Journal articles: 'English poetry Early modern'

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Heale, Elizabeth, Patrick Cheney, Andrew Hadfield, and Garrett A. Sullivan,. "Early Modern English Poetry. A Critical Companion." Modern Language Review 103, no. 2 (April 1, 2008): 510. http://dx.doi.org/10.2307/20467804.

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Shell, Alison, Patrick Cheney, Andrew Hadfield, and Garrett A. Sullivan. "Early Modern English Poetry: A Critical Companion." Sixteenth Century Journal 39, no. 4 (December 1, 2008): 1195. http://dx.doi.org/10.2307/20479196.

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Abdel-Daem, Mohamed Kamel. "Postcolonial Elements in Early English Poetry." Khazar Journal of Humanities and Social Sciences 17, no. 1 (April 2014): 25–41. http://dx.doi.org/10.5782/2223-2621.2014.17.1.25.

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In this article, the writer highlights certain elements in Anglo-Saxon and Anglo-Norman verse, that can unsurprisingly be a precursor of postcolonial writing. These marks are: heroic spirit, religious devotion, chivalric pride and elegiac vein. All these topics were nothing but aids to the early English poets' attempt to coin a unified English identity. This study manifestly assumes that nineteenth and twentieth century, imperial England had once been a colonized nation that produced postcolonial culture and literature. This article proposes that postcolonialism is not restricted just to modern times; postcolonial literature often emerged where conflicts occurred. The study also hints at the impact of postcolonial elements( race, religion, language) on English poetry.

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Swann, Marjorie. "The Politics of Fairylore in Early Modern English Literature*." Renaissance Quarterly 53, no. 2 (2000): 449–73. http://dx.doi.org/10.2307/2901875.

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This essay argues that Stuart fairy poetry, rooted in Shakespeare's innovative representation of tiny, consumeristic fairies, attempts to indigenize new forms of elite material display. Rather than the fairies of popular tradition or courtly mythography, Stuart poets depict miniaturized Mabs and Oberons who are notable for their wardrobes, banquets, coaches, and the decor of their palaces. The fairy poetry of William Browne, Michael Drayton, and Robert Herrick must be interpreted not as playful escapism, but as a self-consciously politicized literary mode which reveals these writers’ deep ambivalence toward elite culture — and toward their own artistic role within that culture.

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Percec, Dana. "Gender and Irony in The Early Modern English Romance." Romanian Journal of English Studies 9, no. 1 (December 1, 2012): 303–20. http://dx.doi.org/10.2478/v10319-012-0028-5.

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Abstract The paper discusses the ironic manner in which gender relations are often tackled in the early modern English romance, from Shakespeare’s comedies to Sidney’s pastorals or Lady Mary Wroth’s poetry. Strong female characters, effeminate males and the subversive, often ambiguous, manner in which the theme of love is approached in 16th- and 17th - century English literature are some of the aspects to be discussed.

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Besserman, Lawrence, and Charlotte Clutterbuck. "Encounters with God in Medieval and Early Modern English Poetry." Sixteenth Century Journal 38, no. 2 (July 1, 2007): 459. http://dx.doi.org/10.2307/20478376.

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Murphy, Patrick Joseph. "Old English Enigmatic Poems and Their Reception in Early Scholarship and Supernatural Fiction." Humanities 11, no. 2 (February 28, 2022): 34. http://dx.doi.org/10.3390/h11020034.

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The scholarly reception history of the Old English riddles and adjacent “enigmatic poems” of the Exeter Book reveals a long process of creating intelligibility and order out of a complicated and obscure manuscript context. Understanding this history of reception allows us to see the influence of Old English poetry on modern creative medievalism, including the unexpected influence of medieval “enigmatic” poetry on the modern genre of supernatural fiction. Specifically, it is argued that the scholarly reception of folios 122v–123v of the Exeter Anthology was instrumental in inspiring one of the acknowledged classic ghost stories of the twentieth century, M.R. James’s “Oh, Whistle, and I’ll Come to You, My Lad”.

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Simpson, James. "Unwritten Virtues, Selves, and Texts: Early Modern Self-Erasure." Journal of Medieval and Early Modern Studies 52, no. 3 (September 1, 2022): 415–43. http://dx.doi.org/10.1215/10829636-9966065.

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The tradition that became liberalism, which claims to have promoted meritocracy and individual agency, was, in both evangelical origin and in a one-hundred-fifty-year tradition thereafter, unremittingly hostile to the claims of human merit and agency upon God. This hostility is considered from three discursive angles: legislation, poetry, and pastoralia. Between at least 1571 and 1660 the English state legislated against confidence in the salutary value of humanly produced virtue. Early modern elegiac poetry evinces the attempted dissolution of evangelical selfhood and the inevitable twin of that desired dissolution: the unraveling of discursive confidence that must accompany, and perhaps produces, the desire for self-dissolution. Elegiac writing unwrites itself. The article then looks behind the literature to the pastoral incitation to crush both selfhood and the self's habitual, agential understandings of language.

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BURKE, PETER. "The hybridization of languages in early modern Europe." European Review 14, no. 1 (January 3, 2006): 105–10. http://dx.doi.org/10.1017/s1062798706000093.

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This article argues that European vernaculars were in closer contact with one another and with languages spoken outside Europe in the 16th and 17th centuries than they had been in the Middle Ages, when Latin dominated written communication. Increased contact led to borrowing, mixing and hybridization, some of it highly self-conscious (as in the case of ‘macaronic’ poetry and drama). Mixing in turn led to a ‘purist’ reaction, first in the case of Latin and then in the case of vernaculars such as Italian, French, German, Dutch and even – to a lesser extent – English.

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Quinn, William A. "Book Review: Encounters with God in Medieval and Early Modern English Poetry." Christianity & Literature 56, no. 3 (June 2007): 505–8. http://dx.doi.org/10.1177/014833310705600315.

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Mehl, Scott. "Early Twentieth-Century Terms for New Verse Forms (‘free verse’ and others) in Japanese and Arabic." Studia Metrica et Poetica 2, no. 1 (July 7, 2015): 81–106. http://dx.doi.org/10.12697/smp.2015.2.1.04.

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In the first half of the twentieth century, when Japanese and Arabic poets began writing free-verse poetry, many terms were proposed as labels for the new form. In addition to the calques on “free verse,” neologisms were created to name the new poetry. What is striking is that, in these two quite different literary spheres, a number of the proposed neologisms were the same: for example, in both Japanese and Arabic the terms prose poetry, modern poetry, and colloquial poetry were proposed (among others) as alternatives to the label free poetry. This essay provides an annotated list of the neologisms in Japanese and Arabic, with a list of English terms for comparison; and by referring to the contemporary Japanese and Arabic criticism on the topic of poetic innovation, this essay attempts to explain the similarity between the Japanese and Arabic neologisms. In short, the Japanese and Arabophone arguments in favour of adapting the free-verse form were based on similar premises regarding modernity, freedom, and a vision of literary history that was rooted in an evolutionary theory of genre development.

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Goodrich, Jaime. "‘Low & plain stile’: poetry and piety in English Benedictine convents, 1600–1800." British Catholic History 34, no. 04 (October 2019): 599–618. http://dx.doi.org/10.1017/bch.2019.27.

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This article examines the functional nature of English Benedictine poetry in order to understand the bespoke literary systems that flourished within convent settings. Even as form has emerged as a primary concern within scholarship on early modern women writers, so too are literary critics starting to show interest in the early modern convent as a site of literary production. Uniting these two scholarly strands, this article explores the formal implications of texts written by and for the six English Benedictine convents founded on the Continent during the early modern period. This analysis of seventeenth- and eighteenth-century Benedictine poetics reveals that English cloisters on the Continent actively cultivated alternative approaches to textual production, developing monastic modes at odds with the secular literary system of the time. Poetry provides an ideal case study for this discussion of convent style due to its relatively high status among literary forms. By considering Benedictine theories of speech as well as the formal qualities of the verse that nuns read and wrote, this essay will outline how the English Benedictine convents on the Continent developed a distinctive literary system that rejected secular modes in favour of a poetics aligned with monastic humility.

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Schendl, Herbert. "Code-switching in early English literature." Language and Literature: International Journal of Stylistics 24, no. 3 (August 2015): 233–48. http://dx.doi.org/10.1177/0963947015585245.

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Code-switching has been a frequent feature of literary texts from the beginning of English literary tradition to the present time. The medieval period, in particular, with its complex multilingual situation, has provided a fruitful background for multilingual texts, and will be the focus of the present article. After looking at the linguistic background of the period and some specifics of medieval literature and of historical code-switching, the article discusses the main functions of code-switching in medieval poetry and drama, especially in regard to the different but changing status of the three main languages of literacy: Latin, French and English. This functional-pragmatic approach is complemented by a section on syntactic aspects of medieval literary code-switching, which also contains a brief comparison with modern spoken code-switching and shows some important similarities and differences between the two sets of data.

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Brennan, M. G. "JASON SCOTT-WARREN, Early Modern English Literature. * PATRICK CHENEY, ANDREW HADFIELD, and GARRETT A. SULLIVAN, JR., Early Modern English Poetry: A Critical Companion." Notes and Queries 56, no. 1 (February 5, 2009): 149–51. http://dx.doi.org/10.1093/notesj/gjn278.

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Vincent, Robert Hudson. "Baroco: The Logic of English Baroque Poetics." Modern Language Quarterly 80, no. 3 (September 1, 2019): 233–59. http://dx.doi.org/10.1215/00267929-7569598.

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Abstract As many scholars, including the editors of the Oxford English Dictionary, continue to cite false etymologies of the baroque, this article returns to a Scholastic syllogism called baroco to demonstrate the relevance of medieval logic to the history of aesthetics. The syllogism is connected to early modern art forms that Enlightenment critics considered excessively complicated or absurdly confusing. Focusing on the emergence of baroque logic in Neo-Latin rhetoric and English poetics, this article traces the development of increasingly outlandish rhetorical practices of copia during the sixteenth century that led to similarly far-fetched poetic practices during the seventeenth century. John Stockwood’s Progymnasma scholasticum (1597) is read alongside Richard Crashaw’s Epigrammatum sacrorum liber (1634) and Steps to the Temple (1646) to reveal the effects of Erasmian rhetorical exercises on English educational practices and the production of English baroque poetry. In the end, the article demonstrates the conceptual unity of the baroque by showing the consistency between critiques of baroco, critiques of English metaphysical poetry, and critiques of baroque art during the Enlightenment.

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Kiss, Attila. "Demetaphorization, Anatomy, and the Semiotics of the Reformation in Early Modern Revenge Tragedy." Studia Anglica Posnaniensia 53, no. 1 (March 1, 2018): 177–201. http://dx.doi.org/10.2478/stap-2018-0008.

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Abstract Reformation theology induced a profound thanatological crisis in the semiotics of the human being and the body. The Protestant Reformation discontinued numerous practices of intercession and communal ritual, and the early modern subject was left vulnerable in the face of death. The English Renaissance stage played out these anxieties within the larger context of the epistemological uncertainties of the age, employing violence and the anatomization of the body as representational techniques. While theories of language and tragic poetry oscillated between different ideas of imitatio (granting priority to the model) and mimesis (with preference for the creative and individual nature of the copy), the new anatomical interest and dissective perspectives also had their effects on the rhetorical practices of revenge tragedies. In the most shocking moments of these plays, rhetorical tropes suddenly turn into grisly reality, and figures of speech become demetaphorized, literalized. In a double anatomy of body and mind, English Renaissance revenge tragedy simultaneously employs and questions the emblematic and poetic traditions of representation, and the ensuing indeterminacy and ambiguity open paths for a new mimesis.

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Polovinkina, O. "ENGLISH MODERNISM AND AMERICAN ‘TOURISTS’." Voprosy literatury, no. 1 (September 30, 2018): 209–24. http://dx.doi.org/10.31425/0042-8795-2018-1-209-224.

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In recent years, modernist studies have tended to nationalize issues, putting forward specific features of American and British modernist writings. This article treats Anglo-American modernism in terms of ‘the inverted conquest’ (A. Mejias-Lopez) with America ‘wrestling cultural authority from its former European metropolis’. The article starts with the subject of periphery and centre changing places, first in the imagination of American writers and then in reality. In F. M. Ford’s novelThe Good Soldierthe situation is seen as if the American would absorb the English. An American John Dowell outmatches and ultimately disparages ‘the good soldier’ and a superior Briton Ashburnham. The novel is analyzed as a result of pushing together two ways of writing - English and American (Jamesonian). Louis MacNeice treats the ‘Americanization of poetry’ inModern Poetry: A Personal Essay(1938). InAspects of Modern Poetry(1934) Edith Sitwell affirms the triumph of T. S. Eliot’s early poetry over ‘the bareness of the line’ in Housman’sA Shropshire Lad, famous for its poetical Englishness. A sort of latent urge to reaffirm Englishness against advancing Americanism is obvious in Virginia Woolf’s essays on American writers.

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Milward, Peter. "Encounters with God in Medieval and Early Modern English Poetry. By Charlotte Clutterbuck." Heythrop Journal 51, no. 1 (January 2010): 103–4. http://dx.doi.org/10.1111/j.1468-2265.2009.00533_6.x.

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Radulescu, Raluca. "Encounters with God in Medieval and Early Modern English Poetry - by Charlotte Clutterbuck." Renaissance Studies 21, no. 5 (November 2007): 740–42. http://dx.doi.org/10.1111/j.1477-4658.2007.00438.x.

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Bourke, Evan. "Networking early modern Irish women." Irish Historical Studies 46, no. 170 (November 2022): 270–85. http://dx.doi.org/10.1017/ihs.2022.44.

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AbstractOver the last decade, network analysis has developed as an approach within digital humanities as a wider array of tools has become available to humanities scholars, and these approaches are now beginning to make an impact on the disciplines of history and English. This article presents an overview of different ways of approaching network analysis. It assesses recent projects to see how they accounted for gender in their datasets and what can be learnt about early modern women from these projects. It then looks at how projects in Ireland are engaging with network analysis, discussing the approaches used by RECIRC and introducing MACMORRIS's analysis of the Dictionary of Irish biography (D.I.B.) and the Bardic Poetry Database (B.P.D.), looking at how the latter is attempting to overcome the unconscious gender bias inherent in the D.I.B.'s selection of early modern lives from the period between 1541 and 1660. Finally, it points to some of the wider issues we as scholars face when engaging with this methodology, such as access to the required training and collaboration, arguing that while these are not unique challenges to the study of gender history in Ireland, they are important debates that can enhance scholarship in the field.

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Pose-Fernández, Coralia. "The universalization of the poetry of George Seferis: the significance of English translations." Byzantine and Modern Greek Studies 41, no. 1 (March 16, 2017): 138–54. http://dx.doi.org/10.1017/byz.2016.33.

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The English socio-cultural context was crucial to the dissemination of the work of George Seferis in Europe. Early translations appeared in both French and English, but it was the English versions that propelled Seferis toward international recognition and the Nobel Prize, and gave rise to translations into more peripheral literatures such as Spanish. The wide social circle Seferis enjoyed in the English-speaking world was a key factor in his early success in the United Kingdom. Other determinants were British intellectuals’ empathy for the Greeks during the Colonels’ dictatorship and their liking for modern poetry similar to that of T. S. Eliot.

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Gładkowska, Dorota. "The Communicative Function of Performative Ekphrasis, the Anagram Riddle and Proverbial Sayings in John Donne’s Poetic Diptych." Papers in Literature, `10 (July 30, 2022): 137–52. http://dx.doi.org/10.31648/pl.7860.

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This essay takes a communication-oriented approach to selected early modern English poetry. It presents a textual analysis of John Donne’s elegy The Anagram, related to the earlier observations concerning his elegy The Comparison, and reveals its multi-generic patterns as well as certain thematic and structural relations between these poems. It thus argues, on textually substantiated grounds, that these elegies may be regarded as a poetic diptych which utilizes features and functions of various forms of communication, associated with literature, visual arts, popular entertainment and folk wisdom. The argument continued in this essay is that Donne draws on the 15/16th-century experimental artistic trend recognized in the particular paintings attributed to B. Passarotti and Q. Massys and appears to superimpose text onto the earlier provided images. The comparative analysis of Donne’s elegies suggests he brings together different reference objects and his poetic message presupposes the addressee’s interaction: certain cognitive and creative processes. By presenting Donne’s ekphrasis as evolving from descriptive to performative, this essay indicates the need to further investigate early modern poetry, by means of interdisciplinary tools, for its references to other arts and, more generally, for its communicative potential.

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Karmakar, Goutam. "A Theological Study of Nissim Ezekiel’s Religious Outlook." Asian Journal of Humanity, Art and Literature 2, no. 2 (December 31, 2015): 71–76. http://dx.doi.org/10.18034/ajhal.v2i2.296.

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As the centuries passed by, the galaxy of Indian English Poetry become increasingly crowded. But the scenario was not like this during the early years. It is because only a few stars shine there, and Nissim Ezekiel is the pole star. His poetry contains so many aspects, themes, motives and symbols that sharpen and shape his poetic world. His poetry often shows irony, emotion, love, man-woman relationship, self- consciousness, a sense of discipline and self – criticism. He shows his concern for both modern and urban art and culture with the touch of Indian ethos and local colour. But as an Indian poet, he shows his thinking about God and religion in a vivid way. He also shows his changing view towards God and Indian theology in his poems. In this paper, I have tried to show Ezekiel’s religious outlook and aspects through some of his verses.

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Koroleva, Svetlana Borisovna, Marina Ivanovna Nikola, Elena Nikolaevna Chernozemova, and Ekaterina Dmitrievna Kolesnikova. "Revolution as herald of new bliss in early English romantic poetry." SHS Web of Conferences 122 (2021): 05001. http://dx.doi.org/10.1051/shsconf/202112205001.

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The idea that the Great French Revolution for the age of early English Romanticism is a signal for mankind to transition into a new era, into a new apocalyptic time of the end of human history, is considered established in modern literary studies. At the same time, such issues remain underdeveloped as the relationship between the images of the Golden Age, paradise regained, and New Jerusalem in the poetry of Elder English Romantic poets and the interpretation of modernity in its connection with the past in the context of a biblical myth. The search for answers to these two questions is the goal of this research. The study is conducted within the framework of comparative literary studies with elements of comparative cultural studies. The significant results include the ideas that the human history during the early poetry by Elder English Romantic poets is depicted as mankind’s transition from blissful primordial harmony of the unity of the person-in-love with nature and another person to the oppressed-divided internal (spiritual) and external (social and political) state and, finally, to the new external (free) and internal (spiritually harmonious) bliss. In this new image of human history, the biblical myth of the Last Judgment and the New Jerusalem is superimposed on the idea of the return of the Golden Age and, simultaneously, paradise lost, and is interpreted through enlightenment ideas and romantic philosophy and aesthetics. The Great French Revolution seems to be the precursor of not only the common longing for the new bliss but also the transformation of human nature on the way to returning to the righteous state of sacrificial love.

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Laxmiprasad, P. V. "The Poetry of T.VASUDEVA REDDY: A Critique on Bucolic Representation." American Research Journal of English and Literature 7, no. 1 (May 28, 2021): 1–8. http://dx.doi.org/10.21694/2378-9026.21008.

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ndian English Poetry is replete with both ancient and modern elements. Pre-independent and post-independent India marked two different phases in poetry. Poets predominantly dealt with conventional themes in the past. But, one distinguishing feature of Post –independent poetry has been to portray a diversified representation of multiple themes. A careful analysis of thoughts, feelings, and psyche of the poets not only genuinely but eloquently reveals urban ‘cynicism and anguish’ and reveals ‘hope and anticipation’ quite aptly. Poets differed according to the age in which they had lived but ultimately, their poetry became a subject matter of anguish and agony. There have been obvious expressions of urban life in the beginnings but as the poets emerged in the early twentieth century, rural side of the life figured prominently in their writings. PCK Prem observes, “Poetry depicting rural background and the inner world of man is also conscious of the collapse of human bonds and aspirations even as sufferings, struggles, and failures dishearten but carry elements of hope, and thus, infuse a spirit to live life persuasively”. (2006: 21) Poetry is not only a study of thoughts or emotions but it also involves reading of a huge poetic landscape, literary yield, political thought process and its evolution, and the social and economic environment. From 1920, after taking into consideration various social and historical facts, one assumes that contemporary Indian English Poetry begins its ambitious journey --- in rising cities and other rural areas, developing towns of various regions to be more specific Indian English Poetry begins its journey. One such element is the delineation of bucolic elements in poetry. India is predominantly a rural country side with 60% of population living in villages. The countryside is a geographic area located outside the cities and towns. Indian villages have low population density and small settlements. The poetry of T.V. Reddy is rooted in bucolic elements. In fact, all his poetry collections carry the hallmarks of rural life, pastoral panorama and idyllic nature. They beautify his poetry against rural background. Rural life in India forms the very basis of economy and essential living conditions. In fact, it is the backbone of development in diversity. Life in cities is always different from life in rural areas.

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Roberts-Smith, Jennifer. "Thomas Campion’s iambic and quantitative Sapphic: Further evidence for phonological weight in Elizabethan English quantitative and non-quantitative meters." Language and Literature: International Journal of Stylistics 21, no. 4 (November 2012): 381–401. http://dx.doi.org/10.1177/0963947012444952.

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Fulfilling a central goal of a generation of Elizabethan English metrical theory often referred to as the ‘quantitative movement’, Thomas Campion succeeded in demonstrating the role of syllable quantity, or phonological weight, in Elizabethan iambic pentameter. Following Kristin Hanson (2001, 2006), this article parses Campion’s scansions of Early Modern English syllables, according to moraic theory, into resolved moraic trochees. The analysis demonstrates that (1) Campion distinguished between syllable weight (syllable quantity) and stress or strength (accent) in Early Modern English; (2) Campion prohibited syllabic consonants in English iambic pentameter, despite the fact that they were attested in Early Modern English as a whole; (3) in a successful adaptation of the Latin rule of ‘position’, as described by William Lily and John Colet’s Short Introduction of Grammar (1567), Campion re-syllabified coda consonants followed by vowels; and (4) Campion employed syllabic elision as a means of avoiding pyrrhic syllable combinations that resulted in non-maximal filling of long positions in a line of English iambic pentameter. His two iambic pentameters – the ‘pure’ and the ‘licentiate’ – are both accentual and quantitative meters that, in accordance with moraic theory, integrate stress and strength with syllable weight. He contrasted stress and weight in the quantitative Sapphic lyric ‘Come let us sound with melodie’ (Campion, 1601). Hanson’s (2001, 2006) reconsideration of the role of syllable quantity in Elizabethan metrical theory and Elizabethan poetry should be continued.

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GETTY, MICHAEL. "Differences in the metrical behavior of Old English finite verbs: evidence for grammaticalization." English Language and Linguistics 4, no. 1 (May 2000): 37–67. http://dx.doi.org/10.1017/s1360674300000137.

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This paper deals with the metrical behavior of a class of verbs in Old English whose descendants became the syntactically distinct auxiliaries of the modern period (have, be, may, will, shall, and associated forms). Contrasting two poems from the Old English period (Beowulf and The Battle of Maldon), I show that while the verbs in question show consistently stressed metrical placement in Beowulf, in Maldon they show a pronounced tendency to be placed in unstressed metrical positions, while verbs outside the eventual class of auxiliaries differ indiscriminately. In this way, the poetry suggests a phonological difference between pre-auxiliaries and other verbs perhaps centuries before corresponding morphological and syntactic differences fully emerged in the Middle and early Modern English periods.

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Heale, Elizabeth. "Early Modern English Poetry. A Critical Companion by Patrick Cheney, Andrew Hadfield, Garrett A. Sullivan, Jr." Modern Language Review 103, no. 2 (2008): 510–11. http://dx.doi.org/10.1353/mlr.2008.0022.

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Gładkowska, Dorota. "Communication-Oriented Approach to Media and Genre Blending in a Sample of Early Modern English Poetry." Prace Językoznawcze 24, no. 3 (September 30, 2022): 205–21. http://dx.doi.org/10.31648/pj.7903.

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The article uses an interdisciplinary approach to selected early modern poems of JohnDonne and aims to delineate the research area which still awaits systematic exploration.The textual analysis of his elegy: The Comparison, operating within the communicationorientedtheory of genre blending, leads to the detection of its multigeneric and dialogicpatterns. It reveals the intricate manner in which features and functions of various literaryand non-literary forms are intertwined and harmonized in one poem. It is also arguedthat Donne’s elegy derives its imagery from an experimental trend toward caricatures(grotesquery) followed by the 15th/16th-century portraitists and genre painters. The general conclusion is that Donne utilizes various, then available, communication channelsto ensure intermediality of his message and that his concept presupposes certain cognitiveand creative processes on the addressee’s side.

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Archer, Harriet. "‘The earth … shall eat us all’: Exemplary History, Post-Humanism, and the Legend of King Ferrex in Elizabethan Poetry and Drama." English: Journal of the English Association 68, no. 261 (2019): 162–83. http://dx.doi.org/10.1093/english/efz024.

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Abstract The legend of King Ferrex was employed by Thomas Norton and Thomas Sackville in their succession play, Gorboduc (first performed 1561), and by John Higgins in his Mirror for Magistrates (1574; 1587), to reflect on contemporary politics and offer topical warnings to Elizabeth I and her subjects based on legendary British history. However, as well as including a section specifically focused on environmental exploitation, Higgins imbues the earth with a destructive animism in his poem which stands apart as an anomaly in his collection of verse complaints and amongst wider treatments of the story. Higgins’s emphasis on the arbitrary amoral and areligious destruction of all by the agency of the earth and other non-human actors challenges the Mirror’s educative model, and renders the Gorboduc legend inert. Looking at various versions of the narrative in Gorboduc, Higgins’s Mirror, and William Warner’s Albion’s England (1586), and analogous uses of environmental discourse in other contemporary poetic and dramatic texts by Shakespeare, Spenser, and Marlowe, this article considers the role of the nonhuman, and specifically the earth itself, in early modern imaginative historiography and political commentary. In particular, it suggests that there are fruitful connections to be made between modern posthumanist theoretical approaches, and the post-humanism of Higgins’s approach to exemplary history, whereby his admonitory text appears to abandon its premise of human primacy and perfectability in response to the perceived failure of Elizabethan advice literature to effect political change.

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Montori, Irene. "Representing Creation, Experiencing the Sublime: The Longinian Tradition in Tasso and Milton." Sederi, no. 30 (2020): 69–89. http://dx.doi.org/10.34136/sederi.2020.4.

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This essay aims to demonstrate how Tasso and Milton were conscious of the Longinian tradition and aware of fashioning a poetry of the sublime when rewriting the story of creation. The author of Il mondo creato incorporates the Longinian model of sublime ekstasis into his concept of meraviglia to construct his own poetics of artistic creation. Despite Milton’s indebtedness to Tasso, in Paradise Lost the English poet distances himself from a full commitment to Longinian ekstasis and locates the sublime in a more dialogical, if not dialectical, compositional model of poetic creation. From a broader perspective, this paper aims to illustrate the centrality of the sublime in fashioning early modern literary poetics.

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Trudell, Scott A. "Shakespeare's Notation: Writing Sound in Much Ado about Nothing." PMLA/Publications of the Modern Language Association of America 135, no. 2 (March 2020): 370–77. http://dx.doi.org/10.1632/pmla.2020.135.2.370.

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In Act 5 of Much Ado About Nothing, Shakespeare Dramatizes Two Consecutive Episodes in Which Writing Poetry is Mixed suggestively with singing, recalling, or imitating music. The first comes when Benedick sings or speaks several lines from the popular ballad “The God of Love.” The second is Claudio's musical rite of contrition for slandering Hero and (he believes) causing her death. In both cases, poetry is produced through writing practices that are interwoven with song. Indeed, Shakespeare yokes literacy and aurality together in the same keyword, noting, which referred both to writing and to musical notes, and which (as scholars have long observed) is how nothing was pronounced in early modern English. Benedick seeks poetic inspiration from the notes of balladry, then bemoans his inability to versify in rhyme. Claudio not only sees that his epitaph is notated, read aloud, and hung on the tomb; he calls for a corresponding hymn to be sung. Taken together, the scenes attune us to forms of poetic making that are irreducible to writing or language—those overdetermined categories in literary studies that have enabled our neglect of the role that nonverbal sound has played in poetic composition.

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Cano-Echevarría, Berta. "Puttenham’s failed design." Cahiers Élisabéthains: A Journal of English Renaissance Studies 94, no. 1 (August 2, 2017): 57–73. http://dx.doi.org/10.1177/0184767817722368.

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Despite the popularity of Renaissance pattern poetry, this verse form was neglected in the English poetical tradition. I suggest that this lack of recognition may be explored by looking into its presentation as an oriental import, which chose to ignore its relationship with classical Greek models. The inspiration for George Puttenham’s shift of attribution from the West to the East in his Arte of English Poesie can be explained by the early modern fascination with travel writing and by Puttenham’s knowledge of the work of a fellow literary theorist, Richard Willes, and his novel poetical compositions.

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Clarke, E. "PATRICK CHENEY, ANDREW HADFIELD and GARRETT A. SULLIVAN JR (edd.). Early Modern English Poetry: A Critical Companion." Review of English Studies 58, no. 236 (July 16, 2007): 569–71. http://dx.doi.org/10.1093/res/hgm069.

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Munkhoff, Richelle, and Pamela S. Hammons. "Poetic Resistance: English Women Writers and the Early Modern Lyric." Sixteenth Century Journal 35, no. 2 (July 1, 2004): 509. http://dx.doi.org/10.2307/20476952.

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Sperry, Eileen. "Kissing, By The Book The Poetry of Kissing in Early Modern Europe: From the Catullan Revival to Secundus, Shakespeare and the English Cavaliers. By Alex Wong." English: Journal of the English Association 67, no. 257 (2018): 190–93. http://dx.doi.org/10.1093/english/efy030.

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Serdechnaia, Vera. "Blake's Russian literary heir: Based on unpublished poems by Boris Anrep." Literary Fact, no. 15 (2020): 352–65. http://dx.doi.org/10.22455/2541-8297-2020-15-352-365.

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The article deals with unpublished poems by Russian poet and artist Boris Anrep, which are studied in the context of developing the traditions of English romantic epical poems. The research of these poems as evidence of creative dialogue between Anrep and the prophetic poetry of William Blake is proposed. The research considers the epics “Vladimir”, “Creation of the world” and “Creation of man” written by Anrep in the 1900s, before he emigrated from Russia, and are kept in the archive of N. Nedobrovo (Personal collection of the Manuscript Department of the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences). The methods of comparative literature studies and those of analysis, synthesis and generalization are used. The idea is substantiated that Anrep, already in his early poetic work, inherits in many respects the poetics and themes of William Blake's prophetic books, which he knew in childhood. The author identifies the commonality in the figurative system of poems Anrep and Blake: the characters are elements, giants, generalized natural phenomena. The gravitation of Anrep to a combination of physiology and philosophy, synthesis of author's inference and mimetic descriptions also testifies to influence of romantic lyre-epics. It is concluded that the early poems of Boris Anrep, as well as his later works (“The Man”, “Fiza”, “Foreword To The Book Of Anrep”), are in many ways an attempt to embody in Russian the principles of English romantic poetry, primarily the prophecies of William Blake. The reception of these poems in the work of the artist Dmitry Stelletsky has been studied. It has been proved that such an example of the reception of English romanticism in general is typical for the culture of the Silver Age, which rediscovered European early romanticism (Poe, Novalis, Hölderlin) and felt it as modern art.

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Fikkers, Lotte. "The Poetry of Kissing in Early Modern Europe: From the Catullan Revival to Secundus, Shakespeare and the English Cavaliers." English Studies 99, no. 8 (October 18, 2018): 993–95. http://dx.doi.org/10.1080/0013838x.2018.1519210.

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Denbo, Michael. "Pocket Maps and Public Poetry in the English Renaissance: Early Modern Literary Geographies. Katarzyna Lecky. Early Modern Literary Geographies. Oxford: Oxford University Press, 2019. x + 278 pp. $85." Renaissance Quarterly 74, no. 1 (2021): 360–61. http://dx.doi.org/10.1017/rqx.2020.402.

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Stagg, Robert. "The Fetters of Rhyme: Liberty and Poetic Form in Early Modern England. By Rebecca M. Rush." English: Journal of the English Association 70, no. 271 (December 1, 2021): 395–99. http://dx.doi.org/10.1093/english/efab025.

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Naseri, Mahin Pourmorad, and Parvin Ghasemi. "Mythopoeia in Akhavan’s & Eliot’s Poetry." Journal of KATHA 18, no. 1 (December 31, 2022): 21–38. http://dx.doi.org/10.22452/katha.vol18no1.2.

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T. S. Eliot, the well-known English poet, and Mehdi Akhavan Sales, one of the pioneers of the Modern Persian Poetry, have applied mythologies in their poetry. The present study is an attempt to make a comparison between Eliot’s early poems, i.e. “The Waste Land” and “The Love Song of J. Alfred Prufrock”, and Akhavan’s two poems, “Qese-e Shahriar-e Shahr-e Sangestan” [The Story of the King of the Stoned City] and “Khan-e Hashtom va Adamak” [The Eighth Task and the Puppet] from a Tolkienian perspective of mythopoeia. Laying their arguments in Jost’s fourth category of comparative studies (themes and motifs), the present authors attempt to depict the similarities and differences in the way the poets approach mythopoeia as a literary technic. In doing so, the mythic figures created by the poets are detected and the characteristics attributed to each are reviewed in the socio-political context of the poets’ life. Then, the philosophical viewpoint implied in creating the myth will be discussed. The findings of the study reveal that while there are similarities in the literary devices and techniques (i.e., imagery, pattern of hero’s journey, …) that the poets have applied, there are differences in terms of poetic language and the kind of myths each poet creates or alludes to. Finally, it will be argued that in applying mythmaking, both poets seem to be warning their fellowmen against the evil life they are involved in. Thus, it is claimed that from a Tolkienian perspective, both poets are mythopoeic both in vision and method.

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Moreno Carrascal, José María. "«Self» y sociedad en la secuencia poética«Transformations» de D. H. Lawrence." Epos : Revista de filología, no. 27 (January 1, 2011): 217. http://dx.doi.org/10.5944/epos.27.2011.10678.

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El proceso de constante reelaboración y reagrupación en secuencias que D.H. Lawrence (1885-1930) lleva a cabo en su obra en verso viene motivado no sólo por un afán formalista sino, muy especialmente, por una preocupación autobiográfica y un deseo de plasmar orgánicamente la conciencia individual o self del autor y su particular cosmovisión de la realidad. Este hecho, patente en todos los poemarios del poeta inglés, propició –por parte de un sector mayoritario de la crítica formalista a lo largo del pasado siglo– la aparición de ciertas ideas reduccionistas que llegaron a considerar la obra en prosa en general y la poesía en particular de este controvertido autor del High Modernism en lengua inglesa como una construcción ajena a las realidades y tensiones sociales de la Inglaterra de comienzos del siglo XX. El autor recrea la mutante realidad externa en su poesía mediante un lenguaje simbólico y mito-poético, basándose en el concepto de la polaridad antagónica y desde unos presupuestos y una mentalidad a-racional y anti-industrial (es decir, aparentemente pre-moderna) que entronca por un lado con la subjetividad del yo romántico y por otro con ciertas corrientes de pensamiento de la modernidad. Mediante el análisis de la forma, el contenido y las posibles influencias de la secuencia poética titulada «Transformations», perteneciente al poemario New Poems (1918), se pretende desmontar en este artículo algunas de las construcciones reduccionistas anteriormente citadas. El proceso de secuenciación arriba aludido así como la motivaciones externas más allá de las preocupaciones del yo consciente o self parecen quedar patentes en dicho análisis, con el que se intenta contribuir a la reivindicación de la poética y la poesía de un autor cuya obra en verso ha sido, durante un largo periodo de tiempo, insuficientemente valorada en el canon en lengua inglesa.The use of the poetic sequence and the constant process of elaboration and rearrangement of poems in clusters unsdertaken by D. H. Lawrence (1885-1930) in his books of poetry is the result not only of a formal concern on the part of the author but, more precisely, of the evidence of an autobiographical preocupation that stems from the need of the poet to express his individual conscience or self as well as from his particular vision of external reality. This fact, evident in all the books of poems published by the English poet, was somehow responsible for the existence (mostly among a vast section of the formalist criticism dominant throughout the twentieth century) of certain reductionist ideas and opinions which erroneously considered the works in prose in general and the poetry in particular of this controverted author of the English High Modernism as a literary construct alien to the realities and social tensions of early 1900´s England. in his poetry, D. H. Lawrence recreates the ever-changing outward reality by means of a symbolic and poetic language that generates his own myths. In order to achieve this objective, the author uses key ideas such as the relevant concept of antagonistic polarity and certain (apparently anti-modern) pre-rational and anti- industrial beliefs, which can be traced to the subjectivity of romanticism but that were also part of some modern currents of thought dominant in that time period. The present article intends to deconstruct some of the above mentioned reductionist ideas about the poetry of D. H. Lawrence through an analysis of both form and content and of the possible influences present in the poetic sequence entitled «Transformations » which the poet included in his book of poetry New Poems (1918). Such analysis also purports to evidence the above mentioned process of elaboration and rearrangement as well as the autobiographical intentionality and the motivations beyond the preoccupations of the self in an author whose poetical works were for a long period of time insuficciently valued within the English language canon.

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Scott, Alison V. "Poetic Resistance: English Women Writers and the Early Modern Lyric (review)." Parergon 20, no. 2 (2003): 198–200. http://dx.doi.org/10.1353/pgn.2003.0028.

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Borris, Kenneth, and Meredith Donaldson Clark. "Hymnic Epic andThe Faerie Queene’s Original Printed Format: Canto-Canticles and Psalmic Arguments*." Renaissance Quarterly 64, no. 4 (2011): 1148–93. http://dx.doi.org/10.1086/664087.

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AbstractWhen Edmund Spenser (1552?–99) published hisFaerie Queenein 1590 and 1596, two pervasive structural features would have seemed surprising: the abbreviationCant.in sectional and running titles, used instead ofCanto;and a four-line stanza of common meter for each section's argument, instead of a more expansive and prestigious stanza. Study of the relevant early modern Italian and English norms of publication indicates that these were complementary and innovative means of merging heroic form with divine poetry and hymnic discourse, and recognized as such.Cant.readily suggestedcanticleand the Solomonic Canticles, and the poet himself calls one of his so-called cantos a “canticle” (4.5.46). In style and prosodic form, his arguments would have particularly evoked the nationally distinctive Elizabethan Protestant psalmody and hymnody, as well as popular ballads. By incorporating these two metamorphic devices intoThe Faerie Queene's framework, Spenser reconfigured the heroic poem to serve his different, English vision.

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Matei-Chesnoiu, Monica. "The Eye and Refractive Geography in Pericles." Linguaculture 2017, no. 1 (June 1, 2017): 35–51. http://dx.doi.org/10.1515/lincu-2017-0004.

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AbstractThe paper highlights the cultural constructedness of vision in the early modern period by drawing on heteroglossic representations of the eye in early English texts, ranging from anatomy and physiology treatises to philosophy, poetry, emblems, and geometrical perspective in astronomy and land surveying. The argument is based on the association of word and image in early modern representations of space, mirrored in Ortelius’s notion of geography as the eye of history, which shows the importance of the visual element in the system of acquisition and transmission of knowledge in the Renaissance. In the particular case ofPericles, the play unfolds over a vast international geography and creates powerful visual effects. The imaginative spatial conventions of the play can be assimilated to the system of geometrical projection on which maps depended. Locations are used according to a geometric triangulation system to refract the imaginative and spatial vision. As in emblems, the locations unfolding in the play give the action meaning in the process of involved spectatorship. Moreover, in the theatre, the lone monocular beholder of mathematical linear perspective is multiplied into a choric array of spectators.

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F. Marotti, Arthur. "Poetry outside the Literary Canon: The Rare or Unique Verse by Minor or Little-known Authors in Early-Modern English Manuscripts." Études anglaises Vol. 73, no. 3 (May 5, 2021): 347–68. http://dx.doi.org/10.3917/etan.733.0347.

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Mayne, Emily. "Presenting Seneca in Print: Elizabethan Translations and Thomas Newton’s Seneca His Tenne Tragedies." Review of English Studies 70, no. 297 (April 19, 2019): 823–46. http://dx.doi.org/10.1093/res/hgz022.

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Abstract Seneca His Tenne Tragedies (1581) was the first printed collection of Seneca’s tragedies in English. This article re-examines this publication in the context of early modern production of collected unannotated editions of Seneca’s tragedies on the European mainland, and of the editorial and intellectual interests of its compiler, Thomas Newton. It identifies Newton as something of an early modern ‘print professional’, who was involved in the production of a wide variety of texts, translations, and commendatory poetry, and who used a variety of sophisticated strategies in print to draw attention to and to promote his own capacities and achievements; and it shows how the Tenne Tragedies participates in these practices. Attending to Newton’s activities alongside Jasper Heywood’s translation of Hercules furens reveals significant discontinuities in approach between the Tenne Tragedies and one of its constituent texts. Heywood’s translation first appeared in 1561 in a parallel-text format that was not designed for inclusion in a single-language collection such as the Tenne Tragedies, as one early modern reader’s response to the translation in this later printed context may show. Newton’s presentation of the Tenne Tragedies volume, and his particular attitude towards ‘Seneca’, complicates current critical understanding of the reception and uses of Senecan tragedy in Elizabethan England, and of any ‘project’ of Senecan translation in the period, which may be more an effect of Newton’s editorial proclivities, combined with modern understanding of Seneca as a single author, than reflective of attitudes towards Senecan tragedy in early modern England more generally.

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Dunn-Hensley, Susan. "Henry viii and the “Bewhoring” of the Petrarchan Beloved in Sixteenth-Century English Literature." Explorations in Renaissance Culture 46, no. 1 (June 24, 2020): 2–16. http://dx.doi.org/10.1163/23526963-04601003.

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This article examines the ways in which changes in Marian theology and the defaming and execution of two of Henry viii’s queens affected early modern literary representations of female power. It argues that, through the translations of Thomas Wyatt, Petrarchan poetry entered into a world of state-sponsored iconoclasm, a world where images of the sacred feminine, once revered, could be destroyed, and queens, once exalted as beloveds, could quickly be reduced to “whores” and executed. The first part of the article considers Wyatt’s “Whoso list to hunt,” a translation of Petrarch’s “Rime 190,” as a lens for examining the female body as both object of desire and site of violent destruction. The second part of the article considers English Petrarchism late in the reign of Elizabeth i, examining how John Donne’s “Love’s Progress” and Edmund Spenser’s The Faerie Queene (Book ii) construct violent fantasies of male control over the powerful female.

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Coles, Kimberly Anne. "The Matter of Belief in John Donne’s Holy Sonnets*." Renaissance Quarterly 68, no. 3 (2015): 899–931. http://dx.doi.org/10.1086/683855.

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AbstractThough historians of religion have demonstrated that the theological commitments of early modern English people were labile and complex, there was nonetheless a prevailing sense in the period that belief posited bodily consequences. This article considers this bodily presence in John Donne’s poetry by exploring the humoral construction of religious identity in his Holy Sonnets. Donne’s conversion provided him with an unusual perspective: not many people were positioned to hold as nuanced a view of religious ideology. It is surprising, then, that when Donne considers his conversion — which he does in little and large in the Holy Sonnets — he casts it in somatic terms. Donne’s humoral constitution of faith in the Holy Sonnets anatomizes the vexed transactions of body and soul particular to late sixteenth- and early seventeenth-century thought. He depicts his body in the same terms that he uses to represent his religious temperament — as changeable and lacking integrity.

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Jajtner, Tomáš. "“The True Forme of Love”: Transforming the Petrarchan Tradition in the Poetry of Lady Mary Wroth (1587–1631)." Prague Journal of English Studies 5, no. 1 (July 1, 2016): 9–26. http://dx.doi.org/10.1515/pjes-2016-0001.

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Abstract The following article deals with the transformation of the Petrachan idea of love in the work of Lady Mary Wroth (1587-1631), the first woman poet to write a secular sonnet sequence in English literature, Pamphilia to Amphilanthus. The author of the article discusses the literary and historical context of the work, the position of female poets in early modern England and then focuses on the main differences in Wroth’s treatment of the topic of heterosexual love: the reversal of gender roles, i.e., the woman being the “active” speaker of the sonnets; the de-objectifying of the lover and the perspective of love understood not as a possessive power struggle, but as an experience of togetherness, based on the gradual interpenetration of two equal partners.

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Journal articles on the topic 'English poetry Early modern'

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