English 303 – Milton and Moral Choice
Fall 2012
Dr. Deirdre Keenan
MacAllister 302
262-524-7254
[email protected]
Office Hours:
MTR: 1:15-2:30
and by appt.
Text: John Milton The Major Works, Stephen Orgel et. al.
Course Objectives:
• To read a selection of Milton’s poetry and prose works, develop defensible interpretations, and gain
understanding of the literary and historical significance Milton’s work.
Outcome: Students will demonstrate their developing ability to present defensible interpretations of Milton’s
work and to articulate its literary and historical significance in class discussion, reading responses, exam answers,
and a critical paper.
•
To refine your knowledge and understanding of poetic and prose devices and their role in interpretation.
Outcome: Students will demonstrate their knowledge through identification and explanation of literary devices
and their role in interpretation in paper #1.
•
To develop knowledge of the complexity of the Early Modern Period and Milton’s place in it
Outcome: Students will demonstrate this knowledge in exam questions and discussion.
•
To be able to articulate—in discussion and writing—some ethical, moral, political, and philosophical implications
of Milton’s major poetical work.
Outcome: Students will demonstrate their developing ability to articulate these implications in class discussion
and exam answers.
•
To develop an understanding of select interpretive theories and methodologies current in Milton studies
Outcome: Students will demonstrate their understanding of select interpretive theories through a critical paper
that demonstrates an understanding of theory and methodology.
Course Work and Final Grade Distribution:
Thoughtful Participation
20%
Reading Responses
10%
Paper #1
15%
Paper #2
25%
Midterm
10%
Final
20%
Course Policies
Course policies are designed and implemented to clarify expectations for seminar-level work, to help students meet course
outcomes, and to be fair to all students.
Because the success of a seminar depends on a coherent, lively, and developing discussion among all of its members,
daily preparation and attendance is expected. As is typical in seminars, students will often be assigned a lead role in the
next day’s text interpretations. More than four absences or unprepared attendances will negatively affect your grade.
More than six absences constitutes course failure. If you are absent, it is your responsibility to find out what is required
on the day you return (in other words, absence is no excuse for returning unprepared).
Reading Assignments will appear short but require multiple and careful reading. You
will be expected to have a detailed understanding of (what is often called) a “literal”
meaning of the assigned passages. When discussion of a passage carries over to the next
day, please reread the passage to be fully prepared.
Papers (including drafts) must be typed in conventional format (1” margins, 12 pt. font, and double-spaced). Late papers
will be penalized. Paper #1 may be revised for a new grade if it is revised and resubmitted within one week after
receiving the final grade.
All written work must be your own or properly cited. Failure to do so is plagiarism.
Plagiarism is the unacknowledged borrowing of information, wording, organization, or ideas. Paraphrasing or changing
the word order of a source does not avoid plagiarism. Citing sources is not only imperative; it establishes your authority
by demonstrating your familiarity with work in the field of research. Plagiarism violations will be treated seriously according
to the policies of Carroll University as stated in the Student Handbook.
Because reading responses are designed to reward daily, careful preparation, they cannot be made up in the case of
absence.
Seminar Style: It has been my experience in teaching Milton that the most enjoyable seminars occur when
students are so highly engaged that they wish to raise issues of personal interest (rather than relying solely on my
direction).
University Policies:
Disabilities: Students with documented disabilities who may need accommodations or any student considering obtaining
documentation should make an appointment with Ms. Martha Bledsoe, Director of Services for Students with Disabilities,
no later than the first week of class. She can be reached by calling 262-524-7335 or contacting her via email at
[email protected].
Syllabus Subject to Change: The instructor and the University reserve the right to modify amend, or change the syllabus
(course requirements, grading policy, etc.) as the curriculum and/or program require(s).
Calendar (subject to change)
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Introduction. Guidelines on reading Blank Verse and other Poetic Elements.
PL I.1-330
PL 331-end
PL II. 1-555
II.556-1055
PL III.1-415, Blindness Sonnet #19, and excerpt from The Second Defense.
PL III.416-end
PL IV.1-597
PL IV.598-1015
PL V.1-307
PL V.308-907
No class: fall break
PL VI.1-912 and midterm review; Paper #1 due.
Midterm Exam;
Areopagitica
Areopagitica
PL VII. 1-end and Genesis 1-6
PL VIII.1-653
PL IX.1--833
PL IX.834-end
PL X.1-609 and "Methought I Saw My Late Espoused Wife"
PL X.610-1104 end
No class; Thanksgiving
PL XI
PL XII
TBA
TBA
Last day. Final Exam Review. Paper due.
Wednesday, December 19 ...................... 8:00 am
Guidelines for Reading Milton's Blank Verse
As long as they are helpful, I may provide line divisions for each book. Their purpose is to help you recognize
important narrative shifts and passages. They are not intended to replace your own careful reading and note
taking.
First, read for understanding of complete sentence structures, paying close attention to punctuation.
Understand each sentence before proceeding to the next. That is the only way to follow epic action and
characterization. If you do not understand a sentence, it is likely you will continue through a long passage
without knowing what is happening. Mark any passages you do not understand. Understanding of line
structure and other poetic devices will follow. It is imperative that you take notes and mark passages as you
read. Discussion will be based on detailed verse study.
Paradise Lost is written in blank verse, which means unrhymed lines of iambic pentameter (or, more simply,
every line is ten syllables [and when it isn't, it is deliberate]).
Milton composed the poem when he was completely blind.
Line Divisions Book I
1-26
Milton’s Invocation
27-83
Inspired Narrator
59-74
Description of Hell
84-124
Satan’s first speech
128-156
Beelzebub’s reply
157-191
Satan
192-241
Narrator--Epic simile—Satan/Leviathan and felix culpa theme
242-270
Satan’s private speech
272-282
Beelzebub
283-315
Narrator
315-329
Satan’s first public speech
331-338
Narrator (describes response of the fallen)
376Narrator prepares for catalogue of fallen leaders
392-522
Catalogue
623-662
Satan addresses assembled troops (public speech)
623-end
Narrator describes building Pandemonium and Mulciber
Book I ends with preparation for Great Consult
Select Poetic Elements Guide
Content and Form
Content refers to interpreted meanings.
Form refers to the poetic and linguistic vehicles of content.
Content and form always interact.
Blank Verse: Iambic pentameter, unrhymed lines (ten beats per lines, unstressed/stress)
On rare occasions, a line may fall short or extend beyond ten beats; assume that may be deliberate and consider
why in relation to content.
Verse paragraphs: In blank verse there are no stanzas; a v-p is marked by an indentation.
Line Structure elements to note:
Note first that sentences, and sentence substructures, not lines, determine primary meaning.
End-stopped (punctuation of any kind appears at the end of a line to reinforce the line pause;
OR
Enjambed (no punctuation appears, creating a tension between the line-end pause and the signal to move forward
in sentence.
Note also internal line punctuation, which also creates rhythm tensions.
First and last word (emphasized positions)
Note schemes and tropes that occur within lines (see below).
Syntax and inversion: Syntax means word order within sentences. Inversion is the deliberate alteration of
conventional word order for particular effect. For example, Adam's speech before the fall is often inverted to
emphasize particular words and meanings as well as freedom of expression.
Diction refers to word choice (in poetry, consideration of diction is critical)
Denotation refers to a dictionary definition of a word; what is its denotation.
Connotation refers to accumulated meanings, which may be positive or negative.
E.g. Calling someone an ingrate has the denotation of being ungrateful, but its connotation is extremely negative.
Note also the kinds of words: nouns, verbs, descriptive, abstract, concrete.
Schemes: Any kind of word play, such as word repetition or repetition of a word in various forms.
Tropes: Any kind of figurative language
Metaphor: an implied comparison, with a vehicle (word/image) that stands for other meaning.
Simile: an explicit comparison (often marked in Milton's by the word as.)
Epic simile: an explicit comparison that builds in detail over numerous lines.
Imagery: Milton's verse is exceptionally imagistic, which refers to all sensory perception.
Amplification: A poetic element whereby an idea is expanded over an extended number of lines.
Catalogues: An extended list of elements such as the fallen angels; the importance of a catalogue is the cumulative weight
of details.
Allusion: References to other texts, such as religious, classical, and literary.
Other useful terms:
Prologues in PL appear in the Books I, III, VII, and IX, regarded as Milton speaking in his own voice about the
of writing his epic poem, before the speaker shifts to the inspired narrator.
process
Invocations: a convention of classical epic poetry wherein a poet calls for help of a muse.
In medias res: a Latin term for a convention of classical epics, meaning the story begins in the middle of things (rather
than
at a beginning).
Felix Culpa: a Latin term, meaning "fortunate fall," or the good that came from Adam and Eve's fall.
Useful Resources:
Oxford English Dictionary (This is imperative for checking the meaning of words within their historical
context.)
King James Bible (This edition of scripture provide a common frame of reference to Milton’s works.)
Princeton Encyclopedia of Poetry and Poetics. Ed. Preminger (This text provides helpful and critical
explanations for most issues elements related to poetry.)
Concordance to the Poetical Works of John Milton. Ed. Bradshaw
Concordance to Paradise Lost. Ed. Hudson (Concordances provide exhaustive citation for every key word in a
writer’s work; so, for e.g., the second concordance will list every place a word such as “love” is used in
Paradise Lost, or the first concordance will list every use of a word such as “conscience” in all of Milton’s
works.
Milton Encyclopedia (This text provides a wide range of material that informs Milton’s work)
A Companion to Milton. Ed. Thomas Corns (2001); provides a wide selection of recent critical work.
A Preface to Milton. Lois Potter (Provides introductory commentary on Milton’s life and major works.)
Surprised By Sin. Stanley Fish (Although an older piece, this work, perhaps most significantly, influenced
interpretative approaches to Paradise Lost in the late Twentieth century.)
Language, Gender, and Power. Catherine Belsey (Provides valuable explanation of the relationship between
language, gender, and power in Milton’s work.)
Adam, Eve and the Serpent. Elaine Pagels (Provides an extensive study of these icons in Western literature.)
Milton’s Eve. Diane Kelsey McColley
Remembering and Repeating. Regina Schwartz (on Milton's theology)
Milton and the Idea of Woman. Ed. Julia M. Walker
Censorship and Interpretation. Annabel Patterson
Milton on Himself. John Diekoff (Presents every instance of Milton writing about himself in his works.)
Milton and the Revolution. Christopher Hill
Milton Quarterly (journal, UWM)
Literary Theory. Terry Eagleton (Provides a useful introduction to postmodern critical theories.)