Medieval Era Literature PDF

ENGLISH LANGUAGE The history of English is conventionally, if perhaps too neatly, divided into three periods usually called Old English (or Anglo-Saxon), Middle English, and Modern English. The earliest period begins with the migration of certain Germanic tribes from the continent to Britain in the...

ENGLISH LANGUAGE The history of English is conventionally, if perhaps too neatly, divided into three periods usually called Old English (or Anglo-Saxon), Middle English, and Modern English. The earliest period begins with the migration of certain Germanic tribes from the continent to Britain in the fifth century A.D., though no records of their language survive from before the seventh century, and it continues until the end of the eleventh century or a hit later. By that time Latin, Old Norse (the language of the Viking invaders), and especially the Anglo-Norman French of the dominant class after the Norman Conquest in 1066 had begun to have a substantial impact on the lexicon, and the well-developed inflectional system that typifies the grammar of Old English had begun to break down.    OLD ENGLISH Determining the beginning of Old English is difficult because it predates the earliest records, with only occasional inscriptions and Latin names surviving. Scholars consider the language in Latin-English glossaries from around 700 as Old English, by which time it had already diverged significantly from its Germanic roots. Many changes likely occurred before the Anglo-Saxon settlement. The transition to Middle English around 1150 involved significant grammar and vocabulary shifts, including reduced inflections and a greater reliance on word order. This period also saw increased borrowing from French and early Scandinavian languages. These changes were gradual and regionally varied, making the dividing point between Old and Middle English somewhat arbitrary. INDO-EUROPEAN- traces back to Proto-Indo-European spoken around 5,000 years ago by nomadic tribes in southeastern Europe. It belongs to the West Germanic group, alongside languages like German and Dutch. SCANDINAVIAN INFLUENCE - began in the late 8th century with Viking raids and settlements, primarily by Norwegians and Danes. LATIN INFLUENCE- indirect influence surged after the Norman invasion in 1066, as the Normans spoke French---a Romance language that evolved from Latin---thereby embedding Latin elements into English. WHY IS THERE AN ENGLISH AND AMERICAN LITERATURE?   This history of American literature begins with the arrival of English-speaking Europeans in what would become the United States. At first American literature was naturally a colonial literature, by authors who were Englishmen and who thought and wrote as such. 1\. HISTORICAL CONTEXT American literature began to develop during the colonial period, influenced by European traditions, particularly British literature. However, as the colonies gained independence and established their identity, a distinct American literary voice emerged. 2.CULTURAL DIFFERENCES English literature often reflects the history, social norms, and cultural values of England, while American literature tends to focus on the American experience, including issues like race, identity, and the American Dream. 3\. LITERARY MOVEMENTS While both English and American literature have seen movements like Romanticism, Modernism, and Postmodernism, the way these movements manifest can differ significantly due to cultural contexts. For example, Transcendentalism in America represents a philosophical and literary movement that is not found in English literature. 4\. LANGUAGE AND STYLE Over time, American English has evolved with unique dialects, slang. and expressions that reflect the country\'s diverse population. This linguistic variation influences literary style and storytelling methods. 5\. CRITICAL PERSPECTIVES In academic settings, English literature typically encompasses works produced in England and its historical contexts, while American literature focuses on texts written in the United States This separation allows for a more in-depth study of the distinct qualities and contributions of each body of work Therefore, while English and American literature share roots and influences, they have developed unique identities shaped by their respective histories, cultures, and literary traditions. This distinction allows readers and scholars to appreciate and contributions of each literature. +-----------------------------------+-----------------------------------+ | | **THE MEDIEVAL ERA** | | | | | | Introduction to the Medieval Era. | +===================================+===================================+ | | **Introduction** | | | | | | **    **This module explores the | | | significance of the Medieval Era | | | in the study of great books, | | | highlighting the key | | | characteristics of medieval | | | literature and its historical | | | context. The major themes and | | | literary forms of this period, as | | | well as their impact on later | | | works, will be discussed. The | | | lesson also focuses on the | | | cultural and philosophical | | | influences that shaped medieval | | | texts. | +-----------------------------------+-----------------------------------+ |     | | +-----------------------------------+-----------------------------------+ | | **Student Learning Objectives | | | (SLO)** | | | | | | 1. Analyze the major themes and | | | literary forms of medieval | | | literature and understand | | | their historical and cultural | | | contexts. | | | | | | 2. Identify key works and | | | authors from the Medieval Era | | | and explain their | | | significance in the | | | development of Western | | | literature. | | | | | | 3. Evaluate the influence of | | | medieval texts on later | | | literary periods and their | | | relevance in contemporary | | | literature..  | +-----------------------------------+-----------------------------------+ | | | +-----------------------------------+-----------------------------------+ | | **Content** | | | | | |     | | | | | | **[medieval era ]{.smallcaps}** | | | | | | Medieval literature is a window | | | into the values, beliefs, and | | | social structures of the Middle | | | Ages, spanning roughly from the | | | 5th to the late 15th century. | | | This period marks a time of | | | transition between ancient | | | classical civilization and the | | | Renaissance, where much of Europe | | | was defined by its feudal | | | structure, the dominance of the | | | Catholic Church, and the | | | development of national languages | | | and literatures. Medieval | | | literature is significant because | | | it offers insight into the | | | evolution of storytelling and | | | thought in the West, providing | | | early forms of many literary | | | themes and genres that still | | | exist today. Studying these works | | | reveals how ideas of chivalry, | | | faith, heroism, and human nature | | | were shaped, and how they | | | continue to influence | | | contemporary literature. | | | | | | **Key Features of Medieval | | | Literature** | | | | | | Medieval texts were often deeply | | | influenced by religious ideas, | | | particularly Christianity, which | | | was the dominant cultural force | | | in Europe. Writers of the time | | | focused on the moral and | | | spiritual aspects of life, | | | presenting allegories and moral | | | tales that instructed readers on | | | how to live virtuous lives. These | | | texts were commonly written in | | | Latin or vernacular languages | | | like Middle English, Old French, | | | or Old Norse, and the period saw | | | the rise of epic poetry, | | | allegory, and romance. Some | | | stories were passed down orally | | | before being written, giving them | | | a rich tradition rooted in | | | folklore. | | | | | | A key feature of medieval | | | literature is its variety of | | | genres, such as epic poems that | | | celebrate heroic deeds (Beowulf), | | | allegories like Dante's The | | | Divine Comedy, and romances that | | | explore ideals of chivalry and | | | courtly love (Sir Gawain and the | | | Green Knight). These stories | | | often focused on Christian | | | morality, the struggles between | | | good and evil, and the human | | | pursuit of virtue. | | | | | |    | | | | | | **Major Themes in Medieval | | | Literature** | | | | | | Some of the central themes in | | | medieval literature include | | | chivalry, courtly love, religious | | | devotion, and heroic quests. | | | | | | - **Chivalry and Courtly | | | Love:** The ideal of the | | | noble knight, characterized | | | by loyalty, bravery, and | | | respect for women, is a | | | recurring theme in medieval | | | literature, particularly in | | | the form of romances like Le | | | Morte d'Arthur. These stories | | | often depict knights serving | | | their lords and ladies with | | | unwavering devotion. | | | | | | | | | | | | - **Religion and Morality:** | | | Many texts, such as morality | | | plays and religious | | | allegories, explore Christian | | | ideals and the battle between | | | good and evil, often | | | portraying a character's | | | spiritual journey toward | | | salvation. | | | | | | | | | | | | - **Heroism and the Epic:** | | | Heroic epics like Beowulf | | | feature protagonists facing | | | overwhelming odds and | | | mythical creatures, | | | highlighting the values of | | | courage, loyalty, and honor. | | | These works reflect the | | | tension between fate, free | | | will, and divine | | | intervention. | | | | | | **Major Genres in Medieval | | | Literature** | | | | | | **Epic Poetry** | | | | | | Epic poetry recounts heroic deeds | | | and grand adventures, often | | | featuring supernatural elements. | | | Beowulf is a prime example, | | | depicting a warrior's battles | | | with monsters and reflecting | | | values like bravery and loyalty. | | | | | |   | | | | | | **Romance** | | | | | | Romance focuses on tales of | | | chivalry, courtly love, and | | | knightly quests. Arthurian | | | legends, like Le Morte d\'Arthur, | | | highlight knights' adventures, | | | quests for honor, and complex | | | relationships. | | | | | | **Allegory** | | | | | | Allegory uses symbolic characters | | | and events to convey moral or | | | spiritual messages. Works like | | | Piers Plowman and The Divine | | | Comedy explore the soul\'s | | | journey toward salvation through | | | symbolic storytelling. | | | | | | **Morality Plays** | | | | | | Morality plays use allegorical | | | characters to teach moral | | | lessons, representing universal | | | human experiences. Everyman | | | illustrates the journey toward | | | death and the importance of | | | living a virtuous life. | | | | | | **Philosophical and Religious | | | Influences** | | | | | | Medieval literature was strongly | | | shaped by Christian theology. | | | Many works were written to convey | | | moral lessons, where characters' | | | actions would have direct | | | consequences in their afterlives. | | | The use of allegory---where | | | characters represent virtues, | | | vices, or theological | | | concepts---was common in works | | | like Piers Plowman and Everyman. | | | These texts guided medieval | | | readers in their spiritual lives. | | | | | | At the same time, medieval | | | scholars were influenced by the | | | rediscovery of classical | | | philosophy, especially the works | | | of Aristotle and Plato, whose | | | ideas were interpreted within the | | | Christian worldview. This fusion | | | of Christian theology and | | | classical philosophy created a | | | rich intellectual background for | | | writers of the time. | | | | | | **Key Works and Authors** | | | | | | - **Geoffrey Chaucer**, often | | | considered the father of | | | English literature, produced | | | one of the most important | | | medieval texts: The | | | Canterbury Tales. This work | | | offers a broad look at | | | medieval society through the | | | eyes of pilgrims from | | | different social classes, | | | each telling their own | | | stories. | | | | | | | | | | | | - **Dante Alighieri**'s The | | | Divine Comedy stands out as a | | | monumental allegory that | | | reflects the medieval | | | Christian worldview of life, | | | sin, and salvation. His | | | journey through Hell, | | | Purgatory, and Heaven is | | | filled with theological and | | | philosophical insights. | | | | | | | | | | | | - **Sir Thomas Malory**'s Le | | | Morte d'Arthur is a | | | compilation of Arthurian | | | legends that solidified the | | | Arthurian mythos in Western | | | culture. It tells of King | | | Arthur's knights, their | | | quests, and the ultimate fall | | | of Camelot, encapsulating the | | | themes of honor, betrayal, | | | and destiny. | | | | | | **Legacy of Medieval Literature** | | | | | | The influence of medieval | | | literature extends far beyond the | | | Middle Ages, as it laid the | | | foundation for Renaissance | | | writers like Shakespeare and | | | later literary movements. Themes | | | such as the hero's journey, | | | quests for personal or spiritual | | | redemption, and the struggle | | | between good and evil have been | | | passed down through generations | | | of storytelling. Today, medieval | | | narratives continue to inspire | | | modern works, from fantasy novels | | | like *The Lord of the Rings* to | | | movies and television shows such | | | as *Game of Thrones*, | | | demonstrating the enduring legacy | | | of medieval storytelling and its | | | cultural significance. | +-----------------------------------+-----------------------------------+ | | | +-----------------------------------+-----------------------------------+ | | | +-----------------------------------+-----------------------------------+ | **Prepared by:** | **Course/Level** | | | | | Cathleen S. Abuan | BSED 2 -- English | | | | | Evol Jay Fajardo | BEED | +-----------------------------------+-----------------------------------+ https://lh7-rt.googleusercontent.com/docsz/AD\_4nXeDoT9t0URWJjCuAPHsmYhlQcYfPgJyDP8mNBPqRzsPB-LXe7ZlLdFQ86LtfwGpEuyTkr9SLR7rYtdFy3ijIulBMeYxULFlB5hdTOXlyxdRsU2xDN5cNwNqIw2W6GPV-pLPOrUiGQ?key=ul2T55ZVRgYEymQB7Kp0J3Pb -- -- https://lh7-rt.googleusercontent.com/docsz/AD\_4nXdL4ofQae3lH145-eYDa4twAtdvMPCAK\_1Ubv-FjP2hN0g0JWtbTfYXJKZV8OZ3h7-FD-leaSMZ4coF\_sxn4J0wzAL98St9pa9F72JrxsrNo4ODI7xs0HnnxZbtq27NYHclgmRZKA?key=ul2T55ZVRgYEymQB7Kp0J3Pb Blake's growing disillusionment with society became even more pronounced   in his later works, particularly in **The Marriage of Heaven and Hell** (1790--93)  and **Songs of Experience** (1794). Here, he launched a scathing critique of the  hypocrisies of his time, focusing on the cold, impersonal nature of an era  dominated by rationalism and analytic thinking. Disappointed by the failure of  the French Revolution to deliver on its promise of liberty and equality, Blake sought to reimagine the universe itself. He developed a new mythology that  centered on Urizen,a deity who represented the oppressive forces of reason  and law. For Blake, Urizen symbolized the false god worshipped by his contemporaries, and this figure became a central character in his mythological universe. Blake detailed Urizen's rise to power in ***The First Book of Urizen *** (1794) and further explored these themes in *Vala*, later revised as ***The Four  Zoas***. As Blake delved deeper into his visionary narratives, he expanded on these   mythological concepts in his later works, such as Milton (1804--08) and  Jerusalem (1804--20). In these poems, Blake portrayed the imaginative artist as  a heroic figure capable of redeeming humanity from its fallen state, which he  associated with the oppressive reign of Urizen. These works suggest a path to  redemption, with the power of the creative imagination offering a way out of the  stagnant, rationalist world that Blake so vehemently opposed. Through his  mythological characters and intricate narratives, Blake expressed his belief in  the possibility of spiritual renewal and the triumph of imagination over reason.  **B. William Wordsworth and Samuel Taylor Coleridge ** ** **William Wordsworth's early poetic development was deeply influenced by   the tumultuous events of the French Revolution. Initially supportive of the   revolution's ideals, he became disillusioned, particularly after Britain declared   war on the republic. This shift in perspective shaped his view of humanity and   its potential. His early works, such as The Ruined Cottage and The Pedlar,   reflect a keen sensitivity to individual human struggles and a growing belief in   the innate goodness of people. During this period, Wordsworth was also   profoundly influenced by his close relationships with his sister Dorothy and his   friend Samuel Taylor Coleridge. Their collaboration led to the creation of   Lyrical Ballads (1798), a collection that emphasized nature\'s role in nurturing   human emotions and instincts. In poems like Lines Written a Few Miles   Above Tintern Abbey, Wordsworth expressed his mature faith in both nature   and humanity. This theme of personal and philosophical reflection reached its   peak in his autobiographical poem The Prelude (1798--1805), where he delved   into his childhood experiences in sublime natural surroundings and the   Romantic notion of self-discovery. Memory and childhood were recurring motifs   in his work, as seen in Ode: Intimations of Immortality and Michael, where   he reflected on the significance of past experiences and their enduring impact   on human life. As his poetry evolved, Wordsworth increasingly focused on the lives of   ordinary people and the emotional weight of everyday existence. +-----------------------------------+-----------------------------------+ | | **Introduction** | +-----------------------------------+-----------------------------------+ |               American literature | | | has evolved through various lite | | | rary movements, reflecting the co | | | untry\'s diverse cultural, histor | | | ical, and social landscapes. Begi | | | nning with Native American oral t | | | raditions and progressing through | | | the Colonial and Revolutionary p | | | eriods, American literature explo | | | res themes like individualism, th | | | e American Dream, and cultural di | | | versity. From Romanticism\'s emph | | | asis on emotion and nature to Rea | | | lism\'s focus on everyday life, a | | | nd Modernism\'s experimentation, | | | each movement addresses distinct | | | issues. Postmodernism continues t | | | his exploration, blending eclecti | | | c styles to question traditional | | | values and engage with contempora | | | ry concerns. | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | --------------------------------- | | | ------------ | | +-----------------------------------+-----------------------------------+ | | **Student Learning Objectives | | | (SLO)** | +-----------------------------------+-----------------------------------+ | - - - | | +-----------------------------------+-----------------------------------+ | | **Brain Teaser:** | | | | | | Give at least 10 words that you | | | can see in the word pool. | | | | | | **Major themes in American | | | Literature ** | | | | | | **American individualism ** | | | | | | Also known as the self-made | | | man  | | | | | | Celebration of ambition and | | | achievement  | | | | | | Original colonists came for | | | religious freedom  | | | | | | Later colonists came looking to | | | make their fortune with | | | opportunities not available in | | | class-based European societies. | | | | | | **The American Dream ** | | | | | | Closely linked to American | | | individualism  | | | | | | The idea that anyone can become | | | whatever he or she wants to | | | become through hard work, | | | determination, and perseverance | | | | | | **Cultural diversity ** | | | | | | A society that welcomes legal | | | immigrants of diverse | | | backgrounds  | | | | | | The melting pot | | | theory---Immigrants assimilate | | | into our culture and become | | | Americans  | | | | | | The salad bowl | | | theory---immigrants retain their | | | separate identities while making | | | up part of the whole and adopt a | | | hyphenated American name (Chinese | | | Americans, for example) | | | | | | **Tolerance ** | | | | | | Religious tolerance was one of | | | the first principles in American | | | life.  | | | | | | More recent issues have | | | included race, gender, sexual | | | orientation, etc. | | | | | | **Native American Period | | | (pre-1620) ** | | | | | | **Oral tradition** of song and | | | stories | | | | | | Original authors unknown  | | | | | | Written accounts come after | | | colonization  | | | | | | **Includes:** creation stories, | | | myths, totems  | | | | | | **Archetypes:** trickster and | | | conjurer  | | | | | | **Focuses on: ** | | | | | | The natural world as sacred  | | | | | | Importance of land and place | | | | | | **Myth** -- an anonymous oral | | | story  | | | | | | Relies on the supernatural to | | | explore a natural phenomenon, | | | human behavior, or mystery  | | | | | | Explain why the world is the | | | way it is/they help make sense of | | | the world | | | | | | **Notable Works: ** | | | | | | "The Earth on the Turtle's | | | Back"  | | | | | | "When Grizzlies Walked | | | Upright"  | | | | | | "Grandmother Spider Steals the | | | Sun" "Creation by Women" | | | | | | **The Colonial Period | | | (1620-1750)** | | | | | | When colonists arrived in the | | | new land, they created villages | | | and towns and established new | | | governments (while protesting the | | | old ways in Europe)  | | | | | | French, Swedes, Dutch, German, | | | Scots-Irish, Spanish, Africans | | | (mostly slaves)  | | | | | | Did not consider themselves | | | "Americans" until mid-1700s  | | | | | | Enormous displacement of | | | Native-American civilizations | | | | | | Literature of the period was | | | dominated by the Puritans and | | | their religious influence  | | | | | | Emphasis on faith in one's | | | daily life  | | | | | |        Predestination- A | | | person's fate is determined by | | | God  | | | | | |        Original Sin- All are | | | corrupt and need a Savior  | | | | | |        Puritan work | | | ethic---belief in hard work and | | | simple, no frills living  | | | | | | Theocracy---government ruled by | | | Bible/church | | | | | | **Literary characteristics:** | | | | | | - **Narrative Focus** | | | | | | Colonial American literature is | | | characterized by the narrative,  | | | | | | which was used extensively during | | | this period. Most of the | | | literary  | | | | | | works of this genre are composed | | | of letters, journals, biographies | | | and  | | | | | | memoirs. | | | | | | - **Religion and Poetry** | | | | | | Religion is prominent in colonial | | | American literature and can be | | | found mostly in Puritan writings. | | | The Puritans wrote about the | | | religious foundations of many of | | | their settlements, especially the | | | exodus from Britain, and employed | | | the constant theme that God | | | should be worshiped. They also | | | used texts that prepared them for | | | worship. This literature helped | | | spread the message of God, | | | suggesting that "life was a test" | | | and the soul would face damnation | | | if that test was failed. Ambition | | | and hard work were continuously | | | stressed. Many of the Puritan | | | works were  | | | | | | written in poetry form. Anne | | | Bradstreet's poetry, the "Bay | | | Psalm Book," and Pastor Edward | | | Taylor's "Preparatory Mediations" | | | are good examples of religious | | | texts of the era. | | | | | | **Types of Writing:** | | | | | | Sermons  | | | | | | Diaries  | | | | | | Personal Narratives | | | | | | Writing Style Writing is  | | | | | | Utilitarian not professional | | | writers  | | | | | | Writing in instructive  | | | | | | Puritan Plain Style Simple and | | | direct  | | | | | | **Representative Authors: ** | | | | | | William Bradford (journal)  | | | | | | Anne Bradstreet (poetry)  | | | | | | Jonathan Edwards (sermon)  | | | | | | Mary Rowlandson (captivity | | | narrative)  | | | | | | Phillis Wheatley (poetry)  | | | | | | Olaudah Equiano (slave | | | narrative)  | | | | | | **Revolutionary Period | | | (1750-1815)** | | | | | | Occurred during/after the | | | Revolutionary War  | | | | | | Writers focused on explaining | | | and justifying the American | | | Revolution  | | | | | | Writers pondered what it really | | | means to be an American  | | | | | | After the War of 1812 (when | | | last British troops were removed | | | from North America) there was an | | | even greater focus on | | | nationalism, patriotism, and | | | American Identity | | | | | | **Characteristics Revolutionary | | | Period (1750-1815)**  | | | | | | Emphasis on reason as opposed | | | to faith alone; this was a | | | reaction to the Puritan way of | | | life  | | | | | | Shift to a more print-based | | | culture; literacy seen as a sign | | | of status Instructive in | | | values, highly ornate writing | | | style; highly political and | | | patriotic | | | | | | **Important Authors Revolutionary | | | Period (1750-1815)**  | | | | | | ** Representative authors: ** | | | | | | Benjamin Franklin (biography, | | | common sense aphorisms)  | | | | | | Patrick Henry (speech)  | | | | | | Thomas Paine (pamphlet)  | | | | | | Thomas Jefferson (political | | | documents)  | | | | | | Abigail Adams (letters) | | | | | | **The Rise of Novels in 18th | | | Century ** | | | | | | In the years toward the close of | | | the 18th century, both dramas | | | andnovels of some historical | | | importance were produced. Though | | | theatrical groups had long been | | | active in America, the first | | | American comedy presented | | | professionally was Royall Tyler's | | | Contrast (1787). This drama was  | | | | | | full of echoes of Goldsmith and | | | Sheridan, but it contained a | | | Yankee character (the predecessor | | | of many such in years to follow) | | | who brought something native to | | | the stage. | | | | | | **The Autobiography of Benjamin | | | Franklin ** | | | | | | Benjamin Franklin\'s | | | Autobiography is both an | | | important historical document and | | | Franklin\'s major literary work. | | | It was not only the first | | | autobiography to achieve | | | widespread popularity, but after | | | two hundred years remains one of | | | the most enduringly popular | | | examples of the genre ever | | | written. As such, it provides not | | | only the story of Franklin's own | | | remarkably influential career but | | | maps out a strategy for self-made | | | success in the context of | | | emerging American nationhood. | | | | | | **Thomas Paine's *Common | | | Sense *** | | | | | |        On January 9, 1776, writer | | | Thomas Paine publishes his | | | pamphlet "Common Sense," setting | | | forth his arguments in favor of | | | American independence. Although | | | little used today, pamphlets were | | | an important medium for the | | | spread of ideas in the 16th | | | through 19th centuries. | | | | | |        Originally published | | | anonymously, "Common Sense" | | | advocated independence for the | | | American colonies from Britain | | | and is considered  | | | | | | one of the most influential | | | pamphlets in American history. | | | Credited with uniting average | | | citizens and political leaders | | | behind the idea of independence, | | | "Common Sense" played a | | | remarkable role in  | | | | | | transforming a colonial squabble | | | into the American Revolution.  | | | | | |         At the time Paine wrote | | | "Common Sense," most colonists | | | considered themselves to be | | | aggrieved Britons. Paine | | | fundamentally changed the tenor | | | of colonists' argument with the | | | crown when he wrote the | | | following: "Europe, and not | | | England, is the parent country of | | | America. | | | | | | **Notable Works** | | | | | | 1\. Common Sense (1776) by | | | Thomas Paine  | | | | | | 2\. A Narrative of Colonel Ethan | | | Allen's Captivity (1779) by | | | Ethan Allen | | | | | | 3\. History of the Rise, | | | Progress, and Termination of | | | the American Revolution (1805)  | | | | | | by Mercy Otis Warren | | | | | | 4\. Thomas Jefferson authored | | | the original Declaration of | | | Independence | | | | | | 5\. The Articles of | | | Confederation  | | | | | | 6\. The Federalist Papers by | | | Alexander Hamilton, James | | | Madison, and John Jay  | | | | | | 7\. The Constitution of the | | | United States | | | | | | **Early National Period | | | (1975-1828)** | | | | | | literature that can be considered | | | as truly American, wherein | | | authors, wrote in the English | | | style and language, but the | | | "settings, themes, and characters | | | were authentically American." | | | According to Burgess (2019), it | | | was a time when the United States | | | was becoming an independent | | | nation from its colonizers, and | | | as such, this era also marked | | | notable first woks,  | | | | | | namely: | | | | | | 1\. The Contrast (1787) by | | | Rayall Tyler -- first comedy | | | written for the stage | | | | | | 2\. The Power of Sympathy (1789) | | | by William Hill | | | | | | **Poems ** | | | | | | ∙ The Author to Her Book  | | | | | | ∙ Before the Birth of One of Her | | | Children  | | | | | | ∙ By Night when Others Soundly | | | Slept  | | | | | | ∙ Contemplations  | | | | | | ∙ A Dialogue between Old England | | | and New  | | | | | | ∙ The Four Ages of Man  | | | | | | ∙ In Honour of that High and | | | Mighty Princess, Queen Elizabeth  | | | | | | ∙ In Reference to her Children, | | | 23 June 1659  | | | | | | ∙ A Letter to her Husband, absent | | | upon Publick employment  | | | | | | ∙ Prologue  | | | | | | ∙ To Her Father with Some Verses  | | | | | | ∙ To My Dear and Loving Husband  | | | | | | ∙ Verses upon the Burning of our | | | House, July 10th, 1666 | | | | | | **Romanticism (1800-1865)** | | | | | | A reaction to the previous | | | decades in which reason and | | | rational thought dominated  | | | | | | Period of invention, Manifest | | | Destiny, abolition movement, and | | | the "birth" of truly American | | | Literature  | | | | | | Growth of urban population in | | | Northeast  | | | | | | Growth of newspapers, lectures, | | | debates  | | | | | | Revolution in transportation | | | and science  | | | | | | Industrial revolution made "old | | | ways" of doing things irrelevant | | | | | | **Characteristics Romanticism | | | (1800-1865) ** | | | | | | ** Writers celebrated: ** | | | | | | Individualism  | | | | | | Nature  | | | | | | Imagination  | | | | | | Creativity  | | | | | | Emotions  | | | | | | **Types of writing: ** | | | | | | Short Stories  | | | | | | Novels  | | | | | | Poetry  | | | | | | Interest in fantasy and | | | supernatural  | | | | | | Writing can be interpreted two | | | ways---surface and depth  | | | | | | Good triumphs over evil  | | | | | | Imagination over reason  | | | | | | Intuition over fact | | | | | | **Important Romanticism | | | (1800-1865)** | | | | | | **Early Romantics ** | | | | | | - Authors began the tradition | | | of creating imaginative | | | literature that was | | | distinctly American | | | | | | **Authors** | | | | | | - Washington Irving | | | (folktales)  | | | | | | - William Cullen Bryant | | | (poetry)  | | | | | | - James Fenimore Cooper | | | (novels)  | | | | | |  **Fireside Poets** | | | | | | The most popular poets of the | | | time were read in the home by the | | | fireside | | | | | | Poetry contained strong family | | | values and patriotism | | | | | | Taught in elementary schools | | | for memorization | | | | | | **Poets** | | | | | | Henry Wadsworth Longfellow | | | | | | Oliver Wendell Holmes | | | | | | James Russell Lowell | | | | | | John Greanleaf Whittier | | | | | | **Transcendentalists** | | | | | | Hippies of the Romanticism | | | | | | Belief that man\'s nature is | | | inherently good; \"divine spark\" | | | or \"inner light\" | | | | | | Man and society are perfectible | | | (utopia) | | | | | | Stress individualism, self- | | | reliance, intuition | | | | | | **Authors** | | | | | | Ralph Waldo Emerson (essays, | | | poetry) | | | | | | Henry David Thoreau (essays) | | | | | | **Dark Romantics** | | | | | | AKA-Gothic or Anti- | | | Transcendentalism | | | | | | Man\'s nature is inherently | | | evil | | | | | | Use of supernatural | | | | | | Strong use of symbolism | | | | | | Dark landscapes, depressed | | | characters | | | | | | **Poets** | | | | | | Nathaniel Hawthorne (novels, | | | short stories) | | | | | |   Herman Melville (novels, short | | | stories, poetry) | | | | | |   Edgar Allan Poe (short | | | stories, poetry, literary | | | criticism) | | | | | | **Realism (1850-1900)** | | | | | | ** ** | | | | | | The Realistic Period includes | | | the Civil War, significant | | | industrial inventions, and | | | extensive westward expansion | | | | | | Rejection of Romantic view of | | | life as too idealistic | | | | | | Writers write about real-life | | | issues and complex events of the | | | time rather than idealized people | | | or places | | | | | | Objective narrator | | | | | | Realistic authors convey the | | | reality of life, however harsh | | | | | | Characters reflect ordinary | | | people in everyday life: | | | determined yet flawed, struggling | | | to overcome the difficulties of | | | war, family, natural disasters, | | | and human weaknesses | | | | | | Good doesn\'t always triumph | | | over evil | | | | | | Nature is a powerful force | | | beyond man\'s control | | | | | | Racism persisted beyond | | | slavery-Reconstruction. Jim Crow, | | | KKK, etc. | | | | | | **Transitional Writers** | | | | | | Transition from Romanticism to | | | Realism | | | | | | Express Transcendental ideas in | | | poetry, with realistic detail | | | | | | Experimented with new poetic | | | techniques such as free verse and | | | slant rhyme | | | | | | **Authors** | | | | | | Walt Whitman (poetry) | | | | | | Emily Dickinson (poetry) | | | | | | **Civil War Writers** | | | | | | Primarily concerned with: | | | | | | The war | | | | | | Slavery | | | | | | Women\'s suffrage (right to | | | vote) | | | | | | **Authors** | | | | | | Abraham Lincoln | | | | | | Robert E. Lee | | | | | | Mary Chesnut | | | | | | Sojourner Truth | | | | | | Harriet Beecher Stowe | | | | | | Frederick Douglass | | | | | | **Local Color Writers | | | (Regionalists)** | | | | | |   Focused on a particular region | | | of the country | | | | | | Seeking to represent accurately | | | the culture and beliefs of that | | | area | | | | | | Emphasized: | | | | | | Physical landscape | | | | | | Habits | | | | | | Occupations | | | | | | Speech (dialect) of the area\'s | | | people | | | | | | **Authors** | | | | | | Mark Twain (Mississippi River | | | valley) | | | | | | Kate Chopin (the South, | | | particularly Louisiana) | | | | | | Willa Cather (the Midwest, | | | particularly Nebraska) | | | | | | **Mark Twain's *The Adventures of | | | Huckleberry Finn *** | | | | | | Adventures of Huckleberry Finn, | | | also called The Adventures of | | | Huckleberry Finn, novel by Mark | | | Twain, published in the United | | | Kingdom in 1884 and in the United | | | States in 1885. The book's | | | narrator is Huckleberry Finn, a | | | youngster whose artless | | | vernacular speech is  | | | | | | admirably adapted to detailed and | | | poetic descriptions of scenes, | | | vivid representations of | | | characters, and narrative | | | renditions that are both  | | | | | | broadly comic and subtly ironic. | | | | | | **Naturalism (1880-1940)** | | | | | | Realism turned to Naturalism | | | when literary writers were | | | exposed to the views of three | | | scientific/political works | | | | | | Charles Darwin-biological | | | determinism | | | | | | Sigmund Freud-psychological | | | determinism | | | | | | Karl Marx-socio-economic | | | determinism | | | | | | **Determinism**-the belief that | | | humans cannot be held morally | | | responsible for their actions due | | | to circumstances beyond their | | | control. | | | | | | Focused on grim reality | | | | | | Observed characters like | | | scientists observe lab animals | | | | | | Viewed nature and the universe | | | as indifferent, even hostile, to | | | man | | | | | | Universe is godless. cold, and | | | indifferent | | | | | | Life is meaningless | | | | | | Fate=Chance (no free will) | | | | | | Characters are helpless | | | victims- trapped by nature, the | | | environment, or their own | | | heritage | | | | | | Jack London (novels, short | | | stories) | | | | | | Stephen Crane (novels, short | | | stories, poetry) | | | | | | Edwin Arlington Robinson | | | (poetry) | | | | | | Ambrose Bierce (short stories) | | | | | | **Stephen Crane ** | | | | | | Stephen Crane was one of | | | America\'s foremost realistic | | | writers, and his works have been | | | credited with marking the | | | beginning of modern American | | | Naturalism. His Civil War novel | | | The Red Badge of Courage (1895) | | | is a classic of American | | | literature that realistically | | | depicts the  | | | | | | psychological complexities of | | | fear and courage on the | | | battlefield. Influenced by | | | William Dean Howells\'s theory of | | | realism, Crane utilized his keen | | | observations, as well as personal | | | experiences, to achieve a | | | narrative vividness and sense of | | | immediacy matched by few American | | | writers before him. | | | | | | **Poems ** | | | | | | ∙ \"Behold, the grave of a wicked | | | man\"  | | | | | | ∙ \"I saw a man pursuing the | | | horizon\"  | | | | | | ∙ In Heaven  | | | | | | ∙ In the Desert  | | | | | | ∙ A Man Said to the Universe  | | | | | | ∙ \"Once there came a man\"  | | | | | | ∙ Should the Wide World Roll | | | Away  | | | | | | ∙ from War is Kind \[\"Do not | | | weep, maiden, for war is | | | kind\"\]  | | | | | | ∙ from War is Kind \["I explain | | | the silvered passing of a ship at | | | night"\] | | | | | | **Ralph Waldo Emerson ** | | | | | | Ralph Waldo Emerson---a New | | | England preacher, essayist, | | | lecturer, poet, and | | | philosopher---was one of the most | | | influential writers and thinkers | | | of the 19th century in the United | | | States. Emerson was also the | | | first major American literary and | | | intellectual figure to widely | | | explore, write seriously about, | | | and seek to broaden the domestic | | | audience for classical Asian and  | | | | | | Middle Eastern works. He not only | | | gave countless readers their | | | first exposure to non-Western | | | modes of thinking, metaphysical | | | concepts, and sacred mythologies; | | | he also shaped the way subsequent | | | generations of American writers | | | and thinkers approached the vast | | | cultural resources of Asia and | | | the Middle East.  | | | | | | **Poems ** | | | | | | ∙ Brahma  | |