English literature poet laureate
John Dryden (1631-1700).
Laureate 1668-88.
Appointed in 1668 by King Charles II, who gave John Dryden a formal royal warrant that awarded him the official titles of Poet Laureate and Historiographer Royal. This role continued under King James II.
As a powerful satirist, Dryden was a strong advocate and spokesman for his monarch, and "the best poet, dramatist, translator and critic of the age" [Levin in Verses of the Poets Laureate]
In 1689, sacked [or fired] by William III for failing to take an oath of allegiance.
Thomas Shadwell (1643?-1692).
Laureate 1689-92.
The successful dramatist Thomas Shadwell was chosen in large part because he was a Protestant Whig, essential to replace the Catholic Dryden. met an inglorious end in 1693,
A weak poet, a heavy drinker, and an opium user, Shadwell died from an overdose of opium, which he took in part to relieve his gout. He was said to have found the laureateship unimportant. Disrespected by John Dryden, among others, for his poetry as well as for his politics.
Shadwell wrote a yearly ode on the monarch's birthday, and introduced the tradition of writing a New Year ode; his odes are crashingly uninspired and mechanistic, as if written by an unusually dimwitted computer program.
Nahum Tate (1652-1715).
Laureate 1692-1715.
Born in Dublin, Tate was awarded the Poet Laureate position (and its £100 per year) but the post of Historiographer Royal (and its annual £200) became a separate assignment.
Tate is most known today for his authorship of the widely loved Christmas carol "While Shepherds Watched Their Flocks By Night". He is notorious for his (creative?) revision of Shakespeare's tragedy King Lear, giving it a happy ending.
In response to public events, Tate wrote poems for victories against the French (1704), the Act of Union between the Parliaments of England and Scotland (1707), and the signing of the Peace of Utrecht with France (1713).
Nicholas Rowe (1674-1718).
Laureate 1715-18.
Nicholas Rowe was celebrated as a dramatist rather than as a poet. The Poet Laureate's role was now general praise of the sovereign, rather than political and historical. In addition to the annual New Year ode, the Laureate acquired the duty of writing a birthday ode to the monarch, a practice which was to last over 100 years.
Laurence Eusden (1688-1730).
Laureate 1718-30.
Eusden never published a book of poetry. His work is mediocre.
Colley Cibber (1671-1757).
Laureate 1730-57.
The poetry of dramatist Colley Cibber was conscientious but not inspired.
William Whitehead (1715-85).
Laureate 1757-85. [The appointment was first offered to and declined by Thomas Gray.]
William Whitehead (a respectable though perhaps dull dramatist) was good humored and amiable. For example, he defended the poetry of Laureates in a comic poem "A Pathetic Apology For All Laureates, Past, Present, And To Come".
Whitehead was conscientious, and saw himself as a non-partisan spokesman for the whole country. Astonishingly for a political appointee, he appeared to see no requirement "to defend the King or support the government". Sadly, this reflects the idea that the Laureate's influence had weakened so much that the official poems were unlikely to influence opinions, even though the times were important politically, with rebellion in the American colonies and war in Europe.
Thomas Wharton (1728-90).
Laureate 1785-90. Professor of Poetry at Oxford, Wharton was the only eighteenth-century laureate who was not primarily a dramatist. William Wordsworth andSamuel Taylor Coleridge admired his work.
Henry James Pye (1745-1813).
Laureate 1790-1813.
Before Pye's appointment, the Sovereign or the Lord Chamberlain (a member of the Royal Household) awarded the Poet Laureateship directly. William Pitt (the first Prime Minister involved in appointing a Laureate) offered the position to Henry James Pye, a politician more than a poet. Thereafter, the Prime Minister submits names for royal approval. Then the monarch commands the Lord Chamberlain to issue a warrant of appointment.
Robert Southey (1774-1843).
Laureate 1813-43. [In a bizarre double-offer the appointment was offered to two writers concurrently. Fortunately, Sir Walter Scott turned down the approach by Prime Minister, Lord Liverpool.]
Robert Southey accepted the suggestion of the post from the Prince Regent. When Scott declined the offer, he suggested Southey also, so the situation ended well.
During Southey's tenure, George IV became monarch in 1820, and abandoned the requirement for regular odes to the monarch.
William Wordsworth (1770-1850).
Laureate 1843-50.
William Wordsworth, at 73, was the oldest Poet Laureate to be appointed. He accepted the position on the agreement that he would not have obligations to write poetry on demand.
Since Wordsworth, the job of Poet Laureate has been purely honorary, and appointees have been able to interpret the role as they wish.
Alfred, Lord Tennyson (1809-92).
Laureate 1850-92. [The appointment was first offered to and (to our benefit) declined by Samuel Rogers.]
Alfred Tennyson raised the stature of the Poet Laureate hugely. His laureate poems include The Charge Of The Light Brigade(the suicidal charge by the Light Brigade down a valley at Balaclava during the Crimean war).
Tennyson's death was mourned publicly by millions. In respect, no appointment was made to the post of Poet Laureate for four years.
Alfred Austin (1835-1913).
Laureate 1896-1913.
A pompous man, least successful of the Poets Laureate.
Robert Bridges (1844-1930).
Laureate 1913-30.
Uninterested in fame and praise, Bridges wrote little and destroyed his papers before his death.
John Masefield (1878-1967).
Laureate 1930-67.
Born in Ledbury, Herefordshire, England, Masefield apprenticed to be a merchant marine officer. While training, he became ill in Chile, returned to England, then worked in factories and bars in the United States. In 1897 he returned to England, working on newspapers and his own writing (poems, stories, and plays). Masefield published his first volume of poems in 1902. He served during World War I in the Red Cross in France and on a hospital ship at Gallipoli. His simple and moving poems include the famous Sea Fever.
Cecil Day-Lewis (1904-72).
Laureate 1968-72.
Anglo-Irish Cecil Day-Lewis was a poet, critic, and educator who enjoyed the honor of being the Poet Laureate. A student at Oxford with Auden. A committed Communist though naive politically. Hi poetry are often romantic and melancholy. Also he wrote detective stories (using the pseudonym Nicholas Blake).
Sir John Betjeman (1906-84).
Laureate 1972-84.
Born in Highgate (North London). Sir John Betjeman wrote humorous and accessible poetry. Betjeman commemorated royal events such as The Queen's Silver Jubilee in 1977.
Ted Hughes (1930-98).
Laureate 1984-1998. [Appointed on the refusal of poet Philip Larkin.]
Born in Yorkshire. A fierce, sometimes ferocious, poet of the natural and the mythological worlds, of "the struggle in the soil as well as in the soul" [Levin in Verses of the Poets Laureate]. Also authored poetry and plays for children.
Despite the "no obligations" clause, Hughes did write in commemoration of royal events, such as the christening of Prince Henry of Wales in 1985.
Andrew Motion (1952-present).
Laureate 1999-2012.
Andrew Motion, an acclaimed poet and biographer, teaches creative writing at the University of East Anglia. He promotes poetry among young people. His poems addressing many public events as well and royal occasions, including the 100th birthday of Queen Elizabeth The Queen Mother. A critic, and a free-form poet who interweaves the personal, the historical, the legendary, and the political.
Carol Ann Duffy (1955-present). Laureate 2009-present.
Carol Ann Duffy (poet, university professor, playwright, and freelance writer) is the first woman and the first Scottish-born poetry to be appointed Poet Laureate. She graduated with a degree in philosophy from the University of Liverpool in 1977.
Her books like Feminine Gospels (2002) and Mrs Scrooge show her skill in long narrative poems, written in an accessible style and often including surreal imagery. Other work, like Rapture (2005) are poems of passion and love. She also writes poetry (such as The Hat, 2007) for children.
Not-quite Poets Laureate of Great Britain.
These poets were not Poets Laureate, for the reasons given.
Ben Jonson (1573-1637), a playwright and poet, a volatile satirist of explosive temperament and "a great lover and praiser of himself", was not formally appointed as Poet Laureate. John Dryden was the first appointed Poet Laureate, as shown by the official royal record (starts in a new window).
At best, Jonson was a "common law" poet laureate (as in "common law" husband).
Some believe Jonson to be the greatest English poet and dramatist of the seventeenth century. Many praise his charm and good humor. His vigor and productivity is clear.
Jonson learned the trade of bricklayer, fought with English troops in Flanders, then returned to London to become an actor and playwright, a writer of masques (short pageant-like plays), and a tutor to Sir Walter Raleigh's son.
In 1597 Jonson was imprisoned for involvement in the satire The Isle of Dogs, which authorities found seditious. He was tried for killing a fellow actor in a duel in 1598. Imprisioned for this, he converted to Catholicism to be spared death for murder. He was released provided that he forfeit all his possessions, and that he receive a felon's brand on his thumb.Charged with treason for his tragedy Sejanus, His Fall (1603) and then briefly imprisoned for views in Eastward Ho (1604), Jonson (a Catholic) was under deep suspicion after Guy Fawkes' Gunpowder Plot (1605). This situation may have motivated him, shortly thereafter, to reconvert to Anglicanism. He did become court poet to King James I.
One of Jonson's most famous poems, "To Celia", begins "Drink to me, only, with thine eyes...". Buried upright in Westminster Abbey, standing on his feet in the northern aisle of the Nave (and not in Poets' Corner) beneath the inscription "O Rare Ben Johnson"
William Davenant, or Sir William D'Avenant. After Jonson's death, dramatist Davenant [D'Avenant] inherited Jonson's office and pension, again as an unofficial appointment
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Notes on feminism literature
Notes on feminism literature
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Forms of Literature
Forms of Literature
1. POETRY
● Poetry, form of literature, spoken or written, that emphasizes rhythm, other intricate patterns of sound and imagery, and the many possible ways that words can suggest meaning.
● The word itself derives from a Greek word, poesis, meaning “making” or “creating.”
● poetry in its simplest definition is organized in units called lines as well as in sentences, and often in stanzas, which are the paragraphs of poetry
● The way a line of poetry is structured can be considered a kind of garment that shapes and clothes the thought within it.
● The oldest and most longstanding genres for classifying poetry are epic, a long narrative poem centered around a national hero, and lyric, a short poem expressing intense emotion.
Elements:
Stanza
•A unit of lines grouped together
•Similar to a paragraph in prose
Couplet
A stanza consisting of two lines that rhyme
Quatrain
A stanza consisting of four lines
Mood
The feeling a poem creates for the reader
Tone
The attitude a poet takes toward his/her subject
Imagery
•Representation of the five senses: sight, taste,touch, sound, and smell
•Creates mental images about a poem’s subject
Metaphor
An implied comparison between two objects or ideas
Personification
Giving human traits or characteristics to animals or inanimate objects
Simile
A direct comparison between two objects orideas that uses the words “like” or “as”
Symbol
A word or object thathas its own meaningand represents anotherword, object or idea
Alliteration
The repetition of aninitial (beginning)sound or consonant intwo or more wordsnext to each other in aline of a poem
Assonance
The repetition of avowel sound in two ormore words in the lineof a poem
Onomatopoeia
A word that imitates anoise or action
Refrain
The repetition of one or more phrases or line sat certain intervals,usually at the end of each stanza
Repetition
A word or phrase repeated within a line or stanza
Rhyme Scheme
The pattern in which end rhyme occurs
2. FICTION
● literary works of imagination: novels and stories that describe imaginary people and events
● The latin word fingere “to make, shape,” from which fiction is derived, is also the spurce of English effigy, feign, figment and figure.
Elements:
Plot
Events that form a significant pattern of action with a beginning, a middle and an end. They move from one place or event to another in order to form a pattern. The plot is also called a narrative.
Author's Role in Plot
1. Plot grows out of the characters.
2. The author is always in control of what happens; fiction manipulates events; it is created.
3. Central focus of the story has to be intriguing
Plot Techniques
1. Suspense: Frequently involves dilemma.
2. Flashback: The author waits until the story is moving and then flashes back to reveal biographical data or deep psychological reasons why a character acts as s/he does. It focuses more on why things happen, rather than on what happens.
3. Telescoping: It's a matter of economy. The author can't describe every motion of the character or event during the time the story covers. S/he has to choose the significant and merely suggest the others by saying they happened, without much description
4. Foreshadowing: The outcome of a conflict is often hinted at or "foreshadowed" before the climax and resolution. These clues are usually very subtle; you don't realize they are foreshadowing clues until you've finished the story.
Conflict in Plot
Plot usually involves one or more conflicts, which are problems that need to be solved. The "movement" towards a solution is what drives the narrative forward, and is what occupies most of the protagonist's time. Here are the major types of conflict:
1. Man's struggle against nature
2. Man against man
3. Man against society
4. Man against himself (i.e. a portrayal of an inner struggle)
The first three types are said to be "external conflicts", while the last is "internal conflict".
Setting
Setting is defined as the physical location and the time of a story. In short stories, one or both of these elements are often not defined.
Mood or Atmosphere
The mood is the feeling the reader gets while reading the story. The author helps to create the mood by using carefully chosen descriptive or evocative words. It can be compared to the use of music in films. Examples of mood are: hostile, optimistic, threatening, ominous, bitter, defiant, etc..
Theme
The theme is a recurring social or psychological issue, like aging, violence, alienation or maturity. The author or poet weaves the theme into the plot, which is used as a vehicle to convey it. The title of the story or poem is often of significance in recognizing the theme.
Symbolism
In literature, a symbol is an object, event or a character that's used to represent an abstract idea; it is something which stands for something else. Symbols are clues to what's going on in the story and often stand for key parts of the theme. A symbol is related to metaphor and simile insofar as it's a type of figurative (indirect/dual) language. The key thing to remember is that readers aren't told that something is a symbol, unlike a metaphor (the flower ofmy love) or a simile (my love is like a flower). A symbol just sits there inside the story... readers are simply expected to understand its symbolic existence.
Point of View
Different points of view allow for different ways of understanding the characters' motives and events.
Characters and Irony
3. DRAMA
● Drama is a type of literature usually written to be performed.
● it concerns the written text, or script, for the performance
● Many of the most honored and influential works of literature around the world have been dramas.
Elements:
Focus
“The frame that directs attention to what is most significant and intensifies the dramatic meaning”.
There are 4 closely related areas of focus:
1. the focus of the scene
2. the focus of the audience
3. the focus of the character
4. the focus of the actor.
Tension
“The force that engages the performers and audience in the dramatic action”.
Space
“The personal and general space used by the actors. It focuses on the meaning of the size and shape of
distances between actor and actor, actor and objects (props and sets) and actor and audience.”
Mood
“The atmosphere created. Mood concentrates the dramatic action and moves the audience in emotionally appropriate directions.”
Contrast
“The use of difference to create dramatic meaning.”
Contrast is an effective means to emphasise, heighten or intensify. Contrasting colours stand out on the
stage. Contrasting sizes, shapes and sounds draw attention.
Symbol
“The use of objects, gestures or persons to represent meaning beyond the literal.”
Role
Taking on a role requires performers to accept the physicality, attitudes and beliefs of the characters they are playing.
Types of Nonfiction:
Narrative Nonfiction is information based on fact that is presented in a format which tells a story.
Essays are a short literary composition that reflects the author’s outlook or point. A short literary composition on a particular theme or subject, usually in prose and generally analytic, speculative, or interpretative.
A Biography is a written account of another person’s life.
An Autobiography gives the history of a person’s life, written or told by that person. Often written in Narrative form of their person’s life.
Speech is the faculty or power of speaking; oral communication; ability to express one’s thoughts and emotions by speech, sounds, and gesture. Generally delivered in the form of an address or discourse.
Finally there is the general genre of Nonfiction. This is Informational text dealing with an actual, real-life subject. This genre of literature offers opinions or conjectures on facts and reality. This includes biographies, history, essays, speech, and narrative non fiction. Nonfiction opposes fiction and is distinguished from those fiction genres of literature like poetry and drama which is the next section we will discuss.
Genres of Fiction:
Drama is the genre of literature that’s subject for compositions is dramatic art in the way it is represented. This genre is stories composed in verse or prose, usually for theatrical performance, where conflicts and emotion are expressed through dialogue and action.
Poetry is verse and rhythmic writing with imagery that evokes an emotional response from the reader. The art of poetry is rhythmical in composition, written or spoken. This genre of literature is for exciting pleasure by beautiful, imaginative, or elevated thoughts.
Fantasy is the forming of mental images with strange or other worldly settings or characters; fiction which invites suspension of reality.
Humor is the faculty of perceiving what is amusing or comical. Fiction full of fun, fancy, and excitement which meant to entertain. This genre of literature can actually be seen and contained within all genres.
A Fable is a story about supernatural or extraordinary people Usually in the form of narration that demonstrates a useful truth. In Fables, animals often speak as humans that are legendary and supernatural tales.
Fairy Tales or wonder tales are a kind of folktale or fable. Sometimes the stories are about fairies or other magical creatures, usually for children.
Science Fiction is a story based on impact of potential science, either actual or imagined. Science fiction is one of the genres of literature that is set in the future or on other planets.
Short Story is fiction of such briefness that is not able to support any subplots.
Realistic Fiction is a story that can actually happen and is true to real life.
Folklore are songs, stories, myths, and proverbs of a person of “folk” that was handed down by word of mouth. Folklore is a genre of literature that is widely held, but false and based on unsubstantiated beliefs.
Historical Fiction is a story with fictional characters and events in a historical setting.
Horror is an overwhelming and painful feeling caused by literature that is frightfully shocking, terrifying, or revolting. Fiction in which events evoke a feeling of dread in both the characters and the reader.
A Tall Tale is a humorous story with blatant exaggerations, swaggering heroes who do the impossible with an here of nonchalance.
Legend is a story that sometimes of a national or folk hero. Legend is based on fact but also includes imaginative material.
Mystery is a genre of fiction that deals with the solution of a crime or the unraveling of secrets. Anything that is kept secret or remains unexplained or unknown.
Mythology is a type of legend or traditional narrative. This is often based in part on historical events, that reveals human behavior and natural phenomena by its symbolism; often pertaining to the actions of the gods. A body of myths, as that of a particular people or that relating to a particular person.
Fiction in Verse is full-length novels with plot, subplots, themes, with major and minor characters. Fiction of verse is one of the genres of literature in which the narrative is usually presented in blank verse form.
The genre of Fiction can be defined as narrative literary works whose content is produced by the imagination and is not necessarily based on fact. In fiction something is feigned, invented, or imagined; a made-up story.
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1. POETRY
● Poetry, form of literature, spoken or written, that emphasizes rhythm, other intricate patterns of sound and imagery, and the many possible ways that words can suggest meaning.
● The word itself derives from a Greek word, poesis, meaning “making” or “creating.”
● poetry in its simplest definition is organized in units called lines as well as in sentences, and often in stanzas, which are the paragraphs of poetry
● The way a line of poetry is structured can be considered a kind of garment that shapes and clothes the thought within it.
● The oldest and most longstanding genres for classifying poetry are epic, a long narrative poem centered around a national hero, and lyric, a short poem expressing intense emotion.
Elements:
Stanza
•A unit of lines grouped together
•Similar to a paragraph in prose
Couplet
A stanza consisting of two lines that rhyme
Quatrain
A stanza consisting of four lines
Mood
The feeling a poem creates for the reader
Tone
The attitude a poet takes toward his/her subject
Imagery
•Representation of the five senses: sight, taste,touch, sound, and smell
•Creates mental images about a poem’s subject
Metaphor
An implied comparison between two objects or ideas
Personification
Giving human traits or characteristics to animals or inanimate objects
Simile
A direct comparison between two objects orideas that uses the words “like” or “as”
Symbol
A word or object thathas its own meaningand represents anotherword, object or idea
Alliteration
The repetition of aninitial (beginning)sound or consonant intwo or more wordsnext to each other in aline of a poem
Assonance
The repetition of avowel sound in two ormore words in the lineof a poem
Onomatopoeia
A word that imitates anoise or action
Refrain
The repetition of one or more phrases or line sat certain intervals,usually at the end of each stanza
Repetition
A word or phrase repeated within a line or stanza
Rhyme Scheme
The pattern in which end rhyme occurs
2. FICTION
● literary works of imagination: novels and stories that describe imaginary people and events
● The latin word fingere “to make, shape,” from which fiction is derived, is also the spurce of English effigy, feign, figment and figure.
Elements:
Plot
Events that form a significant pattern of action with a beginning, a middle and an end. They move from one place or event to another in order to form a pattern. The plot is also called a narrative.
Author's Role in Plot
1. Plot grows out of the characters.
2. The author is always in control of what happens; fiction manipulates events; it is created.
3. Central focus of the story has to be intriguing
Plot Techniques
1. Suspense: Frequently involves dilemma.
2. Flashback: The author waits until the story is moving and then flashes back to reveal biographical data or deep psychological reasons why a character acts as s/he does. It focuses more on why things happen, rather than on what happens.
3. Telescoping: It's a matter of economy. The author can't describe every motion of the character or event during the time the story covers. S/he has to choose the significant and merely suggest the others by saying they happened, without much description
4. Foreshadowing: The outcome of a conflict is often hinted at or "foreshadowed" before the climax and resolution. These clues are usually very subtle; you don't realize they are foreshadowing clues until you've finished the story.
Conflict in Plot
Plot usually involves one or more conflicts, which are problems that need to be solved. The "movement" towards a solution is what drives the narrative forward, and is what occupies most of the protagonist's time. Here are the major types of conflict:
1. Man's struggle against nature
2. Man against man
3. Man against society
4. Man against himself (i.e. a portrayal of an inner struggle)
The first three types are said to be "external conflicts", while the last is "internal conflict".
Setting
Setting is defined as the physical location and the time of a story. In short stories, one or both of these elements are often not defined.
Mood or Atmosphere
The mood is the feeling the reader gets while reading the story. The author helps to create the mood by using carefully chosen descriptive or evocative words. It can be compared to the use of music in films. Examples of mood are: hostile, optimistic, threatening, ominous, bitter, defiant, etc..
Theme
The theme is a recurring social or psychological issue, like aging, violence, alienation or maturity. The author or poet weaves the theme into the plot, which is used as a vehicle to convey it. The title of the story or poem is often of significance in recognizing the theme.
Symbolism
In literature, a symbol is an object, event or a character that's used to represent an abstract idea; it is something which stands for something else. Symbols are clues to what's going on in the story and often stand for key parts of the theme. A symbol is related to metaphor and simile insofar as it's a type of figurative (indirect/dual) language. The key thing to remember is that readers aren't told that something is a symbol, unlike a metaphor (the flower ofmy love) or a simile (my love is like a flower). A symbol just sits there inside the story... readers are simply expected to understand its symbolic existence.
Point of View
Different points of view allow for different ways of understanding the characters' motives and events.
Characters and Irony
3. DRAMA
● Drama is a type of literature usually written to be performed.
● it concerns the written text, or script, for the performance
● Many of the most honored and influential works of literature around the world have been dramas.
Elements:
Focus
“The frame that directs attention to what is most significant and intensifies the dramatic meaning”.
There are 4 closely related areas of focus:
1. the focus of the scene
2. the focus of the audience
3. the focus of the character
4. the focus of the actor.
Tension
“The force that engages the performers and audience in the dramatic action”.
Space
“The personal and general space used by the actors. It focuses on the meaning of the size and shape of
distances between actor and actor, actor and objects (props and sets) and actor and audience.”
Mood
“The atmosphere created. Mood concentrates the dramatic action and moves the audience in emotionally appropriate directions.”
Contrast
“The use of difference to create dramatic meaning.”
Contrast is an effective means to emphasise, heighten or intensify. Contrasting colours stand out on the
stage. Contrasting sizes, shapes and sounds draw attention.
Symbol
“The use of objects, gestures or persons to represent meaning beyond the literal.”
Role
Taking on a role requires performers to accept the physicality, attitudes and beliefs of the characters they are playing.
Types of Nonfiction:
Narrative Nonfiction is information based on fact that is presented in a format which tells a story.
Essays are a short literary composition that reflects the author’s outlook or point. A short literary composition on a particular theme or subject, usually in prose and generally analytic, speculative, or interpretative.
A Biography is a written account of another person’s life.
An Autobiography gives the history of a person’s life, written or told by that person. Often written in Narrative form of their person’s life.
Speech is the faculty or power of speaking; oral communication; ability to express one’s thoughts and emotions by speech, sounds, and gesture. Generally delivered in the form of an address or discourse.
Finally there is the general genre of Nonfiction. This is Informational text dealing with an actual, real-life subject. This genre of literature offers opinions or conjectures on facts and reality. This includes biographies, history, essays, speech, and narrative non fiction. Nonfiction opposes fiction and is distinguished from those fiction genres of literature like poetry and drama which is the next section we will discuss.
Genres of Fiction:
Drama is the genre of literature that’s subject for compositions is dramatic art in the way it is represented. This genre is stories composed in verse or prose, usually for theatrical performance, where conflicts and emotion are expressed through dialogue and action.
Poetry is verse and rhythmic writing with imagery that evokes an emotional response from the reader. The art of poetry is rhythmical in composition, written or spoken. This genre of literature is for exciting pleasure by beautiful, imaginative, or elevated thoughts.
Fantasy is the forming of mental images with strange or other worldly settings or characters; fiction which invites suspension of reality.
Humor is the faculty of perceiving what is amusing or comical. Fiction full of fun, fancy, and excitement which meant to entertain. This genre of literature can actually be seen and contained within all genres.
A Fable is a story about supernatural or extraordinary people Usually in the form of narration that demonstrates a useful truth. In Fables, animals often speak as humans that are legendary and supernatural tales.
Fairy Tales or wonder tales are a kind of folktale or fable. Sometimes the stories are about fairies or other magical creatures, usually for children.
Science Fiction is a story based on impact of potential science, either actual or imagined. Science fiction is one of the genres of literature that is set in the future or on other planets.
Short Story is fiction of such briefness that is not able to support any subplots.
Realistic Fiction is a story that can actually happen and is true to real life.
Folklore are songs, stories, myths, and proverbs of a person of “folk” that was handed down by word of mouth. Folklore is a genre of literature that is widely held, but false and based on unsubstantiated beliefs.
Historical Fiction is a story with fictional characters and events in a historical setting.
Horror is an overwhelming and painful feeling caused by literature that is frightfully shocking, terrifying, or revolting. Fiction in which events evoke a feeling of dread in both the characters and the reader.
A Tall Tale is a humorous story with blatant exaggerations, swaggering heroes who do the impossible with an here of nonchalance.
Legend is a story that sometimes of a national or folk hero. Legend is based on fact but also includes imaginative material.
Mystery is a genre of fiction that deals with the solution of a crime or the unraveling of secrets. Anything that is kept secret or remains unexplained or unknown.
Mythology is a type of legend or traditional narrative. This is often based in part on historical events, that reveals human behavior and natural phenomena by its symbolism; often pertaining to the actions of the gods. A body of myths, as that of a particular people or that relating to a particular person.
Fiction in Verse is full-length novels with plot, subplots, themes, with major and minor characters. Fiction of verse is one of the genres of literature in which the narrative is usually presented in blank verse form.
The genre of Fiction can be defined as narrative literary works whose content is produced by the imagination and is not necessarily based on fact. In fiction something is feigned, invented, or imagined; a made-up story.
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LITERARY FORMS
LITERARY FORMS
SATIRE
Satire is a work of art of diminishing a subject by making it ridiculous and evoking toward it attitudes of amusement , contempt, scorn, or indignation. It differs from the comic in that comedy evokes laughter mainly as an end in itself, while satire derides i.e. it uses laughter as a weapon, and against a butt that exists outside the work itself. That butt may be an individual, or a type of person, a class, an institution, a nation or even mankind.
Satire may be classified as follows:
i. Formal satire: In it the satiric persona speaks out in the first person. This ‘I’may address either the reader or else a character within the work itself.
ii. Horatian satire: In it, the speaker manifests the character of an urbane, witty and tolerant man of the world, who is moved more often to worry amusement than to indignation at the spectacle of human folly, pretentiousness, and hypocrisy, and who uses a relaxed and informal language to evoke from readers a wry smile at human failings and absurdities.
iii. Juvenalian Satire: In it, the character of the speaker is that of a serious moralist who uses a dignified and public style of utterance to decry modes of voice and error which are no less dangerous because they are ridiculous, and who undertakes to evoke from readers contempt, moral indignation, or an unillusioned sadness at the aberrations of humanity.
iv. Indirect Satire: It is cast in some other literary form than that of direct address to the reader. Fictional narrative is an example. In it the objects of the satire are characters who make themselves and their opinions ridiculous by what they think, say or do. One type of indirect satire is Menippean satire, modeled on Greek form developed by the Cynic philosopher Menippus. It is sometimes called Varronian satire, after a Roman imitator, Varro.
LYRIC
A lyric is any short poem uttered by a single speaker, who expresses a state of mind
or a process of perception, thought and feeling. Although the lyric is uttered in the first
person, the “I” in the poem need not be the poet who wrote it. Some lyrics such as John
Milton’s sonnet “when I consider how my light is spent” and S. T. Coleridge’s “Frost at
Midnight” the references to the known circumstances of the author’s life make it clear that
we are to read the poem as a personal expression. Even in such personal lyrics, both the
character and the utterance of the speaker may be formalized and altered by the author in a
way that is conducive to the desired artistic effect.
ODE
An Ode is a long lyric poem, serious in subject, dignified in style and elaborate in
structure. It is generally rhymed and often written in the form of an address, in varies or
irregular meter. The Pindaric ode, named after the Greek poet Pindar were written in triads,
composed of two stanzas called “strophe ‘and “antistrophe”, followed by an epode,
different in shape. E.g. Thomas Gray’s “The Progress of Poesy” and the “Bard”. Horatian
Ode named after the Latin poet Horace was generally monostrophic and composed of many
stanzas, all of the same shape. e.g. Collin’s “Ode to Simplicity” The English Ode or
Irregular Ode was introduced in 1656 by Abraham Cowley. He imitated the Pindaric style
and matter but disregarded the strophic triad and allowed each stanza to find its own pattern
of varying line length, number of lines and rhyme scheme. Shelley’s “Ode to the West
Wind” is an example of this type of ode.
ELEGY
In Greek and Roman times, elegy denoted any poem written in elegiac
meter(alternating hexameter and pentameter lines). In its limited and present usage, the
term elegy means a formal and sustained lament in verse for the death of a particular
person, usually ending in a consolation. Lord Alfred Tennyson’s “In Memorium” (1850),
on the death of Arthur Hallam, and W.H. Auden’s “In Memory of W.B. Yeats” are
examples. Thomas Gray’s “Elegy Written in a Country Churchyard” is different from these
personal lament in that it is a somber meditation on mortality.
The dirge is also a versified expression of grief on the occasion of a particular’s
person’s death. But differs from the elegy in that it is short, is less formal and is usually
represented as a text to be sung. Threnody is now used as an equivalent for dirge and
monody for an elegy or dirge which is presented as the utterance of a single person. John
Milton’s “Lycidas” written on the occasion of the death of his learned friend Edward King
and Mathew Arnold’s “Thyrsis” written on the occasion of the death of A.H. Clough are
monodies
REGARDS literature group by pritee jain If u like the post please followed the blog
SATIRE
Satire is a work of art of diminishing a subject by making it ridiculous and evoking toward it attitudes of amusement , contempt, scorn, or indignation. It differs from the comic in that comedy evokes laughter mainly as an end in itself, while satire derides i.e. it uses laughter as a weapon, and against a butt that exists outside the work itself. That butt may be an individual, or a type of person, a class, an institution, a nation or even mankind.
Satire may be classified as follows:
i. Formal satire: In it the satiric persona speaks out in the first person. This ‘I’may address either the reader or else a character within the work itself.
ii. Horatian satire: In it, the speaker manifests the character of an urbane, witty and tolerant man of the world, who is moved more often to worry amusement than to indignation at the spectacle of human folly, pretentiousness, and hypocrisy, and who uses a relaxed and informal language to evoke from readers a wry smile at human failings and absurdities.
iii. Juvenalian Satire: In it, the character of the speaker is that of a serious moralist who uses a dignified and public style of utterance to decry modes of voice and error which are no less dangerous because they are ridiculous, and who undertakes to evoke from readers contempt, moral indignation, or an unillusioned sadness at the aberrations of humanity.
iv. Indirect Satire: It is cast in some other literary form than that of direct address to the reader. Fictional narrative is an example. In it the objects of the satire are characters who make themselves and their opinions ridiculous by what they think, say or do. One type of indirect satire is Menippean satire, modeled on Greek form developed by the Cynic philosopher Menippus. It is sometimes called Varronian satire, after a Roman imitator, Varro.
LYRIC
A lyric is any short poem uttered by a single speaker, who expresses a state of mind
or a process of perception, thought and feeling. Although the lyric is uttered in the first
person, the “I” in the poem need not be the poet who wrote it. Some lyrics such as John
Milton’s sonnet “when I consider how my light is spent” and S. T. Coleridge’s “Frost at
Midnight” the references to the known circumstances of the author’s life make it clear that
we are to read the poem as a personal expression. Even in such personal lyrics, both the
character and the utterance of the speaker may be formalized and altered by the author in a
way that is conducive to the desired artistic effect.
ODE
An Ode is a long lyric poem, serious in subject, dignified in style and elaborate in
structure. It is generally rhymed and often written in the form of an address, in varies or
irregular meter. The Pindaric ode, named after the Greek poet Pindar were written in triads,
composed of two stanzas called “strophe ‘and “antistrophe”, followed by an epode,
different in shape. E.g. Thomas Gray’s “The Progress of Poesy” and the “Bard”. Horatian
Ode named after the Latin poet Horace was generally monostrophic and composed of many
stanzas, all of the same shape. e.g. Collin’s “Ode to Simplicity” The English Ode or
Irregular Ode was introduced in 1656 by Abraham Cowley. He imitated the Pindaric style
and matter but disregarded the strophic triad and allowed each stanza to find its own pattern
of varying line length, number of lines and rhyme scheme. Shelley’s “Ode to the West
Wind” is an example of this type of ode.
ELEGY
In Greek and Roman times, elegy denoted any poem written in elegiac
meter(alternating hexameter and pentameter lines). In its limited and present usage, the
term elegy means a formal and sustained lament in verse for the death of a particular
person, usually ending in a consolation. Lord Alfred Tennyson’s “In Memorium” (1850),
on the death of Arthur Hallam, and W.H. Auden’s “In Memory of W.B. Yeats” are
examples. Thomas Gray’s “Elegy Written in a Country Churchyard” is different from these
personal lament in that it is a somber meditation on mortality.
The dirge is also a versified expression of grief on the occasion of a particular’s
person’s death. But differs from the elegy in that it is short, is less formal and is usually
represented as a text to be sung. Threnody is now used as an equivalent for dirge and
monody for an elegy or dirge which is presented as the utterance of a single person. John
Milton’s “Lycidas” written on the occasion of the death of his learned friend Edward King
and Mathew Arnold’s “Thyrsis” written on the occasion of the death of A.H. Clough are
monodies
REGARDS literature group by pritee jain If u like the post please followed the blog
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