{"id":236,"date":"2014-06-17T22:28:10","date_gmt":"2014-06-17T22:28:10","guid":{"rendered":"http:\/\/opentextbc.ca\/englishliterature\/?post_type=chapter&#038;p=236"},"modified":"2019-07-23T15:54:35","modified_gmt":"2019-07-23T15:54:35","slug":"study-questions-and-activities-2","status":"publish","type":"chapter","link":"https:\/\/opentextbc.ca\/englishliterature\/chapter\/study-questions-and-activities-2\/","title":{"raw":"Study Questions, Activities, and Resources","rendered":"Study Questions, Activities, and Resources"},"content":{"raw":"<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Study Questions and Activities<\/p>\r\n\r\n<\/header>\r\n<h1 class=\"textbox__content\"><strong>The Lady of Shalott<\/strong><\/h1>\r\n<div class=\"textbox__content\"><strong><a href=\"http:\/\/d.lib.rochester.edu\/camelot\/text\/tennyson-shalott-comparison\">The original 1833 published version next to 1842 revised version <\/a><\/strong><\/div>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"http:\/\/www.nines.org\/exhibits\/The_Man_Behind_The_Lady_?page=1\">\"The Man Behind the Lady.\"<\/a> An interesting exhibit about \"The Lady of Shalott,\" with several paintings on the subject.\r\n<ol>\r\n \t<li>After looking at both published versions of the poem, might you, as did George Eliot, express a preference for any of the original lines, published in 1833? If so, which ones would you wish Tennyson had not revised?<\/li>\r\n \t<li>What are features of the poem's meter and diction? How do these add to the magical or eerie effect?<\/li>\r\n \t<li>What might the striking image of the tower symbolize? the mirror? What is significant about the lady's being\u00a0 enclosed in a high tower?<\/li>\r\n \t<li>What was the result of Sir Lancelot's adulterous relationship with King Arthur's queen, Guinevere?<\/li>\r\n \t<li>What irony is associated with Lancelot?<\/li>\r\n \t<li>After looking at the link above\u2014isolate some details that support the contention that the poem deals with \"the Woman Question\";\u00a0 that is, the position of Victorian women?<\/li>\r\n \t<li>What details might support an allegorical interpretation pertaining to art versus life?<\/li>\r\n \t<li>Why do you think the Lady of Shalott became the subject of so many Victorian paintings (Hunt, Rossetti, Waterhouse)? First, see the link above:\u00a0 \"The Man Behind the Lady.\"<\/li>\r\n \t<li>Listen to Loreena McKennitt\u2019s musical adaptation of <a href=\"https:\/\/www.youtube.com\/watch?v=80-kp6RDl94\">\u201cThe Lady of Shalott,\u201d<\/a><\/li>\r\n<\/ol>\r\n<iframe src=\"https:\/\/www.youtube.com\/embed\/80-kp6RDl94\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe>\r\n\r\n[caption id=\"attachment_1570\" align=\"alignnone\" width=\"200\"]<a href=\"https:\/\/opentextbc.ca\/englishliterature\/wp-content\/uploads\/sites\/27\/2014\/09\/qrcode-lady-of-shalott.png\"><img src=\"https:\/\/opentextbc.ca\/englishliterature\/wp-content\/uploads\/sites\/27\/2014\/09\/qrcode-lady-of-shalott.png\" alt=\".\" class=\"wp-image-1570 size-full\" width=\"200\" height=\"200\" \/><\/a> QR Code Lady of Shalott[\/caption]\r\n<h1>Short Essay Topics<\/h1>\r\n<ol>\r\n \t<li>Houghton and Stange interpret the poem as an allegory about art versus life: that\u00a0the\u00a0artist\u00a0must\u00a0remain\u00a0in\u00a0aloof\u00a0detachment, observing\u00a0life\u00a0only\u00a0in\u00a0the\u00a0mirror\u00a0of\u00a0the\u00a0 imagination,\u00a0not\u00a0mixing\u00a0in\u00a0it\u00a0directly.\u00a0Once\u00a0the artist\u00a0attempts\u00a0to\u00a0lead\u00a0the\u00a0life\u00a0of\u00a0ordinary\u00a0men,\u00a0his poetic\u00a0gift,\u00a0it\u00a0would\u00a0seem,\u00a0dies. Do you agree or disagree with this interpretation?<\/li>\r\n \t<li>Does \u201cThe Lady of Shalott\u201d address the \u201cWoman Question\u201d? Does it uphold patriarchal assumptions about gender relationships as in, say, the words of the king in Tennyson\u2019s <em>The Princess: A Medley<\/em>, published in 1847, five years after the appearance of the revised version of \u201cThe Lady of Shalott\u201d?:<\/li>\r\n<\/ol>\r\n<p style=\"padding-left: 60px;\">Man\u00a0for\u00a0the\u00a0field\u00a0and\u00a0woman\u00a0for\u00a0the\u00a0hearth: Man\u00a0for\u00a0the\u00a0sword\u00a0and\u00a0for\u00a0the\u00a0needle\u00a0she: Man\u00a0with\u00a0the\u00a0head\u00a0and\u00a0woman\u00a0with\u00a0the\u00a0heart: Man\u00a0to\u00a0command\u00a0and\u00a0woman\u00a0to\u00a0obey; All\u00a0else\u00a0confusion. (\u201cThe Princess,\u201d V, 427\u201331)<\/p>\r\n\r\n<h1>The Lotos-Eaters<\/h1>\r\n<ol>\r\n \t<li>Are the first two lines meant to be a commentary on the rest of the poem?<\/li>\r\n \t<li>Who is the \"he\" of line 1?<\/li>\r\n \t<li>What is the dominant rhyme scheme in the many 9-line stanzas? Compare this pattern with that of Edmund Spenser's <em>The<\/em> <em>Faerie Queene<\/em>, Book II, canto 6 (Phaedria's Isle and Lake of Idleness.)<\/li>\r\n \t<li>Give examples of sibilance, onomatopoeia, repeated masculine end rhymes, sensuous imagery. What is their effect?<\/li>\r\n \t<li>Why do the Lotos-Eaters wish to resemble the gods? What aspects of divinity do they project onto these deities? How might a Victorian reader have been expected to react to this notion of \u201cgodhead,\u201d and how would this have affected his or her view of the Lotus-Eaters\u2019 choice?<\/li>\r\n \t<li>The second stanza of the choric Song (sung by the mariners who had eaten of the lotos): \"We only toil, who are the first of things\" (ll. 57-69) recalls similar lines in <em>F.Q.<\/em>, II, Canto 6, Stanza 17, \"Why then dost thou, O Man, that of them all\/Art lord...\" What point is being made in both poems?<\/li>\r\n \t<li>In what ways do both \"The Lotos-Eaters\" and Spenser's\u00a0<em>F.Q.<\/em>, II, Canto 6 invite comparison\/contrast with parts of the Sermon on the Mount in Matthew 6:25-34, especially \"Take... no thought for the morrow\" (34), which is echoed in Tennyson's l. \"...takes no care\" in l. 73 of \"The Lotos-Eaters\"?<\/li>\r\n \t<li>How do you interpret the mariners\u2019 complaint in the Choric Song, VI: \u201cIs there confusion in the little isle? Let what is broken so remain. . . \u2019Tis hard to settle order once again.\u201d Is this line referring to Britain? Is the line ironic?<\/li>\r\n \t<li>What is the poem's theme? Contrast this poem with \u201cUlysses\u201d?<\/li>\r\n<\/ol>\r\n<h1>Ulysses<\/h1>\r\n<ol>\r\n \t<li>Tennyson is quoted as saying that \u201cUlysses\u201d was \u201cwritten soon after Arthur Hallam\u2019s death, and gave my feeling about the need of going forward, and braving the struggle of life perhaps more simply than anything in \u2018In Memoriam\u2019\u201d (<em>Memoir<\/em>, I, 196). To which section of \u201cIn Memoriam\u201d is \u201cUlysses\u201d most parallel?<\/li>\r\n \t<li>Some critics argue that the poem is not wholly a dramatic monologue. Looking at it section by section (i.e., ll. 1\u201332; ll. 33\u201343, and ll. 44\u201370), which section is most clearly a dramatic monologue?<\/li>\r\n \t<li>In a short essay, compare and contrast \u201cThe Lotos-Eaters\u201d and \u201cUlysses.\u201d<\/li>\r\n<\/ol>\r\n<h1>Break, Break, Break<\/h1>\r\n<ol>\r\n \t<li>What feelings of loss does the speaker feel?<\/li>\r\n \t<li>How does the speaker\u2019s state of mind contrast with those of the fisherman\u2019s boy and the sailor lad?<\/li>\r\n \t<li>How do the breaking waves symbolize the speaker\u2019s melancholy?<\/li>\r\n<\/ol>\r\n<h1>From the Princess<\/h1>\r\nSee <a href=\"http:\/\/archive.is\/ZgnpR\">Princess Ida - from Tennyson to Gilbert<\/a>\r\n<ol>\r\n \t<li>Read the relevant portion of the table that contrasts Tennyson\u2019s poem and W.S. Gilbert\u2019s \u201cper-version\" of the poem (i.e., Pt VII). Do you agree with the author\u2019s assessment of Tennyson\u2019s view of the relations between the sexes\u2014\u201coften cited as a key text in debates about Victorian constructs of masculinity and femininity?\u201d [<em>NAEL<\/em>, 9, 1184].<\/li>\r\n \t<li>In what way is Gilbert\u2019s \u201cper-version\" of \u201cThe Princess\u201d just that, in terms of theme?<\/li>\r\n<\/ol>\r\n<h1>In Memoriam<\/h1>\r\n<ol>\r\n \t<li>Download Gatty\u2019s <em>A Key to In Memoriam<\/em> as well as a searchable Project Gutenberg e-text of <em>In Memoriam:<\/em>\r\n<ul>\r\n \t<li><a href=\"http:\/\/www.gutenberg.org\/ebooks\/36637\">A Key to Lord Tennyson's 'In Memoriam' by Alfred Gatty<\/a><\/li>\r\n \t<li><a href=\"https:\/\/archive.org\/details\/inmemoriambyalfr00tennuoft\"><em>In Memoriam<\/em>\u00a0<\/a><\/li>\r\n<\/ul>\r\n<\/li>\r\n<\/ol>\r\n<ol>\r\n \t<li>In her excellent <a href=\"http:\/\/www.uiowa.edu\/~boosf\/questions\/tennyinmem.htm\">notes\u00a0on <em>In Memoriam<\/em><\/a>, Professor Florence Boos states, \"According to <span itemscope=\"\" itemtype=\"http:\/\/schema.org\/WebPage\">Tennyson, the poem fell naturally into the following 10\u00a0sections, <\/span>with 1\u201377; 78\u2013103; and 104\u2013131 forming the three main sections:\r\n<ul>\r\n \t<li>Sections 1\u20138, ending with a sense of hope; 9\u201320, ending with a sense of hope; 21\u201327, ending with a sense of hope; 28\u201349, ending with a sense of despair; 50\u201358; 59\u201371; 72\u201398; 99\u2013103; 104\u2013131; Epilogue.<\/li>\r\n<\/ul>\r\n<\/li>\r\n \t<li>Find examples to support the following assertion. \u201cWhereas the first Christmas (28\u201377) was marked overwhelmingly by grief, the second cycle (78\u2013103) beginning with the second Christmas since Hallam's death, marks a turning point in the poem, as from here on the poet begins to move more steadily towards hope and consolation\u201d.\u00a0Compare sections 30 and 78, as well as 7 and 119, in particular.<\/li>\r\n \t<li>Look in a glossary of literary terms and then find examples of <strong>anaphora<\/strong> in Parts 11 and 101.<\/li>\r\n \t<li>The <em>Cambridge History of English Literature<\/em> (CHEL), (XIII, II, 3) states that Ben Jonson and Lord Herbert of Cherbury used the so-called \u201cIn Memoriam stanza\" before Tennyson. Find one example of Jonson\u2019s and Lord Herbert of Cherbury\u2019s use of the \"In Memoriam stanza.\" See Edward Hirsch, <em>A Poet\u2019s Glossary<\/em> (Google books). See also Hallam Tennyson, <a href=\"https:\/\/archive.org\/stream\/alfredlordtennys01tennuoft#page\/300\/mode\/2up.\"><em>Alfred Lord Tennyson: A Memoir<\/em>, I, 305<\/a> for Tennyson\u2019s own discussion of what is now known as the \u201cIn Memoriam stanza.\u201d Be sure to use quotes before and after your search terms when using the \u201csearch inside\u201d box inside the <em>Memoir<\/em>.<\/li>\r\n<\/ol>\r\n<h1>Essay Topics<\/h1>\r\n<ol>\r\n \t<li>Focus on sections 75, 87, 89, 95, 107, and 109\u2013114 to discuss Tennyson\u2019s characterization of Hallam.<\/li>\r\n \t<li>Does Tennyson move beyond the bleakness of the survival of the fittest view of the universe in 55 and 56? What does he offer to contradict the vision of a seemingly purposeless universe?<\/li>\r\n \t<li>Analyze section 118 as a kind of key to the science versus religion aspect of the poem.<\/li>\r\n \t<li>Compare elegiac elements in <em>In Memoriam<\/em> and either one of the following elegies: Milton\u2019s \u201cLycidas\u201d; Shelley\u2019s \u201cAdonais\u201d, Matthew Arnold\u2019s \u201cThyrsis.\u201d <strong>Essay Topic on Tennyson and Imperialism<\/strong><\/li>\r\n \t<li>Read Tennyson\u2019s 106-line poem, <a href=\"http:\/\/www.bartleby.com\/297\/629.html\">\u201cThe Defence of Lucknow\u201d<\/a>, written in 1879. In an essay, discuss whether you think Tennyson avoids the larger ethical questions underlying European Imperialism and instead gives in to typical Victorian imperialist sentiments.<\/li>\r\n<\/ol>\r\n<\/div>\r\n<\/div>\r\n&nbsp;\r\n<div class=\"textbox shaded\">\r\n<h1>Resources<\/h1>\r\n<h2><strong>In Memoriam<\/strong><\/h2>\r\n<ul>\r\n \t<li><a href=\"http:\/\/www.victorianweb.org\/authors\/tennyson\/im\/lq.html\">Numerous articles from Victorian Web on <em>In Memoriam<\/em><\/a><\/li>\r\n \t<li><a href=\"http:\/\/www.bbc.co.uk\/programmes\/b0124pnq\">BBC Radio <em>In Our Time<\/em> \u201cIn Memoriam\u201d<\/a><\/li>\r\n<\/ul>\r\n<h2><strong>The Charge of the Light Brigade<\/strong><\/h2>\r\n<ul>\r\n \t<li><a href=\"https:\/\/en.wikisource.org\/wiki\/The_Times\/1854\/News\/The_Charge_of_the_Light_Brigade\">The Times\/1854\/News\/The Charge of the Light Brigade<\/a><\/li>\r\n \t<li><a href=\"https:\/\/www.bbc.co.uk\/programmes\/b008md8x\">BBC Radio <em>In Our Time<\/em>\u00a0\"Charge of the Light Brigade\"<\/a><\/li>\r\n<\/ul>\r\n<\/div>","rendered":"<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Study Questions and Activities<\/p>\n<\/header>\n<h1 class=\"textbox__content\"><strong>The Lady of Shalott<\/strong><\/h1>\n<div class=\"textbox__content\"><strong><a href=\"http:\/\/d.lib.rochester.edu\/camelot\/text\/tennyson-shalott-comparison\">The original 1833 published version next to 1842 revised version <\/a><\/strong><\/div>\n<div class=\"textbox__content\">\n<p><a href=\"http:\/\/www.nines.org\/exhibits\/The_Man_Behind_The_Lady_?page=1\">&#8220;The Man Behind the Lady.&#8221;<\/a> An interesting exhibit about &#8220;The Lady of Shalott,&#8221; with several paintings on the subject.<\/p>\n<ol>\n<li>After looking at both published versions of the poem, might you, as did George Eliot, express a preference for any of the original lines, published in 1833? If so, which ones would you wish Tennyson had not revised?<\/li>\n<li>What are features of the poem&#8217;s meter and diction? How do these add to the magical or eerie effect?<\/li>\n<li>What might the striking image of the tower symbolize? the mirror? What is significant about the lady&#8217;s being\u00a0 enclosed in a high tower?<\/li>\n<li>What was the result of Sir Lancelot&#8217;s adulterous relationship with King Arthur&#8217;s queen, Guinevere?<\/li>\n<li>What irony is associated with Lancelot?<\/li>\n<li>After looking at the link above\u2014isolate some details that support the contention that the poem deals with &#8220;the Woman Question&#8221;;\u00a0 that is, the position of Victorian women?<\/li>\n<li>What details might support an allegorical interpretation pertaining to art versus life?<\/li>\n<li>Why do you think the Lady of Shalott became the subject of so many Victorian paintings (Hunt, Rossetti, Waterhouse)? First, see the link above:\u00a0 &#8220;The Man Behind the Lady.&#8221;<\/li>\n<li>Listen to Loreena McKennitt\u2019s musical adaptation of <a href=\"https:\/\/www.youtube.com\/watch?v=80-kp6RDl94\">\u201cThe Lady of Shalott,\u201d<\/a><\/li>\n<\/ol>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/80-kp6RDl94\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<figure id=\"attachment_1570\" aria-describedby=\"caption-attachment-1570\" style=\"width: 200px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/opentextbc.ca\/englishliterature\/wp-content\/uploads\/sites\/27\/2014\/09\/qrcode-lady-of-shalott.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/opentextbc.ca\/englishliterature\/wp-content\/uploads\/sites\/27\/2014\/09\/qrcode-lady-of-shalott.png\" alt=\".\" class=\"wp-image-1570 size-full\" width=\"200\" height=\"200\" srcset=\"https:\/\/opentextbc.ca\/englishliterature\/wp-content\/uploads\/sites\/27\/2014\/09\/qrcode-lady-of-shalott.png 200w, https:\/\/opentextbc.ca\/englishliterature\/wp-content\/uploads\/sites\/27\/2014\/09\/qrcode-lady-of-shalott-150x150.png 150w, https:\/\/opentextbc.ca\/englishliterature\/wp-content\/uploads\/sites\/27\/2014\/09\/qrcode-lady-of-shalott-65x65.png 65w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/a><figcaption id=\"caption-attachment-1570\" class=\"wp-caption-text\">QR Code Lady of Shalott<\/figcaption><\/figure>\n<h1>Short Essay Topics<\/h1>\n<ol>\n<li>Houghton and Stange interpret the poem as an allegory about art versus life: that\u00a0the\u00a0artist\u00a0must\u00a0remain\u00a0in\u00a0aloof\u00a0detachment, observing\u00a0life\u00a0only\u00a0in\u00a0the\u00a0mirror\u00a0of\u00a0the\u00a0 imagination,\u00a0not\u00a0mixing\u00a0in\u00a0it\u00a0directly.\u00a0Once\u00a0the artist\u00a0attempts\u00a0to\u00a0lead\u00a0the\u00a0life\u00a0of\u00a0ordinary\u00a0men,\u00a0his poetic\u00a0gift,\u00a0it\u00a0would\u00a0seem,\u00a0dies. Do you agree or disagree with this interpretation?<\/li>\n<li>Does \u201cThe Lady of Shalott\u201d address the \u201cWoman Question\u201d? Does it uphold patriarchal assumptions about gender relationships as in, say, the words of the king in Tennyson\u2019s <em>The Princess: A Medley<\/em>, published in 1847, five years after the appearance of the revised version of \u201cThe Lady of Shalott\u201d?:<\/li>\n<\/ol>\n<p style=\"padding-left: 60px;\">Man\u00a0for\u00a0the\u00a0field\u00a0and\u00a0woman\u00a0for\u00a0the\u00a0hearth: Man\u00a0for\u00a0the\u00a0sword\u00a0and\u00a0for\u00a0the\u00a0needle\u00a0she: Man\u00a0with\u00a0the\u00a0head\u00a0and\u00a0woman\u00a0with\u00a0the\u00a0heart: Man\u00a0to\u00a0command\u00a0and\u00a0woman\u00a0to\u00a0obey; All\u00a0else\u00a0confusion. (\u201cThe Princess,\u201d V, 427\u201331)<\/p>\n<h1>The Lotos-Eaters<\/h1>\n<ol>\n<li>Are the first two lines meant to be a commentary on the rest of the poem?<\/li>\n<li>Who is the &#8220;he&#8221; of line 1?<\/li>\n<li>What is the dominant rhyme scheme in the many 9-line stanzas? Compare this pattern with that of Edmund Spenser&#8217;s <em>The<\/em> <em>Faerie Queene<\/em>, Book II, canto 6 (Phaedria&#8217;s Isle and Lake of Idleness.)<\/li>\n<li>Give examples of sibilance, onomatopoeia, repeated masculine end rhymes, sensuous imagery. What is their effect?<\/li>\n<li>Why do the Lotos-Eaters wish to resemble the gods? What aspects of divinity do they project onto these deities? How might a Victorian reader have been expected to react to this notion of \u201cgodhead,\u201d and how would this have affected his or her view of the Lotus-Eaters\u2019 choice?<\/li>\n<li>The second stanza of the choric Song (sung by the mariners who had eaten of the lotos): &#8220;We only toil, who are the first of things&#8221; (ll. 57-69) recalls similar lines in <em>F.Q.<\/em>, II, Canto 6, Stanza 17, &#8220;Why then dost thou, O Man, that of them all\/Art lord&#8230;&#8221; What point is being made in both poems?<\/li>\n<li>In what ways do both &#8220;The Lotos-Eaters&#8221; and Spenser&#8217;s\u00a0<em>F.Q.<\/em>, II, Canto 6 invite comparison\/contrast with parts of the Sermon on the Mount in Matthew 6:25-34, especially &#8220;Take&#8230; no thought for the morrow&#8221; (34), which is echoed in Tennyson&#8217;s l. &#8220;&#8230;takes no care&#8221; in l. 73 of &#8220;The Lotos-Eaters&#8221;?<\/li>\n<li>How do you interpret the mariners\u2019 complaint in the Choric Song, VI: \u201cIs there confusion in the little isle? Let what is broken so remain. . . \u2019Tis hard to settle order once again.\u201d Is this line referring to Britain? Is the line ironic?<\/li>\n<li>What is the poem&#8217;s theme? Contrast this poem with \u201cUlysses\u201d?<\/li>\n<\/ol>\n<h1>Ulysses<\/h1>\n<ol>\n<li>Tennyson is quoted as saying that \u201cUlysses\u201d was \u201cwritten soon after Arthur Hallam\u2019s death, and gave my feeling about the need of going forward, and braving the struggle of life perhaps more simply than anything in \u2018In Memoriam\u2019\u201d (<em>Memoir<\/em>, I, 196). To which section of \u201cIn Memoriam\u201d is \u201cUlysses\u201d most parallel?<\/li>\n<li>Some critics argue that the poem is not wholly a dramatic monologue. Looking at it section by section (i.e., ll. 1\u201332; ll. 33\u201343, and ll. 44\u201370), which section is most clearly a dramatic monologue?<\/li>\n<li>In a short essay, compare and contrast \u201cThe Lotos-Eaters\u201d and \u201cUlysses.\u201d<\/li>\n<\/ol>\n<h1>Break, Break, Break<\/h1>\n<ol>\n<li>What feelings of loss does the speaker feel?<\/li>\n<li>How does the speaker\u2019s state of mind contrast with those of the fisherman\u2019s boy and the sailor lad?<\/li>\n<li>How do the breaking waves symbolize the speaker\u2019s melancholy?<\/li>\n<\/ol>\n<h1>From the Princess<\/h1>\n<p>See <a href=\"http:\/\/archive.is\/ZgnpR\">Princess Ida &#8211; from Tennyson to Gilbert<\/a><\/p>\n<ol>\n<li>Read the relevant portion of the table that contrasts Tennyson\u2019s poem and W.S. Gilbert\u2019s \u201cper-version&#8221; of the poem (i.e., Pt VII). Do you agree with the author\u2019s assessment of Tennyson\u2019s view of the relations between the sexes\u2014\u201coften cited as a key text in debates about Victorian constructs of masculinity and femininity?\u201d [<em>NAEL<\/em>, 9, 1184].<\/li>\n<li>In what way is Gilbert\u2019s \u201cper-version&#8221; of \u201cThe Princess\u201d just that, in terms of theme?<\/li>\n<\/ol>\n<h1>In Memoriam<\/h1>\n<ol>\n<li>Download Gatty\u2019s <em>A Key to In Memoriam<\/em> as well as a searchable Project Gutenberg e-text of <em>In Memoriam:<\/em>\n<ul>\n<li><a href=\"http:\/\/www.gutenberg.org\/ebooks\/36637\">A Key to Lord Tennyson&#8217;s &#8216;In Memoriam&#8217; by Alfred Gatty<\/a><\/li>\n<li><a href=\"https:\/\/archive.org\/details\/inmemoriambyalfr00tennuoft\"><em>In Memoriam<\/em>\u00a0<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ol>\n<ol>\n<li>In her excellent <a href=\"http:\/\/www.uiowa.edu\/~boosf\/questions\/tennyinmem.htm\">notes\u00a0on <em>In Memoriam<\/em><\/a>, Professor Florence Boos states, &#8220;According to <span itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/WebPage\">Tennyson, the poem fell naturally into the following 10\u00a0sections, <\/span>with 1\u201377; 78\u2013103; and 104\u2013131 forming the three main sections:\n<ul>\n<li>Sections 1\u20138, ending with a sense of hope; 9\u201320, ending with a sense of hope; 21\u201327, ending with a sense of hope; 28\u201349, ending with a sense of despair; 50\u201358; 59\u201371; 72\u201398; 99\u2013103; 104\u2013131; Epilogue.<\/li>\n<\/ul>\n<\/li>\n<li>Find examples to support the following assertion. \u201cWhereas the first Christmas (28\u201377) was marked overwhelmingly by grief, the second cycle (78\u2013103) beginning with the second Christmas since Hallam&#8217;s death, marks a turning point in the poem, as from here on the poet begins to move more steadily towards hope and consolation\u201d.\u00a0Compare sections 30 and 78, as well as 7 and 119, in particular.<\/li>\n<li>Look in a glossary of literary terms and then find examples of <strong>anaphora<\/strong> in Parts 11 and 101.<\/li>\n<li>The <em>Cambridge History of English Literature<\/em> (CHEL), (XIII, II, 3) states that Ben Jonson and Lord Herbert of Cherbury used the so-called \u201cIn Memoriam stanza&#8221; before Tennyson. Find one example of Jonson\u2019s and Lord Herbert of Cherbury\u2019s use of the &#8220;In Memoriam stanza.&#8221; See Edward Hirsch, <em>A Poet\u2019s Glossary<\/em> (Google books). See also Hallam Tennyson, <a href=\"https:\/\/archive.org\/stream\/alfredlordtennys01tennuoft#page\/300\/mode\/2up.\"><em>Alfred Lord Tennyson: A Memoir<\/em>, I, 305<\/a> for Tennyson\u2019s own discussion of what is now known as the \u201cIn Memoriam stanza.\u201d Be sure to use quotes before and after your search terms when using the \u201csearch inside\u201d box inside the <em>Memoir<\/em>.<\/li>\n<\/ol>\n<h1>Essay Topics<\/h1>\n<ol>\n<li>Focus on sections 75, 87, 89, 95, 107, and 109\u2013114 to discuss Tennyson\u2019s characterization of Hallam.<\/li>\n<li>Does Tennyson move beyond the bleakness of the survival of the fittest view of the universe in 55 and 56? What does he offer to contradict the vision of a seemingly purposeless universe?<\/li>\n<li>Analyze section 118 as a kind of key to the science versus religion aspect of the poem.<\/li>\n<li>Compare elegiac elements in <em>In Memoriam<\/em> and either one of the following elegies: Milton\u2019s \u201cLycidas\u201d; Shelley\u2019s \u201cAdonais\u201d, Matthew Arnold\u2019s \u201cThyrsis.\u201d <strong>Essay Topic on Tennyson and Imperialism<\/strong><\/li>\n<li>Read Tennyson\u2019s 106-line poem, <a href=\"http:\/\/www.bartleby.com\/297\/629.html\">\u201cThe Defence of Lucknow\u201d<\/a>, written in 1879. In an essay, discuss whether you think Tennyson avoids the larger ethical questions underlying European Imperialism and instead gives in to typical Victorian imperialist sentiments.<\/li>\n<\/ol>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<div class=\"textbox shaded\">\n<h1>Resources<\/h1>\n<h2><strong>In Memoriam<\/strong><\/h2>\n<ul>\n<li><a href=\"http:\/\/www.victorianweb.org\/authors\/tennyson\/im\/lq.html\">Numerous articles from Victorian Web on <em>In Memoriam<\/em><\/a><\/li>\n<li><a href=\"http:\/\/www.bbc.co.uk\/programmes\/b0124pnq\">BBC Radio <em>In Our Time<\/em> \u201cIn Memoriam\u201d<\/a><\/li>\n<\/ul>\n<h2><strong>The Charge of the Light Brigade<\/strong><\/h2>\n<ul>\n<li><a href=\"https:\/\/en.wikisource.org\/wiki\/The_Times\/1854\/News\/The_Charge_of_the_Light_Brigade\">The Times\/1854\/News\/The Charge of the Light Brigade<\/a><\/li>\n<li><a href=\"https:\/\/www.bbc.co.uk\/programmes\/b008md8x\">BBC Radio <em>In Our Time<\/em>\u00a0&#8220;Charge of the Light Brigade&#8221;<\/a><\/li>\n<\/ul>\n<\/div>\n","protected":false},"author":17,"menu_order":10,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-236","chapter","type-chapter","status-publish","hentry"],"part":214,"_links":{"self":[{"href":"https:\/\/opentextbc.ca\/englishliterature\/wp-json\/pressbooks\/v2\/chapters\/236","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/opentextbc.ca\/englishliterature\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/opentextbc.ca\/englishliterature\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/opentextbc.ca\/englishliterature\/wp-json\/wp\/v2\/users\/17"}],"version-history":[{"count":26,"href":"https:\/\/opentextbc.ca\/englishliterature\/wp-json\/pressbooks\/v2\/chapters\/236\/revisions"}],"predecessor-version":[{"id":2634,"href":"https:\/\/opentextbc.ca\/englishliterature\/wp-json\/pressbooks\/v2\/chapters\/236\/revisions\/2634"}],"part":[{"href":"https:\/\/opentextbc.ca\/englishliterature\/wp-json\/pressbooks\/v2\/parts\/214"}],"metadata":[{"href":"https:\/\/opentextbc.ca\/englishliterature\/wp-json\/pressbooks\/v2\/chapters\/236\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/opentextbc.ca\/englishliterature\/wp-json\/wp\/v2\/media?parent=236"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/opentextbc.ca\/englishliterature\/wp-json\/pressbooks\/v2\/chapter-type?post=236"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/opentextbc.ca\/englishliterature\/wp-json\/wp\/v2\/contributor?post=236"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/opentextbc.ca\/englishliterature\/wp-json\/wp\/v2\/license?post=236"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}