George Puttenham's Art of English Poesy is a foundational work of English Renaissance criticism and literary theory. Rich in detail about the nature, purpose, and functions of poetry as well as the poet's character and goals, it is also a valuable historical document, offering generous insight into Elizabethan court culture, implicitly on display in the attitudes and values of the writer. His illustrative anecdotes enable us to watch European courtiers negotiating their social and political relationships with one another as well as with rulers and social inferiors. This new critical edition of The Art of English Poesy contains the first modernized and fully annotated edition of Puttenham's 1589 text; a substantial introductory essay by Frank Whigham and Wayne A. Rebhorn; a comprehensive bibliography; several glossaries and appendixes; and an index. The editors' masterly essay introduces Puttenham to modern readers and situates The Art of English Poesy in the context of the rhetorical theory, poetics, and courtly conduct of its time. The introduction also includes a concise biography of Puttenham based on a variety of new and unfamiliar data: he married an older and much richer woman whom he badly mistreated; indulged habitually in a life of sexual predation; was repeatedly sued, arrested, and imprisoned; survived several supposed attempts on his life; and died, nearly indigent, in 1591. For scholars and students of the English Renaissance, the Cornell edition of The Art of English Poesy should prove the definitive edition of Puttenham's major work.
George Puttenham's Art of English Poesy is a foundational work of English Renaissance criticism and literary theory. Rich in detail about the nature, purpose, and functions of poetry as well as the poet's character and goals, it is also a valuable historical document, offering generous insight into Elizabethan court culture, implicitly on display in the attitudes and values of the writer. His illustrative anecdotes enable us to watch European courtiers negotiating their social and political relationships with one another as well as with rulers and social inferiors. This new critical edition of The Art of English Poesy contains the first modernized and fully annotated edition of Puttenham's 1589 text; a substantial introductory essay by Frank Whigham and Wayne A. Rebhorn; a comprehensive bibliography; several glossaries and appendixes; and an index. The editors' masterly essay introduces Puttenham to modern readers and situates The Art of English Poesy in the context of the rhetorical theory, poetics, and courtly conduct of its time. The introduction also includes a concise biography of Puttenham based on a variety of new and unfamiliar data: he married an older and much richer woman whom he badly mistreated; indulged habitually in a life of sexual predation; was repeatedly sued, arrested, and imprisoned; survived several supposed attempts on his life; and died, nearly indigent, in 1591. For scholars and students of the English Renaissance, the Cornell edition of The Art of English Poesy should prove the definitive edition of Puttenham's major work.
This is a coordinated presentation of the economic basis of revolutionary change in 16th- and early-17th century England, addressing a crucial but neglected phase of historical development. It traces a transformation in the agrarian economy and substantiates the decisive scale on which this took place, showing how the new forms of occupation and practice on the land related to seminal changes in the general dynamics of commercial activity. An integrated, self-regulating national market generated new imperatives, particularly a demand for a right of freedom of trade from arbitrary exactions and restraints. This took political force through the special status that rights of consent had acquired in England, based on the rise of sovereign representative law following the Break with Rome. These associations were reflected in a distinctive merchant-gentry alliance, seeking to establish freedom of trade and representative control of public finance, through parliament. This produced a persistent challenge to royal prerogatives such as impositions from 1610 onwards. Parliamentary provision, especially legislation, came to be seen as essential to good government. These ambitions led to the first revolutionary measures of the Long Parliament in early 1641, establishing automatic parliaments and the normative force of freedom of trade.
Published in 1589, The Arte of English Poesie can be considered the first full-scale work of poetic criticism in England--"a noble monument," in Professor Hathaway's words, "astraddle the rude beginnings of the speculative aspects of English literary culture." Its three main parts are a treatise on poets and poetry, an analysis of English prosody, and a discussion of rhetorical ornamentation--all treated compactly and thoroughly. While little of its thought was strikingly new for its time, since it drew on traditions going back through the Middle Ages to classical roots, its value lay in its synthesis of these ideas and its summation of an aesthetic movement. As such it provides important insights into the aesthetic philosophy of the English Renaissance.
A History Of English Criticism, Which Was Originally The English Chapter Of Saintsbury S Monumental Three Volume A History Of Criticism And Literary Taste In Europe (1900-04), Was Published Separately In 1911 As A Revised, Adapted And Updated Edition, Complete In Itself. The Book Is The First Of Its Kind And Is Thus Of Great Historical Importance.The History Of English Criticism, As Saintsbury Sees It, Passes Through Three Distinct Stages: (I) The Initial Stage Of Elizabethan Criticism Tentative, Hesitating And Scattered Trying To Assimilate The Numerous Critical Ideas Scattered Throughout The Classical European Literatures (Ii) The Neo-Classic Period Starting With Dryden And Continuing Beyond The Beginning Of The Nineteenth Century And Then (Iii) The Stage Of Modified Or Modernist Criticism. It Is, However, A Continuous Process With Rise And Fall Of Various Schools, Theories, Movements And Attitudes Etc.The First Chapter Examines The Classical Legacy Which Provides The Relevant Critical Framework Against Which The Development Of English Criticism Must Be Seen. In The Subsequent Chapters Professor Saintsbury Discusses At Length The Contributions Of Elizabethan Critics, Dryden And His Contemporaries, The Eighteenth Century Critics, The English Precursors Of Romanticism, The Romantic Critics And The Critics During The Period From 1860 To 1900. The Conclusion Neatly Sums Up The General Plan Of The Book And The Findings Of Professor Saintsbury, The First Academic Historian Of Universal Criticism.Though Profoundly Luminous And Sharply Insightful The Book Makes A Delightful Reading Mainly Because Of The Vigour Of The Overbearing Character Of Saintsbury Who Always Transmits His Opinions With Gusto And Invites His Readers To Share His Views, His Happiness And Hearty Preferences, His Strong Likes And Dislikes.The Book Is A Must For Any Student Of Literary Criticism.
This is a wide-ranging, poetic analysis of the great English poetic line, iambic pentameter, as used by Chaucer, Sidney, Milton, and particularly by Shakespeare. George T. Wright offers a detailed survey of Shakespeare's brilliantly varied metrical keyboard and shows how it augments the expressiveness of his characters' stage language.
George Herbert combined the intellectual and the spiritual, the humble and the divine, to create some of the most moving devotional poetry in the English language. His deceptively simple verse uses the ingenious arguments typical of seventeenth-century 'metaphysical' poets, and unusual imagery drawn from musical structures, the natural world and domestic activity to explore a mosaic of Biblical themes. From the wit and wordplay of 'The Pulley' and the formal experimentation of 'Easter Wings' and 'Paradise', to the intense, highly personal relationship between man and God portrayed in 'The Collar' and 'Redemption', the works collected here show the transcendental power of divine love.
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