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Anglo-Saxon Background
Political History surrounding Beowulf–14 A.D. to 1066 A.D.
We’re looking at Britain at a time where there’s lots of competitiveness, and a lot of violence as several lords are fighting to gain their own territory to rule over. Every lord or every man for himself. Rome has completely drawn out of the country. At the beginning is the fall of the Roman Empire. Now there is constant fighting and violence. Anglo-Saxon tribes coming from the north to take over by brute force–like the Vikings. Their men are stronger, bigger and have better weapons. Daily resources scarce. Times are unsure. Survival and safety are an issue for everyone. Not only are Lords trying to keep the territory that they have, but they’re trying to get more. The more they have, the more power, more resources and better off they’ll be against marauders.
Religion:
Roman Empire is starting to fall and now religion is starting to fade. Tumultuous. Christianity was brought
in by the Roman troops. But before this Christian monks and monasteries by the Roman Empire are being intermingled with Anglo-Saxon pagan beliefs that were there before–warrior gods and mythical creatures, heroes. Christian beliefs that became rooted in society ware the morals or behavioral code from the mythical heroes that were already in place. Honesty, honor, truthfulness–all become part of religious belief.
Britain is religiously divided, although Christianity does remain a strong influence, but not as strong as when Roman rule enforced it.
Pagans can openly go back to pagan religions, but now have Christian influences.
Unity comes with Alfred the Great through Christianity. But this is a ways off. Different religions try to intermingle and mix to explain all the evil and violence that is happening around them. Just to get them through the day.
Cultural Aspects with Beowulf
Population of Britain was largely uneducated. Not educated. Short lifespans. Not many old people. Not many families gathered together. Really what’s left of traditions is oral folklore, myths,
stories. Families passing down stories of themselves and history. Some may be song, or told in story or poetry form. Good versus evil, which comes from parents, aunts and uncles teaching children through oral traditions.
Eternal heroic deed legacies: These people didn’t believe in heaven or hell, but rather you create a legacy based on the way you live your life here on earth. You are remembered by the last wonderful heroic deed you did here on earth. They did a heroic deed for their own children to follow in — a status, because there was no other way to gain status.
You don’t see much of literacy or poetry or music, art because of lack of communication. Monks and lords were only ones who were educated. Beowulf was the first literature that was written in Anglo-Saxon. This was probably because the lords wanted to teach others how to read in their native language.
You do have some art, but based more on what a blacksmith might do with iron ore. Maybe some sculpture out of iron. Might be armor or a helmet.
There was a lot of music because stories weren’t written down. Music explained who the people were, their history, their world. Beowulf was first probably told as a pagan religion and sung, then moved to a more oral form and then finally written down.
But for the most part the cultural aspect of Beowulf is very limited. And a lot of what is going on centers what is happening politically and religiously, with a little cultural stuff. So these are just a few things to keep in mind as you read Beowulf.
Take the quiz after reading the previous post!
Have you ever been in a catch-22? That is, you’re darned if you do, darned if you don’t? The term came from a book written in 1961 by Joseph Heller called … you guessed it, Catch-22. (Wouldn’t that be something–to write a novel that becomes so popular that it ends up being a common expression?) This book is about some sort of logic irrationality. You’ve got these soldiers trapped in war, and one of them Orr, is insane–he’s absolutely crazy. Now–here’s the dilemma. Because Orr is crazy, he could technically be grounded. That is, he wouldn’t have to fly and fight. But the airforce has come up with a rule called Catch 22. If you are worried about your own safety, that is what sane people do. So if you’re worried about flying and dying, then you are sane and you must fly. So Orr was trapped in this dilemma because he told his officers that he was insane and shouldn’t be flying, and since he said that the authorities said he had to fly!
Examples of catch-22′s:
- Homeless people need a job so they can afford a home and nice clothes. Yet, they need to be able to say they live at a physical address to put down on the application, and they need nice clothes to land the job. So you can say this is a Catch-22 situation since both problems cancel each other out and you don’t feel as if you can go forward.
- Consumer loan: You need a good credit history to get a loan. Yet, how can you build up a good credit history if nobody will give you a loan since you don’t have a history of taking out any loans?
Journal lesson: Read as you listen to The Gift of the Magi by O. Henry by clicking here. (Or you can just read it). In what way did the couple in Gift of the Magi end up in a catch 22? Also, apply your new knowledge to describe an experience of yours that could be called a catch 22.
At the end of The Gift of the Magi, O. Henry says: Being wise, their gifts were no doubt wise ones, possibly bearing the privilege of exchange in case of duplication. And here I have lamely related to you the uneventful chronicle of two foolish children in a flat who most unwisely sacrificed for each other the greatest treasures of their house. But in a last word to the wise of these days let it be said that of all who give gifts these two were the wisest. Of all who give and receive gifts, such as they are wisest. Everywhere they are wisest. They are the magi.
Here our author doesn’t hide that he has something deeper that he wants us to get. Remember, titles are clues. The Gift of the Magi alludes to the Bible story of the Wise Men who give gifts to baby Jesus. In this story, what gifts were given? We had the chain for the pocket watch and the combs for Della’s hair.
- What did they have to sacrifice for the gifts? They had to give up the very items they wanted to enhance. Jim had to sell the pocket watch for Della’s combs, and Della had to sell her hair for the chain to match Jim’s pocket watch.
- How were Jim and Della foolish? They had to give things away that would ruin the gift the other was giving to each other.
- How were they wise? That’s the question. Why does O. Henry call them wise? We’re getting there.
- What is the climax of the story? That’s when everything comes to a head–the moment of the gift exchange.
- What is the resolution? They discover that their treasures have been given away and that their gifts can’t be used right now.
Honing in on Theme
We said that themes might be difficult to put into words. These are the possible themes that others have suggested for the story:
- Love is more important than material things.
- Love is selfless.
- It’s the thought that counts.
- It’s better to give than to receive.
Think about these four possibilities, think about the title and what the characters did. Think of how everything wound up at the end and tell me–in your opinion–what O. Henry really wanted us to understand at the end. Enjoy, and enjoy the gift of giving and receiving your own gifts in the future!
From watching the movie on Thursday, November 12, 2009. Answer the questions below. Choose the BEST answer.
Please go to Count of Monte Cristo to view the quizTake this quiz after reading the previous post, (click here to read it).
[QUIZZIN3]
By Alfred, Lord Tennyson
Are you familiar with the Arthurian Legends? Perhaps you have seen The Sword and The Stone? Or The Defense of Gweneviere? Or Monty Python and the Holy Grail. Alfred, Lord Tennyson takes the romance of this era, and puts it in this poem in the form of a ballad.
Who was Alfred, Lord Tennyson? What is a ballad?
Alfred, Lord Tennyson
- Born in 1809 in a small town. Father was a clergyman.
- Went to Cambridge University.
- 1830 published “Poems Chiefly Lyrical” without much success or acclaim.
- Continued writing and finished his studies.
- Best friend Arthur Hallaman died suddenly in 1833.
- Devastated Tennyson;
- Changed his life and writing forever.
- Published “In Memoriam” in 1850 as an extended elegy for his friend.
- Prince Albert was so impressed by this elegy that Queen Victoria declared Tennyson as England’s poet laureate.
- In 1884 Queen Victoria made him a Baron, thus his title “Lord.”
- Considered the poetic voice of his age by the public and his collegues.
What is a Ballad?
- Song-like narrative poem with lyrical rhyme and meter. (Narrative means that it tells a story).
- Word Music: the rhythm, cadences and sound devices that create a song-like quality. When you read a ballad, you almost want to sing it since it has such a nice rhythm.
- Short, regular stanzas with a repeated refrain at the end of each stanza
- Simple language and rhyme. (In a moment we’ll look at the rhyme scheme).
- Often about adventure or romance; depicts emotional, dramatic action.
- Centers around one theme or one character.
The Lady of Shalott
Content
- Based in Arthurian Legend
- About how society accepts or does not accept the artist, (she is the artist who weaves tapestries of the world–scenes she sees).
- Lady lives under a curse that keeps her isolated from the real world.
- Locked in a tower; if she leaves, she will die. (Question of acceptance or not being accepted–there’s the literal meaning; but there’s also a metaphoric and thematic level to the poem).
- She weaves a tapestry of the scenes she sees in her magic mirror.
- She sees a vision of Sir Lancelot in her mirror.
- She decides to leave the tower to find her love, Lancelot, (a very risky decision since she’s aware of the curse she’s under).
- Discovers a boat and sails secretly toward Camelot. She carves her name in the boat, which indicates that she knows she might not make it.
- She dies before she arrives without ever seeing Lancelot.
- At the end, he bestows a blessing on her, so he at least, gets to see her.
Form
- 9-line stanzas
- One line refrain at the end of each stanza
- lambic pentameter (which contributes to the song-like quality)
- Rhyme Scheme–aaaa(b)ccc(b) (which means, 4 lines that end with words that all rhyme with each other. Then a line that ends in a word that doesn’t rhyme with the previous 4 lines. The first “b” ends in Lancelot, or Camelot. The second “b” is Shalott. The first part we learn about Camelot and it’s scenic beauty. The second part we learn about the curse. In the third section we learn about Lancelot and how she falls in love with him. In the fourth section, she decides to leave the tower and search for Lancelot, which ends in the tragedy of her death. But she still gets that blessing from Lancelot in the end.
Contrasting Images
- Solitary life of the lady vs. busy life of Lancelot in Camelot. How does Tennyson describe her solitary life? How does he depict the busy life of Lancelot in Camelot?
Analysis
- Tennyson’s reflection on a broad crisis of faith in Victorian England. How does a broad crisis in faith match up with Lady Shalott?
- Tennyson longs for refuge in the past, for simpler times. (The broad crisis of faith is a conflict, and Arthurian Times seem easier, simpler).
- Portrays the “lady” as having no life inside the tower (no fulfillment, no companionship, no interaction with people), but only death outside the tower. Her existence inside the tower can be categorized as a type of living death. It’s a “No-Win” or “Catch 22″ situation.
- Idea that we can never realize our fantasies, that once possible, the allure is gone. (Think of a time that you really, really wanted something, but once you got it, it wasn’t special anymore. This is kind of the idea Tennyson is portraying here).
- Fantasies cannot be fully realized because they are always better in our minds than in reality. Perhaps the Lady’s conception of Lancelot is better than who he really is, and it was fruitless for her to try to go after him. But still, he bestows his blessing on her. How does this affect this notion of conflict–that fantasies can’t be realized because fantasies aren’t reality? She how this all works into the poem.
You can read this poem and concentrate on the surface, or literal meaning. Or you can read the poem and think about the metaphorical meaning.
On either side the river lie
Long fields of barley and of rye,
That clothe the wold and meet the sky;
And thro’ the field the road runs by
To many-tower’d Camelot;
And up and down the people go,
Gazing where the lilies blow
Round an island there below,
The island of Shalott.Willows whiten, aspens quiver,
Little breezes dusk and shiver
Through the wave that runs for ever
By the island in the river
Flowing down to Camelot.
Four grey walls, and four grey towers,
Overlook a space of flowers,
And the silent isle imbowers
The Lady of Shalott.By the margin, willow veil’d,
Slide the heavy barges trail’d
By slow horses; and unhail’d
The shallop flitteth silken-sail’d
Skimming down to Camelot:
But who hath seen her wave her hand?
Or at the casement seen her stand?
Or is she known in all the land,
The Lady of Shalott?Only reapers, reaping early,
In among the bearded barley
Hear a song that echoes cheerly
From the river winding clearly;
Down to tower’d Camelot;
And by the moon the reaper weary,
Piling sheaves in uplands airy,
Listening, whispers, ” ‘Tis the fairy
Lady of Shalott.”There she weaves by night and day
A magic web with colours gay.
She has heard a whisper say,
A curse is on her if she stay
To look down to Camelot.
She knows not what the curse may be,
And so she weaveth steadily,
And little other care hath she,
The Lady of Shalott.And moving through a mirror clear
That hangs before her all the year,
Shadows of the world appear.
There she sees the highway near
Winding down to Camelot;
There the river eddy whirls,
And there the surly village churls,
And the red cloaks of market girls
Pass onward from Shalott.Sometimes a troop of damsels glad,
An abbot on an ambling pad,
Sometimes a curly shepherd lad,
Or long-hair’d page in crimson clad
Goes by to tower’d Camelot;
And sometimes through the mirror blue
The knights come riding two and two.
She hath no loyal Knight and true,
The Lady of Shalott.But in her web she still delights
To weave the mirror’s magic sights,
For often through the silent nights
A funeral, with plumes and lights
And music, went to Camelot;
Or when the Moon was overhead,
Came two young lovers lately wed.
“I am half sick of shadows,” said
The Lady of Shalott.A bow-shot from her bower-eaves,
He rode between the barley sheaves,
The sun came dazzling thro’ the leaves,
And flamed upon the brazen greaves
Of bold Sir Lancelot.
A red-cross knight for ever kneel’d
To a lady in his shield,
That sparkled on the yellow field,
Beside remote Shalott.The gemmy bridle glitter’d free,
Like to some branch of stars we see
Hung in the golden Galaxy.
The bridle bells rang merrily
As he rode down to Camelot:
And from his blazon’d baldric slung
A mighty silver bugle hung,
And as he rode his armor rung
Beside remote Shalott.All in the blue unclouded weather
Thick-jewell’d shone the saddle-leather,
The helmet and the helmet-feather
Burn’d like one burning flame together,
As he rode down to Camelot.
As often thro’ the purple night,
Below the starry clusters bright,
Some bearded meteor, burning bright,
Moves over still Shalott.His broad clear brow in sunlight glow’d;
On burnish’d hooves his war-horse trode;
From underneath his helmet flow’d
His coal-black curls as on he rode,
As he rode down to Camelot.
From the bank and from the river
He flashed into the crystal mirror,
“Tirra lirra,” by the river
Sang Sir Lancelot.She left the web, she left the loom,
She made three paces through the room,
She saw the water-lily bloom,
She saw the helmet and the plume,
She look’d down to Camelot.
Out flew the web and floated wide;
The mirror crack’d from side to side;
“The curse is come upon me,” cried
The Lady of Shalott.In the stormy east-wind straining,
The pale yellow woods were waning,
The broad stream in his banks complaining.
Heavily the low sky raining
Over tower’d Camelot;
Down she came and found a boat
Beneath a willow left afloat,
And around about the prow she wrote
The Lady of Shalott.And down the river’s dim expanse
Like some bold seer in a trance,
Seeing all his own mischance –
With a glassy countenance
Did she look to Camelot.
And at the closing of the day
She loosed the chain, and down she lay;
The broad stream bore her far away,
The Lady of Shalott.Lying, robed in snowy white
That loosely flew to left and right –
The leaves upon her falling light –
Thro’ the noises of the night,
She floated down to Camelot:
And as the boat-head wound along
The willowy hills and fields among,
They heard her singing her last song,
The Lady of Shalott.Heard a carol, mournful, holy,
Chanted loudly, chanted lowly,
Till her blood was frozen slowly,
And her eyes were darkened wholly,
Turn’d to tower’d Camelot.
For ere she reach’d upon the tide
The first house by the water-side,
Singing in her song she died,
The Lady of Shalott.Under tower and balcony,
By garden-wall and gallery,
A gleaming shape she floated by,
Dead-pale between the houses high,
Silent into Camelot.
Out upon the wharfs they came,
Knight and Burgher, Lord and Dame,
And around the prow they read her name,
The Lady of Shalott.Who is this? And what is here?
And in the lighted palace near
Died the sound of royal cheer;
And they crossed themselves for fear,
All the Knights at Camelot;
But Lancelot mused a little space
He said, “She has a lovely face;
God in his mercy lend her grace,
The Lady of Shalott.”
There’s a statue in Prague dedicated to Franz Kafka.There’s a gentleman riding on the shoulders of…somebody. It looks like a big empty coat. Kafka is riding the gigantic suit but we don’t know who’s supporting the suit. That’s the mystery. It’s bizarre, strange, but I hope this image will make more sense to you by the time we’re finished.
Based on what you see on the left–a giant cock roach–what do you think might happen in this story?


blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees–very gradually–I made up my mind to take the life of the old man, and thus rid myself of the eye forever.
always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.








