1700

2017 ◽  
Author(s):  
Margaret J. M. Ezell
Keyword(s):  
Final Section ◽  
Daniel Defoe ◽  
John Dryden ◽  
Alexander Pope ◽  
Literary Responses ◽  
Susanna Centlivre ◽  
William Iii

The final section covers the reign of William III after the death of his wife, the literary responses to the situation of Princess Anne following the death of her son, and the continuing tensions in Parliament between the Whigs and Tories. There were increasing literary satires on foreigners in power and the desire to define Englishness. After the death of John Dryden, dramatists including William Congreve and John Vanbrugh continued to resist Jeremy Collier’s desire to reform the theatre. Newcomers such as Alexander Pope and Susanna Centlivre arrived and made their debut as poets and dramatists. Satires against women and marriage continued against a backdrop of famous divorce trials, while writers such as Daniel Defoe called for a reformed society starting with the aristocratic elite.

Succession

2017 ◽  
Author(s):  
Joseph Hone
Keyword(s):  
Seventeenth Century ◽  
Alexander Pope ◽  
Full Spectrum ◽  
Anne Finch ◽  
William Iii ◽  
Samuel Pepys

This chapter introduces and explores the full spectrum of positions on the succession across a range of texts responding to the deaths of William III and James II. It demonstrates the collapse of earlier norms of royal mourning by unearthing how royal elegy—a sacrosanct genre in the seventeenth century—became a vehicle for opposition satire. Anne Finch, Alexander Pope, Samuel Pepys, and William Pittis were all involved in writing or circulating Jacobite libels in manuscript. Examining the scribal circulation of satires sheds new light on their political allegiances and networks. The chapter ends with a sustained contextual examination of Daniel Defoe’s poem The Mock Mourners.

THE SAXON REPUBLIC AND ANCIENT CONSTITUTION IN THE STANDING ARMY CONTROVERSY, 1697–1699

2018 ◽  
Vol 62 (3) ◽  
pp. 663-684 ◽  
Author(s):  
ASHLEY WALSH
Keyword(s):  
Daniel Defoe ◽  
Samuel Johnson ◽  
Modern Politics ◽  
Ancient Constitution ◽  
William Iii ◽  
Standing Army

AbstractThe pamphlet controversy caused by the proposal of William III to maintain a peacetime standing army following the Treaty of Ryswick (1697) tends to be understood as a confrontation of classicists and moderns in which the king's supporters argued that modern commerce had changed the nature of warfare and his opponents drew on classical republicanism to defend the county militia. But this characterization neglects the centrality of the Saxon republic and ancient constitution in the debate. English opponents of the standing army, including Walter Moyle, John Trenchard, and John Toland, went further than adapting the republicanism of James Harrington, who had rejected ancient constitutionalism during the Interregnum, to the restored monarchy. Their thought was more Saxon than classical and, in the case of Reverend Samuel Johnson, it was entirely so. However, the Scot, Andrew Fletcher of Saltoun, adapted neo-Harringtonian arguments to argue that modern politics could no longer be understood by their Gothic precedents. Above all, the king's supporters needed either to engage ancient constitutionalists on their own terms, as did one anonymous pamphleteer, or, as in the cases of John, Lord Somers, and Daniel Defoe, reject the relevance of ancient constitutionalism and Saxon republicanism completely.

Pope’s Social Contexts

2021 ◽  
pp. 11-40
Author(s):  
Joseph Hone
Keyword(s):  
Final Section ◽  
Social Contexts ◽  
John Dryden ◽  
Social Milieu ◽  
Generic Models

Pope’s earliest poems emerged from his various childhood and teenage relationships. For whom did he write those poems and by whom were they read? This chapter investigates Pope’s early social milieu through a focus on two specific communities: the Catholic diaspora of the Thames Valley and the friends of the late John Dryden, including Buckingham, Granville, St John, and Higgons. It traces Pope’s earliest contact with those figures and their influence on his poems. Reconstructing Pope’s connections to these circles provides essential context for understanding his early literary development. It also enables new understanding of his political awakening as a teenager. The final section of the chapter examines An Essay on Criticism (1711) within the context of similar poems by Buckingham and Granville, notably An Essay upon Satire (1679), An Essay upon Poetry (1682), and An Essay on Unnatural Flights in Poetry (1701). By ignoring Buckingham and Granville as irrelevant and second-rate authors, previous scholars have overlooked the fact that their poems were Pope’s principal generic models for the Essay

Literature and Party Politics at the Accession of Queen Anne

2017 ◽  
Author(s):  
Joseph Hone
Keyword(s):  
Eighteenth Century ◽  
Daniel Defoe ◽  
Party Politics ◽  
Alexander Pope ◽  
Literary Texts ◽  
Joseph Addison ◽  
Nahum Tate ◽  
Early Eighteenth Century ◽  
New Generation ◽  
First Time

This book is the first detailed study of the final Stuart succession crisis. It demonstrates for the first time the centrality of debates about royal succession to the literature and political culture of the early eighteenth century. Using previously neglected, misunderstood, and newly discovered material, it shows that arguments about Anne’s right to the throne were crucial to the construction of nascent party political identities. Literary texts were the principal vehicle through which contemporaries debated the new queen’s legitimacy. This book sheds fresh light on canonical authors such as Daniel Defoe, Alexander Pope, and Joseph Addison by setting their writing alongside the work of lesser known but nonetheless important figures such as John Tutchin, William Pittis, Nahum Tate, John Dennis, Henry Sacheverell, Charles Leslie, and other anonymous and pseudonymous authors. Through close historical readings, it shows how this new generation of poets, preachers, and pamphleteers transformed older models of succession writing by Milton, Dryden, and others, and imbued conventional genres such as panegyric and satire with their own distinctive poetics. By immersing the major authors in their milieu, and reconstructing the political and material contexts in which those authors wrote, this book demonstrates the vitality of debates about royal succession in early eighteenth-century culture.

Dignity Overpowers Conspiracy of Race Politics and Mercantilism in Thomas Southerne’s Oronooko

2016 ◽  
Vol 4 (11) ◽  
pp. 15
Author(s):  
Dr. Samuel Obed Doku
Keyword(s):  
Slave Trade ◽  
Racial Politics ◽  
17Th Century ◽  
John Dryden ◽  
Alexander Pope ◽  
Race Politics ◽  
English Restoration ◽  
Original Works ◽  
Restoration Theatre

John Dryden describes Thomas Southerne as “pure” in reference to the purity of his language, and Alexander Pope delineates Southerne in his “Epistle to Augustus” as an “elderly dramatist skilled in expressing ‘the passions’” and cites him along with Johnson, Shakespeare, Beaumont and Fletcher, Wycherley, and Rowe as great English playwrights” (qtd. in Kaufman 10). However, not many critics are that generous to Southerne, the only playwright courageous enough to bring a black face on to the English theater in 1695, except Shakespeare who did it with Othello in 1603. The best position critics rank Southerne, author of ten plays, is as the sixth best playwright in English Restoration Theatre.  Probably, because of the parasite formula that was in vogue in the 17th century when Southerne wrote Oronooko and which he profoundly capitalized on to write his most famous play, he is not particularly regarded as one of the ingenious playwrights of his era. At best, many critics regard Southerne’s talent as falling short of the mercurial abilities of Dryden, Etheridge, Wycherley, Congreve, and Otway. Some critics, however, are of the view that although Southerne was not fashionably original, his creativity in his ability to refashion and reconfigure the original works he preyed on to make them refreshing and entertaining, should render him as one of the best during the apogee moments of the Restoration era. In this piece, I argue that the antimony of racial politics and the salience of mercantilism in Southerne’s Oronooko dignify women and minorities, even as it simultaneously agitated and mollified the nerves of dealers and supporters of the slave trade.  

Panegyric Decorum in the Reigns of William III and Anne

1981 ◽  
Vol 21 (1) ◽  
pp. 56-67 ◽  
Author(s):  
Arthur S. Williams
Keyword(s):  
Ben Jonson ◽  
John Dryden ◽  
Specific Expression ◽  
James I ◽  
Epic Hero ◽  
English Verse ◽  
Samuel Daniel ◽  
Political Patronage ◽  
William Iii

The tradition of English verse panegyric began in the reign of James I when the accession of the Stuart line called “for a formal and specific expression of the subject's allegiance and of the values which commend it.” First adapted from Latin models by Samuel Daniel and Ben Jonson, panegyric verse combined praise of the new monarch with conciliatory rhetoric aimed at uniting the king with his subjects. Still regarded as a branch of classical oratory at the beginning of James I's reign, verse panegyric underwent important transformations in succeeding decades. While Abraham Cowley adapted the panegyric themes of national revival and monarchic restraint to his version of the Pindaric ode, Edmund Waller and John Dryden made it a “branch of epic” by depicting the king as an epic hero. Thus enshrined among the neo-classical poetic genres, panegyric verse remained both a potent form of propaganda and an outlet for traditional literary aspirations through the reign of James II.Following the constitutional upheavals of 1688, however, panegyric began to lose its traditional ceremonial function, and in following years the great Tory satirists made the decadence of panegyric conventions an object of their ridicule. Nevertheless verse panegyric did not immediately lose its credibility as literature or its efficacy as propaganda. Writing poems of public praise and celebration remained one way for the loyalists of a new regime—and for others who longed for restoration of the old—to articulate political sentiments, respond to the obligations of political patronage, and fulfill ambitions to write heroic verse.

scholarly journals Políticas de traducción de las Metamorfosis. Ovidio en la Inglaterra en el siglo xviii

2018 ◽  
Vol 20 ◽  
pp. 89-98
Author(s):  
Ana Elena González Treviño
Keyword(s):  
John Dryden ◽  
Alexander Pope

Aun cuando la fama que alcanzó Ovidio en el Renacimiento ya estaba declinando, en el siglo XVIII hubo un resurgimiento del interés por traducir a los clásicos. Las traducciones resultantes dialogan de manera singular con valores ilustrados tales como la precisión filológica y el paradigma racionalista. Tal es el caso de la edición de las Metamorfosis publicada en 1717 en Inglaterra por el célebre librero Jacob Tonson, coordinada por Samuel Garth, en la que participaron dieciocho traductores notables entre los que se cuentan dos de los poetas más destacados del periodo, John Dryden y Alexander Pope. Médico de profesión pero gran amante de las letras, Garth estipula sus criterios y objetivos en la introducción al volumen. Dichos criterios fueron tachados de peculiares e idiosincráticos por sus contemporáneos, pero aun así, constituyen un documento muy significativo para la historia y la teoría de la traducción, así como de la recepción de Ovidio en esa época.

scholarly journals Alexander Pope and the tracts advising women of the long eighteenth century

2021 ◽  
Author(s):  
◽  
Eve Williams
Keyword(s):  
Eighteenth Century ◽  
Comparative Study ◽  
Final Section ◽  
Personal History ◽  
Alexander Pope ◽  
Historical Scholarship ◽  
Conduct Manuals ◽  
Long Eighteenth Century

<p>This thesis contextualises the treatment of women in Alexander Pope's Epistle to a Lady (1743) against three conduct manuals from the eighteenth century. These three texts are The Whole Duty of a Woman by A Lady (1696), The Art of Knowing Women by Le Chevalier Plante-Amour (1732) and An Essay in Praise of Women (1733) by James Bland.  The Art of Knowing Women has been paid only passing reference by feminist scholars. The Whole Duty of a Woman appears to be known solely for the compilation of recipes which forms its final section, and An Essay in Praise of Women is, as far as I have been able to discover, completely unknown. Despite the critical work on the supposed misogyny of Pope, virtually no attention has been paid to the context supplied by these advice manuals, symptoms of their age. In my reading, however, these manuals function both as sources for the Epistle to a Lady, and as subjects of Pope's imaginative satire.  I begin by surveying the relevant aspects of Pope's personal history. Drawing on recent historical scholarship, I go on to outline something of the situation of women in the eighteenth century. My comparative study follows. I take each manual in turn, comparing its ideological content and rhetoric with those of Pope. By contrast with these tracts, Pope's poem emerges as far from misogynistic. Indeed, it conveys a nuanced, complex and sympathetic attitude towards women.</p>

scholarly journals Alexander Pope and the tracts advising women of the long eighteenth century

2021 ◽  
Author(s):  
◽  
Eve Williams
Keyword(s):  
Eighteenth Century ◽  
Comparative Study ◽  
Final Section ◽  
Personal History ◽  
Alexander Pope ◽  
Historical Scholarship ◽  
Conduct Manuals ◽  
Long Eighteenth Century

<p>This thesis contextualises the treatment of women in Alexander Pope's Epistle to a Lady (1743) against three conduct manuals from the eighteenth century. These three texts are The Whole Duty of a Woman by A Lady (1696), The Art of Knowing Women by Le Chevalier Plante-Amour (1732) and An Essay in Praise of Women (1733) by James Bland.  The Art of Knowing Women has been paid only passing reference by feminist scholars. The Whole Duty of a Woman appears to be known solely for the compilation of recipes which forms its final section, and An Essay in Praise of Women is, as far as I have been able to discover, completely unknown. Despite the critical work on the supposed misogyny of Pope, virtually no attention has been paid to the context supplied by these advice manuals, symptoms of their age. In my reading, however, these manuals function both as sources for the Epistle to a Lady, and as subjects of Pope's imaginative satire.  I begin by surveying the relevant aspects of Pope's personal history. Drawing on recent historical scholarship, I go on to outline something of the situation of women in the eighteenth century. My comparative study follows. I take each manual in turn, comparing its ideological content and rhetoric with those of Pope. By contrast with these tracts, Pope's poem emerges as far from misogynistic. Indeed, it conveys a nuanced, complex and sympathetic attitude towards women.</p>

Papists’ Horses and the Privy Council 1689–1720

1998 ◽  
Vol 24 (1) ◽  
pp. 55-75
Author(s):  
Anthony R. J. S. Adolph
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
John Dryden ◽  
Alexander Pope ◽  
Privy Council

Horses by Papists are not to be ridden,But sure the Muses horse was ne’er forbidden.For in no rate-book was it ever found,That Pegasus was valued at five pound.John DrydenThese lines, written at the end of the seventeenth century, were a wry comment on the ban on the ownership of horses valued at over five pounds which was imposed upon Catholics from 1689 by the Whig ministry of William and Mary and which remained in force, in theory, until the abolition of the penal laws in 1844. Like most of the penal laws its application had all but ceased by the middle of the eighteenth century but in the period under consideration the Privy Council made considerable efforts to ensure the enforcement of the ban. It did so sometimes through a genuine fear of Jacobite uprising and subversion, on other occasions to stir up a renewed paranoia about popery (and thus encourage loyalty from all Protestants) and always to try to weaken the resolve of Catholics to retain their faith. Alexander Pope tells the story of Thomas Gage of Shirburn who had his team of Flemish coach horses seized by the authorities in 1715. Visiting London, he became so jealous of the sight of other people’s coach horses passing by that he apostatised then and there and took the Oath of Abjuration.

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