ENGLISH LITERATURE UPTO 1590 – EARLY DRAMA AND GORBODUC

ENGLISH LITERATURE UPTO 1590 – EARLY DRAMA AND GORBODUC ENGLISH LITERATURE UPTO 1590 – EARLY DRAMA AND GORBODUC

Early Drama and Gorboduc

Early English drama evolved from medieval mystery and morality plays into more structured forms during the Renaissance. A key transitional work was Gorboduc (1561), written by Thomas Norton and Thomas Sackville, the first English tragedy in blank verse.

Significance of Gorboduc

First English Tragedy: Though influenced by Senecan drama, it moved beyond classical imitation with political themes relevant to Elizabethan England.

Blank Verse: It introduced unrhymed iambic pentameter, later perfected by Marlowe and Shakespeare.

Political Warning: The play’s depiction of a kingdom divided by succession disputes mirrored concerns over Queen Elizabeth I’s lack of an heir.

Plot and Themes

Plot: King Gorboduc divides Britain between his sons, Ferrex and Porrex, leading to civil war, fratricide, and chaos.

Themes:

Dangers of disunity (reflecting Tudor anxieties).

Consequences of flawed leadership.

Fate vs. human folly.

Dramatic Structure

Five-Act Model: Following classical precedent, it established a structure later adopted by Shakespeare.

Chorus and Dumb Shows: Retained elements of medieval drama while innovating in political storytelling.

Legacy

Though stiff in dialogue compared to later tragedies, Gorboduc was a crucial step toward Elizabethan drama’s golden age. Its blend of classical form and national political commentary paved the way for playwrights like Marlowe and Shakespeare.

By merging Senecan tragedy with English concerns, Gorboduc marked the beginning of a new era in Renaissance theatre.

ENGLISH LITERATURE UPTO 1590 – CHRISTOPHER MARLOWE : TAMBURLAINE THE GREAT

ENGLISH LITERATURE UPTO 1590 – CHRISTOPHER MARLOWE : TAMBURLAINE THE GREAT

Christopher Marlowe: Tamburlaine the Great

Christopher Marlowe’s Tamburlaine the Great (c. 1587) is a landmark in Elizabethan drama, marking the rise of blank verse and the Renaissance tragic hero. The play, divided into two parts, follows the meteoric rise and fall of Tamburlaine, a Scythian shepherd who becomes a ruthless conqueror.

Key Themes

Ambition and Power: Tamburlaine’s insatiable thirst for domination reflects Renaissance humanism and Machiavellian ideals.

Fate vs. Human Will: Despite his belief in self-made glory, Tamburlaine’s downfall suggests the limits of mortal power.

Violence and Excess: The play’s graphic battles and cruel executions highlight the destructive nature of unchecked ambition.

Dramatic Innovations

Mighty Lines: Marlowe’s use of blank verse ("Is it not passing brave to be a king / And ride in triumph through Persepolis?") revolutionized English drama.

Overreaching Hero: Tamburlaine is the first tragic overreacher, a prototype for later figures like Faustus and Macbeth.

Exotic Setting: The play’s vast geographical scope (from Persia to Egypt) expanded the horizons of Elizabethan theatre.

Legacy

Tamburlaine influenced Shakespeare’s Henry V and Macbeth, while its psychological depth and poetic grandeur set new standards for tragedy. Marlowe’s blend of classical rhetoric and spectacular violence made it a sensation, cementing his reputation as a pioneer of English Renaissance drama.

In Tamburlaine, Marlowe not only redefined tragic heroism but also laid the groundwork for the golden age of Elizabethan theatre.

ENGLISH LITERATURE UPTO 1590 – INTRODUCTION TO UNIVERSITY WITS

ENGLISH LITERATURE UPTO 1590 – INTRODUCTION TO UNIVERSITY WITS ENGLISH LITERATURE UPTO 1590 – INTRODUCTION TO UNIVERSITY WITS

Introduction to the University Wits

The term "University Wits" refers to a group of late 16th-century English playwrights and pamphleteers who were educated at Oxford or Cambridge. They played a crucial role in the development of Elizabethan drama, bridging the gap between medieval morality plays and the sophisticated works of Shakespeare. The most prominent members included John Lyly, George Peele, Robert Greene, Thomas Nashe, Thomas Lodge, Christopher Marlowe, and Thomas Kyd (though Kyd did not attend university).

Characteristics of the University Wits

Classical Influence: They incorporated classical themes, structures, and rhetorical styles from Greek and Roman literature.

Blank Verse: Christopher Marlowe popularized mighty lines in blank verse, elevating English drama.

Diverse Genres: They experimented with comedy, tragedy, history, and romance.

Sophisticated Language: Their works featured elaborate wit, wordplay, and rich imagery.

Key Contributions

John Lyly (1554–1606): Known for Euphues: The Anatomy of Wit (1578), which introduced an ornate, artificial prose style called Euphuism.

Christopher Marlowe (1564–1593): A revolutionary tragedian who wrote Tamburlaine the Great, Doctor Faustus, and The Jew of Malta, pioneering psychological depth in drama.

Robert Greene (1558–1592): Wrote Friar Bacon and Friar Bungay and was known for his romantic comedies.

Thomas Kyd (1558–1594): Authored The Spanish Tragedy, an early revenge tragedy that influenced Shakespeare’s Hamlet.

Legacy

The University Wits laid the foundation for Shakespeare and Jacobean dramatists. Their works transitioned English theatre from amateur performances to professional, literary drama. Marlowe’s dynamic protagonists and Lyly’s witty dialogues shaped Elizabethan literature, making them indispensable in the study of early modern English drama.

Their innovations in characterization, verse, and genre helped establish the golden age of English literature, culminating in Shakespeare’s masterpieces.

ENGLISH LITERATURE UPTO 1590 – THE WARS OF THE ROSES (1455-1487)

ENGLISH LITERATURE UPTO 1590 – THE WARS OF THE ROSES (1455-1487)

The Wars of the Roses (1455–1487) in English Literature up to 1590

The Wars of the Roses (1455–1487) were a series of dynastic civil wars between the rival houses of Lancaster (red rose) and York (white rose) for control of the English throne. These conflicts, marked by political intrigue, shifting alliances, and bloody battles, profoundly influenced late medieval and early Renaissance literature, including historical chronicles and later Elizabethan drama.

Causes and Key Events

Weak Monarchy & Noble Factions – The weak rule of Henry VI (Lancaster) and economic discontent fueled rivalries between powerful nobles, particularly the Yorkist claim through Richard, Duke of York.

Major Battles –

First Battle of St. Albans (1455) – Yorkist victory, beginning the conflict.

Towton (1461) – Edward IV (York) seizes the throne.

Bosworth Field (1485) – Henry Tudor (Lancaster) defeats Richard III (York), ending the wars and founding the Tudor dynasty.

Literary Depictions –

Chronicles (e.g., Holinshed’s Chronicles) – Provided source material for Shakespeare.

Thomas More’s History of King Richard III – Shaped the Tudor narrative of Richard as a villain.

Literary Impact

Shakespeare’s History Plays – The Henriad (Richard II, Henry IV, Henry V) and Richard III dramatize the wars, blending history and Tudor propaganda.

Medieval Allegory & Political Morality – Earlier works like Sir Thomas Malory’s Le Morte d’Arthur (1485) reflect the era’s chivalric ideals and chaos.

Tudor Propaganda – The Tudor victory at Bosworth was mythologized to legitimize Henry VII’s rule, influencing later literature.

Conclusion

The Wars of the Roses left a lasting mark on English literature, inspiring historical narratives and dramatic works that explored themes of power, betrayal, and national identity. Shakespeare’s plays, in particular, immortalized the conflict, ensuring its legacy in literary history.

  ENGLISH LITERATURE UPTO 1590 – THE WARS OF THE ROSES (1455-1487)

ENGLISH LITERATURE UPTO 1590 – AN APOLOGY FOR POETRY

ENGLISH LITERATURE UPTO 1590 – AN APOLOGY FOR POETRY

Sir Philip Sidney’s An Apology for Poetry (English Literature up to 1590)

Sir Philip Sidney’s An Apology for Poetry (also known as The Defence of Poesy), written around 1579–1580 and published posthumously in 1595, is one of the most important works of Renaissance literary criticism. It defends poetry against Puritan attacks, particularly Stephen Gosson’s The School of Abuse (1579), which condemned literature as immoral and frivolous. Sidney’s treatise asserts poetry’s moral and intellectual value, blending classical and Renaissance ideas.

Key Arguments in An Apology for Poetry

Poetry as the Oldest and Noblest Art – Sidney traces poetry’s origins to ancient civilizations, arguing that it predates philosophy and history. He cites biblical and classical examples (e.g., the Psalms, Homer) to prove its enduring significance.

Poetry as a Moral Force – Unlike history (limited to facts) or philosophy (too abstract), poetry delights while instructing. It presents idealized examples of virtue and vice, inspiring readers toward ethical behavior.

The Poet as a Divine Creator – Sidney elevates the poet above historians and philosophers, calling them "makers" who imitate nature but improve upon it, creating a "golden world" superior to the "brazen" real world.

Response to Critics – Sidney refutes claims that poetry is lies, wasteful, or corrupting. He argues that abuse stems from bad poets, not poetry itself, just as a sword’s misuse doesn’t condemn the weapon.

Style and Influence

Written in eloquent, persuasive prose, blending wit, logic, and classical references (Aristotle, Horace).

Establishes English poetry’s legitimacy, influencing later critics like Dryden and Shelley.

Defends imaginative literature’s role in education and society, a foundational text for literary theory.

Conclusion

Sidney’s Apology is both a passionate defense and a Renaissance manifesto for poetry’s power to uplift humanity. Its humanist ideals and rhetorical brilliance secure its place as a cornerstone of Elizabethan literature.