
Reeve
The Cook
The Man of Law
The Shipman
The Prioress
Chaucer
The Monk
The Nun's Priest
The Wife of Bath
The Friar
The Summoner
The Cleric
The Merchant
The Squire
The Franklin
The Physician
The Pardoner
The Second Nun
The Canon's Yeoman
The Manciple
The Parson
Chaucer's Retraction (apologizing for not completing the tales)

As we listen to each story, please summarize the pilgrim's story in one or two sentences after hearing it. Additionally, if you liked that pilgrim's presentation, please note that in the margins (as our performances may take a few days before we vote).

HOMEWORK: Read The Sword in the Stone (or the Once & Future King) and post a response on the forum by Friday, Dec. 16 at 11:59 p.m.

The Canterbury Tales

2011-12-08T13:11:00.001-05:00

We will be reading the Prologue to the Canterbury Tales in class together. After the prologue, we will come together to tell the stories of the other pilgrims. In keeping with the book, each of us will relate (or summarize) a tale to the rest of the class. At the end, when everyone has the opportunity to tell their pilgrim's story, we will vote which story-summarizer did the best job. That "pilgrim" will win a little holiday prize.

To prepare for your public speaking, please consider the following tips:

Use notecards (index cards are excellent tools to remind you of what you want to say--this is better than big, floppy 8.5x11 inch paper, that can get in the way...)
Speak loudly and clearly enough to be heard and understood
Speak with emotion (tone)
Relate the story with details, but don't belabor the point. Teenagers don't have a very long attention span. Be prepared with the key elements of the stories plot and details. Subplots and incidental information is not necessary to relate.
Dialogue (if what a character says is important) provides you with an opportunity to act
Be creative and attentive

HOMEWORK: Please read the pilgrim's story you chose or were given. Be prepared to summarize and tell the story the pilgrim tells in the handout.

Sir John Mandeville & Medieval Travel Writing

2011-12-07T13:24:00.001-05:00

Sir John Mandeville is the name for a possibly non-existent writer who traveled frequently during the Middle Ages and eventually wrote a book about his travels. T.H. White mentions him in Chapter Eleven in reference to the Griffin.

The on-line text of his work can be found here.

Extra Credit: Read Mandeville. Write a travelogue. See handout for details.

The Once & Future King

2011-12-06T13:05:00.001-05:00

As an assignment to help you with the upcoming response and test on the book, please continue to create chapter summaries and put these in your notebook. The first eight chapters were for homework, the ninth through thirteenth examined in class, and the last fourteen to twenty-second, please do on your own.

Try to complete the Sword in the Stone by the end of next week (Dec. 16). At this time you should also have responded to the question posed on the forum.

You will have the entire marking period to complete the other books, if you'd like, but these are extra credit. To gain extra credit you must post appropriate responses to the question(s) on the forum. Check there for details.

Some guiding questions as you read Sword in the Stone:

We have discussed the transformation archetype and noted the coming-of-age archetype. How does this book fulfill these archetypes? Are other archetypes found in these books?
T. H. White was gay. There are very few female characters of note in this book. Of those that are in the novel, using feminist criticism, consider why White leaves these characters as mysterious or secondary/minor characters. Was he right to do so? Alternatively, are there any characters whose sexual identity seems to be vague or undefined? Do the "men" act like "men" or do they take on characteristics generally associated with the fairer sex? Do male characters pair off with females? What are we to make of any of this? Is any of this relevant?
From what you know of history, how does White provide detail about history--what does he seem to focus on? Is there a method to his madness?
Any Marxist theories being presented in this book? If so, what are they?
As a character, trace Wart's eddication--what is he learning? Which lessons seem to lessons for White's contemporary audience or us today? Are these lessons still relevant?

HOMEWORK: Please complete The Sword in the Stone by Dec. 16 and post a response to the question on the forum.

On-going: write a ballad (extra credit); read and post responses on the other three books (extra credit).

Geoffrey Chaucer

2011-12-06T12:55:00.001-05:00

Known details of Geoffrey Chaucer's life are sketchy at best. He was born in London to vintner (winemaker) John Chaucer sometime between 1340-1344.

• The next we hear of young Geoffrey is in 1357 as a page in the household of Prince Lionel (3rd son of Edward III). He then served with the army of Edward III in France, and was captured and ransomed. The fact that Edward III thought enough of Chaucer to pay the ransom is commendable.

• Sometime in the mid-1360s Chaucer married Philippa Roet, lady in waiting to Queen Philippa (Edward III's wife).

• His first literary works appear in this period, notably the Book of the Duchess (1369), an allegory lamenting the death of Blanche, wife of John of Gaunt.

• Several diplomatic journeys to Italy exposed Chaucer to Roman classical literature, and he produced several translations and his best work, Troilus and Criseyde, which has been called one of the finest love poems in the English language. In this work Chaucer popularized the seven line stanza known as the rhyme royal. Undoubtedly, this is where Chaucer was influenced by Boccacio's the Decameron.

• Chaucer held a variety of posts at King Edward's court, culminating in his appointment as clerk of the king's works (1389-1391).

• Around 1387 Chaucer began his master work, The Canterbury Tales. This lengthy poem, which weighs in at an impressive 17,000 lines, was never finished. It tells the tale of a group of pilgrims journeying from London to the shrine of Thomas à Becket at Canterbury. To pass the time on their trip, they tell each other stories.

• The stories themselves are not always as impressive as is Chaucer's ability to vividly portray a broad cross-section of English society, its foibles, fancies, and attitudes. The Canterbury Tales are, like much medieval literature, bawdy, humorous, and preachy. But it is through this that the characters come alive. For example, compare Chaucer with Beowulf. Characters in Chaucer's work sound and act much more human, leading to other poets and writers to write more "human" characters.

• Prior to Chaucer's time (with the notable exception of William Langland's Vision of Piers the Plowman), literary works were written in Latin. Chaucer is rightly remembered as the first major author to popularize the use of English in literature.

• Geoffrey Chaucer died on October 25, 1400, and was buried at Westminster Abbey. You can visit his grave (he's in poet's corner) if you go there.

The Once & Future King: Sword in the Stone

2011-12-02T13:42:00.001-05:00

Let's begin to examine and discuss this book today. After our discussion about Malory and Tennyson, we'll jump into some chapter note strategies.

HOMEWORK: Keep reading The Sword in the Stone. Complete the chapter summaries for chapters 4-8.

Middle English & the Norman Conquest

2011-12-01T13:03:00.001-05:00

If Anglo-Saxon is OLD ENGLISH, and Shakespeare is MODERN ENGLISH (yes, he is...) then what did people speak in the interim periods between 1066 and 1485?

If you said MIDDLE ENGLISH, you are correct! Like a middle child we don't think much about Middle English, but it is an important literary period for two specific reasons. One, is that it incorporates into the Anglo-Saxon tongue French and Latin words and people started using it instead of Latin--particularly writers like Chaucer. This is what we mean by vernacular. And these authors are important because they wrote in the vernacular of a language that could have otherwise died out (had no one taught it...for examples see the history of most of the Native American Indian languages, Welsh, and Gaelic.)

The second reason is that because of the introduction of the printing press by William Caxton in the late 1470s, the foundation of English literature is born in this period. The printing press is one of the most useful inventions and every time you pick up a book, you should thank Mr. Caxton (& Mr. Gutenberg).

You may have heard of Normandy and wondered why people in France speak a bit of the ol' English. You may also wonder why the French and English don't seem to get along well. Yep. It's all about history. You can learn about the Norman Conquests here. Let's look!

and read more about it here:
Norman conquest of England.

The Ballad Form

2011-11-30T22:30:00.001-05:00

Ballad: a narrative poem (a poem that tells a story), usually written in quatrains (4 line stanzas) and often sung. It gained its popularity in the Middle Ages as a way to carry news from city to city. Many medieval ballads have a certain sense of the supernatural in them. Many deal with death or mortality or sex. Outlaws, ghosts, and tragic battles are common fare. Dialogue and rhyme are typical.

Ballads usually have a typical set rhyme scheme: AABB or ABAB or ABCB.

Here's an example of a ballad (and elegy, come to think of it): Molly Malone sung by Sinead O'Connor
Barbara Allen (sung by Art Garfunkle) is one of the most popular medieval ballads. Another version sung by Joan Baez.

Other medieval ballad samples:
Lord Randall (Lord Randal song by Giodano Dall'Armellina)
Sir Patrick Spence (Sir Patrick Spens spoken performance) and another song, sung by June Tabor
The Unquiet Grave
Tam Lin
Thomas Rhymer
Robin Hood and Guy of Gisborn

and, of course, The Ballad of Bilbo Baggins sung by Mr. Spock, er, I mean Leonard Nimoy. Wait--that's not medieval but contemporary! You mean the ballad is still being used today? Yeah, sort of.

A Few Contemporary (well your parents might think so) Ballads:
The Wreck of the Edmund Fitzgerald by Gordon Lightfoot
The Ballad of John and Yoko by the Beatles
Mountains of Mourne sung by Don McLean
The Ballad of Lucy Jordan (by Shel Silverstein, sung by Marianne Faithfull)
The House of the Rising Sun by the Doors (originally Bob Dylan)
The Ballad of Mona Lisa (Panic! At the Disco)

OPTIONAL EXTRA CREDIT: Write a ballad using the traditional ballad form. More information about how to do that can be found here. For extra, extra credit write music for your ballad and/or perform it for us. This is on-going extra credit for the next marking period.

Lord Alfred Tennyson (a diversion)

2011-11-30T21:49:00.001-05:00

One of the world's best known poets, particularly for his time period, Lord Alfred Tennyson epitomizes the age of growth and empire in the Victorian period. After William Wordsworth's death in 1850, Tennyson was appointed to the position of Poet Laureate, which he held until his own death in 1892. A very long tenure as the major sanctioned poet of England. The Queen herself was particularly fond of his work.

Tennyson wrote a number of phrases that have become commonplaces of the English language, including: "Nature, red in tooth and claw" and "'Tis better to have loved and lost / Than never to have loved at all." Other famous lines like "Theirs not to reason why, / Theirs but to do and die" and "My strength is as the strength of ten, /" or "Because my heart is pure" have become cliche and overused.

His poetry reflects the standard nature and love subjects of the time period. They are traditionally metrical (order in all things, of course) and sing-song-y, probably a bit too much for our contemporary tastes. His use of meter and rhythm though make his poems work and gives him the traditional style most people think of when one mentions poetry. He often used classical mythology and legend (Ulysses and King Arthur) as metaphors for his own time period and its political or social environment.

Idylls of the King (Gustave Dore pictures with Enya's music)
Idylls of the King (The Passing of Arthur recited by Alan Rickman)
The Lady of Shalott (with Loreena McKennitt's music) The Lady of Shalott (text reading)
Other Tennyson poems:
Ulysses (reading)
The Charge of the Light Brigade

Medieval Brochure Project

2011-11-30T13:01:00.001-05:00

Please follow these steps to complete your task/project:

1. Choose a medieval topic from the provided list (you should have done this already)
2. Research your topic (we did this yesterday in class; if you didn't finish, you should have completed for homework)
3. Open Microsoft. From the FILE menu, select PROJECT GALLERY. Choose BROCHURE. Select a three columned brochure (there will ultimately be six columns if you're counting correctly).
4. On panel ONE include an appropriate graphic/picture of your subject, title your brochure, and put your name on the front.
5. The second panel (1st page, the middle column) is the back of your brochure. Please use this panel for your WORKS CITED and additional resources (places where interested students could find more information about the topic).
6. The third panel should include quick, factual information about your topic. This is a great place for bullet points and the major points of your outline (topic I, topic II, topic III, etc.)
7. The second page allows you to fill in the details. Use the columns on page two (the inside of the brochure) to provide the detailed information about your topic. Use the details and information you took notes on to condense and supply this information.

Your brochure is due Friday. Today is our LAST day in the computer lab, so I'd save my work and/or send it to myself as an attached email if I'm not done today, for example.

Notebooks

2011-11-30T12:51:00.001-05:00

Your notebook deadline will be extended until tomorrow since you will need your notes on your Medieval subject to complete your brochure (see above).

What should you have in your notebook?
--class notes (particularly about tone, medieval research, Anglo-Saxon culture, epic poetry, post modernism, Kafka, etc.) A hard fast rule is that if I posted notes on the blog, you should have these handy in your notebook.
--A write-up for the following major works:

Ovid's Metamorphoses (our translation was by Ted Hughes, entitled "Tales from Ovid")
Kafka's Metamorphosis (note spelling...)
Beowulf by Anonymous (our translation was by Seamus Heaney)
Grendel by John Gardner

NOTEBOOK DUE: Thursday, Dec. 1

Medieval Research Project

2011-11-29T13:37:00.001-05:00

Please meet in the lab and sign out one of the following Medieval Topics.

LAB/CLASS WORK: Today, read about your topic (see links below) and take notes about important and interesting details. Write your notes in your notebook. You should be able to create an outline and organize the information you find. As this exercise is meant to help you with your research and note-taking skills, I am leaving you to judge what is important and what can be left out of a potential report.

What are we doing with this information? I'll tell you later.

You will be required to consult at least one text source for your topic. In the library, I have pulled a variety of appropriate (some even fun and/or cute) texts on the Middle Ages. While you're around today, check out one of these books and select an appropriate text for this project.

HOMEWORK: Complete taking notes on your topic from the internet resource below. Keep reading The Sword in the Stone.

Kings and Queens of England - Middle Ages (from 1066ish to 1400)

King Edward III, the Confessor
King Harold II
King William I (the Conqueror)
King William II, Rufus the Red
King Henry I
King Stephen
Empress Matilda
King Henry II
King Richard I, the Lionhearted
King John I, Lackland
King Henry III
Edward I, Longshanks
King Edward II
King Edward III
King Richard II

Middle Ages: Culture & Life

Early Medieval Architecture
Monastery Life & Religious orders
Feudalism
Town Life in the Middle Ages
Knights
Medieval Education
The Black Plague
Women in the Middle Ages
The Crusades

Sir Thomas Malory & Morte d'Arthur

2011-11-28T13:59:00.001-05:00

Malory, Sir Thomas , d. 1471, English author of Morte d'Arthur.

• Knighted in 1442, he served in the Parliament of 1445.
• He was known as a violent, lawless individual who committed a series of crimes, including poaching, extortion, robbery, and murder. Quite a guy, huh?
• Most of his life from 1451 was spent in prison, and he probably did most of his writing there.
• Malory's original book was called The Book of King Arthur and His Noble Knights of the Round Table. William Caxton printed the work in 1485 and gave it the misleading title of Morte d'Arthur.
• The title, "Le Morte D'arthur," is taken from the epilogue of Caxton's illustrated edition of 1485. The epilogue tells us that "this book was ended the ninth year of the reign of King Edward the Fourth (either 1469 or 1470), by Sir Thomas Maleore (one of the variant spellings of Malory), knight." A side note, standard spelling practices are not set in English Literature until the eighteenth century.
• Malory's tales are based on an assortment of French prose romances.
• "Le Morte Darthur" was unusual because it was written in English (French was the common language of the day) and consists of eight tales in 507 chapters in 21 books, arranged by his publisher, William Caxton, for clarity of understanding. It is the basis of most modern legends and movies of the Arthurian story and was the inspiration for Tennyson's "Idylls of the King” as well as T.H. White’s novels in the epic The Once and Future King.
• The Morte d'Arthur is noted for its excellent dramatic narrative and the beauty of its rhythmic and simple prose version of the legends of King Arthur, about whom little personal information is known.
• Early in the text of "Le Morte Darthur", the author refers to himself as a knight-prisoner. In reaction to this statement, it has been suggested that perhaps some or all of "Le Morte Darthur" was written while Malory was in prison. (There are records confirming several periods of confinement for Malory in London's Newgate Prison).

The Once & Future King

2011-11-22T13:39:00.001-05:00

The literary Arthur is not just that strange aardvark in children's literature. When you mention Arthur to a Brit, they know you mean King Arthur.

The figure of Arthur and his court at Camelot figures its way into our popular culture every few years. For much of the Medieval, Elizabethan, Victorian, and Modern periods, Arthur was the Once and Future King--the figure that would make England great once again, as in the early olden days. Particularly after WWII, England needed him more than ever!

Who was Arthur? A myth or an historical chap? No one really knows. That's how legends are born.

To help you, take a gander at the myriad items below. Some are from our pop culture society...others are more scholarly. Peruse and compare your understanding and image of Arthur with these sites:

Arthurian legends

Art majors! Look here for illustrations inspired by the Arthurian Legends! (pictures are linked to the left of the page)

videos and movies:

The Search for King Arthur (National Geographic)
Excalibur trailer (1981)
Excalibur: Final Battle (1981)

And for the fun of it... Monty Python and the Holy Grail (1975)
Scene: The Black Knight
Scene: Politics as Usual

The Middle Ages

2011-11-22T13:37:00.001-05:00

The following is a traditional aid used in UK schools to help students remember the order of British Monarchs from William the Conqueror on . . .

Willie Willie Harry Stee
Harry Dick John Harry three;
One two three Neds, Richard two
Harrys four five six....then who?
Edwards four five, Dick the bad,
Harrys (twain), Ned six (the lad);
Mary, Bessie, James you ken,
Then Charlie, Charlie, James again...
Will and Mary, Anna Gloria,
Georges four, Will four Victoria;
Edward seven next, and then
Came George the fifth in nineteen ten;
Ned the eighth soon abdicated
Then George six was coronated;
After which Elizabeth
And that's all folks until her death.

Terry Jones' Medieval Lives

2011-11-21T14:03:00.001-05:00

Terry Jones (actor and writer for Monty Python's Flying Circus) provides a humorous, relatively accurate and interesting account of the lives of people in the Middle Ages. Please choose to watch at least one of these programs over Thanksgiving Break and post a response/comment on the forum about what you learned. What surprised you, what impressed you, what made you think? Consider what you already know (or think you know) about the Middle Ages and how the program clarified your understanding (or raised further questions):

The Peasant

The Monk

The Damsel

The Knight

The Outlaw

The Philosopher

The Minstrel

The King

Compare/Contrast Essay Tips

2011-11-21T14:00:00.001-05:00

Today we will take a look at a type of essay you are likely to see on the exam in May. Working in groups of 2, please outline your answer.

HOMEWORK:
1. Please post a forum comment on Grendel by Monday, 11:59 p.m.
2. Please read the Tolkein handout and answer the 5 ?'s or turn in today for credit. Due tomorrow, if you didn't turn in the assignment today.
4. Check out The Once & Future King from the library. Bring this book with you to class tomorrow.
5. Check the blog for preparation materials above for the Middle Ages.

Grendel: Ending

2011-11-18T13:42:00.001-05:00

Chapter 9 allows for a shift in TONE again. The previous being chapters 1-4, chapter 5, chapters 6-8. Chapter 11 and Chapter 12 finish our story, each with a shift in tone, allowing for the climax and resolution (?) of the novel.

Let's read Chapter 12 together, then discuss.

--What might be significant about the structure of this book?
--What does Grendel mean: "Poor Grendel's had an accident...so may you all!"

HOMEWORK: There's a bit of work to do before our break. Some of these items are given to you today so that you will be prepared if you are not here next week.
1. If you didn't read Grendel, do so. Please post a forum comment on this book by Monday, 11:59 p.m. 2. There will be a timed essay test on Beowulf and Grendel on Monday--no need to study, apart from paying attention to class discussions and reading the book.
3. Please read the Tolkein handout and answer the 5 ?'s (for Monday or Tuesday).
4. Check out The Once & Future King from the library. Begin reading The Sword in the Stone.
5. Check the blog for preparation materials for the Middle Ages.

Grendel Chp. 6-8

2011-11-17T13:49:00.001-05:00

In groups of 2-3, please examine chapters 6-8 for the following:

Which chapters focus on which characters/situations?
Does the tone change from the first five chapters? If so, how/in what way?
How do these chapters foreshadow the end? or how do these chapters fit in the sequence presented from the first five chapters?
Discuss Unferth. How does Gardner make this minor character from the poem into a more interesting character? Why does the author do this? What function does Unferth serve in this book?
Using the characteristics of Post Modern literature, explain how these chapters (particularly chapter 7 & 8) illustrate examples of this period of literature. Find examples in these chapters of traditional post-modern work.

HOMEWORK: Please read chapters 9-11. We will finish the novel by the weekend. Please post your forum comment by Monday, 11:59 p.m. There will be a timed essay test on Beowulf and Grendel also on Monday.

Grendel - Chapter 5

2011-11-16T13:07:00.001-05:00

Please turn in your homework.

FOCUS QUESTIONs:
What strikes you as important in chapter 5 of Grendel?
What is the TONE of the dragon?
What does the dragon signify or symbolize--in classical literature and/or here?

Nihilism: coming from the Latin word for "nothing"--Nihilism is an existential philosophy that argues that life is mere accident, without purpose, or intrinsic value. Laws, rules, and norms of a society are perceived as pointless or illogical. Postmodern philosophy tends to embrace this notion, although Christian theologists and moral critics (moral criticism) would disagree with this, often bleak, outlook.

Let's take a look at chapter 5. It is this chapter that changes Grendel's direction. When you read anything literary, look for these turning points in a character's life. They are common and usually have something to do with the protagonist's crisis.

The descent into the dragon cave (the womb) is part of the archetypical journey of the "hero." Check here for information about the archetypical journey.

HOMEWORK: Please read chp: 6-8 for tomorrow.

Spotlight on: Tone

2011-11-15T13:30:00.001-05:00

Tone is the attitude that a literary speaker (not necessarily the author) expresses toward his or her world, or the subject matter or audience. In life, we listen to a speaker's tone to determine feelings about the topic. Some speakers are sincere. Others are angry, troubled, or sarcastic. Literary characters depict tone in a variety of ways.

In first person POV, tone becomes very important! It often characterizes the attitude and personality of the protagonist.

We learn about tone through:

Point of view (POV): (1st person, 2nd person, 3rd person limited or omniscient; POV can be either subjective or objective).
characterization (what a character does, says, thinks, or what other characters say about the character).
diction (specific word choice, both connotative and denotative)
verisimilitude (what Mary Oliver calls 'texture'): the specific details or facts a narrative speaker focuses on.
Syntax. (word and sentence order and construction)

Some common TONES: compassionate, judgmental, scornful, reverent, formal, informal, arrogant, pedantic, obsequious, serious, humorous, chiding, sarcastic, ironic, flippant, irate, serene, confident, timid, fearful, brooding, melancholic, passionate, etc.

HOMEWORK: choose a specific passage in the text (at least one paragraph) from any chapter: one through five. Examine the passage. In a written paragraph to be handed in, describe the tone of the passage. Explain the aspects of the passage's diction, verisimilitude, POV, syntax, characterization that help to convey TONE. If the tone changes in the passage, explain how and why.

Conflict, the Anti-Hero, & Structure

2011-11-14T13:52:00.001-05:00

In post modern literature antihero characters frequently appear. Why do you think this is? in How can we tell Grendel is an antihero? Find an example in the text. Discuss the idea with your neighbor for a moment.

Let's discuss setting, POV, and writing style in the first few chapters.

1. What tone does Gardner set in the first two chapters of his book? How does he do this (give examples from the text).

2. What is the figurative connection between Grendel and nature in the first two chapters? (look for the deeper meaning: why, for example, does Gardner spend his time describing Grendel in relation to nature in the first two chapters? What is he doing and why is he doing it?)

3. How does Gardner reference the first 500 or so lines of Beowulf in the first two chapters?

4. Examine Grendel’s war with the humans. How do humans become his antagonist?

5. Who is the shaper? What does he represent? Why is he blind?

6. Compare and contrast Hrothgar’s behavior and Grendel’s.

7. Conflict comes in four flavors: person vs. self, person vs. person, person vs. society, person vs. nature. Which conflicts are present in the first four chapters of this book?

HOMEWORK: Please read Chapter 5. Find 3 sentences that seem to sum up the chapter and its point.

John Gardner & Grendel

2011-11-10T12:33:00.001-05:00

John Gardner was born nearby in Batavia, NY. He taught English and Literary Criticism at various colleges (including SUNY Binghamton and Bennington). He is a respected critic, writer, and novelist. His book The Art of Fiction and, of course, the novel Grendel rocketed him into literary fame. He also wrote many other books including: The Sunlight Dialogues, Nickel Mountain, October Light, and various books for children (A Child's Bestiary; Dragon, Dragon; and Gudgekin The Thistle Girl). Sadly, he died in a motorcycle accident in 1982, a day before he was to marry his third wife.

Here's an audio interview with the author that you may view and take notes on for an enriching education experience.

Want to hear someone read, as opposed to reading the book yourself? Take a gander here...

Grendel (part one, audio book reading)

HOMEWORK: Please read the first 4 chapters of Grendel for Monday and answer the handout ?'s. Complete your forum post for Beowulf (see forum--look under the Medieval Unit)

A Note About Post Modernism

2011-11-10T12:22:00.001-05:00

From a literary perspective, the main characteristics of postmodernism include:

An emphasis on impressionism and subjectivity in writing.
An emphasis on HOW seeing (or reading or perception itself) takes place, rather than on WHAT is perceived. An example of this would be stream-of-consciousness writing which tries to recreate in words how the mind works.
More subjectivity. Often the use of multiple narrators, revolving around fixed narrative points of view.
A blurring of distinctions between genres, so that poetry seems more documentary (as in T.S. Eliot or ee cummings) and prose seems more poetic (as in Virginia Woolf or James Joyce).
An emphasis on fragmented forms, discontinuous (interrupted) narratives, and random-seeming collages of different materials.
Postmodernism often removes the distinction between "high" and "low" culture--(popular culture being low).
Often include a “playful” narrative style. Authors often break the conventions of the literary form.
Includes a hint of the “politically correct” or more optimistic idea that life is absurd, so let’s party.

Beowulf Small Group Discussion

2011-11-09T12:53:00.000-05:00

Today, in your group, please examine the Beowulf text in relation to your group's chosen topic. Be prepared to report back to the class what your group decided or concluded.

In addition, please discuss the following questions with each other:

Why is the focus of the story on Beowulf as a hero rather than as a king? What is the difference? Would the poem be stronger if told from a different perspective? Would the story be better if it dealt with other characters? Which character(s) would be most interesting to develop or follow?
Where does the dragon come from? Why does he attack the Geats? Is the dragon a greater or lesser threat than Grendel? Why does Beowulf go to fight him? What does the dragon represent or symbolize?
Trace the history of the Dragon’s hoard from its first to its last burial. Lines: 2211-2293 & 2743-2846, 3120-3182. How is this treasure different from other treasures in the poem?
Discuss POV of the poem. What are some of the differences between the poet or speaker's world and that of the characters in the poem? What are the continuities between these worlds? Is there irony in our vision of this past age? How does the poet create a distance between the characters and himself – and how does he express their own sense of a distant past?
What sort of social order produces “epic” poetry? What values does the poem promote, and how does it promote them? What sorts of conflicts with or resistances to the ideology of epic can be expressed? What sorts are found within the poem itself? Is the epic poem form dead? If not, where can it be found/experienced? If it IS dead, what has been lost?

HOMEWORK: None, unless you haven't concluded reading the epic poem Beowulf. Please write notes about the work in your notebook (due when I collect your notebooks). Students who are eager to move ahead, please post a response to the forum question concerning Beowulf. This response is due Nov. 13 by 11:59.

Beowulf & Structure

2011-11-07T13:11:00.001-05:00

Please continue reading (and completing Beowulf). We have read the first section of Beowulf. There are two more major episodes before the end of the poem.

Part One: Beowulf vs. Grendel
Part Two: Beowulf vs. Mama Grendel
Part Three: Beowulf vs. the Dragon

Between the three sections are the stories of Sigemund and the Dragon, Finn & Hildeburh, and the story of Queen Modthryth. These stories reflect major themes and are foils for the characters.

Riddles & the Book of Exeter

2011-11-02T13:26:00.000-04:00

The Book of Exeter: WHAT IS IT?

The Book of Exeter is an anthology or collection of Anglo-Saxon poems donated to the library of Exeter Cathedral by Leofric, the first bishop there.

WHY IS IT IMPORTANT?: The codex remains the largest collection of Anglo Saxon poetry in the world. It is perhaps best loved for its collection of Anglo Saxon riddles. Click the link above to see samples.

A riddle is essentially a metaphor. Relying on figurative language, as opposed to literal language, the riddle compares one noun (the unknown) with some other noun. The game is played by asking: what am I? or What is it? and then providing details as clues to solve the mystery.

Homework: Read the handout and essays on Riddles. Write a riddle of your own and bring it to class Friday. See the examples and the website above for ideas for your own riddle. More writing help will be given in tomorrow's post for those struggling with the material.

Anglo Saxon History & Culture: Key Points

2011-10-31T13:17:00.001-04:00

Anglo Saxon History

Rome invaded Britain, established settlements between 55 b.c. (bce) - 43 a.d. (ce)
As Germanic tribes settled in the area, Rome withdrew until its fall in the 5th century (circa 450 a.d.)
Vortigern (king of the Britons during this time (449 A.D.)) invited the Anglo Saxons over to Britain to help repel the invasion of the Picts and Scots
The Anglo Saxon’s brought with them the Germanic heroic code (the same one they used to defeat the Romans)
The “middle” ages stretch from 450 to 1485 (the end of the War of Roses), with the first part of this period (450-1000) lovingly called the Dark Ages.

The English language (that thing you're speaking now) has 3 periods:

Old English - Anglo Saxon
Middle English - Norman-French
Modern English - Our current speech

NOTE: It annoys scholars (and English teachers) to call Shakespeare old English. It wasn't. Beowulf was and if you've checked, there's little there in the language that you recognize.

Anglo Saxon Life and Beliefs
Anglo Saxons are comprised of people from the Netherlands, Denmark, North Germany, South Sweden and surrounding areas.

Similar to the Mycenaean Greeks, Anglo Saxons were nomadic tribes of warriors.

The mead hall was seen as a symbol of social unity:

feasts
bard songs
hospitality to guests (Macbeth)

To be exiled then is to be without protection of the society, and was a serious concern and/or punishment for those who transgressed the law of the land or divine law.

The Anglo Saxons believed in retribution or blood for blood; the Wergild: (man payment) (see churches below) was set up to break the cycle of revenge. But avenging one's family was an important social consideration as it affected your status in the "tribe".

Other key points:

Anglo Saxons believed in fate or wyrd (the accomplishment of God’s will)
They held a belief in Arete: strength of will or character (from Plato)
They held a strong belief in military skill and the resourcefulness in battle; Courage is measured in combat
The person with the most “arête” (great courage) would likely be the lord or king
The lord is seen as a provider; he is known for his generosity and giving protection to his people
The spoils of war were a measure of success in battle and therefore prestige
These spoils would be handed out to the Thane (retainer, warrior) by the lord to reward them in battle
Spoils determined the status of the warrior (to the victor go the spoils of war)
In return for such treasure, the thane would be loyal to the king or lord
To steal treasure defeats its significance as one must earn treasure as a symbol of courage and resourcefulness
Heroic excellence is a spark of the divine in men
Divine excellence is worthy to be immortalized in song and legend
There is a fusion of Anglo Saxon values and Christian ones in Beowulf
Churches were seen as the Lord of the spirit, and one would give to the church in loyalty and tithing for the protection of the soul (or God’s protection)

Anglo Saxon Women

Women were seen as having qualities of holiness
Women were often seen as prophets or having the gift of prophecy
Noblewomen often owned their own goods
They also played an important role in political power, often cementing peace between factions and tribes

HOMEWORK: Please read the packet handout on Anglo-Saxon poetry and complete questions for Wednesday, Nov. 2.

Epic Form

2011-10-31T13:16:00.002-04:00

Anglo Saxon Poetry and the Epic Form

Anglo Saxon poetry does not use rhyme
Instead it uses alliteration on stressed syllables which are linked together
Each line is divided into two by a caesura (pause)
There are usually two stressed syllables in each half line which alliterates with the first stress of the second half of the line
Anglo Saxon poetry also uses a metaphorical technique called Kenning, which is a compound metaphor (the use of two metaphors to say the same thing) to substitute the usual name of a person or thing.
Example: Ring-Danes (metaphor for the tribe); God-cursed (metaphor for Grendel); Sword dance (metaphor for battle); Blood kin (metaphor for tribe), etc.

Characteristics of Epics

Great length (obviously longer than the dithyramb, ode, or lyric)
Dignified tone & elevated style (the tone is often formal; the diction often metaphoric or figurative)
Deal with a single person; a certain, specific people; or the history of a race in a period of crisis
Primary epics were originally composed to be sung and later written down (i.e, Homer)
Secondary epics were originally written to be read (i.e, Milton’s Paradise Lost)
The epic often includes a contradiction between society values and the individual
There is often a flashback to past problems that also foreshadow events to come
The deeds of the hero in an epic affirm both the individuality of the hero and the collective consciousness of the society.

Kafka Essay: Day 2

2011-10-28T11:07:00.001-04:00

Please continue working on your essay. I'll be in the room to help anyone who needs feedback. Use your time constructively in class.

Feel free (and I encourage you to do so) to include secondary sources in your paper. Occasionally the support of a critic can help strengthen your position or argument. Even if you disagree with a critic, writing about what other published writers/critics thought about the subject establishes your ethos (indicating that you are well read). We trust people who are well read.

HOMEWORK: Please complete your formal essay on Kafka for Monday. Remember to read the Introduction to Beowulf and take notes. We will start Beowulf on Monday; please bring your books to class.

Formal Essay: Kafka's Metamorphosis

2011-10-27T13:59:00.001-04:00

Using Kafka's Metamorphosis, write an essay wherein you use either Psychoanalytical or Freudian Critical Theory or Mythic (Archetypal) Literary Theory in your criticism of the novel.

Do not bite off more than you can chew: you can focus your discussion on plot structure, a single character, a group of characters, the author, the setting, or any other necessary component of the writing. This depends largely on what you decide to examine and how you plan to examine it. Your essay should be AT LEAST five well developed paragraphs. The larger your topic, the longer your paper. Try not to write more than 5 typed pages, for Woden's sake!

It is more important to think clearly, critically, and write concisely, rather than blather vaguely about a weak or obvious point.

The final draft of this essay will be due Monday, Oct. 31 (Halloween!) We will be working in the library lab today and tomorrow. I will be available to help you at this time. Complete your essay over the weekend, if not before.

HOMEWORK: Please check out Beowulf, translated by Seamus Heaney. Read the introduction and take notes of important details or key issues in your notebook.

Transitions in Essays

2011-10-27T13:43:00.001-04:00

Remember that all paragraphs are made up of topic sentences. Topic sentences should be clearly written (just like your thesis). To help you vary your sentence structure, I suggest keeping your topic sentences simple. Compound and complex sentences used for topic sentences usually lead a reader astray.

After your topic sentence, you can explain and defend your topic sentence with details, facts, statistics, and textual support. Main points in your essay should always be made clearly.

Body paragraphs are often connected to the previous paragraphs by transitional words or phrases. The following illustrates "relationships" between ideas, followed by words and phrases that can connect them:

If you are trying to use transitional words of________ then use _________:

Addition:
also, again, as well as, besides, coupled with, furthermore, in addition, likewise, moreover, similarly

Consequence:
accordingly, as a result, consequently, for this reason, for this purpose, hence, otherwise, so then, subsequently, therefore, thus, thereupon, wherefore

Generalizing:
as a rule, as usual, for the most part, generally, generally speaking, ordinarily, usually

Exemplifying:
chiefly, especially, for instance, in particular, markedly, namely, particularly, including, specifically, such as

Illustration:
for example, for instance, for one thing, as an illustration, illustrated with, as an example, in this case

Emphasis:
above all, chiefly, with attention to, especially, particularly, singularly

Similarity:
comparatively, coupled with, correspondingly, identically, likewise, similar, moreover, together with

Exception:
aside from, barring, besides, except, excepting, excluding, exclusive of, other than, outside of, save

Restatement:
in essence, in other words, namely, that is, that is to say, in short, in brief, to put it differently

Contrast and Comparison:
contrast, by the same token, conversely, instead, likewise, on one hand, on the other hand, on the contrary, rather, similarly, yet, but, however, still, nevertheless, in contrast

Sequence:
at first, first of all, to begin with, in the first place, at the same time, for now, for the time being, the next step, in time, in turn, later on, meanwhile, next, then, soon, the meantime, later, while, earlier, simultaneously, afterward, in conclusion, with this in mind

Summarizing:
after all, all in all, all things considered, briefly, by and large, in any case, in any event, in brief, in conclusion, on the whole, in short, in summary, in the final analysis, in the long run, on balance, to sum up, to summarize, finally

Diversion:
by the way, incidentally

Try using some of these transitional words in your essay.

Essay Structure Advice

2011-10-27T13:37:00.000-04:00

Over the years of reading and working with literature, you have been introduced to something called discourse. There are four modes of discourse in writing. Discourse refers to a formal expression of thought on a subject. The four major types are:

1. Exposition (writing that explains or informs)
2. Narration (writing that tells a story)
3. Description (writing that describes, duh, or appeals to the senses; often uses imagery)
4. Argument/Persuasion (writing that presents a position to convince or lead a reader to a conclusion regarding the subject matter)

All the writing you read usually follows one of these types of discourse. Given a passage on the AP Exam, you should be able to identify the type of discourse the author is presenting to you. In a longer novel, play, or poem discourse strategies may change (some passages are description, while others are exposition, while others are persuasion, etc.) It is likely in a short selection (as on a timed test) that only one discourse style will be used per passage.

Discourse is related to the author's PURPOSE. This is important to remember.

When you write for academia, you are likely to use exposition and argument/persuasion. In critical essays, you are arguing a belief you hold about a piece of literature. Knowing this can help you focus on your task.

Introductions:

When writing introductions, remember that your primary goal is, well, introducing your thesis or argument. As stated before, a thesis should be arguable (not just a fact), concise or written clearly, and be the subject of your essay (i.e, what is it you are trying to prove or defend).

It is okay to impress your readers by starting off with a clever thoughtful sentence to hook their interest. The most common way to open an introduction is by defining a word or phrase, by telling a personal anecdote, by stating a fact, etc. Essay graders want you to establish your ethos quickly, by connecting the "hook" of your opening to the broader world or facts or details you understand in relation to the subject or question posed. That means if you are going to use Greek Tragedy to defend the idea that some characters in literature make foolish mistakes that cause conflict with society, you might begin your essay with a factual or interesting tidbit of info about Ancient Greek Tragedy.

Your introduction should cover background and context of the author or period of literature and should state your motive or thesis.

Body paragraphs are the meat of your argument (unless you're a vegetarian, then they're the tofu of your argument.)

Further advice: each body paragraph should advance the writer's argument by avoiding restatement or redundancy. Each new point should be supported by facts, textual evidence, critical analysis, literary support, etc. The more organized and valid your points, the better your logos and ethos will be. Providing your audience with a reason as to why your statement is valid is necessary to argue your side effectively. Don't just quote to quote or take up space. Explain how the quote or support material strengthens your thesis. Just using a quote is not enough. It must be connected back to the thesis. This should be stated as clearly and concisely as possible.

Preparing The Metamorphosis

2011-10-26T13:23:00.000-04:00

After our last presentations, get into small groups (2-4 people) and complete discussion questions and venn diagram. Prepare notes to start an essay on the Metamorphosis in the lab tomorrow.

HOMEWORK: prepare your notes on the Metamorphosis. Bring any books you still have out from the library tomorrow to class.

Presentations (continued)

2011-10-25T13:31:00.000-04:00

Anglo Saxon life

Anglo Saxon education: The Venerable Bede (An Ecclesiastic History of Britain)

Early Christianity & (Eddie Izzard: The Origin of Christianity)

Anglo Saxon entertainment and bards

The meadhall

2011-10-24T12:34:00.000-04:00

Supplemental materials for reports. A little knowledge goes a long way...

Wyrd (Anglo Saxon Fate)

The Anglo Saxon pagan gods/goddesses (Nerthus, Thunor, Woden)
BBC video: Band of Brothers (part one)

Germanic Heroic Code

Role of Women

Essay Advice & Taking Notes on Anglo Saxon Culture

2011-10-21T13:59:00.002-04:00

Listening is a keen skill one needs to survive the contemporary world. Don't tune out just yet. Listening is not just hearing, but actively examining the quality of word and word choices (diction) to decipher meaning. It is the one of those great skills you need to have for life and college.

1. Face the speaker. Sit up straight or lean forward slightly to show your attentiveness through body language.
2. Maintain eye contact, to the degree that you all remain comfortable. In a lecture, it is okay to be writing or taking notes.
3. Minimize external distractions. Put down your magazine, shut off the music, or cell phone, and ask the speaker and other listeners to do the same.
4. Focus solely on what the speaker is saying. Try not to think about what you are going to say next. The conversation will follow a logical flow after the speaker makes her point.
5. Minimize internal distractions. If your own thoughts keep horning in, simply let them go and continuously re-focus your attention on the speaker, much as you would during meditation.
6. Keep an open mind. Wait until the speaker is finished before deciding that you disagree. Try not to make assumptions about what the speaker is thinking. If you have an interrupting question, write it down so you don't forget it. Then ask it when the speaker stops talking.

More Listening Tips.

To begin class, please review the article: "Sex & Violence in Latin Hexameters." Let's deconstruct this review and learn a few tactics for writing our own criticism of books, stories, and poems.

After examining the article, we will begin to take notes and listen to the presentations on Anglo Saxon culture.

Let's start with the fall of Rome. More details can be found here.
You can find the other parts to this documentary on the side bar of YouTube.com.

The History of the Goths and Visogoths. More details can be found here as well.
And here's the Barbarians (a favorite of mine) with Terry Jones.

3 Minute Philosophy: Plato's Cave Allegory from the Republic.

HOMEWORK: Please read and complete The Metamorphosis by Franz Kafka. Post a response to the forum. See question there.

Archetypal Plots & Discussion of the Aeneid & Ovid

2011-10-20T13:08:00.000-04:00

Review the archetypal plots for Quests, Adventures, Metamorphosis, and Transformation/coming of age.

1. How does Virgil use the quest archetype in The Aeneid?
2. How does Ovid use the transformation archetype in the stories of the Metamorphoses?

Let's check the other archetypes. Any other archetypes being used in Virgil or Ovid's work?

HOMEWORK: please prepare your Anglo Saxon research to present to the class tomorrow. You should present: 1. What is it? and 2. Why is it important? You may also mention what you found most interesting about the subject while researching.

Keep reading Kafka.

Research & Reading Day

2011-10-19T13:01:00.002-04:00

Please use this period to research Kafka (see post below), post a response to the Forum on Ovid, read "Sex and Violence in Latin Hexameters" and conduct the following research:

The Fall of Rome
The Visigoths & the Goths
Plato's concept of Arete; Anglo Saxon concept of Wyrd or fate
Anglo Saxon gods/goddesses (pagan traditions)
Germanic Heroic Code
The role of Anglo Saxon women
Anglo Saxon common life
Anglo Saxon education
Early Christianity (at the time and after the fall of Rome)
Bards (Skalds) & Anglo Saxon entertainment
The Anglo Saxon meadhall & Anglo Saxon law and government

Sign up for a topic, meet with your partner, research, take notes and divide up the work. Presentations will begin Friday.

HOMEWORK: Please read the Metamorphosis by Monday, Oct. 24. Complete research on Anglo Saxon topics.

Ovid & Kafka's Metamorphosis

2011-10-18T13:13:00.002-04:00

While you are in the library, please read the article: "Sex & Violence in Latin Hexameter" (see below). Read the other narrative poems in Hughes' translation and post your comment on the forum.

Check out Kafka's Metamorphosis while we are in the library today.

Learn about Kafka here in this short documentary.

Please begin reading Franz Kafka's The Metamorphosis. As you read please take note (actual physical notes in your notebook) of specific examples from the text regarding Gregor Samsa's psychological state OR the mythological archetypes found in the story.

Check out this archetype, it may help. Read the handout on common archetypical plots.

For example you may wish to take note of references to dreams or dream-like states (symbolism). Look for plot events that suggest an Oedipal or Electra complex, or the pleasure principle, developmental stages, projection, defense mechanisms, theory of the subconscious, ego, id, superego, sublimation, sexual impulses, etc.

Look for other Freudian concepts: sublimation, projection, etc.

For mythic criticism, check out the typical transformation archetype.

HOMEWORK: Finish Ovid. Post response to the forum.

Ovid Forum ?'s

2011-10-17T14:05:00.001-04:00

Please complete your reading of Ovid's Metamorphoses.
Information about Ted Hughes can be found here.

Please read: Sex and Violence in Latin Hexameter.

HOMEWORK: please post on the forum using one of the following questions by Wednesday, Oct. 19:

1. What seems to be Ovid's intention? Why write an “epic” poem on this subject matter? Why is metamorphosis or change such a compelling theme?
2. What theme(s) can you identify in Ovid’s poem? Which stories best support this theme?
3. Is Ovid's Metamorphoses lost on contemporary readers? Argue that Metamorphoses has something to say to readers in the twenty-first century. Or argue that Ovid is irrelevant, spoiled, or just entertainment. Discuss two stories from the text as evidence of your thesis.
4. What things do we, as humans, regard as significant in setting us apart from the natural world and the species that inhabit it?
5. What are the traditions of women in Metamorphoses?
6. What is the message of the story of Echo and Narcissus?
7. If indeed it is true that each generation does latch onto a particular mythic figure to remake as its own, what figure in Ovid's Metamorphoses would your generation choose as representative of youth culture?
8. Much of the power of Ovid's Metamorphoses is in the strong images. Identify one of these images and briefly discuss why it is significant.
9. Scan 10 stanzas from one of the tales. What patterns appear? What rhythm or meter is Hughes using (if any)? How does this rhythm affect the reading of the poem? Additionally, what sound devices does Hughes use in his translation?

Ovid's Metamorphosis

2011-10-14T14:03:00.001-04:00

Ovid is the source for most of our familiar myths. Read below for more information about him.

Persephone & Hades
Narcissus
Midas, from Tales of Ovid by Ted Hughes.
Midas, Disney

Click here for more information about Ovid and the Metamorphoses. Take notes on what makes Ovid important to the Western Canon in your notebook.

Exam & End of the Greek Unit

2011-10-07T14:06:00.005-04:00

We will be taking our classics test on Tuesday. To study, please consider reviewing the following:

Greek theater: vocabulary, Greek Tragic Structure
Aristotelian Criticism
Feminism, Psychoanalytical Criticism, New Historicism, Mythic criticism
Euripides: Medea, The Bacchae
Aristophanes: Lysistrata, The Frogs
Sophocles: Oedipus Rex, Oedipus at Colonus, Antigone
Aeschylus: Agamemnon, Prometheus Bound
Rita Dove: Darker Face of the Earth

Notebooks are due next Friday. All extra credit and make-up essays are due Friday at the latest. The end of the marking period is Friday, Oct. 14.

Virgil & Mythic Criticism

2011-10-07T14:04:00.000-04:00

One of the most influential Latin writers was Virgil (Publius Vergilius Maro). Here's a bit of background on him.

For those of you interested, here's his most important work as a PDF: JW Mackail's translation of "The Aeneid."

The Aeneid Videos:
The Trojan War (Lego version)
Dido & Aeneas (Henry Purcell opera) Dido's Lament
Dido & Aeneas (Dance)
Book 6 in 60 Seconds
Wishbone's version: Roamin Nose (part one)
A Reading of Virgil's epic

Archetypal Theory or Myth Criticism

The Collective Unconscious, is a collection of latent images, not in one’s personal unconscious but from the ancestral past, as well as pre-human or animal ancestors. Not inherited, the Collective Unconscious belongs to all of us in a certain culture and time. Latent images manifest from our unconscious minds so that we can recognize patterns and symbols in an icon or persona.

C.G. Jung: Psychology of the Unconscious
Here's a link referring to Jung's theory of Archetypes

J.G. Frazer: The Golden Bough: a Study in Magic and Religion

Arche = original
Typos = form

Patterns, as those found often in literature, originate in the collective unconsciousness

Both plots and characters of literary works can be examined for archetypal patterns

Myth Criticism asks:

1. How does the story resemble other stories in plot, character, setting or use of symbols?
2. Are archetypes presented, such as quests, initiations, scapegoats, descending, or withdrawals and returns?
3. Does the protagonist undergo any kind of transformation (such as movement from innocence to experience) that seems archetypal?
4. Are there any specific allusions to myths that shed light on the text?

Myth critics: Joseph Campbell & Northrop Frye
Traditional Archetypes #1
Traditional Character Archetypes #2

Admissions Essay Workshop

2011-10-06T13:10:00.003-04:00

Today we will be going to the Ensemble Theater to attend a workshop on college essay writing.

Sappho & the Ode

2011-10-05T13:09:00.001-04:00

Far earlier than the Tragic playwrights, Sappho was born in the late 700's (BCE) on the isle of Lesbos (near modern day Turkey). Lesbos was an important trade island between Greece and Asia, and therefore, it was also a cultural center. We know little about the true Sappho, except that she was from an aristocratic family in the city of Mytiline. She probably was married and had at least one daughter.

We believe Sappho taught at a women's "school", offering an education for women at this time. Women were generally taught singing, weaving, poetry, and other such subjects. You can learn more about Ancient Greek education here.

We do know that Sappho composed epithalamia (marriage songs, see below) for performance by a group. But her preferred form seems to have been songs to be sung or recited by an individual to the accompaniment of a lyre, some perhaps for religious or civic festivals. These we appropriately call lyric poetry (see below).

Almost 200 fragments of Sappho's poetry are extant, but many of these are only a word or a few words.

We can look here for more information about Sappho

Lyric Poetry/Odes

A lyric poem is a short poem (usually shorter than 60 lines) which may have a closed or open form. Originally, lyric poetry was sung by one or two people to the music of a lyre or three-stringed harp. We often think of songs as lyrical poems. In contemporary poetry, a lyric often expresses a personal feeling about something or someone.

When that feeling is celebratory, praise, or pride, the lyric may be an Ode. In antiquity, the ode was solemn (serious) and elevated a person, object, or occasion. Odes are often full of flatteries, exaggerations, and claims for the excellence and high standing of the subject. The Romantic poets in the 19th century favored the ode to celebrate nature. Walt Whitman's epic "Song of Myself" is essentially an ode...celebrating...yes, you guessed it...oneself.

When the ode was sung at weddings, we call the poem an Epithalamia. Sappho, for example, was well known for her epithalamia (or wedding songs), which were chanted by a chorus before the bridal chamber. Today, wedding toasts and music at a reception take the place of the epithalamia.

Miracle Glass Co.
Charles Simic

Heavy mirror carried
Across the street,
I bow to you
And to everything that appears in you,
Momentarily
And never again the same way:

This street with its pink sky,
Row of gray tenements,
A lone dog,
Children on rollerskates,
Woman buying the flowers,
Someone looking lost.

In you, mirror framed in gold
And carried across the street
By someone I can’t even see,
To whom, too, I bow.

Resume and Cover Letters

2011-10-05T12:52:00.003-04:00

All seniors are required to participate in the Senior Exit Interview. In order to do that, please make sure you update your resume.

There are thousands of examples of resumes and resume writing help on the internet. Feel free to search through them and pick something that works for you.

As for cover letters (same thing applies), here's a few links with bits of advice and samples.

Sample Resumes/Cover Letters and How to Write Them
Resume Templates
Microsoft Resume Samples
Cover Letters (How To)
More Cover Letters

Resumes specifically:
About.com
"Best Resumes" site.
Resume examples.
Resume template appropriate for this assignment.

Important: Senior Exit Interview

2011-10-05T12:51:00.002-04:00

Senior Exit Interview: All seniors in the RCSD are required to go through a "senior exit interview." This is a requirement of our SOTA graduation. Yes, you have to do it. The senior exit interview will be conducted on November 22, 2011.

You will need an updated resume, a cover letter, and samples of your accomplishments in high school: for example an award you won, a play program from a play you were in, or pictures of you volunteering for the Breast Cancer Walk, or a photograph of you at a school concert, or the sheet music you wrote, or the painting you painted, or the poem you wrote, or the sweat sock you wore when you won the big game! Possibilities are endless. Begin gathering these things for your senior exit interview.

Having trouble and stressin'? Look above for help!

Tomorrow, 9th period we will be attending a short seminar about college essay writing. Please check in with me 9th period before we move to the Ensemble Theater.

For Friday, please read about Sappho and the Lyric Poem form (post above).

TODAY IN CLASS: With a partner, please continue to work on your OUTLINE for a research/criticism paper involving the Greek playwrights we have read. Your outline should include a topic, a thesis, and the outline for an introduction, body, and conclusion. Try to finish up today by the end of class.

Taking Notes & Outlining

2011-10-04T12:58:00.003-04:00

Taking notes.

Very few people have an eidetic memory. Taking notes is a necessary part of learning and/or higher education. Success in college often depends on a student's ability to listen & take notes in class. If you ever wonder why teachers give you strange looks in class, it may be that you are not taking notes. In our day this sort of thing was just expected. Today, there are hundreds of tools and techniques to help you take notes. For example, here's a website from Dartmouth College.

You can either get and use this advice now, or pay for it later in college (and in life). Right now, all of this is free.

Outlining.

An outline is a very useful tool to use before writing a formal essay. Some students love them, others don't. If you are having trouble figuring out or organizing your essay, try using one.

It is also helpful to write notes in outline format. It saves time and you can use your notes (reading or from classes) to prepare for tests or in composing essays.

How to do it? Look here.

Sample Outline

Today's task:

Imagine if I assigned a long, formal paper on the Greek playwrights. What would your topic be, how would you select your thesis, how would you argue your thesis with facts and textual evidence?

With a partner, please create an OUTLINE for a research/criticism paper involving the Greek playwrights we have read. Your outline should include a topic, a thesis, and the outline for an introduction, body, and conclusion.

Lysistrata: 2 & Extra Credit

2011-10-03T14:02:00.003-04:00

Today we will continue our reading of Lysistrata. If we do not finish, please complete this play and post your response to the forum. The deadline for this post is TOMORROW, Oct. 4; not today.

The end of the marking period is coming. Any rewrites on your summer essay may be completed by the end of next week. Additionally, the Greek parody/play script option is also due by the last day of the marking period.

For those of you who would like extra credit for the forum, please choose one (or more) of the following Greek Tragedies & Comedies:

1. Euripides' The Bacchae (gender bending play about Dionysus)
2. Euripides' The Trojan Women (women pickin' up the pieces...yet again.)
3. Aristophanes' play The Frogs (Euripides and Aeschylus in Hell)
4. Aeschylus' play Prometheus Bound (titans nailed to rocks and talkin') This play script can be asked for and gotten in our library.

To get extra credit, please read these plays and post a forum response discussing an aspect of the script. Due by Oct. 14.

Lysistrata

2011-09-30T13:42:00.003-04:00

Please complete your forum post for The Darker Face of the Earth. This response is due by 11:59 tonight. Plan to post a response to Lysistrata by the end of Monday (11:59). We will read Lysistrata today in class and finish on Monday, Oct. 3.

Please take notes while we read by investigating key psychological analysis terms for the characters in the play or the playwright (see handout).

Aristophanes & Old Comedy

2011-09-29T13:58:00.000-04:00

Here's a bit of background information about the playwright Aristophanes.

Old Comedy dates from the establishment of democracy by Pericles, about 450 B.C.

Aristophanes and other comic dramatists satirized Greek culture, human behavior, and popular or political figures of the day. Satire's purpose was to make a better society through ridicule and laughter.

Comedy borrows much of tragedy's components: such as choral dances, masked actors, metre and music, scenery and stage mechanism, among the structure of tragedies: prologue, parados, episodes, exodus, stichomythia or debate, etc.

Instead of tragedy, comedy focuses on a "happy idea" whereupon a bad character or idea is exposed or good people rise to a happy ending.

Coming from phallic songs, the plays are often focused on sexual or marital issues, particularly those between men and women.

Let's mix psychoanalytical criticism (using the theories of Northrup Frye) with comedy. Take a look here.

HOMEWORK: Please complete The Darker Face of the Earth and post a forum comment (due Friday at 11:59) and read the article about Aristophanes and Greek Comedy for tomorrow.

Freud: Part II

2011-09-29T13:43:00.005-04:00

Here's a bit more information about Freud's theories. Feel free to research this as much as you'd like.
To learn more about Freud as a person and historical figure, click there.

Mental Defenses

Repression: When painful memories or anxiety or negative thoughts occur, repression is the process of pushing or keeping them out of the mind. Be aware a person is not AWARE of Repression, as it is a subconscious event. The goal in psychoanalysis is that these repressed memories or thoughts break through to the conscious level where they can be worked on and resolved.

Suppression: Similar to repression, except that this is in the conscious mind. A person chooses not to think about a desire, wish, etc. instead of seeking for it. (Puts it out of the mind). We do this often when we want to change the subject of a conversation because its too difficult to bear, or if the topic makes us uncomfortable.

Projection: when someone consciously experiences an unconscious drive, wish, or feeling as though it belongs to someone else. A person with intense unconscious anger may project that anger onto her friend and think it is her friend who is angry, for example.

Rationalization: to explain away anxiety provoking thoughts or feelings. Usually a person who cannot face an aspect of himself, may rationalize his actions as being normal or okay.

Reaction Formation: A person says or does the exact opposite of how he or she really feels. A desire or wish may be unacceptable, so this is turned into its exact opposite. We see a lot of this sort of thing when evangelists or preachers go on about hating homosexuality, then later are caught engaging in that sort of behavior. Before the psyche breaks down, the individual is using reaction formation to keep unwanted desires at bay.

Displacement: When an unacceptable desire is redirected toward a more acceptable alternative.

Sublimation: Like displacement, when you sublimate a desire you turn unacceptable urges into their opposites - an acceptable outlet for ones feelings/desires. Artists often do this when they channel their rage or anger into their art or music.

Psychoanalytical Literary Criticism:

Freud, Lacan, Jung, and Frye also use psychoanalytical theory when analyzing literature. You can read about them at the links.

1. To find out what Psychoanalytical Literary Criticism is, click here and here.
2. To learn how to do it, click here!

Basic Freudian Theory

2011-09-27T13:13:00.002-04:00

Sigmund Freud (1856-1939)

Freud in a nutshell:

Freud created "Freudian Psychology" (psychoanalysis): interpreting what people say and do in order to figure out what their root problems are. Freudian psychology is used by literary critics using psychoanalytical criticism. In order to use this type of criticism, you need a basic understanding of Freud's key concepts.

Freud believed that psychological desires influence the forming of a personality.

Theory of Unconscious:
The part of the mind that thinks and feels without you being aware of these thoughts and feelings is called the UNCONSCIOUS.
The UNCONSCIOUS is comprised of 3 sections: The Ego, the Id, and the Superego.

1. The Ego is the self
2. The Id is the animalistic or primitive side of the unconscious.
3. The Superego is the control

Dreams are one way of communicating with the unconscious. They are coded messages mailed to your conscious self.

Freud also stated that:

We all have desires.
Sometimes the self cannot admit that it wants certain things, because we all learn (usually during infancy) that some things are bad for us.
As a result, the mind REPRESSES (repression) or hides these desires in the unconscious until they resurface as expensive psychoanalysis bills.
In general, most repressed desires are sexual in nature.

We are sexually motivated from birth. Freud divided people into three major developmental stages:

1. Oral (infancy to about 1 year old)
2. Anal (2-3 years)
3. Genital (until about adulthood)

Freud had two major principles:

1. Pleasure Principal: we pursue pleasure. From the moment we're born, we want to be comforted, fed, etc. This pleasure seeking can be both physical and emotional.
2. Reality Principle: You can't always get what you want. Sometimes you have to alter your instinctual behavior to get what you want. Often this leads to supression.

These two principles combine to affect our personalities and make us who we are.
Jokes, dreams, myths, compulsions, obsessions, fetishes, hysterical fits, etc. all are part of our repressed desires, says Freud.

Two Famous Complexes:

Oedipus Complex: A desire to get rid of one's father and "marry" one's mother.
Virtually all men deal with this repressed desire, says Freud.
A male child develops an Oedipus complex as a result of having to compete with their fathers for their mother's attention/affection. They have not learned to accept their fathers' authority and are still dependent on the mother.

Girls go through the Electra Complex - basically the same thing, but reversed gender roles: daughter wants father, etc.

Critical Lens: Feminism

2011-09-27T13:07:00.000-04:00

During the 19th century, women began to politically challenge the male authority. They probably have been challenging male authority a long time before that. During these centuries and up through the 1970's, Feminism focused on the question of equality (particularly in the workplace or political voice)

After 1970, Feminism began to take on the issue of male versus female roles in society

During the early 1980’s feminism was attacked as being too heterosexist. Later in the 1980’s feminism was attacked for being too “white” from non-western women.

Feminism liberal politics stresses the importance of equality and opportunity in employment, education, childcare, etc.

Feminism as a critical lens:

Questions to ask:

1. How are women portrayed in the text? Is this portrayal a positive or negative depiction of women?
2. What roles, occupations, or actions do the women characters engage in? Is this a traditional or non-traditional role?
3. Examine female relationships between each other: is this positive and supportive or adversarial? How do females interact with males?

Apply these questions to the plays we have read thus far: Medea/the Bacchae/Agamemnon in particular.

HOMEWORK: Please complete Oedipus Rex & The Darker Face of the Earth. Two students should sign up as discussion leaders. Be prepared to discuss these plays tomorrow.

Rita Dove: The Darker Face of the Earth

2011-09-26T13:57:00.002-04:00

Rita Dove
has been the poet laureate of the United States and has earned countless awards for her poetry and writing. She currently teaches at the University of Virginia. You can read about her bio at the link. Please watch a video interview with Rita Dove discussing the performance of The Darker Face of the Earth.
You may download the audio text of the play at the website above (scroll down to the Darker Face of the Earth section, Windows only--sorry).

Some allusions:

Phebe (Phoebe): a Greek goddess & titan of intellect. She is often called the "inquirer" and was an oracle of Delphi. Her name means "bright" or "radiant". The derived word phoibazo means to give prophecy.
Psyche: Wife of Eros (love--also named Cupid), Psyche was the goddess of the soul.
Scylla: a monstrous sea goddess, she threatens Odysseus ship in the Odyssey. Originally she was a sea nymph who ran afoul of the witch Circe.
Diana: The Roman name for the goddess Artemis, the Greek god of hunting, the wild, and wild animals. She's the broad who stopped the winds to protect Troy so that Agamemnon had to sacrifice Iphegenia. She also turns Acteon into a stag to be torn apart by his own hounds.
Hector: The eldest son of Priam (King of Troy). Some legends say he is the son of Apollo. In the Iliad, Hector does a lot of fighting: challenging Ajax, and then slaying Patroclus (Achilles' male lover), which causes Achilles to seek revenge. He is slain by Achilles in combat.
Alexander: might refer to Alexander the Great, but also another name for Paris (the second son of Priam who steals away Helen, not the city).
Scipio: The Roman general who destroyed Carthage.
Skeene: skene is the Greek word for scene. Our sets in theater come from this idea.

FORUM QUESTION(S): Please answer any one or more of these questions:
1. The original Greek Tragedies took liberties with Greek myth to create a new experience for their audiences. Explain and discuss how Dove does exactly this with her play.
2. Using Aristotelian Criticism defend or criticize the effectiveness of this play. What elements, for example, are still intact; which ones have been cast aside?
3. To what extent does the play incorporate traditional slave narratives and/or the experience of African Americans? What parts of the play "stick out" particularly as upholding these traditions?
4. How does the theme of privilege lead to tragedy in this play? Examine one of the characters and his/her fate in regard to this question.
5. How and why does Dove invert race and gender relationships in this play? Compare and contrast this with Oedipus Rex, Agamemnon, or Medea for example.

Your forum post is due by Friday, Sept. 30. by 11:59 p.m.

Agamemnon, Extra Credit & Rita Dove

2011-09-23T13:48:00.002-04:00

Want to know what happens in the second and third plays in the Orestia trilogy? Take a gander here. The Libation Bearers & The Eumenides.

HELP!
Q: What happens if I don't understand Agamemnon?
A: Look here for help. (Or ask).

Want to get ahead? Please begin reading The Darker Face of the Earth by Rita Dove. Aim to complete this play by the end of next week.

EXTRA CREDIT OPPORTUNITY:

Creative Writing: Write a Greek Tragedy. Using Medea by Christopher Durang as a model, or taking the assignment seriously if you want, write a shortened version of a Greek Tragedy. Structure your Greek tragedy by using what you've learned in this unit. Turn it in BEFORE the end of the marking period for extra credit.

HOMEWORK: reminder! Please post a response to the forum for Oedipus At Colonus due at the end of today (11:59). Create a notebook entry for Oedipus At Colonus in your notebook. Get a head start reading The Darker Face of the Earth!

Agamemnon

2011-09-22T12:42:00.002-04:00

Please complete your reading of Oedipus at Colonus and post a response to the forum. Additionally, for Monday, please read today's article on the Chronology and Demise of Greek Drama.

As you watch Agamemnon, pay close attention to how Greek terms, particularly concerned with staging, work structurally in the play. Parodos, exodus, stasimon, strophe & antistrophe, movement and composition of the chorus, the use of stichomythia, the skene, use of mechane, staging in the orchestra, the use of spectacle, costumes/masks, and music.

Keep an eye on the characters' hubris, tragic flaw, and peripety. Note your feelings watching the play. This is part of catharsis.

Compare: Agamemnon with Oedipus/Jason
Compare: Clytemnestra with Medea

The Oresteia: Agamemnon Exposition

2011-09-21T13:24:00.003-04:00

The Oresteia by Aeschylus is the only complete Greek trilogy. These three plays: Agamemnon, The Libation Bearers, the Eumenides tell the story of the House of Atreus in Argos.

Key mortal characters in the myth are: Thyestes, Atreus, Aegisthus, Agamemnon, Menelaus, Odysseus, Helen, Paris, Priam, Cassandra, Iphigenia, Orestes, and Electra.

Key immortal characters include: Zeus, Apollo, Artemis, The Furies (Eumenides...also called the Erinyes, the Kindly Ones, The Daughters of the Night were spirits of vengeance, murder, and jealousy. Their names are Tisiphone, Megaera, and Alecto). We will meet them later in this course in Hell.

Exposition:

• Atreus and Thyestes (brothers, sons of Pelops) fought because Thyestes challenged the throne of Argos and seduced Atreus’ wife.
• Thyestes was defeated by his brother and driven out of Argos, but returned as a suppliant with his children.
• Atreus invited the family to a feast (where he slaughtered Thyestes children and served them to their father as dinner).
• Thyestes ate his children, unknowingly.
• When he found out what had happened, he cursed the house of Atreus and fled with his remaining son, Aegisthus.
• Agamemnon and Menelaus are the sons of Atreus, inheriting Argos.
• Agamemnon married Clytemnestra
• Menelaus married Helen.
• Helen ran off with Paris (or Paris, like Thyestes, seduced Helen) and this started the Trojan War.
• Agamemnon and Clytemnestra had three children: Iphigeneia, Electra, and Orestes.
• Menelaus convinced his brother Agamemnon to help him get his wife back from Troy.
• The gods (Artemis) were protecting the Trojans and didn’t bring them the wind needed to sail to Troy
• Calchas, the prophet, divined that the gods were angry and wanted a sacrifice.
• Calchas and Menelaus encouraged Agamemnon to sacrifice his daughter Iphigeneia.
• He did so and gained favor and wind from Zeus; the Athenians sailed to Troy, won the war and sacked Troy. The battle lasted 10 years.
• At beginning, Aegisthus has returned to Argos, now the lover of Clytemnestra (think Penelope and Odysseus), and exiled Orestes (he’s the rightful ruler, you see).
• Greek torchbearers or Messengers will light the beacon fire when Troy has fallen.
• Agamemnon, with his “prize” Cassandra (the daughter of Priam, king of Troy), returns after the war to a “warm” welcome.

Oedipus At Colonus

2011-09-20T14:03:00.000-04:00

What do Dante Alighieri, Voltaire, Napoleon Bonaparte, Frederic Chopin, Lord Byron, Pablo Neruda, Trotsky, Salman Rushdie, and the Dalai Lama have in common?

They were all exiled. As outcasts, they had to leave their homes--their reputation and careers potentially ruined. Although each survived their own exile to remain famous or infamous.

Under what circumstances can we forgive political, historical, and popular figures when they have been removed from the grace of society?

1. Take a moment and try to recall famous exiles or outcasts from society. Can you think of any celebrities who are "exiled" from their high social status to being "outcast"?
2. Share your list with a neighbor.
3. Discuss: "Under what circumstances can we forgive the figures on your list?"

Let's read: Oedipus At Colonus. Please complete this play on your own time (by Friday, and post a response to the forum).

FORUM QUESTION: (reader response theory) What's worthy about this play (if anything)? What surprised you? What puzzled you? What was your personal experience reading the play?

Oedipus Discussion & Oedipus at Colonus

2011-09-19T14:06:00.001-04:00

Class discussion:

--What is the value in reading Oedipus Rex? What did we learn?
--Which characters could be removed; what scenes could be added?
--How do events and characters culminate in a peripety for Oedipus?
--Is this a tragic story? Who suffers most in the play? Why?

Please make sure you have included a write-up for this play in your notebook.

Oedipus At Colonus was written at the end of Sophocles' long life. Like the Tempest after it, which is lauded as Shakespeare's farewell to the stage, the pathos created in this mature play holds similar sway. It is twenty years after the events in Oedipus the King. Oedipus is led around by Antigone and finally arrives in Athens--the place where he is willing to end his suffering. Visitors from Thebes in the characters of Creon, Ismene, and Polyneices visit to create the conflict in this play. Oedipus is at once beckoned to return to Thebes, his city of exile, and to remain in Athens to fulfill his final destiny. The chorus is made up of old men, connected to Oedipus by age and sympathy. Theseus represents the Athenian government (better judgment and governing than Thebes) and gives Oedipus a final home by making him a citizen for a short while.

Themes in this play:

Fate (we are the playthings of the gods); Oedipus is rationally innocent of his crimes (committing them unknowingly, without premeditation. See Medea and Agamemnon in contrast).

Redemption and release of guilt. By the end of this play, Oedipus is effectually canonized, and forgiven his trespasses or previous sins. Here is a man who has sinned, yes, but who has also suffered and done penance for his mistakes, thus redeeming himself at the end of his life.

Sacrifice
Blindness
Duty & Retirement

Many Greek tragedies tend to be moralistic and preachy in some aspect. The end of this play is particularly curious due to Oedipus' willingness to go to his death and the miraculous occurrences witnessed in the sacred shrine.

One might do well to recall this: Luke 24:31. One of the reasons some plays survived is that they predict or preface Christian belief. Other scholars would argue that Christianity borrowed heavily from classical literature and myths. See: Prometheus, for example. Or Bacchus.

Theme & Symbol in Oedipus Rex

2011-09-16T13:59:00.005-04:00

Writers use a variety of subtle (and not so subtle) comparison techniques in their writing. Some of the best known techniques include: metaphor, simile, analogy, allegory, symbolism, and the use of motifs. If these terms are not familiar to you, do yourself a favor and look them up.

As far back as classical literature goes, comparing one thing with another helps us understand its similarities and differences. This is the power of figurative language and symbolism. An object stands in place of the concept or idea of a thing. A person represents an idea. One object functionally serves as another. Repeated actions predict pattern. This is comparison: a necessary component of literature.

As readers we should be aware when an author is comparing or contrasting two things. To notice this as we read, be on the look-out for metaphor, simile, analogy, allegory, symbolism, parallel structure, repetition, motif, and characters used as foils. Oedipus Rex has several symbols and motifs we should notice:

Some symbols and motifs in Oedipus Rex (Oedipus the King)

Blindness
Oedipus' Swollen Foot
The Crossroads
Suicide

Major themes:

Free Will or the lack thereof
Hubris (excessive pride)
Ignorance (blindness) of the truth or self truth

As you discuss the play, consider the meanings of these things and how they function in the play.

For fun!
Here's a few video clips of performances/pop culture alluding to Oedipus:

Oedipus Rex, the short, short version.
Tom Lehrer's Oedipus Rex
Oedipus the King (Christopher Plummer)
Oedipus Rex (with vegetables)

Homework: Please post Aristotelian Criticism on Oedipus The King on our forum. Responses due by Sunday at 11:59 p.m. In addition, please remember to write up an entry for Oedipus in your notebook.

Oedipus: Group Analysis

2011-09-15T13:59:00.002-04:00

In groups of 2-3 please analyze the following literary components of the play Oedipus the King:

Character: Discuss what character is most compelling. Defend your choice.
Plot: Examine how the plot moves in the story. Pay attention to exposition, rising action, climax/turning point, falling action, denouement or resolution. How do actions lead to consequences and other actions?
Theme: What is the point of this play? What do we learn about human life based on the events and actions of the charactes?
Motifs/Symbols: Any present? What do these objects or repeated actions mean?
Foils: any characters a reflection or shadow of the protagonist? Discuss.
Questions: Ask and try to answer any questions you or your partner have.
Pick a favorite passage: share this passage with your partner(s).

Jot down notes. Write up an entry for Oedipus the King in your notebook. Complete reading the play for tomorrow's class.

Oedipus Rex: an intro

2011-09-14T12:45:00.000-04:00

Oedipus Rex is probably Sophocles' best tragedy and the most famous in Western lit. Sophocles first produced the play in Athens around 430 B.C. at the Great Dionysia festival where it won second prize. That's right. Best known tragedy--second place!

In the play Oedipus, king of the plague-ridden Thebes, sends his brother-in-law Creon to find a cure from the Oracle of Apollo at Delphi. When Creon returns Oedipus begins investigating the mysterious death of the former king, Laius, and discovers through various means that... well, that would be telling.

Aristotle praises this play in The Poetics for having an exemplary, well-constructed plot, one which is capable of inspiring fear and pity not only in its audience but especially in those who have merely heard of the story.

Sigmund Freud used the play's themes of incest and patricide in his own psychological theories. In the nineteenth and twentieth centuries, the most influential of these thinkers, Freud, showed that Oedipus's fate is that of every man; the "Oedipus Complex" is the definitive parent-child relationship. One that is probably happening to a lot of you at the moment.

HOMEWORK: Please complete your reading of Oedipus the King by Friday, Sept. 16. Create a notebook entry for this play.

Aristotelian Criticism & Medea

2011-09-12T12:49:00.001-04:00

Throughout Medea, Jeffers and Euripides foreshadow the tragedy through the use of symbolism and metaphor. Creon is referred to as a howling dog, for example. The children are talked of as organic material: vines, and grapes. Fire is referred to consistently. The contrast of light and darkness is also used. It is important to pay attention to how the language repeats certain tropes and words. The effect is cumulative. Did you notice any other objects or things consistently being referred to throughout the play?

Whose tragedy is this? Jason's or Medea's? Who suffers most? Who has most to lose? Is Medea the tragic character or is Jason? Consider these lines:

Medea: Now I go forth under the cold eyes of the weakness-despising stars:--Not me they scorn.

Jason: No wild beast could have done it.
Medea: I have done it: because I loathed you more than I loved them. Mine is the triumph.

Aristotelian Criticism: Thinking Like a Greek

Until the Eighteenth Century, criticism is rarely used as a viable literary vehicle. The few critics existing in the Medieval and Elizabethan period often used Aristotle as the be-all, end-all master of play construction. A play is considered "good" or "effective" if adhering to the rules.

To argue Aristotelian criticism, you need to examine a text based on his Six Parts of a Play: Idea, character, song, spectacle, language/diction, or plot.

You should also pay close attention to these concepts: peripety, catharsis, tragic flaw or hubris, verisimilitude, and imitation.

Diction and scenes are meant to be clear, poetic, and essential. The chorus (or some character) should act as the polis or people. It is better in a tragedy for a good person to come to ruin, rather than a bad person. The plot should have a clear beginning, middle, and end.

With this then in mind, you should be able to explain (for example in a critical essay) if a play is effective because it follows these fast rules. By Shakespeare's time, these rules were largely ignored. Screw Aristotle!

How effective IS Euripides' play in light of Aristotle's ideas?

HOMEWORK: As you read Oedipus Rex (Oedipus the King), pay close attention and take notes about how Sophocles constructed his play in terms of Aristotelian criticism.

Imagery and Structure in Medea

2011-09-12T12:45:00.003-04:00

Example of Greek Play Structure in Medea:

Prologue: Nurse, Tutor, Children
• Parodos: Entrance of chorus; women of Corinth
• First Episode: Creon
• First Stasimon
• Second Episode: Jason
• Second Stasimon
• Third Episode: Aegus
• Third Stasimon
• Fourth Episode: Jason/the tutor; the slave; the nurse as messenger
• Fourth Stasimon
Fifth Episode: Jason
• Exodos

Imagery:

Imagery is one of the key elements in poetry. Check your own definition of imagery in your notebook. It is important to examine how imagery works, where it occurs, and to consider what reason a poet has in using it. To find imagery, simply look for metaphor and simile (or other figures of speech). Ask yourself: why is this thing being compared to that?

For example, if we examine the nurse's speech in Act Two of Robinson Jeffers' translation of Euripides' Medea, we can identify various examples of imagery at use in her speech. A favorite question on AP exams is explaining how imagery has an effect on the work as a whole.

Nurse:
My eyes are blistered,
My throat's like a dry straw...
There was a long mirror on the wall, and when her eyes saw it--
After the children had gone with Jason--she put her hands
in the cases and took those gold things--and I
Watched, for I feared something might happen to her, but I never thought
So horribly--she placed on her little head the bright golden
wreath, she gathered the flowing gold robe
Around her white shoulders,
And slender flanks,
And gazed at the golden girl in the metal mirror, going back
And forth
On tiptoe almost; and swung her leg from the hip, to see the flexible gold
Moulding the thigh. But suddenly horror began. I ... Oh, Oh...
Her face went white;
She staggered a few steps, bending over, and fell
into the great throne-chair; then a serving-woman
Began to call for water thinking she had fainted, but saw the foam
Start on her lips, and the eyes rolling, and screamed instead. Then some of them
Ran after jason, others ran to fetch Creon: and that doomed girl
Frightfully crying started up from the chair; she ran, she was like
a torch, and the gold crown
Like a comet streamed fire; she tore at it but it clung to her head;
the golden cloak
Was white-hot, flaying the flesh from the living bones; blood
mixed with fire ran down, she fell, she burned
On the floor, writhing. Then Creon came and flung himself
on her, hoping to choke
That rage of flame, but it ran through him, his own agony
Made him forget his daughter's. The fire stuck to the flesh,
it glued him to her; he tried to stand up,
He tore her body and his own. The burnt flesh broke
In lumps from the bones.
I have finishd. they lie there.
Eyeless, disfaced, untouchable; middens of smoking flesh laced
with molten gold...No! I have finished. I have no more.
I am not able...have mercy...The harsh tides of breath
Still whistled in the black mouths. No one could touch them.
Jason stood in their smoke, and his hands tore
His unhelmeted hair.

Imagery can be identified by type. For example there is a lot of FIRE IMAGERY in this speech: (ex. bright/torch/comet/white-hot/fire/burned/flame/burnt/smoking/molten/black (charred)/smoke). There is also a good amount of similes and metaphors sprinkled everywhere. A careful reading of the passage would identify how imagery was being used to create a visual of the scene as well as to indicate a temperature (part of the poetic senses of sight, sound, touch, smell, taste). When reading or listening to a passage, pay attention to such things as imagery. Fine writing in days gone by is still fine writing today. Classics are usually well written. Count on it.

HOMEWORK: If you haven't done so already, please create a standard write-up in your notebook for Medea.

Medea Media

2011-09-09T12:26:00.000-04:00

Medea Film Clips:

A scene from the original Judith Anderson (Medea) version of Robinson Jeffers' play. And Zoe Caldwell's performance of the same scene years later.
Backstory: Jason and Medea animated movie (part one)
Student production of Christopher Durang's Medea.
Lars von Trier's Medea
Pasolini's Medea (Italian film clip with subtitles). Those of you interested in film directors, check out Pasolini (who was he?) here.
Ray Harryhausen's fabulous Jason and the Argonauts (skeleton scene) Cadmus plants the hydra's teeth...

Medea & Greek Theater

2011-09-09T11:02:00.002-04:00

Today, after reading Christopher Durang's Medea, we will chat about the play. With time remaining, we will begin our short presentations/notes on Greek Theater.

Let's discuss the relevance of these lines:

Nurse: It's a bad thing to be born of a high race, and brought up wilful and powerful in a great house, unruled and ruling many: for then if misfortune comes it is unendurable, it drives you mad. I say that poor people are happier: the little commoners and humble people, the poor in spirit: they can lie low under the wind and live: while the tall oaks and cloud-raking mountain pines go mad in the storm, writhe, groan and crash. This is the wild and terrible justice of God: it brings on great persons the great disasters.

Woman: There are evils that cannot be cured by evil. Patience remains, and the gods watch all.

Woman: The city where even a woman, even a foreigner, suffers unjustly the rods of power is not well ruled.

Jason: A man dares things, you know, he makes his adventure in the cold eye of death; and if the gods care for him they appoint an instrument to save him; if not, he dies.

Medea: Vengeance makes grief bearable.

Medea: Hate is a bottomless cup, I will pour and pour.

Medea: Evening brings all things home. It brings the bird to the bough and the lamb to the fold--and the child to the mother. We must not think too much: people go mad if they think too much.

Greek Theatre Intro

2011-09-08T13:49:00.000-04:00

Here is the structure of a typical tragedy (some tragedies have one more or one less episode and stasimon):

• Prologue
• Parodos
• First Episode
• First Stasimon
• Second Episode
• Second Stasimon
• Third Episode
• Third Stasimon
• Fourth Episode
• Fourth Stasimon
• Exodos

Notebook Research: Greek Theatre Terms
Please investigate the internet or library to find the following definitions regarding Greek Tragedy. Make sure you actually define the term in regard to Greek Theatre. Take notes in your own notebook. You should record: 1. what is it? and 2. why is it important? Be prepared to explain your topic to the class:

Homer
Euripides
Sophocles
Aeschylus
Aristophanes
Dionysus
Great Dionysia or City Dionysia
Parodos
Stasimon
Chorus
Choryphaeus
Polis
Stichomythia
Dithyramb
Proagon
the Odeion
Agora
Skênê
Orchestra
Eisoidoi
Exodus
Mêchanê
Agon
Strophe
Antistrophe

Medea response on our forum due tomorrow.

Please watch the following lecture/video from Columbia Gorge Community College about Ancient Theatre. and take notes where appropriate.

Further Greek Tragedy lectures/videos:
Greek Tragedy (comic Animated short)
Lecture on basics of Greek Tragedy and the Tragic Hero
A Brief History of Theater (staged performance)
Sock Puppet Greek Tragedy (Electra)

Aristotle's Poetics

2011-09-07T12:56:00.002-04:00

Aristotle’s Poetics (circa 330 B.C.E.)

Aristotle Introduction

Here's a 20 point summary of the first established literary critic's masterpiece "The Poetics" by Aristotle. You may find the full text here, if interested.

1. People like to imitate and learn.
2. Arts (Epic poetry, tragedy, comedy, dithyrambic poetry, flute-playing, lyre playing) are all modes of imitation. Just as color and form are used by artists, the voice, language, and harmony are used singularly or in combination. IE. Theatrical arts are REPRESENTATIVE of reality, not reality in and of themselves.
3. Objects of imitation should be above our common ilk; characters in a play/subject matter should be of high quality (and scope).
4. Poetry soon broke into two parts: tragedy/comedy. Serious poets would write about serious subjects; Humorous poets would write about frivolous and happy subjects.
5. Tragedy originated out of the dithyramb (choral ode); Comedy out of phallic songs.
6. Aeschylus limited his chorus, introduced the “second” actor, and made the dialogue take the leading part of the play.
7. Sophocles introduced the third actor.
8. As tragedy deals with noble subjects, comedy imitates men worse than average.
9. Tragedy is different from epic (although both are serious) in length, in one kind of verse (narrative form); epic includes tragedy, but tragedy does not necessarily include epic.
10. Aristotle’s six parts of a play:

a. Plot
b. Character
c. Theme (Idea)
d. Spectacle
e. Melody
f. Language (diction)

11. Plays should have a beginning, middle, end
12. Plays should not include so much as to bore, or too little
13. It is better in a tragedy for a good person to come to ruin, rather than a bad person
14. It is better to create catharsis from language and plot, rather than spectacle
15. Characters should have a discovery (peripety) (plural peripeties)
16. The chorus should act together as a “character” and integral to the whole
17. Characters should act according to verisimilitude (semblance of reality).
18. Diction should be clear, correct, poetic, but not inessential.
19. Plot should be made up of probable events
20. The poet, being an imitator (like a painter) must represent things either as they are, or as they are said to be, or as they ought to be – which is accomplished by skillful use of language to create a catharsis in the viewer of a play.

Aristotle's Theory of Tragedy: lecture & notes
An irreverent introduction to Aristotle