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Table Of Contents

1.1. The Renaissance and the Enlightenment
1.1.2. Reason and faith in the Age of the Enlightenment
1.1.3. From the Age of Reason to the Age of Feeling
1.1.4. The Enlightenment: an age of progress
1.3. The evolution of poetic forms
1.4.1. Jacobean tragedy
1.4.2. Comedy in the early 17th century
1.4.3. Drama during the Restoration period
1.4.4. Sentimental drama and burlesque comedy in the 18th century
1.5. The evolution of prose style
Key words
Gallery of personalities
Solutions and suggestions for SAQs
Further reading
2.1. The emergence of the baroque sensibility
Unit objectives
2.1.1. The late Renaissance: characteristics of the baroque sensibility
2.1.2. Baroque features of late Renaissance drama and poetry
2.2. Shakespeare’s genius. His later plays
2.2.1. The baroque spirit of Shakespeare’s tragedies
2.2.2. Hamlet: a revenge play
2.2.3. Renaissance man and the baroque sensibility
2.2.4. Hamlet: the philosopher vs. the man of action
2.2.5. King Lear: the madness of tragic grief
2.2.6. To be or to seem: Othello
2.2.7. Macbeth: the tragedy of “diseased” conscience
2.2.8. Shakespeare’s last plays
2.2.9. The plot of The Tempest
2.2.10. Major themes
2.2.11. Symbols in The Tempest
2.2.12. The play-metaphor
2.3. The metaphysical poets
2.3.1. Characteristics of metaphysical poetry
2.3.2. The metaphysical conceit
2.3.3. Themes in John Donne’s poetry
2.3.4. Donne’s love poems
2.3.5. Donne’s religious poems
2.3.6. Andrew Marvell: the patriotic theme in the Horatian Ode
2.3.8. The theme of love in Marvell’s poetry
3.1. Milton, the Christian humanist
3.2. Milton’s early poems
3.2.1. L’Allegro and Il Penseroso
3.2.2. Lycidas – a pastoral elegy
3.3. Milton’s sonnets
3.3.1. Sonnet VII
3.3.2. Sonnet XVII
3.4. Paradise Lost – the Christian epic
3.4.1. Satan and the fallen angels in Hell
3.4.2. The divine foreknowledge of the Fall
3.4.3. Raphael’s warning to Adam
3.4.4. The creation of the world
3.4.5. The seduction of Eve
3.4.6. The world after the Fall
3.5. The heroes of Paradise Lost
3.5.1. Milton’s Satan: the rebel’s inner hell
3.5.2. Satan, the “author of all ill”
3.5.3. Milton’s depiction of Adam and Eve
4.1. Restoration drama
4.1.1. Restoration theatre – a form of Court entertainment
4.1.2. Dominant forms in Restoration drama
4.1.3. Restoration comedy and its character types
4.1.4. William Congreve, a master of satirical comedy of manners
4.1.5. The rise of sentimental comedy*
4.2. English literary Neoclassicism*
4.2.1. Great Augustan writers: John Dryden and Alexander Pope
4.2.2. Principles of Neoclassic literary poetics
4.2.3. Nature and Reason
4.2.4. The Augustan ideal of style
4.2.5. “To divert and instruct” – the imperative of Augustan literature
4.3. The periodical essay
4.3.1. The Tatler and The Spectator. “The Spectator’s Club”
4.4. Augustan satire
4.4.1. John Dryden
4.4.2. Alexander Pope
4.4.3. Jonathan Swift
4.4.4. The structure of Gulliver’s Travels
4.4.5. Lilliput and Brobdingnag: satire and utopia
4.4.6. The fourth voyage. Gulliver, the frustrated idealist
4.4.7. The importance of Gulliver’s Travels
5.1. Background and main concerns
5.1.1. Novel and romance in the 18th
5.1.3. Typology of the novel in the 18th
5.2.1. Daniel Defoe and the novel of adventure
5.2.2. Robinson Crusoe: theme and plot
5.2.3. Interpretations of Robinson Crusoe
5.2.4. Defoe’s style
5.2.5. Richardson’s contribution to the development of the novel
5.2.6. The plot of Pamela, or Virtue Rewarded
5.2.7. Social hierarchy and the individual self
5.2.8. Psychological realism and the epistolary technique
5.3. Henry Fielding and the novel of manners
5.3.1. Comedy and parody in Joseph Andrews
5.3.2. The novel as comic romance
5.3.3. The character of Parson Adams
5.3.4. Fielding’s conception of character in Joseph Andrews
5.3.5. Fielding’s Augustanism*
5.4. Laurence Sterne and the “anti-novel”
5.4.1. Tristram Shandy: an unconventional autobiographical novel
5.4.2. Eccentric characters in Tristram Shandy
5.4.3. Sentimentalism and tragi-comic vision
5.4.4. The “Shandean” view of writing
5.4.5. The defamiliarisation of realistic conventions
5.4.6. Tristram Shandy as metafiction
6.1.2. The interest in early poetry
6.2.1. The sentimental approach: Oliver Goldsmith
6.2.2. Character sketch in The Deserted Village
6.2.3. The realistic approach: George Crabbe
6.2.4. Robert Burns and the popular tradition
6.3. Pre-Romantic nature poetry
6.3.1. James Thomson, The Seasons
6.3.2. William Cowper, The Task
6.4. William Blake, the visionary artist
6.4.1. Blake as a pre-Romantic poet
6.4.2. Blake, the Romantic visionary
6.4.3. The theme of childhood in Songs of Innocence
6.4.4. Ironic implications in Songs of Innocence
6.4.5. The fall from Innocence: Songs of Experience
6.4.6. Knowledge in the world of Experience
6.4.7. The double vision in Blake’s Songs
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17 and 18 Century British Literature

17 and 18 Century British Literature

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Published by italia69

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Published by: italia69 on Dec 08, 2010
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