Fitzy Fitz Final Five

Paradise Lost Background Info

Author: John Milton -Written in blank verse -Christian Epic (superior form of epic) -Invocation to the muse -Miltonic Inversion *dislocation of syntax *plays around with subject, verb

Synopsis of Paradise Lost Book 1

Book I: Book I of Paradise Lost begins with Milton describing what he intends to undertake with his epic: the story of Man's first disobedience and the "loss of Eden," subjects which have been "unattempted yet in prose or rhyme." His main objective, however, is to "justify the ways of God to men." The poem then shifts to focus on the character of Satan who has just fallen from heaven. The scene opens in a fiery, yet dark, lake of hell. Satan, dazed, seems to be coming to consciousness after his fall and finds himself chained to the lake. He lifts his head to see his second in command, Beelzebub, the Lord of the Flies, who has been transformed from a beautiful archangel into a horrid fallen angel. Satan gets his bearings and, in a speech to Beelzebub, realizes what has just happened: Satan, presuming that he was equal to God, had declared war on the creator. Many angels had joined Satan, and the cosmic battle had shaken God's throne. Satan and his cohorts had lost and been cast "nine times the space that measures day and night" to hell. Still, Satan tells Beelzebub that all is not lost. He will never bow down to God and now, knowing more of the extent of God's might, the rebel angels might better know how to continue to fight him in an eternal war. Beelzebub questions why they themselves still exist. What plan did God have for them since he did not kill them completely, but left them their souls and spirits intact to feel pain in hell? Satan replies that God indeed wanted to punish them by forcing them to languish in hell for eternity. But, he says, that means that they don't ever have to obey God again. In fact, Satan says, they must work to instill evil in all good things so as to always anger God. Satan and Beelzebub gather their strength and fly off the fiery lake to firmer, though still fiery, ground. They look around at the dark wasteland that is hell, but Satan remains proud. "Better to reign in hell, then serve in heaven." They see their army lying confused and vanquished in the fiery lake. Satan calls to them and they respond immediately. Satan gathers his closest twelve around him . Music plays and banners fly as the army of rebel angels comes to attention, tormented and defeated but faithful to their general They could not have known the extent of God's might, Satan tells them, but now they do know and can now examine how best to beat him. Satan has heard of a new kind of creation that God intends on making, called man. They will continue the war against heaven, but the battlefield will be within the world of mankind. The army bangs their shields with their swords in loud agreement. The rebel angels then construct a Temple, a throne room, for their general and for their government, greater in grandeur than the pyramids or the Tower of Babylon. All the millions of rebel angels then gather in the Temple for a great council, shrinking themselves and become dwarves in order to fit.

"Too well what love women to men may owe. In faith, they are as true of heart as we. My father had a daughter love a man as it might be, perhaps, were i a woman, I should your lordship"

Twelfth night Viola Saying that female love is more patient and actions speak louder than words. women are just as capable of strong love

Lord Chamberlain's Men

Acting company London Later called The King's Men Ran by James Burbage Performs next door to the Rose at the Globe

Lord Admiral's Men

Acting company London Ran by Philip Henslowe Performs at the Rose Theatre Later moves to a theatre called the Fortune because they are intimidated and don't want to compete with the Globe

heavens

canopy in theatre decorated with stars represents micro-universe of the threatre

Why Genesis in Paradise Lost?

-Language of origin -literary pro-creation

God of Emotion in Paradise Lost

-Shows reliability -Humanizing God leaves room for all human fault -No longer abstract ideals vs. God as: -logical -detached -distant

Metaphysical Conceit *Donne*

-figures of speech which establish a striking parallel and ingeniously elaborate between dissimilar things or situations

Globe Theatre

1599 built in outskirts "liberties" of London 2000-3000 people heterogenous, men/women, upper/lower class 1 penny groundlings-the stage is surrounded by a yard where spectators can stand to watch the performance

"As Bees In spring time, when the Sun with Taurus rides, Pour forth thir populous youth about the Hive In clusters; they among fresh dews and flowers Flie to and fro, or on the smoothed Plank, The suburb of thir Straw-built Cittadel, New rub'd with Baum, expatiate and confer Thir State affairs. So thick the aerie crowd Swarm'd and were straitn'd; till the Signal giv'n. Behold a wonder! they but now who seemd In bigness to surpass Earths Giant Sons Now less then smallest Dwarfs"

Work: Paradise Lost, Book 1 Speaker: Narrator Context/Notes: -Rebel Angels get smaller, limitless Metaphor: little power, reduce morally and spiritually -Speak to us as audience

"Of man's first disobedience, and the fruit Of that forbidden tree, whose mortal taste Brought death into the world, all of our woe, With loss of Eden, till one greater Man Restore us, and regain the blissful seat, Sing Heav'nly Muse, that on the secret top"

Work: Paradise Lost, Book 1 Speaker: Poet/Narrator Context: Makes climactic moment in opening lines until muse sings all at once.

"Things unattempted yet in prose or rhyme...What in me is dark, Illumine, what is low raise and support;"

Work: Paradise Lost, Book 1 Speaker: Poet/Narrator Context: Poet wants to do what has never been done. It's a big project and he's asking spirit for help.

"Him, the Almighty Power Hurled headlong flaming from th' ethereal sky With hideous ruin and combustion down In adamantine chains and penal fire, Who durst defy th' Omnipotent to arms"

Work: Paradise Lost, Book 1 Speaker: Poet/Narrator Context: Example of Miltonic Inversion. OBJECT, SUBJECT, VERB Putting Satan as epic hero. "Him" does not have agency, gets flung out of heaven.

"O myriads of immortal Spirits, O Powers Matchless, but with th' Almighty, and that strife Was not inglorious, though th' event was dire, As this place testifies, and this dire change"

Work: Paradise Lost, Book 1 Speaker: Satan during his fourth speech Context/Notes: Corrupt humans

"To reign is worth ambition though in Hell: Better to reign in Hell, than to serve in Heav'n. But wherefore let we then our faithful friends, Th' associates and copartners of our loss Lie thus astonished on th' oblivious pool"

Work: Paradise Lost, Book 1 Speaker: Satan during his third speech Context: Satan wants to raise troops. He is redefining what hell is. He is making it seem like a heavenly place.

"Is this the region, this the soil, the clime, Said then the lost Archangel, "this the seat That we must change Heav'n, this mournful gloom For that celestial light? Be it so, since he Who now is sovereign can dispose and bid What shall be right: farthest from him is best"

Work: Paradise Lost, Book 1 Speaker: Satan during the beginning of his third speech Context/Notes: -Addressing that God is a tyrant -Hell is geographic place but also interior state -embracing hell -Satan degraded throughout poem

"Fall'n Cherub, to be weak is miserable Doing or suffering: but of this be sure, To do aught good never will be our task, But ever to do ill our sole delight, As being the contrary to his high will Whom we resist. If then his providence Out of our evil seek to bring forth good, Our labor must be to pervert that end, And out of good still to find means of evil; Which ofttimes may succeed, so as perhaps Shall grieve him, if I fail not, and disturb His inmost counsels from their destined aim"

Work: Paradise Lost, Book 1 Speaker: Satan in his second speech Context/Notes: Satan wants to get back at God. Jealousy animates and motivates. Satan wants to make a heaven out of hell. He is very vindictive.

Thrones and Imperial Powers, off-spring of heav'n [ 310 ] Ethereal Vertues; or these Titles now Must we renounce, and changing stile be call'd Princes of Hell? for so the popular vote Inclines, here to continue, and build up here A growing Empire; doubtless; while we dream, [ 315 ] And know not that the King of Heav'n hath doom'd This place our dungeon, not our safe retreat Beyond his Potent arm, to live exempt From Heav'ns high jurisdiction, in new League Banded against his Throne, but to remaine [ 320 ] In strictest bondage, though thus far remov'd, Under th' inevitable curb, reserv'd His captive multitude: For he, be sure In heighth or depth, still first and last will Reign Sole King, and of his Kingdom loose no part [ 325 ] By our revolt, but over Hell extend His Empire, and with Iron Scepter rule Us here, as with his Golden those in Heav'n. What sit we then projecting peace and Warr? Warr hath determin'd us, and foild with loss [ 330 ] Irreparable; tearms of peace yet none Voutsaf't or sought; for what peace will be giv'n To us enslav'd, but custody severe, And stripes, and arbitrary punishment Inflicted? and what peace can we return, [ 335 ] But to our power hostility and hate, Untam'd reluctance, and revenge though slow, Yet ever plotting how the Conqueror least May reap his conquest, and may least rejoyce In doing what we most in suffering feel? [ 340 ] Nor will occasion want, nor shall we need With dangerous expedition to invade Heav'n, whose high walls fear no assault or Siege, Or ambush from the Deep. What if we find Some easier enterprize? There is a place [ 345 ] (If ancient and prophetic fame in Heav'n Err not) another World, the happy seat Of some new Race call'd Man, about this time To be created like to us, though less In power and excellence, but favour'd more [ 350 ] Of him who rules above; so was his will Pronounc'd among the Gods, and by an Oath, That shook Heav'ns whol circumference, confirm'd. Thither let us bend all our thoughts, to learn What creatures there inhabit, of what mould, [ 355 ] Or substance, how endu'd, and what thir Power, And where thir weakness, how attempted best, By force or suttlety: Though Heav'n be shut, And Heav'ns high Arbitrator sit secure In his own strength, this place may lye expos'd [ 360 ] The utmost border of his Kingdom, left To their defence who hold it: here perhaps Som advantagious act may be achiev'd By sudden onset, either with Hell fire To waste his whole Creation, or possess [ 365 ] All as our own, and drive as we were driven, The punie habitants, or if not drive, Seduce them to our Party, that thir God May prove thir foe, and with repenting hand Abolish his own works. This would surpass [ 370 ] Common revenge, and interrupt his joy In our Confusion, and our Joy upraise In his disturbance; when his darling Sons Hurl'd headlong to partake with us, shall curse Thir frail Original, and faded bliss, [ 375 ] Faded so soon. Advise if this be worth Attempting, or to sit in darkness here Hatching vain Empires. Thus Beelzebub Pleaded his devilish Counsel, first devis'd By Satan, and in part propos'd: for whence, [ 380 ] But from the Author of all ill could Spring So deep a malice, to confound the race Of mankind in one root, and Earth with Hell To mingle and involve, done all to spite The great Creatour? But thir spite still serves [ 385 ] His glory to augment. The bold design Pleas'd highly those infernal States, and joy Sparkl'd in all thir eyes; with full assent

Work: Paradise Lost, Book 2 Speaker: Beezlebub Context/Notes: -wants to turn man against God -operate through guile and deceit -If don't turn against God, kill them -"who will undertake journey" -satan sacrifices

"Either to disinthrone the King of Heav'n We warr, if Warr be best, or to regain [ 230 ] Our own right lost: him to unthrone we then May hope when everlasting Fate shall yeild To fickle Chance, and Chaos judge the strife: The former vain to hope argues as vain The latter: for what place can be for us [ 235 ] Within Heav'ns bound, unless Heav'ns Lord supream We overpower? Suppose he should relent And publish Grace to all, on promise made Of new Subjection; with what eyes could we Stand in his presence humble, and receive [ 240 ] Strict Laws impos'd, to celebrate his Throne With warbl'd Hymns, and to his Godhead sing Forc't Halleluiah's; while he Lordly sits Our envied Sovran, and his Altar breathes Ambrosial Odours and Ambrosial Flowers, [ 245 ] Our servile offerings. This must be our task In Heav'n, this our delight; how wearisom Eternity so spent in worship paid To whom we hate. Let us not then pursue By force impossible, by leave obtain'd [ 250 ] Unacceptable, though in Heav'n, our state Of splendid vassalage, but rather seek Our own good from our selves, and from our own Live to our selves, though in this vast recess, Free, and to none accountable, preferring [ 255 ] Hard liberty before the easie yoke Of servile Pomp. Our greatness will appeer Then most conspicuous, when great things of small, Useful of hurtful, prosperous of adverse We can create, and in what place so e're [ 260 ] Thrive under evil, and work ease out of pain Through labour and indurance. This deep world Of darkness do we dread? How oft amidst Thick clouds and dark doth Heav'ns all-ruling Sire Choose to reside, his Glory unobscur'd, [ 265 ] And with the Majesty of darkness round Covers his Throne; from whence deep thunders roar Must'ring thir rage, and Heav'n resembles Hell? As he our darkness, cannot we his Light Imitate when we please? This Desart soile [ 270 ] Wants not her hidden lustre, Gemms and Gold; Nor want we skill or Art, from whence to raise Magnificence; and what can Heav'n shew more? Our torments also may in length of time Become our Elements, these piercing Fires [ 275 ] As soft as now severe, our temper chang'd Into their temper; which must needs remove The sensible of pain. All things invite To peaceful Counsels, and the settl'd State Of order, how in safety best we may [ 280 ] Compose our present evils, with regard Of what we are and were, dismissing quite All thoughts of warr: ye have what I advise.

Work: Paradise Lost, Book 2 Speaker: Mammom Context/Notes: -Peace -Seek good from themselves -Liberty/Democracy to characterize nature of Hell -advocating doing nothing

"Misprision in the highest degree! Lady, Cucullus non facit monachum—that's as much to say as I wear not motley in my brain. Good madonna, give me leave to prove you a fool."

Work: Twelfth Night Speaker: Feste Context: he is trying to prove Olivia is a fool and should move on from her brother's death

"O, sir, I will not be so hard-hearted! I will give out divers schedules of my beauty. It shall be inventoried and every particle and utensil labeled to my will: as, item, two lips, indifferent red; item, two gray eyes, with lids to them; item, one neck, one chin, and so forth. Were you sent hither to praise me?"

Work: Twelfth Night Speaker: Olivia Context: WHEN Viola first comes to visit her as Cesario and she is mocking the blazon style poetry that she thinks Viola has come to deliver from Orsino

"If music be the food of love, play on. Give me excess of it that, surfeiting, The appetite may sicken, and so die. That strain again, it had a dying fall. Oh, it came o'er my ear like the sweet sound, That breathes upon a bank of violets, Stealing and giving odor. Enough, no more. 'Tis not so sweet now as it was before. O spirit of love, how quick and fresh art thou, That, notwithstanding thy capacity Receiveth as the sea, nought enters there, Of what validity and pitch soe'er, But falls into abatement and low price Even in a minute. So full of shapes is fancy That it alone is high fantastical."

Work: Twelfth night author: shakespere Speaker: Orsino Context: beginning of the play, Orsino is talking about love motif of music- he can only love for so long, like the music shows how Orsino is more in love with the idea of love than he is actually in love with Olivia

hired men

play lesser roles play instruments/ assist props and costumes gatherers

Shareholder

play major roles and supply scripts 8-10 per company Shakespeare- Lord Chamberlain's men

Twelfth Night title

refers to the 12 days of Christmas feasting, and 12th day marks the end and movement back into everyday life "...Or what you will" - opens up play to different interpretations

Illyria

setting of Twelfth Night sounds like delirium, madness, because no one knows what's going on

Twelfth night comic subplot

sir Toby (belch), Maria, and sir Andrew it's written in prose as opposed to blank verse because it's less important and more comedic

Feste

smart, speaks in riddles speeches difficult to figure out manipulates language "Foolish license" he is a truth teller and he can say stuff to upper class because they're lower class

Book 4 Paradise Lost- Satan's speech

tone: sadness and regret --> anger, feels stuck and wants to repent, but his circular reasoning

hut

top of theatre where stage stuff was kept plays took place in a

"Two of far nobler shape erect and tall, Godlike erect, with native honor clad In naked majesty seemed lords of all, 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...."

Work: paradise lost, Book 4 Author: John Milton Speaker: poet/narrator Context: describing the form of Adam and Eve for the first time significant because originally portrays them as egalitarian (gender) but as soon as he bring's up gender, they're unequal

tiring house

a section of a theater reserved for the actors and used especially for dressing for stage entrances. globe theatre and swan threatre

Dramatic irony

audience knows something the actors don't ex) Viola is really a woman double irony because she was played by a man in those times

Katherine Philips

bleh

apprentices

boy actors that play female characters

Hark how the Mower Damon sung, With love of Juliana stung! While everything did seem to paint The scene more fit for his complaint. Like her fair eyes the day was fair, But scorching like his am'rous care. Sharp like his scythe his sorrow was, And withered like his hopes the grass. 'Oh what unusual heats are here, Which thus our sunburned meadows sear! The grasshopper its pipe gives o'er; And hamstringed frogs can dance no more. But in the brook the green frog wades; And grasshoppers seek out the shades. Only the snake, that kept within, Now glitters in its second skin. 'This heat the sun could never raise, Nor Dog Star so inflame the days. It from an higher beauty grow'th, Which burns the fields and mower both: Which mads the dog, and makes the sun Hotter than his own Phaëton. Not July causeth these extremes, But Juliana's scorching beams. 'Tell me where I may pass the fires Of the hot day, or hot desires. To what cool cave shall I descend, Or to what gelid fountain bend? Alas! I look for ease in vain, When remedies themselves complain. No moisture but my tears do rest, Nor cold but in her icy breast. 'How long wilt thou, fair shepherdess, Esteem me, and my presents less? To thee the harmless snake I bring, Disarmèd of its teeth and sting; To thee chameleons, changing hue, And oak leaves tipped with honey dew. Yet thou, ungrateful, hast not sought Nor what they are, nor who them brought. 'I am the Mower Damon, known Through all the meadows I have mown. On me the morn her dew distills Before her darling daffodils. And, if at noon my toil me heat, The sun himself licks off my sweat. While, going home, the evening sweet In cowslip-water bathes my feet. 'What, though the piping shepherd stock The plains with an unnumbered flock, This scythe of mine discovers wide More ground than all his sheep do hide. With this the golden fleece I shear Of all these closes every year. And though in wool more poor than they, Yet am I richer far in hay. 'Nor am I so deformed to sight, If in my scythe I lookèd right; In which I see my picture done, As in a crescent moon the sun. The deathless fairies take me oft To lead them in their dances soft: And, when I tune myself to sing, About me they contract their ring. 'How happy might I still have mowed, Had not Love here his thistles sowed! But now I all the day complain, Joining my labour to my pain; And with my scythe cut down the grass, Yet still my grief is where it was: But, when the iron blunter grows, Sighing, I whet my scythe and woes.' While thus he threw his elbow round, Depopulating all the ground, And, with his whistling scythe, does cut Each stroke between the earth and root, The edgèd steel by careless chance Did into his own ankle glance; And there among the grass fell down, By his own scythe, the Mower mown. 'Alas!' said he, 'these hurts are slight To those that die by love's despite. With shepherd's-purse, and clown's-all-heal, The blood I staunch, and wound I seal. Only for him no cure is found, Whom Juliana's eyes do wound. 'Tis death alone that this must do: For Death thou art a Mower too.'

Damon the Mower Andrew Marvell -adversely affected by his love for Juliana -cuts himself with scythe -more self-conscious, self-aware

Lord, who createdst man in wealth and store, Though foolishly he lost the same, Decaying more and more, Till he became Most poore: With thee O let me rise As larks, harmoniously, And sing this day thy victories: Then shall the fall further the flight in me. My tender age in sorrow did beginne And still with sicknesses and shame. Thou didst so punish sinne, That I became Most thinne. With thee Let me combine, And feel thy victorie: For, if I imp my wing on thine, Affliction shall advance the flight in me.

Easter Wings George Herbert -as wings thin, spiritual deterioration -represent rise/fall of wings- ebbing of faith -affliction- suffering inspires strength -aligning human will to God's will, under shadow of God's wing -biblical imagery in shadow of wings

Sir Toby and Sir Andrew

drink wants Sir Andrew to marry Olivia to take advantage of money

repertory theater

have a repertoire of plays they perform 40 plays, 21 new per season performed everyday except for major church holidays 2000-3000 audience members per day

blazon

love poetry that fragments and objectifies women's features and bodies

tarras

multi-purpose balconies in the theatre

Twelfth night plot overview

In the kingdom of Illyria, a nobleman named Orsino lies around listening to music, pining away for the love of Lady Olivia. He cannot have her because she is in mourning for her dead brother and refuses to entertain any proposals of marriage. Meanwhile, off the coast, a storm has caused a terrible shipwreck. A young, aristocratic-born woman named Viola is swept onto the Illyrian shore. Finding herself alone in a strange land, she assumes that her twin brother, Sebastian, has been drowned in the wreck, and tries to figure out what sort of work she can do. A friendly sea captain tells her about Orsino's courtship of Olivia, and Viola says that she wishes she could go to work in Olivia's home. But since Lady Olivia refuses to talk with any strangers, Viola decides that she cannot look for work with her. Instead, she decides to disguise herself as a man, taking on the name of Cesario, and goes to work in the household of Duke Orsino. Viola (disguised as Cesario) quickly becomes a favorite of Orsino, who makes Cesario his page. Viola finds herself falling in love with Orsino—a difficult love to pursue, as Orsino believes her to be a man. But when Orsino sends Cesario to deliver Orsino's love messages to the disdainful Olivia, Olivia herself falls for the beautiful young Cesario, believing her to be a man. The love triangle is complete: Viola loves Orsino, Orsino loves Olivia, and Olivia loves Cesario—and everyone is miserable. Meanwhile, we meet the other members of Olivia's household: her rowdy drunkard of an uncle, Sir Toby; his foolish friend, Sir Andrew Aguecheek, who is trying in his hopeless way to court Olivia; Olivia's witty and pretty waiting-gentlewoman, Maria; Feste, the clever clown of the house; and Malvolio, the dour, prudish steward of Olivia's household. When Sir Toby and the others take offense at Malvolio's constant efforts to spoil their fun, Maria engineers a practical joke to make Malvolio think that Olivia is in love with him. She forges a letter, supposedly from Olivia, addressed to her beloved (whose name is signified by the letters M.O.A.I.), telling him that if he wants to earn her favor, he should dress in yellow stockings and crossed garters, act haughtily, smile constantly, and refuse to explain himself to anyone. Malvolio finds the letter, assumes that it is addressed to him, and, filled with dreams of marrying Olivia and becoming noble himself, happily follows its commands. He behaves so strangely that Olivia comes to think that he is mad. Meanwhile, Sebastian, who is still alive after all but believes his sister Viola to be dead, arrives in Illyria along with his friend and protector, Antonio. Antonio has cared for Sebastian since the shipwreck and is passionately (and perhaps sexually) attached to the young man—so much so that he follows him to Orsino's domain, in spite of the fact that he and Orsino are old enemies. Sir Andrew, observing Olivia's attraction to Cesario (still Viola in disguise), challenges Cesario to a duel. Sir Toby, who sees the prospective duel as entertaining fun, eggs Sir Andrew on. However, when Sebastian—who looks just like the disguised Viola—appears on the scene, Sir Andrew and Sir Toby end up coming to blows with Sebastian, thinking that he is Cesario. Olivia enters amid the confusion. Encountering Sebastian and thinking that he is Cesario, she asks him to marry her. He is baffled, since he has never seen her before. He sees, however, that she is wealthy and beautiful, and he is therefore more than willing to go along with her. Meanwhile, Antonio has been arrested by Orsino's officers and now begs Cesario for help, mistaking him for Sebastian. Viola denies knowing Antonio, and Antonio is dragged off, crying out that Sebastian has betrayed him. Suddenly, Viola has newfound hope that her brother may be alive. Malvolio's supposed madness has allowed the gleeful Maria, Toby, and the rest to lock Malvolio into a small, dark room for his treatment, and they torment him at will. Feste dresses up as "Sir Topas," a priest, and pretends to examine Malvolio, declaring him definitely insane in spite of his protests. However, Sir Toby begins to think better of the joke, and they allow Malvolio to send a letter to Olivia, in which he asks to be released. Eventually, Viola (still disguised as Cesario) and Orsino make their way to Olivia's house, where Olivia welcomes Cesario as her new husband, thinking him to be Sebastian, whom she has just married. Orsino is furious, but then Sebastian himself appears on the scene, and all is revealed. The siblings are joyfully reunited, and Orsino realizes that he loves Viola, now that he knows she is a woman, and asks her to marry him. We discover that Sir Toby and Maria have also been married privately. Finally, someone remembers Malvolio and lets him out of the dark room. The trick is revealed in full, and the embittered Malvolio storms off, leaving the happy couples to their celebration.

Miltonic Version of God

Miltonic God: Anti-Trinity -Anger -Stern/fatherly -frustration

Not sedulous by nature to indite Wars, hitherto the only argument Heroic deemed, chief mastery to dissect With long and tedious havoc fabled knights In battles feigned; the better fortitude Of patience and heroic martyrdom Unsung; or to describe races and games, Or tilting furniture, emblazoned shields,

Paradise Lost chapter 9 Speaker: narrator (3rd person) -growing separation between humans and God -modulating narrative voice to tragedy -invokes poetic flight; poetic anxiety

In every bush and brake, where hap may find The serpent sleeping, in whose mazy folds To hide me, and the dark intent I bring. O foul descent! that I who erst contended With gods to sit the highest, am now constrained Into a beast, and mixed with bestial slime, This essence to incarnate and imbrute, That to the height of deity aspired; But what will not ambition and revenge Descend to? Who aspires must down as low As high he soared, obnoxious first or last To basest things. Revenge, at first though sweet, Bitter ere long back on itself recoils; Let it; I reck not, so it light well aimed, Since higher I fall short, on him who next

Paradise Lost, John Milton Book 9, p2095 L160-1740uuuuuuuuuuu Speaker: Satan -Satan's state/incarnation -Satan in spiritual maze -insists on revenge despite inevitable doom -"incarnate"- gesture to incarnation of Christ to Satan's incarnation to a serpent

The Rose Theatre

Philip Henslowe THe Fortune- moves to North London to compete

Malvolio

Sir Toby etc. hate him mirror image of Orsino social climber, thinks he deserves Olivia, and thinks letter is about him

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 George Herbert -focus on self-reflexive of poetic sensibility Self-sacrifice: sinful nature, heart, altar of words, linguistic offering VS. Self-display: talents/poetic ability, self-aware, incapable of eliminating self from poetry

Andrew Marvell- The Coronet -describes thought process of writing religious poetry -pastoral imagery, talking about himself as poet -temptation for sin in his writing, asks for purity in poetry -coronet: floral wreath or garland of poems of praise -religious imagery: crown of thorns

When for the thorns with which I long, too long, With many a piercing wound, My Saviour's head have crowned, I seek with garlands to redress that wrong: Through every garden, every mead, I gather flowers (my fruits are only flowers), Dismantling all the fragrant towers That once adorned my shepherdess's head. And now when I have summed up all my store, Thinking (so I myself deceive) So rich a chaplet thence to weave As never yet the King of Glory wore: Alas, I find the serpent old That, twining in his speckled breast, About the flowers disguised does fold, With wreaths of fame and interest. Ah, foolish man, that wouldst debase with them, And mortal glory, Heaven's diadem! But Thou who only couldst the serpent tame, Either his slippery knots at once untie; And disentangle all his winding snare; Or shatter too with him my curious frame, And let these wither, so that he may die, Though set with skill and chosen out with care: That they, while Thou on both their spoils dost tread, May crown thy feet, that could not crown thy head.

Theodicy in Paradise Lost

Why does God allow evil in the world? Poem= Milton's attempt to answer the question of theodicy Established Milton's poetic credibility/ legitimacy

"Hail holy Light, offspring of Heav'n firstborn, Or of th' Eternal coeternal beam"

Work: Book 3 Paradise Lost Context/Notes: Interesting because Milton blind while writing Paradise Lost

"If thou best 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 sees 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, Nore 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"

Work: Paradise Lost Book 1 Speaker: Satan (First Speech) Context/Notes: -Weird pep talk/rally -Making power seem equal -Portraying God as a tyrant -Unrepentant -Injured Merit: thinks God has somehow wronged him -Satan would rather reign in hell than serve in Heaven -manipulative -emotionally manipulative of rebel angels -circular arguments, never makes sense or point -God = more powerful than Satan ever will be

"But all was false and hollow; though his tongue Dropped manna, and could make the worse appear The better reason, to perplex and dash Maturest counsels: yet he pleased the ear, And with persuasive accent thus began."

Work: Paradise Lost Book 2 Speaker: Narrator Context/Notes: Epic Voice intrudes to caution reader.

"He ceased, and next him Moloch, sceptered king Stood up, the strongest and the fiercest Spirit His trust was th' Eternal to be deemed Equal in strength, and rather than be less Cared not to be at all; with that care lost Went all his fear: of God, or Hell, or worse He recked not, and these words thereafter spake"

Work: Paradise Lost Book 2 Speaker: Narrator Context/Notes: Moloch's Plan: -Full open war against God -Nothing to lose -Delusion that they can beat God

"So much the rather thou celestial Light Shine inward, and the mind through all her powers Irradiate, there plant eyes, all mist from thence Purge and disperse, that I may see and tell Of things invisible to mortal sight"

Work: Paradise Lost Book 3 Speaker: Narrator Context/Notes: -motif of light -spiritual/divine sight

"Now had the Almighty Father from above, From the pure empyrean where he sits High throned above all height, bent down his eye. His own works and their works at once to view: Above him all the sanctities of Heaven Stood thick as stars, and from his sight received Beatitude past utterance; on his right The radiant image of his glory sat, His only Son; on earth he first beheld"

Work: Paradise Lost Book 3 Speaker: Narrator Context/Notes: Miltonic version of God.

"My author and disposer, what thou bidd'st Unargued I obey; so God ordains, God is thy law, thou mine: to know no more. Is woman's happiest knowledge and her praise. With thee conversing I forgot al time. All seasons and their change, all please alike. Sweet is the breath of morn, her rising sweet, with charm of earliest birds; pleasant the sun when first on this delightful land he spreads his orient beans, on herb tree, fruit, and flow'r..... But wherefore all night shine these, for whom this glorious sight, when sleep hath shut all eyes."

Work: Paradise Lost book 4 Author: John Milton Speaker: Eve Context: Adam is her "author and disposer" but writes a poem without him emotional landscape without Adam at the center

"Hail wedded Love, mysterious law, true source Of human offspring, sole propriety in Paradise of all things common else. By thee adultrous lust was driv'n from men Among the bestial herds to range, by thee, founded in reason, loyal, just, and ure, relations dear, and all the charities of father, son and brother first were known. Far be it, that I should write thee sin or blame, or think thee unbefitting holiest place.... These lulled by nightingales embracing

Work: Paradise Lost book 4 Author: John Milton Speaker: poet/ narrator context: marriage is how God wanted men and women to procreate, anything outside of marriage is lustful and therefore a sin marriage separates animals from humans but also shows how eve is adam's property now humans are capable of having a spiritual connection as part of sexuality

Paradise Lost Book 3 Summary

Book III opens with a second invocation to his muse, this time addressed to "holy light" (III.1). Milton asks that the heavenly light shine inside him and illuminate his mind with divine knowledge so that he can share this knowledge with his readers. The scene shifts to Heaven, where God has been watching all of the events in Hell with his Son sitting at his right hand. He sees Satan flying up toward the new Earth and the parents of mankind. At the same time, he sees everything that will happen because of it, perceiving past, present, and future simultaneously. He sees that man will fall, of his own fault, because God gave him free will—yet without that will, man would not be capable of sincere love. Man would merely go through the motions. While it would be just to punish man for his own actions, God determines that he will act primarily out of love and mercy. The Son, full of compassion, praises God for his kindness toward man, but asks how mercy can be given without destroying justice. God answers that a suitable sacrifice must be made: someone worthy must offer to die to pay for man's sin. The angelic choirs are silent, but the Son immediately offers himself. He will become mortal so that God can yield to Death and conquer Hell. God is overjoyed, even though he will be giving up his son, because he knows that it is good to sacrifice his son for the salvation of the human race, in order for justice and mercy to be served. Those that have faith in the Son will be redeemed, but those who do not accept grace will still be doomed to Hell. The choirs of angels now break into a song of praise extolling the goodness of both Father and Son, which will turn a sorrowful deed into greater glory for both God and man. The story returns to Satan, who lands on Earth in what is now China. There are not yet any living things there, or any of the works of man that will eventually distract man's mind from God. At length, Satan sees a high-reaching structure in the distance, an enormous kingly gate in the sky with stairs leading all the way down to Earth. This gate guards Heaven, which was at that time visible from Earth. Flying over to it, Satan climbs up a few steps to get a better view. He sees the new creation in all its glory, but can only feel jealousy. He does not stay put for long, though: he is drawn by the golden sun, hanging above the green and lush land, and flies toward it. There he sees an angel standing on a hill. To deceive him, Satan changes to a cherub, or low-ranking angel. Recognizing the other angel as the Archangel Uriel, Satan approaches and addresses him. Satan claims to have just come down from Heaven, full of curiosity about the new world he has been hearing so much about, and curious about its inhabitants. Satan's transformation and his speech are so flawless that even Uriel cannot see through the subterfuge. The Archangel is pleased that a young angel is showing so much zeal to find out about the world that God brought out of the Chaos from earth, air, wind and fire. He happily points out the way to Paradise, where Adam lives. After giving his due respects, Satan flies off with dark intentions.

"Make me a willow cabin at your gate And call upon my soul within the house. Write loyal cantons of contemned love And sing them loud even in the dead of night. Halloo your name to the reverberate hills And make the babbling gossip of the air Cry out "Olivia!" Oh, you should not rest Between the elements of air and earth, But you should pity me."

Twelfth Night Speaker: Viola Context: Viola as Cesario is saying what she would do for Olivia if she was as in love with her as Orsino is. This is when Olivia starts to fall in love with Cesario would not give up until she took pity on him "babbling gossip of the air"- echo

comedy genre

Twelfth Night hybrid comedy begin in confusion serious of misrecognition: order --> clarity, ignorance --> understanding separation --> reunions end in marriage and affirmation of social order disguise

"When that I was and a little tiny boy, With hey, ho, the wind and the rain, A foolish thing was but a toy, For the rain it raineth every day. But when I came to man's estate, With hey, ho, the wind and the rain, 'Gainst knaves and thieves men shut their gate, For the rain it raineth every day. But when I came, alas! to wive, With hey, ho, the wind and the rain, By swaggering could I never thrive, For the rain it raineth every day. But when I came unto my beds, With hey, ho, the wind and the rain, With toss-pots still had drunken heads, For the rain it raineth every day. A great while ago the world begun, With hey, ho, the wind and the rain, But that's all one, our play is done, And we'll strive to please you every day."

Twelfth night Feste Context: final speech, weddings of Orsino and Viola, Sebastian and Olivia, and sir Toby and Maria have taken place saying that life is linear but also cyclical

"There is no woman's sides can bide the beating of so strong a passion as love doth give my heart; no woman's heart so big, to hold so much; they lack retention. Alas, their love may be called appetite, no motion of the liver, but the palate, that suffer surfeit, cloyment, and revolt. But mine is all as hungry as the sea, and can digest as much. Make no compare...."

Twelfth night Orsino context: debating with viola about men vs women in love motif of love and the sea- love is hungry men want everyone to know theyre in love, but they dont back it up with actions

"I left no ring with her. What means this lady? Fortune forbid my outside have not charmed her! She made good view of me, indeed so much That sure methought her eyes had lost her tongue, For she did speak in starts distractedly. She loves me, sure! The cunning of her passion Invites me in this churlish messenger.None of my lord's ring? Why, he sent her none. I am the man. If it be so, as 'tis, Poor lady, she were better love a dream. Disguise, I see thou art a wickedness, Wherein the pregnant enemy does much. How easy is it for the proper false In women's waxen hearts to set their forms! Alas, our frailty is the cause, not we, For such as we are made of, such we be. How will this fadge? My master loves her dearly, And I, poor monster, fond as much on him, And she, mistaken, seems to dote on me. What will become of this? As I am man, My state is desperate for my master's love. As I am woman, now, alas the day, What thriftless sighs shall poor Olivia breathe! O time, thou must untangle this, not I. It is too hard a knot for me to untie!"

Twelfth night Speaker: Viola she is realizing Olivia loves her calls her disguise a wickedness because it distorts everyone's perceptions and emotions

"This fellow is wise enough to play the fool, And to do that well craves a kind of wit. He must observe their mood on whom he jests, The quality of persons, and the time, And, like the haggard, check at every feather That comes before his eye. This is a practise As full of labor as a wise man's art, For folly that he wisely shows is fit. But wise men, folly-fall'n, quite taint their wit."

Twelfth night Viola Context: speaking to Feste, saying being a fool is an art form because youmust read the situation and gauge an appropriate response philosophy of language

"A blank, my lord. She never told her love, But let concealment, like a worm i' the bud, Feed on her damask cheek. She pined in thought, And with a green and yellow melancholy She sat like patience on a monument, Smiling at grief. Was not this love indeed? We men may say more, swear more, but indeed Our shows are more than will, for still we prove Much in our vows, but little in our love."

Twelfth night Viola talking indirectly to Orsino about her love for him She is saying that in order to know you're in love you must suffer it eats you up inside like a worm in a flower

A married state affords but little ease The best of husbands are so hard to please. This in wives' careful faces you may spell Though they dissemble their misfortunes well. A virgin state is crowned with much content; It's always happy as it's innocent. No blustering husbands to create your fears; No pangs of childbirth to extort your tears; No children's cries for to offend your ears; Few worldly crosses to distract your prayers: Thus are you freed from all the cares that do Attend on matrimony and a husband too. Therefore Madam, be advised by me Turn, turn apostate to love's levity, Suppress wild nature if she dare rebel. There's no such thing as leading apes in hell.

"A Married State" Author: Katherine Phillips Speaker: Poet/Narrator Context: Marriage sucks but better than being a spinster. Voicing/challenging cultural and societal expectations and patriarchal myths.

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.

"A Valediction: Forbidding Mourning Author: John Donne Speaker: Poet/Narrator Context: separating from his wife on a trip to France -Virtuous men fall in love and also die -Sacrilegious to let others into their love -Reduces joy to let others in -stuff twin compasses

Now Pontius Pilate is to judge the Cause Of faultlesse Jesus, who before him stands; Who neither hath offended Prince, nor Lawes, Although he now be brought in woefull bands: O noble Governour, make thou yet a pause, Doe not in innocent blood imbrue thy hands; 750 But heare the words of thy most worthy wife, Who sends to thee, to beg her Saviours life. Let barb'rous crueltie farre depart from thee, And in true Justice take afflictions part; Open thine eies, that thou the truth mai'st see, Doe not the thing that goes against thy heart, Condemne not him that must thy Saviour be; But view his holy Life, his good desert. Let not us Women glory in Mens fall, Who had power given to over-rule us all. 760 ¶ Till now your indiscretion sets us free, And makes our former fault much lesse appeare; Our Mother Eve, who tasted of the Tree, Eves Giving to Adam what she held most deare, Apologie Was simply good, and had no powre to see, The after-comming harme did not appeare: The subtile Serpent that our Sex betraide, Before our fall so sure a plot had laide. That undiscerning Ignorance perceav'd No guile, or craft that was by him intended; 770 For, had she knowne of what we were bereavid, To his request she had not condiscended But she (poore soule) by cunning was deceav'd, No hurt therein her harmelesse Heart intended: For she alleadg'd Gods word, which he denies, That they should die, but even as Gods, be wise. But surely Adam can not be excus'd, Her fault, though great, yet hee was most too blame; What Weaknesse offerd, Strength might have refus'd, Being Lord of all, the greater was his shame: 780 Although the Serpents craft had her abus'd, Gods holy word ought all his actions frame: For he was Lord and King of all the earth, Before poore Eve had either life or breath. Who being fram'd by Gods eternall hand, The perfect'st man that ever breath'd on earth; And from Gods mouth receiv'd that strait command, The breach whereof he knew was present death: Yea having powre to rule both Sea and Land, Yet with one Apple wonne to loose that breath, 790 Which God hath breathed in his beauteous face, Bringing us all in danger and disgrace. And then to lay the fault on Patience backe, That we (poore women) must endure it all; We know right well he did discretion lacke, Beeing not perswaded thereunto at all; If Eve did erre, it was for knowledge sake, The fruit beeing faire perswaded him to fall: No subtill Serpents falshood did betray him, If he would eate it, who had powre to stay him? 800 Not Eve, whose fault was onely too much love, Which made her give this present to her Deare, That what shee tasted, he likewise might prove, Whereby his knowledge might become more cleare; He never sought her weakenesse to reprove, With those sharpe words, which he of God did heare: Yet Men will boast of Knowledge, which he tooke From Eves faire hand, as from a learned Booke. If any Evill did in her remaine, Beeing made of him, he was the ground of all; 810 If one of many Worlds could lay a staine Upon our Sexe, and worke so great a fall To wretched Man, by Satans subtill traine; What will so fowle a fault amongst you all? Her weakenesse did the Serpents words obay; But you in malice Gods deare Sonne betray. Whom, if unjustly you condemne to die, Her sinne was small, to what you doe commit; All mortall sinnes that doe for vengeance crie, Are not to be compared unto it: 820 If many worlds would altogether trie, By all their sinnes the wrath of God to get; This sinne of yours, surmounts them all as farre As doth the Sunne, another little starre. Then let us have our Libertie againe, And challendge to your selves no Sov'raigntie; You came not in the world without our paine, Make that a barre against your crueltie; Your fault beeing greater, why should you disdaine Our beeing your equals, free from tyranny? 830 If one weake woman simply did offend, This sinne of yours, hath no excuse, nor end. To which (poore soules) we never gave consent, Witnesse thy wife (O Pilate) speakes for all; Who did but dreame, and yet a message sent, That thou should'st have nothing to doe at all With that just man; which, if thy heart relent, Why wilt thou be a reprobate with Saul? To seeke the death of him that is so good, For thy soules health to shed his dearest blood.

"Eve's Apology in Defense of Women" *Author*: Aemilia Lanyer *Speaker*: Wife of Pontius Pilate *Context*: Wife of PP is doing her best to remind Pontius of the origin of sin while he is deciding whether or not to kill Jesus. She tries her best to alleviate blame from Eve onto Adam. She claims that Eve was ignorant, full of love, and her sin was incomparable to that of common man. She also adds that without women, men would not exist.

Some that have deeper digg'd love's mine than I, Say, where his centric happiness doth lie; I have lov'd, and got, and told, But should I love, get, tell, till I were old, I should not find that hidden mystery. Oh, 'tis imposture all! And as no chemic yet th'elixir got, But glorifies his pregnant pot If by the way to him befall Some odoriferous thing, or medicinal, So, lovers dream a rich and long delight, But get a winter-seeming summer's night. Our ease, our thrift, our honour, and our day, Shall we for this vain bubble's shadow pay? Ends love in this, that my man Can be as happy'as I can, if he can Endure the short scorn of a bridegroom's play? That loving wretch that swears 'Tis not the bodies marry, but the minds, Which he in her angelic finds, Would swear as justly that he hears, In that day's rude hoarse minstrelsy, the spheres. Hope not for mind in women; at their best Sweetness and wit, they'are but mummy, possess'd.

"Love's Alchemy" john donne Speaker: Poet/Narrator Context/Notes: -Love is an allusion; it is not real -Alchemy: trying to make gold out of non-gold --> Love is false -Love is temporary, fragile, impermanent -enigmatic, open-ended ending

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.

"The Ecstasy" Author: John Donne Speaker: Poet/Narrator Context: Map out relationship between body and soul. Why they need each other. Souls connect and make new souls. They work in tandem and have to rely on soul and body. Souls are more permanent than the body.

Busy old fool, unruly sun, Why dost thou thus, Through windows, and through curtains call on us? Must to thy motions lovers' seasons run? Saucy pedantic wretch, go chide Late school boys and sour prentices, Go tell court huntsmen that the king will ride, Call country ants to harvest offices, Love, all alike, no season knows nor clime, Nor hours, days, months, which are the rags of time. Thy beams, so reverend and strong Why shouldst thou think? I could eclipse and cloud them with a wink, But that I would not lose her sight so long; If her eyes have not blinded thine, Look, and tomorrow late, tell me, Whether both th' Indias of spice and mine Be where thou leftst them, or lie here with me. Ask for those kings whom thou saw'st yesterday, And thou shalt hear, All here in one bed lay. She's all states, and all princes, I, Nothing else is. Princes do but play us; compared to this, All honor's mimic, all wealth alchemy. Thou, sun, art half as happy as we, In that the world's contracted thus. Thine age asks ease, and since thy duties be To warm the world, that's done in warming us. Shine here to us, and thou art everywhere; This bed thy center is, these walls, thy sphere.

"The Sun Rising" Speaker: Poet/Narrator Context: 2 different worlds, 3 part argument: 1) petition to sun 2) nature and power of love 3) affirms power of love -Everything is governed by time -world of lover's transcends time -Love more powerful than Power and Wealth -Lover's world vs. Everyday love -Lovers ARE the world and the sun is lighting just them -male above female -states ruled by princes

I I HAVE examin'd and do find, Of all that favour me, There's none I grieve to leave behind But only, only thee. To part with thee I needs must die, Could parting sep'rate thee and I. II But neither Chance nor Compliment Did element our Love ; 'Twas sacred Sympathy was lent Us from the quire above. That Friendship Fortune did create, Still fears a wound from Time or Fate. III Our chang'd and mingled souls are grown To such acquaintance now, That if each would resume their own, Alas ! we know not how. We have each other so engrost, That each is in the union lost. IV And thus we can no Absence know, Nor shall we be confin'd ; Our active souls will daily go To learn each other's mind. Nay, should we never meet to Sense, Our souls would hold Intelligence. V Inspired with a flame divine, I scorn to court a stay ; For from that noble soul of thine I ne'er can be away. But I shall weep when thou dost grieve ; Nor can I die whilst thou dost live. VI By my own temper I shall guess At thy felicity, And only like my happiness Because it pleaseth thee. Our hearts at any time will tell, If thou, or I, be sick, or well. VII All Honour sure I must pretend, All that is good or great ; She that would be Rosania's Friend, Must be at least complete. If I have any bravery, 'Tis cause I have so much of thee. VIII Thy leiger1 soul in me shall lie, And all thy thoughts reveal ; Then back again with mine shall fly, And thence to me shall steal. Thus still to one another tend ; Such is the sacred Name of Friend. IX Thus our twin-souls in one shall grow, And teach the World new love, Redeem the age and sex, and show A flame Fate dares not move : And courting Death to be our friend, Our lives together too shall end. X A dew shall dwell upon our Tomb Of such a quality, That fighting armies, thither come, Shall reconcilèd be. We'll ask no Epitaph, but say ORINDA and ROSANIA.

"To Mrs. M.A. at Parting Author: Katherine Phillips Speaker: Poet/Narrator Context: Souls are interdependent. Female friendship will never die out interdependent nature of souls. They're buried together. Resembles Donne.

Metaphysical Poetry *Donne*

-17th century -rebelling against Petrarchan love traditions -realistic, ironic, and cynical in treatment of love and human nature -rough, colloquial speech, not fluid -argumentative -subtle, outrageous logic -witty, puns, wordplay, paradoxical

acting companies

1590's London 20-30 people Lord Admiral's men: Philip Henslowe- the Rose Theatre James Burbage- The Globe theatre 1599 Lord Chamberlain's Men- King's men

Swan Theatre

1595 Shakespeare's company elevated stage trap door women weren't allowed to be actors heavens

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.

Author: Shakespeare Work: Sonnet 12 Speaker: poet narrator Context: Beauty is fleeting like the passing seasons the only way to preserve beauty is to procreate- shares your beauty and immortalizes it, saves it from decay Antithesis: comparing the passing of seasons to the fragility of beauty images: flowers covered in snow comparing bountiful nature to decay, cold, and darkness beard = age, time, white

When my love swears that she is made of truth, I do believe her, though I know she lies, That she might think me some untutored youth, Unlearnèd in the world's false subtleties. Thus vainly thinking that she thinks me young, Although she knows my days are past the best, Simply I credit her false-speaking tongue: On both sides thus is simple truth suppressed. But wherefore says she not she is unjust? And wherefore say not I that I am old? Oh, love's best habit is in seeming trust, And age in love loves not to have years told. Therefore I lie with her and she with me, And in our faults by lies we flattered be.

Author: Shakespeare Work: Sonnet 138 Speaker: Poet narrator Context: Describing his love with dark lady and how it's unhealthy because there's no trust but they both agree to lie to each other because it's easier than facing the infidelity that they both are guilty of lies bind them together

Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance, or nature's changing course, untrimm'd; But thy eternal summer shall not fade Nor lose possession of that fair thou ow'st; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou grow'st; So long as men can breathe or eyes can see, So long lives this, and this gives life to thee.

Author: Shakespeare Work: Sonnet 18 Speaker: poet narrator Context: fair young man's beauty will never fade "eternal summer" - warm, happy, lively blooming imagery "rough winds do shake the darling buds of May"- winter is compared to age, time threatening the young man's youth and vitality

That time of year thou may'st in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruin'd choirs, where late the sweet birds sang. In me thou see'st the twilight of such day, As after sunset fadeth in the west, Which by-and-by black night doth take away, Death's second self, that seals up all in rest. In me thou see'st the glowing of such fire That on the ashes of his youth doth lie, As the death-bed whereon it must expire Consum'd with that which it was nourish'd by. This thou perceivest, which makes thy love more strong, To love that well which thou must leave ere long.

Author: Shakespeare Work: Sonnet 73 Speaker: poet narrator Context: Shakespeare is saying to love while you can, before it's too late fear of death motivates us to live life to the fullest "consumed with that which it was nourished by"- begins and ends in the same place death is on its way, act now

My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damask'd, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground: And yet, by heaven, I think my love as rare As any she belied with false compare.

Author: shakespeare Work: Sonnet 130 Speaker: poet narrator Context: Criticized blazon love poetry at the time real women vs. idealized women compares the woman of his desires (dark lady) features to these ideals and says that she's not like that, but he loves that because she's real "false compare" - doesn't exist

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.

George Herbert Jordan 1 poetic manifesto- being a religious poet critiquing pastoral poetry should be able to understand, surface level still writes as a poet in service of a simple msg

The Temple

George Herbert's collection of 17c religious SHAPED poetry 3 Parts 1) Church porch- long poem of moral advice on how to live life as a Christian gentleman 2)Church- 162 poems (what we read); spiritual life of a Christian 3) Church militant: apocalyptic history of the church, salvation history

Andrew Marvell- To His Coy Mistress - carpe diem mentality -3 arguments: conditional tense > future tense > present tense - dichotomy and comparison of religion and sex, plays on contradictory -apocalyptic tone, instills sense of religious fear to convince lady to have sex -hyperbolic

Had we but world enough and time, This coyness, lady, were no crime. We would sit down, and think which way To walk, and pass our long love's day. Thou by the Indian Ganges' side Shouldst rubies find; I by the tide Of Humber would complain. I would Love you ten years before the flood, And you should, if you please, refuse Till the conversion of the Jews. My vegetable love should grow Vaster than empires and more slow; An hundred years should go to praise Thine eyes, and on thy forehead gaze; Two hundred to adore each breast, But thirty thousand to the rest; An age at least to every part, And the last age should show your heart. For, lady, you deserve this state, Nor would I love at lower rate. But at my back I always hear Time's wingèd chariot hurrying near; And yonder all before us lie Deserts of vast eternity. Thy beauty shall no more be found; Nor, in thy marble vault, shall sound My echoing song; then worms shall try That long-preserved virginity, And your quaint honour turn to dust, And into ashes all my lust; The grave's a fine and private place, But none, I think, do there embrace. Now therefore, while the youthful hue Sits on thy skin like morning dew, And while thy willing soul transpires At every pore with instant fires, Now let us sport us while we may, And now, like amorous birds of prey, Rather at once our time devour Than languish in his slow-chapped power. Let us roll all our strength and all Our sweetness up into one ball, And tear our pleasures with rough strife Through the iron gates of life: Thus, though we cannot make our sun Stand still, yet we will make him run.

When first my lines of heav'nly joyes made mention, Such was their lustre, they did so excell, That I sought out quaint words, and trim invention ; My thoughts began to burnish, sprout, and swell, Curling with metaphors a plain intention, Decking the sense, as if it were to sell. Thousands of notions in my brain did runne, Off'ring their service, if I were not sped : I often blotted what I had begunne ; This was not quick enough, and that was dead. Nothing could seem too rich to clothe the sunne, Much lesse those joyes which trample on his head. As flames do work and winde, when they ascend, So did I weave my self into the sense. But while I bustled, I might heare a friend Whisper, How wide is all this long pretence ! There is in love a sweetnesse readie penn'd : Copie out only that, and save expense.

Jordan 2 George Herbert -making evocative poetry without spiritual purpose -speaking right from the heart doesn't make it too complicated

Andrew Marvell- Dialogue Between Soul and Body -body as material - body continues to live, but soul wants to move on -body accuses soul of being architect of sin, sick as well

SOUL O who shall, from this dungeon, raise A soul enslav'd so many ways? With bolts of bones, that fetter'd stands In feet, and manacled in hands; Here blinded with an eye, and there Deaf with the drumming of an ear; A soul hung up, as 'twere, in chains Of nerves, and arteries, and veins; Tortur'd, besides each other part, In a vain head, and double heart. BODY O who shall me deliver whole From bonds of this tyrannic soul? Which, stretch'd upright, impales me so That mine own precipice I go; And warms and moves this needless frame, (A fever could but do the same) And, wanting where its spite to try, Has made me live to let me die. A body that could never rest, Since this ill spirit it possest. SOUL What magic could me thus confine Within another's grief to pine? Where whatsoever it complain, I feel, that cannot feel, the pain; And all my care itself employs; That to preserve which me destroys; Constrain'd not only to endure Diseases, but, what's worse, the cure; And ready oft the port to gain, Am shipwreck'd into health again. BODY But physic yet could never reach The maladies thou me dost teach; Whom first the cramp of hope does tear, And then the palsy shakes of fear; The pestilence of love does heat, Or hatred's hidden ulcer eat; Joy's cheerful madness does perplex, Or sorrow's other madness vex; Which knowledge forces me to know, And memory will not forego. What but a soul could have the wit To build me up for sin so fit? So architects do square and hew Green trees that in the forest grew.

Why have Satan as an epic hero?

Satan = relatable Epic hero has to be flawed; God is not flawed

Paradise Lost Book 4 summary

Satan lands atop Mount Niphates, just north of Paradise, the Garden of Eden. He becomes gripped with doubt about the task in front of him; seeing the beauty and innocence of Earth has reminded him of what he once was. He even briefly considers whether he could be forgiven if he repented. But Hell follows him wherever he goes—Satan is actually the embodiment of Hell. If he asks the Father for forgiveness, he knows it would be a false confession; he reasons that if he returned to Heaven, he still could not bear to bow down. Knowing redemption or salvation cannot be granted to him, he resolves to continue to commit acts of sin and evil. He does not notice that during his internal debate, he has inadvertently revealed his devilish nature. He is observed by Uriel, the archangel he tricked into pointing the way. Uriel notices his conflicting facial expressions, and since all cherubs have permanent looks of joy on their faces, Uriel concludes that Satan cannot be a cherub. Satan now approaches Eden, which is surrounded by a great thicket wall. He easily leaps over it like a wolf entering a sheep's pen. Inside he sees an idyllic world, with all varieties of animals and trees. He can see the tallest of the trees, the Tree of Life—and next to it, the forbidden Tree of Knowledge. He perches himself on the Tree of Life, disguised as a cormorant, a large sea bird. Finally, he notices two creatures walking erect among the other animals. They walk naked without shame, and work pleasantly, tending the garden. Satan's pain and envy intensifies as he sees this new beautiful race, created after he and his legions fell. He could have loved them, but now, his damnation will be revenged through their destruction. He continues to watch them, and the man, Adam, speaks. He tells Eve not to complain of the work they have to do but to be obedient to God, since God has given them so many blessings, and only one constraint: they must not eat the fruit of the Tree of Knowledge. Eve agrees wholeheartedly, and they embrace. Eve tells Adam of her first awakening as she came to life and how she wondered who and where she was. She found a river and followed it upstream to its source. Her path led to a clear, smooth lake, and Eve looked into the lake, seeing an image in its surface, which she soon discovers is her own. She hears a voice explaining to her that she was made out of Adam, and with him she will become the mother of the human race. Overlooking Adam and Eve, Satan sees his opportunity. If the Father has given them a rule to follow, then they might be persuaded to break it. He leaves the two for a while, going off to learn more from other angels. Meanwhile, Uriel comes before the Archangel Gabriel, at the gate of Eden, and tells him about the shape-changing spirit that he saw from the hilltop. They both suspect that it might be one of the fallen ones. Gabriel promises that if the spirit is in the garden, they will find it by morning. Around this time, Adam and Eve finish their day's work. They go to their leafy bower, praising God and each other for their blissful life, and after a short prayer, they lie together—making love without sin, because lust had not yet tainted their natures. Night falls, and Gabriel sends search parties into the Garden. Two of his angels find Satan, disguised as a toad, whispering into the ear of Eve as she sleeps. They pull him before Gabriel, who recognizes him, and demands to know what he is doing in Paradise. Satan at first feigns innocence, as they have no proof that he means harm. But Gabriel knows him to be a liar, and threatens to drag him back to Hell. Enraged by this threat, Satan prepares to fight him. The two square off for a decisive battle, but a sign from Heaven—the appearance in the sky of a pair of golden scales—stops them. Satan recognizes the sign as meaning he could not win, and flies off.

Paradise Lost Book 2 Synopsis

Satan opens the debate in Pandemonium by claiming that Heaven is not yet lost, and that the fallen angels (or devils) might rise up stronger in another battle if they work together. He opens the floor, and the pro-war devil Moloch speaks first. Moloch was one of the fiercest fighters in the war in Heaven, and he anxiously pleads for another open war, this time armed with the weapons of Hell. He reasons that nothing, even their destruction, could be worse than Hell, and so they have nothing to lose by another attack. Belial speaks up to contradict him. He eloquently offers calm reason to counter Moloch's fiery temper, and claims that God has not yet punished them as fiercely as he might if they went to war with him again. After all, they are no longer chained to the fiery lake, which was their previous and worse punishment; since God may one day forgive them, it is better that they live with what they now have. But peace is not really what he advocates; rather, Belial uses his considerable intelligence to find excuses to prevent further war and to advocate lassitude and inaction. Mammon speaks up next, and refuses to ever bow down to God again. He prefers to peacefully advance their freedom and asks the devils to be industrious in Hell. Through hard work, the devils can make Hell their own kingdom to mimic Heaven. This argument meets with the greatest support among the legions of the fallen, who receive his suggestion with applause. Quiet falls upon the crowd as the respected Beelzebub begins to speak. He also prefers freedom to servitude under God, but counsels a different course of action than those previously advocated. Apparently, he says, rumors have been circulating in Heaven about a new world that is to be created, to be filled with a race called Man, whom God will favor more than the angels. Beelzebub advises, at Satan's secret behest, that they seek their revenge by destroying or corrupting this new beloved race. The rest of the devils agree and vote unanimously in favor of this plan. They must now send a scout to find out about this new world, and in a feat of staged heroics, Satan volunteers himself. While the other devils break into groups to discuss the outcome of the debate and to build other structures, Satan flies off to find Hell's gate. When he approaches, he sees that it is actually nine gates—three each of brass, iron, and adamantine—and that two strange shapes stand guard in front. One looks like a woman down to her waist, but below has the form of a serpent, with a pack of howling dogs around her waist. The other is only a dark shape. Satan chooses to confront the shape, demanding passage through the gates. They are about to do battle when the woman-beast cries out. She explains to Satan who she and her companion are and how they came to be, claiming that they are in fact Satan's own offspring. While Satan was still an angel, she sprang forth from his head, and was named Sin. Satan then incestuously impregnated her, and she gave birth to a ghostly son named Death. Death in turn raped his mother Sin, begetting the dogs that now torment her. Sin and Death were then assigned to guard the gate of Hell and hold its keys. Apparently, Satan had forgotten these events. Now he speaks less violently to them and explains his plot against God. After Satan's persuasion, they are more than eager to help him. Sin unlocks the great gates, which open into the vast dark abyss of night. Satan flies out but then begins to fall, until a cloud of fire catches and carries him. He hears a great tumult of noise and makes his way toward it; it is Chaos, ruler of the abyss. Chaos is joined by his consort Night, with Confusion, Discord and others at their side. Satan explains his plan to Chaos as well. He asks for help, saying that in return he will reclaim the territory of the new world, thus returning more of the universe to disorder. Chaos agrees and points out the way to where the Earth has recently been created. With great difficulty, Satan moves onward, and Sin and Death follow far behind, building a bridge from Hell to Earth on which evil spirits can travel to tempt mortals.

I struck the board, and cried, "No more; I will abroad! What? shall I ever sigh and pine? My lines and life are free, free as the road, Loose as the wind, as large as store. Shall I be still in suit? Have I no harvest but a thorn To let me blood, and not restore What I have lost with cordial fruit? Sure there was wine Before my sighs did dry it; there was corn Before my tears did drown it. Is the year only lost to me? Have I no bays to crown it, No flowers, no garlands gay? All blasted? All wasted? Not so, my heart; but there is fruit, And thou hast hands. Recover all thy sigh-blown age On double pleasures: leave thy cold dispute Of what is fit and not. Forsake thy cage, Thy rope of sands, Which petty thoughts have made, and made to thee Good cable, to enforce and draw, And be thy law, While thou didst wink and wouldst not see. Away! take heed; I will abroad. Call in thy death's-head there; tie up thy fears; He that forbears To suit and serve his need Deserves his load." But as I raved and grew more fierce and wild At every word, Methought I heard one calling, Child! And I replied My Lord.

The Collar George Herbert speaker is on a spiritual journey feels desire to be set free from his service to God crisis of faith image of collar: attachment to God; slave collar vs clerical collar spiritual imagery: fruit of the spirit, slavery, crown of thorns,

Luxurious man, to bring his vice in use, Did after him the world seduce, And from the fields the flowers and plants allure, Where nature was most plain and pure. He first enclosed within the gardens square A dead and standing pool of air, And a more luscious earth for them did knead, Which stupified them while it fed. The pink grew then as double as his mind; The nutriment did change the kind. With strange perfumes he did the roses taint, And flowers themselves were taught to paint. The tulip, white, did for complexion seek, And learned to interline its cheek: Its onion root they then so high did hold, That one was for a meadow sold. Another world was searched, through oceans new, To find the Marvel of Peru. And yet these rarities might be allowed To man, that sovereign thing and proud, Had he not dealt between the bark and tree, Forbidden mixtures there to see. No plant now knew the stock from which it came; He grafts upon the wild the tame: That th' uncertain and adulterate fruit Might put the palate in dispute. His green seraglio has its eunuchs too, Lest any tyrant him outdo. And in the cherry he does nature vex, To procreate without a sex. 'Tis all enforced, the fountain and the grot, While the sweet fields do lie forgot: Where willing nature does to all dispense A wild and fragrant innocence: And fauns and fairies do the meadows till, More by their presence than their skill. Their statues, polished by some ancient hand, May to adorn the gardens stand: But howsoe'er the figures do excel, The gods themselves with us do dwell.

The Mower Against the Gardens Andrew Marvell - innocence vs experience; human beings and nature -portrays nature losing its pure beauty; mankind manipulating nature -nostalgia for a lost paradise, Eden lost -personifying nature -connection between humanity and nature are all of marvells poems aabbccdd...etc?

My mind was once the true survey Of all these meadows fresh and gay, And in the greenness of the grass Did see its hopes as in a glass; When Juliana came, and she What I do to the grass, does to my thoughts and me. But these, while I with sorrow pine, Grew more luxuriant still and fine, That not one blade of grass you spy'd But had a flower on either side; When Juliana came, and she What I do to the grass, does to my thoughts and me. Unthankful meadows, could you so A fellowship so true forgo? And in your gaudy May-games meet While I lay trodden under feet? When Juliana came, and she What I do to the grass, does to my thoughts and me. But what you in compassion ought, Shall now by my revenge be wrought; And flow'rs, and grass, and I and all, Will in one common ruin fall. For Juliana comes, and she What I do to the grass, does to my thoughts and me. And thus, ye meadows, which have been Companions of my thoughts more green, Shall now the heraldry become With which I shall adorn my tomb; For Juliana comes, and she What I do to the grass, does to my thoughts and me.

The Mower's Song Andrew Marvell -Adam and Eve vs Julianna and the mower -emotional intertwining -self-consuming, self-destructive love -part of pastoral tradition but also wants to be distinctive

When God at first made man, Having a glass of blessings standing by, "Let us," said he, "pour on him all we can. Let the world's riches, which dispersèd lie, Contract into a span." So strength first made a way; Then beauty flowed, then wisdom, honour, pleasure. When almost all was out, God made a stay, Perceiving that, alone of all his treasure, Rest in the bottom lay. "For if I should," said he, "Bestow this jewel also on my creature, He would adore my gifts instead of me, And rest in Nature, not the God of Nature; So both should losers be. "Yet let him keep the rest, But keep them with repining restlessness; Let him be rich and weary, that at least, If goodness lead him not, yet weariness May toss him to my breast."

The Pulley George Herbert -play on creation story -rest=satisfaction, not becoming spiritually complacent -humans wouldnt want to seek God if they were truly satisfied -humanizing God but also gives him human imperfections theodicy- attempt to explain why bad things happen to good ppl