III. THE TEACHING OF LYRIC POETRY
The lyric is a poem which voices the personal feeling, sentiment, or passion of the poet. The poet's feelings are the feelings of human nature, but purified and intensified by his genius. So they are as varied as human nature, but nobler and more beautiful. Lyric poetry, then, appeals to our various moods and often expresses that of which we have been vaguely conscious in ourselves. Sometimes, too, it inspires us to nobler and purer feeling and to higher conceptions of life.
The wise teacher seeks to awaken the interest and arouse the imagination of his pupils. He tries to bring them into the right mood, but avoids putting himself between them and the poet. He must see that they understand the poet's thought, but the appeal to the feelings he will best leave to the poet himself.
Repeated readings and the memorizing of important passages are nowhere so important as in the study of lyric poetry. To make repeated readings useful, however, the teacher must convince the class by questions, or the introduction of discussion, that they have overlooked some message of the poet's. A general plan of study might include, first, wise preparatory work on the part of the teacher to bring the class into the atmosphere of the poem; second, a mastery of the details of the poem; third, a study of the content of the poem as a whole and in parts; fourth, a study of form and structure; fifth, a study of the poem as an interpretation of the poet.
Outline for the Study of L'Allegro and Il Penseroso
I. Preparation
A brief discussion of the meaning of lyric poetry will be helpful, with discriminations between it and other forms of verse.
The class will be put in the right attitude for study by an interesting account of Milton's life up to 1632; his home influences; his education; his Puritan ideas; the difference between Puritanism in Milton's youth and Puritanism in the days of the Commonwealth; and, especially, by a vivid picture of the surroundings of the poet at Horton.
II. Reading and Study
The first reading may be utilized to get a general idea of the poem, and to mark the thought divisions. Other readings will make the student familiar with the details of description, the allusions, the difficult words and constructions, the varieties of meter and rhyme. A comparison, point by point, between the two poems will be helpful. Such a one might be written in the notebooks after the plan suggested by Mr. Chubb in The Teaching of English, p. 298.
| Lines | L'Allegro | Lines | Il Penseroso |
| 1-10 | Dismissal--of Melancholy | 1-10 | of deluding joys |
| 1-46 | Invitation to Mirth | 11-54 | to Melancholy |
| 47-150 | Progress of day of social delights | 55-174 | of night of solitary joys |
| 42 | (a) Lark's Reveille | 56 | (a) Evening |
| 44 | (b) "Dappled Dawn," cock, hounds, etc. | 67 | (b) Nightingales even-song |
| 60 | (c) Sunrise | 74 | (c) Moonrise |
| (d) Sounds of labor | (d) Curfew |
III. Study of the Poem as a Whole
A comprehensive study will naturally follow the detailed study and may, to a certain extent, be a summary of the work already done.
Content.—Contrast the two speakers in respect to their choice of companions; descriptions of morning and evening; their attitude toward country life; their recreations and employments in the daytime and in the evening; and their tastes in music, worship, and the theater.
Must we suppose that these poems express conflicting views of different men, or may they represent views of the same man in different moods?
State in a single sentence the main idea of each poem.
Form.—Indicate the meter of the normal line, or rather of the two types of lines most frequently used. What is the difference in effect between these two types?
What are the principal variations in the position of accented syllables? in the number of syllables? in the kind of rhyme?
Do you like these poems because of their beauty of sentiment? beauty of figurative expression? beauty of description? some other form of beauty? or because of all of these? Quote what seems to you most beautiful.
Is there anything notable in the choice of words? in their arrangement?
Do you find any passages where words have been chosen because their sound corresponds to the sense?
The Life and Character of the Author.—(See outline for the study of Lycidas, p. 59.)
Outline for the Study of Lycidas
I. Preparation
This poem is made somewhat difficult by reason of the formal and conventional terms of pastoral poetry. Therefore, in the preparatory work, the teacher should explain these terms; and should dwell on the circumstances that called forth the poem. The history of the times should be touched upon sufficiently to make clear the meaning of the two digressions in the poem.
II. Reading and Study
The first reading should enable the student to trace the line of thought; to mark the digressions; and to understand the general plan of the poem.
Other readings will include a careful study of the language, the meaning of the allusions, and, in detail, the poet's thought.
III. Study of the Poem as a Whole
A comprehensive study of the poem as a whole should be profitable after the work indicated in II.
Content.—What is the substance of the poet's lament for his friend? As we read the poem do we think more of him or of Milton? How do you account for this?
What were Milton's relations to King? Were they intimate, personal friends?
Put into a sentence the substance of each digression.
In what part of the poem do we find that the allusions to the supernatural are classic and pagan? in what part, Christian? What corresponding difference is there in the tone of the poem?
Form.—What relation do the first two paragraphs bear to the rest?
Where is the pastoral element first introduced?
At what places does Milton drop the pastoral form?
What is the effect of a change of person in the last eight lines?
Has the poem unity? Give reasons. How would the poet have justified his digressions?
How many syllables do you find as a rule in each line? How are the lines rhymed? Find several blank verse lines. What variations from the normal line do you note in the number of syllables and in the position of accented syllables?
Does the poet show deeper feeling in his lament for King or in the digressions?
In what way does the language differ from that of L'Allegro and Il Penseroso? Account for the difference.
The Life and Character of the Author.—Find out what you can of Milton's childhood home; his tastes and habits when a boy; his education; his perplexity about the choice of a career; his six years at Horton; his travels; his return home; his removal to London; his marriage; his prose writings; his spirit in controversy; his domestic life; his public life; his situation in 1660; his employment during the years of his retirement; the effect on his character, of controversy and the failure of his cherished ideals of government.
Into what three periods does his life naturally fall?
How does the character of his writings conform to these three periods?
What do L'Allegro and Il Penseroso reflect of his life at Horton? of his tastes? of his accomplishments? Do you find anything indicative of his Puritan sympathies? anything inconsistent with the Puritanism of his time?
Do you note any change of spirit from the earlier poems to Lycidas?
What spirit of Puritanism is reflected in Lycidas?
General Historical Questions.—Answers to the following are valuable because of their bearing on Milton's life and work.
How did James I differ from Elizabeth in matters of religious toleration?
What controversy was carried on during James's reign within the established church?
Distinguish from one another the terms Separatist, Puritan, Prelatist.
How were the Puritans gradually forced to take extreme positions in matters of theology as well as in matters of government?
Compare the Puritan of Milton's boyhood with the Puritan of the Civil War.
Outline for the Study of the Deserted Village[3]
I. Preparation
On account of the simplicity of this poem and the familiarity that many of the students already have with it, little preparation is necessary to introduce the class to the first reading. Original compositions on country scenes and country life will help them to get into the spirit of the poem, and a few facts about Goldsmith's early home in the country, and his perplexed life in the city, will show the poet's point of view.
II. Reading and Study
A first reading should enable the student to understand the plan of the poem and to enjoy the descriptive passages. A simple outline, if required at this point, will aid him in fixing the main divisions in mind and will be useful for detailed study when he comes to the second reading. This second reading should enable the student to understand the poet's thought in every particular. He should ponder over the thoughtful passages, memorize the most beautiful ones, and examine the language and meter.
III. Study of the Poem as a Whole
Content.—Contrast the village of Auburn when the author saw it in youth, with the Auburn of his later years, in regard to its appearance and the condition of the people.
Give character sketches of "The Preacher" and "The Schoolmaster." Explain what the poet considers has caused the changes he laments in the village.
Contrast the simple natural pleasures with those of luxury and wealth.
What effect on the poor has greed for wealth? on the country? What is Goldsmith's idea of the lot of the emigrant?
Form.—What is the prevailing meter? How do the lines rhyme? Compare this poem with The Idylls of the King or with The Merchant of Venice in respect to meter and rhyme.
Examine what you think are the most beautiful passages in order to find out, if you can, why they are beautiful. Are they so because of beauty of sentiment? simplicity of language? choice of words? figurative language? smoothness of rhythm?
The Life and Character of the Author.—What do we know of Goldsmith's childhood? his family? his education? his professional training? his travels? his friends in London? his loneliness? his disappointments? his literary successes? his eccentricities? his kindness?
How can we judge of his character from his references to the village of his childhood? from what he says of wealth, greed, etc.?