Dr. P. S. Fields
EN402 The Renaissance
Fall 2003
I COURSE DESCRIPTION AND INTRODUCTION.
The comments below are notes to provide an overview for the course material and rationale; the remarks do not
constitute a proper essay.
This course incorporates British Literature produced essentially in the (later) 15th and 16th
centuries, with the Renaissance (or the Age of Elizabeth [1534-1603]), generally conceded as
ending around 1616. Shakespeare, who died in 1616, receives placement in the Renaissance
period, considered the British Golden Age of Commercial Theatre, with its great playwrights.
Elements of the Renaissance era include the period of exploration, Reformation (Martin
Luther), Puritanism, the Church of England and Book of Common Prayer in 1534, Tudor
monarchs, growth of trade, growth of middle class merchants, middle class readers, expansion
of education beyond the nobles and the church. Art, music, religion, literature, all reflected
these cataclysmic changes.
The period is also known as Early Modern, for the shift in language from Middle
English to English similar to our own in vocabulary and word meanings. Eschewing in large
proportion the Greek and Latin of the Middle English literature, the Renaissance featured
(beginning 15th century) what is called the Great Vowel (AEIOU) Shift in pronunciation and
the grammar changes with dropping "thee" and "thou" along with that suffix "eth" in addition
to sentence order.
Obviously, the discoveries during the period greatly affected the changes, just as the
New World developments and the sea-faring English brought new plots to plays and new
character types. Even the flora and fauna from the New World added vocabulary (potato,
tomato, Indian, canoe, teepee, etc, etc.) to what we call "modern English." Great trade with
the continent and far East made its contribution to language growth—and then literature
growth—through what was becoming common trips to Italy, Holland, Germany, Scandenavia,
even Russia.
You will observe in Marston's and Jonson's plays the different "country" stereotypes
and the congealing of the English sense of identity and of self. Identity was crucial—you will
want to be alert to this aspect in Shakespeare's plays (and others") about secret identity, such
as crossed dressed women as men to change identity. Plots involving traveling as a way to
"lose" identity were popular. The use of this word points up another aspect of the 15th and 16th
centuries—the patronage system which made the artist dependent on pleasing his patron
changed during this time. Writing a play that became "popular" and pleased the theatre-goer,
occurred with changes by which the playwright could make money, independent of the
patronage system—new laws allowed box office receipts for playwrights and the "sixth"
night in which all receipts went to the playwrights.
The literature during these two centuries, of course, reflects the change and at the
same time, promulgates the change. Shakespeare was notorious for enlarging English
vocabulary by his employment in his plays of the "new" words spoken on the street—
"accommodate" and "obscene," "catch my drift" to cite a few. The street language appears in
most literature of the period; you will remember the significance of Chaucer's Canterbury
Tales for this use of English. Note, however, that some writers still valorized Latin and Greek
words, constructions, and "macaronic" texts with both English and
Latin—especially true in sermons and other theological writings. Major playwrights of this
temporal division appear in the syllabus chronically,
TEXTS: Norton Anthology of English Literature Seventh Edition, Vol. 7; paperback editions of
Ben Jonson, Bartholomew Fair, John Marston, The Dutch Courtesan, both are Norton. Should
you employ a different edition, another publisher, different pagination will occur. Otherwise,
any edition of text or plays is acceptable. WRITTEN ASSIGNMENTS:
Taking the place of reading quizzes, Position Papers are word-processed writings of no
more than one-page (+-) about that day's the reading for the class. Unlike a reading quiz, the
position paper focuses on YOUR take of the piece. A critique of a small segment, a comment
on the overall idea, examination of a character's chief trait. Connecting the day's position paper
with "your" part of the cluster work is a great idea. 20%
Midterm Short Answer featuring multiple "paragraph" essays—"write your own
within guidelines" 20%
Final Short Paragraph Answer and Term Paper, which is tied to the Final and is your
"ticket" into the exam. 20%
Presentation. See rubrics below. 20%
Participation. 20%
PRESENTATIONS: Roster registration begins week of 9/14 on a first-come basis. Each
student or team with no more than three students will have a major presentation of 45 -60
minutes on a topic of choice, approved by the professor. Having a "theme" for the semester,
with the midterm essay, the presentation, and the term paper written on that "theme," makes a
sound approach, very mature and graduate-level. Cluster work provides an ideal time for the
student to examine the "theme' -parent-child, trade/economics, body use, male/female
relations, female/male identity, ships/sailing metaphors, clothing, food, dining, and domestic
artifacts (hot area for research currently)—the list is almost endless. You may choose to
present your paper as your presentation, so would sign for middle-November slot, for instance.
See the professor with questions or concerns. Bibliography (processed) and outline or notes
(not processed necessarily) required. All are videotaped for your portfolios and assessment, as
well as documentation of your good work.
A presentation of an enactment of several scenes (meeting length requirement to be
fair to all) from the works under study (let's stick with course material) would be quite
appropriate and welcomed. No more than three with "equal" speaking parts if a team
presentation proposed. See professor about bibliography.
A puppet play of selected scenes from any of the play is useful to and for
teachers-in-training. A puppet appears in Bartholomew Fair, so employment of that work
for this presentation would be appropriate.
A presentation on Renaissance art would be useful to and for teachers-in-training:
Michaelangelo and Leonardo were painting in Italy, along with others. Great with slides and
handouts; as a topic, this one is very straightforward, not tricky to handle.
As well, ten- to twelve- minute presentations during the semester are always
possible; see the professor to get on the calendar.
PARTICIPATION:
Participation incorporates attendance, play enactments, daily preparation, position
papers, daily cluster participation, and office consultations. Short presentations offer
extra credit and participation.
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SYLLABUS DRAFT: (THE SYLLABUS CAN CHANGE FOR CAUSE. A STUDENT WHO IS
ABSENT HAS THE RESPONSIBILITY FOR ASCERTAINING ANY SYLLABUS CHANGES.) The reading
assigned is due on the date where it appears. Only the first page is given, but the entire piece must be read.
STUDY THIS SYLLABUS DRAFT FOR SUGGESTIONS, REVISIONS,
CORRECTIONS IN CLASS. "FINAL SYLLABUS" FOR
DISTRIBUTION NEXT TUESDAY, SO GET IN YOUR COMMENTS
ON THIS DRAFT *BY DEADLINE SUNDAY, 9/7, 5:00 PM*.
WEEK ONE
Course Description, Syllabus, Informational Writing, and Introduction. For next Tuesday, read
"Introduction": in the Anthology.
WEEK TWO
• Introduction with overheads. Historical connections. From this point, the literature will begin
r with the very early 15* century. Handout and reference to Gorboduc, the early English 16th
century play; Castiglione, The Courtier, Short Selections from the political critic, Machiavelli,
The Prince.
• Poetry handouts and introduction. Sir Philip Sidney, "Astrophil and Stella" 1, 2, 5,
47,53 (917). Thomas Wyatt, "They Flee from me" (529) WEEK
THREE
• Sidney continues as the medium for reviewing/learning poetry scansion.
• Theatre history with Miracle and Mystery plays, the stages, pageant wagons, guilds and
the theatre.
WEEK FOUR
• London Theatres, handouts, overheads. Good for short or long presentation. See
professor.
• Ben Jonson, Bartholomew Fair. Read entire short play before this first class on the work.
WEEK FIVE
• Ben Jonson, Bartholomew Fair
• Ben Jonson, Bartholomew Fair. Selected Jonson poetry. Outside work on Jonson web
page.
WEEK SIX
• Ben Jonson, Poetry and Q & A Midterm discussion.
• Midterm 10/2/03. Option use of computer lab for test.
WEEK SEVEN
• Christopher Marlowe, "The Passionate Shepherd to his Love," Andrew Marvell "The Garden,"
"To His Coy Mistress,"
• Online work on following web pages: Spencer's Shepherd's Calendar and "Penhurst." WEEK
EIGHT
• John Marston, Dutch Courtesan Handouts for the mature reader
• John Marston, Dutch Courtesan Handouts for the mature reader WEEK
NINE
• John Marston, Dutch Courtesan
• John Donne early (1592) Manuscript Poetry. "Elegy 16," "The Ecstasy," "The Sun Rising,"
"Valediction Forbidding Mourning," Handout, "A 16th Century Marriage Manual." WEEK TEN
• Meet as a class then break for individual assigns on Marston, Donne. Interlude Work on Term
Paper Topic: Exploring online possibles and work in library stacks.
• Handouts on Lear. Two Major Presentation Slots on Shakespeare or Lear. (A few
possibles? Shakespeare's actors, including boy actors. Theatrical history on directors, the stage
construction, with online of the new Globe. History of the play? Film adaptations, both Hollywood
and London? Recent criticism covers great women parts and study of family dysfunction.) WEEK
ELEVEN
• Shakespeare, King Lear
• Shakespeare, King Lear
WEEK TWELVE
• Shakespeare, King Lear
• Video, King Lear First Half in class; second half independently and do a position paper.
WEEK THIRTEEN
• George Herbert Religious Poetry: "The Collar," "The Pulley" "The Altar"; Puritan
poetry, handouts
WEEK FOURTEEN
• Three Major Presentation Slots
• USA THANKSGIVING
WEEK FIFTEEN
• Shakespeare, Twelfth Night
• Shakespeare, Twelfth Night
WEEK SIXTEEN
• Shakespeare, Twelfth Night
• Q & A Final Exam. Video Selections Twelfth Night. Finish outside class and do a
position paper
WEEK SEVENTEEN FINAL EXAM WEEK