Students who elect this course in the "long eighteenth century” will study English poetry, drama, and intellectual history from the Restoration to about 1740, with some glances back at the Revolutionary period and ahead to Dr. Johnson. We will concentrate on some canonical writers (Dryden, Swift, Pope), the cavalier lyrical tradition and its excesses (Marvell, Cowley, Waller, Rochester), emerging women writers (Philips, Finch, Behn), drama (Wycherley, Congreve) as well as the notion of “enlightenment” (Locke, Hobbes, Astell). Analytical, argumentative, and research writing in the discipline will also be a frequent topic.
Because our class is small, and because it is difficult to give the emergent women writers of the era their due, each of you will be assigned / choose one of the following as your term project and subject of occasional presentations during the semester: Margaret Cavendish, Duchess of Newcastle; Aphra Behn; Katherine Philips; Anne Finch, Countess of Winchelsea; Lady Mary Wortley Montagu (and others). For the assignment, see Term Project module below. For presentations, these should be 5-10 minutes and explain, briefly, how the secondary article or primary text you're reading comments on or reflects our reading for that day.
This is a great age for philosophy, history, theater, the rise of women writers, the development of the novel, painting (Peter Lely), sculpture, architecture (Christopher Wren), and, of course, music. Two great English composers of the late seventeenth century are John Blow and Henry Purcell. Use these links to give them a listen if you can, and enjoy. You probably already know about Haydn and Mozart, but their name links will lead you to music samples, as well.
Since our classroom is built to hold us in normal times, and it does not easily allow for the 6-ft. social distancing, we have to have a seating chart to ensure your safety. I apologize for this.
As an instructor, and by law, I am not allowed to discuss the medical history, records, or condition of any student.
We are all supposed to be masked when on campus. If you refuse to comply, I am supposed to report you.
Course policies about attendance and late papers will be standard, as described below. The exception would be that our school decides to send us off-campus and to put us online, or that we all get sick, or that you are ill and need to stay home.
Let's hope none of that happens, but if it does, we'll deal with it.
English 42204 / 53501: English Literature 1660-1789
Spring 2022 TR 4.30-5.45 LA 116
Office: LA 233 Hours: please contact me
email: firstname.lastname@example.org phone: 481.6841 (message)
The Broadview Anthology of British Literature, vol 3: The Restoration and Eighteenth Century
Unless I have provided a link for a text online, all selections below will be found in our fine course book, with first page numbers in parentheses.
Yes, please. Feel free. I only ask that you use their magic powers for Good.
English Revolution, Stuarts and Hanoverians, Glorious Revolution, "Enlightenment," satire, epic, mock epic, cavalier lyric, ode, occasional poetry
John Dryden (69): "To the Memory of Mr. Oldham"; "MacFlecknoe"; Absalom and Achitophel ; An Essay on Dramatic Poesy
RHETORICAL ANALYSIS DUE FRIDAY 14 JANUARY VIA BRIGHTSPACE BY 11.59 P.M.
I-SEARCH #1 DUE FRIDAY 28 JANUARY VIA BRIGHTSPACE BY 11.59 P.M.
Katherine Philips: "Ode" (web); "To Mrs. M. A." (web); "Friendship's Mystery" (web); "Persuading a Lady" (web); Aphra Behn: (290): "The Disappointment" (2310); "On a Juniper-Tree"; "To the Fair Clarinda"
Margaret Cavendish, "The Poetress' Hasty Resolution" (web)
I-SEARCH #2 DUE FRIDAY 18 FEBRUARY VIA BRIGHTSPACE BY 11.59 P.M.
Mary Astell (355); Lady Montagu: "The Lover" (606); "The Reasons that Induced Dr. S." (605) and Swift, "The Lady's Dressing Room" (379); Anne Finch (348)
FIRST EXAM DUE FRIDAY 4 MARCH VIA BRIGHTSPACE BY 11.59 P.M.
NO CLASS ON 8, 10 MARCH
Alexander Pope (540): The Rape of the Lock; An Essay on Criticism; An Essay on Man
DRAFT OF RESEARCH PROJECT DUE FRIDAY 15 APRIL VIA BRIGHTSPACE BY 11.59 P.M.
To paraphrase from above: our small class, top-heavy with canonical male writers thanks to your traditionalist male professor, would benefit from some research writing instruction and attention to emergent women writers of our time period. Thus, each of you will be assigned / choose one of the following as your term project and subject of occasional presentations during the semester: Margaret Cavendish, Duchess of Newcastle; Katherine Philips; Anne Finch, Countess of Winchelsea; Aphra Behn; Lady Mary Wortley Montagu (and others). We’ll each construct a reception history of our writer and include a paper section analyzing a sample of her work, explaining why it’s characteristic of her.
To keep us on track, we'll do this in stages, and provide regular reports to the class. These presentations should be 5-10 minutes and explain, briefly, how the secondary article or primary text you're studying comments on or reflects our reading for that day.
Keep up with the schedule, don't panic about the material you're trying to familiarize yourself with, and understand that every part of it can be revised except the final paper. FAILING TO TURN THINGS IN ON TIME WILL AFFECT YOUR FINAL GRADE, SINCE THERE ARE NO LATE ASSIGNMENTS ALLOWED HERE.
Generally, Wikipedia tends to be unreliable and irregular in its offerings, so it is best to use it as a starting point if you fear getting your feet wet, so to speak. Feminist scholars have created pages with links to information about dozens of women writers of the period.
Our library has many resources to help you, most of them in the Databases category. JSTOR will connect you to articles and books, which themselves have full bibliographies, and Eighteenth-Century Collections Online (ECCO) contains primary materials.
We'll do this gradually, in parts, so that you can work continually (at repeated intervals) on your writer and so that I can give you some guidance as you proceed. For details on these steps, see our Brightspace page. Here are due dates for the various parts. Due dates are on Fridays, except for the final version.
Rhetorical analysis (2-3 pp.): Dorothy Mermin, "Women Becoming Poets" (1990): 14 January
I-Search #1 (3-5 pp.): 28 January
I-Search #2 (3-5 pp.): 18 February
Annotated Bibliography and Research Proposal (7-10 pp.): 18 March
Draft of Paper (4-6 pp.): 15 April
Final Version: 4 May (W)
Given the plethora of writers we've read so far this semester, what seems typical of the time period to you so far? Which passages could you choose from our reading as examples? There are several ways to approach this. Examples:
Due Friday 4 March, by 11.59 p.m. via Brightspace
reputable sources, if you care to use them Late papers = 0. Good news: you can revise this if you meet with me. Revisions are due Wednesday, 4 May, via Brightspace, by 11.59 p.m.
As we've learned in our reading and in our research for presentations, there are at least two Enlightenments. One is "official," positivist, optimistic, and impersonal. Another is "alternative": negative, cynical, critical, and strangely personal.
The standard Enlightenment might best be represented by Pope's An Essay on Man. Though Wycherley, Rochester, Astell, Swift, and Dr. Johnson might share some of Pope's literary politics, their moral visions might be more complex than that proffered in the Essay.
For your exam, explain these six quotations from the Essay and then analyze how our other writers would respond to these philosophical expressions, using specific examples from their work. The best strategy would be to attempt a one-to-one correspondence between one of the six passages and a quotation from either The Country-Wife, "Verses on the Death of Dr. Swift," "A Modest Proposal," the prose of Mary Astell, or the poetry of Rochester, Behn, Finch, Montagu
You are welcome to incorporate other writers from the period not on our syllabus that you've encountered in your reading.
Here are the six:
Whatever IS, is RIGHT. (294)
Respecting man, whatever wrong we call,
May, must be right, as relative to all. (51-52)
‘Tis but a part we see, and not the whole. (60)
In pride, in reasoning pride, our error lies. (123)
to reason right is to submit. (164)
Who finds not Providence all good and wise,
Alike in what it gives, and what denies? (20)
no need for secondary materials
due Wednesday, 4 May, by 11.59 p.m. via Brightspace
no late papers
I would rather not have to return these with commentary unless you specifically request it.
As a PFW student, you are entitled to free software, which you'll need. If you follow this link, you can dowload your own copy of Office 365 from IT services.
Everything in your regular papers should be double-spaced. There are no extra spaces between paragraphs, and block quotations are double-spaced. Go into your copy of Word, find the Paragraph menu, and make sure that it looks like the picture to the left.
It can be on the left or the right side
ENGL 42204 or 53501
On the next line after the heading, center a title for the paper.
Begin your text on the next line after that title.
You'll compose your papers and shorter assignments in Word and email them to me, so there is nothing in hard copy. Attach your paper as a Word document to your email. Do NOT send it in Google Docs. Do NOT send it in .pdf.
You are allowed five (5) absences for any reason you choose. Students who miss more than this will fail the course, unless there is a sound medical reason. I do not distinguish between “excused” and “unexcused” absences, nor am I responsible for material that you miss because you are absent. Students who miss the attendance call (the first five minutes of class) will be marked absent; students who get up and leave in the middle of class will be marked absent. Please take care of your rest room issues BEFORE class. If you must leave, give us the high sign.
Your research project sections and drafts and take-home exams are due on the scheduled non-class dates by 9 a.m. via email. Late papers = 0. No exceptions. Everything can be revised as long as you meet with me.
it should go without saying that students are also expected to do their own work; indebtedness to secondary materials (either printed or electronic) must be clearly indicated so as to avoid plagiarism:
—(piecemeal) using someone else’s words and phrases as if they were your own, not pararphrasing or summarizing properly, even with proper documentation;
—(grotesque) using someone else’s ideas as if they were your own, without proper documentation;
—(more grotesque) allowing someone else to write your paper for you.
PLEASE DO NOT BE A PLAGIARIST! THIS IS UNNECESSARY, AS WELL AS UNETHICAL
The course grade will be determined by a rough averaging together of your research project and its sections (60%), take-home first exam (20%), and take-home second exam (20%). The grading scale is conventional: 90+ = A; 80-89 = B; 70-79 = C; 60-69 = D; 59- = F. I reserve the right to take into additional factors into account; improvement, class participation, and, of course, attendance. Grades are not negotiable, personal, or subject to the influence of extracurricular academic factors.
You may email me at any time. I will usually get back to you quickly: email@example.com
I always acknowledge an email submission with a reply confirming receipt. If you DON'T hear from me after a reasonable period of time, it means I didn't get the paper. It is YOUR responsibility to follow up in this case, not mine.
© Copyright M. L. Stapleton 1998-2024. All rights reserved.
good for nothing else, be wise. --Rochester