Renaissance

Unit One: The Italian Renaissance Review Sheet 1. People to know: -Savonarola-gained power in Florence in 1494. Exercised strict rule until overthrown in 1498 -Julius II-The Warrior Pope. Led armies against the French and Venetians -Tudors (why powerful? )- Edward IV? Richard II? Henry VII. Used Star Chamber against nobles and Henry VII rebuilt monarchy -Ferdinand of Aragon and Isabella of Castile (Inquisition why? )-Marriage created union of Spain. Completed Reconquista and Inquisition? anti-Semitism -Charles V/Hapsburg- Holy Roman Emperor. 1521: Habsburg-Valois Wars?

Battlefield was often Italy -Mirandola- Oration of the Dignity of Man -“Renaissance popes”- Became increasingly secular . Nicholas V? Pius II ? Sixtus IV? Alexander Vi? Julius II? Leo X 2. Vocabulary: converses, hermanades, Renaissance, oligarchies, signori, commune, popolo (what did they want? /what was their condition? ), humanism, secularism, individualism, Pragmatic Sanction of Bourges, infanticide/foundling hospitals, Medici Family (how they got their wealth), Quattrocento 3. Art: How artists were viewed, how they viewed medieval past, Michelangelo, Ghiberti, Raphael, Da Vinci, patrons (why support artists? , Brunelleschi (Dome of St. Peter’s), Jan Van Eyck 4. Printing Press: changes it brought, when? Who? 5. New Monarchs: Who supported? Who resisted? , Charles VII of France centralizing efforts, tactics of the English kings (Henry VII and Henry VIII) to gain power, Star Chamber, Ferdinand and Isabella tactics, Iberian Peninsula, War of the Roses 6. Ideas: View of rape in Renaissance; view of black slaves; women in the Renaissance/upper class versus ordinary women; source of wealth of Italian communes 7.

Writers: Castiglione (The Book of the Courtier), Machiavelli (The Prince/views), Dante (Divine Comedy), Petrarch, Laura Cereta (women ideas), Peter Paul Vergerio (education), Lorenzo Valla (textual criticism), Boccaccio (The Decameron), Erasmus (In Praise of Folly/ideas), 8. Northern Renaissance: Thomas More (Utopia/ideas), Christopher Marlowe, Nicholas Copernicus (Polish astronomer), How differ from Italian Renaissance? 9. Characteristics of Italian Renaissance: Greek/Roman (Latin), individual city states (list), Florence, secular, civic affairs, curiosity, powerful families, manners/morals, how did it end? , crisis in the 14th C, wars

Introduction: It is difficult to date or define the Renaissance. Etymologically the term, which was first used in England only as late as the nineteenth century, means’ “re-birth”. Broadly speaking, the Renaissance implies that re-awakening of learning which came to Europe in the fourteenth and fifteenth centuries. The Renaissance was not only an English but a European phenomenon; and basically considered, it signalised a thorough substitution of the medieval habits of thought by new attitudes.

The dawn of the Renaissance came first to Italy and a little later to France. To England it came much later, roughly about the beginning of the sixteenth century. As we have said at the outset, it is difficult to date the Renaissance; however, it may be mentioned that in Italy the impact of Greek learning was first felt when after the Turkish conquest of Constantinople the Greek scholars fled and took refuge in Italy carrying with them a vast treasure of ancient Greek literature in manuscript.

The study of this literature fired the soul and imagination of the Italy of that time and created a new kind of intellectual and aesthetic culture quite different from that of the Middle Ages. The light of the Renaissance came very slowly to the isolated island of England, so that when it did come in all its brilliance in the sixteenth century, the Renaissance in Italy had already become a spent force. It is difficult to define the Renaissance, but its broad implications in England do not defy discussion. Michelet exaggeratedly calls the Renaissance “discovery by mankind of himself and of the world. This is, indeed, too sweeping. More correctly we can say that the following are the implications of the Renaissance in England : (a) First, the Renaissance meant the death of mediaeval scholasticism which had for long been keeping human thought in bondage. The schoolmen got themselves entangled in useless controversies and tried to apply the principles of Aristotelean . philosophy to the doctrines of Christianity, thus giving birth to a vast literature characterised by polemics, casuistry, and sophistry which did not advance man in any way. b) Secondly, it signalised a revolt against spiritual authority-the authority of the Pope. The Reformation, though not part of the revival of learning, was yet a companion movement in England. This defiance of spiritual authority went hand in hand with that of intellectual authority. Renaissance intellectuals distinguished themselves by their flagrant anti-authoritarianism. (c) Thirdly, the Renaissance implied a greater perception of beauty and polish in the Greek and Latin scholars.

This beauty and this polish were sought by Renaissance men of letters to be incorporated in their native literature. Further, it meant the birth of a kind of imitative tendency implied in the term “classicism. ” (d) Lastly, the Renaissance marked a change from the theocentric to the homocentric conception of the universe. Human life, pursuits, and even body came to be glorified. “Human life”, as G. H. Mair observes, “which the mediaeval Church had taught them [the people] to regard but as a threshold and stepping-stone to eternity, acquired suddenly a new momentousness and value. . The “otherworldliness” gave place to “this-worldliness”. Human values came to be recognised as permanent values, and they were sought to be enriched and illumined by the heritage of antiquity. This bred a new kind of paganism and marked the rise of humanism as also, by implication, materialism. Let us now consider the impact of the Renaissance on the various departments of English literature. Non-creative Literature: Naturally enough, the first impact of the Renaissance in England was registered by the universities, being the repositories of all learning.

Some English scholars, becoming aware of the revival of learning in Italy, went to that country to benefit by it and to examine personally the manuscripts brought there by the fleeing Greek scholars of Constantinople. Prominent among these scholars were William Grocyn (14467-1519), Thomas Linacre (1460-1524), and John Colet (14677-1519). After returning from Italy they organised the teaching of Greek in Oxford. They were such learned and reputed scholars of Greek that Erasmus came all the way from Holland to learn Greek from them.

Apart from scholars, the impact of the Renaissance is also; in a measure, to be seen on the work of the educationists of the age. Sir Thomas Elyot (14907-1546) wrote the Governour (1531) which is a treatise on moral philosophy modelled on Italian works and full of the spirit of Roman antiquity. Other educationists were Sir John Cheke (1514-57), Sir Thomas Wilson (1525-81), and Sir Roger Ascham (1515-68). Out of all the educationists the last named is the most important, on account of his Scholemaster published two years after his death. Therein he puts forward his views on the teaching of the classics.

His own style is too obviously based upon the ancient Roman writers. “By turns”, remarks Legouis, “he imitates Cicero’s periods and Seneca’s nervous conciseness”. In addition to these well-known educationists must be mentioned the sizable number of now obscure ones—”those many unacknowledged, unknown guides who, in school and University, were teaching men to admire and imitate the masterpieces of antiquity” (Legouis). Prose: The most important prose writers who exhibit well the influence of the Renaissance on English prose are Erasmus, Sir Thomas More, Lyly, and Sidney.

The first named was a Dutchman who, as we have already said, came to Oxford to learn Greek. His chief work was The Praise of Folly which is the English translation of his most important work-written in England. It is, according to Tucker Brook, “the best expression in literature of the attack that the Oxford reformers were making upon the medieval system. ” Erasmus wrote this work in 1510 at the house of his friend Sir Thomas More who was executed at the bidding of Henry VIII for his refusal to give up his allegiance to the ‘ Pope. More’s famous prose romance Utopia was, in the words of Legouis, “true prologue to the Renaissance. ” It was the first book written by an Englishman which achieved European fame; but it was written in Latin (1516) and only later (1555) was translated into English. Curiously enough, the next work by an English man again to acquire European fame-Bacon’s Novum Organwn-was also written originally in Latin. The word “Utopia” is from Greek “ou topos” meaning “no place”. More’s Utopia is an imaginary island which is the habitat of an ideal republic. By the picture of the ideal state is implied a kind of social criticism of contemporary England. More’s indebtedness to Plato’s Republic is quite obvious.

However, More seems also to be indebted to the then recent discoveries of the explorers and navigators-like Columbus and Vasco da Gama who were mostly of Spanish and Portuguese nationalities. In Utopia, More discredits mediaevalism in all its implications and exalts the ancient Greek culture. Legouis observes about this work : “The Utopians are in revolt against the spirit of chivalry : they hate warfare and despise soldiers. Communism is the law of the land; all are workers for only a limited number of hours. Life should be pleasant for all; asceticism is condemned.

More relies on the goodness of human nature, and intones a hymn to the glory of the senses which reveal nature’s wonders. In Utopia all religions are authorized, and tolerance is the law. Scholasticism is scoffed at, and Greek philosophy preferred to that of Rome. From one end to the other of the book More reverses medieval beliefs. ” More’s Utopia created a new genre in which can be classed such works as Bacon’s The New Atlantis (1626), Samuel Butler’s Erewhon (1872), W. H. Mallock’s The New Republic (1877), Richard Jefferies’ After London (1885), W. H.

Hudson’s The Crystal Age (1887), William Morris” News from Nowhere, and H. G. Well’s A Modern Utopia (1905). Passing on to the prose writers of the Elizabethan age-the age of the flowering of the Renaissance-we find them markedly influenced both in their style and thought-content by the revival of the antique classical learning. Sidney in Arcadia, Lyly in Euphues, and Hooker in The Laws of Ecclesiastical Polity write an English which is away from the language of common speech, and is either too heavily laden—as in the case of Sidney and Lyly-with bits of classical finery, or modelled on Latin syntax, as in the case of Hooker.

Cicero ? eemed to these writers a verv obvious and respectable model. Bacon, however, in his sententiousness and cogency comes near Tacitus and turns away from the prolixity, diffuseness, and ornamentation associated with Ciceronian prose. Further, in his own career and his Essays, Bacon stands as a representative of the materialistic, Machiavellian facet of the Renaissance, particularly of Renaissance Italy. He combines in himself the dispassionate pursuit of truth and the keen desire for material advance. Poetry:

Sir Thomas Wyatt (1503-42) and the Earl of Surrey (15177-47) were pioneers of the new poetry in England. After Chaucer the spirit of English poetry had slumbered for upward of a century. The change in pronunciation in the fifteenth century had created a lot of confusion in prosody which in the practice of such important poets as Lydgate and Skelton had been reduced to a mockery. “The revival”, as Legoius says, “was an uphill task; verse had to be drawn from the languor to which it had sunk in Stephen Hawes, and from the disorder in which a Skelton had plunged it; all had to e done anew”. It was Wyatt and Surrey who came forward to do it. As Mair puts it, it is with “these two courtiers that the modern English poetry begins. ” Though they wrote much earlier, it was only in 1557, a year before Elizabeth’s coronation, that their work was published in Tottel’s Miscellany which is, according to G. H. Mair, “one of the landmarks of English literature. ” Of the two, Wyatt had travelled extensively in Italy and France and had come under the spell of Italian Renaissance.

It must be remembered that the work of Wyatt and Surrey does not reflect the impact of the Rome of antiquity alone,. but also that of modern Italy. So far as versification is concerned, Wyatt and Surrey imported into England various new Italian metrical patterns. Moreover, they gave English poetry a new sense of grace, dignity, delicacy, and harmony which was found by them lacking iil the works of Chaucer and the Chaucerians alike. Further, they Were highly influenced by the love poetry of Petrarch and they did their best to imitate it.

Petrarch’s love poetry is of the courtly kind, in which the pining lover is shown as a “servant” of his mistress with his heart tempest-tossed by her neglect and his mood varying according to her absence or presence. There is much of idealism, if not downright artificiality, in this kind of love poetry. It goes to the credit of Wyatt to have introduced the sonnet into English literature, and of Surrey to have first written blank verse. Both the sonnet and blank verse were later to be practised by a vast number of the best English poets. According to David Daiches. Wyatt’s sonnets represent one of the most interesting movements toward metrical discipline to be found in English literary history. ” Though in his sonnets he did not employ regular iambic pentameters yet he created a sense of discipline among the poets of his times who had forgotten the lesson and example of Chaucer and, like Skelton, were writing “ragged” and “jagged” lines which jarred so unpleasantly upon the ear. As Tillyard puts it, Wyatt “let the Renaissance into English verse” by importing Italian and French patterns of sentiment as well as versification.

He wrote in all thirty-two sonnets out of which seventeen are adaptations of Petrarch. Most of them (twenty-eight) have the rhyme-scheme of Petarch’s sonnets; that is, each has the octave a bbaabba and twenty-six out of these twenty-eight have the c d d c e e sestet. Only in the last three he comes near what is called the Shakespearean formula, that is, three quatrains and a couplet. In the thirtieth sonnet he exactly produced it; this sonnet rhymes a b a b, a b a b, a b a b, c c.

Surrey wrote about fifteen or sixteen sonnets out of which ten use the Shakespearean formula which was. to enjoy the greatest popularity among the sonneteers of the sixteenth century. Surrey’s work is characterised by . exquisite grace and tenderness which we find missing from that of Wyatt. Moreover, he is a better craftsman and gives greater harmony to his poetry. Surrey employed blank verse in his translation of the fourth book of The Aeneid, the work which was first translated into English verse by Gavin Douglas a generation earlier, but in heroic couplets.

Drama: The revival of ancient classical learning scored its first clear impact on English drama in the middle of the sixteenth century. Previous to this impact there had been a pretty vigorous native tradition of drama, particularly comedy. This tradition had its origin in the liturgical drama and had progressed through the miracle and the mystery, and later the morality, to the interlude. John Heywood had written quite a few vigorous interludes, but they were altogether different in tone, spirit, and purpose from the Greek and Roman drama of antiquity.

The first English regular tragedy Gorboduc (written by Sackville and Norton, and first acted in 1562) and comedy Ralph Roister Doister (written about 1550 by Nicholas Udall) were very much imitations of classical tragedy and comedy. It is interesting to note that English dramatists came not under the spell of the ancient Greek dramatists “(Aeschylus, Sophocles, and Euripides, the tragedy writers, and Aristophanes, the comedy writer) but the Roman dramatists (Seneca, the tragedy writer, and Plautus and. Terence! the comedv writers).

It was indeed unfortunate, as Greek drama is vastly superior to Roman drama. Gpfboduc is a s’avish imitation of Senecan tragedy and has all its features without much of its life. Like Senecan tragedy it has revenge as the tragic —otive, has most of its important incidents (mostly murders) narrated on the -stage by messengers, has much of rhetoric and verbose declamation, has a ghost among its dramatis personae, and so forth. ‘. “. is indeed a good instance of the “blood and thunder” kind’ of tragedy. Ralph Roister Doister is modelled upon Plautus and Terence.

It is based on the stupid endeavours of the hero for winning the love of a married woman. There is the cunning, merry slave-Matthew Merrygreek-a descendant of the Plautine slave who serves as the motive power which keeps the play going. Later on, the “University Wits” struck a note of independence in their dramatic work. They refused to copy Roman drama as slavishly as the writers of Gorboduc and Roister Doister. Even so, their plays are not free from the impact of the Renaissance; rather they show it as amply, though not in the same way.

In their imagination they were all fired by the new literature which showed them new dimensions of human capability. They were humanists through and through. All of them—Lyly, Greene, Peele, Nashe, Lodge, Marlowe, and Kyd-show in their dramatic work not, of course, a slavish tendency to ape the ancients but a chemical action of Renaissance learning on the native genius fired by the enthusiasm of discovery and aspiration so typical of the Elizabethan age. In this respect Marlowe stands in the fore-front of the University Wits. Rightly has he been called “the true child of the Renaissance”.

Chapter 3The Renaissance 1485 – 1660 B. Introducing Political Points of View 1. 2. Francis bacon rose to his chosen profession, the law, until he reached the very top and became Lord Chancellor. At the height of his political career, he was found guilty of taking bribes and was removed from office. Bacon made an important contribution to many different branches of government: political science, economics, physics, literature, architecture, and etc. Bacon’s is most famous for his vision of humanity’s future. Bacon’s best known literary works, The Essays, are intended to help people get ahead in life.

Bacon had embarked on a new career as a practicing scientist, when death overtook him. In 1626, Bacon fell ill during his experiment of freezing a dead chicken to preserve it. In all of Bacon’s works, his aim was to make the world better. 3. “Quickwrite” – five views – You have no knowledge unless you open yourself up to learning. – Reading increases your vocabulary. – Learning opens up your doors to a greater future. – Learning gives you a greater ability to succeed. – Reading will broaden your views on others and their knowledge, along with increasing your knowledge. . “Vocabulary Development” -The disclosure was set to be given on his inaugural day. -His sloth put him off from completing his work on time. -Her affectation earned her the perfect job. -The diligence of the student earned him the well deserved A+. -We battled threw one more impediment before we reached our goal. 5. “Yellow Boxed Question’s” 1. Studies serve for the delight, for ornament, and for ability. Their chief use for delight is in privacy and leisure; for ornament, is in discourse; and ability, is in the judgment and disposition of business. 2.

Bacon concludes that reading is to weigh and consider and not to be taken for granted. 3. The difference among books are meant to be ‘tasted,” and books that are meant to be “swallowed,” and books meant to be chewed and digested,” is that some books “are to be read only in parts; others to be read, but not carefully; and some few to be read wholly with diligence and attention. ” 4. Studies are to the mind as a thumb is to a hand. 6. 7. ”Literary Response and Analysis” 1. Studies can be misused by being sloth. 2. Reading should be used to weigh and consider, but not to be taken for granted. . The readings of: histories, poems, mathematics, natural philosophy, moral philosophy, and logical rhetoric makes us wise. 4. I think that Bacon’s main idea is one of every day, “knowledge is power,” is great. Without knowledge how can we succeed if we don’t have some substance to get us started to succeed. Just like Bacon said “the plots and marshaling of affairs, come best from those that are learned. ” 5. Studying can be sloth but to a certain extent, it contradicts itself. If you study too much, you don’t put forward all that studying into something other than studying continually.

If you don’t study enough you can’t put forward an idea without the knowledge of a person who has studying the subject for a long period of time. So it just contradicts itself over and over again. 6. In “Of Studies” you can see a bit of Bacon’s cynical mind, for example “books are meant to be tasted, swallowed, chewed and digested,” a book is meant to be read. 9. Bacon’s views are still relevant today, “knowledge is power” and other points are used to encourage people, especially children to help them succeed with life. 9. “Yellow Boxed Questions” 1.

The speaker contrasts the situation of women with that of men by describing how men treat women and how women “live like bats or owls, labor like beasts, and die like worms” 2. The second speaker criticizes the first speaker about how she explain the miseries of women, but no solutions to get rid of them. 3. The third speaker feels very differently from the other two speakers. She states “we have no reason to speak against men…they are our protectors, defenders and maintainers. ” She has a complete different opinion than the other two speakers. . You can infer that the seventh speaker is a confident women, the other three women see themselves as inferior, unlike the seventh speaker who sees women as “noble ladies, honorable gentlewomen, and female-commoners” worthy. You can tell she’s comfortable and respects herself enough to speak of women that way. 5. The speaker’s repeated uses of “if…then” is able to effect the women to be confident by giving them a statement about a man and returning with a greater and more positive thing a woman is. . According to the seventh speaker, women have no reason to complain because we do not waste our lives or beauty or our tender lives because we’re not out digging in mines or go on dangerous voyages, or burn our faces with smiths’. The gifts that have been given to women are much better, since women are favored by nature in giving us beauties, features and shapes, that attracts men and are forced to admire and love a woman. 7. I agree with the seventh speaker, women are favored by nature, giving us the beauties.

A man has his attributes to be strong and lean, as well as a woman can be strong, It goes either way, each gender is unique and has both its weaknesses and strengths. 10. “Comparing Political Assumptions” -Question #3 Response. In the excerpts from Margaret Cavendish’s Female Options, each of the speakers has their own opinion, voice, and argument. The first three speakers all contain the same starting phrase, “Ladies, gentlewomen, and other inferior women…” Bring the three speakers together, but all contain their own definition to inferior women.

The first speaker wishes to be equal to a man and argues that “men are happy, and we women are miserable. ” Men have the power and the women are helpless, the men have the power to have all the freedom they want, including taking a woman away from their freedoms. Unlike the first speaker, the woman does not complain about the men. She knows she has no right with them, “our words to men are as empty as sounds,” but she does complain that the first speaker does not speak of any solutions against the men. The speaker tries to solve the problem with them men, yet everything she thinks of is easily disregarded by a man.

As well as the first speaker she gives up hope. The third speaker finally speaks highly of men. She argues that there is no reason to speak against the men, “who are admires and lovers; they are our protectors, defenders, and maintainers; they admire our beauties, and love our persons….. all which we could not do ourselves. ” The problem is not with the men, the speaker brings to the table the conflict against Nature. Nature made men more ingenious, witty, and wise. The speaker wants you to love, praise, and pray for men.

Without men, women would be miserable the way Nature wanted them to be. Finally the seventh speaker, bring on the greatest change by presenting herself and the rest as “Noble ladies, honorable gentlewomen, and worthy female-commoners. ” The effects the people by an “if…then” structure. She puts down the strength of men by showing positive traits of a woman and telling you how Nature wanted women to be that way. The ones being punished is the men having to deal with the hardships of the work, being burned by smiths, fight in battles, take on dangerous voyages, or digging in mines.

Nature blessed the woman with beauties, features, and enticing attractive. Men are the ones who suffer, they are forced to admire a woman and love us. Compared to the seventeenth century, women still doubt if they are the inferior sex. Compared to the seventeenth century, it is no longer valid for the man to just receive the education or take on the “strong” men job, such a digging in mines or fight in battles. Women are treated equally according to the government, woman may do as they please without the oppression of being a woman, yet its not all ways this way and women are till being oppressed for their “inferior” role. 10. “Summary of John Milton” Early in John Milton’s life it was said that he’d be a great poet. His teachers parents encouraged him in his ambition in poetry. Milton’s father was a musician and a prosperous business man. Milton received his education at St. Paul’s School and Cambridge University. Milton spent eight years after college continuing his education by himself, since he firmly believed that a poet must be a person of learning, familiar with ancient and contemporary philosophy, history, languages, and literatures.

Milton believed that a poet must be active in the life of his time and entered the paper warfare that accompanied the conflict between King Charles and his Parliament. Some of his work was very elaborate and a few of them very insulting in support of the Parliament party. Some people have referred Milton as a Puritan because of his work. During part of this period, Milton served in the government of England under Oliver Cromwell. Milton was responsible for translating all correspondence with foreign countries. Milton’s eyesight was gradually falling. By 1652, he could only distinguish day from night.

By the age of forty-four, before he had finished his life work, Milton was completely blind. Milton published Paradise Lost twice: first in a ten book version in 1667 and then in twelve books in 1676, the year of his death. It is not exaggeration to say that Milton in one way or another worked on this epic all his life. Paradise Lost is one of the most brilliant achievements in English poetry. 11. “Yellow Boxed Questions” 1. The subject of Milton’s story is man’s first disobedience. 2. Milton’s purpose is to show men how God was and his ways. 3. The loss of happiness and pain torments Satan in hell. 4.

Milton uses the images of a great furnace flames, yet no light from the flame, no darkness visible, and regions of sorrow to describe hell Chapter 4 The Restoration and 18th Century 1660 – 1800 A. A Modest Proposal, Top of the Food Chain, from Don Quixote 1. “Summary of Jonathan Swift” Jonathan Swift is the principal prose writer of the early eighteenth century and England’s greatest satirist. Swift was a Anglo – Irishman. Swift was born in Dublin of English parents. Swift was abducted by his nurse which he spent three years in England with her. Swift went to England to become Secretary to Sir William Temple.

The job gave him the opportunity to mingle with the public, read, and look about for a more important and permanent position. Swift did not write for fame or money; most of his books and pamphlets were published anonymously. Swift’s aim in writing was to improve human conduct, to make people more decent and humane. 2. Verbal Irony- occurs when a writer or speaker says one thing but really means something quite different. Logical Appeals- using evidence such as facts or statistics to support a position. Emotional Appeals- passages that use words that arouse strong feelings.

Ethical Appeals- passages that establish the writer’s qualifications and sincerity. 3. “Vocabulary Sentences. ” 1. The homeless man had no sustenance to continue with his life. 2. Our landfills are glutted with trash. 3. The young man had no deference for his parents. 4. It was very scrupulous to decide which college to attend. 5. The newspapers were unanimous in their censure of the tax proposal. 6. It is expedient that you go. 7. The conversation slowly digressed over time. 8. The woman procured the first tickets on sale. 9. The press only gives the public the brevity of the story. 10. The poor man had much animosity against the rich man. 1. 6. “Practice” 1. A- dismayed : happy. 2. A- foolish : intense. 3. B- cautious : careless. 4. B- emotion : happiness. 7. Satire- any piece of writing designed to make its readers feel critical of themselves, of their fellow human beings, and of their society. Some satire’s purpose is to make us laugh at human foolishness and weakness, these satires are good natured and laugh provoking. Other satires may make us laugh, but it is often laughter of a bitter kind, arising from anger and indignation at human vices and crimes. 8. “Summary of Miguel de Cervantes” Miguel de Cervantes was born near Madrid, Spain in 1547.

In 1569, Cervantes saw no prospects at home and enlisted in the army, fought valiantly, and was wounded at the Battle of Lepanto. His left hand was crippled, earning him the nickname el manco de Lepanto. Cervantes hoped to be promoted to an army captain after the way, but his plans were ruined when he was captured by Barbary pirates and held as a slave for five years in Algeria. Over the years he worked as a playwright, bureaucrat, and tax collector before finally landing in jail for failure to pay his debts. According to legend, it was while he was in jail that the idea for Don Quioxte came to Cervantes.

The Ingenious Gentleman Don Quixote of La Mancha was published in January of 1605 and immediately caused sensation. Cervantes, at the age of fifty-five, was now a famous author, but he still was poor. Spain’s greatest writer died in poverty on April 22, 1616. 9. B. Women’s Rights: Introducing Political Points of View 1. 2. “Summary of Mary Wollstonecraft” English feminism begins with Mary Wollstonecraft who demanded “Justice for one half of the human race,” that is, women. At nineteen and self-educated, Wollstonecraft left home to work in some of the few occupations legally available to single women.

She became a governess for a wealthy Irish family and witnessed the “dissipated lives the women of quality lead. ” Wollstonecraft left Ireland and moved to London to work as an editorial assistant. Wollstonecraft publishes A Vindication f Rights of Men, which defended the principles of human equality underlying the French revolution. Later Wollstonecraft published A vindication of the Rights of Woman, an impassioned criticism of social and economic institutions that sanctioned women’s inequality. Mary Wollstonecraft died from septicemia and her daughter successes to write the famous Frankenstein. . “Vocabulary Sentences” 1. The husband showed great solicitude toward his wife’s health. 2. We had to have a non partial jury. 3. The man deplored staying home than going on the camping trip. 4. The teacher could not control the fastidious class. 5. His specious attitude did not win over his boos. 6. The new law was to be abrogated by the public. 7. Her story as very cursory to believe. 8. We gave a cursory glance at the headlines. 9. The girl had a insipid personality. 10. The Alcoholic had a propensity to drink too much. 4. “Vocabulary Development” 1.

A parent would show great solicitude for their children’s grades. 2. The opposite of a partial juror, is a impartial juror. 3. The opposite of deplore would be to accept. 4. The opposite of a fastidious person would be a calm person. 5. You would reject a specious argument because it is not true. 6. If you have abrogated your responsibilities, you have abandoned them. 7. The opposite of a cursory investigation would be a true investigation. 8. If you vitiate a argument you weaken it. 9. The opposite of a insipid argument would be a upbeat argument. 10. If you have a propensity for lying people would never believe you.

He allowed the first pitch to pass him by, as though it was unworthy of his attention and skill, with the second pitch the same, and as the third approached to crop wad was ready to jump to fence at take the field. Casey now with determination and a fierce anger in his eyes, ready to hit the third pitch and prove his overly hyped skills. As the ball approached the crowd fell silent, Casey swung with all his might, creating a thick dust clog d. The dust settles as an overwhelming disappointment fell across the crowd, Casey had s truck out.

The short narration of the game show flaws in Case’s character, best reveal by the crowd’s perception of him, and his pride, ultimately leading to his death as the e character of ‘the mighty Casey”(20). Casey is just a man, nothing more, the crowd made him to be more, because t he outcome of the game is looking poor and they needed a hero. All the men before Casey struck out or made base by a stroke Of luck. Casey happens to be at the end 0 f the roster, the last chance, the hero of the game.

The crowd speaks of him as though he is the e only chance the team ever has of a victory, the only reason the sun came out this morning g, “if only Casey could 2 get but a whack at that / We’d put up even money, now, with Casey at the bat”(78). The only reason for showing to the game was to watch Casey at the bat, “for Casey, mi eighty Casey, was advancing to the bat’ (20). Casey is known by all the fans as mighty, confine dent, prideful, and the only decent player they have seen all game. Making themselves and C ease blind to any mistakes Casey has and will make.

Casey is a baseball player for the mudslide nine whose demise as a character s shown because he is too prideful. During the failures of the other batters, the only thing the onlookers can think of is watching the beloved Casey hit the ball. And Casey, h myself knows it, “For Casey, mighty Casey, was advancing to the bat. / There was ease in Case’s manner as he stepped into his place; / There was pride in Casey bearing and a smile on Case’s face” (2022). Though Careers true colors are shown when he allowed the first pitch to pass him right by, as he says “That anti my style”(32).

Come the second pitch the as me, as though the ball is unworthy of even one more glance, “But still Casey ignored T here is a very fine line between having self confidence and being conceited, Casey flirts co insatiable with that latter of the two. Often an over the top display self confidence can be an tempt to try and hide their shortcomings and failures. Case’s pride is nothing more than s elf hype. By the end of the poem his character flaws and downsides are revealed entirely.

He s so sulfanilamide and overzealous his pride becomes the only thing on his mind, an d in doing so he loses his mighty reputation, “But there is no joy in Mudslide mighty Casey has struck out”(53). Pride can kill any man, no matter their intelligence or ability to reason, because e it is rarely a good quality to possesses. Pride, it can have a tremendous impact on how you perceive yourself and how others think of you. It impacts your behavior tow rd others and he manner in which you speak to them, how you chose to live your life, how you dress and present yourself, 3 and your attitude towards the day.

It comes down to measuring yourself gaga nest everyone else, “The rest / Clung to that hope which springs eternal in the human breast; / They thought, if only Casey could get but a whack at that / We’d put up even money, now, with Casey at the bat. But Flynn preceded Casey, as did also Jimmy Blake”(59), instead of looking tat ourselves and discovering what makes you, you, uniquely and without compare. It comes aft ere someone has harmed us, after we’ve achieved something monumental, or done something against perceived odds.

Pride can be the boost we need to protect ourselves from an y further harm or disappointment from others. But pride can have a strong negative impact, “B UT there is no joy in Mudslide mighty Casey has struck out”(53). Pride can ruin you by giving you the false illusion of knowing more than you do, or even make you believe you know eve retrying. Instead of you hearing a suggestion or a cautionary warning, you hear a dare, some en assuming you will fail. Pride was Case’s superpower but also his krypton, leading to his own personal destruction. English 100002 Rewrite one of your topic sentences.

In Beneath the Lines of Historical Art: Comparing and Contrasting the Work of Northern and Italian Art Intro of Denver Art Museum Honestly, this was probably one of the best experiences of my entire life. I’m not the best person with knowledge about art but I definitely love to appreciate art more after this visit. Not only was I amazed how the exterior of the architecture was so imaginary and different but I was completely surprised; this was not what I expected. It was so awesome that they can create something so wonderful and stable! When I arrived I wasn’t quite sure where I was to enter, but eventually I found the entrance.

Exterior was not as amazing as what was inside of it! I do admit I was a little lost but I eventually found out where to go. I definitely like how they gave every painting, Its own space/territory. Instead of throwing every artwork into one wall, the paintings had their own room basically. And I would think everything was going to be old but everything was kept clean and sanitized. The architect for the Interior was Like new and I never felt so comfortable. I loved every thing about this visit and will return In he future more times than once. Love It, love It!!

Comparing and Contrasting influential artist and sculptures; Michelangelo, Leonardo Dad Vinci, Lorenz Gibber, Detonated, Udder, and many more. During the same time many unknown artist arisen and influenced change on the perspective of art or what the meaning of what art can be. For Instance, even a speck of light and shade can change the overall outcome between velvet and wool, copper and aluminum. As well as, a small item in a painting can briefly explain an entire paintings storyline and can help understand the artist even more. The Renaissance contributed to a variety of similarities and differences.

But nowhere is this more apparent than in the similarities and differences we will find between the art of Northern Renaissance and Italian Renaissance which will be explained further on. Nevertheless, art work shall always be thoroughly observed otherwise it will be misinterpreted. Breathe Abeam was a Northern German Renaissance engraver (1502-1540) and he and his brother Seabed Abeam were also successful printmakers. In 1525 the brothers and a fellow artist were tried for their radical religious and political beliefs ND they were expelled from Nurturers in 1529.

Eventually Breathe Abeam continued his work with portraits as the court artist to Duke William IV of Bavaria. One of the art works currently held at the Denver Art Museum Portrait of a Woman demonstrates how colors are an importance on indicating the texture and appearance of an object. By the use of how much detail is put into every little aspect in the illustration (looking closely, every crease in her wardrobe shows the woman’s body structure/posture), and narrative because the indications of her gold rings on ere hands, the wardrobe can simply predict that this is an important, wealthy, German woman during the sass.

In this portrait painting, is a German Matron (a member of the House of Chad von Antibacterial), she emphasis her wealth and status by her luxuries garments and signifies her power/status by displaying a substantial posture with her hands held together. Beam’s mastery of space reflects in his portraits; the colors of light and shade, enables him to represent so convincingly the rich fabrics worn by his noble subject and makes this woman look as if she was imaginary/perfect or “too good to be rue. But it’s not Just the garments that the woman wears that makes this a remarkable piece of art but its how proudly she stands and how she holds her hands together. Outstanding posture can signify importance and strength because the hands are clearly illustrated in the center so the audience will notice it first. “Portrait of a Woman,” By Breathe Abeam (1 500 – 25), A German Northern Renaissance Engraver viewpoints of the artist. In the following Portrait of a Woman, Abeam tells, the person that is looking at this portrait, that this woman is no average women.

Looking ruefully, she is against a plain wooden board background which brings out the color of her large fur collar on her silk coat, this is a clear indication of what her status is in the society; her gown has sleeves trimmed with velvet bands and her white head covering is wrapped around by a fine linen veil it seems. As well with the nice clothing, there is a noticeable Jewelry on her hands. These are several gold rings which is important because it signifies that this portrait in not about personality and characteristics but this is about the small petite materials involved in the illustration.

Breathe Abeam uses the color of light and shade to contribute to the texture in his materials and the narrative of his entire piece. Many artist display discrete kinds’ objects in paintings to Justify a storyline but all artists have brief similarities. So as you were to look at a Northern Renaissance artist you can see similarities to an artist in the Italian Renaissances art piece. Vitro Carapaces was a Southern Italian painter of the Venetian school, he studied under Gentile Beeline.

Little is known of his early life, but influences came from his astonishing work of the Beeline Family and Antinovel dad Messing. Vitro was regularly known for his individualism in his artwork, stated Giorgio Vassar, an early biographer of Renaissance artists. He produced many large-scale narrative wall paintings of religious subjects for the city of Venice. But a piece that stood out from the rest of his work, was a portrait off lady holding a book. In the sass Vitro illustrated the Portrait of a Lady with a Book, currently, belongs to the Denver Art Museum.

This artwork not only brought out Aviator’s individualism but showed that art can be useful, simple, and can tell a story to a few that understand it. The individual in this portrait may be a Tuscan poet Grammar Coors Ramose, who also had her portrait painted by Aviator’s teacher, Gentile Beeline. The lady in the illustration holds a book, possibly an indication that she was a writer. The woman’s hairstyle and dress are typical of Venetian style. Her hair is held by a transparent net on the back of her head, and loose strands hang on either side of a face that is not beautiful or young, but reveals an average Venetian woman.

She wears a simple Ackley (made out of rope it seems); the upper part of her dress is decorated with gold and lace trim and pearls. Similar to Beam’s Portrait of a Woman it was not the background and colors that made the portrait interesting, but it was a small and not so noticeable item, the book in her hands. The novel signifies that the following lady could in fact possibly be a writer. This contributes to the opinion that the artist and the subject of the painting can be one and of the same because of their individualism. “Portrait of a Lady with a Book,” By Vitro Carapaces (1500), A Southern Italian

Renaissance Painter Breathe uses light and shade to contribute to the color of his materials making his art individualism to an artwork that stays understandable for the world. Breathe and Vitro use a dull background in order to expose the important figure in the center (in this case the women), as well as, a way to notice the partially visible props. For instance, the Jewelry expresses immense characteristics of both women by using a simple item, the book and the German women’s Jewelry. Despite the comparisons between the two, there remains a variety of divergences.

One central difference is how both artworks derive from nature. In Breather’s creation the color plays an increasingly large factor in whether this art derived from nature. In his piece, the woman’s whole attire is accurately detailed, meaning “too good to be true. ” In Aviator’s visual the woman can be defined as “short and simple” considering the fact, visually, she signifies an average woman during the Renaissance. Another huge difference that may not seem visible to many but the way Venetian Woman and German women look at the audience. She looks away from the painting, as if she does not want to be seen.

Or she is ashamed that she is a writer. But because of history, Women in the Italian renaissance were not quite comfortable of their amazing talents. And women in the Northern Renaissance had more comfort of showing their talents because Northern art was more acceptable to differences than of the Southern Italian Renaissance art. So looking back at the German women she seems more comfortable of a self-portrait than the Venetian Women below. This is a huge difference between Northern and Italian Renaissance Art. Attractiveness in Art is important because a small item can tell an entire narrative of an artwork.

Breathe used light and shade in order to emphasize the texture of the German matron’s wardrobe in order to understand that this is a wealthy woman. But Vitro manipulated an average woman living in the Italian renaissance and depicted only her stance and how she looked at the audience. Introducing a huge narrative about how women’s talents were compared to women talents in the Northern Renaissance. Even though the two are derived from different areas of Europe they contribute almost identical strategies to display their narratives in order for us the audience to look in beneath the lines of Historical art.

There was relatively little commerce in Western Europe. Roads, bridges, and the infrastructure generally were non-existent. Furthermore, the countryside was unsafe for travel due to a lack of organized law enforcement. Small villages had to take care of themselves; therefore, manufacturing was carried on only to the extent that was needed to supply local needs.

In the little kingdoms or principalities, the lands over which a King ruled were regarded as no different from other property. Among the Franks, all sons were entitled to a share. Therefore, when a King died, each son became a King over his own little kingdom. Thus, many political units became small so there were no uniform laws or policies. This lack of unity made them vulnerable to enemies as well as conflict from within. Bullough points out that the loyalty of a warrior or subject to his chosen leader was not a light matter. The author does not contrast that concept of loyalty however, with our present ideas of loyalty to the homeland or institution.

“The apprenticeship of a King” describes how Charlemagne gained power through conquest and diplomacy. In 768, King Pippin died and his kingdom was divided between his two sons. Charles, the elder, and the younger was Carloman. The author says that little is known of Charles” boyhood. When he was of the right age, it is recorded that he worked eagerly at riding and hunting. It was the custom of the Franks to ride and be practiced in the use of arms and ways of hunting.

We may reasonably infer that acquiring these skills formed a major part of his early education. Charles was not a “man of letters” and the author makes no attempt at explaining this other than to point out that literacy was considered unimportant at that time for anyone other than the clergy and Charles didn”t become interested in “letters” until later in life. Bullough explains a number of experiences in public duties and responsibilities, which were assigned to Charles by his father, thus, giving him an apprenticeship to rule the kingdom.

For some reason tension between Charles and his brother began shortly after their accession. The author explains a number of conflicts. The younger brother died however, at the end of 771 and a number of prominent people in his kingdom offered allegiance to Charles. Bullough names and explains those subjects. The result was the re-uniting of those territories, which helped to establish the kingdom of the Franks. The author describes in detail the military conquests of Charlemagne. The text includes maps of the territories and battlefields. It is stated that to some areas, Charles may have come as a liberator from the infidel yoke, but to many other peoples who bordered his dominions, Christian and Non-Christian alike, he was an oppressive enemy, like so many others before and after.

In 880, Pope Leo III called on Charles for assistance when he faced charges of simony, perjury, and adultery. Charles acted with careful deliberation when dealing with this matter. Charles was asked to preside over the Pope”s hearing. He did so, and Leo was cleared of all charges. Two days later, Leo placed a crown on Charles head and proclaimed him Holy Roman Emperor. This gave Charles the “Devine Right to Rule” according to the Roman Church.

The author does not infer from any of this information. Personally, it seems that Charlemagne united an empire by conquest and ruled by the authority of the Pope. Bullough does not suggest that during this time the government and the church became so intervened that there were really one and the same.

Having conquered an empire and established the “Devine Right to Rule”, Charles then, according to Bullough, began to establish some uniformity within the empire. The ancient concept of public order had not been entirely destroyed by the invasion of barbarians within the empire. But, as law and order became weaker, its place was partly taken by the Churchmen”s Nations of peace and right order. The author explains how Charles established a system of courts to see that justice was done to all free disputants and to protect widows and orphans. The author does not state any conclusions as to the results of the establishment of a uniform legal system.

Although Charles was not literate, he seems to have placed value in education. Bullough credits him with a revival of learning or a “Carolingian Renaissance”. Charlemagne saw that education was in serious decline. So he gathered together at his court some of the finest minds of his day. He also sponsored monasteries where ancient books were preserved and copied. He reformed the palace school and saw that monastic schools were set up throughout the realm. The idea of learning was given a time and a place to flourish.

The “Carolingian Renaissance” was an isolated phenomenon. Learning did not catch fire throughout Europe. Only in the royal court and monasteries was there any real focus on education. Yet because of Charles” interest in preserving and reviving knowledge, a wealth of ancient manuscripts was copied for future generations. Just as important, a tradition of learning was established in European monastic communities. These monasteries helped to overcome the threat of the extinction of Latin culture.

The Carolingian handwriting that evolved during Charlemagne”s reign was developed to increase the legibility of the numerous manuscripts the monks turned out at this time. These small letters, known as “Carolingian Miniscule” became the basis of the lower case letters we use today. Ninety percent of the works of ancient Rome now in existence are preserved in the form of manuscripts copied in a Carolingian Monastery.

Bullough devotes much time to the areas on art and architecture during the Carolingian period. Included are photographs of buildings, which are standing, and in use today. There are also ground plan drawings of buildings and samples of other works of art. Being closely aligned with the church, it is not surprising that the major examples of Carolingian architecture are churches and Biblical illustrations make up much of the art. These are not the only works. There are also many secular works, such as “Charles and his Warriors”.

Bullough tries to separate legend from reality. It seems that while Charles attempted to rekindle an interest in learning and unite various groups into one nation, he never addressed the economic difficulties that Europe faced now that Rome no longer furnished order. Although Charlemagne did devise the system of pounds, shillings and pence used throughout Europe during the middle ages and in Britain until recently, other segments of the infrastructure continued to decline. Roads and bridges fell into decay, trade was fractured, and manufacturing was by necessity a localized craft instead of a widespread and profitable industry. But these are only failures if Charlemagne”s goal was to rebuild the Roman Empire. It is doubtful, however, that that was his motive. Charles was a Frankish Warrior King with the background and traditions of Germanic peoples. He probably succeeded in his goals.

Charlemagne treated his empire as his personal property and divided his realm among his sons. Either he failed to realize that only with unity could the empire become a true power, or he placed his own wished, and those of his sons, above the decisions that would best serve the empire.

The book is a good source for specific information. It is not a book that I would suggest reading for pleasure. Bullough gives facts and sources but does not stimulate thought. I am sure this book would be great if the reader had considerable knowledge of history. The author makes few direct connections or speculations as to why Charlemagne made certain decisions and took certain actions or the long-term effects of his actions. The author infers most of the conclusions included in this paper in a vague way. At times, I found myself groping for conclusions as to why certain actions were taken. This book provides the reader with hard facts about the Middle Ages in Europe. It does not allow the reader to draw many theories as to the ideas and feelings of the people.

Filippo Brunelleschi Many people before I have said that Filippo is the father of Renaissance architecture. During his lifetime, he was indisputably the most prominent architect in Italy. Filippo, the second of three children, was born in Florence, Italy in 1377, to a lawyer and father, Brunellesco Di Lippo and his mother, Giuliana Spini. In 1392, he began his apprenticeship in a small workshop in Florence. After only 6 years, he passed his examination and became a guild master goldsmith.

An important influence on him at this time was Paolo dal Toscanelli, a merchant and medical doctor. Paolo had an interest in science and mathematics and eventually taught Filippo the principles of geometry. He also brought out Brunelleschi interest in technology. In 1401, Brunelleschi entered a competition with seven other esteemed artists to design the bronze doors of the Florence Baptistery. Though his work was amazing, another artist was the victor in the competition. Therefore, he was given the job as the assistant to the artist in control of the commission.

After this setback, Brunelleschi turned more towards to architecture. He then stayed 7 years in Rome working beside his friend, Donatello. In 1415, Filippo made an important achievement in the mathematics field. He rediscovered the principles of linear perspective, only using mirrors. With this discovery, he now understood that there should be a single vanishing point to which all parallel lines in a plane, other that the plane of the canvas. During this time, he also made the time to understand the scale and other mathematical principles.

From the year 1409 and onward Filippo became fascinated by the uncompleted Duomo Santa Maria del Fiore, the Cathedral in Florence. Work on this cathedral began in 1296 but problems persisted on the huge engineering problem of how to place the dome on the octagonal Baptistery. After another competition, Filippo won and was give the commission to finish the cathedral with machines and a unique design that he came up with. The cathedral was a prolonged process in which it was almost finished when Filippo died in 1446.

All that was left to do was add a lantern that Filippo had already designed. Although the dome of this astounding cathedral was Brunelleschi’s most famous architectural achievements, he has created much more works of art. For example, he redesigned and created the Church of San Lorenzo in the early 1400’s. Another famous work was the Pazzi Chapel. Filippo has even more claims to fame. During 1421, he became the first person to attain an industrial patent. This patent gave him a three-year domination on the manufacture of a barge with hoisting gear.

In 1477, Filippo Brunelleschi died. He was buried in the Cathedral of Santa Maria del Fiore. Remarkably, his tomb was only found in 1972 after it was lost for hundreds of years. Filippo Brunelleschi was an intelligent man who suits the title ‘ideal man’ perfectly. He was one the men who lived during the renaissance that had it all. Filippo had brains and the will to educate himself further. He was an exceptional artist and architect. He also conquered the fields of mathematics and science. All of this was shown in his architectural works and his works as a goldsmith.

If Filippo weren’t inspired to be an architect, landmarks all throughout Florence, Italy would not be the same. The Church of San Lorenzo and the dome of the cathedral in Duomo would not be such magnificent feats. The idea of counterweights would have been discovered much later in time along with many other principles. In Conclusion, Filippo Brunelleschi was a man who set higher standards for the rest of the men during his time period. Discovering new ideas and conquering more feats, Brunelleschi is one of the few men that can truly be called a Renaissance man.