24. DRYDEN'S 'ALEXANDER'S FEAST' AND ABSALOM AND ACHITOPHEL,' Part I. How does the lyric quality of 'Alexander's Feast' compare with that of the best lyrics of more Romantic periods? Compare 'Absalom and Achitophel' with the source in II Samuel, Chapter XIII, verse 23, to Chapter XVIII. 1. How cleverly is the ancient story applied to the modern facts? (The comparison of Charles II to David was not original with Dryden, but was a commonplace of the Court party. Of the minor characters: Ishbosheth, line 58, is Richard Cromwell; Zimri, 544 ff., the Duke of Buckingham; Corah, 632 ff., Titus Dates; Bathsheba, 710, the Duchess of Portsmouth; Barzillai, 817, the Duke of Ormond; Zadoc, 864, Archbishop Bancroft. The 'progress' of 729 ff. is that which Monmouth made in 1680 through the West of England. Who or what are the Jebusites, Egypt, Pharoah, and Saul?) 2. Power as a satire? 3. Qualities and effectiveness of the verse, as you see it. How regularly are the couplets end-stopped? 4. Is it real poetry?
25. THE PSEUDO-CLASSIC PERIOD AND DANIEL DEFOE, with study of Part I of 'Robinson Crusoe.' Three days. Above, pages 189-195, and in 'Robinson Crusoe' as much as time allows. Better begin with Robinson's fourth voyage (in the 'Everyman' edition, page 27). Consider such matters as: 1. The sources of interest. Does the book make as strong appeal to grown persons as to children, and to all classes of persons? 2. The use of details. Are there too many? Is there skilful choice? Try to discover some of the numerous inconsistencies which resulted from Defoe's haste and general manner of composition, and cases in which he attempts to correct them by supplementary statements. 3. The motivation. Is it always satisfactory? 4. Characterize Robinson. The nature of his religion? How far is his character like that of Defoe himself? 5. Success of the characterization of the other persons, especially Friday? Does Defoe understand savages? 6. Narrative qualities. How far has the book a plot? Value of the first-personal method of narration? 7. The Setting. Has Defoe any feeling for Nature, or does he describe merely for expository purposes? 8. The style. 9. Defoe's nature as the book shows it. His sense of humor, pathos, etc. 10. Has the book a definite theme?
26. JONATHAN SWIFT. Two days. Above, pages 195-202. In the reading, a little of Swift's poetry should be included, especially a part of 'On the Death of Dr. Swift'; and of the prose 'A Modest Proposal,' perhaps the 'Journal to Stella' (in brief selections), 'A Tale of a Tub,' and 'Gulliver's Travels.' Of course each student should center attention on the works with which he has no adequate previous acquaintance. In 'The Tale of a Tub' better omit the digressions; read the Author's Preface (not the Apology), which explains the name, and sections 2, 4, 6, and 11. Subjects for discussion should readily suggest themselves.
27. STEELE AND ADDISON AND THE 'SPECTATOR' PAPERS. Two days. Above, pages 202-208. Read a dozen or more of the 'Spectator' papers, from the De Coverly papers if you are not already familiar with them, otherwise others. Subjects: 1. The style. What gives it its smoothness-balance of clauses, the choice of words for their sound, or etc.? The relation of long and short sentences. 2. The moral instruction. How pervasive is it? How agreeable? Things chiefly attacked? 3. Customs and manners as indicated in the essays-entertainments, modes of traveling, social conventions, etc. 4. Social and moral standards of the time, especially their defects, as attacked in the papers. 5. The use of humor. 6. Characterization in the De Coverly papers. Is the method general or detailed? Is there much description of personal appearance? Is characterization mostly by exposition, action or conversation? How clear are the characters? 7. Is Sir Roger real or 'idealized'? 8. General narrative skill (not merely in the De Coverly papers). 9. How near do the De Coverly papers come to making a modern story? Consider the relative proportions of characterization, action, and setting. 10. Compare the 'Spectator' essays with any others with which you are familiar.
28. ALEXANDER POPE. The number of exercises may depend on circumstances. Above, pages 190-191 and 208-215. As many as possible of the poems named in the text (except 'The Dunciad') should be read, in whole or in part. 'An Essay on Criticism': (By 'Nature' Pope means actual reality in anything, not merely external Nature.) Note with examples the pseudo-classical qualities in: 1. Subject-matter. 2. The relation of intellectual and emotional elements. 3. The vocabulary and expression. 4. How deep is Pope's feeling for external Nature? 5. State his ideas on the relation of 'Nature,' the ancients, and modern poets; also on authority and originality. 6. In relation to his capacity for clear thought note in how many different senses he uses the word 'wit.' 'The Rape of the Lock': Note the attitude toward women. Your opinion of its success? How far is it like, how far unlike, the 'Essay on Criticism'? Was the introduction of the sylphs fortunate? Pope took them from current notions—books had been written which asserted that there was a fantastic sect, the Rosicrucians, who believed that the air was full of them. 'Eloisa to Abelard': (Abelard was a very famous unorthodox philosopher of the twelfth century who loved Héloise and was barbarously parted from her. Becoming Abbot of a monastery, he had her made Abbess of a convent. From one of the passionate letters which later passed between them and which it is interesting to read in comparison Pope takes the idea and something of the substance of the poem.) In your opinion does it show that Pope had real poetic emotion? Does the rimed pentameter couplet prove itself a possible poetic vehicle for such emotion? The translation of 'The Iliad': Compare with corresponding passages in the original or in the translation of Lang, Leaf, and Myers (Macmillan). Just how does Pope's version differ from the original? How does it compare with it in excellence? The 'Epistle to Dr. Arbuthnot': Note Pope's personal traits as they appear here. How do the satirical portraits and the poem in general compare with Dryden's 'Absalom and Achitophel'? In general summary consider: Pope's spirit, his artistry, his comparative rank as a poet, and the merits and defects of the couplet as he employs it.
29. SAMUEL JOHNSON. Two days. Above, pages 216-223. 'The Vanity of Human Wishes': How far does it illustrate the pseudo-classical characteristics (above, pages 190 and 215) and Johnson's own traits? How does it compare with Pope's poems in artistry and power? The prose reading should consist of or include the letter to Lord Chesterfield, a few essays from 'The Rambler,' one or more of the 'Lives of the Poets' and perhaps a part of 'Rasselas.' 1. The style, both absolutely and in comparison with previous writers. Is it always the same? You might make a definite study of (a) the relative number of long and short words, (b) long and short and (c) loose and balanced sentences. 2. How far do Johnson's moralizing, his pessimism, and other things in his point of view and personality deprive his work of permanent interest and significance? 3. His skill as a narrator? 4. His merits and defects as a literary critic? 5. His qualifications and success as a biographer?
30. BOSWELL AND HIS 'LIFE OF JOHNSON.' One day. Above, pages 223-225. Read anywhere in the 'Life' as much as time allows, either consecutively or at intervals. Your impression of it, absolutely and in comparison with other biographies? Boswell's personality. Note an interesting incident or two for citation in class.
31. GIBBON AND 'THE DECLINE AND FALL OF THE ROMAN EMPIRE.' One day. Above, pages 225-229. Read a chapter or two in the history. Among the best chapters are numbers 1, 2, 3, 11, 14, 17, 24, 26, 29, 30, 35, 39, 40, 44, 50, 52, 58, 59, 68. Questions for consideration are suggested above, such as: his power in exposition and narration; how his history compares with later ones; his style.
32. EDMUND BURKE. Two days. Above, pages 229-236. Every one should be familiar with the speech 'On Conciliation with America.' The speeches at Bristol are among the briefest of Burke's masterpieces. Beyond these, in rapid study he may best be read in extracts. Especially notable are: 'Thoughts on the Present Discontents'; 'An Address to the King'; the latter half of the speech 'On the Nabob of Areot's Debts'; 'Reflections on the Revolution in France'; 'A Letter to a Noble Lord.' Subjects for consideration are suggested by the text. It would be especially interesting to compare Burke's style carefully with Gibbon's and Johnson's. His technique in exposition and argument is another topic; consider among other points how far his order is strictly logical, how far modified for practical effectiveness.
33. THE ROMANTIC MOVEMENT, THOMSON, AND COLLINS. One day. Above, pages 236-240. The reading may include extracts from Thomson and should include most of Collins' 'Odes.' The student should note specifically in Collins respective elements of classic, pseudo-classic; and romantic spirit, in general and in details.