A History of English Literature

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the Lollard Bible, about 1380. Popular Ballads. The War of the Roses. Malory's 'Morte Darthur,' finished 1467. Caxton and the printing press, 1476. Morality Plays and Interludes. IV. The Renaissance and the Elizabethan Period, about 1500 to 1603. Great discoveries and activity, both intellectual and physical. Influence of Italy. The Reformation. Henry VIII, 1509-47. Edward VI, to 1553. Mary, to 1558. Elizabeth, 1558-1603. Defeat of the Armada, 1588. Sir Thomas More, 'Utopia.' Tyndale's New Testament and other translations of the Bible. Wyatt and Surrey, about 1540. Prose Fiction. Lyly's 'Euphues,' 1578. Sidney's 'Arcadia.' Spenser, 1552-1599. 'The Shepherd's Calendar,' 1579. 'The Faerie Queene,' 1590 and later. Lyric poetry, including sonnet sequences. John Donne. The Drama. Classical and native influences. Lyly, Peele, Greene, Marlowe. Shakspere, 1564-1616. Ben Jonson and other dramatists. V. The Seventeenth Century, 1603-1660. The First Stuart Kings, James I (to 1625) and Charles I. Cavaliers and Puritans. The Civil War and the Commonwealth. Cromwell. The Drama, to 1642. Francis Bacon. The King James Bible, 1611. Lyric Poets. Herrick. The 'Metaphysical' religious poets--Herbert, Crashaw, and Vaughan. Cavalier and Puritan poets. Milton, 1608-1674. John Bunyan, 'Pilgrim's Progress.' 1678. VI. The Restoration Period, from the Restoration of Charles II in 1660 to the death of Dryden in 1700. Charles II, 1660-1685. James II, 1685 to the Revolution in 1688. William and Mary, 1688-1702. Butler's 'Hudibras.' Pepys' 'Diary.' The Restoration Drama. Dryden, 1631-1700. VII. The Eighteenth Century. Queen Anne, 1702-1715. The four Georges, 1715-1830. PSEUDO-CLASSIC LITERATURE. Swift, 1667-1745. Addison, 1672-1719. Steele, 1672-1729. Pope, 1688-1744. Johnson, 1709-1784. THE LATER PROSE. Burke, 1729-1797. Gibbon, 'Decline and Fall,' 1776-1788. Boswell, 'Life of Johnson,' 1791.
THE NOVEL. 'Sir Roger de Coverly,' 1711-12. Defoe, 1661-1731. 'Robinson Crusoe,' 1718-20. Richardson, 1689-1761. 'Clarissa Harlowe,' 1747-8. Fielding, 1707-1754. Smollett. Sterne. Goldsmith, 'Vicar of Wakefield,' 1766. Historical and 'Gothic' Novels. Miss Burney, 'Evelina,' 1778. Revolutionary Novels of Purpose. Godwin, 'Caleb Williams.' Miss Edgeworth. Miss Austen. THE ROMANTIC REVOLT --Poetry. Thomson, 'The Seasons,' 1726-30. Collins, 'Odes,' 1747. Gray, 1716-71. Percy's 'Reliques,' 1765. Goldsmith, 'The Deserted Village,' 1770. Cowper. Chatterton. Macpherson, Ossianic imitations. Burns, 1759-96. Blake. THE DRAMA. Pseudo-Classical Tragedy, Addison's 'Cato,' 1713. Sentimental Comedy. Domestic Tragedy. Revival of genuine Comedy of Manners. Goldsmith, 'She Stoops to Conquer,' 1773. Sheridan. VIII. The Romantic Triumph, 1798 to about 1830. Coleridge, 1772-1834. Wordsworth, 1770-1850. Southey, 1774-1843. Scott, 1771-1832. Byron, 1788-1824. Shelley, 1792-1822. Keats, 1759-1821.
Page 1 and 2: A History of English Literature Rob
Page 3 and 4: I. PERIOD I. THE BRITONS AND THE AN
Page 5 and 6: Sympathy of the author for his char
Page 7 and 8: story; (3) a Rising Action; (4) a M
Page 9: is no proper connection either in s
Page 13 and 14: CHAPTER I PERIOD I. THE BRITONS AND
Page 15 and 16: points on the eastern and southern
Page 17 and 18: may be mostly performed all at once
Page 19 and 20: Northumbria (Yorkshire and Southern
Page 21 and 22: CHAPTER II PERIOD II. THE NORMAN-FR
Page 23 and 24: and Anglo-Saxon were spoken separat
Page 25 and 26: eality the men of the Middle Ages w
Page 27 and 28: now. The next is the first stanza o
Page 29 and 30: northern Scots and Picts, and how t
Page 31 and 32: artist, who lived a century and mor
Page 33 and 34: 'MANDEVILLE'S VOYAGE.' One of the e
Page 35 and 36: of prose tales, 'The Decameron' (Te
Page 37 and 38: sometimes even with the minuteness
Page 39 and 40: cherished by the Protestants for it
Page 41 and 42: transmitted, portions, as it were,
Page 43 and 44: full health in a later book a knigh
Page 45 and 46: emote spots down almost to the pres
Page 47 and 48: guild (though sometimes two or thre
Page 49 and 50: man. It shows how he yields to temp
Page 51 and 52: applications. Scientific investigat
Page 53 and 54: Lollardism, which had nearly been c
Page 55 and 56: Tyndale, a zealous Protestant contr
Page 57 and 58: 5. Still another, minor, innovation
Page 59 and 60: later Renaissance craze, then rampa
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Ireland, where in satirical poems h
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inharmonious element in the otherwi
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authors so marked; almost every wri
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verse as ruggedly condensed (often
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to be reabsorbed into tragedy, of w
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zest for the beautiful. It is rich
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just to the north of the 'city,' on
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playwright and a good, though not a
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sure, with an unconventionality, ma
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BEN JONSON. The second place among
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3. Jonson's self-satisfaction and h
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alone or to Fletcher and other coll
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his personal ambition was often str
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market-place, due to mistaken relia
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of somewhat artificial courtliness
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The life of Henry Vaughan [Footnote
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the English Church might not have b
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through the medium of the secular e
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higher ... but I dare not. God did
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the demonstrable. Hence the charact
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of the times. Aside from the fact t
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or at least the couplets, generally
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consists throughout partly in the c
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definiteness and significant meanin
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collection of moralizings, is today
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'lived a double life' between the t
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their interests; the superior skill
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The few remaining years of Addison'
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Rosicrucian sylphs. In its adaptati
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than Christian [Footnote: The name
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vain man's boast.' 'Wind the shrill
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in 1762, when the ministers, decidi
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lack of sympathy for the romantic r
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anywhere, before Gibbon, since clas
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which statesmen and orators deal ar
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warmth of sympathetic imagination w
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triumph of Pseudo-classicism, as a
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interpretation which characterizes
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published two years later. Meanwhil
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of Macpherson's native Highlands--v
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his life had combined 'the cheerles
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and some recognition of its educati
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would render impossible at the pres
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Allworthy, intended as an example o
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followed Miss Burney, writing of th
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Charles Lamb, where Coleridge appea
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from eighteenth century tradition b
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Nature, especially inanimate Nature
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and prose who from his friendship w
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and so nearly attained his object t
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and Tennyson were to be among his s
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no comment. Whatever allowances cha
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poetry, was of the highest value to
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over action makes of it also only a
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The music, yearning like a God in p
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Political and social progress, thou
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man, though he was aggressive and s
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oratorical balance of clauses and s
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for which, in 1833-4, he finally se
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Macaulay, he was exasperatingly bli
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a state of intellectual, social, an
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disproved the whole dogmatic and do
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Arnold's doctrine, of course, was n
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even only doubtfully poetic. The in
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their support until their poetry be
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the full all its possibilities. Evi
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and a delicate genius in sound-modu
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lived in London with her mother in
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the first two, 'A Christmas Carol'
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WILLIAM M. THACKERAY. Dickens' chie
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Maggie in 'The Mill on the Floss.'
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very influential expressions of his
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STEVENSON. Robert Louis Stevenson (
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Froude too this results in exaggera
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THOMSON'S SEASONS. Astor ed., Crowe
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6. CHAUCER'S POEMS. Two or three da
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_For the third day,_ finish the pla
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the men of the royal family; but Pr
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17. The Rest of the Dramatists to 1
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qualities. How far has the book a p
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that make Gray's 'Elegy' a great po
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written discussions, or may be assi
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http://promo.net/pg These Web sites
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http://www.gutenberg.net/donation.h
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