ENGLISH 3311 Spring 2003
Survey of Poetry

 

University of Houston Downtown 
Dr. Merrilee Cunningham, PhD. 
Cunninghamm@uhd.edu. 

Credit Hours: 3(without capstone option)
Home page:
http://www.uhd.edu/~cunningm

Office:1038S
Office Hours: Almost all the time, but certainly an hour before and after class.
Office Phone: 713-221-8107 
Office Fax : 713-226-5205

 
 
 
Textbook:
Ferguson, Margaret, et al. The Norton Anthology of Poetry, Fourth Edition, 1996: New York, New York.
Philosophy of the Course:
In this class we will approach poetry with several questions in mind. What is the relationship of poetry to the historical periods in which it was written and the forms being used. How is the poem a cultural artifact and how is it an aesthetic representation? What is the relationship of the work to the life of the poet and the times of that poet. What are the class, cultural, gender, racial interests in the poem. What is the interaction between the social order to the time of the poem and the political and economic situations commented on or represented by the poem. How are these period pieces? How are they cultural artifacts. How do they function as aesthetic productions separate from their political, social, and economic necessities. What are some of the better methodologies for looking at the poem and deconstructing it?
Educational Objectives:
By the end of the course, the student should:
  1. develop further critical reading and analytic skills by reading epic as well as lyric poetry
  2. be able to trace the development of modes, styles, and verse forms chronologically.
  3. Increase our understanding and familiarity with some of the greatest poetry ever written.
  4. Comprehend the complexities of psychological, historical, neo-historical, feminist, new, social criticism as they relate to the poem.
  5. Learn to read and analyze individual literary poetic texts within a cultural and historical context.
  6. Improve writing and analytic skills, particularly the skill of writing literary analyses in essay form, using the conventions of the university academic community
  7. demonstrate how to write cogent, extended library interpretations incorporating critical sources acquired through library research and documented correctly and adequately using the MLA style of documentation
Reasonable Accommodation:
UH-Downtown adheres to all applicable federal, state and local laws, regulations and guidelines with respect to providing reasonable accommodation for students with disabilities. Students with disabilities should register with Disabled Student Services and contact their instructor(s) in a timely manner to arrange for appropriate accommodations.
Attendance and Participation:

Our studies require:
That you come to class. Your absence and tardiness will adversely effect the people with whom you are working (and your own grade.) Group activity will be a regular part of your class work. I take a very dim view of students who do not participate to their best ability in this class and absent or silent people are not fully participating. If you must choose between being late and not coming at all, of course, come to my class late and I will make every attempt to prevent your being embarrassed as you enter an unlocked door.
Do not, however, mistake my social grace and unwillingness to publicly embarrass you for approval.

Grading Criteria:
  1. Appropriateness of response to the topic.(If the essay doesn't address the topic, the grade is ).
  2. Appropriateness and strength of specific proofs and fact related to the theories and claims asserted.
  3. Originality of essay.
  4. Grammatical Correctness.
  5. Clarity and rhetorical level of writing style.
  6. Detailed textual evidence used in essay.
  7. Conceptional sophistication of essay.
  8. Adherence to the conventions of academic writing, including thesis, organization, proofs, structure.
  9. Use of correct documentation for secondary sources.

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Grades and Grading System:

Grades:

900 - 1000 = A + Excellent college-level work
800 - 899 = B + Good college-level work
700 - 799 = Adequate college level work
650 - 699 = Poor college-level work
  0 - 649 = Failing college-level work
  0 = No work submitted

Participation, including any quizzes 200 points

During several classes, I will give a quiz over the day's reading assignment. To be eligible to take a quiz, you must be present at the time of the quiz, which is usually, but not always, the beginning of class. Students who arrive after or leave before I administer a quiz will not be allowed to take the quiz. There will be no opportunities to make up missed quizzes. Quizzes are the instructor's deliberate attempt to reward those who read the assignment before class and then attend the entire class. They are a wonderful way for a struggling student of poetry to help his or her cause.

Midterm - 200 points

The midterm examination will consist of short answer and short essay questions. Before the exam I will hand you a review sheet and study questions. Essay responses should be organized clearly with a thesis, support the answer with a variety of relevant specific references to the readings, and demonstrate your skills in critical reading and thinking.

Final - 200 points

The final will be in the same format as the midterm examination, but will include the material since the midterm in the identification section and refer to all material covered in the essays. A study guide will be provided.

Annotated Bibliography for paper - 50 points

This is due one week before the research paper and will illustrate an understanding of the state of research on your subject.

Short Painter-Poet Paper - 50 points - an Essay on Blake, Lennon, Rossetti, Cat Stevens, or any poet who also paints. See handout for further explanation and opportunities.

Long Paper - 200 points

An extended study, due at the end of the semester, the ticket to entrance into the final examination, but due the week before the final exam, this is a serious piece of scholarship for the course.

Plagiarism:

"Mine honor is my life; both grow in one;
Take honor from me, and my life is done."

King Richard II, William Shakespeare

You will fail the course if you plagiarize. Plagiarism is the unacknowledged use of ideas (Whether paraphrased, summarized or quoted) by a writer who seeks to pass off those ideas as his or her original thought. If you fail to document or attribute a source of the idea, even if you restate another writer's ideals, you have plagiarized. A serious university offense, plagiarism may be punished by failure or expulsion. Students who plagiarize on the research paper will receive an F on the paper.

To avoid plagiarism, you must document your papers using MLA citation format. We will not cover this format in class, since this format is covered in English 1302, a prerequisite for taking this class, but if you do not know how to document your paper, I would be happy to teach you by taking you personally through the system. The same is true of CD-ROM databases in the library or in the computer center.

Late Assignments:

All assignments in this class must be submitted on time, even if you are absent. Late assignments are taken at the discretion of the instructor and carry a minimum penalty of 10% of the grade to be deducted for each and every late assignment.

Individual Needs:

I will make every attempt to maximize accessibility. I will be available before and after class and during office hours, which will be posted on my office door. If you have problems understanding the assignments please seek to talk to me about those assignments. Talk to me often. Get involved in the course and the course material.

SCHEDULE OF EVENTS AND ASSIGNMENTS:
 
WEEK I
 
Tuesday, January 14th. - Welcome and Introduction to the course. Pass out hand-out on poetic terminology. From Beowulf P. 2

Thursday, January 16th. -

Riddles, P. 7; anonymous lyrics of the thirteenth and fourteenth centuries; Chaucer's "Complaint to his Purse" P. 54. Hand-out on Yorruba riddles. The riddle in verse.

WEEK II
 
Tuesday, January 21st. - Tuesday, January 21st. -The Medieval Carol: A Carol of Agincourt, P. 69; John Skelton,"Mannerly Margery Milk and Ale," P. 74; "To Mistress Margaret Hussey," P. 75. From "Colin Clout," P. 76; "Philip Sparrow." P. 78. ; Early Modern Ballads": "Lord Randall" '"Sir Patrick Spens';" Bonny Barbara Allan'; ' Mary Hamilton,' versions A and B. P. 94. We will look at both oral and literary traditions, end rhyme and alliteration.

Thursday, January 22nd. -

Tudor Poetry: Tom o' Bedlam's Song," P. 111; Thomas Wyatt: Pp. 113 - 120 particularly, 'Whoso List to Hunt" , "My Galley" " Madam, Withouten Many Words' ; ' They Flee from me'; '' Mine Own John Poins" and then Henry Howard, Earl of Surrey, only :" The Soote Season;" "Wyatt Resteth Here' and " So Cruel Prison," P. 125.

WEEK III
 
Tuesday, January 28th. - Political Verse Satire and the Courtier's Poem: Sir Walter Raleigh: "The Lie,' P. 142; "If Cynthia Be Queen" P. 145. Spenser: The Faerie Queene, Book I; P. 153; "Epithalamion', P. 171. Sir Philip Sidney "Astrophil an Stella, P. 192."Loving in truth, and fain in verse my love to show," P. 192; Mary Sidney "To the Thrice-Sacred Queen Elizabeth," P. 201.

Thursday, January 30th. -

The Roman Catholic Baroque Lyric: Robert Southwell, "The Burning Babe," P. 206; Samuel Daniel "Ulysses and the Siren," P. 211; Drayton, "since there's no help, come let us kiss and part," P. 215; Christopher Marlowe's "The Passionate Shepherd to his Love," P. 233 the call and response in poetic verse and satire. See also Ralegh and Donne's reply to Marlowe.

WEEK IV
 
Tuesday, February 4th. - The Sonnet as a Literary Form: Shakespeare's Sonnets, particularly " 116, 29, 73, 130; "Full Fathom Five," "Come Away, Come Away, Death." Aemilia Lanyer, 'salve Deus Rex Judaeorum" and ' The Description of Cooke-ham" P. 258; The Metaphysical Poets: John Donne "Go and catch a falling star" "The Canonization" A Valediction Forbiding Weeping": A Notctural upon St. Lucy's Day," "The Flea: "The Relic," "Good Friday, Riding Westward," "Holy Sonnet 10. P. 288.

Thursday, February 6th. -

Jonson's "On my First Daughter," "On Spies," "To Fine Lady Would-Be" ""To the Memory of My Beloved, the Author, Mr. William Shakespeare," P. 309. "A Sonnet to the Noble Lady, the Lady Mary Wroth," P. 311; Mary Wroth, P. 316; Herrick, "The Argument of His Book" P. 317; "Corinna's Going A-Maying." "Upon Julia's Clothes." P. 323. Herbert, "The Altar, P. 329; "Easter Wings," P. 330. "Jordan I; " " The Collar;" " The Pulley," P. 341.

WEEK V
 
Tuesday, February 11th. - John Milton, "Lycidas" P. 354; "L'Allegro" and "Il Penseroso" P. 369, P. 369; "When I Consider How my Light is Spent," P. 378; Anne Bradstreet, "Before the Birth of her of Her Children" P. 418; Richard Crashaw, "A Hymn to the Name and Honor of the Admirable Saint Teresa" P. 423; Lovelace "To Althea, From Prison," P. 429; Andrew Mavell, "To His Coy Mistress," P. 435; Vaughan's "Regeneration." P. 448. We will look at the transition between the late Renaissance poetry and Neo-Classicism in the Augustine Age.

Thursday, February 13th. -

Edward Taylor, P. 495; "Upon a Spider Catching a Fly," Aphra Behn, P. 497 "Love Armed:" A Thousand Martyrs, P. 504; Jonathan Swift, "Stella's Birthday," P. 528; John Gay "Green Sleeves," P. 539; Alexander Pope's "The Rape of the Lock." P. 547.

WEEK VI
 
Tuesday, February 18th. - The Verse Epistle as Neo-Classical Form; Hymns in the Enlightenment; Gray and the Tradition of the Ode: Lady Mary Wortley Montagu, "Epistle from Mrs. Yonge to Her Husband," P. 580; Charles Wesley, Humns, P. 588; Samuel Johnson, The Vanity of Human Wishes, " P. 597; Sir Thomas Gray, "Ode on a Distant Prospect of Eton College," P. 606; "Ode on the Death of a Favorite Cat," P. 608; "Elegry Written in a Country Churchyard," P. 609.

Thursday, February 20th. -

The Roots of the English Romantic Period: Oliver Goldsmith's "The Deserted Village, P. 627; Cowper's "The Castaway," P. 643; Phillis Wheatley, "To S.M., a Young African Painter, on Seeing His Works," P. 661; William Blake, "The Lamb" and "The Tiger." "From Milton…" "And Did Those Feet"; Burn's "A Red, Red Rose," P. 694.

WEEK VII
 
Tuesday, February 25th. - The Coleridge - Wordsworth Collaborative: William Wordsworth's "Tintern Abbey," P. 699; "London," P. 726; "Composed Upon Westminster Bridge, September 3, 1802," P. 727; Samuel Taylor Coleridge's Kubla Khan," P. 741; "The Rhyme of the Ancient Mariner," P. 744.

Thursday, February 27th. -

Midterm Examination

WEEK VIII
 
Tuesday, March 4th. - Spring Break

Thursday, March 6th. -

Spring Break

WEEK IX
 
Tuesday, March 11th. - Platonic Romanticism, Ruins, and Travelogue Poetry: Shelley's "Ozamandias," P. 799; "Stanzas Written in Dejection, Near Naples," P. 799; John Keats' "On First Looking into Chapman's Homer," P. 831; "When I Have Fears," P. 8322; "Ode on a Grecian Urn," P. 848; "Bright Star," P. 850; Emerson's: The Rhodora," P. 851; Elizabeth Barrett Browning's "How Do I Love Thee? Let Me Count the Ways," P. 856; "Aurora Leigh," P. 857.

Thursday, March 13th. -

Death and Poetry: Edgar Allan Poe's "The Raven," P. 881; "Annabel Lee," P. 884; Tennyson's "Ulysses," P. 896; Robert Browning's "My Last Duchess," P. 911; "The Bishop Orders His Tomb at Saint Praxed's Church," P. 915; Edward Lear's "The Owl and the Pussy-Cat," P. 942; Emily Bronte's "No Coward Soul is Mine," P. 947; Julia Ward Howe, "Battle-Hymn of the Republic," P. 952.

WEEK X
 
Tuesday, March 18th. - Spiritual "Go Down Moses," P. 957; "Steal Away to Jesus," P. 958; Walt Whitman's Song of Myself, P. 961; "When Lilacs Last in the Dooryard Bloomed," P. 978; Matthew Arnold's "Dover Beach." Rossetti's "Barren Spring." P. 1006; Emily Dickinson's "Because I Could Not Stop for Death," P. 1020; "I Heard a Fly Buzz," P. 1015.

Thursday, March 20th. -

Christina Rossetti's "In an Artist's Studio," Lewis Caroll's "Jabberwocky" and "The White Knight's Song." Sidney Lanier's "The Marshes of Glynn" P. 1059; Gerard Manley Hopkin's "The Windhover." A. E. Housman's "To An Athlete Dying Young." P. 1070; William Butler Yeats' "Easter, 1916": "Leda and the Swan," P. 1095; "Among School Children," P. 1096; "The Circus Animals' Desertion," P. 1101.

WEEK XI
 
Tuesday, March 27th. - Annotated Bibliography Due. Pound and Eliot Day: "This is the only copy, what should I do with it." " Ezra Pound "The Seafarer," P. 1187; T. S. Eliot's The Love Song of J. Alfred Prufrock," "The Wasteland."

Thursday, March 28th. -

Sexism and the South and War Poetry, an Introduction to The Emergence of the Modern African American Voice: "John Crowe Ransom: "Bells for John Whiteside's Daughter," P. 1255; Wilred Owen "Duce Et Decorum Est," P. 1276; "Athem for Doomed Youth," P. 1276; Jean Toomer, From Cane, P. Georgia Dusk, P. 1289; "Portrait in Georgia," P. 1290.C. Day Lewis, "Where are the War Poets?" P. 1343. Richard Eberhart, "The Fury of Aerial Bombardment," P. 1347.

WEEK XII
 
Tuesday, April 1st. - April Fool.'s Day, but serious verse: The African-American Voice in Poetry continued: - Sterling A. Brown, "Slim in Atlanta"; "Chillen Get Shoes," P. 1319; "Bitter Fruit of the Tree" compare with "Strange Fruit." "Conjured," P. 1320. Langston Hughes, "The Weary Blues," "The Negro Speaks of Rivers," P. 1321; "Song for a Dark Girl," P. 1323; "Bad Luck Card," P. 1322; "Harlem and Harlem Sweeties." Roy Campbell, "The Zulu Girl," P. 1324. Countee Cullen, "Heritage," P. 1335.


Thursday, April 3rd. -

Stevie Smith, "The Celts," P. 1332. W. H. Auden, "Musee de Beaux Arts, P. 1367; "The Shield of Achilles," P. 1372; "Lullaby," P. 1364; "In Praise of Limestone." P. 1370. Stephen Spender, "I Think Continually of Those Who Were Truly Great," P. 1399; Elizabeth Bishop, "Filling Station," P. 1411; May Swenson, "Motherhood," P. 1433.

WEEK XIII
 
Tuesday, April 8th. - Alcoholism, Alcoholics and Poetry,: Malcolm Lowry, "Delirium in Vera Cruz," P. 1398; Dylan Thomas "Do Not Go Gentle into That Good Night," P. 1465; "The Force That Through the Green Fuse Drives the Flower," P. 1460; Philip Larkin's "An Arundel Tomb" P. 1543; James Dickey's "Buckdancer's Choice," P. 1556; "The Lifeguard," P. 1553.

Thursday, April 10th. -

Richard Wilbur, "Piazza di Spagna, Early Morning," P. 1528. Donald Justice, "Men at Forty." P. 1582; Kenneth Koch, "You Were Wearing," P. 1584; Robert Bly's "Waking from Sleep," P. 1595; Allen Ginsberg, Howl, Part I, P. 1598; James Merrill's "The Broken Home," P. 1605; Frank O'Hara's"Why I Am Not a Painter," P. 1619;.

WEEK XIV
 
Tuesday, April 15th. - W. S. Merwin "Odysseus," P. 1634; " "Losing a Language," P. 1635; Charles Tomlinson, "Farewell to Van Gogh" P. 1636; "The Picture of J. T. in a Prospect of Stone," P. 1636; James Wright, "A Note Left in Jimmy Leonard's Shack," P. 1639

Thursday, April 17th. -

Feminism and Modern Poetry: Adrienne Rich, "Aunt Jennifer's Tigers, P. 1679; "Diving into the Wreck,"P. 1685; "Living in Sin," P. 1679. Ted Hughes, "The Thought-Fox," P. 1697; "Examination at the Womb-Door" P. 1700; Sylvia Path, "Daddy," "Lady Lazarus" P. 1735.

WEEK XV
 
Tuesday, April 22nd. - Paul Muldoon, "Meeting the British, " P . 1854; Louise Erdrich, "The Butcher's Wife," P. 1873; Cynthia Zarin, "The Ant Hill" P. 1880.

Thursday, April 24th. -

Anne Sexton, "And One for My Dame" P. 1652; Thom Gunn, "A Map of the City," P. 1660; John Hollander, "Variations on a Fragment by Trumbull Sitckney, ". 1665.

WEEK XVI
 
Tuesday, April 29th. - Louise Gluck, "Gretel in Darkness." P. 1813; Wendy Cope, "Bloody Men." P. 1825; "In Paris with You." P. 1842

Thursday, May 1st. -

Discussion of the painter-poet.
Final Examination: See schedule handed out on the first day.


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