The close reading guidelines I posted last week got more attention than I’d of expected. So thought to post, also, a worksheet I slapped together to help students build the skills they need to do all the damn fool things I say they might should.
This one’s on four of the six poems we’ve read by Sir Thomas Wyatt. Two sonnets, one sonnet on steroids, and one song that ne’er was, it thinketh me, no song never, and his lute be damned.
You might find the sheet haphazard and’d not be wrong. But a bunch of the Q’s on it, I framed after we’d talked about the poems some, so we had some lines we were thinking of them along, and I wanted to continue those.
We talked through about 1/2 of it today, and while they didn’t find it near so fun as wondering whether he did or didn’t do X with Anne Boleyn, they did brave and well. Noticing, e.g., how the fricative alliteration in “Fainting I follow” (in “Whoso list to hunt”) makes for a heavy breathing mimicking the breathless faltering hunter’s. And the echo, in “Since in a net I seek to hold the wind,” of the bag of winds given by Aeolus to Odysseus – a connection I admit I’d not have made, but I do think may be there, via Ovid if not from Homer straight.
Apportion tasks as you see fit – but do collaborate, so as to come to the most complete answer to each of these questions. Take thorough notes, so you can report back to the class as a whole.
“Whoso list to hunt”
- Describe the rhyme scheme (ab etc.) and locate the turn. What changes, rhetorically, at the turn? In other words, what is the speaker up to, before the turn, and how is what he’s up to different, after?
- There are spots where alliteration becomes prominent. Find them. What’s the effect of the alliteration?
- There are two lines that are metrically regular iambic pentameter except for a trochaic substitution in the first foot. Find them. What’s the effect of the substitution?
- Feel your way into this metaphor: “Since in a net I seek to hold the wind.” What does it say, reflect, embody, about the speaker’s endeavour?
- Describe the rhyme scheme of the sonnet. How is the rhyming practice here different from that of “Whoso list”? How does it support or complement the poem’s content?
- We said in class that the extended metaphor in this sonnet qualifies as a conceit, in which unrequited love is equated with a sea voyage. Identify every point of connection you can find between the two terms of the metaphor: literal (ground) and figurative (figure). E.g., “A rain of tears,” rain = the lover’s tears; “The stars,” stars = the beloved’s eyes.
- Paraphrase lines 7–8: rephrase them in modern English with no loss of detail.
- What do you make of the paradox that the speaker’s “enemy” is also his “lord”? Does it matter that these two descriptors are on two different lines?
“They Flee from me”
- It’s never specified in the first stanza who or what “they” are. We can surmise, of course: they’re deer (figure), they’re lovers (ground). Why might Wyatt leave it implicit though – both deer and lovers unnamed?
- “Busily seeking with a continual change” seems to apply well to young ladies of the court, not so well to deer. Is this a flaw in the poem, a metaphor fail? If not, why has the metaphor collapsed before the stanza and the sentence are done?
- What do you take lines 18–19 to mean? What tone are they spoken in?
“My lute, awake!”
- Scan stanza six. There are four trochaic substitutions in the stanza – find them. Is there anything that can be said about the effect they have?
- Find the spots in the poem where the addressee, the thing or person spoken to, changes. Are these shifts important to the poem, rhetorically, structurally?
- The poem imagines someone speaking (singing), someone spoken (sung) to. To what ostensible purpose? Is there some other obscured purpose we can discern? While we’re on the subject, does the poem imagine, in addition to its addressee(s), anyone overhearing?
That last one because these poems are as complex rhetorically, as aware of their ostensible audience, of possible intended unintended audiences; of their manifest purpose, of secret but broadly acknowledged purposes; and of purposes secret to all but the speaker, also of purposes the speaker has kept secret perhaps from himself – as any of the machinations were at that royal court, Henry 8’s, in which precincts these poems became so sharp and multiple, deadly and fine.
Click on, to see if you know where is an hind.