For the class on 5.12.2017 at IST BILGI

Please print out:

Holy Sonnets: Death, be not proud

BY JOHN DONNE

Death, be not proud, though some have called thee 

Mighty and dreadful, for thou art not so; 

For those whom thou think'st thou dost overthrow 

Die not, poor Death, nor yet canst thou kill me. 

From rest and sleep, which but thy pictures be, 

Much pleasure; then from thee much more must flow, 

And soonest our best men with thee do go, 

Rest of their bones, and soul's delivery. 

Thou art slave to fate, chance, kings, and desperate men, 

And dost with poison, war, and sickness dwell, 

And poppy or charms can make us sleep as well 

And better than thy stroke; why swell'st thou then? 

One short sleep past, we wake eternally 

And death shall be no more; Death, thou shalt die. 

The Flea

BY JOHN DONNE

Mark but this flea, and mark in this,   

How little that which thou deniest me is;   

It sucked me first, and now sucks thee,

And in this flea our two bloods mingled be;   

Thou know’st that this cannot be said

A sin, nor shame, nor loss of maidenhead,

    Yet this enjoys before it woo,

    And pampered swells with one blood made of two,

    And this, alas, is more than we would do.

Oh stay, three lives in one flea spare,

Where we almost, nay more than married are.   

This flea is you and I, and this

Our marriage bed, and marriage temple is;   

Though parents grudge, and you, w'are met,   

And cloistered in these living walls of jet.

    Though use make you apt to kill me,

    Let not to that, self-murder added be,

    And sacrilege, three sins in killing three.

Cruel and sudden, hast thou since

Purpled thy nail, in blood of innocence?   

Wherein could this flea guilty be,

Except in that drop which it sucked from thee?   

Yet thou triumph’st, and say'st that thou   

Find’st not thy self, nor me the weaker now;

    ’Tis true; then learn how false, fears be:

    Just so much honor, when thou yield’st to me,

    Will waste, as this flea’s death took life from thee.

An Epitaph on S.P.

BY BEN JONSON

A Child of Queen Elizabeth's Chapel

Weep with me, all you that read 

This little story: 

And know, for whom a tear you shed 

Death's self is sorry. 

'Twas a child, that so did thrive 

In grace and feature, 

As heaven and nature seem'd to strive 

Which own'd the creature. 

Years he number'd scarce thirteen 

When fates turn'd cruel, 

Yet three fill'd zodiacs had he been 

The stage's jewel; 

And did act (what now we moan) 

Old men so duly, 

As, sooth, the Parcæ thought him one, 

He play'd so truly. 

So, by error, to his fate 

They all consented; 

But viewing him since (alas, too late) 

They have repented; 

And have sought (to give new birth) 

In baths to steep him; 

But being so much too good for earth, 

Heaven vows to keep him. 

For the class on 5.12.2017 at IST BILGI

       Please read Part III chapter 1,2 and 3 from Gulliver's Travel.

Anectodes

FOR NEXT CLASS-IST BILGI 28.11.2017

Pls read PART 2, Chapter 1: A Voyage to Brobdingnag
              PART 2, Chapter 2
              PART 2, Chapter 3
              PART ', Chapter 4

I would like to thank my students who e-mailed me, text messaged me and showed up at the office to celebrate the "teachers day". 

I am still smiling at your excitement.

have a nice weekend 🌸

best

gh

TO IST BILGI

Dear Students,

I would like to thank those who have received a straight A at the exam and others who gave their best. I enjoyed reading your papers.
I will try to upload your grades on Bilgilearn, if not, you can check your grades on Tuesday.

Please print out the poems of John Dryden below.
And read Chapter I and Chapter II (p.10-37) of Gulliver's Travels by Jonathan Swift.

you can find the book here:

https://www.planetebook.com/ebooks/Gullivers-Travels.pdf

best
gh

PLS PRINT OUT FOR CLASS ON TUESDAY 21.11.2017

Marriage a-la-Mode

BY JOHN DRYDEN

Why should a foolish marriage vow, 

Which long ago was made, 

Oblige us to each other now 

When passion is decay'd? 

We lov'd, and we lov'd, as long as we could, 

Till our love was lov'd out in us both: 

But our marriage is dead, when the pleasure is fled: 

'Twas pleasure first made it an oath. 

If I have pleasures for a friend, 

And farther love in store, 

What wrong has he whose joys did end, 

And who could give no more? 

'Tis a madness that he should be jealous of me, 

Or that I should bar him of another: 

For all we can gain is to give our selves pain, 

When neither can hinder the other.

A Song for St. Cecilia's Day, 1687

BY JOHN DRYDEN

Stanza 1 

From harmony, from Heav'nly harmony 

               This universal frame began. 

       When Nature underneath a heap 

               Of jarring atoms lay, 

       And could not heave her head, 

The tuneful voice was heard from high, 

               Arise ye more than dead. 

Then cold, and hot, and moist, and dry, 

       In order to their stations leap, 

               And music's pow'r obey. 

From harmony, from Heav'nly harmony 

               This universal frame began: 

               From harmony to harmony 

Through all the compass of the notes it ran, 

       The diapason closing full in man. 

Stanza 2 

What passion cannot music raise and quell! 

                When Jubal struck the corded shell, 

         His list'ning brethren stood around 

         And wond'ring, on their faces fell 

         To worship that celestial sound: 

Less than a god they thought there could not dwell 

                Within the hollow of that shell 

                That spoke so sweetly and so well. 

What passion cannot music raise and quell! 

Stanza 3 

         The trumpet's loud clangor 

                Excites us to arms 

         With shrill notes of anger 

                        And mortal alarms. 

         The double double double beat 

                Of the thund'ring drum 

         Cries, hark the foes come; 

Charge, charge, 'tis too late to retreat. 

Stanza 4 

         The soft complaining flute 

         In dying notes discovers 

         The woes of hopeless lovers, 

Whose dirge is whisper'd by the warbling lute. 

Stanza 5 

         Sharp violins proclaim 

Their jealous pangs, and desperation, 

Fury, frantic indignation, 

Depth of pains and height of passion, 

         For the fair, disdainful dame. 

Stanza 6 

But oh! what art can teach 

         What human voice can reach 

The sacred organ's praise? 

Notes inspiring holy love, 

Notes that wing their Heav'nly ways 

         To mend the choirs above. 

Stanza 7 

Orpheus could lead the savage race; 

And trees unrooted left their place; 

                Sequacious of the lyre: 

But bright Cecilia rais'd the wonder high'r; 

         When to her organ, vocal breath was giv'n, 

An angel heard, and straight appear'd 

                Mistaking earth for Heav'n. 

GRAND CHORUS 

As from the pow'r of sacred lays 

         The spheres began to move, 

And sung the great Creator's praise 

         To all the bless'd above; 

So when the last and dreadful hour 

   This crumbling pageant shall devour, 

The trumpet shall be heard on high, 

         The dead shall live, the living die, 

         And music shall untune the sky.

John Dryden “Epigram on Milton” (1688)

 

Three Poets, in three distant Ages born,

Greece, Italy, and England did adorn.

 The First in loftiness of thought surpassed;

 The Next in Majesty; in both the Last.

 The force of Nature could no farther go:

 To make a third she joined the former two.

THE RESTORATION AND THE EIGHTEENTH CENTURY, 1660-1785

• The Restoration period begins in 1660, the year in which King Charles II (the exiled Stuart king) was restored to the English throne.
• England, Scotland, and Wales were united as Great Britain by the 1707 Act of Union.
• The period is one of increasing commercial prosperity and global trade for Britain.
• Literacy expanded to include the middle classes and even some of the poor.
• Emerging social ideas included politeness―a behavioral standard to which anyone might aspire―and new rhetoric of liberty and rights, sentiment and sympathy.

CONDITIONS OF LITERARY PRODUCTION

• The Stage Licensing Act (1737) established a form of dramatic censorship in which the Lord Chamberlain pre-approved and licensed all plays for performance in London.
• Censorship of other print material changed radically with the 1710 Statute of Anne, the first British copyright law not tied to government approval of a book's contents.
• Copyrights were typically held by booksellers.
• The term "public sphere" refers to the material texts concerning matters of national interest and also to the public venues (including coffeehouses, clubs, taverns, parks, etc.) where readers circulated and discussed these texts.
• Thanks to greatly increased literacy rates (by 1800, 60-70 percent of adult men could read, versus 25 percent in 1600), the eighteenth century was the first to sustain a large number of professional authors. Genteel writers could benefit from both patronage and the subscription system; "Grub Street" hacks at the lower end of the profession were employed on a piecework basis.
• Women published widely.
• Reading material, though it remained unaffordable to the laboring classes, was frequently shared. Circulating libraries began in the 1740s.
• Capital letters began to be used only at the beginnings of sentences and for proper names, and the use of italics was reduced.

RESTORATION LITERATURE, 1600-1700

• Dryden was the most influential writer of the Restoration, for he wrote in every form important to the period―occasional verse, comedy, tragedy, heroic plays, odes, satires, translations of classical works—and produced influential critical essays concerning how one ought to write these forms.
• Restoration prose style grew more like witty, urbane conversation and less like the intricate, rhetorical style of previous writers like John Milton and John Donne.
• Simultaneously, Restoration literature continued to appeal to heroic ideals of love and honor, particularly on stage, in heroic tragedy.
• The other major dramatic genre was the Restoration comedy of manners, which emphasizes sexual intrigue and satirizes the elite's social behavior with witty dialogue.

To IST BILGI

Dear Students,

The midterm test will cover the material from the last 4 classes.

Please study figure of speech, the last poems we analyzed in class and Josef Conrad’s “The Heart of Darkness”.

DO NOT LEAVE ANY BLANK SPACES!

There will be no Make- Up or Back- Up exams for the MIDTERM.

Please come to the class or designated room ON TIME.

The results will be announced at Bilgilearn.

You are responsible to bring a pen to the test. Do not bring any paper, books, dictionary, and notes with you.

 Unfortunately, I won’t be able to attend the MIDTERM and the supervisor will NOT offer any interpretation of any exam question or add additional information other than the information that is explicit on your MIDTERM exam.

Prepare your ID card and Student ID for the identity check.

At the end of the exam, the test booklet will be collected. Please do not forget to write your NAME AND SURNAME.

If you finish with more than 10 minutes remaining, you may present your papers to the supervisor and leave quietly. Otherwise please remain seated and follow the instructions.

Students are strictly forbidden from adopting unfair means in the midterm test.

 If a student is detected by the supervisor while adopting or to have adopted unfair means, he/she may be given a "Fail" grade for the midterm exam or for the course at the discretion of the invigilator/the course teacher.

The exam will look like the Quiz with two additional questions.

I wish you good luck!

Best

gülrenk 

Asıl marifet buluttaydı ama herkes yağmura şiir yazdı. - Cahit Zarifoğlu

                                                           

Heart of Darkness, Characters and literary elements

Heart of Darkness Context

Heart of Darkness 3

Heart of Darkness 2

Heart of Darkness 1

FOR IST BILGI UNI

Dear Students,

Please print the three romantic period poems below and do not forget to read the last part of Josef Conrad's "The Heart of Darkness". The last part is the best part. Enjoy !

FOR IST BILGI UNI: pls print out for class!

She Dwelt among the Untrodden Ways

BY WILLIAM WORDSWORTH

She dwelt among the untrodden ways 

Beside the springs of Dove, 

A Maid whom there were none to praise 

And very few to love: 

A violet by a mossy stone 

Half hidden from the eye! 

—Fair as a star, when only one 

Is shining in the sky. 

She lived unknown, and few could know 

When Lucy ceased to be; 

But she is in her grave, and, oh, 

The difference to me! 

On First Looking into Chapman's Homer

BY JOHN KEATS

Much have I travell'd in the realms of gold, 

And many goodly states and kingdoms seen; 

Round many western islands have I been 

Which bards in fealty to Apollo hold. 

Oft of one wide expanse had I been told 

That deep-brow'd Homer ruled as his demesne; 

Yet did I never breathe its pure serene 

Till I heard Chapman speak out loud and bold: 

Then felt I like some watcher of the skies 

When a new planet swims into his ken; 

Or like stout Cortez when with eagle eyes 

He star'd at the Pacific—and all his men 

Look'd at each other with a wild surmise— 

Silent, upon a peak in Darien. 

Kubla Khan

BY SAMUEL TAYLOR COLERIDGE

Or, a vision in a dream. A Fragment. 

In Xanadu did Kubla Khan 

A stately pleasure-dome decree: 

Where Alph, the sacred river, ran 

Through caverns measureless to man 

   Down to a sunless sea. 

So twice five miles of fertile ground 

With walls and towers were girdled round; 

And there were gardens bright with sinuous rills, 

Where blossomed many an incense-bearing tree; 

And here were forests ancient as the hills, 

Enfolding sunny spots of greenery. 

But oh! that deep romantic chasm which slanted 

Down the green hill athwart a cedarn cover! 

A savage place! as holy and enchanted 

As e’er beneath a waning moon was haunted 

By woman wailing for her demon-lover! 

And from this chasm, with ceaseless turmoil seething, 

As if this earth in fast thick pants were breathing, 

A mighty fountain momently was forced: 

Amid whose swift half-intermitted burst 

Huge fragments vaulted like rebounding hail, 

Or chaffy grain beneath the thresher’s flail: 

And mid these dancing rocks at once and ever 

It flung up momently the sacred river. 

Five miles meandering with a mazy motion 

Through wood and dale the sacred river ran, 

Then reached the caverns measureless to man, 

And sank in tumult to a lifeless ocean; 

And ’mid this tumult Kubla heard from far 

Ancestral voices prophesying war! 

   The shadow of the dome of pleasure 

   Floated midway on the waves; 

   Where was heard the mingled measure 

   From the fountain and the caves. 

It was a miracle of rare device, 

A sunny pleasure-dome with caves of ice! 

   A damsel with a dulcimer 

   In a vision once I saw: 

   It was an Abyssinian maid 

   And on her dulcimer she played, 

   Singing of Mount Abora. 

   Could I revive within me 

   Her symphony and song, 

   To such a deep delight ’twould win me, 

That with music loud and long, 

I would build that dome in air, 

That sunny dome! those caves of ice! 

And all who heard should see them there, 

And all should cry, Beware! Beware! 

His flashing eyes, his floating hair! 

Weave a circle round him thrice, 

And close your eyes with holy dread 

For he on honey-dew hath fed, 

And drunk the milk of Paradise.