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• W1586248101 abstract "Archaic Style English Literature, 1590-1674 by Lucy Munro. Cambridge University Press, 2013. Pp. xi & 308. Before his death 1637, Ben Jonson had already complained that Edmund Spenser, in affecting the ancients, writ no language--a typically cutting way to imply that works like The Faerie Queene were, effect, one long, tedious visit to Ye Olde Englishe Tea Shoppe. But Lucy Munro's impressive new book shows that Spenser was hardly the first, nor the last, poet of his era to employ archaism. Even Jonson himself was a semiregular culprit, and Munro deftly moves beyond the usual suspects to explore the deliberate use of archaism across multiple genres and settings, from stage to pulpit, from Catholic poetry to radical prophesy, from humble pastoral to lofty epic. Why do writers all these forums use archaism, Munro asks, and what does it tell us about their engagement with questions of national history, and literary style? To contemporary ears it can be difficult to distinguish deliberate archaisms from our general sense that nearly all early-modern writing sounds archaic. For my students, everything before 1700 is medieval and the fourteeners spoken by Sicilius's ghost Shakespeare's Cymbeline sound no more or less ancient than the blank verse of Miltons Paradise Lost. Accordingly, one of this book's great revelations is the way it clarifies the boundaries between work that was made to sound archaic and work that only gradually came to seem that way. This allows for a valuable recuperation of much writing that can seem merely naive or even to those of us who don't need a glossary to understand it. Love it or hate for example, scholars have long recognized that Spenser whylome did Maske his muse deliberate archaism, but our assessment of the Catholic martyr Robert Southwell shifts mightily when we consider these lines, from the 1590s, as similarly calculated: Graze not on worldly withered weede / It fitteth not thy taste / The flowres of everlasting spring / Do growe for thy repaste. Here, Munro makes it clear, it is not merely the spelling or vocabulary that marks the lines as deliberately old-fashioned, but their use of common meter, the familiar alternating lines of tetrameter and trimeter firmly associated with both English ballads and Thomas Sternhold's and John Hopkins's 1540s translation of the psalms. By the turn of the seventeenth century, Munro shows, this style was considered rude and homely, but for a Catholic poet like Southwell this was precisely the point. When Southwell adopts it, Munro suggests, he makes a certain kind of claim to national identity, a claim that his religious beliefs were not alien but native to a nation that had lost its way under its protestant monarch (116). Such questions of identity and nation were acute during the period covered by Munro's book, 1590-1674. By the 1590s English Protestantism had begun to assert itself on the world stage, while English poets showed new confidence the vernacular as a viable literary language. Simultaneously, a series of events troubled any simple notions of English cultural identity: the accession of James VI of Scotland to the throne 1603, his project of creating a unified Britain and a via media matters of church worship, his son Charles's marriage to the French Catholic Henrietta Maria, and the Civil Wars and Restoration that would redefine the relationship of king and people. Spenser's 1590 Faerie Queene saw archaism move out of pastoral writing--its accustomed home the 1570s and '80s--and into (6); Milton's final version of Paradise Lost, published 1674, absorbed and transmuted this ancient tradition a way that opened onto the era of the modern novel. No English poet would succeed at writing a serious English epic again, and few even tried. Munro puts forth four theses to explain how writers employed archaic style to respond to and facilitate these developments: 1. …" @default.
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• W1586248101 date "2013-06-22" @default.
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• W1586248101 title "Archaic Style in English Literature, 1590-1674" @default.
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