“There was never more need, never greater occasion for the exercise of Moderation, than now in our Age. It's much in the common talk, and in the wishes of all sorts of men, all seem to desire and court it; and yet I believe it was never less understood, less practised.”John Evans, Moderation Stated, 1682.The ironic fate of Absalom and Achitophel is to be fully appreciated as one of the great political poems of the language and only partially comprehended as political argument. Recent criticism of the poem is marked by a widening discrepancy between the ways in which it is understood as verbal and as political artifact. Metaphor and allusion have been carefully and often subtly charted, yet the poem's political rhetoric and its political argument are assumed to be simple coordinates. The tensions, indeed the contradictions, between explicit language and implicit argument are not only unexamined but largely unperceived. The conventional reading, which has become an almost fixed critical response, argues that the poem rises above partisan politics, that it derives from a political intelligence committed to a conservative ideology but indifferent to, indeed contemptuous of, the “party color'd mind.”Generalities about Dryden's temper, the poet as philosophical sceptic, as disinterested critic of extremes, together with the seemingly ingenuous and repeated claims of moderation and balance in the Preface have led a number of critics to understand the narrator's espoused moderation as Dryden's political stance—a judgment which Dryden's contemporaries certainly did not allow.
Strong and Weak Convergence Theorems for Equilibrium Problems and Weak Relatively Uniformly Nonexpansive Multivalued Mappings in Banach Spaces
