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The Elizabethan World Picture (Chatto & Windus 1943, Penguin 1963) Shakespeare's History Plays (1944) Milton (1946) The Miltonic Setting: Past and Present (1947) Poetry and Its Background: Illustrated by Five Poems 1470–1870 (1948) Shakespeare's Problem Plays (1949) Studies in Milton (1951) The English Renaissance, Fact or Fiction? (1952)
By the 16th century, allegory was firmly linked to what is known as the Elizabethan world picture, taken from Ptolemy and Pseudo-Dionysius the Areopagite. This theory postulates the existence of three worlds: the sublunary world we live in, subject to change. the celestial world, the world of the planets and stars, unchanging.
The era is most famous for its theatre, as William Shakespeare and many others composed plays that broke free of England's past style of theatre. It was an age of exploration and expansion abroad, while back at home, the Protestant Reformation became more acceptable to the people, most certainly after the Spanish Armada was repelled.
Elizabethan literature refers to bodies of work produced during the reign of Queen Elizabeth I (1558–1603), and is one of the most splendid ages of English literature.In addition to drama and the theatre, it saw a flowering of poetry, with new forms like the sonnet, the Spenserian stanza, and dramatic blank verse, as well as prose, including historical chronicles, pamphlets, and the first ...
The King James version slowly took over the place of the Geneva Bible had among the Puritans. The KJV of the Bible translation is noted for its "majesty of style", and has been described as one of the most important books in English culture and a driving force in the shaping of the English-speaking world.
The Procession Picture (detail), c. 1600. The painting known as Queen Elizabeth going in procession to Blackfriars in 1601, or simply The Procession Picture (see illustration), is now often accepted as the work of Peake. The attribution was made by Roy Strong, who called it "one of the great visual mysteries of the Elizabethan age". [37]
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Elizabethan courtiers familiar with the language of flowers and the Italian emblem books could have read stories in the flowers the queen carried, the embroidery on her clothes, and the design of her jewels. According to Strong: Fear of the wrong use and perception of the visual image dominates the Elizabethan age.
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