{"id":8515,"date":"2010-02-26T17:01:04","date_gmt":"2010-02-26T22:01:04","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?page_id=8515"},"modified":"2010-02-26T17:01:04","modified_gmt":"2010-02-26T22:01:04","slug":"peter-evanss-class-notes-for-northrop-fryes-course-in-english-literature-1500-1660-english-2i-1952-1953","status":"publish","type":"page","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/peter-evanss-class-notes-for-northrop-fryes-course-in-english-literature-1500-1660-english-2i-1952-1953\/","title":{"rendered":"Peter Evans\u2019s Class Notes for Northrop Frye\u2019s Course in English Literature 1500\u20131660 (English 2i), 1952\u20131953"},"content":{"rendered":"

At the top of page 50 of Evans\u2019s notes is the name \u201cBentley.\u201d Evans\u2019s note to me: \u201cThe may mean Allen Bentley took the lecture and I copied, but more likely that I took it and he borrowed the notes.\u201d We can infer from the four sets of notes that are dated (lectures 31\u201334) that the course met on Mondays and Wednesdays.\u00a0 The topic for the students\u2019 course essay is sketched at the beginning of lecture 25. I received these notes from Evans in 1994 and transcribed them in 2010.\u00a0 The topics and writers covered in the lectures are listed below.\u00a0 \u2013\u2013RDD<\/em><\/p>\n

<\/em><\/p>\n

Lecture<\/em><\/p>\n

no.<\/em><\/p>\n

<\/em><\/p>\n

1\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Historical background, printing press, humanism<\/em><\/p>\n

2\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 English poetic metre, sonnet, Skelton, Hawes, Wyatt, Surrey<\/em><\/p>\n

3\u20134\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Courtly love convention, Wyatt, <\/em>Surrey<\/em> <\/em><\/p>\n

5\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Background to Spenser; his hymns<\/em><\/p>\n

6\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Spenser\u2019s cosmology; the elements; the humours<\/em><\/p>\n

7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Minerals; English emergence from insularity (commerce)<\/em><\/p>\n

8\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Geoffrey of Monmouth, William Warner, Spenser<\/em><\/p>\n

9\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bibliography; <\/em>Sidney<\/em> <\/em><\/p>\n

10\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sonnets (Sidney and Shakespeare); Marlowe<\/em><\/p>\n

11\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mythological poem (Marlowe, Shakespeare, Drayton<\/em><\/p>\n

12\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Revolt against courtly love: The Metaphysical poets<\/em><\/p>\n

13\u201314\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Metaphysical poetry (Donne, Marvell); satire (Gascoigne, Spenser, Jonson)<\/em><\/p>\n

15\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Jonson<\/em><\/p>\n

16\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tradition of Jonson: Herrick<\/em><\/p>\n

17\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Herbert, Crashaw<\/em><\/p>\n

18\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Crashaw, Vaughan<\/em><\/p>\n

19\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Traherne, Marvell<\/em><\/p>\n

20\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Marvell, Waller, Denham, <\/em>Butler<\/em> <\/em><\/p>\n

21 <\/em>Butler<\/em>, Cowley<\/em><\/p>\n

22\u201325\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 More\u2019s <\/em>Utpoia and its tradition<\/em><\/p>\n

26\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Asham and Machiavelli<\/em><\/p>\n

27 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Elyot, Ascham, and educational theory<\/em><\/p>\n

28\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The rise of the vernacular; Bacon<\/em><\/p>\n

29\u201331 Bacon, Hooker<\/em><\/p>\n

32\u201335\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Browne<\/em><\/p>\n

36 <\/em>Burton<\/em> <\/em><\/p>\n

37 <\/em>Sidney<\/em> <\/em><\/p>\n

38\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sidney, Deloney<\/em><\/p>\n

39\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Deloney, Greene<\/em><\/p>\n

40\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Greene, Lyly<\/em><\/p>\n

41\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nashe<\/em><\/p>\n

42\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Walton, Fuller, Hall<\/em><\/p>\n

<\/em><\/p>\n

<\/em><\/p>\n

Lecture 1.<\/strong><\/p>\n

This course covers the English period of culture known as the Renaissance.\u00a0 The English Renaissance had been delayed, not beginning until the last decade of the 15th century.<\/p>\n

Printing press first used at this time, having profound and immediate importance to literature in England.\u00a0 Effects on culture, literary tradition.<\/p>\n

Growth in importance of secondary education.<\/p>\n

15th century. War of Roses. Baronial War, killing off many of the barons.\u00a0 Growth at this time of new middle class, which by the end of the 15th century was the effective power in England.\u00a0 Henry VII, first of the Tudors (1485), realized that he must get rid of the rest of the feudal barons and get middle class support.\u00a0 The Tudor dynasty still had a great deal of personal power.\u00a0 In culture, there was a centralization of authority at the king\u2019s court on London.\u00a0 The invention of gunpowder helped the king get rid of the barons.\u00a0 The invention of the compass helped develop a colonial outlook for the Atlantic seaboard countries.<\/p>\n

Increase in prestige and importance of the modern languages.\u00a0 Middle Age works had been written in Latin, but now English began to be used to an increased literary importance.<\/p>\n

Middle English was written in a number of dialects during Chaucer\u2019s period, because there was not much exchange, transportation.<\/p>\n

In the Renaissance a standard form of English began to be accepted.\u00a0 The strong middle class played a strong role here.<\/p>\n

In the Middle Ages there were five important dialects (one in the north, two in central England, and two in the south).\u00a0 When the standard dialect arose, there was no question but that it would come from London, and in London the East Midland dialect rose to become our standard English.\u00a0 This had been the language of Chaucer.<\/p>\n

The introduction of the printing press was at the opening of the period.\u00a0 Caxton opened the first in England in about 1476, and for the next twenty\u2011five years about three operated in England.\u00a0 With the printing press it was possible to reproduce books exactly, without reliance on a scribe, where small mistakes build up.\u00a0 An accurately established text could now be produced.\u00a0 It stimulated scholars to dig out manuscripts to put out scholarly editions.<\/p>\n

The printing press brought about great controversies.\u00a0 War of pamphlets during Reformation.\u00a0 By Elizabethan period an idea of journalism began to build up.<\/p>\n

Fashionable poets (Wyatt, Surrey, e.g.) tended to avoid the printing press.\u00a0 They wrote their poems in manuscripts and passed them among friends.<\/p>\n

After 1450 humanism was of importance.\u00a0 Humanism\u2013\u2013the revival and editing of Classical Greek and Latin works.<\/p>\n

In Italy a great interest arose in the study of Greek.\u00a0 Now scholars began researching monasteries throughout Europe, searching for old manuscripts.\u00a0 The number they found was surprising.\u00a0 Aldine editions\u2013\u2013under patronage of Venetian gentlemen.<\/p>\n

Books printed before 1500 were \u201cincunabula\u201d editions.<\/p>\n

A great popularization of culture in England in this Renaissance period.<\/p>\n

Read Wyatt, Surrey, Skelton.<\/p>\n

Lecture 2.<\/strong><\/p>\n

English as a poetic language is terrifically thumpy and frumpy.\u00a0 English has two main sources: Latin and native stock of words.\u00a0 The entire native stock was of monosyllables.\u00a0 This accounts for the bumpiness.\u00a0 In Chaucer the technique of writing was based on a different language.\u00a0 Anglo\u2011Saxon was inflected.\u00a0 In Chaucer\u2019s day all the inflections had boiled down to the pronunciation of the soft \u201ce\u201d at the end of many words.\u00a0 This meant a smoothness impossible to attain in modern English.\u00a0 Middle English had a lightness of touch and of sound unobtainable in modern English.\u00a0 In the century following Chaucer great changes took place in the pronunciation of English<\/p>\n

Two rhythms seem to be embedded in English poetry since early medieval times:<\/p>\n

(1) iambic pentameter.\u00a0 English has too many bumps for a longer line to be feasible.<\/p>\n

(2) a line of four beats or stresses, rather than four feet.\u00a0 Any number of syllables can be used within the four stresses, as in music.<\/p>\n

The first three beats began on the same letter (alliteration).\u00a0 This was the metre of Beowulf<\/em>.<\/p>\n

In spite of the iambic pentameter of Chaucer or Shakespeare, there were still four heavy beats to a line.<\/p>\n

The best poetry of the 15th century was the ballad, and it went back to the four\u2011beat line.<\/p>\n

John Skelton (1460?\u20131529).\u00a0 A clergyman and satirist.\u00a0 A bit unconventional as a churchman.\u00a0 A learned man.\u00a0 Translated Greek to English.\u00a0 Last poet of Middle Ages, and he followed the uncertainty following Chaucer.\u00a0 He, too, fell back on the four\u2011beat line.\u00a0 He employed a \u201cSkeltonic\u201d metre.<\/p>\n

Stephen Hawes (ca. 1475\u20131530) is proof that Old English is worn out.\u00a0 In poetry it does not fit the metre.\u00a0 Something has to be done.<\/p>\n

Petrarch (1306\u201374) and Boccaccio greatly influenced Chaucer.\u00a0 Now at the time of Wyatt and Surrey, many Englishmen travelled on the continent.\u00a0 Wyatt and Surrey consciously attempted to reform English poetry.\u00a0 They studied Petrarch carefully.\u00a0 Wyatt and Surrey used his themes.\u00a0 Wyatt seems to have introduced the sonnet to English.<\/p>\n

The sonnet vogue lasted until the beginning of the 17th century. \u00a0It was a good practice form for conciseness.<\/p>\n

Wyatt and Surrey also used lyric forms<\/p>\n

\u201cOf the Mean and Sure Estate\u201d [Wyatt]\u2013\u2013a satire.\u00a0 Adaptation of Horace\u2019s tale of town and country mores\u2013\u2013interlocking rhymes\u2013\u2013three\u2011line stanzas\u2013\u2013\u201cterza rima\u201d\u2013\u2013Dante\u2019s metre.\u00a0 Shelley used in \u201cOde to the West Wind,\u201d but it is not good for English metre.<\/p>\n

See lines 52\u201354\u2013\u2013lack of rhyming words in English [\u201cThe fare she had, for, as she look askance, \/ Under a stool she spied two steaming eyes \/ In a round head with sharp ears. In France\u201d]<\/p>\n

The Petrarchan sonnet has the octave and sestet.\u00a0 No rhyming couplet (abba abba cde cde).\u00a0 But Shakespearean sonnet, as introduced by Surrey, has three quatrains followed by a rhyming couplet.\u00a0 It was more suitable for English.<\/p>\n

Surrey introduced blank version in his translation from the Aeneid<\/em>.\u00a0 It is now a most important poetic form.<\/p>\n

Surrey tried other ideas\u2013\u2013\u201cComplaint of the Absence of Her Lover, Being upon the Sea\u201d\u2013\u2013Alternation from twelve to fourteen syllables in alternate lines (hexameter, then septameter).\u00a0 The poulter\u2019s measure\u2013\u2013an early Tudor period form.<\/p>\n

Wyatt was the subtler of the two.\u00a0 Surrey is a gentle, smooth, even\u2011flowing poetry.\u00a0 Thus Surrey became more fashionable in the Elizabethan times.<\/p>\n

It was not until ten years after Surrey\u2019s death that the poems got into print (1557) in a book\u2013\u2013Tottel\u2019s Miscellany<\/em>, the first English anthology.\u00a0 Tottel tried to improve Surrey\u2019s poetry, smoothing it, and for a long time Wyatt was considered inept.<\/p>\n

Lecture 3.<\/strong><\/p>\n

The social position of the prince and the courtier had been well established under Henry VIII.\u00a0 Wyatt and Surrey took their roles a courtiers.\u00a0 They trained themselves for their position.\u00a0 They became men of action.\u00a0 Educated courtiers.\u00a0\u00a0\u00a0 The ideal of Renaissance education was a broad secularism, founded on humanism.\u00a0 An ability to master the Greek and Latin classics.\u00a0 Versatility was possible.\u00a0 Classical authors were regarded as authorities\u2013\u2013medicine, architecture, prose or poetic style, farming, etc.\u00a0 Humanism was basically a cult of authority.\u00a0 The influence of humanism on literature was good, while on science it was pernicious.\u00a0 Since improvement of art forms, classical forms, is impossible, the setting up of such models is right.\u00a0 We can\u2019t beat Homer, Virgil, Shakespeare, or Milton.\u00a0 But such models in science are wrong.\u00a0 Humanism was primarily a literary development, but science had to make its own way in the 16th century, to some extent in defiance of humanism.<\/p>\n

The poetry of Wyatt and Surrey was amateur, and was more conventionalized than that of professionals.\u00a0 Writing is highly conventionalized.\u00a0 The convention is the postulate agreed on between the writer and the reader.\u00a0 A different convention would exist in Alice in Wonderland<\/em> than in Mickey Spillane, and there is no point in arguing against such conventions.<\/p>\n

The first great movement in medieval poetry was that taking place in Proven\u00e7al.\u00a0 The troubadour in southern France developed a type of theme\u2013\u2013that of devotion to a lady.\u00a0 The poet devotes himself to the service of his lady.\u00a0 This began the convention of courtly love.\u00a0 This convention spread southward over Italy and northward over France, where it soon became merged with chivalry, the upper\u2011class feudal method of behaviour.\u00a0 The ideal of chivalry was the acceptance of their position in the upper class of protecting the weak, especially women.<\/p>\n

Dante and Petrarch in Italy picked up the courtly love theme.\u00a0 The woman is in a sense the inspirer of man.\u00a0 Beatrice, a girl whom Dante was inspired by, in the Divine Comedy<\/em>, leads Dante up from the Inferno to Paradise.\u00a0 This type of love was practiced as a discipline of one\u2019s own perfection.\u00a0 Petrarch was high brow\u2013\u2013the first humanist.\u00a0 He was proud of having written a great Latin epic.\u00a0 But he also wrote Italian sonnets, on the theme of his lady love, who, however, had no effect on his marriage.\u00a0 When she dies, this courtly love continues.<\/p>\n

Petrarch set the convention for the next three centuries.\u00a0 Wyatt and Surrey pick up his theme constantly.<\/p>\n

Petrarch\u2019s code was adopted as the code of living, continued for a long time.\u00a0 Seeing a girl at a party, you had to fall immediately in love forever, not necessarily sexually so\u2013\u2013not romantic.\u00a0 Then you went home and pulled down your blind.\u00a0 You were not able to sleep for weeks\u2013\u2013constantly melancholy.\u00a0 During this period you wrote and wrote and wrote.\u00a0 The first part of the writing complains of the lady\u2019s cruelty.\u00a0 Then on to the theme of her smile, etc.<\/p>\n

By the end of the 16th century the convention was still growing strong, but it was wearing a little thin.\u00a0 Shakespeare comments on it at the opening of Romeo and Juliet<\/em>.\u00a0 His love affair with Rosaline is a take\u2011off on the courtly love theme.<\/p>\n

In history some gigantic lovers went much further than the simple conventions of courtly love and went mad or died or killed themselves.\u00a0 These people were saints or martyrs.\u00a0 Don Quixote<\/em> is a take\u2011off on the courtly love theme.<\/p>\n

As You Like It<\/em> brings out all of these conventions.<\/p>\n

This convention underlies the Elizabethan sonnet, and many of the poets and poems of this period.<\/p>\n

Lecture 4.<\/strong><\/p>\n

A feature of the courtly love convention\u2013\u2013it took a typical medieval flavour.\u00a0 The classic Cupid and Venus in love poetry of the classical period.<\/p>\n

The Christ\u2011God image parallels this and carries down into medieval poetry.<\/p>\n

A language in the courtly love convention that parallels religion\u2013\u2013e.g., Spenser\u2019s Amoretti<\/em> XXII\u2013\u2013\u201choly season,\u201d \u201csaint,\u201d \u201cpriest,\u201d \u201caltar,\u201d \u201crelic,\u201d etc.<\/p>\n

A contemporary of Chaucer wrote the Confession Amatis<\/em>, in which a young man makes a confession to the priest of Venus.<\/p>\n

The parallel between courtly love and Christian love is a part of medieval poetry.\u00a0 For example, Donne\u2019s \u201cThe Canonization\u201d: resurrection symbolism applied to love.\u00a0 Donne\u2019s atheist or heretic is one who isn\u2019t in love or who doesn\u2019t fall in love.<\/p>\n

Women who do not \u201ccome across\u201d are warned that they are blaspheming the god of love.<\/p>\n

Wyatt\u2019s \u201cThe Lover Compareth His State to a Perilous Storm Tossed on the Sea\u201d is a translation from Petrarch.\u00a0 An example of the way convention can still bring good poetry.\u00a0 This shows part of the advantage of having a convention.\u00a0 We must distinguish between literary sincerity and personal sincerity.<\/p>\n

The courtly love convention expects you to make great protestations of love.\u00a0 It might be such a protestation to someone to get a job or a position.<\/p>\n

Surrey\u2019s \u201cComplaint of a Lover Rebuked\u201d is a translation from Petrarch.<\/p>\n

Wyatt\u2019s \u201cThe Lover for Shamefastness\u201d is a translation of the same sonnet.<\/p>\n

Wyatt\u2019s rhythm follows exactly what is being expressed.\u00a0 He has written the poem out in more dimensions than Surrey knew existed.<\/p>\n

N.B. Rhythm in verses 3 and 6 of \u201cThe Lover Complaineth the Unkindness of His Love.\u201d\u00a0 Two strong beats in the middle of a line can have a wonderful effect if you know what to do with them.<\/p>\n

\u201cA Renouncing of Love\u201d\u2013\u2013such a theme became important in the courtly love tradition later on.\u00a0 Sidney used it for a renunciation of religious love.<\/p>\n

\u201cWhoso List to Hunt.\u201d\u00a0 Another translation from Petrarch.\u00a0 Surrey\u2019s \u201cDescription and Praise\u201d was written to a nine\u2011year\u2011old, typical of the courtly love tradition.<\/p>\n

By the end of the 16th century the convention was wearing then.\u00a0 Another convention in the courtly love theme is shown in Surrey\u2019s \u201cA Praise of His Love Wherein He Reproveth Them That. Compare Their Ladies With His.\u201d<\/p>\n

\u2013\u2013A popularized form of Plato.\u00a0 In Plato material things are the shadows of forms of ideas.\u00a0 The idea is preserved by the soul, and the body perceives the material things.<\/p>\n

The soul in the body sees the purpleness, depth of a thing, which the body sees as a faded carbon copy of it.<\/p>\n

(See Plato\u2019s Symposium<\/em>.\u00a0 If a man is attracted by a woman, the body is attracted by the material object, while the soul without man\u2019s knowing it perceives the idea or form of beauty.\u00a0 Man must aspire to get above the body to this ideal level.)<\/p>\n

Surrey is having fun with convention.<\/p>\n

The Platonic streak in the courtly love theme.\u00a0 Love in Plato does not refer to women or sexual love.<\/p>\n

N.B. Love of men or boys.\u00a0 Love in the military aristocracy.\u00a0 It is not homosexual love either in Plato\u2019s Symposium<\/em>.<\/p>\n

Read Spenser, \u201cA Love of Beauty,\u201d \u201cA Love of Heavenly Beauty,\u201d \u201cA Hymn in Honour of Beauty,\u201d \u201cA Hymn of Heavenly Beauty\u201d<\/p>\n

Read Sidney.<\/p>\n

Lecture 5.<\/strong><\/p>\n

The first professional poet of the 16th century was Spenser.\u00a0 The Renaissance idea of a poet was of a man with importance in society.\u00a0 This implies a great responsibility to society.\u00a0 Spenser came from the middle class; he went to Cambridge.\u00a0 He met there quite a group of people interested in poetry.\u00a0 In 1597 he produced The Shepheardes Calender<\/em>.\u00a0 He took every chance to make himself a new <\/em>poet.\u00a0 He wrote the book anonymously, it being, in a sense, nature poetry.<\/p>\n

He used a modification of the courtly love convention, the pastoral convention.\u00a0 The pastoral theme has two origins, Classical and Biblical.<\/p>\n

Classical: Theocritus (who lived in Sicily) did not write in normal epic group [sic].\u00a0 He wrote in the Doric dialect, that spoken by a minority of Greeks.\u00a0 His poems were \u201cidylls.\u201d\u00a0 He was followed and made popular in form by Virgil whose main works (except the Aeneid<\/em>) were on rustic themes.\u00a0 The Eclogues of Virgil, copying Theocritus, popularized this pastoral convention.<\/p>\n

The Bible is full of pastoral symbolism: 23rd Psalm, \u201csheep\u201d in the Gospels, Christ to Good Shepherd.<\/p>\n

This poetry is a good means for satire.\u00a0 Oversimplification of life vs. the court left behind.\u00a0 Also a vehicle for the courtly love convention.<\/p>\n

Certain forms developed: singing match, love song, panegyric (Virgil\u2019s Fourth Eclogue), elegy (pastoral lament) (e.g., Milton\u2019s \u201cLycidas,\u201d Shelley\u2019s \u201cAdonais,\u201d and Arnold\u2019s \u201cThyrsis\u201d).<\/p>\n

Spenser in his pastoral lament wrote twelve sections, one for each month of the year, using all these forms and more.\u00a0 In it he includes a satire on the condition of the church.\u00a0 Spenser decided to write this poem in a country dialect.\u00a0 Since the dialects were taken from all over England, he actually made up the dialect.\u00a0 He threw in some archaic words from Chaucer, some Elizabethan slang, foreign expressions, and some coinages of his own.\u00a0 It was difficult to read, but somewhat enjoyable.\u00a0 Spenser had a good ear for music.<\/p>\n

Pastoral form idealizes simple rural life.\u00a0 (Today it is the western tale.)<\/p>\n

Spenser wrote a total of four hymns, the first two dealing with the courtly love convention\u2013\u2013Venus\u2013\u2013and the other two concerning the Christian religion.<\/p>\n

\u201cAn Hymn in Honour of Beauty\u201d is written to Venus.<\/p>\n

Lines 29\u201335\u2013\u2013Platonic convention.\u00a0 Goes on talking about pattern of beauty, ideal form of beauty.<\/p>\n

The soul within you does not really see a pretty woman, but searches for a virtuous beauty, much deeper, ideal, aesthetic.<\/p>\n

Spenser insists that the process of falling in love is the start of the process of disciplining the mind, leaving the body in search of the soul<\/p>\n

Body = transient object. \u00a0Soul = eternal form<\/p>\n

As marriage and love go on, it becomes not an attraction of the bodies but a union of souls.<\/p>\n

Lecture 6.<\/strong><\/p>\n

Spenser\u2019s four hymns are based on certain assumptions.<\/p>\n

You live simultaneously in two worlds\u2013\u2013the sun rises and sets; also the earth moves round the sun.\u00a0 Poetry was based on the earth as the centre of the universe.\u00a0 Man will be the centre of reality.\u00a0 God conceived in man\u2019s form.\u00a0 (People had always known the world was a sphere\u2013\u2013as early as 300 B.C.).\u00a0 The universe to the medieval mind was a series of concentric spheres with earth at the centre.\u00a0 It was believed that the antipodes (the other half of the world) was either all water or at best certainly not inhabited.\u00a0 The cosmologists believed in four substances: earth, water, air, fire.\u00a0 Earth at the centre of the densest part, water lies all around on top of the earth, air lies around on top of water; therefore, fire must lie in the sphere beyond this.\u00a0 Belief that each of these four would seek its own sphere (air bubbles up through water, fire rises, water rises from ground).\u00a0 The four elements represented to world of decay, change, and corruption (sublunary).\u00a0 The outside of this came the planets and stars\u2013\u2013made of quintessence\u2013\u2013not subject to change, decay, or corruption.\u00a0 Your soul was also made of this quintessence.\u00a0 Order of planets: Moon, Mercury, Venus, Sun, Mars, Jupiter, Saturn.\u00a0 Then came the fixed stars.\u00a0 But scientists wondered what the stars did up there, and planetary influence came into vogue.\u00a0 (Science of astrology\u2013\u2013the influence of the stars.)\u00a0 Above the sphere of fixed stars was a crystalline sphere, and around this was a vast shell of \u201cprimum mobile,\u201d moving from east to west, completely in one day correcting the movement of the heavenly bodies from west to east.<\/p>\n

Reality was finite\u2013\u2013closer to our present conception of the universe as presented by Einstein (idea of space as curved).\u00a0 The word \u201ctemperament\u201d originally stemmed from \u201cmixture.\u201d\u00a0 Temperaments = various humours.<\/p>\n

Humours\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Inorganic\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Organic\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Temperament<\/em><\/p>\n

hot\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 hot and dry\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 bile (choler)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 choleric<\/p>\n

cold\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 hot and wet\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 blood\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 sanguine<\/p>\n

wet\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 cold and wet\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 phlegm\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 phlegmatic<\/p>\n

dry\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 cold & dry\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 melancholy\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 melancholic<\/p>\n

This assumption rests on the identification of the mental with the physical. \u00a0The four humours were not confined to the human body.\u00a0 All organic objects have humours.<\/p>\n

Lecture 7.<\/strong><\/p>\n

Ancients believed that the influence of the planets caused the growth of metals in the rocks.\u00a0 Mercury produced mercury, Mars iron, Sun gold, Saturn lead, Jupiter tin, etc.<\/p>\n

Columbus discovered America trying to find a cheaper way of getting to the Orient, since the route by the east has been virtually severed.\u00a0 For 2000 years people had known the world was round.<\/p>\n

About 1500 feudal lords dispossessed tenants and turned large areas into sheep ranches.\u00a0 (The great grievance is what More refers to in his first book of Utopia<\/em>.)\u00a0 Now England had to trade wool for silks and cotton\u2013\u2013and linen, Damask linen from Damascus.<\/p>\n

Earliest reference to America is in a play written in 1497.\u00a0 Timber, cotton, and fish are talked about, rather than gold and silver.\u00a0 Two attempts to get to Orient, one by north\u2011east and one by north\u2011west.\u00a0 However, in Elizabeth\u2019s reign they found that the way by the north\u2011west would be long and tedious, and so England found that it could do a lot better by turning buccaneers on the Spanish craft.\u00a0 Their galleons were unarmed, laden down with gold.\u00a0 The English easily raided these for about thirty years before the Spanish smartened up.<\/p>\n

The English first tried the north\u2011east traffic route which didn\u2019t work, but they began a roaring trade with Russia.\u2014furs, timber, copper, etc.\u00a0 England also infiltrated Russia, and even India, so that by 1620 the East India Company was founded.\u00a0 Got cotton from India and silks from china<\/p>\n

England had to import dyes to give their wool a bright colour.\u00a0 They found two good dyes in America.\u00a0 The English already had a red dye (\u201cbrasile\u201d), and cochineal and saffron (yellow).<\/p>\n

The Elizabethan Englishman is emerging from a smug little world with the earth at the centre in to a vast new world, vast new ideas.\u00a0 Anything might turn out to be true.<\/p>\n

In the Middle Ages there wasn\u2019t a very great knowledge of Greek.\u00a0 Consequently, the Greek poets were not studied in the original. \u00a0However, they did know the fall of Troy from the Aeneid<\/em>, but Virgil\u2019s account is told from a Trojan point of view.\u00a0 Two poets in the fifth and sixth centuries wrote out a long Latin poem telling the whole story of Troy from beginning to end.\u00a0 They were the only sources, and this story got told in the Middle Ages.\u00a0 Thus medieval conventions got mixed up in the story.\u00a0 Any romantic references in Homer were added to and expanded to bring up romance all out of balance.\u00a0 The love story of Troilus and Cressida. \u00a0Chaucer told it with a pro\u2011Trojan slant; Shakespeare with a pro\u2011Greek slant.<\/p>\n

In Stephen\u2019s reign (1135\u201354) Geoffrey of Monmouth (a Welshman) came along.\u00a0 Monmouth was very important in English literature.\u00a0 He decided that it was time England had a history.\u00a0 He went to work to compose a history of England (slant on the Britons) and this was accepted still in the Elizabethan period.<\/p>\n

Lecture 8.<\/strong><\/p>\n

Monmouth, Britannia<\/em>\u2013\u2013constructed Welsh myths into the history of England that were accepted down to 1600.\u00a0 Until then his account was believed and is therefore of great literary importance.\u00a0 It is through Monmouth\u2019s history that we have Lear and Cymbeline in Shakespeare\u2019s historical plays.\u00a0 King Cole also entered history from Monmouth\u2019s account.<\/p>\n

The legend of the Welsh King Arthur, who stopped the Anglo\u2011Saxons cold, and cleared them out of England.\u00a0 Monmouth introduced Arthur, and Merlin, who built Stonehenge by miraculously transporting stones from Ireland.\u00a0 Arthur is supposed to have gone on to conquer Europe.\u00a0 With this, Monmouth stops.\u00a0 There great names got into the English mind to the neglect of better histories.<\/p>\n

Monmouth was translated from Latin into English and Norman French, and the great legends spread through the 12th century.\u00a0 The stories were originally Celtic.\u00a0 Early stories dealt with Percival rather than the later goody\u2011goody Galahad.<\/p>\n

In the 13th century a group of Cistercian monks gave the story of Arthur an allegorical significance\u2013\u2013the holy grail, etc.\u00a0 Then the emphasis came to be on the knights.\u00a0 In the 16th century, Malory collected some of these later legends in his Morte d\u2019Arthur<\/em>.<\/p>\n

The Tudors (a Welsh house) relied on Arthur to give them a sort of moral right to the throne, and at this time serious doubts were being cast on the Arthurian legend.\u00a0 A foreign scholar had already called the legend a tissue of lies, and the idea still haunted English scholars.<\/p>\n

The Elizabethans were fond of history.\u00a0 With the Tudors had come a strong, steady centralized government.\u00a0 England was coming to the end of a period of historical growth.\u00a0 People were taking a pride in their country.\u00a0 Writing for historical purposes.<\/p>\n

p. 55.\u00a0 \u201cTroy Nouvant\u201d line 9.\u00a0 New Troy.\u00a0 From idea in Monmouth of England being founded as a New Troy by a grandson of Aeneas.<\/p>\n

William Warner (1558\u20131609) wrote a history of Albion\u2019s <\/em>England\u00ad<\/em>\u2013\u2013beginning with flood, up through Troy, etc.\u00a0 Calls the English \u201cBritons,\u201d after Brutus, the so\u2011called founder of England after Troy.<\/p>\n

This poetry is in a very standard metre that is extremely boring, and goes on and on.\u00a0 A \u201cnursery rhyme\u201d verse.\u00a0 But this makes it easier history to remember.<\/p>\n

Spenser\u2013\u2013his greatest work was The Faerie Queene\u2013\u2013<\/em>meant as an epic glorifying England.\u00a0 Each book is the quest of a knight, and each knight is a member of the court of the Faerie Queene. <\/em>But the Faerie Queene never appears.\u00a0 He makes his poem allegorical, getting around historical difficulties.\u00a0 The queen represents (1) Queen Elizabeth (b) the glory of England.\u00a0 The hero is Arthur, who regales the knights whenever they get into trouble.\u00a0 The first book is about the Red Cross Knight (George) purifying the Church of England from Rome.<\/p>\n

Spenserian stanza\u2013\u2013nine lines\u2013\u2013septameter except for last line, which is hexameter.\u00a0 Byron used the Spenserian stanza (a very complicated one) in his Childe Harold<\/em>.\u00a0 Keats used the Spenserian stanza for The Eve of St. Agnes<\/em>\u2013\u2013a very successful use.\u00a0 Also Shelley used it for something [\u201cThe Revolt of Islam\u201d and \u201cAdonais\u201d] and Burns used it in \u201cA Cotter\u2019s Saturday Night.\u201d<\/p>\n

The Spenserian stanza is highly wrought, full of rhyme and alliteration.\u00a0 It is no good for straight narration of simple, unadulterated stories.<\/p>\n

Chain of Being\u2013\u2013all reality is on a scale or hierarchy of existence.\u00a0 God highest, then angels, man, animals, plants, inorganic matter, chaos, with hot, cold, wet, and dry.<\/p>\n

This chain of being runs all through English literature.\u00a0 The idea of form and matter runs through all English literature.\u00a0 Chaos is as close as you can get to pure matter without form, and God is pure form.\u00a0 Man is in the middle.\u00a0 (This theme is still going strong in Pope\u2019s Essay on <\/em>Man<\/em>.\u00a0 Strongly Aristotelian.\u00a0 In all classes of being there was the primate (the form best exhibited).\u00a0 Primate of flowers, the rose; of minerals, gold.<\/p>\n

\u201cHymn to Heavenly Beauty\u201d\u2013\u2013stanza beginning with line 29.\u00a0 Everything in the world is equally beautiful if you look at it for what it is supposed to be.<\/p>\n

Lecture 9.<\/strong><\/p>\n

Bibliography<\/p>\n

General.\u00a0 Cambridge History (Tucker Brooke) and Oxford (Douglas Bush) History of English Literature<\/p>\n

Douglas Bush, Mythology<\/em> and the Renaissance Tradition in English Poetry<\/em><\/p>\n

Douglas Bush, The Early Seventeenth<\/em> Century, 1600-1660<\/em><\/p>\n

Douglas Bush, Renaissance and English Humanism<\/em> (Alexander Lectures)<\/em><\/p>\n

Hiram Haydn, <\/em>The Counter\u2011Renaissance<\/em> <\/em><\/p>\n

Pearson, <\/em>Elizabethan Love Conventions<\/em> <\/em><\/p>\n

Hardin Craig, <\/em>The Enchanted Glass<\/em><\/em>: The Elizabethan Mind in Literature<\/em><\/p>\n

Esther Dunn, The Literature of Shakespeare\u2019s England<\/em><\/p>\n

Renwick, The Works of Edmund Spenser<\/em><\/p>\n

Tillyard, The Elizabethan World Picture<\/em><\/p>\n

C.S. Lewis, The Allegory of Love<\/em><\/p>\n

p. 138.\u00a0 Spenser, \u201cAn Hymn of Heavenly Beauty\u201d\u2013\u2013The onion\u2011shaped universe.\u00a0 His account of the spiritual world is largely of his own invention<\/p>\n

Sidney.\u00a0 The Elizabethans were very proud of Sidney, trained in all the essential attributes of the perfect courtier.\u00a0 Popular. \u00a0Others tried to imitate him.\u00a0 None of his works published in his short life\u2011time.\u00a0 A learned man, interested in theology, philosophy, mathematics.\u00a0 Three particularly important works. (1) An Apology for Poetry<\/em>\u2013\u2013a formal speech in front of the court\u2013\u2013a defense of poetry. (2)\u00a0 A long, prose pastoral romance, Arcadia<\/em>.\u00a0 (3) His sonnet sequence, Astrophel and Stella<\/em>, was the most popular.\u00a0 (The title seems to indicate a star and a lover of the star, indicating the courtly love convention.)\u00a0 The theme is of a courtly love pattern with much deep and personal love in it.\u00a0 The courtly distance is maintained because Sidney (Astrophel) is frustrated by Stella\u2019s marriage.<\/p>\n

Sidney is a magnificent technician in poetry.\u00a0 His first sonnet in this series is written successfully in hexameter rather than pentameter.<\/p>\n

In Sonnet VII\u2013\u2013hair black.\u00a0 Brunettes were out of style, as Elizabeth\u2019s hair was red.<\/p>\n

Lecture 10.<\/strong><\/p>\n

Astrophel and Stella<\/em>\u2013\u2013the sonnets interspersed with various songs and other types of poems. Typical Petrarchan love story.\u00a0 Gloomy story with a light tone.\u00a0 As story moves along, more passion, more frustration, the death of one, then followed by the theme of the eternity of love.<\/p>\n

Shakespeare\u2019s sonnets.\u00a0 Existed quite early in Shakespeare\u2019s career.\u00a0 Shakespeare himself remains a mystery.\u00a0 Inscrutable.\u00a0 Total of 154 sonnets, the majority addressed to a youth, a young man, with whom he is intensely in love, although not<\/em> homosexually.\u00a0 His sonnets become philosophical, reflective, pessimistic.\u00a0 First sequence to the young man.\u00a0 Then there seems to be a break and another group, lighter in touch, addressed to a dark lady.\u00a0 Having some fun with the courtly love convention.<\/p>\n

A curious mixture of Shakespeare\u2019s clairvoyant vision, along with a conscious attempt to be conventional.\u00a0 The first of the poems look like a great mind overlooking the universe, but he brings himself back with a jerk, and the last two lines are almost a jingle.<\/p>\n

Hubler, The Sense of Shakespeare\u2019s Sonnets<\/em><\/p>\n

Hero is love, villain is time as the sonnet sequence develops. (#64).\u00a0 Phrase \u201cthe fool of time\u201d occurs all through the sonnets<\/p>\n

The illusion of things\u2013\u2013art and love as disappearing in time.\u00a0 In reality, they have a permanence.<\/p>\n

Marlowe.\u00a0 (Ovid\u2019s Metamorphoses<\/em> contained many of the popular myths.\u00a0 Classical mythology was very popular in the Renaissance.)<\/p>\n

Hero and Leander<\/em>\u2013\u2013takes courtly love convention attached to classical myth, and develops that.<\/p>\n

The original story came from a late Greek Alexandrian poet.\u00a0 The poem was very popular, and Marlowe adapted and paraphrased the poem.<\/p>\n

Marlowe was trained at Cambridge and then went to London and wrote for the theatre.<\/p>\n

By far the best English dramatist before Shakespeare.\u00a0 He died when he was quite young.\u00a0 Marlowe\u2019s plays were always a success.<\/p>\n

John Bakeless, Christopher Marlowe <\/em>(1938)<\/p>\n

Four astonishing plays.\u00a0 (1) Tamburlaine<\/em>.\u00a0 Given a curious perspective.\u00a0 An arrogant pride like Milton\u2019s Satan.\u00a0 Marlowe given the name of an atheist.\u00a0 Followed it up with (2) Doctor Faustus<\/em>, the text of which unfortunately has been ruined.\u00a0 The one great treatment of the story outside of Goethe.\u00a0 (3) The Jew of <\/em>Malta<\/em> (4) Edward II<\/em>, great historical play.<\/p>\n

\u201cThe Passionate Shepherd to His Love\u201d\u2013\u2013a famous lyric of the period.\u00a0 A famous love song in the English language.<\/p>\n

Lecture 11.<\/strong><\/p>\n

Mythological poem.\u00a0 Drowsy sensuous eroticism.\u00a0 Classical myth with heavy pictorial imagery.<\/p>\n

See Hero and Leander<\/em>\u2013\u2013Marlowe.\u00a0 Line 9, etc. description of Hero\u2019s clothes.\u00a0 Line 135.\u00a0 Venus\u2019 temple stands for the church in the courtly love convention.\u00a0 Lightness, lilt and continuity in Marlowe\u2019s couplet.<\/p>\n

An extremely beautiful treatment of the mythological poem.\u00a0 Marlowe didn\u2019t finish the poem, leaving it to be finished by Chapman.<\/p>\n

Shakespeare\u2019s Venus and Adonis<\/em>.\u00a0 Intensely pictorial, an early work (about the time of Titus Andronicus<\/em>)\u2013\u2013a curiously bloodless poem.\u00a0 An experiment in techniques of expression.<\/p>\n

Adonis.\u00a0 The god that around the Mediterranean was worshipped as bringing the crops.\u00a0 He died every fall.<\/p>\n

Everyone sought after Venus but Adonis, yet Adonis was the one Venus loved.<\/p>\n

Drayton.\u00a0 \u201cEndymion and Phoebe.\u201d\u00a0 Another mythological poem<\/p>\n

Around 1600 there is a curious ambiguity in the treatment of courtly love and pastoral conventions.\u00a0 A lot of conventional writing, but in the poetry there was some lightness and parody.\u00a0 The conventions were wearing out.\u00a0 The easiest to parody was the pastoral.\u00a0 P. 184.\u00a0 Greene, another bright young man from Cambridge, like Marlowe.\u00a0 A good example of a new type of professional writer.\u00a0 He turned his hand to anything he thought might be popular.\u00a0 From Menephon<\/em>: \u201cDoran\u2019s Eclogue Joined with Camela\u2019s.\u201d\u00a0\u00a0 The Cockney\u2019s revenge.\u00a0 A take\u2011off on the pastoral convention.<\/p>\n

Drayton<\/p>\n

From Nymphidia: The Court of the Fairy<\/em>.\u00a0 A take\u2011off on the fairy idea.\u00a0 This rhyme scheme had been used as a parody of the medieval romance before (done by Chaucer, when he has to tell his story\u2013\u2013a brilliant parody of the medieval romance in the medieval romance stanza).\u00a0 Drayton uses this jingle rhyme.\u00a0 For rhyme, you stick down just about any word that rhymes.<\/p>\n

Lecture 12.<\/strong><\/p>\n

General shift in tone around 1600.\u00a0 1590\u20131600, a great vogue for musical, lyrical poetry.\u00a0 Usually a pretty straightforward piece of poetry.<\/p>\n

From 1600, courtly poetry becomes more and more an expression of one class.\u00a0 The Cavalier period.<\/p>\n

Two main traditions in the 17th century<\/p>\n

(1) courtly love convention carried on, led by Ben Jonson<\/p>\n

(2) a more intellectualized type of poetry led by John Donne.<\/p>\n

Shakespeare did satirize the courtly love convention.\u00a0 Sonnet 130.\u00a0 Here he takes all the conventions of Petrarchan poetry and parodies them<\/p>\n

Donne also has a good bit of this.\u00a0 His secular love poetry was probably written before 1600, largely influenced by the 16th century.\u00a0 Restlessness with the repeated formulas of the courtly love convention and a tendency toward more intellectual poetry.<\/p>\n

See p. 214.\u00a0 Chapman<\/p>\n

Here he revolts against Petrarch while still sticking by the rules.\u00a0 Not a polished poet, but a high\u2011brow intellectual.<\/p>\n

An age of political compromise, rather than intellectual study, philosophy.<\/p>\n

Anyone who sought intellectualism for its own sake was likely to be regarded as a free thinker.<\/p>\n

Donne, like Chapman, is an intellectual poet.\u00a0 Like Shakespeare in his attitude to courtly love.\u00a0 He ridicules the abstraction in the courtly love convention.\u00a0 Some straightforward courtly love poems.\u00a0 Some hid the Petrarchan conventions by exaggeration.\u00a0 Others in praise of promiscuity.\u00a0 Some domestic.\u00a0 Donne writes about all aspects of love.\u00a0 He realizes the complexity of love.<\/p>\n

Well\u2011born people were to become either courtiers or go into the city and make [?].<\/p>\n

Metaphysical Poetry (a poor appellation)<\/p>\n

Donne is supposed to have founded a school of metaphysical poetry that lasted throughout the first half of the 17th century.<\/p>\n

As jargon in English poetry, it refers to a certain type of poetry by Donne, Vaughan, Herbert, Crashaw, Cowley, Marvell, etc.\u00a0 It was a technique deliberately strained, far\u2011fetched, unusual images.<\/p>\n

\u201cConceit\u201d\u2013\u2013a reference to an image that is ingeniously apt.\u00a0 You admire it, but there\u2019s a lurking humour too.\u00a0 Wit is the faculty of making such conceits in metaphysical poetry.<\/p>\n

This poetry was in fashion until 1660.\u00a0 Then the French influence came in, and the Augustan age: Dryden, Pope, Johnson, etc.\u00a0 Metaphysical poetry went out of fashion.\u00a0 Johnson and Pope criticize this school for manipulating their own wit, trying too hard to do this<\/p>\n

Even through the Romantic and Victorian periods, Donne and his school were still out of favour.\u00a0 Not until the 20th century has the interest revived, led by T.S. Eliot.<\/p>\n

These restless, agile poets seem to have more to say to the 20th century.<\/p>\n

H.J.C. Grierson, ed. Donne\u2019s Poetical Works<\/em> (Oxford)<\/p>\n

127 Clifton Road.\u00a0 St. Clair Car.\u00a0 East from Yonge.\u00a0 Wed. 12th [These directions to the Fryes\u2019 home were almost certainly for a social occasion.\u00a0 Frye regularly invited students to his home.]<\/p>\n

Lecture 13.<\/strong><\/p>\n

Metaphysical poetry\u2013\u2013an intellectual revolt against the conventions of the Elizabethan age.\u00a0 In Donne we have a technique developed in a deliberate, conscious aim to startle by use of a type of strained image.\u00a0 \u201cYoked by violence heterogeneous ideas\u201d\u2013\u2013Johnson.\u00a0 When this happens it usually points to some condition in the cultural background.\u00a0 In medieval times: their symbolic images and ideas, seven stars, planets, etc., provided a great one\u2011to\u2011one correspondence of ideas.\u00a0 All ideas linked naturally and systematically.\u00a0 The medieval system in the time of Donne was breaking up.\u00a0 Their ideas synthesized were falling away before the first discoveries of 17th\u2011century science.\u00a0 This influenced Donne.\u00a0 The breaking world and the coming new world resulted in a sinewy leaning intellect, trying to unite a breaking system of ideas\u2013\u2013metaphysical.<\/p>\n

As true of Eliot and the 20th century as it was for Donne in the 17th.<\/p>\n

Man occupying the central place in the chain of being from God to chaos.\u00a0 Possesses all the elements of the universe.\u00a0 Then Donne, a flat map, taking to him the character of the universe.<\/p>\n

Metaphysical poet demanded tact, but is never dull, like a dull pastoral.<\/p>\n

Lecture 14.<\/strong><\/p>\n

Donne known for unique association of ideas, and this type of poetry was popular until 1660.\u00a0 A break with old conventions.\u00a0 A systematic use of intellectual imagery.\u00a0 We have a feeling of a poetry being deliberately created to bring these images in.\u00a0 The use of abstract ideas does not seem poetic, for we think of poetry as depending on sense experience.\u00a0 We get references in his ideas to the thought of the medieval schoolman.\u00a0 (See \u201cThe Dream.\u201d)<\/p>\n

Metaphysical poets enjoy using mathematical or geometrical images.\u00a0 Mathematical abstractions are not directly connected with sense experience, and so are of use to the metaphysical poets.<\/p>\n

Marvell in \u201cThe Definition of Love\u201d\u2013\u2013plane geometry involved in the definition.<\/p>\n

See Donne, Holy Sonnet VII\u2013\u2013power packed.<\/p>\n

Donne, \u201cOf the Progress of the Soul: Second Anniversary\u201d\u2013\u2013long, philosophical\u00a0 (on the anniversary of death of girl in the family).\u00a0 Shows in a meditation Donne\u2019s outlook on the universe.<\/p>\n

The satire is an intellectual poetic form.\u00a0 Satire is the name of the form in this case.\u00a0 It began in Roman literature as a poetic form developed by Juvenal, Horace, Persius.\u00a0 This is taken up first in England by Wyatt in \u201cOn the Mean and Sure Estate.\u201d<\/p>\n

Gascoigne, \u201cThe Steel Glass.\u201d\u00a0 Gascoigne wrote the first critical essay on the English poem.\u00a0 Translated Greek tragedy for the English stage.\u00a0 \u201cThe Steel Glass\u201d was the first formal satire in English.\u00a0 He praises the old\u2011fashioned virtue of using steel mirrors in England, against the import of glass from Italy.\u00a0 New\u2011fangled ideas.<\/p>\n

[in left margin] The bestiary appears in late classical times.\u00a0 Describes habits of real and imaginary creatures.\u00a0 They were popular all over Europe.\u00a0 Its form is always the same.\u00a0 We learn their habits and then are given a moral from them.<\/p>\n

Spenser\u2019s \u201cMother Hubbard\u2019s Tale\u201d\u2013\u2013a satire but not a formal one.<\/p>\n

Joseph Hall, Virgidemiarum<\/em> {a bundle of rods}.\u00a0 A series of satires.\u00a0 He wrote two series.\u00a0 The example we have is a highbrow opinion of the stage.\u00a0 Doesn\u2019t like the mixing of scenes & of classes in the play.\u00a0 (Richelieu felt the same way, and this had a great effect on the French drama.\u00a0 Hall is right in thinking there is something socially subversive in the Elizabethan stage and drama.<\/p>\n

Elizabethan satire\u2013\u2013follows Juvenal, Persius<\/p>\n

Sometime deliberately obscure.\u00a0 Donne writes in a couplet that is a take\u2011off on the heroic couplet.\u00a0 The rhyme can hardly be noticed when it is read properly.<\/p>\n

In the 17th century there were three major schools: The Metaphysical; The Neo-Classical (Cavalier); The Allegorical (following Spenser)<\/p>\n

Ben Jonson.\u00a0 Born in London.\u00a0 Stepson of a bricklayer.\u00a0 Any reference to bricklaying in English drama is an attack on Jonson.<\/p>\n

In Shakespeare\u2019s company he wrote his first great comedy, Every Man in His Humour<\/em>.\u00a0 His type of comedy has never been touched.\u00a0 His tragedies are very learned & recondite, but don\u2019t stage well.<\/p>\n

While Jonson was in charge of the Children\u2019s Company he wrote his more involved plays.\u00a0 He became popular at court.\u00a0 Turned most of his efforts to writing masques.<\/p>\n

As a writer of lyric and light songs, he has had great influence.<\/p>\n

Lecture 15.<\/strong><\/p>\n

Ben Jonson became poet laureate.<\/p>\n

He was a slow, careful writer\u2013\u2013in contrast to Shakespeare.\u00a0 Wonderful, beautiful, polished little lyrics are the result.<\/p>\n

Jonson wrote six excellent comedies, but after that he became interested in masques & his later plays were flops.<\/p>\n

Jonson talks down to his less\u2011educated public.<\/p>\n

Die\u2011hard humanists insisted that all great works be written in Latin and Greek.\u00a0 They were forced to retreat from this position, but they still insisted that such devices as rhyme, alliteration, and other such devices not be used.\u00a0 So there was a prejudice against this.<\/p>\n

Lecture 16.<\/strong><\/p>\n

In the Renaissance many distortions of English spelling by pedants who altered the spelling to bring out the Latin origin.\u00a0 This is why there are so many anonymous [anomalous?] spellings in the poetry of the period.<\/p>\n

Jonson\u2019s verse is clear.\u00a0 Many of his lines show the influence of the Roman classics. \u00a0Clarity and simplicity.<\/p>\n

A third tradition in Elizabethan poetry, and that was Spenser.<\/p>\n

Spenser and Milton were the top men.\u00a0 But also we have Giles and Phineas Fletcher.\u00a0 Giles is much the better of the two.<\/p>\n

The tradition of Ben Jonson.\u00a0 The greatest in this tradition was Robert Herrick.\u00a0 The first of the strictly 17th\u2011century poets<\/p>\n

Wrote epigrams on his parishioners in Devonshire, which he regarded as exiles.<\/p>\n

His poetry is purely lyrical.\u00a0 There are two volumes of his poems:\u00a0 Hesperides <\/em>(secular poetry) and Noble Numbers<\/em> (sacred poems)<\/p>\n

He was urbane, a classical scholar who studied Horace, Catullus, etc.\u00a0 He read a good deal of the classical religion and antiquities.\u00a0 He also studied the folk customs in Devonshire.\u00a0 Realized that their customs were from a pre\u2011Christian religion, which closely resembled the classical religions.<\/p>\n

Various approaches to this by Puritan vs. Catholics\u2013Anglicans.\u00a0 The latter group incorporated such things as the maypole and the Christmas feast into their religion.\u00a0 The Puritans wanted to root them out.<\/p>\n

Themes from classical writers: While you\u2019re young, you might as well enjoy yourselves\u2013\u2013one of Herrick\u2019s favorite themes; e.g., \u201cCorinna\u2019s Gone A\u2011Maying\u201d<\/p>\n

Lecture 17.<\/strong><\/p>\n

George Herbert.\u00a0 Cambridge.\u00a0 The most articulate representative of a religious temperament contributed by the Church of England.<\/p>\n

Puritans were not liberals.\u00a0 They were revolutionaries.\u00a0 The most intolerant of any of the church bodies.<\/p>\n

The Church of England felt it was Aristotle\u2019s \u201cmean.\u201d\u00a0 The middle way.\u00a0 An excellent solution.\u00a0 They emphasized the role of reason in religion.<\/p>\n

Herbert follows the courtly love convention, except that God has taken the place of the mistress.\u00a0 Typical of religious poets following Donne.\u00a0 (Donne in his later poems uses his same conceits, etc. as in his early poems with a religious [subject?]<\/p>\n

Herbert\u2019s poetry deals with the complaints of a lover rebuked, in a religious arena.<\/p>\n

Emotionally Herbert fluctuates\u00a0 from day to day.\u00a0 He covers the whole range of religious experience within his points of reference.<\/p>\n

Influenced by Donne but very different from him.\u00a0 Herbert was careful, humble.\u00a0 He worked and chiseled, carefully shaping and entirely reshaping his poems.\u00a0 Care in stanza form.<\/p>\n

Bibliography on metaphysical poets:\u00a0 H.C. White, The Metaphysical Poets<\/em> <\/em><\/p>\n

Joan Bennett, Five Metaphysical Poets <\/em><\/p>\n

J.B. Leishman, The Metaphysical Poets<\/em><\/p>\n

H.J.C. <\/strong>Grierson\u2013\u2013an anthology\u2013\u2013Metaphysical Poetry from Donne to <\/em>Butler<\/em>\u2013\u2013the introduction gives a good outline of metaphysical poetry.<\/p>\n

Seventeenth\u2011Century Studies Presented to Sir Herbert Grierson<\/em>.\u00a0 N.B. essay on Herbert<\/p>\n

White, Wallerstein, Quintana, Poetry and Prose of the Seventeenth Century<\/em><\/p>\n

Basil Willey, The Seventeenth\u2011Century Background<\/em>.\u00a0 The history of ideas approach.\u00a0 Useful for prose of Bacon and Browne.<\/p>\n

Richard Crashaw\u2013\u2013another 17th\u2011century Cambridge intellectual.\u00a0 Became a very high Anglican in his religious views.\u00a0 After the Civil War and the destruction of the Anglican Church as he saw it, he turned Catholic.\u00a0 He was sent by the wife of Charles I to the Pope, who didn\u2019t want him and sent him elsewhere.<\/p>\n

His poetic technique is entirely unlike Herbert\u2019s.<\/p>\n

An intensity and fierceness in his religious feeling, which marks the 17th\u2011century Catholic.\u00a0 Read the first couple of pages of Pratt\u2019s Brebeuf <\/em>for the Catholic spirit.\u00a0 The Counter\u2011Reformation brought about a militant mysticism.\u00a0 The Jesuits formed.\u00a0 Most intense crucible of mystical heat in Spain.\u00a0 Source of Jesuit poem.\u00a0 Crashaw is right in the thick of it.\u00a0 Some of the cult remains\u2013\u2013League of Sacred Heart, etc.<\/p>\n

Crashaw is not a poet of the worked\u2011out form.\u00a0 A big, free\u2011flowing ode form he called anthem.<\/p>\n

Lecture 18.<\/strong><\/p>\n

Crashaw largely influenced by the Counter\u2011Reformation and is characterized by its spirit.\u00a0 Intensely spiritual, mystic.\u00a0 Like Loyola.\u00a0 St. Teresa is a mystic figure.<\/p>\n

Many four\u2011beat lines in technically iambic pentameter verse.\u00a0 This is carried over without a break from Anglo\u2011Saxon poetry.<\/p>\n

Crashaw, \u201cSt. Teresa\u201d\u2013\u2013Thematic words in the poem like a musical passage: \u201cLove,\u201d \u201csoul,\u201d \u201clife,\u201d \u201cdeath\u201d are key words in this theme.\u00a0 Sections of the poem close with this theme repeated.\u00a0 Life and death brought in at the end as resolution of the poem.<\/p>\n

\u201cThe Flaming Heart\u201d has a really terrific conclusion, and it requires a 75\u2011line build up at the end for it.<\/p>\n

An erotic nature in Crashaw\u2019s imagery which he transfers to God.\u00a0 He turns the convention of love poetry into religion, but Crashaw\u2019s imagery is more erotic and more obviously sexual in its symbolism that is Herbert\u2019s.<\/p>\n

Henry Vaughan.\u00a0 (Read Blunden, \u201cOn the Poetry of Vaughan\u201d)<\/p>\n

His twin brother was an occultist who wrote a great deal on magic, symbolism, etc.\u00a0 Henry Vaughan uses some of this occult, theosophical imagery in his poetic symbolism, but not very much.\u00a0 He is not<\/em> an occult.\u00a0 He was Celtic\u2013\u2013a lover of twilight.\u00a0 A type of literary intensity that has its own quality.\u00a0 Like Crashaw, he was influenced by Herbert.\u00a0 But he has not of Herbert\u2019s carefully chiseled, precise quality.<\/p>\n

A visionary\u2013\u2013one who tries to think in terms of images, symbols.\u00a0 Crashaw\u00a0 is more a mystic and so did not succeed in this.\u00a0 Vaughan felt there were two worlds, one of sense (that God built for man and wants him to live in it) and one not of sense, in which we actually live.\u00a0 For Vaughan this world of slums and wilderness forms a heavy curtain or veil hiding the real world and he hopes to snip the right branch and catch a glimpse of this world.\u00a0 For this reason the moments of dawn and twilight are important.\u00a0 A favourite word is \u201cwhite.\u201d<\/p>\n

Lecture 19.<\/strong><\/p>\n

Vaughan.\u00a0 Moments of transition.\u00a0 Dawn and twilight.\u00a0 Birth and death.<\/p>\n

Traherne.\u00a0 Unknown as a poet until about 1890.\u00a0 Known in his day as an anti\u2011Catholic controversialist.\u00a0 In many ways, like Vaughan.\u00a0 Sense of real world hidden behind time and space.\u00a0 Hidden by a curtain.\u00a0 A metaphysical.<\/p>\n

All these selections have the same point of view.<\/p>\n

He is better in his prose.\u00a0 He wrote a series of short meditative paragraphs, which he wrote in groups of 100, calling them \u201cCenturies of Meditation.\u201d<\/p>\n

Andrew Marvell.\u00a0 An elusive character, like Shakespeare.\u00a0 He was a Member of Parliament for Hull in Yorkshire, which was very strongly Puritan.\u00a0 He was in the Long Parliament.\u00a0 He was the only man in England who kept his seat and influence after the Restoration.\u00a0 He remained the lone critic of Charles II and his ministers.<\/p>\n

He wrote a series of satires which were hard\u2011hitting.\u00a0 They tried to bribe him or shut him up in some way.\u00a0 Died in 1678, an honest and hard\u2011hitting man.\u00a0 Poems published in 1681.\u00a0 The contain some of the most amazing poems in the English language.\u00a0 They have a elusive beauty.\u00a0 Seem to have been written during the early days of the Commonwealth.<\/p>\n

Some of his poems are straight metaphysical verse.<\/p>\n

Lecture 20.<\/strong><\/p>\n

Marvell, \u201cHoratian Ode\u201d\u2013\u2013Cromwell is neither a good man nor a bad man insofar as he is a strong man.\u00a0 It is not a case for moral justice\u2013\u2013the Machiavellian principle.\u00a0 Cromwell as a force in nature.\u00a0 The portent as something very new.<\/p>\n

Never ends a poem as you would expect.<\/p>\n

Bermudas<\/em>\u2013\u2013One of his lovelier poems. \u00a0About people going to the Bermudas to escape religious persecution.\u00a0 It is first pictured as a paradise, something like the islands in classical myth.\u00a0 He can here use his garden imagery.\u00a0 You can just reach out and eat.\u00a0 It is a real paradise.<\/p>\n

\u201cThe Nymph Complaining<\/em> for the Death of Her Fawn\u201d\u2013\u2013a poem about an intolerable, unbearable situation.\u00a0 The situation is too pathetic for Marvell and it turns away from its subject.\u00a0 Becomes too diffuse.<\/p>\n

\u201cThe Character of Holland\u201d\u2013\u2013Part of his satire.\u00a0 The poets had to be angry with the Dutch, since England and Holland were trade rivals<\/p>\n

Actually all Marvell does is spin conceits about what it\u2019s like to live in a country below sea level.<\/p>\n

Edmund Waller<\/p>\n

There are four poets\u2013\u2013Waller, Denham, Butler, and Cowley\u2013\u2013who form a sort of transition from English 2i to 2j.<\/p>\n

Edmund Waller was a poet who survived both the Commonwealth and the Restoration.\u00a0 He wrote panegyrics on both Cromwell and Charles II.\u00a0 A sly chap, keeping on the good side of anyone in power.<\/p>\n

He uses the pentameter couplet that became popular from 1660 to 1760.\u00a0 The heavy couplet.\u00a0 No weak light endings, run\u2011on lines.\u00a0 Always a pause in the rhythm at the end of a line.\u00a0 Heavy pause at the end of a couplet.\u00a0 Caesura in centre of line.\u00a0 (Like Pope and Dryden).<\/p>\n

Waller is better in his lighter lyrics.\u00a0 \u201cSong: Go Lovely Rose\u201d\u2013\u2013is much like Spenser<\/p>\n

\u201cOf the Last Verses in the Book\u201d\u00a0 Ends with a curious ambiguous overtone.<\/p>\n

Sir John Denham<\/p>\n

\u2013\u2013heavy, reflective poems.\u00a0 Climb a hill and describe what you see and then make reflections on everything you see.<\/p>\n

See these two poets in Samuel Johnson\u2019s Lives of the Poets<\/em>.\u00a0 Both brought in the Augustan type of poetry.<\/p>\n

Samuel Butler<\/p>\n

After the Restoration he lets go a burlesque on English literature\u2013\u2013Hudibras<\/em>.\u00a0 An immediate success.\u00a0 It is one of the great burlesques in English.\u00a0 Everyone got a laugh from it.<\/p>\n

What Butler discovered was that in English, where there are such heavy stresses on words, rhymes are too evident.\u00a0 Triple rhymes can belong only to comic verse.\u00a0 It is impossible to make unusual rhyme.<\/p>\n

Consequently, unusual rhymes in English belong to comic verse.\u00a0 Gilbert and Sullivan.\u00a0 Therefore Hudibras<\/em> was written in intentional doggerel.\u00a0 The poem gives itself all the airs of a serious love poem.<\/p>\n

Lecture 21.<\/strong><\/p>\n

Hudibras<\/em> is also one of the most erudite poems in the English language.\u00a0 In many respects Butler is the forerunner of Swift.\u00a0 Both have a tendency to ridicule science and the new learning.\u00a0 Their reasons for doing so are somewhat important.\u00a0 The front lie of defence was satire, which often tackles the social consequences of committing oneself to philosophy.\u00a0 Samuel Butler and Swift attack Cartesian philosophy & the Royal Society.\u00a0 Voltaire in Candide<\/em> ridicules Leibnitz and Spinoza.\u00a0 The Samuel Butler of the Victorian period attacks Darwinian evolution by attacking its social consequences.<\/p>\n

Hudibras has been so greatly educated that he feels that intellectual formulae are adequate and valuable.<\/p>\n

[in left margin]\u00a0 onomatopoeia (imitative harmony).\u00a0 The reproduction of meaning by rhythm: \u201csqueeze,\u201d \u201cexplosion,\u201d \u201cwhisper\u201d<\/p>\n

Christmas traditions came from Romantic Germany in the time of Victoria<\/p>\n

Abraham Cowley.\u00a0 One of the most popular poets in his own day, but about 1700 his reputation collapsed.\u00a0 He falls in the metaphysical tradition.\u00a0 (See remarks on metaphysical poets in Johnson.)<\/p>\n

Cowley was interested in free verse\u2013\u2013verse with great irregularity of rhyme and meter.\u00a0 From Cowley\u2019s time to the eighteenth century there was a passion for the sublime ode, based on Pindar.\u00a0 It was a lyrical eulogy.<\/p>\n

Cowley developed a theory.\u00a0 If we wish to recapture the spirit of Pindar in English poetry, we have to write irregularly.<\/p>\n

A new type of Pindaric ode\u2013\u2013\u201cHymn to the Royal Society\u201d<\/p>\n

When you make rhythm irregular, you can pick up the rhythm of the meaning itself.<\/p>\n

Lecture 22.<\/strong><\/p>\n

Thomas More.\u00a0 The beginnings of the 16th century.\u00a0 At Oxford he became interested in humanism, especially Greek.\u00a0 Direct knowledge of Greek became popular.<\/p>\n

Now the New Testament could be more critically studied.\u00a0 Plato now came to rival the supremacy of Aristotle.\u00a0 A literary development began at this time.\u00a0 Medieval philosophy, scholasticism had built up a technical language.\u00a0 For the next two\u2011hundred years philosophy was in the hands of amateurs who emphasized style.\u00a0 Philosophy, especially in England, was in the hands of amateurs\u2013\u2013Bacon, Locke, Berkeley, Hume.\u00a0 Plato\u2019s dialogue form especially appealed to the Renaissance.\u00a0 Plato was aware of the aesthetic as a factor in philosophy.\u00a0 His poetic, aesthetic awareness inspired Copernicus in astronomy.<\/p>\n

Also Plato brought forth a philosophy of love which was much in line with the courtly love convention.\u00a0 Therefore Oxford began to study Greek, and here Erasmus and More took up humanism.\u00a0 Both More and Erasmus represent the type of learning characteristic of early humanism.\u00a0 Both were cosmopolitan, citizens of the world.\u00a0 They wrote, spoke, and thought in Latin.\u00a0 Both were deeply Christian, and their culture was fundamentally Christian.\u00a0 At this time there was a growth of historical criticism.\u00a0 Skepticism on less fundamental issues.\u00a0 E.g., \u201cThe Donation of Constantine,\u201d on which the Pope based his temporal power, was proved to be a forgery.\u00a0 More and Erasmus were reformers, but not sympathetic to the Reformation movement.\u00a0 However, there were some points on which they agreed.<\/p>\n

Tyndale made the first English translation of the Bible under Henry VIII.<\/p>\n

More and Tyndale were involved in a controversy.\u00a0 This brings out an important fact in the history of religion.\u00a0 It is impossible to impartially translate the Bible.\u00a0 It is translated into either a Catholic or a Protestant frame of reference.\u00a0 \u03b5\u03ba\u03ba\u03bb\u03b7\u03c3\u03af\u03b1 = church or congregation; presbys<\/em> = priest or elder; metanoia<\/em> = penance or repentance; episousion<\/em> = supersubstantiation or daily (in the context of the Lord\u2019s Prayer).<\/p>\n

More was very useful to Henry VIII.\u00a0 In London he became known as a fair and upright judge.\u00a0 He was made Lord Chancellor\u2013\u2013popular, almost legendary.\u00a0 However, More was the only man who opposed Henry VIII when he went ahead with his divorce, so Henry felt he had to get rid of him.\u00a0 He could not through law get More\u2019s head, so he passed a \u201cBill of Attainder.\u201d\u00a0 More has been canonized.<\/p>\n

The Utopia<\/em> was written early I the reign and before the rise of Luther.\u00a0 Therefore, there is a boldness and freedom in it.<\/p>\n

First book is a satire on England in More\u2019s time.\u00a0 The second book was written first and describes Utopia.\u00a0 It imitates Plato\u2019s dialogues & turns eventually into a monologue.<\/p>\n

The Republic<\/em> influenced More. \u00a0But it was from the Timaeus<\/em> and Critias<\/em> (immediately following the Republic<\/em>) from which the legendary Atlantis arose, that we find More most strongly influenced.<\/p>\n

The first book is an economic, political, and social satire.\u00a0 The leading character\u2019s name in Greek means \u201cbabbler.\u201d<\/p>\n

\u03bf\u03c5\u03c4\u03bf\u03c0\u03af\u03b1 means nowhere, no place.\u00a0 This indicates the fiction of the work.<\/p>\n

By writing in a dialogue form More ducks out of being entirely responsible for what he said.\u00a0 The dialogue between More and Hythloday shows the differences between Reformers and Revolutionaries.<\/p>\n

The great social evil of the time was the enclosure system.\u00a0 The capitalists took over the land as ranches to raise sheep.\u00a0 Therefore, the small land owner was displaced and had nowhere to go.<\/p>\n

There were capital offences for stealing as well as killing, and More points out that this had led to increased ferocity in crime.\u00a0 Hythloday says that the trouble is not love of money, but the ability to get hold of it.\u00a0 Private property must be abolished. (\u201cAnarchy of private enterprise.\u201d)<\/p>\n

What in Europe is called the Commonwealth government or state is really a conspiracy to defend the helpless.\u00a0 In the Utopia<\/em> he goes on to explain what has happened as a result of the abolition of private property.<\/p>\n

Rank distinctions and class distinctions.<\/p>\n

Lecture 23.<\/strong><\/p>\n

Hythloday\u2019s indictment against 16th\u00ad\u2011century Europe is (1) economic (2) political.\u00a0 His attitude is that the root of these problems is the desire for the acquisition of private property.\u00a0 The only thing that could be done for Europe would be to sweep away all conception of private property.<\/p>\n

More uses a kind of sober mock\u2011realism\u2013\u2013dead\u2011pan devices (as Defoe later).\u00a0 The use of some real characters.\u00a0 If you didn\u2019t know the Greek meaning of Utopia and Hythloday, you could be taken in.\u00a0 More gets away from the wild traveller\u2019s tales of the Middle Ages.<\/p>\n

Hythloday describes a conversation with Cardinal Morton in England.\u00a0 Morton was an important man, & Henry VIII had Morton collect money for him in the form of Benevolences.\u00a0 However, More makes Morton appear better than he actually was in history.\u00a0 Those at the table laugh when Morton laughs, agree when he agrees.\u00a0 There is a reactionary (a lawyer) present.<\/p>\n

More shows in his writing that he had a very civilized background.<\/p>\n

Uses a sober, deadpanned defence of the ideal state.\u00a0 He, in life, delighted in paradox and the defence of paradoxes.\u00a0 The \u201cUtopia\u201d is isolated in English.\u00a0 It develops and fosters a probing of enlightened isolation (England an island).\u00a0 More then describes the general set\u2011up of the country: (1) no private property (2) everybody works.\u00a0 Work is not specialized (this is opposed to Plato\u2019s Republic<\/em>) except in the case of exceptional scholars.\u00a0 Consequently, all the Utopians had to work only six hours a day.\u00a0 In England workers actually had to work much more than that, but that is because the workers support so many parasites.\u00a0 The Utopians have much leisure but not diversions such as drinking and other synthetic pleasures.\u00a0 Their leisure is real, devoted to self\u2011improvement.\u00a0 Utopia is a mixture of monastery and university.\u00a0 Communism was a feature of monastic institutions.\u00a0 The cities of Utopia are all alike.\u00a0 People change their houses every ten years, but they do not change around their furniture.\u00a0 There is nothing to steal: all property is common.\u00a0 They dressed in wool but did not go to the ends of the earth to find dyes.\u00a0 They do not dye the wool.\u00a0 All this equalizing is to keep down the tale\u2019s ideas of inequality.\u00a0 There was no money in Utopia.\u00a0 The state keeps a stock of gold for trading with neighbors.\u00a0 The Utopians attach no value to gold.\u00a0 Use it in chamber pots, children\u2019s toys, etc.\u00a0 Lots of competition in Utopia, but it is in intellect, not in expensive clothes, jewelry, drink, etc.\u00a0 (More generally leaves out the problems of technological development, which Francis Bacon takes a good account of in his New Atlantis<\/em>.)<\/p>\n

Strict discipline.\u00a0 Criminals, occasional prisoners are given menial servants\u2019 tasks.\u00a0 They are not treated harshly but live under a penal regime.\u00a0 Capital punishment is rarely resorted to.<\/p>\n

The motive for theft is abolished.\u00a0 False moral issues, which clutter up societies, are removed.\u00a0 There are fewer moral dilemmas in Utopia because they are unnecessary.\u00a0 No reason a man should have to choose between honesty and his stomach.<\/p>\n

More believes in the family as the stabilizing unit (unlike Plato).\u00a0 Deference of young to old.\u00a0 The older get deference because they earn it.\u00a0 In growing older they have grown wiser.<\/p>\n

Utopia is governed by reason.\u00a0 Reason is the standard for anything.\u00a0 Rigorous control of size of families and cities.\u00a0 However, they are threatened with increasing population and so buy waste lands from other countries, and if other countries will not sell to the Utopians, they just move in on them.\u00a0 They hired mercenaries whenever there was fighting to do.\u00a0 They saw no point in killing off their own men unless the war is very stubborn.\u00a0 Their main effort in such a total war is to assassinate the other country\u2019s ruler.\u00a0 They form a fifth column by distributing leaflets offering rewards.\u00a0 They have a great reputation for keeping treaties, and so make as few as possible.\u00a0 Their reputation is a considerable military asset.<\/p>\n

(Contrast More\u2019s concept of war with Plato\u2019s)<\/p>\n

Their religion is for the most part a religion of reason (like late Roman empire).\u00a0 They believe in a supreme being and in immortality.\u00a0 But variety of cults.<\/em><\/p>\n

Lecture 24.<\/strong><\/p>\n

Utopia is an ideal state but not a Christian state.\u00a0 More carefully works out the Utopian religion (two kinds: revealed and natural)<\/p>\n

Natural religion is the kind that men immediately begin to form because of the constitution of their mind\u2013\u2013the kind one gets by contemplating nature, such as in Plato and Aristotle.\u00a0 Much use of images for symbols of the Supreme Being.\u00a0 A great deal of tolerance in Utopia.\u00a0\u00a0\u00a0 But believed a man not competent for public office unless he believed in the immortality of the soul.\u00a0 Church and state thus close together.\u00a0 They are intolerant of intolerance.\u00a0 An over\u2011energetic Christian is jailed.\u00a0 No man allowed to bother other people with his religion.<\/p>\n

Other things in Utopian religion that were not in keeping with the Catholic European societies.\u00a0 Their priests are very holy and therefore very few.\u00a0 They are married.\u00a0 The law of Utopia permits divorce for incompatibility.\u00a0 All this is compatible with natural religion, but not with our revealed religion.\u00a0 Many feature of Utopian religion are in keeping with the late Roman Empire.<\/p>\n

The first book gives us the key to the satiric intention of Utopia<\/em>.\u00a0 Any Utopia is at least potentially a satire, by contrast with the existing state of society (Republic<\/em>)\u2013\u2013actually a satire\u2013\u2013Gulliver\u2019s Travels<\/em><\/p>\n

Inverted Utopia\u2013\u2013Orwell\u2019s 1984<\/em>, as the logical conclusion of the society in which we live (pure satire: Huxley, Orwell, London).\u00a0 But even the first book is a satire by contrast.<\/p>\n

Swift\u2013\u2013the life of sense and reason (natural) is only for animals, for they are already adjusted to nature.\u00a0 It is not for man.<\/p>\n

The Yahoo is for Swift what man would be by his own destiny, if he were abandoned by God.<\/p>\n

[in left margin] Montaigne\u2019s essay \u201cOn the Cannibals\u201d\u2013\u2013a great work in which he shows the cannibal as better in many respects than 16th\u2011century Europeans.<\/p>\n

The Utopia has natural religion.\u00a0 16th\u2011century Europe had revealed religion.<\/p>\n

Utopia has a simpler, sensible, better way of life.<\/p>\n

16th\u2011century Europe should not necessarily follow suit.<\/p>\n

But 16th\u2011century Europe should be warned by the fact that the simpler Utopia without Christian religion is better than 16th\u2011century Europe with it.<\/p>\n

The Utopians are a reproach to our civilization in the same way that in Swift the horses are a reproach to human civilization.<\/p>\n

Lecture 25.<\/strong><\/p>\n

Essay: A Comparison of More\u2019s Utopia with Any Other Utopia\u201d<\/p>\n

Plato, Republic (Timaeus<\/em>, Critias\u2013\u2013<\/em>Atlantis)<\/p>\n

Bacon, New Atlantis<\/em><\/p>\n

Campanella, City of the Sun<\/em><\/p>\n

Rabelais, \u201cAbbey of Th\u00e9l\u00e8me\u201d<\/p>\n

17th century<\/p>\n

Harrington, Oceana<\/em><\/p>\n

19th century<\/p>\n

Bellamy, Looking Backward<\/em><\/p>\n

Morris, News from Nowhere<\/em><\/p>\n

H.G. Wells, A Modern Utopia (and others<\/em><\/p>\n

Take offs<\/p>\n

Aristophanes, The Birds<\/em> (satire on society)<\/p>\n

Swift, Gulliver\u2019s Travels<\/em>, Book IV<\/p>\n

Butler, Erewhon<\/em><\/p>\n

A. Huxley, Brave <\/em>New World<\/em><\/p>\n

Orwell, 1984<\/em><\/p>\n

J. London, The Iron Heel<\/em><\/p>\n

Utopia<\/em>.\u00a0 More can be admired either by very conservative people or very radical people.\u00a0 Marxists like and show a respect for More\u2019s Utopia<\/em>.\u00a0 The views of the evils societies produced by private property made at the end by Hythloday are especially admired by Marx and Engels.<\/p>\n

More\u2019s purpose is serious, but More is a very different person from Hythloday.<\/p>\n

Utopia<\/em> is a working, informing idea.\u00a0 It isn\u2019t meant to be followed, nor yet to be ignored.\u00a0 It is an interesting eye\u2011opener.\u00a0 The aspects of religion differing from Christianity keep the Utopians consistent in their own sphere.<\/p>\n

The Utopians are tolerant, and More responds to their toleration.\u00a0 We have a great deal to learn from them.\u00a0 Utopia\u2013\u2013an idea that works from within to produce charity, tolerance, less bigotry, etc.\u00a0 Not an ideal society of the future to which we should go.<\/p>\n

Between Plato and More there comes a whole tradition of medieval thought.<\/p>\n

St. Augustine\u2013\u2013about 450.\u00a0 Pagans said that if Roman Empire had not turned Christian, the fall of the Empire would never have occurred.\u00a0 Augustine thought that this was public opinion, so his City of <\/em>God<\/em> is partly an attempt to refute the argument that Christianity was the cause.\u00a0 This leads him to describe the ideal Christian state.<\/p>\n

Two cities: (1) Jerusalem, ideal city, eternal, cannot exist on earth, but it does exist in presence here in time and space.\u00a0 Yet you cannot make it coincide with earthly institution, the state. (2) City of Destruction\u2013\u2013fallen away from God, corrupt.\u00a0 Between these two extremes come such states as our own empire kept together by natural law and justice.\u00a0 \u201cIf you took away from the Roman Empire the conception of justice you would have nothing but organized brigandage\u201d [\u201cWithout justice what is sovereignty but organized brigandage?\u201d (De civitate Dei<\/em>, IV, 4)]<\/p>\n

This leads to the conception of Jerusalem\u2013\u2013City of God versus Babylon (City of the World, Destruction).\u00a0 In between is Rome.\u00a0 Insofar as it is an empire, it will be pulled down, but in the state is the Church which cannot fall, and if the state clings to it, it will be pulled up.<\/p>\n

Socrates admits the ideal state can never exist, but the wise man must live in it and carry on.\u00a0 This Socrates does.<\/p>\n

Lecture 26.<\/strong><\/p>\n

Ascham<\/em>.\u00a0 Humanism in action.\u00a0 Elizabethan educational basis.\u00a0 Renaissance culture, city\u2011state culture came to Italy first because it had little feudalism.\u00a0 Machiavelli says there are two kinds of government\u2013\u2013principalities (dictatorships) and republics, which were unstable and always broke down into dictatorships.\u00a0 Machiavelli decides that the solidarity of the state lies in the qualities of the leader.\u00a0 He decides that the qualities of a good leader are not moral: he must be forceful and cunning.\u00a0 His actions are to be expedient, not moral.\u00a0 The prince must know warfare.\u00a0 The Utopia<\/em> takes a somewhat Machiavellian approach to warfare.\u00a0 Machiavelli is working out the structure of Renaissance government.\u00a0 He begins the tradition which is carried out in the next century by Hobbes and became the philosophy of the dictator.\u00a0 Machiavelli in his own limited way makes sense.\u00a0 What is the answer to his argument?<\/p>\n

In comparison with More, there is one thing he leaves out.\u00a0 The strongest states keep winning in warfare, get bigger and bigger, and then collapse.\u00a0 He does not control the size and extent of the state.\u00a0 He thinks entirely in terms of the ruler and his followers, but Hythloday remembers the conspiracy of rich men\u2013\u2013a leader, no matter how great, is in some sense a stooge.\u00a0 A rich, privileged class gets the leader into office.<\/p>\n

Henry VIII carried along Machiavelli\u2019s point of view.\u00a0 However, Bacon points out that the stability under the Tudors was caused by domestic balance.<\/p>\n

Against the realism of Machiavelli, Castiglione wrote an ideal book on education.\u00a0 It is a Platonic dialogue on a Platonic theme, looking for the Form of the courtier.\u00a0 A group of Florentines sit down to discuss what an ideal courtier is.\u00a0 They decided that he would be of good birth, because it would be much easier for him if he were.\u00a0 You need an absolute sense of comfort and security.\u00a0 Everything in Castiglione\u2019s argument is for the appearance of the courtier\u2013\u2013he must not be boorish or stupid.\u00a0 Must at least keep up an appearance of education.\u00a0 He must have grace and \u201crecklessness\u201d (a careless, graceful, easy quality).\u00a0 He ought to know all the arts and sciences of his country.\u00a0 He cannot know it as a scholar, but he should be a connoisseur.\u00a0 If not able to paint, he should know the difference between a good and a bad poem.\u00a0 His poetry should look as if he had just dashed it off.\u00a0 He must not appear to be working hard.\u00a0 He must not be a pedant either in culture or physical training.\u00a0 He should excel in things like tennis, but not wrestling because it is not graceful.<\/p>\n

The first book of The Courtier<\/em> shows that he must be a cultivated, graceful amateur in all things important.\u00a0 In the second book we find that conversation is the proof of his education.\u00a0 Timing is important.\u00a0 The courtier should know how to tell a story.<\/p>\n

The rhythm of the cultured conversation is the indication of the level of the people involved.<\/p>\n

In the third book we see that we cannot assign culture to one sex alone.\u00a0 This book is devoted to the education of women, with the emphasis on the similarities with men.<\/p>\n

In the fourth book he eulogizes courtly love as the perfect expression of the courtier.\u00a0 It shows his courtesy, his inner power and passion.<\/p>\n

Ascham was somewhat influenced by Castiglione, but Ascham is far more middle class.\u00a0 He takes a more bourgeois line.\u00a0 He writes in a country where the middle class is coming to lay down the rules of conduct.\u00a0 These are more practical and more intimately connected with the education of the scholar.<\/p>\n

The Humanist\u2013\u2013classical wisdom and culture being made a part of the way of life.\u00a0 It was possible in the 16th century to read just about everything written in Greek and Latin, because there was a limit to the number of books.\u00a0 Thus you were able to become knowledgeable on just about every subject.<\/p>\n

Ascham himself was the diplomatic correspondent of the country.\u00a0 The letters had to be written in Latin.\u00a0 The style was his own.\u00a0 He had been Elizabeth\u2019s tutor and became a favourite at Elizabeth\u2019s court.\u00a0 Ascham\u2019s chief interests were education and archery.\u00a0 Englishmen should practice the long\u2011bow much more.\u00a0 He thinks that people should learn more Latin, young men between 17 and 27 should be more carefully escorted; society is going to pot, etc.\u00a0 He is a bit of a bore, but still and enlightened and forward\u2014looking educator.\u00a0 We can see the love of Latin at the basis of Elizabethan culture.\u00a0 Education associated with the vision of greatness.<\/p>\n

Lecture 27.<\/strong><\/p>\n

First great educational treatise in English is Elyot\u2019s The Governour<\/em>,<\/span> thinking of Henry VIII.\u00a0 The prince must be educated and secondarily the courtier.\u00a0 Ascham brings to bear upper middle\u2011class ideas on this educational theory.\u00a0 Wrote during Elizabeth\u2019s reign and places her as the educational ideal.\u00a0 Praised Castiglione and thought that the court had degenerated from the form of The Courtier<\/em>.\u00a0 A growing insularity becoming a part of English culture.\u00a0 This is evident in his conception of the ideal student.<\/p>\n

The ideal student must have \u03b5\u03c5\u03c6\u03c5\u03af\u03b1\u2013\u2013natural intelligence accompanying birth.\u00a0 Teachers take pride in quick wit and intelligence when these properties are not produced by the teacher but are explicitly the students\u2019.\u00a0 Quick wits lack moral energy and perseverance.\u00a0 Hard wits are strong, worthwhile when intellectual development begins.<\/p>\n

The growing distrust of brilliance as something foreign is here reflected.\u00a0 This is the good old John Bull trust in the English stalwartness and heaviness\u2014deep moral energy.\u00a0 This is insularity.<\/p>\n

Thinking is a product of long, ingrained habit\u2013\u2013in every case.<\/p>\n

Ascham\u2019s nationalism was limited.\u00a0 Had travelled in Germany and picked up the ideals of the German humanists.<\/p>\n

Other evidences of insularity are prevalent in the Elizabethan era.\u00a0 The retaliation to Machiavelli\u2019s The Prince<\/em> was a book by a man who had travelled extensively in France and encountered European interest in Machiavelli.\u00a0 His book exposed the Italian writer as cold, brutal, cynical, hard.\u00a0 Before this, The Prince<\/em> was known only by hearsay in England.\u00a0 Stimulated by the book, the Machiavellian villain became a stock bogey of English drama.<\/p>\n

Hereafter Italy became a symbol of intrigue, assassination, etc. in English writing.\u00a0 England\u2019s tendency to isolate itself.<\/p>\n

Lyly wrote a book in England called Euphues, or Anatomy of Wit<\/em>.<\/p>\n

Ascham\u2019s tastes are those of the middle Renaissance\u2013\u2013revolted against dramatic styles, except Shakespeare.\u00a0 Wanted quantitative basis of poetry of classical times, like their drama.\u00a0 Revolted against all that smacked of Middle Ages., including germinal root of Arthurian legends and the two foci of philosophy of the Middle Ages (1) Thomism\u2013\u201313th\u2011century realism (2) Franciscanism under Duns Scotus at Oxford.<\/p>\n

Early 16th\u2011century revolt against scholasticism.\u00a0 Humanists insisted on strict logic of thought.<\/p>\n

Ascham\u2019s purpose was not to ridicule the Italians or despise Middle Age culture.\u00a0 Ascham had definite views on education, particularly on corporal punishment, and he published his views, receiving encouragement, in a very humbly titled book\u2013\u2013The Scholemaster<\/em> (a schoolmaster at the time was a person of inferior class)<\/p>\n

Education of the day\u2013\u2013grammar school and then to Oxford (theology) and Cambridge (law).<\/p>\n

Ascham deals with boys just beginning to read.<\/p>\n

Grammar based on Latin.\u00a0 One learned English grammar through Latin.\u00a0 There were no courses in English in Renaissance schools.\u00a0 To go to school meant to read and write Latin; reading and writing English were incidental.\u00a0 Therefore, Shakespeare knew Latin well, despite controversy over his education.<\/p>\n

Ascham\u2019s system of learning Latin was direct comparison of a child\u2019s work with Cicero.\u00a0 This system did not bring a heavy Latinized abstract style, which tendency is a product of one who is unacquainted\u00a0 with the manifold differences between the Latin and English languages, but it did create the distinct style native to Elizabethan English.\u00a0 The whole system of Elizabeth English is based on a Latin foundation.<\/p>\n

Lecture 28.<\/strong><\/p>\n

Tremendous revival of sense of style under humanism.\u00a0 Aesthetic approach to classical literature.\u00a0 A conception of Latin as having achieved its peak in the Augustan age.\u00a0 In another century, it declined to the silver age.\u00a0 Then Latin kept getting more ornamented.\u00a0 With rise of church fathers Latin fell apart.\u00a0 Medieval Latin was the worst possible, according to the humanists\u2013\u2013low down, vulgar, slangish.\u00a0 Consequently, humanistic scholars said that if you\u2019re going to learn Latin you must learn that of the writers of the Augustan age.\u00a0 Thus the humanists at the time of Erasmus killed Latin as a living language because they raised it as a dead language.\u00a0 It became a high\u2011brow language of intellectuals.\u00a0 This is Ascham\u2019s notion as well, as he points our in his second book.<\/p>\n

In Shakespeare\u2019s time you still had to hesitate over whether to write\u00a0 in English or in Latin.\u00a0 Until 1600 much great English literature was written in Latin\u2013\u2013Milton and Bacon, for example.\u00a0 If you wrote in English, your learned audience would be restricted.<\/p>\n

Bacon\u2013\u2013The Advancement of Learning<\/em> was written in English to attract the attention of James I because he was interested in science and Bacon knew that to advance science it would need royal patronage.\u00a0 He wrote another larger edition in Latin.\u00a0 Typical Renaissance scheming politician.\u00a0 Conscientiously & pedantically unscrupulous.\u00a0 Seems to have set his teeth to be ruthless, but he wasn\u2019t the type<\/p>\n

Bacon, after Elizabeth died, became a great favorite of James I.\u00a0 He was given the job of drawing up the act of union between the two countries.\u00a0 Under James he was advanced to the peerage.\u00a0 Attained good honours along with many other jobs.\u00a0 Obtained Sir Thomas More\u2019s old job.\u00a0 Bacon was a great champion of the royal prerogative against Parliament (which he felt represented only the rich merchant class).\u00a0 The Parliament won the civil war later because they had money and the king hadn\u2019t.\u00a0 Bacon successfully defended the king, but Parliament pounced on him afterwards.\u00a0 Bacon was exiled from London.<\/p>\n

He allowed people to bribe him, but he did not necessarily give decisions in favor of those who bribed him.\u00a0 In those days bribes were quite difficult to distinguish from presents.\u00a0 In his retirement he got some writing done.\u00a0 In his writing he was over\u2011ambitious.\u00a0 A great planner and drafter of intellectual schemes and prospects, and he proposed more books than he ever disposed of.<\/p>\n

He spread propaganda for science and made it respectable, and thereby he set himself in opposition to the whole humanist tradition, which was pretty weak on the scientific side.\u00a0 A great deal of English scientific advance was done in the next three centuries by men of rank, working as amateurs.\u00a0 Charles II, later on, founded the Royal Society\u2013\u2013amateurs of rank.\u00a0 Science was outside the universities until the late 19th century.<\/p>\n

A virtuoso in the 17th century was one who spent his time in science.\u00a0 Swift in particular ridiculed this science in the Third Voyage of Gulliver\u2019s Travels<\/em>.<\/p>\n

Bacon formed the plan of the Great Instauration\u2013\u2013having six parts.\u00a0 Felt he would do the beginning of this and the rest be done by posterity.\u00a0 He set down the axioms and principles of the scientific method.\u00a0 His big jobs were The Advancement of Learning<\/em> and The New Organum<\/em>.\u00a0 Aristotle wrote the first treatise on logic, but Bacon wrote a second, different kind that was more applicable to the scientific method.<\/p>\n

Aristotle\u2019s logic was deductive, in which you reason from premises to a conclusion.\u00a0 The typical form is the syllogism.<\/p>\n

All through the Middle Ages this formal logic was elaborated and developed.\u00a0 The Schoolmen knew how to argue deductively according to formal logic.\u00a0 This logic was especially good for mathematics.<\/p>\n

Bacon says that this logic tells you nothing new.\u00a0 The syllogism never leads to new knowledge and so we must have a different kind of logic, which is inductive.\u00a0 We go from particulars (body of facts, data) to a general principle.<\/p>\n

The Novum Organum<\/em> was an attempt to work out the inductive system.\u00a0 The early method had been one good for argument, for you didn\u2019t need to know anything to argue in syllogisms.<\/p>\n

Lecture 29.<\/strong><\/p>\n

The Elizabethan period was not a great one for speculative literature except for Bacon and Hooker.\u00a0 The intellectuals included a minority in the court.\u00a0 Bacon is rather outside the general tradition.\u00a0 He is expounding the new science and the new method.<\/p>\n

The deductive method is handy in mathematics and theology.\u00a0 From premises of faith you proceed to draw conclusions.\u00a0 From the Church doctrines the medieval scholars drew conclusions.\u00a0 And these conclusions came more and more to deal with natural problems\u2013\u2013philosophy.\u00a0 And from philosophy to science.\u00a0 Biological, chemical, social sciences remained quite undeveloped in the Middle Ages.<\/p>\n

For the inductive method we must turn this inside out.\u00a0 We begin with scientific facts and work to philosophy.<\/p>\n

The 16th century began the break\u2011up of this system of knowledge, both through the rise of the inductive method & the rise of Protestantism, which believed less in reason than in revelation.\u00a0 Bacon solves the problem of science and religion by saying that they run on different planes.\u00a0 Religion will never conflict with science nor science with religion so long as each sticks to its own job.\u00a0 Science leads to rationality, purpose, and design in the universe.\u00a0 We will get the hunch through a careful study of science that there is an intelligence or purpose behind the workings of the universe.\u00a0 (The Puritans chopped off religion and science and let science go ahead on its own, whereas Catholicism suppressed it.\u00a0 The Puritans were extremely practical in their views of the world, believing that science and religion do not clash.)<\/p>\n

The effects of the medieval structure of thought are still with us.\u00a0 The sciences have developed according to their closeness to mathematics.\u00a0 Astronomy and physics assumed their modern form in the 16th century.\u00a0 Chemistry gets its start around the time of the Restoration with Robert Boyle, but took another century to develop into a modern form.\u00a0 The biological science did not get established until the 19th century. \u00a0The social sciences, a 20th\u2011century development, are not fully established yet.<\/p>\n

Bacon was not really a spokesman for the science of his own time.\u00a0 He distrusted mathematics.\u00a0 He was a prophet of later sciences.\u00a0 Bacon goes out of his way to attack the \u201cspectator\u201d theory of man.\u00a0 Man cannot stand back and regard nature, but is an active participant.\u00a0 In this Bacon foresees the human sciences (biological, social).<\/p>\n

In the Novum Organum<\/em> he says there are four great fallacies\u2013\u2013idols of the tribe<\/em>, which are errors that we have from birth, what people tell us.\u00a0 We accept these, instead of trying to find out for ourselves; idols of the cave<\/em>\u2013\u2013subjective fallacy; idols of the marketplace<\/em>\u2013\u2013the influence of public opinion; the belief that words can replace things as the object of thought (defend McCarthy and the Dixiecrats, while still hanging on to the definition of democracy); idols of the theatre<\/em>\u2013\u2013the Galileo belief that man can look at nature as a theatrical show.\u00a0 This state of mind leads us to draw pictures rather than studying science.\u00a0 \u201cMental\u2011doodling.\u201d<\/p>\n

This attitude of mind led Bacon to be out of touch with the science of his time and in this way he was wrong.\u00a0 Bacon calls Copernicus\u2019 view an idol of the theatre\u2013\u2013an attempt to paint a more symmetrical, ordered pattern of the universe.<\/p>\n

In Bacon\u2019s time lived a great scientist, Gilbert.\u00a0 Studied magnetism.\u00a0 Wrote a book saying the earth was a great magnet, having a pole at either end.\u00a0 He proposed a theory of attraction, an opening for the theory of gravitation.\u00a0 His work was an idol of the theatre.\u00a0 From a few observations he drew a vast conclusion.\u00a0 Bacon was right that hundreds of scientists working in different places separately would have to pool observations for large inductions.\u00a0 In the scientist we need humility.\u00a0 He must be content with making a small contribution.\u00a0 Philosophers make the error of attempting to expand whole theories, structures, on a small discovery.\u00a0 Plato and Aristotle both fell into this error.\u00a0 They forgot the work of the other great scientists, like Democritus.\u00a0 Plato was to eager to talk and not eager enough to work.<\/p>\n

Refutes the point of view of the humanists who believed the older it was the better it was authoritatively.\u00a0 Bacon conceives science as slowly advancing anonymously over the ages.<\/p>\n

Nothing is there because anyone says so, but because it is true by experiment.\u00a0 Arts are different\u2013\u2013they do not improve.\u00a0 The work of great men is a cult of authority.\u00a0 Shakespeare is the last word in play\u2011writing.\u00a0 Nobody gets to be a great poet by improving on a predecessor.\u00a0 Shakespeare not built on Marlowe, for example.<\/p>\n

Lecture 30. <\/strong>Feb. <\/strong>2<\/p>\n

Bacon\u2019s philosophic importance is as a propagandist for the new scientific method.\u00a0 Cowley in a poem calls Bacon the Moses of the new learning.\u00a0 He was considered for the next two centuries the great leader of the new science.\u00a0 He became more a symbolic figure than a real one.\u00a0 See. F.H. Anderson, The Philosophy of Francis Bacon<\/em>.<\/p>\n

The Advancement of Learning<\/em> is addressed to James I and takes account of James I\u2019s tastes.\u00a0 James didn\u2019t catch on to all that Bacon proposed and did nothing to advance science, although he was quite a learned man (King Solomon of England).\u00a0 Bacon says that knowledge is power and was interested in the engineering and technical side of knowledge.\u00a0 This was mainly a selling point, for he makes two points quite clear: (1) Knowledge is useful, as pointed out above (2) Knowledge is of value for its own sake.\u00a0 According to Bacon there are three fallacies that obscure knowledge (of philosophy and science: he does not make a distinction between the two).\u00a0 He divides learning into three fields\u2013\u2013history, poetry, and philosophy.\u00a0 According to Plato there were three forms of good:<\/p>\n

Plato<\/em> just\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 beautiful\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 true<\/p>\n

(will)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (feelings)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (reason)<\/p>\n

Bacon <\/em>history art\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 science<\/p>\n

(Art is between the active and the contemplative, and we meet this again in Sidney.)<\/p>\n

Bacon in The Advancement of Learning<\/em> makes his general distinction between history, poetry, and philosophy.\u00a0 He tells us that poetry is doing all right, so no detailed study here is necessary.\u00a0 In Book I he surveys the state of scientific and philosophical learning in his day.)<\/p>\n

The fallacies are:<\/p>\n

(1) fantastical learning (occultism, magic, alchemy, astrology, etc.).\u00a0 Plato seems to have been the god\u2011father of this; we don\u2019t know why.\u00a0 Possibly from his Timaeus<\/em>.\u00a0 At any rate, in the Middle Ages the occult angle was built up through the neo\u2011Platonists and mystics, such as Plotinus.\u00a0 This fantastical learning was revived in the Renaissance.\u00a0 Astrology was the greatest to be rooted in scientific foundations, for astrologers did take accurate measurements of the heavens which were later used in astronomy.<\/p>\n

Alchemy sought two things: principle of transmutation and the elixir of life.\u00a0 Elizabeth kept a couple of tame alchemists around the court just in case they did find anything.\u00a0 Alchemists did not have a high standing, but their principle of transmutation was attached to religion, and many of them were rather holy.<\/p>\n

Magic was the attempt to the human mind to control nature.\u00a0 The cause\u2011effect relationship is by analogy.\u00a0 Black magic was trafficking with the devil, while magic was like science or medicine.\u00a0 In Bacon\u2019s day natural magic was more in vogue.<\/p>\n

(2) contentious learning, the second fallacy: scholasticism or medieval philosophy.\u00a0 Bacon attacks scholasticism as having been concerned with spinning rational structures out of logic but not with collecting new facts.\u00a0 He planned on putting so many new facts in that scholasticism would be obsolete.\u00a0 Medieval philosophy was largely cobweb spinning, but it did set up a technical philosophical vocabulary that is of great value.<\/p>\n

Catholic philosophers today have begun a great return to scholasticism\u2013\u2013especially St. Thomas Aquinas.<\/p>\n

Bacon says that as long as you do not collect new facts, you will have all sorts of contending schools.\u00a0 Men have too much propensity for talking and not enough for doing.<\/p>\n

(Fact collecting is actually an irrational activity\u2013\u2013an irrational exposure to nature.\u00a0 Reason can block the advance of knowledge because you have a pre\u2011fabricated theory of what you are going to find.)\u00a0 Rational activity is the establishment of relations between facts.<\/p>\n

(3) the third fallacy, delicate learning\u2013\u2013humanism.\u00a0 Ascham\u2019s saying that Cicero was the perfect style was opposed to reason.\u00a0 The idea that it doesn\u2019t matter what you say as long as you say it with sufficient eloquence.\u00a0 The cult of style as an end in itself.\u00a0 Aestheticism.<\/p>\n

The desire to talk learnedly and eloquently without doing any work.\u00a0 Hooker adopts a Ciceronian style, but in the 17th century a reaction set in, taking Seneca for its model.\u00a0 A conversational free\u2011style<\/p>\n

See Williamson, The Senecan Amble<\/em><\/p>\n

Willey, The Seventeenth\u2011Century Background <\/em>(first two chapters especially)<\/p>\n

Seventeenth\u2011Century Prose and Verse<\/em> White, Wallerstein, Quintana.\u00a0 More useful than Coffin and Witherspoon.\u00a0 Less bull.<\/p>\n

For Wed.\u00a0 Finish [Bacon?]<\/p>\n

Lecture 31.<\/strong> Feb. 4<\/p>\n

In The Advancement of Learning<\/em> Bacon expresses the idea that the world is getting older and better.\u00a0 For Bacon Aristotle\u2019s philosophy was a premature attempt to found a whole philosophy on the syllogism.\u00a0 The Neo\u2011Platonists got lost in a maze of mathematics.\u00a0 Both held back the advance of science.<\/p>\n

He touches on the relations of science and religion, saying that the two are on different planes and so never can conflict.\u00a0 Nature is a second Word of God.<\/p>\n

The style of the book is to attract King James.\u00a0 As James was a scholar, the Latin quotations were left in the original.<\/p>\n

The Essays<\/em>\u2013\u2013the centre of Bacon\u2019s literary reputation, much to his disgust.\u00a0 The first edition, containing ten, was so popular that he put out two later editions, much expanded, with longer essays.<\/p>\n

The earliest essays are a series of aphorisms (and were written one sentence to a paragraph).\u00a0 Disjointed statements.<\/p>\n

He took the name \u201cEssay\u201d from Montaigne, but that was all he did take from him.\u00a0 They have virtually nothing in common.\u00a0 Montaigne believe the essays should be discursive.\u00a0 Bacon never even bordered on a discursive style.<\/p>\n

In the Latin version of The Advancement of Learning<\/em>, he discusses rhetoric, and it is thus that the essay came about.\u00a0 Rhetoric was for ornament and for use.\u00a0 The Renaissance courtier required rhetoric and used if for both ornament and use.<\/p>\n

[in left margin] Read Cicero, On Rhetoric<\/em>, Book I<\/p>\n

Rhetoric, the science of effective speech, required also by the poet, became a central subject in Elizabethan England.\u00a0 Hundreds of figures of speech.<\/p>\n

Bacon stresses the importance of rhetorical exercise.\u00a0 He gives examples from his earlier essays; so the Essays<\/em> stem from Bacon\u2019s interest in rhetoric and rhetoric as knowledge.<\/p>\n

He picks up a theme and then puts down a list of aphorisms, supplemented by examples\u2013\u2013more aphorisms from the classics, biblical authority, anecdotes, etc.<\/p>\n

Bacon has a tremendous respect for aphorisms.\u00a0 His Novum Organum<\/em> is a series of aphorisms.\u00a0 An aphorism is not a platitude.\u00a0 A profound observation rather than a superficial one.<\/p>\n

To estimate the quality of Bacon\u2019s essays we must observe the quality of his wit.\u00a0 For he is witty\u2013\u2013aphorisms, not platitudes.\u00a0 He always manages to turn the platitude, common statement, into an image\u2011filled aphorism or paradox.\u00a0 Concentrates them.\u00a0 Each part of a sentence contains a whole milieu of life.\u00a0 There is a quality of with, more so than wisdom, in the essays.\u00a0 The essays are sort of a handbook for the English courtier.\u00a0 He tells how to behave in the unusual life of the Elizabethan\u2013Jacobean court.\u00a0 He tells us how to get around people.\u00a0 Machiavelli\u2019s insistence on what happens rather than on what is supposed to happen is right up Bacon\u2019s alley.\u00a0 Bacon gives us a picture of practical wisdom (how to get things done; do the things that have been tried and found to work).\u00a0 A 16th\u2011century Benjamin Franklin.\u00a0 Practically no subject on which Bacon does not have something to say, and something both wise and witty. (Compare Bacon\u2019s \u201cOn Gardens\u201d with Nashe later on\u2013\u2013nature as contrasted with childish taste.)<\/p>\n

Sums up complex matter in simple terms.<\/p>\n

His attitude to life as a whole is characterized by what we read here.\u00a0 A respect for clear intelligence, focused directly on its object.<\/p>\n

Truth comes better from error than from confusion (a mixture of the two).<\/p>\n

If Bacon wrote Shakespeare\u2019s plays, then Shakespeare wrote Bacon\u2019s essays.\u00a0 The two writers are totally incompatible.\u00a0 The difference between a Lord Chancellor and a middle\u2011class artisan.<\/p>\n

Hooker<\/p>\n

The Anglicans and Puritans during Elizabethan times were both in the Church of England.\u00a0 There was little logical difference.\u00a0 The 39 Articles on the whole were acceptable to the Puritans.\u00a0 Oxford and Cambridge excluded Catholics, but not Puritans.\u00a0 The two differed more on church organization than in belief.\u00a0 It was not until the 17th century that the Puritans broke away.\u00a0 In Elizabethan times the Puritans were a pressure group within the church crying for a different kind of church organization than Episcopal.\u00a0 They wanted either Presbyterian (ruled by minister and elders) or congregational.<\/p>\n

Hooker set himself to try to define the outlook of the Church of England in regard to tradition and the Reformation.\u00a0 He had a great respect for St. Thomas Aquinas and John Calvin.\u00a0 Tried to steer a middle course between Catholics and extreme Protestants.\u00a0 One problem was the source of authority, the Calvinists believing in the authority of the Bible.\u00a0 Hooker tries to make the Bible\u2019s authority prior to the Church, but make the Church the interpreter, etc.<\/p>\n

Lecture 32.<\/strong> Feb. 9<\/p>\n

Hooker sets himself primarily to study law and authority. \u00a0So he primarily searches for (1) the sources of authority and (2) the method of transmittance to man.<\/p>\n

Catholics and Puritans differed in their outlook.<\/p>\n

1.\u00a0 The Catholics believed in God\u2019s will conditioned by reason.\u00a0 Thomism is greatly impressed by the sense of order in nature, and by the Church also ordered.\u00a0 Therefore, God is rational, and he reveals himself through reason.\u00a0 A higher place is given in Thomist thought to the God of natural religion.<\/p>\n

According to the Puritans God\u2019s will in unconditioned.\u00a0 He is arbitrary in our eyes.\u00a0 This shows the split in Puritan thought between the laws of society and the laws of nature.<\/p>\n

2.\u00a0 Means of Communication.\u00a0 The Catholics believe that the Bible is interpreted through the Church.\u00a0 The Church teaches Christianity but the Bible doesn\u2019t.\u00a0 The Bible is to be read only in the light of Church doctrine.<\/p>\n

In the Protestant position the Church is a human institution and subject to error in its interpretation of Scripture.\u00a0 The Bible is the final word of authority.<\/p>\n

(We can see how the Protestants feel that the Bible is the direct word of God by the arbitrary nature they assign to Him.)<\/p>\n

Hooker, like the Protestants, puts the Bible above the Church, but, like the Catholics, feels that the Church is the word of God interpreted in history.\u00a0 To the Protestants the Bible is chronologically and theologically prior.<\/p>\n

Hooker works out his concept of law as being inherent in God.\u00a0 He interprets law in (1) terms of power (will) (2) terms of equity, reasonableness (reason).\u00a0 The laws may move from one extreme to the other\u2013\u2013arbitrary or reasonable.\u00a0 But in Hooker both will and reason are potentially present; and both are present in the nature of God.\u00a0 Hooker says that each of these divisions has a law of its own.<\/p>\n

[in left margin]\u00a0 Great Chain of Being: \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 God \/ angels \/ man \/ organic world\u00a0\u00a0 \/\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 inorganic world \/ chaos<\/p>\n

In the inorganic world we have automatism\u2013\u2013a regular and predictable type of behaviour.<\/p>\n

In the organic world we have an obedience to law, which may be called instinctive.<\/p>\n

The angels stand in the presence of God; therefore, the action of God is reasonable to them by direct apprehension.\u00a0 Therefore, their law is intuitive.\u00a0 (He then has difficulty explaining the fall of the angels.)<\/p>\n

God contains law within his own nature\u2013\u2013essential.<\/p>\n

In the Laws of Ecclesiastical Polity<\/em> Hooker explains the operation of law in each of these spheres.<\/p>\n

Man does not apprehend the will of God clearly, but he doesn\u2019t run on instinct either.\u00a0 In man\u2019s natural state the law of God appears mysterious, yet tolerable.\u00a0 He apprehends it in terms of fate, fortune.\u00a0 Interprets it like machinery\u2013\u2013a mixture of power and reason.\u00a0 Therefore, the laws of man are moral laws.<\/p>\n

God\u2013\u2013essential<\/p>\n

angels\u2013\u2013intuitive<\/p>\n

man\u2013\u2013moral<\/p>\n

organic\u2013\u2013instinctual<\/p>\n

inorganic\u2013\u2013automatic<\/p>\n

Man in the middle of the chain of being and has some of the qualities of those above and below.\u00a0 Moral = natural or rational.\u00a0 Below thee rational laws we find also we find expedient, sub\u2011reasonable laws\u2013\u2013laws present in society.\u00a0 We begin with arbitrary commands and gradually begin to see the reason behind the law; but if the arbitrary command has no sense, it is revocable, as being only a law presented by human nature in its relationship with social beings.\u00a0 Above these are laws which aid men in forming churches.<\/p>\n

The first religious laws will appear to be divine commands which at first do not appear reasonable.\u00a0 They are laid down for us to obey.\u00a0 Law\u2019s positive<\/em>, which relate to man\u2019s religious destiny, at first have a kind of arbitrariness about them.\u00a0 As man goes on in his existence, he may understand them better, but to his reason these will always appear incomprehensible.\u00a0 We can understand them only through revelation.\u00a0 The laws positive develop a ritual, acts which cannot be explained wholly on rational terms.\u2014the development of the habit of doing the will of God.\u00a0 Here is where the Church comes in, training man in these habits preparing him for the upper chain of being.<\/p>\n

Lecture 33.<\/strong> Feb. 11<\/p>\n

Spirit of toleration rampant in the 17th\u2011century Church of England.\u00a0 The split with the Puritans came in the reign of James I.<\/p>\n

Browne.<\/em> Doctors had the reputation of being skeptical, materialistic.\u00a0 In Browne\u2019s time the body and mind were considered a unit.\u00a0 In the 17th century man still lives in a world where the state of melancholy is both of the mind and the body.<\/p>\n

Hooker wrote in a stiff, balanced, Ciceronian style.\u00a0 Sir Thomas Browne is quite the opposite\u2013\u2013colloquial, free and easy style in his Religio Medici<\/em>.\u00a0 \u201cAttic prose.\u201d\u00a0 He was a doctor, equally interested in the ancient and the modern: Galen and Paracelsus.\u00a0 Galen, the classical authority, believed that there were opposites, antipathies, which extend through the whole of nature.\u00a0 When sick, you take something opposed to the ailment to drive it out.<\/p>\n

In the Renaissance there came a new school of medicine headed by Paracelsus.\u00a0 He was a curious mixture of genius and sharpness.\u00a0 He was largely occult.\u00a0 His great medieval principle was homeopathy\u2013\u2013searching for a like principle (yellow for jaundice).\u00a0 A great believer in minerals, while Galen believed in herbs.<\/p>\n

Paracelsus discovered mercury was a good remedy for syphilis, a new disease just introduced from America.\u00a0 Galen regarded it as a highly improper disease, for it was not treated in Galen\u2019s works & they refused to treat it.\u00a0 Browne is a unique mixture of the two schools, but he seems more of the occult, speculative.<\/p>\n

Browne was a man of his own time.\u00a0 He was interested in modern science.\u00a0 Bacon mentioned in his Advancement of Learning<\/em> that someone ought to write out a list of commonly accepted beliefs that are actually erroneous.\u00a0 Browne proceeded to do that in his ambitious Pseudodoxia Epidemica<\/em>\u2013\u2013
\n\u201cVulgar Errors.\u201d\u00a0 He examines the crazy natural history.\u00a0 Quotes all the classical \u201cauthorities\u201d on a particular question, and then rationalizes to a general conclusion that such a thing is probably wrong.\u00a0 He uses a rational approach, not an experimental approach.<\/p>\n

He is characteristically speculative, a sharp insight.\u00a0 Searches for the elementary principles of design in nature.<\/p>\n

He was the opposite of the Royal Society, which demanded dry\u2011bone facts, not the high degree of speculation in Browne.\u00a0 Swift\u2019s projected essay \u201cA Panegyric on the Number Three\u201d is a direct swing at Browne and his Quincunx.<\/p>\n

Browne is interested in a comprehensive viewpoint and synthesis.\u00a0 Of the four causes of Aristotle, Browne thinks that the question of purpose, of final cause, of why? is the most important question.<\/p>\n

Lecture 34.<\/strong><\/p>\n

In Browne there is no limitation of objectives.\u00a0 He permits many subjects to enter as he writes.\u00a0 Paradoxical humour.\u00a0 Surveys the panorama of knowledge, but feels the limitation of human knowledge, feels we cannot hope to uncover it all.\u00a0 He takes a skeptical attitude to knowledge.\u00a0 Much of the deep faith of the 17th century was founded on intellectual skepticism.\u00a0 Belief in revealed religion through a distrust of the human mind to know what it thinks it knows\u2013\u2013Browne, Pascal, Dryden.<\/p>\n

There are no questions that can be answered without another why?\u00a0 This goes on ad infinitum.<\/p>\n

Three levels in the human mind: (1) reason<\/em>.\u00a0 (Makes a monkey out of sense experience.\u00a0 As far as reason is concerned, we live on a flat world, an order and design which isn\u2019t there.\u00a0 Belief in the power of human design, architecture. \u00a0A paradoxical, ironical relationship between reason and sense experience teaches us to distrust the adequacy of our senses.)\u00a0 (2) sense<\/em> (3) faith<\/em>\u2013\u2013a religious conception.\u00a0 The quality of paradoxical irony is carried into the third level.\u00a0 The first function of faith is to make a monkey out of reason.\u00a0 In a properly religious frame of mind, your mind is thoroughly flexible.<\/p>\n

If you accept only the first two levels of mind, you are addicted to mental stodginess\u2013\u2013just faith in reason instead of faith beyond reason.<\/p>\n

When you turn to the Bible you leave reason and sense experience behind.\u00a0 The quality of the divine revelation to man takes the form of stories that are largely absurd.\u00a0 Browne\u2019s only criticism of the Bible was that it was too sober.<\/p>\n

Browne distinguishes real belief (flexibility of mind) from persuasion (belief in something you can\u2019t help believing in).\u00a0 This latter is response, not an expression of an active, energetic mind, but only a response to sense experience.\u00a0 Faith for Browne is the highest part of his mind.<\/p>\n

In the realm of religion the human mind can stretch itself as ease.\u00a0 His faith is founded on the distrust of reason\u2013\u2013content to understand the mystery without a definition.<\/p>\n

(1) Sense\u2013\u2013physical\u00a0\u00a0\u00a0\u00a0 (2) Reason\u2013\u2013logical\u00a0\u00a0\u00a0\u00a0 (3) Faith\u2013\u2013operates in Scriptures, Church (a series of rituals).<\/p>\n

Hooker: three laws in mankind: (1) expedient, paralleling Browne\u2019s \u201csense.\u201d (2) rational, paralleling Browne\u2019s \u201creason.\u201d\u00a0 (3) sacramental, paralleling Browne\u2019s \u201cfaith.\u201d<\/p>\n

Browne can be relaxed in both is attitude toward philosophy and toward science.\u00a0 He does not dismiss things simply because they are unreasonable.\u00a0 His validity is based on how things balance our life.<\/p>\n

Soundness of faith and flexibility toward science.\u00a0 He was a philosophical skeptic, but not a skeptic in the field of faith<\/p>\n

He tries to unite the human with what is above the human (spiritual and angelic) world in the scale of creation.\u00a0 The order of creation rises with proportion.<\/p>\n

Lecture 35.<\/strong><\/p>\n

Looking at the world at each of the three levels, each by itself is self\u2011consistent, but when we leap from one to another we are involved in contradiction.\u00a0 We cannot build up a perfect synthesis at one level because we have to look out to make our leap.<\/p>\n

\u03c8\u03c5\u03c7\u03ae = soul, butterfly\u2013\u2013concept of resurrection for Browne.\u00a0 Looks at the visible world for symbols and signs of divine presence and the invisible world.\u00a0 The insects turning from a worm to a butterfly was an example of an appearing self\u2011sufficient natural world of a metamorphosis indicating a jump from one level to another.\u00a0 This was symbolic of the resurrection.\u00a0 The leap of man from body to soul in death.<\/p>\n

In rituals of the Church physical actions are symbolic of affecting spiritual life in one way on another.\u00a0 There are many people searching the physical world for symbols and indications of the invisible world, especially Catholics and Anglicans.\u00a0 Browne is a very high church Anglican.\u00a0 Sympathetic with Catholic Church.\u00a0 He shows some of the tendencies of Protestant thinking\u2013\u2013the primacy of the Word of God.\u00a0 However, he gives as much authority to the Church as possible.<\/p>\n

In the created world, Browne believes that nature does everything for a purpose.\u00a0 The philosopher finds nothing irrational on the level of reason.\u00a0 Similarly, on the level of faith, the world is clear.\u00a0 Everything has its own beauty, value, etc.<\/p>\n

General attitude of tolerance to the whole created\u00a0 world is part of the tolerant acceptance of the world as it is, which is a necessary part of faith.<\/p>\n

Book I of Religio Medici<\/em> is on faith.\u00a0 Book II is on charity\u2013\u2013the practice of religion.\u00a0 In opening Book II, he congratulates himself on his tolerance\u2013\u2013a natural tendency to take things easily.\u00a0 A general indifference toward the conditions of life.<\/p>\n

Emancipates the imagination in the realm of spiritual beings.\u00a0 Interest in the chain of being.\u00a0 He has to drag fallen angels (evil spirits), witches in by the heels, as such an idea is antithetical to the concept.\u00a0 Sounds off about witches\u2013\u2013indicates the power of such a train of thought in the 17th century<\/p>\n

\u201cWorld soul\u201d\u2013\u2013in Plato\u2019s Timaeus<\/em>.\u00a0 This concept recurs in later thought.\u00a0 Bergson brings it in as \u00e9lan vital<\/em>.\u00a0 Shaw calls it the \u201clife force.\u201d\u00a0 Browne also makes use of the conception.\u00a0 God in three persons, one of which is the Holy Spirit\u2013\u2013fusing spirit in nature\u2013\u2013\u201canima mundi.\u201d<\/p>\n

Different conception of God appears at different levels.\u00a0 Angels\u2019 perception of God is direct; therefore, they understand God intuitively.\u00a0 But on different levels you get different responses to the idea of God.<\/p>\n

God<\/p>\n

angels\u2013\u2013intuitive<\/p>\n

man\u2013\u2013reasonable (mysticism)<\/p>\n

animals \/ plants\u2013\u2013instinct<\/p>\n

inorganic world\u2013\u2013automatic<\/p>\n

chaos\u2013\u2013luck or chance<\/p>\n

We can see a certain amount of predictability in the universe.<\/p>\n

Wed. Feb 25, Mon, Mar. 2.\u00a0 Classes cancelled.<\/p>\n

Lecture 36.<\/strong><\/p>\n

(next.\u00a0 Sidney\u2019s Apology<\/em>, and prose fiction)<\/p>\n

Burton\u2019s Anatomy of Melancholy<\/em>.\u00a0 Burton was a clergyman,\u00a0 Don of Christ\u2019s Church, Oxford.\u00a0 Spent all of his time reading, especially medical texts.\u00a0 His work is technically a medical treatment.\u00a0 Melancholy in Burton\u2019s time was a simultaneous disease of boy and mind.\u00a0 An extremely long book: his only work.\u00a0 It is suffused with all his learning, and a pervasive, ambling sense of humour, which makes him a leading satirist.\u00a0 His satire is based on books rather than observation.\u00a0 One of the most vigorously written books in the world.<\/p>\n

He treats his subject by quoting everything he has read on the subject, and comes to no general conclusion.<\/p>\n

The most important instruments in Elizabethan medicine are blood\u2011letting and purgation by heavy laxatives, the greatest of which was white hellebore.\u00a0 He asks whether hellebore is good for melancholy.\u00a0 He then devotes fifty pages for medical evidence against it as a poison and fifty pages to its value.<\/p>\n

A rhythmic prose style, an exhaustive knowledge.\u00a0 His book was so popular that he kept expanding it.\u00a0 He expanded to the greatest extent the question of love melancholy.\u00a0 Comes finally to the conclusion that young people should do as they like.\u00a0 Fond of maxims: \u201cLove is blind.\u201d<\/p>\n

Continues bird\u2011shot style\u2013\u2013mixture of English and Latin, throwing it at you as fast as he can.\u00a0 Many authors since have cribbed from Burton (Sterne, Tristram Shandy<\/em>).<\/p>\n

High regard for beer as a cure for melancholy & a low regard for salads.<\/p>\n

Calls himself Democritus Junior\u2013\u2013laughing at the humour.<\/p>\n

His favourite word is \u201cwhether.\u201d\u00a0 Gives us both sides of a question.\u00a0 Seldom comes to any conclusions himself.<\/p>\n

A fascinating period in history when we are unable to know anything for certain.<\/p>\n

His digressions are perhaps the most interesting part of his book.<\/p>\n

Lecture 37.<\/strong><\/p>\n

Sidney\u2019s Apology for Poetry<\/em>,\u00a0 Typical formal apology.\u00a0 A set form of rhetoric.\u00a0 Every part of Sidney\u2019s Apology<\/em> follows this rhetorical pattern<\/p>\n

His Apology<\/em> is partly an answer to Gosson, a Puritan who attacked the study of literature.<\/p>\n

Poetry is to be studied in light of certain postulates.\u00a0 The poet never affirms (e.g., we do not read Hamlet<\/em> and say, \u201cWell, this isn\u2019t true.\u00a0 I don\u2019t believe in ghosts.\u201d)\u00a0 The poet\u2019s statement is hypothetical.\u00a0 There is no truth or falsehood in it.<\/p>\n

Since Plato:<\/p>\n

Good<\/p>\n\n\n\n\n
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__________________________________________<\/p>\n

\u2502\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0 \u2502\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2502<\/p>\n

{this world} just )\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 beautiful \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 true {timeless world}<\/p>\n

(will)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (feelings)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (reason)<\/p>\n

Beside these ideal forms they also have their actualities<\/p>\n

law and history\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 art\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 science and philosophy<\/p>\n

The world of law and the world of reason both assert; both are impersonal and impartial.\u00a0 In the realm of art there are truths, but these are flexible.\u00a0 There is a wide range of truth.\u00a0 You must enter into it and discover by your own experience.\u00a0 There must be a personal absorption to find truth.\u00a0 The world of art is not one of impersonal assertion.\u00a0 The world of history produces the example. (history affords many examples of history), and the world of philosophy (letters) produces the precept (of the hero, the ideal perfect hero.\u00a0 The pattern, form, Platonic ideal).\u00a0 The precepts of philosophy are once removed from ordinary life.\u00a0 The examples of history are once removed from the ideal.\u00a0 Poetry brings the two together in an image so that we can see both the example and the precept at once.<\/p>\n

Sidney is working from Aristotle\u2019s principle that poetry synthesizes history and philosophy, with philosophy predominating.<\/p>\n

Aristotle said that poetry is an imitation of nature.\u00a0 By that is meant that a work of art is a thing of human form\u2013\u2013a tool, instrument shaped out of nature.\u00a0 That means that a work of art is not a natural object but it grows naturally out of nature.\u00a0 (This is what \u03bc\u03af\u03bc\u03b7\u03c3\u03b7 in Greek implies.\u00a0 Imitation is not a copy, but grows out of nature.\u00a0 Art is a human creation of nature.)\u00a0 Hence the poet is a maker or shaper.\u00a0 Sidney does not like the idea at God created something out of nothing.\u00a0 A poet sits down in an order of nature and an order of words, and out of these two things poetry is produced.\u00a0 A human world of conscious meaning, founded on nature.\u00a0 Therefore, poetry is not supernatural but out of nature.<\/p>\n

Sidney thinks of poetry as a form of rhetoric\u2013\u2013close to oratory.\u00a0 He thinks poetry is integral to the whole of society.\u00a0 He says that in the time of Moses the poets were the law\u2011givers.\u00a0 Shelley later said that the poet was the unacknowledged legislator of the world.\u00a0 Sidney is closely attached to Castiglione\u2019s conception of the courtier.\u00a0 Poet, courtier, orator, server of the prince\u2013\u2013all tied closely together.<\/p>\n

Sidney is commenting on drama that to us would appear pretty bad\u2013\u2013the early plays that Shakespeare made fun of.\u00a0 Sidney is speaking of drama that came before the great Elizabeth works.<\/p>\n

He takes a high\u2011brow Elizabethan attitude.\u00a0 Tragedy should deal with upper\u2011class figures, comedy with low\u2011brows.\u00a0 Low clowns should not appear in tragedy & steal the show.\u00a0 Everything must be appropriate to the central conception.\u00a0 Observe decorum.\u00a0 Decorum is much more objective than today\u2019s conception of personal style.\u00a0 Shakespeare has no style\u2013\u2013pure decorum.\u00a0 Every character in Shakespeare speaks exactly as he should.\u00a0 A certain unity of mood preserved.<\/p>\n

Lecture 38.<\/strong><\/p>\n

Sidney, Apology for Poetry<\/em><\/p>\n

Awareness of the relation of poetry to the other arts.\u00a0 Much of the relation of poetry to the lyre and to painting.<\/p>\n

Distinguishes the inferior from the great painter.\u00a0 Imitation of nature means for him the re\u2011creation of nature in human form.<\/p>\n

Uses the great classical authorities in poetry as his criterion for judgement of poetry.\u00a0 Distinguishes between Theocritus, who wrote in a genuine dialect like Burns, from Spenser, who did not.<\/p>\n

In drama, Sidney demands unity of action, but leaves it rather vague.\u00a0 Other critics of Sidney\u2019s time called this unity of time and unity of place, calling on the classical drama as authority.<\/p>\n

Action of the play should take place within twenty\u2011four hours.\u00a0 It should all take place in one setting.\u00a0 The high\u2011brows also demanded the unity of classes. \u00a0A tragedy should contain only the higher classes; comedy, on the lower.\u00a0 Shakespeare disregarded all unities of time and place, appearing almost to flout the highbrows.<\/p>\n

However, Sidney was passing judgement on poor theatre, one that had not achieved unity of action.<\/p>\n

The high\u2011brows like Sidney demanded all three unities to keep up an illusion.\u00a0 Samuel Johnson later states that the spectator is prepared for illusion when he enter the theatre.\u00a0 Therefore, if you can make the spectator think a scene is Rome, you can easily switch it to Athens or Alexandria.<\/p>\n

High\u2011brows thought that mixing of the classes was socially subversive.\u00a0 A clown must not steal the show from a prince.\u00a0 Mixture of classes would break up the unity of mood.\u00a0 A tragedy should be a tragedy all the way through.\u00a0 Shakespeare uses contrasting scenes all the way through most effectively.<\/p>\n

The Shorter Novels<\/em>: two by Deloney, one by Greene, one by Nashe.<\/p>\n

Deloney\u2013\u2013a literary tendency of little importance in the Elizabethan period.\u00a0 Wrote for the lower and middle classes and was despised by the high\u2011brows.\u00a0 But he appealed to a class that later came to power.\u00a0 He was of the school of Defoe and Richardson.\u00a0 The novel is a particularly cultural form peculiar to a class that later came to power in the 18th century in England.\u00a0 As it rose, the drama went down.\u00a0 In the Elizabethan age music & drama were in the ascendancy; fiction and the essay remained comparatively undeveloped.<\/p>\n

The court was at Westminster, which was at some little distance from London proper.\u00a0 The city was all middle\u2011class people; the court, all High Church and Tory.\u00a0 Elizabeth would never look at anyone who did not have a title.\u00a0 As a poor boy starting out in life, your ambition was not to live at court, but to become Lord Mayor of London.\u00a0 This is your dream of the highest class if you are of the middle class. \u00a0Dick Whittington.<\/p>\n

In Deloney we get a plug for the enclosure movement.\u00a0 He is not a proletarian writer; he was an exponent of free enterprise, the entrepreneur in the woolen trade.<\/p>\n

Jack of Newberry<\/em> is the story of the woolen trade and a man who made good in it.\u00a0 Deloney dedicates the book to all famous cloth makers.\u00a0 His other book, Thomas of Reading<\/em>, which is laid in the 12th century, has much the same theme.\u00a0 The people that Deloney deals with are the same as those in Richardson\u2013\u2013hardworking middle\u2011class people.\u00a0 Independence is the core of their life.<\/p>\n

The Domestic System in economics\u2013\u2013big wool merchants had wool spun in private homes and sent their journeymen to collect it. \u00a0No factories.\u00a0 The whole system still rooted in the home, some of which became quite prosperous.<\/p>\n

Deloney\u2019s theme is always how much good these entrepreneurs are doing for the country, promoting business, employment.<\/p>\n

Opposition to foreign entanglements, which kill free trade, etc.<\/p>\n

Jack of Newberry<\/em>\u2013\u2013laid in Henry VIII\u2019s time.\u00a0 Dislike of Catholicism because Pope symbolizes entanglements with continental powers.<\/p>\n

Lecture 39.<\/strong><\/p>\n

Deloney\u2013\u2013a sharp eye for small, concrete details.\u00a0 His psychology devoted to middle\u2011class independence\u2013\u2013financial independence.\u00a0 The foreigner ridiculed.\u00a0 Middle\u2011class attitude to monarchy\u2013\u2013several chapters devoted to the king\u2019s trying to get the favour of the clothiers.\u00a0 Praise of woolen industry.\u00a0 His sources are the sources of popular literature.\u00a0 His slapstick is from the folklore that has been attached to different periods of English history.<\/p>\n

(Broadside Ballad<\/em>\u2013\u2013Ballad, a traditional narrative poem, handed down orally.\u00a0\u00a0 Broadside ballads made possible by the printing press.\u00a0 Doggerel poems dealing with some item of current news (the ancestor of the tabloid).\u00a0 Elizabethan England is on the verge of journalism, which was delayed with this form of popular literature.<\/p>\n

Bride in the summertime weaving \u201cfinest worsted\u201d\u2013\u2013the woollen trade again.\u00a0 Full of people who have grown rich with nothing to start wit.<\/p>\n

The stories in Thomas of Reading<\/em> are older than those in Jack of Newberry<\/em>.\u00a0 The old murder story, \u201cThe Terribly Strange Bed,\u201d is wonderfully told.<\/p>\n

\u2013\u2013The horror story<\/p>\n

Emphasis on dialogue.\u00a0 Technique of control of horror scenes with comic scenes<\/p>\n

Insight into human nature.<\/p>\n

Greene.\u00a0 A complicated story.\u00a0 One of the best of the early Elizabethan dramatists before Shakespeare.\u00a0 Greene was a shiftless character and was a journalistic type.\u00a0 He would write anything which was popular in London at this time (population between 100,000 and 200,000)<\/p>\n

Lecture 40.<\/strong><\/p>\n

Greene\u2019s book is a copy of the style of Euphues<\/em>, which has such a new style that it was called euphuism.\u00a0 His style is much like rhetoric and uses all sorts of poetic figures of speech and rhetorical devices.\u00a0 Euphuism is an attempt to incorporate all these devices in prose.\u00a0 Modern prose turns entirely away from this.<\/p>\n

[in left margin] Lyly\u2019s Works, ed. Bond.\u00a0 Edition of Euphues<\/em>, ed. Croll and Clemens.\u00a0 In Croll and Clemens we have a good discussion of euphuism.<\/p>\n

In Greene, and endless sing\u2011song balance, metrical, assonance, alliteration.\u00a0 Such a style is bound to bear traces of its rhetorical origin.\u00a0 Greene\u2019s telling of the story leads to long laments, long moral reflections, endless letters, etc., but not much story except in a very staggered way.\u00a0 The story is carried from harangue to harangue.\u00a0 Long formal diatribes, soliloquies, laments, etc.\u00a0 We get our plot in chunks between these rhetorical passages.<\/p>\n

Euphuism is easy to parody (Falstaff in Henry IV, Pt. I<\/em>).<\/p>\n

Both Lyly and Greene are fond of proverbs.\u00a0 Also, many examples\u2013\u2013parallels or illustrations from natural history<\/p>\n

(Curious mixture of fable, legend, and biology.)\u00a0 Many of these have medical reference (medical information that there is always something that is good for an animal when it is sick, for a lion, a she\u2011wolf, etc.).<\/p>\n

Euphuism used chiefly in the monasteries, and was popular among women.\u00a0 Required great care, as much as for poetry, to write.<\/p>\n

Lecture 41.<\/strong><\/p>\n

Nashe, The Unfortunate Traveller<\/em>\u2013\u2013a tendency to more realistic fiction.\u00a0 Most fiction of that time was romantic, courtly love, or euphuistic.\u00a0 It was through drama that most realism came.\u00a0 Nashe came from the Cambridge school of wit\u2013\u2013Lyly, Greene, Marvell, Nashe.\u00a0 He was also a bit of a playwright.\u00a0 He was a satirist primarily.\u00a0 Nashe got his start as a satirist by writing a series of abusive pamphlets during the Anglican\u2013Puritan controversy.\u00a0 Invective\u2013\u2013a most interesting, entertaining type of writing. (Panegyric is rather boring.)\u00a0 Gabriel Harvey was a great scholar, but a pedant and Nashe liked to attack him.\u00a0 The controversy of pamphlets between these two lasted several years.\u00a0 The picking out of someone to hurl invective at was quite popular generally in London at this time.<\/p>\n

The Unfortunate Traveller<\/em>\u2013\u2013most serious incursion of Nashe into literature.\u00a0 Told in first person.\u00a0 Jack Wilton, a bit of a blackguard, not particularly well educated.\u00a0 Slangy, journalese style of speaking.\u00a0 Punctuates his sentences with drinks.\u00a0 He tells a type of story that became quite popular in English\u2013\u2013a picaresque novel\u2013\u2013the account of the adventures of a scoundrel or rogue.\u00a0 Always getting away with small crimes. (For picaresque novels, see also Huckleberry Finn<\/em>, Defoe\u2019s Moll Flanders<\/em>.)\u00a0 The Unfortunate Traveller<\/em> is to some extent an historical novel\u2013\u2013time of Henry VIII.\u00a0 The time of Nashe\u2019s story is almost the same as Deloney\u2019s first novel.\u00a0 Deloney hardly ever mentions historical characters.\u00a0 He feels that people are all the same in every period of history.\u00a0 Nashe is more of a historical writer.\u00a0 He lugs in all the historical stuff possible.<\/p>\n

Henry VIII came to the throne in 1509 and almost immediately plunged into war with France.\u00a0 Scotland entered and was defeated at Flanders.\u00a0 Jack Wilton was on the French expedition.\u00a0 \u00a0Therefore the date is about 1513.\u00a0 The story carries on for a few years.<\/p>\n

Nashe brings in More writing his Utopia<\/em>.\u00a0 Erasmus popular at this time.\u00a0 Luther after 1517 comes into Nashe\u2019s story.\u00a0 Surrey gets into Nashe\u2019s story.\u00a0 Jack Wilton travels for a time as Surrey\u2019s servant<\/p>\n

Before Luther got going in German there was a group, the Anabaptists, already regarded as heretical.\u00a0 Anarchists in religion and politics.\u00a0 One group that was perfectly harmless, peaceful (descendants of the Mennonites).\u00a0 Another group that were terrorists\u2013\u2013cruel uprisings.\u00a0 Jack Wilton tells us all about their uprising and their execution.\u00a0 Wittenberg (Luther\u2019s university) the best known of the period.<\/p>\n

University training in disputation.\u00a0 Public disputes of theses.\u00a0 Jack Wilton records being at some of these.<\/p>\n

Another big thing they did in universities was to stage plays.\u00a0 In Latin, by Plautus and Terrence.<\/p>\n

Modern plays written in Latin by their masters\u2013\u2013usually a Biblical theme, sometimes morality plays.<\/p>\n

Universities were an important source for dramatic activities.\u00a0 From universities in England you often went to Inns of Court to learn law.\u00a0 Here, many more sophisticated plays were written.<\/p>\n

Jack Wilton also mentions Cornelius Agrippa, the philosopher.\u00a0 Agrippa had a great reputation as a magician.\u00a0 A legendary figure like Faust.\u00a0 Supposed to have sold his soul to the devil.<\/p>\n

Nashe also pays a long tribute to an Italian Pope\u2013\u2013Aretine.<\/p>\n

\u2013\u2013Typical of lampoon and satire in Renaissance literature.\u00a0 A particularly mean, vicious satirist, who was paid money by Italian nobility so he wouldn\u2019t write poems about them.<\/p>\n

Lecture 42.<\/strong><\/p>\n

Isaak Walton<\/em><\/p>\n

A careful, calculating writer.\u00a0 Attempted to appear artless.\u00a0 A type of deliberate naivety. The conception of fishing as an expression of an attitude to life.\u00a0 Leaves the city behind but not the culture behind.\u00a0 Fishing affords him an opportunity for meditation.\u00a0 Walton is a nostalgic figure.<\/p>\n

Belief in spontaneous generation, which was current at the time.\u00a0 Pickerel came from eating pickerel weed.\u00a0 No science in him.\u00a0 He likes to feel that nature is a careful, cunning artist.\u00a0 He brings to imaginative life a world of colours and sounds.\u00a0 His mind is focused on a subject in its tiniest details<\/p>\n

His Lives<\/em>.\u00a0 To some extent, hagiography.\u00a0 (Lives of saints.)\u00a0 Out to show that the Church of England turns out the same lives of saintliness as other churches.\u00a0 Thus, unfortunately he glosses over some of these lives (e.g., Donne).\u00a0 Treats Donne as if he had not had doubts and fears.\u00a0 Oversimplifies the life of Herbert as a country parson.\u00a0 In his Hooker<\/em> he goes in for another stock saintly type, the absent\u2011minded type.<\/p>\n

His biographies are most interesting and informative, though.\u00a0 Every once in a while his attitude shows between the lines.<\/p>\n

A master of the polite style.\u00a0 He has to deal in his biographies with some first\u2011class heels, and he treats these with a great deal of urbanity.\u00a0 We have to read carefully to discover who is a villain (like in Henry James).<\/p>\n

Tom Fuller\u2013\u201317th\u2011century clergyman\u2013\u2013good\u2011humoured, tolerant.\u00a0 Royalist all through the Civil War.\u00a0 Wrote a series of brief prose meditations.<\/p>\n

Chiefly, a historian, antiquarian.\u00a0 Interested in a wide variety of historical studies.\u00a0 A Church History of England, which was very good. Pepys was a great admirer of Fuller.\u00a0 Listened to him preach whenever he could.\u00a0 An antiquarian of prodigious learning and industry.<\/p>\n

\u201cWorthies of England\u201d\u2013\u2013valuable biographical notes.<\/p>\n

Fuller\u2019s most important book is Holy State and <\/em>Profane<\/em> <\/em>State<\/em>\u2013\u2013character books of famous Anglican clergymen and others.<\/p>\n

Joseph Hall, Theophrastus<\/em>.\u00a0 Imaginary characters based on Aristotle\u2019s Ethics<\/em>.\u00a0 This book had great influence in both France and England at this time.\u00a0 The idiom and general style recaptured.\u00a0 Ease of moving from historical fact to his reflections on the fact.\u00a0 An aggressive pro\u2011Protestant stance, partly because he knows it aids his style.<\/p>\n

<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

At the top of page 50 of Evans\u2019s notes is the name \u201cBentley.\u201d Evans\u2019s note to me: \u201cThe may mean Allen Bentley took the lecture and I copied, but more likely that I took it and he borrowed the notes.\u201d We can infer from the four sets of notes that are dated (lectures 31\u201334) that […]<\/p>\n","protected":false},"author":20,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-8515","page","type-page","status-publish","hentry"],"yoast_head":"\nPeter Evans\u2019s Class Notes for Northrop Frye\u2019s Course in English Literature 1500\u20131660 (English 2i), 1952\u20131953 - The Educated Imagination<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/macblog.mcmaster.ca\/fryeblog\/peter-evanss-class-notes-for-northrop-fryes-course-in-english-literature-1500-1660-english-2i-1952-1953\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Peter Evans\u2019s Class Notes for Northrop Frye\u2019s Course in English Literature 1500\u20131660 (English 2i), 1952\u20131953 - 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