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| a long narrative verse on a serious subject, told in a formal style, with a heroic or quasi-divine figure whose actions depend the fate of a tribe or nation. |
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| developed in 12th century France, it represents not a heroic age of tribal wars, but a courtly and chivalric age, often one of highly developed manners and civility. Plot involves a knight taking a quest to gain the favor of a lady. Stresses courage, loyalty, honor, mercifulness, and manners |
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| the relations between aristocratic lovers. The courtly lover idealizes and idolizes his beloved, and subjects himself to her every whim. The lover suffers agonies of body and spirit as he is tested, but remains devoted to her |
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| a narrative, often in verse, in which the speaker describes a dream they have had, which often reveals an unexpected moral that comforts this dreamer upon awakening. |
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| set in contemporary time and not long ago, its characters are not aristocrats, and concerns basic functions such as sex and excretion. Instead of focusing on romance, it’s concerned with cunning and folly, opposes authority, and parodies courtly values. |
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| medieval drama that addresses the mystery of Christ’s redemption of humankind. Performed in cycles, they would begin with Creation, continue through the Bible with the Last Supper and Crucifixion, and end with material such as the Harrowing of Hell and the Last Judgement. |
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| developed by Elizabethan dramatists, it typically depicts a love affair involving a beautiful and quick-witted heroine, often disguised as a man. Though the affair doesn’t proceed well, it ends well, typically with marriage. |
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| Characteristics of Chivalric Romance |
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| 1. Hero is a knight, w/ high-born people. 2. Setting is in past or farway. 3. Plot centers on love, chivalry, and a quest. 4. Plot is secular and not overly Christian, just expresses some ideals. 5. Plot contains supernatural. 6. Hero is an excellent warrior and desirable lover, but NO SEX. 7. Quest= spiritual journey of humanity. |
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| a serious drama describing a conflict b/w the protagonist and a superior force. Has a sorrowful or disastrous conclusion. |
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| Protagonist of a tragedy, neither entirely good or bad. Suffers do to a mistake in his hamartia. |
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| lyric poem witha single stanze of fourteen iambic lines with a rhyme scheme, |
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| an extended simile or metaphor that structures the sonnet |
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| the combination of oppositional forces to descrive the conflicting passions suffered by the courtly lover. |
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| followers and supporters of Charles I. Wrote witty and light-hearted poems expressing CARPE DIEM or honor of fighting for the king. |
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| Robbert Herrick and others who acknowledge Ben Jonson as their master. |
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| a figure poem in which the printed form of the poem suggests of comments on its meaning. |
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| an allegorical mode of depicting the fulfillment of the promise of the Old testament through its connections to the New Testament. |
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| poems or other artistic forms addressing the life of shepherds and rustic life. Country life is frequently compared to city life, which is disparaged. |
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| an extended work of fiction written in prose, developed out of the romance tradition. Robinson Crusoe is credited as the first English novel. |
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| Characteristics of a novel |
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| Longer than a short story or novelette, a great variety of characters, complication of plot, and exploration of character motivation and psychology. |
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| concise word play designed to create the delight of cosmic surprise. Most wit is expressed in epigrams. |
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| Differences b/w Wit and Humor |
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| Wit is purposeful while humor can be inadvertent. A wit knows they are being funny, but a character can be humorous without intention. |
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| terse comic statements that play with language in order to undermine the listeners' expectations but nevertheless satisfy their expectations surprisingly. |
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| wit for the sake of mutual fun and amusement. |
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| aggressive joking that seeks to humiliate a foe or rival. |
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| a contest of verbal wit in which the "combatants" attempt to turn their "opponents" words to their own advantage. |
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| a play that addresses the lives of upper-class society in which the humor arises both from witty dialogue, often in the form of repartee, and from the violations of social standards of decorum. |
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| the literary art of diminishing or derogating a subject by making it ridiculous and evoking toward it attitudes of amusement, contempt, scorn, or indignation. |
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| Difference b/w comic and satire |
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| Comic uses comedy to evoke laughter mainly as an end in itself, while satire uses laughter as a weapon, and against a butt that exists outside the work itself. The butt of satire may be a person, class, institution, nation, etc. |
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| the speaker seriously denounces the follies of their time. Often provides a moral. |
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| unrhymed lines of poetry written in iambic pentameter |
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| a group of people serving as commentators on the dramtic actions and events and express moral, religious, or social attitudes. (Greek) In Elizabethan stage, it was a person who spoke the prologue and epilogue of a play. |
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| the act of talking to oneself, whether silently or aloud. |
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| a wordy and inflated diction that is ridiculously inappropriate to the matter to which it refers. |
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| Dramatized allegories of a representative Christian life in the plot form of a quest for salvation, in which the crucial events are temptations, sinning, and the climactic confrontation with death. Character personifications usually include mankind or everyman, virtues, vices, death, angels, and demons. |
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| Pride, covetousness, lust, envy, anger, and sloth |
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| reasoning about a proposition or concept based not upon experiential or observational phenomena but upon reasoning itself |
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| Reasoning about a proposition or concept based upon experiences and observations that can be reproduced. |
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| Sir Gawain and the Green Knight |
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| Usually as a knight or warrior |
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| Short narrative in prose or verse that an abstract moral thesis or principle of human behavior is exemplified. Usually at the conclusion either the narrator or one of the characters states the moral. Usually includes animals w/ human behaviors. |
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| "The long love that in my thought doth harbor" |
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| Sir Wyatt. Conceit: love is a coward. In this poem, the man blushes, his woman gets angry, and he vows to remain truthful to their love. |
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| Sir Wyatt. Love is a hunt |
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| Sir Wyatt. Love is a fisherman, love is a rotten tree. |
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| Sir Wyatt. Every line is an oxymoron. Love is turning the man upside down and happiness is the cause of the pain. |
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| Henry Howard, Earl of Surrey. The onset of summer, but a melancholy feel to it. |
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| "Love that doth reign and live within my thought" |
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| H.H., E.O.S. Despair and true love. |
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| First poet to publish blank verse |
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| Henry Howard, Earl of Surrey |
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| Wrote "Amoretti" sonnets. Unusual writings because they are about how much he loves his wife, Elizabeth, while most sonnets are about unhappy love/endings. |
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| A dawn song, wishing away the sun. Evident in Amoretti, Shakespeare makes fun of them in Shakespeare in Love (bed scene) |
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| A wedding poem. Spencer ends his poem with one. |
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| Sir Philip Sydney. Celebrates her beauty. "Astrophil": starlover, "Stella": star |
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| Shakespeare's greatest tragedies |
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| Hamlet, Othello, King Lear, Macbeth. All are not bad men, but they get caught up and cannot make things right. |
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| -King Lear. Demonstrates fate and out of control/destiny |
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| "Adversity lasts long, and you just have to withstand it." |
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| -King Lear, on Glouster's suicide. |
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| Used in King Lear. "NO NO NO NO" or "NEVER NEVER NEVER NEVER" |
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| Blank verse is often broken with... |
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| Short poetic form without restriction of meter. it's about emotions in first person. |
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| a poem with the voice of a historical/narrative speaker to an implied silent audience. |
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| Used Lyric (and dramatic monologue). Paradox in poems. |
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| John Donne. Sympathy for death bwecause it has no power. |
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| John Donne. God is a rapist. Most controversial, masochistic sonnet. God's fault. Ravishing women "chastity through rape and beauty of the divine." |
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| John Donne. Conceit: the church should be a slut. As a whore should be open to anyone, so should the church. |
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| Uses sex with religion, including his eroticism within the poems. |
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| Poet laureate. Probably the first professional author, as writing had always been a hobby and not a job. |
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| dreams (visions) throughout poems in a feminist form. |
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| first to write sonnets in a woman's perspective. Pamphilia: all loving (woman) Amphilanthus: two loving (man) |
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| Robert Herrick. Penis. Arrousing dream. Like an ode to his penis. |
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| Robert Herrick. Carelessness is seixier than perfection. |
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| Robert Herrick. Stops drinking to become more serious. |
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| like the ultimate cavalier. No highly romantic sensibility. |
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| in the modern world, the life of primitive people are preferable to those who live city life. opposite is progress, which is the development of science. |
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| Shows no romance with regular "I love you"s |
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| Wit. Shows romance with repartee and insults of sorts. |
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| Focus of Way of the World |
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| adultery and who can gain the most, and definately not love. |
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| "The disappointment", The imperfect enjoyment", "The reasons that induced Dr. Swift to write a poem called 'The lady's dressing room'" |
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| Milton, Shadwell, Chaucer. |
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| introduced the stuart line in 1603 |
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| repetition of vowel sounds |
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| Wrote "A married state". Against marriage poem |
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| two unstressed syllables preceeded by stressed syllables |
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| when a part represents a whole. "all hands on deck" wants the whole person, not just hands |
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| Wrote "Easter" and "Easter wings". Poems are typology. |
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| Elizabeth I dies. Ends Tudor line. James I takes throne and beings Stuart line |
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| Major theme: primitve vs. progress. Oroonoko is the noble savage. Adapts some Christianity views without being Christian |
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| John Dryden. Mac Flecknoe: hates Thomas Shadwell. Lofty religious language. As bad as Flecknoe is, Shadwell is worse. |
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| "The rape of locke"- mock epic form. Everything is smaller portion of epic. Retains all epic forms, just "super cute" and smaller. Comparable to Paradise Lost as an epic. *Satire and wit |
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| John Locke & Jonathan Swift |
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| 18 cent. Age of reason, age of satire, and age of wit. |
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| Jonathan Swift. The problem is over population and poverty. the "mock" proposal is to eat the babies, but the real proposal is taxing, growing food, etc. |
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| King of 18 cent. Literary critic who wrote "English Dictionary". 40,000 words and 114,000 quotations |
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| The preface of Shakespeare |
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| unities of time place and action aren't used by Shakespeare, Webster, or Congreve |
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| The life of Samuel Johnson |
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| James Boswell. On Johnson's death. Literary hagiography. |
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| My cat Jeoffry. Captures essence of a cat. Smart was crazy and locked up. |
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