Congratulations to Caeley Arney, the first student to solve the mystery of May the fourth.
And the early-bird bonus points go to Caeley and these nine additional students: Grey Sacona, Breanna Bowman, Paige Lewis, Bryan Alba, Luke Noble, Madison St. Clair, Ruben Castillo, Joe Van Story, and Joe Robins! Well done, and May the Fourth be with You!
What links English 242 to the British actors Benedict Cumberbatch and Johnny Lee Miller? The answer is three characters, two that we reflected on when we moved online in March and a third that’s the focus for the final week of the course, which begins today.
Both Cumberbatch and Miller have played the role of Sherlock Holmes; Cumberbatch portrayed him in the BBC series Sherlock (2010-17), set in present-day London, and Miller played him in the CBS series Elementary, which transformed the Scotland Yard detective into an investigator in present-day New York City. In between the launches of those two series, Cumberbatch and Miller performed together in the Royal National Theatre production of Frankenstein (2011). The two actors alternated the roles of Victor and the Creature and shared the Olivier Award (the equivalent of Broadway’s Tony) for their performances. The pairs of photographs that follow feature Cumberbatch and Miller as Holmes and in their dual roles in Frankenstein.
Playwright Nick Dear‘s Frankenstein and the series Sherlock and Elementary are but three of the many adaptations that attest to the enduring appeal of the narratives that bookend our semester. The popularity of Sir Arthur Conan Doyle‘s detective and his many incarnations in film and television inspired the first of three options for your blog response this week.
Have you watched Sherlock, Elementary, or one of the Holmes films featuring Robert Downey, Jr. as the title character? If so, address the similarities and differences between the portrayal of the detective on screen and Sir Arthur Conan Doyle‘s portrayal of him in “The Adventure of the Speckled Band.” If you write about Sherlock or Elementary, don’t focus on the obvious difference in the time setting, ditto for the location (New York City) of Elementary. Include both the title of the series/film and the actor’s name in your response.
“The Adventure of the Speckled Band” belongs to the subgenre of detective story known as the locked room mystery, in which a murder occurs in a closed space where the perpetrator seemingly vanishes into thin air, and there are few, if any, suspects. Which detail about the locked room mystery of Julia Stoner’s death, or her bedroom where the murder took place, do you find most intriguing?
It’s no mystery why the force is with us today, but how does May the fourth figure in one of the works of Victorian literature that we’ve studied? In your response, cite the two lines that together solve the mystery. Follow each quotation with a parenthetical citation.
Remember to check your CVCC email and Blackboard regularly for updates.
Robson, Catherine. Biographical Note: “Sir Arthur Conan Doyle, 1859-1930.” The Norton Anthology of British Literature: The Victorian Age. 10th ed. Stephen Greenblatt, General Editor. W.W. Norton, 2018. pp. 920-21.
Congratulations to Breanna Bowman, the first student to identify the error in “Dr. Lanyon’s Narrative.” And the early-bird bonus points go to Breanna and these nine additional students: Joe Robbins, Madison St. Clair, Joe Van Story, Ruben Castillo, Luke Noble, Caeley Arney, Allison Lasher, Kenna Sipe, and Ashton Canipe! Well done!
The date of Jekyll’s letter to Lanyon should be January 9, not December 10. Here’s the note on the error in The Norton Anthology of English Literature:
Stevenson’s own error; the first sentence of ‘Dr. Lanyon’s Narrative’ makes it clear that the letter should be dated ‘9th January.’ Literary critic Richard Dury attributes the slip to the following circumstances: Stevenson had originally wanted to publish his story in time for the Christmas market and align Lanyon’s witnessing of Hyde’s transformation with December, a time for mysterious events. Later he forgot to change the detail. (794n1)
Stevenson, Robert Louis. The Strange Case of Dr. Jekyll and Mr. Hyde. 1886. The Norton Anthology of British Literature: The Victorian Age. 10th ed. Stephen Greenblatt, General Editor; Catherine Robson, Volume Editor. W.W. Norton, 2018. pp. 767-809.
In “A Caucus Race and a Long Tale,” the narrator describes the Dodo as standing “for a long time with one finger pressed upon its forehead (the position in which you usually see Shakespeare, in the pictures of him).”
And the early-bird bonus points go to Keara and these nine additional students: Courtney Powell, Bryan Alba, Emily Brown, Joe Van Story, Ruben Castillo, Madison St. Clair, Ashton Canipe, Joshua West, and Crowson Roosa! WELL DONE!
The title of this post, “Curiouser and Curiouser!,” is the first line of Chapter 2 of Alice’s Adventures in Wonderland. Though the phrase is grammatically incorrect—as Alice acknowledges later in the sentence (the standard comparative is “more curious”)—it’s a fitting response for someone who finds herself, as Alice does, “opening out like the largest telescope that ever was” (Carroll ch. 2). “Curioser and curiouser!”: apt words for Alice, as well as for us as we slog our way through these nonstandard days in Coronaland.
Before the curiousness of Chapter 2 begins, in Chapter 1, Alice asks, “What is the use of a book . . . without pictures or conversation?” With those words of Alice’s in mind, consider the illustrations in the first edition of Alice’s Adventures in Wonderland, ones drawn by Carroll’s collaborator, John Tenniel. (Since they aren’t included in the Project Gutenberg edition that you’re reading, I have included a link to them above).
If you had received your copies of Volume E of the Norton Anthology, you would see in its pages the picture of Alice Liddell here. Charles Lutwidge Dodgson (Lewis Caroll)—who photographed Liddell and was a friend of hers—was an early advocate of photography, which was a new art form in the Victorian era. Liddell was the inspiration for Alice’s Adventures in Wonderland and its sequel, Through the Looking-Glass, but she wasn’t the model for Tenniel’s illustrations.
Costumed in rags for this picture, Alice Liddell was far from a beggar child; she was the daughter of Dean Liddell, principal of Christ Church College of Oxford University, where Dodgson (Carroll) taught mathematics.
Dodgson’s profession as a mathematician leads me to the first of four options that I have developed for your assignment onAlice’s Adventures in Wonderland. Be sure to read the directions (below the options) before you begin, and note the extra-credit opportunity that follows the directions.
OPTION ONE: Although the Alice books are his legacy, Dodgson was a mathematician by profession. Address one or more passages in Alice’s Adventures in Wonderland that are demonstrably the product of a mathematical mind.
OPTION TWO: In The Norton Anthology’s introduction to Alice’s Adventures in Wonderland, the editor notes that both Alice books “provide a wealth of information about the forms and contents of a well-to-do little girl’s education at the mid-point of the Victorian era” (724). Address one or more passages that reveal details of the “forms and contents” of Alice’s schooling.
OPTION THREE: In 1989, two American high school students who were researching Alice’s Adventures in Wonderland made a new discovery about Chapter 3, one that led to the publication of their findings in Jabberwocky, (now named The Carrollinian), the British journal of the Lewis Carroll society. Read the New York Timesarticle about the students’ discovery, and address both the discovery and the “Long Tale” of Chapter 3.
DIRECTIONS: Compose a comment of at least fifty words. Include a minimum of one quotation from Alice’s Adventures in Wonderland introduced with a signal phrase and followed by a parenthetical citation. If you name Carroll in the signal phrase, include only the abbreviation for the chapter followed by the chapter number. For example: (ch. 1). If you do not name Carroll in the signal phrase, include the author’s last name, the abbreviation for the chapter, and the chapter number. For example: (Carroll ch. 1). Note that the c is lower case. For more information on citations, see OWL. Post your comment no later than 5 p.m. on Thursday, April 23.
EXTRA CREDIT: Emily Brown was the first student to identify the ghost of Hamlet’s father as the literary ghost that the narrator mentions in the first stave of A Christmas Carol. That earned Emily an extra-credit assignment in the participation and preparedness category. Shakespeare himself is mentioned in Alice’s Adventures in Wonderland. The first student who posts a comment identifying the sentence that mentions him will receive an extra-credit assignment.
Remember to check your CVCC email and Blackboard regularly for updates and assignments.
Wordplay days gave us opportunities to build our word power, collaborate, and engage in creative problem solving. Now they’re pastimes that can help us forget our isolation. I hope that games, whether table-top or digital, continue to lift your spirits.
With that hope in mind, I designed this assignment inspired by Fred’s Victorian parlor games In A Christmas Carol (stave 3) and our Wordplay Days. Below the directions, I’ve included a list of Victorian authors for your reference.
Choose one of the options below, and post your response as a comment by 5 p.m. on Friday, April 17. The first ten students who post comments and the student whose letters yield the largest number of playable words will receive bonus points.
Imagine that seven letters of a Victorian author’s last name (all last, or last plus first letter/s of the first) are the seven tiles on your Scrabble rack. See my sample below.
Go to the Scrabble Dictionary, click the Scrabble Word Builder tab (to the right of Scrabble Dictionary), enter the seven letters, and click “Go.”
Post a blog comment of twenty-five words or more that includes (1) the seven letters that you entered, (2) the number of playable words that you can spell with those letters, (3) at least one of the words in the list that was unfamiliar to you, and (4) the definition of the word.
Sample: Entering the seven letters A-R-N-O-L-D-M (for Matthew Arnold) in the Scrabble Word Builder yields 103 playable words. Two that I wasn’t familiar with are “dolma,” a stuffed grape leaf, and “lardon,” a thin slice of bacon or pork.
Part I of this blog post offers a look back at excerpts from some of the comments that you posted last week. Although I never would have chosen for us to communicate exclusively online as we are now, I am grateful for the opportunity to see your thoughts on the screen. And I hope that reading your classmates’ comments has been a comfort. I know it has been for me. If your gravatar isn’t on your blog, I encourage you to add it. It puts a human face beside your words.
From Crowson Roosa:
The past two weeks have definitely shifted my views of the novel. As Jeremy said, “being under quarantine has definitely caused me to become very cautious.” After being alone in isolation, I never really appreciated interacting with my classmates and friends until I could not see them anymore.
From: Joe Van Story:
I have learned to not look at everything at face value and to try to look deeper and try to find the good in what is happening. An example of this is the COVID-19 virus, while it is a tragedy it has brought unexpected joy in my life, such as spending more time with my family.
From Jenna Ramsey:
In regards to Del Toro’s remarks, he states how reading the book showed him “how deep, how life-changing, a monster parable could be–how it could function as art and how it could reach across distance and time to become a palliative to solitude and pain.” This also goes hand-in-hand with the virus. This virus is the ‘monster parable’ that has been life-changing to most everyone, in at least one way or another. While this virus has been ‘a monster parable,’ it could also be considered an ‘art’ of sorts in the way it has caused us to stop and think about what we truly need to be buying (if we truly need to run out to this store or that store), has caused us to spend more time at home with our families and rethink what we are doing with the time we have on our hands. It has also spread all over the world, affecting many people, leaving us to solitude/quarantine and caused pain to those who have had life-altering things happen due to the virus.
From Jacob Palmer:
As Caeley Arney mentioned in her comment, it is true that Victor Frankenstein hid himself from his creation in disgust. But we must not forget that the monster too isolated himself from society, intently watching over the DeLacey family from the safety of their hovel. Being deprived of the company of fellow creatures for such a long time, the monster took an uncharacteristic liking of this intriguing family, longing to be embraced by them and admitted into their ranks. It is in this time of isolation that we may really understand what the monster is feeling, and come to sympathize with him more so than before. One may come to recognize this desire to socialize to be unmistakably human. Thus, while the monster may be confined to the body of a monstrosity, it is evident that the feelings he expresses are none other than those of a human being. This raises questions as to what constitutes humanity and may challenge original notions over who the real monster is in this harrowing story.
Below I’ve included a works cited list as a model for citing comments on a blog post. Yes, there’s actually an MLA-style format for that, and there’s one for tweets as well. If you want to cite one of your classmates’ comments in your Victorian project, look to these entries as models. For more sample entries, see OWL’s page devoted to citing electronic sources.
As we begin our study of Victorian writers, observe how their fiction differs from the prose and poetry of the Romantics:
On the one hand romances were writings that turned, in their quest for settings conducive to supernatural happenings, to distant pasts, faraway exotic places, or both . . . . On the other hand romance also named a homegrown, native tradition of literature, made unfamiliar and alien by the passage of time. (Lynch 18; emphasis added)
The Celtic ballad “The Dæmon-lover” exemplifies those two seemingly disparate accounts of the writing of the Romantic period; it features the supernatural, and its renewed popularity in the nineteenth century illustrates the revival of interest in older forms, “native tradition[s] . . . made unfamiliar and alien by the passage of time” (18).
We’ve also seen the Romantics’ renewed interest in medieval literature in Victor Frankenstein’s early account of his friend Henry Clerval: “He was deeply read in books of chivalry and romance. He composed heroic songs, and began to write many a tale of enchantment and knightly adventure (Shelley 33).
Much later in Frankenstein, Victor’s description of Henry elucidates another trait of the Romantic period, the adoration of nature: “The scenery of external nature, which others regard with only admiration, he [Henry] loved with ardour” (Shelley 139). That observation of Victor’s serves as an introduction to the verse that follows in Chapter 28, eight lines from William Wordsworth’s poem “Tintern Abbey,” the first-generation Romantic’s own recollection of his attachment to nature.
As a counterpoint, consider these descriptions of the Victorian age:
In the eighteenth century the pivotal city of Western civilization had been Paris; by the second half of the nineteenth century this center of influence had shifted to London, a city that expanded from about two million inhabitants when Victoria came to the throne to six and a half million at the time of her death. The rapid growth of London is one of the many indications of the most important development of the age: the shift from a way of life based on the ownership of land to a modern urban economy based on trade and manufacturing. (Robson 3; emphasis added)
Because Britain was the first country to become industrialized, it’s transformation was an especially painful one: it experienced a host of social and economic problems consequent to rapid and unregulated industrialization. Britain also experienced an enormous increase in wealth. (Robson 4)
Lynch, Deidre Shauna. Introduction: “The Romantic Period, 1785-1832.” The Norton Anthology of British Literature: The Romantic Period. 10th ed. Stephen Greenblatt, General Editor. W.W. Norton, 2018. pp. 3-27.
Robson, Catherine. Introduction: “The Victorian Age, 1830-1901.” The Norton Anthology of British Literature: The Victorian Age. 10th ed. Stephen Greenblatt, General Editor. W.W. Norton, 2018. pp. 3-27.
Shelley, Mary. Frankenstein. 1818, 1831. Introduction and Notes by Karen Karbeiner. Barnes and Noble, 2003.
One of the challenges of reading A Christmas Carolnow is seeing beyond the images that are part of our collective memory. Even those who have never read Charles Dickens’ novella see in their minds Ebenezer Scrooge, the ghosts, Bob Cratchit, Tiny Tim . . . . We have watched the iconic miser’s story unfold on-screen over and over. Whether we see him as Michael Caine (in The Muppet Christmas Carol), as Disney’s Scrooge McDuck, or as Alastair Sim (A Christmas Carol, 1951), he’s there in our minds.
Your assignment this week is too look beyond those images and see the story anew through Dickens’ own words. I have assigned each of you one of the five staves. Dickens labeled each section or chapter as a stave, an archaic term for a stanza of a song or poem, to underscore the idea that the story is a Christmas carol in prose.
Study the stave assigned to you in A Christmas Carol (see the lists below), and identify at least one detail that isn’t familiar to you, something you haven’t seen or heard in an adaptation: a description, a line of dialogue, an unfamiliar term, etc.
Compose a response of twenty-five words or more that addresses that detail. Include the stave number in your response. If you include a quote, follow it with a parenthetical citation: stave with a lower-case s followed by the number (stave 1).
If you’d like to address the experience of reading Dickens’ novella in the days of the novel coronavirus, you’re welcome to do that in addition to (not in place of) addressing your assigned stave.
Post your comment as a reply to this blog post by 5 p.m. on Thursday, April 9.
To avoid the risk of students restating what classmates have written in earlier posts, I will not make the comments available for view until after the posting deadline on Thursday.
Stave 5: Carmen Bonilla, Gabe Carswell, Dakota Clawson, James Erwin, Caleb Fountain, Deanna Grogan, Allison Lasher, Paige Lewis, Emma Maltba, Hayleigh Marshall, Jaanai Mendez-Santiago, Mason Nance, Shea Ortiz, Andrew Parker
Stave 4: Amelia Price, Caroline Riddle, Grey Sacona, J.D. Sharpe, Kenna Sipe, Josh Sloan, Joshua West, Autumn Yang
Stave 4: Cierra Ballard, Mariana Bonilla-Quesada, Ashton Canipe, Allie Desantiago, Sarah Fox
Stave 3: Cristian Gonzalez-Sanchez, Candace Johnson, David Long, Hannah Maltba, Keara McCann, Peyton Moore, Jacob Palmer, Roberto Perez-Perez, Jenna Ramsey, Chandler Rhyne, Joe Robbins, Jeremy Simpson, Alex Xiong, Madison St. Clair
Stave 2: Ahira Yanez, Anna Young
Stave 2: Bryan Alba, Caeley Arney, Eden Austin, Breanna Bowman, Emily Brown, Ruben Castillo-Martinez, Landon Childres, Breanna Church, Colin Coffey, Chandler Danner, Noah Dietrich, Courtney Gant, Cole Harris
Stave 1: Jachin Jenkins, Caleb Little, Kayde Morgan, Luke Noble, Declan O’Halloran, Brian Paz-Tellez, Courtney Powell, Crowson Roosa, Lauren Setzer, Cole Sharpe, Madison Starnes, Joe Van Story, Riley Whitener, Linsey Wike
The first ten students to post will receive bonus points, and the first student who correctly answers the questions below will be awarded an extra credit assignment in the participation and preparedness category.
Extra Credit Questions
Along with the ghosts that visit Ebenezer Scrooge in A Christmas Carol, there’s a reference to another literary ghost. Who is the ghost, and in what work of British literature does he figure?
Remember to check your CVCC email and Blackboard regularly for updates and assignments.
As we begin a new chapter online, consider how less remote we are than the arctic explorer Robert Walton was when he wrote to his sister, Margaret Saville, in England.
Since our seated classes were canceled before your copies of the Victorian volume of the Norton anthology were issued, I have included in this blog post a list with links to texts that we’ll study that are available through Project Gutenberg.
Before I write more about the list, I should address the subtitle of the paper-craft graphic above (one I created recently during some much-needed time away from the screen). The phrase “like the dickens” is not a reference to the Victorian author. It’s a euphemism. More specifically, it’s a minced oath: an expression that’s created by altering the spelling or pronunciation of a word that’s considered profane. Shakespeare penned the minced oath “like the dickens,” for “like the devilkins” (little devils), in his comedy The Merry Wives of Windsor, which he wrote more than two-hundred years before Charles Dickens was born.
Now to the list, and a second one that follows. The first is a chronological list of the longer Victorian works that we will study. The second includes the MLA-style works cited entries for the four texts, plus MLA style entries for both Mary Shelley’s Frankenstein on Project Gutenberg and your Barnes and Noble paperback edition. When you write about these texts, you will need to include MLA-style documentation. Bookmark this page for quick reference.
Remember to check your CVCC email and Blackboard regularly for updates and assignments.
*Longer readings for English 242. By Victorian standards, these book-length works aren’t long; A Christmas Carol and The Strange Case of Dr. Jekyll and Mr. Hyde are novellas, and “The Speckled Band” is a short story.