rape of the lock

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  1. 1. Classical Tradition Epics, Tragedies, Myths Homer, Virgil, Sophocles, Ovid, Catullus A History of English Literature....1350 Geoffrey Chaucer (courtly love/ fabliaux)1400 Petrarch and Dante beginning of the Renaissance. Rise of the Sonnet.1500 Tudor Poetry Wyatt, Spenser, Sidney, Shakespeare1600 Elizabethan/ Jacobean Donne, Marvell, Milton1700 Augustine Age Pope, Dryden1800 Romantics Wordsworth, Coleridge, Byron, Shelley, Keats1830 1901 Victorian era.Homework Presentation!1900 1914 Turn of the century Yeats, Millay, Hardy etc.1920s - Modernism (Joyce, T. S. Eliot, e. e. Cummings)1930s 30s Auden, Macniece1950s Mid-century Disillusionment Philip Larkin, Betjemen1960s Confessional Poetry Sylvia Plath, Red Hughes1970s Post-modernism Duffy, Dunn, Cope etc.
  2. 2. Homework Mini-Lesson on how Love is presented in a Victorian Poet... Choose your poet and bring in 1 poem they wrote about love. Summarise the poem. What kinds of love are presented in the poem? How does the writer use structure, form and language to present it? Provide 2 interpretations of love in the poem (i.e. Do some research or provide a feminist vs Marxist reading) How does it link to the context of Victorian Poetry? What other poems could we link to?
  3. 3. Victorian Poets...Alfred Lord Tennyson (In Memoriam, Maud)Elizabeth Barrett Browning (Sonnets from the Portugese)Robert Browning (A Womans Last Word, My Last Duchess)Christina Rossetti (Goblin Market, Remember, In an Artists Studio)Emily Dickinson (He fumbles at your spirit, Wild Nights)Thomas Hardy (I said to Love, The Going, The Voice)
  4. 4. EpicA long story, told in hexameter, passed downoriginally through the oral tradition. Ofteninvolves mythological heroes, gods andnymphs. Famous epics:Homer The Iliad and the OdysseyVirgil The AeneidDante The Divine ComedyMilton Paradise Lost
  5. 5. What kind of love is presented in thefollowing pictures and key couples?
  6. 6. Paris and Helen of Troy Marlowes Dr.Faustus
  7. 7. Hector and Andromache Book 6 of The Iliad
  8. 8. Aeneas and Creusa Book II of The Aeneid.
  9. 9. What kind of love is presented in thefollowing pictures?
  10. 10. Wordle of dramatic climax what kind of love will be presented?
  11. 11. Written in 1712Alexander Pope was a member of Queen Annes royal court and later George I. It was a time of pomp, richness and extravagance: the upper classes in particular were thought of as vain, superficial and wasting money. The aristocrats still held immense power and were considered to be ridiculous.This is the age of the Enlightenment where order, intellectual control and reason are held much higher than spontaneity and imagination. Formal perfection and complete control of language often with witty or satirical aims was a major goal of the movement.
  12. 12. Two Households, Both alike in dignityAlexander Pope has attempted to mend the riftbetween two families at war through writing along poem. Lord Petre has been accused by hisformer flirting partner, Arabella Fermor, ofsneaking up behind her and stealing a curl of herhair without asking permission first. Arabellasfather, Lord Fermor, is obviously shocked andappalled by such radical independence and hassince banned Lord Petre from seeing hisdaughter. Now both families are at war. OnlyPopes poem can save us from the unhumanity ofsuch an argument.
  13. 13. Mock EpicMock-epics parody the high-flown and elaborate conventions of classical literature, particularly Homers The Iliad and The Odyssey.Humour is created through juxtaposing the greatand the little, exaggerating the heroic until itbecomes absurd and through the incongruity ofthe situation versus the style of rhetoric.Very popular during the Augustine period.
  14. 14. Commentary This canto is full of classic examples of Popes masterful use of the heroic couplet. Inintroducing Hampton Court Palace, he describes it as the place where Queen Annedost sometimes counsel takeand sometimes tea. This line employs a zeugma, arhetorical device in which a word or phrase modifies two other words or phrases in aparallel construction, but modifies each in a different way or according to a differentsense. Here, the modifying word is take; it applies to the paralleled terms counseland tea. But one does not take tea in the same way one takes counsel, and theeffect of the zeugma is to show the royal residence as a place that houses both seriousmatters of state and frivolous social occasions. The reader is asked to contemplate thatparadox and to reflect on the relative value and importance of these two differentregisters of activity. (For another example of this rhetorical technique, see lines 1578:Not louder shrieks to pitying heaven are cast, / when husbands, or when lapdogsbreathe their last.) A similar point is made, in a less compact phrasing, in the secondand third verse-paragraphs of this canto. Here, against the gossip and chatter of theyoung lords and ladies, Pope opens a window onto more serious matters that areoccurring meanwhile and elsewhere, including criminal trials and executions, andeconomic exchange. The rendering of the card game as a battle constitutes an amusing and deft narrativefeat. By parodying the battle scenes of the great epic poems, Pope is suggesting thatthe energy and passion once applied to brave and serious purposes is now expendedon such insignificant trials as games and gambling, which often become a mere front forflirtation. The structure of the three attempts by which the lock is cut is a conventionof heroic challenges, particularly in the romance genre. The romance is further invokedin the image of Clarissa arming the Baronnot with a real weapon, however, but with apair of sewing scissors. Belinda is not a real adversary, or course, and Pope makes itplain that her resistanceand, by implication, her subsequent distressis to somedegree an affectation. The melodrama of her screams is complemented by the ironiccomparison of the Barons feat to the conquest of nations.