ENGLISH 220: Literary Analysis
Fall 2002
Dr.
Kuzmanovich
Place: 316 Chambers; Time:
Office Hours: WF
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Your residence is not
your domicile. Your domicile is the
place to which you always return or intend to return. |
Home is the place
where, when you have to go there, They have to take you
in. I should have called it Something you somehow
haven't to deserve. |
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Famous American Document |
Famous American Document |
I. Narrative: Stories, Same Stories and More Stories
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Date |
Topic/Critical
Concept |
Reading Assignment |
Writing Assignment |
Notes/Browsing Suggestions |
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8/26 |
Course Introduction: |
Literature as News, Cultural Memory,
Order, Weapon, Therapy, Moral Instruction, Escape, Gift |
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8/28 |
Form and/of the Short Story/Class |
Literature, Chapter 1 and Chapter 40; 1. READING A STORY. Plot. The Short Story. |
The greatest moments in (a)
fiction, (b) poetry, (c) film |
Concentrate on Updike's "A
& P." |
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8/30 |
Setting as Character in Fiction /Secrets |
Literature, 4. SETTING. Kate Chopin, “The Storm.” T. Coraghessan
Boyle, “Greasy |
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9/2 |
The Start of a Beautiful Friendship: Character
in Fiction/Race |
Literature, 3. CHARACTER. Alice Walker, “Everyday
Use”; also Katherine Mansfield, “Miss Brill” from Chapter 11 |
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9/4 |
Maps for Readers: Plot and
Structure in Fiction/Narrative |
Literature, Bierce, "An Occurrence at Owl
Creek Ridge" (513-521) |
Due 9/11: In
two or three pages analyze the ways
Oates and Baldwin create EITHER Connie or Sonny in -> |
->the respective stories "Where are You Going, Where Have You Been?" and
"Sonny's Blues" (both in Literature) |
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9/6 |
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James Joyce,
The Dead; also Literature 2180-2181, 2182-2185 |
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9/9 |
Assorted Liars: Point of View/Desire |
Literature, Chapter 2 (20-60) 2. POINT OF VIEW. William Faulkner, “A Rose for Emily.” Eudora Welty, “Why
I Live at the P. O.” Also pages 2169-2172 in Literature. Start Billy Budd. |
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9/11 |
Tone and Style Ideology |
Literature, Chapter 5. TONE AND
STYLE. William Faulkner,
Barn Burning. Ha Jin, Saboteur. Finish Billy Budd |
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9/13 |
Theme: The Emotional Impact of an Idea's Structure Self//Other |
Literature,
Chapter 6. THEME. F.
Scott Fitzgerald, “ |
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9/16 |
Gender as a Narrative Category: The Differences Gender Differences
Make/Gender |
In Country (150- 245) |
Write a one- paragraph response to Sylvia
Plath's "Metaphors" (683). And do make it
a paragraph, not a page. |
(Point
out the specific features of this poem that make you have the reaction you
have) |
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9/18 |
Monumentality /History |
Start The Crying of |
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9/20 |
The Reader as Metaphysical
Detective |
Finish The Crying of |
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9/23 |
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Test on Fiction |
(terms, identification, and explication
of passages) |
II. Poetry: Clear Expression of Mixed
Feelings
"Poetry is the spontaneous
overflow of powerful feelings: it takes its origin from emotion recollected in
tranquility." (William Wordsworth)
"Poetry is not the turning
loose of emotion, but an escape from emotion; it is not the expression of
personality, but an escape from personality." (T.S. Eliot)
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9/25 |
Words; Hearing Voices |
Literature, Chapter 12. READING A POEM. William 13. LISTENING TO A VOICE. Theodore Roethke, My Papa's Waltz. Countee Cullen,
For a Lady I Know. Anne Bradstreet,
The Author to Her Book. Weldon Kees, For My
Daughter. Edwin |
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You may wish to browse over “Writer's Perspective”- Adrienne
Rich on Writing, Recalling "Aunt Jennifer's Tigers". William
Stafford, Ask Me. William Stafford, A
Paraphrase of "Ask Me". |
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9/27
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Sound, Self, and A Sense of Place |
Literature,
Chapter 25. POETRY AND PERSONAL IDENTITY. Sylvia Plath, Lady Lazarus. Yusef Komunyakaa, Facing It. Emily Grosholz,
Listening. Donald Justice, Men at Forty. Adrienne Rich, Women. Andrew Hudgins, Elegy for My Father, Who Is
Not Dead and Chapter 41. WRITING ABOUT A
POEM/ Explicating. Robert
Frost, Design |
Among your favorite CDs
and MP3s (1) find the lyrics of an especially poetic contemporary song, (2)
photocopy its lyrics or type them out, (3) bring that tape or CD to class
along with (4) a one- page essay about the meaning, sound, and rhythm of the
song |
The
following poems are a part of your linguistic heritage; you may wish to know
them. They also appear frequently on the GRE for English. |
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9/30 |
Tools Of the Trade: Words And/as Images in Poetry |
Literature, Chapter 14. WORDS. William Carlos Williams, This Is Just to Say. Henry Taylor, Riding a One-Eyed Horse.
Robert Graves, Down, Wanton, Down!
John Donne, Batter my heart, three-personed
God, for You. J. V. Cunningham,
Friend, on this scaffold Thomas More lies dead. Chapter 15. SAYING
AND SUGGESTING. Richard Snyder, A
Mongoloid Child Handling Shells on the Beach. Walter de la Mare, The
Listeners. Robert Frost, Fire and Ice.
Richard Wilbur, Love Calls Us to the
Things of This World. Chapter 16. IMAGERY. Ezra Pound, In a Station of the Metro. Theodore Roethke,
Root Cellar. Elizabeth Bishop, The
Fish. |
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Matthew Arnold, Samuel
Taylor Coleridge, Kubla Khan. Hart Crane, My Grandmother's Love Letters.
E. E. Cummings, somewhere i have never travelled, gladly beyond. John Donne, Death be
not proud. |
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10/2 |
Seeing Anew: Rhetorical Figures in Poetry |
Literature, Chapter 19. SOUND. Alexander Pope, True Ease in Writing comes
from Art, not Chance. William Chapter 17. FIGURES
OF SPEECH. Alfred, Lord Tennyson, The Eagle. William Shakespeare, Shall I compare thee
to a summer's day? Howard Moss, Shall
I Compare Thee to a Summer's Day?
William Blake, To see a world in a grain of sand. Sylvia Plath,
Metaphors. Margaret Atwood, You fit
into me. George Herbert, The Pulley. Theodore
Roethke, I Knew a Woman. Robert Frost, The Silken Tent. Robert Frost, The Secret Sits. A. R. Ammons,
Coward. |
Write a very close prose paraphrase of any ONE of the
following poems: John Milton, "When I consider how my light is
spent"; Gerard Manley Hopkins, "Thou are indeed just, Lord, if I
contend"; Adrienne Rich, "Aunt Jennifer's Tigers"; Stevie Smith, "Not Waving but Drowning” |
Randall Jarrell, The Death of the Ball Turret Gunner.
John Keats, Ode on a Grecian Urn. On
First Looking into Chapman's
Homer. John
Milton, When I consider how my light is spent. Sharon Olds, The One Girl at the Wilfred Owen,
Anthem for Doomed Youth. |
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10/4 |
Distant Voices and Dead Authors: Myth, Symbolismand Allusion in Poetry |
Literature, Chapters 23. SYMBOL. T.S. Eliot, The Chapter
24. MYTH AND NARRATIVE. Robert Frost, Nothing Gold Can
Stay. William Wordsworth, The World Is
Too Much with Us. Anne Sexton,
Cinderella. |
Look up the term INTERTEXTUALITY in a good dictionary of literary theory |
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10/7 |
An Echo to the Sense: Prosody in Poetry |
Literature, Chapters 19 (yes, again) and 20. RHYTHM. Gwendolyn Brooks,
We Real Cool. Alfred, Lord Tennyson,
Break, Break, Break. Alexander Pope, Atticus. Sir
Thomas Wyatt, With serving still. Dorothy
Parker, Rsum.
Langston Hughes, Dream Boogie. |
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10/9 |
Open and Shut: Form in Poetry |
Literature, Chapter 18. SONG W. H. Auden, Funeral Blues.
William Blake, Chapter 21.
CLOSED FORM. John Keats,
This living hand, now warm and capable.
William Shakespeare, Let me not to the marriage of true minds.
E. E. Cummings, Alice Fulton, What I Like. |
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Adrienne Rich, Living in Sin. Theodore Roethke,
Elegy for Jane. William Shakespeare, Not marble nor
the gilded monuments. |
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10/11 |
The Un- Conscious, Intention, and Influence |
Read Literature, 2185-2191 |
Write a two- to- three page explication
of ONE of the painting /poem(s) pairing(s) I will make available. The pairing
you select should not be one of those discussed in class. |
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HAVE |
A VERY |
Nice |
Break |
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10/16 |
Artful Resonance: Theme in Poetry |
In Literature, "Ethics,"
"Do Not Go Gentle into that Good Night," "Rites of
Passage," "Daddy." Also the poems attached to the syllabus |
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10/18 |
Evaluating |
Literature,
Chapter 27. RECOGNIZING EXCELLENCE. Grace Treasone, Life. |
You may also wish to browse over
Chapter 28. WHAT IS POETRY? Archibald MacLeish, Ars Poetica. Dante, Samuel Johnson, Samuel Taylor Coleridge,
William Wordsworth, Thomas Carlyle, Thomas Hardy, Emily Dickinson, Gerard
Manley Hopkins, Robert Frost, Wallace Stevens, Mina Loy, T. S. Eliot, W. H. Auden, Octavio Paz, J. V.
Cunningham, Elizabeth Bishop, William Stafford, Gwendolyn Brooks, Robert Bly, Some Definitions of Poetry. Ha Jin, Missed
Time. |
Select a poem from Chapters 27 and 30 you think is worth
reading and discussing on is own but may also help you in getting you to
review for the test. E-mail me your
choice. |
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10/21 |
The Sound-track to your
life |
Literature,
(1197-1199) |
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Ditto |
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10/23 |
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Test On Poetry |
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See The Diary of Anne Frank ( |
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III. Drama: Real |
Illusions |
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10/25 |
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Literature, Chapter 42. WRITING ABOUT A
PLAY. |
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Library Day- - Meet by the
Index Case |
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10/28 |
Ghosts The Tragic |
Literature, First two acts of Hamlet) |
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10/30 |
Plunging into a Play Text and World |
Literature, Next two acts of Hamlet |
Send me an e-mail letting me know what elements of Hamlet are giving you trouble |
Bring to class at least
three topics for your final paper. -> |
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11/1 |
Image of Reality: The Elements
of Drama |
Literature, Act
V of Hamlet; also A. C. Bradley,
Hamlet's Character. Rebecca West,
Hamlet And Ophelia. Jan Kott, Producing Hamlet.
Joel Wingard, Reader-Response Issues in
Hamlet |
Be ready to lead discussion on your favorite scene from
Othello or Hamlet |
These should be typed,
full- sentence statements of interest and your probable means of approach. |
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11/4 |
Playing the Part: Character and Action |
Literature, Glaspell, Trifles |
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We need to script, cast, and schedule our filming of Andre’s Mother |
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11/6 |
Setting and Staging in Drama Canon |
Literature, EITHER
Milcha Sanchez-Scott, The Cuban Swimmer. OR August Wilson, Joe
Turner's Come and Gone |
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11/8 |
Patterns of Action: Plot
and Conflict in Drama |
Literature –The Real Inspector Hound” or The
Sandbox--Handout). |
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11/11 |
Speech and Silence: Language
of Drama/ Queer |
Literature, Andre’s Mother |
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11/13 |
The Vision Quest: Myth and Symbolism in Drama |
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11/15 |
A Frame for Meaning: Theme and Genre in Drama |
‘Night, Mother |
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11/18 |
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Discussion of ‘Night,
Mother |
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11/20 |
Con- tested Know- ledge |
Canon Battles and Culture
Wars and the "All in the
Family" feeling of our course |
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11/22 |
Fire Criticism |
Literature, Chapter 43 |
Choose a critical approach that works best for you and send it
to me (a single screen-full) along with a rationalization for your choice and
some wonderful examples (taken from our text) to illustrate it |
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IV. Film: The |
Surface of |
the World |
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11/25 |
Film: |
Mise- en- Scene or Representation |
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HAVE |
A VERY |
Nice |
Break |
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12/2 |
Film: |
Camera (Gazing and Scoping) |
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12/4 |
Film: |
Sound (Believing our own eyes) |
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12/6 |
Film: |
Editing (The Master
Narrative) |
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12/9 |
Optional |
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12/11 |
Optional |
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Due: a researched five- to- seven page critical paper on a
piece of literature not discussed in class |
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12/13 |
Exams Begin |
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Course Description: Designed for, and required of
majors. Emphasizes theoretical approaches and critical
strategies for the written analysis of poetry, fiction, drama, and film.
Writing intensive.
Format: The actual day- to- day format of the course will
consist of an illustrated talk on some aspect of fiction, poetry, drama, or
film narrative, followed by your discussion of the functioning of that aspect
in your experience of art. The course will be supplemented by films and live
performances.
Late Work: All written work is due in my
office by
COURSE REQUIREMENTS: Your final grade will be based
on papers (30%), tests, quizzes, final exam (40%), and discussion (30%). All
written assignments are in bold print on the syllabus. While the readings on
the syllabus may and will change, the structure and due dates of written
assignments will not without events of apocalyptic magnitude. The final version of your final paper ought to take account of
the state- of- the- art research on the topics you and I select in
consultation. This paper will be due December 11, and, yes, I will be delighted
to look at timely rough drafts submitted to me before the Thanksgiving break.
TEXTS:
·
Literature: An Introduction to Fiction, Poetry, and Drama, 8th
Edition, eds. X.J. Kennedy and Dana Gioia.
·
Billy Budd by Herman Melville.
·
In Country by Bobbie Ann Mason.
·
The Dead by James Joyce.
·
The Crying of
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'night, Mother by Marsha Norman.
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Various Handouts (There may be a nominal charge).
If you have not already done so,
it would also be a good idea to secure (1) a recent college- level dictionary (The
Concise Oxford and The American Heritage come to mind), (2) a
handbook of grammar and usage (W.W. Norton's Writing or The Little,
Brown Handbook), and (3) The King James or Authorized Version of the Bible.
A Few Words on Teaching Literature
This is the kind of answer I give
to myself when I ask myself why I teach literature: If language is a window
into other minds, then literature is a peculiar kind of a structure preserving
and creating both the windows and the views those windows grant. As a unique
repository of a culture's riches, literature provides one of the few imaginary
spaces where minds can really meet. Read properly, the passions and
preoccupations of other minds immerse us in diverse views of human experience
while helping to frame our unique knowledge of ourselves. But such knowledge
arrives only through the discipline we must impose on our thoughts and feelings
in order for them to be expressed precisely and thus made present to others.
Expressing ourselves well means making it possible for our audience to sense in
our every sentence both the resonances of our race, gender, region, class,
religion, ethnicity, and political ideology as well as the distinctive
independence of our individual spirit's synthesis of, and reaction to those
cultural forces. Keep reminding yourself that through your every word and image
you not merely express but produce what you think. And then, if such reminders
do not silence you, treat your audience to the full complexity of your
historical perspective, the breadth of you cultural literacy, the sharpness of
your interpretive acumen, the richness of your understanding of the imaginative
process, and thus the lucid pleasure inherent in any task done precisely and
passionately. Yes, it's scary, but I can't imagine doing anything else with as
much commitment.
Plagiary occurs whenever you present another writer’s work in such a
way as to give your
reader reason to think it to be your own. Plagiarism is a form of
academic fraud, and it always leads to a failing grade for the plagiarized
work, but may, depending on Honor Council decisions, also result in a loss of
credit for the course, for the semester, temporary suspension from the College,
etc.
The most common types of plagiarism are:
1. “Let Mikey Do It!” This is the grossest form of plagiarism since
it includes the use of a paper purchased from a paper mill, or a work prepared
by any person other than the individual claiming to be the author such as a
paper stolen from another student or acquired from the fraternity or eating
house archives. (I usually ask for
temporary suspension from the College.)
2. “The Double-Dip.” Self-plagiarism occurs when you submit work which
is the same or substantially the same as work for which you have already
received academic credit here or elsewhere. (I usually ask for loss of credit
for the class.)
3. “Gee, I wish I had written that!
Wait a minute; I just did!” Incorporating into your own sentences the
happily phrased words written or said by another but failing to put the quotation marks
around those “happy” words and thus avoiding having to credit your source. (I
usually fail the paper, but will fail the student for the class if I receive no
cooperation in ascertaining the degree of infraction. The Honor Council may and usually does add
its own penalties.)
The College values and rewards original thought, but it also values
and rewards proper research which requires the correct crediting of authorities
from whom you derive your phrasing, facts, and opinions.
Every discipline within the curriculum requires documentation, but
correct method of attribution varies from discipline to discipline. I require
the latest MLA
style (usually posted on the Web) for which you have already been supplied the
URL. (this year it’s
http://www.fas.harvard.edu/~expos/sources/#textboxes)
If you are ever in any doubt about what to document, please ask me,
but until you do, surprise the devil and do the right thing: document absolutely everything.
A Few Words on Grading
Your final grade will never be lower than the arithmetical average of
your in-course grades; it may be higher if you writing and discussing shows
notable improvement. Although all grading is to some degree subjective, I want
to clue you in on what my particular criteria are. I am convinced that written
assignments help you to develop and clarify your understanding of a text, thus
giving you a firmer grasp of it than reading, lecture, or discussion can
provide. What I look for in your writing are the following elements. Words like
sense and feeling hint at the subjectivity; remember, however, that I am a
trained reader and that these criteria are constants for everyone in this
class.
--a sense that you have understood and considered
all aspects of the assignment and have something interesting to say in response
to it (rather than answering the obvious questions or latching on to something
already trodden over in lecture and discussion)
--depth of understanding of the work under
discussion (considering evidence which might be interpreted quite differently
from the way you read it, anticipating those objections and fending them off
rather than conveniently forgetting about them; appropriate details brought
forth to convince me of your contention; citations, always with page numbers,
thoroughly interpreted and commented upon)
--a feeling (very early in your response to the
assignment) of some insightful point being made and of the method you plan to
use in demonstrating that point (the more I have to guess what it is you are
getting at, the more you'll have to wonder about your grade; mystery has a
better place on late-night television)
--a sense that you have profited from doing the
assignment itself, a new insight perhaps, usually evident in a conclusion which
does not merely summarize but speculates, conjectures, surmises, theorizes,
meditates, ponders, reflects, ruminates (yes, I use a thesaurus and so should
you) or gives other indication of an ongoing engagement with the text at hand
--rhetorical awareness: when you write for me, you
write for an interested and sympathetic but also skeptical reader. To convince
me that you are making the best possible case for your reading, assume an
authoritative interested tone (achieved through precise propositions which are
qualified where necessary and through a consideration of other points of view);
carefully selected and contextualized citations; coherent exposition and
sufficient development of your insight gained by clear transitions between
sentences and paragraphs; fair use of outside materials in observance of the
honor code.
NB: I am distressed and irritated
by carelessness in handling of logic, grammar, and textual evidence, and, as a
result, every time I have to correct something, your grade is affected
accordingly. For me, teaching provides a type of satisfaction no other activity
can provide, so I care about all aspects of it, including your writing. I hope you
will care about it as much as I do. I applaud good intentions, encourage
aspiration, and value hard work, but I reward only achievement.
LETTERS AND NUMBERS: Letter grades will be converted
to numerical ones according to the following scale:
A = 95; A- = 92; B+ = 88; B = 85; B- = 82; C+ = 78; C =
75; C- = 72; D+ = 68; D = 65.
MUTABILITY
We are
as clouds that veil the
How restlessly they speed, and gleam, and quiver,
Streaking the darkness radiantly!-yet soon
Night closes round, and they are lost forever:
Or like forgotten
lyres, whose dissonant strings 5
Give various response to each varying blast,
To whose frail frame no second motion brings
One mood or modulation like the last.
We rest.-A dream has
power to poison sleep;
We rise.-One wandering thought pollutes the day; 10
We feel, conceive or reason, laugh or weep;
Embrace fond woe, or cast our cares away:
It is the same!-For,
be it joy or sorrow,
The path of its departure still is free:
Man's yesterday may ne'er be like his morrow; 15
Nought may endure but Mutability
Musee des
Beaux Arts
About suffering they were never wrong,
The Old Masters; how well, they understood
Its human position; how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting 5
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course 10
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer's horse
Scratches its innocent behind on a tree.
In Breughel's Icarus, for
instance: how everything turns away
Quite leisurely from the disaster; the ploughman may 15
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky, 20
had somewhere to get to and sailed calmly on.
The Devil's
Advice to Story-tellers
1 Lest men suspect your tale to be
untrue,
2 Keep
probability -- some say -- in view.
3 But
my advice to story-tellers is:
4 Weigh
out no gross of probabilities,
5 Nor
yet make diligent transcriptions of
6 Known
instances of virtue, crime or love.
7 To
forge a picture that will pass for true,
8 Do
conscientiously what liars do --
9 Born
liars, not the lesser sort that raid
10 The mouths of others for their
stock-in-trade:
11 Assemble, first, all casual
bits and scraps
12 That may shake down into a
world perhaps;
13 People this world, by chance
created so,
14 With random persons whom you do
not know --
15 The teashop sort, or travelers
in a train
16 Seen once, guessed idly at, not
seen again;
17 Let the erratic course they
steer surprise
18 Their own and your own and your
readers' eyes;
19 Sigh then, or frown, but leave
(as in despair)
20 Motive and end and moral in the
air;
21 Nice contradiction between fact
and fact
22 Will make the whole read human
and exact.
1 Others abide our question. Thou art free.
2 We ask and ask--Thou smilest and art
still,
3 Out-topping knowledge. For the loftiest hill,
4 Who to the stars uncrowns his majesty,
5 Planting his steadfast footsteps in the sea,
6 Making the heaven of heavens his dwelling-place,
7 Spares but the cloudy border of his base
8 To the foil'd searching of mortality;
9 And thou, who didst the stars and sunbeams know,
10 Self-school'd, self-scann'd,
self-honour'd, self-secure,
11 Didst tread on earth unguess'd at.--Better
so!
12 All pains the immortal spirit must endure,
13 All weakness which impairs, all griefs
which bow,
14 Find their sole speech in that victorious brow.
To Autumn
1 Seasons
of mist and mellow fruitfulness,
2 Close
bosom friend of the maturing sun;
3 Conspiring
with him how to load and bless
4 With
fruit the vines that round the thatch-eaves run;
5 To
bend with apples the mossed cottage-trees,
6 And
fill all fruit with ripeness to the core;
7 To
swell the gourd and plump the hazel shells
8 With
a sweet kernel; to set budding more,
9 And
still more, later flowers for the bees,
10 Until they think warm days will
never cease,
11 For summer has o'er-brimmed
their clammy cells.
11 Who hath not seen thee oft amid
thy store?
12 Sometimes whoever seeks abroad
may find
13 Thee sitting careless on a
granary floor,
14 Thy hair soft-lifted by the
winnowing wind;
15 Or on a half-reaped furrow
sound asleep,
16 Drowsed with the fume of
poppies, while thy hook [scythe]
17 Spares the next swath and all
its twined flowers:
18 And sometimes like a gleaner
thou dost keep
19 Steady thy laden head across a
brook;
20 Or by a cider press, with
patient look,
21 Thou watchest
the last oozings hours by hours.
22 Where are the songs of Spring? Aye, where are they?
23 Think not of them, thou hast
thy music too--
24 While barred clouds bloom the
soft-dying day,
25 And touch the stubble plains
with rosy hue;
26 Then in a wailful
choir the small gnats mourn
27 Among the river sallows, borne aloft [willows]
28 Or sinking as the light wind
lives or dies;
29 And full-grown lambs loud bleat
from hilly bourn; [region]
30 Hedge crickets sing; and now
with treble soft
31 The redbreast whistles from a
garden-croft; [enclosed plot]
32 And gathering swallows twitter
in the skies.