luni, 30 iulie 2012
Cercetatorii de la Centrul National de Oceanografie din Marea Britanie au publicat recent un articol în prestigioasa revista Nature în care anunta încetinirea, în ultimele decenii, a vitezei curentului Gulf Stream. Format în Marea Caraibelor, Curentul Golfului - sau Gulf Stream - are doua mari cai de circulatie. Calea nordica duce apele calde tropicale pâna în partea de nord a Peninsulei Scandinave. Odata cu racirea progresiva a apelor curentului, acestea coboara în adâncuri datorita diferentelor de densitate si se reîntorc spre sud. Ideea conform careia modificarile climatice globale ar duce la încetinirea curentului golfului nu este noua. Existau deja mai multe modele de prognoza. Cercetatorii britanici au analizat însa acum pentru prima data informatiile de viteza si temperatura recoltate în ultimii 50 de ani. Si tot pentru prima oara experimentele practice au confirmat teoriile privind încetinirea curentului golfului. Care sunt cauzele acestei încetiniri ? Topirea accentuata a banchizei polare si cresterea debitelor marilor fluvii siberiene care se varsa în Oceanul Arctic înseamna un aport mult mai mare de apa dulce, deci apa mai putin densa. Iar reducerea diferentelor de densitate între apele aduse de Gulf Stream si cele polare au dus la o încetinire a vitezei de coborâre în adâncuri a apelor golfului si, deci, si de întoarcere spre sud. Si cu cât mai putina apa se întoarce spre Marea Caraibelor, cu atât mai putina apa calda va circula în viitor spre Scandinavia. Care sunt consecintele ? Apele calde ale curentului reprezinta un fel de radiator pentru partea de nord a Europei. Caldura apei este transferata în atmosfera si apoi redistribuita de catre vânturi în zonele nordice ale Europei. În cazul în care curentul golfului se va încetini si mai mult, caldura ajunsa în partea de nord a Europei se va reduce si, ca urmare, temperatura medie va scadea. O prima modelare vorbeste de racirea climei europene cu un grad celsius în mai putin de douazeci de ani de acum înainte. Dar fenomenul prognozat este mult mai complex si, cu siguranta, nu se poate estima în acest moment nici daca aceasta racire va fi uniforma si nici care vor fi zonele cele mai afectate. Cu certitudine vom asista la si mai multe fenomene meteorologice extreme. Întrebarea încalzire sau racire ramâne totusi în picioare. Si asta datorita numerosilor factori deocamdata partial sau chiar total necunoscuti care întra în ecuatie. Iar stirea conform careia clima europeana se raceste a pus pe jar expertii în strategii de dezvoltare, ale caror concepte de evolutie luau în calcul o încalzire neta.
STUDIUL EFECTULUI FOTOELECTRIC EXTERIOR I. Introducere teoretică Fenomenul de emisie al electronilor de către metale sub acţiunea luminii se numeşte efect fotoelectric exterior sau emisie fotoelectrică. Efectul fotoelectric exterior poate fi studiat experimental cu ajutorul unei celule fotoelectrice, care constă dintr-un balon de sticlă sau cuarţ vidat care are în interior doi electrozi: fotocatodul, realizat sub forma unei pelicule de Na, Cs sau Rb depusă pe o porţiune din suprafaţa interioară a celulei şi anodul, care este un inel metalic fixat în mijlocul balonului. Între cei doi electrozi se stabileşte o diferenţă de potenţial cu ajutorul bateriei. Sub acţiunea luminii, otocatodul emite electroni care sunt atraşi de anod, iar microampermetrul A înregistrează intensitatea curentului electric. Se observă că pe măsură ce V creşte diferenţa de potenţial U aplicată electrozilor, creşte şi intensitatea curentului fotoelectric, până când la o anumită valoare a tensiunii, intensitatea curentului atinge o valoare maximă, numită intensitatea curentului de saturaţie Is. în acest moment, toţi electronii emişi de fotocatod ajung la anod. Pentru U=0, curentul fotoelectric nu se anulează, ceea ce arată că electronii care părăsesc fotocatodul au viteze iniţiale diferite. Unii electroni au viteze, respectiv energii cinetice suficient de mari ca să ajungă la anod în lipsa unei tensiuni de accelerare. Mai mult, unii electroni pot învinge chiar şi o tensiune de frânare, ceea ce explică faptul observat experimental că, intensitatea curentului fotoelectric nu se anulează nici la tensiuni de frânare mici, ci numai la o anumită valoare a tensiunii de frânare, Uo. valoarea Uo este legată de energia cinetică iniţială a electronilor prin relaţia: . Studiindu-se efectul fotoelectric exterior, s-au găsit următoarele caracteristici: 1. Intensitatea curentului de saturaţie este direct proporţională cu fluxul incident pe suprafaţa catodului: . 2. Energia cinetică iniţială a electronilor variază direct proporţional cu frecvenţa luminii incidente şi nu depind de intensitatea fluxului luminos incident. 3. Pentru un catod dat, efectul fotoelectric nu se mai produce dacă frecvenţa radiaţiei incidente este mai mică decât o valoare numită frecvenţa de prag prag. 4. Efectul fotoelectric exterior se declanşează practic instantaneu. A. Einstein a explicat efectul fotoelectric exterior cu ajutorul noţiunii de cuantă de lumină, denumită foton. Energia unei cuante de lumină este proporţională cu frecvenţa sa: unde h=6,62.10-32j.s este o constantă universală, numită constanta lui Plank. Când fotonul cade pe suprafaţa unui metal şi se ciocneşte de un electron, îi cedează acestuia întreaga sa energie h. din această energie, o parte se cheltuieşte pentru a învinge forţele interioare care reţin electronul în metal, deci sub formă de lucru mecanic de extracţie Le, iar restul se regăseşte sub formă de energie cinetică cu care electronul părăseşte metalul. Putem scrie deci bilanţul energetic: . Când frecvenţa radiaţiei incidente scade, energia cinetică iniţială a electronilor se micşorează. La o anumită frecvenţă, numită frecvenţă de prag, energia cinetică iniţială a electronilor este nulă şi avem: . Dacă , efectul fotoelectric nu se mai produce. II. Descrierea aparaturii Celula fotoelectrică, montată pe un călăreţ, se poate deplasa de-a lungul unui banc optic. Iluminarea celulei se face cu un bec electric, fixat pe un alt călăreţ ce se poate deplasa pe acelaşi banc optic. Circuitul electric se realizează pe un panou, pe care sunt montate instrumentele de măsură necesare. Ca sursă de alimentare se foloseşte un redresor. III. Procedeu experimental 1. Ridicarea caracteristicii curent-tensiune: a) Se realizează schema electrică din prima figură; b) Se fixează o anumită distanţă între izvorul luminos şi celula fotoelectrică; c) Se variază tensiunea electrică din 2 în 2 volţi şi se citesc valorile corespunzătoare ale curentului fotoelectric I şi ale tensiunii U; d) Datele se trec în primul tabel; e) Se reprezintă grafic I=f(U); f) Se repetă măsurătorile pentru mai multe distanţe dintre izvorul luminos şi celula fotoelectrică, deci pentru mai multe valori ale fluxului luminos incident. 2. Dependenţa dintre intensitatea curentului de saturaţie şi fluxul luminos: a) Se stabileşte între anod şi fotocatod o tensiune suficient de mare pentru a ne situa pe porţiunea orizontală a caracteristicii curent-tensiune; b) Se variază distanţa d dintre izvorul luminos şi celula fotoelectrică din 10 în 10 cm şi se notează intensitatea curentului I şi distanţa d; c) Datele se trec în al doilea tabel; d) Se reprezintă grafic care reprezintă la altă scară funcţia . IV. Rezultate experimentale Nr. crt. U(V) I(A) d(cm) 1. 2 1,8•10-6 40cm 2. 4 2,5•10-6 40cm 3. 6 3,0•10-6 40cm 4. 8 3,4•10-6 40cm 5. 10 3,6•10-6 40cm 6. 12 4,0•10-6 40cm 7. 14 4,2•10-6 40cm 8. 16 4,2•10-6 40cm 9. 20 4,2•10-6 40cm Nr. crt. I(μA) d(m) U(V) 1. 14,0 0,10 100,00 20 2. 10,6 0,20 25,00 20 3. 6,4 0,30 11,11 20 4. 4,2 0,40 6,25 20 5. 3,0 0,50 4,00 20 6. 2,4 0,60 2,77 20 7. 1,8 0,70 2,04 20
Efectul Doppler Unda emisă de o sursă de oscilaţii se propagă de la sursă până la receptorul care o detectează. Prin detectarea undei se înţelege măsurarea unei anumite mărimi caracteristice ei, de exemplu, frecvenţa undei. Dacă sursa şi receptorul sunt în repaus unul faţa de celalalt, frecvenţa undei măsurată de receptor este egală cu frecvenţa undei emisă de sursă. Aşa se întâmplă atât cu undele sonore cât şi cu cele luminoase. Dacă însă sursa de oscilaţii este în mişcare faţa de receptor, frecvenţa undei măsurată de receptor diferă de aceea a undei emisă de sursa de oscilaţii. Acest fapt care se observă când sursa şi receptorul sunt în mişcare unul faţă de celălalt, se numeşte efectul Doppler; acest efect este foarte important atât în ştiinţă cât şi în tehnică. Explicaţia efectului Doppler se va face folosind figura 1. care redă undele sferice ce izvorăsc din sursa de oscilaţii S. Dacă sursa se mişcă, de exemplu din S in S', undele sferice emise succesiv, se apropie unele de altele in sensul de mişcare al sursei. Distanţa dintre suprafeţele sferice de egala fază reprezintă lungimea de undă; se observă astfel că la receptorul R staţionar, ajung în unitatea de timp, unde cu suprafeţele sferice mai apropiate între ele în comparaţie cu situaţia în care sursa ar fi în repaus faţă de receptor. Întrucât suprafeţele de egală fază sunt aparent mai apropiate, lungimea de unda aparenta a este mai mica şi deci frecvenţa undelor măsurată de receptor este în acest caz mai mare. Dacă sursa este staţionară, iar receptorul se deplasează către sursa S, ca în figura 2., acesta întâlneşte în unitatea de timp mai multe unde sferice, decât dacă receptorul ar fi fost fix şi undele ar fi ajuns la el. Ca urmare receptorul în mişcare către sursă detectează o frecvenţa mai mare. În consecinţă, frecvenţa detectată de receptor creşte dacă mişcarea relativă a sursei faţă de receptor, receptorul fiind în poziţia R' in figura1., printr-un raţionament analog cu acela făcut mai înainte, se ajunge la concluzia că frecvenţa măsurată de receptor scade. Dacă sursa stă pe loc iar receptorul R' se deplasează, în situaţia figurii 2, de la dreapta spre stânga, depărtându-se de sursă, undele sferice ajung la receptor mai rar in timp, decât dacă receptorul ar fi fost în repaus şi deci acesta detectează o frecvenţa mai mică. Prin urmare, frecvenţa detectată scade, daca mişcarea relativă a sursei faţă de receptor îi depărtează pe unul de celălalt. Pentru a exprima cantitativ modificarea frecvenţei în efectul Doppler se notează cu u viteza de deplasare a sursei S faţă de receptor, cu S frecvenţa undelor emise de sursă si cu R frecvenţa undelor măsurate de receptor. Undele studiate se propagă cu viteza v in mediul în care se găsesc sursa şi receptorul; această viteză fiind o caracteristică a mediului respectiv nu este afectată de mişcarea sursei sau a receptorului. În timpul t sursa emite S*t şi, dacă sursa ar fi fixă, aceste unde ar parcurge distanţa v*t. Lungimea de undă se obţine ca raportul intre distanţa v*t parcursă si numărul de unde care acoperă această distanţa adică relaţia obţinută este binecunoscută, dar ea a fost stabilită printr-un raţionament nou care va fi folosit în cazul în care există mişcarea sursei sau a receptorului. Dacă sursa se deplasează către receptor cele S*t unde emise de sursa se vor răspândi într-un spaţiu mai mic decât v*t, deoarece în timpul t sursa însăşi s-a deplasat cu distanţa u*t. Aceasta înseamnă că numărul de unde S*t emise de sursă în timpul t se vor găsi în spaţiul v*t-u*t , iar lungimea de undă aparentă, definită ca raportul între spaţiul v*t-u*t si numărul de unde S*t este frecvenţa corespunzătoare lungimii de undă a este frecvenţa măsurată de receptor R. Dacă sursa se depărtează de receptor, numărul de unde S*t se întind pe distanţa v*t+u*t; lungimea de undă aparentă este în acest caz a =(v+u)/ S. Adoptând convenţia că u este pozitiv pentru mişcarea sursei către receptor şi negativ când sursa se îndepărtează de receptor, relaţia (1) este aplicabilă şi în acest caz. Presupunând apoi că receptorul se mişcă spre sursă cu viteza u', viteza sa relativă faţă de unde este v+u', iar numărul de unde pe care receptorul le întâlneşte în timpul t este (v+u')t/a în care a=v/S. Dacă receptorul se depărtează de sursă, la el ajung mai puţine unde în timpul t, (v-u')t/a, şi deci frecvenţa măsurata de receptor va fi (v-u')a. Convenţia ca u' să fie pozitiv când receptorul se apropie de sursa si negativ când se depărtează de sursă, face ca relaţia (2) să se aplice şi în acest caz. În rezumat frecvenţa măsurată creşte R>S, la apropierea relativă, adică fie pentru u>0 fie pentru u'>0 şi frecvenţa măsurată scade, R<S, la depărtarea relativă, adică fie pentru u<0 fie pentru u'<0. Aceste rezultate sunt aplicabile în multe cazuri. De exemplu pentru undele sonore un observator percepe o frecvenţă mai mare, adică sunete mai înalte dacă sursa de sunete se apropie de el si o frecvenţă mai mică, adică sunete mai joase, dacă sursa se depărtează. Efectul Doppler este foarte important în astronomie unde prin măsurarea frecvenţei radiaţiilor care provin de la stele sau galaxii îndepărtate se poate stabili mişcarea acestora faţă de planeta noastră. Prin astfel de măsurători se obţine întotdeauna o frecvenţă mai mică a radiaţiilor luminoase caracteristice aştrilor respectivi. Aceasta înseamnă că lungimea de undă măsurată este mai mare decât cea reala; cu alte cuvinte are loc o deplasare spre „roşu" a radiaţiilor luminoase respective) lumina roşie are lungimea de undă cea mai mare în domeniul vizibil). Valoarea variaţiei frecvenţei creşte cu distanţa de la Pământ, ceea ce sugerează că întregul Univers este în expansiune, adică toţi aştrii se îndepărtează spre limitele Universului, cu viteze din ce în ce mai mari pe măsură ce sunt mai depărtaţi de Pământ. Aceasta este o problema majora a cosmologiei şi studiul ei se bazează în principal pe efectul Doppler.
duminică, 29 iulie 2012
EMINESCU SI FIZICA Virtuţile curiozităţii au făcut ca un mare poet al culturii noastre să fie puternic atras de cunoştinţele ştiinţifice ale timpului său, aceasta devenind uneori chiar izvor al propriei creaţii. Studiile făcute la Viena şi Berlin l-au apreciat pe Eminescu de operele unor nume cunoscute şi recunoscute ale ştiinţei –Arhimede, Galileo Galilei ,Johannes Kepler,Isaac Newton ,Daniel Bernoulli, Chales de Coulumb,Brown,Robert von Mayer,James Loule,Hermsann von Helmholtz,Rudolf Clausius etc.familiarizîndu-l totodată cu teoriile ştiinţifice ale momentului. In sprijinul acestei afirmaţii sau nu numai poemele sale,ci şi însemnările referitoare la chestiuni legate de Fizică , însemnări cuprinse de două caiete numite de Eminescu FIZIOLOGIE I şi FIZIOLOGIE II .In acestea sunt citate formulări ale unor reprezentativi oameni de ştiinţă ai vremii:Mayer ,Joule,Hirm,Helmholtz,Clausius. Manuscrisele eminesciene impresionează prin variantele domeniilor abordate,dar şi prin gradul de elaborare a informaţiei ştiinţifice cele mai ample desfăşurări avînd însemnări referitoare la matematică şi fizică.In cele ce urmează am încercat o ordonare a informaţiilor cuprinse în caietele poetului şi o prezentare a modului în care aceasta şi-au găsit o expresie lirică în opera poetului. MECANICA Ce-a mai mare parte a chestiunilor legate de mecanică şi căldură au fost extrase de poet din Annalen der Chemie und Pharmacie von Wohler une Liebig,fiind reunite sub titlul Observaţii asupra puterilor naturii. Sunt abordate aici noţiuni din domeniul mecanicii clasice newtoniene cum ar fi:masa,acceleraţia ,mişcarea rectilinie şi legea acesteia ,greutatea,forţa gravitaţională,forţa centrifugă şi mişcarea în cîmp central de forţe,lucru mecanic şi conversarea energiei mecanice. In caietele eminesciene găsim notiţe referitoare la noţiunile de repaus , mişcare şi la cauzele acestora.Legile mişcării sunt formulate corect fără a fi însoţite de relaţii matematice. Sunt subliniate principiile newtoniene ce guvernează mişcarea corpurilor,fiind luate în discuţie exemple sugestive, cum este cel al ghiulelei a cărei mişcare este modificată de frecarea cu aerul şi de propria greutate pentru a evidenţia principiul inerţiei. Principiul fundamental al dinamicii este sugerat printr-un exemplu âelebru în fizică: Dacă o locomotivă comunică unui tren într-o secundă accelerarea cutare,se cer două locomotive pentru a comunica aceiaşi accelerare unui tren de două ori atît de greu. Pentru ilustrarea principiului acţiunilor reciproce sunt folosite exemple referitoare la interacţiunea dintre piatră şi masă,cal şi căruţă,magnet şi fier: O piatră aşezată pe o masă exercită asupra ei o presiune în jos.Dar ia suferă din partea mesei o contra presiune egal de mare în sus.Un cal de tras îndărăt de hamuri spre căruţă cu o putere egal de mare cu care trage el căruţa înainte.Un magnet care atrage o bucată de fier e tot atît de tare atras de fier în direcţia opusă. In unele cazuri găsim în caiete expresii matematice ale unor legi fizice , care se subliniază o dată în plus interesul poetului pentru matematică şi fizică.Este vorba de expresiile legilor care guvernează mişcarea corpurilor sub acţiunea greutăţii: viteza în cădere liberă ( v = g • t) şi expresia spaţiului în aceiaşi mişcare ( S=at2/2) .Sunt menţionate totodată numele celor ce s-au ocupat de legile căderii libere: Galilei,care le-a intuit ,şi Newton ,care le-a stabilit statutul de axiome ale dinamicii.Eminescu surprinde faptul că întîmplări obişnuite ,observate cu atenţie ,pot conduce la descoperii remarcabile.El citează în acest sens exemplul lui Newton:Printr-un măr ce cădea ,Newton a fost adus la gîndul că greutatea nu e nimic alta decît atracţiunea de masă , exercitată de corpul Pămîntului . Pornind de la controversa dintre Descartes şi Leibnitz în legătură cu măsura mişcîrii,poetul discută noţiunea de lucru mecanic şi ajunge la principiul conversării energiei.El păstrează vechea terminologie de muncă mecanică şi în loc de energie cinetică păstrează sintagma folosită de Leibnitz putere vie.Eminescu subliniază că noţiunea de lucru mecanic presupune existenţa a două elemente:forţa şi deplasarea.El iluminează acest lucru printr-un exemplu sugestiv:nu este suficientă aplicarea unei forţe asupra unie stînci pentru a se efectua lucru mecanic,dacă stînca rămîne în repaus.Reuşind a discerna între energie cinetică şi cea potenţială,potul defineşte energia mecanică ca pe o putere de acţiune sau putere de muncă a unui corp.In ceea ce priveşte lucrul mecanic,Eminescu notează:Lucrul mecanic se referă la orice efect care schimbă poziţia maselor ponderabile în spaţiu. In însemnările sale ştiinţifice ,Eminescu foloseşte deseori modalităţi de expresie specifice poeziei,epunînd problemele într-o formă vie,colorată,de multe ori comentariile sale devenind adevărate poeme în proză.Lucrurile se desfăşoară asemănător în momentul ilustrării unei idei ştiinţifice într-o formă lirică.Principiulconservării materiei,pe care-l consideră o lege fundamentală a tuturor fenomenelor este enunţat şi discutat în caietele sale sub diverse unghiuri ,din perspectiva diferitelor tipuri de fenomene(mecanice,termodinamice,electrice,magnetice,etc.)Pornind,probabil de la acest principiu dar şi de la mitul vieţii de după moarte , construieşte un poem sugestiv,Strigoii ( 1876),poem care ar putea fi considerat o ilustrare lirică a două planuri ale cunoaşterii umane-cunoaşterea ştiinţifică şi cunoaşterea mitică. Dar perspectiva legii conservării materiei şi a mitului privind viaţa de după moarte,s-ar putea crede că timpul eminescian este un timp reversibil(în poemul Strgoii).Această temă a eternităţii legilor,menite să asigure înţelegerea Universului ,este chiar şi de Fizica modernă prin acceptarea posibilităţii unei eterne reînceperi ,adică a unei serii infinite de universuri. ELECTROMAGNETISMUL In aceleaşi caiete apar idei referitoare la relativitatea clasică şi la teoria maxwelliană a elecromagnetismului ,idei,care,se poate crede,au costituit sursa de inspiraţie unor versuri ca cele din poemul Luceafărul sau La steaua. Cunoştiinţele referitoare la cîmpul fizic sunt relevate nu numai de rîndurile consacrate noţiunilor de undă,electricitate sau magnetism ce apar în Caiete ,ci şi de versurile Glossei în care ideile de continuitate din Fizică sunt explorate celor de continuitate a vieţii,a ideilor etc. TERMODINAMICA Unele din cele mai reprezentative versuri sunt datorate cunoştinţelor poetului referitoare la un domeniu al Fizicii puternic studiat în sec. al XIX-lea : termodinamica .Pornind de la lucrarea lui Stefan C.Mihăilescu Influienţa ,Eminescu,se apleacă problemei energiei radiate de soare şi a efectelor acestuia asupra vieţii şi a atmosferei terestre . De altfel,studiile sale în domeniul meteorologiei şi Fizicii Pămîntului I-au fost inspirate de lucrarea lui Pouillet Elementes de Physiqe experimentale et de Meteorologie .Frecventarea unor cursuri de Fizică şi ştiinţe naturale în universităţile europene îl aproprie pe Eminescu de teoria mecanică a transmisiei energiei calorice.Din perspectiva oamenilor de ştiinţă ai momentului ,cum ar fi Mayer ,Joule,Helmholtz,Carnot,modificarea stării termice a unui corp se face pe baza unei substanţe ipotetice numită caloric,lucru cu care Eminescu este familiarizat,dar citindu-I caietele se observă că nu-i sunt străine nici teoriile anterioare ca cea a phlogisticului . Poetul îşi aproprie teoriile cele mai moderne ale vremii , că sunt cunoscute notiţele sale referitoare la problema căldurii radiate sau cea a radiaţiei luminoase.Scrierile sale indică faptul că teoria mazweliană era cunoscută.Referindu-se la căldură Eminescu prezintă natura căldurii a căldurii radiate,echivalenţa ei cu lucrul mecanic.In ceia ce priveşte căldura organismului animal ,poetul arată că fenomenele vitale au la bază procesul de vegetaţiune a plantelor.Schimbul de materii între organismul viu şi mediul exterior se realizează cu ajutorul energiei solare,ideie care-l face pe poet să ajungă la o problemă mult discutată la acea vreme: resursele de energie ale soareloui.Pornind de cunoştinţe referitoare la principiile termodinamicii ,Eminescu subliniază teama oamenilor de ştiinţă de o eventuală organizare a tuturor deosebirilor de temperatură în sensul fiinţelor organice –moartea universală. In ciuda cunoştinţelor referitoare la faptul că razele calorice emise în spaţiu de către corpurile încălzite diferă de cele luminoase doar prin lungimea de undă,poetul este adeptul teoriilor lui Mayer ,conform cărora căldura solară ar fi un efect al materiilor cosmice care se aruncă necontenit în soare.Eminescu îşi exprimă nedumerirea în faţa ideii că procesul respectiv s-ar putea desfăşura invers,adică acela că soarele ar zvîrli iar în depărtări nemăsurate alte mase. Teoria entropiei este artistic prezentată în versurile Scrisorii I,iar săgeata timpului , evocată prin evoluţia sistemului spre o stare de echilibru,este în perfect acord cu sensul principiului lui Clausius .Naşterea vieţii însă este guvernată de negentropie lucru pe care Eminescu îl subliniază în poemul Amintiri. Ideia ireversibilităţii timpului apare nu numai în Scrisoarea I ,ci şi în poeme ca Revedere,Sonete,Glosă,Cu mîne zilele-şi adaugi ,Luceafărul. Aparent devenirea ,adică timpul ireversibil ,este în contradicţie cu eternitatea legilor ce guvernează Universul fizic .Este însă doar o aparenţă ,căci eternitatea săgeşii timpului este acceptată de fizică tot atît cît şi ideia reversibilităţii timpului.
“Cereasca boltă pare o magică lanternă Şi luna este lampa. Iar lumea e-o cortină Pe care defilează în hora lor eternă Imaginile noastre – răni negre în lumină”. (Omar Khayyam) «Numeroase popoare altaice îşi imaginează Cerul ca un cort: Calea Lactee este “cusătura”, iar stelele sunt “găurile” prin care intră lumina. În mijlocul Cerului străluceşte Steaua Polară, care, asemenea unui ţăruş, susţine cortul. Ea poartă diferite denumiri: “Stâlpul de Aur”, “Stâlpul de Fier”, “Stâlpul Soarelui”. Alături de ea domneşte în univers Luna, simbol al sexualităţii în doctrinele tibetane, fecunda matrice a femeii.» ne informa Mircea Eliade în lucrarea sa “Istoria credinţelor şi ideilor religioase”, analizând simbolistica lunii din punctul de vedere al religiei. Dicţionarul explicativ al limbii române oferă o altă perspectivă asupra lunii, una ştiinţifică: aceasta este definită ca “astru, satelit al pământului, care se învârteşte în jurul acestuia şi care îl luminează în timpul nopţii.” Dicţionarul de simboluri explică faptul că luna este corelată cu soarele, ea fiind lipsită de lumină proprie şi simbolizează dependenţa şi principiul feminin, precum şi periodicitatea şi reînnoirea. Luna este simbol al ritmurilor biologice, este un astru care creşte şi descreşte, care dispare, a cărui viaţă este supusă legii universale a devenirii, a naşterii şi a morţii. Reprezintă şi timpul care trece, timpul viu pe care-l măsoară prin fazele ei succesive şi regulate. Luna este simbolul primului mort. Timp de trei nopţi, în fiecare lună, ea e ca moartă. Dispare. Apoi reapare şi sporeşte în strălucire. Luna este cunoaşterea indirectă, discursivă, progresivă, rece. Astru al nopţilor, evocă în plan metaforic frumuseţea, dar şi lumina în imensitatea întunecimii. Dar prin această lumină, care nu este decât o reflectare a luminii soarelui, luna este simbolul cunoaşterii teoretice, conceptuale, raţionale. Cea mai frumoasă imagine a lunii ne este oferită de poezie. Şi dacă luăm în considerare faptul că luna este un element al naturii întâlnit mai ales în poeziile romanticilor, atunci cel mai bine se va regăsi în lucrările unuia din marii poeţi români, a cărui “întreagă creaţie se naşte din nostalgia paradisului” (Nichifor Crainic), Mihai Eminescu. Rolul naturii este deosebit de important în opera lui Eminescu. În poeziile din adolescenţă, natura apare sub trei forme: pentru a crea o atmosferă; în metaforele figurilor sau sentimentelor umane, şi ca un mediu atotcuprinzător, căruia i se integrează şi omul. Cerul, luna, luceafărul, stelele, noaptea, furtuna, marea, râul, luciul şi murmurul apei, foşnetul frunzelor, codrul, câmpia, florile şi păsările, toate se îmbină creând atmosfera tipic eminesciană, plină de culori şi sunete exprimând comunicarea şi corespondenţa armonioasă dintre elemente. Dintre toate motivele eminesciene legate de natură, cel mai des, şi poate mai important, este luna. În general, soarele nu este un astru romantic. El sfâşie cu lumina lui divină cuibul nocturn al viselor. Poezia romantică apare odată cu acea atracţie spre lună. Contemplaţia romantică a lunii anulează total ori parţial simţul gravitaţiei pe pământ. Imaginile lunii la Eminescu sunt uneori asemănătoare cu cele din lirica sanscrită. În literatura sanscrită, de obicei luna trezeşte durere de dragoste. În “Śakuntalā”, eroul Duşyanta îşi zice: “Deşi credeam că luna e răcoroasă, într-adevăr razele ei stropite de rouă varsă foc. Luna ne chinuieşte pe noi, cei care iubim”. Asemenea imagine se găseşte şi la Eminescu. De exemplu, în poezia “Când…”: “Când luna prin nori pe lume veghează Când fie-ce undă se-mbracă c-o rază Când cântă ai somnului ginii nătângi Tu tremuri şi plângi. Când luna aruncă o pală lumină Prin merii în floare-nşiraţi în grădină La trunchiul unuia pe tine te-aştept Visând deştept.” Asocierea lunii cu durerea umană se întâlneşte şi la poetul Tagore: “Lună, tu trezeşti valuri de lacrimi în oceanul tristeţii mele”. Dar astrul nocturn are o altă pondere în creaţia lui Eminescu; văpaia lunii îl transpune într-un alt nivel spiritual şi îi dezvăluie tainele creaţiei ca şi zădărnicia vieţii. Concepţia despre lună a lui Eminescu, ca o putere care învie gânduri şi întunecă suferinţe îşi are rezonanţă în concepţia vedică de Varuna, zeul cerului, care veghează gândurile omeneşti, gândirea şi imaginaţia poetului devenind ecouri ale textelor indiene pe care le-a citit; un sâmbure al acestei imagini transpare în “Misterele nopţii”: “Razele din alba lună mi le torc, mi le-mpreună pentru-ntregul viitor”. Balada “Făt – Frumos din tei” cuprinde acel efect de lumină de lună proiectat cu un gest cosmic pe mari întinderi: “Lun-atunci din codri iese, Noaptea toată stă s-o vadă, Zugrăveşte umbre negre Pe câmp alb ca de zăpadă. Şi mereu ea le lungeşte, Şi urcând pe cer le mută, Dar ei trec, se pierd în codri Cu viaţa lor pierdută.” Predilecţia pentru efectele de lună rămâne o înclinaţie statornică. Se întâlneşte în poeziile acestei perioade a creaţiei poetului, dar şi mai târziu. O întâmpinăm în “Melancolie” , în “Crăiasa din poveşti”, în “Lacul”, în “Călin”, în “Povestea codrului”, până la acel efect măreţ din “Scrisoarea I”: “Părea că printre nouri s-a fost deschis o poartă Prin care trece albă regina nopţii moartă. O, dormi, o, dormi în pace printre făclii o mie Şi în mormânt albastru şi-n pânze argintie, În mausoleu-ţi mândru, al cerurilor arc, Tu adorat şi dulce al nopţilor monarc!” (Melancolie) *** “Neguri albe, strălucite Naşte luna argintie, Ea le scoate peste ape, Le întinde pe câmpie; (…) Lângă lac, pe care norii Au urzit o umbră fină, Ruptă de mişcări de valuri Ca de bulgări de lumină.” (Crăiasa din poveşti) *** “Să plutim cuprinşi de farmec Sub lumina blândei lune “ (Lacul) *** “Peste albele izvoare Luna bate printre ramuri Împrejuru-ne s-adună Ale Curţii mândre neamuri” (Povestea codrului) *** “Căci perdelele-ntr-o parte când le dau, şi în odaie Luna varsă peste toate voluptoasa ei văpaie, Ea din noaptea amintirii o vecie-ntreagă scoate De dureri, pe care însă le simţim ca-n vis pe toate” (Scrisoarea I) “Scrisoarea I” sugerează cum dintr-un colţ de univers scăldat de lumina palidă şi rece a lunii, pornesc gândurile poetului, amplificate până la hiperbolizare de frumuseţea nopţii, dar şi de izolarea între pereţii austeri ai unei odăi sărace, unde “doar ceasornicul străbate lunga timpului cărare”. Cadrul romantic anesteziază simţurile, din “noaptea amintirii” ies dureri pe care poetul le percepe ca-n vis, şi din acest joc al alternativelor între luciditate şi visare, meditaţia eminesciană trece cu uşurinţă de la indignare la înţelegere, de la tonul vehement la cel elegiac. Distanţarea de lume a eu-lui poetic şi pătrunderea în spaţiul gândirii şi al închipuirii se petrece în regimul nocturn prin contactul cu energia magică selenară. Poetul contemplă luna, o invocă: “Lună tu, stăpâna mării, pe a lumii boltă luneci Şi gândirilor dând viaţă, suferinţele întuneci”. Se produce o modificare în sistemul de referinţă. Din perspectivă cosmică, privind spre pământ, se relevă un spectacol grandios şi tragic. Sub lumina “fecioară” a lunii, scânteiază pustiuri şi codri, mări nesfârşite şi ţărmuri înflorite, cetăţi şi case. Luna îi vede deopotrivă şi pe rege şi pe sărac, atât de diferiţi în destinul lor social, dar nivelaţi în absolut de “geniul morţii”; pe cei slabi şi cei puternici, pe mediocrul cochet, dar şi pe înţeleptul solitar. Printre atâtea aspecte ale luminii, Eminescu alege mai cu seamă pe cele ale lunii. Efectul de lună, care alcătuieşte un motiv atât de general al romantismului, poate apărea ca un element al peisajului în trei feluri deosebite. Există o lună văzută ca un obiect izolat al cerului, astru solitar către care privirile sunt răpite: “Părea că printre nouri s-a fost deschis o poartă Prin care trece albă regina nopţii moartă”. Există apoi o lumină de lună resimţită ca o însuşire generală a atmosferei, ca o baie de influenţe difuze: “Neguri albe strălucite Naşte luna argintie, Ea le scoate peste ape, Le întinde pe câmpie”. Dar există o lumină de lună însoţită cu vreun aspect material al pământului şi prin care acesta din urmă dobândeşte o adevărată strălucire fantomatică: “Văzduhul scânteiază, şi ca unse cu var Lucesc zidiri, ruine pe câmpul solitar”. În multe din poeziile sale, Eminescu însoţeşte lumina lunii cu apa lacului: “Peste albele izvoare Luna bate printre ramuri” *** “Ce cauţi pe unde bate luna Pe-un alb izvor tremurător?” *** “Tresărind scânteie lacul Şi se leagănă sub soare”. Această alăturare a luminii cu apa, reflectată ca o tainică îmbrăţişare a lor, mistică pasiune a elementelor, a fost exprimată de Eminescu când în poezia “Lasă-ţi lumea…” a scris strofa simbolică: “Iată lacul. Luna plină Poleindu-l, îl străbate; El, aprins de-a ei lumină, Simte-a lui singurătate”. Motiv “atât de romantic”, izvor a nenumărate mituri, legende şi culte care dăruiesc zeiţelor chipul lunii (Isis, Ishtar, Artemis sau Diana, Hecate, …), luna este un simbol cosmic extins la toate epocile, din vremuri imemoriale şi până în zilele noastre, şi generalizat la toate orizonturile. BIBLIOGRAFIE: 1. George Călinescu – “Opera lui Mihai Eminescu”, Ed. Minerva, Bucureşti, 1970, vol. II, pag. 135-138. 2. Tudor Vianu – “Scriitori români”, Ed. Minerva, Bucureşti, 1970, vol. I, pag. 224-230. 3. Amita Bhose – “Eminescu şi India”, Ed. Junimea, Iaşi, 1978, pag. 37-40. 4. Mircea Eliade – “Istoria credinţelor şi ideilor religioase”, Ed. Universitas, Chişinău, 1992, vol. III, pag. 5-17. 5. Mihai Eminescu – “Poezii. Proză literară”, Ed. Cartea Românească, Bucureşti, 1984, vol. I 6. Jean Chevalier & Alain Gheerbrant – “Dicţionar de simboluri”, vol. II, Ed. Artemis, Bucureşti, 1995, pag. 244-250. 7. Dicţionar explicativ al limbii române.
sâmbătă, 28 iulie 2012
English Literature, literature produced in England, from the introduction of Old English by the Anglo-Saxons in the 5th century to the present. The works of those Irish and Scottish authors who are closely identified with English life and letters are also considered part of English literature. OLD ENGLISH OR ANGLO-SAXON ERA This period extends from about 450 to 1066, the year of the Norman-French conquest of England. The Germanic tribes from Europe who overran England in the 5th century, after the Roman withdrawal, brought with them the Old English, or Anglo-Saxon, language, which is the basis of Modern English. They brought also a specific poetic tradition, the formal character of which remained surprisingly constant until the termination of their rule by the Norman-French invaders six centuries later. Poetry Much of Old English poetry was probably intended to be chanted, with harp accompaniment by the bard. Often bold and strong, but also mournful and elegiac in spirit, this poetry emphasizes the sorrow and ultimate futility of life and the helplessness of humans before the power of fate. Almost all this poetry is composed without rhyme, in a characteristic line, or verse, of four stressed syllables alternating with an indeterminate number of unstressed ones. This line strikes strangely on ears habituated to the usual modern pattern, in which the rhythmical unit, or foot, theoretically consists of a constant number (either one or two) of unaccented syllables that always precede or follow any stressed syllable. Another unfamiliar but equally striking feature in the formal character of Old English poetry is structural alliteration, or the use of syllables beginning with similar sounds in two or three of the stresses in each line. All these qualities of form and spirit are exemplified in the epic poem Beowulf, written in the 8th century. Beginning and ending with the funeral of a great king, and composed against a background of impending disaster, it describes the exploits of a Scandinavian culture hero, Beowulf, in destroying the monster Grendel, Grendel's mother, and a fire-breathing dragon. In these sequences Beowulf is shown not only as a glorious hero but also as a savior of the people. The Old Germanic virtue of mutual loyalty between leader and followers is evoked effectively and touchingly in the aged Beowulf's sacrifice of his life and in the reproaches heaped on the retainers who desert him in this climactic battle. The extraordinary artistry with which fragments of other heroic tales are incorporated to illumine the main action, and with which the whole plot is reduced to symmetry, has only recently been fully recognized. Another feature of Beowulf is the weakening of the sense of the ultimate power of arbitrary fate. The injection of the Christian idea of dependence on a just God is evident. That feature is typical of other Old English literature, for almost all of what survives was preserved by monastic copyists. Most of it was actually composed by religious writers after the early conversion of the people from their faith in the older Germanic divinities. Sacred legend and story were reduced to verse in poems resembling Beowulf in form. At first such verse was rendered in the somewhat simple, stark style of the poems of Caedmon, a humble man of the late 7th century who was described by the historian and theologian Saint Bede the Venerable as having received the gift of song from God. Later the same type of subject matter was treated in the more ornate language of the Anglo-Saxon poet Cynewulf and his school. The best of their productions is probably the passionate “Dream of the Rood.” In addition to these religious compositions, Old English poets produced a number of more or less lyrical poems of shorter length, which do not contain specific Christian doctrine and which evoke the Anglo-Saxon sense of the harshness of circumstance and the sadness of the human lot. “The Wanderer” and “The Seafarer” are among the most beautiful of this group of Old English poems. Prose Prose in Old English is represented by a large number of religious works. The imposing scholarship of monasteries in northern England in the late 7th century reached its peak in the Latin work Historia Ecclesiastica Gentis Anglorum (Ecclesiastical History of the English People, 731) by Bede. The great educational effort of Alfred, king of the West Saxons, in the 9th century produced an Old English translation of this important historical work and of many others, including De Consolatione Philosophiae (The Consolation of Philosophy), by Boethius. This was a significant work of largely Platonic philosophy easily adaptable to Christian thought, and it has had great influence on English literature. MIDDLE ENGLISH PERIOD Extending from 1066 to 1485, this period is noted for the extensive influence of French literature on native English forms and themes. From the Norman-French conquest of England in 1066 until the 14th century, French largely replaced English in ordinary literary composition, and Latin maintained its role as the language of learned works. By the 14th century, when English again became the chosen language of the ruling classes, it had lost much of the Old English inflectional system, had undergone certain sound changes, and had acquired the characteristic it still possesses of freely taking into the native stock numbers of foreign words, in this case French and Latin ones. Thus, the various dialects of Middle English spoken in the 14th century were similar to Modern English and can be read without great difficulty today. The Middle English literature of the 14th and 15th centuries is much more diversified than the previous Old English literature. A variety of French and even Italian elements influenced Middle English literature, especially in southern England. In addition, different regional styles were maintained, for literature and learning had not yet been centralized. For these reasons, as well as because of the vigorous and uneven growth of national life, the Middle English period contains a wealth of literary monuments not easily classified. Allegory In the north and west, poems continued to be written in forms very like the Old English alliterative, four-stress lines. Of these poems, The Vision of William Concerning Piers the Plowman, better known as Piers Plowman, is the most significant. Now thought to be by William Langland, it is a long, impassioned work in the form of dream visions (a favorite literary device of the day), protesting the plight of the poor, the avarice of the powerful, and the sinfulness of all people. The emphasis, however, is placed on a Christian vision of the life of activity, of the life of unity with God, and of the synthesis of these two under the rule of a purified church. As such, despite various faults, it bears comparison with the other great Christian visionary poem, La divina commedia (The Divine Comedy), by Dante. For both, the watchwords are heavenly love and love operative in this world. A second and shorter alliterative vision poem, The Pearl, written in northwest England about 1370, is similarly doctrinal, but its tone is ecstatic, and it is far more deliberately artistic. Apparently an elegy for the death of a small girl (although widely varying religious allegorical interpretations have been suggested for it), the poem describes the exalted state of childlike innocence in heaven and the need for all souls to become as children to enter the pearly gates of the New Jerusalem. The work ends with an impressive vision of heaven, from which the dreamer awakes. In general, poetry and prose expressing a mystical longing for, and union with, the deity is a common feature of the late Middle Ages, particularly in northern England. Tales of Chivalry and Adventure A third alliterative poem, supposedly by the same anonymous author who wrote The Pearl, is Sir Gawain and the Green Knight (late 1300s), a romance, or tale, of knightly adventure and love, of the general medieval type introduced by the French. Most English romances were drawn, as this one apparently was, from French sources. Most of these sources are concerned with the knights of King Arthur and seem to go back in turn to Celtic tales of great antiquity. In Sir Gawain, against a background of chivalric gallantry, the tale is told of the knight's resistance to the blandishments of another man's beautiful wife. Chaucer Two other important, no alliterative verse romances form part of the work of Geoffrey Chaucer. These are the psychologically penetrating Troilus and Criseyde (1385?), a tale of the fatal course of a noble love, laid in Homeric Troy and based on Il filostrato, a romance by the 14th-century Italian author Giovanni Boccaccio; and The Knight's Tale (1382?; later included in Chaucer's Canterbury Tales), also based on Boccaccio. Immersed in court life and charged with various governmental duties that carried him as far as Italy, Chaucer yet found time to translate French and Latin works, to write under French influence several secular vision poems of a semi allegorical nature (The Book of the Duchess, The House of Fame, The Parliament of Fowls,) and, above all, to compose The Canterbury Tales (probably after 1387). This latter work consists of 24 stories or parts of stories (mostly in verse in almost all the medieval genres) recounted by Chaucer through the mouths and in the several manners of a group of pilgrims bound for Canterbury Cathedral, representative of most of the classes of medieval England. Characterized by an extraordinary sense of life and fertility of invention, these narratives range from The Knight's Tale to sometimes indelicate but remarkable tales of low life, and they concern a host of subjects: religious innocence, married chastity, villainous hypocrisy, female volubility—all illumined by great humor. With extraordinary artistry the stories are made to characterize their tellers. Arthurian Legends In the 15th century a number of poets were obviously influenced by Chaucer but, in general, medieval literary themes and styles were exhausted during this period. Sir Thomas Malory stands out for his great work, Le morte d'Arthur (The Death of Arthur, 1469-1470), which carried on the tradition of Arthurian romance, from French sources, in English prose of remarkable vividness and vitality. He loosely tied together stories of various Knights of the Round Table, but most memorably of Arthur himself, of Galahad, and of the guilty love of Lancelot and Arthur's queen, Guinevere. Despite the great variety of incident and the complications of plot in his work, the dominant theme is the need to sacrifice individual desire for the sake of national unity and religious salvation, the latter of which is envisioned in terms of the dreamlike but intense mystical symbolism of the Holy Grail. THE RENAISSANCE A golden age of English literature commenced in 1485 and lasted until 1660. Malory's Le morte d'Arthur was among the first works to be printed by William Caxton, who introduced the printing press to England in 1476. From that time on, readership was vastly multiplied. The growth of the middle class, the continuing development of trade, the new character and thoroughness of education for laypeople and not only clergy, the centralization of power and of much intellectual life in the court of the Tudor and Stuart monarchs, and the widening horizons of exploration gave a fundamental new impetus and direction to literature. The new literature nevertheless did not fully flourish until the last 20 years of the 1500s, during the reign of Queen Elizabeth I. Literary development in the earlier part of the 16th century was weakened by the diversion of intellectual energies to the polemics of the religious struggle between the Roman Catholic church and the Church of England, a product of the Reformation. The English part in the European movement known as humanism also belongs to this time. Humanism encouraged greater care in the study of the literature of classical antiquity and reformed education in such a way as to make literary expression of paramount importance for the cultured person. Literary style, in part modeled on that of the ancients, soon became a self-conscious preoccupation of English poets and prose writers. Thus, the richness and metaphorical profusion of style at the end of the century indirectly owed much to the educational force of this movement. The most immediate effect of humanism lay, however, in the dissemination of the cultivated, clear, and sensible attitude of its classically educated adherents, who rejected medieval theological miss teaching and superstition. Of these writers, Sir Thomas More is the most remarkable. His Latin prose narrative Utopia (1516) satirizes the irrationality of inherited assumptions about private property and money and follows Plato in deploring the failure of kings to make use of the wisdom of philosophers. More's book describes a distant nation organized on purely reasonable principles and named Utopia (Greek, “nowhere”). Renaissance Poetry The poetry of the earlier part of the 16th century is generally less important, with the exception of the work of John Skelton, which exhibits a curious combination of medieval and Renaissance influences. The two greatest innovators of the new, rich style of Renaissance poetry in the last quarter of the 16th century were Sir Philip Sidney and Edmund Spenser. Sidney, universally recognized as the model Renaissance nobleman, outwardly polished as well as inwardly conscientious, inaugurated the vogue of the sonnet cycle in his Astrophel and Stella (written 1582?; published 1591). In this work, in the elaborate and highly metaphorical style of the earlier Italian sonnet, he celebrated his idealized love for Penelope Devereux, the daughter of Walter Devereux, 1st Earl of Essex. These lyrics profess to see in her an ideal of womanhood that in the Platonic manner leads to a perception of the good, the true, and the beautiful and consequently of the divine. This idealization of the beloved remained a favored motif in much of the poetry and drama of the late 16th century; it had its roots not only in Platonism but also in the Platonic speculations of humanism and in the chivalric idealization of love in medieval romance. The greatest monument to that idealism, broadened to include all features of the moral life, is Spenser's uncompleted Faerie Queene (Books I-III, 1590; Books IV-VI, 1596), the most famous work of the period. In each of its completed six books it depicts the activities of a hero that point toward the ideal form of a particular virtue, and at the same time it looks forward to the marriage of Arthur, who is a combination of all the virtues, and Gloriana, who is the ideal form of womanhood and the embodiment of Queen Elizabeth. It is entirely typical of the impulse of the Renaissance in England that in this work Spenser tried to create out of the inherited English elements of Arthurian romance and an archaic, partly medieval style a noble epic that would make the national literature the equal of those of ancient Greece and Rome and of Renaissance Italy. His effort in this respect corresponded to the new demands expressed by Sidney in the critical essay The Defence of Poesie, originally Apologie for Poetrie (written 1583?; posthumously published 1595). Spenser's conception of his role no doubt conformed to Sidney's general description of the poet as the inspired voice of God revealing examples of morally perfect actions in an aesthetically ideal world such as mere reality can never provide, and with a graphic and concrete conviction that mere philosophy can never achieve. The poetic and narrative qualities of The Faerie Queene suffer to a degree from the various theoretical requirements that Spenser forced the work to meet. In a number of other lyrical and narrative works Sidney and Spenser displayed the ornate, somewhat florid, highly figured style characteristic of a great deal of Elizabethan poetic expression; but two other poetic tendencies became visible toward the end of the 16th and in the early part of the 17th centuries. The first tendency is exemplified by the poetry of John Donne and the other so-called metaphysical poets, which carried the metaphorical style to heights of daring complexity and ingenuity. This often-paradoxical style was used for a variety of poetic purposes, ranging from complex emotional attitudes to the simple inducement of admiration for its own virtuosity. Among the most important of Donne's followers, George Herbert is distinguished for his carefully constructed religious lyrics, which strive to express with personal humility the emotions appropriate to all true Christians. Other members of the metaphysical school are Henry Vaughan, a follower of Herbert, and Richard Crashaw, who was influenced by Continental Catholic mysticism. Andrew Marvell wrote metaphysical poetry of great power and fluency, but he also responded to other influences. The involved metaphysical style remained fashionable until late in the 17th century. The second late Renaissance poetic tendency was in reaction to the sometimes-flamboyant lushness of the Spenserians and to the sometimes-tortuous verbal gymnastics of the metaphysical poets. Best represented by the accomplished poetry of Ben Jonson and his school, it reveals a classically pure and restrained style that had strong influence on late figures such as Robert Herrick and the other Cavalier poets and gave the direction for the poetic development of the succeeding neoclassical period. The last great poet of the English Renaissance was the Puritan writer John Milton, who, having at his command a thorough classical education and the benefit of the preceding half-century of experimentation in the various schools of English poetry, approached with greater maturity than Spenser the task of writing a great English epic. Although he adhered to Sidney's and Spenser's notions of the inspired role of the poet as the lofty instructor of humanity, he rejected the fantastic and miscellaneous machinery, involving classical mythology and medieval knighthood, of The Faerie Queene in favor of the central Christian and biblical tradition. With grand simplicity and poetic power Milton narrated in Paradise Lost (1667) the machinations of Satan leading to the fall of Adam and Eve from the state of innocence; and he performed the task in such a way as to “justify the ways of God to man” and to express the central Christian truths of freedom, sin, and redemption as he conceived them. His other poems, such as the elegy Lycidas (1637), Paradise Regained (1671), and the classically patterned tragedy Samson Agonistes (1671), similarly reveal astonishing poetic power and grace under the control of a profound mind. Renaissance Drama and Prose The poetry of the English Renaissance between 1580 and 1660 was the result of a remarkable outburst of energy. It is, however, the drama of roughly the same period that stands highest in popular estimation. The works of its greatest representative, William Shakespeare, have achieved worldwide renown. In the previous Middle English period there had been, within the church, a gradual broadening of dramatic representation of such doctrinally important events as the angel's announcement of the resurrection to the women at the tomb of Christ. Ultimately, performances of religious drama had become the province of the craft guilds, and the entire Christian story, from the creation of the world to the last judgment, had been reenacted for secular audiences. The Renaissance drama proper rose from this late medieval base by a number of transitional stages ending about 1580. A large number of comedies, tragedies, and examples of intermediate types were produced for London theaters between that year and 1642, when the London theaters were closed by order of the Puritan Parliament. Like so much non-dramatic literature of the Renaissance, most of these plays were written in an elaborate verse style and under the influence of classical examples, but the popular taste, to which drama was especially susceptible, required a flamboyance and sensationalism largely alien to the spirit of Greek and Roman literature. Only the Roman tragedian Lucius Annaeus Seneca could provide a model for the earliest popular tragedy of blood and revenge, The Spanish Tragedy (1589?) of Thomas Kyd. Kyd's skillfully managed, complicated, but sensational plot influenced in turn later, psychologically more sophisticated revenge tragedies, among them Shakespeare's Hamlet. A few years later Christopher Marlowe, in the tragedies Tamburlaine the Great, Part I (1587), and Edward II (1592?), began the tradition of the chronicle play of the fatal deeds of kings and potentates. Marlowe's plays, such as The Tragical History of Dr. Faustus (1588?) and The Jew of Malta (1589?), are remarkable primarily for their daring depictions of world-shattering characters who strive to go beyond the normal human limitations as the Christian medieval ethos had conceived them; these works are written in a poetic style worthy in many ways of comparison to Shakespeare's. Shakespeare Elizabethan tragedy and comedy alike reached their true flowering in Shakespeare's works. Beyond his art, his rich style, and his complex plots, all of which surpass by far the work of other Elizabethan dramatists in the same field, and beyond his unrivaled projection of character, Shakespeare's compassionate understanding of the human lot has perpetuated his greatness and made him the representative figure of English literature for the whole world. His comedies, of which perhaps the best are As You Like It (1599?) and Twelfth Night (1600?), depict the endearing as well as the ridiculous sides of human nature. His great tragedies — Hamlet (1601?), Othello (1604?), King Lear (1605?), Macbeth (1606?), and Antony and Cleopatra (1606?) — look deeply into the springs of action in the human soul. His earlier dark tragedies were imitated in style and feeling by the tragedian John Webster in The White Devil (1612) and The Duchess of Malfi (1613-1614). In Shakespeare's last plays, the so-called dramatic romances, including The Tempest (1611?), he sets a mood of quiet acceptance and ultimate reconciliation that was a fitting close for his literary career. These plays, by virtue of their mysterious, exotic atmosphere and their quick, surprising alternations of bad and good fortune, come close also to the tone of the drama of the succeeding age. Late Renaissance and 17th Century The most influential figure in shaping the immediate future course of English drama was Ben Jonson. His carefully plotted comedies, satirizing with inimitable verve and imagination various departures from the norm of good sense and moderation, are written in a more sober and careful style than are those of most Elizabethan and early 17th-century dramatists. Those qualities, indeed, define the character of later Restoration comedy. The best of Jonson's comedies are Volpone (1606) and The Alchemist (1610). Professing themselves his disciples, the dramatists Francis Beaumont and John Fletcher collaborated on a number of so-called tragicomedies (for example, Philaster,1610?) in which morally dubious situations, surprising reversals of fortune, and sentimentality combine with hollow rhetoric. The outstanding prose works of the Renaissance are not so numerous as those of later ages, but the great translation of the Bible, called the King James Bible, or Authorized Version, published in 1611, is significant because it was the culmination of two centuries of effort to produce the best English translation of the original texts, and also because its vocabulary, imagery, and rhythms have influenced writers of English in all lands ever since. Similarly sonorous and stately is the prose of Sir Thomas Browne, the physician and semi scientific investigator. His reduction of worldly phenomena to symbols of mystical truth is best seen in Religio Medici (Religion of a Doctor), probably written in 1635. THE RESTORATION PERIOD AND THE 18TH CENTURY This period extends from 1660, the year Charles II was restored to the throne, until about 1789. The prevailing characteristic of the literature of the Renaissance had been its reliance on poetic inspiration or what today might be called imagination. The inspired conceptions of Marlowe, Shakespeare, and Milton, the true originality of Spenser, and the daring poetic style of Donne all support this generalization. Furthermore, although nearly all these poets had been far more bound by formal and stylistic conventions than modern poets are, they had developed a large variety of forms and of rich or exuberant styles into which individual poetic expression might fit. In the succeeding period, however, writers reacted against both the imaginative flights and the ornate or startling styles and forms of the previous era. The quality of the later age is suggested by its writers' admiration for Ben Jonson and his disciples; the transparent and apparently effortless poetic medium of the “school of Ben,” along with its emphasis on good taste, moderation, and the Greek and Latin classics as models, appealed profoundly to the new generation. Thus, the restoration of Charles II ushered in a literature characterized by reason, moderation, good taste, deft management, and simplicity. The historical parallel between the early imperialism of Rome and the restored English monarchy, both of which had replaced republican institutions, was not lost on the ruling and learned classes. Their appreciation of the literature of the time of the Roman emperor Augustus led to a widespread acceptance of the new English literature and encouraged a grandeur of tone in the poetry of the period, the later phase of which is often referred to as Augustan. In addition, the ideals of impartial investigation and scientific experimentation promulgated by the newly founded Royal Society of London for Improving Natural Knowledge (established in 1662) were influential in the development of clear and simple prose as an instrument of rational communication. Finally, the great philosophical and political treatises of the time emphasize rationalism. Even in the earlier 17th century, Francis Bacon had moved in this direction by advocating reasoning and scientific investigation in Advancement of Learning (1605) and The New Atlantis (1627). Essay Concerning Human Understanding (1690), by John Locke, is the product of a belief in experience as the exclusive basis of knowledge, a view pushed to its logical extreme in An Enquiry Concerning Human Understanding (1748) by David Hume. Locke himself continued to profess faith in divine revelation, but this residual belief was weakened among the similarly rationalist Deists, who tended to base religion on what reason could find in the world God had created around humans. In political thought, the arbitrary acceptance of the monarch's divine right to rule (a conception popular in the Renaissance) had so nearly succumbed to skeptical criticism that Thomas Hobbes in his Leviathan (1651) found it necessary to defend the idea of political absolutism with a rationally conceived sanction. According to him, the monarch should rule not by divine right but by an original and indissoluble social contract in order to secure universal peace and material gratification. Similarly rationalistic, but opposed to this rigorous subordination of all organs of the state to central control, were Locke's two Treatises on Government (1690), in which he stated that the authority of the governor is derived from the always revocable consent of the governed and that the people's welfare is the only proper object of that authority. Perhaps the greatest historical work in English is History of the Decline and Fall of the Roman Empire (6 volumes, 1776-1788), by Edward Gibbon. Notable for its stately, balanced style, it is permeated with rationalistic skepticism and distrust of emotion, particularly religious emotion. The successive stages of literary taste during the period of the Restoration and the 18th century are conveniently referred to as the ages of Dryden, Pope, and Johnson, after the three great literary figures that, one after another, carried on the so-called classical tradition in literature. The age as a whole is sometimes called the Augustan age, or the classical or neoclassical period. Age of Dryden The poetry of John Dryden possesses a grandeur, force, and fullness of tone that were eagerly received by readers still having something in common with the Elizabethans. At the same time, however, his poetry set the tone of the new age in achieving a new clarity and in establishing a self-limiting, somewhat impersonal canon of moderation and good taste. His polished heroic couplet (a unit of two rhyming lines of iambic pentameter, generally end-stopped), which he inherited from less accomplished predecessors and then developed, became the dominant form in the composition of longer poems. In a number of critical works Dryden defined the stylistic restraint, compression, clarity, and common sense that he exemplified in his own poetry and that he showed to be lacking in much of the poetry of the preceding age, particularly in the exuberant and mechanically complex metaphorical wit of the older metaphysical school. His reputation rests primarily on satire. This form became the dominant poetic genre of the age, both because of the religious and political factionalism of the times and because mocking denunciation of the ludicrousness or rascality of the opposition comes naturally to an age with so strong a public sense of norms of behavior. Absalom and Achitophel (1681-1682) and Mac Flecknoe (1682) are the most remarkable of Dryden's political satires. Among his other poetic works are noteworthy translations of Roman satirists and of the works of Virgil, and the Pindaric ode “Alexander's Feast,” a tour de force of varied cadences, which was published in 1697. The bulk of Dryden's work was in drama. By means of it, following the new mode of living of the professional literary man, he could derive his support from a large public rather than from private patrons. In his heroic tragedies The Conquest of Granada (1670) and All for Love; or, The World Well Lost (1678), a rewriting of Shakespeare's Antony and Cleopatra in the new taste, Dryden showed a different and not always satisfying side of his talent and exemplified the dominant quality of all Restoration tragedy. In order to achieve splendor and surprise on the stage, he sacrificed reality of characterization and consistency in motivation for sensual display in exotic locales and extravagance in plot and situation, presented in a style verging on the bombastic. The affinities of this kind of drama are with Beaumont and Fletcher rather than with the great Elizabethan age; and the indirect influence of Ben Jonson is apparent also, for these two men were Jonson's disciples. Probably the best example of this genre of tragedy was produced by Thomas Otway, whose Venice Preserved (1682) avoids the worst excesses to which this form is liable and also possesses considerable tenderness and sensibility. By this time, however, the vogue of heroic tragedy was coming to an end; the style already had been successfully parodied in The Rehearsal (1671), by George Villiers, 2nd Duke of Buckingham, and his collaborators. The comedy of the time is much more successful than the tragedy. It is derived directly from the comedies of Ben Jonson but tries for more refinement while displaying less strength. In a cool, satiric spirit, it criticizes middle-class ambition and other variations from the courtly social norm, of which the canons are aristocratic good taste and good sense, rarely conventional morality. In the eyes of succeeding generations, the chief defects of Restoration comedy are its reduction of sentiment and emotion to silliness and its frequent amorality. Reaction against this type of comedy, known as the comedy of manners, already had developed by the time that its greatest practitioner, William Congreve, was displaying his subtle artistry in Love For Love (1695) and The Way of the World (1700). Just as Dryden's poetry defined the tone of his time, so too did his easy, informal, clear prose style, notably in his Essay of Dramatic Poesie (1668) and in various prefaces to his plays and translations. Noteworthy prose of a rather different nature was produced by two other figures of the age, Samuel Pepys and John Bunyan. The appetite of the period for life at all levels, but particularly for the life of the senses, is suggested by the secret diary of Samuel Pepys, a high official of the Admiralty Office. This extraordinary work, valuable as it is as a document of contemporary taste, has much to say of the private, un-heroic life and longings of people of all times. A figure in stronger contrast to Pepys could hardly be imagined than John Bunyan, a Puritan preacher, completely alien to the aristocratic and professional world of letters. Bunyan wrote The Pilgrim's Progress from This World to That Which Is to Come (1st part published in 1678; 2nd part, 1684) and The Life and Death of Mr. Badman (1680), two rough-hewn, moving, allegorical narratives of the human journey at the level of the fundamental verities of life, death, and religion. The first of these is now a literary classic, but in spite of the penetrating characterization and vitality of both works, they initially attained popularity only among artisans, merchants, and the poor. Age of Pope In the age of Alexander Pope (dated from about the death of Dryden in 1700 to Pope's death in 1744), the classical spirit in English literature reached its highest point, and at the same time other forces became manifest. Dryden's poetry had achieved grandeur, amplitude, and sublimity within a particular definition of good taste and good sense and under the tutelage of the Roman and Greek classics. To the poetry of Pope this characterization applies even more stringently. More than any other English poet, he submitted himself to the requirement that the expressive force of poetic genius should issue forth only in a formulation as reasonable, lucid, balanced, compressed, final, and perfect as the power of human reason can make it. Pope did not have Dryden's majesty. Perhaps, given his predilection for correctness of detail, he could not have had it. Also, the readers of succeeding times have concluded that the dictates of reason do not all converge on only one poetic formula, just as the heroic couplet, which Pope brought to final perfection, is not necessarily the most generally suitable of English poetic forms. Nevertheless, the ease, harmony, and grace of Pope's poetic line are still impressive, and his quality of precise but never labored expression of thought remains unequaled. Pope's reputation rests in large part on his satires, but his didactic bent led him to formulate in verse the Essay on Criticism (1711) and The Essay on Man (1732-1734). The former attempts to show that poetry must be modeled on nature; but his conception of nature, a traditional one shared by all his contemporaries, differs from that of succeeding generations. For Pope, nature meant the rules that right reason has discovered to be immanent in all things, so that what the experience of reasonable minds through the ages has shown to be the greatest poetry—namely, that of classical antiquity—provides a perfect model for modern times. A similar conservatism reappears in the Essay on Man, which concludes with the much-debated generalization “Whatever is, is right.” Pope's brilliant satiric masterpiece, The Rape of the Lock (1712; revised edition 1714), makes an epic theme of a trifling drawing-room episode: the contention arising from a young lord's having covertly snipped a lock of hair from a young lady's head. His most sustained satire, The Dunciad (1728; final version 1743), follows Dryden's Mac Flecknoe in its elegantly pointed, often malicious but always high-spirited mockery of the literary dullards who were Pope's enemies. Like Dryden, Pope made translations of classical works, notably of the Iliad, which was a great popular and financial success. His edition of Shakespeare's works bears witness to a range of taste not usually ascribed to him. It is only natural that the 18th-century preoccupation with the power of reason and good sense should have produced a large number of works in the more sober medium of prose. Jonathan Swift, who was, like Pope, a Tory conservative for the latter half of his life and a satirist, wrote a number of mordantly satirical prose narratives in which a profound and despairing perception of human stupidities and evil are in contrast with the social criticism of his great contemporaries. Swift's Tale of a Tub (1704) reduces the quarrels among three important religious divisions of his day to an allegory of three disreputable brothers. His generous anger on behalf of the poor of Ireland produced “A Modest Proposal” (1729), in which, with horrifying mock seriousness, he proposed that the children of the poor should be raised for slaughter as food for the rich. His best-known work, Gulliver's Travels (1726), purports to be a ship doctor's account of his voyages into strange places, but in reality it is a castigation of the human race. The accounts of Gulliver's first two voyages are often read as a children's book. The last part abandons, however, delicate fancy and unmasks the selfish and sick bestiality of humanity in the guise of the so-called Yahoos, who are the savage and improvident servants of a race of apparently reasonable and noble horses, called Houyhnhnms. This work, like all of Swift's, is written in a prose of unrivaled lucidity, energy, and polemical skill. Similarly noteworthy for the quality of their prose are the Spectator papers (1711-1712; 1714), written mainly by Joseph Addison and Richard Steele. Published daily, these essays, like many others, corresponded to the newly felt need of the day for popular journalism, but their enlightened comment and their criticism of contemporary society separate them from the mass of similar publications. The main intent of Addison and Steele may be defined in their own words: “To enliven morality with wit, and to temper wit with morality.” In a series of informal, conversational essays describing the activities of various ideal representatives of social groups, such as the Tory country squire Sir Roger de Coverley and the Whig merchant Sir Andrew Freeport, Addison and Steele salvaged and united some of the best sides of the contemporary English character. The lightly borne, free-and-easy manners of the court and the older landed classes should, according to these papers, exist side by side with the industry, uprightness, and deeply felt morality of the newly rich city merchants. The amorality associated with the one and the stubborn narrowness of the other should disappear. The emphasis on public decorum and individual rectitude and on sympathy with one's fellow beings in the Spectator papers is a measure of their distance from the cool indifference and frequent licentiousness of much Restoration literature, particularly comedy, although the purpose of both was to represent reason, moderation, and common sense. A quite different kind of journalism is represented by the work of the middle-class adventurer, hack writer, and political agent Daniel Defoe. Separated from the life of the upper classes and their erudite writers, as Bunyan had been before him, he produced, among many pieces of commissioned writing, a series of purportedly true but actually fictitious memoirs and confessions. The first of these, and the greatest, is Robinson Crusoe (1719), which reports the life and adventures of a shipwrecked sailor. Age of Johnson The age of Samuel Johnson, from 1744 to about 1784, was a time of changing literary ideals. The developed classicism and literary conservatism associated with Johnson fought a rear-guard action against the cult of sentiment and feeling associated in various ways with the harbingers of the coming age of romanticism. Johnson composed poetry that continued the traditions and forms of Pope, but he is best known as a prose writer and as an extraordinarily gifted conversationalist and literary arbiter in the cultivated urban life of his time. His conservatism and sturdy common sense are what might be expected given his intellectual tradition, but his individual quality has little to do with literary tendencies. His curiously lovable and upright personality, along with his intellectual preeminence and idiosyncrasies, have been preserved in the most famous of English biographies, the Life of Samuel Johnson (1791), by James Boswell, a Scottish writer with an appetite for literary celebrities. Johnson worked his way up from poverty by honest literary labors, among which was his Dictionary of the English Language (1755). A great success, it was the first such work prepared according to modern standards of lexicography. Like Addison and Steele, Johnson produced a series of journalistic essays, The Rambler (1750-1752), but because of their somewhat pedantic style and Latinate vocabulary, they lack the easy informality of the Spectator papers and serve to accentuate the opposition between his neoclassical formality and the succeeding romantic ideal of heart-to-heart communication. Johnson's philosophical tale Rasselas (1759), of which the moral is that “human life is everywhere a state in which much is to be endured, and little to be enjoyed,” is reminiscent of Swift (as well as of his contemporary the French writer Voltaire in his tale Candide) in its perception of the vanity of human wishes. For all his pessimism, however, the amazing detail, independence, and intellectual facility of Johnson's critical biographies of English poets since 1600 (Lives of the Poets, 1779-1781), written in his old age, show what critical discrimination and intellectual integrity can accomplish. Johnson's friend Oliver Goldsmith was a curious mixture of the old and the new. His novel The Vicar of Wakefield (1766) begins with dry humor but passes quickly into tearful calamity. His poem The Deserted Village (1770) is in form reminiscent of Pope, but in the tenderness of its sympathy for the lower classes it foreshadows the romantic age. In such plays as She Stoops to Conquer (1773) Goldsmith, like the younger Richard Sheridan in his School for Scandal (1777), demonstrated an older tradition of satirical quality and artistic adroitness that was to be anathema to a younger generation. The signs of this newer feeling, which resulted in romanticism, can be traced in the poetry of William Cowper and of Thomas Gray. The cultivation of a pensive and melancholy sensibility and the interruption of the rule of the heroic couplet, as in Gray's “Elegy Written in a Country Churchyard” (1751), hint at the period to come, as does Gray's interest in medieval, non-classical literature. New interests are even more obvious in the highly original poetry of the self-educated artist and engraver William Blake. His work consists in part of simple, almost childlike lyrics (Songs of Innocence, 1789), as well as of powerful but lengthy and obscure declarations of a new mythological vision of life (The Book of Thel, 1789). All Blake's poetry expresses a revolt against the ideal of reason (which he considered destructive to life) and advocates the life of feeling—but in a more vital and assertive sense than is the case with the other previously mentioned pre-romantics. Similarly robust and passionate are the lyrics of the Scottish poet Robert Burns, which are characterized by his use of regional Scottish vernacular. The simplicity, forcefulness, and powerful emotion of the ancient ballads of the Scottish-English border region, as revealed in Reliques of Ancient English Poetry (1765), by Bishop Thomas Percy, were likewise influential in the development of romanticism. Among writers of the novel—a newly popular form in this period—an advocate of sentiment and simple, innocent feelings had already appeared in the person of Samuel Richardson. In his sentimental novel Clarissa (1747-1748), the plight of a young, innocent girl, destroyed by the man she loves, is represented through lengthy letters interchanged among the characters. This device permits an unprecedented revelation of motives and feelings. Richardson's contemporary Henry Fielding evinced his connection with the earlier satirical spirit in his novel Joseph Andrews (1742), which parodies Richardson's other novel of virtue besieged, Pamela (1740). Fielding's greatest novel, Tom Jones (1749), reveals a robust and healthy spirit of good sense and comedy, in which well-intentioned vigor wins out over excessive hypocrisy. Fielding's contemporary, the Scottish-born Tobias Smollett, wrote a number of novels of picaresque adventure, the last and probably best of which is Humphry Clinker (1771). The Life and Opinions of Tristram Shandy, Gentleman (1759-1767), the masterpiece of another great British novelist of the century, Laurence Sterne, indulges in the new cult of sentiment, but by reason of its cast of eccentric characters and the skilled weaving of the most extraordinary behavior into the depiction of their personalities, this novel lies outside the usual historical categories. THE ROMANTIC AGE Extending from about 1789 until 1837, the romantic age stressed emotion over reason. One objective of the French Revolution (1789-1799) was to destroy an older tradition that had come to seem artificial, and to assert the liberty, spirit, and heartfelt unity of the human race. To many writers of the romantic age this objective seemed equally appropriate in the field of English letters. In addition, the romantic age in English literature was characterized by the subordination of reason to intuition and passion, the cult of nature much as the word is now understood and not as Pope understood it, the primacy of the individual will over social norms of behavior, the preference for the illusion of immediate experience as opposed to generalized and typical experience, and the interest in what is distant in time and place. The Romantic Poets The first important expression of romanticism was in the Lyrical Ballads (1798) of William Wordsworth and Samuel Taylor Coleridge, young men who were aroused to creative activity by the French Revolution; later they became disillusioned with what followed it. The poems of Wordsworth in this volume treat ordinary subjects with a new freshness that imparts certain radiance to them. On the other hand, Coleridge's main contribution, “The Rime of the Ancient Mariner,” masterfully creates an illusion of reality in relating strange, exotic, or obviously unreal events. These two directions characterize most of the later works of the two poets. For Wordsworth the great theme remained the world of simple, natural things, in the countryside or among people. He reproduced this world with so close and understanding an eye as to add a hitherto unperceived glory to it. His representation of human nature is similarly simple but revealing. It is at its best, as in “Tintern Abbey” or “Ode on Intimations of Immortality,” when he speaks of the mystical kinship between quiet nature and the human soul and of the spiritual refreshment yielded by humanity's sympathetic contact with the rest of God's creation. Not only is the immediacy of experience in the poetry of Wordsworth opposed to neoclassical notions, but also his poetic style constitutes a rejection of the immediate poetic past. Wordsworth condemned the idea of a specifically poetic language, such as that of neoclassical poetry, and he strove instead for what he considered the more powerful effects of ordinary, everyday language. Coleridge's natural bent, on the other hand, was toward the strange, the exotic, and the mysterious. Unlike Wordsworth, he wrote few poems, and these during a very brief period. In such poems as “Kubla Khan” and “Christabel,” the beauties and horrors of the far distant in time or place are evoked in a style that is neither neoclassical nor simple in Wordsworth's fashion, but that, instead, recalls the splendor and extravagance of the Elizabethans. At the same time Coleridge achieved an immediacy of sensation that suggests the natural although hidden affinity between him and Wordsworth, and their common rejection of the 18th-century spirit in poetry. Another poet who found delight in the far distant in time was Sir Walter Scott, who, after evincing an early interest in the ancient ballads of his native Scotland, wrote a series of narrative poems glorifying the active virtues of the simple, vigorous life and culture of his land in the Middle Ages, before it had been affected by modern civilization. In such of these poems as The Lady of the Lake (1810) he employed a style of little originality. His work, however, was the more popular among his immediate contemporaries for that very reason, long before the full stature of Wordsworth's more impressive poetry was recognized. Some of Scott's Waverley novels, a series of historical works, have given him a more permanent reputation as a writer of prose. A second generation of romantic poets remained revolutionary in some sense throughout their poetic careers, unlike Coleridge, Wordsworth, and Scott. George Gordon, Lord Byron, is one of the exemplars of a personality in tragic revolt against society. As in his stormy personal life, so also in such poems as Childe Harold's Pilgrimage (1812) and Don Juan (1819-1824), this generous but egotistical aristocrat revealed with uneven pathos or with striking irony and cynicism the vagrant feelings and actions of great souls caught in a petty world. Byron's satirical spirit and strong sense of social realism kept him apart from other English romantics; unlike the rest, he proclaimed, for example, a high regard for Pope, whom he sometimes imitated. The other great poet-revolutionary of the time, Percy Bysshe Shelley, seems much closer to the grandly serious spirit of the other romantics. His most thoughtful poetry expresses his two main ideas, that the external tyranny of rulers, customs, or superstitions is the main enemy, and that inherent human goodness will, sooner or later, eliminate evil from the world and usher in an eternal reign of transcendent love. It is, perhaps, in Prometheus Unbound (1820) that these ideas are most completely expressed, although Shelley's more obvious poetic qualities—the natural correspondence of metrical structure to mood, the power of shaping effective abstractions, and his ethereal idealism—can be studied in a whole range of poems, from “Ode to the West Wind” and “To a Skylark” to the elegy “Adonais,” written for John Keats, the youngest of the great romantics. More than that of any of the other romantics, Keats's poetry is a response to sensuous impressions. He found neither the time nor the inclination to elaborate a complete moral or social philosophy in his poetry. In such poems as “The Eve of St. Agnes”, ”Ode on a Grecian Urn” and “Ode to a Nightingale”, all written about 1819, he showed an unrivaled awareness of immediate sensation and an unequaled ability to reproduce it. Between 1818 and 1821, during the last few years of his short life, this spiritually robust, active, and wonderfully receptive writer produced all his poetry. His work had a more profound influence than that of any other romantic in widening the sensuous realm of poetry for the Victorians later in the century. Romantic Prose Certain romantic prose parallels the poetry of the period in a number of ways. The evolution of fundamentally new critical principles in literature is the main achievement of Coleridge's Biographia literaria (1817), but like Charles Lamb (Specimens of English Dramatic Poets, 1808) and William Hazlitt (Characters of Shakespeare's Plays, 1817), Coleridge also wrote a large amount of practical criticism, much of which helped to elevate the reputations of Renaissance dramatists and poets neglected in the 18th century. Lamb is famous also for his occasional essays, the Essays of Elia (1823, 1833). An influential romantic experiment in the achievement of a rich poetic quality in prose is the phantasmagoric, impassioned autobiography of Thomas De Quincey, Confessions of an English Opium-Eater (1821). THE VICTORIAN ERA The Victorian era, from the coronation of Queen Victoria in 1837 until her death in 1901, was an era of several unsettling social developments that forced writers more than ever before to take positions on the immediate issues animating the rest of society. Thus, although romantic forms of expression in poetry and prose continued to dominate English literature throughout much of the century, the attention of many writers was directed, sometimes passionately, to such issues as the growth of English democracy, the education of the masses, the progress of industrial enterprise and the consequent rise of a materialistic philosophy, and the plight of the newly industrialized worker. In addition, the unsettling of religious belief by new advances in science, particularly the theory of evolution and the historical study of the Bible, drew other writers away from the immemorial subjects of literature into considerations of problems of faith and truth. Nonfiction The historian Thomas Babington Macaulay, in his History of England (5 volumes, 1848-1861) and even more in his Critical and Historical Essays (1843), expressed the complacency of the English middle classes over their new prosperity and growing political power. The clarity and balance of Macaulay's style, which reflects his practical familiarity with parliamentary debate, stands in contrast to the sensitivity and beauty of the prose of John Henry Newman. Newman's main effort, unlike Macaulay's, was to draw people away from the materialism and skepticism of the age back to a purified Christian faith. His most famous work, Apologia pro vita sua (Apology for His Life, 1864), describes with psychological subtlety and charm the basis of his religious opinions and the reasons for his change from the Anglican to the Roman Catholic church. Similarly alienated by the materialism and commercialism of the period, Thomas Carlyle, another of the great Victorians, advanced a heroic philosophy of work, courage, and the cultivation of the godlike in human beings, by means of which life might recover its true worth and nobility. This view, borrowed in part from German idealist philosophy, Carlyle expressed in a vehement, idiosyncratic style in such works as Sartor resartus (The Tailor Retailored, 1833-1834) and On Heroes, Hero-Worship, and the Heroic in History (1841). Two fine Victorian prose writers of a different stamp presented other answers to social problems. The social criticism of the art critic John Ruskin looked to the curing of the ills of industrial society and capitalism as the only path to beauty and vitality in the national life. The escape from social problems into aesthetic hedonism was the contribution of the Oxford scholar Walter Pater. Poetry The three notable poets of the Victorian Age became similarly absorbed in social issues. Beginning as a poet of pure romantic escapism, Alfred, Lord Tennyson, soon moved on to problems of religious faith, social change, and political power, as in “Locksley Hall,” the elegy In Memoriam (1850), and Idylls of the King (1859-1885). All the characteristic moods of his poetry, from brooding splendor to lyrical sweetness, are expressed with smooth technical mastery. His style, as well as his peculiarly English conservatism, stands in some contrast to the intellectuality and bracing harshness of the poetry of Robert Browning. Browning's most important short poems are collected in Dramatic Romances and Lyrics (1841-1846) and Men and Women (1855). Matthew Arnold, the third of these mid-Victorian poets, stands apart from them as a more subtle and balanced thinker; his literary criticism (Essays in Criticism, 1865, 1888) is the most remarkable written in Victorian times. His poetry displays a sorrowful, disillusioned pessimism over the human plight in rapidly changing times (for example, “Dover Beach,” 1867), a pessimism countered, however, by a strong sense of duty. Among a number of lesser poets, Algernon Charles Swinburne showed an escapist aestheticism, somewhat similar to Pater's, in sensuous verse rich in verbal music but somewhat diffuse and pallid in its expression of emotion. The poet Dante Gabriel Rossetti and the poet, artist, and socialist reformer William Morris were associated with the Pre-Raphaelite movement, the adherents of which hoped to inaugurate a new period of honest craft and spiritual truth in property and painting. Despite the otherworldly or archaic character of their romantic poetry, Morris, at least, found a social purpose in his designs for household objects, which profoundly influenced contemporary taste. The Victorian Novel The novel gradually became the dominant form in literature during the Victorian Age. A fairly constant accompaniment of this development was the yielding of romanticism to literary realism, the accurate observation of individual problems and social relationships. The close observation of a restricted social milieu in the novels of Jane Austen early in the century (Pride and Prejudice, 1813; Emma, 1816) had been a harbinger of what was to come. The romantic historical novels of Sir Walter Scott, about the same time (Ivanhoe, 1819), typified, however, the spirit against which the realists later were to react. It was only in the Victorian novelists Charles Dickens and William Makepeace Thackeray that the new spirit of realism came to the fore. Dickens's novels of contemporary life (Oliver Twist, 1837-1839; David Copperfield, 1849-1850; Great Expectations, 1861; Our Mutual Friend, 1865) exhibit an astonishing ability to create living characters; his graphic exposures of social evils and his powers of caricature and humor have won him a vast readership. Thackeray, on the other hand, indulged less in the sentimentality sometimes found in Dickens's works. He was also capable of greater subtlety of characterization, as his Vanity Fair (1847-1848) shows. Nevertheless, the restriction of concern in Thackeray's novels to middle and upper class life, and his lesser creative power, render him second to Dickens in many readers' minds. Other important figures in the mainstream of the Victorian novel were notable for a variety of reasons. Anthony Trollope was distinguished for his gently ironic surveys of English ecclesiastical and political circles; Emily Brontë, for her penetrating study of passionate character; George Eliot, for her responsible idealism; George Meredith, for a sophisticated, detached, and ironical view of human nature; and Thomas Hardy, for a profoundly pessimistic sense of human subjection to fate and circumstance. A second and younger group of novelists, many of whom continued their important work into the 20th century, displayed two new tendencies. Robert Louis Stevenson, Rudyard Kipling, and Joseph Conrad tried in various ways to restore the spirit of romance to the novel, in part by a choice of exotic locale, in part by articulating their themes through plots of adventure and action. Kipling attained fame also for his verse and for his mastery of the single, concentrated effect in the short story. Another tendency, in a sense, an intensification of realism, was common to Arnold Bennett, John Galsworthy, and H. G. Wells. These novelists attempted to represent the life of their time with great accuracy and in a critical, partly propagandistic spirit. Wells's novels, for example, often seem to be sociological investigations of the ills of modern civilization rather than self-contained stories. 19th-Century Drama The same spirit of social criticism inspired the plays of the Irish-born George Bernard Shaw, who did more than anyone else to awaken the drama from its 19th-century somnolence. In a series of powerful plays that made use of the latest economic and sociological theories, he exposed with enormous satirical skill the sickness and fatuities of individuals and societies in England and the rest of the modern world. Man and Superman (1903), Androcles and the Lion (1913), Heartbreak House (1919), and Back to Methuselah (1921) are notable among his works. His final prescription for a cure, a philosophy of creative evolution by which human beings should in time surpass the biological limit of species, showed him going beyond the limits of sociological realism into visionary writing. 20TH-CENTURY LITERATURE Two world wars, an intervening economic depression of great severity, and the austerity of life in Britain following the second of these wars help to explain the quality and direction of English literature in the 20th century. The traditional values of Western civilization, which the Victorians had only begun to question, came to be questioned seriously by a number of new writers, who saw society breaking down around them. Traditional literary forms were often discarded, and new ones succeeded one another with bewildering rapidity, as writers sought fresher ways of expressing what they took to be new kinds of experience, or experience seen in new ways. Post-World War I Fiction Among novelists and short-story writers, Aldous Huxley best expressed the sense of disillusionment and hopelessness in the period after World War I (1914-1918) in his Point Counter Point (1928). This novel is composed in such a way that the events of the plot form a contrapuntal pattern that is a departure from the straightforward storytelling technique of the realistic novel. Before Huxley, and indeed before the war, the sensitively written novels of E. M. Forster (A Room with a View, 1908; Howards End, 1910) had exposed the hollowness and deadness of both abstract intellectuality and upper-class social life. Forster had called for a return to a simple, intuitive reliance on the senses and for a satisfaction of the needs of one's physical being. His most famous novel, A Passage to India (1924), combines these themes with an examination of the social distance separating the English ruling classes from the native inhabitants of India and shows the impossibility of continued British rule there. D. H. Lawrence similarly related his sense of the need for a return from the complexities, over-intellectualism, and cold materialism of modern life to the primitive; unconscious springs of vitality of the race. His numerous novels and short stories, among which some of the best known are Sons and Lovers (1913), Women in Love (1921), The Plumed Serpent (1926), and Lady Chatterley's Lover (1928), are for the most part more clearly experimental than Forster's. The obvious symbolism of Lawrence's plots and the forceful, straightforward preaching of his message broke the bonds of realism and replaced them with the direct projection of the author's own dynamically creative spirit. His distinguished but uneven poetry similarly deserted the fixed forms of the past to achieve a freer, more natural, and more direct expression of the perceptions of the writer. Even more experimental and unorthodox than Lawrence's novels were those of the Irish writer James Joyce. In his novel Ulysses (1922) he focused on the events of a single day and related them to one another in thematic patterns based on Greek mythology. In Finnegans Wake (1939) Joyce went beyond this to create a whole new vocabulary of puns and portmanteau (merged) words from the elements of many languages and to devise a simple domestic narrative from the interwoven parts of many myths and traditions. In some of these experiments his novels were paralleled by those of Virginia Woolf, whose Mrs. Dalloway (1925) and To the Lighthouse (1927) skillfully imitated, by the so-called stream-of-consciousness technique, the complex of immediate, evanescent life experienced from moment to moment. Dame Ivy Compton-Burnett appeals to a small but discerning readership with her idiosyncratic dissections of family relationships, told almost entirely in sparse dialogue; her novels include Brothers and Sisters (1929), Men and Wives (1931), and Two Worlds and Their Ways (1949). Among young novelists, Evelyn Waugh, like Aldous Huxley, satirized the foibles of society in the 1920s in Decline and Fall (1928). His later novels, similarly satirical and extravagant, showed a deepening moral tone, as in The Loved One (1948) and Brideshead Revisited (1945). Graham Greene, like Waugh a convert to Roman Catholicism, investigated in his more serious novels the problem of evil in human life (The Heart of the Matter, 1948; A Burnt-Out Case, 1961; The Comedians, 1966). Much of the reputation of George Orwell rests on two works of fiction, one an allegory (Animal Farm, 1945), the other a mordant satire (Nineteen Eighty-Four, 1949)—both directed against the dangers of totalitarianism. The same anguished concern about the fate of society is at the heart of his nonfiction, especially in such vivid reporting as The Road to Wigan Pier (1937), an account of life in the coal-mining regions of northern England during the Great Depression, and in Homage to Catalonia (1938), about the Spanish Civil War. Fiction after World War II No clearly definable trends have appeared in English fiction since the time of the post-World War II School of writers, the so-called angry young men of the 1950s and 1960s. This group, which included the novelists Kingsley Amis, John Wain, and John Braine, attacked outmoded social values left over from the prewar world. Interest in the 1970s focused on writers as disparate in their concerns and styles as V. S. Pritchett and Doris Lessing. Pritchett, considered a master of the short story (Selected Stories, 1978), is also noted as a literary critic of remarkable erudition. His easy but elegant, supple style illuminates both forms of writing. Lessing has moved from the early short stories collected as African Stories (1965) to novels increasingly experimental in form and concerned with the role of women in contemporary society. Notable among these is The Golden Notebook (1962), about a woman writer coming to grips with life through her art. Anthony Powell, a friend and Oxford classmate of Evelyn Waugh, has also written wittily about the higher echelons of English society, but with more affection and on a broader canvas. His 12-volume series of novels, grouped under the title A Dance to the Music of Time (1951-1975), is a highly readable account of the intertwined lives and careers of people in the arts and politics from before World War II (1939-1945) to many years afterward. His four-volume autobiography, To Keep the Ball Rolling (1977-1983), complements the fictionalized details that form the basis of his novels. Iris Murdoch, a teacher of philosophy as well as a writer, is esteemed for slyly comic analyses of contemporary lives in her many novels beginning with Under the Net (1954) and continuing with A Severed Head (1961), The Black Prince (1973), Nuns and Soldiers (1980), and The Good Apprentice (1986). Her effects are made by the contrast between her eccentric characters and the underlying seriousness of her ideas. Other distinctive talents include Anthony Burgess, novelist and man of letters, most popular for his mordant novel of teenage violence, A Clockwork Orange (1962), which was made into a successful motion picture in 1971; and John Le Carré (pseudonym of David Cornwell), who has won popularity for ingeniously complex espionage tales, loosely based on his own experience in the British foreign service. His novels include The Spy Who Came in from the Cold (1963), Tinker, Tailor, Soldier, Spy (1974), A Perfect Spy (1986), The Russia House (1989), and The Night Manager (1993). William Golding displays a wide inventive range in fiction that explores human evil: the allegorical Lord of the Flies (1954); The Inheritors (1955), about Neanderthal life; The Spire (1964); and The Paper Men (1984), about an English novelist's cruel behavior to an American scholar. Golding won the Nobel Prize for literature in 1983. Modern Poetry Two of the most remarkable poets of the modern period combined tradition and experiment in their work. The Irish writer William Butler Yeats was the more traditional. In his romantic poetry, written before the turn of the century, he exploited ancient Irish traditions and then gradually developed a powerfully honest, profound, and rich poetic idiom, at its maturity in The Tower (1928) and The Winding Stair (1933). The younger poet, T. S. Eliot, born in the United States, achieved more immediate acclaim with The Waste Land (1922), the most famous poem of the early part of the century. Through a mass of symbolic associations with legendary and historical events, Eliot expresses his despair over the sterility of modern life. His movement toward religious faith displayed itself in Four Quartets (1943). His surprising combination of colloquial and literary diction, his fusing of antithetical moods, and his startling, complex metaphorical juxtapositions relate him, among English poets, to John Donne. Eliot's style was intimately influenced by his study of such French poets as Jules Laforgue and Saint-John Perse. Eliot's essays, promulgating a style of poetry in which sound and sense are associated, were probably the most influential work in literary criticism in the first half of the century. Both Yeats and Eliot exercised enormous influence on modern poets. A third influence was that of Gerard Manley Hopkins, a Victorian poet whose work was not introduced to the world until 1918. The conflict between his Roman Catholicism and his sense of the beauty of this world, and his complicated experiments in metrics and vocabulary have attracted much attention. Of the many poets stimulated to indignant verse by World War I, Siegfried Sassoon, Wilfred Owen, and Robert Graves rank among the most lastingly important. Graves's ability to produce pure and classically perfect poetry kept his reputation strong long after World War II. His historical novels, such as I, Claudius and Claudius the God (both 1934), also helped to maintain his popularity. The verse of Dame Edith Sitwell, who communicated her disdain of commonplace propriety as much by the aristocratic individualism of her personal attitudes as by her poetry, was first published during World War I; her experimentalism had little directly to do, however, with social problems. Extravagantly imaginative metaphors after the manner of the metaphysical poets, and conscious distortion of sense impressions, somewhat as in modern painting, were among her poetic devices. After World War II she wrote more compassionate and moving poetry, as in The Canticle of the Sun (1949) and The Outcasts (1962). The succeeding generation of poets, identified in the popular consciousness with the depression and social upheaval of the 1930s, made use at first of so much private or esoteric symbolism as to render the poetry barely intelligible to any but a small coterie of readers. The best known of these—W. H. Auden, Stephen Spender, and C. Day Lewis—filled their earlier poetry with political and ideological discussion and with expressions of horror at bourgeois society and nascent totalitarianism. After such verse plays as The Ascent of F-6, written in 1936 in collaboration with Christopher Isherwood, Auden's poetry became more reflective in The Double Man (1941) and, later, City Without Walls (1969). So, too, Day Lewis moved from The Magnetic Mountain (1935) to a more personal lyricism in World Above All (1943). His Poetic Image (1947) was a prose exposition of the modern poetic ideal. The position of poet laureate, held by Day Lewis from 1968 to 1972, subsequently passed to Sir John Betjeman, popular for his nostalgic humor. Experimentalism continued in the exuberantly metaphorical poetry of the Welsh writer Dylan Thomas, whose almost mystical love of life and understanding of death were expressed in some of the most beautiful verse of the middle of the century. After Thomas's death in 1953, a new generation of British poets emerged, some influenced by him and some reacting against his influence. Among the leading younger poets were D. J. Enright, Philip Larkin, John Wain, Thom Gunn, and Ted Hughes. In 1984, after Betjeman's death, Hughes, whose poetry focuses on the savagery of life, became poet laureate. Modern Drama Aside from the later plays of George Bernard Shaw, the most important drama produced in English in the first quarter of the 20th century came from another Irish writer, Sean O'Casey, who continued the movement known as the Irish Renaissance. Other playwrights of the period were James Matthew Barrie, John Galsworthy, Somerset Maugham, and Sir Noel Coward. Beginning in the 1950s the so-called angry young men became a new, salient force in English drama. The dramatists John Osborne, Arnold Wesker, Shelagh Delaney, and John Arden focused their attention on the working classes, portraying the drabness, mediocrity, and injustice in the lives of these people. Although Harold Pinter and the Irish writer Brendan Behan also wrote plays set in a working-class environment, they stand apart from the angry young men. In such works as The Birthday Party (1957) Pinter seems to offer reasonable interpretations of his characters' behavior, only to withdraw the interpretations or set them slightly askew in an effort to keep the audience intent on every least hint in the action on stage. Outside the literary mainstream was the Irish-born novelist-dramatist Samuel Beckett, recipient in 1969 of the Nobel Prize for literature. Long a resident in France, he wrote his laconic, ambiguously symbolic works in French and translated them himself into English (Waiting for Godot, play, 1952; How It Is, novel, 1964). Both English and American audiences have enthusiastically received the plays of Joe Orton and Tom Stoppard. Orton's Entertaining Mr. Sloane (1964), Loot (1967), and What the Butler Saw (1969) are farces dealing with the perverseness of modern morality; dazzling verbal ingenuity distinguishes Stoppard's Rosencrantz and Guildenstern Are Dead (1966), Travesties (1974), and The Real Thing (1984).