T. S. Eliot's The Waste Land

T. S. Eliot's The Waste Land - The University of West Georgia

T. S. Eliot and The Waste Land

T.S. Eliot

English Romanticism

Introduction

Romantic poetry

lWilliam Wordsworth

lS.T. Coleridge

lG.G. Byron

lP.B. Shelley

lJohn Keats

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A History of English Literature

A History of English Literature

1918

by Robert Huntington Fletcher

• Dedication and Preface
• Preliminary. How To Study And Judge Literature
• A Tabular View Of English Literature
• Chapter I. Period I. The Britons And The Anglo-Saxons. To A.D. 1066
• Chapter II. Period II. The Norman-French Period. A.D. 1066 To About 1350
• Chapter III. Period III. The End Of The Middle Ages. About 1350 To About 1500
• Chapter IV. The Medieval Drama
• Chapter V. Period IV. The Sixteenth Century. The Renaissance And The Reign Of Elizabeth
• Chapter VI. The Drama From About 1550 To 1642
• Chapter VII. Period V. The Seventeenth Century, 1603-1660. Prose And Poetry
• Chapter VIII. Period VI. The Restoration, 1660-1700
• Chapter IX. Period VII. The Eighteenth Century, Pseudo-Classicism And The Beginnings Of Modern Romanticism
• Chapter X. Period VIII. The Romantic Triumph, 1798 To About 1830
• Chapter XI. Period IX. The Victorian Period. About 1830 To 1901
• A List Of Editions For The Study Of Important Authors
• Assignments For Study

A brief history of English literature

Introduction
Literary forms
Old English, Middle English and Chaucer
Tudor lyric poetry
Renaissance drama
Metaphysical poetry
Epic poetry
Restoration comedy
Prose fiction and the novel Romanticism
Victorian poetry
The Victorian novel
Modern literature
Writers outside mainstream movements
Literature and culture
Recent and future trends
Evaluating literature
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Medieval | Renaissance | 17th Century | Restoration

Religious Writers | Renaissance Drama | Metaphysical Poets | Cavalier Poets

Characteristics of Victorian Literature

 

Philosophy and Values of the Victorians

Characteristics of Victorian Literature

 

Values	Major Ideas	Literary Form/   Structure	Literary Content/ Themes	Literary Genres/ Styles	Key Authors
Earnestness	Expansion of Empire	Narrative over Lyric	Isolation/ Alienation	Dramatic Monologue	Lord Tennyson
Respectability	Glorification of War	Meter and Rhythm over Imagery	Lack of communication	Novel Elegy magazines	The Brontes Oscar Wilde
Evangelism	Industrialism	Objective; reflective	Pessimism and despair	Drama: Comedy of Manners	Elizabeth Barrett and Robert Browning
Evolution and Progress	Economic Prosperity	Melancholy or meditative, even in love poems	Loss of faith	Rigid standards of personal behavior	Charles Dickens
Hypocrisy?	Reform	Moral issues, didactic	Didactic	High moral tone	Thomas Carlyle
Protestant work ethic		Contemporary subjects			Charles Darwin
Restraint		Longer over shorter forms			Matthew Arnold
Utilitarianism Strong emphasis on duty		More common expressions			Dante Gabriel and Christina Rosetti
		Medieval subjects and forms			Rudyard Kipling

 

Romantic/Victorian Contrasts

	Romantic Era	Victorian Era
Idealism	Visionary/Utopian	Sober/Utilitarian
View of Nature	Kind/Harmonious	Harsh/Cruel
Focus	Inward/Individual Common man Imagination Introspection	Outward/Nation Middle class Reality Work
Philosophy	Transcendentalism	Utilitarianism

More Victoriana

 

Key Metaphor	Struggle or strife
Key Theme	Theory of evolution leads to crisis of faith   Intellectual and spiritual doubt – antidote is work
Growing social consciousness	Reform movements – child labour, safety, hours Women – demand emancipation, enfranchisement, evolution
Victorian Trinity	Religion, science, morality
Nationalism	Britain – first great modern industrial nation
Poets	Feel alienated, betrayed – estranged from life and love – so isolate themselves no groups or friends

ادامه نوشته

Romantic Period Literature Characteristics

 

Romantic Literature

 

"Our birth is but a sleep and a forgetting:

The Soul that rises with us, our life's Star,

Hath had elsewhere its setting,

And cometh from afar:

Not in entire forgetfulness,

And not in utter nakedness,

But trailing clouds of glory do we come

From God, who is our home."

- William Wordsworth

Romantic Period Literature Characteristics:

Love of Nature
Love of the Common Man
Neo-Classicism
The Supernatural
Nationalism
Heroism
Strange and Far-away Places

 

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ادامه نوشته

The solitary reaper

 

The solitary reaper

Wordsworth

 

Behold her, single in the field,
Yon solitary Highland Lass!
Reaping and singing by herself;
Stop here, or gently pass!
Alone she cuts and binds the grain,
And sings a melancholy strain;
O listen! for the Vale profound
Is overflowing with the sound.

No Nightingale did ever chaunt
More welcome notes to weary bands
Of travellers in some shady haunt,
Among Arabian sands:
A voice so thrilling ne’er was heard
In spring-time from the Cuckoo-bird,
Breaking the silence of the seas
Among the farthest Hebrides.

Will no one tell me what she sings?--
Perhaps the plaintive numbers flow
For old, unhappy, far-off things,
And battles long ago:
Or is it some more humble lay,
Familiar matter of to-day?
Some natural sorrow, loss, or pain,
That has been, and may be again?

Whate’er the theme, the Maiden sang
As if her song could have no ending;
I saw her singing at her work,
And o’er the sickle bending;--
I listened, motionless and still;
And, as I mounted up the hill
The music in my heart I bore,
Long after it was heard no more.

 

 

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1. “Tintern Abbey”
2. “Strange fits of passion have I known”
3. Ode: Intimations of Immortality
4. “The world is too much with us”
5. “It is a beauteous evening, calm and free”
6. “London, 1802”
7. “I wandered lonely as a cloud”

 

The Tiger

The Tiger

A Poem by William Blake (1757-1827)

A Study Guide

Type of Work	Year of Publication	Meter	Structure
Ryme Scheme	Figures of Speech	Allusions	Symbols
Themes	Complete Poem	Stanza Summaries	Works of William Blake

source

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THE TIGER

by: William Blake (1757-1827)

IGER, tiger, burning bright

In the forests of the night,

What immortal hand or eye

Could frame thy fearful symmetry?

 

In what distant deeps or skies

Burnt the fire of thine eyes?

On what wings dare he aspire?

What the hand dare seize the fire?

 

And what shoulder and what art

Could twist the sinews of thy heart?

And, when thy heart began to beat,

What dread hand and what dread feet?

 

What the hammer? What the chain?

In what furnace was thy brain?

What the anvil? What dread grasp

Dare its deadly terrors clasp?

 

When the stars threw down their spears,

And water'd heaven with their tears,

Did He smile His work to see?

Did He who made the lamb make thee?

 

Tiger, tiger, burning bright

In the forests of the night,

What immortal hand or eye

Dare frame thy fearful symmetry?

The Lamb

The Lamb

William Blake

Little Lamb, who made thee?
Dost thou know who made thee?
Gave thee life, and bid thee feed,
By the stream and o'er the mead;
Gave thee clothing of delight,
Softest clothing, woolly, bright;
Gave thee such a tender voice,
Making all the vales rejoice?
Little Lamb, who made thee?
Dost thou know who made thee?

Little Lamb, I'll tell thee,
Little Lamb, I'll tell thee.
He is called by thy name,
For He calls Himself a Lamb.
He is meek, and He is mild;
He became a little child.
I a child, and thou a lamb,
We are called by His name.
Little Lamb, God bless thee!
Little Lamb, God bless thee!

Elegy Written in a Country Churchyard

Elegy Written in a Country Churchyard

By Thomas Gray (1716-1771)

A Study Guide

Type of Work	Setting	Publication	Meter
Rhyme Scheme	Stanza Form	Text With Notes	Themes
Inversion	Syncope	Figures of Speech	Assessment of the Poem
Biography	Study Questions	Essay Topics	Shop for Classic Lit

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source

The Rape of the Lock

The Rape of the Lock
An Heroi-Comical Poem

Alexander Pope

Part 1

WHAT dire Offence from am'rous Causes springs,
What mighty Contests rise from trivial Things,
I sing -- This Verse to C---, Muse! is due;
This, ev'n Belinda may vouchfafe to view:
Slight is the Subject, but not so the Praise,
If She inspire, and He approve my Lays.
Say what strange Motive, Goddess! cou'd compel
A well-bred Lord t'assault a gentle Belle?
Oh say what stranger Cause, yet unexplor'd,
Cou'd make a gentle Belle reject a Lord?
And dwells such Rage in softest Bosoms then?
And lodge such daring Souls in Little Men?

continue

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ادامه نوشته

An Essay on Man

"An Essay on Man" is a famous poem by Alexander Pope. This philosophical work is written in heroic couplets. Pope initially had a much more ambitious scope in mind, but eventually appeared as a series of four epistles between 1732 and 1734. The first epistle concerns the nature of man and his place in the universe. Here's the first part of "An Essay on Man."

EPISTLE 1

OF THE NATURE AND STATE OF MAN WITH RESPECT TO THE UNIVERSE

AWAKE, my St. John! leave all meaner things
To low ambition, and the pride of kings.
Let us (since life can little more supply
Than just to look about us, and to die)
Expatiate free o'er all this scene of man;
A mighty maze! but not without a plan;
A wild, where weeds and flow'rs promiscuous shoot;
Or garden, tempting with forbidden fruit.
Together let us beat this ample field,
Try what the open, what the covert yield!
The latent tracts, the giddy heights, explore
Of all who blindly creep, or sightless soar;
Eye nature's walks, shoot folly as it flies,
And catch the manners living as they rise:
Laugh where we must, be candid where we can;
But vindicate the ways of God to man.
Say first, of God above, or man below,
What can we reason, but from what we know?
Of man, what see we but his station here,
From which to reason, or to which refer?
Thro' worlds unnumber'd tho' the God be known,
'Tis ours to trace him only in our own.
He, who thro' vast immensity can pierce,
See worlds on worlds compose one universe,
Observe how system into system runs,
What other planets circle other suns,
What vary'd being peoples every star,
May tell why heav'n has made us as we are.
But of this frame the bearings and the ties,
The strong connections, nice dependencies,
Gradations just, has thy pervading soul
Look'd thro'? or can a part contain the whole?

Is the great chain, that draws all to agree,
And drawn support, upheld by God, or thee?
Presumptuous man! the reason wouldst thou find,
Why form'd so weak, so little, and so blind?
First, if thou canst, the harder reason guess,
Why form'd no weaker, blinder, and no less?
Ask of thy mother earth, why oaks are made
Taller or stronger than the weeds they shade?
Or ask of yonder argent fields above,
Why Jove's Satellites are less than Jove?

Of systems possible, if 'tis confest
That wisdom infinite must form the best,
Where all must full or not coherent be,
And all that rises, rise in due degree;
Then, in the scale of reas'ning life, 'tis plain,
There must be, somewhere, such a rank as man:
And all the question (wrangle e'er so long)
Is only this, if God has plac'd him wrong?

Respecting man whatever wrong we call,
May, must be right, as relative to all.
In human works, tho' labour'd on with pain,
A thousand movements scarce one purpose gain;
In God's, one single can its end produce;
Yet serves to second too some other use.
So man, who here seems principal alone,
Perhaps acts second to some sphere unknown,
Touches some wheel, or verges to some goal;
'Tis but a part we see, and not a whole.

When the proud steed shall know why man restrains
His fiery course, or drives him o'er the plains;
When the dull ox, why now he breaks the clod,
Is now a victim, and now an Egypt's god:
Then shall man's pride and dullness comprehend
His actions', passions', being's, use and end;
Why doing, suff'ring, check'd, impell'd; and why
This hour a slave, the next a deity.

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سيري در ادبيات انگليس (٢) _ دکتر ویکه

 

A Survey of English Literature (II)

  

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