Literatura inglesa V: Study guide

STUDY GUIDE
Literatura inglesa V: Study guide
Cómo utilizar esta guía
Esta guía recoge términos que corresponden con lo tratado en las
clases teóricas de la asignatura. Salvo para el primer tema («Medieval
drama»), hemos seguido en clase la siguiente fuente:
A. R. BRAUNMULLER and Michael HATTAWAY (eds.). The Cambridge companion to English Renaissance drama. 2nd ed. Cambridge:
Cambridge University Press, 2003. Primera ed.: 1990.
(El último tema previsto, «Restoration drama», no se llegó a impartir,
y, por lo tanto, no entrará en el examen.)
La lista que sigue es bastante exhaustiva en cuanto a las obras que
se citaron en clase como ejemplos. Eso no quiere decir que sea necesario memorizar todos esos autores y títulos de cara al examen.
La parte teórica del examen (5 puntos) consistirá en un cuestionario en que habrá que relacionar 25-30 términos o nombres con sus
correspondientes definiciones o descripciones. No es mi intención
incluir términos rebuscados, por lo que les recomiendo que estudien
primero los términos culturales, literarios y teatrales (empezando por
los que consideren más importantes) y pasen luego a ver los principales
autores y obras. Recuerden que se trata de reconocer los términos, por
lo que pueden valerse de cualquier fuente. (Sí, ¡también de Internet!)
Medieval drama
Morris Dance
Mummers’ Play = Mumming
Trope, antiphony, Quem quaeritis, Officium pastorum, Officium stellae,
Ordo Rachelis, Ordo prophetarum
Mystery cycle, pageant, miracle play = mystery play
Morality (play), allegory, vices, seven deadly sins, virtues, Everyman
Interlude, Cardinal Morton’s circle
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Playhouses and players
Inn yard, bear-baiting
Arena theatres: the Red Lion (1567), the Theatre (1576), the Curtain
(1577), the Rose (1587), the Swan (1595), the Globe (1599), the
Boar’s Head (1599), the Fortune (1600), the Red Bull (1605), the
Hope (1614)
Groundlings
Stage, hell
No actresses, the Lord Chamberlain’s Men (later the King’s Men), the
Lord Admiral’s Men
Aside, soliloquy
Private theatres: St Paul’s cathedral, Blackfriars (1576), Whitefriars,
Porter’s Hall (1615-16), the Cockpit = Phoenix (1616-17), Salisbury Court (1629-30)
Boys companies, Children of the Queen’s Revels
The Queen’s Men
Elizabethan actors: clowns, heroic actors
The arts of the dramatist
1580s-1590s dramatists establish conventions: University Wits (Christopher Marlowe, George Peele, Robert Greene, John Lyly, Thomas Nashe, Thomas Lodge), William Shakespeare, Thomas Kyd
Next generation parody conventions: John Marston, Ben Jonson
Language establishes the time of day, identifies persons and places
Iambic pentameter, alliteration, repetition, echo, reversal, pun
Plot, sub-plot, prologue, epilogue, induction, dumbshow, chorus, presenter, malcontent commentator, verbal portrait, play-within-aplay, masque
Self-conscious dramaturgy
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LITERATURA INGLESA V
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Drama and society
Romance and the heroic play
Social mobility, sumptuary laws, educational revolution (more university-educated males without access to honour or office), geographical mobility, economic individualism
The court, centre of patronage (reward) and court of law (punishment), corruption, revenge tragedy
The city, knaves and fools
Woman, domestic drama, shrew, witch, whore
Romance, heroic play
Sir Clyomon and Sir Clamydes (1570)
Early-Elizabethan dramatic romance retains medieval conventions:
characters directly announce their identity to the audience, motives
are openly asserted, expository speeches are delivered, the audience
is frankly acknowledged
Idealized aristocratic life, vagueness (adequate at court) evades censorship
Popular romance (remote heroes), court romance (oblique application
to real persons of the time)
Marlowe’s Tamburlaine (1587), blank verse
Plays about popular heroes: George in Greene’s George a Greene the
Pinner of Wakefield (1590), Talbot and Joan of Arc in Shakespeare’s
Henry VI, part I, and Jack Cade in part II
Plays with London as subject: Thomas Dekker’s The Shoemaker’s Holiday (1599)
Burlesque: Thomas Heywood’s The Four Prentices of London (1594),
Francis Beaumont’s The Knight of the Burning Pestle (1608)
Private and occasional drama
Private drama differs from public drama: no willing suspension of
disbelief, no real dialogue between characters (they address the
chief spectator), and no clear division between ‘spectator’ and ‘participant’ (masquers take dancing partners out of the audience)
Court, ‘offering to the prince’ genre, George Peele’s The Arraignment
of Paris (1581-84), royal progress, masque, Ben Jonson, Inigo
Jones, masque and antimasque
Inns of court, universities, Christmas princes, royal visits, ‘saltings’
(parodies of academic disputations)
Aristocratic houses
Political drama
Historical play = political play
Censorship, Master of the Revels
Patronage
Chronicle play: nationalism, warlike monarchism, anticlericalism, fear
of Catholic invasion and plotting
Dramatized reigns of kings who got deposed: Marlowe’s Edward II, the
anonymous Woodstock, Shakespeare’s Richard II
After Essex rebellion (1601), no more celebratory national history; no
longer battles, but dissolute courts
Revenge tragedy = tragedy of blood
‘Elect Nation’ plays, Puritans, John Foxe’s Book of Martyrs
Pastiche, burlesque, tragicomedy
Pastiche, John Marston’s Antonio and Mellida, Antonio’s Revenge (15991600)
Burlesque, Francis Beaumont’s The Knight of the Burning Pestle (1608)
Tragicomedy, Giambattista Guarini, satire
Marston’s The Malcontent
Beaumont and Fletcher’s Philaster (1609), A King and No King (1611)
Shakespeare’s Cymbeline
Webster’s The Devil’s Law Case
Middleton and Rowley’s A Fair Quarrel
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LITERATURA INGLESA V
Comedy
Shakespearean comedy = romantic comedy, Jonsonian comedy = satiric
comedy, farce, romance
Three phases: exposition and beginning of the action, complication of
incidents, anastrophe or resolution
Interlude, Heywood’s The Four P.P.
Academic comedy: Plautus and Terence, Gammer Gurton’s Needle,
Nicholas Udall’s Ralph Roister Doister
Eclectic comedy: John Lyly’s Endymion (1587-88), George Chapman’s
Gentleman Usher (1606), John Fletcher’s The Wild Goose Chase
(1621), Rule a Wife and Have a Wife (1624)
Comedies that adopt plots from Plautus and Terence but heighten
romance and satire: Shakespeare’s Comedy of Errors (1590-93),
George Chapman’s All Fools (1599-1601)
Nocturnal comedy: Henry Porter’s Two Angry Women of Abington
(1598), the anonymous Merry Devil of Edmonton (1600-1604)
Citizen comedy = Jacobean city comedy (“critical and satiric design,
urban settings, exclusion of material appropriate to romance, fairytale, sentimental legend or patriotic chronicle”), Ben Jonson’s
Everyman in his Humour (1601), The Alchemist (1610), The Staple of
News (1626), John Marston’s The Dutch Courtesan (1603-1605),
Thomas Middleton’s A Chaste Maid in Cheapside (1613), Philip
Massinger’s The City Madam (1632)
Shakespeare’s seventeenth-century comedies introduce uncertainty
(comedy, an inadequate representation of human experience):
Troilus and Cressida, All’s Well That Ends Well, Measure for Measure
Tragedy
Aristotle: “tragedies must represent a complete, serious, and important
action that rouses and then purges (by catharsis) fear and pity in the
spectators, with a central character who moves from happiness to
misery through some frailty or error (hamartia)”
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Nietzsche: tragedy is the battle “between Apollo (the god of civilization, rationality, daylight) and Dionysius (the god of frenzy, passion, midnight)”
Hegel: in tragedy “a heroic individual becomes trapped between the
conflicting demands of two godheads, between two sets of values
that are each imperative and mutually exclusive”
De casibus tragedy = fall of princes tragedy
Domestic tragedy
The revenger, the malcontent, the Machiavel (cf. Machiavelli’s The
Prince)
Revenge tragedy, Seneca, closet drama, Thomas Kyd’s Spanish Tragedy
(1582-92), Shakespeare’s Hamlet (1601), Cyril Tourneur’s (?) The
Revenger’s Tragedy (1607)
Theodicy (“the inquiry into the nature of evil and the means by which
it enters Creation”), Christopher Marlowe’s Doctor Faustus, blank
verse, Shakespeare’s Othello (1603-1604), John Webster’s The
Duchess of Malfi (1612-13)
Caroline drama
Cavalier drama
Marriage and woman’s place, the responsibilities of class, James
Shirley’s Hyde Park (1632), Philip Massinger’s The Picture (1629)
Tragedies: Shirley’s The Traitor (1631), John Ford’s ’Tis Pity She’s a
Whore (1633)
Theatre discusses its own function: Massinger’s The Roman Actor
(1626), Ford’s The Lover’s Melancholy (1628), Richard Brome’s The
Antipodes (1640)
City comedy (Jonson was influential but his own Caroline plays were
unpopular): Shackerley Marmion’s Holland’s Leaguer (1631),
Brome’s The Weeding of Covent Garden (1632), William Davenant’s
The Wits (1634), Jonson’s The New Inn (1629)
Neoplatonism, Thomas Killigrew’s The Parson’s Wedding (1637)