Poetry Dead or Alive Booklet

POETRY: DEAD OR ALIVE!
A study of: Dead Poets Society by Peter Weir and Romanticist poetry
DeadPoetsSociety CollatedbyOrmo@Normo
RATIONALE.......................................................................................................................................3 OBJECTIVES ......................................................................................................................................4 FILMSTUDY......................................................................................................................................5 TEXTS,MODES,MEDIUM,COMPOSINGANDRESPONDING ........................................................................5 CHARACTERS .......................................................................................................................................6 VIEWINGGUIDENOTES ........................................................................................................................7 TECHNIQUESANDEFFECTS ....................................................................................................................9 DEADPOETSSOCIETYV IEWINGGUIDE ................................................................................................10 CHARACTERISATIONINFILM........................................................................................................11 THEBOYSTHEIRCHOICESANDCHANGES ...........................................................................................12 OCAPTAIN,MYCAPTAIN................................................................................................................14 SYMBOLISMINFILM .....................................................................................................................15 WRITINGTASKS .................................................................................................................................16 REACTION,REVOLUTION,ANDROMANTICISM ......................................................................................17 CLASSICISMVS.ROMANTICISM ............................................................................................................18 ROMANTICISMCONVENTIONS,V ALUESANDPARADIGMS ....................................................................19 STATEMENTSTHATEMBODYORSUGGESTROMANTICISM ......................................................................19 RESEARCHANDCOMPLETETHEFOLLOWINGCLOZEPASSAGE ...................................................................21 THISISALISTOFPOETRYINDEADPOETSSOCIETY .................................................................................22 POETRYANALYSISTPCASTT...........................................................................................................23 REMEMBERTHATTHETHEMEOFANYWORKOFLITERATUREISSTATEDINACOMPLETESENTENCE...............23 POETRYANALYSISTPCASTTBLANK .............................................................................................24 ROMANTICISTPOETRY ........................................................................................................................25 "THETYGER"AND"THELAMB" ..........................................................................................................25 THEECHOINGGREEN .........................................................................................................................26 APOISONTREE .................................................................................................................................27 THISLIMETREEBOWERMYPRISON ...........................................................................................28 FROSTATMIDNIGHT.....................................................................................................................31 ODETOANIGHTINGALE ...............................................................................................................34 TOAUTUMN .....................................................................................................................................37 ODETOTHEWESTWIND..............................................................................................................38 TINTERNABBEY .............................................................................................................................41 BIBLIOGRAPHY ...................................................................................................................................47
RATIONALE
Thestudyofvisualtexts,includingfilm,inadditiontopoetry,isanessentialpartof theEnglishStage45Syllabus. Thisunitwillcontinuetodeveloptheskillsthestudentshavebeenintroducedtoin Stage4.DeadPoetsSocietyisafilmtextthatdealswithissuesofmaturation,the individualismandconformitydichotomyandthepotentialoftheindividualamong otherthemes.Itallowspositivediscussionandanalysesofthemesandissues relevanttothestudentsownstruggles.DeadPoetsSocietyisafilmofaveryhigh standardwhichutilisesauralandvisualtechniquestoproduceamovingandwell composedtext. Inadditiontothis,studentswillstudydeadpoetsandbeintroducedtothe Romanticeraandgenre.Avarietyofpoetsalludedtointheaforementionedfilmwill beanalysed.Thiswillbealludedtoandexploredfurtherinthegothichorrorunit laterintheyear.
OBJECTIVES
Throughrespondingtoandcomposingawiderangeoftextsincontextandthroughclose studyoftexts,studentswilldevelopskills,knowledgeandunderstandinginorderto: Speak,listen,read,write,viewandrepresent Uselanguageandcommunicateappropriatelyandeffectively Thinkinwaysthatareimaginative,interpretiveandcritical LearnandreflectontheirlearningthroughtheirstudyofEnglish Astudent: 1 respondstoandcomposesincreasinglysophisticatedandsustainedtextsfor understanding,interpretation,criticalanalysisandpleasure 3selects,uses,describesandexplainshowdifferenttechnologiesaffectand shapemeaning 4selectsanduseslanguageformsandfeatures,andstructuresoftexts accordingtodifferentpurposes,audiencesandcontexts,anddescribes andexplainstheireffectsonmeaning 5transfersunderstandingoflanguageconceptsintonewanddifferent contexts 7thinkscriticallyandinterpretivelyusinginformation,ideasandincreasingly complexargumentstorespondtoandcomposetextsinarangeof contexts 8 investigatestherelationshipsbetweenandamongtexts 11uses,reflectson,assessesandadaptstheirindividualandcollaborativeskillsforlearning withincreasingindependenceandeffectiveness.
FILMSTUDY
Texts,modes,medium,composingandresponding
InEnglish,novels,plays,poems,films,websites,picturebooks,cartoonsandawholerange ofotherthingsarereferredtoastexts.Eachofthesetextsispresentedinadifferentmode. Thismeansitmaybewritten,spokenorrepresentedthroughimages.Textsarealso presentedindifferentmediums.Thismeansthatthephysicalforminwhichthetextsexist canbedifferent.Itcanrangefromprint,film,electronicmeansandsound. Thepeoplewhohavemadethesetextsmaybeauthors,playwrights,poetsorartists.We refertowhatthesepeopledoascomposing.Eachcomposerhasarangeofchoicestomake abouthowtocommunicatetheirideas.Differenttextsmightexploresimilarideasor informationbuteachwillhaveitsownwayofpresentingtheinformation.Wereceivethe informationindifferentwaystoo.Dependingonthemodeandmediumofcommunication, wemaybereaders,listenersorviewers.Werefertothisasresponding.Throughoutyour studiesinEnglishyouwillcomposeandrespondtotextsinmanydifferentmodesand mediums. Oftenwhenwewatchafilmwedontthinkofourselvesasrespondingtoatext.Wesit, passivelyandwatchtheimagesinfrontofus.Sometimeswemighttalkalittlebitabout whatwethoughtofthemovieourfavouriteparts,ourfavouriteactors,bitsthatscaredus orthrilledus.Thediscussionchangesdependingonthemovieandthepeoplewearetalking to.Somefilmsweseeonceandmaybeneverwatchagain.Otherfilmswewatchoverand over,firstatthecinemasandthenonDVDortelevision. InEnglishwewillbestudyingfilmasatext.Thismeanswewillbeapproachingitinasimilar waytothewayweapproachanovel.Wewillviewthefilminclass,sometimesreviewing scenesmorethanonce.Wewillstudytheelementsthatworktogethertocreatethe productofthefilm.Wewillanalyseelementssuchasplot,characterandtheme.Insteadof analysingthenarrativetechniqueandlanguage,likewewouldinanovel,wewillbe analysingtheauralandvisualtechniquesusedinfilm. ThefilmwearestudyingthisyeariscalledDeadPoetsSociety.ItisanAmericanfilm,withan AmericansettingandAmericanactors.ThedirectorisanAustralianmannamedPeterWeir. Youmayhaveheardofhim.Hehasdirectedotherfilmssuchas:TheTrumanShow(1998), Fearless(1993),GreenCard(1990),TheMosquitoCoast(1986),Witness(1985),TheYearof LivingDangerously(1982),Gallipoli(1981)andPicnicatHangingRock(1975).Heisan internationallyrespectedfilmmaker. DeadPoetsSocietytellsastoryabouttheimpactofanimaginativeandunorthodoxteacher onaconservativeprepschoolforboysinthelate1950s.ThismovietakesplaceatWelton Academy,afictitiousprivateprepschoolinVermontwhichvaluestraditionandobedience. Todd,atransferstudent,meetshisroommate,Neil,andseveralofNeilsfriends.Classes seemtobedullandtediousuntiltheymeetWeltonsnewestteacher,Mr.Keating.Mr. Keating,aformerWeltonhonorsstudent,usesuniquemethodstoteachhisstudentsabout differentconceptsincludingcarpediem.AfterhearingofMr.KeatingsDeadPoetsSociety, Neil,Todd,Knox,Charlie,Cameron,Pitts,andMeeksreconveneDPSmeetings.Asthemovie continues,thecharactersreacttoKeatingsteachinginseveraldifferentwayswithmany varyingresults.Thesecharactersbegintofindthemselvesevaluatingtheirlivesand conditionsinnewways,perhapsinfluencedbythenewperceptionstheyhaveadopted.
Characters
Itisveryimportanttobecomefamiliarwiththecharactersinthemovieassoonaspossible. Thisissomewhatdifficult,however,becausesomecharacterslooksimilarandtheboysare usuallydressedsimilar.Studythislistofcharactersbeforethemovie. Neil:Toddsroommate;Neilsfatherisverycontrolling;Neildidsummerschool Todd:NeilsroommatetransferredtoWelton;Toddsbrotherwasoneofschoolsfinest; doesnotliketospeakinfrontofpeople Knox:brownhair;lookslikeCharlie;hisfatherisafriendoftheDanburys;hemeetsKrisand fallsinlove Charlie:brownhair;lookslikeKnox;veryoutgoing;sometimessaysthingswithoutthinking Cameron:shortredhair;brownnoser;veryanalusesrulerwhenwritingnotes Pitts:brownhairandcrewcut;readsthepoemTotheVirgins,MakeMuchofTime Meeks:glassesandlongerredhairthanCameron;consideredtobeagenius Mr.Perry:Neilsfather;triestocontrolNeil Mr.Keating:Englishteacher;seizetheday Kris:blondhair;KnoxcallsherMrs.Danbury?;isdatingChet Chet:veryspoiled;isdatingKris
ViewingGuideNotes
DeadPoetsSocietyexplorestheconflictbetweenrealismandromanticismasthese contrastingidealsarepresentedtothestudentsatanallboyspreparatoryschool.Welton Academyisfoundedontraditionandexcellenceandisbentonprovidingstrictstructured lessonsprescribedbytherealist,antiyouthadministration.Withthedawningofeachnew semester,hundredsofparentsabandontheirsons,leavingtheminthetriedhandsof Weltonstaffinhopesthattheywillraisedoctorsandlawyers.WhenareplacementEnglish teacherarrives,whohappenstobeaWeltonalumnus,hebringswithhimapassionfor teachingromanticism,thusopeninganeverbeforeseenworldtohisstudents. ThestoryispredominantlyviewedthroughtheeyesofToddAnderson,anewcomerto Welton,andhisroommateNeilPerry.Toddispainfullyshyandterrifiedthatwhathemight sayisinsignificantandmeaningless.Thisisparticularlydisturbingtohimsinceheis repeatedlytoldthathehas"bigshoestofill"beingtheyoungerbrotherofaformer valedictorian.Neil,ontheotherhand,isbrightandfullofambition,whichisunfortunately squelchedbyhisoverbearing,controllingfather.Mr.Perrydictateseverydetailofhisson's lifeincludingextracurricularactivities,futureplans,andspecificallywhatothersthinkof him. ThenewEnglishteacherJohnKeatingbeginshisteachingswithaferventlectureontheir imminentdeaths,explainingtothestudentsthattheirlivesarefleetingsotheyshouldseize thedaytomaketheirlivescount,toleavealegacyof"carpediem."Hecontinueshis teachingbyinstructingtheclasstoripoutthepagesoftheirbookswhichdescribea scientificwaytodeterminethegreatnessofpoetry.Heteachesthemtheworksofthe romanticpoetssuchasThoreauandLordByronandemploysoutdoorexercisestowarn themofthedangersofconformityandthepowerofsportsasawaywhichhumanbeings pusheachothertoexcel. Amidsttheseeccentricactivities,thestudents,intriguedwiththeirnewteacher,learnthat hewasamemberoftheDeadPoetsSociety.Whenasked,Keatingdescribesglorious momentsofcreatinggods,butwarnsthemtoforgetabouttheidea.Nevertheless,they repeatedlysneakoffcampustoconvenetheirownversionoftheDeadPoetsSociety.Todd isallowedtoattendasanexception:sincehedoesnotwanttoreadaloud,hekeeps minutesofthemeetings.Throughoutthesemeetings,eachcharacterisabletodevelophis ownromanticorrealistnature.
PartI(BeginningofmovietotheendofMr.Keating's"Ome!Olife!"speechapprox32
min) PartIestablishesthesettingandtoneofthemovie.Thecharactersareintroduced,asisthe personalityofMr.Keating.Theyearis1959.WeltonAcademyissituatedonalargecampus in autumnalVermont. Payattentionto: ThefourpillarsofWeltonareTradition,Honor,DisciplineandExcellence.Which pillarsdotheadministrationleanon?Noticetheprominencethatisgiventothepillarof tradition.
Asceneofflyinggeesefadestoasceneoftheboysstandinginlinetoreceivetheir extracurricularactivities.Noticeasthehonkingofthegeesefadestothechatteringofthe boys,settingupaconnectionthatwilllaterbecommentedonbyMr.Keating. Quickviewsof"typical"WeltonteachersarefollowedbyMr.Keating'sdramaticfirstclass. ThejuxtapositionofthesesceneshelpstodistinguishMr.Keatingasauniqueindividual. ThesentimentofcarpediemisexpressedbyDonneinhispoem.Discussthepointthat Mr.Keatingistryingtomake. Mr.Keatingdaresthestudentstorefertohimas"OCaptain!MyCaptain!"This referencewillprovetobesymbolic. PartII(FirstdinnerscenetostudentsstandingonMr.Keating'sdeskapprox.20minutes)
PartIIrevealsthesecretoftheDeadPoetsSociety.Theboysdecidetorevivethe
organizationandmeetinthecaveatnight.Later,theygetalessoninlookingatlifefrom new perspectivesfromMr.Keatingviastandingonhisdesk. Payattentionto: T.S.Eliot'squoteaboutdeadpoets(referencestudyquestions) Theboysrunthroughthemistindarkcloaksastheyheadtothecave.Considerwhatthe directormightbesayingwiththisimagery. Whywouldthe"presentadministration"notlookfavorablyon theDeadPoetsSociety?
PartIII(FromNeil'sdesiretoacttoCharlie'spunishmentapprox35minutes)
Inthissection,welearnofNeil'sdesiretoact,evenifitmeansdisobeyinghisfather.We also seeTodd'sfearofexpressinghimself,andthetalenthehashiddeninside.Knox summonsthe couragetocallChris,thegirlhehasacrushon.Mr.Keatinggivesalesson abouttheevilsof conformitybyhavingthestudentswalktogether. CharliebringstwogirlstoaDeadPoetsmeetingandannounceshehasslippedanarticle intotheschoolnewspaper.ThearticledemandsgirlsbeallowedintoWelton,andCharlie hassigneditinthenameoftheDeadPoets.ThissectionendswithMr.Nolan'spaddlingof Charlie. Payattentionto: Mr.Keating'sphilosophyofsports. ThewayinwhichMr.KeatingbringsoutToddwhatisitthatmakesToddcomeoutof hisshell? Themusicinvolved(Handel,Beethoven) Discussthepoemsusedsofar. PartIV(Mr.Keating'smeetingwithNolantoKnox'stalkwithChrisapprox19minutes) Pointsfordiscussion: IsCharlietoodaring? IsMr.Keatingabadinfluence? PartV(Therestofthefilm) Pointsfordiscussion: WhoismosttoblameforNeilsdeath?Mr.Keating?Neilsfather?Neilhimself? WhatisPeterWeirtryingtosayaboutlifeinthismovie?
DeadPoetsSociety CollatedbyOrmo@Normo 8
TechniquesandEffects
Drawatablelikethisintoyourworkbooks,however,onlyruleoffthescenesasyou finishthemasyouwillneedalotofroomtowriteinthesenotes. Asyouwatcheachscene,makenoteofinterestingvisualorauraltechniquesthat younotice.Alwaystrytolinkaquotetothistechnique.Makenoteoftheireffectas well. Thiswillprobablynotbeenoughroomtowriteallyouneedto,expecttowritethis informationintoyourworkbooks. SCENE VisualandAuraltechniques Effect 1.Opening Credits 2.ANew Semester 3.Seizethe Day 4. Understanding Poetry 5.The Reconvening oftheDead PoetsSociety 6.ADifferent Perspective 7.Chances 8.FindYour OwnWalk
9.Unorthodox Ideas 10.Neils Dream 11.Oh Captain,My Captain
DeadPoetsSocietyViewingGuide
1. WhatdothefourpillarsofWeltonsymbolize?Whichpillarsdotheadministration leanon?Doyouthinkisappropriateineducation?Why/Whynot? 2. Whatdoesthesceneoftheflyinggeesefadingintothelineofboyssuggest 3. Whatistheeffectofjuxtaposingtypicalteachers/classroomswithMr.Keating? 4. WhatisthesignificanceofCarpeDiem? 5. Describetheimageryoftheboysrunningtothecave.Includelighting,costumes, andanythingelseyoudeemsignificant.Whatistheeffectofthis? 6. DoyouthinktheDeadPoetssocietyisareasonablereactiontothestudents situation?Istherebellionjustified? 7. WhatisMr.Keatingsphilosophyofsports?Doyouagree?Why/whynot? 8. IsCharlietoodaring?Why/whynot? 9. WhatdoyouthinkisthemostsignificantfactorcontributingtoNeilsfinalaction? Why? 10. Howmuchdoestheboardingschoolenvironmentaffecttheboysinthemovie?In whatwaysdoesthiscompareorcontrastwiththeenvironmentofASeparate Peace?
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CHARACTERISATIONINFILM
Characterisationistheprocessofconveyinginformationaboutcharactersin narrativeordramaticworksofartoreverydayconversation.Charactersmaybe presentedbymeansofdescription,throughtheiractions,speech,orthoughts.Awell developedcharacterisonethathasbeenthoroughlycharacterised,withmanytraits showninthenarrative.Awelldevelopedcharacteractsaccordingtopastinstances providedbyitsvisibletraitsunlessmoreinformationaboutthecharacterisprovided. Thebettertheaudienceknowsthecharacter,thebetterthecharacterdevelopment. Thoroughcharacterisationmakescharacterswellroundedandcomplex.Thisallows forasenseofrealism. Inatragedy,thecentralcharactergenerallyremainsfixedwithwhatevercharacter flaw(hamartia)sealshisfate;inacomedythecentralcharacterstypicallyundergo somekindofepiphany(suddenrealisation)whereupontheyadjusttheirpriorbeliefs andpracticesandavertatragicfate.Historically,storiesandplaysfocusingon charactersbecamecommonaspartofthe19thcenturyRomanticmovement,and characterdrivenliteraturerapidlysupplantedmoreplotdrivenliteraturethat typicallyutiliseseasilyidentifiablearchetypesratherthanpropercharacter development.1
Charactercanberevealedthroughthecharacter'sactions,speech,andappearance.Italsocanbe revealedbythecommentsofothercharactersandoftheauthor. Certaintypesofcharactersappearinmanystories.Describethefollowingtypesiftheyappearinyour book: Theprotagonististhecentralcharacter(person,animal,orpersonifiedobject)intheplot's conflict. Theantagonististheforceinconflictwiththeprotagonist.Itmaybesociety,nature,orfate, aswellasanotherperson.Itcanalsobetheprotagonist'sownself,ifheorshehasan internalconflict. Acharacterfoilisacharacterwhosetraitsareindirectcontrasttothoseoftheprincipal character.Thefoilthereforehighlightsthetraitsoftheprotagonist.Thefoilisusuallyaminor character,althoughiftherearetwoprotagonists,theymaybefoilsofeachother. Astereotypeisacharacterwhopossessesexpectedtraitsofagroupratherthanbeingan individual.Usingstereotypesisusuallyconsideredanindicationofpoorquality,especiallyin casessuchasmembersofminoritygroups,peoplewithdisabilities,orwomen.However, stereotypescanbeusefulinfurtheringthestoryquicklyandareacceptableinminorrolesif theydonotprovidehurtfulportraitsofthegroupsinquestion.
Characterdevelopmentisshowingthemultitudeoftraitsandbehaviorsthatgivetheliterary characterthecomplexityofahumanbeing.Theamountofcharacterdevelopmentaffectsthequality ofthestory: Aflatcharacterisnotfullydeveloped;weknowonlyonesideofthecharacter. Aroundcharacterisfullydeveloped,withmanytraitsbadandgoodshowninthestory. Wefeelthatweknowthecharactersowellthatheorshehasbecomearealperson. Characterdevelopmentisacontinuumwithperfectlyflatcharactersatoneendandvery roundonesattheother.Everycharacterliessomewhereonthiscontinuum.Round charactersareusuallyconsideredanindicationofliteraryquality.However,charactersin
http://en.wikipedia.org/wiki/Characterisation 11
folktalesarealmostalwaysflat,andflatnessisappropriateforminorcharactersinmodern literatureforchildren.Acharacterfoilisoftenflat,eveniftheprotagonistisround. Theamountofchangeinacharacteroverthecourseofthestoryalsoaffectsitsquality: Astaticcharacterisonewhodoesnotexperienceabasiccharacterchangeduringthecourse ofthestory. Adynamiccharacterisonewhoexperiencesabasicchangeincharacterthroughtheevents ofthestory.Thischangeisinternalandmaybesudden,buttheeventsoftheplotshould makeitseeminevitable. Thereisalsoacontinuumofcharacterchangeinastory,withverystaticcharactersatone end,andverydynamiconesattheother.Everycharacterliessomewhereonthiscontinuum. Dynamismintheprotagonistisusuallyconsideredanindicationofquality,butmany characters,especiallyinstoriesforyoungerchildren,haveonlythemildamountofchange whichcanbeexpectedfromgrowingandmaturingfromdaytoday. Acharactermaythusberoundanddynamic,roundandstatic,orflatandstatic.Aflat charactercannotusuallybedynamic,becauseyoudonotknowenoughabouttheflat charactertonoticeachange.Ifacharacterseemsflatandyetseemstochange,itisusually 2 becausethecharacterizationisnotwellwritten.
1.Thinkofhowcharactersareestablishedanddevelopedinfilms.Howisthis differenttonovels? 2.Definethedifferentcharactertypes:flat,round,staticanddynamic 3.Writeabriefdescriptionofeachcharacter;discusscharactertypeandpossible significanceofname.Whenacharactersnamereflectstheirpersonalityorcareer thisiscallednominativedeterminism.Addthistoyourwordbankandyour definitionspage. Mr.Keating NealPerry Nealsparents Mr.McAlister ToddAnderson CharlieDalton Mr.Noland KnoxOverstreet Kris
TheBoysTheirchoicesandchanges
Eachoftheboysexperiencedifferentthingsthroughoutthefilm.Eachisfacedwith choices.Eachofthemchanges.Someofthemgrow. 1. HowdoesToddsphysicalappearanceandcharacterchangethroughoutthe film? 2. Whatcontributestoandinfluencesthesechanges?
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http://web.archive.org/web/20071111054413/http://www.cas.usf.edu/lis/lis6585/class/litelem.html DeadPoetsSociety CollatedbyOrmo@Normo 12
3. WhatevidenceisthereinthefinalscenesofthefilmthatToddisstillthetimid boyhewasintheopeningscenes? 4. WhatevidenceisthereinthefinalscenesofthefilmthatToddisnotthetimid boyhewasintheopeningscenes? 5. NeilismuchstrongerthanToddatthebeginningofthefilm.ToddsaysWhen youtalk,peoplelisten.ApartfromthedescriptionsofNeil,howdoweseehis strengthofcharacter? 6. WhatcausesNeiltofeeltrapped? 7. ListtheseriesofdecisionsNeilmakesthatleadtohissuicide. 8. Inyourownwords,describewhyyouthinkNeilchosetotakehisownlife? 9. Neilsdecisiontotakehisownlifemeantthathedecideditwasbettertodie thanendurethepainofhislife.Whatisyourpersonalresponsetothis? 10. WhatwasNeilunabletosee? 11. WhatwasNeilsfatherunabletosee? 12. WhydidntCameronstandonhistablewiththeotherboysinthefinalscene?
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OCaptain,MyCaptain
Thisfilmteachesitsaudiencemanywonderfullessons.Atextthatpurposefully teacheslifelessonsisdescribedasdidactic.Trytousethiswordinyourwriting. 1. ThroughoutthefilmMrKeatingmakessomeveryprofoundstatements.Whathe teachesandthewayheteachesareverydifferenttotheotherteachers.What differencesdoyounotice? 2. Whateffectdoesthishaveonthestudents? 3. WhatisMrKeatingtryingtoteachtheboys? 4. RecordsomeofthestatementsMrKeatingmakesthatyouthinkareimportant intermsofthethemesofthefilm. 5. Bytheendofthefilm,howdoestheaudienceknowthattheboyshaveheard andlearnedwhatMrKeatinghassaid?
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SYMBOLISMINFILM
Inliterature,symbolismisusedtoprovidemeaningtothewritingbeyondwhatisactually beingdescribed.Theplotandactionthattakeplaceinastorycanbethoughtofasonelevel, whilethesymbolismofcertainthingsinthewritingactonanotherleveltoenhancethestory. Symbolismcantakeplacebyhavingthethemeofastoryrepresentedonaphysicallevel.A simpleexamplemightbetheoccurrenceofastormatcriticalpoint(patheticfallacy),when thereisconflictorhighemotions.Thestormmightsymbolisethese.Similarlyatransition fromdaytonight,orspringtowinter,couldsymboliseamovefromgoodnesstoevil,orhope todespair. Explaintheliteralandabstractmeaningsforthefollowingsymbolsfoundinthemovie: FourPillarsofWeltonAcademy onecandleburningatthebeginningofthefilm thepassingofthecandlesflamefromonestudenttoanother crownofthorns snow openwindow vomitinthesnow
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WritingTasks
JournalAssignment#1: Doyouthinkthatyoucanenjoyreading,writing,andrecitingpoems?Whyorwhynot? Doyouthinkitisimportanttolearnaboutpoetry?Whyorwhynot? JournalAssignment#2: ReadthefollowingquotebyProfessorJohnKeatingfromthemovieDeadPoetsSociety. Whatdoyouthinkitmeans?Why? Wedontreadandwritepoetrybecauseitscute.Wereadandwritepoetrybecauseweare membersofthehumanrace.Andthehumanraceisfilledwithpassion.Andmedicine,law, business,engineering,thesearenoblepursuitsandnecessarytosustainlife.Butpoetry, beauty, romance,love,thesearewhatwestayalivefor. JournalAssignment#3: ReadthefollowingquotebyProfessorJohnKeatingfromthemovieDeadPoetsSociety. Whatdoyouthinkitmeans?Explain. Istanduponmydesktoremindmyselfthatwemustconstantlylookatthingsadifferent way.The worldlooksverydifferentuphere...Justwhenyouthinkyouthinkyouknow somethingyou havetolookatitinanotherway...Whenyouread,dontjustconsiderwhat theauthorthinks, youmustconsiderwhatyouthink.3
http://www.scribd.com/doc/8293491/DeadPoetsSocietyBuckley DeadPoetsSociety CollatedbyOrmo@Normo
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Reaction,Revolution,andRomanticism
Romanticism Theliterarytermthatreferstotheliterary,artisticandgeneralcultureofthefirsthalfofthe nineteenthcentury.Romanticismisdistinguishedbyitsgeneralembraceoftheemotions andnature,particularlyinresponsetoagrowingsenseofmaterialismandtosuchmoments ofviolenceandupheavalastheFrenchRevolutionof1789.Inadditiontorejectingtheforms andconventionsoftenassociatedwithclassicismandneoclassicism,romanticistssought valueinspontaneity,subjectiveexperienceandoriginalexpression.4
KeyConceptsInLiteraryTheoryWolfreys,RobbinsandWomack
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Classicismvs.Romanticism
Classicism
angular, geometric simple, plain conservative practical basic shapes and colors organized sense of perfection few or no flaws lots of right angles sleek, cold, modern ordinary objects unemotional
5
Romanticism
variety and complexity decorated, elaborate individual imaginative colorful spontaneous, lively brought unrest to mind lots of contrasts heard noise in the picture emotional, bold, artistic focus on whole not parts associated with particular time or place
PROF.DR.C.REINFANDTLecture
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RomanticismConventions,ValuesandParadigms
CentralfeaturesofRomanticisminclude: Anemphasisonemotionalandimaginativespontaneity Theimportanceofselfexpressionandindividualfeeling.Romanticpoetryisoneoftheheart andtheemotions,exploringthetruthoftheimaginationratherthanscientifictruth.TheI voiceiscentral;itisthepoetsperceptionsandfeelingsthatmatter. Analmostreligiousresponsetonature.TheywereconcernedthatNatureshouldnotjustbe seenscientificallybutasalivingforce,eithermadebyaCreator,orasinsomewaydivine,to beneglectedathumankindsperil.SomeoftheRomanticistswerenolongerChristianin theirbeliefs.Shelleywasanatheist,andforawhileWordsworthwasapantheist(thebelief thatGodisineverything).Muchoftheirpoetrycelebratedthebeautyofnature,or protestedtheuglinessofthegrowingindustrializationofthecentury:themachines, factories,slumconditions,pollutionandsoon. Acapacityforwonderandconsequentlyareverenceforthefreshnessandinnocenceofthe visionofchildhood. Emphasisontheimaginationasapositiveandcreativefaculty Aninterestinprimitiveformsofartforinstanceintheworkofearlypoets(bards),in ancientballadsandfolksongs.SomeoftheRomanticsturnedbacktopasttimestofind inspiration,eithertothemedievalperiod,ortoGreekandRomanmythology. Aninterestinandconcernfortheoutcastsofsociety:tramps,beggars,obsessivecharacters andthepooranddisregardedareespeciallyevidentinRomanticpoetry Anideaofthepoetasavisionaryfigure,withanimportantroletoplayasprophet(inboth politicalandreligiousterms). StatementsthatEmbodyorSuggestRomanticism Imagination/Idealism/Individualismandsubjectivity/Nature/SymbolismandMyth /Mainfeatures
1.Theanswerstolifesmostpuzzlingquestionscanbefoundthroughdiscussionswithasimple personwholivesinthecountryclosetonaturenotwithasophisticated,welleducatedperson fromthecity. 2.Theanswertolifesmostpuzzlingquestionscanbefoundthroughaconnectionwithnature. 3.Theuseofonesimaginationismoreimportantthanrationalthought. 4.Subjectivityismoreimportantthanobjectivity. 5.Knowledgeisgainedthroughgutreactionsandsubjectivehunchesratherthanlevelheaded, objective,deductivethought. 6.Natureismoreimportantthanart. 7.Experimentaltrialanderrorisabetterprocessthantheconventionalscientificmethod. 8.Poetryshouldbespontaneousandfullofemotion,notplannedandstraightforward.
9.Sensitivity,feelings,andspontaneityaremoreimportantthanintellectualism. 10.Daretobeisabetterbattlecrythandaretoknow.
WordstoDefine: o Romanticism o BalanceofPower o Liberalism o Conservatism o Radicalism o Legitimacy o Realpolitik
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Researchandcompletethefollowingclozepassage
TheEnlightenmentbroughtanewemphasisonorderandbalanceintheartsasartists borrowedheavilyfromclassical____________and____________,andnewformsof literaturewereestablished. TwofamouscomposersofmusicwereJohannSebastian__________andWolfgang Amadeus__________. InFrance,_________________wasaromanticpainterwhodepictedtherevolutionary struggleinthestreetsofParisin1830. TheSpanishwriterMiguelCervanteswrote____________________,whichisconsideredto bethefirst___________everwritten. Alsoduringthisperiodweseethedevelopmentofallweatherroadsthatimprovedyear roundtransportation,newdesignsinfarmtoolsthatincreasedproductivity,and improvementsinshipdesignwhichloweredthecostoftransport. AfterNapoleonsfinaldefeat,thevictoriousnationsmetatthe ___________________________todecidehowtoputEuropebacktogetheragain. ThismeetingwasledbyPrince______________________________________ofAustria. Accordingtotheprincipleoflegitimacy,all_______________werereturnedtotheirrightful positions.Forexample,the____________familywasreturnedtothethroneinFrance. AnothergoalofthisgroupwastoreturnEuropetoa______________________,sothatno onecountrycouldriseagainlikeFrancehad. TherepresentativeattheCongresswerebelieversinwhichnewpoliticalphilosophy? _____________________________ Throughoutthe1800s,nationalisticrevolutionseruptedacrossEuropefromwidespread discontentcausedbythetermsoftheCongressofVienna. Theserevolutionswereinfluencedbywhichpoliticalphilosophy?_________________ IncontrasttocontinentalEurope,GreatBritainexpandedpoliticalrightsthroughlegislative meansandmadeslaveryillegalintheBritishEmpire. Twonationswerecreatedduringthistimethatgreatlyalteredthegeographicandpolitical landscapeofEurope. Count______________________,primeofSardinia,ledtheunificationprocessinnorthern _________________. Inthesouth,_________________________andhisRedShirtsdroveupthepeninsulato unifythesouthtothenorth. ThePapalStates(homeofthe__________),whichincludedthecityof__________,became thelastareatojointhenewlyformedItaly. TheKingdomof__________________ledtheUnificationofGermany. ThemastermindofGermanunificationwas________________________.Hisactionswere seenasanexampleof_____________________,whichjustifiesallmeanstoachieveand holdpower. Germanyunifiedbyappealingtonationalistfeelingsandthrough ____________________________________(Bismarcksfamousquote). The________________________Warin1871wasthefinalsteptothecreationofthe Germanstate.
21
ThisisalistofpoetryinDeadPoetsSociety
OCaptain!MyCaptain!WaltWhitman ToTheVirgins,MakeMuchofTimeRobertHerrick OMe!OLife!WaltWhitman ExcerptfromWaldenHenryDavidThoreau TheBalladofWilliamBloatRaymondCalvert TheProphetAbrahamCowley UlyssesAlfredLordTennyson TheCongoVachelLindsay SongofMyself(Section52)WaltWhitman TheRoadNotTakenRobertFrost SonnetXVIIIWilliamShakespeare SheWalksInBeautyLordByron
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PoetryAnalysisTPCASTT
TTITLE PPARAPHRASE
Beforeyoueventhinkaboutreadingthepoetryortryingtoanalyseit, speculateonwhatyouthinkthepoemmightbeaboutbaseduponthe title.Oftentimeauthorsconcealmeaninginthetitleandgivecluesinthe title.Jotdownwhatyouthinkthispoemwillbeabout Beforeyoubeginthinkingaboutmeaningortyingtoanalyzethepoem, don'toverlooktheliteralmeaningofthepoem.Oneofthebiggest problemsthatstudentsoftenmakeinpoetryanalysisisjumpingto conclusionsbeforeunderstandingwhatistakingplaceinthepoem.When youparaphraseapoem,writeinyourownwordsexactlywhathappensin thepoem.Lookatthenumberofsentencesinthepoemyour paraphraseshouldhaveexactlythesamenumber.Thistechniqueis especiallyhelpfulforpoemswritteninthe17thand19thcenturies. Sometimesyourteachermayallowyoutosummarizewhathappensinthe poem.Makesurethatyouunderstandthedifferencebetweena paraphraseandasummary. Althoughthistermusuallyreferssolelytotheemotionalovertonesof wordchoice,forthisapproachthetermreferstoanyandallpoetic devices,focusingonhowsuchdevicescontributetothemeaning,the effect,orbothofapoem.Youmayconsider:imagery,figuresofspeech (simile,metaphor,personification,symbolism,etc),diction,pointofview, andsounddevices(alliteration,onomatopoeia,rhythm,andrhyme).Itis notnecessarythatyouidentifyallthepoeticdeviceswithinthepoem.The onesyoudoidentifyshouldbeseenasawayofsupportingthe conclusionsyouaregoingtodrawaboutthepoem. Havingexaminedthepoem'sdevicesandcluesclosely,youarenowready toexplorethemultipleattitudesthatmaybepresentinthepoem. Examinationofdiction,images,anddetailssuggeststhespeaker'sattitude andcontributestounderstanding.Youmayrefertothelistofwordson Tonethatwillhelpyou.Rememberthatusuallythetoneorattitude cannotbenamedwithasingleword.Thinkcomplexity. Rarelydoesapoembeginandendthepoeticexperienceinthesame place.Asistrueofmostus,thepoet'sunderstandingofanexperienceisa gradualrealization,andthepoemisareflectionofthatunderstandingor insight.Watchforthefollowingkeystoshifts: keywords,(but,yet,however,although) punctuation(dashes,periods,colons,ellipsis) stanzadivisions changesinlineorstanzalengthorboth irony changesinsoundthatmayindicatechangesinmeaning changesindiction Nowlookatthetitleagain,butthistimeonaninterpretivelevel.What newinsightdoesthetitleprovideinunderstandingthepoem. Whatisthepoemsayingaboutthehumanexperience,motivation,or condition?Whatsubjectorsubjectsdoesthepoemaddress?Whatdoyou learnaboutthosesubjects? Whatideadoesthepoetwantyoutakeawaywithyouconcerningthese subjects? Rememberthatthethemeofanyworkofliteratureisstatedinacomplete sentence.
CCONNOTATION
AATTITUDE
SSHIFTS
TTITLE TTHEME
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PoetryAnalysisTPCASTTBlank
TTITLE PPARAPHRASE CCONNOTATION AATTITUDE SSHIFTS TTITLE TTHEME
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RomanticistPoetry
OnthefollowingpageswillbeacollectionofpoemsfromtheRomanticistera. Inclassyouwilllookattheseinvariouswayswiththefocusonhowtheauthorsrepresent thekeyvaluesoftheRomanticisteraintheirpoetry. Youshouldfindotherpoetrybythesesamepoets(andothers)toenrichyourknowledge andunderstandingofthegenre. WilliamBlake's
"TheTyger"and"TheLamb"
from
SongsofInnocenceandofExperience,copyZ
[London:PrintedbyCatherineBlakeandWilliamBlake,17891794,1826]
"TheLamb"
fromSongsofInnocence
"TheTyger" fromSongsofExperience
TygerTyger.burningbright, Intheforestsofthenight: Whatimmortalhandoreye, Couldframethyfearfulsymmetry? Inwhatdistantdeepsorskies. Burntthefireofthineeyes! Onwhatwingsdareheaspire! Whatthehand,daresiezethefire? Andwhatshoulder,&whatart, Couldtwistthesinewsofthyheart? Andwhenthyheartbegantobeat, Whatdreadhand?&whatdreadfeet? Whatthehammer?whatthechain, Inwhatfurnacewasthybrain? Whattheanvil?whatdreadgrasp, Dareitsdeadlyterrorsclasp! Whenthestarsthrewdowntheirspears Andwater'dheavenwiththeirtears: Didhesmilehisworktosee? DidhewhomadetheLambmakethee? Tyger,Tygerburningbright, Intheforestsofthenight: Whatimmortalhandoreye, Dareframethyfearfulsymmetry?
LittleLambwhomadethee Dostthouknowwhomadethee Gavetheelife&bidtheefeed. Bythestream&o'erthemead; Gavetheeclothingofdelight, Softestclothingwoolybright; Gavetheesuchatendervoice, Makingallthevalesrejoice: LittleLambwhomadethee Dostthouknowwhomadethee LittleLambI'lltellthee, LittleLambI'lltellthee: Heiscalledbythyname, ForhecallshimselfaLamb: Heismeek&heismild, Hebecamealittlechild: Iachild&thoualamb, Wearecalledbyhisname. LittleLambGodblessthee. LittleLambGodblessthee.
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The Echoing Green

byWilliamBlake (17571827)
Thesundoesarise, Andmakehappytheskies; Themerrybellsring TowelcometheSpring; Theskylarkandthrush, Thebirdsofthebush, Singlouderaround Tothebells'cheerfulsound; Whileoursportsshallbeseen Ontheechoinggreen. OldJohn,withwhitehair, Doeslaughawaycare, Sittingundertheoak, Amongtheoldfolk. Theylaughatourplay, Andsoontheyallsay, 'Such,suchwerethejoys Whenweallgirlsandboys Inouryouthtimewereseen Ontheechoinggreen.' Tillthelittleones,weary, Nomorecanbemerry: Thesundoesdescend, Andoursportshaveanend. Roundthelapsoftheirmothers Manysistersandbrothers, Likebirdsintheirnest, Arereadyforrest, Andsportnomoreseen Onthedarkeninggreen.
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A Poison Tree
byWilliamBlake (17571827)
Iwasangrywithmyfriend:
Itoldmywrath,mywrathdidend. Iwasangrywithmyfoe: Itolditnot,mywrathdidgrow. AndIwatereditinfears, Nightandmorningwithmytears; AndIsunneditwithsmiles, Andwithsoftdeceitfulwiles. Anditgrewbothdayandnight, Tillitboreanapplebright. Andmyfoebehelditshine. Andheknewthatitwasmine, Andintomygardenstole Whenthenighthadveiledthepole; InthemorninggladIsee Myfoeoutstretchedbeneaththetree.
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SamuelTaylorColeridge's THIS LIME-TREE BOWER MY PRISON

ThetextofthispoemistakenfromThePoemsofSamuelTaylorColeridge,ed.ErnestHartleyColeridge (London:OxfordUP,1935),178181.ThepoemwassentinalettertoSouthey9July1797.
Well,theyaregone,andheremustIremain, Thislimetreebowermyprison!Ihavelost Suchbeautiesandsuchfeelings,ashadbeen Mostsweettohaveremembrance,evenwhenage Haddimm'dmineeyestoblindness!They,meanwhile, Friends,whomInevermoremaymeetagain, Onspringyheath,alongthehilltopedge, Wanderingladness,andwinddown,perchance, Tothatstillroaringdell,ofwhichItold; Theroaringdell,o'erwooded,narrow,deep, Andonlyspeckledbythemiddaysun; Whereitsslimtrunktheashfromrocktorock Flingsarchinglikeabridge;thatbranchlessash, Unsunn'danddamp,whosefewpooryellowleaves Ne'ertrembleinthegale,yettremblestill, Fann'dbythewaterfall!andtheremyfriends Beholdthedarkgreenfileoflonglankweeds, Thatallatonce(amostfantasticsight!) Stillnodanddripbeneaththedrippingedge Oftheblueclaystone. Nowmyfriendsemerge BeneaththewidewideHeavenandviewagain Themanysteepledtractmagnificent Ofhillyfieldsandmeadows,andthesea, Withsomefairbark,perhaps,whosesailslightup TheslipofsmoothclearbluebetwixttwoIsles Ofpurpleshadow!Yes!theywanderon Ingladnessall;butthou,methinks,mostglad, MygentleheartedCharles!Forthouhastpined Andhunger'dafterNature,manyayear, InthegreatCitypent,winningthyway Withsadyetpatientsoul,throughevilandpain
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Andstrangecalamity!Ah!slowlysink Behindthewesternridge,thougloriousSun! Shineintheslantbeamsofthesinkingorb, Yepurpleheathflowers!richlierburn,yeclouds! Liveintheyellowlight,yedistantgroves! Andkindle,thoublueOcean!Somyfriend, Struckwithdeepjoy,maystand,asIhavestood, Silentwithswimmingsense;yea,gazinground Onthewidelandscape,gazetillalldothseem Lessgrossthanbodily;andofsuchhues AsveiltheAlmightySpirit,whenhemakes Spiritsperceivehispresence. Adelight Comessuddenonmyheart,andIamglad AsImyselfwerethere!Norinthisbower, Thislittlelimetreebower,haveInotmark'd Muchthathassooth'dme.Palebeneaththeblaze Hungthetransparentfoliage;andIwatch'd Somebroadandsunnyleaf,andlovedtosee Theshadowoftheleafandstemabove Dapplingitssunshine!Andthatwalnuttree Wasrichlyting'd,andadeepradiancelay Fullontheancientivy,whichusurps Thosefrontingelms,andnowwithblackestmass Makestheirdarkbranchesgleamalighterhue Throughthelatetwilight:andthoughnowthebat Wheelssilentby,andnotaswallowtwitters, Yetstillthesolitaryhumblebee Singsinthebeanflower!HenceforthIshallknow Thatnaturene'erdesertsthewiseandpure; Noplotsonarrow,bebutNaturethere Nowastesovacant,butmaywellemploy Eachfacultyofsense,andkeeptheheart AwaketoLoveandBeauty!andsometimes 'Tiswelltobebereftofpromisedgood, Thatwemayliftthesoul,andcontemplate Withlivelyjoythejoyswecannotshare. MygentleheartedCharles!whenthelastrook
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Beatitsstraightpathalongtheduskyair Homewards,Iblessedit!deemingitsblackwing (Nowadimspeck,nowvanishinginlight) Hadcross'dthemightyOrb'sdilatedglory Whilethoustood'stgazing;or,whenallwasstill, Flewcreakingo'erthyhead,andhadacharm Forthee,mygentleheartedCharles,towhom NosoundisdissonantwhichtellsofLife. 70
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SamuelTaylorColeridge's FROST AT MIDNIGHT

ThetextofthispoemistakenfromThePoemsofSamuelTaylorColeridge,ed.ErnestHartleyColeridge (London:OxfordUP,1935),240242.Firstpublishedinaquartopamphletin1798.
TheFrostperformsitssecretministry, Unhelpedbyanywind.Theowlet'scry Cameloudandhark,again!loudasbefore. Theinmatesofmycottage,allatrest, Haveleftmetothatsolitude,whichsuits Abstrusermusings:savethatatmyside Mycradledinfantslumberspeacefully. 'Tiscalmindeed!socalm,thatitdisturbs Andvexesmeditationwithitsstrange Andextremesilentness.Sea,hill,andwood, Thispopulousvillage!Sea,andhill,andwood, Withallthenumberlessgoingsonoflife, Inaudibleasdreams!thethinblueflame Liesonmylowburntfire,andquiversnot; Onlythatfilm,whichflutteredonthegrate, Stillfluttersthere,thesoleunquietthing. Methinks,itsmotioninthishushofnature Givesitdimsympathieswithmewholive, Makingitacompanionableform, WhosepunyflapsandfreakstheidlingSpirit Byitsownmoodsinterprets,everywhere Echoormirrorseekingofitself, AndmakesatoyofThought. ButO!howoft, Howoft,atschool,withmostbelievingmind, Presageful,haveIgazeduponthebars, Towatchthatflutteringstranger!andasoft Withunclosedlids,alreadyhadIdreamt Ofmysweetbirthplace,andtheoldchurchtower, Whosebells,thepoorman'sonlymusic,rang
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Frommorntoevening,allthehotFairday, Sosweetly,thattheystirredandhauntedme Withawildpleasure,fallingonmineear Mostlikearticulatesoundsofthingstocome! SogazedI,tillthesoothingthings,Idreamt, Lulledmetosleep,andsleepprolongedmydreams! AndsoIbroodedallthefollowingmorn, Awedbythesternpreceptor'sface,mineeye Fixedwithmockstudyonmyswimmingbook: Saveifthedoorhalfopened,andIsnatched Ahastyglance,andstillmyheartleapedup, ForstillIhopedtoseethestranger'sface, Townsman,oraunt,orsistermorebeloved, Myplaymatewhenwebothwereclothedalike! DearBabe,thatsleepestcradledbymyside, Whosegentlebreathings,heardinthisdeepcalm, Filluptheinterspersdvacancies Andmomentarypausesofthethought! Mybabesobeautiful!itthrillsmyheart Withtendergladness,thustolookatthee, Andthinkthatthoushaltlearnfarotherlore, Andinfarotherscenes!ForIwasreared Inthegreatcity,pent'midcloistersdim, Andsawnoughtlovelybuttheskyandstars. Butthou,mybabe!shaltwanderlikeabreeze Bylakesandsandyshores,beneaththecrags Ofancientmountain,andbeneaththeclouds, Whichimageintheirbulkbothlakesandshores Andmountaincrags:soshaltthouseeandhear Thelovelyshapesandsoundsintelligible Ofthateternallanguage,whichthyGod Utters,whofrometernitydothteach Himselfinall,andallthingsinhimself. GreatuniversalTeacher!heshallmould Thyspirit,andbygivingmakeitask. Thereforeallseasonsshallbesweettothee, Whetherthesummerclothethegeneralearth Withgreenness,ortheredbreastsitandsing
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Betwixtthetuftsofsnowonthebarebranch Ofmossyappletree,whilethenighthatch Smokesinthesunthaw;whethertheeavedropsfall 70 Heardonlyinthetrancesoftheblast, Orifthesecretministryoffrost Shallhangthemupinsilenticicles, QuietlyshiningtothequietMoon.
33
ODETOANIGHTINGALE
from Lamia,Isabella,TheEveofSt.Agnes,andOtherPoems [London:TaylorandHessey,1820] 1 Myheartaches,andadrowsynumbnesspains Mysense,asthoughofhemlockIhaddrunk, Oremptiedsomedullopiatetothedrains Oneminutepast,andLethewardshadsunk: 'Tisnotthroughenvyofthyhappylot, Butbeingtoohappyinthinehappiness, Thatthou,lightwingedDryadofthetrees, Insomemelodiousplot Ofbeechengreen,andshadowsnumberless, Singestofsummerinfullthroatedease. 2 O,foradraughtofvintage!thathathbeen Cool'dalongageinthedeepdelvedearth, TastingofFloraandthecountrygreen, Dance,andProvenalsong,andsunburntmirth! OforabeakerfullofthewarmSouth, Fullofthetrue,theblushfulHippocrene, Withbeadedbubbleswinkingatthebrim, Andpurplestainedmouth; ThatImightdrink,andleavetheworldunseen, Andwiththeefadeawayintotheforestdim: 3 Fadefaraway,dissolve,andquiteforget Whatthouamongtheleaveshastneverknown, Theweariness,thefever,andthefret Here,wheremensitandheareachothergroan; Wherepalsyshakesafew,sad,lastgrayhairs, Whereyouthgrowspale,andspectrethin,anddies; Wherebuttothinkistobefullofsorrow Andleadeneyeddespairs, WhereBeautycannotkeepherlustrouseyes,
JohnKeats's
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OrnewLovepineatthembeyondtomorrow. 4 Away!away!forIwillflytothee, NotchariotedbyBacchusandhispards, ButontheviewlesswingsofPoesy, Thoughthedullbrainperplexesandretards: Alreadywiththee!tenderisthenight, AndhaplytheQueenMoonisonherthrone, Cluster'daroundbyallherstarryFays; Butherethereisnolight, Savewhatfromheaveniswiththebreezesblown
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Throughverdurousgloomsandwindingmossyways. 40 5 Icannotseewhatflowersareatmyfeet, Norwhatsoftincensehangsupontheboughs, But,inembalmeddarkness,guesseachsweet Wherewiththeseasonablemonthendows Thegrass,thethicket,andthefruittreewild; Whitehawthorn,andthepastoraleglantine; Fastfadingvioletscover'dupinleaves; AndmidMay'seldestchild, Thecomingmuskrose,fullofdewywine, Themurmuroushauntoffliesonsummereves. 6 DarklingIlisten;and,formanyatime IhavebeenhalfinlovewitheasefulDeath, Call'dhimsoftnamesinmanyamusedrhyme, Totakeintotheairmyquietbreath; Nowmorethaneverseemsitrichtodie, Toceaseuponthemidnightwithnopain, Whilethouartpouringforththysoulabroad Insuchanecstasy! Stillwouldstthousing,andIhaveearsinvain Tothyhighrequiembecomeasod. 7 Thouwastnotbornfordeath,immortalBird!
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Nohungrygenerationstreadtheedown; ThevoiceIhearthispassingnightwasheard Inancientdaysbyemperorandclown: Perhapstheselfsamesongthatfoundapath ThroughthesadheartofRuth,when,sickforhome, Shestoodintearsamidthealiencorn; Thesamethatofttimeshath Charm'dmagiccasements,openingonthefoam Ofperilousseas,infaerylandsforlorn. 8 Forlorn!theverywordislikeabell Totollmebackfromtheetomysoleself! Adieu!thefancycannotcheatsowell Assheisfam'dtodo,deceivingelf. Adieu!adieu!thyplaintiveanthemfades Pastthenearmeadows,overthestillstream, Upthehillside;andnow'tisburieddeep Inthenextvalleyglades: Wasitavision,orawakingdream? Fledisthatmusic:DoIwakeorsleep? 80 70
36
JohnKeats
To Autumn
Seasonofmistsandmellowfruitfulness, Closebosomfriendofthematuringsun; Conspiringwithhimhowtoloadandbless Withfruitthevinesthatroundthethatchevesrun; Tobendwithapplesthemoss'dcottagetrees, Andfillallfruitwithripenesstothecore; Toswellthegourd,andplumpthehazelshells Withasweetkernel;tosetbuddingmore, Andstillmore,laterflowersforthebees, Untiltheythinkwarmdayswillnevercease, ForSummerhaso'erbrimm'dtheirclammycells. Whohathnotseentheeoftamidthystore? Sometimeswhoeverseeksabroadmayfind Theesittingcarelessonagranaryfloor, Thyhairsoftliftedbythewinnowingwind; Oronahalfreap'dfurrowsoundasleep, Drows'dwiththefumeofpoppies,whilethyhook Sparesthenextswathandallitstwinedflowers: Andsometimeslikeagleanerthoudostkeep Steadythyladenheadacrossabrook; Orbyacyderpress,withpatientlook, Thouwatchestthelastoozingshoursbyhours. WherearethesongsofSpring?Ay,wherearethey? Thinknotofthem,thouhastthymusictoo, Whilebarredcloudsbloomthesoftdyingday, Andtouchthestubbleplainswithrosyhue; Theninawailfulchoirthesmallgnatsmourn Amongtheriversallows,bornealoft Orsinkingasthelightwindlivesordies; Andfullgrownlambsloudbleatfromhillybourn; Hedgecricketssing;andnowwithtreblesoft Theredbreastwhistlesfromagardencroft; Andgatheringswallowstwitterintheskies.
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ODETOTHEWESTWIND
from PrometheusUnbound: ALyricalDramainFourActs,withOtherPoems [London:CandJOllier,1820]
PercyByssheShelley's
ODETOTHEWESTWIND.
ThispoemwasconceivedandchieflywritteninawoodthatskirtstheArno,nearFlorence, andonadaywhenthattempestuouswind,whosetemperatureisatoncemildand animating,wascollectingthevapourswhichpourdowntheautumnalrains.Theybegan,asI foresaw,atsunsetwithaviolenttempestofhailandrain,attendedbythatmagnificent thunderandlightningpeculiartotheCisalpineregions. Thephenomenonalludedtoattheconclusionofthethirdstanzaiswellknowntonaturalists. Thevegetationatthebottomofthesea,ofrivers,andoflakes,sympathiseswiththatofthe landinthechangeofseasons,andisconsequentlyinfluencedbythewindswhichannounce it.
I. O,WILDWestWind,thoubreathofAutumn'sbeing, Thou,fromwhoseunseenpresencetheleavesdead Aredriven,likeghostsfromanenchanterfleeing, Yellow,andblack,andpale,andhecticred, Pestilencestrickenmultitudes:O,thou, Whochariotesttotheirdarkwintrybed Thewingedseeds,wheretheyliecoldandlow, Eachlikeacorpsewithinitsgrave,until Thineazuresisterofthespringshallblow Herclariono'erthedreamingearth,andfill (Drivingsweetbudslikeflockstofeedinair) Withlivinghuesandodoursplainandhill: WildSpirit,whichartmovingeverywhere; Destroyerandpreserver;hear,O,hear! II.
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Thouonwhosestream,'midthesteepsky'scommotion, Loosecloudslikeearth'sdecayingleavesareshed, ShookfromthetangledboughsofHeavenandOcean, Angelsofrainandlightning:therearespread Onthebluesurfaceofthineairysurge, Likethebrighthairupliftedfromthehead OfsomefierceMnad,evenfromthedimverge Ofthehorizontothezenith'sheight Thelocksoftheapproachingstorm.Thoudirge Ofthedyingyear,towhichthisclosingnight Willbethedomeofavastsepulchre, Vaultedwithallthycongregatedmight Ofvapours,fromwhosesolidatmosphere Blackrain,andfire,andhailwillburst:O,hear! III. Thouwhodidstwakenfromhissummerdreams TheblueMediterranean,wherehelay, Lulledbythecoilofhiscrystallinestreams, BesideapumiceisleinBai'sbay, Andsawinsleepoldpalacesandtowers Quiveringwithinthewave'sintenserday, Allovergrownwithazuremossandflowers Sosweet,thesensefaintspicturingthem!Thou ForwhosepaththeAtlantic'slevelpowers Cleavethemselvesintochasms,whilefarbelow Theseabloomsandtheoozywoodswhichwear Thesaplessfoliageoftheocean,know Thyvoice,andsuddenlygrowgreywithfear, Andtrembleanddespoilthemselves:O,hear! IV. IfIwereadeadleafthoumightestbear; IfIwereaswiftcloudtoflywiththee;
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Awavetopantbeneaththypower,andshare Theimpulseofthystrength,onlylessfree Thanthou,O,uncontroulable!Ifeven Iwereasinmyboyhood,andcouldbe Thecomradeofthywanderingsoverheaven, Asthen,whentooutstripthyskieyspeed Scarceseemedavision;Iwouldne'erhavestriven Asthuswiththeeinprayerinmysoreneed. O!liftmeasawave,aleaf,acloud! Ifalluponthethornsoflife!Ibleed! Aheavyweightofhourshaschainedandbowed Onetoolikethee:tameless,andswift,andproud. V. Makemethylyre,evenastheforestis: Whatifmyleavesarefallinglikeitsown! Thetumultofthymightyharmonies Willtakefrombothadeep,autumnaltone, Sweetthoughinsadness.Bethou,spiritfierce, Myspirit!Bethoume,impetuousone! Drivemydeadthoughtsovertheuniverse Likewitheredleavestoquickenanewbirth! And,bytheincantationofthisverse, Scatter,asfromanunextinguishedhearth Ashesandsparks,mywordsamongmankind! Bethroughmylipstounawakenedearth Thetrumpetofaprophecy!O,wind, IfWintercomes,canSpringbefarbehind?
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WilliamWordsworth's
LINESWRITTENAFEWMILESABOVETINTERNABBEY
from
LyricalBallads
[London:J.&A.Arch,1798] LINESWRITTENAFEWMILESABOVETINTERNABBEY,ONREVISITINGTHEBANKSOFTHE WYEDURINGATOUR, July13,1798. =====
Fiveyearshavepast;fivesummers,withthelength Offivelongwinters!andagainIhear Thesewaters,rollingfromtheirmountainsprings Withasweetinlandmurmur.*Onceagain DoIbeholdthesesteepandloftycliffs, Whichonawildsecludedsceneimpress Thoughtsofmoredeepseclusion;andconnect Thelandscapewiththequietofthesky. ThedayiscomewhenIagainrepose Here,underthisdarksycamore,andview Theseplotsofcottageground,theseorchardtufts, Which,atthisseason,withtheirunripefruits, Amongthewoodsandcopseslosethemselves, Nor,withtheirgreenandsimplehue,disturb Thewildgreenlandscape.OnceagainIsee Thesehedgerows,hardlyhedgerows,littlelines Ofsportivewoodrunwild;thesepastoralfarms, Greentotheverydoor;andwreathesofsmoke Sentup,insilence,fromamongthetrees, Withsomeuncertainnotice,asmightseem, Ofvagrantdwellersinthehouselesswoods, Orofsomehermit'scave,wherebyhisfire Thehermitsitsalone. Thoughabsentlong,
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Theseformsofbeautyhavenotbeentome, Asisalandscapetoablindman'seye: Butoft,inlonelyrooms,andmidthedin Oftownsandcities,Ihaveowedtothem, Inhoursofweariness,sensationssweet, Feltintheblood,andfeltalongtheheart, Andpassingevenintomypurermind Withtranquilrestoration:feelingstoo Ofunrememberedpleasure;such,perhaps, Asmayhavehadnotrivialinfluence Onthatbestportionofagoodman'slife; Hislittle,nameless,unrememberedacts Ofkindnessandoflove.Norless,Itrust, TothemImayhaveowedanothergift, Ofaspectmoresublime;thatblessedmood, Inwhichtheburthenofthemystery, Inwhichtheheavyandthewearyweight Ofallthisunintelligibleworld Islighten'd:thatsereneandblessedmood, Inwhichtheaffectionsgentlyleaduson, Until,thebreathofthiscorporealframe, Andeventhemotionofourhumanblood Almostsuspended,wearelaidasleep Inbody,andbecomealivingsoul: Whilewithaneyemadequietbythepower Ofharmony,andthedeeppowerofjoy, Weseeintothelifeofthings. Ifthis Bebutavainbelief,yet,oh!howoft, Indarkness,andamidthemanyshapes Ofjoylessdaylight;whenthefretfulstir Unprofitable,andthefeveroftheworld, Havehunguponthebeatingsofmyheart, Howoft,inspirit,haveIturnedtothee OsylvanWye!Thouwandererthroughthewood Howoftenhasmyspiritturnedtothee! Andnow,withgleamsofhalfextinguish'dthough[t,] Withmanyrecognitionsdimandfaint,
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Andsomewhatofasadperplexity, Thepictureofthemindrevivesagain: WhilehereIstand,notonlywiththesense Ofpresentpleasure,butwithpleasingthoughts Thatinthismomentthereislifeandfood Forfutureyears.AndsoIdaretohope Icameamongthesehills;whenlikearoe Iboundedo'erthemountains,bythesides Ofthedeeprivers,andthelonelystreams, Wherevernatureled;morelikeaman Flyingfromsomethingthathedreads,thanone Whosoughtthethingheloved.Fornaturethen (Thecoarserpleasuresofmyboyishdays, Andtheirgladanimalmovementsallgoneby,) Tomewasallinall.Icannotpaint WhatthenIwas.Thesoundingcataract Hauntedmelikeapassion:thetallrock, Themountain,andthedeepandgloomywood, Theircoloursandtheirforms,werethentome Anappetite:afeelingandalove, Thathadnoneedofaremotercharm, Bythoughtsupplied,oranyinterest Unborrowedfromtheeye.Thattimeispast, Andallitsachingjoysarenownomore, Andallitsdizzyraptures.Notforthis FaintI,normournnormurmur;othergifts Havefollowed,forsuchloss,Iwouldbelieve, Abundantrecompence.ForIhavelearned Tolookonnature,notasinthehour Ofthoughtlessyouth,buthearingoftentimes Thestill,sadmusicofhumanity, Norharshnorgrating,thoughofamplepower Tochastenandsubdue.AndIhavefelt Apresencethatdisturbsmewiththejoy Ofelevatedthoughts;asensesublime Ofsomethingfarmoredeeplyinterfused, Whosedwellingisthelightofsettingsuns, Andtheroundocean,andthelivingair,
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Thoughchanged,nodoubt,fromwhatIwas,whenfirst
Andthebluesky,andinthemindofman, Amotionandaspirit,thatimpels Allthinkingthings,allobjectsofallthought, Androllsthroughallthings.ThereforeamIstill Aloverofthemeadowsandthewoods, Andmountains;andofallthatwebehold Fromthisgreenearth;ofallthemightyworld Ofeyeandear,bothwhattheyhalfcreate,* Andwhatperceive;wellpleasedtorecognize Innatureandthelanguageofthesense, Theanchorofmypurestthoughts,thenurse, Theguide,theguardianofmyheart,andsoul Ofallmymoralbeing. Nor,perchance, IfIwerenotthustaught,shouldIthemore Suffermygenialspiritstodecay: Forthouartwithme,here,uponthebanks Ofthisfairriver;thou,mydearestFriend, Mydear,dearFriend,andinthyvoiceIcatch Thelanguageofmyformerheart,andread Myformerpleasuresintheshootinglights Ofthywildeyes.Oh!yetalittlewhile MayIbeholdintheewhatIwasonce, Mydear,dearSister!AndthisprayerImake, KnowingthatNatureneverdidbetray Theheartthatlovedher;'tisherprivilege, Throughalltheyearsofthisourlife,tolead Fromjoytojoy:forshecansoinform Themindthatiswithinus,soimpress Withquietnessandbeauty,andsofeed Withloftythoughts,thatneithereviltongues, Rashjudgments,northesneersofselfishmen, Norgreetingswherenokindnessis,norall Thedrearyintercourseofdailylife, Shalle'erprevailagainstus,ordisturb Ourchearfulfaiththatallwhichwebehold Isfullofblessings.Thereforeletthemoon Shineontheeinthysolitarywalk;
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Andletthemistymountainwindsbefree Toblowagainstthee:andinafteryears, Whenthesewildecstasiesshallbematured Intoasoberpleasure,whenthymind Shallbeamansionforalllovelyforms, Thymemorybeasadwellingplace Forallsweetsoundsandharmonies;Oh!then, Ifsolitude,orfear,orpain,orgrief, Shouldbethyportion,withwhathealingthoughts Oftenderjoywiltthourememberme, Andthesemyexhortations!Nor,perchance, IfIshouldbe,whereInomorecanhear Thyvoice,norcatchfromthywildeyesthesegleams Ofpastexistence,wiltthouthenforget Thatonthebanksofthisdelightfulstream Westoodtogether;andthatI,solong AworshipperofNature,hithercame, Unweariedinthatservice:rathersay Withwarmerlove,oh!withfardeeperzeal Ofholierlove.Norwiltthouthenforget, Thataftermanywanderings,manyyears Ofabsence,thesesteepwoodsandloftycliffs, Andthisgreenpastorallandscape,weretome Moredear,bothforthemselvesandforthysake.
Footnotes. [4]*TheriverisnotaffectedbythetidesafewmilesaboveTintern.
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[107]*ThislinehasacloseresemblancetoanadmirablelineofYoung,theexactexpression ofwhichIcannotrecollect.
45
WilliamWordsworth.17701850
TheSolitaryReaper
BEHOLDher,singleinthefield, YonsolitaryHighlandLass! Reapingandsingingbyherself; Stophere,orgentlypass! Aloneshecutsandbindsthegrain, 5 Andsingsamelancholystrain; Olisten!fortheValeprofound Isoverflowingwiththesound. NoNightingaledideverchaunt 10 Morewelcomenotestowearybands Oftravellersinsomeshadyhaunt, AmongArabiansands: Avoicesothrillingne'erwasheard InspringtimefromtheCuckoobird, 15 Breakingthesilenceoftheseas AmongthefarthestHebrides.
Willnoonetellmewhatshesings? Perhapstheplaintivenumbersflow Forold,unhappy,faroffthings, Andbattleslongago: Orisitsomemorehumblelay, Familiarmatteroftoday? Somenaturalsorrow,loss,orpain, Thathasbeen,andmaybeagain? Whate'erthetheme,theMaidensang Asifhersongcouldhavenoending; Isawhersingingatherwork, Ando'erthesicklebending; Ilisten'd,motionlessandstill; And,asImountedupthehill, ThemusicinmyheartIbore, Longafteritwasheardnomore.
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Bibliography
Api.DeadPoetsSociety.Available:http://www.scribd.com/doc/6863555/DeadPoets Society.Lastaccessed7thAugust2011. Buckley,J.andPendo,A.TeachingDeadPoetsSociety.Available: http://www.scribd.com/doc/8293491/DeadPoetsSocietyBuckley.Lastaccessed7thAugust 2011. Reinfandt,C.RomanticismLecture1.Available: http://docs.google.com/viewer?a=v&q=cache:YvA37n0M4o4J:www.uni tuebingen.de/angl/downloads/romanticism/Romanticism_Lecture_1.pdf+PROF.+DR.+C.+REI NFANDT+Lecture&hl=en&pid=bl&srcid=ADGEESjnUYjSyJuPozY1JQBdZUOzYuX1zOCAEMAw5 yqUrFzfVx_5faQskQAoyUoiTi0y5pvbBxnrVsKi5vYaW4oiRjf3uXc SR2f1ouwqSIWELBNBbSEfh1Jc6xEEMPSR_RxWbZT3&sig=AHIEtbRTnM9yukGT3gv9VhhvNxC4 XhuEUA&pli=1.LastAccessed7thAugust2011 Senger,N.(2007).DeadPoetsSociety.Available: http://www.nicksenger.com/blog/resources/.Lastaccessed7thAugust2011. WikipediaCommons.Characterisation.Available: http://en.wikipedia.org/wiki/Characterisation.Lastaccessed7thAugust2011. Wolfreys,J.,Robbins,R.andWomack,K.2002,KeyConceptsInLiteraryTheory,Edinburugh UniversityPress,Edinburugh
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Poetry Dead or Alive Booklet

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POETRY: DEAD OR ALIVE!

9.Unorthodox Ideas 10.Neils Dream 11.Oh Captain,My Captain

http://web.archive.org/web/20071111054413/http://www.cas.usf.edu/lis/lis6585/class/litelem.html DeadPoetsSociety CollatedbyOrmo@Normo 12

http://www.scribd.com/doc/8293491/DeadPoetsSocietyBuckley DeadPoetsSociety CollatedbyOrmo@Normo

WordstoDefine: o Romanticism o BalanceofPower o Liberalism o Conservatism o Radicalism o Legitimacy o Realpolitik

The Echoing Green

SamuelTaylorColeridge's THIS LIME-TREE BOWER MY PRISON

SamuelTaylorColeridge's FROST AT MIDNIGHT

Betwixtthetuftsofsnowonthebarebranch Ofmossyappletree,whilethenighthatch Smokesinthesunthaw;whethertheeavedropsfall 70 Heardonlyinthetrancesoftheblast, Orifthesecretministryoffrost Shallhangthemupinsilenticicles, QuietlyshiningtothequietMoon.

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