A History of English Literature

as: subjects and moods; general quality and its contrast with that of later
lyric poetry; emotion, fancy, and imagination; imagery; melody and rhythm;
contrasts among the poems; the sonnets. Do not merely make general
statements, but give definite references and quotations. For the second day
make special study of such particularly 'conceited' poems as the following
and try to explain the conceits in detail and to form some opinion of their
poetic quality: Lyly's 'Apelles' Song'; Southwell's 'Burning Babe';
Ralegh's 'His Pilgrimage'; and two or three of Donne's.
13. THE EARLIER ELIZABETHAN DRAMA, with study of Marlowe's Tamburlaine,
Part I. Two days. Above, Chapter VI, through page 129. Historically,
Tamerlane was a Mongol (Scythian) leader who in the fourteenth century
overran most of Western Asia and part of Eastern Europe in much the way
indicated in the play, which is based on sixteenth century Latin lives of
him. Of course the love element is not historical but added by Marlowe.
Written discussions should begin with a very brief outline of the story
(perhaps half a page). Other matters to consider: 1. Is there an abstract
dramatic theme? 2. Can regular dramatic structure be traced, with a clear
central climax? 3. Variety of scenes? 4. Qualities of style, e. g.,
relative prominence of bombast, proper dramatic eloquence, and sheer
poetry. 5. Qualities, merits, and faults of the blank verse, in detail.
E.g.: How largely are the lines end-stopped (with a break in the sense at
the end of each line, generally indicated by a mark of punctuation), how
largely run-on (without such pause)? Is the rhythm pleasing, varied, or
monotonous? 6. Characterization and motivation.
14. THE ELIZABETHAN STAGE; SHAKSPERE; AND 'RICHARD II' AS A REPRESENTATIVE
CHRONICLE-HISTORY PLAY. Three days. Above, pages 129-140. The historical
facts on which Richard II is based may be found in any short English
history, years 1382-1399, though it must be remembered that Shakspere knew
them only in the 'Chronicle' of Holinshed. In brief outline they are as
follows: King Richard and Bolingbroke (pronounced by the Elizabethans
_Bullenbroke_) are cousins, grandsons of Edward III. Richard was a
mere child when he came to the throne and after a while five lords, among
whom were his uncle, the Duke of Gloucester (also called in the play
Woodstock), and Bolingbroke, took control of the government. Later, Richard
succeeded in recovering it and' imprisoned Gloucester at Calais in the
keeping of Mowbray. There Gloucester was murdered, probably by Richard's
orders. According to Holinshed, whom Shakspere follows, Bolingbroke accuses
Mowbray of the murder. (This is historically wrong; Bolingbroke's charge
was another, trumped up, one; but that does not concern us.) Bolingbroke's
purpose is to fix the crime on Mowbray and then prove that Mowbray acted at
Richard's orders.
The story of the play is somewhat similar to that of Marlowe's 'Edward II,'
from which Shakspere doubtless took his suggestion. Main matters to
consider throughout are: The characters, especially Richard and
Bolingbroke; the reasons for their actions; do they change or develop? How
far are the style and spirit like Marlowe; how far is there improvement? Is
the verse more poetic or rhetorical? In what sorts of passages or what
parts of scenes is rime chiefly used? Just what is the value of each scene
in furthering the action, or for the other artistic purposes of the play?
As you read, note any difficulties, and bring them up in the class.
_For the second day,_ read through Act III. Act I: Why did Richard at
first try to prevent the combat, then yield, and at the last moment forbid
it? Are these changes significant, or important in results? (The 'long
flourish' at I, iii, 122, is a bit of stage symbolism, representing an
interval of two hours in which Richard deliberated with his council.)