• Longman Anthology of British Literature:The Early Modern Period, 2nd ed. (edited by Jordan and Carroll) (=LABL)
• Anthology of Elizabethan Prose Fiction, ed. Paul Salzman (Oxford) (=EP)
• Readings available on Electronic Course Reserve
• Readings available online (click on electronic version of the syllabus) (=OL)

Much suspected by me,
Nothing proved can be,
      Quoth Elizabeth prisoner.
--Queen Elizabeth, Written with a Diamond on Her Window at Woodstock

Elizabeth a prisoner, Elizabeth in procession.  Radical shifts of fortune are a frequent concern of the works that we'll be reading.  So too was suspicion and doubt ("much suspected . . .nothing proved") matched by the yearning for certainty and stability--for something as bright and long-lasting as the diamond with which Elizabeth writes.  The literature of the sixteenth century participates in this tension between suspicion and certainty.   To write, even with a diamond, is to create a world of supposition and suspicion.   And though the works we'll read have lasted like diamonds, they were composed, like Elizabeth's prison poem, not outside the tumult of sixteenth-century life, but as part of it. 

Course requirements: reading responses, a presentation, two five-page papers, one three-page paper, one sonnet project, a final, a trip to the Folger Shakespeare Library

Faerie Queene, 1.8-9 (LABL, 873-885); Becon, "Displaying of the Popish Mass" (on Electronic Course Reserve)

Readings: 
The readings for each class are due on the date listed above. Approach each assignment actively by always reading with a pen or pencil in hand. Note words, phrases or sentences that interest you, that seem significant in the context of the work, or that you have questions about. Jot down in the margins any questions or ideas you have about a particular point or the work as a whole. This practice will help you come prepared to discuss the readings in class and get the most out of class discussion; it will also help you become a more skillful reader of literary texts in general. 

On-line course readings:
A number of readings for this course are available on-line.  Go to the on-line version of this syllabus for the relevant links.  PLEASE DO NOT READ THIS MATERIAL ON LINE, HOWEVER.  Print the readings and read and annotate those.  I also request that you keep a separate folder or (even better) three-ring binder for this material, so that it does not get lost among other papers, the syllabus, reading responses, etc.  Bring on-line material to class just as you would other reading assignments.

A tip on printing this material out.  The text lines on some sites expand to your window width, which may be uncomfortably wide for reading.  Shrink your window to an appropriate width before you print.

Participation and Attendance: 
The class will generally be conducted as a seminar. As much as possible we will open up the class to discussion, to questions or observations about the ideas presented in a text, about a text's form or style, its uses of language, its puzzling qualities--whatever grabs our attention. I am interested in your ideas. Contribution to class discussion will not be formally calculated into grades, but I will take participation into account for grades that are borderline. If you aren't in class, you can't participate in discussion, nor will active class participation wholly excuse excessive absences. 
 

Reading Responses: 
The reading responses are meant to help you read carefully, to prepare for class discussion and to aid you in finding starting points for your essays. A reading response should either ask a question about or observe some aspect of the day's reading that is not answerable by a fact. For example, a question about what happens in the Faerie Queene's narrative would not be appropriate while an observation about the use of a certain image or the reasons behind a puzzling sequence of events in the narrative would be. You may also wish to speculate about how your question or observation would matter for other moments in the text, or why it seems an important matter to consider. A reading response of about a page will be required for each day's reading, and collected at the end of class (the responses need not be typed). I will sometimes begin class by asking some of you to read out your responses. I will read all your responses and grade them on a credit/no credit basis. They will get credit if they are turned in at the end of class and meet the criteria above. Grading will be based on the number of no credits: 0-3=A; 4-5=B; 6-7=C; 8-9=D; 10 or more=F. I will also use reading responses to keep track of who was in class for a particular day, so if you were in class but did not do a response (say it's not so!) let me know you were there. 
 

Presentation:
The authors we'll read in this class led fascinating lives.  Students groups of about three or four will give a brief presentation on these lives (about five minutes).  Please given the most important information--don't get lost in detail--about an author's biography and especially try to focus on one aspect of the biography that raises interesting questions for the author's writing, or that puts that writing in a new perspective.  Presentations will be evaluated on how well they touch on the most important points or themes in the biography and on how well they are able to focus the biography and use it to raise points about the author's text.  The group will receive a single grade and is expected to work together.  I will provide you with some resources for these presentations.
 

Paper Deadlines: 
Each paper will be due twice: the first time in class at the paper workshop scheduled one week after the paper is assigned, and the second time one week following that. During the workshop you'll have a chance to trade papers with fellow students and raise questions or give each other suggestions for revision. You'll have the second week to revise your paper, based on this input and on your own rethinking and rewriting. The second week after the paper is assigned both the revised and original version of the paper will be handed in to me. I hope that this system will build revision, so necessary to good writing, into the structure of the course. 

Late papers: You need to have your first paper done on time so that you can work on it in the paper workshop. I also expect that the final versions will be handed in on time. Late final versions will be graded down a half grade for each day late. On late first versions, see below under "paper standards." 
 

Paper Standards (final and first versions): 
Each paper should be typed with standard margins, spacing and type size. It should be carefully proofread and neatly presented. The paper topics will relate to issues we have discussed in class, and you are encouraged to bring to bear class discussion in your writing. You are also encouraged to expand on these discussions and credit will be given for new ideas. 

I'll grade the paper on basis of the revised version only, but I will expect the original version to be your best initial attempt at the topic. Original versions not done, not typed or obviously incomplete will result in a half letter grade reduction in the evaluation of the final paper. It would not be fair for other students to have to read work that is not your best; additionally, it is in your interest to write as good an original version as possible, so that your second version is even better. Remember that because everyone has two tries at the paper, I will accordingly have higher expectations for the final version. 
 

Paper Helps: 
During the scheduled workshops, you'll have a chance to give and get advice on your papers. Additionally, I encourage you to come see me at my office hours or to make an appointment to see me. When we meet, try to have a draft of the paper you are working on. This will give us something more concrete to talk about. There is also available a Writing Center at Robinson A114 that can provide you with further individual attention to your writing. I encourage you to take advantage of this excellent facility. 

I would also suggest that you give yourself plenty of time to work. Writing a paper at one sitting is, for most people, unpleasant, and the results are not likely to be satisfactory. Start early! 
 

Plagiarism: 
Since this class emphasizes the development of your own close reading and interpretive skills, you are not encouraged to consult secondary sources. If you do choose to look at such work, however, you must cite, using a standard citation format, all the articles, books or other sources that your own writing draws on, either directly or indirectly. Such sources include (but are not limited to) introductions to editions of the texts we're reading and any kind study aid. 

Also note that uncited sources will constitute plagiarism even if they ended up in your work without your conscious knowledge (e.g. you forgot you read the material; you confused your own notes with notes on a source), since part of the scholarly responsibility that comes with using secondary sources is keeping track of which words or ideas were yours and which came from a source. If you do not wish to take on this responsibility then you should not consult secondary sources. 

I will take all suspected cases of plagiarism to the Honor Committee. 
 

Final: 
The final will be a take-home essay that will cover material from the entire course. 

Grading: 
The final grade will be derived as follows: 
 

Presentation	6%
Reading responses	12%
Paper 1	14%
Sonnet Project	12%
Paper 2	16%
Paper 3	20%
Final	20%

Please come see me if you have any questions about grading, the syllabus or the class. I look forward to having the chance to meet you. Best wishes for a good semester! 
 

A Specific, complex and/or striking thesis, thesis developed without digression through the course of the paper, consistently precise, sensitive and/or striking interpretations of the text, crafted prose, no major mechanical problems

B Specific thesis, thesis generally developed through the course of the paper, consistently good interpretation of text, competent prose, minor mechanical problems

C Has a thesis, but one that needs greater specificity or complexity, thesis developed with some digression or repetition, some good interpretation, some mechanical problems

D Very general thesis, thesis development digressive or repetitive, plot summary or thoughts/speculations not based on textual evidence, major mechanical problems

F No thesis or thesis development