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Classics of British Literature

Classics of British Literature

Professor John Sutherland, Ph.D.
University College London; California Institute of Technology

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Classics of British Literature

Course No. 2400
Professor John Sutherland, Ph.D.
University College London; California Institute of Technology
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4.5 out of 5
34 Reviews
79% of reviewers would recommend this series
Course No. 2400
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  • You should buy video if you prefer learning visually and wish to take advantage of the visual elements featured in this course. The video version features more than 130 visuals to enhance your learning experience, including illustrations and portraits of the authors featured such as Shakespeare, Jonathan Swift, Jane Austen, and Oscar Wilde. There are also on-screen spellings and definitions to help reinforce the material for visual learners.
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Course Overview

Few nations offer a literary legacy as impressive as that of Great Britain.

For more than 1,500 years, the literature of this tiny island has taught, nurtured, thrilled, outraged, and humbled readers both inside and outside its borders. Chaucer, Shakespeare, Dickens, Austen, Swift, Conrad, Wilde—the roster of British writers who have made a lasting impact on literature is remarkable. More importantly, Britain's writers have long challenged readers with new ways of understanding an ever-changing world.

The 48 fascinating lectures in Classics of British Literature provide you with a rare opportunity to step beyond the surface of Britain's grand literary masterpieces and experience the times and conditions they came from and the diverse issues with which their writers grappled.

British-born Professor John Sutherland, the Lord Northcliffe Professor Emeritus of Modern English at University College London and Visiting Professor of Literature at the California Institute of Technology, has spent a lifetime exploring these rich works. The unique insights he shares into how and why these works succeed as both literature and documents of Britain's social and political history can forever alter the way you experience a novel, poem, or play.

Explore the Soul of Great Britain

Even though the term "English literature" is familiar to most of us, when we stop to think of what exactly we mean by it, the answer is anything but simple. English literature is not the same thing as literature written in English; rather, English literature embodies the essence of Great Britain: its history, its challenges, its politics, its culture, and its impressions of the outside world.

"Literature is embedded in the nation, as the heart is embedded in the body," notes Professor Sutherland. "[British literature] is, in a very real sense, the United Kingdom ... in its most revealing aspect: its inner self, its soul."

Great literature also affords non-Britons a connection with the past, with cultures and schools of thought that might appear distant to us in our 21st-century world. Indeed, the shared cultural heritage between Britain and the United States makes understanding these works more important than ever; at the same time that Classics of British Literature reveals new perspectives on the development of Britain, it demonstrates that many of these issues and themes are relevant to everyone.

Britain's Literary Mosaic

More than just a survey course, Classics of British Literature shows you how Britain's cultural landscape acted upon its literature—and how, in turn, literature affected the cultural landscape. Professor Sutherland takes a historical approach to the wealth of works explored in these lectures, grounding them in specific contexts and, oftentimes, connecting them with one another.

While it is vital that we appreciate the universal and transcendent quality of literature, according to Professor Sutherland, we also need to appreciate "as fully as one can, the conditions that gave birth to these works of literature; to reinsert them, that is, back into history."

The end result is not a laundry list of famous works but instead a mosaic of Britain's history as revealed through the individual threads of its most revered literary masterpieces. Throughout the course, you discover how each work is linked to others that have come before it—whether building on its predecessors' work or casting it aside to challenge readers and audiences with new ways of understanding a changing world. For example:

  • The King James Bible of 1611 paved the way for succeeding literature, including an entire generation of dramatists whose success depended on an understanding of the spoken word by a largely illiterate audience. The language of the King James Bible, read aloud in church weekly, became the English language familiar to an entire population.
  • Graham Greene's The Heart of the Matter, set in Sierra Leone during World War II, echoes themes about the British colonization of Africa cemented almost 50 years earlier in Joseph Conrad's Heart of Darkness.
  • James Joyce's highly experimental fiction—including Ulysses and Finnegans Wake—shocked the British literary establishment of the early 20th century. By opposing conventional thinking and morality, he helped create a new climate for future writers.

A Valuable Record of Societal Change

As you unpack almost 2,000 years' worth of exciting literature, you witness how many of these classics provide a valuable record of Britain's societal conflict and tension. As Britain evolved over the centuries, literature took a more active role in depicting its society's problems. In some instances, it even worked to solve them. You will see how:

  • Oliver Twist's restless moving throughout Charles Dickens's Oliver Twist—from the workhouse in Mudfog to the center of London and the rural English countryside—reflected the British population's mass migrations as a result of the Industrial Revolution during the early 19th century.
  • George Eliot used the vast narrative canvas of Middlemarch to depict her idea on how to improve society: not by reforming the law through legislation but by people reforming themselves through the abandonment of ardent idealism.
  • John Osborne's Look Back in Anger, which exploded onto the London stage in 1956, dealt a fatal blow to centuries of censorial severity by the Lord Chamberlain, who was charged with ensuring that nothing offensive was ever performed on the British stage.

All the great writers that come to mind when you think of British literature are here in Classics of British Literature, along with unique looks at their most popular and powerful works, including Edmund Spenser and his epic poem The Faerie Queene, Daniel Defoe and his shipwreck narrative Robinson Crusoe, and Mary Shelley's gothic novel Frankenstein.

You also enjoy the company of less-familiar voices whose importance we now recognize—like Aphra Behn, the "first loud and clear, wholly independent woman's voice" in literature—and contemporary authors like Salman Rushdie who continue to take literature into new territories.

An Award-Winning Scholar with Wit

It is hard to imagine a professor better suited to teach this course than Professor Sutherland, who has accumulated decades of academic and teaching honors, including the Associated Student Body of Caltech Excellence in Teaching Award and the Sherman Fairchild Distinguished Scholar Award from Caltech.

Professor Sutherland is also a prolific author whose works range from scholarly editions of classic Victorian fiction and articles in academic journals to close examinations of manuscript materials and literary biography.

He is also a man of extraordinary charm and wit. When Professor Sutherland reads aloud, as he does throughout Classics of British LIterature, you revel with him in the many different sounds of the English language, from the Anglo-Saxon of the 7th century to the various class accents representative of today's English speech. His delivery alone conveys a sense of just how much is encompassed by the term "British literature."

Participate in a Rich Conversation

Literature is "a great conversation with our predecessors," says Professor Sutherland in the introduction to the course. "It's the reason why we study it and it's a reason why, even though the makers are long dead ... it lives for us."

With Classics of British Literature, you hold a thought-provoking conversation with the giants of British literary history. It is a conversation that exposes you to some of Britain's most vital and engaging works and gives you a unique lens through which to view its rich history. As you finish the course and find yourself on the threshold of the 21st century, you better understand what it means to be both British and a human being in an increasingly complex world.

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48 lectures
 |  30 minutes each
  • 1
    Anglo-Saxon Roots—Pessimism and Comradeship
    What is English literature? We begin with Anglo-Saxon oral literature, including an in-depth look at Beowulf, the 6th-century foundational text that barely survived the Dark Ages in which it was born. x
  • 2
    Chaucer—Social Diversity
    Writing in a language still evolving after the Norman conquest, Geoffrey Chaucer took full advantage of the literate audience available for The Canterbury Tales and its groundbreaking depth of observation and diversity of character. x
  • 3
    Chaucer—A Man of Unusual Cultivation
    A remarkable life as soldier, businessman, scholar, government official, and far-ranging traveler gave Chaucer a deep knowledge of people, on display here in some of the most memorable tales from his most famous work. x
  • 4
    Spenser—The Faerie Queene
    See how literature can articulate the values that unite a society, nowhere exemplified as well as in Spenser's The Faerie Queene, whose knightly heroes embody the moral virtues of England. x
  • 5
    Early Drama—Low Comedy and Religion
    Drama's modern form evolved from the so-called mystery or miracle plays staged by guilds, which communicated biblical stories to the masses. These works helped make literature available to a broad populace in spite of widespread illiteracy. x
  • 6
    Marlowe—Controversy and Danger
    Our discussion of Christopher Marlow—murdered at 29 in what was likely an act of political intrigue—focuses on his masterpiece, Dr. Faustus. In this and three other tragedies, Marlowe probed the theme of man's vaulting ambition and left us a treasure of dramatic innovations. x
  • 7
    Shakespeare the Man—The Road to the Globe
    By the age of 30, Shakespeare had risen to the top of London's theatrical world as both playwright and actor. This lecture turns to a history, a comedy, and a Roman play drawn from his early works such as Richard III, The Taming of the Shrew, and Titus Andronicus. x
  • 8
    Shakespeare—The Mature Years
    Shakespeare retired while still in his 50s, at the height of his career, but not before his maturity yielded the finest of his many masterpieces. We explore several, including four great tragedies: Macbeth, King Lear, Hamlet, and Othello. x
  • 9
    Shakespeare's Rivals—Jonson and Webster
    Great writers happen in company, more so than chance would predict. We look at two who took on the difficult task of following Shakespeare—one writing comedies and the other tragedies. Their work marks the end of a great period for English theater. x
  • 10
    The King James Bible—English Most Elegant
    The King James Bible of 1611 is the most read work in English literature history, and it owes its greatest debt to William Tyndale. His work on an English translation a century earlier and falling out with Henry VIII led to his own execution. x
  • 11
    The Metaphysicals—Conceptual Daring
    Many modern readers and scholars consider the work of John Donne and the other so-called "metaphysical" poets to be the highest achievement in English verse. In their day their work circulated in manuscript form, and only among an educated elite. x
  • 12
    Paradise Lost—A New Language for Poetry
    What novelties did Milton employ in creating a work meant "to justify the ways of God to men"? In examining one of literature's enduring masterpieces, we see that the invention of a new language was only one of many innovations of this blind poet. x
  • 13
    Turmoil Makes for Good Literature
    Literature both contributed to and reflected England's turmoil in the mid-17th-century overthrow of the monarchy and the subsequent restoration. We see how these roles are illuminated in Thomas Hobbes's Leviathan and John Bunyan's The Pilgrim's Progress. x
  • 14
    The Augustans—Order, Decorum, and Wit
    As a prosperous England became a leader in European commerce, science, and diplomacy, writers such as Alexander Pope and John Dryden sought to emulate the cultural achievements of Augustan Rome, including its love of wit and satire. x
  • 15
    Swift—Anger and Satire
    In two works by the first great Irish writer—the Tory pamphlet A Modest Proposal and the fable Gulliver's Travels—we see how Jonathan Swift's simple, satiric prose masks a seething anger with the English court, the Crown, the scientific community, and even mankind. x
  • 16
    Johnson—Bringing Order to the Language
    Few writers have ever had as much of an authority over their subject matter as the luminary known as "Dr. Johnson." In focusing on his great dictionary project, we see how he established an enduring foundation for the English language and its literature. x
  • 17
    Defoe—Crusoe and the Rise of Capitalism
    We can date the emergence of the novel almost precisely with the publication of Daniel Defoe's Robinson Crusoe in 1719. More than just a great novel that reflects the emerging economic ideas of its time, it created a genre that inspires greatness and innovation to this day. x
  • 18
    Behn—Emancipation in the Restoration
    In introducing a woman whose work is the equal of any male writer of the Restoration period, we focus on her masterwork, Oroonoko, the powerful tale of an African prince enslaved and ultimately killed by whites in a colony off the coast of South America. x
  • 19
    The Golden Age of Fiction
    Many factors brought about the rise of the novel in the 18th century—including a new mass literacy, urbanization, and technological advances in printing. These forces helped bring us the work of Laurence Sterne, which anticipated much of what we now call Postmodernism, the sentimental romance of Samuel Richardson, and the realism of Henry Fielding. x
  • 20
    Gibbon—Window into 18th-Century England
    In examining The History of the Decline and Fall of the Roman Empire, we see how the enduring literary quality of Gibbon's work gives us a window into 18th-century England as it was becoming an imperial power in its own right. x
  • 21
    Equiano—The Inhumanity of Slavery
    Professor Sutherland introduces us to the first major black author, who was a slave from age 11 until his early 20s. His works are as important to British literary history as the slave narratives of Frederick Douglass and others are to American literary history. x
  • 22
    Women Poets—The Minor Voice
    This lecture takes up the unique voices of several women who wrote private lyric poetry, including Queen Elizabeth I, Anne Bradstreet, Margaret Cavendish, Katherine Philips, and Anne Finch. Their work expresses the consciousness and experience of women in this characteristic form. x
  • 23
    Wollstonecraft—"First of a New Genus"
    We examine the life of a remarkable, largely self-educated woman who determined at age 28 to chart new territory for a female author. Her great work, A Vindication of the Rights of Woman, still speaks loudly to us across the centuries. x
  • 24
    Blake—Mythic Universes and Poetry
    William Blake created an entirely new method of poetry—a method that requires us to learn his highly individual way of thinking in order to understand the ferociously authoritative voice that dares the reader to disagree. x
  • 25
    Scott and Burns—The Voices of Scotland
    Sir Walter Scott initially gained fame as a lyric poet before achieving immortality through historical novels such as Waverley. Robert Burns found the identity of Scotland in its common people and their songs, transmuting their ballads into poetry. x
  • 26
    Lyrical Ballads—Collaborative Creation
    The era from 1770 to 1830 was one of widespread revolution not only in politics, but also in literature. William Wordsworth and Samuel Taylor Coleridge were an unlikely pairing in this Romantic revival, but their Lyrical Ballads overthrew the poetic diction of the Augustan establishment and took poetry in new directions. x
  • 27
    Mad, Bad Byron
    We look at both Childe Harold's Pilgrimage and Don Juan, the best-known poems of an artist whose scandalous reputation and development of the world-weary misanthropic "Byronic" hero should not obscure a talent for wit that equaled that of the Augustans. x
  • 28
    Keats—Literary Gold
    The poetic career of John Keats spanned only five years, but he earned immortality. His explorations of beauty, self-destruction, and other mysteries belied the prejudices of upper-crust critics unwilling to forgive his working-class "Cockney" origins. x
  • 29
    Frankenstein—A Gothic Masterpiece
    It may be difficult to imagine Frankenstein as the product of an 18-year-old mind. But with Mary Wollstonecraft for a mother, William Godwin for a father, and Percy Shelley for a lover and husband, Mary Shelley was, perhaps, genetically and environmentally destined for literary greatness. x
  • 30
    Miss Austen and Mrs. Radcliffe
    Jane Austen, who viewed the novel as a source of moral authority, would have seen her contemporary Ann Radcliffe's bestselling gothic fiction as a corruption and prostitution of literature. Nonetheless, she read and even relished the fiction of her great opposite. x
  • 31
    Pride and Prejudice—Moral Fiction
    Pride and Prejudice explores the questions surrounding the marriage decision in a country where the law made women profoundly vulnerable. Like much of Austen's fiction, the novel does not protest against England's laws so much as it examines their implications in the domestic arena. x
  • 32
    Dickens—Writer with a Mission
    Having captured his public with the comic novel The Pickwick Papers, Charles Dickens resolved to use fiction as an instrument for social reform in an age of injustice—a resolution made clear by the novel explored in this lecture, Oliver Twist. x
  • 33
    The 1840s—Growth of the Realistic Novel
    The 1840s saw a phenomenal growth in the realistic novel's popularity. We explore four from this period—Dickens's Dombey and Son, Mrs. Gaskell's Mary Barton, Disraeli's Sybil, and Thackeray's Vanity Fair. Each asked hard questions about the direction in which England was headed. x
  • 34
    Wuthering Heights—Emily's Masterwork
    The 19th century saw the emergence of women novelists, with Charlotte and Emily Brontë joining Jane Austen in achieving dominance. This lecture explores Emily Brontë's Wuthering Heights, a romance narrative built on a sophisticated framework and showcasing characters of psychological complexity. x
  • 35
    Jane Eyre and the Other Brontë
    Charlotte was the only Brontë sister to live long enough to compile a body of work. Jane Eyre—whose heroine navigates a male-dominated world through intelligence, morality, and spirit—contains many Feminist elements and was the most popular novel of the period. x
  • 36
    Voices of Victorian Poetry
    The Victorians revered poetry. We look at three revered voices: Alfred Lord Tennyson, Robert Browning, and Gerard Manley Hopkins. Their work, a bridge from high Romanticism to Modernism, paved the way for the poetic achievements of the 20th century. x
  • 37
    Eliot—Fiction and Moral Reflection
    The woman who wrote as George Eliot was more than the leading female intellectual of her time. Her novel Middlemarch is a vast canvas of ambiguities, taking Realism to its fullest extent and, in asking how society and individuals can be made better, demanding much from readers. x
  • 38
    Hardy—Life at Its Worst
    Thomas Hardy never shrank from his belief that "the way to the better" demands a "full look at the worst." Jude the Obscure reflects his pain over the demise of English prosperity and his Wessex birthplace, and is the most autobiographical and pessimistic of his novels. x
  • 39
    The British Bestseller—An Overview
    Though often neglected as "literature," popular fiction can endure as well as those works recognized as classics. This lecture covers popular fiction by Arthur Conan Doyle, the creator of Sherlock Holmes and H. G. Wells, a pioneer of science fiction. x
  • 40
    Heart of Darkness—Heart of the Empire?
    Although the interpretation and reputation of Conrad's Heart of Darkness, a devastating look at the colonial enterprise in Africa, have changed more than once since it was written, the novel continues to force an examination of the truths and prejudices held in our own hearts. x
  • 41
    Wilde—Celebrity Author
    Oscar Wilde was perhaps the first celebrity author. Although he does not rank with such writers as Shakespeare, Milton, or Byron, his witticisms, aesthete's guise, and persecution have become enshrined in our memories and help sustain his position in the canon of English literature. x
  • 42
    Shaw and Pygmalion
    Although the Dublin-born playwright George Bernard Shaw was radically antiestablishment in his espousal of Socialism, feminism, and evolution, he was revered by the English and wildly successful. This lecture looks at Pygmalion, Shaw's satire on language and the class system in English society. x
  • 43
    Joyce and Yeats—Giants of Irish Literature
    In the second of two lectures featuring the Irish voice, we look at the lives and work of James Joyce and W. B. Yeats, two giants who rejected Victorianism and pioneered new forms and themes for the writers who followed. x
  • 44
    Great War, Great Poetry
    The carnage of World War I produced a flood of great poetry in England: bitter, angry, haunting, and beautiful. We look at several poets who found the inspiration for art amid the horror, including Siegfried Sassoon, Wilfred Owen, Rupert Brooke, Isaac Rosenberg, and Robert Graves. x
  • 45
    Bloomsbury and the Bloomsberries
    The Bloomsbury Group was a civilized set of writers, thinkers, artists, and political theorists who helped reshape English society, culture, and literature in the aftermath of World War I. We focus on its two most prominent literary members, Virginia Woolf and E. M. Forster. x
  • 46
    20th-Century English Poetry—Two Traditions
    The two broad 20th-century streams of English poetry are the traditional, with Thomas Hardy at its headwaters, and the Modernist, steered by T. S. Eliot. In addition to poetry by these masters—including Eliot's "The Waste Land"—we'll also look at work by W. H. Auden, Philip Larkin, and Seamus Heaney. x
  • 47
    British Fiction from James to Rushdie
    Quality fiction has expanded remarkably since the Victorian novel. This lecture looks at the genre's changing role in the 20th and 21st centuries, introducing a broad range of writers that includes Henry James, D. H. Lawrence, George Orwell, Graham Greene, Evelyn Waugh, and Salman Rushdie. x
  • 48
    New Theatre, New Literary Worlds
    We conclude with a look at the vital changes in British drama since the early 20th century, focusing primarily on the geniuses of anger and absurdity—Samuel Beckett, John Osborne, and Harold Pinter—and closing with the greatest theatrical wit since Ben Jonson: Tom Stoppard. x

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John Sutherland

About Your Professor

John Sutherland, Ph.D.
University College London; California Institute of Technology
Dr. John Sutherland is the Lord Northcliffe Professor Emeritus of Modern English Literature at University College London and Visiting Professor of Literature at the California Institute of Technology (Caltech). He earned his B.A. and M.A. from Leicester University and his Ph.D. from Edinburgh University. Professor Sutherland taught at Edinburgh University and University College London, the site of England's longest-standing...
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Classics of British Literature is rated 4.4 out of 5 by 34.
Rated 4 out of 5 by from Makes Me Want to Read! I love to read and had read some of these authors and wanted to learn more about literature as a result of some of the other courses I've purchased. What did I learn from this course? 1. I really enjoyed learning about each author. Understanding who the author was often lends so much more meaning to what they wrote. 2. I learned a lot about the history of the U.K. This was an unexpected bonus learned via the biographies of the authors. Learning about the class distinctions, the changing tastes, etc., was fascinating. 3. I was introduced to many works I'd never heard of and will have to track down. A Modest Proposal is definitely on my reading list! I thought Sutherland did an excellent job of reading excerpts, modifying his voice to allow different characters to be readily identified. Overall, he did a very nice job presenting each work, the author, and the context in which the work was written. I was also impressed by how many female authors he included as the female contributions are so often overlooked. On the downside, the last 5 lectures weren't as interesting to me. Maybe I'm just not ready for some of these modern works. There wasn't a lot of deep analysis. It was more of here's an author, here's their life, here's one or a few of their works with some excerpts, and here are some observations. And that's why I enjoyed the course so much - it's very good as a high-level introduction to a large number of authors and their works while illustrating how English Literature has changed over the past thousand plus years. If that's what you want as well, then this will be a good course for you.
Date published: 2015-02-02
Rated 4 out of 5 by from Very good, not great. Ambitious and broad. Dr. Sutherland quite charming, and knowledgable. Perhaps tries too hard to be politically correct. "Jane Austin on a parr with Chaucer and Shakespeare"; Really! Lacks depth in many places, but understandable considering scope of work. Recommended, but I can't cough up that last star.
Date published: 2014-03-03
Rated 3 out of 5 by from Why so short? The classics of American literature course has 84 lectures, but the classics of British literature only has 48 lectures. If anything, it should be the opposite. The British have produced many many times the quantity of literature that America has, yet this course is half as long as the classics of American literature.
Date published: 2014-03-03
Date published: 2013-10-28
Rated 5 out of 5 by from An Excellent Introductory Survey AUDIO If you want an interesting and highly informative survey of the classics of British literature (including poetry and drama, as well as novels and the King James Bible), this is definitely the one for you. Professor Sutherland is an engaging lecturer who not only treats each classic in turn but also weaves in pertinent historical and cultural context and detail to explain the development of British literature over hundreds of years. The course is best appreciated by taking it from the beginning and working through succeeding lectures, but selecting those in which you have the most interest works well, too (though note there are a couple you might not know, as I found). The lectures are easy to follow, perfect accompaniments for driving and walking. Professor Sutherland’s delivery is clear and personal, tinged with a British accent. Some of his observations may be off-putting, but overwhelmingly they seem to me fair-minded and insightful. I have been prompted to read the classic works treated (or re-read them with a greater appreciation) as well as learn more about the authors included by Professor Sutherland. Good arguments can be made for who/what he has left out. Keep in mind, also, that this is a survey/introduction, so do not expect definitive treatments, though on the whole these are quite good. More in-depth lectures on selected works of classic British literature are available from such other TC professors as Arnold Weinstein and Timothy Spurgin. I wish the Teaching Company would offer an in depth course by Professor Sutherland on a more focused topic or group of authors.
Date published: 2013-10-03
Rated 5 out of 5 by from Insightful Views without Ideology Prof. Sutherland does a superb job of giving deep and useful readings of his list of great works by great writers. He not only puts their writings in historical and literary context, he also deals with their subject matter in an insightful way. I enjoyed his treatment of works I hadn't read; but the better I knew the work, the more I valued his take on them. Even where I've actually taught courses myself on a writer, I found his reading to bring fresh ideas to the discussion. He is aware of modern concerns, but instead of forcing older works through the procrustean bed of post-modern terminology, he examines them in their own terms, in their own time. This is a complete course in British literature, and will provide an excellent starting point for the beginner as well as a valuable refresher for degree-holding literati. And Sutherland is a charming teacher whose occasional personal comments are always welcome.
Date published: 2012-07-25
Rated 4 out of 5 by from Good, but somewhat disappointing A major challenge for any lecturer! To cover such a wide-sweeping topic in 48 half-hour talks, it is virtually impossible to please everyone -- as some of the reviews confirm! For me, Dr Sutherland delivered the goods, though he's not a particularly exciting speaker (rather dry in fact). This professor, an Englishman with a mild accent, has a habit of beginning about every seventh sentence with the word "Now". I found this irksome, but after several lectures, I reconciled to it, and was grateful he did not succumb to "Y'know", "er", or "um" as some lecturers do. Kudos to Dr Sutherland for including the King James Bible in this course: it is truly a major achievement in English literature, and the debt owed to William Tyndale was rightly placed. Dr Johnson's magnificent dictionary came in for great praise and attention, too, I was happy to note. Deserved tribute was paid to one of the earliest female writers, Aphra Behn -- perhaps this lecture should have included Delarivier Manley and Eliza Haywood. There is no historical evidence that gives any indication Shakespeare was homosexual or bisexual, so suggesting he may have been "gay" was, I felt, pointless and somewhat ill-intentioned; nor did I appreciate why the lecturer would take a swipe at Keats, remarking disparagingly on his Cockney origins. In fact the meaning of the word Cockney" was in transition in Keats' time. He was a Londoner and not of the upper classes, true; some prejudiced reviewers of his era referred to his being of the "Cockney school". No need to make a big deal of it now. I was shocked to hear Dr Sutherland use the term "quite unique": a professor of British Literature must know that "unique" cannot be qualified. Also, I'm afraid the lecturer shows a surprising lack of familiarity with multi-cultural society in the UK when he says the uber-patriotic song "Rule, Britannia" (James Thomson 1740) is known to every school child in Britain. While Dr Sutherland displays a serious politically-correct attitude overall (lectures recorded in 2008), I balked when he used the term "WELSHED on the money he owed her" (lecture 12). In the UK to "welsh" on something is considered racist terminology against the Welsh people (whether the verb is spelled welsh or welch). In summation, I consider this an adequate and worthwhile course, bearing in mind that it offers only tidbits, excerpts, not deep considerations or analyses of the various authors; it also provides a good outline history paralleling British literature through the centuries.
Date published: 2012-07-24
Rated 2 out of 5 by from Grudgingly recommended; with caveats, lots of 'em Not British, not classic, not lecture, not scrupulously accurate. While Prof. Sutherland is, without doubt, a noted expert in British literature, there are problems with his categorization, lecture style and some of his facts. Please see two other reviewer’s comments under the review-titles "Buyer Beware" and "Shallow…". Some of the selected items by Prof. Sutherland are arguably not British. Seemingly unmentioned by other reviewers also is the professor’s lecture style, best described as stuttering and stammering; to the point where, in several lectures, the first word or words of each and every sentence are repeated four or five times before the good professor finally launches into the sentence with ascending amplitude, only to finish in a whispered or mumbled conclusion. This is not a speech impediment. It is an affected style which has not been corrected by judicious lecture-coaching. This lecture style is more appropriate for a small intimate, symposium -like group, rather than a full-on lecture venue. Now, critiquing this nearly constant aggravation may seem picky but, after 48 lectures of this, I have to say "come on!", "This is your job", "This is what you do for a living". “Please work to improve the most discernible manifestations of your craft!". Additionally, as previously mentioned by other reviewers, some of his facts get muddled as in the case where he impugns Revolutionary War motivations while waxing philosophically of the American Civil War. And, there are points of great digression where Prof. Sutherland chases politically correct, academic jackrabbits across the field to engage in lectures-long discussions of how bad people used to be, how ignorant, how unenlightened and how brutish. There is no key motivation of "The English" throughout history that is not fair game for Prof. Sutherland's retrospective condemnation. They were simply bad people back then, but we are much enlightened today and have found the true way. So, along with some weak analysis on British literature, you get revisionism and political correctness “in extremis”. At the outset Prof. Sutherland takes great pains to differentiate British literature from literature written in English. However, throughout the lectures, as if trying to infuriate an Irish audience, the good professor continues to use the phrase "English Literature" almost exclusively. There are saving graces; the production values of the TTC are of their usual high quality and along the way you are exposed to key personalities, authors and works of British Literature. The best that can be said is that it is a survey course; and you will be "exposed" to the subject matter without the customary and meaningful analyses. If you are absolutely new to British Literature and can think for yourself about the appropriateness and fairness of the professor's opinions and incessant wanderings into categorically unrelated subjects, then, and only then, would I give my grudging recommendation; festooned with caveats of every type.
Date published: 2012-03-13
Rated 2 out of 5 by from Shallow - and NOT because it's an Overview I bought other overviews of literature from the TC and some of them were not only great - they were simply magnificent (for example, Prof. Weinstein's Classics of American Literature or Classic Novels). Prof. Sutherland's lectures provide you with a lot of facts, too many of which are even wrong (please, check the "Buyer Beware" review - this reviewer is correct in correcting Prof. Sutherland's mistakes). Anyway, this course provides you with facts about the books themselves, the writers' lives and gives you the plot of the works discussed. It is not that dissimilar to reading Sparknotes out loud - but the lectures, sadly, go less into depth than Sparknotes do. I know it sounds like an exaggeration, but it is not. To make a long story short, this course does not teach you about - in my opinion (and I am a literature major) - the most important aspect of literature: its possible meanings, its possible revelations, ways it can inspire or move you, what it can tell you about love, death, art and life. Prof. Sutherland does not give us HIS ideas on these works of art, but simply repeats the things you can find in ANY brief introduction or literary encyclopedia (and on his way even gets some of his facts wrong). He sometimes says how much he appreciates a certain work of art, usually without really telling us WHY. Would not recommend this course to anyone - unless you want a poorer version of an Intro to British Literature to listen to on your way to work.
Date published: 2011-08-26
Rated 4 out of 5 by from Competent Coverage of the British Greats Dr. Sutherland has a superb speaking voice: I enjoyed his British accent, and he could vary his accent by region and class. I purchased the audio version, so his voice-skills were important to me. Stylistically, I was a tad annoyed by the professor’s repetitive use of the phrase, ‘as it were.’ In one lecture, I lost count of the ‘as it were’s.’ Overall, I felt Sutherland might have been too sensitive to the dictates of political correctness. Early on, in discussing how Twain’s ‘Huck Finn’ was sometimes banned, he asks us, ‘which party is right -- the banners or the prescribers? It’s hard to say.’ Whoa! Personally, I believe banning free speech and literature in almost every context is an assault on a basic freedom and human right. Sutherland’s emphasis on race and gender also caused the course to lose some balance. His finger-wagging and verbal lashing of Milton was too much for me. It’s obvious that women were discriminated against, and males dominated most of the literature -- but I’m more interested in what makes great literature great, and much less interested in the gender of the writer. These quibbles aside, this is a great course. I found myself downloading Burns, Coleridge, Wordsworth and others to my Kindle. Oh, and I downloaded Jane Austen, too. Highly recommended!
Date published: 2010-11-22
Rated 5 out of 5 by from Please, Sir - can I have more? This course was definitely worth the investment. There were some writers I knew a bit about, some I (thought) I knew a lot about, and some I hadn't even heard of - Equiano, Behn. It was a brilliant overview and the added context from Professor Sutherland left me wishing I could ask him questions about many other authors and books. Very well presented, great content - and I agree with other reviewers - I wish there was more!
Date published: 2010-10-06
Rated 5 out of 5 by from My Favorite I can't emphasize enough how much I have enjoyed this course. While I knew quite a lot about many of the authors and eras John Sutherland discusses, listening to his lovely, charming lectures made hearing the information he dispensed feel fresh and new. I particularly enjoyed the way he outlined the cultural and historical times swirling around all of the authors and their times. I hated coming to the end of this set of lectures and find myself hoping that The Teaching Co. will consider asking Dr. Sutherland to prepare another set which focuses more intently on a particular specialty. The modern poets seemed to be a strength and I would love an in-depth course on the Bloomsbury set. Whatever his particular specialty is, such a course would be an invaluable addition to the literature series. I am going to listen to this set again, soon!
Date published: 2010-08-30
Rated 5 out of 5 by from Outstanding Survey Another home run--oops, guess the Brit's actually play rounders not baseball. Anyway, Sutherland is to be commended for his work on this series. I must admit I found the early lectures, with their historical foundation, were my favorite. Would like a more in depth course comparing/contrasting Shakespeare and Woolf. Hope it comes out soon.
Date published: 2010-05-25
Rated 5 out of 5 by from Wonderful lectures The only negative thing I have to say about this lecture series is that is was not 96 lectures instead of 48. It would be great if Professor Sutherland would go deeper into English Literature with another lecture series.
Date published: 2010-04-15
Rated 5 out of 5 by from riveting, tantalizing introduction In a survey course like this, a lecture or two for each figure is woefully inadequate to do justice to the subject matter. Prof. Sutherland's approach is to whet the appetite, to welcome one into the fold and tell stories laden with humility, power, insight, and a dry touch of British humor. The success of the course lurks in the untold elements: I found myself constantly distracted, even frustrated by a desire to read each work as it is introduced, but also drawn to move on to further tales. Equiano was a wonderful surprise to me, as was the poetry of Queen Elizabeth. I'm afraid I was less impressed with Wollstonecraft. The treatment of Austen in context (a revolt against Mrs. Radcliffe's gothic conventions) helps frame her works - while always, always encouraging a student to read further. In terms of presentation: the lectures speak for themselves, and while Professor Sutherland's endearing presentation on DVD does add to the experience, the audio variants would be as rich. Strongly recommended: the course is one you will not soon forget, and for those unable to read each work cited, the class at least offers a tasty morsel.
Date published: 2010-02-02
Rated 5 out of 5 by from Great for treadmill listening! I listened to these lectures (audio CD) while on the treadmill. Thirty mintues went by enjoyably and painlessly. I loved them, every one of them was fascinating and thought provoking. I loved the lecutres on Samuel Johnson, the Bible, Shakespeare, and Milton, especially. Professor Sutherland's voice is easy to understand and his vocabulary is a treat to hear. I would highly recommend this course to anyone. What a way to learn. Thank you , Teaching Company, for another top notch production with a top quality instructor.
Date published: 2009-09-02
Rated 1 out of 5 by from Buyer Beware I recently purchased a set containing the newly released Classics of British Literature as well as Classics of Russian Literature. I was primarily interested in the Russian, as I knew the English material quite well having studied British Lit at Cornell and University of Cambridge. I planned to give the Brit Lit course to one of my young reporters who had expressed an interest and who had never taken any Brit Lit in college, but I figured I'd listen to the lectures first to see how they were. Problematic, at best. Let me state outright that my criticism is not that of someone who knows too much detail about the subject and who therefore objects to the generalizations inherent in a survey course. No, I appreciate the requirements of the survey genre. I do think Sutherland wastes an extraordinary amount of time on prolix and effusive paeans to the grandeur of whatever text he's looking at... rather than explaining precisely WHY it's grand, but that's a stylistic criticism. My primary criticism is the lecturer repeatedly gets basic facts wrong. Lecture One: Track Three at 1:10 - "Now the first text on which the mighty structure of English Literature rests, Beowulf, dates from around the 6th Century as we can best make out." On it's face it's wrong. The text of Beowulf dates from the 11th century. That's a fact. Arguments that a version of the poem existed earlier... before it was written down in the 11th century are common, but have never - to my knowledge - convincingly argued a date prior to the 7th century. Sutherland's own supplementary materials push an 8th century date of composition. I'd suggest perhaps he means the subject matter of the poem dates to the 6th century – the old king in Beowulf, Hygelac, is an historical figure dating to the very early years of the 6th century – except the statement follows immediately on the heels of a discussion of how early Anglo-Saxon verse was oral not textual. He again claims the poem was "composed in the 6th century" near the end of the lecture (Track Five at 4:24) and claims the scribe who wrote it down evidently took the text down faithfully, “but couldn't help interpolating some pious Christian doctrine at various places, it's very easy to see where and it doesn't damage the poem at all." This runs counter to consensus of major Beowulf scholars of the past 60 or 70 years. Even Francis Magoun, who in the 1950s brought Milman Parry's ideas about oral formulaic poetry to bear on Beowulf, said "the entire fabric of Beowulf is shot through with the language and thought of Christianity and must be viewed as a Christian poem though of an unusual sort." There's more. The entire discussion of the Caedmon poet is problematic, but here are two examples: Track Three at 5:33 - Sutherland says the Anglo-Saxon historian Bede tells us about Caedmon in his Ecclesiastical History of the English People "which is the first work of history in the English language by the way." Bede wrote in Latin not English. Bede's Latin text was translated into Old English late in the 9th century, but that hardly qualifies it as "the first work of history in the English language" particularly given the fact that by the time of its translation, the Anglo-Saxon Chronicle had already begun. Track Four at 0:42 Sutherland says, "Now sadly only one of Caedmon's works survives, thanks again to Bede..." Nowhere in his history did Bede record the Anglo-Saxon text of Caedmon's hymn which Sutherland is reading. Bede only offers a prose paraphrase in Latin. The first Old English text of the poem is found at the end of the earliest Latin manuscript of Bede’s history, and historians of widely divergent outlook have speculated it is likely a translation of Bede's Latin rather than an original! Track Five at 1:25 Sutherland says the Battle of Maldon "recounts an 11th century invasion by the Viking heathen." The Battle of Maldon took place in the 10th century. The problems continue in the lectures on Chaucer. Without going into specific detail, I will outline only the most egregious. Sutherland mispronounces Chaucer's Middle English to make it sound more "modern" in contrast to the Middle English of "Gawain and the Green Knight." I can only believe this is a willful deception in service to his argument about the "modernity" of Chaucer because his mispronunciations actually violate the rhyming scheme of Chaucer's poetry! At this stage, I found myself engaged in a one-sided argument with my vehicle's CD player. Buyer beware: the lectures are enthusiastic, but shallow... and too often factually inaccurate.
Date published: 2009-06-11
Rated 5 out of 5 by from 5 Stars! Wonderful course--one of my very favorites-- mellifluous lectures that leave you thinking.
Date published: 2009-04-14
Rated 5 out of 5 by from Thoroughly enjoyable From beginning to end my attention never wavered. This was a great discussion of British Literature
Date published: 2009-01-29
Rated 5 out of 5 by from I enjoyed this course very much, and it helped me a lot in my studying of the English literature, for understanding it much more, and for my preparation for my Bachelor degree exams. I didn't have the DVD verison of this course, so I can't comment on the visual aids (mentioned here by one reviewer), but the audio version was really good in and of itself. Very helpful!
Date published: 2009-01-26
Rated 5 out of 5 by from 48 lectures, each a masterpiece, in total a day of wonder and delight.
Date published: 2008-10-17
Rated 4 out of 5 by from Again, the content was very good but your images are generic/dull...There must be thousands of more interesting images/photos of the authors you presented!
Date published: 2008-10-17
Rated 5 out of 5 by from I wish I had known about the courses earlier. Current course is my 6th.
Date published: 2008-10-17
Rated 5 out of 5 by from Your course professors are not only highly intellectual but they can communicate that knowledge which is clear and understandable.
Date published: 2008-10-17
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