History of ENGLISH LITERATURE

· MUST-READ NOTES:
· Don Juan is a satiric poem by Lord Byron, based on the legend of Don Juan, which Byron reverses, portraying Juan not as a womaniser but as someone easily seduced by women. It is a variation onthe epic form. Byron himself called it an "Epic Satire" (Don Juan, c. xiv, st.99). Byron completed 16 cantos, leaving an unfinished 17th canto before his death in 1824. Byron claimed that he had no ideas in his mind as to what would happen in subsequent cantos as he wrote his work. When the first two cantos were published anonymously in 1819, the poem was criticised for its "immoral content", but it was also immensely popular.
· Mac Flecknoe (full title: Mac Flecknoe; or, A satyr upon the True-Blew-Protestant Poet, T.S.[1]) is a verse mock-heroic satire written by John Dryden. It is a direct attack on Thomas Shadwell, another prominent poet of the time. It opens with the lines:
All human things are subject to decay,
And when fate summons, monarchs must obey[2]
Written about 1678, but not published until 1682 (see 1682 in poetry), "Mac Flecknoe" is the outcome of a series of disagreements between Thomas Shadwell and Dryden. Their quarrel blossomed from the following disagreements: "1) their different estimates of the genius of Ben Jonson, 2) the preference of Dryden for comedy of wit and repartee and of Shadwell, the chief disciple of Jonson, for humors comedy, 3) a sharp disagreement over the true purpose of comedy, 4) contention over the value of rhymed plays, and 5) plagiarism."[3] Shadwell fancied himself heir to Ben Jonson and to the variety of comedy which the latter had commonly written. Shadwell’s poetry was certainly not of the same standard as Jonson’s, and it is possible that Dryden wearied of Shadwell’s argument that Dryden undervalued Jonson. Shadwell and Dryden were separated not only by literary grounds but also by political ones as Shadwell was a Whig, while Dryden was an outspoken supporter of the Stuart monarchy. The poem illustrates Shadwell as the heir to a kingdom of poetic dullness, represented by his association with Richard Flecknoe, an earlier poet already satirized by Andrew Marvell and disliked by Dryden, although the poet does not use belittling techniques to satirize him. Multiple allusions in the satire to 17th-century literary works, and to classic Greek and Roman literature, demonstrate Dryden’s complex approach and his mastery over the mock-heroic style. The poem begins in the tone of an epic masterpiece, presenting Shadwell's defining characteristic as dullness, just as every epic hero has a defining characteristic: Odysseus's is cunning; Achilles's is wrath; the hero of Spenser's The Faerie Queene is of holiness; whilst Satan in Paradise Lost has the defining characteristic of pride. Thus, Dryden subverts the theme of the defining characteristic by giving Shadwell a negative characteristic as his only virtue. Dryden uses the mock-heroic through his use of the heightened language of the epic to treat the trivial subjects such as poorly written and largely dismissible poetry. The juxtaposition of the lofty style with unexpected nouns such as 'dullness' provides an ironic contrast and makes the satiric point by the obvious disparity. In this, it works at the verbal level, with the languagebeing carried by compelling rhythm and rhyme. FOR SUCH NOTES CONTACT#8381817454(WHATSAPP)
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Rosencrantz and Guildenstern Are Dead, often referred to as just Rosencrantz and Guildenstern, is an absurdist, existentialist tragicomedy by Tom Stoppard, first staged at the Edinburgh Festival Fringe in 1966. The play expands upon the exploits of two minor characters from Shakespeare's Hamlet, the courtiers Rosencrantz and Guildenstern. The action of Stoppard's play takes place mainly "in the wings" of Shakespeare's, withbrief appearances of major characters from Hamlet who enact fragments of theoriginal's scenes. Between these episodes the two protagonists voice their confusion at the progress of events occurring onstage without them in Hamlet, of which they have no direct knowledge. Comparisons have also been drawn with Samuel Beckett's Waiting for Godot,[3] for the presence of two central characters who almost appear to be  halves of a single character. Many plot features are similar as well: the characters pass time by playing Questions, impersonating other characters, and interrupting each other or remaining silent for long periods of time.
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· The Seasons is a series of four poems written by the Scottish author James Thomson. The first part, Winter, was published in 1726, and the completed poem cycle appeared in 1730.[1] The poem was extremely influential, and stimulated works by John Christopher Smith, Joseph Haydn, Thomas Gainsborough and J. M. W. Turner among many others.
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· "The Raven" is a narrative poem by American writer Edgar Allan Poe. First published in January 1845, the poem is often noted for its musicality, stylized language, and supernatural atmosphere. It tells of a talking raven's mysterious visit to a distraught lover, tracing the man's slow fall into madness. The lover, often identified as being a student,[1][2] is lamenting the loss of his love, Lenore. Sitting on a bust of Pallas, the raven seems to further instigate his distress with its constant repetition of the word "Nevermore". The poem makes use of a number of folk, mythological, religious, and classical references. Poe claimed to have written the poem very logically and methodically, intending to create a poem that would appeal to both critical and popular tastes, as he explained in his 1846 follow-up essay, "The Philosophy of Composition". The poem was inspired in part by a talking raven in the novel Barnaby Rudge: A Tale of the Riots of 'Eighty by Charles Dickens.[3] Poe borrows the complex rhythm and meter of Elizabeth Barrett's poem "Lady Geraldine's Courtship", and makes use of internal rhyme as well as alliteration throughout. "The Raven" was first attributed to Poe in print in the New York Evening Mirror on January 29, 1845. Its publication made Poe widely popular in his lifetime, although it did not bring him much financial success. The poem was soon reprinted, parodied, and illustrated. Critical opinion is divided as to the poem's literary status, but it nevertheless remains one of the most famous poems ever written. FOR SUCH NOTES CONTACT#8381817454(WHATSAPP)
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· The Private Life of an Indian Prince is a novel by Mulk Raj Anand first published in 1953.[1] The book is classified as one of Anand's most impressive and important works.[2] In keeping with his other writings dealing with the topic of social and political reform, this book deals with the abolition of the princely states system in India.[3] While the novel is not an autobiography, like many of his earlier novels, it follows an autobiographical tone.[4] In 2004, a commemorative edition including this book was launched by Indian Prime Minister Manmohan Singh.
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· Two Treatises of Government (or Two Treatises of Government: In the Former, The False Principles, and Foundation of Sir Robert Filmer, and His Followers, Are Detected and Overthrown. The Latter Is an Essay Concerning The True Original, Extent, and End of Civil Government) is a work of political philosophy published anonymously in 1689 by John Locke. The First Treatise attacks patriarchalism in the form of sentence-by-sentence refutation of Robert Filmer's Patriarcha, while the Second Treatise outlines Locke's ideas for a more civilized society based on natural rights and contract theory. This publication contrasts former political works by Locke himself. In Two Tracts on Government, written in 1660, Locke defends a very conservative position; however Locke never published it.[1] In 1669 Locke co-authored the
Fundamental Constitutions of Carolina, which endorses aristocracy, slavery and serfdom.
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· The Mirror for Magistrates is a collection of English poems from the Tudor period by various authors which retell the lives and the tragic ends of various historical figures. FOR SUCH NOTES CONTACT#8381817454(WHATSAPP)
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· The Homecoming is a two-act play written in 1964 by Nobel laureate Harold Pinter and it was first published in 1965. Its premières in London (1965) and New York (1967) were both directed by Sir Peter Hall and starred Pinter's first wife, Vivien Merchant, as Ruth. The original Broadway production won the 1967 Tony Award for Best Play. Its 40th-anniversary Broadway production at the Cort Theatre was nominated for a 2008 Tony Award for "Best Revival of a Play". Set in North London, the play has six characters. Five of these are men who are related to each other: Max, a retired butcher; his brother Sam, a chauffeur; and Max's three sons — Teddy, an expatriate American philosophy professor; Lenny, who appears to be a pimp; and Joey, a would-be boxer in training who works in demolition. There is one woman, Ruth, who is Teddy's wife. The play concerns Teddy's and Ruth's "homecoming," which has distinctly different symbolic and thematic implications.
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· The French Lieutenant's Woman is a 1969 postmodern historical fiction novel by John Fowles. It was his third published novel, after The Collector (1963) and The Magus (1965). The novel explores the fraught relationship of gentleman and amateur naturalist Charles Smithson and Sarah Woodruff, the former governess and independent woman with whom he falls in love. The novel builds on Fowles' authority in Victorian literature, both following and critiquing many of the conventions of period novels.[1] Following publication, the library magazine American Libraries, described the novel as one of the "Notable Books of 1969".[2] Subsequent to its initial popularity, publishers produced numerous editions and translated the novel into many languages; soon after the initial publication, the novel was also treated
extensively by scholars.[3] The novel remains popular, figuring in both public and academic conversations. In 2005, Time magazine chose the novel as one of the 100 best English-language novels published between 1923 and 2005.[4] Part of the novel's reputation is based on its expression of postmodern literary concerns through thematic focus on metafiction, historiography, metahistory, Marxist criticism and feminism. Stylistically and thematically, Linda Hutcheon describes the novel as an exemplar of a particular postmodern genre:"historiographic metafiction."[5] Because of the contrast between the independent Sarah Woodruff and the more stereotypical male characters, the novel often receives attention for its treatment of gender issues. However, despite claims by Fowles that it is a feminist novel, critics have debated whether
it offers a sufficiently transformative perspective on women. Following popular success, the novel created a larger legacy: the novel has had numerous responses by academics and other writers, such as A. S. Byatt, and through adaptation as film and dramatic play. In 1981, the novel was adapted as a film of the same name with script by the playwright Harold Pinter, directed by Karel Reisz and starring Meryl Streep and Jeremy Irons. The film received considerable critical acclaim and awards, including several BAFTAs and GoldenGlobes. The novel was also adapted and produced as a British play in 2006.
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· The Fall of Hyperion: A Dream, sometimes subtitled as A Vision instead of a dream, is an epic poem written by the English Romantic John Keats. Keats composed The Fall of Hyperion by reworking, expanding, and personally narrating lines from his earlier fragmented epic poem Hyperion. The poem was abandoned before Keats's death.
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· The Fall of Hyperion is the second novel in the Hyperion Cantos, a science fiction series by American author Dan Simmons. The novel, written in 1990, won both the 1991 British Science Fiction and Locus Awards.[1] It was also nominated for the Hugo Award that same year,[1] and the Nebula Award in 1990.[2] Set in the 29th century, the novel documents a pilgrimage to the planet Hyperion, undertaken by eight people whose lives have been altered due to events regarding that world. The pilgrims intend to travel to the Valley of the Time Tombs, where the Shrike, a metallic creature alleges to grant one wish to the members of a pilgrimage, dwells. Each of the seven adult pilgrims has a wish that, if granted, could change the future drastically, and the events that the pilgrims experience on Hyperion could have major influences on their society, creating additional issues. The Hyperion Cantos is influenced strongly by various works, including the teachings of the environmentalist John Muir and the poetry of John Keats, to the extent that a reincarnation of Keats narrates The Fall of Hyperion. The novel also contains explicit references to classical literature and modern writings, including the scientific works of the Jesuit and paleontologist Pierre Teilhard de Chardin, the physicist Stephen Hawking, and some of the fiction of author Jack Vance.
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· The Defence of Lucknow By Alfred, Lord Tennyson (1809–1892) The Siege of Lucknow was one of the most terrible incidents of the Indian Mutiny. It was prolonged for 87 days and was finally relieved by General Campbell on Nov. 16, 1857. FOR SUCH NOTES CONTACT#8381817454(WHATSAPP)
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· The Bell Jar is the only novel written by the American writer and poet Sylvia Plath. Originally published under the pseudonym "Victoria Lucas" in 1963, the novel is semi-autobiographical, with the names of places and people changed. The book is often regarded as a roman à clef since the protagonist's descent into mental illness parallels Plath's own experiences with what may have been clinical depression. Plath died by suicide a month after its first UK publication. The novel was published under Plath's name for the first time in 1967 and was not published in the United States until 1971, in accordance with the wishes of both Plath's husband, Ted Hughes, and her mother.[1] The novel has been translated into nearly a dozen languages.[2] The novel, though dark, is often read in high school English classes.
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· The Advancement of Learning (full title: Of the Proficience and Advancement of Learning, Divine and Human) is a 1605 book by Francis Bacon. It inspired the taxonomic structure of the highly influential Encyclopédie by Jean le Rond d'Alembert and Denis Diderot, and is credited by Bacon's biographer-essayist Catherine Drinker Bowen with being a pioneering essay in support of empirical philosophy.[1] The following passage from The Advancement of Learning was used as the foreword to a popular Cambridge textbook:[2] So that as Tennis is a game of no use in itself, but of great use in respect it maketh a quick eye, and a body ready to put itself in all positions, so, in the Mathematics the use which is collateral, an intervenient, is no less worthy, than that which is principle and intended.
· In March 1698, Jeremy Collier published his anti-theatre pamphlet, A Short View of the Immorality and Profaneness of the English Stage; in the pamphlet, Collier attacks a number of playwrights: William Wycherley, John Dryden, William Congreve, John Vanbrugh, and Thomas D’Urfey. Collier attacks rather recent, rather popular comedies from the London stage; he accuses the playwrights of profanity, blasphemy, indecency, and undermining public morality through the sympathetic depiction of vice. Collier begins his pamphlet with this conclusion: “[N]othing has gone farther in Debauching the Age than the Stage Poets, and Play-House” (Collier A2). He goes on, in great detail—despite the title—to give his evidence. For Collier, the immorality of the title stems from Restoration comedy’s lack of poetic justice. With his exhaustively thorough readings—in a sense, pre-close reading close readings—he condemns the characters of Restoration comedies as impious and wicked and he condemned their creators (the playwrights) for failing to punish the playwrights’ wicked “favorites.” As the title suggests, Collier also charges the playwrights with profaneness, supporting his allegations with a number quotations from the plays (i.e. The Provoked Wife, The Relapse, et cetera). However, most of these charges are rather mild (at least according to the standards of most modern readers). Collier is, of course, unable to give
examples of blatant blasphemy, for at the time, they were neither allowed on stage nor in print (Cordner 213
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· Sense and Sensibility is a novel by Jane Austen, published in 1811. It was published anonymously; By A Lady appears on the cover page where the author's name might have been. It tells the story of the Dashwood sisters, Elinor and Marianne, both of age to marry. The novel follows the young women to their new home with their widowed mother, a meagre cottage on the property of a distant relative, where they experience love, romance and heartbreak. The novel is set in southwest England, London and Sussex between 1792 and 1797.[1] The novel sold out its first print run of 750 copies in the middle of 1813, marking a success for its author, who then had a second print run later that year. The novel continued in publication throughout the 19th, 20th and early 21st centuries.
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· Rosencrantz and Guildenstern Are Dead, often referred to as just Rosencrantz and Guildenstern, is an absurdist, existentialist tragicomedy by Tom Stoppard, first staged at the Edinburgh Festival Fringe in 1966.[1][2] The play expands upon the exploits of two minor characters from Shakespeare's Hamlet, the courtiers Rosencrantz and Guildenstern. The action of Stoppard's play takes place mainly "in the wings" of Shakespeare's, with brief appearances of major characters from Hamlet who enact fragments of the original's scenes. Between these episodes the two protagonists voice their confusion at the progress of events occurring onstage without them in Hamlet, of which they have no direct knowledge. Comparisons have also been drawn with Samuel Beckett's Waiting for Godot,[3] for the presence of two central characters who almost appear to be two halves of a single character. Many plot features are similar as well: the characters pass time by playing Questions, impersonating other characters, and interrupting each other or remaining silent for long periods of time. FOR SUCH NOTES CONTACT#8381817454(WHATSAPP)
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· Lives of the Most Eminent English Poets (1779–81) is a work by Samuel Johnson, comprising short biographies and critical appraisals of 52 poets, most of whom lived during the eighteenth century. It is arranged, approximately, by date of death. Six of the Lives have been singled out as the most "important": John Milton, John Dryden, Alexander Pope, Joseph Addison, Jonathan Swift, and Thomas Gray. One of the lives, Richard Savage, was previously printed as Life of Mr Richard Savage in 1744.
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· Roman à clef (French pronunciation: [ʁɔmɑ̃ a kle], anglicised as /roʊˌmɒn ə ˈkleɪ/[1]), French for novel with a key, is a novel about real life, overlaid with a façade of fiction.[2] The fictitious names in the novel represent real people, and the "key" is the relationship between the nonfiction and the fiction.[3] The "key" may be produced separately by the author or implied through the use of epigraphs or other literary techniques.[4] Created by Madeleine de Scudéry in the 17th century to provide a forum for her thinly veiled fiction featuring political and public figures,[4] the roman à clef has since been used by writers including Sylvia Plath, Truman Capote, Ernest Hemingway, George Orwell, Jack Kerouac, Victor Hugo, Blaise Cendrars, Philip K. Dick, Bret Easton Ellis, Naguib Mahfouz, Charles Bukowski, Malachi Martin, and Djuna Barnes. The reasons an author might choose the roman à clef format include: satire; writing about controversial topics and/or reporting inside information on scandals without giving rise to charges of libel; the opportunity to turn the tale the way the author would like it to have gone; the opportunity to portray personal, autobiographical experiences without having to expose the author as the subject; avoiding self-incrimination or incrimination of others that could be used as evidence in civil, criminal, or disciplinary proceedings; and the settling of scores. Biographically inspired works have also appeared in other literary genres and art forms, notably the film à clef. FOR SUCH NOTES CONTACT#8381817454(WHATSAPP)
· I that in Heill wes and Gladnes, also known as The Lament for the Makaris, is a poem in the form of a danse macabre by the Scottish poet William Dunbar. Every fourth line remorselessly repeats the Latin refrain timor mortis conturbat me (fear of death troubles me), a litanic phrase from the Office of the Dead. Apart from its literary quality, the poem is of notable for the list of makars it contains, some of whom are historically attestable as poets only from Dunbar's testimony in this work. After listing Lydgate, Gower and Chaucer, the makars invoked are Scottish. All but two are cited as having died by the time of the composition. The two exceptions are the courtier, Patrick Johnston, and known poet Walter Kennedy, the latter of whom died circa 1508. From internal evidence, the lament is generally thought to have been composed c.1505. Most of the names can be traced to either the fourteenth or fifteenth centuries.
AJEET SINGH