English literature

The Jacobean Era, Cromwell, and the Restoration Elizabethan literature generally reflects the exuberant self-confidence of a nation expanding its powers, increasing its wealth, and thus keeping at bay its serious social and religious problems. Disillusion and pessimism followed, however, during the unstable reign of James I (160325). The 17th cent. was to be a time of great upheaval revolution and regicide, restoration of the monarchy, and, finally, the victory of Parliament, landed Protestantism, and the moneyed interests. Jacobean literature begins with the drama, including some of Shakespeare's greatest, and darkest, plays. The dominant literary figure of James's reign was Ben Jonson, whose varied and dramatic works followed classical models and were enriched by his worldly, peculiarly English wit. His satiric dramas, notably the great Volpone (1606), all take a cynical view of human nature. Also cynical were the horrific revenge tragedies of John Ford, Thomas Middleton, Cyril Tourneur, and John Webster (the best poet of this grim genre). Novelty was in great demand, and the possibilities of plot and genre were exploited almost to exhaustion. Still, many excellent plays were written by men such as George Chapman, the masters of comedy Thomas Dekker and Philip Massinger, and the team of Francis Beaumont and John Fletcher. Drama continued to flourish until the closing of the theaters at the onset of the English Revolution in 1642. The foremost poets of the Jacobean era, Ben Jonson and John Donne, are regarded as the originators of two diverse poetic traditionsthe Cavalier and the metaphysical (see Cavalier poets and metaphysical poets). Jonson and Donne shared not only a common fund of literary resources, but also a dryness of wit and precision of expression. Donne's poetry is distinctive for its passionate intellection, Jonson's for its classicism and urbane guidance of passion. Although George Herbert and Donne were the principal metaphysical poets, the meditative religious poets Henry Vaughan and Thomas Traherne were also influenced by Donne, as were Abraham Cowley and Richard Crashaw. The greatest of the Cavalier poets was the sensuously lyrical Robert Herrick. Such other Cavaliers as Thomas Carew, Sir John Suckling, and Richard Lovelace were lyricists in the elegant Jonsonian tradition, though their lyricism turned political during the English Revolution. Although ranked with the metaphysical poets, the highly individual Andrew Marvell partook of the traditions of both Donne and Jonson. Among the leading prose writers of the Jacobean period were the translators who produced the classic King James Version of the Bible (1611) and the divines Lancelot Andrewes, Jeremy Taylor, and John Donne. The work of Francis Bacon helped shape philosophical and scientific method. Robert Burton's Anatomy of Melancholy (1621) offers a varied, virtually encyclopedic view of the moral and intellectual preoccupations of the 17th cent. Like Burton, Sir Thomas Browne sought to reconcile the mysteries of religion with the newer mysteries of science. Izaak Walton, author of The Compleat Angler (1653), produced a number of graceful biographies of prominent writers. Thomas Hobbes wrote the most influential political treatise of the age, Leviathan (1651).

The Jacobean era's most fiery and eloquent author of political tracts (many in defense of Cromwell's government, of which he was a member) was also one of the greatest of all English poets, John Milton. His Paradise Lost (1667) is a Christian epic of encompassing scope. In Milton the literary and philosophical heritage of the Renaissance merged with Protestant political and moral conviction. With the restoration of the English monarchy in the person of Charles II, literary tastes widened. The lifting of Puritan restrictions and the reassembling of the court led to a relaxation of restraints, both moral and stylistic, embodied in such figures as the Earl of Rochester. Restoration comedy reveals both the influence of French farce (the English court spent its exile in France) and of Jacobean comedy. It generously fed the public's appetite for broad satire, high style, and a licentiousness that justified the worst Puritan imaginings. Such dramatists as Sir George Etherege, William Wycherley, and William Congreve created superbly polished high comedy. Sparkling but not quite so brilliant were the plays of George Farquhar, Thomas Shadwell, and Sir John Vanbrugh. John Dryden began as a playwright but became the foremost poet and critic of his time. His greatest works are satirical narrative poems, notably Absalom and Achitophel (1681), in which prominent contemporary figures are unmistakably and devastatingly portrayed. Another satiric poet of the period was Samuel Butler, whose Hudibras (1663) satirizes Puritanism together with all the intellectual pretensions of the time. During the Restoration Puritanism or, more generally, the Dissenting tradition, remained vital. The most important Dissenting literary work was John Bunyan's Pilgrim's Progress (1675), an allegorical prose narrative that is considered a forerunner of the novel. Lively and illuminating glimpses of Restoration manners and mores are provided by the diaries of Samuel Pepys and John Evelyn. Sections in this article:

Introduction The Tudors and the Elizabethan Age The Jacobean Era, Cromwell, and the Restoration The Eighteenth Century The Romantic Period The Victorian Age The Early Twentieth Century The Postwar Era to the Present Bibliography

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Monday, December 27, 2010

Jacobean Drama
Introduction: Jacobean drama (that is, the drama of the age of James 1-1603-1625) was a decadent form of the drama of Shakespeare and his contemporaries. The Elizabethan age was the golden age of English drama. But with the turn of the century the drama in England also took a turn. It does not mean that there were no dramatists left. There certainly was a large number of them, but none of them could come anywhere near Shakespeare. Just as after Chaucer poetry in England suffered a decline, similarly after Shakespeare had given his best (that is, after the sixteenth century) drama also suffered a decline. With the passage of time it grew more and more decadent, till with Shirley in the age of Charles I the old kind of drama expired and even theatres were closed (in 1642). "It was inevitable", says Long "that drama should decline after Shakespeare, for the simple reason that there was no other great enough to fill his place." The dramatists of the Jacobean age can be divided into two classes as follows: The dramatists of the old school-Dekker, Heywood, Webster, Beaumont, and Fletcher. The satiric group-Chapman, Jonson, Marston, Middleton, and Tourneur. The Change of Patrons: One of the reason for the decadence in Jacobean drama was its loss of national spirit and patronage. In the age of Elizabeth, drama was trulv national, as 'it was patronised alike bv the queen, the nobles the courtiers, and groundlings. But in the age of James I, it lost contact with common people and came to be patronised by, to quote Hardin Craig, "the courtly classes, their hangers-on, and the socially irresponsible parts of the population." Consequently, to quote the same critic "the stage spoke not to all men, but to men with somewhat specialized interests" Dramatists had to cater to the somewhat decadent courtly taste with tales of intrigue, cruelty, and immorality couched in a high-flown, "polished" style. Marked Foreign Influence: The drama of the age of James shows, unlike that of the age of Elizabeth, a very marked foreign influence, for more ill than good. In this connexion Hardin Craig observes: "The older dramatists and their audiences had been satisfied with such intrigue as was afforded by the Italian short story. Their patriotism had sent them to Holjnshed, who had rifled Geoffrey of Monmouth... But in the new age foreign influences of increased potency made themselves felt. Dramatists borrowed the declamatory themes and exaggerated sentiments of Spanish drama, and discovered rew ranges of intrigue, crime, and licentiousness in Italy and Italian subjects. Specifically they revived the drama of revenge and, driving it to the extreme, converted it into a drama of horror." Plot-construction: In spite of the overall inferiority of Jacobean dramatists to Elizabethan dramatists, some credit must be given to them for their gift of plot-construction. Elizabethan dramatists, including Shakespeare, did not show any skill at architectonics. Moreover, they were generally too lazy to invent plots for themselves and were content to borrow them rather too frequently. It does not mean, however, that they were plagiarists pure and simple. Shakespeare borrowed the plots of most of his plays, but by

(i) (ii)

(i) (ii) (iii) (iv)

virtue of his imagination, dramatic skill, poetic gift, and psychological insight transformed them into altogether new entities. But the fact remains that he was a borrower. "The Jacobean dramatists", observes Hardin Craig, "seem for the first time to have begun to invent plots to suit their own tastes and ends." This is particularly true of the comic dramatists like Marston and Ben Jonson. Secondly, Jacobean dramatists show a greater skill in the construction and development of their plots. In many of them the various threads of the action are carefully interwoven into a wonderful harmony of texture seldom to be met with in Elizabethan plays. Jonson, Middleton, and Fletcher were particularly endowed with the gift of plot-construction. Ben Jonson's Alchemist is, according to Coleridge, one of the three literary works of the world (the two others being Sophocles. Oedipus the King and Fielding's novel Tom Jones') which have perfectly constructed plots. But what applies to the above-named dramatists does not apply to all Jacobean dramatists. Many of them, such as Dekker, are agregious offenders in this respect. As Jenet Spens points out in Elizabethan Drama, "the lack of connexion between plot and sub-plot was one of the most marked vices of the post-Shakespearean dramatists, and Dekker happens to offer the most absurd instance of it. There is unity in Dekker's better plays, but it is the unity of the novel rather than that of the drama." New Experiments: In addition to their overall better plot-construction Jacobean dramatists may be credited with setting up some new patterns of drama. It was they who gave us the following kinds of drama, till then unattempted, or indifferently attempted, in England: Domestic drama : such as Heywood's/4 Woman Killed with Kindness. Drama glorifying a particular profession : such as Dekker's The Shoemaker's Holiday (which came, however, in 1599). Drama showing the life and manners of the people of London: such as many of Ben Jonson's comedies. Drama dealing with social problems, mostly prostitution: such as Dekker's The Honest Whore. This kind of drama later came to be practised by no less a distinguished dramatist than George Bernard Shaw. Moral Laxity: A-fter giving Jacobean drama its due, let us discuss some elements of decadence which appear in it. One of these elements is its moral laxity. As we have already said,Jacobean drama was patronised mostly by the courtly classes which were known for their lack of moral discipline. James I himself was, to use the words of Hardin Craig, "a moralist without character." The same is true of most of the dramatists of his age. Some of them made fairly sincere attempts to preach morality, and none of them commended, or even condoned, sin or vice. But that does not absolve them of the charge of-showing an almost morbid interest in sexual immorality even though for the purpose of condemning it. Play after play was written on the theme of immoral love. The White Devil, A Woman Killed with Kindness, and The Duchess ofMalfi are all tragedies of illicit love. A King and No King is a tragedy of incestuous love. Later, in the Caroline age, Ford produced his very shocking play 'Tis Pity She Is a Whore in which he openly dealt with the incestuous passion of a brother and sister which ends in disaster for both. Prostitutes appeared as heroines in many a play, such as Dekker's The Honest Whoreand Marston's The Dutch Courtesan. Abject debauchees figured prominently in numerous plays. It was only Heywood and Webster who abstained from licentious themes. Heywood looked to the past and, in the words of Irvin Ribner in his JacobeanTragedy, "doggedly continued to assert the moral values of an earlier age in a new world in which they no longer had great meaning." As regards Webster, the same critic observes that his plays "are an agonised search for moral order in the uncertain and chaotic world of Jacobean scepticism."

Gloom and Pessimism: This scepticism led the Jacobean age to spiritual vacuity and despair. The courtiers, in particular, became voluptuous .cynics. But this voluptuousness was not without the agonising sense of melancholy arising chiefly from the prospect of human mortality without any Christian consolation regarding the future. Themes of death, time, and mutability engaged the attention of most writers and the tragedies of theJacobean period, too, are exhibitive of what Ribner calls a "spirit of negation and disillusion, depair and spiritual no-confidence." Shakespearean tragedy does give rise to the feelings of pity and fear, and even awe, but it does not create any pessimistic feeling. There are death and destruction no doubt, but the human spirit rises phoenix-like from the pyre with a new, resplendent glory. But this kind of reassuring feeling is absent fromJacobean tragedy. All that happens in it is quite earthly, lacking the spiritual dimensionof Hamlet, and still less, the much vaster, cosmic dimension of Lear. The scepticism, gloom, despair, and pessimism of the age are thus reflected by its tragedy also. Melodramatic Sensationalism: The English have always had, in spite of the long line of critics from Sidney to Dryden to Addison to Dr. Johnson, a taste for crude and melodramatic sensationalism generally of the kind of physical violence and bloodshed. Even Elizabethan dramatists including Shakespeare could not do without catering to the popular taste by introducing into their tragedies a large number of murders and scenes of violence. They might have been partly influenced by the tradition of Senecan revenge tragedy, but the popular taste for "blood and thunder" was also a dictating factor. Considered from the point of view of story alone, such plays as Marlowe's Tamburlaine and The Jew of Malta, Shakespeare's Hamlet, and Kyd's The Spanish Tragedy are all melodramas. But their melodramatic nature does not force itself on the eye or the ear, thanks to the rare poetic power which sustains them in a higher region. But the same is not true of the Jacobean mel'odramatic tragedies. With the departure or decay of the poetic power they have not much left to recommend themselves to us. Most of the tragedies of the age only succeed in covering the stage in the last act with a virtual rivulet of blood so revolting to the refined eye. Sentimentalism: On the other side of the scale to this artless and unthinking bloodshed was the Jacobean tendency towards sentimentalism. To quote Allardyce Nicoll, "there is apparent in the audience of the seventeenth century an increasing love of pathos and of what may be called sentimentalism." The pathos sought to be created by Jacobean dramatists is generally of the artificial kind. But some plays, such as Heywood's Woman Killed with Kindness, contain some really pathetic scenes. The death scene of the duchess in Webster's The Duchess ofMalfi is one of the superb examples of pathos in the whole range of English literature. But such scenes are more of the nature of an exception than a rule. The pathos of Lear's or Cordelia's or Edward II's death is seldom captured by a Jacobean dramatist. Allardyce, Nicoll observes about these dramatists : "The dramatists employ every means, illegitimate as well as legitimate, to stir the emotions of the spectators and to present before them something of novelty." Satire and Realism: The Jacobean age brought into vogue a new kind of realistic and satiric comedy aimed at the exposure of London life and manners and the vices and follies of the times. The exposure was effected for the purpose of correction through satire and ridicule. We find comedy writers like Ben Jonson and Marston holding the mirror to their age and lashing the follies of the Londoners. Their plays are quite realistic with real London as their background. They do not transport us to the fairyland atmosphere of the romantic

comedies such as As You Like It or A Midsummer Night's Dream. What they give us is a much more direct criticism of life. Ben Jonson was quite articulate about his aim. I'll strip the ragged follies of the time Naked, as at their birth; And with a whip of steel Print wounding lashes in their ir6n ribs. Marston and Ben Jonson were engaged in what is known as "the War of Theatres" and wrote stinging satires against each other: The humour of Jacobean comedy was no longer the genial, puckish, fresh and refreshing humour of Shakespeare's comedies, but the bitter and satirical humour which always arises from Poor Characterisation: Jacobean drama suffered decadence in the all-important field of characterisation. It could not boast of a character of the stature and psychological compexity of Shakespeare's Lear or Hamlet, or even Marlowe's Dr. Faustus. Jacobean dramatists relied for dramatic effect more on the situation than on the character. In the field of comedy, the Jacobean age presents conventional and wooden types, as, for instance, Ben Jonson's 'humours." In the field of tragedy, we have again some highly conventional and recurring characters such as, to use the words of Nicoll, the "Headstrong monarch", the "lustful tyrant," "a predetermined hero, often a husband, and with him the inevitable heroine either sinning or sinned against." Then there is the "faithful friend" of the hero. "Again, there are," says Nicoll, "sudden and wholly unpsychological revolutions of character which mar the majority of these dramas and we realize that there could be no possible delving into the depths of personality such as we find in Shakespeare." Poor Poetry: Poetically, Jacobean drama is much less rich than Elizabethan drama. The passionate lyricism of Shakespeare and the grandeur of Marlowe's mighty line became things of the past. Rhetorical devices took the place of true poetry. In Ben Jonson's tragedies, Catiline and Sejanus, there is more of oratory than poetry. Playwrights such as Dekker, Heywood, and Tourneur handled blank verse quite loosely, nor could they breathe into it that pulsating life and poetic beauty which constitute an overwhelming proportion of the pleasure we derive from Elizabethan drama.

03

Jacobean Drama INTRODUCTION

The ascension of James I to the English throne in 1603 marked an era of social and philosophical transition that was reflected in the increasingly dark and ambiguous drama of the period. While a Christian humanist conception of the universe prevailed during the Elizabethan age, the scientific movement of the seventeenth century cast doubt upon earlier views of the cosmos as a highly moral environment governed by God. Astronomical discoveries, for example, along with the publication of Sir Francis Bacon's The Advancement of Learning in 1605, contributed to a new analytical mode

of thinking that marked the separation of philosophical and artistic thought from the realm of religion and morality. The transition between the Elizabethan and Jacobean ages was reflected in drama in varying degrees. With the exception of such late tragedies asAntony and Cleopatra and Coriolanus, Shakespeare, for example, is generally associated with the Elizabethan sensibility. Most of his works display a sense of providential justice; a sense that the ravages of evil will ultimately be overcome by an inevitable movement of the cosmos toward moral harmony. The works of several of Shakespeare's noted Jacobean contemporaries including Webster and Middleton, however, depart from the Elizabethan sense of moral order through depictions of corruption and violence that do not suggest divine retribution and the ultimate triumph of good. Critics do not consider Jacobean drama to be amoral, however: many of the tragedies seek to affirm human dignity and honor in the face of suffering and injustice. Irving Ribner described Jacobean tragedy as the search "to find a basis for morality in a world in which the traditional bases no longer seem to have validity." While extensive critical commentary has focused on the tragedies of the Jacobean period, by far the most popular and frequently performed dramas of the era were the tragicomedies of Beaumont and Fletcher. Although lauded in the seventeenth century, nineteenthand twentieth-century critics have frequently criticized the Fletcherian tragicomedies for sensationalism, contrived plots, and the use of merely entertaining dramatic devices at the expense of integrity and meaning. Some have blamed the growth of private theaters during the seventeenth century and the resulting rise of special interests among audiences for the perceived emphasis on escapist entertainment over meaningful artistic commentary. Others, such as Jacqueline Pearson, have defended the artistic significance and dramatic skill of the tragicomedies. Pearson comments: "Behind the clear-cut structure of sharp contrasts, surprise and suspense, lurks a teasing double-vision, a critical ability to see events simultaneously in very different ways." Also popular during the Jacobean period were masques, which became highly fashionable in the court of King James. Predominantly written by the poet and dramatist Ben Jonson, the Jacobean masques are noted for lavish set designs and musical scores provided by the major

artists and musicians of the period. The focus of the performances was most often the glorification of nobility and right rule, presented in the context of an allegorical, mythological framework. Pat Rogers commented: "The masque can be seen as conspicuous consumption, a sign of decadence, or as the apotheosis of the arts."
Source: Literary Criticism (1400-1800), 1996 Gale Cengage. All Rights Reserved.Full copyright.

04

Elizabethan era (1558-1603)

Main article: Elizabethan literature Also English Renaissance theatre During the reign of Elizabeth I (1558-1603) and then James I (160325), in the late 16th and early 17th century, a London-centred culture, that was both courtlyand popular, produced great poetry and drama. The English playwrights were intrigued by Italian model: a conspicuous community of Italian actors had settled in London. The linguist and lexicographer John Florio (15531625), whose father was Italian, was a royal language tutor at the Court of James I, and a possible friend and influence on William Shakespeare, had brought much of the Italian language and culture to England. He was also the translator of Montaigne into English. The earliest Elizabethan plays includes Gorboduc (1561) by Sackville and Norton and Thomas Kyd's (155894) revenge tragedy The Spanish Tragedy (1592), that influenced Shakespeare's Hamlet. William Shakespeare stands out in this period as a poet and playwright as yet unsurpassed. Shakespeare was not a man of letters by profession, and probably had only some grammar school education. He was neither a lawyer, nor an aristocrat as the "university wits" that had monopolised the English stage when he started writing. But he was very gifted and incredibly versatile, and he surpassed "professionals" as Robert Greene who mocked this "shake-scene" of low origins. Though most dramas met with great success, it was in his later years, marked by the early reign ofJames I, that he wrote what have been considered his greatest plays: Hamlet, Romeo and Juliet, Othello, King Lear, Macbeth, Antony and Cleopatra, and The Tempest. Shakespeare also popularized the English sonnet which made significant changes to Petrarch's model. Other important figures in Elizabethan theatre include Christopher Marlowe, Thomas Dekker, John Fletcher and Francis Beaumont. Had Marlowe (15641593) not been stabbed at twenty-nine in a tavern brawl, says Anthony Burgess, he might have rivalled, if not equalled Shakespeare himself for his poetic gifts. Remarkably, he was born only a

few weeks before Shakespeare and must have known him. Marlowe's subject matter is different from Shakespeare's as it focuses more on the moral drama of the Renaissance man than any other thing. Marlowe was fascinated and terrified by the new frontiers opened by modern science. Drawing on German lore, he introduced the story of Faust to England in his play Doctor Faustus (c.1592), about a scientist and magician who is obsessed by the thirst of knowledge and the desire to push man's technological power to its limits. He acquires supernatural gifts that even allow him to go back in time and wed Helen of Troy, but at the end of his twenty-four years' covenant with the devil he has to surrender his soul to him. His dark heroes may have something of Marlowe himself, whose death remains a mystery. He was known for being an atheist, leading a lawless life, keeping many mistresses, consorting with ruffians and living the 'high life' of London's underworld. But many suspect that this might have been a cover-up for his activities as a secret agent for Elizabeth I, hinting that the 'accidental stabbing' might have been a premeditated assassination by the enemies of The Crown. Beaumont and Fletcher are less-known, but they may have helped Shakespeare write some of his best dramas, and were popular at the time. It is also at this time that the city comedy genre develops. The sonnet was introduced into English by Thomas Wyatt in the early 16th century. In the later 16th century English poetry was characterised by elaboration of language and extensive allusion to classical myths. One of the most important poet of this period is Edmund Spenser author of The Faerie Queene, an epic poem and fantastical allegory celebrating the Tudor dynasty andElizabeth I. and Sir Philip Sidney (1554-1586) was an English poet, courtier and soldier, and is remembered as one of the most prominent figures of the Elizabethan Age. His works includeAstrophel and Stella, The Defence of Poetry, and The Countess of Pembroke's Arcadia. Elizabeth I also produced occasional poems such as On Monsieurs Departure. Poems intended to be set to music as songs, such as by Thomas Campion, became popular as printed literature was disseminated more widely in households. See English Madrigal School. [edit]Jacobean literature (1603-25) See also: English Renaissance theatre After Shakespeare's death, the poet and dramatist Ben Jonson was the leading literary figure of the Jacobean era. Jonson's aesthetics hark back to the Middle Ages and his characters embody the theory of humours. According to this contemporary medical theory, behavioral differences result from a prevalence of one of the body's four "humours" (blood, phlegm, black bile, and yellow bile) over the other three; these humours correspond with the four elements of the universe: air, water, fire, and earth. However, the stock types of Latin literature were an equal influence.[8] Jonson therefore tends to create types or caricatures. However, in his best work, characters are "so vitally rendered as to take on a being that transcends the type".[9] He is a master of style, and a

brilliant satirist. Jonson's famous comedy Volpone (1605 or 1606)) shows how a group of scammers are fooled by a top con-artist, vice being punished by vice, virtue meting out its reward. Other major plays by Jonson are Epicoene (1609), The Alchemist (1610), and Bartholomew Fair (1614). Others who followed Jonson's style include Beaumont and Fletcher, who wrote the brilliant comedy, The Knight of the Burning Pestle, a mockery of the rising middle class and especially of those nouveaux riches who pretend to dictate literary taste without knowing much literature at all. In the story, a couple of grocers wrangle with professional actors to have their illiterate son play a leading role in a drama. He becomes a knighterrant wearing, appropriately, a burning pestle on his shield. Seeking to win a princess' heart, the young man is ridiculed much in the way Don Quixote was. One of Beaumont and Fletcher's chief merits was that of realising how feudalism and chivalry had turned into snobbery and make-believe and that new social classes were on the rise. Another popular style of theatre during Jacobean times was the revenge play, popularized by John Webster and Thomas Kyd. The King James Bible, one of the most massive translation projects in the history of English up to this time, was started in 1604 and completed in 1611. It represents the culmination of a tradition of Bible translation into English that began with the work of William Tyndale. It became the standard Bible of the Church of England. This project was headed by James I himself, who supervised the work of forty-seven scholars. Although many other translations into English have been made, some of which are widely considered more accurate, many aesthetically prefer the King James Bible, whose meter is made to mimic the original Hebrew verse. Besides Shakespeare the major poets of the early 17th century included the Metaphysical poets John Donne (15721631) and George Herbert (15931633). Influenced by continental Baroque, and taking as his subject matter both Christian mysticism and eroticism, Donne's metaphysical poetry uses unconventional or "unpoetic" figures, such as a compass or a mosquito, to reach surprise effects. For example, in "Valediction: Forbidding Mourning", one of Donne's Songs and Sonnets, the points of a compass represent two lovers, the woman who is home, waiting, being the centre, the farther point being her lover sailing away from her. But the larger the distance, the more the hands of the compass lean to each other: separation makes love grow fonder. The paradoxor the oxymoron is a constant in this poetry whose fears and anxieties also speak of a world of spiritual certainties shaken by the modern discoveries of geography and science, one that is no longer the centre of the universe. George Chapman (?1559-?1634) wrote a couple revenge tragedies, but is remembered chiefly for his famous translation in 1616 of Homer's Iliad and Odyssey into English verse. This was the first ever complete translations of either poem into the English language. The translation had a profound influence on English literature and inspired a sonnet

from John Keats. The highly popular tale of the Trojan War had previously only been available to English readers only in Medieval epic retellings, such as Caxton's Recuyell of the Historyes of Troye.

06

CHAPTER I THE JACOBEAN DRAMA

I
THE mood of the drama from the early Elizabethan to the late Jacob ean period appears topass through three phases, each reflecting wit h some precision the characteristic thought,preoccupation or attitud e to the problems of man's being of the period to which itbelongs.1 That of the Elizabethan age proper, the drama of Greene, Kyd, Peele , Marloweand the early work of Shakespeare, is characterized by its faith in vitality, its worship ofthe glorious processes of life, an expan sion and elation of mind which corresponds directlyto the upward m ovement of a prosperous and expanding society. This robust gustoa ppears directly in the comedies of Shakespeare and only less directl y in Romeo and Juliet,instinct with the sense of the nobleness of life; it is there in the vigour of the SpanishTragedy no less than in the te nderness of Greene or Peele's tremulous response toloveliness. But already within this age another movement sets in, paradoxically, it mightseem, were it not that one age always overlaps another and th ought is for ever anticipatedin germ. Marlowe, the leader of the earli er age in tragic thought, already points it towardsthe sense of defea t that was so marked a characteristic of the Jacobeans. For all hisstr ength, for all the desperate valour of his aspiration, the final positio n of each play inturn is an intimate defeat of aspiration itself. This ru ns through a protean series of forms,as might be supposed of an Eli zabethan thinker, to culminate in the quiescence of EdwardII. Marlo we's keen spiritual sense sees through the delusion of prosperity th at intoxicateshis contemporaries as a whole and anticipates

1 ____________________ 1 I regard these phases as covering roughly the periods from the begi nning of theElizabethan drama to about 1598, from about 1598 to 1 610 or 1611, and from about1610 or 1611 to near the end of the rei gn of James I. that mood of spiritual despair which is its necessary result and beco mes the centre of thelater tragic mood. And this position is reached by Marlowe through one section of hisexperience which is, in its turn , an epitome of the experience that touched a large numberof the Ja cobean dramatists after him, his exploration of the system of Machi avelli. The impact of this system came obliquely to the Elizabethans, throu gh the preposterousstage figure of the pseudo-Machiavellian villain, which presented truly neitherMachiavelli's individual precepts nor th e balance of his thought as a whole. Yet, because ofthe perversions suffered by his thought in transmission, what was received by theEli zabethan drama brought with it not only the withering breath of mat ter-of-factmaterialism proper to his method, but a more bitterly cyni cal individualism than he hadever implied. This, touching some of th e playwrights immediately (while others it almostmissed), spread gr adually over the habit of tragic thought, reinforced by the tradition o fMarlowe's study of spiritual defeat. It was reinforced still more effectively after the turn of the century b y the apprehensionsand the disillusionment that spread through poli tical and social life with the death ofElizabeth, the accession of Jame s, the influence of his court and the instability of the firstyears of his reign. This mood, culminating as it did in and about the year 1605, t ook theform for public and private men alike of a sense of impendin g fate, of a state of affairs sounstable that great or sustained effort was suspended for a time and a sense of the futilityof man's achiev ement set in. One immediate corollary of this is a preoccupation wit hdeath where the Elizabethan had been in love with life. Even when

the actual threat wasremoved, those who survived found the great age gone and themselves the inheritors ofpoverty of spirit.1 ____________________ 1 This period of despondency or anxiety appears to last, in one form o r another, fromsome four or five years before the death of Elizabeth, to some five or six years after theaccession of James; the causes we re similar though not identical throughout the period.The sense of in stability in the latter years of the reign of Elizabeth came mainly fro mthe memory of the crises of the past three accessions and of the s eries of plots toassassinate the Queen throughout her reign combin ed with the knowledge that therewas no obvious heir to the throne a t her death. The threats of invasion by the Catholicpower of Spain c ulminating in 1588 were still fresh in men's memories, as

07

CHAPTER II JACOBEAN DRAMATIC TECHNIQUE

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THE technique by which the Jacobeans developed their theatre is as peculiar to them as istheir choice of theme and their mood and in m any cases of as high a degree of originality.For the modern reader it is sometimes necessary to begin by dismissing from our mindswhat most of us have imperceptibly acquired in childhood, a prepossessio n in favour of adrama which, by a kind of protective mimicry, endea vours to reproduce the situations, theevents, the speech and the te mpo of everyday life, to win its way into our minds, tosuspend disbe lief and to convince us precisely by not allowing us to realize that thi s isdrama. In the hands of a major dramatist, like Ibsen, and at the e xpense of sleepless skill,this convention of actuality is served withou t violation of the fundamental necessities ofdramatic experience. In

The Wild Duck and still more in Rosmersholm this stupendousjugglin g feat is achieved; in the latter masterpiece, indeed, by a supreme c oncentration ofthe artist's faculties, the essential drama is not only unharmed but in the end empoweredby it. The process is such that, with the lifting of veil behind veil, we penetrate gradually toa knowl edge of the preliminary facts upon which the dramatic events we ar e watchinghave their base and so feel ourselves almost in the prese nce of actual experience, with itsimperfect and irregular progression towards the knowledge in which the events areilluminated, often aft er they have taken place. Not until the fall of the curtain do we kno wall the relevant facts that preceded its rising. This, like Pirandello Henry IV or SixCharacters in our own day, carries structural verisimil itude to its highest pitch and a hostof dramatists between the two h ave consciously or unconsciously accepted Ibsen's planand trained t heir audiences in the tradition.1 ____________________ 1 This, of course, only indicates one of the multifarious forms of mode rn dramaticstructure, but it is that in which English drama until

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Definition: English theater during the reign of King James I, from 1603 to 1625. In the history of English drama and literature, the "Jacobean" era of theater featured playwrights such as William Shakespeare, Ben Jonson, Thomas Dekker, and John Webster. Other Periods in English Theatre History: The previous era was known as Elizabethan Theatre. (The reign of Queen Elizabeth lasted from 1558 - 1603). The era after the Jacobean period is known as Caroline Theater which lasted from 1625 until the mid-1640s when King Charles I was overthrown).

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Jacobean Drama The Elizabethan age was an age characterized by a spirit of revival, by the concept of order and the rise of symbolism, the conviction that beyond concrete reality there exists a transcendental one, a world of symbols and metaphors. By comparison, the Jacobean age is characterized by a spirit of negation, disorder and chaos, by the fall of symbolism and by pragmatism. At the level of literary work, the rise of symbolism was materialized in the play metaphor as compared to the fall of symbolism materialized inlife as a game of chess. The game of chess requires rules, laws and little imagination. Other features which characterize the Jacobean age are the shift of emphasis from God to Man. Man is on his own, he experiences joy and pain without any guidance and this freedom is also a threat to mans individuality. Another feature is interest in the evil, in the psychology of sin, satanic vision of life and manifestations of abnormality. There are many similarities to be drawn between Jacobean drama and horror movies. In the 20 th century there appeared a new interest in it as it suited the atmosphere of chaos characteristic of this century. Jacobeans use the works of Seneca also used by Shakespeare and the Elizabethans but while the latter inspired themselves from the rules of the three unities: time, space and action, the Jacobeans were mainly influenced by the Senecan mood of negation, destruction and evil. They took from Seneca the concept of negative teaching and the mood of abnormality and negation. Representatives John Marston His best known plays are Antonios Revenge and The Malcontent. Antonios Revenge is centered on the idea of revenge and on the psychological side of characters being the Jacobean counterpart of Shakespeares play Hamlet, imbued with scenes of crimes and destructions. The moral severe criticism coupled with an indeterminacy of genre marks much of Marstons work. His plays deal, in a dark manner, with tragic situations, intrigues, feigned madness and above all revenge in the upper-class Italy. His moral vision is reflected in the equally discordant rhetoric; he inspired himself from the Senecan stoicism, to which he added his personal despair through long, exhausting linesand discontinuous, cumulative lists of words. Marston exposes moral corruption and restless pursuit for political and social justice. He often tries to make his moral point by exaggerating the disorders of an evil age, until he transforms his characters into grotesque figures. Thomas Heywood His most important play is A Woman Killed with Kindness .The plot is centered around a woman, who performs adultery. Her husband decides to punish her with kindness, behaving exactly as he had done before. He is very kind to her and when she receives kindness she cant bear this and dies. The play deals with the clinical descriptions of her death, caused by the fact that she wasnt able to bear her husbands behaviour. This play

makes the most of a sensational fictional situation; it opens with a wedding between a supposedly ideal woman and a man proud of his social status and personal happiness. But, this rapidly reverses into deception and destruction. The wife finds herself involved 1 in adultery and the husband kindly banishes her from his house and their children. Her remorseful death brings her ultimate forgiveness. It is a revenge play without revenge and with controlled murderous impulses. In other plays (The Fair Maid of the West, A Girl worth Gold) women have an extraordinary power of mind, are resourceful and courageous in fighting for their goals. Thomas Middleton His most important play is Women Beware Women. It is from this play that the image of life as a game of chess is taken. The stage is divided into two parts, actually two parallel situations: in one room there are people playing chess and in the other there is an act of seduction. It is women who are first corrupted and then facing the consequences of theircorruption until being consumed by it. The two interwoven plots often show women confined and locked, contrived by men or by other women acting as agents of male power. Livia seduces her niece into an adulterous relationship with her uncle and then helps the Duke of Florence in his seduction of the married Bianca (the game of chess with its references to black kings, lost pawns and mating have a symbolical duality. Moral licence and ambition drive both Livia and Bianca into enjoying the benefits of sexual and financial power in a predominantly patriarchal society. However both of them are to be punished during the performance of the Dukes marriage masque, as various theatrical tricks prove fatal to actors and observers alike. John Ford His plays combine an interest in the psychology of illicit love with a taste for the melodramatic incident and with scenes of outmost violence. The setting of his plays is Italy, as Italy was seen as the home of vice, while actually tackling problems of contemporary England. His plays combine a mixture of romantic fatalism with a clinical exploration of manifestations of evil. Tis a Pity Shes a Whore is centered on an incestuous love affair between Giovanni and Annabella, brother and sister. Giovanni does not want to hide his affection, but he openly declares his love and he even takes pride in displaying his feelings. Annabellas parents force her to get married in order to save their daughters integrity, but Giovanni kills Annabellas husband and kills himself in order to avenge his parents act. Ford took to the extreme the concept of negative teaching and he was even accused by literary critics for being a deliberate immoralist and even a decadent writer. His characters seem to move in a world preordained by damnation, individual gestures of self-assertion being opposed to the values of an old, inherited moral code. Fords leading characters, both male and female, define themselves by undermining received or traditional values and norms. Giovanni and Annabella insist on the rightness of their passion regardless of the restrictions of the church, family and society. They construct a private morality out of feeling, a temporary paradise, permanently damned a and condemned one. Giovanny breaks a great social taboo and takes his sin to the extreme when he parades with his sisters heart fixed to his dagger. Drama becomes decadent when it exploits the moment without any probing of cause or consequence, when it seeks eccentric causes for common situations or when it uses human emotions fore the simple purpose of making our flesh creep, shocking situations without any

motivation, just for surprising and terrifying readers. Ford points to a certain reality characterized by immoral, chaotic, destructive elements, but he frequently exaggerated them shocking the readers. John Webster He is the best of Jacobean dramatists because he knows how to combine negative teaching with great poetry and with high skill in character drawing. The weak point of his creation consists in his little control of the dramatic structure; his plays are episodic, they have good individual moments, but they are not linked in a concrete manner. Still they allow the author to exploit with great poetic effect the terror or the pathos of individual moments. Although his tragedies are based on true, bloody and recent occurrences in the courts of Italy, he was a borrower of devices, effects and themes from his contemporary English dramatists and a modern dramatic poet placing his borrowings in strikingly innovative and distinctive contexts. In The White Devil the characters have Italian names. Vittoria Corombona is involved in an adulterous adventure with the Duke of Bracciano, but the Duke in a fit of rage kills Vittorias husband, her children and himself. The scene when Vittoria is brought to the Royal Court to be judged for her adultery shows Webster as a master of portrayal as Vittoria manages to keep her dignity and turns into a victim. As compared to the other representatives of the Court, dominated by corruption and hypocrisy, her guilt is far less. Webster transforms his play into an indictment of the English Royal Court. Unlike Ford who described abnormal situations only to impress the readers, Webster extends his criticism on the whole society. Vittoria is the most achieved character, because she is motivated by ambition and passion far beyond the ordinary ones. She has often been compared to Marlowes characters. Just like Dr Faustus greeding after infinite knowledge, her passion surpasses the human limits. A satire of court life, this play is centered on the theme of the Machiavellian/ Faustian character and on the idea that inmoments of ultimate crises even evil characters can redeem themselves by a stoic dignity. The play is concerned with paradoxes and antitheses and with dissimulation of hypocrisy, as characters reveal themselves in fragmentary confessions and conflict with ot her characters. The Duchess of Malfi deals with a young duchess who is forbidden by her brothers to get remarried, either because of an incestuous passion, either because they expected to inherit her fortune. She does that in secret and her brothers punish her with the help of Bosola: he is the one who sends her a dead-man hand and some wax puppets portraying her husband and children. Thus she is finally drawn mad and sent to an asylum as a lunatic. She manages to keep her identity in front of all these horrors and the end comes as liberation for her. The widower Duchess commits what is seen by her villainous brothers as an unforgivable sin against dignity, by marrying her steward. Ferdinand, Duke of Calabria, and the Cardinal viciously outline a plan of psychological torture. The Duchess is gradually worn down to mental degradation and becom es the single pattern of virtue in a dark, immoral, male world. He is the greatest representative of this period because he did not indulge in creating sensations for their own sake, but his plays have morality attached to them and present criticism of the contemporary society.

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