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| divine rights of kings-representative of God on Earth; ex.) King James I |
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| between the reigns of kings |
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| unrhymed iambic pentameter; present in Milton's Paradise Lost |
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| run-on lines in which grammatical sense runs from one line of poetry to the next without pause or punctuation; present in Milton's Paradise Lost |
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| geometric relationship between two parts; begins and ends with human terrestrial history (concerned with Earth) |
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| "in the middle of things"; present in Milton's Paradise Lost |
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| an extended simile, comparing one thing with another by lengthy description of the second, often beginning with "as when" and concluding with "so" or "such"; extended comparison that interrupts the narrative for a moment before it resumes |
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| excessive devotion to one's wife- "whipped"; present in Milton's Paradise Lost |
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| (1) Originally a short tale; (2) In modern usage, a term sometimes used interchangeably with short novel or for a fiction of middle length; prose narrative defined by length, between short story and novel; ex.) Oroonoko |
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| characterized by great virtues contrasted with great and powerful passions that sometimes overcome reason; ex.) Oroonoko |
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| a poem on death or on a serious loss; characteristically a sustained meditation expressing sorrow and, frequently, an explicit or implied consolation; contrast between past happiness and present misery |
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| poem that celebrates the values of bravery, loyalty, vengeance, and a desire for treasure; anti-christian |
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| In Anglo-Saxon and Germanic law, a price set upon a person's life on the basis of rank and paid as compensation by the family of a slayer to the kindred or lord of a slain person to free the culprit of further punishment or obligation and to prevent a blood feud. |
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| a temporary departure from one subject to another more or less distantly related topic before the discussion of the first subject is resumed. ex.) Random side stories in Beowulf |
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| expression in Old English Poetry;steep understatement, can be ironic, often cast in the negative |
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| poetry orally performed and improvised on the spot; performed by Bards who were illiterate- knit elements from other stories, use structure and repetition for memory. |
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| A device used in literature to create expectation or to set up an explanation of later developments; present in Beowulf |
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| a pause in a metrical line, indicated by punctuation, momentarily suspending the beat. Visual break in the half-line, cut |
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| the way the lines are set up |
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| "Where are"; used in elegiac poetry; recalling of past and losses; used in repetition- Things are transient, "christian undertones" |
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| band of men, present in Beowulf |
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| a compound figurative metaphor, a circumlocution, in Old English and Old Norse poetry. ex.) "whale-road," for the sea |
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proverbs, adages common in Anglo-Saxon poetry; distances writer from moments
Ex.) The weary in spirit cannot withstand fate, a troubled mind finds no relief. (The Wanderer) |
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| ancient ruler of the Danes; aids Beowulf's maturity throughout the story |
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| Overbearing, jealous character in Beowulf |
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| Beowulf's King; name literally means "lack of though" |
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| verse using alliteration on stressed syllables for its fundamental structure |
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| Queen in Beowulf; fears that Hrothgar will give Beowulf power and not her sons |
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the translation or transferal of empire; one empire authorizes another, passes on their civlization
ex.) Henry II using Arthur's stories |
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| a continuous narrative in which the emphasis is on what happens in the plot, rather than what is reflected from ordinary life or experience; central element is adventure |
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| celebration of erotic love that puts women at the center of rituals and literature; goes against the church's ideals of women (virgins) and the Old English ideals of women (peace weavers) |
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| a ballad or related metrical romance originating with the Breton lay of French Brittany and retaining some of its Celtic magic and folklore; a short romance |
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| using the old forms to write own works; 2 styles, North and South ex.) Sir Gaiwain and the Green Knight |
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| resent in Sir Gaiwain and the Green Knight; provides new narrative space; can be used to address a character or audience, cliffhanger, punchline; creates meta narrative moments |
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| medieval ideology of how society works. Everyone has a complementary but separate job; natural arrangement made by god; supposed to create social harmony; divided into those who work, those who fight, and those who pray |
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| a story that suggests another story |
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| A narrative poem, especially in medieval literature, in which the main character falls asleep and experiences events having allegorical, didactic, or moral significance. ex.) Piers Plowman |
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| verse mixing words in a writer's native language with endings, phrases, and syntax of another language, usually Latin or Greek, creating a comic or burlesque effect |
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| manuscripts still remaining and known about |
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| a narrative enclosing one or more separate stories; created as a vehicle for the stories it contains. Ex.) Canterbury Tales |
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| one of the genre's of Canterbury Tales; defines a person's status and social rank; characters are referred to by their rank but satirized as failing in position. |
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| divinely ordained hierarchy, ordained by God. Ideological justification for the three estates |
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| law determining who can consume or wear particular garments. 3 sets were passed in the 14th century; limited what type of food that could be eaten; occurs when there is a great anxiety of people shifting estates |
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| short comic tale usually involving sex in which the bad guys win. Present in Chaucer's Miller's Tale |
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| biography of how a saint lives and dies; full of morality, but very bloody |
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| a wildly comic play, mocking dramatic and social conventions |
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| As comedy, exaggerates or distorts the prominent features of style or content in a work. As criticism, mimics the work, borrowing words or phrases or characteristic turns of thought in order to highlight weaknesses of conception or expression |
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| and explanation, interpretation; Ex.) The Wife of Bath |
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| role of women in Danish/Viking society;women used to settle fights/feuds between families |
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| an Anglo-Saxon bard, or court poet, a kind of poet laureate |
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| influenced by Piers Plowman, Version B; peasants revolted in London- killed Bishop of Canterbury; demanded better conditions; agreed to by 14-year-old King Richard |
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| Leader of the Rising of 1381;once killed, peasants lost hope- revolution eventually stifled. |
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| printed Morte Darthur by Mallory; 1st printer in England; wrote prologues that gave insight into literature as profession |
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| a derisive term applied to the followers of John Wyclif, the reformer behind the Wyclif Bible, the first in English; preached against the abuses of the medieval church, setting up a standard of poverty and individual service against wealth and hierarchical privilege. |
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| the religious movement in the 16th century that had for its object the reform of the Roman Catholic Church, and that led to the establishment of the Protestant churches. |
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| A cultural and intellectual movement of the Renaissance that emphasized secular concerns as a result of the rediscovery and study of the literature, art, and civilization of ancient Greece and Rome. |
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| literally means little song; a poem, properly expressive of a single, complete thought, idea, or sentiment, of 14 lines, usually in iambic pentameter, with rhymes arranged according to one of certain definite schemes, being in the strict or Italian form divided into a major group of 8 lines (the octave) followed by a minor group of 6 lines (the sestet), and in a common English form into 3 quatrains followed by a couplet. |
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| Italian/Petrarchan Sonnet |
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| a sonnet composed of an octave and sestet, rhyming abbaabba cdecde |
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| concocted by Wyatt and Surrey; composed of 3 quatrains and 1 couplet- usually the solution/resolution; the couplet rhymes, and the quatrains rhyme internally |
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| the first unit in an Italian sonnet: 8 lines of iambic pentameter, rhyming abbaabba; a stanza in 8 lines |
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| the last six lines of a sonnet in the Italian form, considered as a unit. |
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| present in the Petrarchan form; turn in the content of the poem between the octave and the sestet |
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| A small, often select group of male poets who associate with one another frequently and compete informally to see who is better. |
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| description of a woman's body in anatomizing detail |
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| bonds between men; competitive, sentimental |
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| a group of sonnets thematically unified to create a longer work |
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| term of distinction for a courtly English Poet; taken from the laurel wreath given to victors in ancient Greece; reference to Petrarch's lover Laura; also references allusive women |
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| 1st published Wyatt and Surrey in 1552; key text for popularizing sonnet and turned it into the sonnet mania |
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| Court of Henry VIII; poems typically about masculine court |
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| about nature and shepherds, but not in any realistic sense; more about the complex society the poet and readers inhabit |
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| used to indicate the period during which a person flourished, esp. when the exact birth and death dates are unknown |
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| an address to an absent or imaginary person, a thing, or a personified abstraction; prevalent in Whitney's "Manner of Her Will" |
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| of or pertaining to James I of England or to his period; a certain skepticism and even cynicism seeped into Elizabethan joy |
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| (1)a brief poetic and witty couching of a home truth;(2)carved on funerary urns; could technically be a poem about death-Ben Jonson, "On My First Son" |
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| written to a rich friend with a nice house; poem about praise to a patron; Ben Jonson credited with writing the first, though Amelia Lanyar wrote one before him |
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| poetry pertaining to luxurious idleness; feasting, drinking, and enjoying oneself; Ben Jonson's 'Penhurst' |
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| interpretive model that reads the New Testament as correcting the old testament |
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| A sonnet form composed of three quatrains and a couplet in iambic pentameter with the rhyme scheme abab bcbc cdcd ee. |
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| A line of English verse composed in iambic hexameter, usually with a caesura after the third foot;final line in the Spenserian Sonnet |
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| A book containing the Book of Psalms or a particular version of, musical setting for, or selection from it. |
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| description of a visual art object in words |
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1503-1542; Courtier Poet; one of the original authors of the English Sonnet; Had an affair with Anne Boleyn, which is present in a lot of his poems; wrote about the stress of courtly life under King Henry VIII
Wrote:
Whoso List to Hunt
Mine Own John Poynes |
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| Henry Howard Earl of Surrey |
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| 1517-1547; one of the original authors of the English Sonnet |
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| 1552-1599; wrote for Queen Elizabeth I; kiss ass- tried to get in her good favor |
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1554-1586; Courtier Poet; Elizabethan Court; writes about a female ruler transforming Elizabeth into the woman of the Petrarchan sonnet; butted heads with Elizabeth
Wrote:
Astrophil & Stella |
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1564-1616; Commercial Sonneteer; popularizes the sonnet; celebrates the power of writing; advertises his own writing
Wrote:
154 Sonnets |
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1572-1631; wrote metaphysical poetry as well as religious poetry; wrote erotic poetry in which the women are attainable and a willing partner, seduced by language; talks of women as equals
wrote:
The Flea
Elegy 19: To His Mistress Going to Bed
Holy Sonnets |
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| 1586-1640;wrote the first petrarchan sonnet sequence for a female; sonnet poetry evacuated by men at this time, makes it acceptable for her to write sonnets wrote: Pamphilia to Amphilanthus |
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| "From fairest creatures we desire increase"--> "To eat the world's due, by the grave and thee." |
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| "When I consider everything that grows"--> "As he takes from you, I ingraft you new." |
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| "Shall I compare thee to a summer's day?"--> "So long live this, and this gives life to thee." |
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| "A woman's face with Nature's own hand painted"--> "Mine be they love and they love's use their treasure." |
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| "When, in disgrace with fortune and men's eyes,"--> "That then I scorn to change my state with kings." |
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| "No more be grieved at that which thou hast done."-->"To that sweet thief which sourly robs from me." |
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| "Like as the waves make towards the pebbled shore"--> "Praising they worth despite his cruel hand." |
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| "That time of year though mayst in me behold."-->"To love that well which thou must leave ere long." |
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| "Farewell! Thou art too dear for my possessing"-->"In sleep a king, but waking no such matter." |
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| "They that have pow'r to hurt, and will do none"--> "Lilies that fester smell far worse than weeds." |
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| "Let me not to the marriage of true minds"--> "I never writ, not no man ever loved." |
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| "The expense of spirit in a waste of shame"--> "To shun the heaven that leads men to this hell." |
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| "My mistress' eyes are nothing like the sun"-->"As any she belied with false compare." |
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| "When my love swears that she is made of truth"--> "And in our faults by lies we flattered be." |
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| "Two loves I have, of comfort and despair"--> Till my bad angel fire my good one out." |
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| little epic; Hero & Leander |
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| Elizabethan Erotic Narrative |
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| the closed and balanced iambic pentameter couplet typical of the heroic plays- Hero and Leander |
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