Lyly's <I>Midas</I> As an Allegory of Tyranny
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'Stupid Midas'
‘Stupid Midas’ Visualising Musical Judgement and Tim Shephard Patrick McMahon Moral Judgement in Italy ca.1520 University of Sheffield 1. Musical Judgement and Moral Judgement 3. A) Cima da Conegliano, The Judgement Sat at the centre of the painting in contemporary elite of Midas, oil on panel, 1513-17. Statens The Ancient Discourse dress, Midas looks straight at the viewer, caught at the exact moment of formulating his faulty musical judgement. Museum for Kunst, Copenhagen. Harmony is governed by proportion, and so is human tem- perament; thus music can affect human behavior ‘For rhythm and harmony penetrate deeply into the mind and take a most powerful hold on it, and, if education is good, bring an impart grace and beauty, if it is bad, the reverse’ (Plato, Republic) Music should therefore play a role in moral education Suggestive ‘music has indeed the power to induce a certain character of soul, and if it can do that, then An older, more position of clearly it must be applied to education’ (Aristotle, Politics) severe Tmolus, in Pan’s bow more modest makes a direct Good musical judgement engenders good moral judgement contemporary link between ‘the proper training we propose to give will make a man quick to perceive the shortcomings attire, also his musician- of works of art or nature …; anything beautiful he will welcome gladly … and so grow in true goodness of character; anything ugly he will rightly condemn and dislike’ (Plato, Republic) interrogates the ship and his viewer with his sexuality. The Renaissance Discourse gaze. -
The Relationship of the Dramatic Works of John Lyly to Later Elizabethan Comedies
Durham E-Theses The relationship of the dramatic works of John Lyly to later Elizabethan comedies Gilbert, Christopher G. How to cite: Gilbert, Christopher G. (1965) The relationship of the dramatic works of John Lyly to later Elizabethan comedies, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9816/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 THE RELATIONSHIP OP THE DRAMATIC WORKS OP JOHN LYLY TO LATER ELIZABETHAN COMEDIES A Thesis Submitted in candidature for the degree of Master of Arts of the University of Durham by Christopher G. Gilbert 1965 The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. DECLARATION I declare this work is the result of my independent investigation. -
University Wits
A brief study of UNIVERSITY WITS Presented for The students of Degree 1 English Hons. By Dr. Mohammad Shaukat Ansari Department of English M.L.S.M. College, Darbhanga, Bihar (L.N. Mithila University) UNIVERSITY WITS A Creative Group of Pioneer English dramatists (1585 – 1600) Elizabethan Age – The Golden age of Drama. The Pre-Shakespearean dramatists – John Lyly, Robert Greene, George Peele, Thomas Kyde, Christopher Marlowe – are known as University Wits. Marlowe has been justly called “the father of English drama”, “the Morning Star of the English Drama”. • The University Wits is a phrase used to name a group of late 16th century English playwrights who were educated at the universities. • Christopher Marlowe, 1564 - 93, Robert Greene, 1560 - 92 and Thomas Kyd, 1558 - 94 (graduates from Cambridge University) • Thomas Lodge, 1558 - 1625 and George Peele, 1558 - 98 (graduates from Oxford University) • The University Wits were professional writers in English, and prepared the way for the writings of William Shakespeare, who was born just two months after Christopher Marlowe. • Shakespeare was indebted to each of them. • The drama was truly national that time. • A true expression of national genius in England despite various foreign influences • Dramas became food for mind as well as eyes. • Even, performances were given every night, and as such dramas became source of income. • The University Wits drew materials from old plays, mythology, legend and history, and even revised them appropriately. • The University Wits were aware of demands of stage and audience too. • The University Wits made significant contributions to the development of English drama. • Their dramas were full of actions, thrills, sensations, supernaturalism and refinement. -
The Plays of John Lyly Bachelor’S Diploma Thesis
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Petra Spurná The Plays of John Lyly Bachelor’s Diploma Thesis Supervisor: Mgr. Pavel Drábek, Ph.D. 2009 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature 2 Acknowledgement: I would like to thank my supervisor Mgr. Pavel Drábek, Ph.D. for his valuable guidance and advice. 3 Table of Contents 1. Introduction.................................................................................................................5 2. The Life of Johny Lyly...............................................................................................7 3. Lyly‟s Work..............................................................................................................12 3.1 Specific Conditions...........................................................................................12 3.2 Inventions..........................................................................................................14 4. The Plays...................................................................................................................18 4.1 Introduction to the Eight Plays..........................................................................18 4.2 Allegory.............................................................................................................25 4.3 Sapho and Phao.................................................................................................28 -
Home Learning: Year 3 Maths Year 3 Day 1 Day 2 Day 3 Day 4 Day 5
Home Learning: Year 3 Maths We have set out each week's learning as a series of suggested daily activities. However, the time may look very different for each family. Building in time to look after each other, be physical, creative and relax is as important as completing the set activities. You need to decide what works for you and your family. You could do more of the activities on one day and fewer on another, or you may find it helpful to have a more structured approach. It may help to give clear times for doing activities and clear times for breaks. You will also notice that some of the science, history and DT activities are the same and therefore can be done as a family. Year 3 Day 1 Day 2 Day 3 Day 4 Day 5 Factual Fluency https://www.topmark https://www.topmarks. https://www.topmarks. https://www.topmarks. https://phet.colorado.edu/ s.co.uk/maths- co.uk/maths- co.uk/maths- co.uk/maths- sims/html/fractions- games/hit-the-button games/mental-maths- games/mental-maths- games/mental-maths- intro/latest/fractions- Halves from 10-20 train Select ÷, then ÷3 train Select ÷, hen ÷5 train Select ÷, then ÷4 intro_en.html Can you make the fraction of the given shape? Four Days of Summer Term Week 5 Click onto the link each day. There is a video to watch for each day and then activities Reasoning (Wk commencing to complete. White Rose is an excellent resource and one often used by teachers in 18/5) (Monday- https://whiterosemat our schools. -
Title: Midas, the Golden Age Trope, and Hellenistic Kingship in Ovid's
Title: Midas, the Golden Age trope, and Hellenistic Kingship in Ovid’s Metamorphoses Abstract: This article proposes a sustained politicized reading of the myth of Midas in Ovid’s Metamorphoses. It argues that Midas stands, first, as the embodiment of failed, Hellenistic kingship, with its ostentatious display of wealth and heralding of a new Golden Age, and, second, as a warning against the infectious “love of gold”, to which Roman politicians are far from immune. While the capture of Silenus and the golden touch episode link Midas with the tropes of Hellenistic kingship, his involvement in the competition between Pan and Apollo raises questions about the tropes of Roman imperial power itself. 0 Midas, the Golden Age trope, and Hellenistic Kingship in Ovid’s Metamorphoses It might be heaven, this static Plenitude: apples gold on the bough, Goldfinch, goldfish, golden tiger cat stock - Still in one gigantic tapestry – Sylvia Plath, In Midas' Country Ovid provides the fullest and most elaborate account of the myth of Midas that has come down to us from Classical Antiquity. His version conflates what must have been three different myths involving the legendary Phrygian king: first, his encounter with or capture of Silenus, second, the gift of the golden touch, which turned into a curse, and third, his acquisition of ass’s ears –– in Ovid’s version as a punishment by Apollo for his musical preferences. Throughout the narrative (11.85-193) Midas emerges as a figure of ridicule, a man unable to learn from his mistakes1. Despite the amount of criticism that has focused on the Metamorphoses, this episode has attracted remarkably little attention. -
Unit 21: the Art of Greece
The Artios Home Companion Series Unit 21: The Art of Greece Teacher Overview The arts reflect the society that creates them. Nowhere is this truer than in the case of the ancient Greeks. Through their temples, sculpture, pottery and literature, the Greeks incorporated the concept of reaching for excellence and one’s full potential. Reading and Assignments In this unit, students will: Complete six lessons in which they will learn about Greek literature, art, philosophy, religion, and myths, journaling and answering discussion questions as they read. Define vocabulary words. Explore the following website: ▪ Gods and goddesses of Ancient Greece http://www.ancientgreece.co. uk/gods/explore/exp_set.ht ml Visit www.ArtiosHCS.com for additional resources. A recreation in modern materials of the lost colossal statue by Pheidias, Athena Parthenos is housed in a full-scale replica of the Parthenon in Nashville’s Centennial Park. She is the largest indoor sculpture in the western world. Photograph by Dean Dixon, Sculpture by Alan LeQuire (1990), work of art is free according to the terms of the Free Art License. Leading Ideas In Acts 17, Paul gives a sermon that makes it evident that he understood Greek philosophy. However, he did not stay there in his conversation. He presented the gospel to them. This is a great demonstration of not being “of the world” but being “sent into” the world. — Acts 17 (Read this chapter in ESV at: https://www.biblegateway.com/passage/?search=Acts+17&version=ESV) Ancient: Middle School Unit 21: The Art of Greece Page 314 Do not be conformed to this world, but be transformed by the renewal of your mind, that by testing you may discern what is the will of God, what is good and acceptable and perfect. -
University Wits
Topic for BA Part 1 English hons Dr. Sanjay Sinha Head, English Dept. Patna College,PU Contact details: 9431493845 [email protected] UNIVERSITY WITS The term “University Wits”, coined by George Saintsbury (a 19th century journalist and author) , refers to a wise band of professed men of letters who were the "rising sap" of dramatic creativity in the 1580s . This group of late 16th- century English playwrights and pamphleteers who were educated at the universities (Oxford or Cambridge) became popular secular writers. Prominent members of this group were Christopher Marlowe, Robert Greene, and Thomas Nashe from Cambridge, and John Lyly, Thomas Lodge, and George Peele from Oxford. Thomas Kyd is also sometimes included in the group, though he is not believed to have studied at university. Edward Albert in his History of English Literature (1979) argues that the plays of the University Wits had several features in common: (a) There was a fondness for heroic themes, such as the lives of great figures like Mohammed and Tamburlaine. (b) Heroic themes needed heroic treatment: great fullness and variety; splendid descriptions, long swelling speeches, the handling of violent incidents and emotions. These qualities, excellent when held in restraint, only too often led to loudness and disorder. (c) The style was also ‘heroic’. The chief aim was to achieve strong and sounding lines, magnificent epithets, and powerful declamation. This again led to abuse and to mere bombast, mouthing, and in the worst cases to nonsense. In the best examples, such as in Marlowe, the result is quite impressive. In this connexion it is to be noted that the best medium for such expression was blank verse, which was sufficiently elastic to bear the strong pressure of these expansive methods. -
Characters and Characterization in John Lyly's Endymion: the Man In
International Journal of English Literature and Social Sciences Vol-6, Issue-3; May-Jun, 2021 Journal Home Page Available: https://ijels.com/ Journal DOI: 10.22161/ijels Peer-Reviewed Journal Characters and characterization in John Lyly’s Endymion: The Man in the Moone Mufeed Al-Abdullah Associate Professor, Jerash University, Jordan Received: 28 Mar 2021; Received in revised form: 01 May 2021; Accepted: 16 May 2021; Available online: 12 Jun 2021 ©2021 The Author(s). Published by Infogain Publication. This is an open access article under the CC BY license (https://creativecommons.org/licenses/by/4.0/). Abstract— This paper studies the characters and the methods of characterization John Lyly uses in his euphuistic court play Endymion: The Man in the Moon (1591). The characters gather mythological, allegorical, and historical significance and are arranged in a hierarchy from the moon down to earth. The techniques the writer uses include the traditional methods of characterization through speech and action. And since the events in the play do not reach the level of a plot in the Aristotelian definition, which prevailed in the Renaissance, the writer underplays the method of character depiction through action. He, however,gives a lot of attention to portraying the characters through their utterance. This results from the fact that the characters spend most of the time talking about their attitudes, their relationships, and the few events that take place in the play. Lyly also uses the less traditional method of juxtaposition and social positioning. Juxtaposition is generated from the binary nature of Endymion and the crowd of antithetical pairs of characters that populate the drama. -
Dramatic Space and a Willingness to Let the Spectators Get Involved in the Play in Various Ways
Space in Early Modern English Drama Allan Folkestad Space in Early Modern English Drama The Literary Dramaturgy of Space in the Comedies of John Lyly Doctoral Dissertation at the University of Agder University of Agder Faculty of Humanities and Pedagogy 2012 Abstract The present dissertation investigates the literary dramaturgy of space in the comedies of John Lyly (1564-1606), i.e. the ways in which various textual elements contribute to the establishment of both local settings and wider worlds within the plays. Previous readings of Lyly’s literary dramaturgy have tended to focus on the relationship between the stylistic device of the antithesis and the structure of the dramatic worlds, whereas I argue that deeper insight into the literary dramaturgical techniques of Lyly can be achieved by deploying the conceptual framework of semiotics of drama. Rather than comparing Lyly’s dramaturgy to that of Shakespeare, the dissertation adopts a historical perspective where Lyly’s dramatic oeuvre is examined on the background of the dramaturgy of a selection of middle and early sixteenth-century plays. In the final chapter, however, the perspective changes where Lyly’s only urban play, Mother Bombie, is compared to Shakepeare’s Comedy of Errors. Using lists of all the spatialising utterances in a play as my main analytic tool and then sorting these utterances according to certain parameters reveals that whwn compared to the somewhat mechanical declamatory quality of the spatialising utterances of earlier plays, Lyly’s literary dramaturgy of space unfolds more organically from the dialogue and is better integrated with aspects of characterisation. Moreover, to a higher degree than earlier playwrights Lyly allows minor characters to contribute significantly to the spatial dramaturgy of a play in their speeches. -
Was Shakespeare a Euphuist? Some Ruminations on Oxford, Lyly and Shakespeare Sky Gilbert
Brief Chronicles V (2014) 171 Was Shakespeare a Euphuist? Some Ruminations on Oxford, Lyly and Shakespeare Sky Gilbert or Oxfordians, the fact that John Lyly was Oxford’s secretary for fifteen years makes him a significant literary figure. Some Oxfordians have suggested Fthat Lyly’s plays are the works of a young Shakespeare written under a pseudonym. Oxford patronized two theater companies during the 1580s, Oxford’s Boys, and Oxford’s Men. Oxford’s Boys were based at the Blackfriar’s Theatre as well as Paul’s Church. Oxford transferred the boy’s company to Lyly, and Lyly went on to write many plays for them, including Endymion, Sapho and Phao, Gallathea, and Love’s Metamorphosis. John Lyly was born in 1553 or 1554. His grandfather was the noted grammarian William Lyly, famous for having written a widely utilized grammar textbook as well as for founding St. Paul’s School in London. Lyly attended Oxford but left before graduating, finding life more suitable as a poet. In 1579 he published his first novel, Euphues or the Anatomy of Wit. Apparently Lyly’s goal was to become Master of Revels, and he dedicated himself mainly to playwriting after the publication of his first novel. It is significant that Oxford and Lyly were (and are) linked as “Italianate” figures. Alan Nelson, in his biography of the Earl of Oxford, Monstrous Adversary, makes it abundantly clear that Oxford’s trip to Italy and his subsequent return to court flaunting his Italian clothes and manners branded him as not only Italianate, but superficial and effeminate: “His braggadocio is unmatched by manly deeds. -
Fairies in Early Modern English Drama: Fictionality and Theatrical Landscapes, 1575-1615
Fairies in Early Modern English Drama: Fictionality and Theatrical Landscapes, 1575-1615 Kaitlyn Culliton Submitted in fulfillment of the requirements for Doctorate of Philosophy School of English Trinity College Dublin 2019 Contents Summary ..................................................................................................................................................... iii Acknowledgements ..................................................................................................................................... v A Note on the Texts ..................................................................................................................................... v Approximate Composition Dates of Dramatic Works, 1575-1615 ....................................................... vii Introduction ................................................................................................................................................. 1 Chapter One: Elizabethan Entertainments, 1575-1591 ......................................................................... 52 Chapter Two: Early Modern English Stage Plays, 1588-1593 ............................................................ 122 Chapter Three: Demythologization and Composite Landscapes, 1595-1603 .................................... 172 Chapter Four: Counterfeit Fairies and Indoor Landscapes ............................................................... 235 Epilogue: The Afterlife of Fairies .........................................................................................................