Thursday, October 23, 2008

My Book and Heart Shall Never Part

What a fascinating concept: the idea that as we learn to read, as we learn to write about what we read, that our innocence is lost. This theory ties in perfectly to our literary criticism class; as we grow and learn and gain the precious knowledge of literature, of writing, of rhetoric, we become critics. We become cynical and knowledgeable and critical of the works that we read. Does this begin in childhood? Of course it does. We don't think of six year olds walking around speaking of literature and metaphors and archetypes, syntax and allegory, but they do! In a way, they do. They are little critics; we all are. By saying that they didn't like a story or a book "because...", they are beginning to lose the innocence they once possessed, yet never knew they possessed, for the transition into experience is purely natural and involuntary. Their opinions are being formed, their minds are being altered, and literature is responsible for making them the people they will eventually become.
Thinking back on discussions from my British Literature class with Kimberly Meyers, we discussed when it was that children began to lose their innocence - their nature of innocence. It was argued that children lose their innocence when they hit puberty; when they first have sex; when they first intentionally lie; when they begin to rebel; when they take their first sip of alcohol. Never did we think that the instant a child picks up a book and learns their alphabet and inevitably learns the beauty of reading that their innocence is lost. What an appalling thought! But is that thought true? I think that it is.
I am a believer that everything literary can somehow be traced back to William Blake. He was phenomenal; he is phenomenal. His concept of the transition between innocence and experience can be applied to all of literature, to all characters. We are all born, and we are all born innocent - tabula rasa - a clean slate. As we grow (as we read and become knowledgeable), our innocence ceases to exist; it fades; it is inevitably ephemeral. Our naive little natures become beautifully enlightened; our mask of ignorance is stripped of us, and we reveal the power of knowledge; our innocence makes the glorious transition into the abyss of experience. Our beings are not marred or jaded or damaged; we transform, as all things in nature do. A seed into an apple. A tag-along puppy into a loyal guardian. A fragile egg into a majestic eagle. A silken cocoon into a beautiful butterfly. We make the transition of Spring to Summer to Autumn to Winter and back again as we watch our offspring grow and learn and experience life as life should be experienced. Gaining knowledge is learning; learning is growing; growing is experiencing.
This all reminds me of Blake's The Book of Thel. In this poem, a young girl rejects the idea of making the transition from innocence to experience; she feels that she needs and will stay in the stage of innocence forever, which we all know is impossible and unnatural. She speaks to the Lilly, the Cloud, the Worm and the Clay (all phallic and yoni symbols), and rejects what each of them has to say. By doing this, by never removing her "white veil", she walks through "valleys dark" and finds her own grave. She sits down and hears the voice of sorrow, and this is what it says:

'Why cannot the Ear be closed to its own destruction?
Or the glist'ning Eye to the poison of a smile?
Why are Eyelids stor'd with arrows ready drawn,
Where a thousand fighting men in ambush lie?
Or an Eye of gifts & graces, show'ring fruits and coined gold?
Why a Tongue impress'd with honey from every wind?
Why an Ear a whirlpool fierce to draw creations in?
Why a Nostril wide inhaling terror, trembling & affright?
Why a tender curb upon the youthful burning boy?
Why a little curtain of flesh on the bed of our desire?'
In these lines, Blake states that it is impossible for anyone to remain innocent. We are all going to enter the realm of experience; it is a natural occurrence that must take place. Yes, one can argue that there are a number of factors that help to determine the extent of our experience, but after the film we watched tonight, I think that it all begins with an A B C...

Wednesday, October 22, 2008

Ode on Intimations of Immortality from Recollections of Early Childhood

I had every intention of writing a meaningful and insightful blog this evening; however, I got home from work and I got a movie from Netflix that I haven't seen in AGES. Needless to say, I must watch it. I MUST! Perhaps it will give me some divine inspiration for my next blog. Until then, here is some Wordsworth - it reminds me of my British Literature II class with Kimberly Meyers. That woman was amazing; fearsome, but amazing. I wish I would have sucked the bone marrow out of that class. Not that I didn't enjoy it thoroughly, but I didn't get all that I could have out of it. Aaaah, I love the Romantics. They make me see things in a celestial light...
(Thanks to Heather and Ben as well ~ I needed to be reminded of this fabulous poem...).

There was a time when meadow, grove, and stream,
The earth, and every common sight
To me did seem
Apparelled in celestial light,
The glory and the freshness of a dream.
It is not now as it hath been of yore;--
Turn wheresoe'er I may,
By night or day,
The things which I have seen I now can see no more.
The rainbow comes and goes,
And lovely is the rose;
The moon doth with delight
Look round her when the heavens are bare;
Waters on a starry night
Are beautiful and fair;
The sunshine is a glorious birth;
But yet I know, where'er I go,
That there hath past away a glory from the earth.
Now, while the birds thus sing a joyous song,
And while the young lambs bound
As to the tabor's sound,
To me alone there came a thought of grief:
A timely utterance gave that thought relief,
And I again am strong.
The cataracts blow their trumpets from the steep,--
No more shall grief of mine the season wrong:
I hear the echoes through the mountains throng.
The winds come to me from the fields of sleep,
And all the earth is gay;
Land and sea
Give themselves up to jollity,
And with the heart of May
Doth every beast keep holiday;--
Thou child of joy,
Shout round me, let me hear thy shouts, thou happy
Shepherd-boy!

Ye blesséd Creatures, I have heard the call
Ye to each other make; I see
The heavens laugh with you in your jubilee;
My heart is at your festival,
My head hath its coronal,
The fulness of your bliss, I feel--I feel it all.
O evil day! if I were sullen
While Earth herself is adorning
This sweet May-morning;
And the children are culling
On every side
In a thousand valleys far and wide
Fresh flowers; while the sun shines warm,
And the babe leaps up on his mother's arm:--
I hear, I hear, with joy I hear!
--But there's a tree, of many, one,
A single field which I have look'd upon,
Both of them speak of something that is gone:
The pansy at my feet
Doth the same tale repeat:
Whither is fled the visionary gleam?
Where is it now, the glory and the dream?
Our birth is but a sleep and a forgetting;
The Soul that rises with us, our life's Star,
Hath had elsewhere its setting
And cometh from afar;
Not in entire forgetfulness,
And not in utter nakedness,
But trailing clouds of glory do we come
From God, who is our home:
Heaven lies about us in our infancy!
Shades of the prison-house begin to close
Upon the growing Boy,
But he beholds the light, and whence it flows,
He sees it in his joy;
The Youth, who daily farther from the east
Must travel, still is Nature's priest,
And by the vision splendid
Is on his way attended;
At length the Man perceives it die away,
And fade into the light of common day.
Earth fills her lap with pleasures of her own;
Yearnings she hath in her own natural kind,
And, even with something of a mother's mind,
And no unworthy aim,
The homely nurse doth all she can
To make her foster-child, her inmate, Man,
Forget the glories he hath known,
And that imperial palace whence he came.
Behold the Child among his new-born blisses,
A six years' darling of a pigmy size!
See, where 'mid work of his own hand he lies,
Fretted by sallies of his mother's kisses,
With light upon him from his father's eyes!
See, at his feet, some little plan or chart,
Some fragment from his dream of human life,
Shaped by himself with newly-learned art;
A wedding or a festival,
A mourning or a funeral;
And this hath now his heart,
And unto this he frames his song:
Then will he fit his tongue
To dialogues of business, love, or strife;
But it will not be long
Ere this be thrown aside,
And with new joy and pride
The little actor cons another part;
Filling from time to time his 'humorous stage'
With all the Persons, down to palsied Age,
That life brings with her in her equipage;
As if his whole vocation
Were endless imitation.
Thou, whose exterior semblance doth belie
Thy soul's immensity;
Thou best philosopher, who yet dost keep
Thy heritage, thou eye among the blind,
That, deaf and silent, read'st the eternal deep,
Haunted for ever by the eternal Mind,--
Mighty Prophet! Seer blest!
On whom those truths rest
Which we are toiling all our lives to find,
In darkness lost, the darkness of the grave;
Thou, over whom thy Immortality
Broods like the day, a master o'er a slave,
A Presence which is not to be put by;
To whom the grave
Is but a lonely bed, without the sense of sight
Of day or the warm light,
A place of thoughts where we in waiting lie;
Thou little child, yet glorious in the might
Of heaven-born freedom on thy being's height,
Why with such earnest pains dost thou provoke
The years to bring the inevitable yoke,
Thus blindly with thy blessedness at strife?
Full soon thy soul shall have her earthly freight,
And custom lie upon thee with a weight
Heavy as frost, and deep almost as life!
0 joy! that in our embers
Is something that doth live,
That Nature yet remembers
What was so fugitive!
The thought of our past years in me doth breed
Perpetual benediction: not indeed
For that which is most worthy to be blest,
Delight and liberty, the simple creed
Of Childhood, whether busy or at rest,
With new-fledged hope still fluttering in his breast:--
--Not for these I raise
The song of thanks and praise;
But for those obstinate questionings
Of sense and outward things,
Fallings from us, vanishings,
Blank misgivings of a creature
Moving about in worlds not realized,
High instincts, before which our mortal nature
Did tremble like a guilty thing surprised:
But for those first affections,
Those shadowy recollections,
Which, be they what they may,
Are yet the fountain-light of all our day,
Are yet a master-light of all our seeing;
Uphold us--cherish--and have power to make
Our noisy years seem moments in the being
Of the eternal Silence: truths that wake,
To perish never;
Which neither listlessness, nor mad endeavour,
Nor man nor boy,
Nor all that is at enmity with joy,
Can utterly abolish or destroy!
Hence, in a season of calm weather
Though inland far we be,
Our souls have sight of that immortal sea
Which brought us hither;
Can in a moment travel thither--
And see the children sport upon the shore,
And hear the mighty waters rolling evermore.
Then, sing, ye birds, sing, sing a joyous song!
And let the young lambs bound
As to the tabor's sound!
We, in thought, will join your throng,
Ye that pipe and ye that play,
Ye that through your hearts to-day
Feel the gladness of the May!
What though the radiance which was once so bright
Be now for ever taken from my sight,
Though nothing can bring back the hour
Of splendour in the grass, of glory in the flower;
We will grieve not, rather find
Strength in what remains behind;
In the primal sympathy
Which having been must ever be;
In the soothing thoughts that spring
Out of human suffering;
In the faith that looks through death,
In years that bring the philosophic mind.
And 0, ye Fountains, Meadows, Hills, and Groves,
Forebode not any severing of our loves!
Yet in my heart of hearts I feel your might;
I only have relinquish'd one delight
To live beneath your more habitual sway;
I love the brooks which down their channels fret
Even more than when I tripp'd lightly as they;
The innocent brightness of a new-born day
Is lovely yet;
The clouds that gather round the setting sun
Do take a sober colouring from an eye
That hath kept watch o'er man's mortality;
Another race hath been, and other palms are won.
Thanks to the human heart by which we live,
Thanks to its tenderness, its joys, and fears,
To me the meanest flower that blows can give
Thoughts that do often lie too deep for tears.

-William Wordsworth

Thursday, October 16, 2008

Test #1 Study Guide

Just got back from an invigorating experience at the cardio room on campus. Now exhausted and sweaty as all hell, I will post some important information for our test TOMORROW!

1. DH Lawrence said: "Trust the TALE, not the TELLER."
2. Know definitions for CENTRIPETAL (inside of the text - formal) and CENTRIFUGAL (outside of the text).
3. In which of Frye's boxes does PHARMAKOS (scapegoat) exist?: IRONIC COMEDY
4. Baseball umpire in Frye (pg. 46) - deals with the umpire being a scapegoat - the person we, as fans, turn to to verbally abuse and want to kill (the scapegoat).
5. Frye in a nutshell: "All of literature is displaced MYTH."
6. Aristotle's definition of TRAGEDY: "Tragedy is an imitation of an action that is SERIOUS, COMPLETE and OF A CERTAIN MAGNITUDE."
7. Dromenon - something that is done (Aristotle thought that imitation was action, so it was literally (letterarily) done.
8. Don Quixote (pg. 427) - What does the cannon believe about literature?: It should be DIDACTIC and have a moral. Didactic meaning: teaching or intending to teach a moral lesson (thanks to dictionary.com)
9. LOGOS - power to create through the agency of the word (Idea of Order at Key West - based on the Creation myth)
10. The sense of REALITY is higher in tragedy than in comedy.
11. All comedy is directed at AN INFLEXIBLE PERSON.
12. Sidney's thoughts on nature: "Nature only gives us a BRAZEN world, whereas poetry gives us a GOLDEN world."
13. Abram's "Grid" that's not really a grid:
World - Ancient
Audience - Neoclassical
Work - Modern
Artist - Romance
14. According to Frye, all structures of words are partly rhetorical and hence literary. Quotation from pg. 350 - "...all structures in words are partly rhetorical, and hence literary, and that the notion of a scientific or philosophical verbal structure free of rhetorical elements is an illusion." Meaning: ALL THINGS ARE LITERARY. ALL THINGS ARE LITERATURE. IT IS EVERYWHERE. IT IS EVERYTHING.
15. Plato banishes poets in Book X of The Republic - why?: He thinks they are USELESS and DERANGED and LIARS
16. Which box does PATHOS belong?: LOW MIMETIC (tear-jerkers)
17. Mythos - Plot (story)
Ethos - Character
Dianoia - Theme
18. Repeat the last line of Shelley's Defense of Poetry: "Poets are the unacknowledged legislators of the world."
19. We live in the DESCRIPTIVE PHASE or the LOW MIMETIC MODE. We need to get out of it and use our imaginations, eh?
20. Sidney's idea that THE POET NEVER AFFIRMS ANYTHING THEREFORE THEY NEVER LIE.
21. INTENTIONAL PHALLACY - what the poet meant; according to Frye, what the poet meant is THE POEM.
22. TAUTOLOGY -
1.needless repetition of an idea, esp. in words other than those of the immediate context, without imparting additional force or clearness, as in “widow woman.”
2.an instance of such repetition.
SPEAKING IN CIRCLES! (Plain Palin).
23. Shelley argues that IMAGINATION IS SUPERIOR TO LOGIC AND REASON. This reminds me of a quote from Einstein (paraphrased) - "Imagination is more important than knowledge for knowledge is limited; imagination encircles the world." He must have stolen from Shelley.
24. What is an epiphany?: LIGHTBULB!
Sudden MANIFESTATION of the DIVINE
Anagogical
25. Frye (pg. 100) - Lycidas - "In short, we can get a whole liberal education simply by picking up one conventional poem and following its archetypes as they stretch out into the rest of literature."
26. ALAZON - meaning IMPOSTER (2 Types): the Pedant (Professor-esque Obama)
the Soldier ("Respect-me-I'm-a-POW-McCain)
27. METONOMY - something that stands for something else (Frye's opening words in the Symbols chapter): "The other matter concerns the use of the word 'symbol,' which in this essay means any unit of literary structure that can be isolated from critical attention. A word, a phrase, or an image used with some kind of special reference (which is usually what a symbol is taken to mean) are all symbols when they are distinguishable elements in critical analyses (71).

Best of luck to all! See you tomorrow at noon!

Sunday, October 5, 2008

The Curious Case of Benjamin Button

So, being the nerd that I am, I recently was watching movie trailers on apple.com and found this one - The Curious Case of Benjamin Button, which is based on a very short story by F. Scott Fitzgerald. It doesn't look like it follows the story very well, but it looks fabulous, nonetheless.
In the story, Benjamin (Brad Pitt!) is born an old man with the knowledge and mannerisms of an old man (ie - asking for a cigar right out of the womb). In the film (as it seems), he is born an old man yet with the mind of a child. So rather than being born an old man with the mind of an old man and dying as an infant with the mind of an infant, the film portrays him as being born an old man with the mental capacity of a child, yet he dies an infant (perhaps?) with the mind of someone who has lived a full life. How many of you have I confused thus far? I confused myself, so probably a great many of you are thinking, "Gabby...what the fu...?" Anyway, I have been doing homework all day (as I'm sure most of you have), so here. Take a little break and enjoy the trailer to this wonderful-looking film. I hope it wins Oscars. That would make my day. And it comes out this Christmas! Hurrah! Yet another reason to avoid staying at my family's house ALL DAY LONG.

http://www.apple.com/trailers/paramount/thecuriouscaseofbenjaminbutton/ (There are two trailers - both make it look cinematically stunning...).

Super Fun Facts on Emerson

-Emerson was born in 1803

-He is often referred to as the "Father" of American Literature

-Was a poet, preacher, orator and essayist

-Articulated the new nation's prospects and needs through speech and writing

-Helped authors such as Rebecca Harding Davis, Walt Whitman, Frederick Douglass, Hart Crane, Robert Frost and A.R. Ammons "exploit" their work

-One of the first American writers to be recognized by the British and European literary establishments

-Writers such as Thoreau, Alcott and Stuart Phelps describe their emergence onto the literary scene in relationship to Emerson, to his influence as a teacher or writer or a speaker or an austere presence

-Joel Porte argues that "Emerson's fate, somewhat like Shakespeare's, was that he came to be treated as an almost purely allegorical personage whose real character and work got submerged in his function as a touchstone of critical opinion."

-He became the founder of Transcendentalism http://en.wikipedia.org/wiki/Transcendentalism

-Often described as a person who did not understand the world's evil or pain it brought

-His father William, a minister, died when he was 8 years old

-His mother, Ruth Haskins Emerson, supported he and his 4 other siblings (3 others died when they were quite young)

-Emerson's education was between Boston's Latin School and private tutoring by his aunt Mary Moody Emerson

-He attended Harvard on scholarship and struggled with the curriculum, indecisive about becoming a minister or a teacher

-He somewhat educated himself about writing and poetry

-In 1825, he entered Harvard Divinity School, following 9 generations of ministry in his family. Six years after his ordination, he resigned the ministry because he thought that formal Christianity only looked at "past traditions and words of the dead." Emerson was more interested in contemporary issues.

-Married Ellen Tucker in 1829, but lost her to tuberculosis, which also affected him

-Tucker left him with a substantial inheritance, which enabled him to buy and write books, later enabling him to gain more money from his publications and lecture tours

-He cared for his mentally-handicapped brother for twenty years

-In 1835, he married Lidian Jackson and moved to Concord where they had 4 children - Waldo, Ellen (named after Emerson's first wife, suggested by Lidian), Edith and Edward, who later edited his father's works and journals. Young Waldo died at 5 of scarlet fever.

-Emerson continued to work well into his seventies, relying on his daughter Ellen to help organize his lectures and journals

-He died in 1882 from pneumonia and was buried in Concord near Thoreau and Hawthorne

-He loaned Thoreau his property at Walden Pond

-He raised money to support the Alcott family, despite his belief that a philosopher should earn his own keep

-Emerson's initial fame came from his critique of the literary, religious and educational establishments of his day; known as an experimenter who urged Americans to reject their deference to old modes and values to continental traditions

-His work is characterized by a "combination of homely metaphors and grandiose goals, by his insistence on the present and his expectations of the future

-He kept 182 journals and notebooks over his career

-A critic of his first book entitled Nature, was offended by language that is sometimes "coarse and blunt"

-"Emerson's aim as a writer was less to originate a tradition than to produce active readers who would then refashion themselves and their culture"

*all info taken from Jean Ferguson Carr (University of Pittsburgh) - Heath Anthology of American Literature: Volume B, 5th Edition

A Defense of Poetry

I just finished reading Shelley's A Defense of Poetry (as well as its history in then Norton anthology), and I was overwhelmed with all of the wonderful quotes that pertain to our class; it is almost as if our class was based on this very piece of writing - which in a way, it probably is. All of the wonderful quotes that I furiously underlined made up the whole: Shelley's argument that the Poet and their Poetry do indeed matter, that they do indeed form the base of all things in life, of all things that we consider to be intellectual, to have meaning - the sciences, histories, philosophies, all of it is formed by the mind of the poet and the beauty of literature and the metaphors that make it up.

I found it interesting in reading the history that A Defense of Poetry was intended to be written in three different parts, but the last two were never written. I wonder what more Shelley had to argue in his short life about the importance of the arts. It is also interesting to note that this was written in 1821, yet was never published until 1840, eighteen years after Shelley had died. What a pity that he never saw this work published for the public to see, yet he probably would not have cared because of his thoughts on the work of the Poet. He argues that in the poet's lifetime, their work is not taken seriously or analyzed in the way it should be; instead, it is only in the poet's death that the work is appreciated as it should be. On one final note, I enjoyed that this piece of writing served as somewhat of a rebuttal to Plato's rigid ideas on poetry. Someone needed to stand up to that bastard.

Onto some wonderful quotations:


"In the youth of the world, men dance and sing and imitate natural objects, observing in these actions, as in all others, a certain rhythm or order. And, although all men observe a similar, they observe not the same order, int he motions of the dance, in the melody of the song, in the combinations of language, in the series of their imitations of natural objects. For there is a certain order or rhythm belonging to each of these classes of mimetic representation, from which the hearer and the spectator receive an intenser and purer pleasure than from any other: the sense of an approximation to this order, has been called taste, by modern writers."

"In the infancy of society every author is necessarily a poet, because language itself is poetry; and to be a poet is to apprehend the true and the beautiful, in a word the good that exists in the relation, subsisting, first between existence and perception and secondly between perception and expression."

"It is difficult to define pleasure in its highest sense; the definition involving a number of apparent paradoxes. For, from an inexplicable defect of harmony in the constitution of human nature, the pain of the inferior is frequently connected with pleasures of the superior portions of our being. Sorrow, terror, anguish, despair itself are often the chosen expressions of an approximation to the highest good. Our sympathy in tragic fiction depends on this principle; tragedy delights by affording a shadow of the pleasure which exists in the sweetest melody. The pleasure that is in sorrow is sweeter than the pleasure itself."

"Poetry is indeed something divine. It is at once the centre and circumference of knowledge; it is that which comprehends all science, and that to which all science must be referred. It is at the same time the root and blossom of all other systems of thought; it is that from which all spring, and that which adorns all; and that which, if blighted, denies the fruit and the seed, and withholds from the barren world the nourishment and the succession of the scions of the tree of life."

"All things exist as they are perceived: at least in relation to the percipient. "The mind is it's own place and of itself we can make a heaven of a hell, a hell of heaven" (Satan's speech in Paradise Lost). But poetry defeats the curse which binds us to be subjected to the accident of surrounding impressions. And whether it spreads its own figured curtain or withdraws life's dark veil from before the scene of things, it equally creates for us a being within our being."

"A Poet, as he is the author to others of the highest wisdom, pleasure, virtue and glory, so he ought personally to be the happiest, the best, the wisest and the most illustrious of men. As to his glory, let Time be challenged to declare whether the fame of any other instituter of human life be comparable to that of a poet."

*I will have some responses to these quotes in later entries. I must go do some other reading at the moment. Hope these quotations help all who have not read this yet. Enjoy your Sunday.