George Gascoigne :: Критика
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Критика
Among Gascoigne's first significant works is The Supposes (1566), an adaptation of an Italian comedy. A story of disguise and mistaken identity, Gascoigne altered Lodovico Ariosto's original to provide uniquely English characters that appealed to Queen Elizabeth's court. His A Hundreth Sundrie Flowres (1573) was originally published under the guise of an anthology representing the works of several authors, though it was written entirely by Gascoigne. Many scholars consider this ploy a sophisticated literary device that serves to focus on the art of rhetoric and the playfulness of reading. Contained in this anthology is The Adventures of Master F. J., one of Gascoigne's most celebrated works. A collection of poems framed by a prose narrative, The Adventures of Master F. J. offers a variety of material for critical study, ranging from the author's pioneering structure and metrical patterns to his commentary on social and gender roles. Subsequent works by Gascoigne, such as The Spoyle of Antwerpe (1576), an account of war atrocities he witnessed in Holland, and his translation The Droomme of Doomesday (1576), demonstrate a shift in his writing style which suggests that his concerns had changed from aesthetic innovation to stout moralism. Ultimately, however, Gascoigne is recognized for his ability to write about a variety of subjects from a wide array of perspectives, which, in turn, demonstrates his appreciation of language and rhetoric and his aptitude for literary invention.
Critical Reception
Critics generally agree that Gascoigne was one of the most important innovators in English literature. Some scholars contend that The Adventures of Master F. J. is the first English novel, and most agree that The Supposes is the first English prose comedy, Certain Notes of Instruction Concerning the Making of Verse or Rhyme in English (1575) is the first book of English literary criticism, and The Steele Glas (1576) is the first original English verse satire written on Roman models. In addition, critics such as William L. Wallace suggest that the variety of rhyme and metrical patterns found in Gascoigne's poetry illustrates his willingness to explore the possibilities of English verse. However, some critics, including Stanley R. Maveety, contend that not all of Gascoigne's pieces were original. For example, Maveety argues that the structure of The Steele Glas borrows heavily from the fourteenth-century poem Piers Plowman and asserts that Gascoigne may be less of an innovator than many believe. Moreover, while Jocasta claims to be translated from Euripides' Phoenissae, which would make it the first Greek tragedy to appear on an English stage, it was actually adapted from Lodovico Dolce's Italian play Giocasta. Nevertheless, Gascoigne's reputation as a literary pioneer and innovator remains secure.
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