schnauder- survey of literature 1 slides (duro rosics in konflikt stehende kopie 2013-08-29)

8/14/2019 Schnauder- Survey of Literature 1 Slides (Duro Rosics in Konflikt Stehende Kopie 2013-08-29)

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Session 1

From the Tudors to the Civil War

Time period covered: 1485 1642

The Tudors (Henry VII, Henry VIII, Edwrd VI, !ry I, E"i#$e%h I&: 1485 16'

The )%ur%s *mes I, +hr"es I: 16' 164

+ivi" -r (1642 164& nd +ommonwe"%h./ro%ec%or%e (164 166'&

Defining the Renaissance

0enissnce, %he re$ir%h o3 "i%er%ure, r%, nd "ernin %h% proressive"y %rns3ormed

Europen cu"%ure 3rom %he mid 14%h cen%ury in I%"y %o %he mid 1%h cen%ury in En"nd,

s%ron"y in3"uenced $y %he rediscovery o3 c"ssic" ree7 nd cn "i%er%ure, cce"er%ed $y

%he deve"opmen% o3 princn9 (+hris "dic7, Concise Dic0onary of Literary Terms&

The 0enissnce cn $e rerded s $ride $e%ween %he !idd"e or ;r7


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ed %o vio"en% re"iious con3"ic%s %hrouhou% %he period9 0e"iion nd po"i%ics were

insepr$"e9

+onseDuences o3 %he /ro%es%n% emphsis on individu" 3i%h $sed on %he word o3 %he $i$"e:

i$"e %rns"%ions in%o verncu"r "nues

/rin%in o3 $i$"es wi%h %he he"p o3 %he new prin%in %echno"oies

row%h o3 "i%ercy

$. The New World

The 0enissnce ws n e o3 eorphic" eCp"or%ion nd discovery o3 new "nds9

!os% in3"uenc" ws +hris%opher +o"um$uss rriv" in %he ?ew -or"d in 1429 %her

eCp"orers nd dven%urers %ried %o si" round %he wor"d or discover new psse %o Indi

(!e""n, Vsco d m, )ir Frncis ;r7e, )ir -"%er 0"eih&

In %he w7e o3 %hese discoveries, new in%ern%ion" %rde rou%es nd %he 3irs% %en%cve

co"onies were es%$"ished9

Encoun%ers wi%h indienous peop"es nd socieces chned %he wy Europens viewed

%hemse"ves9

%. The New Science and the New Cosmolog&

)cien%is%s deve"oped new me%hods %o eCp"in n%ur" phenomen9 E99 empiricism:

7now"ede is derived 3rom eCperience, sensory percep%ion, %he co""ec%ion o3 evidence9

0evo"u%ion in cosmo"oy: rdu" rep"cemen% o3 %he eocen%ric.mediev"./%o"emic wor"d

view $y %he he"iocen%ric wor"d view %hrouh %he wor7 o3 s%ronomers such s +opernicus,

Gep"er, Tycho rhe, "i"eo "i"ei9

The new cosmo"oy $ecme ener""y 7nown on"y very s"ow"y9 In E"i#$e%hn.*co$en

%eC%s we invri$"y encoun%er re3erences %o %he o"d cosmo"oy r%her %hn %he new one9

The 'nglish Renaissance:The Tudors: Henry VII (1485 15'&

de3e%s 0ichrd III % %he %%"e o3 oswor%h

$rins %o n end %he -rs o3 %he 0oses B in%ernecine wr $e%ween %wo $rnches o3 %he roy"

3mi"y, %he Houses o3 or7 nd ncs%er= Henry, ncs%rin, mrried E"i#$e%h o3 or7

%hus uni%in %he %wo Houses=

Ini%i%es %he ru"e o3 %he House o3 Tudor

+hie3 im: uni3y %he n%ion round %he cen%r" power o3 %he crown=

mrrie po"icy %o conso"id%e re"%ions % home nd $rod

E"des% son


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(>"oody !ry@&9

enr& ())) !1*+,1*%-" )))

>The Gins re% !%%er@: 3i"ed %%emp% %o hve his mrrie %o +%herine nnu""ed $y %he

pope in order %o mrry ;ivorced, $eheded, died= divorced, $eheded, survived@

Religious Conflict / The Reformation riin o3 /ro%es%n% 0e3orm%ion ssoci%ed wi%h !r%in u%her(148 1546&9 !in %ene%s

nd res o3 con3"ic%:

)"v%ion cnno% $e $ouh% (reJec%ion o3 s"e o3 indu"ences&

n"y %rue 3i%h "eds %o s"v%ion (no% 3i%h and ood wor7s&

%he Euchris% is sym$o"ic r%her %hn %he >re"@ %rns3orm%ion o3 %he $ody nd %he $"ood

o3 +hris% in%o $red nd wine

0e"iious u%hori%y does no% res% wi%h %he /ope $u% wi%h %he i$"e9 There is no need 3or

pries%s, sin%s or %he Virin !ry %o medi%e $e%ween od nd mn9 Everyone one cn

unders%nd divine mys%eries $y s%udyin %he i$"e9

/ro%es%n% %echins circu"%ed %hrouh %he new medium o3 prin%, suppor%ed $y %rns"%ionso3 %he $i$"e in%o verncu"r "nues (@0e"iion o3 %he oo7&9


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E"i#$e%h I Her "%e yers nd succession

/ro$"ems 3cin E"i#$e%h in %he "%er yers o3 her rein

)erious uprisins ins% Tudor co"oni" ru"e in Ire"nd

c7 o3 direc% heir %o %he Throne

< /r"imen% incresin"y wre o3 i%s own power

In 16' E"i#$e%h died nd ws succeeded $y *mes VI o3 )co%"nd who $ecme *mes I o3

En"nd9 He ws %he son o3 !ry )%ur% nd re% re% rndson o3 Henry VII9

The En"ish crown pssed %o %he )co%%ish dyns%y o3 %he House o3 )%ur% which ru"ed

En"nd %hrouhou% mos% o3 %he 1%h cen%ury9

*mes I (16' 1625&

*mes ru"ed %wo sepr%e coun%ries: En"nd nd )co%"nd9 The ide o3 Kni%ed Gindom,

o3 re% ri%in, hs i%s roo%s in %his period9

The re%es% domes%ic pro$"em o3 *mess rein ws %he incresin power s%ru"e $e%ween

%he +rown nd /r"imen%9 /r"imen% o$Jec%ed %o *mess $e"ie3 in %he divine rih% o3 7ins

nd his demnd o3 comp"e%e su$servience9 The Durre"s revo"ved, mon o%hers, round

%C%ion, *mess eC%rvn% cour% nd re"iion9 0e"iious con3"ic%s re $ehind %he unpowder /"o% o3 16'5 in which +%ho"ic conspir%ors

(mon %hem uy Fw7es& %ried %o $"ow up /r"imen% %o punish %heir perceived oppressors9


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7/43

T>S

)ince +ssius 3irs% did whe% me ins% +esr,

I hve no% s"ep%9

e%ween %he c%in o3 dred3u" %hin


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-e cnno% see %hem direc%"y $u% discern %hem 3rom %heir e33ec%s9

They re de3ined ccordin %o %heir %emper%ure nd humidi%y:

Fire: Ho% nd ;ry


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Session $

'li2a3ethan Societ&

/redominn%"y rur", rrin socie%y9 'O o3 %he popu"%ion "ived on %he "nd nd pursued

coun%ry occup%ions9

!in indus%ry: woo" nd c"o%h= woo" mos% impor%n% ri%ish eCpor%= rudimen%ry co" nd

iron indus%ry=

Throuhou% %he 0enissnce period rdu" chne 3rom 3eud" economies %owrds er"y

cpi%"ism=

ondon: $ies% %own nd cu"%ur" cen%re= popu"%ion row%h pr%icu"r"y no%ice$"e in %he

cpi%" (15': 5'9''', 16'': ''9'''&=

/ro$"ems: periods o3 wr, economic crises ($d hrves%s, e%c9&, p"ue ou%$re7s= pover%y,

crime, vrncy, unemp"oymen%=

'li2a3ethan Societ&

The !onrch N The +our% N The no$i"i%y.hiher ris%ocrcy N The en%ry."ower ris%ocrcy N The

ci%i#ens: merchn%s, "wyers N r%isns, shop7eepers N yeomn 3rmersTHE +!!? /E/E

'li2a3ethan Societ&

Very hierrchic" $u% no% in3"eCi$"e, i9e9 individu"s cou"d move up nd down %he soci"

"dder %hrouh p%rone, in%ermrrie, educ%ion, e%c9

The no$i"i%y nd %he en%ry $o%h hd "nded es%%es nd divided %heir %ime $e%ween %he

coun%ry nd %he cour%9 The en%ry mih% move up in%o %he no$i"i%y whi"e youner sons o3

ris%ocr%s mih% move down in%o %he en%ry9

This hd %o do wi%h %he cus%om o3 primoeni%ure: n es%%e ws "wys pssed on %o %he

e"des% son9 The youner sons (who needed %o ern %heir own money& wen% in%o %he rmy,%he +hurch or mih% $ecome merchn%s9

The ci%i#ens hd %heir homes in ondon nd derived %heir we"%h 3rom %rde or some sor% o3

$usiness r%her %hn 3rom ownin "nd9 They were no% invi%ed %o cour% $u% were concerned

wi%h %he soci" ornis%ions o3 %he +i%y o3 ondon9

The r%isns or cr3%smen were wor7ers in s7i""ed %rde nd were ornised in in3"uen%i"

%rde ui"ds (wevers, %i"ors, crpen%ers, e%c&9

In %he coun%ryside dis%inc% soci" roup were %he yeomn 3rmers: %hey owned %heir own

3rms or even "nd nd, %here3ore, enJoyed privi"eed rih%s9 The mJori%y o3 %he peop"e in

%he coun%ry were, however, %enn%s, wor7in 3or %he en%ry nd %he no$i"i%y9

The common peop"e mde up 5O o3 %he popu"%ion9

The Renaissance famil&

The concep% o3 3mi"y ws $roder %hn %ody: %here were more chi"dren= househo"d servn%s

nd very dis%n% re"%ions were "so %houh% o3 s 3mi"y=

The 3mi"y ws no% Jus% rerded s priv%e uni% $u% s microcosm o3 %he "rer s%%e,

comp"eC ornis%ion wi%h %he hus$nd.ms%er s 7in9

*us% s socie%y s who"e, 3mi"ies were ordered ccordin %o p%rirch" princip"es9 The

hus$nd ws unders%ood %o $e superior %o %he wi3e in every sense9

e"ie3 in %he in3eriori%y o3 women ws derived "re"y 3rom %he $i$"e (enesis= %he

curse o3 Eve&9

Knivers" m"e prnoi $ou% %he possi$i"i%y o3 3em"e in3ide"i%y9 In %he "i%er%ure o3 %he

period we come cross coun%"ess re3erences %o cuc7o"ds.cuc7o"dry nd horn Jo7es $ound9

!en whose wives hd $een un3i%h3u" were sid %o hve $een horned9


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Literac& and 'ducation

re"y i""i%er%e socie%y9 y 166' on"y 2'O o3 %he m"e popu"%ion cou"d sin %heir nmes9

?ever%he"ess durin %he 0enissnce "i%ercy "eve"s rose due %o humnism nd /ro%es%n%ism

(emphsis on %he individu" s%udy o3 %he $i$"e= vi"$i"i%y o3 %he $i$"e in En"ish&

e%%erNo33 3mi"ies cou"d send %heir $oys %o rmmr schoo"s, o3%en run $y humnis%

scho"rs9 Emphsis on %he s%udy o3 %he c"ssics9 < sm"" num$er $oys wou"d $e sen% %o %he universi%ies o3 C3ord nd +m$ride where %he

emphsis ws "so on %he c"ssics9 The mJori%y o3 s%uden%s wou"d o on %o pursue creers in

"w, civi" dminis%r%ion or %he +hurch9 Inns o3 +our% B "w schoo"s

The ;oo? vs. The @anuscrit

/rin%in ws one o3 %he mos% sini3icn% inven%ions o3 %he 0enissnce (*ohnnes

u%en$er&9 In%roduced %o En"nd $y -i""im +C%on (1422N141&9

+oincided wi%h Humnism nd %he 0e3orm%ion, movemen%s wi%h semin" in%eres%s in

prin%in nd pu$"ishin9


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i%erry p%rone ws pr% o3 %his sys%em9


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)ir Thoms !ore (148N155&

Humnis%, ord +hnce""or, !r%yr nd +%ho"ic )in%9

/or%ri% $y Hns Ho"$ein %he ouner,

Gins /in%er %o Henry VIII= one o3

%he re%es% por%ri=s%s o3 %he 16%h cen%ury

orn in ondon, son o3 prominen% "wyer

Educ%ed % C3ord nd %he Inns o3 +our%

0ises rpid"y in pu$"ic o33ice= $ecomes ord +hnce""or in 152


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%opos B Hppy p"ce=

@Hy%h"ody B $$$"er, someone who %"7s nonsense=

Thoms !ore, %in @!orus, pun on moria B 3o""y

toia / Characteristics

The +our%@ cn hve %wo senses:

I% cn deno%e physic" spce, i9e9 p"ce (-hi%e H"", Hmp%on +our%, e%c9&

I% cn re3er %o >cour%@ s n ins%i%u%ion, i9e9 %he Gin nd %he $ody o3 peop"e round %he

Gin cons%i%u%e uniDue soci" con3iur%ion wi%h i%s own comp"eC p%%erns o3 ri%u"s9

The cour% is where %he Gin is9

/rc%ice o3 n i%inern% cour% B Henry VIII hd mu"%ip"e residences nd %he cour%

moved round wi%h him9 This en%oure cou"d num$er hundreds or even %housnds

o3 peop"e9

The Court

Fvouri%ism: some%imes youn no$"emn wou"d occupy %he posi%ion o3 3vouri%e nd

$ecme compnion in %he sovereins priv%e chm$ers9 E99 %he Er" o3 eices%er, %he Er"

o3 EsseC nd )ir -"%er 0"eih were E"i#$e%h Is 3vouri%es9

The hihes% posi%ions % cour% were occupied $y %he ris%ocr%ic no$"es9 e"ow %hem cme

c"ss o3 o3%en eC%reme"y power3u" $ureucr%s who hnd"ed dyN%oNdy 33irs9 +our%

$ureucrcy o33ered creer oppor%uni%ies 3or educ%ed men o3 "ower rn7, e99 Thoms-o"sey, Thoms +romwe""9


14/43

nd E"i#$e%h I %here re numerous eCmp"es o3 3vouri%es nd s%r $ureucr%s who ended

up on %he $"oc7, e99 univers" mn@: he cn 3ih%, wri%e, sin, dnce, pin%, compose

poe%ry nd 3"ir% in %he pproved cour%"y 3shion

/hysic" ccomp"ishmen%s re s impor%n% s in%e""ec%u" ones

)upreme Du"i%y is rce, n %%ri$u%e which renders %he cour%iers speech nd c%ions

persusive, %ouchin nd $eu%i3u"9 < @%echniDue %o chieve rce iss#rezzatura, %he r%

o3 eCce""in % some%hin wi%h ppren% nonch"nce9

Castiglione6s The Courtier IV

;iscussions o3 %he %hird evenin: %he no$"ewomn

)hou"d em$ody 3eminine rces such s %enderness, swee%ness nd p"esin 33$i"i%y9

)hou"d prc%ise con%inence, mnnimi%y, %empernce, 3or%i%ude nd prudence9

i7e men she shou"d s%rive 3or hppy medium in her $ehviour, e99 modes% $u% no%

coy, 3ree $u% no% unseem"y=

)hou"d $e $"e %o converse wi%h men wi%h eDu" 7now"ede o3 "e%%ers, music ndpin%in9 There is, however, disreemen% on how di33eren% %he seCes re nd whe%her

"dies re mens eDu"s9

The Courtiers hilosoh& ):?eop"%onism

The Courtier "so conveys phi"osophic" ides, in pr%icu"r ?eop"%onism which hd hue

in3"uence on 0enissnce %hin7in nd which corresponds %o o%her e"emen%s o3 %he

E"i#$e%hn wor"d pic%ure, e99 ;u"ism9

oes $c7 %o %he


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The Courtiers hilosoh& )):?eop"%onism

0e"%ed ide o3 scen% nd descen%:

The sou" is $orn in %he per3ec% wor"d $u% descends %o %he -or"d o3 ecomin where i% is

imprisoned in %he $ody9 < n%ur" spir%ion 3or mn is %o scend 3rom his presen% s%%e

%o %he wor"d $eyond, his oriin" home9

/"%onic "ove is %his yernin 3or ide" 3orms, e99 %he ide o3 ood or %he ide o3 eu%y

which my $e pprehended in s%%e o3 ecs%sy9The Courtiers hilosoh& ))):?eop"%onism

In %he 0enissnce /"%o ws rediscovered9 His ides were 3used wi%h concep%s derived 3rom


16/43

%ime i% ws ""eed he hd $e%ryed %he Gin on dip"om%ic mission9

Sir Thomas W&att )) !1*+$1*%#"

I% is possi$"e %o drw pr""e"s $e%ween -y%%s eCperience o3 "i3e % cour% nd s dip"om%

nd %he %hemes o3 his poe%ry

)ense o3 me"ncho"i nd disppoin%men%, eCpressin i%se"3 in emo%ions o3 rie3, "oss nd

hur% ;ismy % %he rpciousness nd 3ic7"eness o3 cour% "i3e

ECperience o3 eCi"e nd %ryin %o 3ind ones wy $c7 %o "os% home"nd

Hvin "os% ones $e"oved nd remem$erin nd dremin o3 3e"ici%y nd reDui%ed "ove

ein $e%ryed $y %he @dou$"eness o3 mis%ress or %he ins%$i"i%y o3 3or%une

The sinners 3er %h% he hs $een eCc"uded 3orever 3rom ods mercy

Tension $e%ween c"ri%y nd conce"men%

Sir Thomas W&att ))) !1*+$1*%#"

-y%%s poems re o3 %wo 7inds:

yrics in shor% s%n#s o3 (min"y& 3ourNs%ress "ines wri%%en in n er"ier %rdi%ion o3 son nd3o"7 $""ds con%inued 3rom %he "%er 15%h cen%ury

ECmp"e: >-ho "is% his we"%h nd ese re%in@ (0edin is%&

/ro$$"y wri%%en durin -y%%s imprisonmen% in %he Tower in 156 when he wi%nessed

%he eCecu%ion o3 < oun !n@ $y The "over is

?icho"s Hi""ird, %ormen%ed $y %he

3mous 3"mes o3 his

E"i#$e%hn mis%resss eyes or

mini%ure su33ers 3rom %he

por%ri%is% he""ish inner %ormen%

o3 desire9


17/43


18/43


19/43

The Sheheardes Calender !1*-," )

Is n imi%%ion o3 Viri"sEclo!ues= seDuence o3 12 ps%or" poems, one 3or ech mon%h o3

%he yer9

The poems consis% o3 di"oues $e%ween shepherds nd o%her coun%ry chrc%ers, some o3

whom 3unc%ion s ""eories9

Vei"ed ""usions %o con%emporry re"iious de$%es nd %o Mueen E"i#$e%h9

)penser de"i$er%e"y uses rchic "nue, pr%"y in home %o +hucer, pr%"y %o chieve

rus%ic e33ec%9 Tried %o cre%e n%ive En"ish poe%ic s%y"e nd mere i% wi%h %he c"ssic"

mode o3 %he ps%or"9

The Sheheardes Calender !1*-," ))

ecuse o3 )pensers de"i$er%e use o3 rchic "nue in "" o3 his poe%ic wor7s, his poe%ry

is "wys prin%ed in %he oriin" spe""in nd punc%u%ion9

Throuhou% his wor7 )penser ws 3orm" innov%or nd eCperimen%er9

In The 'he#heardes Calender he uses more %hn 1 di33eren% me%ric" schemes9

For his sonne% cyc"e (.moretti& he deve"oped %he )penserin sonne%

For The 2aerie 3ueene he deve"oped %he )penserin s%n#

The Faerie 4ueene !1*,+"


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These %"es re "so re3erred %o s chiv"ric romnces $ecuse %hey do no% concen%r%e so

much on mi"i%ry heroism $u% on %he ce"e$r%ion o3 n ide"ised code o3 civi"ised $ehviour

%h% com$ines "oy"%y, honour, nd cour%"y "ove9

0llegor&


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The Faerie 4ueene / Formal Features

;ivided in%o $oo7s, cn%os nd s%n#s9

)penserin s%n#

?ine "ines

0hyme scheme: $$$c$cc

!e%re: ines 1N8: im$ic pen%me%er= "ine : im$ic heCme%er

The First ;oo?e of The Faerie 4ueene

0edcrosse Gnih% s%nds 3or ho"iness, )%9 eore (B En"nd, En"ishmen& nd %he %rue

+hris%in 3i%h (B /ro%es%n%ism&9

Kn s%nds 3or Tru%h, Kni%y, neness= "so 3or @%he %rue 3i%h or @%he %rue +hurch, i9e9

/ro%es%n%ism9 Her opposi%e is ;uess, %he 3"se %emp%ress, who s%nds 3or %he @wron 3i%h

(+%ho"icism&9


22/43

o%her u%hors, mos% impor%n%"y Edmund )penser9

Sir 5hili Sidne& !1**%1*E="

In 158' )idney ws dismissed 3rom cour% 3or whi"e 3or opposin %he Mueens proJec%ed

mrrie %o %he +%ho"ic ;u7e o3


23/43

abused5 doth most harm5 bein! ri!htly used 6 doth most !ood(

Sidne&6s surve& of the 'nglish literar& scene

)idney 3inds "i%%"e %o prise eCcep% 3or %he Er" o3 )urreys "yrics, %he mor"i#in %"es o3 .

Mirror for Ma!istrates nd )pensers 'he#heardes Calender9

>Besides these & do not remember to have seen but fe 9to s#eak boldly: #rinted that

have #oetical sines in them(? )idney is especi""y cri%ic" o3 con%emporry drm

For vio"%in %he RTShe sta!e should alays re#resent but one #lace5 and the uttermost time

#resu##osed in it should be5 both by .ristotle/s #rece#t and common reason5 but one

day?(

For @min"in 7ins nd c"owns, i9e9 miCin comedy nd %redy9 )idney spe7s o3 %he

drm%is%s @monre" %ricomedy9

For inc"udin vu"ri%ies9

Astrophil and Stella I ("so spe"%.stro#hel and 'tella: Firs% /e%rrchn sonne% cyc"e in En"ish "i%er%ure consis%in

o3 1'8 sonne%s nd 11 sons= composed in %he er"y 158's= circu"%ed in mnuscrip% mon

co%erie redership= pu$"ished in 151= inuur%ed veri%$"e @sonne% cr#e in %he "%e 16%h

cen%ury=

!os% "i7e"y u%o$iorphic" $c7round is )idneys $rie3 enemen% %o /ene"ope

;evereuC, duh%er o3 %he Er" o3 EsseC9

s%rN"over@ nd )%e"" s >s%r@

Astrophil and Stella II

The sonne%s re connec%ed nd 3o""ow s"ender p"o%:


24/43

+re%ive wri%ers pu% %he +iceronin mode" %o di33eren% uses nd, %oe%her wi%h %he use o3

c"ssic" rhe%oric" devices, cre%ed 7ind o3 @r% prose whose min chrc%eris%ic is

r%i3ice9

The prose romncesEu#hues$y *ohn y"y nd The .rcadia$y )ir /hi"ip )idney m7e use

o3 %his 7ind o3 s%y"e(

Renaissance rose narratives 0enissnce prose nrr%ives cn $e rerded s predecessors o3 %he nove"9 However, %hey

di33er 3rom %he nove" proper in mny wys, 3or ins%nce

+hrc%ers o3%en seem unre"is%ic or pure"y sym$o"ic".""eoric"9

+hrc%ers $ehviour my $e inconsis%en% 3rom one episode %o %he neC%9

Their di"oue my $e impossi$"y orn%e.r%i3ici"9

-e re no% iven ccess %o %he chrc%ers %houh%s nd 3ee"ins9

The chrc%ers inh$i% 3n%s%ic" wor"ds %h% re no% descri$ed consis%en%"y or in ny

re"is%ic de%i"9

There is no 3s%Nmovin, %ih%"y cons%ruc%ed p"o% $u% %he s%ory consis%s o3 "oose"y

connec%ed episodes9

The Renaissance rose romance

EC%reme"y popu"r su$enre o3 %he 0enissnce prose nrr%ive9

In3"uences:

!ediev" chiv"ric romnces such s %he %"es o3 Gin


25/43

The p"o% is secondry %o %he s%y"e which hs $ecome 7nown sEu#huism9 I% is n ornmen%"

nd r%i3ici" prose s%y"e chrc%erised $y


26/43

Session E'nglish Renaissance Drama

Hs %wo roo%s:

+"ssic" n%iDui%y

?%ive drm%ic %rdi%ion

The n%ive drm%ic %rdi%ion

oes $c7 %o %he !idd"e


27/43

(e99 Io, 0ichrd III&

The s%ron"y deve"oped p"o% s%ruc%ure (e99Doctor 2austus&

)nfluence of classical drama

From c"ssic" drm En"ish 0enissnce drm%is%s derived:

< coheren%, "oic""y deve"oped p"o%

The orderin o3 %he drm%ic m%eri" in%o c%s nd scenes

+er%in s%oc7 chrc%ers

+er%in s%oc7 mo%i3s

The sepr%ion o3 %he enres in%o comedy nd %redy

)nfluence of classical comed&

/r%icu"r"y in3"uen%i" were %he comedies $y %he 0omn wri%ers /"u%us nd Terence9 From

%hem %he 0enissnce drm%is%s derived:

)%oc7 mo%i3s

!is%7en iden%i%ies

)ecre% "ove 33irs

)epr%ed 3mi"ies %h% 3ind %oe%her 3%er mny 3rus%r%in eCperiences

The uneCpec%ed reppernce o3 chi"dren $e"ieved "os%

)%oc7 chrc%ers

The $rin so"dier (@mi"es "oriosus&

/rsi%e 3iures (i9e9 "ower c"ss chrc%ers who 3eed on o%hers&

The wi%%y servn% who is superior in his in%e""ience %o his ms%er

The s%u$$orn 3%her who %ries %o oppose %he m%ch o3 his chi"dren nd is ou%wi%%ed $y %he

youner ener%ion

The ir" disuisin herse"3 s mn nd 3o""owin her "over %o %he wrs9

Firs% comedies wri%%en in En"ish:%al#h %oister Doister$y ?icho"s Kd"" (c9 155&=*ammer *urton/s )eedlepro$$"y $y -i""im )%evenson (c9 155&9

)nfluence of classical traged&

/r%icu"r"y in3"uen%i" were %he p"ys $y )enec (c9 4+N65


28/43

chrc%ers9


29/43


30/43

'li2a3ethan 5la&houses: The 'vidence

The p"ys %hemse"ves

+on%emporry descrip%ions o3 %he%ric" "i3e, e99 Thoms ;e77ers *ulls $orn Book (16'& e" documen%s rerdin %he ornis%ion o3 %he %he%re

+on%rc% 3or %he $ui"din o3 %he2ortune Theatre wi%h speci3ic%ions 3or %he

$ui"ders

$ensloes Diary: 3rom 152 %o 16' %he %he%re impresrio /hi"ip Hens"owe

7ep% $oo7 o3 ccoun%s in which he en%ered "" his $usiness %rnsc%ions

The %evels .ccounts: de%i"s o3 %he eCpendi%ure o3 %he +rown on per3ormnces


31/43

)%e proJec%ed in%o %he yrd nd ws surrounded $y %he udience on %hree sides (pron

s%e&9 !7es c"ose in%erc%ion $e%ween udience nd spec%%ors possi$"e9


32/43

The cour% o3%en pssed on discrded dresses %o %he compnies vi %he 0eve"s 33ice9

-hen his%oric" p"ys were per3ormed comp"e%e his%oric" u%hen%ici%y ws no% imed %9

0%her E"i#$e%hn dress ws dp%ed wi%h es%ures %owrds %he ps% or %he 3orein9

Costumes in 'li2a3ethan Drama

n"y survivin con%emporry drwin o3 scene 3rom )h7espere p"y (Titus

.ndronicus:

0ctors and 0cting Comanies


33/43


34/43

In his p"ys !r"owe emp"oyed new 7ind o3 "nue, music", immense"y enere%ic

$"n7 verse un%i" %hen un7nown in En"ish drm9 He com$ined %his wi%h eC%rvn%, o3%en

$om$s%ic imery9

%her p"ys:

Tamburlaine the *reat Part =

Doctor 2austus

The @e of Malta

The Massacre at Paris

Edard &&

!os% o3 !r"owes p"ys were per3ormed % %he 0ose The%re $y %he


35/43

152 s The $istorie of the Damnable Life and Deserved Death of Doctor @ohn 2austus(

I% is un7nown when !r"owe eCc%"y wro%e %he p"y nd when i% ws 3irs% per3ormed9 The

3irs% recordedper3ormnce %oo7 p"ce on ' )ep%em$er 154 % %he 0ose %he%re (


36/43

William Sha?eseare !1*=%1=1="

The ;roeshou% enrvin (Firs% Fo"io 162&

)h7esperes "i3e is % "es% s we"" documen%ed s %hose o3 mos% o3 his con%emporries who

did no% $e"on %o ris%ocr%ic 3mi"ies9

-e 7now more $ou% him %hn $ou% ny o%her drm%is% o3 his %ime eCcep% en *onson9

There is, %here3ore, no reson %o dou$% %h% )h7espere eCis%ed nd %h% i% ws he who wro%e

%he p"ys (>u%horship con%roversy@&9

)h7espere ws $p%ised in Ho"y Trini%y +hurch )%r%3orduponN "os% yers@9

-e do no% 7now when )h7espere Joined %he %he%re 3%er his mrrie, when he moved %o

ondon nd when he $en %o wri%e9

In *reene/s *roatsorth of Wit (152& )h7espere is re3erred %o s

n ups%r% +row, $eu%i3ied wi%h our 3e%hers, %h% wi%h his Ty!ers hart ra#t in a

Players hyde, supposes he is s we"" $"e %o $om$s% ou% $"n7 verse s %he $es%

o3 you: nd $ein n $so"u%e&ohannes fac totum, is in his owne concei% %he on"y )h7eN

scene in coun%rey9William Sha?eseare )))

Er"y in his creer )h7espere ws pro$$"y 3ree"nce p"ywrih%, wor7in 3or more %hn

one compny9 -e 7now %h% he ws "so n c%or, %7in on minor ro"es9 eend hs i% %h%

he p"yed


37/43

en%"emn@= -i""im wou"d inheri% %he %i%"e=

In 15 he $uys one o3 )%r%3ords "res% houses, ?ew /"ce9

William Sha?eseare (

16': %he ord +hm$er"ins !en $ecome %he Gins !en9

16'8: %he Gins !en cDuire %he "ese o3 %he "c73rirs indoor %he%re

16': )h7esperes sonne%s re pu$"ished

From 161' )h7espere wi%hdrws 3rom ondon nd reduces his drm%ic ou%pu%9

161 %he *lobe$urns down durin per3ormnce o3$enry &&&( I% is re$ui"% immedi%e"y

3%erwrds9

;ies on 2 ood@ nd >$d@ Dur%os9

d Dur%os: %he Du"i%y o3 %he %eC% is in3erior %o "%ern%ive versions= o3%en %hey re

pir%ed or unu%horised edi%ions pu% %oe%her 3rom memory $y c%ors or my$e even

spec%%ors

ood Dur%os: prin%ed 3rom u%hen%ic mnuscrip%s9 I% is no% c"er why )h7esperes

compny re"esed re"i$"e %eC%s o3 some p"ys $u% no% o3 o%hers9

*ohn Hemines nd Henry +onde"", c%ors nd shrers in %he Gins !en, pu% %oe%her %he


38/43

Firs% Fo"io nd pu$"ished i% in 1629 +on%ins 6 p"ys, 18 o3 which hd no% $een pu$"ished

$e3ore9 ?o% inc"uded: The To )oble 7insmen ndPericles(

Sha?eseare6s canon: 0 generic aroach

Hppy or romn%ic comedies:

The +omedy o3 Errors

The Two en%"emen o3 Veron The Tmin o3 %he )hrew

oves $ours os%

< !idsummer ?ih%s ;rem

The !erchn% o3 Venice

The !erry -ives o3 -indsor

!uch


39/43

o3%en %oo7 "i$er%ies wi%h his%oric" 3c%s9

Roman istor& 5la&s

Ti%us re%@ %redies=

0omeo nd *u"ie% die due %o eC%ern" circums%nces nd no% due %o %ric 3"w in

%hemse"ves9&

The mJor or re% %redies:

Hm"e% (33ini%y %o %he revene %redy&

%he""o (33ini%y %o %he domes%ic %redy&

!c$e%h

Gin erCharacteristics:


40/43

Sha?eseare6s Sonnets

)onne% cyc"e consis%s o3 154 sonne%s 3o""owin %he En"ish or )h7esperen sonne% 3orm%9

/u$"ished in 16', ppren%"y wi%hou% )h7esperes supervision nd possi$"y wi%hou% his

consen%9 /ro$$"y wri%%en $e%ween 151 nd 16'4 nd circu"%ed mon co%erie

redership9

For cen%uries scho"rs hve pu##"ed over who %he sonne%s re dedic%ed %o nd who %he

ddressees in %he sonne%s re9

The mos% "i7e"y cndid%es 3or %he dedic%ee @!r9 -9H9 re

Henry -rio%hes"y, Er" o3 )ou%hmp%on (dedic%ee o3 enus and .donis nd The %a#e of

Lucrece&

-i""im Her$er%, Er" o3 /em$ro7e (dedic%ee o3 %he Firs% Fo"io&

!ny scho"rs hve ssumed %h%

%he sonne%s mus% hve n u%o$iorphic" $c7round

%he orderin o3 %he sonne%s is menin3u" nd %h% we cn 3ind @s%ory or @s%ories in

%hem9

Reading Sha?eseare6s SonnetsTrdi%ion" redin:

)onne%s 1N1 ce"e$r%e %he $eu%y o3 $e"oved youn mn.m"e 3riend nd ure him %o

mrry nd $ee% chi"dren who wi"" $er his ime (>procre%ion@ sonne%s&

)onne%s 18N126 3ocus on %he youn mn, deve"opin s dominn% mo%i3 %he des%ruc%ive

power o3 %ime, coun%ered on"y $y %he 3orce o3 "ove nd %he permnence o3 poe%ry

(@immor%"i%y %hrouh poe%ry&

)onne%s 12N154 3ocus chie3"y on %he soNc""ed >;r7 dy@ s n ""urin $u% "so

derdin o$Jec% o3 desire9

)ome sonne%s hin% % "ove %rin"e invo"vin

The spe7er, %he m"e 3riend nd %he dr7 "dy The spe7er, %he m"e 3riend nd riv" poe%

)onne%s 15N154 re $ou% %he %he "ove od +upid

/ro$"ems wi%h %he %rdi%ion" redin

-e do no% 7now whe%her %he orderin o3 %he sonne%s ws done $y %he poe% or $y %he prin%er

nd whe%her we re men% %o red menin3u" nrr%ive in%o %he seDuence9

There re compr%ive"y 3ew sonne%s %h% m7e unm$iuous re3erences %o %he youn mn,

%he dr7 "dy nd %he riv" poe%9 Ksu""y %he ddressee is no% iden%i3ied or person"ised (nd

mih% %here3ore $e @he or @she&9

!y$e %he sonne%s re no% %he u%o$iorphic", in%im%e eCpressions o3 )h7espere, %hemn9 /ossi$"y he ws simp"y eCp"orin cer%in ro"es nd si%u%ions Jus% s in his p"ys or he

wro%e %hem %o p"ese pr%icu"r p%ron9

Session 1#

;en onson !1*-#1=$-"

?eC% %o !r"owe nd )h7espere, *onson is %he %hird re% E"i#$e%hn

drm%is%9


41/43

*onson 7new )h7espere nd %hey c%ed in ech o%hers p"ys (i% is 7nown %h% )h7espere

c%ed in *onsons comedyEvery Man in his $umour&

*onson wro%e "on poem in prise o3 )h7espere which ws pre3iCed %o %he Firs% Fo"io:

@To %he !emory o3 !y e"oved, The


42/43

I%s re%es% prc%i%ioner is en *onson (ol#one, The .lchemist&9

I% is usu""y se% in ondon nd 3e%ures vrie%y o3 ondon %ypes whose 3o""ies re

s%iri#ed9

The drm%ic c%ion is prope""ed $y in%riue nd decei%, o3%en s mens o3 cDuirin seC

nd.or money9

This 7ind o3 comedy hs didc%ic im: i% ho"ds up mirror %o socie%y so %h% i% my

reconi#e i%s vices nd 3o""ies nd se% $ou% i%s improvemen%9

;en onson (

In 1616 *onson pu$"ished co""ec%ion o3 some o3 his p"ys which he en%i%"ed Works9

This ws cruci" even% in %he deve"opmen% o3 %he pu$"ic%ion o3 En"ish "i%er%ure in

ener" nd drm in pr%icu"r9 From now on p"ys were reu"r"y co""ec%ed nd

pu$"ished (e99 )h7esperes Firs% Fo"io 162& nd $en %o $e rerded s serious

"i%er%ure9

y %he end o3 his "i3e *onson ws revered 3iure nd hd dedic%ed 3o""owers (@The Tri$e

o3 enB roup o3 poe%s&9 He con%inued %o wri%e p"ys un%i" his de%h in 169

*onson is $es% 7nown 3or his p"ys $u% he "so eCperimen%ed wi%h wide rne o3 poe%icenres9 He wro%e epi%phs nd epirms, "ove nd 3uner" e"eies, verse s%ires, verse "e%%ers,

odes, sons, e%c9

The 0lchemist: Dating the la&

The 3irs% recorded per3ormnce o3 %he p"y %oo7 p"ce in C3ord in )ep%9 161' $y %he Gins

!en9 The compny hd pro$$"y $een preven%ed 3rom premierin %he p"y in ondon due %o

n ou%$re7 o3 %he p"ue9

In "" "i7e"ihood %he p"y ws wri%%en 3or %he "c73rirs p"yhouse9 This ws %he win%er

home o3 %he Gins !en, *onson "ived in %he re nd %here re mny re3erences %o

"c73rirs nd i%s mi"ieu in %he p"y9 The .lchemist is hih"y speci3ic $ou% %he %ime nd p"ce o3 i%s se%%in, $o%h o3 which

coincide wi%h %he circums%nces o3 i%s 3irs% per3ormnces:

Time: "%e u%umn 161'

/"ce: "c73rirs

;rm%ic c%ion is ini%i%ed $y n ou%$re7 o3 %he p"ue

The 0lchemist: TeGt and Sources

TeGtual istor&

The p"y ws 3irs% prin%ed in Dur%oN3orm% in 1612 nd %hen inc"uded in %he 3o"io edi%ion

o3 *onsons Works in 16169 *onson supervised %he pu$"ic%ion o3 $o%h edi%ions9

Sources

There is no speci3ic sin"e source 3or The .lchemist$u% i% is in3ormed on every "eve"

$y *onsons eC%ensive redin o3 c"ssic" "i%er%ure (e99 s%iric" wri%in $y Horce,

*uven" nd o%hers= comedies $y /"u%us nd Terence& $u% "so o3 con%emporry re"iious

or occu"% wri%ins which he ho"ds up %o scorn in his p"y9

Structure and Develoment of 0ction

The p"y s%ic7s %o %he


43/43

incresin chos, how %hey %ry %o 7eep %he u""s pr% nd how %hey dp% %o %he cons%n%"y

chnin si%u%ions9

-e cons%n%"y eCpec% %he %ric7s%ers scheme %o 3"" pr% $u% %his is pos%poned un%i" %he re%urn

o3 ovewi%9

0lchem&

In %he 0enissnce %here ws no di33eren%i%ion $e%ween "chemy nd chemis%ry9 o%h werededic%ed %o %he produc%ion o3 phrmceu%ic" medicines nd %he scien%i3ic s%udy o3 e"emen%s

nd %heir compounds9 The u"%im%e im o3 "chemy, however, ws %he cre%ion o3 %he

phi"osophers s%one which wou"d %urn $se me%" in%o si"ver nd o"d nd provide

univers" pnce9

In %he p"y "chemy is scm, con3idence %ric7 emp"oyed $y Fce, )u$%"e nd ;o" in order

%o che% %heir c"ien%s o3 %heir money nd possessions9 They do no% need "$or%ory or %o

do eCperimen%s= %he con3iden% use o3 "chemic" Jron nd n in%ui%ive unders%ndin o3

%heir c"ien%s desires is enouh9

schnauder- survey of literature 1 slides (duro rosics in konflikt stehende kopie 2013-08-29)

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