teaching with audio -...

Teaching with Audio

Voice s o f Bri t i sh Li teratureVolume 1

Literature is first and foremost an art of the ear: throughout most of history, liter-

ature was written to be read aloud, or recited, or sung. Volume 1 of Voices of British

Literature, the CD accompanying the first volume of The Longman Anthology of

British Literature, presents spoken and musical selections from the beginnings of

British literature to the close of the 18th Century, from the medieval period’s

Anglo-Saxon, Middle English, and Middle Scots poetry to the wittily pointed cou-

plets of Alexander Pope and the rollicking songs of The Beggar’s Opera. These per-

formances do much to bring out the nuances of meaning—and the sheer drama—

of the works we include in The Longman Anthology of British Literature.

The verbal music of British literature is given literal form in the musical set-

tings we have included for works in each period. Our unaccompanied selections

make compelling listening as well. We have searched for the most beautiful and

gripping performances we could find for each work: Richard Burton reading John

Donne with an intense intimacy; Dylan Thomas relishing his role as Milton’s

Satan; the poet and translator Tim Murphy giving a rousing rendition of his bril-

liant alliterative translation of Beowulf. In this and several other instances, partic-

ularly for several selections from recently rediscovered women writers, we have

commissioned our own readings.

Like the Longman Anthology it accompanies, this CD opens up a range of cul-

tural contexts for the writing and reading of literature. From the Middle Ages, for

example, we give popular songs together with Chaucer and Dunbar. From the

Early Modern period, along with poems by Wyatt and Shakespeare on betrayal and

loss, we include an anguished speech by Queen Elizabeth I on the death sentence

given to her cousin, Mary Queen of Scots—paired with a haunting motet by the

Catholic composer Thomas Tallis. For the Restoration and 18th Century, selec-

tions include Samuel Pepys’s eyewitness account of the great Fire of London and

a satiric response by Lady Mary Wortley Montagu to a misogynist poem by

Jonathan Swift.

Most of our selections can be found in the pages of the full Longman Anthology

of British Literature, 2/e (LABL), starting on the page given following each title in

the notes that follow. Many of these texts are also available in the anthology’s

Compact Edition (CE). Occasionally, we have taken the opportunity to extend the

617

anthology’s range with a compelling recording of a work not in the anthology it-

self. The texts for these selections are printed following the listing of works, so all

these texts can be studied in detail. These great performances can readily stand on

their own as well: they are a delight to hear.

—David Damrosch

Track Lis t ingThe Middle Ages

Track Time

1 BEOWULF: The Dirge, in Anglo Saxon (1:12)

2 BEOWULF: The Dirge, in English (2:20)

3 SUMER IS ICUMEN IN (1:22)+

4 GEOFFREY CHAUCER: The Canterbury Tales:

Prologue, lines 1–29 (1:51)

5 GEOFFREY CHAUCER: The Canterbury Tales:

Prologue, lines 447–78 (1:59)

6 THERE IS NO ROSE (4:31)

7 WILLIAM DUNBAR: In Secreit Place This Hyndir Nycht (3:48)

The Early Modern Period

8 SIR THOMAS WYATT: They Flee from Me (1:37)

9 QUEEN ELIZABETH I: from a speech on Mary, Queen of Scots (5:47)

10 THOMAS TALLIS: from Lamentations of Jeremiah (3:02)

WILLIAM SHAKESPEARE: Sonnets

11 Sonnet 18: Shall I compare thee to a summer’s day (1:03)

12 Sonnet 29: When, in disgrace with fortune and men’s eyes (1:00)

13 Sonnet 55: Not marble nor the gilded monuments (0:59)

14 Sonnet 73: That time of year thou mayst in me behold (1:03)

15 Sonnet 126: O thou, my lovely boy, who in thy power (0:58)

16 Sonnet 130: My mistress’ eyes are nothing like the sun (1:00)

17 WILLIAM SHAKESPEARE: Opening monologue

from Twelfth Night (1:19)

18 HEVENINGHAM/PURCELL: If music be the food of love (3:44)+

19 JOHN DONNE: The Sun Rising (1:39)

20 JOHN DONNE: A Valediction: Forbidding Mourning (2:04)

21 KATHERINE PHILIPS: To Mrs. Mary Awbrey at Parting (2:58)

22 ANDREW MARVELL: To His Coy Mistress (2:22)

23 WHEN THE KING ENJOYS HIS OWN AGAIN (2:49)+

24 JOHN MILTON: Paradise Lost, Book 1, lines 242–70 (2:13)

618 Voices of British Literature: Volume 1

+ Music

The Restoration and the 18th Century

25 SAMUEL PEPYS, from The Diary: The Fire of London (3:50)

26 JONATHAN SWIFT: from The Lady’s Dressing Room (3:38)

27 LADY MARY WORTLEY MONTAGU: from The Reasons that

Induced Dr. S to Write a Poem called “The Lady’s Dressing Room” (3:05)

28 ALEXANDER POPE: from An Essay on Criticism (lines 337–83) (3:18)

29 APHRA BEHN: To the Fair Clarinda, Who Made Love to Me,

Imagined More than Woman (1:36)

30 JOHN GAY: from The Beggar’s Opera: Air 6 (2:10)

31 JOHN GAY: from The Beggar’s Opera: Air 21 (2:19)

NotesTrack Page in Anthology

1 BEOWULF: The Dirge, in Anglo-Saxon (1:12).

Read by Tim Murphy.

2 BEOWULF: The Dirge, in English (2:20). LABL 1:91 CE 94

Read by Tim Murphy.

3 SUMER IS ICUMEN IN (“The Cuckoo Song”) (1:22). LABL 1:550 CE 341

Performed by Roxbury Union Congregational

Church Choir. A celebration of fertility and renewal

as summer approaches.

4 GEOFFREY CHAUCER: The Canterbury Tales: LABL 1:302 CE 221

The General Prologue, lines 1–29 (1:51).

Read by J. B. Bessinger, Jr. Springtime inspires a

varied—and talkative—group to go on pilgrimage.

5 GEOFFREY CHAUCER: The Canterbury Tales: LABL 1:312 CE 231

The General Prologue, lines 447–78 (1:59).

Read by J. B. Bessinger, Jr.

6 THERE IS NO ROSE (4:31). See text below.

Performed by Oxford Camerata. “There is no rose of

such virtue, as is the rose that bare Jesu.” An ethereal mix

of English and Latin, this 15th century carol celebrates the

Virgin Mary.

7 WILLIAM DUNBAR: In Secreit Place This Hyndir LABL 1:592 CE 357

Nycht (3:48). Read by Patrick Deer (NYU). A lover’s

dialogue—humorous, tender, and starkly physical—by the great

Middle Scots poet.

619Voices of British Literature: Volume 1

The Early Modern Period

8 SIR THOMAS WYATT: They Flee from Me (1:37). LABL 1:672 CE 383

Read by Edward DeSouza. A moving recollection of lost

love in a time of political disfavor.

9 QUEEN ELIZABETH I: from a speech on Mary, LABL 1:1088

Queen of Scots (“On Mary’s Execution”) (5:47).

Read by Elizabeth Richmond-Garza (Univ. of Texas).

Queen Elizabeth’s response to Parliament’s death sentence on

her cousin displays her deep sorrow, her resolve to protect her

country and her own reputation, and her striving not to be

forced into irrevocable action in a treacherous situation.

10 THOMAS TALLIS: from Lamentations of See text below.

Jeremiah (3:02). Performed by Oxford Camerata.

Both a devout Catholic and a loyal subject of his patron

Queen Elizabeth, the great composer Thomas Tallis

(c. 1510–1585) turned to the biblical Book of Lamentations

to express the anguish of Queen Mary’s fall from grace. Whereas

in Lamentations a destitute woman is a metaphor for a fallen

Jerusalem, in this powerful motet sequence, the fallen Jerusalem

stands in for the imprisoned Mary.

WILLIAM SHAKESPEARE: Sonnets

Read by Alex Jennings. Six sonnets from the most famous

sonnet sequence in English, written to both a mysterious lady

and an endlessly attractive young man. Jennings’s performance

of these poems shows them as intimate dramas of passionate

debate and self-analysis.

11 Sonnet 18: Shall I compare thee to a summer’s day LABL 1:1226 CE 553

(1:03)

12 Sonnet 29: When, in disgrace with fortune and LABL 1:1227 CE 553

men’s eyes (1:00)

13 Sonnet 55: Not marble nor the gilded monuments LABL 1:1229 CE 554

(0:59)

14 Sonnet 73: That time of year thou mayst in me LABL 1:1230 CE 554

behold (1:03)

15 Sonnet 126: O thou, my lovely boy, who in thy LABL 1:1235 CE 556

power (1:00)

16 Sonnet 130: My mistress’ eyes are nothing like the LABL 1:1236 CE 556

sun (0:59)

17 WILLIAM SHAKESPEARE: Opening monologue LABL 1:1239

from Twelfth Night (1:19). Performed by Robert Hardy.

The languid Count Orsino wants to be done with music and

with love.


18 HEVENINGHAM/PURCELL: If music be the food See text below.

of love (3:44). Music by Henry Purcell (c. 1659–1695).

Performed by Howard Crook. In this gorgeous setting

by one of England’s greatest composers, Heveningham’s song

turns Orsino’s theme on its head, in a passionate celebration

of music and love.

19 JOHN DONNE: The Sun Rising (1:39). LABL 1:1650 CE 665

Read by Richard Burton. A classic “aubade,” or dawn-song,

in which the speaker chides the sun for intruding on himself

and his beloved.

20 JOHN DONNE: A Valediction: Forbidding LABL 1:1657 CE 668

Mourning (2:04). Read by Richard Burton. One of

Donne’s most moving poems, said to have been written for

his wife just before a voyage to France in 1611.

21 KATHERINE PHILIPS: To Mrs. Mary Awbrey LABL 1:1743

at Parting (2:58). Read by Elizabeth Richmond-Garza.

The poet asserts that her intimacy with her friend will only

increase with distance and even death: “our twin souls in

one shall grow, / And teach the world new love.”

22 ANDREW MARVELL: To His Coy Mistress (2:22). LABL 1:1730 CE 687

Read by Patrick Deer. One of the most famous of all

poems on the theme of “carpe diem”: seize the day.

23 WHEN THE KING ENJOYS HIS OWN AGAIN (2:49). See text below.

Words and music by Martin Parker. Performed by

John Potter. Composed in support of Charles I during

the first phase of the civil wars, this exuberant song long

outlasted its initial occasion. It was revived and revised at

the Restoration, when the return of Charles II partly fulfilled

its prediction. The tune remained popular throughout the

eighteenth century, as a setting for lyrics announcing good

news or hopeful prognostications.

24 JOHN MILTON: Paradise Lost, Book 1, LABL 1:1843 CE 791

lines 242–70 (2:13). Read by Dylan Thomas.

Satan rouses his fallen angels in hell and defies God.

The Restoration and the 18th Century

25 SAMUEL PEPYS, from The Diary: The Fire of LABL 1:2096 CE 934

London (3:50). Read by Ian Richardson. The sharpest

observer of Restoration life records London’s most devastating

natural disaster.


26 JONATHAN SWIFT: from The Lady’s Dressing LABL 1:2445 CE 1075

Room (3:38). Read by Patrick Deer. A love-smitten

shepherd tiptoes into his beloved Celia’s dressing room,

where he finds more than he has bargained for.

27 LADY MARY WORTLEY MONTAGU: from The LABL 1:2583 CE 1078

Reasons that Induced Dr. S to Write a Poem called

“The Lady’s Dressing Room” (3:05). Read by Elizabeth

Richmond-Garza. Matching Swift witticism for witticism

and obscenity for obscenity, Montagu reveals the “true”

story behind Swift’s poem.

28 ALEXANDER POPE: from An Essay on Criticism LABL 1:2483 CE 1153

lines 337–83 (3:18). Read by Max Adrian. “The sound

must seem an echo to the sense,” Pope asserts at the start of

this selection. Easier said than explained or done. But Pope

proceeds to explain and do, simultaneously and dazzlingly.

29 APHRA BEHN: To the Fair Clarinda, Who Made LABL 1:2223 CE 1015

Love to Me, Imagined More than Woman (1:36).

Read by Stella Gonet. Behn declares that her beloved

friend combines the virtues—and the attractions—of both sexes.

30 JOHN GAY: from The Beggar’s Opera: Air 6 (2:10). LABL 1:2594

Lyrics by John Gay. Performed by Bronwen Mills and

Charles Daniels. “Virgins are like the fair flower in its

luster.” In most of his airs, Gay evokes a mix of feelings in

both singer and auditor. Here Polly assures her parents of her

cunning and competence, but gives voice also to her vulnerability.

31 JOHN GAY: from The Beggar’s Opera: Air 21 (2:19). LABL 1:2604

Lyrics by John Gay. Performed by Adrian Thompson.

“When the heart of a man is oppressed with care.” Besotted

with his own prowess and promiscuity, Macheath nonetheless

sings a song of swooning, of surrender. It will shortly prove

prophetic; before the evening is out, several of the women

he savors will help put him in jail.

Texts for Selections Not in The Longman Anthology

Track 6: There Is No Rose

There is no rose of such virtue,

as is the rose that bare Jesu.



Alleluia.




For in this rose contained there,

was heaven and earth in little space.

Resmiranda.



For by that rose we may well see,

that he is God in persons three.

Pariforma.



The angels sungen the shepherds to:

Gloria in excelsis Deo.

Gaudeamus.



Leave all this worldly mirth,

and follow we this joyful birth.

Transeamus.



Track 10: Thomas Tallis: Lamentations of Jeremiah (Latin, with translation):

Quomodo sedet sola civitas How desolate lies the city

plena populo; once thronged with people;

facta est quasi vidua domina gentium: the queen of nations has become as a widow:

princeps provinciarum once a ruler of provinces,

facta est sub tributo. she is now subject to others.

. . . .

Ierusalem, Ierusalem, convertere Jerusalem, Jerusalem, turn back again

ad Dominum Deum tuum to the Lord your God.

Track 18: Henry Heveningham: If music be the food of love

If music be the food of love,

Sing on, till I am fill’d with joy;

For then my listening soul you move,

To pleasures that can never cloy;

Your eyes, your mien, your tongue declare

That you are music everywhere.


Pleasures invade both eye and ear,

So fierce the transports are, they wound;

And all my senses feasted are,

Though yet the treat is only sound;

Sure I must perish by your charms,

Unless you save me in your arms.

Track 23: When the King Enjoys His Own Again

What Booker can prognosticate,

or speak of our Kingdom’s present state?

I think myself to be as wise,

as he that looks most in the Skies.

My skill goes beyond the depth of the Pond,

or Rivers in the greatest Rain.

By which I can tell, that all things will be well,

when the King comes home in peace again.

There is no Astrologer then say I,

can search more deep in this than I,

to give you a reason from the stars,

What causeth Peace or Civil Wars.

The Man in the Moon may wear out his shoon,

in running after Charles his Wain.

But oh to no end, for the times they will mend,

when the King comes home in peace again.

Though for a time you may see White-hall,

with Cob-webs hanging over all,

instead of Silk and Silver brave,

as formerly it us’d to have.

And in every Room, the sweet Perfume,

delightful for that Princely Train,

the which you shall see, when the time it shall be,

that the King comes Home in Peace again.

Till then upon Ararat’s-hill

my Hope shall cast her Anchor still,

Until I see some Peaceful Dove

bring Home that Branch which I do Love,

Still will I wait till the Waters abate,

Which most disturb my troubled brain

For I’ll never rejoice, till I hear that Voice,

That the King’s come Home in Peace again.


Teaching with Audio

Voice s o f Bri t i sh Li teratureVolume 2

Literature is first and foremost an art of the ear. Throughout history, literature was

usually written to be read aloud, or recited, or sung, and in the twentieth century

as well writers continued to be intensely aware of the aural dimensions of their writ-

ing. Volume 2 of Voices of British Literature, the CD accompanying the second vol-

ume of The Longman Anthology of British Literature, presents spoken and musical se-

lections of British literature from the nineteenth and twentieth centuries, from

Barbauld, Byron, and Jane Austen in the Romantic era to modernists like Yeats and

Virginia Woolf, ending with major contemporary figures reading their own works.

These performances do much to bring out the nuances of meaning—and the sheer

drama—of the works we include in The Longman Anthology of British Literature.

The verbal music of British literature is given literal form in the musical set-

tings we have included for works in each period. Our unaccompanied selections

make compelling listening as well. We have searched for the most beautiful and

gripping performances we could find for each work: Jean Redpath singing tender

and erotic songs of Robert Burns; Claire Bloom reading Jane Austen with cool

irony; James Mason giving a chilling rendition of Robert Browning’s “My Last

Duchess.” In several instances, to provide selections from recently rediscovered

women writers, we have commissioned our own readings. When possible, we have

included writers performing their own works, from Tennyson reading “The

Charge of the Light Brigade” on a historical Edison wax cylinder, to Yeats, Joyce,

and Eliot in the modernist period and Eavan Boland today.

Like the Longman Anthology it accompanies, this CD opens up a range of cultural

contexts for the writing and reading of literature. From the era of the Romantics

and their contemporaries, for example, we include songs by Robert Burns along

with the poetry of Wordsworth, Keats, and John Clare; from the Victorian period

we have a song by Gilbert & Sullivan satirizing Oscar Wilde’s aestheticism, together

with a scene from Wilde’s The Importance of Being Earnest; from the 20th Century,

we include BBC broadcasts by Winston Churchill in the darkest moments of World

War Two, together with postwar poems of violence, loss, and recovery.

Most of our selections can be found in the pages of the full Longman Anthology

of British Literature, 2/e (LABL), starting on the page given following each title

below. Many of these texts are also available in the anthology’s Compact Edition

625

(CE). Occasionally, we have taken the opportunity to extend the anthology’s range

with a compelling recording of a work not in the anthology itself. The texts for

these selections are printed in these notes following the listing of works, so all

these texts can be studied in detail. These great performances can readily stand on

their own as well: they are a delight to hear.

—David Damrosch

Track Lis t ingThe Romantics and Their Contemporaries

Track Time

1. ANNA LETITIA BARBAULD: The Mouse’s Petition to Dr. Priestly (2:21)

2. ROBERT BURNS: A Red, Red Rose (1:50)+

3. ROBERT BURNS: The Fornicator (1:55)+

4. WILLIAM WORDSWORTH: Strange Fits of Passion Have I Known (1:29)

5. WILLIAM WORDSWORTH: Composed Upon Westminster Bridge,

Sept. 3, 1802 (1:03)

6. GEORGE GORDON, LORD BYRON: from Don Juan (3:59)

7. PERCY BYSSHE SHELLEY: Ozymandias (1:09)

8. FELICIA HEMANS: The Wife of Asdrubal (4:44)

9. JOHN CLARE: I Am (1:45)

10. JOHN KEATS: When I Have Fears (1:05)

11. JOHN KEATS: This Living Hand (0:38)

12. JANE AUSTEN: from Pride and Prejudice (3:45)

The Victorian Age

13. ELIZABETH BARRETT BROWNING: from Aurora Leigh (3:46)

14. ROBERT BROWNING: My Last Duchess (3:37)

15. ALFRED, LORD TENNYSON: from The Charge of the Light Brigade (1:20)

16. ALFRED, LORD TENNYSON: from In Memoriam (1:36)

17. CHARLES DICKENS: from A Christmas Carol (3:35)

18. OSCAR WILDE: from The Importance of Being Earnest (2:50)

19. W. S. GILBERT/A. SULLIVAN: If You’re Anxious For to Shine (2:36)+

The Twentieth Century

20. BERNARD SHAW: from Pygmalion (2:07)

21. WILLIAM BUTLER YEATS: The Lake Isle of Innisfree (1:10)

22. JAMES JOYCE: from Finnegans Wake (3:22)

23. T.S. ELIOT: from Wasteland (3:31)

24. VIRGINIA WOOLF: from Mrs Dalloway (4:16)

25. SIR WINSTON CHURCHILL: Speech to the House of Commons,

May 13, 1940 (0:44)


+ Music

26. SIR WINSTON CHURCHILL: Speech to the House of Commons,

November 10, 1942 (3:28)

27. SYLVIA PLATH: Lady Lazarus (3:29)

28. DYLAN THOMAS: Do Not Go Gentle Into That Good Night (1:41)

29. TED HUGHES: Second Glance at a Jaguar (1:54)

30. EAVAN BOLAND: The Pomegranate (2:57)

NotesThe Romantics and Their Contemporaries

Track Page in Anthology

1 ANNA LETITIA BARBAULD: The Mouse’s LABL 2:31 CE 1339

Petition to Dr. Priestly (2:21). Read by Elizabeth

Richmond-Garza (Univ. of Texas). Barbauld’s poem

wittily used a mouse’s perspective to plead for liberty and

the rights of all sentient beings.

2 ROBERT BURNS: A Red, Red Rose (1:50). LABL 2:330 CE 1517

Performed by Jean Redpath. Set to the Scottish folk tune

“Major Graham.” Burns wrote this love song in the style of

the melody, which he called “simple and wild.”

3 ROBERT BURNS: The Fornicator (1:55). LABL 2:331 CE 1519

Performed by Jean Redpath. Set to the Scottish folk

tune “Clout the Cauldron.” Burns wrote this lusty song in

celebration of fathering a child out of wedlock with one of

his father’s servants.

4 WILLIAM WORDSWORTH: Strange Fits of LABL 2:363 CE 1539

Passion Have I Known (1:29). Read by Sir Cedric

Hardwick. One of Wordsworth’s Lyrical Ballads, this poem

illustrates Wordsworth’s efforts to embody profound emotion

in the rhythms and the events of everyday life.

5 WILLIAM WORDSWORTH: Composed Upon LABL 2:386 CE 1561

Westminster Bridge, Sept. 3, 1802 (1:03). Read by

Sir Cedric Hardwick. One of Wordsworth’s greatest sonnets,

this poem triangulates between nature, the city, and the poet’s

observing mind.

6 GEORGE GORDON, LORD BYRON: from Don LABL 2:693 CE 1685

Juan (3:59). Read by Tyrone Power. In this excerpt

from Canto 1 (stanzas 104–5, 109–12, and 115–17),

young Juan and his (unfortunately married) first love struggle

in the throes of illicit yet strangely innocent passion.


7 PERCY BYSSHE SHELLEY: Ozymandias (1:09). LABL 2:760 CE 1710

Read by Michael Sheen. Shelley’s famous sonnet

meditates on antiquity, on art, and on the frailty of power.

8 FELICIA HEMANS: The Wife of Asdrubal (4:44). LABL 2:813 CE 1736

Read by Elizabeth Richmond-Garza. A dramatic

recreation of an ancient scene at Carthage in North Africa.

As the Romans conquer the city, the governor’s wife scorns

her husband’s accommodation to the invaders, to fatal effect.

9 JOHN CLARE: I Am (1:45). Read by Michael Sheen. LABL 2:849 CE 1749

Early promoted as a model “peasant poet,” Clare lost his

patrons as his social criticism sharpened. He was eventually

confined to an insane asylum, where he wrote this troubled,

self-affirming poem.

10 JOHN KEATS: Sonnet: When I Have Fears (1:05). LABL 2:865 CE 1752

Read by Samuel West. Already suffering from the

tuberculosis that would kill him three years later, in 1818

Keats wrote this poem about his hopes and fears as a great

poet with little time left for poetry.

11 JOHN KEATS: This Living Hand (0:38). Read by LABL 2:899 CE 1771

Samuel West. A late fragment. “Hand” can mean either

the physical hand or a person’s handwriting.

12 JANE AUSTEN: from Pride and Prejudice (3:45). LABL 2:982

Read by Claire Bloom. This reading from Austen’s

opening chapter captures her dry wit and her acute social

and psychological insight.

The Victorian Age

13 ELIZABETH BARRETT BROWNING: LABL 2:1124 CE 1876

from Aurora Leigh (3:46). Read by Diana Quick.

In this extract from Book 2 of Browning’s verse novel

(excerpted from lines 343–508), the aspiring poet Aurora

rejects the restrictive security of the life offered her by her

suitor Romney.

14 ROBERT BROWNING: My Last Duchess (3:37). LABL 2:1311 CE 1961

Read by James Mason. This famous “dramatic monologue”

was based on the life of the 16th-century Italian duke

Alfonso II, who remarried a few years after the sudden death—

possibly by poison—of his young bride, Lucrezia de Medici.

15 ALFRED, LORD TENNYSON: from The Charge LABL 2:1195

of the Light Brigade (1:20). Read by Lord Tennyson.

In 1889, at the age of 80, Tennyson recorded his poem


about military folly and bravery during the Crimean War.

Tennyson’s incantatory reading comes through powerfully,

despite the poor sound quality of this pioneering recording

on one of Thomas Edison’s newly invented wax cylinders.

16 ALFRED, LORD TENNYSON: from In Memoriam LABL 2:1172

(1:36). Read by Dame Sibyl Thorndike. A poem

from Tennyson’s great sequence in memory of his

beloved friend Henry Hallam, who had suddenly died in

Vienna while still in his twenties. Here the poet envisions

Hallam’s body being transported across a deathly calm

ocean to be buried in England.

17 CHARLES DICKENS: from A Christmas Carol (3:35). LABL 2:1391

Read by Anton Lesser. Fantasy and sharp social realism

mingle in this scene, in which the Ghost of Christmas

Present forces Scrooge to contemplate two wretched children

named Ignorance and Want.

18 OSCAR WILDE: from The Importance of Being LABL 2:1907 CE 2108

Earnest (2:50). Performed by Lynn Redgrave,

Alec McCowen, and Jack May. In this scene from Act 2,

the hero, Algernon Moncrieff, a free-living aesthete, is visiting

a country house under the assumed name of Ernest. Here

he suddenly declares his love for the daughter of the house,

Cecily, whom he has just met, only to find that she had

already recorded their entire future romance.

19 W. S. GILBERT/A. SULLIVAN: If You’re Anxious LABL 2:1943 CE 2144

for to Shine (2:36). Music by Sir Arthur Sullivan, from

the operetta Patience. Performed by Orva Hoskinson

(circa 1975). In this satire of Oscar Wilde and his friends,

a canny young aesthete named Bunthorne explains how he

poses as an aesthete simply in order to attract women.

The Twentieth Century

20 BERNARD SHAW: from Pygmalion (2:07). LABL 2:2110

Performed by Michael Redgrave, Lynn Redgrave,

and Michael Horndern. The opinionated Professor Henry

Higgins gives the bewildered flower-seller Eliza Doolittle a

crash course in elocution.

21 WILLIAM BUTLER YEATS: The Lake Isle of LABL 2:2246 CE 2325

Innisfree (1:10). Read by W. B. Yeats. Living in London

in 1890, where he was trying to establish himself as a poet,

Yeats wrote this warm evocation of the West Irish landscape

of his mother’s family origins.


22 JAMES JOYCE: from Finnegans Wake (3:22). See text below.

Read by James Joyce. In these concluding paragraphs from

the chapter called “Anna Livia Plurabelle,” two old Irish

washerwomen meet by the banks of the River Liffey in the

growing dusk and talk about Anna Livia and her ubiquitous

husband HCE. Joyce’s poetic prose imitates the flow of the

river, which in turn becomes an image of the recirculating

flow of stories upon stories.

23 T. S. ELIOT: from The Wasteland (3:31). LABL 2:2360 CE 2429

Read by T. S. Eliot. In this excerpt from Part 2 of the

poem, a non-conversation between husband and wife gives

way to two women talking in a pub about the tangled sexual

and emotional aftermath of the Great War.

24 VIRGINIA WOOLF: from Mrs Dalloway (4:16). LABL 2:2387

Read by Elizabeth Richmond-Garza. The novel’s opening

pages: both a prose poem to London and an overture to the

book’s many themes.

25 SIR WINSTON CHURCHILL: Speech to the House LABL 2:2701 CE 2523

of Commons, May 13, 1940 (0:44). In this excerpt

recorded by the BBC, the new Prime Minister takes up the

struggle against the Nazi onslaught.

26 SIR WINSTON CHURCHILL: Speech to the See text below.

House of Commons, November 10, 1942 (3:28).

As the Allied forces begin to make headway against the

German army, Churchill asserts a lasting commitment to

winning the war and to preserving both civilization overall

and the British Empire in particular. His apt quotation of

Byron at the speech’s end gave the United Nations its name.

27 SYLVIA PLATH: Lady Lazarus (3:29). LABL 2:2812

Read by Sylvia Plath. With its deliberately shocking imagery

drawn from Nazi anti-Semitism, Plath’s poem reads the

century’s history into the speaker’s inner turmoil.

28 DYLAN THOMAS: Do Not Go Gentle Into LABL 2:2762 CE 2554

That Good Night (1:41). Read by Dylan Thomas.

The poet’s sonorous, Welsh-accented voice bring out the

verbal music of his famous 1951 poem about resilience in

the face of old age and death.

29 TED HUGHES: Second Glance at a Jaguar (1:54). See text below.

Read by Ted Hughes. An exploration of the violence,

inscrutability, and inner perfection of animal creation.

30 EAVAN BOLAND: The Pomegranate (2:57). LABL 2:2938

Read by Eavan Boland.


Texts for Selections not in The Longman Anthology

Track 22: James Joyce, Finnegans Wake

Ah, but she was the queer old skeowsha anyhow, Anna Livia, trinkettoes! And sure

he was the quare old buntz too, Dear Dirty Dumpling, foostherfather of fingalls

and dotthergills. Gammer and gaffer we’re all their gangsters. Hadn’t he seven

dams to wive him? And every dam had her seven crutches. And every crutch had

its seven hues. And each hue had a differing cry. Sudds for me and supper for you

and the doctor’s bill for Joe John. Befor! Bifor! He married his markets, cheap by

foul, I know, like any Etrurian Catholic Heathen, in their pinky limony creamy

birnies and their turkiss indienne mauves. But at milkidmass who was the spouse?

Then all that was was fair. Tys Elvenland! Teems of times and happy returns. The

seim anew. Ordovico or viricordo, Anna was, Livia is, Plurabelle’s to be. North-

men’s thing made southfolk’s place but howmulty plurators made eachone in per-

son? Latin me that, my trinity scholard, out of eure sanscreed into oure eryan!

Hircus Civis Eblanenis! He had buckgoat paps on him, soft ones for orphans. Ho,

Lord! Twins of his bosom. Lord save us! And ho! Hey? What all men. Hot? His tit-

tering daughters of. Whawk?

Can’t hear with the waters of. The chittering waters of. Flittering bats, field-

mice bawk talk. Ho! Are you not gone ahome? What Thom Malone? Can’t hear

with bawk of bats, all thim liffeying waters of. Ho, talk save us? My foos won’t moos.

I feel as old as yonder elm. A tale told of Shaun or Shem? All Livia’s daughtersons.

Dark hawks hear us. Night! Night! My ho head halls. I feel as heavy as yonder stone.

Tell me of John or Shaun? Who were Shem and Shaun the living sons or daughters

of? Night now! Tell me, tell me, tell me, elm! Night night! Telmetale of stem or

stone. Beside the rivering waters of, hitherandthithering waters of. Night!

Track 26: Winston Churchill, Speech to the House of Commons,

November 10, 1942

We have not entered upon this war for profit or expansion but only for honor and

to do our duty in defending the right.

Let me, however, make this clear, in case there should be any mistake about it

in any quarter: we mean to hold our own. I have not become the King’s First

Minister in order to preside over the liquidation of the British Empire. For that

task, if ever it were prescribed, someone else would have to be found, and under a

democracy I suppose the nation would have to be consulted.

I am proud to be a member of that vast commonwealth and society of nations

and communities gathered under and around the ancient British monarchy, with-

out which the good cause might well have perished from the face of the earth.

Here we are and here we stand, a veritable rock of salvation in this drifting

world. And all undertakings, in the east and in the west, are parts of a single strate-

gic and political conception which we had labored long to bring to fruition and

about which we are now justified in entertaining good and reasonable confidence.

Thus taken together they wear the aspects of a grand design, vast in its scope, hon-

orable in its motive, noble in its aim. And should the British and American affairs


continue to prosper in the Mediterranean, the whole event will be a new bond be-

tween the English-speaking people and a new hope for the whole world.

There are some lines of Byron which seem to me to fit the event, the hour, and

theme:

Millions of tongues record thee, and anew

Their children’s lips shall echo them and say,

Here where the sword united nations drew

Our countrymen were warring on that day.

And this is much and all which will not pass away.

Track 29: Ted Hughes, Second Glance at a Jaguar

Skinful of bowls, he bowls them,

The hip going in and out of joint, dropping the spine

With the urgency of his hurry

Like a cat going along under thrown stones, under cover,

Glancing sideways, running

Under his spine. A terrible, stump-legged waddle

Like a thick Aztec disemboweller,

Club-swinging, trying to grind some square

Socket between his hind legs round,

Carrying his head like a brazier of spilling embers,

And the black bit of his mouth, he takes it

Between his back teeth, he has to wear his skin out,

He swipes a lap at the water-trough as he turns,

Swivelling the ball of his heel on the polished spot,

Showing his belly like a butterfly

At every stride he has to turn a corner

In himself and correct it. His head

Is like the worn down stump of another whole jaguar,

His body is just the engine shoving it forward,

Lifting the air up and shoving on under,

The weight of his fangs hanging the mouth open,

Bottom jaw combing the ground. A gorged look,

Gangster, club-tail lumped along behind gracelessly,

He’s wearing himself to heavy ovals,

Muttering some mantrah, some drum-song of murder

To keep his rage brightening, making his skin

Intolerable, spurred by the rosettes, the cain-brands,

Wearing the spots off from the inside,

Rounding some revenge. Going like a prayer-wheel,

The head dragging forward, the body keeping up,

The hind legs lagging. He coils, he flourishes

The blackjack tail as if looking for a target,

Hurrying through the underworld, soundless.


About the Editors

Christopher Baswell is Professor of English at the University of California, Los

Angeles. His interests include classical literature and culture, medieval literature

and culture, and contemporary poetry. He is author of Virgil in Medieval England:

Figuring the “Aeneid” from the Twelfth Century to Chaucer which won the 1998 Beatrice

White Prize of the English Association. He has held fellowships from the NEH, the

National Humanities Center, and the Institute for Advanced Study, Princeton.

Clare Carroll is Chair of the Comparative Literature Department and Director of

Irish Studies at Queens College, CUNY. Her research is in Renaissance Studies,

with particular interests in early modern colonialism, epic poetry, historiography,

and translation. She is the author of The Orlando Furioso, A Stoic Comedy, and edi-

tor of Richard Beacon’s humanist dialogue on the colonization of Ireland, Solon

His Follie. Her most recent book is Circe’s Cup: Cultural Transformations in Early

Modern Ireland. She has received Fulbright Fellowships for her research and the

Queens College President’s Award for Excellence in Teaching.

David Damrosch is Professor of English and Comparative Literature at Columbia

University and President of the American Comparative Literature Association for

2002/03. A specialist in ancient, medieval and modern literature and criticism, he

is the author of The Narrative Covenant, We Scholars: Changing the Culture of the

University, Meetings of the Mind, and What Is World Literature? (2003).

Kevin J. H. Dettmar is Professor and Chair of English at Southern Illinois

University Carbondale, and President of the Modernist Studies Association. He is

the author of The Illicit Joyce of Postmodernism, and editor or co-editor of Rereading

the New, Marketing Modernisms, and Reading Rock & Roll.

Heather Henderson is a freelance writer and former Associate Professor of English

Literature at Mount Holyoke College. A specialist in Victorian literature, she is the

recipient of a fellowship from the National Endowment for the Humanities. She is

the author of The Victorian Self: Autobiography and Biblical Narrative. Her current in-

terests include homeschooling, travel literature, and autobiography.

Constance Jordan is Andrew W. Mellon Professor of Humanities and Dean of

Arts and Humanities at Claremont Graduate University. She is the author of

Renaissance Feminism: Literary Texts and Political Models, and Shakespeare’s Monarchies:

Ruler and Subject in the Romances. Her current interests include the literature of con-

tact in the Atlantic World, 1500–1680.

633

Peter J. Manning is Professor and Chair of English at Stony Brook University. He

is the author of Byron and His Fictions and of Reading Romantics, and of numerous

essays on the British Romantic poets and prose writers. With Susan J. Wolfson, he

has co-edited Selected Poems of Byron, and of Beddoes, Hood, and Praed. He has re-

ceived fellowships from the National Endowment for the Humanities and the

John Simon Guggenheim Memorial Foundation, and the Distinguished Scholar

Award of the Keats-Shelley Association.

Anne Howland Schotter is Professor of English and Chair of Humanities at

Wagner College. A specialist in medieval literature, she has written articles on

Middle English poetry, Dante, and medieval Latin poetry, and co-edited

Ineffability: Naming the Unnamable from Dante to Beckett. She has received fellow-

ships from the Woodrow Wilson and Mellon Foundations.

William Sharpe is Professor and Chair of English Literature at Barnard College.

A specialist in Victorian poetry and the literature of the city, he is the author of

Unreal Cities: Urban Figuration in Wordsworth, Baudelaire, Whitman, Eliot, and

Williams. He is also co-editor of The Passing of Arthur and Visions of the Modern City.

He is the recipient of Guggenheim, National Endowment of the Humanities,

Fulbright, and Mellon fellowships, and is currently at work on a book on images

of the nocturnal city.

Stuart Sherman is Associate Professor of English at Fordham University. He re-

ceived the Gottschalk Prize from the American Society for Eighteenth-Century

Studies for his book Telling Time: Clocks, Diaries, and English Diurnal Form,

1660–1775, and is currently at work on a study called News and Plays: Evanescences

of Page and Stage, 1620–1779. He has received the Quantrell Award for Under-

graduate Teaching, as well as fellowships from the American Council of Learned

Societies and the Chicago Humanities Institute.

Jennifer Wicke is Professor of English at the University of Virginia, having previ-

ously been a professor of English and Comparative Literature at Yale University

and at New York University. Her teaching and research areas include nineteenth

and twentieth century British and American literature, comparative and interna-

tional modernisms, literary and cultural theory, and studies of mass culture, aes-

thetic value, and global culture. She is the author of Advertising Fictions: Literature,

Advertisement, and Social Reading, and the forthcoming Born to Shop: Modernity,

Modernism, and the Work of Consumption; she co-edited Feminism and Postmodernism

with Margaret Ferguson; she has written widely on Joyce, feminist theory, celebrity,

and the academy.

Susan J. Wolfson is Professor of English at Princeton University and series editor

for Longman Cultural Editions. A specialist in Romantic-era literature and criti-

cism, she is the author of The Questioning Presence: Wordsworth, Keats, and the

Interrogative Mode in Romantic Poetry and Formal Charges: The Shaping of Poetry in

British Romanticism. She is the editor of Felicia Hemans: Selected Poems, Letters,

Reception Materials, and The Cambridge Companion to John Keats. With Peter J.

634 About the Editors

Manning, she has coedited Selected Poems of Byron, and Selected Poems of Thomas

Hood, W. M Praed and Thomas Lovell Beddoes. She has received fellowships from the

American Council of Learned Societies, the National Endowment for the

Humanities and the John Simon Guggenheim Memorial Foundation, and was the

2001 recipient of the Distinguished Scholar Award of the Keats-Shelley

Association of America.

635About the Editors

Arnold, Matthew, 430

Astell, Mary, 210

Auden, W. H., 596

Bacon, Francis, 167

Baillie, Joanna, 289

Barbauld, Anna Letitia, 275

Barnfield, Richard, 132

Beckett, Samuel, 594

Behn, Aphra, 199

Beowulf, 1

Blake, William, 280

Boswell, James, 262

Browne, Sir Thomas, 169

Browning, Elizabeth Barrett, 363

Browning, Robert, 393

Burton, Robert, 170

Campion, Thomas, 151

Canterbury Tales, The, 45

Carleton, Mary, 187

Carlyle, Thomas, 355

Carroll, Lewis, 456

Cavendish, Margaret, Duchess of

Newcastle, 191

Chaucer, Geoffrey, 39

Churchill, Caryl, 605

Clare, John, 334

Cloud of Unknowing, The, 73

Coleridge, Samuel Taylor, 304

Conrad, Joseph, 515

Dafydd ap Gwilym, 89

Darwin, Charles, 378

de Pizan, Christine, 99

Defoe, Daniel, 211

Dekker, Thomas, 147

Dickens, Charles, 399

Donne, John, 155

Doyle, Sir Arthur Conan, 408

Drayton, Michael, 152

Dream of the Rood, The, 11

Dryden, John, 193

Dunbar, William, 92

Early Irish Verse, 8

Eliot, T. S., 550

Elizabeth I, 124

FitzGerald, Edward, 375

Gascoigne, George, 107

Gaskell, Elizabeth, 404

Gay, John, 233

Goldsmith, Oliver, 266

Gordon, George, Lord Byron, 314

Gray, Thomas, 249

Greene, Graham, 582

Gunn, Thom, 602

Hardy, Thomas, 406, 531

Hemans, Felicia, 330

Henryson, Robert, 94

Herbert, George, 162

Herbert, Mary, Countess of Pembroke, 122

Herrick, Robert, 161

Hobbes, Thomas, 169

Hogarth, William, 239

Hopkins, Gerard Manley, 453

Howard, Henry, Earl of Surrey, 102

Hughes, Ted, 601

Johnson, Samuel, 251

Jonson, Ben, 152

Joyce, James, 546

Judith, 9

Julian of Norwich, 70

Keats, John, 336

Kempe, Margery, 81

King James Bible, The, 168

Kipling, Rudyard, 470

Langland, William, 61

Lanyer, Aemilia, 126

Larkin, Philip, 599

Late Medieval Allegory, 95

Lawrence, D. H., 577

Literary Ballads, 289

Lovelace, Richard, 164

Index of Authors*

637

* For authors who appear in perspectives sections, see the perspectives entry; for discussions of

Companion and Contexts authors, see the principal author listing with which they appear

638

Lydgate, John, 97

Malory, Sir Thomas, 34

Mankind, 97

Marie de France, 26

Marlowe, Christopher, 133

Marvell, Andrew, 164

Medieval Cycle Drama, 74

Middle English Lyrics, 83

Middleton, Thomas, 147

Mill, John Stuart, 359

Milton, John, 172

Montagu, Lady Mary Wortley, 231

More, Sir Thomas, 103

Morris, William, 444

Mystical Writings, 69

Naipaul, V. S., 603

Nesbit, Edith, 411

Nightingale, Florence, 418

Pater , Walter 450

Pepys, Samuel, 182

Perspectives: Aesthetes and Decadents, 502

Perspectives: Arthurian Myth in the

History of Britain, 23

Perspectives: Emblem, Style, Metaphor, 163

Perspectives: England in the New World,

145

Perspectives: Ethnic and Religious

Encounters, 12

Perspectives: Government and Self-

Government, 106

Perspectives: Imagining Childhood, 458

Perspectives: Mind and God, 241

Perspectives: Popular Prose and the

Problems of Authorship, 344

Perspectives: Reading Papers, 213

Perspectives: Regendering Modernism, 562

Perspectives: Religion and Science, 385

Perspectives: Spiritual Self-Reckonings, 179

Perspectives: The Abolition of Slavery and

the Slave Trade, 282

Perspectives: The Civil War, or the War of

Three Kingdoms, 171

Perspectives: The Great War: Confronting

the Modern, 535

Perspectives: The Industrial Landscape, 357

Perspectives: The Rights of Man and the

Revolution Controversy, 278

Perspectives: The Royal Society and the

New Science, 188

Perspectives: The Sublime, the Beautiful,

and the Picturesque, 297

Perspectives: The Wollstonecraft

Controversy and the Rights of

Women, 287

Perspectives: Tracts on Women and

Gender, 149

Perspectives: Travel and Empire, 475

Perspectives: Victorian Ladies and

Gentlemen, 420

Perspectives: Whose Language?, 607

Perspectives: World War II and the End of

Empire, 582

Philips, Katherine, 166

Piozzi, Hester Salusbury Thrale, 265

Plath, Sylvia, 601

Pope, Alexander, 221

Raleigh, Sir Walter, 128

Religious Lyrics, 85

Riddles, 20

Robinson, Mary, 284

Rolle, Richard, 72

Rossetti, Christina, 441

Rossetti, Dante Gabriel, 439

Ruskin, John, 413

Second Play of the Shepherds, The, 75

Secular Masque, The, 198

Shakespeare, William, 137

Shaw, Bernard, 527

Shelley, Percy Bysshe, 320

Sheridan, Richard Brinsley, 268,

Sidney, Sir Philip, 117

Sir Gawain and the Green Knight, 29

Skelton, John, 101

Smith, Charlotte Turner, 276

Smith, Stevie, 598

Spenser, Edmund, 108

Stevenson, Robert Louis, 490

Swift, Jonathan, 218

Swinburne, Algernon Charles, 447

Táin bó Cuailnge, The, 3

Tale of Taliesin, The, 87

Taliesin, 16

Tennyson, Alfred, Lord, 367

Thomas, Dylan, 591

Thomson, James, 246

Vaughan, Henry, 164

Vernacular Religion and Repression, 78

Wanderer, The, 17

Index of Authors

Waugh, Evelyn, 585

Whitney, Isabella, 122

Wife’s Lament, The, 18

Wilde, Oscar, 492

Wilmot, John, Second Earl of Rochester,

204

Wodehouse, P. G., 582

Wollstonecraft, Mary, 286

Woolf, Virginia, 553

Wordsworth, Dorothy, 295

Wordsworth, William, 290

Wroth, Lady Mary, 159, 168

Wulf and Eadwacer, 18

Wyatt, Sir Thomas, 101

Wycherley, William, 206

Yeats, William Butler, 541

York Play of the Crucifixion, The, 77

639Index of Authors

teaching with audio -...

Documents