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The Netherlandish rhetoricians of the sixteenth century have, in the course of the last decades, shed their image of third-rate poets who, lacking all sense of true beauty, were capable only of pompous verbosity and a shallow manipulation of form. The new scholarly assessment has also shed light on the role they played in the cultural and literary life of their time, and it now appears that many of their dramas are well worth staging. Once the sixteenth century was freed from the stigma of being the "preparatory phase" for the Golden Age, the way was clear for thorough studies of the literature produced during the most turbulent period in the history of the Low Countries. This volume contains essays which deal with works written not only in Dutch, but also in French and in New Latin, with topics ranging from the effects of poetic principles on literary practice to the use of poetry as a means for improving society and developing the individual. The unifying thread in these studies is the pivotal importance of rhetoric in all forms of literary expression.
James Biester sees the shift in late Elizabethan England toward a witty, rough, and obscure lyric style—metaphysical wit and strong lines—as a response to the heightened cultural prestige of wonder. That same prestige was demonstrated in the search for strange artifacts and animals to display in the wonder-cabinets of the period. By embracing the genres of satire and epigram, poets of the Elizabethan court risked their chances for political advancement, exposing themselves to the danger of being classified either as malcontents or as jesters who lacked the gravitas required of those in power. John Donne himself recognized both the risks and benefits of adopting the'admirable'style, as Biester shows in his close readings of the First and Fourth Satyres. Why did courtier-poets adopt such a dangerous form of self-representation? The answer, Biester maintains, lies in an extraordinary confluence of developments in both poetics and the interpenetrating spheres of the culture at large, which made the pursuit of wonder through style unusually attractive, even necessary. In a postfeudal but still aristocratic culture, he says, the ability to astound through language performed the validating function that was once supplied by the ability to fight. Combining the insights of the new historicism with traditional literary scholarship, Biester perceives the rise of metaphysical style as a social as well as aesthetic event.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1922 edition. Excerpt: ...method of characterization, fixed as the law of decorum, flourished throughout the sixteenth and seventeenth centuries. In England from Whetstone on it was 0 made much of. Thus a rhetorical tradition of classical pedagogy, derived ultimately from Aristotle, and a poetical tradition of later classical drama, derived from Horace, coincide in the English renaissance. In The Epistle Dedicatory to the Shepheards Calender (1579), for instance, E. K. praises Spenser for "his dewe observing of decorum everye where, in personages, in seasons, in matter, in speach." 18 The archaisms are defended in the first place, indeed, because they are appropriate to rustic speakers, but in the second because Cicero says that ancient words make the style seem grave and reverend. Further praise E. K. grants the author because he avoids loose sentence structure and affects the oratorical period. "Now, for the knitting of sentences, whych they call the ioynts and members thereof, and for all the compasse of the speach, it is round without roughness."1 The "ioynts and members" are the cola and commas of the oratorical prose rhythm. Stanyhurst in the Dedication to his translation of Virgil (1582), like E. K., is concerned with style rather than matter, and of course primarily with 16 P. 187. 17 G. S. Gordon, "Theophrastus" in Eng. Lit. and the Classics, p. 49-86. 18 Smith, I, 128 19 Ibid., 130-131. the revival of classical meters, a subject already so thoroughly investigated that it need not be gone into here.20 Stanyhurst's praise of Virgil is largely concerned with formal and rhetorical excellences. Our Virgil dooth laboure, in telling as yt were a Cantorburye tale, too ferret owt the secretes of Nature, with woordes so fitlye coucht, wyth verses so smoothlye...
Back in print after 17 years, this is a concise history of rhetoric as it relates to structure, genre, and style, with special reference to English literature and literary criticism from Ancient Greece to the end of the 18th century. The core of the book is a quite original argument that the figures of rhetoric were not mere mechanical devices, were not, as many believed, a "nuisance, a quite sterile appendage to rhetoric to which (unaccountably) teachers, pupils, and writers all over the world devoted much labor for over 2,000 years." Rather, Vickers demonstrates, rhetoric was a stylized representation of language and human feelings. Vickers supplements his argument through analyses of the rhetorical and emotional structure of four Renaissance poems. He also defines 16 of the most common figures of rhetoric, citing examples from the classics, the Bible, and major English poets from Chaucer to Pope.
This comprehensive bibliography lists some 500 source texts published in the British Isles or abroad from 1479 to 1660 and more than 2,000 works of secondary literature from 1900 to the present.
This book, the first single volume to collate essays about sixteenth and seventeenth century poetry, explores the remarkable changes that have occurred in the interpretation of English Renaissance poetry in the last twenty years. In the introduction Cristina Malcolmson argues that recent critical approaches have transformed traditional accounts of literary history by analysing the role of poetry in nationalism, the changing associations of poetry and class-status, and the rediscovered writings of women. The collection represents many of the critical methodologies which have contributed to these changes: new historicism, cultural materialism, feminism, and an historically informed psychoanalytic criticism. In particular, three diverse readings of Spenser's 'Bower of Bliss' canto illustrate the different approaches of formalist close-reading, new historicist analysis of cultural imperialism and feminist interpretations of the relation of gender and power. The further reading section categorizes recent work according to issues and critical approaches.
Rhetoric and poetry in the renaissance; a study of rhetorical terms in English renaissance literary criticism, by Donald Lemen Clark
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