English 241 Final
Sonnet
-14 lines -Single stanza with a volta (turn) -Iambic pentameter -Often about love -Origins in Medieval lyrics (troubadours) -English/Shakespearean vs. Italian/Petrarchan
Pastoral
-A deliberately conventional poem -Expresses poet's nostalgic image of the peace and simplicity of rural folk in an idealized natural setting
Epic
-A long verse narrative -Centered on a heroic figure -Often begins in media res (in the middle of things) -Blank verse
Republic
-A state without a king -Satan=corrupt king/governor, like Charles I -Milton starts writing Paradise Lost during the Protectorate, so he may be upset by how Cromwell took over (Satan=Cromwell) -But Milton worked for Cromwell so he may have viewed him as an imperfect, temporary solution
Colonialism
-A system of control, exploitation, and occupation of one country by another -Latin: colonia -Vs. Imperialism: ideology vs. *practice
Conceit
-An elaborately sustained metaphor -Intended to surprise and delight by its wit and ingenuity -Particularly associated with the metaphysical poets
Ecophobia
-Anxieties about famine, the future -Fear of the natural world -"Planting crops"/making babies is how we ward of death -"memento mori"
Romance
-Courtly world -Quest by knight to win lady -Doesn't necessarily mean love, sometimes associated with the language it's written in -Chivalry: courage, loyalty/chastity, honor, good manners -Set far away -High-born characters -Subtype of/predecessor to the novel -Sometimes there are supernatural aspects (though Oroonoko doesn't have this)
Uxorious
-Dotingly or submissively fond of a wife -Devotedly attached to a wife
Aubade
-From French word for "dawn song" -Found in almost all the world's early literatures -Expresses the regret of parting lovers at daybreak -i.e. Romeo and Juliet
Novel
-From the French word nouvelle, meaning new -A small tale generally of love. -A law annexed to the code.
Renaissance
-Late C14-early C17 -Reached England in C16 -"Rebirth," humanism, Reformation -New World/"discovery" of the Americas -Early Modern English
Pattern Poems
-Play with shape of the poem -Lines of the poem represent the shape of the subject of the poem -Also called concrete poetry -Emblem books: picture, motto, poem -i.e. Easter wings
Heroic Tragedy
-Restoration Period -Epic style -Love vs. Honor -If tragedy, ends in disaster
Sonnet Sequence
-Series of sonnets, linked together in someway/have a plot/thematic unity -Important to take each part of the sequence as individual poems -Shouldn't read as linear narrative (not a novel) -BUT there is some structure/unity
Procreation Sonnets
-Shakespeare Sonnets 1-17 -Addressed to a young man -Argue that he should marry and father children, hence procreate
Coterie audience
-Small group of people -Private -Know each other -Share common literary interest/work
Free Will Defense
-The defense that evils are entirely due to the bad, free, choices made by human beings and fallen angels -It was good of God to create free beings, but bad of them to misuse their freedom -God is not responsible for the evils of the world, and we cannot use the evils of the world as an objection to believe in Him
Protoevangelium
-The first gospel -The curse of the fall that's put upon Eve, will eventually lead to mankind's redemption -Eve = prototype of Virgin Mary
Theodicy
-The part of theology concerned with defending the goodness and omnipotence of God in the face of the suffering and evil of the world -God gave man free will - the choice to obey or disobey -It's not God's fault if bad things happen
Blank Verse
-Unrhymed iambic pentameter -Chosen because closer to style of Latin and Greek poetry -Rhymed English poets called "barbaric"
Ptolemaic Model
-Vs. Copernican Model - heliocentric -Earth at center of solar system/everything -"Prime mover" outside outer ring spins everything around the earth
As virtuous men pass mildly away, And whisper to their souls to go, Whilst some of their sad friends do say The breath goes now, and some say, No: So let us melt, and make no noise, No tear-floods, nor sigh-tempests move; 'Twere profanation of our joys To tell the laity our love. Moving of th' earth brings harms and fears, Men reckon what it did, and meant; But trepidation of the spheres, Though greater far, is innocent. Dull sublunary lovers' love (Whose soul is sense) cannot admit Absence, because it doth remove Those things which elemented it. But we by a love so much refined, That our selves know not what it is, Inter-assured of the mind, Care less, eyes, lips, and hands to miss. Our two souls therefore, which are one, Though I must go, endure not yet A breach, but an expansion, Like gold to airy thinness beat. If they be two, they are two so As stiff twin compasses are two; Thy soul, the fixed foot, makes no show To move, but doth, if the other do. And though it in the center sit, Yet when the other far doth roam, It leans and hearkens after it, And grows erect, as that comes home. Such wilt thou be to me, who must, Like th' other foot, obliquely run; Thy firmness makes my circle just, And makes me end where I begun.
Title: A Valediction Forbidding Mourning Author: John Donne Significance: Donne compares the parting of two lovers to a death, desiring the lovers' parting to be quiet, without struggle, and voluntary even though it is inevitable. As with death, Donne finds the challenge with separation to be ensuring the relationship's continuity in the future. He uses a piece of gold to describe the love between them: beating the gold thinner spreads it out, widening the distance between the couple. Beating it to "aery thinness" means that the love is now part of the atmosphere itself. The compass draws contrasts between the two lovers, where one is fixed and "in the centre sit[s]" while the other roams; despite this, the two remain inextricably connected and interdependent, staying inseparable despite the increasing distance between the two compass hands.
One day I wrote her name upon the strand, But came the waves and washed it away: Again I write it with a second hand, But came the tide, and made my pains his prey. Vain man, said she, that doest in vain assay, A mortal thing so to immortalize, For I myself shall like to this decay, And eek my name be wiped out likewise. Not so, (quod I) let baser things devise To die in dust, but you shall live by fame: My verse, your virtues rare shall eternize, And in the heavens write your glorious name. Where whenas death shall all the world subdue, Our love shall live, and later life renew.
Title: Amoretti, Sonnet 75 Author: Edmund Spenser Significance: Her name washes away, nature is destroying his words. He compares her body is compared to the text, implying that she too will die and "wash away." He is foolish because he is trying to immortalize a mortal thing; does this mean that all poetry is written in vain? No: poetry is not like writing in sand. Additionally, her body is not like lower things, it will live on and their love will live on. Her mortal being will fade, but poetry will preserve her spirit and their love.
Loving in truth, and fain in verse my love to show, That she, dear she, might take some pleasure of my pain,— Pleasure might cause her read, reading might make her know, Knowledge might pity win, and pity grace obtain,— I sought fit words to paint the blackest face of woe; Studying inventions fine her wits to entertain, Oft turning others' leaves, to see if thence would flow Some fresh and fruitful showers upon my sunburn'd brain. But words came halting forth, wanting invention's stay; Invention, Nature's child, fled step-dame Study's blows; And others' feet still seem'd but strangers in my way. Thus great with child to speak and helpless in my throes, Biting my truant pen, beating myself for spite, "Fool," said my Muse to me, "look in thy heart, and write."
Title: Astrophil and Stella, Sonnet 1 Author: Sir Philip Sidney Significance: This sonnet shoes the poetic frustration: the narrator is truthful in his love for Stella, but he wonders how he can persuade her to love him in return. He discusses the movement through the steps of persuasion, rejecting the conventions of Petrarchan poetry in order to do so. However, in the end, he is inspired by his own heart and writes poetry anyways.
When sorrow (using mine own fire's might) Melts down his lead into my boiling breast; Through that dark furnace to my heart oppress'd There shines a joy from thee, my only light; But soon as thought of thee breeds my delight, And my young soul flutters to thee, his nest, Most rude despair, my daily unbidden guest, Clips straight my wings, straight wraps me in his night, And makes me then bow down my head and say, "Ah, what doth Phoebus' gold that wretch avail Whom iron doors do keep from use of day?" So strangely (alas) thy works in me prevail, That in my woes for thee thou art my joy, And in my joys for thee my only annoy.
Title: Astrophil and Stella, Sonnet 108 Author: Sir Philip Sidney Significance: Moment of joy → the lover still provides some light; But as soon as he thinks of her, it sends him crashing back down; Woes are joy → his searching for his perfect woman, he finds joy in sorrow; Poet trapped by love/desire for woman → knows he won't be fulfilled, but this suffering is the only thing that gives him happiness; Astrophil is not Sidney; Stella divides Astrophil (desire and wit) → this divide is what continues all this poetry (if she said "yes," he wouldn't have anything to write about)
Not at first sight, nor with a dribbed shot, Love gave the wound which while I breathe will bleed; But known worth did in mine of time proceed, Till by degrees it had full conquest got. I saw, and liked; I liked, but loved not; I loved, but straight did not what love decreed; At length to love's decrees I, forced, agreed, Yet with repining at so partial lot. Now even that footstep of lost liberty Is gone, and now like slave-born Muscovite I call it praise to suffer tyranny; And now employ the remnant of my wit To make myself believe that all is well, While with a feeling skill I paint my hell.
Title: Astrophil and Stella, Sonnet 2 Author: Sir Philip Sidney Significance: Astrophil says that he liked her, but didn't love her; then he loved her, but didn't follow the "rules" of love. Then he became fully subservient to his desires and worked to tunnel under enemy walls to gain entrance, meaning that he was gradually persuaded to love the woman. Astrophil is acting as though he's unconventional, but the concept that love is like tyranny is quite conventional. He knows that his wit and desire are at odds, but can happiness ever be fully fulfilled?
Oh, joy too high for my low style to show! Oh, bliss fit for a nobler state than me! Envy, put out thine eyes, lest thou do see What oceans of delight in me do flow! My friend, that oft saw, through all masks, my woe, Come, come, and let me pour myself on thee. Gone is the winter of my misery! My spring appears, oh see what here doth grow; For Stella hath, with words where faith doth shine, Of her high heart giv'n me the monarchy; I, I, oh I may say that she is mine! And though she give but thus conditionally This realm of bliss, while virtuous course I take, No kings be crowned but they some covenants make.
Title: Astrophil and Stella, Sonnet 69 Author: Sir Philip Sidney Significance: Astrophil is thrilled that Stella returns his love and that he can finally call her his own. He barely notices the condition for her love at this point; he simply tacks it on to the last line of the sonnet. Yet, Stella's insistence on a platonic relationship between the two will have disastrous consequences. Because Astrophil's love for Stella has such a strong physical element, Stella's condition will manifest itself as yet another form of torture.
I am a little world made cunningly Of elements, and an angelic sprite ; But black sin hath betray'd to endless night My world's both parts, and, O, both parts must die. You which beyond that heaven which was most high Have found new spheres, and of new land can write, Pour new seas in mine eyes, that so I might Drown my world with my weeping earnestly, Or wash it if it must be drown'd no more. But O, it must be burnt ; alas ! the fire Of lust and envy burnt it heretofore, And made it fouler; let their flames retire, And burn me, O Lord, with a fiery zeal Of Thee and Thy house, which doth in eating heal.
Title: Holy Sonnet 5 Author: John Donne Significance: Human sinfulness has condemned the body ("elements") to physical death and the soul ("angelic sprite") to the spiritual death of eternal damnation. Water and fire describe how the narrator has to repent and be cleansed and purified by God in order to be saved. The water imagery here relates to the sacrament of baptism, and through fire Donne talks about his desire to burn with spiritual passion and love of God rather than with lust and envy and other vices.
Who says that fictions only and false hair Become a verse? Is there in truth no beauty? Is all good structure in a winding stair? May no lines pass, except they do their duty Not to a true, but painted chair? Is it no verse, except enchanted groves And sudden arbours shadow coarse-spun lines? Must purling streams refresh a lover's loves? Must all be veil'd, while he that reads, divines, Catching the sense at two removes? Shepherds are honest people; let them sing; Riddle who list, for me, and pull for prime; I envy no man's nightingale or spring; Nor let them punish me with loss of rhyme, Who plainly say, my God, my King.
Title: Jordan (1) Author: George Herbert Significance: This poem begs the questions, what is poetry? And what is poetry allowed to be? What is the relationship between art/beauty and truth? Herbert asks whether poetry has to be false/fictional in order to be aesthetically pleasing. He claims that "Shepherds are honest people" and hold beauty, not because they are, indeed, universally, beautiful. Shepherds are truthful, which in and of itself is beautiful so we should hear from them. Argues that even shepherds can be poets. It is ironic that Herbert is calling for a plain, honest style, yet writes complicatedly. Is the only way to convey his message?
"Look ye, ye faithless crew," said he, "'tis not life I seek, nor am I afraid of dying," and at that word, cut a piece of flesh from his own throat, and threw it at 'em; "yet still I would live if I could, till I had perfected my revenge. But oh! it cannot be; I feel life gliding from my eyes and heart; and if I make not haste, I shall fall a victim to the shameful whip." At that, he ripped up his own belly, and took his bowels and pulled 'em out, with what strength he could; while some, on their knees imploring, besought him to hold his hand.
Title: Oroonoko Author: Aphra Behn Significance: As he mutilates himself, he's attempting to reestablish his own power and assert himself. Oroonoko is marking his agency on his own body, attempting to reassert valor and honor and courage. He cuts his throat because he cut Imoinda's throat, and cuts his belly because he aborted Imoinda.
The beads they weave into aprons about a quarter of an ell long, and of the same breadth; working them very prettily in flowers of several colors; which apron they wear just before 'em, as Adam and Eve did the fig leaves... And these people represented to me an absolute idea of the first state of innocence, before man knew how to sin. And 'tis most evident and plain that simple Nature is the most harmless, inoffensive, and virtuous mistress. 'Tis she alone, if she were permitted, that better instructs the world than all the inventions of man. Religion would here but destroy that tranquility they possess by ignorance; and laws would but teach 'em to know offense, of which now they have no notion.
Title: Oroonoko Author: Aphra Behn Significance: Behn/the narrator idolizes them and their innate innocence. She likens them to a prelapsarian new world, and argues that nature is best for them. If these people were taught organized religion it would only teach them how to sin. However, if this world is pre-fall, it can be wondered whether this nation, too, will fall. Adam and Eve seemed innocent as well, but they were tempted by evil.
But before I give you the story of this gallant slave, 'tis fit I tell you the manner of bringing them to these new colonies, for those they make use of there are not natives of the place; for those we live with in perfect amity, without daring to command 'em, but on the contrary caress 'em with all the brotherly and friendly affection in the world, trading with 'em for their fish, venison, buffaloes, skins, and littler rarities; as marmosets, a sort of monkey as big as a rat or weasel but of marvelous and delicate shape, and has face and has like a human creature... For skins of prodigious snakes, or which there are some threescore yards in length; as is the skin of one that may be seen at his Majesty's antiquaries'; where are also some rare flies of amazing forms and colors, presented to 'em by myself, some as big as my fist, some less, and all of various excellences, such as art cannot imitate. Then we trade for feathers, which they order into all shapes, make themselves little short habits of 'em and glorious wreaths for their heads, necks, arms, and legs, whose tinctures are unconceivable.
Title: Oroonoko Author: Aphra Behn Significance: Behn/the narrator is comparing native south Americans and native Africans. She said she would tell her story "simply", and yet here is a diversion. She also employs a catalogue in order to provide proof of her authority. She says that everything has a value, from animals to art to slaves, which is associated with colonization and conquest. These artifacts are brought back to display the wonders in a museum, and her words are yet another way to display these wonders.
I was myself an eye-witness to a great part of what you will find here set down; and what I could not be witness of, I received from the mouth of the chief actor in his history, the hero himself, who gave us the whole transactions of his youth; and though I shall omit, for brevity's sake, a thousand little accidents of his life, which, however pleasant to us, where history was scarce and adventures very rare, yet might prove tedious and heavy to my reader, in a world where he finds diversions for every minute, new and strange. But we who were perfectly harmed with the character of this great man were curious to gather every circumstance of his life.
Title: Oroonoko Author: Aphra Behn Significance: Behn/the narrator is the one who decides what parts of Oroonoko's story are told to the audience and preserved, not Oroonoko himself. Even though she is a woman, she is also a white author, which gives her authority. She claims she is above diversions from the story, but this could mean that she omits some information that Oroonoko may have kept in. Likewise, can a true story not be pleasurable or diverting?
He had learned to take tobacco; and when he was assured he should die, he desired they would give him a pipe in his mouth, ready lighted, which they did; and the executioner came, and first cut off his members, and threw them into the fire; after that, with an ill-favored knife, they cut his ears, and his nose, and burned them; he still smoked on, as if nothing had touched him. Then they hacked off one of his arms, and still he bore up, and held his pipe; but at the cutting off the other arm, his head sunk, and his pipe dropped, and he gave up the ghost, without a groan or a reproach. My mother and sister were by him all the while, but not suffered to save him, so rude and wild were the rabble, and so inhuman were the justices, who stood by to see the execution, who after paid dearly enough for their insolence.
Title: Oroonoko Author: Aphra Behn Significance: Behn/the narrator once more likens Oroonoko to a traded good by showing him with tobacco, a traded good. He had learned to take tobacco from Europeans and now they are killing him. Oroonoko works to preserve his dignity by silently facing death. On one hand the body is a site of agency and power. On the other hand, Oroonoko's destroying Imoinda distracts reader of the horrifying truths of slavery.
I do not pretend, in giving you the history of this royal slave, to entertain my reader with adventures of a feigned hero, whose life and fortunes fancy may manage at the poet's pleasure; nor in relating the truth, design to adorn it with any accidents but such as arrived in earnest to him. And it shall come simply into the world, recommended by its own proper merits and natural intrigues; there being enough of reality to support it, and to render it diverting, without the addition of invention
Title: Oroonoko Author: Aphra Behn Significance: By beginning the story with "I," the narrator seems to give the story merit. This passage "others" Oroonoko and treats him similar to a specimen under a microscope. "History" here doesn't necessarily mean a true story, although the narrator rejects fancy imagination, adornment, diversion, invention, etc. This lack of typical ornamental style could also be a reference to Oroonoko the character who seems to also come simply into the world of the Europeans.
His face was not of that brown rusty black which most of that nation are, but of perfect ebony, or polished jet. His eyes were the most awful that could be seen, and very piercing; the white of 'em being like snow, as were his teeth. His nose was rising and Roman, instead of African and flat. His mouth the finest shaped that could be seen; far from those great turned lips which are so natural to the rest of the negroes. The whole proportion and air of his face was so nobly and exactly formed that, bating his color, there could be nothing in nature more beautiful, agreeable, and handsome.... Nor did the perfections of his mind come short of those of his person; for his discourse was admirable upon almost any subject: and whoever had heard him speak would have been convinced of their errors, that all fine wit is confined to the white men, especially to those of Christendom; and would have confessed that Oroonoko was as capable even of reigning well, and of governing as wisely, had as great a soul, as politic maxims, and was as sensible of power, as any prince civilized in the most refined schools of humanity and learning, or the most illustrious courts.
Title: Oroonoko Author: Aphra Behn Significance: He is more beautiful because his features are more European, illustrating white power and superiority. However, he is described like a work of art - like the butterflies - implying that he is more of a "thing" than a human.
The royal slave I had the honour to know in my travels to the other world; and though I had none above me in that country, yet I wanted power to preserve this great man
Title: Oroonoko Author: Aphra Behn Significance: Here, Behn/the narrator is othering Oroonoko; she is not giving him the power, but rather desires the power to preserve his story. This is similar to preserving natural specimens - butterflies - that liken him to the artwork that the Europeans bring back from colonized nations. However, she can't save his life, but instead preserves his story with her words.
They fed him from day to day with promises, and delayed him till the Lord-Governor should come; so that he began to suspect them of falsehood, and that they would delay him till the time of his wife's delivery, and make a slave of that too: for all the breed is theirs to whom the parents belong.
Title: Oroonoko Author: Aphra Behn Significance: The British slave trading captain first befriends Oroonoko, but later betrays him and lies to him, and then sells him to Trefry. Also, Oroonoko is assured over and over again of his and his unborn child's eventual freedom. Later, however, he is hunted down, whipped, and put to death.
I entertained them with the lives of the Romans, and great me, which charmed him to my company; and her, with teaching her all the pretty works that I was mistress of, and telling her stories of nuns, and endeavoring to bring her to the knowledge of the true God: but of all discourses, Caesar liked that the worst, and would never be reconciled to our notions of the Trinity, of which he ever made a jest; it was a riddle, he said, would turn his brain to conceive, and one could not make him understand what faith was. However, these conversations failed not altogether so well to divert him that he liked the company of us women much above the men, for he could not drink, and he is but an ill companion in that country that cannot. So that obliging him to love us very well, we had all the liberty of speech with him, especially myself, whom he called his Great Mistress; and indeed my word would go a great way with him
Title: Oroonoko Author: Aphra Behn Significance: The complex double role of Behn's narrator as participant and observer. She is able to gain access to Oroonoko because she's a woman, but also European. So, she is from dominant culture, but is marginalized as a woman. This is likely the only way for someone to be able to tell this story.
...and though from her being carved in fine flowers and birds all over her body, we took her to be of quality before, yet when we knew Clemene was Imoinda, we could not enough admire her. I had forgot to tell you that those who are nobly born of that country are so delicately cut and rased all over the forepart of the trunk of their bodies, that it looks as if it were japanned, the works being raised like high point round the edges of the flowers. Some are only carved with a little flower or bird at the sides of the temples, as was Caesar; and those who are so carved over the body resemble our ancient Picts that are figured in the chronicles, but these carvings are more delicate.
Title: Oroonoko Author: Aphra Behn Significance: They love her more when they find out who she is. Unlike the conventions of European beauty, body carvings are revered and respected. Imoinda is considered beautiful and powerful because of her etchings.
I ought to tell you that the Christians never buy any slaves but they give 'em some name of their own, their native ones being likely very barbarous and hard to pronounce; so that Mr. Trefry gave Oroonoko that of Caesar, which name will live in that country as long as that (scarce more) glorious one of the great Roman: for 'tis most evident he wanted no part of the personal courage of that Caesar, and acted things as memorable, had they been done in some part of the world replenished with people and historians that might have given him his due. But his misfortune was to fall in an obscure world, that afforded only a female pen to celebrate his fame; though I doubt not but it had lived from others' endeavors if the Dutch, who immediately after his time took that country, had not killed, banished, and dispersed all those that were capable of giving the world this great man's life much better than I have done. And Mr. Trefry, who designed it, died before he began it, and bemoaned himself for not having undertook it in time.
Title: Oroonoko Author: Aphra Behn Significance: White, hierarchal agency is shown in their re-naming the slaves. "Caesar" not "Oroonoko" will live on: native names are considered barbarous and hard to pronounce, so they are changed. Behn/the narrator often laments that she's "only" a female writer, but it is her status as a white woman that allows her access to what she's writing her story on.
Of man's first disobedience, and the fruit Of that forbidden tree whose mortal taste Brought death into the World, and all our woe, With loss of Eden, till one greater Man Restore us, and regain the blissful Seat, Sing, Heavenly Muse, that, on the secret top Of Oreb, or of Sinai, didst inspire That Shepherd who first taught the chosen seed In the beginning how the heavens and earth Rose out of Chaos: or, if Sion hill Delight thee more, and Siloa's brook that flowed Fast by the oracle of God, I thence Invoke thy aid to my adventrous song, That with no middle flight intends to soar Above the Aonian mount, while it pursues Things unattempted yet in prose or rhyme.
Title: Paradise Lost Author: John Milton Significance: "Invocation" - invoke, appeal to a muse, deity; Blank verse; All one sentence (16 lines), second sentence (10 lines); Leads to difficult syntax: main verb "sing" (line 6) - sing heavenly muse about man's first disobedience and all the terrible things that came from it, until a greater man (Jesus) came and saved us; Classical muse (Urania?) vs. Heavenly muse (God, Holy Spirit?) - who is it? - he'll take help from whomever is most helpful in this case; Not very humble: "middle flight" (Daedalus and Icarus) - Milton will not take that middle flight (safe), he will risk flying too close to the sun; "Unattempted yet" (original, daring) - translation from Italian poet (HOW? main theme is obedience/disobedience - question of disobedience at all = man had free will/chose disobedience and chose to fall); Lines 4, 5 - disobedience was bad, but we needed to fall in order to rise up (Jesus' redemption); Line 1: "Man's first disobedience" - not our last; "till one greater Man/Restore us, and regain the blissful Seat" - seat=crown?
High on a throne of royal state, which far Outshone the wealth of Ormus and of Ind, Or where the gorgeous East with richest hand Show'rs on her kings abarbaric pearl and gold, Satan exalted sat, by merit raised To that bad eminence; and from despair Thus high uplifted beyond hope, asires Beyond thus high, insatiate to pursue Vain War with Heav'n, and by success untaught His proud imaginations thus displayed.
Title: Paradise Lost Author: John Milton Significance: "Vain War" → foolish war; "Untaught" → was not taught by his first war with heaven, which he lost; Idolatry?; Satan worshiped like wealthy Eastern sultan; Raised to that position, first by merit → what merit? He lost the war. Through election? If so, when did that happen?; Satan's pride → hopes to fight heaven again, and hopefully win "proud imaginations"
As new-waked from soundest sleep Soft on the flow'ry herb I found me laid In balmy sweat, which with his beamst he sun Soon dried, and on the reeking moisture fed Straight toward heav'n my wond'ring eyes I turned, And gazed a while the ample sky
Title: Paradise Lost Author: John Milton Significance: ADAM; Elevates Adam?; OR when Adam looks at the sky, is this going against Raphael's wish that he doesn't look for more knowledge; Needs an "equal companion"; Eve's creation comes from knowledge of the self; What Adam has is not sufficient for himself; OR attack of Eve: looks at reflection and falls in love; Neither Adam nor Eve is perfect
Firm we subsist, yet possible to swerve... Trial will come unsought. Wouldst thou approve thy constancie, approve First thy obedience; th' other who can know, Not seeing thee attempted, who attest? But if thou think, trial unsought may find Us both securer than thus warned thou seemest, Go; for thy stay, not free, absents thee more; Go in thy native innocence, relie On what thou hast of virtue, summon all, For God towards thee hath done his part, do thine
Title: Paradise Lost Author: John Milton Significance: Adam shifts?; Recalls God's description of man at 3.99: Sufficient to have stood, though free to fall; God made us capable of avoiding temptation, but also of succumbing to it (by "swerving"); This is one of the best lines in Paradise Lost and demonstrates Adam's love for Eve. Adam's saying that by not allowing Eve to go on her own he in fact, feels pain because he feels as if he's keeping her against her will. On a further note, Adam reflects the nature of God in allowing obedience. Forced obedience creates an automaton. If Adam was to chain Eve up in the basement, it wouldn't be love. If God didn't allow an opportunity to obey Him in the tree, He wouldn't be loving; Humanity's relationship with God is all about give and take
...for with thee Certain my resolution is to die; How can I live without thee, how forgo Thy sweet converse and love so dearly joined, To live again in these wild woods forlorn? Should God create another Eve, and I Another rib afford, yet loss of thee Would never from my heart; no no, I feel The link of nature draw me: flesh of flesh, Bone of my bone thou art, and from thy state Mine never shall be parted, bliss or woe.
Title: Paradise Lost Author: John Milton Significance: Adam's uxoriousness; His desire for Eve > obedience to God; Adam also sucked up into language of courtly love; "heart and soul" is now gone after "flesh of flesh, bone of bone" → just about the body now; Uxoriousness or obedience?; Choosing to be with Eve because of his obedience to his marriage vows (values these above obedience to God?); Repeats vows again; but again, it's "flesh." Not soul, not mind; She separated them by eating the apple, he can reunite them by eating the apple
Our state cannot be severed, we are one, One flesh; to lose thee were to lose my self.
Title: Paradise Lost Author: John Milton Significance: Adam's uxoriousness; His desire for Eve > obedience to God; Adam also sucked up into language of courtly love; "heart and soul" is now gone after "flesh of flesh, bone of bone" → just about the body now; Uxoriousness or obedience?; Choosing to be with Eve because of his obedience to his marriage vows (values these above obedience to God?); Repeats vows again; but again, it's "flesh." Not soul, not mind; She separated them by eating the apple, he can reunite them by eating the apple
Hadst thou the same free will and power to stand? Thou hadst: whom hast thou then or what to accuse, But Heavn'n's free love dealt equally to all? ... Nay cursed be thou
Title: Paradise Lost Author: John Milton Significance: Blames free will at first; Then curses himself for his own fall, for freely choosing that which he now regrets; Wonders if there's chance for repentance → knows it would require submission and subservience, where as now he rules in Hell
His words here ended, but his meek aspect Silent yet spake, and breathed immortal love To mortal men, above which only shone Filial obedience: as a sacrifice Glad to be offered, he attends the will Of his great Father.
Title: Paradise Lost Author: John Milton Significance: Christ's choice; Obedience vs. Disobedience: his loyalty is all the more meaningful because he chose it; suggests that the father, unlike Satan, is not a tyrannical monarch; in response, the son offers immortal love; Theodicy: evil exists in the world because man has free choice (obey or disobey)
There oft the Indian herdsman shunning heat Shelters in cool, and tends his pasturing herds At loopholes cut through thickest shade: those leaves They gathered, broad as Amazonian targe, And with what skill they had, together sewed, To gird their waist, vain covering if to hid Their guilt and dreaded shame. O how unlike To that first naked Glory. Such of late Columbus found th'American so girt With feathered cincture, naked else and wild Among the trees on isles and woody shores.
Title: Paradise Lost Author: John Milton Significance: Conquest and Empire: Milton rarely writes about the Americas; Satan = conqueror/Columbus; Adam and Eve = Native Americans "discovered" by Columbus; OR MAYBE... Adam and Eve are lords of new world, and are the conquerors themselves (So... are they conquerors or the conquered?); Satan = bad conquest; Adam and Eve = good conquest?; Here Adam and Eve at their point of most shame/lowest moment → this is when they become associated to the Native Americans; Milton anti-Spanish conquest (because he's anti-Catholic); fine with England conquering Ireland though
I now see Bone of my bone, flesh of my flesh, my self Before me; woman is her name, of man Extracted; for this cause he shall forgo Father and mother and to his wife adhere And they shall be one flesh, one hearth, one would.
Title: Paradise Lost Author: John Milton Significance: Creation according to Adam; Sex not enough → must be compatible in heart and soul
...perhaps I also erred in overmuch admiring What seemed in thee so perfect
Title: Paradise Lost Author: John Milton Significance: Dangers of uxoriousness; from Adam's POV Eve is the image of integrity; she is perfected, which means both that she seems to have less need of Adam than he of her, and also that to him she is unknowable; after the fall he charges himself with once thinking that she was perfect
Thus it shall befall Him who to worth in women overtrusting, Lets her will rule...
Title: Paradise Lost Author: John Milton Significance: Dangers of uxoriousness; from Adam's POV Eve is the image of integrity; she is perfected, which means both that she seems to have less need of Adam than he of her, and also that to him she is unknowable; after the fall he charges himself with once thinking that she was perfect
But whether thus these things, or whether not, Whether the sun predominant in heav'n Rise on the earth, or earth rise on the sun... Solicit not thy thoughts with matters hid, Leave them to God above, him serve and fear; Of other creatures, as him pleases best, Wherever placed, let him dispose: joy thou In what he gives to thee, this Paradise And thy faire Eve; heav'n is for thee too high To know what passes there; be lowly wise: Think only what concerns thee and thy being; Dream not of other worlds, what creatures there Live, in what state, condition or degree, Contented that thus far hath been revealed Not of earth only but of highest Heav'n.
Title: Paradise Lost Author: John Milton Significance: Don't worry about it! Don't wonder about anything other than God; Raphael is a warning sent to Adam and Eve → trying to prevent dangerous knowledge; Dangerous knowledge?; NOT the greater serving the lesser → Raphael opposing common beliefs
That day I oft remember when from sleep I first awaked, and found my self reposed Under a shad on flowers, much wond'ring where And what I was, whence thither brought, and how. Not distant far from thence a murmuring sound Of waters issued from a cave and spread Into a liquid plain, then stood unmoved Pure as th'expanse of Heav'n; I thither went With unexperienced thought, and laid me down On the green
Title: Paradise Lost Author: John Milton Significance: EVE; Elevates Adam?; OR when Adam looks at the sky, is this going against Raphael's wish that he doesn't look for more knowledge; Needs an "equal companion"; Eve's creation comes from knowledge of the self; What Adam has is not sufficient for himself; OR attack of Eve: looks at reflection and falls in love; Neither Adam nor Eve is perfect
If this be our condition, thus to dwell In narrow circuit straitened by a Foe, [confined] Subtle or violent, we not endued Single with like defence wherever met, How are we happy, still in fear of harm? But harm precedes not sin: only our Foe Tempting affronts us with his foul esteem Of our integrity: his foul esteem Sticks no dishonour on our front, but turns Foul on himself; then wherefore shunned or feared By us, who rather double honour gain From his surmise proved false, find peace within, Favour from Heaven, our witness, from the event? [outcome] And what is faith, love, virtue, unassayed
Title: Paradise Lost Author: John Milton Significance: Eve as heroine?; Adam is too risk-adverse for Eve; We can't be harmed if we haven't even sinned yet, Eve reasons; Eve to Satan: "I'm rubber, you're glue!"; What doesn't kill us makes us stronger...
Adam, from whose dear side I boast me sprung, And gladly of our union hear thee speak, One heart, one soul in both; whereof good proof This day affords, declaring thee resolved, Rather than death or aught than death more dread Shall separate us, linked in love so dear, To undergo with me one guilt, one crime, If any be, of tasting this fair fruit... She gave him of that fair enticing fruit With liberal hand: he scrupled not to eat Against his better knowledge, not deceived, But fondly overcome with female charm.
Title: Paradise Lost Author: John Milton Significance: Eve renews her vows; Adam eats; "One guilt, one crime" is really what unites them; Eve uses deceitful language; Eve uses bravado; Adam isn't convinced that eating is the answer → then he gives up reason and is guided by emotion
She ended weeping, and her lowly plight Immovable till peace obtained from fault Acknowledged and deplored, in Adam wrought Commiseration; soon his heart relented Towards her, his life so late and sole delight, Now at his feet submissive in distress, Creature so fair his reconcilement seeking, His counsel whom she had displeased, his aid
Title: Paradise Lost Author: John Milton Significance: Eve saves Adam/Reunited: She wants things from him, and he likes that; She is placing herself in this lowly place/position; Saves him by saying they could be united
In plain then, what forbids he but to know Forbids us good, forbids us to be wise? Such prohibitions bind not. But, if Death Bind us with after-bands, what profits then Our inward freedom? ... Yet that one beast which first Hath tasted envies not, but brings with joy The good befall'n him, author unsuspect Friendly to man, far from deceit or guile What fear I then? rather, what know to feare Under this ignorance of Good and Evil, Of God or Death, of law or Penalty?
Title: Paradise Lost Author: John Milton Significance: Eve's resolve; Eve sums up what she's been saying to herself/the fruit: God says we can't have goodness and wisdom, which is just a dumb up rule, so we can ignore it; The serpent, of course, is Satan, and full of deceit and guile, so Eve is 100% wrong
Beyond compare the Son of God was seen Most glorious, in him all his Father shone Substantially expressed, and in his face Divine compassion visibly appeared, Love without end, and without measure grace, Which uttering thus he to his Father spake. "O Father, gracious was that word which closed Thy sov'reign sentence, that man should find grace
Title: Paradise Lost Author: John Milton Significance: God's justice vs. Christ's mercy; • We can't see the father, but we can see the father in the son; Speaker acknowledges blindness, but asks for inner light so that he can tell of things invisible (i.e. God through the son); Idealized version of book 2? (Satan, Sin, Death → father seeing image in child → bad thing); here, it seems more positive; Eve almost fell in love with her own reflection; Son much less severe and threatening, warmer; advocates for compassion; tells father not to let Satan achieve his goal
Part of my soul I seek thee, and thee claim My other half: with that thy gentle hand Seized mine, I yielded, and from that time see How beauty is excelled by manly grace And wisdom, which alone is truly fair.
Title: Paradise Lost Author: John Milton Significance: Hands/Sex: First fell in love with own reflection, but then realized that man was better; "Seized" → hostile relationship?; Hands mark union
So said he, and forebore not glance or toy Of amorous intent, well understood Of Eve, whose eye darted contagious fire. Her hand he seized, and to a shady bank, Thick overhead with verdant roof embowered He led her nothing loath...
Title: Paradise Lost Author: John Milton Significance: Hands/Sex: Leading her off to have sex; "Seized" → last time she happily joined him; here, she again goes willingly but this time to have sex; Sex after the fall is a sin, as opposed to spiritual before the fall
Thus saying, from her husband's hand her hand Soft she withdrew
Title: Paradise Lost Author: John Milton Significance: Hands/Sex: She withdraws → gives here agency; Threat to their union; Hands mark separation
Did I request thee, Maker, from my clay to mold me man? ... Out of my sight, thou serpent... But for thee I had persisted happy
Title: Paradise Lost Author: John Milton Significance: How to live in a post-lapsarian world? Adam laments that woman was made (misogynistic)
Henceforth I learn, that to obey is best, And love with fear the only God... And on him sole depend, Merciful over all his works, with good Still overcoming evil
Title: Paradise Lost Author: John Milton Significance: How to reunite and console one another - Adam: God is good, just, merciful (unlike how Satan portrays God)
...then wilt thou not be loath To leave this Paradise, but shalt possess A paradise within thee, happier far.
Title: Paradise Lost Author: John Milton Significance: How to reunite and console one another - Michael: They can carry paradise with them (like Satan carries hell with him)
And chiefly Thou, O Spirit, that dost prefer Before all temples the upright heart and pure, Instruct me, for Thou know'st; Thou from the first Wast present, and, with mighty wings outspread, Dove-like sat'st brooding on the vast Abyss, And mad'st it pregnant: what in me is dark Illumine, what is low raise and support; That, to the highth of this great argument, I may assert Eternal Providence, And justify the ways of God to men.
Title: Paradise Lost Author: John Milton Significance: I can't know what the creation of the world was like, but you were there and can teach me how to present this story; Raise me up/inspire me/teach me what I don't know → everything is dark for him (he's blind); "Instruct me:" Adam and Eve incorrectly gain too much knowledge; some knowledge is good, some is deadly; Some humility: there is some darkness in him, he doesn't know everything; Ego: "what is dark in me, illumine" = "let there be light," what God says; Line 26: "Justify," v. - to how or maintain the justice or reasonableness of (an action, claim, etc.); to adduce adequate grounds for; to defend as right or proper. (OED) - does God need Milton to defend him? // Relationship of God's authority to king's authority? Are god's actions just? If so, then why to bad things happen? Milton will explain...or does he? What are his justifications?; Evil is allowed because Satan has free will (so God can show mercy) - and audience has free will: should we then be judging Adam and Eve? God? How far does that free will let us go?
They therefore as to right belonged, So were created, nor can justly accuse Their Maker, or their making, or their fate, As if predestination overruled Their will, disposed by absolute decree Or high foreknowledge; they themselves decreed Their own revolt, not IL if I foreknew, Fore knowledge had no influence on their fault, Which had no less proved certain unforeknown. So without least impulse or shadow of fate, Or aught by me immutable foreseen, They trespass, authors to themselves in all Both what they judge and what they choose; for so I formed them free, and free they must remain, Till they enthrall themselves: I else must change Their nature, and revoke the high decree Unchangeable, eternal, which ordained Their freedom, they themselves ordained their fall
Title: Paradise Lost Author: John Milton Significance: Just because he knows things in advance, it doesn't mean he can prevent or change outcomes; Or he could, but he would have to take back the free will; "Certain" (l.119) = known, knowable (they didn't have to happen); → Just because God knows something, doesn't mean he will cause it; Slips between past and future tenses → God's time vs. human time vs. poem's time (God's time is more fluid: sees past, present, and future at the same time)
Upon thy belly groveling thou shalt go And dust shalt eat all the days of thy life. Between thee and the woman I will put Enmity, and between thine and her Seed; Her Seed shall bruise thy head, thou bruise his heel
Title: Paradise Lost Author: John Milton Significance: Lessons learned: Protoevangelium; Prophecy about Mary giving birth to Christ
...though all by me is lost, Such favor I unworthy am vouchsafed, By me the promised Seed shall all restore
Title: Paradise Lost Author: John Milton Significance: Mary fulfills prophecy; Eve = prototype of Virgin Mary
...by him [Mammon] first Men also, and by his suggestion taught, Ransacked the center, and with impious hands Rifled the bowels of their mother earth For treasures better hid. Soon had his crew Opened into the hill a spacious wound And digged out ribs of Gold.
Title: Paradise Lost Author: John Milton Significance: Mining Hell → violent imagery; Earth is female; "Ribs" → reminds us that Eve was created from one of Adam's ribs; Build Pandemonium by destroying earth (mining for gold) → the gold building, however, is all for show
Him God beholding from his prospect high, Wherein past, present, future he beholds, Thus to his only Son foreseeing spake. ...so will fall He and his faithless progeny: whose fault? Whose but his own? Ingrate, he had of me All he could have; I made him just and right, Sufficient to have stood, though free to fall. Such I created all th'ethereal Powers And Spirits, bot them who stood and them who failed; Freely they stood who stood, and fell who fell.
Title: Paradise Lost Author: John Milton Significance: More aggressive, hard view of God; He gave them the choice, just like the angels; Humans had the possibility to not fall, just like the angels
So saying, her rash hand in evil hour Forth reaching to the Fruit, she pluck'd, she eat... for Eve Intent now wholly on her taste, nought else Regarded; such delight till then, as seemed In fruit she never tasted, whether true Or fancied so, through expectation high Of knowledge; nor was Godhead from her thought Greedily she ingorged without restraint And knew not eating death
Title: Paradise Lost Author: John Milton Significance: Much has been made of the sonic similarity of Eve/evil, especially by mean men who hate women and want to prove they're inherently bad; But more interesting is the double mention of bad timing (rash hand in evil hour), implying that if Eve had just waited, this fatal binge would have been avoided; Eve thought she was eating her way to enlightenment; Eve was eating her way to death, although not immediate death. When God discovers what Adam and Eve have done, He revokes their privilege to immortality and casts them from the Garden.
All hope excluded thus, behold, instead Of us outcast, exiled, his new delight, Mankind created, and for him this world. So farewell hope, and, with hope, farewell fear, Farewell remorse: all good to me is lost; Evil be thou my good; by thee at least Divided empire with Heavn'n's King I hold By thee, and more than half perhaps will reign
Title: Paradise Lost Author: John Milton Significance: No regret, no hope (nothing more to lose); Hope gives expectations, wishes → Satan gives this up; Satan firmly evil?; Divided empire → he can rule in Hell while God rules in Heaven; Then suggests he has hope: more than half perhaps will reign; → Hoping to rule more than half by conquering earth; "Evil be thou my good"
Ah, wherefore! He deserved no such return From me, whom he created what I was In teat bright eminence, and with his good Upbraided none; nor was his service hard.
Title: Paradise Lost Author: John Milton Significance: Obedience wasn't so bad after all; He shouldn't have obeyed; God was right; We have some sympathy for Satan; he seems a bit redeemed
The world was all before them, where to choose Their place of rest, and Providence their guide: They hand in hand with wand'ring steps and slow, Through Eden took their solitary way.
Title: Paradise Lost Author: John Milton Significance: Reunion/Consolation: Hand in hand: united in body, spirit, heart, mind; no one "seizing"; They have agency: they can choose where to go, with providence as their guide; Satan was constrained in hell, but Adam and Eve are not constrained; "Solitary way," taken together. Seems paradoxical. Before now, they were led by angels, but now it's just them. The bounty of Eden has also been taken from them; God's grace is still with them, so they're not entirely alone
Or will God incense his ire For such a petty Trespass, and not praise Rather your dauntless vertue, whom the pain Of Death denounc't, whatever thing Death be, Deterred not from achieving what might leade To happier life, knowledge of Good and Evil; Of good, how just? of evil, if what is evil Be real, why not known, since easier shunnd? God therefore cannot hurt ye, and be just; Not just, not God; not feared then, nor obeyed
Title: Paradise Lost Author: John Milton Significance: Satan as persuasive orator?; Satan slyly preys on Eve's agnosticism and innocent ignorance.
But say I could repent, and could obtain, By act of grace, my former state; how soon Would heighth recall high thoughts, how soon unsay What feigned submission swore: ease would recent Vows made in pain, as violent and void. For never can true reconcilement grow Where wounds of deadly hate have pierced so deep: Which would but lead me to a worse relapse, And heavier fall: so should I purchase dear Short intermission bought with double smart. This knows my punisher; therefore as far From granting he, as I from begging, peace
Title: Paradise Lost Author: John Milton Significance: Satan tells himself that God wouldn't grant him grace; If he did, Satan would fall farther and harder; He's not going to beg for grace; Now he blames God for; Denying mercy is merciful because it prevents Satan from falling more; Maybe God is merciful then; Either way, a turning point → considers redemption, then slides back into despair
Space may produce new worlds; whereof so rife There went a fame in Heav'n that he ere long Intended to create, and therin plant A generation, whom his choice regard Should favor equal to the sons of Heaven: Thither, if but to pry, shall be perhaps Our first eruption...But these thoughts Full counsel must mature: peace is despaired, For who can think submission? War then, war open or understood must be resolved.
Title: Paradise Lost Author: John Milton Significance: Satan thought of this in book 1, but allowed the other devils to believe they came up with the idea
Thus Beelzebub Pleaded his devilish counsel, first devised By Satan, and in part proposed: for whence, But from the author of all ill could spring So deep a malice.
Title: Paradise Lost Author: John Milton Significance: Satan thought of this in book 1, but allowed the other devils to believe they came up with the idea
Powers and Dominions, deities of Heav'n, For since no deep within her gulf can hold Immortal vigor, though oppressed and fall'n I give not Heav'n for lost. From this descent Celestial Virtues rising, will appear More glorious and more dread then from no fall, And trust themselves to fear no second fate. Me though just right, and the fixed Laws of Heav'n Did first create your Leader, next free choice, With what besides, in counsel or in fight, Hath been achieved of merit, yet this loss Thus far at least recovered, hath much more Established in a safe unenvied throne Yielded with full consent.
Title: Paradise Lost Author: John Milton Significance: Says, "we haven't lost forever"; Since we've fallen, if we rise it'll be even more impressive (redemption from the fall // Adam and Eve); l.18 "just right" → except it's Christ who rules by just right; l. 18 "fixed Laws of Heav'n" → ruler in hell not heaven; l.18; l.20-21 "merit" in counsel and fight → although, they've just fallen; "Unenvied throne" → he's been elected/granted the throne by full consent, unenvied by God; Echoed in Book 3?; Satan as Ruler: "GOOD" VS. EFFECTIVE VS. SUCCESSFUL LEADER
Two of far nobler shape erect and tall, Godlike erect, with native honor clad In naked majesty seemed lords of al, And worthy seemed, for in their looks divine The image of their glorious Maker shone, Truth wisdom, sanctitude severe and pure, Severe, but in true filial freedom placed, Whence true authority in men; though both Not equal, as their sex not equal seemed; For contemplation he and valor formed, For softness she and sweet attractive grace; He for God only, she for God in him
Title: Paradise Lost Author: John Milton Significance: Seems to at first suggest a quality with "both"; They don't seem equal in Satan's eyes; What are their differences?; Equal can mean identical, so in that case → they're physically not identical → doesn't mean there's a hierarchy; Last 3 lines: true difference between man and woman → Adam made in image of God, Eve made from Adam
There they their fill of love and love's disport Took largely, of their mutual guilt the seal, The solace of their sin
Title: Paradise Lost Author: John Milton Significance: Sex=sin: Leads to their separation
To whom the greater Creator thus replied. "Son, in whom my soul hath chief delight, Son of my bosom, Son who art alone My word, my wisdom, and effectual might, All hast thou spoken as my thoughts are, all As my eternal purpose hath decreed: Man shall not quite be lost, but saved who will, Yet not of will in him, but grace in me Freely vouchsafed
Title: Paradise Lost Author: John Milton Significance: Softer side of god?; A bit of rhyming, more lyrical, more merciful like God's disposition; His grace will be offered to all, save some; Satan undermined his council; now God is saying that he already had decided what his son is now saying. Just like the fallen angels decided to do what Satan already had.
...horror and doubt distract His troubled thoughts, and from the bottom stir The Hell within him; for within him Hell He brings, and round about him, nor from Hell One step no more than from himself can fly By change of place: now conscience wakes despair That slumbered, wakes the bitter memory Of what he was, what is, and what must be Worse; of worse deeds worse sufferings must ensue.
Title: Paradise Lost Author: John Milton Significance: Sympathy for the devil?; Moment of doubt of plan; He can't escape hell, even though it was an original goal of his; Hell is within him → psychological state of mind, just as it is a physical place; He is hell; Satan sees the memory what he used to be, what he is, and what he will be, (mirrors God's ability to see past, present, and future); Satan has a conscience?; Now despair and bitter memory awaken in him; The pardoner in Canterbury tales → admits that good may be done by a bad man; also filled with despair, couldn't be redeemed by God; God's grace will be denied to him; Satan seems heroic in opening books; is he sympathetic?; Why create sympathy for the devil?; Satan hates the light becomes it reminds him of his past
When I behold this goodly frame, this world Of heav'n and earth consisting, and compute Their magnitudes, this earth a spot, a grain, An atom, with the firmament compared And all her numbered stars, that seem to roll Spaces incomprehensible (for such Their distance argues and their swift return Diurnal) merely to officiate light Round this opacous Earth, this punctual spot, One day and night; in all their vast survey Useless besides, reasoning I oft admire, How Nature wise and frugal could commit Such disproportions
Title: Paradise Lost Author: John Milton Significance: Why are there so many stars and planets? Round things, not flat; Mankind is reduced; Earth is at center, but it's small; Compared to the firmament (dome) and numbered stars; So...what's the purpose of all this?; Raphael's solutions; God hides things from humans; Big and bright doesn't mean better; the earth is more fruitful than the sun; God is omnipotent; Maybe it's only disproportionate from your view on earth
...the poor Savage who fled, but had stopp'd; thought; yet was so frightened with the Fire, and Noise of my Piece; that he stood Stock still, and neither came forward nor went backward...and I cou'd then perceive that he stood trembling, as if he had been taken Prisoner, and had just been to kill'd, as his two Enemies were. I beckon'd him again to come to me, and gave him all the Signs of Encouragement that I could think of, and he came nearer and nearer, kneeling down every Ten or Twelve steps in token of acknowledgement for saving his Life: I smil'd at him, and then look'd pleasantly, and beckon'd to him to come still nearer; at length he came close to me, and then he kneel'd down again, kiss'd the Ground, and laid his Head upon the Ground, and taking me by the Foot, set my Foot upon his Head; this, it seems, was in token of swearing to be my Slave for ever.
Title: Robinson Crusoe Author: Daniel Defoe Significance: Crusoe argues that this act is Friday's way of forever swearing to be his slave, but how does he know that? It's a very convenient interpretation for Crusoe in that he gains a slave, although there is a hint of doubt in saying "this, it seems." They speak same language, but we never hear Friday directly, we never get immediate access to anyone else's thoughts. The white man has the agency.
As for my Face, the Colour of it was really not so Molatta like as one might expect from a Man not at all careful of it, and living within nine or ten Degrees of the Equinox. My beard I had once suffer'd to grow till it was about a Quarter of a Yard long; but as I had both Scissars and Razors sufficient, I had cut it pretty short, except what grew on my upper Lip, which I had trimmed into a large Pair of Mahometan Whiskers, such as I had seen worn by some Turks, who I saw at Sallee, for the Moors did not wear such, tho' the Turks did; of these Muschatoes or Whiskers, I will not say they were long enough to hang my Hat upon them, but they were of a Length and Shape monstrous enough, and such as in England would have pass'd for frightful.
Title: Robinson Crusoe Author: Daniel Defoe Significance: Crusoe is imitating the hairstyle of some of his former captors, the Turks, as opposed to the Moors. It is in this way that he likens himself to the slave-owners (Turks) and not the slaves (Moors). His skin may have tanned in his endeavors, but he is still white and he therefore still identifies with the more powerful slave-owners.
...these things were all either too far above me or too far below me; that mine was the middle State, or what might be called the upper Station of Low Life, which he had found by long experience was the best State in the World, the most suited to human Happiness, not exposed to the Miseries and Hardships, the Labour and Sufferings of the mechanic Part of Mankind, and not embarrass'd with the Pride, Luxury, Ambition, and Envy of the upper Part of Mankind...
Title: Robinson Crusoe Author: Daniel Defoe Significance: Crusoe's father says he has no reason to go because he is middle class, and label that Crusoe rejects. He represents "rugged individualism," implying that he survives on his own or by his own merits. However, he only survives because of the help of others: people back in England managing his property and money, people in Brazil also manage property, Xury helps him, natives give him food and water, etc.
September 30, 1659.—I, poor miserable Robinson Crusoe, being shipwrecked during a dreadful storm in the offing, came on shore on this dismal, unfortunate island, which I called "The Island of Despair"; all the rest of the ship's company being drowned, and myself almost dead. All the rest of the day I spent in afflicting myself at the dismal circumstances I was brought to—viz. I had neither food, house, clothes, weapon, nor place to fly to; and in despair of any relief, saw nothing but death before me—either that I should be devoured by wild beasts, murdered by savages, or starved to death for want of food. At the approach of night I slept in a tree, for fear of wild creatures; but slept soundly, though it rained all night.
Title: Robinson Crusoe Author: Daniel Defoe Significance: Here we see that Crusoe is striving for accuracy even if it means he must repeat himself. He said that he couldn't keep a journal his first day on the island due to not having ink, so this account is retrospective. Again, we question whether or not this is entirely truthful, as he has left out puking up sea water, and altered his writing to say "poor miserable" and "island of despair." He wants to use the journal to keep track of time on the island, but we later learn that he gets some of the dates incorrect.
After I had been there about Ten or Twelve Days, it came into my Thoughts that I should lose my Reckoning of Time for want of Books and Pen and Ink, and should even forget the Sabbath Days from the working Days; but to prevent this, I cut with my Knife upon a large Post, in Capital Letters, and making it into a great Cross I set it up on the shore where I first landed, viz. "I come on shore here on the 30th of Sept 1659." Upon the Slides of this square Post I cut every Day a Notch with my Knife, and every seventh Notch was as long again as the rest, and every first Day of the month as long again as that long one, and thus I kept my Kalendar, or weekly, monthly, and yearly reckoning of Time.
Title: Robinson Crusoe Author: Daniel Defoe Significance: His fear is that he will lose track of time, but already his is saying "Ten or Twelve Days." How accurate is his memory, and how can he make a true calendar? Saying, "I come on shore here on the 30th of Sept 1659" sounds like the beginning of a biography, and Crusoe could be marking a new birth or beginning. He is now claiming this island as his own. He works to be orderly, but is only able to do so much.
And now it was that I began to keep a Journal of every Day's Employment, for indeed at first I was in too much Hurry, and not only hurry as to Labour, but in too much Discomposure of Mind; and my Journal would ha'been full of so many dull things: For Example, I must have said thus. Sept the 30th. After I had got to Shore, and had escap'd drowning, instead of being thankful to God for my Deliverance, having first vomited with the great Quantity of salt Water which has got into my Stomach, and recovering myself a little, I ran about the Shore, wringing my Hands and beating my Head and Face, exclaiming at my misery, and crying out, I was undone, undone, till tyr'd and faint I was forc'ed to lie down on the Ground to repose, but durst not sleep for fear of being devour'd.
Title: Robinson Crusoe Author: Daniel Defoe Significance: This is what Crusoe believes the entry of the first day might have looked like, with all it's "dull" details. In comparing this to his actual journal where he leaves out vomiting the salt-water and his fear of being eaten, how can we be sure what is the truth? What's the purpose of sugar-coating what happened?
He offer'd me also 60 Pieces of Eight more for my Boy Xury, which I was loath to take, not that I was not willing to let the Captain have him, but I was very loath to sell the poor Boy's Liberty, who has assisted me so faithfully in procuring my own. However, when I let him know my Reason, he own'd it to be just, and offered me this Medium, that he would give the Boy an Obligation to set him free in ten Years, if he turn'd Christian; upon this, and Xury saying he was willing to go to him, I let the Captain have him.
Title: Robinson Crusoe Author: Daniel Defoe Significance: This passage argues that christianizing someone justifies their freedom and betters the person. Is this a legal trade? They're both slaves, yet Crusoe has power over him and is able to decide his fate. Again, even though they are both lower on the societal hierarchy, Crusoe's white skin gives him agency and allows him to to have more power than Xury.
Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O no; it is an ever-fixed mark, That looks on tempests, and is never shaken; It is the star to every wandering bark, Whose worth's unknown, although his height be taken. Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come; Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved.
Title: Sonnet 116 Author: William Shakespeare Significance: If it's love, it doesn't abandon you because of infidelity, departure, death, etc. Bodies are free to leave, die, be unfaithful, but love stands outside time and the mess that is mortality. "Sea/tempest" is the fate of the human whose minutes move forward like waves, and people are inconstant. Love, on the other hand, stands apart from seas, storms, careless lovers.
Accuse me thus: that I have scanted all Wherein I should your great deserts repay; Forgot upon your dearest love to call, Whereto all bonds do tie me day by day; That I have frequent been with unknown minds, And given to time your own dear-purchas'd right That I have hoisted sail to all the winds Which should transport me farthest from your sight. Book both my wilfulness and errors down And on just proof surmise accumulate; Bring me within the level of your frown, But shoot not at me in your waken'd hate; Since my appeal says I did strive to prove The constancy and virtue of your love.
Title: Sonnet 117 Author: William Shakespeare Significance: Sonnet 116 defined love by Shakespeare's standards, and here that love is put to test. The narrator is saying that he only wandered away and did all those bad things in order to make sure that your love was constant and true. He suggests that love is the work of a solitary lover: true love only takes one person even though two are participating.
When I do count the clock that tells the time, And see the brave day sunk in hideous night; When I behold the violet past prime, And sable curls all silver'd o'er with white; When lofty trees I see barren of leaves Which erst from heat did canopy the herd, And summer's green all girded up in sheaves Borne on the bier with white and bristly beard, Then of thy beauty do I question make, That thou among the wastes of time must go, Since sweets and beauties do themselves forsake And die as fast as they see others grow; And nothing 'gainst Time's scythe can make defence Save breed, to brave him when he takes thee hence.
Title: Sonnet 12 Author: William Shakespeare Significance: Shakespeare utilizes nature imagery (violet past its prime, white frost, grain beard etc.) to allude to person growing old. He also brings attention to ecophobia, showing anxieties about famine and therefore the future. This is part of the procreation sonnet sequence: "Planting new crops" is how we ward of death, meaning things have to die to make way for the new.
Like as the waves make towards the pebbled shore, So do our minutes hasten to their end; Each changing place with that which goes before, In sequent toil all forwards do contend. Nativity, once in the main of light, Crawls to maturity, wherewith being crown'd, Crooked eclipses 'gainst his glory fight, And Time, that gave, doth now his gift confound. Time doth transfix the flourish set on youth, And delves the parallels in beauty's brow, Feeds on the rarities of nature's truth, And nothing stands but for his scythe to mow. And yet to times in hope my verse shall stand, Praising thy worth, despite his cruel hand
Title: Sonnet 60 Author: William Shakespeare Significance: Now poetry, as opposed to babies, is the answer. Like the sea, time pushes on relentlessly and is too big to be stopped. Bodies cannot live on forever, but words may. Death (time) is awaiting all humans with his scythe: he is also a planter, sowing death in the body he has created.
What wondrous life in this I lead! Ripe apples drop about my head; The luscious clusters of the vine Upon my mouth do crush their wine; The nectarine and curious peach Into my hands themselves do reach; Stumbling on melons, as I pass, Ensnared with flowers, I fall on grass. Meanwhile the mind from pleasure less Withdraws into its happiness; The mind, that ocean where each kind Does straight its own resemblance find; Yet it creates, transcending these, Far other worlds, and other seas; Annihilating all that 's made To a green thought in a green shade. Such was that happy Garden-state While man there walk'd without a mate: After a place so pure and sweet, What other help could yet be meet! But 'twas beyond a mortal's share To wander solitary there: Two paradises 'twere in one, To live in Paradise alone. How well the skilful gard'ner drew Of flowers and herbs this dial new! Where, from above, the milder sun Does through a fragrant zodiac run: And, as it works, th' industrious bee Computes its time as well as we. How could such sweet and wholesome hours Be reckon'd, but with herbs and flowers!
Title: The Garden Author: Andrew Marvell Significance: Green is not only the color of nature, but also the color of desire. The world was a better place when Adam was alone without a mate: there was no possibility of failure, and no tempting women with apples. There was only fruit and a natural space for him to be a poem.
How vainly men themselves amaze To win the palm, the oak, or bays, And their uncessant labours see Crown'd from some single herb or tree, Whose short and narrow verged shade Does prudently their toils upbraid; While all flow'rs and all trees do close To weave the garlands of repose.
Title: The Garden Author: Andrew Marvell Significance: People strive foolishly to win the symbols of accomplishments (crowns from plants), but instead what they should strive for is being in the natural world itself. It's only from nature that you can get what you really want. The true reward is in the garden (perfect, quiet, peaceful, what you don't get in the city). It's superior to the desires of the outside world. This is the true place for the arts.