Assignment Code: MEG-01 / TMA / 2022-23

Course Code: MEG-01

Assignment Name: British Poetry

Year: 2022 - 2023

Verification Status: Verified by Professor

Note: Attempt any five questions.

Q 1. Explain any two of the excerpts of poems given below with reference to their context: 10x2 = 20

Q1. (ii) My love is now awake out of her dreams (s),

and her fayre eyes like stars that dimmed were

With darksome cloud, now shew theyr goodly beams

More bright then Hesperus his head doth rere.

Ans) These lines have been taken from Epithalamion by Edmund Spender. Written in 1584, this is an ode in 24 stanzas. Spenser wrote this poem on his wedding day to describe each event. The beginning lines are explained below.

“My loue is now awake out of her dream(s),” when his bride finally wakes up after appealing to all the Muses, we see Spenser describing her beauty. “and her fayre eyes like stars that dimmed were,” his bride is so beautiful that he has described every part of her body in detail, even her eyes.

Comparing her eyes with the stars, he says that they are too fair. Then he personifies her eyes in the next line of the poem. “With darksome cloud, now shew theyr goodly beams.” When Elizabeth opens her eyes, they shine like “goodly beams” over dark clouds.

He could also intend that as long as the bride was sleeping, her fair eyes were closed and the day seemed too dark. As she begins to open “her fayre eyes,” the dark day gets a beam of brightness. So, while marriage is the theme of Epithalamion by Edmund Spenser, the beauty of his bride is the theme of this particular stanza.

“My loue is now awake out of her dreams (s),” the context of the ode tells that Spenser has been impatient the whole day to enjoy the pleasure of the wedding night. On the awakening of his bride, he is so relieved that he praises her beauty at an extraordinary level.

“More bright then Hesperus his head doth rere,” here “Hesperus” is the evening star from the Greek mythology. He is also the son of the dawn goddess. To Spenser, Elizabeth’s eyes shine brighter than that of “Hesperus.”

Q1. (iii) All human things are subject to decay,

And when Fate summons monarchs must obey.

This Fleckonoe found, who, like Augustus, young

Was called to Empire and had governed long;

Ans) The following quote is from Mac Flecknoe:  Dryden's criticism of Shadwell's religious preference as a zealous Protestant may have had something to do with the fact that Dryden converted to Catholicism a few years after the poem was published. This theory is supported by the fact that Dryden was a convert to Catholicism.

Lines 1-2

All human things are subject to decay,

And, when Fate summons, monarchs must obey:

Dryden begins with a lofty commentary on mortality, God, and kings, his introduction to what we can only assume will be a grandiose epic of Homeric proportions. As we will soon discover, the entirety of the poem is written in rhymed heroic couplets, typical of the epic style.

From this initial couplet, Dryden creates the atmosphere of an epic, a grandiose story of gods and kings, in line with the tradition of poetic big names like Homer or Milton.

Lines 3-6

This Flecknoe found, who, like Augustus, young

Was call'd to empire, and had govern'd long:

In these lines we get a sense of the poem's true tone, in all its biting, sarcastic glory.

Here's our first appearance from the title character, one Mac Flecknoe, the monarch spoken of in line 2. This could be a reference to Richard Flecknoe, an earlier English poet likely of Irish origin. Flecknoe was regarded to be a poetaster—basically someone who writes bad poetry—known for having to pay to get his poems published.

Like Augustus, the first emperor of Rome, Flecknoe's rule was long and successful. But of course, Flecknoe's domain isn't Rome, but rather the "realms of Non-sense," of which he is the poet-king. This distinction does not reflect well on his literary talents.

Q 2. Draw a comparison between the Epithalamion and the Prothalamion as wedding songs. Answer with suitable examples. 20

Ans) During the time of Spenser, the tradition of Petrarchan sonnets was very popular. Spenser's poetry owes something to this tradition while also standing apart from it in its own way. The Epithalamion and The Prothalamion are a pair of poems that Spenser is famous for having written. Both of these poems are quite lengthy. In point of fact, these poems constitute two significant wedding songs. Both of these poems deal with the subject of a wedding celebration, but they do so in very different ways and with very different goals in mind.

The name "Epithalamion," which was originally derived from the Greek word "epithalamos," refers to the songs that are sung prior to entering the bridal chamber. This Greco-Latin moniker was bestowed upon the book by Spenser. "Prothalamion" is a term that was created solely for the purpose of differentiating it from the previously written bridal song, in contrast to the term "Epithalamion," which was coined by Spenser himself. Both of these names refer to the same thing, despite the fact that at first glance they seem to be completely different from one another. In contrast to Epithalamion, Prothalamion is devoid of any eroticism and amounts to little more than a complaint poem with a thin veneer of irony. This is because Prothalamion was written after Epithalamion.

Both Epithalamion and Prothalamion have very few features in common with one another's characteristics. The setting of both poems is described as rural, and both poems make reference to the river Thames. In addition, the final line of the first stanza of both poems is a couplet, which is then transformed into a refrain at the end of the following stanza. Both poems make use of a variety of literary devices, some of which are listed here. Both of the poems make an appeal to various pagan deities, pleading with them to look down favourably on the newlywed couple.

Epithalamion is a song that celebrates Spenser's own wedding to Elizabeth Boyle, and Prothalamion is a song that celebrates Elizabeth Somerset and Katherine Somerset's weddings to Henry Gilford and William Peter, respectively. Both of these weddings take place in the same year as Spenser's wedding. The Epithalamion is a ceremony that takes place on the morning of the couple's wedding, and it is a celebration that honours the groom and bride as they get ready for the big day. Spenser writes in Prothalamion that he hopes Katherine and Elizabeth's marriage will be "fruitful" and that they will have children as a result of consummating their relationship. In addition to this, he hopes that they enjoy the process of their marriage.

In both of the songs that are performed at the wedding, Spenser emphasises the significance of nymphs in the preparations that are being made for the wedding. In the myth of Epithalamion, the nymphs are depicted as strewing bouquets of flowers all along the path that the bride must follow to reach the bridal bower. They take care to ensure that the woods and lakes are in pristine condition in order to provide the bride with the most ideal setting possible for her wedding ceremony. In the tale of Prothalamion, the nymphs gather an abundance of flowers in order to fashion Katherine and Elizabeth's bridal crown out of braided flowers. This is done in preparation for the wedding. In Prothalamion, the emphasis is placed on the social significance of a marriage union among the nobility, whereas in Epithalamion, the emphasis is placed on the personal side of a marital union. Comparatively, Epithalamion places an emphasis on the social significance of a marriage union among the commoners.

Q 3. Who were the Pre- Raphaelites and what were the characteristics of the movement? Critically appreciate any one poem of this age/movement. 20

Ans) The Pre-Raphaelite Brotherhood was a group of young British painters who came together in 1848 as a reaction to what they perceived to be the unimaginative and artificial historical painting of the Royal Academy. According to legend, the Pre-Raphaelite Brotherhood sought to spell out a serious and sincere moral replacement in their works. Their adoption of the Pre-Raphaelite name expressed their admiration for what they saw because of the straightforward and simple depiction of nature that was typical of Italian painting before the High Renaissance and, in particular, before the time of Raphael. They were motivated by Italian art from the 14th and 15th centuries. Although the Brotherhood was active for only about four and a half years, it had a significant impact on painting in Britain and, ultimately, on ornamental arts and interior design.

A few of the original members of Pre-Raphaelites chose to remain anonymous when exhibiting their early works and simply signed their paintings with the PRB monogram instead. Not only for his disregard for the educational ideals of beauty, but also for his apparent disrespect in dealing with religious themes with uncompromising realism, their work was harshly criticised when their identity and youth were discovered in the year 1850. Among others, the novelist Charles Dickens was one of the critics who harshly criticised their work. In spite of this, the most influential art critic of the time, John Ruskin, was a fervent supporter of Pre-Raphaelite art, and as a result, the members of the group were never without patrons.

Although by 1854 members of the Pre-Raphaelite Brotherhood had gone their separate ways, the Pre-Raphaelite style continued to have a positive impact on the art world and attracted a large number of followers throughout the 1850s and early 1960s. Dante Gabriel Rossetti stood links to the young painters Edward Burne-Jones and Morris in the late 1850s, and he approaches a sensual and almost mystical romanticism in his work. Millais, the member of the group who was the most technically talented painter, achieved success as a teacher. Hunt was the only member of the Pre-Raphaelite group to consistently strive for an equivalent style throughout his career while also adhering to the group's guiding principles. The later stage of Pre-Raphaelitism is exemplified in the works of Burne-Jones, which feature a palette of jewel tones, figures that are elegantly toned down, and subjects and settings that are highly imaginative.

Pre-Raphaelite Poem – The Blessed Damozel

Rossetti's "The Blessed Damozel" is without a doubt one of his most intriguing poems ever written. It combines the vastness with the nearness, which lends it an incomparable charm, according to sir A.C. Benson, who continues by saying: "In contrast to the death and distance of the picture comes the thought of the nearness and closeness of the lie of human love, that passes through the dizzy spaces like an electric thrill, and hold the faithful hearts close together even through ore stands in the tranquil and serene fortress of heaven and the other spins, a fevered and mortal There is a fervent faith in the distant union, and the passionate heart is anticipating the most perfect happiness from the get-together.

The way in which Rossetti alludes to heaven and to a spiritual afterlife gives the impression that the poet is trying to convey a religious message through his work. In point of fact, the Virgin Mary is evoked when one considers the title of his poem, which is The Blessed Damozel. However, Rossetti never intended for his writing to be used in any religious context. In contrast, the idea that Rossetti presents in The Blessed Damozel is that earthly love continues to exist in heaven. This stands in contrast to the widespread religious belief that, after one is united with God, all earthly ties must be severed. There are also a lot of things that those with a religious mindset would take issue within his portrayal of the despondent woman's indifference to all of the heavenly delights that she was experiencing in her state of despondency and grief.

Q 4. What attitude to Nature does Coleridge express in the Ode to Dejection? In what ways does this attitude differ from that of Wordsworth and from his own earlier attitude? 20

Ans) One of the most important aspects of the poem ‘Ode to Dejection’ is how Coleridge challenges both Wordsworth's doctrine of nature and his own understanding of the natural world. Coleridge contradicts his own earlier understanding of nature. According to him, we are the ones who give nature the appearance of having life; she does not, in fact, have a life of her own. Coleridge is unable to meet Nature halfway and receive the joy that it once gave him from nature because he no longer feels any joy in his heart. He came to the conclusion that happiness could not be obtained from the natural world for those whose hearts were already devoid of joy.

Coleridge, through his interactions with nature, evolved into a nearly agonisingly human person. Coleridge came to the conclusion that the poet, despite the depth of his connection with nature, is still distinct from the natural world. Coleridge's Ode to Dejection expresses his feelings of alienation from nature as a result of nature's influence on him.

Coleridge had expressed a belief in pantheism, which is the view that Nature is a living whole, that a Divine Spirit passes through all objects of Nature, that man can establish spiritual intercourse with Nature, and that Nature exercises an ennobling and educative influence upon man. Pantheism can be defined as the view that nature is a living whole, that a Divine Spirit passes through all objects of nature, that man can establish spiritual intercourse with nature, and that nature exercises However, Coleridge completely contradicts this belief throughout this poem. In this passage, the poet Coleridge argues that nature does not possess a life of her own, and that it is only we, as humans, who give her the appearance of having one.

The poet's heart is currently numbed by the pain, which also appears to be paralysing it. According to the poet, the new moon is seen to be cradling the old moon in its lap. According to an ancient superstition, the occurrence of this phenomenon is a sign of a severe storm that will form soon. The storm has the potential to jolt the poet's heart from its current dull pain, so he would be grateful for it. The poet's drowsy, listless grief, however, lacks a vehicle for expression. He has spent the entire evening gazing up at the stars and the magnificence of the night sky, but he is unable to take it all in. The poet has no chance of obtaining excitement and animation in life from outside sources because his or her own internal sources of these things have dried up. In nature, there are no independent life forms. We have the capacity to project our own emotions and states of mind onto the natural world.

Difference in Attitude between Coleridge and Woodsworth

Wordsworth draws from nature in association with “spontaneous overflow[s] of powerful feelings” and “spots of time.” This is what he judges to be essential in the creation of poetry. The “spots of time” are moments from the past that are forever present in the mind, therefore they can constantly be reflected upon. The autobiographical poem, The Prelude, is a prime example of how Wordsworth reflects on “spots of time,” such as when he recalled the stormy weather that coincided with the death of his father. In addition, he allows nature to influence the mood of his poetry. For example, Wordsworth wrote about “waters, rolling from their mountain springs,” and “the quiet of the sky,” which gave him feelings of “unremembered pleasure” (Romanticism, 265). Similar to Wordsworth’s criticism of Ancient Mariner, Coleridge criticized the manner in which Wordsworth derived inspiration from nature.

Coleridge asserts that “a poet ‘s heart and intellect” should be “combined with appearances in Nature – not held in…loose mixture in the shape of formal similes. The two men revere nature and know they are essential to its beauty, because they must appreciate it for the beauty to exist. However, they are still separate from it; they are human. These two poets use a technique that departs completely from the Neoclassical tradition where the emphasis was placed on order and balance and reasoned thoughts, even in form. Coleridge and Wordsworth take the liberty to write in blank verse, often without punctuation between lines, underlining the Romantic ideal of emotion. Expression of emotion does not necessarily end at the last syllable of a heroic couplet, but Reason invariably did.

Q 5. What was the Reformation? What relations can you identify and trace between the Renaissance and the Reformation. 20

Ans) The Reformation was a movement that occurred in the 16th century and was characterised by a cultural, intellectual, and political upheaval. As a result of this movement, Catholic Europe was disrupted, and protestant churches were founded. The moment that the Church of England declared its independence from the authority of the pope and the Catholic Church is regarded as the beginning of the English Reformation.

Henry VII, John Calvin, and Martin Luther are just a few examples of reformers who called into question the authority of the pope and the Catholic Church's approach to defining Christian practise. They advocated for a separation of religious and political policies, as well as a reorganisation of power structures. Despite the fact that all of these concepts were admirable, and the majority of the Reformers simply desired a renewal of the church in its existing form, the end result was persecutions and a war that the Catholic Church referred to as the Counter Reformation.

Relation between Renaissance and Reformation

Renaissance humanists, who held the belief that the Scriptures were the only source of Christian faith, were instrumental in laying the ideological groundwork for the Reformation. These humanists criticised religious practises that they viewed as superstitious, and they believed that the Scriptures were the only source of Christian faith. By 1520, the new ideas that Martin Luther had developed were known and debated in England; however, at the time, Protestants were considered a religious minority and heretics by the law. The beginnings of the English Reformation can be traced back to a conflict that was more political in nature than it was theological. Henry VIII filed a petition with the pope in 1527 to have his marriage declared null and void, but the pope denied the request. As a direct result of this, the Reformation Parliament (1532–1534) established Henry as the supreme leader of the Church of England and passed laws that abolished papal authority in England. The monarch was given ultimate authority in any doctrinal disputes that arose in the future. Henry was a religious traditionalist himself, but he relied on Protestants to support and implement his religious agenda. Henry's religious agenda was to reform Catholicism.

The academics who study western ways of thinking about politics are confident in their assertion that the Renaissance and the Reformation are inextricably linked to one another. If there had not been a Renaissance, the Reformation would not have had the chance to make the development that was necessary for its success. People came to believe that religion was a personal matter as a direct result of the Renaissance. They also came to believe that they had the right to lead their religious life in accordance with their own reason and belief, and that neither the church nor the Pope had the power to dictate this to them. As a result of this being asserted, people have begun to act in accordance with their own reason.

The Renaissance helped to prepare the groundwork, and the leaders of the Protestant Reformation, most notably Martin Luther and John Calvin, were responsible for sowing the seeds of church reform. In light of such circumstances, there was actually very little room for differentiation between the Renaissance and the Reformation. To reiterate, we are of the opinion that the Reformation could never have taken place prior to the Renaissance.

Impact of Renaissance and Reformation on Political Theory

Both the Renaissance and the Reformation shook up not only Europe's academic and intellectual communities, but also the political landscape of the entire continent. The superstitions, religious conservatism, and mental and intellectual close-mindedness all went through profound shifts as a result of these changes. A critic made the observation that the Renaissance and Reformation Movement penetrated every level of superstitious beliefs. This is something that was observed. People from all walks of life had their beliefs and perspectives altered as a result.

Relationship between Rights and Duties

The Renaissance and the Reformation were responsible for the ruthless elimination of superstition and the illumination of faith, belief, and outlook. Some people refer to the effects of new thought and perspective as catch-all effects. New thought and perspective were not limited to any one particular field; rather, they spread almost everywhere in society.

Q 6. Philip Larkin has been called an ‘uncommon poet of common man.’ Would you agree? Explain with suitable examples. 20

Ans) An Uncommon Poet for the Common Man clarifies the qualities that make Larkin one of a kind--his combinations of the unique and the generic, his peculiar mixture of satire and tenderness, and his lacing of quiet seriousness with flippancy and audacity. His poems are at once deeply personal and social commentary. If you had to define Larkin in two words, you might say, "existential absurdist," yet his poems glimmer with a kind of affirmation: humour cloaks tragedy, witticism expresses despair; humanity is poked then stroked.

Larkin has been called an “uncommon poet for the common man.”

We can agree with Philip Larkin the way he reacted against the poetry of Eliot and Auden only because he thought that their poetry was far too intellectually demanding, and not for common people. Larkin wrote poems for common man and celebrated common themes in his poems in their raw state.

An Uncommon Poet for the Common Man clarifies the qualities that make Larkin one of a kind--his combinations of the unique and the generic, his peculiar mixture of satire and tenderness, and his lacing of quiet seriousness with flippancy and audacity. His poems are at once deeply personal and social commentary. If you had to define Larkin in two words, you might say, "existential absurdist," yet his poems glimmer with a kind of affirmation: humour cloaks tragedy, witticism expresses despair; humanity is poked then stroked. He is also generally acknowledged to be of view that literature is anti-intellectual and should be made understood to the common man. Thus, we can safely say that Larkin was a poet for the "common man" through the way that he appealed to the everyday citizen of Britain through his diction.

Examples of Philip Larkin

The poetic style of Philip Larkin is characterized as the combination of an ordinary language, clarity, colloquial style, reflective quality, quietness, irony, and directness. It deals with commonplace experiences.

For example - Philip Larkin Wrote the poem “Goring, Going” in 1972. The poem illustrates an idealistic or romantic passivity in its interpretation of England. In the poem, Larkin prophesies a complete elimination of rural areas and countryside and states his own idealized logic of national identity and togetherness.

For example -The poetry and novels of Philip Larkin are the realistic descriptions of human life. His poems, particularly, depict the negativity and harshness of life. Larkin’s poems are mostly autobiographical. He has been through harsh times and bitter realities of life, which he expressed in his poem. This harshness in his life resulted in the peak of negativity in his poems.

For example - Philip Larkin’s poem “Ambulances” is one of the most important poems that show the realist world. Larkin paints the faces of people with the fear of death. Larkin, in his poem, does not idealize death, nor he escapes from reality but creates true pictures. In the poem, most of the objects are related to death. On the faces of children and women, fear is clearly observed. The objects in the poem, such as roads, ambulances, women, stretchers, children, and every other thing, are realistic. Social realism is shown in the poem.