31 Aug

The Evolution of Arthurian Romance: The Verse Tradition from

Beate Schmolke-Hasselmann

Format: Paperback

Language: 1

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Among the most famous sonneteers in England have been Sidney, Shakespeare, Milton, Wordsworth, Keats, D. Barbara Wood’s The Blessing Stone (2002) takes a feminist slant on the multiperiod epic, tracing a mysterious blue stone from prehistory forward. They walked a few paces in silence, Colonel Talbot apparently studying how to open what he had to say; at length he addressed Edward. ``Mr. Prerequisite: English 281 or consent of instructor. 365/565 An examination of major 20th-century works in science fiction.

Pages: 374

Publisher: Cambridge University Press; y First printing edition (June 13, 1998)

ISBN: 052141153X

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Alfred Prufrock” (1915): Prufrock feels old and insecure and unable to talk to the beautiful women he sees - One clear speaker - Associations with name include sophisticated, impersonal - Allusions to Dante’s Inferno - Opening lines of walking lonely in street - Repetition of “women come and go” - Extended metaphor of the fog as a cat - Sense that there will be time to undo all that he’s gone, indecisive, all wondering - Shift with “I’ve known them all. . .” - Imagery of ragged claws is incomplete, inhuman - Wondering whether he should talk to the woman, rationalizing not doing it, meanwhile he’s growing old - Mermaids sing, but not for him - The Waste Land (1922): “Burial of the Dead” on hyacinth garden and so many dead in London; “A Game of Chess” on saying nothing when the woman asks what he’s thinking; “The Fire Sermon” on going through life and love apathetically; “Death by Water” on the dead Phoenician being once handsome and now drowned in the sea; “What the Thunder Said” on no water, mysterious forms and swarms, thunder’s saying give, sympathize, control - Structure vs. series of evocative syllables - Traditional reading begins with footnotes: Golden Bough (death for fertility), From Ritual to Romance i (Guinevere’s infidelity attacking Arthur and life) - Using ancient myths to comment on sick society - A lot of use of other languages - April is cruel because it gives hope for rebirth when there is none - Structured with elemental imagery: “The Burial of the Dead” is earth, “A Game of Chess” is polluted air, “The Fire Sermon” on dangers of lust, “Death by Water” on failure of Grail legend, “What the Thunder Said” ties elements together as parts of a journey - With or without structure, does it work as art? - Marianne Moore (1887-1972): wrote verse while working as teacher, secretary, or librarian; poets liked her by 1920s but broader appeal not until 1960s - Fairly moral on some level - “Poetry” (1921): we often don’t like poetry because critics render it unintelligible, but we can see the genuine in it - Against critical or half-poetry, but for genuine poetry - “The Pangolin” (1936): he has armor that seems extra but is really useful, he’s not afraid but meets the world as an obstacle - Is the armored animal suggestive of an army tank? - “The Mind Is an Enchanting Thing” (1944): like glaze on a wing, it has the power of memory that hears without hearing, conscientious inconsistency - Dance-like quality with line endings and indentations - Wallace Stevens (1879-1955): poet of lush words, evocative images, but first insurance executive - Late bloomer in terms of writing career - Fun with images and language - “Sunday Morning” (1923): she dreams of dark catastrophe and thinks the world and herself are to be cherished, death is the mother of beauty - Sitting at home rather than going to church, juxtaposition between light/beauty and death/sacrifice - Christians like feeling free from death, atheists say not afraid because they cease to exist - “Anecdote of the Jar” (1923): placed jar in Tennessee that made wilderness no longer wild - No standards of cleanliness/pristineness for wilderness - “A High-Toned Old Christian Woman” (1923): poetry is supreme fiction, and fictive thinks will wink as they make widows wince - “Of Modern Poetry” (1942): poetry must be living, construct new stage, allow invisible audience to listen to itself, wholly contain the mind, find satisfaction - Variety of modernist styles - Langston Hughes (1902-67): versatile and original writer, disillusioned with higher education - Spent little of his life in Harlem, but we strongly associate him with the movement - “The Negro Speaks of Rivers” (1921): he’s known ancient rivers, his soul’s grown deep like them - Repetition/refrain gives musical feel - “The Weary Blues” (1925): heard Negro playing blues tune, it’s sad and makes him wish he died - Blues from old spirituals and work songs - “Drum” (1931): death is signal drum calling life to come - “The Same” (1932): he sees the same thing everywhere, from Central America to Harlem: blacks exploited - Progressive radicalism - “Negro” (1922): he’s been a black negro—a slave, a worker, a singer, a victim - “Bad Luck Cord” (1927): it’s hard because there’s nothing good in this world for me, gypsy told me I should kill myself - “I, Too” (1925): they’ll see his beauty and be ahamed because he, too, is America - Sense and hope that things will change - “Harlem” (1951): when dream is deferred, it will dry up, fester, and explode - Like bop music with short, frenetic, punchy lines - “Goodbye Christ” (1932): Christ did alright in his day, but now people just make money off of him - Replace Christ, who’s been sold to the rich, with revolution - Zora Neale Hurston (1891-1960): had great impact during her life and now, but died in poverty and obscurity - “The Gilded Six-Bits” (1933): Missie May has affair on her husband Joe with Seemmans because the latter has gold, but it turns out the piece was fake, but she has a son that looks like Joe, and Joe buys lots of presents for him - She thinks audience will assume negroes are bad, has to prove that there is something positive and happy there - Countee Cullen (1903-46): adopted son, literary education, influential poet in New Negro Renaissance - Seen as up-and-coming, talented poet - “Yet I Do Marvel” (1925): he doesn’t doubt that God is good, but marvels that he’d make a poet black and bid him sing - Sterling A , cited: http://tukanalnoticias.tukanal.tv/books/the-evolution-of-arthurian-romance-the-verse-tradition-from-chr-a-tien-to-froissart-cambridge.
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