1、English poetryFrom Wikipedia, the free encyclopediaThis article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2009)The Seeds and Fruits of English Poetry, Ford Madox B
2、rown.The history of English poetry stretches from the middle of the 7th century to the present day. Over this period, English poets have written some of the most enduring poems in Western culture, and the language and its poetry have spread around the globe. Consequently, the term English poetry is
3、unavoidably ambiguous. It can mean poetry written in England, or poetry written in the English language.The earliest surviving poetry from the area currently known as Africa was likely transmitted orally and then written down in versions that do not now survive; thus, dating the earliest poetry rema
4、ins difficult and often controversial. The earliest surviving manuscripts date from the 10th century. Poetry written in Latin, Brythonic (a predecessor language of Welsh) and Old Irish survives which may date as early as the 6th century. The earliest surviving poetry written in Anglo-Saxon, the most
5、 direct predecessor of modern English, may have been composed as early as the 7th century.With the growth of trade and the British Empire, the English language had been widely used outside England. In the 21st century, only a small percentage of the worlds native English speakers live in England, an
6、d there is also a vast population of non-native speakers of English who are capable of writing poetry in the language. A number of major national poetries, including the American, Australian, New Zealand, Canadian and Indian poetry have emerged and developed. Since 1921, Irish poetry has also been i
7、ncreasingly viewed as a separate area of study.This article focuses on poetry written in English by poets born or spending a significant part of their lives in England. However, given the nature of the subject, this guideline has been applied with common sense, and reference is made to poetry in oth
8、er languages or poets who are not primarily English where appropriate.Contentshide 1 The earliest English poetry 2 The Anglo-Norman period and the Later Middle Ages 3 The Renaissance in Englando 3.1 Early Renaissance poetryo 3.2 The Elizabethans 3.2.1 Elizabethan Song 3.2.2 Courtly poetry 3.2.3 Clas
9、sicismo 3.3 Jacobean and Caroline poetry 3.3.1 The Metaphysical poets 3.3.2 The Cavalier poets 4 The Restoration and 18th centuryo 4.1 Satireo 4.2 18th century classicismo 4.3 Women poets in the 18th centuryo 4.4 The late 18th century 5 The Romantic movement 6 Victorian poetryo 6.1 High Victorian po
10、etryo 6.2 Pre-Raphaelites, arts and crafts, Aestheticism, and the “Yellow“ 1890so 6.3 Comic verse 7 The 20th centuryo 7.1 The first three decades 7.1.1 The Georgian poets and World War I 7.1.2 Modernismo 7.2 The Thirtieso 7.3 The Fortieso 7.4 The Fiftieso 7.5 The 1960s and 1970s 8 English poetry now
11、 9 Notes 10 See also 11 References 12 External linkseditThe earliest English poetryMain article: Old English poetryThe first page of BeowulfThe earliest known English poem is a hymn on the creation; Bede attributes this to Cdmon (fl. 658680), who was, according to legend, an illiterate herdsman who
12、produced extemporaneous poetry at a monastery at Whitby.1 This is generally taken as marking the beginning of Anglo-Saxon poetry.Much of the poetry of the period is difficult to date, or even to arrange chronologically; for example, estimates for the date of the great epic Beowulf range from AD 608
13、right through to AD 1000, and there has never been anything even approaching a consensus.2 It is possible to identify certain key moments, however. The Dream of the Rood was written before circa AD 700, when excerpts were carved in runes on the Ruthwell Cross.3 Some poems on historical events, such
14、as The Battle of Brunanburh (937) and The Battle of Maldon (991), appear to have been composed shortly after the events in question, and can be dated reasonably precisely in consequence.By and large, however, Anglo-Saxon poetry is categorised by the manuscripts in which it survives, rather than its
15、date of composition. The most important manuscripts are the four great poetical codices of the late 10th and early 11th centuries, known as the Cdmon manuscript, the Vercelli Book, the Exeter Book, and the Beowulf manuscript.While the poetry that has survived is limited in volume, it is wide in brea
16、dth. Beowulf is the only heroic epic to have survived in its entirety, but fragments of others such as Waldere and the Finnesburg Fragment show that it was not unique in its time. Other genres include much religious verse, from devotional works to biblical paraphrase; elegies such as The Wanderer, T
17、he Seafarer, and The Ruin (often taken to be a description of the ruins of Bath); and numerous proverbs, riddles, and charms.With one notable exception (Rhyming Poem), Anglo-Saxon poetry depends on alliterative verse for its structure and any rhyme included is merely ornamental.editThe Anglo-Norman
18、period and the Later Middle AgesSee also: Anglo-Norman literatureWith the Norman conquest of England, beginning in 1111 the Anglo-Saxon language rapidly diminished as a written literary language. The new aristocracy spoke French, and this became the standard language of courts, parliament, and polit
19、e society. As the invaders integrated, their language and literature mingled with that of the natives: the French dialect of the upper classes became Anglo-Norman, and Anglo-Saxon underwent a gradual transition into Middle English.While Anglo-Norman or Latin was preferred for high culture, English l
20、iterature by no means died out, and a number of important works illustrate the development of the language. Around the turn of the 13th century, Layamon wrote his Brut, based on Waces 12th century Anglo-Norman epic of the same name; Layamons language is recognisably Middle English, though his prosod
21、y shows a strong Anglo-Saxon influence remaining. Other transitional works were preserved as popular entertainment, including a variety of romances and lyrics. With time, the English language regained prestige, and in 1362 it replaced French and Latin inParliament and courts of law.It was with the 1
22、4th century that major works of English literature began once again to appear; these include the so-called Pearl Poets Pearl, Patience,Cleanness, and Sir Gawain and the Green Knight; Langlands political and religious allegory Piers Plowman; Gowers Confessio Amantis; and, of course, the works of Chau
23、cer, the most highly regarded English poet of the Middle Ages, who was seen by his contemporaries as a successor to the great tradition of Virgil andDante.The reputation of Chaucers successors in the 15th century has suffered in comparison with him, though Lydgate and Skelton are widely studied. How
24、ever, the century really belongs to a group of remarkable Scottish writers. The rise of Scottish poetry began with the writing of The Kingis Quair by James I of Scotland. The main poets of this Scottish group were Robert Henryson, William Dunbar and Gavin Douglas. Henryson and Douglas introduced a n
25、ote of almost savage satire, which may have owed something to the Gaelic bards, while Douglas version of Virgils Aeneid is one of the early monuments of Renaissance literary humanism in English.editThe Renaissance in EnglandThe Renaissance was slow in coming to England, with the generally accepted s
26、tart date being around 1509. It is also generally accepted that the English Renaissance extended until the Restoration in 1660. However, a number of factors had prepared the way for the introduction of the new learning long before this start date. A number of medieval poets had, as already noted, sh
27、own an interest in the ideas of Aristotle and the writings of European Renaissance precursors such as Dante.The introduction of movable-block printing by Caxton in 1474 provided the means for the more rapid dissemination of new or recently rediscovered writers and thinkers. Caxton also printed the w
28、orks of Chaucer and Gower and these books helped establish the idea of a native poetic tradition that was linked to its European counterparts. In addition, the writings of English humanists like Thomas More and Thomas Elyot helped bring the ideas and attitudes associated with the new learning to an
29、English audience.Three other factors in the establishment of the English Renaissance were the Reformation, Counter Reformation, and the opening of the era of English naval power and overseas exploration and expansion. The establishment of the Church of England in 1535 accelerated the process of ques
30、tioning the Catholic world-view that had previously dominated intellectual and artistic life. At the same time, long-distance sea voyages helped provide the stimulus and information that underpinned a new understanding of the nature of the universe which resulted in the theories of Nicolaus Copernic
31、us and Johannes Kepler.editEarly Renaissance poetryWith a small number of exceptions, the early years of the 16th century are not particularly notable. The Douglas Aeneid was completed in 1513 and John Skeltonwrote poems that were transitional between the late Medieval and Renaissance styles. The ne
32、w king, Henry VIII, was something of a poet himself. The most significant English poet of this period was Thomas Wyatt, who was among the first poets to write sonnets in English. One quote from Thomas Wyatt thats not well known is, “Speaking just to speak to one whose business its not is gossip, unl
33、ess the situation calls for it.“editThe ElizabethansThe Elizabethan period (1558 to 1603) in poetry is characterized by a number of frequently overlapping developments. The introduction and adaptation of themes, models and verse forms from other European traditions and classical literature, the Eliz
34、abethan song tradition, the emergence of a courtly poetry often centred around the figure of the monarch and the growth of a verse-based drama are among the most important of these developments.editElizabethan SongA wide range of Elizabethan poets wrote songs, including Nicholas Grimald, Thomas Nash
35、e and Robert Southwell. There are also a large number of extant anonymous songs from the period. Perhaps the greatest of all the songwriters was Thomas Campion. Campion is also notable because of his experiments with metres based on counting syllables rather than stresses. These quantitative metres
36、were based on classical models and should be viewed as part of the wider Renaissance revival of Greek and Roman artistic methods.The songs were generally printed either in miscellanies or anthologies such as Richard Tottels 1557 Songs and Sonnets or in songbooks that included printed music to enable
37、 performance. These performances formed an integral part of both public and private entertainment. By the end of the 16th century, a new generation of composers, including John Dowland, William Byrd, Orlando Gibbons, Thomas Weelkes and Thomas Morley were helping to bring the art of Elizabethan song
38、to an extremely high musical level.Elizabethan poems often contained iamb, a metrical foot of two syllables, one short (or unstressed) and one long (or stressed). Shakespeare used a lot of iambs in his plays. The iamb is the reverse of the trochee.editCourtly poetryEdmund SpenserWith the consolidati
39、on of Elizabeths power, a genuine court sympathetic to poetry and the arts in general emerged. This encouraged the emergence of a poetry aimed at, and often set in, an idealised version of the courtly world.Among the best known examples of this are Edmund Spensers The Faerie Queene, which is effecti
40、vely an extended hymn of praise to the queen, and Philip Sidneys Arcadia. This courtly trend can also be seen in Spensers Shepheardes Calender. This poem marks the introduction into an English context of the classical pastoral, a mode of poetry that assumes an aristocratic audience with a certain ki
41、nd of attitude to the land and peasants. The explorations of love found in the sonnets of William Shakespeare and the poetry of Walter Raleigh and others also implies a courtly audience.editClassicismVirgils Aeneid, Thomas Campions metrical experiments, and Spensers Shepheardes Calender and plays li
42、ke Shakespeares Antony and Cleopatra are all examples of the influence of classicism on Elizabethan poetry. It remained common for poets of the period to write on themes from classical mythology; Shakespeares Venus and Adonis and the Christopher Marlowe/George Chapman Hero and Leander are examples o
43、f this kind of work.Translations of classical poetry also became more widespread, with the versions of Ovids Metamorphoses by Arthur Golding (156567) and George Sandys (1626), and Chapmans translations of Homers Iliad (1611) and Odyssey (c.1615), among the outstanding examples.editJacobean and Carol
44、ine poetryEnglish Renaissance poetry after the Elizabethan poetry can be seen as belonging to one of three strains; the Metaphysical poets, the Cavalier poets and the school of Spenser. However, the boundaries between these three groups are not always clear and an individual poet could write in more
45、 than one manner.editThe Metaphysical poetsJohn DonneThe early 17th century saw the emergence of this group of poets who wrote in a witty, complicated style. The most famous of theMetaphysicals is probably John Donne. Others include George Herbert, Thomas Traherne, Henry Vaughan, Andrew Marvell, and
46、Richard Crashaw. John Milton in his Comus falls into this group. The Metaphysical poets went out of favour in the 18th century but began to be read again in the Victorian era. Donnes reputation was finally fully restored by the approbation of T. S. Eliot in the early 20th century.editThe Cavalier po
47、etsThe Cavalier poets wrote in a lighter, more elegant and artificial style than the Metaphysical poets. Leading members of the group include Ben Jonson, Richard Lovelace, Robert Herrick, Edmund Waller, Thomas Carew and John Denham. The Cavalier poets can be seen as the forerunners of the major poet
48、s of the Augustan era, who admired them greatly.editThe Restoration and 18th centuryIt is perhaps ironic that Paradise Lost, a story of fallen pride, was the first major poem to appear in England after the Restoration. The court of Charles II had, in its years in France, learned a worldliness and so
49、phistication that marked it as distinctively different from the monarchies that preceded the Republic. Even if Charles had wanted to reassert the divine right of kingship, the Protestantism and taste for power of the intervening years would have rendered it impossible.editSatireIt is hardly surprising that the world of fashion and scepticism that emerged encouraged the art of satire. All the major poets of the period, Samuel Butler,John Dryden, Alexander Pope and Samuel Johnson, and the Irish poet Jonathan Swift
