STUDENT SCRIPT - Englisches Seminar II - Universität zu Köln

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Poe Poems Poe Poe ms for for Home Home Study Study and and and Class Class Discussions Discussions Nieragden: ILCS 23 Self Self-Study Self Study 4: : Choose one one one one of of these these poems poems poems and and prepare prepare to to com- com ment ment on on formal formal ( (s. ( pp. 13-17 above) ) and ccontent c ontent ontent aspects in class. class. In the following following session you should look for fellow fellow-stu fellow stu- stu dents dents with with the the the same same choice choice and and briefly briefly confer confer upon upon upon your your various various various readings readings and and interpretations. interpretations. TO ALL SKEPTICS: There is a common view that to subject a poem to analysis, and to be explicit about its language, is to diminish its effect and deny its mystery. My view is that, on the contrary, it increases the effect by stimulating an engagement with the poem and extending the range of possible response. [...] The mystery of poetry, and of art in general, is enhanced by being demystified. (Henry Widdowson. 1992. Practical Stylis- tics: An Approach to Poetry. 1992. Oxford: OUP, p. 71). 1 William Wordsworth (1770-1850): 2 Charles Kingsley (1819-1875): "Composed Upon Westminster Bridge" (1802) “Young and Old” (1862) Earth has not anything to show more fair: When all the world is young, lad, Dull would he be of soul who could pass by And all the trees are green; A sight so touching in its majesty: And every goose a swan, lad, This City now doth, like a garment, wear And every lass a queen; The beauty of the morning; silent, bare, Then hey for boot and horse, lad, Ships, towers, domes, theatres, and temples lie And round the world away; Open unto the fields, and to the sky; Young blood must have its course, lad, All bright and glittering in the smokeless air. And every dog his day. Never did sun more beautifully steep In his first splendour, valley, rock, or hill; When all the world is old, lad, Ne'er saw I, never felt, a calm so deep! And all the trees are brown; The river glideth at his own sweet will: And all the sport is stale, lad, Dear God! the very houses seem asleep; And all the wheels run down; And all that mighty heart is lying still! Creep home, and take your place there, The spent and maimed among: God grant you find one face there, You loved when all was young. 3 Ezra Pound (1885-1970): 4 Frank Stuart Flint (1885-1960): "In a Station of the Metro" (1914) "Beggar" (1915) (1915) The apparition of these faces in the crowd; In the gutter Petals on a wet black bough. piping his sadness an old man stands, ►
Nieragden: ILCS 24 5 Langston Hughes (1902-67): ► (4) bent and shrivelled, "Theme for English B" (1927) (1927) The instructor said, beard draggled, eyes dead. Huddled and mean, Go home and write shivering in threadbare clothes - a page tonight. winds beat him, And let that page come out of you--- hunger bites him, Then, it will be true. I wonder if it's that simple? forlorn, a whistle in his hands, piping. I am twenty-two, colored, born in Winston-Salem. Hark! the strange quality I went to school there, then Durham, then here of his sorrowful music, to this college on the hill above Harlem. wind from an empty belly I am the only colored student in my class. wrought magically The steps from the hill lead down into Harlem through a park, then I cross St. Nicholas, into the wind - Eighth Avenue, Seventh, and I come to the Y, the Harlem Branch Y, where I take the elevator up to my room, sit down, and write this page: It's not easy to know what is true for you or me pattern of silver on bronze. at twenty-two, my age. But I guess I'm what 6 Dylan Thomas (1914-1953): I feel and see and hear, Harlem, I hear you: hear you, hear me---we two---you, me, talk on this page. "Do not Go Gentle into that Good Night" (1934) (I hear New York too.) Me---who? Do not go gentle into that good night, Old age should burn and rave at close of day; Well, I like to eat, sleep, drink, and be in love. I like to work, read, learn, and understand life. Rage, rage against the dying of the light. I like a pipe for a Christmas present, Though wise men at their end know dark is right, or records---Bessie, bop, or Bach. Because their words have forked no lightning they I guess being colored doesn't make me not like the same things other folks like who are other races. Do not go gentle into that good night. So will my page be colored that I write? Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Being me, it will not be white. But it will be Rage, rage against the dying of the light. a part of you, instructor. Wild men who caught and sang the sun in flight, You are white--- And learn, too late, they grieved it on its way, yet a part of me, as I am a part of you. That's American. Do not go gentle into that good night. Sometimes perhaps you don't want to be a part of me. Grave men, near death, who see with blinding sight Nor do I often want to be a part of you. Blind eyes could blaze like meteors and be gay, But we are, that's true! As I learn from you, Rage, rage against the dying of the light. I guess you learn from me--- And you, my father, there on the sad height, although you're older---and white--- Curse, bless, me now with your fierce tears, I pray. and somewhat more free. Do not go gentle into that good night. Rage, rage against the dying of the light. This is my page for English B. 7 Adrian Mitchell (b. 1932): 8 Ian Hamilton (b. 1938): "Time and Motion Study" (1964) "Birthday Poem" (1970) Slow down the film. You see that bit? Tight in your hands, Seven days old and no work done. Your Empire Exhibition shaving mug. Two hands clutching nothing but air, You keep it now Two legs kicking nothing but air. As a spittoon, its bloated doves That yell. There’s wasted energy there. Its 1938 No use to himself, no good for the firm. Stained by the droppings of your blood, Make a note of that. Tonight ► Half-suffocated, cancerous, Deceived You bite against its gilded china mouth And wait for an attack.
Page 1 and 2: Universität zu Köln Dr. Göran Ni
Page 3 and 4: Nieragden: ILCS 2 WHAT ARE LITERARY
Page 5 and 6: Nieragden: ILCS 4 Theories Theories
Page 7 and 8: Nieragden: ILCS 6 Self Self-Study S
Page 9 and 10: Literary Literary History History &
Page 11 and 12: Nieragden: ILCS 10 and Paradise Reg
Page 13 and 14: Genre Genre 1: 1: Theory Theory & &
Page 15 and 16: 2. RHYME SCHEMES Alternate rhyme [K
Page 17 and 18: Nieragden: ILCS 16 Die Die wichtigs
Page 19 and 20: Nieragden: ILCS 18 epic epic drama
Page 21 and 22: Nieragden: ILCS 20 the basic idea o
Page 23: In sum: Potential Function of Narra
Page 27 and 28: Cultural Cultural Cultural Studies:
Page 29 and 30: (British) (British) Cultural Cultur
Page 31 and 32: Making Making Making Sense Sense of
Page 33 and 34: Cultur Cultural Cultur al Histories
Page 35 and 36: 1707 1707 1721 1721 1771 1771 1783
Page 37 and 38: Before Before 4000 4000 BC BC 1492
Page 39 and 40: 1929 1929 1929 1929 1929-1939 1929
Page 41 and 42: SONG SONG LYRICS LYRICS What What W
Page 43 and 44: Nieragden: ILCS 42 Carlos’s. Bree
Page 45 and 46: 2. 2. en.wikipedia.org/wiki/History
Page 47: Nieragden: ILCS 46 4.2 Joyce Goggin

STUDENT SCRIPT - Englisches Seminar II - Universität zu Köln

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