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2.  Leading figure  Ben Johnson
 Middle Age aesthetics
 Theory of humours 
 Human behaviours result from 4 humours :
blood, phlegm ,black bile and yellow bile
 Humours correspond with  air, water, fire and
earth
 Therefore, Johnson creates “types”.
 Stylish satires
 Volpone (1605 or 1606),The Epicoene (1609)The
Alchemist (1610)

3.  Other important figures 
 Beaumong and Flether –The Knight of the
Burning Pestle (comedy)
 Made people realize how feudalism and
chivalry turned into snobbery and deceit
 Other popular style  revenge play (tragedy)
 Popularized by JohnWebster andThomas
Kyd

4.  The King James Bible – huge translation
project (1604-1611)
 Standard Bible of the Church of England
 Led by James I himself with 47 scholars

5.  Major poets  John Donne, George Herbert
 Subjects  Christian mysticism and eroticism
 Extensive use of paradox and oximorons.

6.  Metaphysical Poets: John Donne, George
Herbert, Richard Crashaw, HenryVaughan,
Andrew Marvell
 Cavalier Poets: Ben Jonson and his followers
(Richard Herrick, Richard Lovelace, Edmund
Waller, Sir John Denham).The Sons of Ben.
 Puritans: Andrew Marvell, John Milton

7.  Theatre:
 imitators of Shakespeare (Webster, Ford, Middleton, etc.)
 Variety of comedies and masques by Ben Jonson
 Theatres closed during the Puritan Revolution
 Sonnet:
 gradually goes out of fashion in the Jacobean period;
Donne used it for religious purposes, and Milton for
political purposes
 New forms and genres:
 Heroic couplets, verse satires, essays, biographies

9.  ‘The proportion of the
world disfigured is.’

10.  Radical break from Petrarchan tradition: ‘Donne has
purged English poetry of pedantic weeds’, he has
replaced ‘servile imitation’ with ‘fresh invention’’
(Carew)
 Distorts traditional rhythmic and stanza patterns:

11.  Not a ‘school’: no organised group but strong
influence of Donne’s style on a generation of poets
before 1660
 Not ‘metaphysical’: ‘it is not philosophical poetry in
any real sense, although it uses the concepts and
vocabulary of philosophy’
 Main features: colloquial language; the poem takes
the form of a philosophical argument with another
person; brings in a range of discordant images

12.  Conceit (concetto): ‘a figure of speech that establishes an
elaborate parallel between two seemingly dissimilar or
remote objects or ideas’
 Petrarchan: emotional; the subject is compared extensively to an
object (love is war)
 Metaphysical: intellectual; striking analogies between two dissimilar
things (a flea is a marriage bed)
 Wit: ‘intellect’, ‘intelligence’, ‘creative intelligence’; describes
Donne’s poetic style, which combines ideas in an
‘unexpected, paradoxical, and intellectually challenging and
pleasing manner’

13.  Sonnet: here: a synonym for ‘love lyric’
 Addressed to flesh and bone women

15.  19 religious sonnets, written in the last years
of his life
 English sonnet form
 Same combination of passion and intellectual
argument as in the love poems but the
passion is more complex: hope and anguish,
fear and repentance

17.  TheTemple: a collection of religious poems
 Contest between secular wit and religious devotion
 Spiritual struggle rather than auto-biographical
sincerity, as in Donne
 Symbolical objects: the human body is a church
building
 Remarkable variety of stanza forms, including
pattern poems: ‘Easter Wings’

19.  Shakespeare’s friend, rival playwright and
fellow actor
 Poet, literary dictator; professional writer
 Classicist and Renaissance Humanist: ‘a
perfect playwright’

20.  Comedies of humours: eccentricities of our ruling passions
ridiculed; Every Man in His Humour (1598)
 Classical tragedies: derived fromTacitus, Juvenal, Seneca;
Sejanus (1610), Catiline (1611)
 Satiric comedies: based onTerence and Plautus; Volpone
(1606), The Alchemist (1610)
 Poetry: occasional poems, elegies, compliments,
dedications, songs, epigrams

21.  24 sonnets between 1630-58: five in Italian,
the rest in English
 A variety of occasions: public and private, but
no love sonnets; not a sequence