Chapter I:
Cour tly Poetr y
The awareness to consider the position of women to be equal to men came about in the
12
thcentury after their beauty was idealized in courtly love, a term coined by Gaston Paris in
1883 to describe that courtly love was celebrated in the poetry initiated by the French poets
between c. 1100 and 1350 (Cuddon, 1991:202 & 1007). Additionally, Cuddon (1991:203) says
that “the ideals of courtly love do not really manifest themselves in English literature until the
16
thcentury (via Petrarch) in the great sonnet (q.v.) sequences of Sidney, Spencer and
Shakespeare” who wrote under the Elizabethan Age (1485—1625). Before and during this age,
the writing of poetry was part of the education of a gentleman, and the books of lyrics and
sonnets that appeared contained work by numbers of different writers.
A.
Petr ar chan and English Sonnets
A sonnet, deriving from the Italian sonetto a ‘little sound’ or ‘song’ (Cuddon, 1991:895),
is a kind of poetry consisting of 14 lines, arranged according to the following scheme:
1)
the Italian sonnet (Petrarchan model) consists of 8 lines (the octave) and 6 lines (the
sestet), rhyming ab ba ab ba—cd ec de or cd cd cd, or in any combination except a
rhyming couplet.
2)
The English sonnet consists of three quatrains and a couplet, rhyming ab ab, cd cd, ef
ef—gg. This form is much used by Shakespeare.
B.
Songs and Lyr ics
Many poems can be classified as songs although they are not set to music (Cuddon,
1991:890). Songs basically refer to poems and their musical setting; poems for “singing or
chanting, with or without musical accompaniment”. In addition, Cuddon says that “up until the
16
thcentury, in Europe, poet and composer/musician were often one and the same”. Lyrics, for
example, can be regarded to belong to this group.
Initially, the definition of a lyric was given by the Greeks who stated that it was “a song
to be sung to the accompaniment of a lyre (lyra)”, but, now, the term is used to “describe a
particular kind of poem in order to distinguish it from narrative or dramatic verse of any kind”
(Cuddon, 1992:514). What's more, Cuddon (1992:514-5) affirms that
W h e n I W a s Fa ir a n d Y o u n g (Queen Elizabeth I, 1558 -160 3)
W hen I w as fair1) and y oun g, an d fav or graced2) m e, Of m an y w as I sought, their m istress3) for to be; But I did scorn them all, an d an sw ered them therefore,
“Go, go, go, seek som e otherw here, 0 5 Im portune4) m e no m ore!”
H ow m any w eeping ey es I m ade to pin e5) w ith w oe, H ow m any sighing hear ts, I have no skill to show ; Yet I the prouder grew , answ ered them
therefore, 10
“Go, go, go, seek som e otherw here, Im portune m e n o m ore!”
Then spake fair Ven us6)’ son, that proud v ictorious boy ,
And said, “Fine dam e7), since that y ou be so coy , 15 I w ill so pluck y our plum es8 ) that y ou shall say no
m ore,
“Go, go, go, seek som e otherw here, Im portune m e no m ore!”
W hen he had spake these w ord s, such change 20 grew in m y breast,
That neither n ight nor da y since that, I could take any rest.
Then lo! I did repen t9) that I had said before,
“Go, go, go, seek som e otherw here, 25 Im portune m e n o m ore!”
Vocabulary:
1.
attractive; free from
bias/dishonesty
2.preferred
3.lover
4.
beg persistently; (obs) annoy
5.suffer
6.
Venus
(Roman myth) goddess of love and
beauty
7.
lady; (arch) a woman of rank or authority
8.a tuft of feathers worn as an ornament on the
hat; a token of honour or distinction
9.feel sorry
W h a t I s O u r L if e? (Sir Walter Raleigh, 1552—1618 )
W hat is our life? a play of passion; Our m irth, the m usic of division1);
Our m others’ w om bs the tiring-houses2) be W here w e are dressed for this short com edy .
H eav en the judicious3) sharp spectator is, 0 5 That sits and m arks4) still5) w ho doth act am iss6);
Our graves that hide us from the searching sun Are like dra w n curtains w hen the play is done. Thus m arch7) w e play ing to our latest rest;
Only w e die in earnest—that’s no jest8 ). 10
Vocabulary:
1.
the more rapid accompaniment to, or variation
on, a musical theme
2.
dressing rooms
3.
showing or having good sense; sensible
6.
wrongly
7.progression
8.joke
T o P le a d M y Fa it h W h e r e Fa it h H a d N o R e w a r d (Robert Devereux, Earl of Essex, 1566—160 1)
To plead1) m y faith w here faith had n o rew ard, To m ov e rem orse2) w here fav or is not born e, To heap com plaints w here she doth n ot regard— W ere fruitless, bootless3), vain4), and y ield5) but scorn .
I loved her w hom all the w orld adm ired, I w as refused of her that can lov e n on e;
And m y vain hopes, w hich far too high aspired6), Is dead, and buried, an d for ev er gone.
Forget m y nam e, since y ou hav e scorn ed m y love, And w om anlike7) do not too late lam ent8 ); Since for y our sake I do all m ischief9) prov e, I none accuse10 ) nor nothin g do repen t. I w as fond as ever she w as fair,
Yet loved I not m ore than I now despair.
Vocabulary:
1.
beg
2.
regret
3.
useless; unavailing
4.
futile; senseless or foolish
5.
turn out
6.
desire
7.
womanly
8.
feel or express sorrow or regret for
9.
trouble
10.
blame; to bring a charge against
T h e P a s s io n a t e S h e p h e r d t o H is L o v e (Christopher Marlowe, 1564-1593)
Com e liv e w ith m e and be m y lov e, An d w e w ill all the pleasures prov e1) That valley s, gr oves, hills, an d fields,
W oods, or steepy m ountain y ields. 0 4 An d w e w ill sit upon the rocks,
Seeing the shepherds feed their flocks, By shallow riv ers to w hose falls
M elodious bird s sin g m adrigals. 0 8
An d I w ill m ake thee beds of roses An d a thousand fragra n t posies2), A cap of flow ers, and a kirtle3)
Em broidered all w ith leaves of m y rtle4); 12 A gow n m ade of the finest w ool
W hich from our pretty lam bs w e pull; Fair lined slippers for the cold,
W ith buckles5) of the purest gold; 16 A belt of straw and ivy buds,
W ith coral clasps an d am ber6) studs7): An d if these pleasures m ay thee m ov e8 ),
The shepherds’ sw ain s9) shall dan ce and sin g For thy delight each May m orn in g:
If these delights thy m ind m ay m ov e,
Then liv e w ith m e an d be m y love. 24
Vocabulary:
1.
test
2.
flowers and poems
3.
long dress
4.
(kind of) evergreen shrub with shiny
leaves and sweet-smelling white flowers
5.
ornamental clasp on a shoe
6.
yellowish-brown
7.
button-like object to fasten
things
8.
arouse the feelings of
9.
lovers
T h e N y m p h 's R e p ly t o t h e S h e p h e r d (Sir W alter R aleigh, 1552-1618 )
If all the w orld and love w ere y oung, An d tru th in every shepherd's tongue, These pretty pleasures m ight m e m ov e
To live w ith thee and be thy lov e. 0 4
Tim e driv es flocks from field to fold1) W hen riv ers rage and rocks gr ow cold, An d Philom el2) becom eth dum b;
The rest com plains of cares to com e. 0 8
The flow ers do fade, and w anton3) fields To w ayw ard4) w inter r eckoning5) y ields; A honey tongue, a heart of gall6),
Is fancy 's spring. but sorrow 's fall. 12
Thy gow ns, thy shoes, thy beds of roses, Thy cap, thy kirtle and thy posies Soon break, soon w ither, soon forgotten
in folly7) ripe, in reason rotten 16
Thy belt of straw and ivy buds, Thy coral clasps and am ber studs, All these in m e no m eans can m ov e
To com e to thee and be thy love. 20
But could y outh last and love still' breed, H ad joy s no date nor age no need, Then these delights m y m ind m ight m ov e
To live w ith thee and be thy lov e. 24
Vocabulary:
1.
fenced field
2.
the nightingale
3.
serving no useful purpose
4.
disobedient
5.
calculating
A L o v e r ’s V o w
(H en ry H oward, Earl of Surrey, 1517-1547)
Set m e w hereas the sun doth par ch1) the green, Or w here his beam s m ay not dissolv e2) the ice, In tem pera te3) heat, w here he is felt and seen ; W ith proud people, in presence sad an d w ise,
Set m e in base, or y et in high degree; 0 5 In the lon g night, or in the shortest day ;
In clear w eather, or w here m ists thickest be; In lusty y outh, or w hen m y hairs be gray ; Set m e in earth, in heav en, or y et in hell;
In hill, in dale, or in the foam ing flood; 10 Thrall4), or at large5), alive w hereso6) I dw ell;
Sick or in health, in ill fam e or in good; Yours w ill I be, and w ith that only thought Com fort m y self-w hen that m y hap7) is naught.
Vocabulary:
1)
Scorch
2)
melt
3)
moderate
4)
enslaved
5)
at liberty, free
6)
(adv) wheresoever,
wherever
7)
good fortune
S h a ll I Co m p a r e Th e e t o a Su m m e r ’s D a y? (William Shakespeare, 1564-1616)
Shall I com pare thee to a sum m er’s day ? Thou art m ore lovely and m ore tem pera te1): R ough w inds do shake the darling2) buds of M ay , And sum m er’s lease3) hath all too short a date:
Som etim es too hot the ey e of heav en shin es, 0 5 And often is his gold com plexion dim m ed,
And every fair4) from fair som etim e declines, By chance or n ature’s changing course un trim m ed: But thy eternal sum m er shall not fade,
N or lose possession of that fair thou ow ’st5), 10 N or shall death brag6) thou w and’rest in his shade, W hen in eternal lines to tim e thou grow ’st.
So long as m en can breathe or ey es can see, So long liv es this, and this gives life to thee.
Vocabulary:
1.pleasant
2. wonderful
3. charter, contract
1.
fair one
2.
ownest, have
3.
boast
W h o s o L is t t o H u n t (Thom as Wyatt, 150 3?—1542)
W hoso1) list2) to hunt, I know w here is an hin d3), But as for m e, alas, I m ay no m ore.
As w ell as I, m ay spend his tim e in vain : And graven8 ) w ith diam on ds in letters plain There is w ritten, her fair neck round about, “N oli m e tan gere9), for Caesar’s I am , An d w ild for to hold, though I seem tam e.”
Vocabulary:
1.
(old use)whoever
2.
likes
3.
female deer
4.
(archaic) pains of childbirth
5.
become/make tired
6.
the last of the (hind) pursuers
7.
(archaic) before
8.
carved
9.
(Latin) do not touch me
O n H is H a v in g A r r iv e d t o t h e A g e o f T w e n t y T h r e e (J ohn Milton , 1608—1674)
H ow soon hath Tim e, the subtle thief of y outh, Stolen of his w ing m y three and tw entieth y ear! M y hasting day s fly on w ith full career, But m y late spring no bud or blossom shew ’th. Perhaps m y sem blance m ight deceive the truth, That I too m anhood am arrived so near, And inw ard ripeness doth m uch less appear, That som e m ore tim ely -happy spirits indu’th. Yet be it less or m ore, or soon or slow , It shall be still in strictest m easure even To that sam e lot, how ev er m ean or high,
Tow ard w hich Tim e leads m e, and the w ill of Heav en, All is, if I hav e gra ce to use it so,
As ev er in m y great Task-m aster’s ey e.
CHAPTER II:
Religiosity and Secular ism
Wikipedia (http://en.wlkipadia.org/wiki/Reliousity) writes that religiosity is revealing "how
religious a person is, and less with how a person is religious (in terms of practicing certain rituals,
retelling certain myths, revering certain symbols, or accepting certain doctrines about deities and
afterlife)". Wijaya (1988:12) clarifies this idea by asserting that religiosity is more comprehensive
than religion is. He uses Trio Bimbo's "Tuhan" as an example. This song, according to him, has a
religious quality, and, therefore, it may be sung by those having different religions like Islam or
Christianity. Or, it may also be convenient to say that this term in this section is used to refer to all
poems which are regarded as sacred poems.
Secularism, on the other hand, in its extreme sense, is "an ideology that holds that religion
has no place in public life" (http://en.wikipedia.org/wiki/Secularism). Or, it may also be used to
refer to, still according to Wikipedia, "a belief that human activities and decisions, especially
political ones, should be based on evidence and fact rather than religious influence". Here, it is
used to encompass all poems which address worldly or material issues as their main themes.
A. Met aphysical Poet r y
The name was first used by Dr . J ohnson (1709-1784) to refer to a certain style in a practice of
poetry writing by the poets of the early seventeen century in Britain who all employed a similar fantastic
form of their poetry: far-fetched
1), unconventional metaphors called metaphysical conceits, that is, “a
far-fetched (fantastic) metaphor in which a very unlikely connection between two things is established”
(Peck & Coyle, 1992:23), e.g. Donne’s description of lovers’ souls as being like two legs of a pair of
compasses in “A Valediction Forbidding Mourning”. However, it should be understood that the poems do
not bear any metaphysical philosophy
2)at all. Among others are John Donne (1572-1631), George
Herbert (1573-1633), Henry Vaughan (1621-1695), Richard Crashaw (1613-1640), Abraham Cowley
(1618-1667), and Andrew Marvell (1621-1678). The themes that most of these poets write are about
secular and divine love. For this, Miller (et al, 1976:245) say if the metaphysical poets give emphasis on
“intellect and wit”.
V e r t u e1)
(George H erbert, 1593-1633)
Sw eet day , so cool, so calm , so bright, The bridal2) of the earth and sky; The dew shall w eep thy3) fall to night,
1
) improbable, being only remotely connected. 2
For thou m ust die.
Sw eet rose, w hose hue4), angry and bra v e, Bids5) the rash gazer6) w ipe his eye; Thy root is ev er in its grave,
And thou m ust die.
Sw eet spring, full of sw eet day s an d roses, A box w here sw eets com pacted7) lie; M y m usic show s y e8 ) hav e y our closes9), And all m ust die.
Only a sw eet and v irtuous soul,
Like seasoned tim ber10 ), nev er giv es11); But though the w hole w orld turn to coal, Then chiefly12) lives.
Vocabulary:
1)
morality
2)
wedding feast
3)
your
4)
colour
5)
commands
6)
hasty seer
7)
joined firmly together
8)
you
9)
ends
10)
break down
11)
dried, hardened timber (wood)
12)
mainly
B a t t e r M y H e a r t , T h r e e P e r s o n 'd Go d (John Donne, 1572—1631)
Batter m y hear t, three person'd God; for, y ou As y et but knocke, breathe, shine, and seeke to m end; That I m ay rise, and stand, o'erthrow m e, 'an d ben d Your force, to breake, blow e, burn and m ake m e new . I, like an usurp t tow ne, t'another due,
Labor to 'adm it y ou, but Oh, to no end, R eason y our viceroy in m e, m e should defend, But is captiv 'd, and prov es w eake or untrue, Yet dearely 'I love y ou, and w ould be lov'd faine, But am betroth'd unto y our enem y ,
Div orce m e, 'untie, or breake that knot againe Take m e to y ou, im prison m e, for I
Except y ou 'enthrall m e, nev er shall be free, N or ev er chaste, except y ou rav ish m e.
A V a le d ict io n : Fo r b id d in g M o u r n in g3 (J ohn Don ne, 1572—1631)
As v irtuous m en pass m ildly aw ay , An d w hisper to their souls to go, W hilst som e of their sad friends do say The breath goes now , and som e say no:
So let us m elt, and m ake no noise, 0 5 N o tear-floods, nor sigh-tem pest m ove;
‘Tw ere profanation of our joy s
To tell the laity1) our lov e. M ov in g of th’ ear th2) brin gs har m s an d fears;
3
M en reckon w hat it did an d m ean t; 10 But trepidation of the spheres3),
Though greater far, is inn ocent4).
Dull sublunar y5) lovers’ lov e
(W hose soul is sen se6)) can not adm it
Absence, because it doth rem ov e 15
Those things w hich elem en ted7) it.
But w e, by a love so m uch refined That ourselves know not w hat it is, Inter-assured of the m ind8 ),
Care less, ey es, lips, and hands to m iss. 20
Our tw o souls, therefore, w hich are one, Though I m ust go, endure not y et A breach, but an expansion , Like gold to airy thinness9) beat.
If they be tw o, they are tw o so 25 As stiff tw in com passes are tw o:
Thy soul, the fixed foot, m akes no show To m ov e, but doth, if th’ other do.
An d though it in the center sit,
Yet w hen the other far doth roam , 30 It leans and harkens after it,
An d grow s erect as that com es hom e.
Such w ilt thou be to m e, w ho m ust, Like th’ other foot, obliquely run ;
Thy firm ness m akes m y circle just10 ), 35 An d m akes m e end w here I begun.
Vocabulary:
1)
common people
2)
earthquake
3)
In Ptolemaic astronomy, before telescopes were used in astronomical study, all planets were assumed to have
orbits that were perfectly circular. Apparently irregularities that were actually caused by elliptical orbits were
explained by the concept of trepidation, or a quivering of the bodies during orbit (Roberts & Jacobs,
1986:599).
4)
harmless
5)
living beneath the moon; earthly
6)
the body as opposed to the mind or spirit
7)
composed, made (it) up; constituted
8)
each sure in mind that the other is faithful (Kennedy, 1982:305).
9)
Gold is so malleable that, if beaten to the thickness of gold leaf (1/250,000 of one inch), one ounce of gold
would cover 250 square feet faithful (Kennedy, 1982:305).
10)
Perfect
T h e P u lle y (George H erbert, 1593—1633)
W hen God at first m ade m an,
H av ing a glass of blessings standin g by— Let us (said he)pour on him all w e can; Let the w orld’s riches, w hich dispersed lie,
So stren gth first m ade a w ay ,
Then beauty flow ed, then w isdom , honor, pleasure: W hen alm ost all w as out, God m ade a stay , Perceiving that, alone of all H is treasure,
R est2) in the bottom lay . 10
For if I should (said he)
Bestow this jew el also on M y creature, H e w ould adore M y gifts instead of M e, And rest in N ature, not the God of N ature:
So both should losers be. 15
Yet let him keep the rest,
But keep them w ith repining restlessness; Let him be rich and w eary , that at least, If goodness lead him not, y et w ear iness
M y toss him to M y breast. 20
Vocabulary:
1)
that is, within the control of human beings
2)
(a) repose, security; (b) all that remains
T h e Co lla r1)
(George H erbert, 1593—1633)
I stuck the board , and cry ’d, No m ore. I w ill abroad.
W hat? shall I ev er sigh and pine? M y lines and life are free; free as the rode,
Loose as the w inde, as large as store. 0 5 Shall I be still in suit2)?
H ave I n o harv est but a thorn To let m e bloud, and not restore W hat I have lost w ith cord iall fru it?
Sure there w as w ine 10 Before m y sighs did drie it: there w as corn
Before m y tear s did drow n it. Is the y eare onely lost to m e? H ave I no bayes3) to crow n it?
No flow ers, no garlands gay ? All blasted? 15 All w asted?
N ot so, m y hear t: but there is fruit, And thou hast hands. R ecov er all thy sigh-blow n age
On double pleasures: leav e thy cold dispute 20 Of w hat is fit, and not; forsake thy cage,
Thy rope of san ds,
W hich pettie thoughts have m ade, and m ade to thee Good cable, to enforce an d draw ,
And be thy law , 25 W hile thou didst w ink and w ouldst not see. Aw ay ; take heed:
I w ill abroad.
Call in thy deaths head there: tie up thy fears. H e that forbears 30 To suit and serv e his need,
Deserv es his load.
But as I ra v ’d and grew m ore fierce and w ilde At every w ord ,
Vocabulary:
1)
According to Roberts and Jacobs (1986:793) it may mean (a) the collar worn by a member of the clergy; (b) the
collar of the harness of a draught animal such as a horse; (c) a restraint placed on prisoners; (d) a pun on
choler (yellow bile), a bodily substance thought to cause quick rages.
2)
waiting upon a person of power to gain favor or position
3)
laurel crowns to signifyvictory and honor
P e a c e
(George H erbert, 1593—1633)
Sw eet Peace, w here dost thou dw ell? I hum bly cra ve, Let m e once know .
I sought thee in a secret cav e, And asked, if Peace w ere there.
A hollow w ind did seem to answ er, N o, 0 5 Go seek elsew here.
I did; and going did a ra inbow note. Surely , thought I, This is the lace of Peace’s coat:
I w ill search out the m atter. 10 But w hile I looked the clouds im m ediately
Did brea k and scatter.
Then w ent I to a gard en and did spy A gallant flow er,
The crow n im perial. Sure, said I, 15 Peace at the root m ust dw ell.
But w hen I digged, I saw a w orm dev our W hat show ed so w ell. At lenght I m et a rev’rend good old m an,
W hom w hen for Peace 20 I did dem and, he thus began :
There w as a Prince of old
At Salem1) dw elt, w ho lived w ith good increase Of flock and fold.
H e sw eetly lived; y et sw eetness did not sav e 25 H is life from foes.
But after death out of his grave There sprang tw elv e stalks of w heat; W hich m any w ond’ring at, got som e of those
To plant and set. 30 It prospered strangely , and did soon disperse
Through all the earth: For they that taste it do rehear se, That v irtue lies therein,
A secret virtue, bringing peace an d m irth 35 By flight of sin.
Take of this grain, w hich in m y garden grow s, And grow s for y ou;
Make bread of it: and that repose
And peace w hich ev ’ry w here 40 W ith so m uch earnestness y ou do pursue,
Is only there.
Note:
E a s t e r W in g s
(George Herbert, 1593—1633)
Lord, w ho createdst m an in w ealth an d store1), Though foolishly he lost the sam e, Decay ing m ore an d m ore, Till he becam e M ost poor: W ith thee O let m e rise As larks, harm oniously , And sing this day thy victories: Then shall the fall further the flight in m e.
M y tender age in sorrow did begin: An d still w ith sicknesses and sham e Thou didst so punish sin, That I becam e M ost thin. W ith thee Let m e com bine And feel this day thy victory : For, if I im p2) m y w ing on thin e, Affliction shall adv ance the flight in m e.
1. store, abundance
2. imp. A technical term used in falcon. Additional feathers were grafted (imped) onto a falcon’s wings to improve
its ability to fly.
B.
Secular Poetr y
Secular themes in poetry are mostly employed by the Cavalier poets during the reign of King
Charles I (1625—1649). These poets are the Royalist supporters of King Charles I during the Civil War
(1642—1651) who were fond of fashionable, extravagant clothing. They were opposed to the supporters
of the Parliament called the Roundheads, who were actually the somber Puritans who liked to have short
hair.
The Cavalier poets loved life and its pleasures, and cared little about religious devotion. Their
attitude toward life can be compared to that of Italian Renaissance with the motto “Carpe Diem” or
“Catch the Day”, which practically means “make pleasure while you are still alive, tomorrow you may be
T o T h e V ir g in s ,T o M a k e M u c h O f T im e (R obert H errick, 1591-1674 )
Ga ther ye rosebuds w hile y e m ay , Old Tim e is still a-fly ing;
An d this sam e flow er that sm iles today Tom orrow w ill be dy ing.
The glorious lam p of heav en, the Sun , 0 5 The higher he’s a-getting,
The sooner w ill his race be run, And nearer he’s to settin g. That age is best w hich is the first,
W hen y outh an d blood are w arm er; 10 But being spent, the w orse, and w orst
Tim es still succeed the form er. Then be not coy , but use y our tim e;
And w hile y e m ay , go m arry ;
For hav ing lost but once y our prim e, 15 You m ay forev er tarry .
S h o r t M e a s u r e
(From a n Od e)
(Ben Jonson, 1572-1637)
It is not grow ing like a tree In bulk, doth m ake m an better be;
Or standing long an oak, three hundred y ear , To fall a log at last, dry , bald, and sere: A lily of a day
Is fairer far in M ay ,
Although it fall and die that night— It w as the plant and flow er of light. In sm all porportions w e just beauties see; And in short m easures life m ay perfect be.
D e lig h t in D is o r d e r (R obert H errick , 1591 – 1674)
A sw eet disorder in the dress Kindles in clothes a w an tonness. A law n1) about the shoulders throw n Into a fine distraction ;
An err ing lace, w hich here and there 0 5 En thralls the crim son stom acher;
A cuff neglectful, and thereby R ibands2) to flow confusedly ; A w inning w av e, deserv ing note,
In the tem pestuous petticoat; 10 A careless shoestring, in w hose tie
I see a w ild civility ;
Do m ore bew itch m e than w hen art Is too precise in every par t.
Vocabulary:
T o L u c a s t a , On Go in g t o t h e W a r s (R ichard Lov elace, 1618 —1658 )
Tell m e not. Sw eet, I am unkind, That from the nun nery
Of thy chaste breast an d quiet m ind, To w ar and ar m s I fly
Tru e, a new m istress now I chase, The first foe in the field; An d w ith a stronger faith em brace
A sw ord, a horse, a shield.
Yet this inconstancy is such As y ou too shall adore;
I could not lov e thee, Dear, so m uch, Loved I not honor m ore.
L ip s a n d E y es
(Thom as Carew , 1594—1640 )
In Celia’s face a question did arise,
W hich w ere m ore beautiful, her lips or ey es? “W e,” said the ey es, “send forth those pointed darts
W hich pierce the hardest adam an tine hearts.” “From us,” repli’d the lips, “proceed those blisses W hich lovers reap by kind w ord s an d sw eet kisses.”
Then w ept the ey es, and from their springs did pour Of liquid oriental pearl a show er;
W hereat the lips, m oved w ith delight an d pleasure, Through a sw eet sm ile un lock’d their pearly treasure
An d bad Love judge, w hether did add m ore gra ce W eeping or sm iling pearls to Celia’s face.
T h e Co n s t a n t L o v e r (Sir J ohn Suckling, 160 9-1641)
Out upon it! I hav e lov ed Three w hole day s together; An d am like to love three m ore, If it prov e fair w eather.
Tim e shall m olt aw ay his w in gs Ere he shall discov er, In the w hole w ide w orld again, Such a con stant lover.
But the spite on’t is, no praise Is due at all to m e:
Love w ith m e had m ade no stay s H ad it any been but she.
H ad it any been but she, An d that v ery face,
C.
Religious Poetr y
Most of the English Parliamentary supporters belong to religious poets. One of the outstanding
figure is J ohn Milton (1608-1674) who was not only a poet, but was also a Latin or Foreign Secretary
official of the Commonwealth during the reign of Oliver Cromwell. He had been brought up according to
the Puritan Principles. From an early age, he had loved music, poetry, and beauty in general. He had the
imagination of the Renaissance (or in England: the Elizabethan Age) and the purity of his religion. He
was educated at Christ’s College, Cambridge where he was known as The Lady of Christ’s. He wrote
with the biblical theme in his long epic, ‘Paradise Lost’. In his sorrowful pastoral elegy, ‘Lycidas’, he
wrote the death by drowning of Edward King, who had been a student with him at Cambridge. He was
drowned in his passage from Chester on the Irish Seas, 1637. By occasion, in this elegy, he attacks the
corrupted clergy and their lack of spirituality. Of course, the same theme may also be employed by any
other poets of different periods.
O n H is B lin d n es s (John M ilton, 160 8 —1674 ) W hen I consider how m y light is spen t1) Ere2) half m y day s in this dark w orld and w ide, And that one talent w hich is death to hide
Lodged3) w ith m e useless, though m y soul m ore bent4)
To serve therew ith5) m y Maker, and present 0 5 M y true accoun t6), lest7) H e returning chide8 ),
“Doth God exact day -labor, light denied?” I fondly9) ask. But Patience, to prev ent
That m urm ur, soon replies, “God doth not need
Either m an’s w ork or his ow n gifts. W ho best 10 Bear his m ild y oke10 ), they serv e him best. H is state
Is kingly: thousands11) at his bidding speed12), An d post o’er13) land and ocean w ithout rest; They also serv e w ho only stand and w ait.” V o c a b u la r y :
1)
used up2)
before (old use)3)
placed4)
inclined5)
w ith this6)
life7)
for fear that8)
rebuke, scold9)
foolishly10)
burden11)
thousan ds of An gles12)
trav el hastily13)
overS o n g On M a y M o r n in g (John M ilton, 160 8 —1674)
H ail boun teous May that dost inspire M irth an d y outh, and w arm desire, W oods and Grov es, are of thy dressing, H ill and Dale, doth boast thy blessing. Thus w e salute thee w ith or early Song, An d w elcom thee, an d w ish thee long.
T h e D es t r u ct io n o f S e n n a c h e r ib (Lord Byron, 1788—18 24 )
The Assirian1) cam e dow n like the w olf on the fold2), And his cohorts3) w ere gleam ing in purple and gold; An d the sheen4) of their spears w as like stars on the sea, W hen the blue w av e rolls nightly on deep Galilee5).
Like the leav es of the forest w hen sum m er is green , That host6) w ith their ban ners at sunset w ere seen ; Like the leav es of the forest w hen autum n hath blow n, That host on the m orrow7) lay w ithered an d strow n8 ). For the An gel of Death spread his w in gs on the blast, And breathed in the face of the foe as he passed; And the ey es of the sleepers w axed9) deadlyan d chill, An d their hear ts but on ce heaved10 ), and for ev er grew still!
And there lay the steed11) w ith his nostril all w ide, But through it there rolled n ot the breath of his pride; An d the foam of his gasping12) lay w hite on the turf13, An d cold as the spray14) of the rocks-beating surf15).
And there lay the rider distorted16) and pale,
W ith the dew on his brow17), and the rust on his m ail18 ): And the ten ts w ere all silent, the ban ners alone, The lances unlifted, the trum pet un blow n.
And the w idow s of Ashur19) are loud in their w ail20 ), An d the idols21) are broke in the tem ple of Baal22); An d the m ight of the Gen tile23), unsm ote24) by the sw ord, H ath m elted like sn ow in the glan ce of the Lord!
Note & Vocabulary
1)
Assyria was a civilization centered on the Upper Tigris river, in Mesopotamia (Iraq)
2)
originally, enclosure for sheep (here it is used metaphorically)
3)
legion (org., a group of from 300 to 600 soldier in ancient Rome)
4)
flashing
5)
the sea of Galilee (an ancient Roman province in what is now northern Israel )
6)
crowd
7)
(arch.) mourning
8)
(arch.) strew, to let fall in separate pieces
9)
swell up
10)breathe hard
11)horse
12)out of breath
13)grass
14)tiny shower
15)waves breaking in white foam on the shore
16)collapse
18)body armour of metal rings or plates
19)the supreme national god of Assyria
20)cry
21)deity, god
Chapter III:
Pastor al Accounts
Another way to understand Britain is by exploring the images of pastoral life as conveyed
in literature. Hornby (1980:613) states that the word “pastoral” pertains to “shepherds and
country life” whereas Cuddon (1992:686) says that this word which is derived from Latin “is
concerned with the lives of shepherds”, and furthermore, he asserts that pastoral literature “tends
to be an idealization of shepherd life, and, by so being creates an image of a peaceful and
uncorrupted existence; a kind of pre-lapsarian world”. According to Wikipedia (2009:par.3)
pastoral literature encompasses “rural subject and aspects of life in the countryside among
shepherds, cowherds and other farm workers that are often romanticized and depicted in a highly
unrealistic manner”. In encyclopedia2.thefreedictionary.com (2009:par. 6), pastoral literature is
said to deal with “shepherds or rural life, typically contrasting the innocence and serenity of the
simple life with the misery and corruption of city or court life”. The works that amplify the
pastoral tradition in the history of English literature have been, at least, seen since the late 16
thcentury in the works of Marlowe, Spenser, or Shakespeare. In the Romantic Period in which
intuition was emphasized over reason, pastoral life was still the concern of the poets. Blake, for
example (Cuddon, 1992:690), used the shepherd as “a symbol of an innocence and unspoilt way
of life” and Wordsworth made use of the country life as the representation of flawless nature and
“the uncorrupted existence of countrymen” as the ideal model. In this period, the writers tended
to represent life as it is not—unrealistic—which is the product of imagination rather than that of
reason. The thoughts of French philosopher Jean Jacques Rousseau (1712—78) inspired the
Romantic writers’ revolt against the ideas developed in the previous period. Rousseau (__,
___:71) teaches that “civilization made man evil”. He also introduces the idea of the “noble
savage”, i.e. “the man of nature was the noblest man of all, uncorrupted by civilization” which
“imposed rules of behavior”. Thus, man’s freedom is restricted by this civilization. Furthermore,
he asserts that man’s attention was, then, given to the lives in the countryside because the city is
the symbol of civilization, and hence, the center of corruption.
kinds of ballads to distinguish, i.e. the folk or traditional ballad and the literary or lyrical
ballad. The former is anonymous and transmitted orally form generation to generation,
and the latter is not anonymous and popularly exploited by the poets of this literary
movement. Wordsworth who “was England's
Poet Laureate
from 1843 until his death in
1850” (Wikipedea, 2008: par. 2) and is one of the leaders of this movement believes
(___, ___:77) that Nature brings benefits in three ways: “it teaches us; (2) it cures us,
especially when we are spiritually ill; and (3) it unites Man, Nature, and God”. In the
preface to “Lyrical Ballads” (1798), which is accepted as “a central work of Romantic
literary theory” (Wikipedea, 2008:par. 9), he introduces a definition of poetry as ”the
spontaneous overflow of powerful feelings from emotions recollected in tranquility”
which is still celebrated by many up to the present moment.
T h e T a b le s T u r n e d
An Ev en in g Scene on the S am e Subject Com posed 1798 —Published 1798
(William Wordsworth, 1770—18 50 )
Up ! up ! m y Friend, an d quit y our books; Or surely y ou’ll grow double:
Up ! up ! m y Friend, an d clear y our looks; W hy all this toil1) and trouble?
The sun, above the m oun tain ’s head, A freshen ing lustre2) m ellow3)
Through all the long green fields has spread, H is first sw eet even ing yellow .
Book ! ‘tis a dull and endless strife4): Com e, hear the w oodlan d linn et5), H ow sw eet his m usic ! on m y life, There‘s m ore of w isdom in it.
And har k ! how blithe6) the throstle7) sings! H e too, is no m ean preacher:
Com e forth into the light of things, Let N ature be y our Teacher.
She has a w orld of ready w ealth, Our m inds and hearts to bless—
Spontaneous w isdom breathed by health, Tru th breathed by cheerfuln ess.
One im pulse from a v ernal8 ) w ood M ay teach y ou m ore of m an , Of m oral ev il and of good, Than all the sages9) can.
Sw eet is the lore10 ) w hich N ature brings; Our m eddling11) intellect
En ough of Science and of Art; Close up those barren leav es;
Com e forth, and bring w ith y ou a heart That w atches and receives.
Vocabulary
1.
hard work
2.
sheen, soft reflected light
3.
rich in colour
4.
trouble
5.
a small brown songbird, common
in Europe
6.
(chiefly poets) gay and joyous
7.
a sort of songbird, esp. the kind called song-thrush
8.
(of lit) of, in, as in, the season of spring
9.
wise men
10.
wisdom traditionally handed down
11.
interfering
12.
(poet) beautiful
13.
cut up(parts of an animal body, plant, etc) in order
to study its structure
Co m p o s e d u p o n W e s t m in s t e r B r id g e
Septem ber 3, 18 0 2
(William Wordsworth, 1770—18 50 )
Earth has not any thing to show m ore fair: Dull w ould he be of soul w ho could pass by A sight so touching in its m ajesty:
This City now doth1), like a garm ent, w ear1) The beauty of the m orn ing; silent, bare, Ships, tow ers, dom es, theatres, and tem ples lie Open un to the fields, an d to the sky;
All bright and glittering in the sm okeless air. N ever did sun m ore beautifully steep2) In his first splendour, v alley , rock, or hill; N e’er saw I3), nev er felt, a calm so deep! The riv er glideth4) at his ow n sw eet w ill: Dear God! the very houses seem asleep; And all that m ighty hear t is ly ing still!
Note:
line 2 may mean a man who could pass by a sight that is so touching in its majesty would be dull
of soul
Vocabulary:
1.
doth wear(line 4): wears
2.
usually ‘to soak’, here ‘to cover completely’
3.
I never saw
4.
glides, moves along smoothly
T h e W o r ld I s t o o M u ch w it h Us Com posed ?.—Pu blished 18 0 7
(William Wordsworth, 1770—18 50 )
The w orld is too m uch w ith us ; late and soon, Gettin g and spending, w e lay w aste our pow ers: Little w e see in N ature that is ours;
W e hav e given our hearts aw ay , a sord id boon !
This Sea that barcs her bosom to the m oon; 0 5 The w in ds that w ill be how ling at all hours,
For this, for ev ery thin g, w e are out of tune; It m oves us not.—Gr cat God I’d rathcr be
A Pagan suckled in a creed outw orn ; 10 So m ight I, stan din g on this pleasant lea,
H av e glim pses that w ould m ake m e less forlorn; H av e sight of Proteus rising from the sea; Or hear old Triton blow his w reathed horn .
M a t t h e w
(William Wordsworth, 1770—18 50 )
IF N ature, for a fav ourite child, In thee hath tem pered so her clay , That every hour thy heart ru ns w ild, Yet nev er once doth go astray ,
R ead o'er these lines; an d then rev iew This tablet, that thus hum bly rears In such diversity of hue
Its history of tw o hundred years.
--W hen through this little w reck of fam e,
Cipher and syllable! thine ey e 10 H as trav elled dow n to Matthew 's nam e,
Pause w ith no com m on sy m pathy .
An d, if a sleeping tear should w ake, Then be it neither checked nor stay ed: For M atthew a request I m ake W hich for him self he had not m ade.
Poor M atthew , all his frolics o'er, Is silent as a stan ding pool; Far from the chim ney 's m erry roar,
An d m urm ur of the village school. 20
The sighs w hich M atthew heav ed w ere sighs Of one tired out w ith fun and m adness; The tears w hich cam e to M atthew 's eyes W ere tears of light, the dew of gladn ess.
Yet, som etim es, w hen the secret cup Of still and serious thought w ent round, It seem ed as if he drank it up--
H e felt w ith spirit so profound.
--Thou soul of God's best earthly m ould!
Thou happy Soul! and can it be 30 That these tw o w ord s of glittering gold
Are all that m ust rem ain of thee?
I n s c r ip t io n f o r a Fo u n t a in o n a H e a t h (Samuel Taylor Coleridge , 1772-18 34)
This Sy cam ore, oft m usical w ith bees,—
Such tents the Patriarchs loved! O long un har m ed M ay all its agèd boughs o'er-canopy
The sm all round basin, w hich this juttin g ston e Keeps pure from falling leav es! Long m ay the Spring, Quietly as a sleeping infan t's breath,
Send up cold w aters to the traveller W ith soft and ev en pulse! N or ev er cease Yon tiny cone of sand its soun dless dan ce, W hich at the bottom , like a Fairy 's Page,
As m err y and no taller, dances still, N or w rin kles the sm ooth surface of the Foun t. H ere Tw ilight is and Coolness: here is m oss, A soft seat, and a deep and am ple shade. Thou m ay 'st toil far and find no second tree. Drink, Pilgrim , here; H ere rest! and if thy heart Be innocent, here too shalt thou refresh
Thy spirit, listening to som e gentle sound, Or passing gale or hum of m urm uring bees!
Cla r ib e l
(Alfred, Lord Ten nyson , 18 0 9—1892)
W here Claribel low -lieth The breezes pause and die, Letting the rose-leav es fall: But the solem n oak-tree sigheth, Thick-leav ed, am brosial, W ith an ancient m elody Of an inw ard agony , W here Claribel low -lieth.
At eve the beetle boom eth Athw art the thicket lone: At noon the w ild bee hum m eth About the m oss'd headstone: At m idnight the m oon com eth, An d looketh dow n alone. H er song the lintw hite sw elleth, The clear-v oiced m av is dw elleth, The callow throstle lispeth, The slum brous w av e outw elleth, The babbling runnel crispeth, The hollow grot replieth
W here Claribel low -lieth.
T h e S p r in g
(Thom as Carew ,1595--1639)
N ow that the w inter's gone, the earth hath lost H er snow -w hite robes, and now no m ore the frost Candies the grass, or casts an icy cream
Upon the silv er lake or cry stal stream ; But the w ar m sun thaw s the ben um bed ear th, And m akes it tender; gives a sacred birth To the dead sw allow ; w akes in hollow tree The drow sy cuckoo, and the hum ble-bee.
In trium ph to the w orld the y outhful Spring. The v alley s, hills, an d w oods in rich array W elcom e the com ing of the long'd-for May . N ow all things sm ile, on ly m y lov e doth lour; N or hath the scalding n oonday sun the pow er To m elt that m arble ice, w hich still doth hold H er heart con geal'd, an d m akes her pity cold. The ox, w hich lately did for shelter fly In to the stall, doth now securely lie In open fields; and love no m ore is m ade By the fireside, but in the cooler shade Am y ntas now doth w ith his Chloris sleep Under a sy cam ore, and all things keep Tim e w ith the season; on ly she doth carry June in her ey es, in her heart Jan uary .
Fr a g m e n t 9 : T h e N e t h e r la n d s (Samuel Taylor Coleridge , 1772-18 34)
Water an d windm ills, greenn ess, Islets green;— Willows whose Trun ks beside the shadows stood Of their own higher half, and willowy swamp:— Far m houses that at an chor seem'd—in the inlan d sky The fog-transfixing Spires—
Water, wide water, green ness and green banks, An d water seen—
T h e E cc h o in g Gr e e n
(William Blake, 1757—18 27) William Blake
The sun does arise,
And m ake happy the skies; The m erry bells ring
To w elcom e the spring; The sky lark and thrush, The bird s of the bush, Sin g louder ar oun d To the bell's cheerful sound, W hile our sports shall be seen On the Echoing Green.
Old John w ith w hite hair, Does laugh aw ay care, Sitting under the oak, Am ong the old folk. They laugh at our play , And soon they all say: "Such, such w ere the joy s W hen w e all, girls and boy s, In our y outh tim e w ere seen On the Echoing Green."
T h e S h e p h e r d (William Blake, 1757—18 27)
H ow sw eet is the Shepherd’s sw eet lot! Fr om the m orn to the ev ening he stra y s; H e shall follow his sheep all the day , An d his tongue shall be filled w ith pra ise.
For he hears the lam b's inn ocent call, An d he hears the ew e's tender reply; H e is w atchful w hile they are in peace, For they know w hen their Shepherd is nigh.
N o B u y e r s
(Thomas H ardy 18 40—1928 )
A Load of brushes and baskets and cradles and chairs Labours along the street in the rain:
W ith it a m an, a w om an , a pony w ith w hitey brow n hairs. — The m an foots in front of the horse w ith a sham bling sw ay At a slow er tread than a funera l train ,
W hile to a dirge-like tun e he chants his w ares, Sw ingin g a Turk's-head bru sh (in a drum -m ajor's w ay W hen the ban dsm en m ar ch and play ).
A y ard from the back of the m an is the w hitey brow n pon y 's nose: H e m irrors his m aster in every item of pace and pose:
H e stops w hen the m an stops, w ithout being told, And seem s to be eased by a pause; too plain ly he's old, Indeed, not strength enough show s
To steer the disjointed w aggon straight, W hich w riggles left an d right in a ra m bling lin e, Deflected thus by its ow n w arp an d w eight, And pushing the pony w ith it in each incline.
The w om an w alks on the pav em ent verge, Parallel to the m an:
She w ears an apron w hite an d w ide in span ,
And carries a like Turk's-head, but m ore in nursin g-w ise: N ow and then she joins in his dirge,
But as if her thoughts w ere on distant things, The rain clam s her apron till it clings. — So, step by step, they m ove w ith their m erchan dize, And nobody buy s.
T o O n e W h o H a s B e e n L o n g in Cit y P e n t (J ohn Keats, 1795-1821)
To one w ho has been long in city pent, 'Tis very sw eet to look into the fair
And open face of heav en,—to breathe a pra yer Full in the sm ile of the blue firm am ent.
W ho is m ore happy , w hen, w ith heart's content, Fatigued he sinks into som e pleasant lair Of w av y gra ss, and reads a debonair An d gen tle tale of love and languishm ent? R eturning hom e at ev ening, w ith an ear Catching the notes of Philom el,—an ey e W atching the sailing cloudlet's bright career, H e m ourns that day so soon has glided by : E'en like the passage of an angel's tear
D give Chapter IV:
Patr iotic Vision
Brainy Quote (2009:par.1) defines ‘patriotism’ as “the passion which inspires one to
serve one’s country” whereas TheFreeDictionary (2009:1) based on The American Heritage
Dictionary of the English language, define it as “love and devotion to one’s country”, and Collins
English Dictionary that it quotes says that patriotism is the “devotion to one’s own country and
concern for its defence”. Thus, patriotism shows the devotion, love and sacrifice to one’s country.
The poems under discussion in this section, although they depart from different milieu and
experience, reveal how this sort of patriotic feelings is conveyed. Aspects of such patriotism as
sympathy for those who are marginalized by others may also be revealed from the poems under
discussion. Profound understanding will only be accomplished when the poems are placed within
their context.
T h e D e a d
(Rupert Br ooke,188 7-1915)
These hearts w ere w ov en1) of hum an joy s and cares, W ashed m ar velously2) w ith sorrow , sw ift3) to m irth4). The y ears had given t h e m kin dness. Daw n w as theirs, And sun set, and the colours of the earth.
These had seen m ov em ent, and heard m usic; kn ow n 0 5 Slum ber5) and w aking; lov ed; gone proudly friended6); Felt the quick stir7) of w onder; sat alone8 );
Touched flow ers and furs and cheeks. All this is ended. There are w aters blow n by changing w inds to laughter
An d lit by the rich skies, all day . And after, 10 Fr ost, w ith a gesture, stay s the w av es that dan ce
An d w an dering loveliness. H e leaves a w hite Unbroken glory , a gathered radiance9), A w idth, a shining peace, under the night.
Vocabulary:
1)
were put together
2)
magnificently
3)
quick
4)
being merry, happy and bright
5)
sleep soundly
Fu t ilit y
(Wilfred Owen, 1893—1918 )
M ov e him into the sun— Gen tly its touch aw oke him once, At hom e, w hispering of fields unsow n. Alw ay s it w oke him , even in Fra n ce, Un til this m ornin g and this sn ow . If any thing m ight rouse him now The kind old sun w ill know . Think how it w akes the seeds,— W oke, once, the clay s of a cold star. Are lim bs, so dear-achieved, are sides, Full-nerved—still w arm —too hard to stir? W as it for this the clay grew tall?
—O w hat m ade fatuous sunbeam s toil To break earth’s sleep at all?
T h o u g h t o f a B r it o n o n T h e S u b ju g a t io n o f S w it z e r la n d
(William Wordsworth, 1770—18 50 ) Com posed p roba bly ear ly in 18 0 7.—Published 18 0 7
Tw o Voices are there; on e is of the sea, On e of the m ountain s; each a m ighty Voice: In both from age to age thou didst rejoice, They w ere thy chosen m usic, Liberty !
There cam e a Ty ra n t, an d w ith holy glee 0 5 Thou fought’st again st him ; but hast vainly striv en: Thou from thy Alpine holds at length ar t driven , W here not a torrent m urm urs heard by thee. Of on e deep bliss thine ear hath been bereft:
Then cleav e, 0 cleav e to that w hich still is left; 10 For, high-souled Maid, w hat sorrow w ould it be That M oun tain floods should thun der as before, An d Ocean bellow from his rocky shore, An d neither aw ful Voice be heard by thee!
Th e Ca ll
(J essie Pope, 18 68—1941)
Who’s for the tren ch— Are you, my laddie? Who’ll follow Fren ch— Will you, my laddie? Who’s fretting to begin, Who’s is going out to win? An d who wants to save his skin — Do you, m y laddie?
Who’s for the khaki suit— Are you, my laddie?
Who lon gs to charge and shoot— Do you, m y laddie?
Who’s keen on getting fit, Who mean s to show his grit, An d who’d rather wait a bit— Would you, my laddie?
Who’ll learn the Em pire’s than ks— Will you, my laddie?
Who’ll swell the victor’s ran ks— Will you, my laddie?
When that procession com es, Ban ners and rollin g drum s— Who’ll stand and bite his thum bs— Will you, my laddie?
S u icid e in t h e Tr e n ch e s (Siegfried Sassoon, 18 8 6—1967)
I knew a simple soldier boy Who grin ned at life in em pty joy,
Slept soun dly through the lon esom e dark, An d whistled early with the lark.
In win ter tren ches, cowed and glum, With crum ps and lice and lack of rum , H e put a bullet through his brain. No on e spoke of him again.
You smug-faced crowds with kindlin g eye Who cheer when soldier lads march by, Sneak hom e and pr ay you’ll n ever know The hell where youth and laughter go.
Vocab: “The Call”
Laddie = lad (a young man)
Fretting = worrying
Longs = desire very much
Vocab: “Suicide in the Trenches”
Grinned = broad smile
Lark = animal bird
Cowed and glum = feeling sad, tired loss of hope
Crumps and lice = sores and insects
Rum = alcoholic drink, a sort of relief for the soldier which made him forget the bitter moments
of the war
Smug-faced crowds = happy crowds to be safe from wars, not like the soldiers
Kindling = pitty
The hell = referring to the wars
Vocab: “A Message from Tony Blair to the People of Iraq”
Stanza 3
Precision bombing = accurate bombing
Pose = Create
Stanza 7
Senseless = foolish
Stanza 10
Plumes = something suggesting a feather by its shape
Stanza 11
Billowing = (lit.) great wave of
Conflagration = great & destructive fire
Stanza 13
Desecration = using (something) in a wicked way
Stanza 14
Depleted = used up
Pulse = (fig) throb/thrill of life /emotion
Stanza 15
Impede = hinder/get in the way of
Stanza 17
Round the clock = all day and night
Stanza 19
Carnage = (lit) killing of many people
Vocab: “Twas the Night before Baghdad”
Stanza 4
Battering ram = (mil) big, heavy log with an iron head used in older times for breaking down
walls
Stanza 5
The Fedayin = (‘martyrs’), one of the main supports for Saddam Hussein’s regime; Hussein’s
elite force which also performs political police functions
Clatter = news
Stanza 6
heartening = giving courage to
Stanza 8
The WMD = Weapons of Mass Destruction (the US National Intelligent only released a tiny
fragment of information on the Iraq WMD
Stanza 11
Shed = cause to flow
Stanza 12
Bloodcurdling = sending feeling of horror
Chimes = (fig) Bush’s voice is compared to the rings of series of notes of a bell
Stanza 16
Jerk = (slang) foolish person
Stanza 17
Don = (old use) put on clothing
Duck = move quickly to avoid being seen or hit
An t h e m1 fo r D o o m e d Yo u t h (Wilfred Owen, 1893—1918 )
What passing-bells2 for these who die as cattle? Only the monstrous an ger of the gun s.
Only the stutterin g rifles' rapid rattle Can patter out3 their hasty orisons.4
No mockeries5 now for them; no pr ayers nor bells; Nor an y voice of m our n in g save the choirs, – The shrill, demented6 choirs of wailing shells; An d bugles7 callin g for them from sad shires.8 What candles9 may be held to speed them all? Not in the hands of boys but in their eyes Shall shin e the holy glimm ers of goodbyes. The pallor10 of girls' brows shall be their pall; Their flowers the ten dern ess of patien t minds, An d each slow dusk11 a drawin g-down of blinds.12
Septem ber - October, 1917
Notes:
1 Anthem - perhaps best known in the expression "The National Anthem;" also, an
important religious song (often expressing joy); here, perhaps, a solemn song of
celebration
2 passing-bells - a bell tolled after someone's death to announce the death to the world
3 patter out - rapidly speak
4 orisons - prayers, here funeral prayers
5 mockeries - ceremonies which are insults. Here Owen seems to be suggesting that the
Christian religion, with its loving God, can have nothing to do with the deaths of so
many thousands of men
6 demented - raving mad
7 bugles - a bugle is played at military funerals (sounding the last post)
8 shires - English counties and countryside from which so many of the soldiers came
9 candles - church candles, or the candles lit in the room where a body lies in a coffin
10 pallor - paleness
11 dusk has a symbolic significance here
12 drawing-down of blinds - normally a preparation for night, but also, here, the
tradition of drawing the blinds in a room where a dead person lies, as a sign to the
world and as a mark of respect. The coming of night is like the drawing down of
blinds.
A M e s s a ge fr o m To n y B la ir t o t h e P e o p le o f I r a q
(a week after th e start of the at tacks by US an d UK for ces, March 20 0 3)
(David Roberts )
Look into my an gel face.
J ust hear the sincerity in my voice.
I want you all to understand the better future we have plann ed.
We bom b with Christian love, not Christian hate. We com e,
n ot to con quer, but to liberate.
It is essential, and I want to make this very clear, that our first aim is to make the world a safer place. An d with precision bom bing you need have n o fear. An d though you've not actually uttered threaten in g words to Britain and Am erica, or indeed the world,
and though you haven ’t acted yet, we believe you pose a threat a threat that cann ot be ignored.
I tell you frankly that so great is the threat that act we must, while there is still time, or we may live to reap the bitter harvest of regret.
I’m sure you will appreciate that we have the right to remove regim es that we dislike.
We have the right to assassinate. We have the right to decide your fate.
So the purpose of our mission, n ow that war has started, is also perfectly clear: we com e to bring you hope and take away your fear.
Your army, as you kn ow, is hopelessly outgun ned. Resistance by your soldiers is com pletely sen seless. We’ll simply massacre. We’ll wipe them out. They cann ot touch us. They’re defen celess.
We wreck your hom es, your lives, your in frastructur e. You n eeded help.
Without it you would have had no future.
Our peace, justice and democracy you will soon en joy and celebrate. Remember, we com e,
n ot to con quer, but to liberate.
Your cities shake and thunder with our bombs. Tu m blin g buildin gs. Plum es of flam es. Roarin g jets and shriekin g men.
The crash of glass and children 's screams. We see the mushroom clouds again.
Now you can appreciate the genius of our civilisation . Remember, this isn ’t war:
We destroyed your tv station . We cut your phones. Your power an d water supplies we cut.
We destroy public buildin gs and private hom es. You see billowing sm oke and con flagration . But it isn’t war:
it’s liberation .
Your hospitals overflow. They cann ot cope. We are killin g you softly with our love. Death and destruction are everywhere. Your future fills with hope.
An d if you cann ot compr ehen d this desecration. J ust try to understand,
it isn’t war: it’s liberation .
Cruise missiles, depleted uran ium, pulse, cluster an d bun ker buster bom bs m ay shock you.
An d perhaps, you’re just a little awed. But please un derstand we come to help and this is your r eward.
Regrettably we can treat nothing as sacred: it is a fact of war.
No artefact of God or m an, n o suffering, no pain , no law can impede the progress of our plan .
One advan tage of our attack is that we will build for you a new Ir aq.
So don’t worry about the scale of the destruction . Our com panies will make it all as n ew
and your oil will pay for recon struction .
Look to the futur e.
Your childr en will n ot easily forget how we cam e to help.
Roun d the clock bom bing m ay have left them traum atised and perhaps a little mad,
but soon we are sur e they'll realise just what luck they've had.
Som e ask if I'm un touched by human suffering. I can tell you my sleep is undisturbed,
though I deeply mour n the thousands killed. I am not shaken,
and I am not stirred.
So finally I say,
that for a brighter futur e
a little bombing is a sm all pr ice to pay.
Ignore the carn age, terror and destruction . Our purpose
is not
This is not a war of con quest. It's a war of liberation.
28 March-9 April 20 0 3
'Tw a s t h e n igh t b e fo r e B a gh d a d (Cynthia An derson)
Mother of a soldier
Twas the night before Baghdad An d all through the base Not a heartbeat was silent Not a smile on on e face
The soldiers at atten tion Fists raised in the air Saddam is a monster! We m ust all go there!
