By Arthur F. Kinney
This is often the 1st entire account of English Renaissance literature within the context of the tradition that formed it: the courts of Henry VIII and Elizabeth I, the tumult of Catholic and Protestant alliances in the course of the Reformation, the age of printing and of latest global discovery. The better half covers advancements in poetry, prose, non secular writing, drama, satire and humanism in fourteen newly-commissioned essays, written by way of specialists for scholar readers. a close chronology of significant literary achievements concludes with a listing of authors and their dates.
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Extra resources for The Cambridge Companion to English Literature, 1500-1600 (Cambridge Companions to Literature)
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Com - licensed to Universitetsbiblioteket i Tromsoe - PalgraveConnect - 2011-04-07 converting difference and change into a structure of pious constancy. It is obviously appropriate that the accompanying recollection should have been one of her proudly preparing him for being catechized, as he was again to recall in his sonnet, ‘Catechising’, from the sequence Ecclesiastical Sonnets: ‘who with mild looks and language mild / Instructed here her darling Child, / While yet a prattler on the knee’ (1039–41), so that the animal becomes the embodiment of the Protestant religious discourse she had then imparted of ‘The faith reformed and purified’.
The ‘mountain’s voice’ (7) is, after all, that of a bleating lamb, and it is where ‘A mountain torrent . . was becalmed’ (16) that, he writes, at a glance I saw A two-fold image; on the grassy bank A snow-white ram and in the peaceful flood Another and the same. Most beautiful The breathing creature was, as beautiful Beneath him with his shadowy counterpart; Each had his glowing mountains, each his sky, And each seemed centre of his own fair world. (17–24) The fragment ends with a restrained impulse to disrupt the fixation: ‘A stray temptation seized me to dissolve / The vision, but I could not, and the stone / Snatched up for that intent dropped from my hand’ (25–7).
Yet the alternative choice was painfully retraumatizing, especially when Coleridge’s summons repeatedly came for him to make a notable entry into the cultural domain. 26 The most successful outlet from his struggle to find a compromise expression in ‘nature and the language of the sense’ (‘Tintern Abbey’, 109) was to be the self-referential language of The Prelude, the poem that began ‘was it for this . . ’ and proceeded to establish the emphatic imaginary register of the poetic discourse of ‘Wordsworth’ as constituting itself by constantly problematizing and locating its own origins and authority.