History of English Literature, Volume 1: Medieval and Renaissance Literature to 1625

Contents
List of abbreviations
§ 1. The initial and terminal dates of this volume
Part I: The Formation of a National Literature
	§ 2. Placing Old English literature in the canon
	§ 3. English history to 1066
	§ 4. Bede
	§ 5. Old English poetry
	§ 6. Beowulf
Part II: The Middle English Period
	§ 7. English history from 1066 to 1485
	§ 8. Genres and ‘matters’
	§ 9. The Arthurian romances: Geoffrey of Monmouth, Wace, Layamon
	§ 10. Ricardian literature
	§ 11. The influence of the Roman de la Rose
	§ 12. Pearl and Sir Gawain and the Green Knight
	§ 13. Gower
	§ 14. Langland
	§ 15. Chaucer I: Stereotypes of courtly love and symptoms of modernity
	§ 16. Chaucer II: Biography
	§ 17. Chaucer III: Dream-vision poems
	§ 18. Chaucer IV: ‘Troilus and Criseyde’
	§ 19. Chaucer V: ‘The Canterbury Tales’ I. The poem as a field of contrary vectors
	§ 20. Chaucer VI: ‘The Canterbury Tales’ II. The internal texture
	§ 21. The English Chaucerians: Hoccleve, Lydgate, Hawes
	§ 22. Barclay
	§ 23. Skelton
	§ 24. Fifteenth-century Scottish literature
	§ 25. The Scottish Chaucerians: Douglas, Henryson, Dunbar
	§ 26. Lyndsay
	§ 27. Popular ballads and lyrics
	§ 28. Medieval drama
	§ 29. Fifteenth-century prose
	§ 30. The Paston Letters
	§ 31. Caxton
	§ 32. Malory I: ‘Le Morte d’Arthur’ I. Authorship, publication and popularity
	§ 33. Malory II: ‘Le Morte d’Arthur’ II. The stark kaleidoscope
Part III: The Sixteenth Century
	§ 34. England under the Tudors
	§ 35. The English Reformation
	§ 36. English humanism and the Renaissance I: The continental trail
	§ 37. English humanism and the Renaissance II: Forms, reception and genetic and historical theories
	§ 38. English humanism and the Renaissance III: The arts
	§ 39. More
	§ 40. Conduct books
	§ 41. The ‘Miscellanies’
	§ 42. Wyatt
	§ 43. Surrey
	§ 44. The ‘Mirror for Magistrates’
	§ 45. Gascoigne
	§ 46. Other minor poets
	§ 47. Elizabethan Catholic poets
	§ 48. Sidney I: The diagnostician and healer of infected man
	§ 49. Sidney II: ‘The Lady of May’ and other youthful lyrics
	§ 50. Sidney III: ‘Astrophel and Stella’
	§ 51. Sidney IV: The ‘Old Arcadia’ I. The neoclassical polish and the oblivion of reality
	§ 52. Sidney V: The ‘Old Arcadia’ II. Malice, humour and political allegory in the pastoral canvas
	§ 53. Sidney VI: The ‘New Arcadia’. The toning down of the pastoral and the emphasis on the heroic
	§ 54. Sidney VII: ‘The Defence of Poesy’
	§ 55. Greville
	§ 56. Spenser I: The most poetic of English poets
	§ 57. Spenser II: ‘The Shepheardes Calender’. 1579: The fateful year
	§ 58. Spenser III: Aesopian and pastoral fables and elegies
	§ 59. Spenser IV: ‘The Faerie Queene’ I. The poem’s ‘dark conceit’
	§ 60. Spenser V: ‘The Faerie Queene’ II. Upright knights against felons, monsters and enchantresses
	§ 61. Spenser VI: ‘The Faerie Queene’ III. Man vs beast
	§ 62. Spenser VII: ‘The Faerie Queene’ IV. The ‘Mutability Cantos’
	§ 63. Spenser VIII: ‘Amoretti’
	§ 64. Spenser IX: ‘Epithalamion’ and ‘Prothalamion’
	§ 65. Spenser X: The four hymns to heavenly love
	§ 66. Ralegh, Wotton
	§ 67. Thomas Campion
	§ 68. Drayton
	§ 69. Daniel
	§ 70. Other sonneteers and pastoral poets
	§ 71. Davies and Davies of Hereford
	§ 72. Hall
	§ 73. Donne I: The holy sinner and the ‘querelle’ on concettism
	§ 74. Donne II: Biography
	§ 75. Donne III: ‘Songs and Sonnets’ I. The obsolescence of Petrarchism
	§ 76. Donne IV: ‘Songs and Sonnets’ II. Love, rescued from, and a slave to, time
	§ 77. Donne V: Elegies and epithalamia
	§ 78. Donne VI: The satires
	§ 79. Donne VII: The ‘Verse Letters’
	§ 80. Donne VIII: The ‘Anniversaries’
	§ 81. Donne IX: Divine poems I. ‘La Corona’ and ‘Holy Sonnets’
	§ 82. Donne X: Divine poems II. The hymns
	§ 83. Donne XI: Treatises, libels and sermons
	§ 84. Puttenham
Part IV: The Elizabethan Theatre
	§ 85. Tudor masques and interludes
	§ 86. Elizabethan drama: An overview
	§ 87. The incunabula
	§ 88. Udall
	§ 89. Bale
	§ 90. ‘Gorboduc’
	§ 91. ‘Cambyses’
	§ 92. ‘Arden of Feversham’
	§ 93. Kyd
	§ 94. Peele
	§ 95. Marlowe I: The apotheosis and its nemesis
	§ 96. Marlowe II: ‘Dido, Queen of Carthage’
	§ 97. Marlowe III: ‘Tamburlaine the Great’
	§ 98. Marlowe IV: ‘The Jew of Malta’
	§ 99. Marlowe V: History plays
	§ 100. Marlowe VI: ‘Doctor Faustus’ I. A short history of Faustism
	§ 101. Marlowe VII: ‘Doctor Faustus’ II. The drama of irresolution
	§ 102. Marlowe VIII: ‘Hero and Leander’
	§ 103. Marston I: The satires
	§ 104. Marston II: His theatrical career and his early retirement
	§ 105. Marston III: Plays of disguise and revenge
	§ 106. Marston IV: ‘The Malcontent’
	§ 107. Marston V: The two city comedies
	§ 108. Marston VI: ‘Sophonisba’
	§ 109. Marston VII: ‘The Insatiate Countess’
	§ 110. Chapman I: ‘Homeri metaphrastes’
	§ 111. Chapman II: Orphic and mythological poems
	§ 112. Chapman III: The comedies on the trial of chastity
	§ 113. Chapman IV: ‘Bussy D’Ambois’ and the surrendering hero
	§ 114. Chapman V: The stoic hero
	§ 115. Jonson I: Construction and deconstruction of Jonson’s classicism
	§ 116. Jonson II: The comedies of ‘humours’
	§ 117. Jonson III: The Roman tragedies
	§ 118. Jonson IV: The tetralogy of tricksters I. ‘Volpone’ and ‘The Alchemist’
	§ 119. Jonson V: The tetralogy of tricksters II. ‘Epicoene’ and ‘Bartholomew Fair’
	§ 120. Jonson VI: Last Jacobean and Caroline plays
	§ 121. Jonson VII: The masques
	§ 123. Tourneur
	§ 124. Webster I: Nihilism and possibilism in the Italian trilogy
	§ 125. Webster II: ‘The White Devil’
	§ 126. Webster III: ‘The Duchess of Malfi’. The blood taboo
	§ 127. Webster IV: ‘The Devil’s Law Case’
	§ 128. Dekker I: The brothel syndrome
	§ 129. Dekker II: The prose
	§ 130. Middleton I: A journeyman in Olympus
	§ 131. Middleton II: Comedies set in the London gutter
	§ 132. Middleton III: The romantic comedies
	§ 133. Middleton IV: ‘Women Beware Women’. Conjugal fidelity checkmated
	§ 134. Middleton V: ‘The Changeling’. Woman is voluble, and so is man
	§ 135. Middleton VI: Other tragedies and tragicomedies
	§ 136. Middleton VII: ‘A Game at Chess’
	§ 137. Beaumont and Fletcher I: The pliable centaur
	§ 138. Beaumont and Fletcher II: Independent plays
	§ 139. Beaumont and Fletcher III: Co-authored plays
	§ 140. Beaumont and Fletcher IV: Plays by Fletcher alone
	§ 141. Massinger I: Necessity and apology of self-sacrifice
	§ 142. Massinger II: Satires of pretentiousness
	§ 143. Massinger III: Caroline compromises
	§ 144. Ford I: The focus on incest
	§ 145. Ford II: Heroines of firmness
	§ 146. Ford III: ‘Unity is no sin’
	§ 147. Thomas Heywood I: ‘A Woman Killed with Kindness’
	§ 148. Thomas Heywood II: Other plays
	§ 149. Shirley I: Elegant ‘causeries’
	§ 150. Shirley II: The demise of Elizabethan tragedy
Part V: The Beginnings of Narrative Prose
	§ 151. The first eclectic writers
	§ 152. Lyly I: The Euphues romances
	§ 153. Lyly II: The comedies
	§ 154. Lodge
	§ 155. Greene I: From the Arcadian euphuist to the Defoe-like realist
	§ 156. Greene II: The dramatist
	§ 157. Nashe
	§ 158. Deloney
	§ 159. The ‘Marprelate Tracts’
	§ 160. Hooker
	§ 161. Travel literature and historical compilations
Index of names
Thematic index