From the Origins to the Contemporary Age New Literary Landscapes unantologia della letteratura inglese, americana e postcoloniale in un unico volume che presenta gli autori nel loro contesto storico e culturale. Il testo suddiviso in 7 capitoli: 1 From Early Britain to the Middle Ages 2 From Renaissance to Restoration 3 The Eighteenth Century 4 The Romantic Age 5 The Victorian Age 6 The Modern Age 7 The Contemporary Age In questa nuova edizione: Picture This visual page di introduzione a ciascuna epoca Timeline cronologia dei principali eventi di ogni periodo Big Science sezioni che esplorano i legami tra la letteratura e il mondo della scienza From Brit Lit to It Lit finestre comparative che favoriscono utili raffronti con la letteratura italiana Landmarks finestre interdisciplinari e di approfondimento storico-culturale Dossier sulle forme letterarie inserti che illustrano in modo schematico le caratteristiche basilari delle tre principali forme letterarie (Poetry, Drama, Fiction) Movie Links schede cinematografiche con attivit collegate ai testi e agli autori studiati Art Links opere di arte visiva presentate nel loro contesto storico-artistico Links collegamenti interni al testo che permettono di tracciare percorsi tematici Multimedia Lab laboratori multimediali che, a partire da temi di attualit quali consumismo, guerra, colonialismo e biotecnologie stimolano la discussione in classe e la contestualizzazione della letteratura nel mondo contemporaneo ampliamento autori moderni e contemporanei Chart Your Knowledge verifica sommativa alla fine di ogni capitolo attivit approfondite di comprensione testuale, analisi critica e stilistica, esercizi di scrittura creativa, group work e percorsi guidati di esplorazione del web note lessicali in italiano e testi a fronte per i brani pi difficili Lopera corredata di: Literary Connections fascicolo interdisciplinare con attivit di preparazione allesame FCE CD audio per la classe 978-88-530-0587-8 Videocassetta per la classe (Movie Links) 978-88-7754-557-2 Teachers Guide and Tests 978-88-530-0573-1 Brani e materiale aggiuntivo sul nostro sito web www.cideb.it G . T h o m s o n
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M a g l i o n i Questo volume, sprovvisto del talloncino a fronte, da considerarsi copia di saggio-campione gratuito fuori campo applicazione I.V.A. (D.P.R. 633/72, art. 2, c. 3, lett. d). !"# %&%'()*+',-* ./0 1"!!2334 453652334 66782 ,91:!9 6 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara Graeme Thomson Silvia Maglioni A Short Anthology of Literature in English From the Origins to the Contemporary Age LANDSCAPES NEW Li t er ar y !"# %&%'()*+',-* . /01.21/..2 3456 ,789!7 0 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara Editors: Robert Hill, Frances Evans, Tessa Vaughan Cover and design: Nadia Maestri Layout: Emilia Coari Picture research: Laura Lagomarsino Paintings on the front cover (from left to right): Round Buckle (middle of the 4th century), detail, Celtic Art. Bibliothque nationale de France, Paris. Westminster Bridge, London (1886) by C. T. Stanfield Moore. Fine Art Photographic Library. Knife Grinder (1912) by Kasimir Malevich. Yale University Art Gallery, New Haven. 2006 Black Cat Publishing, an imprint of Cideb Editrice, Genoa, Canterbury First edition: February 2006 5 4 The authors and publisher would like to thank the following teachers for their invaluable help and comments in the development of this book: Anna Parente (Liceo Classico San Nazzaro, Napoli), Loredana Battista (Liceo Classico Garibaldi, Napoli), Elenora Sana (Liceo Scientifico Convitto, Assisi), Elisabetta Marsigli (Istituto Suore Visandine, Bologna), Carla Peduzzi (Liceo Artistico Mario Maffai, Roma), Luisa Pastina (Liceo Linguistico/Classico Mancinelli, Roma), Filomena Petrosino (Liceo Scientifico F. Severi, Napoli), Immacolata Pirone (Istituto Magistrale Villari, Napoli), Giulia Tiburtini (Istituto Tecnico Iglesias, Cagliari), Filippa Rosselli (Istituto Magistrale De Sanctis, Catania). All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the publisher. Every effort has been made to trace copyright holders of material reproduced in this book. Any rights not acknowledged here will be acknowledged in subsequent printings if notice is given to the publisher. Le fotocopie per uso personale del lettore possono essere effettuate nei limiti del 15% di ciascun volume/fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dall`art. 68, commi 4 e 5, della legge 22 aprile 1941 n. 633. Le riproduzioni effettuate per finalit di carattere professionale, economico o commerciale o comunque per uso diverso da quello personale possono essere effettuate a seguito di specifica autorizzazione rilasciata da AIDRO, Corso di Porta Romana n. 108, Milano 20122, e-mail segreteria@aidro.org e sito web www.aidro.org We would be happy to receive your comments and suggestions, and give you any other information concerning our material. editorial@blackcat-cideb.com www.cideb.it www.blackcat-cideb.com ISBN 978-88-530-0572-4 Book ISBN 978-88-530-0571-7 Book + Literary Connections Printed in Italy by Stamperia Artistica Nazionale, Trofarello, Turin. TEXTBOOKS AND TEACHING MATERIALS The quality of the publisher`s design, production and sales processes has been certified to the standard of UNI EN ISO 9001 !"# %&%'()*+',-* ./01 2334 563/62334 /173/ ,89:!8 2 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara 1 From Early Britain to the Middle Ages (700 BC - AD 1485) 7 The Historical Ground 1.1 8 Early Britain: A History of Invasions 9 BIG SCIENCE Stonehenge 1.2 14 Britain after the Norman Conquest The Literary Ground 1.3 18 Anglo-Saxon Literature 1.4 20 Literature in the Late Middle Ages 23 The Art of Poetry 27 Geoffrey CHAUCER 29 The Canterbury Tales 29 The Knight 31 The Wife of Bath 33 FROM BRIT LIT TO IT LIT Stories Within Stories: Boccaccios Decameron 34 MULTIMEDIA LAB From Pilgrimage To Tourism 38 CHART YOUR KNOWLEDGE 2 From Renaissance to Restoration (1485-c.1690) 39 The Historical Ground 2.1 40 The English Renaissance 42 BIG SCIENCE The Rise of Modern Science: Copernicus, Kepler and Galileo 2.2 44 The Tudors and the Reformation 46 ART LINK Holbein: The Skull Beneath the Skin 50 ART LINK Gower: Portrait of Empire 2.3 52 From the Stuart Dynasty to the Restoration of the Monarchy The Literary Ground 2.4 54 Literature during the Renaissance 60 The Art of Drama 62 William SHAKESPEARE 65 Romeo and Juliet 69 MOVIE LINK William Shakespeares Romeo + Juliet 70 Hamlet 75 King Lear 81 The Tempest 85 MOVIE LINK Prosperos Books 87 Sonnet 60 89 Sonnet 130 92 LANDMARK Black is Beautiful? 93 MOVIE LINK Shakespeare in Love 94 FROM BRIT LIT TO IT LIT Petrarch and the English Sonnet 95 MULTIMEDIA LAB Courtly Love 99 CHART YOUR KNOWLEDGE 3 The Eighteenth Century (1702-60) 100 The Historical Ground 3.1 101 The Augustan Age 103 LANDMARK The Age of Enlightenment 104 BIG SCIENCE Newton and the Triumph of Science 106 ART LINK Hogarth: A Writers Painter 108 ART LINK Gainsborough: Portrayer of Privilege The Literary Ground 3.2 110 The Novel in the Eighteenth Century 114 The Art of Fiction 116 Daniel DEFOE 118 Robinson Crusoe 122 Jonathan SWIFT 124 Gullivers Travels 128 Laurence STERNE 129 Tristram Shandy Contents 2 3 4 5 6 7 !"# %&%'()*+',-* . /01.21/..2 3456 ,789!7 : New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara 133 FROM BRIT LIT TO IT LIT Se una notte di inverno un viaggiatore 134 LANDMARK The Experimental Novel 135 MULTIMEDIA LAB Empire 139 CHART YOUR KNOWLEDGE 4 The Romantic Age (1760-1837) 140 The Historical Ground 4.1 141 The Age of Revolutions 145 BIG SCIENCE The Rise of Scientific Autonomy in the Romantic Age 148 ART LINK Turner: Turbulent Landscapes The Literary Ground 4.2 150 Literature in the Romantic Age 150 LANDMARK Isnt it Romantic? 151 LANDMARK The Sublime 158 William BLAKE 160 The Lamb 161 The Tyger 164 ART LINK Blake: Framing Visions 166 MOVIE LINK Dead Man 167 William WORDSWORTH 169 I wandered lonely as a cloud 172 ART LINK Constable: Nature in its Element 174 LANDMARK A Caribbean Spring 175 LANDMARK (Nothing But) Flowers 178 Samuel Taylor COLERIDGE 180 The Rime of the Ancient Mariner 183 LANDMARK Baudelaire and the Albatross 184 Percy Bysshe SHELLEY 185 Ozymandias 187 FROM BRIT LIT TO IT LIT Visions of the Sublime: Leopardis Linfinito 188 John KEATS 189 Ode on a Grecian Urn 193 Jane AUSTEN 194 Sense and Sensibility 198 MOVIE LINK Sense and Sensibility 199 Mary SHELLEY 201 Frankenstein 205 MULTIMEDIA LAB Interfering With Nature 209 CHART YOUR KNOWLEDGE 5 The Victorian Age (1837-1901) 210 The Historical Ground 5.1 211 The Age of Empire 214 LANDMARK The Transformation of Labour 216 LANDMARK The Arguments For and Against Imperialism 218 ART LINK Victoria: The Business of Empire 220 BIG SCIENCE Darwin and the Theory of Evolution The Literary Ground 5.2 223 Victorian Literature 235 Edgar Allan POE 236 The Fall of the House of Usher 239 Charles DICKENS 240 Hard Times 244 MOVIE LINK Dead Poets Society 246 Great Expectations 249 LANDMARK Jack Maggs: Peter Careys Great Transportation 250 Charlotte BRONT 251 Jane Eyre 255 Herman MELVILLE 256 Moby-Dick 8 9 10 11 12 !"# %&%'()*+',-* . /01.21/..2 3456 ,789!7 6 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara 260 Henry JAMES 261 The Portrait of a Lady 265 MOVIE LINK The Portrait of a Lady 266 Oscar WILDE 269 The Picture of Dorian Gray 272 Alfred TENNYSON 274 Ulysses 278 FROM BRIT LIT TO IT LIT Paveses Ulysses 280 Walt WHITMAN 281 Song of Myself 284 Emily DICKINSON 285 There is a solitude of space 287 Christina ROSSETTI 288 In an Artists Studio 290 ART LINK D. G. Rossetti: Not As She Is 292 MULTIMEDIA LAB Education 297 CHART YOUR KNOWLEDGE 6 The Modern Age (1901-45) 298 The Historical Ground 6.1 299 A Time of War 303 LANDMARK The Poetry of Survival: The Holocaust 306 ART LINK Nash: The Machinery of Death The Literary Ground 6.2 308 Modern Literature 308 LANDMARK Modernism and the Convergence of the Arts 310 ART LINK Picasso: Reflections in a Broken Mirror 313 BIG SCIENCE Psychology and the Modern Novel 319 Joseph CONRAD 320 Heart of Darkness 320 Extract 1 322 Extract 2 325 MOVIE LINK Apocalypse Now 326 E. M. FORSTER 327 A Passage to India 330 MOVIE LINK A Passage to India 331 Virginia WOOLF 333 Mrs Dalloway 335 LANDMARK Michael Cunninghams The Hours 337 James JOYCE 339 The Dead 343 MOVIE LINK The Dead 344 D. H. LAWRENCE 346 Sons and Lovers 348 LANDMARK From Utopia to Dystopia 349 Aldous HUXLEY 351 Brave New World 355 Ernest HEMINGWAY 356 The Killers 360 ART LINK Hopper: Only the Lonely 362 George ORWELL 364 Nineteen Eighty-Four 368 W. B. YEATS 369 The Second Coming 371 Wallace STEVENS 372 The Snowman 374 T. S. ELIOT 376 The Waste Land 378 The Hollow Men 382 Wilfred OWEN 383 Anthem for Doomed Youth 13 14 15 16 17 18 19 20 !"# %&%'()*+',-* . /01.21/..2 3456 ,789!7 5 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara 385 FROM BRIT LIT TO IT LIT Ungaretti: The Slender Border Between Life and Death 386 W. H. AUDEN 387 Muse des Beaux Arts 390 MULTIMEDIA LAB War 395 CHART YOUR KNOWLEDGE 7 The Contemporary Age (1945 and after) 396 The Historical Ground 7.1 397 The Post-War Period 401 LANDMARK The Rise of Pop Culture The Literary Ground 7.2 405 Contemporary Literature 406 LANDMARK The Postmodern Condition 410 ART LINK Rauschenberg: Creation and Assemblage 418 Jean RHYS 419 Wide Sargasso Sea 422 Don DELILLO 424 White Noise 426 BIG SCIENCE Writing on the Edge of Catastrophe 428 ART LINK Warhol: The Big Boom 430 ART LINK Lichtenstein: Comic Strip Explosion 432 Angela CARTER 434 Wolf-Alice 437 Bruce CHATWIN 439 In Patagonia 441 FROM BRIT LIT TO IT LIT What Are We Doing Here? Gianni Celatis Avventure in Africa 443 J. M. COETZEE 444 Foe 447 Salman RUSHDIE 448 Midnights Children 451 Ian McEWAN 453 The Child in Time 455 Jonathan FRANZEN 457 The Corrections 460 Philip LARKIN 461 Wants 463 Derek WALCOTT 464 New World 466 Wole SOYINKA 467 Telephone Conversation 470 ART LINK Rothko: The Art of Being Alone 472 Seamus HEANEY 473 Punishment 476 Margaret ATWOOD 477 It is Dangerous to Read Newspapers 480 ART LINK Bacon: Horror of the Body 482 Samuel BECKETT 484 Waiting for Godot 487 Arthur MILLER 488 Death of a Salesman 491 MOVIE LINK Glengarry Glen Ross 492 John OSBORNE 493 Look Back in Anger 496 Harold PINTER 498 The Caretaker 501 MULTIMEDIA LAB Consumer Culture 505 CHART YOUR KNOWLEDGE 506 Glossary of Literary Terms 509 General Index 21 22 23 24 25 26 27 28 29 !"# %&%'()*+',-* . /01.21/..2 3456 ,789!7 2 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara 1 From Early Britain to the Middle Ages (c.700 BC-AD1485) PICTURE THIS 1 Here are some real and legendary figures from the historical period you are going to study. Read the captions to find out who they are. Then match each figure with his or her description. a One of the bravest knights of the Round Table. b Legendary hero who stole from the rich to give to the poor. c Roman Emperor who lived at the time of the Roman occupation of Britain. d French national heroine who fought against England during the 15th century. e Duke of Normandy who led the Normans against the English at Hastings. Joan of Arc from the film Jeanne la Pucelle (1997) directed by Jacques Rivette. Lancelot from the film Lancelot du Lac (1974) directed by Robert Bresson. Robin Hood from the film Robin Hood: Prince of Thieves (1991) directed by Kevin Reynolds. i ii iii William the Conqueror from the Liber Legum Antiquorum Regum (c.1321). The British Library, London. iv Hadrian (2nd century AD), bronze head dredged from the River Thames in London in 1834. The British Museum, London. v !"# %&%'()*+',-* . /01202113 .456/ ,789!7 / New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara SARMATIA SCYTHIA DACIA GALATIA DELPHI ROMA TELAMON LA TNE MASSILIA HALLSTATT APPROXIMATE AREA OF CELTIC SETTLEMENT IN EUROPE AT THE BEGINNING OF THE 5TH CENTURY B.C. EXPANSION OF THE CELTS BETWEEN THE LATE 5TH AND MID 3RD CENTURIES B.C. 1.1 Early Britain: A History of Invasions The history of early Britain is dominated by the invasion of different peoples who settled in the island and helped to create what is now known as Great Britain. In each case, defeated native populations were not displaced but became more or less incorporated by the new rulers, which ultimately led to a partial mixing of the cultures and religions. However, there was often no great cohesion within each group. The struggle for power was constant, resulting in conflicting loyalties, internal divisions, and widespread political instability. The main invaders were the Celts, the Romans, the Anglo-Saxons, the Vikings and the Normans. The Celts The Celts first appeared in Britain around the year 700 BC. Originating from the north-west of Germany, they brought with them an already sophisticated culture. Their weapon-making skills were highly advanced and they produced elaborate metal jewellery. The Celts were organised into tribes and were originally a pagan culture who worshipped the elements: the sun and moon, as well as rivers, trees and stones, all of which were believed to have souls. Water in particular was considered the most important life-generating element. The Celts believed in the immortality of the soul. Their places of worship included numerous stone circles erected during the Bronze age. The Historical Ground 8 c.700 BC Celts appear in Britain. AD 43-410 Roman rule in Britain. c.122-28 AD Emperor Hadrian builds the wall between Britain and Scotland. c.410 Withdrawal of Roman legions from Britain c.450 Anglo-Saxons and Jutes arrive from north-west Germany. 597 Establishment of Saint Augustines Christian mission at Canterbury. 793-5 Viking invasions (Danish and Norwegian) in Scotland and northern and eastern England. Celtic settlement and expansion. !"# %&%'()*+',-* . /01202113 .456/ ,789!7 : New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara 849-99 Reign of King Alfred the Great. 978-c.1016 Reign of Ethelred. 1066 Battle of Hastings. William the Conqueror of Normandy defeats Harold II, the last Anglo-Saxon king. 1154-89 Reign of Henry II. 1164 The Constitutions of Clarendon. 1170 Assassination of Thomas Becket. 1189-99 Richard I the Third Crusade. 9 The H|stor|ca| Ground Ear|y Br|ta|n: A H|story of Invas|ons BIG SCIENCE Stonehenge The most famous surviving circle is Stonehenge, in south-west England, a group of enormous stones placed in concentric circles. Stonehenge was an ancient templ e and probabl y an astronomical observatory too. The construction of Stonehenge took nearl y 2,000 years. Although there are many different theories regarding its mysterious construction, we are almost certain that the monument was built in three phases and that three groups of people took part in it. The first may have been the late Neolithic people, just after 3,000 BC. The next group may have been the Beaker people (c.2100 BC). The last phase may have been carried out by the Wessex people (c.1500 BC). Regardless of who built the stone monument, its design and construction must have involved thousands of people. Nowadays, Stonehenge has become a site of pilgrimage for groups of New Age travellers interested in reviving ancient rites and the old pagan cult of sun worship. Some scientists, however, bel ieve that Stonehenge was buil t as a very precise instrument to measure and predict astronomical alignments and eclipses. In 1966, an American scientist called Gerald Hawkins published Stonehenge Decoded, in which he used an early IBM computer to l ook for astronomical alignments and argued that the position of some of the stones indicated that it had been used for this purpose. Hawkinss theory was extremely popular at first, but his methodology was later criticised. Nevertheless, his work gave rise to a movement of archaeo-astronomists who sought further evidence that stone circl es l ike Stonehenge may in fact have been the worlds earliest computers. Horizons 1 In pairs surf the Internet and look for more information and pictures of Stonehenge. Prepare a short presentation. Stonehenge, Salisbury Plain. !"# %&%'()*+',-* . /01202113 .456/ ,789!7 ; New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara The Romans The Roman conquest of Britain began in the year 55 BC with the invasion of Julius Caesar. However, Britain was not actually occupied by the Romans until much later (from AD 43) under the reign of the Emperor Claudius (AD 41-54). The Romans introduced a literate culture into Britain for the first time in its history: the Latin language and civilisation became part of British society. Moreover, the Romans built roads, fortifications, towns, baths and amphitheatres where they settled. Later, the Romanised Britons themselves became the provincial administrators of Roman laws and taxes. Roman towns had running water and the houses had a drainage system, heating and water. The floors were paved in mosaic and the walls were of painted stucco, as found in Roman Italy. Though at the beginning there was considerable resistance, much of the Celtic population adapted to Roman ways quite happily, while educated Romans were fascinated by aspects of Celtic religion. Roman Britain, like the Roman Empire itself, was in fact a polytheistic society and Roman and Celtic gods were often fused into a single entity. In Britain the economic system of the early Roman Empire, based on a money economy and trade, was fully accepted. Culturally, Roman fashions were dominant and classical art and decoration widely adopted. Wealthy Britons were encouraged to build houses and baths and adopted the opulent lifestyles of the Romans. Yet the Roman advance was halted just south of what is now the border between England and Scotland. The Caledonians, as the Romans called the fierce inhabitants of Scotland, refused to be colonised and eventually Emperor Hadrian (AD 76-138) decided to build a wall to keep the northern raiders out of Roman Britain. It is still possible to walk along the ruins of Hadrians Wall, which stretch from Maryport in West Cumbria to Wallsend near Newcastle in the north-east of England. Under the late Roman Empire, Christianity was further introduced into parts of Celtic Britain. But by the end of the fourth century, the Roman Empire had begun to fall apart and in AD 409 the Emperor Honorius (AD 384-423) was forced to pull his Roman legions out of Britain to defend Rome against attacks from the Visigoths, and Britain was left to defend itself. Although much of the civilisation that the Romans introduced into Britain was afterwards erased, certain aspects such as the procedure for the division and distribution of land remained. 1 From Ear|y Br|ta|n to the M|dd|e Ages 10 1199-1216 Reign of King John. 1215 Signing of the Magna Carta. 1295 Opening of the first English Parliament (Model Parliament). 1327-77 Reign of Edward III. 1337-1453 The Hundred Years War. 1381 The Peasants Revolt. 1455-87 The Wars of the Roses. 1485 The Tudor dynasty begins with Henry VII after his victory against Richard III at the Battle of Bosworth. Hadrian`s Wall today. !"# %&%'()*+',-* . /01202113 .456/ ,789!7 .1 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara The Anglo-Saxons After the Romans withdrew definitively from Britain, Germanic tribes invaded the island. These Anglo-Saxon invaders (Angles, Saxons and Jutes) destroyed many Roman British towns and soon took control of much of eastern Britain. The Celtic Britons continued to resist the invaders but suffered from internal fighting. By the end of the 6th century, the Anglo-Saxons had established seven recognisable kingdoms in Britain: Kent, Sussex, Essex, East Anglia, Northumbria, Mercia and Wessex. With the exception of Mercia, all of these names are used today. While the Romans had introduced Christianity to Britain, the Anglo- Saxons, at least in the early stages of their occupation, re-established pagan values. They were largely illiterate and instead of the Latin alphabet their writing used characters called runes. Their gods had both Germanic and Scandinavian origins. Christianity continued to be practised by some Celts but they lived mostly in isolated communities of monks in parts of Wales, Scotland and Ireland. In 597, however, a monk called Augustine was sent to England to re-establish Christianity in Britain. He went to Kent where he became the first Archbishop of Canterbury, the title now given to the head of the Church of England. In this way the Roman Church was able to gain a great deal of influence over subsequent English kings. Moreover, monasteries became important centres of culture. The Vikings Soon after establishing their kingdoms in England, the Anglo-Saxons had to defend themselves from a new wave of invasions from Norway and Denmark: the Vikings. The Vikings eventually managed to occupy large parts of Northumbria, Mercia and East Anglia. As a result of the Viking incursions, the Anglo-Saxons were forced to regroup their forces in Wessex, under the leadership of King Alfred the Great (849-99). Alfred, a fine soldier and statesman, reconquered the lands the Vikings had occupied and became the first king to unite England under one crown. He introduced laws, the first since the Romans had left. Alfred was also a great scholar who translated several Latin works and developed education and scholarship in England. Under his rule work was begun on a massive history of England known as The Anglo-Saxon Chronicle, which is one of the key sources of information we have about early medieval England. 11 N o r t h u m b r i a Mercia East Anglia Essex Kent Sussex Wessex Vikings crossing the North Sea from an 11th century manuscript. Pierpont Morgan Library, New York. The H|stor|ca| Ground Ear|y Br|ta|n: A H|story of Invas|ons Gold belt buckle (7th century), from the burial of an Anglo-Saxon king at Sutton Hoo, Suffolk. The British Museum, London. !"# %&%'()*+',-* . /01202113 .456/ ,789!7 .. New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara The Normans In 1066, William, Duke of Normandy, led the Normans across the English Channel to fight Harolds English army at the Battle of Hastings. The English were defeated, and Harold was killed. Among the things the Normans introduced to England were the French language and the hierarchical feudal system. This was a pyramidal system by which the king, who owned all the land, distributed territories to his barons, who in turn gave land to those under them, the knights. In return for this land, the receivers, or vassals, had to promise loyalty and service to their overlords. Even the peasants fell into two categories: the villains, or freemen who had land of their own which they could pass on to subsequent generations, and the serfs, who had no land of their own and very little freedom. The main service requested of nobles at this time was to help the king in his wars. But as the nobles grew wealthier they became reluctant to go and fight, and instead of services they began giving the king money, which was used to recruit professional soldiers. The cost of war meant that the king also had to turn to merchant financiers to fund his campaigns. In this way the merchants gained a great deal of influence at court, and were given titles and land. The substitution of money for services had two important effects. Firstly, it gave the barons and merchants more power, since they were now effectively financing the kings campaigns. Secondly, it led to the mobilisation of large numbers of paid soldiers who were recruited from peasant workers. 1 From Ear|y Br|ta|n to the M|dd|e Ages 12 The Norman cavalry charging the Anglo-Saxons from The Bayeux Tapestry (c.1077) The City of Bayeux. This famous tapestry, originally 70 metres long, tells the full story of the Norman Conquest. !"# %&%'()*+',-* . /01202113 .456/ ,789!7 .2 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara Check what you know 1 Reread the section about invasions in early Britain and fill in the following table: Who When (approximately) Celts 700 BC 409 AD 8th century Normans 2 Answer the following questions: a Where did the Celts originate? b In what way were they a pagan culture? 3 Are the following statements about the Roman conquest true or false? Correct the false ones. a The economic system of the early Roman Empire, based on a money economy and trade, was completely rejected. b Roman fashions and classical art and decoration became popular. c The Roman advance was stopped south of what is now the border between England and Wales. d The Caledonians refused to be colonised and Emperor Augustus decided to build a wall to keep them out of Roman Britain. e Under the late Roman Empire Christianity was introduced for the first time. f In AD 509 the Emperor Honorius was forced to pull his Roman legions out of Britain. 4 Revise what you have learnt about the Anglo- Saxons and complete the following statements: a The Anglo-Saxons were originally ............... ............................................................... . b They were largely ..................................... . c Their language used .................................. ............................................................... . d Their gods had ........................................ . e In 597 a monk called Augustine ................. ............................................................... . 5 Explain the following in your own words: a How Britain was divided at the end of the 6th century. b The importance of Augustine in English history. c Where the Vikings came from and what part of the country they occupied. d Who Alfred the Great was and what he is remembered for. 6 Complete the following statements about the Normans. a In 1066 William led the Normans across .......................... to fight ......................... . at ........................... . b The English were .......................... and Harold ........................... . c The Normans introduced ........................... and ........................... . 7 Explain how the feudal system worked. F T F T F T F T F T F T 13 Celtic bronze belt buckle (1st century) in the shape of a double-headed bird. The British Museum, London. The H|stor|ca| Ground Ear|y Br|ta|n: A H|story of Invas|ons !"# %&%'()*+',-* . /01202113 .456/ ,789!7 .< New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara 1.2 Britain after the Norman Conquest A time of reform The last Norman king, Stephen (1135-54), was followed by the first Plantagenet king, Henry II (1154-89). His reign saw the introduction of the first major reform which weakened the feudal structure of society. This was Common Law and it concerned the English legal system. Unlike previous forms of law, Common Law no longer referred to an absolute idea of justice decreed by the king or the Church but to a relative system based on custom and comparison with previous cases. Along with Common Law came the establishment of trial by jury, which is still used today in Britain. The increasingly wealthy barons and merchants consolidated their alliance during the reign of King John (1199-1216), who imposed higher taxes to pay for his disastrous campaigns in France to protect his lands. On his return from one of these in 1215, his financiers decided they had had enough and forced him to sign a document known as the Magna Carta. The document stipulated that the king could no longer claim taxes without the approval of a council of advisors. Furthermore, no free man could be arrested, imprisoned or dispossessed of his property without fair trial. Of course, none of this applied to common labourers, and the number of free men was relatively low, but it marked a fundamental shift in power away from the king himself to a small elite of nobles, merchants and senior churchmen. Moreover, it created the conditions for the rise of the middle classes of free men. In 1258, under the leadership of Simon De Montfort, a parliament was formed and the nobles began to effectively govern the country themselves. The rebellion was eventually crushed and De Montfort was killed but Edward I (1272-1307) recognised the effectiveness of the parliamentary system and revived the idea in 1295. He widened representation to include not only barons and clergy but also knights and town citizens. His Model Parliament, as it was called, laid the foundations for the modern-day parliament. 1 From Ear|y Br|ta|n to the M|dd|e Ages King Stephen from an illustration of the four Norman kings of England in Matthew Paris`s Historia Anglorum (1250-9). The British Library, London. 14 The Magna Carta. The British Library, London. !"# %&%'()*+',-* . /01202113 .456/ ,789!7 .6 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara Church and State Because a kings legitimacy depended largely on the support of the Church, the Church in turn had a considerable degree of control over affairs of state. For this reason the relationship between Church and State was often an uneasy one, as can be seen in the case of Thomas Becket (1118-70), who was made Archbishop of Canterbury by King Henry II. The king hoped that by giving the job to his friend he could control the power of the Church. But Becket, faithful to his religious role, turned against Henry and refused to support his proposed reform bill, The Constitutions of Clarendon (1164), which was designed to give the king more authority in appointing bishops and enable the trial of clergymen in civil as well as ecclesiastical courts. Eventually Henry resolved the problem of Beckets opposition by having him murdered in Canterbury Cathedral. As a result Becket was made a saint and martyr, adding power and credibility to the Church in England. By the 14th century, the Church, and in particular the great monasteries, had amassed vast amounts of land and money and was regarded with increasing suspicion. Most of the clergy had become part of an opportunistic ruling class whose financial and political interests conflicted with the basic principles of Christian life. As a result of this the Lollardy reform movement was born. Led by John Wycliffe (c.1320-84), its main objective was to divest the Church of much of its wealth, and use it for more charitable purposes. The movement, however, was eventually suppressed and many Lollards were burned as heretics. In their anticlericism, however, the Lollards anticipated the Reformation of the 16th century. The fortunes of war One of the effects of the Norman Conquest was to unite England with Normandy in the north of France. But there were continual disputes with the French over possession of land and sovereignty from 1337 onwards which became known as the Hundred Years War. Englands fortunes fluctuated during the war, from Henry Vs historic victory at the Battle of Agincourt in 1415 to defeat by a tiny French army led by the visionary peasant girl Joan of Arc at Orlans in 1429. The French eventually won a decisive victory over the English at Castillon in 1453. Yet when the Hundred Years War came to a close, a dispute broke out between the two English rival houses of Lancaster and York. This dispute degenerated into a civil war between the rival families, which was to go on for about 30 years. Because the emblem of both families was a rose, red for Lancaster and white for York, it became known as the Wars of the Roses. Thomas Becket before Henry II from a stained-glass window (c.1220) in Canterbury Cathedral. 15 The H|stor|ca| Ground Br|ta|n after the Norman Conquest The Battle of Agincourt from Froissart's Chronicles (c.1460-80). The British Library, London. !"# %&%'()*+',-* . /01202113 .456/ ,789!7 .4 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara The Black Death The war with France was interrupted in 1348 by the Black Death, an epidemic of bubonic plague which spread rapidly through Europe. The Black Death is reported to have killed about a third of Britains population but, because of the resulting shortage of labour, the living conditions of the poor paradoxically improved. For the first time peasants were able to demand payment for their work and better living conditions. The Peasants` Revolt The new-found prosperity of the peasant was a cause of great alarm to the nobles and landowners who controlled parliament. A poll tax was imposed on the population to remove their financial power. However, at this stage the peasant workers had already organised themselves and were preparing for an armed revolt. The peasants, led by Wat Tyler, marched on London and occupied the city, forcing the government to take refuge in the Tower. The government agreed to accept the peasants demands on condition they disperse, but when they did the government took control again and executed Tyler and hundreds of protesters. The peasant population was driven back to servitude. Yet despite the failure of the revolt, conditions afterwards generally improved and the working people began to see themselves as a class with interests to defend. The explosion of trades and the emergence of the middle classes Around the time of the 14th century, the growth of towns brought with it an explosion of new occupations: artisans and tradesmen of various types such as smiths, shoemakers, carpenters, butchers, bakers and cloth makers. These skilled artisans organised themselves into guilds, or joined forces with merchants to form trading companies, laying the foundations of an urban bourgeoisie. Labour became more organised and many of the old religious taboos surrounding certain types of work disappeared. Meanwhile, in the countryside a new minor aristocracy, which became known as the gentry, was emerging among freeholders of land, who were becoming wealthy through the income generated from agriculture and rents. Farmers themselves were beginning to enclose open fields. The idea of labour in the service of God or of a lord was gradually being replaced by that of working for money. 1 From Ear|y Br|ta|n to the M|dd|e Ages 16 The Death of Wat Tyler at Smithfield, London, in 1381 from Froissart's Chronicles (c.1460-80). The British Library, London. Dyers soaking red cloth from Des Proprietez des Choses (1482). The British Library, London. !"# %&%'()*+',-* . /01202113 .456/ ,789!7 .3 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara The rise of the merchants To understand the forces behind the changes that occurred in the late medieval period we have to look at the crucial role played by merchants. In early medieval Europe, the profession of the merchant was among the despised categories of labour. This was because people believed that mans work had to be in the image of God. For this reason, the only really approved forms of labour were creative jobs which meant either cultivation of the land or craftsmanship. The work of the merchant created nothing except money, and to a pre-capitalist Christian society the abstract values of money were incomprehensible. These taboos only began to recede with the economic revolution of the 12th and 13th centuries, which saw the rise of towns and with them the appearance of a great number of new professions and trades. The activity of the merchant was justified by a complex series of excuses and justifications for their unholy labour. For example, it could be justified by the benefits it brought to the community in terms of providing products from overseas that were previously unavailable. Also the risks involved in transportation were considered justification for the money the merchant earned. Thus the merchant slowly became a valued and esteemed member of the new society. Linked to the rise of the merchants was a new idea of time, which began to be considered an object to be measured in terms of length of a given operation or process: in this period the expression time is money started to make sense. Check what you know 1 Reread the paragraphs on reform and explain the following: a What Common Law was and in what ways it can be considered progressive. b What the Magna Carta was and when it was signed. c What happened in 1258 and 1295. 2 How would you describe the relationship between the Church and the State during this period? 3 Explain who Thomas Becket was and what happened to him. 4 Discuss the Lollardy reform movement. 5 Refer to the section on the Hundred Years War and say: a What its causes were. b When it started. c What happened in 1415 and 1429. d When the war ended and who won. 6 Explain how the Wars of the Roses got their name. 7 List some of the consequences of the Black Death. 8 Refer to the section on the Peasants Revolt and say: a Why it started. b Who its leader was. c How it ended. d What the consequences were. 9 Explain the emergence of the middle classes: a What were the new occupations created by the growth of towns around the 14th century? b How did the artisans organise themselves? 10 How did the activity of the merchant slowly become accepted? 17 The Arnolfini Portrait (1434) by Jan van Eyck. The National Gallery, London. Giovanni Arnolfini, a merchant from Lucca living in Bruges, was so wealthy that he could commission a painting by one of the leading artists of the time, such as van Eyck. The H|stor|ca| Ground Br|ta|n after the Norman Conquest !"# %&%'()*+',-* . /01202113 .4567 ,89:!8 ./ New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara 1.3 Anglo-Saxon Literature An oral art The language used in the Anglo-Saxon period is now called Old English. This was a mixture of the languages spoken by the Germanic tribes that invaded Britain in the 5th century and was very different from modern English. Like much of the worlds earliest literature, the literature of the Anglo-Saxons was first communicated orally. Having been passed from one person to another by way of mouth, a poem or tale could change a lot before it was finally put down in written form. Poetry in its earliest manifestations was simply a way of preserving the history and culture of the tribe for the benefit of future generations. In Anglo-Saxon culture, the poet, or scop, had this special role. He knew all the stories and legends of the clan, and was the keeper of a rich poetic vocabulary and metrical rules, which he combined in different ways to compose a lay, a poetic composition, which he accompanied on a stringed instrument. In terms of the improvisational nature of his art, the scop can be compared with the modern day rapper, who is also expected to compose his/her verses or rhymes spontaneously while at the same time keep within strict metrical rules. The difference is that while the poets of old sang of the achievements of the great leaders and heroes of their clan, many modern rappers tend to boast only of their own accomplishments. Lyric and epic poems Much of the oral literature of the Anglo-Saxons has been lost to us, either because it was never written down or because the manuscripts have not survived. However, several lyric compositions have survived, preserved in The Exeter Book, a volume dating from the 10th century. They are characterised by a melancholic tone, as in The Seafarer, in which the first-person narrator tells of his experiences of exile and solitude. It is from epic poetry, however, that the most famous Anglo-Saxon poem, Beowulf, originated. Composed in Old English probably at the end of the 7th century, it is anonymous and at over 3,000 lines it is the longest work of the early period. 18 Rap culture marks a contemporary return to oral culture and tribal loyalties. Pictured here are three members of New York`s Wu- Tang Clan, whose group mythology is partially based on Hong Kong martial arts cinema. Photography by Daniel Hastings. The Literary Ground !"# %&%'()*+',-* . /01202113 .4567 ,89:!8 .7 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara The poem, set in Scandinavia, tells the story of a hero called Beowulf, who becomes famous by helping Hrothgar, King of the Danes. Beowulf kills first a half- human monster called Grendel, who had been terrifying Hrothgars people, and then Grendels mother, who has promised to take revenge for her sons death. After these two acts of heroism, Beowulf eventually returns to his own country to become king. Late in life he decides to fight a dangerous dragon and is killed. In Beowulf we find an interesting mix of religious and cultural references that tell us something about the culture which produced it. The poem contains both pagan and Christian elements. It mainly derives from old Germanic sagas, but there are signs of Christian influence in the way some of the themes are developed. Another important aspect of the poem is the way it mixes myth and legend with reported historical fact. The L|terary Ground Check what you know 1 Read about the main characteristics of early Anglo-Saxon literature and discuss the following: a The language used in this period. b How the literature of the Anglo-Saxons was first communicated. c The main function of poetry in this period. d Anglo-Saxon poets. e Lays. f Scops. 2 What is The Exeter Book and when does it date from? 3 Explain what the main features of The Seafarer are. 4 Describe Beowulf in terms of: a Language. b Date. c Author. d Plot. e Influences. Ang|o-Saxon L|terature The first page of the manuscript of Beowulf. The British Museum, London. Anglo-Saxon iron helmet (7th century) from the Sutton Hoo ship-burial. The British Museum, London. 19 !"# %&%'()*+',-* . /01202113 .4567 ,89:!8 .; New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara 1.4 Literature in the Late Middle Ages An evolving language: The rise of Middle English As we have seen, the language used in the Anglo-Saxon period is now known as Old English (c.700-1100). This was a mixture of the languages spoken by the Germanic tribes that invaded Britain. Later on, the influence of the Norman invasions completely transformed both the structure and vocabulary of Anglo-Saxon English. For about two centuries after the Conquest, Norman French was the dominant language among the higher ranks of society, including the ruling classes and aristocracy, while the peasants, who had no access to formal education, continued to use the native Anglo-Saxon language. In general, however, this period was a time of contamination and bilingualism. With the growth of hostility between the French and the English from the 13th century onwards and the Hundred Years War, French became the language of the enemy and English regained its importance, although by now it was a completely different language in terms of grammar, vocabulary and pronunciation. Linguists usually see this period as the passage from Old English to what is called Middle English (1100-1450). In terms of grammar, one of the main changes to occur in Middle English was the disappearance of almost all of the Anglo-Saxon inflections. But the main influence of French over Middle English is to be found in vocabulary, in particular in the fields of law, fashion, food, architecture, art, medicine and literature. This change involved the loss of a large part of the Old English vocabulary and the addition of thousands of words from French and Latin. In some cases, however, both words survived. At the end of this period Middle English becomes Modern English (1450-present day). It is interesting to notice how in Modern English two words with more or less the same meaning have often survived, one deriving from French and the other from Anglo-Saxon English. This is the case of coexisting words which came to indicate different meanings, such as, for example, the Anglo-Saxon words pig and cow and the French pork and beef, the former to describe the animal and the latter to describe the meat. Medieval Prose Arthurian romance The legend of King Arthur dates from the 5th century, around the time of the first Anglo-Saxon invasions, when Arthur became symbolic of the Celtic Britons resistance. It is still uncertain, however, whether Arthur was a real person perhaps he was a great military leader or just a myth. 1 From Ear|y Br|ta|n to the M|dd|e Ages Scenes from the legend of King Arthur from Roman de Tristan (15th century). Archivo Iconografico, Madrid. 20 !"# %&%'()*+',-* . /01202113 .4567 ,89:!8 21 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara Stories about Arthur are told in the courtly romances of the late medieval period. They refer to a timeless world where the courageous Knights of the Round Table battled for the love of virtuous women, and offer a full range of fantastic elements such as magicians, fairies, dragons and enchantments, all reflecting Celtic mythology. They deal with the ideals of chivalry and courtly love, a chaste quasi-religious idea of love in which women are exalted as ideal but untouchable objects. Arthurian romances were a European phenomenon, with writers from various countries such as the French poet Chrtien de Troyes, famous for his romance Lancelot. The most famous English version is Thomas Malorys Le Morte dArthur, published in 1485, which represents the climax of the Arthurian tradition. Malorys version leaves out the more fantastic aspects of the legend and concentrates on the idea of chivalry the knightly values of loyalty, bravery, honesty and glory as a moral code of honour and as a principle of good government. Medieval Drama Miracle and mystery plays In the Middle Ages religious festivities and the services which accompanied them were not only acts of worship for believers, but opportunities for entertainment as well. During the great Christian festivals, such as Christmas and Easter, the most important events of the Old and New Testament were represented in forms of dialogues sung between a priest and the choir. These stories from the Bible were told in Latin and first given dramatic form in the Church. In England, as in all over Europe, such performances gradually moved outside into the churchyard and then into other parts of the town. Latin was replaced by the vernacular as laypeople took over the roles previously performed by the clergy. In this way mystery or miracle plays came into being in the 13th century and developed over the next two hundred years. Although there is not a clear distinction between mystery and miracle plays, mystery plays usually dealt with events narrated in the Bible while miracle plays used stories from the lives of the saints. The name mystery comes from the word mestier, which means trade: people from different trades (e.g. butchers, carpenters, etc.) performed different episodes of the plays. The town guilds soon took charge of the performances. As the form developed and the plays became more elaborate, the various guilds of craftsmen were given charge of individual scenes on movable stages, called pageants. Although dealing with serious religious themes, the mystery or miracle plays were a popular form of drama and elements of humour were often added to the story. 21 Medieval players weaving masks from a medieval manuscript. Bodleian Library, Oxford. The L|terary Ground L|terature |n the Late M|dd|e Ages !"# %&%'()*+',-* . /01202113 .456; ,89:!8 2. New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara Morality plays The morality plays also represented a popular medium by means of which the message of the Bible could be conveyed to a wide and mostly illiterate audience. The characters, however, were not taken from the Bible but were usually static symbols of fixed values and ideas, such as the vices (greed, envy and so on) or the virtues (patience, temperance and so on) and they would dispute questions of morality, usually within the framework of Christian dogma. This reflected the ordered and essentially static medieval view of the world, based on Ptolemys theory of the earth as the motionless centre of the universe around which the other planets and stars revolved in concentric spheres. The most highly regarded of the morality plays is Everyman. Everyman (symbolic of man in general) is called by Death and asks for the support of his friends (all have allegorical names and are personifications of various virtues and aspects of human life, including Fellowship, Beauty and Good Deeds). However, Everyman finds that none of them will go with him, except for Good Deeds. 1 From Ear|y Br|ta|n to the M|dd|e Ages 22 Check what you know 1 Read about the rise of Middle English and say whether the following statements are true or false. Correct the false ones. a The two main languages used during the two centuries after the Norman Conquest were Norman French and Anglo-Saxon English. b The higher ranks of society spoke English. c The rise of Middle English can be dated to around 1100. d The influence of French on English was restricted to grammar. e Modern English bears no trace of the linguistic effects of the Norman invasion. 2 When do the legends of King Arthur date from? Explain what ideals they deal with. 3 Reread the text on medieval drama and complete the following statements: a In the Middle Ages religious festivities were also opportunities for ......................... . b During the festivals the most important events of the Old and New Testament were ......................... . c These stories were told in ......................... . d These performances gradually moved ......................... and Latin was replaced by ......................... . e These developed around ......................... and were called ......................... or ......................... . f They were performed on ......................... called ......................... . g Morality plays were different because their characters were not ......................... but ......................... . h The most famous morality play is ......................... . It tells the story of ......................... . F T F T F T F T F T The Three Living and the Three Dead from the Psalter of Robert de Lisle (c.1310).The British Library, London. !"# %&%'()*+',-* . /01202113 .456; ,89:!8 22 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara 23 The Art of Poetry A poem a composition written for performance by the human voice is the oldest form of literature. The sound of words plays an extremely important role in poetry. The earliest poems were oral, not written, and many were actually sung rather than spoken and often accompanied by music and dancing. According to its oldest classification, poetry can be divided into three categories: 1. EPIC. By epic poetry we mean a long narrative poem on a great and serious subject. Early epics, such as the Iliad and the Odyssey, were in the oral tradition. The most important Anglo-Saxon example is Beowulf. 2. DRAMATIC. By dramatic poetry we mean a poem written in the form of a monologue or a dialogue. It is written in the voice of a character assumed by the poet. A famous dramatic monologue is Ulysses by Alfred Tennyson. 3. LYRIC. Originally, a lyric was a song performed in ancient Greece to the accompaniment of a musical instrument called a lyre. The term is now used for poems which are generally quite short and are written in the voice of a single speaker. The I of a lyric poem should not be confused with the voice of the poet. Although it can be said that a lyric expresses personal feelings, the I is frequently that of a fictional persona invented by the poet. Among the principal types of lyric are the ballad, the ode, the sonnet and the elegy. FEATURES OF POETRY Poetry has three characteristics that normally distinguish it from narrative prose: the attention given to sound, its structure on the page (i.e. its visual layout) and the way it uses language (the persistent use of what we call figures of speech). Sound Sounds are the raw material from which words, and thus poems, are composed, and the combination of sounds a poet uses contributes to the overall effect and meaning of the poem. Rhythm Every polysyllabic word in English is a combination of more pronounced syllables (which are called stressed) and less pronounced ones (which are called unstressed). For example, the word table, pronounced TA-ble, is a combination of a stressed followed by an unstressed syllable. The rhythm of English words comes from their stress pattern. Clepsydra (1976) by Bridget Riley. Private collection. Riley is a British exponent of Optical art, whose works aim to produce an intense sense of rhythm and movement through the repetition of patterns made of lines. !"# %&%'()*+',-* . /01202113 .456; ,89:!8 2< New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara Metre Each regular combination of syllables is called a foot. Each line of a poem has a given number of feet. This is the poems metre. Lets look at the following line from a poem by Marlowe. Remember that the stress usually falls on the words which are most important to the lines meaning. Come live / with me / and be / my love Here we can see that there are four feet: we call this line a tetrameter, from the Greek tetra= four. And since each of the feet is an iamb, its rhythm is iambic (unstressed/ stressed syllables). It is, in fact, an example of iambic tetrameter. For centuries the most popular metre in English poetry was the iambic pentameter, from the Greek penta= five, which is used in the sonnets of Shakespeare. When the iambic pentameter does not rhyme, it is called blank verse. Rhyme A rhyme involves regular repetition of consonants and vowel sounds. When the final syllables of two or more words have identical sound characteristics, usually at the end of a line, we say that they rhyme (e.g. night, bright). Rhymes are identified by the letters of the alphabet. The pattern they create is called the rhyme scheme. Many poems have fixed rhyme schemes. This means that the same sequence of rhyming lines is repeated throughout. For example: I was angry with my friend: a I told my wrath, my wrath did end: a I was angry with my foe: b I told it not, my wrath did grow b (William Blake) or When fainting nature called for aid, a And hovering death prepared the blow b His vigorous remedy displayed a The power of art without the show b (Samuel Johnson) Assonance By assonance we mean the repetition of a vowel sound with different surrounding consonants. For example: So well go no more a-roving (Byron) The [o] sound is repeated four times in different words. Alliteration By alliteration we mean the recurrence of the same initial sound in words in close succession. For example: Crossing the dead dull fields with footsteps cold The rain drips drearily (Philip Larkin) Here there is a repetition of the sounds [d] and [dr]. Onomatopoeia By onomatopoeia we mean the use of words whose sound imitates the sound that they describe. For example: The ploughman may have heard the splash (W. H. Auden) Splash denotes the sound of a body hitting water. Structure The second feature generally characteristic of poetry is its particular structure or visual layout. The basic unit of a poem is the line. A group of lines forming a definite pattern is called a stanza. As we have seen, these groups of lines are usually defined by their rhyme scheme. The main types of stanza are: the couplet (two lines) the tercet (three lines) the quatrain (four lines) the sestina (six lines) the octave (eight lines) The actual lines of each verse can themselves be connected or divided in various ways. There are lines which continue logically or grammatically without pause into the 24 The Art of Poetry !"# %&%'()*+',-* . /01202113 .456; ,89:!8 26 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara following line: this technique is called run-on- line or enjambement. When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold (Shakespeare) Language Poetry often makes use of linguistic devices called figures of speech. These can also be found in a day-to-day conversation, in expressions such as I slept like a log (simile) or golden hair or he is a snake (metaphor). The most common figures of speech are: simile, metaphor, symbol and personification. Simile A simile is a figure of speech that creates a comparison between two elements. The subject of the phrase is compared to something else, usually connected with like or as, so as to expand its meaning or to modify the way we perceive it. For example: The eyes of strangers are cold as snowdrops (Philip Larkin) One function of simile can be to make something familiar seem strange or give it a peculiar resonance. Indeed, a simile is more striking if it is used to compare two things that would not normally be associated. Metaphor Derived from Greek, metaphor literally means carrying from one place to another place and so, in literary use, has come to mean the transfer of a word from its literal meaning. A metaphor refers to an object through another one that the writer associates with it, yet the likeness is never open or declared (as it is in the case of simile where we often use like or as). Although the quality that the two things share is rarely obvious, we can generally say that there is at least one detectable feature that the two things have in common. Look at the following example: golden hair In reality hair cannot be made of gold but it can have approximately the same colour as gold. A metaphor can be in the form of a noun, an adjective, an adverb or even a verb, as in the case of these lines: Her face it bloomed (John Clare) I can wade Grief Whole Pools of it Im used to that (Emily Dickinson) As with a simile, one function of a metaphor can be to make something familiar seem strange and to complicate the way we perceive something which might seem quite simple. Symbol Symbolism is similar to metaphor, but more ambiguous. If a metaphor refers to A through B, a symbol says that B suggests A, although A is never mentioned. Often the symbol is a concrete thing which represents an idea or feeling. For example, in common use the dove is a symbol for peace. Personification Personification gives abstract and inanimate things attributes that are generally considered human characteristics. It can be conveyed, for example, through the use of pronouns or possessive adjectives that usually refer to people (e.g. he, she, his, her) or through reference to actions or feelings that we would not normally associate with inanimate objects or natural phenomena. In Wordsworths poem I wandered lonely as a cloud, for example, the speaker describes daffodils dancing in the breeze. We know that flowers do not literally dance, but the verb conveys the daffodils movements. 25 !"# %&%'()*+',-* . /01202113 .456; ,89:!8 24 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara 1 From Ear|y Br|ta|n to the M|dd|e Ages Medieval Poetry The ballad Ballads began to appear throughout Europe around the time when the idea of courtly love was gaining popularity amongst the nobility. While they often dealt with similar themes of heroism and loyalty, ballads were an essentially popular tradition of the uneducated and illiterate, which recalled the early oral verse narratives of the Celts and the Anglo-Saxons. Ballads generally used simple language and were composed of short stanzas of two or four lines which usually rhymed in some way. Rather than compose with words, the balladeer, like the scop before him, relied on a stock of phrases which he would combine in new ways. For this reason ballads tend to be repetitive in structure as this makes them easier to remember. A repeated stanza is called a refrain. In the earliest examples of ballads, the refrain was identical after each stanza and guaranteed a particular emotional effect which may be comic or elegiac, in the same way that the choruses of modern pop songs can excite us simply because of their familiarity. The stories are usually tragic, but unlike their high culture equivalents, often have an underlying sense of black humour. Ballads can be classified in many different categories, from the border ballads celebrating the rivalry between the English and the Scottish people, to outlaw ballads celebrating the lives of outlaws or criminals such as the cycle of Robin Hood, to ballads of magic recounting stories about fairies, witches and ghosts, to town ballads which served as a subversive commentary on difficult urban conditions. But most later ballads involved some form of social or political protest, satire or polemic. In 1476, William Caxton established the first printing press in England. From 1477 to 1491 he published nearly 80 books, many of them translations from French. English works he printed include Malorys Le Morte DArthur and Chaucers Canterbury Tales. After the printing press was set up, ballads spread rapidly, printed cheaply on single sheets of paper called broadsides. Many English and Scottish ballads are difficult to date because they came mainly from ordinary country people and were transmitted orally long before they were written down and collected. For example, the ballads celebrating the life and adventures of the legendary outlaw hero Robin Hood, who was said to be active during the reign of King John, probably date from much later than their historical setting. Medieval musicians singing ballads from a Spanish Manuscript (14th century). Escurial Library, Madrid. Check what you know 1 What are the main features of medieval ballads? 2 What are some of the different types of ballads and what are their themes? 3 Discuss the influence the invention of the printing press had on ballads. 4 Why are ballads often difficult to date? 5 When do the ballads about the life of Robin Hood date from? 26 !"# %&%'()*+',-* . /01202113 .456; ,89:!8 23 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara Geoffrey CHAUCER (1343?-1400) Life and works Geoffrey Chaucer was born in London between 1340 and 1345. His father was a wine merchant who had connections with the Court of Edward III. Geoffrey was educated well, though it remains unknown whether he went to university. From about the age of 26, Chaucer was frequently employed on important diplomatic missions both at home and abroad. The year 1372-3 marks the turning point of his literary life. He was sent to Italy where it is probable that he met Petrarch in Florence, and became familiar with the work of Boccaccio and Dante. In 1374 he worked as a customs official in the port of London, a job which he did not like much and later complained about in the satirical poem The House of Fame. From 1386 he represented the county of Kent in parliament and was appointed Clerk of the Works (person who oversees building work in progress) first at Westminster, then at Windsor and the Tower. It was during the last ten years of his life that Chaucer worked on his masterpiece, The Canterbury Tales, which was one of the first works to be printed by Caxton, in or around 1476-7. Chaucer died in 1400. Chaucers works are commonly divided into three periods. The French period: Although Chaucer wrote almost exclusively in English, his early works, such as the fragment of The Romaunt of the Rose (after the French Roman de la Rose of the 12th century) and The Book of the Duchess are, in terms of style, highly influenced by their French models. The Italian period: In his middle period, Chaucer expanded his stylistic range following the examples of Dante and Boccaccio. From this period date such works as The Parliament of Fowls, a fable with birds and other animals as characters, and The House of Fame, where the influence of Dantes Divine Comedy is at its most evident. Other works of this period include Troilus and Criseyde and The Legend of Good Women. The English period: In the last period of his life, Chaucer was mainly occupied with the writing of The Canterbury Tales, which were written in Middle English and were probably begun in 1387. Chaucer originally planned to write 120 tales. At his death the project was less than a quarter complete with only 24 tales, but what remains is considered one of the greatest works ever written in English. Focus on the text: The Canterbury Tales The tales are structured as a series of stories told by a group of thirty pilgrims who are going to Canterbury on a pilgrimage to visit the shrine of Thomas Becket, who was murdered there. The whole cycle is prefaced by a General Prologue, in which the narrator gives us a brief description of each of the pilgrims, and each tale is preceded by a prologue in which the pilgrim tells us something about him/herself. It is the host, Harry Bailly, who proposes the tale-telling competition as a way of passing the time on the journey. Every pilgrim will have to tell two stories on the way to Canterbury and two stories on the way back, and there will be a prize for the best story. The allusion is to Boccaccios Decameron, in which a group of young aristocrats gather to tell stories. But here the situation is somewhat different. The pilgrims have all met by chance and come from all levels of society. They are often rude and frequently interrupt each other. 27 Geoffrey Chaucer (after 1400), detail, by an unknown artist. National Portrait Gallery, London. The L|terary Ground L|terature |n the Late M|dd|e Ages !"# %&%'()*+',-* . /01202113 .456; ,89:!8 2/ New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara The route the pilgrimage takes is also significant. The pilgrims begin at The Tabard Inn in London, a place which is linked with pleasure and conviviality of the period, and travel towards Canterbury Cathedral, a symbol of the holy, celestial city. The pilgrims come from different social classes, such as the military (e.g. the Knight), the clergy (e.g. the Friar, the Nun, the Prioress, the Monk, the Parson), the middle classes (e.g. the Merchant and the Doctor) and the trades (e.g. the Carpenter and the Miller). However, it is worth noticing that neither the aristocracy nor the poorest ranks of society are included in Chaucers gallery of human beings. Chaucer`s pilgrims The characters of The Canterbury Tales are presented in such a way which renders them at the same time types drawn from popular and literary tradition the virtuous knight, the domineering wife, the libertine friar, the elegant prioress, the poor parson, the astute miller and individuals in their own right. Chaucers characters have a human and individual quality which makes them extremely vital. In this they are different from characters in medieval ballads, who can generally be considered static. Many of the pilgrims are portrayed physically, through detailed description of their clothes and tools which show their character and social standing. Moreover, the pilgrims are often described morally, including their qualities and their weaknesses. But Chaucer is highly modern in the way he suspends judgement of his characters, allowing them free voice so that the reader can decide for himself which are the more or less praiseworthy. The tales themselves cover a wide range of themes. Among the themes are love, marriage (as is evident in the portrait of the Wife of Bath), corruption, hypocrisy and chivalry. Many of the tales are ordered in such a way as to give another point of view to the ideas proposed in the previous tale. In this sense the tales permit open dialogue between people from different levels of society in which no one has the last word. The following extracts are translated into modern English, as Middle English, in which Chaucer wrote, is difficult for a modern reader to understand. 1 From Ear|y Br|ta|n to the M|dd|e Ages 28 The Pilgrims Outside the Walls of the City of Canterbury (c.1455-62) by John Lydgate. The British Library, London. The route of the pilgrims from London to Canterbury. !"# %&%'()*+',-* . /01202113 .456; ,89:!8 27 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara The Knight (from the General Prologue) In his General Prologue, Chaucer/the narrator supplies the reader with a description of the pilgrims. Here is his description of the Knight. Before you read 1 The following extract introduces the Knight. From what you know about the Middle Ages what kind of figure do you expect him to be? Choose from the following adjectives: brave noble cowardly courteous wise crude rich well-travelled tough cautious Now read the extract and underline the words and phrases describing him. A knight there was, and he a worthy man, Who, from the moment that he first began To ride about the world, loved chivalry, Truth, honour, freedom and all courtesy. Full worthy was he in his liege-lord`s war, And therein had he ridden (none more far) As well in Christendom as heathenesse, And honoured everywhere for worthiness. At Alexandria, he, when it was won; Full oft the table`s roster he`d begun Above all nations` knights in Prussia. In Latvia raided he, and Russia, No christened man so oft of his degree. In far Granada at the siege was he Of Algeciras, and in Belmarie. At Ayas was he and at Satalye When they were won; and on the Middle Sea At many a noble meeting chanced to be. Of mortal battles he had fought fifteen, And he`d fought for our faith at Tramissene Three times in lists, and each time slain his foe. This self-same worthy knight had been also At one time with the lord of Palatye Against another heathen in Turkey: And always won he sovereign fame for prize. Though so illustrious, he was very wise And bore himself as meekly as a maid. He never yet had any vileness said, In all his life, to whatsoever wight. He was a truly perfect, gentle knight. C`era dunque un Cavaliere, un valentuomo che fin da quando aveva iniziato ad andare a cavallo aveva amato la cavalleria, la lealt, l`onore, la liberalit e la cortesia. Valorosissimo in guerra per il suo signore, s`era spinto nei pi lontani paesi cristiani e pagani, facendosi ovunque onore con la sua prodezza. Era stato alla resa d`Alessandria, pi volte aveva avuto il posto d`onore in Prussia fra i rappresentanti di tutte le nazioni ed aveva guerreggiato in Lettonia e in Russia pi di qualsiasi altro cristiano del suo grado. Era stato anche a Granada all`assedio d`Algesir e s`era spinto fino in Belmaria. Fu alla conquista di Layas e Satalia, e in molte nobili armate sul Mar Grande. Per ben quindici volte aveva partecipato a combattimenti mortali, e a Tramissene tre volte era sceso in lizza per la nostra fede, sempre uccidendo l`avversario. Questo prode cavaliere un tempo era anche stato col signore di Palatia a combattere contro un altro pagano turco, ricevendo sempre sovrani onori. Bench fosse valoroso, era prudente e, negli atteggiamenti, mite come una fanciulla. Non avrebbe mai detto in vita sua una parola scortese a nessuno. Era un nobile cavaliere veramente perfetto. Translated by Ermanno Barisone 29 5 10 15 20 25 30 The L|terary Ground L|terature |n the Late M|dd|e Ages Miniature depicting a knight from a medieval manuscript. !"# %&%'()*+',-* . /01202113 .456; ,89:!8 2; New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara Orientation 1 What values is the Knight associated with at the beginning of the extract? 2 What are the different places the Knight has been to? 3 Why did he go there? 4 The last few lines of the text give further information. Which of the following is true? Support your choices with lines from the text. Line a The Knight is extremely vain. b He is extraordinarily unpretentious considering his position. c He is very wise. d He is very kind and polite. e He is very pious. f He is quite vulgar. Exploration 1 Read the extract again. What is its rhyme scheme? 2 In drawing his portrait, the narrator is very specific about all the military campaigns the Knight had taken part in. What effect does this detailed list have? Choose from the following (more than one answer can be correct) and justify your choice. a It makes the text more poetic. b It makes the description more real. c It provides a historical context. d It emphasises the qualities of the Knight expressed in the text. 3 What kind of portrait of the Knight does Chaucer give us? Choose from the following and justify your answer. detailed realistic romanticised poetic abstract stereotypical literary sober authentic psychological 4 The text below contains some supplementary information about knights during Chaucers times. Fill the gaps with the following words: courtesy landowner codes soldier war humble armour Considering the context of Chaucers times, the term knight can be interpreted in three different ways: as a social classification, in a military sense and in relation to the aristocratic a ...................... denoted by chivalry. In social terms, a knight was an average b ...................... without a hereditary title who often participated in local government. In military terms, the knight was a cavalry c ...................... . He supplied his own horse and d ...................... , and sometimes a small group of foot-soldiers as well. The armed knight on horseback was the principal weapon of e ...................... . But apart from military courage, the knight was supposed to cultivate other disinterested virtues. In personal relations, the knight was to be f ...................... but resolute. He cultivated g ...................... and the art of making fine speeches and he balanced his ferocity as a soldier with his refinement as a lover. Creative writing Now write your own description of a knight. Fi rst of al l concentrate on hi s physi cal appearance. What does the knight look like? What does he normally wear? How old is he? In your description you can use some of the following words: armour visor shield chain mail sword heraldic emblem Now try to connect his physical appearance to his personality. Is there a special feature which tells us something about his character? For example his eyes might be cruel and his gaze cold and ruthless. Remember to think about his virtues but also about his defects. While Chaucers description presents the Knight only in a positive light, try to be more critical towards him. For example a knight may be extremely courageous but he need not be a good person. 1 From Ear|y Br|ta|n to the M|dd|e Ages 30 LINKS THEMATIC: Hero and Anti Hero Multimedia Lab: From Pilgrimage to Tourism Tennyson, Ulysses From Brit Lit to It Lit: Paveses Ulysses !"# %&%'()*+',-* . /01202113 .456; ,89:!8 <1 New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara The Wife of Bath Still from the General Prologue, here is Chaucer's description of the Wife of Bath. Before you read 1 Which of the following do you think will be included in the description of the Wife of Bath? Choose three, then read and check your ideas. her clothes the pilgrimages she has made her house her skills in the kitchen her husbands her education There was a housewife come from Bath, or near, Who - sad to say - was deaf in either ear. At making cloth she had so great a bent She bettered those of Ypres and even of Ghent. In all the parish there was no goodwife Should offering make before her, on my life; And if one did, indeed, so wroth was she It put her out of all her charity. Her kerchiefs were of finest weave and ground; I dare swear that they weighed a full ten pound Which, of a Sunday, she wore on her head. Her hose were of the choicest scarlet red, Close gartered, and her shoes were soft and new. Bold was her face, and fair, and red of hue. She`d been respectable throughout her life, With five churched husbands bringing joy and strife, Not counting other company in youth; But thereof there`s no need to speak, in truth. Three times she`d journeyed to Jerusalem; And many a foreign stream she`d had to stem; At Rome she`d been, and she`d been in Boulogne, In Spain at Santiago, and at Cologne. She could tell much of wandering by the way: Gap-toothed was she, it is no lie to say. Upon an ambler easily she sat, Well wimpled, aye, and over all a hat As broad as is a buckler or a targe; A rug was tucked around her buttocks large, And on her feet a pair of sharpened spurs. In company well could she laugh her slurs. The remedies of love she knew, perchance, For of that art she`d learned the old, old dance. E c`era una brava Comare dei dintorni di Bath, ma, peccato, era un po` sorda. A tessere il panno era cos pratica, da battere quelli di Ypres e di Gand. In tutta la parrocchia non c`era donna che avesse il coraggio di passarle avanti a far l`offerta: se mai qualcuna s`arrischiava, a lei veniva una tal bile, che usciva fuori da ogni grazia. I suoi fazzoletti erano di tessuto finissimo: giurerei che pesavano dieci libbre quelli che si metteva in capo la domenica. Le sue calze erano d`un bel rosso scarlatto, ben attillate; le scarpe morbidissime e nuove. Aveva un volto impertinente, bello, di colorito acceso. Era una donna ricca di meriti, che in vita sua aveva condotto ben cinque mariti sulla porta di chiesa, senza contare altre amicizie di giovent. ma non il caso di parlarne proprio ora. Tre volte era andata a Gerusalemme, e di fiumi stranieri ne aveva attraversati molti: era stata a Roma, a Boulogne, a San Giacomo in Galizia e a Colonia. Aveva insomma parecchia pratica di viaggi: i suoi denti infatti erano radi. Sul cavallo sedeva comodamente, ben avvolta da un sogglo, con un cappello in testa largo come un brocchiere o uno scudo; una gualdrappa intorno ai larghi fianchi, e ai piedi un paio di speroni aguzzi. In compagnia sapeva ridere e chiacchierare; e doveva intendersene di rimedi d`amore, poich di quell`arte conosceva certo l`antica danza. Translated by Ermanno Barisone 31 5 10 15 20 25 30 The L|terary Ground L|terature |n the Late M|dd|e Ages 2 The Wife of Bath from the Ellesmere manuscript of The Canterbury Tales (15th century). Huntington Library, San Marino, California. !"# %&%'()*+',-* . /01202113 .456; ,89:!8 <. New Literary Landscapes - Blackcat 2011 De Agostini Scuola S. p. A. - Novara