ENGL 3810 Identifications that we're gonna kill
"Save that from yonder ivy-mantled tower The moping owl does to the moon complain Of such, as wandering near her secret bower, Molest her ancient solitary reign."
"Elegy Written in a Country Churchyard" By Thomas Gray Pathetic fallacy (endowing nature with human qualities
"These, __________, are thy praise, and yet not all. Thy lady's noble, fruitful, chaste withal. His children thy great Lord may call his own, A fortune in this age but rarely known."
"To Penhurst" by Ben Jonson
"Why _______ will you tell the rest?/ And must you needs describe the chest?"
"A Lady's Dressing Room" by Jonathan Swift As if the narrative eye doesn't understand what Strephon is doing Imploring him to stop before getting to the chamber pot, but of course he doesn't Narrator knows that Strephon knows
"But oh! it turned poor ________ bowels,/ When he beheld and smelt the towels"
"A Lady's Dressing Room" by Jonathan Swift He already knew they would be disgusting when he saw them, but then he just had to pick them up and smell them. The narrator's tone has switched to horror Gross imagery shattering the illusion of an elegant young woman Celia is disgusting but it evens out with her over-femininity earlier
"Five hours (and who can do it less in?)/ By haughty _____ who spent in dressing,/ The goddess from her chamber issues,/ Arrayed in lace, brocade, and tissues./ ________, who found the room was void,/ And Betty otherwise employed,/ Stole in, and took a strict survey/ Of all the litter as it lay;/ Whereof, to make the matter clear,/ And inventory follows here"
"A Lady's Dressing Room" by Jonathan Swift Ironic tone: anyone could do it less in because five hours is a LONG time "goddess" Clinical dispassion of the narrator Narrator talking about strephon entering room Femininity
"Thus finishing his grand survey,/ The swain disgusted slunk away,/ Repeating in his amorous fits, 'Oh! Celia, Celia, Celia shits!'"
"A Lady's Dressing Room" by Jonathan Swift It was a VERY thorough survey with plenty to be disgusted by, but he really felt the need to go through ALL of it... Unclear if the exclamations are out of horror or lust
"I pity wretched Strephon, blind/ To all the charms of womankind./ Should I the queen of love refuse/ Because she rose from stinking ooze?/ To him that looks behind the scene,/ Statira's but some pocky quean./ When Celia in her glory shows,/ If Strephon would but stop his nose,/ Who now so impiously blasphemes/ Her ointments, daubs, and paints, and creams,/ Her washes, slops, and every clout/ With which she makes so foul a rout/ He soon would learn to think like me,/ And bless his ravished eyes to see/ Such order from confusion sprung,/ Such gaudy tulips raised from dung"
"A Lady's Dressing Room" by Jonathan Swift The illusion of feminine charm now ruined for Strephon; he should learn to "stop his nose" and forget about what he saw Speaker's approach: should admire women for transforming from that disgusting mess into something elegant and refined Tone of pity when Strephon is, in fact, a fetishist Speaker is mysogynistic
"Let not Ambition mock their useful toil, Their homely joys, and destiny obscure; Nor Grandeur hear with a disdainful smile The short and simply annals of the poor. The boast of heraldry, the pomp of power, And all that beauty, all that wealth e'er gave, Awaits alike the inevitable hour. The paths of glory lead but to the grave."
"Elegy Written in a Country Churchyard" By Thomas Gray Class conflict The speaker comes from a world that looks down upon the lower classes (personified, in some part, as both Ambition and Grandeur) that he is trying to commune with Weaponization of mortality The speaker deploys our universal finitude against the upper class as a means of leveling the playing field We will all die; there is a great democracy in death, because everyone is equal in that regard; no one can be exempt
"Now fades the glimmering landscape on the sight, And all the air a solemn stillness holds, Save where the beetle wheels his droning flight, And drowsy tinklings lull the distant folds;"
"Elegy Written in a Country Churchyard" By Thomas Gray Kinship with the natural soundscape The silence makes way for an ability to hear more and different things
"Full many a gem of purest ray serene, The dark unfathomed caves of ocean bear: Full many a flower is born to blush unseen, And waste its sweetness on the desert air. Some village Hampden, that with dauntless breast The little tyrant of his fields withstood; Some mute inglorious Milton here may rest, Some Cromwell guiltless of his country's blood."
"Elegy Written in a Country Churchyard" By Thomas Gray Kristen's TA (Zach Stone) strongly believes this stanza will be on the exam with Milton and Cromwell replaced with blanks The poor are humble, but their accomplishments are no less grand, they just don't have the PR of the rich Laboring poor are just as accomplished, but they don't have the wherewithal to commit tremendous crimes that might render them more successful and influential (like monarchs) Gray also compares himself to his forbearers here, saying he's better than Milton because he doesn't just collaborate with the rich and powerful
"Can storied urn or animated bust Back to its mansion call the fleeting breath? Can Honor's voice provoke the silent dust, Or Flattery soothe the dull cold ear of Death?"
"Elegy Written in a Country Churchyard" By Thomas Gray Rhetorical questions attack elegies In engaging in this attack, Gray renders his own elegy very problematic, because this means his is equally vain and futile, not just the elegies from those who elegize the rich Elegies, then, are more about the person alive than the dead person, because the dead won't hear or read your elegy, but you will So they are useful to the person writing them
"For thee, who mindful of the unhonored dead Dost in these lines their artless tale relate; If chance, by lonely contemplation led, Some kindred spirit shall inquire thy fate"
"Elegy Written in a Country Churchyard" By Thomas Gray The speaker takes a radical turn to talking about himself ("thee") He says "thee" because it would be too indecorous to say "I" or "me" Speaker then ventriloquizes the lower class as describing poet, saying they liked him The laboring poor are lamenting the poet's demise now Poem becomes not just narcissistic, but also self-deprecating as well He paints the stereotypical portrait of a listless, intellectual poet, slightly mocking himself The fiction of the poem: a rustic person inviting you to read an elegy in a churchyard because you can read Poet wants to achieve fellowship with the poor and is simultaneously very conscious and very naïve about the challenges of doing so
"Beneath those rugged elms, that yew tree's shade, Where heaves the turf in many a moldering heap, Each in his narrow cell forever laid, The rude forefathers of the hamlet sleep."
"Elegy Written in a Country Churchyard" By Thomas Gray You can't depopulate the natural landscape because humans are in it It is impossible to access a natural place not touched by a human presence
"The breezy call of incense-breathing Morn, The swallow twittering from the straw-built shed, The cock's shrill clarion, or the echoing horn, No more shall rouse from their lowly bed."
"Elegy Written in a Country Churchyard" By Thomas Gray night anticipates the process of death nature forces contemplation of our own finitude, but it also gives consolation for some sort of afterlife Poetry is a form of immortalization This brings up the tension of literacy: if the best answer to death is in literature, then that answer to death isn't accessible to so many of the lower-class people
"The curfew tolls the knell of parting day, The lowing herd wind slowly o'er the lea, The plowman homeward plods his weary way, And leaves the world to darkness and to me."
"Elegy Written in a Country Churchyard" By Thomas Gray the poet is obviously literate and is watching a lower-class plowman (who is a synecdoche for the lower class in general) on his way home the speaker isn't working--rather, he is observing others work; his day is defined by leisure genre of elegy: it's dusk here, the day is dying
"I'll tell you of more, and lie, so you will come: Of partridge, pheasant, woodcock, of which some May not be there; and godwit if we can, Knot, rail, and ruff, too."
"Inviting a Man for Supper" by Ben Jonson
"Of this we will sup freely but moderately, And we will have no Pooly or Parrot by; Nor shall our cups make any guilty men, But at our parting we will be as when We innocently met. No simple word That shall be uttered at our mirthful board Shall make us sad next morning or affright The liberty that we'll enjoy tonight."
"Inviting a Man for Supper" by Ben Jonson
"Weep no more, woeful shepherds, weep no more, For ________ your sorrow is not dead, Sunk though he be beneath the wat'ry floor; So sinks the daystar in the ocean bed, And yet anon repairs his dropping head, And tricks his beams, and with new-spangled ore Flames in the forehead of the morning sky: So -------- sunk low, but mounted high"
"Lycidas" Milton anticipating the coming a shepherd who actually gives you immortality o sheeps and shepherds are necessary to both the Pagan and Christian traditions
"Where were ye, nymphs, when the remorseless deep Closed o'er the head of your loved ________? For neither were ye playing on the steep Where your old bards, the famous Druids, lie, Nor on the shaggy top of Mona high, Nor yet where Deva spreads her wizard stream"
"Lycidas" Milton he didn't actually die, has been memorialized through fame set in pagan antiquity, challenging a death
"TWAS mercy brought me from my Pagan land, Taught my benighted soul to understand That there's a God, that there's a Saviour too: Once I redemption neither sought nor knew. Some view our sable race with scornful eye, "Their colour is a diabolic die." Remember, Christians, Negros, black as Cain, May be refin'd, and join th' angelic train."
"On Being Brought from Africa to America" by Phyllis Wheatley Troubling depiction of the middle passage as a "mercy" "Paganism" as the inspiration for great literature --- she derives from the culture that English literature depends on "Once I redemption neither sought nor knew" = she didn't need to be redeemed until she became a Christian, i.e., she didn't need the gospel before she was enslaved "Redeemed" = bought out of enslavement Christianity is a way into and out of enslavement Christian gospel as a gospel of equality Pun on "cane" and "refinement"
"The oracles are dumb; No voice or hideous hum Runs through the archèd roof in words deceiving. Apollo from his shrine Can no more divine, With hollow shriek the steep of Delphos leaving. No nightly trance or breathèd spell Inspires the pale-eyed priest from the prophetic cell."
"On the Morning of Christ's Nativity" by Milton Deceptions and superstitions are gone, eradicated and de-legitimized by Christ's birth, and this stanza has a sort of melancholy feel about this
"He feels from Judah's land The dreaded Infant's hand, The rays of Bethlehem blind his dusky eyne; Nor all the gods beside Longer dare abide, Not typhon huge, ending in snaky twine; Our Babe, to show his godhead true, Can in his swaddling bands control the damnèd crew."
"On the Morning of Christ's Nativity" by Milton Demonization of pagan antiquity The irony of line 228 (last line of stanza): it is an image of Christ overcoming paganism, yes, but it stems from an image of Hercules strangling the Hydra, which is a pagan myth Inability of Milton to separate Christianity from paganism--it is such a part of literary tradition that he cannot reject it entirely; strange, contradictory tension there
"Say, heavenly Muse, shall not thy sacred vein Afford a present to the infant God? Hast thou no verse, no hymn, or solemn strain, To welcome him to this his new abode, Now while the heaven by the sun's team untrod Hath took no print of the approaching light, And all the spangled host keep watch in squadrons bright?"
"On the Morning of Christ's Nativity" by Milton Speaker wants the Muse to speak right before sunrise (metaphor/play on words for the Son's birth)
"And though the shady gloom Had given day her room, The sun himself withheld his wonted speed, And hid his head for shame As his inferior flame The new-enlightened world no more should need; He saw a greater Sun appear Than his bright throne or burning axletree could bear."
"On the Morning of Christ's Nativity" by Milton The Son as a replacement of the sun
"See how from far upon the eastern road The star-led wizards haste with odors sweet: O run, prevent them with thy humble ode, And lay it lowly at his blessèd feet; Have thou the honor first thy Lord to greet, And join thy voice unto the angel choir, From out His secret altar touched with hallowed fire."
"On the Morning of Christ's Nativity" by Milton The magi observe the Heavens as part of ritual religious life and followed a new star to an unexpected revelation and to a true theology (as magi did not believe in the Christian God)
General Themes of "On the Morning of Christ's Nativity" by Milton
"On the Morning of Christ's Nativity" by Milton The poem first underscores the fulfillment aspect of Christianity, but then moves into the "not yet" of Christianity; the odd, convoluted temporality of Christianity as existing in past, present, and future simultaneously, as being both a "not yet" and a "now" and a "back then" Pagan antiquity and its permeation of even the most Christian literature Milton could not completely eradicate his poem of this tradition, even though he would have you believe the two are inherently at odds Antiquity remained at the forefront of Milton (and other writers' minds) throughout this time; antiquity seems to have anticipated the coming of Christianity, and Christ seems to fulfill this antiquity; synchretization (that is, Christianity fulfilling paganism) seems to paint paganism as something almost good; this is at odds with teachings of Christianity Christianity as religion of fulfillment Christianity is supposed to differentiate itself once and for all here
"This is the month, and this the happy morn Wherein the son of Heaven's eternal King, Of wedded maid and virgin mother born, Our great redemption from above did bring; For so the holy sages once did sing, That he our deadly forfeit should release, And with his Father work us a perpetual peace."
"On the Morning of Christ's Nativity" by Milton We are in year 0 at the beginning of Earth's renewal Not only was Christ anticipated (line 5), but the moment he was born, fulfillment happened Except Christ's birth didn't bring fulfillment; there's this weird temporality to the Christian calendar, because New Testament scholars say this was Jesus' second coming (his first coming was at the time of creation), but we still anticipate a second coming, implying Jesus' first coming (his birth) didn't accomplish all it was supposed to Christian calendar mixes the past and present; it already happened, it's still happening, it has yet to happen Christians celebrate Jesus' birth on Christmas, which is the day that used to be the winter solstice (a pagan holiday) Unwitting interpretation of anticipation of something (the sun) on the solstice as an anticipation of Jesus sun/son dichotomy
"Trefry was infinitely pleased with this novel, and found this Clemene was the fair mistress of whom Caesar had before spoke" & 2337: "While they sat at meat Mr. Trefry told Caesar that most of these young slaves were undone in love with a fine she-slave, whom they had about six months on their land."
"Oroonoko, or The Royal Slave" by Aphra Behn "Novel" is a word Behn uses to describe romance between Oroonoko & Imoinda, romantic in its emphasis Classic paradigm of separated lovers reunited Speaker: Narrator Audience: Readers
"'And why,' said he, "'my dear friends and fellow sufferers, should we be slaves to an unknown people? Have they vanquished us nobly in fight? Have they won us in honorable battle? And are we by the chance of war become their slavers? This would not anger a noble heart, this would not animate a soldier's soul; no, but we are bought and sold like apes or monkeys, to be the sport of women, fools, and cowards, and the support of rogues, runagades, that have abandoned their own countries for rapine, murders, thefts, and villianies.'"
"Oroonoko, or The Royal Slave" by Aphra Behn Narrator takes issue with slavery out of context of warfare, thus faults English for perverting slavery as a business rather than a noble institution involved with war Speaker: Oroonoko/Caesar Audience: Enslaved Brethren
"With these people, as I said, we live in perfect tranquility and good understanding, as it behooves us to do, they knowling all the places where to seek the best food of the country and the means of getting it, and for very small and unvaluable trifles, supply us with what 'tis impossible for us to get; for they do not only in the wood and over the savannas, in hunting, supply the parts of hounds, by swiftly scouring through those almost impassable places, and by the mere activity of their feet run down the nimblest deer and other eatable beasts; but in the water one would think they were gods of the rivers, or fellow citizens of the deep, so rare an art they have in swimming, diving, and almost living in water, by which they command the less swift inhabitants of the floods. And then for shooting, what they cannot take, or reach with their hands, they do with arrows, and have so admirable an aim that they will split almost a hair; and at any distance that an arrow can reach, they will shoot down oranges and other fruit, and only touch the stalk with the dart's point, that they may not hurt the fruit. So that they being, on all occasions, very useful to us, we find it absolutely necessary to caress 'em as friends, and not to treat 'em as slaves; nor dare we do other, their numbers so far surpassing ours in that continent."
"Oroonoko, or The Royal Slave" by Aphra Behn Relation between Native Americans and English English outnumber and incompetent farmers, cannot afford to antagonize Native Americans Resentment expressed by narrator towards these English people Of three ethnic groups (Native Surinams, English colonists, African slaves), English portrayed with least integrity and culture Speaker: Narrator Audience: Readers
"He knew an hundred pleasant stories, With all the turns of Whigs and Tories Was cheerful to his dying day; And his friends would let him have his way. 'He gave the little wealth he had To build a house for fools and mad; And showed by one satiric touch, No nation wanted it so much. That kingdom he hath left his debor, I wish it soon may have a better."
"Verses on the Death of Dr. Swift" by Jonathan Swift
"As Rochecauld his maxims drew From nature, I believe 'em true: They argue no corrupted mind In him: the fault is in mankind"
"Verses on the Death of Dr. Swift" by Jonathan Swift begins citing a satirist of sort → huge theme: the depravity of mankind (on which his satire thrives) → tone of cheerfulness, playfulness We feel good when those around us, even those we're close to, are low
"He had learned to take tobacco; and when he was assured he should die, he desired they would give him a pipe 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 brother and sister were by him a 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. They cut Caesar in quarters, and sent them to several of the chief plantations. One quarter was sent to Colonel Martin, who refused it, and swore he had rather see the quarters of Banister and the governor himself than those of Caesar on his plantations, and that he could govern Negroes without terrifying and grieving them with frightful spectacles of a mangled king."
"Oroonoko, or The Royal Slave" by Aphra Behn bizarre/unsettling, not exactly a tragic death of a tragic hero since Oroonoko's death caused by deterministic forces No Christian model; classical antiquity in Oroonoko's/Caesar's Roman stoicism Speaker: Narrator Audience: Readers
"Come live with me and be my love, And we will all the pleasures prove That valleys, groves, hills, and fields Woods, or steepy mountain yields. And we will sit upon the rocks, Seeing the shepherds feed their flocks, By shallow rivers to whose falls Melodious birds sing madrigals. And I will make thee beds of roses And a thousand fragrant posies, A cap of flowers, and a kirtle Embroidered all with leaves of myrtle; A gown made of the finest wool Which from our pretty lambs we pull; Fair linéd slippers for the cold, With buckles of the purset gold; A belt of straw and ivy buds., With coral clasps and amber studs: And if these pleasures may thee move, Come live with me, and be my love. The shepherd swains shall dance and sing For thy delight each May morning: If these delights thy mind may move, Then live with me and be my love."
"Passionate Shepherd to his Love" by Christopher Marlowe
A broken ALTAR, Lord, thy servant rears, Made of a heart and cemented with tears; Whose parts are as thy hand did frame; No workman's tool hath touch'd the same. A HEART alone Is such a stone, As nothing but Thy pow'r doth cut. Wherefore each part Of my hard heart Meets in this frame To praise thy name. That if I chance to hold my peace, These stones to praise thee may not cease. Oh, let thy blessed SACRIFICE be mine, And sanctify this ALTAR to be thine.
"The Altar" by George Herbert One of God's activities is to break us of the illusion that we have free will He does this through breaking us, making us face humility God and God only has the ability to break us→ Line 4-8. Not allowing tools to help cut parts of the alter. Herbert wants poetry to silence his own voice to let God's voice through (line 13-14) Notice how the speaker distances himself from the work ("they servant" instead of I or myself)
Where, like a pillow on a bed A pregnant bank swell'd up to rest The violet's reclining head, Sat we two, one another's best. Our hands were firmly cemented With a fast balm, which thence did spring; Our eye-beams twisted, and did thread Our eyes upon one double string; So to'intergraft our hands, as yet Was all the means to make us one, And pictures in our eyes to get Was all our propagation. As 'twixt two equal armies fate Suspends uncertain victory, Our souls (which to advance their state Were gone out) hung 'twixt her and me. And whilst our souls negotiate there, We like sepulchral statues lay; All day, the same our postures were, And we said nothing, all the day. If any, so by love refin'd That he soul's language understood, And by good love were grown all mind, Within convenient distance stood, He (though he knew not which soul spake, Because both meant, both spake the same) Might thence a new concoction take And part far purer than he came. This ecstasy doth unperplex, We said, and tell us what we love; We see by this it was not sex, We see we saw not what did move; But as all several souls contain Mixture of things, they know not what, Love these mix'd souls doth mix again And makes both one, each this and that. A single violet transplant, The strength, the colour, and the size, (All which before was poor and scant) Redoubles still, and multiplies. When love with one another so Interinanimates two souls, That abler soul, which thence doth flow, Defects of loneliness controls. We then, who are this new soul, know Of what we are compos'd and made, For th' atomies of which we grow Are souls, whom no change can invade. But oh alas, so long, so far, Our bodies why do we forbear? They'are ours, though they'are not we; we are The intelligences, they the spheres. We owe them thanks, because they thus Did us, to us, at first convey, Yielded their senses' force to us, Nor are dross to us, but allay. On man heaven's influence works not so, But that it first imprints the air; So soul into the soul may flow, Though it to body first repair. As our blood labors to beget Spirits, as like souls as it can, Because such fingers need to knit That subtle knot which makes us man, So must pure lovers' souls descend T' affections, and to faculties, Which sense may reach and apprehend, Else a great prince in prison lies. To'our bodies turn we then, that so Weak men on love reveal'd may look; Love's mysteries in souls do grow, But yet the body is his book. And if some lover, such as we, Have heard this dialogue of one, Let him still mark us, he shall see Small change, when we'are to bodies gone. · What would we do if we could feel totally unified, without our bodies?
"The Ecstasy," by John Donne
I threaten'd to observe the strict decree Of my dear God with all my power and might; But I was told by one it could not be; Yet I might trust in God to be my light. Then will I trust, said I, in Him alone. Nay, e'en to trust in Him was also His: We must confess that nothing is our own. Then I confess that He my succour is. But to have nought is ours, not to confess That we have nought." I stood amaz'd at this, Much troubled, till I heard a friend express That all things were more ours by being His; What Adam had, and forfeited for all, Christ keepeth now, who cannot fail or fall.
"The Holdfast" by George Herbert The poem works to disavow Herbert's own agency. He Submits to God's will completely. Line 1. Diction. "Threatened" and "strict decree" He submits, but asserts his own humility Think Gawain. Lines 2-4 Note the switch to passive voice in line 3("told"). First indicator that there never really was a choice. Lines 5-8. You can't put our faith in God, you do not have that choice. God places your faith in God. Lines 9-10 really beat into us that no part of our lives is our own, not even our words (to possibly denounce God). So how do you acknowledge God? Say nothing Line 12→ At one point they (humans) could have made their own choices, but Adam and Eve ruined it all. BUT, through Christ's sacrifice we are forgiven. Christ is the agency through which faith travels.
"If all the world and love were young And truth in every shepherd's tongue, These pretty pleasures might me move To live with thee and be thy love. Time drives the flocks from field to fold When rivers rage and rocks grow cold And Philomel becometh dumb; The rest complains of cares to come. The flowers do fade, and wanton fields To wayward winter reckoning yields; A honey tongue, a heart of gall Is fancy's spring, but sorrow's fall. Thy gowns, thy shoes, thy beds of roses, Thy cap, thy kirtle, and thy posies Soon break, soon wither, soon forgotten— In folly ripe, in reason rotten. Thy belt of straw and ivy buds, Thy coral clasps and amber studs, All these in me no means can move To come to thee and be thy love. But could youth last and love still breed Had joys no date nor age no need, Then these delights my mind may move To live with thee and be thy love."
"The Nymph's Reply to the Shepherd" by Walter Ralegh
When my grave is broke up again Some second guest to entertain, (For graves have learn'd that woman head, To be to more than one a bed) And he that digs it, spies A bracelet of bright hair about the bone, Will he not let'us alone, And think that there a loving couple lies, Who thought that this device might be some way To make their souls, at the last busy day, Meet at this grave, and make a little stay? If this fall in a time, or land, Where mis-devotion doth command, Then he, that digs us up, will bring Us to the bishop, and the king, To make us relics; then Thou shalt be a Mary Magdalen, and I A something else thereby; All women shall adore us, and some men; And since at such time miracles are sought, I would have that age by this paper taught What miracles we harmless lovers wrought. First, we lov'd well and faithfully, Yet knew not what we lov'd, nor why; Difference of sex no more we knew Than our guardian angels do; Coming and going, we Perchance might kiss, but not between those meals; Our hands ne'er touch'd the seals Which nature, injur'd by late law, sets free; These miracles we did, but now alas, All measure, and all language, I should pass, Should I tell what a miracle she was.
"The Relic" by John Donne
"Some nuts, some apples; some think they make The better cheeses bring them, or else send By their ripe daughters, whom they would commend This way to husbands, and whose baskets bear An emblem of themselves in plum or pear. But what can this (more than express their love) Add to thy free provisions, far above The need of such? whose liberal board doth flow With all that hospitality doth know"
"To Penhurst" by Ben Jonson
"Nor can I tell what critics thought 'em: But this I know, all people bought 'em, As with a moral view designed To cure the vixes of mankind. His vein, ironically grave, Exposed the fool and lashed the knave; To steal a hint was never known But what was writ was all his own."
"Verses on the Death of Dr. Swift" by Jonathan Swift the problem here is that satire cannot really cure the vices of mankind because the people who will find it funny/read it are not the people against which it is aimed → also, if mankind is depraved, how much will satire really help Crowd at Rose tavern talking about Swift
"I have no title to aspire, Yet, when you sink, I seem the higher."
"Verses on the Death of Dr. Swift" by Jonathan Swift → Satirizing even himself, recognizing the joy he has in the sufferings of others as a satiricist Also pointing out general flaws in humanity
"Perhaps I may allow the Dean Had too much satire in his vein; And seemed determined not to starve it, Because no age could more deserve it. Yet malice never was his aim; He lashed the vice, but spared the name; No individual could resent, Where thousands equally were meant His satire points at no defect, But what all mortals may correct"
"Verses on the Death of Dr. Swift" by Jonathan Swift → self-defense; avoids ad-hominem attacks, only attacks the weaknesses of humanity as a whole Crowd at Rose tavern talking about Swift
"'Has she so rare a face?' 'Oh, sir, the wonder, The blazing star of Italy! A wench O'the first yar! A beauty ripe as harvest! Whose skin is whiter than a swan, all over, Than silver, snow, or lilies! A soft lip, Would tempt you to eternity of kissing! And flesh that melteth in the touch to blood! Bright as your gold, and lovely as your gold!' 'Why had I not known this before?' 'Alas sir, Myself but yeterday discovered it.' 'How might I see her?' 'Oh, not possible. She's kept as warily as is your gold: Never does come abroad, never takes air But at a window. All her looks are sweet As the first grapes or cherries, and are watched As near as they are.' 'I must see her'"
"Volpone" by Ben Johnson Volpone and Mosca → a desire awakened with value like riches but which cannot be solved by money
"If you have ears that will pierced, or eyes That can be opened, a heart may be touched, Or any part that yet sounds man about you; If you have touch of holy saints or heaven, Do me the grace to let me scape. If not, Be bountiful and kill me. You do know I am a creature hither ill betrayed By one whose shame I would forget it were If you will deign me neither of these graces, Yet feed your wrath, sir, rather than your lust— It is a vice comes nearer manliness-- And punish that unhappy crime of nature Which you miscall my beauty. Flay my face Or poison it with ointments for seducing Your blood to this rebellion. Rub these hands With what may cause an eating leprosy E'en to my bones and marrow—anything That may disfavor me, save in my honor-- And I will kneel to you, pray for you, pay down A thousand hoursly vows, sir, for your health. Report and think you virtuous—"
"Volpone" by Ben Johnson Celia to Volpone → The Jonsonian saint: kill me, let me go, or disfigure me → She actually has values, invokes abstract principles, doesn't put her own happiness before all
"Well, I am here, and all this brunt is past. I ne'er was in dislike with my disguise Till this fled moment; here twas good, in private, But in your public—cave while I breath. Fore God, my left leg 'gan to have some cramo, And I apprehended straight some power had struck me With a dead palsy."
"Volpone" by Ben Johnson Volpone → Starting to tire of pretending for money, he is starting to become what he was pretending to be → The closest we ever get to divine intervention in this play → His anti-theatricalism, theater is low, capitalist, degraded for him (therefore makes all actors come to a terrible end)
"Dear saint, Riches, the dumb god, that giv'st all men tongues, That canst do naught and yet mak'st men do all things, The price of souls; even hell, with thee to boot, Is made worth heaven! Thou art virtue, fame, Honor, and all things else. Who can get thee, He shall be noble, valiant, honest, wise"
"Volpone" by Ben Johnson Volpone speaking Is money really freedom, or is it slavery? (mak'st men do all things → Echoes Everyman, God's complaint that worldly riches = modernity's God → There is no god on stage besides money; the highest authority, power that mankind has → Through wealth, you can not only do whatever you want, you can be whatever you want → Jonson is not recommending this. Wants a religious value system which is superior to money, cannot be bought
"Good morning to the day, and next, my gold! Open the shrine that I may see my saint. Hail the world's soul, and mine!"
"Volpone" by Ben Johnson Volpone speaking Parker thinks this is likely the money the audience just paid → Irony of this critique of capitalism happening in the context of professional theater
"True, my beloved _______. Yet I glory More in the cunning purchase of my wealth Than in the glad possession, since I claim No common way."
"Volpone" by Ben Johnson Volpone speaking What is the value of this money, in and of itself? → For him, it's not just the money, but the pursuit
"What should I do But cocker up my genius, and live free To all delights my fortune calls me to? I have no wife, no parent, child, ally To give my substance to, but whom I make Must be my heir, and this makes men observe me"
"Volpone" by Ben Johnson Volpone speaking → he eventually falls prey to exactly these same human weaknesses that he thought he could take advantage of using his wealth
"Why droops my Celia? Thou hast in place of a base husband found A worthy lover. Use thy fortune well, With secrecy and pleasure. See, behold What thou art queen of, not in expectation, As I feed others, but possessed and crowned. [He reveals his treasures] See here a rope of pearl, and each more orient Than that the brave Egyptian queen caroused, Dissolve and drink 'em. See, a carbuncle May put out both the eyes of our Saint Mark; A diamond would have bought Lollia Paulina When she came in like starlight, hid with jewels That were spoils of provinces. Take these, And wear, and lose 'em; yet remains an earring To purchase them again, and this whole state. A gem but worth a private patrimony Is nothing; we will eat such at a meal. The heads of parrots, tongues of nightingales, The brain of peacocks and of ostriches Shall be our food, and could we get the phoenix Though nature lost her kind, she were our dish."
"Volpone" by Ben Johnson Volpone to Celia → Trying to get sex with money by offering a feast of riches
"'Good sir, these things might move a mind affected with such delights; but I, whose innocence Is all I can think wealthy or worth th'enjoying. And which once lost, I have naught to lose beyond it, Cannot be taken with these sensual baits. If you have conscience—' ''Tis the beggers' virtue.'"
"Volpone" by Ben Johnson →Celia, Volpone → He has redefined virtue → Unlike Volpone, there are some things that she won't do for money
"You will not lie in straw whilst moths and worms Feed on your sumptuous hangings and soft beds. You know the use of riches, and dare give now From that bright heap to me, your poor observer, Or to your dward, or your hermaphoridite, Your eunuch, or what other household trift Your pleasure allows maint'nance"
"Volpone" by Ben Johnson →Mosca speaking He is arguing back that the use of wealth is that you can get more, can get attention (it's not just the chase)
"Whoso list to hunt, I know where is an hind, But as for me, alas, I may no more. The vain travail hath wearied me so sore, I am of them that farthest cometh behind. Yet may I, by no means, my wearied mind Draw from the deer, but as she fleeth afore, Fainting I follow. I leave off, therefore, Since in a net I seek to hold the wind. Who list her hunt, I put him out of doubt, As well as I, may spend his time in vain. And graven with diamonds in letters plain There is written, her fair neck round about, 'Noli me tangere, for Caesar's I am, And wild for me to hold, though I seem tame."
"Whoso list to hunt" by Thomas Wyatt
"You may bear me witness, it was intended only to divert a few young ladies, who have good sense and good humor enough to laugh not only at their sex's little unguarded follies, but at their own. . . . I know how disagreeable it is to make use of hard words before a lady; but 'tis so much the concern of a poet to have his works understood, and particularly by your sex, that you must give me leave to explain two or three difficult terms."
Alexander Pope, The Rape of the Lock A series of stereotypes of feminity, the problem with stereotypes, though, is that if a large collective buys into them, they become true A genuine social problem: the refusal to educate women Part of his letter to arabella fermor, mocking real events
"For when the Fair in all their pride expire, To their first elements their souls retire: The sprites of fiery termagants in flame Mount up, and take a Salamander's name. Soft yielding minds to water glide away, And sip, with Nymphs, their elemental tea. The graver prude sinks downward to a Gnome, In search of mischief still on earth to roam. The light coquettes in Sylphs aloft repair, And sport and flutter in the fields of air. Know further yet; whoever fair and chaste Rejects mankind, is by some Sylph embraced: For spirits, freed from mortal laws, with ease Assume what sexes and even what shapes they please"
Alexander Pope, The Rape of the Lock Taxonomy of spirits a quote from Milton, but reinstating gender the angels are collaborating to orevent a fall into sexuality Again, ariel is speaking to belinda as she sleeps
"This nymph, to the destruction of mankind, Nourished two locks which graceful hung behind In equal curls, and well conspired to deck With shining ringlets her smooth ivory neck. Love in these labyrinths his slave detains, And mighty hearts are held in slender chains. With hairy springes we the birds betray, Slight lines of hair surprise the finny prey, Fair tresses man's imperial race ensnare, And beauty draws us with a single hair. The adventurous Baron the bright locks admired, He saw, he wished, and to the prize aspired, Resolved to win, he meditiates the way, By force to ravish, or by fraud beray; For when success a lover's toil attends, Few ask if fraud or force attained his ends."
Alexander Pope, The Rape of the Lock language of force, imperialism, slavery coquettry connects with language of ravishing, force, fraud Narrator speaking
"On her white breast a sparking cross she wore, Which Jews might kiss, and infidels adore. Her lively looks a sprightly mind disclose, Quick as her eyes, and as unfixed as those: Favors to none, to all she smiles extends; Oft she rejects, but never once offends"
Alexander Pope, The Rape of the Lock the great balancing act of coquettry Narrator, belinda is walking around
"And now, unveiled, the toilet stand displayed, Each silver vase in mystic order laid. First, robed in white, the nymph intent adores, With head uncovered, the cosmetic powers. A heavenly image in the gladd appears; To that she beds, to that her eyes she rears. The inferior priestess, at her altar's side, Tremblind begins the sacred rites of Pride. Unnumbered treasures ope at once, and here The various offerings of the world appear... And Betty's praised for labors not her own."
Alexander Pope, The Rape of the Lock updated image of woman's vanity (Eves's narcisissism in Milton) womanhood is totally artificial, theatrical, they blush to LOOK pure rise of England as an imperial power affects their lit, the English lady has her artifacts to work with Narrator
"Tis these that early taint the female soul. Instruct the eyes of young coquettes to roll Teach infant cheeks a bidden blush to know, And little hearts to flutter at a beau."
Alexander Pope, The Rape of the Lock Women are born to be coquettes, flirty but chaste the angels need to protect fliration and unyieldingness (to a point) Ariel the sylph speaking to belinda as she sleeps
"For the ancient poets are in one respect like many modern ladies: let an action be never so trivial in itself, they always make it appear of the utmost importance."
Alexander Pope, The Rape of the Lock moving from satirizing the ladies to addressing his poetic tradition machinery is modelled after Milton but effeminized talking about deities or angels in the poem, still in letter to arabella fermor
"As now your own, our beings were of old, And once enclosed in woman's beauteous mold; Thence, by a soft transition, we repair From earthly vehicles to these of air Think not, when woman's transient breath is fled, That all her vanities at once are dead."
Alexander Pope, The Rape of the Lock the machinery- effeminization of the cosmos The guardian sylph Ariel is speaking to Belinda as she sleeps
"Culture improves all fruits, all sorts we find,/ Wit, judgement, sense - fruits of the human mind"
Anna Ingram, An Epistle to Mr. Pope "Culture" here defined in the notes as cultivation or tillage Argument: women need "culture"/education in order to cultivate their wit and other mental abilities. Several lines before, she compared the female mind to a field unsown: no plants there to grow, just the occasional weed, but it has the potential to yield crops Expectation that women would just have these abilities if they were capable of them - unfair comparison since they are not given the tools to cultivate them
"In education all the difference lies;/ Women, if taught, would be as bold and wise/ As haughty man, improved by art and rules"
Anna Ingram, An Epistle to Mr. Pope Education is the factor that separates men and women If women had the same access to education, they would be just as "bold and wise," since men only get to be that way through education
Phyllis Wheatley Background
Arrived from Africa on a slave ship at age 7 Tutored in the classics and poetry --- Pope and Milton are her role-models Publishes first poem at age 16 and first book at age 19 Quizzed and "authenticated" by leading luminaries who doubted her authorship
Aphra Behn/ Oroonoko Background and Themes
Background: one of the most popular/retold stories in 18th century Britain; put human face on Transatlantic slave trade Political allegory: Behn takes issue with slave trade not the institution Virginia Woolf identifies her as a starting place for women in professional literature She was also a starch monarchist writing in the context of the Glorious Revolution One of the first novels, defining a genre. Tries hard to make it really feel real, plausible, lots of details General themes: slavery as a business, people as commodities, vs historical other forms of slavery revival of classicism, fatalism/determinism (not a tragic shakespearean hero) three competing cultures (Suriname, Africa, England), makes English seem like incompetent colonizers with least civilized/interesting culture conservatives skeptical of the moral failures of capitalism
Main themes of paradise lost
Constraint, vexation, and Bondage How Milton's word competes with the word of God. Feminism Hierarchies and power
"A young lady of distinguished birth, beauty, wit, and spirit, happened to be in a box one night at the playhouse; where, though there were a great number of celebrated toasts, she perceived several gentlemen extremely pleased themselves with entertaining a woman who sat in a corner of the pit and, by her air and manner of receiving them, might easily be known to be one of those who come there for no other purpose, than to create acquaintance with as many as seem desirous of it."
Eliza Haywood, Fantomina Branching off of ideas of above passage, the text opens in the theater with a young, unmarried young woman (Fantomina) out on the scene meeting partners She presents herself, changes her appearance to look more attractive, gives an impression of a Self she doesn't always occupy Our own self-identity is bound up in self-impersonation Going to the city to see and be seen in the theater It is fairly obvious in the passage that the woman Fantomina is seeing is a prostitute, but the language totally circumnavigates it--we don't actually know who this woman is
"Fortune in this exploit was extremely on her side; there were no others of the male sex in the house than an old gentleman who had lost the use of his limbs with the rheumatism, and had come thither for the benefit of the waters, and her beloved Beauplaisir; so that she was in no apprehensions of any amorous violence, but where she wished to find it."
Eliza Haywood, Fantomina Fantomina wished for amorous violence, was both worried and excited that Beauplaisir would take advantage of her So, yeah, rape fantasy again They're in Bath, she's Celia now, talking about Beauplaisir
"...she could not forbear laughing heartily to think of the tricks she had played him, and applauding her own strength of genius and force of resolution, which by such unthought-of ways could triumph over her lover's inconstancy, and render that very temper, which to other women is the greatest curse, a means to make herself more blessed.--Had he been faithful to me (said she, to herself), either as Fantomina, or Celia, or the Widow Bloomer, the most violent passion, if it does not change its object, in time will wither. Possession naturally abates the vigor of desire, and I should have had, at best, but a cold, insipid, husband-like lover in my arms...I have him always raving, wild, impatient, longing, dying.--O that all neglected wives and fond abandoned nymphs would take this method!"
Eliza Haywood, Fantomina Fantomina's scheme keeps the eroticism alive; there are erotic thrills in not fully knowing who you are having sex with Fantomina makes it clear she doesn't want a husband--the sexual freedom she has now is a good alternative to her; marriage is dull and boring and sexually unfulfilling she's using men's problems to her advantage This is after she's inviting beauplaisir to the house of Incognita
"This excited a curiosity in her to know in what manner these creatures were addressed.--She was young, a stranger to the world, and consequently to the dangers of it; and having nobody in town, at that time, to whom she was obliged to be accountable for her actions, did in everything as her inclinations or humors rendered most agreeable to her: therefore thought it not in the least a fault to put in practice a little whim which came immediately into her head, to dress herself as near as she could in the fashion of those women who make sale of their favors, and set herself in the way of being accosted as such a one, having at that time no other aim than the gratification of an innocent curiosity."
Eliza Haywood, Fantomina Here, the text leaves open the meaning of the phrase "innocent curiosity," but we know this curiosity isn't innocent--rather, it's highly sexual; this is where Fantomina's innocence ends We all have seeds of depravity in us, and when we are left unsupervised, these grow and flourish This passage is just the beginning--Fantomina wants to experience prostitution but doesn't want to be a prostitute; however, she isn't motivated to keep her honor for the sake of keeping her honor, but only because it's important for her reputation (appearances!!!!)
"...and both by his words and behavior let her know he would not be denied that happiness the freedoms she allowed had made him hope.--It was in vain; she would have retracted the encouragement she had given.--In vain she endeavoured to delay, till the next meeting, the fulfilling of his wishes.--She had now gone too far to retreat.--He was bold;--he was resolute. She fearful--confused, altogether unprepared to resist in such encounters, and rendered more so by the extreme liking she had to him.--Shocked, however, at the apprehension of really losing her honor, she struggled all she could, and was just going to reveal the whole secret of her name and quality, when the thoughts of the liberty he had taken with her, and those he still continued to prosecute, prevented her, with representing the danger of being exposed, and the whole affair made a theme for public ridicule.--Thus much, indeed, she told him, that she was a virgin, and had assumed this manner of behavior only to engage him. But that he little regarded..."
Eliza Haywood, Fantomina How do you explain Fantomina saying no when she means yes? (ugh) She was unprepared to resist him because she likes him She has a rape fantasy
"He compelled her to sit on his lap...held to his bosom her half-yielding, half-reluctant body, nor suffered her to get loose till he had ravaged all, and glutted each rapacious sense with the sweet beauties of the pretty Celia, for that was the name she bore in this second expedition.--Generous as liberality itself to all who gave him joy this way, he gave her a handsome sum of gold, which she durst not now refuse..."
Eliza Haywood, Fantomina Language of rape is underlined He pays her; she is actually becoming the prostitute They're in Bath, she's Celia now, talking about Beauplaisir
"It may, perhaps, seem strange that Beauplaisir should in such near intimacies continue still deceived. I know there are men who will swear it is an impossibility, and that no disguise could hinder them from knowing a woman they had once enjoyed. In answer to these scruples, I can only say, that besides the alteration which the change of dress made in her, she was so admirably skilled in the art of feigning that she had the power of putting on almost what face she pleased, and knew so exactly how to form her behavior to the character she represented that all the comedians at both playhouses are infinitely short of her performances. She could vary her glances, tune her voice to accents the most different imaginable from those in which she spoke when she appeared herself.--These aids from nature, joined to the wiles of art, and the distance between the places where the imagined Fantomina and Celia were, might very well prevent his having any thought that they were the same, or that the fair widow was either of them."
Eliza Haywood, Fantomina Narrator finally uses "I," says she knows people--namely men--will think her story is false. The author references a profession (acting) that she knows quite intimately She also acknowledges that narrative prose is not the dominant form of literature at the time by doing so; she acknowledges and harnesses the cultural and literary force of theater to boost the power of her own novella Reveals the pressure of the poetic tradition on this new form of writing (prose) Paints a fairly conventional portrait of femininity Fantomina is good at faking it, masterful with artifice (in the form of cosmetics, acting, etc.) It is in her nature to be able to impersonate other people and to have these externalities correspond with the truth Just like Fantomina, we are trapped in a world of appearances and can dress up as basically anything (and we do regularly); the reality of a person can be their inclination to pretense and lying What if we are strangers to each other because we are strangers to ourselves?
"He continued to visit there, to inquire after her health every day; but the old lady perceiving there was nothing likely to ensue from these civilities but, perhaps, a renewing of the crime, she entreated him to refrain; and as soon as her daughter was in a condition, sent her to a monastery in France, the abbess of which had been her particular friend. And this ended an intrigue which, considering the time it lasted, was as full of variety as any, perhaps, that many ages has produced."
Eliza Haywood, Fantomina What do we make of this ending? Beauplaisir now knows everything about Fantomina/Incognita/Celia/Widow Bloomer The real tragedy of Fantomina was that she found her way into desire and was interrupted by tradition Haywood showing that this kind of agency isn't permitted in society happening at end when she's having beauplaisir's child
Background on George Herbert
First published "The Temple" in 1633 Preoccupations Sola scriptura→ "we can be saved by scripture alone" Creates an issue for protestant poets who write divine poems because the poems, in theory, try to lead people on the path towards God, but poems can't truly save or guide them Sola fida→ saved by faith alone Against works and deeds that could earn salvation Look back to "Everyman": "What should I do?" focuses on actions rather than beliefs To Protestants it doesn't matter what you do, you must believe; deeds are contaminated with sin regardless. Christian theory of works and will Despite freedom, we are subject to outside forces to influence decisions. Do we really have a choice? Do we work with any sort of agency? External compulsions to maintain and achieve freedom. But are we really free if acting on compulsions and not really having a choice (see first bullet)? Balance of : "do we have a choice?" and "let's choose" Predestination→ according to God's will. Limited freedom to follow the will of God. once again, do we have a choice, are we free?
Major Themes of Fantomina by Eliza haywood
Identity Fantomina calls into question the authenticity of the identity we put on display for others, suggesting that every person is, essentially, a mask behind a mask behind a mask. This is impossible to remedy, as we have no hope of uncovering our true selves--not only are they hidden from society, but ourselves as well, so we will never know or be fully known by another person. We bond with people over the fictions we both enjoy, and to know someone, we must understand their relationship to fictions, going deeply into appearances. Our own self identity is totally bound up in self-impersonation. Gender politics, male/female relationships are at the forefront. The novella essentially rejects marriage as a societal ideal, relegating it to a realm of boredom, routine, and sexual unfulfillment. Interesting dynamics between Fantomina, a woman, and Beauplaisir. Who is really in charge? Beauplaisir "rapes" Fantomina, but she is always in control of the situation, always more knowledgeable and cunning than he. Also, her unashamed pursuit of sexual satisfaction, as a woman, is fairly unprecedented, but might easily be tied to the Wife of Bath in Chaucer's Canterbury Tales Might discuss the fact that Haywood is one of very few female writers and that this text is "recovered" (as in, it was not in the canon for a very, very long time after its publishing); there is an inherent sexism in the study of older literary texts due to education inequality of the genders
"The natural liberty of man is to be free from any superior power on earth, and not to be under the will or legislative authority of man, but to have only the law of nature for his rule. The liberty of man in society is to be under no other legislative power, but that established, by consent, in the commonwealth; nor under any domination of any will, or restraint of any law, but what that legislative shall enact, according to the trust put in it. Freedom then is not what Sir R.F. tells us, "A liberty for every one to do what he lists, to live as he pleases, and not to be tied by any laws": but freedom of men under government is to have a standing rule to live by, common to every one of that society, and made by the legislative power erected in it, a liberty to follow my own will in all things, where the rule prescribes not, and not to be subject to the inconstant, uncertain, unknown, arbitrary will of another man; as freedom of nature is to be under no other restraint but the law of nature."
John Locke Two Treatises of Government (chap. IV "Of Slavery" the but in the second sentence is important man is free by nature, but that isn't the whole sotry... there are laws of nature also, for Locke, man does not want to stay in state of nature; it is uncertain, beset by anxiety, and lacks social hierarchy, which is stressful
"For being now in a new state wherein he is to enjoy many conveniences from the labor, assistance, and society of others in the same community, as well as protection from its whole strength; he is to part also with as much of his natural liberty in providing for himself, as the good, prosperity, and safety of the society shall require"
John Locke Two Treatises of Government (chap. IV "Of Slavery" and chap. IX, "Of the Ends of Political Society and Government" advantages of agreeing to the constraints of society include benefiting from the labor of others however, some people have to give up their freedoms involuntarily (slaves)
- This freedom from absolute, arbitrary power, is so necessary to, and closely joined with a man's preservation, that he cannot part with it, but by what forfeits his preservation and life together: for a man, not having the power of his own life, cannot, by compact, or his own consent, enslave himself to any one, nor put himself under the absolute, arbitrary power of another, to take away his life, when he pleases. No body can give more power than he has himself; and he that cannot take away his own life, cannot give another power over it. Indeed, having by his fault forfeited his own life, by some act that deserves death; he, to whom he has forfeited it, may (when he has him in his power) delay to take it, and make use of him to his service, and he does him no injury by it: for, whenever he finds the hardship of his slavery outweigh the value of his life, it is in his power, by resisting the will of his master, to draw on himself the death he desires. 24. This is the perfect condition of slavery, which is nothing else, but the state of war continued, between a lawful conqueror and a captive: for, if once compact enter between them, and make an agreement for a limited power on the one side, and obedience on the other, the state of war and slavery ceases, as long as the compact endures: for, as has been said, no man can, by agreement, pass over to another that which he hath not in himself, a power over his own life. I confess we find among the Jews, as well as other nations, that men did sell themselves; but it is plain, this was only to drudgery, not to slavery: for, it is evident, the person sold was not under an absolute, arbitrary, despotical power: for the master could not have power to kill him, at any time, whom, at a certain time, he was obliged to let go free out of his service; and the master of such a servant was so far from having an arbitrary power over his life, that he could not, at pleasure, so much as maim him, but the loss of an eye, or tooth, set him free, Exod. xxi.
John Locke Two Treatises of Government (chap. IV "Of Slavery" and chap. IX, "Of the Ends of Political Society and Government" natural law makes it such that slavery could never be voluntary crime and war cause slavery, it is a forceful taking just war theory: once you have conquered people, you have the right to do what you want he says you cannot sign up for slavery just like you cannot kill yourself
"If man in the state of nature be so free, as has been said; if he be absolute lord of his own person and possessions, equal to the greatest and subject to nobody, why will he part with his freedom? Why will he give up his empire, and subject himself to the domination and control of any other power? To which 'tis obvious to answer that though in the state of nature he hath such a right, yet the enjoyment of it is very uncertain and constantly exposed to the invasion of others; for all being kings as much as he, every man his equal, and the greater part no strict observors of equity and jjustice, the enjoyment of the property he has in this state is very unsafe, very insecure."
John Locke Two Treatises of Government (chap. IX, "Of the Ends of Political Society and Government" freedom of nature has inherent instability, so it is better to band together for more order and protection of right to property
"Now in contiguous drops the flood comes down, Threatening with deluge this devoted town. To shop in crowds the daggled females fly, Pretend to cheapen goods, but nothing buy. The Templar spruce, while every spout's abroach, Stays till 'tis fair, yet seems to call a coach. The tucked-up sempstress walks with hasty strides, While streams run down her oiled umbrella's sides. Here various kinds, by various fortunes led, Commence acquaintance underneath a shed. Triumphant Tories and desponding Whigs Forget their feuds, and join to save their wigs."
Jonathan Swift, "A Description of a City Shower" London is unbearably filthy and corrupt Secularization of Noah's flood to a daily, inadequate version of it Very brief Utopia --- the rain drives everyone together "Various" = diverse People of different backgrounds and beliefs are forced into toleration of one another by seeking a common shelter
"Has thou not made me here thy substitute,/ and these inferior far beneath me set?/ among unequals what society/ can sort, what harmony or true delight?/....Of fellowship i speak/ such as i seek, fit to participate/ all rational delight, wherein the brute/ cannot be human consort.../So well converse, nor with the ox the ape;/ worse then can man with beast, and least of all"
Paradise Lost, John Milton, Adam speaking Adam feels constrained by his own superiority.
" here passion first i felt,/ commotion strange, in all enjoyments else/ superior and unmoved, here only weak/ against the charm of beauty's powerful glance./ Or nature failed in me and left some part/ not proof enough such object to sustain,/ or from my side subducting, took perhaps/ more than enough; at least on her bestowed/ too much of ornament, in outward show/ elaborate, of inward less exact"
Paradise Lost, John Milton, Eve is whole and complete, while Adam is not (because God took a piece of Adam to create Eve) Did god take too much from adam when he made Eve Eve's subordination to Adam is temporary, that's why she's patient Eve first gains the knowledge adam had been vying for , or maybe even herself more superior to him Satan offers her sovereignty (think Wife of Bath). Irony of being subordinate is that you long to be superior and powerful
"Meanwhile the world shall burn, and from her ashes spring/ New heavn and earth, wherein the just shall dwell,/ and after all their tribulations long/ see golden days, fruitful of golden deeds,/ with joy and love triumphing, and fair truth./ then thou thy regal scepter shalt lay by,/ for regal scepter then no more shall need,/ god shall be all in all. But all ye gods,/ adore him, who to compass all this dies,/ adore the son, and honor him as me"
Paradise Lost, John Milton, God is speaking here God is saying to accept subordination for now. When jesus gets what he needs you all will get what you want. Even if this world falls, it will all be created again. To avoid insurrection again, God would have to remove himself Potential that god will remove himself once world is over
"The rising world of waters dark and deep,/ won from the void and formless infinite/ thee i revisit now with bolder wing,/ escaped the Stygian pool, though long detained/ in that obscure sojourn, while in my flight/ through utter and through middle darkness borne/ with other notes than to the Orphean lyre/ i sung of chaos and eternal night,/ taught by the heavenly muse to venture down/ the dark descent, and up to reascend,/ though hard and rare:"
Paradise Lost, John Milton, Milton's alignment with Satan is a problem Satan has a point→ all hierarchy will inspire rebellion automatically
"If thou beest he; but O how fall'n! How changed/ from him, who in the happy realms of light/ clothed with transcendent brightness didst outshine/ myriads though bright: if he whom mutual league, united thoughts and counsels, equal hope/ and hazard in the glorious enterprise,/ joined with me once, now misery hath joined/ in equal ruin: into what pit thou seest/ from what height fall'n, so much the stronger proved/ he with his thunder: and till then who knew/ the force of those dire arms? Yet not for those,/ nor what the potent victor in his rage can else inflict, do i repent or change/ though changed in outward luster, that fixed mind/ and high disdain, from sense of injured merit,/ that with the mightiest raised me to contend,/ and to the fierce contention brought along/ innumerable force of spirits armed/ that durst dislike his reign, and me preferring,/ his utmost power with adverse power opposed/ in dubious battle on the plains of heav'n/ and shook his throne. What though the field be lost?/ all is not lost; the unconquerable will,/ and study of revenge, immortal hate,/And courage never to submit or yield:/ and what is else not to be overcome?/ that flory never shall his wrath or might/ extort from me. To bow and sue for grace/ with suppliant knee, and deify his power/ who from the terror of this arm so late/ doubted his empire, that were low indeed,/ that were an ignominy and shame beneath/ this downfall; since by fate the strength of gods/ and this empyreal substance cannot fail,/ since through experience of this great event/ in arms not worse, in foresight much advanced,/ we may with more successful hope resolve/ to wage by force or guile eternal war/ irreconcilable to our grand foe,/ who now triumphs, and in the excess of joy/ sole reigning holds the tyranny of Heav'n"
Paradise Lost, John Milton, How do we relate to Satan? Parallels to Satan and Milton. Both challenge a hierarchy in a failed revolution Is Satan a hero? Speech here shows his Heroic Ethos because he fights on in a futile battle Narrator interventions qualify satan's speeches. Speaks in vain. Paradise Lost is at its best when Satan speaks (and at its worst when God/Jesus is speaking) Causes every reader to relive the fall, seeing that Satan isn't necessarily the bad guy. Why would humanity want to leave paradise? Milton gives satan rhetoric and shows how we (humans) are vulnerable, and that leaving paradise was not our fault/choice. The one true monarch is God→ whoever attempts to claim monarch on Earth deserves to have it taken away
"One of the poems on which much praise has been bestowed is Lycidas; of which the diction is harsh, the rhymes uncertain, and the numbers unpleasing. What beauty there is, we must therefore seek in the sentiments and images. It is not to be considred as the effusion of real passion; for passion runs not after remote allusions and obscure opinions. Passion plucks no berries from the myrtle or ivy, nor calls upon Arethuse and Mincius, nor tells of 'rough satyrs and fauns with cloven heel.' Where there is leisure for fiction there is little grief. In this poem there is no nature, for there is no truth; there is no art, for there is nothing new. Its form is that of a pastoral, easy, vulgar, and therefore disgusting: whatever images it can supply are long ago exhausted; and its inherent improbability always forces dissatisfaction on the mind." · "This poem has yet a grosser fault. With these trifling fictions are mingled the most awful and sacred truths, such as ought never to be polluted with such irreverent combinations."
Samuel Johnson, from Lives of the Poets ["Lycidas"]
General Themes of Swift's "A Lady's Dressing Room"
Swift: sought to point out failings people should want to escape - attacking society, rather then individuals, as sort of an attempt to push people to be better "Strephon" and "Celia" both classical names for lovers in pastoral poetry Strephon is on a quest to get to the bottom of femininity Disjunction between the narrator's clinical tone and Strephon's horror Satire: Strephon TOTALLY knows what he's going to find but keeps going anyways Strephon is there because he wants to be → knew what would be there and then forced himself to "discover" it Association of women with all embodiment → presented as something disgusting and tragic but in reality, Strephon essentially gets turned on by grossness because he associates it with this private side of femininity
"O, ye nominal Christians! might not an African ask you, learned you this from your God, who says this unto you, Do unto all men as tou would men do unto you? Is it not enough that we are torn from our country and our friends to toil for your luxury and lust of gain? Must every tender feeling be likewise sacrificed to your avarice? Are the dearest friends and relations, now rendered more dear by their separation from their kindred, still to be parted from each other, and thus prevented from cheering the gloom of slavery with the small comfort of being together and mingling their sufferings and sorrows? Why are parents to lose their children, brothers their sisters, or husbands their wives? Surely this is a new refinement in cruelty, which, while it has no advantage to atone for it, thus aggravates distress, and adds fresh horrors even to the wrethcedness of slavery."
The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, Written by Himself Context: discussing how at slave trade at ports in America they give no consideration to family members Has converted to the religion of the oppressor and is employing their language against them Avarice is the sin that makes slavery so terrible
"After we had discharged our cargo there we took in a live cargo, as we call a cargo of slaves. Here I sold my goods tolerably well; but, not being able to lay out all my money in this small island to as much advantage as in many other places, I laid out only part, and the remainder I brought away with me neat."
The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, Written by Himself He has to sell slaves in order to free himself from slavery Tells us this through circumlocution, avoidance He becomes one of the people he saw at the beginning of the story, blacks getting money for selling other blacks
"We grasped an empty nothing"
The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, Written by Himself gloss on what citizenship has to offer
"In short, the fair as well as black people immediately styled me by a new appelation, to me the most desirable in the world which was Freeman, and at the dances I gave my Georgia superfine blue clothes made no indifferent appearance, as I thought."
The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, Written by Himself something diminished about this newfound freedom in larger context of slavery; his suit was probably made by slaves
"Among the Romans emancipation required but one effort. The slave, when made free, might mix with, without staining the blood of his master. But with us a second is necessary, unknown to history. When he is freed, he is to be removed beyong the reach of mixture."
excerpts from Notes on the State of Virginia by Thomas Jefferson American slavery is very different from ancient slavery, because it has a modern idea of biological superiority on basis of race (only precedent for this is aristocratic superiority) Contradictions of inequality and liberty: TJ is wholly opposed to aristocratic hierarchies, but not race ones. This is the contradiction of the Englightenment: a methodology of science meant to free us from our prejudice invents a whole new system of prejudice
"I advance it therefore as a suspicion only, that the blacks, whether originally a distinct race, or made distinct by time and circumstances, are inferior to the whites in the endowments both of body and mind."
excerpts from Notes on the State of Virginia by Thomas Jefferson TJ is convinced that blacks are inferior and is going to try to empirically confirm that through pseudo science a man of science invoking science to defend blind prejudice
"To these objections, which are political, may be added others, which are physical and moral. The first difference which strikes us is that of color. . . the foundation of a greater or less share of beauty in the two races. . . that immoveable veil of black which covers all the emotions of the other race . . . The circumstance of superior beauty if thought worthy attention in the propagation of our horses, dogs, and other domestic animals; why not in that of man? . . . They secrete less by the kidnies and more by the glands of the skin, which gives them a very strong and disagreeable odour. . . . They seem to require less sleep. . . . in memory they are equal to the whites; in reason much inferior, as I think one could scarcely be found capable of tracing and comprehending the investigations of Euclid; and that in imagination they are dull, tasteless, and anomalous."
excerpts from Notes on the State of Virginia by Thomas Jefferson he is doing pseudo science, considering them "on the same stage as whites," has seen their supposed inferiority and fitness to be slaves in his own experience
"In mysic they are generally more gifted than the whites with accurate ears for tune and time, and they have been found capable of imagining a small scatch. Whether they will be equal to the composition of a more extensive run of melody, or of complicated harmony, is yet to be proved. Misery is often the parent of the most affecting touches in poetry—among the blacks is misery enough, God knows, but no poetry. Love is the peculiar oestrum of the poet. Their love is ardent, but it kindles the senses only, not the imagination. Religion has indeed produced a Phyllis Whately, but it could not produce a poet. The compositions published under her name are below the dignity of criticism."
excerpts from Notes on the State of Virginia by Thomas Jefferson in passing notices one of the richest cultural contributions to the world (african american music) thinks v little of wheatley
Main themes of Rape of the Lock by Alexander Pope
womanhood, the war between the sexes the artifiice of beauty danger of sexuality danger of stereotyping