- •1.Anglo-Saxon literature. Genre variety of Anglo-Saxon literature. Style and language peculiarities.
- •2. Anglo-Saxon literature. “Beowulf”, its plot and composition, the peculiarities of the language. Anglo-Saxon verse, alliteration. Beowulf as the national hero.
- •3.English literature of the Middle Ages and genre variety. English ballads. The peculiarities of the genre. Ballads of Robin Hood. Robin Hood and the national idea of justice.
- •5.The genre variety of “The Canterbury Tales” by g. Chaucer and the ideas of humanism.
- •7.W. Shakespeare’s tragedies .
- •8.W. Shakespeare’s comedies. The analysis of any comedy.
- •9.English literature of 17 century. The Cavalier and Metaphysical poets. J. Donne, g. Herbert, a. Marwell; the main ideas of their poetry.
- •10.English literature of 17 century. J. Milton’s poem “Paradise Lost”, the plot, the portrayal of Satan, the concept of God and man.
- •11.The literature of the Restoration period. W. Wyrcherley, w. Congreve.
- •12.English literature of 17 century. J. Dryden, the founder of classicism. The general characteristics of his works.
- •13.The early period of Enlightenment. ‘The Augustan Age’. The poetry of a. Pope. “The Rape of the Lock”.
- •14.English literature of the Enlightenment. D. Defoe’s novel “Robinson Crusoe” or in j. Swift’s novel “Gulliver’s Travels”, the satirical skill of the author.
13.The early period of Enlightenment. ‘The Augustan Age’. The poetry of a. Pope. “The Rape of the Lock”.
Augustan Age may refer to
The period in Roman history when Caesar Augustus was the first emperor.
The period in the history of the Latin language when Caesar Augustus was emperor and Golden-age Latin was in use
Augustan literature and Augustan poetry, the early 18th century in British literature and poetry, where the authors highly admired and emulated the original Augustan Age.
Pope's poetry basically falls into three periods. The first includes the early descriptive poetry; the Pastorals (1709); Windsor Forest (1713); the Essay on Criticism (1711), a poem written in heroic couplets outlining critical tastes and standards; The Rape of the Lock (1714), a mock-heroic poem ridiculing the fashionable world of his day; contributions to the Guardian; and "Elegy to the Memory of an Unfortunate Lady" and "Eloise to Abelard," the only pieces he ever wrote dealing with love. In about 1717 Pope formed attachments to Martha Blount, a relationship that lasted his entire life, and to Lady Mary Wortley Montagu, with whom he later quarreled bitterly.
Pope's second period includes his magnificent, if somewhat inaccurate, translations of Homer, written in heroic couplets; the completed edition of the Iliad (1720); and the Odyssey (1725–26), written with William Broome and Elijah Fenton. These translations, along with Pope's unsatisfactory edition of Shakespeare (1725), amassed him a large fortune. In 1719 he bought a lease on a house in Twickenham where he and his mother lived for the rest of their lives.
In the last period of his career Pope turned to writing satires and moral poems. These include The Dunciad (1728–43), a scathing satire on dunces and literary hacks in which Pope viciously attacked his enemies, including Lewis Theobald, the critic who had ridiculed Pope's edition of Shakespeare, and the playwright Colley Cibber; Imitations of Horace (1733–38), satirizing social follies and political corruption; An Essay on Man (1734), a poetic summary of current philosophical speculation, his most ambitious work; Moral Essays (1731–35); and the "Epistle to Arbuthnot" (1735), a defense in poetry of his life and his work.
The Rape of the Lock. The poem satirises a petty squabble by comparing it to the epic world of the gods. It was based on an incident recounted by Pope's friend, John Caryll. Arabella Fermor and her suitor, Lord Petre, were both from aristocratic recusant Catholic families at a period in England when all denominations except Anglicanism suffered legal restrictions and penalties (for example Petre could not take up his place in the House of Lords as a Catholic). Petre, lusting after Arabella, had cut off a lock of her hair without permission, and the consequent argument had created a breach between the two families. Pope, also a Catholic, wrote the poem at the request of friends in an attempt to "comically merge the two." He utilised the character Belinda to represent Arabella and introduced an entire system of "sylphs," or guardian spirits of virgins, a parodic version of the gods and goddesses of conventional epic.