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==İlgili maddeler==
*[[Britanya edebiyatı]]
The term '''English literature''' refers to [[literature]] written in the [[English language]], including literature composed in English by [[writer]]s not necessarily from [[England]]; [[Joseph Conrad]] was Polish, [[Robert Burns]] was Scottish, [[James Joyce]] was Irish, [[Dylan Thomas]] was Welsh, [[Edgar Allan Poe]] was American, [[Salman Rushdie]] is Indian, [[V.S. Naipaul]] is Trinidadian. In other words English literature is as diverse as the varieties and dialects of English spoken around the world. In [[academia]], the term often labels departments and programmes practising ''[[English studies]]'' in secondary and tertiary educational systems.
==Middle Ages==
{{main|Medieval literature|Anglo-Saxon literature|Anglo-Norman literature|Middle English}}
The first working women in the English world were whores
, written in the Anglo-Saxon dialect now called [[Old English]], appear in the early Middle Ages (the oldest surviving text is [[Cædmon]]'s ''[[Cædmon's Hymn|Hymn]]''). The [[Orature|oral tradition]] was very strong in early British culture and most literary works were written to be performed. [[Epic poetry|Epic poems]] were thus very popular and many, including ''[[Beowulf]]'', have survived to the present day in the rich corpus of [[Anglo-Saxon literature]].
These are languages that closely resemble today's Norwegian or, better yet, Icelandic, though much Anglo-Saxon verse in the extant manuscripts is probably a "milder" adaptation of the earlier Viking and German war poems from the continent. When such poetry was brought to England it was still being handed down orally from one generation to another, and the constant presence of [[alliterative verse]], or consonant rhyme (today's newspaper headlines and marketing abundantly use this technique such as in ''Big is Better'') helped the Anglo-Saxon peoples remember it. Such rhyme is a feature of [[Germanic languages]] and is opposed to vocalic or end-rhyme of [[Romance languages]]. But the first written literature dates to the early Christian monasteries founded by St. [[Augustine of Canterbury]] and his disciples and it is reasonable to believe that it was somehow adapted to suit to needs of Christian readers. Even without their crudest lines, Viking war poems still smell of blood feuds and their consonant rhymes sound like the smashing of swords under the gloomy northern sky: there is always a sense of imminent danger in the narratives. Sooner or later, all things must come to an end, as Beowulf eventually dies at the hands of the huge monster he spends his life fighting. The feelings of Beowulf that nothing lasts, that youth and joy will turn to death and sorrow entered Christianity and were to dominate the future landscape of English fiction. The "[[ubi sunt]]" theme is, for example, recurrent in Hamlet ("Alas, poor Yorick"), not to mention much Jacobean poetry. With the exception of the relatively light-hearted and optimistic [[English Restoration|Restoration]] and the [[Augustan poetry|Augustan Age]], melancholia and angst remain a favorite theme with English-speaking writers, through the [[Gothic novel]] and [[Pre-romanticism]] to the birth of modern romantic sensibility. When William the Conqueror makes England a part of the Anglo-Norman realm in 1066 bringing [[Anglo-Norman language|Norman]], there is a period of [[Anglo-Norman literature]], though [[Old English poetry]] continues to be read and its language widely spoken. It was not until the early 13th century when Albion becomes independent and severs its relations to France that the language really changes. As the Normans are assimilated into mainstream culture, their French penetrates the lower orders of society changing much of the grammar and lexicon of [[Old English]]. Though it does not become a Romance language, Chaucer's English is much closer to present-day English than the language that people spoke a century before. The average English-speaker cannot read Chaucer (Middle English) without difficulty but can nonetheless grasp the gist of the story, while he needs to read Beowulf in modern English -- in translation.
In the late medieval period (1200-1500), the ideals of courtly love entered England and authors began to write romances, either in verse or prose. Especially popular were tales of [[King Arthur]] and his court. The poem [[Sir Gawain and the Green Knight]] shows many of the key features of literature at this time: a setting in the legendary time of King Arthur, an emphasis on chivalry and knightly behavior, and religious overtones.
[[English drama]] at this time was overtly religious. [[Mystery plays]] were enacted in cities and towns to celebrate major holidays, and the less formal [[Mummers Play|mummers plays]] also conveyed Christian themes.
England's first great author, [[Geoffrey Chaucer]] (1340 -1400), wrote in Middle English. His most famous work is ''[[The Canterbury Tales]]'', a collection of stories in a variety of genres, ostensibly told by a group of pilgrims on their way to Canterbury. Remarkably, they are from all walks of life, which is reflected as much in the language they use as in the content of their stories. But, though Chaucer is most certainly an English author, he was inspired by literary developments taking place elsewhere in Europe, especially in Italy. Chaucer's ''The Canterbury Tales'' are quite indebted to [[Giovanni Boccaccio]]'s ''[[Decameron]]''. The [[Renaissance]] was making its way to Britain.
==Early modern (Renaissance)==
{{main|English Renaissance}}
Following the introduction of a printing press into England by [[William Caxton]] in [[1476]], [[vernacular literature]] flourished. The [[Reformation]] inspired the production of [[vernacular]] [[liturgy]] which led to the [[Book of Common Prayer]], a lasting influence on literary English language. The poetry, drama, and prose produced under both Queen Elizabeth I and King James I constitute what is today labelled as Early modern (or Renaissance). This is noted for its interest in the human being as a worthy subject (due in large part to the importation of humanism from Italy). Unlike the literature of Medieval England, which was almost entirely religious in nature, Early modern literature offered readers a more secular literature; though it should be noted, Early modern literature does appear overtly religious in many ways when compared with modern secularism.
==Elizabethan literature==
The [[Elizabethan era]] saw a great flourishing of literature, especially in the field of [[drama]]. The [[Italian Renaissance]] had rediscovered the ancient Greek and Roman theatre, which was then beginning to evolve apart from the old mystery and [[miracle plays]] of the [[Middle Ages]]. The Italians were particularly inspired by [[Seneca the Younger|Seneca]] (a major tragic playwright and philosopher, the tutor of [[Nero]]) and [[Plautus]] (its comic clichés, especially that of the boasting soldier had a powerful influence on the Renaissance and after). However, the Italian tragedies embraced a principle contrary to Seneca's ethics: showing blood and violence on the stage. In Seneca's plays such scenes were only acted by the characters. But the English playwrights were intrigued by Italian model: a conspicuous community of Italian actors had settled in London and [[Giovanni Florio]] had brought much of the [[Italian language]] and culture to England. It is also true that the Elizabethan Era was a very violent age and that the high incidence of political assassinations in [[Renaissance]] Italy (embodied by [[Niccolò Machiavelli]]'s ''[[The Prince]]'') did little to calm fears of popish plots. As a result, representing that kind of violence on the stage was probably more cathartic for the Elizabethan spectator. Following earlier Elizabethan plays such as ''[[Gorboduc]]'' by [[Thomas Sackville, 1st Earl of Dorset|Sackville]] & [[Thomas Norton|Norton]] and ''[[The Spanish Tragedy]]'' by [[Thomas Kyd|Kyd]] that was to provide much material for ''[[Hamlet]]'', [[William Shakespeare]] stands out in this period as a [[poet]] and [[playwright]] as yet unsurpassed. Shakespeare was not a man of letters by profession, and probably had only some grammar school education. He was neither a lawyer, nor an aristocrat as the "university wits" that had monopolised the English stage when he started writing. But he was very gifted and incredibly versatile, and he surpassed "professionals" as Greene who mocked this "shake-scene" of low origins. Though most dramas met with great success, it is in his later years (marked by the early reign of [[James I of England|James I]]) that he wrote what have been considered his greatest plays: ''[[Hamlet]]'', ''[[Othello]]'', ''[[King Lear]]'', ''[[Macbeth]]'', ''[[Antony and Cleopatra]]'', and ''[[The Tempest]]'', a [[tragicomedy]] that inscribes within the main drama a brilliant pageant to the new king. This 'play within a play' takes the form of a [[masque]], an interlude with music and dance colored by the novel special effects of the new indoor theaters. Critics have shown that this masterpiece, which can be considered a dramatic work in its own right, was written for James's court, if not for the monarch himself. The magic arts of Prospero, on which depend the outcome of the plot, hint at the fine relationship between [[art]] and [[nature]] in poetry. Significantly for those times (the arrival of the first colonists in [[United States|America]]), ''The Tempest'' is (though not apparently) set on a Bermudan island, as research on the ''Bermuda Pamphlets'' (1609) has shown, linking Shakespeare to the ''Virginia Company itself''. The "News from the New World", as Frank Kermode points out, were already out and Shakespeare's interest in this respect is remarkable. Shakespeare also popularized the [[English sonnet]] which made significant changes to [[Petrarch]]'s model.
The afro was introduced into English by [[Thomas Wyatt (poet)|Thomas Wyatt]] in the early 16th century. Poems intended to be set to music as songs, such as by [[Thomas Campion]], became popular as printed literature was disseminated more widely in households. ''See [[English Madrigal School]]''. Other important figures in [[Elizabethan theatre]] include [[Christopher Marlowe]], [[Thomas Dekker]], [[John Fletcher (playwright)|John Fletcher]] and [[Francis Beaumont]]. Had Marlowe (1564-1593) not been stabbed at twenty-nine in a tavern brawl, says [[Anthony Burgess]], he might have rivalled, if not equalled Shakespeare himself for his poetic gifts. Remarkably, he was born only a few weeks before Shakespeare and must have known him well. Marlowe's subject matter, though, is different: it focuses more on the moral drama of the renaissance man than any other thing. Marlowe was fascinated and terrified by the new frontiers opened by modern [[science]]. Drawing on German lore, he introduced Dr. Faustus to England, a scientist and magician who is obsessed by the thirst of knowledge and the desire to push man's technological power to its limits. He acquires supernatural gifts that even allow him to go back in time and wed Helen of [[Troy]], but at the end of his twenty-four years' covenant with the [[devil]] he has to surrender his [[soul]] to him. His dark heroes may have something of Marlowe himself, whose untimely death remains a mystery. He was known for being an atheist, leading a lawless life, keeping many mistresses, consorting with ruffians: living the 'high life' of [[London]]'s underworld. But many suspect that this might have been a cover-up for his activities as a secret agent for [[Elizabeth I of England|Elizabeth I]], hinting that the 'accidental stabbing' might have been a premeditated assassination by the enemies of [[The Crown]]. Beaumont and Fletcher are less-known, but it is almost sure that they helped Shakespeare write some of his best dramas, and were quite popular at the time. It is also at this time that the [[city comedy]] genre develops. In the later 16th century English poetry was characterised by elaboration of language and extensive allusion to classical myths. The most important poets of this era include [[Edmund Spenser]] and [[Sir Philip Sidney]].
[[Canons of Renaissance poetry]]
==Jacobean literature==
After Shakespeare's death, the poet and dramatist [[Ben Jonson]] was the leading literary figure of the [[Jacobean era]] (The reign of [[James I of England|James I]]). However, Jonson's aesthetics hark back to the Middle Ages rather than to the Tudor Era: his characters embody the [[Humors|theory of humors]]. According to this contemporary medical theory, behavioral differences result from a prevalence of one of the body's four "humors" (blood, phlegm, black bile, and yellow bile) over the other three; these humors correspond with the four elements of the universe: air, water, fire, and earth. This leads Jonson to exemplify such differences to the point of creating types, or clichés.
Jonson is a master of style, and a brilliant satirist. His Volpone shows how a group of scammers are fooled by a top con-artist, vice being punished by vice, virtue meeting its reward.
Others who followed Jonson's style include [[Beaumont and Fletcher]], who wrote the brilliant comedy, ''[[The Knight of the Burning Pestle]]'', a mockery of the rising middle class and especially of those nouveau riches who pretend to dictate literary taste without knowing much literature at all. In the story, a couple of grocers wrangle with professional actors to have their illiterate son play a leading role in a drama. He becomes a knight-errant wearing, appropriately, a burning pestle on his shield. Seeking to win a princess's heart, the young man is ridiculed much in the way [[Don Quixote]] was. One of Beaumont and Fletcher's chief merits was that of realising how feudalism and chivalry had turned into snobbery and make-believe and that new social classes were on the rise.
Another popular style of theatre during Jacobean times was the [[revenge play]], popularized by [[John Webster]] and [[Thomas Kyd]]. [[George Chapman]] wrote a couple of subtle revenge tragedies, but must be remembered chiefly on account of his famous translation of [[Homer]], one that had a profound influence on all future English literature, even inspiring [[John Keats]] to write one of his best sonnets.
The [[King James Version of the Bible|King James Bible]], one of the most massive translation projects in the history of English up to this time, was started in [[1604]] and completed in [[1611]]. It represents the culmination of a tradition of [[English translations of the Bible|Bible translation into English]] that began with the work of [[William Tyndale]]. It became the standard [[Bible]] of the [[Church of England]], and some consider it one of the greatest literary works of all time. This project was headed by James I himself, who supervised the work of forty-seven scholars. Although many other translations into English have been made, some of which are widely considered more accurate, many aesthetically prefer the King James Bible, whose meter is made to mimic the original Hebrew verse.
Besides Shakespeare, whose figure towers the early 1600s, the major poets of the early [[17th century]] included [[John Donne]] and the other [[Metaphysical poet]]s. Influenced by continental [[Baroque]], and taking as his subject matter both Christian mysticism and eroticism, metaphysical poetry uses unconventional or "unpoetic" figures, such as a compass or a mosquito, to reach surprise effects. For example, in one of Donne's [[Songs and Sonnets]], the points of a compass represent two lovers, the woman who is home, waiting, being the center, the farther point being her lover sailing away from her. But the larger the distance, the more the hands of the compass lean to each other: separation makes love grow fonder. The [[paradox]] or the [[oxymoron]] is a constant in this poetry whose fears and anxieties also speak of a world of spiritual certainties shaken by the modern discoveries of geography and science, one that is no longer the center of the universe. Apart from the metaphysical poetry of Donne, the 17th century is also celebrated for its Baroque poetry. Baroque poetry served the same ends as the art of the period; the Baroque style is lofty, sweeping, epic, and religious. Many of these poets have an overtly Catholic sensibility (namely Richard Crashaw) and wrote poetry for the Catholic counter-Reformation in order to establish a feeling of supremacy and mysticism that would ideally persuade newly emerging Protestant groups back toward Catholicism.
==Caroline and Cromwellian literature==
The turbulent years of the mid-[[17th century]], during the reign of [[Charles I of England|Charles I]] and the subsequent [[Commonwealth of England|Commonwealth]] and [[The Protectorate|Protectorate]], saw a flourishing of political literature in English. [[Pamphlets]] written by sympathisers of every faction in the [[English civil war]] ran from vicious personal attacks and polemics, through many forms of [[propaganda]], to high-minded schemes to reform the nation. Of the latter type, ''[[Leviathan]]'' by [[Thomas Hobbes]] would prove to be one of the most important works of British [[political philosophy]]. Hobbes's writings are some of the few political works from the era which are still regularly published while [[John Bramhall]], who was Hobbes's chief critic, is largely forgotten. The period also saw a flourishing of [[news book]]s, the precursors to the [[History of British newspapers|British newspaper]], with journalists such as [[Henry Muddiman]], [[Marchamont Needham]], and [[John Birkenhead]] representing the views and activities of the contending parties. The frequent arrests of authors and the suppression of their works, with the consequence of foreign or underground printing, led to the proposal of a licensing system. The ''[[Areopagitica]]'', a political pamphlet by [[John Milton]], was written in opposition to licensing and is regarded as one of the most eloquent defenses of [[press freedom]] ever written.
Specifically in the reign of Charles I (1625–42), [[English Renaissance theatre]] experienced its concluding efflorescence. The last works of [[Ben Jonson]] appeared on stage and in print, along with the final generation of major voices in the drama of the age: [[John Ford (dramatist)|John Ford]], [[Philip Massinger]], [[James Shirley]], and [[Richard Brome]]. With the closure of the theatres at the start of the [[English Civil War]] in [[1642]], drama was suppressed for a generation, to resume only in the altered society of the [[English Restoration]] in [[1660]].
Other forms of literature written during this period are usually ascribed political [[subtext]]s, or their authors are grouped along political lines. The [[cavalier poets]], active mainly before the civil war, owed much to the earlier school of [[metaphysical poets]]. The forced retirement of royalist officials after the execution of Charles I was a good thing in the case of [[Izaak Walton]], as it gave him time to work on his book ''[[The Compleat Angler]]''. Published in [[1653]], the book, ostensibly a guide to fishing, is much more: a meditation on life, leisure, and contentment. The two most important poets of [[Oliver Cromwell]]'s England were [[Andrew Marvell]] and John Milton, with both producing works praising the new government; such as Marvell's ''An Horatian Ode upon Cromwell's Return from Ireland''. Despite their republican beliefs they escaped punishment upon the Restoration of [[Charles II of England|Charles II]], after which Milton wrote some of his greatest poetical works (with any possible political message hidden under [[allegory]]). [[Thomas Browne]] was another writer of the period; a learned man with an extensive library, he wrote prolifically on science, religion, medicine and the esoteric.
==Restoration literature==
[[Image:Milton paradise.jpg|thumb|Milton's [[Paradise Lost]] tells a story of pride and rebellion.]]
{{main|Restoration literature}}
Restoration literature includes both ''Paradise Lost'' and the Earl of Rochester's ''Sodom,'' the high spirited sexual comedy of ''The Country Wife'' and the moral wisdom of ''Pilgrim's Progress.'' It saw Locke's ''Treatises on Government,'' the founding of the Royal Society, the experiments of [[Robert Boyle]] and the holy meditations of Boyle, the hysterical attacks on theaters from Jeremy Collier, the pioneering of literary criticism from Dryden, and the first newspapers. The official break in literary culture caused by censorship and radically moralist standards under Cromwell's Puritan regime created a gap in literary tradition, allowing a seemingly fresh start for all forms of literature after the Restoration. During the Interregnum, the royalist forces attached to the court of [[Charles I of England|Charles I]] went into exile with the twenty-year old [[Charles II of England|Charles II]]. The nobility who travelled with Charles II were therefore lodged for over a decade in the midst of the continent's literary scene. Charles spent his time attending plays in France, and he developed a taste for [[Spanish language|Spanish]] plays. Those nobles living in Holland began to learn about mercantile exchange as well as the tolerant, [[Rationalism|rationalist]] prose debates that circulated in that officially tolerant nation.
The largest and most important poetic form of the era was satire. In general, publication of satire was done anonymously. There were great dangers in being associated with a satire. On the one hand, defamation law was a wide net, and it was difficult for a satirist to avoid prosecution if he were proven to have written a piece that seemed to criticize a noble. On the other hand, wealthy individuals would respond to satire as often as not by having the suspected poet physically attacked by ruffians. John Dryden was set upon for being merely ''suspected'' of having written the ''Satire on Mankind.'' A consequence of this anonymity is that a great many poems, some of them of merit, are unpublished and largely unknown.
Prose in the Restoration period is dominated by [[Christianity|Christian]] religious writing, but the Restoration also saw the beginnings of two genres that would dominate later periods: [[fiction]] and journalism. Religious writing often strayed into political and economic writing, just as political and economic writing implied or directly addressed religion. [[Thomas Sprat]] wrote his ''[[The Dead Poet's Society]]'' in [[1667]] and set forth, in a single document, the goals of empirical science ever after. The Restoration was also the time when [[John Locke]] wrote many of his philosophical works. Locke's empiricism was an attempt at understanding the basis of human understanding itself and thereby devising a proper manner for making sound decisions. These same scientific methods led Locke to his three ''Treatises on Government,'' which later inspired the thinkers in the [[American Revolution]]. As with his work on understanding, Locke moves from the most basic units of society toward the more elaborate, and, like Thomas Hobbes, he emphasizes the plastic nature of the social contract. For an age that had seen absolute monarchy overthrown, democracy attempted, democracy corrupted, and limited monarchy restored, only a flexible basis for government could be satisfying. The Restoration moderated most of the more strident sectarian writing, but radicalism persisted after the Restoration. Puritan authors such as [[John Milton]] were forced to retire from public life or adapt, and those [[Diggers|Digger]], [[Fifth Monarchy Men|Fifth Monarchist]], [[Levellers|Leveller]], [[Quakers|Quaker]], and [[Anabaptists|Anabaptist]] authors who had preached against monarchy and who had participated directly in the [[regicide]] of [[Charles I of England|Charles I]] were partially suppressed. Consequently, violent writings were forced underground, and many of those who had served in the Interregnum attenuated their positions in the Restoration. [[John Bunyan]] stands out beyond other religious authors of the period. Bunyan's ''[[The Pilgrim's Progress]]'' is an [[allegory]] of personal salvation and a guide to the Christian life. Instead of any focus on [[eschatology]] or divine retribution, Bunyan instead writes about how the individual [[saint]] can prevail against the temptations of mind and body that threaten damnation. The book is written in a straightforward narrative and shows influence from both [[drama]] and [[biography]], and yet it also shows an awareness of the grand allegorical tradition found in [[Edmund Spenser]]. During the Restoration period, the most common manner of getting news would have been a [[broadsheet]] publication. A single, large sheet of paper might have a written, usually partisan, account of an event. However, the period saw the beginnings of the first professional and periodical (meaning that the publication was regular) journalism in England. Journalism develops late, generally around the time of [[William III of England|William of Orange]]'s claiming the throne in 1689. Coincidentally or by design, England began to have newspapers just when William came to court from [[Amsterdam]], where there were already newspapers being published.
[[Image:Behn Oroonoko title page.1688.jpg|left|thumb|150px|First edition of ''Oroonoko'', [[1688]].]]
It is impossible to satisfactorily date the beginning of the novel in English. However, long fiction and fictional biographies began to distinguish themselves from other forms in England during the Restoration period. An existing tradition of ''Romance'' fiction in [[France]] and [[Spain]] was popular in England. The "Romance" was considered a feminine form, and women were taxed with reading "novels" as a vice. One of the most significant figures in the rise of the novel in the Restoration period is [[Aphra Behn]]. She was not only the first professional female novelist, but she may be among the first professional novelists of either sex in England. Behn's most famous novel was ''[[Oroonoko]]'' in [[1688]]. This was a biography of an entirely fictional African king who had been enslaved in [[Suriname]]. Behn's novels show the influence of [[tragedy]] and her experiences as a dramatist.
As soon as the previous Puritan regime's ban on public stage representations was lifted, the drama recreated itself quickly and abundantly. The most famous plays of the early Restoration period are the unsentimental or "hard" comedies of [[John Dryden]], [[William Wycherley]], and [[George Etherege]], which reflect the atmosphere at Court, and celebrate an aristocratic [[machismo|macho]] lifestyle of unremitting sexual intrigue and conquest. After a sharp drop in both quality and quantity in the 1680s, the mid-90s saw a brief second flowering of the drama, especially comedy. Comedies like [[William Congreve (playwright)|William Congreve]]'s ''[[Love For Love]]'' (1695) and ''[[The Way of the World]]'' (1700), and [[John Vanbrugh]]'s ''[[The Relapse]]'' (1696) and ''[[The Provoked Wife]]'' (1697) were "softer" and more middle-class in ethos, very different from the aristocratic extravaganza twenty years earlier, and aimed at a wider audience. The playwrights of the 1690s set out to appeal to more socially mixed audiences with a strong [[middle-class]] element, and to female spectators, for instance by moving the war between the sexes from the arena of intrigue into that of marriage. The focus in comedy is less on young lovers outwitting the older generation, more on marital relations after the wedding bells.
Diarists [[John Evelyn]] and [[Samuel Pepys]] depicted everyday London life and the cultural scene of the times.
==Augustan literature==
{{main|Augustan literature}}
The term [[Augustan literature]] derives from authors of the 1720's and 1730's themselves, who responded to a term that [[George I of England]] preferred for himself. While George I meant the title to reflect his might, they instead saw in it a reflection of [[Ancient Rome]]'s transition from rough and ready literature to highly political and highly polished literature. Because of the aptness of the metaphor, the period from 1689 - 1750 was called "the Augustan Age" by critics throughout the 18th century (including [[Voltaire]] and [[Oliver Goldsmith]]). The literature of the period is overtly political and thoroughly aware of critical dictates for literature. It is an age of exuberance and scandal, of enormous energy and inventiveness and outrage, that reflected an era when English, Scottish, and Irish people found themselves in the midst of an expanding economy, lowering barriers to education, and the stirrings of the [[Industrial Revolution]].
The most outstanding poet of the age is [[Alexander Pope]], but Pope's excellence is partially in his constant battle with other poets, and his serene, seemingly neo-Classical approach to poetry is in competition with highly idiosyncratic verse and strong competition from such poets as [[Ambrose Philips]]. It was during this time that [[James Thomson (Seasons)|James Thomson]] produced his melancholy ''The Seasons'' and [[Edward Young]] wrote ''Night Thoughts.'' It is also the era that saw a serious competition over the proper model for the [[pastoral poetry|pastoral]]. In criticism, poets struggled with a doctrine of ''decorum,'' of matching proper words with proper sense and of achieving a diction that matched the gravity of a subject. At the same time, the [[mock-heroic]] was at its zenith. Pope's ''[[Rape of the Lock]]'' and ''[[The Dunciad]]'' are still the greatest mock-heroic poems ever written.
In prose, the earlier part of the period was overshadowed by the development of the English essay. [[Joseph Addison]] and [[Richard Steele]]'s ''[[The Spectator (1711)|The Spectator]]'' established the form of the British periodical essay, inventing the pose of the detached observer of human life who can meditate upon the world without advocating any specific changes in it. However, this was also the time when the English [[novel]], first emerging in the Restoration, developed into a major artform. [[Daniel Defoe]] turned from [[journalism]] and writing criminal lives for the press to writing fictional criminal lives with ''[[Roxana: The Fortunate Mistress|Roxana]]'' and ''[[Moll Flanders]].'' He also wrote a fictional treatment of the travels of [[Alexander Selkirk]] called ''[[Robinson Crusoe]]'' ([[1719]]). The novel would benefit indirectly from a tragedy of the stage, and in mid-century many more authors would begin to write novels.
If Addison and Steele overawed one type of prose, then [[Jonathan Swift]] did another. Swift's prose style is unmannered and direct, with a clarity that few contemporaries matched. He was a profound skeptic about the modern world, but he was similarly profoundly distrustful of nostalgia. He saw in history a record of lies and vanity, and he saw in the present a madness of vanity and lies. Core [[Christian]] values were essential, but these values had to be muscular and assertive and developed by constant rejection of the games of confidence men and their gullies. Swift's ''[[A Tale of a Tub]]'' announced his skeptical analysis of the claims of the modern world, and his later prose works, such as his war with Patridge the astrologer, and most of all his derision of pride in ''[[Gulliver's Travels]]'' left only the individual in constant fear and humility safe. After his "exile" to [[Ireland]], Swift reluctantly began defending the Irish people from the predations of [[colonialism]]. His ''[[A Modest Proposal]]'' and the Drapier Letters provoked riots and arrests, but Swift, who had no love of Irish [[Roman Catholicism|Roman Catholics]], was outraged by the abuses and barbarity he saw around him.
Drama in the early part of the period featured the last plays of [[John Vanbrugh]] and [[William Congreve (playwright)|William Congreve]], both of whom carried on the Restoration comedy with some alterations. However, the majority of stagings were of lower [[farce]]s and much more serious and domestic tragedies. [[George Lillo]] and [[Richard Steele]] both produced highly moral forms of tragedy, where the characters and the concerns of the characters were wholly middle class or working class. This reflected a marked change in the audience for plays, as royal patronage was no longer the important part of theatrical success. Additionally, [[Colley Cibber]] and [[John Rich (producer)|John Rich]] began to battle each other for greater and greater spectacles to present on stage. The figure of [[Harlequin]] was introduced, and [[pantomime]] theater began to be staged. This "low" comedy was quite popular, and the plays became tertiary to the staging. [[Opera]] also began to be popular in London, and there was significant literary resistance to this Italian incursion. This trend was broken only by a few attempts at a new type of comedy. Pope and [[John Arbuthnot]] and [[John Gay]] attempted a play entitled ''Three Hours After Marriage'' that failed. In [[1728]], however, John Gay returned to the playhouse with ''[[The Beggar's Opera]].'' Gay's opera was in English and retold the story of [[Jack Sheppard]] and [[Jonathan Wild]]. However, it seemed to be an allegory for [[Robert Walpole]] and the directors of the South Sea Company, and so Gay's follow up opera was banned without performance. In [[1737]], 18th century drama almost ends, for that was the year of the [[Licensing Act]]. At that point, there was official state censorship of all plays.
An effect of the Licensing Act was to cause more than one aspiring playwright to switch over to writing novels. [[Henry Fielding]] began to write prose satire and novels after his plays could not pass the censors. [[Henry Brooke]] also turned to novels. In the interim, [[Samuel Richardson]] had produced a novel intended to counter the deleterious effects of novels in ''[[Pamela, or Virtue Rewarded]]'' ([[1749]]). Henry Fielding attacked the absurdity of this novel with two of his own works, ''[[Joseph Andrews]]'' and ''[[Shamela]]'', and then countered Richardson's ''[[Clarissa]]'' with ''[[The History of Tom Jones, a Foundling|Tom Jones]]''. Brooke wrote ''[[The Man of Feeling]]'' and indirectly began the [[sentimental novel]]. [[Laurence Sterne]] attempted a Swiftian novel with a unique perspective on the impossibility of biography (the model for most novels up to that point) and understanding with ''[[Tristram Shandy]]'', even as his detractor [[Tobias Smollett]] elevated the [[picaresque novel]] with his works. Each of these novels represents a formal and thematic divergence from the others. Each novelist was in dialogue and competition with the others, and, in a sense, the novel established itself as a diverse and open-formed genre in this explosion of creativity. The most lasting effects of the experimentation would be the psychological realism of Richardson, the bemused narrative voice of Fielding, and the sentimentality of Brooke.
'''18th Century'''
During the [[Sensibility|Age of Sensibility]], literature reflected the worldview of the [[Age of Enlightenment]] (or Age of Reason) – a rational and scientific approach to religious, social, political, and economic issues that promoted a secular view of the world and a general sense of progress and perfectibility. Led by the philosophers who were inspired by the discoveries of the previous century (Newton) and the writings of Descartes, Locke and Bacon. They sought to discover and to act upon universally valid principles governing humanity, nature, and society. They variously attacked spiritual and scientific authority, dogmatism, intolerance, censorship, and economic and social restraints. They considered the state the proper and rational instrument of progress. The extreme rationalism and skepticism of the age led naturally to deism; the same qualities played a part in bringing the later reaction of romanticism.
The [[Encyclopédie]] of Denis Diderot epitomized the spirit of the age.
Increased emphasis on instinct and feeling, rather than judgment and restraint. A growing sympathy for the Middle Ages during the Age of Sensibility sparked an interest in medieval ballads and folk literature.
==Romanticism==
[[Image:Brock Pride and Prejudice.jpg|thumb|[[Jane Austen]]'s ''[[Pride and Prejudice]]'' continues to inspire writers, film-makers, audiences and readers]]
The changing landscape of Britain brought about by the steam engine has two major outcomes: the boom of [[industrialism]] with the expansion of the city, and the consequent depopulation of the countryside as a result of the [[enclosure]]s, or [[privatisation]] of pastures. Most peasants poured into the city to work in the new factories.
This abrupt change is revealed by the change of meaning in five key words: industry (once meaning "creativity"), democracy (once disparagingly used as "mob-rule"), class (from now also used with a social connotation), art (once just meaning "craft"), culture (once only belonging to farming).
But the poor condition of workers, the new class-conflicts and the pollution of the environment causes a reaction to [[urbanism]] and industrialisation prompting poets to rediscover the beauty and value of nature. Mother [[earth]] is seen as the only source of wisdom, the only solution to the ugliness caused by machines.
The superiority of nature and instinct over [[civilisation]] had been preached by [[Jean Jacques Rousseau]] and his message was picked by almost all European poets. The first in [[England]] were the [[Lake Poets]], a small group of friends including [[William Wordsworth]] and [[Samuel Taylor Coleridge]]. These early [[romantic poetry|Romantic Poets]] brought a new emotionalism and introspection, and their emergence is marked by the first romantic Manifesto in English literature, the "Preface to the [[Lyrical Ballads]]". This collection was mostly contributed by Wordsworth, although Coleridge must be credited for his long and impressive ''[[Rime of the Ancient Mariner]]'', a tragic ballad about the survival of one sailor through a series of supernatural events on his voyage through the south seas which involves the slaying of an albatross, the death of the rest of the crew, a visit from Death and his mate, Life-in-Death, and the eventual redemption of the Mariner.
Coleridge and Wordsworth, however, understood romanticism in two entirely different ways: while Coleridge sought to make the supernatural "real" (much like sci-fi movies use special effects to make unlikely plots believable), Wordsworth sought to stir the imagination of readers through his down-to-earth characters taken from real life (for eg. in "The Idiot Boy"), or the beauty of the [[Lake District]] that largely inspired his production (as in "Lines Composed a Few Miles Above Tintern Abbey").
The "Second generation" of Romantic Poets includes [[Lord Byron]], [[Percy Bysshe Shelley]], [[Mary Shelley]] and [[John Keats]]. Byron, however, was still influenced by 18th-century satirists and was, perhaps the least 'romantic' of the three. His amours with a number of prominent but married ladies was also a way to voice his dissent on the hypocrisy of a high society that was only apparently religious but in fact largely libertine, the same that had derided him for being physically impaired. His first trip to [[Europe]] resulted in the first two cantos of [[Childe Harold's Pilgrimage]], a mock-heroic epic of a young man's adventures in Europe but also a sharp satire against London society. Despite ''Childe Harold'''s success on his return to England, accompanied by the publication of ''[[The Giaour]]'' and ''[[The Corsair]]'' his alleged incestuous affair with his half-sister Augusta Leigh in [[1816]] actually forced him to leave England for good and seek asylum on the continent. Here he joined Percy Bysshe Shelley, his wife Mary, with his secretary Dr. [[John Polidori]] on the shores of [[Lake Geneva]] during the 'year without a summer' of 1816.
Although his is just a short story, Polidori must be credited for introducing [[The Vampyre]], conceived from the same competition which spawned Mary Shelley's ''[[Frankenstein]]'', to English literature. Percy, like Mary, had much in common with Byron: he was an aristocrat from a famous and ancient family, had embraced atheism and [[freethought|free-thinking]] and, like him, was fleeing from scandal in England.
Shelley had been expelled from college for openly declaring his [[atheism]]. He had married a 16-year-old girl, [[Harriet Westbrook]] whom he had abandoned soon after for Mary (Harriet took her own life after that). Harriet did not embrace his ideals of [[free love]] and [[anarchism]], and was not as educated as to contribute to literary debate. Mary was different: the daughter of philosopher and revolutionary [[William Godwin]], she was intellectually more of an equal, shared some of his ideals and was a feminist like her late mother, [[Mary Wollstonecraft]], author of ''Vindication of the Rights of Women''.
One of Shelley's best works is the ''[[Ode to the West Wind]]''. Despite his apparent refusal to believe in [[God]], this poem is considered a homage to [[pantheism]], the recognition of a spiritual presence in nature.
Mary Shelley did not go down in history for her poetry, but for giving birth to [[science fiction]]: the plot for the [[novel]] is said to have come from a nightmare during stormy nights on Lake Geneva in the company of Percy Shelley, Lord Byron, and John Polidori. Her idea of making a body with human parts stolen from different corpses and then animating it with [[electricity]] was perhaps influenced by [[Alessandro Volta]]'s invention and [[Luigi Galvani]]'s experiments with dead frogs. [[Frankenstein]]'s chilling tale also suggests modern organ transplants, tissue regeneration, reminding us of the moral issues raised by today's medicine. But the creature of Frankenstein is incredibly romantic as well. Although "the monster" is intelligent, good and loving, he is shunned by everyone because of his ugliness and deformity, and the desperation and envy that result from social exclusion turn him against the very man who created him.
John Keats did not share Byron's and Shelley's extremely revolutionary ideals, but his cult of [[pantheism]] is as important as Shelley's. Keats was in love with the ancient stones of the [[Parthenon]] that Lord Elgin had brought to [[England]] from [[Greece]], also known as the [[Elgin Marbles]]). He celebrates ancient Greece: the beauty of free, youthful love couples here with that of classical art. Keats's great attention to [[art]], especially in his ''[[Ode on a Grecian Urn]]'' is quite new in romanticism, and it will inspire [[Walter Pater]]'s and then [[Oscar Wilde]]'s belief in the absolute value of art as independent from [[aesthetics]].
The most popular novelist of the era was [[Sir Walter Scott]], whose grand historical romances inspired a generation of painters, composers, and writers throughout Europe. By contrast, [[Jane Austen]] wrote novels about the life of the landed gentry, seen from a woman's point of view, and wryly focused on practical social issues, especially marriage and money.
==Victorian literature==
{{main|Victorian literature}}
It was in the [[Victorian era]] (1837-1901) that the novel became the leading form of literature in English. Most writers were now more concerned to meet the tastes of a large middle class reading public than to please aristocratic patrons. The best known works of the era include the emotionally powerful works of the [[Brontë]] sisters; the satire ''[[Vanity Fair]]'' by [[William Makepeace Thackeray]]; the realist novels of [[George Eliot]]; and [[Anthony Trollope]]'s insightful portrayals of the lives of the landowning and professional classes.
[[Charles Dickens]] emerged on the literary scene in the 1830s, confirming the trend for [[serial publication]]. Dickens wrote vividly about [[London]] life and the struggles of the poor, but in a good-humoured fashion which was acceptable to readers of all classes. His early works such as the [[Pickwick Papers]] are masterpieces of comedy. Later his works became darker, without losing his genius for [[caricature]].
An interest in rural matters and the changing social and economic situation of the countryside may be seen in the novels of [[Thomas Hardy]], [[Elizabeth Cleghorn Gaskell]], and others.
Leading poetic figures of the Victorian era included [[Alfred Tennyson]], [[Robert Browning]] and his wife, [[Elizabeth Barrett Browning]], [[Matthew Arnold]] and [[Dante Gabriel Rossetti]] and his sister, [[Christina Rossetti]].
Literature for children was published during the Victorian period, some of which has become globally well-known, such as the work of [[Lewis Carroll]] who was a proponent of [[nonsense verse]], as was [[Edward Lear]].
==Modernism==
{{main|Modernist literature}}
[[Image:JoyceUlysses2.jpg|thumb|First edition of ''[[Ulysses (novel)|Ulysses]]'', [[James Joyce]]'s masterpiece, and landmark of high modernism (1922).]]
The movement known as English literary [[modernism]] grew out of a general sense of disillusionment with [[Victorian era]] attitudes of certainty, conservatism, and objective truth. The movement was greatly influenced by the ideas of [[Romanticism]], [[Karl Marx]]'s political writings, and the psychoanalytic theories of [[Sigmund Freud]]. The continental art movements of [[Impressionism]], and later [[Cubism]], were also important inspirations for modernist writers.
Although literary modernism reached its peak between the First and Second [[World Wars]], the earliest examples of the movement's attitudes appeared in the mid to late nineteenth century. [[Gerard Manley Hopkins]], [[A. E. Housman]], and the poet and novelist [[Thomas Hardy]] represented a few of the major early modernists writing in England during the [[Victorian period]].
The first decades of the twentieth century saw several major works of modernism published, including the seminal short story collection ''[[Dubliners]]'' by [[James Joyce]], [[Joseph Conrad]]'s ''[[Heart of Darkness]]'', and the poetry and drama of [[William Butler Yeats]].
Important novelists between the World Wars included [[Virginia Woolf]], [[E. M. Forster]], [[Evelyn Waugh]], [[P.G. Wodehouse]], [[D. H. Lawrence]] and [[T. S. Eliot]], the preeminent English poet of the period. Across the Atlantic writers like [[William Faulkner]], [[Ernest Hemingway]], and the poets [[Wallace Stevens]] and [[Robert Frost]] developed a more American take on the modernist aesthetic in their work.
Perhaps the most contentiously important figure in the development of the modernist movement was the American poet [[Ezra Pound]]. Credited with "discovering" both [[T. S. Eliot]] and [[James Joyce]], whose [[stream of consciousness]] novel ''[[Ulysses (novel)|Ulysses]]'' is considered to be one of the century's greatest literary achievements, Pound also advanced the cause of [[imagism]] and [[free verse]], forms which would dominate English poetry into the twenty-first century.
Other notable writers of the period included [[W. H. Auden]], [[Vladimir Nabokov]], [[William Carlos Williams]], [[Ralph Ellison]], [[Dylan Thomas]], [[R.S. Thomas]] and [[Graham Greene]]. However, some of these writers are more closely associated with what has become known as [[post-modernism]], a term often used to encompass the diverse range of writers who succeeded the modernists.
==[[Postmodernism|Post-Modern]] literature==
See: [[Postmodern literature]] in English.
=====References=====
''British Postmodern Fiction'' by Theo D'Haen, Hans Bertens (Editors), (Rodopi, 1994). ISBN 90-5183-653-8.
==Views of English literature==
''"I had always thought of English literature as the richest in the world; the discovery now of a secret chamber (sc. Old English literature) at the very threshold of that literature came to me as an additional gift."'' - Jorge Luis Borges, 'An Autobiographical Essay', The Aleph & Other Stories
==See also==
{{Wikiversity|Topic:Literary Studies}}
*[[British literature]]
*[[Anglo-Welsh literature]]
*[[Scottish literature]]
*[[Irish literature]]
*[[Indian English literature]]
*[[Australian literature]]
*[[New Zealand literature]]
*[[Canadian literature]]
*[[American literature]]
*[[South African literature]]
*[[Early English Jewish literature]]
*[[Postcolonial literature]]
*[[List of English language poets]]
==External links==
* [http://www.johnkeats.org A Website of the Romantic Movement in English Literature]
* [http://www.luminarium.org/medlit/ Luminarium: Anthology of Middle English Literature (1350-1485)]
* [http://www.luminarium.org/renlit/ Luminarium: 16th Century Renaissance English Literature (1485-1603)]
* [http://www.luminarium.org/sevenlit/ Luminarium: Seventeenth Century English Literature (1603-1660)]
* [http://www.britishlit.com BritishLit.com]
*[http://www.wwnorton.com/nael/welcome.htm Norton Anthology of English Literature]
*[http://www.unizar.es/departamentos/filologia_inglesa/garciala/bibliography.html A Bibliography of Literary Theory, Criticism and Philology] Ed. José Ángel García Landa, (University of Zaragoza, Spain)
*[http://www.grovesofacademe.com/: Groves of Academe] A Literary Theory and Criticism discussion board
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