Tuesday, June 30, 2009

Tragedy of King Lear ACT I, SCENE I

KENT, GLOUCESTER, EDMUND.

I thought
the King had more affected the Duke of Albany than Cornwall.


It did always seem so to us;
but now in the division of the kingdom,
it appears not
which of the Dukes he values most,
for
[equalities] are so {5} weigh’d, that curiosity in neither can make choice of either’s moi’ty.


Is not this your son, my lord?


His breeding, sir, hath been at my charge.
I have so often blush’d to acknowledge him,
that now I am braz’d to’t. {11}


I cannot conceive you.

Sir, this young fellow’s mother could;
whereupon she grew round-womb’d, and had indeed,
sir, a son for her cradle ere she had a husband for her
bed. Do you smell a fault? {16}

I cannot wish the fault undone, the issue of it
being so proper.

But I have a son, sir, by order of law, some
year elder than this, who yet is no dearer in my {20}
account. Though this knave came something saucily
to the world before he was sent for, yet was his
mother fair, there was good sport at his making, and
the whoreson must be acknowledg’d. Do you know
this noble gentleman, Edmund? {25}

No, my lord.

My Lord of Kent. Remember him hereafter
as my honorable friend.

My services to your lordship.

I must love you, and sue to know you better.

Sir, I shall study deserving. {31}

He hath been out nine years, and away he
shall again. <([Sound a] sennet.)> The King is coming.

************
KING LEAR, CORNWALL,
ALBANY, GONERIL, REGAN, CORDELIA, ATTENDANTS.

Attend the lords of France and Burgundy, Gloucester.

I shall, my lord. {35}
************
Mean time
we shall express our darker purpose.
Give me the map there.
Know that we have divided In three our kingdom;
and
‘tis our fast intent To shake all cares and business from our age,
Conferring them on younger strengths,
while we {40} Unburthen’d crawl toward death.
Our son of Cornwall,
And you, our no less loving son of Albany,
We have this hour a constant will to publish
Our daughters’ several dowers, that future strife May be prevented now.
The princes, France and Burgundy, {45}
Great rivals in our youngest daughter’s love,
Long in our court have made their amorous sojourn,
And here are to be answer’d. Tell me, my daughters
(Since now we will divest us both of rule,
Interest of territory, cares of state), {50}
Which of you shall we say doth love us most,
That we our largest bounty may extend
Where nature doth with merit challenge? Goneril,
Our eldest-born, speak first.
Sir,
I love you
more than [words] can wield the matter, {55}
Dearer than eyesight, space, and liberty,
Beyond what can be valued, rich or rare,
No less than life, with grace, health, beauty, honor;
As much as child e’er lov’d, or father found;
A love
that makes breath poor, and speech unable: {60}
Beyond all manner of so much
I love you.

What shall Cordelia speak? Love, and be silent.

Of all these bounds, even from this line to this,
With shadowy forests and with champains rich’d,
With plenteous rivers and wide-skirted meads, {65}
We make thee lady. To thine and Albany’s [issue]
Be this perpetual. What says our second daughter,
Our dearest Regan, wife of Cornwall? [Speak.]


I am made of that self metal as my sister,
And
prize me at her worth.
In my true heart {70}
I find she names my very deed of love;
Only
she comes too short,
that I profess Myself an enemy to all other joys
Which the most precious square of sense [possesses],
And find I am alone felicitate {75} In your dear Highness’ love.

Then poor Cordelia!
And yet not so, since I am sure my love’s
More ponderous than my tongue.

To thee and thine hereditary ever
Remain this ample third of our fair kingdom, {80}
No less in space, validity, and pleasure,
Than that conferr’d on Goneril. – Now, our joy,
Although our last and least, to whose young love
The vines of France and milk of Burgundy
Strive to be interess’d, what can you say to draw {85}
A third more opulent than your sisters’? Speak.

Nothing, my lord.

Nothing?

Nothing.

Nothing will come of nothing, speak again. {90}

Unhappy that I am, I cannot heave
My heart into my mouth. I love your Majesty
According to my bond, no more nor less.

How, how, Cordelia? Mend your speech a little,
Lest you may mar your fortunes.

Good my lord, {95}
You have begot me,
bred me,
lov’d me:
I Return those duties back as are right fit,
Obey you,
love you,
and most honor you.
Why have my sisters husbands,
if they say They love you all?
Happily,
when I shall wed, {100}
That lord whose hand must take my plight shall carry Half my love with him,
half my care and duty.
Sure
I shall never marry like my sisters,
[ To love my father all].

But goes thy heart with this?

Ay, my good lord. {105}

So young, and so untender?

So young, my lord, and true.

Let it be so: thy truth then be thy dow’r!
For by the sacred radiance of the sun,
The [mysteries] of Hecat and the night; {110}
By all the operation of the orbs,
From whom we do exist and cease to be;
Here I disclaim all my paternal care,
Propinquity and property of blood,
And as a stranger to my heart and me {115}
Hold thee from this for ever. The barbarous Scythian,
Or he that makes his generation messes
To gorge his appetite, shall to my bosom
Be as well neighbor’d, pitied, and reliev’d,
As thou my sometime daughter.

Good my liege – {120}

Peace, Kent!
Come not between the dragon and his wrath;
I lov’d her most, and thought to set my rest
On her kind nursery. <[To Cordelia.]> Hence, and avoid
my sight! –
So be my grave my peace, as here I give {125}
Her father’s heart from her. Call France. Who stirs?
Call Burgundy. Cornwall and Albany,
With my two daughters’ dow’rs digest the third;
Let pride, which she calls plainness, marry her.
I do invest you jointly with my power, {130}
Pre-eminence, and all the large effects
That troop with majesty. Ourself, by monthly course,
With reservation of an hundred knights
By you to be sustain’d, shall our abode
Make with you by due turn. Only we shall retain {135}
The name, and all th’ addition to a king;
The sway, revenue, execution of the rest,
Beloved sons, be yours, which to confirm,
This coronet part between you.

Royal Lear,
Whom I have ever honor’d as my king, {140}
Lov’d as my father, as my master follow’d,
As my great patron thought on in my prayers –

The bow is bent and drawn, make from the shaft.

Let it fall rather, though the fork invade
The region of my heart; be Kent unmannerly {145}
When Lear is mad. What wouldest thou do, old man?
Think’st thou that duty shall have dread to speak
When power to flattery bows? To plainness honor’s bound,
When majesty falls to folly. Reserve thy state,
And in thy best consideration check {150}
This hideous rashness. Answer my life my judgment,
Thy youngest daughter does not love thee least,
Nor are those empty-hearted whose low sounds
Reverb no hollowness.

Kent, on thy life, no more.

My life I never held but as [a] pawn {155}
To wage against thine enemies, ne’er [fear’d] to lose it,
Thy safety being motive.

Out of my sight!

See better, Lear, and let me still remain
The true blank of thine eye.

Now, by Apollo –

Now, by Apollo, King, {160}
Thou swear’st thy gods in vain.

O vassal! miscreant
<[Starts to draw his sword.]>

Dear sir, forbear.

Kill thy physician, and [the] fee bestow
Upon the foul disease. Revoke thy gift,
Or whilst I can vent clamor from my throat, {165}
I’ll tell thee thou dost evil.

Hear me, recreant,
On thine allegiance, hear me!
That thou hast sought to make us break our [vow] –
Which we durst never yet – and with strain’d pride
To come betwixt our sentence and our power, {170}
Which nor our nature nor our place can bear,
Our potency made good, take thy reward.
Five days we do allot thee, for provision
To shield thee from disasters of the world,
And on the sixt to turn thy hated back {175}
Upon our kingdom. If, on the tenth day following,
Thy banish’d trunk be found in our dominions,
The moment is thy death. Away! By Jupiter,
This shall not be revok’d.

Fare thee well, King; sith thus thou wilt appear, {180}
Freedom lives hence, and banishment is here.
<[To Cordelia.]> The gods to their dear shelter take thee, maid,
That justly think’st and hast most rightly said!
<[To Regan and Goneril.]> And your large speeches may your deeds approve,
that good effects may spring from words of love. {185}
Thus Kent, O princes, bids you all adieu,
He’ll shape his old course in a country new.

*************
GLOUCESTER FRANCE
BURGUNDY, ATTENDANTS.

<[Glou.]> Here’s France and Burgundy, my noble lord.

My Lord of Burgundy,
We first address toward you, who with this king {190}
Hath rivall’d for our daughter. What, in the least,
Will you require in present dower with her,
Or cease your quest of love?

Most royal Majesty,
I crave no more than hath your Highness offer’d,
Nor will you tender less.

Right noble Burgundy, {195}
When she was dear to us, we did hold her so,
But now her price is fallen. Sir, there she stands:
If aught within that little seeming substance,
Or all of it, with our displeasure piec’d,
And nothing more, may fitly like your Grace, {200}
She’s there, and she is yours.

I know no answer.

Will you, with those infirmities she owes,
Unfriended, new adopted to our hate,
Dow’r’d with our curse, and stranger’d with our oath,
Take her, or leave her?

Pardon me, royal sir, {205}
Election makes not up in such conditions.

Then leave her, sir, for by the pow’r that made me,
tell you all her wealth. <[To France.]> For you, great King,
I would not from your love make such a stray
To match you where I hate; therefore beseech you {210}
T’ avert your liking a more worthier way
Than on a wretch whom Nature is asham’d
Almost t’ acknowledge hers.

This is most strange,
That she, whom even but now was your [best] object,
The argument of your praise, balm of your age, {215}
The best, the dearest, should in this trice of time
Commit a thing so monstrous, to dismantle
So many folds of favor. Sure her offense
Must be of such unnatural degree
That monsters it, or your fore-vouch’d affection {220}
Fall into taint; which to believe of her
Must be a faith that reason without miracle
Should never plant in me.

I yet beseech your Majesty –
If for I want that glib and oily art
To speak and purpose not, since what I [well] intend, {225}
I’ll do’t before I speak – that you make known
It is no vicious blot, murther, or foulness,
No unchaste action, or dishonored step,
That hath depriv’d me of your grace and favor,
But even for want of that for which I am richer – {230}
A still-soliciting eye, and such a tongue
That I am glad I have not, though not to have it
Hath lost me in your liking.

Better thou
Hadst not been born than not t’ have pleas’d me better.

Is it but this – a tardiness in nature {235}
Which often leaves the history unspoke
That it intends to do? My Lord of Burgundy,
What say you to the lady? Love’s not love
When it is mingled with regards that stands
Aloof from th’ entire point. Will you have her? {240}
She is herself a dowry.

Royal King,
Give but that portion which yourself propos’d,
And here I take Cordelia by the hand,
Duchess of Burgundy.

Nothing. I have sworn, I am firm. {245}

I am sorry then you have so lost a father
That you must lose a husband.

Peace be with Burgundy!
Since that [respects of fortune] are his love,
I shall not be his wife.

Fairest Cordelia, that art most rich being poor, {250}
Most choice forsaken, and most lov’d despis’d,
Thee and thy virtues here I seize upon,
Be it lawful I take up what’s cast away.
Gods, gods! ’tis strange that from their cold’st neglect
My love should kindle to inflam’d respect. {255}
Thy dow’rless daughter, King, thrown to my chance,
Is queen of us, of ours, and our fair France.
Not all the dukes of wat’rish Burgundy
Can buy this unpriz’d precious maid of me.
Bid them farewell, Cordelia, though unkind, {260}
Thou losest here, a better where to find.

Thou hast her, France, let her be thine, for we
Have no such daughter, nor shall ever see
That face of hers again. <[To Cordelia.]> Therefore be gone,
Without our grace, our love, our benison. – {265}
Come, noble Burgundy.


************
Bid farewell to your sisters.

The jewels of our father, with wash’d eyes
Cordelia leaves you. I know you what you are,
And like a sister am most loath to call {270}
Your faults as they are named. Love well our father;
To your professed bosoms I commit him,
But yet, alas, stood I within his grace,
I would prefer him to a better place.
So farewell to you both. {275}

Prescribe not us our duty.

Let your study
Be to content your lord, who hath receiv’d you
At fortune’s alms. You have obedience scanted,
And well are worth the want that you have wanted.

Time shall unfold what plighted cunning hides, {280}
Who covers faults, at last with shame derides.
Well may you prosper!

Come, my fair Cordelia.

************

Sister, it is not little I have to say of what
most nearly appertains to us both. I think our father
will hence to-night. {285}

That’s most certain, and with you; next
month with us.

You see how full of changes his age is; the
observation we have made of it hath [not] been little.
He always lov’d our sister most, and with what {290}
poor judgment he hath now cast her off appears too
grossly.

’Tis the infirmity of his age, yet he hath ever
but slenderly known himself. {294}

The best and soundest of his time hath been
but rash; then must we look from his age to receive not
alone the imperfections of long-ingraff’d condition,
but therewithal the unruly waywardness that infirm
and choleric years bring with them.

Such unconstant starts are we like to have
from him as this of Kent’s banishment. {301}

There is further compliment of leave-taking
between France and him. Pray you let us [hit] together;
if our father carry authority with such disposition
as he bears, this last surrender of his will but
offend us. {306}

We shall further think of it.

We must do something, and i’ th’ heat.

Assignment 3: Watkins Part 2, Revised

Assignment 3: Watkin’s Part 2 (with Becker Part 1)

1. Using the handout provided, mark superordinate and subordinate chains of repeated themes in Shakespeare’s King Lear 1.01 (see Becker pp. 71-87, especially 75 and 85).

2. On the same handout, circle all the words that carry the theme of “quantifying, measuring, buying, amount, worth, price, etc.” in Shakespeare’s King Lear 1.01 (see Becker pp. 94, 98-101, and especially 105).

3. Make a blog post, listing examples by line number of the art of the word and other interesting language features in Shakespeare’s King Lear 1.01 (see Watkins pp. 97-193).

4. Preview the pages for Becker, part 2 (pp. 185-258), especially the first article on the Burmese sentence.

Who am I? What am I doing here?

Hi,

I just wanted to briefly introduce myself in case you were wondering why someone outside your course has commented on your posts. I used to work for Dr. Hallen a little while ago, and when she asked me if I would like to join you on this blog, I said I'd love to. Poetry and language are really important to me, as is learning.

The work I have seen here so far has impressed me. I believe that discussion and the exchange of ideas are vital to good education. I am no expert so if I am in error somewhere in my comments, please do correct me. :-) And always, feel free to disagree!

Annette

Laura's Contextual Relations 1126

1 Shall I take thee, the Poet said
2 To the propounded word?
3 Be stationed with the Candidates
4 Till I have finer tried

5 The Poet searched Philology
6 And was about to ring
7 For the suspended Candidate
8 There came unsummoned in—

9 That portion of the Vision
10 The Word applied to fill
11 Not unto nomination
12 The Cherubim reveal

(1) “propounded” means “to put forward into consideration” or “to propose”. The “propounded word” probably means “the proposed word” or “the word in consideration”. The Poet must mean that the person he is speaking to has to choose something.

(2) “the word” in this context seems to refer to a contract or a promise of sorts between the poet and the Candidate. In this context, it seems to refer to an engagement of sorts. Is the Poet seeking marriage? It would make sense because the “Candidates” could be those who he is considering marrying.

(3) One definition of “candidate” is “a person who is deserving or seems destined of a certain end or fate”. Another is “a person who is selected by others as a contestant for an office, honor, etc.” The word could mean either in this passage. The Poet could be the grim reaper of sorts, sentencing the “candidates” to death. Or The Poet could be choosing candidates to bestow a certain honor upon. Or the definitions can be combined. The Poet could be choosing someone to bestow the honor of death upon. The Poet could be God.

(4) “Finer” is another form of “fine.” “Fine” means “superior, delicate, excellent, etc.” “Tried” is the past form of “try”, which means “to attempt to do, to accomplish”. In other words, the Poet probably means to “better attempt” to do something. To choose? To think? What does he meant to attempt? Or does he mean “to attempt carefully”? Does he want to put it into careful consideration so he does not make a rash decision?

(5) “Be stationed with the Candidates/ till I have finer tried” sounds like an imperative. It sounds like he is making the candidates wait until he has thought things through. It almost sounds like the infamous, “Next!” or “Don’t call us, we’ll call you.”

Monday, June 29, 2009

Amanda's Contextual Relations 1126

1 Shall I take thee, the Poet said
2 To the propounded word?
3 Be stationed with the Candidates
4 Till I have finer tried

5 The Poet searched Philology
6 And was about to ring
7 For the suspended Candidate
8 There came unsummoned in—

9 That portion of the Vision
10 The Word applied to fill
11 Not unto nomination
12 The Cherubim reveal

  1. The relation of words, phrases, sentences, and larger units of the text to each other.
    • “The word” found in line 2 and line 10 can refer to one of two things. First, it can refer to the promise, or contract, that people in the Bible entered into when they were betrothed. In line 2, “propounded” means “possible, potential,” which suggests that the person is being taken to the betrothal ceremony to see the contract, or the engagement agreements. In line 10, "the word" can refer to the contract that is “applied to fill,” or, according to Webster’s dictionary, the contract that they “vowed to complete”—the marriage contract. The first stanza is the beginning of the contract, the betrothal, and the last stanza completes that contract with the marriage vows. Secondly, “the Word” can refer to the scriptures in line 2 and to Christ in line 10 (In the beginning was the Word). In the second stanza, the “Philology” refers to these “words”—the poet knows the history of the contracts and is able to come to a conclusion about them.
    • In line 1, the word “take,” according to Webster’s dictionary, can mean “to bring through the veil of death.” The person has died. However, in line 12, “reveal” means to unveil. The Cherubim have unveiled death. At the end of our lives, we all must die, but there is hope because the death will be unveiled. The poem has a nice Indo-European ring structure through the relation of these words.
    • The word “Candidate” is repeated in the first and second stanza. Webster’s defines “candidate” as “a person who will be resurrected from the dead.” In the first stanza, the person is taken to be with all the other people who are waiting to be resurrected. In the second stanza, person becomes a suspended, or restricted, candidate. The third stanza does not mention the candidate, but does discuss what happens to him or her. The candidate is given “that portion of the Vision,” or a “gift or endowment of the entrance into Paradise.” In the end, even if we do not alone qualify to enter into Paradise, we can with the help of the Savior.
    • Many words help to bring the image of a wedding: “finer” can refer to a fiancé, “ring” refers to the gifts that the newly married bride and groom give to each other, “word” as discussed earlier, and “reveal” which can refer to the veil of a bride. Similar words also point to the Bridegroom: “finer” can also be one who purifies, “the Word” can refer to both scriptures and Christ, “fill” can mean “to fill up the measure of sin,” and “portion” refers to a gift or bestowal.
  1. The relation of this text to other texts; the extent that it is repetition or new (speaking the present or the past).
    • As I mentioned earlier, this text relates to the story of the Bridegroom in the Bible. Using this context creates an image of marriage and uses imagery in the word choice to evoke the symbolism of the story in the Bible—through our marriage to the Bridegroom (Christ), we can be saved and brought through the veil of death.
    • The text uses the old story of the bible, but updates it by using the context of the Philologist, a person who loves words, and many new words that bring images of both a marriage and a salvation.
  1. The intent of the text builder.
    • The text discusses death, which happens to all mortals, and a way to overcome death. Emily is perhaps trying to let people know that they will overcome death, which can be a difficult concept for some people to understand, but is putting it in the context of a wedding, which people will be able to relate to and understand.
  1. The relation of units in the text to nonliterary events.
    • The wedding ceremony.
    • The events that happen after we die.

Contextual Relations in Emily's 1342

1 “Was not” was all the Statement.
2 The Unpretension stuns—
3 Perhaps—the comprehension—
4 They wore no Lexicons—

5 But lest our Speculation
6 In inanition die
7 Because “God took him” mention—
8 That was Philology—

1. “The relations of textual units to each other within the text, which establishes hierarchy and coherence in the text” (p. 25). “The relation of words, phrases, sentences, and larger units of text to each other” (p. 29).
a. “Was not” in Line 1 establishes a death, a not, a something no longer existing. Then in Line 7 the “God took him” gives the reason and explanation for the death.
b. The last words in Line 4 and Line 8 relate to one another. “Lexicons” in Line 4 is a book of language and “Philology” in Line 8 is the love of language. You can use the first to accomplish the last and the last justifies the creation and existence of the first. Death brings us back to God and God is the one who brought us into existence and created the need for death in the first place.

2. “Relations of textual units to other texts . . . especially texts considered to be in the same genre” (p. 25).
a. Line 1 and 7 come from the scriptures. Using the scriptures create the foundation of the poem.
b. Line 4, the word “Lexicon” is referencing dictionaries and the such. The people at Enoch’s time did not have books to help them understand Enoch’s translation.
c. The scriptures and this poem can be considered in the same genre because they both praise God.

3. The relations of the units in the text to the intention of the creatures of the creators of the text (intention defined as the relations of the creator to the context of the text, medium, and audience) (p.25).
a. The relation between creator and context of the text. The text discusses death and the power God exercises in a person leaving this world which may sometimes confuse those who are left behind. Emily is trying to understand the death of her father (see 4a.) and knows she must love and understand God to truly understand death.
b. Words cannot be loved unless they are understood, so a lexicon is needed for philology. Death cannot be understood without loving God, so a ‘translation’ of God’s language/actions is needed for love and peace.
c. Emily’s love of Philology (God) would help her understand the stunning (Line 2) Lexicon of life (which includes death, because without death there can be no life—opposition in all things).

4. The relation of textual units to nonliterary events (reference) (p. 25).
a. The death of her father as discussed in class.

Friday, June 26, 2009

Evelyn, assignment 1

I'm still having trouble posting, but hopefully this will suffice for today.


* "Success is counted sweetest" is isosyllabic as described on p.29. The syllables are equally counted and not dependent on stress.
* There is a chiasmus in the first two lines of the initial word in line one "success" and the line final "succeed" of line two.
* This is also a polyptoton--versions of the same root word.
* There is a merism in the phrase "purple Host" which I see as a metonymy for all the best of this world (kings, royalty, nobility).
* Also there is a totality of notion with "not one of all" which is argument and counter argument. "Took the Flag today" is a merism referring to leaders.
* There is an intensification with "defeated--dying" with the arugment and synomynous argument.
* The reference to battle is a merism for mortal life and the triumph refers to overcoming with eternal life.
* There is an anaphora where we look back (p.36) from the defeated (who didn't succeed) to the first of the poem where we
* There is the verse-line = sentence formula which Dickinson uses, as decribed on p. 39.
* Intensifications with the phrases "sorest need" and "purple Host."


It has been a fun "hide and seek," and I didn't find everyone yet. --Evelyn Stanley

Thursday, June 25, 2009

Assignment One "Success"

Emily Dickinson (J67/Fr112 1859)

Success is counted sweetest
By those who ne’er succeed.
To comprehend a nectar
Requires sorest need.

Not one of all the purple Host
Who took the Flag today
Can tell the definition
So clear of Victory

As he defeated -- dying --
On whose forbidden ear
The distant strains of triumph
Burst agonized and clear!

1. “nectar” and “Victory” = overcome death formula (Watkins 12)
2. “Success” and “succeed” = polyptoton (shared nucleus Watkins 30)
3. “purple Host” = kenning for army or conquerors or angels of death
4. Eulogy = business of the Indo-European bard
5. Word repetition of the adverb “clear” (lines 6 and 9)
6. Contextual relations: Dickinson read Webster’s 1844 dictionary (ADEL), a mounument of the 19th century philological renaissance. In the second stanza, the lines about ‘clearly telling the definition of victory’ give a hint that this may be one of Dickinson’s lexicon poems. Webster’s definition of CLEAR is evidence that Dickinson probably used the 1844 dictionary in composing the poem. Dickinson has echoed a phrase from Milton found in definition nine:
CLEAR, a. . . . 9. Evident; undeniable; indisputable; as, the victory was clear. Milton . . . 16. Open; distinct; not jarring, or harsh; as, a clear sound; a clear voice.

Webster’s definition suggests a paraphrase: ‘Not one of all those who took the flag today can tell the defintion of victory so indisputably as he who is defeated and dying’. Definition sixteen shows the word play of the second occurrence of clear in the poem: ‘the distant strains burst in indisputable triumph’, and ‘the distant strains of triumph are distinct sounds, not harsh or jarring ones’.
Poem 67 has other connections in Webster’s 1841 dictionary. Success, victory, and triumph are synonyms. The definitions of Success, host, flag, victory, defeated, and triumph have military denotations. The words sweetest, clear, ear, strains, and Burst have denotations of music and sound. Success and defeated have complimentary senses. The verb requires and the noun need are near-synonyms. The word sweetest is supported in Webster’s definition for nectar: ‘any very sweet and pleasant drink’.

7. Reading Etymologies (Becker 55-58)
Webster shows that NECTAR is a Latin borrowing of a Greek word, but he does not give the primary sense of the Greek root in his etymology. However, adjacent entries show that the Greek root necros- has to do with ‘death’:
NECROLOGY, n. [Gr. nekros, dead, and logos, discourse.] An account of the dead . . .

NECRONITE, n. [Gr. nekros, dead.] Fetid feldspar . . .

NECTAR, n. [L. from the Greek.] In fabulous history and poetry, the drink of the gods; hence, 2. Any very sweet and pleasant drink.

A tie between dead and Nectar in Poem 230 makes it certain that Dickinson knew of the semantic connection from Webster’s entries or from her classical language studies: He and I . . . ‘found dead’ -- ‘of Nectar’.
Again, Watkin’s Indo-European (IE) roots can provide further insights. A study of the words nectar, need, and dying in Watkins’ AHDIER reveals relationships between the primary senses words that Webster did not document:
*nek-1 . Death. 6. Greek nektar, drink of the gods, overcomimg death: NECTAR.

*nau-1. Death, to be exhausted. 1. OE neod, ned, distress, necessity: NEED.

*dheu-3. To become exhausted, die. 3. Old Norse, deyja, to die: DIE.

The Greek word nektar means to overcome death, and the poem speaks of victory and triumph in spite of death. The IE roots of nectar, need, and dying all have senses of death, and both need and dying carry underlying etymological resonances of ‘exhaustion’. Webster did not tell Dickinson about such ties, but the words she chose to collocate have subtle historical affinities.
As Dickinson studied words in Webster’s dictionary, even so-called false etymologies became the source of cohesion and metaphor in her poems. Hans Aarslef reminds us that error may be as influential as truth in the science of etymology (Aarslef England 3), and a mistaken etymology may be just as powerful as an accurate one in the art of poetry (Becker 55-58). Such is the case with the words purple and dying in Poem 67. The entry for PURPLE in Webster’s 1844 dictionary includes the poetic sense of ‘dyed with blood’, and the etymology for DYING is cross-referenced to DIE, which cites ‘dye’ as its primary sense.
PURPLE, a. [Fr. pourpre; L. purpureus; . . . L. purpura, a shell from which the color was obtained.] 1. Designating a color composed of red and blue blended, much admired, and formerly the Roman emperors wore robes of this color. 2. In poetry, red or livid; dyed with blood.

DYING, ppr. [from die.] Losing life; perishing; expiring; fading away; languishing . . .

DIE, v.i. [Sw. do; . . . The word dye, to tinge, is contracted from Dg, and the Arabic root signifies not only to tinge, but to perish; . . . the primary sense is to plunge, fall or sink . . . See Dye.] 1. To be deprived of respiration, of the circulation of blood, and other bodily functions, and rendered incapable of resuscitation, as animals, either by natural decay, by disease, or by violence; to cease to live; to expire; to decease; to perish; and with respect to man, to depart from this world.

DYE, v.t. [Sax. deagan; L. tingo, for tigo; . . . The primary sense is to throw down, to dip, to plunge.] To stain; to color; to give a new and permanent color to . . .

Using the etymology of DYE, Dickinson contrasts the royal colors of the purple host with the blood-dyed robes of he defeated, dying. As noted above, the actual root of DYING and DIE is the Old Norse word deyja, ‘to die’, from the IE root *dheu-3, meaning ‘to become exhausted; die’, but Dickinson’s metaphor is not less effective for Webster’s error.
The Webster 1844 etymology of CLEAR does not support any specific lexical items in the poem, but Watkins 1995 American Heritage Dictionary of Indo-European Roots posits that CLEAR (from Latin clarus) is related to the reconstructed Indo-European root *kel-1, which means ‘to shout’. Although Dickinson did not have access to the Indo-European roots of twentieth-century philology, the primary sense of ‘shouting’ in *ghel-2 has an interesting connection with Poem 67: a cognate of the word CLEAR is the word DECLARE, which is a synonym of the lexical item tell. The clear bursting of the distant strains of triumph also connotes ‘declaring’ or ‘shouting’.

8. “who took the flag today” = “won” by periphrasis or circumlocution

Success is Counted Sweetest

I'm not sure if all of mine are correct, and I have some of the same questions as Amanda.

(1) The meter is not consistent for every stanza. In the first stanza it is 7676, the second is 8676, and the third is 6776.

(2) The first stanza uses a quantifier: “Success is counted sweetest/By those who ne’er succeed.”

(3) “Success” is repeated in the first stanza; first as a noun and then as a verb

(4) The first stanza consists of two clauses while the second and third stanzas are one clause.

(5) I believe “the purple Host” is a kenning for royalty, which would make sense because royals traditionally did not participate in battle.

(6) “who took the flag today” is a kenning for victory

(7) The last stanza is about conquering death “as he defeated—dying—

(8) “The distant strains of triumph” is a kenning for trumpets, which traditionally sound the music of victory.

Amanda's Part: Watkins 3-93

Here are the features that I found. I didn't find too many, and I'm not sure if the things that I found are correct, but I hope I at least have the idea.

  1. The poem is both isosyllabic and accentual. The pattern follows the 7676 syllable pattern, with the exception of the first line of the second stanza, which has eight syllables.
  2. The first line of the second stanza is a marked phrase because it does not follow the 7676 syllable pattern. I'm not sure if the phrase is marked because the poet wanted to memorialize the men who were the victors or if she wanted to stress that not one of the victors could understand victory as much as the man who lost. Either way, the phrase is marked.
  3. The line "Who took the Flag today" is a kenning for victory.
  4. The line "As he defeated -- dying" has a copula, where the words "who was" are ellipsed out.
  5. There is a polyptoton in the first stanza, where "success" is repeated, first as a noun and second as a verb.
  6. There are two instances of word order variation: "To comprehend a nectar / Requires sorest need." and "Can tell the definition / So clear of Victory"
  7. The phrase "defeated [and] dying" could either be a merism or a qualifier b (argument + synonymous argument), but I am not sure which one, if it even is one.
  8. I also thought it was interesting that the first stanza is two complete clauses, while the last two stanzas are one clause. I don't know what this might mean, but there is word repetition - the last line of the second stanza says "so clear of Victory" and the last line of the third stanza says "Burst agonized and clear." The poet might be trying to set up a contrast between the purple host, who had won in this life, and the man who was defeated, who seems to have won the battle over death.
  9. The poet is following the business of the poet by memorializing the man who was dying (I also think that the man may have overcome death, but I haven't made my mind up about that one yet).

I also had a few questions about the poem:

  1. What does the word "forbidden" mean in this poem? It doesn't make sense in the way that we use it today, as something that is off-limits.
  2. Does the word "nectar" in the first stanza somehow give a part for the whole? I looked it up and part of the definition was the drink of the gods - does that have anything to do with eternity?
  3. I think that the word "agonized and clear" might be one of the formulas, but I can't decide which one.

Becker, Part 1, Discussion Questions

1. What is philology? (Becker 25; Dickinson and Webster below)

2. What is the role of the "new philologist" (Becker 26)?

3. Discuss Ortega's first axioms for a "new philology": deficiency and exuberance (Becker 5, 17, 19). Every literary text says less than we wish it to. Every literary text says more than we know and more than it intends.

4. What are the roles of redundancy and silence in a literary text? (Becker 5-8)

5. What is the difference between "language" and "languaging"? (Becker 8-12)

6. What is "context-shaping"? (Becker 8-12, 28, 43-46; cf. traditional forumlas and new songs in Watkins)

7. What are the differences between Aristotle's poetics (western Indo-European) and Javanese shadow plays (eastern Indo-European, Eurasian, and Austronesian)? What do western poetics and wayang shadow plays have in common? (Becker 32-43)

8. Compare the language of men with the language of the gods in Becker (50) and Watkins (38).

9. Apply Becker's 4 philological relations to a Dickinson philology poem (25, 29; cf. Louise Rosenblatt's Reader, Text, Poem)

10. Translate the book of Revelation by reshaping it into the context and features of the wayang LAKON structure. (Becker 36-37)

1126

Shall I take thee, the Poet said
To the propounded word?
Be stationed with the Candidates
Till I have finer tried –

The Poet searched Philology
And was about to ring
for the suspended Candidate
There came unsummoned in –

That portion of the Vision
The Word applied to fill
Not unto nomination
The Cherubim reveal –

1342

"Was not" was all the Statement.
The Unpretension stuns –
Perhaps – the comprehension –
They wore no Lexicons –

But lest our Speculation
In inanition die
Because "God took him" mention –
That was Philology – 1651

A Word made Flesh is seldom
And tremblingly partook
Nor then perhaps reported
But have I not mistook
Each one of us has tasted
With ecstasies of stealth
The very food debated
To our specific strength –

A Word that breathes distinctly
Has not the power to die
Cohesive as the Spirit
It may expire if He –
“Made Flesh and dwelt among us”
Could condescension be
Like this consent of Language
This loved Philology

PHI-LOL'O-GY, n. [Gr. {}; {}, to love, and {}, a word.]
1. Primarily, a love of words, or a desire to know the origin and construction of language. In a more general sense,
2. That branch of literature which comprehends a knowledge of the etymology or origin and combination of words; grammar, the construction of sentences or use of words in language; criticism, the interpretation of authors, the affinities of different languages, and whatever relates to the history or present state of languages. It sometimes includes rhetoric, poetry, history and antiquities.

(Webster, Noah. American Dictionary of the English Language. Amherst: Jones, 1844.)

Wednesday, June 24, 2009

Dickinson analysis using Watkins IE Formulas

It is I: AesaLina. Sadly, I could not find many, most likely due to my inexperience with the subject. Improvement will come I am sure. Here is what I did find.

1. Copula: “As he [who is] defeated . . .”

2. Word order variation: “Can tell the definition so clear of Victory”  “Can clearly tell the definition of Victory” or “Can tell the definition of Victory so clear”

3. Linguistic device (sound parallelism): At the end of each line in first stanza, Sweetest, Succeed, Nectar, Need.

4. Chiasmus: First and last stanza focus on the defeated while the middle stanza focuses on the victor.

5. Meter: Sevens and sixes meter (except for middle stanza).

Tuesday, June 23, 2009

Watkins IE Formulas

Indo-European Literary Features
from How to Kill a Dragon by Calvert Watkins

1. (p.38) Two different levels within the lexicon of a language:

“language of the gods” “language of men”
aesthetically marked aesthetically unmarked
language of poets (early Irish bérla na filed) language of prose
“tongue of angels” (1 Corinthians 13:1) “tongue of men”


2. (p. 39) Boundary sensitive:

Verse lines correspond to sentence, clause, phrase boundaries.
Play of figures for initial, second, pre-final, and final positions.
Sensitive vertically and horizontally.

3. (p. 40) Non-configurational vs. configurational:

separation; disjunction of constituents adjoined constituents – NA, NG, split NP
flexible word orders set word orders
distinctive movement rules governed by movement rules
creation; freedom; complexity; asymmetry; chaos; liberal; agency; variation convention; standard; simplicity; symmetry; order; conservative; law; repetition


4. (p. 41) Formulas:

Traditional themes – hero slays the dragon, bard memorializes hero/king/lord/Lord, and others.
Formulaic figures – sounds
syntax
senses

Set phrases –

PROTECT MEN and LIVESTOCK; WIVES, CHILDREN, and CATTLE
IMPERISHABLE FAME; ETERNAL RENOWN; ETERNITY
The LORD is my SHEPHERD (= “king”)
BARD eulogizes PATRON; PATRON’S GIFT to BARD
PRESERVE TRADITION but SING A NEW SONG


Taxonomy of Formulaic Phrase Types

I. Simple (function: nominators; designators; symbolic signs).

1. Quantifiers (function: totality of notion).

a. Argument + Negative Argument (with negation morphemes).
Vedic: “the seen and the unseen”


b. Argument + Counter Argument (with antonyms).
Greek: “gods above and below”


2. Qualifiers (function: intensification).

a. Argument + Negative Counter-Argument (litotes, with negation morphemes).
Old Persian: “true and not false” = “absolutely true”


b. Argument + Synonymous Argument (non-litotes; with synonyms).
Old English: “safe and sound” = “very safe”
Greek: “prayer and incantations” = “earnest prayer”


II. Complex (function: connectors; symbolic and indexical signs).

1. Kenning A + B = C (metaphoric, relation of similarity, relational, often genitive).
Greek “horse of the sea” =
Old Irish “milk of grain” =
Hittite “dog of the river” =
Greek “house carrier” =
Old English “shepherd of the people” =




2. Merism C: A, B (metonymic, relation of contiguity, copulative, synecdoche).
Hittite: “barley and spelt” =
Hittite: “grain and grapes” =
Greek: “bread and wine” =
Scriptural: “bread and water” =

Watkins, Part 1, Discussion Questions

1. What makes a verbal message a work of art? (pp. 3-6, 21-22, 26-28)

2. What is a FORMULA in Indo-European literary texts? (12-16)

3. What is the business of the IE poet, bard, skald? (25, 68-93)

4. What is the function of metrical prosody and sound patterning in a literary text? (pp. 34, 38, 46)

Monday, June 22, 2009

ELANG 535 COURSE SYLLABUS

ELANG 535 * LANGUAGE & LITERATURE
Section 001 * Summer 2009 * 3 credit hours
B140 JFSB * 1:00-3:50 p.m. T/Th

PROFESSOR: Cynthia L. Hallen
OFFICE HOURS: W 9:30-11:30 a.m. by appointment
OFFICE: 4073 JFSB
CONTACT: Cynthia_Hallen@byu.edu; 422-2020


PREREQUISITE: ELANG 223 or LING 330 required.

BRIEF COURSE DESCRIPTION: Welcome to ELANG 535. This course invites students to read carefully, write intensively, think deeply, and speak thoughtfully as they study the relationships between language and literature, with a main focus on English texts in the Indo-European bard tradition and a secondary focus on philology across cultures through translation. The emphasis in the course is on phonological, morphological, syntactic, semantic, and pragmatic aspects of English in literary works.

CLASSROOM PROCEDURES: Class attendance and participation are mandatory in order to build a community of learning together. Each student should arrange for a least one office consultation with Dr. Hallen. This course requires about six hours of class work and twelve hours of homework each week. The class periods will feature a combination of demonstrations, discussions, exercises, and lectures. Assignments and assessments will consist of activities designed to evaluate your knowledge and abilities according to the learning outcomes. This course will have materials available by email, on the Internet, and through Blackboard.

COURSE POLICIES AND ETIQUETTE: The course is conducted in compliance with Equal Opportunity and Affirmative Action regulations. If you have any special classroom needs, please let Dr. Hallen know. This syllabus is subject to minor revisions throughout the semester. The first injunction of the BYU Honor Code is the call to be honest. Students come to the university not only to improve their minds, gain knowledge, and develop career skills, but also to practice social skills appropriate for professional and academic settings: attention; courtesy; respect; patience; cheerfulness; integrity.

TEACHER CREDENTIALS: Dr. Hallen has a BA in English from BYU, an MA in TESOL from BYU, and a Ph.D. degree in Rhetoric, Composition, and the Teaching of English from the University of Arizona. She worked for the LDS Church translation department on scripture tools: a lexicon of words in the Triple Combination; and an exegesis of language features in 3 Nephi. She began teaching at BYU in 1991. She is presently the chief editor of the Emily Dickinson Lexicon.

GENERAL COURSE PURPOSES: To read, analyze, and create literary texts using language features such as sound patterns, etymologies, word order variations, word pairs, rhetorical figures, cognitive linguistics, corpus linguistics, and the relationship between text and context.
REQUIRED TEXTS AND OTHER MATERIALS:
Becker, Alton L. (A. L.) Beyond Translation: Essays toward a Modern Philology. Ann Arbor: Univ. of Michigan, 2000.

Watkins, Calvert. How to Kill a Dragon: Aspects of Indo-European Poetics. Oxford University Press, 2001.

READING SCHEDULE:

Week Day Date Homework & Class Discussion Becker Watkins
1 T 23-Jun 1. Indo-European Comparative Poetics pp. 3-93
1 Th 25-Jun 2. Text Building in Javanese pp. 1-87
2 T 30-Jun 3. Indo-European Case Studies pp. 97-193
2 Th 2-Jul 4. Some Burmese Figures pp. 185-258
3 T 7-Jul 5. The Strophic Style pp. 197-264
3 Th 9-Jul 6. Learning Malay pp. 261-294
4 T 14-Jul 7. How to Kill a Dragon: Basic Formula pp. 297-438
4 Th 16-Jul 8. Translating Emerson into Old Javanese pp. 297-330
5 T 21-Jul 9. Dragons and Dragon-Slayers pp. 441-468
5 Th 23-Jul 10. Music and Language pp. 333-364
6 T 28-Jul 11. From Myth to Epic pp. 471-515
6 Th 30-Jul 12. A Place for Particularity pp. 367-426
7 T 4-Aug 13. From Myth to Charm pp. 519-544
7 Th 6-Aug 14. Afterwords pp. 429-431
8 T 11-Aug Reading Day
8 Th 13-Aug Final Exam, 7:00 - 8:50 a.m. B140 JFSB



COURSE LEARNING OUTCOMES:
· Carefully read and discuss philological principles in How to Kill a Dragon (HKD) by Calvert Watkins and Beyond Translation (BT) by Alton Becker.
· Analyze literary texts using Watkins’ Indo-European poetic formulas, including simple and complex figures: quantifiers, qualifiers, kennings, and merisms (HKD 41-49).
· Analyze literary texts using Becker’s philological criticism, including contextual relations: structural, generic, medial, interpersonal, referential, and silential (BT 186).
· Analyze literary texts using the online corpus of Noah Webster’s 1844 American Dictionary of the English Language (ADEL at edl.byu.edu).
· Create literary texts using language features from Becker, Watkins, and other resources.
STUDENT LEARNING GOALS: Make a couple of goals for your learning in the course.
·
·

SUCCESS: Students who do well in my class . . .
· Read the assigned material before class. Bring thoughtful questions to class for discussion. Take notes during class discussions and while completing reading assignments.
· Check email often for announcements and assignment refinements. Use the syllabus to evaluate their progress throughout the course. Refer to the assignment due dates, descriptions, and evaluation criteria often.
· Get the name and phone number of a classmate to contact for help and fellowship:
_____________________________________________________________________

GRADING PROCEDURES: Students earn grades; the instructor does not “give” grades. The evaluation is based on individual effort, not on competitive comparisons. Assignments are due at or before the beginning of class unless otherwise indicated. Assignments turned in late will lose points. Letter grades are based on this breakdown:

A+ 100 points or more C 74-78
A 94-99 C- 70-73
A- 90-93 D+ 69
B+ 89 D 64-68
B 84-88 D- 60-63
B- 80-83 E 59 or less
C+ 79 UW I



ASSESSMENT BREAKDOWN: We have five main learning activities for a total of 100 percentage points:

1 Reading and Discussion 26
2 Watkins Analysis and Blog Posting 13
3 Becker Analysis and Blog Posting 13
4 Webster Analysis and EDL Posting 26
5 Text Creation and Presentation 22


1. Reading and Discussion. Students will receive one full percentage point for completing the assigned reading before class and one full percentage point for active participation for the entire class block. Points not available for partial reading; neither are points available for arriving late, leaving early, or slipping out in the middle.
2. Watkins Analysis and Blog Posting. For each reading assignment in the Watkins book, students will write a 2-3 page language analysis of a literary text. They will post it in the class blogspot before class and bring a paper copy to class for mark-up.
3. Becker Analysis and Blog Posting. For each reading assignment in the Becker book, students will write a 2-3 page language analysis of a literary text. They will post it in the class blogspot before class and bring a paper copy to class for mark-up.
4. Webster Analysis and EDL Posting. For the term project, students will analyze 13 words in a Dickinson poem, revising definitions as contributors to the Emily Dickinson Lexicon at ERLINK "http://edl.byu.edu" http://edl.byu.edu by using the online edition of Webster’s 1844 American Dictionary of the English Language.
5. Text Creation and Presentation. For the final examination, students will use language figures and linguistic details to write an original 10 page literary text and share a portion of it with class members in an oral presentation. Students will provide a copy of the text on paper and post a copy in the class website. Each student will have 20 minutes to present and five minutes for questions. You may invite family, friends, roommates, teachers, and others to attend the final exam on Thursday, August 13, from 7-8:50 a.m. in B140 JFSB.

OPTIONAL RESOURCES:

The Emily Dickinson Lexicon website. Cynthia L. Hallen, ed. Provo, Utah: Brigham Young University, 2007. This website defines words from Dickinson’s poems and entries from Noah Webster’s 1844 American Dictionary of the English Language. http://edl.byu.edu/.

Language and Literature: Journal of the Poetics and Linguistics Association (and other journals via EBSCO search in Modern Language Association online bibliography).

The Scriptures: CD-ROM Edition 1.1. Salt Lake City: The Church of Jesus Christ of Latter-day Saints, 2005. This is a software program with the King James Version of the Bible in English, Hebrew, and Greek.

Traugott, Elizabeth Closs and Mary Louise Pratt. Linguistics for Students of Literature. New York: Harcourt, Brace, Jovanovich, 1980.

Watkins, Calvert. The American Heritage Dictionary of Indo-European Roots. Houghton Mifflin, 2000. Humanities Reference or online at www.bartelby.com.