Kontrasty i ich funkcje w "The Wanderer" There was a visible change of mood. There was a contrast between attitudes of the wanderer and the wise man role model toward the life. The function of contrasts was didactic WANDERER WISE MAN
lament over his loss; he complaints; very personal and emotional complaint; no single thing which stay the same; there is nothing stable; general impermanence of the world;
his answer is despair; disagreement; the fight with wyrd; He is looking for a new Lord; He looks for an earthly solution; should be patient; shouldn't complain; should agree with wyrd;
he stands on land - it's stable; he stands by the ruins of mead-hall - it's empty; Even the most powerful civilization passes; Ubi sunt - “Where are?”; Found the Lord who will never die; General philosophical meditation; no despair - acceptance and peace;
There is also contrast between: earth - heaven heavenly castle - ruins of mead-hall
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Features of elegiac poetry on the example of "Wanderer" An elegy is a lament, or a mourning for the dead or things past. A reflection on the death of someone or on sorrow and longing for the better days of times past
ELEGY examples: “the Seafarer”, “The Wanderer”, “the Book of the Duchess”
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Sonety Szekspira - pochodzenie i charakterystyka gatunku, tematu. A sonnet, a form of poetry invented in Italy, has 14 lines with a specific rhyme scheme. The topic of most sonnets written in Shakespeare's time is love-or a theme related to love but also deal with such themes as beauty, politics, and mortality.. Early English sonnets are often adaptations of Petrarch. 1. The Italian sonnet is divided into an octave, which is eight lines, and a sestet, which is six lines. The English sonnet is divided into three quatrains, in other words, twelve lines, and a couplet. 2. The rhyme scheme for the Italian sonnet is a-b-b-a, a-b-b-a for the octave and either c-d-e-c-d-e, or c-d-c-d-c-d The rhyme scheme for the English sonnet is a-b-a-b, c-d-c-d, e-f-e-f, g-g. Characters Readers of the sonnets today commonly refer to these characters as the Fair Youth, the Rival Poet, and the Dark Lady. The narrator expresses admiration for the Fair Youth's beauty, and later has an affair with the Dark Lady. It is not known whether the poems and their characters are fiction or autobiographical. Themes One interpretation is that Shakespeare's Sonnets are in part a pastiche or parody of the three centuries-long tradition of Petrarchan love sonnets; in them, Shakespeare consciously inverts conventional gender roles as delineated in Petrarchan sonnets to create a more complex and potentially troubling depiction of human love. Shakespeare also violated many sonnet rules which had been strictly obeyed by his fellow poets: he speaks on human evils that do not have to do with love, he comments on political events, he makes fun of love, he parodies beauty, he plays with gender roles, he speaks openly about sex and even introduces witty pornography. |
Dojrzałe tragedie. Mature tragedies - it's a technical term. men's relation to the world, the nature of the world, values, moral judgments; is morality a part of nature?. In the latter part of William Shakespeare's career, there seems to be an apparent shift in the content of his plays. Shakespeare's writing seems to move into a darker realm, as his writing formulas seem to evolve in his later years. His most earliest notable tragedies are works like Romeo and Juliet and Titus Andronicus. While these were - and still remain - some of Shakespeare's most popular works, they are not generally considered to be his most powerful and moving tragedies. Those honors are generally bestowed upon the so-dubbed "mature" tragedies: Othello, Hamlet, Macbeth, and King Lear being the most discussed. What are the changes in Shakespeare's writing that make these later works so powerful? One obvious answer is that Shakespeare's growth and experience over the years allowed him to refine and hone his skills of writing.; a lot of psychological analysis; |
Chivalric convention and their realization in sir Gawain... |
Discuss the love motif in Midsummer Night's Dream and As You Like It Love Writer David Bevington finds in the play what he refers to as the dark side of love. He writes that the fairies make light of love by mistaking the lovers and by applying a love potion to Titania's eyes, forcing her to fall in love with Bottom as an ass.[4] In the forest, both couples are met by problems. Hermia and Lysander are both met by Puck, who provides some comedic relief in the play by confusing the four lovers in the forest. Despite the darkness and difficulty that obstructs the love in A Midsummer Night's Dream, it is still a comedy as Benedetto Croce indicates. He writes, “love is sincere, yet deceives and is deceived; it imagines itself to be firm and constant, and turns out to be fragile and fleeting”. This passage, like the play juxtaposes one idea next to another. The play is a comedy, yet it harbors serious ideas. At the end of the play, Hermia and Lysander, happily married, watch the play about the unfortunate lovers, Pyramus and Thisbe, and are able to enjoy and laugh about the play, not realizing the similarities between them. Although their story is very similar to that of Pyramus and Thisbe, it does not end in tragic death.[6] Hermia and Lysander are both oblivious to the dark side of their love. They are not aware of the possible outcome that could have taken place at the forest. The Delights of Love
As You Like It spoofs many of the conventions of poetry and literature dealing with love, such as the idea that love is a disease that brings suffering and torment to the lover, or the assumption that the male lover is the slave or servant of his mistress. These ideas are central features of the courtly love tradition, which greatly influenced European literature for hundreds of years before Shakespeare's time. In As You Like It, characters lament the suffering caused by their love, but these laments are all unconvincing and ridiculous. While Orlando's metrically incompetent poems conform to the notion that he should “live and die [Rosalind's] slave,” these sentiments are roundly ridiculed (III.ii.142). Even Silvius, the untutored shepherd, assumes the role of the tortured lover, asking his beloved Phoebe to notice “the wounds invisible / That love's keen arrows make” (III.v.31-32). But Silvius's request for Phoebe's attention implies that the enslaved lover can loosen the chains of love and that all romantic wounds can be healed—otherwise, his request for notice would be pointless. In general, As You Like It breaks with the courtly love tradition by portraying love as a force for happiness and fulfillment and ridicules those who revel in their own suffering.
Celia speaks to the curative powers of love in her introductory scene with Rosalind, in which she implores her cousin to allow “the full weight” of her love to push aside Rosalind's unhappy thoughts (I.ii.6). As soon as Rosalind takes to Ardenne, she displays her own copious knowledge of the ways of love. Disguised as Ganymede, she tutors Orlando in how to be a more attentive and caring lover, counsels Silvius against prostrating himself for the sake of the all-too-human Phoebe, and scolds Phoebe for her arrogance in playing the shepherd's disdainful love object. When Rosalind famously insists that “[m]en have died from time to time, and worms have eaten them, but not for love,” she argues against the notion that love concerns the perfect, mythic, or unattainable (IV.i.91-92). Unlike Jaques and Touchstone, both of whom have keen eyes and biting tongues trained on the follies of romance, Rosalind does not mean to disparage love. On the contrary, she seeks to teach a version of love that not only can survive in the real world, but can bring delight as well. By the end of the play, having successfully orchestrated four marriages and ensured the happy and peaceful return of a more just government, Rosalind proves that love is a source of incomparable delight. |
Religious motif in Old English literature a lot of paganism; Biblical paraphrases The Junius manuscript contains three paraphrases of Old Testament texts. These were re-wordings of Biblical passages in Old English, not exact translations, but paraphrasing, sometimes into beautiful poetry in its own right. The first and longest is of Genesis, the second is of Exodus and the third is Daniel. The fourth and last poem, Christ and Satan, which is contained in the second part of the Junius manuscript, does not paraphrase any particular biblical book, but retells a number of episodes from both the Old and New Testament. The Nowell Codex contains a Biblical poetic paraphrase, which appears right after Beowulf, called Judith, a retelling of the story of Judith. This is not to be confused with Ælfric's homily Judith, which retells the same Biblical story in alliterative prose. Old English translations of Psalms 51-150 have been preserved, following a prose version of the first 50 Psalms. It is believed there was once a complete psalter based on evidence, but only the first 150 have survived. There are a number of verse translations of the Gloria in Excelsis, the Lord's Prayer, and the Apostles' Creed, as well as a number of hymns and proverbs. Christian poems In addition to Biblical paraphrases are a number of original religious poems, mostly lyrical (non-narrative). The Exeter Book contains a series of poems entitled Christ, sectioned into Christ I, Christ II and Christ III. Considered one of the most beautiful of all Old English poems is Dream of the Rood, contained in the Vercelli Book. It is a dream vision of Christ on the cross, with the cross personified, speaking thus: "I endured much hardship up on that hill. I saw the God of hosts stretched out cruelly. Darkness had covered with clouds the body of the Lord, the bright radiance. A shadow went forth, dark under the heavens. All creation wept, mourned the death of the king. Christ was on the cross." -- (Dream of the Rood)
The dreamer resolves to trust in the cross, and the dream ends with a vision of heaven. There are a number of religious debate poems. The longest is Christ and Satan in the Junius manuscript, it deals with the conflict between Christ and Satan during the forty days in the desert. Another debate poem is Solomon and Saturn, surviving in a number of textual fragments, Saturn is portrayed as a magician debating with the wise king Solomon. Old English prose The amount of surviving Old English prose is much greater than the amount of poetry. Of the surviving prose, sermons and Latin translations of religious works are the majority. Christian prose The most widely known author of Old English was King Alfred, who translated many books from Latin into Old English. These translations include: Gregory the Great's The Pastoral Care, a manual for priests on how to conduct their duties; The Consolation of Philosophy by Boethius; and The Soliloquies of Saint Augustine. Alfred was also responsible for a translation of the fifty Psalms into Old English. Other important Old English translations completed by associates of Alfred include: The History of the World by Orosius, a companion piece for Augustine of Hippo's The City of God; the Dialogues of Gregory the Great; and the Ecclesiastical History of the English People by Bede. Ælfric of Eynsham, wrote in the late 10th and early 11th century. He was the greatest and most prolific writer of Anglo-Saxon sermons, which were copied and adapted for use well into the 13th century. He also wrote a number of saints lives, an Old English work on time-reckoning, pastoral letters, translations of the first six books of the Bible, glosses and translations of other parts of the Bible including Proverbs, Wisdom and Ecclesiasticus. In the same category as Aelfric, and a contemporary, was Wulfstan II, archbishop of York. His sermons were highly stylistic. His best known work is Sermo Lupi ad Anglos in which he blames the sins of the British for the Viking invasions. He wrote a number of clerical legal texts Institutes of Polity and Canons of Edgar. One of the earliest Old English texts in prose is the Martyrology, information about saints and martyrs according to their anniversaries and feasts in the church calendar. It has survived in six fragments. It is believed to date from the 9th century by an anonymous Mercian author. The oldest collection of church sermons are the Blickling homilies in the Vercelli Book and dates from the 10th century. There are a number of saint's lives prose works. Beyond those written by Aelfric are the prose life of Saint Guthlac (Vercelli Book), the life of Saint Margaret and the life of Saint Chad. There are four lives in the Julius manuscript: Seven Sleepers of Ephesus, Saint Mary of Egypt, Saint Eustace and Saint Euphrosyne. There are many Old English translations of many parts of the Bible. Aelfric translated the first six books of the Bible (the Hexateuch). There is a translation of the Gospels. The most popular was the Gospel of Nicodemus, others included "..the Gospel of Pseudo-Matthew, Vindicta salvatoris, Vision of Saint Paul and the Apocalypse of Thomas".[7] One of the largest bodies of Old English text is found in the legal texts collected and saved by the religious houses. These include many kinds of texts: records of donations by nobles; wills; documents of emancipation; lists of books and relics; court cases; guild rules. All of these texts provide valuable insights into the social history of Anglo-Saxon times, but are also of literary value. For example, some of the court case narratives are interesting for their use of rhetoric. |
Discuss the development of English sonnets The Earl of Surrey was the chief motive behind the introduction and development of this English sonnet. It consists of three quatrains and a concluding couplet rhyming abab cdcd efef gg. It often presents repetition of statement in each of the three quatrains and the final couplet enforces an epigrammatic turn at the end. John Donne covered a variety of religious themes in his "Holy Sonnets" in the seventeenth century. Milton then fashioned sonnets with more serious themes. In the 19th century, Wordsworth, Keats, Elizabeth Barrett Browning, Christina Rossetti, D. G. Rossetti wrote sonnets. Inspired by Petrarch, a number of Elizabethan authors arranged sonnets into grouping which was often called sonnet sequence. Shakespeare arranged his sonnets into a sequence. Sidney's Astrophel and Stella (1580) is such a famous sonnet sequence you should read for experiencing the real spirit of poetry. Development of the English sonnet led to consideration of other topics, including mortality, mutability, politics, and writing itself. Donne turned from the secular subject of Love to consideration of sacred themes in a group of nineteen Holy Sonnets. Milton, instead of writing a sequence about Love, wrote individual sonnets about serious ideas, political themes, or public occasions. After Milton the sonnet declined in popularity--until it was taken up again with fervor during the Romantic period. |
motyw utopii - Marlowe |
Discuss the order of stories in the Canterbury Tales The plan of story telling was set out in the Prologue but it's actual realization was different.
• the Knight draws the shortest lot - he tells his story first not by rank but because of chance • the Miller is drunk and insist on telling his story after the Knight - he can't be persuaded • the Reeve is also a carpenter and takes the Miller's tale personally - feels offended so he tells a story about miller • the story-telling becomes a means of settling rivalries and mocking enemies. |
Geoffrey Chaucer's Works (+ co tłumaczył i 3 ważne wydarzenia z jego życia)
Chaucer translated works of Boethius' Consolation of Philosophy and The Romance of the Rose by Guillaume de Lorris
important events:
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Canterbury Tales ( jakie genres, kto mowi, o co chodzi)
The person who describe pilgrims is narrator. The stories are initially told by pilgrims - the narrator only reports them. he admits he is not very bright fictional character named Chaucer two levels of communication:
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Genres in Nun's Priest's Tale and function
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The Wife of Bath Tale genre: Arthurian Romance
The Wife of Bath's Tale The Wife of Bath returns to the Arthurian times of fairy queens and elves to tell her story. One day, one of King Arthur's knights found a maiden walking alone, and raped her. The crime of rape usually was awarded death; however, the queen begged to save the knight's life. She told the knight that she could save his life if he could answer the one question: What do women desire? The queen gave the knight one year to find the answer to her question before he lost his life. The knight began his journey to discover what women desire, but could find no satisfactory answers or responses. He was told wealth, status, sexual performance, happiness, and other such answers, but never found one solitary answer. After the full year almost passed, he knew that he must accept his death and return to the Queen. Before he gave up, he met an old woman who agreed to tell him the answer if he would marry her. She said that women desire control and sovereignty over their husbands. The knight returned to the queen and gave that answer, which turned out to be the correct response. The knight, now forced and bound to marry the old lady, became miserable and wished for death instead, for he knew he must now marry her. The two begin to quarrel and put each other down, for he believed her not only to be ugly, but of low-birth, and she called him a snob and un-gentlemanlike. The old woman decided to give the knight a choice. He can marry her, an ugly old woman who is kind and devoted, or have a young, beautiful maiden with independence. He chooses to free the old woman and proceeds to kiss her old body. When they kiss, the old woman transforms into a beautiful young lady. The two live happily ever after and they were devoted to one another. The Wife of Bath concludes her tale with a moral that allows Christ to grant all women submissive husbands who will always satisfy them sexually in bed. |
Describe the techniques of characterization in the description of Monk in General Prologue
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Compare miller's tale i reeve's tale • the Miller is drunk and insist on telling his story after the Knight - he can't be persuaded • the Reeve is also a carpenter and takes the Miller's tale personally - feels offended so he tells a story about miller
The Miller's Tale An older carpenter living in Oxford named John needed extra money, so he took in a boarder. The boarder was a poor student of astronomy named Nicholas. John had married a younger, attractive woman, Alison, whom Nicholas adored. One day while John was away, Nicholas made a pass at Alison. Alison told him that her husband was a jealous man, but that she would meet him as soon as she could without worry or fear that he would find them. Alison went into town one day where she met Absolon, a parish clerk known for singing and guitar playing, who also proclaimed his love for Alison, who was hopelessly in love with the young Nicholas. Absolon even came to Alison's window that night in attempt to woo her. On a Saturday, John left Oxford to go to Oseney on business and the two lovers decided to find a plan that could use John's wit to trick him. They devised a plan: The intricate manipulation included three tubs that could be used as boats to be hung from the roof, as to remain inconspicuous. When rain equal to Noah's Flood arrived, only the three of them would survive. That night, when the three went up to the roof, John eventually fell asleep and Nicholas and Alison escaped to have sex. The following morning, Absolon returns to Alison's home to serenade her, despite her desire for his absence. She agrees to give him a single kiss if he agrees to close his eyes. Willingly he follows her command, as she pulls down her pants and has him kiss her buttocks. The two lovers mock Absolon mercilessly, who leaves the scene embarrassed. He walks to a blacksmith and procures a hot forging iron that he plans to use in retaliation. He returns to Alison and Nicholas asking for another kiss. Nicholas removes his clothing and intends to trick Absolon yet again, and fart in his face. Instead, Absolon burns his rear end with the hot iron. In pain, Nicholas cries out for water, startling John who thinks that the massive flood has arrived, in turn cutting the rope that held the tub to the roof. The senseless carpenter falls from the roof in the tub to the ground. Everyone in town arrives on the scene to see what happened. All three men received some sort of punishment: John was declared mad and was painfully injured by the fall, Absolon was sorely humiliated, and Nicholas was burned on his rear end. its Fabliau: comic tale, simple style, middle class characters, setting - town or village, form concerns a husband and wife who gives sexual favours to another man. directed also against members of the clegy.
Reeve's Tale In a town called Trumpington near Cambridge, a miller named Symkyn lived near a brook. The miller wore loud clothing, had a round face, flat nose, played the bagpipes, wrestled, and fished all the time, during which he always carried a knife. He had married into a noble family, of whom his father-in-law was a parson (duchowny). Symkyn was constantly jealous of everyone else. He had two children with his wife: a twenty-year old daughter and a toddler. Symkyn was extremely dishonest in his work and cheated the college most of all. He stole corn and meal from the dying steward of Cambridge. There were two students of Cambridge, John and Aleyn, who had received permission to see the corn ground at the mill. While at the mill, Aleyn tells Symkyn that he must bring back ground corn to the ill steward. Symkyn let the students' horse loose while they were grinding the corn, forcing them to rush after it, forgetting the meal. Symkyn took the flour and had his wife knead it into dough. When the students returned to the meal to retrieve their meal, they were shocked to find it stolen and begged the miller for help. Symkyn then offers them lodging for the night. The miller's older daughter, Molly, slept in the same room as the students and Symkyn, who annoyed everyone in the room by snoring loudly. Aleyn desires to seduce Molly as revenge for his stolen corn, much to John's warning of the miller's danger. John is humiliated as Aleyn has sex with Molly so close to him. John thereupon seduces the miller's wife, to have his fun, as well. In the morning, Molly tells Aleyn where his missing meal was hiding and Aleyn tells John of his sexual exploits. Symkyn overhears the students' conversation and grabs Aleyn by the neck in an attempt to fight. Aleyn punches Symkyn and the two begin to fight. The miller unfortunately tumbles over his wife and breaks her ribs. The miller's wife then finds a staff to aid in the minor battle and tries to hit Aleyn with it, but unfortunately strikes her husband. The two students run away with their meal, leaving the couple lying on the ground. The deceitful miller got his just desserts: he was beaten, lost a daughter to seduction, and lost his meal. |
Compare Monk's and Nun's priest tale
The Nun's Priest's Tale An old woman kept a small farm with many animals, including a prized rooster named Chanticleer. Chanticleer crowed incessantly and had seven hens, including the beloved Pertelote. During his sleep, Chanticleer groaned and dreamed that a large yellow dog chased after him. Pertelote mocked Chanticleer's cowardly behavior and said that dreams are nothing but meaningless visions brought upon by ill humor and bad health. Chanticleer responded that he believed dreams to be prophetic and began to tell the story of a traveler who predicted his own death through a companion's dream of a murder where the victim's body was taken away. He goes on to talk about another man's dream that a friend had drowned and that those exact events actually came true. Chanticleer and Pertelote talk of many famous sayings and proverbs until they realize that men and women are perfect for one another. Chanticleer then goes in the morning to search for herbs, where a fox grabs him. Pertelote squawked loudly, alerting the old woman who chased the fox. During the chase Chanticleer was able to trick the fox into speaking, which allowed him to escape from the fox's mouth. The tale ends with everyone alive and safe. The Monk's Tale The monk records several historical and biblical characters falling from grace. The first mentioned is Lucifer, followed by Adam's exodus from Paradise, Samson's fall because of his wife, Daniel and Nebuchadnezzar, and so on. Each story is greater in detail than the previous one. Balthazar, the son of Nebuchadnezzar, worshipped false gods, idols, despite his warning from Daniel. His kingdom was also divided. Zenobia, the queen of Palmyra, refused her female duty by not marrying, and was eventually destroyed by Romans. King Pedro of Spain was another of the fallen so-called heroes in this list of holy rollers. He was murdered by his brother, similar to Peter, the king of Cyprus. Bernabo Visconti imprisoned his nephew falsely and died in a curious fashion, while Count Ugolini, while imprisoned in the tower of Pisa, attempted to eat his own appendages in lieu of starvation, but eventually died from lack of food with his family. Nero killed himself after cutting open his mother to view her womb and having the philosopher Seneca murdered. Holofernes lost his head in his sleep due to his harsh orders for worship, and Antiochus was punished by God because of attacks on the Jews. The monk continues on with stories of Alexander the Great, Julius Caesar, and concludes with Croesus, the King of Lydia, who was hanged because of his pride and wealth. The extensive journey through malevolent souls who have fallen from grace is unique to the tales, for none are fully developed and many are touched upon briefly. All share the common denominator of a single fault keeping them from heaven.
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Canterbury tales as a collection of stories - regarded as one of the world's finest collections of medieval literature. - framed collection of stories - stories about a group of pilgrims, of very different statuses and backgrounds - The Canterbury Tales is a collection of stories written by Geoffrey Chaucer in the 14th century - The tales are contained inside a frame tale and told by a collection of pilgrims on a pilgrimage from London Borough of Southwark to visit the tomb of Saint Thomas Becket at Canterbury Cathedral. - The Canterbury Tales are written in Middle English. - work may be influenced by the structure of The Decameron, which Chaucer is said to have read on an earlier visit to Italy - full of irony - begins like „the romance of the rose” (description of a beautiful spring morning) but instead of talking about love the narrator presents pilgrims setting off to Canterbury |
Rozwój teatru w kościele; 3 rodzaje dramatu - porównać Plays developed from the liturgy of the Roman Catholic church after 1210 when a papal edict forbade members of the clergy from appearing on a stage in public, had considerable influence on the work of the great English dramatists of the Elizabethan age. When the simple scenes from the Bible that had become part of the liturgy could no longer be performed by the priests early in the 13th century, the miracle plays came into existence. These plays had as subject matter the miracles performed by the saints. Miracle plays dealing with the legends of the saints were less realistic and more religious in tone than those concerned with biblical episodes, and were eventually superseded by the latter To the scenes from the Bible the anonymous playwrights added interludes consisting of realistic comedy based on situations and ideas of a contemporary nature. The miracle play, therefore included scenes of realistic medieval comedy. The best-known miracle play is the Second Shepherd's Play of the Towneley Cycle. This story of the shepherds watching their flock in the fields on the night of Christ's nativity is enlivened by the comic episode in which one of the sheep is stolen; the thief hides the sheep in a cradle in his home and, brought to bay, pretends the little animal is a baby girl. The term mystery play, or simply mystery, is sometimes used synonymously with miracle play. Some literary authorities make a distinction between the two, designating as mystery plays all types of early medieval drama that draw their subject matter from Gospel events and as miracle plays all those dealing with legends of the saints. Sometimes known simply as a morality, the morality play was most popular in the 15th and early 16th centuries. It was designed to instruct audiences in the Christian way of life and the Christian attitude toward death. The general theme of the morality play is the conflict between good and evil for the human soul; the play always ends with the saving of the soul. The characters of the morality play are not the saints or biblical personages of the miracle play, but personifications of such abstractions as flesh, gluttony, lechery, sloth, pride, envy, hope, charity, riches, and strength. Miracle Plays: Miracle plays were plays about the lives of the saints and the miracles they performed. Mystery Plays: Mystery plays were Bible stories. There were four or five short mystery plays in each presentation. Morality Plays: The stories were about virtues and vices such as fellowship, good deeds, and death. “the castle of perseverance”; “Everyman”; (“Magnyfycence” by John Skelton - the first dramatist known by name; the earliest single mystery play - “The Harrowing of Hell” - INTERLUDE—(literally, “between play”); a short entertainment
put on between the courses of a feast or the acts of a longer play. entertaining nature;First known author of interludes - Henry Medwall “Fulgens and Lucres” (earliest English secular play <not necessarily pertaining to religion>)
Tudor Interludes - about current events |
Second Sheperd's Play Two shepherds—Coll and Gib and one helper—enter individually, complaining about such problems as the weather and their poverty. Mak arrives, pretending to be a messenger from a southern lord, but the shepherds recognize him and suspect that he plans to steal their sheep. They all lie down to sleep, the shepherds putting Mak in the midst of them. When the others are asleep, Mak takes a sheep and goes home, where his wife, Gill, suggests that they disguise the sheep as a baby. Mak returns to the shepherds and lies down. When the others wake up, Mak pretends to wake up and claims to have dreamed that his wife gave birth. He returns home. When the shepherds discover that a sheep is missing, they go to Mak's house and accuse him of stealing it. Not finding the sheep, they get ready to leave, until Daw decides to give the baby a present. Mak can't stop him from looking in the cradle and discovering the sheep. The shepherds want to punish Mak. An angel appears and announces the birth of Jesus at Bethlehem. The shepherds go to see the child and bring him gifts. It is interesting that the scene at Mak''s house is both a false birthing and a foreshadowing--a foreshadowing, since Jesus is called the Lamb of God -as even in their evildoing and unknowing, they point forward to Christ and his birth in Bethlehem. |
Anglo-Saxon writers Caedmon (7th century) Caedmon is seen as the earliest known Old English Poet. Quite a title for someone who was a cowherd that knew nothing of verse! It is said that Caedmon in a dream was told to sing the verses of God. His newfound talent led him into the monastery where he created verse based upon religion. Bede (674-735) From an early age Bede was a dedicated monk at the English monastery of Wearmouth and Jarrow. He became known as the first person to write education books in the English language. He translated many religious writings into Old English and his most well known work is the History of the English Church and People. More importantly, his work has become the best source for the history of the time period, especially because his writing was supported by sources that could be checked out. Cynewulf: “Fates of the Apostles,” “Christ II,” “Juliana,” “Elene.” He is famous for his religious compositions, and is regarded as one of the pre-eminent figures of Old English Christian poetry. Aelfric - prolific writer in Old English of hagiography, homilies, biblical commentaries, and other genres. Boethius- Christian or pagan philosopher of the 6th century. He was born in Rome; Boethius's best known work is the Consolation of Philosophy
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Ballada: cechy gatunku, tematyka, przykłady
• Ballads of the greenwood (the Robin Hood cycle) • Ballads of history (“Chevy Chase”, “Sir Patrick Spens” • Ballads of the supernatural (“Thomas Rhymer”, “The Wife of Usher's Well”
more examples: “Lord Randal” - includes dialogue; the primary character is poisoned by his sweetheart “Cherry-tree Carol” |
Principles of Anglo-Saxon verse and devices of Anglo-Saxon verse The most popular and well-known understanding of Old English poetry continues to be alliterative verse. The system is based upon accent, alliteration, the quantity of vowels, and patterns of syllabic accentuation. It consists of five permutations on a base verse scheme; any one of the five types can be used in any verse. Two poetic figures commonly found in Old English poetry are the kenning, an often formulaic phrase that describes one thing in terms of another (e.g. in Beowulf, the sea is called the whale's road) a dramatic understatement employed by the author for ironic effect. Roughly, Old English verse lines are divided in half by a pause; this pause is termed a "caesura." Each half-line has two stressed syllables. The first stressed syllable of the second half-line should alliterate with one or both of the stressed syllables of the first half-line (meaning, of course, that the stressed syllables in the first half-line could alliterate with each other). The second stressed syllable of the second half-line should not alliterate with either of the stressed syllables of the first half. fyrene fremman feond on helle. ("to perpetrate torment, fiend of hell.")
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POZOSTAŁE PYTANIA:
Shakespearian tragedies
Features of chivalric romance
The function of play within a play device in revenge tragedies
Discuss the pagan elements in Beowulf.
Compare and contrast the gardens described in The Pearl.
heiti;
The Anglo-Saxon Chronicle;
allegory;
Matter of France
Rodzaje chivalric romance, opisz i daj przyklady
Co to jest chronicle i jaka jest roznica miedzy tym a history, kto pisal chronicles i jak dlugo kontynuwano pisanie tych chronicles
Rodzaje literatury religijnej w Old English
Anglo-Saxon prose, kto i co napisał i kogo tłumaczył King Alfred.
Zemsta Grendela.
Kto tłumaczył Biblię na Old English, jakie są paraphrases Biblii i czym rózni się translation od paraphrase.
Religious Old English poems
Liturgical drama
Heroic poems z Old English oprócz Beowulfa, czy religious poems mialy jakies cechy heroic epic i przyklady,
"The developement of the theatre in 16th century"
'The use of allegory in medieval poetry'
Metatheatrical function in midsummer nights dream
"Characteriestic features of elizabethan stage"
"Elizabethan comedy"
Porównać "revenge" w Hamlecie i Spanish Tragedy.
The motif of dream vision in medieval literature - do czego słyżyła ta konwencja
Motif of madness in Elizabethan and Jacobean tragedies
Features of Jonsonian comedy in “Volpone”
Riddles in the dream of the rood - function
Numerical patterning & symbolism in "Pearl" + gdzie w Biblii jest o perle
Dream vision - do czego słyżyła ta konwencja
Porównianie Faustusa z Everyman'em.
Medieval lyrics and ballads
Development of revenge tragedy convention during Elizabethan period.
Allegory in Medieval
Revenge tragedy conventions in the Duchess
Link between "Dream of the Rood" and the beginning of drama in Old English literature
Play within a play convention.