Only Connect... New Directions - Vol. B - Scuolabook

Marina Spiazzi Marina Tavella

B

Only Connect... New Directions Terza edizione

The Renaissance and the Puritan Age

LINGUE




B

Copyright © 2009 Zanichelli editore S.p.A., Bologna [6661] www.zanichelli.it I diritti di elaborazione in qualsiasi forma o opera, di memorizzazione anche digitale su supporti di qualsiasi tipo (inclusi magnetici e ottici), di riproduzione e di adattamento totale o parziale con qualsiasi mezzo (compresi i microfilm e le copie fotostatiche), i diritti di noleggio, di prestito e di traduzione sono riservati per tutti i paesi. L’acquisto della presente copia dell’opera non implica il trasferimento dei suddetti diritti né li esaurisce. Le fotocopie per uso personale (cioè privato e individuale, con esclusione quindi di strumenti di uso collettivo) possono essere effettuate, nei limiti del 15% di ciascun volume, dietro pagamento alla S.I.A.E del compenso previsto dall’art. 68, commi 4 e 5, della legge 22 aprile 1941 n. 633. Tali fotocopie possono essere effettuate negli esercizi commerciali convenzionati S.I.A.E. o con altre modalità indicate da S.I.A.E. Per le riproduzioni ad uso non personale (ad esempio: professionale, economico, commerciale, strumenti di studio collettivi, come dispense e simili) l’editore potrà concedere a pagamento l’autorizzazione a riprodurre un numero di pagine non superiore al 15% delle pagine del presente volume. Le richieste per tale tipo di riproduzione vanno inoltrate a Associazione Italiana per i Diritti di Riproduzione delle Opere dell’ingegno (AIDRO) Corso di Porta Romana, n. 108 20122 Milano e-mail [email protected] e sito web www.aidro.org L’editore, per quanto di propria spettanza, considera rare le opere fuori del proprio catalogo editoriale, consultabile al sito www.zanichelli.it/f_catalog.html. La fotocopia dei soli esemplari esistenti nelle biblioteche di tali opere è consentita, oltre il limite del 15%, non essendo concorrenziale all’opera. Non possono considerarsi rare le opere di cui esiste, nel catalogo dell’editore, una successiva edizione, le opere presenti in cataloghi di altri editori o le opere antologiche. Nei contratti di cessione è esclusa, per biblioteche, istituti di istruzione, musei ed archivi, la facoltà di cui all’art. 71 - ter legge diritto d’autore. Maggiori informazioni sul nostro sito: www.zanichelli.it/fotocopie/

La strutturazione e l’organizzazione generale dell’opera sono frutto di un lavoro di ricerca e di riflessione comune, del quale le autrici si assumono congiuntamente la responsabilità scientifica e didattica. La stesura dei testi è stata curata come segue: – Marina Spiazzi: Beowulf, The Elizabethan sonneteers, C. Marlowe, Romeo and Juliet, Othello, J. Milton. – Marina Tavella: Shakespeare’s sonnets, The Merchant of Venice, Hamlet, Macbeth, The Tempest, J. Donne. Le autrici ringraziano il Prof. Vittorio Pesce per i preziosi suggerimenti sulla scelta dei testi. Realizzazione editoriale: – Redazione: Sara Chiappara – Progetto grafico e impaginazione: Dario e Fabio Zannier – Ricerca iconografica: Orsola Mattioli – Indice analitico: Sara Chiappara – Correzione bozze: Catherine Vaughan Dawson Contributi: – Christine Jones ha curato la revisione della sezione The Historical and Social Context Copertina: – Progetto grafico: Miguel Sal & C., Bologna – Immagini di copertina: Artwork Miguel Sal & C., Bologna Prima edizione: 1997 Seconda edizione: 2000 Terza edizione: marzo 2009

L’impegno a mantenere invariato il contenuto di questo volume per un quinquennio (art. 5 legge n. 169/2008) è comunicato nel catalogo Zanichelli, disponibile anche online sul sito www.zanichelli.it, ai sensi del DM 41 dell’8 aprile 2009, All. 1/B. File per diversamente abili L’editore mette a disposizione degli studenti non vedenti, ipovedenti, disabili motori o con disturbi specifici di apprendimento i file pdf in cui sono memorizzate le pagine di questo libro. Il formato del file permette l’ingrandimento dei caratteri del testo e la lettura mediante software screen reader. Le informazioni su come ottenere i file sono sul sito www.zanichelli.it/diversamenteabili Suggerimenti e segnalazione degli errori Realizzare un libro è un’operazione complessa, che richiede numerosi controlli: sul testo, sulle immagini e sulle relazioni che si stabiliscono tra essi. L’esperienza suggerisce che è praticamente impossibile pubblicare un libro privo di errori. Saremo quindi grati ai lettori che vorranno segnalarceli. Per segnalazioni o suggerimenti relativi a questo libro scrivere al seguente indirizzo: [email protected] Zanichelli editore S.p.A. opera con sistema qualità certificato CertiCarGraf n. 477 secondo la norma UNI EN ISO 9001:2008




LINGUE

B

3

The Renaissance Introduction

The Tudors and the Stuarts ; Key points

B2 B3

The Historical and Social Context 3.1 The Tudor dynasty 3.2 The Reformation

B4 B6

Dossier B8

The myth of Elizabeth I The Historical and Social Context 3.3 The beginning of the Stuart dynasty 3.4 Tudor and early Stuart society

B10 B11

The World Picture 3.5 The chain of being

B12

The Literary Context 3.6 New Learning 3.7 Renaissance prose ( 3.8 The sonnet

Route 2)

Poetry 4: Rhythm and scale of consonant sounds 3.9 The development of drama 3.10 The world of theatre Drama 1: Drama as a literary genre Drama 2: The features of a dramatic text

IV

Authors and texts 3.11 The Elizabethan sonneteers (

Text bank 11-12)

Critic’s corner t12 Loving in truth t13 Coming to kiss her lips 3.12 William Shakespeare ( Text bank 13-16) t14 Shall I compare thee t15 Like as the waves t16 Tis better to be vile than vile esteemed t17 My mistress’ eyes 3.13 Christopher Marlowe Critic’s corner t18 Faustus’s last monologue 3.14 Shakespeare the dramatist ( Text bank 17-23) Romeo and Juliet Critic’s corner t19 The Prologue t20 The Great Ball t21 The Balcony Scene t22 With a kiss I die The Merchant of Venice Critic’s corner t23 The Bond t24 I am a Jew Hamlet ( Route 3) Critic’s corner t25 Hamlet meets the Ghost t26 To be or not to be t27 Ha! Have you eyes?

B14 B15 B16 B18 B20 B21 B23 B25 B27 B28 B29 B30 B31 B33 B34 B35 B36 B37 B39 B40 B42 B45 B47 B48 B49 B50 B53 B55 B58 B59 B61 B64 B66 B67 B70 B71

Spiazzi, Tavella ONLY CONNECT... NEW DIRECTIONS - Vol.B © Zanichelli 2013 Terza edizione - The Renaissance and the Puritan Age

Othello Critic’s corner t28 The Moor’s spell t29 Iago’s jealousy t30 Othello decides to kill Desdemona t31 Eros and Thanatos Macbeth Critic’s corner t32 The three Witches t33 Duncan’s murder t34 The exchange of roles t35 A tale told by an idiot The Tempest Critic’s corner t36 Prospero and Ariel t37 Prospero and Caliban t38 Prospero renounces his magic powers

B74 B76 B77 B79 B80 B82 B84 B86 B87 B88 B91 B92 B94 B96 B97 B100 B102

A Modern Perspective B103

The Church that made the Nation

4

The Puritan Age Introduction

The Civil War ; Key points

B108 B109

The Historical and Social Context 4.1 Charles I’s reign 4.2 The Civil War and the Commonwealth

B110 B111

The World Picture 4.3 The Puritan mind

B112

Dossier B114

The Puritans and society The Literary Context 4.4 From celebration to introspection (

Route 4)

Non fiction 1: Non-fiction as a literary genre 4.5 Metaphysical poetry Authors and texts 4.6 John Donne (

Text bank 24-26)

Critic’s corner t39 Batter my heart t40 A Valediction: Forbidding Mourning 4.7 John Milton ( Text bank 27) t41 The Freedom of Press Paradise Lost Critic’s corner t42 Satan’s Speech t43 The Just-Created Adam

B116 B117 B118 B120 B122 B123 B124 B126 B127 B128 B130 B131 B133

A Modern Perspective

Living here and now

B134


V

Index

A Aeneid: B128 Areopagitica (J. Milton): B126 Aeschylus: B23 Alighieri, Dante: B129, B132 All’s Well that Ends Well (W. Shakespeare): B43 L’Allegro (J. Milton): B126 Amores (Ovidio): B40 Amoretti (E. Spenser): B27, B28, t12 Antony and Cleopatra (W. Shakespeare): B43, B55 Apuleius: B46 Aquinas, Thomas: B112 Archibald: B2 As You Like It (W. Shakespeare): B43 Astrophil and Stella (P. Sidney): B27, B29 Auden, W.H.: B58 B Bacon, Francis: B14, B38, B103 Batter my heart (J. Donne): B123, t39 Belleforest, François de: B64 Beowulf (Anonymous): B128 Berlioz, Hector: B41 Bible: B3, B7, B8, B10, B15, B103, B105, B109, B112, B114, B128, B136

VI

The Book of Common Prayer (T. Cranmer): B7 Bird, Philip: B57 Boleyn, Ann: B2 Boyle, Elizabeth: B27 Branagh, Kenneth: B26 Brandon, Charles: B2 Brandon, Frances: B2 Burbage, James: B21 Burge, Stuart: B76, B80 Burton, Richard: B26 C Calvin, John: B6, B110, B112, B113 Canaletto: B74 Canzoniere (F. Petrarca): B16 Carlson, Ben: B26 Catherine of Aragon: B2 Catullus: B116 Cavendish, Elizabeth: B2 Cecil, William: B9 Chronicles of England, Scotland and Ireland (R. Holinshed): B84 Claeissens, Antoon: B109 The Comedy of Errors (W. Shakespeare): B43 Coggan, Donald: B103 Colet, John: B3 Collins, Lynn: B56 Comus (J. Milton): B126 Copernicus, Nicolaus: B2, B12 Coriolanus (W. Shakespeare): B43 Cranach, The Eldest: B130 Cranmer, Thomas: B7 Crashaw, Richard: vB116 Cromwell, Oliver: B109, B111, B126 Cymbeline (W. Shakespeare): B43 D Danes, Claire: B47 Darnley, Lord: B2 De Guise, Marie: B2 De Luca, Gianni: B44 Dench, Judy: B50 De Philosophia Occulta (T. Paracelsus): B12 Devotions upon Emergent Occasions (J. Donne): B134 Di Caprio, Leonardo: B47 Dido, Queen of Carthage (C. Marlowe): B37 Dillon, Hannette: B47 Divine Poems (J. Donne): B121 Dobson, William: B115

Doctor Faustus (C. Marlowe): B37; B38, B39, B40 Donne, John: B14, B17, B116, B118, B119, B120, B121,

B122, B123, t39, B124, t40, B125, t41, B134, B135, B136

Dorè, Gustave: B131 Douglas, Margaret: B2 Dover, Cristina: B134 Dover, Wilson, J.: B114 Drake, Francis: B4 E Edward II (C. Marlowe): B37 Edward VI: B2, B4, B7 Egerton, Thomas: B120 Eliot, Thomas Stearns: B118, B122 Elizabeth I: B2, B3, B5, B7, B8, B9, B16, B26 Elizabeth of York: B2 Emerson, Ralph Waldo: B135, B136 Erasmus of Rotterdam: B2, B3, B14 Euphues (J. Lyly): B15 Euripides: B23 Everyman (Anonymous): B38 F The Faerie Queene (E. Spenser): B27 Faust’s damnation (H. Berlioz): B42 Fawkes, Guy: B10 Feuerbach, Anselm: B51 Fiennes, Joseph: B56 Fraiport, George: B41 Freund, Gisele: B122 Fuseli, Henry: B42, B54, B69, B84, B86, B87, B89 G Geraldi Cinzio, Giovan Battista: B74 Greene, Robert: B15 Grey, Catherine: B2 Grey, Henry: B2 Grey, Jane: B2 Grey, Mary: B2 H Hamlet (W. Shakespeare): B18, B21, B26, B43, B64, B65,

B66, B67-69, t25, B70, t26, B71-73, t27, B76, B83, B87, B99

Hamlet (F. Zeffirelli): B50, B53 Heath, James: B88 Henry IV (W. Shakespeare): B43 Henry V (W. Shakespeare): B43 Henry VII: B2 Henry VIII: B2 Henry VIII (W. Shakespeare): B43 Heraclitus: B136 Herrick, Robert: B116 Histoires tragiques (F. de Belleforest): B64 Holbein, Hans: B5 Holy Sonnets (J. Donne): B121, B123 Horace: B116 Hussey, Olivia: B53 I Iliad (Homer): B128 Isocrates: B126 J James IV: B2 James V: B2 James VI: B2 Jasper, Just: B134 The Jew of Malta (C. Marlowe): B37, B56 Jones, Inigo: B107 Jonson, Ben: B116 Julius Caesar (W. Shakespeare): B43 K Kean, Edmund: B66 King James Bible: B2, B10, B15 King John (W. Shakespeare): B43


King Lear (W. Shakespeare): B43 Kingsley, Ben: B26 Kleinsmith, Dennis: B98 Koller, Wilhelm: B124 Kyd, Thomas: B20, B64, B65 L Larson, John: B39 Laud, William: B110 Love’s Labour’s Lost (W. Shakespeare): B43 Lopez Roderigo: B58 Lovelace, Richard: B116 Louis XII of France: B2 Luhrman, Baz: B47, B52 Luther, Martin: B2, B6, B7 Lycidas (J. Milton): B126 Lyly, John: B15 M Macbeth (W. Shakespeare): B18, B25, B28, B43, B84, B85, B86, B87, B88, B89, B90, t33, B91, B92, t34, t35, B99

Machiavelli, Niccolò: B20 Marlowe, Christopher: B14, B37-B39, B40-B41, t18, B56, B103

Marvell, Andrew: B116, B122 Mary Tudor: B2 Mary Queen of Scots: B2 Mc Kellen, Ian: B26 Measure for Measure (W. Shakespeare): B43 The Merchant of Venice (W. Shakespeare): B43 The Merry Wives of Windsor (W. Shakespeare): B43 Metsys, Quentin: B3 A Midsummer Night’s Dream (W. Shakespeare): B25, B43, B92, B99

Milton, John: B17, B116, B127, B28-B129, B130, B131-133, t42, B133, t43

More, Thomas: B3, B15 Much Ado About Nothing (W. Shakespeare): B43 N Nashe, Thomas: B15 Noble, Adrian: B26 O Odyssey (Homer): B128 Olivier, Laurence: B70, B76, B80 On the Revolutions of the Celestial Spheres (Copernicus): B2 Othello (W. Shakespeare): B43, B74-75, B76, B77-78, t28, B79-80, t29, B80-81, t30, B81-83, t31

O’ Toole, Peter: B26 P Pacino, Al: B63 Paracelsus, Theofrast: B12 Paradise Lost (J. Milton): B126, B128-129, B130, B131, t42, B133, t43

Paradise Regained (J. Milton): B126 Pelagius: B112 Il Penseroso (J. Milton): B126 Pericles (W. Shakespeare): B43 Petrarca, Francesco: B16, B28 Pitagora: B41 Pitsch, Don: B98 Poussin, Nicolas: B113 Powell, Mary: B126 The Puritan Attack upon the Stage (J. Dover Wilson): B114 R Radford, Michael: B55, B56 Raleigh, Walter: B3 Rembrandt, Harmenszoon van Rijn: B109, B112 Richard II (W. Shakespeare): B43 Richard III (W. Shakespeare): B5, B43 Romeo and Juliet (W. Shakespeare): B43, B45-46, B47, B48-B54, t19, t20, t21, t22, B54

Romeo and Juliet (F. Zeffirelli): B71 Romeo + Juliet (B. Luhrmann): B70 Rubens, Pieter Paul: B110 S Sabatelli, Giuseppe: B82 Samson Agonistes (J. Milton): B126 Sanders, Wilbur: B121 Satires (J. Donne): B120 Scagliarini, Menotti: B82 Seneca: B20, B64 Sermons (J. Donne): B120 Seymour, Edward: B2 Seymour, Jane: B2 Seymour, Thomas: B2 Shakespeare, William: B4, B10, B11, B14, B16, B17, B18, B19, B22, B23, B24, B25, B26, b27, B28, B29, B31, B32, B33, B34, t15, B35, t16, B36, B37, B38, B42-B44, B46, B47, B48, t19, B50, t20, t21, B52, B53, t22, B55, B56, B58, B59, t23, B61, t24, B64, B65, B66, B67, t25, B70, B71, t26, t27, B73, B74-75, B76, B77, t28, B79, t29, B80, t30, B81, B82, t31, B83, B84, B85, B86, B87, t32, B88, t33, B89, t34, B90, B91, t35, B92, B93, B94, B95, B97, t36, B99, B100 t37, B101, B102, t38, B103, B116 The Shepheard’s Calendar (E. Spenser): B27 Simotes, Tony: B81 Smith, Maggie: B76 Sydney, Philip: B27, B28 Songs and Sonnets (J. Donne): B121, B124, t40 The Sonnets (T. Wyatt): B16, B17, B27 Sonnets (W. Shakespeare): B19, B31, B32, t14, t15, t16, t17 Sophocles: B23 The Spanish Tragedy (T. Kyd): B20 Spenser, Edmund: B27, B28, B30, t13 Stewart, Matthew: B2 Stride, John: B50 Stuart, Arbella: B2 Stuart, Charles: B2 Stuart, Henry: B2

Suckling, John: vB116 Summa teologiae (T. Aquinas): B112 T Tadema, Alma: B34 The Taming of the Shrew (W. Shakespeare): B43 The Tempest (W. Shakespeare): B43, B94-95, B96, B97, t36, B100, t37, B102, t38

Timon of Athens (W. Shakespeare): B24, B43 Titus Andronicus (W. Shakespeare): B43 The Tragical History of Doctor John Faustus (C. Marlowe): B37 Tramper, John: B3 Trevelyan, G.M.: B103 Troylus and Cressida (W. Shakespeare): B43 The Twelfth Night (W. Shakespeare): B43 The Two Gentlemen of Verona (W. Shakespeare): B43 Thorpe, Thomas: B32 Tyndale, William: B15 U Utopia (T. More): B2 V Van Dyck, Antony: B110 Virgil: B58 Von Aachen, Hans: B30 W Walker, Anthony: B49 Walker, Robert: B111 Waller, Edmund: B116 Whiting, Leonard: B53 The Winter’s Tale (W. Shakespeare): B43 Wyatt, Thomas: B16, B17, B27 Z Zeffirelli, Franco: B50, B53


VII

Acknowledgements

Illustrations

VIII

3. The Renaissance B1: Matthew Collingwood/Shutterstock. B2 (timeline): New York, Frick Collection. (map): London, National Portrait Gallery; Roma, Galleria Nazionale d’Arte Antica; Edinburgh, Scottish National Portrait Gallery; Royal Collection, Her Majesty the Queen. B3 (timeline): London, National Portrait Gallery. (keypoints): London, National Portrait Gallery; Mary Evans Picture Library. B5: London, National Portrait Gallery; Toledo (Ohio) Museum of Art; Wien, Kunsthistorisches Museum. B6: London, National Portrait Gallery. B7: Berlin, Archive for Kunst und Geschichte. B8: London, National Portrait Gallery. B11: Tony Whittaker/National Trust; John Bethell/National Trust. B14: Darren Pierse Kelly/Shutterstock. B15: Paris, Bibliotèque National de France. B17: London, National Gallery. B21: Edinburgh University Library. B23: Lance Bellers/Shutterstock. B30: Bridgeman Art Library/Alinari. B37: Getty Images. B38: Foto M. Quattrone 1990. B41: Bridgeman Art Library/Alinari. B44: Gianni De Luca, Shakespeare a fumetti – Amleto, 1986, Edizioni Paoline. B47: Bridgeman Art Library/Alinari. B71, B78: Sony Pictures Imageworks. B82: Foto Scala, Firenze (Scala Archives, Florence). B89: Kevin Sprague. B90: Antonio Faeti. Paola Pallottino, L’illustrazione nel romanzo popolare. Tavole originali della Collezione Rava 1907-1938, Umberto Allemandi &C. Editore, 1988. B104: 5. Getty Images. B105: Iain McGillivray/Shutterstock.

4. The Puritan Age B107: Matthew Gough/Shutterstock. B108: Buckingham Palace, Royal Collection; Los Angeles, University of California, Courtesy Louise M. Darling Biomedical Library; Bridgeman Art Library/Alinari; London, British Library. D3: Amiens, Musèe de Picardie; Bridgeman Art Library/Alinari (Montclair Art Museum, New Jersey, USA); Bridgeman Art Library/Alinari; Bridgeman Art Library/Alinari (Museum of London). Hope Alexis Milam/ Shutterstock. B113: Bridgeman Art Library/Alinari. B114: Bridgeman Art Library/Alinari. B116: Bridgeman Art Library/Alinari. B122: Gisele Freund Photographs 1993. B124: Bridgeman Art Library/Alinari. B125: Bridgeman Art Library/Alinari. B126: Bridgeman Art Library/Alinari. B135: Copenhagen, Gallery Christina Wilson. B137: Jim Lozouski/Shutterstock.

Texts

Universale Rizzoli, Milano 1981. t28, t29, t30, t31: W. Shakespeare, Othello, Penguin Books, London, 1978. t32, t33, t34, t35: W. Shakespeare, Macbeth, Biblioteca Universale Rizzoli, Milano 1981. t36, t37, t38: W. Shakespeare, The Complete Works, ed. by P. Alexander, Collins, London 1951.

3. The Renaissance t12, t13: Hollander and Kermode, The Oxford Anthology of English Literature, Oxford University Press, London, 1972. t14, t15, t16, t17: The Arden Edition of Works of William Shakespeare, Routledge, London and New York, 1988. t18: C. Marlowe, The Complete Plays, Penguin Books, London, 1975. t19, t20, t21, t22, t23, t24: W. Shakespeare, The Complete Works, ed. by P. Alexander, Collins, London 1951. t25, t26, t27: W. Shakespeare, Amleto, Biblioteca

4. The Puritan Age t39, t40: J. Winny, Introduction to Donne, Longman, London. t41, t42, t43: J. Milton, Paradise Lost and Regained, Signet Classic, USA, 1968.


The Renaissance

The Historical Social Context

1066-1154

1485-1625

3

The Norman conquest 3 1 and feudalism

The Renaissance

B1

T Longleat House is an Elizabethan country house in Somerset. It is noted for its maze, landscaped parkland and safari park. It was the first stately home to open to the public.


Introduction

The Tudors and the Stuarts

1485-1625

TIMELINE 1485 Henry VII marries Elizabeth of York and ends the Wars of the Roses

Henry VII – Elizabeth of York 1485–1509

1509 Henry VIII becomes King of England and marries Catherine of Aragon 1510-13 Erasmus of Rotterdam teaches at Oxford and Cambridge universities

James IV – Margaret of Scotland Tudor

–

Archibald 6th Earl of Angus

Elizabeth I

Henry VIII 1509–1547 Louis XII – Mary of France

–

The Tudor Rose

Charles Brandon

The Renaissance

Duke of Suffolk

B2

1516 Thomas More’s Utopia published 1516 Mary Tudor born to Catherine of Aragon 1517 Martin Luther’s Articles begins the Reformation

Lady Margaret Douglas

James V of Scotland

– Mathew Stewart

– Marie de Guise

Earl of Lennox

– Catherine of Aragon

– Anne Boleyn

– Jane Seymour Lady Frances – Henry Grey Duke of Suffolk Brandon

Mary Tudor b.1516 1553–1558 – Henry Stuart Lord Charles Stuart Mary Earl of Lennox Queen of Scots Lord Darnley b.1542–d.1587 – Elizabeth Cavendish b. of Bess of Hardwick Countess of Shrewsbury

Elizabeth I b.1533 1558–1603

Edward VI b.1537 1547–1553

Lady Jane Grey Lady Catherine Grey executed 1554 – Edward Seymour

Lady Mary Grey – Thomas Keys

Earl of Hertford

James VI of Scotland I of England 1603-1625

Arbella Stuart

Edward Seymour

Thomas Seymour

1534 Act of Supremacy: Henry VIII divorces Catherine of Aragon and marries Ann Boleyn 1536 Copernicus’ theory On the Revolutions of the Celestial Spheres becomes known

1549 Act of Uniformity enforces use of the English Prayer Book

Henry VII

Henry VIII

James IV of Scotland

James V of Scotland

James VI of Scotland I of England

Mary Queen of Scots

Mary Tudor

Edward VI


Key points ; • This was a period of great change. Humanist thought triumphed over medieval scholasticism. The physical extent of the known world was expanded by voyages of discovery. The breaking down of the Christian church into Protestant and Catholic radically changed personal and public life (; 3.2, 3.3). Changes in population and trade altered economic relationships. In the face of this dynamic change, there was a search for order. • England was profoundly influenced by northern European humanism. This New Learning was spread by Erasmus of Rotterdam and his English disciples, Thomas More and John Colet (; 3.6). Scholars studied the classical texts in the original language to cultivate fine literature and ideas. Humanist educators wished to make their students literate in Latin and Greek, so that they could read theology for their faith and the classics as guides to public life.

1558 Elizabeth I, daughter of Henry VIII and Ann Boleyn, becomes Queen 1568 Mary Queen of Scots flees Protestant Scotland, leaving behind her 2-year-old son, James 1584 Queen Elizabeth gives Sir Walter Raleigh permission to set up the American colony of Virginia

The Renaissance

1588 The Spanish Armada defeated 1605 The Gunpowder Plot

• Grammar schools were set up to educate boys in towns (; 3.2). Printers and booksellers became more numerous. Such literary study also served to enrich and elevate the English language. • The population and the price of food increased in 16th-century England. There was mobility, whether because of poverty or religious persecution. The merchant fleet and navy, set up to defend England, expanded trade beyond northern Europe across the Atlantic to the Spanish dominions (; 3.1).

X A 18th-century illustration depicting slavehood.

1611 Publication of King James’s Bible

1620 The Pilgrim Fathers land in America

X Erasmus of Rotterdam in a portrait by Quentin Metsys.


B3

The Historical and Social Context

3 1 The Tudor dynasty

The Renaissance

Henry Tudor defeated the last Yorkist, Richard III, in the Wars of the Roses and became King Henry VII in 1485. He was not a member of the royal family, so he needed to justify his new dynasty. Propaganda was written to support the Tudors. Shakespeare’s play Richard III is a good example, making the Tudors look noble and the old royals look wicked. This dynasty lasted only three generations, so all the Tudor monarchs were concerned with legitimacy and security. Any rival to the throne had to be ruthlessly destroyed. Treason was searched out and punished mercilessly and publications censored. Henry VII restored the reputation of the monarch as one who rules, not merely reigns. He encouraged both trade, making advantageous commercial treaties, and the cloth industry. He also laid the foundations of English naval power by spending money on the building of ships so that England could have its own merchant fleet as well as increase its military strength. He sponsored the voyage from Bristol of John Cabot in 1497 which led to the discovery of The North American mainland.

B4

1485-1603

Henry VII was succeeded by his son, Henry VIII, in 1509. The first half of Henry VIII’s reign was that of a typical Renaissance Prince presiding over a cultured and splendid court. Henry himself was an accomplished musician and linguist. The second half of his reign was dominated by the Reformation (; 3.2). The dissolution of the monasteries brought great wealth to the crown, but much of it was dissipated by inflation and the expenditure of war. Henry VIII had six wives: from his first three marriages he looked for a male heir. His 4th was for religious politics; his 5th due to aristocratic ambitions and only his 6th brought domestic peace. On Henry’s death in 1547, his son, Edward, a scholarly, devout but sickly 9-year-old, became King as Edward VI before his older sisters. His uncle, Edward Seymour, became Lord Protector. The achievement of his reign was the Protestant Reformation (; 3.2). When his half sister and wife to the King of Spain Philip II, became Queen as Mary I in 1553, she was already middle-aged and determined to restore relations with Rome and Spain. Both her attempt to return the

build up your language Politics 1. Write the Italian equivalent for the following words. 1. dynasty

...................................................................................

2. legitimacy

...................................................................................

3. treason

...................................................................................

4. treaty

...................................................................................

5. dissolution

...................................................................................

6. heir

...................................................................................

7. court

...................................................................................

8. ruler

....................................................................................

9. government

...................................................................................

10. MP

...................................................................................


g White rose entwined with red when Elizabeth of York married the Lancastrian Henry Tudor (HEnry VII) in 1486.

d Catherine of Aragon, the first wife of Henry VIII.

d Anne Boleyn, the second wife of Henry VIII.

d Jane Seymour, the third wife of Henry VIII.

2. The key ideas of the text are highlighted. Use a wavy line to show the secondary ideas linked to the primary ones. 3. Why did all the Tudor monarchs need to give the impression of legitimacy? 4. Discuss Henry VII’s achievements to justify that he was a “monarch who rules, not merely reigns”. 5. This wall painting, representing Henry VII in the background and Henry VIII in the foreground, was commissioned by the latter to the painter Hans Holbein (ca. 1497-1543) to celebrate the Tudor dynasty. It was displayed in Whitehall Palace in 1537, and was destroyed in 1698 when the Palace burned down. This is a copy commissioned to Remiguis von Leemput by Charles II in 1667. 1. How are the two kings portrayed? What does Henry VIII’s posture suggest? 2. Which contrast/ analogy can you find between Henry VII and Henry VIII? 3. Do you think Henry VIII was satisfied with Holbein’s work?


The Renaissance

country to Catholicism and her marriage proved unpopular. Mary I earned the nickname “Bloody Mary” because of the number of Protestants that were burned for heresy during her reign. Elizabeth I succeeded her sister Mary in 1558 and became England’s most popular ruler. Her main achievement was the settlement of the religious question. Catholics considered her illegitimate and preferred Mary Queen of Scots, who became a focus of rebellions. Elizabeth’s spies always found them out. Elizabeth was well educated and cultured and her court was more brilliant than her father’s. With careful diplomacy, she balanced the rival powers of France and Spain, using her possible marriage as a weapon. Elizabeth avoided war for its expense, but, inevitably, there was war with Spain. The Spanish Armada was defeated by the weather and the superior design of the English ships. Trade expanded even further after this, enriching the merchants and towns. Meanwhile, explorations and overseas trade expanded, making England a commercial and seafaring power. Increasingly, English sea-captains like Drake (ca. 1541-96), Raleigh (1552-1618), Hawkins (1532-95) were engaged in piracy, secretly encouraged by the Queen, who took a share of the profits. Parliament had increased its role in the government because of the laws to create the Reformation. By Elizabeth’s reign, many MPs were more extreme Protestants who hoped to effect further changes. However, by the 1590s, Elizabeth avoided calling Parliament, paving the way for the struggle between Crown and Parliament under the Stuarts.

B5

The Historical and Social Context

3 2 The Reformation

The Renaissance

Y Illustration depicting the conflict between the Church and the reformed theologians (in black).

The prelude to the breach with Rome was the anti-clericalism of the late Middle Ages (; 2.4). Humanism encouraged confidence in the power of human reason, unintentionally subverting medieval dogma. The Protestant Reformation in Germany had begun with the doctrines of Martin Luther (1483-1546), and the French theologian John Calvin (1509-64) in Switzerland. Indeed, Henry VIII did not wish to transform England into a Protestant country; in 1521 he was honoured by the Pope with the title Fidei Defensor (Defender of the Faith) for the pamphlet he wrote against Luther.

build up your language Religion 1. Write the Italian equivalent for the following words.

B6

1. doctrine

.............................................................................................

2. theologian

.............................................................................................

3. Pope

.............................................................................................

4. to excommunicate

.............................................................................................

5. monk

.............................................................................................

6. friar

.............................................................................................

7. missal

.............................................................................................

8. the Bible

.............................................................................................

9. prayer

.............................................................................................

10. priesthood

.............................................................................................

2. Write down sentences about the Reformation containing the words from exercise 1. ........................................................................................................................................................ ........................................................................................................................................................ ........................................................................................................................................................ ........................................................................................................................................................ ........................................................................................................................................................ ........................................................................................................................................................ ........................................................................................................................................................ ........................................................................................................................................................

1509-1559

However, by 1530, his Queen, Catherine of Aragon, was too old to give him a son and Henry VIII needed a male heir. Catherine was his brother’s widow, so Henry VIII asked Pope Clement VII to declare this marriage invalid. Clement did not wish to offend Catherine’s nephew, the Emperor Charles V, so he refused. Henry’s new mistress, Ann Boleyn, was pregnant. The only way he could have a legitimate male heir was to marry her. To divorce and re-marry, Henry set up the Church of England (; Modern Perspective) and was excommunicated by the Pope. Henry declared himself “Supreme Head of the Church” in England, by means of the Act of Supremacy (1534). Sir Thomas More, who was the King’s Chancellor, was executed because of his opposition. The break from Rome was legitimised by Parliament which also suppressed orders of monks and friars and established the supremacy of the State over the Church even in spiritual matters. The King’s secretary Thomas Cromwell (1485-1540) dissolved the monasteries and seized their wealth. This destroyed centres of education, gave the King money to defend himself from attacks from the Catholic powers and allowed him to reward his supporters. Overnight, the monasteries became ruins and a new class of


T Martin Luther burns the Papal Bull “Exsurge Domine”..

The Renaissance

landowners arose. Archbishop Cranmer (1489-1556) persuaded Henry to strengthen the English Church by authorizing a new translation of the Bible. The new Anglican Church was born. Though independent, it remained faithful to the dogma of the faith of Rome. Ann Boleyn gave Henry another daughter, Elizabeth, and was executed. Finally, his third wife gave birth to a son, Edward, who succeeded his father. In his short reign, the Anglican Church became truly Protestant. The Act of Uniformity enforced the use of the English Book of Prayer instead of the Latin missal. The forms of worship and furnishings of the church became much simpler. The reading of the Bible became the central key to salvation. As a result, many grammar schools were set up at this time. Protestantism appealed to the middle classes. Without the hierarchy of the priesthood, they had responsibility for their own salvation through studying the Bible and a devout, hard-working life. Any worldly success was proof of their faith and seemed a just reward. Mary I tried to reverse 20 years of religious change by forcing people to attend mass again to accept the authority of the Pope over the Church of England. Elizabeth I’s Acts of Supremacy and Uniformity (1559) avoided the extremes of Catholic and Protestant. She was supreme “Governor” of the Church, not “Head”. Her Book of Common Prayer was written so that moderate Catholics and Protestants could both read into it what they wanted. She was lucky to live to reign for 45 years, so that her compromise settlement of the religious question had time to take root. Extreme Protestants, called Puritans, were not satisfied by Elizabeth’s religious compromise. Many of them were successful merchants and Members of Parliament, so had political and economic power, which they were to use in the next century.

B7 3. Match the changes in the church with the correct Tudor monarch. 1. Break with the Pope, same a. Mary I dogma as Rome 2. Break with Rome, middle b. Henry VIII road between Catholic and Protestant 3. Reconciliation with Rome c. Elizabeth I 4. Protestant dogma introduced d. Edward VI 4. Which of these statements do you agree with? Can you justify them? 1. Henry VIII was not a Protestant. 2. The Reformation was a political act. 3. Mary was unpopular because she was a Catholic. 4. Elizabeth was the least religious of the Tudor monarchs. 5. Explain the causes of the Reformation. 6. How did Henry VII, Edward VI, and Elizabeth I change the Church in England? 7. Can you explain why Protestantism is linked to increased literacy? 8. How did the power of Parliament grow because of the Reformation?


The Renaissance

Dossier The myth of Elizabeth I

Elizabeth I used various symbolic images to present herself to her subjects as the Virgin Queen. A symbolic bestiary was associated with the Queen. For example, the phoenix, an icon of virginity also symbolised her uniqueness, whereas the pelican stood for her devotion to her people. Elizabeth was portrayed holding the emblems of the microcosm and macrocosm, such as the globe of the earth or the heavens, and symbols of her majesty, like the olive branch of peace or the pillar of constancy.

The symbolism of power

Listening 1.8

1. You will hear five different people speaking about the portraits of Queen Elizabeth I. For questions 1-5 choose the portrait (A-F) each speaker is talking about. Use the letters only once. There is one extra letter which you do not need to use. Now write the title of the portrait under each picture. Which is the extra portrait? What does it symbolise?

Portrait Speaker 1 Speaker 2 Speaker 3

B8

Speaker 4 Speaker 5

A

B

C

..........................................

..........................................

..........................................

..........................................

..........................................

..........................................

D

E

F

..........................................

..........................................

..........................................

..........................................

..........................................

..........................................


Reading FCE

D4

Queen Elizabeth’s court 2. Read the text and fill sentences A-H into gaps 1-7. Remember that there is an extra sentence. Before choosing the sentence for each gap, look carefully for links with vocabulary and grammar in the sentences before and after the gap. Elizabeth’s court was made up of all those who surrounded the Queen from the servants to the courtiers. [1] However most of the time, she resided in one of the great royal palaces. The palaces were a sort of architectural embodiment of the monarch. [2] Compared to medieval royal castles, the Queen’s palaces were luxurious. Heat was provided by large decorated fireplaces, the walls were covered with decorated oak panels, high windows let in the sunlight and ceilings were decorated with plaster. [3] The palaces also housed a great library and Elizabeth was an avid reader. She was fluent in Latin and Greek and loved to read and translate the works of classical authors and was also fond of history. She would have her meals in her Privy Chamber and ate only in the Presence Chamber on special occasions. [4] The food was checked for poison before being served, and after taking what she wanted, the food would be shared amongst her ladies. After dinner entertainment would be provided in the Presence Chamber, such as a play, a masque, a ball, or a musical concert. There was a lot of ceremony around the Queen. [5] No one was supposed to turn their back on the monarch, which often meant walking backwards if leaving the Queen’s presence. Elizabeth expected much of her male courtiers. They were supposed to be graceful and courteous in

manner and discourse; well educated in classical works of literature, history, geography, mathematics, languages; athletic, and witty. [6] She represented the available but unreachable lady who expected gifts, to be courted by music, dancing, and by words of love and devotion. The role of the councillor or the politician was very different. Elizabeth’s relationship with these men was rarely tinged with romanticism. [7] A. Paintings and expensive tapestries adorned the walls and plates of silver or gold were displayed to impress visitors. B. Elizabeth had a huge abundance of dresses and jewellery which she received as gifts from ambassadors, courtiers and suitors. C. In that way she could eat her meals without too much ceremony, and get on with the business of the day. D. She wanted to be courted very much in the courtly love tradition. E. Once a year the Queen would often go on a progress to the southern counties. F. For example, when she moved around the palace, some guards would line her route and a fanfare would announce her arrival. G. Both William Cecil and Francis Walsingham, her skilled secretaries of state, were piously religious, family men, and incredible hard workers. H. Not only was their exterior appearance magnificent, but they had also wonderful interiors.

Speaking

3. Imagine that you are doing a short speech about Queen Elizabeth’s personality. Read her quotes, then in pairs discuss the aspect of her personality highlighted in each of them. 1. This is the Lord’s doing and it is marvellous in our eyes. Biblical verse reputedly spoken in Latin by Elizabeth I when she received news of her accession to the throne 2. I have already joined myself in marriage to a husband, namely the kingdom of England. Elizabeth to Parliament 3. There is only one Christ, Jesus, one faith. All else is a dispute over trifles. Elizabeth’s response to the Catholic/Protestant divide. 4. I know I have the body of a weak and feeble woman, but I have the heart and stomach of a king. Tilbury speech, 1588. 5. Young heads take example of the ancient. Elizabeth in a message to Parliament.


B9