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Reproduction of the original: Discoveries Made upon Men and Matter by Ben Jonson
"Discoveries Made upon Men and Matter and Some Poems" with the aid of Ben Jonson is a literary compilation that unveils the multifaceted genius of this Renaissance playwright and poet. The series brings collectively Jonson's insightful prose reflections in "Discoveries Made upon Men and Matter" and a spread of his poems. In this paintings, Jonson's eager observations on lifestyles, literature, and human nature are laid naked, imparting readers with a profound glimpse into the thoughts of one of the technology's maximum influential literary figures. "Discoveries" serves as a reservoir of Jonson's critical insights, revealing his mind on fellow writers, the innovative method, and broader cultural and societal developments. The inclusion of "Some Poems" adds a poetic size to the gathering, showcasing Jonson's mastery of language and his ability to navigate themes starting from like to morality. This literary treasure trove invitations readers to discover Jonson's intellectual legacy, offering a comprehensive view of his contributions to both prose and poetry. It stands as a testament to Jonson's enduring effect at the literary landscape of the English Renaissance, making it a crucial read for the ones looking for a deeper understanding of this literary large's mind and inventive expressions.
"Discoveries and Some Poems" by Ben Jonson is a rich tapestry of literary exploration and poetic expression. Jonson, a celebrated playwright and poet of the Elizabethan era, invites readers on a journey of discovery through his insightful essays and evocative poetry. In "Discoveries," Jonson offers readers a glimpse into the creative process, sharing his thoughts on literature, art, and the human condition. Through his keen observations and sharp wit, Jonson sheds light on the complexities of the world around him, offering timeless insights into the nature of life and art. Accompanied by a selection of Jonson's poems, this collection showcases the poet's mastery of language and his ability to capture the essence of human experience with clarity and depth. "Discoveries and Some Poems" stands as a testament to Jonson's enduring legacy as one of the greatest literary figures of the Renaissance, whose work continues to inspire and resonate with readers centuries later.
Discoveries Made Upon Men and Matter and Some Poems
Fortuna.-Ill fortune never crushed that man whom good fortune deceived not. I therefore have counselled my friends never to trust to her fairer side, though she seemed to make peace with them; but to place all things she gave them, so as she might ask them again without their trouble, she might take them from them, not pull them: to keep always a distance between her and themselves. He knows not his own strength that hath not met adversity. Heaven prepares good men with crosses; but no ill can happen to a good man. Contraries are not mixed. Yet that which happens to any man may to every man. But it is in his reason, what he accounts it and will make it.Casus.-Change into extremity is very frequent and easy. As when a beggar suddenly grows rich, he commonly becomes a prodigal; for, to obscure his former obscurity, he puts on riot and excess.Consilia.-No man is so foolish but may give another good counsel sometimes; and no man is so wise but may easily err, if he will take no others' counsel but his own. But very few men are wise by their own counsel, or learned by their own teaching. For he that was only taught by himself [12] had a fool to his master.Fama.-A Fame that is wounded to the world would be better cured by another's apology than its own: for few can apply medicines well themselves. Besides, the man that is once hated, both his good and his evil deeds oppress him. He is not easily emergent.Negotia.-In great affairs it is a work of difficulty to please all. And ofttimes we lose the occasions of carrying a business well and thoroughly by our too much haste. For passions are spiritual rebels, and raise sedition against the understanding.Amor patriæ.-There is a necessity all men should love their country: he that professeth the contrary may be delighted with his words, but his heart is there.Ingenia.-Natures that are hardened to evil you shall sooner break than make straight; they are like poles that are crooked and dry, there is no attempting them.Applausus.-We praise the things we hear with much more willingness than those we see, because we envy the present and reverence the past; thinking ourselves instructed by the one, and overlaid by the other.
The Oxford History of Poetry in English (OHOPE) is designed to offer a fresh, multi-voiced, and comprehensive analysis of 'poetry': from Anglo-Saxon culture through contemporary British, Irish, American, and Global culture, including English, Scottish, and Welsh poetry, Anglo-American colonial and post-colonial poetry, and poetry in Canada, Australia, New Zealand, the Caribbean, India, Africa, Asia, and other international locales. OHOPE both synthesizes existing scholarship and presents cutting-edge research, employing a global team of expert contributors for each of the fourteen volumes. By taking as its purview the full seventeenth century, 1603-1700, this volume re-draws the existing literary historical map and expands upon recent rethinking of the canon. Placing the revolutionary years at the centre of a century of poetic transformation, and putting the Restoration back into the seventeenth century, the volume registers the transformative effects on poetic forms of a century of social, political, and religious upheaval. It considers the achievements of a number of women poets, not yet fully integrated into traditional literary histories. It assimilates the vibrant literature of the English Revolution to what came before and after, registering its long-term impact. It traces the development of print culture and of the literary marketplace, alongside the continued circulation of poetry in manuscript. It places John Milton, Andrew Marvell, Margaret Cavendish, and Katherine Philips and other mid-century poets into the full century of specifically literary development. It traces continuity and change, imitation and innovation in the full-century trajectory of such poetic genres as sonnet, elegy, satire, georgic, epigram, ode, devotional lyric, and epic. The volume's attention to poetic form builds on the current upswing in historicist formalism, allowing a close focus on poetry as an intensely aesthetic and social literary mode. Designed for maximum classroom utility, the organization is both thematic and (in the authors section) chronological. After a comprehensive Introduction, organizational sections focus on Transitions; Materiality, Production, and Circulation; Poetics and Form; Genres; and Poets.
In 1603, the beginning of the Stuart reign, painting was of minor importance at the English court, where the elaborately designed masques of Inigo Jones served as the prime medium of royal representation. Only two decades later, their most celebrated performer, George Villiers, the First Duke of Buckingham had assembled one of the largest and most significant collections of painting in early seventeenth-century Europe. His career as the personal and political favourite of two succeeding monarchs – James I and Charles I – coincides with the commission of a number of highly ambitious portraits from the hands of Peter Paul Rubens and Anthony van Dyck that displayed his body in spectacular manner. As the first comprehensive study of Buckingham’s patronage of the visual arts, this book is concerned with the question of how the painted image of the courtier transferred strategies of social distinction that had originated in the masque to the language of painting. Establishing a new grammar in the competing rhetorics of bodily self-fashioning, this recast notion of portraiture contributed to an epistemological change in perceptions of visual representation at the early modern English court, in the course of which painting advanced to the central art form in the aesthetics of kingship.