Методические указания к изучению курса ''Английская классическая поэзия''

Министерство Образования Российской Федерации РОСТОВСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ

ДЖУМАЙЛО О.А. МЕТОДИЧЕСКИЕ УКАЗАНИЯ К изучению курса «Английская классическая поэзия» для студентов 4-го курса романо-германского отделения факультета филологии и журналистики

РОСТОВ-НА-ДОНУ 2003

Методические указания утверждены на заседании кафедры романо-германской филологии факультета филологии и журналистики. Протокол №7 от 24.04.03. Рецензент: доцент кафедры романо-германской филологии, к.ф.н. Николаев С.Г.

Методические указания « Классическая английская поэзия» предлагают студентам английского отделения познакомиться с виднейшими представителями английской поэзии 17-19 вв. Основной задачей указаний становится развитие навыков поэтического разбора текста исходя из суммы его культурно-исторических, эстетических, биографических и формальных составляющих. Задания, предложенные в указаниях, нацелены на формирование широких познаний: от общих представлений об исторических формах и жанрах в поэзии до развития квалифицированного подхода к стилистическому разбору текста и проблемам перевода. Вместе с тем, общая тенденция поэтического анализа должна быть устремлена к формированию целостной концепции произведения в единстве его «органической формы». Структура указаний представляет собой семь разделов, посвященных заметным представителям классической английской поэзии, и список литературы, включающий, кроме справочного и критического материала на английском языке, также русскоязычные труды по теории и практике анализа стихотворного текста. Каждый раздел указаний содержит краткий обзор творчества поэта, текст предлагаемого к анализу стихотворения, примечания и комментарии к нему, помогающие указать возможные направления интерпретации, и вопросы. Кроме того, включенные в разделы дополнительные задания способны расширить представления студентов о палитре художественных интересов изучаемых авторов. Предполагаемый разбор поэтического текста должен более всего опираться на формально-структуральный подход, а также на методологию американской «Новой критики». Вместе с тем, современная практика разбора текста показывает необходимость подключения культурно-исторического и биографического материала. Форма отчетности по курсу предполагает: подготовку студентом развернутого анализа творчества английского поэта ХХ века (на выбор) в контексте его эстетических взглядов и поэтических новаций; подробный разбор стихотворения (на выбор) с учетом всего комплекса макро- и микрокомпонентов в целостной структуре текста; декламацию ряда (5-6) стихотворений на память.

Metaphysical Poetry The term metaphysical was applied to a style of 17th Century poetry first by John Dryden and later by Dr.Samuel Johnson because of the highly intellectual and often abstruse imagery involved. Chief among the methaphysical poets are John Donne, George Herbert, Richard Crashaw, Andrew Marvell, and Henry Vaughan. While their poetry is widely varied (the metaphysicals are not a thematic school), there are some common characteristics: 1. Argumentative structure. The poem often engages in a debate, an urgent or heated argument with a reluctant mistress, or an intruding friend, or God, or death, or with himself; the poem is an intellectual exercise as well as or instead of an emotional effusion. • You must sit down”, says Love, “and taste my meat” So I did sit and eat… (Herbert “Love bade me welcome”) • Batter my heart, three-personed God…(Donne) 2. Dramatic and colloquial mode of utterance. The poem often describes a dramatic event rather than being a thought or contemplation. Diction is simple and usually direct. The verse is occasionally rough, like speech, rather than written in perfect meter, resulting in a dominance of thought over form. • Busy old fool, unruly sun, Why dost thou thus Through windows and through curtains Call on us? (Donne) • For God’sake hold your toungue, and let me love… (Donne) 3. Acute realism. The poem often reveals a psychological analysis; images advance the argument rather than being ornamental. There is a learned style of thinking and writing; the poetry is often highly intellectual. Poets are often realistic, ironic, and sometimes cynical in their treatment of the complexity of human motives. • This not all spirit, pure, and brave, If mixture it of fear, shame, honour, have… (Donne “The Dream”) 4. Metaphysical conceit. The poem contains unexpected, even striking or shocking analogies, offering elaborate parallels between apparently dissimilar things, a kind of discordia concors. The analogies are drawn from widely varied fields of knowledge, not limited to traditional sources in nature or art. Analogies from science, alchemy, esotericism, mechanics, housekeeping, business, philosophy, astronomy, etc. are common. These conceits reveal a play of intellect, often resulting in puns, paradoxes and humorous comparisons. Unlike other poetry where the metaphors usually remain in the background, here the metaphors sometimes take over the poem and control it. • ( on Saint Mary Magdalene’s tearful eyes) … two faithful fountains Two walking baths, two weeping motions, Portable and compendious oceans… (Crashaw) • My comforts drop and melt away like snow: I shake my head, and all the thought and ends, Which my fierce youth did bandy, fall and flow Like leaves about me: like summer friends, Flies of estates and sunshine… (Herbert, “The Answer”)

• Go and catch a falling star, Get with child a mandrake root… (Donne) • Dear, beautious death! The Jewel of the Just, Shining nowhere, but in the dark… ( Vaughan)

George Herbert’s The Collar I struck the board, and cry’d, No more. I will aboad. What? Shall I ever sigh and pine? My lines and life are free; free as the rode, Loose as the winde, as large as store. Shall I be still in suit? Have I no harvest but a thorn To let me bloud, and not restore What I have lost with cordiall fruit? Sure there was wine Before my sighs did drie it: there was corn Before my tears did drown it. Is the yeare onely lost to me? Have I no bayes to crown it? No flowers, no garlands gay? All blasted? All wasted? Not so, my heart: but there is fruit, And thou hast hands. Recover all thy sigh-blown age On double pleasures: leave thy cold dispute Of what is fit, and not. Forsake thy cage, Thy rope of sands, Which pettie thoughts have made, and made to thee Good cable, to enforce and draw, And be thy law, While thou didst wink and wouldst not see. Away; take heed: I will abroad. Call in thy deaths head there: tie up thy fears. He that forbears To suit and serve his need, Deserves his load. But as I rav’d and grew more fierce and wilde At every word, Me thoughts I heard one calling, Child! And I reply’d, My Lord.

Questions 1) Do you find the poem dramatic? What makes you think so? Is there any dialectics in the mood? How can you define it? Is it possible to divide the poem into several logical parts or it is rather a piece of ecstatic “flow of consciousness”? Give your reasons pro et contra. 2) Distinguish the conflicting images and explain their use. What is the uniting motif of the poem? Find out the religious meanings for harvest, thorn, fruit, wine and flower. 3) Consider the formal structure and the stylistic peculiarities of the poem. What are they for? Are the rhyming and metrical schemes of any order? 4) What does Child mean? What else can be considered as childish? Do you find any clash in meaning? 5) Is there any ambiguity in treating the symbol of Collar? Give your proofs. 6) Does the formal structure of the last four lines correspond to the climax of the dramatic involvement? 7) It is worth taking a good look at the poem as it stands on the page. Compare the poem with “Virtue” paying special attention to the use of formal means and their functions. Can you point out a set of musical overtones? Find out the repetitive argumentation and the most vivid examples of metaphysical conceit. Give precise implications for: - bridal (2) - weep (3) - angry and brave (5) - the rash gazer wipe (6) - sweets (10) - music (11) - closes (11) - seasoned timber (14) Virtue Sweet day, so cool, so calm, so bright, The bridal of the earth and sky: The dew shall weep thy fall tonight; For thou must die. Sweet rose, whose hue angry and brave Bids the rash gazer wipe his eye: Thy root is ever in its grave, And thou must die. Sweet spring, full of sweet days and roses, A box where sweets compacted lie: My music shows ye have your closes, And all must die. Only a sweet and virtuous soul, Like seasoned timber, never gives; But though the whole world turn to coal, Then chiefly lives.

John Donne (1572- 1630) John Donne was born in 1572 to a London merchant and his wife. Donne's parents were both Catholic at a time when England was deeply divided over matters of religion. Having renounced his Catholic faith, Donne was ordained in the Church of England in 1615.Donne was educated at Oxford, he became prodigiously learned, speaking several languages and writing poems in both English and Latin. Donne's adult life was colorful, varied, and often dangerous; he sailed with the royal fleet and served as both a Member of Parliament and a diplomat. In 1601, he secretly married a woman named Ann More, and he was imprisoned by her father, Sir George More, a month later he was released. For the next several years, Donne moved his family throughout England, traveled extensively in France and Italy, and attempted unsuccessfully to gain positions. In 1615, Donne was ordained a priest in the Anglican Church; in 1621, he became the Dean of St. Paul's Cathedral, a post that he retained for the rest of his life. A very successful priest, Donne preached several times before royalty; his sermons were famous for their power and directness. However, it is for his extraordinary poems that Donne is primarily remembered. Donne was the leading exponent of a style of "metaphysical poetry". Donne's poetry exhibits each of these characteristics. His jarring, unusual meters; his proclivity for abstract puns and double entendres; his often bizarre metaphores(in one poem he compares love to a carnivorous fish); and his process of oblique reasoning are all characteristic traits of the metaphysicals, unified in Donne as in no other poet. But Donne is also a highly individual poet, and his consistently ingenious treatment of his great conflict between spiritual piety and physical carnality, as embodied in religion and love remains unparalleled. He was a man of contradictions: As a minister in the Anglican Church, Donne possessed a deep spirituality that informed his writing throughout his life; but as a man, Donne possessed a carnal lust for life, sensation, and experience. He is both a great religious poet and a great erotic poet, and perhaps no other writer (with the possible exception of Herbert) strove as hard to unify and express such incongruous, mutually discordant passions. The Exstasie Where, like a pillow on a bed, A Pregnant banke swel’d up, to rest The violets reclining head, Sat we two, one anothers best;

When love, with one another so Interinanimates two souls, That abler soul, which thence doth flow, Defects of lonelinesse controules.

Our hands were firmly cimented With a fast balme, which thence did spring, Our eye-beams twisted, and did thred Our eyes, upon one double string;

Wee then, who are this new soule, kmow, Of what we are compos’d, and made, For, th’atomies of which we grow, Are soules, whom no change can invade.

So to’entergraft our hands, as yet Was all the meanes to make us one, And pictures on our eyes to get Was all our propagation.

But O alas, so long, so farre Our bodies why doe wee forbeare? They’are ours, though they’are not wee, Wee are Th’intelligences, they the spheare.

As ‘twixt two equall Armies, Fate Suspends uncertaine victorie, Our souls, (which to advance their state,

We owe them thankes, because they thus, Did us, to us, at first convay, Yeelded their forces, sense, to us,

Were gone out,) hung ‘twixt her, and mee.

Nor are drosse to us, but allay.

And whil’st our soules negotiate there, Wee like sepulchrall statues lay; All day, the same our postures were, And wee said nothing, all the day.

On man heavens influence workes not so, But that it first imprints the ayre, Soe soule into the soule may flow, Through it to body first repaire.

If any, so by love refin’d That he soules language understood, And by good love were grown all minde Within convenient distance stood,

As our blood labours to beget Spirits, as like soules as it can, Because such fingers need to knit That subtile knot, which makes us man:

He (though he knew not which soul spake, Because both meant, both spake the same) Might thence a new concoction take, And part farre purer then he came.

So must pure lovers soules descend T’affections, and to faculties, Which sense may reach and apprehend Else a great Prince in prison lies.

This Exstasie doth unperplex (Wee said) and tell us what we love, Wee see by this, it was not sexe, Wee see, we saw not what did move:

To’our bodies turne wee then, that so Weake men on love reveal’d may looke; Love mysteries in soules doe grow, But yet the body is his booke.

But as all severall soules containe Mixture of things, they know not what, Love, these mixt soules, doth mixe againe, And makes both one, each this and that.

And if some lover, such as wee, Have heard this dialogue of one, Let him still marke us, he shell see Small change, when we’are to bodies gone.

A single violet transplant, The strength, the colour, and the size, (All which before was poore, and scant,) Redoubles still, and multiplies. Notes and comments -

as’twixt two equall Armies - an allusion to Homer’s “Iliad” when Zeus suspends the equilibrium between equal armies. They should be bodies between which the souls, like envoys, negotiate. To advance their state – to increase their dignity Concoction – the process by which metals and minerals are refined by heat from an impure to a perfect or mature state. And makes both one, each this and that. It is a Neo-Platonic commonplace that love makes “one person – two; and of two persons – one” Forbeare – avoid or shun Spheare – it was believed that intelligences bear love for the spears that they govern On man heavens influence. It was a fundamental Paracelsian doctrine that the influence of stars was mediated by the air. “Platonism believed. The decadence of trying to make pretty speeches and of hunting for something to say temporarily checked. Absolute belief in the existence of an extracorporal soul… Donne stating a thesis in precise, even technical terms” (Ezra Pound)

Questions 1) What are Exctasie and Good according to Platonic and Neo-Platonic views? What is the nature of relations between spiritual and sensible (and in the context of the poem sensual) due to these philosophic doctrines? Find out what was meant by “This Exstasie doth unperplex … and tell us what we love”? Is there a pattern of aspiring to Good? Give examples, paying attention to the stylistic means as well. 2) What is the difference between “wee said nothing, all the day” and “souls language”. Pay attention to Platonic views. Why “both spake the same”? 3) Do you find the question “But O alas, so long, so fare our bodies why doe wee forbeare?” ambiguous? Prove your point. 4) What is meant by “they (bodies)… nor are dross to us, but alley”. 5) Can you draw the picture of thought development? Is there any dialectics? Find out turning points. 6) What are uniting symbols at the end of the poem? Are there any allusions to Plato’s “Republic”? 7) Consider the use of the “vegetative” metaphors. Can you give any reasons for their possible meaning? Enlist the cases of metaphysical conceit if you find any in the poem. 8) Can you explain “small change” in the final line of the poem? Does Donne use a double plot in the poem? 9) Give precise implications for - one anothers best (4) - “our eye-beams” (7) - entergraft (9) - propagation (12) - forbeare (50) - th’intelligences, they the spheare (52) - a great Prince (68) Additional tasks 1) Donne's two major modes are religious spiritualism and erotic amorousness. How does he combine those two modes in some of his poems? In which poems does he not combine them? How does Donne distinguish between physical and spiritual love? Which does he prefer? Think especially about "The Flea" and "A Valediction: forbidding Mourning." One of the main characteristics of metaphysical poetry is its reliance on bizarre and unexpected imagery and symbolism. What are some of Donne's strangest or most surprising images and symbols? How does Donne use symbolism to advance his themes? Donne's use of meter is frequently surprising; he will often apply a regular ABAB rhyme scheme to lines of wildly erratic tempo. What effect does it have on the poems, either aesthetically or thematically, or both? Donne often uses humor in his poems: "The Flea" is an elaborate joke, "A Valediction" satirizes Petrarchan love poems. What roles do wordplay and humor perform in Donne's poems?

The Flea Marke but this flea, and marke in this, How little that which thou deny’st me is; It suck’d me first, and now sucks thee, And in this flea, our two bloods mingled bee; Thou know’st that this cannot be said A sinne, nor shame, nor losse of maidenhead, Yet this enjoyes before it wooe, And pamper’d swells with one blood made of two, And this, alas, is more than we would doe. Oh stay, three lives in one flea spare, Where wee almost, yea more than married are. This flea is you and I, and this Our marriage bed, and marriage temple is; Though parents grudge, and you, w’are met, And cloysterd in these living walls of Jet. Though use make you apt to kill mee, Let not to that, selfe murder added bee, And sacrilege, three sinnes in killing three. Cruell and sodaine, has thou since Purpled thy naile, in blood of innocence? Wherein could this flea quilty bee, Except in that drop which it suckt from thee? Yet thou triumph’st and saist that thou Find’st not thy selfr, nor mee theweaker now; “Tis true, then learne how false, feares bee; Just so much honor, when thou yeeld’s to mee, Will wast, as this flea’s death took life from thee.

A Valediction forbidding Mourning As virtuous men passe mildly away And whisper to their soules to goe, Whilst some of their sad friends doe say, The breath goes now, and some say, no. So let us melt, and make no noise, No teare-floods, nor sigh-tempests move, T’were prophanation of our joyes To tell the layetie our love. Moving of th’earth brings harmes and feares; Men reckon what it did, and meant. But trepidation of the spheares, Though greater farre, is innocent.

Dull sublunary lovers love (Whose soule is sense) cannot admit Absence, because it doth remove Those things which elemented it. But we by a love, so much refin’d, That our selves know not what it is, Inter-assured of the mind, Care lesse, eyes, lips, hands to misse. Our two soules, therefore, which are one, Though I must goe, endure not yet A breach, but an expansion, Like gold to ayery thinnesse beate. If they be two, they are two so As stiff twin compasses are two, Thy soule the fixt foot, makes no show To move, but doth, if the’other doe. And though it in the center sit, Yet when the other far doth rome, It leanes and hearkens after it, And growes erect, as that comes home. Such wilt thou be to mee, who must, Like th’other foot, obliquely runne. Thy firmnes makes my circle just, And makes me end where I begunne. 2) Donne’s influence upon J.Brodsky is well-known. Find out the chief stylistic means often used by Donne, in Brodsky’s “Большая элегия Джону Донну”. Think about the peculiarities of the “russian” variant of metaphysical conceit.

William Blake (1757-1827) William Blake’s work is largely influenced by Christianity. And unlike many of his contemporaries he didn’t draw much influence from classical mythology. His unorthodox religious thinking owes a debt to the Swedish philosopher Emmanuel Swedenborg , whose influence is particularly evident in Blake's The Marriage of Heaven and Hell. One of the strongest features in Blake’s philosophy was his belief in imagination as an active creative force. Blake was extremely radical both politically and philosophically. He used to see visions and hear voices. Blake attacked rationalism, authoritarianism, industrialization and organized religion as destructive of creative and spiritual energies. At the height of his poetry, with the Songs of Innocence and Songs of Experience, Blake demonstrates an incredible gift for imagery. The style of the Songs is simple and direct but the language and the rhythms are painstakingly crafted and the ideas they explore are often deceptively complex. Some of Blake's favorite rhetorical techniques are personification and the reworking of Biblical symbolism and language. Blake frequently employs the familiar meters of ballads, nursery rhymes, and hymns, applying them to his own, often unorthodox conceptions. He was renown as a genius not only for his literary works but also for his painting. It’s necessary to consider his graphic art and his writing together as he himself thought of them inseparable. His contemporaries saw him as something of an eccentric. Suspended between the neoclassicism of the 18th century and the early phases of Romanticism, Blake belongs to no single poetic school or age. Only in the 20th century did wide audiences begin to acknowledge his profound originality and genius.In fact most of the attempts to explain Blake’s intentions are contradictory. The Lamb

The Tyger

Little Lamb who made thee Dost thou know who made thee Gave thee life & bid thee feed. By the stream & o'er the mead; Gave thee clothing of delight, Softest clothing wooly bright; Gave thee such a tender voice, Making all the vales rejoice! Little Lamb who made thee Dost thou know who made thee

Tyger Tyger, burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry?

Little Lamb I'll tell thee, Little Lamb I'll tell thee! He is called by thy name, For he calls himself a Lamb: He is meek & he is mild, He became a little child: I a child & thou a lamb, We are called by his name. Little Lamb God bless thee. Little Lamb God bless thee.

In what distant deeps or skies. Burnt the fire of thine eyes? On what wings dare he aspire? What the hand, dare seize the fire? And what shoulder, & what art, Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? & what dread feet? What the hammer? What the chain, In what furnace was thy brain? What the anvil? What dread grasp, Dare its deadly terrors clasp! When the stars threw down their spears And water'd heaven with their tears:

Did he smile his work to see? Did he who made the Lamb make thee? Tyger Tyger burning bright, In the forests of the night: What immortal hand or eye, Dare frame thy fearful symmetry? Notes and comments Blake's Songs of Innocence and Experience (1794) to which the given above poems belong, juxtapose the innocent, pastoral world of childhood against an adult world of corruption and repression. The collection as a whole explores the value and limitations of two different perspectives on the world. Many of the poems fall into pairs, so that the same situation or problem is seen through the lens of innocence first and then experience. Blake does not identify himself wholly with either view; most of the poems are dramatic-that is, in the voice of a speaker other than the poet himself. Blake stands outside innocence and experience, in a distanced position from which he hopes to be able to recognize and correct the fallacies of both. - “Without contrariety is no progression” (W.Blake) - “Therefore God becomes as we are, that we may be as He is.” ( W.Blake) - “The wrath of the lion is the wisdom of God”. “The roaring of lions, the howling of wolves, the raging of the stormy sea, and the destructive sword, are portions of eternity, too great for the eye of man” (W.Blake) - forests of the night: earthy being in terms of Dante ( Inferno) and Milton. - seize the fire: a reference to the myh of Prometheus. - Stars: angels, fighting in the original war in heaven, when the Devil was cast out. - Stars: in the creation story in “Job” the stars sing foe joy at creation. - Stars: in Blake’s later books the stars represent cold reason and objective science. - twist the sinews: Blake’s story of creation differs from the Genesis account. The familiar world was created only after a cosmic catastrophe. When the life of the spirit was reduced to a sea of atoms, The Creator set a limit below which it could not deteriorate father, and began creating the world of nature. The longer books that Blake wrote describe Los’s creation (in Blake’s mythology Los is the everlasting prophet, the embodiment of the Creative Genius) of animals and people within the wrld of nature. One particularly powerful passage in Milton describes Los’s family weaving the bodies of each unborn child. - Blake considered our own world to be a fine and wonderful place, but one, which would ultimately give way to a restored universe. - In all Blake’s Songs there is a deep awareness that bitterness, separation, negation are hellish things. Law and love rightly understood are not opposities but two different sides of matuity, both spring from an experience of mutuality inside a universe ruled over by God. Questions 1) Think over the symbols of Lamb and Tyger. What can you discern from these poems about Blake's views on religion? How does Blake portray nature? How does the conception of nature differ in the Songs of Innocence and the Songs of Experience?

2) Consider both poems as for syntactic structure, use of repetition, metre and rythm and pragmatics are concerned. Discuss Blake's use of simple sentence structures and diction in these poems. What is the overall effect of this stylistic decision? What keeps the poems themselves from being simple? Which of the poems do you find more static? Why? 3) Find the lines, which refer to the blacksmith or the maker. The question of creation lies at the core of the poem. Can you define the Christian feelings towards the concept of Creation? 4) Does Blake identify God’s creative process with the work of an artist? Is the hammering meter beat suggestive of the smithy that is the poem's central image? Think over the composition of the “Songs”. What is meant by fearful symmetry? 4) How do you interpret the anthropomorphic image of a proposed Maker presented in the poem? 6) Why does the last stanza repeat the first one with a slight change, and dare is substituted for could? What do you think is meant by dread? 7) Give as many interpretations to the Tyger/Lamb dichotomy as you can ( by the way, there exist more than six clearly different pairs) 8) Find translations of Tyger by V.Toporov, S.Marshak, K.Balmont. Consider the emphasis made in each case. Additional tasks 1) Think over the symbolism in Sunflower. Give your view on the key images of the poem. What is meant by “golden clime”? Find out possible allusions to Ovid’s Metamorphoses. Consider the use of the means, creating a sense of movement. What are your interpretations of the movement? Define the mood in the poem? Sunflower Ah, Sun-flower, weary of time, Who countest the steps of the Sun, Seeking after that sweet golden clime Where the traveller’s journey is done: Where the Youth pined away with desire, And the pale Virgin shrouded in snow Arise from their graves, and aspire Where my Sun-flower wishes to go. 2) What kind of vision is given through the crystal cabinet image? Find out what were Blake’s views concerning rational knowledge and science. Consider the composition in the poem. What do you think is the chief stylistic peculiarity? Can you distinguish structural and thematic allusions to any myth? Give explanation to threefold Smile and inmost Form in accordance with Blake’s conception of nature as Beulah, Generation and Ulro. The Crystal Cabinet The Maiden caught me in the Wild Where I was dancing merrily She put me into her Cabinet

And lockd me up with a golden Key This cabinet is formd of Gold And Pearl & Crystal shining bright And within it opens into a World And a little lovely Moony Night Another England there I saw Another London with its Tower Another Thames & other Hills And anther pleasant trembling fear O what a smile a threefold Smile Filld me that like a flame I burnd I bent to Kiss the lovely Maid And found a Threefold Kiss returned I strove to size the inmost Form With ardor fierce & hands of flame But burst the Crystal Cabinet And like a Weeping Babe became A weeping Babe upon the wild And Weeping Woman pale reclined And in the outward air again I filld with woes the passing Wind. 3) Enlist all imagery uses distinguished with a sort of a dialectic potential – think over the philosophic conception given by Blake. What are the chief means in rendering the effect of Inferno progression in the poem – if any? Mind the role of perception. Find all the translations of London and consider the interpretative emphasis made in each case. London I wander thro’ each charter’d street, Near where the charter’d Thanes does flow, And mark in every face I meet Marks of weakness, marks of woe.

How the Chimney-sweeper’s cry Every black’ning Church appalls; And the hapless Soldier’s sigh Runs in blood down Palace walls.

In every cry of every Man, In every Infant’s cry of fear, In every voice, in every ban. The mind-forg’d manacles I hear.

But most thro’ midnight streets I hear How the youthful Harlot’s curse Blasts the new born Infant’s tear, And blights with plagues the Marriage hearse.

4) Pick out those formal means which enable this poem to sound like a song. Pay special attention to rhyme. Can you find any metaphors in the poem? Comment on your results. Find all affinities and correspondences employed. What mood do they create? Is there an antagonism between the children and the nurse? Consider the meaning of free play in poems by Blake, especially in his “Songs of Innocence and Experience”

The Nurse’s Song When the voices of children are heard on the green And laughing is heard on the hill, My heart is at rest within my breast And every thing else is still Then come home my children, the sun is gone down And the dews of night arise Come come leave off play, and let us away Till the morning appears in the skies No no let us play, for it is yet day And we cannot go to sleep Besides in the sky, the little birds fly And the hills are all cover'd with sheep Well well go & play till the light fades away And then go home to bed The little ones leaped & shouted & laugh'd And all the hills ecchoed. William Wordsworth (1770 - 1850) William Wordsworth grew up in a rustic society and spent a great deal of his time playing in a pure communion with nature. Much later Wordsworth believed that, upon being born, human beings move from a perfect, idealized realm into the imperfect world. Some memory of the former purity in which they lived remains, best perceived in the solemn and joyous relationship of the child to the beauties of nature. But as the memory fades the magic of nature dies. Still, the memory of childhood can offer an important solace, which brings with it almost a kind of re-access to the lost purities of the past. Together with Coleridge Wordsworth began to work on a book called Lyrical Ballads, which represents a landmark moment for English poetry. Here, Wordsworth argues that poetry should be written in the natural language of common speech, rather than in the lofty and elaborate dictions that were then considered "poetic." He also argues that poetry should offer access to the emotions contained in memory. And he thinks pleasure to be the first principle of poetry. Besides, the chief duty of poetry is to provide pleasure through a rhythmic and beautiful expression of feeling as all human sympathy. He claims sympathy is based on a subtle pleasure principle that is "the naked and native dignity of man." The themes that run through Wordsworth's poetry and the language and imagery he uses to embody those themes remain remarkably consistent throughout the Wordsworth life. His images and metaphores mix natural scenery, religious symbolism and the relics of the poet's rustic childhood - cottages, hedgerows, orchards, and other places where humanity intersects gently and easily with nature. The most popular works by Wordsworth are The Prelude, The Solitary Reaper, ‘Strange fits of passion have I known’, Lines Composed a Few Miles above Tintern Abbey, ‘I wondered lonely as a cloud’ and Lucy’s poems.

I Wandered lonely as a cloud I wandered lonly as a cloud That floats on high o’er vales and hills, When all at once I saw a crowd, A host of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze. Continuous as the stars that shine And twinkle in the Milky Way, They stretched in never ending line Along the margin of the bay. Ten thousand saw I at a glance, Tossing their heads in sprightly dance. The waves beside them danced, but they Outdid the sparkling waves in glee: A poet could not but be gay In such a jocund company: I gazed –and gazed- but little thought What wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive mood They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills And dances with the daffodils. Notes and comments - It is a piece of autobiography, an actual episode, which Wordsworth recorded also in his diary. Wordsworth was staying with his sister in the Lake District. In her diary, she records a walk they took, during which they saw the famous daffodils: "[April] 15th, Thursday. [...] When we were in the woods beyond Gowbarrow park we saw a few daffodils close to the water-side. We fancied that the lake had floated the seeds ashore, and that the little colony had so sprung up. But as we went along there were more and yet more; and at last, under the boughs of the trees, we saw that there was a long belt of them along the shore, about the breadth of a country turnpike road. I never saw daffodils so beautiful. They grew among the mossy stones about and about them; some rested their heads upon these stones as on a pillow for weariness; and the rest tossed and reeled and danced, and seemed as if they verily laughed with the wind, that blew upon them over the lake; they looked so gay, ever glancing, ever changing. The wind blew directly over the lake to them. There was here and there a little knot, and a few stragglers a few yards higher up; but they were so few as not to disturb the simplicity, unity, and the life of that one busy highway." - In his Preface to the Lyrical Ballads Wordsworth repeatedly declared that good poetry is “the spontaneous overflow of powerful feelings.” He carefully qualified this doctrine by describing his poetry as “emotion recollected in tranquility”.

Questions 1) Is the poem a kind of a narrative written out in a logical progression? Is there any change in mood? If any- how is it expressed? 2) Find out the peculiar use of metaphors in the poem. Can you define the chief uniting metaphor? Give its philosophical meaning in accordance with Wordsworth’s views. 3) What is considered as a revelation for the poet? What idea do the echoes and repetitions or similar words 'a crowd ... a host', 'beside the lake ... beneath the trees', 'fluttering and dancing' suggest? What precisely is meant by “inward eye” (21)? How does Wordsworth achieve the seemingly effortless effect of implying the unity of his consciousness with nature? 4) Can you see special poetic functions in the rhyming scheme? Can you give an explanation to interesting contrasts in the diction at the end of the poem? Additional tasks 1) This little poem, parts of a sequence of short lyrics concerning the death of the speaker's beloved Lucy, actually show extraordinary sophistication and mastery of technique. The sophistication lies in the poet's grasp of human feeling, chronicling a sort of inexplicable, half-fearful, morbid fantasy that strikes everyone from time to time but that, before Wordsworth, was not a subject poetry could easily incorporate. What do you know about the ballad genre. Define the ballad form of the poem. How does Wordsworth build suspense? Mind all signs of sensitiveness. “Strange fits of passion have I known” Strange fits of passion have I known: And I will dare to tell, But in the Lover’s ear alone, What once to me befell.

In one of those sweet dreams I slept, Kind Nature’s gentlest boon! And all the while my eyes I kept On the descending moon.

When she I loved looked every day Fresh as a rose in June, I to her cottage bent my way, Beneath an evening moon.

My horse moved on; hoof after hoof He raised, and never stopped: When down behind the cottage roof, At once, the bright moon dropped.

Upon the moon I fixed my eye, All over the wide lea; With quickening pace my horse drew nigh Those path so dear to me.

What fond and wayward thoughts will slide Into a Lover’s head! “O mercy!” to myself I cried, “If Lucy should be dead!”

And now we reached the orchard-plot; And, as we climbed the hill, The sinking moon to Lucy’s cot Came near, and nearer still. Famous “A Slumber did my spirit seal…” is now a well-worn example for serious discussions. Read the poem and chose your position as for its mood. Give your proofs. A slumber did my spirit seal, I had no human fears: She seemed a thing that could not feel

The touch of earthly years. No motion has she now, no force; She neither hears nor sees, Rolled round in earth’s diurnal course With rocks and stones and trees! - [The poet] attempts to suggest something of the lover’s agonized shock at the loved one’s present lack of motion – of his response to her utter and horrid inertness…. Part of the effect, of course, resides in the fact that a dead lifelessness is suggested more sharply by an object’s being whirled about by something else than by an image of the object in repose … [She] is caught up helplessly into the empty whirl of the earth which measures and makes time. She is touched and held by earthly time in its most powerful and horrible image. (Cleanth Brooks) -

The final impression the poet leaves is not of two contrasting moods, but of a single mood mounting to a climax in the pantheistic magnificence of last two lines … Luce is actually more alive now that she is dead, because she is now part of the life of Nature, and not just a human ‘thing’ ( F.W.Bateson)

2) The sonnet ‘The World is Too Much with Us; Late and Soon’ can be interpreted simply as a visual image of the sea as a great breast, try to give another suggestions for the symbol of Sea. Why are Proteus and Triton mentioned in the poem? The world is too much with us; late and soon Getting and spending, we lay waste our powers: Little we see in Nature that is ours; We have given our hearts away, a sordid boon! The Sea that bares her bosom to the moon; The winds that will be howling at all hours, And are up-gathered now like sleeping flowers; For this, for everything, we are out of tune; It moves us not. - Great God! I’d rather be A Pagan suckled in a creed outworn; So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn; Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathed horn.

S.T.Coleridge (1772 - 1834) Coleridge's place in the canon of English poetry rests on a comparatively small body of achievement: a few poems from the late 1790s and early 1800s and his participation in the revolutionary publication of Lyrical Ballads. If Wordsworth represents the central pillar of early Romanticism, Coleridge is nevertheless an important structural support. Insofar as Wordsworth was the poet of nature, the purity of childhood, and memory, Coleridge became the poet of imagination, exploring the relationships between nature and the mind as it exists as a separate entity. Poems such as "The Rime of the Ancient Mariner" and "Kubla Khan" demonstrate Coleridge's talent for concocting bizarre, unsettling stories full of fantastic imagery and magic; in poems such as "Frost at Midnight" and "Dejection: An Ode," he muses explicitly on the nature of the mind as it interacts with the creative source of nature. Unlike Wordsworth Coleridge maintains not only an emotional intensity but also a legitimate intellectual presence throughout his oeuvre and applies constant philosophical pressure to his ideas. Like Wordsworth, Coleridge is wholly convinced of the beauty and desirability of the individual's connection with nature. Unlike Wordsworth, however, Coleridge does not seem to believe that the child automatically enjoys this privileged connection. The child's unity with the natural world is not innate; it is fragile and can be stunted or destroyed; for example, if a child grows up in the city, as Coleridge did, his idea of natural loveliness will be quite limited. Many of Coleridge's poems,including "Frost at Midnight," "The Nightingale," and "Dejection: An Ode", achieve their effect through the evocation of a dramatic scene in which the speaker himself is situated. The natural objects that the speaker describes prompt his thoughts in other directions. Coleridge maintains his scenes' sense of immediacy by having his speakers be interrupted or startled by something happening around them. This technique serves to wrench the reader back from the speaker's abstract thoughts to the living, physical world of the poem. The startling or disruptive elements often take the form of sounds. Coleridge's poems often favor musical effects over the plainness of common speech. Coleridge composed many of his important non-fiction works, including the highly regarded Biographia Literaria. Frost at Midnight The Frost performs its secret ministry, Unhelped by any wind. The owlet’s cry Came laud – and hark, again! Loud as before. The inmates of my cottage, all at rest, Have left me to that solitude, which suits Abstruser musings, save that at my side My cradled infant slumbers peacefully. “Tis calm indeed! So calm, that it disturbs And vexes meditation with its strange And extreme silentness. Sea, hill, and wood, This populous village! Sea, and hill, and wood, With all the numberless goings-on of life, Inaudible as dreams! The thin blue flame Lies on my low-burnt fire, and quivers not; Only that film, which fluttered on the grate, Still flutters there, the sole unquiet thing. Methinks, its motion in this hush of nature

Gives it dim sympathies with me who live, Making it a companionable form, Whose puny flaps and freaks the idling Spirit By its own moods interprets, every where Echo or mirror seeking of itself, And makes a toy of Thought. But O! How oft, How oft, at school, with most believing mind, Presageful, have I gazed upon the bars, To watch that fluttering stranger! And as oft With unclosed lids, already had dreamt Of my sweet birth-place, and the old church-tower, Whose bells, the poor man’s only music, rang From morn to evening, all the hot Fair-day, So sweetly, that they stirred and haunted me With a wild pleasure, falling on mine ear Most like articulate sounds of things to come! So gazed I, till the soothing things, I dreamt, Lulled me to sleep, and sleep prolonged my dreams! And so I brooded all the following morn, Awed by the stern preceptor’s face, mine eye Fixed with mock study on my swimming book: Save if the door half opened, and I snatched A hasty glance, and still my heart leaped up, For still I hoped to see the stranger’s face, Townsman, or aunt, or sister more beloved, My play-mate when we both were clothed alike! Dear Babe, that sleepest cradled by my side, Whose gentle breathings, heard in this deep calm, Fill up the interspersed vacancies And momentary pauses of the thought! My babe so beautiful! It thrills my heart With tender gladness, thus to look at thee, And think that thou shalt learn far other lore, And in far other scenes! For I was reared In the great city, pent ‘mid cloisters dim, And saw nought lovely but the sky and stars. But thou, my babe! shalt wander like a breeze By lakes and sandy shores, beneath the crags Of ancient mountain, and beneath the clouds, Which image in their bulk both lakes and shores And mountain crags: so shalt thou see and hear The lovely shapes and sounds intelligible Of that eternal language, which thy God Utters, who from eternity doth teach Himself in all, and all things in himself. Great universal Teacher! He shell mould Thy spirit, and by giving make it ask.

Therefore all seasons shall be sweet to thee, Whether the summer clothe the general earth With greenness, or the redbreast sit and sing Betwixt the tufts of snow on the bare branch Of mossy apple-tree, while the nigh thatch Smokes in the sun-thaw; whether the eave-drops fall Heard only in the trances of the blast, Or if the secret ministry of frost Shall hang tham up in silent icicles, Quietly shining to the quiet Moon. Notes and comments - My cradled infant: Hartley, Coleridge’s son, born in 1797. - That film: in his notes to the poem Coleridge wrote that according to popular belief “film” is considered to be a presage of coming friend. - In connection with this poem biographers point out the importance of Coleridge’s reminiscences of lonely boyhood at Christ’s Hospital where he spent considerable time. - “ … I have not only completely extricated the notions of Time and Space; but have overthrown the doctrine of Association… I am about to do more – namely, that I shall be able to evolve all the five senses, that is, to deduce them from one sense, and to state their growth, & the cause of their differences - & in this envolvement to solve the process of life & Consciousness “ (T.S.Coleridge) - “… my opinion will be best explained by a rapid exemplification in the processes of Nature, from the first rudiments of individualizes life in the lowest classes of its two great poles, the vegetable and animal creation, to its crown and consummation in the human body; thus illustrating at once the unceasing polarity of life, as the form of its process, and its tendency to progressive individuation as the law of its direction.( T.S.Coleridge) - “… the power that enables the human being finitely to ‘express the unity of the infinite spirit by … a total act of the soul’ is not also a total act of imagination – ‘a repetition in the finite mind of the eternal act of creation’… union with the God… “ ( S.T.Coleridge) - “…In looking at objects of Nature while I am thinking, as at yonder moon dimglimmering thro’the dewy window-pane, I seem rather to be seeking, as it were asking, a symbolical language for something within me that already and forever exists… ‘ (T.Coleridge) Questions: 1) What do you think is the subject of consideration in this poem? Is it a piece of meditative lyric? What is meant by a “conversation poem”? 2) Find out various poetic means of representation of perceptions. 3) Can you find any signs of dialectics from spontaneous feelings and sensations to philosophical meditations? Are there any changes in mood? 4) Consider images and symbols and their role for the theme of complete philosophical grasp of being. What does the infant image mean? 5) Consider the composition of the work. What are its functions? Give your reasons as for the function of time-and-space dimensions in the poem. If you can find the climax, what does it mean to you? 6) Find out peculiarities in the formal structure of the poem. "Frost at Midnight" is written in blank verse; do you know what are its main features?

John Keats (1795-1821) In his short life, John Keats wrote some of the most beautiful and enduring poems in the English language. Among his greatest achievements is his sequence of six lyric odes, written between March and September 1819, when Keats was only twenty-four years old. Keats's poetic achievement is made all the more miraculous by the age at which it ended: he died barely a year after finishing the ode "To Autumn," in February 1821. Keats never achieved widespread recognition for his work in his own life (his bitter request for his tombstone: "Here lies one whose name was writ on water"), but he was sustained by a deep inner confidence in his own ability. Many of the ideas and themes evident in Keats' great odes are quintessentially Romantic concerns: the beauty of nature, the relation between imagination and creativity, the response of the passions to beauty and suffering, and the transience of human life in time. The sumptuous sensory language in which the odes are written, their idealistic concern for beauty and truth, and their expressive agony in the face of death are all Romantic preoccupations. Though at the same time, the intelligibility of language and the meaningfulness of sensory experience make them uniquely Keats'. Two of the leading motifs that appear throughout his poetry are connected: the passion for pure nature-painting, and the love for Hellenic myths, treated, not as the Greeks themselves treated them, but with a lavish descriptiveness which belongs to the English Renaissance movement with a strong tinge of Romantic paradoxal and self-contradicting ideas. Greatly influenced by Spenser and Milton, Keats was seeking for Beauty and Truth in Antique Art by rejection of romantic self-centered consciousness and applying to poetic vision of self in Nature - listening to harmonies of “the wide spheres”. Besides his famous Odes (Ode to A Nightingale, Ode on a Grecian Urn, Ode to Psyche and others), Keats is best remembered for his Endimion, a highly imaginative epic poem, Isabella, Lamia, The Eve of St.Agnes, and a number of ingenious sonnets. To Autumn Season of mists and mellow fruitfulness, Close bosom-friend of the maturing sun; Conspiring with him how to load and bless With fruit the vines that round the thatch-eves run; To bend with apples the moss’d cottage-trees, And fill all fruit with ripeness to the core; To swell the gourd, and plump the hazel shells With a sweet kernel; to set budding more, And still more, later flowers for the bees, Until they think warm days will never cease, For Summer has o’er-brimm’d their clammy cells. Who hath not seen thee oft amid thy store? Sometimes whoever seeks abroad may find Thee sitting careless on a granary floor, Thy hair soft-lifted by the winnowing wind; Or on a half-reap’d furrow sound asleep, Drows’d with the fume of poppies, while thy hook

Spares the next swath and all its twined flowers: And sometimes like a gleaner thou dost keep Steady thy laden head across a brook; Or by a cyder-press, with patient look. Where are the songs of Spring? Ay, where are they? Think not of them, thou hast thy music too,While barred clouds bloom the soft-dying day, And touch the stubble –plains with rosy hue; Then in a wailful choir the small gnats mourn Among the river sallows, borne aloft Or sinking as the light wind lives or dies; And full-grown lambs loud bleat from hilly bourn; Hedge-crickets sing; and now with treble soft The red-breast whistles from a garden-croft; And gathering swallows twitter in the skies. Notes and comments -

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The tradition within which the poem is written could be traced back to Vergil’s pastorals and Hesiod’s Work and Days was familiar to Keats, well read in antique literature. If, in the vulgar sense, not Greek, essentially it is more so than Hyperion: it is such as a Theocritus might have longed to write. “My solitude is sublime—for, instead of what I have described, there is a sublimity to welcome me home; the roaring of the wind is my wife; and the stars through the windowpanes are my children; the mighty abstract Idea of Beauty in all things, I have, stifles the more divided and minute domestic happiness.... I feel more and more every day, as my imagination strengthens, that I do not live in this world alone, but in a thousand worlds. No sooner am I alone, than shapes of epic greatness are stationed around me, and serve my spirit the office which is equivalent to a King’s Body-guard: “then Tragedy with scepter’d pall comes sweeping by:” according to my state of mind, I am with Achilles shouting in the trenches, or with Theocritus in the vales of Sicily; or throw my whole being into Troilus, and, repeating those lines, “I wander like a lost soul upon the Stygian bank, staying for waftage,” I melt into the air with a voluptuousness so delicate, that I am content to be alone.” (John Keats) “How astonishingly does the chance of leaving the world impress a sense of its natural beauties upon me! Like poor Falstaff, though I do not “babble,” I think of green fields; I muse with the greatest affection on every flower I have known from my infancy—their shapes and colours are as new to me as if I had just created them with a superhuman fancy. It is because they are connected with the most thoughtless and the happiest moments of our lives. I have seen foreign flowers in hothouses, of the most beautiful nature, but I do not care a straw for them. The simple flowers of our Spring are what I want to see again.” (John Keats) Keats' letters show that he certainly believed the poet possessed "negative capability," the self-nullifying power to enter other things and speak as and for them. “When I was a Schoolboy I thought a fair Woman, a pure Goddess, my mind was a soft nest in which some one of them slept, though she knew it not” (John Keats)

Questions 1) What is the mood of the poem? Do you find the tone ambiguous? Is there any sense of termination? 2) What are your interpretations of completeness, abundance, surplusage in the first and the second stanzas? 3) Is the picture dynamic? How does the mode of speech change? What could be said of mood and activity on the levels of sound, vocabulary and syntax? Does the agency pass as well? 4) Find out the use of progression. Do you find dialectic ambivalence? Consider the use of pastoral motifs in the poem. Pay special attention to the notion of time in pastoral. Do you find antic references in the poem? How do you interpret mists, conspiring and bless? What are the means and aims of creating the sense of conferring? 5) In "To Autumn," the speaker's experience of beauty refers back to earlier odes (the swallows recall the nightingale; the fruit recalls joy's grape; the goddess drowsing among the poppies recalls Psyche and Cupid lying in the grass), but it also recalls a wealth of earlier poems. Most importantly, the image of Autumn winnowing and harvesting (in a sequence of odes often explicitly about creativity) recalls an earlier Keats poem in which the activity of harvesting is an explicit metaphor for artistic creation. Consider the following leitmotifs in Keat’s poetry: sleep, dream, music, poppies, ripeness, Pan, Appollo, spring, bees, grasshopper. What are they usually associated with? (Take for comparison Sleep and Poetry, To Kosciusko, On the Grasshopper and Cricket, Why did I laugh tonight..?, To Sleep, Ode to Psyche and others.) 6) The Odes by Keats contain some of the most beautiful sensory language in all English poetry. But many of the odes intentionally limit the senses they inhabit. In “To Nightingale" sight is suppressed and in "Grecian Urn" Keats suppresses every sense but sight. What is the order of senses succession in “To Autumn”– if there is any? What is the role of musical effects in the poem – try to give them both a formal and a philosophical explanation. 7) Think of the means of final coherence in the poem. Is the fragmented picture harmonized? How? 8) If it is a projection of poet’s soul, what does the poem say? 9) Compare traditional translations by Marshak and Pasternak. Additional tasks 1) Compare Keats’ “To Autumn” with “Autumn” by John Clare, a popular romantic nature poet. Do you think that one of these poems is more successful than the other? Explain your judgment. Autumn The thistledown’s flying, though the winds are all still On the green grass now lying, now mounting the hill. The spring from the fountain now boils like a pot Through stones past the counting it bubbles red-pot. The ground parched and cracked is like overbaked bread,

The greensward all wrecked is bents dried up and dead. The Fallow fields glitter like water indeed, And gossamers twitter flung from weed unto weed. Hill-tops like hot iron glitter hot i’the sun, And the rivers we’re eyeing burn to gold as they run. Burning hot is the ground, liquid gold is the air: Whoever looks round sees Eyernity there. 2) Consider the peculiar use of imagery in the sonnet “When I have fears…” What is the chief theme in it? Find out masterful use of formal means in the poem. Discuss the article: Сухарев-Мурышкин С.Л. Стихотворный перевод и тип целостной организации лирического произведения. Стихотворение М.Ю.Лермонтова «Когда волнуется желтеющая нива….» и сонет Джон Китса «When I have fears…”. В кн.: Художественное целое как предмет типологического анализа. Кемерово, 1981, с.122132. When I have fears that I may sease to be Before my pen has gleaned my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full-ripened grain; When I behold, upon the night’s starred face, Huge cloudy symbols of a high romance, And think that I may never live a trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour! That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love! – then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

Percy Bysshe Shelley (1792-1822)

The central thematic concerns of Shelley's poetry are largely the same themes that defined Romanticism, especially among the younger English poets of Shelley's era: beauty, the passions, nature, political liberty, creativity, and the sanctity of the imagination. What makes Shelley's treatment of these themes unique is his temperament, which was extraordinarily sensitive and responsive even for a Romantic poet, and which possessed an extraordinary capacity for joy, love, and hope. Shelley was able to believe that poetry makes people and society better; his poetry is suffused with this kind of inspired moral optimism, which he hoped would affect his readers sensuously, spiritually, and morally, all at the same time. Shelley's intense feelings about beauty and expression are documented in poems such as "Ode to the West Wind" and "To a Skylark," in which he invokes metaphors from nature to characterize his relationship to his art. The center of his aesthetic philosophy can be found in his important essay A Defence of Poetry, in which he argues that poetry brings about

moral good. Poetry, Shelley argues, exercises and expands the imagination, and the imagination is the source of sympathy, compassion, and love, which rest on the ability to project oneself into the position of another person.

Ozymandias I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert… Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed: And on the pedestal these words appear: “My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!” Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away. Notes and comments -

The Oxford Companion to English Literature tells us that “the Ramesseum (of RamesesII) at Thebes is called by Diodorus Siculus (i.47 et seq.) the tomb of Ozymandias”. The Encyclopedia Britannica (11th ed.) says that in Rameses 67 years of reign he “filled all Egypt and Nubia with his own monuments” and that the “excavation of the rock temple of Abu Simbel and the completion of the great hall of Karnak were his greatest achievements.” In the delta at the mouth of the Nile, a colossus of the king placed here was over 90ft. In height, exceeding in scale even the greatest of the Theban colossi which he had erected in his mortuary temple of the Ramesseum”

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Diodorus, the Sicilian Greek historian saw another statue in the first century B.C., when it was still intact. Upon it there is this inscription: “I am Osymandyas, king of kings; if any whould know how great I am, and where I lie, let him excel me in any of my works. This translation of the epitaph had first appeared in 1700 and had been quoted frequently enough six years before Shelley’s poem

Questions 1) What is the form of the poem? Is the poet a lover of meter and sounds, and in what way? 2) Paraphrase the following lines by writing your own prose translation: “ …whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed:”

Decide what exactly is meant by Shelley? Give the archaic meaning for “mocked”. 3) What is the central metaphor? Could you define the conflict if there is any? What are the means of delivering the idea? Could you define the peculiarity of images in the poem? 4) Is it of any significance that it is a traveller’s story? What does the framing mean? 5) What is the role of imagination? What are its proposed subjects? 6) Could you find any play with the word “colossal”? 7) Give your pros et contras to the Russian translation by V.Mikushevitch: Рассказывал мне странник, что в пустыне, В песках, две каменных ноги стоят Без туловища с давних пор поныне. У ног – разбитый лик, чей властный взгляд Исполнен столь насмешливой гордыни, Что можно восхититься мастерством, Которое в таких сердцах читало, Запечатлев живое в неживом. И письмена взывают с пьедестала: «Я Озимандия. Я царь царей. Моей державе в мире места мало. Все рушится. Нет ничего быстрей Песков, которым словно не пристало Вокруг развалин медлить в беге дней» Additional tasks 1) Give your reasons for the best Russian translation of Shelley’s “To –“ among pieces given by K.Balmont, B. Pasternak, Vl.Kornilov, A.Spal, A.Sharapova, A.Gribanov, S.Gandlevsky, O.Denisova. («Иностранная литература», 1993, №1) 2) Discuss the vague and imprecise sense in Shelley’s “Music, when soft voices die” What does “thy thoughts” mean? To what or whom does “love” refer? Is Love slumbering on “the Thoughts”? If so, what does this mean? Is there any actual connection between “bed” (6) and “slumber (8)? Could you find any musical effects? Music, when soft voices die, Vibrates in the memory – Odours, when sweet violets sicken, Live within the sense they quicken. Rose leaves, when the rose is dead, Are heaped for the beloved’s bed; And so thy thoughts, when thou are gone, Love itself shell slumber on.

Alfred Tennyson (1806- 1892) Tennyson was the most popular poet in England in his own day, he was often the target of mockery by his immediate successors, the Edwardians and Georgians of the early twentieth century. Today, however, many critics consider Tennyson to be the greatest poet of the Victorian Age. He stands as one of the major innovators of lyric and metrical form in all of English poetry. As a child, Tennyson was influenced by the poetry of Byron and Scott, and his earliest poems reflect the lyric intensity and meditative expressiveness of his Romantic forebears. These early poems demonstrate his ability to link external scenery to interior states of mind. Tennyson first began to achieve critical success with the publication of his Poems in 1842, a work that included short lyrics about mythical and philosophical subjects. His later poetry primarily followed a narrative rather than lyrical style. As the novel began to emerge as the most popular literary form, poets began searching for new ways of telling stories in verse. For example, in Tennyson's poem "Maud," a speaker tells his story in a sequence of short lyrics in varying meters. Tennyson described the work as an experimental "monodrama." His later verses were not only concerned with dramatic fiction, they also examined current national political drama. As Poet Laureate, Tennyson represented the literary voice of the nation. Tennyson also attends frequently to the past, and historical events. And the poems within Idylls of the King take place in medieval England and capture a world of knights in shining a rmor and their damsels in distress. In addition to treating the history of his nation, Tennyson also explores the mythological past. Tennyson's personal past, too, figures prominently in his work. The sudden death of his closest friend Arthur Henry Hallam when Tennyson was just 24 dealt a great emotional blow to the young poet, who spent the next ten years writing over a hundred poems dedicated to his departed friend, later collected and published as In Memoriam in 1850. His tremendous grief permeated much of Tennyson's poetry. This poem represents the poet's struggles not only with the news of his best friend's death, but also with the new developments in astronomy, biology, and geology that were diminishing man's stature on the scale of evolutionary time; although Origin of Species did not appear until 1859, notions of evolution were already in circulation, articulated in Charles Lyell's Principles of Geology (1830-33) and Robert Chambers's Vestiges of the Natural History of Creation (1844). Although Tennyson associated evolution with progress, he also worried that the notion seemed to contradict the Biblical story of creation and long-held assumptions about man's place in the world. Nevertheless, he concludes that God's eternal plan includes purposive biological development; thus he reassures his Victorian readers that the new science does not mean the end of the old faith. Tennyson's poetic output covers a breadth difficult to comprehend in a single system of thematics: his various works treat issues of political and historical concern, as well as scientific matters, classical mythology, and deeply personal thoughts and feelings. Tennyson is both a poet of penetrating introspection and a poet of the people; he plumbs the depths of his own consciousness while also giving voice to the national consciousness of Victorian society.

Ulysses It little profits that an idle king, By this still hearth, among these barren crags, Match’d with an aged wife, I mete and dole Unequal laws unto a savage race, That hoard, and sleep, and feed, and know not me. I cannot rest from travel: I will drink Life to the lees: all times I have enjoy’d Greatly, have suffer’d greatly, both with those That loved me, and alone; on shore, and when Thro’scudding drifts the rainy Hyades Vext the dim sea: I am become a name; For always roaming with a hungry heart. Much have I seen and known; cities of men And manners, climates, councils, governments, Myself not least, but honour’d of them all; And drunk delight of battle with my peers, Far on the ringing plains of windy Troy. I am a part of all that I have met; Yet all experience is an arch wherethro’ Gleams that untravell’d world, whose margin fades For ever and for ever when I move. How dull it is to pause, to make an end, To rust unburnish’d, not to shine in use! As tho’to breathe were life. Life piled on life Were all too little, and of one to me Little remains: but every hour is saved From that eternal silence, something more, A bringer of new things; and vile it were For some three suns to store and hoard myself, And this gray spirit yearning in desire To follow knowledge like a sinking star, Beyond the utmost bound of human thought. This is my son, mine own Telemachus, To whom I leave the sceptre and the isleWell-loved of me, discerning to fulfil This labour, by slow prudence to make mild A rugged people, and thro’ soft degrees Subdue them to the useful and the good. Most blameless is he, centred in the sphere Of common duties, decent not to fail In offices of tenderness, and pay Meet adoration to my household gods, When I am gone. He works his work, I mine. There lies the port; the vessel puffs, her sail: There gloom the dark broad seas. My mariners, Souls that have toil’d, and wrought, and thought with meThat ever with a frolic welcome took The thunder and the sunshine, and opposed

Free hearts, free foreheads – you and I are old; Old age hath yet his honour and his toil; Death closes all: but something ere the end, Some work of noble note, may yet be done, Not unbecoming men that strove with Gods. The lights begin to twinkle from the rocks: The long day wanes: the slow moon climbs: the deep Moans round with many voices. Come, my friends, ‘Tis not too late to seek a newer world. Push off, and sitting well in order smite The sounding furrows; for my purpose holds To sail beyond the sunset, and the baths Of all the western stars, until I die. It may be that the gulfs will wash us down: It may be we shall touch the Happy Isles, And see the great Achilles, whom we knew. Tho’ much is taken, much abides; and tho’ We are not now that strength which in old days Moved earth and heaven; that which we are, we are; One equal temper of heroic hearts, Made weak by time and fate, but strong in will To strive, to seek, to find, and not to yield. Notes and comments - In this poem, written in 1833 and revised for publication in 1842, Tennyson reworks the figure of Ulysses by drawing on the ancient hero of Homer's Odyssey and the medieval hero of Dante's Inferno. Homer's Ulysses, as described in Scroll XI of the Odyssey, learns from a prophecy that he will take a final sea voyage after killing the suitors of his wife Penelope. The details of this sea voyage are described by Dante in Canto XXVI of the Inferno: Ulysses finds himself restless in Ithaca and driven by "the longing I had to gain experience of the world." Dante's Ulysses is a tragic figure who dies while sailing too far in an insatiable thirst for knowledge. Tennyson combines these two accounts by having Ulysses make his speech shortly after returning to Ithaca and resuming his administrative responsibilities, and shortly before embarking on his final voyage. -

This poem also concerns the poet's own personal journey, for it was composed in the first few weeks after Tennyson learned of the death of his dear college friend Arthur Henry Hallam in 1833. Like In Memoriam, then, this poem is also an elegy for a deeply cherished friend. Ulysses, who symbolizes the grieving poet, proclaims his resolution to push onward in spite of the awareness that "death closes all" (line 51). As Tennyson himself stated, the poem expresses his own "need of going forward and braving the struggle of life" after the loss of his beloved Hallam.

Questions 1) Who is Ulysses addressing, and on what accasion? Pay attention to the major themes in the speaker’s monologue. What are the main values for Ulysses? Do you think him to be a tragic or a heroic figue, and why? In what way is he self-conscious?

2) Consider the ways in which this poem reflects the Victorian attitudes on Morality, Religion, Imperialism, Social progress. Do you find the poem a piece of phylosophy, in what sense does it employ the mythological imagery? 3) Identify the objects in Ulysses that serve as symbols (for example, sea, port, etc.) 4) Ulysses is represented as a man driven by restlessness. In what sense was this restlessness seen as a blessing rather than as a curse? 5) What do you think were the main influences upon the poem? Do you find any romantic topoi? 6) How do you interpret "It may be we shall touch the Happy Isles, / And see the great Achilles, whom we knew" (63-64), 7) Consider Tennyson’s use of blank verse. Can you explain its poetic function in the poem? What is the enjambment for? 8) Can you enlist some uses of visual imagery? Find out cases of connotative language use. Consider the precise implication of: - Profits (1) - His honour and his toil (50) - barren (2) - men that strove with Gods (53) - aged (3) - a newer world (57) - Unequal (4) - my purpose holds (59) - Know not me (5) - Tho’much is taken, much abides (65) - Greatly … greatly (8) - old (66) - Become a name (11) - But (15) - One equal temper of heroic hearts, - Yet all experience is an arch Made weak by time and fate, but wherethro’/ Gleams that untravell’d string in will / To strive, to seek, to world, whose margin fades/ For ever find, and not to yield (68-70) and for ever when I move (19-21) - Life…life (24) - Vile (28) - Gray spirit (30) - Beyond the utmost bound (32) Additional tasks 1) Compare Tennison’s “Ulysses” with the well-known poem by Robert Graves (18951985). Greatly different, what do they have in common? “Ulysses” To the much-tossed Ulysses, never done With woman whether growned as wife or whore, Penelope and Circe seemed as one: She like a whore made his lewd fancies run, And wifely she a hero to him bore. Their counter-changings terrified his way: They were the clashing rocks, Symplegades, Scylla and Charybdis too were they; Now they were storms frosting the sea with spray And now the lotus island’s drunken ease.

They multiplied into the Sirens’ throng, Forewarned by fear of whom he stood bound fast Hand and foot helpless tp the vessel’s mast, Yet would not stop his ears: darling their song He groaned and sweated till that shore was past. One, two and many: flesh had made him blind, Flesh had one pleasure only in the act, Flesh set one purpose only in the mind – Triumph of flesh and afterwards to find Still those same terrors wherewith flesh was racked. His wiles were witty and his fame far known, Every king’s daughter sought him for her own, Yet he was nothing to be won or lost. All lands to him were Ithaca: love-tossed He loathed the fraud, yet would not bed alone. 2) Consider the meaning of the metaphors and the title in one of the late poems by Tennison Crossing the Bar. Does the rhyme scheme of the poem echo the stanzas' thematic patterning? Crossing the Bar Sunset and evening star And one clear call for me! And may there be no moaning of the bar, When I put out to sea, But such a tide as moving seems asleep, Too full for sound and foam, When that which drew from out the boundless deep Turns again home. Twilight and evening bell, And after that the dark! And may there be no sadness of farewell, When I embark; For though from out our bourne of Time and Place The flood may bear me far, I hope to see my Pilot face to face When I have crossed the bar. 3) Tennison “Mariana” had been put into the theme basis of The Pre-Raphaelite painter Millais’s “Mariana”. Do you think there are any poetic means, which the works share? Think about the motifs and details.

Robert Browning (1812-1889) Robert Browning began to write poetry while still quite young, influenced by Percy Bysshe Shelley, whose radicalism urged a rethinking of modern society. In 1841 Browning put out Pippa Passes, a loosely structured set of poems that draw from the sensationalism of modern media. This was followed by 1842's Dramatic Lyrics and 1845's Dramatic Romances and Lyrics. But the poet achieved true literary stardom with the publication of his verse novel The Ring and the Book, a historical tragedy based on a group of documents Browning had found at an Italian bookseller's. Browning had begun corresponding with the poet Elizabeth Barrett, the two poets married in secret and fled to Italy, where they lived until Elizabeth's death in 1861. During this time critics considered Elizabeth much the finer poet, but Robert Browning's subtle, detailoriented poems have proven attractive to modern critics, and he has now replaced his wife as the Browning of favor. Browning lived and wrote during a time of major social and intellectual upheaval, and his poems reflect this world. England was becoming increasingly urban, various new scientific theories rocked society - most notably Charles Darwin's theory of evolution. Mid- 19thcentury Britain experienced economic turmoil as well: wealth and consumption were on the rise at the same time that poverty soared, and the need to reconcile these two facts finds an analogue in the struggle to decide between material beauty-often manifested in luxurious furnishings, decorations, ornament, and clothing--and morality-in the form of a concern for the poor. Browning explores all of these issues in his poetry, even though he sets many of them in the Renaissance or other distant historical periods; this is part of his way of achieving relevance while never becoming moralistic or overly strident. Many of Browning's poems, which often feature painters and other artists, try to work out the proper relationship between art and morality. But Browning's genius lay not so much in his choice of subject matter or setting, but in his craftsmanship: the fascination of his poetry owes to his strong portrayal of characters and his wealth of detail.These concerns reflected Victorian society's new emphasis on empiricism, and pointed the way towards the kind of intellectual verse My Last Duchess That's my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now: Fra Pandolf's hands Worked busily a day, and there she stands. Will't please you sit and look at her? I said "Fra Pandolf" by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, 'twas not Her husband's presence only, called that spot Of joy into the Duchess' cheek: perhaps Fra Pandolf chanced to say "Her mantle laps Over my lady's wrist too much," or "Paint

Must never hope to reproduce the faint Half-flush that dies along her throat": such stuff Was courtesy, she thought, and cause enough For calling up that spot of joy. She had A heart---how shall I say?---too soon made glad, Too easily impressed; she liked whate'er She looked on, and her looks went everywhere. Sir, 'twas all one! My favour at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace---all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men,---good! but thanked Somehow---I know not how---as if she ranked My gift of a nine-hundred-years-old name With anybody's gift. Who'd stoop to blame This sort of trifling? Even had you skill In speech---(which I have not)---to make your will Quite clear to such an one, and say, "Just this Or that in you disgusts me; here you miss, Or there exceed the mark"---and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse, ---E'en then would be some stooping; and I choose Never to stoop. Oh sir, she smiled, no doubt, Whene'er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Will't please you rise? We'll meet The company below, then. I repeat, The Count your master's known munificence Is ample warrant that no just pretence Of mine for dowry will be disallowed; Though his fair daughter's self, as I avowed At starting, is my object. Nay, we'll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me! Notes and Comments -

The Duke, identified as "Ferrara" in the poem is negotiating for his next Duchess. Most likely, Browning intended Alfonso II (1533-1598), fifth duke of Ferrara, in northern Italy, from 1559 to 1597, and the last member of the Este family. He married his first wife, 14-year-old Lucrezia, a daughter of the Cosimo I de' Medici, in 1558 and three days later left her for a two-year period. She died, 17 years old, in what some thought suspicious circumstances. Alfonso contrived to meet his second to-be spouse, Barbara of Austria, in Innsbruck in July 1565. Nikolaus Mardruz, who took orders from Ferdinand

II, count of Tyrol, led Barbara's entourage. The emphasis in the title is on last, as the ending of the poem makes clear; the Duke is now negotiating for his next Duchess. Fra Pandolf (line 3) and Claus of Innsbruck (line 54) are artists of Browning's own invention. - When questioned, "Was she in fact shallow and easily and equally well pleased with any favour or did the Duke so describe her as a supercilious cover to real and well justified jealousy?" Browning answered: "As an excuse -- mainly to himself -- for taking revenge on one who had unwittingly wounded his absurdly pretentious vanity, by failing to recognise his superiority in even the most trifling matters" 25] My favour: a love-gift such as a ribbon. - I gave commands: when asked what this meant, Browning said first, "I meant that the commands were that she should be put to death," but then continued, with a characteristic dash of expression, and as if the thought had just started in his mind, Or he might have had her shut up in a convent" Questions 1) What is the primary aim of a dramatic monologue? Whom do you think the speaker is addressing and on what occasion? 2) What character does the speaker have? Do you think him a man of property? What makes you think so? Does "She" mean the Duchess or her painting? Is there any ambiguity in the first stanza? 3) Can we read the Duchess character upon her portrait? What are Ferrara feelings towards her? How do you interpret “the spot of joy”(21)? Why does he shift to the Duchess herself as his anger grows? Do you find this poem too melodramatic? Consider lines 2124 and 31-35. Do you think these help explain the speaker’s feeling – and if so, how? 4) Do you treat the allusion to Neptune, the sea-god, that is "Taming a sea-horse" (55), as connected with the chief theme? 5) Why is the Italian Renaissance is chosen for setting? Why does Browning choose the painter and the sculptor as the characters in his poem? Why does he not choose poets? 6) In this poem Browning develops an idiolect for Ferrara. In what way does Ferrara “betray” his obsessions? Consider the use of enjambment and end-stops? What sense do these means create? Do you agree that the disjunction between the rhyme form and content or the form and language suggests some of the conflict described in the poem? 7) Describe the relationship between morality and art in Browning's poetry. Does art have a moral component, or is it merely an aesthetic exercise? Additional tasks 1) According to a historical anecdote, this poem stems from an encounter Browning had with a person who had once met the poet Percy Bysshe Shelley (Shelley died quite young, when Browning himself was only ten). Browning reacted with awe when the man described his meeting with the famed poet, and the man is said to have laughed at him for this reaction. However the theme of the poem seems elusive. What are your points for the poem’s meaning? Consider the title. Memorabilia Ah, did you once see Shelley plain, And did he stop and speak to you?

I crossed a moor, with a name of its own And a certain use in the world no doubt,

And did you speak to him again? How strange it seems, and new! But you were living before that, And you are living after, And the memory I started at-My starting moves your laughter!

Yet a hand's-breadth of it shines alone 'Mid the blank miles round about: For there I picked up on the heather And there I put inside my breast A moulted feather, an eagle-feather-Well, I forget the rest.

2) Victorian reviewers and a number of modern critics critisized Browning’s “harshness”. As Oscar Wilde put it: “(Browning) wounds us by monstrous music”. But Browning is supposed to proceed farther to innovate lyric versification using his prosody as a method of compensation for irregular rhythm and phonetic dissonance. Consider the use of cacophony with special attention to: - metrical variation from an expected norm; - phonetic difficulty (including harsh clusters, harsh or discordant verse-sequences of phonemes and no assonance); - syntactic breaks or punctuation-pauses within the line. Do you find that one of the given poems sounds more pleasant? If so - do you have any explanation for it? Love in a Life Room after room, I hunt the house through We inhabit together. Heart, fear nothing, for, heart, thou shalt find her – Next time, herself! – not the trouble behind her Left in the curtain, the couch’s perfume! As she brushed it, the cornice-wreath blossomed anew: Yon looking-glass gleamed at the wave of her feather. Yet the day wears, And door succeeds door; I try the fresh fortune – Range the wide house from the wing to the centre. Still the same chance! She goes out as I enter. Spend my whole day in the quest, - who cares? But’t is twilight, you see, - with such suites to explore, Such closets to search, such alcoves to importune!

The Lost Mistress All’s over, then: does truth sound bitter As one at first believes? Hark, ‘tis the sparrows’ good-night twitter About your cottage eaves!

For each glance of the eye so bright and black, Though I keep with heart’s endeavour,Your voice, when you wish the snowdrops back Though it stay in my soul for ever!-

And the leaf-buds on the vine are woolly, I noticed that today; One day more bursts them open fully -You know the red turns grey.

Yet I will but say what mere friends say, Or only a thought stronger; I will hold your hand but as long as all may, Or so very little longer!

Tomorrow we meet the same then, dearest? May I take your hand in mine? Mere friends are we, -well, friends the merest Keep much that I resign:

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