Simulado 1 - Literatura Inglesa

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SM1 Literatura Inglesa
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Thomas Thorpe¿s edition of Shakespeare¿s Sonnets, published in 1609.
Mark the alternative which explains correctly the problems with Thomas
Thorpe¿s 1609 edition claiming that Shakespeare¿s sonnets were ''Neve
before Imprinted''.
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Before 1609, there were already several sonnets inscribed on
Shakespeare's plays.
Only after 1609, has Shakespeare written any of his sonnets and
long narrative poems.
Before 1609, Shakespeare was exclusively a playwright for the
King's Men.
Only after 1609 the real Shakespearean sonnets were published
with the author's authorization.
Before 1609, there are registers of the sonnets circulating through
London - mostly on private groups, but some of them already in
manuscript.
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When I do count the clock that tells the time,
And see the brave day sunk in hideous night;
When I behold the violet past prime,
And sable curls, all silvered o'er with white;
When lofty trees I see barren of leaves,
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Which erst from heat did canopy the herd,
And summer's green all girded up in sheaves,
Borne on the bier with white and bristly beard,
Then of thy beauty do I question make,
That thou among the wastes of time must go,
Since sweets and beauties do themselves forsake
And die as fast as they see others grow;
And nothing 'gainst Time's scythe can make defence
Save breed, to brave him when he takes thee hence.
Considerando o soneto acima, marque a opção que contém um padrão
significativo de aliteração.
''And nothing 'gainst Time's scythe can make defence'' (linha 13)
''Which from Love's fire took heat perpetual'' (linha 10)
''Shall I compare thee to a summer's day?'' (linha 2)
''When I do count the clock that tells the time'' (linha 1)
''Beyond all date, even to eternity'' (linha 4)
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Sodomy was a capital crime, and fulminations against the act were a staple
of polemical literature of all kinds. Antitheatrical tracts assumed that boys
who played the women's roles on stage played them in life as well; anti-
Catholic invective declared ecclesiastical celibacy to be a cover for
institutionalized buggery; judicial indictments for political or religious
crimes often included additional charges of sodomy - indeed, sodomy
tended to serve as a gloss on whatever the culture considered worst or
most threatening: those accused of atheism or sedition were almost
invariably declared also to be sodomites. The corollary, however, is that the
charge is almost never found in isolation; and, in fact, the legal definition of
sodomy was exceedingly narrow.
Source: ORGEL, Stephen. ''Introduction''. In: SHAKESPEARE, William. The
Sonnets. EVANS, G. Blakemore (ed.). Cambridge: Cambridge University
Press, 2006.
Mark the alternative which correctly points out why Shakespeare's overtly
homoerotical sonnets could be part of this cultural scene.
Sodomy was not equivalent to homoeroticism; actually, in
Elizabethan England friendship and love between men was a
common part of the patronage system.
Because Shakespeare was not directly involved with the
publication of the 1609 edition, it is possible that he did not want
these sonnets to come out in the public.
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Sodomy in poetry was a common trope since it goes back to
Greek democracy in which men¿s love for men was part of
society.
The court¿s homosexual practices in Elizabeth England
surpassed the law against sodomy.
Since sodomy was a capital crime in England during the
Elizabethan age, the sonnets participation on this cultural scene
can be understood as a moral practice.
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We studied how the Petrarchan sonnet was transplanted to England with
the help of poets such as Sir Philip Sidney and Thomas Wyatt on the 1590s.
Later, Edmund Spenser, on the pages of his Astrophel and Stella, explored
the sonnet form by using new rhyme schemes - which distinguished
himself from an objective reproduction of the Petrarchan sonnet. However,
almost every sonneteer inscribes the same general topic on their poems.
Source: (adapted from) GUEIROS, Nehemias. ''Estudo: Mistério do Soneto
Shakespeariano''. In: SHAKESPEARE, William. 50 Sonetos (trad. Ivo
Barroso). Rio de Janeiro: Nova Frontera, 2015.
Mark the option which correctly describes this topic.
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The speaker of the sonnet most commonly praises his beloved.
The speaker of the sonnet most commonly scorns other poets.
The speaker of the sonnet most commonly talks about his family.
The speaker of the sonnet most commonly praises the church.
The speaker of the sonnet most commonly praises his editor.
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The Sonnets (...) were, to begin with, not a book. At least some of them
circulated initially in manuscript, and the fact that these poems were first
conceived as coterie literature is essential to our understanding of the
nature of the book that finally materialized as Shakespeare's Sonnets. (...)
There was nothing secretive about this mode of publication; manuscript
circulation was a normal mode of transmission for much lyric poetry in the
period. Even such monuments of Elizabethan verse as Sidney's Astrophel
and Stella, Marlowe's Hero and Leander, and Donne's Songs and Sonnets
were initially conceived as coterie literature and presumed a relatively small
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readership of uniform tastes: the poet was writing for an audience he
knew.
Source: ORGEL, Stephen. ''Introduction''. In: SHAKESPEARE, William. The
Sonnets. EVANS, G. Blakemore (ed.). Cambridge: Cambridge University
Press, 2006.
After reading the contextualization above and the affirmatives below, mark
the only option indicating the correct set of affirmative(s).
I. Printed books were widely distributed and really popular among the
Elizabethans.
II. The circulation of poems in manuscript form was a common practice for
the Elizabethans.
III. Everyone in London was a potential reader for printed poetry.
I, only.
II, only.
I and III, only.
II and III, only.
I, II and III.
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Read the inscription on the Dedication page to Thomas Thorpe's edition of
Shakespeare's sonnets.
Considering the Dedication page of Thomas Thorpe's 1609 edition of
Shakespeare's Sonnets, mark the option which correctly present the
mysterious suggestions found there.
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Since Shakespeare was directly involved with Thorpe's edition,
the ''only begetter'' of the sonnets is certainly Shakespeare's
lover.
Since Shakespeare was directly involved with Thorpe's edition,
the Dedication page is a confession of the autobiographical tone
of the sonnets.
Since Shakespeare was not directly involved with Thorpe's
edition, there is no supposition whatsoever that can be made out
of the Dedication page.
Since Shakespeare was not directly involved with Thorpe's
edition, it is possible that Thorpe himself placed the ''Dedication''
there to obscurely profess his or Shakespeare's love for Mr. W.
H., a possible patronage.
Since Shakespeare was not directly involved with Thorpe's
edition, it is more likely that this was a pirate edition of sonnets
which we cannot be certain that were written by Shakespeare
himself.
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So suggestive, in fact, are the circumstances described here (and
elsewhere) [about the Sonnets] that readers will be forever tempted to
posit a 'story' for the Sonnets. But if there is a larger story, it is of interest
because it is realized in the particular, which is not to say that the Sonnets
altogether lack an element of narrative, but that narrative is embedded in
the recognition of newly intense emotional exchanges and changes in the
imagined relationship.
Source: POST, Jonathan F. Shakespeare's Sonnets and Poems: a very
short introduction. Oxford: Oxford University Press, 2017.
After reading the contextualization above, read the affirmative below.
I. Together, the sonnets in Shakespeare's sequence sketch a storyline
about the sonneteer.
II. Alone, each sonnet reveals a state of mind (and heart) sprung out from
the suggested series of events.
III. Reading in between sonnets is helpful to establish new connections
among the sequence.
I, only.
II, only.
I and III, only.
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II a III, only.
I, II and III.
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The poems addressed to the 'Dark Lady' begin with a justification of her
complexion - it is assumed from the outset that her variance from the
traditional ideal requires a justification.
In the old age black was not counted fair,
Or if it were it bore not beauty's name;
But now is black beauty's successive heir,
And beauty slandered with a bastard shame' (from Sonnet 127)
Source: ORGEL, Stephen. ''Introduction''. In: SHAKESPEARE, William. The
Sonnets. EVANS, G. Blakemore (ed.). Cambridge: Cambridge University
Press, 2006.
After reading the exposition above, we understand that the 'Dark Lady' of
Shakespeare's Sonnets
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... is the same as the Petrarchan ideal of his sonneteer's beloved.
... alters only the name of the Petrarchan idealized Laura.
... differs from the Petrarchan ideal of his sonneteer's beloved.
... imitates Petrarch's idealized Laura in all aspects but content.
... differs from Petrarch's idealized Muse only to follow his
contemporary, Edmund Spenser.
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Many of the love poems to the young man can be seen to have a gendered
subject only because of their placement in the sequence, and the most
famous ones, such as 18, 'Shall I compare thee to a summer's day?',
regularly appear in modern anthologies with no indication that the
addressee is not a woman. There are often elements in the poems
themselves that preclude such a reading, but to recognize them depends,
again, on a knowledge of the book as a whole. The Shakespeare of the
Sonnets does not talk about women in this way:
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Shall I compare thee to the summer's day?
Thou art more lovely and more temperate.
The lovely and temperate are, throughout the volume, masculine attributes.
Source: ORGEL, Stephen. ''Introduction''. In: SHAKESPEARE, William. The
Sonnets. EVANS, G. Blakemore (ed.). Cambridge: Cambridge University
Press, 2006.
Considering the text above, what are the differences between placing
Shakespeare's sonnets inside the sequence and reading them
independently?
Reading Shakespeare's sonnets individually allows the reader to
discover specific features of each sonnet.
Reading Shakespeare's sonnets as a whole necessarily demands
lots of criticism to support your findings.
Reading Shakespeare's sonnets individually allows the reader to
expand the boundaries of the singular Shakespearean sonnet
form.
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Reading Shakespeare's sonnets individually allows teachers to
discover pedagogical applications for these poems.
Reading Shakespeare's sonnets as a whole also means knowing
the sonneteer's language patterns as a whole.
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Read Shakespeare's Sonnet 154.
The little Love-god lying once asleep,
Laid by his side his heart-inflaming brand,
Whilst many nymphs that vowed chaste life to keep
Came tripping by; but in her maiden hand
The fairest votary took up that fire
Which many legions of true hearts had warmed;
And so the General of hot desire
Was, sleeping, by a virgin hand disarmed.
This brand she quenched in a cool well by,
Which from Love's fire took heat perpetual,
Growing a bath and healthful remedy,
For men diseased; but I, my mistress' thrall,
Came there for cure and this by that I prove,
Love's fire heats water, water cools not love.
These two sonnets [153 and 154] are often referred to as Anacreontic, after
the name of a Greek writer who wrote minor love poems and epigrams.
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Source: 
After reading Sonnet 154, one can see how¿
... it is considered a major love poem because it bears Cupid's
name.
... it is considered a minor love poem because it distances itself
from the sonnet sequence.
... it is considered a short epigram, addressed to the Greek gods
within the sonnet tradition.
... it is considered a closing pair of sonnets, finishing the
sequence.
... it is considered a major signature poem, because it marks the
participation of the writer in the publication of his 154 poems.
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