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Victoria Moul's groundbreaking study uncovers one of the most important features of early modern English poetry: its bilingualism. The first guide to a forgotten literary landscape, this book considers the vast quantities of poetry that were written and read in both Latin and English from the sixteenth to the eighteenth century. Introducing readers to a host of new authors and drawing on hundreds of manuscript as well as print sources, it also reinterprets a series of landmarks in English poetry within a bilingual literary context. Ranging from Tottel's miscellany to the hymns of Isaac Watts, via Shakespeare, Jonson, Herbert, Marvell, Milton and Cowley, this revelatory survey shows how the forms and fashions of contemporary Latin verse informed key developments in English poetry. As the complex, highly creative interactions between the two languages are revealed, the work reshapes our understanding of what 'English' literary history means.
Augustine, Pertile and Zwicker celebrate the work of Andrew Marvell (1621-1678) in the quatercentenary year of his birth, combining the best historical scholarship with a varied and ambitious programme of cognitive, affective, and aesthetic inquiry. The essays have been specially commissioned for the quatercentenary and include the work of a range of scholars from Britain and North America. Acknowledged masterpieces such as the 'Horatian Ode', 'The Garden', and 'Upon Appleton House' are here read in light of historical and material evidence that has emerged in recent decades. At the same time, the volume offers many fresh points of entry into Marvell's work, with particular attention to the poet's lyric economies, Marvell's engagement with popular print, and, not least, the polyglot and transnational dimensions of his writing. The quatercentenary also represents an important anniversary for Marvell studies, marking one hundred years since T. S. Eliot's appreciation of the poet inaugurated modern Marvell criticism. As Imagining Andrew Marvell at 400 reassesses Marvell's writings it also reflects on the profession of English literature, taking stock of the discipline itself, where it has been and where it might be going as scholars continue to map the pleasures and challenges of reading and re-reading Andrew Marvell.
In Renaissance England and Scotland, verse libel was no mere sub-division of verse satire but a fully-developed, widely-read poetic genre in its own right. This fact has been hidden from literary historians by the nature of the genre itself: defamation was rigorously prosecuted by state and local authorities throughout the period. Thus most (but not all) libelling, in verse or prose, was confined to manuscript circulation. This comprehensive survey of the genre identifies all sixteenth-century verse libel texts, printed and transcribed. It makes fifty-two of the least familiar of these poems accessible for further study by providing critical texts with glosses and explanatory notes. In reconstructing the contexts of these poems, we identify a number of the libellers, their targets, the circumstances of attack, and the workings of the scribal networks that disseminated many of them over wide areas, often for decades. The book's concentration on poems restricted to manuscript circulation throws substantial new light on the nature of Renaissance scribal culture. As poetic technicians, its practitioners were among the age's most experimental and creative. They produced some of the most popular, widely read works of their age and beyond, while their output established the foundation upon which the seventeenth-century tradition of verse libel developed organically.
Pastoral poetry has long been considered a signature Renaissance mode: originating in late sixteenth-century England via a rediscovery of classical texts, it is concerned with self-fashioning and celebrating the court. But, as Katherine C. Little demonstrates in Transforming Work: Early Modern Pastoral and Medieval Poetry, the pastoral mode is in fact indebted to medieval representations of rural labor. Little offers a new literary history for the pastoral, arguing that the authors of the first English pastorals used rural laborers familiar from medieval texts—plowmen and shepherds—to reflect on the social, economic, and religious disruptions of the sixteenth century. In medieval writing, these figures were particularly associated with the reform of the individual and the social world: their work also stood for the penance and good works required of Christians, the care of the flock required of priests, and the obligations of all people to work within their social class. By the sixteenth century, this reformism had taken on a dangerous set of associations—with radical Protestantism, peasants' revolts, and complaints about agrarian capitalism. Pastoral poetry rewrites and empties out this radical potential, making the countryside safe to write about again. Moving from William Langland’s Piers Plowman and the medieval shepherd plays, through the Piers Plowman–tradition, to Edmund Spenser’s pastorals, Little’s reconstructed literary genealogy discovers the “other” past of pastoral in the medieval and Reformation traditions of “writing rural labor.”