86-) English Literature

86-) English Literature 

John Milton 

 

John Milton (9 December 1608 – 8 November 1674, London, England) was an English poet and intellectual, pamphleteer, and historian, considered the most significant English author after William Shakespeare. His 1667 epic poem Paradise Lost, written in blank verse and including over ten chapters, was written in a time of immense religious flux and political upheaval. It addressed the fall of man, including the temptation of Adam and Eve by the fallen angel Satan and God's expulsion of them from the Garden of Eden. Paradise Lost elevated Milton's reputation as one of history's greatest poets. He also served as a civil servant for the Commonwealth of England under its Council of State and later under Oliver Cromwell.

Milton is best known for Paradise Lost, widely regarded as the greatest epic poem in English. Together with Paradise Regained and Samson Agonistes, it confirms Milton’s reputation as one of the greatest English poets. In his prose works Milton advocated the abolition of the Church of England and the execution of Charles I. From the beginning of the English Civil Wars in 1642 to long after the restoration of Charles II as king in 1660, he espoused in all his works a political philosophy that opposed tyranny and state-sanctioned religion. His influence extended not only through the civil wars and interregnum but also to the American and French revolutions. In his works on theology, he valued liberty of conscience, the paramount importance of Scripture as a guide in matters of faith, and religious toleration toward dissidents. As a civil servant, Milton became the voice of the English Commonwealth after 1649 through his handling of its international correspondence and his defense of the government against polemical attacks from abroad.

Milton achieved fame and recognition during his lifetime; his celebrated Areopagitica (1644), written in condemnation of pre-publication censorship, is among history's most influential and impassioned defences of freedom of speech and freedom of the press. His desire for freedom extended beyond his philosophy and was reflected in his style, which included his introduction of new words (coined from Latin and Ancient Greek) to the English language. He was the first modern writer to employ unrhymed verse outside of the theatre or translations.

Milton is described as the "greatest English author" by biographer William Hayley, and he remains generally regarded "as one of the preeminent writers in the English language", though critical reception has oscillated in the centuries since his death, often on account of his republicanism. Samuel Johnson praised Paradise Lost as "a poem which ... with respect to design may claim the first place, and with respect to performance, the second, among the productions of the human mind", though he (a Tory) described Milton's politics as those of an "acrimonious and surly republican". Milton was revered by poets such as William Blake, William Wordsworth, and Thomas Hardy.

Phases of Milton's life parallel the major historical and political divisions in Stuart England at the time. In his early years, Milton studied at Christ's College, Cambridge, and then travelled, wrote poetry mostly for private circulation, and launched a career as pamphleteer and publicist under Charles I's increasingly autocratic rule and Britain's breakdown into constitutional confusion and ultimately civil war. While once considered dangerously radical and heretical, Milton contributed to a seismic shift in accepted public opinions during his life that ultimately elevated him to public office in England. The Restoration of 1660 and his loss of vision later deprived Milton much of his public platform, but he used the period to develop many of his major works.

Milton's views developed from extensive reading, travel, and experience that began with his days as a student at Cambridge in the 1620s and continued through the English Civil War, which started in 1642 and continued until 1651. By the time of his death in 1674, Milton was impoverished and on the margins of English intellectual life but famous throughout Europe and unrepentant for political choices that placed him at odds with governing authorities.

Early life and education John Milton was born in Bread Street, London, on 9 December 1608, the son of composer John Milton and his wife Sarah Jeffrey. The senior John Milton (1562–1647) moved to London around 1583 after being disinherited by his devout Catholic father Richard "the Ranger" Milton for embracing Protestantism. In London, the senior John Milton married Sarah Jeffrey (1572–1637) and found lasting financial success as a scrivener. He lived in and worked from a house in Cheapside at Bread Street, where the Mermaid Tavern was located. The elder Milton was noted for his skill as a composer of music, and this talent left his son with a lifelong appreciation for music and friendships with musicians such as Henry Lawes.

The prosperity of Milton's father allowed his eldest son to obtain a private tutor, Thomas Young, a Scottish Presbyterian with an MA from the University of St Andrews. Young's influence also served as the poet's introduction to religious radicalism.[10] After Young's tutorship, Milton attended St Paul's School in London, where he began the study of Latin and Greek; the classical languages left an imprint on both his poetry and prose in English (he also wrote in Latin and Italian).

Milton’s paternal grandfather, Richard, was a staunch Roman Catholic who expelled his son John, the poet’s father, from the family home in Oxfordshire for reading an English (i.e., Protestant) Bible. Banished and disinherited, Milton’s father established in London a business as a scrivener, preparing documents for legal transactions. He was also a moneylender, and he negotiated with creditors to arrange for loans on behalf of his clients. He and his wife, Sara Jeffrey, whose father was a merchant tailor, had three children who survived their early years: Anne, the oldest, followed by John and Christopher. Though Christopher became a lawyer, a Royalist, and perhaps a Roman Catholic, he maintained throughout his life a cordial relationship with his older brother. After the Stuart monarchy was restored in 1660, Christopher, among others, may have interceded to prevent the execution of his brother.

The elder John Milton, who fostered cultural interests as a musician and composer, enrolled his son John at St. Paul’s School, probably in 1620, and employed tutors to supplement his son’s formal education. Milton was privately tutored by Thomas Young, a Scottish Presbyterian who may have influenced his gifted student in religion and politics while they maintained contact across subsequent decades. At St. Paul’s Milton befriended Charles Diodati, a fellow student who would become his confidant through young adulthood. During his early years, Milton may have heard sermons by the poet John Donne, dean of St. Paul’s Cathedral, which was within view of his school. Educated in Latin and Greek there, Milton in due course acquired proficiency in other languages, especially Italian, in which he composed some sonnets and which he spoke as proficiently as a native Italian, according to the testimony of Florentines whom he befriended during his travel abroad in 1638–39.

Milton enrolled at Christ’s College, Cambridge, in 1625, presumably to be educated for the ministry. A year later he was “rusticated,” or temporarily expelled, for a period of time because of a conflict with one of his tutors, the logician William Chappell. He was later reinstated under another tutor, Nathaniel Tovey. In 1629 Milton was awarded a Bachelor of Arts degree, and in 1632 he received a Master of Arts degree. Despite his initial intent to enter the ministry, Milton did not do so, a situation that has not been fully explained. Possible reasons are that Milton lacked respect for his fellow students who were planning to become ministers but whom he considered ill-equipped academically or that his Puritan inclinations, which became more radical as he matured, caused him to dislike the hierarchy of the established church and its insistence on uniformity of worship; perhaps, too, his self-evident disaffection impelled the Church of England to reject him for the ministry.

Overall, Milton was displeased with Cambridge, possibly because study there emphasized Scholasticism, which he found stultifying to the imagination. Moreover, in correspondence with a former tutor at St. Paul’s School, Alexander Gill, Milton complained about a lack of friendship with fellow students. They called him the “Lady of Christ’s College,” perhaps because of his fair complexion, delicate features, and auburn hair. Nonetheless, Milton excelled academically. At Cambridge he composed several academic exercises called prolusions, which were presented as oratorical performances in the manner of a debate. In such exercises, students applied their learning in logic and rhetoric, among other disciplines. Milton authorized publication of seven of his prolusions, composed and recited in Latin, in 1674, the year of his death.

In 1632, after seven years at Cambridge, Milton returned to his family home, now in Hammersmith, on the outskirts of London. Three years later, perhaps because of an outbreak of the plague, the family relocated to a more pastoral setting, Horton, in Buckinghamshire. In these two locations, Milton spent approximately six years in studious retirement, during which he read Greek and Latin authors chiefly. Without gainful employment, Milton was supported by his father during this period.

Milton's first datable compositions are two psalms written at age 15 at Long Bennington. One contemporary source is Brief Lives of John Aubrey, an uneven compilation including first-hand reports. In the work, Aubrey quotes Christopher, Milton's younger brother: "When he was young, he studied very hard and sat up very late, commonly till twelve or one o'clock at night". Aubrey adds, "His complexion exceeding faire—he was so faire that they called him the Lady of Christ's College."

In 1625, Milton gained entry to Christ's College at the University of Cambridge, where he graduated with a BA in 1629, ranking fourth of 24 honours graduates that year in the University of Cambridge. Preparing, at that time, to become an Anglican priest, he stayed on at Cambridge where he received his MA on 3 July 1632.

Milton may have been rusticated (suspended) in his first year at Cambridge for quarrelling with his tutor, Bishop William Chappell. He was certainly at home in London in the Lent Term 1626; there he wrote Elegia Prima, his first Latin elegy, to Charles Diodati, a friend from St Paul's. Based on remarks of John Aubrey, Chappell "whipt" Milton. This story is now disputed, though certainly Milton disliked Chappell. Historian Christopher Hill notes that Milton was apparently rusticated, and that the differences between Chappell and Milton may have been either religious or personal. It is also possible that, like Isaac Newton four decades later, Milton was sent home from Cambridge because of the plague, which impacted Cambridge significantly in 1625.

At Cambridge, Milton was on good terms with Edward King; he later dedicated "Lycidas" to him. Milton also befriended Anglo-American dissident and theologian Roger Williams. Milton tutored Williams in Hebrew in exchange for lessons in Dutch. Despite developing a reputation for poetic skill and general erudition, Milton suffered from alienation among his peers during his time at Cambridge. Having once watched his fellow students attempting comedy upon the college stage, he later observed, "they thought themselves gallant men, and I thought them fools".

Milton also was disdainful of the university curriculum, which consisted of stilted formal debates conducted in Latin on abstruse topics. His own corpus is not devoid of humour, notably his sixth prolusion and his epitaphs on the death of Thomas Hobson. While at Cambridge, he wrote a number of his well-known shorter English poems, including "On the Morning of Christ's Nativity", "Epitaph on the admirable Dramaticke Poet, W. Shakespeare" (his first poem to appear in print), L'Allegro, and Il Penseroso.

Study, poetry, and travel abroad

After receiving his MA, Milton moved to Hammersmith, his father's new home since the previous year. He also lived at Horton, Berkshire, from 1635 and undertook six years of self-directed private study. Hill argues that this was not retreat into a rural idyll; Hammersmith was then a "suburban village" falling into the orbit of London, and even Horton was becoming deforested and suffered from the plague.[19] He read both ancient and modern works of theology, philosophy, history, politics, literature, and science in preparation for a prospective poetical career. Milton's intellectual development can be charted via entries in his commonplace book (like a scrapbook), now in the British Library. As a result of such intensive study, Milton is considered to be among the most learned of all English poets. In addition to his years of private study, Milton had command of Latin, Greek, Hebrew, French, Spanish, and Italian from his school and undergraduate days; he also added Old English to his linguistic repertoire in the 1650s while researching his History of Britain, and probably acquired proficiency in Dutch soon after.

Milton continued to write poetry during this period of study; his Arcades and Comus were both commissioned for masques composed for noble patrons, connections of the Egerton family, and performed in 1632 and 1634 respectively. Comus argues for the virtuousness of temperance and chastity. He contributed his pastoral elegy Lycidas to a memorial collection for one of his fellow-students at Cambridge. Drafts of these poems are preserved in Milton's poetry notebook, known as the Trinity Manuscript, because it is now kept at Trinity College, Cambridge.

In May 1638, accompanied by a manservant, Milton embarked upon a tour of France and Italy for 15 months that lasted until July or August 1639. His travels supplemented his study with new and direct experience of artistic and religious traditions, especially Roman Catholicism. He met famous theorists and intellectuals of the time and was able to display his poetic skills. For specific details of what happened within Milton's "grand tour", there appears to be just one primary source: Milton's own Defensio Secunda. There are other records, including some letters and some references in his other prose tracts, but the bulk of the information about the tour comes from a work that, according to Barbara Lewalski, "was not intended as autobiography but as rhetoric, designed to emphasise his sterling reputation with the learned of Europe."

He first went to Calais and then on to Paris, riding horseback, with a letter from diplomat Henry Wotton to ambassador John Scudamore. Through Scudamore, Milton met Hugo Grotius, a Dutch law philosopher, playwright, and poet. Milton left France soon after this meeting. He travelled south from Nice to Genoa, and then to Livorno and Pisa. He reached Florence in July 1638. While there, Milton enjoyed many of the sites and structures of the city. His candour of manner and erudite neo-Latin poetry earned him friends in Florentine intellectual circles, and he met the astronomer Galileo who was under house arrest at Arcetri, as well as others. Milton probably visited the Florentine Academy and the Accademia della Crusca along with smaller academies in the area, including the Apatisti and the Svogliati.

He left Florence in September to continue to Rome. With the connections from Florence, Milton was able to have easy access to Rome's intellectual society. His poetic abilities impressed those like Giovanni Salzilli, who praised Milton within an epigram. In late October, Milton attended a dinner given by the English College, Rome, despite his dislike for the Society of Jesus, meeting English Catholics who were also guests—theologian Henry Holden and the poet Patrick Cary. He also attended musical events, including oratorios, operas, and melodramas. Milton left for Naples toward the end of November, where he stayed only for a month because of the Spanish control. During that time, he was introduced to Giovanni Battista Manso, patron to both Torquato Tasso and to Giambattista Marino.

Originally, Milton wanted to leave Naples in order to travel to Sicily and then on to Greece, but he returned to England during the summer of 1639 because of what he claimed in Defensio Secunda were "sad tidings of civil war in England." Matters became more complicated when Milton received word that his childhood friend Diodati had died. Milton in fact stayed another seven months on the continent and spent time at Geneva with Diodati's uncle after he returned to Rome. In Defensio Secunda, Milton proclaimed that he was warned against a return to Rome because of his frankness about religion, but he stayed in the city for two months and was able to experience Carnival and meet Lukas Holste, a Vatican librarian who guided Milton through its collection. He was introduced to Cardinal Francesco Barberini who invited Milton to an opera hosted by the Cardinal. Around March, Milton travelled once again to Florence, staying there for two months, attending further meetings of the academies, and spending time with friends. After leaving Florence, he travelled through Lucca, Bologna, and Ferrara before coming to Venice. In Venice, Milton was exposed to a model of Republicanism, later important in his political writings, but he soon found another model when he travelled to Geneva. From Switzerland, Milton travelled to Paris and then to Calais before finally arriving back in En

In 1638, accompanied by a manservant, Milton undertook a tour of the Continent for about 15 months, most of which he spent in Italy, primarily Rome and Florence. The Florentine academies especially appealed to Milton, and he befriended young members of the Italian literati, whose similar humanistic interests he found gratifying. Invigorated by their admiration for him, he corresponded with his Italian friends after his return to England, though he never saw them again. While in Florence, Milton also met with Galileo, who was under virtual house arrest. The circumstances of this extraordinary meeting, whereby a young Englishman about 30 years old gained access to the aged and blind astronomer, are unknown. (Galileo would become the only contemporary whom Milton mentioned by name in Paradise Lost.) While in Italy, Milton learned of the death in 1638 of Charles Diodati, his closest boyhood companion from St. Paul’s School, possibly a victim of the plague; he also learned of impending civil war in England, news that caused him to return home sooner than anticipated. Back in England, Milton took up residence in London, not far from Bread Street, where he had been born. In his household were John and Edward Phillips—sons of his sister, Anne—whom he tutored. Upon his return he composed an elegy in Latin, “Epitaphium Damonis” (“Damon’s Epitaph”), which commemorated Diodati.

gland in either July or August 1639.

Civil war, prose tracts, and marriage

On returning to England where the Bishops' Wars presaged further armed conflict, Milton began to write prose tracts against episcopacy, in the service of the Puritan and Parliamentary cause. Milton's first foray into polemics was Of Reformation touching Church Discipline in England (1641), followed by Of Prelatical Episcopacy, the two defences of Smectymnuus (a group of Presbyterian divines named from their initials; the "TY" belonged to Milton's old tutor Thomas Young), and The Reason of Church-Government Urged against Prelaty. He vigorously attacked the High-church party of the Church of England and their leader William Laud, Archbishop of Canterbury, with frequent passages of real eloquence lighting up the rough controversial style of the period, and deploying a wide knowledge of church history.

He was supported by his father's investments, but Milton became a private schoolmaster at this time, educating his nephews and other children of the well-to-do. This experience and discussions with educational reformer Samuel Hartlib led him to write his short tract Of Education in 1644, urging a reform of the national universities.

In June 1642, Milton paid a visit to the manor house at Forest Hill, Oxfordshire, and, aged 34, married the 17-year-old Mary Powell. The marriage got off to a poor start as Mary did not adapt to Milton's austere lifestyle or get along with his nephews. Milton found her intellectually unsatisfying and disliked the royalist views she had absorbed from her family. It is also speculated that she refused to consummate the marriage. Mary soon returned home to her parents and did not come back until 1645, partly because of the outbreak of the Civil War.

In the meantime, her desertion prompted Milton to publish a series of pamphlets over the next three years arguing for the legality and morality of divorce beyond grounds of adultery. (Anna Beer, author of a 2008 biography of Milton, points to a lack of evidence and the dangers of cynicism in urging that it was not necessarily the case that the private life so animated the public polemicising.) In 1643, Milton had a brush with the authorities over these writings, in parallel with Hezekiah Woodward, who had more trouble. It was the hostile response accorded the divorce tracts that spurred Milton to write Areopagitica; A speech of Mr. John Milton for the Liberty of Unlicenc'd Printing, to the Parlament of England, his celebrated attack on pre-printing censorship. In Areopagitica, Milton aligns himself with the parliamentary cause, and he also begins to synthesize the ideal of neo-Roman liberty with that of Christian liberty. Milton also courted another woman during this time; we know nothing of her except that her name was Davis and she turned him down. However, it was enough to induce Mary Powell into returning to him which she did unexpectedly by begging him to take her back. They had two daughters in quick succession following their reconciliation.

Secretary for Foreign Tongues

With the Parliamentary victory in the Civil War, Milton used his pen in defence of the republican principles represented by the Commonwealth. The Tenure of Kings and Magistrates (1649) defended the right of the people to hold their rulers to account, and implicitly sanctioned the regicide; Milton's political reputation got him appointed Secretary for Foreign Tongues by the Council of State in March 1649. His main job description was to compose the English Republic's foreign correspondence in Latin and other languages, but he also was called upon to produce propaganda for the regime and to serve as a censor.

In October 1649, he published Eikonoklastes, an explicit defence of the regicide, in response to the Eikon Basilike, a phenomenal best-seller popularly attributed to Charles I that portrayed the King as an innocent Christian martyr. A month later the exiled Charles II and his party published the defence of monarchy Defensio Regia pro Carolo Primo, written by leading humanist Claudius Salmasius. By January of the following year, Milton was ordered to write a defence of the English people by the Council of State. Milton worked more slowly than usual, given the European audience and the English Republic's desire to establish diplomatic and cultural legitimacy, as he drew on the learning marshalled by his years of study to compose a riposte.

On 24 February 1652, Milton published his Latin defence of the English people Defensio pro Populo Anglicano, also known as the First Defence. Milton's pure Latin prose and evident learning exemplified in the First Defence quickly made him a European reputation, and the work ran to numerous editions. He addressed his Sonnet 16 to 'The Lord Generall Cromwell in May 1652' beginning "Cromwell, our chief of men ...", although it was not published until 1654.

In 1654, Milton completed the second defence of the English nation Defensio secunda in response to an anonymous Royalist tract "Regii Sanguinis Clamor ad Coelum Adversus Parricidas Anglicanos" [The Cry of the Royal Blood to Heaven Against the English Parricides], a work that made many personal attacks on Milton. The second defence praised Oliver Cromwell, now Lord Protector, while exhorting him to remain true to the principles of the Revolution. Alexander Morus, to whom Milton wrongly attributed the Clamor (in fact by Peter du Moulin), published an attack on Milton, in response to which Milton published the autobiographical Defensio pro se in 1655. Milton held the appointment of Secretary for Foreign Tongues to the Commonwealth Council of State until 1660, although after he had become totally blind, most of the work was done by his deputies, Georg Rudolph Wecklein, then Philip Meadows, and from 1657 by the poet Andrew Marvell.

By 1652, Milton had become totally blind; the cause of his blindness is debated but bilateral retinal detachment or glaucoma are most likely. His blindness forced him to dictate his verse and prose to amanuenses who copied them out for him; one of these was Andrew Marvell. One of his best-known sonnets, When I Consider How My Light is Spent, titled by a later editor, John Newton, "On His Blindness", is presumed to date from this period.

The Restoration

Cromwell's death in 1658 caused the English Republic to collapse into feuding military and political factions. Milton, however, stubbornly clung to the beliefs that had originally inspired him to write for the Commonwealth. In 1659, he published A Treatise of Civil Power, attacking the concept of a state-dominated church (the position known as Erastianism), as well as Considerations touching the likeliest means to remove hirelings, denouncing corrupt practises in church governance. As the Republic disintegrated, Milton wrote several proposals to retain a non-monarchical government against the wishes of parliament, soldiers, and the people.

A Letter to a Friend, Concerning the Ruptures of the Commonwealth, written in October 1659, was a response to General Lambert's recent dissolution of the Rump Parliament.

Proposals of certain expedients for the preventing of a civil war now feared, written in November 1659.

The Ready and Easy Way to Establishing a Free Commonwealth, in two editions, responded to General Monck's march towards London to restore the Long Parliament (which led to the restoration of the monarchy). The work is an impassioned, bitter, and futile jeremiad damning the English people for backsliding from the cause of liberty and advocating the establishment of an authoritarian rule by an oligarchy set up by an unelected parliament.

Upon the Restoration in May 1660, Milton, fearing for his life, went into hiding, while a warrant was issued for his arrest and his writings were burnt. He re-emerged after a general pardon was issued, but was nevertheless arrested and briefly imprisoned before influential friends intervened, such as Marvell, now an MP. Milton married for a third and final time on 24 February 1663, marrying Elizabeth (Betty) Minshull, aged 24, a native of Wistaston, Cheshire. He spent the remaining decade of his life living quietly in London, only retiring to a cottage during the Great Plague of London—Milton's Cottage in Chalfont St. Giles, his only extant home.

During this period, Milton published several minor prose works, such as the grammar textbook Art of Logic and a History of Britain. His only explicitly political tracts were the 1672 Of True Religion, arguing for toleration (except for Catholics), and a translation of a Polish tract advocating an elective monarchy. Both these works were referred to in the Exclusion debate, the attempt to exclude the heir presumptive from the throne of England—James, Duke of York—because he was Roman Catholic. That debate preoccupied politics in the 1670s and 1680s and precipitated the formation of the Whig party and the Glorious Revolution.

Family

Milton and his first wife Mary Powell (1625–1652) had four children:

Anne (born 29 July 1646) , Mary (born 25 October 1648) , John (16 March 1651 – June 1652) , Deborah (2 May 1652 – 10 August 1727

Mary Powell died on 5 May 1652 from complications following Deborah's birth. Milton's daughters survived to adulthood, but he always had a strained relationship with them. On 12 November 1656, Milton was married to Katherine Woodcock at St Margaret's, Westminster. She died on 3 February 1658, less than four months after giving birth to her daughter Katherine, who also died.Milton married for a third time on 24 February 1663 to Elizabeth Mynshull or Minshull (1638–1728), the niece of Thomas Mynshull, a wealthy apothecary and philanthropist in Manchester. The marriage took place at St Mary Aldermary in the City of London. Despite a 31-year age gap, the marriage seemed happy, according to John Aubrey, and lasted more than 12 years until Milton's death. (A plaque on the wall of Mynshull's House in Manchester describes Elizabeth as Milton's "3rd and Best wife".) Samuel Johnson, however, claims that Mynshull was "a domestic companion and attendant" and Milton's nephew Edward Phillips relates that Mynshull "oppressed his children in his lifetime, and cheated them at his death".

His nephews, Edward and John Phillips (sons of Milton's sister Anne), were educated by Milton and became writers themselves. John acted as a secretary, and Edward was Milton's first biographer.

85-) English Literature

85- ) English Literature 

Neoclassicism

IV. The Enlightenment (Neoclassical) Period (1660-1790 CE)

"Neoclassical" refers to the increased influence of Classical literature upon these centuries. The term neo means new while classical refers to the Roman and Greek classics, hence the name is aptly coined as neoclassical. Neoclassical literature emulated the Greek and Roman styles of writing.

The Neoclassical Period is also called the "Enlightenment" due to the increased reverence for logic and disdain for superstition. The period is marked by the rise of Deism, intellectual backlash against earlier Puritanism, and America's revolution against England.

The neoclassical era was closely preceded by the renaissance period. Before the renaissance period, life and literature was mainly dictated by the Church. However, during renaissance, science and innovation was given the main emphasis. Thus, in the neoclassical era, a vast difference between the two ideologies can be witnessed. Therefore, you will find confusion and contrary depictions in neoclassical literature.

The neoclassical era is nestled between the renaissance and romantic periods of literature. Though this period lasted only for around 150 years, its influence can be seen in the literature of today. The neoclassical period of literature is also known as the Enlightenment Period.

Neoclassical authors saw the world under a new light. Unlike the previous two eras, the writers of this era gave more importance to social needs as compared to individual needs. They believed that man can find meaning in society, religion, natural order, government, and literature. In no time, the winds of a new revolution swept through Europe and North America, and changed everything from art and literature to society and fashion, on its way. Though the neoclassical era later transitioned into the romantic era, it left behind a prominent footprint which can be seen in the literary works of today.

The term neo means new while classical refers to the Roman and Greek classics, hence the name is aptly coined as neoclassical. Neoclassical literature emulated the Greek and Roman styles of writing.

The neoclassical era was closely preceded by the renaissance period. Before the renaissance period, life and literature was mainly dictated by the Church. However, during renaissance, science and innovation was given the main emphasis. Thus, in the neoclassical era, a vast difference between the two ideologies can be witnessed. Therefore, you will find confusion and contrary depictions in neoclassical literature. A new class of poets and writers rose out of the flickering ashes of neoclassical literature, and a new genre called Romanticism manifested itself with prominent writers like William Wordsworth, Coleridge, John Keats, Lord Byron, Shelley, and William Blake.

Neoclassicism (also spelled Neo-classicism) was a Western cultural movement in the decorative and visual arts, literature, theatre, music, and architecture that drew inspiration from the art and culture of classical antiquity. Neoclassicism was born in Rome largely thanks to the writings of Johann Joachim Winckelmann, at the time of the rediscovery of Pompeii and Herculaneum, but its popularity spread across Europe as a generation of European art students finished their Grand Tour and returned from Italy to their home countries with newly rediscovered Greco-Roman ideals. The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, latterly competing with Romanticism. In architecture, the style continued throughout the 19th, 20th and up to the 21st century.

European Neoclassicism in the visual arts began c. 1760 in opposition to the then-dominant Rococo style. Rococo architecture emphasizes grace, ornamentation and asymmetry; Neoclassical architecture is based on the principles of simplicity and symmetry, which were seen as virtues of the arts of Rome and Ancient Greece, and were more immediately drawn from 16th-century Renaissance Classicism. Each "neo"-classicism selects some models among the range of possible classics that are available to it, and ignores others. The Neoclassical writers and talkers, patrons and collectors, artists and sculptors of 1765–1830 paid homage to an idea of the generation of Phidias, but the sculpture examples they actually embraced were more likely to be Roman copies of Hellenistic sculptures. They ignored both Archaic Greek art and the works of Late Antiquity. The "Rococo" art of ancient Palmyra came as a revelation, through engravings in Wood's The Ruins of Palmyra. Even Greece was all-but-unvisited, a rough backwater of the Ottoman Empire, dangerous to explore, so Neoclassicists' appreciation of Greek architecture was mediated through drawings and engravings, which subtly smoothed and regularized, "corrected" and "restored" the monuments of Greece, not always consciously.

The Empire style, a second phase of Neoclassicism in architecture and the decorative arts, had its cultural centre in Paris in the Napoleonic era. Especially in architecture, but also in other fields, Neoclassicism remained a force long after the early 19th century, with periodic waves of revivalism into the 20th and even the 21st centuries, especially in the United States and Russia.

History

Neoclassicism is a revival of the many styles and spirit of classic antiquity inspired directly from the classical period, which coincided and reflected the developments in philosophy and other areas of the Age of Enlightenment, and was initially a reaction against the excesses of the preceding Rococo style.[8] While the movement is often described as the opposed counterpart of Romanticism, this is a great over-simplification that tends not to be sustainable when specific artists or works are considered. The case of the supposed main champion of late Neoclassicism, Ingres, demonstrates this especially well. The revival can be traced to the establishment of formal archaeology.

The writings of Johann Joachim Winckelmann were important in shaping this movement in both architecture and the visual arts. His books Thoughts on the Imitation of Greek Works in Painting and Sculpture (1750) and Geschichte der Kunst des Alterthums ("History of Ancient Art", 1764) were the first to distinguish sharply between Ancient Greek and Roman art, and define periods within Greek art, tracing a trajectory from growth to maturity and then imitation or decadence that continues to have influence to the present day. Winckelmann believed that art should aim at "noble simplicity and calm grandeur", and praised the idealism of Greek art, in which he said we find "not only nature at its most beautiful but also something beyond nature, namely certain ideal forms of its beauty, which, as an ancient interpreter of Plato teaches us, come from images created by the mind alone". The theory was very far from new in Western art, but his emphasis on close copying of Greek models was: "The only way for us to become great or if this be possible, inimitable, is to imitate the ancients".

The Industrial Revolution saw global transition of human economy towards more efficient and stable manufacturing processes. There was tremendous material advancement and increased prosperity. With the advent of the Grand Tour, a fad of collecting antiquities began that laid the foundations of many great collections spreading a Neoclassical revival throughout Europe. "Neoclassicism" in each art implies a particular canon of a "classical" model.

In English, the term "Neoclassicism" is used primarily of the visual arts; the similar movement in English literature, which began considerably earlier, is called Augustan literature. This, which had been dominant for several decades, was beginning to decline by the time Neoclassicism in the visual arts became fashionable. Though terms differ, the situation in French literature was similar. In music, the period saw the rise of classical music, and "Neoclassicism" is used of 20th-century developments. However, the operas of Christoph Willibald Gluck represented a specifically Neoclassical approach, spelt out in his preface to the published score of Alceste (1769), which aimed to reform opera by removing ornamentation, increasing the role of the chorus in line with Greek tragedy, and using simpler unadorned melodic lines.

The term "Neoclassical" was not invented until the mid-19th century, and at the time the style was described by such terms as "the true style", "reformed" and "revival"; what was regarded as being revived varying considerably. Ancient models were certainly very much involved, but the style could also be regarded as a revival of the Renaissance, and especially in France as a return to the more austere and noble Baroque of the age of Louis XIV, for which a considerable nostalgia had developed as France's dominant military and political position started a serious decline. Ingres's coronation portrait of Napoleon even borrowed from Late Antique consular diptychs and their Carolingian revival, to the disapproval of critics.

Neoclassicism was strongest in architecture, sculpture and the decorative arts, where classical models in the same medium were relatively numerous and accessible; examples from ancient painting that demonstrated the qualities that Winckelmann's writing found in sculpture were and are lacking. Winckelmann was involved in the dissemination of knowledge of the first large Roman paintings to be discovered, at Pompeii and Herculaneum and, like most contemporaries except for Gavin Hamilton, was unimpressed by them, citing Pliny the Younger's comments on the decline of painting in his period.

As for painting, Greek painting was utterly lost: Neoclassicist painters imaginatively revived it, partly through bas-relief friezes, mosaics and pottery painting, and partly through the examples of painting and decoration of the High Renaissance of Raphael's generation, frescos in Nero's Domus Aurea, Pompeii and Herculaneum, and through renewed admiration of Nicolas Poussin. Much "Neoclassical" painting is more classicizing in subject matter than in anything else. A fierce, but often very badly informed, dispute raged for decades over the relative merits of Greek and Roman art, with Winckelmann and his fellow Hellenists generally being on the winning side.

Characteristics

Neoclassical literature was defined by common sense, order, accuracy, and structure. In the literature of the renaissance period, man was portrayed to be good; however, this genre of writers showed man to be flawed and relatively more human. Their characters also practiced conservatism, self-control, and restraint. Neoclassical authors saw the world under a new light. Unlike the previous two eras, the writers of this era gave more importance to social needs as compared to individual needs. They believed that man can find meaning in society, religion, natural order, government, and literature. In no time, the winds of a new revolution swept through Europe and North America, and changed everything from art and literature to society and fashion, on its way. Though the neoclassical era later transitioned into the romantic era, it left behind a prominent footprint which can be seen in the literary works of today.

A large number of literary works came out during this period, which included parody, fables, melodrama, rhyming with couplets, satire, letters, diaries, novels, and essays. More emphasis was given to grammar and etymology (study of words).

Stages

For the sake of convenience, experts have divided this era into three sections: Restoration period, Augustan era, and Age of Johnson.

The Restoration Period (1660-1700)

After the beheading of King Charles I, the monarchy was ‘restored’, and so this period got the name ‘restoration’.This period marks the British king's restoration to the throne after a long period of Puritan domination in England. Its symptoms include the dominance of French and Classical influences on poetry and drama. Sample writers include John Dryden, John Locke, Sir William Temple, and Samuel Pepys, and Aphra Behn in England. Abroad, representative authors include Jean Racine and Molière.

A new era had dawned with epic works such as Paradise Lost and Areopagitica by Milton and Sodom by Wilmot, 2nd Earl of Rochester. It also saw a new age of both sexual comedy and wisdom, with works such as The Country Wife and The Pilgrim’s Progress respectively. While writers like Richard Blackmore wrote King Arthur, it also saw critics like Jeremy Collier, John Dryden, and John Dennis who gave a new direction to understand literature and theater.

Poetry too was revamped and saw the beginning of rhyme schemes. The iambic pentameter was one of the popular forms of poetry, preferred by the poets and the listeners. Odes and pastorals became the new means for exchanging ideas.

The poems were mostly realistic and satirical, in which, John Dryden reigned supreme. He further divided poetry into three heads, that of fables, political satire, and doctrinal poems. You will not find any spiritual bias, moral highness, or philosophy in these poems, which became the signature style of the Restoration Era.

Augustan Age (1700-1745)

II. The Augustan Age

The Augustan Age took its name from the Roman Emperor Augustus, whose monarchy brought stability in the social and political environment. It is during his reign, that epic writers such as Ovid, Horace, Virgil, etc., flourished.

This period is marked by the imitation of Virgil and Horace's literature in English letters. The principal English writers include Addison, Steele, Swift, and Alexander Pope. Abroad, Voltaire was the dominant French writer.

 Edward Gibbon's Decline and Fall of the Roman EmpireIII. The Age of Johnson . Writers such as Pope, Dryden, Daniel Defoe, Swift, and Addison were the major contributors to this era. Dryden’s attempts at satiric verse were highly admired by many generations. This era was also called the Age of Pope due to his noteworthy contributions.

This period marks the transition toward the upcoming Romanticism though the period is still largely Neoclassical. Major writers include Dr. Samuel Johnson, Boswell, and Edward Gibbon who represent the Neoclassical tendencies, while writers like Robert Burns, Thomas Gray, Cowper, and Crabbe show movement away from the Neoclassical ideal. In America, this period is called the Colonial Period. It includes colonial and revolutionary writers like Ben Franklin, Thomas Jefferson, and Thomas Paine.

Age of Johnson (1745-1785)

This era made its way into the literary world by stepping out of the shadows of its previous age. Shakespearean literature found appreciation during this era. It brought forth the Gothic school of literature. Qualities like balance, reason, and intellect were the main focus of this era. Hence, this age is also called the Age of Sensibility.

Important works such as Burke’s, A Philosophical Inquiry into the Origins of Our Ideas on the Sublime and Beautiful, Johnson’s, The Rambler, and Goldsmith’s, The Vicar of Wakefield are still read.

Samuel Johnson (1709-1784) gave a massive literary contribution, which till date is a great boon to one an all. And that is the Dictionary of the English Language, which was first published in the year 1755. Though many similar books were used prior to this book, the dictionary in particular was the one that was most popularly used and admired, right until the printing of the Oxford English Dictionary in 1928.

Some Neoclassical Writers and their Works

John Milton (1608 – 1674), Paradise Lost

John Dryden (1631 – 1700), To My Lord Chancellor and Marriage a la Mode

Alexander Pope (1688 – 1744), Translation of the Iliad, Pastorals and An Essay on Criticism

Jonathan Swift (1667 – 1745), Gulliver’s Travels

Daniel Defoe (1660 – 1731), Robinson Crusoe

Samuel Johnson (1709 – 1784), A Dictionary of the English Language

REPRESENTATIVE WRITERS OF THE NEO-CLASSICAL AGE [1700-1798]

ALEXANDER POPE and SAMUEL JOHNSON are regarded as the representative

writers of the Neo-Classical Age

ALEXANDER POPE [1688-1744]

Representative writer of the Age

English poet, critic and satirist

Was born in Lombard Street, London in 1688

Catholic parents: Alexander Pope Senior and Turner Pope

During the period, Public education was banned to Catholics and therefore Pope was educated at

home, learnt Greek and Latin under a tutelage of a priest. Later, at Catholic school.

Pope undertook a rigorous self- education.

He suffered a physical deformity-he was only 4 feet 6 inches tall with curvature of the spine.

He composed his ‘Pastorals’ and was published in the 6th part of Tonson’s Poetical

Miscellanies.

His didactic poem, ‘An Essay on Criticism’ was published in May 1711. This poem established

his literary reputation.

His famous mock-heroic epic ‘The Rape of the Lock’ [Belinda’s Toilet is a part of this poem] was first published in 1712. It was based on a family quarrel between the Petres and Fermors.

In 1713, Pope along with Jonathan Swift, John Gay, John Arbuthnot and Thomas Parnell founded a literary club called the Scriblerus Club to satirize All the false tastes in learning .

Pope’s famous works:

An Essay on Criticism [A didactic poem]

The Rape of the Lock

1. An Essay on Criticism [Poem]

This is a didactic poem in heroic couplets.

It was published in 1711.

It contains a thumbnail history of criticism from Aristotle to William

It is said, he wrote this as a response to an ongoing critical debate, which centered on the question of whether poetry should be natural or written according to predetermined artificial rules inherited from the classical past.

This poem contains three sections that deals with:

1. The need of studying the principles of tastes and improving out judgments by studying

the ancients and holding them in high esteem.

2. Causes that hinder correct judgement.

3. Functions of a critic.

Pope states that an ideal critic needs to possess taste, judgement and learning.

2. The Rape of the Lock

This is a mock heroic epic.

This was published with two cantos in 1712 and later expanded into five cantos in 1714.

It was dedicated to John Caryll.

It was based on Lord Petre’s cutting of a lock of hair of Arabella Fermor.

In the poem, Belinda is Arabella Fermor and Baron is for Lord Robert Petre.

Pope intended not to mock [make fun of or criticize] the form itself but to mock his society in its failure to rise to epic standards.It exposed the pettiness of the society by casting trivial [silly, insignificant] events and issues

against the grandeur of the traditional epic subjects and also the lead characters against the bravery of epic heroes. This poem is a reflection of artificial and hollow life of 18th century society.

Pope’s other works

Pastorals : were among his first published poems. It offered an idealized view of country life modeled on Vergil’s pastorals.

Messiah : Poem which deals with Virgil’s Fourth Eclogue, which was said to predict the birth of Christ.

Windsor Forest : This is Pope’s first political poem.

It celebrated the rule of Queen Anne and the Peace Treaty of Utrecht.

Windsor Forest was a famous royal hunting ground. Here it functions as a metaphor for political life of the nation.This poem was dedicated to George Granville, the Secretary of war in Queen Anne’s government.

Peri Bathous : An essay which is a parody on Longinus’ “ On the Sublime”.

It ridicules the contemporary poets.

The Dunciad : Poem that celebrates the Goddess Dullness and the progress of her agents across Britain.

An Essay on Man : Philosophical essay written in heroic couplets that is concerned with vindicating ways of god to man. Pope’s arguments in the Essay derive in part from Bolingbroke’fragmentary philosophical writings. It comprises four epistles addressed to Lord Bolingbroke.

These are : 1) Of the Nature and State of Man, with Respect to the Universe 2) Of the Nature and State of Man, with Respect to Happiness.

Epistle to a Lady: Verse letter written in heroic couplets, which is addressed to Martha Blount. It is a Horation Epistle in form. Pope is critical of women, who live a public aristocratic life, while he celebrates Martha, a woman who shines in the private life.

An Epistle to Burlington : Addressed to the architect Richard Boyle, 3rd Earl of Burlington. It concerns Itself with true and false taste in architecture and landscape gardening in 18th century England. It attacks Timon villa as a model of bad taste.

Epistle to Lord Bathurst : Addressed to Allen, Lord Bathurst. Examines the use of riches.

Epistle to Dr Arbuthnot : Poetic epistle addressed to the writer and physician John Arbuthnot. Defines nature of right action as opposed to wrong. Also contains satirical portraits of Joseph Addison under the name Atticus and Lord Hervey under the character Sporus

DR SAMUEL JOHNSON [1709 -1784]

English poet, biographer, critic and lexicographer Representative writer of the Age along with Alexander Pope .

Was born in the country town of Lichfield in Staffordshire in 1709

Parents: Sarah and Michael Johnson

Was plagued by physical difficulties- blind in one eye and near sighted in the other, deaf in one ear and scarred on face and neck from the disease scrofula [a tubercular infection of the lymph glands]

Died in1784 and was buried in Westminster Abbey

 WORKS OF SAMUEL JOHNSON

 Essays, Pamphlets, Periodicals, Sermons

 Birmingham Journal (1732-33)

 The Rambler (1750-52)

 The Adventure(1753-54)

 The Idler (1758-1760)

 The False Alarm (1770)

 Thoughts on the Late Transactions Respecting Falkland’ Islands (1771)

 The Patriot (1774)

 A Journey to the Western Islands of Scotland (1775)

Poetry

 Messiah, a translation into Latin of Alexander Pope’ Messiah (1728)

 London (1738)

 Prologue at the Opening of the Theatre in Drury Lane (1747)

 The Vanity of Human Wishes (1749)

 Irene, a Tragedy (1749)

Biographies, Criticism

 Life of Mr. Richard Savage (1744)

 Miscellaneous Observations on the Tragedy of Macbeth (1745)

 Preface to the Plays of William Shakespeare (1765)

 The Plays of William Shakespeare (1765)

 Lives of the Poets (1779-81)

Dictionary

• A Dictionary of the English Language (1755)

Novellas

The History of Rasselas, Prince of Abissinia (1759)

Famous Works of Johnson:

1. London [Poem]

2. Preface to the Plays of William Shakespeare [Literary Criticism ]

3. Lives of the Poets [Short biographies and critical appraisals of 52 poets]

4. A Dictionary of the English Language [Dictionary]

London

• Written in heroic couplets, Johnson’s poem ‘London’ was published in (1738)

• The full title of the poem is London: A Poem in Imitation of the Third Satire of Juvenal.

• A literary imitation of Juvenal’s Satire 3, the poem is neither a translation nor a paraphrase of the original work

• Johnson transforms Juvenal’s cultural satire into a political one with its focus on the corruption in the court of King George 2

• It is a satire which addresses the condition of 18th century England, marked by various changes on the personal and public front.

• Johnson utilizes the figure of Thales to develop his socio-political critique of the metropolitan space, represented by London. The poem begins with Thales leaving London for the countryside

Preface to the Plays of William Shakespeare

• Published in 1765, Johnson’s Preface to the Plays of William Shakespeare is considered as a classic document of English literary criticism.

• According to Johnson, a great work of art is that which subsists through a long time and remains a classic despite variations of taste and change of manners. Shakespeare’s works are such works, which have passed down from generation to generation.

• Johnson describes Shakespeare as the ‘poet of nature’ one who ‘Holds up to his readers a faithful mirror of manners and of life’.

• Shakespeare’s drama is peopled with characters that are not exaggerated, but men who speak and act as readers do . Johnson then goes on to describe the intermingling of comedy and tragedy in Shakespeare’s plays. His plays are neither tragedies nor comedies, but compositions of a different kind; exhibiting the real state of nature, which consists of both good and evil, joy and sorrow.

• After listing Shakespeare’s positive points and merits as a playwright, Johnson critically examines his faults.

• Shakespeare’s faults as a playwright are

(1) He sacrifices virtue to convenience and writes without any moral purpose

(2) His plots are loosely constructed (3) He pays no attention to unities of time or place

(4) He is imperfect in comic scenes, which becomes usually gross [exuberantly].

(5) His diction [choice and use of words] is pompous [ªÉʨsÀªÀ, §qÁ¬ÄAiÀÄ ] and his catastrophe [zÀÄgÀAvÀ] is imperfectly produced.

(6) His fondness for quibbles [zÀéAzÁévÀðzÀ, PÉÆAPÀÄ£ÀÄr].

Arthur Sherbo calls Johnson’s preface as ‘His greatest single critical pronouncement and ‘ a landmark in Shakespearean criticism.

Lives of the Poets

Consists of Short biographies and critical appraisals of 52 poets.The poets described mostly belong to the 17th and 18^th centuries. Poets’ biographies are divided into three distinct parts: 1]A narrative of the poet’s life

2] A presentation of his character 3] A critical assessment of his main poems

A Dictionary of the English Language

One of the greatest achievements of scholarship.

It was first published in 1755.

It took around nine years to complete it.

It contained 40000 words.

It included a history of the language, a grammar and an extensive list of words representing basic general vocabulary.

The poets in the neoclassical age in English literature .

Key poets associated with the school of neoclassical poetry included John Milton, John Dryden, Alexander Pope, and Oliver Goldsmith. Major works included epics and satires, such as Pope's The Rape of the Lock or Milton's Paradise Lost.

The major writers of Neoclassicism

This lesson listed some of the most famous Neoclassical writers, who included John Dryden, Alexander Pope, Jonathan Swift, Daniel Defoe, and Samuel Johnson.

84- ) English Literature

84-) English Literature 

The Augustan Age

The eighteenth century in English literature has been called the Augustan Age, the Neoclassical Age, and the Age of Reason. The term 'the Augustan Age' comes from the self-conscious imitation of the original Augustan writers, Virgil and Horace, by many of the writers of the period. Specifically, the Augustan Age was the period after the Restoration era to the death of Alexander Pope (~1690 - 1744). The major writers of the age were Pope and John Dryden in poetry, and Jonathan Swift and Joseph Addison in prose. Dryden forms the link between Restoration and Augustan literature; although he wrote ribald comedies in the Restoration vein, his verse satires were highly admired by the generation of poets who followed him, and his writings on literature were very much in a neoclassical spirit. But more than any other it is the name of Alexander Pope which is associated with the epoch known as the Augustan Age, despite the fact that other writers such as Jonathan Swift and Daniel Defoe had a more lasting influence. This is partly a result of the politics of naming inherent in literary history: many of the early forms of prose narrative common at this time did not fit into a literary era which defined itself as neoclassic. The literature of this period which conformed to Pope's aesthetic principles (and could thus qualify as being 'Augustan') is distinguished by its striving for harmony and precision, its urbanity, and its imitation of classical models such as Homer, Cicero, Virgil, and Horace, for example in the work of the minor poet Matthew Prior. In verse, the tight heroic couplet was common, and in prose essay and satire were the predominant forms. Any facile definition of this period would be misleading, however; as important as it was, the neoclassicist impulse was only one strain in the literature of the first half of the eighteenth century. But its representatives were the defining voices in literary circles, and as a result it is often some aspect of 'neoclassicism' which is used to describe the era.

'Neoclassicism'

The works of Dryden, Pope, Swift, Addison and John Gay, as well as many of their contemporaries, exhibit qualities of order, clarity, and stylistic decorum that were formulated in the major critical documents of the age: Dryden's An Essay of Dramatic Poesy (1668), and Pope's Essay on Criticism (1711). These works, forming the basis for modern English literary criticism, insist that 'nature' is the true model and standard of writing. This 'nature' of the Augustans, however, was not the wild, spiritual nature the romantic poets would later idealize, but nature as derived from classical theory: a rational and comprehensible moral order in the universe, demonstrating God's providential design. The literary circle around Pope considered Homer preeminent among ancient poets in his descriptions of nature, and concluded in a circuitous feat of logic that the writer who 'imitates' Homer is also describing nature. From this follows the rules inductively based on the classics that Pope articulated in his Essay on Criticism:

Those rules of old discovered, not devised,

Are nature still, but nature methodized.

Particularly influential in the literary scene of the early eighteenth century were the two periodical publications by Joseph Addison and Richard Steele, The Tatler (1709-11), and The Spectator (1711-12). Both writers are ranked among the minor masters of English prose style and credited with raising the general cultural level of the English middle classes. A typical representative of the post-Restoration mood, Steele was a zealous crusader for morality, and his stated purpose in The Tatler was "to enliven Morality with Wit, and to temper Wit with Morality." With The Spectator, Addison added a further purpose: to introduce the middle-class public to recent developments in philosophy and literature and thus to educate their tastes. The essays are discussions of current events, literature, and gossip often written in a highly ironic and refined style. Addison and Steele helped to popularize the philosophy of John Locke and promote the literary reputation of John Milton, among others. Although these publications each only ran two years, the influence that Addison and Steele had on their contemporaries was enormous, and their essays often amounted to a popularization of the ideas circulating among the intellectuals of the age. With these wide-spread and influential publications, the literary circle revolving around Addison, Steele, Swift and Pope was practically able to dictate the accepted taste in literature during the Augustan Age. In one of his essays for The Spectator, for example, Addison criticized the metaphysical poets for their ambiguity and lack of clear ideas, a critical stance which remained influential until the twentieth century.

The literary criticism of these writers often sought its justification in classical precedents. In the same vein, many of the important genres of this period were adaptations of classical forms: mock epic, translation, and imitation. A large part of Pope's work belongs to this last category, which exemplifies the artificiality of neoclassicism more thoroughly than does any other literary form of the period. In his satires and verse epistles Pope takes on the role of an English Horace, adopting the Roman poet's informal candor and conversational tone, and applying the standards of the original Augustan Age to his own time, even addressing George II satirically as "Augustus." Pope also translated the Iliad and the Odyssey, and, after concluding this demanding task, he embarked on The Dunciad (1728), a biting literary satire.

The Dunciad is a mock epic, a form of satiric writing in which commonplace subjects are described in the elevated, heroic style of classical epic. By parody and deliberate misuse of heroic language and literary convention, the satirist emphasizes the triviality of the subject, which is implicitly being measured against the highest standards of human potential. Among the best-known mock epic poems of this period in addition to The Dunciad are John Dryden's MacFlecknoe (1682), and Pope's The Rape of the Lock (1714). In The Rape of the Lock, often considered one of the highest achievements of mock epic poetry, the heroic action of epic is maintained, but the scale is sharply reduced. The hero's preparation for combat is transposed to a fashionable boat ride up the Thames, and the ensuing battle is a card game. The hero steals the titular lock of hair while the heroine is pouring coffee.

Although the mock epic mode is most commonly found in poetry, its influence was also felt in drama, most notably in John Gay's most famous work, The Beggar's Opera (1728). The Beggar's Opera ludicrously mingles elements of ballad and Italian opera in a satire on Sir Robert Walpole, England's prime minister at the time. The vehicle is opera, but the characters are criminals and prostitutes. Gay's burlesque of opera was an unprecedented stage success and centuries later inspired the German dramatist Bertolt Brecht to write one of his best-known works, Die Dreigroschenoper (The Threepenny Opera, 1928).

One of the most well-known mock epic works in prose from this period is Jonathan Swift's The Battle of the Books (1704), in which the old battle between the ancient and the modern writers is fought out in a library between The Bee and The Spider. Although not a mock epic, the satiric impulse is also the driving force behind Jonathan Swift's Gulliver's Travels (1726), one of the masterpieces of the period. The four parts describe different journeys of Lemuel Gulliver; to Lilliput, where the pompous activities of the diminutive inhabitants is satirized; to Brobdingnag, a land of giants who laugh at Gulliver's tales of the greatness of England; to Laputa and Lagoda, inhabited by quack scientists and philosophers; and to the land of the Houhynhnms, where horses are civilized and men (Yahoos) behave like beasts. As a satirist Swift's technique was to create fictional speakers such as Gulliver, who utter sentiments that the intelligent reader should recognize as complacent, egotistical, stupid, or mad. Swift is recognized as a master of understated irony, and his name has become practically synonymous with the type of satire in which outrageous statements are offered in a straight-faced manner.

The Nature and Graveyard Poets

Neoclassicism was not the only literary movement at this time, however. Two schools in poetry rejected many of the precepts of decorum advocated by the neoclassical writers and anticipated several of the themes of Romanticism. The so-called nature poets, for example, treated nature not as an ordered pastoral backdrop, but rather as a grand and sometimes even forbidding entity. They tended to individualize the experience of nature and shun a methodized approach. Anne Finch, Countess of Winchilsea, was a rural poet in an urban era, and the poems of Miscellany Poems by a Lady (1713) were often observations of nature, largely free of neoclassical conventions. Her contemporaries regarded her as little more than a female wit, but she was highly praised by the Romantic poets, particularly William Wordsworth. A further influential poet of this school was James Thomas, whose poetical work The Seasons, which appeared in separate volumes from 1726 to 1730 and beginning with Winter, was the most popular verse of the century. In his treatment of nature, he diverged from the neoclassical writers in many important ways: through sweeping vistas and specific details in contrast to circumscribed, generalized landscapes; exuberance instead of balance; and a fascination with the supernatural and the mysterious, no name just a few.

This last was also the major concern of the poets of the Graveyard School. Foremost among them was Edward Young, whose early verses were in the Augustan tradition. In his most famous work, however, The Complaint: or, Night Thoughts on Life, Death, and Immortality (1742-45), the melancholy meditations against a backdrop of tombs and death indicate a major departure from the conventions and convictions of the preceding generation. While the neoclassicists regarded melancholia as a weakness, the pervasive mood of The Complaint is a sentimental and pensive contemplation of loss. It was nearly as successful as Thomas's The Seasons, and was translated into a number of major European languages.

The Rise of the Novel

The most important figure in terms of lasting literary influence during this period, however, was undoubtedly Daniel Defoe. An outsider from the literary establishment ruled by Pope and his cohorts, Defoe was in some ways an anomaly during a period defined as 'Augustan,' despite the fact that he was a writer of social criticism and satire before he turned to novels. He did not belong to the respected literary world, which at best ignored him and his works and at worst derided him. (In 1709, Swift for example referred to him as "the Fellow that was Pilloryed, I have forgot his name.")

The works of fiction for which Defoe is remembered, particularly Moll Flanders (1722) and Robinson Crusoe (1719), owe less to the satirical and refined impulse of the Augustan tradition, and more to a contrary tradition of early prose narrative by women, particularly Aphra Behn, Mary Delariviere Manley and Jane Barker. Since Ian Watt's influential study, The Rise of the Novel (1957), literary historians have generally considered Robinson Crusoe the first successful English novel and Defoe as one of the originators of realistic fiction in the eighteenth century, but he was deeply indebted to his female precursors and probably would never have attempted prose narrative if they had not created an audience for it in the first place.

The English novel was a product of several differing literary traditions, among them the French romance, the Spanish picaresque tale and novella, and such earlier prose models in English as John Lyly's Euphues (1579), Sir Philip Sidney's Arcadia (1590) and John Bunyan's Pilgrim's Progress (1684). The authors of these works collectively helped pave the way for the form of the novel as it is known today. The true pioneers of the novel form, however, were the women writers pursuing their craft in opposition to the classically refined precepts of the writers defining the Augustan Age. Particularly influential were Aphra Behn's travel narrative Oroonoko (1688) and her erotic epistolary novel Love Letters Between a Nobleman and his Sister (1683). In Oroonoko, Behn provides numerous details of day to day life and a conversational narrative voice, while with Love Letters she pioneered the epistolary form for a longer work of fiction, over fifty years before Richardson. The political prose satires of Mary Delariviere Manley were racy exposés of high-society scandals written in the tradition of Love Letters, Behn's erotic roman à clef. Manley's novels The Secret History of Queen Zarah and the Zaraians (1705) and The New Atalantis (1709) were widely popular in their day and helped create an audience for prose narratives that was large enough to support the new breed of the professional novelist.

Eliza Haywood also began her career writing erotic tales with an ostensibly political or high society background. Her first novel, Love in Excess (1719) went through four editions in as many years. In the thirties, her writing underwent a transformation suitable to the growing moral concerns of the era, and her later novels show the influence of her male contemporaries Richardson and Fielding (this despite the fact that she may have been the author of Anti-Pamela (1741), an early attack on Richardson's first novel). Haywood's The History of Miss Betsy Thoughtless (1751) in particular belongs in a more realistic tradition of writing, bringing the action from high society into the realm of the middle class, and abandoning the description of erotic encounters. Particularly interesting among the work of early women novelists is that of Jane Barker. Her novel Loves Intrigues: Or, The History of the Amours of Bosvil and Galesia (1713) tells in first-person narrative the psychologically realistic tale of a heroine who doesn't get her man. The portrayal of Galesia's emotional dilemma, caught in a web of modesty, social circumstances and the hero's uncertainty and indecisiveness, captures intriguing facets of psychological puzzles without providing easy answers for the readers. Galesia retreats from marriage, hardly knowing why she does so or how the situation came about, and the reader is no smarter.

Many of the elements of the modern novel attributed to Defoe -- e.g. the beginnings of psychological realism and a consistent narrative voice -- were anticipated by women writers. Defoe's contribution was in putting them all together and creating out of these elements sustained prose narratives blending physical and psychological realism. His most impressive works, such as Moll Flanders and Roxana (1724), treated characters faced with the difficulties of surviving in a world of recognizably modern economic forces. Given his capitalist philosophy, it is not surprising that Defoe's protagonists are self-reliant, resourceful individualists who express his middle-class values. In his attempt to balance individualism and economic realism with a belief in God's providence, Defoe created multi-faceted characters who combine repentance for past misdeeds with a celebration of the individual's power to survive in a hostile environment.

Although Defoe and his female contemporaries were looked down upon by the intellectual establishment represented by Pope and Swift, later developments in literary history have shown that it was they who would define the literature of a new age, and not the so-called Augustans. While the novel remains the dominant literary form of the twentieth century, mock epic is at best an element used occasionally in comedy. Robinson Crusoe and Moll Flanders are still widely read; The Rape of the Lock is mentioned in history books. Jonathan Swift produced an enduring classic as well with Gulliver's Travels, but despite his brilliance it is the merchant Daniel Defoe, a journalist who saw writing as "a considerable branch of the English commerce" (Essay upon Literature, 1726), who is considered the father of the English novel.