مادة الشعر لطلبة تالتة اداب انجليزى

[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]
Dryden
Social background about the poet
John Dryden, an English poet and dramatist who would dominate literary efforts of The Restoration, was born on August 19, 1631, in Aldwinkle, Northampton shire, England. He received a classical education at Westminster School and Trinity College, Cambridge, then moved to London in 1657 to commence his career as a professional writer. His first play, The Wild Gallant (1663), was a failure when first presented, but Dryden soon found more success with The Indian Queen (1664) which he co-authored with Sir Robert Howard and which served as his initial attempt to found a new theatrical genre, the heroic tragedy. Although George Villiers' The Rehearsal, a vicious satire of heroic tragedy, brought a quick end to the form, Dryden still managed to produce a number of successful works in this genre including The Indian Emperor (1665) and Secret Love (1667) which mixed heroic tragedy with contemporary comedy.
The young playwright's reputation grew quickly, and in 1668, only ten years after his move to London, Dryden was appointed Poet Laureate of England. (He was later stripped of the title because of religious differences when William and Mary came into power.) That same year, he agreed to write exclusively for Thomas Killigrew's theatrical company and became a shareholder. Both his first offering, Tyrannick Love (1669), and his successful follow-up, The Conquest of Granada by the Spaniards (1670), are examples of heroic tragedy. In 1672, however, perhaps sensing the demise of his short-lived genre, Dryden turned his hand to comedy and produced Marriage A-la-Mode, a brilliant battle of the sexes. Dryden's relationship with Killigrew's company continued until 1678 at which point he broke with the theatre (which was floundering in debt) and offered his latest play, Oedipus, a drama he had co-authored with Nathaniel Lee, to another company.
In his later years, Dryden turned to poetry and solidified his reputation as the leading writer of the day with such masterpieces as Absalom and Achitophel. However, he continued to write for the theatre, producing such plays as Don Sebastian (1689), the story of a king who abdicates his throne after discovering that he has committed incest, and Amphitryon (1690), a brilliant retelling of the classic myth. He also adapted a number of Shakespeare's plays including The Tempest and All for Love (1677), a retelling of Antony and Cleopatra. In addition, he wrote the libretto for several operas including The State of Innocence (1677) (an adaptation of Melton's Paradise Lost) and King Arthur (1691) with music by Purcell.
John Dryden died in London on May 12, 1700, and was buried in Westminster Abbey next to Chaucer. He left behind almost 30 works for the stage as well as a major critical study (An Essay on Dramatic Poesy) and a number of translations including the works of Virgil.
Social background about the poem
Mac Flecknoe (full title: Mac Flecknoe; or, A satyr upon the True-Blew-Protestant Poet, T.S.[1]) is a verse mock-heroic satire written by John Dryden. Written after the English Restoration, when King Charles II came to power, Mac Flecknoe is full of satire and criticism. It is a direct attack on Thomas Shadwell, another prominent poet of the time.
Written about 1678, but not published until 1682 (see 1682 in poetry), "Mac Flecknoe" is the outcome of a series of disagreements between Thomas Shadwell and Dryden. Their quarrel blossomed from the following disagreements: "1) their different estimates of the genius of Ben Jonson, 2) the preference of Dryden for comedy of wit and repartee and of Shadwell, the chief disciple of Jonson, for humors comedy, 3) a sharp disagreement over the true purpose of comedy, 4) contention over the value of rhymed plays, and 5) plagiarism."[2] Shadwell fancied himself heir to Ben Jonson and to the variety of comedy which the latter had commonly written. Shadwell’s poetry was certainly not of the same standard as Jonson’s, and it is possible that Dryden wearied of Shadwell’s argument that Dryden undervalued Jonson. Shadwell and Dryden were separated not only by literary grounds but also by political ones as Shadwell was a Whig, while Dryden was an outspoken supporter of the Stuart monarchy.
The poem illustrates Shadwell as the heir to a kingdom of poetic dullness, represented by his association with Richard Flecknoe, an earlier poet Dryden disliked, but Dryden does not use belittling techniques to satirize him.
The multiplicity of allusions to 17th Century literary works and to classic Greek and Roman literature with which the poem is riddled, demonstrates Dryden’s complex approach to satire, and the fact that he satirizes his own work as well shows his mastery over and respect towards the mock-heroic style in which the poem is written.
The poem begins in the tone of an epic masterpiece, presenting Shadwell's defining characteristic as dullness, just as every epic hero has a defining characteristic: Odysseus's is cunning; Achilles's is Wroth; the hero of Spenser's The Faerie Queene is of Holiness; whilst Satan in Paradise Lost has the defining characteristic of pride. Thus, Dryden subverts the theme of the defining characteristic by giving Shadwell a negative characteristic as his only virtue. Dryden uses the mock-heroic through his use of the heightened language of the epic to treat the trivial subjects such as poorly written and largely dismissible poetry. The juxtaposition of the lofty style with unexpected nouns such as 'dullness' provides an ironic contrast and makes the satiric point by the obvious disparity. In this, it works at the verbal level, with the language being carried by strong compelling rhythms and rhymes.

انتظرونا فى الجزء الثانى من مادة الشعر
والله الموفق

moftax ya gaaaaaaaaamd
تسلم ايييييييييييييدك يا بااااااااااااااشا
والله الموفق
[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

تسلم يا ياسوووور وعدت ووفيت

بارك الله فيك علي الباك جروند الجميله دي و لو معاك ورق ليها قول و لو مش معاك يبقي يا اما هاكتبها يا اما هاطبعها

بس تسلم طبعاً يا مفتكس

الله ينور يا برنس بس انتة عارف لما بيكون الورق دة مكتوب بالايد بيبقى احلى واحلى لما تاجى تذاكر صدقنى بيبقى عندك احساس بالمذاكرة اسهل واسهل وربنا يوفقنا جميعا ان شاء الله

هو ده اللي انا باتكلم عليه

وانشاء الله لو ملقناش ورقها هنبقي نطبعهاً

عامه انا عملت محاوله لا بأس بها ف الباك جروند اللي ف الكتاب و هبقي اكتبها بأيدي انشاء الله