Session 1

From the Tudors to the Civil War Time period covered: 1485 1642 The Tudors (Henry VII, Henry VIII, Edw rd VI, ! ry I, E"i# $e%h I&: 148516'( The )%u r%s * mes I, +h r"es I: 16'(164, +ivi" - r (1642164,& nd +ommonwe "%h./ro%ec%or %e (164,166'& Defining the Renaissance 0en iss nce, %he 1re$ir%h2 o3 "i%er %ure, r%, nd "e rnin4 %h % pro4ressive"y %r ns3ormed Europe n cu"%ure 3rom %he mid14%h cen%ury in I% "y %o %he mid15%h cen%ury in En4" nd, s%ron4"y in3"uenced $y %he rediscovery o3 c" ssic " 6ree7 nd 8 cn "i%er %ure, cce"er %ed $y %he deve"opmen% o3 princn49 (+hris : "dic7, Concise Dic0onary of Literary Terms& The 0en iss nce c n $e re4 rded s $rid4e $e%ween %he !idd"e or 1; r72 <4es nd %he !odern Er = %here3ore "so somecmes c ""ed E r"y !odern /eriod9 The 0en iss nce w s no% uni3orm movemen% $u% m ni3es%ed i%se"3 in s"i4h%"y di33eren% w ys in di33eren% Europe n coun%ries over "on4 period o3 cme9 Two $ro d ph ses: 14%h nd 15%h cen%uries: E r"y nd Hi4h 0en iss nce= m in"y con3ined %o I% "y 15'' onw rds: >The ?or%hern 0en iss nce@= 0en iss nce ide s cross %he <"ps= A The En4"ish 0en iss nce: 15''166' hi4h poin% o3 %he En4"ish 0en iss nce durin4 %he E"i# $e%h n (155816'(& nd * co$e n (16'(1625& periods (B %he 16o"den <4e2 o3 En4"ish "i%er %ure&9 The 0en iss nce +h r c%eris%ics 1. The New Learning: umanism !1" umanism B movemen% %o recover, in%erpre% nd ssimi" %e %he " n4u 4e, "i%er %ure, "e rnin4 nd v "ues o3 ncien% 6reece nd 0ome9 Throu4h %heir s%udy o3 ncien% m nuscrip%s, hum nis%s dv nced %he princip"es o3 phi"o"o4ic " s%udy nd me%hods o3 edicn4 $y cricc ""y comp rin4 nd emendin4 %eC%s9 Hum nis%s "so wro%e $oo7s concerned wi%h educ %ion ", mor ", phi"osophic " nd po"i%ic " %opics9 The new hum nis% "e rnin4 nd scho" rship wen% h nd in h nd wi%h %he inven%ion o3 prin%in4 in %he mid15%h cen%ury (*oh nnes 6u%en$er4, ! in#& which he"ped %o dissemin %e %he new ide s9 Hum nism ssumes %he di4ni%y nd cen%r " posi%ion o3 hum n $ein4s in %he universe9 In educ %ion hum nism emph sises %he impor% nce o3 s%udyin4 c" ssic " "i%er %ure nd %he need 3or rounded deve"opmen% o3 n individu "1s diverse powers9 Insis%s on %he prim cy o3 re son in orderin4 hum n "i3e9 Hum nis% "e rnin4 "w ys % 7es p" ce in +hris%i n %heo"o4ic " con%eC%9 Typic ""y, hum nis%s % 7e ide s nd concep%s 3rom c" ssic " 0om n nd 6ree7 %eC%s nd sui% %hem %o +hris%i n 3r mewor79 :es% 7nown hum nis%s: Er smus nd )ir Thom s !ore9 #. The New Religion 0e3ers %o %he 0e3orm con./ro%es% n%ism which 4oes $ c7 %o ! rcn 8u%her (148(1546& nd which re ched En4" nd in %he rei4n o3 Henry VIII9

8ed %o vio"en% re"i4ious con3"ic%s %hrou4hou% %he period9 0e"i4ion nd po"i%ics were insep r $"e9 +onseDuences o3 %he /ro%es% n% emph sis on individu " 3 i%h $ sed on %he word o3 %he $i$"e: :i$"e %r ns" %ions in%o vern cu" r " n4u 4es /rin%in4 o3 $i$"es wi%h %he he"p o3 %he new prin%in4 %echno"o4ies 6row%h o3 "i%er cy $. The New World The 0en iss nce w s n 4e o3 4eo4r phic " eCp"or %ion nd discovery o3 new " nds9 !os% in3"uenc " w s +hris%opher +o"um$us1s rriv " in %he 1?ew -or"d1 in 14,29 E%her eCp"orers nd dven%urers %ried %o s i" round %he wor"d or discover new p ss 4e %o Indi (! 4e"" n, V sco d 6 m , )ir Fr ncis ;r 7e, )ir - "%er 0 "ei4h& In %he w 7e o3 %hese discoveries, new in%ern %ion " %r de rou%es nd %he 3irs% %en% cve co"onies were es% $"ished9 Encoun%ers wi%h indi4enous peop"es nd socieces ch n4ed %he w y Europe ns viewed %hemse"ves9 %. The New Science and the New Cosmolog& )cien%is%s deve"oped new me%hods %o eCp" in n %ur " phenomen 9 E949 empiricism: 7now"ed4e is derived 3rom eCperience, sensory percep%ion, %he co""ec%ion o3 evidence9 0evo"u%ion in cosmo"o4y: 4r du " rep" cemen% o3 %he 4eocen%ric.mediev "./%o"em ic wor"d view $y %he he"iocen%ric wor"dview %hrou4h %he wor7 o3 s%ronomers such s +opernicus, Gep"er, Tycho :r he, 6 "i"eo 6 "i"ei9 The new cosmo"o4y $ec me 4ener ""y 7nown on"y very s"ow"y9 In E"i# $e%h n.* co$e n %eC%s we inv ri $"y encoun%er re3erences %o %he o"d cosmo"o4y r %her %h n %he new one9 The 'nglish Renaissance: The Tudors: Henry VII (148515',& de3e %s 0ich rd III % %he :%%"e o3 :oswor%h $rin4s %o n end %he - rs o3 %he 0oses B in%ernecine w r $e%ween %wo $r nches o3 %he roy " 3 mi"y, %he Houses o3 Hor7 nd 8 nc s%er= Henry, 8 nc s%ri n, m rried E"i# $e%h o3 Hor7 %hus uni%in4 %he %wo Houses= Ini%i %es %he ru"e o3 %he House o3 Tudor +hie3 im: uni3y %he n %ion round %he cen%r " power o3 %he crown= m rri 4e po"icy %o conso"id %e re" %ions % home nd $ro d E"des% son <r%hur m rried %o + %herine o3 <r 4on ()p in, mos% power3u" coun%ry % %h % %ime& ; u4h%er ! r4 re% %o * mes IV o3 )co%" nd ()%u r% "ine& enr& ())) !1*+,1*%-" ) En"y $ec me heir %o %he %hrone 3%er %he de %h o3 his $ro%her <r%hur (15'2& +h r c%eris%ics o3 Henry VIII1s rei4n: Hedonis%ic cour% cu"%ure :e""i4eren% 3orei4n po"icies 0e"i4ious con3"ic% 0e"ied on power3u" dvisers such s + rdin " -o"sey, )ir Thom s !ore or Thom s +romwe"" )ou4h% n imperi " im 4e nd presen%ed himse"3 s 0en iss nce prince ! rried + %herine o3 <r 4on, his $ro%her <r%hur1s widow9 !o%her o3 %he 3u%ure ! ry I

(>:"oody ! ry@&9 enr& ())) !1*+,.1*%-" ))) >The Gin41s 6re % ! %%er@: 3 i"ed %%emp% %o h ve his m rri 4e %o + %herine nnu""ed $y %he pope in order %o m rry <nne :o"eyn= "e ds %o Henry1s $re 7 wi%h 0ome= 15(4 <c% o3 )uprem cy: Henry m 7es himse"3 He d o3 %he +hurch o3 En4" nd= m rries <nne :o"eyn= Henry w s w re o3 /ro%es% n% ide s $u% w s himse"3 s%ron4"y + %ho"ic (1521 @Fidei ;e3ensor@&9 -h % he es% $"ished % 3irs% w s @nonp p " + %ho"icismI9 ;isso"u%ion o3 %he mon s%eries in order %o rid himse"3 o3 opposi%ion, %o r ise money nd %o ch n4e power s%ruc%ures9 <nne 4ives $ir%h %o 3u%ure E"i# $e%h I $u% no m "e heir= <nne $ehe ded in 15(6= 3our more wives: * ne )eymour (mo%her o3 Edw rd VI&, <nne o3 +"eves, G %herine How rd, G %herine / rr9 >;ivorced, $ehe ded, died= divorced, $ehe ded, survived@ Religious Conflict / The Reformation Eri4in o3 /ro%es% n% 0e3orm %ion ssoci %ed wi%h ! r%in 8u%her(148(1546&9 ! in %ene%s nd re s o3 con3"ic%: ) "v %ion c nno% $e $ou4h% (reJec%ion o3 s "e o3 indu"4ences& En"y %rue 3 i%h "e ds %o s "v %ion (no% 3 i%h and 4ood wor7s& %he Euch ris% is sym$o"ic r %her %h n %he >re "@ %r ns3orm %ion o3 %he $ody nd %he $"ood o3 +hris% in%o $re d nd wine 0e"i4ious u%hori%y does no% res% wi%h %he /ope $u% wi%h %he :i$"e9 There is no need 3or pries%s, s in%s or %he Vir4in ! ry %o medi %e $e%ween 6od nd m n9 Everyone one c n unders% nd divine mys%eries $y s%udyin4 %he :i$"e9 /ro%es% n% %e chin4s circu" %ed %hrou4h %he new medium o3 prin%, suppor%ed $y %r ns" %ions o3 %he $i$"e in%o vern cu" r " n4u 4es (@0e"i4ion o3 %he :oo7I&9 <%% c7 on im 4ery nd ceremony in churches9 /ro%es% n% ide s 3ound %heir w y in%o En4" nd on"y 4r du ""y9 ;espi%e his $re 7 wi%h %he pope, Henry VIII rem ined n or%hodoC + %ho"ic9 /ro%es% n%ism 4 ined cen%re s% 4e on"y under Edw rd VI9 Edw rd VI (1545155(& ?ine ye rs o"d when he c me %o %he %hrone= h d %o re"y on /ro%ec%ors (;u7e o3 )omerse%, 3o""owed $y %he ;u7e o3 ?or%hum$er" nd& Imp"emen%ed /ro%es% n%ism in i%s + "vinis% 3orm9 To @puri3yI +hris%i n worship, "" r% in churches w s des%royed9 Thom s +r nmer, <rch$ishop o3 + n%er$ury, wro%e %he 3irs% Book of Common Prayer (154,& which se% ou% %he "i%ur4y %o $e used in "" En4"ish worship services9 Edw rd VI w s succeeded $y %he + %ho"ic ! ry, d u4h%er o3 Henry VIII nd + %herine o3 <r 4on ! ry I (>:"oody ! ry@& (155(1558& Gnown s >:"oody ! ry@ 3or her persecu%ion o3 En4"ish /ro%es% n%s s p r% o3 her po"icy %o re%urn En4" nd %o %he +hurch o3 0ome9 In %hree ye rs 22' men nd 6' women were $urn% % %he s% 7e, mon4 %hem v rious $ishops (e949 <rch$ishop +r nmer&9 Knpopu" r m rri 4e %o /hi"ip II o3 )p in (3e r o3 "oss o3 independence nd in%roduc%ion o3 %he InDuisi%ion&

! ry cou"d no% produce n heir, w s very sic7 nd died in 15589 )ucceeded $y her /ro%es% n% h "3sis%er E"i# $e%h (d u4h%er o3 Henry VIII nd <nne :o"eyn&9

E"i# $e%h I 0e"i4ious )e%%"emen% The E"i# $e%h n <4e is % %he cen%re o3 %he ide o3 n En4"ish 0en iss nce The E"i# $e%h n 0e"i4ious )e%%"emen% <%%emp% %o reso"ve %he re"i4ious con3"ic%s $y me ns o3 via media: %he En4"ish +hurch wou"d $e essen%i ""y /ro%es% n% $u% wou"d re% in e"emen%s o3 + %ho"icism, e949 +hurch ceremony, ves%men%s or hier rchy o3 +hurch o33ici "s9 :ec me " w in %wo <c%s o3 / r"i men% The 0ct of Su1remac& (155,& rees% $"ished %he +hurch o3 En4" nd2s independence 3rom 0ome nd con3erred on E"i# $e%h %he %i%"e @)upreme 6overnor o3 %he +hurch o3 En4" ndI The <c% o3 Kni3ormi%y (155,& se% ou% %he 3orm %he En4"ish +hurch wou"d now % 7e, inc"udin4 %he es% $"ishmen% o3 revised version o3 %he :oo7 o3 +ommon /r yer The E"i# $e%h n )ee"emen% eCc"uded The rem inin4 + %ho"ics, "so re3erred %o s recus n%s The /uri% ns B eC%reme /ro%es% n%s who w n%ed %o % 7e %he /ro%es% n% 0e3orm %ion 3ur%her %h n E"i# $e%h w s wi""in4 %o (" %er "so re3erred %o s ;issen%ers or ?on con3ormis%s& E"i# $e%h en3orced her )e%%"emen% %hrou4h compu"sory +hurch %%end nce nd 3ees 3or $sen%eeism9 Even %hou4h E"i# $e%h w s re" c%ie"y %o"er n%, persecu%ion o3 here%ics (inc"udin4 %or%ure nd eCecu%ion& con%inued9 The E"i# $e%h n )e%%"emen% eC cer$ %ed %he con3"ic% wi%h %he + %ho"ic +hurch nd + %ho"ic coun%ries, especi ""y )p in9 'li2a3eth ) / Conflict with Rome and S1ain In 155' /ope /ius L eCcommunic %ed E"i# $e%h which $ sic ""y "e4i%imi#ed her ss ssin %ion9 Ene o3 %he p"o%s 4 ins% E"i# $e%h invo"ved ! ry )%u r%, who w s eCecu%ed in 15859 1585 open w r wi%h )p in over En4"ish suppor% o3 /ro%es% n% ?e%her" nds /hi"ip II o3 )p in decided %o inv de En4" nd wi%h %he he"p o3 %he <rm d ( rmy o3 ships&= %he de3e % o3 %he <rm d in 1588 is one o3 %he decisive even%s in En4"ish his%ory9 I% 4re %"y s%ren4%hened E"i# $e%h2s posi%ion $o%h % home nd $ro d nd con%ri$u%ed %o %he cu"% o3 %he Mueen9 'li2a3eth ) / The Cult of the 4ueen The +u"% o3 %he Mueen m ni3es%ed i%se"3 in "i%er %ure, music nd p in%in4= im 4es o3 %he Mueen served n ideo"o4ic " purpose, e949 %he <rm d por%r i% or %he ;i%ch"ey por%r i% %he v rious n mes 4iven %o E"i# $e%h, e949 6"ori n ( 3%er %he e%ern ""y you%h3u" F erie Mueene in E9 )penser1s eponymous epic poem&, ;i n (em$"em o3 ch s%i%y&, +yn%hi (%he moon4oddess&, <s%r e (vir4in 4oddess o3 Jus%ice&, 6ood Mueen :ess %he imp"ici% ssoci %ion wi%h %he Vir4in ! ry o3 %he @o"d 3 i%hI (+ %ho"icism&, i9e9 The Vir4in Mueen sym$o"ic personi3ic %ions such s %he phoeniC, %he ermine, %he crescen% moon, %he rose nd %he pe r" her ccession d y w s %urned in%o n %ion " ho"id y wi%h $on3ires nd $e""s, 3o""owed $y %ourn men%s +our%"y en%er% inmen%s, such s m sDues 0oy " pro4resses or processions

E"i# $e%h I Her " %e ye rs nd succession /ro$"ems 3 cin4 E"i# $e%h in %he " %er ye rs o3 her rei4n )erious uprisin4s 4 ins% Tudor co"oni " ru"e in Ire" nd 8 c7 o3 direc% heir %o %he Throne < / r"i men% incre sin4"y w re o3 i%s own power In 16'( E"i# $e%h died nd w s succeeded $y * mes VI o3 )co%" nd who $ec me * mes I o3 En4" nd9 He w s %he son o3 ! ry )%u r% nd 4re %4re %4r ndson o3 Henry VII9 The En4"ish crown p ssed %o %he )co%%ish dyn s%y o3 %he House o3 )%u r% which ru"ed En4" nd %hrou4hou% mos% o3 %he 15%h cen%ury9 * mes I (16'(1625& * mes ru"ed %wo sep r %e coun%ries: En4" nd nd )co%" nd9 The ide o3 Kni%ed Gin4dom, o3 6re % :ri% in, h s i%s roo%s in %his period9 The 4re %es% domes%ic pro$"em o3 * mes2s rei4n w s %he incre sin4 power s%ru44"e $e%ween %he +rown nd / r"i men%9 / r"i men% o$Jec%ed %o * mes2s $e"ie3 in %he divine ri4h% o3 7in4s nd his dem nd o3 comp"e%e su$servience9 The Du rre"s revo"ved, mon4 o%hers, round % C %ion, * mes2s eC%r v 4 n% cour% nd re"i4ion9 0e"i4ious con3"ic%s re $ehind %he 6unpowder /"o% o3 16'5 in which + %ho"ic conspir %ors ( mon4 %hem 6uy F w7es& %ried %o $"ow up / r"i men% %o punish %heir perceived oppressors9 <s re4 rds 3orei4n po"icy, * mes %ried %o end "" hos%i"i%ies wi%h 3orei4n powers, in p r%icu" r + %ho"ic )p in9 This incre sed his unpopu" ri%y % home9 +h r"es I nd +ivi" - r * mes2s son, +h r"es I, w s no% $"e.unwi""in4 %o reso"ve %he re"i4ious, 3in nci ", p r"i men% ry nd 3orei4n po"icy pro$"ems inheri%ed 3rom his 3 %her9 This "ed %o %he ou%$re 7 o3 +ivi" - r $e%ween %he suppor%ers o3 %he Gin4 (roy "is%s.+ v "iers& nd %he suppor%ers o3 / r"i men% (0oundhe ds&9 The +ivi" - r ended wi%h %he eCecu%ion o3 %he Gin4 in 164, nd %he $o"i%ion o3 mon rchy9 164,165(: +ommonwe "%h 4overned $y 10ump / r"i men%1 165(1658: /ro%ec%or %e under E"iver +romwe"" 166': 0es%or %ion o3 %he House o3 )%u r% %o %he %hrone (+h r"es II&

Session #
The 'li2a3ethan World 5icture The %erm 4oes $ c7 %o c" ssic s%udy $y E9!9-9 Ti""y rd (The Elizabethan World Picture 1,4(& in which he descri$es %he v rious ide s nd $e"ie3s %h % m 7e up %he w y %he E"i# $e%h ns pic%ured %he universe9 This wor"d pic%ure inc"udes e"emen%s such s The 1E"d +osmo"o4y2 The music o3 %he spheres The cosmic d nce ;u "ism The 6re % +h in o3 :ein4 Hier rchies +orrespondences The E"emen%s The Humours

?eop" %onism

The 67ld Cosmolog&8 ) The %erm re3ers %o %he ide o3 %he geocentric universe which w s ori4in ""y deve"oped $y <ris%o%"e, /%o"emy, )%9 Thom s o3 <Duin s nd o%hers9 The pic%ure o3 %he universe %h % re ched %he 0en iss nce w s comp"eC miC o3 concep%s, 3usin4 ncien% nd +hris%i n ccoun%s o3 %he cosmos9 I% w s $e"ieved %h % %he cosmos Is n ordered who"e Is v s% $u% 3ini%e %o% "i%y Tempor ""y i%s "imi%s re %he +re %ion nd %he end o3 %ime (i9e9 *ud4men% ; y& )p %i ""y i% is enc"osed wi%hin sphere= %he cen%re poin% o3 %he sphere is %he e r%h= movin4 ou%w rds 3rom %he e r%h re series o3 concen%ric spheres The 97ld Cosmolog&9 )) The 1/rimum !o$i"e2 or 1Firs% !over2 e si"y %r ns" %ed in%o +hris%i n %hin7in4 s 6od9 6od is no% $ounded $y his cre %ion $u% eCis%s in %he Empyre n (%he hi4hes% poin% o3 he ven&9 This is ou%side sp ce nd $eyond hum n comprehension9 The m %hem %ic " re" %ions $e%ween %he movin4 spheres w s %hou4h% %o correspond %o music " in%erv "s, %hus cre %in4 music " h rmony (re3erred %o s musica universalis or %he music o3 %he spheres&9 This music w s no% "i%er ""y udi$"e % "e s% no% %o hum n e rs9 EC mp"e: 8oren#o2s speech $ou% music in )h 7espe re2s The Merchant of enice, <c% V (0e din4 8is%&9 The concep% o3 %he music o3 %he spheres is "so re3"ec%ed in %he impor% nce o3 d ncin4 3or %he E"i# $e%h ns9 I% w s n ""e4oric " concep% si4ni3yin4 no% on"y concord nd reconci"i %ion $u% "so represen%in4 %he cosmic d nce o3 p" ne%s %o %he music o3 %he spheres9 Dualism ) <"%hou4h earth nd heaven re p r% o3 %he s me sys%em, %hey s% nd in opposi%ion %o e ch o%her9 'arth 0epresen%s %he "owes% poin% o3 %he universe nd is s 3 r w y 3rom %he Empyre n s i% is possi$"e %o $e9 Is %he "oc %ion o3 3 ""en nd mor% " m n nd m r7ed everywhere $y his imper3ec%ion nd corrup%ion9 :odi"y, soci " nd mor " "i3e (on e r%h& is ch r c%eri#ed $y 3"uC, incons% ncy nd mu% $i"i%y9 Is composed o3 %he 3our e"emen%s9 Dualism )) eaven V s%, order"y, cons% n%, e%ern "9 I%s e"emen% is pure e%her, %he 3i3%h nd hi4hes% e"emen%9 /" ce o3 cons% n% "i4h%9 The e r%h.he ven opposi%ion corresponds %o %he du " n %ure o3 m n himse"3, who is 3ormed o3 3"esh nd spiri%, $ody nd sou"9 The :reat Chain of ;eing In p r ""e" %o %he orderin4 o3 %he cosmos i% w s $e"ieved %h % cre %ion is ordered ccordin4 %o ch in o3 $ein4, eC%endin4 3rom 6od %o %he "ow"ies% cre %ure9 <% %he he d o3 %he ch in is 6od 3rom whom every%hin4 descends in hier rchic " ch in9

<n4e"s m 7e up r n7 $e%ween 6od nd m n9 <s wi%h "" %hin4s in %he ch in, n4e"s re de3ined ccordin4 %o %heir re" %ions %o wh % comes immedi %e"y $ove %hem (6od& nd $e"ow %hem (m n&9 ! n is midw y $e%ween n4e" nd $e s%9 8i7e %he universe, m n is hier rchic ""y composed9 His hi4her, r %ion " sou" ""ows him %o perceive per3ec%ion, $u% his p ssions m 7e him 7in %o $e s%s9 :e"ow m n come $e s%s nd nim "s which re in %urn su$divided in%o hier rchic " c %e4ories9

The )dea of Corres1ondences !1" Imp"ici% in %he E"i# $e%h n wor"d pic%ure is %he ide o3 correspondences9 The m Jor correspondences c n $e rr n4ed in p irs: 19 ! crocosm nd %he $ody po"i%ic The order o3 %he m crocosm corresponds %o %he order in %he s% %e9 EC mp"es: The mon rch is ord ined $y 6od nd is his 1depu%y2 on e r%h9 0e$e""ion is sin 4 ins% %he s% %e nd 4 ins% 6od9 The mon rch is eCpec%ed %o ru"e wi%h wisdom nd Jus%ice9 The misuse o3 u%hori%y is perversion o3 %he divine order9 +omp rison $e%ween %he sun, %he ru"in4 p" ne%, nd %he 7in4, ru"er o3 %he s% %e9 +omp rison $e%ween disorder in %he he vens nd civi" discord in %he s% %e9 29 ! crocosm nd microcosm (Bm n& The w y hum n $ein4 is 1composed2 re3"ec%s %he order o3 %he cosmos9 EC mp"e: +orrespondence $e%ween s%orms, e r%hDu 7es, e%c9 nd %he p ssions o3 m n9 (9 !icrocosm nd %he $ody po"i%ic ;i33eren% 3unc%ions in %he $ody correspond %o di33eren% 3unc%ions in %he s% %e9 EC mp"e: E949 %he commo%ion in %he mind o3 m n is comp red %o de$ %e o3 %he 7in4 nd his counci"9 EC mp"es 3rom )h 7espe re (c39 0e din4 8is%& Julius Caesar< 0ct ))< Scene 1< =1.=, ;R>T>S )ince + ssius 3irs% did whe% me 4 ins% + es r, I h ve no% s"ep%9 :e%ween %he c%in4 o3 dre d3u" %hin4 <nd %he 3irs% mo%ion, "" %he in%erim is 8i7e ph n% sm , or hideous dre m: The 6enius nd %he mor% " ins%rumen%s <re %hen in counci"= nd %he s% %e o3 m n, 8i7e %o "i%%"e 7in4dom, su33ers %hen The n %ure o3 n insurrec%ion9 E%her EC mp"es Troilus and Cressida, <c% 1, )cene (, 55N1(5 Coriolanus, <c% 1, )cene 1, 5,N1(5 The Four 'lements ) +oncep% 4oes $ c7 %o %he 6ree7 phi"osopher Empedoc"es whose %heory w s dop%ed $y <ris%o%"e nd w s %hus p ssed on %o %he !idd"e <4es nd %he 0en iss nce9 The 3our e"emen%s re: e r%h, w %er, ir nd 3ire9 E r%h is %he "owes% nd he vies% e"emen%9 Fire is %he hi4hes% nd "i4h%es% e"emen%9 The e"emen%s re no% discree% su$s% nces $u% spec%s o3 e ch nim %e or in nim %e o$Jec%9

 -e c nno% see %hem direc%"y $u% discern %hem 3rom %heir e33ec%s9 They re de3ined ccordin4 %o %heir %emper %ure nd humidi%y: Fire: Ho% nd ;ry <ir: Ho% nd -e% - %er: +o"d nd -e% E r%h: +o"d nd ;ry The Four 'lements )) E ch e"emen% h s some%hin4 in common wi%h %he e"emen% $ove, e949 %he hi4hes% e"emen% sh res wi%h %he "owes% %he Du "i%y o3 $ein4 dry9 Thus %he e"emen%s 3orm con%inuin4 cyc"e9 <n even miC%ure o3 %he e"emen%s is common im 4e o3 inner eDui"i$rium or no$"e %emper men%9 -hi"e %he e"emen%s re proper%ies o3 m %%er which, in %he su$"un ry sphere, is condemned %o ch n4e nd dec y, %he super"un ry $odies re composed o3 per3ec% 3i3%h su$s% nce re3erred %o s Duin%essence or e%her which is incorrup%i$"e9 The Four umours The 3our e"emen%s correspond %o %he 3our humours which were $e"ieved %o m 7e up %he hum n physic " cons%i%u%ion9 The %heory o3 %he humours 4oes $ c7 %o %he 6ree7 physici ns Hippocr %es nd 6 "en9 +er% in hum n moods, emo%ions nd $eh viour %ypes re c used $y $ody 3"uids (B %he 3our humours&: $"ood ye""ow $i"e (or cho"er& $" c7 $i"e ph"e4m The miC%ure o3 humours in n individu " m 7es up his or her %emper men% or person "i%y %ype9 E ch humour corresponds %o one o3 %he 3our e"emen%s, sh rin4 wi%h i% %he essen%i " proper%ies o3 %emper %ure nd humidi%y9 < domin n% humour is re" %ed %o domin n% ch r c%er %ype9 Corres1ondences

Session $
'li2a3ethan Societ& /redomin n%"y rur ", 4r ri n socie%y9 ,'O o3 %he popu" %ion "ived on %he " nd nd pursued coun%ry occup %ions9 ! in indus%ry: woo" nd c"o%h= woo" mos% impor% n% :ri%ish eCpor%= rudimen% ry co " nd iron indus%ry= Throu4hou% %he 0en iss nce period 4r du " ch n4e 3rom 3eud " economies %ow rds e r"y c pi% "ism= 8ondon: $i44es% %own nd cu"%ur " cen%re= popu" %ion 4row%h p r%icu" r"y no%ice $"e in %he c pi% " (15(': 5'9''', 16'': (''9'''&= /ro$"ems: periods o3 w r, economic crises ($ d h rves%s, e%c9&, p" 4ue ou%$re 7s= pover%y, crime, v 4r ncy, unemp"oymen%= 'li2a3ethan Societ& The !on rch N The +our% N The no$i"i%y.hi4her ris%ocr cy N The 4en%ry."ower ris%ocr cy N The ci%i#ens: merch n%s, " wyers N r%is ns, shop7eepers N yeom n 3 rmers THE +E!!E? /EE/8E 'li2a3ethan Societ& Very hier rchic " $u% no% in3"eCi$"e, i9e9 individu "s cou"d move up nd down %he soci " " dder %hrou4h p %ron 4e, in%erm rri 4e, educ %ion, e%c9 The no$i"i%y nd %he 4en%ry $o%h h d " nded es% %es nd divided %heir %ime $e%ween %he coun%ry nd %he cour%9 The 4en%ry mi4h% move up in%o %he no$i"i%y whi"e youn4er sons o3 ris%ocr %s mi4h% move down in%o %he 4en%ry9 This h d %o do wi%h %he cus%om o3 primo4eni%ure: n es% %e w s "w ys p ssed on %o %he e"des% son9 The youn4er sons (who needed %o e rn %heir own money& wen% in%o %he rmy, %he +hurch or mi4h% $ecome merch n%s9 The ci%i#ens h d %heir homes in 8ondon nd derived %heir we "%h 3rom %r de or some sor% o3 $usiness r %her %h n 3rom ownin4 " nd9 They were no% invi%ed %o cour% $u% were concerned wi%h %he soci " or4 nis %ions o3 %he +i%y o3 8ondon9 The r%is ns or cr 3%smen were wor7ers in s7i""ed %r de nd were or4 nised in in3"uen%i " %r de 4ui"ds (we vers, % i"ors, c rpen%ers, e%c&9 In %he coun%ryside dis%inc% soci " 4roup were %he yeom n 3 rmers: %hey owned %heir own 3 rms or even " nd nd, %here3ore, enJoyed privi"e4ed ri4h%s9 The m Jori%y o3 %he peop"e in %he coun%ry were, however, %en n%s, wor7in4 3or %he 4en%ry nd %he no$i"i%y9 The common peop"e m de up 55O o3 %he popu" %ion9 The Renaissance famil& The concep% o3 3 mi"y w s $ro der %h n %od y: %here were more chi"dren= househo"d serv n%s nd very dis% n% re" %ions were "so %hou4h% o3 s 3 mi"y= The 3 mi"y w s no% Jus% re4 rded s priv %e uni% $u% s microcosm o3 %he " r4er s% %e, comp"eC or4 nis %ion wi%h %he hus$ nd.m s%er s 17in429 *us% s socie%y s who"e, 3 mi"ies were ordered ccordin4 %o p %ri rch " princip"es9 The hus$ nd w s unders%ood %o $e superior %o %he wi3e in every sense9 :e"ie3 in %he in3eriori%y o3 women w s derived " r4e"y 3rom %he $i$"e (6enesis= 1%he curse o3 Eve2&9 Knivers " m "e p r noi $ou% %he possi$i"i%y o3 3em "e in3ide"i%y9 In %he "i%er %ure o3 %he period we come cross coun%"ess re3erences %o cuc7o"ds.cuc7o"dry nd 1horn Jo7es2 $ound9 !en whose wives h d $een un3 i%h3u" were s id %o h ve $een 1horned29

Literac& and 'ducation 8 r4e"y i""i%er %e socie%y9 :y 166' on"y 2'O o3 %he m "e popu" %ion cou"d si4n %heir n mes9 ?ever%he"ess durin4 %he 0en iss nce "i%er cy "eve"s rose due %o hum nism nd /ro%es% n%ism (emph sis on %he individu " s%udy o3 %he $i$"e= v i" $i"i%y o3 %he $i$"e in En4"ish& :e%%erNo33 3 mi"ies cou"d send %heir $oys %o 4r mm r schoo"s, o3%en run $y hum nis% scho" rs9 Emph sis on %he s%udy o3 %he c" ssics9 < sm "" num$er $oys wou"d $e sen% %o %he universi%ies o3 EC3ord nd + m$rid4e where %he emph sis w s "so on %he c" ssics9 The m Jori%y o3 s%uden%s wou"d 4o on %o pursue c reers in " w, civi" dminis%r %ion or %he +hurch9 Inns o3 +our% B " w schoo"s The ;oo? vs. The @anuscri1t /rin%in4 w s one o3 %he mos% si4ni3ic n% inven%ions o3 %he 0en iss nce (*oh nnes 6u%en$er4&9 In%roduced %o En4" nd $y -i""i m + C%on (1422N14,1&9 +oincided wi%h Hum nism nd %he 0e3orm %ion, movemen%s wi%h semin " in%eres%s in prin%in4 nd pu$"ishin49 <"%hou4h $oo7s rep" ced m nuscrip%s, %he " %%er did no% dis ppe r9 ! ny poe%s (e949 -y %% nd )urrey& circu" %ed %heir wor7 in m nuscrip% 3orm9 /ossi$"e re sons: H ndwri%in4 is more person " nd immedi %e eCpression9 -ri%ers were no% pro%ec%ed $y copyri4h%, so you cou"d m 7e "i%%"e money $y 4e%%in4 your wor7 pu$"ished9 < m nuscrip% presen%ed %o p %ron mi4h% e rn much 4re %er rew rd9 <ris%ocr %ic disd in 3or commerce9 /re3erred w y o3 circu" %in4 shor% "yric poe%ry9 < m nuscrip% version o3 poem c n $e p r% o3 n in%im %e di "o4ue $e%ween 3riends nd c n more e si"y $e "%ered9 The Renaissance ;oo? Trade ) ?o c"e r dis%inc%ion $e%ween prin%er, pu$"isher nd $oo7se""er (s% %ioner&9 Mui%e o3%en one person h d "" o3 %hese 3unc%ions9 1555: o33ici " es% $"ishmen% o3 %he )% %ioner2s +omp ny %o re4u" %e %he $oo7 %r de9 /u$"ishers p id 3ee 3or %he ri4h% %o en%er %i%"e in %he )% %ioners2 0e4is%er, %here$y cDuirin4 eCc"usive ri4h%s %o prin% %h % %i%"e9 Tod y such en%ries re %he prim ry source o3 evidence 3or %he d %in4 o3 $oo7s9 +opyri4h% 3or wor7 " y wi%h %he pu$"isher r %her %h n %he u%hor who wou"d h ve his wor7 purch sed 3rom him 3or 3" % 3ee9 This pu% %he u%hor % %he $o%%om o3 %he pu$"ishin4 ch in9 The Renaissance ;oo? Trade )) :oo7s were prin%ed in s% nd rd 3orm %s, $ sed on %he num$er o3 3o"ds o3 sin4"e shee% ((5C2, cm, <(& Fo"io: %he shee% is 3o"ded once in %he midd"e B 3our sides %h % c n $e prin%ed on Mu r%o: %he shee% is 3o"ded %wice B 8 prin% $"e sides Ec% vo: shee% 3o"ded %hree %imes B 16 prin% $"e sides :oo7 si#es indic %e %he s% %us o3 %he wor7 (i9e9 i%s impor% nce& nd.or i%s soci " 3unc%ion (e949 sm "", por% $"e pr yer $oo7 or 4r nd $i$"e %o $e disp" yed %o %he con4re4 %ion&9 8 r4er $oo7s were "so more eCpensive9 The m Jori%y o3 prin%ed $oo7s were on re"i4ious m %%ers9 Very popu" r were "m n cs, schoo"N$oo7s nd " w $oo7s9 The 5atronage S&stem <"" o33ices in +hurch nd )% %e were con%ro""ed $y p %ron 4e9 <dv ncemen% depended on %he suppor% o3 n in3"uen%i " person9 / %ron 4e s% r%ed wi%h %he soverei4n nd cou"d $e 3ound on "" "eve"s o3 %he soci " hier rchy9

8i%er ry p %ron 4e w s p r% o3 %his sys%em9 <s "i%%"e money cou"d $e m de 3rom pu$"ishin4 $oo7s, wri%ers sou4h% %o %% ch %hemse"ves %o impor% n% peop"e who mi4h% provide 3in nci " ssis% nce, con% c%s or even su$sis%ence9 The u%hor2s su$Jec% m %%ers o3%en depended on %he % s%es o3 %heir p %rons, i9e9 %he " %%er c%ive"y sh ped "i%er ry cre %ion9 In ris%ocr %ic houses wri%ers cou"d mee%, re d %heir wor7s "oud, he r poe%ry sun4 %o music, converse, e%c9 8i%er %ure did no% eCis% in n ivory %ower $u% w s p r% o3 comp"eC person " nd soci " c%ivi%ies9 This m ni3es%s i%se"3 in cer% in ch r c%eris%ics o3 0en iss nce wri%in4s, e949 The s%ron4 dr m %ic e"emen% in much "yric poe%ry /riv %e re3erences produced $y co%erie re dership (Bsm "" circ"e o3 re ders who "" 7new e ch o%her&

Session %
'arl& Tudor Literature /rose wri%in4s The " n4u 4e o3 scho" rship nd "e rnin4 w s 8 %in9 I% w s 7ind o3 lin!ua franca9 Impor% n% "ivin4 Europe n " n4u 4es were I% "i n, )p nish nd French9 En4"ish w s re" %ive"y unimpor% n%9 ;urin4 %he 0en iss nce we encoun%er 4r du " movemen% w y 3rom 8 %in %ow rds vern cu" r " n4u 4es9 -ri%ers h d %o c%ive"y sh pe %he vern cu" r " n4u 4e %o m 7e i% sui% $"e s "i%er ry medium, e949 $y ddin4 new words %o i% or eCperimen%in4 wi%h di33eren% s%y"es9 ;eve"opmen% o3 En4"ish prose: 8 %in w s source 3or new words (1in7horn2 %erms& nd mode" 3or prose s%y"es (esp9 +icero nd )enec &9 )u$Jec%s o3 prose wri%in4s Ei%her re"i4ious or secu" r9 E3%en we re de "in4 wi%h %r ns" %ions (e949 $i$"e %r ns" %ions or %eC%s 3rom c" ssic " n%iDui%y or con%empor ry Europe n "i%er %ure&9 )ecu" r prose w s prim ri"y ins%ruc%ive nd w s wri%%en m in"y $y hum nis%s wor7in4 s %u%ors or secre% ries in ris%ocr %ic houses9 'nglish humanist 1rose )ir Thom s !ore (1458N15(5& "to#ia (pu$"ished in 8 %in 1516= 3irs% %r ns" %ion in%o En4"ish $y 0 "ph 0o$inson 1551& The $istory of %ichard &&& (un3inished= wri%%en in $o%h En4"ish nd 8 %in $e%ween 1514N 1518= pu$"ished 1555& 0e"i4ious p mph"e%s re3u%in4 /ro%es% n%ism9 ;evo%ion " wor7s, e949 The 'adness of Chris or The Dialo!ue of Comfort( )ir Thom s E"yo% (14,'N1546& The Book )amed the *overnor (pu$"ished 15(1& 0o4er <sch m (1515N1568& To+o#hilus (1545& (B $owN"over& The 'choolmaster (155'& )ir Thom s Ho$y (15('N1566& The Book of the Courtier (1561& %r ns" %ion o3 : "d ss re + s%i4"ione1s &l Corte!iano (1528&

)ir Thom s !ore (1458N15(5& Hum nis%, 8ord +h nce""or, ! r%yr nd + %ho"ic ) in%9 /or%r i% $y H ns Ho"$ein %he Houn4er, Gin41s / in%er %o Henry VIII= one o3 %he 4re %es% por%r i=s%s o3 %he 16%h cen%ury :orn in 8ondon, son o3 prominen% " wyer Educ %ed % EC3ord nd %he Inns o3 +our% 0ises r pid"y in pu$"ic o33ice= $ecomes 8ord +h nce""or in 152, <rden% + %ho"ic who 3i4h%s /ro%es% n%ism wi%h every me ns v i" $"e, inc"udin4 $oo7 $urnin4s, imprisonmen%, eCecu%ions9 0esi4ns his o33ice when %he Gin4 $re 7s wi%h %he /ope in order %o 4e% his divorce 3rom + %herine o3 <r 4on9 <ccused o3 hi4h %re son 3or re3usin4 %o swe r %he o %h reco4ni#in4 Henry s )upreme He d o3 %he +hurch o3 En4" nd9 Tried nd eCecu%ed in 15(59 !ore w s %he 3riend nd $ene3 c%or o3 mos% o3 %he "e din4 scho" rs in En4" nd9 ?eC% %o %he Gin4 nd -o"sey, he w s pro$ $"y "so %he mos% 3 mous En4"ishm n on %he Europe n con%inen%9 He w s c"ose 3riend o3 Er smus o3 0o%%erd m, who pu$"ished mos% o3 !ore1s 8 %in wor7s (e949 "to#ia& nd wro%e $io4r phic " s7e%ches o3 !ore nd his 3 mi"y9 In his home in +he"se !ore es% $"ished 7ind o3 c demy where s much c re w s % 7en 3or %he educ %ion o3 d u4h%ers s 3or sons9

Utopia /rin%ed in 8 %in in 1516 +onsis%s o3 %wo $oo7s: :oo7 1: s %iric " cri%iDue o3 con%empor ry En4"ish socie%y which is reve "ed %o $e $ sed on unre son $"e princip"es :oo7 2: %r ve" n rr %ive: descrip%ion o3 %he Is" nd o3 K%opi nd i%s socie%y which is ordered ccordin4 %o r %ion " princip"es9 /rim ry n rr %or is ch r c%er c ""ed Thom s !ore, who reproduces series o3 di "o4ues or discussions $e%ween himse"3, no%her hum nis% scho" r, /e%er 6i"es, nd %he 3ic%ion " %r ve""er 0 ph e" Hy%h"od y, who %e""s o3 his Journey %o K%opi 9 The re "is%ic 3r mewor7 shou"d convince %he re der %h % %his is n ccoun% o3 %rue even%s9 Utopia )llustrations accom1an&ing 1=th centur& editions of Utopia

"to#ia is "so ch r c%erised $y irony nd m$iv "ence which m 7es v rious in%erpre% %ions possi$"e @K%opi I B 6ree7 ou (@no%I& P %opos (@p" ceI& B ?op" ce= /un on 6ree7 eu (@h ppyI& P

%opos B H ppy p" ce= @Hy%h"od yI B $ $$"er, someone who % "7s nonsense= Thom s !ore, 8 %in @!orusI, pun on moria B 3o""y <"%hou4h :oo7 1 cri%ici#es En4"ish socie%y, K%opi n socie%y is no% en%ire"y dmir $"e9 I% is no% c"e r how we shou"d ev "u %e $o%h %he cri%iDue o3 :oo7 1 nd %he descrip%ion o3 K%opi in :oo7 29 The )sland of >to1ia / Characteristics To incre se %he p" usi$i"i%y o3 %he eCis%ence o3 K%opi , !ore "oc %es i% in %he ?ew -or"d %h % w s Jus% $ein4 discovered9 He ssoci %es Hy%h"od y1s %r ve"s wi%h <meri4o Vespucci1s re " voy 4es o3 discovery %o )ou%h <meric 9 K%opi is 4eome%ric " is" nd run "i7e commune wi%h n e"ec%ed, re son $"e ru"er9 <"" proper%y is he"d in common9 <"" $"eN$odied ci%i#ens mus% wor79 / r%icu" r"y impor% n% re 3 rmin4 nd cer% in %r des9 There is no unemp"oymen%9 The "en4%h o3 %he wor7in4 d y is "imi%ed %o siC hours9 +i%ies re r %ion ""y p" nned nd o33er 3ree hospi% "N nd chi"dc re9 The K%opi ns pr c%ise con%ro""ed eu%h n si 9 There re no ris%ocr %s, $ure ucr %s, merch n%s or " wyers9 )oci " or4 nis %ion is p %ri rch ", divided up in%o 3 mi"y uni%s, wi%h s" ves 3or meni " du%ies9 The )sland of >to1ia / Characteristics <"" %he c%ivi%ies o3 %he ci%i#ens re c"ose"y moni%ored, in p r%icu" r %r ve" nd m rri 4e9 The K%opi ns h %e w r $u% i3 %hey c nno% void i%, %hey %ry %o minimi#e i%s h rm %o %he s% %e $y, 3or ins% nce, hirin4 mercen ries or $uy o33 %heir enemies2 so"diers9 There is re"i4ious %o"er nce9 K%opi ns o$serve %he 4re %es% so"emni%y in %he pr c%ice o3 %heir re"i4ion $u% %hey wou"d $ ndon i% 3or one %h % cou"d $e proved $e%%er: @Q$u%, i3 %hey re mis% 7en, nd i3 %here is ei%her $e%%er 4overnmen%, or re"i4ion more ccep% $"e %o 6od, %hey imp"ore His 4oodness %o "e% %hem 7now i%I9 The Court The cour% w s the cen%r " ins%i%u%ion o3 0en iss nce s% %es, "in7in4 %he wor"ds o3 po"i%ics nd cu"%ure9 !uch o3 %he r% nd "i%er %ure o3 %he period is concerned wi%h cour% nd cour%"iness9 >The +our%@ c n h ve %wo senses: I% c n deno%e physic " sp ce, i9e9 p " ce (-hi%e H "", H mp%on +our%, e%c9& I% c n re3er %o >cour%@ s n ins%i%u%ion, i9e9 %he Gin4 nd %he $ody o3 peop"e round %he Gin4 cons%i%u%e uniDue soci " con3i4ur %ion wi%h i%s own comp"eC p %%erns o3 ri%u "s9 The cour% is where %he Gin4 is9 /r c%ice o3 n i%iner n% cour% B Henry VIII h d mu"%ip"e residences nd %he cour% moved round wi%h him9 This en%our 4e cou"d num$er hundreds or even %hous nds o3 peop"e9 The Court F vouri%ism: some%imes youn4 no$"em n wou"d occupy %he posi%ion o3 3 vouri%e nd $ec me comp nion in %he soverei4n1s priv %e ch m$ers9 E949 %he E r" o3 8eices%er, %he E r" o3 EsseC nd )ir - "%er 0 "ei4h were E"i# $e%h I2s 3 vouri%es9 The hi4hes% posi%ions % cour% were occupied $y %he ris%ocr %ic no$"es9 :e"ow %hem c me c" ss o3 o3%en eC%reme"y power3u" $ure ucr %s who h nd"ed d yN%oNd y 33 irs9 +our% $ure ucr cy o33ered c reer oppor%uni%ies 3or educ %ed men o3 "ower r n7, e949 Thom s -o"sey, Thom s +romwe""9 <% cour% you cou"d s e si"y rise in 3 vour s 3 "" spec% cu" r"y9 <% %he cour%s o3 Henry VIII

nd E"i# $e%h I %here re numerous eC mp"es o3 3 vouri%es nd s% r $ure ucr %s who ended up on %he $"oc7, e949 <nne :o"eyn, -o"sey, +romwe"", !ore, %he E r" o3 EsseC, )ir - "%er 0 "ei4h9 Castiglione6s The Courtier I ;ue %o %he cen%r " impor% nce o3 %he cour% nd %he oppor%uni%ies i% o33ered p r%icu" r "i%er ry 4enre deve"oped: %he cour%esy $oo7 or cour% m nu " o33ered prescrip%ions o3 cour%"y ccomp"ishmen%s nd $eh viour9 The $es% 7nown nd mos% in3"uen%i " cour%esy $oo7 o3 %he %ime is +oun% : "d ss re + s%i4"ione1s &l Corte!iano, 3irs% pu$"ished in I% "i n in 15289 I%s success is due %o %he 3 c% %h % i% provided much more eC "%ed nd sophis%ic %ed mode" 3or imi% %ion %h n h d hi%her%o $een v i" $"e9 I% w s %r ns" %ed in%o numerous Europe n " n4u 4es9 The En4"ish %r ns" %ion $y %he hum nis% nd dip"om % )ir Thom s Ho$y w s pu$"ished in 1561, even %hou4h i% h d $een wri%%en e r"ier9 Castiglione6s The Courtier II The Courtier % 7es %he 3orm o3 di "o4ues nd discussions durin4 3our evenin4s $e%ween c%u " (his%oric "& 7ni4h%s nd " dies "ivin4 % %he cour% o3 %he ;u7e o3 Kr$ino in 15'4N'89 Evenin4 1: %he educ %ion o3 %he per3ec% cour%ier Evenin4 2: %he cour%ier2s soci " eCperience nd $eh viour in %he d i"y circums% nces o3 "i3e nd %he ccomp"ishmen%s he ou4h% %o cu"%iv %e Evenin4 (: %he per3ec%ion o3 %he no$"ewom n Evenin4 4: + rdin " /ie%ro :em$o de3ines %he n %ure o3 "ove nd i%s power %o enno$"e peop"e Castiglione6s The Courtier III ;iscussions o3 %he 3irs% %wo evenin4s: %he no$"em n )hou"d $e 7ind o3 >univers " m n@: he c n 3i4h%, wri%e, sin4, d nce, p in%, compose poe%ry nd 3"ir% in %he pproved cour%"y 3 shion /hysic " ccomp"ishmen%s re s impor% n% s in%e""ec%u " ones )upreme Du "i%y is 4r ce, n %%ri$u%e which renders %he cour%ier2s speech nd c%ions persu sive, %ouchin4 nd $e u%i3u"9 < @%echniDueI %o chieve 4r ce is s#rezzatura, %he r% o3 eCce""in4 % some%hin4 wi%h pp ren% nonch " nce9 Castiglione6s The Courtier IV ;iscussions o3 %he %hird evenin4: %he no$"ewom n )hou"d em$ody 3eminine 4r ces such s %enderness, swee%ness nd p"e sin4 33 $i"i%y9 )hou"d pr c%ise con%inence, m 4n nimi%y, %emper nce, 3or%i%ude nd prudence9 8i7e men she shou"d s%rive 3or h ppy medium in her $eh viour, e949 modes% $u% no% coy, 3ree $u% no% unseem"y= )hou"d $e $"e %o converse wi%h men wi%h eDu " 7now"ed4e o3 "e%%ers, music nd p in%in49 There is, however, dis 4reemen% on how di33eren% %he seCes re nd whe%her " dies re men2s eDu "s9 The Courtiers 1hiloso1h& ): ?eop" %onism The Courtier "so conveys phi"osophic " ide s, in p r%icu" r ?eop" %onism which h d hu4e in3"uence on 0en iss nce %hin7in4 nd which corresponds %o o%her e"emen%s o3 %he E"i# $e%h n wor"d pic%ure, e949 ;u "ism9 6oes $ c7 %o %he <%heni n phi"osopher /" %o nd his ide o3 %wo wor"ds: The -or"d o3 :ein4: n ide " wor"d, m de up o3 ide s nd 3orms= imm %eri ", s% $"e, per3ec%= invisi$"e %o %he senses $u% in%e""i4i$"e %o %he in%e""ec% The -or"d o3 :ecomin4: %he wor"d we "ive in= de3ec%ive copy o3 %he -or"d o3 :ein4= corrup% nd ch n4e $"e= perceived direc%"y $y %he senses=

The Courtiers 1hiloso1h& )): ?eop" %onism 0e" %ed ide o3 scen% nd descen%: The sou" is $orn in %he per3ec% wor"d $u% descends %o %he -or"d o3 :ecomin4 where i% is imprisoned in %he $ody9 < n %ur " spir %ion 3or m n is %o scend 3rom his presen% s% %e %o %he wor"d $eyond, his ori4in " home9 /" %onic "ove is %his ye rnin4 3or ide " 3orms, e949 %he ide o3 6ood or %he ide o3 :e u%y which m y $e pprehended in s% %e o3 ecs% sy9 The Courtiers 1hiloso1h& ))): ?eop" %onism In %he 0en iss nce /" %o w s rediscovered9 His ide s were 3used wi%h concep%s derived 3rom <ris%o%"e nd +hris%i ni%y B ?eop" %onism9 In 0en iss nce "i%er %ure ?eop" %onism is re3"ec%ed in: The represen% %ion o3 secu" r "ove $e%ween %wo hum n $ein4s s spiri%u " eCperience The ssoci %ion o3 e r%h"y $e u%y wi%h hi4her spiri%u " $e u%y The im 4inin4 o3 %he hum n sou" s mo%iv %ed $y in%e""ec%u " (nonNsensu "& "ove The percep%ion o3 e r%h"y re "i%ies s mere sh dows o3 hi4her unch n4in4 spiri%u " re "m The concep% %h % %he who"e order o3 cre %ion is or4 nised in sys%ems o3 hier rchy %h % scend %ow rds %he wor"d o3 %he divine The Courtier / ;oo? % In %he discussions on %he 3our%h evenin4 in The Courtier ?eop" %onic ide s re prominen%9 + rdin " /ie%ro :em$o de3ines %he n %ure o3 "ove nd i%s power %o enno$"e peop"e9 :em$o descri$es %he w y e r%h"y "ove c n $ecome e"ev %ed %o he ven"y "ove %hrou4h /" %onic process o3 s% 4es, $e4innin4 wi%h %he "ove o3 n un %% in $"e, vir%uous wom n nd "e din4 %o "ove o3 6od nd "" hum ni%y9 This is why %his p ss 4e is "so re3erred %o s @The 8 dder o3 8oveI9 :em$o r4ues %h % %rue "ove is $orn o3 %he in%e""ec%u " percep%ion o3 %he $e u%i3u" which is "so %he 4ood9 True "ove m 7es m n more "i7e n n4e" %h n %he $e s% he resem$"es i3 he is on"y in%eres%ed in sensu " "ove9 ! n2s sou" desires %he immor% ", unch n4in4 $e u%y i% 7new $e3ore i%s descen% in%o %he 4ross m %eri " o3 %he $ody9

Session *
Courtier 1oets: Sir Thomas W&att (15'(N1542& /or%r i% $y H ns Ho"$ein %he Houn4er Sir Thomas W&att ) !1*+$.1*%#" + me 3rom power3u" ris%ocr %ic 3 mi"y9 <3%er comp"e%in4 his s%udies % + m$rid4e, he en%ered %he service o3 Henry VIII, $ecomin4 dip"om % nd, " %er on, m$ ss dor %o )p in9 :esides his o33ici " 3unc%ions, he w s "so %he 3oremos% poe% % %he En4"ish cour%9 In his poe%ry -y %% w s in3"uenced $y %he ye rs spen% $ro d s dip"om %9 This is mos% o$vious in his %r ns" %ions nd imi% %ions o3 poems $y I% "i n 0en iss nce wri%ers, $ove "" /e%r rch9 Twice -y %% w s imprisoned in %he Tower nd on"y n rrow"y esc ped eCecu%ion9 The 3irs% %ime (15(6& he w s ccused o3 h vin4 commi%%ed du"%ery wi%h <nne :o"eyn= %he second

%ime i% w s ""e4ed he h d $e%r yed %he Gin4 on dip"om %ic mission9 Sir Thomas W&att )) !1*+$.1*%#" I% is possi$"e %o dr w p r ""e"s $e%ween -y %%2s eCperience o3 "i3e % cour% nd s dip"om % nd %he %hemes o3 his poe%ry )ense o3 me" ncho"i nd dis ppoin%men%, eCpressin4 i%se"3 in emo%ions o3 4rie3, "oss nd hur% ;ism y % %he r p ciousness nd 3ic7"eness o3 cour% "i3e ECperience o3 eCi"e nd %ryin4 %o 3ind one2s w y $ c7 %o "os% home" nd H vin4 "os% one2s $e"oved nd remem$erin4 nd dre min4 o3 3e"ici%y nd reDui%ed "ove :ein4 $e%r yed $y %he @dou$"enessI o3 mis%ress or %he ins% $i"i%y o3 3or%une The sinner2s 3e r %h % he h s $een eCc"uded 3orever 3rom 6od2s mercy Tension $e%ween c" ri%y nd conce "men% Sir Thomas W&att ))) !1*+$.1*%#" -y %%1s poems re o3 %wo 7inds: 8yrics in shor% s% n# s o3 (m in"y& 3ourNs%ress "ines wri%%en in n e r"ier %r di%ion o3 son4 nd 3o"7 $ "" ds con%inued 3rom %he " %er 15%h cen%ury EC mp"e: >-ho "is% his we "%h nd e se re% in@ (0e din4 8is%& /ro$ $"y wri%%en durin4 -y %%2s imprisonmen% in %he Tower in 15(6 when he wi%nessed %he eCecu%ion o3 <nne :o"eyn9 I% dr m %ises %he d n4er o3 4e%%in4 %oo c"ose %o %he Gin4 nd $ecomin4 invo"ved in h rrowin4 even%s9 <s conseDuence, %he poem recommends %he wi%hdr w " 3rom pu$"ic "i3e nd %he "e din4 o3 hum$"e, un m$i%ious $u% s 3e "i3e9 -y %%2s %r ns" %ions nd d p% %ions o3 /e%r rch9 E3 momen%ous conseDuence w s -y %%2s in%roduc%ion o3 %he sonne% %o En4"ish "i%er %ure9 The sonnet Eri4in %es in I% "y nd w s es% $"ished $y /e%r rch in %he 14%h cen%ury s m Jor 3orm o3 "ove poe%ry9 )% nd rd su$Jec% m %%er: The 4"ori3ic %ion nd pr ise o3 n unre ch $"e wom n The spe 7er2s "ove 3or %he wom n is unreDui%ed or reJec%ed ou%ri4h% ;r m %is %ion o3 %he con3"ic% $e%ween %he eCpec% %ions o3 "over nd %heir re "is %ion The wom n is descri$ed $y me ns o3 $" #on, i9e9 poe%ic c % "o4ue o3 %he $e"oved2s dmir $"e physic " 3e %ures These conven%ions re re3erred %o s /e%r rchism or /e%r rch n conven%ions

@oodsA@odes of the 5etrarchan Lover >< Houn4 ! n@ $y ?icho" s Hi""i rd, 3 mous E"i# $e%h n mini %ure por%r i%is%

The "over is %ormen%ed $y %he 3" mes o3 his mis%ress1s eyes or su33ers 3rom %he he""ish inner %ormen% o3 desire9

!oods.!odes o3 %he /e%r rch n 8over >/or%r i% o3 !e" ncho"y Houn4 ! n@ $y Is c E"iver

The s d eCpression, %he $" c7 c"o%hes nd crossed rms re m r7ers o3 %he >me" ncho"y humour9@

BWhoso list to huntC ) Is n d p% %ion o3 /e%r rch1s %ima ,-0 which "so dr m %ises %he encoun%er $e%ween whi%e hind nd %he "yric " I $u% h s comp"e%e"y di33eren% %mosphere9 The spe 7er in -y %%2s sonne% wi%hdr ws 3rom 4roup o3 hun%ers9 His " n4u 4e h s 4re % ur4ency, eCpressin4 his rden% desire $u% "so his eCh us%ion nd 7now"ed4e %h % he wi"" no% $e $"e %o re ch %he hind9 The re der is m de %o sh re %his eCperience9 -hi"e in /e%r rch2s poem %he hind %he unre ch $"e wom n $e"on4s %o 6od, in -y %%2s poem she $e"on4s %o %he Gin49 BWhoso list to huntC )) -y %%2s poem is ero%ic ""y ch r4ed: %he hind is $ein4 hun%ed $y men nd she is @wi"d 3or %o ho"d, %hou4h I seem % meI, i9e9 @impossi$"e %o 4r spI $u% "so @disso"u%e, d n4erousI9 There re specu" %ions %h % -y %%2s hind is re3erence %o <nne :o"eyn wi%h whom -y %% mi4h% h ve h d n 33 ir $e3ore she $ec me %he Gin42s mis%ress9 Form ""y -y %% s%ic7s %o %he I% "i n or /e%r rch n sonne% 3orm %: i m$ic pen% me%er= rhyme scheme: $$ $$ cde cde= division in%o oc%e% nd ses%e%= Courtier 5oets / enr& oward< the 'arl of Surre& !1*1-.1*%-"

/or%r i% $y H ns Ho"$ein %he Houn4er

The 'arl of Surre& + me 3rom one o3 %he mos% power3u" nd ris%ocr %ic 3 mi"ies in En4" nd9 - s eCecu%ed 4ed (' on ch r4es o3 hi4h %re son (1545&9 8i7e -y %%, whom he 4re %"y dmired, )urrey h d p ssion 3or French nd I% "i n poe%ry which he %r ns" %ed nd d p%ed 3or En4"ish "i%er %ure9 ! de %wo semin " con%ri$u%ions %o En4"ish poe%ry Es% $"ished %he En4"ish sonne%: i m$ic pen% me%er= rhyme scheme: $ $ cdcd e3e3 44= %hree Du %r ins nd rhymin4 coup"e% Firs% En4"ish poe% %o use $" n7 verse unrhymed i m$ic pen% me%er in %r ns" %ion o3 Vir4i"2s .eneid Tottel6s @iscellan& Eri4in ""y $o%h -y %%1s nd )urrey1s poems on"y circu" %ed in m nuscrip% 3orm mon4 %heir 3riends9 In *une 1555 %hey were pu$"ished in popu" r n%ho"o4y c ""ed Tottel/s Miscellany (3u"" %i%"e: 'on!s and 'onnets 0ritten by the %i!ht $onourable Lord $enry $o0ard Late Earl of 'urrey and 1ther= %he @o%herI is Thom s -y %%& +o""ec%ion n med 3%er %he prin%er 0ich rd To%%e"9 His pu$"ic %ion w s enormous"y

in3"uen%i "9 I% served " %er E"i# $e%h n wri%ers s mode" 3or %heir own poe%ry9

Session =
'dmund S1enser !1**#.1*,," In con%r s% %o -y %%, )urrey nd )idney, )penser c me 3rom non ris%ocr %ic $ c74round9 He w s n rden% /ro%es% n%9 -i%h %he he"p o3 scho" rship he w s $"e %o %%end + m$rid4e Kniversi%y9 <3%er % 7in4 his de4ree )penser served s person " secre% ry %o num$er o3 prominen% men, inc"udin4 %he E r" o3 8eices%er, %he Mueen1s princip " 3 vouri%e9 In 8eices%er2s househo"d he $ec me 3riends wi%h %he o%her 4re % E"i# $e%h n poe%, )ir /hi"ip )idney, who w n%ed %o revive En4"ish poe%ry9 )penser2s con%ri$u%ion w s The 'he#heardes Calender which in u4ur %ed %he 16o"den <4e2 o3 E"i# $e%h n "e%%ers9 I% w s pu$"ished in 155, nd dedic %ed %o )idney9 The 'he#heardes Calender is seDuence o3 p s%or " poems9

5astoral ) ?eC% %o /e%r rchism, p s%or " is %he second mos% impor% n% "i%er ry conven%ion in 0en iss nce "i%er %ure9 / s%or " is no% "imi%ed %o poe%ry $u% "so occurs in p" ys nd prose rom nces9 / s%or " conven%ions 4o $ c7 %o c" ssic " n%iDui%y, in p r%icu" r %o Theocri%us (6ree7& nd Vir4i" (0om n&9 +h r c%eris%ics )e% in %he coun%ryside nd ce"e$r %es %he innocen% "i3e o3 shepherds9 Ksu ""y 3e %ures di "o4ues $e%ween.son4s $y shepherds $ou% "ove or mor " pro$"ems9 <"" shepherds re seen s surro4 %e poe%s9 +hris%i n re"i4ious imp"ic %ions re "so possi$"e: %he shepherd s +hris% or s pries% (1p s%or2& "oo7in4 3%er his 3"oc7 o3 worshippers The coun%ryside is ide "ised s n uncorrup%ed, pe ce3u" p" ce simi" r %o $i$"ic " / r dise or %he 6o"den <4e9 5astoral )) +h r c%eris%ics (con%inued& <"w ys wri%%en 3rom posi%ion o3 eCi"e, i9e9 %he coun%ryside is descri$ed $y poe% wri%in4 in %he ci%y9 +onseDuences: ;e"i$er %e sense o3 r%i3ici "i%y % odds wi%h %he con%en% which pr ises n %ure 3or i%s simp"ici%y nd immedi cy9 Es% $"ishmen% o3 n imp"ici% or eCp"ici% con%r s% $e%ween %he innocence o3 rur " "i3e nd "i3e % cour% nd in %he ci%y (e"emen% o3 s %iric " soci " cri%iDue&9 Terms o3%en used in.in connec%ion wi%h p s%or "s <rc di B re " n me o3 n re in )ou%hern 6reece $u% ppropri %ed $y Vir4i" %o me n p s%or " p" ce in 4ener " ;oric B %he di "ec% o3 %he <rc di ns= home"y " n4u 4e o3 rus%ic 3o"7 Ec"o4ue B de$ %e mon4 shepherds :uco"ic B p s%or " 8ocus moenus B 8 %in 3or 1p"e s n% or "ove"y p" ce2= n ide "i#ed p" ce 3or s 3e%y nd com3or%=

The She1heardes Calender !1*-," ) Is n imi% %ion o3 Vir4i"1s Eclo!ues= seDuence o3 12 p s%or " poems, one 3or e ch mon%h o3 %he ye r9 The poems consis% o3 di "o4ues $e%ween shepherds nd o%her coun%ry ch r c%ers, some o3 whom 3unc%ion s ""e4ories9 Vei"ed ""usions %o con%empor ry re"i4ious de$ %es nd %o Mueen E"i# $e%h9 )penser de"i$er %e"y uses rch ic " n4u 4e, p r%"y in hom 4e %o +h ucer, p r%"y %o chieve rus%ic e33ec%9 Tried %o cre %e n %ive En4"ish poe%ic s%y"e nd mer4e i% wi%h %he c" ssic " mode o3 %he p s%or "9 The She1heardes Calender !1*-," )) :ec use o3 )penser2s de"i$er %e use o3 rch ic " n4u 4e in "" o3 his poe%ic wor7s, his poe%ry is "w ys prin%ed in %he ori4in " spe""in4 nd punc%u %ion9 Throu4hou% his wor7 )penser w s 3orm " innov %or nd eCperimen%er9 In The 'he#heardes Calender he uses more %h n 1( di33eren% me%ric " schemes9 For his sonne% cyc"e (.moretti& he deve"oped %he 1)penseri n sonne%2 For The 2aerie 3ueene he deve"oped %he 1)penseri n s% n# 2 The Faerie 4ueene !1*,+" <3%er %he pu$"ic %ion o3 The 'he#heardes Calender )penser wen% %o Ire" nd s secre% ry %o %he 8ord ;epu%y o3 Ire" nd, %hus % 7in4 p r% in %he $ru% " co"oni " suppression o3 %he Irish9 )pen% %he res% o3 his "i3e in Ire" nd, even %hou4h he con%inu ""y %ried %o o$% in ppoin%men%s in En4" nd nd %o secure %he p %ron 4e o3 %he Mueen9 Ene o3 %hese e33or%s w s %he pu$"ic %ion in 15,' o3 %he 3irs% %hree $oo7s o3 The 2aerie 3ueene which ce"e$r %es Mueen E"i# $e%h9 )penser dded %hree more $oo7s %o his epic poem in 15,69 The '1ic < "on4 n rr %ive poem, descri$in4 his%oric " or "e4end ry episodes which re cen%r " %o cu"%ure1s iden%i%y9 Typic ""y, n epic 3e %ures cen%r " hero or 4roup o3 heroes who represen% p r%icu" r communi%y or cu"%ure9 )u$Jec% m %%er: heroic c%ions in %he con%eC% o3 w r, conDues% or Dues%9 )%y"e: "on4, e" $or %e n rr %ive= episodic s%ruc%ure= e"ev %ed " n4u 4e= invoc %ion %o 4ods or muses= In %he 0en iss nce %he epic w s considered %he hi4hes% 3orm o3 poe%ry s i% w s %hou4h% %o show hum n n %ure % i%s mos% heroic ""y deve"oped, depic%s %he no$"es% c%ions nd eCpresses %he 3ines% %hou4h%s nd sen%imen%s9 For %he 0en iss nce %he mos% in3"uen%i " wri%er o3 c" ssic " epic w s Vir4i" nd his .eneid, %he 3ound %ion " epic o3 <u4us% n 0ome9 The Romance < 3ic%ion " s%ory in verse or prose %h % re" %es impro$ $"e, m rve""ous dven%ures o3 ide "ised ch r c%ers in remo%e or ench n%ed se%%in49 Typic ""y, rom nces inc"ude E"emen%s o3 3 n% sy, impro$ $i"i%y, eC%r v 4 nce nd n ive%y E"emen%s o3 "ove, dven%ure, %he m rve""ous nd %he 1my%hic2 ? rr %ives o3 heroic or spec% cu" r chievemen%s, o3 chiv "ry nd 4 "" n% "ove9 0om nce w s %he domin n% 3orm o3 "on4 n rr %ive in %he mediev " period9 <mon4 %he $es% 7nown mediev " rom nces re %he % "es o3 Gin4 <r%hur nd his 7ni4h%s9 Typic " in4redien%s re: w nderin4 7ni4h%s on Dues%s, 3 ir m idens, m 4ic nd dr 4ons9

These % "es re "so re3erred %o s chiv "ric rom nces $ec use %hey do no% concen%r %e so much on mi"i% ry heroism $u% on %he ce"e$r %ion o3 n ide "ised code o3 civi"ised $eh viour %h % com$ines "oy "%y, honour, nd cour%"y "ove9

0llegor& <n ""e4oric " s%ory h s dou$"e me nin4: prim ry or sur3 ce me nin4 nd second ry or underN%heNsur3 ce me nin49 I% is s%ory %h % c n $e re d, unders%ood nd in%erpre%ed % %wo "eve"s (or more&9 The princip " %echniDue o3 ""e4ory is personi3ic %ion, where$y $s%r c% Du "i%ies re 4iven hum n sh pe9 The Faerie 4ueene / S1enser6s Letter to Sir Walter Raleigh ) . letter of the authors e+#oundin! his 0hole intention in the course of this 0orke4 0hich for that it !iveth !reat li!ht to the reader5 for the better understandin! is hereunto anne+ed )penser c ""s his $oo7 a continued .lle!ory5 or darke conceit( <im: The !enerall end therefore of all the booke is to fashion a !entleman or noble #erson in vertuous and !entle disci#line( Which for that & conceived shoulde be most #lausible and #leasin!5 bein! coloured 0ith an historicall fiction5 the 0hich the most #art of men deli!ht to read R6S4 & chose the historye of 7in! .rthure5 as most fitte for the e+cellency of his #erson5 bein! made famous by many mens former 0orkes5 and also furthest from the daun!er of envy5 and sus#ition of #resent time( &n 0hich & have follo0ed all the anti8ue Poets historicall5 first $omere R6S then ir!il R6S after him .riosto R6S and lately Tasso9 The Faerie 4ueene / S1enser6s Letter to Sir Walter Raleigh )) & conceive R7in! .rthurS R6S to have seene in a dream or vision the 2aery 3ueen5 0ith 0hose e+cellent beauty ravished5 he a0akin! resolved to seeke her out5 and so R6S he 0ent to seeke her forth in 2aerye land( &n that 2aery 3ueene & meane !lory in my !enerall intention5 but in my #articular & conceive the most e+cellent and !lorious #erson of our soveraine the 3ueene5 and her kin!dome in 2aery land( .nd yet in some #laces els5 & doe other0ise shado0 her( 2or considerin! she beareth t0o #ersons5 the one of a most royall 3ueene or Em#resse5 the other of a most vertuous and beautifull Lady5 this latter #art in some #laces & doe e+#ress in Bel#hoebe5 fashionin! her name accordin! to your o0n R%alei!h/sS e+cellent concei#t of Cynthia5 9Phoebe and Cynthia bein! both names of Diana(: But of the +ii( other virtues5 & make +ii( other kni!hts the #atrones5 for the more variety of the history9 1f 0hich these three bookes contayn three5 The first of the kni!ht of the %edcrosse5 in 0home & e+#resse $olynes4 The seconde of 'ir *uyon5 in 0home & sette forth Tem#eraunce4 The third of Britomartis a Lady kni!ht5 in 0home & #icture Chastity( The Redcrosse Dnight )%9 6eor4e nd %he ;r 4on $y / o"o Kce""o (14556'&

The Faerie 4ueene / Formal Features ;ivided in%o $oo7s, c n%os nd s% n# s9 )penseri n s% n# ?ine "ines 0hyme scheme: $ $$c$cc !e%re: 8ines 1N8: i m$ic pen% me%er= "ine ,: i m$ic heC me%er The First ;oo?e of The Faerie 4ueene 0edcrosse Gni4h% s% nds 3or ho"iness, )%9 6eor4e (B En4" nd, En4"ishmen& nd %he %rue +hris%i n 3 i%h (B /ro%es% n%ism&9 Kn s% nds 3or Tru%h, Kni%y, Eneness= "so 3or @%he %rue 3 i%hI or @%he %rue +hurchI, i9e9 /ro%es% n%ism9 Her opposi%e is ;uess , %he 3 "se %emp%ress, who s% nds 3or %he @wron4 3 i%hI (+ %ho"icism&9 <""e4oric " "eve" o3 :oo7 1: represen%s %he (/ro%es% n%& +hris%i n s%ru44"in4 heroic ""y 4 ins% m ny evi"s nd %emp% %ions e949 doc%rin " Error, Hypocrisy, %he )even ;e d"y )ins, ;esp ir9 He succum$s %o some o3 %hem $u% 3in ""y %riumphs9 He is in%ermi%%en%"y sep r %ed 3rom %he one %rue 3 i%h (Kn & $u% is even%u ""y reuni%ed wi%h her9 The Faerie 4ueene . Summar& !os% impor% n% ""e4oric " "eve"s: /o"i%ic " ""e4ory: F erie 8 nd serves s 3ic%ion "i#ed version o3 En4" nd nd %he F erie Mueene s represen% %ion o3 Mueen E"i# $e%h9 !or " ""e4ory: w n%s %o %e ch re ders $ou% wron4 nd ri4h%, vir%ue nd vice= "so $ou% cour%"y.chiv "rous $eh viour9 0e"i4ious ""e4ory: promo%es %he @%rue 3 i%hI, /ro%es% n%ism, s 4 ins% %he @wron4 3 i%hI, + %ho"icism9 0moretti !1*,*" <more%%i B "i%%e "oves or "i%%"e cupids )onne% cyc"e consis%in4 o3 8, sonne%s9 /u$"ished one ye r 3%er his m rri 4e %o E"i# $e%h :oy"e9 The sonne%s c n $e re d s por%r i% o3 )penser1s recen% cour%ship nd m rri 4e9 The sonne%s use /e%r rch n conven%ions $u% %hey "so dep r% 3rom /e%r rchism in %h % m ny o3 %hem ce"e$r %e h ppy nd success3u" "ove9 In <more%%i )penser deve"ops v ri n% o3 %he En4"ish sonne% 3orm re3erred %o s %he )penseri n sonne%: En4"ish sonne%: %hree Du %r ins nd 3in " coup"e%: $ $ cdcd e3e3 44 )penseri n sonne%: "in7s %he %hree Du %r ins $y rhyme: $ $ $c$c cdcd ee In $o%h %he En4"ish nd %he )penseri n sonne% %he %urn usu ""y comes wi%h %he 3in " coup"e%9 Sir 5hili1 Sidne& !1**%.1*E=" )o"dier, scho" r, poe% nd cour%ier9 Epi%ome o3 %he En4"ish 4en%"em n9 + me 3rom n in3"uen%i " ris%ocr %ic 3 mi"y9 His 3 %her w s 8ord ;epu%y o3 Ire" nd, his mo%her %he sis%er o3 %he E r" o3 8eices%er9 Their 3 mi"y home w s /enshurs% in Gen%9 )idney s%udied % EC3ord $u% "e3% wi%hou% % 7in4 de4ree= comp"e%ed his educ %ion $y eC%ended %r ve"s on %he con%inen%9 8i7e )penser, )idney w s n rden% /ro%es% n%9 <s cour%ier, poe% nd "i%er ry p %ron, )idney c%ive"y encour 4ed

o%her u%hors, mos% impor% n%"y Edmund )penser9 Sir 5hili1 Sidne& !1**%.1*E=" In 158' )idney w s dismissed 3rom cour% 3or whi"e 3or opposin4 %he Mueen2s proJec%ed m rri 4e %o %he + %ho"ic ;u7e o3 <nJou9 He re%ired %o %he es% %e o3 his sis%er, %he +oun%ess o3 /em$ro7e, where he wro%e his prose rom nce .rcadia( In %he " %e 155's.e r"y 158's he "so wro%e %he o%her %wo wor7s 3or which he is princip ""y remem$ered: The Defence of Poesy ("on4 ess y o3 "i%er ry cri%icism& .stro#hil and 'tella, sonne%Ncyc"e In 1585 )idney w s ppoin%ed 4overnor o3 co s% " %own in %he ?e%her" nds where he %oo7 p r% in %he w r 4 ins% )p in9 ;ied in 1586 3rom wound incurred in $ %%"e9 The Defence of Poesy /ro$ $"y wri%%en in 155,, pu$"ished in 15,5= "so 7nown s .n .#olo!y for Poetry; re4 rded s %he mos% impor% n% wor7 o3 "i%er ry cri%icism o3 %he 4e= "so inc"udes $rie3 survey o3 con%empor ry En4"ish "i%er %ure= The ess y w s occ sioned $y /uri% n %% c7s on poe%s nd c%ors, c" imin4 %h % im 4in %ive wri%in4 is immor " $ec use i% is $ sed on "ies= The Defence is n e"oDuen% r4umen% 3or %he di4ni%y, soci " e33ic cy, nd mor " v "ue o3 im 4in %ive "i%er %ure in verse or prose9 The @poesyI o3 %he %i%"e re3ers %o im 4in %ive "i%er %ure in 4ener "9 The Defence of Poesy Sidne&6s argument The $ sis o3 )idney2s r4umen% is %he speci " s% %us he ccords %o %he poe%ic im 4in %ion9 He poin%s ou% %he n%iDui%y o3 poe%ry, i%s pres%i4e in %he $i$"ic " nd c" ssic " wor"ds, nd i%s univers "i%y9 -hi"e "" r%s, 3rom s%ronomy %o music %o medicine, depend on n %ure s %heir o$Jec%, poe%ry, is uniDue"y 3ree: 'o as the #oet !oeth hand in hand 0ith nature5 not enclosed 0ithin the narro0 0arrant of her !ifts5 but freely ran!in! only 0ithin the zodiac of his o0n 0it( This 3reedom en $"es %he poe% %o presen% vir%ues nd vices in "ive"ier nd more 33ec%in4 w y %h n his%ori ns or phi"osophers cou"d do, %e chin4, de"i4h%in4, nd movin4 %he re der % %he s me %ime9 /oe%ry %hus c%ive"y in%ervenes in %he wor"d nd %r ns3orms i% 3or %he $e%%er9 The poe%s wri%e "i%er %ure both to deli!ht and teach; and deli!ht5 to move men to take that !oodness in hand5 0hich 0ithout deli!ht they 0ould fly as from a stran!er; and teach5 to make them kno0 that !oodness 0hereunto they are moved < 0hich bein! the noblest sco#e to 0hich ever any learnin! 0as directed( Charges against 1oetr& 19 That there bein! many other more fruitful kno0led!es5 a man mi!ht better s#end his time in them than in this (i9e9 0e din4. wri%in4 im 4in %ive "i%er %ure& =( &t is the mother of lies( (9 &t is the nurse of abuse5 infectin! us 0ith many #estilent desires9 Sidne&6s answers to the charges against 1oetr& ,( )o learnin! is so !ood as that 0hich teacheth and moveth to virtue; and none can both teach and move thereto so much as #oetry( 29 Kn"i7e %he s%ronomer, %he 4eome%rici n or %he physici n, %he poe% nothin! affirms5 and therefore never lieth( 2or5 as & take it5 to lie is to affirm that to be true 0hich is false( (9 )idney dmi%s %h % im 4in %ive "i%er %ure m y corrup%, $u% %re %s %his s con3irm %ion o3 %he 3 c% %h %, i3 used ri4h%"y, i% c n "so edi3y nd "e d %o mor " improvemen%: 0hatsoever5 bein!

abused5 doth most harm5 bein! ri!htly used 6 doth most !ood( Sidne&6s surve& of the 'nglish literar& scene )idney 3inds "i%%"e %o pr ise eCcep% 3or %he E r" o3 )urrey1s "yrics, %he mor "i#in4 % "es o3 . Mirror for Ma!istrates nd )penser1s 'he#heardes Calender9 >Besides these & do not remember to have seen but fe0 9to s#eak boldly: #rinted that have #oetical sine0s in them(? )idney is especi ""y cri%ic " o3 con%empor ry dr m For vio" %in4 %he <ris%o%e"i n uni%ies (o3 p" ce, %ime nd c%ion& >RTShe sta!e should al0ays re#resent but one #lace5 and the uttermost time #resu##osed in it should be5 both by .ristotle/s #rece#t and common reason5 but one day?( For @min4"in4 7in4s nd c"ownsI, i9e9 miCin4 comedy nd %r 4edy9 )idney spe 7s o3 %he dr m %is%s2 @mon4re" %r 4icomedyI9 For inc"udin4 vu"4 ri%ies9 Astrophil and Stella I ( "so spe"% .stro#hel and 'tella: Firs% /e%r rch n sonne% cyc"e in En4"ish "i%er %ure consis%in4 o3 1'8 sonne%s nd 11 son4s= composed in %he e r"y 158's= circu" %ed in m nuscrip% mon4 co%erie re dership= pu$"ished in 15,1= in u4ur %ed veri% $"e @sonne% cr #eI in %he " %e 16%h cen%ury= !os% "i7e"y u%o$io4r phic " $ c74round is )idney2s $rie3 en4 4emen% %o /ene"ope ;evereuC, d u4h%er o3 %he E r" o3 EsseC9 <s%rophi" %r ns" %es s >s% rN"over@ nd )%e"" s >s% r@ Astrophil and Stella II The sonne%s re connec%ed nd 3o""ow s"ender p"o%: <s%rophi" 3 ""s in "ove wi%h )%e"" who reJec%s him9 His on"y success is 7iss= %hen %heir sep r %ion 3o""ows9 ! ny sonne%s con% in phi"osophic " %hou4h%s $ou% "ove nd desire $u% "so $ou% %he r% o3 poe%ic cre %ion9 E3%en %he %one is 3unny nd ironic9 )%e"" is no% on"y %he spe 7er2s $e"oved $u% "so %he my%hic " muse o3 En4"ish "yric poe%ry )idney $ sic ""y s%ic7s %o %he I% "i n sonne%N3orm % $u% %here re num$er o3 v ri %ions (e949 i m$ic heC me%er ins%e d o3 pen% me%er&

Session The develo1ment of 1rose.writing ) En4"ish h d %o $e c%ive"y sh ped s serious "i%er ry nd scho" r"y medium %o compe%e wi%h 8 %in 8 %in served s source 3or new words nd s mode" 3or prose s%y"es Knder %he in3"uence o3 8 %in %here is shi3% 3rom p r % c%ic %o hypo% c%ic prose9 / r % c%ic B %here re h rd"y ny su$ordin %e c" uses= simp"e sen%ences s% nd "one or re connec%ed $y 1 nd2= ch r c%eris%ic o3 mediev " "i%er %ure= Hypo% c%ic B comp"eC syn% c%ic cons%ruc%ions wi%h mu"%ip"e su$ordin %e c" uses= The develo1ment of 1rose.writing )) The mode" 3or hypo% c%ic prose w s +icero9 +iceroni n En4"ish w s %he 3 voured s%y"e $y hum nis%s %o " y ou% %heir r4umen%s c re3u""y9

+re %ive wri%ers pu% %he +iceroni n mode" %o di33eren% uses nd, %o4e%her wi%h %he use o3 c" ssic " rhe%oric " devices, cre %ed 7ind o3 @ r% proseI whose m in ch r c%eris%ic is r%i3ice9 The prose rom nces Eu#hues $y *ohn 8y"y nd The .rcadia $y )ir /hi"ip )idney m 7e use o3 %his 7ind o3 s%y"e(

Renaissance 1rose narratives 0en iss nce prose n rr %ives c n $e re4 rded s predecessors o3 %he nove"9 However, %hey di33er 3rom %he nove" proper in m ny w ys, 3or ins% nce +h r c%ers o3%en seem unre "is%ic or pure"y sym$o"ic ". ""e4oric "9 +h r c%ers2 $eh viour m y $e inconsis%en% 3rom one episode %o %he neC%9 Their di "o4ue m y $e impossi$"y orn %e. r%i3ici "9 -e re no% 4iven ccess %o %he ch r c%ers2 %hou4h%s nd 3ee"in4s9 The ch r c%ers inh $i% 3 n% s%ic " wor"ds %h % re no% descri$ed consis%en%"y or in ny re "is%ic de% i"9 There is no 3 s%Nmovin4, %i4h%"y cons%ruc%ed p"o% $u% %he s%ory consis%s o3 "oose"y connec%ed episodes9 The Renaissance 1rose romance EC%reme"y popu" r su$4enre o3 %he 0en iss nce prose n rr %ive9 In3"uences: !ediev " chiv "ric rom nces such s %he % "es o3 Gin4 <r%hur= 3ocus on cour%"y "ove nd %he Dues% o3 n individu " pro% 4onis%9 +" ssic " mode"s such s 6ree7 nd 8 %in % "es o3 %r ve", "ove nd dven%ure %h % miC episodes o3 dven%ure wi%h p s%or " "ove in%er"udes se% wi%hin "ocus moenus or n ide " n %ur " environmen%9 +on%empor ry Europe n wri%ers o3 rom nces nd nove"" s9 Fohn L&l& !1**%.1=+=" + me 3rom 3 mi"y much invo"ved in scho" r"y hum nism9 <3%er 4r du %in4 3rom EC3ord, 8y"y wen% %o 8ondon where he 4 ined 3 me wi%h %he pu$"ic %ion o3 %wo prose rom nces, Eu#hues4 The .natomy of Wit (1558& nd Eu#hues and $is En!land (158'&, which %o4e%her m de him %he mos% 3 shion $"e wri%er o3 %he 158's9 <3%er 158' 8y"y devo%ed himse"3 "mos% en%ire"y %o wri%in4 e"e4 n% nd sophis%ic %ed cour% comedies9 !os% o3 his p" ys were per3ormed % %he :" c73ri rs priv %e %he %re $y %he +hi"dren o3 )%9 / u"1s, chi"dren1s comp ny, periodic ""y 3 voured $y Mueen E"i# $e%h9 8i"y "so served sever " %erms s !em$er o3 / r"i men%, %hou4h his hopes o3 o$% inin4 "ucr %ive cour% ppoin%men% were dis ppoin%ed9 He is remem$ered m in"y s %he 3irs% En4"ish prose s%y"is% %o "e ve n endurin4 m r7 on %he En4"ish " n4u 4e9 Euphues: The Anato y of !it !1*-E" ) Eu#hues is prose rom nce9 I%s %i%"e re3ers %o %he $oo72s eponymous hero >Euphues@ B 6ree7: >o3 4ood n %ur " p r%s, 4r ce3u", wi%%y@, i9e9 n e"oDuen% 4en%"em n ><n %omy o3 -i%@ B %he n "ysis o3 men% " 3 cu"%ies Euphues is no$"e youn4 6ree7 who i4nores dvice nd "e ves universi%y (><%hens@& 3or %he %emp% %ions o3 %he ci%y (>? p"es@ B 8ondon&9 There he 3 ""s in "ove, $e%r ys his $es% 3riend, is in %urn $e%r yed, repen%s, re%urns home nd 3%erw rds dispenses 4ood dvice nd mor " wisdom9 Euphues: The Anato y of !it !1*-E" ))

The p"o% is second ry %o %he s%y"e which h s $ecome 7nown s Eu#huism9 I% is n orn men% " nd r%i3ici " prose s%y"e ch r c%erised $y <n e" $or %e"y p %%erned sen%ence s%ruc%ure $ sed on repe %ed comp risons, p r ""e"isms, nd n%i%heses (B opposi%ions, con%r s%s&9 The use o3 co#ia, i9e9 %he seemin4"y e33or%"ess mu"%ip"ic %ion o3 eC mp"es in suppor% o3 n r4umen%.o$serv %ion The use o3 prover$s, eC%r v 4 n% simi"es nd m ny o%her rhe%oric " 3i4ures9

'u1huism / 0n eGam1le From Eu#hues4 The .natomy of Wit There 3reDuen%ed %o %his "od4in4 nd m nsion house s we"" %he spider %o suc7 poison o3 his 3ine wi% s %he $ee %o 4 %her honey, s we"" %he drone s %he dove, %he 3oC s %he " m$, s we"" ; moc"es %o $e%r y him s ; mon %o $e %rue %o him: ye% he $eh ved himse"3 so w ri"y, %h % he sin4"ed his 4 me wise"y9 He cou"d e si"y discern <po""o2s music 3rom / n his pipe, nd Venus2s $e u%y 3rom *uno2s $r very, nd %he 3 i%h o3 8 e"ius 3rom %he 3" %%ery o3 <ris%ippus, he we"comed "" $u% %rus%ed none, he w s merry $u% ye% so w ry %h % nei%her %he 3" %%erer cou"d % 7e dv n% 4e %o en%r p him in his % "7 nor %he wises% ny ssur nce o3 his 3riendship RQS9 Sir 5hili1 Sidne& / Arcadia 8i7e Eu#hues5 %he .rcadia $ec me $yword 3or who"e "i%er ry s%y"e nd shor%"y 3%er )idney2s de %h %eC%$oo7 c ""ed The .rcadian %hetoric w s pu$"ished9 The .rcadia is prose rom nce, 3e %urin4 or c"es, princes dis4uised s shepherds nd m #ons, mis% 7en iden%i%ies, me"odr m %ic inciden%s nd p s%or " scenes9 )ome episodes o3 .rcadia re "so o3 po"i%ic " in%eres% nd con% in %hou4h%s on s% %ecr 3%, e949 %he responsi$i"i%ies o3 7in4 nd Dueen, %he evi"s o3 re$e""ion, nd %he du%ies o3 minis%ers, Jud4es, nd dvisers o3 s% %e9 )idney 7ep% ch n4in4 nd revisin4 .rcadia nd "e3% i% un3inished9 Two di33eren% versions o3 %he $oo7 were pu$"ished 3%er his de %h, The 1ld .rcadia in 15,' nd The )e0 .rcadia in 15,(9 The " %%er is un3inished nd %e""s %he s%ory in much d r7er nd pessimis%ic w y9 Surve& / 'li2a3ethan 1rose wor?s ) /rose rom nce *ohn 8y"y Eu#hues4 The .natomy of Wit (1558&= Eu#hues and $is En!land (158'& )ir /hi"ip )idney .rcadia( Inspired v rious imi% %ions, e949 0o$er% 6reene Pandosto (1588& Thom s 8od4e %osalynde (15,'& ! ry -ro%h (B )idney2s niece& The Countess of Pembroke/s "rania (1621& /ic resDue n rr %ive Thom s ? she The "nfortunate Traveller5 or the Life of @ack Wilton (15,4& Surve& / 'li2a3ethan 1rose wor?s )) Tr ve" 8i%er %ure 0ich rd H 7"uy% The Princi#al )avi!ations5 oya!es5 Traffics5 and Discoveries of the En!lish )ation (15,8&: inc"udes, mon4 o%hers, ccoun%s o3 )ir Fr ncis ;r 7e1s nd )ir - "%er 0 "ei4h1s voy 4es o3 discovery9 /rose wor7s in %he hum nis% %r di%ion on ei%her re"i4ious or secu" r su$Jec%s 0ich rd Hoo7er La0s of Ecclesiastical Polity (15,(& < num$er o3 new prose 4enres $ec me 3 shion $"e, mon4 %hem %he ess y, %he $io4r phy nd %he p mph"e%9 )ir Fr ncis : con Essays (15,5&

Session E
'nglish Renaissance Drama H s %wo roo%s: +" ssic " n%iDui%y ? %ive dr m %ic %r di%ion The n %ive dr m %ic %r di%ion 6oes $ c7 %o %he !idd"e <4es nd h s i%s ori4ins in + %ho"ic ri%u ": dr m %ic di "o4ue w s inser%ed in%o %he m ss= %here were "so dr m %ic presen% %ions o3 $i$"ic " even%s or p" ys $ou% 4ospe" ch r c%ers nd s in%s9 6r du ""y dr m %ic presen% %ions were divorced 3rom +hurch ri%u " nd moved ou% o3 %he +hurch in%o %he %own9 :ec use %he c"er4y were 3or$idden %o c% in churches (121'&, dr m p ssed in%o %he h nds o3 " ymen, in p r%icu" r %he %own 4ui"ds9 Thus mys%ery nd mir c"e p" ys deve"oped which were popu" r 3rom %he 1(%h nd 14%h cen%uries up %o %he 16%h cen%ury9 @&ster& and @iracle 5la&s ! in purpose: %o o33er re"i4ious ins%ruc%ion in n en%er% inin4 nd e si"y unders% nd $"e w y %o " r4e"y i""i%er %e udience9 !ir c"e p" ys concen%r %e on %he "ives nd mir c"es o3 s in%s nd on %he Vir4in ! ry9 !ys%ery p" ys reN%e"" $i$"ic " s%ories 3rom %he E"d nd ?ew Tes% men% nd c n comprise who"e cyc"es o3 p" ys, e949 %he Hor7 cyc"e consis%s o3 48 p" ys coverin4 %he +re %ion %o *ud4men% ; y9 /er3ormed m in"y in En4"ish (r %her %h n 8 %in& $y v rious %own 4ui"ds, usu ""y on +orpus +hris%i ; y9 < p r%icu" r 4ui"d wou"d $e responsi$"e 3or p r%icu" r sec%ion o3 %he p" y, e949 %he $ 7ers 3or %he per3orm nce o3 %he 8 s% )upper9 The p" ys were per3ormed on " r4e c r% or w 4on which w s used %o %r nspor% %he c%ors $e%ween "oc %ions9 This w s @s% 4e in %he roundI: %he udience surrounded i% on "" sides9 <n impor% n% ch r c%er in %hese p" ys w s %he devi" who o3%en "so con%ri$u%ed comic e"emen%9 @oralit& 5la& EC%reme"y popu" r in %he 15%h nd e r"y 16%h cen%uries9 Tries %o %e ch mor " "essons nd %o ins%i" simp"e mess 4e o3 +hris%i n s "v %ion9 !or "i%y p" ys re dr m %ised ""e4ories in which personi3ied vir%ues, vices nd %emp% %ions s%ru44"e 3or %he sou" o3 m n s he %r ve"s 3rom $ir%h %o de %h9 The c%ion is "w ys %he s me: %he hero (c ""ed Everym n or +hris%i n& is %emp%ed %o sin $y n evi" 3i4ure 7nown s %he Vice9 He ini%i ""y succum$s %o %he Vice $u% 3in ""y sees %he error o3 his w ys nd 3inds %he p %h %o s "v %ion9 The Vice is eCposed nd dis4r ced9 E r"ies% survivin4 eC mp"e The Castle of Perseverance (c9142'&, $es% 7nown eC mp"e Everyman (c9151'&9 The "e4 cies o3 %he mor "i%y p" y: The Vice is %he 3orerunner o3 %he ch rism %ic vi"" ins in m ny E"i# $e%h n.* co$e n p" ys

(e949 I 4o, 0ich rd III& The s%ron4"y deve"oped p"o% s%ruc%ure (e949 Doctor 2austus&

)nfluence of classical drama From c" ssic " dr m En4"ish 0en iss nce dr m %is%s derived: < coheren%, "o4ic ""y deve"oped p"o% The orderin4 o3 %he dr m %ic m %eri " in%o c%s nd scenes +er% in s%oc7 ch r c%ers +er% in s%oc7 mo%i3s The sep r %ion o3 %he 4enres in%o comedy nd %r 4edy )nfluence of classical comed& / r%icu" r"y in3"uen%i " were %he comedies $y %he 0om n wri%ers /" u%us nd Terence9 From %hem %he 0en iss nce dr m %is%s derived: )%oc7 mo%i3s !is% 7en iden%i%ies )ecre% "ove 33 irs )ep r %ed 3 mi"ies %h % 3ind %o4e%her 3%er m ny 3rus%r %in4 eCperiences The uneCpec%ed re ppe r nce o3 chi"dren $e"ieved "os% )%oc7 ch r c%ers The $r 44in4 so"dier (@mi"es 4"oriosusI& / r si%e 3i4ures (i9e9 "ower c" ss ch r c%ers who 13eed2 on o%hers& The wi%%y serv n% who is superior in his in%e""i4ence %o his m s%er The s%u$$orn 3 %her who %ries %o oppose %he m %ch o3 his chi"dren nd is ou%wi%%ed $y %he youn4er 4ener %ion The 4ir" dis4uisin4 herse"3 s m n nd 3o""owin4 her "over %o %he w rs9 Firs% comedies wri%%en in En4"ish: %al#h %oister Doister $y ?icho" s Kd "" (c9 155(&= *ammer *urton/s )eedle pro$ $"y $y -i""i m )%evenson (c9 155,&9 )nfluence of classical traged& / r%icu" r"y in3"uen%i " were %he p" ys $y )enec (c9 4:+N65<;& )enec 1s p" ys were pro$ $"y c"ose% dr m s= %hey re chie3"y rewor7in4s o3 p" ys $y Euripides (Phaedra5 Medea5 .!amemnon5 1edi#us, e%c9& +h r c%eris%ics: +omposed in 3ive c%s wi%h in%ervenin4 choruses 8on4 rhe%oric " speeches, wi%h impor% n% c%ions recoun%ed $y messen4ers 8on4 re3"ec%ive so"i"oDuies :"ood%hirs%y p"o%s inc"udin4 murder, reven4e, inces%, du"%ery, e%c9 6ods, 4hos%s nd wi%ches % 7e p r% in %he c%ion Firs% En4"ish %r 4edy: *orboduc $y Thom s ) c7vi""e nd Thom s ?or%on (1561&9 Firs% En4"ish p" y %o use $" n7 verse9 Su3genres of Renaissance Drama: The Revenge Traged& !1" The mos% in3"uen%i " mode" w s )enec 9 +h r c%eris%ic 3e %ures: < secre% murder, usu ""y o3 $eni4n ru"er $y $ d one < 4hos%"y visi% %ion o3 %he murder vic%im %o youn4er 7insm n, o3%en son9 < period o3 dis4uise, in%ri4ue or p"o%%in4 in which %he murderer nd %he ven4er scheme 4 ins% e ch o%her9 < descen% in%o ei%her re " or 3ei4ned m dness $y %he ven4er or one o3 %he minor

ch r c%ers9 <n erup%ion o3 4ener " vio"ence % %he end durin4 which mos% o3 %he m in ch r c%ers inc"udin4 %he ven4er die9 -hi"e in )enec 2s %r 4edies %he 4ruesome even%s re no% shown on s% 4e $u% on"y repor%ed $y messen4ers, %he E"i# $e%h ns represen%ed %hem on s% 4e %o s %is3y %he ppe%i%e o3 con%empor ry udiences 3or vio"ence nd horror9

Su3genres: The Revenge Traged& !#" The 3irs% reven4e %r 4edy o3 %his 7ind in En4"ish w s Thom s Gyd1s The '#anish Tra!edy (1586&9 )h 7espe re1s Titus .ndronicus (c915,'& nd ! r"owe1s The @e0 of Malta (c915,2& 3o""owed9 :ec use %hese p" ys re so sens %ion " nd 3u"" o3 %he mos% 4ruesome even%s %hey re "so c ""ed >%r 4edies o3 $"ood@9 $amlet is "so reven4e %r 4edy $u% "ess $"oody nd in 4ener " %r nscends %he )enec n conven%ions, e949 3or H m"e% reven4e is no% s%r i4h%3orw rd du%y $u% 3 c%u ""y nd mor ""y m$i4uous9 Su3genres: The domestic traged& < 7ind o3 %r 4edy in which %he "e din4 ch r c%ers $e"on4 %o %he midd"e c" ss r %her %h n %o %he roy " or no$"e r n7s9 The c%ion concerns 3 mi"y 33 irs r %her %h n pu$"ic m %%ers o3 s% %e9 ;omes%ic %r 4edies re usu ""y $ sed on re "N"i3e crimes ei%her recen% or his%oric "9 The 3irs% En4"ish domes%ic %r 4edy is %he nonymous Tra!edy of Mr .rden of 2aversham (15,2& which is $ sed on n c%u " murder in F versh m9 E%her eC mp"es inc"ude . Warnin! for 2air Women (<non9 15,,&, . Aorkshire Tra!edy (<non9 c( 16'6& or Thom s Heywood2s . Woman 7illed 0ith 7indness (16'5&9 )h 7espe re2s 1thello, "%hou4h no% $ sed on re "N"i3e crime, is "so some%imes considered domes%ic %r 4edy9 Su3genres: istor& or Chronicle 5la&s /" ys represen%in4 even%s dr wn who""y or p r%"y 3rom recorded his%ory F"ourished $e%ween %he 158's nd 16('s, %ime o3 in%ense n %ion "is%ic 3ee"in49 The p" ys de " wi%h %he n %ion " his%ory o3 En4" nd nd c "" 3or n %ion " uni%y nd suppor% o3 %he ru"in4 dyn s%y9 The p" ys re $ sed on con%empor ry his%ory wri%in4, in p r%icu" r Edw rd H "" The "nion of the T0o )oble and &llustre 2amilies of Lancaster and Aork (1548& 0 ph e" Ho"inshed The Chronicles of En!land5 'cotland5 and &reland (1555& ! r"owe si4ni3ic n%"y con%ri$u%ed %o %he 4enre (Ed0ard II& $u% i%s 4re %es% pr c%i%ioner is )h 7espe re who wro%e , his%ories9 < su$4enre o3 %he his%ory p" y is %he 0om n his%ory p" y9 I% de "s wi%h 0om n his%ory nd 3 mous his%oric " 3i4ures such s *u"ius + es r, <n%hony nd +"eop %r , +orio" nus, e%c9 Su3genres: The Romantic Comed& ;eve"oped on %he mode" o3 con%empor ry prose rom nce such s )idney1s .rcadia or Thom s 8od4e1s %osalynde, %he source o3 )h 7espe re2s .s you like it9 In rom n%ic comedy we o3%en encoun%er p s%or " nd "yric " scenes9 The dr m %ic c%ion usu ""y 3e %ures "ove 33 ir %h % invo"ves $e u%i3u" nd en4 4in4 heroine who some%imes dis4uises herse"3 s m n (mis% 7en iden%i%ies= Dues%ionin4 o3 4ender ro"es&9 The course o3 %his "ove does no% run smoo%h"y $u% in %he end "" o$s% c"es re

overcome nd %here is h ppy endin4 (usu ""y m rri 4e&9 The p"o% 3reDuen%"y un3o"ds durin4 %empor ry 3es%ive %ime o3 re"e se 3rom es% $"ished cu"%ur " res%r in%s (e949 Midsummer )i!ht/s Dream, T0elfth )i!ht:9 In con%r s% %o %r 4edy or his%ory %he ch r c%ers re "ess soci ""y e"ev %ed= inc"usion o3 s%oc7 ch r c%ers9

Su3genres: The realistic or satirical comed& ;ue %o i%s se%%in4 nd %he soci " "eve" i%s pro% 4onis%s come 3rom, %his su$4enre is "so re3erred %o s ci%y or ci%i#en comedy9 I% rep" ced %he rom n%ic comedy nd is ssoci %ed wi%h %he * co$e n <4e9 I%s 4re %es% pr c%i%ioner is :en *onson ( ol#one, The .lchemist&9 I% is usu ""y se% in 8ondon nd 3e %ures v rie%y o3 8ondon %ypes whose 3o""ies re s %iri#ed9 The dr m %ic c%ion is prope""ed $y in%ri4ue nd decei%, o3%en s me ns o3 cDuirin4 seC nd.or money9 This 7ind o3 comedy h s did c%ic im: i% ho"ds up mirror %o socie%y so %h % i% m y reco4ni#e i%s vices nd 3o""ies nd se% $ou% i%s improvemen%9 Su3genres: Tragi.comed& Is p r%icu" r"y ssoci %ed wi%h %he * co$e n p" ywri4h%s Fr ncis :e umon% nd *ohn F"e%cher who, in co"" $or %ion, cre %ed 3 shion 3or dr m %ic mode %h % $"ends e"emen%s o3 comedy nd %r 4edy9 :e umon% nd F"e%cherTs %r 4iNcomedies such s . 7in! and )o 7in!5 The MaidBs Tra!edy or Philaster re ch r c%erised $y rom n%ic nd 3 s%Nmovin4 p"o% de "in4 wi%h "ove, Je "ousy, %re chery, in%ri4ue, nd dis4uises me"odr m %ic, uneCpec%ed nd impro$ $"e revers " o3 3or%une 3or %he pro% 4onis%s who h d seemed %o $e he din4 3or dis s%er h ppy endin4 %o po%en%i ""y %r 4ic s%ory $"endin4 o3 serious nd "i4h% moods )ome o3 )h 7espe re2s p" ys "so con3orm %o %he %r 4iNcomic mode, in p r%icu" r his " %e p" ys The Winter/s Tale nd Cymbeline9

Session ,
The 'li2a3ethan 5la&house :e3ore 1556 p" ys were per3ormed $y i%iner n% c%in4 4roups in v rious p" ces: co""e4es, schoo"s, coun%ry houses, 4ui"d h ""s, %he Inns o3 +our%, cour%y rds o3 inns, e%c9 /er3orm nces %oo7 p" ce on %empor ry s% 4es in %he round, e949 c r%s wi%h cur% in round %hem9 The 3irs% 3irm, purposeN$ui"% %he %re $ui"din4 w s erec%ed $y * mes :ur$ 4e in 1556 in )horedi%ch nor%hNe s% o3 %he +i%y o3 8ondon9 I% w s c ""ed The Theatre9 E%her pu$"ic %he %res in %he s me re : The Curtain (1555&5 The 2ortune (16''&5 The %ed Bull (16'5&( < second %he %re dis%ric% deve"oped on %he sou%h $ n7 o3 %he Th mes on : n7side: The %ose (1585&, The '0an (15,5&, The *lobe (15,,&9 ?eC% %o %he %he %res you wou"d 3ind $u""N nd $e rN$ i%in4 ren s, $ro%he"s nd inns9 The %he %res were $ui"% in %he soNc ""ed @"i$er%iesI, dis%ric%s ou%side %he Jurisdic%ion o3 %he +i%y o3 8ondon9 London in the earl& 1*-+s (isscher6s 1anorama of London !1=1="

'li2a3ethan 5la&houses: The 'vidence The p" ys %hemse"ves +on%empor ry descrip%ions o3 %he %ric " "i3e, e949 Thom s ;e77er2s *ullCs $orn Book (16',& 8e4 " documen%s re4 rdin4 %he or4 nis %ion o3 %he %he %re +on%r c% 3or %he $ui"din4 o3 %he 2ortune Theatre wi%h speci3ic %ions 3or %he $ui"ders $enslo0eCs Diary: 3rom 15,2 %o 16'( %he %he %re impres rio /hi"ip Hens"owe 7ep% $oo7 o3 ccoun%s in which he en%ered "" his $usiness %r ns c%ions The %evels .ccounts: de% i"s o3 %he eCpendi%ure o3 %he +rown on per3orm nces <rch eo"o4ic " evidence, in p r%icu" r di4s on %he ori4in " si%e o3 The %ose (discovered in 1,8,& ;r win4s $y E"i# $e%h n c r%o4r phers, such s -ences" s Ho"" r or +" es v n Visscher9 The *oh nnes de -i%% s7e%ch o3 %he inside o3 The 'a0n (15,6&9 I% is %he on"y survivin4 im 4e o3 n E"i# $e%h n p" yhouse 3rom n udience perspec%ive9 The Fohannes de Witt s?etch Reconstruction of the :lo3e Theatre !South3an?< LondonH since 1,,-"

Characteristics of the 'li2a3ethan 5la&house 8 r4e wooden $ui"din4s, usu ""y round or po"y4on "9 ;i33eren% udience c p ci%ies= The *lobe cou"d ho"d over (''' spec% %ors9 0oo3ed s% 4e, cour%y rd in 3ron% o3 i% (open ir= s% ndin4 p" ces 3or %he U4round"in4s1& nd 4 ""eries round %he cour%y rd wi%h se %in4 3or %he richer udience9

)% 4e proJec%ed in%o %he y rd nd w s surrounded $y %he udience on %hree sides (1 pron s% 4e2&9 ! 7es c"ose in%er c%ion $e%ween udience nd spec% %ors possi$"e9 <c%ors wou"d h ve en%ered 3rom %wo doors % %he $ c7 o3 %he s% 4e9 :ehind %he s% 4e w "" w s %he %irin4 house %he dressin4 re 9 En %he second "eve" $ove %he s% 4e w s $ "cony which cou"d $e used $o%h s n c%in4 nd n udience sp ce9 Characteristics of the 'li2a3ethan 5la&house )) <$ove %he $ "cony w s c nopy which she"%ered %he s% 4e 3rom %he we %her nd "so 3ormed %he 3"oor o3 one or more hu%s housin4 %he m chinery 3or speci " e33ec%s nd i%s oper %ors9 From %his re c%ors cou"d "so $e "owered on%o %he s% 4e $y me ns o3 winch9 En %he s% 4e %here w s %r p door which cou"d $e opened %o serve s 4r ve, dun4eon e%c9 or 3rom which devi"s or spiri%s cou"d h ve en%ered or eCi%ed9 /er3orm nces s% r%ed in %he e r"y 3%ernoon ( v i" $i"i%y o3 d y"i4h%V& nd " s%ed $e%ween %wo %o %hree hours9 )e son: )ep%em$er %o 8en%= E s%er %o e r"y summer9 En%r nce 3ees 4r ded ccordin4 %o Du "i%y o3 %he se %9 <udience consis%ed o3 "" " yers o3 E"i# $e%h n socie%y9 5u3licA7utdoor vs. 5rivateA)ndoor Theatres The %he %res discussed so 3 r were "" pu$"ic or ou%door %he %res, i9e9 %hey were ccessi$"e %o wide crossNsec%ion o3 socie%y9 The p" ys wri%%en 3or pu$"ic %he %res wou"d %here3ore c %er 3or %he % s%es o3 4re % v rie%y o3 spec% %ors9 /riv %e %he %res were indoor %he %res nd h d n eCc"usive"y ris%ocr %ic or even cour%"y udience (%his w s prim ri"y due %o %he hi4h en%r nce 3ees&9 The p" ys per3ormed %here c %ered 3or %his 7ind o3 udience9 /riv %e %he %res were much sm ""er (se %in4 c p ci%y: $ou% 6''&9 In priv %e %he %res %he udience wou"d si% direc%"y in 3ron% o3 %he s% 4e nd on 4 ""eries % %he sides9 /er3orm nces %oo7 p" ce in %he evenin4s nd r%i3ici " "i4h%in4 (c nd"es& w s used9 Kse o3 e" $or %e s% 4e m chinery9 Reconstruction of a 1rivate theatre in Staunton< (irginia 5u3licA7utdoor vs. 5rivateA)ndoor Theatres The %wo princip " priv %e %he %res were %he :" c73ri rs nd %he -hi%e3ri rs9 Ini%i ""y, hi4h"y %r ined chi"dren2s comp nies (consis%in4 o3 $oys $e%ween , W 1(& per3ormed %here9 In 16', :" c73ri rs w s cDuired $y %he Gin42s !en ()h 7espe re2s comp ny& nd used s 1win%er house29 :o%h pu$"ic nd priv %e %he %res eCis%ed un%i" 1642 when / r"i men% under /uri% n in3"uence c"osed "" %he %res9 ;urin4 %he +ivi" - r nd %he +ommonwe "%h mos% %he %res were %orn down9 -hen %he %re re%urned wi%h %he 0es%or %ion (166'& none o3 %he o"d p" yhouses h d rem ined s% ndin49 Stage 1ro1erties and costumes In pu$"ic %he %res h rd"y ny s% 4e props or scenery were used9 In )h 7espe re1s p" ys 8'O o3 %he %eC% c n do wi%hou% %hem9 8oc %ions o3 %he scenes re 4iven %hrou4h %he spo7en word (B word scenery&9 )% 4e props %h % 0ere used inc"uded %hrone, $ed, % $"es nd ch irs, c u"dron, rose $ush, e%c9 The we "%h o3 n c%in4 comp ny depended " r4e"y on %he num$er o3 cos%umes i% owned9

The cour% o3%en p ssed on disc rded dresses %o %he comp nies vi %he 0eve"s E33ice9 -hen his%oric " p" ys were per3ormed comp"e%e his%oric " u%hen%ici%y w s no% imed %9 0 %her E"i# $e%h n dress w s d p%ed wi%h 4es%ures %ow rds %he p s% or %he 3orei4n9

Costumes in 'li2a3ethan Drama

En"y survivin4 con%empor ry dr win4 o3 scene 3rom )h 7espe re p" y (Titus .ndronicus: 0ctors and 0cting Com1anies <% %he $e4innin4 o3 %he 16%h cen%ury %he c%or w s no% reco4nised cr 3%sm n or pro3ession "9 His "ive"ihood h d no pro%ec%ion in " w9 In 1552 n <c% w s p ssed dec" rin4 %h % on"y 4roups o3 p" yers %h % were under %he person " p %ron 4e o3 no$"em n were ""owed %o %our9 This is where %he n mes o3 c%in4 comp nies derive 3rom: %he <dmir "2s !en, %he 8ord +h m$er" in2s !en9 The c%ors usu ""y wore %heir p %ron2s "ivery9 The %wo mos% success3u" nd impor% n% c%in4 comp nies under E"i# $e%h I were The <dmir "2s !en nd The 8ord +h m$er" in2s !en (B )h 7espe re2s comp ny&9 They enJoyed %he cour%2s pro%ec%ion9 -hen * mes I c me %o %he %hrone he m de himse"3 p %ron o3 )h 7espe re2s comp ny9 From %hen on %he comp ny w s 7nown s The Gin42s !en9 0ctors and 0cting Com1anies )) <c%in4 comp nies were or4 nised ccordin4 %o sh reho"der sys%em9 The individu " sh reho"der mi4h% ho"d one or sever " sh res nd %hus p r%icip %e in eCpendi%ures nd in revenues9 To4e%her %he sh rers owned %he Join% s%oc7 o3 p" y scrip%s, cos%umes, nd s% 4e proper%ies9 The Gin41s !en "so owned %he %he %re %hey c%ed in, The *lobe9 )h 7espe re 4rew rich no% s wri%er or n c%or $u% $ec use he w s sh reho"der in %he Gin42s !en nd The *lobe( <c%in4 comp nies h d %hree %ypes o3 mem$ers The sh reho"ders or owners The sh reho"ders2 emp"oyees: c%ors, s% 4eh nds, promp%ers, musici ns, e%c9 <ppren%ices, i9e9 $oys who served 3orm " %erm o3 ppren%iceship %o one o3 %he sh rers 0ctors and 0cting Com1anies ))): ;o& 0ctors The ppren%ices or $oy c%ors p" yed 3em "e or Juveni"e ro"es9 :e3ore %he 0es%or %ion %here were no 3em "e c%ors9 <"" 3em "e ro"es were imperson %ed $y $oys9 +rossNdressin4 w s %here3ore si4ni3ic n% 3e %ure o3 E"i# $e%h n %he %re nd %he ero%ic %ension cre %ed $y $oys dressed s 4ir"s w s eCp"oi%ed $y p" ys in which dis4uises re essen%i " p"o% e"emen%s (e949 T0elfth )i!ht5 .s Aou Like &t:( I% w s on"y 3rom %he 0es%or %ion nd %he reNopenin4 o3 %he %he %res onw rds %h % women were ""owed %o c% on s% 4e9 0ctors and 0cting Com1anies )( /" ys were 4iven in reper%ory sys%em on "mos% every 3%ernoon o3 %he wee79 <$ou% %wo wee7s were ""owed 3or %he rehe rs " o3 new p" y9

<c%ors did no% h ve prin%ed copies o3 %he p" ys $u% on"y wor7ed on Up r%s1 wri%%en ou% on scro""s 4ivin4 on"y %he cue "ines 3rom o%her ch r c%ers1 speeches9 ;ou$"in4 o3 ro"es w s common pr c%ice9 <c%in4 s%y"es were pro$ $"y more s% nd rdised %h n %od y, i9e9 c%in4 wou"d h ve consis%ed o3 sys%em o3 c re3u""y e" $or %ed 4es%ures re"ev n% %o p r%icu" r si%u %ions9 <s in ny %he %ric " 4e %here were s% r c%ors, e94 Edw rd <""eyn (1566N1626& The <dmir "2s !en 0ich rd :ur$ 4e (1565N161,& The 8ord +h m$er" in2s !en -i"" Gemp (died 16'6&, 0o$er% <rmin %he c"owns in The 8ord +h m$er" in2s !en

Writing and 5u3lishing In %he E"i# $e%h n <4e %he pu$"ic %ion o3 p" ys w s r %her %he eCcep%ion %h n %he ru"e9 0e sons: For "on4 %ime p" ys were no% re4 rded s 1proper2 "i%er %ure $u% mere"y s en%er% inmen%9 This ch n4ed 3rom %he pu$"ic %ion o3 :en *onson2s -or7s (1616& nd o3 )h 7espe re2s Firs% Fo"io (162(& onw rds9 < p" ywri4h% did no% se"" his p" y %o pu$"isher $u% %o n c%in4 comp ny9 -hi"e %he p" y w s in per3orm nce nd money cou"d $e m de o3 i%, n c%in4 comp ny wou"d h ve h d no in%eres% in pu$"ishin4 i%9 I3 individu " p" ys were prin%ed in Du r%o 3orm % %hese were o3%en un u%horised, pir %ed edi%ions9 <s re4 rds %he wri%in4 o3 p" ys co"" $or %ion $e%ween p" ywri4h%s w s very common9 )h 7espe re co"" $or %ed wi%h *ohn F"e%cher on $enry &&& nd The T0o )oble 7insmen9

Session 1+
Christo1her @arlowe !1*=%.1*,$" <nonymous por%r i% o3 21ye r o"d m n (1585& $e"ieved %o show +hris%opher ! r"owe Christo1her @arlowe <ssoci %ed wi%h %he 4roup o3 "oose"y connec%ed poe%s nd p" ywri4h%s 7nown s >universi%y wi%s@ $ec use %hey "" s%udied % EC3ord nd + m$rid4e9 :esides ! r"owe %hey inc"ude 6eor4e /ee"e, 0o$er% 6reene, Thom s ? she, *ohn 8y"y, nd Thom s 8od4e9 They p ved %he w y 3or )h 7espe re9 ! r"owe w s $orn in + n%er$ury9 His 3 %her w s shoem 7er nd churchw rden9 -i%h %he he"p o3 scho" rships ! r"owe w s $"e %o %%end 4r mm r schoo" nd + m$rid4e universi%y9 <% + m$rid4e he s% r%ed %o wri%e poe%ry nd p" ys, e949 Dido 3ueen of Cartha!e9 There re indic %ions %h % "re dy s s%uden% ! r"owe w s wor7in4 s spy 3or )ir Fr ncis - "sin4h m2s secre% service, n or4 nis %ion se% up m in"y %o coun%er %he 0om n + %ho"ic %hre % %o Mueen E"i# $e%h9 Christo1her @arlowe )) Firs% %he %ric " success: Tamburlaine the *reat $ou% 14%h cen%ury !on4o"i n w r"ord s%rivin4 3or wor"d domin %ion (3irs% per3orm nce c91585&9 T m$ur" ine is %he 3irs% eC mp"e o3 ! r"owe1s ch r c%eris%ic 3i4ure o3 %he overre cher: ch r c%er who $rin4 $ou% his own des%ruc%ion %hrou4h $ound"ess m$i%ion, 4reed, nd hun4er 3or power9

In his p" ys ! r"owe emp"oyed new 7ind o3 " n4u 4e, music ", immense"y ener4e%ic $" n7 verse un%i" %hen un7nown in En4"ish dr m 9 He com$ined %his wi%h eC%r v 4 n%, o3%en $om$ s%ic im 4ery9 E%her p" ys: Tamburlaine the *reat Part = Doctor 2austus The @e0 of Malta The Massacre at Paris Ed0ard && !os% o3 ! r"owe2s p" ys were per3ormed % %he 0ose The %re $y %he <dmir "2s !en, %he %i%"e ro"es were p" yed $y Edw rd <""eyn9 Christo1her @arlowe ))) /oe%ry $ero and Leander: un3inished shor% ero%ic epic $ou% %he unh ppy "ove $e%ween Hero nd 8e nder @The / ssion %e )hepherd %o his 8oveI: 3 mous p s%or " "ove poem The " s% ye rs o3 ! r"owe2s "i3e were oversh dowed $y ccus %ions o3 %heism, sedi%ion nd homoseCu "i%y9 En (' ! y 15,( ! r"owe w s 7i""ed (murderedX& under mys%erious circums% nces % n inn in %he 8ondon su$ur$ o3 ;ep%3ord9 ! r"owe2s con%ri$u%ion %o %he deve"opmen% o3 dr m 0e3inemen% o3 %he use o3 $" n7 verse in dr m < new concep%ion o3 heroic %r 4edy $ui"% round %he 3i4ure o3 %he overre cher ero and Leander :e"on4s %o %he poe%ic su$4enre o3 %he epy""ion or $rie3 ero%ic epic which w s very popu" r in %he 0en iss nce nd derived 3rom c" ssic " mode"s9 : sed on 6%h cen%ury poem $y %he 6ree7 wri%er !us eus nd Evid2s $eroides9 I% rewor7s %he my%hic " s%ory o3 %he doomed "ove o3 Hero nd 8e nder9 +h r c%eris%ics: Kse o3 in%ense, sensu ", eCu$er n% " n4u 4e ECcessive use o3 im 4ery nd ""usions %o my%ho"o4y Ern men% " nd di4ressive Kr$ ne, wi%%y, o3%en 3unny ECp"ores v rious m ni3es% %ions o3 desire +onsumm %e con%ro" o3 me%re nd rhyme: heroic coup"e%s Ends wi%h %he mornin4 3%er Hero nd 8e nder2s 3irs% ni4h% o3 "ove9 +on%roversy $ou% whe%her ! r"owe w n%ed his poem %o end % %his poin% or whe%her i% is un3inished9 Doctor Faustus / The TeGt There re %wo versions o3 Doctor 2austus ($o%h pu$"ished in Du r%o 3orm % 3%er ! r"owe1s de %h&: The <N%eC% (pu$"ished 16'4& The :N%eC% (pu$"ished 1616&: one %hird "on4er %h n %he <N%eC% due %o dded m %eri " in %he midd"e p r% o3 %he p" y, eC%endin4 %he scenes in 0ome nd % %he Emperor1s cour% There is no possi$i"i%y o3 recons%ruc%in4 ! r"owe2s ori4in " scrip%9 ! ny edi%ors $e"ieve %he 16'4 edi%ion %o $e more u%hori% %ive9 Doctor Faustus /Source and Dating of the 5la& /rim ry source: 2austbuch pu$"ished in Fr n73ur% 15859 +o""ec%ion o3 semiNmy%hic " % "es $ou% re "N"i3e 6erm n scho" r nd %r ve""in4 m 4ici n, *oh nn o3 He"ms% d%, "so 7nown s *oh nn F us% or F us%us9 )oon %r ns" %ed in%o o%her Europe n " n4u 4e9 Firs% survivin4 En4"ish version ppe red in

15,2 s The $istorie of the Damnable Life and Deserved Death of Doctor @ohn 2austus( I% is un7nown when ! r"owe eC c%"y wro%e %he p" y nd when i% w s 3irs% per3ormed9 The 3irs% recorded per3orm nce %oo7 p" ce on (' )ep%em$er 15,4 % %he 0ose %he %re (<dmir "2s !en= Edw rd <""eyn s ;oc%or F us%us= s% r c%or& Doctor Faustus / Sources 1. Tr ns" %ion o3 %he 6erm n 2austbuch( ! r"owe dheres c"ose"y %o i%s %hreeNp r% s%ruc%ure: < con%r c% wi%h %he devi" nd rese rch in%o cosmo"o4y nd 4eo4r phy !ir cu"ous %r ve"s nd disp" ys o3 conJurin4 ;e %h, re4re% nd d mn %ion 29 :i$"ic " nd c" ssic " sources <d m nd Eve nd %heir 3 "" 3rom 4r ce The 3 "" o3 8uci3er 3rom he ven %o he"" s punishmen% 3or wishin4 %o $e eDu " wi%h 6od The my%h o3 ; ed "us nd Ic rus (9 Tr di%ion o3 %he mor "i%y p" y Doctor Faustus and the @oralit& 5la&: 5arallels /"o%: cen%r " ch r c%er 3 ""s in%o evi" w ys $u% repe %ed"y considers repen% nce ;evi"s use spec% cu" r % c%ics %o dis%r c% him 3rom serious %hou4h%s $ou% 6od )cenes o3 "ow comedy The presence o3 ch r c%ers %h % c n $e re d s ""e4ories The 6ood nd %he Evi" <n4e" The E"d ! n The )even ;e d"y )ins The +"own (i4nor nce& V "des, +orne"ius, He"en, %he devi"s (%emp%ers& !eph s%ophi"is (evi" personi3ied& F us%us ( m n7ind or everym n 3i4ure& Doctor Faustus and the @oralit& 5la&: Contrasts !os% ch r c%ers h ve Ure "1 s opposed %o ""e4oric " n mes which 4ives %hem more individu "i%y9 !eph s%ophi"is nd F us%us re round, comp"eC, con%r dic%ory ch r c%ers9 In mor "i%y p" ys Everym n is %emp%ed nd succum$s9 F us%us decides 0ithout %emp% %ion %h % he w n%s %o pr c%ise $" c7 m 4ic nd se"" his sou" %o %he devi"9 Kn"i7e Everym n, F us%us does no% repen% nd is d mned9 F us%us is %r 4ic hero: he is po%en%i ""y no$"e ch r c%er wi%h %r 4ic 3" w %h % $rin4s $ou% his des%ruc%ion9 Doctor Faustus . Structure Trip r%i%e s%ruc%ure (derived 3rom %he 2austbuch&9 En"y / r% 1 nd ( re s%ric%"y necess ry 3or %he deve"opmen% o3 %he p"o%9 The scenes o3 / r% 2 re re" %ive"y se"3Ncon% ined nd episodic9 They, however, cre %e %he sense o3 wider wor"d nd wider soci " spec%rum9 +omic scenes c n $e unders%ood s very "oose su$p"o%, commen%in4 on or p rodyin4 %he even%s o3 %he m in p"o%9 The p" y unr ve"s very 3 s%9 <c%ed %ime B 24 ye rs9 <c%in4 %ime B $ou% 2 hours9 +on%r s% $e%ween %e""in4 (e949 chorus& nd showin49

Session 11

William Sha?es1eare !1*=%.1=1=" The ;roeshou% en4r vin4 (Firs% Fo"io 162(& )h 7espe re1s "i3e is % "e s% s we"" documen%ed s %hose o3 mos% o3 his con%empor ries who did no% $e"on4 %o ris%ocr %ic 3 mi"ies9 -e 7now more $ou% him %h n $ou% ny o%her dr m %is% o3 his %ime eCcep% :en *onson9 There is, %here3ore, no re son %o dou$% %h % )h 7espe re eCis%ed nd %h % i% w s he who wro%e %he p" ys (> u%horship con%roversy@&9 )h 7espe re w s $ p%ised in Ho"y Trini%y +hurch )%r %3orduponN <von on 26 <pri" 15649 Tr di%ion h s i% %h % he w s $orn on 2( <pri" 1564 ()%9 6eor4e1s ; y&9 William Sha?es1eare )h 7espe re1s 3 %her *ohn w s 4"over nd woo"de "er9 His mo%her ! ry w s %he d u4h%er o3 prosperous 3 rmer9 ;urin4 )h 7espe re1s chi"dhood his 3 %her p" yed prominen% p r% in "oc " 33 irs, $ecomin4 $ i"i33 (m yor& nd Jus%ice o3 %he pe ce9 8 %er, however, his 3or%unes dec"ined9 )h 7espe re presum $"y %%ended %he "oc " 4r mm r schoo" which provided %he 7ind o3 educ %ion in %he c" ssics %h % "ies $ehind %he p" ys nd poems9 He wou"d "so h ve encoun%ered %he $i$"e nd %he " n4u 4e o3 sermons9 In 1582 )h 7espe re m rried <nne H %h w y o3 )ho%%ery, vi"" 4e c"ose %o )%r %3ord9 <nne w s ei4h% ye rs o"der nd "re dy pre4n n% % %he %ime o3 m rri 4e9 They h d %hree chi"dren: )us nn nd %he %wins H mne% nd *udi%h9 H mne% died 4ed 119 <"%hou4h )h 7espe re2s pro3ession " c reer cen%red on 8ondon, his 3 mi"y rem ined in )%r %3ord9 )h 7espe re "w ys m in% ined "in7s wi%h %he %own, $ou4h% proper%y %here nd 3in ""y re%ired %here9 William Sha?es1eare )) The ye rs $e%ween %he chris%enin4 o3 his %wins (1585& nd %he 3irs% survivin4 re3erence %o )h 7espe re1s wor7 s p" ywri4h% (15,2& re re3erred %o s %he >"os% ye rs@9 -e do no% 7now when )h 7espe re Joined %he %he %re 3%er his m rri 4e, when he moved %o 8ondon nd when he $e4 n %o wri%e9 In *reene/s *roats0orth of Wit (15,2& )h 7espe re is re3erred %o s n ups% r% +row, $e u%i3ied wi%h our 3e %hers, %h % wi%h his Ty!ers hart 0ra#t in a Players hyde, supposes he is s we"" $"e %o $om$ s% ou% $" n7 verse s %he $es% o3 you: nd $ein4 n $so"u%e &ohannes fac totum, is in his owne concei% %he on"y )h 7eN scene in coun%rey9 William Sha?es1eare ))) E r"y in his c reer )h 7espe re w s pro$ $"y 3ree" nce p" ywri4h%, wor7in4 3or more %h n one comp ny9 -e 7now %h % he w s "so n c%or, % 7in4 on minor ro"es9 8e4end h s i% %h % he p" yed <d m in .s Aou Like &t nd %he 4hos% in $amlet9 ;urin4 %he c"osure o3 %he %he %res 3rom *une 15,2 %o ! y 15,4 )h 7espe re pu$"ished his shor% ero%ic epics (epy""i & enus and .donis (15,(& The %a#e of Lucrece (15,4& :o%h re dedic %ed %o Henry -rio%hes"ey, %he E r" o3 )ou%h mp%on9 He mi4h% "so $e %he dedic %ee o3 )h 7espe re2s 'onnets or even %he 1youn4 m n2 ddressed in %he sonne%s9 William Sha?es1eare )(

<3%er %he reopenin4 o3 %he %he %res %he 8ord +h m$er" in2s !en (" %er Gin42s !en& were 3ormed9 )h 7espe re Joined s sh rer, p" ywri4h% nd c%or nd rem ined wi%h %he comp ny 3or %he res% o3 his c reer9 He wro%e $ou% %wo p" ys ye r 3or his comp ny9 <% 3irs% %he 8ord +h m$er" in2s !en p" yed % The Theatre in ?or%h 8ondon9 In 15,, The *lobe on : n7side $ec me %heir perm nen% home9 -hi"e )h 7espe re rose %o 3 me in 8ondon his 3 mi"y "i3e con%inued in )%r %3ord: In 15,6 his on"y son H mne% dies9 In %he s me ye r his 3 %her is 4r n%ed co % o3 rms= 3rom %hen on he cou"d c "" himse"3 >4en%"em n@= -i""i m wou"d inheri% %he %i%"e= In 15,5 he $uys one o3 )%r %3ord1s " r4es% houses, ?ew /" ce9 William Sha?es1eare ( 16'(: %he 8ord +h m$er" in1s !en $ecome %he Gin41s !en9 16'8: %he Gin41s !en cDuire %he "e se o3 %he :" c73ri rs indoor %he %re 16',: )h 7espe re1s sonne%s re pu$"ished From 161' )h 7espe re wi%hdr ws 3rom 8ondon nd reduces his dr m %ic ou%pu%9 161( %he *lobe $urns down durin4 per3orm nce o3 $enry &&&( I% is re$ui"% immedi %e"y 3%erw rds9 ;ies on 2( <pri" 1616 in )%r %3ord9 + use o3 de %h is un7nown9 :uried in prominen% posi%ion in %he ch nce" o3 Ho"y Trini%y +hurch, )%r %3ord9 < 3ew ye rs " %er $us% o3 )h 7espe re $y %he s%onem son 6heer r% * nssen is pu% up in %he church9 Sha?es1eare6s Will In 4ener " %he wi"" is 3 ir"y conven%ion " nd $e3i%s $our4eois 4en%"em n9 The $u"7 o3 his proper%y 4oes %o his d u4h%er )us nn = r %her "ess 4oes %o his second d u4h%er *udi%h9 He remem$ers o%her mem$ers o3 his 3 mi"y, 3riends, nd %hree o3 his c%in4 co""e 4ues (:ur$ 4e, Hemin4es nd +onde""&9 +on%roversi " is %he %re %men% o3 his wi3e: <nne is no% men%ioned $y n me nd on"y receives Umy second $es% $ed wi%h %he 3urni%ure19 5ortraits of Sha?es1eare There re on"y %wo por%r i%s $y )h 7espe re wi%h s%ron4 c" im %o u%hen%ici%y The $us% $y 6heer r% * nssen in Ho"y Trini%y +hurch )%r %3ord The en4r vin4 $y ! r%in ;roeshou% on %he %i%"e p 4e o3 %he Firs% Fo"io < "esser c" im o3 u%hen%ici%y c n $e m de 3or %he soNc ""ed +h ndos por%r i%9 /ossi$"y i% is %he on"y por%r i% o3 )h 7espe re p in%ed durin4 his "i3e%ime9 5rinting Sha?es1eare6s Wor?s The on"y wor7s %h % )h 7espe re himse"3 seems %o h ve c red $ou% pu%%in4 in%o prin% re %he n rr %ive poems enus and .donis nd The %a#e of Lucrece9 <$ou% h "3 o3 )h 7espe re1s p" ys were prin%ed in sin4"e Du r%o edi%ions durin4 his "i3e%ime9 There is no evidence o3 his invo"vemen% in %he prin%in4 process9 -e c n dis%in4uish $e%ween >4ood@ nd >$ d@ Du r%os9 : d Du r%os: %he Du "i%y o3 %he %eC% is in3erior %o "%ern %ive versions= o3%en %hey re pir %ed or un u%horised edi%ions pu% %o4e%her 3rom memory $y c%ors or m y$e even spec% %ors 6ood Du r%os: prin%ed 3rom u%hen%ic m nuscrip%s9 I% is no% c"e r why )h 7espe re1s comp ny re"e sed re"i $"e %eC%s o3 some p" ys $u% no% o3 o%hers9 *ohn Hemin4es nd Henry +onde"", c%ors nd sh rers in %he Gin42s !en, pu% %o4e%her %he

Firs% Fo"io nd pu$"ished i% in 162(9 +on% ins (6 p" ys, 18 o3 which h d no% $een pu$"ished $e3ore9 ?o% inc"uded: The T0o )oble 7insmen nd Pericles( Sha?es1eare6s canon: 0 generic a11roach H ppy or rom n%ic comedies: The +omedy o3 Errors The Two 6en%"emen o3 Veron The T min4 o3 %he )hrew 8ove1s 8 $our1s 8os% < !idsummer ?i4h%1s ;re m The !erch n% o3 Venice The !erry -ives o3 -indsor !uch <do <$ou% ?o%hin4 <s Hou 8i7e I% Twe"3%h ?i4h% Dar? comedies or 1ro3lem 1la&s <""1s -e"" %h % Ends -e"" !e sure 3or !e sure Troi"us nd +ressid Characteristics: -ri%%en % %he $e4innin4 o3 %he rei4n o3 * mes I9 They %hus re3"ec% period o3 %r nsi%ion nd uncer% in%y9 +on% in $s%r c% phi"osophic " re3"ec%ions, %he por%r y " o3 corrup% socie%ies nd pronounced %r 4ic e"emen%s9 istor& or Chronicle 5la&s Firs% %e%r "o4y: Henry VI (1N(& 0ich rd III )econd %e%r "o4y (8 nc s%er %e%r "o4y= >Henri d@& 0ich rd II Henry IV (1N2& Henry V Gin4 *ohn Henry VIII istor& or Chronicle 5la&s )) E ch o3 %he his%ories is se% princip ""y in En4" nd nd ddresses %he po"i%ic " ch ""en4es con3ron%ed $y speci3ic En4"ish 7in49 In 4ener ", however, %he his%ory p" ys eC mine no% sin4"e person or %hre d o3 c%ion $u% r %her seDuence o3 his%oric " even%s re" %ed %o %he %heme o3 %he uni3ic %ion o3 En4" nd9 <"" o3 %he his%ories imp"ici%"y suppor% Tudor ru"e9 -i%h %he eCcep%ion o3 7in! @ohn nd $enry &&&, %hey de " wi%h %he rise nd 3 "" o3 %he House o3 8 nc s%er ( nd i%s $i%%er riv " %he House o3 Hor7& 3rom which %he Tudors were descended9 )h 7espe re2s %wo m in sources re Edw rd H "" The "nion of the T0o )oble and &llustre 2amilies of Lancaster and Aork (1548& 0 ph e" Ho"inshed The Chronicles of En!land5 &reland and 'cotland (1555& )h 7espe re w s no% re ""y in%eres%ed in ccur %e represen% %ions o3 %he rei4ns o3 %he v rious 7in4s9 He w n%ed %o wri%e compe""in4 dr m nd comp"imen% %he ru"in4 dyn s%y %hus he

o3%en %oo7 "i$er%ies wi%h his%oric " 3 c%s9 Roman istor& 5la&s Ti%us <ndronicus (one o3 )h 7espe re1s e r"ies% p" ys= reven4e %r 4edy in %he )enec n s%y"e= %r 4edy o3 $"ood& *u"ius + es r <n%ony nd +"eop %r +orio" nus Characteristics: /rim ry source: /"u% rch The Lives of )oble *reeks and %omans (%r ns" %ion $y )ir Thom s ?or%h& 0om n his%ory w s re4 rded s $ein4 eCemp" ry nd s $ein4 $"e %o %e ch "essons $ou% %he 3unc%ionin4 o3 %he s% %e9 The p" ys re prim ri"y concerned wi%h %he con3"ic% $e%ween 4re % individu " mind nd %he order o3 %he s% %e9 The 0om n p" ys re o3%en "so c" ssed s %r 4edies $ec use %hey eCp"ore 0om n his%ory in %erms o3 individu " person "i%ies9 The Tragedies 0omeo nd *u"ie% (e r"y %r 4edy= uses di33eren% %r 4ic concep% %h n %he >4re %@ %r 4edies= 0omeo nd *u"ie% die due %o eC%ern " circums% nces nd no% due %o %r 4ic 3" w in %hemse"ves9& The m Jor or 4re % %r 4edies: H m"e% ( 33ini%y %o %he reven4e %r 4edy& E%he""o ( 33ini%y %o %he domes%ic %r 4edy& ! c$e%h Gin4 8e r Characteristics: <"" o3 %he pro% 4onis%s re po%en%i ""y ide " nd dmir $"e9 Their 3" ws resu"% 3rom ei%her %r 4ic error, we 7ness, or wron4 decision9 They re %o some eC%en% conscious o3 %heir %r 4ic en% n4"emen%s which %hey eCpress in so"i"oDuies9 <3%er %he c % s%rophe socie%y recons%i%u%es i%se"39 Romances /eric"es +ym$e"ine The -in%er1s T "e The Tempes% Characteristics: These re )h 7espe re1s " %e p" ys9 In con%r s% %o %he %r 4edies )h 7espe re seems "ess in%eres%ed in individu " nd comp"eC ch r c%ers9 <s %hey re $ sed on prose rom nces, %hey m 7e use o3 simi" r mo%i3s nd si%u %ions, such s rem r7 $"e dven%ures, un"i7e"y coincidences, con3"ic%s $e%ween 4ener %ions nd wi%hin 3 mi"ies, un3oreseen conc"usions in which 3or4iveness nd reconci"i %ion re chieved 4 ins% "" odds9 +on% in e"emen%s o3 %r 4edy nd comedy nd %here3ore sh re n 33ini%y wi%h %he %r 4iN comedy s wri%%en $y :e umon% nd F"e%cher9

Sha?es1eare6s Sonnets )onne% cyc"e consis%s o3 154 sonne%s 3o""owin4 %he En4"ish or )h 7espe re n sonne% 3orm %9 /u$"ished in 16',, pp ren%"y wi%hou% )h 7espe re1s supervision nd possi$"y wi%hou% his consen%9 /ro$ $"y wri%%en $e%ween 15,1 nd 16'4 nd circu" %ed mon4 co%erie re dership9 For cen%uries scho" rs h ve pu##"ed over who %he sonne%s re dedic %ed %o nd who %he ddressees in %he sonne%s re9 The mos% "i7e"y c ndid %es 3or %he dedic %ee @!r9 -9H9I re Henry -rio%hes"y, E r" o3 )ou%h mp%on (dedic %ee o3 enus and .donis nd The %a#e of Lucrece& -i""i m Her$er%, E r" o3 /em$ro7e (dedic %ee o3 %he Firs% Fo"io& ! ny scho" rs h ve ssumed %h % %he sonne%s mus% h ve n u%o$io4r phic " $ c74round %he orderin4 o3 %he sonne%s is me nin43u" nd %h % we c n 3ind @s%oryI or @s%oriesI in %hem9 Reading Sha?es1eare6s Sonnets Tr di%ion " re din4: )onne%s 1N15 ce"e$r %e %he $e u%y o3 $e"oved youn4 m n.m "e 3riend nd ur4e him %o m rry nd $e4e% chi"dren who wi"" $e r his im 4e (>procre %ion@ sonne%s& )onne%s 18N126 3ocus on %he youn4 m n, deve"opin4 s domin n% mo%i3 %he des%ruc%ive power o3 %ime, coun%ered on"y $y %he 3orce o3 "ove nd %he perm nence o3 poe%ry (@immor% "i%y %hrou4h poe%ryI& )onne%s 125N154 3ocus chie3"y on %he soNc ""ed >; r7 8 dy@ s n ""urin4 $u% "so de4r din4 o$Jec% o3 desire9 )ome sonne%s hin% % "ove %ri n4"e invo"vin4 The spe 7er, %he m "e 3riend nd %he d r7 " dy The spe 7er, %he m "e 3riend nd riv " poe% )onne%s 15(N154 re $ou% %he %he "ove 4od +upid /ro$"ems wi%h %he %r di%ion " re din4 -e do no% 7now whe%her %he orderin4 o3 %he sonne%s w s done $y %he poe% or $y %he prin%er nd whe%her we re me n% %o re d me nin43u" n rr %ive in%o %he seDuence9 There re comp r %ive"y 3ew sonne%s %h % m 7e un m$i4uous re3erences %o %he youn4 m n, %he d r7 " dy nd %he riv " poe%9 Ksu ""y %he ddressee is no% iden%i3ied or person "ised ( nd mi4h% %here3ore $e @heI or @sheI&9 ! y$e %he sonne%s re no% %he u%o$io4r phic ", in%im %e eCpressions o3 )h 7espe re, %he m n9 /ossi$"y he w s simp"y eCp"orin4 cer% in ro"es nd si%u %ions Jus% s in his p" ys or he wro%e %hem %o p"e se p r%icu" r p %ron9

Session 1#
;en Fonson !1*-#.1=$-" ?eC% %o ! r"owe nd )h 7espe re, *onson is %he %hird 4re % E"i# $e%h n dr m %is%9

*onson 7new )h 7espe re nd %hey c%ed in e ch o%hers1 p" ys (i% is 7nown %h % )h 7espe re c%ed in *onson1s comedy Every Man in his $umour& *onson wro%e "on4 poem in pr ise o3 )h 7espe re which w s pre3iCed %o %he Firs% Fo"io: @To %he !emory o3 !y :e"oved, The <u%hor, !r9 -i""i m )h 7espe re, nd -h % He H %h 8e3% KsI9 In %he poem *onson 3 mous"y c ""s )h 7espe re @%he sou" o3 %he 4eI nd s ys %h % )h 7espe re h d @sm "" 8 %in nd "ess 6ree7I9 ;en Fonson )) *onson1s 3 %her w s c"er4ym n who died $e3ore his son w s $orn in 15529 His s%ep3 %her w s m s%er $ric7" yer9 ;ue %o his in%e""i4ence nd di"i4ence *onson won scho" rship %o %he pres%i4ious -es%mins%er )choo" in 8ondon where he me% his "i3e"on4 men%or, %he scho" r -i""i m + mden9 Throu4h him *onson deve"oped his "ove o3 c" ssic " "e rnin49 <s he h d no money %o con%inue his educ %ion he %urned %o his 3 %her2s %r de 3or whi"e nd %hen vo"un%eered 3or %he w rs 4 ins% %he )p nish in %he ?e%her" nds9 ;en Fonson ))) : c7 in 8ondon his %%emp% %o m 7e "ivin4 s n c%or nd p" ywri4h% "mos% ended in e r"y dis s%er: 15,5 imprisoned 3or his p r% in %he s %iric " p" y The &sle of Do!s 15,8 7i""ed 3e""owN c%or in due" nd n rrow"y esc ped eCecu%ion <nnounced his conversion %o + %ho"icism En4 4ed himse"3 in "on4 "i%er ry Du rre" wi%h his 3e""ow p" ywri4h%s Thom s ;e77er nd *ohn ! rs%on (@- r o3 %he The %resI& *onson2s 3or%unes improved wi%h %he ccession o3 * mes I who commissioned him %o wri%e cour% m sDues9 To4e%her wi%h %he rchi%ec% nd s% 4e desi4ner Ini4o *ones he produced 24 m sDues9 @asIue E" $or %e 3orm o3 cour% en%er% inmen% %h % com$ines poe%ic dr m , music, son4, d nce, eC%r v 4 n% cos%umes, nd s% 4e spec% c"e9 The diverse e"emen%s o3 %he m sDue re he"d %o4e%her $y usu ""y s"im p"o% %h % is m in"y my%ho"o4ic " nd ""e4oric " in n %ure9 The spe 7in4 ch r c%ers who wore m s7s were o3%en p" yed $y cour%iers9 The m sDue c n %here3ore $e unders%ood s se"3represen% %ion o3 %he cour%9 F"ourished p r%icu" r"y under * mes I nd +h r"es I when :en *onson cre %ed hi4h"y sophis%ic %ed m sDues %o4e%her wi%h %he s% 4e nd cos%ume desi4ner Ini4o *ones9 < m sDue c n "so $e p r% o3 no%her dr m , e949 <c% 4 in )h 7espe re2s The Tem#est( ;en Fonson )( In %he e r"y 15%h cen%ury *onson "so wro%e %he re "is%ic or s %iric " comedies on which his repu% %ion mos%"y res%s: Vo"pone Epicoene or %he )i"en% -om n The <"chemis% : r%ho"omew F ir The realistic or satirical comed& ;ue %o i%s se%%in4 nd %he soci " "eve" i%s pro% 4onis%s come 3rom, %his su$4enre is "so re3erred %o s ci%y or ci%i#en comedy9 I% rep" ced %he rom n%ic comedy nd is ssoci %ed wi%h %he * co$e n <4e9

I%s 4re %es% pr c%i%ioner is :en *onson ( ol#one, The .lchemist&9 I% is usu ""y se% in 8ondon nd 3e %ures v rie%y o3 8ondon %ypes whose 3o""ies re s %iri#ed9 The dr m %ic c%ion is prope""ed $y in%ri4ue nd decei%, o3%en s me ns o3 cDuirin4 seC nd.or money9 This 7ind o3 comedy h s did c%ic im: i% ho"ds up mirror %o socie%y so %h % i% m y reco4ni#e i%s vices nd 3o""ies nd se% $ou% i%s improvemen%9

;en Fonson ( In 1616 *onson pu$"ished co""ec%ion o3 some o3 his p" ys which he en%i%"ed Works9 This w s cruci " even% in %he deve"opmen% o3 %he pu$"ic %ion o3 En4"ish "i%er %ure in 4ener " nd dr m in p r%icu" r9 From now on p" ys were re4u" r"y co""ec%ed nd pu$"ished (e949 )h 7espe re2s Firs% Fo"io 162(& nd $e4 n %o $e re4 rded s serious "i%er %ure9 :y %he end o3 his "i3e *onson w s revered 3i4ure nd h d dedic %ed 3o""owers (@The Tri$e o3 :enIB 4roup o3 poe%s&9 He con%inued %o wri%e p" ys un%i" his de %h in 16(59 *onson is $es% 7nown 3or his p" ys $u% he "so eCperimen%ed wi%h wide r n4e o3 poe%ic 4enres9 He wro%e epi% phs nd epi4r ms, "ove nd 3uner " e"e4ies, verse s %ires, verse "e%%ers, odes, son4s, e%c9 The 0lchemist: Dating the 1la& The 3irs% recorded per3orm nce o3 %he p" y %oo7 p" ce in EC3ord in )ep%9 161' $y %he Gin41s !en9 The comp ny h d pro$ $"y $een preven%ed 3rom premierin4 %he p" y in 8ondon due %o n ou%$re 7 o3 %he p" 4ue9 In "" "i7e"ihood %he p" y w s wri%%en 3or %he :" c73ri rs p" yhouse9 This w s %he win%er home o3 %he Gin42s !en, *onson "ived in %he re nd %here re m ny re3erences %o :" c73ri rs nd i%s mi"ieu in %he p" y9 The .lchemist is hi4h"y speci3ic $ou% %he %ime nd p" ce o3 i%s se%%in4, $o%h o3 which coincide wi%h %he circums% nces o3 i%s 3irs% per3orm nces: Time: " %e u%umn 161' /" ce: :" c73ri rs ;r m %ic c%ion is ini%i %ed $y n ou%$re 7 o3 %he p" 4ue The 0lchemist: TeGt and Sources TeGtual istor& The p" y w s 3irs% prin%ed in Du r%oN3orm % in 1612 nd %hen inc"uded in %he 3o"io edi%ion o3 *onson1s Works in 16169 *onson supervised %he pu$"ic %ion o3 $o%h edi%ions9 Sources There is no speci3ic sin4"e source 3or The .lchemist $u% i% is in3ormed on every "eve" $y *onson2s eC%ensive re din4 o3 c" ssic " "i%er %ure (e949 s %iric " wri%in4 $y Hor ce, *uven " nd o%hers= comedies $y /" u%us nd Terence& $u% "so o3 con%empor ry re"i4ious or occu"% wri%in4s which he ho"ds up %o scorn in his p" y9 Structure and Develo1ment of 0ction The p" y s%ic7s %o %he <ris%o%e"i n uni%ies (p" ce, %ime, c%ion&9 -i%h %he eCcep%ion o3 3ew scenes in <c% 5, %he p" y is se% inside 8ovewi%2s house nd %he 1c"ien%s2 rrive 3rom %he ou%side one 3%er %he o%her9 The 7noc7s % %he door, % everNdecre sin4 in%erv "s, si4n " %he cce"er %ion nd comp"ic %ion o3 %he p"o%9 In%eres% in %he p" y is sus% ined %hrou4h w %chin4 how F ce nd )u$%"e de " wi%h %he ever

incre sin4 ch os, how %hey %ry %o 7eep %he 4u""s p r% nd how %hey d p% %o %he cons% n%"y ch n4in4 si%u %ions9 -e cons% n%"y eCpec% %he %ric7s%ers2 scheme %o 3 "" p r% $u% %his is pos%poned un%i" %he re%urn o3 8ovewi%9

0lchem& In %he 0en iss nce %here w s no di33eren%i %ion $e%ween "chemy nd chemis%ry9 :o%h were dedic %ed %o %he produc%ion o3 ph rm ceu%ic " medicines nd %he scien%i3ic s%udy o3 e"emen%s nd %heir compounds9 The u"%im %e im o3 "chemy, however, w s %he cre %ion o3 %he 1phi"osopher2s s%one2 which wou"d %urn $ se me% " in%o si"ver nd 4o"d nd provide univers " p n ce 9 In %he p" y "chemy is sc m, con3idence %ric7 emp"oyed $y F ce, )u$%"e nd ;o" in order %o che % %heir 1c"ien%s2 o3 %heir money nd possessions9 They do no% need " $or %ory or %o do eCperimen%s= %he con3iden% use o3 "chemic " J r4on nd n in%ui%ive unders% ndin4 o3 %heir c"ien%s2 desires is enou4h9 <"chemy s% nds 3or %he i""usion ry $e"ie3 in ch n4e9 <"" o3 %he 4u""s hope %o ch n4e %hemse"ves $u% %hey re dis ppoin%ed9 *us% s "e d c nno% $e %urned in%o 4o"d, hum n $ein4s2 corrup% n %ure resis%s improvemen%9 <"chemy c n "so $e unders%ood s me% N%he %ric " me% phor: Jus% s "chemy, dr m %ic c%ion is i""usory, 3u"" o3 %ric7ery nd ev nescen%9 The characters <"" o3 %he ch r c%ers h ve spe 7in4 n mes which hin% % %heir ch r c%er %r i%s or 3unc%ions in %he p" y9 The %rio o3 %ric7s%ers (%he 1ven%ure %rip r%i%e2&: F ce, )u$%"e, ;o" +ommon9 The 4u""s: ; pper, ;ru44er, )ir Epicure ! mmon, %he /uri% ns <n ni s nd Tri$u" %ion9 +h r c%ers who see %hrou4h %he sc m $u% who re mor ""y m$i4uous: )ur"y, 8ovewi%9 The sur1rise ending The vi"" ins ()u$%"e, F ce, ;o"& re no% punished, %he vic%ims (%he c"ien%s or 4u""s& re no% reven4ed9 The p" y rew rds %hose ch r c%ers who show in4enui%y nd wi% (F ce, 8ovewi%& nd punishes %hose who re s%upid nd de"uded (%he 4u""s&9 The p" y p in%s very ne4 %ive por%r i% o3 socie%y9 <"" o3 %he ch r c%ers re %o v ryin4 de4rees corrup%9 They re E4ois%s nd oppor%unis%s, on"y in%eres%ed in %heir own dv n% 4e9 There is no ch r c%er in %he p" y who is %ru"y 14ood2 or whose mor "i%y is unDues%ion $"e9