5. William Shakespeare was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He wrote Comedies, histories, tragedies, poems, apocrypha. He is often called England's national poet and the "Bard of Avon".His surviving works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright. It is not known exactly when Shakespeare began writing, but contemporary allusions and records of performances show that several of his plays were on the London stage by 1592 From 1594, Shakespeare's plays were performed only by the Lord Chamberlain's Men, a company owned by a group of players, including Shakespeare, that soon became the leading playing company in London. After the death of Queen Elizabeth in 1603, the company was awarded a royal patent by the new king, James I, and changed its name to the King's Men.In 1599, a partnership of company members built their own theatre on the south bank of the Thames, which they called the Globe. In 1608, the partnership also took over the Blackfriars indoor theatre. Records of Shakespeare's property purchases and investments indicate that the company made him a wealthy man.[34] In 1597, he bought the second-largest house in Stratford, New Place, and in 1605, he invested in a share of the parish tithes in Stratford. Shakespeare's early classical and Italianate comedies, containing tight double plots and precise comic sequences, give way in the mid-1590s to the romantic atmosphere of his greatest comedies. His characters become more complex and tender as he switches deftly between comic and serious scenes, prose and poetry, and achieves the narrative variety of his mature work.[84] This period begins and ends with two tragedies: Romeo and Juliet, the famous romantic tragedy of sexually charged adolescence, love, and death;[85] and Julius Caesar—based on Sir Thomas North's 1579 translation of Plutarch's Parallel Lives—which introduced a new kind of drama. In 1593 and 1594, when the theatres were closed because of plague, Shakespeare published two narrative poems on erotic themes, Venus and Adonis and The Rape of Lucrece. He dedicated them to Henry Wriothesley, Earl of Southampton. In Venus and Adonis, an innocent Adonis rejects the sexual advances of Venus; while in The Rape of Lucrece, the virtuous wife Lucrece is raped by the lustful Tarquin.[118] Influenced by Ovid's Metamorphoses,[119] the poems show the guilt and moral confusion that result from uncontrolled lust.[120] Both proved popular and were often reprinted during Shakespeare's lifetime. A third narrative poem, A Lover's Complaint, in which a young woman laments her seduction by a persuasive suitor, was printed in the first edition of the Sonnets in 1609. the Sonnets were the last of Shakespeare's non-dramatic works to be printed. Shakespeare's work has made a lasting impression on later theatre and literature. In particular, he expanded the dramatic potential of characterisation, plot, language, and genre.[144] Until Romeo and Juliet, for example, romance had not been viewed as a worthy topic for tragedy.[145] Soliloquies had been used mainly to convey information about characters or events; but Shakespeare used them to explore characters' minds.[146] His work heavily influenced later poetry. The Romantic poets attempted to revive Shakespearean verse drama, though with little success. Critic George Steiner described all English verse dramas from Coleridge to Tennyson as "feeble variations on Shakespearean themes." In Shakespeare's day, English grammar, spelling and pronunciation were less standardised than they are now,[151] and his use of language helped shape modern English. Samuel Johnson quoted him more often than any other author in his A Dictionary of the English Language, the first serious work of its type.Expressions such as "with bated breath" (Merchant of Venice) and "a foregone conclusion" (Othello) have found their way into everyday English speech.
6. John Donne was an English poet, preacher and a major representative of the metaphysical poets of the period. His works are notable for their realistic and sensual style and include sonnets, love poetry, religious poems, Latin translations, epigrams, elegies, songs, satires and sermons. His poetry is noted for its vibrancy of language and inventiveness of metaphor, especially as compared to that of his contemporaries. John Donne's masculine, ingenious style is characterized by abrupt openings, paradoxes, dislocations, argumentative structure, and "conceits"--images which yoke things seemingly unlike. These features in combination with his frequent dramatic or everyday speech rhythms, his tense syntax, and his tough eloquence were both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. Donne's earliest poems showed a developed knowledge of English society coupled with sharp criticism of its problems. His satires dealt with common Elizabethan topics, such as corruption in the legal system, mediocre poets, and pompous courtiers. His images of sickness, vomit, manure, and plague assisted in the creation of a strongly satiric world populated by all the fools and knaves of England. His third satire, however, deals with the problem of true religion, a matter of great importance to Donne. He argued that it was better to examine carefully one's religious convictions than blindly to follow any established tradition, for none would be saved at the Final Judgment, by claiming "A Harry, or a Martin taught [them] this. Donne's early career was also notable for his erotic poetry, especially his elegies, in which he employed unconventional metaphors, such as a flea biting two lovers being compared to sex.[12] In Elegy XIX: To His Mistress Going to Bed, he poetically undressed his mistress and compared the act of fondling to the exploration of America. In Elegy XVIII, he compared the gap between his lover's breasts to the Hellespont.[12] Donne did not publish these poems, although did allow them to circulate widely in manuscript form. Some have speculated that Donne's numerous illnesses, financial strain, and the deaths of his friends all contributed to the development of a more somber and pious tone in his later poems.[12] The change can be clearly seen in "An Anatomy of the World" (1611), a poem that Donne wrote in memory of Elizabeth Drury, daughter of his patron, Sir Robert Drury. This poem treats Elizabeth's demise with extreme gloominess, using it as a symbol for the Fall of Man and the destruction of the universe. The poem "A Nocturnal upon Lucy's Day, Being the Shortest Day",, concerns the poet's despair at the death of a loved one. In it Donne expresses a feeling of utter negation and hopelessness, saying that "I am every dead thing...re-begot / Of absence, darkness, death." This famous work was probably written in 1627 when both Donne's friend Lucy, Countess of Bedford, and his daughter Lucy Donne died. Three years later, in 1630, Donne wrote his will on Saint Lucy's day (* December), the date the poem describes as "Both the year's, and the day's deep midnight."The increasing gloominess of Donne's tone may also be observed in the religious works that he began writing during the same period. His early belief in the value of skepticism now gave way to a firm faith in the traditional teachings of the Bible. Having converted to the Anglican Church, Donne focused his literary career on religious literature. He quickly became noted for his sermons and religious poems. The lines of these sermons would come to influence future works of English literature, such as Ernest Hemingway's For Whom the Bell Tolls, which took its title from a passage in Meditation XVII of Devotions upon Emergent Occasions, and Thomas Merton’s No Man is an Island, which took its title from the same source.Towards the end of his life Donne wrote works that challenged death, and the fear that it inspired in many men, on the grounds of his belief that those who die are sent to Heaven to live eternally. One example of this challenge is his Holy Sonnet X, from which come the famous lines "Death, be not proud, though some have called thee / Mighty and dreadful, for thou art not so." Even as he lay dying during Lent in 1631, he rose from his sickbed and delivered the Death's Duel sermon, which was later described as his own funeral sermon. Death’s Duel portrays life as a steady descent to suffering and death, yet sees hope in salvation and immortality through an embrace of God, Christ and the Resurrection. John Milton was an English poet, polemicist, and civil servant for the Commonwealth of England. He is best known for his epic poem Paradise Lost. Milton is considered to be among the most learned of all English poets; in addition to his years of private study, Milton had command of Latin, Greek, Hebrew, French, Spanish, and Italian from his school and undergraduate days; he also added Old English to his linguistic repertoire in the 1650s while researching his History of Britain, and probably acquired proficiency in Dutch soon after Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton. It was originally published in 1667 in ten books, with a total of over ten thousand individual lines of verse. A second edition followed in 1674, redivided into twelve books (in the manner of the division of Virgil's Aeneid) with minor revisions throughout and a note on the versification; the majority of the poem was written while Milton was blind, and was transcribed for him. The poem Paradise Lost concerns the Christian story of the Fall of Man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Milton's purpose, stated in Book I, is to "justify the ways of God to men"[2] and elucidate the conflict between God's eternal foresight and free will.Milton incorporates Paganism, classical Greek references, and Christianity within the poem. It deals with diverse topics from marriage, politics (Milton was politically active during the time of the English Civil War), and monarchy, and grapples with many difficult theological issues, including fate, predestination, the Trinity, and the introduction of sin and death into the world, as well as angels, fallen angels, Satan, and the war in heaven. Milton draws on his knowledge of languages, and diverse sources – primarily Genesis, much of the New Testament, the deuterocanonical Book of Enoch, and other parts of the Old Testament. Milton's epic is generally considered one of the greatest literary works in the English language. Characters:Satan: Satan is the first major character introduced in the poem. A beautiful youth, he is a tragic figure best described by his own words "Better to reign in Hell than serve in Heaven"
The role of Satan as a driving force in the poem has been the subject of much scholarly debate. Positions range from views of William Blake who stated Milton "wrote in fetters when [he] wrote of Angels and God, and at liberty when of Devils and Hell, [because] he was a true Poet and of the Devil's party without knowing it"[5] to critic William H. Marshall's interpretation of the poem as a Christian morality tale.,Adam,Eve,The Son of God: The Son of God in Paradise Lost is Jesus Christ, though he is never named explicitly, since he has not yet entered human form.,God the Father, Raphael, Raphael is an angel who is sent by God to warn Adam about Satan's infiltration of Eden and to warn him that Satan is going to try to curse Adam and Eve.Michael.. Milton first presents Adam and Eve in Book IV with impartiality. The relationship between Adam and Eve is one of "mutual dependence, not a relation of domination or hierarchy." While the author does place Adam above Eve in regard to his intellectual knowledge, and in turn his relation to God, he also grants Eve the benefit of knowledge through experience. Hermine Van Nuis clarifies that although there is a sense of stringency associated with the specified roles of the male and the female, each unreservedly accepts the designated role because it is viewed as an asset.[11] Instead of believing that these roles are forced upon them, each uses the obligatory requirement as a strength in their relationship with each other. These minor discrepancies reveal the author’s view on the importance of mutuality between a husband and a wife.When examining the relationship between Adam and Eve, critics tend to accept an either Adam- or Eve-centered view in terms of hierarchy and importance to God. David Mikics argues, by contrast, these positions "overstate the independence of the characters' stances, and therefore miss the way in which Adam and Eve are entwined with each other".[12] Milton's true vision reflects one where the husband and wife (in this instance, Adam and Eve) depend on each other and only through each other’s differences are able to thrive.[12] While most readers believe that Adam and Eve fail because of their fall from paradise, Milton would argue that the resulting strengthening of their love for one another is true victory.Although Milton does not directly mention divorce, critics posit theories on Milton's view of divorce based on inferences found within the poem. Other works by Milton suggest he viewed marriage as an entity separate from the church. Discussing Paradise Lost, Biberman entertains the idea that "marriage is a contract made by both the man and the woman".[13] Based on this inference, Milton would believe that both man and woman would have equal access to divorce, as they do to marriage.
Feminist critics of Paradise Lost suggest that Eve is forbidden the knowledge of her own identity. Moments after her creation, before Eve is led to Adam, she becomes enraptured by an image reflected in the water (her own, unbeknownst to Eve).[14] God urges Eve to look away from her own image, her beauty, which is also the object of Adam’s desire. Adam delights in both her beauty and submissive charms, yet Eve may never be permitted to gaze upon her individual form. Critic Julia M. Walker argues that because Eve "neither recognizes nor names herself ... she can know herself only in relation to Adam."[15] "Eve’s sense of self becomes important in its absence ... [she] is never allowed to know what she is supposed to see."[16] Eve therefore knows not what she is, only what she is not: male. Starting in Book IV, Eve learns that Adam, the male form, is superior and "How beauty is excelled by manly grace/ And wisdom which alone is truly fair."[17] Led by his gentle hand, she yields, a woman without individual purpose, destined to fall by "free will." Milton's 17th century contemporaries by and large criticized Milton’s ideas and considered him as a radical, mostly because of his well-known Protestant views on politics and religion. One of Milton's greatest and most controversial arguments centers on his concept of what is idolatrous; this topic is deeply embedded in Paradise Lost.Milton's first criticism of idolatry focuses on the practice of constructing temples and other buildings to serve as places of worship. In Book XI of Paradise Lost, Adam tries to atone for his sins by offering to build altars to worship God. In response, the angel Michael explains Adam does not need to build physical objects to experience the presence of God.[18] Joseph Lyle points to this example, explaining "When Milton objects to architecture, it is not a quality inherent in buildings themselves he finds offensive, but rather their tendency to act as convenient loci to which idolatry, over time, will inevitably adhere."[19] Even if the idea is pure in nature, Milton still believes that it will unavoidably lead to idolatry simply because of the nature of humans. Instead of placing their thoughts and beliefs into God, as they should, humans tend to turn to erected objects and falsely invest their faith. While Adam attempts to build an altar to God, critics note Eve is similarly guilty of idolatry, but in a different manner. Harding believes Eve's narcissism and obsession with herself constitutes idolatry.[20] Specifically, Harding claims that "... under the serpent’s influence, Eve’s idolatry and self-deification foreshadow the errors into which her 'Sons' will stray."[20] Much like Adam, Eve falsely places her faith into herself, the Tree of Knowledge, and to some extent, the Serpent, all of which do not compare to the ideal nature of GodFurthermore, Milton makes his views on idolatry more explicit with the creation of Pandemonium and the exemplary allusion to Solomon’s temple. In the beginning of Paradise Lost, as well as throughout the poem, there are several references to the rise and eventual fall of Solomon's temple. Critics elucidate that "Solomon’s temple provides an explicit demonstration of how an artifact moves from its genesis in devotional practice to an idolatrous end."[21] This example, out of the many presented, conveys Milton’s views on the dangers of idolatry distinctly. Even if one builds a structure in the name of God, even the best of intentions can become immoral. In addition, critics have drawn parallels between both Pandemonium and Saint Peter's Basilica,[citation needed] and the Pantheon. The majority of these similarities revolve around a structural likeness, but as Lyle explains, they play a greater role. By linking Saint Peter’s Basilica and the Pantheon to Pandemonium—an ideally false structure, the two famous buildings take on a false meaning.[22] This comparison best represents Milton's Protestant views, as it rejects both the purely Catholic perspective and the Pagan perspective. In addition to rejecting Catholicism, Milton revolted against the idea of a monarch ruling by divine right. He saw the practice as idolatrous. Barbara Lewalski concludes that the theme of idolatry in Paradise Lost "is an exaggerated version of the idolatry Milton had long associated with the Stuart ideology of divine kingship".[23] In the opinion of Milton, any object, human or non-human, that receives special attention befitting of God, is considered idolatrous.