Block Day: Testing

* Open
  • Review for the quiz
* Restoration and Romanticism Quiz (10-15 min.)

* Writing Review
* Practice A.P. Prompt (if you did not make up the essay from last week, this is not practice; if you did write one list week and wish to exchange this for last week's, you may).
  • Write in pen
  • Underline thesis
  • Write on only the front of each page
  • 40 minutes
* Rhetorical Transpony Assignment

HW: Work on your Transformer or My Little Pony Rhetoric Presentation

Wednesday, 1/29/14

* Open
* Block Day: Quiz on Historical Periods, I.C.E. practice, A.P. M.C.

* Review in groups while I check your notes:
* J11: In at least one well-developed paragraph, explain key facets that show The Rime of the Ancient Mariner is a Romantic literary production.

HW: J11


End of Next Week: Writers and Terms Test
 

Tuesday: Rime

Open
* The Romantic Period (1800-1850)

* The Rime of the Ancient Mariner by Samuel Taylor Coleridge
  • We will listen to an audio version on Spotify. 
 HW: Finish reading the poem

Monday, 1/27/14: Let the Romance Begin!

* Open

* Take Notes: The Romantic Period (1800-1850)

* The Rime of the Ancient Mariner by Samuel Taylor Coleridge

HW: Read Part 1

http://upload.wikimedia.org/wikipedia/commons/8/80/Gustave_Dore_Ancient_Mariner_Illustration.jpg

AP Passage Essay, 1991: Boswell, Johnson, Addison

Example 1

                                                      Boswell, Johnson, Addison

     In his work, The Life of Samuel Johnson, James Boswell uses extensive analogies to juxtapose the two writers and dispel the depreciation of Addison’s work by showing how the two writers possess differing styles that are both valuable and skilled.

     To do this, Boswell takes advantage of several analogies to compare the two writers. He utilizes one of these analogies when he likens Addison’s style to a wise friend sharing his opinions and Johnson’s writing to a didactic teacher. He uses this to show the way that Johnson writes as one explaining and writing to those under him, whereas Addison writes to his audience as an equal. Another analogy that Boswell uses is a comparison between the two writers and differing kinds of alcoholic drinks, both strong and light, with Johnson’s writing being the powerful beverage that profoundly changes a person and Addison being the smoother drink that provides a buzz of enlightenment. Boswell describes the writers through analogies in order to explain to the reader how the tone of each writer is different and why one isn’t necessarily better than the other. The use of analogies gives the writing style of each author a certain level of personification that paints a clear image of the style’s value in the mind of the reader.

     Boswell does all of this in order to fight the idea that Addison’s work is “nerveless and feeble.” In the passage, Boswell shows that Addison’s style doesn’t stand up to Johnson’s because it is not supposed to; Addison’s style is simply different from Johnson’s, not inferior to it. Both a hammer and a paint brush are needed to complete a house, and one is not inferior or superior to the other but simply have different uses, even if one is more expensive. Similarly, Addison and Johnson’s writings are simply different, though Johnson’s may carry more value. Boswell uses the analogies to show this, characterizing Addison’s writings as a pleasurable, smooth wine compared to Johnson’s strong, sometimes harsh liquor. Though the end of the passage intimates that Boswell holds Johnson in higher esteem than Addison, he makes it clear that Johnson’s strength does not prove Addison’s weakness. Gold may be more valuable than silver, but silver is still valuable.

      Boswell’s analogies make it clear that Addison and his style are valuable and not to be depreciated, even though Johnson’s stronger, more energetic style seems to more naturally dominate. Addison’s suave, gentile style is to be valued and appreciated for what it is and is not to be viewed as a failed attempt to write like Johnson, even if Johnson’s work and level of expertise should be admired and sought after.

AP Passage Essay; 2000; The Spectator; Addison

Roshni Joseph

Mr. Schwager

AP English Literature

11 March 2014

Rewrite: Satire Essay

     In the eighteenth century, satire was used to bring into light the situations that were seen
to be ridiculous. English satirist, Joseph Addison, created a character to ridicule the everyday life
of people. He employs the use of parallelism, pathos and tone, and imagery and detail to
strengthen his satire.

AP Passage Essay: 1991; Boswell, Johnson, Addison

Example 2
                                                                  1991 Q2

      In this passage taken from The Life of Samuel Johnson, Boswell makes comparisons and contrasts between two great writers: Joseph Addison and Samuel Johnson. Boswell himself exudes literary eloquence in his use of rhetoric to convey his opinions, in style. His chosen devices illuminate the comparisons between Addison and Johnson and gives clarity to the ideas he writes.

     His very first point, that it is unfair to call Addison’s style nerveless and feeble, is emphasized by Boswell’s use of parenthesis. “It has been of late fashion...to depreciate, I think very unjustly, the style of Addison.” Boswell inserts his own opinion, interrupting his topic sentence to emphatically insert that he disagrees with popular opinion on Addison’s lack of power, paving the way for the rest of his work in defense of Addison.

     Now that the door to comparison is open, Boswell launches into strings of parallelism, punctuated in groups of two: “the style of Addison as nerveless and feeble, because it has not the strength and energy of that of Johnson.” This juxtaposition of antonyms to describe the two writers flows seamlessly in Boswell’s parallelism. Not just here, but in the entirety of the passage, Boswell groups his descriptions bimodally: in groups of two. He describes Addison as “wise and accomplished,” and states that Johnson’s style gains “awe and admiration” from the audience. His observations of Addison and Johnson are clear, concise, and easy to follow because they are syntactically mirrored from one sentence to the next.

     Towards the end of the excerpt, Boswell compares the two writers’ styles to wine and liquor: “Addison’s style, like a light wine, pleases everybody from the first. Johnson’s, like a liquor of more body, seems too strong at first, but, by degrees, is highly relished.” His extended simile brings ultimate clarity to his opinions: he conveys here that although Addison’s style, in light of Johnson’s, is less in flavor and strength, it is better accepted by the majority of readers; Johnson’s style, heavy and strong, is an acquired taste. Readers would gradually become more and more accustomed to his style with constant reading.

     By use of eloquent, elegant, and excellent rhetorical devices, Boswell creates clear comparisons between Addison’s and Johnson’s styles that help defend and convey his point: Addison’s style isn’t “nerveless and feeble,” but rather, is more general and can appeal to everyone, and that Johnson, who dictates his “strength and energy,” is what every writer should aim to be.

AP Passage 2000; The Spectator; Addision



Aubrey Sonnenschein

Mr. Schwager

AP English Literature 405

11 March 2014
Surprisingly Satirical

            In his excerpt from the satirical piece, The Spectator, Joseph Addison uses various devices to portray his daily routine. His use of laconic, hourly updates helps to convey his point cogently and understandably. The repetition in the passage accurately symbolizes a sort of stagnation and repetitive occurrences in his daily life. It’s evident that the tone of his writing and of the character that he’s created is similar to the tone he propagates as he goes through his own life’s motions. By elaborating on life’s inertia but also the possibilities of it taking a sudden turn out of monotony, Addison makes himself relatable to others who suffer the same common, persistent struggles. He uses repetition of key events and elaborate detail shifts to unveil a satirical account of life’s ups, downs and middle ground.

Tone and Mood

Here are definitions and example lists to  help us distinguish tone and mood. 

Tone: The attitude the writer or speaker takes toward the subject, audience, or herself.  You will look more directly at the syntax to find this.

POSITIVE TONE WORDS
NEUTRAL
(+, -, or neutral)
NEGATIVE TONE WORDS
admiring
adoring
affectionate
appreciative
approving
bemused
benevolent
blithe
calm
casual
celebratory
cheerful
comforting
comic
compassionate
complimentary
conciliatory
confident
contented
delightful
earnest
ebullient
ecstatic
effusive
elated
empathetic
encouraging
euphoric
excited
exhilarated
expectant
facetious
fervent
flippant
forthright
friendly
funny
gleeful
gushy
happy
hilarious
hopeful
humorous
interested
introspective
jovial
joyful
laudatory
light
lively
mirthful
modest
nostalgic
optimistic
passionate
placid
playful
poignant
proud
reassuring
reflective
relaxed
respectful
reverent
romantic
sanguine
scholarly
self-assured sentimental
serene
silly
sprightly
straightforward
sympathetic
tender
tranquil
whimsical
wistful
worshipful
zealous
commanding
direct
impartial
indirect
meditative
objective
questioning
speculative
unambiguous
unconcerned
understated
abhorring
acerbic
ambiguous
ambivalent
angry
annoyed
antagonistic
anxious
apathetic
apprehensive
belligerent
bewildered
biting
bitter
blunt
bossy
cold
conceited
condescending
confused
contemptuous
curt
cynical
demanding
depressed
derisive
derogatory
desolate
despairing
desperate
detached
diabolic
disappointed
disliking
disrespectful
doubtful
embarrassed
enraged
evasive
fatalistic
fearful
forceful
foreboding
frantic
frightened
frustrated
furious
gloomy
grave
greedy
grim
harsh
haughty
holier-than-thou
hopeless
hostile
impatient
incredulous
indifferent
indignant
inflammatory
insecure
insolent
irreverent
lethargic
melancholy
mischievous
miserable
mocking
mournful
nervous
ominous
outraged
paranoid
pathetic
patronizing
pedantic
pensive
pessimistic
pretentious
psychotic
resigned
reticent
sarcastic
sardonic
scornful
self-deprecating
selfish
serious
severe
sinister
skeptical
sly
solemn
somber
stern
stolid
stressful
strident
suspicious
tense
threatening
tragic
uncertain
uneasy
unfriendly
unsympathetic
upset
violent
wry




Mood: The total feeling or atmosphere communicated by a scene, selection, or complete work of art.  Ask, how does this make me feel?



POSITIVE MOOD WORDS
NEGATIVE MOOD WORDS
amused
awed
bouncy
calm
cheerful
chipper
confident
contemplative
content
determined
dignified
dreamy
ecstatic
empowered
energetic
enlightened
enthralled
excited
exhilarated
flirty
giddy
grateful
harmonious
hopeful
hyper
idyllic
joyous
jubilant
liberating
light-hearted
loving
mellow
nostalgic
optimistic
passionate
peaceful
playful
pleased
refreshed
rejuvenated
relaxed
relieved
satiated
satisfied
sentimental
silly
surprised
sympathetic
thankful
thoughtful
touched
trustful
vivacious
warm
welcoming
aggravated
annoyed
anxious
apathetic
apprehensive
barren
brooding
cold
confining
confused
cranky
crushed
cynical
depressed
desolate
disappointed
discontented
distressed
drained
dreary
embarrassed
enraged
envious
exhausted
fatalistic
foreboding
frustrated
futile
gloomy
grumpy
haunting
heartbroken
hopeless
hostile
indifferent
infuriated
insidious
intimidated
irate
irritated
jealous
lethargic
lonely
melancholic
merciless
moody
morose
nauseated
nervous
nightmarish
numb
overwhelmed
painful
pensive
pessimistic
predatory
rejected
restless
sad
scared
serious
sick
somber
stressed
suspenseful
tense
terrifying
threatening
uncomfortable
vengeful
violent
worried


Original List Here




Block Day: AP Testing

* Open: Grammar
  1. Opening grammar
  • #1 " Great waves looked over others coming in,
     And thought of doing something to the shore
     That water never did to land before."
    * What kind of trope does this illustrate? 
    Please compose an example of your own. 
    (Answer for per. 7: personification) 
     
  • #2 "Please pass the pasty pickle pie, Penelope." 
    • What kind of scheme does this illustrate?  Please compose an example of your own. 
    • (Answer for per. 7: alliteration.  Note that repetition of consonant sounds elsewhere (not just at the beginning of the word) is called consonance.  Repetition of vowel sounds is assonance.) 
* Once you finish the opening grammar, please proceed to your in-class essay.

* Essay Work, 45 min.
  • Your prompt is on your desk.  
  • Please take out blank paper and a pen. 
  • You get to keep your prompt (staple it to the back of your essay when you turn it in), so WRITE ON IT.  Circle things, underline, plan...this is how we roll. 
  • Single space, please. 
  • Time yourself: 45 min. 
* M.C. #35-55, 20 min.
  • You have a test booklet open to #35.  
  • Work from #35 to the end of the test (#55)

Turn your work in and you are done!

HW: Consider which trope or scheme you could turn into a Transformer or My Little Pony
(Due. Feb. 6).  We will go over details on Monday.

Wednesday: A Modest Proposal

* Open
  • Grammar: Copy the following quotes.    
    • "Arms and the man I sing"--Virgil
    • "Grave danger you are in. Impatient you are." --Yoda, in Star Wars II: Attack of the Clones 
    • Which scheme do both quotes exemplify? 
    • Notes: List a few ethical and logical appeals Swift makes in his not-so-modest proposal.  
  • Collect Journal
* Notes Historical and Literary
* Essay Review from OWL

A. Which of the following two answers is the better one? Why?

Question: Discuss the contribution of William Morris to book design, using as an example his edition of the works of Chaucer.

a. William Morris's Chaucer was his masterpiece. It shows his interest in the Middle Ages. The type is based on medieval manuscript writing, and the decoration around the edges of the pages is like that used in medieval books. The large initial letters are typical of medieval design. Those letters were printed from woodcuts, which was the medieval way of printing. The illustrations were by Burn-Jones, one of the best artists in England at the time. Morris was able to get the most competent people to help him because he was so famous as a poet and a designer (the Morris chair) and wallpaper and other decorative items for the home. He designed the furnishings for his own home, which was widely admired among the sort of people he associated with. In this way he started the arts and crafts movement.

b. Morris's contribution to book design was to approach the problem as an artist or fine craftsman, rather than a mere printer who reproduced texts. He wanted to raise the standards of printing, which had fallen to a low point, by showing that truly beautiful books could be produced. His Chaucer was designed as a unified work of art or high craft. Since Chaucer lived in the Middle Ages, Morris decided to design a new type based on medieval script and to imitate the format of a medieval manuscript. This involved elaborate letters and large initials at the beginnings of verses, as well as wide borders of intertwined vines with leaves, fruit, and flowers in strong colors. The effect was so unusual that the book caused great excitement and inspired other printers to design beautiful rather than purely utilitarian books.


HW: Review


"I like to abbreve"

2013-2014

Feb Term Serve Day: Wed., Feb. 19

Mr. Schwager will be in Italy.  I encourage all of my students to get pre-approved to knock out some community service!  If you are here, you will be able to get ahead on your Jane Austen work.
Here are the details from our administration:

"Permission to miss class for the purpose of completing service hours on Wednesday, February 19th will be granted after submitting the necessary community service request form in advance.

a. The form can be obtained in Student Services or downloaded from school website at
http://www.mvcs.org/files/Academics/Academics%20Forms%20and%20Handbooks/Community%20Service%20Form%202009-10.pdf

Skunks, Acne, and Onions

Michelle Dai
Mr. Schwager
AP English Literature
06 March 2014

                                                            Skunks, Acne, and Onions

Dear Lover,

I shall not write you hackneyed notes of love, nor cliche professions of passion. Enough with
red roses and blue violets, candlelit evenings and coffee houses. If anything, sodium burns red, and
cobalt, blue; both are fatally toxic. Candles are fire hazards, and the average American consumes enough caffeine annually to kill a horse on the spot. Who needs to partake in such rituals of expression of affection? Chocolates add mass to the indulger, making for undesirable form and figure, and as Albert Einstein once stated, “Gravitation is not responsible for people falling in love”. Flowers are a poor economic investment, as they don’t live much longer than a week after separation at the stem.

Splendid Socks

Tommy Ahn
Mr. Schwager
AP English 407
9 March 2014

                                                             CWP Q3: Love Satire

    It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want for better socks.

    Socks, in modern society, have a tremendous and perhaps an invaluable importance among people. Regardless of the fact that some improvident people frequently refer to socks as something inconsequential or even inferior, there are numerous evidences to refute such claims. Both by their appearance and their practical usage, socks are the single most well invented clothing in the world.

Precious Packaging



Stephanie Song
Mr. Schwager
AP Literature
7 March 2014

CWP Q4: The Art of Packaging
It should be argued that the one of the greatest art forms of the world is in fact, consumer packaging. By packaging I refer to such things as the luxurious wrappings of lightly dyed crepe paper, or that of the layers of densely threaded cotton mix that accompany the products that we purchase every day. There is no other art form that brings as much joy and pleasure than which artful packaging bestows. The reality simply is that we purchase such products solely for the brilliant packaging that comes with it, for there is a kind of unique delight in the enigma of beautiful packaging.

Potato, Potato

Nicki Peternel
Mr. Schwager
AP English Literature, 407
10 March 2014

Potato, Potato 

Melted cheese caressing the mountain tops. Butter flowing in every valley. Sour cream
dolloped on the peaks like a soft cloud. Salt tucked away in hidden corners for a savory surprise.
Bacon bits sprinkled as an ornament across the entire display. This is a baked potato.

Offended



Lourdes Gomez
10 March 2014
AP English IV
Mr. Schwager
The Unforgivable Offense of a Man Once Loved
            Lisa wept like she never had before. Her head was buried in her now soggy hands, and her shoulders shook with each new outbreak of sobs. "Whatever is the matter, Lisa?" Asked her good friend Karen. "Oh, it's just awful!" Cried Lisa. "Herald! He... He-" she was cut off by her own hysterics. "What's wrong?" Asked an approaching friend, Karen. Before long, Lisa was completely surrounded by a rather large group of girls, all comforting, questioning, consoling, supporting, criticizing, and senselessly jabbering.  "Herald is a good guy. It can't have been that bad!" Reasoned one girl.

Love, Certainly



Hannah Torchio
Mr. Schwager
AP English 405
10 March 2014
CWP: Quarter 3 - It’s Love
            Perplexed, Emma looked up from what had brought her so much joy, so much laughter, and so much comfort in the past two weeks. Her cheeks became wet with tears, and she shook her head, and put her cell phone down. She discovered what she was holding onto wasn’t only her mode of communication but it was also the relationship she held so dear. Cell phones, she learned, could really connect two people, especially when the two people have unlimited text plans, like she and Ben did. A relationship that starts with the touching of the screen, could surely end with the absence of these touches. And it did. This is what made Emma cry, while feeling betrayed and quite bewildered. They had such a strong connection, she thought. They both had 3G. But when she puts the joking aside, she really did wonder what could have gone wrong. They texted each other almost every minute, and he would always say sorry if he didn’t text back within a ten minute time span.

Txt

Kayley Wilson
Mr. Schwager
AP English Lit.
10 March 2014

Quarter 3 CWP: A Sophisticated Poem on the subject of Love

Der ones was a Boi hoo luvd a Gurl
they had dted 4 too dayz
And Boi luvd Gurl so very much
he cudnt count da wayz
"i luv u bebe," sed da Boi

Dental Floss

Beatrice Jackson
Mr. Schwager
AP English IV
10 March 2014

CWP 3: Dental Floss
I love the feel of you between my teeth.
You stimulate my gums with your caress.
You draw out all the plaque I find beneath
With gentle glide, one sweep of great finesse.
With craftsmen skill, you chisel plaque away.
And sculpt my teeth to fit their perfect shape.
You guard against the throes of tooth decay,
So proudly can I hold my mouth agape.
Though to forget to brush I’d be amiss,
For brushing keeps the reek of breath at bay.
If he forgot to brush I would not kiss,
Nor smile would I, put yellow on display.
But brushing by itself can’t fully clean.
I need you both to practice good hygiene.

All Hail: Thursday!

Sara Lagan
10 March 2014
AP English 404
Mr. Schwager

                              Quarter 3 CWP: Mundane Satire: The Fundamental Law of Thursdays
To whom it may concern:

   Hello. My name is Sara, and I am a representative of our county’s local Representation Awareness Organization and Club. It has come to my attention that your institution fails to adequately cover what our Organization and Club see as one of the most important facets of the lives of many future United States voters: Thursdays.

   Now, before you simply delete this email and go on with your day, allow me to lay out a few key reasons about Thursdays, and why you should care.

I Miss Him



Myckenzie Toler
Mr. Schwager     
AP English 404
March 11, 2014
I Miss Him
         I miss him.

         I miss the butterflies that swarm in my stomach when he walks towards me. How he comes at no pace at all but in slow motion like a cat walking model. Wow, he's so hot when he walks, the way he puts one foot after the other.

I Pronounce You Cat and Wife



Anna Reeves
AP English 404
Mr. Schwager
11 February 2014
The San Juan Enquirer: Cat and Wife

     BOULDER, CO. -- Since Monday a new peice of groundbreaking legislation, potentially legalizing the intermarriage of the human and feline species, has been pending passage.  A crowd has gathered outside of the town hall in Boulder to await the council's final decision. Members in support of the legislation, known as Cat-alysts, are hopeful that legislators will be sympathetic to their cause, freedom of marraige for all species. 

Tuesday, Jan 21: Johnson

* Open
  • Grammar 
    • Copy this verse: "The heavens declare the glory of God, and the firmament shows His handiwork."
      • Now, is this a simple sentence, a compound sentence, a complex sentence, or a compound-complex sentence?  How do you know?
* Continue J10
 HW: Read "A Modest Proposal" by Jonathan Swift (1729)


Samuel Johnson on "The Bugbear Style"

The Bugbear Style

by Samuel Johnson

The great differences that disturb the peace of mankind are not about ends, but means. We have all the same general desires, but how those desires shall be accomplished, will for ever be disputed. The ultimate purpose of government is temporal, and that of religion is eternal happiness. Hitherto we agree; but here we must part, to try, according to the endless varieties of passion and understanding combined with one another, every possible form of government, and every imaginable tenet of religion.

Bacon and Johnson On Studies

Essay #1: Of Studies by Francis Bacon (1625)

Studies serve for delight, for ornament, and for ability. Their chief use for delight is in privateness and retiring; for ornament, is in discourse; and for ability, is in the judgment and disposition of business. For expert men can execute, and perhaps judge of particulars, one by one; but the general counsels, and the plots and marshalling of affairs, come best from those that are learned. To spend too much time in studies is sloth; to use them too much for ornament, is affectation; to make judgment wholly by their rules, is the humor of a scholar. They perfect nature, and are perfected by experience: for natural abilities are like natural plants, that need pruning, by study; and studies themselves do give forth directions too much at large, except they be bounded in by experience. Crafty men condemn studies, simple men admire them, and wise men use them; for they teach not their own use; but that is a wisdom without them, and above them, won by observation. Read not to contradict and confute; nor to believe and take for granted; nor to find talk and discourse; but to weigh and consider. Some books are to be tasted, others to be swallowed, and some few to be chewed and digested; that is, some books are to be read only in parts; others to be read, but not curiously; and some few to be read wholly, and with diligence and attention. Some books also may be read by deputy [by another person], and extracts [summaries] made of them by others; but that would be only in the less important arguments, and the meaner sort of books, else distilled books are like common distilled waters, flashy things. Reading maketh a full man; conference a ready man; and writing an exact man. And therefore, if a man write little, he had need have a great memory; if he confer little, he had need have a present wit: and if he read little, he had need have much cunning, to seem to know that he doth not. Histories make men wise; poets witty; the mathematics subtle; natural philosophy deep; moral grave; logic and rhetoric able to contend. Abeunt studia in mores [Studies pass into and influence manners]. Nay, there is no stand or impediment in the wit but may be wrought out by fit studies; like as diseases of the body may have appropriate exercises. Bowling is good for the stone and reins [bladderstone and kidney disorders]; shooting for the lungs and breast; gentle walking for the stomach; riding for the head; and the like. So if a man’s wit be wandering, let him study the mathematics; for in demonstrations, if his wit be called away never so little, he must begin again. If his wit be not apt to distinguish or find differences, let him study the Schoolmen; for they are cymini sectores [splitters of hairs]. If he be not apt to beat over matters, and to call up one thing to prove and illustrate another, let him study the lawyers’ cases. So every defect of the mind may have a special receipt.

Journal: Francis Bacon on Studies (20)
  • What kind of person does reading help produce?
    • Conversation (conference)?
    • Writing?
  • What balances reading out? Provide one supporting quotation.
  • What are proper motivations for reading?
  • What are improper motivations for reading?


___________________________________________________

Essay #2 On Studies by Samuel Johnson  (1753)


It is observed by Bacon, that "reading makes a full man, conversation a ready man, and writing an exact man."

As Bacon attained to degrees of knowledge scarcely ever attained by any other man, the directions which he gives for study have certainly a just claim to our regard; for who can teach an art with so great authority, as he that has practiced it with undisputed success?

Under the protection of so great a name, I shall, therefore, venture to inculcate to my ingenious contemporaries, the necessity of reading, the fitness of consulting other understandings than their own, and of considering the sentiments and opinions of those who, however neglected in the present age, had in their own times, and many of them a long time afterwards, such reputation for knowledge and acuteness as will scarcely ever be attained by those that despise them.

An opinion has of late been, I know not how, propagated among us, that libraries are filled only with useless lumber; that men of parts stand in need of no assistance; and that to spend life in poring upon books is only to imbibe prejudices, to obstruct and embarrass the powers of nature, to cultivate memory at the expense of judgment, and to bury reason under a chaos of indigested learning.
Such is the talk of many who think themselves wise, and of some who are thought wise by others; of whom part probably believe their own tenets, and part may be justly suspected of endeavouring to shelter their ignorance in multitudes, and of wishing to destroy that reputation which they have no hopes to share. It will, I believe, be found invariably true, that learning was never decried by any learned man; and what credit can be given to those, who venture to condemn that which they do not know?

If reason has the power ascribed to it by its advocates, if so much is to be discovered by attention and meditation, it is hard to believe, that so many millions, equally participating of the bounties of nature with ourselves, have been for ages upon ages meditating in vain: if the wits of the present time expect the regard of posterity, which will then inherit the reason which is now thought superior to instruction, surely they may allow themselves to be instructed by the reason of former generations.

When, therefore, an author declares that he has been able to learn nothing from the writings of his predecessors, and such a declaration has been lately made, nothing but a degree of arrogance unpardonable in the greatest human understanding, can hinder him from perceiving that he is raising prejudices against his performance; for with what hopes of success can he attempt that in which greater abilities have hitherto miscarried? Or with what peculiar force does he suppose himself invigorated, that difficulties hitherto invincible should give way before him.

Of those whom Providence has qualified to make any additions to human knowledge, the number is extremely small; and what can be added by each single mind even of this superior class, is very little: the greatest part of mankind must owe all their knowledge, and all must owe far the larger part of it, to the information of others. To understand the works of celebrated authors, to comprehend their systems, and retain their reasonings is a task more than equal to common intellects; and he is by no means to be accounted useless or idle who has stored his mind with acquired knowledge, and can detail it occasionally to others who have less leisure or weaker abilities.

Persius has justly observed that knowledge is nothing to him who is not known by others to possess it: to the scholar himself it is nothing with respect either to honour or advantage, for the world cannot reward those qualities which are concealed from it; with respect to others it is nothing, because it affords no help to ignorance or error.

It is with justice, therefore, that in an accomplished character, Horace unites just sentiments with the power of expressing them; and he that has once accumulated learning is next to consider how he shall most widely diffuse and most agreeably impart it.

A ready man is made by conversation. He that buries himself among his manuscripts besprent, as Pope expresses it, with learned dust, and wears out his days and nights in perpetual research and solitary meditation, is too apt to lose in his elocution what he adds to his wisdom, and when he comes into the world, to appear overloaded with his own notions, like a man armed with weapons which he cannot wield. He has no facility of inculcating his speculations, of adapting himself to the various degrees of intellect which the accidents of conversation will present; but will talk to most unintelligibly, and to all unpleasantly.

I was once present at the lectures of a profound philosopher, a man really skilled in the science which he professed, who having occasion to explain the terms opacum and pellucidum, told us, after some hesitation, that opacum was, as one might say opaque, and that pellucidum signified pellucid. Such was the dexterity with which this learned reader facilitated to his auditors the intricacies of science; and so true is it that a man may know what he cannot teach.

Boerhaave complains that the writers who have treated of chemistry before him are useless to the greater part of students; because they presuppose their readers to have such degrees of skill as are not often to be found. Into the same error are all men apt to fall who have familiarized any subject to themselves in solitude: they discourse as if they thought every other man had been employed in the same inquiries; and expect that short hints and obscure allusions will produce in others the same train of ideas which they excite in themselves.

Nor is this the only inconvenience which the man of study suffers from a recluse life. When he meets with an opinion that pleases him, he catches it up with eagerness; looks only after such arguments as tend to his confirmation; or spares himself the trouble of discussion, and adopts it with very little proof; indulges it long without suspicion, and in time unites it to the general body of his knowledge, and treasures it up among incontestible truths: but when he comes into the world among men who, arguing upon dissimilar principles, have been led to different conclusions, and being placed in various situations view the same object on many sides, he finds his darling position attacked, and himself in no condition to defend it: having thought always in one train, he is in the state of a man who having fenced with the same master, is perplexed and amazed by a new posture of his antagonist; he is entangled in unexpected difficulties, he is harassed by sudden objections, he is unprovided with solutions or replies; his surprise impedes his natural powers of reasoning, his thoughts are scattered and confounded, and he gratifies the pride of airy petulance with an easy victory.

It is difficult to imagine with what obstinacy truths which one mind perceives almost by intuition will be rejected by another; and how many artifices must be practised to procure admission for the most evident propositions into understandings frighted by their novelty, or hardened against them by accidental prejudice; it can scarcely be conceived how frequently in these extemporaneous controversies the dull will be subtle, and the acute absurd; how often stupidity will elude the force of argument, by involving itself in its own gloom; and mistaken ingenuity will weave artful fallacies, which reason can scarcely find means to disentangle.

In these encounters the learning of the recluse usually fails him: nothing but long habit and frequent experiments can confer the power of changing a position into various forms, presenting it in different points of view, connecting it with known and granted truths, fortifying it with intelligible arguments, and illustrating it by apt similitudes; and he, therefore, that has collected his knowledge in solitude, must learn its application by mixing with mankind.

But while the various opportunities of conversation invite us to try every mode of argument, and every art of recommending our sentiments, we are frequently betrayed to the use of such as are not in themselves strictly defensible: a man heated in talk, and eager of victory, takes advantage of the mistakes or ignorance of his adversary, lays hold of concessions to which he knows he has no right, and urges proofs likely to prevail on his opponent, though he knows himself that they have no force: thus the severity of reason is relaxed, many topics are accumulated, but without just arrangement or distinction; we learn to satisfy ourselves with such ratiocination as silences others; and seldom recall to a close examination that discourse which has gratified our vanity with victory and applause.

Some caution, therefore, must be used, lest copiousness and facility be made less valuable by inaccuracy and confusion. To fix the thoughts by writing, and subject them to frequent examinations and reviews, is the best method of enabling the mind to detect its own sophisms, and keep it on guard against the fallacies which it practises on others: in conversation we naturally diffuse our thoughts, and in writing we contract them; method is the excellence of writing, and unconstraint the grace of conversation.

To read, write, and converse in due proportions is, therefore, the business of a man of letters. For all these there is not often equal opportunity; excellence, therefore, is not often attainable: and most men fail in one or other of the ends proposed, and are full without readiness, or ready without exactness. Some deficiency must be forgiven all, because all are men; and more must be allowed to pass uncensured in the greater part of the world, because none can confer upon himself abilities, and few have the choice of situations proper for the improvement of those which nature has bestowed: it is, however, reasonable, to have perfection in our eye; that we may always advance towards it, though we know it never can be reached.

Journal: Samuel Johnson on Studies (20)
  • What happens to the isolated scholar?
  • What is the essential difference between the speaking (or conversing) on a subject and writing on a subject? Provide one supporting quotation. 
  • Rhetorically, is Johnson's essay synonymous (same thesis), antithetical (opposing), or synthetic (taking and building more), compared to Bacon's?  Explain. 


__________________________________________________________

Essay #3: The Bugbear Style by Samuel Johnson

The great differences that disturb the peace of mankind are not about ends, but means. We have all the same general desires, but how those desires shall be accomplished, will for ever be disputed. The ultimate purpose of government is temporal, and that of religion is eternal happiness. Hitherto we agree; but here we must part, to try, according to the endless varieties of passion and understanding combined with one another, every possible form of government, and every imaginable tenet of religion.


We are told by [the writer and civil servant Richard] Cumberland that rectitude, applied to action or contemplation, is merely metaphorical; and that as a right line describes the shortest passage from point to point, so a right action effects a good design by the fewest means; and so likewise a right opinion is that which connects distant truths by the shortest train of intermediate propositions.

To find the nearest way from truth to truth, or from purpose to effect, not to use more instruments where fewer will be sufficient; not to move by wheels and levers what will give way to the naked hand, is the great proof of a healthful and vigorous mind, neither feeble with helpless ignorance, nor overburdened with unwieldy knowledge.

But there are men who seem to think nothing so much the characteristic of a genius, as to do common things in an uncommon manner; like Hudibras, to tell the clock by algebra; or like the lady in Dr. Young's satires, to drink tea by stratagem; to quit the beaten track only because it is known, and take a new path, however crooked or rough, because the strait was found out before.

Every man speaks and writes with intent to be understood; and it can seldom happen but he that understands himself, might convey his notions to another, if, content to be understood, he did not seek to be admired; but when once he begins to contrive how his sentiments may be received, not with most ease to his reader, but with most advantage to himself, he then transfers his consideration from words to sounds, from sentences to periods, and as he grows more elegant becomes less intelligible.

It is difficult to enumerate every species of authors whose labours counteract themselves; the man of exuberance and copiousness, who diffuses every thought through so many diversities of expression, that it is lost like water in a mist; the ponderous dictator of sentences, whose notions are delivered in the lump, and are, like uncoined bullion, of more weight than use; the liberal illustrator, who shews by examples and comparisons what was clearly seen when it was first proposed; and the stately son of demonstration, who proves with mathematical formality what no man has yet pretended to doubt.

There is a mode of style for which I know not that the masters of oratory have yet found a name; a style by which the most evident truths are so obscured, that they can no longer be perceived, and the most familiar propositions so disguised that they cannot be known. Every other kind of eloquence is the dress of sense; but this is the mask by which a true master of his art will so effectually conceal it, that a man will as easily mistake his own positions, if he meets them thus transformed, as he may pass in a masquerade his nearest acquaintance.

This style may be called the terrifick, for its chief intention is, to terrify and amaze; it may be termed the repulsive, for its natural effect is to drive away the reader; or it may be distinguished, in plain English, by the denomination of the bugbear style, for it has more terror than danger, and will appear less formidable as it is more nearly approached.

A mother tells her infant, that two and two make four; the child remembers the proposition, and is able to count four to all the purposes of life, till the course of his education brings him among philosophers who fright him from his former knowledge, by telling him, that four is a certain aggregate of units; that all numbers being only the repetition of an unit, which, though not a number itself, is the parent, root, or original of all number, four is the denomination assigned to a certain number of such repetitions. The only danger is, lest, when he first hears these dreadful sounds, the pupil should run away; if he has but the courage to stay till the conclusion, he will find that, when speculation has done its worst, two and two still make four.

An illustrious example of this species of eloquence may be found in "Letters concerning Mind." The author begins by declaring, that "the sorts of things are things that now are, have been, and shall be, and the things that strictly are." In this position, except the last clause, in which he uses something of the scholastick language, there is nothing but what every man has heard, and imagines himself to know. But who would not believe that some wonderful novelty is presented to his intellect, when he is afterwards told, in the true bugbear style, that "the ares, in the former sense, are things that lie between the have-beens and shall-bes. The have-beens are things that are past; the shall-bes are things that are to come; and the things that are, in the latter sense, are things that have not been, nor shall be, nor stand in the midst of such as are before them, or shall be after them. The things that have been, and shall be, have respect to present, past, and future. Those likewise that now are have moreover place; that, for instance, which is here, that which is to the east, that which is to the west."

All this my dear reader, is very strange; but though it be strange, it is not new; survey these wonderful sentences again and they will be found to contain nothing more than very plain truths, which till this Author arose, had always been delivered in plain language*.

* These "Letters on Mind" were written by a Mr. Petvin, who after some years again astounded the literary public by sending forth, in diction equally terrific, another tract entitled a "Summary of the Soul's Perceptive Faculties," 1768. He was at that time compared to Duns Scotus, the subtle Doctor, who, in the weakness of old age, wept because he could not understand the subtleties of his earlier writings.

Journal: Samuel Johnson: The Bugbear Style (20)
  • What makes for a right action according to Richard Cumberland?
  • What characteristics does the bugbear style have?
  • What kind of speakers or writers would you say employ the bugbear style today?

Mississippi Isabel by King Charles


I found out about her
Her name's Mississippi Isabel
She grows wild strawberries
She's made of ivory and pearl

To look at the universe
She'd abandoned the world
I'd go with her back to the darkness
Abandon my life for this girl

I rode around on my bicycle
All the way in the rain
She kissed me once I took her out for lunch
And she never kissed me again

I rode around on my bicycle
All the way in the rain
She kissed me once I took her out for lunch
And she never kissed me again

Her beauty knows no tick of time
She's the song of the nightingale
The torture and the remedy
The tragedy in the passionate tale

And I begged for forgiveness
For the way that I am
And I hope she doesn't blame men
For the inelegance of men

I rode around on my bicycle
All the way in the rain
She kissed me once I took her out for lunch
And she never kissed me again

I rode around on my bicycle
All the way in the rain
She kissed me once I took her out for lunch
And she never kissed me again

I rode around on my bicycle
All the way in the rain
She kissed me once I took her out for lunch
And she never kissed me again

I rode around on my bicycle
All the way in the rain
She kissed me once I took her out for lunch
And she never kissed me again

I rode around on my bicycle
All the way in the rain
She kissed me once I took her out for lunch
And she never kissed me again

I rode around on my bicycle
All the way in the rain
She kissed me once I took her out for lunch
And she never kissed me again

Block Day: Prose

* Open
  • List the parts of speech.
    • Review the parts of speech at OWL if you wish once you finish.  
      • I like OWL, but this list of eight is a bit different than the traditional breakdown.  How is it different?   
* Read the first two essays from Francis Bacon ("Of Truth", "Of Innovation").



Notes:
  • "Of Truth" (the harder essay)
    • He opens with Pilate's famous question to Christ. 
    • He notes that Skeptics (both the ancient sect and the modern, rather bloodless version) are to be found positing similar statements ("What is truth?" There is no absolute truth, etc.). 
    • He posits that lies may look prettier than the natural truth.
    • Some say fiction and poetry is the wine of demons ("vinum daemonum"). 
    • He says those "lies" are transitory at worst and that the dangerous lies are those that take up residence in the soul. 
    • He quotes Lucretius the pagan Epicurean who recognized that truth is the best vantage point possible for mankind (better than ship-watching from shore, better than watching a battle from a castle window).
    • He breaks forth in glorious tripartite parallelisms as he meditates on the creation of the world and reason. 
    • He follows Montaigne in the thought that lies are shameful because they show boldness or disrespect toward God and cowardice toward man.  We should be the reverse (reverent toward God and bold and true on earth).
    • He takes the question in Luke 18 ("Nevertheless when the Son of man cometh, shall he find faith on the earth?"), and forms it into a statement to conclude his essay. 
  • "Of Innovation" (the easier essay)
    • He considers innovation both positive and negative. 
    • Medicine is a good example of generally positive innovation. 
    • Consider how nature innovates without jarring revolution. 
    • We should beware governmental innovation. 
    • He concludes with a wonderful thought from Jeremiah 6:16.
Writing Assignment: Journal 10
  • 10.1 In one paragraph, explain how you agree or disagree with a statement in either short essay from Bacon. 
  • 10.2 What do you find in Bacon's style that you see less of today in news articles or other essays? 
* Next read an essay from Samuel Johnson.  You may read a longer essay on Shakespeare in the book above (pg. 109) or you may read a shorter piece on procrastination here.
  • 10.3 From yesterday's Samuel Johnson reading:  What did Johnson think of Milton's decision not to use rhyme and instead employ blank verse in his epic work?
  • Review your rhetoric, and peruse this condensed lesson on rhetorical structure.
  • 10.4  Find at least five examples of rhetorical schemes in Johnson's writing (you may quote from either or both essays by Johnson).  Note the scheme (such as parallelism) and quote the example from the text.  
* If you finish early (esp. per. 7, as you may get ahead with no discussion): Please read the other Johnson essay then any other essay from the book of English Essays that looks interesting to you.  Keep a weather eye out for rhetorical style.

HW: Journal 10.3

Sir Francis Bacon (1561--1626)

Wednesday, 1/15

* Open
  • Grammar: is this a clause or phrase (and how do you know)? 
    • Since you eat toothpaste
Robert Herrick

* Literary Criticism
  • Please read Samuel Johnson's thoughts on John Milton and metaphysical poets at the Poetry Foundation
    • Pages one through five concern Milton
      • Page 1 begins Paradise Lost
      • Pages 2-3 treat other writings that you have not read, but read those pages nonetheless. 
      • Page 4 brings us Paradise Regained.
      • Pages 4-5 treat blank verse and rhyme.
    • Pages five through six concern metaphysical poets (Cowley and John Donne)
    • Begin 9.3
      •  In one paragraph, tell me about Johnson's thoughts on Paradise Lost and Paradise Regained (How might the subject have been different than the fall and redemption of mankind?  How does it seem Paradise Regained was received?  Why is that?)
HW: Journal 9.3

The Periodic Sentence

  • Copy into terms: Periodic Sentence: 
    A sentence (frequently long and involved) marked by suspended syntax in which the sense is not completed until the final clause (or very near there)--usually with an emphatic climax. Contrast with loose sentence.


 Advice:

"The proper place in the sentence for the word or group of words that the writer desires to make most prominent is usually the end."
(William Strunk, Jr., and E.B. White, The Elements of Style


Explanation:
  • Periodic Sentences in Classical Rhetoric
"Isocrates' style is particularly characterized by the use of the periodic sentence, a style still recommended today as a means to achieve emphasis. Periodic sentences are formed by a series of clauses that build to the main clause leading to a climactic effect. Here is an example of the periodic sentence from Isocrates' political treatise, Panegyricus:
For when that greatest of all wars broke out and a multitude of dangers presented themselves at one and the same time, when our enemies regarded themselves as irresistible because of their numbers and our allies thought themselves endowed with a courage which could not be excelled, we outdid them both in a way appropriate to each."
(James J. Murphy and Richard A. Katula, A Synoptic History of Classical Rhetoric, 3rd ed. Lawrence Erlbaum, 2003)




More Examples (copy one into notes):
  • "And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing."
    (The King James Bible, I Corinthians 13)

  • "Upon every other stage the universal agent is love, by whose power all good and evil is distributed, and every action quickened or retarded. To bring a lover, a lady, and a rival into the fable; to entangle them in contradictory obligations, perplex them with oppositions of interest, and harass them with violence of desires inconsistent with each other; to make them meet in rapture and part in agony; to fill their mouths with hyperbolical joy and outrageous sorrow; to distress them as nothing human ever was distressed; to deliver them as nothing human ever was delivered, is the business of a modern dramatist."
    (Samuel Johnson, "Preface to Shakespeare," 1765)


  • “Addison’s style, like a light wine, pleases everybody from the first. Johnson’s [style], like a liquor of more body, seems too strong at first, but, by degrees, is highly relished; and such is the melody of his periods, so much do they captivate the ear, and seize upon the attention, that there is scarcely any writer, however inconsiderable, who does not aim, in some degree, at the same species of excellence.”
    (James Boswell, The Life of Samuel Johnson, 1791) 

  • "To believe your own thought, to believe that what is true for you in your private heart is true for all men, that is genius, " or, as likely, emotive, babbling insanity, Mr. Ralph Waldo Emerson. 

  • "In the almost incredibly brief time which it took the small but sturdy porter to roll a milk-can across the platform and bump it, with a clang, against other milk-cans similarly treated a moment before, Ashe fell in love."
    (P.G. Wodehouse, Something Fresh, 1915) 



  • "Years and years ago, when I was a boy, when there were wolves in Wales, and birds the color of red-flannel petticoats whisked past the harp-shaped hills, when we sang and wallowed all night and day in caves that smelt like Sunday afternoons in damp front farmhouse parlors, and we chased, with the jawbones of deacons, the English and the bears, before the motor car, before the wheel, before the duchess-faced horse, when we rode the daft and happy hills bareback, it snowed and it snowed."
    (Dylan Thomas, A Child's Christmas in Wales, 1955)

Tuesday, 1/14/13

* Open

  • What is catachresis?
    • Give one example.
* Check your work on John Donne

 * Next Poet: Robert Herrick

If you finish 9.2 early
  • Please read Samuel Johnson's thoughts on John Milton and metaphysical poets at the Poetry Foundation
    • Pages one through five concern Milton
      • Page 1 begins Paradise Lost
      • Pages 2-3 treat other writings that you have not read, but read those pages nonetheless. 
      • Page 4 brings us Paradise Regained.
      • Pages 4-5 treat blank verse and rhyme.
    • Pages five through six concern metaphysical poets (Cowley and John Donne)
  • You will answer questions from this reading on block day. 
HW: Finish Journal 9.2

Monday, 1/13: Restoration Continued

* Open
  • What is a sentential adverb?
    • Give one example.
* Rhetoric (See right side Literary Study)
* John Donne
* Robert Herrick
HW: Finish your journal

Block Day!

* Open
  • Punctuate the following, please: "Therefore about an hour and a half ere they eat at Noon should be allow'd them for exercise and due rest afterwards But the time for this may be enlarg'd at pleasure according as their rising in the morning shall be early."
  • Lit. Timeline: Short
* Review Milton
If you finish early: Tomorrow:
HW: Finish

Wednesday, Jan. 8

* Open

* Now, let's read some example works. After you read each selection, please answer questions as a running Journal 8: Renaissance through Restoration Writers

HW: Answer (at least) through Question 4 of J8

"Journey of the Magi" by T. S. Eliot

“A cold coming we had of it,
Just the worst time of the year
For a journey, and such a long journey:
The ways deep and the weather sharp,
The very dead of winter.”                              5
And the camels galled, sore-footed, refractory,
Lying down in the melting snow.
There were times we regretted
The summer palaces on slopes, the terraces,
And the silken girls bringing sherbet.                10
Then the camel men cursing and grumbling
And running away, and wanting their liquor and
      women,
And the night-fires going out, and the lack of
      shelters,
And the cities hostile and the towns unfriendly
And the villages dirty and charging high prices:      15
A hard time we had of it.
At the end we preferred to travel all night,
Sleeping in snatches,
With the voices singing in our ears, saying
That this was all folly.                               20
 
Then at dawn we came down to a temperate valley,
Wet, below the snow line, smelling of vegetation;
With a running stream and a water-mill beating the
       darkness,
And three trees on the low sky,
And an old white horse galloped away in the            25
      meadow.
Then we came to a tavern with vine-leaves over
      the lintel,
Six hands at an open door dicing for pieces of
      silver,
And feet kicking the empty wine-skins.
But there was no information, and so we continued
And arrived at evening, not a moment too soon          30
Finding the place; it was (you may say)
      satisfactory.
 
All this was a long time ago, I remember.
And I would do it again, but set down
This set down
This: were we led all that way for                      35
Birth or Death? There was a Birth, certainly,
We had evidence and no doubt. I had seen birth
      and death,
But had thought they were different; this Birth was
Hard and bitter agony for us, like Death, our death.
We returned to our places, these Kingdoms,              40
But no longer at ease here, in the old dispensation,
With an alien people clutching their gods.
I should be glad of another death.