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elmlsteach.org

ENGL 40901-52201: Elizabethan Poetry

Spring 2023 - TR 4.30-5.45 - LA 232

We will read several poets, the non-canonical as well as the traditional, from the middle of the reign of Henry VIII to the first decade of the rule of James I (1530-1609). We will concentrate primarily on Sidney’s Astrophil and Stella, Marlowe's Hero and Leander, Shakespeare’s Sonnets, and Spenser’s The Faerie Queene.  We will talk about issues such as Petrarchism and other continental literary influences, Biblical translations, women as writers, and poetical form and meter. We will also investigate trends in sixteenth-century English history: the reigns of Henry VIII, Elizabeth I, James I; England’s place in European politics and culture; religion and society, especially the Reformation. 


 Timeline: Early Modern England

Holbein chalk drawings

Elizabethan Women Writers

Edmund Spenser

Northern European Renaissance Painters

Black  Tudors



syllabus

General Information and Course Book

ENGL 40901 / 52201: Elizabethan Poetry

Spring 2023  TR 4.30-5.45  LA 232

Office:  LA 233  

email: stapletm@pfw.edu   phone: 481.6841 (message)

webpage: www.elmlsteach.org


Text:

Greenblatt, et al., eds., The Norton Anthology of English Literature, volume B: The Sixteenth Century, The Early Seventeenth Century, 10th edition (2018)

(Please note that this text is available on sites such as abebooks.com for lower prices


Electronic Devices:

Yes, please. Feel free. I only ask that you use their magic powers for Good

january

10 January

Introductions: humanism, Renaissance, Reformation, lyric, Songs and Sonnets 

12, 17, 19, 24 January

Wyatt and Surrey (118-42)


FIRST SHORT ASSIGNMENT  (2 pp.)


Read Surrey's "Martial, the things for to obtain" in your book. Write an explication, and explain how the poet uses devices of sound to enhance his meaning.


DUE FRIDAY, 20 JANUARY, 11.59  p.m., via Brightspace

26, 31 January

Elizabethan Miscellany (502-76)


SECOND SHORT ASSIGNMENT  (2 pp.) 


Find a poem in the section in your book just above and write a brief explication of it.


DUE FRIDAY, 27 JANUARY, 11.59  p.m., via Brightspace

February

Botticelli, portrait of Simonetta Vespucci, detail

2 February

Spenser, Shepheardes Calender, "October" eclogue (242);  Southwell, "Burning Babe" (170); Daniel (516)  

7, 9 February

 Isabella Whitney (web); Marlowe, “Passionate Shepherd" (678); Donne, "The Bait" (938); Ralegh, "Nymph's Reply" (527)   


ANALYTICAL PAPER DUE FRIDAY, 10 FEBRUARY, 11.59 p.m. via Brightspace  

14, 16 February

Spenser, Amoretti and Epithalamion (486-501)

21, 23 February

Bible, Tyndale, More  (143-53)


THIRD SHORT ASSIGNMENT  (2 pp.


DUE FRIDAY, 24 FEBRUARY, 11.59  p.m., via Brightspace

28 February

Marlowe, Doctor Faustus (679); Hero and Leander (659) 

March

van Eyck, Saint Barbara, detial

2 March

more Marlowe


NO CLASS 7 AND 9 MARCH  

14, 16 March

 Sidney, Astrophil and Stella (586)  


FOURTH SHORT ASSIGNMENT DUE FRIDAY, 17 MARCH, 11.59  p.m., via Brightspace

21, 23 March

Shakespeare, Sonnets  (722) 


 TAKE-HOME EXAM DUE FRIDAY, 24 MARCH, 11.59 p.m., via Brightspace 

28 March

Spenser, Faerie Queene, Book I  (253-406) 


FQ, cantos 1 and 2: doc 


FIFTH SHORT ASSIGNMENT DUE FRIDAY, 31 MARCH, 11.59  p.m., via Brightspace


NO CLASS 30 MARCH  

April

second edition of FQ

4 April

FQ, cantos 3 and 4

summary of 3, good stanza:  Sarah

summary of 4, good stanza:  Peter

6 April

 FQ, cantos 5 and 6 


summary of 5, good stanza: Victoria

summary of 6, good stanza:  Jackson

11 and 13 April

FQ, cantos 7 and 8


summary of 7, good stanza: Joani

summary of 8, good stanza:  Naomi

18 April

 FQ, cantos 9 and 10


summary of 9, good stanza: Katie

summary of 10, good stanza: Maggie

27 April

FQ, cantos 11 and 12: doc


NO CLASS 20 AND 25 APRIL


TAKE-HOME EXAM DUE WEDNESDAY, 3 MAY, BY 11.59 pm, via Brightspace 


STANDARD PAPER FORMATTING

SOFTWARE

 As a PFW student, you are entitled to free software, which you'll need. If you follow this link, you can download your own copy of Office 365 from IT services. 

EVERYTHING IS DOUBLE-SPACED

Everything in your  papers should be double-spaced (unlike everything on this page). 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. 

CHECK YOUR HEADING

 It can be on the left or the right side

Your Name

My Name

ENGL 40901  (or 52201)

Date

On the next line after the heading, center a title for the paper.

Begin your text on the next line after that title.


OTHER FORMATTING

  • Don't use "fun" fonts or all-caps.
  • Your font size should be 12-point.
  • Don't use 'single quotation marks' for emphasis, or, for that matter, for most any reason at all.

EVERYTHING IS ELECTRONIC

You'll compose your papers and shorter assignments in Word and upload it to Brightspace, so there is nothing in hard copy.  Again: upload your paper as a Word document to Brightspace. Do NOT send it in Google Docs. Do NOT send it in .pdf. 

Course Policies

Metsys, Erasmus

ATTENDANCE AND GOOD MANNERS

You are allowed five (5) absences for any reason you choose. Students who miss more than this will fail the course, without exception, regardless of circumstances. 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. 


NOTE: if you signed up for the class, it is understood that you can attend it regardless of family or employment obligations. If you have emergencies, this is why you have absences allowed.  Doctors's notes, team travel letters, and other personal effects do not entitle students to extra absences. If circumstances prevent you from observing the attendance policy, drop the course.  

DUE DATES

Your analytical paper, shorter assignments, and take-home exams are due on the scheduled non-class dates by 11.59 p.m. via Brightspace. Late papers = 0. No exceptions. For the analytical paper and the take-home exams: 4-6 pp for undergrads, 10-12 pp. for grads. Shorter assignments: 2 pp. for all. Your paper, first exam, and any of your shorter assignments may be revised after meeting with the instructor and conferring. 

DON'T BE A PLAGIARIZER

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   

GRADING

The course grade will be determined by the average of your analytical essay on an assigned topic, two exams, and the total of your five shorter assignments as a single grade. Grades are not negotiable, personal, or subject to the influence of extracurricular academic factors.  A failure to complete your assignments results in failure of the course. 

COMMUNICATION

You may email me at any time. I will usually get back to you quickly: stapletm@pfw.edu  

Six instructions for writing exams, essays, and exercises

Identify, if necessary

Expand on your evidence

Identify, if necessary

Six Tuscan Poets (1569) by Vasari, (Dante, Boccaccio, Petrarch, da Pistoia, d’Arezzo, Cavalcanti

Who said it? Where, and why? What system of notation are you using to indicate the source of your quotation?

What's your evidence?

Expand on your evidence

Identify, if necessary

Leonardom La Vierge, l’Enfant Jésus et sainte Anne (‘The Virgin and Child with Saint Anne’, c. 1503)

Which words or phrases make reference to the concept you're trying to explain, and why does your evidence matter?  

Expand on your evidence

Expand on your evidence

Relate quotations to each other

Fra Angelico and Fra Filippo Lippi, Italian, The Adoration of the Magi, c. 1440

Paragraphs should be focused on a single topic, with topic sentences, evidence, and analysis. They should not consist of a series of broad, unrelated statements.

Relate quotations to each other

Check out the Writing page--revsion

Relate quotations to each other

Florentine 15th Century, Matteo Olivieri (?), 1430s, Nat Gal.

This is where we see what you've got. Which words and phrases seem especially important in each quotation as they relate to the other quotations?  

Analysis, not summary

Check out the Writing page--revsion

Check out the Writing page--revsion

Fra Filippo Lippi, Saint Benedict Orders Saint Maurus to the Rescue of Saint Placidus,  Nat Gal.

What each quotation says is fairly clear. So there's no need to rehash or summarize unless requested. Why does it matter? Why is it important? What insight can you bring to the material?

Check out the Writing page--revsion

Check out the Writing page--revsion

Check out the Writing page--revsion

Portrait of an African Woman is attributed to Annibale Carracci, circa 1580s, oil on canvas.

Go up to the site menu and click on Writing. Pay special attention to the sections on analysis, lead-ins and quotations, and quoting poetry.


When we are working out of our book, or from an assignment prompt, use those line-numbers in parentheses.


You are allowed to revise your first exam and any of your five exercises, provided that you meet with me in the office to discuss them first. You are welcome to turn in your revisions at any time before the deadline for the second exam.

Shorter assignments

SHORT ASSIGNMENT #1

Analyze Surrey's "Marital" poem on p. 141 of your book. Use the advice just above, and on the Writing page, as your guide.


2 pp. 


DUE FRIDAY, 20 JANUARY, 11.59  p.m., via Brightspace

SHORT ASSIGNMENT #2

Find a short poem in the section of your book, "An Elizabethan Miscellany" (502-26) that we have not previously discussed in class before you begin writing. Analyze this lyric in terms of what you consider to be its most important word.  How does this term inform the poem throughout?


For example: in the Surrey translation you wrote about last week, the term that seems to illuminate it is "happy." Perhaps it meant something different than it does now, and the OED would help. Another reader might choose "life." Someone else? Maybe "simplicity," or even "beguile."


DUE FRIDAY, 27 JANUARY, 11.59  p.m., via Brightspace

SHORT ASSIGNMENT #3

Read William Tyndale's translation of the famous passage from the New Testament, 1 Corinthians 13. I realize that it doesn't have rhyme and meter, but there's something poetical about it that might remind you of the use of figurative language by our poets thus far (if not in subject matter). What about it seems poetical? Please be specific.


DUE FRIDAY, 24 FEBRUARY, 11.59 p.m., via Brightspace

SHORT ASSIGNMENT #4

Please read Astrophil and Stella 106, "O absent presence" (p. 603 in your book)

How are the stanzas designed to help organize the parts of the poem? Are there any words and phrases that you think deserve special mention? Why and how does Sidney use the medieval device of allegory and personification to lend drama to his sonnet?


2 pp.


DUE FRIDAY 17  MARCH, 11.59 p.m., via Brightspace

SHORT ASSIGNMENT #5

FQ 1.6, the episode of Una, Sir Satyrane, and  Sansloy, presents a conundrum. Does it strike you as strange that Satyrane is Una's savior, in spite of his origins? Why or why not?


DUE FRIDAY, 31 MARCH, 11.59 p.m., via Brightspace

analytical paper

THE PROMPT

Your mission is fairly simple.  Please read Wyatt and Surrey's translations of Petrarch's Rime 140, "The long love" and "Love, that doth reign." What significant differences can you find in these Tudor renditions of "Amor, che nel penser mio vive et regna" ? How about similarities? What is important, and what should we notice? Why would any of this matter? Note: Surrey read Wyatt's version.  For your convenience, I include the Petrarch sonnet and a modern English translation so you can get a sense of what the original actually said.


The Writing page on this website provides a great deal of help to those who seek it. The Writing Papers section explains what we do in a general way. The sections on Analytical Writing, Avoiding Needless Repetition, and Lead-ins and Quotations are highly recommended. Crucial: the “In Medias Res” section of Writing Papers. Build your paper from the inside out. Specific is good. Your essay should be 4-6 pp., double-spaced. No other question of formatting need concern us now. You may indicate line numbers in parentheses. Please see the Quoting Poetry section on the Writing page. 


Avoid listing, summarizing, and making needless general statements about life and literature. Avoid value judgments (the poem is good; the poem is bad; I believe; I think). I’d really enjoy seeing what you can do and hearing about what you consider significant. You’re welcome to bring our other reading to bear on the topic as well.


SPECS


The paper is due Friday, 10 February, by 11.59 p.m., on Brightspace. 4-6 pp. for undergrads, 10-12 pp for grads. Late papers = F. Strictly enforced, non-negotiable. I’m more than happy to discuss your paper or writing at any time possible. Email is fine, and the office is better. The best news is that you may REVISE this paper, the revision due at any time before the due date for the final take-home exam-paper. Required: for revision, conference. Like your grade and attendance, non-negotiable. 


TEXTS 


I include these for your convenience, but you can find them in your Norton on p. 120 and p. 135


Wyatt

The long love that in my thought doth harbor,
And in mine heart doth keep his residence,
Into my face presseth with bold pretense
And therein campeth, spreading his banner.
She that me learneth to love and suffer    5
And will that my trust and lust's negligence
Be reined by reason, shame, and reverence
With his hardiness taketh displeasure.

Wherewithal unto the heart's forest he fleeth,
Leaving his enterprise with pain and cry,    10
And there him hideth, and not appeareth.
What may I do, when my master feareth,
But in the field with him to live and die?
For good is the life ending faithfully. 


Surrey

 Love, that doth reign and live within my thought,
And built his seat within my captive breast,
Clad in the arms wherein with me he fought,
Oft in my face he doth his banner rest.
But she that taught me love and suffer pain,   5
My doubtful hope and eke my hot desire
With shamefast look to shadow and refrain,
Her smiling grace converteth straight to ire.

And coward Love, then, to the heart apace
Taketh his flight, where he doth lurk and plain,  10
His purpose lost, and dare not show his face.
For my lord's guilt thus faultless bide I pain,
Yet from my lord shall not my foot remove:
Sweet is the death that taketh end by love. 


Petrarch, Rime 140

 

Amor, che nel penser mio vive et regna
e 'l suo seggio maggior nel mio cor tene,
talor armato ne la fronte vene;
ivi si loca et ivi pon sua insegna.

Quella ch'amare e sofferir ne 'nsegna,   5
e vol che'l gran desio, l'accesa spene,
ragion, vergogna, e reverenza affrene,
di nostro ardir fra se stessa si sdegna.

Onde Amor paventoso fugge al core,
lasciando ogni sua impresa, et piange et trema;   10
ivi s'asconde et non appar piu fore.

Che poss'io far, temendo il mio signore,
se non star seco infin a l'ora estrema?
che bel fin fa chi ben amando more. 


A. S. Kline translation


Love, who lives and rules in my thought
and holds his chief seat in my heart,
sometimes armed comes into my face;
and there makes camp and places his banner.

She who teaches me to love and suffer,
and wants reason, shame, and respect restrain
my great desire and burning hope
takes offense inwardly at our ardor.

Therefore Love, fearful, flees to the heart,
abandoning it all, and cries and shakes;
he hides himself, and is seen abroad no more.

What can I do, when my master is afraid,
except stand with him to the bitter end?
He makes a fine end, who dies loving well! 

FIRST EXAM

THE PROMPT

 

The hardness of her heart and truth of mine
When the all-seeing eyes of heaven did see,
They straight concluded that by power divine
To other forms our hearts should turnèd be.
Then hers, as hard as flint, a flint became,
And mine, as true as steel, to steel was turned;
And then between our hearts sprang forth the flame
Of kindest love, which unextinguished burned.
And long the sacred lamp of mutual love
Incessantly did burn in glory bright,
Until my folly did her fury move
To recompense my service with despite;
 And to put out with snuffers of her pride
 The lamp of love which else had never died.


How is this characteristic of sixteenth-century poetry as you've come to know it? How does it reflect our course thus far?  Please be  specific  in  your use  of  our writers,  featuring  brief,  specific  examples  from  their work  


The Writing page on this website provides a great deal of help to those who seek it. The Writing Papers section explains what we do in a general way. The sections on Analytical Writing, Avoiding Needless Repetition, and Lead-ins and Quotations are highly recommended. Crucial: the “In Medias Res” section of Writing Papers. Build your paper from the inside out. Specific is good. Your essay should be 4-6 pp., double-spaced. No other question of formatting need concern us now. You may indicate line numbers in parentheses. Please see the Quoting Poetry section on the Writing page.

 

Avoid listing, summarizing, and making needless general statements about life and literature. Avoid value judgments (the poem is good; the poem is bad; I believe; I think). I’d really enjoy seeing what you can do and hearing about what you think. You’re welcome to bring our other reading to bear on the topic as well.


SPECS


The exam  is due Friday, 24 March, 11.59 p.m., via Brightspace.  4-6 pp. for undegrads, 10-12 for grads. Late papers = F. Strictly enforced, non-negotiable. I’m more than happy to discuss your paper or writing at any time possible. Email is fine, and the office is better. The best news is that you may REVISE this paper, the revision due at any time before the due date for the final take-home exam-paper.  Required: for revision, conference. Like your grade and attendance, non-negotiable. 

SECOND EXAM

THE PROMPT

What elements in the canto you presented to the class can you relate to the rest of The Faerie Queene, Book I?


  • You can be as imaginative or as prosaic as you like here.  We can try this in class with canto 12 and see what we come up with.
  • general statements from your canto that apply to the rest of the work, or vice-versa
  • plot elements that seem truly significant and help elucidate some other part of Book 1, or vice-versa
  • epic, romance, or allegorical conventions that you see as operative in your canto that apply elsewhere
  • be specific, and try to be clear about your connections
  • look at the Writing prompt in the site menu


SPECS


The exam is due Wednesday, 3 May, 11.59 pm., via Brightspace.  4-6 pp. for undergrads, 8-10 for grads. Late papers = F. Strictly enforced, non-negotiable. I’m more than happy to discuss your paper or writing at any time possible. Email is fine, and the office is better. This paper cannot be revised, nor will it be returned with comments unless the student specifically requests this courtesy in advance.

Faerie Queene Guide

Uccello S. George, c. 1470

Uccello's S. George (1470)

Download the FQ guide  handout here.                                                                          Here is a chart of FQ

Title page for 1596 edition.

There were two editions: 1590 and 1596

1905

1905 illustration of Archimago and Una

A children's redaction of the epic.

Walter Crane

Crane the Pre-Raphaelite

His dates were 1845-1915, his origin Liverpool.  He was a member of the Pre-Raphaelite Brotherhood, which sought to recapture the "purity" of late medieval art.  Dante Gabriel Rosetti and William Morris were its best-known members, and the movement featured painting and poetry and, most spectacularly for bibliophiles, the Kelmscott Press, which turned out beautifully ornate volumes featuring terrific engravings and illustrations.


Here is a link to the original Faerie Queene publication (1897)

Crane the Arts and Crafts practitioner

The Arts and Crafts Exhibition Society was Crane's invention, as was the ensuing artistic movement. Crane said of decorative design: "the artist works freest and best without direct reference to nature, and should have learned the forms he makes use of by heart."  


Here is a Dutch video with music featuring many of the illustrations.

Hans holbein the younger (1497-1543)

My favorite painter

He's my favorite because he sees into the core of people and captures it in paint, chalk, or pencil in a way that is simultaneously breathtaking and disturbing. You could see his faces in England today, or, for that matter, in West Virginia or Vermont. The expressions are enigmatic: are the subjects about to burst into laughter or start crying? What could possibly be on their minds? And so forth. Holbein (1497-1543) was, like Handel after him, a great German artist who made good among das englische Volk. He learned much from his father and namesake, the late Gothic painter whose style resembles Breughel’s. He was also apparently influenced by fifteenth-century Italian portraiture and humanism, so that he was able to create his own aesthetic. Erasmus recommended him, and on his migration to England in 1526, joined Thomas More’s household: the artistic results speak for themselves. His patrons included Anne Boleyn (as queen) and Thomas Cromwell, Lord Chancellor after More and Wolsey. He became Henry VIII’s official court painter. He is also important in the history of the book, and one hell of an engraver. Although I love his paintings, it is his chalk drawings that I find astonishing—like a Shakespeare play or a canto of The Faerie Queene, the perspective changes and shifts on each viewing or reading.


Hans Holbein site (commerical)

Holbein chalk drawings

Michael Sittow, Catherine of Aragon as Mary Magdaline

Michael Sittow, Catherine of Aragon as Mary Magdaline


© Copyright  M. L. Stapleton  1998-2030  All rights reserved.


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