2. What is a literary genre?
Literary genres are categories into which
similar literary works may be grouped,
e.g. poetry, prose, hymns, etc. A genre is a
vague term with no fixed boundaries in
that while literary works within genres
hold characteristics in common such as
style, structure and use of literary
devices, they may also differ considerably
or even cross over into multiple genres
4. Elizabethan commentary on
literary forms emphasizes the
dominance of eloquence and style.
Literary texts are explored by the
critics for finding examples to
speak well and eloquently. Works
of Sir Philip Sidney are considered
to be models for them
5. Spencer points towards the
cultivation of “GENTILNESSE” in his
readers.
The issue pertaining to the
question of how best a gentleman
should speak and behave brings two
issues together in the discussion of
Renaissance literary theory;
The social and the moral
6. Renaissance theory stresses
that the example should be
instructing as well as delighting.
But the emphasis upon the
instructive nature of such
examples spoils the emotive
power they exert on the audience
7. The power of ‘epic’ to redeem its
heroes, and to inspire its audience with
attractive description of virtue
incarnate, persuades Sidney and other
Renaissance theorists to elevate the
heroic form over tragedy.
Tragedy suffers in the comparison
because it inspires mainly by negative
examples, showing what not to do
8. Epic was a genre that enjoyed more freedom,
being capable of fulfilling the principles laid
down by morally concerned theorists.
In some respects epic was the characteristic
Renaissance mode because it advanced ideals of
“moral inspiration” as well as ‘national
achievement’.
The development of humanism throughout
Europe led to national ambition within the
spheres of poetry and nothing suited it better
than the epic genre
9. Nothing contributes more towards the moral
credentials of a genre than demonstrating its use of
‘Allegory’.
Spencer speaks of his poem as ‘continued
allegory ‘ or ‘dark conceit’, implying that despite
the occasional delight of the images, their
underlying seriousness cannot be overlooked.
FAERIE QUEENE a mixing of epic and romance
may be called as the “confusion of genres” but it
settles the issue that “shape and proportion”
matter less than the seriousness of “content and
purpose” of a work.
10. Scaliger insisted that subject matter
defines kind. It leads to domination of
“mode over genre”.
Pastoral for example is a genre but also
functions as a mode, finds expression in
other genres like epic and the comic.
Allegory is exclusively a mode but derives
its importance in this period from its
ability to “strengthen the moral hand” of
poetry.
11. Lyric poetry is similarly a mode without a
form.
Sidney,Pattenham and other theorists treat
it slightly .Aristotle did not bother with it and
was unable to give the Renaissance theorists
with a classification.
Lyric poetry is the mode of the erotic, but
Sidney felt for the need of a fitter subject. He
introduces the lyric principally as a suitable
mode for the praise of God, and secondly as a
means of lauding one’s mistress.
12. “Elegy and Verse Epistle” are
forms of lyric.
The elegy itself carries
particular generic interest,
divides into two kinds of lament;
that of the imploring lover and
of a figure in mourning.
13. The elegy’s emphasis on praise brings
it closer to another kind; the verse
epistle.
Jonson and Donne are considered to
be the best examples.
This genre appeals to the reader by
the warmth of feelings that exists
between the speaker and his addressee.
14. As for tragedy, contemporary theoretical
opinion is focused more on the “normative”
and “edifying” aspects as compared to
“cathartic” or “questioning” one.
Aristotle assumed a king to be a serious,
elevated character but Renaissance
theorists further insist that the king should
maintain dignity throughout the enactment
of his tragedy. This notion collapses under
the example of King Lear.
15. The definition and justification
of “tragicomedy” is found in the
preface of a play by Fletcher,
“A tragicomedy is not so called in
respect of mirth and killing, but in
respect it wants deaths, which is
enough to make it no tragedy, yet
brings some near it, which is
enough to make it no comedy”
16. Conclusion
Renaissance example shows that
any good formulation of genre
depends more on observing
“what is practiced”
than on insisting
“what it must be”.
