EN 216 Week 5 Notes
EN 216 Week 5 Notes EN 216
Popular in Honors English Literature II
Popular in Foreign Language
This 4 page Class Notes was uploaded by Rhiannon Hein on Sunday February 21, 2016. The Class Notes belongs to EN 216 at University of Alabama - Tuscaloosa taught by Dr. Abraham Smith in Winter 2016. Since its upload, it has received 19 views. For similar materials see Honors English Literature II in Foreign Language at University of Alabama - Tuscaloosa.
Reviews for EN 216 Week 5 Notes
Report this Material
What is Karma?
Karma is the currency of StudySoup.
You can buy or earn more Karma at anytime and redeem it for class notes, study guides, flashcards, and more!
Date Created: 02/21/16
2/17/16 John Keats Notes I. John Keats a. Studied medicine b. Huge influence upon literature and aesthetics c. “Posthumous existence” i. What do you make of that phrase? ii. His time as a real human was over, it was as if he was living already as a dead man. d. Keats kills off his teachers when he realizes how much people influence him. i. He realizes that other people’s identities encroach upon his own. e. He recognized that critiques weren’t really about him, the critics had political motivations for condemning him. i. However, sometimes he did feel mortified by all the negativity. f. What might have been if he had lived? g. Places emphasis on pairing of opposites. i. “I have two luxuries…your Loveliness and the hour of my death” ii. In deep sorrow there is a seed of great joy. iii. In each thing there is its opposite. II. “Negative Capability” a. “Negative Capability, that is when man is capable of being in uncertainties” b. The ability to find beauty in something without needing reason behind it. c. Instead of riding out rationality, let beauty guide you. d. Keats says Coleridge gets there but can’t stay there. Shakespeare could let beauty guide him. III. Critique of Wordsworth a. He doesn’t like how Wordsworth spells out a process. b. He thinks there’s a design in “Tintern Abbey” and a poem should simply be without acting as an instruction manual. IV. SoulMaking a. “Man was formed by circumstances” b. One begins as “intelligences” without Identity i. It doesn’t become a soul until each identity becomes uniquely itself ii. intelligences are pure sparks of observance, they see and they are pure. These sparks are God. c. Identity is formed through the heart and the world. i. The interaction of the human heart and the world make your soul. ii. When you are processed by the sorrows of this world, once you have suffered in a thousand diverse ways, you can form identity. d. Soul is formed through identity mingling with intelligence. i. Once you have identity, you are then granted a soul. e. Thus, sorrow gives you a soul. V. “This Living Hand” a. If you aren’t able to appreciate me for everything right now, you’ll regret it when I’m gone. i. Perhaps a warning. Appreciate life and the people around you while you can so you don’t regret your behavior when they’re gone. b. Ending with the dash leaves you hanging. VI. “Ode to a Nightingale” a. Once you cross over to death, you leave yourself behind. i. Another reference to posthumous existence. b. He’s not envying the bird because he doesn’t envy the bird’s happiness. c. He worries that he might be too happy in his happiness. i. He’s so overwhelmed by happiness that he can’t even feel, it’s super saturation which creates numbness. d. He wants a way to escape the world and become the bird. i. He describes the wine itself as a landscape. It includes and houses the country green and holds culture. Liquid embodies the landscape itself. ii. He’s after a different kind of drowsy numbness here. e. In stanza 3, he goes with the bird. They go and forget: i. Old age ii. worldly sorrows 1. “Where to think is to be full of sorrow” iii. To be with bird is to be with timelessness. He can get away from the business of living and dying. iv. Claims that the bird doesn’t experience pain like we do. f. In stanza 4, he talks about getting drunk not on wine but on the invisible, or poetic imagination. i. Poetic imagination will take him to the bird. ii. The queen moon is already with the bird. iii. There is little light—it’s getting pretty dim in his backyard. 1. The only light that would be here is being puffed down by the breeze from Heaven. 2. By stanza four he is losing his sense of sight. Percy Shelley Notes I. Ozymandias a. He wrote this when looking at ruins in the British museum. b. All sonnets have a turn, he builds pressure throughout the poem. c. Sense of mystery from the very beginning. d. The statue is sort of a paradox: totally alive yet totally dead. i. “Which yet survives, stamped on these lifeless things” ii. The artist did a great job of carving emotion into the statue’s face, but the statue’s relevance is gone. e. The king’s proud words remain even though his kingdom is long gone. f. “Nothing beside remains” i. A living elegy, but who really remains? The king or the hand of the artist? g. The hand is the sculptor, the heart is the king’s. h. Contrast between the power that once was there with all of the decay surrounding it, and even the statue itself has gone to ruins. i. Irony between the king’s faith in his own permanence and his lasting impact, and the decay and impermanence of his kingdom. j. King’s arrogance stretches beyond even his fellow man toward fate itself, for he thinks he will last forever. k. Which is more vast, overpowering, and permanent? The grains of sand that surround this sculpture or the king’s words (which obviously seem futile)? II. Ode to the West Wind a. To call out to the West Wind is to call out to the deep roots of his poetic tradition. b. It’s also the fact that he has a giant wind slapping him in the face. c. Wind signals changing of the seasons. d. “Oozing”—a word constantly used among Romantics e. There’s a turn when he considers himself as a dead leaf. i. In 4 & 5 he varies the fixed form he set up. 1. The subject matter is a switch in form. He moves into the first person and talks about himself when he wasn’t there before. 2. In 1, 2, and 3 he’s tracking oppositions of the world and large, abstract concepts. ii. Sense of surrender. f. He wants his treatises and revolutionary spirit to gust over the wood. i. He doesn’t want his beliefs and his spirit to be a cry in the wilderness that no one hears, he wants artistic permanence. g. “I fall upon the thorns of life! I bleed” (5354) i. Visceral moment, begging for more. h. Ending of the poem i. Optimistic, Spring must follow, a period of rebirth and renewal. ii. You have to know the bad to know the good, in order to appreciate it. iii. If you don’t have the time of tribulation, death, and decay, then the Spring will never be as much a period of rebirth as it’s intended to be. III. Mont Blanc a. Sublime language and imagery. b. If this poem doesn’t engender a kind of vertigo, nothing will. c. Allegory of the cave (lines 4148) i. Humans only see things as shadows on a cave wall. We don’t actually see the world of ideals. Stems from Plato’s argument for world of forms and world of ideals. ii. Shelly argues that you don’t have access into your consciousness, there is an entire world where lucidity resides and we don’t have access to it. d. This poem is not the Wordsworth process when beauty is formed and distilled inside your imagination. i. Shelley’s is not the process of clarity. e. Shelley asks, what will be gained from hearing nature? i. He doesn’t believe he, or most humans, have access to nature the way Wordsworth claims.
Are you sure you want to buy this material for
You're already Subscribed!
Looks like you've already subscribed to StudySoup, you won't need to purchase another subscription to get this material. To access this material simply click 'View Full Document'