ellauri042.html on line 885: Devotions upon Emergent Occasions, or in full Devotions Upon Emergent Occasions, and severall steps in my Sicknes, is a prose work by the English metaphysical poet and cleric in the Church of England John Donne (22 January 1572 - 31 March 1631) , published in 1624. It covers death, rebirth and the Elizabethan concept of sickness as a French visit from God, reflecting internal sinfulness. The Devotions were written in December 1623 as Donne recovered from a serious but unknown illness – believed to be relapsing fever or typhus. Having come close to death, he described the illness he had suffered from and his thoughts throughout his recovery with "near super-human speed and concentration". Registered by 9 January, and published soon after, the Devotions is one of only seven works attributed to Donne which were printed during his lifetime.
ellauri042.html on line 943: Donne's style is characterised by abrupt openings and various paradoxes, ironies and dislocations. These features, along with his frequent dramatic or everyday speech rhythms, his tense syntax and his tough eloquence, were both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. His early career was marked by poetry that bore immense knowledge of English society. Another important theme in Donne´s poetry is the idea of true religion, something that he spent much time considering and about which he often theorised. He wrote secular poems as well as erotic and love poems. He is particularly famous for his mastery of metaphysical conceits.
ellauri323.html on line 121: Yet, though a Greek would have railed at her asymmetry, and an Elizabethan have called her “gipsy,” Miss Dobson now, in the midst of the Edwardian Era, was the toast of two hemispheres.
ellauri374.html on line 206: Karkea musiikkikulkueet ovat hyvin todistettuja keskiajalla rangaistuksina oletetun sukupuolinormien rikkomisesta. Miehet, jotka olivat antaneet äkillisten vaimojensa dominoida itseään, joutuivat todennäköisesti kohteen kohteeksi, ja Somersetin Elizabethanin kartanon Montecute Housen friisi kuvaa juuri tällaista tapahtumaa. Kuitenkin 1800-luvulla käytäntö näyttää olevan jossain määrin keskittynyt uudelleen; kun alkuaikoina karkeaa musiikkia käytettiin usein miehiä vastaan, jotka eivät olleet onnistuneet puolustamaan auktoriteettiaan vaimoilleen, kun taas 1800-luvun lopulla se kohdistui enimmäkseen miehiin, jotka olivat ylittäneet auktoriteettinsa lyömällä heitä.
ellauri386.html on line 385: Raleigh's poem is a departure from the more idealized and romantic treatments of love that were common in Elizabethan poetry. It reflects the growing skepticism and disillusionment with love that began to emerge during the Renaissance. It also foreshadows the more cynical and satirical treatments of love that would become prevalent in the following century. Lizzy loved it until she found out that Walt was actually thinking of the servant.
ellauri386.html on line 404: Historically, the poem reflects the Elizabethan fascination with theatrical imagery and the influence of the stage on literature. It draws parallels between the structure of a play and the trajectory of human life, highlighting the ephemeral nature of both.
xxx/ellauri059.html on line 401: In the way Shakespeare ends the play he shows how deeply-rooted anti-Semitism was in his time. A Twenty-first century audience will feel sorry for Shylock but an Elizabethan audience would probably have cheered.
xxx/ellauri128.html on line 143: Though his reputation has declined since, Fletcher remains an important transitional figure between the Elizabethan popular tradition and the popular drama of the Restoration.
xxx/ellauri410.html on line 180: In mock seriousness, Eliot frames the seventeen Notebook stanzas (mostly octavos) as Elizabethan drama. They begin, “Let a tucket be sounded on the hautboys. Enter the king and queen.” Then commence the obscenities. In Spain, Columbo is treated for syphilis by a “bastard jew named Benny” when he “filled Columbo’s prick / with Muriatic Acid” (IMH 315, 149). Later Columbo seeks help from the ship’s physician concerning another symptom of syphilis. “ ‘It’s this way, doc’ he said said he / I just cant stop a-pissin [sic]” (Letters I 231). Columbo and his mariners of song are well-known for their whoring. “One Sunday evening after tea / They went to storm a whore house,” and from a “seventh story window,” “bitched” Columbo with a “pisspot” (IMH 315). Ed Madden says that Columbo and sailors may have had pumps of argyrol and muriatic acid [dilute hydrochloric acid] “rammed up their penises” to treat their syphilis (151). When they set sail for America, “Queen Isabella was aboard / That famous Spanish whore.” With only Queen Isabella aboard and a boy named Orlandino, the horny crew have to make do until they reach land (IMH 315). In Cuba, they encounter King Bolo and his thirty-three “swarthy” bodyguards. They “were called the Jersey Lilies / a wild and hardy set of blacks” and like Columbo, are “undaunted by syphilis” (IMH 316). Madden calls them “the phallically well-endowed bodyguards of King Bolo,” but “swarthy,” “wild,” and “hardy” does not mean “well-endowed.” Columbo is. There are many reversals in these verses: Columbo is equipped with his prodigious bolo, and neither the New World nor the Old World gave the other syphilis. They both had it.
xxx/ellauri410.html on line 467: The Jew of Malta (full title: The Famous Tragedy of the Rich Jew of Malta) is a play by Christopher Marlowe, written in 1589 or 1590. The plot primarily revolves around a Maltese Jewish merchant named Barabas. The original story combines religious conflict, intrigue, and revenge, set against a backdrop of the struggle for supremacy between Spain and the Ottoman Empire in the Mediterranean that takes place on the island of Malta. There has been extensive debate about the play's portrayal of Jews and how Elizabethan audiences would have viewed it.
xxx/ellauri436.html on line 259: Owen invited her to his office, served sherry, spoke about life’s sadness, recited Auden, and reached over to touch her breasts... I mean, really, what declassé behavior! Who grabs boobies while reciting that old fairy Auden? There's some great Elizabethan lyric poetry tailor-made for ye aged lecher who wishes to coppeth a feel. The most important human sex organ is the mind.
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