Thursday, July 30, 2020
List of The Theatres in London
Fb live Lecture July 30
The Triple Fool
Figurative Language
Personification is the primary type of figurative language used in the poem. The grief the man feels over his heartbreak is personified to give it greater importance and to make it seem like a force with purpose. "Verse did restrain" his grief, as if it were an animal or another force in need of taming. Those who read the man's poems set free this grief to torment him again. Metaphor is used to compare the purging effects of the sea to the effects the narrator hopes his poetry will have on his pain. He wants his poetry to behave "as th' earth's inward narrow crooked lanes," which "purge sea water's fretful salt away."
Paradoxical Statements
Paradoxical statements are used throughout the poem to reinforce the irrationality inherent in love. The narrator says "who are a little wise, the best fools be," which is paradoxical because fools cannot be fools if they are wise. The narrator refers to himself when he says, "For he tames it, that fetters it in verse." He cannot fetter, or chain, himself if he has the freedom to do so -- another paradoxical statement. These statements show how desperate the narrator is and how irrational he has become after falling in love
The Dream
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'No Man is an Island'
No man is an island entire of itself; every man is a piece of the continent, a part of the main; if a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as any manner of thy friends or of thine own were; any man's death diminishes me, because I am involved in mankind. And therefore never send to know for whom the bell tolls; it tolls for thee. Olde English Version No man is an Iland, intire of itselfe; every man is a peece of the Continent, a part of the maine; if a Clod bee washed away by the Sea, Europe is the lesse, as well as if a Promontorie were, as well as if a Manor of thy friends or of thine owne were; any mans death diminishes me, because I am involved in Mankinde; And therefore never send to know for whom the bell tolls; It tolls for thee. MEDITATION XVII Devotions upon Emergent Occasions John Donne
Earl of Surrey Henry Howard
The soote season, that bud and bloom forth brings With green hath clad the hill and eke the vale; The nightingale with feathers new she sings; And turtle to her make hath told her tale. Summer is come, for every spray now springs; The hart hath hung his old head on the pale; The buck in brake his winter coat he flings; The fishes flete with new repairèd scale; The adder all her slough away she slings; The swift swalllow pursueth the flies small; The busy bee her honey now she mings; Winter is worn that was the flowers' bale. And thus I see among these pleasant things Each care decays, and yet my sorrow springs.
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Wednesday, July 29, 2020
Silver Age Poets and Country House Poetry 30 July Lecture on fb
The poem is written in 13 stanzas in an ABABCC rhyme scheme. Raleigh begins with an energetic determination to expose the truth, especially in the socially elite, although he knows his doing so will not be well received.
- Go, Soul, the body's guest,
- Upon a thankless errand;
- Fear not to touch the best;
- The truth shall be thy warrant:
From there the poem moves quickly through a variety of scenes and situations of falsehood and corruption, all of which Raleigh condemns. The second and third stanzas accuse the court of being arrogant and yet wholly rotten, the church of being inactive and apathetic despite its teachings, and those in government of favoritism and greed, respecting only those in large numbers.
History and authorship
Scholars are not certain that Raleigh is the true author of the poem — which was published after Raleigh's death — though he remains the most likely candidate. This is one of Raleigh's most anthologized poems.
2.Whoso List to Hunt, I Know where is an Hind
3.Who were the silver poets?
The silver poets were a group of English writers—including Sir Thomas Wyatt, Henry Howard (Earl of Surrey), Sir Philip Sidney, Sir Walter Raleigh, and John Davies—who lived during the sixteenth century and composed short poems, ballads, carols, elegies, epitaphs, lyrics, and sonnets. Their writings explored the theme of love during the beginning of the English Renaissance through the end of the Elizabethan Age.
The silver poets are known for having broken with previous traditions, exploring new and different approaches to talking about love. Wyatt, for example, discusses courtly love in a style culturally influenced by other writers throughout Europe during that period. He went on to write poems which were erotic, sensual, and very personal as well. Wyatt was a courtier, and his poetry examines the notion of change and the vicissitudes which characterized his life as he navigated the politics of Henry VIII's court.
The silver poets were a group of English writers—including Sir Thomas Wyatt, Henry Howard (Earl of Surrey), Sir Philip Sidney, Sir Walter Raleigh, and John Davies—who lived during the sixteenth century and composed short poems, ballads, carols, elegies, epitaphs, lyrics, and sonnets. Their writings explored the theme of love during the beginning of the English Renaissance through the end of the Elizabethan Age.
The silver poets are known for having broken with previous traditions, exploring new and different approaches to talking about love. Wyatt, for example, discusses courtly love in a style culturally influenced by other writers throughout Europe during that period. He went on to write poems which were erotic, sensual, and very personal as well. Wyatt was a courtier, and his poetry examines the notion of change and the vicissitudes which characterized his life as he navigated the politics of Henry VIII's court.
4.COUNTRY HOUSE POEMS
A minor genre of poetry which has some importance in 17th-century English verse. It is defined by its subject-matter, which is the fruitfulness and stability of a patron's country estate, and the patron's own conservative virtues.
Ben Jonson's ‘To Penshurst’ (1616) is the model in English, based partly on Latin poems by Martial and Horace. Later examples include Thomas Carew's ‘To Saxham’ (1640), and Andrew Marvell's ‘Upon Appleton House’ (written c.1652). For a fuller account, consult Malcolm Kelsall, The Great Good Place: The Country House in English Literature (1993
Country house poetry is a sub-genre of Renaissance poetry and was first written during the seventeenth century. It was closely linked to patronage poetry, in which poets (sometimes outrageously) flattered patrons in order to gain sponsorship and status. At this time, many houses were built in the countryside as a display of wealth, and as a retreat for the courtier when overwhelmed by the court and city life. Country houses were not, originally, just large houses in the country in which rich people lived. Essentially they were power houses - the houses of a ruling class. As such they could work at the local level of a manor house, the house of a squire who was a little king in his village and ran the county. They could work at a local and national level as the seat of a landowner who was also a member of parliament. Basically, people did not live in country houses unless they either possessed power, or, by setting up in a country house, were making a bid to possess it. Country house poems generally consisted of complimentary descriptions of the said country house and its surrounding area which often contained pastoral detail, and praised cultivated nature. The purpose of the central part of this essay is to assess the effectiveness of Renaissance 'country house' poetry as social criticism. | |||||
Country house poems were written to flatter and please the owner of the country house. Why did poets do this? Until the nineteenth century the wealth and population of England lay in the country rather than the towns; landowners rather than merchants were the dominating class. Even when the economic balance began to change, they were so thoroughly in control of patronage and legislation, so strong through their inherited patronage and expertise that their political and social supremacy continued. As a result, from the Middle Ages until the nineteenth century anyone who had made money by any means, and was ambitious for himself and his family, automatically invested in a country estate. Poets tried to gain the favour and patronage of these landowners through praise of their homes. Ben JonsonBen Jonson's country house poem To Penshurst was written to celebrate the Kent estate of Sir Robert Sidney, Viscount Lisle, later earl of Leister (father of Mary Wroth). The poem idealises country life and sets up an opposition between the city and the country. The title To Penshurst indicates that the poem is a gift, in praise of Penshurst. Jonson begins by telling us what Penshurst is not:
This tells us that Penshurst was not built to show off the wealth of its owners, and is far from ostentatious. The qualities that cannot be found at Penshurst are listed to make it seem humble and down-to-earth compared to the average country house. Perhaps this is done to prevent peasants' resentment of lavish spending on luxuries by the wealthy. A more likely explanation, however, is that it is subtle criticism of other, more flamboyant residences. Jonson seems to take a Christian standpoint in his encouragement of modesty and his veiled criticism of the vanity of the owners of more showy edifices. Or perhaps it is a frustrated stab at the inequalities of capitalism. Penshurst is said to boast natural attractions:
The idea that nature is beautiful and does not need decoration is emphasised. The opening lines of the poem may lead the reader into thinking that Penshurst is a dull place, so the employment of classical allusions serves to seize the reader's attention, and also adds an air of mystery and uncertainty. This also gives the impression of a Pagan society, and reinforces mythological stereotypes about the countryside, although we are told towards the end of the poem that "His children...have been taught religion". This may be an illustration of popular pre-conceptions of country life by townsfolk, i.e. that it is Pagan and uncivilised, whereas, in reality (we are told), country living is Christian. It is significant that the poem mentions the poet Philip Sidney: "At his great birth, where all the Muses met." We are told that Penshurst was the birthplace of Sidney, and this serves to disperse the stereotype that country folk were unintelligent:
Philip Sidney was seen as the model of a Renaissance man. He was a courtier, talented poet, advisor and Cupbearer to the Queen, and soldier. His whole family were patrons of the arts, so the connection made between Penshurst and the Sidney family gives the impression that Penshurst was the epitome of an educated, cultured household. In the central part of the poem, Jonson makes Penshurst sound like a countryside Utopia. The copse "never failes to serve thee season'd deere" , "each banke doth yield thee coneyes (rabbits)" , "the painted partrich lyes in every field . . . willing to be kill'd." [6] This kind of submission sounds too good to be true - animals are biologically programmed to survive, there is no way any creature would give its life "for thy messe" . It is likely that Jonson's portrayal of country life has a satirical edge. He says that "fat, aged carps runne into thy net" [8] and that when eels detect a fisherman, they "leape . . . into his hand." This irony may be directed towards those who boast that country life is trouble-free. The theme of capitalism runs through this poem - we see the final product e.g. the food at the table, but we are not told about the killing process or the toiling that must have taken place in the construction of Penshurst. Instead, we are told that "thy walls....are rear'd with no man's ruine, no mans grone." No man died, or even groaned in the building of the walls. A modern comparison would be a pair of Nike trainers - we only see the final, shiny, commercially advertised product, not the assembly of the trainers by grossly under-paid 'workers' of the Far East. The picture of this perfect world is ominously underscored by the biblical allusion in lines 39-44: "The Earely cherry...fig, grape and quince....hang on thy walls, that every child may each." This could be reference to the Christian story of the Creation, because fig leaves were used by Adam and Eve to cover their naked bodies, and Eden was surrounded by a wall. The allusion implies that although this world may seem flawless at the moment, it is inevitable that the perfection will have to end at some point in the near future. Contradictorily, the poem displays aspects of Communism as well as Capitalism. For example, all of the people from the surrounding area make their own specific contribution to the feast that takes place. Everyone is allowed to eat "thy lords owne meat" , beer, wine and bread. Nobody makes a note of how much is consumed by individuals, "Here no man tells my cups" , and there is a strong sense of altruistic sharing and togetherness: "That is his Lordships, shall also be mine." There does not seem to be any kind of hierarchy present (even when the king visits), all persons are treated as equals, all are equally important. Perhaps the inclusion of the biblical reference is a pre-emptive suggestion that Communism can only fail (due to Man's greedy nature). Once society began to reorganise on class basis, the victory ultimately lay with the largest class. The centre of power began to move down the social scale. First the gentry, then the middle classes, and ultimately the working classes grew in power and independence. This posed the upper classes with a dilemma. Should they fight the movement or accept it? The most successful families were those who accepted it, and, on the basis of their inherited status and expertise, set out to lead the classes below them rather than to fight them. But leadership of this kind involved association; as a result, first the gentry and then the middle classes disappeared from great households as employees or subordinates, and reappeared as guests. Medieval dukes were unwilling to sit at table with anyone of lower rank than a baron; Victorian dukes were prepared to meet even journalists at dinner. Jonson shows that Penshurst is the kind of place that embraces the lower classes, and allows them to eat at the same table as the king of the country. The generosity of the people is greatly emphasised in this poem. No one comes "empty-handed" to the feast. The guest is offered more than enough food and drink. Every provision imaginable is in plenty, from the beer to the meat, from the fire to the clean linen. This implies that unlike some country houses at this time which were grandiose but unwelcoming, Penshurst is a place of hospitality and modesty. The king made an impromptu visit to Penshurst, and the house was neat and tidy, "as if it had expected such a guest" . The king often visited the houses of those he least favoured because the cost of the event often led to the bankruptcy of the proprietor. The poem shows that Penshurst can withstand this threat, and was even in an immaculate condition when the king arrived unexpectedly. The portrayal of the king as humble enough to dine at Penshurst with all classes of people flatters the crown, and is likely to gain Jonson favour with the king. Aemilia LanyerAemilia Lanyer (1569-1645) was of Italian Jewish descent. She may have served in the Duchess of Kent's household. Her volume of poems Salve deus rex Judoeorum, 1611, was in part a bid for support from a number of prominent women patrons. Her country house poem The Description of Cooke-ham gives us an account of the residence of Margaret Clifford, Countess of Cumberland, in the absence of Lady Clifford, who is depicted as the ideal Renaissance woman - graceful, virtuous, honourable and beautiful. Lanyer describes the house and its surroundings while Lady Margaret is present, and while she is absent. While Lady Margaret was around, the flowers and trees:
It seems as if nature is there for the sole purpose of pleasing Lady Margaret. The birds come to attend her, and the banks, trees and hills feel honoured to receive her. Nature is personified throughout the poem, and, when Lady Margaret leaves, appears to go through a process of mourning: "Every thing retaind a sad dismay," . Many poems emphasise the strength of nature and the weakness of humans (for example, Ozymandias by Percy Bysshe Shelley), but in this poem, nature seems to be at the mercy of a human, and a woman at that. This unrealistic notion of Lady Margaret's control over the elements greatly flatters her, and the poem is therefore likely to gain Lanyer's favour with the Countess. A far more rational explanation would be that Lady Margaret resided at Cooke-ham during the summer months, and just after she left, autumn came upon the countryside. In order to flatter Lady Margaret, Lanyer implies that the countryside is mourning her departure, but in actual fact she sees the turn of the season, which is not affected by Lady Margaret. Just as in To Penshurst the lifestyle seemed too good to be true, in A Description of Cook-ham, the Lady of the house seems to be too close to perfection to be real. Perhaps Lanyer's poem is a satirical take on the relationship between the poet and the patron. She appears to be saying that poets will write anything to flatter patrons in order to gain their favour - even something as ridiculous as the idea that nature is emotionally sensitive ("the grasse did weep for woe" and mourns the departure of a human being. ConclusionThe social criticism contained in these two poems is subtle, and shrouded. Society is never criticised directly by the poets, and irony was their most valuable tool. Nature behaves in strange, abnormal ways in both of the poems. In To Penshurst, animals seem unrealistically submissive towards the wills of the people, provisions are acquired with the minimum of effort. The timber crisis of the seventeenth century illustrates the extent to which poets grappled with contradictory images of nature: "Nature, on the one hand, is the fallen, postlapsarian realm of scarcity and labour and, on the other, the divinely ordered handiwork of a beneficent God that can be made to yield infinite profits." The social criticism present in To Penhurst is very effective because it is so unexpected. The role of country house poems was to praise and flatter, yet it is possible to detect a strong sense of irony in the descriptions, and we see the criticism present if we read between the lines. Similarly, love poetry is sometimes used as a way for poets to discuss other things. The poem Who so list to hount I knowe where is an hynde, written by Sir Thomas Wyatt, at first appears to be a love poem, but it could also be interpreted as criticism of patronage, hunting and politics. The hunter and the hunted are compared to the patron and the poet. At this time, poets were afraid to be direct in their criticism of the world they lived in, because they could incur the wrath of the monarch, which was never beneficial if the poet wanted to gain patronage. The poems are effective as social criticism because the criticism is not obvious, but if one looks closely, it becomes apparent. However, it was unlikely that people read country house poetry to be provided with political or social insights, so it is likely that many of the allusions were lost on the majority of readers. To PenshurstBY BEN JONSON Thou art not, Penshurst, built to envious show, Of touch or marble; nor canst boast a row Of polished pillars, or a roof of gold; Thou hast no lantern, whereof tales are told, Or stair, or courts; but stand’st an ancient pile, And, these grudged at, art reverenced the while. Thou joy’st in better marks, of soil, of air, Of wood, of water; therein thou art fair. Thou hast thy walks for health, as well as sport; Thy mount, to which the dryads do resort, Where Pan and Bacchus their high feasts have made, Beneath the broad beech and the chestnut shade; That taller tree, which of a nut was set At his great birth where all the Muses met. There in the writhΓ¨d bark are cut the names Of many a sylvan, taken with his flames; And thence the ruddy satyrs oft provoke The lighter fauns to reach thy Lady’s Oak. Thy copse too, named of Gamage, thou hast there, That never fails to serve thee seasoned deer When thou wouldst feast or exercise thy friends. The lower land, that to the river bends, Thy sheep, thy bullocks, kine, and calves do feed; The middle grounds thy mares and horses breed. Each bank doth yield thee conies; and the tops, Fertile of wood, Ashore and Sidney’s copse, To crown thy open table, doth provide The purpled pheasant with the speckled side; The painted partridge lies in every field, And for thy mess is willing to be killed. And if the high-swollen Medway fail thy dish, Thou hast thy ponds, that pay thee tribute fish, Fat aged carps that run into thy net, And pikes, now weary their own kind to eat, As loath the second draught or cast to stay, Officiously at first themselves betray; Bright eels that emulate them, and leap on land Before the fisher, or into his hand. Then hath thy orchard fruit, thy garden flowers, Fresh as the air, and new as are the hours. The early cherry, with the later plum, Fig, grape, and quince, each in his time doth come; The blushing apricot and woolly peach Hang on thy walls, that every child may reach. And though thy walls be of the country stone, They’re reared with no man’s ruin, no man’s groan; There’s none that dwell about them wish them down; But all come in, the farmer and the clown, And no one empty-handed, to salute Thy lord and lady, though they have no suit. Some bring a capon, some a rural cake, Some nuts, some apples; some that think they make The better cheeses bring them, or else send By their ripe daughters, whom they would commend This way to husbands, and whose baskets bear An emblem of themselves in plum or pear. But what can this (more than express their love) Add to thy free provisions, far above The need of such? whose liberal board doth flow With all that hospitality doth know; Where comes no guest but is allowed to eat, Without his fear, and of thy lord’s own meat; Where the same beer and bread, and selfsame wine, This is his lordship’s shall be also mine, And I not fain to sit (as some this day At great men’s tables), and yet dine away. Here no man tells my cups; nor, standing by, A waiter doth my gluttony envy, But gives me what I call, and lets me eat; He knows below he shall find plenty of meat. The tables hoard not up for the next day; Nor, when I take my lodging, need I pray For fire, or lights, or livery; all is there, As if thou then wert mine, or I reigned here: There’s nothing I can wish, for which I stay. That found King James when, hunting late this way With his brave son, the prince, they saw thy fires Shine bright on every hearth, as the desires Of thy Penates had been set on flame To entertain them; or the country came With all their zeal to warm their welcome here. What (great I will not say, but) sudden cheer Didst thou then make ’em! and what praise was heaped On thy good lady then, who therein reaped The just reward of her high housewifery; To have her linen, plate, and all things nigh, When she was far; and not a room but dressed As if it had expected such a guest! These, Penshurst, are thy praise, and yet not all. Thy lady’s noble, fruitful, chaste withal. His children thy great lord may call his own, A fortune in this age but rarely known. They are, and have been, taught religion; thence Their gentler spirits have sucked innocence. Each morn and even they are taught to pray, With the whole household, and may, every day, Read in their virtuous parents’ noble parts The mysteries of manners, arms, and arts. Now, Penshurst, they that will proportion thee With other edifices, when they see Those proud, ambitious heaps, and nothing else, May say their lords have built, but thy lord dwells. |
Tuesday, July 28, 2020
lecture on 29 July
1.What is our life?’, by Sir Walter Raleigh
What is our life? A play of passion,
Our mirth the music of division;
Our mothers’ wombs the tiring houses be,
Where we are dressed for this short comedy;
Heaven the judicious sharp spectator is
That sits and marks still who doth act amiss;
Our graves that hide us from the searching sun
Are like drawn curtains when the play is done.
Thus march we playing to our latest rest —
Only we die in earnest, that’s no jest.
2.Sonnet 54
by Edmund Spenser
Of this world's theatre in which we stay, My love, like the spectator, idly sits; Beholding me, that all the pageants play, Disguising diversely my troubled wits. Sometimes I joy when glad occasion fits, And mask in mirth like to a comedy: Soon after, when my joy to sorrow flits, I wail, and make my woes a tragedy. Yet she, beholding me with constant eye, Delights not in my mirth, nor rues my smart: But, when I laugh, she mocks; and, when I cry, She laughs, and hardens evermore her heart. What then can move her? if nor mirth nor moan, She is no woman, but a senseless stone. 4.TOTTEL’S MISCELLANY![]() 5th June 1557 edition English Short Title Catalogue record 1st 1559 edition English Short Title Catalogue record 1565 edition English Short Title Catalogue record 1574 edition English Short Title Catalogue record Songes and Sonettes was by far the most experimental book Tottel printed and also the most popular with his contemporaries. It was one of the first, if not the first anthology of English poetry. It included secular verse by the English nobleman Henry Howard, Earl of Surrey (b. 1516/1517 – 1547), the courtier Sir Thomas Wyatt (1503 – 1542), Nicholas Grimald (b. 1519/20, d. in or before 1562), the humanist scholar, poet and dramatist and several anonymous ‘uncertain’ authors . Two editions appeared in 1557. The first edition was published on the 5th of June and included 271 poems, with 40 attributed to Surrey, 97 to Wyatt, 40 to Grimald, and 94 to ‘Uncertain Authors’. The second edition was printed very shortly afterwards on the 31st of July. This edition was substantially revised and reorganised, the poems attributed to Surrey remained unchanged, one of the Wyatt’s poems was removed, the number of poems attributed to Grimald decreased significantly to 10, and those attributed to ‘Uncertain Authors’ increased to 134. The poems cover a variety of subjects such as friendship, war, politics, death and love. The full text of an early twentieth century edition edited by Edward Arber who was the first to refer to it as Tottel’s Miscellany is available online. Tottel appears to have a been a very cautious businessman at every stage of his career, so it is interesting that he was willing to take the financial risks involved with printing the first edition of Songes and Sonettes. There was no established market for printing anthologies of verse in English, although some French and Italian printers during the first half of the sixteenth century had successfully published miscellanies of secular vernacular poetry. The preface Tottel wrote to the first edition refers to this and suggests that the works of ‘good Englishe writers’ should also be celebrated. In the introduction to the 2011 Penguin Books edition of Tottel’s Miscellany, the editors refer to this preface to the miscellany, The Printer to the Reader. In it Tottel implies that he is providing the general public with access to works that had been hoarded by the aristocracy. A comparison is made with the printing of common law texts which also involved bringing the public in on something that had previously been kept from them. Clearly, in addition to his business concerns, Tottel was conscious of the humanist role of a printer to bring written works previously reserved for an elite few to a much wider audience. The exact extent of Tottel’s involvement in organising the text of the miscellany is not known and there is a long-standing question of who, if anyone, edited the poems. The two main manuscripts that the poems appear to come from, the Egerton MS. 2711 and the Arundel Harington, indicate that the versions in the miscellany were substantially revised before publication. Nicholas Grimald has often been considered a likely editor because of his association with Tottel at this exact period and his widespread literary activities. The other two noteworthy theories are that a group of young lawyers from the Inns of Court connected to Tottel could have edited the works, or that it was Tottel himself. The main evidence supporting the theory of Tottel as editor is that he printed other volumes of verse, was connected contemporary poets like Grimald and that the alterations made to his edition of John Lydgate’s Fall of Princes from Richard Pynson’s 1527 edition are of a similar style to those made to the poems in the miscellany from their manuscript versions. ![]() The recent 2011 Penguin edition of Tottel’s Miscellany has a detail from The burning of the remains of Martin Bucer and Paul Fagius on Market Hill in Cambridge in 1557 from Acts and Monuments by John Foxe. Songes and Sonettes was published during the reign of Mary, when the burning of Protestant ‘heretics’ was at its peak in the summer of 1557. Tottel’s political caution is evident in the selection of the poems. There are none that attack the Marian regime but there are also none that directly praise it. One particular poem, 168. A praise of his Ladye included praise of Mary in a manuscript version and this is edited out of the printed version. Also, one of Wyatt’s most famous poems Whoso list to hunt which is often thought to be about Anne Boleyn, the mother of the future Elizabeth I, also appears to have been deliberately excluded. Tottel’s Miscellany remained popular for the remainder of the sixteenth century and it is likely to have been the first contemporary English poetry that poets such as William Shakespeare, Edmund Spenser and John Donne read. In Shakespeare’s The Merry Wives of Windsor (1602), Abraham Slender wishes he had his copy with him: ‘I had rather than forty shillings I had my Book of Songs and Sonnets here’. He also longs for a Book of Riddles. The fact that it was viewed as a suitable resource for a fool like Slender is a clear indication that the miscellany was no longer in vogue by the end of the century. 5.Anatomy of Melancholy, The Anatomy of Melancholy, The, in full The Anatomy of Melancholy, What it is; with all the Kindes, Causes, Symptomes, Prognostickes and Several Cures of it: In Three Maine Partitions With Their Several Sections, Members, and Subsections, Philosophically, Medicinally, Historically Opened and Cut up, by Democritus Junior, exposition by Robert Burton, published in 1621 and expanded and altered in five subsequent editions (1624, 1628, 1632, 1638, 1651/52). The huge and encyclopaedic Anatomy of Melancholy was produced by the English clergyman Robert Burton (1577–1640). It explores a dizzying assortment of mental afflictions, including what might now be called depression. Burton considers melancholy to be an ‘inbred malady’ in all of us and admits that he is ‘not a little offended’ by it himself (p. 5). What’s in The Anatomy of Melancholy?This is the third edition (1628) of Burton’s increasingly comprehensive text, first published in 1621 and expanded from 1624 to 1651. The work is divided into three sections. The first considers the nature, symptoms and diverse causes of melancholy. These causes range from God to witches and devils, poverty and imprisonment, parents and ‘overmuch study’, ‘desire of revenge’, or ‘overmuch use of hot wines’. The second section discusses cures such as exercise and diet, purging, blood-letting and potions. The third focuses on two particular types – love melancholy and religious melancholy. Burton’s work is richly varied and at times bewilderingly rambling. It shifts from sad to self-reflexive, from satirical to serious, including an eclectic mix of quotations (many in Latin) from literature, philosophy and science. The engraved title pageThis edition includes, for the first time, an elaborate title page engraved by Christian Le Blon, with portraits of Democritus (the laughing philosopher) and the author (in the persona of Democritus Junior). These are placed alongside symbols of melancholic types including a ‘madman’ who reminds us, ominously, that ‘twixt him and thee, ther’s no difference’. Male and female melancholy: Hamlet and OpheliaMany agree with Claudius’s claim that ‘there’s something in [Hamlet’s] soul’ which seems to be ruled by ‘melancholy’ (3.1.164–65). It was a common, even fashionable malady in Elizabethan England, associated with sadness and abnormal psychology, but also refinement and male intellect. Yet, as Elaine Showalter has noted, female melancholy was considered to fall into a whole different category, connected not with genius but with sexuality and sexual frustration. Burton gives us an insight into how this might have been viewed in the early modern era. In the section on ‘Maides, Nunnes, and Widows’, he claims that ‘noble virgins’ are particularly affected by ‘vitious vapours which come from menstruous blood’ (p. 193). He reports shocking tales of nuns who rebel against their ‘enforced temperance’ and express their sexuality, leading to ‘frequent’ abortions and ‘murdering infants in their Nunneries’ (p. 196). For him, the ‘surest remedy’ is to see them ‘married to good husbands’ where they can fulfil their ‘desires’, and put out the ‘fire of lust’ (pp. 194–95). Hamlet expresses the idea that ‘Frailty’ is particularly female (1.2.146). Ophelia, in Acts 4 and 5, is seen by her brother Laertes as a ‘document in madness’ (4.5.178). As in Burton’s Anatomy, her insanity is connected with both virginal innocence and explicit sexuality. Yet, contrary to Burton, Hamlet bitterly suggests that she should go to a nunnery (3.1.120). Love melancholy: Benedick and BeatriceBurton reveals a knowledge of Shakespeare, using the playwright’s characters as definitive examples of particular psychological types (as Sigmund Freud would do centuries later). For Burton, lovers who at first ‘cannot fancie or affect each other, but are harsh and ready to disagree’ are ‘like Benedict and Betteris in the comedy’, Much Ado About Nothing. He claims that the best solution is to push the couple into marriage, so that love will grow out of closeness: ‘by this living together in a house, conference, kissing, colling [or embracing], and such like allurements, [they will] begin at last to dote insensibly one upon another’ (p. 443). Burton seems to sidestep the idea that, in Shakespeare’s play, the couple might love each other even before their friends intervene; we might see their witty disagreements as a subtle sign that they already 'fancie' each other. Robert Burton’s tomb in Christ Church, Oxford, bears an enigmatic Latin inscription suggesting that ‘Melancholy gave life and death’ to its occupant. Historians and antiquaries have often speculated about its precise meaning. A persistent rumour perpetuated by Burton’s contemporary, the biographer and Oxford gossip Antony Wood, implied that its origins lay in Burton’s reading of an astrological chart predicting his own death in 1640. The melancholic Burton, the gossips suggested, committed suicide and thereby grimly verified the astrologer’s prediction. The evidence on either side is scant, but the rumour has persisted. Thus melancholy, a complex and peculiarly pre-modern disease, may well have killed Burton: it certainly must have occupied much of his time while he lived. Burton’s The Anatomy of Melancholy, which was first published in 1621 and reissued in several subsequent editions in the 17th century, was a vast, erudite behemoth of a book. The Anatomy expanded relentlessly in Burton’s lifetime, since he constantly reworked the text and added extra material to each new edition. It won a wide readership among his learned contemporaries across Europe and remained popular long after Burton’s death. It seems that many of his later readers viewed the Anatomy as both a useful storehouse of impressive learning that could be recycled for their own purposes and, occasionally, as a source of practical advice. One 17th-century physician, Richard Napier, reportedly used some of the remedies he found in Burton’s work to treat his patients. What exactly did the Anatomy anatomize? Any reasonable answer to this question involves stepping back into an unfamiliar and complicated mental world. In the 16th and 17th centuries, melancholy was typically defined in the medical literature (which itself drew on Aristotelian, Hippocratic, Galenic and other classical sources) as a form of delirium (or mental distress) characterized by the impairment of the patient’s mental faculties (typically reason or imagination), combined with a tell-tale absence of fever and accompanied by the passions of fear and sorrow. The early modern understanding of melancholy drew on humoural theory to explain its basis and effects—specifically, it connected melancholy to an excess of one humour, in particular black bile. Medical discussions of the humours were complex, but were built on the assumption that a healthy body exhibited equilibrium between the four humours (blood, phlegm, yellow bile and black bile). Each humour had its own distinct characteristics derived from the elements of heat, coldness, wetness and dryness. Blood was hot and moist, yellow bile hot and dry, phlegm cold and moist and black bile cold and dry. Any disruption to this equilibrium was potentially harmful, and produced disorder and disease. The basic humoural building blocks were multiplied by classical and later authors to produce a nuanced analysis of the many possible temperaments or mixtures of humours. The underlying assumption of this account was that the ‘perfect’ humoural mixture rarely occurred—most people were therefore unbalanced in respect to their humours. In the case of melancholy, an excess of the cold and dry humour of black bile produced symptoms affecting both body and soul together—making melancholy what we might anachronistically call a somatic and psychic disorder. Consequently, Burton’s Anatomy contained much discussion of the structure and functions of the body, mostly towards the start of the first part of the work, where he noted that he ‘held it not impertinent to make a brief digression of the anatomy of the body and faculties of the soul, for better understanding of that which is to follow’. Burton cannibalized the work of well-known 16th-century anatomists and medics such as Andreas Vesalius and Jean Fernel for this part of the book. But his approach to melancholy was based on more than simply medical knowledge: among the ‘divers writers’ he cited were works of classical literature, theology and history. This omnivorous attitude to his sources was driven partly by the therapeutic aims of the Anatomy. Burton clearly saw his project as an enterprise driven by the hope of alleviating or curing melancholy, although a dark thread of pessimism about the chances of achieving this goal runs through the book. The Anatomy was also an extended exercise in self-therapy. ‘I write,’ Burton noted in its opening pages, ‘of melancholy, by being busy to avoid melancholy’. A cure might be found in the pastoral care of a priest, or in work (Burton commanded the reader to ‘Be not solitary, be not idle’) as much as in the apothecary’s shop or the physician’s consulting rooms. As a disorder, melancholy therefore inhabited a strange space between the expertise of medics, pastors and moral philosophers. |
Monday, July 27, 2020
History of the Translation of the Bible fb lecture 28 July
Astrophil and Stella 63: O Grammar rules, O now your virtues show
Sunday, July 26, 2020
Some Facts of English Renaissance -2
His attempt at a translation of Ariosto's Orlando Furioso caused his banishment from court for some years. Angered by the raciness of his translations, Elizabeth told Harington that he was to leave and not return until he had translated the entire poem. She chose this punishment rather than actually banishing him, but she considered the task so difficult that it was assumed Harington would not bother to comply. Harington, however, chose to follow through with the request and completed the translation in 1591. It received great praise, and is one of the translations still read by English speakers today.
18.The first translation of Homer into English consisted of the first ten books of the Iliad by Arthur Hall in 1581. Hall did not base his translation on the original Greek but on the French version by Hugues Salel published in 1555. However, the first celebrated translator of Homer into English was George Chapman (1559/60–1634).
19.George Chapman In 1598, Chapman published a translation of Seauen Books of the Iliades and most of book 18 of the Iliad under the title, Achilles Shield. In 1609, the first twelve books were published, followed by the translation of the entire poem in the edition of 1611, of which our copy is an example. In an introductory letter, “To the Reader,” Chapman rejects verbatim translation on the grounds of inelegance:
Their word-for-word traductions (where they lose
The free grace of their natural Dialect
And shame their Authors, with a forced Glose)
In fact, to embellish the English version, Chapman often took poetic license, going as far as adding words and phrases not in the original. For instance, “Hades” is “the invisible cave that no light comforts.” And, as it was fairly typical of the early-modern translator, Chapman also made use of annotated Latin versions, such as the edition of Jean de Sponde published in Basel in 1583, which included a Latin translation paralleling the original Greek.
20.The Defence of the Seven Sacraments is a theological treatise published in 1521 , written by King Henry VIII of England, allegedly with the assistance of Thomas More.
Henry started to write it in 1519 while he was reading Martin Luther's attack on indulgences.
It was dedicated to Pope Leo X, who rewarded Henry with the title Fidei Defensor (Defender of the Faith) in October 1521 (a title revoked following the king's break with the Catholic Church in the 1530s but re-awarded to his heir by the English Parliament).
21..Nicholas Hilliard was an English goldsmith and limner best known for his portrait miniatures of members of the courts of Elizabeth I and James I of England. He mostly painted small oval miniatures, but also some larger cabinet miniatures, up to about ten inches tall, and at least two famous half-length panel portraits of Elizabeth. He enjoyed continuing success as an artist, and continuing financial troubles, for forty-five years. His paintings still exemplify the visual image of Elizabethan England, very different from that of most of Europe in the late sixteenth century. Technically he was very conservative by European standards, but his paintings are superbly executed and have a freshness and charm that has ensured his continuing reputation as "the central artistic figure of the Elizabethan age, the only English painter whose work reflects, in its delicate microcosm, the world of Shakespeare's earlier plays."
22. Thomas Harriot 1560 – 1621), also spelled Harriott, Hariot or Heriot, was an English astronomer, mathematician, ethnographer and translator who made advances within the scientific field. Thomas Harriot was recognized for his contributions in astronomy, mathematics, and navigational techniques.Harriot worked closely with John White to create advanced maps for navigation.While Harriot worked extensively on numerous papers on the subjects of astronomy, mathematics, and navigation the amount of work that was actually published was sparse. So sparse that the only publication that has been produced by Harriot was The Briefe and True Report of the New Found Land of Virginia.The premise of the book includes descriptions of English settlements and financial issues in Virginia at the time.He is sometimes credited with the introduction of the potato to the British Isles.Harriot was the first person to make a drawing of the Moon through a telescope, on 26 July 1609, over four months before Galileo Galilei.
23.SLAVERY IN ENGLAND DURING ELIZABETHAN AND JACOBEAN AGE
Let us read these paragraphs from NORTON ANTHOLOGY about slavery
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Now let us read a poem that I consider important from UGC NET English Literature exam point. ππππ
A LITANY IN TIME OF PLAGUE
by Thomas Nashe
Adieu, farewell, earth's bliss; This world uncertain is; Fond are life's lustful joys; Death proves them all but toys; None from his darts can fly; I am sick, I must die. Lord, have mercy on us! Rich men, trust not in wealth, Gold cannot buy you health; Physic himself must fade. All things to end are made, The plague full swift goes by; I am sick, I must die. Lord, have mercy on us! Beauty is but a flower Which wrinkles will devour; Brightness falls from the air; Queens have died young and fair; Dust hath closed Helen's eye. I am sick, I must die. Lord, have mercy on us! Strength stoops unto the grave, Worms feed on Hector brave; Swords may not fight with fate, Earth still holds open her gate. "Come, come!" the bells do cry. I am sick, I must die. Lord, have mercy on us! Wit with his wantonness Tasteth death's bitterness; Hell's executioner Hath no ears for to hear What vain art can reply. I am sick, I must die. Lord, have mercy on us! Haste, therefore, each degree, To welcome destiny; Heaven is our heritage, Earth but a player's stage; Mount we unto the sky. I am sick, I must die. Lord, have mercy on us!
Metaphysical Poetry Characteristics
π―Characteristics of Metaphysical Poetry π·Dr Mukesh Pareek π·15 NET, 3 JRF, 2 M. Phil π·Expert of Experts πJoin online /offline Classes ...
