Jonathan Swift and Eighteenth-Century Ireland

2012 ◽  
pp. 161-177
Author(s):  
Clement Hawes
The Closet ◽  
2020 ◽  
pp. 114-147
Author(s):  
Danielle Bobker

This chapter points out, according to Anthony Hamilton and Jonathan Swift, how closets can still represent the highly circumscribed sociability associated with the face-to-face exchange of handwritten manuscripts. It talks about the hundreds of books that are designated as closets or cabinets that had been published in Britain by the end of the eighteenth century. As the authors and editors of these printed closets and cabinets nervously underscored their own close connections to courtly closets, prayer closets, and elite cabinets of curiosity, they implicitly positioned their readers as illegitimate intruders or spies. The chapter also reviews the complex dynamics of partial inclusion that are directly addressed in a particularly self-reflexive instance. It emphasizes that the one-way mode of visual intimacy channeled the excitement and social disorientation that accompanied the increasing accessibility of knowledge in the eighteenth century.


Author(s):  
David Francis Taylor

This book explores how the works of William Shakespeare, John Milton, Jonathan Swift, and others were taken up by caricaturists as a means of helping the eighteenth-century British public make sense of political issues, outrages, and personalities. The first in-depth exploration of the relationship between literature and visual satire in this period, the book explores how great texts, seen through the lens of visual parody, shape how we understand the political world. It offers a fascinating, novel approach to literary history.


2013 ◽  
Vol 10 (2) ◽  
pp. 21-32 ◽  
Author(s):  
Paul Brocklebank

The style of Samuel Johnson’s essays for the periodicals The Rambler, The Adventurer and The Idler is quite different from that of earlier eighteenth–century essayists such as Joseph Addison and Jonathan Swift. However, despite advances in recent years in corpus–based stylistic approaches to texts, a comparison of these three authors using current corpus–analytic techniques has yet to be attempted. This paper reports on the first stages of such a project. Johnson’s essays are compared with Addison and Swift’s essays using WordSmith Tools 5, and an analysis of keywords, semantic groupings of keywords, and key collocations of keywords in Johnson’s essays are identified. It is argued that a keyword analysis brings to the fore grammatical aspects of Johnsonian sentence patterns and provides empirical support for what have hitherto been only intuitively–based statements regarding his style. Also, further patterns in the data will be identified through a phraseological analysis of the essays focusing on the most common four–word clusters (4–grams) that Johnson uses.


Author(s):  
Louise Curran

This chapter explores the image of women looking at themselves and being observed by others in a significant body of satirical writing by women writers in the 1730s, 1740s, and 1750s. Though Jonathan Swift famously observed that satire ‘is a sort of Glass, wherein Beholders do generally discover every body’s Face but their Own’, these women did the opposite, often unflinchingly so, producing humane reflections on their personal appearances, and on their selves. Self-knowledge through conversation, either with oneself or with others, is a motif of eighteenth-century moral philosophy, and this kind of introspection is replicated throughout satirical verse, particularly that by women. Conversation takes place through the medium of the interlocutor in verse epistles; as answers to previous poems; through voicing the characters of different people; as the voice of the poet within the poem; and as translation and imitation.


2019 ◽  
Vol 63 (4) ◽  
pp. 862-884
Author(s):  
EDWARD TAYLOR

AbstractThe importance of print in the ‘rage of party’ of late seventeenth- and early eighteenth-century Britain is well known, but scholars have paid insufficient attention to the press phenomenon that provided the most persistent and undiluted partisan voices of the era, the comment serial. Comment serials – regular printed publications designed explicitly to present topical analysis, opinion, and advice – were fashioned as powerful weapons for partisan combat. Due to their regularity and flexibility, they could be more potent than other forms of topical print, especially pamphlets and newspapers. Although many publications have been individually recognized as comment serials, such as Roger L'Estrange's Observator (1681–7), Daniel Defoe's Review (1704–13), and Jonathan Swift and others’ Examiner (1710–14), their development as a holistic phenomenon has not been properly understood. They first appeared during the Succession Crisis (1678–82), and proliferated under Queen Anne (1702–14), supporting both tory and whig causes. Through widespread consumption, both direct and indirect, they shaped partisan culture in various ways, including by reinforcing and galvanizing partisan identities, facilitating the development of partisan ‘reading communities’, and manifesting and representing party divisions in public. This article focuses on John Tutchin's Observator (1702–12) as a case-study of a major comment serial.


2019 ◽  
Vol 71 (300) ◽  
pp. 486-507
Author(s):  
Marcus Tomalin

Abstract Drawing upon recent research into historical phonology, this article re-examines the prosodic structure of Alexander Pope’s verse. The underlying purpose is to demonstrate that the widespread tendency to hear Pope’s poetry with a modern ear can lead to literary-critical interpretations that are alarmingly brittle. By contrast, a willingness to undertake some kind of pronunciation-related auditory archaeology can reveal phonological patterns that would otherwise remain hidden—and an awareness of these patterns can transform our appreciation of his intricate couplet art. A task of this kind necessarily involves a careful reading of prominent contemporaneous dictionaries, grammar textbooks, and orthoepic works, as well as recent revisionist studies of eighteenth-century English phonology. As an initial case study, the central discussion in this article will focus predominantly on two words: <war> and <gods>. Jonathan Swift accused Pope of deploying too many ‘unjustifiable rhymes’ for these words in his Iliad, and seeking to understand this critique leads to an exploration of how Pope structured his poetry using subtle phonological correspondences which frequently occur at locations other than the tenth syllable in his couplets.


1964 ◽  
Vol 5 (2) ◽  
pp. 107-116 ◽  
Author(s):  
John R. Elwood

Female playwrights of varying degrees of quality were reasonably plentiful in late seventeenth and early eighteenth century England; but, except for Eliza Haywood, few of these playwrights doubled as actresses, at least with sufficient success for us to be aware of their talents. Even the stage career of Mrs. Haywood, one extending at least from 1715 to 1737, has not been documented in its entirety before now. It deserves attention because it adds some details to the scanty biography of this woman who is best known as a novelist, a novelist who turned out scandal chronicles long before Richardson made the novel morally acceptable, and who in 1751 produced what may be the first domestic novel in English,The History of Miss Betsy Thoughtless. Along the way she had some success as a publisher, as the first woman writer of a periodical for women, as a poet, and as a playwright and actress. It was her efforts in the theater that drew the attention of such men as Jonathan Swift and Richard Savage and brought her into a rather lengthy association with Henry Fielding. And it was her theatrical experience that contributed much to her eventual skill as a novelist. She liked the stage, and much of what we like in her later work she owed to the stage.


2019 ◽  
pp. 168-190
Author(s):  
Benjamin Bankhurst

The era of the Hanoverian Succession was a period of rapid demographic change in Ireland. The arrival of 90,000 Scots pushed the extent of Presbyterian influence in Ulster well beyond its heartland in the northeast. This stoked concerns within the Church of Ireland of a possible Presbyterian coup like the one that befallen the Scottish Church in 1690. The fear of expansionist Dissent faded in the years after the death of Queen Anne when Irish Presbyterians began sailing en masse to the American Colonies. Irish Presbyterians were quick to capitalize on Ascendency concerns regarding perceived Protestant decline in their efforts to repeal the Test Act of 1704. This essay examines the changing debate over Dissenter demography in the works of William Tisdall and Jonathan Swift. It argues that Protestant anxieties regarding fluctuations in Dissenting numbers influenced the larger political debates in early eighteenth-century Ireland.


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