
- •Contents
- •Before the Anglo-Saxons
- •Anglo-Saxon England
- •Early Anglo-Saxon Life
- •Cultural Influences key idea Early Anglo-Saxon literature reflected a fatalistic worldview, while later works were influenced by rapidly spreading Christianity. The Spread of Christianity
- •The Development of English: Old English (450-1150)
- •Unit 2. The medieval period
- •Historical Context key idea With the Norman Conquest, England entered the medieval period, a time of innovation in the midst of war.
- •The Monarchy
- •Conflict and Plague
- •The Development of English: Middle English (1150-1500)
- •Indulgences
- •Royalty and the People
- •Ideas of the Age key ideas This period became known as the Age of Reason, because people used reason, not faith, to make sense of the world. The Age of Reason
- •A Changing Language: Restoration English
- •War with France
- •A Changing Language: Late Modern English
- •Monarchy in the Modern Style
- •Progress, Problems, and Reform
- •Cultural Influences key ideas Writers clashed over Britain’s expanding imperialism. British Imperialism
- •A Changing Language: The Birth of Standard English
- •Old English Poetry
- •Early Authors: Histories and Sermons
- •Literature Focus II. The Epic and the Epic Hero
- •French Romance
- •Reading Check
- •The Age of Chaucer
- •The Beginnings of Drama
- •Literature Focus II. The Ballad Tradition
- •Literature Focus III. Miracle and Morality Plays
- •Renaissance Drama
- •The Rise of Humanism
- •Spiritual and Devotional Writings
- •Metaphysical and Cavalier Poetry
- •Literature Focus II. The Sonnet
- •Literature Focus III. Shakespearean Drama Shakespeare’s Influence
- •Shakespeare’s Theater
- •Shakespearean Tragedy
- •Literature Focus IV. The Metaphysical Poets
- •Literature Focus V. The Cavalier Poets
- •I could not force an artificial dew [tears]
- •If it prove fair weather.”
- •The Age of Johnson
- •Literature Focus II. Nonfiction of the 18th Century
- •Other Forms of Nonfiction
- •Literature Focus III. Satire a History of Mockery
- •Characteristics of Satire
- •I sing— . . .
- •Romanticism Evolves
- •The Late Romantics
- •Literature Focus II. Romantic Poetry
- •Romantic Poetry’s Defining Features
- •Literature Focus III. Form and Meaning in Poetry
- •Literature Focus IV. The Byronic Hero
- •Characteristics of the Byronic Hero
- •The Legacy of the Byronic Hero
- •Realism in Fiction
- •Victorian Viewpoints
- •Victorian Viewpoints
- •Literature Focus II. The Growth and the Development of Fiction
- •The Novel Comes of Age
- •New Forms Emerge
- •Reading comprehension Reading Assessment I. Anglo-Saxon and Medieval Poetry
- •Comprehension
- •Written response
- •Comprehension
- •Written response
- •Reading Assessment II. Anglo-Saxon Prose
- •Comprehension
- •Reading Assessment III. Renaissance poetry
- •Sonnet 97 by William Shakespeare
- •Comprehension
- •Written response
- •Reading Assessment IV. Renaissance prose
- •From “Of Cunning” by Sir Francis Bacon
- •Comprehension
- •Reading Assessment V. Restoration prose
- •From “The Battle of the Books” by Jonathan Swift
- •Comprehension
- •From “The Poor and Their Betters” by Henry Fielding
- •Comprehension
- •Written response
- •Reading Assessment VI. Romantic literature
- •From “a Vindication of the Rights of Woman” by Mary Wollstonecraft
- •Comprehension
- •From “The Prelude, Book VI” by William Wordsworth
- •From “Hymn to Intellectual1 Beauty” by Percy Bysshe Shelley
- •Comprehension
- •Written response
- •Reading Assessment VII. Victorian literature
- •From “The New Railway” from “Dombey and Son” by Charles Dickens
- •Comprehension
- •Neutral Tones by Thomas Hardy
- •From “Adam Bede” by George Eliot
- •Comprehension
- •Written response
Neutral Tones by Thomas Hardy
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We stood by a pond that winter day, And the sun was white, as though chidden of God, And a few leaves lay on the starving sod; —They had fallen from an ash, and were gray.
Your eyes on me were as eyes that rove Over tedious riddles of years ago; And some words played between us to and fro On which lost the more by our love.
The smile on your mouth was the deadest thing Alive enough to have strength to die; And a grin of bitterness swept thereby Like an ominous bird a-wing. . .
Since then, keen lessons that love deceives, And wrings with wrong, have shaped to me Your face, and the God-curst sun, and a tree, And a pond edged with grayish leaves.
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From “Adam Bede” by George Eliot
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It was about three o’clock when Adam entered the farmyard and roused Alick and the dogs from their Sunday dozing. Alick said everybody was gone to church but “th’ young missis”—so he called Dinah; but this did not disappoint Adam, although the “everybody” was so liberal as to include Nancy, the dairymaid, whose works of necessity were not unfrequently incompatible with church-going. There was perfect stillness about the house: the doors were all closed, and the very stones and tubs seemed quieter than usual. Adam heard the water gently dripping from the pump—that was the only sound; and he knocked at the house door rather softly, as was suitable in that stillness. The door opened and Dinah stood before him, coloring deeply with the great surprise of seeing Adam at this hour, when she knew it was his regular practice to be at church. Yesterday he would have said to her without any difficulty, “I came to see you, Dinah: I knew the rest were not at home.” But today something prevented him from saying that, and he put out his hand to her in silence. Neither of them spoke, and yet both wished they could speak, as Adam entered, and they sat down. Dinah took the chair she had just left; it was at the corner of the table near the window, and there was a book lying on the table, but it was not open: she had been sitting perfectly still, looking at the small bit of clear fire in the bright grate. Adam sat down opposite her, in Mr Poyser’s three-cornered chair. “Your mother is not ill again, I hope, Adam,” Dinah said, recovering herself. “Seth said she was well this morning.” “No, she’s very hearty today,” said Adam, happy in the signs of Dinah’s feeling at the sight of him, but shy. “There’s nobody at home, you see,” Dinah said; “but you’ll wait. You’ve been hindered from going to church today, doubtless.” “Yes,” Adam said, and then paused, before he added, “I was thinking about you: that was the reason.” This confession was very awkward and sudden, Adam felt; for he thought Dinah must understand all he meant. But the frankness of the words caused her immediately to interpret them into a renewal of his brotherly regrets that she was going away, and she answered calmly, “Do not be careful and troubled for me, Adam. I have all things and abound at Snowfield. And my mind is at rest, for I am not seeking my own will in going.” “But if things were different, Dinah,” said Adam, hesitatingly—“if you knew things that perhaps you don’t know now . . .” Dinah looked at him inquiringly, but instead of going on, he reached a chair and brought it near the corner of the table where she was sitting. She wondered, and was afraid—and the next moment her thoughts flew to the past: was it something about those distant unhappy ones that she didn’t know? Adam looked at her: it was so sweet to look at her eyes, which had now a self-forgetful questioning in them,—for a moment he forgot that he wanted to say anything, or that it was necessary to tell her what he meant. “Dinah,” he said suddenly, taking both her hands between his, “I love you with my whole heart and soul.” |