West Chester University

Spring 2006 and Fall 2005

West Chester University

Fall 2004and
Spring 2005

Spring 2003

Fall 2002

Spring 2002

Fall 2001






Course Syllabi and Announcements
  LIT 165 Syllabus
  LIT 165 Announcements and Assignments
  WRT 120 Syllabus
  WRT 120 Announcements and Assignments

Notebook for Topics in Literature: Imaginary Worlds (Spring 2008)
  A Reading of THE TEMPEST

Notebook for Topics in Literature: Rites of Passage (Spring 2006)
  Goals of the Course
  Fundamental Questions about Literature
  Valuing Literature
  Critical Thinking and Reading Literature
  Critical Approaches to Literature
  Literature as ART
  Approaching the Art of Fiction
  Defining the Short Story
  Evaluating Short Fiction
  Craft of Fiction: PLOT
  Craft of Fiction: CHARACTER
  Small Group Exercise
  ARABY by James Joyce
  A note about GIRL
  POE and the art of STORY OF A HOUR
  Notes on Innovative Fiction
  Assignment Sheet for Paper #1
  Fiction and Ambiguity - Your Questions
  Writing Workshop - Short Fiction
  Poetry Journal Project Assignment Sheet
  Defining Poetry
  Reading Poetry
  The Craft of Poetry
  Drama and Tragedy
  Study Questions: DEATH OF A SALESMAN

Notebook for Effective Writing I (Spring 2006)
  Paper #4 Assignment Sheet
  Critical Thinking and Commentary
  Casebook: Evaluating Sources Worksheet
  Selecting Information
  Evaluating Arguments
  CASEBOOK PROJECT Assignment Sheet
  Approaching Persuasive Writing
  Topic Development - Profile Essay
  Generating Ideas for the Profile Essay
  Paper #2 Assignment Sheet
  Profile Exercise
  Objective Writing: Selected Readings
  Writing Workshop: Paper #1
  Expressive Writing in the NYTimes
  Writing Effective Introductions and Conclusions
  Paper #1: IDENTITY
  Expressive Writing
  Open Letter Exercise and Examples
  EMERSON on Individuality vs. Conformity
  Literature related to IDENTITY
  Understanding the 'Rhetorical Situation'

Go Exploring
  Weblog for WRT 120
  Writing Assistance on the Web
  Blackboard at WCU
  WCU Homepage
  WCU's Francis Harvey Green Library

Notebook for Topics in Literature: Imaginary Worlds (Fall 2005)
  One Last Look at Imaginary Worlds
  Franz Kafka's BEFORE THE LAW
  Paper #3: Assignment Sheet
  Paper #4: Independent Project
  The Problem of Stability in BRAVE NEW WORLD
  Analyzing Huxley's BRAVE NEW WORLD
  Defining Utopia
  Embarking on Huxley's BRAVE NEW WORLD
  A Reading of Shakespeare's THE TEMPEST
  From today's news (11/3/05)
  Assignment Sheet for Paper #2
  Goodbye to Dante's Imaginary World
  Stepping Through Dante's Inferno: Cantos 10-34
  Stepping Through Dante's Inferno: Cantos 1-10
  INFERNO: Questions/Analysis: Cantos 32-34
  INFERNO: Questions/Analysis: Cantos 18-31
  INFERNO: Questions for Analysis: Cantos 12-17
  INFERNO: Structure
  INFERNO: Questions for Analysis: Cantos 1-5
  INFERNO: Analyzing Canto 1
  Relating to Dante's Inferno
  Approaching Dante's DIVINE COMEDY
  A Little Help with Dante's INFERNO
  Assignment Sheet for Paper #1
  Responses to LEAF BY NIGGLE
  ON FAIRY STORIES: An Essay by Tolkien
  Notes on Axolotl
  Reading Ovid's Tales
  From Myth to Literature: Approaching Ovid's Tales
  Functions of the Genesis Tales
  Analyzing Mythic Tales
  Defining Mythology
  Filtering the Introduction to FANTASTIC WORLDS
  Commentary on LA BELLE DAME SANS MERCI by Keats
  Commentary on DARKNESS by Byron
  Handout: Imagination Poems Set
  What is Imagination?
  Our Course Theme: Imaginary Worlds
  LIT 165 Assignments: Fall 2005
  LIT 165 Announcements: Fall 2005
  Imaginary Worlds: Course Syllabus

Notebook for Effective Writing I (Fall 2005)
  Paper #4: Independent Thinking/Reading/Writing
  Casebook Preparation Checklist
  Casebook Assignment Schedule
  Evaluating Sources for the Casebook
  Casebook Project Assignment Sheet
  Notes on Rational Argument
  Assignment Sheet: Objective Writing
  Reviewing Elements of the Profile Essay
  Writing the Profile Essay
  Readings: Objective Writing
  Assignment Sheet: Expressive Writing
  Rubric for Evaluation of Writing
  Emerson on Individuality vs. Conformity
  Mind-map: Identity
  Understanding the 'Rhetorical Situation'
  Assignments Page
  Announcements Page
  WRT 120 Course Syllabus for Fall 2005

ENG Q20: Basic Writing

Go Exploring
  Weblog for WRT 120
  Writing Assistance on the Web
  Blackboard at WCU
  WCU Homepage
  WCU's Francis Harvey Green Library


~~ Myth and Metaphor ~~

An Interview with Joseph Campbell from
The Power of Myth with Bill Moyers

MOYERS: What is the metaphor?

CAMPBELL: A metaphor is an image that suggests something else. For instance, if I say to a person, "You are a nut," I'm not suggesting that I think the person is literally a nut. "Nut" is a metaphor. The reference of the metaphor in religious traditions is to something transcendent that is not literally any thing. If you think that the metaphor is itself the reference, it would be like going to a restaurant, asking for the menu, seeing beefsteak written there, and starting to eat the menu.

For example, Jesus ascended to heaven. The denotation would seem to be that somebody ascended to the sky. That’s literally what is being said. But if that were really the meaning of the message, then we have to throw it away, because there would have been no such place for Jesus literally to go. We know that Jesus could not have ascended to heaven because there is no physical heaven anywhere in the universe. Even ascending at the speed of light, Jesus would still be in the galaxy, Astronomy and physics have simply eliminated that as a literal, physical possibility. But if you read "Jesus ascended to heaven" in terms of its metaphoric connotation, you see that he has gone inward – not into outer space but into inward space, to the place from which all being comes, into the consciousness that is the source of all things, the kingdom of heaven within. The images are outward, but their reflection is inward. The point is that we should ascend with him by going inward. It is a metaphor of returning to the source, alpha and omega, of leaving the fixation on the body behind and going to the body’s dynamic source.

MOYERS: Aren’t you undermining one of the great traditional doctrines of the classic Christian faith – that the burial and the resurrection of Jesus prefigures our own?

CAMPBELL: That would be a mistake in the reading of the symbol. That is reading the words in terms of prose instead of in terms of poetry, reading the metaphor in terms of the denotation instead of the connotation.

MOYERS: And poetry gets to the unseen reality.

CAMPBELL: That which is beyond even the concept of reality, that which transcends all thought. The myth puts you there all the time, gives you a line to connect with that mystery which you are.

Shakespeare said that art is a mirror held up to nature. And that’s what it is. The nature is your nature, and all of these wonderful poetic images of mythology are referring to something in you. When your mind is simply trapped by the image out there so that you never make the reference to yourself, you have misread the image.

The inner world is the world of your requirements and your energies and your structure and your possibilities that meets the outer world. And the outer world is the field of your incarnation. That’s where you are. You’ve got to keep both going. As Novalis said, "The seat of the soul is there where the inner and outer worlds meet."

MOYERS: In classic Christian doctrine the material world is to be despised, and life is to be redeemed in the hereafter, in heaven, where our rewards come. But you say that if you affirm that which you deplore, you are affirming the very world which is our eternity at the moment.

CAMPBELL: Yes, that is what I’m saying, Eternity isn’t some later time. Eternity isn’t even a long time. Eternity has nothing to do with time. Eternity is that dimension of here and now that all thinking in temporal terms cuts off. And if you don’t get it here, you won’t get it anywhere. The problem with heaven is that you will be having such a good time there, you won’t even think of eternity. You’ll just have this unending delight in the beatific vision of God. But the experience of eternity right here and now, in all things, whether thought of as good or as evil, is the function of life.

CAMPBELL: This is an absolute necessity for anybody today. You must have a room, or a certain hour or so a day, where you don’t know what was in the newspapers that morning, you don’t know who your friends are, you don’t know what you owe anybody, you don’t know what anybody owes to you. This is a place where you can simply experience and bring forth what you are and what you might be, This is the place of creative incubation. At first you may find that nothing happens there. But if you have a sacred place and use it, something eventually will happen.

MOYERS: So the experience of God is beyond description, but we feel compelled to try to describe it?

CAMPBELL: That’s right. Schopenhauer, in his splendid essay called "On an Apparent Intention in the Fate of the Individual," points out that when you reach an advanced age and look back over your lifetime, it can seem to have had a consistent order and plan, as though composed by some novelist. Events that when they occurred had seemed accidental and of little moment turn out to have been indispensable factors in the composition of a consistent plot. So who composed that plot? Schopenhauer suggests that just as your dreams are composed by an aspect of yourself of which your consciousness is unaware, so, too, your whole life is composed by the will within you. And just as people whom you will have met apparently by mere chance became leading agents in the structuring of your life, so, too, will you have served unknowingly as an agent, giving meaning to the lives of others, The whole thing gears together like one big symphony, with everything unconsciously structuring everything else. And Schopenhauer concludes that it is as though our lives were the features of the one great dream of a single dreamer in which all the dream characters dream, too; so that everything links to everything else, moved by the one will to life which is the universal will in nature.

It’s a magnificent idea – an idea that appears in India in the mythic image of the Net of Indra, which is a net of gems, where at every crossing of one thread over another there is a gem reflecting all the other reflective gems. Everything arises in mutual relation to everything else, so you can’t blame anybody for anything. It is even as though there were a single intention behind it all, which always makes some kind of sense, though none of us knows what the sense might be, or has lived the life that he quite intended.

MOYERS: And yet we all have lived a life that had a purpose. Do you believe that?

CAMPBELL: Wait a minute. Just sheer life cannot be said to have a purpose, because look at all the different purposes it has all over the place. But each incarnation, you might say, has a potentiality, and the mission of life is to live that potentiality. How do you do it,’ My answer is, "Follow your bliss." There’s something inside you that knows when you’re in the center, that knows when you’re on the beam or off the beam, And if you get off the beam to earn money, you’ve lost your life. And if you stay in the center and don’t get any money, you still have your bliss.

MOYERS: I like the idea that it is not the destination that counts, it’s the journey.

CAMPBELL: Yes. As Karlfried Graf Durckheim says, "When you’re on a journey, and the end keeps getting further and further away, then you realize that the real end is the journey."

The Navaho have that wonderful image of what they call the pollen path. Pollen is the life source, The pollen path is the path to the center. The Navaho say, "Oh, beauty before me, beauty behind me, beauty to the right of me, beauty to the left of me, beauty above me, beauty below me, I’m on the pollen path,"

MOYERS: Eden was not, Eden will be.

CAMPBELL: Eden is. "The kingdom of the Father is spread upon the earth, and men do not see it."

MOYERS: Eden is – in this world of pain and suffering and death and violence?

CAMPBELL: That is the way it feels, but this is it, this is Eden. When you see the kingdom spread upon the earth, the old way of living in the world is annihilated. That is the end of the world, The end of the world is not an event to come, it is an event of psychological transformation, of visionary transformation. You see not the world of solid things but a world of radiance.

MOYERS: Is reincarnation also metaphor?

CAMPBELL: Certainly it is. When people ask, "Do you believe in reincarnation," I just have to say, "Reincarnation, like heaven, is a metaphor."

The metaphor in Christianity that corresponds to reincarnation is purgatory. If one dies with such a fixation on the things of this world that one's spirit is not ready to behold the beatific vision, then one has to undergo a purgation, one has to be purged clean of one's limitations. The limitations are what are called sins. Sin is ismply a limiting factor that limits your consciousness and fixes it in an inapproperiate condition.

In the Oriental metaphor, if you die in that condition, you come back again to have more experiences that will clarify, calrify, clarify, until you are released from these fixations. The reincarnating monad is the principle hero of Oriental myth. The monad puts on various personalities, life after life. Now the reincarnation idea is not that you and I as the personalities that we are will be reincarnated. The personality is what the monad throws off. Then the monad puts on another body, male or female, depending on what experiences are necessary for it to clear itself of this attachment to the field of time

MOYERS: And what does the idea of reincarnation suggest?

CAMPBELL: It suggests you are more than you think you are. There are dimensions of your being and a potential for realization and consciousness that are not included in your concept of yourself. Your life is much deeper and broader than you conceive it to be here. What you are living is but a fractional inkling of what is really within you, what gives you life, breadth, and depth. But you can live in terms of that depth. And when you can experience it, you suddenly see that all the religions are talking of that.

MOYERS: Who speaks in metaphors today?

CAMPBELL: All poets. Poetry is a metaphorical language.

MOYERS: A metaphor suggests potential.

CAMPBELL: Yes, but it also suugests the actuality that hides behind the visible aspect. The metaphor is the mask of God through which eternity is to be experienced.

MOYERS: You speak of poets and artists. What about the clergy?

CAMPBELL: I think our clergy is really not doing its proper work. It does not speak about the connations of the metaphors but is stuck with the ethics of good and evil.

MOYERS: So you think religion's great calling is the experience?

CAMPBELL: One of the wonderful things in the Catholic ritual is going to communion. There you are taught that this is the body and blood of the Savior. And you take it to you, and you turn inward, and there Christ is working within you. This is a way of inspiring a meditation on experiencing the spirit in you. You see people coming back from communion, and they are inward-turned, they really are.






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