Approaches to Literature (week 12)

※Ballad 

A ballad is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally "danced songs''. Ballads were particularly characteristic of the popular poetry and song of the British Isles from the later medieval period until the 19th century. They were widely used across Europe, and later in the Americas, Australia and North Africa. Ballads are 13 lines with an ABABBCBC form, consisting of couplets (two lines) of rhymed verse, each of 14 syllables.

※La Belle Dame sans Merci  

"La Belle Dame sans Merci"is a ballad written by the English poet John Keats. It exists in two versions, with minor differences between them. The original was written by Keats in 1819. He used the title of the 15th-century La Belle Dame sans Mercy by Alain Chartier, though the plots of the two poems are different. The poem is considered an English classic, stereotypical of other of Keats' works. It avoids simplicity of interpretation despite simplicity of structure. At only a short twelve stanzas, of only four lines each, with a simple ABCB rhyme scheme, the poem is nonetheless full of enigmas, and has been the subject of numerous interpretations.

※John Keats 

John Keatswas an English Romantic poet. He was one of the main figures of the second generation of Romantic poets, along with Lord Byron and Percy Bysshe Shelley, despite his works having been in publication for only four years before his death.

Although his poems were not generally well received by critics during his lifetime, his reputation grew after his death, and by the end of the 19th century, he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats's work was the most significant literary experience of his life

※Manna

Manna, sometimes or archaically spelled mana, is an edible substance which, according to the Bible and the Quran, God provided for the Israelites during their travels in the desert during the forty-year period following the Exodus and prior to the conquest of Canaan.

※Bible

The Bible is a collection of sacred texts or scriptures that Jews and Christians consider to be a product of divine inspiration and a record of the relationship between God and humans.Many different authors contributed to the Bible. What is regarded as canonical text differs depending on traditions and groups; a number of Bible canons have evolved, with overlapping and diverging contents. The Christian Old Testament overlaps with the Hebrew Bible and the Greek Septuagint; the Hebrew Bible is known in Judaism as the Tanakh. The New Testament is a collection of writings by early Christians, believed to be mostly Jewish disciples of Christ, written in first-century Koine Greek. These early Christian Greek writings consist of narratives, letters, and apocalyptic writings. Among Christian denominations there is some disagreement about the contents of the canon, primarily the Apocrypha, a list of works that are regarded with varying levels of respect.

※Three quatrains and a final couplet

The Shakespearean sonnet, also called the English or Elizabethan sonnet, consists of three quatrains and a final couplet. The quatrains rhyme ABAB, CDCD and EFEF, and the final couplet rhymes GG. The couplet variously summarizes the reflections in the quatrains, delivers an ironic twist at the end or looks at the same topic as the quatrains from a new perspective.

another division

In addition to dividing a Shakespearean sonnet into quatrains and a couplet, analysts talk about its “octave” and “sestet.” The octave is the first eight lines, or two quatrains, and it introduces the poem’s topic and offers a certain view of it. The sestet is the final six lines, or the third quatrain plus the couplet. Many Shakespearean sonnets have a shift in perspective, or “volta,” as the sestet begins. For instance, Shakespeare’s Sonnet 18 begins, “Shall I compare thee to a summer’s day?” and the octave describes the problems with a summer’s day: The sun can be too hot, it’s windy, the lovely flowers eventually die. The sestet begins with a shift: “But thy eternal summer shall not fade.” The remainder of the poem suggests that the youth it addresses is superior to a summer’s day because its beauty is everlasting, immortalized in the text.

Shakespearean, English or Elizabethan sonnets became popular during Queen Elizabeth I's reign.

※Stopping by Woods on a Snowy Evening

BY Robert Frost

Whose woods these are I think I know.  

His house is in the village though;  

He will not see me stopping here  

To watch his woods fill up with snow.  

My little horse must think it queer  

To stop without a farmhouse near  

Between the woods and frozen lake  

The darkest evening of the year.  

He gives his harness bells a shake  

To ask if there is some mistake.  

The only other sound’s the sweep  

Of easy wind and downy flake.  

The woods are lovely, dark and deep,  

But I have promises to keep,  

And miles to go before I sleep,  

And miles to go before I sleep.

※Birches

BY Robert Frost

When I see birches bend to left and right

Across the lines of straighter darker trees,

I like to think some boy's been swinging them.

But swinging doesn't bend them down to stay

As ice-storms do. Often you must have seen them

Loaded with ice a sunny winter morning

After a rain. They click upon themselves

As the breeze rises, and turn many-colored

As the stir cracks and crazes their enamel.

Soon the sun's warmth makes them shed crystal shells

Shattering and avalanching on the snow-crust—

Such heaps of broken glass to sweep away

You'd think the inner dome of heaven had fallen.

They are dragged to the withered bracken by the load,

And they seem not to break; though once they are bowed

So low for long, they never right themselves:

You may see their trunks arching in the woods

Years afterwards, trailing their leaves on the ground

Like girls on hands and knees that throw their hair

Before them over their heads to dry in the sun.

But I was going to say when Truth broke in

With all her matter-of-fact about the ice-storm

I should prefer to have some boy bend them

As he went out and in to fetch the cows—

Some boy too far from town to learn baseball,

Whose only play was what he found himself,

Summer or winter, and could play alone.

One by one he subdued his father's trees

By riding them down over and over again

Until he took the stiffness out of them,

And not one but hung limp, not one was left

For him to conquer. He learned all there was

To learn about not launching out too soon

And so not carrying the tree away

Clear to the ground. He always kept his poise

To the top branches, climbing carefully

With the same pains you use to fill a cup

Up to the brim, and even above the brim.

Then he flung outward, feet first, with a swish,

Kicking his way down through the air to the ground.

So was I once myself a swinger of birches.

And so I dream of going back to be.

It's when I'm weary of considerations,

And life is too much like a pathless wood

Where your face burns and tickles with the cobwebs

Broken across it, and one eye is weeping

From a twig's having lashed across it open.

I'd like to get away from earth awhile

And then come back to it and begin over.

May no fate willfully misunderstand me

And half grant what I wish and snatch me away

Not to return. Earth's the right place for love:

I don't know where it's likely to go better.

I'd like to go by climbing a birch tree,

And climb black branches up a snow-white trunk

Toward heaven, till the tree could bear no more,

But dipped its top and set me down again.

That would be good both going and coming back.

One could do worse than be a swinger of birches.

※Ode on a Grecian Urn

BY John Keats

Thou still unravish'd bride of quietness,

Thou foster-child of silence and slow time,

Sylvan historian, who canst thus express

A flowery tale more sweetly than our rhyme:

What leaf-fring'd legend haunts about thy shape

Of deities or mortals, or of both,

In Tempe or the dales of Arcady?

What men or gods are these? What maidens loth?

What mad pursuit? What struggle to escape?

What pipes and timbrels? What wild ecstasy?

Heard melodies are sweet, but those unheard

Are sweeter; therefore, ye soft pipes, play on;

Not to the sensual ear, but, more endear'd,

Pipe to the spirit ditties of no tone:

Fair youth, beneath the trees, thou canst not leave

Thy song, nor ever can those trees be bare;

Bold Lover, never, never canst thou kiss,

Though winning near the goal yet, do not grieve;

She cannot fade, though thou hast not thy bliss,

For ever wilt thou love, and she be fair!

Ah, happy, happy boughs! that cannot shed

Your leaves, nor ever bid the Spring adieu;

And, happy melodist, unwearied,

For ever piping songs for ever new;

More happy love! more happy, happy love!

For ever warm and still to be enjoy'd,

For ever panting, and for ever young;

All breathing human passion far above,

That leaves a heart high-sorrowful and cloy'd,

A burning forehead, and a parching tongue.

Who are these coming to the sacrifice?

To what green altar, O mysterious priest,

Lead'st thou that heifer lowing at the skies,

And all her silken flanks with garlands drest?

What little town by river or sea shore,

Or mountain-built with peaceful citadel,

Is emptied of this folk, this pious morn?

And, little town, thy streets for evermore

Will silent be; and not a soul to tell

Why thou art desolate, can e'er return.

O Attic shape! Fair attitude! with brede

Of marble men and maidens overwrought,

With forest branches and the trodden weed;

Thou, silent form, dost tease us out of thought

As doth eternity: Cold Pastoral!

When old age shall this generation waste,

Thou shalt remain, in midst of other woe

Than ours, a friend to man, to whom thou say'st,

"Beauty is truth, truth beauty,—that is all

Ye know on earth, and all ye need to know."

※Anecdote of the Jar

BY Wallace Stevens

I placed a jar in Tennessee,  

And round it was, upon a hill.  

It made the slovenly wilderness  

Surround that hill.

The wilderness rose up to it,

And sprawled around, no longer wild.  

The jar was round upon the ground  

And tall and of a port in air.

It took dominion everywhere.  

The jar was gray and bare.

It did not give of bird or bush,  

Like nothing else in Tennessee.

※Affixes

syn-: word-forming element meaning "together with, jointly; alike; at the same time," also sometimes completive or intensive, from Greek syn (prep.) "with, together with, along with, in the company of," from PIE *ksun- "with" (source also of Russian so- "with, together," from Old Russian su(n)-). Assimilated to -l-, reduced to sy- before -s- and -z-, and altered to sym- before -b-, -m- and -p-. Since 1970s also with a sense of "synthetic."

synod (n.)

late 14c., "ecclesiastical council," from Late Latin synodus, from Greek synodos "assembly, meeting; a coming together, conjunction of planets," from syn- "together" (see syn-) + hodos "a travelling, journeying; a manner or system (of doing, speaking, etc.); a way, road, path," a word of uncertain origin. Earlier in English as sinoth (early 12c.). Used by Presbyterians for "assembly of ministers and other elders" from 1593 to c. 1920, when replaced by General Council.

syncretism (n.)

"reconciliation of different beliefs," 1610s, from French syncrétisme (17c.) and directly from Modern Latin syncretismus (used by German Protestant theologian David Pareus, 1615), from Greek synkretismos "union of communities," from synkretizein "to combine against a common enemy," from syn- "together" (see syn-) + second element of uncertain origin. One theory connects it with kretismos "lying," from kretizein "to lie like a Cretan;" another connects it with the stem of kerannynai "to mix, blend;" krasis "mixture." Related: Syncretist; syncretistic.