| A Poet’s Time and Voice: William Shakespeare, John Donne, Andrew Marvell, John Milton, Alexander Pope. |
"Shakespeare was born five years after the coronation of Elizabeth I, and much of his life was spent within the constraints and uncertainties of her highly individualistic reign. Her principal concern was always for the stability and solvency of the country (and of her own position), so that all the imperiousness and ingenuity of her character were dedicated to the avoidance of civil disturbance and external conflict."
"John Keats wrote that the poetical character ‘is not itself – it has no self – it is everything and nothing – it has no character – it enjoys light and shade; it lives in gusto, be it foul or fair, high or low, rich or poor, mean or elevated’. An thus, ‘a poet is the most unpoetical of anything in existence; because he has no Identity – he is continually in [forming] and filling some other Body’. […] Shakespeare understood himself by becoming someone other". (245, 247)
"The Elizabethan age was one of great and open promiscuity. London women were known throughout Europe for their friendliness, and travelers professed to be astonished by the freedom and the lewdness of conversation between the sexes. It was not only in the capital, however, that sexual activity was commonplace. It has been recorded that, out of a population of forty thousand adults in the country of Essex, some fifteen thousand were brought before the church courts for sexual offences in the period between 1558 and 1603. This is an astonishingly high number, and can only reflect upon the even more obvious opportunities and attractions of the city.
It was not always a clean or hygienic period in matters of pertaining to the body, at least from a modern perspective. […] In certain of the sonnets [the act of sex] provokes shame and disgust". (294-95)
Read the following sonnets and answer the question(s) below each sonnet. You will be asked to share your answers with the rest of the class. Remember that class participation contributes to your final evaluation.
William Shakespeare- sonnet 18: The space words make Shall I compare thee to a summer's day?Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed, And every fair from fair sometime declines, By chance, or nature's changing course untrimmed: But thy eternal summer shall not fade, Nor lose possession of that fair thou ow'st, Nor shall death brag thou wander'st in his shade, When in eternal lines to time thou grow'st, So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee. |
Question Find synonyms or synonymous phrases for each of the words or group of words in bold. Give careful thought to the different semantic possibilities in each word. Consider the way(s) in which the choice of one or more meanings can affect your understanding of the sonnet. Do not shy away from ambiguity. A poem is an ambiguous text. It sends you off in many directions precisely because of this ambiguity. Find your own way of navigating through the sense-making process. However, do not lose sight of the poem, stay inside the text as much as possible. |
William Shakespeare - sonnet 34: Imagery Why didst thou promise such a beauteous day,And make me travel forth without my cloak, To let base clouds o'ertake me in my way, Hiding thy bravery in their rotten smoke? 'Tis not enough that through the cloud thou break, To dry the rain on my storm-beaten face, For no man well of such a salve can speak, That heals the wound, and cures not the disgrace: Nor can thy shame give physic to my grief; Though thou repent, yet I have still the loss: The offender's sorrow lends but weak relief To him that bears the strong offence's cross. Ah! but those tears are pearl which thy love sheds, And they are rich and ransom all ill deeds. |
Question: Read the essay by Cristina Flores Moreno: “Time, Life and Death Metaphors in Shakespeare’s Sonnets: The Lakoffian Approach to Poetic Metaphor” and the essay by Jonathan Dunn: “Gradient Semantic Intuitions of Metaphoric Expressions” and, in the light of what you have read, analyze the use of imagery and metaphor in sonnet 34. |
William Shakespeare – Sonnet 138 When my love swears that she is made of truth, |
Question: Read the document on the different types of sonnets and in the light of what you have read analyze the relation between form and content. To what extent is form an echo to sense? |
John Donne was born in 1572 in London, England. He is known as the founder of the Metaphysical Poets a term created by Samuel Johnson, an eighteenth-century English essayist, poet, and philosopher. The loosely associated group also includes George Herbert, Richard Crashaw, Andrew Marvell, and John Cleveland. The term "metaphysical," as applied to English and continental European poets of the seventeenth century, was used by Augustan poets John Dryden and Samuel Johnson to reprove those poets for their "unnaturalness." As Goethe wrote, however, "the unnatural, that too is natural," and the metaphysical poets continue to be studied and revered for their intricacy and originality. The Metaphysical Poets are known for their ability to startle the reader and coax new perspective through paradoxical images, subtle argument, inventive syntax, and imagery from art, philosophy, and religion using an extended metaphor known as a conceit. Donne reached beyond the rational and hierarchical structures of the seventeenth century with his exacting and ingenious conceits, advancing the exploratory spirit of his time.
Donne entered the world during a period of theological and political unrest for both England and France; a Protestant massacre occurred on Saint Bartholomew's day in France; while in England, the Catholics were the persecuted minority. Born into a Roman Catholic family, Donne's personal relationship with religion was tumultuous and passionate, and at the center of much of his poetry. He studied at both Oxford and Cambridge Universities in his early teen years. He did not take a degree at either school, because to do so would have meant subscribing to the Thirty-nine Articles, the doctrine that defined Anglicanism. At age twenty he studied law at Lincoln's Inn. Two years later he succumbed to religious pressure and joined the Anglican Church after his younger brother, convicted for his Catholic loyalties, died in prison. Donne wrote most of his love lyrics, erotic verse, and some sacred poems in the 1590s, creating two major volumes of work: Satires, and Songs and Sonnets.
In 1598, after returning from a two-year naval expedition against Spain, Donne was appointed private secretary to Sir Thomas Egerton. While sitting in Queen Elizabeth's last Parliament in 1601, Donne secretly married Anne More, the sixteen-year-old niece of Lady Egerton. Donne's father-in-law disapproved of the marriage. As punishment, he did not provide a dowry for the couple and had Donne briefly imprisoned.
This left the couple isolated and dependent on friends, relatives, and patrons. Donne suffered social and financial instability in the years following his marriage, exacerbated by the birth of many children. He continued to write and published the Divine Poems in 1607. In Pseudo-Martyr, published in 1610, Donne displayed his extensive knowledge of the laws of the Church and state, arguing that Roman Catholics could support James I without compromising their faith. In 1615, James I pressured him to enter the Anglican Ministry by declaring that Donne could not be employed outside of the Church. He was appointed Royal Chaplain later that year. His wife, aged thirty-three, died in 1617, shortly after giving birth to their twelfth child, a stillborn. The Holy Sonnets are also attributed to this phase of his life.
In 1621, he became dean of Saint Paul's Cathedral. In his later years, Donne's writing reflected his fear of his inevitable death. He wrote his private prayers, Devotions upon Emergent Occasions, during a period of severe illness and published them in 1624. His learned, charismatic, and inventive preaching made him a highly influential presence in London. Best known for his vivacious, compelling style and thorough examination of mortal paradox, John Donne died in London in 1631.
http://www.poets.org/poet.php/prmPID/243#sthash.SPPbHYy2.d
"A Valediction Forbidding Mourning" by John Donne
As virtuous men pass mildly away,
And whisper to their souls to go,
Whilst some of their sad friends do say,
"Now his breath goes," and some say, "No."
So let us melt, and make no noise, 5
No tear-floods, nor sigh-tempests move ;
'Twere profanation of our joys
To tell the laity our love.
Moving of th' earth brings harms and fears ;
Men reckon what it did, and meant ; 10
But trepidation of the spheres,
Though greater far, is innocent.
Dull sublunary lovers' love
—Whose soul is sense—cannot admit
Of absence, 'cause it doth remove 15
The thing which elemented it.
But we by a love so much refined,
That ourselves know not what it is,
Inter-assurèd of the mind,
Care less, eyes, lips and hands to miss. 20
Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to aery thinness beat.
If they be two, they are two so 25
As stiff twin compasses are two ;
Thy soul, the fix'd foot, makes no show
To move, but doth, if th' other do.
And though it in the centre sit,
Yet, when the other far doth roam, 30
It leans, and hearkens after it,
And grows erect, as that comes home.
Such wilt thou be to me, who must,
Like th' other foot, obliquely run ;
Thy firmness makes my circle just, 35
And makes me end where I begun.
Questions
Remember that conceit in literature refers to a fanciful or unusual image in which apparently dissimilar things are shown to have a relationship. The Elizabethan poets were fond of Petrarchan conceits, which were conventional comparisons, imitated from the love songs of Petrarch, in which the beloved was compared to a flower, a garden, or the like. The device was also used by the metaphysical poets, who fashioned conceits that were witty, complex, intellectual, and often startling, e.g., John Donne's comparison of two souls with two bullets in "The Dissolution." Samuel Johnson disapproved of such strained metaphors, declaring that in the conceit "the most heterogeneous ideas are yoked by violence together." Such modern poets as Emily Dickinson and T. S. Eliot have used conceits.
http://encyclopedia2.thefreedictionary.com/conceit.
Andrew Marvell was born at Winestead-in-Holderness, Yorkshire, on March 31, 1621 to the Rev. Andrew Marvell, and his wife Anne. When Marvell was but three years of age, the family moved to Hull, where Rev. Marvell became lecturer in Holy Trinity Church. He was educated at the Hull Grammar School, and in 1633 he matriculated as a Sizar of Trinity College, Cambridge. Two poems by Marvell, one in Greek, one in Latin, were printed in the “Musa Cantabrigiensis” in 1637. In 1638 Marvell was admitted a Scholar of Trinity College, and took his B.A. degree in the same year. A few days after receiving his scholarship, Marvell's mother died. He remained a few more years in residence, leaving Cambridge only after his father's death, by drowning, in 1640.
It is uncertain what Marvell did in the years that followed. It is possible that he held a clerkship in his brother-in-law Edmund Popple's trading house from 1640-1642. He travelled abroad in France, Holland, Switzerland, Spain, and Italy from 1642-46. In 1650, Marvell became the tutor of twelve-year-old Mary Fairfax (later Duchess of Buckingham), daughter of Sir Thomas Fairfax, retired Lord General of the parliamentary forces. At the Yorkshire seat of the Fairfax family, Nun Appleton House, Marvell seems to have written, over a period of about three years, most of his non-satiric English poems. The sojourn provided material for Marvell's most profound poem, "Upon Appleton House," a poem crucial to his development both as man and as poet. Here he examines the competing claims of public service and the search for personal insight. To the same period probably belong Marvell's "To his Coy Mistress" and "The Definition of Love."
Marvell had befriended John Milton by 1653, when Milton wrote a glowing recommendation for Marvell for the post of Assistant Latin Secretary to the Council of State, a post he eventually secured in 1657. Marvell, who had been a supporter of the King, under the Commonwealth, became an adherent of Cromwell. In the summer of 1657, Marvell tutored Cromwell's nephew and ward, William Dutton, living at Eton. In September, 1657, Marvell was appointed assistant to John Milton, Latin Secretary for the Commonwealth. Marvell was paid a salary of £200, the same as Milton, although his was not a life pension. In his quiet way he seems to have been helpful after the Restoration (1660) in saving Milton from an extended jail term and possible execution. Starting in 1659, Marvell was elected M. P. for his hometown of Hull, and he continued to represent it until his death.
During his last twenty years of life, Marvell was engaged in political activities, taking part in embassies to Holland and Russia and writing political pamphlets and satires. Marvell's Miscellaneous Poems were printed posthumously in 1681. Marvell died on 16 August, 1678 of tertian ague, and the malpractice of the attending physician. He was buried in the church of St. Giles-in-the-Fields.
"To his Coy Mistress" by Andrew Marvell
Had we but world enough, and time,
This coyness, lady, were no crime.
We would sit down and think which way
To walk, and pass our long love's day;
Thou by the Indian Ganges' side
Shouldst rubies find; I by the tide
Of Humber would complain. I would
Love you ten years before the Flood;
And you should, if you please, refuse
Till the conversion of the Jews.
My vegetable love should grow
Vaster than empires, and more slow.
An hundred years should go to praise
Thine eyes, and on thy forehead gaze;
Two hundred to adore each breast,
But thirty thousand to the rest;
An age at least to every part,
And the last age should show your heart.
For, lady, you deserve this state,
Nor would I love at lower rate.
But at my back I always hear
Time's winged chariot hurrying near;
And yonder all before us lie
Deserts of vast eternity.
Thy beauty shall no more be found,
Nor, in thy marble vault, shall sound
My echoing song; then worms shall try
That long preserv'd virginity,
And your quaint honour turn to dust,
And into ashes all my lust.
The grave's a fine and private place,
But none I think do there embrace.
Now therefore, while the youthful hue
Sits on thy skin like morning dew,
And while thy willing soul transpires
At every pore with instant fires,
Now let us sport us while we may;
And now, like am'rous birds of prey,
Rather at once our time devour,
Than languish in his slow-chapp'd power.
Let us roll all our strength, and all
Our sweetness, up into one ball;
And tear our pleasures with rough strife
Thorough the iron gates of life.
Thus, though we cannot make our sun
Stand still, yet we will make him run.
Questions:
John Milton’s career as a writer of prose and poetry spans three distinct eras: Stuart England; the Civil War (1642-1648) and Interregnum, including the Commonwealth (1649-1653) and Protectorate (1654-1660); and the Restoration.
Like the illustrious literary forebears with whom he invites comparison, Milton used his poetry to address issues of religion and politics, the central concerns also of his prose. Placing himself in a line of poets whose art was an outlet for their public voice and using, like them, the pastoral poem to present an outlook on politics, Milton aimed to promote an enlightened commonwealth, not unlike the polis of Greek antiquity or the cultured city-states in Renaissance Italy. When one considers that the 1645 volume was published when Milton was approximately thirty-seven years old, though some of the poems were written as early as his fifteenth year, it is evident that he sought to draw attention to his unfolding poetic career despite its interruption by governmental service. Perhaps he also sought to highlight the relationship of his poetry to his prose and to call attention to his aspiration, evident in several works in the 1645 volume, to become an epic poet. Thus, the poems in the volume were composed in Stuart England but published after the onset of the English Civil War. Furthermore, Milton may have begun to compose one or more of his mature works—Paradise Lost, Paradise Regained, and Samson Agonistes—in the 1640s, but they were completed and revised much later and not published until after the Restoration.
Milton’s major work, Paradise Lost, was first published in ten books in 1667, then slightly revised and restructured as twelve books for the second edition in 1674, which also includes prose arguments or summaries at the outset of each book. Paradise Lost, almost eleven thousand lines long, was initially conceived as a drama to have been titled “Adam Unparadised,” but after further deliberation Milton wrote a biblical epic that strives to “assert Eternal Providence, / And justify the ways of God to men.” To vindicate Providence, Milton attempts to make its workings understandable to humankind. In accordance with epic conventions, he begins his work in medias res. An overview of major characters and their involvement in the action are the prerequisites to further critical analysis. In the first two books the aftermath of the War in Heaven is viewed, with Satan and his defeated legions of angels having been cast down into Hell, a place of incarceration where they are tormented by a tumultuous lake of liquid fire. By the end of the first book they have been revived by Satan, under whose leadership they regroup in order to pursue their war against God either by force or guile. Most of the second book depicts the convocation of the fallen angels in Hell. Rather than continue their warfare directly against God and his loyal angels, they choose to reconnoiter on the earth, the dwelling place of God’s newly created human beings, whose lesser nature would make them more vulnerable to onslaught or subversion. Satan, who volunteers to scout the earth and its inhabitants, departs through the gates of Hell, which are guarded by two figures, Sin and Death. He travels through Chaos, alights on the convex exterior of the universe, then descends through an opening therein to travel to earth. While Satan is traveling, God the Father and the Son, enthroned in Heaven at the outset of book 3, oversee the progress of their adversary. Foreknowing that Adam and Eve will suffer downfall, the Father and the Son discuss the conflicting claims of Justice and Mercy. The Son volunteers to become incarnate, then to undergo the further humiliation of death in order to satisfy divine justice. At the same time his self-sacrifice on behalf of humankind is a consummate act of mercy, one by which his merits through imputation will make salvation possible.
If Paradise Lost treats “man’s disobedience,” then Paradise Regained presents Christ, whose human nature is emphasized, as the example of consummate obedience. The work, approximately one-fifth the length of Paradise Lost, is divided into four books. In the first book, after the Holy Spirit is invoked, Satan overhears the announcement by the Father, “the great proclaimer,” that Christ is his “beloved Son.” At Satan’s command a convocation of the fallen angels is held in “mid air,” after which the tempter travels earthward to use his wiles in order to learn the identity of Christ. His fear is that Christ fulfills the prophecy that “Woman’s seed” will inflict the “fatal wound” on him. Christ enters the desert, where he cogitates on the Old Testament prophecies of his coming, the earlier events of his life, and his role in the divine plan of redemption. After Christ has been in the wilderness for forty days, the tempter, disguised as an old man, accosts him. Urging him to convert stones into bread so that the two of them can alleviate their hunger, Satan is refuted by Christ, who acknowledges that he is being tempted to “distrust” God. In book 2 the absence of Christ troubles especially his mother. Satan in the meantime has convoked the fallen spirits in order to plan a more subtle seduction, which will begin with a temptation of food, then proceed to an appeal to one’s desire for “honor, glory, and popular praise.” Christ, who experiences hunger, dreams of food; when he awakens, he beholds “A table richly spread.” Rejecting the “guiles” of the tempter, Jesus also dismisses materialism and worldly power, symbolized by the scepter: “who reigns within himself, and rules / Passions, Desires, and Fears, is more a King.”
http://www.poetryfoundation.org/bio/john-milton
When I consider how my light is spent,
Ere half my days, in this dark world and wide,
And that one Talent which is death to hide
Lodged with me useless, though my Soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide;
"Doth God exact day-labour, light denied?"
I fondly ask. But patience, to prevent
That murmur, soon replies, "God doth not need
Either man's work or his own gifts; who best
Bear his mild yoke, they serve him best. His state
Is Kingly. Thousands at his bidding speed
And post o'er Land and Ocean without rest:
They also serve who only stand and wait."
Questions:
In the Spring of 1688, Alexander Pope was born an only child to Alexander and Edith Pope. The elder Pope, a linen-draper and recent convert to Catholicism, soon moved his family from London to Binfield, Berkshire in the face of repressive, anti-Catholic legislation from Parliament. Described by his biographer, John Spence, as "a child of a particularly sweet temper," and with a voice so melodious as to be nicknamed the "Little Nightingale," the child Pope bears little resemblance to the irascible and outspoken moralist of the later poems. Barred from attending public school or university because of his religion, Pope was largely self-educated. He taught himself French, Italian, Latin, and Greek, and read widely, discovering Homer at the age of six.
At twelve, Pope composed his earliest extant work, Ode to Solitude; the same year saw the onset of the debilitating bone deformity that would plague Pope until the end of his life. Originally attributed to the severity of his studies, the illness is now commonly accepted as Pott's disease, a form of tuberculosis affecting the spine that stunted his growth—Pope's height never exceeded four and a half feet—and rendered him hunchbacked, asthmatic, frail, and prone to violent headaches. His physical appearance would make him an easy target for his many literary enemies in later years, who would refer to the poet as a "hump-backed toad." –
Pope's Pastorals, which he claimed to have written at sixteen, were published in Jacob Tonson's Poetical Miscellanies of 1710 and brought him swift recognition. Essay on Criticism, published anonymously the year after, established the heroic couplet as Pope's principal measure and attracted the attention of Jonathan Swift and John Gay, who would become Pope's lifelong friends and collaborators. Together they formed the Scriblerus Club, a congregation of writers endeavoring to satirize ignorance and poor taste through the invented figure of Martinus Scriblerus, who would serve as a precursor to the dunces in Pope's late masterpiece, the Dunciad.
1712 saw the first appearance of the The Rape of the Lock, Pope's best-known work and the one that secured his fame. Its mundane subject—the true account of a squabble between two prominent Catholic families over the theft of a lock of hair—is transformed by Pope into a mock-heroic send-up of classical epic poetry.
Turning from satire to scholarship, Pope in 1713 began work on his six-volume translation of Homer's Iliad. He arranged for the work to be available by subscription, with a single volume being released each year for six years, a model that garnered Pope enough money to be able to live off his work alone, one of the few English poets in history to have been able to do so.
In 1719, following the death of his father, Pope moved to an estate at Twickenham, where he would live for the remainder of his life. Here he constructed his famous grotto, and went on to translate the Odyssey—which he brought out under the same subscription model as the Iliad—and to compile a heavily-criticized edition of Shakespeare, in which Pope "corrected" the Bard's meter and made several alterations to the text, while leaving corruptions in earlier editions intact.
Critic and scholar Lewis Theobald's repudiation of Pope's Shakespeare provided the catalyst for his Dunciad, a vicious, four-book satire in which Pope lampoons the witless critics and scholars of his day, presenting their "abuses of learning" as a mock-Aeneid, with the dunces in service to the goddess Dulness; Theobald served as its hero.
Though published anonymously, there was little question as to its authorship. Reaction to the Dunciad from its victims and sympathizers was more hostile than that of any of his previous works; Pope reportedly would not leave his house without two loaded pistols in his pocket. "I wonder he is not thrashed," wrote William Broome, Pope's former collaborator on the Odyssey who found himself lambasted in the Dunciad, "but his littleness is his protection; no man shoots a wren."
Pope published Essay on Man in 1734, and the following year a scandal broke out when an apparently unauthorized and heavily sanitized edition of Pope's letters was released by the notoriously reprobate publisher Edmund Curll (collections of correspondence were rare during the period). Unbeknownst to the public, Pope had edited his letters and delivered them to Curll in secret.
Pope's output slowed after 1738 as his health, never good, began to fail. He revised and completed the Dunciad, this time substituting the famously inept Colley Cibber—at that time, the country's poet laureate—for Theobald in the role of chief dunce. He began work on an epic in blank verse entitled Brutus, which he quickly abandoned; only a handful of lines survive. Alexander Pope died at Twickenham, surrounded by friends, on May 25th, 1744.
Since his death, Pope has been in a constant state of reevaluation. His high artifice, strict prosody, and, at times, the sheer cruelty of his satire were an object of derision for the Romantic poets of the nineteenth century, and it was not until the 1930s that his reputation was revived. Pope is now considered the dominant poetic voice of his century, a model of prosodic elegance, biting wit, and an enduring, demanding moral force.
http://www.poets.org/poet.php/prmPID/1566
Extract from "An Essay on Criticism" by Alexander Pope
Of all the Causes which conspire to blind
Man's erring Judgment, and misguide the Mind,
What the weak Head with strongest Byass rules,
Is Pride, the never-failing Vice of Fools.
Whatever Nature has in Worth deny'd,
She gives in large Recruits of needful Pride;
For as in Bodies, thus in Souls, we find
What wants in Blood and Spirits, swell'd with Wind;
Pride, where Wit fails, steps in to our Defence,
And fills up all the mighty Void of Sense!
If once right Reason drives that Cloud away,
Truth breaks upon us with resistless Day;
Trust not your self; but your Defects to know,
Make use of ev'ry Friend--and ev'ry Foe.
A little Learning is a dang'rous Thing;
Drink deep, or taste not the Pierian Spring:
There shallow Draughts intoxicate the Brain,
And drinking largely sobers us again.
Fir'd at first Sight with what the Muse imparts,
In fearless Youth we tempt the Heights of Arts,
While from the bounded Level of our Mind,
Short Views we take, nor see the lengths behind,
But more advanc'd, behold with strange Surprize
New, distant Scenes of endless Science rise!
So pleas'd at first, the towring Alps we try,
Mount o'er the Vales, and seem to tread the Sky;
Th' Eternal Snows appear already past,
And the first Clouds and Mountains seem the last:
But those attain'd, we tremble to survey
The growing Labours of the lengthen'd Way,
Th' increasing Prospect tires our wandering Eyes,
Hills peep o'er Hills, and Alps on Alps arise!
A perfect Judge will read each Work of Wit
With the same Spirit that its Author writ,
Survey the Whole, nor seek slight Faults to find,
Where Nature moves, and Rapture warms the Mind;
Nor lose, for that malignant dull Delight,
The gen'rous Pleasure to be charm'd with Wit.
But in such Lays as neither ebb, nor flow,
Correctly cold, and regularly low,
That shunning Faults, one quiet Tenour keep;
We cannot blame indeed--but we may sleep.
In Wit, as Nature, what affects our Hearts
Is nor th' Exactness of peculiar Parts;
'Tis not a Lip, or Eye, we Beauty call,
But the joint Force and full Result of all.
Thus when we view some well-proportion'd Dome,
The World's just Wonder, and ev'n thine O Rome!)
No single Parts unequally surprize;
All comes united to th' admiring Eyes;
No monstrous Height, or Breadth, or Length appear;
The Whole at once is Bold, and Regular.
Questions: