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Amanda Holton University of Reading
Chaucer and Pronominatio Amanda Holton University of Reading Pronominatio, or antonomasia, is the replacement of a proper noun with another noun or adjective or a periphrastic formulation, such as 'Cristes mooder' for Mary.] I apply the term only when the reader needs some knowledge outside the immediate context in order to understand the reference and when the name itself is not given at all in surrounding lines. 2 Pronominatio is a fairly common figure in classical and medieval literature, and Chaucer encountered it in a number of his sources; indeed this article, while it focuses on Chaucer's practice, also indicates how it is used in a range of his sources and analogues. The figure is discussed in various classical and medieval rhetorical manuals, featuring, for example, in the Rhetorica Ad Herennium and in Quintilian' s /nstitutio oratoria3 Chaucer's own use of it as a freestanding figure is sparse, highly selective and often pointed, and reveals mixed feelings about its potential, for he is very conscious of how it can express both grandeur and pomposity, splendour and insincerity. After discussing Chaucer's preferred methods of denoting people and places, this article examines how his use of pronominatio relates to his response to Virgil, and, by extension, how he uses the figure as a marker of epic style in several texts. It then demonstrates how he exploits its more negative possibilities when denoting Diomede in Troilus and Criseyde and Mary in the Prioress's Tale. On the whole Chaucer shows a strong preference for simple and direct naming, and will often reject pronominatio even when he encounters it in a source he otherwise favours stylistically. -
Proem Shakespeare S 'Plaies and Poems"
Proem Shakespeare s 'Plaies and Poems" In 1640, the publisher John Benson presents to his English reading public a Shakespeare who is now largely lost to us: the national author of poems and plays. By printing his modest octavo edition of the Poems: Written By Wil. Shake-speare. Gent., Benson curiously aims to complement the 1623 printing venture of Shakespeare's theatre colleagues, John Heminge and Henry Condell , who had presented Mr. William Shakespeares Comedies, Histories, & Tragedies in their monumental First Folio. Thus, in his own Dedicatory Epistle "To the Reader," Benson remarks that he presents "some excellent and sweetly composed Poems," which "had nor the fortune by reason of their lnfancie in his death, to have the due accommodation of proportionable glory, with the rest of his everliving Workes" (*2r). Indeed, as recent scholarship demonstrates, Benson boldly prints his octavo Poems on the model ofHeminge and Condell 's Folio Plays. ' Nor simply does Benson's volume share its primer, Thomas Cores, wirh rhe 1632 Folio, bur both editions begin with an identical format: an engraved portrait of the author; a dedicatory epistle "To the Reader"; and a set of commendatory verses, with Leonard Digges contributing an impor tant celebratory poem to both volumes. Benson's engraving by William Marshall even derives from the famous Martin Droeshout engraving in the First Folio, and six of the eight lines beneath Benson's engraving are borrowed from Ben Jonson's famed memorial poem to Shakespeare in char volume. Accordingly, Benson rakes his publishing goal from Heminge and Conde!!. They aim to "keepe the memory of such worthy a Friend, & Fellow alive" (Dedicatory Epistle to the earls ofPembroke and Montgomery, reprinted in Riverside, 94), while he aims "to be serviceable for the con tinuance of glory to the deserved Author" ("To the Reader," *2v). -
Spenser, Donne, and the Trouble of Periodization Yulia Ryzhik
Introduction: Spenser, Donne, and the trouble of periodization Yulia Ryzhik The names Edmund Spenser and John Donne are rarely seen together in a scholarly context, and even more rarely seen together as an isolated pairing. When the two are brought together, it is usually for contrast rather than for comparison, and even the comparisons tend to be static rather than dynamic or relational. Spenser and Donne find themselves on two sides of a rift in English Renaissance studies that separates the sixteenth century from the seventeenth and Elizabethan literature from Jacobean.1 In the simplest terms, Spenser is typically associated with the Elizabethan Golden Age, Donne with the ‘metaphysical’ poets of the early seventeenth century. Critical discourse overlooks, or else takes for granted, that Spenser’s and Donne’s poetic careers and chronologies of publication overlapped considerably. Hailed as the Virgil of England, and later as its Homer, Spenser was the reigning ‘Prince of Poets’, and was at the height of his career when Donne began writing in the early 1590s. Both poets, at one point, hoped to secure the patronage of the Earl of Essex, Donne by following him on expeditions to Cadiz and the Azores, Spenser by hailing his victorious return in Prothalamion (1596). The second instalment of Spenser’s The Faerie Queene (also 1596) gives a blistering account in Book V of the European wars of religion in which Ireland, where he lived, was a major conflict zone, but it is Donne who travelled extensively on the Continent, including places where ‘mis-devotion’ reigned.2 Spenser died in 1599 and was buried with much pomp at Westminster Abbey as if poetry itself had died with him. -
The Ascent of the Soul in the Wife of Bath's Prologue And
THE ASCENT OF THE SOUL IN THE WIFE OF BATH’S PROLOGUE AND TALE by Nicholas Dalbey A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in English Middle Tennessee State University August 2018 Thesis Committee: Dr. Rhonda McDaniel Dr. Ted Sherman I dedicate this thesis to Justine and Calvin. Timshel. ii ACKNOWLEDGMENTS I would like to thank Dr. McDaniel for her patient guidance throughout the thesis process. I don’t know how many times I changed course during the research stage, but she always let me sit in her office and verbally process everything I’d read and discovered. Her feedback always pushed me in the right direction despite myself. I’d also like to thank Dr. Sherman for his generosity in reading and providing feedback on my final draft; I’m also grateful to have taken his Old English Literature and Beowulf courses which opened my eyes to the riches of medieval studies. My immediate family also provided much appreciated support during this process: my parents, Steve and Tami, and my brothers, Trevor and Spencer, frequently checked in with me and encouraged me. Finally, I know that I would not have been able to pursue graduate work without the love and support of my wife Justine. She deserves this MA as much as anyone, having been both a sounding board for my ideas as well as the emotional support necessary for the project’s completion. iii ABSTRACT Of the three women who participate in the tale-telling contest in Geoffrey Chaucer’s The Canterbury Tales, the Wife of Bath establishes herself as the most provocative and the most philosophically minded. -
The Epilogue of Tennyson's in Memoriam
THE EPILOGUE OF TENNYSON'S IN MEMORIAM: MARRIAGE AS A FORCE OF TRANSFORMATION By LIBBY STOTT YOUNG Bachelor of Arts Oklahoma State University Stillwater, Oklahoma 1980 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS May, 1984 Thes,;s ,q 8 l,1 '/1:')~ C.e:ir, ;i THE EPILOGUE OF TENNYSON'S MARRIAGE AS A FORCE OF TRANSFORi\fATION Thesis Approved ( 17dAh~ ~. J? eJ_J, Dean of the Graduate College PREFACE This study examines the imagery, scientific metaphor, and literary conventions that Alfred Tennyson uses in the Epilogue of In Memoriam, particularly those concern ing the power of marital love. The study discusses the aspects of disorder and order, death and life, and degen eracy and progress. It explores the connection of love with the force that transforms negative images into posi tive ones. The findings of the study are that Tennyson incor porates several literary conventions to convey that love can indeed transform disorder, death, and degeneracy into order, life, and progress. Tennyson draws upon pagan, Judea-Christian, and Renaissance literature. Scientific metaphor supports the power of love, and the images of the Epilogue incorporate and transform the images of the elegy. The members of my thesis committee have been splendid ly supportive and enlightening. I thank Dr. John Milstead, my advisor, for his example of intellectual vitality. I have been influenced by his example since my freshman year in college; during graduate school I have gained an increas ing appreciation of Dr. -
Leeds Studies in English
Leeds Studies in English New Series XLI 2010 Essays in Honour of Oliver Pickering Edited by Janet Burton, William Marx, and Veronica O’Mara Leeds Studies in English <www.leeds.ac.uk/lse> School of English University of Leeds 2010 Redemption through Iambic Reversal? The Case of Henryson’s Cresseid Rory McTurk In the Introduction to his recent translation of The Testament of Cresseid & Seven Fables by Robert Henryson, Seamus Heaney speaks of Henryson’s ‘Cresseid (stress on second syllable)’.1 I should like to show here that, while the name Cresseid in Henryson’s Testament is indeed stressed on the second syllable in the majority of cases, there are a significant number of cases where it is stressed on the first syllable, and that in this respect Henryson’s poem differs markedly from the poem of Chaucer’s to which it is a response, namely Troilus and Criseyde, where the name Criseyde is stressed on the second syllable almost without exception. I also argue that in Henryson’s poem the distinction between the iambic Cresseid (with stress on the second syllable) and the trochaic Cresseid (with stress on the first syllable) may be significant semantically and thematically. I have counted thirty instances of the name Cresseid in Henryson’s poem. In nineteen of these instances, the name occurs iambically, with the stress on the second syllable. As an example I quote the first occurrence of the name in the poem, at line 42, the concluding line of the stanza in which Henryson speaks of a book (‘ane quair’, l. -
Tennyson's Poems
Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
UNIT 1 – History of English Literature – SHS1105
SCHOOL OF SCIENCE & HUMANITIES DEPARTMENT OF ENGLISH UNIT 1 – History of English Literature – SHS1105 1 ELIZABETHAN PERIOD & SHAKESPEARE PERIOD Edmund Spenser: Edmund Spenser (ca. 1552-1599) ranks as the fore most English poet of the 16th century. Famous as the author of the unfinished epic poem The Faerie Queene, he is the poet of an ordered yet passionate Elizabethan world. He was deeply affected by Irish faerie mythology, which he knew from his home at Kilcolman and possibly from his Irish wife Elizabeth Boyle. His genocidal tracts against Gaelic culture were war propaganda. His house (ruins remain) was burned to the ground during the war, causing him to flee Ireland. Edmund Spenser was born in East Smithfield, London, around the year 1552, though there is some ambiguity as to the exact date of his birth. As a young boy, he was educated in London at the Merchant Taylors' School and matriculated as a sizar at Pembroke College, Cambridge. Spenser‘s main poetical works are: The Shepher d‘s Calendar (1579) Amoretti (1595), a collection of eighty eight Petrarchan sonnets Epithalamion (1959), a magnificent ode written on the occasion of his marriage with Elizabeth Boyle Prothalamion (1596), an ode on marriage Astrophel (1596), an elegy on the death of Sir Philip Sidney Four Hymns (1576) written to glorify love and homour The Faerie Queen (1589 –90). Spenser matriculated at the University of Cambridge on May 20, 1569. Ten years later he published his first publicly-released poetic work, The Sheapheards' Calendar, to positive reviews. He then began work on his magnum opus, The Faerie Queene, publishing the first three of the projected twelve books in 1590. -
Riverside Versification
[in The Riverside Chaucer, ed. Larry D. Benson (3rd ed.) (Boston: Houghton Mifflin, 1987)] xlii INTRODUCTION gon henne (Tr 3.630). In some phrases the infini- with inversion of verb and subject, as Al speke he tive has a passive sense: to blame (Tales 1.3710), never so rudeliche (1.734), Al were he short to preyse (VI.42), to drede (VI1.3063 ),jor to chese (111.624), or in other ways such as hou soore that (Tr 2.470). This is related to the use of the me smerte (1.1394), wher-so she wepe or synge inherited "inflected infinitive" in ye woot what is (11.294). In all these the verb is usually subjunc- to doone (what is to be done; Tales 111.2194). A tive, but not invariably: e.g., Though in this toun concessive use of the jor to infinitive appears in is noon apothecarie (VII.2948), what so any wom- places like for to dyen in the peyne (though we man seith (VII.2912). were to die under torture; 1.1133), For to be deed (even if I were to die; IV.364). In sentences Negation The primary negative adverb is ne, expressing the terms of an agreement the infini- placed before the verb (or incorporated in it in tive often accompanies a nominative pronoun: those contracted forms noted above in the de- Andye, my lord, to doon right as yow leste (IV.105). scription ofverb forms, p. xxxviii), which is suffi- The subjunctive in main clauses may express cient to mark a sentence as negative: she ne wiste wish, as God yelde yow (may God reward you; what it signyfied (1.2343), I noot how men hym calle Tales 111.2177), an imperative ofthe first person (1.284). -
Neoteric Poetics in the Shorter Poems of Edmund Spenser
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2015 "O Carefull Verse": Neoteric Poetics in the Shorter Poems of Edmund Spenser Melissa Joy Rack University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Rack, Melissa Joy, ""O Carefull Verse": Neoteric Poetics in the Shorter Poems of Edmund Spenser. " PhD diss., University of Tennessee, 2015. https://trace.tennessee.edu/utk_graddiss/3554 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Melissa Joy Rack entitled ""O Carefull Verse": Neoteric Poetics in the Shorter Poems of Edmund Spenser." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Robert E. Stillman, Major Professor We have read this dissertation and recommend its acceptance: Heather Hirschfeld, Anthony Welch, Robert Sklenar Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) “O Carefull Verse”: Neoteric Poetics in the Shorter Poems of Edmund Spenser A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Melissa Joy Rack December 2015 © Copyright 2015 by Melissa Joy Rack All rights reserved. -
Edmund Spenser, George Turberville, and Isabella Whitney Read Ovid's
Edmund Spenser, George Turberville, and Isabella Whitney Read Ovid’s Heroides by M. L. Stapleton N the Heroides, perhaps the ancient world’s most prominent ex- ample of literary transvestism, Ovid adopts the personae of legend- Iary women who lament the amatory crimes of the men they love. It may have been some of the first poetry in Latin that Spenser encoun- tered, as it was for many schoolboys from the twelfth century onward, in accordance with its traditional pedagogical status, admirably docu- mented by Ralph Hexter. Since it was part of Eton’s Erasmian curricu- lum as early as 1528, its familiarity and centrality to Spenser, whom Richard Mulcaster inculcated with a similar humanism at the Merchant Taylors’ School, should not surprise. It served as a primary text for beginning Latin students in England through the nineteenth century. For early modern readers, it also served as a celebrated exemplum of the potential for inventive excellence by an ancient author in his juve- nile endeavors, another reason why the burgeoning New Poet would probably have read it. To Spenser and his innumerable poetical prede- cessors who sought to work meaningful improvisations on the tradi- tions they wished to embody in their work, Ovid’s cadre of mythical heroines (Lat. herois, - ides) exemplified doubly literate women—those See Hexter, Ovid and Medieval Schooling: Studies in Medieval School Commentaries on Ovid’s “Ars amatoria,” “Epistulae ex Ponto,” and “Epistulum heroidum” (Munich: Arbeo Ge- sellschaft, 1986), 137–204. Even after six decades, the most thorough standard account of Elizabethan education remains T. W. -
Stanza-Form-Heroic-Couplet-Blank
Stanza Forms HEROIC COUPLET BLANK VERSE SPENSERIAN STANZA CHAUCERIAN STANZA TERZA RIMA YouTube: Academic Domain Website: theacademicdomain.com Video Link: https://youtu.be/hEJGEtK-ytw Stanza ● A stanza is a group of lines having a fixed length, meter, or rhyme scheme. ● Stanzas in poetry are similar to paragraphs in prose. 1. Heroic Couplet ● Heroic couplets are two rhyming lines of verse in Iambic Pentameter. ● They're called heroic because in the old days of English poetry they were used to talk about the trials and adventures of heroes. ● It was used in poetry for a long time particularly in 17th and 18th centuries. Poets: ● Geoffrey Chaucer was the first poet to use it in The Canterbury Tales. ● Alexander Pope: The Rape of The Lock, The Dunciad, Essay on Man, and Essay on Criticism. ● John Dryden: Mac Flecknoe Example: Know then thyself, presume not God to scan; The proper study of mankind is man. 2. Blank Verse: ● Blank verse is an un-rhyming verse written in Iambic Pentameter. ● The majority of English poetry has been written in blank verse. ● It became popular in 16th century in the works of Marlowe and Shakespeare. Poets: Marlowe, Shakespeare, John Milton, William Wordsworth Example: Of Man’s First Disobedience, and the Fruit Of that Forbidden Tree, whose mortal taste 3. Spenserian Stanza: ● It is a nine lines stanza. ● It is a verse form that consists of eight iambic pentameter lines followed by a ninth line of six iambic feet (an alexandrine). ● The rhyme scheme is ababbcbcc. ● It was invented by Edmund Spenser for The Faerie Queene.