Structure

• 70 lines, divided into three verse paragraphs.• Can a four-part division be made?

– rejection of his barren life – first five lines– fond recall of heroic past – end of first verse– dismissal/recognition of Telemachus’ governance– consideration given to another journey

• How long is each section? What does this tell us?• Which sections use least enjambment? Are most

monosyllabic? Why?

Use of enjambment (run-on lines) vs short declarative

sentences.Enjambed lines (e.g. ‘All experience…) •does he sometimes run away with himself? •does he like the sound of his own voice?

Short sentences, often monosyllabic (e.g. ‘He works his work, I mine.)•creates abrupt/blunt tone•overall impact: stop/go feeling is created…when is he expansive, when brief?

•Caesurae or mid-line pauses (sing. Caesura) (e.g. ‘The long day wanes: the slow moon climbs: the deep/moans…’)• perhaps builds reflective/meditative mood/slows pacing down

Antithesis

• Contrasting of opposites in parallel phrases– ‘rust unburnishd’/’shine in use’– ‘I have enjoyed greatly, have suffered greatly’– ‘little remains…something more’

• tone– Discursive?–Meditative?– Inwardly debating?

Language

• Consider each verse paragraph in turn– Image-clusters?– Key images? – Extended metaphors? Similes?– Use of sound

• Use of monosyllable: – ‘hoard and sleep and feed and know not

me’ etc

• Tone of voice?

Form • Blank verse = iambic pentameter

conversational tone/pattern of everyday speech– But regular rhythm interrupted (why?):

• E.g. spondees (‘…I mine’…) forcefulness

• Dramatic monologue: single speaker– To whom is Ulysses speaking?

• Contemplative soliloquy? Or address?• Does the poem move from soliloquy to address?• Does the poem move location?

Tensions, Questions

• Heroic/Bronze age Greece vs…?• How should we view Ulysses?– resolute and heroic?– as running away from his responsibilities?– heroic zeal or foolish excess?

• View of self? View of others?– Egoism or recognition of abilities?– Contempt, condescension?

Classical and Medieval settings

Why use these settings?

Classical – Ancient Greece Medieval – myths and legends of bravery and gallantry

Debate: positive and negative ideas relating to this use of imagery and setting

Why use classical settings? Recognisable to readers, familiar stories, escapism – from contemporary demands and restrictions, reinvigorate imagery in poetry, possibly he uses the past to criticise his contemporary world.

Greek myths provide very masculine and heroic characters which he can explore through different ways, he can subvert the well-known characters and surprise the reader.

He has to find a way to express his grief – not acceptable for men to demonstrate their emotions – how else can he explore them through his poetry, he has to use a decoy (characters from Greek mythology).

Introducing Literary Theory

Different ways of reading and viewing texts

You do not need to feel intimidated or worried about using literary theory.

All theorists do, is read texts and offer different interpretations of them.

By using and applying theory, you are showing that you are aware of some of the different ways a text can be interpreted or read.

Literary theory does not mean that a text is necessarily feminist or Marxist, etc, rather the text can be read in that way.

Can a picture book teach you anything about theory?

Now read the text again and analyse it through the lens of a particular theory.

• Any new insights gained by approaching the book through this lens?

• Consider also whether the book loses anything from being read from a specific critical perspective.

• What are the benefits and the limitations of reading a text from a single critical perspective?

• In what ways could these insights be used as part of your own reading of the text?

Choose two of the Tennyson poems we have looked at.

• Apply your theory to your reading of the stories. What similarities or differences do the stories offer, from your perspective?

• Feedback.• What does this tell us about narrative and

interpretation?

Moral

• For me, literature is nothing unless it teaches its reader something and helps them become better people.

• All good literature is basically moral and uplifting.

• It is important to consider the themes in the text, to understand its moral purpose.

Postcolonial• I began by being interested in texts which

explore the black struggle against injustice and oppression. I am aware of the negative portrayals of black people, and their absence generally, in white literature.

• I am aware when Eurocentric attitudes are taken for granted, and I look in the text for cultural, regional, social and national differences in outlook and experiences.

• I am interested in the way colonial countries and people are represented in texts by Western writers. I also explore the ways in which postcolonial writers write about their own identity and experiences.

Genre Theory

• I believe that all literature can be classified into various types or forms, e.g. tragedy, comedy, romance, thriller, epic, lyric etc.

• I look for ways in which the text relates to the conventions of its genre. You can only really make sense of a text when you recognise the tradition to which it belongs.

Feminist

• I believe that ‘feminine’ and ‘masculine’ are ideas constructed by our culture, and it is important to be aware of this when reading texts from periods and cultures different from our own.

• I prefer to read literature which explores women’s experience of the world.

• I am interested in how women are represented in texts written by men, and how these texts display the power relations between the sexes.

Psychoanalytic

• Because of my interest in the unconscious, I pay most attention to what is glossed over or ‘repressed’.

• I want to look beyond the obvious surface meaning to what the text is ‘really’ about.

• I also look for representations of psychological states or phases in literature, and am more interested in the emotional conflicts between the characters or groups in a text than in its wider context.

Historical

• I read historical and other relevant texts, alongside literary ones, in order to see more clearly the context in which the literature was produced, and to recover its history.

• I look at the ways these texts have been packaged and consumed in the present day. However, I also analyse the text closely, in order to question previous ways in which the text has been read.

• I consider all forms of culture, popular as well as high culture, to be relevant.

Marxist

• I look for hidden messages in a text and I examine how the characters interact and whether there is harmony or power struggle.

• I look at the level of luxury that characters experience: their possessions, what they have and why.

• I do not necessarily believe that individuals have free-choice, they are always conforming to the will of those in power and I look for the illusion of freedom and free-thought in texts.

Structuralist/Post-structuralist• I am not interested so much in when a text

was written, or who it was written by, or even what it is about.

• I believe that we use language, not simply to describe the world, but to construct it. Therefore, in literature, I am most interested in how the text is constructed: its form, its overall structure and the patterns of language in it, especially pairs of opposites.

• Texts from popular culture, societies, belief systems are all structures which can be explored and analysed like a literary text. Some critics who, like me, were interested in patterns and structures became more interested in the gaps, silences and absences in texts. They became known as post-structuralists.