7.W. Shakespeare’s tragedies .

Othello, the Moor of Venice is a tragedy by William Shakespeare, believed to have been written in approximately 1603, and based on the Italian short story "Un Capitano Moro" ("A Moorish Captain") by Cinthio, a disciple of Boccaccio, first published in 1565. The work revolves around four central characters: Othello, a Moorish general in the Venetian army; his wife Desdemona; his lieutenant, Cassio; and his trusted ensign Iago. Because of its varied and current themes of racism, love, jealousy, and betrayal, Othello is still often performed in professional and community theatres alike and has been the basis for numerous operatic, film, and literary adaptations.

Romeo and Juliet is a tragedy written early in the career of playwright William Shakespeare about two young "star-cross'd lovers"[1] whose deaths ultimately unite their feuding families. It was among Shakespeare's most popular archetypal stories of young, teenage lovers.

Romeo and Juliet belongs to a tradition of tragic romances stretching back to antiquity.

8.W. Shakespeare’s comedies. The analysis of any comedy.

Shakespeare’s comedies (or rather the plays of Shakespeare that are usually categorised as comedies), just as in the case with he tragedies, do not fit into any slot. They are generally identifiable as the comedies of Shakespeare in that they are full of fun, irony and dazzling wordplay. They also abound in disguises and mistaken identities with very convoluted plots that are difficult to follow (try relating the plot of A Midsummer Night’s Dream to someone!), with very contrived endings.

Any attempt at describing these plays as a group can’t go beyond that superficial outline. The highly contrived endings are the clue to what these plays, all very different, are about.

A Midsummer Night's Dream is a comedy by William Shakespeare. It is believed to have been written around 1594 to 1596. It portrays the events surrounding the marriage of the Duke of Athens, Theseus, and the Queen of the Amazons, Hippolyta. These include the adventures of four young Athenian lovers and a group of amateur actors, who are manipulated by the fairies who inhabit the forest in which most of the play is set. The play is one of Shakespeare's most popular works for the stage and is widely performed across the world.

9.English literature of 17 century. The Cavalier and Metaphysical poets. J. Donne, g. Herbert, a. Marwell; the main ideas of their poetry.

The metaphysical poets were a loose group of British lyric poets of the 17th century, who shared an interest in metaphysical concerns and a common way of investigating them, and whose work was characterised by inventiveness of metaphor (these involved comparisons being known as metaphysical conceits). These poets were not formally affiliated; most of them did not even know or read each other. Their poetry was influenced greatly by the changing times, new sciences and the new found debauched scene of the 17th century.

Their style was characterized by wit and metaphysical conceits—far-fetched or unusual similes or metaphors, such as in Andrew Marvell’s comparison of the soul with a drop of dew; in an expanded epigram format, with the use of simple verse forms, octosyllabic couplets, quatrains or stanzas in which length of line and rhyme scheme enforce the sense.[3] The specific definition of wit which Johnson applied to the school was: "...a kind of discordia concours; a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike." [4] Their poetry diverged from the style of their times, containing neither images of nature nor allusions to classical mythology, as were common.[5] Several metaphysical poets, especially John Donne, were influenced by Neo-Platonism. One of the primary Platonic concepts found in metaphysical poetry is the idea that the perfection of beauty in the beloved acted as a remembrance of perfect beauty in the eternal realm. In a famous definition Georg Lukács, the Hungarian Marxist critic, described the school's common trait of "looking beyond the palpable" and "attempting to erase one's own image from the mirror in front so that it should reflect the not-now and not-here" as foreshadowing existentialism.[6] Though secular subjects drew them (in particular matter drawn from the new science, from the expanding geographical horizons of the period, and from dialectic) there was also a strong casuistic element to their work, defining their relationship with God.

John Donne (pronounced /ˈdʌn/ dun; 21 January 1572 – 31 March 1631) was an English poet, preacher and a major representative of the metaphysical poets of the period. His works are notable for their realistic and sensual style and include sonnets, love poetry, religious poems, Latin translations, epigrams, elegies, songs, satires and sermons.

Marvell also wrote anonymous prose satires criticizing the monarchy and Catholicism, defending Puritan dissenters, and denouncing censorship. Marvell’s poetry is often witty and full of elaborate conceits in the elegant style of the metaphysical poets. Many poems were inspired by events of the time, public or personal. Others were written in the pastoral style of the classical Roman authors.