Modern Poetry ,Fourth Year

Lecturer. Haider Al-Musawi

Early Phase of Modern Poetry.( Under the spell of the Victorian Era)

Middle phase of Modern Poetry. (Orientalism in Modern Poetry)

Latest Phase of Modern Poetry.(Innovation, Pattern poetry under the psychoanalytic approach)

Targets:

Delving into the pivotal manifestos of modern poetry. Delving into the literary triad; Form, Language and

Contents. Delving into the recent waves of Modern Criticism.

Bestowing upon the students an impetus to dissect a text themselves

Syllabi:

1The End of Victorian- the Edwardian- Word War I1.5THE POETIC REVOLUTION 2.7BETWEEN THE WARS3.8NEW portions THE FICTION4.12THE DRAMA5.13Literary Criticism 6.15I- A.E . Housman (1859-1936)7.151- To an Athlete Dying Young.8.162- Tell me not here, it needs not saying.9.173- If by Chance Your Eye Offend You.10.

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184- Terence, this is Stupid Stuff.11.195- Loveliest of Trees 12.206- When I was One-and-Twenty13.21II --William Butler Yeats 1865-193914.211- The Wild Swans at Coole15.222- When you are Old and Grey.16.223- ling to Byzantium17.234- Easter 18.26III -Walter De La Mare 1873-195619.261. Arabia20.27IV- D.H. Lawrence 1885-193021.271. Piano22.272. I am Like a Rose.23.273. Sorrow24.284- shadows 25.30V- T.S. Eliot 1888-196526.301- Prufrock and Other Observations (the Love Song of J.Alfred Prufrock)27.342- The Hollow Men28.37VI- Ezra Pound 1885-197229.371- An Immorality30.372- The Gipsy 31.38VII- Siegfried Sasson 1886-16732.38Troops Counter-Attack 33.39VIII- Wilfred Owen 1893-191834.391. Greater Love.35.

402. Futility36.41IX- Robert Graves 1895-198537.411- Babylon38.422 - Hedge Freaked with Snow39.43X -- William Empson 1906-198440.431. Missing Dates41.44XI - Dylan Thomas 1914-195442.441. Vision and Prayer43.442. All All and All44.463- Do Not Go Gentle Into That Good Night45.47XII --W.H. Auden 1907-197346.

471- The Fall of Rome47.

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482- The Unknown Citizen48.493- Musee des Baux Arts

4- - THE NIGHT DANCES49.

50XII --Sylvia Plath 1932-196350.501. Death and Co.51.512. Daddy.52.54XIV- Louise Erdrich (B.1954)53.

541. Dear John Wayne54.

Lecture one

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Poetry

The Twentieth Century

1914-18 world war I.

1918…Gerard Manley Hopkins` poetry published.

1922…T.S. Eliot's The Waste Land.

1922…James Joyce's Ulysses.

1928…W.B. Yeats`s The Tower.

1930…Period of depression and unemployment begins.

1939-45…World War II.

1984….Cultural criticism; Jacklight.

The End of Victorian- the Edwardian- Word War I

Cultural movement do not proceed by central and this section, which for convenience we call “the twentieth century.” Begins really with the late 19th, when the sense of the passing of a major phrase of English history was already in the air. Queen Victoria’s Jubilee in 1887 and , even more diamond jubilee in 1897 were felt even by contemporaries to make the end of an era. As the 19th c drew to a close there were many manifestations of a weakening of traditional stabilities.

The aesthetic movement, with its insistence on “art for art’s sake” assaulted the assumption about the nature and function of art held by ordinary middle class readers. Deliberately, provocatively. It helped to-widen the breach between artists and writers on the one hand and the “Philistine” public on the other a breach whose earlier symptom was Mathew Arnold’s war on the Philistines in Culture and Anarchy and which was later to result in the “alienation of the artist” that is now a commonplace of criticism . This was more than a purely English matter. From France came the tradition of the bohemian life that second the limits imposed by conventional ideas of respectability, together with other notions of artist as rejecting and rejecting by ordinary society, which in different ways fostered the view of the alienated artist.

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The life and work of the French symbolist poets in France, the early novel of Thomas Maun in Germany (especially Budden brooks, 1901). And Joyce’s Portrait of the Artist as a young Man(1916) show some of the very different ways in which this attitude revealed itself in literature all over Europe. In England, the growth of education as result for the Education Act of 1870, which finally made elementary education compulsory and universal, led to the rapid emergence of a large, unsophisticated literary publish at whom new kinds of journalism, in particular the cheap” yellow press” were directed. A public that was literate but not in any real sense educated in creased steadily throughout the 19th century. And one result of this was the splitting up of the audience for literature into” highbrow,” “lowbrow” and “middlebrows” although in earlier periods there had been different kinds of audience for different kinds of writing, the split now developed with unprecedented speed and to an unprecedented degree because of the mass production of “popular” literature for the semiliterate. The frog mention of the reading public now merged with the artist’s war on the Philistine (and indeed was one of the cause of that was in the first place) to widen the gap between popular art esteemed only by the sophisticated and the expert. This is part of the background of modern literature all over the Western word.

Another manifestation- or at least accompaniment- of the end of the Victorian age was the rise of various kinds of pessimism and stoicism. The novels and poetry of Thomas Hardy show one kind of pessimism (and it was pessimism, even if Hardy himself repudiated the term). And the poems of A.E Houseman show another verity, while a real or affected stoicism of the last decade of the 19th century and the first decade of the 10th examples of this stoicism- the determination to stand for human dignity by enduring bravely, with a “still upper lip” whatever fate may bring-range from Robert Louis Stevenson’s essays and the theoretically assertive poems of the editor and journalist W.E Henley, to Rudyard Kipling’s Jungle Book and many of his stories, the last stanza of Housman’s The Chestnut Casts His Flambeaux (“Bear them we can. And if we can we must) and Yeast’s “they know that Hamlet and least are gray.”

Although the high tide of anti-Victorianism was marked by the publication in 1918 of that classic of ironic debunking. Eminent Victorians by Lytton Strachey (1880-1932), the criticism of the normal attitudes and preconceptions of the Victorian middle classes first became really violent in the last two decades of the 19th century. No one could have been more savage in his attacks on the Victorian conceptions of the family, education and religion than Samuel Butler,

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whose novel The Way of All Flesh (completed in 1884m posthumously published in 1903) is still the bitterest indictment in English literature of the Victorian of life. The chorus of questioning of Victorian assumptions grew ever louder as the century drew to an end; sounding prominently in it was the voice of the young Bernard show one of butler’s greatest admirers. The position of women too was rapidly changing during this period. The Married Woman’s Property Act of 1882, which allowed married women to own property their own right the admission of women to the universities at different times during the Katter part of century the fight for women’s’ suffrage, which was not won until the attitude to won until 1918 (and not fully won until 1928)– these events marked a changes in the attitude to women in the part they played in the national life as well as in the relation between the sexes which is reflected in variety of ways in the literature of the period.

The Boer War (1899-1902) fought by the British to establish political and economic control over the Boer republics of south Africa marked both the high point of and the reaction against British imperialism. It was a war against which many British intellectuals protested and one which the British in the end slightly ashamed of having won. The development of the British Empire into the British Commonwealth continued in fits and starts throughout the first half of the 20th century with imperialist and anti-imperialist sentiment often meeting head on; writers as far apart as Kipling and E.M. Forster occupied themselves with the problem. The Irish question also caused a great deal of excitement from the beginning of the period until well into the 1920’s. As steadily rising Irish nationalism protested with increasing violence against the political subordination of Irish to the British Crown and government. In World War I some Irish nationalist sought German help in rebelling against British and this exacerbated feeling on both sides. No one can fully understand William Butler Yeats or James Joyce without some awareness of the Irish struggle for independence the feelings of Anglo-Irish men of letters on this burring topic and the way in which the Irish literary revival of the late 19th and early 20th century (with which Yeats was much concerned ) reflected a determination to achieve a vigorous national life culturally even if the road seemed blocked politically.

Edwardian England (1901-10) was very conscious of being longer Victorian. Edward VII stamped his character on the decade in which he reigned. It was a vulgar age of conspicuous enjoyment by those who could afford it and writers and artists kept well away from implication in high society (though there were some conspicuous exceptions) in

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general there was no equivalent in this period of queen Victoria’s interest in Tennyson. The alienation of artist and intellectuals was preceding a space. From 1910(when George V came to the throne) until war broke in August 1914 Britain achieved a temporary equilibrium between Victoria earnestness and Edwardian flashiness in retrospect that Georgian period seems peculiarly golden that last phrase of assurance and stability before the old order throughout Europe broke upper in violence with results that are still with us. Yet even the surface there was restlessness and experimentation. If this was the age of Rupert Brooke it was also the age of T.T Eliot’s first experiments in a disturbingly new kind of poetry.

Edwardian as a term, applied to English history suggests a period in which the social and economic stabilities of the Victorian age-country houses with numerous servants a flourishing and middle –class a strict hierarchy of social classes- remained unimpaired through on the level of ideas there was a sense of change and liberation. “Georgian” refers largely to the lull before the storm of World War I. that war as out selection of the war poet makes clear, produced some major shifts in attitude.

Poetry

Lecture two

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THE POETIC REVOLUTION

A technical revolution in poetry was going on side by side with shifts in attitude. The imagist movement influenced by T. E Hulme’s insistence on hard clear, precise images and encouraged by Ezra Pound when he lived in London just before World War I, fought against romantic fuzziness and facile emotionalism in poetry. The movement developed simultaneously on both sides of the Atlantic and its early members included Amy Lowell, Richard Aldington, Hilda Doolittle, John Could Fletcher and F.S. Flint. As Flint explained in an article in March, 1913 imagist insisted on Direct treatment of the thing’ whether subjective or objective on the avoidance of all words “that did not contribute to the presentation,” and on a freer metrical movement than a strict adherence to “the sequ3nce of a metronome” could allow. All this encouraged precision in imagery and freedom of rhythmical movement, but more was required fir the production of poetry of any real scope and interest. Imagism went in for the short, sharply etched, and distractive lyric, but it had no technique for the production of longer and more complex poems. Other new ideas about poetry helped to provide this technique. Sir Herbert Crierson’s great edition of the poems of John Donne in 1912 both reflected and helped to encourage a new enthusiasm for 17th c metaphysical poetry. The revival of interest in metaphysical wit brought with it a desire on the part of some pioneering poets to introduce into their poetry a much higher degree intellectual complexity than had been found among the Victorian or Georgian. The full subtlety of French Symbolist poetry also now came to be appreciated. It had been admired in the 90’s but for its dreamy suggestiveness rather than for its imagistic precision and complexity. At the same time a need was felt to bring poetic language and rhythms closer to those of conversation, or at least to spice the formalities of poetic utterances with echoes of the colloquial and even the slangy irony. Which made possible several levels of discourse simultaneously and wit, with the use of puns (banished from serious poetry for over 200 years). Helped to achieve that union of thought and passion which T.S Eliot in his review of Grieson’s anthology of metaphysical poetry (19210 saw as characteristic pf the metaphysical and wished to bring back into modern poetry. A new critical and a new creative movement in poetry went hand in hand, with Eliot the high priest of both. It was Eliot who extended the scope of Imagism by bringing the English metaphysical and the French symbolists (as well as the English Jacobean dramatist) to the rescue; thus adding new criteria of complexity and allusiveness to the criteria of concreteness and

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precision stressed by the imagists. It was Eliot, , too who introduced into modern English and American poetry the kind of irony achieved by shifting suddenly from the formal to the colloquial or by oblique allusions to objects or ideas that contrasted sharply with those carried by the surface meaning of the poem. Thus between, say 1911 (the fist year of the Georgian poets) and 1922 (the year of the publication of The Waste Land) a major revolution occurred in English-and for that matter American-poetic theory and practice-a revolution which determined the way in which most serious poet and critics now think about their art. If one compares the poems in Palgrave's Golden Treasury, a Victorian anthology which was still used as a basic school text in Britain in the 1930s with those in a number of academic anthologies of the mid 20th century, the change in poetic taste will become startlingly apparent. In the critical discussion, if not always in the allotment of space, Donne rather than Spenser becomes the great poet of the 16th and 17 the century period: Gerard Manley Hopkins replaces Tennyson as the great 19th century poet: and in general what one might call the metaphysical-Symbolist tradition and the platonic strain of both the Elizabethan and (in his own way) Wordsworth.

The posthumous publication by Robert-Bridges in 1918 of the poetry of Gerard Manley Hopkins encouraged further experimentation in the language and the rhythms. Hopkins combined absolute precision of the individual image with a complex ordering of image and a new kind of material patterns.

The young poets of the early 1930’s-W.H, Auden, Stephen Spender Day Lewis-were much influenced by Hopkins as well as by Eliot (now the presiding genius of modern English and American poetry) and by variety of other poets from the 16th c John Skelton to Wilfred Owen. And even when the almost flamboyant new tones of Dylan Thomas were first sounded in the; late 1930’s, the influence of Hopkins could still be heard. It is only since Word War II, that a new generation of young English poets (including Donald Davie, Elizabeth Jennings and Philips Larkin) searching for what has been called “purity of diction” have turned away from both the 17th c and the poetry of Hopkins and Eliot to seek a poetry which avoids all kinds of verbal excess in its desire for quiet luminosity and unpretentious truth.

Meanwhile the remarkable reflecting beginning among career of W.B Yeats stretching across the whole modern period showed how a truly great poet can at the same time the varying developments of his age and maintain as unmistakably individual accent beginning among the aesthetic of 90’s turning later to a more tough and spare ironic language without losing his characteristic verbal magic, working out

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his own notions of symbolism and bringing them in different ways into his poetry developing in his full maturity rich symbolic and metaphysical poetry with its own curiously haunting cadences and its imagery both shockingly realistic and movingly suggestive, Yeast’s work is a history of English poetry between 1890 and 1989. Yet he is always Yeats unique and inimitable-without doubt the greatest English- speaking poet of his age.

Two important 20th C poets stand somewhat apart from the main map of English poetry in the first half of the century. They are Robert Graves and Edwin Muir. Each has a highly individual voice and, the latter especially, limited range. But they both show that there were strengths in the English poetic tradition untapped by Eliot and his followers. Graves, with a strong sense of tradition combined with a highly idiosyncratic poetic personality, has played a part in English poetry comparable to that played by Robert Frost in American. Muir’s more quietist and mystical temperament was nourished by the unusual circumstances of his life, and his childhood in Orkney. In him, awareness of his native Scotland and a response to the heroic stories of ancient Greece were linked. Both poets were much concerned with time and the human response to time, and both had a deep sense of history.

Poetry Lecture three

BETWEEN THE WARS

The postwar disillusion of the 1920s was, it might be said a spiritual matter just as Eliot’s Waste Land was spiritual and not a literal wasteland. Depression and unemployment in the early 1930’s, followed by the rise of Hitler and cruel shadow of fascism and Nazism over Europe with its threat of another war represented another sort wasteland which produced another sort of effect on poets and novelists. The impotence of capitalist governments in the face of Hitlerism combined with economic dislocation to turn majority of young intellectuals (and not only intellectuals) in the 1930’s to the political Left. The 1930’s were the Red decade, because only the Left seemed to offer any solution. The early poetry of W.H Auden and his contemporaries carried out for “the death of the old gang” (in Auden’s phrase) and a clean sweep politically and economically, while the Franco rebellion against the republican government in Spain, which

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started in the summer of 1936 and soon led to full scale war, was regarded as a rehearsal for an inevitable second world war and thus further emphasized the inadequacy of politicians. Yet though all this is reflected passionately in the literature of the period, particularly in the poetry, it was not accompanied by any interesting developments in technique; many younger writers were more anxious to express their attitudes than to construct new kinds of works of art. The outbreak of World War II in September, 1939 following very shortly in Hitler’s pact with Russia, which shocked and disillusioned so many of the young Left wing writers, marked the sudden end of the Red decade; the concern of writers in Britain now was to maintain their integrity and indeed their existence in what was from the beginning expected to be a long and destructive war. This they did surprisingly well, but nevertheless this second was brought inevitable exhaustion; English literature has never quite recovered the vitality and interest in technical experimentation that marked the twenty wears after about 1912.

These years-roughly 1912 to 1930- were the Heroic Age of the modern English novel. Joseph Conrad, James Joyce and D.H Lawrence are the giants with Virginia Woolf and E.M Foster brilliant minor figures- to name only the most outstanding writers. An important novelist of this period who stands rather apart from any of the movements discussed here is Ford Maddox Ford (1873-1939), whose four novels about Christopher Tietjens published in the 1920’s (and republished in a single volume as Parade’s End in 1950) show meticulous craftsmanship and a deep sense of the change wrought by the war on English life and character. The poet Robert Graves is similarly independent of movements and fashions in 20th C literature, he developed the Georgian tradition by adopting that of Eliot.

FICTION

Once can trace three major influences on the changes in attitude and technique in the modern novel. The first is the novelist’s realization that the general background of belief which united him with his public in a common sense of what was significant in experience had disappeared. The public values of the Victorian novel, in which major

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crises of plot could be shown through changes in the social or financial or martial statue of the chief characters, gave way ti more personally conceived notions of value dependent on the novelist’s intuition’s and sensibilities rather than on public agreement. “To believe that your impressions hold for others” Virginia Woolf once wrote (discussing Jane Austen) ‘is to be released from the cramp and confinement of personality’. The modern novelist could no longer believe this: he had to fall back on personality, drawing his criterion of significance in human affairs (and thus his principle of selection) from his own intuitions, so that he needed to find ways of convincing the reader that his own private sense of what was significant in experience was truly valid. A new technical burden was thus imposed on the novelist’s prose, for it had now to build to a world of values in stead of drawing on an existing world of. Virginia Woolf tries to solve the problem by using some of the devices of poetry in order to suggest the novelist’s own sense of value and vision of the world, Joyce on the other hand, made no attempt to convey a single personal attitude but reacted to the breakdown of public values by employing a kind of writing so multiple in its implications that it conveyed numerous point of view simultaneously, the author being totally objective and committed to none of them- a mode which required remarkable technical virtuosity.

The second influence on the change in attitude and technique in the modern novel was a new view of time, time was not a series of chronological moments to be presented by the novelist in sequence with an occasional deliberate retrospect (‘this reminded him of’ he recalled that) but as a continuous flow in the consciousness of the individual, with the already continuously merging unto the “not yet” and retrospect merging into anticipation. This influence is closely bound up with a third: the new notions of the nature of consciousnesses which derived in a general way from Sigmund Freud and Carl Jung but were also part of the spirit of the age and discernible even in those novelists who had not read either psychologist. Consciousness is multiple, the past is always presenting it at some level and is continually coloring one’s present reaction, Marcel Proust in France, in his great novel sequence Remembrance of Things past (1912-28) had explored the ways in which the past impinges on the present and consciousness is determined by memory. The view that a main is his memories that his present is the sum of his past, that if we dig into a man’s consciousness we can tell the whole truth about him without waiting for a chronological sequences of time to tale him through a series of testing circumstances, inevitable led to a technical revolution in the novel. For now, by exploring in depth into consciousness and

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memory rather than presiding lengthwise along the dimension of time a novelist could write a novel concerned ostensibly with only one day of the hero’s life (Joyce’s Ulysses and Virginia Woolf’s Mrs. Dalloway). This view of multiple levels of consciousness existing simultaneously. Couple with the view of time as a constant flow rather than a series of separate moments, meant that a novelist preferred to plunge into the consciousness of his characters in order to tell his story rather than to provide an external framework of chronological narrative. The “stream of consciousness” techniques, where the author tried to render directly the very fabric of his character’s consciousness without reporting it in formal quoted remarks was developed in the 1920’s as an important new technique of t he English novel. It made for more difficult reading, at least for those accustomed only to the methods of the order English novel. No “porch” was constructed at the front novel to put the reader in possession of necessary preliminary information: such information emerged as the novel progressed the consciousness of each character as it responded to the present with echoes of its past. No conventional signposts were put to tell the reader where he was, for that was felt to interfere with the immediacy of the impression. But once the reader learns how to find way in this unsignposted territory, he is rewarded by new delicacies of perception and new subtleties of presentation.

Consecration on the “stream of consciousness” and on the association of ideas within the individual consciousness led inevitably to stress on the essential loneliness of the individual. For all consciousnesses are unique and isolated, and if this unique, private world is the real in which men live, if the public values to which they must pay lip service in the social world in which they move are not the real values which give meaning to their personality, then each man is condemned to live in the prison of his own incommunicable consciousness. How is true communication possible in such a world? The public gestures imposed upon us by society never correspond to out real inward needs. They are conventional in the bad sense, mechanical, imposing a crude standardization on the infinite subtlety of experience. If we do try to give out a sign from our real selves that sign is bound to be misunderstood when read by some other self in the light of that self’s quite other personality. The theme of such modern fiction is thus the possibility of love, the establishment of emotional communication, in a community of private consciousness. This, is in different ways, the theme of Joyce, Lawrence, of Virginia Woolf, and of Forster, and (on a rather different scale and not always so directly) of Conrad. The search for communion and-the inevitable isolation of Leopold Bloom in Ulysses is symbolic of the human condition as seen

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by the modern novelist, similar investigations of this basic condition are Forster’s explorations of conventions which seem to be helps to living but which in fact prevent true human contracts, and Virginia Woolf’s delicate projections of the relation between the self’ need for genuine communication. The theme of all Lawrence’s novels is human relationships the ideal of which he restlessly explored with shifting emphases throughout his career; such relationship can be all too easily distorted by the mechanical conventions of society notions of respectability or propriety, by all the shames and frauds of middle class life by the demands of power or money or success. One might almost say that the greatest modern novels are the difficult, and at the same time the inevitability of being human. The dilemma of the condition is never really solved in these novelists; but knowledge that the dilemma is shared-knowledge so brilliantly conveyed in Ulysses and so wryly proffered by Forster- can both illuminate and comfort.

Not all the novelists of the period, of course, were concerned with these themes or employed the new techniques appropriate to them. The "documentary" novelists, such as Arnold Bennet and John Galsworthy (and, in some at least of his novels, H. G. wells) presented, often with great skill, the changing social scene, showing considerable insight the sympathy in recording aspects of it through the behavior of their imagined characters. Virginia Woolf called these writers "materialists" marinating that they were content to deal with externals and not go on to explore those aspects of consciousness of the true inward life of men, in which human reality resides. She was perhaps judging unfairly, by standards that were not applicable to their sort of fiction; but modern criticism has on the whole agreed with her.

Poetic drama in England with his Murder in the Cathedral (1935). His later attempts to combine religious symbolism with the box office appeal of amusing society comedy (as in The Cocktail Party, 1950) though impressive technical achievements were not wholly successful: the combination of contemporary social chatter with profound religious symbolism produces an unevenness of tone and disturbing shifts in levels of real of realism. Elsewhere in modern drama the conflict between realism and symbolism (first clearly seen in Ibsen) is acted out in a variety of ways.

In spite of the achievements of Shaw; Yeats, and Eliot it cannot be said of the drama as it can of poetry and fiction in this period that a technical revolution occurred which changed the course of literary history with respect to that particular literary form. The reformers of the 1890's invoked the name of the great Norwegian playwright. Henrik Ibsen; like Shaw they saw him as essentially a critic of middle-

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class society than (as critics tend to see him today) as an essentially poetic dramatist experimenting with symbolic moderns of expression. This may be the reason why the influence of Ibsen soon petered out in run-of-the-mill plays of humanitarian social concern. Harley Granville- Barker actors director and Shakespeare scholar and critic as well as playwright, wrote four interesting and thoughtful plays in 1909 and 1910, but for all their intelligence they never really come alive theatrically. The staple of London west End theater remained social comedy stiffened by occasional irony and sweetened by sentimentality (Noel Coward sis one of the best purveyors of this sort of fare). The cleverly contrived sentimentalities of J.M Barrie (1860- 1837) were highly popular in their day: Barrie's showed a high theatrical skill and a determined cunning in the exploitation of the audience's reaction. That audience consisted for the most part of tired Philistines. And it was they who determined what to be a box-office success. An original Scottish dramatist, who at one time speared to be achieving single-handed a new awakening in the Scottish theater but who in the end failed to do so, was Janise Bride (pseudonym of Dr. O.H Mavor, 1885-1951) whose witty and inventive plays show an intellectual liveliness sometimes reminiscent of Shaw.

The energy which the Irish movement gave to England drama has not lasted, Sean O'Casey later plays, where he is influenced by expressionist techniques suggested by German dramatist as well as by Eugene O'Neil, have nether the vitality nor the vivid humor of those earlier plays in which he was able to give tragic meaning to the realities of contemporary Dublin life without denying its comic elements. Arnold Irish playwright, William Denis Johnston, has also experimented with expressionist techniques and has achieved some of his plays a remarkable combination of the grotesque and the ironic but vitality has not been coming into the English theater in the 1950's and early 1960's from this direction.

In the late 1940's and early 1950's it seemed that the verse plays of Christopher fry were about to bring a new kind of poetic life into English drama. But fry's exuberantly witty use of metaphor soon lost its appeal and by the late 1950's a very different kind of drama brought vitality to the British theater. John Osborne's Look Back in Anger was produced at the royal count theater in 1956, angrily and in an unadorned and sometimes brutally colloquial dialogue it thrust upon the audience. he

The short story I n this period benefit from the new techniques of exploration n depth. A greater consciousness of the symbolic uses to which object and incidents can be out and a greater subtlety in the

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ways in which patterns of suggestiveness are built up below the quietly realistic surface can be found in the short stories of writers so different from each other as Joyce, Katherine Mansfield, Lawrence and Foster, Katherine Mansfield learned from the Russian short-story writer Anton Chekhov how to use the casual seeming incidents of ordinary life in such a way as to set up haunting overtones of meaning. The apparently inconsequential surface masking the carefully organized substructure is found much modern fiction (perhaps most of all in Ulysses) it is one of the result of the coming together in the novel and the short story of realism and symbolism of contemporary probability and timeless significance. These things of course come together in great fiction of all ages; but the modern writer contrives their coexistence with greater self-consciousness than his predecessors.

Poetry Lecture four

THE DRAMA

Modern drama begins in a sense with the witty drawing-room comedies of Oscar Wild; yet Wilde founded no dramatic school. His wit was personal and irresponsible, unlike the wit of Restoration comedy, which reflected an attitude to the relation between the sexes which was part of a view society held by a whole (if a small) social class. Bernard Shaw brought still another kind of wit into drama-not wild's exhibitionist sparkle nor yet the assured sophistication of the restoration dramatist. But the provocative paradox that was meant to tease and disturb, to challenge the complacency of the audience, Shaw's discussion plays were given dramatic life through the mastery of theatrical techniques which he learned the snit-Victorianism of the lat Victorians: his long life should not obscure the fact that his first- and some of his best plays belong to the 90's. other attempts by 20th-century dramatist to debate social questions on the stage- by Galsworthy, for example- deserve respect for their humanity and intelligence an sometimes for their theatrical craftsmanship but they lack Shaw’s verbal and intellectual brilliance and his superb capacity to entertain. We must turn to Ireland to find another really impressive variety of dramatic activity. The Irish Literary Theater was founded in 1899. with early play The Counters Cathleen as its first production. The founders- Yeats, Lady George Moore, and Edward Martin to mark a contribution to an Irish library revival, but they were influenced also by the independent Theatre in London, founded in 1891 by J. T Grain in order to encourage new developments in the drama. In 1902 the Irish Literary Theater was able to maintain a

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permanent all Irish company and changed its name to the Irish National Theatre, which moved in 1904 to the Abbey Theatre, by which name it has since been known . Many of plays produced at the Abbey Theatre were only of local and ephemeral interest, but J. M. Singer’s use of the speech and imagination of Irish country people. Yeast’s powerful symbolic use of them from old legend and Sean O'Casey use of the Irish civil war as a background for plays combining tragic melodrama. Humor of character, and irony of circumstance, brought new kinds of vitality to the theatre. T. S. Eliot attempted with considerable success to revive a ritual revelation of psychological and social problems left unresolved or even exacerbated by the welfare state. The Entertainer (1957) was similar in its brash virtuosity: Osborne’s third play, Luther (1960) shows him moving out of a preoccupation with a restricted part of the contemporary social scene to wider concerns and a freer use of imagination. Arnold Wesker was another Royal Count discovery. N a trilogy that began with Chicken Soup with Barley (1958), he explored, though less stridently than Osborn, related social and psychological problem. Joan Little wood's Theatre Workshop introduced another kind of vigorous new theatricalism, with an impromptu-seeming kind of play made up made numerous small scenes; distinctive examples are Brendan Behan’s The Queer Fellow (1956) and Shelagh Delaney’s A Taste of Honey (1958). A third significant influence on recent English Drama has been the direction peter Hall, who commissioned a number of important play for his Aldwych production, including Robert Bolt’s A Man For All Seasons( 1960) the man however who is emerging as the most important and individual dramatist is Harold Pinter, whose plays including The Birthday Party (1958), The Caretaker (1960) and the Homecoming (1966) project disturbing symbolic meaning in a quietly colloquial language . these playwrights have the advantage of working with lively and innovative talent in the practical theater. In addition there s a constant and fruitful interaction between drama on the stage and drama in the film, the playwright himself usually working in both media.

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Literary Criticism

Criticism occupies a much larger place on the map of modern literary culture than it has ever occupied before. New psychological and anthropological ideas have stimulated new kinds of critical activity; tools of critical analysis have been sharpened by the impact of linguistic philosophy; the increased difficulty of much modern writing. Itself the result of the fragmentation of the audience for literature and the consequent withdrawal of serious writers into coteries using a more or less private symbolism, has increased the demand for critical interpretation. This is the great critical age, and criticism and creation have marched together (in Eliot’s work, for example) to an usual degree, although modern amerce has placed more emphasis on criticism than has modern Britain. From one point of view, it could be maintained that Matthew Arnold is the father of modern literary criticism. Arnold thought literature was bound to place religion as a source of inspiration and spiritual refreshment, and as a result insisted that we must have “the best” literature. If literature, rather than religion, is central to a civilization and not a mere relaxation or optional pleasure, discrimination between good and bad literature is of the first important and critics become in a sense the equivalent of priests. F. r. Leavis, who edited the influential review Scrutiny from its foundation in 1932 until its denies n 1953, inherited from Arnold this view of the need to discover and proclaim the best“. His and his contributors essays in Scrutiny were devoted to what they called “discrimination” to a determined winnowing of the little wheat from the abundant chaff by a careful technique of practical criticism which at first owed a great deal to I. A . Richards’ methods in his Cambridge lectures. Leavis also inherited from Arnold his war against the Pristine and the view that the quality of literature which is produced and esteemed by s generation is bound up with the whole quality of the culture of the way in which people live and work as well as think. Culture and Environment , by Leavis and Denys Thomason (1933) , is similar in more than title to Arnold’s Culture and Anarchy it is an examination of the way in which the conditions of living imposed by some elements in modern civilization inhibit proper discrimination in literature as in order spheres. But Leavis repudiates any such simple ethical criterion as Arnold’s “high seriousness” and sees the true moral vision of writer embodied much more subtly and often indirectly in his work than Arnold did. In this view he has been

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influenced by Eliot’s reduplication (in Tradition and the Individual Talent) of “ay semi-ethical criterion of sublimity.

In general there has in the last forty years or so- but again not to the same degree as in America-a repudiation of the older view of criticism as gentlemanly chat about books, the “hours in a library” sort of thing in favor of criticism much more rigorous and analytic. The revolution in taste proclaimed in the ant romantic essays of T.E Hulme and developed in the influential essays of Eliot inevitably demanded a more strenuous kind of criticism,. If poetic imagery was to be hard, dry, and precise and at the same time impregnated with metaphysical wit and irony, and if a new degree of intellectual complexity was to be demanded of poetry, then the critic had to provide himself with tools for the careful analysis of meaning and structure in order to demonstrate these qualities or the lack of them. Similarly, critics who agreed with Eliot that the poet has, not a ‘personality’“ to express, but a particular medium, became suspicious alike of autobiographical and exclamatory responses to literature and of the biographical approach which tended to assess literary quality in term of the degree to which the writer genuinely expressed himself.

Thus the Arnoldian insistence on discrimination combined with the Hulme-Eliot tradition of precision and complexity to demand a more searchingly analytic kind of critical description and evaluation. Al the same time I. A .Richards, interested in problems of communication and the different ways in which work to communicate different sorts of meaning developed his own technique of poetic imagery and structure, which had considerable influence on practical (i.e. applied) criticism. Richards turned to psychology for aid his investigation of meaning and also for the construction of theory of literary value. Psychology came into modern criticism in may other ways. Although the old fashioned kind of biographical approach was now out of favor, the examination of the psychology of poetic creation became a respectable branch of criticism, sometimes used to reinforce an analytic account of how imagery works in a poem. On the whole, however, what might be called “genetic” criticism-explanation of the origins and development of work, rather than of its present nature and value-went on apart from analytic and evaluative criticism. “genetic” criticism could use psychology with all the new resources brought in by Freud and Jung, or it could use sociology, studying the social factors that helped to condition particular writers and their works.

Psychology came into criticism in other ways also. Together with anthropology it helped to investigate the ways in which myth and symbol work in literature. Eliot had confessedly drawn on

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anthropological works in The Waste Land. Thus virtually asking the critics to use such aids in examining the poem. They were not slow to take him up. Here Jung rather tan Freud was the major influence. For Jung’s view of racial memory (akin to Yeats view of the “Great Memory” , which preserved the meaning of symbols) was obviously relevant to any investigation of the way in which the mythical element in literature operates. Maud Bod kin’s Archetypal Patterns in poetry (1034) was pioneer work in this field; it stimulated a host of further studies of myth and symbol on both sides of the Atlantic.

At the same time technique of the analysis of meaning developed by Richard in his practical criticism were being developed to greater and sometimes provocative lengths by his onetime pupil, William Epsom. Semantics was now an established tool of the analytic critic, used in many different ways. So the pattern is this first the necessity for discrimination (because we must have “the best”) through rigorous critical analysis further emphasis on critical rigor by the Hulme-Eliot tradition of Precious. impersonality and perplexity new tools for critical analysis through the study of semantics and linguistic philosophy: an interest in archetypal images through the psychological and anthropological incitements to the study of myth and symbol; side by side with this, and sometimes interacting with it psychological and sociological investigation of the way the creative process operates in given instances. All these elements are present in what has for many now years now been called in America the “new criticism” for American critic, more than British critics, have taken up and developed, sometimes with great originality and persuasiveness, all of these critical strains.

In recent years the pattern of critical thought and practice has become less easily definable. New kinds of interests, social or linguistic and some times both have emerged and interacted in varying ways with the procedures developed by Richards Leavis and other. The application of linguistic to the study of different styles-a branch of criticism in stylistics-though not widely popular in British is nevertheless being followed by some younger critics and points toward a new kind of sophistication in the analyses of literary language which may well give a new direction to the Empsonian tradition of analysis of ambiguity. Similarly, the anthropological study of myth which has influenced the myth critics and the seekers of archetypes since the middle 1930s has been given a new depth and complexity by the influences of the French social anthropologist Claude Levi- Strauss. Strauss’s theory of structuralism is concerned with the way the human mind interest and orders the phenomena perceived by the senses and this helps to explain

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the symbols men use, the social structure they build myths they construct, and the language they employ. Thus new links between anthropology, sociology, linguistics and literature are being forged which may well change radically the shape of literary criticism.

Modern poetry never impugns the trends of literary analysis but it yields itself to the lens of the literary triad; Language, Form, Contents, so poetry can accommodate itself to new ways of living because it is also an expression of the unchanging and universal essence of human experience. One result of poetry's constant stretching and shifting to cover the elastic shape of life is the appearance of new forms of expression without loss of the old ones. Gerard Manley Hopkins, H.H.Cummings. Dylan Thomas and many more have startlingly reshaped the language of poetry without preventing anyone else from writing in traditional verse pattern. Still the nature of poetry is unchanged by its growing diversity of forms. We. may still define it as the interpretive dramatization of experience in metrical language. Consequently, the literary triad can explicate a verse as followed:

1-Language of poetry.a. diction; denotation and connotationb. Imagery.c. figurative language

1. metaphor.2. metonymy synecdoche.3. personification

d. rhetorical devices.1. hyperbole and understatement.2. ambiguity3. ellipsis.

2-Form of poetry.a. sound values.

1. rhyme.2. alliteration and assonance.

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3. onomatopoeia.

b. versification.1. rhythm and meter.2. lines of verse.3. stanza form.4. sonnet.5. free verse.

c. form and meaning.4-content of poetry.a. narrative.b. emotion.c. ideas.

1. historical context.2. explicit statement versus metaphor.3. allegory.4. symbol.5. allusion6. myths and archetypes.

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Poetry Lecture five

Pattern Poetry as a manifestation to the philosophy of the time.

The most important thing could be noticed in the

modern age is the shape of the poem it could be

changed into anything interesting in the real life. The

shape could refer to the nature like the rain, cloud,

flower or umbrella shape poetry14 for examples;

Patterns exist in almost every facet of our lives. There

are repeating patterns in art forms such as music,

dance, architecture and painting. And every language

has its unique rhythms and patterns that get

expressed in both prose and poetry. All language

patterns subtly influence the way we perceive what is

being said or written. Because using words is so

automatic for most of us, we usually don't take the

time to notice the patterns that we use everyday. To

bring a focused attention to the rhythms and patterns

of language is really where poetry begins. A poet

needs to study, replicate, alter and sometimes flout

the patterns that both control and enrich our lives.11

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there are many kinds of patterns in poetry according

to way of presenting to the readers.

Examples of experimental and visual poetry forms

are as widespread and boundless as the category

suggests. This selection of examples highlights the

visual form that poetry can take on the printed page:-

Alter poetry appeared in the 16th century, when

English, French, and German Renaissance poets

started writing and printing their poems to specific

shapes and patterns. For example of an altar form the

latter Renaissance’s premier practitioner of the form,

George Herbert. The shape replicates a wing – classic

altar poetry.

The Easter StoryJesus came to compensateFor all the wrongs we do.

He came to earth to die for us,So we’d be born anew.

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"This bitter cup, let it pass from me,"He cried, in a plaintive voice;

"Yet not My will, but Thine be done;"He said, in His faithful choice.

The Judas kiss would seal his fate;He faced a hostile crowd;

The governor, Pilate, saw through it all;Jesus’ guilt he disavowed.

"I wash my hands of all of this,"Said Pilate, "Let Him be."

But the crowd yelled "Crucify him now,And set Barabbas free!"

Pilate yielded to their wish;And Jesus was led away.

The soldiers beat him, and mocked Him, too,Yet He continued to obey.

A crown of thorns lay on His head,As His sentence was carried out;

His hands and feet were pierced with nails,But He did not scream or shout.

"Father, forgive them for this crime;They know not what they do."

He said this despite His torment, because,He was thinking of me and you.

"It is finished," he sighed in His anguish and pain,As His body gave up to death.

The curtain tore, and darkness fell,After He took His last breath.

The best of the story is the very last part;It’s why on Easter we’re filled with pleasure:

Death could not our Savior hold;His power is beyond all measure.

He rose from the grave, and was seen all around;Ever since, He’s inspired devotion,And we’ll be with Him for eternity,

When we get our heavenly promotion.That’s why Easter is a major event:He suffered and died in our place.

He rose and forgave us and loves us still,Our Savior of matchless grace.

By Joanna Fuchs

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Open form poems are patterns can be selected to teach specific concepts

such as conditional tense, present participles, summarizing, and contrast,

and they lend themselves to working in large groups, in small groups, and

as individuals. They are more challenging and satisfying to students than

worksheets, and they offer a chance for students to share their work in a

non-competitive manner. Many patterns can be used with all levels and

ages of learners. Even those who cannot yet write can dictate poems as a

language experience.

The catalogue poem focuses on action words--present participles--

associated with a particular noun that is not revealed until the last line.

For the poem's reader, it becomes a discovery process of what the noun

will be and can even be made into a game by covering up the last line of

each student's poem. For the poem's author, it requires reverse and visual

thinking in that the student must begin with the last line--the main idea--

and, through visualization, imagine actions that, together, describe that

idea alone.

Rain shape poem Flower shape poem

Also we have the wing shape poetry for example:

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from The Temple (1633), by George Herbert:

  Easter wings.

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

Oh let me riseAs 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 combineAnd feel this day thy victorie:

For,  if  I  imp  my  wing  on  thineAffliction shall  advance the  flight in  me

But the most important shape or we can say funny shape in the shape

poetry for example;16

Human shape poem

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In the last resort, man ,nowadays, depends upon the shape to convey his

main issues, we are a race against time.

Lecture SixWar Poetry

We'd gained our first objective hours beforeWhile dawn broke like a face with blinking eyes,Pallid, unshaved and thirsty, blind with smoke.Things seemed all right at first. We held their line,With bombers posted, Lewis guns well placed,And clink of shovels deepening the shallow trench.The place was rotten with dead; green clumsy legsHigh-booted, sprawled and grovelled along the sapsAnd trunks, face downward, in the sucking mud,Wallowed like trodden sand-bags loosely filled;And naked sodden buttocks, mats of hair,Bulged, clotted heads slept in the plastering slime.And then the rain began,— the jolly old rain!

A yawning soldier knelt against the bank,Staring across the morning blear with fog;He wondered when the Allemands would get busy;And then, of course, they started with five-ninesTraversing, sure as fate, and never a dud.Mute in the clamour of shells he watched them burst

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Spouting dark earth and wire with gusts from hell,While posturing giants dissolved in drifts of smoke.He crouched and flinched, dizzy with galloping fear,Sick for escape,— loathing the strangled horrorAnd butchered, frantic gestures of the dead.

An officer came blundering down the trench:'Stand-to and man the fire-step! 'On he went...Gasping and bawling, 'Fire- step...counter-attack!'Then the haze lifted. Bombing on the rightDown the old sap: machine- guns on the left;And stumbling figures looming out in front.'O Christ, they're coming at us!' Bullets spat,And he remembered his rifle...rapid fire...And started blazing wildly...then a bangCrumpled and spun him sideways, knocked him outTo grunt and wriggle: none heeded him; he chokedAnd fought the flapping veils of smothering gloom,Lost in a blurred confusion of yells and groans...Down, and down, and down, he sank and drowned,Bleeding to death. The counter-attack had failed.

1929. Sassoon, the English novelist and poet who, after serving as an officer in World War I, expressed his conviction of the brutality and waste of war in his grim, forceful, realistic verse. He is also known for his three-volume fictional autobiography, at first published anonymously under the title The Memoirs of George Sherston. Memoirs of a Fox Hunting Man is the first volume in the trilogy and gives a particularly vivid evocation of the life of the English country gentry before World War I. Contents: Early Days; The Flower Show Match; A Fresh Start; A Day with the Potford; At the Rectory; The Colonel's Cup; Denis Milden as Master; Migration to the Midlands; In the Army; and At the Front. See other titles by this author available from Kessinger Publishing. About the Author

Siegfried Loraine Sassoon, CBE, MC (8 September 1886 - 1 September 1967) was an English poet and author. He became known as a writer of satirical anti-war verse during World War I. He later won acclaim for his prose work, notably his three-volume fictionalised autobiography, collectively known as the "Sherston

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Trilogy". --This text refers to an out of print or unavailable edition of this title.

The book Memoirs of a Fox-Hunting Man by Siegfried Sassoon, Siegfried Sassoon (author) is published or distributed by Obscure Press [1846641136, 9781846641138]. This particular edition was published on or around 2006-01-

31 date. Memoirs of a Fox-Hunting Man has Paperback binding and this format has 396 number of pages of content for use. This book by Siegfried

Sassoon, Siegfried Sassoon is written in English language.

Dear Students, You will be examined next week,25-04-2011,take a note of that all the poems included, ,be brief and never tackle something irrelevant to the meant questions" Least written, Soonest mended.

بابل جامعةالسنوي السعي قوائم

: الدراسي -2010العام2011

/ الدين صفي التربية كليةالرابع: الحلي الصف

اإلنكليزية اللغة الحديث: ةالمادقسم الشعر

الثالثي ت السعي االسم المالحظاتالسنويدرجة ً كتـــــــــابـــًةرقماناهض 1 25Twenty fiveحسين ابتهال

عبد 2 جاسم أحمد25الكريم

Twenty five

حمد 3 عبد سمير 27Twenty Sevenأحمد

ناصر 4 حازم 29Twenty Nineإسراء

أوماي 5 كتاب 34Thirty Fourأسماء

عباس 6 هادي 25Twenty fiveأسماء

محمد 7 ضياء 26Twenty sixأعراف

علي 8 عبد أفراح29مهدي

Twenty Nine

حاجم 9 غانم حسب أمجد بالغياب 2/12/2010في 675 األمررسوباألمر حسب قيد 2011 /4/ 27في 121ترقين

كاظم 10 محمود 32أمجد

صاحب 11 ناظم 25Twenty fiveأنس

رحيم 12 شاكر 29Twenty Nineأنفال

علي 13 عدنان 33Thirty Threeأنفال

30

شاكر 14 علي 37Thirty Sevenإيالف

محمد 15 عامر 25Twenty fiveإيناس

المهدي 16 عبد بان21Twenty Oneنعيمة

خضير 17 غالب 25Twenty fiveبان

عيدان 18 ماجد 31Thirty Oneبركات

عريبي 19 طارق 26Twenty sixبشائر

عبد 20 مطر 26Twenty sixتماضر

جاسم 21 فاضل 29Twenty Nineتهاني

جواد 22 ميثم 34Thirty Fourحسن

حسين 23 كريم 27Twenty Sevenحسين

مطشر 24 وهاب 25Twenty fiveحسين

عبود 25 األمير عبد 28Twenty Eightحنان

علي 26 هاشم 27Twenty Sevenحنان

جابر 27 كريم األمر حنين حسب 2011/ 1/ 11في 15مؤجلة

علي 28 كاظم 26Twenty sixحيدر

حمزة 29 فاضل 25Twenty fiveختام

عباس 30 رياض 25Twenty fiveداليا

عبد 31 صاحب دعاء28األمير

Twenty Eight

جبار 32 عباس 25Twenty fiveدعاء

رحيم 33 هادي 43Forty Threeدعاء

عبس 34 هادي 27Twenty Sevenدعاء

مرجون 35 حاتم األمر رؤى حسب من ( 2011 /5 / 10في 747عادت %)100االمتحان

شاكر 36 ظافر 26Twenty sixرؤى

حسن 37 محمد 25Twenty fiveرؤى

حسين 38 مهدي 26Twenty sixراشد

احمد 39 اسكندر 19Nineteenرحاب

حسن 40 علي 28Twenty Eightرسل

عبد 41 عباس رشا27الحسين

Twenty Seven

يوسف 42 عباس 27Twenty Sevenرغدة

الله 43 مال رحمن 26Twenty Sixرنده

عبد 44 رسمي 27Twenty Seven رياض

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الرضاغني 45 رضا 25Twenty fiveزهراء

تايه 46 عامر 29Twenty Nineزهراء

مجيد 47 علي 25Twenty fiveزهراء

هاشم 48 كاظم 25Twenty fiveزهراء

مزعل 49 كريم 27Twenty Sevenزهراء

مجيد 50 جبار 25Twenty fiveزينب

ناصر 51 جواد 30Thirtyزينب

خليل 52 عدنان 27Twenty Sevenساره

رشيد 53 حسان 38Thirty Eightسجى

الخضر 54 عبد سجىاألمر محمد حسب 3/11/2010في 192مؤجلة

مهدي 55 جواد 30Thirtyسرى

حميد 56 رشيد 25Twenty fiveسعد

عبد 57 مهدي سعيد38Twenty fiveالرحيم

عباس 58 علي 25Twenty fiveسماح

عبيس 59 كاظم 30Thirtyسماح

مهدي 60 سعد 25Twenty fiveسوئار

كريدي 61 حيدر 25Twenty fiveشهد

اسماعيل 62 رعد 28Twenty Eightشيماء

عريبي 63 علي 27Twenty Sevenشيماء

حسن 64 محمد 21Twenty Oneشيماء

محمد 65 صابرين21معصوم

Twenty One

الواحد 66 عبد حاتم 29Twenty Nineصبا

صاحب 67 سمير 25Twenty fiveصبا

رحيم 68 فاضل 29Twenty Nineعباس

حمزة 69 فجر 17Seventeenعباس

احمد 70 حسن 28Twenty Eightعبير

مرزة 71 مكي 30Twenty fiveعبير

حسين 72 مهدي 26Twenty sixعبير

علي 73 أمين 30Thirtyعالء

عطية 74 حسين 28Twenty Eightعلي

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عبيد 75 خليف 25Twenty fiveعلي

ملوح 76 صباح 25Twenty fiveعلي

جمعه 77 عدنان 25Twenty fiveعلي

نجم 78 عادل 25Twenty fiveعواطف

عبد 79 باسم غيداء25الغفار

Twenty five

هادي 80 حمزة 27Twenty Sevenفاطمة

حسين 81 محمد 27Twenty Sevenفرح

علي 82 صبحي 25Twenty fiveكرار

حسون 83 طاهر 03Three onlyكرار

مرزوك 84 مجيد 31Thirty Oneلمياء

الواحد 85 عبد محسن26مجيد

Twenty six

محمد 86 جاسم محمد33كاظم

Thirty three

هادي 87 حسين محمد30دحام

Thirty

محمد 88 جاسم 20Twentyمروة

الحسين 89 عبد مروة25مكي

Twenty five

هالل 90 علي 25Twenty fiveمروة

عواد 91 فالح 30Thirtyمروة

عمران 92 محمد 26Twenty Sixمريم

كامل 93 مصطفى28هاشم

Twenty Eight

حمزة 94 كاظم 25Twenty fiveمصعب

محمد 95 علي 27Twenty Sevenمنتظر

احمد 96 عباس 21Twenty Oneمنى

مزهر 97 فاهم 20Twentyمها

جميل 98 محمد 33Thirty Threeمها

نعمة 99 محمد 25Twenty fiveنجوان

جاسم 100 عباس 30Thirtyندى

حميد 101 احمد 26Twenty sixنور

مجيد 102 حميد 25Twenty fiveنور

نوري 103 زهير 25Twenty fiveنور

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الله 104 عبد عامر 25Twenty fiveنور

الجبار 105 عبد عباس 21Twentyنور

الكريم 106 عبد نور30خضير

Thirty

عبد 107 ماهر 19Nineteenنور

علي 108 محسن نور33حسن

Thirty Three

هادي 109 محمد 27Twenty Sevenنور

احمد 110 مصطفى 25Twenty fiveنور

جبار 111 رضا 35Thirty Fiveنورس

علي 112 محمد نورس25هادي

Twenty five

خباز 113 تركي 30Thirtyهدى

شعالن 114 جاسم 25Twenty fiveهدى

حسين 115 علي 29Twenty Nineهدى

محمد 116 علي 25Twenty fiveهدى

سلطان 117 راهي 25Twenty fiveهديل

118( م ( غايب جابر األمر إيهاب حسب من ( 2011 /5 / 10في 747عاد %)100االمتحان

119( م ( محمد عبد 25Twenty fiveبسمه

حسين 120 فاهم عباس( 30م(

Thirty

عيسى 121 سبتي محمد( األمر م( حسب من ( 2011 /5 / 10في 747عاد %)100االمتحان

122( م ( محمد عبيد األمر محمد حسب من ( 2011 /5 / 10في 747عاد %)100االمتحان

123( م ( ساجت أياد حسب نور بالغياب 2/12/2010في 675 األمررسوباألمر حسب قيد 2011 /4/ 27في 121ترقين

القسم: رئيس التوقيع

34

. : غاز حيدر م المادة . يمدرس . . فريد د م أ الموسوي

الهنداوي حميد

: / 2011 /5 / 22التأريخ: /5التأريخ

2011

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