Inhaltsangabe
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1918 Excerpt: ...'Davison's Poetical Rhapsody' (1602), is of little more importance, though its selections reflect the sonnet vogue. An earlier and more important book, 'The Passionate Pilgrim, by William Shakespeare' (1599) is clearly a miscellany, as only part of its contents, some songs from 'Love's Labour's Lost' and some sonnets, are by Shakespeare. In subject matter the earlier part of the Elizabethan age was pastoral, following the tone set by Sidney's 'Arcadia' (1590). This Elizabethan pastoral, literary and artificial as in Sanazzarro and other Italian models, left its impress on the incidental songs in the prose romances. Sidney himself was the most zealous experimenter in classical metres, in the general attempt that Gabriel Harvey fostered, to bring English verse under the laws of Latin prosody. Green and Lodge, the great writers of prose romance after Sidney, were less pedantic in their lyrics, yet their songs have the idyllic method of the pastoral, the method of painting. The best representative of this pastoral period is Edmund Spenser (q.v.). His first book, 'The Shepherd's Calendar' (1579), was an imitation of the Virginian eclogue, with the same bookish flavor--here increased by Edward Kirke's commentary--and with the same allegorical treatment of contemporaries and events under the pastoral mask; but with an English setting and with English ideals that stamp the book as native. In 'The Faerie Queene' (159096) and the 'Amoretti' (1595), Spenser speaks also through the pastoral convention--that subduing of all things to loveliness, which is the mark of the world of the Sicilian Muses. The 'Faerie Queene' especially, as might be expected from its ancestry in the Italian romantic epics, has the irresponsibility of pastoral romance--the arbitrary management o...
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Reseña del editor
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1918 Excerpt: ...'Davison's Poetical Rhapsody' (1602), is of little more importance, though its selections reflect the sonnet vogue. An earlier and more important book, 'The Passionate Pilgrim, by William Shakespeare' (1599) is clearly a miscellany, as only part of its contents, some songs from 'Love's Labour's Lost' and some sonnets, are by Shakespeare. In subject matter the earlier part of the Elizabethan age was pastoral, following the tone set by Sidney's 'Arcadia' (1590). This Elizabethan pastoral, literary and artificial as in Sanazzarro and other Italian models, left its impress on the incidental songs in the prose romances. Sidney himself was the most zealous experimenter in classical metres, in the general attempt that Gabriel Harvey fostered, to bring English verse under the laws of Latin prosody. Green and Lodge, the great writers of prose romance after Sidney, were less pedantic in their lyrics, yet their songs have the idyllic method of the pastoral, the method of painting. The best representative of this pastoral period is Edmund Spenser (q.v.). His first book, 'The Shepherd's Calendar' (1579), was an imitation of the Virginian eclogue, with the same bookish flavor--here increased by Edward Kirke's commentary--and with the same allegorical treatment of contemporaries and events under the pastoral mask; but with an English setting and with English ideals that stamp the book as native. In 'The Faerie Queene' (159096) and the 'Amoretti' (1595), Spenser speaks also through the pastoral convention--that subduing of all things to loveliness, which is the mark of the world of the Sicilian Muses. The 'Faerie Queene' especially, as might be expected from its ancestry in the Italian romantic epics, has the irresponsibility of pastoral romance--the arbitrary management o...
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