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ENG303 130128.docx

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Lycidas  Weep no more, woful Shepherds weep no more, [ 165 ] For Lycidas your sorrow is not dead, Sunk though he be beneath the watry floar, So sinks the day-star in the Ocean bed, And yet anon repairs his drooping head, And tricks his beams, and with new-spangled Ore, [ 170 ] Flames in the forehead of the morning sky: So Lycidas sunk low, but mounted high, Through the dear might of him that walk'd the waves; Where other groves, and other streams along, With Nectar pure his oozy Lock's he laves, [ 175 ] And hears the unexpressive nuptiall Song, In the blest Kingdoms meek of joy and love. There entertain him all the Saints above, In solemn troops, and sweet Societies That sing, and singing in their glory move, [ 180 ] And wipe the tears for ever from his eyes. Now Lycidas the Shepherds weep no more; Hence forth thou art the Genius of the shore, In thy large recompense, and shalt be good To all that wander in that perilous flood. [ 185 ]  Tone change... echoes Revelations, religious consolation  Repetition of lament to repetition of consolation o For Lycidas is dead, dead ere his prime, Young Lycidas, and hath not left his peer: Who would not sing for Lycidas?  Repeating, reprising  Water imagery – Christ walking on water – Nectar  Day star – sun – Son  Resurrection idea recurring  Nuptial song -> marriage to Lamb (Christ), bride as church… in Revelations  Lycidas lives on in heaven and in poem, outside of death/absence, greater meaning consoling people  Orpheus ‘s death -> shredded up and thrown into river because refuse to associate with other women o When by the rout that made the hideous roar, His goary visage down the stream was sent, Down the swift Hebrus to the Lesbian shore.  Lycidas becomes genius of the shore  Continuous echoes and repetitions o Thus sang the uncouth Swain to th' Okes and rills, While the still morn went out with Sandals gray, He touch'd the tender stops of various Quills, With eager thought warbling his Dorick lay: And now the Sun had stretch'd out all the hills, [ 190 ] And now was dropt into the Western bay; At last he rose, and twitch'd his Mantle blew: To morrow to fresh Woods, and Pastures new.  Ending lines – uncouth swain… unlearned, unknown shepherd  Some nobody who reader was accompanying for the entire poem  Questioning of the transcendence  Unexpected introduction  Contradiction to generic expectations, destabilizing reader experience  Switch from Milton to swain  Expectations of particular genres (i.e. James Bond films and Bond girls, martini, cars…)  Satisfaction of meeting the expectations/conventions and some tweaks with limitations  Final lines of Lycidas as complete betrayal of conventions  Told from beginning that it is monoty(?), lament in single voice, present tense  But move to third person past tense  Idea of third person mediation objectifying story…  Distancing effect, invited to look at speaker in new way, not identifying with pain but seeing from afar, reflect on what has happened to him  Distancing from earlier self, emergence of new self  Narrative frame  Transcendental moment  Distancing self from persona of uncouth swain  Formal change -> writing from  Poem itself statement of human angst, reality…  Fish  Final lines silencing  Whoever speaker is, speaker is shut up by end and made anonymous  Challenge to unity  Lycidas criticism wants to see poem as unified consciousness, control  Suppressing of voice as triumph, challenge fiction of his control… struggle that speaker loses, voice can no longer be heard  Energy from illusion of control and control being taken away  Sees moment that others see as transcendent as smug, self-indulgent, narci
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