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ENGL 3205 > Exam - Terms > Flashcards

Exam - Terms Flashcards

1
Q

English Renaissance

A
  • early 16th - 17th century
  • “rebirth” of classical learning, culture, art
  • emulated Italian Renaissance
  • the period when all of Shakespeare’s plays were written
  • Antony and Cleopatra: rebirth of classical Roman history
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2
Q

Genre

A
  • a category of artistic composition characterized by similarities in form, style, or subject matter
  • 4 Shakespearean genres: tragedy (Richard III), comedy (Taming of the Shrew), romance (Winter’s Tale), and history (Antony and Cleopatra)
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3
Q

Blank Verse

A
  • verse without rhyme, especially that which uses iambic pentameter
  • many of Shakespeare’s great speeches are written as such
  • Shylock’s “Hath not a Jew eyes” speech
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4
Q

Metatheatre

A
  • the quality or force in a play which challenges theatre’s claim to be simply realistic - to be nothing but a mirror in which we view the actions and sufferings of characters like ourselves, suspending our disbelief in their reality
  • Taming of the Shrew’s Induction, a play-within-a-play
  • The Tempest’s storm
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5
Q

The Globe

A
  • built 1599
  • where Shakespeare’s company performed
  • tiered seating
  • theatre in the round
  • raised stage with a balcony
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6
Q

Groundlings

A
  • poorer spectators
  • stood at ground-level
  • exposed to the weather
  • ground made up of peanut shells
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7
Q

Inns of Court

A
  • plays also performed at these locations
  • law schools, universities, great halls, and royal court
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8
Q

Protector of the Realm

A
  • when a king is too young to rule a regent/protector is named to rule in his stead
  • Richard ruled in place of Prince Edward (at least until he was killed by his uncle)
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9
Q

Triumvirate

A
  • Latin for “of three men”
  • power shared by three triumvirs
  • Antony and Cleopatra
    • ​Octavius ruled Europe
    • Lepidus ruled Africa
    • Antony ruled Asia
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10
Q

Actium

A
  • the decisive naval battle between Octavius and Antony and Cleopatra
  • 2 September 31 BCE
  • Ionian Sea near the city of Actium
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11
Q

Femme Fatale

A
  • woman associated with sexuality and desire
  • enchants, controls, and ultimately destroys men
  • Cleopatra with Julius Caesar and Antony
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12
Q

Orientalism

A
  • imperialist or colonial discourse developed by Western European nations to secure and legitimize their dominance over Middle East and Asia
  • constructs dichotomy between self and other
  • self claims superiority that and other is polar opposite
  • Oriental (other) is extravagent, sensual, mysterious, magical, irrational, weak, feminine
  • Egypt, Cleopatra, and Antony
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13
Q

Dichotomies

A
  • a division or contrast between two things that are or are represented as being opposed or entirely different
  • male/female, Christian/Jew, Venice/Belmont in The Merchant of Venice
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14
Q

“Rhetoric of Silence”

A
  • some things cannot be said or given words
  • to abjure language in such cases is not a refusal of speech…but rather an acknowledgement of the limitations of language in the place of the inexpressible or unutterable
  • Cordelia in King Lear
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15
Q

The Nile

A
  • longest river in the world; in Egypt
  • Egypt represents the natural world contrasting unnatural Roman world
  • brings drought and lush harvest
  • Cleopatra meets Antony floating down it
  • Nile’s destructive fury mirrors Cleopatra’s
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16
Q

Triumph

A
  • ceremonial entrance into Rome of a victorious commander, a military honour authorized by political leaders
  • Octavius’ plan for Cleopatra after defeat
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17
Q

Cydnus

A
  • river that flows into Mediterranian Sea, empties in Turkey (not a part of Rome)
  • triumphal entry of Cleopatra to contrast English monarch’s royal entry; water instead of land to mark it’s importance
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18
Q

Cain and Abel

A
  • Cain killed Abel; “I am not my brother’s keeper”
  • Richard had his brother killed and denies knowing anything; it’s not his responsibility
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19
Q

Prelapsarian innocence

A
  • innocence characteristic of the time before the Fall of Man; unspoiled
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20
Q

Tetralogy

A
  • series of 4 works
  • Shakespeare’s first (early 1590s)
    • Henry VI (part 1)
    • Henry VI (part 2)
    • Henry VI (part 3)
    • Richard III
  • Shakespeare’s second (1595-99)
    • Richard II**​
    • Henry IV (part 1)
    • Henry IV (part 2)
    • Henry V
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21
Q

House of Plantagenet

A
  • English royal dynasty that held throne from accension of Henry II (1154) until Richard III’s death (1485)
  • split into 2 houses (Lancaster and York) after Richard II deposed by Henry IV
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22
Q

House of York

A
  • white rose
  • reigned from 1461-85
  • descendants of King Edward III’s son Edmund
  • Richard is a York
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23
Q

House of Lancaster

A
  • red rose
  • descended from King Edward III’s 4th son, John
  • Henry Bolingbroke (John’s son) overthrew Plantagenet King Richard II in 1399, crowned King Henry IV
  • Succeeded by Henry V and Henry VI
24
Q

Wars of the Roses

A
  • civil war within the House of Plantagenet
  • Yorks vs. Lancasters
  • 1461: Edward IV (York) deposed King Henry VI (Lancaster) and became king
  • 1470: brief interlude where Henry comes back for a few months
  • 1471: Henry’s son Edward, Prince of Wales, killed in battle; Henry put to death
  • Wars end in 1485 with Richard III’s death
  • Rise of the House of Tudor
25
Q

House of Tudor

A
  • Richmond kills Richard III and is crowned King Henry VII
  • maternal descendant of the House of Lancaster
  • married Elizabeth of York, merging the two houses into the new house of Tudor
26
Q

Rhetorical Skill

A
  • language designed to have a persuasive or impressive effect on its audience, but often regarded as lacking sincerity or meaningful content
  • Richard to the public (i.e. feigns political disinterest)
27
Q

Mystery/Morality Play

A
  • mystery: dramatization of the events in the Bible
  • morality: dramatized allegories of a representative Christian life, often performed outdoors
  • pre-Renaissance theatre
  • Richard III is one of the first psychologically complex characters in English theatre
  • most characters up to this point were allegorical, lacked depth
  • Richard indebted into tradition even as he transcends it
28
Q

Machiavel

A
  • based on Machiavelli’s The Prince
  • character synonymous with deceit, ruthless behavious, power at any costs
  • Richard III
29
Q

Chorus/choral characters

A
  • a character(s) that provide the audience with background information and help clarify and move the plot along through their words
  • Prospero gives background story in The Tempest
  • Richard moves the plot along and retells the stories that came before his in Richard III
30
Q

Tower of London

A
  • originally built during Norman Conquest (11th century)
  • castle complex, many buildings, gets name from White Tower
  • many functions: prison, royal residence, housing the Crown Jewels
  • where Clarence is held when believed a traitor
  • where the princes are sent for “safety”
31
Q

Mars and Venus

A
  • god of war seduced by the goddess of love
  • the seduction of Antony by Cleopatra
32
Q

Usury

A
  • the illegal act or practice of lending money at unusually high rates of interest
  • Christians cannot do this, but the Jewish can
  • Antonio vs. Shylock
33
Q

Roderigo Lopez

A
  • Queen Elizabeth’s Jewish physician
  • accused of conspiring with the Spanish to poison the queen
  • possible inspiration for Shylock
  • conspiring to kill Antonio no matter what
34
Q

Belmont

A
  • fictional Italian city in Merchant of Venice
  • “beautiful mountain”
  • world of women, music, and night
  • Portia’s city vs. Antonio’s
35
Q

The Golden Fleece

A
  • classical greek myth
  • Jason and his Argonauts seek to find the pelt of the winged golden ram, which is hidden in an oak tree guarded by a dragon in Colchis, to affirm his claim to the throne in Iolcus
  • Bassanio’s quest for Portia
36
Q

The Casket Test

A
  • bachelors come to try and win Portia’s hand
  • must take a vow of eternal bachelordom should they fail
  • 3 caskets each saying “Who chooseth me…”
  • gold casket: “…will gain what many men desire”, chosen by Morocco, contains skull and scroll
  • silver casket: “…will get as much as he deserves”, chosen by Aragon, contains portrait of idiot and scroll
  • lead casket: “…must give and hazard all he hath”, chosen by Bassanio, contains Portia and scroll
37
Q

Melancholy

A
  • a feeling of pensive sadness, typically with no obvious cause
  • Antonio: “I know not why I am sad” (1.1.1)
  • identity threatened
38
Q

Portia’s ring

A
  • given to Bassanio
  • symbolizes surrendering power/wealth to new husband
  • traditional female symbol
  • how he cares for the ring symbolic of his care for their love
39
Q

The Fool

A
  • comic relief
  • commedia dell’arte: servant who knows more than the master
  • provide social commentary and criticism
  • loyal (the storm)
  • Fool and Cordelia never appear onstage at the same time, perhaps double cast
40
Q

Elizabeth I

A
  • ruled 1558-1603
  • patron of the arts
  • daughter of Henry VIII and Anne Boleyn
  • Shakespeare’s Henry VIII (co-authored by John Fletcher) ends with the celebrated and “glorious” birth of Elizabeth
41
Q

James I

A
  • son of Mary, Queen of Scots
  • King James VI of Scotland
  • King James I of the combined kingdoms of England and Scotland in 1603
  • fan of theatre
  • made Shakespeare’s company The King’s Men and courtiers
42
Q

Jacobean Patriarchal Ideology

A
  • family unit mirrors need for civic and national order
  • father runs the family like a monarch, king runs the country like a father
  • King Lear
    • ​familial relationships
    • connection to power/stability
    • patriarchy emphasized by absence of mothers
43
Q

Nahum Tate

A
  • wrote The History of King Lear, an alternative version of Shakespeare’s play, in 1681
  • “happy ending”: Lear regains throne, Cordelia marries Edgar, fool omitted
44
Q

The Royal ‘We’

A
  • refers to the monarch as an individual, but not with an individual identity
  • refers to the monarch as an embodiment of the state
  • we = king + state
  • divine right of kings: we = God + king
  • King Lear
45
Q

Henry VIII

A
  • tyrannical ruler of England 1509-47
  • 6 wives: Catherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cleves, Catherine Howard, and Catherine Parr
  • ordered more executions than any other monarch
  • formed Church of England to allow divorce
  • portrayal in Henry VIII, conveniently forgets tyranny
  • Leontes in Winter’s Tale a more accurate representation
46
Q

Zero/Nothingness

A
  • traditionally no Roman numeral for 0, Arabic numerals replacing Roman
  • Lear = 0
  • King Lear traffics in language of annhialation
  • toggles between “everything” and “nothing”
  • Lear has whole kingdom then he has nothing
47
Q

Blindness/Sight

A
  • truth is hard to see
  • Gloucestor’s blinding: can only see the truth after he can no longer see at all
  • performance of non-truths overpower the presence of the truth
  • parallels Oedipus Rex
48
Q

Cliffs of Dover

A
  • white cliffs in England
  • Gloucestor wants to go there to commit suicide
  • Edgar takes him to flat land and tells him he is jumping off the cliffs
  • When he lives, Edgar convinces him he was “saved”
49
Q

Induction

A
  • Christopher Sly
  • misquotes Thomas Kyd’s *The Spanish Tragedy *(which features a play within a play; revenge and murdered man watch the avenging of a murder), foreshadowing the play-within-a-play to come
  • Sly’s obedient, conniving “wife” foreshadows the women to come in the play-within-the-play
50
Q

Postcolonialsim

A
  • the study of the legacy of European direct global domination and the residual political, socio-economic, and psychological effects of that colonial history
  • colonized native people left to curse the colonizer in his own tongue
  • Caliban: punished for failure to assimilate
  • Ariel: blind obedience out of “gratitude”, and also scared of being put back where he came from
51
Q

Sycorax

A
  • the damned witch of The Tempest
  • mother of Caliban
  • banished to the island from Algiers
  • Prospero’s malevolent antagonist
52
Q

“Chaste, silent, and meek”

A
  • the desired behaviours of an obedient wife in The Taming of the Shrew
  • ideals from a sermon by Puritan preacher, Robert Cleaver, first published in 1598
53
Q

Bearbaiting

A
  • a form of entertainment in the English Renaissance period that involved setting dogs to attack a captive bear
  • perhaps reason for “Exit pursued by a bear” in Winter’s Tale
54
Q

The Oracle of Apollo

A
  • the Pythia at Delphi
  • ancient greeks would visit her for prophecies
  • Queen Margaret in Richard III is a prophetess
  • Richmond and Richard have prophetic dreams (of success and defeat)
55
Q

Nature vs. Art

A
  • Nature: the divine work of God
  • Art: the superficial work of man
  • Prospero’s tempest, his magic

ENGL 3205 (1 decks)

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