English 103 Final

¡Supera tus tareas y exámenes ahora con Quizwiz!

When he finishes refection, Knife and fork he never lays Cross-wise, to my recollection, As do I, in Jesu's praise. I the Trinity illustrate, Drinking watered orange pulp-- In three sips the Arian frustrate; While he drains his at one gulp!

Robert Browning Soliloquy of the Spanish Cloister • doesn't engage in trivial acts of piety but is a truly pious person psychology: projecting his own inadequacies onto another monk doesn't want to deal with his own inferiority, tries to cut down the superior person instead

Best fight on well, for we taught him—strike gallantly, Menace our heart ere we master his own; Then let him receive the new knowledge and wait us, Pardoned in heaven, the first by the throne!

Robert Browning The Lost Leader • Wordsworth is the lost leader • Failure because he was so successful at being a poet and getting praise o Sell out • Became more conservative • Wasn't a radical anymore

Deeds will be done,—while he boasts his quiescence, Still bidding crouch whom the rest bade aspire: Blot out his name, then, record one lost soul more, One task more declined, one more footpath untrod, One more devils'-triumph and sorrow for angels, One wrong more to man, one more insult to God! Life's night begins: let him never come back to us!

Just for a handful of silver he left us, Just for a riband to stick in his coat— Found the one gift of which fortune bereft us, Lost all the others she lets us devote;

Shakespeare was of us, Milton was for us, Burns, Shelley, were with us,—they watch from their graves! He alone breaks from the van and the freemen, —He alone sinks to the rear and the slaves!

There would be doubt, hesitation and pain, Forced praise on our part—the glimmer of twilight, Never glad confident morning again!

They, with the gold to give, doled him out silver, So much was theirs who so little allowed: How all our copper had gone for his service! Rags—were they purple, his heart had been proud!

We shall march prospering,—not thro' his presence; Songs may inspirit us,—not from his lyre;

We that had loved him so, followed him, honoured him, Lived in his mild and magnificent eye, Learned his great language, caught his clear accents, Made him our pattern to live and to die!

• "But poets should Exert a double vision; should have eyes To see near things as comprehensively As if afar they took their point of sight, And distant things as intimately deep As if they touched them. Let us strive for this."

Elizabeth Browning Aurora Leigh • You can write a domestic poem that is an epic poem about a woman who wants to be a poet because, Wordsworth tried to do that himself, make the new epic in which the poet and the poet's mind and development is an epic struggle to create art

o "She had lived A sort of cage-bird life, born in a cage, Accounting that to leap from perch to perch Was act and joy enough for any bird. Dear heaven, how silly are the things that live In thickets and eat berries!"

Elizabeth Browning Aurora Leigh • caged bird doesn't even realize it's a restriction • why would you want to give up all of your nice things to go live in a hut on the beach with no appointments/pressures. In the cage sees outside cage as those who are missing out

I ask for love...for wifehood will she I am proved to weak to stand alone...on my shoulder...poor to think rich enough to sympathize...like him

Elizabeth Browning Aurora Leigh • difference between being a single woman and tied to a man • too weak to be strong on her own but strong enough to support the man and all of his burdens. If men are so strong why do they need the woman to prop them up? • If she can't think like a man, how is she still rich enough to sympathize with his thinking? Calling him out on all the contradictions. Condescending/self-serving nature of his beliefs

Are even lovers powerless to reveal o To one another what indeed they feel? o I knew the mass of men conceal'd o Their thoughts, for fear that if reveal'd o They would by other men be met o With blank indifference, or with blame reproved

Matthew Arnold The Buried Life o Even with the person you love, it doesn't happen • Fear itself of judgment promotes and continues this problem of alienation

• "Yes, yes, we know that we can jest, • We know, we know that we can smile! • But there's a something in this breast, • To which thy light words bring no rest, • And thy gay smiles no anodyne. • Give me thy hand, and hush awhile, • And turn those limpid eyes on mine, • And let me read there, love! thy inmost soul

Matthew Arnold The Buried Life o Idea that it's all about the connection o Life shouldn't be about isolation but with connection with everything

A longing to inquire • Into the mystery of this heart which beats • So wild, so deep in us —to know • Whence our lives come and where they go

Matthew Arnold The Buried Life o You are a mystery to yourself

But deep enough, alas! none ever mines

Matthew Arnold The Buried Life o You have to do the work of mining to get deep enough o Platonic influence: takes labor/labor of spirit to protect the soul

• "And that we should not see • The buried stream, and seem to be • Eddying at large in blind uncertainty, Though driving on with it eternally."

Matthew Arnold The Buried Life • Can't escape from it • Consequences of this alienation: longing for a deeper connection

• "A bolt is shot back somewhere in our breast, • And a lost pulse of feeling stirs again. • The eye sinks inward, and the heart lies plain, And what we mean, we say, and what we would, we know."

Matthew Arnold The Buried Life • In feeling/loving we can be true to some degree. Because we're not lost in some kind of fear

Only—but this is rare— o When a belovèd hand is laid in ours, o When, jaded with the rush and glare o Of the interminable hours, o Our eyes can in another's eyes read clear, o When our world-deafen'd ear Is by the tones of a loved voice caress'd—"

Matthew Arnold The Buried Life • Through senses

Fate, which foresaw o How frivolous a baby man would be— o By what distractions he would be possess'd, o How he would pour himself in every strife, o And well-nigh change his own identity— o That it might keep from his capricious play o His genuine self, and force him to obey o Even in his own despite his being's law, o Bade through the deep recesses of our breast o The unregarded river of our life Pursue with indiscernible flow its way;"

Matthew Arnold The Buried Life • Unregarded

But often, in the world's most crowded streets, • But often, in the din of strife, • There rises an unspeakable desire After the knowledge of our buried life;"

Matthew Arnold The Buried Life • Wordsworth ^^ a need that rises in us to find out what's really going on

• "A man becomes aware of his life's flow, • And hears its winding murmur; and he sees The meadows where it glides, the sun, the breeze."

Matthew Arnold The Buried Life • Wordsworth and murmer • Sense of the importance of connectedness expressed through imagery of beauty of the world • World that has not been altered by the human: outside the city o That represents peace • Not just out there, but also within us "stream within us and wild beating heart"

And a goblet for ourself, Rinsed like something sacrificial Ere 'tis fit to touch our chaps-- Marked with L. for our initial! (He-he! There his lily snaps!)"

Robert Browning Soliloquy of the Spanish Cloister • Always trying to find faults looking for signs of ego psychology: projecting his own inadequacies onto another monk doesn't want to deal with his own inferiority, tries to cut down the superior person instead

"If hate killed men, Brother Lawrence, God's blood, would not mine kill you!"

Robert Browning Soliloquy of the Spanish Cloister • Internal thoughts being expressed, not directed to a person o hates him vehemently psychology: projecting his own inadequacies onto another monk doesn't want to deal with his own inferiority, tries to cut down the superior person instead

• "Better thou wert dead before me, tho' I slew thee with my hand!"

Alfred Tennyson Locksley Hall emotional moment

He will hold thee, when his passion shall have spent its novel force, Something better than his dog, a little dearer than his horse"

Alfred Tennyson Locksley Hall o because he's a base person, you will be dragged down to his level. The finer things in you will be squashed

thou shalt lower to his level day by day, What is fine within thee growing coarse to sympathize with clay

Alfred Tennyson Locksley Hall o it may seem exciting in the beginning but it's going to fade. He wont love you as much

Weakness to be wroth with weakness! woman's pleasure, woman's pain— Nature made them blinder motions bounded in a shallower brain

Alfred Tennyson Locksley Hall • Woman is the lesser man, and all thy passions, match'd with mine, Are as moonlight unto sunlight, and as water unto wine" o Dominant attitudes of the time

• "There is no joy but calm!" Why should we only toil, the roof and crown of things?"

Alfred Tennyson The Lotus-Eaters allusion to Fairy Queen we are the superior life form, why should we be the ones to toil?

Dear is the memory of our wedded lives, And dear the last embraces of our wives And their warm tears: but all hath suffer'd change: For surely now our household hearths are cold, Our sons inherit us: our looks are strange: And we should come like ghosts to trouble joy."

Alfred Tennyson The Lotus-Eaters o They're tired o Remember their wives and children

I read a score of books on womanhood/ To prove, if women do not think at all,/ They may teach thinking...

Elizabeth Browning Aurora Leigh o sense of how aunt has an investment in the very ideas that have distorted her as a person o "angel of the household" reading women's conduct books • women's work is trivial all for the benefit of the man

Branches they bore of that enchanted stem, Laden with flower and fruit, whereof they gave To each, but whoso did receive of them, And taste, to him the gushing of the wave Far far away did seem to mourn and rave On alien shores; and if his fellow spake, His voice was thin, as voices from the grave; And deep-asleep he seem'd, yet all awake, And music in his ears his beating heart did make.

Alfred Tennyson The Lotus-Eaters • Like sedatives • Like opium/narcotic • Makes you feel detached/good/lazy • Threat of intense pleasure that becomes addictive

"Let what is broken so remain. The Gods are hard to reconcile: 'Tis hard to settle order once again. There is confusion worse than death, Trouble on trouble, pain on pain, Long labour unto aged breath, Sore task to hearts worn out by many wars And eyes grown dim with gazing on the pilot-stars."

Alfred Tennyson The Lotus-Eaters • They've been away for so long that they can't go back • Rationalization of staying on the island • It'd seem strange to go back, it would entail intense labor to actually put things in order o Death and life of a drug addict • Rejection of basic fact (Carlyle) you have to love the suffering too because the suffering is intrinsic to life

Hateful is the dark-blue sky, Vaulted o'er the dark-blue sea. Death is the end of life; ah, why Should life all labour be?"

Alfred Tennyson The Lotus-Eaters • why do you have to work so much? Why do you have to struggle?

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."

Alfred Tennyson Ulysses o Always something new to be discovered o Life is an adventure o Noble impulse

Yet all experience is an arch wherethrough Gleams that untravelled world, whose margin fades For ever and for ever when I move."

Alfred Tennyson Ulysses o Experience is like a portal to an escape of everyday life o Experience is constantly pushing that horizon back. Sitting where he is, the horizon remains the same

• "Tho' much is taken, much abides; and though 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."

Alfred Tennyson Ulysses o Message is: opposite of lotus eaters. Experience life as vibrantly as possible o Reject all these attempts to escape from it whatever it may be, even a comfortable routine, that's a cage

"I am become a name"

Alfred Tennyson Ulysses o a hero o a name that resounds through the centuries

"How dull it is to pause, to make an end, To rust unburnished, not to shine in use!"

Alfred Tennyson Ulysses o like a sword not being used for what he's designed to do o he's not designed to sit and rule, he's designed to go out and explore

a moment she kissed with cold lips...drew me feebly into the hall...some strange spasm of pain and passion...

Elizabeth Browning Aurora Leigh o tries to embrace her aunt and aunt crushes down feelings for her neice

o "Golden head by golden head, o Like two pigeons in one nest o Folded in each other's wings, o They lay down in their curtain'd bed: o Like two blossoms on one stem, o Like two flakes of new-fall'n snow, o Like two wands of ivory o Tipp'd with gold for awful kings."

o "Laura stretch'd her gleaming neck o Like a rush-imbedded swan, o Like a lily from the beck, o Like a moonlit poplar branch, o Like a vessel at the launch o When its last restraint is gone."

o "White and golden Lizzie stood, o Like a lily in a flood,— o Like a rock of blue-vein'd stone o Lash'd by tides obstreperously,— o Like a beacon left alone o In a hoary roaring sea, o Sending up a golden fire,— o Like a fruit-crown'd orange-tree o White with blossoms honey-sweet o Sore beset by wasp and bee,— o Like a royal virgin town o Topp'd with gilded dome and spire o Close beleaguer'd by a fleet o Mad to tug her standard down."

Christina Rossetti Goblin Market • Uses language of the addict to describe Laura because she's always thinking about the fruit • Use of simile • Similes serve to draw a comparison, meant to show you the thing in a certain way • Beauty of language and intensity of imagery • This poem is about restraint/rejection of the sensuous/ of pleasure. o Being moral and upright o Does the poetry correspond with this? • It's made up of all this • Allegory of dangers of the sensual, that itself is sensual. So many figurative devices. Flowing/full language • How do you reconcile these two things? • How do we understand the contradiction of form and content? • And resurrection of Laura through her very erotically licking and sucking the juices off of her sister's body? o You'd think she would be against sensuality in art, but she goes overboard with it • Contradiction within her? • Contradiction that comes out of an influence

One had a cat's face," o "One tramp'd at a rat's pace" o "One like a wombat prowl'd obtuse and furry" o not threatening creatures o they call out

Christina Rossetti Goblin Market • goblins are weird combinations of all different animals o men are beasts o What happens when laura gives them a lock of hair? • It was a love tocken • Used as currency in an exchange in this case • Highlight of how relationships became this exchange practice: asking for token = asking for sign of possession o Sound so kind, and once she gets the fruit, they disappear • Don't take care of her • Once they have sex, the guy will leave (once he gets what he wants he's gone) • Taken her power in the market place. Buyer takes your purchasing power and leaves you with a transient good

And still she bowed herself and stooped Out of the circling charm; Until her bosom must have made The bar she leaned on warm, And the lilies lay as if asleep 35 Along her bended arm....

Dante Rossetti The Blessed Damozel o almost as if she's making herself real again, extending out of divine into earth: why he senses her o her desire creates this bridging

And the stars in her hair were seven.

Dante Rossetti The Blessed Damozel o seven = symbolic / prime

• "She heard a voice like voice of doves • Cooing all together: • They sounded kind and full of loves • In the pleasant weather."

• "That mirror gave back all her loveliness."

Christina Rossetti In An Artist's Studio o Mirror = painting of her o Realism = hold a mirror up to reality, therefore it shows you the truth of reality o Maybe there's a screen in this realism? Maybe it shows us only her loveliness? • Idealization of his subject in his mind?

Not wan with waiting, not with sorrow dim" • "Not as she is, but was when hope shone bright; Not as she is, but as she fills his dream"

Christina Rossetti In An Artist's Studio o anaphora o truth: because he sees her as this ideal, o she's wan and sorrow, she no longer has hope for their relationship because all she's there for is to look pretty o she's forced to sit still for long periods of time waiting for him to finish, like a bowl of fruit o his obsession damages her, and he doesn't really notice o true light of her, in reality, is being quenched from him feeding on her o her vitality is being taken from her and put into the work itself. Make the living thing into the art

We found her hidden just behind those screens"

Christina Rossetti In An Artist's Studio o artist studio screens, but also representative of obsessiveness and also possessiveness o why conceal it? • Hides her, possessive maybe?

• "A queen in opal or in ruby dress, A nameless girl in freshest summer-greens, A saint, an angel -- every canvas means"

Christina Rossetti In An Artist's Studio o canvas has the meaning: "the same one meaning, neither more nor less" o same girl : focus on the glorification/idealization of her, accentuating her beauty

And she with true kind eyes looks back on him, Fair as the moon and joyful as the light

Christina Rossetti In An Artist's Studio o in his mind/paintings o this is how he wants to be looked at by her

One face looks out from all his canvases, One selfsame figure sits or walks or leans:

Christina Rossetti In An Artist's Studio • Sonnet • Starts with anaphora o Stressing the One because he's obsessed with her

He feeds upon her face by day and night

Christina Rossetti In An Artist's Studio • turning point: focus on the painter o like a parasite/vampire. Male desire, male gaze objectifies • ownership/power/limitation of her full value • designed to maintain fantasy space for male subject in which the woman has to be submissive

Or, after all, perhaps there's none: Suppose there is no secret after all, But only just my fun. Today's a nipping day, a biting day;"

Christina Rossetti Winter: My Secret going back to seasonal aspects of the day • doesn't trust spring • might say it in summer • Winter = everything is obscure • Summer = more open more sun • More vulnerable in winter, harsher conditions, summer = living's easy • Winter = need to protect oneself more. Once divulged the secret will open itself up to harsh treatment. In summer, conditions are nicer, maybe the individuals who hear this secret will be more receptive. Cant tell until the time is right • The poem itself is like a secret, we are on the outside trying to wonder

• "You would not peck? I thank you for good will, Believe, but leave the truth untested still."

Christina Rossetti Winter: My Secret o The mask concealing the secret is also the secret , protecting her face from the cold • Winter = everything is obscure • Summer = more open more sun • More vulnerable in winter, harsher conditions, summer = living's easy • Winter = need to protect oneself more. Once divulged the secret will open itself up to harsh treatment. In summer, conditions are nicer, maybe the individuals who hear this secret will be more receptive. Cant tell until the time is right • The poem itself is like a secret, we are on the outside trying to wonder

I wear my mask for warmth: who ever shows His nose to Russian snows To be pecked at by every wind that blows?"

Christina Rossetti Winter: My Secret o rhyme alliteration • Winter = everything is obscure • Summer = more open more sun • More vulnerable in winter, harsher conditions, summer = living's easy • Winter = need to protect oneself more. Once divulged the secret will open itself up to harsh treatment. In summer, conditions are nicer, maybe the individuals who hear this secret will be more receptive. Cant tell until the time is right • The poem itself is like a secret, we are on the outside trying to wonder

I tell my secret? No indeed, not I; Perhaps some day, who knows? But not today; it froze, and blows and snows, And you're too curious: fie! You want to hear it? well: Only, my secret's mine, and I won't tell.

Christina Rossetti Winter: My Secret • A secret is valuable and it's yours • Cheeky • Winter = everything is obscure • Summer = more open more sun • More vulnerable in winter, harsher conditions, summer = living's easy • Winter = need to protect oneself more. Once divulged the secret will open itself up to harsh treatment. In summer, conditions are nicer, maybe the individuals who hear this secret will be more receptive. Cant tell until the time is right • The poem itself is like a secret, we are on the outside trying to wonder

Her robe, ungirt from clasp to hem, No wrought flowers did adorn, But a white rose of Mary's gift, For service meetly worn; Her hair that lay along her back Was yellow like ripe corn

Dante Rossetti The Blessed Damozel • Ingurt = showing skin

(To one it is ten years of years. ... Yet now, and in this place, 20 Surely she leaned o'er me—her hair Fell all about my face.... Nothing: the autumn fall of leaves. The whole year sets apace.)...

Dante Rossetti The Blessed Damozel • Time passes differently for her: 10 years feel like nothing o Doesn't have to wait that long for him o him speaking: about him perceiving something of her in the world around him o seeing signs of her presence and thinking of her o fantasy space of desire

Alas! is even love too weak • To unlock the heart, and let it speak?"

Matthew Arnold The Buried Life o Even with the person you love, it doesn't happen • Fear itself of judgment promotes and continues this problem of alienation

o And I myself will teach to him,-- o I myself, lying so,-- o The songs I sing here; which his mouth o Shall pause in, hush'd and slow, o Finding some knowledge at each pause, o And some new thing to know.'

Dante Rossetti The Blessed Damozel • her speech o wants him to come up

You will have the goodness to discharge from your minds all Post-Raphael ideas, all religious aspirations, all elevating thoughts, all tender, awful, sorrowful, ennobling, sacred, graceful, or beautiful associations, and to prepare yourselves, as befits such a subject Pre-Raphaelly considered for the lowest depths of what is mean, odious, repulsive, and revolting

Dickens Old Lamps for New Ones Critique of Millais Painting of Jesus and Mary o Why does Dickens hate it so much? • Offends his sensibility • Something he's not used to • Avant garde is supposed to break away from tradition

o This poor light, Raphael Sanzio by name, better known to a few miserably mistaken wretches in these later days, as Raphael (another burned at the same time, called Titian), was fed with a preposterous idea of Beauty with a ridiculous power of etherealising, and exalting to the Very Heaven of Heavens, what was most sublime and lovely in the expression of the human face divine on Earth with the truly contemptible conceit of finding in poor humanity the fallen likeness of the angels of GOD, as raising it up again to their pure spiritual condition. This very fantastic whim effected a low revolution in Art, in this wise, that Beauty came to be regarded as one of its indispensable elements. In this very poor delusion, Artists have continued until the present nineteenth century, when it was reserved for some bold aspirants to "put it down."

it is strong for life and duty...once loves color in the grey of time

Elizabeth Browning Aurora Leigh I'm just telling you the truth and you should admire me for that because I respect you enough to tell you the truth

• "That Homer's heroes measured twelve feet high. They were but men!-his Helen's hair turned grey Like any plain Miss Smith's, who wears a front: And Hector's infant blubbered at a plume As yours last Friday at a turkey-cock

Elizabeth Browning Aurora Leigh o Heroic individuals from these mythic times were just people o "All men are possible heroes" o anything can be the subject of poetry/epic poems. The current age doesn't have anything epic/heroic about it...?

• "Through being beheld too close, is ill-discerned By those who have not lived past it."

Elizabeth Browning Aurora Leigh o What allows you to get perspective on history? • The fact that it's in the past o The fact that you're living in your own time inhibits your perspective because you're too present o Time = development of the study of history

come human creature love and work with me...walks lovers need to creep"

Elizabeth Browning Aurora Leigh • if I had said that instead of love and work with me, you'd be with me because women like to be flattered • he can't even hear her because he has these ideas o her rejection of him comes down to that he doesn't love her, he's already wedded to social theory. Only wants her because he needs woman to accompany him and his work • who's really the weak one? The man who needs the woman who can take care of all the domestic stuff

She lived, we'll say, A harmless life, she called a virtuous life, A quiet life, which was not life at all (But that she had not lived enough to know)

Elizabeth Browning Aurora Leigh • lived a sheltered life too little experience of life to know that her life is empty • like Carlyle, it's not until you can see the repressive nature of belief that you can then move on from it • virtue = one more force to suppress women * aunt = stereotypical depressed Maiden

naked eyes...stabbing it through and through

Elizabeth Browning Aurora Leigh • violent details • aunt moves away very quickly • looks her over coldly for signs of her evil mother

my tuscon mother took away a wise man from wise courses...against duty...depriving her his sister the household presidence...had robbed his native land

Elizabeth Browning Aurora Leigh • why aunt hates the mother • blames woman for dying and causing her brother to suffer as a result

• Since country is so tender • To touch, her being só slender, • That, like this sleek and seeing ball • But a prick will make no eye at all,

Gerard Hopkins Binsey Poplars o don't understand the pure delicacy of nature

• MY aspens dear, whose airy cages quelled, • Quelled or quenched in leaves the leaping sun, • All felled, felled, are all felled;

Gerard Hopkins Binsey Poplars o emphasis on violence of cutting down "fell" o airy cages that quenched the leaping sun • photosynthesis • quelling this intense energy, making into something else

• Of a fresh and following folded rank • Not spared, not one • That dandled a sandalled • Shadow that swam or sank • On meadow and river and wind-wandering weed-winding bank.

Gerard Hopkins Binsey Poplars o how wind interacts with the water

• Ten or twelve, only ten or twelve • Strokes of havoc únselve • The sweet especial scene,

Gerard Hopkins Binsey Poplars o it's easy o taking away the ability of a thing to selve : killing it : unselve

There lives the dearest freshness deep down things;"

Gerard Hopkins God's Grandeur inscape

And for all this, nature is never spent

Gerard Hopkins God's Grandeur o even if human race kills itself, nature will continue

Hundreds of thousands of men and women drawn from all classes and ranks of society pack the streets of London. Are they not all human beings with the same innate characteristics and potentialities? Are they not all equally interested in the pursuit of happiness? And do they not all aim at happiness by following similar methods? Yet they rush past each other as if they had nothing in common. They are tacitly agreed on one thing only—that everyone should keep to the right of the pavement so as not to collide with the stream of people moving in the opposite direction. No one even thinks of sparing a glance for his neighbor in the streets. The more that Londoners are packed into a tiny space, the more repulsive and disgraceful becomes the brutal indifference with which they ignore their neighbors and selfishly concentrate upon their private affairs. We know well enough that this isolation of the individual—this narrowminded egotism—is everywhere the fundamental principle of modern society. But nowhere is this selfish egotism so blatantly evident as in the frantic bustle of the great city

Friedrich Engels The Great Towns o Blaze attitude. o Disengagement/alienation creates the conditions for perceiving people as a threat: they may actually become real threats because they are disconnected • Description of filth of cities, but real importance of what he sees in this modern urban world is the even more shocking disconnection between human beings o Marner: when he needs the people's help, they're there. They don't let the people just waste away • Descriptions o City is designed so wealthy can go to work without seeing the suffering. Out of sight/out of mind

But Christmas puddings, brawn, and abundance of spirituous liquors, throwing the mental originality into the channel of nightmare, are great preservatives against a dangerous spontaneity of waking thought."

George Eliot Silas Marner Christmas puddings: • channel of nightmare: supernatural explanations • faith keeps the individual from caring that there's no proof • causes the individual to go to the easy answer instead of thinking of what might've really happened • basically saying these people aren't awake

To connect the fact of Dunsey's disappear- ance with that of the robbery occurring on the same day, lay quite away from the track of every one's thought, even Godfrey's, who had better reason than any one else to know what his brother was capable of.

George Eliot Silas Marner • Saying its an unsound/unwise/not a good social practice tendency to accuse one of the members of the leading families of the community of crime • Poor people don't even question superiority of more wealthy: divine state of affairs. Circular logic • Godfrey is also not a very nice guy: arrogant/weak • The class system is set up that these people are above questioning, because they have tankards: tradition

The Miss Gunns smiled stiffly, and thought what a pity it was that these rich country people, who could afford to buy such good clothes (really Miss Nancy's lace and silk were very costly), should be brought up in ut- ter ignorance and vulgarity. She actually said "mate" for "meat," "'appen" for "perhaps," and "oss" for "horse," which, to young ladies living in good Lytherly society, who habitually said 'orse, even in domestic privacy, and only said 'appen on the right occasions, was necessarily shocking."

George Eliot Silas Marner o Dialect that comes with education o If you have an accent that in any way differentiates you from how you're supposed to speak, you get treated differently o In society, people find small things as signs to discriminate/look down upon others • These women use it too, but they know when to use it • Critique of narrowness of class • Ultimately, nancy's at the top of one society, but in the big scheme of things they're nobodies. Yet they think so much of themselves • Real power resides in public opinion o Who gives the power to public opinion? Oneself • We give the power to others that they then exert over us

Even if any brain in Raveloe had put the said two facts together, I doubt whether a combination so injurious to the prescriptive respectability of a family with a mural monument and venerable tankards, would not have been suppressed as of unsound tendency.

He remembered no mention of the weaver between them since the time, twelve years ago, when it was their boy- ish sport to deride him; and, besides, his imagination constantly created an alibi for Dunstan: he saw him continually in some congenial haunt, to which he had walked off on leaving Wildfire — saw him sponging on chance acquaintances, and meditating a return home to the old amusement of tormenting his elder brother.

o "the Miss Gunns could see nothing to criticise except her hands, which bore the traces of butter-making, cheese-crushing, and even still coarser work."

George Eliot Silas Marner • Upper class people come in and are judgemental against other upper class people • The hands show signs of hard work • Aristocrats don't use their hands • Sign that she's beneath them: not as wealthy

• O if we but knew what we do • When we delve or hew— • Hack and rack the growing green

Gerard Hopkins Binsey Poplars ignorance because we see things in this object way

• THE WORLD is charged with the grandeur of God. • It will flame out, like shining from shook foil; • It gathers to a greatness, like the ooze of oil • Crushed. Why do men then now not reck his rod? • Generations have trod, have trod, have trod; • And all is seared with trade; bleared, smeared with toil; • And wears man's smudge and shares man's smell: the soil • Is bare now, nor can foot feel, being shod.

Gerard Hopkins God's Grandeur o modernists loved him because they see the proto-modernist/kindered spirit in him • already seeing the affects of industrialization • reduction of ppl to machines

• "For skies of couple-colour as a brinded cow; • For rose-moles all in stipple upon trout that swim; • Fresh-firecoal chestnut-falls; finches' wings; • Landscape plotted and pieced—fold, fallow, and plough; • And áll trádes, their gear and tackle and trim. • All things counter, original, spare, strange; • Whatever is fickle, freckled (who knows how?) • With swift, slow; sweet, sour; adazzle, dim; • He fathers-forth whose beauty is past change: • Praise him."

Gerard Hopkins Pied Beauty • devotional poem so different from any devotional peom because he sees god through infinity variety of creation. Nothing is just a thing that's solid • appreciating the beauty • creation that is not humanly controlled is about endless variation

Cloud-puffball, torn tufts, tossed pillows | flaunt forth, then chevy on an air- • Built thoroughfare: heaven-roysterers, in gay-gangs | they throng; they glitter in marches. • Down roughcast, down dazzling whitewash, | wherever an elm arches, • Shivelights and shadowtackle ín long | lashes lace, lance, and pair

Gerard Hopkins The Hereclitean Fire and the Comfort of the Resurrection o Alliterative sprung rhythm o All about imagery of clouds moving o Then describing rain o Imagery that doesn't objectify things: render them static like a picture: capture their dynamism as things that are always moving • Endless change/movement

• My heart in hiding • Stirred for a bird

Gerard Hopkins The Windhover o he is self protective, not as free as this bird is o this bird has a mastery of its environment while he feels alienated

• No wonder of it: shéer plód makes plough down sillion • Shine, and blue-bleak embers, ah my dear • Fall, gall themselves, and gash gold-vermillion

Gerard Hopkins The Windhover o no wonder to this bird's beauty o description of play of sunlight on land itself beneath this bird

• in his riding • Of the rolling level underneath him steady air

Gerard Hopkins The Windhover o steadiness to the air. Without this regularity of air currents, it would get knocked over o the bird is birding and the wind is winding and the bird winds with the wind and the wind birds with the bird o asks us to see everything differently

• Brute beauty and valour and act, oh, air, pride, plume, here • Buckle! AND the fire that breaks from thee then, a billion • Times told lovelier, more dangerous, O my chevalier!

Gerard Hopkins The Windhover o the fire • bird catching sunlight? • Or pure dynamic energy of the bird in motion

how he rung upon the rein of a wimpling wing

Gerard Hopkins The Windhover o wing is like a rein on the wind

o I CAUGHT this morning morning's minion, king- o dom of daylight's dauphin, dapple-dawn-drawn Falcon, in his riding o Of the rolling level underneath him steady air, and striding o High there, how he rung upon the rein of a wimpling wing o In his ecstasy! then off, off forth on swing, o As a skate's heel sweeps smooth on a bow-bend: the hurl and gliding o Rebuffed the big wind. My heart in hiding o Stirred for a bird,—the achieve of; the mastery of the thing!

Gerard Hopkins The Windhover • regality to the bird • connected to the day/daylight reveals the bird and draws the bird the falcon is drawn by the dapple dawn • the variated nature of the light of the dawn • as if the bird has an aesthetic sense • the falcon is, in this moment, no different from the dawn. It is intrinsic to the dawn.

Sprung Rhythm

Gerard Hopkins o Own verse form based on alliterave verse • alliteration that gives the meter, because with the alliteration there was a stress

Inscape

Gerard Hopkins the distinctive design that constitutes individual identity. This identity is not static but dynamic. Each being in the universe 'selves,' that is, enacts its identity. the thing of the thing. Inner landscape. What is it really? o This is the soul. Independent of everything else you have these qualities that make you you o Dynamic thing = selves. • Unfold as itself • The way it unfolds as itself is its selving • You are not a static person, it's constantly changing. • Thinging of the Thing. The wordling of the world. Unfolds as itself as it things Only thing that gives it coherence is that you have memories that give you a narrative coherence as the same person Selving is experience • All experience is continual unfolding • I am that experience and nothing other than it

Instress

Gerard Hopkins the human being, the most highly selved, the most individually distinctive being in the universe, recognizes the inscape of other beings in an act that Hopkins calls instress, the apprehension of an object in an intense thrust of energy toward it that enables one to realize specific distinctiveness. Ultimately, the instress of inscape leads one to Christ, for the individual identity of any object is the stamp of divine creation on it. • You have to pay attention to the thing/observe the thing

The Awakening Conscience

Hunt • According to Ruskin, he's keeping her as a mistress and will toss her aside when he's done • One hand on keys, mouth open (singing?) • Ruskin says the most important thing about the painting is: o Guy doesn't realize that she's having this realization and he's still in this happy ludeness, hoping that they'll have sex o She's getting up and looking up in a way that makes her seem that she's having this awakening o Whole painting is symbolic because every detail matters: like Turner painting (stuff in the waves, fish eating and shackled leg) o Attempt at intense detailed realism. Every object is perfectly places • Soiled glove • Disarray yarn • Copy of tears, idle tears by Tennyson • The music • The cat and the bird, cat's killed the bird, maybe the bird's about to escape • She's looking out a window (We see in a mirror) • The hat on the table • Everyday objects with symbolic density • Pre-Raphaelites want to bring us back to the fact that everyday objects hold this symbolism

• "Ah, love, let us be true • To one another!" ! for the world, which seems o To lie before us like a land of dreams, o So various, so beautiful, so new, o Hath really neither joy, nor love, nor light,"

Matthew Arnold Dover Beach • Gesture that at least hopefully, in the wake of loss of faith, we can find peace/solace in human connection though love

o "Physician of the iron age," o "He said: The end is everywhere, o Art still has truth, take refuge there!"

Matthew Arnold Memorial Verses Goethe • Take refuge in culture

For never has such soothing voice o Been to your shadowy world convey'd,

Matthew Arnold Memorial Verses Wordsworth o Compares his death to Orpheus going into the afterlife • Guy was really beautiful o Soothing voice is what is so great

When Goethe's death was told, we said: o Sunk, then, is Europe's sagest head

Matthew Arnold Memorial Verses o More prolific than Shakespeare, but much like the German version of him

• "He taught us little; but our soul • Had felt him like the thunder's roll."

Matthew Arnold Memorial Verses • Byron represents o Make us feel:

o "We stand to-day by Wordsworth's tomb."

Matthew Arnold Memorial Verses • Talking about his opinion on other poets like Byron and Goethe and Wordsworth (three towering figures of the century) • elegy: poem written on Wordsworth's death

Time may restore us in his course o Goethe's sage mind and Byron's force; o But where will Europe's latter hour o Again find Wordsworth's healing power? o Others will teach us how to dare, o And against fear our breast to steel; o Others will strengthen us to bear— o But who, ah! who, will make us feel?"

Matthew Arnold Memorial Verses • Wordsworth's = soothing/healing feeling • Poet of nature, provides solice/peace/quiet/ability to create oneself

and yet • The same heart beats in every human breast!

Matthew Arnold The Buried Life Why cant we go deeper if we're on the same level?

the central idea of English life and politics is the assertion of personal liberty. Evidently this is so; but evidently, also, as feudalism, which with its ideas and habits of subordination was for many centuries silently behind the British Constitution, dies out, and we are left with nothing but our system of checks, and our notion of its being the great right and happiness of an Englishman to do as far as possible what he likes, we are in danger of drifting towards anarchy. We have not the notion, so familiar on the Continent and to antiquity, of the State,

Matthew Arnold Doing As One Likes breakdown of rural traditional values • anxiety with progress of industrialization • what orients people's actions/attitudes? Country of individuals that do whatever they want because they think it suits them -> anarchy • Anarchy neglects the fact that when you have a population, you can't have anarchy, they cant have no structure. Especially if through a lack of education they cannot control themselves

Our leading class is an aristocracy, and no aristocracy likes the notion of a State-authority greater than itself, with a stringent administrative machinery superseding the decorative inutilities of lord-lieutenancy, deputy-lieutenancy, [51/52] and the posse comitatus, which are all in its own hands

Matthew Arnold Doing As One Likes o Aristocrats had to take care of the people below them • provided major feasts for the common folk • where they offer poor all free food and luxury because they realize they have to give back on some level, keep the revolt at bay • Noblesse Oblige

Our middle class, the great representative of trade and Dissent, with its maxims of every man for himself in business, every man for himself in religion, dreads a powerful administration which might somehow interfere with it; and besides, it has its own decorative inutilities of vestrymanship and guardianship, which are to this class what lord-lieutenancy and the county magistracy are to the aristocratic class, and a stringent administration might either take these functions out of its hands, or prevent its exercising them in its own comfortable, independent manner, as at present.

Matthew Arnold Doing As One Likes o Middle class doesn't have the same ethic as aristocrats These groups who have power like middle class that want more, don't want to check it by giving it up to any kind of centralized power Concerned that US federal gov is becoming more and more overarching rule through surveillance (in relation to today) Could be positive, but also negative because these class interests cant get along and nothing unifies these interests on a national level

Then as to our working class. This class, pressed constantly by the hard daily compulsion of material wants, is naturally the very centre and stronghold of our national idea, that it is man's ideal right and felicity to do as he likes. I think I have somewhere related how M. Michelet said to me of the people of France, that it was Ïa nation of barbarians civilised by the conscription.Ó He meant that through their military service the idea of public duty and of discipline was brought to the mind of these masses, in other respects so raw and uncultivated

Matthew Arnold Doing As One Likes o Working class no diff from upper class because they've bought into myth: that they can have it too o In England, much less of a reality, but still wanted to participate o God forbid anyone demand anything from me. The conscription might help us overcome

Our prevalent notion is, -- and I quoted a number of instances to prove it, -- that it is a most happy and important thing for a man merely to be able to do as he likes. On what he is to do when he is thus free to do as he likes, we do not lay so much stress.

Matthew Arnold Doing As One Likes • Arnold's big problem: o Hate anyone who gets in our way, want to do as one likes: this is the problem o Useful/important o Because ppl aren't properly educated, what they want doesn't coincide with what is often the best interest for them and for society as a whole o Problem in England especially

o "of a right reason to which the assertion of [55/56] our freedom is to be subordinated"

Matthew Arnold Doing As One Likes • Shouldn't be a government check, it should be the government properly educating people, if people can have self control they don't need governmental control o If people are educated young, there won't be a shouting match o people wont need the threat to the same degree

• "bring • The eternal note of sadness in."

Matthew Arnold Dover Beach

The Sea of Faith • Was once, too, at the full, and round earth's shore • Lay like the folds of a bright girdle furled."

Matthew Arnold Dover Beach o At one point faith (some kind of belief) was all around close up on the shore protecting it, but now we're in this period of withdrawing o What steps in place of faith

o "ebb and flow o Of human misery;"

Matthew Arnold Dover Beach o Insignificance of humans. After all of us are gone, it'll keep flowing o Put our fears in perspective

Light flows our war of mocking words, and yet, • Behold, with tears mine eyes are wet! • I feel a nameless sadness o'er me roll

Matthew Arnold The Buried Life o Doing light banter on surface of things (with his wife) not talking about real things, you're afraid of how theyre going to react.

No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything.

Oscar Wilde Preface To The Picture of Dorian Gray • Art is useless because art is outside of use value • You shouldn't try to make something with a statement in mind because what is truly in value of the art that is the opportunity to encounter that art • Artists shouldn't try to impose and experience but create something that allows an experience

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim.

There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.

Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty.

We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.

• "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."

Robert Browning My Last Duchess o Who's better of the equal aristocracy: I have an older name than you, so I'm superior o How could she rank the gift of his name with berries?

"Will't please you sit and look at her? I said"

Robert Browning My Last Duchess o direct his perception

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

Robert Browning My Last Duchess o he thinks it's okay to say such things: shows his mentality o doesn't think about other people

• "That piece a wonder, now: Frà Pandolf's hands"

Robert Browning My Last Duchess o his judgement matters o in the past he didn't like it o friar: an imaginary painter o wealthy get painted: status

• "absolute truth working everything down nature and nature only"

Pre-Raphaelitism - Ruskin o essence of it: right kind of beauty and detailed realism to reveal it

• "temptation of this beauty...while to all that ...regulates the disposition"

Pre-Raphaelitism - Ruskin o essence of it: right kind of beauty and detailed realism to reveal it

• ". 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;"

Robert Browning My Last Duchess o it's okay that he expects a lot of money for the dowry because the count is generous

• Soul's beauty and body's beauty - painting

Red Heads o Soul's beauty • Holding a pen • Scarf covers hair, also down on one side Still indication of sexuality represented by hair Red hair: fiery / sexuality? • Also, working off real models. Women he's obsessed with • Lips, red Striking • Soul's beauty has so much red in it, but body is about knowledge o Body's • Less dressed, larger boobs • No cleavage because that was scandalous at the time • Different flowers • More connectedness to nature: window • Appreciating her own beauty • Lips and hair = red Striking / passion Lips are one of the interface points between bodies • White = purity, but body language is sexual • One and other can't be separated, they go hand in hand

• "Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me!"

Robert Browning My Last Duchess o name drops again o he's Neptune. He is the god taming the female. o One more indication, make sure this girl is docile and doesn't do the wrong thing otherwise she'll just be a painting too

• "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."

Robert Browning My Last Duchess o Had an appreciation of life, but he wants her to just appreciate him o Like Carlyle, her happiness takes away his happiness

• "This grew; I gave commands Then all smiles stopped together. There she stands As if alive."

Robert Browning My Last Duchess o He had her killed o Would not stoop to kill her himself

• "- 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."

Robert Browning My Last Duchess o He never wants to stoop from his superiority o Not to have her match wits with him

perhaps Frà 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."

Robert Browning My Last Duchess o Hypothetical speculative things that may have been said to make her blush o Mantle = shawl/cloak o Just a painter's direction, and she gets happy o Designed to show how easy she blushed, or how ridiculous the duke is for not seeing the insignificance o Him showing his jealousy by saying she was too sensitive

• "Though his fair daughter's self, as I avowed At starting, is my object."

Robert Browning My Last Duchess o Object as his end in the transaction o Also object in how he sees women as nothing under than objects

• ""Frà 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"

Robert Browning My Last Duchess o presenting the interaction the other person is having looking at the painting. Hoe everyone remarks on her face/eyes o coaxing a certain kind of response o the viewer should feel a certain way o cleverly conditioning us too as the reader and auditor to understand what he's seeing o "(since none puts by The curtain I have drawn for you, but I)" • hidden away • only he can move the curtain • he covets/possesses it. Chooses when it's displayed • all about power over this woman even after her death who gets to see her and how they see her

• "Looking as if she were alive. I call"

Robert Browning My Last Duchess o she's dead o realistic painting o enjambment: "I call" • line 5: "I said" • all about his agency as a speaker, the one who's in control. Him losing language to control perception

Sir, 'twas not Her husband's presence only, called that spot Of joy into the Duchess' cheek: perhaps"

Robert Browning My Last Duchess o spot: something that sticks out, can't be ignored, draws attention to it o spot becomes stain upon his reality that disturbs his entire sense of who he is o her husband isn't the only one who made her blush with happiness/flirtatiousness • he wants to be the only one

THAT'S my last Duchess painted on the wall

Robert Browning My Last Duchess possessive "my" o exists in the form of painting: objectiveness o "last" : he needs a new one • this is the previous one • people didn't get divorced, had to get an annulment for serious reasons. Most likely she's dead • the line is enjambment: continues

"That moment she was mine, mine, fair, • Perfectly pure and good:"

Robert Browning Porphyria's Lover Worried that this will change

Be sure I looked up at her eyes o Happy and proud; at last I knew o Porphyria worshiped me: surprise o Made my heart swell, and still it grew o While I debated what to do

Robert Browning Porphyria's Lover turns at line 31 from state of mind he's in + ignoring:

• "The smiling rosy little head, • So glad it has its utmost will, • That all it scorned at once is fled, • And I, its love, am gained instead!"

Robert Browning Porphyria's Lover Making the inanimate speak his own desire, just like the beginning of the poem. Given her her will through killing her

She shut the cold out and the storm, • And kneeled and made the cheerless grate • Blaze up, and all the cottage warm;"

Robert Browning Porphyria's Lover o Her presence brings warmth

The rain set early in tonight, • The sullen wind was soon awake, • It tore the elm-tops down for spite, • and did its worst to vex the lake: • I listened with heart fit to break

Robert Browning Porphyria's Lover o Nature has some kind of intention: pathetic fallacy o Conveys a sense of forshadowing... o Projection of the speaker onto activity of forces outside, showing something of his inner state

• "warily oped her lids: again • Laughed the blue eyes without a stain."

Robert Browning Porphyria's Lover o Sees joy in her eyes o Making the inanimate speak his own desire, just like the beginning of the poem. Given her her will through killing her

• "No pain felt she; • I am quite sure she felt no pain."

Robert Browning Porphyria's Lover o She's just an object, can't feel pain

• "When no voice replied"

Robert Browning Porphyria's Lover o he's angry with her. Out of spite

But passion sometimes would prevail, • Nor could tonight's gay feast restrain • A sudden thought of one so pale • For love of her, and all in vain:

Robert Browning Porphyria's Lover • He's probably a laborer, lives in a cottage o She's coming from... "gay feast"... upper class in manor houses

Murmuring how she loved me—she • Too weak, for all her heart's endeavor, • To set its struggling passion free • From pride, and vainer ties dissever, • And give herself to me forever

Robert Browning Porphyria's Lover • Speaker = much more significant • Can't identify poet with speaker anymore • Trying to detach himself from the poem • Criticized for being to morbid/melancholy • Real purpose of dramatic monologue: express different POVs in a more personal sense o She's of a higher class o Vainer ties: vanity led her to make a tie with someone else • Already married?

o "And all her yellow hair displaced"

Robert Browning Porphyria's Lover • she let her hair down. It was up. She opened up to him

• With Sanchicha, telling stories, Steeping tresses in the tank, Blue-black, lustrous, thick like horsehairs, --Can't I see his dead eye glow, Bright as 'twere a Barbary corsair's? (That is, if he'd let it show!)

Robert Browning Soliloquy of the Spanish Cloister He's looking at her inappropriately He's not actually doing it, trying to find signs. Trying to find fault • Doesn't like that he cant find the faults o Hates that he's so pious psychology: projecting his own inadequacies onto another monk doesn't want to deal with his own inferiority, tries to cut down the superior person instead

• "What? your myrtle-bush wants trimming? Oh, that rose has prior claims-- Needs its leaden vase filled brimming? Hell dry you up with its flames!"

Robert Browning Soliloquy of the Spanish Cloister taking care of plants annoys him because he hates him so much psychology: projecting his own inadequacies onto another monk doesn't want to deal with his own inferiority, tries to cut down the superior person instead

• "At the meal we sit together; Salve tibi! I must hear Wise talk of the kind of weather, Sort of season, time of year: Not a plenteous cork crop: scarcely Dare we hope oak-galls, I doubt; What's the Latin name for "parsley"? What's the Greek name for "swine's snout"?"

Robert Browning Soliloquy of the Spanish Cloister • Always trying to find faults psychology: projecting his own inadequacies onto another monk doesn't want to deal with his own inferiority, tries to cut down the superior person instead

• "Fool! the Ideal is in thyself, the impediment too is in thyself: thy Condition is but the stuff thou art to shape that same Ideal out of: what matters whether such stuff be of this sort or that, so the Form thou give it be heroic, be poetic? O thou that pinest in the imprisonment of the Actual, and criest bitterly to the gods for a kingdom wherein to rule and create, know this of a truth: the thing thou seekest is already with thee, 'here or nowhere,' couldst thou only see!"

Thomas Carlyle Sartor Resartus message: if you reflect well enough, everything you need right now is always available. You already have it

May we not say, however, that the hour of Spiritual Enfranchisement is even this: When your Ideal World, wherein the whole man has been dimly struggling and inexpressibly languishing to work, becomes revealed, and thrown open; and you discover, with amazement enough, like the Lothario in Wilhelm Meister, that your 'America is here or nowhere'? The Situation that has not its Duty, its Ideal, was never yet occupied by man. Yes here, in this poor, miserable, hampered, despicable Actual, wherein thou even now standest, here or nowhere is thy Ideal: work it out therefrom; and working, believe, live, be free.

Thomas Carlyle Sartor Resartus Actual is something to be escaped from is the problem. The thought that the actual doesn't have what we need

But indeed Conviction, were it never so excellent, is worthless till it convert itself into Conduct."

Thomas Carlyle Sartor Resartus Being determined is useless unless you actually do something It's about what you do not what you think

"to such it will be clear that, for a pure moral nature, the loss of his religious Belief was the loss of everything. Unhappy young man! All wounds, the crush of long-continued Destitution, the stab of false Friendship and of false Love, all wounds in thy so genial heart, would have healed again, had not its life-warmth been withdrawn..."

Thomas Carlyle Sartor Resartus become a stomach, another beast moving through the world • Everlasting no: disdaining all human activity : complete rejection of belief. No god, just a dead universe. o When you lose hope/ rejection of desire/ fantasy that organizes your life are put into question? o Beliefs are no difference than any other fantasy • An attempt to get at a truth. Doesn't matter the system, what matters is the truth. • Problem of unbelief

And yet of your Strength there is and can be no clear feeling, save by what you have prospered in, by what you have done. Between vague wavering Capability and fixed indubitable Performance, what a difference! A certain inarticulate Self-consciousness dwells dimly in us; which only our Works can render articulate and decisively discernible

Thomas Carlyle Sartor Resartus even though he's in this state, he still pursues truth • Actions speak louder than words. Actions speak to outside world and to YOU Externalization allows reflection Doing works is a production of oneself/ creation • Philosophy ultimately leads to engagement in the world. • Keeps him going o Everlasting no but not a desire to detach from things and wallow in misery o Recognition for need of constant development does he escape the everlasting no

Everlasting Nay

Thomas Carlyle Sartor Resartus o No = rejection of belief • Connected to satanic school World-weary person that cant believe in anything whose intelligence allowed them to see past religion • Loss of fantasy • Subjective destitution All the things that maintain your subjectivity/who you are/position in the world...crumbles • Then where are you? What does it mean for you? Everlasting no: disdaining all human activity : complete rejection of belief. No god, just a dead universe. o When you lose hope/ rejection of desire/ fantasy that organizes your life are put into question? o Beliefs are no difference than any other fantasy • An attempt to get at a truth. Doesn't matter the system, what matters is the truth. • Problem of unbelief

And yet, strangely enough, I lived in a continual, indefinite, pining fear; tremulous, pusillanimous, apprehensive of I knew not what: it seemed as if all things in the Heavens above and the Earth beneath would hurt me; as if the Heavens and the Earth were but boundless jaws of a devouring monster, wherein I, palpitating, waited to be devoured.

Thomas Carlyle Sartor Resartus o Where does anxiety come from? o No hope/no fear : anxiety about not having the spiritual-ness. Anxiety of nothingness o Fear the loss of something o In loss of hope and fear, you get a deep existential anxiety. Nothing but the nothingness/ the abyss

How beautiful to die of broken-heart, on Paper! Quite another thing in practice; every window of your Feeling, even of your Intellect, as it were, begrimed and mud-bespattered, so that no pure ray can enter; a whole Drug-shop in your inwards; the fordone soul drowning slowly in quagmires of Disgust!"

Thomas Carlyle Sartor Resartus o idealization of melancholy/broken heart o do you really want to go through that?

Center of Indifference

Thomas Carlyle Sartor Resartus • Maybe the world is dead but you don't have to be stagnant • Denial indignation • See how things really work: the truth of the world Talks about the absurdity of battles People (poor) killing each other to serve the interests of the rich all for nothing • Ultimate futility of human life

Hence, too, the folly of that impossible Precept, Know thyself; till it be translated into this partially possible one, Know what thou canst work at

Thomas Carlyle Sartor Resartus • Philosophy ultimately leads to engagement in the world. • Keeps him going o Everlasting no but not a desire to detach from things and wallow in misery o Recognition for need of constant development does he escape the everlasting no

Everlasting Yea

Thomas Carlyle Sartor Resartus • Realizes everything is alive • The universe is living • Beauty in the transience • Create your own myth Create your own belief Once you no longer are a slave to pre-established belief system, you can make your own belief

o "Love not Pleasure; love God. This is the EVERLASTING YEA, wherein all contradiction is solved: wherein whoso walks and works, it is well with him."

So true is it, what I then said, that the Fraction of Life can be increased in value not so much by increasing your Numerator as by lessening your Denominator

Thomas Carlyle Sartor Resartus • The more you need and want the happier you will be • True message of jesus o We don't have a right to happiness o We begrudge anyone has any happiness that we think is ours

'What art thou afraid of? Wherefore, like a coward, dost thou forever pip and whimper, and go cowering and trembling? Despicable biped! what is the sum-total of the worst that lies before thee? Death? Well, Death; and say the pangs of Tophet too, and all that the Devil and Man may, will or can do against thee! Hast thou not a heart; canst thou not suffer whatsoever it be; and, as a Child of Freedom, though outcast, trample Tophet itself under thy feet, while it consumes thee? Let it come, then; I will meet it and defy it!' And as I so thought, there rushed like a stream of fire over my whole soul; and I shook base Fear away from me forever. I was strong, of unknown strength; a spirit, almost a god. Ever from that time, the temper of my misery was changed: not Fear or whining Sorrow was it, but Indignation and grim fire-eyed Defiance.

Thomas Carlyle Sartor Resartus • What is the "center of indifference"? Realizing it and not caring? Or something else? • Immateriality of tradition • Best things of humanity have no existence outside of the people o Talking about culture/law: like how we talked about the kings two bodies: power comes from recognition that it exists • Books can convey the past: "fruits of life" • Battlefield: all these people blowing each other to bits end up fertilizing the fields. • Gun powder equalizes us all

Always there is a black spot in our sunshine: it is even, as I said, the Shadow of Ourselves"

Thomas Carlyle Sartor Resartus • our own ego

She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants; and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments and tinged the eyelids and the hands. The fancy of a perpetual life, sweeping together ten thousand experiences, is an old one; and modern thought has conceived the idea of humanity as wrought upon by, and summing up in itself, all modes of thought and life. Certainly Lady Lisa might stand as the embodiment of the old fancy, the symbol of the modern idea.

Walter Pater Studies in the History of the Renaissance Mona Lisa • her true beauty is something intangible • has a secret inner-life, indicated by her face and eyelids • true beauty is what you can see on the inside that emerges in traces on the outside • marks of experience on their form • could argue that this is similar to Hopkins' inscape we need to intensely engage in the act of perceiving things

The presence that thus so strangely rose beside the waters is expressive of what in the ways of a thousand years man had come to desire. Hers is the head upon which all 'the ends of the world are come,' and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions

A counted number of pulses only is given to us of a variegated, dramatic life. How may we see in them all that is to be seen in them by the finest senses? How can we pass most swiftly from point to point, and be present always at the focus where the greatest number of vital forces unite in their purest energy?

Walter Pater Studies in the History of the Renaissance • present at the focus

the service of philosophy, and of reli- gion and culture as well, to the human spirit, is to startle it into a sharp and eager observation. Every moment some form grows perfect in hand or face; some tone on the hills or sea is choicer than the rest; some mood of passion or insight or intel- lectual excitement is irresistibly real and attractive for us,—for that moment only.

Walter Pater Studies in the History of the Renaissance • tragedy: come to the end of your life and not have truly lived • we're not taught how to live to personal experiencal standards, so that nothing is wasted. We're taught to live to society's success standards • importance of philosophy o dephlegmatisiren • breathe again/ clear your throat o vivificiren o make one feel alive

Failure is to form habits; for habit is relative to a stereo- typed world; meantime it is only the roughness of the eye that makes any two persons, things, situations, seem alike. While all melts under our feet, we may well catch at any exquisite passion, or any contribution to knowledge that seems, by a lifted horizon, to set the spirit free for a moment, or any stirring of the senses, strange dyes, strange flowers, and curious odours, or work of the artist's hands, or the face of one's friend

Walter Pater Studies in the History of the Renaissance • Construction of habits = bad o so often habit has a hold over us to the degree that you walk the same path, and you no longer see that path. No longer pay attention to what's going on around you o loss of the richness of experience

to burn like a hard gem-like flame, to maintain this ecstasy, is success in life

Walter Pater Studies in the History of the Renaissance • ecstasy : to be thrown out of oneself in such a way that you come back in. • idiot = trapped in the idio/the self • ecstasy pulls you out of that and puts you back into the real substance of your experience

This was a bad look-out indeed, and, if I may mention myself as a personality and not as a mere type, especially so to a man of my disposition, careless of metaphysics and religion, as well as of scientific analysis, but with a deep love of the earth and the life on it, and a passion for the history of the past of mankind. Think of it! Was it all to end in a counting-house on the top of a cinder-heap, with Podsnap's drawing-room in the offing, and a Whig committee dealing out champagne to the rich and margarine to the poor in such convenient proportions as would make all men contented together, though the pleasure of the eyes was gone from the world, and the place of Homer was to be taken by Huxley?"

William Morris How I Became a Socialist o hoarding represents stagnation

Ruskin! It was through him that I learned to give form to my discontent, which I must say was not by any means vague. Apart from the desire to produce beautiful things, the leading passion of my life has been and is hatred of modern civilization. What shall I say of it now, when the words are put into my mouth, my hope of its destruction—what shall I say of its supplanting by Socialism?"

William Morris How I Became a Socialist o influenced by Ruskin o need to understand the structural issues of systems, how they don't have to be the way they are • at this time: belief that there could be something different • nowadays, we're stuck with capitalism because it's the best we've got • Frederick Jameson has said: its easier to imagine the end of the world than it is to imagine the end of capitalism • Important to do work like Morris to produce change in the system before it collapses under its own weight And it is inevitable to collapse, because the whole point of capitalism is expansion, and the earth is only so large Tragedy of these revolutions is that these socialist movements got hijacked and turned into totalitarian movements

what I mean by Socialism is a condition of society in which there should be neither rich nor poor, neither master nor master's man, neither idle nor overworked, neither brain-sick brain workers, nor heart-sick hand workers, in a word, in which all men would be living in equality of condition, and would manage their affairs unwastefully, and with the full consciousness that harm to one would mean harm to all—the realization at last of the meaning of the word COMMONWEALTH

• "If you ask me how much of a hope, or what I thought we Socialists then living and working would accomplish towards it, or when there would be effected any change in the face of society, I must say, I do not know. I can only say that I did not measure my hope, nor the joy that it brought me at the time. For the rest, when I took that step I was blankly ignorant of economics

William Morris How I Became a Socialist • Capitalist system he's against is based on the idea that anyone can have it all if they work hard enough o Class mobility becomes more possible the higher you are in the class to begin with o The more $ you have, the more you can get o Morris thinks this isn't okay o nature of hope o didn't go into it with any hope. Wasn't driven by the idea that change could actually happen o he couldn't not do it, based on his ideals • couldn't allow human misery to consider unchecked o if no one does anything, then the powers that don't give a shit will be completely unchecked o social change is an inter-generational process o labor theory of value • various fixed overhead costs. Labor is the only one that's variable calculate wages to maximize profits • capitalism doesn't care about people

• Turner painting

o Slaves thrown overboard to help survive typhoon o Depicting horror: doesn't pretty it up. it's not beautiful • Rejected that art should accentuate the beauty of the world/make the world more beautiful

• Painting of Jesus and Mary as people in a workshop - Millais

o rural: field with sheep (symbolic) o carpenter's work shop o realistic, not a glorification: Dickenson's problem o no glorification of mother child relationship: still there, but doesn't resonate with divinity

Dramatic Monologue vs. Soliloquy

• Dramatic = there is a presumed audience • Soliloquy = only audience is the actual audience

English 103 Final

Conjuntos de estudio relacionados

CH 9: Hemoglobin, Ligand Binding, and Allostery

NUR 307 - QCA: Otitis Media

ADV 2

LHS AP GOV Chapter 4 Part 2

MUSC EXAM 1 LISTENING

Leadership Test 3

art 100 test 2

Chapter 12 - Union Dissolution and Repartnering

Test 1

Test 4 Geology

peds exam 2

National RE Exam

Blueprint Full length 3 Question review

A&P Practice Exam

abnormal development 10 questions

Bring Your A Game 1-B

hw#13

Week 27 amphibians and reptiles

Indian Polity Test

Chapter 28 and 33 quiz