CONDITIONAL CLAUSES

CONDITIONAL CLAUSES (POGODBENE/USLOVNE REČENICE)

In general, conditional clauses convey a DIRECT CONDITION – the situation in the matrix
(main) clause is directly related to the situation in the subordinate conditional clause, i.e. it is
directly contingent on the situation in the subordinate clause (direktno ovisi o situaciji u
zavisnoj klauzi):

SUBORDINATE CLAUSE MAIN CLAUSE

(1) [If you put the baby down], [she’ll scream].

SUBORDINATORS (ZAVISNI VEZNICI) FOR CONDITIONAL CLAUSES

The most common subordinators for conditional clauses are: if, unless.
They are used with finite, nonfinite and verbless clauses.
(2) [If you put the baby down], she’ll scream. (finite clause)
(3) [Unless otherwise instructed], you should leave by the back exit. (nonfinite clause)
(4) Marion wants me to type the letter [if possible]. (if it is possible). (verbless clause)

Other conditional subordinators are restricted to finite clauses:

● given (that), granted (that) <formal written style, particularly in argumentation>,
● on condition (that),
● in case (that),
● provided (that), providing (that),
● supposing (that),
● assuming (that),
● just so (that) <informal>,
● as long as, so long as.

(5) Given that x = y, then n(x + a) = n(y + a) must also be true. <in formal
argumentation>
(6) CompuServe offers anyone a free month’s trial, on condition that they provide credit
card or bank account details.
(7) In case you want me, I’ll be in my office till lunchtime.
(8) You may leave the apartment at any time, provided that you give a month’s notice or
pay an additional month’s rent.
(9) Assuming that the movie starts at eight, shouldn’t we be leaving now?
(10) He doesn’t mind inconveniencing others just so he’s comfortable. <informal>
(11) So long as you are very careful, you may drive the car.

Nonfinite and verbless clauses with with or without as subordinator may express a
conditional relationship:
(12) Without me to supplement your income, you wouldn’t be able to manage. (“If
there weren’t me to supplement your income, you wouldn’t be able to manage.”)
(13) With them on our side, we are secure. (“If we have them on our side, we are
secure.“)

Unless introduces a negative condition.

The unless-clause is roughly equivalent to a negative if-clause.
However, with unless there is a greater focus on the condition as an exception (‘only if …
not’ = ‘osim ako ne’)
(14) Unless you have a photographic memory, repetition is vital.
There are therefore contexts in which the unless-clause cannot occur:
(15) I’ll feel much happier, if he doesn’t come with us/*unless he comes with us.
 CONDITIONAL CLAUSES EXPRESSING AN INDIRECT CONDITION

Some conditional clauses express an INDIRECT CONDITION, in that the condition is not
related to the situation in the matrix clause:
(16) If you remember your history lessons, the war was started by the other side.
(17) If you are going my way, I need a lift.
(18) She’s far too considerate, if I may say so.
In (18), the truth of the assertion ‘She’s far too considerate’ is not dependent on obtaining
permission from the hearer.

TYPES OF CONDITIONAL CLAUSES

NB: Direct condition!
● Type 0: cause and effect
● Type 1: open condition
● Type 2, 3: hypothetical condition

Type 0 – CAUSE and EFFECT

(20) Oil floats if you put it on water.

(21) If water reaches 100 degrees, it boils.
These sentences are statements of universal truth or general validity.
In this type of conditional clauses, if corresponds closely in meaning to when(ever).
The tenses in both the conditional and the main clause are the same (the simple
present)

Type 1: OPEN CONDITION

Open conditions are neutral:
they leave unresolved the question of the fulfillment or nonfulfillment of the condition,
and hence also the truth of the proposition expressed by the matrix clause:
(22) If I have time, I will finish that letter.
(23)If you miss the plane, what will you do?
(24) If you wake up before me, give me a call.
Sentence (22) leaves unresolved whether I will have time and hence, whether the letter will
be finished.

● In the if-clause we use: the simple present tense,

● and in the main clause: a modal verb + bare infinitive (most frequently will), present
progressive (If Collin is in London, he is undoubtedly staying at Hilton) or imperative
(If you wake up before me, give me a call).

Type 1: VARIATIONS

(25) If you should change your mind, just give me a call.

OR Should you change your mind, just give me a call. (no subordinator, inversion of
subject and operator) (“Ako kojim slučajem promijeniš mišljenje...”)

Should in the conditional clause has the effect of making it seem less likely that the condition
will be fulfilled. We can substitute by any chance for should:
(26) If by any chance you change your mind, …

THE USE OF WILL IN THE SUBORDINATE CLAUSE

(27) If you will teach me French (“Ako si ti voljan da mene učiš francuski...”), I’ll
teach you English.
(28) We’ll finish the work quickly if you will give us a hand.
Will in the conditional clause introduces the idea of ‘your’ AGREEING, or being WILLING, to
do what is suggested.

Type 2: HYPOTHETICAL CONDITION

Ostvarenje radnje, iako često moguće, se ne očekuje.

(31) If I came into a fortune, I would give up working. = The conditional clause
expresses what is hypothetical/imaginary (often day-dreaming) → HYPOTHETICAL
MEANING
(32) If he changed his behaviour, he’d be more likeable. = “He very probably won’t
change his options.” = Ako/kad bi promijenio svoje ponašanje.../Da promijeni svoje
ponašanje...
(33) They would be here with us if they had the time. = “They presumably don’t have
the time.”
(34) If I knew how it worked, I could tell you what to do. = The conditional clause
expresses what is contrary to present fact
(35) If I were you, I wouldn’t go there. = Da sam na tvom mjestu...
A hypothetical condition in this type of conditional clause conveys the speaker’s belief that
the condition will not be fulfilled, (for future condition), or is not fulfilled (for present condition)
or contrary to present facts.
For the most part, type 2 conditionals describe what is impossible and imaginary or unlikely
to occur. However, keep in mind:
(36) If we took a taxi, we would/could/might catch the train.

Depending on the attitude of the speaker, Type 2 conditional can be used in place of Type 1
conditional to describe something that is quite possible.
In sentence (36) the speaker either regards catching a taxi as improbable, or he wishes to
put forward in a more tentative or polite way the suggestion of catching it. It does not
necessarily follow that the condition is in fact unlikely to be fulfilled.
IMPORTANT!
The verb form in the conditional clause (SIMPLE PAST TENSE) expresses the ATTITUDE
OF THE SPEAKER TOWARDS THE CONDITION.
IT DOES NOT EXPRESS TIME (Hence, the ‘UNREAL PAST’ term)
● In the if-clause we use: the simple past tense,
● in the main clause: a modal verb (most frequently would) + bare infinitive.

Type 2: VARIATIONS

Was to or were to followed by the bare infinitive expresses future hypothetical condition
in more formal contexts:
(37) If it was/were to rain (i.e., if it rained), the ropes would snap. They’re far too tight.

Should + bare infinitive also expresses future hypothetical condition in more formal
contexts:
(38) If a serious crisis should arise (i.e., arose), the public would have to be informed of its
full implication.

TYPE 3: HYPOTHETICAL, UNREAL CONDITION

(39) If you had listened to me, you wouldn’t [have made] so many mistakes. = Da
si me slušao, ne bi napravio toliko gresaka.
A hypothetical condition conveys the speaker’s belief that the condition was not fulfilled
(for past conditions).
The PAST PERFECT is used to indicate PAST UNREALITY = “You didn’t listen to me, and
that’s why you made so many mistakes”
 ● In the if-clause: we use the past perfect
● in the main clause: a modal verb (most frequently would) + perfect infinitive.

COMBINATION OF TYPES 3 AND 2

(40) The plane I intended to catch crashed and everyone was killed. If I had caught
that plane (TYPE 3), I would be dead now (TYPE 2) past unreal condition =
present unreal situation
Da smo stigli na avion [u prošlosti], sada ne bi bili živi.
(41) If I had worked harder at school (TYPE 3), I would be sitting in a comfortable
office now(TYPE 2)(But I didn’t work hard at school and now I am sweeping the
streets.) past unreal condition = present unreal situation
Da sam bio marljiviji [u prošlosti], sada bi sjedio u udobnom uredu.
(42) If we didn't trust him (TYPE 2), we would have sacked him months ago (TYPE
3). present hypothetical condition = past unreal situation
Da mu ne vjerujemo (sada, inače), davno bi ga otpustili.

Some other ways of expressing a present or past hypothetical situation, or a wish/suggestion

(43) I wish (that) I were/was in Italy now. (=“I am not in Italy now”) = “Voljela bih da
sam sad u Italiji”
(44) I wish (that) you had told me the truth. (=“You didn’t tell me the truth”) = “Voljela
bih da si mi rekao istinu”
(45) If only I were rich! (=“I am not rich”) = “Da sam bogata! Kad bih bila bogata!”
(46) I’d rather they went there themselves. (=“I would like them to go there
themselves”) = “Ja bih radije da oni idu tamo sami./Bilo bi mi draže da tamo idu
sami.”
(47) It’s time we told him the truth. = “Vrijeme je da mu kažemo istinu” = It’s time to
tell them the truth.
(48) It’s about time we left. = “Vrijeme je da idemo”
(49) It’s high time we were leaving. = “Krajnje je vrijeme da krenemo”

Would in expressing a wish

(50) I wish you would stop smoking. = “Voljela bih kad bi prestao pušiti.” “Voljela bih
da prestaneš pušiti.”
(51) I wish it would stop raining. = “Da hoće stati kiša.” “Voljela bih da prestane
kiša.”
(52) If only it would stop raining.

SUBJECT-OPERATOR INVERSION
Conditional clause may have subject-operator inversion without a subordinator if the
operator is were, should and had:
(53) Were she in charge, she would do things differently. = If she were in charge...
(54) Should you change your mind, no one would blame you. = If you should change
your mind...
(55) Had I known, I would have written before. = If I had known…

RHETORICAL CONDITIONAL CLAUSES

Rhetorical conditional clauses give the appearance of expressing an open condition, but
they actually make a strong assertion (like rhetorical questions).
Example: the proposition in the main clause is absurd, the proposition in the conditional
clause is shown to be false:
(56) [If they’re Irish], [I’m the Pope]. (“Since I’m obviously not the Pope, they’re
certainly not Irish”)
ASSERTION = THEY CAN’T BE IRISH.
 PART 1: WORDS THAT ARE NEVER FOUND OUTSIDE IDIOMS
PART 2: THE DEVIATION OF IDIOMS - FORM
CRANBERRY COLLOCATIONS
WHY DO WE CALL IT CRANBERRY COLLOCATION?
COLLOCATION- A COMBINATION OF WORDS, SUCH AS TO MAKE A DECISION", „RED
WINE", ETC. (BCS. KOLOKACIJA) •
CRANBERRY? THE TERM ORIGINATES FROM CRANBERRY MORPHEME".

Definition
A cranberry morpheme is a morpheme that only appears in one word, and whose meaning
by itself is unclear or unknown to the everyday speaker
Its nature:
- It cannot be assigned a grammatical function
- It serves to distinguish one word from the other.
- It does not have a meaning separate from their particular bound morphemes.
- It occurs only as bound roots.
- It has no constant meaning attached to it.
- It also has no part of speech (grammatical category)
- It only acquires meaning by virtue of their connection with other morphemes
Type of morpheme
- A cranberry morpheme is a type of bound morpheme

Cranberry collocations
● Combination of words (usually, idiomatic expressions) which consists of few words
which occur only within cranberry collocations

1ST GROUP: RARE FOSSIL WORDS, OR WORDS BORROWED FROM OTHER

LANGUAGES

● KITH (OE) > KITH AND KIN (Family and friends) (rodbina i prijatelji)
● LOGGERHEADS (ME)> AT LOGGERHEADS (TO DISAGREE VERY STRONGLY >
He is at loggerheads with many of his colleagues over the issue of taxation. (na
ratnoj nozi)
● SLEIGHT (ME) > SLEIGHT OF HAND > THE USE OF SKILLFUL TRICKS AND LIES
IN ORDER TO DECEIVE SOMEONE >By some sleight of hand they managed to
overlook all bonuses.
● SPICIK) (US) > SPIC(K) AND SPAN A ROOM, HOUSE ETC. THAT IS SPICK AND
SPAN IS COMPLETELY CLEAN AND TIDY > The kitchen was spick and span.
(SREDEN/A, TIP- TOPWO PISTA)
● AMOK (PORTUGEESE) > RUN AMOK > TO SUDDENLY BEHAVE IN A VERY
VIOLENT AND UNCONTROLLED WAY: Drunken troops ran amok in the town.
(poharati)
● CAHOOTS (US) > IN CAHOOTS WITH SOMEONE > TO BE WORKING SECRETLY
WITH ANOTHER PERSON OR GROUP, ESPECIALLY IN ORDER TO DO
SOMETHING DISHONEST (biti u dosluhu)
cahoots noun kahuts/
● DINT (MIDDLE ENGLISH) > BY DINT OF SOMETHING >BY USING A
PARTICULAR METHOD >By dint of hard work and persistence, she had got the job
of manager. (zahvaljujući)
● DUDGEON (UNKNOWN ORIGIN) > IN HIGH DUDGEON > IN AN ANGRY OR
OFENDED WAY > Dennis left the room in high dudgeon, and we knew he would get
his revenge. (Veoma ljut, razjaren)
 HOMOGRAPHS (MULTIPLE MEANING WORDS)
HOMOGRAPHS ARE WORDS WHICH ARE SPELLED THE SAME, BUT HAVE
DIFFERENT MEANINGS.

2ND GROUP LEXEMES WITH WORDS HOMOGRAPHIC WITH OTHER INDEPENDENT

ITEMS (OUTSIDE OF IDIOMS)

BE AT SOMEONE'S BECK AND CALL > TO ALWAYS BE READY TO DO WHAT

SOMEONE WANTS > I was tired of being at her beck and call all day long. (NA
USLUZI) (BECK, NOUN > A SMALL STREAM)
TO BOOT > IN ADDITION > For graduation, I got a new suit and a coat to boot. TE?
BUT a boot (PL. BOOTS) > IS A TYPE OF FOOTWEAR AND A SPECIFIC TYPE OF
SHOE.
COME A CROPPER > TO FAIL IN SOMETHING > Jane was out all nigh before she
took her final. She really came a cropper. (PROPASTI, PASTI, "TRESNUTI")
CROPPER > VRSTA MAŠINE
CURRY A FAVOUR > TO TRY TO MAKE SOMEONE SUPPORT YOU BY DOING
THINGS TO PLEASE THEM (USUALLY + WITH) The government has promised
lower taxes in an attempt to curry favour with the voters. CURRY, NOUN > A TYPE
OF FOOD/DISH FROM INDIA

3RD GROUP CRANBERRY ITEMS HAVE MORPHEMIC STRUCTURE, BUT OCCUR

ONLY IN IDIOMS
● AMENDS > MAKE AMENDS >TO DO SOMETHING TO SHOW YOU ARE SORRY
FOR HURTING OR UPSETTING SOMEONE, ESPECIALLY SOMETHING THAT
MAKES IT BETTER FOR THEM. EXAMPLE: He seized the chance to make amends
for his behavior.
● GUNPOINT > AT GUNPOINT > THREATENING SOMEONE OR BEING
THREATENED WITH A GUN. EXAMPLE: She was held at gunpoint for 37 hours
(DRŽATI NA NIŠANU).
● OUTSET > AT/FROM THE OUTSET > FROM THE BEGINNING OF AN EVENT OR
PROCESS. EXAMPLE: It was clear from the outset that there were going to be
problems.
● RUNAROUND > GIVE SOMEONE THE RUNAROUND TO ACT IN A WAY WHICH
MAKES IT DIFFICULT FOR SOMEONE TO DO SOMETHING, FOR EXAMPLE BY
REFUSING TO TELL THEM THINGS THEY NEED TO KNOW EXAMPLE: I'm trying
to get a visa, but the embassy staff keep giving me the runaround.

IDIOMS CONTAINING UNANALYSABLE OR UNIQUE ITEMS

- ON SOMEONE'S BEHALF, ON BEHALF OF SOMEONE
- FOR SOMEONE'S/SOMETHING'S SAKE, FOR THE SAKE OF
SOMEONE/SOMETHING •
- IN SOMEONE'S STEAD > IN SOMEONE'S SHOES
If you were in my stead, would you ask the new secretary for a date?
behalf, sake, stead= unanalysable words, cannot analyse these words morphologically
4TH GROUP OF CRANBERRY COLLOCATIONS
• THOSE COLLOCATIONS WHICH CONTAIN WORDS WHICH CANNOT BE
MORPHOLOGICALLY ANALYSED! You cannot analyse words of this kind
FORM VS. FUNCTION
His girlfriend is very beautiful and smart. Form (NP) Function (subject)
GROUP 1: ILL-FORMED IDIOMS
IDIOMS THAT CANNOT BE ANALYZED ACCORDING TO NORMAL SYNTACTIC RULES.
ILL-FORMEDNESS BE THAT AS IT MAY > WHAT YOU SAY IS TRUE > Be that as it may, I
cannot help you BE SEEING YOU > I'll be seeing you (GOODBYE)
1. Introduction

Early 19th Century Changes:

Economic shifts from the market revolution and industrialization.
Political changes like the spread of democracy to all white men.
Territorial expansion pushed settlers westward, often at the expense of Indigenous peoples.
Social divides worsened due to urbanization and European immigration.

Spiritual Revivalism and Social Reform:

The Second Great Awakening was a reaction against the rationalism of the Enlightenment.
It encouraged the belief that human society could be improved to reflect heavenly ideals.
Movements emerged to address issues like alcoholism, slavery, and women's inequality.

2. Revival and Religious Change

Second Great Awakening (1800s-1840s):

Revivals spread rapidly via itinerant preachers traveling on horseback.
The movement appealed to urban dwellers, rural farmers, and frontier communities alike.

Key Events:
- Cane Ridge Revival (1801): Tens of thousands gathered in Kentucky for passionate
sermons and religious conversions.
Emotional responses included crying, shouting, and speaking in tongues.

Impact on Denominations:
● Traditional churches like Congregationalists and Episcopalians lost influence.
● Methodist and Baptist churches grew significantly.
● New sects like Seventh-Day Adventists and Mormons emerged.

Joseph Smith and Mormonism:

- Claimed visions and founded the Church of Jesus Christ of Latter-day Saints.
- Published the Book of Mormon in 1830.
- The group faced persecution, leading to several migrations and Smith’s murder in
1844.
Burned-Over District:
Revivalist hotbed in western New York, named for repeated religious fervor.

Shift in Theology:
Calvinist predestination gave way to spiritual egalitarianism, the belief that all souls could
achieve salvation through repentance.

3. Atlantic Origins of Reform

Reform movements in America were heavily influenced by similar efforts in Europe.

Transatlantic Collaboration:

Reformers exchanged ideas through improved transportation (e.g., railroads) and cheaper
printing technologies.
Example: Frederick Douglass's autobiography was republished in Europe and galvanized
abolitionist efforts there.

Shared Issues:
Urbanization, class struggle, and industrialization inspired parallel reform efforts in Europe
and America.

Abolitionist Networks:
American reformers worked closely with British abolitionists like Thomas Clarkson and
Elizabeth Heyrick.
The General Anti-Slavery Convention (1840) united reformers from multiple nations.

4. The Benevolent Empire

Purpose:
To address perceived moral decline due to urbanization and industrialization.

Evangelical Leadership:
Middle-class ministers, often supported by middle-class women, led reform movements.
Reformers promoted perfectionism (living sin-free lives) and disinterested benevolence
(loving others selflessly).

Reform Areas:
Temperance Movement:
Aimed to curb alcohol consumption, seen as a root cause of social ills.
Organizations like the American Temperance Society (1826) were influential.
By the 1840s, alcohol consumption dropped significantly.

Sabbatarianism: Sought to end secular activities on Sundays.

Prison Reform: Focused on rehabilitation (e.g., Eastern State Penitentiary).
Education Reform: Promoted public schools and expanded women’s education.

Women’s Role:
Middle-class women were key participants, using their roles as moral guardians to justify
their activism.

5. Antislavery and Abolitionism

Early Efforts:
Before the 1830s, most antislavery efforts focused on gradual emancipation or colonization
(sending freed Black Americans to Africa).

Rise of Immediatism:
Advocated immediate emancipation without compensation to enslavers.
William Lloyd Garrison founded The Liberator in 1831 and the American Anti-Slavery Society
(1833).
Prominent figures included Frederick Douglass, Sojourner Truth, and Angelina Grimké.
Methods:
Pamphlets, speeches, petitions, and international advocacy.
The Great Petition Campaign (1836): Thousands of petitions flooded Congress, leading to
the Gag Rule banning discussions on slavery.

Challenges:
Violent opposition, mob attacks, and suppression by pro-slavery laws.
Abolitionists were often divided:
Garrisonians rejected political engagement, seeing the Constitution as pro-slavery.
The Liberty Party (1839) sought abolition through politics.

Legacy:
The movement laid the groundwork for the antislavery Republican Party and eventually the
Civil War.

6. Women’s Rights in Antebellum America

Cult of Domesticity:
Women were seen as the moral backbone of the family but lacked legal and political rights.
Coverture laws gave husbands control over wives’ property and children.

Education Reform:
Leaders like Emma Willard and Mary Lyon founded schools for women, arguing for
intellectual equality with men.

Women in Abolition:
Activists like Lucretia Mott, Elizabeth Cady Stanton, and the Grimké sisters linked
abolitionism with women’s rights.
Women used petitions and public lectures to voice their concerns, often facing backlash.

Seneca Falls Convention (1848):

Organized by Stanton and Mott in New York.
Issued the Declaration of Sentiments, modeled on the Declaration of Independence.
Advocated for property rights, equal pay, and women’s suffrage.

Limited Progress:
Few legal reforms were achieved before the Civil War, but the women’s rights movement set
the stage for future advocacy.
 Projektivna autobiografija: razvojni pristup

U svrhu izrade zadatka trebate napisati Vašu životnu priču iz ugla razvojnih teorija. U prikaz Vaše
životne priče trebate uključiti prikaz teorija i modela koji su opisani u Vašim udžbenicima. Slijedite
odjeljke koji su navedeni ispod, a unutar svakog odjeljka možete organizirati svoj rad po želji.
Studija slučaja u pisanoj formi treba sadržavati naslovnu stranu sa nazivom kolegija, naslovom,
imenom studenta, imenom mentora i mjestom, mjesecom i godinom pisanja. Iza naslovne strane slijede
strane pisanog teksta (do 10 stranica teksta) u formi eseja. Na kraju na zasebnoj stranici navesti
literaturu prema APA standardima. Iza literature na zasebnoj stranici navesti prilog koji treba
sadržavati sva pitanja koja ste razmatrali.
Kako biste dobili sve potrebne informacije za Vašu priču, intervjuirajte roditelje, braću i sestre i Vaše
prijatelje, čiji će Vam odgovori biti ključni za izradu zadatka.
Smjernice i izgled priče:
Faza 1: Prenatalno i perinatalno razdoblje
(neka od pitanja: Kako Vaši roditelji opisuju Vaš prenatalni razvoj? Opišite sebe pri rođenju)
Faza 2: 0-2 godine
(neka od pitanja: Opišite svoj motorički razvoj i razvoj jezika. Prođite s roditeljima kroz tri faze razvoja
privrženosti i potražite primjere za svaku od faza (kako se određena faza manifestirala, kome ste bili
posebno privrženi, kakve ste reakcije imali na poznate ljude, na nepoznate ljude, i sl.). Na temelju ranih
iskustava koje ste imali sa značajnim figurama privrženosti i objektivnih okolnosti (koje su mogle biti
olakšavajuće ili pak otežavajuće za razvoj privrženosti), pokušajte utvrditi kojem obrascu privrženosti
pripadate. Procijenite u kojoj mjeri se to odrazilo na kasnije odnose sa drugim ljudima u Vašem životu
(prijateljima, partnerima, i sl.). U svrhu zaštite Vaše privatnosti, niste obavezni ove informacije navoditi
u izvještaju (npr. tip privrženosti i slično), ali možete dati jedan opći zaključak koliko su Vaši kasniji
odnosi bili pod utjecajem tih ranih obrazaca (prosto se osvrnite na Bowlbyeve pretpostavke i procijenite
koliko su primjenjive na Vaš život, a bez specificiranja tipa privrženosti). I zapamtite, radi se o
subjektivnim procjenama, tako da nemojte žuriti sa nekim konačnim zaključcima. Spoznaje do kojih
dođete koristite samo kao dodatno sredstvo za upoznavanje sebe, ali nikako za donošenje nekih
konačnih sudova o sebi samima ili Vašim bliskim osobama.)
Faza 3: 2-6 godina
(neka od pitanja: jeste li imali omiljenu igračku ili dekicu koju ste nosili svuda sa sobom?
Porazgovarajte malo i o prosocijalnom i agresivnom ponašanju i procijenite u kojoj mjeri su ovi aspekti
bili izraženi kod Vas u ranijim periodima Vašeg života. Kako ste se ponašali u skupini vršnjaka ili među
braćom/sestrama (npr. da li ste dijelili igračke ili ne, da li ste pokazivali neke oblike agresivnosti u igri
ili ne, i sl.). Također, navedite kakvim ste medijskim sadržajima bili izloženi u predškolskoj i školskoj
dobi (kakve ste crtiće gledali, koji su Vam bili omiljeni, i sl.)? Kakva su Vaša iskustva sa vršnjacima s
kojima ste se družili u ovom periodu (da li su neki od njih bili agresivni prema Vama, u kojoj mjeri je
bilo zastupljeno prosocijalno ponašanje, i sl.). Kakav ste status imali u skupini vršnjaka u ovom i
kasnijem uzrastu (osnovna škola).)
Faza 4: 6-11 godina
(:da li je polazak u školu za vas predstavljao pozitivan događaj? Kako ste razriješili Eriksonovu fazu
sposobnost/nesposobnost)
Faza 5: Adolescencija
(opišite svoje iskustvo puberteta i kako je ono utjecalo na Vaš život? Opišite odnos sa vršnjacima)
Faza 6: Mlađa odrasla dob
(Opišite razvojne promjene koje vidite i osjećate u posljednje vrijeme.)
Faza 7: Srednja odrasla dob
(kako zamišljate sebe u srednjoj odrasloj dobi?)
Faza 8: Starija životna dob
(pokušajte vizualizirati svoj život u starijoj životnoj dobi)

U tekstu eseja prvi paragraf treba da sadrži generalne podatke o Vama (N.N. godine, s kim živite...).
Dalje opisati vlastiti život uvažavajući različite razvojne pristupe u esejističkoj formi (npr. Proces
tranzicije u odraslu dob prikazan iz ugla Eriksonove teroije). Svaki novi pristup treba prikazati kao novi
paragraf (npr. Obzirom na izraženu borbu za naklonost i pažnju, može se zaključiti da osoba ima
nesigurni (preokupirani) obrazac afektivne vezanosti...). Za svako prikazivanje sa aspekta određene
teorije navesti argument i potkrijepiti primjerom. Na kraju eseja potrebno je sumirati informacije i
navesti što ste naučili pri izradi ovog zadatka. Osim primjera pitanja koja su navedena u uputi, svaki
student treba osmisliti minimalno dodatnih pet pitanja za svaku navedenu fazu. Literaturu nije nužno
citirati u samom tekstu (osim ako se direktno ne odnosi na teoriju), ali je na kraju potrebno navesti
izvore koji su korišteni za pripremu eseja.
 Inventar dimenzija odraslosti u nastajanju
(Reifman, Arnett, & Colwell, 2007)
Molimo vas da razmislite o Vašem trenutnom životu. Pod time mislimo na trenutno vrijeme,
plus nekoliko proteklih i nekoliko sljedećih godina koje dolaze. Ukratko, trebali biste
razmisliti o razdoblju od otprilike pet godina, s trenutnim vremenom u sredini. Ispod su
navedene neke fraze, molimo da za svaku označite u kojem stupnju se slažete da upravo te
fraze opisuju ovo razdoblje Vašeg života.

Je li ovo razdoblje vašeg U potpunosti Donekle Donekle U

života: se ne slažem se ne se slažem potpunosti
slažem se slažem
1. vrijeme mnogih 1 2 3 4
mogućnosti?
2. vrijeme istraživanja? 1 2 3 4
3. vrijeme zbunjenosti? 1 2 3 4
4. vrijeme 1 2 3 4
eksperimentiranja?
5. vrijeme osobne slobode? 1 2 3 4
6. vrijeme osjećaja 1 2 3 4
ograničenosti?
7. vrijeme odgovornosti za 1 2 3 4
sebe?
8. vrijeme osjećaja stresa? 1 2 3 4
9. vrijeme nestabilnosti? 1 2 3 4
10. vrijeme optimizma? 1 2 3 4
11. vrijeme visokog pritiska? 1 2 3 4
12. vrijeme otkrivanja tko 1 2 3 4
ste?
13. vrijeme smirivanja? 1 2 3 4
14. vrijeme odgovornosti 1 2 3 4
prema drugima?
15. vrijeme neovisnosti? 1 2 3 4
16. vrijeme otvorenih 1 2 3 4
izbora?
17. vrijeme nepredvidivosti? 1 2 3 4
18. vrijeme obveza prema 1 2 3 4
drugima?
19. vrijeme 1 2 3 4
samodostatnosti?
20. vrijeme mnogo briga? 1 2 3 4
 21. vrijeme isprobavanja 1 2 3 4
novih stvari?
22. vrijeme usredotočenosti 1 2 3 4
na sebe?
23. vrijeme odvajanja od 1 2 3 4
roditelja?
24. vrijeme definiranja sebe? 1 2 3 4
25. vrijeme planiranja 1 2 3 4
budućnosti?
26. vrijeme traženja smisla? 1 2 3 4
27. vrijeme donošenja 1 2 3 4
vlastitih uvjerenja i
vrijednosti?
28. vrijeme promišljanja i 1 2 3 4
spoznavanja sebe?
29. vrijeme osjećanja 1 2 3 4
odrasloga na neke
načine, ali ne i na druge?
30. vrijeme postupnog 1 2 3 4
postajanja odraslim?
31. vrijeme u kojem niste 1 2 3 4
sigurni jeste li potpuno
odrasli?

KLJUČ:
Subskala:
Istraživanje identiteta: 12, 23, 24, 25, 26, 27, 28
Eksperimentiranje/mogućnosti: 1, 2, 4, 16, 21
Negativnost/nestabilnost: 3, 6, 8, 9, 11, 17, 20
Usmjerenost na druge: 13, 14, 18
Usmjerenost na sebe: 5, 7, 10, 15, 19, 22
Osjećaj „između adolescencije i odraslosti“: 29, 30, 31
 The Flea
John Donne
Stanza One
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.

The poet in the poem, ‘The Flea’ by John Donne, asks his beloved to observe the flea
carefully and mark that what she denies to him is not of much significance. The flea sucked
her blood and then sucked his. In this way, in its body, their respective blood are mixed up.
She must acknowledge that this mingling of their blood in the body of the flea is neither sin,
nor shame, nor loss of virginity.
But the flea has enjoyed her without any wooing or courtship, and its body is now swelled up
with the enjoying of their respective blood, which now mingles in its body. The body regrets
that such direct enjoyment and consummation is not possible for human beings.
The meaning of the very first word “Marke” is to observe carefully, while the use of the word
“union” in the second line means the physical union which she has denied to him has been
accomplished in the body of the flea. That is; all her shrinking from his advances has been of
little avail to her. In the sixth line of the stanza, with the use of the word like maidenhead, he
means to indicate the virginity of the beloved, whereas the meaning of line like: “With one
blood made of two,” he means to be talking about their respective blood which mingle and
become one in the body of the flea.

Stanza Two
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 mariage 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.

The beloved must not kill the flea because in its body they are more than married, for in its
body her blood and his blood are mingled. Therefore, not only is the body of the flea, their
wedding temple, but it is also their bridal bed. Their blood mingles in the body of the flea as
they mingle in the sex-act, despite the objections of her parents and her own objections.
They have been isolated from the world and have met in privacy within the four walls which
make up its body.
She should not kill the poor creatures, for it would be triple murder. She would kill the flea, as
well as the poet whose blood it has sucked. It will also be a self-murder which is prohibited
by religion. The killing of the flea would be sin and sacrilege; it would be three murders in
one. In the second stanza, when the poet says, “Oh stay”, he means to say as the beloved
gets ready to kill the flea, while the meaning of the word three lives is the life of the flea, of
the lover and the beloved herself.

Stanza 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.

As the beloved kills the flea, the lover calls her cruel and rash. She has purpled her nails
with the blood of the innocent flea. What was the fault of the poor creature, except that it had
sucked a drop of her blood? The beloved is triumphant and says that neither she nor her
lover is in any way weaker for having killed it. This is perfectly true. From this, she should
learn that her fears of losing her honor through yielding to the advances of her lover are
false.
Just as she has lost little life in the death of the flea which sucked her blood, so she will lose
honor in yielding herself to him. When the poet says: “Purpled thy naile”, he means to say
that the beloved has actually killed the flea and thus purpled her nails with innocent blood.
And when he says: “’Tis true; then learn how false, fears be:” he means to be saying that
since she has not lost any honor from the flea’s sucking her blood, she should not fear that
she should lose any honor from yielding to her lover, while the meaning of words like: “Will
waste” means will be lost.

The Good-Morrow
John Donne

Stanza One
I wonder, by my troth, what thou and I
Did, till we loved? Were we not weaned till then?
But sucked on country pleasures, childishly?
Or snorted we in the Seven Sleepers’ den?
’Twas so; but this, all pleasures fancies be.
If ever any beauty I did see,
Which I desired, and got, ’twas but a dream of thee.

In the first stanza of ‘The Good-Morrow’, the speaker begins with three questions. They all
inquire into the state of his and his lover’s lives before they were known to one another. He
wonders allowed, addressing his lover, what “by my troth” (or what in the world) they did
before they loved. This question and those which follow are rhetorical. He does not expect a
real answer.
In the next line, he asks if they were “not weaned till then.” He does not believe the two were
truly adults, separated from their mother’s milk until they met. Their lives did not begin until
they gave up “country pleasures.” They became more sophisticated and less dependent on
childish pleasures.
In the fourth line, he asks if they were sleeping like the “Seven Sleepers.” This is a reference
to a story regarding seven children buried alive by a Roman emperor. Rather than dying,
they slept through their long entombment to be found almost 200 years later. It is like the
speaker has his lover were in stasis until they could be unearthed at the proper time and
brought together.
The final three lines of the stanza answer his previous questions. He says, yes, of course,
everything he said is the truth. Anything he experienced before getting with this current lover
was not real. It was only a fancy.

Stanza Two
And now good-morrow to our waking souls,
Which watch not one another out of fear;
For love, all love of other sights controls,
And makes one little room an everywhere.
Let sea-discoverers to new worlds have gone,
Let maps to other, worlds on worlds have shown,
Let us possess one world, each hath one, and is one.

The second stanza is structured in a similar way in which the first four lines introduce a
reader to another aspect of the relationship. He describes how now, in their “good-morrow’
they will live in happiness together. There will be no need to “watch…one anther out of fear.”
Their relationship is perfect.
In the following lines, the speaker is proving that any temptation outside is worthless. His
eyes are controlled by love, therefore everything he sees is transformed by his adoration. He
speaks of a small room that contains everything on earth. There is no reason for him to
leave the bedroom he shares with his lover.
The next three lines make use of anaphora with the repetition of the starting word “Let.” The
speaker is telling his lover that now that he has this relationship the rest of the world means
nothing. The explorers can go out and claim anything and everything they want to. He will be
happy to “possess one world” in which they have one another.

Stanza Three
My face in thine eye, thine in mine appears,
And true plain hearts do in the faces rest;
Where can we find two better hemispheres,
Without sharp north, without declining west?
Whatever dies, was not mixed equally;
If our two loves be one, or, thou and I
Love so alike, that none do slacken, none can die.
The final stanza of ‘The Good-Morrow’ begins with the speaker looking into his lover’s eyes.
There he can see his own face and he knows her face appears in his eyes as well. Their
heartfelt connection is evident within their faces.
The next lines continue to refer to their bodies/ Donne makes use of conceit, one of the
techniques for which he is the best know. In this case, he is comparing their faces to two
hemispheres. Unlike the hemispheres of the actual world, their facial hemispheres are
perfect. There are no “two better” in the universe. There is no “sharp north” or “declining
west.” Donne’s speaker sees himself and his lover as soulmates, they are the other’s
missing half.
The last three lines speak on how a lack of balance can cause death. This is likely a
reference to the medieval science of humors in which one’s health was determined by an
equal mix of blood, bile, etc. He uses this metaphor to make clear that their love is balanced
physically and emotionally. Their perfect balance is accomplished due simply to the
presence of the other. It is the combination of their emotions that keeps them together.

The Sun Rising

John Donne

Structure and Form

John Donne stretches the traditional sonnet by turning it into a 30-line poem split into three
parts, each 10 lines long. While each part wraps up with a neat couplet like in a sonnet, the
extra lines give Donne more space to dive deep into his thoughts. It’s like he’s having a
longer chat than usual, making sure we really get what he’s feeling about the sun bothering
him and his beloved in the morning.
The rhyme pattern Donne uses is a mixtape of old and new styles, going ABBACDCDEE. It
starts off with a twist on the Italian sonnet style and ends with a nod to the English sonnet.
This mash-up helps bridge the personal with the cosmic. He starts each section talking
about everyday stuff, like the sun rising, and elevates it to grand themes of love and time, all
while keeping things catchy with rhymes.
As for the meter, Donne mostly sticks to iambic pentameter: the meter traditional sonnets
use. But he throws in some shorter lines here and there, such as lines 1,2,5 and 6 of each
stanza. These aren’t just random; they pop up to underline important bits, like when he’s
really questioning the sun or scoffing at its authority. It’s a clever trick to make those
moments stand out and keep us on our toes. In doing so, he moves the poem temporarily
the likes of iambic dimeter (like line 2), and tetrameter like on lines 5 and 6.

Stanza One
Busy old fool, unruly sun,
Why dost thou thus,
Through windows, and through curtains call on us?
Must to thy motions lovers’ seasons run?
Saucy pedantic wretch, go chide
Late school boys and sour prentices,
Go tell court huntsmen that the king will ride,
Call country ants to harvest offices,
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time.
It is immediately obvious that personification is going to play an important role in this poem
when the titular object — the sun — is referred to as an “unruly,” “busy old fool.” The sun is
calling to the narrator of The Sun Rising “through windows, and through curtains” — which is
what the sun does, after all. It rises, and shines through the edges of curtains. The “calling,”
then, is simply the narrator and whomever they are with, that it is morning. The narrator
begins to list off all of the other things the sun could be doing — reminding oversleeping
schoolchildren that they are going to be later for school, beginning the day for noblemen,
anything other than waking up the speaker and reminding that they need to begin their day.
The last two lines, as well as the “us” in the third line, suggest that the speaker is not alone,
but are rather waking up alongside a lover, and that because love is timeless, the rising sun
should leave them alone, rather than force them to leave each other’s company in the bed.
The structure of The Sun Rising is noticeably unusual. Although it does rhyme, it does not
follow any particular pattern from beginning to end. The first four lines, for instance, follow an
ABBA pattern, but each line has a different syllable count. The result is a poem that does not
flow especially well, but does properly convey the frustrated mindset of the narrator who only
wants to be with his beloved.

Stanza Two
Thy beams, so reverend and strong
Why shouldst thou think?
I could eclipse and cloud them with a wink,
But that I would not lose her sight so long;
If her eyes have not blinded thine,
Look, and tomorrow late, tell me,
Whether both th’ Indias of spice and mine
Be where thou leftst them, or lie here with me.
Ask for those kings whom thou saw’st yesterday,
And thou shalt hear, All here in one bed lay.

The narrator wants to shut the sun out of existence; it is easily possible to simply close the
eyes, clear the mind, and forget that day has even come. Unfortunately, now that the
speaker sees the person they spent the night with, they no longer want to close their eyes
and not be able to see; grudgingly, they are forced to accept the presence of the rising sun.
The rest of the verse questions the worth of leaving a bed shared with a loved one; they
reference the “Indias of spice and mine,” referencing spice foraging and mining operations in
the Eastern and Western Indies at the time, and seem to suggest that everything will run
exactly as it is supposed to whether they leave their bed or not — so they can check on a
mission that is, at present, meaningless, or they can remain with each other.

Stanza Three
She’s all states, and all princes, I,
Nothing else is.
Princes do but play us; compared to this,
All honor’s mimic, all wealth alchemy.
Thou, sun, art half as happy as we,
In that the world’s contracted thus.
Thine age asks ease, and since thy duties be
 To warm the world, that’s done in warming us.
Shine here to us, and thou art everywhere;
This bed thy center is, these walls, thy sphere.

This verse does much to emphasize the enormous importance the narrator places on their
lover — she is everyone and everywhere he ever needs to be or know, and nothing else
exists while the two are together. Honour and wealth become meaningless, princes seem
poor when compared to what they have. Returning to the personification of the sun, the
narrator addresses it once more, stating that its presence is not needed, since its purpose is
to warm the world, and he feels warm. The Sun Rising ends on a somewhat cryptic note, but
suggests that the narrator’s universe consists of two people and one room only — that bed is
the centre of the universe, and the walls of the room are its edge, and so when that room is
warmed, the whole of the world is to them.

Historical Context
John Donne lived in the late sixteenth and early seventeenth centuries in London, England,
born to a fairly well-off family although there were struggles after his father died while he was
young. He was raised Roman Catholic, although the Anglican Church was still very
influential at the time. He began a promising political career by using his inheritance to travel
across Europe and was able to work as the secretary to the Lord Keeper of the Seal, a
prominent position in the English government.

Although he held great promise, his political career was cut short after he fell in love with,
and secretly married the Lord Keeper’s niece, Anne More near the end of 1601. Eventually,
her uncle and father (also a prominent and influential member of the government) found out
and arrested John, as well as the minister who married them. When the marriage was
proved valid, the two were released, but Donne was fired from his position and eventually
became a cleric in the Church of England. During this time, John and Anne bore twelve
children, the last of which was a stillborn, born after a difficult pregnancy that also took the
life of Anne More. John Donne, as well as his ten surviving children, grieved heavily for their
loss.

All records suggest that John Donne loved his wife deeply, and it makes sense to think of
her as being the woman written about in this poem. It could be a simple tribute to the time
they were allowed to spend together after Donne’s release from prison, or it could be a
reference to the time they spent together before their marriage was discovered; that the
reason the sun rising is such a dismaying realization is because it means their time together
is ended since they cannot be seen in public for fear of discovery. To say that she is the only
important thing also makes a little more sense in the light of Donne’s political career, since
he would have held a very important position — but it is not important at all, compared to
what he has with the love of his life, who is more important and warmer and life-affirming
than even the sun rising.

The Canonization
John Donne
‘The Canonization’ by John Donne describes a transcendent love that eventually evolves
into the idealized baseline for all other aspiring lovers.
The poem begins with the speaker telling a listener that they need to be quiet and let him
“love.” One will soon discover that love is the most important thing to the listener. He values
this above all else. The speaker goes on to tell the listener to do anything but bother him
about his love. This person could make fun of his quirks, get a job, go to school, or meditate
on the face of the king.
The speaker goes on to describe, in what sounds like a rant, how his love has not hurt
anyone. It has not sunk ships, flooded fields, frozen out the spring, or given anyone the
plague. It is harmless to all except the speaker and his lover for whom it is deeply beneficial.
The speaker compares himself and his lover to a phoenix which lives and dies and lives
again. They could get through anything and be remade.
He also tells the listener that if they are unable to live as they want on earth then they’ll
happily die. Once they’ve ascended to heaven they’ll become saints of “Love.” Their position
might not afford them grand tombs or a place in history but their story will be told in sonnets
and love songs. They will have the ability to look down on earth and see all the lovers
praying to them.
In conclusion, the speaker states that he knows they will be unhappy with what they see.
The lovers on earth will not be “loving” in the correct way. This will enrage the couple.

Stanza One
For God’s sake hold your tongue, and let me love,
Or chide my palsy, or my gout,
My five gray hairs, or ruined fortune flout,
With wealth your state, your mind with arts improve,
Take you a course, get you a place,
Observe his honor, or his grace,
Or the king’s real, or his stampèd face
Contemplate; what you will, approve,
So you will let me love.

In the first line of ‘The Canonization’, the speaker begins by telling an unknown, unnamed
listener to be quiet. He expresses annoyance over the interaction he’s having with this
person and states that the only thing he wants to do is love. Something the listener is doing
is keeping him from being able to do. He goes on to gives them a number of options they
should pursue rather than distracting him from his love.
First, they could move on to making fun of the speaker’s “palsy” or involuntary tremors or his
“gout.” An affliction was uncommon in contemporary society that makes one’s joints swell.
Or, the listener might want to direct their attention to the speaker’s “gray hairs” or take some
pleasure from making fun of his lost fortune.
Other options the listener might pursue include bettering their own state of affairs. This might
mean improving their mind with art or making money of their own. Additionally, this person
could get a “place,” or a job or take some kind of class. Another option that might appeal
more to the listener is contemplating the face of the king, either in real life or “stampèd” such
as on a coin. The speaker doesn’t care what this person does as long as he is left alone to
love as he will.
Stanza Two
Alas, alas, who’s injured by my love?
What merchant’s ships have my sighs drowned?
Who says my tears have overflowed his ground?
When did my colds a forward spring remove?
When did the heats which my veins fill
Add one more to the plaguy bill?
Soldiers find wars, and lawyers find out still
Litigious men, which quarrels move,
Though she and I do love.

In the next stanza of ‘The Canonization’, the speaker begins with a rhetorical question
regarding his own love and what it’s injuring. He knows the answer to be “nothing” but hopes
the posing of the question will remind the listener and inform the reader that there is no
reason he should be kept from loving. This first question is followed by four more.
He poses possible, but unreal scenarios that his love was not involved in. The first of these
is the drowning of merchant ships, the second the overflowing of land with water. It is clearly
outrageous that “love” could ever cause such disasters as sunken ships and flooded land.
Just in case the listener still has misplaced ideas about the speaker’s love he gives two more
examples.
His relationship has not given anyone the plague nor the “cold” inflicted on his body by his
love caused spring to recede early. The world is still turning as it always has. There are the
soldiers fighting in battles and the lawyers still live for lawsuits. Everything is going on just as
it is supposed to while “she” and the speaker “do love.”

Stanza Three
Call us what you will, we are made such by love;
Call her one, me another fly,
We’re tapers too, and at our own cost die,
And we in us find the eagle and the dove.
The phœnix riddle hath more wit
By us; we two being one, are it.
So, to one neutral thing both sexes fit.
We die and rise the same, and prove
Mysterious by this love.

In stanza three of ‘The Canonization’, he tells the listener that they can say anything they
want about the love between the two but it does not bother him. The speaker is confident in
who he is and how he is living because he is directed by love, it made the couple into who
they are. He compares himself and his lover to “tapers” or candles. The burning of their
flame causes their own demise, and he knows it.
No matter what the listener thinks of them, they compare themselves to a phoenix. They are
not doves or eagles, but something grander and perhaps more magical. The “phoenix…has
more wit,” meaning it makes more sense and applies more aptly to their situation. Together
they are becoming one creature, “one neutral thing.” Just as the Phoenix is said to die and
then be reborn, they are able to overcome all obstacles and return to one another. All
because of the mysteries of love.
Stanza Four
We can die by it, if not live by love,
And if unfit for tombs and hearse
Our legend be, it will be fit for verse;
And if no piece of chronicle we prove,
We’ll build in sonnets pretty rooms;
As well a well-wrought urn becomes
The greatest ashes, as half-acre tombs,
And by these hymns, all shall approve
Us canonized for Love.

If life proves to be too much of an obstacle for the couple they are willing to face death. They
can “die by it” if they are unable to “live by love” They would rather die than survive in a
world without one another. The speaker is setting out a world in which their lives are unfit for
traditional remembrance, via a tomb or marker. Instead, they will be known through “verse”
or song, just like this one.
In the next lines, he states that they might not make their way into a “chronicle,” likely a
reference to a history book. That’s okay with him thought as they will end up in a sonnet.
This is a much more appropriate place anyway as it will contain their “pretty rooms.” They do
not fit the description of the great ones who end up in “well-wrought urn[s]” and in “half-acre
tombs.” Their lives are not so grand.
The sonnets they will end up in will allow them exposure to a larger audience. This way their
story will be heard by many and perhaps finally accepted. The couple will become so
popular they will be “canonized” or made into saints for “Love.” From then on out anyone
who needs help in love will pray to them.

Stanza Five
And thus invoke us: “You, whom reverend love
Made one another’s hermitage;
You, to whom love was peace, that now is rage;
Who did the whole world’s soul contract, and drove
Into the glasses of your eyes
(So made such mirrors, and such spies,
That they did all to you epitomize)
Countries, towns, courts: beg from above
A pattern of your love!”

The fifth stanza of ‘The Canonization’ solidifies this future position of the lovers as saints of
love. Donne’s seeker turns again to the listener and tells them that everyone will “invoke” the
saints. When they do this, the audience will speak on the “hermitage” the lovers created. It
will be a place of safety for any in love.
Now that the lovers, in this fantasy created by the speaker, are in heaven, they are able to
look down on earth. They hear prayers for and from everyone. All is not as they would have
it though. The love shared amongst the people of earth is incorrect. Their “pattern of…love”
is not the ideal one. The love that once gave them pleasure on earth has turned into a “rage”
in heaven. The couple is upset by the fact that everyone on earth seems unable to live up to
their standard.
 Harrods' £28 sandwich: we find out if the taste matches the price tag

Luxury retailer 's wagyu beef butty is making waves for its expense but what is it like to eat?

"But it's just a sandwich!" social media cried when it emerged that Harrods, the luxury
retailer, is selling one for £28-making it the most expensive butty in Britain.

Seen out of context or rather in the context of "just" being a sandwich the price boggles. Yet,
in Harrods' defence, there is nothing "just" about two slices of fresh sourdough ensconcing
truffle butter, "gold" mustard mayo, mushrooms and seared steak sourced from Japan.
These ingredients don't come cheap: wagyu beef, which generally refers to meat from four
main breeds of cattle produced in Japan, is sometimes referred to as the Rolls-Royce of
beef on account of its luxuriant texture (the fine marbling is a result of a long fattening
process) and high price tag; black truffle usually costs about £1.50 to £3 a gram, and even
the bread takes days to ferment and prove and is baked on site.

If Harrods served these foods on a plate alongside some rocket and braised onions, the
price would not make the news. But it is serving them in a sandwich. There's nothing like
putting stuff in bread to get British people riled. What (and how much) filling, what type of
bread, how thickly the butter is spread these subjects stir strong feelings, and that's before
you get to how much it costs.

It was these criteria I took to Harrods Food Hall and applied to the wagyu beef sandwich I
ate in the middle of the Brompton Road. Ten of the most expensive mouthfuls I have ever
had were consumed between buses, Lime bikes and black cabs, mayo-flecked hair blowing
in their slipstream. Every bite was about £2.50 and, with each, I asked myself whether it was
worth it, whether I'd buy it again and whether I'd recommend it. My answers varied according
to the composition of the bite, which is often the way with sandwiches, but £2.50 a mouthful
really focuses the mind.

The first bite was, like most first bites, the best in part because I was hungry, and the
sandwich was filled to the edge, as it should be. Harrods' sourdough is dense, intense, moist
and tangy. Whether you think it's the correct bread for sandwiches depends on your taste,
and your tolerance for butter and mayonnaise oozing on to your fingers through the holes.
The wagyu beef was generously cut, medium rare and the perfect foil for the "gold" mustard
mayonnaise which is not, in fact, made of gold, but dijon. The second-best mouthful came
when the beef, mustard mayo and rocket collided with the beer-braised onions, creating a
quartet of contrasting textures and tastes: jammy, peppery, savoury and hot.

Then the truffle and porcini butter arrived, and a grilled, but chilled, portobello mushroom,
and everything slid downhill on a tidal wave of umami. Truffle is like perfume, delightful in
microdoses, and that truffle butter was too much even without the mushrooms.

I wanted it to stop. I agree a sandwich isn't always "just" a sandwich, and admire the
creativity of those pushing its boundaries. But whether it's a £3.50 meal deal or a £28
number from Harrods, the one sandwich criterion on which we can all agree is being able to
finish it without feeling a bit sick.
 On Dining Alone
Lucullus, the Roman host whose dinners are still talked about for their elaborate menus and
their fabulous cost, grew tired one day of dining with other men.

He ordered a meal for one person. When it was served to him, he was conscious of a certain
slackness: the wine was perhaps a shade too cold, and the sauce for the carp, which
certainly was less succulent than usual, lacked that tang for which his chef was justly famed.

Lucullus frowned and summoned the majordomo.

“Perhaps, perhaps,” that official agreed, with a flood of respectful salutations. “We thought
that there was no need to prepare a fine banquet for my lord alone—”

“It is precisely when I am alone,” the great gourmet answered, icily, “that you require to pay
special attention to the dinner. At such times, you must remember, Lucullus dines with
Lucullus.”
At such times few men realize that they are dining with themselves. In fact, they try to forget
that rather frightening truth. They read the newspaper or turn on the radio if they are at
home. More often they flee from themselves to friend-filled clubs, or to the noisiest nearest
restaurant, where other lone humans eat crowded together in a hungry, ugly mob and take
digestive pills between their hurried courses.

It is a pity. An occasional meal with himself is very good for Mr. Doe. It gives him time to look
about him; quiet in which to savor his present mouthful; opportunity to broil his steak a new
way or try again those dishes his wife hates.
He need not take it too seriously, however. Old Thomas Walker, The Original, whose
preoccupation with the fine points of dining approached pomposity at times, declared himself
thus on the problem:
When dining alone is necessary, the mind should be disposed to cheerfulness by a previous
interval of relaxation from whatever has seriously occupied the attention, and by directing it
to some agreeable object.
The “interval of relaxation” might well be used for broiling a tender filet, although I doubt if
Mr. Walker meant just that; and there could be no more “agreeable object” toward which to
direct attention than a fine little bottle of red wine from the Côte d’Or. There, with a leaf or
two of salad and some crusty sourdough bread, Lucullus has a meal fit even for Lucullus.

An Englishman, however, and an earl at that, once mapped out a slightly more complicated
menu.
“A good soup,” he said, “a small turbot, a neck of venison, ducklings with green peas or
chicken with asparagus, and an apricot tart—it is a dinner for an emperor.”
Perhaps he was right. Louis XIV of France, who always dined alone at one o’clock, ate
several soups, three solid courses, and then a dessert.
He also ate only from a square table, and was served by nobles of his court, both facts
probably influencing his digestion to a certain extent. (Many people enjoy good food only to
the sound of soft music, or in a room with black walls. My mother cannot swallow if a cat is
near her. Hunger, I observe, is not a part of these equations.)
I have known two people who understood, and probably without one thought about it, why
Lucullus dined with Lucullus. One was an old man….
I never knew who he was. When- ever we went to Victor Hugo’s he was there, at a quiet
corner table. He was dressed carefully in rather old-fashioned dinner clothes, with his feet in
tiny twinkling pumps, like a doll’s.
He ate little, and drank a half-bottle of wine with his meat. For dessert he went through a
never-varying formula with the intensity and detachment of a high priest.
An avocado was brought to him, cradled in a napkin. He felt of it delicately, smelled it,
usually nodded yes. It was cut in two with a silver knife. Then he himself detached the
stone-skin from each half, placed one part of the fruit gently on a large plate before him, and
sent the other back to the kitchen.
Powdered sugar was brought, and the old man pressed it into the hollow of the fruit. He
spent some time over this, making it firm and even.
Next the sommelier appeared with a [bear]-shaped bottle of clear Russian kümmel. He
poured a generous liqueur glass of it, waited for the old man’s sniff of approval, and went
away.
Drop by drop the kümmel disappeared into the moon of white sugar, very slowly, very
patiently. Very delicately it was stirred and pressed down and stirred again.
Finally the old man ate a small spoonful of the smooth green fruit flesh, then another.
Sometimes he stopped, sometimes he finished it. Then he drank a mouthful of coffee and
left.
I have not yet tested his strange dish. I have never been able to construct its flavors for my
mind’s palate with any clearness. But very clear in my memory is the expression on the old
man’s face. He was at peace, and aware—aware that Lucullus dined with Lucullus for a
reason.
 Formiranje braka i bračne zajednice
Brak je zajednica dvije osobe. Brak je u pravom smislu, zakonom uređena životna zajednica
između muža i žene. Izbor bračnog partnera: je složen proces koji se sastoji iz 4 faze
1. Partneri se biraju iz kruga onih koji su trenutno slobodni za interakciju
2. Lična poređenja i vrijednosti koje se žive
3. Istraživanje kompatibilnosti ulog, kao i utvrđivanje stupnja na kojem bi uzajamna
empatija bila moguća
4. Donosi se odluka na osnovu dugotrajne uzajamne kompatibilnosti i posvećenosti.
Ako je konačna odluka rezultat onih karakteristika, onda može doći do dugoročnog
života
ljubav- osnova braka

3 komponente ljubavi:
- odgajanje uz takvu vrstu ljubavi i odgovarajuće djelovanje kulture u kojoj osoba
odrasta
- Postojanje “prave osobe” što je opet kulturološki determinirano
- Stanje emocionalne zainteresiranosti za drugu osobu
uspješan je brak onaj koji je fleksibilan i sinergijski sposoban da se priadaba razvojnim
poteškoćama svakog partnera
Tajna trajnosti braka je u osjećaju za prijateljstvo, privrženosti, sličnosti i pozitivnim
osjećajima.

Koordinate mjerenja kvalitete braka

Stilovi uzajamnih odnosa

Komplementarni: visoka frekventnost suprotnih oblika ponašanja

Simetrični: visoka učestalost sličnih oblika ponašanja
Kombinirani: podjednako oba stila

Dinamičnost braka

Period medenog mjeseca 0-2 god

Mladi brak 2-10 god
Srednji brak 10-20 god
Dugotrajni brak 25+
 Introduction
→technological innovations, industrialization and urbanization
→unprecedented European migration caused social tensions and class divides
→emerging social challenges made Americans turn to spiritual revivalism and social reform

II. Revival and Religious Change

→Americans sought democracy in their religious practices as well as their politics

→doctrines that appealed to ordinary people, esp those that made salvation a possibility for
all
→the harmony between democratic & religious impulses: the Second Great Awakening
→a series of religious revivals and camp meetings, intense physical and emotional
enthusiasm, w/ evangelical conversion, occurred in the nation during this period many parts
of
→Revivalist preachers: Methodist, Baptist, and Presbyterian
→encouraged widespread participation and support
→church membership, spawning new Christian denominations, and inspiring social reform

Other religious groups:

→in the East revivalist preachers, e.g. Charles G. Finney taught that men and women could
achieve perfection
→The evangelical fire of western and central New York state= the Burned-Over District
→by the mid-19th c., the Methodists had become the largest Protestant denomination,
especially on the frontiers; itinerant preachers (circuit riders)
→Spiritual egalitarianism; democratizing ethos
→the Unitarians rejected the divinity of Jesus but shared with the revivalists the belief that
human behavior could be changed for the better, founded The Transcendental Club in 1836
→in 1827, Joseph Smith founded the Church of Jesus Christ of Latter-day Saints (the LDS
Church, or, informally, the Mormons); attracted both converts & hostility with their claim of an
additional revelation beyond the Bible and fater, their practice of polygamy

Atlantic Origins of Reform

→Religious revivalism contributed to the moralism of the age, based on an intense interest
in reform
→ Social problems such as intemperance, vice, and crime
→ Led by ministers and dominated by middle-class white women, voluntary societies
→ temperance societies began by advocating changes in individual behavior, then turned to
calls for government action by cities, even states to ban all traffic in liquor
→advocacy of individual reform became advocacy of political action
→ The reform movements in the US of the first half of the 19th c. had transatlantic roots;
similar issues on both sides of the ocean and collaborated to find similar solutions, esp
causes like abolition and women's rights
→ transatlantic links of mission work of Am, and Eu. missionary societies in close
correspondence, also antislavery work
→Prominent American abolitionists Lucretia Molt, and William Lloyd Garrison: the
antislavery idea of inmediatism (the demand for emancipation without delay)
 IV. The Benevolent Empire

→ religious disestablishment and its aftermath dilemma: how to cultivate morality and virtue
in the citizenry without a state- sponsored religion?
→ The Second Great Awakening was in part a spiritual response to such changes
→ reform societies across the country between 1815 and the CW, joining religion and reform
in American culture in a dynamic: the benevolent empire
→ many women increasingly resented & opposed the restrictions imposed on them by law &
custom

V. Antislavery and Abolitionism

→antislavery advocacy mostly about gradual emancipation and conditional emancipation (to
remove Black Americans to settlements in Africa)
→ By the 1830s, more anticolonization sentiment among northern free AAms and
middle-class born-again believers committed to social reform
→Radicalization of the movement
→William Lloyd Garrison's The Liberator (1831), promoting immediate emancipation and
Black citizenship
→in 1833, Garrison led the founding of the American Anti-Slavery Society
Frederick Douglass

Abolitionism

→ A reform movement, rose during the 1820s when the main source of radical opposition to
slavery came from Blacks themselves, & increasingly whites also entered the struggle
→ their focus was on slavery and often on civil rather than social equality
→ racial prejudice toward Black people, however, even among white abolitionists, although it
was mild in comparison with that of most whites
→ struggles within the movement over using political action to achieve the movement's aims
→the American Anti-Slavery Society split over the issue

VI. Women's Rights in Antebellum America

→the family and home as the crux of civic virtue and moral influence, limiting middle-class
white women to the domestic sphere
→the prevailing understanding of gender: women as guardians of virtue and the spiritual
heads of the home, to be pious, pure, submissive -- the "Cult of Domesticity," or the "Cult of
True Womanhood"
→ Voluntary work concering labor laws, prison reform, and antislavery used the role of
women to focus on social issues causing the moral decline of society
 The Faerie Queene Edmund Spencer

Book I tells the story of the knight of Holiness, the Redcrosse Knight. This hero gets his
name from the blood-red cross emblazoned on his shield. He has been given a task by
Gloriana, "that greatest Glorious Queen of Faerie lond," to fight a terrible dragon (I.i.3). He is
traveling with a beautiful, innocent young lady and a dwarf as servant. Just as we join the
three travelers, a storm breaks upon them and they rush to find cover in a nearby forest.
When the skies clear, they find that they are lost, and they end up near a cave, which the
lady recognizes as the den of Error. Ignoring her warnings, Redcrosse enters and is attacked
by the terrible beast, Error, and her young. She wraps him up in her tail, but he eventually
manages to strangle her and chops off her head. Error's young then drink her blood until
they burst and die. Victorious, the knight and his companions set out again, looking for the
right path. As night falls, they meet an old hermit who offers them lodging in his inn. As the
travelers sleep, the hermit assumes his real identity--he is Archimago, the black sorcerer,
and he conjures up two spirits to trouble Redcrosse.

One of the sprites obtains a false dream from Morpheus, the god of sleep; the other takes
the shape of Una, the lady accompanying Redcrosse. These sprites go to the knight; one
gives him the dream of love and lust. When Redcrosse wakes up in a passion, the other
sprite (appearing to be Una) is lying beside him, offering a kiss. The knight, however, resists
her temptations and returns to sleep. Archimago then tries a new deception; he puts the
sprite disguised as Una in a bed and turns the other sprite into a young man, who lies with
the false Una. Archimago then wakes Redcrosse and shows him the two lovers in bed.
Redcrosse is furious that "Una" would spoil her virtue with another man, and so in the
morning he leaves without her. When the real Una wakes, she sees her knight is gone, and
in sorrow rides off to look for him. Archimago, enjoying the fruits of his scheme, now
disguises himself as Redcrosse and follows after Una.

As Redcrosse wanders on, he approaches another knight--Sansfoy, who is traveling with his
lady. He charges Redcrosse, and they fight fiercely, but the shield with the blood-red cross
protects our hero; eventually, he kills Sansfoy. He takes the woman into his care--she calls
herself Fidessa, saying that she is the daughter of the Emperor of the West. Redcrosse
swears to protect her, attracted to her beauty. They continue together, but soon the sun
becomes so hot that they must rest under the shade of some trees. Redcrosse breaks a
branch off of one tree and is shocked when blood drips forth from it, and a voice cries out in
pain. The tree speaks and tells its story. It was once a man, named Fradubio, who had a
beautiful lady named Fraelissa--now the tree next to him. One day, Fradubio happened to
defeat a knight and win his lady (just as Redcrosse did)--and that lady turned out to be
Duessa, an evil witch. Duessa turned Fraelissa into a tree, so that she could have Fradubio
for herself. But Fradubio saw the witch in her true, ugly form while she was bathing, and
when he tried to run away, she turned him into a tree, as well. When Fradubio finishes his
story, Fidessa faints--because she is, in fact, Duessa, and she fears that she will be found
out. She recovers though, and Redcrosse does not make the connection, so they continue
on their way.

Analysis
Redcrosse is the hero of Book I, and in the beginning of Canto i, he is called the knight of
Holinesse. He will go through great trials and fight fierce monsters throughout the Book, and
this in itself is entertaining, as a story of a heroic "knight errant." However, the more
important purpose of the Faerie Queene is its allegory, the meaning behind its characters
and events. The story's setting, a fanciful "faerie land," only emphasizes how its allegory is
meant for a land very close to home: Spenser's England. The title character, the Faerie
Queene herself, is meant to represent Queen Elizabeth. Redcrosse represents the individual
Christian, on the search for Holiness, who is armed with faith in Christ, the shield with the
bloody cross. He is traveling with Una, whose name means "truth." For a Christian to be
holy, he must have true faith, and so the plot of Book I mostly concerns the attempts of
evildoers to separate Redcrosse from Una. Most of these villains are meant by Spenser to
represent one thing in common: the Roman Catholic Church. The poet felt that, in the
English Reformation, the people had defeated "false religion" (Catholicism) and embraced
"true religion" (Protestantism/Anglicanism). Thus, Redcrosse must defeat villains who mimic
the falsehood of the Roman Church.

The first of these is Error. When Redcrosse chokes the beast, Spenser writes, "Her vomit full
of bookes and papers was (I.i.20)." These papers represent Roman Catholic propaganda
that was put out in Spenser's time, against Queen Elizabeth and Anglicanism. The Christian
(Redcrosse) may be able to defeat these obvious and disgusting errors, but before he is
united to the truth he is still lost and can be easily deceived. This deceit is arranged by
Archimago, whose name means "arch-image"--the Protestants accused the Catholics of
idolatry because of their extensive use of images. The sorcerer is able, through deception
and lust, to separate Redcrosse from Una--that is, to separate Holiness from Truth. Once
separated, Holiness is susceptible to the opposite of truth, or falsehood. Redcrosse may
able to defeat the strength of Sansfoy (literally "without faith" or "faithlessness") through his
own native virtue, but he falls prey to the wiles of Falsehood herself--Duessa. Duessa also
represents the Roman Church, both because she is "false faith," and because of her rich,
purple and gold clothing, which, for Spenser, displays the greedy wealth and arrogant pomp
of Rome. Much of the poet's imagery comes from a passage in the Book of Revelation,
which describes the "whore of Babylon"--many Protestant readers took this Biblical passage
to indicate the Catholic Church.

The Faerie Queene, however, also has many sources outside of the Bible. Spenser
considers himself an epic poet in the classical tradition and so he borrows heavily from the
great epics of antiquity: Homer's Iliad and Odyssey and Virgil's Aeneid. This is most evident
at the opening of Book I, in which Spenser calls on one of the Muses to guide his
poetry--Homer and Virgil established this form as the "proper" opening to an epic poem. The
scene with the "human tree," in which a broken branch drips blood, likewise recalls a similar
episode in the Aeneid. However, while these ancient poets mainly wrote to tell a story, we
have already seen that Spenser has another purpose in mind. In the letter that introduces
the Faerie Queene, he says that he followed Homer and Virgil and the Italian poets Ariosto
and Tasso because they all have "ensampled a good governour and a vertuous man."
Spenser intends to expand on this example by defining the characteristics of a good,
virtuous, Christian man
 Edmund Spenser's "Sonnet VII"

1. "FAIR eyes! the mirror of my mazed heart,"

Meaning: The speaker opens by addressing a beloved's "fair eyes," which reflect his "mazed
heart." The term "mazed" suggests that his heart is confused, enchanted, or bewildered by
love.
Imagery: "Mirror" emphasizes the reflective power of the beloved's gaze; it reveals the
speaker's feelings and state of mind.

2. "What wondrous virtue is contained in you,"

Meaning: The speaker is amazed at the mysterious and extraordinary power ("virtue") of the
beloved's eyes..
Word Choice: "Virtue" connotes moral or spiritual power, suggesting that the beloved's eyes
possess a divine or magical quality.

3. The which both life and death forth from you dart,"
Meaning: The beloved's eyes have the power to give "life" (hope, love) and "death" (despair,
rejection). Their gaze is both healing and destructive.
Contrast: "Life" and "death" symbolize the extreme effects the beloved has on the speaker’s
emotional state.

4. "Into the object of your mighty view?"

Meaning: The speaker is awestruck by the beloved's "mighty view," as though her gaze has
immense, almost divine, power.
Effect: This rhetorical question reinforces the extraordinary influence of the beloved's eyes.

5. "For, when ye mildly look with lovely hue,"

Meaning: When the beloved gazes gently ("mildly") and lovingly, her "lovely hue" (beauty
and grace) inspire the speaker's soul.
Mood: Tender and reverent.
Sound: The soft, harmonious rhythm mirrors the gentleness described.

6. "Then is my soul with life and love inspired:"

Meaning: The speaker feels alive and filled with love when the beloved's gaze is kind and
gentle.

7. "But when ye lower, or look on me askew,"

Meaning: If the beloved frowns ("lower") or looks at the speaker disapprovingly ("askew"),
the speaker feels devastated.
Imagery: The beloved’s gaze shifts from life-giving to punishing, showcasing its dual power.

8. "Then do I die, as one with lightning fired."

Meaning: The speaker feels as though struck dead by a sudden and overwhelming force,
like a lightning bolt, when the beloved's gaze is harsh.
Metaphor: "Lightning fired" emphasizes the intensity and swiftness of the emotional pain.
 9. "But, since that life is more than death desired,"
Meaning: Despite the pain, the speaker values the "life" (love and inspiration) the beloved
gives more than he fears the "death" (rejection).
Paradox: Love is worth the risk of pain or heartbreak.

10. "Look ever lovely, as becomes you best;"

Meaning: The speaker pleads with the beloved to maintain her gentle and lovely demeanor,
which suits her best.
Tone: Gentle plea; admiration.

11. "That your bright beams, of my weak eyes admired,"

Meaning: The beloved's eyes are described as "bright beams" of light, admired by the
speaker, whose own eyes are weak in comparison.
Imagery: Light imagery reinforces the beloved's radiance and the speaker's humility.

12. "May kindle living fire within my breast."

Meaning: The beloved's gaze can ignite a passionate, "living fire" (love, hope) in the
speaker's heart.
Metaphor: "Living fire" symbolizes the emotional and passionate response inspired by love.

13. "Such life should be the honour of your light,"

Meaning: The life and passion the beloved’s gaze gives to the speaker should be seen as an
honor to the beloved's power and beauty.
Theme: Love as a tribute to the beloved.

14. "Such death the sad ensample of your might."

Meaning: The pain and despair the speaker suffers from rejection demonstrate the beloved's
immense power ("might") over him.
Contrast: "Life" (honor) and "death" (sadness) highlight the paradox of love's joy and
suffering.

Form and Structure:

Spenserian Sonnet: The rhyme scheme is ABAB BCBC CDCD EE, characteristic of Edmund
Spenser’s sonnets.
Meter: The sonnet follows iambic pentameter, contributing to its musicality and flow.

Sonnet 33
Collection: Amoretti—a sequence of 89 sonnets documenting Spenser’s courtship of his
wife, Elizabeth Boyle.

Lines 1–4: The Poet's Guilt and Admiration

"Great wrong I doe, I can it not deny,
To that most sacred Empresse, my dear dred,
Not finishing her Queene of faery,
And shee the worlds deare ornament to be dead:"
Summary: The speaker confesses his guilt for not completing a poetic work (likely referring
to The Faerie Queene) dedicated to his "sacred Empress" (a metaphor for his beloved,
Elizabeth Boyle).
Interpretation:
"Great wrong I doe": The poet acknowledges his shortcoming as a writer.
"Empresse" and "Queene of faery": Spenser metaphorically elevates his beloved to regal
and mythical heights, paralleling her to the queenly figures in his famous epic The Faerie
Queene.
"To be dead": Hyperbolically suggests that without poetic celebration, her beauty and virtues
might go unnoticed, metaphorically “dead.”

Lines 5–8: Struggles with Inspiration and Effort

"But loe how I am forst to an hard assayde:
Her to praise, that all other praise doth passe.
But if some workman haply her to grace,
Alas, can we then him right happy sayde?"
Summary: The poet describes his struggle to find adequate words to praise someone so
deserving. He reflects on whether any writer can succeed in capturing her perfection.
Interpretation:
"Hard assayde": Writing poetry to honor his beloved feels like a monumental task.
"That all other praise doth passe": She surpasses any subject worthy of praise.
"Some workman happy her to grace": "Workman" (a poet or artist) suggests that others
might attempt this task, but the poet questions whether anyone can fully capture her
greatness.

Lines 9–12: The Weight of His Love and Loss

"How then should I without another wit,
Thinke ever to endure so tedious toyle:
Sins that this one is tost with troublous fit,
Of a proud love, that doth my spirit spoyle."
Summary: Spenser grapples with his own poetic limitations ("wit") and laments the toll that
his overwhelming love has taken on his creative energy.
Interpretation:
"Without another wit": He lacks the skill or ability of a greater poet.
"Tedious toyle": Writing this sonnet is exhausting.
"Troublous fit": His love for her causes inner turmoil, leaving him drained and unable to write
effectively.
"Proud love": Love is personified as both glorious and overpowering, spoiling his poetic
spirit.

Lines 13–14: Resolution and Plea

"Cease then my Muse, to speake of love so sore,
And take the rest that to me restlesse brest:"
Summary: The poet pleads with his muse to rest, as his heart ("restless breast") cannot
bear the effort and pain of trying to capture such perfection.
Interpretation:
"Cease then my Muse": A direct address to his muse, asking for respite.
"Restlesse brest": His restless heart mirrors his struggle with poetic inadequacy.
 Sonnet 74
Content Analysis

Lines 1–4: The "Three Times Happy" Name

"Most happy letters fram’d by skilful trade,
With which that happy name was first desynd:
The which three times thrice happy hath me made,
With guifts of body, fortune and of mind."

Summary: The poet celebrates the name "Elizabeth," describing it as the source of his joy,
fortune, and well-being.
Interpretation:
"Most happy letters": Spenser refers to the letters forming the name "Elizabeth," suggesting
their divine and special significance.
"Three times thrice happy": Emphasizes that the name has blessed him in three profound
ways, repeated for emphasis (3x3 = 9).
"Guifts of body, fortune and of mind": Elizabeth (his wife) enriches him physically, materially,
and emotionally/intellectually.

Lines 5–8: The Three Elizabeths

"The first my being to me gave by kind,
From mothers womb deriv’d by dew descent:
The second is my sovereign Queene most kind,
That honour and large richesse to me lent."
Summary: Spenser attributes his blessings to three significant Elizabeths in his life:
1. His mother, who gave him life.
2. His queen, Queen Elizabeth I, who granted him honor and success.
3. His beloved wife, who enriched his spirit.
Interpretation:
"First my being…dew descent": His mother is celebrated for the gift of life.
"My sovereign Queene": Queen Elizabeth I is praised for her patronage and recognition of
Spenser's talents, symbolizing wealth and honor.
"Large richesse": A metaphor for the financial and social stability he gained under Queen
Elizabeth's favor.

Lines 9–12: The Role of His Wife

"The third my love, my lives last ornament,
By whom my spirit out of dust was raysed:
To speak her prayse and glory excellent,
Of all alive most worthy to be praysed."
Summary: The final Elizabeth, Spenser’s wife, is the crown ("last ornament") of his life. She
has spiritually elevated him, inspiring his poetry and life’s joy.
Interpretation:
"My lives last ornament": His wife is the crowning joy and final blessing in his life.
"Spirit out of dust was raysed": A metaphor for renewal and spiritual rebirth, as his love for
her has lifted him.
"Most worthy to be praysed": She surpasses all others in her excellence.
Lines 13–14: Closing Couplet – The Gift of the Three Graces
"Ye three Elizabeths for ever live,
That three such graces did unto me give."

Summary: Spenser immortalizes the three Elizabeths, comparing them to the mythological
"Three Graces" who personify beauty, charm, and creativity.
Interpretation:
"For ever live": Through his poetry, the three Elizabeths will live eternally.
"Three such graces": A comparison to the classical Three Graces, aligning these Elizabeths
with ideals of harmony, beauty, and divine favor.

Sonnet 80

Lines 1–4: Exhaustion After Completing The Faerie Queene

"After so long a race as I have run
Through Faery land, which those six books compile,
give leave to rest me being halfe fordonne,
and gather to my selfe new breath awhile."
Summary: Spenser describes his exhaustion after completing the first six books of The
Faerie Queene. He asks for a period of rest to recharge and renew himself.
Interpretation:
"So long a race as I have run": Writing The Faerie Queene was a monumental and
demanding artistic journey, metaphorically compared to running a long race.
"Through Faery land": Refers to the mythical world of The Faerie Queene, where moral
allegory and fantastical adventure intertwine.
"Halfe fordonne": Spenser is half-undone, physically and mentally drained from the effort.
"Gather to my selfe new breath": He seeks a pause to regain energy and creative inspiration.

Lines 5–8: A Promise of Renewed Effort

"Then as a steed refreshed after toyle,
Out of my prison I will breake anew:
and stoutly will that second worke assoyle,
with strong endevour and attention dew."
Summary: Spenser compares himself to a horse ("steed") that, after resting, will emerge
revitalized to take on future endeavors. He promises to tackle his “second work” with
renewed vigor.
Interpretation:
"Steed refreshed after toyle": The poet sees himself as a warhorse resting after battle,
implying great physical and mental effort.
"Out of my prison": A metaphor for the temporary creative lull or a self-imposed hiatus from
writing.
"Second worke": This refers to his plan to continue The Faerie Queene or perhaps another
literary project.
"Strong endevour and attention dew": The poet will approach his renewed writing with
dedication and focus, ready to labor once more.
Lines 9–12: Praise for His Muse and Love
"Till then give leave to me in pleasant mew,
to sport my muse and sing my loves sweet praise:
the contemplation of whose heavenly hew,
my spirit to an higher pitch will rayse."
Summary: While resting, Spenser requests time to indulge his "muse" by singing about his
love's beauty and virtue. His beloved’s “heavenly hue” inspires him spiritually.
Interpretation:
"Pleasant mew": A metaphor for a temporary retreat or a joyful space where he can freely
create lighter, love-centered poetry (e.g., the Amoretti).
"Sport my muse": Spenser allows himself the liberty to write about love instead of tackling
heavy moral allegory.
"Loves sweet praise": His love (Elizabeth Boyle) becomes the subject of his poetic rest and
enjoyment.
"Heavenly hew": Her beauty and virtue inspire him spiritually and intellectually.
"Higher pitch": Suggests elevation of his creative spirit, as his love acts as a source of
renewal and divine inspiration.

Lines 13–14: The Humility of His Love Poetry

"But let her prayses yet be low and meane,
fit for the handmayd of the Faery Queene."

Summary: Spenser humbly acknowledges that his love poetry, though beautiful, is
secondary to his grand epic The Faerie Queene.
Interpretation:
"Low and meane": A tone of humility, where he downplays his sonnets as being modest in
comparison to his ambitious epic work.
"Handmayd of the Faery Queene": The Amoretti is described as a humble handmaid to The
Faerie Queene, meaning it serves a smaller, supportive role.
This statement reflects Spenser’s awareness of hierarchy in literature, where love sonnets
are often seen as lighter, less serious poetry compared to epics.
 Progressive aspect

Why is the term ‘PROGRESSIVE’ used?

The term ‘progressive’ – used because it suggests a happening ‘in progress’ and because
it avoids some misleading associations which belong to other terms commonly used by
grammarians: ‘durative’, ‘temporary’, ‘continuous’, etc.
E.g., I have been reading this book since last Monday. Continuous?
E.g., I was knocking on her door when they attacked me. Durative?
The progressive aspect – gives us an ‘inside view’ of a situation, rather than an ‘outside
view’, seeing the happening as a single whole (perfect aspect and simple forms).
The student was writing homework. Progressive
The student has written/wrote her homework. Non-progressive

The progressive is increasing in frequency in English, especially in the spoken language.

Despite this, the progressive construction is still much less frequent than the
non-progressive simple present and simple past.

The most salient function of the PROGRESSIVE ASPECT to refer to TEMPORARY

SITUATIONS, ACTIVITIES, or GOINGS-ON:
(1) A: Where’s Joan? B: She’s cooking the dinner.
(2) A: What’s happening? B: The river is overflowing its banks.

3 SEPARATE FACETS of MEANING:

1. The PROGRESSIVE FORM indicates DURATION:
SIMPLE PRESENT She dances with her husband every week.
PROGRESSIVE She is currently dancing with her husband.
2. The PROGRESSIVE FORM indicates LIMITED DURATION:
SIMPLE PRESENT She is tall/a lawyer/a friend of mine.
PROGRESSIVE I am currently reading a book.-> I am working as a librarian this summer.

LIMITED DURATION
The notion of limited duration means that the situation is ‘SUBJECT TO CHANGE’.
For example, the PRESENT PROGRESSIVE brings with it the concept that the current
happening or state of affairs does not have the prospect of continuing indefinitely.
She’s writing some short stories. He’s teaching in a comprehensive school.
Contrast the nonprogressive: She writes short stories. He teaches in a comprehensive
school.
The progressive implies temporariness (=privremenost), and the nonprogressive implies
permanence (“She is a short-story writer”, “He is a teacher in a comprehensive school”).

The habitual progressive

However, in combination with indefinite frequency adverbs such as always, continually,
constantly and forever the habitual progressive loses its temporary meaning. In this case, it
often conveys disapproval on the part of the speaker:
Bill is always working late in the office.
I’m continually forgetting people’s names.

3. The PROGRESSIVE FORM indicates that the happening NEED NOT BE

COMPLETE

THE ACTION IS NOT NECESSARILY COMPLETE

This notion is best illustrated in the PAST TENSE, by EVENT VERBS which signal a
transition from one state to another (e.g. become, die, fall, get, go, stop, take off)
The bus stopped. → indicates the arrival of the bus at a state of rest.
The bus was stopping. → means that the bus was slowing down
Similar: The plane landed vs. The plane was landing.
Notice a further difference between the following sentences:
(a) Meg was reading a book that evening.
(b) Meg read a book that evening.
The simple past suggests that Meg reached the end of her book before the end of the
evening.
However, the progressive does not imply the completion in that sense.

THE PROGRESSIVE ASPECT AS A TEMPORAL FRAME

In both the past and present tense narrative – the Progressive often forms a ‘temporal frame’
around an action denoted by a non-progressive form.

The relationship between the Progressive and the Simple Past = the relationship of
TIME-INCLUSION.
[She was making some fresh coffee [when we arrived]].

The relationship of meaning between two Simple Past forms = the relationship of
TIME-SEQUENCE.
[When we arrived] [she made some fresh coffee].

CLASSES OF VERBS WITH THE PROGRESSIVE ASPECT

1. MOMENTARY VERBS (hit, jump, kick, nod, tap, wink, etc.) – they do not have
duration.
When they are used in the Progressive – they denote a SERIES OF EVENTS, or
REPETITION: He nodded. He was nodding.
2. TRANSITIONAL EVENT VERBS (arrive, die, fall, land, leave, lose, stop, etc.)
These verbs in the Progressive indicate the approach to a transition:
The bus was stopping. The plane was landing.
3. ACTIVITY VERBS (drink, eat, play, rain, run, talk, watch, work, write, etc.)
The Progressive tells us that something is ‘going on’, no indication of completion:
It’s still raining. They were writing a story.
4. PROCESS VERBS (change, develop, grow, increase, learn, mature, slow down,
widen, etc.)
The Progressive expresses a current development with a chance of a further change:
The weather is changing for the better. (A trend which might continue into the future – it
might get even better)

CLASSES OF VERBS INCOMPATIBLE WITH THE PROGRESSIVE –

ANTI-PROGRESSIVE VERBS

1. VERBS OF PERCEPTION (feel, hear, see, smell, taste)

I could feel/I felt something hard under my foot. NOT *I was feeling…
2. VERBS OF COGNITION (believe, forget, think, imagine, know, suppose,
understand, etc.)
I think she’s getting upset. I believe in fair play.
3. VERBS OF ATTITUDE (hate, hope, intend, like, love, prefer, regret, want, wish)
What do you want me to do now?
4. STATE VERBS OF HAVING AND BEING (e.g., be, contain, consist of, cost, have,
own, resemble, etc.)
This carpet belongs to me. This bread contains too much yeast.

EXCEPTIONS – VERBS OF COGNITION

 I’m thinking for the moment in plain economic terms.
We’re considering their offer.
Each sentence above suggests some mental activity.

EXCEPTIONS – VERBS OF ATTITUDE

However, some of these verbs can occur with the Progressive if TEMPORARINESS or
TENTATIVITY is emphasized: I am liking this show. I’m hoping to take my exam soon.
I was wondering whether you could help me.

EXCEPTIONS – STATE VERBS OF HAVING AND BEING

(a) Generally, verbs with stative senses do not occur in the progressive, since there is no
conception of progression in state of affairs:
*I am liking your sister.*He was knowing English.
When verbs that are ordinarily stative occur in the progressive, they adopt dynamic
meanings. They may indicate a type of behaviour with limited duration:
You are being obstinate. He was being silly.
Some of the verbs from this class occur in the Progressive with an expression more and
more, less, and the like:
He is resembling his father more and more as the years go by.
The income of one’s parents is mattering less in education these days.
The meaning of these sentences – “This is the way things are going” – ‘this is the
trend/development of the state of affairs’

The perfect progressive

The present perfect progressive

When the perfect and progressive aspects are combined in the same verb phrase, the
features of meaning associated with each aspect are combined to refer to a TEMPORARY
SITUATION LEADING UP TO THE PRESENT when the perfect auxiliary is present tense
has or have (the present perfect progressive).

The perfect progressive

The combination conveys the sense of a situation in progress with limited duration:
I’ve been writing a letter to my nephew. (The job may not be finished)
It’s been snowing.
I’ve been cleaning the windows. (The job may not be finished)
The present perfect progressive may be used with the dynamic verbs senses to refer to a
TEMPORARY HABIT UP TO THE PRESENT. The events occur repeatedly up to the
present and possibly into the future:
Martin has been scoring plenty of goals (this season).
I’ve been working on the night shift for several weeks.

The past perfect progressive

The perfect progressive may combine with the past tense of have (past perfect)
The fire had been raging for over a week. (=PAST PERFECT PROGRESSIVE)