Survey of English Literature: Renaissance to Restoration

Survey of English Literature: Renaissance to Restoration - Written Exam

Survey of English Literature: Renaissance to Restoration - Written Exam


M. BM.
This set of flashcards helps university-level students explore English literature from the Renaissance to the Restoration, focusing on key works and authors like John Milton, Andrew Marvell, and Thomas Hobbes. The vocabulary flashcards cover themes such as rebellion, love, and political theory, with examples like "Paradise Lost," "To His Coy Mistress," and "Leviathan." The platform supports backward learning from the target language to the source language, making it ideal for advanced learners, literature students, and anyone deepening their understanding of this rich historical period.
Flashcards
112
Students
1
Language
English
Category
English
Level
University
Created / Updated
11.12.2018 / 11.12.2018

Flashcards

Session 1 – The Tudors

Early Modern History:

  • Queen Elizabeth (the first) finally died.
  • The Tudors established the early modern State!
    • The Tudors took England from medieval into modernity –> transition into early modern state
  • End of the war of the roses. Henry VII takes his name from the welch family –> Tudor
  • Tudor have a renaissance right now. Tudor hype could be led back because of the Brexit. Because of the Brexit, there might be a search after belonging, ideology, identification. The Tudors are the very English dynasty. People look back in a romantically way at the times of Tudors.

Session 1 – The Tudors

1509 – 1547 Henry VIII:

  • 1534 Act of Supremacy (King becomes head of church) Henry VIII wanted to divorce from his wife in order to marry another woman –> ignore the pope
  • 1536 – 9 Abolition of monasteries, consolidation of power. Henry VIII takes the wealth and land of the “church” and redistributed land under his followers
  • Although he had a great number of wives, he didn’t have a lot of sons.
  • Amberlynne the second wife of Henry VIII has a child called Elizabeth (the future queen)

Session 1 – The Tudors

1547 – 53 Edward VI:

  • Rule through Lord Protector Duke of Somerset (Protestant), because Edward was only 9 years old when he became King.
  • Book of Common Prayer (Basis for protestant worship) was established –> to base their removal from Rome and Catholicism.
  • Mary the first came to the throne there was a wave of prosecution of protestant. Because Mary was catholic. That’s why she’s also called Bloody Mary
  • 1557 – 8 War with France, end of English rule on the Continent. They possessed an additional bit of land on the Europe continent in the war against France they lost –> lost their land on the Europe continent

Session 1 – The Tudors

1558 – 1603 Elizabeth I:

  • Golden age in English history, increase of science, culture, medical system is left behind more and more. Modern state features during Elizabethen rule.
  • A state rule and state establishment was created.
    • Spying, secret service activities established at the time –> William Cecil, Lord Burleigh had an important role in government
  • England wants to be part of the global economy in the late 16th century
  • Struggle between Spanish and English sea powers. They wanted to be part of the global and establishing
  • Elizabeth I didn’t marry someone. Lords wanted her to marry protestants, were keen on position. The question about who would inherit the power would arise. She conducted prolonged negotiations about a possible marriage, but it never happened.
  • Internally there were always contenders for the throne –> Mary Stuart
  • 1587: Mary Stuart beheaded after being part of the ‘Babington plot’
  • 1588: Victory over the Spanish Armada. –> England has become the sea power. Elizabeth I secured her seat on the throne.
  • 1603: Death of Elizabeth, aged 69. The son of Mary Stuart became the King of England.
  • 16th Century Colonialization became a thing –> Walter Raleigh founds colony Virginia in 1585/6

Session 1 – The Tudors

Sir Henry Unton – various stages of life:

  • Sir Henry Unton (powerful influential nobleman), 1557- 96 Various stages of a noble man’s life in a picture, which works like a comic strip.
  • Education: Oxford, Middle Temple
  • Grand Tour of the continent. Aim as a young man : see a bit of the world
  • Fighting in the Netherlands to fight the Spanish. There are pitched tents –> got promoted and  became sir.
  • Ambassador in France.

     Represented England in France

  • Life part is as big as the death part. Life and death are really in the balance. Unton is placed between life and death. There’s a circle of life shown.
  • Dies on illness (big funeral because of his status as an ambassador)

Session 1 – The Tudors

Sir Walter Raleigh (1552 – 1618):

  • Soldier, courtier, philosopher, explorer and colonist, student of science and history, poet
  • Introduced the potato and tobacco to Europe, directed the colonization of Virginia
  • Elizabeth the first’s favourite –> he was therefore highly powered and influential
    • Raleigh married without the Queens consent. He fell out of Elizabeth’s favour! He was sent away first and later executed under King James. He died by unnatural causes. 

Session 1 – The Tudors

Sir Walter Raleigh (1552 – 1618)

  • “The Nymph’s Reply to the Shepherd, 1600:

  • Negative response to Marlowe’s poem, where he picks up all the symbols Marlowe had, but making them fall into pieces. He’s a sceptic, cynic writer. A creative dialogue develops because it’s a response to another poem.
  • Vanitas motive
    • Life is short brief riddled with problems, illness, dangers.
  • Principle of reality here
    •  every summer is followed by an autumn. After every spring of pleasure there’s always an autumn of unleasure
  • He thinks that the court is deceptive, we cannot trust everyone, life itself is deceptive, so that’s why he cannot do what Marlowe suggests (enjoy every moment in life)
  • Raleigh mentions the elements of the nymph’s clothes as lost and forgotten. He makes himself the cynic.

Session 1 – The Tudors

Sir Walter Raleigh (1552 – 1618)

  • “Ocean to Cynthia” (written after he was rejected by Queen Elizabeth)

  • He as the ocean, Cynthia as the virgin queen
  • “the broken monument of my great desires” –> Poem to show how he suffers the present bad situation, former happiness, former bliss 
  • He represents the ocean speaking to Cynthia. He says that this is a humble little exercise to express his woe. It is of course an understatement. The image of the seasons follow (prominent in this kind of literature). Poetic images of the seasons: genuine expression of anguish, psychological reflections. 

Session 1 – The Tudors

Poem of Christopher Marlowe, “the Passionate Shepherd to His Love” – 1599/1600:

  • Allegory. Pastoral inconjunction with courtly discourse.
    • Allegory: “cease the day, why wait for tomorrow”
  • Carpe diem motive.
    • Lovely life
  • Bucolica –> lowest form!

Session 1 – The Tudors

Genre:

  • One poem replying to another
  • Cultury audience is there
  • Evidence of a creative dialogue.
  • Ocean to Cynthia of Sir Walter Raleigh.
    • Is a poem to Elizabeth I. and trying to explain and apologies.
    • Cynthia is the virgin queen
    • Sir Walter Raleigh is the Water
    • His present situation is described. How the bliss of happiness has faded
    • The broken monuments of my… famous sentence.
    • All I have left are broken monuments.
  • Level of Poems:
    • Bucolica –> pastoral coatry dealing with lowest kinds of people. The Shepherd belongs to this section
      • Very present in Elizabethen times!
    • Georgika –> the peasant is the figure important. About agriculture. More practical type of literature
    • Enit–> estabilishment of states, rules. The matter is ran 

Session 1 – The Tudors

 The Court – a moving institution focused on the Queen:

  • Organisation of space:
    • Great Hall: big room for official receptions
    • Presence chamber: reception of delegations
    • Privy chamber: private conversations and recreation
    • Royal bedchamber: most private space
      • The Court was A ring around the body of the queen.
      • Access to the queen was very regulated. Who could get close to the queen?
      • in the royal bedchamber there was also political matters discussed –> the further you got, the more you were involved in political matters
  • Household
    • Different people for catering and servants, access to the Queen, entertainments
      • Master of Revels –> responsible for entertainment
  • Power was concentrated in the court and the noble men
  • Elizabeth to Parliament: “We princes, I tell you, are set on stages as it were in the sight and view of all the world duly observed.”
  • Portraits of Elizabeth were all symbolic
    • Pelican portrait, phoenix portrait, armada portrait (hand on global)

Session 1 – The Tudors

Speech to the Troops at Tilbury, Essex (August 9, 1588):

  • She could not fight with the men, but she held a speech in order to show her support
  • She says that the body politic is male and that the king protects his land with his body. But she has the body of a female and therefore is unable to participate in the war (which is successful)

Session 1 – The Tudors

London as a city:

  • Second largest city after Paris
  • About 200’000 inhabitants. Quiet like basel and surrounding arias. That’s huge.
  • Entertainment places, Tower of London and a prison.
  • There were a lot of craftsmen organised in guilds. –> city with draft skills
  • City was governed by Lord Mayor
  • Here’s the centre of power in relation to the court as an institution

Session 1 – The Tudors

Edmund Spenser (1552 – 99):

  • Administrator in Ireland (not sure about that!)
  • He began with the pastoral work e.g. the shepheardes Calendar (1579)
  • National epic /chivalric romance e.g. The Faerie Queene
    • He constructs an epic consisting of 6 books 
    • As an allegoric work in an archaic language (1590/96)
    • Every virtue is aligned by a book
    •  At the beginning he talks about himself and explains that he changed his ”poetic  level”.
    •  
  • Structure of his epic
    • 8 lines in iambic pentameter. The final line is an iambic hexameter –> one syllable more. Kind of prose effect, which gives kind of closure
  • Renaissance started later than in Italy or France!

Session 2: The Sonnet Tradition - Early modern period:

Petrarchism:

 

  • Francesco Petrarca (1304-1374, Italian), Poet of Italian Renaissance
  • Renaissance in England (late 15th-17th) over a century later than in Italy (14th-17th) due to ongoing wars
  • Petrarchism as first forms of Renaissance art in England
  • Beginning of courtly love poetry in 11th to 13th century French troubadour poetry
    • Idealization of a distant noble lady as earthly representative of spiritual beauty
  • Features (Sonnet):
    • Catalogue of physical perfections (hair, eyes, mouth, voice)
    • Petrarchan conceit: comparisons, metaphors, allegories to describe (lady’s hair like beaten gold)
    • Paradoxical description of psychological states (a poet (poem?) is in(?)
      • icy fire / I freeze / I live to die
  • Most important subject the poet himself, his emotional control, development of subjectivity and interiority, poetic skill
  • Structure
    • 14 lines
    • Octaves: abba abba (8 lines)
    • Volta (zesura) in the octave and the sestet, change of content
    • Sestet (cde cde) (6 lines)
  • Rhetorical feature, which is always kind of argumentative
  • The Petrarchan Sonnet is so popular in the 15th century, because of the queen as the head of the monarchy

Session 2: The Sonnet Tradition - Early modern period:

Sonnet:

Francesco Petrarca: Canzoniere (collection of his poems to Laura, written over Period of 40 years, expressing the Poet’s love to Laura, first part when alive, 2nd when dead)

  • Praise of a lady (here Laura). An unreachable object of desire. Pangs (schmerzen) of unfulfilled love

Laura de Noves

  • Poems were dedicated to her while she was alive and unreachable and afterwards when she was dead and literally unreachable

Session 2: The Sonnet Tradition - Early modern period

Renaissance of literature in England:

  • Two poets started translating the Petrarchan (Italian) sonnets into English, drawing on Italian tradition, copying Italian sonnets (sometimes little changes in meter etc.)
    • Sir Thomas Wyatt (1503 – 42) Ambassador and learned about continent traditions and took them back to England
    • Henry Howard, Earl of Surrey (1517 - 47)
  • Tottel’s Miscellany (1557) – collection of verse (Wyatt, Howard, Surrey)
  • Sonnet cycles
    • Place love poetry in a narrative context
    • Interspersed with songs
    • Play with Petrarchan conventions
  • Soon they shift onto an “Anti-Petrarchan” view (i.e. Shakespeare)
    • Artificial idea of a devotion (Hingabe) over many years which is not reciprocated is no longer understood
      • Painting by Nicholas Hilliard, Young Man Among Roses (1588), Man leaning at tree, nature covering him (standing for so long at one point)
  • View of making English better by going back to the tradition, traditional values (?)
  • English language (and culture) seen to be less sophisticated, feeling of stepping it up
  • First, they learn and copy a lot about/of Petrarchan. Later: development of style of writing (fed up)  
  • New rhyme scheme is abab cdcd efef gg (like Shakespearean Sonnet structure)
  • Late 16th century, Sonnet becomes fashion

Session 2: The Sonnet Tradition - Early modern period

Sir Thomas Wyatt, “I find no peace”

  • Contrasts
  • Expressing extreme emotional states
  • Paradoxical conceit is here peace and..
  • Structure of a Sonnet
  • Polish English language through copying Italian tradition 

Session 2: The Sonnet Tradition - Early modern period

Surrey, “Alas! So all things now do hold their peace”

  • Sonnet with his 14 lines
  • Argumentative structure of a sonnet, tends to have an argument: This is my situation, this is what I do, and therefore I have to do this in order to get that.
  • Starting to experiment with rhyme scheme because translation from Italian is not always the same.

Session 2: The Sonnet Tradition - Early modern period

Isaac Oliver, “Portrait of a Melancholy Young Man” (c. 1590-5) 

  • Body contains a number of fluids that had to be in equality
    • Phlegm –> phlegmatic (träge, gleichgültig)
    • Black bile –> Melancholic
    • Yellow bile –> choleric
    • Blood –> Sanguing, energetic
  • Melancholy didn’t mean something negative

Session 2: The Sonnet Tradition - Early modern period

Michael Drayton (1563 – 1631), From Idea

  • I’m “ever in motion”, as English culture, English language and art (poetry)
  • This Sonnet explains the change after years of Petrarchism
  • Rhyme scheme differs from Italian (Italian mostly the same, English varies much more)
  • This is rhymed in the most used rhyme scheme ab ab cd cd ef ef gg

Session 2: The Sonnet Tradition - Early modern period

Edmund Spenser, Amoretti (1595)

  • The three Elizabeth’s he has to thank. The mother, the queen and the wife. In the context of his marriage, the first Elizabeth in his life is his mother and the second is his queen the third is Elizabeth his wife.
  • It’s about fulfillment of love and attaining what you wish for

Session 2: The Sonnet Tradition - Early modern period

William Shakespeare (1564 – 1616) and Shakespearean Sonnet

Sonnets (pub. In Quarto in 1609)

  • Constellation of characters
  • Very broad field (melancholy, sexual,…))
  • 1-126 sonnets are addressed to a young man, with whom he’s involved amorically
  • The 127-152 are addressed to a ‘Dark Lady’ –> lots of theories about who could be this lady
  • 1-17 “procreation sonnets”
  • 78-86 deal with a rival poet
  • 153/154 Anacreontic poems, light happy poems (Anacreon; greek poem)
  • Complex triangular relationship
  • Shakespearean sonnet: 3 quatrains; 1 closing couplet
  • First quatrain first argument, second quatrain explanation further details of the argument, third quatrain …   the couplet gives a surprising twist or a summary.
  • Rhyme scheme: abab cdcd efef gg

Session 2: The Sonnet Tradition - Early modern period

William Shakespeare (1564 – 1616) and Shakespearean Sonnet

William Shakespeare, Sonnet 20

  • About a woman and everyone
  • This is the argumentative structure of a woman.
  • Mainly he says: Nature fell in love with you and added a thing (penis) in order to enjoy him. (By adding one thing to my purpose nothing) He gives him his love, but women will enjoy his love more (sex).
  • He plays with sexuality and gender, symbols. 

Session 2: The Sonnet Tradition - Early modern period

William Shakespeare, Sonnet 130

  • Anti-Petrarchan
  • One of the Dark Lady sonnets
  • He deconstructs the metaphors, which were used in the Petrarchan
    • The metaphor doesn’t work for my woman
  • She is as beautiful as the others (even more), who are cheated by added features
    • Just that there are not added metaphors and similes to describe her beauty doesn’t mean that she is not beautiful. Does just not agree with display.

Session 2: The Sonnet Tradition - Early modern period

William Shakespeare, Sonnet 135

  • Playing with utterance “will”
  • Fulfillment, sexual intercourse, funny language

Session 2: The Sonnet Tradition - Early modern period

William Shakespeare, Sonnet 18

  • “Shall I compare thee to a summer’s day?”
  • Comparison summer’s day
  • Desire, love
  • Putting her in a mortal state so she cannot die
  • Self-assure poem, manifest importance of his writings
  • Great influence of Shakespeare, àtranslations 

Session 3: Theatre and Drama

Published works:

  • Besides courtly writing (aristocratic end of literature at the time)
  • Drama is a whole different and large context
  • When printing became a widely available technology (end of 15th century) there was a mass of printing
    • Almanacs, which are calendars with information. (technical stuff: planting dates, tide tables..)
    • The Bible itself a large part of the market.
    • Broadsheet ballads (popular entertainment, sold on street)
    • Manuals, guide-books and conduct books (practices of behaviour, becoming gentleman)
    • Translations of works –> the Italian writing was an important context (e.g. Sonnets)
    • Atlases, maps, chorography
    • Scientific texts
    • Political pamphlets and satires
    • Histories and law books
    • Prose romances and drama (sometimes critical literature, dangerous, secret service etc.)
  • The punishment reflects the offence –> sometimes book writers had cut off their hands
  • Professional writers such as Thomas Nashe (1567-1601)
  • Literacy rates:
    • Only 10% of women could read. Men were able to read according to class: upper: full; middling sort 60% and labourers 15-20% –> there was quite a market

Session 3: Theatre and Drama

Early Drama

  • Rather “unpromising beginnings of Drama
  • Late 15th century in England still medieval times, early modern times & Renaissance (late in E) to come
  • Mystery plays – ex. The Wakefield Second Shepherds’ Play (late 14th/15th centuries)
  • Medieval practices, biblical plays
  • Morality plays – ex. Everyma. allegory (late 15th century)
  • focuses a figure Everyman, who walks through life and has to withstand the temptations which are personifications. Like sin will appear personalised on stage. Path to virtue (Tugend), good live in a Christian manner.
  • John Heywood, Interludes (c. 1530) Deals with the Tudors situation it’s dealing ostensibly with a much earlier king
  • John Bale, Kynge Johan (c. 1538) – history.
  • dramatizes live of King John, between morality play and modern drama, allegorical vs. realist
  • The Drama is trying to find its style

Session 3: Theatre and Drama

Comedy

  • Nicholas Udall, Ralph Roister Doister (c. 1553) - comedy
  • A wealthy widow pursued by a soldier

Session 3: Theatre and Drama

Tragedy

  • Thomas Norton/Thomas Sackville, Gorboduc (c. 1562) - tragedy
  • it’s a drama that comes out of the context of lawyer schools. Legal context is really thematised
  • dispute of land, giving away land, common topic (Tragedy of King Lear Shakespeare as another example)

it’s the first blank verse: in iambic pentameter unrhymed

  • Influences: Latin drama- comedy (Plautus, Terentius); tragedy (Seneca) / Italian commedia dell’arte

Session 3: Theatre and Drama

Thomas Kyd (1558 – 94)

  • Student of Merchant Taylor’s School under Richard Mulcaster Playwright
  • Friend of Christopher Marlowe
  • implicated in an atheism charge in 1593

Session 3: Theatre and Drama

The Spanish Tragedy (late 1580s)

  • Revenge tragedy after the model of Seneca, not realist but also not allegorical anymore
    • Revenge comes with Don Andrea back to the earthly world
    • His antagonists act in a play: reenactment of the bloody events
    • Elaborate in the terms of frame. Don andrea watching the play and inside there’s another play which at one point turns into a real one and his antagonist is getting killed.
    • In the end the good characters come to heaven the others to hell
    • Everyone dies in the end
  • Revenge tragedy became on vogue, wave of revenge tragedies, became one subgenre of sophisticated dramas
    • Shakespeare got
  • Under violence, dramatic actions, irrealist situations. The dramatist is interested in escalation of violence, nature of revenge.

Session 3: Theatre and Drama

The Boy Actor Practice

  • No women were on stage. Women only in the late 17th century, actresses came up
  • There are plays that are entirely made up by boys (who also played women sometime) the boys were aged 8 – 12, higher voices to play female role. Mixtures, Boys, Men or sometimes only Boys (Boy companies)
  • Boy companies were such companies, who managed such boys, choir, singing & acting (if voices changed, due to age, -> out)
  • Children of the Chapel / Children of Paul’s
  • Boy companies involved in political satire, in the 1590s the Marprelate Controversy the Boy companies were suppressed and readmitted in the 1600, War of the Theatres (1599-1601) -Children of Paul’sstage plays by the playwrights John Marston and Thomas Dekker, Children of the Chapelthose of Ben Jonson.

Session 3: Theatre and Drama

John Lyly (1554 – 1606)

  • Context of the court, mythical, allegorical dramas
  • Dramatist wrote also prose romance (e.g. Euphues (1578))
    • Euphuism came up. It’s about a gentleman
  • Experimenting with the English language. Like … he used an archaic diction. Lyly too extended the English language in his Euphuistic writing style. Lyly is using the language in a chatty style. Charming ironic. Laborious way of entertaining people. Maybe funny and interesting for five pages, but it also has its limits.

Session 3: Theatre and Drama

The venues

  • Performances at Court (f. ex. Palaces at Whitehall, Windsor, Hampton etc.)
  • Old Blackfriars Priory, used from 1576 as private theatre space, known as the First Blackfriars Theatre (1596, building of Second Blackfriars Theatre).
  • Inns of Court in  the City of London - lawyers
  • Private performances in the Great Halls of country houses –> travelling players
  • Grammar schools, universities – pupils and students
  • Pageants, taverns and inns – travelling players (public spaces, pubs, markets)

Session 3: Theatre and Drama

John Lyly’s innovations

  • Creative use of the classics
    • Combination and modification of myths and motives
  • Attention to dramatic form
    • Distinguishing genres and advances in plot construction (plot more technically “good”, more sophisticated)
  • Modernization of allegorical representation
    • No abstraction anymore that we find in allegorical plays
    • Learning about education
    • He addresses cross-dressing
    • Political allegory (ex. Sappho and Phao, Endimion)
  • Handling of satire
    • Jocular remarks about court life
    • Learning or the relations between the sexes
  • Introduction of dramatic devices
    • Cross-dressing (wearing the cloths of the other gender)
    • Narration of dreams
    • Songs
    • Ballets and pantomime

Session 3: Theatre and Drama

John Lyly, Gallathea (c. 1584)

  • Mythological drama
  • Element of metamorphosis is introduced in another level
  • Typical mixture of myth (Neptune) and real cities, myth - reality
  • Neptune demands a sacrifice in a beautiful virgin (woman). The fathers disguise their beautiful daughters as boys. The two disguised boys fall in love because they think that the other one is a real boy. In the end one of them becomes a boy so the can be together and share their affection for each other like nature would want it.
  • In the subplot which is a dramatic alternation has an alchemistic characteristic –> the alchemist tries to change metal into gold
  • Shift of sexes, transformation, dissolving of gender (Both girls dressed as boys, fall in love, Venus will change one into boy, they want to love each other anyway
  • Nature of passion, love and what it does to people

Session 3: Theatre and Drama

London Theatres c. 1600

  • Were built in out of the reach of the government –> liberties (new theatres)
  • Suddenly Theatres sprout out everywhere. Every view year a new one
  • Public theatres are open. They have a whole in the middle like a doughnut
  • the audience down were called the groundlings (audience in the stands)
  • the idea is that it’s really like a little world with heaven and hell
  • there could fit in 3000 people
  • thousands of people were watching theatres every day (if they could afford it surely)
  • drama becomes public form of entertainment
  • in London there was a population of 200’000 people

Session 3: Theatre and Drama

Christopher Marlowe (1564 – 93)

  • there was a shady side to him (maybe because his father (a Canterbury Shoemaker) was also criminal, involved in secret actions
    • Accused of atheism, sedition and homosexuality
    • Probably active as spy
    • Murdered at an inn in Deptford
  • Author of mythological erotic poem Hero and Leander
  • He wrote about great heroes of history (Tamburlaine I / II, The Hew of Malta, Doctor Faustus, Edward II)
  • Christopher Marlowe, Tamburlaine the Great II (c. 1587)
    • A lot of graphic language, exaggeration, loud, working with images
    • Ambition, dominance, brutality (in his heroes)
    • Tamburlaine refuses to accept death
    • Tamburlaine even dies in ignoring his own death.
    • Tamburlaine to his son requests from him, that he’ll be as hard and as cruel as he was himself.
  • He writes in blank verse (I think but not sure) Iambic pentameter writing
  • Working with imagery and vivid language 

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