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Sentimentalism
Neo-Classicism
The main representatives: John DRYDEN, Samuel JOHSON and Alexander POPE.
The social basis of Neo-Classicism is the bourgeoisie (nagypolgrsg) that at this point is the
supporter of absolute monarchy, only later does it turn against it. (The independent middleclass and lower-middle class will represent the protestant novel.)
The name of classicism comes from the Latin word classis meaning class. This expresses
the highly normative nature of this art.
First, Classical art rests on the idea of the compromise: it rejects the high emotions of the
Baroque art and the irrationality and vulgarity of popular literature. Its aims are the
observation of rules and creating a calm, balanced, poised atmosphere in works of art that
suggest order and stability, as opposed to the ecstatic and chaotic art of the Baroque. This was
done first, with the copying of Antique (Roman, rather than Greek) models. The imitation of
Antiquity was just a pretext for the observation of rules, it was not an end in itself.
Secondly, one of the central ideas was the imitation of nature, done with reference to
reason and common sense. What resembled the order of nature, was thus natural,
agreeing to common sense, thus beautiful and worthy of being represented in art. The stylistic
elements in drama is not grandiosity and high passion but the rule of classical unity, that is,
one action should take place at one place within 24 hours.
The best visible example of both the observation of rules through the imitation of nature was
the introduction of the heroic couplet in the majority of poems. Thus, the poem was easy to
understand, which served the didactic, enlightened purpose of the poets well, and this form
reflected balance, proportion, rhythm, harmony, pattern which were thought to be the
essential features of reason, nature and natural attitudes. An example from Popes Essay on
Criticism.
uu u u u
A little learning is a dangrous thing;
u
u uu u
Drink deep, or taste not the Pierian spring:
u
u
u u u
There shallow draughts intoxicate the brain,
u
u
u u u
And drinking largely sobers us again.
The poets of Neo-Classicism saw in nature mainly orderliness, reason, pattern, divine
structure, proportion and logic as opposed to later, Romantic poets, for whom nature
(Nature) was essentially a mystic, transcendental, majestic experience. Let us see some
quotations to illustrate this:
ALL are but parts of one stupendous whole,
Whose body Nature is, and God the soul;
That, changed through all, and yet in all the same,
Great in the earth, as in th ethereal frame,
5
Warms in the sun, refreshes in the breeze,
Glows in the stars, and blossoms in the trees,
Lives through all life, extends through all extent,
Spreads undivided, operates unspent:
(Pope, Essay on Man)
First follow Nature, and your Judgment frame
By her just Standard, which is still the same:
Unerring Nature, still divinely bright, [70]
One clear, unchang'd and Universal Light,
Life, Force, and Beauty, must to all impart,
At once the Source, and End, and Test of Art.
(Pope, Essay on Criticism)
A perfect Judge will read each Work of Wit
With the same Spirit that its Author writ,
Survey the Whole, nor seek slight Faults to find,
Where Nature moves, and Rapture warms the Mind;
Nor lose, for that malignant dull Delight,
The gen'rous Pleasure to be charm'd with Wit.
But in such Lays as neither ebb, nor flow,
Correctly cold, and regularly low,
That shunning Faults, one quiet Tenour keep;
We cannot blame indeed--but we may sleep.
In Wit, as Nature, what affects our Hearts
Is nor th' Exactness of peculiar Parts;
'Tis not a Lip, or Eye, we Beauty call,
But the joint Force and full Result of all.
Thus when we view some well-proportion'd Dome,
The World's just Wonder, and ev'n thine O Rome!)
No single Parts unequally surprize;
All comes united to th' admiring Eyes;
No monstrous Height, or Breadth, or Length appear;
The Whole at once is Bold, and Regular.
(Pope, Essay on Criticism)
In literature, satire began to flourish as the main means of educating, ridiculing and
controlling society and those who deviated from the norms of reason. (See Swift, Dryden,
Pope).
As regards philosophy, two names deserve to be mentioned: Thomas HOBBES and John
LOCKE. Both represent the typically English philosophical current of Empiricism.
Hobbes
Locke
HOBBES maintained that all knowledge comes to us through the faculty of speech, it is
through speech that man can think and convey knowledge. He said, For true and false are
attributes of speech, not of things. And where speech is not, there is neither truth nor
falsehood. This idea refers to the fact that man receive experiences from the outside world
and puts them into words, creating systems of thought. So man is seen as the architect of the
rational world, developing his own reason, in his own image, based on his experiences. The
other idea of Hobbess refers to the function of monarchy. He was not so optimistic in this
sense. He maintained that humans are born to be bad, and only monarchy as a political system
can repress these negative aspects of humanity. He expanded this idea in his famous work
Leviathan. There, he describes the society as bellum omnia contra omnes (the fight of
everyone against everyone), and only absolute monarchy can control this instinct. He
imagines monarchy as a contract between the king and his people (as he may have seen it
realised in the Glorious Revolution).
LOCKE also wrote about the system of government in his Two Treaties on Government.
This piece is a sort of theoretical justification for the Glorious Revolution. According to
Locke, the societys aim is to maintain a balance between the constitution and the individual
rights of the human beings. This theoretical writing had a great effect on the French
revolution and the American war of independence. His other writing deals with the questions
of logic and knowledge, entitled Essay Concerning Human Understanding. This is the main
source of his theory of Empiricism.
Other important thinkers of the period: Anthony Ashley-Cooper, the 3rd Earl of Shaftesbury,
commonly known as SHAFTESBURY, David HUME, George BERKELEY [pronounced
ba:kli]
His poetry
First period 1709-1715
Pastorals (1709)
This poem well reflects the dominant Neo-classic taste of the time, when skilful imitation was
the basic principle. Some precedents of neoclassical poetry may be discovered even earlier,
for instance, Virgils eclogues translated by Dryden and Spensers The Shepherds Calendar
may also be qualified as classical in taste. Pope attempts to recreate the old pastoral state, still
close to contemporary attitudes. Pastorals follows a recognisable and common pattern,
following the change of seasons: spring is the time of the two shepherds contest; summer is
the season of the lovers complaint; autumn contains alternate speeches and various ideas,
while winter includes the elegy on a dead shepherdess. Pastorals contains a lot of descriptions
of landscape, suggesting harmony and order and colourfulness. Man is seen as in perfect
harmony with nature. In his Discourse on Pastoral Poetry, he stated that Simplicity,
brevity and delicacy were the proper qualities of a pastoral poem.
macflecknoe became a synonym in English for bad poetry (kb. fzfapota). Dunciad also
attacks intellectual inferiority and moral degeneration and claims that literature is basically
the embodiment of knowledge of mankind, an educator of mankind. It also points out that
poetry is the highest form of knowledge, the rules can be understood and imitated.
a result of these problems, he became melancholic, was uncouth in appearance and manner.
Went to Oxford, but could not finance his studies. Later he became a teacher, and in 1735,
married a widowed woman with three children, who was 20 years his senior, for money.
After this, he made a famous career, two
doctors degrees were conferred upon him,
one by Trinity College of Dublin and
another by Oxford University. Under
George IIIs reign he had no financial
trouble anymore. He always did what he
thought right, cared way little for public
manners. Johnson and Sir Joshua Reynolds
founded a literary circle, called The
Club, in 1764. Originally it had 12
members and collected the outstanding
intellectuals of the age. It continued to
exist till the early 20th century.
The most important source on Johnsons
life is one of his contemporaries, James
Boswell, who wrote The Life of Samuel
Johnson.
Works
As a poet, Johnson was perhaps not the greatest talent of his age. Two poems should be
highlighted by him:
London the imitation of 3rd satire of Juvenile. Describes the corruption, vice, the selfish
aspect of cosmopolitan life. A lot of parts are translations and adaptations. Target: poverty in
London
The Vanity of Human Wishes the imitation of the 10th satire of Juvenile. Johnson again
uses translations, and with classic illustrations expresses modern examples. The theme is
roughly the same
As a critic and editor, however, he was the most outstanding personage in 18h-century
English literature. He edited The Dictionary of the English Language (from 1746 to 1755)
The published dictionary was a huge book. Its pages were nearly 18 inches (46 cm) tall, and
the book was 20 inches (51 cm) wide when opened; it contained 42,773 entries, to which only
a few more were added in subsequent editions, and sold for the extravagant price of 4 10s,
perhaps the rough equivalent of 350 today. An important innovation in English lexicography
was to illustrate the meanings of his words by literary quotation, of which there are around
114,000. The authors most frequently cited include Shakespeare, Milton and Dryden.
Johnson also edited Shakespeares plays (published in 1765) and wrote Lives of the Most
Eminent English Poets (1779-81), in which he included 52, mostly 17-18th-centuty poets and
playwrights, among others, Dryden, Milton, Pope, Swift and Gray.
His major work is The Seasons (1726-30). [It is no coincidence that Antonio Vivaldi
composed his Le quattro stagioni, The Four Seasons just around this time, in 1723. ] The
Seasons is a reflective poem, discussing moral, religious and scientific matters and mirrors the
ideas of contemporary educated people. The description of nature mingles with meditations
on man. These descriptive details are listed as proofs of Gods goodness. It has four parts,
corresponding to the four seasons. The presentation of Nature diverges somewhat from Neoclassical ideals, using vast prospects, huge scenery, specific and accurate details, even
sensuous details. The presentation is full of dynamics, not static, offering a remote, wild
romantic scenery.
1
When Britain first, at Heaven's
command
Arose from out the azure main;
This was the charter of the land,
And guardian angels sang this
strain:
"Rule, Britannia! rule the waves:
"Britons never will be slaves."
2
The nations, not so blest as thee,
Must, in their turns, to tyrants fall;
While thou shalt flourish great and
free,
The dread and envy of them all.
His most famous poem is Elegy written in a Country Churchyard (1751). The
beginning of the poem:
Gray also wrote light verse, including Ode on a Death of a Favourite Cat, Drowned in a
Tub of Gold Fishes, a mock elegy. The cat in question is believed to have belonged to
Horace Walpole, the Gothic novelist, and that it indeed drowned in a china vase.
I.
'TWAS on a lofty vase's side,
Where China's gayest art had dy'd
The azure flowers that blow;
Demurest of the tabby kind,
The pensive Selima reclin'd,
Gaz'd on the lake below.
II.
Her conscious tail her joy declar'd;
The fair round face, the snowy beard,
The velvet of her paws,
Her coat, that with the tortoise vies,
Her ears of jet, and emerald eyes,
She saw, and purr'd applause.
III.
Still had she gaz'd; but midst the tide
Two beauteous forms were seen to glide,
The Genii of the stream;
Their scaly armour's Tyrian hue,
Through richest purple, to the view,
Betray'd a golden gleam.
IV.
The hapless Nymph with wonder saw:
A whisker first, and then a claw,
With many an ardent wish,
France, and he returned with a medical degree (it is still quite obscure where he gained that
degree). He was quite unsuccessful as a doctor.
He was not only a poet but a novelist as well. In his novel The Vicar of Wakefield (1766),
among others, he describes his travels. The Vicar is a sentimental novel, following the fashion
of the age, representing the innate goodness of human beings. Goldsmith also worked as a
dramatist, wrote several popular plays, including The Good-Naturd Man and She Stoops to
Conquer.
He settled in London in 1756, where he briefly held various jobs, including an apothecary's
assistant and an usher of a school. Perennially in debt and addicted to gambling, Goldsmith
produced a massive output as a hack writer for the publishers of London, but his few
painstaking works earned him the company of Samuel Johnson, with whom he was a
founding member of "The Club". The combination of his literary work and his dissolute
lifestyle led Horace Walpole to give him the epithet inspired idiot.
Goldsmith was described by contemporaries as prone to envy, a congenial but disorganised
personality who once planned to emigrate to America but failed because he missed his ship.
His premature death in 1774 may have been partly due to his own misdiagnosis of his kidney
infection.
His poetry
The Deserted Village (1770)
This is Goldsmiths best-known poem, a
pastoral piece written in heroic couplets. It
is basically a lamentation on rural England
as a lost paradise in the time of
industrialization (enclosure movement!).
The poem operates with the juxtaposition
of old values and valueless contemporary
life. The message is that men decay
morally the upholders of virtue are the
priest, the schoolmaster, the village-inn,
(as a stronghold of community).
10
()
A time there was, ere England's griefs began,
When every rood of ground maintained its man;
For him light labour spread her wholesome store,
Just gave what life required, but gave no more:
His best companions, innocence and health;
And his best riches, ignorance of wealth.
But times are altered; trade's unfeeling train
Usurp the land and dispossess the swain;
Along the lawn, where scattered hamlets rose,
Unwieldy wealth and cumbrous pomp repose;
And every want to opulence allied,
And every pang that folly pays to pride.
These gentle hours that plenty bade to bloom,
Those calm desires that asked but little room,
Those healthful sports that graced the peaceful scene,
Lived in each look and brightened all the green;
These far departing, seek a kinder shore,
And rural mirth and manners are no more.
60
70
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180
190
His work is already the precursor of Romanticism. He educated himself in old Scottish
literary forms, he himself collected folk songs, tried to write easily singable poems.
His collection of poems is entitled Poems, Chiefly in the Scottish Dialect (1786). The poems
can be divided into two groups:
1) Native tradition of Scottish vernacular in verse
o
o
o
o
o
o
Poems centring around democratic hostility against aristocracy: The Jolly Beggars
Glorification of simple and humble life: Scotch drink
Mans interdependence on nature To a Mountain Diary
Essential goodness of life: Epistle to a Young Man
Satires on Scottish religious life, mocking hypocrisy: The Holy Fair
Folk narratives and songs based on old folk narratives and ballads: Tom OShanter
JOHN ANDERSON, MY JO
by: Robert Burns (1759-1796)
I
OHN ANDERSON my jo, John,
When we were first acquent,
Your locks were like the raven,
Your bonie brow was brent;
But now your brow is beld, John,
Your locks are like the snaw,
but blessings on your frosty pow,
John Anderson, my jo!
II
John Anderson my jo, John,
We clamb the hill thegither,
And mony a canty day, John,
We've had wi' ane anither;
Now we maun totter down, John,
But hand in hand we'll go,
And sleep thegither at the foot,
John Anderson, my jo!