ÐÏà¡±á>þÿ dgþÿÿÿcÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿì¥Á€ ð¿“+bjbj´V´V 0bÖ<Ö<6#\ÿÿÿÿÿÿ·¬¬iiiiiÿÿÿÿ}}}8µŒAT}M*"•Lá"òÌ)Î)Î)Î)Î)Î)Î)$o-¢0Pò)iòòò)iiï*šššžiiÌ)šÌ)ššrX$TX%ÿÿÿÿPVr“nÍ}º²¬$¸)*0M*º$ža0l.a0X%X%8a0i%(šò)ò)šM*ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿa0¬ƒ/: Professor John Golden Office: CU 332 Office hours: [TBD] Office phone: 562-297-4469 E-mail: jgolde21@fau.edu ENL 4264: Victorian Genres and Themes: Victorian Poetry [Catalog description, e.g., “A study of the major Victorian poets and their literary and cultural contexts. (3 credit hours.)”] COURSE GOALS This course introduces students to the major poetic voices from the Victorian era, a period of astonishing formal variety and psychological complexity in British poetry. We will examine this poetry in its literary, cultural, and social contexts: the immediate influence of Romantic poetry; the emerging dominance of other media, including print media such as the novel; changing attitudes to science, religion, and gender; and a political context of agitation, legislative reform, and empire. We will also learn to hear the music of Victorian poetry, and in order to do this we will spend some time studying metrical form. This will mean learning to notice the rhythms of English and familiarizing ourselves with some of the metrical forms traditionally made from these rhythms in English literature. This formal aspect of the course will be useful for understanding poetry of all historical periods, but for us it will yield a way of discussing the material sounds that Victorians made to embody their many-sided responses to a world in flux. REQUIRED TEXTS Thomas J. Collins and Vivienne J. Rundle, eds. The Broadview Anthology of Victorian Poetry and Poetic Theory. Peterborough, Ontario: Broadview P, 1999. ISBN: 9781551111001. Attridge, Derek. Poetic Rhythm: An Introduction. Cambridge: Cambridge UP, 1995. ISBN: 9780521423694. COURSE REQUIREMENTS Paper #1: 4-5 pages, due in class (20%) Paper #2: 5-6 pages, due in class (30%) Midterm exam (ID and short answers) (15%) Final exam (ID, short answers, essay) (20%) Attendance and participation in class (10%) Weekly quizzes at the beginning of class (5%) SCHEDULE OF READINGS AND ASSIGNMENTS All selections are from either the Broadview anthology or Derek Attridge’s Poetic Rhythm unless specified as a handout to be distributed in class (and all handouts will be available in PDF from the course website). Prose selections from the Broadview anthology are found in the second section of the text, beginning on p. 1181. Week 1 Tues. Introduction Thurs. William Wordsworth, “Strange Fits of Passion Have I Known,” “The Solitary Reaper” (handout) Alfred, Lord Tennyson, “Mariana” Prose: John Stuart Mill, “What is Poetry?” Week 2 Tues. Tennyson, “The Lady of Shalott,” “The Palace of Art,” “The Lotos-Eaters” “[Break, break, break],” “Locksley Hall,” “The Eagle” (handout), “Tears, Idle Tears” (handout) Prose: Arthur Henry Hallam, “On Some Characteristics of Modern Poetry” Thurs. Tennyson, “Ulysses,” “Tithonus,” “The Epic [Morte d’Arthur],” “Morte d’Arthur,” “The Charge of the Light Brigade,” “Crossing the Bar” Prose: Derek Attridge, Poetic Rhythm, Chap. 1 Week 3 Tues. Tennyson, In Memoriam A.H.H., Prologue and sections 1-95 Thurs. Tennyson, In Memoriam A.H.H., sections 96-131 and Epilogue Prose: Attridge, Poetic Rhythm, Chap. 2 Week 4 Tues. Tennyson, Maud Prose: Attridge, Poetic Rhythm, Chap. 3 Thurs. Edward Fitzgerald, The Rubáiyát of Omar Khayyám Prose: Attridge, Poetic Rhythm, Chap. 4 Week 5 Tues. Robert Browning, “My Last Duchess,” “Soliloquy of the Spanish Cloister,” “Porphyria’s Lover,” “The Bishop Orders His Tomb at Saint Praxed’s Church” Thurs. R. Browning, “Pictor Ignotus,” “The Laboratory,” “Love Among the Ruins,” “Fra Lippo Lippi,” “Andrea del Sarto” Prose: Attridge, Poetic Rhythm, Chap. 5 Week 6 Tues. “A Toccata of Galuppi’s,” “Childe Roland to the Dark Tower Came,” “The Statues and the Bust,” “The Last Ride Together,” “Abt Vogler” Thurs. R. Browning, “Caliban upon Setebos; or, Natural Theology in the Island” Prose: R. Browning, “An Essay on Percy Bysshe Shelley”; Attridge, Poetic Rhythm, Chap. 6 Week 7 Tues. Felicia Hemans, “To Wordsworth,” “Casabianca,” “The Grave of a Poetess,” “The Indian with His Dead Child,” “Properzia Rossi” (handout) Paper #1 (4-5 pages) due Thurs. Elizabeth Barrett Browning, “The Cry of the Children,” from Sonnets from the Portuguese (III, XXII, XXIX, XLIII), “The Runaway Slave at Pilgrim’s Point,” “A Curse for a Nation (Prologue),” “A Musical Instrument” Week 8 Tues. Elizabeth Barrett Browning, “The Cry of the Children,” from Sonnets from the Portuguese (III, XXII, XXIX, XLIII), “The Runaway Slave at Pilgrim’s Point,” “A Curse for a Nation (Prologue),” “A Musical Instrument” Thurs. Midterm Exam (in class) Week 9 Tues. Matthew Arnold, “Resignation,” “Isolation. To Marguerite” (handout), “To Marguerite—Continued,” “Dover Beach,” “The Buried Life,” “Stanzas from the Grande Chartreuse,” The Scholar-Gipsy” Prose: Arnold, Preface to the First Edition of Poems Thurs. Arnold, “Thyrsis” Prose: Arnold, “The Function of Criticism at the Present Time” Week 10 Tues. Dante Gabriel Rossetti, “The Blessed Damozel,” “My Sister’s Sleep,” “Jenny,” sonnets from The House of Life Prose: Robert Buchanan, “The Fleshly School of Poetry: Mr. D. G. Rossetti”; D. G. Rossetti, “The Stealthy School of Criticism” Thurs. William Morris, “The Defense of Guenevere,” “The Haystack in the Floods” Week 11 Tues. Christina Rossetti, “Goblin Market,” “A Birthday,” “After Death,” “An Apple Gathering,” “Echo,” “‘No Thank you, John,’” “Song,” “Remember” (handout) Thurs. C. Rossetti, sonnets from Monna Innominata, “In an Artist’s Studio” Week 12 Tues. Algernon Charles Swinburne, “The Triumph of Time,” “Itylus,” “Anactoria,” “Hymn to Prosperpina” Prose: Swinburne, from “Under the Microscope” Thurs. Swinburne, “Dolores” (handout), “Ave Atque Vale,” Prelude to Tristram of Lyonesse (handout) Week 13 Tues. Gerard Manley Hopkins, “The Wreck of the Deutschland” Prose: Hopkins, “Author’s Preface” Thurs. Hopkins, “God’s Grandeur,” “The Windhover,” “Pied Beauty” (handout), “Felix Randal,” “Carrion Comfort,” “No worst, there is none,” “Spelt from Sibyl’s Leaves” (handout) Week 14 Tues. Thomas Hardy, “Hap,” “Neutral Tones,” “A Broken Appointment,” “The Darkling Thrush,” “The Self-Unseeing,” “In Tenebris,” “Night in the Old Home,” “The Something that Saved Him,” “In a Wood” Thurs. Oscar Wilde, “Requiescat,” “Hélas!,” “Impressions,” “Symphony in Yellow” Prose: Walter Pater, Preface and Conclusion to The Renaissance: Studies in Art and Poetry; Wilde, “The Critic as Artist” Week 15 Tues. Michael Field, “Preface,” “La Gioconda,” “The Magdalen,” “Death, men say, is like a sea,” “An Apple-Flower,” “Solitary Death, make me thine own,” “A curling thread,” “Noon,” “An Aeolian Harp,” “Cyclamens” Prose: Arthur Symons, “The Decadent Movement in Literature” Thurs. Review (and Preview) W. H. Auden, “As I Walked Out One Evening” (handout) Paper #2 (5-6 pages) due Final Exam: [Date TBD] GRADING SCALE A= 95% A-= 90 % B+ = 86% B= 82% B- = 76% C+ = 72% C = 66 % C- = 62 % D+ = 56 % D = 52 % F = under 52% COURSE WEBSITE Please visit the course website, accessed via HYPERLINK "http://blackboard.fau.edu"http://blackboard.fau.edu, for all course documents (including the syllabus) in PDF and for any other online resources mentioned in class. COURSE POLICIES Lack of attendance or lateness will be reflected in your participation grade. * Except when University attendance policy supersedes this policy, as stated in relevant Provost’s memoranda: HYPERLINK "http://www.fau.edu/provost/files/religious2011.pdf"http://www.fau.edu/provost/files/religious2011.pdf and HYPERLINK "http://www.fau.edu/provost/files/studentabsences.pdf"http://www.fau.edu/provost/files/studentabsences.pdf. Please turn off all cell phones before class starts. No other electronic devices are allowed, including laptops. If you wish to take notes, please use pen and paper. Plagiarism and Honor Code Document all sources in your paper according to MLA style. According to F.A.U. policy, any use in your writing of language, ideas, or original research—from any source, either online or in print—without documentation will be considered plagiarism and will have dire consequences. This is part of F.A.U.’s larger Code of Academic Integrity. Students at F.A.U. are expected to maintain the highest ethical standards, and academic dishonesty is considered a serious breach of these standards. For details, please see University Regulation 4.001 at HYPERLINK "http://www.fau.edu/regulations/chapter4/4.001_Code_of_Academic_Integrity.pdf"http://www.fau.edu/regulations/chapter4/4.001_Code_of_Academic_Integrity.pdf. Compliance with the Americans with Disabilities Act (A.D.A.) In compliance with the Americans with Disabilities Act (ADA), students who require special accommodations due to a disability to properly execute coursework must register with the Office for Students with Disabilities (OSD) located in Boca, SU 133 (561-297-3880); in Davie, MOD I (954-236-1222); or in Jupiter, SR 117 (561-799-8585), and follow all OSD procedures. 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