The land of Britain, its nature and literature.

The British Isles were formed about 8,000 years ago when the sea level rose, separating these lands from the Continent of Europe. The main island of the archipelago - Britain – is comparatively small, yet it can boast greater variety of countryside than can be found across thousands of miles in some parts of Europe or the USA.

The most important landscape division is between gentle and fertile lowlands and wild and severe highlands. This purely geographical distinction came to produce a strong impact on the country’s history and culture because the lowland country, being closer to the Continent, has always been subject to European influences. Further into the upland country these naturally became weaker, and old languages and old ways of life had better chances to survive in distant western and northern parts of the island.

As far as climate is concerned, it also has its fair share in the specific features of English literature and culture. British temperate climate doesn’t know the extremes which are typical of some parts of continental Europe. Misty, foggy, rainy atmosphere of the archipelago might well account for the strong poetic element of the British character and consequently, its literature. It is in English poetry and fiction that the greenness of the English countryside, with its streams and flowers, moors and lakes, is not only described in great detail, but becomes an dispensable part of the narration, one of the most significant “characters”. A reader will find it a rewarding enterprise to try and place, “in his mind’s eye”, the heroes of a novel or the scenery of a poem into the country where they belong. An inquisitive reader will recognize in poems or at the background of novels the rich farmlands, fens and marches of East Anglia, the chalk country of the south of England or red soils and moors of Devon.

Many English authors – Thomas Gray, William Shakespeare, Jane Austin, Robert Burns and others – would more often than not reflect in their works the type of the country where they were born or lived. Thus, the knowledge of the author’s biography can help you to predict the general atmosphere and mood of his or her creative world.

Another very important aspect to be taken into account when one sets out to explore English literature is, of course, Britain’s history. It should always be noted that the last invaders came to Britain as far back in history as 1066 (the Norman Conquest), but it was only about a century and a half later that this of Celts, Anglo-Saxons, Danes and Normans finally became a nation very conscious of being English. This sense of identity owed much to the fact that the English were islanders, cut off by the sea from many European influences. This gave rise to all manner of odd characters, among both real people and personage of fiction headed by no less figures than Sir Winston Churchill and inimitable Mr. Pickwick.

Not only are English fiction and drama filled with odd, original characters, but English literature itself, in the persons of its authors, is equally rich in such characters. It is crowded with authors determined to go their own way to write as they please, hardly ever combining together in order to create a movement, practically never conforming to given standards.

A most prominent feature of English literature down the centuries is its fabulous humour, which is something very different from wit and satire both notable for being as hard as they are bright. The latter work outside sympathy and affection, whereas real humour is based partly on sympathy and has much affection in it.

When dealing with any national literature, a student should try and answer two most important questions: what does this literature owe to other literatures? And what do other literatures owe to this one? In other words, what are its debts and credits.

All the early influences on English literature came from the south, from France and Italy, which were in the mainstream of medieval European culture. Spanish influences came later. The Romantic age turned to Germany where this movement first began. It was not until the last years of the 19^th century that English fiction began to show the influences of the French realists and Russian novelist. French and Russian (pre-revolution) influences on English writing continued into the 20^th century and were very strong in the years before World War I. A feature of the period since World War II is the influence of American fiction on the younger English novelists. These, briefly, are the debts.

The credits are very impressive. Shakespeare alone would probably overweigh a couple of his brothers-in-arm in other national literatures. The 18^th century novelists, especially Samuel Richardson, began to be imitated by novelists everywhere. Then Byron in poetry and W. Scott in fiction were regarded as the two most influential masters of the Romantic Age. During the 19^th century the vast popularity of Dickens carried his influence far and wide. In the 20^th century G.B. Shaw has conquered the theatre practically everywhere.