Howard D. Weinbrot's Eighteenth-Century Satire: Essays on Text and Context from PDF
By Howard D. Weinbrot
Howard D. Weinbrot the following collects 13 of his most crucial essays on recovery and eighteenth-century British satire. Divided into sections on 'contexts' and 'texts', the essays variety greatly and deeply around the spectrum of satiric types, satirists, satires, and scholarly and important difficulties. In 'Contexts', Professor Weinbrot discusses the trend of formal verse satire of blame and compliment popularized by way of Dryden in 1693 and influential through the subsequent century, demanding situations the normal view that Hprace and 'Augustanism' outline eighteenth-century satire, and specializes in the vexed query of even if there has been certainly a 'persona' or concept of overlaying at paintings in eighteenth-century satire. In 'Texts' he bargains with numerous of crucial verse satirists and satires of the interval and heavily analyses them inside of their old and creative frameworks. in actual fact written, realized, and infrequently witty, this e-book is devoted to severe inquiry that respects the integrity of its texts. It additionally emphasised the breadth of context that enriches our realizing of satire and the relationships one of the nurturing tradition, the manufacturing poet, the poem manufacturers, and the poem as got in its age.
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Howard D. Weinbrot right here collects 13 of his most crucial essays on recovery and eighteenth-century British satire. Divided into sections on 'contexts' and 'texts', the essays variety largely and deeply around the spectrum of satiric varieties, satirists, satires, and scholarly and important difficulties.
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Additional resources for Eighteenth-Century Satire: Essays on Text and Context from Dryden to Peter Pindar
Nat Lee's unintentionally comic masterpiece, Gloriana or the Court ofAugustus Caesar (1676), uses accepted historical fact and myth, and his own fertile wit. He portrays Augustus as an elderly, half-crazed, sexually famished tyrant who banishes Ovid and is still remembered for his share in Cicero's murder. 14 Dryden's "Discourse concerning . . Satyr" (1693) borrows from Tacitus, Suetonius, and a commentary upon Sextus Aurelius Victor, to show that Augustus was responsible for the diminution of the vigor, honesty, and quality of satire.
Modern writers who hold this view regard the classics as normative, as one of the eighteenth century's main sources of inspiration, emulation, and imitation. Augustus Caesar, the apparently central Roman model, often lends his name to our period, and we hear the term "Augustan" applied sometimes to all the authors between 1660 and 1800, sometimes to the "orthodox" and "conservative" during those years, and sometimes to those who flourished during a prescribed segment, during, say, the "age" of Swift and Pope.
We must believe," Quintilian says, "that the sufferings which we are deploring have happened to us ... We must be those people about whose grievous . . " This occasional equation of speaker and writer also appears in theories of literary psychology. Horace claims that if a poet "would have me shed Tears [he] must first shed them" himself. Far later, Longinus argues that the poet who wishes to evoke sublimity in his reader must possess sublimity in his own soul. "3 Several ancients also made the opposite case — not that a pederast portrays pederasts, or that a sublime poet evokes sublimity but, as Cicero puts it in his Tusculan Disputations, one feigns the pose appropriate for the situation: Do you think I am angry when I make a somewhat bitter and passionate speech in court?
Eighteenth-Century Satire: Essays on Text and Context from Dryden to Peter Pindar by Howard D. Weinbrot