85-) English Literature

85- ) English Literature 

Neoclassicism

IV. The Enlightenment (Neoclassical) Period (1660-1790 CE)

"Neoclassical" refers to the increased influence of Classical literature upon these centuries. The term neo means new while classical refers to the Roman and Greek classics, hence the name is aptly coined as neoclassical. Neoclassical literature emulated the Greek and Roman styles of writing.

The Neoclassical Period is also called the "Enlightenment" due to the increased reverence for logic and disdain for superstition. The period is marked by the rise of Deism, intellectual backlash against earlier Puritanism, and America's revolution against England.

The neoclassical era was closely preceded by the renaissance period. Before the renaissance period, life and literature was mainly dictated by the Church. However, during renaissance, science and innovation was given the main emphasis. Thus, in the neoclassical era, a vast difference between the two ideologies can be witnessed. Therefore, you will find confusion and contrary depictions in neoclassical literature.

The neoclassical era is nestled between the renaissance and romantic periods of literature. Though this period lasted only for around 150 years, its influence can be seen in the literature of today. The neoclassical period of literature is also known as the Enlightenment Period.

Neoclassical authors saw the world under a new light. Unlike the previous two eras, the writers of this era gave more importance to social needs as compared to individual needs. They believed that man can find meaning in society, religion, natural order, government, and literature. In no time, the winds of a new revolution swept through Europe and North America, and changed everything from art and literature to society and fashion, on its way. Though the neoclassical era later transitioned into the romantic era, it left behind a prominent footprint which can be seen in the literary works of today.

The term neo means new while classical refers to the Roman and Greek classics, hence the name is aptly coined as neoclassical. Neoclassical literature emulated the Greek and Roman styles of writing.

The neoclassical era was closely preceded by the renaissance period. Before the renaissance period, life and literature was mainly dictated by the Church. However, during renaissance, science and innovation was given the main emphasis. Thus, in the neoclassical era, a vast difference between the two ideologies can be witnessed. Therefore, you will find confusion and contrary depictions in neoclassical literature. A new class of poets and writers rose out of the flickering ashes of neoclassical literature, and a new genre called Romanticism manifested itself with prominent writers like William Wordsworth, Coleridge, John Keats, Lord Byron, Shelley, and William Blake.

Neoclassicism (also spelled Neo-classicism) was a Western cultural movement in the decorative and visual arts, literature, theatre, music, and architecture that drew inspiration from the art and culture of classical antiquity. Neoclassicism was born in Rome largely thanks to the writings of Johann Joachim Winckelmann, at the time of the rediscovery of Pompeii and Herculaneum, but its popularity spread across Europe as a generation of European art students finished their Grand Tour and returned from Italy to their home countries with newly rediscovered Greco-Roman ideals. The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, latterly competing with Romanticism. In architecture, the style continued throughout the 19th, 20th and up to the 21st century.

European Neoclassicism in the visual arts began c. 1760 in opposition to the then-dominant Rococo style. Rococo architecture emphasizes grace, ornamentation and asymmetry; Neoclassical architecture is based on the principles of simplicity and symmetry, which were seen as virtues of the arts of Rome and Ancient Greece, and were more immediately drawn from 16th-century Renaissance Classicism. Each "neo"-classicism selects some models among the range of possible classics that are available to it, and ignores others. The Neoclassical writers and talkers, patrons and collectors, artists and sculptors of 1765–1830 paid homage to an idea of the generation of Phidias, but the sculpture examples they actually embraced were more likely to be Roman copies of Hellenistic sculptures. They ignored both Archaic Greek art and the works of Late Antiquity. The "Rococo" art of ancient Palmyra came as a revelation, through engravings in Wood's The Ruins of Palmyra. Even Greece was all-but-unvisited, a rough backwater of the Ottoman Empire, dangerous to explore, so Neoclassicists' appreciation of Greek architecture was mediated through drawings and engravings, which subtly smoothed and regularized, "corrected" and "restored" the monuments of Greece, not always consciously.

The Empire style, a second phase of Neoclassicism in architecture and the decorative arts, had its cultural centre in Paris in the Napoleonic era. Especially in architecture, but also in other fields, Neoclassicism remained a force long after the early 19th century, with periodic waves of revivalism into the 20th and even the 21st centuries, especially in the United States and Russia.

History

Neoclassicism is a revival of the many styles and spirit of classic antiquity inspired directly from the classical period, which coincided and reflected the developments in philosophy and other areas of the Age of Enlightenment, and was initially a reaction against the excesses of the preceding Rococo style.[8] While the movement is often described as the opposed counterpart of Romanticism, this is a great over-simplification that tends not to be sustainable when specific artists or works are considered. The case of the supposed main champion of late Neoclassicism, Ingres, demonstrates this especially well. The revival can be traced to the establishment of formal archaeology.

The writings of Johann Joachim Winckelmann were important in shaping this movement in both architecture and the visual arts. His books Thoughts on the Imitation of Greek Works in Painting and Sculpture (1750) and Geschichte der Kunst des Alterthums ("History of Ancient Art", 1764) were the first to distinguish sharply between Ancient Greek and Roman art, and define periods within Greek art, tracing a trajectory from growth to maturity and then imitation or decadence that continues to have influence to the present day. Winckelmann believed that art should aim at "noble simplicity and calm grandeur", and praised the idealism of Greek art, in which he said we find "not only nature at its most beautiful but also something beyond nature, namely certain ideal forms of its beauty, which, as an ancient interpreter of Plato teaches us, come from images created by the mind alone". The theory was very far from new in Western art, but his emphasis on close copying of Greek models was: "The only way for us to become great or if this be possible, inimitable, is to imitate the ancients".

The Industrial Revolution saw global transition of human economy towards more efficient and stable manufacturing processes. There was tremendous material advancement and increased prosperity. With the advent of the Grand Tour, a fad of collecting antiquities began that laid the foundations of many great collections spreading a Neoclassical revival throughout Europe. "Neoclassicism" in each art implies a particular canon of a "classical" model.

In English, the term "Neoclassicism" is used primarily of the visual arts; the similar movement in English literature, which began considerably earlier, is called Augustan literature. This, which had been dominant for several decades, was beginning to decline by the time Neoclassicism in the visual arts became fashionable. Though terms differ, the situation in French literature was similar. In music, the period saw the rise of classical music, and "Neoclassicism" is used of 20th-century developments. However, the operas of Christoph Willibald Gluck represented a specifically Neoclassical approach, spelt out in his preface to the published score of Alceste (1769), which aimed to reform opera by removing ornamentation, increasing the role of the chorus in line with Greek tragedy, and using simpler unadorned melodic lines.

The term "Neoclassical" was not invented until the mid-19th century, and at the time the style was described by such terms as "the true style", "reformed" and "revival"; what was regarded as being revived varying considerably. Ancient models were certainly very much involved, but the style could also be regarded as a revival of the Renaissance, and especially in France as a return to the more austere and noble Baroque of the age of Louis XIV, for which a considerable nostalgia had developed as France's dominant military and political position started a serious decline. Ingres's coronation portrait of Napoleon even borrowed from Late Antique consular diptychs and their Carolingian revival, to the disapproval of critics.

Neoclassicism was strongest in architecture, sculpture and the decorative arts, where classical models in the same medium were relatively numerous and accessible; examples from ancient painting that demonstrated the qualities that Winckelmann's writing found in sculpture were and are lacking. Winckelmann was involved in the dissemination of knowledge of the first large Roman paintings to be discovered, at Pompeii and Herculaneum and, like most contemporaries except for Gavin Hamilton, was unimpressed by them, citing Pliny the Younger's comments on the decline of painting in his period.

As for painting, Greek painting was utterly lost: Neoclassicist painters imaginatively revived it, partly through bas-relief friezes, mosaics and pottery painting, and partly through the examples of painting and decoration of the High Renaissance of Raphael's generation, frescos in Nero's Domus Aurea, Pompeii and Herculaneum, and through renewed admiration of Nicolas Poussin. Much "Neoclassical" painting is more classicizing in subject matter than in anything else. A fierce, but often very badly informed, dispute raged for decades over the relative merits of Greek and Roman art, with Winckelmann and his fellow Hellenists generally being on the winning side.

Characteristics

Neoclassical literature was defined by common sense, order, accuracy, and structure. In the literature of the renaissance period, man was portrayed to be good; however, this genre of writers showed man to be flawed and relatively more human. Their characters also practiced conservatism, self-control, and restraint. Neoclassical authors saw the world under a new light. Unlike the previous two eras, the writers of this era gave more importance to social needs as compared to individual needs. They believed that man can find meaning in society, religion, natural order, government, and literature. In no time, the winds of a new revolution swept through Europe and North America, and changed everything from art and literature to society and fashion, on its way. Though the neoclassical era later transitioned into the romantic era, it left behind a prominent footprint which can be seen in the literary works of today.

A large number of literary works came out during this period, which included parody, fables, melodrama, rhyming with couplets, satire, letters, diaries, novels, and essays. More emphasis was given to grammar and etymology (study of words).

Stages

For the sake of convenience, experts have divided this era into three sections: Restoration period, Augustan era, and Age of Johnson.

The Restoration Period (1660-1700)

After the beheading of King Charles I, the monarchy was ‘restored’, and so this period got the name ‘restoration’.This period marks the British king's restoration to the throne after a long period of Puritan domination in England. Its symptoms include the dominance of French and Classical influences on poetry and drama. Sample writers include John Dryden, John Locke, Sir William Temple, and Samuel Pepys, and Aphra Behn in England. Abroad, representative authors include Jean Racine and Molière.

A new era had dawned with epic works such as Paradise Lost and Areopagitica by Milton and Sodom by Wilmot, 2nd Earl of Rochester. It also saw a new age of both sexual comedy and wisdom, with works such as The Country Wife and The Pilgrim’s Progress respectively. While writers like Richard Blackmore wrote King Arthur, it also saw critics like Jeremy Collier, John Dryden, and John Dennis who gave a new direction to understand literature and theater.

Poetry too was revamped and saw the beginning of rhyme schemes. The iambic pentameter was one of the popular forms of poetry, preferred by the poets and the listeners. Odes and pastorals became the new means for exchanging ideas.

The poems were mostly realistic and satirical, in which, John Dryden reigned supreme. He further divided poetry into three heads, that of fables, political satire, and doctrinal poems. You will not find any spiritual bias, moral highness, or philosophy in these poems, which became the signature style of the Restoration Era.

Augustan Age (1700-1745)

II. The Augustan Age

The Augustan Age took its name from the Roman Emperor Augustus, whose monarchy brought stability in the social and political environment. It is during his reign, that epic writers such as Ovid, Horace, Virgil, etc., flourished.

This period is marked by the imitation of Virgil and Horace's literature in English letters. The principal English writers include Addison, Steele, Swift, and Alexander Pope. Abroad, Voltaire was the dominant French writer.

 Edward Gibbon's Decline and Fall of the Roman EmpireIII. The Age of Johnson . Writers such as Pope, Dryden, Daniel Defoe, Swift, and Addison were the major contributors to this era. Dryden’s attempts at satiric verse were highly admired by many generations. This era was also called the Age of Pope due to his noteworthy contributions.

This period marks the transition toward the upcoming Romanticism though the period is still largely Neoclassical. Major writers include Dr. Samuel Johnson, Boswell, and Edward Gibbon who represent the Neoclassical tendencies, while writers like Robert Burns, Thomas Gray, Cowper, and Crabbe show movement away from the Neoclassical ideal. In America, this period is called the Colonial Period. It includes colonial and revolutionary writers like Ben Franklin, Thomas Jefferson, and Thomas Paine.

Age of Johnson (1745-1785)

This era made its way into the literary world by stepping out of the shadows of its previous age. Shakespearean literature found appreciation during this era. It brought forth the Gothic school of literature. Qualities like balance, reason, and intellect were the main focus of this era. Hence, this age is also called the Age of Sensibility.

Important works such as Burke’s, A Philosophical Inquiry into the Origins of Our Ideas on the Sublime and Beautiful, Johnson’s, The Rambler, and Goldsmith’s, The Vicar of Wakefield are still read.

Samuel Johnson (1709-1784) gave a massive literary contribution, which till date is a great boon to one an all. And that is the Dictionary of the English Language, which was first published in the year 1755. Though many similar books were used prior to this book, the dictionary in particular was the one that was most popularly used and admired, right until the printing of the Oxford English Dictionary in 1928.

Some Neoclassical Writers and their Works

John Milton (1608 – 1674), Paradise Lost

John Dryden (1631 – 1700), To My Lord Chancellor and Marriage a la Mode

Alexander Pope (1688 – 1744), Translation of the Iliad, Pastorals and An Essay on Criticism

Jonathan Swift (1667 – 1745), Gulliver’s Travels

Daniel Defoe (1660 – 1731), Robinson Crusoe

Samuel Johnson (1709 – 1784), A Dictionary of the English Language

REPRESENTATIVE WRITERS OF THE NEO-CLASSICAL AGE [1700-1798]

ALEXANDER POPE and SAMUEL JOHNSON are regarded as the representative

writers of the Neo-Classical Age

ALEXANDER POPE [1688-1744]

Representative writer of the Age

English poet, critic and satirist

Was born in Lombard Street, London in 1688

Catholic parents: Alexander Pope Senior and Turner Pope

During the period, Public education was banned to Catholics and therefore Pope was educated at

home, learnt Greek and Latin under a tutelage of a priest. Later, at Catholic school.

Pope undertook a rigorous self- education.

He suffered a physical deformity-he was only 4 feet 6 inches tall with curvature of the spine.

He composed his ‘Pastorals’ and was published in the 6th part of Tonson’s Poetical

Miscellanies.

His didactic poem, ‘An Essay on Criticism’ was published in May 1711. This poem established

his literary reputation.

His famous mock-heroic epic ‘The Rape of the Lock’ [Belinda’s Toilet is a part of this poem] was first published in 1712. It was based on a family quarrel between the Petres and Fermors.

In 1713, Pope along with Jonathan Swift, John Gay, John Arbuthnot and Thomas Parnell founded a literary club called the Scriblerus Club to satirize All the false tastes in learning .

Pope’s famous works:

An Essay on Criticism [A didactic poem]

The Rape of the Lock

1. An Essay on Criticism [Poem]

This is a didactic poem in heroic couplets.

It was published in 1711.

It contains a thumbnail history of criticism from Aristotle to William

It is said, he wrote this as a response to an ongoing critical debate, which centered on the question of whether poetry should be natural or written according to predetermined artificial rules inherited from the classical past.

This poem contains three sections that deals with:

1. The need of studying the principles of tastes and improving out judgments by studying

the ancients and holding them in high esteem.

2. Causes that hinder correct judgement.

3. Functions of a critic.

Pope states that an ideal critic needs to possess taste, judgement and learning.

2. The Rape of the Lock

This is a mock heroic epic.

This was published with two cantos in 1712 and later expanded into five cantos in 1714.

It was dedicated to John Caryll.

It was based on Lord Petre’s cutting of a lock of hair of Arabella Fermor.

In the poem, Belinda is Arabella Fermor and Baron is for Lord Robert Petre.

Pope intended not to mock [make fun of or criticize] the form itself but to mock his society in its failure to rise to epic standards.It exposed the pettiness of the society by casting trivial [silly, insignificant] events and issues

against the grandeur of the traditional epic subjects and also the lead characters against the bravery of epic heroes. This poem is a reflection of artificial and hollow life of 18th century society.

Pope’s other works

Pastorals : were among his first published poems. It offered an idealized view of country life modeled on Vergil’s pastorals.

Messiah : Poem which deals with Virgil’s Fourth Eclogue, which was said to predict the birth of Christ.

Windsor Forest : This is Pope’s first political poem.

It celebrated the rule of Queen Anne and the Peace Treaty of Utrecht.

Windsor Forest was a famous royal hunting ground. Here it functions as a metaphor for political life of the nation.This poem was dedicated to George Granville, the Secretary of war in Queen Anne’s government.

Peri Bathous : An essay which is a parody on Longinus’ “ On the Sublime”.

It ridicules the contemporary poets.

The Dunciad : Poem that celebrates the Goddess Dullness and the progress of her agents across Britain.

An Essay on Man : Philosophical essay written in heroic couplets that is concerned with vindicating ways of god to man. Pope’s arguments in the Essay derive in part from Bolingbroke’fragmentary philosophical writings. It comprises four epistles addressed to Lord Bolingbroke.

These are : 1) Of the Nature and State of Man, with Respect to the Universe 2) Of the Nature and State of Man, with Respect to Happiness.

Epistle to a Lady: Verse letter written in heroic couplets, which is addressed to Martha Blount. It is a Horation Epistle in form. Pope is critical of women, who live a public aristocratic life, while he celebrates Martha, a woman who shines in the private life.

An Epistle to Burlington : Addressed to the architect Richard Boyle, 3rd Earl of Burlington. It concerns Itself with true and false taste in architecture and landscape gardening in 18th century England. It attacks Timon villa as a model of bad taste.

Epistle to Lord Bathurst : Addressed to Allen, Lord Bathurst. Examines the use of riches.

Epistle to Dr Arbuthnot : Poetic epistle addressed to the writer and physician John Arbuthnot. Defines nature of right action as opposed to wrong. Also contains satirical portraits of Joseph Addison under the name Atticus and Lord Hervey under the character Sporus

DR SAMUEL JOHNSON [1709 -1784]

English poet, biographer, critic and lexicographer Representative writer of the Age along with Alexander Pope .

Was born in the country town of Lichfield in Staffordshire in 1709

Parents: Sarah and Michael Johnson

Was plagued by physical difficulties- blind in one eye and near sighted in the other, deaf in one ear and scarred on face and neck from the disease scrofula [a tubercular infection of the lymph glands]

Died in1784 and was buried in Westminster Abbey

 WORKS OF SAMUEL JOHNSON

 Essays, Pamphlets, Periodicals, Sermons

 Birmingham Journal (1732-33)

 The Rambler (1750-52)

 The Adventure(1753-54)

 The Idler (1758-1760)

 The False Alarm (1770)

 Thoughts on the Late Transactions Respecting Falkland’ Islands (1771)

 The Patriot (1774)

 A Journey to the Western Islands of Scotland (1775)

Poetry

 Messiah, a translation into Latin of Alexander Pope’ Messiah (1728)

 London (1738)

 Prologue at the Opening of the Theatre in Drury Lane (1747)

 The Vanity of Human Wishes (1749)

 Irene, a Tragedy (1749)

Biographies, Criticism

 Life of Mr. Richard Savage (1744)

 Miscellaneous Observations on the Tragedy of Macbeth (1745)

 Preface to the Plays of William Shakespeare (1765)

 The Plays of William Shakespeare (1765)

 Lives of the Poets (1779-81)

Dictionary

• A Dictionary of the English Language (1755)

Novellas

The History of Rasselas, Prince of Abissinia (1759)

Famous Works of Johnson:

1. London [Poem]

2. Preface to the Plays of William Shakespeare [Literary Criticism ]

3. Lives of the Poets [Short biographies and critical appraisals of 52 poets]

4. A Dictionary of the English Language [Dictionary]

London

• Written in heroic couplets, Johnson’s poem ‘London’ was published in (1738)

• The full title of the poem is London: A Poem in Imitation of the Third Satire of Juvenal.

• A literary imitation of Juvenal’s Satire 3, the poem is neither a translation nor a paraphrase of the original work

• Johnson transforms Juvenal’s cultural satire into a political one with its focus on the corruption in the court of King George 2

• It is a satire which addresses the condition of 18th century England, marked by various changes on the personal and public front.

• Johnson utilizes the figure of Thales to develop his socio-political critique of the metropolitan space, represented by London. The poem begins with Thales leaving London for the countryside

Preface to the Plays of William Shakespeare

• Published in 1765, Johnson’s Preface to the Plays of William Shakespeare is considered as a classic document of English literary criticism.

• According to Johnson, a great work of art is that which subsists through a long time and remains a classic despite variations of taste and change of manners. Shakespeare’s works are such works, which have passed down from generation to generation.

• Johnson describes Shakespeare as the ‘poet of nature’ one who ‘Holds up to his readers a faithful mirror of manners and of life’.

• Shakespeare’s drama is peopled with characters that are not exaggerated, but men who speak and act as readers do . Johnson then goes on to describe the intermingling of comedy and tragedy in Shakespeare’s plays. His plays are neither tragedies nor comedies, but compositions of a different kind; exhibiting the real state of nature, which consists of both good and evil, joy and sorrow.

• After listing Shakespeare’s positive points and merits as a playwright, Johnson critically examines his faults.

• Shakespeare’s faults as a playwright are

(1) He sacrifices virtue to convenience and writes without any moral purpose

(2) His plots are loosely constructed (3) He pays no attention to unities of time or place

(4) He is imperfect in comic scenes, which becomes usually gross [exuberantly].

(5) His diction [choice and use of words] is pompous [ªÉʨsÀªÀ, §qÁ¬ÄAiÀÄ ] and his catastrophe [zÀÄgÀAvÀ] is imperfectly produced.

(6) His fondness for quibbles [zÀéAzÁévÀðzÀ, PÉÆAPÀÄ£ÀÄr].

Arthur Sherbo calls Johnson’s preface as ‘His greatest single critical pronouncement and ‘ a landmark in Shakespearean criticism.

Lives of the Poets

Consists of Short biographies and critical appraisals of 52 poets.The poets described mostly belong to the 17th and 18^th centuries. Poets’ biographies are divided into three distinct parts: 1]A narrative of the poet’s life

2] A presentation of his character 3] A critical assessment of his main poems

A Dictionary of the English Language

One of the greatest achievements of scholarship.

It was first published in 1755.

It took around nine years to complete it.

It contained 40000 words.

It included a history of the language, a grammar and an extensive list of words representing basic general vocabulary.

The poets in the neoclassical age in English literature .

Key poets associated with the school of neoclassical poetry included John Milton, John Dryden, Alexander Pope, and Oliver Goldsmith. Major works included epics and satires, such as Pope's The Rape of the Lock or Milton's Paradise Lost.

The major writers of Neoclassicism

This lesson listed some of the most famous Neoclassical writers, who included John Dryden, Alexander Pope, Jonathan Swift, Daniel Defoe, and Samuel Johnson.

84- ) English Literature

84-) English Literature 

The Augustan Age

The eighteenth century in English literature has been called the Augustan Age, the Neoclassical Age, and the Age of Reason. The term 'the Augustan Age' comes from the self-conscious imitation of the original Augustan writers, Virgil and Horace, by many of the writers of the period. Specifically, the Augustan Age was the period after the Restoration era to the death of Alexander Pope (~1690 - 1744). The major writers of the age were Pope and John Dryden in poetry, and Jonathan Swift and Joseph Addison in prose. Dryden forms the link between Restoration and Augustan literature; although he wrote ribald comedies in the Restoration vein, his verse satires were highly admired by the generation of poets who followed him, and his writings on literature were very much in a neoclassical spirit. But more than any other it is the name of Alexander Pope which is associated with the epoch known as the Augustan Age, despite the fact that other writers such as Jonathan Swift and Daniel Defoe had a more lasting influence. This is partly a result of the politics of naming inherent in literary history: many of the early forms of prose narrative common at this time did not fit into a literary era which defined itself as neoclassic. The literature of this period which conformed to Pope's aesthetic principles (and could thus qualify as being 'Augustan') is distinguished by its striving for harmony and precision, its urbanity, and its imitation of classical models such as Homer, Cicero, Virgil, and Horace, for example in the work of the minor poet Matthew Prior. In verse, the tight heroic couplet was common, and in prose essay and satire were the predominant forms. Any facile definition of this period would be misleading, however; as important as it was, the neoclassicist impulse was only one strain in the literature of the first half of the eighteenth century. But its representatives were the defining voices in literary circles, and as a result it is often some aspect of 'neoclassicism' which is used to describe the era.

'Neoclassicism'

The works of Dryden, Pope, Swift, Addison and John Gay, as well as many of their contemporaries, exhibit qualities of order, clarity, and stylistic decorum that were formulated in the major critical documents of the age: Dryden's An Essay of Dramatic Poesy (1668), and Pope's Essay on Criticism (1711). These works, forming the basis for modern English literary criticism, insist that 'nature' is the true model and standard of writing. This 'nature' of the Augustans, however, was not the wild, spiritual nature the romantic poets would later idealize, but nature as derived from classical theory: a rational and comprehensible moral order in the universe, demonstrating God's providential design. The literary circle around Pope considered Homer preeminent among ancient poets in his descriptions of nature, and concluded in a circuitous feat of logic that the writer who 'imitates' Homer is also describing nature. From this follows the rules inductively based on the classics that Pope articulated in his Essay on Criticism:

Those rules of old discovered, not devised,

Are nature still, but nature methodized.

Particularly influential in the literary scene of the early eighteenth century were the two periodical publications by Joseph Addison and Richard Steele, The Tatler (1709-11), and The Spectator (1711-12). Both writers are ranked among the minor masters of English prose style and credited with raising the general cultural level of the English middle classes. A typical representative of the post-Restoration mood, Steele was a zealous crusader for morality, and his stated purpose in The Tatler was "to enliven Morality with Wit, and to temper Wit with Morality." With The Spectator, Addison added a further purpose: to introduce the middle-class public to recent developments in philosophy and literature and thus to educate their tastes. The essays are discussions of current events, literature, and gossip often written in a highly ironic and refined style. Addison and Steele helped to popularize the philosophy of John Locke and promote the literary reputation of John Milton, among others. Although these publications each only ran two years, the influence that Addison and Steele had on their contemporaries was enormous, and their essays often amounted to a popularization of the ideas circulating among the intellectuals of the age. With these wide-spread and influential publications, the literary circle revolving around Addison, Steele, Swift and Pope was practically able to dictate the accepted taste in literature during the Augustan Age. In one of his essays for The Spectator, for example, Addison criticized the metaphysical poets for their ambiguity and lack of clear ideas, a critical stance which remained influential until the twentieth century.

The literary criticism of these writers often sought its justification in classical precedents. In the same vein, many of the important genres of this period were adaptations of classical forms: mock epic, translation, and imitation. A large part of Pope's work belongs to this last category, which exemplifies the artificiality of neoclassicism more thoroughly than does any other literary form of the period. In his satires and verse epistles Pope takes on the role of an English Horace, adopting the Roman poet's informal candor and conversational tone, and applying the standards of the original Augustan Age to his own time, even addressing George II satirically as "Augustus." Pope also translated the Iliad and the Odyssey, and, after concluding this demanding task, he embarked on The Dunciad (1728), a biting literary satire.

The Dunciad is a mock epic, a form of satiric writing in which commonplace subjects are described in the elevated, heroic style of classical epic. By parody and deliberate misuse of heroic language and literary convention, the satirist emphasizes the triviality of the subject, which is implicitly being measured against the highest standards of human potential. Among the best-known mock epic poems of this period in addition to The Dunciad are John Dryden's MacFlecknoe (1682), and Pope's The Rape of the Lock (1714). In The Rape of the Lock, often considered one of the highest achievements of mock epic poetry, the heroic action of epic is maintained, but the scale is sharply reduced. The hero's preparation for combat is transposed to a fashionable boat ride up the Thames, and the ensuing battle is a card game. The hero steals the titular lock of hair while the heroine is pouring coffee.

Although the mock epic mode is most commonly found in poetry, its influence was also felt in drama, most notably in John Gay's most famous work, The Beggar's Opera (1728). The Beggar's Opera ludicrously mingles elements of ballad and Italian opera in a satire on Sir Robert Walpole, England's prime minister at the time. The vehicle is opera, but the characters are criminals and prostitutes. Gay's burlesque of opera was an unprecedented stage success and centuries later inspired the German dramatist Bertolt Brecht to write one of his best-known works, Die Dreigroschenoper (The Threepenny Opera, 1928).

One of the most well-known mock epic works in prose from this period is Jonathan Swift's The Battle of the Books (1704), in which the old battle between the ancient and the modern writers is fought out in a library between The Bee and The Spider. Although not a mock epic, the satiric impulse is also the driving force behind Jonathan Swift's Gulliver's Travels (1726), one of the masterpieces of the period. The four parts describe different journeys of Lemuel Gulliver; to Lilliput, where the pompous activities of the diminutive inhabitants is satirized; to Brobdingnag, a land of giants who laugh at Gulliver's tales of the greatness of England; to Laputa and Lagoda, inhabited by quack scientists and philosophers; and to the land of the Houhynhnms, where horses are civilized and men (Yahoos) behave like beasts. As a satirist Swift's technique was to create fictional speakers such as Gulliver, who utter sentiments that the intelligent reader should recognize as complacent, egotistical, stupid, or mad. Swift is recognized as a master of understated irony, and his name has become practically synonymous with the type of satire in which outrageous statements are offered in a straight-faced manner.

The Nature and Graveyard Poets

Neoclassicism was not the only literary movement at this time, however. Two schools in poetry rejected many of the precepts of decorum advocated by the neoclassical writers and anticipated several of the themes of Romanticism. The so-called nature poets, for example, treated nature not as an ordered pastoral backdrop, but rather as a grand and sometimes even forbidding entity. They tended to individualize the experience of nature and shun a methodized approach. Anne Finch, Countess of Winchilsea, was a rural poet in an urban era, and the poems of Miscellany Poems by a Lady (1713) were often observations of nature, largely free of neoclassical conventions. Her contemporaries regarded her as little more than a female wit, but she was highly praised by the Romantic poets, particularly William Wordsworth. A further influential poet of this school was James Thomas, whose poetical work The Seasons, which appeared in separate volumes from 1726 to 1730 and beginning with Winter, was the most popular verse of the century. In his treatment of nature, he diverged from the neoclassical writers in many important ways: through sweeping vistas and specific details in contrast to circumscribed, generalized landscapes; exuberance instead of balance; and a fascination with the supernatural and the mysterious, no name just a few.

This last was also the major concern of the poets of the Graveyard School. Foremost among them was Edward Young, whose early verses were in the Augustan tradition. In his most famous work, however, The Complaint: or, Night Thoughts on Life, Death, and Immortality (1742-45), the melancholy meditations against a backdrop of tombs and death indicate a major departure from the conventions and convictions of the preceding generation. While the neoclassicists regarded melancholia as a weakness, the pervasive mood of The Complaint is a sentimental and pensive contemplation of loss. It was nearly as successful as Thomas's The Seasons, and was translated into a number of major European languages.

The Rise of the Novel

The most important figure in terms of lasting literary influence during this period, however, was undoubtedly Daniel Defoe. An outsider from the literary establishment ruled by Pope and his cohorts, Defoe was in some ways an anomaly during a period defined as 'Augustan,' despite the fact that he was a writer of social criticism and satire before he turned to novels. He did not belong to the respected literary world, which at best ignored him and his works and at worst derided him. (In 1709, Swift for example referred to him as "the Fellow that was Pilloryed, I have forgot his name.")

The works of fiction for which Defoe is remembered, particularly Moll Flanders (1722) and Robinson Crusoe (1719), owe less to the satirical and refined impulse of the Augustan tradition, and more to a contrary tradition of early prose narrative by women, particularly Aphra Behn, Mary Delariviere Manley and Jane Barker. Since Ian Watt's influential study, The Rise of the Novel (1957), literary historians have generally considered Robinson Crusoe the first successful English novel and Defoe as one of the originators of realistic fiction in the eighteenth century, but he was deeply indebted to his female precursors and probably would never have attempted prose narrative if they had not created an audience for it in the first place.

The English novel was a product of several differing literary traditions, among them the French romance, the Spanish picaresque tale and novella, and such earlier prose models in English as John Lyly's Euphues (1579), Sir Philip Sidney's Arcadia (1590) and John Bunyan's Pilgrim's Progress (1684). The authors of these works collectively helped pave the way for the form of the novel as it is known today. The true pioneers of the novel form, however, were the women writers pursuing their craft in opposition to the classically refined precepts of the writers defining the Augustan Age. Particularly influential were Aphra Behn's travel narrative Oroonoko (1688) and her erotic epistolary novel Love Letters Between a Nobleman and his Sister (1683). In Oroonoko, Behn provides numerous details of day to day life and a conversational narrative voice, while with Love Letters she pioneered the epistolary form for a longer work of fiction, over fifty years before Richardson. The political prose satires of Mary Delariviere Manley were racy exposés of high-society scandals written in the tradition of Love Letters, Behn's erotic roman à clef. Manley's novels The Secret History of Queen Zarah and the Zaraians (1705) and The New Atalantis (1709) were widely popular in their day and helped create an audience for prose narratives that was large enough to support the new breed of the professional novelist.

Eliza Haywood also began her career writing erotic tales with an ostensibly political or high society background. Her first novel, Love in Excess (1719) went through four editions in as many years. In the thirties, her writing underwent a transformation suitable to the growing moral concerns of the era, and her later novels show the influence of her male contemporaries Richardson and Fielding (this despite the fact that she may have been the author of Anti-Pamela (1741), an early attack on Richardson's first novel). Haywood's The History of Miss Betsy Thoughtless (1751) in particular belongs in a more realistic tradition of writing, bringing the action from high society into the realm of the middle class, and abandoning the description of erotic encounters. Particularly interesting among the work of early women novelists is that of Jane Barker. Her novel Loves Intrigues: Or, The History of the Amours of Bosvil and Galesia (1713) tells in first-person narrative the psychologically realistic tale of a heroine who doesn't get her man. The portrayal of Galesia's emotional dilemma, caught in a web of modesty, social circumstances and the hero's uncertainty and indecisiveness, captures intriguing facets of psychological puzzles without providing easy answers for the readers. Galesia retreats from marriage, hardly knowing why she does so or how the situation came about, and the reader is no smarter.

Many of the elements of the modern novel attributed to Defoe -- e.g. the beginnings of psychological realism and a consistent narrative voice -- were anticipated by women writers. Defoe's contribution was in putting them all together and creating out of these elements sustained prose narratives blending physical and psychological realism. His most impressive works, such as Moll Flanders and Roxana (1724), treated characters faced with the difficulties of surviving in a world of recognizably modern economic forces. Given his capitalist philosophy, it is not surprising that Defoe's protagonists are self-reliant, resourceful individualists who express his middle-class values. In his attempt to balance individualism and economic realism with a belief in God's providence, Defoe created multi-faceted characters who combine repentance for past misdeeds with a celebration of the individual's power to survive in a hostile environment.

Although Defoe and his female contemporaries were looked down upon by the intellectual establishment represented by Pope and Swift, later developments in literary history have shown that it was they who would define the literature of a new age, and not the so-called Augustans. While the novel remains the dominant literary form of the twentieth century, mock epic is at best an element used occasionally in comedy. Robinson Crusoe and Moll Flanders are still widely read; The Rape of the Lock is mentioned in history books. Jonathan Swift produced an enduring classic as well with Gulliver's Travels, but despite his brilliance it is the merchant Daniel Defoe, a journalist who saw writing as "a considerable branch of the English commerce" (Essay upon Literature, 1726), who is considered the father of the English novel.

83-) English Literature

83-) English Literature 

William Shakespeare

William Shakespeare’s Important Works

William Shakespeare is widely considered the greatest dramatist of all time as well as the most influential writer in the history of the English language. He originated hundreds of words and phrases that English speakers use to this day. His impact on literature is so massive that one could make an argument that every one of his works deserves a spot on this list, but these seven plays and one poetry collection are undoubtedly among his most important achievements.

Romeo and Juliet (c. 1594–96)

Although not usually considered among his greatest plays, Romeo and Juliet remains one of Shakespeare’s most popular works. This tale of two star-crossed lovers who both meet tragic ends has been adapted countless times for the stage and screen. The universality of the story of young people in love trying to be together in an uncaring world has resonated with audiences and readers from across the globe for centuries.

Much Ado About Nothing (c. 1598–99)

While Shakespeare’s best-known plays are his tragedies, he also wrote a number of comedies, including this tale of a woman falsely accused of being unfaithful. The plotline—centered on the couple Claudio and Hero—involves humorous misunderstandings and bumbling supporting characters. Much Ado About Nothing is also notable for its secondary plot, in which Hero’s cousin Beatrice and her potential romantic interest, Benedick, trade witty insults and express skepticism about love throughout the play. Their “merry war” ends with the two on equal footing, admitting their love for one another.

Julius Caesar (c. 1599–1600)

The majority of Shakespeare’s history plays concern events that occurred in his native England, but he did occasionally explore historical eras in other parts of the world. The most notable example of this is Julius Caesar. In Shakespeare’s drama Caesar, the leader of Rome, is conspired against and eventually assassinated by his former republican allies, including his trusted friend Brutus. The play is famous for Mark Antony’s speech that begins “Friends, Romans, countrymen, lend me your ears.” The speech is one of the best-known of Shakespeare’s monologues.

Hamlet (c. 1599–1601)

Hamlet is arguably the greatest drama ever written. In it Hamlet, the prince of Denmark, struggles with the recent death of his father and with his mother having married Claudius, his father’s brother and successor. Claudius is later revealed to have murdered Hamlet’s father. A visit from his father’s ghost spurs Hamlet to seek revenge. One of the most notable aspects of the play are Hamlet’s soliloquies, which beautifully express the character’s inner turmoil.

King Lear (1605–06)

The play opens with King Lear deciding to divide his kingdom among his three daughters in proportion to their love for him. He disinherits Cordelia, the daughter who actually loves him but refuses to falsely flatter him. His other two daughters, the deceitful Goneril and Regan, take over his kingdom. They then turn on Lear and cast him out. Lear descends into madness but is eventually reconciled with Cordelia, who is later hanged before Lear himself dies. King Lear is one of Shakespeare’s most pessimistic works. Hope, however, can be found in the character of Cordelia, who displays an enduring moral strength in the face of injustice.

Macbeth (c. 1606–07)

Along with Hamlet and King Lear, Macbeth is the third of Shakespeare’s greatest tragedies.  It is the story of a Scottish nobleman who, following the prophecy of three witches, becomes the ruler of his country after killing Duncan, the reigning king. Macbeth continues to kill potential political rivals. The guilt drives his wife, Lady Macbeth, mad. Ultimately, Macbeth is killed as a consequence of his political ambitions. The tragic rendering of Macbeth’s downward spiral and the iconic depiction of Lady Macbeth’s descent into madness make this one of Shakespeare’s major works.

Sonnets (1609)

Written in the 1590s when Shakespeare’s theatrical career was paused during an outbreak of plague, the sonnet cycle was finally published in 1609. The possibly autobiographical sonnets are divided into two sections. The first and much larger group of sonnets address an unnamed “Fair Youth,” a male friend of the poet’s. The second set focuses on a “Dark Lady.” As a narrative, the sonnet sequence tells of strong attachment, of jealousy, of grief at separation, and of joy at being together and sharing beautiful experiences. The Dark Lady sonnets end the sequence on a disturbing note of sorrow and self-loathing.

The Tempest (1611)

The plot of The Tempest centers on Prospero, a magician and former duke of Milan, and his daughter, Miranda. The pair are stranded on a deserted island after Prospero was usurped from his dukedom by his brother, Antonio. Prospero uses his magic to create a storm that strands a group of people, including Antonio, on the island. Among that group is also Ferdinand, who falls in love with Miranda and helps precipitate the actions that lead to reconciliation among the main characters. Although not Shakespeare’s final play, The Tempest seems like his farewell to the theater. It contains moving passages of reflection on what his powers as artist have been able to accomplish.  

82- ) English Literature

82- ) English literature 

William Shakespeare

William Shakespeare ( Poetry )

1564–1616

While William Shakespeare’s reputation is based primarily on his plays, he became famous first as a poet. With the partial exception of the Sonnets (1609), quarried since the early 19th century for autobiographical secrets allegedly encoded in them, the nondramatic writings have traditionally been pushed to the margins of the Shakespeare industry. Yet the study of his nondramatic poetry can illuminate Shakespeare’s activities as a poet emphatically of his own age, especially in the period of extraordinary literary ferment in the last ten or twelve years of the reign of Queen Elizabeth.

Shakespeare’s exact birth date remains unknown. He was baptized in Holy Trinity Church in Stratford-upon-Avon on April 26, 1564, his mother’s third child, but the first to survive infancy. This has led scholars to conjecture that he was born on April 23rd, given the era’s convention of baptizing newborns on their third day. Shakespeare’s father, John Shakespeare, moved to Stratford in about 1552 and rapidly became a prominent figure in the town’s business and politics. He rose to be bailiff, the highest official in the town, but then in about 1575-1576 his prosperity declined markedly and he withdrew from public life. In 1596, thanks to his son’s success and persistence, he was granted a coat of arms by the College of Arms, and the family moved into New Place, the grandest house in Stratford.

Speculation that William Shakespeare traveled, worked as a schoolmaster in the country, was a soldier and a law clerk, or embraced or left the Roman Catholic Church continues to fill the gaps left in the sparse records of the so-called lost years. It is conventionally assumed (though attendance registers do not survive) that Shakespeare attended the King’s New School in Stratford, along with others of his social class. At the age of 18, in November 1582, he married Anne Hathaway, daughter of a local farmer. She was pregnant with Susanna Shakespeare, who was baptized on May 26, 1583. The twins, Hamnet and Judith Shakespeare, were baptized on February 2, 1585. There were no further children from the union.

William Shakespeare had probably been working as an actor and writer on the professional stage in London for four or five years when the London theaters were closed by order of the Privy Council on June 23, 1592. The authorities were concerned about a severe outbreak of the plague and alarmed at the possibility of civil unrest (Privy Council minutes refer to “a great disorder and tumult” in Southwark). The initial order suspended playing until Michaelmas and was renewed several times. When the theaters reopened in June 1594, the theatrical companies had been reorganized, and Shakespeare’s career was wholly committed to the troupe known as the Lord Chamberlain’s Men until 1603, when they were reconstituted as the King’s Men.

By 1592 Shakespeare already enjoyed sufficient prominence as an author of dramatic scripts to have been the subject of Robert Greene’s attack on the “upstart crow” in Greene’s Groatsworth of Wit. Such renown as he enjoyed, however, was as transitory as the dramatic form. Play scripts, and their authors, were accorded a lowly status in the literary system, and when scripts were published, their link to the theatrical company (rather than to the scriptwriter) was publicized. It was only in 1597 that Shakespeare’s name first appeared on the title page of his plays—Richard II and a revised edition of Romeo and Juliet.

While the London theaters were closed, some actors tried to make a living by touring outside the capital. Shakespeare turned from the business of scriptwriting to the pursuit of art and patronage; unable to pursue his career in the theatrical marketplace, he adopted a more conventional course. Shakespeare’s first publication, Venus and Adonis (1593), was dedicated to the 18-year-old Henry Wriothesley, third Earl of Southampton. The dedication reveals a frank appeal for patronage, couched in the normal terms of such requests. Shakespeare received the Earl’s patronage and went on to dedicate his next dramatic poem, Lucrece, to the young lord as well. Venus and Adonis was printed by Richard Field, a professionally accomplished printer who lived in Stratford. Shakespeare’s choice of printer indicates an ambition to associate himself with unambiguously high-art productions, as does the quotation from Ovid’s Amores on the title page: “Vilia miretur vulgus: mihi flavus Apollo / Pocula Castalia plena ministret acqua” (Let worthless stuff excite the admiration of the crowd: as for me, let golden Apollo ply me with full cups from the Castalian spring, that is, the spring of the Muses). Such lofty repudiation of the vulgar was calculated to appeal to the teenage Southampton. It also appealed to a sizable slice of the reading public. In the midst of horror, disease, and death, Shakespeare was offering access to a golden world, showing the delights of applying learning for pleasure rather than pointing out the obvious morals to be drawn from classical authors when faced with awful catastrophe.

With Venus and Adonis Shakespeare sought direct aristocratic patronage, but he also entered the marketplace as a professional author. He seems to have enjoyed a degree of success in the first of these objectives, given the more intimate tone of the dedication of Lucrece to Southampton in the following year. In the second objective, his triumph must have outstripped all expectation. Venus and Adonis went though 15 editions before 1640; if was first entered in the Stationers’ Register on April 18, 1593. It is a fine and elegantly printed book, consisting of 1,194 lines in 199 six-line stanzas rhymed ababcc. The verse form was a token of social and literary ambition on Shakespeare’s part. Its aristocratic cachet derived from its popularity at court, being favored by several courtier poets, such as Sir Walter Ralegh, Sir Arthur Gorges, and Sir Edward Dyer. Venus and Adonis is unquestionably a work of its age. In it a young writer courts respectability and patronage. At one level, of course, the poem is a traditional Ovidian fable, locating the origin of the inseparability of love and sorrow in Venus’s reaction to the death of Adonis: “lo here I prophesy, / Sorrow on love hereafter shall attend /... all love’s pleasure shall not match his woe.” It invokes a mythic past that explains a painful present. Like so many texts of the 1590s, it features an innocent hero, Adonis, who encounters a world in which the precepts he has acquired from his education are tested in the surprising school of experience. His knowledge of love, inevitably, is not firsthand (“I have heard it is a life in death, / That laughs and weeps, and all but with a breath”). There is a staidly academic quality to his repudiation of Venus’s “treatise,” her “idle over-handled theme.

Shakespeare’s literary and social aspirations are revealed at every turn. In his Petrarchism, for example, he adopts a mode that had become a staple of courtly discourse. Elizabethan politicians figured themselves and their personal and political conditions in Petrarchan terms. The inescapable and enduring frustrations of the courtier’s life were habitually figured via the analogy of the frustrated, confused, but devoted Petrarchan lover. Yet Shakespeare’s approach to this convention typifies the 1590s younger generation’s sense of its incongruity. Lines such as “the love-sick queen began to sweat” are understandably rare in Elizabethan courtly discourse. Power relations expressed through the gendered language of Elizabeth’s eroticized politics are reversed: “Her eyes petitioners to his eyes suing / ... Her eyes wooed still, his eyes disdain’d the wooing.” It is Venus who deploys the conventional carpe diem arguments: “Make use of time / ... Fair flowers that are not gath’red in their prime, / Rot, and consume themselves in little time”; she even provides a blason of her own charms: “Thou canst not see one wrinkle in my brow, / Mine eyes are grey, and bright, and quick in turning.”

Like most Elizabethan treatments of love, Shakespeare’s work is characterized by paradox (“She’s love, she loves, and yet she is not lov’d”), by narrative and thematic diversity, and by attempts to render the inner workings of the mind, exploring the psychology of perception (“Oft the eye mistakes, the brain being troubled”). The poem addresses such artistic preoccupations of the 1590s as the relation of poetry to painting and the possibility of literary immortality, as well as social concerns such as the phenomenon of “masterless women,” and the (to men) alarming and unknowable forces unleashed by female desire, an issue that for a host of reasons fascinated Elizabeth’s subjects. Indeed, Venus and Adonis flirts with taboos, as do other successful works of the 1590s, offering readers living in a paranoid, plague-ridden city a fantasy of passionate and fatal physical desire, with Venus leading Adonis “prisoner in a red-rose chain.” In its day it was appreciated as an erotic fantasy glorying in the inversion of established categories and values, with a veneer of learning and the snob appeal of association with a celebrated aristocrat.

Since the Romantic period the frank sexuality of Shakespeare’s Venus has held less appeal for literary critics and scholars than it had to Elizabethan and Jacobean readers. C.S. Lewis concludes in English Literature in the Sixteenth Century, Excluding Drama (1954) that “if the poem is not meant to arouse disgust it was very foolishly written.” In more recent years a combination of feminism, cultural studies, renewed interest in rhetoric, and a return to traditional archival research has begun to reclaim Venus and Adonis from such prejudice.

The elevated subject of Shakespeare’s next publication, Lucrece, suggests that Venus and Adonis had been well received, Lucrece comprises 1,855 lines, in 265 stanzas. The stanza (as in Complaint of Rosamund) is the seven-line rhyme royal (ababbcc) immortalized in Chaucer’s Troilus and Criseyde (circa 1385) and thereafter considered especially appropriate for tragedy, complaint, and philosophical reflection. In places the narrator explicitly highlights the various rhetorical set pieces (“Here she exclaims against repose and rest”). Lucrece herself comments on her performance after the apostrophes to “comfort-killing Night, image of Hell,” Opportunity, and Time. Elizabethan readers would have appreciated much about the poem, from its plentiful wordplay (“to shun the blot, she would not blot the letter”; “Ere she with blood had stain’d her stain’d excuse”) and verbal dexterity, to the inner debate raging inside Tarquin. Though an exemplary tyrant from ancient history, he also exemplifies the conventional 1590s conflict between willful youthful prodigality and sententious experience (“My part is youth, and beats these from the stage”). The arguments in his “disputation / ‘Tween frozen conscience and hot burning will” are those of the Petrarchan lover: “nothing can affection’s course control,” and “Yet strive I to embrace mine infamy.” But the context of this rhetorical performance is crucial throughout. Unlike Venus and Adonis, Lucrece is not set in a mythical golden age, but in a fallen, violent world. This is particularly apparent in the rhetorical and ultimately physical competition of their debate--contrasting Tarquin’s speeches with Lucrece’s eloquent appeals to his better nature.

The combination of ancient and contemporary strengthens the political elements in the poem. It demonstrates tyranny in its most intimate form, committing a private outrage that is inescapably public; hence the rape is figured in terms both domestic (as a burglary) and public (as a hunt, a war, a siege). It also reveals the essential violence of many conventional erotic metaphors. Shakespeare draws on the powerful Elizabethan myth of the island nation as a woman: although Tarquin is a Roman, an insider, his journey from the siege of Ardea to Lucrece’s chamber connects the two assaults. His attack figures a society at war with itself, and he himself is shown to be self-divided.” Tyranny, lust, and greed translate the metaphors of Petrarchism into the actuality of rape, which is figured by gradatio, or climax: “What could he see but mightily he noted? / What did he note but strongly he desired?”

The historically validated interpretation—for Shakespeare’s readers, descendants of Brutus in New Troy—is figured by Brutus, who “pluck’d the knife from Lucrece’s side.” He steps forward, casting off his reputation for folly and improvising a ritual (involving kissing the knife) that transforms grief and outrage at Lucrece’s death into a determination to “publish Tarquin’s foul offense” and change the political system. Brutus emerges from the shadows, reminding the reader that the poem, notwithstanding its powerful speeches and harrowing images, is also remarkable for what is unshown, untold, implicit. Until recently few commentators have taken up the interpretative challenge posed by Brutus. Traditionally Lucrece has been dismissed as a bookish, pedantic dry run for Shakespeare’s tragedies, in William Empson‘s phrase, “the Bard doing five-finger exercises,” containing what F.T. Prince in his 1960 edition of the poems dismisses as defective rhetoric in the treatment of an uninteresting story. Many critics have sought to define the poem’s genre, which combines political fable, female complaint, and tragedy within a milieu of self-conscious antiquity. But perhaps the most significant recent developments have been the feminist treatments of the poem, the reawakening interest in rhetoric, and a dawning awareness of the work’s political engagement. Lucrece, like so many of Shakespeare’s historical tragedies, problematizes the categories of history and myth, of public and private, and exemplifies the bewildering nature of historical parallels. The self-conscious rhetorical display and the examination of representation is daringly politicized, explicitly, if inconclusively, connecting the aesthetic and the erotic with politics both sexual and state. At the time of its publication, Lucrece was Shakespeare’s most profound meditation on history, particularly on the relations between public role and private morality and on the conjunction of forces—personal, political, social—that creates turning points in human history. In it he indirectly articulates the concerns of his generation and also, perhaps, of his young patron, who was already closely associated with the doomed earl of Essex.

In 1598 or 1599 the printer William Jaggard brought out an anthology of 20 miscellaneous poems, which he eventually attributed to Shakespeare, though the authorship of all 20 is still disputed. At least five are demonstrably Shakespearean. Poem 1 is a version of Sonnet 138 (“When My Love Swears that She Is Made of Truth”), poem 2 of Sonnet 144 (“Two Loves I Have, of Comfort and Despair”), and the rest are sonnets that appear in act 4 of Love’s Labor’s Lost (1598). Investigation of Jaggard’s volume, called The Passionate Pilgrime, has yielded and will continue to yield insight into such matters as the relationship of manuscript to print culture in the 1590s, the changing nature of the literary profession, and the evolving status of the author. It may also, as with The Phoenix and Turtle (1601), lead to increased knowledge of the chronology and circumstances of Shakespeare’s literary career, as well as affording some glimpses of his revisions of his texts.

“With this key / Shakespeare unlocked his heart,” wrote William Wordsworth in “Scorn not the Sonnet“ (1827) of the Sonnets. “If so,” replied Robert Browning in his poem “House” (1876), “the less Shakespeare he.” None of Shakespeare’s works has been so tirelessly ransacked for biographical clues as the 154 sonnets, published with A Lover’s Complaint by Thomas Thorpe in 1609. Unlike the narrative poems, they enjoyed only limited commercial success during Shakespeare’s lifetime, and no further edition appeared until Benson’s in 1640. The title page, like Jaggard’s of The Passionate Pilgrim, relies upon the drawing power of the author’s name and promises “SHAKE-SPEARES / SONNETS / Never before Imprinted.”

The 154 sonnets are conventionally divided between the “young man” sonnets (1-126) and the “dark lady” sonnets (127-152), with the final pair often seen as an envoy or coda to the collection. There is no evidence that such a division has chronological implications, though the volume is usually read in such a way. Shakespeare employs the conventional English sonnet form: three quatrains capped with a couplet. Drama is conjured within individual poems, as the speaker wrestles with some problem or situation; it is generated by the juxtaposition of poems, with instant switches of tone, mood, and style; it is implied by cross-references and interrelationships within the sequence as a whole.

There remains a question, however, of how closely Shakespeare was involved in preparing the text of the sonnets for publication. Some commentators have advocated skepticism about all attempts to recover Shakespeare’s intention. Others have looked more closely at Thorpe, at Benson, and at the circulation of Shakespeare’s verse in the manuscript culture: these investigations have led to a reexamination of the ideas of authorship and authority in the period. Although scholarly opinion is still divided, several influential studies and editions in recent years have argued, on a variety of grounds, for the authority, integrity, and coherence of Thorpe’s text, an integrity now regarded as including A Lover’s Complaint.

The subsequent history of the text of the sonnets is inseparable from the history of Shakespeare’s reputation. John Benson’s Poems: Written by Wil. Shake-speare. Gent (1640) was part of an attempt to “canonize” Shakespeare, collecting verses into a handsome quarto that could be sold as a companion to the dramatic folio texts (“to be serviceable for the continuance of glory to the deserved author in these his poems”). Benson dropped a few sonnets, added other poems, provided titles for individual pieces, changed Thorpe’s order, conflated sonnets, and modified some of the male pronouns, thereby making the sequence seem more unambiguously heterosexual in its orientation. In recent years there has been increasing study of Benson’s edition as a distinct literary production in its own right.

The Romantic compulsion to read the sonnets as autobiography inspired attempts to rearrange them to tell their story more clearly. It also led to attempts to relate them to what was known or could be surmised about Shakespeare’s life. Some commentators speculated that the publication of the sonnets was the result of a conspiracy by Shakespeare’s rivals or enemies, seeking to embarrass him by publishing love poems apparently addressed to a man rather than to the conventional sonnet-mistress. The five appendices to Hyder Edward Rollins’s Variorum edition document the first century of such endeavors. Attention was directed toward “problems” such as the identity of Master W. H., of the young man, of the rival poet, and of the dark lady (a phrase, incidentally, never used by Shakespeare in the sonnets). The disappearance of the sonnets from the canon coincided with the time when Shakespeare’s standing as the nation’s bard was being established. The critics’ current fascination is just as significant for what it reveals about contemporary culture, as the “Shakespeare myth” comes under attack from various directions.

The sonnets were apparently composed during a period of ten or a dozen years starting in about 1592-1593. In Palladis Tamia Meres refers to the existence of “sugared sonnets” circulating among Shakespeare’s “private friends,” some which were published in The Passionate Pilgrim. The fact of prior circulation has important implications for the sonnets. The particular poems that were in circulation suggest that the general shape and themes of the Sonnets were established from the earliest stages. Evidence suggesting a lengthy period of composition is inconvenient for commentators seeking to unlock the autobiographical secret of the sonnets. An early date (1592-1594) argues for Southampton as the boy and Christopher Marlowe as the rival poet; a date a decade later brings George Herbert and George Chapman into the frame. There are likewise early dark ladies (Lucy Negro, before she took charge of a brothel) and late (Emilia Lanier, Mary Fitton). There may, of course, have been more than one young man, rival, and dark lady, or in fact the sequence may not be autobiographical at all.

No Elizabethan sonnet sequence presents an unambiguous linear narrative, a novel in verse. Shakespeare’s is no exception. Yet neither are the Sonnets a random anthology, a loose gathering of scattered rhymes. While groups of sonnets are obviously linked thematically, such as the opening sequence urging the young man to marry (1-17), and the dark lady sequence (127-152), the ordering within those groups is not that of continuous narrative. There are many smaller units, with poems recording that the friend has become the lover of the poet’s mistress (40-42), or expressing jealousy of the young man’s friendship with a rival poet (78-86). Sonnet 44 ends with a reference to two of the four elements “so much of earth and water wrought,” and 45 starts with “The other two, slight air and purging fire.” Similarly indivisible are the two “horse” sonnets 50 and 51, the “Will” sonnets 135 and 136, and 67 and 68. Sonnets 20 and 87 are connected as much by their telling use of feminine rhyme as by shared themes. Dispersed among the poems are pairs and groups that amplify or comment on each other, such as those dealing with absence (43-45, 47-48, 50-52, and 97-98).

“My name is Will,” declares the speaker of 136. Sonnet 145 apparently puns on Anne Hathaway’s name (“I hate, from hate away she threw”). Elizabethan sonneteers, following Sir Philip Sidney, conventionally teased their readers with hints of an actuality behind the poems. Sidney had given Astrophil his own coat of arms, had quibbled with the married name of the supposed original for Stella (Penelope Rich) and with the Greek etymology of his own name (Philip, “lover of horses”) in Astrophil and Stella sonnets 41, 49, and 53. Shakespeare’s speaker descends as much from Astrophil as from Daniel’s more enigmatic persona, most obviously in the deployment of the multiple sense of will in 135 and 136. Yet Shakespeare’s sequence is unusual in including sexual consummation (Spenser’s Amoretti led to the celebration of marriage in Epithalamion, 1595) and unique in its persuasion to marry. There is evidence that some contemporary readers were disturbed by the transgressive and experimental features of 1590s erotic writing. Works by Marston and Marlowe were among those banned in 1599 along with satires and other more conventional kindling. Benson’s much-discussed modification of the text of the Sonnets indicates at least a certain level of anxiety about the gender of the characters in the poems. Benson retained Sonnet 20 but dropped 126 (“O Thou My Lovely Boy”) and changed the direct address of 108 (“Nothing, Sweet Boy”) to the neutral “Nothing, Sweet Love.”

The speaker sums up his predicament in 144, one of the Passionate Pilgrim poems:

Two loves I have of comfort and despair,

Which like two spirits do suggest me still:

The better angel is a man right fair,

The worser spirit a woman color’d ill.

The speaker’s attraction to the “worser spirit” is figured in harsh language throughout the sequence: in fact, the brutal juxtaposition of lyricism and lust is characteristic of the collection as a whole. The consequent disjointedness expresses a form of psychological verisimilitude by the standards of Shakespeare’s day, where discontinuity and repetition were held to reveal the inner state of a speaker.

The anachronism of applying modern attitudes toward homosexuality to early modern culture is self-evident. Where Shakespeare and his contemporaries drew their boundaries cannot be fully determined, but they were fascinated by the Platonic concept of androgyny, a concept drawn on by the queen herself almost from the moment of her accession. Sonnet 53 is addressed to an inexpressible lover, who resembles both Adonis and Helen. Androgyny is only part of the exploration of sexuality in the sonnets, however. A humanist education could open windows onto a world very different from post-Reformation England. Plato’s praise of love between men was in marked contrast to the establishment of capital punishment as the prescribed penalty for sodomy in 1533.

In the Sonnets the relationship between the speaker and the young man both invites and resists definition, and it is clearly presented as a challenge to orthodoxy. If at times it seems to correspond to the many Elizabethan celebrations of male friendship, at others it has a raw physicality that resists such polite categorization. Even in sonnet 20, where sexual intimacy seems to be explicitly denied, the speaker’s mind runs to bawdy puns. The speaker refers to the friend as “rose,” “my love,” “lover,” and “sweet love,” and many commentators have demonstrated the repeated use of explicitly sexual language to the male friend (in 106, 109, and 110, for example). On the other hand, the acceptance of the traditional distinction between the young man and the dark lady sonnets obscures the fact that Shakespeare seems deliberately to render the gender of his subject uncertain in the vast majority of cases.

For some commentators the sequence also participates in the so-called birth of the author, a crucial feature of early modern writing: the liberation of the writer from the shackles of patronage. In Joel Fineman’s analysis, Shakespeare creates a radical internalization of Petrarchism, reordering its dynamic by directing his attention to the speaker’s subjectivity rather than to the ostensible object of the speaker’s devotion: the poetry of praise becomes poetry of self-discovery.

Sidney’s Astrophil had inhabited a world of court intrigue, chivalry, and international politics, exemplifying the overlap between political and erotic discourse in Elizabethan England. The circumstances of Shakespeare’s speaker, in contrast, are not those of a courtier but of a male of the upwardly mobile “middling sort.” Especially in the young man sonnets, there is a marked class anxiety, as the speaker seeks to define his role, whether as a friend, a tutor, a counselor, an employee, or a sexual rival. Not only are comparisons drawn from the world of the professional theater (“As an unperfect actor on the stage” in sonnet 23), but also from the world of business: compared to the prodigal “Unthrifty loveliness” of the youth (sonnet 4), “Making a famine where abundance lies” (1), the speaker inhabits a bourgeois world of debts, loans, repayment, and usury, speaking in similar language to the Dark Lady: “I myself am mortgaged to thy will” (134).

Yet Shakespeare’s linguistic performance extends beyond the “middling sort.” He was a great popularizer, translating court art and high art—John Lyly, Sidney, Edmund Spenser—into palatable and sentimental commercial forms. His sequence is remarkable for its thematic and verbal richness, for its extraordinary range of nuances and ambiguities. He often employs words in multiple senses (as in the seemingly willfully indecipherable resonance, punning, polysemy, implication, and nuance of sonnet 94). Shakespeare’s celebrated verbal playfulness, the polysemy of his language, is a function of publication, whether by circulation or printing. His words acquire currency beyond himself and become the subject of reading and interpretation.

This linguistic richness can also be seen as an act of social aspiration: as the appropriation of the ambiguity axiomatically inherent in courtly speech. The sequence continues the process of dismantling traditional distinctions among rhetoric, philosophy, and poetry begun in the poems of 1593-1594. The poems had dealt in reversal and inversion and had combined elements of narrative and drama. The Sonnets occupy a distinct, marginal space between social classes, between public and private, narrative and dramatic, and they proceed not through inverting categories but rather through interrogating them. Variations are played on Elizabethan conventions of erotic discourse: love without sex, sex without love, a “master-mistress” who is “prick’d ... out for women’s pleasure” as the ultimate in unattainable (“to my purpose nothing,” 20) adoration. Like Spenser’s Amoretti, Shakespeare’s collection meditates on the relationships among love, art, time, and immortality. It remains a meditation, however, even when it seems most decided.

The consequences of love, the pain of rejection, desertion, and loss of reputation are powerful elements in the poem that follows the sequence. Despite Thorpe’s unambiguous attribution of the piece to Shakespeare, A Lover’s Complaint was rejected from the canon, on distinctly flimsy grounds, until quite recently. It has been much investigated to establish its authenticity and its date. It is now generally accepted as Shakespearean and dated at some point between 1600 and 1609, possibly revised from a 1600 first version for publication in Thorpe’s volume. The poem comprises 329 lines, disposed into 47 seven-line rhyme-royal stanzas. It draws heavily on Spenser and Daniel and is the complaint of a wronged woman about the duplicity of a man. It is in some sense a companion to Lucrece and to All’s Well That Ends Well (circa 1602-1603) as much as to the sonnets. Its connections with the narrative poems, with the plays, and with the genre of female complaint have been thoroughly explored. The woman is a city besieged by an eloquent wooer (“how deceits were gilded in his smiling”), whose essence is dissimulation (“his passion, but an art of craft”). There has been a growing tendency to relate the poem to its immediate context in Thorpe’s Sonnets volume and to find it a reflection or gloss or critique of the preceding sequence.

Interest in Shakespeare’s nondramatic writings has increased markedly in recent years. They are no longer so easily marginalized or dismissed as conventional, and they contribute in powerful ways to a deeper understanding of Shakespeare’s oeuvre and the Elizabethan era in which he lived and wrote.

Shakespeare died on April 23, 1616, on what may have been his 52nd birthday.