قرن بیستم

The roots of modern literature are in the late nineteenth century. Rejecting Victorian notions of the artist’s moral duty, the aesthetic movement widened the bread between writers and the general public. The “alienation” of the artist underlies key works of modernism. The last decades of Victoria’s reign also saw the emergence of a mass literate population. Modernity disrupted the old order, casting into doubt previously stable assumptions about the self, community, and the divine. Freud’s psychoanalysis changed understandings of rationality and personal development. As the influence of organized religion weakened, many writers looked to literature as an alternative.

قرن ۱۸ و دوران بازگشت

The period between 1660 and 1785 was a time of amazing expansion for England — or for "Great Britain," as the nation came to be called after an Act of Union in 1707 joined Scotland to England and Wales. Britain became a world power, an empire on which the sun never set. But it also changed internally. The world seemed different in 1785. A sense of new, expanding possibilities — as well as modern problems — transformed the daily life of the British people, and offered them fresh ways of thinking about their relations to nature and to each other. Hence literature had to adapt to circumstances for which there was no precedent. The topics in this Restoration and Eighteenth Century section of Norton Topics Online review crucial departures from the past — alterations that have helped to shape our own world.

One lasting change was a shift in population from the country to the town. "A Day in Eighteenth-Century London" shows the variety of diversions available to city-dwellers. At the same time, it reveals how far the life of the city, where every daily newspaper brought new sources of interest, had moved from traditional values. Formerly the tastes of the court had dominated the arts. In the film Shakespeare in Love, when Queen Elizabeth's nod decides by itself the issue of what can be allowed on the stage, the exaggeration reflects an underlying truth: the monarch stands for the nation. But the eighteenth

The Middle Ages

The Middle Ages  

The Middle Ages is like no other period in The Norton Anthology of English Literature in terms of the time span it covers. Caedmon's Hymn, the earliest English poem to survive as a text (NAEL 8, 1.25-27), belongs to the latter part of the seventh century. The morality play, Everyman, is dated "after 1485" and probably belongs to the early-sixteenth century. In addition, for the Middle Ages, there is no one central movement or event such as the English Reformation, the Civil War, or the Restoration around which to organize a historical approach to the period.

When did "English Literature" begin? Any answer to that question must be problematic, for the very concept of English literature is a construction of literary history, a concept that changed over time. There are no "English" characters in Beowulf, and English scholars and authors had no knowledge of the poem before it was discovered and edited in the nineteenth century. Although written in the language called "Anglo-Saxon," the poem was claimed by Danish and German scholars as their earliest national epic before it came to be thought of as an "Old English" poem. One of the results of the Norman Conquest was that the structure and vocabulary of the English language changed to such an extent that Chaucer, even if he had come across a manuscript of Old English poetry, would have experienced far more difficulty construing the language than with medieval Latin, French, or Italian. If a King Arthur had actually lived, he would have spoken a Celtic language possibly still intelligible to native speakers of Middle Welsh but not to Middle English speakers.

sixteenth-century

sixteenth-century   

Literary works in sixteenth-century England were rarely if ever created in isolation from  

 other currents in the social and cultural world. The boundaries that divided the texts we now regard as aesthetic from other texts were porous and constantly shifting. It is perfectly acceptable, of course, for the purposes of reading to redraw these boundaries more decisively, treating Renaissance texts as if they were islands of the autonomous literary imagination. One of the greatest writers of the period, Sir Philip Sidney, defended poetry in just such terms; the poet, Sidney writes in The Defence of Poetry (NAEL 8, 1.953–74), is not constrained by nature or history but freely ranges "only within the zodiac of his own wit." But Sidney knew well, and from painful personal experience, how much this vision of golden autonomy was contracted by the pressures, perils, and longings of the brazen world. And only a few pages after he imagines the poet orbiting entirely within the constellations of his own intellect, he advances a very different vision, one in which the poet's words not only imitate reality but also actively change it.