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This 1979 study relates Shakespeare's work to the poetry, criticism and life of his age. Drawing upon a considerable body of evidence, it shows how Shakespeare was influenced by medieval thought, by classical sources, by the popular verse and the theatre of his day, and by the Elizabethan use of language.
This anthology includes sonnets from Shakespeare, Sidney, and Spenser; popular poems by Donne ("Go, and catch a falling star"), Jonson ("Drink to me only with thine eyes"), Marlowe ("The Passionate Shepherd to His Love"); more.
This handy but wide-ranging selection of Elizabethan poetry covers all the major poets and most of the important genres cultivated in that age. Sukanta Chaudhuri traces Elizabethan poetry from its beginnings, dividing it by type of verse--pastoral, Elizabethan sonnet, lyrics, the Epyllion, and didactic poetry. Poets represented include Sir Thomas Wyatt, Edmund Spencer, William Shakespeare, Sir Philip Sidney, Christopher Marlowe, and Michael Drayton, among others.
This 1999 book offers an original study of lyric form and social custom in the Elizabethan age. Ilona Bell explores the tendency of Elizabethan love poems not only to represent an amorous thought, but to conduct the courtship itself. Where studies have focused on courtiership, patronage and preferment at court, her focus is on love poetry, amorous courtship, and relations between Elizabethan men and women. The book examines the ways in which the tropes and rhetoric of love poetry were used to court Elizabethan women (not only at court and in the great houses, but in society at large) and how the women responded to being wooed, in prose, poetry and speech. Bringing together canonical male poets and women writers, Ilona Bell investigates a range of texts addressed to, written by, read, heard or transformed by Elizabethan women, and charts the beginnings of a female lyric tradition.
A comedy of manners about an oversheltered, pompous young poet who experiences a culture shock upon falling in love with a fair, albeit slightly worn-out, maiden from a South Florida trailer park. Original illustrations by Katrina Hinton-Cooper.
This comprehensive and beautifully illustrated collection of essays conveys a vivid picture of a fascinating and hugely significant period in history. Featuring contributions from thirty-eight international scholars, the book takes a thematic approach to a period which saw the defeat of the Spanish Armada, the explorations of Francis Drake and Walter Ralegh, the establishment of the Protestant Church, the flourishing of commercial theatre and the works of Edmund Spencer, Philip Sidney and William Shakespeare. Encompassing social, political, cultural, religious and economic history, and crossing several disciplines, The Elizabethan World depicts a time of transformation, and a world order in transition. Topics covered include central and local government; political ideas; censorship and propaganda; parliament, the Protestant Church, the Catholic community; social hierarchies; women; the family and household; popular culture, commerce and consumption; urban and rural economies; theatre; art; architecture; intellectual developments ; exploration and imperialism; Ireland, and the Elizabethan wars. The volume conveys a vivid picture of how politics, religion, popular culture, the world of work and social practices fit together in an exciting world of change, and will be invaluable reading for all students and scholars of the Elizabethan period.
"What if at night at the theaters in Elizabethan England more closely resembled attending a rugby match than sitting in a dark, silent audience, passively witnessing the action on the stage, or closer to going to a rock concert than sitting in front of a large or small screen, quietly and distantly absorbing a film or television drama? In this book, West proposes a new account of what happened in the playhouses of Shakespeare's time, and the kind of participatory entertainment expected by both the actors and the audience. Combining the precision of a philologist and the imagination of a philosopher, West performs careful readings of premodern figures of speech--including understanding, confusion, occupation, eating, and fighting--still in use today, but whose meanings for Elizabethan players, playgoers, and writers have diverged in subtle ways in our era. Playing itself was not restricted to the confines of the actors on the stage but pertained just as much to the audience in a collaborative rather than individualized theater experience, more corporeal, tactile, and active, rather than purely receptive and visual. Thrown apples, smashed bottles of beer, and lumbering bears--these and more contributed to both the verbal and physical interactions between players and playgoers, creating circuits of exchange, production, and consumption,all within the confines of the playhouse. West's account of the experience of the playhouse shows more affinity--and continuity--with more raucous, unruly medieval drama than previous literary critics have allowed. It will be of interest to a wide audience, actors, directors, and scholars included"
For lovers of music and poetry the legendary figure of Orpheus probably suggests a romantic ideal. But for the Renaissance he is essentially a political figure. Mythographers interpreted the Orpheus story as an allegory of the birth of civilization because they recognized in the arts in which Orpheus excelled an instrument of social control so powerful that with it you could, as one writer put it, 'winne Cities and whole Countries'. Dealing with plays, poems, songs and the iconography of musical instruments, Robin Headlam Wells re-examines the myth, central to the Orpheus story, of the transforming power of music and poetry. Elizabethan Mythologies, first published in 1994, contains numerous illustrations from the period and will be of interest to scholars and students of Renaissance poetry, drama and music, and of the history of ideas.
Although the term courtier poet is widely used in discussions of Elizabethan literature, it has never been carefully defined. In this study, Steven W.May isolates the elite social environment of the court by defining the words court and courtier as they were understood by Tudor aristocrats. He examines the types of poems that these poets wrote, the occasions for which they wrote, and the nature of the poems themselves.