A History of English Literature

qualities. How far has the book a plot? Value of the first-personal method
of narration? 7. The Setting. Has Defoe any feeling for Nature, or does he
describe merely for expository purposes? 8. The style. 9. Defoe's nature as
the book shows it. His sense of humor, pathos, etc. 10. Has the book a
definite theme?
26. JONATHAN SWIFT. Two days. Above, pages 195-202. In the reading, a
little of Swift's poetry should be included, especially a part of 'On the
Death of Dr. Swift'; and of the prose 'A Modest Proposal,' perhaps the
'Journal to Stella' (in brief selections), 'A Tale of a Tub,' and
'Gulliver's Travels.' Of course each student should center attention on the
works with which he has no adequate previous acquaintance. In 'The Tale of
a Tub' better omit the digressions; read the Author's Preface (not the
Apology), which explains the name, and sections 2, 4, 6, and 11. Subjects
for discussion should readily suggest themselves.
27. STEELE AND ADDISON AND THE 'SPECTATOR' PAPERS. Two days. Above, pages
202-208. Read a dozen or more of the 'Spectator' papers, from the De
Coverly papers if you are not already familiar with them, otherwise others.
Subjects: 1. The style. What gives it its smoothness-balance of clauses,
the choice of words for their sound, or etc.? The relation of long and
short sentences. 2. The moral instruction. How pervasive is it? How
agreeable? Things chiefly attacked? 3. Customs and manners as indicated in
the essays-entertainments, modes of traveling, social conventions, etc. 4.
Social and moral standards of the time, especially their defects, as
attacked in the papers. 5. The use of humor. 6. Characterization in the De
Coverly papers. Is the method general or detailed? Is there much
description of personal appearance? Is characterization mostly by
exposition, action or conversation? How clear are the characters? 7. Is Sir
Roger real or 'idealized'? 8. General narrative skill (not merely in the De
Coverly papers). 9. How near do the De Coverly papers come to making a
modern story? Consider the relative proportions of characterization,
action, and setting. 10. Compare the 'Spectator' essays with any others
with which you are familiar.
28. ALEXANDER POPE. The number of exercises may depend on circumstances.
Above, pages 190-191 and 208-215. As many as possible of the poems named in
the text (except 'The Dunciad') should be read, in whole or in part. 'An
Essay on Criticism': (By 'Nature' Pope means actual reality in anything,
not merely external Nature.) Note with examples the pseudo-classical
qualities in: 1. Subject-matter. 2. The relation of intellectual and
emotional elements. 3. The vocabulary and expression. 4. How deep is Pope's
feeling for external Nature? 5. State his ideas on the relation of
'Nature,' the ancients, and modern poets; also on authority and
originality. 6. In relation to his capacity for clear thought note in how
many different senses he uses the word 'wit.' 'The Rape of the Lock': Note
the attitude toward women. Your opinion of its success? How far is it like,
how far unlike, the 'Essay on Criticism'? Was the introduction of the
sylphs fortunate? Pope took them from current notions--books had been
written which asserted that there was a fantastic sect, the Rosicrucians,
who believed that the air was full of them. 'Eloisa to Abelard': (Abelard
was a very famous unorthodox philosopher of the twelfth century who loved
Heloise and was barbarously parted from her. Becoming Abbot of a monastery,
he had her made Abbess of a convent. From one of the passionate letters
which later passed between them and which it is interesting to read in
comparison Pope takes the idea and something of the substance of the poem.)
In your opinion does it show that Pope had real poetic emotion? Does the
rimed pentameter couplet prove itself a possible poetic vehicle for such
emotion? The translation of 'The Iliad': Compare with corresponding