English faculty

THE MINISTRY OF HIGHER AND SECONDARY SPECIAL EDUCATION OF THE REPUBLIC OF UZBEKISTAN

SAMARKAND STATE INSTITUTE OF FOREIGN LANGUAGES ENGLISH FACULTY II


COURSE WORK

THEME: LITERATURE OF XVI CENTURY

SCIENTIFIC SUPERVISOR :
DONE BY: X.M.MAMIROV
GROUP: 2.05


SAMARKAND – 2022
Table of Contents
Introduction…………………………………………….…………………………………….………3


CHAPTER.I. THE ENGLISH REFORMATION WAS ALTERNATELY INITIATED, DELAYED, FOSTERED, REVERSERED, AND RESHAPED BY FOUR TUDOR
1.1. The Literature of the English Reformation ….…………………………..………....….…...…..6
1.2. The English poetry 16th century ………………………..………..........................................… 14
CONCLUSION I.………….………………………………………………………………………. 19


CHAPTER.II. FOR SOMEONE WHO LIVED ALMOST 400 YEARS AGO, A SURPIRISING AMOUNT IS KNOWN ABOUT SHAKESPEARE’S LIFE
2.1. William SHakespeare. 1564-161.…………………………......……….................................. 20
2.2. Arrival in London…………………………………….………………...…………………..… 22
CONCLUSION II....……………………………………………….……..................................… 25


CHAPTER.III. SO FAR AS IS KNOWN, SHAKESPEARE HAD NO HAND IN THE PUBLICATION OF ANY OF HIS PLAYS AND INDEED NO INTEREST IN THE PUBLICATION
3.1. The Works of SHakespeare…..………….………………………...…….........................… 26

3.2. Early and Mid-Sixteenth-Century Drama.………....…………...……..…........................… 33

CONCLUSION III………..……..……………………..…………………...…..……………….. 49


CONLUSION …..........……………………...………….………………….………………...… 51

B IBLIOGRAPHY ....…..….………………………………………………….………………… 51

INTRODUCTION

This attention for teaching foreign languages is being developed by our President Sh.M.Mirziyoyev by going on to sign increasing decrees. Especially, the last Presidential decree 3775 pays great attention to improve the foreign languages teaching and learning processes. There was written to widen the number of language learners in every educational place. Moreover, very large amount of money is involved to improve foreign language teaching. Literary works in sixteenth-century England were rarely if ever created in isolation from other currents in the social and cultural world. The boundaries that divided the texts we now regard as aesthetic from other texts that participated in the spectacles of power or the murderous conflicts of rival religious factions or the rhetorical strategies of erotic and political courtship were porous and constantly shifting. It is perfectly acceptable, treating Renaissance texts as if they were islands of the autonomous literary imagination. One of the greatest writers of the period, Sir Philip Sidney, defended poetry in just such terms; the poet, Sidney writes in The Defence of Poetry is not constrained by nature or history but freely ranges "only within the zodiac of his own wit."Many sixteenth-century artists, such as Christopher Marlowe, Edmund Spenser, and William Shakespeare, brooded on the magical, transforming power of art. This power could be associated with civility and virtue, as Sidney claims, but it could also have the demonic qualities manifested by the "pleasing words" of Spenser's enchanter, Archimago or by the incantations of Marlowe's Doctor Faustus. It is significant that Marlowe's great play was written at a time in which the possibility of sorcery was not merely a theatrical fantasy but a widely shared fear, a fear upon which the state could act with horrendous ferocity. Marlowe's tragedy emerges not only from a culture in which bargains with the devil are imaginable as real events but also from a world in which many of the most fundamental assumptions about spiritual life were being called into question by the movement known as the Reformation. Catholic and Protestant voices struggled to articulate the precise beliefs and practices thought necessary for the soul's salvation. One key site of conflict was the Bible, with Catholic authorities trying unsuccessfully to stop the circulation of the unauthorized Protestant translation of Scripture by William Tyndale, a translation in which doctrines and institutional structures central to the Roman Catholic church were directly challenged. The Reformation is closely linked to many of the texts printed in the sixteenth-century section of Spenser's Faerie Queene for example, in which a staunchly Protestant knight of Holiness struggles against the satanic forces of Roman Catholicism. countered by the opposition of a Francophile party in Scotland. This same Mary, as a direct descendant of the first of the Tudors and as the prime Catholic claimant to the English throne, proved to be a thorn in the side of the ministers of the last Tudor, the childless upholder of a new Protestant order, Elizabeth I. It was, however, Mary Stuart’s Protestant son and Elizabeth’s godson, James VI, who was ultimately to unite the Crowns of England and Scotland as Elizabeth’s approved successor in 1603. For James VI and I and his often imaginative panegyrists, the emergence of what the King was proud to style ‘Great Britain’ seemed to be the fulfilment of an Arthurian dream of an independent and unified island. ‘Great Britain’ was also viewed as a restoration of the lost order originally given to the nation by its mythical founders, the followers of the Trojan refugee prince, Brutus. As King James entered his English capital in state in March 1604 he was greeted by specially erected triumphal arches, whose iconography reminded him of his supposed Trojan ancestry and fancifully welcomed him to a new Troy (‘Troynovant’). The entertainments and pageants written for the same occasion by the playwrights Thomas Dekker and Ben Jonson reinforced these elaborate fancies with a series of scholarly parallels and intellectual conceits. One of the speeches in Dekker’s Magnificent Entertainment spoke of James and his realm as The myth of a restored, integral, and independent Britain, first fostered by the usurping and expansionist Tudor dynasty, continued to sustain the optimistic but increasingly unsteadily based pageantry of the early Stuarts. ‘Great Britain’ was an ideological convenience, one which expressed a humanly engineered and divinely blessed unity, conformity, and order. The union of kingdoms was also taken to imply the existence of united customs, creeds, and modes of expression. The truth was not always as uniform and impressive as the contrived fiction. The sixteenth century witnessed changes in national life as radical as any since the Norman Conquest. Henry VIII’s break with the Pope, his removal of the English Church from its ancient allegiance to Rome, and his suppression of some eight hundred monastic foundations began a process of religious reform which was later rigorously extended in the reigns of Edward VI and Elizabeth. Although the reshaping of what was proclaimed to be a national Church in England was relatively conservative (the parallel reform in Scotland proved far more radical), the process left the Church both impoverished and subservient to its new royal Supreme Head. If the changes forced on the English Church in the sixteenth century were by no means unique in northern Europe, Henry VIII’s reformation deprived the old Catholic order in Europe of one of its major pillars and temporarily cut England off, politically, artistically, and religiously, from a European mainstream.