![]() “ ‘Chatterton, Shelley, Keats and I’: Reading Anne Spencer in the White Literary Tradition.” Callaloo, vol. “Monologue.” The Princeton Encyclopedia of Poetry and Poetics: Fourth Edition, Princeton University Press, 2012, pp. Women of the Early Harlem Renaissance: African American Women Writers 1900-1922, edited by Amardeep Singh, digital ed., Lehigh University, 2018. “ Before the Feast of Shushan (Version 2).” 1920. “ My Last Duchess.” Poetry Foundation, n.d. Instructors can also use the selected monologues to introduce core poetic concepts such as meter and rhyme. Additionally, they can examine what these critiques reveal about imperial ideologies. ![]() Students can explore how the form’s ironic distance between poet and speaker allows Browning and Spencer to critique imperial figures. This unit introduces students to the dramatic monologue by juxtaposing Robert Browning with the Harlem Renaissance poet, Anne Spencer, who both was inspired by and reimagined Browning’s approach to the form. Louise Bennett-Coverley, “Colonization in Reverse” Heavy Is The Head That Wears The Crown (Week One) Feedback or suggestions about any part of this lesson plan are welcome. Each week in this lesson plan could also stand on its own, meaning that instructors could simply use certain segments as needed. Instructors can adapt this lesson plan for a unit in a semester-long introductory course for undergraduates about Victorian literature, Victorian poetry, or poetry more broadly, or they can scale the lesson plan up for an advanced course about these topics. The primary and secondary materials have been laid out in five sections to mimic a hypothetical five-week unit, along with sample discussion questions that act as starting points for each class. This lesson plan is designed with flexibility in mind so that instructors can adapt and adopt it to meet their departmental/institutional requirements and their own pedagogical goals. What happens to the dramatic monologue when it moves from seemingly apolitical topics such as romantic love to overtly political ones such as abolition and enslavement? What are the advantages and limitations of the device when white poets use it to imagine a Black character or the experience of enslavement? How do Black poets during and after the Victorian period challenge their white counterparts by reinventing the device altogether? And how do the racial tensions exhibited in these poems from the long nineteenth century continue to reverberate outward to the present day? Organization and Suggested Materials This lesson plan prompts a direct engagement with those concerns by attending to the political implications of the dramatic monologue as it shifts in context and authorship. But these aesthetic developments were also intertwined with political concerns related to race and imperialism. Critics have noted how developments like these added rhetorical and psychological complexity to the literary device, thus transforming it into the dramatic monologue. For example, the tension between character and audience that is inherent to the monologue’s form intensified when Victorian poets imbued the device with irony and played with the presumed distance between the identity of the poet and the monologue’s speaker. “Jamaica people colonizin / Englan in reverse” (Week Five)Īlthough the monologue is a literary device that surfaces in several literary and historical periods, it went through some especially convoluted developments in the nineteenth century.The Little Black Boy In The White Literary Market (Week Four).English Words, “Black” Voices? (Week Two). ![]() Heavy Is The Head That Wears The Crown (Week One).Lesson Plan Cluster Developer: Sophia Hsu ContactĬluster Title: Africa, Diaspora, and the British Empire Collaborating Peer Reviewers: Carolyn Betensky, Melissa Free, Ji Eun Lee
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