ALL Notes Condensed for Year 1 Poetry PDF

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Most of the poems from Intro to Poetry, sorry if the layout is rubbish! ...

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Year 1, Intro to Poetry, Condensed Notes. Thomas Campion, ‘Never love unless you can…’ Emily Dickinson, ‘I tie my Hat’; ‘I taste a liquor’; ‘Ample make this Bed’ John Donne, ‘Annunciation’ and ‘Oh my black soul’ (Holy Sonnet 4) Rita Dove, ‘Parsley’ Marilyn Hacker, ‘Villanelle for D.G.B.’ Thomas Hardy, ‘The Voice’ Seamus Heaney, ‘Clearances’, Sonnet 3; ‘Casualty’ George Herbert, 'Redemption' Gerard Manley Hopkins, ‘The Windhover’ John Keats, ‘When I have fears that I may cease to be’; ‘La Belle Dame Sans Merci’ Claude McKay, ‘America’ Andrew Marvell, ‘The Mower to the Glowworms’ and ‘The Mower’s Song’ John Milton, 'When I consider how my light is spent' Wilfred Owen, 'Anthem for Doomed Youth' Ezra Pound, ‘In a Station of the Metro’ Christina Rossetti, ‘She sat and sang alway’ William Shakespeare, 'My mistress' eyes are nothing like the sun' Edith Sitwell, ‘The Drum’ Stevie Smith, ‘Sunt Leones’ A. E. Stallings, ‘Sestina: Like’ Alfred Lord Tennyson, selections from In Memoriam Henry Vaughan, 'They Are All Gone into the World of Light!' W. B. Yeats, ‘Easter 1916’, ‘Leda and the Swan’

Samuel Taylor Coleridge, 'The Rime of the Ancient Mariner’ John Milton, ‘On the Morning of Christ’s Nativity’, Paradise Lost Alexander Pope, The Rape of the Lock Other Poems. -

La Belle Dame Sans Merci

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R.Alcona to J.Brenzadia.

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To S.M., a young African Painter on seeing his works.

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What my lips have kissed and where

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Ample make this Bed.

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XLIII – Barrett Browning

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Monna Innominata.

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One Art.

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Villanelle of His Lady’s Treasures.

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Directive

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Nani

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Parsley

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Rain

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Ulysses.

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Fog.

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Lying in a Hammock

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Lycidas.

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Elergy Written in a Churchyard.

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In Memory of W.B Yeats.

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To his Love Ivor Guerney.

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America – Ginsberg

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I, Too

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The Language of the Brag.

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Ode on a Grecian Urn

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The Garden

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The voice

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America, Claude McKay

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Composed Upon a Westminster Bridge

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Ozymandias

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Sonet 130

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The Windhover.

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Paradise Lost.

Notes. Poem. Context Important Quotes from Poem Analysis. Structure. Critics.

NOTES. STARTING WITH LECTURE NOTES, THEN SEMINAR NOTES, THEN ANY LEFT OVER.

Poem: ‘Never love unless you can…’ – Thomas Campion. Context: -

Lyrical Poetry reflects his musical abilities.

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Campion’s first publication was five sets of verses appearing anonymously in the pirated 1591 edition of Philip Sidney’s Astrophel and Stella

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Campion’s lyric poetry and songs for lute accompaniment are undoubtedly his works of most lasting interest.

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Though his theories on music are slight, he thought naturally in the modern key system, with major and minor modes, rather than in the old modal system

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Campion, Observations in the Art of English Poesie (1602). In this work he attacked the use of rhymed, accentual metres, insisting instead that timing and sound duration are the fundamental element in verse structure.

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His originality as a lyric poet lies rather in his treatment of the conventional Elizabethan subject matter.

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Rather than using visual imagery to describe static pictures, he expresses the delights of the natural world in terms of sound, music, movement, or change

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This approach and Campion’s flowing but irregular verbal rhythms give freshness to hackneyed subjects and seem also to suggest an immediate personal experience of even the commonest feelings

One of the only poets to Revise his poems over 20 years. o

Improved them.

Important Quotes from Poem Analysis.

1.

Never Love Unless – The title is odd, it is an uncompleted sentence. The monosyllabic nature of the noun 'love' indicates that it is truly different to the polysyllabic 'never' and 'unless.' This may indicate that love is the centrepiece of the poem, and that it is truly different to the other concepts around it.

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‘True hearts may have dissembling eyes.’ – Personification.

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‘Bear with all the faults of man.’ -

Structure. -

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Catalectic Trochaic Terameter. o

‘If love may Persuade.’

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This line is the first trochaic meter.

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The incomplete iambic pentameter may follow through with the thematic concern of a lost love.

Monosyllabic – creates a direct form. o

‘hunt,’ and ‘hawk.’

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Bear with all the faults of man – Monosyllabic sentence may indicate the one-sided nature of his commentary and the nature of man is not dimensional. Theme: Women, Love.

Critics.

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Sydney – poetry is the most poetic of the arts, unlike our actual nature which is corrupt.

Poem. - Part Four: Time and Eternity X – ‘I Died for Beauty but it was Scarce.’ Emily

Dickinson. Context -

The death fantasy recalls Keats; “Beauty is truth, Truth Beauty” from Ode on a Grecian Urn.

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The concepts of truth and beauty being the same may make call-backs to Plato's world of the forms. Perhaps Dickinson is making comment of the aesthetician principle.

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She makes call backs from Bronte, Browning and Rossetti.

Important Quotes from Poem Analysis.

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"Purple"(3) is a very dark color that usually is associated with evil and death. In this poem it represents the night, which is silent and containing death.

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Imagery - “Their hundred hats they raise!”(12) is imagery. It demonstrates an event of importance because of the massive amount of hats raised. The imagery used here is associated with optimism and a time of celebration.

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Diction - The word "crown"(4) is an example of diction because Dickinson is challenging the conventional view of death by glorifying it. People know that death is unavoidable, but the glory after death is also unavoidable.

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Repetition - The word "None" (3-4) is repeated to show emphasis on the fact that no one escapes death nor the glory that follows it. This has a more of a negative connotation than positive because even with the glory that follows death, we will not be able to live through that.

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The poem describes a funeral for a person that is a very grand ceremony. The beginning of the poem starts with the setting of the sun which is hinted with purple. Moving into the next stanza, the bells signify the death of a person. The "loyalty at parting"(11) is saying that someone is indeed gone and that many are seeing him farewell. In the end, the escutcheon, also known as a shield which bears the coat of arms is shown and the person may rest in peace.

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The ultimate effect of this poem is to show that every aspect of human life—ideals, human feelings, identity itself—is erased by death. But by making the erasure gradual —something to be “adjusted” to in the tomb—and by portraying a speaker who is untroubled by her own grim state, Dickinson creates a scene that is, by turns, grotesque and compelling, frightening and comforting. It is one of her most singular statements about death, and like so many of Dickinson’s poems, it has no parallels in the work of any other writer.

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As the poem progresses, the high idealism and yearning for companionship gradually give way to mute, cold death, as the moss creeps up the speaker’s corpse and her headstone, obliterating both her capacity to speak (covering her lips) and her identity (covering her name). Theme, Love and Women.

Structure.

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This poem follows many of Dickinson’s typical formal patterns—the ABCB rhyme scheme, the rhythmic use of the dash to interrupt the flow—but has a more regular meter, so that the first and third lines in each stanza are iambic tetrameter, while the second and fourth lines are iambic trimeter, creating a four-three-four-three stress pattern in each stanza. Iambic – Ballad form. Distinct from the ballad in folk ways.

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The typical nature of this form structure may mimic the flowing nature of life and death. The ebbing of such a poem may also remind us how life and death are intertwined.

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The two last stanzas are in half rhyme o

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May represent the ending of a life. The half forced nature. .

Small change to move from full to half ryhme o The impact is enormous. o First thing is the use of dashes. o Look like performance notes 

Speed up or slow down

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Impeding our ability to speed up.

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Dramatic hesitation.

Critics.

Freudian Thanatos Principle – In the poem the concept of eros and procreation . The poem seems to intertwine the concept of eros and procreation with risky behaviour and quite literally death. Poem. Blame Not My Lute. – Wyatt. Context

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Wyatt was writing during a change in the English language the rules of poetic composition had not been written. Greek/Roman theories translated into English How could English be patterned for effect Differences in how words are pronounced. We don't know how Wyatt heard particular words

Important Quotes from Poem Analysis.

– Trope in his poetry: the struggling lover who turns to poetry. – Lover: male, love female. An obstuse and fickle female. – Spoken by a love who has been betrayed, – The speaker are simultanenously private and theatrical – The formal demands of the genre – The private sphere and public sphere are paradoxical sways – The conventionality of the meaning allows the poet to write in an intricate form. – The formal demands are not tough – Wyatt's manipulation does enable some effects. – The few first stanzas we argue that it is the trope of the inarticulate lover – The final two makes the trope of the betrayed lover explicit. The song has been alternately titled ‘The Lover’s Lute Cannot be Blamed Though it Sing of His Lady’s Unkindness’, indicating that the song is about a betrayed lover voicing his disappointment and frustration through song. However, as the verse continues, it is possible to see a more political angle to this piece. Interestingly, the lute is personified as ‘he’, rather than referred to as ‘it’. This gives the lute a human appearance, and suggests that the ‘instrument’ of such a message may have human qualities. This could allude to the idea that messages are often communicated in the court of Henry VIII, and the messenger is not to blame for the content of the communication. As a diplomat and an ambassador for the king, Wyatt and others were often part of negotiations and consultations on behalf of the king which they may not have been comfortable, or even in agreement, with. This interpretation adds a gritty edge to a delicate courtly ditty, which is perhaps why the song has endured in various anthologies rather than being lost in the mists of time, as have other such ditties. ‘Blame Not My Lute’ is a brave and impetuous appeal, on one level from a spurned lover, on another from a fearful and challenged courtier.

By the fifth verse, the narrator makes it clear that the blame for the unpleasant message lies with the audience. The repetition of blame enhances this point. We see the word used twice in lines 29 and 30: ‘Blame but thyself that has misdone, And well deserved to have blame;’ ‘Blame’ is repeated nine times within the song as a whole. As the major message of the refrain, the audience is directed to attribute responsibility for the distress caused by one to another. The audience is directed in the sixth verse to alter their course of action, in order to combat ‘evil’. This is a powerful word, used to emphasize the intensity of feeling which surrounds betrayal and rejection. Structure.

The seventh and final verse is triumphant, rather than regretful. We would expect the narrator to remain consumed by his loss, were Wyatt following the convention of the narrator as unrequited lover. However, this narrator tells us that he has moved on from the destructive experience, and has repaired the damage done. There is a caesura used in this verse, followed by enjambment in lines 36-37. These techniques illustrate a break with the form, symbolizing the break from the traditional ending. The narrator has overcome the destruction waged by his audience, where the audience may remain embarrassed by their actions. Critics.

READING HEARING AND PREFORMING. – Wyatt's effects may be lost when we hear his p. – On the page the refrain is lost. – Blame not my lute: the refrain is not lost, as the speaker gradually makes it clear he is approaching his beloved. – Each stanza seems to change in tone. The voice is change. – The final stanza the refrain turns to a bark. – A performance element is built into the poem. – Repetition is never said in the same. – Every repetition heightens that preformance. – Both Wyatt poems depend on Wyatt preforming them correctly. – How true thou – we need to emphasise the true, it s dependent on the truth. Poem. They Flee From Me Context

It is possible to see the poem as a reflection on his liaison with Anne Boleyn before her union and marriage to Henry VIII. However, the tone of anger and frustration at being forsaken for another could apply equally well to Wyatt's first marriage as he separated from his wife due to her adultery. The relationship could also be a metaphor for the courtly relations, platonic and romantic, which were born and died with dangerous haste. If it is Anne it would add another level. – His poetry has a lot of its meaning in silence. – The points of the poets unable to articulate their feelilngs brings us to another form.

– The ideal of the beloved changes during Elizabethan era – They became virginal, compared to the earthy beloved of Wyatt. – The changes to the orignal would see that the edited version is awful Important Quotes from Poem Analysis.

The poet begins in direct fashion, showing a paradox within the first line. ‘They’ now run from him, who formerly sought him out. The image of the ‘naked foot’ implies an intimate liaison, and the verb ‘stalking’ suggests that the visitor was the instigator of the association. Line 3 explains that this association was set in the poet’s room, adding to the tone of intimacy and secrecy in the relationship. In line 3, the former acquaintance used to be calm, obedient and tame, but line 4 explains they are now uncontrollable and have forgotten the past. This second contrast of the past and the present emphasizes the dramatic change in the relationship. Line 5 expresses that the subject has taken risk to be with the poet. The unnatural division between the poet and his lady is further highlighted by lines 5 and 6; which are connected by enjambment, then line 6 is divided within itself through the caesura. These techniques reflect the unconventional union and the poet’s distress at the end of it. The image of taking bread may refer to the act of Holy Communion, or implies an intimacy in the sharing of bread with close associates. There is also a suggestion of deference to the poet. After the caesura, the seemingly obedient and loyal partner is roaming, actively searching for new attractions. It is implied that the variety and frequency of the new liaisons is what the lady seeks, not just a new partner; which suggests a licentiousness in the lady. Lines 8-14 The poet expresses a bitter resignation that at least he has experienced a situation better than his present state. Fortune is personified as the benefactor of his earlier happiness; the poet is suggesting that the past joys were the product of luck, as opposed to love or deliberate action. His recollection is an occasion ‘Twenty times better’ when he recalls the lady, after a show for him in flimsy dress, held him and kissed him and asked if she was giving him pleasure. It seems at this time she was devoted to him, which makes the change in situation more intense. Lines 15-21 Caesura is used again in line 15; where he asserts that the past, and this experience, was not a dream. Now though, it appears that the liaison was a dream as the relationship is ‘turn’d’. He blames his own manner: that of mildness, gentility and propriety, for the end of the affair, and he feels the harsh effects of the rejection. The poet’s expression that he has released his lover to move on communicates an initial tone of acquiescence. However, the final lines of the poem show the real resentment and anger that the poet has in being rejected and left behind. He appeals directly to his audience, asking for their view as to what response her actions and behavior warrant. Structure.

The poem employs the technique of rime royal, used most notably by Geoffrey Chaucer. The technique consists of a seven-line structure, using iambic pentameter with the rhyme scheme ABABBCC. There are two ways in which the septet is structured: the tercet and two couplets (ABA, BB, CC) and the quatrain and tercet (ABAB, BCC). ‘They Flee From Me’ uses both

structures within its 21 lines: the tercet and couplets in lines 1-7 and the quatrain and tercet for lines 8-14 and 15-21. The poem presents three key ideas which are enhanced by this structure: that the poet is now rejected, that he was once favored and that there is a question as to how his lover should fare now she has abandoned him. Critics.

Poem. She sat and Sang. Context -

The isolation from her diagnosis of Graves’ disease left her stranded in a society that once accepted her. The person that is referenced in the last stanza of She Sat and Sang, seems to be, in my opinion, the ambition that Rossetti has lost because of her illness. The governess that was lost to a disease, and the depression that flows in like the overwhelming ‘sea.’ No longer is her life like a ‘stream,’ with its destination laid out before her, but she now must cross the deep and dangerous sea into an unknown territory.

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This poem is told in first person from a male or female about a female that was a friend or family member; we aren't sure, but we do know it was someone that speaker cared for enough to mourn extensively. Christina Rossetti was a sickly person and it is possible that this poem was written by her about one of her family members or friends mourning-odd as it may sound-herself. It is also possible that this poem was written in honor of someone she loved. Before she became ill, Rossetti had a bustling social life, so it is possible that this poem was about one of her many "friends" that she mourned for a brief period and then essentially "forgot" about.

Important Quotes from Poem Analysis. -

Mastering the archetypal perspective Rossetti uses the metaphysical notion of water throughout the poem.

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In discovering the semiotics of water, the reader is made aware of the emotional nature of the poem. In the first stanza, the notion of water is in the second line with the diction ‘stream.’

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The monosyllabic noun is made calm through the voiceless pl...