Journal articles: 'Elizabethan poetry'

1

HUTCHINGS, G. J. M. "ELIZABETHAN LYRIC: POETRY FOR SINGING—POETRY FOR SPEAKING." English Studies in Africa 30, no. 2 (January 1987): 57–68. http://dx.doi.org/10.1080/00138398708690839.

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Becker, Audrey, Patrick Cheney, and Anne Lake Prescott. "Approaches to Teaching Shorter Elizabethan Poetry." Rocky Mountain Review of Language and Literature 55, no. 1 (2001): 95. http://dx.doi.org/10.2307/1348158.

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Monson, Craig, and Winifred Maynard. "Elizabethan Lyric Poetry and Its Music." Shakespeare Quarterly 39, no. 3 (1988): 386. http://dx.doi.org/10.2307/2870944.

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Thomson, Patricia, and Winifred Maynard. "Elizabethan Lyric Poetry and Its Music." Modern Language Review 84, no. 1 (January 1989): 117. http://dx.doi.org/10.2307/3731958.

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Cheney (book editor), Patrick, Anne Lake Prescott (book editor), and Brian Patton (review author). "Approaches to Teaching Shorter Elizabethan Poetry." Renaissance and Reformation 36, no. 3 (January 1, 2000): 120. http://dx.doi.org/10.33137/rr.v36i3.8655.

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Adha, Ruly. "Elizabethan Period (The Golden Age of English Literature)." JADEs : Journal of Academia in English Education 1, no. 1 (June 15, 2020): 84–95. http://dx.doi.org/10.32505/jades.v1i1.2707.

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English literature has been developed in some period. Each period has its own characteristics which portrayed the condition of the age. The period of English literature is started from Old English until Modern English. English literature becomes glorious when Queen Elizabeth I ruled England. This age is known as Elizabethan period. In this period, there are many literary works such as poetry, drama which are produced by famous artists. The literary works produced in Elizabethan period is famous and the existence of the literary works can be seen nowadays. Furthermore, some literary works, such as drama, are reproduced into movie. Therefore, this period is also known as the golden age of English Literature.

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Bell (book author), Ilona, and Joan Curbet (review author). "Elizabethan Women and the Poetry of Courtship." Renaissance and Reformation 35, no. 2 (April 1, 1999): 85–88. http://dx.doi.org/10.33137/rr.v35i2.10731.

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Javed, Muhammad. "A Study of Elizabethan Period (1558-1603)." IJOHMN (International Journal online of Humanities) 6, no. 2 (April 21, 2020): 65–86. http://dx.doi.org/10.24113/ijohmn.v6i2.174.

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In this study, the researcher has mentioned the writers and their major works in Elizabethan age (1558-1603). The researcher has mentioned almost nineteen writers and their famous works. By reading this research paper, any general reader can easily understand that who are the major writers of the age and what are their famous works. The language and method of presenting the data are very easy. The researcher also has mentioned the major contributions of this era’s writers. As we know that University Wits also fall in this era, thus the researcher has mentioned them and their works too. S. Dutta (2014) declared that The University Wits is a phrase used to title a group of late 16th-century English pamphleteers and playwrights who were studied at the universities Cambridge and Oxford. They appeared famous worldly writers. This era has reminisced for its richness of drama and poetry. This era ended in 1603. Elizabeth turns out to be one of the greatest prominent royals in English history, mainly after 1588, when the English beat the Spanish Armada which had been sent by Spain to reestablish Catholicism and defeat England. All the way through the Elizabethan age, English literature has changed from a shell into a delightful being with imagination, creativeness, and boundless stories. It was not about mystery or miracle plays and the poetry was not nearby religion and the principles addressed in the Church.

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Peterson, Richard S., and Robin Headlam Wells. "Elizabethan Mythologies: Studies in Poetry, Drama and Music." Shakespeare Quarterly 49, no. 2 (1998): 220. http://dx.doi.org/10.2307/2902308.

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Parry, Graham, and Robin Headlam Wells. "Elizabethan Mythologies: Studies in Poetry, Drama and Music." Modern Language Review 91, no. 2 (April 1996): 444. http://dx.doi.org/10.2307/3735027.

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11

Jordan, Elizabeth T. "Inigo Jones and the Architecture of Poetry*." Renaissance Quarterly 44, no. 2 (1991): 280–319. http://dx.doi.org/10.2307/2862711.

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Architecture in England Remained a fledgling science until Inigo Jones's Italianate classicism burst forth in London in the first decades of the seventeenth century. His 1622 Banqueting House at Whitehall with its masterful double-cube interior astounded Londoners accustomed to the rabbit warren of Elizabethan apartments making up the surrounding Whitehall Palace; its rhythmic, subtly articulated marble façade clashed with the eclectic exteriors of neighboring buildings.

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Orgel. "English Classical: The Reform of Poetry in Elizabethan England." Arion: A Journal of Humanities and the Classics 27, no. 2 (2019): 43. http://dx.doi.org/10.2307/arion.27.2.0043.

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Fumerton, Patricia. "Exchanging Gifts: The Elizabethan Currency of Children and Poetry." ELH 53, no. 2 (1986): 241. http://dx.doi.org/10.2307/2873256.

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Callaghan, Dympna. "Elizabethan Women and the Poetry of Courtship. Ilona Bell." Modern Philology 100, no. 1 (August 2002): 86–88. http://dx.doi.org/10.1086/493157.

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Orgel, Stephen. "English Classical: The Reform of Poetry in Elizabethan England." Arion: A Journal of the Humanities and the Classics 27, no. 2 (2019): 43–63. http://dx.doi.org/10.1353/arn.2019.0037.

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16

Herman, Peter C. "Early English Protestantism and Renaissance Poetics: The Charge is Committing Fiction in the Matter of Rastell v. Frith." Renaissance and Reformation 30, no. 1 (January 21, 2009): 5–18. http://dx.doi.org/10.33137/rr.v30i1.11476.

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The debate between John Rastell and John Frith constitutes a previously unrecognized ancestor to Stephen Gosson's attack on poetry and Sir Philip Sidney's (problematic) defense of it. Although the nominal aim of Rastell's A Newe Boke of Purgatorye and Frith's A Disputation of Purgatory is theological disputation, in fact these texts constitute an implicit defense of and attack on fictions. Consequently, they form an important background for the Elizabethan and Jacobean "war against poetry."

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17

Sharp, Zachary Daniel. "“Fitter to Please the Court Than the School”: Courtly and Paideutic Rhetoric in Elizabethan Poetics." Rhetorica 38, no. 1 (2020): 57–83. http://dx.doi.org/10.1525/rh.2020.38.1.57.

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This paper argues that Elizabethan handbooks on poetics enact two coevolving traditions in the history of rhetoric and poetics: one sees poetry as a rhetorical art of stylistic invention, while the other sees it as an object of study, analysis, and ethical training. To show this, I examine George Puttenham's Art of English Poesy and contrast it with William Scott's recently discovered Model of Poesy. Puttenham demonstrates how poetic style works as a tool of rhetorical invention; Scott, on the other hand, treats poetics as a method of literary critical analysis. Scott's poetics, I argue, is derived from a “paideutic” tradition, the aims of which mirror those found in educational treatises that concern the hermeneutic training students received in English grammar schools. Puttenham, writing for courtiers, instead makes a case for poetics as a means of rhetorical adaptation at court—his handbook, in short, shows poetry to be a rhetorical and pragmatic art of verbal performance that exists outside the schoolroom.

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Bahr, Stephanie. "On the Discovery of an Elizabethan “Sonet in the commendation of Sir Thomas More Knyght”: Memory, Martyrdom, and Poetry." Moreana 57 (Number 214), no. 2 (December 2020): 121–43. http://dx.doi.org/10.3366/more.2020.0081.

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This article introduces the discovery of a “Sonet in the commendation of Sir Thomas More Knyght” found in a copy of the 1557 English Workes printed by Richard Tottel and edited by William Rastell. It argues the sonnet was written by a Tudor Catholic early in Elizabeth's reign and should also be read in light of its 1557 print context: its physical place in Workes alongside Rastell's Preface, and in conjunction with Tottel's Miscellany printed the same year. Read through such a lens, this newly discovered sonnet helps illuminate the idiosyncratic complexity of Catholic experience in Elizabethan England concerning memory, martyrdom, censorship and repression.

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SMITH, JEREMY L. "Music and Late Elizabethan Politics: The Identities of Oriana and Diana." Journal of the American Musicological Society 58, no. 3 (2005): 507–58. http://dx.doi.org/10.1525/jams.2005.58.3.507.

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Abstract This essay challenges the current assessment that Thomas Morley's collection, The Triumphes of Oriana, was an uncomplicated musical tribute to Queen Elizabeth I, who was represented allegorically by Oriana, heroine of the romance Amadis de Gaule. It takes into account both the political context surrounding the Essex Revolt, the Elizabethan succession question, and the Catholic issue and the ideas reflected in the poetry that was set to music, as well as some of the music itself. It can be shown that both Morley and his mentor William Byrd were strongly linked to the Sidney/Essex complex of ideals that had a special appeal to Catholics who hoped for a more tolerant regime and who looked to Essex and a Jamesian succession as possible vehicles of salvation. Demonstrating the unsuitability of the Oriana characterization for Elizabeth, I propose a different allegorical identity not only for “Oriana” (James's wife Anna) but also for the character “Diana” (Essex's sister Penelope Rich), who appears in key works by Byrd and in all the Oriana madrigals as well. Certain songs by Byrd promoted the ideas of Sidney and his circle as well as Essex's image as the “heir to Sir Philip Sidney.” Morley's project for the Triumphes began originally, evidence shows, as a musical offering pleasing to the Essex camp and supportive of James's succession. A marked shift in political circumstances between 1600 and 1601 made it incumbent upon Morley and his collaborators to pay tribute to Elizabeth instead, but not all traces of the original intent were effaced. The ambivalence in the meaning of the Oriana and Diana allegories continued into the post-Elizabethan era.

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Crouch, Patricia, and Anne B. Mangum. "Reflection of Africa in Elizabethan and Jacobean Drama and Poetry." Sixteenth Century Journal 35, no. 2 (July 1, 2004): 586. http://dx.doi.org/10.2307/20477001.

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21

Gazzard, Hugh. "Nicholas Breton, the Earl of Essex, and Elizabethan Penitential Poetry." SEL Studies in English Literature 1500-1900 56, no. 1 (2016): 23–44. http://dx.doi.org/10.1353/sel.2016.0005.

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22

Barkan, Leonard. "Making Pictures Speak: Renaissance Art, Elizabethan Literature, Modern Scholarship." Renaissance Quarterly 48, no. 2 (1995): 326–51. http://dx.doi.org/10.2307/2863068.

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Some Often Quoted Lines from Sidney's Apology for Poetry can stand both as a piece of literary history in themselves and as a methodological guide for the study of that history: “Poesy therefore is an art of imitation: for so Aristotle termeth it in the word mimesis, that is to say, a representing, counterfeiting, or figuring forth—to speak metaphorically, a speaking picture.“1 It is one of the most famous of all definitions of poetry, and like many other such definitions—Plato's in the Republic, Horace's in the Ars Poetica2- —it arrives at saliency by drawing an analogy to the visual. More succinctly even than his predecessors, Sidney demonstrates just how difficult it is to unpack the cdncept of mimesis as he ranges through a sequence of functional descriptions ﹛representing, counterfeiting, figuring forth), none of which quite does the trick, until he arrives at a metaphor that names itself as such. One might say that a metaphor is itself a speaking picture and therefore Sidney's memorable phrase is a self-confirming artifact. But let us shy away from such metaformulations and content ourselves with a sense of just how felicitous the expression “speaking picture” turns out to be.

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23

Thomson, Patricia, Edward Doughtie, and Harold Toliver. "Liber Lilliati: Elizabethan Verse and Song (Bodleian MS Rawlinson Poetry 148)." Yearbook of English Studies 19 (1989): 311. http://dx.doi.org/10.2307/3508067.

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May, Steven, and Edward Doughtie. "Liber Lilliati, Elizabethan Verse and Song (Bodleian MS Rawlinson Poetry 148)." Sixteenth Century Journal 17, no. 1 (1986): 118. http://dx.doi.org/10.2307/2541370.

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25

True, Amber. "Revising Orthodoxy in the Poems of Robert Southwell." Renascence 72, no. 1 (2020): 43–60. http://dx.doi.org/10.5840/renascence20207213.

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Community is the framework for the Christian experience. The Greek text from which the English bible is translated uses the ἐκκλησια, which means “assembly,” “assemblage, gathering, meeting,” and in the earliest text, “the universal church to which all believers belong.” Thus, the very idea of Christianity after Christ suggests community. Robert Southwell trained to contribute to a very particular portion of the Christian community in Elizabethan England, but the lyric poetry he produced during this time represents community as flawed and as a potential hindrance to salvation. His poetry responds to the orthodoxy of community by representing real, lived community as spiritually counterproductive and juxtaposing it against the necessity of individual experience and salvation.

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26

Said, Manija. "Finding Ovid in Kandahar: The Radical Pastoral as Resistance to Empire in the Classic and Contemporary Worlds." Humanities 9, no. 4 (December 17, 2020): 146. http://dx.doi.org/10.3390/h9040146.

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Prevailing scholarship on pastoral literature often overlooks its political and radical dimensions, relegating the form to particular manifestations of the pastoral in Elizabethan England. World literature, however, exhibits a wider range of the pastoral in which poets contest social injustice and serve as voices of resistance against oppression. This paper explores the existence of and connection between the radical pastoral in both the East and West, as exemplified by the classical poetry of Ovid and Pashto pastoral poetry emanating from contemporary Afghanistan. It argues that, despite differences in time and space, both genres of poetry offer forceful criticisms of empire and consider pastoral values, aesthetics, and landscapes as a means of resistance against it. This paper thus examines pastoral poetics’ contribution to social commentary on empire in both imperial Rome and the imperialist present encapsulated by America’s post 9/11 political-military interventions in the Middle East.

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Roberts-Smith, Jennifer. "Thomas Campion’s iambic and quantitative Sapphic: Further evidence for phonological weight in Elizabethan English quantitative and non-quantitative meters." Language and Literature: International Journal of Stylistics 21, no. 4 (November 2012): 381–401. http://dx.doi.org/10.1177/0963947012444952.

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Fulfilling a central goal of a generation of Elizabethan English metrical theory often referred to as the ‘quantitative movement’, Thomas Campion succeeded in demonstrating the role of syllable quantity, or phonological weight, in Elizabethan iambic pentameter. Following Kristin Hanson (2001, 2006), this article parses Campion’s scansions of Early Modern English syllables, according to moraic theory, into resolved moraic trochees. The analysis demonstrates that (1) Campion distinguished between syllable weight (syllable quantity) and stress or strength (accent) in Early Modern English; (2) Campion prohibited syllabic consonants in English iambic pentameter, despite the fact that they were attested in Early Modern English as a whole; (3) in a successful adaptation of the Latin rule of ‘position’, as described by William Lily and John Colet’s Short Introduction of Grammar (1567), Campion re-syllabified coda consonants followed by vowels; and (4) Campion employed syllabic elision as a means of avoiding pyrrhic syllable combinations that resulted in non-maximal filling of long positions in a line of English iambic pentameter. His two iambic pentameters – the ‘pure’ and the ‘licentiate’ – are both accentual and quantitative meters that, in accordance with moraic theory, integrate stress and strength with syllable weight. He contrasted stress and weight in the quantitative Sapphic lyric ‘Come let us sound with melodie’ (Campion, 1601). Hanson’s (2001, 2006) reconsideration of the role of syllable quantity in Elizabethan metrical theory and Elizabethan poetry should be continued.

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Earl, Anthony. "Late Elizabethan devotional poetry and Calvinism: a re-evaluation of Barnabe Barnes." Renaissance Studies 11, no. 3 (September 1997): 223–40. http://dx.doi.org/10.1111/j.1477-4658.1997.tb00021.x.

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Coch, Christine. "The Woman in the Garden: (En)gendering Pleasure in Late Elizabethan Poetry." English Literary Renaissance 39, no. 1 (January 2009): 97–127. http://dx.doi.org/10.1111/j.1475-6757.2009.01041.x.

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Earl, Anthony. "Late Elizabethan Devotional Poetry and Calvinism: A Re-Evaluation of Barnabe Barnes." Renaissance Studies 11, no. 3 (September 1997): 223–40. http://dx.doi.org/10.1111/1477-4658.00238.

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31

Khan, Kehkashan. "RHYTHMIC BEAUTY IN THE PLAYS OF RENAISSANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3397.

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The Theatres were very much in vogue in the Elizabethan England. For the spectators, theatres were not merely places of amusement & entertainment but also of social gathering & instruction. Both Marlowe & Shakespeare are great dramatists & poets of Elizabethan age. Their poetry & music lend a unique power & beauty to their plays.Marlowe, the predecessor of Shakespeare, infused his own soul into his characters like a lyric poet. He is regarded as the Morning Star of Song & the first & foremost lyricist of English Stage. He poetized the English dramas. His play Doctor Faustus reads more like a poem than a drama. His passage on Helen is one of the loveliest of lyrics. In its idealization of beauty, in its riot of colour, in its swift transition from one myth to another, in music & melody, in its passionate exuberance & abundance the passage remains unsurpassed.

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32

May (book author), Steven W., William A. Ringler Jr. (book author), and Barbara Bond (review author). "Elizabethan Poetry: A Bibliography and First-line Index of English Verse, 1559-1603." Renaissance and Reformation 40, no. 1 (January 1, 2004): 117–19. http://dx.doi.org/10.33137/rr.v40i1.8959.

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SCHUETTE, GERHARDT. "Edmund Spenser's Anti-Catholicism: Duessa's Part in it All." Michigan Academician 42, no. 1 (September 1, 2015): 108–18. http://dx.doi.org/10.7245/0026-2005-42.1.108.

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ABSTRACT This research looks at Edmund Spenser's The Faerie Queene, one of the earliest and most celebrated pieces of epic poetry in the English language. While it has long been recognized that Spenser's work participates in the agenda of the Protestant Reformation, this research illustrates that Spenser's work is much more than a reflection of the norms of the Elizabethan period. Using the character of Duessa as a focal point, this research illuminates the ways in which Spenser used The Faerie Queene to not just echo but present his idiosyncratic stance on the threat of Catholicism to the English people.

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Hammond, Gerald, and William Zunder. "The Poetry of John Donne: Literature and Culture in the Elizabethan and Jacobean Period." Modern Language Review 82, no. 1 (January 1987): 164. http://dx.doi.org/10.2307/3729925.

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Beal, Peter. "Review: Elizabethan Poetry: A Bibliography and First-Line Index of English Verse, 1559–1603." Library 7, no. 1 (March 1, 2006): 94–97. http://dx.doi.org/10.1093/library/7.1.94.

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36

Archer, Harriet. "‘The earth … shall eat us all’: Exemplary History, Post-Humanism, and the Legend of King Ferrex in Elizabethan Poetry and Drama." English: Journal of the English Association 68, no. 261 (2019): 162–83. http://dx.doi.org/10.1093/english/efz024.

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Abstract The legend of King Ferrex was employed by Thomas Norton and Thomas Sackville in their succession play, Gorboduc (first performed 1561), and by John Higgins in his Mirror for Magistrates (1574; 1587), to reflect on contemporary politics and offer topical warnings to Elizabeth I and her subjects based on legendary British history. However, as well as including a section specifically focused on environmental exploitation, Higgins imbues the earth with a destructive animism in his poem which stands apart as an anomaly in his collection of verse complaints and amongst wider treatments of the story. Higgins’s emphasis on the arbitrary amoral and areligious destruction of all by the agency of the earth and other non-human actors challenges the Mirror’s educative model, and renders the Gorboduc legend inert. Looking at various versions of the narrative in Gorboduc, Higgins’s Mirror, and William Warner’s Albion’s England (1586), and analogous uses of environmental discourse in other contemporary poetic and dramatic texts by Shakespeare, Spenser, and Marlowe, this article considers the role of the nonhuman, and specifically the earth itself, in early modern imaginative historiography and political commentary. In particular, it suggests that there are fruitful connections to be made between modern posthumanist theoretical approaches, and the post-humanism of Higgins’s approach to exemplary history, whereby his admonitory text appears to abandon its premise of human primacy and perfectability in response to the perceived failure of Elizabethan advice literature to effect political change.

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Merrix, Robert P. "The Vale of Lillies and the Bower of Bliss: Soft-core Pornography in Elizabethan Poetry." Journal of Popular Culture 19, no. 4 (March 1986): 3–16. http://dx.doi.org/10.1111/j.0022-3840.1986.1904_3.x.

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Frontain, Raymond-Jean. "Review: The Poetry of John Donne: Literature and Culture in the Elizabethan and Jacobean Period." Christianity & Literature 34, no. 4 (September 1985): 70–71. http://dx.doi.org/10.1177/014833318503400417.

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39

Garrouri, Sihem. "Elizabeth I’s Royal Progresses: A Study of Formal Orations and Poetic Recitations." Arab World English Journal For Translation and Literary Studies 5, no. 3 (August 15, 2021): 2–16. http://dx.doi.org/10.24093/awejtls/vol5no3.1.

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The present study examines the rhetoric of inconsistency in the representation of Queen Elizabeth I through a reading of formal orations and poetic recitations written during her royal progresses. These literary resources, which were deliberately designed to promote the Elizabethan monarchy, offer illuminating examples of Elizabeth’s struggle to cultivate a distinctive royal identity. I would suggest that the tactical rhetorical practice of creating paradoxical images was an essential constituent of Elizabeth’s statecraft to cement her authority and reinforce her legitimacy. Indeed, the deployment of a discourse of contradiction that shaped Elizabeth’s progresses was a necessary and practical approach to overcome the vulnerability of an unmarried female monarch. The analysis of contradictory imagery is a valuable contribution to comprehend the complexity of Elisabeth’s representation and her strategies of exercising power in a patriarchal society. The research shows that Elizabeth employed the medium of creating ambiguous images as a rhetorical tactic to overcome gender bias against the female monarchy, and her courtiers utilized the same approach to advance their own agendas. It explores two ambiguous representations: masculine/ feminine portrayal and virgin/ maternal depiction.

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Harper, Sally. "An Elizabethan Tune List from Lleweni Hall, North Wales." Royal Musical Association Research Chronicle 38 (2005): 45–98. http://dx.doi.org/10.1080/14723808.2005.10541009.

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A little-known list of some 80 Elizabethan tune titles, probably copied during the 1590s at Lleweni Hall, near Denbigh in north Wales, is preserved in the library archive of the University of Wales, Bangor: MS Gwyneddon 4, a composite volume of late medieval Welsh poetry (p. 130 / f. 71v; see Illustration 1 and Figure 1 for parallel transcription). The list has neither heading nor notation, and was apparently written out at speed in random order. It has received little attention to date, although a transcription was published by Ifor Williams in 1937, and John Ward noted concordances with some of the items in the ‘Giles Lodge’ lute book in 1992. The list warrants closer scrutiny for several reasons: the number of ‘lost’ titles unique to this source; the theatrical associations of some of the tunes; reference to named individuals (among them ‘alen’, ‘mistres shandoes’, and the ‘countese of lester‘); and the implications of the unusual Welsh provenance. Taken as a whole, the list not only gives a flavour of the musical repertory associated with one wealthy Elizabethan household at the end of the sixteenth century, but also demonstrates how such a repertory was shaped by family tastes and connections. Part I of this article discusses the various contexts for the list with particular reference to its social and dramatic associations, while Part II comprises a catalogue of the tunes and their main concordances. Some of the most significant information is summarized in tabular form. Table 1 presents an alphabetical index of the tunes; Table 2, tunes known to survive with music and their earliest associated source; Table 3, tunes set as lute or consort items; Table 4, tunes associated with the actor Richard Tarlton (d. 1588); Table 5, Tarlton's ballads and other texts; Table 6, tunes prescribed in the ballad collection A Handefull of Pleasant Delites (1584); Table 7, tunes found in Playford's English Dancing Master; and Table 8, tunes cited in Elizabethan stage works.

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Sánchez Hernández, Elena. "Two Pole-Vaulters of Their Times: The Poetry of John Wilmot, Earl of Rochester, and Irving Layton." Prague Journal of English Studies 5, no. 1 (July 1, 2016): 27–51. http://dx.doi.org/10.1515/pjes-2016-0002.

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Abstract This article compares the poetic output of the Anglo-Canadian writer Irving Layton with that of the famous Restoration rake and court poet John Wilmot, Earl of Rochester. Layton himself provided the connection in his wholehearted vindication of the seventeenth century as a time of “intellectual ferment”, “criticism and impatience for change”. Layton’s debt to Nietzsche and Rochester’s to his contemporary philosopher Hobbes, respectively, provide the thread through which a striking similarity of values and thematic concerns, of the quality of the amatory experience described; of their criticism of mankind, its institutions and even of themselves, on the one hand, and, on the other, of shared poetic formulas, sources of inspiration (classical, Elizabethan, satiric) and idiom string together in creative work that displays quite striking affinities, the product of similar vital stances.

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Чекова, А. Н. "Euphuism in Robert Southwell’s Religious Poetry (on the basis of “St Peter’s Complaynte”)." Иностранные языки в высшей школе, no. 4(55) (March 5, 2021): 82–90. http://dx.doi.org/10.37724/rsu.2020.55.4.009.

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В статье рассматривается духовная лирика поэта-проповедника Р. Саутвелла (1561–1595) как представителя Елизаветинской эпохи. Основное внимание уделяется влиянию на творчество автора такого литературного направления, как эвфуизм. Чтобы продемонстрировать, насколько активно и целенаправленно поэт прибегает к эвфуистическим приемам, и достичь понимания того, с какой целью он это делает, кратко рассматривается биография Р. Саутвелла в рамках религиозного конфликта между католиками и протестантами, являющегося историко-культурным контекстом, в который вписано творчество поэта. Проводится подробный лингвостилистический анализ 26 лирических текстов из стихотворного цикла «Сетование святого Петра» с элементами лингвопоэтического анализа. Новизна данного исследования состоит в том, что впервые систематический анализ лирики Р. Саутвелла проводится с позиций лингвистики, а не литературоведения или религии. По результатам анализа автор делает вывод, что эвфуистические приемы позволили Р. Саутвеллу не только ярко и наглядно отразить в своих текстах остроту религиозного конфликта, в эпицентре и под непосредственным влиянием которого, а также сопутствовавших этому конфликту противоречий обеспечили сохранение стилистического единства во всех текстах рассматриваемого цикла. The article concentrates on the religious poetry of Robert Southwell (1561–1595) as a representative of the Elizabethan era; the focus of attention is the influence of euphuism on the poet’s writing style. Southwell actively and purposefully employs euphuistic means of expression, such as parallelism and especially alliteration, in his works; in order to achieve a better understanding of the reasoning behind this stylistic choice, Southwell’s biography is briefly examined within the framework of the religious conflict between Catholics and Protestants, which provides the historical and cultural context for Southwell’s texts. A detailed linguostylistic and linguopoetic analysis of 26 excerpts from his didactic religious poem “St Peter’s Complaynte” is then carried out. The novelty of the research lies in the fact that this article, unlike most previous works focused on Robert Southwell’s poetry, carries out a systematic analysis of Southwell's poems from a linguistic standpoint, as opposed to that of literary criticism or religion. Based on the results of the analysis, the author of the article concludes that employing euphuistic means of poetic expression as actively as Southwell does allows the poet to achieve a more vivid depiction of the religious conflict in the eye and under the influence of which his poetic texts were born; moreover, euphuism serves to create a stylistic unity between all the poetic texts that comprise “St Peter’s Complaynte”.

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Patricia, Palmer. "“An headlesse Ladie” and “a horses loade of heades”: Writing the Beheading." Renaissance Quarterly 60, no. 1 (2007): 25–57. http://dx.doi.org/10.1353/ren.2007.0091.

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AbstractThe savagery of the native Irish and, in particular, their predilection for severing heads, is repeatedly asserted, not only in the texts of conquest, but in representations of the “Wild Irish” on the Elizabethan and Jacobean stage. This essay tests this literary commonplace against the historical record of the early modern conquest of Ireland. Far from being merely the aberrant practice of the barbarous Gaels, beheading — and a form of judicial headhunting — became a cornerstone of the conquerors’ policy of martial law. As atrocity was redefined as justice, so, in the hands of writers such as Spenser, Churchyard, and Derricke, was it aestheticized. But even as such writers wove inventive beheadings into their texts, Irish poets were elegizing the severed heads of patrons killed by the English. The poetry of beheading became a site of cultural confrontation and of unexpected assertions of humanity.

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Borris, Kenneth, and Meredith Donaldson Clark. "Hymnic Epic andThe Faerie Queene’s Original Printed Format: Canto-Canticles and Psalmic Arguments*." Renaissance Quarterly 64, no. 4 (2011): 1148–93. http://dx.doi.org/10.1086/664087.

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AbstractWhen Edmund Spenser (1552?–99) published hisFaerie Queenein 1590 and 1596, two pervasive structural features would have seemed surprising: the abbreviationCant.in sectional and running titles, used instead ofCanto;and a four-line stanza of common meter for each section's argument, instead of a more expansive and prestigious stanza. Study of the relevant early modern Italian and English norms of publication indicates that these were complementary and innovative means of merging heroic form with divine poetry and hymnic discourse, and recognized as such.Cant.readily suggestedcanticleand the Solomonic Canticles, and the poet himself calls one of his so-called cantos a “canticle” (4.5.46). In style and prosodic form, his arguments would have particularly evoked the nationally distinctive Elizabethan Protestant psalmody and hymnody, as well as popular ballads. By incorporating these two metamorphic devices intoThe Faerie Queene's framework, Spenser reconfigured the heroic poem to serve his different, English vision.

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Petcu, Ioana. "Varia Cum Vă (Mai) Place Shakespeare? Dramaturgi Români Sub Semnul Bardului: Marin Sorescu, Matei ViȘniec, Olivia Negrean." Lucian Blaga Yearbook 22, no. 1-2 (October 1, 2021): 98–111. http://dx.doi.org/10.2478/clb-2021-0010.

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Abstract Three plays, three styles, three testimonies about the artist and the space of art of performance, from the ‘80s until today, three decentralizing visions, but also tangents. Vărul Shakespeare (Cousin Shakespeare) is one of Marin Sorescu’s lesser-known and hardly-edited texts. Beyond the inter- and metatextual juggling, beyond the playful discourse and the theatrical effects, the Romanian writer emphasizes the encounter between the language of Elizabethan poetry and the local comic. Richard III visits director Vsevolod Meyerhold in Richard al III-lea se interzice (Richard III is forbidden) by Matei Vişniec. Like a self-portrait, perhaps, of the author slipped into Meyerhold’s character, the play returns - through paradoxes, theatricality, intersections between times, cultures and authorial voices - to a message as clear as possible about the artist’s freedom, a message that (proof being the current global situation) the aforementioned aspects are of a continuous topicality.

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Mayne, Emily. "Presenting Seneca in Print: Elizabethan Translations and Thomas Newton’s Seneca His Tenne Tragedies." Review of English Studies 70, no. 297 (April 19, 2019): 823–46. http://dx.doi.org/10.1093/res/hgz022.

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Abstract Seneca His Tenne Tragedies (1581) was the first printed collection of Seneca’s tragedies in English. This article re-examines this publication in the context of early modern production of collected unannotated editions of Seneca’s tragedies on the European mainland, and of the editorial and intellectual interests of its compiler, Thomas Newton. It identifies Newton as something of an early modern ‘print professional’, who was involved in the production of a wide variety of texts, translations, and commendatory poetry, and who used a variety of sophisticated strategies in print to draw attention to and to promote his own capacities and achievements; and it shows how the Tenne Tragedies participates in these practices. Attending to Newton’s activities alongside Jasper Heywood’s translation of Hercules furens reveals significant discontinuities in approach between the Tenne Tragedies and one of its constituent texts. Heywood’s translation first appeared in 1561 in a parallel-text format that was not designed for inclusion in a single-language collection such as the Tenne Tragedies, as one early modern reader’s response to the translation in this later printed context may show. Newton’s presentation of the Tenne Tragedies volume, and his particular attitude towards ‘Seneca’, complicates current critical understanding of the reception and uses of Senecan tragedy in Elizabethan England, and of any ‘project’ of Senecan translation in the period, which may be more an effect of Newton’s editorial proclivities, combined with modern understanding of Seneca as a single author, than reflective of attitudes towards Senecan tragedy in early modern England more generally.

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Sharma, Ansh. "The Evolution of Man: Studying Sri Aurobindo's Dramatic Ouevre." SMART MOVES JOURNAL IJELLH 8, no. 9 (September 17, 2020): 39–53. http://dx.doi.org/10.24113/ijellh.v8i9.10752.

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Sri Aurobindo wrote around eleven verse plays, much in the tradition of the Elizabethan poetic plays. Many similarities and equally numbered distinctions may be traced midst the dramatic output of William Shakespeare and Sri Aurobindo. However, of the eleven plays only five plays are complete, in that they have a five act structure, namely- Viziers of Bassora, Eric, Rodogune, Perseus: The Deliverer and Vasavadutta. The genealogy of all these plays may be traced to the legends or myths, of the various ancient cultures which populated the world and shaped its history. Irrespective of their different myths of origin, Sri Aurobindo, much like Shakespeare employs these stories only as the raw clay, while he mould the statue out of it, according to his own vision, that is the Evolution of Man. An analysis of Sri Aurobindo’s plays elucidates the unparalleled range and vision to which his plays bear testimony. The notable feature of Sri Aurobindo’s plays is that they portray diverse cultures and nations in different aeons, populated with an array of characters, moods and sentiments. Sri Aurobindo spent almost all his growing years in England, studying English and other classical literatures and the impact of this reading is discernible in his plays. He seems to be particularly impressed by the Elizabethan drama and employs its technique in matters of plot construction and characterisation. He is said to have perfected the English blank verse which he deftly displays in the dialogues of his characters. His plays can thus be said to be a unique blend of the Sanskrit and Western philosophical and aesthetic theories as the plot, the climax, the progression and the theme is unmistakably Indian. He seems to have been influenced by the Sanskrit playwrights like Bhasa, Kalidas and Bhavabhuti and all five plays are imbued with the poetry and romance which is similar in spirit and flavour of the distinctive dramatic type which was the signature style of Bhasa, Kalidas and Bhavabhuti, and simultaneously preserve the Aurobindonian undertones. The paper attempts to elucidate the ‘Evolution of Man’ which Sri Aurobindo mounts through his plays.

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Tarlinskaja, Marina. "Kyd and Marlowe’s Revolution: from Surrey’s Aeneid to Marlowe’s Tamburlaine." Studia Metrica et Poetica 1, no. 1 (April 22, 2014): 9–27. http://dx.doi.org/10.12697/smp.2013.1.1.02.

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The Early New English iambic pentameter was re-created by Wyatt and Surrey in the first half of the 16th c. Surrey introduced blank iambic pentameter into English poetry, and the first English tragedy, Gorboduc, was written in this versification form. Early New English playwrights were feeling their way into the iambic meter, and wrote “by the foot”: the mean stressing on even syllables reached 90 percent, while on the odd syllables it fell to 5 percent. The authors of first new English tragedies were members of the parliament or the gentlemen of the City Inns, and they wrote for the aristocratic audience and the Court. Their subject matter and their characters matched the verse form: they were stiff and stilted.Marlowe and Kyd represented a new generation of playwrights who wrote for the commercial stage patronized by commoners. Marlowe and Kyd created different sets of plots and personages and a different versification style. Marlowe’s Tamburlaine and Kyd’s The Spanish Tragedy had a powerful impact on generations of English playwrights, from Shakespeare to Shirley. The particulars of the Earlier New English versification style compared to later Elizabethan dramaturgy are discussed in the presentation.

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Pinegar, Sandra. "Robin Headlam Wells. Elizabethan Mythologies: Studies in Poetry, Drama and Music. Cambridge: Cambridge University Press, 1994. 41 illus. + xviii + 287 pp. $59.95." Renaissance Quarterly 49, no. 2 (1996): 409–10. http://dx.doi.org/10.2307/2863182.

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Gordanpour, Yazdanmehr, and Tahereh Rezaei. "Form and perception of nature in Elizabeth bishop’s “questions of travel”." Revista de Estudios Norteamericanos, no. 25 (2021): 281–96. http://dx.doi.org/10.12795/ren.2021.i25.14.

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Elizabeth Bishop’s poetry is acutely form-conscious and human perception informs its descriptions of nature; critics who study Bishop’s poetry refer to her use of poetic artifice and note in passing the ethics of restraint and impersonality in her poetry. However, Bishop’s poetry is rarely discussed in the sphere of ecocriticism; and the formal significance of human perception infused with the descriptions of nature in her poetry is conveniently overlooked. Likewise, anthropogenic climate change is underrepresented in traditional ecocriticism which insists on removing form—and with it, any trace of the human—from the text. This article proposes that a study of Bishop’s travel writing and exploring the significance of concern for nature in conjunction with form-consciousness can contribute to a more profound understanding of both human-nature relationship and Bishop’s ecopoetic sensitivities. “Questions of Travel” is one of Bishop’s poems that directly grapples with the ethics of human presence in nature. The article explicates the textual and formal features of this poem to elucidate the function of form in its ecopoetic descriptions. The article shows how Bishop accepts the inevitability of human perception of nature and its literary corollary in ecopoetry as form-consciousness, and, thus, by implication, points to the importance of such poetry for a deeper understanding of the relationship between human beings and nature in the context of climate change.

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Journal articles on the topic 'Elizabethan poetry'

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