English criminal trials took place in front of a jury. Middlesex was a county in southeast England that is now part of Greater London.

https://www.oldbaileyonline.org/static/Trial-procedures.jsp

Name given to the Exclusioners (1679) who opposed the succession of James, Duke of York, to the crown, because he was Roman Catholic. Opposition of Tory. (OED)

An idle vagrant, a vagabond; one of a group or class of such people. (OED)

roaring, uproarious, roistering, boisterous; with allusion to Tory. (OED)

(With a capital T), a nickname given by the Exclusioners to those who opposed the exclusion of James, Duke of York (a Roman Catholic) from the succession to the Crown. (OED)

Like "The Wasteland," Ginsberg weaves in the image of water and sailors. Seraphim is plural for Seraph, meaning a Christian angelic being known for its purity. It is juxtaposed by saying they "blew and were blown," if Ginsberg is referring to oral sex.

"Battery" seems to be referring to "Battery Park" which is a historic park with Ellis Island and Statue of Liberty views and ferry service to both islands.

This kind of suicide reminds me of the Sestina poem where the Sestina is thrown off the overpass. However, instead of an industrial setting, the speaker references the river, which has biblical allusions like Huhes' "The Negro Speaks of Rivers."

it seems like Ginsberg is painting a picture of those who do without certain healing care/medicinal drugs. This reminds me of William Carlos Williams' inclusion of "goldenrod," "chokecherry," and "viburum," also healing herbs into his poem. "Ping pong" and "amnesia" seem to be contrasting inclusions.

This reminds me of the dancing that would take place at popular jazz clubs: losing oneself to music of the blues (Ma Rainey) or jazz (Duke Ellington); it's about looking for an escape from reality/thought--having an experience (sublime, raw)

In these lines, Eliot creates the image of nature that is not comfortable to man. Mountains are usually known for being tall, grand, and majestic. When someone stares at a mountain, one tends to feel emotions of sublime and awe about how God (if believing in God) can create such a shape. However, Eliot’s mountain is personified to have a mouth of “carious” i.e. decaying, teeth; it is rotting away like the mouth of a zombie. When viewing this mountain as a zombie’s “mouth,” Eliot’s mountain cannot spit; which can be seen as not being able to perform it’s natural bodily function; nor is it able to get rid of decaying components which will eventually cause the rest to decompose.

Eliot’s mountain is decaying, i.e. dying; it cannot spit, i.e. not functional nor able to get rid of the problem; and it’s effect on humans is being useless. It is uncomfortable to man to the point where “one can neither stand nor lie nor sit.” These actions are actions of rest or stagnancy that require minimal to no effort to do—yet nature is preventing humans from doing so.

This juxtaposition of nature fits into the theme of zombie: Eliot’s nature is not living nor thriving; yet it is not dead—it is in between. There is helplessness and constraint when something cannot perform its automatic process. There is disruption when one cannot find comfort in nature, even if it is to stand, sit, or lie.

Eliot’s mountain offers no solace or peace when needed: “There is not even silence in the mountains.” One can feel like a zombie when such functions of living and dead mix.

I assume the speaker is talking about Ma traveling and performing her songs. This fits in with the theme of modernism that we've been discussing. Now people from different locations can travel to each other and share their strife through artistic means. There is a sense of community in blues.

the speaker uses the vernacular of the people; the words of working black folk (as Hughes would say), like "yo'" and "you's." Ma Rainey sings from the soul. Her song is simple without intricate background music, yet it is similar to the poem--black folks producing art amidst struggle; and not conforming.

Hughes says the real artist is honest. the negro artist confronts realities and does not try to hide who he is. Hughes pities the colored artist who avoids the paintings of negro faces because that artist might discover the tension of "unwhiteness."

In my modern criticism class I was taught that a literary critic (I forgot who, Brooks maybe?) said that poetry exists because when a poet uses that medium, that is the only way he can express it; it could not be said any other way (using any other medium). I think Hughes is stating the same idea--that a real artist HAS TO say certain things, good or bad; and "must also never be afraid to do what he must choose."

I think Hughes is suggesting that a real negro artist feels strife; someone who can feel the pain and be aware of true injustices--what Du Bois would call 'double consciousness.' Someone who feels violent emotions (sublime?) that is comes out as something that had to be said.

Du Bois writes, "the Negro is... whose dogged strength alone keeps it from being torn asunder." And he says, "he would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message for the world." These two quotes show that Du Bois and Hughes would agree with what makes a negro artist.

It is interesting that Du Bois seems to refer to the "negro" as one race against whites, while Hughes divides "negroes" into classes by economic status, against each other. This suggests that all "negroes" are not the same (i.e. vs. Du Bois). Still there is this idea of "subconscious" yearnings--i.e. tension with being a black person in a white world. I think Hughes is suggesting the more economic wealth a black person has, the closer he/she is to being white because there is less of a gap between them.

the dog can unearth a zombie

The speaker alludes to zombies by stating that he/she was "neither living nor dead." knowing nothing and silence also refers to the state of being zombie-like--not quite dead, but definitely not living.

When I think of shadows I think of illusions, apparitions--almost alluding to zombies or the mysterious

should these lines be read as enjambments? or are the last words adjectives to describe the following lines; i.e. is breeding describing April?

Is Eliot calling London, "Unreal City"? Is it an allusion to something else? Is it imaginary?

Is Marie the speaker?

the "high b" instantly think of is the musical note

this poem is reminiscent of thoughts or things we say to ourselves in our brain. This line reaffirms that for me.

I wonder what kind of honor the speaker is referring to? I immediately assume it's a kind of woman's honor. The speaker sounds reluctant but thinks she can convince herself by saying it to herself?

It was interesting to see someone say that "honor" could refer to patriotism or honor towards one's country.

another medicinal plant like chokecherry or viburnum

I have never heard this expression. I googled it and some synonyms include "reckless, rash, incautious, happy-go-lucky, and easygoing.

Does this refer to a specific date/time of year?

Are there any clues in the poem that suggest what these promises are?

Is the village located in the woods? Or is the village and the woods separate locations?

What does the speaker mean by these words? Is the speaker referring to the inability to change direction after choosing a path?

What does the speaker mean by "yellow wood"? Is he referring to a specific season; time of day; or type of tree?

This sentence confuses me. Is "passing" being used as a noun?

Volney's "Ruins" is mainly about the philosophy of History; Butler's "Analogy" is a critique of religion, which attempts to uncover the truths of human nature; "Faust" may be referring to the German character that exchanges his soul for unlimited knowledge and worldly pleasures; and "Evangeline" is an epic poem where Evangeline searches for her love in the time of the expulsion of the Arcadians.

These pieces of literature seem to touch on uncovering truth, love, human nature and philosophy.

These two lines seem to suggest that each person has their own perspectives about everything, including what is "good" and "evil." This line emphasizes the idea that everyone has their own experiences, which influence how they see the world [touching on the theme of consciousness like in Du Bois and Gilman.]

Also, I think the speaker is suggesting one must know evil in order to know good; and know what false is in order to see truth. The speaker says there is purpose in seeing evil--to see good. One must have that other component to compare/contrast against in order so see things for what they are. (e.g. Henry learning from viewing Langley, and black men viewing through how they are viewed, in Du Bois)

This line seems to suggest there is a helplessness in information. Like watching the news, what is the point of knowing there there are terrible things happening in other parts of the world, as we sit on our butts watching on our flat screen TV? Is it beneficial to be informed? The speaker suggests that nay-sayers may not think so, and that these are the same people who do not value libraries or see the value in knowledge.

This seems to be the second (if not more) time Adams refers to education as "believing" facts or that ignorance lies in believing something as fact

Adams compares 1900 to Astronomy in 1600; and to Columbus' discovery in 1500; those two time periods in history are more about scientific/progressive discoveries. Then when he compares it to 310 and Constantine, he seems to be making a direct religious connection; how people feared mysterious energy, pinning it on divinity. I think his part of the paragraph reveals Adams' struggle to understand the dynamo--whether it should be viewed as scientific or similar to religious acts of faith.

Adams seems to distinguish between the classical and modern idea of sex/the woman. He acknowledges that Americans made the idea about sex become about beauty, looks, and physical attributes. The classical version seems to be a uncontrollable force which has nothing to do with a woman's looks, but rather the scientific attraction that draws one another being to a woman. In the beginning of this paragraph, does Adams suggest that the French still connect to that idea of women being forces?

To me, the image of "Earth eating trees, fence posts, [g]utted cars" paints the image of catastrophe--a huge problem that is bigger than anticipated; one that is universal or at least affecting a community. It also evokes the struggle, almost making it seem hopeless or inevitable.

This is the first time we see the speaker of the poem identify him/herself with the use of "my." An exception is is in "Kiss My Ass" from the second stanza, which I feel refers to something else. The emergence of "my" seems to hone in on the speaker a little bit more.

I also wonder what "white sins" refers to; whether it refers to race, or perhaps another context.