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Renaissance Poetry I
Elizabethan poetry (1558 - 1603)
Renaisance poetry is influenced by classical models and genres
New Learning. Platonism
Full of mythological references to the gods and muth of antiquity, but more and more
drawing on the native tradition.
Countryside images of nature.
Emphasis on musicality, elegance and decorum.
Influence of Petrarch, who established the language of love. Veneration of the lady as the
symbol of purity and virtue, and the concepto of love as transcending the mere physical
attraction (Platonism)
Splendour of the Virgin Queen.
Elizabethan culture and arts
Humanism (15th century): intellectual movement flourishing of letters and arts influenced by
the recovery and study of classical texts and arts.
1485: Caxton printed Malory's Morte d'Arthur
Critical debates. Anthologies.
Courtiers became fevent supporters of poets and the arts. Castiglione's Ill Cortigiano
(1528-1561) set the model of soldier poet.
Literary patronage:
The Courtier
Quatlies of the ideal man: Philip Sidney
- Knowledge of classical literature and history.
- Skilled in the arts.
- Skilled fencer and rider.
- Good convenser, trained to rule and to be magnanimous.
Teoría
domingo, 22 de octubre de 2017 14:
Modes of Elizabethan poetry
Lyric mode : Hymns, Eclogues, Odes, Songs, Sonnets, Sonnet Sequenece
Pastoral mode : Idealized world inhabited by shepherds and shepherdesses. They tend their
flocks, fall in love and engage in poetry contests (love, pains, moods, passions, pleasures...)
Satirical mode: Ridiculed and scorned certian attitude in society (from lawyers and merchants
to fools and lovers), chiefly in rhymed iambic pentameters.
Epigrams : short satirical poems which are typically Elizabethan.
Elizabethan Poetry: Some concepts
Decorum : The appropiateness of an element of an artistic or literary work, such as style or
tone, to its particular circumstance of the composition to as a whole.
Wit : (Power of giving some sudden intellectual pleasure by) unexpected combining or
contrasting of previously unconnected ideas or expressions.
Conceit : A far-fetched and ingenious comparison. Extended comparison or metaphor.
Major Elizabethan Poets and Works
- Philip Sidney (1554 - 1596): Astrophil and Stella.
Edmun Spenser (1522-1599): Shepears Calender; Amoretti; Epithalamion; Faerie
Queene.
- Christopher Marlowe (1564-1593): Hero annd Leander
- William Shakespeare (1564-1616): Venus and Adonnis; Sonnets. Basic vocabulary for the study of poetry
Poem : metrical composition.
Stanza : a recurrent unit of a poem, consisting of a number of verses.
Lines : single verse of poetry.
Rhyme : consists of a repetition of accented sounds in words, usually those falling at the end
of verse lines.
Eye rhyme: are words used as rhymes that look alike but actually sound different
Examples : Alone/Done; Remove/Love
Meter : is the means by which rhythm is measured and described
Sonnet: poetic composition consisting of 14 lines of iamb pentameter.
Sonnet sequence: series of 14 lines sonnects, exploring contrary states of feelings
experienced as a lover desires and idiealizes an unattainable lady.
Themes
- Lady's great beauty.
- Her power over the poet.
- Her cruelty to him and his suffering.
- The face of his love and the ice of her diastity.
- The pain of absence.
- The renuncition of love.
- The eternity and originality of his poems. The Sonnet and Sonnet Sequence
- Octave: 2 quatraius.
- Sextet.
- Rhyming: ABBA, ABBA, CDECD.
- Volta or turning point in line 9.
Italian form: introduced by Wyatt
- 3 quartraius and couplet.
- Rhyming: ABAB, CDCD, EFEF.
- Volta in 3rd quatraius or the ending strophe.
English Form: introduced by Surray
Edmun Spencer
- Rhym: ABAB, BCBC, EDED, FF
Amoretti from 1595
Italian and English Sonnets Forms
Shakespeare
- Finest law poems
- Cryptic sequence
- Neither narrative or autobiographic
Sonnets (16091)
Sonnets are based on petrarch tradition, but subvertins it and idealizes realism. For example
in "Lovely Boy" the object of desire is the boy and not the lady.
Language of Sonnets
- Simple language
- Metaphysical style
- Imagery from a wide variety of sources
Rethorical strategy: to debate an initial statement to lead a conclusion in the final
couplet, or to turn the situation into another direction in the final sextet
Rhetorical Devices
Allliteration : use of several nearby words or stressed syllables beginning the same
consonant
Repetition of sounds and words
O wild West Wind, thou breath of Autum's being
- Assonance : repetition of a vowel sound
Anaphora : repetition of words at the beginning of lines, or clause, so that an effect of
emphasis is produced.
If I were a dead leaf thou mightest bear;
If I were a swift cloud to fly with thee;
A wave to pant beneath thy power, and share
- Epistrophe : ending a series of lines with the same words.
Epanalepsis : the word that ocurred at the beginning of a line and at the end of the
same line
Anadiplosis : the repetition of the last word of one line or clause at the beginning of the
next
Gradiato or Climax: A sentence construction in which the last word of one clause
becomes the first of the next, through three or more clauses.
- Polyptoton : repetition of words of the same root with different endings
- Antanaclasis : the repetition of a word whose meaning changes in the second instance
- Diacope : repetition of words with one or some words in between
She, dear she
To be or not to be
- Epizeuxis : repetition of words with no others between
Syntax
- Asyndeton : joining of words or phrases by commas
- Polysyndeton : joining of words or phrases by conjunctions
- Parallelism : the parallel construction of phrases
- Chiasmus : variation of the parallelism, repetition in inverted order.
She is all states, and all princes I,
Nothing else is.
Astrophil and Stella Sonnet 1 - Philip Sidney
Loving in truth , and fain in verse my love to show , A Poet wants to show how true his love is. That she, dear she, might take some pleasure of my pain,— B Express the poet that writing and showing the poem to her. Pleasure might cause her read, reading might make her know, A Paralelism. Knowledge might pity win, and pity grace obtain,— B Pass to the action. At the end, He can obtain her. I sought fit words to paint the blackest face of woe; A Try to make her see beautiful with the poem to conquer her Studying inventions fine her wits to entertain, B Leaves, pages of the book Metonimy. Oft turning others' leaves, to see if thence would flow. A Some fresh and fruitful showers upon my sunburn'd brain. B Change in argumentation. Internal feeling intense like the sun. Showers = ideas But words came halting forth, wanting invention's stay; C Invention's and invention. Invention, Nature's child, fled step-dame Study's blows; D Argument continues. Musicality is stronge because it's not your feelings. Unity of the argument. And others' feet still seem'd but strangers in my way. C He is desesperate. He does not know how to express his feelings. Thus great with child to speak and helpless in my throes, D Biting my truant pen, beating myself for spite, E At the end he recives help for his muses, whose tell him that he need to contemplate his own heart and then write. "Fool," said my Muse to me, "look in thy heart, and write." E
- Sonnet
- Stress fall in the some vowels
- English form with Italian structure
- Iambic hexameter
- Loving word is stressed
- Theme: sincere feelings.
Astrophil and Stella Sonnet 15 - Philip Sidney
You that do search for every purling spring A Referring to other poets and to himself Which from the ribs of old Parnassus flows, B Parnasus house of the muses And every flower , not sweet perhaps, which grows B Near thereabouts, into your poesy wring; A Ye that do dictionary's method bring A Into your rimes, running in rattling rows; B Alliteration and not very nice sound You that poor Petrarch's long-deceased woes B Looking in the od books for inspiration With new-born sighs and denizen'd wit do sing: A New love story You take wrong ways; those far-fet helps be such C Volta. Explain why the ways are wrong and sooner or later it well be known that you copy. As do bewray a want of inward touch, C And sure, at length stol'n goods do come to light. D But if, both for your love and skill, your name D Poemas martes, 30 de enero de 2018 16:
You seek to nurse at fullest breasts of Fame, D Volta- Stella behold, and then begin to endite. D
- Italian form
- Flower = poets
- Anaforic strucutre
Shakespeare - Sonnet 19
Devouring Time, blunt thou the lion's paws, A Time destroys everything. It's like a subject. And make the earth devour her own sweet brood; B Develops the statement until the volta. Start with a verb. Time is unstoppable. Pluck the keen teeth from the fierce tiger's jaws, A And burn the long-liv'd Phoenix in her blood; B The volta is strong. Through his verse his love would not ve touched by the passing of time. Make glad and sorry seasons as thou fleets, C And do whate'er thou wilt, swift-footed Time, D To the wide world and all her fading sweets; C But I forbid thee one more heinous crime: D O, carve not with the hours my love's fair brow, E Nor draw no lines there with thine antique pen! F Him in thy course untainted do allow E For beauty's pattern to succeeding men. F Full stop indicates argumentation is finished. Yet do thy worst, old Time! Despite thy wrong G My love shall in my verse ever live young. G
- English form
- Iambic pentameter
- Iniciating statement: Devouring Time.
Sonnet 20 - Shakespeare
A woman’s face with nature’s own hand painted A Hyperbaton Hast thou, the master-mistress of my passion; B Paradox A woman’s gentle heart, but not acquainted A With shifting change as is false women’s fashion; B Lady has a change in her opinions An eye more bright than theirs, less false in rolling, C Gilding the object whereupon it gazeth; D Becoming like gold. A man in hue, all hues in his controlling, C Matices can control other men.
And sable curls all silver’d o’er with white; B When lofty trees I see barren of leaves C Which erst from heat did canopy the herd, D And summer’s green all girded up in sheaves C Borne on the bier with white and bristly beard, D Then of thy beauty do I question make, E That thou among the wastes of time must go, F Since sweets and beauties do themselves forsake E And die as fast as they see others grow; F And nothing ‘gainst Time’s scythe can make defence G Save breed, to brave him when he takes thee hence. G
- Goes through a series of images of mortality such as a clock, a withering flower, a barren tree and autumn.
- English sonnet, three quartains and two lines couplet.
- The argument of the poem may also be seen as reflecting the older structure of the Petrarchan sonnet lines.
Sonnet 135 - Shakespeare
Whoever hath her wish, thou hast thy Will, A And Will to boot, and Will in overplus; B More than enough am I that vex thee still, A To thy sweet will making addition thus. B Wilt thou, whose will is large and spacious, C Not once vouchsafe to hide my will in thine? D Shall will in others seem right gracious, C And in my will no fair acceptance shine? D The sea, all water, yet receives rain still, E And in abundance addeth to his store; F So thou being rich in Will add to thy Will E One will of mine, to make thy large Will more. F Let no unkind, no fair beseechers kill; G Think all but one, and me in that one Will. G
- The speaker appeals to his mistress after having been rejected by her.
- English Sonnet, three quatrains and final rhyming couplet.
- Iambic pentameter, five pairs of metrically weak/strong syllabic positions.
Sonnet 144 - Shakespeare
Two loves I have of comfort and despair, A Which like two spirits do suggest me still B The better angel is a man right fair, A
The better angel is a man right fair, A The worser spirit a woman coloured ill. B To win me soon to hell, my female evil C Tempteth my better angel from my side, D And would corrupt my saint to be a devil, C Wooing his purity with her foul pride. D And, whether that my angel be turn’d fiend, E Suspect I may, yet not directly tell, F But being both from me both to each friend, E I guess one angel in another’s hell. F Yet this shall I ne’er know, but live in doubt, G Till my bad angel fire my good one out. G
- English sonnet
- Iambic pentameter
Shakespeare - Sonnet 130
My mistress' eyes are nothing like the sun; A Coral is far more red than her lips' red; B If snow be white, why then her breasts are dun; A If hairs be wires, black wires grow on her head. B I have seen roses damask'd, red and white, C But no such roses see I in her cheeks; D And in some perfumes is there more delight C Than in the breath that from my mistress reeks. D I love to hear her speak, yet well I know E That music hath a far more pleasing sound; F I grant I never saw a goddess go; E My mistress, when she walks, treads on the ground: F And yet , by heaven , I think my love as rare G Iambic pentameter As any she belied with false compare. G Iambic pentameter
- Description of the Lady, comparing her to the sun.
- Typical images of the petrarch convention: ending couplet.
- Concept of ideal beauty was a convention of literature and art in general.
- Satirizes the hyperbole of the allusions used by conventional poets.
- Comparition between the poet's mistress to a number of natural beauties.
- English sonnet, three quatrains.
- Iambic pentameter.
In such white robes, heaven’s Angels used to be Received by men; Thou Angel bringst with thee A heaven like Mahomet’s Paradise; and though Ill spirits walk in white, we easily know, By this these Angels from an evil sprite, Those set our hairs, but these our flesh upright. Licence my roving hands, and let them go, Before, behind, between, above, below. O my America! my new-found-land, My kingdom, safeliest when with one man mann’d, My Mine of precious stones, My Empirie, How blest am I in this discovering thee! To enter in these bonds, is to be free; Then where my hand is set, my seal shall be. Full nakedness! All joys are due to thee, As souls unbodied, bodies uncloth’d must be, To taste whole joys. Gems which you women use Are like Atlanta’s balls, cast in men’s views, That when a fool’s eye lighteth on a Gem, His earthly soul may covet theirs, not them. Like pictures, or like books’ gay coverings made For lay-men, are all women thus array’d; Themselves are mystic books, which only we (Whom their imputed grace will dignify) Must see reveal’d. Then since that I may know; As liberally, as to a Midwife, shew Thy self: cast all, yea, this white linen hence, There is no penance due to innocence. To teach thee, I am naked first; why then What needst thou have more covering than a man.
- No stanza combine or stanza structure.
- Elegy: abitrary roman elegy
- Metaphisical poem
- Speaker urges his mistress into bed, describes undressing and caressing his mistress, at the end the speaker is fully unclothed and erect.
- Focusing on the belly and vulva.
- Comparision the beauty of dress as external decoration with the natural beauty of the undressed woman Easter Wings by George Herbert Lord, who createdst man in wealth and store, Though foolishly he lost the same, Decaying more and more, Till he became Most poore: With thee O let me rise As larks, harmoniously, And sing this day thy victories: Then shall the fall further the flight in me. My tender age in sorrow did beginne And still with sicknesses and shame. Thou didst so punish sinne, That I became Most thinne. With thee Let me combine, And feel thy victorie: For, if I imp my wing on thine, Affliction shall advance the flight in me.
- Traditional greek shaped poems
- Religious meditation that focuses on the atonement of Jesus Chris.
Upon Julia's Breats by Herrick Display thy breasts, my Julia, there let me Behold that circummortal purity; Between whose glories, there my lips I’ll lay, Ravished in that fair Via Lactea.
- Upon the nipples of Julia's Breat by Herrick HAVE ye beheld (with much delight) A red rose peeping through a white? Or else a cherry, double grac'd, Within a lily centre plac'd? Or ever mark'd the pretty beam A strawberry shows half-drown'd in cream? Or seen rich rubies blushing through A pure smooth pearl and orient too? So like to this, nay all the rest, Is each neat niplet of her breast. On the Late Massacre in Piedmont by Milton Avenge, O Lord, thy slaughter'd saints, whose bones A Lie scatter'd on the Alpine mountains cold, B Ev'n them who kept thy truth so pure of old, B When all our fathers worshipp'd stocks and stones; A Forget not: in thy book record their groans A Who were thy sheep and in their ancient fold B Slain by the bloody Piemontese that roll'd B Mother with infant down the rocks. Their moans A Women and children have been murder as males in the group The vales redoubl'd to the hills, and they C To Heav'n. Their martyr'd blood and ashes sow D O'er all th' Italian fields where still doth sway C The triple tyrant; that from these may grow D Referring to the pope with his triple crown A hundred-fold, who having learnt thy way C Early may fly the Babylonian woe. D - Italian/Petrarchan form - Iambic pentameter - Inspired by the massacre of Waldensians in Piedmont by the troops of Charles Emmanuel II, Duke of Savoy in April 1655 - Movement from Old Testament to the New testament To Lucasta, Going to the wars by Lovelace Tell me not (Sweet) I am unkind, That from the nunnery Of thy chaste breast and quiet mind To war and arms I fly. True, a new mistress now I chase, The first foe in the field; And with a stronger faith embrace A sword, a horse, a shield.
And from his fair inviter meanly shrink, ’Twill please the ghost of my departed vice If, at my counsel, he repent and drink. Or should some cold-complexioned sot forbid, With his dull morals, our bold night-alarms, I’ll fire his blood by telling what I did When I was strong and able to bear arms. I’ll tell of whores attacked, their lords at home; Bawds’ quarters beaten up, and fortress won; Windows demolished, watches overcome; And handsome ills by my contrivance done. Nor shall our love-fits, Chloris, be forgot, When each the well-looked linkboy strove t’ enjoy, And the best kiss was the deciding lot Whether the boy fucked you, or I the boy. With tales like these I will such thoughts inspire As to important mischief shall incline: I’ll make him long some ancient church to fire, And fear no lewdness he’s called to by wine. Thus, statesmanlike, I’ll saucily impose, And safe from action, valiantly advise; Sheltered in impotence, urge you to blows, And being good for nothing else, be wise.
- Gondibert stanza
- Heroic stanza is satical Daffodils by Wordsworth I wandered lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze. Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance. The waves beside them danced; but they Outdid the sparkling waves in glee: A poet could not but be gay, In such a jocund company: I gazed—and gazed—but little thought What wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils
- Iambic pentameter
- Nature and memory
- Personification of daffodils Tintern Abbey by WordsWorth Five years have past; five summers, with the length Of five long winters! and again I hear
Of five long winters! and again I hear These waters, rolling from their mountain-springs With a soft inland murmur.—Once again Do I behold these steep and lofty cliffs, That on a wild secluded scene impress Thoughts of more deep seclusion; and connect The landscape with the quiet of the sky. The day is come when I again repose Here, under this dark sycamore, and view These plots of cottage-ground, these orchard-tufts, Which at this season, with their unripe fruits, Are clad in one green hue, and lose themselves 'Mid groves and copses. Once again I see These hedge-rows, hardly hedge-rows, little lines Of sportive wood run wild: these pastoral farms, Green to the very door; and wreaths of smoke Sent up, in silence, from among the trees! With some uncertain notice, as might seem Of vagrant dwellers in the houseless woods, Or of some Hermit's cave, where by his fire The Hermit sits alone. These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. If this Be but a vain belief, yet, oh! how oft— In darkness and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee! And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams,
Into a sober pleasure; when thy mind Shall be a mansion for all lovely forms, Thy memory be as a dwelling-place For all sweet sounds and harmonies; oh! then, If solitude, or fear, or pain, or grief, Should be thy portion, with what healing thoughts Of tender joy wilt thou remember me, And these my exhortations! Nor, perchance— If I should be where I no more can hear Thy voice, nor catch from thy wild eyes these gleams Of past existence—wilt thou then forget That on the banks of this delightful stream We stood together; and that I, so long A worshipper of Nature, hither came Unwearied in that service: rather say With warmer love—oh! with far deeper zeal Of holier love. Nor wilt thou then forget, That after many wanderings, many years Of absence, these steep woods and lofty cliffs, And this green pastoral landscape, were to me More dear, both for themselves and for thy sake!
- Blank verse
- Iambic pentameter
- Main subject is memory Kubla Khan by Coleridge In Xanadu did Kubla Khan A stately pleasure-dome decree: Where Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea. So twice five miles of fertile ground With walls and towers were girdled round: And there were gardens bright with sinuous rills, Where blossomed many an incense-bearing tree; And here were forests ancient as the hills, Enfolding sunny spots of greenery. But oh! that deep romantic chasm which slanted Down the green hill athwart a cedarn cover! A savage place! as holy and enchanted As e'er beneath a waning moon was haunted By woman wailing for her demon-lover! And from this chasm, with ceaseless turmoil seething, As if this earth in fast thick pants were breathing, A mighty fountain momently was forced: Amid whose swift half-intermitted burst Huge fragments vaulted like rebounding hail, Or chaffy grain beneath the thresher's flail: And 'mid these dancing rocks at once and ever It flung up momently the sacred river. Five miles meandering with a mazy motion Through wood and dale the sacred river ran, Then reached the caverns measureless to man, And sank in tumult to a lifeless ocean: And 'mid this tumult Kubla heard from far Ancestral voices prophesying war! The shadow of the dome of pleasure Floated midway on the waves; Where was heard the mingled measure From the fountain and the caves. It was a miracle of rare device, A sunny pleasure-dome with caves of ice! A damsel with a dulcimer In a vision once I saw: It was an Abyssinian maid, And on her dulcimer she played,
And on her dulcimer she played, Singing of Mount Abora. Could I revive within me Her symphony and song, To such a deep delight 'twould win me, That with music loud and long, I would build that dome in air, That sunny dome! those caves of ice! And all who heard should see them there, And all should cry, Beware! Beware! His flashing eyes, his floating hair! Weave a circle round him thrice, And close your eyes with holy dread, For he on honey-dew hath fed, And drunk the milk of Paradise.
- Iambic pentameter and alternating rhyme schemes. 1 stanza, ABAABCCDEDE 2 stanza, ABAABCCDDFFGGHIIHJJ Ozymandias by Shelley I met a traveller from an antique land, A Poetic voice is King Ozymandias. Antique used for a old language, to refer to an old city. Who said—“Two vast and trunkless legs of stone B Poetic voice is quoting someone A statue Stand in the desert.... Near them, on the sand, A Vague description of the place Half sunk a shattered visage lies, whose frown, B Someone inmense now is nobody And wrinkled lip, and sneer of cold command, A Tell that its sculptor well those passions read C Which yet survive, stamped on these lifeless things, D The hand that mocked them, and the heart that fed; C And on the pedestal, these words appear: E My name is Ozymandias, King of Kings; D Look on my Works, ye Mighty, and despair! E Nothing beside remains. Round the decay F Of that colossal Wreck, boundless and bare E The lone and level sands stretch far away.” F - Description of the remains and ruins of a monument that was constructed as a vision of power. - Second reading, aboyt how the man was, his feelings and personality. - Ozymandias was the greek name for the pharoh Ramesses II. - Sonnet in loose iambic pentameter - Atypical rhyme scheme - Inspired by the colossal statue and its arrival to London Ode to the West Wind by Shelley I O wild West Wind, thou breath of Autumn's being,
