English Theses and Dissertations
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Item Jane Austen: The Moral Imperative(1976) Carter, Barbara Sue; Myers, Robert Manson; English; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)According to Edward Austen-Leigh and subsequent critical tradition, Jane Austen urged no system of morality save the inferiority of low to high principles. While she propounds no religious doctrine, the six novels reveal, if not a complete code of behavior, a moral imperative, a direction one should take to come to successful terms with life. First, one must face reality. Catherine Morland, in Northanger Abbey, has to learn that Gothic fantasies are neither the stuff of life nor a reliable guide to it. More importantly, she must perceive the motives and feelings of others. Reality, once understood, must be accepted. The tasks of the present must be accomplished; its pleasures, however limited, must be enjoyed, because to squander time in regret for the past or anticipation of the future is to court misery. Sense and Sensibility extends the definition of this duty to include care for the material and emotional welfare of one's family. By failing to provide for his stepmother and sisters, John Dashwood contrasts unfavorably with Sir John Middleton and Colonel Brandon. The difference between Elinor and Marianne Dashwood is not merely between sense and sensibility, but between care for the feelings of others and selfish absorption in one's own troubles. Elinor's sense largely derives from her wish to spare increase of her suffering by spreading its effects . Marianne must nearly die before she comes to a like commitment to practical compassion. In Pride and Prejudice, confrontation of reality and the claims of family are united in a statement of the need for self-knowledge in order to represent our selves accurately to the world and thereby enhance the family's claim to gentility. Elizabeth and Darcy realize they have created erroneous first impressions and must labor to erase these, while Lydia's elopement renews our awareness that what one does individually affects the whole family's position. Mansfield Park elaborates on this theme by arguing for sound judgment in the rearing of children to behave responsibly according to the dictates of society. Although one's station does influence character, there is a better guide available to all: conscience. Mary Crawford, appealing though she is, lacks moral fibre, while Fanny Price, however diffident, delivers accurate judgments because conscience guides her formation of them. In Emma, this eighteenth-century construct of conscience and rationality called right reason is brought to bear on the question of the obligations the privileged have to those less well-circumstanced. Emma must realize that the caste system exists to preserve order, not to gratify conceit. Mr. Knightley emerges as the ideal upper class gentleman: responsible, wise, compassionate. Persuasion shows Sir Walter Elliot as a moral bankrupt, preening himself on lineage and estate instead of laboring to justify the possession of them. He has wasted his substance and dissipated the force of his character to gratify vanity. His daughter Anne has extracted from a bleak existence whatever joy she could find in being useful to others. Her marriage to Captain Wentworth is less a reward for her past endurance than a happy exception to her uncomplaining acceptance of a barren life. Throughout, she has been supported by a belief that in breaking the original engagement she did right in yielding to the persuasion of her older friend Lady Russell, despite her conviction that the advice itself was wrong. The book thus urges clear-sighted evaluation of the real world and its inhabitants, assumption of responsibility for family and dependents, and obedience to the codes needed for social stability.Item ANNUALS: A Collection of Poems(1978) Mackey, John Joseph; Van Egmond, Peter; English; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)The poems in this collection were written during the past year and are arranged in roughly chronological order. My intention in writing the poems was to construct a truthful recreation of experience which would evoke corresponding feeling. By selecting and ordering details of ordinary occurrences, I hoped to create microcosmic situations. The use of literary, mythological, and biblical allusions aided me in this endeavor. These, like all poems, should be read aloud, for the sound of words was a prime consideration in their making. The beauty of poetry, I believe, lies in the expression itself, the art born of ordinary experience and chiseled by the tool of language. My attempt was to create something pleasurable and universal from the raw material of experience. Having begun writing Shakespearean sonnets as a challenge, I soon found that the strict meter and rhyme scheme were excellent aids in producing a poem from a germinal idea. Hence, more than a few that follow are in this mode.Item When Vernal Suns Forbear To Roll: Belief and Unbelief, Doubt and Resolution in the Poetry of Philip Freneau(1977) Griffith, Joseph Jeffrey; Vitzthum, R.C.; English; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)This study analyzes and evaluates the pre-1790 lyric poetry of Philip Freneau through close examination of representative poems. Freneau should be taken more seriously as an artist and thinker than he now is: the notions that Freneau was "dwarfed and transformed" or "thwarted" by his environment and that he "entirely congruent" to the literary and philosophic conventions of his day are contradicted by the poetry but have influenced the general critical estimate of the poet. Freneau was a careful poetic craftsman who not only sometimes reversed the poetic and philosophical conventions but also often used his poetry to examine his own philosophical relationship with the universe. The central issue for Freneau was not simply the essential transience of all life, as most critics have argued, but rather the lack of a phenomenological reality which could be reliably known. Thus Freneau was concerned with the development of a meaningful way to live in a world which he speculated might be void of meaning. The introduction reviews past and present critical assessments and summarizes the standard critical views--Pattee's, Clark's, Leary's, Adkins', Bowden's; explains the editorial difficulties in dealing with Freneau's works; and outlines the dissertation's purpose, method, and organization. The body of the study consists of an examination of key lyrics from the editions of 1786 and 1788 which reveal the themes and formal artistic techniques characteristic of Freneau's serious earlier poetry. Each poem is subjected to three kinds of study. First the central thematic concerns of each poem and the patterns of symbol and image with which the poet conveys them are examined. Second the formal structure of each poem, showing how Freneau's manipulation of rime, rhythm, and spatial organization either underscores or undercuts his meaning is considered. Third, the extensive revisions which Freneau made of these poems and their purpose and effect are analyzed. In each case, the first collected edition of the poem is used as the basis for discussion, following the chronology of the poem's publication as closely as possible. The study is divided into six chapters. Chapter one is the introduction; chapters two and three discuss the 1786 edition; chapters four and five the 1788 edition. Chapter six, the conclusion, recapitulates the major points made in the preceding chapters; briefly considers selected poems from the 1795, 1809, and 1815 editions; and assesses Freneau's achievement.