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Scalar Milton

Evan Thomas, Milton Group8, Milton Group7, Milton Group6, Milton Group5, Milton Group4, Milton Group3, Milton Group2, Milton Group1, Milton Group9, Authors

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Teaching Notes, 5 Sept. 2014

I prepared well for today's class, but I didn't start off well. I arrived four minutes late, so I launched immediately into lecture, which was followed by a close reading activity. The basic premise of this lecture was to transition away from the classics into the Renaissance. My thesis was that women replaced gods as the inspiration, subject, and audience of these poets. Here are my lecture notes:

1.
The responses to Logue showed widespread interest in the Gods, but confusion about their extended mythology.
The godly parts of the Iliad that endure in this tradition are the beginning *in medias res*, the epic hero, and the invocation of the muse.
This lecture will move from the Homeric era through to the Renaissance by telling the story of gods replaced with women.

2.
Jesus' movement offered to combine a messianic movement with an anti-temple movement. This movement sought out non-Jews, wicked people, and the ceremonially unclean (including prostitutes).
Mary Magdalene is called the Apostolum Apostola because she spread the witness of the risen Christ to the Apostles.
St. Helena exposed her son, the emperor Constantine, to Christianity. In 312, Constantine converted during battle. In 313, the Edict of Milan decriminalized Christian worship. (The Roman empire suffered from "barbarian invasions" of Rome, a "migratory period" probably caused by climate change in Europe between 300 and 800. This was mirrored in Saxon England by the Danish and Norman invasions.)
In the early 1300s, Dante Alighieri wrote the "Divine Comedy" (Inferno, Purgatorio, Paradiso) in devotion to a semi-divine love named "Beatrice." The poem attempted to unite Christian theology with classical poetry. The poem has 100 cantos of terza rima (aba bcb cdc).
Francesco Petrarca (Petrarch) described the period 300-1300 as the "Dark Ages" because Homeric Greek was entirely unreadable to him. He tried to write an epic titled "Africa," but did not complete it.

3.
abba abba cdecde
In 1327, Petrarch saw a woman in Avignon named "Laura" on Good Friday. She became the muse for his "Canzoniere." He wrote 366 poems in his "Songbook," the bulk of which are sonnets to Laura. In 1337 he moved to a village nearer to Laura. Laura replaced the classical muse for Petrarch. These poems are not "epic," they don't tell the story of any hero, but instead they tell the story of Petrarch's reflection on Laura.

abba abba cddc ee
In 1522, Henry VIII sent Thomas Wyatt as an ambassador to Rome to secure a divorce from Catherine of Aragon. He brought back the sonnets of Petrarch. Wyatt's sonnets were possibly written to Henry VIII's second wide, Anne Boleyn. When he was imprisoned for this, he certainly used his poetry to court other women.

abba cddc effe gg
Henry Howard was the cousin of both Anne Boleyn and Catherine Howard, the 2nd and 4th wives of Henry VIII. In 1524 he travelled to France, where he probably encountered Petrarchan sonnets.
Surrey was the first to use blank verse in his translation of the Aeneid.


In the second part of class, we worked off of this sonnet comparison table. We highlighted some structural differences in each translation that have interpretive stakes. We mucked around a bit with the basic problems of speaker and audience. Then I led students through an alternating recitation which highlighted differences in description, intention, and interpretation.

Petrarch

Wyatt

Surrey

Durling

Amor, che nel penser mio vive et regna

The long love that in my thought doth harbor,

Love, that doth reign and live within my thought,

Love, who lives and reigns in my thought

e 'l suo seggio maggior nel mio cor tene,

And in mine heart doth keep his residence,

And built his seat within my captive breast,

and keeps his principal seat in my heart,

talor armato ne la fronte vene;

Into my face presseth with bold pretense

Clad in the arms wherein with me he fought,

sometimes comes forth all in armor into my forehead,

ivi si loca et ivi pon sua insegna.

And therein campeth, spreading his banner.

Oft in my face he doth his banner rest.

there camps, and sets up his banner.

Quella ch'amare e sofferir ne 'nsegna,

She that me learneth to love and suffer

But she that taught me love and suffer pain,

She who teaches us to love and to be patient,

e vol che'l gran desio, l'accesa spene,

And will that my trust and lust's negligence

My doubtful hope and eke my hot desire

and wishes my great desire, my kindled hope,

ragion, vergogna, e reverenza affrene,

Be reined by reason, shame, and reverence,

With shamefast look to shadow and refrain,

to be reined in by reason, shame, and reverence,

di nostro ardir fra se stessa si sdegna.

With his hardiness taketh displeasure.

Her smiling grace converteth straight to ire.

at our boldness is angry within herself.

Onde Amor paventoso fugge al core,

Wherewithal unto the heart's forest he fleeth,

And coward Love, then, to the heart apace

Wherefore Love flees terrified to my heart,

lasciando ogni sua impresa, et piange et trema;

Leaving his enterprise with pain and cry,

Taketh his flight, where he doth lurk and plain,

abandoning his every enterprise, and weeps and trembles;

ivi s'asconde et non appar piu fore.

And there him hideth, and not appeareth.

His purpose lost, and dare not show his face.

there he hides and no more appears outside.

Che poss'io far, temendo il mio signore,

What may I do, when my master feareth,

For my lord's guilt thus faultless bide I pain,

What can I do, when my lord is afraid,

se non star seco infin a l'ora estrema?

But in the field with him to live and die?

Yet from my lord shall not my foot remove:

except stay with him until the last hour?

che bel fin fa chi ben amando more.

For good is the life ending faithfully.

Sweet is the death that taketh end by love.

For he makes a good end who dies loving well.

 



After we finished this activity, one of my more active students suggested that I spend some time at the end of each class connecting the present day's reading to the next session. At the moment, I was a bit rankled because I had been so anxious about starting class late. But I knew he probably had a good point, so I thanked him for the suggestion.

The next day I called up a senior teaching mentor of mine and asked about the wisdom of this idea. One problem with ending in a lecture is that it signals to the class that the session is over, and that the present information is irrelevant. But it has the advantage of connecting each poet to a larger tradition and broader themes. So my teaching mentor told me to try "exit tickets" to prepare them for the themes in the next session's reading. I love this idea! I'm definitely going to implement it for the rest of the time that we spend switching from poet to poet.
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