Renaissance Literature _Grad Comps

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What is the "Book of the Courtier"?

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1528, BaldassarenCastiglione; a conduct manual for how a gentleman should act at court; It originated from the concept of sprezzatura.
It is written as a series of conversations (over 4 evenings) between the Duke of Urbino and several courtiers.In the process they debate the nature of nobility, humor, women, and love.

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"To Penshurst"

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Ben Jonson's 1616 country house poem to Robert Sidney, younger brother of Sir Philip Sidney and father of Lady Mary Wroth, on the Sidney esate-Penshurst.
Begins with an allusion to Horace's Ode and includes a number of classical allusions Compares the Signey estate to more ostenatious homes.

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Sprezzatura

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The skills of the courtier. The skill of effortlessness-horsemanship, sword play, singing,dancing, speaking, and writing.
Self-presentation has always been and remains the first move in the game of self-advancement.
[MORE]

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Conduct Books

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A genre of books that attempt to educate the reader on SOCIAL NORMS. Began in mid/late Middle ages. Have appeared in different forms; sermons, manuals.
Book of the Courtier is a prime example.

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Ursla, the pig woman

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From Johnson's comedy "Bartholomew Fair" (1614). Ursula presides over the pig-booth and is wise in the ways of human appetitie.

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Who is the Redcrosse Knight?

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The hero of Book One of Spenser's Faerie Queene. He is introduced in the first canto of the poem, he bears the emblem of St. George, patron saint of England. He is declared to be the real St. George in Canto X. Kidnapped as a child and raised in Faerieland, he is of English ancestry. Slays the dragon. Marries Una.

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ID#7
(2) Queen Elizabeth's "Speech to the Troops at Tilbury"

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My loving people, we have been persuaded by some that are careful of our safety, to take heed how we commit ourself to armed multitudes for fear of treachery; but I assure you, I do not desire to live to distrust my faithful and loving people....I know I have the body but of a weak and feeble woman, but I have the heart and stomach of a king, and of a King of England too…

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ID#8
(2) Queen Elizabeth's Coronation Speech (1558)

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The speech contains the first record of her adoption of the medieval political theology of the sovereign's "two bodies": the body natural and the body politic:
My lords, the law of nature moves me to sorrow for my sister; the burden that is fallen upon me makes me amazed, and yet, considering I am God's creature, ordained to obey His appointment, I will thereto yield, desiring from the bottom of my heart that I may have assistance of His grace to be the minister of His heavenly will in this office now committed to me. And as I am but one body naturally considered, though by His permission a body politic to govern, so shall I desire you all...to be assistant to me, that I with my ruling and you with your service may make a good account to Almighty God and leave some comfort to our posterity on earth. I mean to direct all my actions by good advice and counsel.

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ID#9
(2) Queen Elizabeth's "Golden Speech" (1601)

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Elizabeth professed ignorance of the abuses and won the members over with promises and her usual appeal to the emotions:
Who keeps their sovereign from the lapse of error, in which, by ignorance and not by intent they might have fallen, what thank they deserve, we know, though you may guess. And as nothing is more dear to us than the loving conservation of our subjects' hearts, what an undeserved doubt might we have incurred if the abusers of our liberality, the thrallers of our people, the wringers of the poor, had not been told us!

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(4) The Jew of Malta (ca 1580)

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Christopher Marlowe’s play about a Maltese Jew's (Barabas’) revenge against the city authorities. Its plot is a story of religious conflict, intrigue, and revenge, set in Malta in the midst of a struggle for supremacy between Spain and the Ottoman Empire. The Jew of Malta is considered to have been a major influence on William Shakespeare's The Merchant of Venice. As with Shakespeare's Merchant of Venice, the unremitting evil of The Jew of Malta's anti-hero leaves the play open to accusations of anti-Semitism. Machievelli, in the Prologue, describes it as the "tragedy" of a Jew.The play portrays characters of three religious groups—Christians, Jews, and the Turks, who are Muslim—in constant enmity with one another. It satirizes self-contented morality and suggests that, in the end, all religious groups are equally likely to engage in violent and selfish acts, regardless of their professed moral teachings.

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(6) “My mistress’ eyes are nothing like the sun;/Coral is far more red than her lips’ red”(2)

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Shakespeare’s Sonnet 130; mocks the flowery, showy sonnets of Petrarchan convention; a blazon but not to elevate the woman rather to describe her realistic earthliness (ordinariness). “And yet, by heaven, I think my love as rare, as any she belied with false compare.” This line projects the message behind this work; demeaning the false comparisons made by many Poets of the time.

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(7) HESPERIDES (1648)

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By Roman times, the garden of the Hesperides had lost its archaic place in religion and had dwindled to a poetic convention, in which form it was revived in Renaissance poetry, to refer both to the garden and to the nymphs that dwelt there. As a title, Hesperides refers to acollection of 1200 lyric poems by Robert Herrick. The collection includes “To the Virgins to Make Much of Time” and ““Carinna’s Going A-Maying”

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(8) The Country Hose Poem (3)

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poem in which the author compliments a wealthy patron or a friend through a description of his country house. Such poems were popular in early 17th century England. The genre may be regarded as a sub-set of the topographical poem; Emilia Lanyer's Description of Cookham (1611); Ben Jonson’s “To Penhurst” (1616); Andrew Marvell's Upon Appleton House; Thomas Carew’s two country house poems To Saxham and To My Friend G. N., from Wrest; Robert Herrick, A Panegyric to Sir Lewis Pemberton.

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(9) DOCTOR FAUSTUS (1580)

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Christopher Marlowe’s play based on the German Faust legend, was the first dramatized version of the Faust legend, in which a man sells his soul to the devil for power and knowledge. Marlowe deviates by having his hero unable to "burn his books" or repent to a merciful God in order to have his contract annulled at the end of the play. Marlowe's protagonist is instead torn apart by demons and dragged off screaming to hell. Two versions of the play exist: the 1604 quarto, also known as the A text, and the 1616 quarto or B text. Many scholars believe that the A text is more representative of Marlowe's original because it contains irregular character names and idiosyncratic spelling: the hallmarks of a text that used the author's handwritten manuscript, or "foul papers", as a major source. Themes: sin (greed); Satan and death; magic; battle between good and evil

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(11) 11. Gonzalo and Montaigne’s essay Of Cannibals--

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"Of Cannibals" constitutes Montaigne's reflections, some fifteen years later, upon his meeting, in Rouen in 1562, with a cannibal who had been brought to France by the French explorer Villegagnon. He opposed the conquest of the New World, deploring the suffering it brought upon the natives. Of cannibals" introduced a new multicultural note in European civilization. Montaigne wrote that "one calls 'barbarism' whatever he is not accustomed to." In Shakespeare’s The Tempest, An honest and trusted adviser to King Alonso of Naples, Gonzalo is one of the few characters in The Tempest who has a good heart and is described as noble. Gonzalo is the only character able to see Caliban for more than a demonic beast. One of Gonzalo's speeches is derived from Montaigne's essay Of the Canibales.

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12. Book IV of Paradise Lost—

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Satan on Mt. Niphates approaching Eden led by archangel Uriel. Begins with an internal debate for Satan about whether he should go through with his plan to bring about the fall of man (envy, despair, thoughts of forgiveness, return to pride). Uriel tells Gabriel who sends angels into Eden to search for Satan. Find him whispering in Eve’s ear. Gabriel recognizes Satan and the almost fight but Satan flees. Story of Eve seeing herself in the river water as vanity inherent? Sex bt Adam and Eve as natural as sex not inherently sinful? Eve shown as subservient to Adam.

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13. Venus and Adonis(2) (1593)—
[LONG]

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Shakespeare poem (1592-93ish); based on passages from Ovid’s Metamorphosis Book 10. Ovid told of how Venus took the beautiful Adonis as her first mortal lover. They were long-time companions, with the goddess hunting alongside her lover. She warns him of the tale of Atalanta and Hippomenes to dissuade him from hunting dangerous animals; he disregards the warning, and is killed by a boar. Shakespeare may also have used Scilla’s Metamorphosis (1589), by Thomas Lodge., and Book III of The Faerie Queene (1591), by Edmund Spenser. As Adonis is preparing to go hunting, Venus "seizeth on his sweating palm" and "Backward she push'd him, as she would be thrust" (for purposes of sexual intercourse). We find next that "Panting he lies, and breatheth in her face," while Venus tells him "Be bold to play, our sport is not in sight." She seduces him, and they begin a passionate affair, which Adonis is not very interested in, thinking he is too young, and cares only for hunting, but Adonis is soon killed in a hunting accident. The poem contains what may be Shakespeare's most graphic depiction of sexual excitement. Shakespeare developed this basic narrative into a poem of 1,194 lines. His chief innovation was to make Adonis refuse Venus's offer of herself. The other innovation was a kind of observance of the Aristotelian unities: the action takes place in one location, lasts from morning till morning, and focuses on the two main characters.

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20. The Marlovian hero

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a rebel; desire to achieve the impossible; ambitious; usually the grandest character in the play the carries the entire narrative (title character); tragic hero; usually of common beginnings; challenge to existing order

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19. The rape of Lavinia

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From Shalkepeare’s revenge tragedy Titus Andronicus. Lavinia is the daughter of the Roman general Titus. Chiron and Demetrius, sons of Titus’ enemy Tamora ( Queen of the Goths and new queen to the new emperor of Roma, Saturninus) rape Lavinia then cut off her hands and cut out her tongue so she cannot tell anyone of the crime. This mutilation alludes to the classical story of Philomel, who was raped and then had her tongue cut out to prevent her revealing her attacker's identity. The story is referred to several times by the characters in 'Titus' as a parallel to Lavinia's fate.

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17. The Spanish Tragedy (2)—

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Play by Thomas Kyd (between 1582-1592) the earliest example of first major example of the revenge plot in English drama. Established a new genre in English theatre, the revenge play or revenge tragedy. Its plot contains several violent murders and includes as one of its characters a personification of Revenge. The Spanish Tragedy was often referenced (or parodied) in works written by other Elizabethan playwrights, including William Shakespeare, Ben Jonson, and Christopher Marlowe. Many elements of The Spanish Tragedy, such as the play-within-a-play used to trap a murderer and a ghost intent on vengeance, appear in Shakespeare's Hamlet. Kyd does acknowledge his relations to Senecan Tragedies by using Latin directly in the play but also causes Christianity to conflict with pagan ideals.

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15. Donne’s Sermons--Devotions upon Emergent Occasions

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(written while he was convalescing from a serious illness, were published in 1624)--The work consists of twenty-three parts ('devotions') describing each stage of the sickness. Each part is further divided into a Meditation, an Expostulation, and a Prayer. The most famous of these is undoubtedly Meditation 17, which includes the immortal lines "No man is an island" and "never send to know for whom the bell tolls; It tolls for thee." He also preached what was called his own funeral sermon, Death's Duel, just a few weeks before he died in London on March 31, 1631

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14. The Globe--

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In Christmas 1598 the company sought a drastic solution: they leased a plot near the Rose, a rival theatre in Southwark, demolished Burbage’s the Theatre and carried its timbers over the river. To cover the cost of the new playhouse, James Burbage’s sons Cuthbert and Richard, offered some members of the company shares in the building. Shakespeare was one of four actors who bought a share in the Globe. By early 1599 the theatre was up and running and for 14 years it thrived, presenting many of Shakespeare’s greatest plays. Burned during a performance of in 1613. Demolished in 1644 after the closure of all the theatres under England’s Puritan administration in 1642. Project to rebuild started by the American actor, director and producer Sam Wanamaker after his first visit to London in 1949. Finally complete in 1997.

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21. “Gather ye rosebuds while ye may”(2)—

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Robert Herrick’s “To the Virgins to Make much of Time”; an example of carpe diem poetry (seize the day); life is short, the world is beautiful, love is splendid, and we must use the short time we have to make the most of it. Typical of the Cavalier poets?

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22. Areopagitica(2)—

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)—(1644) John Milton’s polemical prose writing against censorship. Censorship only after licensing and in the instance of sedition (after the society has available and determine the need for censorship). 4 arguments from history against pre-licensing books:
• 1) pre-licensing is a catholic invention in the Inquisition (not true history);
• 2) reading involves acquisition of knowledge of good and evil necessary in a fallen world;
• 3) licensing is ineffectual (doesn’t work);
• 4) Licensing discourages learning and the pursuit of Truth (capital “T”)—Milton thinks there is a universal truth but that we should disagree on it and discuss it all the time. Extends argument 4 above. If someone takes the time to write he deserves to be heard. Academic freedom argument that a man can’t teach with authority if has to teach under a licenser. England as chosen nation and have limited free press is nationalistic. See page 10 on how it influenced the US in it Bill of Rights. Quote 26, England as chosen nation then “city of God” as related to Pilgrims in the US.
• “Give me the liberty to know, to utter, and to argue freely according to conscience, above all liberties.”

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23. Aemilia Lanyer(2)—

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first female professional poet; single volume of poems, Salve Deus Rex Judaeorum (1611). "Salve Deus Rex Judaeorum," "The Description of Cooke-ham," and a final prose address "To the doubtfull Reader" wherein Lanyer says that she dreamed of the book's title long before she wrote the book, implying its divine commissioning. "Salve Deus Rex Judaeorum" is a meditation on the Passion which argues that men (not women) were responsible for the crucifixion of Christ. Lanyer further argues in an extended section entitled "Eves Apologie in Defense of Women" that Eve was less culpable than Adam. Lanyer then compares women's sinfulness in the Edenic context to men's sinfulness in the context of the crucifixion to argue for women's social and religious equality with men. "The Description of Cooke-ham" is the first country house poem to be published in English (predating Ben Jonson's "To Penshurst" [1616]).

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24. Andrew Marvell

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17th century metaphysical poet; wrote country house poem “Upon Appleton House” and the lyric poem “To His Coy Mistress.” Many of his poems explore the human condition in terms of fundamental dichotomies that resist resolution.

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25. Duchess of Malfi(3)

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— 1614 tragedy by John Webster; The play begins as a love story, with a Duchess who marries beneath her class, and ends as a nightmarish tragedy as her two brothers exact their revenge, destroying themselves in the process. The play is sometimes ridiculed by modern critics for the excessive violence and horror in its later scenes. The title character, the Duchess, is presented as a figure of virtue by comparison to her malevolent brothers, and in facing death she exemplifies classical Stoicism. Her martyr-like death scene has been compared to that of the King Edward II in Christopher Marlowe's play. Webster's use of a strong, virtuous woman as his central character was rare for his time and represents a deliberate reworking of some of the original historical event on which his play was based.

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26. George Herbert—

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Anglican priest and poet from Wales. Known for pattern poems, like “Easter Wings” and “The Alter,” among the poems in his collection The Temple and his metaphysical conceits. Jacula Prudentum, a collection of pithy proverbs.

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27. Holy Sonnets(3)-- (1618)
[Revised: 8/8/12]

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H.S. is a collection of John Donne's religious sonnets published after he took holy orders.as an Anglican priest.Donne wrote a variety of religious poems (called "Divine Poems"). The H.S. are a group of nineteen poems that reflected Donne's interest in Jesuit and especially Protestant meditative procedures

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28. Divine Meditations

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also known as Donne’s Holy Sonnets (see above ID)

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29. Prospero—

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the Duke from Shakespeare’s play, The Tempest. Father to Miranda, learns sorcery, masters Caliban, had been put to see to die by his brother, Antonio, twelve years before the play begins. Compare his intent to drown his books to Dr. Faust’s burning of his books in Marlowe’s Faustus. Famous final soliloquy in which he begs pardon for crimes by the applause of the audience.

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31. Falstaff

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refers to Sir John Falstaff, the comic figure from Shakespeare’s Henry IV, Parts 1 and 2 and The Merry Wives of Winsor. Falstaff is the fat, bacchanalian childhood friend of Prince Henry (Hal). Henry’s renunciation of Falstaff at the end of HV2 symbolizes Henry’s leaving behind childhood frivolities and maturing into his role as King Henry V of England. Adding to the Henry’s symbolic transition, Falstaff’s death is announced in HV. Falstaff is hailed by Harold Bloom and other literary scholars as one of Shakespeare’s greatest creations.

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32. Lady Mary Wroth (4)—

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Daughter of Robert Sidney and niece of Sir Philip Sidney. Wrote the first public work of fiction by an English woman in the 1621 prose romance The Countess of Montgomeries Urania (1621) in which she draws on court events, scandals and personalities. Wroth’s sonnet sequence, Pamphilia to Amphilanthus, was initially published with Urania before being published separately. With Pamphilia to Amphilanthus, Wroth was also the first woman to write an English sonnet sequence.

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33. “The Flea” (5)—

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one of John Donne’s secular poems. “The Flea” is a metaphysical conceit in which a man attempts to convince his would-be lover to sleep with him by comparing their co-mingling to the activities of a flea. The flea landed on both the man and the woman and so they have technically already mixed body fluids, according to the speaker’s argument. It ends with the woman killing the flea, but not the speaker’s hopes for persuasion because he tries once more saying that killing the flea was such an easy thing that their having sex would be equally as simple and in no need of such precious guarding.

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34. metaphysical conceit(2) and “The Flea”(5)—

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A device most used by 17th century metaphysical poets like John Donne and George Herbert, the metaphysical conceit is an elaborate metaphor that usually sets up an analogy between one entity’s spiritual qualities and an object in the physical world and sometimes controls the whole structure of the poem. a far-fetched and ingenious extended comparison (or "conceit") used by metaphysical poets to explore all areas of knowledge. It finds telling and unusual analogies for the poet's ideas in the startlingly esoteric or the shockingly commonplace -- not the usual stuff of poetic metaphor. It is often grotesque and extravagant, e.g. Crashaw's comparison of Mary Magdalene's tear-filled eyes as "Two walking baths; two weeping motions / Portable and compendious oceans." Donne's comparison of his union with his lover to the draftsman's compass in "A Valediction: Forbidding Mourning" is more successful because it gives us a perception of a real but previously unsuspected similarity that is therefore enlightening. Typical metaphysical conceits come from a wide variety of areas of knowledge: coins (mintage); alchemy; medieval philosophy and angelology (see e.g. Donne's "Air and Angels," NA 1243 [not assigned for this class]); meteorology (sighs are blasts, tears are floods); mythology (the Phoenix's riddle, the river Styx); government ("she is the state, he is the Prince" from Donne's "The Sun Rising"); travelling (Donne's "Go and Catch a Falling Star"); astronomy; metallurgy ("gold to airy thinness beat"); geometry (the twin compasses); law; geography.

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35. Anatomy of Melancholy(2)—

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Robert Burton’s 1621 treatise. Unlike Bacon, Burton assumes that knowledge of psychology, not natural science, is humankind's greatest need. Presented as a medical text. Anatomy of Melancholy examines the Jacobean malady, melancholy, supposedly caused by an excess of "black bile," according to the humor theory fashionable at the time. Burton's book consists mostly of a collection of opinions of a multitude of writers, grouped under quaint and old-fashioned divisions; in a solemn tone = Burton’s effort to prove indisputable facts by weighty quotations. The Anatomy uses melancholy as the lens through which all human emotion and thought may be scrutinized. In his satirical preface to the reader, Burton's persona Democritus Junior explains, "I write of melancholy by being busy to avoid melancholy." Melancholy was responsible, according to Burton and others, for the wild passions and despairs of lovers, the agonies and ecstasies of religious devotees, the frenzies of madmen, and the studious abstraction exemplified by scholars such as Shakespeare or Milton.

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37. Volpone(3)—

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Italian for “the fox”;Ben Jonson’s 1607 comedy; satire; often regarded as his masterpiece. Volpone, a Venetian gentleman, is pretending to be on his deathbed after a long illness in order to dupe Voltore, Corbaccio and Corvino, who aspire to his fortune. They each arrive in turn, bearing extravagant gifts with the aim of being inscribed as Volpone's heir. Mosca, Volpone's assistant, encourages them, making each of them believe that he has been named in the will, and getting Corbaccio to disinherit his son in favour of Volpone. (more on the plot) The play, though set in Venice, directs its scrutiny on the rising merchant classes of Jacobean London. Peopled with dupes and those who deceive them; drawing on elements of city comedy, black comedy and animal fable. A merciless satire of greed and lust, it remains Jonson's most-performed play

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38. Revenge tragedy(4)—
[LONG]

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Form of tragedy popular in the Elizabethan and Jacobian Patterned after Senecan drama. which almost invariably includes:
• A secret murder, usually of a benign ruler by a bad person
• A ghostly visitation of the murder victim to a younger kinsman, generally a son
• A period of disguise, intrigue, or plotting, in which the murderer and the avenger scheme against each other, with a slowly rising body count
• A descent into either real or feigned madness by the avenger or one of the auxiliary characters
• An eruption of general violence at the end, which (in the Renaissance) is often accomplished by means of a feigned masque or festivity
• A catastrophe that utterly decimates the dramatis personae, including the avenger
• In the English plays, the avenger is either stoic (albeit not very specifically) or struggling to be so; in this respect, the main thematic concern of the English revenge plays is the problem of pain.
• Politically, the English playwrights used the revenge plot to explore themes of absolute power, corruption in court, and of factional concerns that applied to late Elizabethan and Jacobean politics as they had to Roman politics.
Thomas Kyd's The Spanish Tragedy is the first major example of the revenge plot in English drama. A more purely Jacobean example than Hamlet is Middleton’s The Revenger's Tragedy, apparently produced in 1606 and printed anonymously the following year. Besides Hamlet, other plays of Shakespeare's with at least some revenge elements are Titus Andronicus, Julius Caesar, and Macbeth. Other revenge tragedies include The White Devil, The Changeling, The Duchess of Malfi,

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39. Astrophil and Stella(3)—

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1591 by Sir Philip Sidney; Astrophil and Stella was the first English sonnet sequence. Patterned in the conventions of Petrarch’s Rime Sparse, Astrophil and Stella is Sidney’s depiction of the abject lover (Astrophil, “star lover”) lamenting the coldness of his beloved lady (Stella, “star”); He is so true of love and her neglect causes him so much anguish.[Lady Penelope was married to Lord Rich in 1581.]

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40. Sir Thomas Wyatt—

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lyrical poet; credited with introducing the sonnet into English. Translated Petrarch’s sonnets into English. His own sonnets (again published after his death) imitated of works by the classical writers Seneca and Horace. Reflects classical and Italian models; also shows Chaucer’s influence. Themes = the trials of romantic love; scathing, satirical indictments of the hypocrisies and flat-out pandering required of courtiers ambitious to advance at the Tudor court. More recently, the critic, Patricia Thomson, describes Wyatt as the Father of English Poetry. Author of “My Galley” and “Whoso List to Hunt” and “My Lute and I have Done.”

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41. Ovid’s Metamorphoses—

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a Latin narrative poem in fifteen books by the Roman poet Ovid, a collection of ancient mythology somewhat in the framework of epic poetry, like Homer. Each story, from the creation to the apotheosis of Julius Caesar, depicts some sort of change or metamorphosis in its character (s). Completed in AD 8. The story of Pyramus and Thisbe in Metamorphosis Book 4 appears in Shakespeare’s A Midsummer Night’s Dream and influenced Romeo and Juliet. In Titus Andronicus, Lavinia’s rape mirrors the rape of Philomela in Metamorphosis Book 6 and is how Titus discovers what happened to his daughter and avenges her rape. Shakespeare adapts, with minor changes, a passage from Book 7 of the Golding translation into an important speech in Act V of The Tempest. Also influenced Shakespeare’s Venus and Adonis (1592/93).

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42. Caliban(2)—

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the wild man in Shakespeare’s The Tempest. Caliban is a native on the island where Prospero and Miranda land. Caliban teaches them how to survive on the island and they teach him religion and how to speak their language. He’s enslaved by Prospero after trying to rape Miranda. His mother, Sycorax, is a witch. Begins to resent Prospero as a usurper of his land. Symbolically, Caliban represents the noble savage, possibly the cannibal, that is unrefined but having his land taken over by the sophisticated white man. At times, he is both unpolished and eloquent in the play.

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43. “The Canonization”—

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a 17th century poem by John Donne; “The Canonization” is one of Donne’s secular poem and carries through it the metaphysical conceit that the two lovers depicted in the poem are not harming the world by their love and in fact have found a love worthy of saint hood. The speaker, speaking to a friend an by extension the world, begins with a plea “For God’s sake hold your tongue and let me love”. Cleanth Brooks and others has made it a central topic in the argument between formalist critics and historicist critics; the former argue that the poem is what it seems to be, an anti-political defense of love against the corrupting values of politics and privilege, while the latter argue, based on events in Donne’s life at the time of the poem’s composition, that it is actually a kind of coded, ironic rumination on the “ruined fortune” and dashed political hopes of the first stanza.

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44. Book IX of Paradise Lost(3)—

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Milton’s consideration of Adam and Eve’s act of disobedience. Begins with Milton comparing himself to Virgil and Homer and hoping he is not too old to write this heroic tragedy; hopes he does not get caught up in unimportant things like V & H; invokes Urania the celestial patroness and Christian muse. Satan returns to Eden, decides to disguise himself as a snake. Again hesitation and envy of Adam and Eve; Satan tempts Eve into eating the apple; The Earth then feels wounded and nature sighs in woe, for with this act, humankind has fallen. He turns a lustful eye on Eve, and they run off into the woods for sexual play. Shame and cover with leaves; only knowledge was of how good they had things. Angry and confused, they continue to blame each other for committing the sin, while neither will admit any fault. Their shameful and tearful argument continues for hours.

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45. “Easter Wings”—

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a pattern poem written by 17th century religious poet, George Herbert. The lines of the poem were printed on two pages of a book, sideways, so that the lines suggest two birds flying upward, with wings spread out. In closing the poem, Herbert references wings, and the healing thereof to state that with help of God he can fly again and that his purposeful suffering will allow him to progress spiritually.

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46. Elizabeth Cary--

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Jacobean poet, translator, and dramatist. Cary was associated with the literary circle of Mary Herbert, Countess of Pembroke. She is best known for The Tragedy of Miriam, the Fair Queen of Jewry (1613)--the first original play in English known to have been written by a woman and published under her own name. She was also the first English woman author to be the subject of a literary biography—The Lady Falkland: Her Life was written by one of her daughters, probably in the 1643-50 era, though not published till 1861.

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47. Court masque(4)--

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a form of sixteenth and seventeenth century courtly entertainment. Originally developed earlier in Italy, masque (public versions were pageants) involved music and dancing, singing and acting, within an elaborate stage design. Masques were typically a complimentary offering to the prince among his guests and might combine pastoral settings, mythological fable, and the dramatic elements of ethical debate. There would invariably be some political and social application of the allegory. Such pageants often celebrated a birth, marriage, change of ruler. Masque imagery tended to be drawn from Classical rather than Christian sources. Professional actors and musicians were hired for the speaking and singing parts. Often, the masquers who did not speak or sing were courtiers: Henry VIII and Charles I performed in masques at their courts. Famous examples include Jonson’s Masque od Blackness and Hymenaei and Milton’s Comus.

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48. The Advancement of Learning—

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Is a 1605 book by Sir Francis Bacon in which he argued that the only knowledge of importance was that which could be discovered by inductive reasoning, observation- 'empirical' knowledge rooted in the natural world. Early thoughts on inductive reasoning about fifteen years before Bacon’s Novum Organum in which he outlines his formal proposal for the new scientific method of observation and empirical knowledge.

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49. Sir Thomas Browne--

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Thomas Browne was 17th C doctor and prose author. Best known work, Religio medici, written in 1635, printed in 1642 without his consent, and an approved a new printing in 1643. Religio medici is an intellectual autobiography in which Browne writes about his personal views not just on religion but on a great variety of other subjects, too, although most of them may be related in some way to religion.Browne's writings display a deep curiosity towards the natural world, influenced by the scientific revolution of Baconian enquiry. Religio medici is one of the great prose-works of the Early Modern period of English literature. Virginia Woolf said the Religio Medici paved the way for all future confessionals, private memoirs and personal writings. In the seventeenth century it spawned numerous imitative titles, including John Dryden’s, Religio Laici, but none matched the frank, intimate tone of the original in which the learned doctor invites the reader to share with him in the labyrinthine mysteries and idiosyncratic views of his personality.

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50. Thomas Middleton(2)--

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Middleton was a Renaissance dramatists who wrote comedies, tragedies masques and pageants. Also published three volumes of verse by 1600. Wrote The Revenger’s Tragedy (1607) and Women Beware Women (c.1625) and collaborated with Rowley on: A Fair Quarrel (pub.1617), The World Tossed at Tennis (pub.1620) and the superb tragicomedy The Changeling (1622).

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51. Arden of Faversham--

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An Elizabethan play (c. 1592) that depicts the murder of Thomas Arden by his wife Alice and her lover, and their subsequent discovery and punishment. The play is perhaps the earliest surviving example of domestic tragedy, a form of Renaissance play which dramatized recent and local crimes rather than far-off and historical events. The playwright followed the account in Holinshed's Chronicle’s report of the mid-16th century event. The author is unknown. In Hamlet and His Problems, T.S. Eliot claimed that Thomas Kyd was the probable author. End stopped, blank verse.

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52. Spenser’s Garden of Adonis—

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The garden paradise at the core of Spenser’s Faerie Queene Book III, Cantos vi and vii, the book of chastity. Gardin of Adonis contains all the seeds of every flower = ways in which it is endless; Genius clothes the babies and sends them off into the world; Rejuvenating atmosphere of the garden; cyclical and satisfying (versus the lack of production in the Bower of Bliss); There, the forms of all living things grow. They take on matter from the pit of Chaos and then leave through one gate of the Garden to enter Earth. When their time in the world is over, they come back through the other gate, shed their matter, and, after a certain time, are reincarnated with new substance. Time is the only enemy of the Garden; otherwise, all things are happy. It was there that Venus brought Amoretta, and raised her "to be th'ensample of true love alone (III.vi.52)." “old to new” is a reversal that catches our attention and focuses on what is new, possible, and reproduced. Within the Garden of Adonis (constancy, genuine, true, love with fulfillment; eternal cycle with death and time), Cupid & Psyche give birth to Pleasure—so the sense that genuine pleasure is available in this garden. The exact center of Book III = marks itself with line “Right in the middest of that Paradise” showing Spenser’s awareness of time and numbers in The Faerie Queene

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53. “Nature that framed us of four elements/Warring within our breasts for regiment,/Doth teach us all to have aspiring minds…/And always moving as the restless spheres./Wills us to wear ourselves and never rest/Until we reach the ripest fruit of all./That perfect bliss and sole felicity,/The sweet fruition of an earthly crown.”—

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.”—the beginning words of Marlowe’s Tamburlaine to a Persian king in Tamburlaine the Great. Action and ambition can make ourselves whatever we want.

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54. Early modern English epic(s)--
(REVISED 8/17/12)

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A long, narrative poem that treats a single heroic figure or a group of such figures and concerns an historical event, such as a war or conquest, or an heroic quest or some other significant legendary or mythic event that is central to the history and traditions of a culture. It is common in poetry, most probably in epic poetry (such as Old English Beowulf) that archaic language is used to create a distinctive atmosphere within the text. Early Modern epics were modeled after the works of Virgil, Homer, and Beowulf. There are larger works such as Orlando furioso by Ludovico Ariosto (1516); The Faerie Queene by Edmund Spenser (1596); Paradise Lost by John Milton (1667); Paradise Regained by John Milton (1671).

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55. Emblem collections--

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a category of illustrated book printed in Europe during the 16th and 17th centuries, typically containing a number of emblematic images with explanatory text. Each combination consisted of a woodcut or engraving accompanied by one or more short texts, intended to inspire their readers to reflect on a general moral lesson derived from the reading of both picture and text together. The picture was subject to numerous interpretations: only by reading the text could a reader be certain which meaning was intended by the author. The first emblem book, the Emblemata of Andrea Alciato (Germany 1531), was first issued in an unauthorized edition in which the woodcuts were chosen by the printer without any input from the author, who had circulated the texts in unillustrated manuscript form. A famous English collection is the Emblems of Francis Quarles, 1635.

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56. “Thou wert better in a grave than to answer with thy uncovered body the extremity of the skies. Is man no more than this? Consider it well. Thou owest the worm no silk, the beast no hide, the sheep no wool, the cat no perfume. Ha! Here’s three on’s are sophisticated. Thou are the thing itself; unaccommodated man is no more but such a poor, bare, forked animal as thou art. Off, off, you lendings! Come, unbutton here.”—

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from Act III, scene iv of Shakespeare’s King Lear, spoken by Lear. Speaking to Edgar disguised as an unclothed beggar. The speech shows a movement toward humility that the king did not have at the start of the play. He compares his clothes to Edgar’s lack of clothing and ultimately gives Edgar his clothing. King Lear considers the existence of man and by extension himself, “is man no more than this” the mark of his clothing as superficial marks of his identity. The realization that man is a “poor, bare, forked animal”—a king no different than a beggar.

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57. Rosalind--

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the female lead in Shakespeare’s Romance comedy As You Like It. Her Uncle, Duke Frederick, has usurped her father, Duke Senior, and Rosalind flees into the woods from her uncle. She’s smart, quick-witted but most importantly in As You Like It, loyal to her family. Eventually, Rosalind is reunited with her father and is married to her faithful lover, Orlando.

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58. Richard Crashaw—
Richard Crashaw—Folio collection(s)--

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Books made by printing two pages of text on each side of a sheet of paper, which is then folded once to form two leaves or four pages, are referred to as folios. The folio format was reserved for expensive, prestigious volumes. During Shakespeare's lifetime, stage plays were not generally taken seriously as literature and not considered worthy of being collected into folios, so the plays printed while he was alive were printed as quartos. His poems were never included in his collected works until the eighteenth century. It was not until 1616, the year of Shakespeare's death, that Ben Jonson defied convention by issuing a folio collection of his own plays and poems. published in the seventeenth century were crucial developments in the publication of English literature and English Renaissance drama. The first folio collection, issued in 1616,[1] treated stage plays as serious works of literature instead of popular ephemera — at the time, a controversial position. The 1616 folio stood as a precedent for other play collections that followed — most notably the First Folio of Shakespeare's plays in 1623, but also the first Beaumont and Fletcher folio of 1647, and other collections that were important in preserving the dramatic literature of the age for subsequent generations. Seven years later the folio volume Mr. William Shakespeare's Comedies, Histories & Tragedies appeared; this edition is now called the First Folio. The Folio is no more a definitive text than the quartos; many of the plays in the folio omit lines that can be found in quarto versions, and include misprints and textual corruption.

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59. Blank verse

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style of poetry with regular meter but no rhyme. Henry Howard Earl of Surrey’s interpretation of the Aeneid in the early 1500s is the first known use of blank verse. Gorboduc (1561), the first blank-verse tragedy, illustrates a rhythmic monotonony. Marlowe was the first to use blank verse with fluidity and eloquence of speech. Shakespeare’s plays created his dramas in unrhymed, iambi pentameter increasing complexity with enjambments, broken verse lines into dialogic exchanges and feminine endings. Milton’s Paradise Lost as one of the first instances of blank verse in non-dramatic poetry.

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60. Spenserian stanza—

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a fixed verse stanza contains 9 lines—8 iambic pentameter followed by a single “Alexandrine” line in iambic hexameter; ababbcbcc rhyme scheme; the Faerie Queene was the first work written in Spenserian stanza.

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61. Amoretti and Epithalamion—

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written by Edmund Spenser, Amoretti (1595) is a sonnet cycle commemorative of his courtship with Elizabeth Boyle. Amoretti breaks with Petrarchan conventional love poetry the speaker yearns for a lover who is actually unavailable. Spenser dedicate an entire sequence to a woman he could honorably win. While Petrarch finds some semblance of resolution in rejection of physical love and the subsequent death of his beloved, and Renaissance Petrarchism tends to ignore resolution and glorify the state of indeterminacy, Spenser finds his own unique solution. He eventually moves away from the constant transformation and self-absorption of the Petrarchan love situation, and towards the “peace and rest Spenser finds in the sacred world of marriage”--a mutual love covenant, in which spiritual and physical love can exist in harmony rather than as contraries. The sequence of correspondences to daily scripture readings is not perfectly consecutive or uninterrupted, though. This correlates well with Spenser’s goal of moving beyond the paradoxes and conflicts of love to the reconciliation and harmony embodied in marriage. Epithalamion (1595) was written for his wedding to Elizabeth Boyle. The poem consists of 365 long lines, corresponding to the days of the year; 68 short lines, representing the sum of the 52 weeks, 12 months, and 4 seasons of the annual cycle; and 24 stanzas, corresponding to the diurnal and sidereal hours.

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62. Bower of Bliss
[LONG]

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scene of Faerie Queene Book II, canto xii; Bower of Bliss is the longest canto in the FQ; Alluring in that it tempts male travelers to stint their quest (see David Quint’s Epic and Empire on an imperialist way to read this episode); Bower excludes satisfying love = consequence of lust? Verdant emasculated by Acrasia. Song of the Rose: II.xii.74-75with carpe diem imagery and the sense that time; gather the rose before it loses its prime. Destruction of the Bower (85) as example of Guyon’s Puritanical zeale with a wrath-like tempest; Stephen Greenblatt has connected it to Imperial Conquests/colonialism and how the conquering country destroys the native land and also identifies the destruction as Guyon’s attempt to contain/destroy the sexual temptation of the Bower of Bliss.

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ID#63
64. Carpe diem—

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Latin loosely translated to mean “pluck the day” or more commonly “seize the day”; early modern Carpe Diem had the basic theme that life is short, the world is beautiful, love is splendid, and we must use the short time we have to make the most of it. The phrase comes from a Horace poem with the words “Carpe diem, quam minime credula postero “ ("Seize the Day, trusting as little as possible in the future”). Examples = Marlow’s “Passionate Shepherd to his love”; Marvel “To His Coy Mistress” (had we but world enough and time); Jonson’s “Valpone to Celia”; Carew’s “The Rapture”; and Herrick’s “Carinna’s gone amaying” and “To the Virgins.”

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65. Utopia(2)--

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a work of fiction by Thomas More published in 1516. The book, written in Latin, is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. The book was a huge success, vaulting More into renown, and not only founding a literary tradition but lending that tradition its name, the utopian novel. This tradition involves the attempt by an author to describe a perfect, ideal human society.

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66. “Corinna’s Gone a-Maying”—

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an amatory Carpe Diem poem by Robert Herrick that celebrates May 1 as May Day, Purtans disapproved of May day; Herrick’s poem is wrtten in the form of a dramatic monologue with one lover entreating his female partner to get out of bed and join the other youths in celebrating May Day. Herrick provides sexual hints throughout his "Corinna's Gone A-Maying," but also alludes to the intention of the young couples to marry (an intention that was no doubt carried through in a goodly portion of these May Day courtships). Sort of the idea that the couple is not longer youth, but they can still feign to be and enjoy the carefree spring celebration.

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67. Pastoral literature (2)--

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Pastoral is dealing with politics under the guise of pastoral themes. refers as an adjective to the lifestyle of pastoralists, such as. It also refers to a genre in literature, art or music that depicts such shepherd life, usually in an idealized manner and for urban audiences. In literature, the adjective 'pastoral' refers to rural subjects and aspects of life in the countryside among shepherds, cowherds and other farm workers that are often romanticized and depicted in a highly unrealistic manner. Indeed, the pastoral life is sometimes depicted as being far closer to the Golden age than the rest of human life. Pastoral shepherds and maidens usually have Greek names like Corydon or Philomela, reflecting the origin of the pastoral genre. Pastoral poems are set in beautiful rural landscapes, such as Arcadia, a rural region of Greece, mythological home of the god Pan, which was portrayed as a sort of Eden by the poets. The first pastorals in English were the Eclogues (c.1515) of Alexander Barclay. A landmark in English pastoral poetry was Spenser’s The Shepheardes Calender, first published in 1579. Milton used the form both to explore his vocation as a writer and to attack what he saw as the abuses of the Church. Sir Philip Sidney's Arcadia (1590) as pastoral romance. John Lyly's Endimion (1579) brought the Italian-style pastoral play to England. Spenser's work consists of twelve eclogues, one for each month of the year, and is written in dialect. The most famous pastoral elegy in English is John Milton's Lycidas (1637).

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68. Essays or Counsels, Civil and Moral—

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published in 1625 by Sir Francis Bacon; provides dispassionate observation of human life and powerfully expressed moral judgments. Bacon focuses on the ethical, political, and historical influences on human behavior and records observations on such diverse topics as beauty, deformity, fortune, adversity, truth, marriage, and atheism. Later researches made clear the extent of Bacon's borrowings from the works of Montaigne, Aristotle and other writers, but the Essays have nevertheless remained in the highest repute.

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69. Margaret More Roper--

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(1505–1544) was an English writer and translator. She was the daughter of Thomas More and wife of William Roper. During More's imprisonment in the Tower of London, she was a frequent visitor to his cell, along with her husband. After More was beheaded in 1535 for refusing to bless the Reformation of Henry VIII of England and swear to Henry as head of the English Church, his head, after being parboiled, was displayed on a pike at London Bridge for a month. At the end of that period, Margaret bribed the man whose business it was to throw the head into the river, to give it to her instead. She preserved it by pickling it in spices until her own death at the age of 39 in 1544. After her death, her husband William Roper took charge of the head, and it is buried with him. In Alfred, Lord Tennyson's Dream of Fair Women, he invokes Margaret Roper ("who clasped in her last trance/ Her murdered father's head") as a paragon of loyalty and familial love.

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70. Francis Quarles--(8 May 1592 – 8 September 1644)

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was an English poet most famous for his Emblem book aptly entitled Emblems. The work by which Quarles is best known, the Emblems, was originally published in 1635. Each "emblem" consists of a paraphrase from a passage of Scripture, expressed in ornate and metaphorical language, followed by passages from the Christian Fathers, and concluding with an epigram of four lines. The Emblems was immensely popular with the common people, but the critics of the 17th and 18th centuries had no mercy on Quarles. Sir John Suckling in his Sessions of the Poets disrespectfully alluded to him as he "that makes God speak so big in's poetry." Pope in the Dunciad spoke of the Emblems, "Where the pictures for the page atone And Quarles is saved by beauties not his own."

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71. “We are such stuff/As dreams are made on, and our little life/Is rounded with sleep.”

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Prospero in The Tempest: In this passage, Prospero ends the wedding masque, also ending his own magic. What Prospero says is that the pageant has come to an end. Immediately, the magic ends and spirits melt away. he calls this "the baseless fabric of this vision." All of the palaces and temples and other things of this world will dissolve away. In fact our lives themselves dissolve away to nothing and end with death. Human beings and their deeds are transitory at best. Prospero realizes here his own mortality. he also realizes that life fades away like a dream. The works of men that seem so profound while they are living really mean nothing in the end. This speech seems like it should be somber, but it really isn't when reading. The reader recognizes the same things that Prospero does.

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72. “I know I have the body of a weak and feeble woman; but I have the heart and stomach of a king, and a kind of England too…”—

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QE1’s Tilbury Speech (1588); like her coronation speech in 1558, adoption of the medieval political theology of the sovereign's "two bodies": the body natural and the body politic.

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73. Ballad meter

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meter used in most European ballad quatrains = 4 lines of alternating iambic tetrameter (eight syllables) and iambic trimeter (six syllables). Usually, only the second and fourth line of a quatrain are rhymed (in the scheme a, b, c, b), kind of in a couplet style.

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74. City comedy--

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also called Citizen Comedy, is a common genre of Elizabethan drama. These include works which celebrate the lives of ordinary citizens, such as Thomas Dekker's The Shoemaker's Holiday. London comedies that are specifically satirical in nature, depicting London as a hotbed of sin; in particular, some of the comedies of Ben Jonson (The Devil is an Ass, Every Man in his Humour), Thomas Middleton (Michaelmas Term, A Chaste Maid in Cheapside) and John Marston (Jack Drum's Entertainment). The genre soon became very popular; the intricately-plotted romantic comedies of Shakespeare and John Lyly that had been in vogue on the public and private stages until this point were largely superseded by plays which were set in a recognizable contemporary London, and which dealt with, in Ben Jonson's words, "deeds and language such as men do use" (Prologue to Every Man in his Humour).

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75. Lycidas(3)—(1637)

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one of Milton’s pastoral elegies written in memory of a college classmate, Edward King. As one of Milton's earliest work before he matured into writing his epic. Reflects humanist training incorporating classical elements (e.g. references to laurels, the Muses, and Orpheus) and Christian concerns. Lycidas ultimately becomes a synthesis of both Classical and Christian "pastoral" imagery: he is in heaven with the lamb of God, an explicitly Christian God who is at once the Good Shepherd and the giver of poetic fame. In “Lycidas,” he likens Catholics to hungry wolves leaping into a sheep’s pen, an image similar to his depiction of Satan leaping over the wall of Paradise in Paradise Lost, Book IV.

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76. John Skelton(2)--

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Around 1505; Skelton wrote a book on pedagogy, entitled Speculum Principis (1501). This was one of many books of pedagogy written by Skelton, but the rest are since lost. He began his attacks on Cardinal Wolsey, shortly after 1518. These included Speak, Parrot (1521?), Colin Clout (1521-22), and Why Come Ye Not to Court? (1522). Skelton's apologetic and autobiographical The Garland of Laurel (1523) appeared after he had made peace with Wolsey. Satires against the church, and even irreverence for her rites, are, with him, no signs of irreligiousness. He was an ardent a champion of the old faith. In Colyn Clout he speaks contemptuously of Hus, Luther, and of Wyclif, whom he calls a “develysshe dogmatist,” = best proof of his keen hatred for heretics.

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#76
77. “No man is an island, entire of itself, every man is a piece of the continent, a part of the main…therefore never send to know for whom the bell tolls; it tolls for thee.”--

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from John Donne’s Devotions upon Emergent Occasions (1624). Meditation XVII is series of reflection written as Donne recovered from a serious illness. The patient prepares himself to die.

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#77.
78. L’Allegro and Il Penseroso(3)—

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)— Milton’s companion poems published in 1645. Both are pastoral settings. L'allegro is "the happy person" who spends an idealized day in the country and a festive evening in the city, il penseroso is "the thoughtful person" whose night is filled with meditative walking in the woods and hours of study in a "lonely Towr." The two poems complement each other structurally and contain images which are in specific dialogue with one another. According to Barbara Lewalski, L'Allegro, along with Il Penseroso, "explore and contrast in generic terms the ideal pleasures appropriate to contrasting lifestyles... that a poet might choose, or might choose at different times, or in sequence" ("Genre" in A Companion to Milton. Ed. Thomas Corns. Oxford: Blackwell Publishing, 2003).

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79. “My galy charged with forgetfulnes/Thorrough sharpe sees in winter nyghtes doeth pas/Twene Rock and Rock; and eke myn enemy, Alas,/That is my lorde, sterich with cruuelness”/Also, “My Galley” (2)—

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Sir Thomas Wyatt’s “My Galley”;note as comparison to Petrarch’s Rime 189 “My ship is sailing full of mindless woe.” Scylla and Charybdis myth, rock and a hard place. Note Petrarchan tropes and the importance of Wyatt’s poems on the development of the sonnet in English.

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80. “Was this the face that launched a thousand ships,/And burnt the topless towers of Illium?/Sweet Helen, make me immortal with a kiss:/ Her lips sucks forth my soul, see where it flies.”—

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Spoken by Faustus in Marlowe’s Dr. Faustus, Act V, scene 1. Faustus is nearing the end of his life and begins to realize the terrible nature of the bargain he has made. At the beginning of the play, he dismisses religious transcendence in favor of magic; now, after squandering his powers in petty, he seeks heavenly grace in Helen’s lips, which can, at best, offer only earthly pleasure. “[M]ake me immortal with a kiss,” he cries, even as he continues to keep his back turned to his only hope for escaping damnation—namely, repentance.

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81. “Time is out of joint. O cursed spite/That ever I was born to set it right!”—

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Spoken by Hamlet in Hamlet Act I, scene 5 after being visited by his father’s ghost. “Time is out of joint” when ghosts of dead fathers appear and uncles kill their brothers. “O cursed/spite”—as in both a ghostly spirit but also the multiple layers of actual spite now set in motion: as in the ill will of Claudius’ act, of Hamlet’s father’s need for revenge, and of Hamlet’s own need to stir up spiteful vengeance. Hamlet curses the responsibility he now bears.

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82. Timber, or Discoveries—

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Ben Jonson;

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83. Machiavelli—

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Niccolo Machiavelli (1469 –1527) was an Italian philosopher and writer during the Renaissance. The Prince is a manual to acquiring and keeping political power. Not humanist. The Discourse on the First Ten Books of Titus Livy nominally discusses a classical history of early Ancient Rome. Machiavelli presents it as a series of lessons on how a republic should be started and structured. And The Art of War. Realism versus idealism. Active control of one’s own fortune, power, fate.

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84. Wit--

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“wit” refers to apecific type of humor in early modern comedy, one of intelligence and mental agility as much as a talent for word-play . not just to be funny, but to be lively, surprising, and amusing in an eloquent way. When we talk about making a ‘joke’, ‘ridiculing’ someone, or enjoying a ‘banter’, we are using words which arrived in English in the late seventeenth century to describe the latest developments in fashionable wit. In Metaphysical Wit (1991), A. J. Smith argues that metaphysical wit is essentially different from other modes of wit current in Renaissance Europe. He locates the basis of Renaissance wit in the received conception of the created order and a theory of literary innovation inherent in Humanist belief, which led to novel couplings of time and eternity, body and soul, man and God.

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85. “To His Coy Mistress” (3)—

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a 17th C poem by Andrew Marvel. Both reflexive of carpe diem poetry—“Had we but world enough and time,/ This coyness, Lady, were no crime” –and metaphysical conceits—with abstract comparisons of how long the love could wait and the concrete, impending temporality of life--comparing the time their love could wait to ten years before the Flood to the conversion of Jews to Christianity or the ability to spend a hundred years adoring her eyes and forehead and two hundred to adore each breast (Petrarchan blazon, too) or exotic travels to the Ganges river.

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86. Oration on the Dignity of Man--

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famous public discourse pronounced in 1486 by Pico della Mirandola, a philosopher of the Italian Renaissance. It has been called the "Manifesto of the Renaissance" and a key text of Renaissance humanism. Pico’s Oration attempted to remap the human landscape to center all attention on human capacity and human perspective. He said that a man should emulate the dignity and glory of the angels by "exercising philosophy." In the Oration, Pico justified the importance of the human quest for knowledge within a Neoplatonic framework. The idea that men could ascend the chain of being through the exercise of their intellectual capacities was a profound endorsement of the dignity of human existence in this earthly life. The root of this dignity lay in his assertion that only human beings could change themselves through their own free will, whereas all other changes in nature were the result of some outside force acting on whatever it is that undergoes change. Man's capacity for self-transformation is the only constant. Coupled with his belief that all of creation constitutes a symbolic reflection of the divinity of God, Pico's philosophies had a profound influence on the arts, helping to elevate writers and painters from their medieval role as mere artisans to the Renaissance ideal of the artist as genius. The Oration also served as an introduction to Pico's 900 theses, which he believed to provide a complete and sufficient basis for the discovery of all knowledge, and hence a model for mankind's ascent of the chain of being.

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88. Dramatic monologue--

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a speech that one person makes either to another character in the poem or drama or directly to the audience. A dramatic monologue is written to reveal both the situation at hand and the character herself. An audience is implied; there is no dialogue; and the poet speaks through an assumed voice—a character, a fictional identity, or a persona. It is distinct from a soliloquy, which is where a character relates his or her thoughts and feelings to him/herself and to the audience without addressing any of the other characters.

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89. Epigram--

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a brief, clever, and usually memorable statement. From the Greek tradition of epigrams began as poems inscribed on votive offerings at sanctuaries. Appeared in couplets in early modern English writing.

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90. Fool--

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Can be an actual court jester but often in renaissance drama the fool is a clever peasant or commoner that use their wits to outdo people of higher social standing. The fool commonly conducts an interaction between himself and a person who society defines as wise by acting stupid and cunning at the same time, an interaction which would always end in the fool winning in this uneven matching of wits. The fool constantly questions our perceptions of wisdom and truth and their relationship to everyday experience. The fool, also called clown, performed with, not to, the Elizabethan audience, his relationship to them (and us) is interactive and competitive. Shakespeare created numerous comic fools including, Trinculo in The Tempest, The gravediggers in Hamlet, Touchstone in As You Like It, The Fool in King Lear, and perhaps the most well-known, Puck in A Midsummer Nights Dream

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91. The Pamphlet Wars--

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Middle of the 17th century—highly-contested period in English history stretching from just before the Civil War (about 1620) to the Restoration (about 1660). So-named because of this proliferation of literally hundreds of published polemical "tracts" and "pamphlets." Milton was an active participant in these debates, particularly voicing his concern with the intersection between religion and politics. Milton's participation included arguments in favor of divorce for incompatibility and his Areopagitica (written in 1644), a defense of a free press.

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93. Tiring house--

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The tiring house (or ‘attiring house’) was the area behind the stage where costumes and props were stored and where actors dressed to prepare themselves before their performances.

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94. Marvell’s mower poems--

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Four pastoral poems by Andrew Marvell in which the Mower is the main character: “The Mower, against Gardens,” “Damon the Mower,” “The Mower to the Glo-Worms,” and “The Mower’s Song.”

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95. “Death be not proud, though some have called thee”(2)—

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John Donne’s Holy Sonnet 10. Speaker addresses Death and tells says that it should not be pride bcause it is not as mighty as its reputation would seem. Eternal life triumphs over Death, which is only the end to one’s corporal body. That Death is in fact what dies, not the human soul.

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96. First Folio—

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“Folios” are books made by printing two pages of text on each side of a sheet of paper, which is then folded once to form two leaves or four pages, are referred to as folios. First Folio usually refers to the first folio collection of William Shakespeare’s works printed in 1623.

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97. “Alas, poor Yorick!”—

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Spoken by Hamlet in Hamlet, Act V.i. It is the scene at the grave with Hamlet (and Horatio) speaking with the gravediggers in charge of digging Ophelia’s grave. Hamlet, holding Yorick’s skull acknowledges that Yorick used to be one of Hamlet’s court jesters. It symbolizes Hamlet’s understanding of the ephemerality of life and a recognition of mortality, that jesters and royalty come the same end: “To what base uses we may return, Horatio.” This brief soliloquy offers a tangible contact with death that Hamlet did not have in this “To be or not to be” speech. Indicates a more direct link to the active role he must take to kill Claudius.

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98. “To the Memory of My Beloved the Author, Mr. William Shakespeare, and what he hath Left Us”(2)—

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Epideictic poem by Ben Jonson that is the prefix to Shakespeare’s 1623 First Folio. It offers the view of Shakespeare as a poet who, despite "small Latine and less Greek," had a natural genius, adored by the masses (in contrast to Jonson, the disciplined and erudite classicist, skeptical of the masses). But the poem itself qualifies this view: "Yet must I not give Nature all: Thy Art, / My gentle Shakespeare, must enjoy a part." Some view this elegy as a conventional exercise, but a rising number of critics see it as a heartfelt tribute to the "Sweet Swan Of Avon," the "Soul of the Age!"

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99. “All the world’s a stage,/And all the men and women merely players;/They have their exits and their entrances, /And one man in his time plays many parts,/His acts being seven ages.”—

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.”— the beginning of Jaques monologue from William Shakespeare's As You Like It, Act II.vii. The speech compares the world to a stage and life to a play, and catalogues the seven stages of a man's life, sometimes referred to as the seven ages of man: infant, schoolboy, lover, soldier, justice, old age, and second childhood, "sans teeth, sans eyes, sans taste, sans everything".

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100. Cordelia—

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Lear’s youngest daughter in Shakespeare’s King Lear. At the start of the play, Cordelia refuses to profess her love to her father in return for one third of the land in his kingdom and is banished. She returns to try to save her father from her greedy, deceiving sisters but is eventually hanged by them. A moral hero of the play, Cordelia ultimately forgives her father (now humbled) for banishing her embodying loyalty, love, and truth.

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101. “Batter my heart, three-personed God”—

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Donne’s Holy Sonnet 14. A violent imagery of the speaker’s request for God (the full Trinity of father, son and Holy Spirit) to take him away from the temptations of evil and force his allegiance, almost masochistically. The repeated monosyllabic verbs and the alliteration in the poem emulate the rhythm of a beating that the poem content suggests. Paradoxes, speaker will not be free unless God imprisons him; will not be chaste unless God ravishes him.

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102. “On My First Son”—

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by Ben Jonson written after the 1603 death of Jonson's first son Benjamin, age seven. The poem, a reflection of a father's pain in his young son's death, is not cynical or mocking like much of Jonson’s glib cavalier poetry but rather an impassioned and acutely moving goodbye: ”Farewell, thou child of my right hand, and joy;/My sinne was too much hope of thee, lov'd boy;” Jonson writes that the son was on loan to him but that he created too many expectations for the boy. Now that the son had to be returned, Jonson hopes that it be recorded that his son was his "best piece of poetry," the creation of which he was most proud. He concludes by vowing that from now on he will be more careful with those he loves; he will be wary of liking and so needing them too much.

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103. “…And justify the ways of God to men.”—

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From Paradise Lost, Book 1, Milton announces his purpose for writing the epic: to “assert Eternal Providence and justify the ways of God to men.” Show/justify how man’s fall from grace was part of God’s Eternal plan rather than a mistake of will. In his later years, Milton came to view all organized Christian churches, whether Anglican, Catholic or Presbyterian, as an obstacle to true faith. He felt that the individual and his conscience (or “right reason”) was a much more powerful tool in interpreting the Word of God than the example set by a church. Throughout Paradise Lost, Milton expresses the idea that Adam and Eve’s fall from grace was actually fortunate, because it gives individual human beings the opportunity to redeem themselves by true repentance and faith. The importance of remaining strong in one’s personal religious convictions, particularly in the face of widespread condemnation, is a major theme in the later Books of Paradise Lost,

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104. John Webster--

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a 17th c dramatist, author of The White Devil (1612, revenge tragedy) and the Duchess of Malfi (1614, dramatic tragedy). Work noted for its intricate, macabre, disturbing nature that seem to prefigure the Gothic literature of the seventeenth century.

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105. Thomas Kyd--

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an Elizabethan who preceded Shakespeare. He produced his famous play, The Spanish Tragedy, between 1584 and 1589. Influenced Shakespeare’s Hamlet and Titus Andronicus (traces of Kyd's play survive in the first two acts of the 1603 first quarto of Hamlet). Towards the close of his life Kyd was brought into relations with Christopher Marlowe. Kyd was arrested and put to the torture in Bridewell. He asserted that he knew nothing of this document and tried to shift the responsibility of it upon Marlowe, but he was kept in prison until after the death of that poet (June 1, 1593). He is important as a pioneer. The influence of Kyd is marked on all the immediate predecessors of Shakespeare, and the bold way in which scenes of violent crime were treated on the Elizabethan stage appears to be directly owing to the example of Kyd's innovating genius.

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106. “Let not my love be call’d idolatry

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Shakespeare’s Sonnet 105; shows the anti-petrarchan sentiment of Shakespeare’s sonnet sequence. The speaker does not want his love to be the worship of idolatry nor his lover to be worshipped as an unattainable idol. Rather his love is kind and constant: “fair, kind, and true.”

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107. The four humors--

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From ancient Greek, Medieval, and Renaissance thought, the traditional four elements form the basis for a theory of medicine and later psychological typology: blood (sanguine/air—Hot and Moist), black bile (melancholic/earth—cold and dry), yellow bile (choleric/fire—hot and dry) and phlegm (phlegmatic/water—cold and moist). Just as the world was composed of four "elements" (earth, water, air, fire), so too was the human body composed of four substances called "humours," with characteristics corresponding to the four elements. The medical belief was that illness occurred when there was an imbalance or "disorder" among the humours, that is, when they did not exist in proper proportion to each other. A surplus or imbalance in one of these fluids would not only affect their physical health, but also their personality and complexion. Many works by Shakespeare, he refers to these humors. Hamlet, Antonio (Merchant of Venice) and Jaques (As You Like It) as melancholic. Richard Burton’s “Anatomy of Melancholy.” Petruchio (Taming of the Shrew) pretends to be irritable and angry to show Katherina what it is like being around a disagreeable person. He yells at the servants for serving mutton, a "choleric" food, to two people who are already choleric. For example, Lady Macbeth says of : "Yet who would have thought / the old man to have had so much blood in him" (V.1.44-45).

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108. Gorboduc—

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Also titled Ferrex and Porrex, Gorboduc was an early Elizabethan tragedy written by Thomas Norton and Thomas Sackville in 1561. The first verse drama in English written in blank verse. Gorboduc, King of Britain, divided his realm in his lifetime to his sons, Ferrex and Porrex. The sons fell to dissention. The younger killed the elder. The mother that more dearly loved the elder, for revenge killed the younger. The people, moved with the cruelty of the fact, rose in rebellion and slew both father and mother. The nobility assembled and most terribly destroyed the rebels. Civil war ensued and the land for a long time almost desolate and wasted. Shows the influence of Senecan tragedies and was a forerunner for morality and bloodthirsty revenge dramas like Kyd’s The Spanish Tradegy and Shakespeare’s Titus Andronicus and King Lear.

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109. Roger Ascham--

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was a 16th C English scholar and didactic writer, famous for his prose style, his promotion of the vernacular, and his theories of education. Tutored Princess Elizabeth in Greek and Latin. Author of the Toxophilus (1545—touting the art of archery in education and national defense) and The Scholemaster, published posthumously(1570—a treatise on "the right order of teaching". Against physical punishment and in favor of using the vernacular English as a vehicle of thought and literature, of which it was itself an excellent example.

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110. St. Paul’s School--

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is a boys' school, founded in 1509 by John Colet. St Paul's was the first English school to teach Greek, reflecting the humanist interests of the founder. This could be achieved by bringing the Platonic method to children, through schooling in the Classics. became models for the transformation of the educational system. Colet asked Erasmus to become the first headmaster of St. Paul's. When Erasmus declined, Colet selected William Lily, who had studied at Oxford and in Italy. Lily had also travelled to Rhodes to learn Greek. Erasmus wrote textbooks for the school : De Ratione Studii} ({Concerning the Aim and Method of Education}){De Copia} and {Colloquies,} or dialogues, were designed to educate students in language as it was spoken, rather than as written text. The transformation and expansion of the educational system led to a dramatic increase in literacy. By 1615, following the end of the Tudor dynasty with the death of Elizabeth I in 1603, the literacy level in England had reached around 33 percent, one of the highest rates in the world.

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111. Sir Walter Raleigh--

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British explorer, poet and historian; one of Queen Elizabeth’s favorites. The name of Virginia was given to a vast and undefined territory, but none of Ralegh's captains or settlers reached the state itself. It was by Ralegh's help that Spenser obtained a pension, and royal aid to publish the first three books of the Faerie Queen. In 1595 he therefore sailed on a voyage of exploration with a view to conquest, on the coast of South America. The object was undoubtedly to find gold mines, and Ralegh had heard the wild stories of El Dorado which had been current among the Spaniards for long. His account of his voyage, The Discoverie of Guiana. To secure his release, he promised the king to find a gold mine in Guiana without trenching on a Spanish possession. It must have been notorious to everybody that this was impossible, and the Spanish ambassador, Gondomar, warned the king that the Spaniards had settlements on the coast. The king, who was in need of money, replied that if Ralegh was guilty of piracy he should be executed on his return. The failed expedition returned home. Ralegh was arrested, and in pursuance of the king's promise to Gondomar (Spain) was executed under his old sentence on the 29th of October 1618. Works: “The Nymph’s Reply to the Shepherd” = (Before 1599) as reply to Marlowe’s “The Passionate Shepherd To His Love.” And long poem "The Ocean to Cynthia".

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112. Hero and Leander--

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(c. 1593, unfinished; completed by George Chapman, 1598—poetry)—mythological poem; Marlowe's poem relates the Greek legend of Hero and Leander, youths living in cities on opposite sides of the Hellespont, a narrow body of water in what is now northwestern Turkey. Hero is a priestess or devotee of Venus (goddess of love and beauty) in Sestos, who lives in chastity despite being devoted to the goddess of love. At a festival in honor of her deity, Venus and Adonis, she is seen by Leander, a youth from Abydos on the opposite side of the Hellespont. Leander falls in love with her, and she reciprocates, although cautiously, as her parents will not allow her to marry a foreigner. Leander convinces her to abandon her fears. Hero lives in a high tower overlooking the water; he asks her to light a lamp in her window, and he promises to swim the Hellespont each night to be with her. She complies. On his first night's swim, Leander is spotted by Neptune (Roman god of the sea), who confuses him with Ganymede and carries him to the bottom of the ocean. Discovering his mistake, the god returns him to shore with a bracelet supposed to keep him safe from drowning. Leander emerges from the Hellespont, finds Hero's tower and knocks on the door, which Hero then opens to find him standing stark naked. She lets him "whisper in her ear, / Flatter, entreat, promise, protest, and swear," and after a series of coy, half-hearted attempts to "defend the fort" she yields to bliss. The poem breaks off as dawn is breaking.

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113. “Her vomit full of bookes and papers was,/With loathy frogs and toades, which eves did lacke,/And creeping sought way in the weedy gras.”—

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from FQ Book I, describing when Redcrosse choke Error. These papers represent Roman Catholic propaganda that was put out in Spenser's time, against Queen Elizabeth and Anglicanism.

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114. Shakespeare’s “problem” plays--

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three plays that Shakespeare wrote between the late 1590s and the first years of the seventeenth century the cannot be strictly called comedies or tragedies: All's Well That Ends Well, Measure for Measure and Troilus and Cressida, although some critics would extend the term to other plays, most commonly The Winter's Tale, Timon of Athens, and The Merchant of Venice. The term was coined by critic F. S. Boas in Shakespeare and his Predecessors (1896), who lists the first three plays and adds that "Hamlet, with its tragic close, is the connecting-link between the problem-plays and the tragedies in the stricter sense."[1] The term derives from a type of drama that was popular at the time of Boas' writing. It was most associated with the Norwegian playwright Henrik Ibsen. In these problem plays the situation faced by the protagonist is put forward by the author as a representative instance of a contemporary social problem. For Boas this modern form of drama provided a useful model with which to study works by Shakespeare that had previously seemed to be uneasily situated between the comic and the tragic, though nominally the three plays identified by Boas are all comedies. For Boas, Shakespeare's "problem plays" set out to explore specific moral dilemmas and social problems through their central characters. The three plays are also referred to as the dark comedies, since despite ending on a generally happy note for the characters concerned, the darker, more profound issues raised cannot be fully resolved or ignored. Many critics have suggested that this sequence of plays marked a psychological turning point for Shakespeare, during which he lost interest in the romantic comedies he had specialized in and turned towards the darker worlds of Hamlet, Othello, King Lear and Macbeth.

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115. Tamburlaine--(part I in 1587--drama)--

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about the conqueror Timur, who rises from shepherd to warrior. It is among the first English plays in blank verse; It is loosely based on the life of the Central Asian emperor, Timur 'the lame'. Written in 1587 or 1588, the play, with Thomas Kyd's The Spanish Tragedy, is a milestone in Elizabethan public drama; it marks a turning away from the clumsy language and loose plotting of the earlier Tudor dramatists, and a new interest in fresh and vivid language, memorable action, and intellectual complexity. humanist (idealized potential of human beings); atheist; anti-muslim; imitated by Peele's Battle of Alcazar.

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116. Mephistophilis--

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is a demon featured in German folklore. He originally appeared in literature as the demon in the Faust legend. A devil whom Faustus summons with his initial magical experiments. One of the first in a long tradition of sympathetic literary devils, which includes figures like John Milton’s Satan in Paradise Lost . Mephastophilis’s motivations are ambiguous: on the one hand, his oft-expressed goal is to catch Faustus’s soul and carry it off to hell; on the other hand, he actively attempts to dissuade Faustus from making a deal with Lucifer by warning him about the horrors of hell. Mephastophilis is ultimately as tragic a figure as Faustus, with his moving, regretful accounts of what the devils have lost in their eternal separation from God and his repeated reflections on the pain that comes with damnation. Before the pact is sealed, Mephastophilis actually warns Faustus against making the deal with Lucifer. In an odd way, one can almost sense that part of Mephastophilis does not want Faustus to make the same mistakes that he made. But, of course, Faustus does so anyway, which makes him and Mephastophilis kindred spirits. It is appropriate that these two figures dominate Marlowe’s play, for they are two overly proud spirits doomed to hell

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117. Thomas Campion--

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1567 – 1 March 1620) was an English composer, poet and physician. Campion was first published as a poet in 1591 with five of his works appearing in an edition of Sir Philip Sidney's Astrophel and Stella. The Songs of Mourning: Bewailing the Untimely Death of Prince Henry (1613), were set to music by John Cooper. He also wrote a number of other poems as well as a book on poetry, Observations in the Art of English Poesie (1602), in which he criticises the practice of rhyming in poetry. Campion wrote over one hundred lute songs in the Books of Airs, with the first collection (co-written with Philip Rosseter) appearing in 1601 and four more following throughout the 1610s. He also wrote a number of masques, including Lord Hay's Masque performed in 1607, along with Somerset Masque and The Lord's Masque which premiered in 1613.

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118. “Let not the marriage of true minds/Admit impediments

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Shakespeare’s Sonnet 116; It is about eternal and unchanging love. Love cannot be true if it changes for any reason. Love is supposed to be constant, through any difficulties: “an ever fixed mark.” “Love’s not Time’s fool.”

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119. Epithalamion—

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Spenser’s companion poem to his Amoretti (1595); it was written for his wedding to Elizabeth Boyle. The poem consists of 365 long lines, corresponding to the days of the year; 68 short lines, representing the sum of the 52 weeks, 12 months, and 4 seasons of the annual cycle; and 24 stanzas, corresponding to the diurnal and sidereal hours. Ben Jonson and John Donne also wrote Epithalamions and the term might be extended to SH’s A Midsummer Night’s Dream.

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120. “So saying, her rash hand in evil hour/Forth reaching to the fruit, she plucked, she

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Milton...eating the forbidden fruit

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122. Paradise Lost, Book 1--

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Milton opens Paradise Lost by formally declaring his poem’s subject in a Prologue: humankind’s first act of disobedience toward God, and the consequences that followed from it. Milton’s speaker invokes the muse, a mystical source of poetic inspiration, to sing about these subjects through him, but he makes it clear that he refers to a different muse from the muses who traditionally inspired classical poets by specifying that his muse inspired Moses to receive the Ten Commandments and write Genesis. Milton’s muse is the Holy Spirit, which inspired the Christian Bible, not one of the nine classical muses. Milton’s speaker announces that he wants to be inspired with this sacred knowledge because he wants to show his fellow man that the fall of humankind into sin and death was part of God’s greater plan, and that God’s plan is justified. After Prologue, we get introduced to Satan and the other fallen angels in Hell. Catalogue of notable angels as Satan rallies his legion. Satan remarks that the mind can make its own Hell out of Heaven, or in his case, its own Heaven out of Hell.

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(#119)
201 ". . . as good almost kill a man as kill a good book. . . "

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From Areopagitica, a prose tract written by John Milton , written for the liberty of unlicensed printing for the Parliament of England.

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#120)
202. John Skelton (Revised)

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ca. 1460-1529
poet laurette at Oxford and Cambridge; Latin tutor to the young prince who would become Henry 8. Later would be the "King's Orator for H8. He was also the major poet of the first quarter of the century. There was "something wild" about his poetry that continues to provoke, baffle, and fascinate readers. Poetry draws on a long tradition of anticlerical satire and carnivalesque parody. Brings to his later works a mature eccentric voice.
Works: The Tunning of Elinour Rumming"; Phyllyp Sparrow"; "Speculum Principis"

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(#121)
203
L'Allegro and Il Penseroso
(see #77)

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Milton's Companion poems publ.1645/
Both are pastoral settings
- Complement each other structurally and are in specific dialogue with one another.
L'Allegro is "the happy person" who spends an idealized day in the country side and a festive evening in town.
Il Penseroso is "the thoughtful person" who spends the night hours in meditative walking/ contemplation/ and hours of study.

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#122
204 The Jew of Malta

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Christopher Marlowe
Maltese Jew: Barabas- revenge against city authorities
Conflict Spain/Ottoman Empire
Influence: Shakespeare-Merchant of Venice
Satirizes self-contented morality and suggests that in the end, all religious groups are likely to engage in violent and selfish acts, regardless of their professed moral tachings.

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SP12
"As good as kill a man as kill a good book."

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- John Milton
-Areopagitica
A speech of Mr John Milton for the liberty of unlicenced printing to the Parliament of England is a prose tract by John Milton, published 23 November 1644
Milton speaks against the possible censorship of unlicensed tracts and pamphlets.

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#210
" A horse, a horse my kingdom for a horse"

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Shakespeare's "Richard III"
Act V, scene 4.

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#211
HIERONIMO

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Hieronimo is one of the principal characters in Thomas Kyd's "Spanish Tragedy"
-Dedicated servant of the King, knight Marshall of Spain.
His son Horatio murdered by Balthazar, the son of the viceroy of Portugal, and Lorenzo, the son of the Duke of Spain,
- Seeks to revenge his son's death...

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#212
Sir Toby Belch

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Comic Character from Shakespeare's 12th Night.
He first appears in the play's third scene, when he storms onto the stage the morning after a hard night out, complaining about the sombre melancholy that hangs over his niece's household. "What a plague means my niece to take the death of her brother thus? I'm sure care's an enemy to life.

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#213 Shakespearean “Romance” genre

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Pericles, Prince of Tyre; Cymbeline; The Winter's Tale; and The Tempest. The Two Noble Kinsmen is sometimes included in this grouping. This term was first used in regard to these works in Edward Dowden'sShakespeare: A Critical Study of His Mind and Art (1875).
A serious tone, some characters die, happy ending.
These plays share characteristics such as: :P
 A redemptive plotline with a happy ending involving the re-uniting of long-separated family members;
 Magic and other fantastical elements;
 The presence of pre-Christian, masque-like figures, like Jupiter inCymbeline and the goddesses whom Prospero summons in The Tempest;
 A mixture of "courtly" and "pastoral" scenes (such as the gentry and the island residents in The Tempest and the pastoral and courtly contrasts ofThe Winter's Tale).

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#214 “The mind is its own place, and in itself/ Can make a heav’n of hell, a hell of heav’n.”

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Part of Satan’s response to Beelzebub. Book 1, 2540255. Satan is confident that he can defeat God.

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#215 “this thing of darkness I / Acknowledge mine”

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The Tempest, Act 5 scene 1. Prospero is referring to Caliban. The words express the contempt that Prospero has for Caliban.

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#216 New Atlantis

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New Atlantis is a utopian novel by Sir Francis Bacon, published in Latin (as Nova Atlantis) in 1624 and in English in 1627. In this work, Bacon portrayed a vision of the future of human discovery and knowledge, expressing his aspirations and ideals for humankind. The novel depicts the creation of a utopian land where "generosity and enlightenment, dignity and splendour, piety and public spirit" are the commonly held qualities of the inhabitants of "Bensalem". The plan and organization of his ideal college, "Salomon's House" (or Solomon's House) envisioned the modern research university in both applied and pure sciences.

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#217
Comus

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is a masque in honour of chastity, written by John Milton.

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The Shepheardes Calendar

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By Edmund Spenser
Pastoral. 23 ecologues are titled for themonths of theyear. -Illustrated-representing characters and theme of poem; sign of the zodiac; commentary by "EK"

Singers were simple rustics who lived in a world in which human beings and nature lived in harmony; ES also used the mask of the rustic to make sharply satirical comments on controversial religius/political issues---criticsim of QE suppression of Puritan clergy.

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#218
Bootom

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Midsummer Night's Dream
provides comic relief throughout the play, and is famously known for getting his head transformed into that of an ass by the elusive Puck

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#219
Which way I fly is hell; myself am hell;

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PL Book IV, Satan

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#220
Skeltonics

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short verses of an irregular metre much used by the Tudor poet John Skelton. The verses have two or three stresses arranged sometimes in falling and sometimes in rising rhythm. They rely on such devices as alliteration, parallelism, and multiple rhymes and are related to doggerel. Skelton wrote his verses as works of satire and protest, and thus the form was considered deliberately unconventional and provocative.

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#221
"Loves Labour Lost"

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Love's Labour's Lost is one of William Shakespeare's early comedies, believed to have been written in the mid-1590s, and first published in 1598.

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#222
Sir Epicure Mammon

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The Alchemist/Ben Jonson
A wealthy nobleman who wished to secure the "philosopher's stone" which he believes will bring him huge material and spiritual wealth.

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#223
Mephistopheles

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In Doctor Faustus, Mephistopheles acts as a guide to Faustus. Mephistopheles is not only a speaker for the Devil, but he is also seen as a possible lover to the character

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#224-revised from #58
Richard Crawshaw

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(c. 1613 – 21 August 1649), was an English poet, styled "the divine," and known as one of the central figures associated with the Metaphysical poets in 17th Century English literature.