tag:blogger.com,1999:blog-55109355576997380482024-02-21T05:13:56.401+01:00Literatura Inglesa 2JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.comBlogger155125tag:blogger.com,1999:blog-5510935557699738048.post-83890308342656826312022-10-30T00:03:00.001+02:002022-10-30T00:03:59.482+02:00Un blog sobre literatura inglesa (1600-1800)<p>Este blog fue utilizado como material auxiliar para una asignatura del grado de Estudios Ingleses en la Universidad de Zaragoza, asignatura que cubría el período 1600-1800 de la literatura inglesa ("excluding Shakespeare", que se trataba en una asignatura anterior). Estuvo activo durante unos años entre 2018 y 2022, año en el que me jubilé. A partir del curso 2022-23 se usan otros materiales, y este blog ya no tiene ninguna relación con la asignatura en cuestión, que sigue existiendo y tampoco tiene ya ninguna relación con este blog. Lo dejo en la red, sin embargo, por si resulta de utilidad a alguien interesado en el estudio de este período de la literatura inglesa. </p><p>Para usarlo, conviene remitirse a las etiquetas de la derecha, en especial a las primeras de la columna, las numeradas de 0 a 4. Estas entradas remiten a una introducción (0) y seguidamente a cuatro temas, correspondientes aproximadamente a la primera y segunda mitad de siglo XVII, y seguidamente del XVIII.</p><p>Estas entradas tienen estructura de blog: es decir, lo más antiguo está al final. Se aconseja, por tanto, ir al final de la entrada, y progresar de abajo arriba, pasando de una sección separada por una línea horizontal a la inmediatamente superior. De allí parten enlaces al resto de los contenidos del blog.</p><p>A los que también se puede acceder, naturalmente, usando el resto de las etiquetas, que remiten a los diversos autores, géneros y temas tratados.<br /></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-87324774337188435022022-10-30T00:02:00.000+02:002022-10-30T00:02:35.524+02:000. Bienvenida y programa<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big></big></small></small></small></big></big><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>Bienvenidas/os a esta asignatura.
<a href="http://jaglit.blogspot.com/">En esta web</a></small></small></span></big></big></big></big></big></small></small></small></big></big><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small> iremos poniendo alguna
información de interés para su desarrollo.<br />
</small></small></span></big></big></big></big><big><big><big><big><span style="color: black;"><small><small>Y
materiales adicionales y complementarios, unos para clase y otros para
quienes deseen ampliar materia más allá de lo estrictamente
necesario—en esos casos indicaré nivel "avanzado". </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>Por ejemplo (para nivel
AVANZADO): aquí hay un curso de la Universidad de Yale, una serie de
lecciones sobre <a href="http://www.youtube.com/watch?v=e3uBi2TZdUY&list=PL18B9F132DFD967A3">Early
Modern English History</a>. Varios de los vídeos tratan sobre el
período que nos
concierne. (Llevan subtítulos por cierto. Este tipo de vídeos son buen
sitio para practicar inglés continuadamente).</small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big>Aquí hay uno de ellos:
Education and Literacy in Early Modern England:<span style="font-weight: bold;"><br />
<br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/EVOsJ8g4ACE" width="560"></iframe><br />
</span></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><br />
__________________________________</big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><span style="font-weight: bold;">
</span><br />
<br />
<br />
<br />
<br />
</big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small>
<big><big><small><small><small><big><big><big><big><big><span color="rgb(102 , 0 , 0)" style="font-weight: bold;"><small><a href="https://www.blogger.com/null" name="Programa"></a><small>Programa de la asignatura</small> <br />
Literatura Inglesa II</small></span> </big></big></big><br />
(Grado
en Estudios
Ingleses, 2º curso - 27820)<br />
<br />
<br />
La asignatura está concebida como un estadio intermedio en el estudio
de la literatura inglesa. Dicho estudio comienza con la asignatura de
primer curso Literatura Inglesa I y continúa con las asignaturas de la
materia “Literatura inglesa” impartidas en cursos posteriores. El
diseño de la asignatura se basa en el estudio de los principales
autores, movimientos, motivos y temas de la producción literaria de los
siglos XVII y XVIII, así como del análisis de un corpus representativo
de obras literarias del periodo.<br />
<br />
<big style="color: #660000;">
Temario de la asignatura:</big><br />
<br />
<span style="font-style: italic;">Seventeenth-century Literature:</span><br />
<br />
1. The literature of the early seventeenth century and the
Commonwealth. Metaphysical and Cavalier poetry. Francis Bacon. John
Milton and his
works. Thomas Hobbes.<br />
Readings: Selection of poems by John Donne, George Herbert,
</big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>Ben
Jonson, </big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>
Edmund Waller, Richard Lovelace, </big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>Robert
Herrick,</big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big> <span style="font-style: italic;"></span></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>Andrew
Marvell.</big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><span style="font-style: italic;"></span><br />
</big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>
</big></big></small></small></small></big></big></small><small><big><big><small><small><small><big><big>Excerpts
from Francis Bacon's <span style="font-style: italic;">Novum
Organum</span> and </big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>John
Milton's <span style="font-style: italic;">Paradise
Lost.</span></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>
<br />
2. The Restoration period. Restoration comedy. The flourishing of
satiric literature. The devotional prose of John Bunyan. John Locke.<br />
Readings: </big></big></small></small></small></big></big></small><small><big><big><small><small><small><big><big>From
Bunyan's <span style="font-style: italic;">The Pilgrim's Progress. </span></big></big></small></small></small></big></big></small><small><big><big><small><small><small><big><big>Selections
from Dryden and Rochester's
satiric poetry. Aphra Behn,<span style="font-style: italic;"><span style="font-style: italic;"><span style="font-style: italic;">
Oroonoko.</span></span></span><br />
<br />
<span style="font-style: italic;">
Eighteenth-century literature:</span><br />
<br />
3. The literature of the Augustan period. The development of satire. </big><big>Prose
writers. </big><big>
Journals and magazines. The rise of the novel. <br />
Readings: </big></big></small></small></small></big></big></small><small><big><big><small><small><small><big><big>Excerpts
from Daniel Defoe's
<span style="font-style: italic;">Robinson Crusoe</span> and <span style="font-style: italic;">Roxana. </span></big></big></small></small></small></big></big></small><small><big><big><small><small><small><big><big>
Excerpts from
Jonathan Swift's <span style="font-style: italic;">Gulliver's Travels.</span>
</big></big></small></small></small></big></big></small><small><big><big><small><small><small><big><big>Selection
from Alexander Pope's poetry.</big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big>
<br />
4. Advancing further into the eighteenth century. </big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>The
development of the novel.</big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>
The Graveyard School
and other pre-romantic poets (Oliver Goldsmith, Thomas Gray, William
Cowper). Prose writers: Samuel
Johnson, Mary Wollstonecraft, and others.<br />
Readings:
Excerpts from Samuel Richardson's <span style="font-style: italic;">Pamela,</span>
Henry Fielding's <span style="font-style: italic;">Tom Jones,</span>
and Laurence Sterne's <span style="font-style: italic;">Tristram
Shandy.</span> </big><big>Selections from the poets and prose writers.</big><br />
<big>
<br />
<br />
<br />
<big><span color="rgb(102 , 0 , 0)">
Trabajo de clase</span></big><br />
<br />
Como las demás asignaturas de la materia de Literatura Inglesa en el
Grado de Estudios Ingleses, consta ésta de una parte teórica y una
parte práctica. De acuerdo con esto, habrá actividades en clase que se
ocupen más específicamente de presentar contenidos de carácter
conceptual y teórico, y otras de carácter más práctico, dedicadas al
análisis de las obras literarias incluidas en el programa, haciendo uso
de los conocimientos y herramientas necesarios para el comentario de
textos. Las clases versarán sobre el contexto histórico y cultural de
la literatura, los géneros y convenciones usados, y el perfil
intelectual y literario de los autores, así como la temática y forma de
las principales obras estudiadas, desde el punto de vista del
comentario de textos.<br />
<br />
<br />
<big style="color: #660000;">
Trabajos en grupo y tutorías</big><br />
<br />
Los trabajos en grupo proporcionan la posibilidad de desarrollar el
aprendizaje entre iguales, discutir sobre un tema, intercambiar ideas,
repartir tareas y producir un resultado que contribuya a la
calificación de los participantes. Para elaborarlos, los estudiantes
podrán acudir a las tutorías grupales con el profesor, en horario de
tutorías, destinadas principalmente a la supervisión de los trabajos en
grupo. El profesor también estará disponible para tutorías
individuales. </big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>Horario de tutorías:</big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>lunes, martes, miércoles, 17-19h. - despacho 307 D,<br />Facultad de Filosofía y Letras 3ª planta </big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>(Segundo cuatrimestre con cita previa). <br /></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big> </big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>Consultas:
garciala@unizar.es <br />
</big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br /><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>o por teléfono 976 761530
<br />
<br />
<br />
<big style="color: #660000;">Evaluación</big><br />
<br />
Hay dos opciones: o bien sólo examen final o bien examen final más
trabajos en grupo opcionales (examen 60%, trabajos 40%). En el examen,
la nota se basa en una serie de preguntas sobre el temario (60%) y un
comentario de texto (40%).<br />
<br />
- Trabajo 1: trabajo grupal sobre un poema/fragmento a elegir de
entre
las lecturas obligatorias de los temas 1 y 2 (literatura s. XVII). La
fecha límite de entrega del trabajo será el día del examen final.
Aunque es recomendable entregar al menos este trabajo antes de fin de
año.<br />
<br />
- Trabajo 2: trabajo grupal sobre una obra de entre
las lecturas obligatorias de los temas 3 y 4 (literatura s. XVIII). La
fecha límite de entrega del trabajo será el día del examen final.<br />
<br />
- El examen se realizará en las fechas señaladas por la Facultad para
las convocatorias de enero/febrero y septiembre. La modalidad de
evaluación por trabajos se aplicará únicamente a la primera
convocatoria. Es recomendable que
los trabajos se entreguen durante el curso; la fecha límite de entrega
será el día del examen final. Para más criterios
de evaluación, ver <a href="https://sia.unizar.es/doa/consultaPublica/look[conpub]MostrarPubGuiaDocAs?entradaPublica=true&idiomaPais=es.ES&_anoAcademico=2020&_codAsignatura=27820" target="_blank">la guía académica</a> —y más específicamente sobre la puntuación del examen, <a href="http://personal.unizar.es/garciala/materiales/criterios.html">aquí</a>. Insuficiencias en el
trabajo de diverso tipo,
como la inasistencia continuada a clase, un nivel deficiente de inglés,
desorganización en el trabajo, descompensación de nivel entre los
trabajos y el examen, etc., podrán impedir alcanzar las calificaciones
máximas.<br />
<br />
Algunos datos más sobre el examen:<br />
<br />
La parte de teoría constará de un tema, a elegir entre dos propuestos,
y preguntas breves tipo test. De los dos temas propuestos, uno será uno
de los principales autores tratados en el temario (los que figuran por
su nombre en ese apartado, arriba, "Temario de la asignatura").
Otro tema será de carácter más general, referido a un género literario
o una época (por ej. "La poesía en la Restauración"; "La novela en la
segunda mitad del XVIII", etc.). Cada estudiante puede poner más énfasis
en
preparar un tipo de pregunta u otra, según prefiera. <br />
<br />
En la parte de práctica se aprecia tanto la capacidad de contextualizar
el texto, en la producción del autor o en la ideología de la época,
como la capacidad de analizarlo en su estructura, convenciones
literarias y estilo. <br />
<br />
Si se entrega únicamente la parte de teoría, ésa será la nota del examen, a sumar a la nota de los trabajos. Si se entrega también la parte práctica, además de los trabajos, la nota del examen valdrá un 40%, y los trabajos un 60%.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<big><span color="rgb(102 , 0 , 0)">Bibliografía recomendada</span></big><br />
<br />
Muchas de las lecturas obligatorias (ver abajo) están incluidas en <span style="font-style: italic;">The Norton
Anthology of English Literature,</span>
<br />
<a href="http://www.wwnorton.com/college/english/nael/">http://www.wwnorton.com/college/english/nael/</a><br />
<br />
Greenblatt, Stephen, et al., eds. <span style="font-style: italic;">The
Norton Anthology of English Literature: The Major Authors</span>. 9th
ed. Ed. Stephen Greenblatt et al. New York: Norton, 2013.<br />
<br />
La antología incluye también
introducciones a periodos históricos y autores. Es recomendable
adquirirla (el volumen primero para esta asignatura, o la 8ª edición en
un volumen) y leer cuantas lecturas adicionales se pueda de las allí
incluidas relativas al período entre 1600 y 1800.</big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
</p><div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<small><small><small><big><big><a href="https://www.blogger.com/blogger.g?blogID=5510935557699738048" style="margin-left: 1em; margin-right: 1em;"></a></big></big></small></small></small></div><p>
<small><small><small><big><big><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPXzuCinfkQK6vWg7vJ_4zDerYxM6oboar0d3g8iqwnD8_uM169-uYuWOG8nYQAgB8L5qtH3Xk5t6wZ2jXQiKQC2-aTqQTkyXqtjdHpOIA0aCNVrKYf1F1KBgw8ExjmxLZ9v9zFUglrYA/s1600/book-lover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="398" data-original-width="300" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPXzuCinfkQK6vWg7vJ_4zDerYxM6oboar0d3g8iqwnD8_uM169-uYuWOG8nYQAgB8L5qtH3Xk5t6wZ2jXQiKQC2-aTqQTkyXqtjdHpOIA0aCNVrKYf1F1KBgw8ExjmxLZ9v9zFUglrYA/s320/book-lover.jpg" width="241" /></a><br />
<br />
<br />
<br />
<span style="font-size: medium; font-style: italic;">Historias breves (en un volumen) de
la literatura inglesa:</span><span style="font-size: medium;"><br />
<br />
Alexander, Michael. <span style="font-style: italic;">A History of
English Literature.</span> Basingstoke y Nueva York: Palgrave, 2000. <span style="font-style: italic;">Es el que recomiendo como manual de curso
para esta asignatura.</span><br />
<br />
Barnard, Robert. <span style="font-style: italic;">A Short History of
English Literature.</span> Oxford: Blackwell, 1994.<br />
Blamires, Harry. <span style="font-style: italic;">A Short History of
English Literature.</span> Londres: Routledge, 1994.<br />
Carter, Ronald, y John McRae. <span style="font-style: italic;">Penguin
Guide to English Literature.</span> Harmondsworth: Penguin, 1995.<br />
Coote, Stephen. <span style="font-style: italic;">The Penguin Short
History of English Literature.</span> Harmondsworth: Penguin, 1993.<br />
Peck, John, y Martin Coyle. <span style="font-style: italic;">A Brief
History of English Literature.</span> Basingstoke y Nueva York:
Palgrave, 2002.<br />
Poplawski, Paul, ed. <span style="font-style: italic;">English
Literature in Context.</span> Cambridge: Cambridge UP, 2008.<br />
Sanders, Andrew. <span style="font-style: italic;">The Short Oxford
History of English Literature.</span> 2nd ed. Oxford: Oxford UP, 2000.<br />
<br />
<br />
<span style="font-style: italic;">Historias más extensas:</span><br />
<br />
Ford, Boris, ed. <span style="font-style: italic;">The New Pelican
Guide to English Literature.</span> Harmondsworth: Penguin, 1990.<br />
Daiches, David. <span style="font-style: italic;">A Critical History
of English Literature.</span> Londres: Mandarin, 1994.<br />
<br />
<br />
<span style="font-style: italic;">Sobre los siglos XVII-XVIII<br />
<br />
</span>Ford, Boris, ed. <span style="font-style: italic;">From Blake
to Byron. Vol. 5 of The New Pelican
Guide to English Literature.</span> Harmondsworth: Penguin, 1982. 1990.<br />
DeMaria, ed. <span style="font-style: italic;">British Literature
1640-1789: An Anthology.</span> (Blackwell
Anthologies). Oxford: Blackwell, 2001. <br />
Novak, Maximilian E. <span style="font-style: italic;">Eighteenth-Century
English Literature. </span>(The Macmillan History of Literature).
Basingstoke: Macmillan, 1983.<span style="font-style: italic;"><br />
</span>Parry, Graham. <span style="font-style: italic;">The
Seventeenth Century: The Intellectual and Cultural Context of English
Literature, 1603-1700.</span> London: Longman, 1989.<span style="font-style: italic;"><br />
</span>
<br />
<br />
<span style="font-style: italic;">Otros libros útiles para prácticas o
para la preparación de la asignatura:</span><br />
<br />
Cuddon, J. A. <span style="font-style: italic;">The Penguin Dictionary
of Literary Terms and Literary Theory.</span> Harmondsworth: Penguin,
1991.<br />
Birch, Dinah, and Katy Hooper, eds. <span style="font-style: italic;">The
Concise Oxford Companion to English Literature.</span> Oxford:
Oxford UP, 2012.<br />
Drabble, Margaret, ed. <span style="font-style: italic;">The Oxford
Companion to English Literature.</span> 6th ed. Oxford: Oxford UP, 2000.<br />
Gill, Richard. <span style="font-style: italic;">Mastering English
Literature.</span> 2nd ed. Basingstoke y Nueva York: Palgrave, 1995.<br />
Peck, John, y Martin Coyle. <span style="font-style: italic;">Practical
Criticism.</span> Londres: Macmillan, 1995.<br />
Rainsford, Dominic. <span style="font-style: italic;">Studying
Literature in English: An Introduction.</span> London: Routledge, 2014.<br />
Wolfreys, Julian. <span style="font-style: italic;">The English
Literature Companion.</span> Basingstoke y Nueva York: Palgrave, 2011.<br />
<br />
Pope, Rob. S<span style="font-style: italic;">tudying English
Literature and Language: An Introduction and Companion.</span> Abingdon
and New York: Routledge, 2012. (En edicions anteriores, <span style="font-style: italic;">The English Studies Book,</span> 1998,
2002). Aquí hay una vista previa:<br />
<a href="https://books.google.es/books?id=RPBjFDVu--sC&lpg=PR1">https://books.google.es/books?id=RPBjFDVu--sC&lpg=PR1</a>
<br />
<br />
<br />
<br />
<span style="font-style: italic;">Recursos complementarios en Internet:</span><br />
<br />
<span style="font-style: italic;">A Bibliography of Literary Theory,
Criticism and Philology</span> (Incluye información bibliográfica
suplementaria sobre todos los autores, géneros y períodos aquí
tratados).<br />
<a href="http://bit.ly/abiblio">http://bit.ly/abiblio</a><br />
<br />
<span style="font-style: italic;">The Early Modern Center </span>(U of
California at Santa Barbara)<br />
<a href="http://emc.english.ucsb.edu/">http://emc.english.ucsb.edu</a><br />
<br />
<span style="font-style: italic;">18th-century Resources - Literature.</span>
Ed. Jack Lynch (Rutgers U<span><span>) </span></span><a href="http://jacklynch.net/18th/lit.html">http://jacklynch.net/18th/lit.html</a><br /><br />
The Early Modern Colloquium (U of Michigan)<br />
<a href="http://www.umich.edu/%7Eearlymod/links.htm">http://www.umich.edu/~earlymod/links.htm</a><br />
<br />
<i>Eighteenth-century Poetry Archive <a href="https://www.eighteenthcenturypoetry.org/">https://www.eighteenthcenturypoetry.org/</a></i></span></big></big></small></small></small></p><p><small><small><small><big><big><span style="font-size: medium;"><span style="font-style: italic;">Luminarium.</span><br />
<a href="http://www.luminarium.org/">http://www.luminarium.org</a><br />
<br />
<span style="font-style: italic;">Project Gutenberg</span><br />
<a href="http://www.gutenberg.org/">http://www.gutenberg.org/</a><br />
<br />
<span style="font-style: italic;">Google Books</span><br />
<a href="http://books.google.es/">http://books.google.es/</a><br />
<br />
<span style="font-style: italic;">Amazon</span> (En muchos libros se
incluye un previsualizado)<br />
<a href="http://www.amazon.co.uk/">http://www.amazon.co.uk</a><br />
<br />
<span style="font-style: italic;">The Norton Anthology of English
Literature<br />
<span style="font-style: italic;"> </span></span><a href="http://www.wwnorton.com/college/english/nael/">
http://www.wwnorton.com/college/english/nael/ </a><span style="font-style: italic;"><br />
</span><br />
Voice of the Shuttle: Renaissance and 17th century / Restoration and
18th century<br />
<a href="http://vos.ucsb.edu/browse.asp?id=2749">http://vos.ucsb.edu/browse.asp?id=2749</a><br />
<a href="http://vos.ucsb.edu/browse.asp?id=2738">http://vos.ucsb.edu/browse.asp?id=2738</a>
<br />
<br />
También es recomendable acudir los recursos de información general más
usados, como Google, la Wikipedia, etc. Empezando por este artículo:<br />
<br />
"English Literature." <span style="font-style: italic;">Wikipedia: The
Free Encyclopedia.</span><br />
<a href="http://en.wikipedia.org/wiki/English_literature">http://en.wikipedia.org/wiki/English_literature</a><br />
<br />
<br />
Bibliografía más específica sobre autores, géneros, etc., puede
encontrarse en la bibliografía general: <a href="http://bit.ly/abiblio">http://bit.ly/abiblio</a></span></big></big></small></small></small><br />
<br />
<small><small><small><big><big><br />
<br />
</big></big></small></small></small><br />
<small><small><small><big><big></big></big></small></small></small><br />
</p><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK-fBesfbT2Sicy1n2OPO_pZaRLzQs3pn-tNxt-IVZGVpwPzIbEYg9SmE4W3FZNYkWTAjugHTDXN44kXsqlxCn4q7Qnz2-MMrwFPBZiJ8rwbR4J-rFn4p-lTerxFBdPznQ6V_OdNqijBI/s1600/bookend_large.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="400" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK-fBesfbT2Sicy1n2OPO_pZaRLzQs3pn-tNxt-IVZGVpwPzIbEYg9SmE4W3FZNYkWTAjugHTDXN44kXsqlxCn4q7Qnz2-MMrwFPBZiJ8rwbR4J-rFn4p-lTerxFBdPznQ6V_OdNqijBI/s320/bookend_large.gif" width="320" /></a></div>
<br />
<small><small><small><big><big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>
<br />
<br />
</big>
</big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big>
</big></big></small></small></small><br />
<div style="text-align: center;">
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></div>
<small><small><small><big><big>
<br />
<big style="font-weight: bold;"><big><span color="rgb(102 , 0 , 0)">Lecturas:</span></big></big><br />
<br />
Pueden comprarse fotocopias de estas lecturas en Reprografía, a la entrada del Interfacultades. Es recomendable ir adelantando su
lectura, empezando simultáneamente por la poesía y por las selecciones
de narración, más largas, de los temas 3 y 4. <br />
<br />
<br />
Unit 1:<br />
Daniel, "Are they shadows that we see?"; <br />
Donne: "The Good-Morrow"; "Song: Go and Catch a Falling Star"; "The Sun
Rising"; "A Valediction: Forbidding Mourning"; "A Lecture upon the
Shadow"; "Holy Sonnet 1: Thou hast made me…"; "Holy Sonnet 10: Death be
not proud"; "Holy Sonnet 9: If poisonous minerals…"; "Holy Sonnet 14:
Batter my heart…"; Holy Sonnet 19: "O, to vex me.."<br />
Herbert: "The Altar"; "Love (3)"; "Prayer (1)"<br />
Jonson: "Karolin's Song"; "My Picture, Left in Scotland"; "An Ode to
Himself"; Prologue to <span style="font-style: italic;">Every Man In
His Humour;</span> "To the Memory of (...) William Shakespeare"</big></big></small></small></small><br />
<small><small><small><big><big>Lovelace: "To Althea, from Prison"; "To Lucasta, Going to the Warres"<br />
Waller: "Go, Lovely Rose!"<br />
Denham, from "Cooper's Hill"<br />
</big></big></small></small></small><span style="font-size: x-small;">Herrick: "The Bad Season Makes the Poet Sad"; "To the Virgins, to Make
Much of Time"; "Good Friday: <span style="font-style: italic;">Rex
Tragicus"</span></span><br />
<span style="font-size: x-small;">Cowley, "Against Hope"; from <span style="font-style: italic;">Davideis</span></span><br />
<span style="font-size: x-small;"><small><small><small><big><big><span style="font-size: x-small;">Vaughan, </span><span style="font-style: italic;"><span style="font-size: x-small;">"Childhood"; "The Retreat"<br />
</span></span><span style="font-size: x-small;">Traherne,</span><span style="font-style: italic;"><span style="font-size: x-small;"> "Wonder"</span></span></big></big></small></small></small></span><br />
<span style="font-size: x-small;">Marvell: "The Definition of Love"; "To His Coy Mistress"; "The Mower
Against Gardens"; "On a Drop of Dew"</span><small><small><small><big><big><span style="font-size: x-small;"><br />
Milton: "Sonnet XIX, On his Blindness"; "Sonnet XXIII, Methought I saw
my late espousèd saint"; Selections from <span style="font-style: italic;">Paradise Lost</span> (from Books I, III,
IV, IX, XII)</span><br />
<br />
Unit 2: <br />
</big><big>Rochester: "A Satyr on Charles II"; from "A Satyre against
Reason and
Mankind"; from Seneca's <span style="font-style: italic;">Troades</span>.</big><big><br />
Dryden: From <span style="font-style: italic;">Annus Mirabilis</span>;
From <span style="font-style: italic;">Absalom and Achitophel</span>;
"To the Memory of Mr. Oldham"<br />
Bunyan: From <span style="font-style: italic;">The Pilgrim's Progress</span>
<br />
Bacon, from <span style="font-style: italic;">Novum Organum</span> and
<span style="font-style: italic;">The New Atlantis</span><br />
Locke, from <span style="font-style: italic;">An Essay Concerning
Human Understanding</span><br />
Behn: <span style="font-style: italic;">Oroonoko, or The Royal Slave</span>
<br />
<br />
Unit 3:<br />
Addison, from <span style="font-style: italic;">The Spectator</span><br />
</big><big>Defoe: From <span style="font-style: italic;">Robinson
Crusoe</span>;
from <span style="font-style: italic;">Roxana</span>.</big><big>
<br />
</big><big>
Swift: From <span style="font-style: italic;">Gulliver's Travels</span>.</big><br />
<big>Pope: From <span style="font-style: italic;">The Rape of the Loc</span>k;
from <span style="font-style: italic;">An Essay on Man</span> <br />
<br />
Unit 4:<br />
Richardson: from <span style="font-style: italic;">Pamela</span>, <br />
Fielding: from <span style="font-style: italic;">Tom Jones</span><br />
Sterne: from <span style="font-style: italic;">Tristram Shandy</span><br />
</big><big>Gray: "Elegy Written in a Country Churchyard"<br />
</big><big>Goldsmith: from "The Deserted Village"; "Asem"<br />
Johnson, from <span style="font-style: italic;">Lives of the English
Poets</span> and "The Preface to Shakespeare".<br />
Cowper: from <span style="font-style: italic;">The Task</span><br />
Wollstonecraft, from <span style="font-style: italic;">A Vindication
of the Rights of Woman</span><br />
Blake, "The Clod and the Pebble"; "London"; "Auguries of Innocence"<br />
<br />
<br />
<br />
PRINCIPALES AUTORES:<br />
<br />
Unit 1: John Donne, George Herbert, Ben Jonson, Edmund
Waller, Richard Lovelace, Robert Herrick, Francis Bacon, John Milton,
Andrew Marvell. <br />
Unit 2: John Bunyan, the Earl of Rochester, John
Dryden, Aphra Behn, John Locke.<br />
Unit 3: Daniel Defoe, Jonathan Swift, Alexander Pope.<br />
Unit 4: Samuel Richardson, Henry Fielding, Laurence
Sterne, Samuel Johnson, Oliver Goldsmith, Thomas Gray, William Cowper,
Mary Wollstonecraft.<br />
<br />
(Los autores aquí nombrados son
los que podrán ser objeto de un tema de redacción en el examen final. A elegir con éste también se propondrá otro tema referido a un género o época en el que se puedan tratar diversos autores)<br />
<br />
</big></big></small></small></small><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><br />
</big></big></small></small></small></big></big>
</small></small></small></big></big></big></big></small></small></small></big></big></small></big></big>
<br />
<div style="text-align: center;">
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>—oOo—</big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></div>
<a href="https://sia.unizar.es/doa/consultaPublica/look[conpub]MostrarPubGuiaDocAs?entradaPublica=true&idiomaPais=es.ES&_anoAcademico=2019&_codAsignatura=27820"><br /></a>
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><a href="https://sia.unizar.es/doa/consultaPublica/look[conpub]MostrarPubGuiaDocAs?entradaPublica=true&idiomaPais=es.ES&_anoAcademico=2019&_codAsignatura=27820">Guía docente de Literatura Inglesa II (web)</a><br />
<br />
<a href="https://sia.unizar.es/documentos/doa/guiadocente/2019/27820_es.pdf">Guía docente de Literatura Inglesa II</a></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><br />
<br />
</big></big></small></small></small></big></big>
</small></small></small></big></big></big></big></small></small></small></big></big></small></big></big>
<br />
<div style="text-align: center;">
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>—oOo—</big></big></small></small></small></big></big><br />
</small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></div>
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>
<br />
</big><span style="font-weight: bold;"><br />
<br />
</span></big></small></small></small></big></big><span style="font-size: large;">Un poco de contexto
histórico y científico para el estudio de la
cultura: </span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: large;">- Un documental sobre <a href="https://youtu.be/G67KhQXJkhM">A HISTORY OF THE WORLD IN TWO HOURS</a>, </span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: large;">- Una conferencia de Francis Fukuyama
sobre <a href="https://youtu.be/9KsIMWW8xPU">los orígenes del orden
político</a>, </span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: large;">- Y una serie de lecciones sobre el
desarrollo cultural de la humanidad: <a href="https://www.youtube.com/playlist?list=PLBOXjuzxIKcrqTyqh2Wwh6B86sIN-42di">A
Brief History of Humankind</a>, a cuenta de Yuval Noah Harari. Hay muchas. Pero es interesante, por ejemplo, esta lección sobre "The Law of Religion":</span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/XGo_DWy1fzo" width="560"></iframe>
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-weight: bold;"></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big>
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-weight: bold;"></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-weight: bold;"></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-weight: bold;"><br />
</span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><br />
<big><big><small><small><small><big><span style="font-weight: bold;">
</span></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<div style="text-align: center;">
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small>—oOo—<br />
<big><big><small><small><small><big><span style="font-weight: bold;">
</span></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></div>
JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0Plaza Aragón, 50004 Zaragoza, España41.648288497068975 -0.8848504001770152241.646805497068975 -0.88737190017701517 41.649771497068976 -0.88232890017701526tag:blogger.com,1999:blog-5510935557699738048.post-25740108280268847672022-07-29T07:41:00.002+02:002022-07-29T07:41:35.809+02:00Exámenes de septiembre <p>
</p><p class="MsoNormal" style="margin-bottom: 0cm;"><span lang="ES" style="font-family: "Times New Roman"; mso-ansi-language: ES; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><span style="font-size: large;">El examen de septiembre de Literatura Inglesa II (grupos 1 y 2) será el miércoles 7 de septiembre, 8,30-11,30, en el aula 1.4 del Inter II (al lado del edificio de Matemáticas).</span><br /></span></p>
<p><style>@font-face
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mso-font-format:other;
mso-font-pitch:auto;
mso-font-signature:3 0 0 0 1 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-parent:"";
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font-family:"Times New Roman";
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mso-fareast-language:EN-US;}div.Section1
{page:Section1;}</style></p><p> </p><p><span style="font-size: large;"><span><span>Recordad que el examen consta
de dos partes, teórica y práctica. La práctica (comentario de texto)
sólo la tienen que hacer quienes no hayan entregado en febrero dos trabajos de curso. <br /></span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><span>La parte teórica, la que tiene
que hacer todo el mundo, consta de preguntas de tipo test (multiple
choice) y un tema, a elegir entre dos propuestos. Uno de los dos será
uno de los principales autores, los que aparecen nombrados en el
programa. </span></span></span></p><span style="font-size: large;">
</span><span style="font-size: large;"><span><span style="font-size: large;">En cuanto al test, un fallo no
descuenta nada, pero cada dos fallos descuentan un acierto. (No contestar ni cuenta ni descuenta). Centraos
para prepararlo en el conocimiento de los datos centrales sobre autores,
obras y géneros.</span></span></span><p> </p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-69569551288680923432022-07-29T07:41:00.001+02:002022-07-29T07:41:06.489+02:00Acerca de "El Paraiso Perdido" de John Milton | Joan Curbet<iframe width="480" height="270" src="https://youtube.com/embed/1hVVDEfXUPo" frameborder="0"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-31910950002529770512022-04-27T17:34:00.002+02:002022-04-27T17:34:30.647+02:00William Drummond - A Discourse on Toleration (NIVEL AVANZADO)<p> <br />
</p><div class="MsoNormal">
<span style="font-size: 14pt;">Este discurso es un fragmento perteneciente a<i> </i></span><span style="font-size: 14pt;">la<i> History of Scotland </i></span><span style="font-size: 14pt;">de
William Drummond of Hawthornden (publicada póstumamente en 1655). Lo
pone Drummond en boca de un miembro del Consejo del rey Jacobo V,
aconsejándole durante los primeros disturbios de la época de la Reforma
en 1540. Según Robert Macdonald, editor de <i>Poems and Prose</i></span><span style="font-size: 14pt;">
de Drummond (Scottish Academic Press, 1976), Drummond revisó este texto
varias veces durante la década de 1630, "and it was certainly intended
as a comment upon the troubles of his own time". Tras el discurso del
Consejero, la historia continúa: "But the King followed not this
opinione…" (Macdonald 199).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14pt;">El
texto de Macdonald sigue un ejemplar de los manuscritos Hawthornden
(N.L.S., MS 2057 ss., 202-8), con correcciones del propio autor, y
titulado así, "A Speech on Toleration". No lo he encontrado en la Red,
así que lo cuelgo y lo traduzco aquí.</span><br />
</div>
<div class="MsoNormal">
<span style="font-size: 14pt;">Este
texto es para mí uno de los hitos del pensamiento liberal y del
laicismo, en una época de persecuciones, inquisiciones, quemas de
herejes y guerras de religión, una época en la que se llevaba muy mal
la tolerancia: era un concepto por redescubrir, y por teorizar. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14pt;">Es
un texto, y una actitud, a redescubrir, pues hoy en día somos todos por
supuesto muy democráticos y tolerantes, pero algunos sólo con quienes
están de acuerdo con ellos contra un tercero (los terceros son
"fascistas", o "nazis", o "fundamentalistas", o "inmigrantes ilegales",
o "islamistas", o "extranjeros", o "separatistas"). Me llama la
atención lo poco valorada que está hoy la tolerancia en muchos ámbitos:
la gente la desprecia como algo "paternalista", y exige aceptación
absoluta de sus opiniones (que son las correctas) y silenciamiento y
represión de las del vecino si a su juicio son políticamente
incorrectas.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14pt;">Hay
que tener en cuenta que en tiempos de Drummond la religión era el
símbolo máximo de la ideología que constituye una comunidad como tal:
decir "tolerancia con diversas creencias" es como hoy decir "tolerancia
con el multiculturalismo" en la vida pública. El equivalente de "la
única religión verdadera" es hoy "la democracia liberal y no
confesional según el modelo occidental". Destaco una frase: tolerancia
con todos aquellos que no tramen o lleven a la práctica nada que vaya
contra las leyes del Reino. No exige Drummond que estemos de acuerdo
con ellos en lo demás, ni ellos con nosotros. Y tampoco es preciso, por
supuesto, que las minorías disidentes estén de acuerdo con las leyes:
pero sí que las cumplan. Ay, there’s the rub, o la madre del cordero…
las leyes. Sin leyes justas, no cabe hablar de tolerancia. Las leyes, y
no sólo las actitudes, tienen que ser tolerantes, habría que recordarle
a Drummond. Y a nuestros radicales de hoy en día, que no sólo las
leyes, sino también las actitudes, tienen que ser tolerantes.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<h4>
<span style="font-size: 14pt;">A Speech on Toleration</span></h4>
<div class="MsoNormal">
<br /></div>
<div class="BBCText">
<span style="color: maroon; font-family: "arial";">Sir,
amongst the many blessings your Subjectes enjoye under this your
Governement, this is not the least, that for the well of your Majestie,
and the publicke good of the Kingdome, the meanest of your Subjectes
may freelie open his minde and declare his opinione unto you his
Soveraigne. And if ever there was a time in which grave, good and sound
counsell should be delivered to your Majestie it is this, and the
difficulyies of the Commonwealth doe now require it. Not ever in
matteres of advice and consultatione can wee embrace and follow what is
most reasonable, and what according to Lawes, Justice, Equitie should
be, but what necessitye driveth us unto, and what is most convenient
for the present time to be, and what wee may well and fairlie
accomplish and bring to passe.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="color: maroon; font-family: "arial";">The
Estate of your Kingdome is troubled with diversitie of opiniones
concerning Religione; It is to be wished that the one onlie true
Religion were in the heartes of all your Subjectes (Since diversitie of
opiniones of Religione and heresies, are the verie punishment of God
almightie upon men for their horrible vices and roring Sinnes. And when
Men forsake his feare and true obedience, God abandoneth them to their
owne opiniones and fantasies in Religion: out of which arise
partialityes, factiones, divisiones, strife, intestine discords, which
burst forth into civill warres, and in short time bring Kingdomes and
Commonwealthes to their last Periodes). But matteres arising to such a
hight and disorder, as by all appearances they are like to advance in
this Kingdome, the number of the Sectaryes daylie increasing, without
dissimulating my thoughts to your Majestie, the preservation of the
People being the supresme and principall Law which God almightie hath
enjoyned to all Princes, I hold it more expedient to give place to the
exercise of both Religions, than under pretence and shadow of them to
suffer the commone peace of your Subjectes to be torne in pieces. What
can wisdome (Sir) advise youw to doe with these Separatists? Either
they must be tollerated for a time or they must altogether be removed,
and that by death or banishment? So soon as a Prince beginneth to
spoyle, banish, kill, burne his people, for matters abstract from sence
and altogether spirituall, hee becometh as it were a plague unto them.
It is an errour of state in a Prince, for an opinione of pietie to
condemne to death the adhereres to new doctrine. For, the constancie
and patience of those who voluntarilie suffer all temporall miseryes
and death it selfe for matteres of faith, stirre up and invite
numberes, who at first and before they had suffered were ignorant of
their faith and doctrine, not onlie to favour their cause but to
embrace their opiniones; Pity and commiseration opening the gates: thus
their Beleefe spredeth it selfe abroad, and their number daylie
encreaseth. It is a no less errour of State to banish them: Banished
Men are so manie Ennemyes abroad, reddye upon all occasiones to invade
their native Countrie, to trouble the peace and tranquillitye of your
Kingdome.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="color: maroon; font-family: "arial";">To
take arms against Sectaries and Separatists will be a great enterprise,
a matter hard and of many dangeres: Religione can not be preached by
Armes; the first Christianes detested that forme of proceeding: force
and compulsion may bring forth Hypocrites, not true Christianes. If
there be any heresie amongst your people, this wound is in the Soule;
our Soules being spirituall Substances upon which fire and iron can not
worke, they must be overcome by spirituall armes: Love the Men and
pittye their erroures? Who can laye upon a Man a necessitie to beleeve
that which hee will not beleeve, or what hee will beleeve, or doth
beleeve, not to beleeve. No Prince hath such power over the Soules and
thoughts of Men, as hee hath over their Bodyes. Now to ruine and
extirpate all those Sectaryes, what will it prove else than to cut off
one of your armes, to the great prejudice of your Kingdome and
weakening of the State? They daylie encreasing in number, and no Man
being so miserable and mean, but that hee is a member of the State?</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="color: maroon; font-family: "arial";">The
more easie manner and nobler way were to tollerate both Religiones, and
graunt a place to two Churches in the Kingdome till it shall please
almightie God to reunite the mindes of your Subjectes, and turne them
all of one will and opinione: Be content to keepe that which yee may,
Sir, since yee can not that which yee would.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="color: maroon; font-family: "arial";">It
is a false and erroneous opinione, that a Kingdome can not subsiste
which tollerateth two Religiones: Diversitie of Religion shooteth up
not societye, nor barreth civill conversatione amongst men. A little
time will make persones of different Religiones contracte such
acquaintance, custome, familiaritie together, that they will be
intermixed in one Cittye, familie, yea mariage bed, State and Religione
haveing nothing commoan. Why (I praye) may not two Religiones be
suffered in a State (till by some sweet and easie meanes they be
reduced to a right governement) since in the Church (which should be
unione it selfe and of which the Romane Church much vanteth) all-most
infinit Sectes and kyndes of Monkes are suffered; differing in their
Lawes, Rules of governement, fashiones of living, dyet, apparell,
maintenance and opiniones of perfectione, and who sequestree themselves
from our publike unione? The Romane Empyre had its extensione, not by
similitud and likenesse of Religione. Different Religiones, providing
they enterprise or practise no thing against the politike Lawes of the
Kingdome, maye be tollerated in a State.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="color: maroon; font-family: "arial";">The
Murtheres, massacres, Battailles, which arise and are like daylie to
encrease amongst Christians, all which are undertaken for Religione,
are a thousand times more execrable, and be more open plaine flat
impietie, than this libertye of diversitie of Religiones with a quiet
peace can be unjust: for as much as the greatest part of those who
flesh themselves in bloud and slaughter, and overturne by armes the
peace of their Neighboures (whom they should love as themselves)
spoyling and ravaging lyke famished Lyones, sacrifice their Soules to
the infernall Poweres without further hopes or meanes of recoverye, and
comming bake, when those otheres are in some way of Repentance.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="color: maroon; font-family: "arial";">In
seeking libertie of Religione, these Men seeke not to beleeve any thing
that may come in their Braines; but to use Religione according to the
first Christiane institutiones, serving God and obeying the Lawes under
which they were borne.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="color: maroon; font-family: "arial";">That
Maxime so often echoed amongst the Church-Men of Rome, that the Chase
and following of Heretikes is more necessarye than that of Infidelles,
is well applyed for the inlarging and increasing of the dominiones,
Souveraignitie, and power of the Pope, but not for the amplifying and
extending of the Christiane Religione, and the Well and benefite of the
Christian common wealth.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="color: maroon; font-family: "arial";">Kingdomes
and Souveraignities should not be governed by the Lawes and interests
of Priests, and Church-men, but according to the exigencie, need, and
as the case requireth of the publick well, which often is necessitated
to passe and tolerate some defectes and faults. It is the duetye of all
Christian princes to endevoure and take paines that their Subjectes
embrace the true faith, as that semblablye and in even partes they
observe all Gods commandements, and not more one commandement than
another. Notwithstanding when a vice cannot be extirpate and taken away
without the ruine of the State, it would appear to humane judgements
that it should be suffered: Neither is there a greater obligatione,
bond, necessitye of Law, to punish heretickes more than fornicatores,
which yet for the peace and tranquillitye of the State are tollerated
and passed over. Neither can a greater inconveniencie and harme follow
if wee shall suffer men to live in our Commonwealth who beleeve not nor
embrace not all our opiniones. In an Estate manye thinges are for the
time tollerated, because they can not without the totall ruine of the
State be sudainlie amended and reformed.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="color: maroon; font-family: "arial";">These
men are of that same nature and condition of which wee are; they
worshippe as wee doe one God, they beleeve those very same holye
Recordes; wee both aime at salvatione, wee both feare to offend God,
wee both set before us one happinesse. The difference betwixt them and
us hangeth on this one point, that they having found abuses in our
church, require a Reformation: Now shall it be said for that wee runne
diverse ways to one end, understand not rightlie otheres language, wee
shall pursue otheres with fire and sword, and extirpate otheres from
the face of the Earth. God is not in the bitter divisione and
alienatione of affectiones, nor the raging flames of seditiones, nor in
the Tempestes of the turbulent whirl-windes of contradictiones and
disputationes, but in the calme and gentle breathinges of peace and
concord. If any wander out of the high way, wee bring him to it again,
if any be in darknesse, wee show him light, and kill him not; in
musicall instruments if a string jarre and be out of tone, wee doe not
freetinglie breake it, but leasurelie veere it about to a concord: and
shall wee be so churlish, cruell, uncharitable, so wedded to our own
superstitious opiniones, that wee will barbarouslye banish, kill, burne
those who, by love and sweetnesse wee might reddilye winne and recall
againe?</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="color: maroon; font-family: "arial";">Let
us win and demerite these men by reasone, let them be cited to a free
councell, it may be they shall not be proven heretickes, neither that
they maintaine opiniones condemned by the auncient Councelles. Let
their Religion be compared and paraleled with the Religion of the first
age of the Church.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="color: maroon; font-family: "arial";">Shall
wee hold this people worse then the Jewes, which yet have their
Synagoges at Rome it selfe? Let them receave instructiones from a free
and lawful Councell, and forsake their erroures, when they shall be
clealie and fairlie demonstrate unto them. Heresie is an errour in the
fundamentall Grounds of Religion. Shisme intendeth a resolutione in
separatione: Let a good Councell be convocated, and see if they be
reddye or not to reunite themselves to us.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="color: maroon; font-family: "arial";">That
which they beleeve is not evill, but to some it will appeare they
beleeve not enough, and that there is in them rather a defect of good
than anye habit of evill. Other pointes when they shall be considdered,
shall be found to consiste in externall ceremonyes of the Church rather
than in substance of doctrine, or what is esentiall to Christianitie.
These men should be judged before condemned, and they should be heard
before they be judged. Which being hollelyie and uprightlie done, wee
shall find it is not our Religiones, but our private interestes and our
passiones which troubleth us; and the State.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<br /></div>
<h4>
<span style="font-size: 14pt;">Discurso sobre la tolerancia</span></h4>
<div class="MsoNormal">
<br /></div>
<div class="BBCText">
<span style="font-family: "arial";">Señor,
entre las muchas bendiciones de que vuestros súbditos gozan bajo
vuestro gobierno no es la menor el hecho de que, para beneficio de
Vuestra Majestad, y del bien público del Reino, el más insignificante
de vuestros súbditos puede libremente exponer sus ideas y declarar su
opinión ante vos, su soberano. Y si hubo jamás un momento en el que
haya que dar a Vuestra Majestad un consejo serio, bueno y de fiar, es
éste, y las dificultades de la nación lo hacen hoy necesario. En
asuntos de consejo y consulta no siempre podemos abrazar y seguir lo
que es más razonable, y lo que debería ser según las Leyes, la Justicia
y la Equidad, sino aquello a lo que nos lleva la necesidad, y lo que es
más conveniente que sea para el momento presente, y lo que podemos
hacer que se cumpla y suceda con bien y con justicia.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="font-family: "arial";">El
estado de vuestro Reino está inquieto con diversidad de opiniones sobre
la Religión; sería de desear que la única religión verdadera estuviese
en los corazones de todos vuestros súbditos (ya que la diversidad de
opiniones en religión y las herejías son el castigo mismo de Dios
todopoderoso a los hombres por sus horribles vicios y pecados
escandalosos). Y cuando los hombres abandonan su temor y obediencia
auténtica, Dios los abandona a ellos a sus propias opiniones y
fantasías en religión: de las cuales surgen parcialidades, facciones,
divisiones, lucha, discordias intestinas, que hacen brotar guerras
civiles, y en poco tiempo llevan a los reinos y las naciones a sus
últimos periodos). Pero llegando los asuntos a tal
altura y desorden, como según toda apariencia es posible que lleguen en
este Reino, al crecer diariamente el número de sectarios, sin disimular
mis pensamientos a vuestra Majestad, siendo la protección del Pueblo la
ley suprema y principal que Dios todopoderoso ordena observar a todos
los Príncipes, considero que es más conveniente hacer sitio a la
práctica de ambas religiones, que hacer que con la excusa y apariencia
de ellas se rompa en mil pedazos la paz común de vuestros súbditos.
¿Qué puede aconsejaros la sabiduría, Señor, que hagáis con estos
separatistas? O bien deben ser tolerados durante un tiempo o deben ser
completamente suprimidos, y eso - ¿mediante la
muerte o el destierro? Tan pronto como un príncipe empieza a despojar,
desterrar, matar, quemar a su pueblo, por asuntos abstraídos de los
sentidos y completamente espirituales, se vuelve como una peste para
ellos. Es un error de Estado en un príncipe, que por cuestiones de
opinión en materia de culto condene a muerte a los partidarios de una
nueva doctrina. Porque la constancia y paciencia de quienes sufren
voluntariamente todas las penalidades temporales y la muerte misma por
cuestiones de fe agitan e invitan a muchísimos, que antes de esos
sufrimientos eran ignorantes de su fe y doctrina, no sólo a favorecer
su causa, sino a abrazar sus creencias, al abrirles la puerta la piedad
y la conmiseración; así su creencia se extiende por todas partes, y su
número a diario crece. Es un error político no menor el desterrarlos:
los exiliados son otros tantos enemigos en el extranjero, dispuestos en
todo momento a invadir su país natal, a turbar la paz y tranquilidad de
vuestro Reino.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="font-family: "arial";">Tomar
armas contra sectarios y separatistas sería una empresa enorme, un
asunto difícil y con grandes peligros: la religión no se puede predicar
con las armas; los primeros cristianos detestaban esa forma de
proceder: la fuerza y la obligación pueden producir hipócritas, no
auténticos cristianos. Si alguna herejía hay entre vuestros súbditos,
esa herida está en el alma; al ser nuestras almas sustancias
espirituales sobre las que el fuego y el hierro no pueden actuar, deben
ser vencidas con armas espirituales: ¡Amad a los hombres y compadeceos
de sus errores! ¿Quién puede imponer a un hombre la obligación de creer
lo que no quiere creer, o de no creer lo que quiere creer, o cree?
Ningún gobernante tiene semejante poder sobre las almas y pensamientos
de los hombres como el que tiene sobre sus cuerpos. Y arruinar y
extirpar a todos esos sectarios, ¿qué resultará ser sino cortaros uno
de vuestros brazos, para gran perjuicio de vuestro reino y
debilitamiento del Estado? ¿Siendo que cada día crecen en número, y que
no hay hombre tan despreciable e insignificante que no sea un miembro
del Estado?</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="font-family: "arial";">La
manera más fácil y vía más noble sería tolerar ambas religiones, y
conceder un sitio a dos Iglesias en el reino, hasta que plazca a Dios
todopoderoso reunir las mentes de vuestros súbditos, y volverlos a
todos de una misma voluntad y opinión: Contentaos con mantener lo que
podéis, Señor, ya que no podéis aquello que quisierais.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="font-family: "arial";">Es
una opinión falsa y errónea, la de que no puede subsistir un reino que
tolere dos religiones. La diversidad de religión no destruye la
sociedad, ni impide el trato civilizado entre los hombres. Un poco de
tiempo hará que personas de diferentes religiones adquieran tal trato,
costumbre, familiaridad, que puedan mezclarse unos con otros en una
misma ciudad, familia, y hasta lecho de matrimonio, al no tener nada en
común el Estado y la Religión. ¿Por qué (suplico se me diga) no pueden
dos religiones tolerarse en un Estado (hasta que de alguna manera suave
y amable se reduzcan a un gobierno adecuado) si en la Iglesia (que
debería ser la unión misma, y de lo cual mucho se jacta la Iglesia
romana) se toleran casi infinitas sectas y clases de monjes, que
difieren en sus leyes, reglas de gobierno, maneras de vivir, dieta,
vestido, economía e ideas sobre la perfección, y que se aíslan de
nuestra unión pública? El Imperio Romano no logró su extensión mediante
la similitud y uniformidad de religión. Diferentes religiones, con tal
de que no tramen ni practiquen nada contra las leyes políticas del
Reino, pueden tolerarse en un Estado.</span></div>
<div class="BBCText">
<span style="font-family: "arial";"><br />
Los asesinatos, matanzas, combates, que surgen y probablemente irán a
más a diario entre los cristianos, todos ellos emprendidos por causa de
la religión, son mil veces más execrables, y son más claramente una
mera impiedad, de lo injusta que pudiese ser esa libertad de diversidad
de religiones con una paz tranquila: porque en la misma medida la
mayoría de quienes se hacen a la sangre y a la matanza, y alteran con
armas la paz de sus vecinos (a quienes deberían amar como a sí mismos),
rapiñando y arrasando como leones hambrientos, sacrifican sus almas a
los poderes infernales sin esperanza ni medio de recobrarlas ni de
volver atrás, cuando aquellos otros están camino del arrepentimiento.</span></div>
<div class="BBCText">
<span style="font-family: "arial";">Al
buscar la libertad religiosa, esos hombres no buscan creer cualquier
cosa que se les pueda meter en los sesos, sino usar de la religión
conforme a las primeras instituciones cristianas, sirviendo a Dios y
obedeciendo a las leyes bajo las cuales nacieron.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="font-family: "arial";">Esa
máxima tan a menudo repetida entre los eclesiásticos de Roma, que la
persecución y detección de los herejes es más necesaria que la de los
infieles, está bien aplicada para el crecimiento y aumento de los
dominios, soberanía y poder del Papa, pero no para ampliar y extender
la religión cristiana, ni para el bienestar y beneficio de la comunidad
cristiana.</span></div>
<div class="BBCText">
<span style="font-family: "arial";">Los
reinos y principados no deberían gobernarse por las leyes e intereses
de los sacerdotes y eclesiásticos, sino según la exigencia, necesidad y
como requiera el caso del bien público, que a menudo se ve obligado a
aceptar y tolerar algunos defectos y faltas. Es deber de todos los
príncipes cristianos esforzarse y cuidar mucho para que sus súbditos
abracen la auténtica fe, de modo que semejantemente y por partes
iguales observen todos los mandamientos de Dios, y no un mandamiento
más que otro. Sin embargo, cuando un vicio no puede extirparse y
suprimirse sin la ruina del Estado, parece razonable a los juicios
humanos que haya de tolerarse. Ni hay mayor obligación, compromiso, ni
necesidad legal, de castigar a los herejes más que a los fornicadores,
que sin embargo por la paz y tranquilidad del Estado se toleran e
ignoran. Ni ha de seguirse mayor inconveniencia y daño si toleramos que
vivan en la comunidad hombres que no creen ni se adhieren a todas
nuestras opiniones. En un Estado muchas cosas se toleran por el momento
porque no pueden reformarse ni enmendarse súbitamente sin la ruina
total del Estado.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="font-family: "arial";">Estos
hombres tienen nuestra misma naturaleza y condición; adoran como
nosotros a un Dios, creen en las mismas Escrituras sagradas; tanto
ellos como nosotros aspiramos a la salvación, ambos tememos ofender a
dios, ambos ponemos ante nosotros la misma felicidad. La diferencia
entre ellos y nosotros gira sólo en este punto, que ellos, habiendo
encontrado abusos en nuestra iglesia, exigen una reforma. Ahora bien,
¿habrá de decirse que como vamos por caminos distintos a un mismo fin,
o como no comprendemos bien el idioma del otro, habremos de perseguir
al otro con fuego y espada, y extirparlo de la faz de la Tierra? Dios
no se halla en la amarga división y enajenación de los afectos, ni en
las llamas rabiosas de la sedición, ni en las tempestades y torbellinos
turbulentos de contrarréplicas y disputas, sino en los alientos suaves
y tranquilos de la paz y la concordia. Si alguno se sale del camino, lo
traemos otra vez a él, si alguno está en la oscuridad, le mostramos la
luz, y no lo matamos. En los instrumentos musicales, si una cuerda
suena desafinada y fuera de tono, no la rompemos enojados, sino que con
calma la afinamos hasta que suena con las otras: y seremos tan toscos,
crueles, faltos de caridad, tan maridados a nuestras propias opiniones
supersticiosas, que bárbaramente habremos de desterrar, matar, quemar a
aquellos a quienes con amor y amabilidad podríamos fácilmente convencer
y hacer venir con nosotros?</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="font-family: "arial";">Convenzamos
y quitemos la razón a estos hombres con la razón; que se les convoque a
un concilio libre; puede que no resulten ser herejes, ni mantengan
opiniones condenadas por los antiguos concilios. Que se compare y se
coteje su religión con la religión de la primera época de la Iglesia.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="font-family: "arial";">¿Habremos
de tener a esta gente en peor consideración que a los judíos, que sin
embargo tienen sus sinagogas en la misma Roma? Que reciban
instrucciones de un concilio libre y legítimo, y que abandonen sus
errores cuando con claridad y justicia se les demuestren a ellos. La
herejía es un error en la base fundamental de la religion: el cisma
intenta buscar la solución en la separación. Que se convoque un buen
Consejo, y veamos si están dispuestos o no a reunirse con nosotros.</span></div>
<div class="BBCText">
<br /></div>
<div class="BBCText">
<span style="font-family: "arial";">Lo
que creen no es malo, pero a algunos les parecerá que no creen lo
suficiente, y que hay en ellos más bien una falta de bien que hábito
alguno de mal. Otros extremos cuando se examinen se verá que consisten
en ceremonias externas de la Iglesia, más bien que en la sustancia de
la doctrina, ni en cosas esenciales para el Cristianismo. Estos hombres
deberían ser juzgados antes de ser condenados, y deberían ser
escuchados antes de ser juzgados. Y si se hace santamente y con
justicia, encontraremos que no son nuestras religiones sino nuestros
intereses privados y nuestras pasiones las que nos alteran, a nosotros
y al Estado.</span></div>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-71443685394387334702022-04-27T17:18:00.001+02:002022-04-27T17:18:36.922+02:00Notes on Ian Watt's THE RISE OF THE NOVEL<p><span style="font-size: large;"> <i><b> 1: Realism and the Novel Form</b></i><br />
<i><b><br /></b></i>
The novel arises in the 18th c. because of favourable social conditions.
it's a new literary genre; we must define its characteristics.<br />
<br />
<i>Realism.</i> This term has come to mean "fiction that portrays low
life" (from Flaubert). But the novel's realism doesn't reside in the
kind of life it presents, but in the way it presents it—a scientific
scrutiny of life. Epistemological value: in the 18th ce. universals have
been rejected; truth comes through the senses (Locke, Descartes). But
the <i>method</i> is more important: for the realists, the individual
investigator studies the particulars of experience. Importance is given
to the relation between words and reality. Descartes followed an
individualist method. For the novel, individual experience is always
unique, new. It can't be analyzed by referring it to the accepted
models. Traditional plots are rejected for the <i>first </i>time
(Shakespeare, Milton, the Greeks, the Romans—all considered human life
basically unchangeable adn complete). Plot, character and morals are
still not perfectly interpenetrated in Defoe, Richardson and Fielding.
Tradicional characters (universals) are also rejected (cf. Berkeley:
"everything that exists is particular"). Shaftesbury still rejects
particularity and the taste of the peculiar. But in Defoe and Richardson
we find a particularity of descriptions of characters and environmnet.
Individual identity is a matter of controversy to the philosophers of
this time. Characters are given particular names and surnames, not
generic or descriptive names. (Nevertheless, Richardson's and Fielding's
characters still preserve msome of that tradition. But that is a
secondary function already. In <i>Amelia</i> names are natural, assigned in a random manner.<br />
<br />
Locke and Hume analyze personal identity, and identify it with the
identity of consciousness through duration. Both ideas and characters
become general by separating them from their particular circumstances of
time and place.The novel uses stories set in time: past experience is
the cause of present action; time scale is more minutely discriminated.
Realism is associated to the slowness of virtual time (stream of
consciousness carries it to an extreme). Also, a respect arises for a
coherent time-scheme which didn't exist in the classics. Defoe's plots
are rooted in time; in Richardson we find a date at the heading of each
letter. Fielding mocks Richardson's exactitude, but uses a time-coherent
scheme: the Jacobite rebellion in 1745 and the phases of the moon in <i>Tom Jones,</i>
etc. Time and space are inseparable. Defoe is the first writer to use a
definite space and objects. In Richardson provides description of
interiors: settings are, like in Balzac, a pervasive force. Fielding is
more conventional, but gives an exact topography. Prose must be adapted
to give an air of authenticity. Up to them, rhetoric ws used to
embellish in an artificial way. Locke attacks the deceitfulness of
rhetoric. Defoe and Richardson are often clumsy, because they want to be
real. Fielding is more orthodox and polished But his stylistic virtues
bring a selectiveness of vision which is far from the uncompromising
application of the realist point of view in Richardson and Defoe. Like
La Fayette and Laclos, he is too stylized to be authentic. The novel
works more by exhaustive presentation than by selection—more so than
other genres. It is also more translatable.<br />
<br />
The formal realism of the novel is, too, a convention, but it allows a
more immediate imitation of actual experience than other literary forms.
It makes less demands on the audience. Predecessors of the novel:
Homer, Chaucer, Apuleius's <i>The Golden Ass,</i> <i>Aucassin et Nicolette...</i> But this aesthetic had never been followed systematically. <br />
<br />
<i><b>2: The Reading Public and The Rise of the Novel</b></i><br />
<br />
There is a gradual extension of the reading class. About 80,000 in the
1690s— unreliable figures perhaps? But it's still a progress. There was a
very limited distribution of literacy. School for the lower classes was
intermittent and limited. It was not a necessity to learn. Books were
very expensive: circulating libraries appear. The middle class grows,
and there are more and more women readers. They read mostly religious
works: readers of fiction are a different group. Readers of periodicals,
too—a miscellaneous taste, a mixture of improvement and entertainment.
Booksellers achieve a strong fiinancial standing, and can influence
authors, who are their employees. Richardson was commissioned by them;
Johnson was promoted by them. The commercial laws favour prose and
copiousness rather than verse: this helps the novel. Writers are
independent and not oriented to the Court as in France: there is a
lesser force of tradition.<br />
<br />
<br />
<b><i>3: </i>Robinson Crusoe. <i>Individualism and the Novel</i></b><br />
<br />
The novel's concern for the individual depends on<br />
- the society's hight valuation of the individual<br />
- variety of belief and action among ordinary people, to make them intereseing.<br />
In modern society there is a value of the individual apart from society
or tradition. Two historical causes: the rise of modern capitalism, and
the spread of Protestantism.<br />
<br />
<i>Capitalism.</i> Capitalism is linked to economic specialization, and
to more democracy; it promotes freedom of choice. Social arrangements
typical of capitalism are individual, not collective (as they were in
the family, the guild, the church...). There is a slow rise of capitalim
from the 16th to the 19th century. Shakespeare, Jonson, Dryden, etc.
defend the traditional order. Now, the contrary is the case. Hobbes
stresses individualism. Locke speaks of the rights of the individual.
Defoe is in this line of thought; there is a link between individualism
and the rise of the novel. Robinson is <i>homo oeconomicus.</i> All of
Defoe's heroes pursue money, according to a profit-and-loss bookkeeping
technique. They enter continuous contractual relationships. Traditional
relationships (family, town, nation...) appear weakened. Defoe's heroes
have no family, or leave them to better their situation. The argument
between his parents and Crusoe is not one of filial duty or religion,
but one of material advantages. Religion has an obstructive role: the
contrary appears in Defoe's moral pamphlets. Xeenophobia appears only
where there are no economic virtues; "with money in the pocket one is at
home everywhere." The plot of <i>Robinson Crusoe</i> is rooted in the
realities of the time; merchants, colonists... Sex is placed under
strict control as a non-rational factor: there is no romantic love, and
little sexual satisfaction. Matrimony is an investment. Crusoe desires a
male slave. The story of Xury is significant: relationships are treated
in terms of their commodity value. With Friday, Robinson establishes
egocentric master-slave relations. Only when he receives mone does he
feel deep feelings. His friends are those that secure his economic
interests. Crusoe and Defoe are blind to aesthetic experience. The
natural scenery is exploited, not admired. If he plays with his animals,
he doesn't dance with them. We find Crusoe's adventure intereesting
because capitalist economic specialization has deprived us from a lot of
daily life experiences. We only do one thing, and enjoy others through
printed matter. Crusoe experiences the Dignity of Labour: an absolute
equivalence between individual effort and individual reward. Labour is
varied and inspiring. This is a Calvinistic idea: labour is a religious
and ethical obligation. Friday doesn't bring relaxation, but extended
productivity. Defoe cofuses religious and material values: a sophistic
creed. There is still a religious framework, but this will disappear in
other authors.<br />
<br />
<i>Protestantism.</i> Protestantism is associated to individualism. It
promotes a direct contact between man and God. Protestants emphasize
self-scrutiny; journals are kept, and extreme egocentricity is promoted.
Defoe was a Dissenter with no fixed creed. Crusoe has Puritan
tendencies: toward self examination, Bibliolatry, interpretation of
natural phenomena in an egotistic way. But Crusoe is intended to be a
neutral character, a man for whom we could all substitute ourselves.
Democratic individualism of Defoe—no high birth for Robinson, etc. Defoe
nonetheless subordinates allegory to reality (i.e. he is a novelist,
while Bunyan doesn't). Religion in his work is perfunctory: there is an
unconscious secularization, due to economic and social progress. Ties
with the Church are loosened, resulting in individualism.<br />
<br />
Crusoe is a Western myth: the man who can manage on his own, without any
social restrictions, and usfulness as the rule, a philosophy of <i>laissez-faire.</i>
But it is a false myth: Defoe has disregarded the social nature of all
human economies and the psychological effects of solitude. Moreover
Robinson has tools: he is not a primitive or a proletarian, but a <i>capitalist.</i>
Crusoe turns his disgrace into a triumph: solitude is the prelude to
the fuller realization of the individual's potentialities. Defoe is
conscious of this meaning, and he even hints that it is an allegory of
his own life. An ethics of resolution against bad circumstances; praise
of personal alienation from society. Communication is false, only a
mockery. The first novel presents us with the annihilation of the
relationships of the traditional social order: new relationships have to
be built up.<br />
<br />
<br />
<i><b>4. Defoe as novelist: </b></i><b>Moll Flanders</b><br />
<br />
This is Defoe's most typical novel. Moll is a product of modern
individualism; her crimes are rooted in the dynamics of economic
individualism, she's not a picaro. (The picaro is not interesting in
himself; it is a literary convention for the presentation of satiric
observations and comic episodes). The reader identifies with Moll.
Indigence is shameful: we see again Economic Man, similar to Robinson.
Defoe has little control over his narrative: there are unconscious
blunders, and little consistency. There is no authorial conscience—this
is ephemeral writing. Most novelists concentrate on a few pictures and
reduce synopses of action to a minimum. Defoe does the contrary, which
weakens the force of the narrative. But it gives an impression of
authenticity. He writes unadorned prose, with many Anglo-Saxon words,
and focusing on the primary qualities of objects (there are no colours,
sound or taste)—related to the scientific and rational outlook of the
eighteenth century. It is popular fiction, highly readable, and of a
journalistic nature ("Mr Review", Defoe's editorial character in "The
Review", is similar to Moll Flanders as a narrator.<br />
<br />
There is formal realism, but an incoherent structure. 2 parts, with a
long first part—Moll's career as a wife. The second tells her criminal
activities and their consequences. Five marriages, rather rudimentary
interlockings. Her criminal adventures lead to her meeting in prison a
former husband; later she returns to her family in Virginia. There is a
unifying mechanism, similar to "Roxana", based on relationships, both
have inconclusive endings. Unity comes through the central character, as
in biographies (cf. Hume on identity) —due to a desire to be realistic,
or to an inability to be otherwise? According to Aristotle, history is
concerned with what actually happened, and poetry with the propable or
necessary. Defoe then writes pseudo-history, as a liar.<br />
<br />
<i>Moll Flanders</i> is a novel of character without any psychological
analysis: elections are made quickly and aptly, automatically. He
assumes the heroine's character withougt describing it. But we are told
contradictory things; she has hidden information, etc. Is she a loving
wife? A heartless mother? Is she affectionate? She enters self-centered
relationships with other characters. Moll is similar to Defoe: her
feminine traits are superficial. The novel was admired by Virginia Woolf
because Moll shows no unconscious feminine traits. She is, according to
Defoe, a public-minded citizen who has had bad luck. She doesn't like
vice for its own sake. But Moll is also unaffected by her surroundings.<br />
<br />
A middle-class notion of gentility reigns, a restless and amoral
individualism. There is an unconscious identification between the author
and the character. Defoe claims that it is a moral story, that crime
doees not pay, but this is unsubstantiated. Moll is not repentant—that
would impair the delight the reader takes in the action, and it would
also be less immediate. Didactic commentaries fail to be clearly placed
at any stage of moral development. Formal realism appears here as an
end, not as a means: there is no moral. Morals will later be expressed
through the control of the point of view; Defoe has no such control.
Claims are sometimes made that he did have it—that he is morally
detached from his heroine, e.g. in the ironical preface (Virginia Woolf,
Coleridge, E. M. Forster). There is often a bathetic transition from
sentiment to action (money, rhum); but the irony has a dubious status,
there is no consistent ironical attitude throughout the novel. Defoe
cannot ironize—only impersonate (as in "The Shortest Way with the
Dissenters"). Only in an ahistorical view can <i>Moll Flanders</i> be
considered a masterpiece, by judging it by the standards of our
time—which is a tribute to Defoe's vitality as a writer. His formal
realism mixes many traditions (tragedy, comedy, history journalism);
irony can be achieved by contrasting the attiudes peculiar to them, but
Defoe doesn't know that. There is a lack of moral or formal pattern, a
weakness of construction, an inattention to detail. But he has a supreme
talent as a realist portrayer of episodes. Richardson will have both
assets—which is why he is the real founder.<br />
<br />
Defoe, like Marlowe, produces unconsciously autobiographic works, episodic in nature—<i>ego vs. mundum. </i>As
in Stendhal, individualism rules: an energetic and unwise vision of
life. There is a kind of moral: an energetic stoicism, a comfortable
vitality. The chance mingling of attitudes and situations is original,
and will influence later novels. Defoe creates both a new subject and a
new literary form to embody it.<br />
<br />
<i><b>5. Love and the Novel: </b></i><b>Pamela</b><br />
<br />
Richardson solves some of Defoe's failures: he gives the novel a plot.
The traditional theme of courtship is exploited in a new way, to give
his novels unity, not episodity.<br />
<br />
I. Love as a positive value arises in Provence. Like individualism, it
has its roots in Christianity (the courtship of the Virgin). However,
courtly love was too conventionalied to be a novel plot. In England, a
new conception of marriage arises, through puritan influence. Marriage
as God-given unity, difficult for women to achieve. In Pamela we find
romantic love combined with social class conflicts, and conflicts
between sexual instinct and the moral code.<br />
<br />
II. The values of courtly love and those of marriage can only be
combined when there is consent, free choice. Early modern England was
more liberal to women than other countries. Romantic love and matrimony
are the correlative of the elementary family and the disgregation of the
patriarchal system. In Defoe and Richardson, there is a tendency to the
assertion of individual freedom from family ties. But women are under
Roman law; they can't realize economic individualism. Roxana is a clear
example. The need of a dowry was unfavourable to women.<br />
<br />
III. There was a popular concern for these facts. The status of
unmarried women declined; they come to be seen as ridiculous: the word
'spinster' appears. They had to accept badly-paid jobs or dependence:
there were no convents available for high-class spinsters. Richardson
advocates such convents. Bachelors appear as socially deplorable and
morally dangerous (especially for Puritans). Richardson's Grandison
declares: "I am for having everybody marry." Pamela symbolizes the
aspirations of all women in that period, and has been followed by many
(in similar conditions). The marriage ceremony goes on for 200 pages; at
that time, the terms of marriage aren't still well defined. Mr. B tries
to delude Pamela with a mock marriage. Puritans support this view of
marriage—even if it means that they must get married in an Anglican
church.<br />
<br />
IV. Feminine reading public: a taste for fiction and moral works. Pamela
has both. Richarson has feminine tastes; domestic detail is an
enjoyement to women. The plot provides flattery on women, and discipline
on men. The woman rises socially.<br />
<br />
V. A clash of two attitudes on sex and marriage, represented by
Richarson and Fielding. Richardson adjusts language to the new feminine
code. There is a decarnalization of the public feminine role, and a
systematic bowdlerizing. (Richardson's prudery).<br />
<br />
VI. These changes explain <i>Pamela'</i>s unity and its combination of moral purity and impurity. A departure from <i>Stiltrennung—</i>a
combination of high and low motives, e.g. chastity is valued by a
servant-girl. The psychological and moral content is deeper than ever:
barriers are not social, but psychological. Puritanism builds a bridge
between flesh and spirituality, through marriage (Courtly love doesn't).
But woman must wait until she is engaged to feel love—in <i>Pamela,</i>
when she is going away. Both characters recognize themselves. The plot
includes a peripety and recognition which coincide (the best for
Aristotle). This is made possible because of the unprecedented disparity
between social roles and feelings. This has led to contradictory
interpretations—is Pamela a hypocrite? It is social circumstances that
forbid openness. It is a sex-centered work; taboo is always the centre
of attention and interest. The novel appears as an initiation site to
the fundamental mystery of society. Pamela is a combination of sermon
and strip-tease.<br />
<br />
<i><b>Chapter 7- Richardson as Novelist - </b></i><b>Clarissa</b><br />
<br />
Richardson is a conscious innovator: he hopes that <i>Pamela</i> will induce a new species of writing. <i>Clarissa</i>
revolves better the problems of the unification of narrative mode,
plot, characters, and morals. There are no digressions: the themes
spring from the subject (Richardson says).<br />
<br />
I. A better use of the letter form. In <i>Pamela,</i> there is the dange
of one-sidedness, compromising the credibility of the heroine. It ends
up in a journal; the editor is a clumsy device. In <i>Clarissa</i> the
epistolary narrative carries the whole burden. It is a dramatic
narrative rather than a history, Richardson claims. The formal division
rests on the dichotomy of the sexual roles: Clarisa and Lovelace write
to people with their own morals, in an uninhibited way. There is a
relationship between the action and the narrative mode. In the first and
second volumes, only Clarissa writes; then both, at last only Clarissa.
The tempo varies (e.g. in the rape scene). There is a careful
characterization: Lovelace did not seem a complete villain at the time.
Clarissa sees that he has good sense at the bottom, and it is that which
makes her fall in his power. The moral is that both parties were
wrong—her parents ought'ntto have forced Mr Solmes on her, and she
shouldn't have gone away. Christian morals. As in <i>Pamela,</i> virtue is rewarded—but in Heaven. In spite of this, <i>Clarissa</i>
is a tragedy. Knowledge of religion is weak, and there is a sense of
defeat at the end. One third of the book is taken up by the funeral.
Funeral literature was fashionable at the time; even Puritans allowed
rich funerals. In her death, Clarissa collaborates with God, who has
marked her for his own.<br />
<br />
II. Richardson's moralizing, like Defoe's, is unpalatable. Fielding and Sterne are satirists: we don't judge <i>their</i> values. But Richardson's identification with these values makes <i>Clarissa </i>coherent. An obsession for class distinctions. In <i>Pamela,</i> there is a colliding respect for nobility and a contempt for Mr B's morals. In <i>Clarissa,</i>
both belong to a similar class: wealthy landed gentry with aristocratic
connections—Clarissa's a little less aristocratic. For James, daughters
are chickens brought up for the tables of other men. He is an ally of
Solmes—he doesn't want Clarissa to have a a high dowry. Solmes belongs
to a lower class, but he is rich, and he only wants her father's estate
(which is already hers, given her by her grandfather). Lovelace appears
as attractive and motivated by attraction, while Solmes is moved by
money. Clarissa is alone: both family authority and economic
individualism go against her. She escapes to be free, not because of
love. And to Lovelace, one of the two must be a prize. He believes at
first that women have no souls—at last he acknowledges hers as superior.
All others, except for Clarissa, use people as means (which Kant will
forbid to do). Lovelace fears her when she is in his power, because of
her inner inviolability. Lovelace believes women's bashfulness to be
hypocritical—a Cavalier attitude, whereas Clarissa's is puritan.<br />
<br />
Clarissa doesn't want to marry Lovelace—an assertment of the seriousness
of the code. A reformed rake will is not a good husband (compare here
the plot of <i>Pamela</i>). Lovelace becomes convinced that she loved virtue for its own sake.<br />
<br />
Sexual repression can lead to self-deception (as in Pamela). In <i>Clarissa,</i>
psychological tension arises from this self-deception. She gradually
discovers that she is in love with Lovalce, something which Anna Howe
knew all along. Lovelace's sophistries, on the contrary, are conscious:
his honour consists in telling the truth to men and lying to women.
Sadism is the extreme attitude of Lovelace's position. A sadistic sexual
male vs. a masochistic asexual female (the violation episode is one of
extreme passivity). Clarissa has a sexual dream in which Lovelace stabs
her: an equation of sex and death by Clarissa. And she knows she's not
wholly blameless.<br />
<br />
There are various perverse deviations of sexual impulse in Clarissa's
funeral. Diderot hails Richardson as the first who discovered the
frightening reality of unconscious life even in virtuous persons. Evil
and good are mitigated; there is a denser psychological pattern.
Lovelace's villainy is conscious, buth there is a stifled goodness
beneath. Their attitudes are extreme; human love is impossible because
Clarissa doesn't recognize the flesh nor Lovelace the spirit; he
recognizes himself only through his rakery. They are star-crossed
lovers: the barriers between them are psychological—the result of
internalized social forces. In theory, the novel offers flat
didacticism, but actually there is deep penetration and an insight into
the final ambiguity of human life.<br />
<br />
<br />
<br />
<b><i>Fielding as Novelist: </i>Tom Jones</b><br />
<br />
A widely different conception of the novel in Fielding and Richardson:
two outlooks on life. Johnson condemns Fielding as coarse, although he
is nearer to his own neo-classicism. He was a friend of Richardson, and
finds in Fielding "superficial characters of manners". It is not so much
a contrast between physical description vs. psychology as a matter of
sketchiness vs. detail in both aspects. Fielding has less
characterization and relies heavily on a complicated plot (Coleridge
speaks of the plot of <i>Tom Jones</i> as one of the three best plots in literature together with <i>Oedipus</i> and <i>Volpone</i>; a return to norm in Fielding). In <i>Moll Flanders</i>
money determines the action. In Fielding it is a plot device. Birth is a
determining factor (in Defoe it was money, in Richardson virtue):
Fielding is a classist. Tom doesn't discuss the appropriateness of the
custom that forbids him to marry Sophia. In Richardson, the individual
is crucified by society; Tom Jones adapts successfully. In Richardson,
character changes and proximity drive the plot; in Fielding, a kind of
law over the individual. Individuals are individual manifestations of
the great pattern of Nature; they are not individuals but a species [cf.
Johnson's neoclassicism.] Fieldings objective is taxonomic. Also,
Richardson's approach is a breach of decorum, an intentional one. But it
leads to emotional artificiality—exaggerated reactions in order to show
feelings. There is little psychological development in Fielding. Has
Tom learned anything? We have to believe Fielding on this issue.<br />
<br />
An Aristotelian view of character in Fielding. Actions are not the
consequences of moral behaviour; personal relationships are unimportant.
Neither can touch a fixed character. There is a lack of communication
between characters. Sub-plots are episodes which are dramatic variations
of the central theme. There is an explicit authorial control over a
fictional world. Tom thinks of Sofia but goes with Molly: he is merely a
puppet to desmonstrate an idea of Fielding's. The importance of plot in
the novel in general is in inverse proportion to that of character. A
complicated plot leads to passive agents, but happily contrived
secondary characters, those not hampered by the needs of the narrative
design (the protagonists sometimes do actions which are at variance with
their authors' intentions).<br />
<br />
To Johnson, Fielding makes immoral people attractive. But Fielding's
morals are more Shakespearean. He broadens our moral senses: sex is
accepted in the tradition of the comedy. The author as omniscient
chorus; essayistic digressions, which produce a distancing effect. An
ironical attitude rowards the reality of his own creation. Moral sense
is conveyed mainly through the author's speech, not through action—a
defect. Fielding goes far from formal realism, but gives a wider view of
mankind and society. Not of the individual, though.<br />
<br />
<br />
<b>Realism and the Later Tradition: A Note</b><br />
<br />
<b>Sterne</b> conciliates Richardson and Fielding, with both internal
and external approaches to character: formal realism of time, place, and
persons, and lifelike action. Great detail. But it is a parody, not a
novel. Narration in the present of the author's mind (as in
Richardson)—but it is past because of its subject. External time as in
Fielding (allusions to Flanders). Contrast between literature and
reality; the time of reading, life, and the time of writing. Mental life
gives flexibility and accounts for <i>durée.</i> There is a freedom to
comment, as in Fielding, but no unrealistic effect because it is
autobiographic. Contrastive scenes in order to assess (artificial in
Fielding) are natural in Sterne because of the stream of consciousness.
Toby is benevolent as Clarissa, but there is also irony (Widow Wadman,
similar to Lady Booby in Fielding). Characters are shown in detail, but
they are humours. An undermining or a reconciliation of Fielding and
Richardson?<br />
<br />
<b>Jane Austen </b>and <b>Fanny Burney:</b> Similar to <i>Grandison,</i>
emphasis on daily life). Minute presentation of everyday life, but a
detached attitude. Authorial narration, not a participant narrator. But
they do not produce an inauthentic effect, distancing is discreet. And
the point of view is close to the subjective world. The themes too:
social and moral problems of economic individuals and the middle-class
quest for status. They are centered on the feminine role, marriage.<br />
</span><br />
<br />
<br />
<i>Notes from Ian Watt's book </i><br />
<br />
</p><div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">The Rise of the
Novel: Studies in Defoe, Richardson and Fielding.</i> (Berkeley: U of California
P; London: Chatto & Windus, 1957) Harmondsworth: Penguin, 1963. </div>
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<br />JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-43609114468764831782022-04-26T18:07:00.001+02:002022-04-26T18:07:23.970+02:00Thomas Robert Malthus (NIVEL AVANZADO)<p> </p><iframe width="560" height="315" src="https://www.youtube.com/embed/GeDMDMXrwc8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-32745598393183543082022-04-26T17:57:00.000+02:002022-04-26T17:57:08.234+02:00The Eighteenth-Century Novel (Saintsbury)<p> </p><div style="text-align: right;">
From George Saintsbury's <i>A History of English Literature.</i><br />
Book IX: Middle and Later Eighteenth-century Literature. <i> </i><br /></div>
<br />
<span style="font-size: large;"><i> </i>Ch. II, "The Eighteenth-century Novel"</span><br />
<br />
<i>Richardson - Fielding - Smollett - Sterne - Minor novelists - Walpole - Beckford - Mrs. Radcliffe - Lewis</i><br />
<br />
<br />
<span style="font-size: large;">Some
reference has been made earlier to the differences, or rather the
hesitations, of opinion in reference to the exact history of the English
novel (1). But for general purposes these may be neglected. The early
prose romance, the Euphuist innovation, major and minor, the
philosophical or Utopian fantasy, the brief Elizabethan tale, the
long-winded translations or imitations of the Scudéry Heroic story, the
picaresque miscellany, and the like, are stages obvious as the general
history unfolds itself. As to the exact position which the great names
of Bunyan and of Defoe hold, difference may be agreed to with
resignation. What is certain is that about the beginning of the second
quarter of the eighteenth century, the period immediately succeeding the
appearance of Defoe's work, there began a development of the prose
novel, and that this, partly though by no means wholly owing to one
group of great writers in the style, had made very great progress by the
beginning of the third, about which time we find lady Mary Wortley
Montagu in Italy receiving boxes full of new novels from her daughter in
England.</span><br />
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-size: large;"><span style="font-size: small;">(1) This history has been put briefly, but with much knowledge and grace, in Mr. W. A. Raleigh's <i>The English Novel</i> (London, 1894). </span></span></blockquote>
</blockquote>
</blockquote>
<br />
<span style="font-size: large;">It
is so difficult to mark out the precise stages by which the modern
novel came into being, that the wisest critics have abstained from
attempting it. We can only say that, for the nearly three generations
which passed between the Restoration and the publication of Richardson's
<i>Pamela,</i> there was an ever greater determination and
concentration towards completed prose fiction; and that the use of the
general form in two such different ways by two such different men as
Swift and Defoe is sufficient proof how near, by the end of the second
decade or so, that completed form was. But there was not much general
practice of it (1). Mrs. Manley and Mrs. Haywood, women of no very good
reputation, followed in the footsteps of Afra Behn, and achieved a
certain popularity, but the novels of the former are thinly-veiled
political libels. The earlier books of Mrs. Haywood are in
seventeenth-century styles, and though she lived to do better in <i>Betsy Thoughtless</i> (1751) and <i>Jemmy and Jenny Jessamy</i>
(1753), these were not published till long after the three great
re-creators of the novel had shown the way. To them, therefore, we may
as well turn at once. </span><br />
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-size: small;">(1)
The minor novels of the eighteenth century are not generally accessible
save in the original editions. There is, indeed, one useful and rather
full collection, <i>Harrison's Novelists,</i> but, as a whole, it is
very bulky, and duplicates much that every one has on his shelves in
other forms. Richardson has been sometimes, Fielding, Smollett, Sterne,
and Miss Burney have been often, reprinted.</span></blockquote>
</blockquote>
</blockquote>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><i>Richardson</i></span><br />
<br />
<span style="font-size: large;">Samuel
Richardson, by a great deal the oldest, by a little the precursor in
actual publication, and indirectly the inspirer of his greatest and
nearest successor, was born in 1689 in Derbyshire, his father being a
joiner, his mother of rather higher rank. He went to Charterhouse, and
was apprenticed in 1706 to a printer, whose daugher he afterwards
married. After setting up for himself he became very prosperous, had a
house in Salisbury Court, Fleet Street, and another, first at North End,
then at Parson's Green, was Master of the Stationers' Company in 1754,
and King's Printer in 1761. A year later he died of apoplexy. He was
contented for many years to print books without writing them, and he was
past fifty when a commission or suggestion from two well-known London
publishers, Rivington and Osborne, for a sort of <i>Model Letter-writer </i>(he had in his youth practised as an amateur in this art) led to the composition of <i>Pamela,</i>
which (at least the first part of it) was published in 1740, and became
very popular. Richardson had already made some acquaintance with
persons of a station superior to his own, and the fame of his book
enlarged this, while it also tempted him to fly higher. In 1748 he
produced <i>Clarissa,</i> which is usually considered his masterpiece, and in 1753 <i>Sir Charles Grandison. </i>Except one paper in <i>The Adventurer,</i> he published nothing else, but left an enormous mass of correspondence. <i>Pamela, or Virtue Rewarded,</i>
gives the story of a girl of low degree who, resisting temptation,
marries her master, and in the second and less good part reclaims him
from irregular courses; <i>Clarissa,</i> that of a young lady of family
and fortune, who, partly by imprudence, partly by misfortune, falls a
prey to the arts of the libertine Lovelace and, resisting his offers of
marriage, dies of a broken heart, to be revenged in a duel by her
cousin; <i>Sir Charles Grandison,</i> that of a young man of still
higher family and larger fortune, who is almost faultless, and
constantly successful in all his endeavours, and who, after being the
object of the adoration of two beautiful girls, the Italian Clementina
della Porretta and the English Harriet Byron, condescends to make the
latter happy. Richardson's expressed, and beyond the slightest doubt his
sincere, purpose in all was, not to produce works of art, but to
enforce lessons of morality. Yet posterity, while pronouncing his morals
somewhat musty and even at times a little rancid, has recognised him as
a great, though by no means an impeccable, artist. It is noteworthy
that his popularity was as great abroad as at home—indeed, it far
exceeded that which any English writer, except Scott and Byron, has
obtained on the Continent during his lifetime. His adoption of the
letter-form influenced novelists very powerfully, and though his style
and spirit were less imitable, there is no doubt that they practically
founded the novel of analysis and feeling, as distinguished from the
romance of adventure.</span><br />
<br />
<span style="font-size: large;">His fault is an excessive long-windedness (<i>Clarissa</i> and <i>Sir Charles Grandison</i>
are by far the longest novels of great merit in English, if not in any
language), an inability, which grew upon him, to construct a stroy with
any diversified and constantly lively interest, an almost total lack of
humour, and a teasing and meticulous minuteness of sentimental
analysis, and history of motive and mood. To those Lady Mary Wortley
Montagu, a formidable critic, added, justly enough, though not so
importantly from our point of view as from hers, an ignorance of the
society which, in his two later novels, he endeavours to depict. His
merits, on the other hand, are a faculty of vivid, though too elaborate,
presentation of the outward accessories of his scenes; a real, though
somewhat limp, grasp of conversation; an intense, though not very varied
or extensive, mastery of pathos; and, above all, a one-sided, partial,
but intimate and true, knowledge of human motive, sentiment, and even
conduct, his time being considered. The proviso is necessary; and the
overlooking of it (with perhaps some personal reasons) was at the bottom
of Johnson's now almost incomprehensible preference of Richardson over
Fielding. Richardson knew the feminine character of his time with a
quite extraordinary thoroughness and accuracy, though his men are much
less good; whereas Fielding knew both men and women first,
eighteenth-century men and women only afterwards, and however well, in a
minor degree. Nor, though Johnson had plenty of humour himself, was he
likely to resent the absence of it in Richardson, as he resented the
presence of a kind different from his own in Fielding.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Great,
however, as are Richardson's qualities, and immense as was the impetus
which his popularity and his merits combined gave to the English novel,
he cannot be said to have given that novel anything like a final or
universal form. The scheme of letters, though presenting to the novelist
some obvious advantages and conveniences, which have secured it not
merely immediate imitation but continuance even to the present day, has
disadvantages as obvious, and can never rise to the merits of prose
narrative from the outside (1). But it is one of not the least
curiosities of literature that the attainment of the true and highest
form actually resulted from an exercise in parody, which certainly,
cannot be regarded as in itself a very high, and has sometimes been
regarded as almost the lowest, form of literature. It is less curious,
and much less unexampled, that the author of this parody was a man who
had already tried, with no very distinguished success, quite different
kinds of writing.</span><br />
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-size: small;">(1) In combination it can do wondrously, as in <i>Redgauntlet.</i></span></blockquote>
</blockquote>
</blockquote>
<br />
<br />
<span style="font-size: large;"><i>Fielding</i></span><br />
<br />
<span style="font-size: large;">Henry Fielding<i> </i>was
born at Sharpham Park, in the south of Somerset, on 22nd April 1707.
His birth was higher than that of any mano of letters of all work who
had preceded him. The house of Fielding claimed kindred with that of
Hapsburh; it had ranked among English gentry since the twelfth century;
and in the century before the novelist's birth it had been ennobled by
two peerages, the earldom of Denbigh in England and that of Desmond in
Ireland. Herny Fielding himself was great-grandson of the first Earl of
Desmond of this creation, but was, of course, unconnected with the great
Geraldines who came to an end when they rebelled against Elizabeth. His
grandfather was a canon of Salisbury, his father a general in the army
who had seen service under Marlborough; his mother's father was a
Justice of the King's Bench, and it was at his house that the novelist
was born. Nor is it to be omitted that he was a near cousin of Lady Mary
Wortley Montagu, whose mother was a Fielding.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">But
though his pedigree was thus undeniable, his immediate forebears had
for two generations been younger sons, and his own patrimony was little
or nothing. He was, indeed, well educated at Eton and at Leyden, but he
seems to have found himself at twenty-one in London with a nominal
allowance and no particular interest for any profession, though, like
other young gentlemen, he was of the Inns of Court. He turned to the
stage, and for not quite ten years produced a large number of plays,
neither very bad nor very good, of which <i>Tom Thumb,</i> a burlesque
"tragedy of tragedies," is perhaps the best, and certainly the only one
which has kept any reputation. About 1735 he seems to have married a
Miss Charlotte Craddock, who was very beautiful, very amiable, and an
heiress in a small way; but whether, as legend asserts, Fielding really
set up for a country gentleman on the strength of her fortune, and spent
it on hounds and showy liveries, is quite uncertain. His theatrical
enterprises being interfered with by some new legislation in 1737, he
turned seriously to the law, was called to the Bar, and practised or at
least went on circuit, while in 1739 he contributed largely to the <i>Champion,</i> a paper on the <i>Spectator </i>pattern (1). His first published, though probably not his first written novel, <i>The History of the Adventures of Joseph Andrews and of his Friend Mr. Abraham Adams,</i>
appeared in February 1742, when its author was almost exactly
thirty-five. It was successful, and next year Fielding published three
volumes of <i>Miscellanies,</i> the important parts of which are <i>A Journey from this World to the Next, </i>in the Lucianic manner which Tom Brown had made popular, and the mighty ironic story of <i>Jonathan Wild.</i>
His wife died soon after this publication, and he married again but not
for some years afterwards. He returned to periodical essay-writing (the
<i>True Patriot</i> and the<i> Jacobite's Journal</i>) in '45 on the Whig side, and in 1759 he produced his third and greatest novel, <i>Tom Jones.</i>
Meanwhile, Lyttelton had obtained for him the position of Bow Street
Magistrate, as it was called, or Justice of the Peace for Westminster,
an office which, though poorly paid, was of enormous importance, for its
holder practically had the police of London, outside the City, in his
hands. He dischrged its duties to admiration, and found time not merely
to publish his last novel, <i>Amelia,</i> in 1751, but to conduct the <i>Covent Garden Journal</i>
for the greater part of 1752. His health, however, was ruined, and,
trying to restore it by travel, he undertook in June 1754 the voyage to
Lisbon which forms the subject of his last book, issued after his death.
He reached the Portuguese capital in August, but died on the 8th of
October.</span><br />
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-size: small;">(1).
Fielding's dramatic, periodical, and miscellanous works must be sought
in their original editions, the best of which is in 4 vols. 4to (London,
1762), or in the great <i>édition de luxe</i> of Mr. Leslie Stephen. The present writer attempted a selection from them in the last volume of an issue of the novels, the <i>Journey,</i> and the <i>Voyage,</i> which he superintended (12 vols. London, 1893).</span></blockquote>
</blockquote>
</blockquote>
<br />
<span style="font-size: large;">Fielding's first novel started as a deliberate burlesque of <i>Pamela.</i>
Its hero is the brother of Richardson's heroine, and her trials are
transferred to this Joseph. Nor did Fielding ostensibly give up his
scheme throughout the book; but his genius was altogether too great to
allow him to remain in the narrow and beggarly elements of parody, and
after the first few Chapters, we forget all about Richardson's ideas and
morals. The great character of Mr. Abraham Adams—a poor curate,
extremely unworldly, but no fool, a scholar, a tall an of his hands, and
a very Good Samaritan of ordinary life—is only the centre and chief of a
crowd of wonderfully lifelike characters, all of whom perform their
parts with a verisimilitude which had never been seen before off the
stage, and very seldom there; while the new scheme of narrative gave an
infinitely wider and more varied scope than the stage ever could give.
Moreover, one of the instruments of this vivid presentation—an
instrument the play of which not seldom sufficed in itself to make the
literary result—was a very peculiar irony, almost as intense as Swift's,
though less bitter, indeed hardly bitter at all, and dealing with life
in a fashion which, but for being much more personal and much less
poetic, is very nearly of the same kind as Shakespeare's.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">In his next published book, <i>Jonathan Wild,</i>
this irony predominates, and is more severe. The hero was a historical
personage, an audacious and ingenious blend of thief and thief-taker,
who had been hanged ten years earlier. Fielding's ostensible object in
composing an imaginary party-history of him was to satirise the ideas of
"greatness" entertained by the ordinary historian—a design showing not
imitation of, but sympathy with, certain ways of thought diversely
illustrated by Swift and Voltaire. But his genius, intensely creative,
once more broke away from this ideal—though the ironic side of <i>Jonathan Wild </i>is stronger than anything else in English or any literature outside the <i>Tale of a Tub,</i>
and so strong that the book has probably on the whole shocked, pained,
or simply puzzled more readers than it has pleased. But it is really as
full of live personages as <i>Joseph Andrews </i>itself; and if these,
being drawn almost entirely from the basest originals, cannot be so
agreeable as the not more true but far more sympathetic characters of
the earlier-published novel, they are, as literature, equally great, and
perhaps more astonishing.</span><br />
<br />
<span style="font-size: large;">It was, however, in his third and longest novel, <i>Tom Jones, </i>that Fielding attained a position unquestionable by anything save mere prejudice or mere crotchet. <i>Joseph Andrews</i> had been, at least in inception, only a parody, and <i>Jonathan Wild </i>mainly
a satire; the former, though not destitute of plot, had had but an
ordinary and sketchy one, and the latter chiefly adapted actual facts to
a series of lifelike but not necessarily connected episodes. <i>Tom Jones,</i>
on the contrary, is as artfully constructed as the most nicely
proportioned drama, and, long as it is, there is hardly a character or
an incident (with the exception of some avowed episodic passages, made
tolerable and almost imperative by the taste of the day and the supposed
example of the classical epic) which is not strictly adjusted to the
attainment of the story's end. To us, perhaps, this is a less attraction
than the vividness of the story itself, the extraordinarily lifelike
presentation of character, and (though this is a charm less universally
admitted) the piquancy of the introductory passages. In these (after a
manner no doubt copied from the parabases or addresses to the audience
in the chorus of the older Attic comedy, and itself serving, beyond all
doubt likewise, as a model to the later asides of Thackeray — Fielding
takes occasion sometimes to discuss his own characters, sometimes to
deal with more general points. But the characters themselves, and the
vivacity with which they are set to work, are the thing. The singular
humanity of Tom Jones himself, a scapegrace even according to the ideas
of his time, but a good fellow; the benevolence, not mawkish or silly,
of Allworthy; the charms and generosity of Sophia; the harmless foibles
of Miss Western, the aunt, and the coarse but not offensive clownishness
of her brother, the Squire, with the humours of Partridge the
schoolmaster, and others, have always satisfied good judges. Even among
the black sheep, Lady Bellaston, shameless as she is, is a lady; and at
the other end of the scale, Black George, rascal as he is, is a man.
Only perhaps the villain Blifil is not exactly human, not so much by
reason of his villainy, as because Fielding, for some reason, has chosen
to leave him so.</span><br />
<br />
<span style="font-size: large;">There is somewhat less power and life in <i>Amelia,</i>
though its sketches of London society in the lower and middle classes
are singularly vivid, and though the character of the heroine as an
amiable wife, not so much forgiving injuries as signoring their
commission, has been almost idolised by some. But no other novelist of
the time — and by this the novelists were numerous — could have written
it.</span><br />
<br />
<span style="font-size: large;">On
the whole, if we are to pronounce the novel as such present for the
first time in the pages of any writer, it must be in those of Fielding
rather than in those of Richardson. Johnson, in his prejudice,
endeavored to set the latter above the former by comparing Fielding to a
man who can only tell the time, and Richardson to one who can put
together the watch. The point may be very stoutly argued; but if it be
admitted, it can be turned against Johnson. For Fielding does tell the
clock of nature with absolute and universal correctness, while
Richardson's ingenious machinery sometimes strikes twenty-five o'clock,
and constantly gives us seconds, thirds, and other troublesome details
instead of putting us in possession of the useful time of day. And in
fact the comparison itself will not really hold water. Fielding does not
parade his mechanism as Richardson does, but his command of it is every
whit as true, and in reality as delicated. He first in English (1), he
thoroughly, and he in a manner unsurpassable, put humanity into
fictitious working after such a fashion that the effect hitherto
produced only by the dramatist and poet, the practical re-creation and
presentation of life, was achieved in the larger and fuller manner
possible only to the prose novelist.</span><br />
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-size: small;">(1)
"In English," for, as he himself was eager to confess, Cervantes in
Spanish had not merely preceded him, but had served as his model.</span></blockquote>
</blockquote>
</blockquote>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><i>Smollett</i></span><br />
<br />
<span style="font-size: large;">The
novels of Tobias George Smollett relapse in appearance and general plan
upon a form — that of the "picaresque" or adventure-novel — older than
that of Fielding or even of Richardson; but in reality they contributed
largely to the development of the new fiction. Their author was born in
1721 at Dalquhurn, in the West of Scotland, and was a member of a good
family, of which, had he lived a little longer, he would have become the
head. He was born, however, the younger son of a younger son, and the
harsh treatment of Roderick Random by his relations has been thought to
reflect upon his own grandfather, Sir James Smollett of Bonhill, Judge
of the Commissary Court of Scotland, M.P., and Commissioner for the
Union. However this may be, Smollett, though well educated, had to make
his own way in the world, and was apprenticed to a Glasgow surgeon. He
practised at different times during his life, but his real profession
was literature, by which he set out to make his fortune in London at the
age of eighteen. He did not make it with a bad and boyish tragedy, <i>The Regicide </i>(1),
but took the place of surgeon's mate on board a man-of-war in the
Carthagena expedition of 1640. He does not seem to have served long, but
remained for some years in the West Indies, and probably they married
his wife, Anne Lascelles, a small heiress. Returning to England he tried
poems and plays with no success, and then in 1748 turned to
novel-writing with a great deal, as the deserved reward of <i>Roderick Random.</i> </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">From
this time onward, Smollett was a novelist by taste and genius, and a
man of letters of all work by necessity. In the former capacity he wrote
and published <i>Peregrine Pickle</i> (1751), <i>Ferdinand, Count Fathom </i>(1753), <i>Sir Lancelot Greaves</i> in 1760, and in 1771 <i>Humprey Clinker.</i> In the latter he edited the <i>Critical Review, </i>wrote a very popular and profitable <i>History of England,</i> gave an account, in an ill-tempered but not uninteresting book, of his <i>Travels </i>in
France and Italy, and did a great deal of miscellaneous work, including
a fierce and foul, but rather dull, political lampoon, <i>The Adventures of an Atom.</i>
His health, between hard work and the hard living then usual, brok down
early, and making a second visit to italy, he died at Leghorn in
October 1771.</span><br />
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-size: large;"><span style="font-size: small;">(1) Smollett's plays and poems are seldom reprinted with the numerous editions of his novels, but may be found in Chalmers; his <i>History </i>is on all the stalls; his criticism and miscellaneous works have never been, and are never likely to be collected in full. The <i>Travels,</i> which are worth reading, have been more than once reprinted.</span></span></blockquote>
</blockquote>
</blockquote>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Smollett's
miscellaneous work, though almost always competent, and sometimes much
more, need not detain us; his novels, excellent in themselves, are of
the highest historical importance. It has been said that he fell back on
the adventure-scheme. Plot he hardly attempted; and even, as regards
incident, he probably, as Thackeray says, "did not invent much," his own
varied experiences and his sharp eye for humorous character giving him
abundant material. In <i>Roderick Random </i>he uses his naval
experiences, and perhaps others, to furnish forth the picture of a young
Scotchman, arrogant, unscrupulous, and not too amiable, but bold and
ready enough; in <i>Peregrine Pickle</i> he gives that of a spendthrift scapegrace, heir to wealth; in <i>Fathom </i>he draws a professional <i>chevalier d'industrie. </i>The strange fancy which made him attempt a sort of "New Quixote" in <i>Sir Launcelot Greaves</i> has seldom been regarded as happy, either in inception or inresult; but in <i>Humphrey Clinker </i>we
have the very best of all his works. It is written in the letter form,
the scenes and humours of many places in England and Scotland are
rendered with admirable picturesqueness, while the book has seldom been
excelled for humorous character of the broad and farcical kind. Matthew
Bramble, the testy hypochondriac squire who is at heart one of the best
of men, and in head not one of the foolishes; his sour-visaged and
greedy sister Tabitha; her maid Winifred Jenkins, who has learnt the art
of grotesque misspelling from Swift's Mrs. Harris, and has improved
upon the teaching; the Scotch soldier of fortune, Lismahago, — these are
among the capital figures of English fiction, and in the earlier books
are the Welsh surgeon's mate Morgan, Commodore Trunnion, and others.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Besides
this conception of humorous if somewhat rough character, and a
remarkable faculty of drawing interiors which acompanies it, and in
which he perhaps even excels Fielding, Smollett made two very important
contributions too the English novel. The first was the delineation of
national types in which he, almost for the first time, reduced and
improved the stock exaggerations of the stage to a human and artistic
temper. The second, not less important, was the introduction, under
proper limitations, of the professional interest. He had, though less of
universality than Fielding, yet enough of it to be successful with
types in which he had only observation, not experiment, to guide him,
but he was naturally most fortunate with what he knew from experience,
sailors and "medical gentlemen." Until his time the sailor had been
drawn almost entirely from the outside in English literature. Smollett
first gives him to us in his habit as he lived, and long continued to
live. To these great merits must be added one or two drawbacks — a
hardness and roughness of tone approaching ferocity, and not more
distinguished from the somewhat epicene temper of Richardson than from
the manly but kindly spirit of Fielding, and an exreme coarseness of
imagery and language — a coarseness which can hardly be called immoral,
but which is sometimes positively revolting.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><i>Sterne</i> </span><br />
<br />
<br />
<span style="font-size: large;">One
element, however, or one special conmixture of elements, remained to be
added in fiction, and then (if we except such minor varieties as the
terror-novel to be handled shortly) it remained with no important
addition or progress until the day of Scott and Miss Austen within the
present [19th] century. This was supplied, that the three kingdoms might
be separately and proportionately represented, by Laurence Sterne (1),
an Irishman by birth at least, and something of an Irishman in
temperament.</span><br />
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-size: small;">(1)
The standard edition of Sterne — novels, sermons and not quite complete
letters — is in 10 vols. The work other than the novels has been often
omitted in reprints; but, as in the case of Fielding, the present writer
has arranged a selection from it in 2 vols (London, 1894).</span></blockquote>
</blockquote>
</blockquote>
<br />
<br />
<span style="font-size: large;"> The
Sternes were an East-Anglian family which, after a member became
Archbishop of York in the seventeenth century, was chiefly connected
with Yorkshire. Laurence was the son of Roger Sterne, a captain in the
army, who was the younger son of Simons Sterne of Erlington, third son
of the Archbishop, and he was born at Clonmell, where his father was
quartered, in 1713, was educated at Halifax, and went thence to Jesus
College, Cambridge, of which, many years before, the Archbishop had been
Master. He took his degree in 1736, and orders soon afterwards,
receiving the livings of Sutton and Stillington as well as minor
preferment in York chapter. He married Elizabeth Lumley in 1741, and for
some twenty years seems to have felt, or at any rate indulged, no
literary ambition. But on New Year's Day 1760 there appeared in York and
London the first volume of <i>The Life and Opinions of Tristram Shandy, Gent.</i>
It was immediately popular, it made its author a lion in the capital
and it turned his attention definitely to literary work, society, and
foreign travel. During the remaning nine years of his life he continued <i>Tristram Shandy </i>at intervals, issued some volumes of <i>Sermons,</i> travelled and resided abroad, and embodied some of the results of this travel in <i>A Sentimental Journey.</i> This last appeared only just before his death, after some previous escapes from long disease, on 18th March 1768.</span><br />
<br />
<span style="font-size: large;">Sterne's work — his <i>Sermons </i>even
to some degree, his two novels to a much greater — is the most
deliberately and ostentatiously eccentric in the higher ranges of
English literature; and being so, contains an element of mere trick,
which inevitably impairs its value. If a man will not, and does not,
produce his effects withouth such mechanical devices as continual
dashes, stars, points, and stopped sentences, even blank pages,
blackened pages, marbled pages, and the like, he must lay his account
with the charge that he cannot produce them without such apparatus. The
charge, however, is in Sterne's case unjust; for though the
"clothes-philosophy" of his style is fantastically adjusted, there is a
real body both of style and of matter beneath.</span><br />
<br />
<span style="font-size: large;"><i>Tristram Shandy,</i>
the pretended history of a personage who rarely appears, is, in fact, a
"rigmarole" of partly original, partly borrowed, humour, arranged in
the syle which the French call <i>fatrasie,</i> and of which Rabelais'
great books are the most familiar, though not quite the normal, type.
Although Tristram himself is the shadow of a shade, Sterne manages to
present the most vivid character-pictures of his father, Walter Shandy,
and his Uncle Toby (the latter the author's most famous, if not his
greatest, creation), together with others, not much less achieved, of
Corporal Trim, Uncle Toby's servant and comrade in the Marlborough wars,
Mrs. Shandy, Widow Wadman, Dr. Slop, and others. And he thus gives a
real novel-substance to a book which coould otherwise hardly pretend to
the title of a novel at all. The <i>Sentimental Journey,</i> a pretended
(and no doubt partly real) autobiographic account of a journey through
France to the Italian frontier, is planned on no very different general
principles, and has its own medallions of character, though they are
less elaborately worked and less closely grouped.</span><br />
<br />
<span style="font-size: large;">Both
books depend for their literay effect on a large number of means —
out-of-the-way reading, of which Sterne availed himself with a freedom
which has brought upon him the charge of plagiarism; very real though
occasionally exaggerated pathos; a curiosly fertile though not extremely
varied fancy; and a considerable indulgence, not in coarseness of the
Smollettian kind, but in indecent hint and innuendo. But their main
appeal lies in two things — a kind of humour which, though sometimes
artificial and seldom reaching the massive and yet mobile humanity of
Fielding, has a singular trick of grace, and a really intimate knowledge
of human nature, combined and contrasted with a less natural quality,
to which Frnace at the time gave the name of "Sensibility" and England
that of "Sentiment." It was this last which gave Sterne his immediate
popularity, though perhaps for a generation or two past that popularity
has been rather endangered by it; and it is still this which gives him
his most distinct place, though not his greatest value, in literary
history. For it, like the prominence of a less definite kind of the same
quality in Richardson, shows the reaction from the rather excessive
hardness and prosaic character of the earlier decades. This reaction was
not yet directed in the right way. It was still powdered and patched,
deliberate, artificial, fashionable. It bore to true passion very much
the same relation which the mannerism of <i>Ossian</i> bore to true
romance, and Strawberry Hill Gothic to real Pointed architecture. It was
theatrical and mawkish; it sometimes toppled over into the ludicrous,
or the disgusting, or both. But it shows at worst a blind groping after
something that could touch the heart as well as amuse the head. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><i>Minor novelists</i></span><br />
<br />
<span style="font-size: large;">Perhaps
it was the popularity of Richardson and Fielding, as early as the first
years of the fifth decade of the century, but more probably the <i>aura</i> or prevalent tendency of general thought, which brought about a great expansion and multiplication of the novel about 1750 (1).</span><br />
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-size: large;"><i> </i><span style="font-size: small;">(1)
Most of the books mentioned from this point to the end of the chapter
will be found in the above-noted collection of Harrison, or in Scott's
Ballantyne novels, sometimes in both. The latter, in ten capacious but
unwieldy volumes, contains all the four great novelists (including
Smollett's translations), the <i>Adventures of a Guinea,</i> Johnson's, Walpole's, and Goldsmith's novels, Mackenzie, Bage, Mrs. Radcliffe, <i>Gulliver's Travels,</i> Cumberland's <i>Henry,</i> and Clara Reeve's <i>Old English Baron.</i> </span></span></blockquote>
</blockquote>
</blockquote>
<span style="font-size: large;">Few
of the minor results of this retain much reputation even with students
of the subject, and most are not over-accessible.Some of them have
obtained an additional prop from the mention and criticism of Lady Mary (<i>vide supra et infra</i>). We have mentioned Mrs. Haywood's books. Francis Coventry's <i>Pompey the Little</i> (1751) was the most amusing, as Charles Johnstone's <i>Chrysal, or The Adventures of a Guinea</i> (1760) was the most powerful, of a kind of personal fiction whereof a memorable example survives in the <i>Memoirs of a Lady of Quality,</i> inserted (one regrets to say for money) by Smollett in <i>Peregrine Pickle,</i>
and doubtless rewritten by him from the materials of the beautiful and
liberal Viscountess Vane. The too notorious Dr. Dodd attempted to
combine Sterne and Smollett, and succeeded in combining the most
objectionable parts of each without any of their genius, in <i>The Sisters</i>; Dr. Hawkesworth followed Dr. Johnson with steps of his usual inequality in <i>Almoran and Hamet</i>
(1761). But the most interesting work in fiction of the middle of the
century is to be found in two books, eccentric in more senses than one. <i>John Buncle</i> (1750-66) and <i>The Fool of Quality</i>
(1766-70). The first was the work, though by no means the only work, of
a curious Irishman named Thomas Amory, who was born in 1691 and died in
1788, who assures us that he was intimate with Swift, and on whom it
would be extremely interesting to have Swift's opinion. Amory began in
1755, with a book, not improbably composed on French models and called <i>Memoirs of Several Ladies of Great Britain.</i> But this, though interesting, pales before the <i>Life of John Buncle, Esq.</i>
The hero is an enthusiastic Unitarian, the husband of seven wives of
surpassing beauty, a man of letters in a way, a man of science and
distinctly marked with the madness which no doubt existed in a temperate
and intangible form in his creator. The book, which is entirely <i>sui generis,</i> fascinated Hazlitt, and has been reprinted, but never widely read.</span><br />
<br />
<span style="font-size: large;">A
much more respectable and an almost equally interesting book, though a
worse novel, seeing that it attempts innumerable things which the novel
cannot manage, is <i>The Fool of Quality.</i> The author of this, Henry
Brooke, was like Amory and Irishman, was born in County Cavan in 1703,
and died at Dublin in 1783. He was, also like Amory, mad, and died so.
He had money, education, and abundant ability, while in his earlier
manhood he was familiar with the best literary society of London. In
1735 he published a poem called <i>Universal Bounty,</i> which is worth notice, though it has been too highly praised; four years later a play, <i>Gustavus Vasa. The Fool of Quality, or The Adventures of Henry, Earl of Morland,</i>
is a wholly unpractical book and a chaotic history, but admirably
written full of shrewdness and wit, and of a singularly chivalrous tone.
Nor must we leave out the really exquisite <i>Peter Wilkins,</i> of an almost unknown author, Robert Paltock, which appeared in 1751. In conception it was a sort of following of <i>Gulliver,</i>
but Paltock has little satire and no misanthropy, and the charm of his
book, which once was a boys' book, and now delights some men, depends on
his ingenious wonders, and on the character of the flying girl
Youwarkee, the only heroine (except Fielding's) of the
eighteenth-century novel who has very distinct charm.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><i>Walpole</i> </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The
contributions of Johnson and Goldsmith to the novel will be best
mentioned with their other work. But the history, as we can give it
here, of eighteenth-century fiction proper is incomplete without a
notice of the curious terror-novel which, anticipated by Horace Walpole,
had its special time in the last decade of the century, the work of
Fanny Burney, that of Mackenzie, and some others. Walpole himself will
occupy us later. The incongruity of most of his work and character with
the <i>Castle of Otranto</i> has always attracted and puzzled critics; nor is there perhaps any better explanation than that the <i>Castle,</i>
momentous as its example proved, was mainly an accident of that
half-understood devotion to "the Gothick" which was common at the time
(1764) and of which Walpole as a dilettante, if not as a sincere
disciple, was one of the chief English exponents. The story is a clumsy
one, and its wonders are perpetually hovering on the verge of the
burlesque. But its influence, though not immediate, was exceedingly
great.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Its nearest successor, the <i>Old English Baron</i>
of Clara Reeve in 1777, imitated rather Walpole's Gothicism than its
ghostliness. Nor can the extremely remarkable and almost isolated
novelette of <i>Vathek</i> (1783) be set down to Walpolian influence
thoguh it undoubtedly did exemplify certain general tendencies of the
day. Its author, William Beckford, was the son of a rather prominent
politician in the city of London, and inherited very great wealth. He
travelled a good deal, leaving much later literary memorials of his
travels; he collected books; he built two gorgeous palaces, one in
England, at Fonthill in Wiltshire, and another in Portugal, at Cintra;
and he in many respects was, and perhaps deliberately aimed at being,
the ideal English "milord" of continental fancy—rich, eccentric, morose,
generous at times, and devoted to his own whimsical will. Such a
character is generally contemptible in reality, but Beckford possessed
very great intellectual ability, and <i>Vathek</i> stands alone. Its
debts to the old Oriental tale are more apparent than real, those to the
fantastic satirical romance of Voltaire, though larger, do not impair
its main originaly; and a singular gust is imparted to its picture of
unbridled power and unlimited desire by the remembrance that the author
himself was, in not such a very small way, the insatiable voluptuary he
draws. The picture of the Hall of Eblis at the end has no superior in a
certain slightly theatrical, but still real, kind of sombre
magnificence, and the heroine Nouronihar is great.</span><br />
<br />
<span style="font-size: large;"><i>Mrs. Radcliffe</i></span><br />
<br />
<span style="font-size: large;">Mrs.
Radcliffe (Anne Ward)—who was born in 1764, and did not die until 1822,
but who published nothing after the beginning of the nineteenth
century, though some work of hers appeared posthumously—produced in the
course of a few years a series of elaborate and extremely popular work,
which has not retained its vitality so well as has <i>Vathek—The Castles of Athlin and Dunbayne</i> (1789), <i>A Sicilian Romance</i> (1790), <i>The Romance of the Forest</i> (1791), the celebrated<i> Mysteries of Udolpho</i> (1795), and <i>The Italian</i>
(1797). Mrs. Radcliffe is prodigal of the mysteries which figure in the
title of her most famous work, of castles and forests, of secret
passages and black veils; but her great peculiarity is the constant
suggestion of supernatural interferences, which conscientious scruple,
or eighteenth-century rationalism, or a mere sense of art, as constantly
leads her to explain by natural causes.</span><br />
<br />
<span style="font-size: large;"><i>Lewis</i></span><br />
<br />
<span style="font-size: large;">Matthew
Lewis, her successor, and (though he denied it) pretty certainly her
imitator, had no such scruples, and in his notorious <i>Monk</i> and other stories and dramas simply lavished ghosts and demons. This department of the novel, unless <i>Vathek</i>
be ranked in it, nothing of very high literary value, but its
popularity was immense, and it probably did some real good by enlarging
the sphere and quickening the fancy of the novelist. </span><br />
<span style="font-size: large;"><i> </i></span><br />
<span style="font-size: large;">There
are more than a few names of note who might be criticized if space
permitted, and who must at any rate be mentioned. Henry Mackenzie
(1745-1831), who followed Sterne in sentiment, though not in other ways,
drew floods of tears with <i>The Man of Feeling </i>(1771), <i>The Man of the World</i>, and <i>Julia de Roubigné</i>; the political philosopher Godein, who will reappear, produced, besides his still famous <i>Caleb Williams</i> (1794), other novels, <i>St. Leon</i> (1799), <i>Fleetwood, Mandeville, </i>etc.; Holcroft the dramatist (1745-1809) gave <i>Alwyn, Hugh Trevor, </i>and especially <i>Anna St. Ives</i>
(1792); Robert Bage, a freethinking Quaker and a man of business, wrote
no less than six fictions, some of them of great lenght; Mrs. Inchbald
(1753-1821), a beauty, an actress, a dramatist, and a novelist, gave to
her <i>Simple Story</i> a certain charm; Hannah More (1745-1833), who
was petted by Johnson in her youth, and petted the child Macaulay in her
age, wrote <i>Cœlebs in Search of a Wife,</i> a moral novel not untinged with social satire. The <i>Zeluco</i>
of Dr. John Moore (1719-1802) is not insignificant. But the most
important, though far from the most gifted, novelist of the latter years
of the century was Frances Burney (1752-1840), the daughter of a
historian of music, who was the intimate friend of Johnson and most of
the men of letters of his time, a pet of the great lexicographer and of
the society of the Thrales, for some time a member of the household of
Queen Charlotte, and then the wife of a French refugee. From him she
took the name Madame D'Arblay, by which she is more commonly known as a
diarist, though almost the whole of that delightful part of her work
deals with her maiden years. Miss Burney wrote in <i>Evelina</i> (1778) a not very well-arranged but extremely lively picture of the entrance of a young girl into society; in <i>Cecilia</i> (1781) a much more ambitious and regular but less fresh story of love and family pride. Her later novels, <i>Camilla</i> (1796) and <i>The Wanderer</i>
(1814) were, the former, a partial, the latter a complete, failure. Her
importance, however, consists in the fact that, at any rate in youth,
she had a singular knack of catching the tone and manners of ordinary
and usual society, and that by transferring these to her two first books
she showed a way which all novelists have followed since. Her great
predecessors of the middle of the century had not quite done this. Some
of the stock ingredients of the older novel are indeed thrown in for
Evelina's benefit—the discovery of parentage, the bold attempts of
unscrupulous lovers, etc. — but they are of no real importance in the
story, which draws its entire actual interest from the faithful
presentation of the most possible, probable, and ordinary events and
characters.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<div style="text-align: center;">
<span style="font-size: large;">—oOo—</span></div>
<br />
JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-12506612150585320532022-04-08T19:30:00.006+02:002022-04-08T19:33:24.278+02:00Queen Anne Prose<big><big><small><big><big><small><big><big><small><br />
</small></big></big>
</small></big></big></small></big></big>
<br />
<div style="text-align: right;">
<big><big><small><big><big><small><big><big><small>From
George
Saintsbury's <i>Short
History of English Literature</i> (1907):</small></big></big></small></big></big></small></big></big></div>
<big><big><small><big><big><small><big><big><small><br />
<br />
(From BOOK VIII - THE AUGUSTAN AGES )<br />
<br />
</small></big></big>
</small></big></big></small></big></big>
<br />
<div style="text-align: center;">
<big><big><small><big><big><small><big><big><small>CHAPTER
IV</small></big></big></small></big></big></small></big></big></div>
<div style="text-align: center;">
<big><big><small><big><big><small><big><big><small><br />
</small></big></big></small></big></big></small></big></big></div>
<div style="text-align: center;">
<big><big><small><big><big><small><big><big><small><big>
<span style="font-size: large;">Q</span><big><big><big><big><big><span style="font-size: xx-small;"><big><big>UEEN</big></big></span></big></big></big></big></big>
<span style="font-size: large;">A</span><span style="font-size: xx-small;"><big><big>NNE</big></big></span> <span style="font-size: large;">P</span><span style="font-size: xx-small;"><big><big>ROSE</big></big></span></big></small></big></big></small></big></big></small></big></big></div><p>
<big><big><small><big><big><small><big><big><small><br />
<small>Swift—His life—His verse—His prose—His quality and
achievement—The Essayists—Steele—His plays—Addison's life—His
miscellaneous work—His and Steele's
Essays—Bentley—Middleton—Arbuthnot—Atterbury—Bolingbroke—Butler and
other divines—Shaftesbury—Mandeville—Berkeley—Excellence of his
style—Defoe.</small><br />
<br />
<i>Swift.</i><br />
<br />
<span style="font-size: x-large;"><i> </i></span><span style="font-size: large;"><span style="font-size: x-large;">J</span>OHN
DUNTON</span>,
the eccentric bookseller mentioned at the close of the last chapter,
refers to a certain "scoffing Tubman," with whose identity neither he,
extensive and peculiar as was his knowledge of literary London, nor
almost any one else, was then acquainted. The reference is, of course,
to the <i>Tale of a Tub, </i>published anonymously in 1704—the first
great book, either in prose or verse, of the eighteenth century, and in
more ways than one the herald and champion of its special achievements
in literature. Jonathan Swift,<small><sup>1</sup></small> its author,
one of the very greatest names in English literature, was, like his
connections Dryden and Herrick, a plant of no very early development.
He had been born as far back as 1667, and his earlier literary
productions had been confined to wretched Pindaric odes, some of them
contributed to Dunton's own papers, and drawing down upon him that
traditional and variously quoted sentence of his great relative,
"Cousin Swift, you will never be a [Pindaric] poet," which is said to
have occasioned certain ill-natured retorts on Dryden later. Swift's
origin, like his character and genius, was purely English, but an
accident caused him to be born in Dublin, and other accidents brought
about his education in Ireland. His father died before his birth, and
his mother was very poor: but his paternal uncle paid for his education
at Kilkenny Grammar School and Trinity College, Dublin. He entered
Trinity very early, in 1682, and seems to have been neither happy nor
successful there, though there may have been less disgrace than has
sometimes been thought in his graduation <span style="font-style: italic;">speciali gratia,</span> and not by the
ordinary way of right, in 1686.<br />
<br />
<span style="font-style: italic;">His life.</span><br />
<br />
He was still under twenty, and for some years found no better
connection than a secretaryship in the house of his distant connection,
Sir William Temple. In 1694 he went to Ireland, was ordained, and
received a small living, but in two years returned to Temple, in whose
house he met "Stella," Esther Johnson, his lifelong friend and, as
seems most probable, latterly his wife. Temple died in 1699, leaving
Swift a small legacy and his literary executorship. He once more
returned to Ireland, acted as secretary to Lord-Deputy Berkeley,
received some more small preferments, though not such as he wanted, and
spent the first decade of the century at Laracor, his chief benefice,
and London, where he was a sort of agent for the Archbishop of Dublin.
He had all this time been a kind of Whig in politics, but with a strong
dislike to Whig anti-clericalism and some other differences; and about
1710 he joined the new Tory party under Harley and St. John, and
carried on vigorous war against the Whigs in <span style="font-style: italic;">The Examiner,</span>
though he did not break personal friendship with Addison and others.
His inestimable services during the four last years of Queen Anne were
rewarded only with the Deanery of Dublin—it is said owing to the
Queen's pious horror of the <span style="font-style: italic;">Tale of
a Tub.</span>
Swift lived chiefly in Dublin, but with occasional visits to his
friends in England, for more than thirty years longer, and the events
of his life, the contests of "Vanessa" and "Stella" for his hand, or at
least his heart, his interference with Irish politics, his bodily
sufferings, and the end which, after five terrible years of madness,
painful or lethargic, came in October 1745, are always interesting and
sometimes mysterious. But we cannot dwell on them here, though they
have more to do with his actual literary characteristics than is often
the case. His dependency in youth, his long sojourn in lettered
leisure, though in bitterness of spirit, with a household the master of
which was a dilettante but a distinctly remarkable man of letters, his
suppressed but evidently ardent affections, his disappointment when at
last he reached fame and the chance of power, and his long residence,
with failing health, in a country which he hated—all these things must
be taken into account, though cautiously, in considering his work.</small></big></big></small></big></big></small></big></big></p><div class="separator" style="clear: both; text-align: center;"><big><small><big><big><small><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlXpSCGLxajRoY0KcLuBdZfsjhkX1fVDZhuSISFp0_yMk1hJPynTnLaLYIoQDVLg2uteIthRStEZGGji8pbLaSsXBYdQ0_7TSSvSwjdS6m_v1_-NgeoaZZa_N7eu0Va7GOsCUCyx60Ex-WcfiBQVroh0yGOIqfy8A13aJy2t97l7nV01_wLQ/s700/swiftbust.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="508" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlXpSCGLxajRoY0KcLuBdZfsjhkX1fVDZhuSISFp0_yMk1hJPynTnLaLYIoQDVLg2uteIthRStEZGGji8pbLaSsXBYdQ0_7TSSvSwjdS6m_v1_-NgeoaZZa_N7eu0Va7GOsCUCyx60Ex-WcfiBQVroh0yGOIqfy8A13aJy2t97l7nV01_wLQ/w290-h400/swiftbust.jpg" width="290" /></a></small></big></big></small></big></div><big><small><big><big><small><br /><br />
<br />
</small></big></big><big><big><small><span style="font-style: italic;">His verse</span></small></big></big><br />
<big><big><small><br />
This [<span style="font-style: italic;">His work</span>] is of very
great bulk, and in parts of rather uncertain
genuineness, for Swift was strangely carele</small></big></big><big><big><small>ss
of literary reputation,
published for the most part anonymously, and, intense as is his
idiosyncrasy, contrived to impress it on one or two of his intimate
friends, notably on Arbuthnot. It consists of both verse and prose, but
the former is rarely poetry and is at its best in easy <span style="font-style: italic;">vers de société,</span> such as <span style="font-style: italic;">Cadenus and Vanessa</span>
(the record of
his passion or fancy for Esther Vanhomrigh), "Vanbrugh's House," the
pieces to Harley and others, and above all, the lines on his own death;
or else in sheer burlesque or grotesque, where he has seldom been
equalled, as in the famous "Mrs. Harris's Petition," and a hundred
trifles, long and short, of the same general kind. Poetry, in the
strict and rare sense, Swift seldom or never touches; his chief example
of it—an example not absolutely authenticated, seeing that we only
possess it as quoted by Lord Chesterfield—is a magnificent fragment
about the Last Judgment. Here, and perhaps only here in verse, his
characteristic indignation rises to poetic heat. Elsewhere he is
infinitely ingenious and humorous in fanciful whim, and, sometimes at
least, infinitely happy in expression of it, the pains which, do doubt
partly owing to Temple's influence and example, he spent upon correct
prose-writing being here extended and reflected in verse. For Swift,
although not pedantically, or in the sense of manuals of composition, a
correct writer, is so in the higher and better sense to a very unusual
degree; and we know that he was better sense to a very unusual degree;
and we know that he was so deliberately. Several passages, especially
one in the <span style="font-style: italic;">Tatler</span>,<small><sup>2</sup></small>
express his views on the point, and his dislike at once of the other
luxuriance which it was impossible for a man of his time to relish, and
of the inroad of slovenly colloquialism which we have noticed in the
last chapter.<br />
<br />
<br />
<span style="font-style: italic;">His prose</span><br />
<br />
Yet if Swift had been, like his patron, and perhaps in some sort
exemplar, Temple, nothing more, or little more, than a master of form
in prose, his prosition in literature would be very different from that
which he actually holds. His first published prose piece, the <span style="font-style: italic;">Dissenssions of Athens and Rome</span>
(an application, according to the way of the times, to contempoarary
politics), contains, except in point of style, nothing very noticeable.
But the anonymous volume of 1704 is compact of very different stuff.
The <span style="font-style: italic;">Battle of the Books,</span> a
contribution to the "Ancient and Modern" debate on Temple's side and in
Temple's honour, is not supreme, though very clever, admirably written
and arranged, and such as no Englishman recently living, save Butler
and Dryden, could have written, while Butler would have done it with
more clumsiness of form, and Dryden with less lightness of fancy. The <span style="font-style: italic;">Tale of a Tub</span>
has supremacy. It may be peremptorily asserted that irreligion is
neither intended nor involved in it. For nearly two centuries the
ferocious controversies, first between Rome and Protestantism, then
between different bodies of Protestants, had entirely blinded men to
the extreme danger that the rough handling which they bestowed upon
their enemies would recoil on the religion which underlay those
enemies' beliefs as well as their own. Adn this, as well as the other
danger of the excessive condemnation of "enthusiasm," was not seen till
long after Swift's death. But the satire on Peter (Rome), Jack
(Calvinism, or rather the extremer Protestant sects generally), and
Martin (Lutheranism and Anglicanism) displays an all-pervading irony of
thought, and a felicity of expressing that irony, which had never been
seen in English prose before. The irony, it must be added, goes, as far
as things human are concerned, very deep and very wide, and its zigzag
glances at politics, philosophy, manners, the hopes and desires and
pursuits and pleasures and pains of man, leave very little unscathed.
There is a famous and not necessarily false story that Swift, in his
sad latter days, once exclaimed, in reference to the <span style="font-style: italic;">Tale,</span> "What a genius I had when I
wrote that book!" The exclamation, if made, was amply justified. The <span style="font-style: italic;">Tale of a Tub </span>is
one of the very greatest books of the world, one of those in which a
great drift of universal thought receives consummate literary form.<br />
<br />
The decade of his Whiggery (or, as it has been more accurately
described, of his neutral state with Whig leanings) saw no great bulk
of work, but some exquisite examples of this same irony in a lighter
kind. This was the time of the charming <span style="font-style: italic;">Argument against Abolishing Christianity</span>
(1708) and of Swift's contributions to the <span style="font-style: italic;">Tatler,</span> which periodical indeed
owed him a great deal more than the mere borrowing of the <span style="font-style: italic;">nom de guerre</span>—Isaac
Bickerstaffe—which he had used in a seris of ingenious persecutions of
the almanack-maker, Partridge. The shorter period of Tory domination
was very much more prolific in bulk of work, but except in the
wonderful <span style="font-style: italic;">Journal to Stella</span>
(1710-13), which was never intended for any eye but hers (and the
faithful "Dingley's"), the literary interest is a littel inferior. The <span style="font-style: italic;">Examiners</span> are of extraordinary
force and vigour; the <span style="font-style: italic;">Remarks on the
Barrier Treaty</span> (1712), the <span style="font-style: italic;">Public
Spirit of the Whigs</span> (1714), and above all the <span style="font-style: italic;">Conduct of the Allies</span>
(1711), which Johnson so strangely decried, are masterly specimens of
the political pamphlet. The largest work of this time, the <span style="font-style: italic;">History of the Four Last Years of Queen
Anne,</span> is sometimes regarded as doubtfully genuine, though there
is no conclusive reason for ruling it out. <br />
<br />
His very greatest prose work, however, dates from the last thirty years
of his life, and especially from the third, fourth and firth lustres of
this time, for the last was darkened by his final agony, and in the
first decade he was too marked a man to venture on writing what might
have brought upon him the exile of Atterbury or the prison of Harley
and Prior. He began at once, however, a curious kind of Irish
patriotism, which was in fact nothing but an English <span style="font-style: italic;">Fronde.</span> In 1724 some jobbery about
a new copper coinage in Ireland gave him a subject, and he availed
himself of this in the <span style="font-style: italic;">Drapier's
Letters</span>
with almost miraculous skill; while two years later came the greatest
of all his books, greater for method, range, and quiet mastery than
even the <span style="font-style: italic;">Tale,</span> that is to say
<span style="font-style: italic;">Gulliver's Travels.</span> The short
but consummate <span style="font-style: italic;">Modest Proposal</span>
for eating Irish children, the pair to the <span style="font-style: italic;">Argument against Abolishing Christianity,</span>
as a short example of the Swiftian irony, came in 1729; and the chief
of his important works later were the delightful <span style="font-style: italic;">Polite Conversation</span>
(1738), probably written or at least begun much earlier, in which the
ways and speeches of ordinary good society are reproduced with infinite
humour and spirit, and the <span style="font-style: italic;">Directions
to Servants,</span>
almost as witty, but more marked with Swift's ugliest fault, a
coarseness of idea and language, which seems rather the result of
positive and individual disease than the survival of Restoration
license.<br />
<br />
<span style="font-style: italic;">His quality and achievement</span><br />
<br />
There is no doubt that on the whole Swift's peculiar powers, temper,
and style are shown in his one generally known book as well as anywhere
else. The absence of the fresher, more whimsical, and perhaps even
deeper, irony and pessimism of the <span style="font-style: italic;">Tale
of a Tub,</span>
and the loss of self-control indicated in the savage misanthropy of the
Hoyhnhnms finale, are compensated by a more methodical and intelligible
scheme, by the charm of narrative, by range and variety of subject, and
by the abundance of little lively touches which that narrative suggests
and facilitates. The mere question of the originality of the scheme is,
as usual, one of the very slightest importance. Swift had predecessors,
if he had not patterns, in Lucian and in scores of other writers down
to and beyond Cyrano de Bergerac. The idea, indeed, of combining the
interest and novelty of foreign travel with an obvious satire on
"travellers' tales," and a somewhat less obvious one on the follies,
vices, and contrasted foibles of mankind, is not beyond tthe range of
an extremely moderate intellect, and could never be regarded as the
property or copyright even of the greatest. It is the astonishing
vigour and variety of Swift's dealing with this public stuff that
craves notice: and twenty times the space here available would be too
little to do justice to that. The versatility with which the picture—it
can hardly even at its worst be called the caricature—of mankind is
adjusted to the different meridians of the little people the giants,
the pedants, the unhappy inmortals, and the horses—the dexterous relief
of the satirists' lash with the mere tickling of the humourist—the
wonderful prodigality of power and the more wonderful economy of words
and mere decorations—all these things deserve the most careful study,
and the most careful study will not in the least intefere with, but
will only enhance, the perpetual enjoyment of them.<br />
<br />
It only remains to point out very briefly the suitableness of the style
to the work. Swift's style is extremely unadorned, though the unfailing
spirit of irony prevents it from being, exept to the most poor and
unhappy tastes, in the very least degree flat. Though not free from
grammatical licenses, it is on the whole corret enough, and is
perfectly straightforward and clear. There may be a very different
meaning lurking by way of innuendo behind Swift's literal and
grammatical sense, but that sense itself can never be mistaken.
Further, he has—unless he deliberately assumes them as the costumes of
a part he is playing—absolutely no distinguishing tricks or manners, no
catchwords, and in especial no unusual phrases or vocables either
imitated or invented. In objecting to neologisms, as he did very
strongly, he was perhaps critically in the wrong; for a language which
ceases to grow dies. But, like some, though by no means all, similar
objectors, he has justified his theory by his practice. In fact, if
intellectual genius and literary art be taken together, no
prose-writer, who is a prose-writer mainly, is Swift's superior, and a
man might be hard put to it to say who among such writers in the
plainer English can be pronounced his equal.<br />
<br />
<span style="font-style: italic;">The Essayists</span><br />
<br />
It has been said that it is hard to settle the credit of the invention
of the Queen Anne Essay, in which the characteristic of the later
Augustan period was chiefly shown. For years before it appeared, the
essay-writers, from Bacon to Temple on the one hand, and the
journalists, of whom the most remarkable were mentioned at the close of
the last chapter, on the other, had been bearing down nearr and nearer
to this particular point. The actual starting is usually assigned to
the <span style="font-style: italic;">Review </span>of
a greater than any of these journalists, Daniel Defoe, who will,
however, find a more suitable place later in this chapter. And it is
noteworthy that Swift, whose fertility in ideas was no less remarkable
than the nonchalance with which he abandoned them or suggested them to
his friends, was most intimate with Steele and Addison just at the time
of the appearance of the <span style="font-style: italic;">Tatler,</span>
lent it a <span style="font-style: italic;">nom de guerre,</span>
wrote for it, and may in different metaphors be said to have given it
inspiration, atmosphere, motive power, launch. But it was undoubtedly
set agoing under the management of another person, Steele, and he need
not be deprived of the honour.<br />
<br />
Richard Steele was born in Dublin in March 1672, but he had little to
do with Ireland afterwards. His school was the Charterhouse, and from
it he went to Merton College at Oxford, where he was postmaster. But
though he made some stay at the University he took no degree, and left
it for the army, beginning as a cadet or gentlemen volunteer in the
second Life Guards, whence he passed as an ensign to the Coldstreams
and as a captain to Lucas's foot. He became Gazetteer in 1707, and a
little later engaged, with more zeal than discretion, in Whig politics,
being expelled from the House of Commons in the turbulent last years of
Anne. The success of the Hanoverians restored him to fortune, or the
chance of it, and he was knighted and made patentee of Drury Lane. But
he was always a spendthrift and a speculator, and in his later years he
had to retire to an estate which his second wife (an heiress in Wales
as the first had been in the West Indies) had brougth him near
Caermarthen. He died there in 1729. His letters and even his regular
works tell us a great deal about his personality, which, especially as
contrasted with that of Addison, has occasioned much writing.<br />
<br />
Steele's desertion of the University for the army might not seem to
argue a devotion to the Muses. But he began<small><sup>3</sup></small>
while still a soldier by a book of devotion, <span style="font-style: italic;">The Christian Hero</span> (1701), and it
was not in him, whatever it might have been in another, at all
inconsistent to turn to play-writing, in which occupation he observed,
though not excessively, the warnings of Jeremy Collier. The <span style="font-style: italic;">Tatler</span> (1709) opened his true vein,
and in it, in the <span style="font-style: italic;">Spectator,</span>
in the <span style="font-style: italic;">Guardian,</span> in the <span style="font-style: italic;">Englishman, Lover,</span> and other
periodicals, he displayed a faculty for miscellany more engaging,
though much less accomplished, than Addison's own. In the political
articles of this series, and still more in his political pamphlets, he
is at his worst, for he had no argumentative faculty, and was utterly
at the mercy of such an opponent as Swift. <span style="font-style: italic;">The Conscious Lovers,</span> his most
famous play, was late (1722) and is distinguished, amid the poor plays
between Farquhar and Sheridan, for its mixture of briskness and
amiability. There was a third ingredient, sentimentality, which is
indeed sufficiently prominent in Steele's earlier comedies, <span style="font-style: italic;">The Funeral</span> (1701), <span style="font-style: italic;">The Lying Lover</span> (1703), and <span style="font-style: italic;">The Tender Husband</span> (1705), and by
no means absent from his essays. But, with a little allowance, it adds
to these latter a charm which, though it may be less perceptible to
later generations than it was to those who had sickened at the
ineffable brutality of the time immediately preceding, can still be
felt.<br />
<br />
<span style="font-style: italic;">His plays<br />
<br />
</span>Of the plays, though all endeavor to carry out Collier's
principles, <span style="font-style: italic;">The Conscious Lovers</span>
is the only one which deserves Fielding's raillery, through Parson
Adams, as to its being "as good as a sermon," which Hazlitt has rather
unfairly extended to all. Even <span style="font-style: italic;">The
Conscious Lovers</span>
contains, in the scenes between Tom and Phyllis, pictures of flirtation
below stairs which, with all Steele's tenderness and good feeling, have
nearly as much vivacity as any between the most brazen varlets and
baggages of the Restoration dramatists. <span style="font-style: italic;">The Lying Lover,</span> an adaptation of <span style="font-style: italic;">Le Menteur,</span> is of no great merit,
perhaps because it also has a slight tendency to sermonising. But <span style="font-style: italic;">The Funeral,</span>
though very unnatural in plot and decidedly unequal in character,
contains a famous passage of farcical comedy between an undertaker and
his mates, and a good though rascally lawyer. The most uniformly
amusing of the four is <span style="font-style: italic;">The Tender
Husband,</span>
though the appropriateness of the title is open to question. The pair
of innocents, the romantic heiress Biddy Tipkin and the clumsy heir
Humphry Gubbin, are really diverting, and in the first case to no small
extent original; while they have furnished hints to no less successors
than Fielding, Goldsmith, Sheridan, and Miss Austen. The lawyer and the
gallant are also distinctly good, and the aunt has again furnished
hints for Mrs. Malaprop, as Biddy has for Lydia. Steele, who always
confessed, and probably as a rule exaggerated, his debts to Addison,
acknowledges them here; and there is a certain Addisonian tone about
some of the humours, though Steele was quite able to have supplied
them. Fond as he was of the theatre, however, and familiar with it, he
had little notion of constructing a play, and his morals constantly
tripped up his art. The essay, not the drama, was his real field.<br />
<br />
The almost inextricable entanglement of the work of Steele with
Addison's, and the close connection of the two in life, have always
occasioned a set of comparison, not to the advantage of one, now to
that of the other, in literary history; and there is probably more loss
than gain in the endeavour to separate them sternly. We may therefore
best give Addison's life, and such short sketch of his books as is
possible now, and then consider together the work, still in parts not
very clearly attributable to one more than to the other, which gives
them, and must always give them, an exalted place in English literature.<br />
<br />
<span style="font-style: italic;">Addison's life</span><br />
<br />
Joseph Addison<small><sup>4</sup></small> was born, like Steele, in
1672, but in May instead of March. His father, Lancelot Addison, was a
divine of parts and position, who became Dean of Lichfield. His
mother's name was Jane Gulston. After experience of some country
schools, at one of which he is said to have shared in a "barring-out,"
he, like Steele, went to the Charterhouse and then to Oxford, where he
was first at Queen's then at Magdalen, holding a demyship, taking his
Master's degree in 1693, and being elected to a Fellowship in 1697, at
the latter college, where "Addison's Walk" preserves his name. He made
early acquaintance with Dryden, but adopted Whig politics; and, by the
influence of Montague, obtained in 1699 a travelling pension of <span style="font-style: italic;">£</span>300
a year. He discharged the obligation loyally, remaining four years
abroad, visiting most parts of the Continent, and preparing, if not
finishing, his only prose works of bulk, the <span style="font-style: italic;">Remarks on Italy</span> (1704) and the <span style="font-style: italic;">Dialogues on Medals,</span>
not published till later. But when he came back in 1703, Halifax was
out of favour, his pension was stopped, and, having broken off his
University career by his failure to take orders, he was for some time
in doubtful prospects. But his poem of <span style="font-style: italic;">The Campaign,</span>
in which he celebrated Blenheim (1704), with one fine passage and a
good deal of platitude, gained high reputation in the dearth of
poetical accomplishment, and the short summer of favour for men of
letters, which followed Dryden's death; and he was made a Commissioner
of Excise. <br />
<br />
This was the first of a long series of appointments, official and
diplomatic, which was not, thanks to Swift, entirely interrupted even
during the Tory triumph, and which enabled Addison, who had been in
1703 nearly penniless, to lay out, in 1711, </small></big></big></small></big><big><big><small><big><big><small><big><big><small><span style="font-style: italic;">£</span>10,000
on an estate in Warwickshire. It culminated in 1717, after the
Hanoverian triumph, by his being appointed Secretary of State, which
office he held but a short time, resigning it for a large pension. He
had a year before married the Countess Dowager of Warwick, and he died
of dropsy at Holland House in 1719, aged only forty-seven. His
character has been discussed, not with acrimony, for no one can dislike
Addison, but with some heat. He had none of the numerous foibles of
which Steele was guilty, except a rather too great devotion to wine.
But the famous and magnificent "Character of Atticus," by Pope, is
generally supposed by all but partisans to be at best a poisoned dart,
which hit true. His correct morality —the Bohemian philosopher
Mandeville called him "a parson in a tie-wig"—has been set down to
cold-bloodedness, and there has even been noticeable dissension about
the relative amount of literary genius in him and in Steele.<br />
<br />
<span style="font-style: italic;">His miscellaneous work<br />
</span><br />
As noticed already, Addison's literary work outside periodicals is by
no means small. His early Latin poems are very clever, and very happy
in their artificial way. Of his English verse nothing has survived,
except his really beautiful hymns, where the combination of sincere
religious feelings (of the sincerity of Addison's religion there is
absolutely no doubt, though it was of a kind now out of fashion) and of
critical restraint produced things of real, though modest and quiet,
excellence. "The Lord my pasture shall prepare," "The spacious
firmament on high," and "How are thy servants blest! O Lord," may lack
the mystical inspiration of the greatest hymns, but their cheerful
piety, their graceful use of images, which, though common, are never
mean, their finish and even, for the time, their fervour make them
singularly pleasant. The man who wrote them may have had foibles and
shortcomings, but he can have had no very grave faults, as the authors
of more hysterical and glowing compositions easily might.<br />
<br />
The two principal prose works are little read now, but they are worth
reading. They show respectable learning (with limitations admitted by
such a well-qualified and well-affected critic as Macaulay), they are
excellent examples (though not so excellent as the Essays) of Addison's
justly famous prose, and they exhibit, in the opening of the <span style="font-style: italic;">Medals</span> and in all the descriptive
passages of the <span style="font-style: italic;">Italy,</span>
the curious insensibility of the time to natural beauty, or else its
almost more curious inability to express what it felt, save in the
merest generalities and commonplaces. <br />
<br />
The three plays at least indicate Addison's possession, though in a
much less degree, of his master Dryden's general faculty of literary
craftsmanship. The opera of <span style="font-style: italic;">Rosamond</span>
is, indeed, clearly modelled on Dryden in its serious parts, but is no
great success there. The lighter and more whimsical quality of
Addison's humour enabled him to do better in the farcical passages,
which, especially in the speeches of Sir Trusty, sometimes have a
singularly modern and almost Gilbertian quality to them. The comedy of <span style="font-style: italic;">The Drummer,</span> where a Wiltshire
tradition is used to make a play on a theme not entirely different from
Steele's <span style="font-style: italic;">Funeral</span>
(in each a husband is thought to be dead when he is not), contains,
like Steele's own pieces, some smart "words," but no very good dramatic
situation or handling. It is, also like Steele's, an attempt to write
Restoration drama in the fear of Jeremy Collier. <span style="font-style: italic;">Cato, </span>the
most famous, is at this time of day by far the least interesting. Its
universally known stock-pieces give almost all that it has of merit in
versification and style; as a drama it has an uninteresting plot,
wooden characters, and a great absence of life and idiosyncrasy. <br />
<br />
<span style="font-style: italic;">His and Steele's Essays<br />
<br />
</span>It is very different when we turn to the Essays. The so-called
Essay which Steele launched in the <span style="font-style: italic;">Tatler,</span>
which was taken up and perfected in the <span style="font-style: italic;">Spectator,</span>
which had numerous immediate followers, and a succession of the
greatest importance at intervals throughout the century, and which at
once expressed and influenced the tone and thought of that century
after a fashion rarely paralleled, was not originally started in quite
the form which it soon assumed, and never, for the greater part of a
hundred years, wholly lost. Naturally enough, Steele at first
endeavoured to make it a newspaper, as well as a miscellany and review.
But by degrees, and before very long, news was dropped, and comment, in
the form of special essays, of "letters to the editor," sometimes real,
oftener manufactured, of tales and articles of all the various kinds
which have subsisted with no such great change till the present day,
reigned alone. As Addison's hand prevailed—though literature, religion,
and even politics now and then, the theatre very often, and other
things were not neglected—the main feature of the two papers, and
especially of the <span style="font-style: italic;">Spectator,</span>
became a kind of light but distinctly firm censorship of manners,
especially the part of them nearest to morals, and of morals,
especially the part of them nearest to manners. Steele, always zealous
and always generous, but a little wanting in criticism, not
infrequently diverged into sentimentality. Addison's tendency, though he, too, was unflinchingly on virtue's side, was
rather towards a very mellow and not unindulgent but still quite
distinctly cynical cynicism—a smile too demure ever to be a grin, but
sometimes, except on religious subjects, faintly and distantly
approaching a sneer. This appears even in the most elaborate and kindly
of the imaginative creations of the double series, Sir Roger de
Coverley, whom Steele indeed seems to have invented, but whom Addison
adopted, perfected, and (some, perhaps without reason, say) even killed
out of kindness, lest a less delicate touch should take the bloom out
of him. This great creation, which comes nearer than anything out of
prose fiction or drama to the masterpieces of the novelists and
dramatists, is accompanied by others hardly less masterly; while
Addison is constantly, and Steele not seldom, has sketches or touches
as perfect in their way, though less elaborate. It is scarcely too much
to say that these papers, and especially the<span style="font-style: italic;"> Spectator, </span>taught
the eighteenth century how it should, and especially how it should not,
behave in public places, from churches to theatres; what books it
should like, and how it should like them; how it should treat its
lovers, mistresses, husbands, wives, parents, and friends; that it
might politely sneer at operas, and must not take any art except
literature too seriously; that a moderate and refined devotion to the
Protestant religion and the Hanoverian succession was the duty, though
not the whole duty, of a gentleman. It is still a little astonishing to
find with what docility the century obeyed and learnt its lesson.
Addison died a little before, Steele not much after, its first quarter
closed; yet in the lighter work of sixty or seventy years later we shall
find, with the slightest differences of external fashion, the laws of
the <span style="font-style: italic;">Spectator </span>held still by
"the town" with hardly a murmur, by the country without the slightest
hesitation. In particular, those papers taught the century how to
write; and the lesson was accepted on this point with almost more
unhesitating obedience than on any other. The magnificent eulogy of
Johnson, who had himself deviated not a little, though perhaps
unconsciously, from Addisonian practice, would have been disputed by
hardly any one who reached manhood in England between the Peace of
Utrecht and the French Revolution; and, abating its exclusiveness a
little, it remains true still.<br />
<br />
Steele, though he has some rarer flights than his friend, is much less
correct, and much less polished; while, though he had started with
equal chances, his rambling life had stored him with far less learning
than Addison possessed. The latter, while he never reached the massive
strength and fiery force of Swift, did even more than Swift himself to
lift English prose out of the rut, or rather quagmire, of colloquialism
and slovenliness in which, as we have seen, it was sinking. He could
even though he rarely did, rise to a certain solemnity—caught, it may
be, from Temple, who must have had much influence on him. But, like
Temple's, though with a more modern, as well as a more varied and
completely polished, touch, his style was chiefly devoted to the
"middle" subjects and manners. He very rarely attempts sheer whimsical
fooling. But he can treat all the subjects that come within the purview
and interests of a well-bred man of this world, who by no means forgets
the next, in a style quite inimitable in its golden
mediocrity—well-informed, without being in the least pedantic; moral,
without direct preaching (unless he gives forewarning); slightly
superior, but with no provoking condescension in it; polite, without
being frivolous or finicking; neat, but not overdressed; easy, but, as
Johnson justly states, never familiar in any offensive degree. It is
easier to feel enthusiasm about Steele, who had so much, than about
Addison, who at any rate shows so little; and on the character, the
genius, the originality, of the two there may always be room for
dispute. But it seems incredible that any one should deny to Addison
the credit of being by far the greater artist, and of having brought
his own rather special, rather limited, but peculiar and admirable
division of art to a perfection seldom elsewhere attained in letters.
These three greatest writers were surrounded by others hardly less than
great. Arbuthnot, Atterbury, Bentley, Bolingbroke, Mandeville, the
younger Shaftesbury, Berkeley, Butler, Middleton, were all either
actual contributors to the great periodical series, or intimately
connected with those who wrote these, or (which is of equal importance
to us) at any rate exponents of the extremely plain prose style, which
required the exquisite concinnity of Addison, the volcanic and Titanic
force and fire of Swift, or the more than Attic stateliness and grace
of Berkeley, to sabe it from being too plain. The order in which they
are to be mentioned is unimportant, and few can have more than very
brief space, but none must pass unnoticed.<br />
<br />
<span style="font-style: italic;">Bentley</span><br />
<br />
Richard Bentley, a very great classical scholar, and no mean writer of
English, was a Yorkshire man, born in 1662, and educated at Wakefield.
He went early to St. John's College, Cambridge, was taken as a private
tutor into the household of Stillingfleet, took orders not very early,
was made King's Librarian in 1694, engaged, and was completely
victorious, in the Ancient and Modern Controversy, especially in
reference to the <span style="font-style: italic;">Epistles of Phalaris</span>;
was made Master of Trinity in 1699, and passed nearly the whole of his
more than forty years of mastership, till his death in 1742, in a
desperate struggle with his college, wherein, if his adversaries were
unscrupulous, he was no less so, while the right was on the whole
rather against him, though his bull-dog tenacity has won most
commentators on the matter to his side. There is at any rate no doubt
of his learning, his logical power, and his very real, though gruff and
horseplayful, humour. To merely English literature he stands<sup>6</sup>
in two very different relations. His almost incredibly absurd
emendations on Milton would, if the thing were not totally alien from
the spirit of the man, seem like a designed parody on classical
scholarship itself. But his writing, especially in the famous <span style="font-style: italic;">Phalaris</span>
dissertation, and in the remarks of the Deist Collins, is
extraordinarily vigorous and vivid. His birth-date, probably even more
than a design to avoid the reproach of pedantry, made him colloquial,
homely, and familiar down to the very level from which Swift and
Addison tried to lift, and to a great extent succeeded in lifting
prose; but his native force and his wide learning save him, though
sometimes with difficulty, from the merely vulgar.<br />
<br />
<span style="font-style: italic;">Middleton</span><br />
<br />
Conyers Middleton, Bentley's most deadly enemy, was, like Bentley, a
Yorkshireman, but was much younger, having been born at Richmond in
1683. He went to Trinity young, and was not only a Fellow thereof, but
connected throughout his life with Cambridge, by his tenure of the
offices of University Librarian from 1722 onwards, and Woodwardian
Professor of Geology for a time. He was a man of property, was thrice
married, and held several livings till his death in 1750, though his
orthodoxy was, in his own times and afterwards, seriously impugned. <br />
<br />
This does not concern us here, though it may be observed that Middleton
may be cleared from anything but a rather advanced stage of the
latitudinarianism and dislike of "enthusiasm" which was generally felt
by the men of his time, and which invited—indeed necessitated—the
Evangelical and Methodist revolt. So, too, we need not busy ourselves
much with the question whether he directly plagiarised, or only rather
breely borrowed from the Scotch Latinist, Bellenden, in his longest and
most famous prose work, the <span style="font-style: italic;">Life of Cicero</span>
(1741). Besides this, he wrote two controversial works of
length—ostensibly directed against Popery, certainly against extreme
supernaturalism, and, as his enemies will have it, covertly against
Christianity—entitled <span style="font-style: italic;">A Letter from Rome, showing an exact Conformity between Popery and Paganism</span> (1729), and <span style="font-style: italic;">A Free Inquiry into the Miraculous Powers which are supposed to have existed in the Christian Church</span>
(1748); with a large number of small pamphlets on a variety of
subjects, in treating which he showed wide culture and intelligence.
His place here, however, is that of the most distinguished
representative of the absolutely plain style—not colloquial and
vernacular like Bentley's, but on the other hand attempting none of the
graces which Addison and Berkeley in their different ways achieved—a
style more like the plainer Latin or French styles than like anything
else in English.<br />
<br />
<span style="font-style: italic;">Arbuthnot</span><br />
<br />
John Arbuthnot,<sup>8</sup> the "moon" of Swift, born 1667, came of the noble
family of that name in Kincardineshire, but went to Oxford, and spent
all the latter part of his life in London, where he was physician to
Queen Anne, a strong Tory, and an intimate friend of Swift and Pope. He
died in 1735, much respected and beloved. Arbuthnot's literary fate, or
rather the position which he deliberately chose, was peculiar. It is
very difficult to identify much of his work, and what seems certainly
his (especially the famous <span style="font-style: italic;">History of John Bull</span> and <span style="font-style: italic;">The Memoirs of Scriblerus)</span>
is exceedingly like Swift, and was pretty certainly produced in concert
with that strange genius, who, unlike some animals, never took colour
from his surroundings, but always gave them his own. It is, however,
high enough praise that Arbuthnot, at the best of his variable work, is
not inferior to anything but the very best of Swift. There is the same
fertility and the same unerringness of irony; and, if we can
distinguish, it is only that a half or wholly good-natured amusement
takes the place of Swift's indignation.<br />
<br />
<span style="font-style: italic;">Atterbury</span><br />
<br />
Francis Atterbury,<sup>9</sup> born in Buckinghamshire in 1672, a
distinguished Christ Church man, who, after being head of his house,
obtained the bishopric of Rochester and the Deanery of Westminster in
succession to Sprat, was the divine and scholar of the extreme Tory
party, as Arbuthnot was their man of science. He has been accused not
merely of conspiring after the Hanoverian succession, but of denying
it, and sailing too near perjury in this denial. Of this there is no
sufficient proof, and we must remember that the political ethics of the
age were extremely accomodating. He was at any rate attained, and
banished (in 1723) to France, where he died nine years later. A
brilliant and popular preacher, a pleasant letter-writer, a most
dangerous controversialist and debater, and a good critic (though he
made the usual mistakes of his age about poetry before Waller),
Atterbury wrote in a style not very unlike Addison's, though inferior
to it. <br />
<br />
<span style="font-style: italic;">Bolingbroke</span><br />
<br />
The huge contemporary fame of Henry St. John, Viscount Bolingbroke,<sup>10</sup>
and its rapid and lasting decline after his death, are among the
commonplaces of literary history. He was born in 1678, passed through
Eton and Christ Church, entered Parliament very early, was Secretary
for War at six-and-twenty, climbed with Harley to power, and contrived
to edge his companion "out," but remained "in" himself only a few days,
fled to the Continent, returned to England and recovered his estates,
but not his seat in Parliament, in 1723, organised and carried out the
English <span style="font-style: italic;">Fronde </span> against
Walpole, and died in 1751. His career—for he was as famous for
"wildness" as for success—was one of those which specially appeal to
the vulgar, and are not uninteresting even to unvulgar tastes. He was
beyond question one of the greatest orators of his day, and he was
extravagantly praised by his friends, who happened to include the chief
poet and the greatest prose writer of the time. Yet hardly any one who
for generations has opened the not few volumes of his works has closed
them without more or less than profound disappointment. Bolinbroke,
more than any other English writer, is a rhetorician pure and simple;
and it was his misfortune, first, that the subjects of his rhetoric
were not the great and perennial subjects, but puny ephemeral forms of
them—the partisan and personal politics of his day, the singularly
shallow form of infidelity called Deism, and the like—and, secondly,
that his time deprived him of many, if not most, of the rhetorician's
most telling weapons. The <span style="font-style: italic;">Letter to Windham</span> (1716), a sort of apologia, and the <span style="font-style: italic;">Ideal of a Patriot King</span> (1749) exhibit him at his best. <br />
<br />
<span style="font-style: italic;">Butler and Other Divines</span><br />
<br />
Benjamin Hoadly (1676-1761), a pluralist courtier, and more than
doubtfully orthodox divine on the Whig side, held four sees in
succession, in one at least of which he was the cause of much
literature, or at least many books, by provoking the famous "Bangorian"
controversy. He himself wroter clearly and well. Nor can the same
praise be denied to Samuel Clarke (1675-1729) philosopher, physicist,
and divine. There is more diversity of opinion about the purely
literary merites, as distinguished from the unquestioned claims in
religious philosophy, of Bishop Joseph Butler, who was born at Wantage
in 1692, left Nonconformity for the Church, went to Oriel, became
preacher at the Rolls Chapel, Rector of Stanhope, Bishop of Bristol,
Dean of St. Paul's, and, lastly, Bishop of Durham, owing these
appointments to no cringing or intrigue, but to his own great learning,
piety, wisdom, and churchmanship, fortunately backed by Queen
Caroline's fancy for philosophy. Butler's <span style="font-style: italic;">Sermons,</span> published in 1726, and his <span style="font-style: italic;">Analogy of Natural and Revealed Religion</span>
ten years later, occasionally contain aphorisms of beauty equal to
their depth; but it is too much to claim "crispness and clearness" for
his general style,<sup>11</sup> which is, on the contrary, too often obscure and tough.<br />
<br />
<span style="font-style: italic;">Shaftesbury</span><br />
<br />
Anthony Ashley Cooper, Earl of Shaftesbury, the third of his names and
title, the grandson of "Achitophel," and the son of the "shapeless
lump" (a phrase for which he never forgave Dryden), was born in 1671.
His mother was Lady Dorothy Manners. He was brought up partly by a
learned lady, and partly by Locke. He was for three years at
Winchester, went to no University , and travelled a good deal abroad.
He sat for a short time in the House of Commons, but made no figure
there or in the House of Lords, where, during nearly the whole time of
his tenure of the earldom (1699-1713), politics, whether Whig or Tory,
were of too rough a cast for his dilettantism. He died, after more
foreign travel, in 1713. His writings, scattered and not extensive, had
been collected two years before as <span style="font-style: italic;">Characteristics of Men, Manners, Opinions, Times.</span><sup>12</sup>
Shaftesbury was an original and almost powerful thinker and writer,
spoilt by an irregular education, a sort of morbid aversion from
English thought generally, an early attack of Deism, and a strong touch
of affectation. Much harm has been done to him by Lamb's description of
his style as "genteel," a word in Lamb's time and later not connoting
the snobbishness which has for half a century been associated with it.
"Superfine," the usual epithet, is truer; though Dr. George Cambpell,
an excellent critic, was somewhat too severe<sup>13</sup> on
Shaftesbury's Gallicisms, and his imprudent and rather amateurish
engagement in the Deist controversy of the time caused him to be broken
a little too ruthlessly on the wheel, adamantine in polish as in
strength, of Berkeley in <span style="font-style: italic;">Alciphron.</span>
His central doctrine, that ridicule is the test of truth, as well as
his style, are in reality caricatures of Addison, though the dates
preclude any notion of plagiarism. He is full of suggestion, and might
have been a great thinker and writer.<br />
<br />
</small></big></big></small></big></big></small></big></big><big><big><small><big><big><small><big><big><small><br />
<span style="font-style: italic;">Mandeville<br />
<br />
</span></small></big></big></small></big></big></small></big></big><big><big><small><big><big><small><big><big><small>Shaftesbury's
superfineness and his optimism seem to have had at least a considerable
share in provoking the cynical pessimism of another remarkable thinker
of this time, Bernard Mandeville, or de Mandeville,<sup>14</sup> a
Dutchman, born at Dordrecht about 1670, who came early to London,
attained a singular mastery in English, practised physic, and died in
1733. There is some mystery, and probably some mystification, about the
origin of <span style="font-style: italic;">The Grumbling Hive,</span> better known by its later title of <span style="font-style: italic;">The Fable of the Bees. </span>No
edition earlier than 1705 is known, but Mandeville claimed a much
earlier date for it. About nine years later a reprint, in 1714, drew
attention, and after yet another nine years another was "presented" by
the Grand Jury of Middlesex, and fiercely denounced by men of such
importance as law and Berkeley. The book, which was constantly
enlarged, is in its final form a cluster of prose tractates, with a
verse nucleus (the original piece) showing how vice made some bees
happy, and virtue made them miserable. A good deal of other work, some
certainly and some probably spurious, is attributed to Mandeville, who
is the Diogenes of English philosophy. An exceedingly charitable
judgment may impute to deliberate paradox, and to irritation at
Shaftesbury's airy gentility, his doctrine that private vices are
public benefits; but the gusto with which he caricatures and debases
everything pure and noble and of good report is, unluckily, too
genuine. He thought, however, with great force and acuteness, despite
his moral twist; he had a strong, fertile, and whimsical humour; and
his style, plebeian as it is, may challenge comparison with the most
famous literary vernaculars in English for racy individuality. <br />
<br />
<span style="font-style: italic;">Berkeley</span><br />
<br />
If, however, Shaftesbury has rather too much of the peacock, and
Mandeville a great deal too much of the polecat, about him, no
depreciatory animal comparison need be sought or feared for George
Berkeley, the best-praised man of his time, and among the most
deserving of praise. He was born in 1685 near Kilkenny, and was
educated first, like swift and Congreve earlier, at its famous grammar
school, and then at Trinity College, Dublin, where he made a long
residence, and wrote his chief purely philosophical works. In 1713 he
went to London , and was introduced to the wits by Swift, after which
he travelled on the Continent for several years. He was made Dean of
Derry in 1724, went with missionary schemes, which were defeated, to
North America, but returned, in 1731, and published the admirable
dialogues of <span style="font-style: italic;">Alciphron.</span> He
was made Bishop of Cloyne in 1714, and for eighteen years resided in
his diocese. A few months before his death, in 1753, he had gone, in
bad health, to Oxford, and he died there. <br />
<br />
Berkeley's principal works,<sup>15</sup> or groups of works, are first—<span style="font-style: italic;">The Theory of Vision</span> (1709), <span style="font-style: italic;">The Principles of Human Knowledge</span> (1710), and the <span style="font-style: italic;">Dialogues of Hylas</span> [Materialist]<span style="font-style: italic;"> and Philonous</span>
[partisan of mind], in which, continuing the Lockian process of
argument against innate ideas, he practically re-established them by a
further process of destruction, and brought down on himself a great
deal of very ignorant attack or banter for his supposed denial of
matter. The above-mentioned <span style="font-style: italic;">Alciphron; or, the Minute Philosopher,</span>
is a series of dialogues, in which the popular infidelity of the day,
whether optimist like Shaftesbury's, pessimistical like Mandeville's,
or one-sidedly critical like that of the Deists proper, is
attacked in a fashion which those who sympathise with the victims
accuse of occasional unfairness, but which has extraordinay cogency as
polemic, and extraordinary brilliance as literature. His last important
work was <span style="font-style: italic;">Siris,</span> and odd
miscellany, advocating tar-water for the body, and administering much
excellent mysticism to the soul; but he wrote some minor things, and a
good many letters, diaries, etc., which were not fully published till
the later years of the present century [19th].<br />
<br />
<span style="font-style: italic;">Excellence of his style</span><br />
<br />
Unusually good as a man, and unusually great as a philosopher, Berkeley
would have stood in the first rank as a mere writer had his character
been bad or unknown, and the matter of his writings unimportant. The
charm of his style is at once so subtle and so pervading that it is
extremely difficult to separate and define it. He has no mannerisms;
although he is a most accomplished ironist, he does not depend upon
irony for the seasoning of his style, as, in different ways, do Addison
and Swift; he can give the plainest and most unadorned exposition of an
abstruse, philosophical doctrine with perfect literary grace. And (as,
for instance, in Lysicles' version of Mandeville's vices-and-benefits
argument) he can saturate a long passage with satiric innuendo, never
once breaking out into direct tirade or direct burlesque. He can
illustrate admirably, but he is never the dupe of his illustrations. He
is clearer even than Hobbes and infinitely more elegant, while his
dialect and arrangement, though originally arrived at for argumentative
purposes, or at least in argumentative works, are equally suited for
narrative, for dialogue, for description, for almost every literary
end. Were it not for the intangibleness, and therefore the
inimitableness, of his style, he would be an even better general model
than Addison; and, as it is, he is unquestionably the best model in
English, if not in any language, for philsoophical, and indeed
for argumentative, writing generally.<br />
<br />
<span style="font-style: italic;">Defoe</span> <br />
<br />
Daniel Defoe,<sup>16</sup> the link between the great essayists of the
earlier and the great novelists of the middle years of the eighteenth
century—one of the most voluminous and problematical of English
writers, as well as one of all but the greatest—a man, too, of very
questionable life and character—could not be fully discussed in any
compendious history of English literature. But luckily it is by no
means necessary that he should be so discussed, the strictly literary
lines of his work being broad and clear, and the problems both of it
and of his life being such as may, without any loss, be left to the
specialist. He was born, it would seem, in 1659 (not , as used to be
though, 1661) in the heart of London, St. Giles's, Cripplegate, where
his father (whose name was certainly Foe) was a butcher. It is not
known for what reason or cause Daniel, when more than fifty, assumed
the "de," sometimes as separate particle, sometimes in composition. He
was well educated, but instead of becoming a Nonconformist minister,
took to trade, which at intervals and in various forms
(stocking-selling, tile-making, etc.) he pursued with no great luck. He
seems to have been a partaker in Monmouth's rebellion, and was
certainly a good deal abroad in the later years of the seventeenth
century, but he early took to the vocation of pamphleteering, which,
with journalism and novel-writing, gave his three great literary
courses. The chief among the many results of this was the famous <span style="font-style: italic;">Shortest Way with the Dissenters </span>(1702),
a statement of the views of the extreme "Highflying" or High Church
party, in which some have seen irony, but which really is the exact
analogue in argument of his future fictions, that is to say, an
imitation of what he wanted to represent so close that it looks exactly
like fact. He was prosecuted, fined, pilloried, and imprisoned, but in
the growing Whig temper of the nation, the piece was undoubtedly very
effective. <br />
<br />
For the greater part of the reign of Queen Anne, and at first in prison, Defoe carried on, from 1704 to 1713, his famous <span style="font-style: italic;">Review,</span>
the prototype to some extent of the great later periodicals, but
written entirely by himself. Before he had been long in prison he was
liberated by Harley, of whose statesmanship, shifting in method, and
strangely compounded of Toryism and Whiggery in principle, Defoe became
a zealous secret agent. He had a great deal to do with negotiating the
Union with Scotland. Nor did Harley's fall put an end to his engagement
in subterranean branches of the public service; for it has long been
known that under the House of Hanover he discharged the delicate, or
indelicate, part ofa Tory journalist, secretly paid by the Whig
Government to tone down and take the sting out of <span style="font-style: italic;">Mist's Journal</span>
and other opposition papers. He lived for a good many years longer, and
did his best literary work in his latest period; but at the last he
experienced some unexplained revolution of fortune, and died at
Moorfields, in concealment and distress, in 1731. <br />
<br />
Of Defoe's, in the strictest sense, innumerable works the following catalogue of the most importan may serve: —</small></big></big></small></big></big></small></big></big><big><big><small><big><big><small><big><big><small><span style="font-style: italic;">Essay on Projects</span></small></big></big></small></big></big></small></big></big><big><big><small><big><big><small><big><big><small>
(1698), an instance of the restless tendency of the time towards
commercial and social improvements, and of Defoe's own fertility; <span style="font-style: italic;">The True-Born Englishman </span>(1701), an argument in vigorous though most unpoetical verse to clear William from the disability of his foreign origin; the <span style="font-style: italic;">Hymn to the Pillory</span>
(1703), composed on the occasion of his exhibition in that implement,
still more vigorous and a little less unpoetical; the curious political
satire of the <span style="font-style: italic;">Consolidator</span> (1705); the masterly <span style="font-style: italic;">Relation of Mrs. Veal,</span> the first instance of his wonderful "lies like truth"; <span style="font-style: italic;">Jure Divino </span>(1706), worse verse and also worse sense than <span style="font-style: italic;">The True-Born Englishman.</span> But the best of these is poor compared with the great group of fiction of his later years — <span style="font-style: italic;">Robinson Crusoe</span> (1719), <span style="font-style: italic;">Duncan Campbell, Memoirs of a Cavalier,</span> and <span style="font-style: italic;">Captain Singleton </span>(all produced in 1720), <span style="font-style: italic;">Moll Flanders,</span> the <span style="font-style: italic;">History of the Plague, </span>and <span style="font-style: italic;">Colonel Jack</span> (all in 1722), <span style="font-style: italic;">Roxana</span> (1724), and <span style="font-style: italic;">A New Voyage Round the World</span>
(1725). Besides these, he published in his later years, as he had in
his earlier, a crowd of works, small and great, political,
topographical, historical, moral, and miscellaneous.<br />
<br />
It is not of much use to discuss Defoe's moral character, and it is
sincerely to be hoped that no more revelations concerning it will turn
up, inasmuch as each is more damaging than the last, except to those,
who have succeeded in taking his true measure once for all. It is that
of a man who, with no high, fine, or poetical sentiment to save him,
shared to the full the partisan enthusiasm of his time, and its belief
that all was fair in politics. His literary idiosyncrasy is more
comfortable to handle. He was a man of extraordinary industry and
versatility, who took an interest, subject to the limitations of his
temperament, in almost everything, whose brain was wonderfully fertile,
and who had a style, if not of the finest or most exquisite, singularly
well suited to the multifarious duties to which he put it. Also, he
could give, as hardly even Bunyan had given before him, and as nobody
has since, absolute verisimilitude to fictitious presentations. He
seems to have done this mainly by a certain chameleon-like faculty of
assuming the atmosphere and colour of his subject, and by a cunning
profusion of exactly suited and selected detail. It is enough that in <span style="font-style: italic;">Robinson Crusoe</span>
he has produced, by help of this gift, a book which is, throughout its
first two parts, one of the great books of the world in its particular
kind; and that parts of <span style="font-style: italic;">Moll Flanders, Captain Singleton,</span> and <span style="font-style: italic;">Colonel Jack, </span>at
least, are not inferior. Further, the "lift" which Defoe gave to the
novel was enormous. He was still dependent on adventure; he did not
advance mucho, if at all, beyond the more prosaic romantic scheme. But
the extraordinary verisimilitude of his action could not but show the
way to the last step that remained to be taken, the final projection of
character. </small></big></big></small></big></big></small></big></big><p></p><p><big><big><small><big><big><small><big><big><small> </small></big></big></small></big></big></small></big></big></p><p><big><big><small><big><big><small><big><big><small> </small></big></big></small></big></big></small></big></big></p><p style="text-align: right;"><big><big><small><big><big><small><big><big><small><a href="https://jaglit.blogspot.com/2022/04/prose-in-age-of-reason.html" target="_blank">Prose in the Age of Reason </a><br /></small></big></big></small></big></big></small></big></big></p><p><big><big><small><big><big><small><big><big><small></small></big></big></small></big></big></small></big></big></p><p><big><big><small><big><big><small><big><big><small></small></big></big></small></big></big></small></big></big></p><p><big><big><small><big><big><small><big><big><small></small></big></big></small></big></big></small></big></big></p><p><big><big><small><big><big><small><big><big><small></small></big></big></small></big></big></small></big></big></p><p><big><big><small><big><big><small><big><big><small></small></big></big></small></big></big></small></big></big></p><p><big><big><small><big><big><small><big><big><small><br />
<br />
<br /></small></big></big></small></big></big></small></big></big></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-37360289997727091532022-04-08T19:23:00.005+02:002022-04-08T19:31:24.765+02:00Prose in the Age of Reason<div style="text-align: right;">
(From Anthony Burgess, <i>English Literature, </i>Longman, 1974)</div>
<br />
<i><b>16. Prose in the Age of Reason</b></i><br />
<br />
Despite the interesting body of verse that the eighteenth century produced, the works that have worn best and that still hold the general reader most are in prose. Defoe and Swift and Fielding hardly seem to have dated, while Pope and his followers seem artificial to modern readers, and require to be looked at through the glass of 'historical perspective'.<br />
<br />
<i>Beginnings of Newspapers</i> <br />
<br />
Daniel Defoe (1660-1731) was a journalist, and that fact itself draws him to our own time. The development of the newspaper and the periodical is an interesting literary sideline of the seventeenth century. The Civil War undoubtedly stimulated a public appetite for up-to-the minute news (such news then was vital) and the Restoration period, with its interest in men and affairs, its information services in the coffee-houses, was developing that wider interest in news—home and foreign—which is so alive today. Defoe is, in many ways, the father of the modern periodical, purveying opinion more than news, and <i>The Review,</i> which he founded in 1704, is the progenitor of a long line of 'well-informed' magazines. Defoe did not see himself primarily as a literary artist: he had things to say to the public, and he said them as clearly as he could, without troubling to polish and revise. There are no stylistic tricks in his writings, no airs and graces, but there is the flavour of colloquial speech, a 'no-nonsense', down-to-earth simplicity. He was—like Swift—capable of irony, however, and his <i>Shortest Way with the Dissenters</i> states gravely that those who do not belong to the Church of England should be hanged. (Defoe himself was a Dissenter, of course). This pamphlet was taken seriously by many, but, when the authorities discovered they had been having their legs pulled, they put Defoe into prison.<br />
<br />
<br />
<i>Defoe novels</i><br />
<br />
The most interesting of Defoe's 'documentary' works is the <i>Journal of the Plague Year</i> (one gets the impression that Defoe was actually present in London during that disastrous time, seriously taking notes, but a glance at his dates shows that this was impossible). But his memory is revered still primarily for his novels, written late in life: <i>Robinson Crusoe,</i> <i>Moll Flanders, Roxana, </i>and others. The intention of these works is that the reader should regard them as true, not as fictions, and so Defoe deliberately avoids all art, all fine writing, so that the reader should concentrate only on a series of plausible events, thinking: 'This isn't a story-book, this is autobiography.' Defoe keeps up the straight-faced pretence admirably. In <i>Moll Flanders</i> we seem to be reading the real life-story of a 'bad woman', written in the style appropriate to her, In <i>Robinson Crusoe,</i> whose appeal to the young can never die, the fascination lies in the bald statement of facts which are quite convincing—even though Defoe never had the experience of being cast away on a desert island and having to fend for himself. The magic of this novel never palls: frequently in England a musical comedy version of it holds the stage during the after-Christmas 'pantomime season'.<br />
<br />
<br />
<i>Other journalists</i> <br />
<br />
Other journalists were Richard Steele (1672-1729) and Joseph Addison (1672-1719). Steele started <i>The Tatler,</i> and Addison later joined him, and their writings in this periodical had a moral purpose—they attempted to improve manners, encourage tolerance in religion and politics, condemn fanaticism, and preach a kind of moderation in all things, including the literary art. Addison comes into his own in <i>The Spectator,</i> started in 1711, and the most valuable articles of that paper are his. His big achievement is the creation of an imaginary club, its members representing contemporary social types, and one member has become immortal—Sir Roger de Coverley. Sir Roger is the old-type Tory, rather simple-minded, throroughly good-hearted, never for long away from his country estate, full of prejudices and superstitions which are meant to make us smile, but smile sympathetically. (Addison himself, by the way, was a Whig). Against Sir Roger is set the Whig merchant, Sir Andrew Freeport, a man of less charm than Sir Roger but of far more intelligence. Addison seems to point to a middle way in politics—there is much good in the old, and one should not scoff at the outmoded ideas of the Tories, but the Whigs stand with progress and with the lies the England of the future.Sir Roger is a fine creation, worthy to rank with any of the eccentrics of eighteenth-century fiction (such as Squire Western in <i>Tom Jones</i>). Addison's prose-style is an admirable compromise: it has the grace and polish of the artist, the ease and flow and simplicity of the journalist. If Addison has a fault, it lies in a certain sentimentality: he likes to provoke tears, and his humour has sometimes an over-gentle whimsicality that makes us long for stronger meat.<br />
<br />
<br />
<i>Swift </i><br />
<br />
The greatest prose-writer of the first part—perhaps the whole—of the century is Jonathan Swift (1667-1745). A great humorist and a savage satirist, his meat is sometimes too powerful even for a healthy stomach. He is capable of pure fun—as in some of his poems—and even schoolboy jokes, but there is a core of bitterness in him which revealed itself finally as mad hatred of mankind. On his own admission, he loved Tom, Dick, and Harry, but hated the animal, Man. Yet he strove to do good for his fellow-men, especially the poor of Dublin, where he was Dean of St. Patrick's. The <i>Drapier's Letters</i> were a series of attacks on abuses of the currency, and the Government heeded his sharp shafts. The monopoly of minting copper money, which had been given to a man called Wood, was withdrawn, and Swift became a hero. In his <i>Modest Proposal</i> he ironically suggested that famine in Ireland could be eased by cannibalism, and that the starving children should be used as food. Some fools took this seriously. His greatest books are <i>A Tale of a Tub </i>and <i>Gulliver's Travels.</i><br />
<br />
The first of these is a satire on the two main non-conformist religions—Catholicism and Presbyterianism. Swift tells the story of three brothers their inheritance (the Chistian religion). The story is farcical and at times wildly funny, but people of his day could perhaps be forgiven if they found blasphemy in it. It certainly shocked Queen Anne so much that she would not allow Swift to be made a bishop, and this contributed to Swift's inner frustration and bitterness. <i> </i><br />
<br />
<br />
<i>Gulliver </i><br />
<br />
<i>Gulliver's Travels</i> hides much of its satire so cleverly that children still read it as a fairy story. It starts off by making fun of mankind (and especially England and English politics) in a quite gentle way: Gulliver sees in Lilliput a shrunken human race, and its concerns—so important to Lilliput—become shrunken accordingly. But in the second part, in the land of the giants, where tiny Gulliver sees human deformities magnified to a feverous pitch, we have something of this mad horror of the human body which obsesses Swift. (According to Dr. Johnson, Swift washed himself excessively—'with Oriental scrupulosity'—but his terror of dirt and shame at the body's functions never disappeared.) In the fourth part of the book, where the Houyhnhnms—horses with rational souls and the highest moral instincs—are contrasted with the filthy, depraved Yahoos, who are really human beings, Swift's hatred of man reaches its climax. Nothing is more powerful or horrible than the moment when Gulliver reaches home and cannot bear the touch of his wife—her smell is the smell of a Yahoo and makes him want to vomit.<br />
<br />
Swift is a very great literary artist, and perhaps only in the present century is his full stature being revealed. He is skilful in verse, as well as in prose, and his experience continues: James Joyce—in his <i>The Holy Office—</i>has written Swiftian verse; Aldous Huxley (in <i>Ape and Essence</i>) and George Orwell (in <i>Animal Farm</i>) have produced satires which are really an act of homage to Swift's genius. Yet <i>Gulliver's Travels</i> stands supreme: a fairy story for children, a serious work for men, it has never lost either its allure or its topicality.<br />
<br />
<br />
<i>Religious writing</i><br />
<br />
The first part of the century is also notable for a number of philosophical and religious works which reflect the new 'rational' spirit. The Deists (powerful in France as well as in England) try to strip Christianity of its mysteries and to establish an almost Islamic conception of God—a god in whom the persons of the Christian Trinity shall have no part—and to maintain that this conception is the product of reason, not of faith. On the other hand, there were Christian writers like William Law (1686-1761) and Isaac Watts (1674-1748) who, the first in prose, the second in simple pious verse, tried successfully to stress the importance of pure faith, even of mysticism, in religion. The religious revival which was to be initiated by John Wesley (1703-91) owes a good deal to this spirit, which kept itself alive despite the temptations of 'rationalism'. Joseph Butler (1692-1752) used reason, not to advance the doctrine of Deism, but to affirm the truths of established Christianity. His <i>Analogy of Religion</i> is a powerfully argued book. The most important philosopher of the early part of the century is Bishop Berkely (1685-1753), whose conclusions may be stated briefly: he did not believe that matter had any real existence apart from mind. A tree exists because we see it, and if we are not there to see it, God is always there. Things ultimately exist in the mind of God, not of themselves. He was answered later by David Hume (1711-76), the Scots philosopher, who could not accept the notion of a divine system enclosing everything. He ould see little systems in the universe: he begins and ends with human nature, which links together a series of impressions, gained by the senses, by means of 'association'. We make systems according to our needs, but there is no system that <i>really exists</i> in an absolute sense. There is no ultimate truth, and even God is an idea that man has developed for his own needs. This is a closely argued kind of sceptical philosophy, very different from Berkeley's somewhat mystical acceptance of reality's being the content of the 'Mind of a God'.<br />
<br />
<br />
<i>Richardson</i> <br />
<br />
The novel develops, after the death of Defoe, with Samuel Richardson (1689-1761), a professional printer who took to novel-writing when he was fifty. Richardson liked to help young women with the composition of their love letters, and was asked by a publisher to write a volume of model letters for use on various occasions. He was inspired to write a novel in the form of a series of letters, a novel which should implant a moral lesson in the minds of its readers (he thought of these readers primarily as women). This novel was <i>Pamela, or Virtue Rewarded,</i> which describes the assaults made on the honour of a virtuous housemaid by an unscrupulous young man. Pamela resists, clinging tightly to her code of honour, and her reward is, ultimately, marriage to her would-be seducer, a man who, despite his brutishness, has always secretly attracted her. It is a strange sort of reward, and a strange basis for marriage, according to our modern view, but this moral persists in cheap novelettes and magazines even today—a girl makes herself inaccessible before marriage, and the man who has tried to seduce her, weary of the lack of success, at last accepts her terms. Richardson's <i>Clarissa</i> is about a young lady of wealth and beauty, virtue and innocence, who, in order to avoid a marriage which her parents are trying to arrange, seeks help from Lovelace, a handsome but, again, unscrupulous young man. Lovelace seduces her. [<i>Actually he <b>rapes</b> her—JAGL.</i>] Repentant, he asks her to marry him, but she will not: instead, worn out by shame, she dies, leaving Lovelace to her remorse. This is a more remarkable novel thatn it sounds: close analysis of character, perhaps for the first time in the history of the novel, looks forward to the great French novelists, Flaubert and Stendhal, and Lovelace has a complexity of make-up hardly to be expected in the literature of the age. <i>Sir Charles Grandison</i> is Richardson's third novel: its hero, full of the highest virtues, wondering which woman duty should compel him to marry, is anaemic and priggish. (A hero should have something of the devil in him.) This novel is far inferior to the other two.<br />
<br />
<br />
<i>Fielding</i><br />
<br />
The greatest novelist of the century is Henry Fielding (1707-54). He started his novel-writing career, like Richardson, almost by accident. Moved to write a parody of <i>Pamela,</i> he found his <i>Joseph Andrews</i> developing into something far bigger than a mere skit. Joseph, dismissed from service because he will not allow his employer, Lady Booby, to make love to him, takes the road to the village where his sweetheart lives, meets the tremendous Parson Adams—who then becomes virtually the hero of the book—and has many strange adventures on the road, meeting rogues, vagabonds, tricksters of all kinds, but eventually reaching his goal and happiness ever after. With Fielding one is inclined to use the term <i>picaresque</i> (from the Spanish <i>pícaro,</i> meaning 'rogue'), a term originally applicable only to novels in which the leading character is a rogue (such as the popular <i>Gil Blas</i> by Le Sage, published between 1715 and 1735). It is a term which lends itself to description of all novels in which the bulk of the action takes place on the road, on a journey, and in which eccentric and low-life characters appear. <i>Don Quixote</i> is, in some ways, picaresque; so is Priestley's <i>The Good Companions.</i> Fielding's <i>Jonathan Wild</i> is truly picaresque, with its boastful, vicious hero who extols the 'greatness' of his every act of villainy (his standards of comparison are, cynically, provided by the so-called virtuous actions of great men) until he mees his end on the gallows or 'tree of glory'. <i>Tom Jones</i> is Fielding's masterpiece. It has its picaresque elements—the theme of the journey occupies the greater part of the book—but it would be more accurate to describe it as a mock-epic. It has the bulk and largeness of conception we expect from an epic, and its style sometimes parodies Homer:<br />
<blockquote class="tr_bq">
Hushed be every ruder breath. May the heathen ruler of the winds confine in iron chains the boisterous limbs of noisy Boreas, and the sharp-pointed nose of bitter-biting Eurus. Do thou, sweet Zephyrus, rising from thy fragant bed, mount the western sky, and lead on those delicious gales, the charms of which call forth the lovely Flora from her chamber, perfumed with pearly dews...</blockquote>
And so on for several hundred words, until eventually we are introduced to the charming, but not quite Homeric, Sophia Western, heroine of the novel and beloved of the quite ordinary but quite likable hero, Jones himself. The novel introduces a rich variety of characters, contains certain shrewd moral observations, and has an acceptable philosophy—liberal and tolerant, distrustful of too great enthusiasm, recognising the social conventions, but much concerned with reform of the law. (It was Fielding's liberalism which helped along the reform movements of the end of the century.) But we appreciate <i>Tom Jones </i>most for its boisterous humour, its good sense, and its vivid characterisation.<br />
<br />
<br />
<i>Smollett</i><br />
<br />
Tobias Smollett (1721-71) is responsible for <i>Roderick Random, Peregrine Pickle, </i>and <i>Humphrey Clinker.</i> The first gives us an insight into the life of the British Navy, which Smollett knew at first hand, having served as a ship's surgeon. The vice and brutality are vividly portrayed, but the satirical tone of the whole book seems to rob it somehow of the force of an indictment—exaggeration is Smollett's technique, not the direct 'reportage' of Defoe. But we are intrended to take the novel as entertainment, not as propaganda, nad as entertainment it is superb, though strong meat. It is the first of a long line of novels about life at sea, a line which can boast distinguished names like Conrad and Herman Melville. <i>Peregrine Pickle</i> is a gentler tale of sailors living on land, and <i>Humphry Clinker,</i> which reverts to Richardson's technique of presenting the story in the form of a series of letters, is less a novel than a travel-book—an account of a journey thorugh England and Scotland made by a framily from Wales, the letters presenting strongly the distinctive personalities of the writers. What little plot there is centres on a couple of love-affairs and the discovery that Humphry Clinker—servant of the family making the tour—is really the son of Mr. Bramble, the grumpy but golden-hearted head of the family.<br />
<br />
<br />
<i>Sterne</i><br />
<br />
Laurence Sterne (1713-68) produced a remarkable and eccentric novel in his <i>Tristram Shandy,</i> which breaks all the rules, even of language and punctuation, and deliberately excludes all suggestions of a plot, so that—despite the considerable length of the book—nobody gets anywhere, nothing really happens, and the hero does not succeed even in getting born until half-way through! The author deliberately hinders all movement: just when we think a story is about to develop, Sterne introduces an incredible digression—a long piece of Latin (with translation on the opposite page), a blank sheet, a page with a marbled design on it, a collection of asterisks—anything to obstruct or mystify. Yet characters emerge: the learned Mr. Shandy, the gentle old soldier Uncle toby and Trim, his corporal (these last two spend much time reconstructing the battle of Namur on a bowling-green). There are lewd jokes, patches of sentimentality—often saved, just in time, from becoming mawkish by an ironical stroke—and grotesque Rabelaisian episodes. (Sterne looks back to Rabelais and forward to James Joyce.) Sterne's <i>Sentimental Journ</i>ey<i> </i>is an account of travels through France and Italy, and here tears are shed freely—especially over animals, Sterne being perhaps the first of the English 'poor-dumb-beast' sentimentalists. It was through the copious shedding of tears of pity and sympathy, in writers like Sterne, the the humanitarianism which is now said to be a great characteristic of the English was able to develop. Sentimentality may injure art, but it can improve life.<br />
<br />
<br />
<i>Goldsmith</i><br />
<br />
Oliver Goldsmith, whom we have already met as poet and playwright, contributed to the development of the English novel a country ideyll called <i>The Vicar of Wakefield.</i> There is sentimentality here, too, in the portrait of the good Dr. Primrose, so good-hearted, so simple-minded, brave in adversity and tolerant and forgiving, but there is characteristic humour also, as well as the lyric gift:<br />
<blockquote class="tr_bq">
When lovely woman stoops to folly<br />
And finds too late that men betray,<br />
What charm can soothe her melancholy?<br />
What art can wash her tears away?</blockquote>
<br />
<i>Late C18 Background</i> <br />
<br />
We are trying to trace the course of eighteenth-century prose in fairly strict chronological order. The novels we have just glanced at—from <i>Pamela </i>to <i>Humphry Clinker—</i>eover thirty years, from 1741 to 1771. other prose of the time includes attempts at History (Hume produced a <i>History of Great Britain</i> and William Robertson a <i>History of Scotland</i>,<i> </i>and even Smollett and Goldsmith tried their hands), many interesting collections of letters—including those of Lord Chesterfield to his son, and the vast correspondence of Horace Walpole—and the first book on Economics. This last, <i>The Wealth of Nations</i> by Adam Smith (1723-90), lies outside our scope, but we, whose study is literature, can praise it for its brilliance of style, even if we are not concerned with its content. Economics was later to become a 'dismal science', but Smith is not only elegant in the exposition of his revolutionary theory, but even prophetic: his book appeared in 1776, on the very day of the American Declaration of Independence, and it says of the Americans: 'They will become one of the foremost nations of the world.'<br />
<br />
The last decades of the eighteenth century were shaken by great political changes. America broke away from England, and, in 1789, the French Revolution took place. English thinkers and politicians were much agitated, taking sides, preaching for and agianst the new violent movements, and a good deal of the prose of this last period is concerned with such watchwords as Liberty, Anarchy, Justice, William Godwin (1756-1836) wrote a book about Political Justice, preaching a kind of anarchy, extolling the light of pure reason as it comes to the individual soul, denouncing law and marriage and property because these interfere with individual freedom. HIs book had a great influence on Romantic poets like Shelley. Tom Paine (1737-1800) had previously defended the revolt of America, and he now defended, in his <i>Rights of Man,</i> the Revolution in France. Edmund Burke (1729-97), despite his Liberalism, attacked this same Revolution, and stated that tradition was more important than rational political theories—society was like a plant or a human body, growing, working out its salvation according to laws of its own, and it was dangerous to interfere with that process.<br />
<br />
<br />
<i>Gibbon</i><br />
<br />
This period produced the great historian, Edward Gibbon (1737-94), whose <i>The Decline and Fall of the Roman Empire</i> reached completion in 1788, a year before the fall of the Bastille. This is a great achievement, written in the most polished prose of the age, and it surveys about thirteen centuries of European history—from the reign of the Emperor Trajan to the fall of Constantinople, covering the rise of Christianity and Islam, the great migrations of the Teutonic peoples, and analysing the forces which turned the old world into the modern world. It is not a compassionate work: it chastises man for his follies much more than it extols his discoveries and virtues, and exhibits more of the author's personality than is perhaps proper in a history; but for literary skill and width of scope it is perhaps still unsurpassed among the larger historical studies.<br />
<i> </i><br />
<i></i><br />
<i>Fanny Burney</i><br />
<br />
The later days of the eighteenth-century novel produced names like Fanny Burney (1752-1840), whose <i>Evelina</i> and <i>Cecilia</i> are realistic, humorous, and full of credible characters. But much more typical of the age are those novels of terror which Horace Walpole ushered in, and novels which showed the influence of the Frenchman Jean-Jacques Rousseau.<br />
<br />
<br />
<i>Rousseau</i><br />
<br />
Rousseau (1712-78) was one of the forerunners of the Romantic movement, and also one of the prophets of the French Revolution. He was by nature a rebel—against existing conceptions of religion, art, education, marriage, government, and in book after book he propounded his own theories on these subjects. Rousseau advocated a return to nature. In the natural state, he held, man is happy and good, and it is only society that, by making life artificial, produces evil. His <i>Émile, </i>a treatise on education, advocated that children should be brought up in an atmosphere of truth, and it condemned the elaborate lies that society imposed on the average child—including myths and fairy-stories. The result, in England, was a whole series of instructive books for children (including the incredibly priggish <i>Sandford and Merton</i> of Thomas Day) which was only broken by the thoroughly fanciful, and much healthier, children's book of men like Thackeray and Lewis Carroll in the nineteenth century. It was Rousseau's doctrine of the noble 'natural men', and his attack on the corrupting power of civilisation, that produced novels by minor writers like Bage, Holcroft, and the <i>Caleb Williams</i> of William Godwin, in which the spirit of revolt is expressed through central characters who have no religion or morality (like the hero of Bage's <i>Hermsprong</i>) or, like Godwin's hero, are a living witness to the corruption of a society in which the evil flourish and the good are victimised.<br />
<br />
<br />
<i>Gothic novels</i> <br />
<br />
There were novels of 'mystery and imagination' by writers like Mrs. Ann Radcliffe (1764-1822) and Matthew Gregory Lewis (1775-1818), who followed the example set in 1764 by <i>The Castle of Otranto—</i>a 'Gothic' story by Horace Walpole (1717-97). (This term 'Gothic' is primarily an architectural one, denoting that kind of European building which flourished in the Middle Ages and showed the influence of neither the Greeks nor the Romans. Gothic architecture, with its pointed arches, began to come back to England in the middle of the eighteenth century—Walpole himself built a 'little Gothic castle' at Strawberry Hill, near Twickenham, London. This kind of building suggested mystery, romance, revolt against classical order, wildness, through its association with medeaeval ruins—ivy-covered, haunted by owls, washed by moonlight, shadowy, mysterious, and so on.) <i>The Castle of Otranto </i>is a melodeamatic curiosity; Mrs. Radcliffe's <i>The Romance of the Forest,</i> <i>The Mysteries of Udolpho,</i> and <i>The Italian</i> are skilfully written hermysteries always have a rational explanation at the end, and she never offends conventional morality. Lewis's <i>The Monk</i>—with its devils, horror, torture, perversions, magic, and murder—is very different: its lack of taste does not compensate its undoubted power, and its popularity was understandably short-lived. We ought to mention in this context a work produced a good deal later—<i>Frankenstein</i> by Mary Shelley (1797-1851). This was written during a wet summer in Switzerland, when her husband (the poet) and Lord Byron were amusing themselves by writing ghost-stories and she herself was asked to compose one. She could never have guessed that her story of the scientist who makes an artificial man—by which he is eventually destroyed [<i>persecuted, rather</i>—JAGL]—would give a new word to the language, and become so well known among even the near-illiterate (thanks chiefly to Hollywood) that its subject would rise from humble fiction to universal myth.<br />
<br />
<br />
<i>Johnson</i> <br />
<br />
I have reserved to the end of this chapter mention of the man whose personality seems to dominate the whole of the Augustan Age—Dr. Samuel Johnson (1709-84). Boswell's biography—perhaps the finest biography ever written—gives so vivid and detailed a portrait of the 'Grand Cham of Literature' and his times, that Johnson the person has, from the end of the eighteenth century to the present day, tended to overshadow Johnson the writer. There are a thousand people who can uote one of Johnson's conversational sallies to one who can give a sentence from <i>The Rambler</i> or a line from <i>London.</i> When Johnson the writer is quoted, it is usually something to his disparagement that we hear, like the tautological opening of <i>The Vanity of Human Wishes:</i> <br />
<i> </i><br />
<i> </i><br />
<i> </i><br />
<i> </i><br />
<blockquote class="tr_bq">
<br />
Let observation with extensive view<br />
Survey mankind from China to Peru,</blockquote>
<br />
or some extreme example of his highly Latinised style. Yet Johnson is worth reading. He attempted most of the literary forms of the day—drama, poetry (lyrical and didactic), the novel (his <i>Rasselas</i> is in the Oriental tradition, like Beckford's <i>Vathek,</i> and has the same sort of theme as Voltaire's <i>Candide</i>), and the moral essay, as in <i>The Rambler</i> and <i>The Idler. </i>He wrote sermons, prayers and meditations, admirable biography (<i>The Lives of the Poets</i>), dedications, prologues, speeches, political pamphlets—he leaves few branches of literature, journalism, and 'current affairs' untouched. But his name as a scholar will live chiefly because of his <i>Dictionary of the English Language</i> and his critical writings. The <i>Dictionary</i> is a great achievement—a work that can still be consulted, and, for the light it throws on Johnson's personality, even read. Johnson the critic is best met in <i>The Lives of the Poets</i> (especially in the Life of Cowley, where he has wise things to say about the Metaphysical Poets, and the long essay on Milton)and the preface to his edition of Shakespeare. The following may seem cruel, but there is truth in it:<br />
<br />
<blockquote class="tr_bq">
A quibble is, to Shakespeare, what luminous vapours are to the traveller; he follows it at all adventures; it is sure to lead him out of his way, and sure to engulf him in the mire. It has some malignant power over his mind, and its fascinations are irresistible. . . . A quibble is the golden apple for which he will always turn aside from his career, or stoop from his elevation. . . . A quibble was to him the fatal Cleopatra for which he lost the world, and was content to lose it.</blockquote><p>
<br />
Johnson was incapable of giving veneration to any writer just because of that writer's reputation. As a critic he was honest, and honesty and independence shine throughout all his writings, as they shine throughout the record of his personal career. To an understanding of the whole of the eighteenth-century literary world, Boswell's <i>Life of Johnson</i> is indispensable. In it we meet all the writers we have been hearing about—Goldsmith, Sheridan, Burke, and the rest—and, more than that, we get the 'feel', the very smell, of the Augustan Age. It is a remarkable record of a remarkable era.</p><p></p><p><br />
<br />
</p><div style="text-align: right;">
<a href="https://jaglit.blogspot.com/2022/04/queen-anne-prose.html" target="_blank">Queen Anne Prose</a></div>
<br />JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-32032609054573287692022-02-05T18:02:00.006+01:002022-02-05T18:05:07.455+01:00Biografía de MARY WOLLSTONECRAFT<p><iframe frameborder="0" height="270" src="https://youtube.com/embed/OWrut3jh0EU" style="background-image: url(https://i.ytimg.com/vi/OWrut3jh0EU/hqdefault.jpg);" width="480"></iframe><br /></p><p>No es que sea realmente "la primera feminista de la historia", pero se puede oír la biografía. Algunos nombres: Fanny BLOOD, Gilbert IMLAY, Fanny IMLAY, William GODWIN.<span></span><br /></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-71755438971678196522022-01-01T23:44:00.010+01:002022-04-27T17:20:19.841+02:004. LATER 18TH C.<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p><span style="font-size: large;">La fecha del examen en el calendario de la Facultad es el MARTES 1 DE FEBRERO.</span></p><p><span style="font-size: large;">- Grupo 2 (Mañana): 9,30 a 12,30 h., aula 502 (Interfacultades)<br /></span></p><p><span style="font-size: large;">- Grupo 1 (Tardes): 15 a 18 h., aula 503 (Interfacultades) </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"><span><i> </i></span></span></p>
<p><span style="font-size: large;"><span><span>Recordad que el examen consta
de dos partes, teórica y práctica. La práctica (comentario de texto)
sólo la tienen que hacer quienes no entreguen trabajos de curso. El
plazo límite de entrega de los trabajos, impresos por favor, es el día
del examen. </span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><span>La parte teórica, la que tiene
que hacer todo el mundo, consta de preguntas de tipo test (multiple
choice) y un tema, a elegir entre dos propuestos. Uno de los dos será
uno de los principales autores, los que aparecen nombrados en el
programa. </span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><span style="font-size: large;">En cuanto al test, un fallo no
descuenta nada, pero cada dos fallos descuentan un acierto. Centraos
para prepararlo en el conocimiento de los datos centrales sobre autores,
obras y géneros.</span><br /></span></span></p>
<p><span style="font-size: large;"><span><i> </i></span></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">______________________</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">La última semana (último día) veremos a los autores de las últimas décadas del XVIII, la era de la Revolución Francesa, empezando por Cowper y Wollstonecraft. </span></p><p><span style="font-size: large;"> </span></p><p><br /><span style="font-size: large;"><span style="font-size: large;"><br /></span>
</span></p><p><span style="font-size: large;"><span>Obras de <a href="https://jaglit.blogspot.com/2021/01/william-blake-oxford-companion.html" target="_blank"><span style="font-weight: bold;">William
Blake</span></a> (1757-1827):<br />
<br />
<br />
_____. <span style="font-style: italic;"></span><span style="font-weight: bold;"><span style="font-style: italic;">Songs of
Innocence.</span> </span>1789.<br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic; font-weight: bold;">The Marriage of Heaven
and Hell</span><span style="font-style: italic;">.</span> c.1790-93.<br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic;">America: A Prophecy.</span> 1793.<br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic;">Visions of the Daughters of Albion.</span>
1793.<br />
_____.
<span style="font-weight: bold;"><span style="font-style: italic;">Songs
of Experience.</span> </span>1794. <span> ("The Clod and the Pebble"; <a href="https://www.poetryfoundation.org/poems/43673/london-56d222777e969" target="_blank">"London"</a>)</span><br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic; font-weight: bold;">The Book of Urizen.</span>
Poem. 1794.<br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic;">Europe: A Prophecy. </span>1794.<br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic;">The Book of Los. </span>Poem. 1795.<br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic;">The Four Zoas</span> (Orig. <span style="font-style: italic;">Vala</span>), written and rev. 1797-1804.</span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span>_____. <a href="https://www.poetryfoundation.org/poems/43650/auguries-of-innocence" target="_blank">"Auguries of Innocence."</a> 1803.<br />
_____. <span style="font-style: italic; font-weight: bold;">Milton, a Poem in Two
Books.</span>
1804-8.<br />
_____.
<span style="font-weight: bold;"><span style="font-style: italic;">Jerusalem:
The Emanation of
the Giant Albion.</span> </span>1804-20.</span></span></p><span style="font-size: large;">
</span><p><big><span style="font-size: x-large;"><span style="font-size: x-large;"><span style="font-size: large;">_____. <a href="https://www.bartleby.com/236/58.html" target="_blank">"The Everlasting Gospel."</a> 1818.<br />
<a href="https://www.google.es/search?hl=es&site=imghp&tbm=isch&source=hp&biw=1495&bih=956&q=William+Blake&oq=William+Blake&gs_l=img.3..0l10.5319.8778.0.9027.18.12.2.4.4.0.93.846.12.12.0....0...1ac.1.64.img..0.18.872.ingYLetjy3c"><br />
William Blake y sus grabados</a> en Google Images.</span>
</span><br />
<br />
</span></big></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG-BCNSyEBOYFQmaG-mgf76nKmp9xAl5SkKpJ5jWplEXtwWWQpN5b0HZ3qRQq58goReddov7rOGQThkcY8WGiFPAXTO4h1AQUYXEfWgfdJ4Luqc-8e_5qc4smeJe9dxwFba0IUXD4rrJAr/s475/blakenewton.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="475" height="493" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG-BCNSyEBOYFQmaG-mgf76nKmp9xAl5SkKpJ5jWplEXtwWWQpN5b0HZ3qRQq58goReddov7rOGQThkcY8WGiFPAXTO4h1AQUYXEfWgfdJ4Luqc-8e_5qc4smeJe9dxwFba0IUXD4rrJAr/w640-h493/blakenewton.jpg" width="640" /></a></div>
<p><br /><span style="font-size: x-large;"><br />
<span style="font-size: medium;"><br />
<br />
<span>De Blake tenemos en la selección de lecturas unos poemas: "The Clod and the Pebble", "London", y "Auguries of Innocence".<br /></span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: medium;"><span> Un audio de la BBC sobre <a href="http://www.bbc.co.uk/programmes/b07gh4pg#play">Songs of
Innocence & Songs of Experience</a> de William Blake. (Este
programa de la BBC 4, <span style="font-style: italic;">In Our Time,</span>
es una excelente idea añadirlo a vuestros favoritos para practicar
inglés con temas de interés cultural).</span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: medium;"><span> </span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: medium;"><span> </span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: medium;"><span>____________</span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: medium;"><span> </span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: medium;"><span>NIVEL AVANZADO: <a href="https://jaglit.blogspot.com/2021/02/the-life-of-poet-william-blake.html" target="_blank">Un documental de la BBC sobre William Blake </a><br /></span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: medium;"><span> </span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: medium;"><span>____________</span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: medium;"><span> </span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: medium;"><span> </span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: medium;"><span> </span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: medium;"><span> </span></span><br />
</span></p>
<p><span style="font-size: large;"> </span><br />
<big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-style: italic;"><span style="font-weight: bold;"></span></span></span></small></small></span></big></big></big></big></big><br />
<big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-style: italic;"><span style="font-weight: bold;"><br />
Other writers of the 1790s:</span></span><br />
</span></small></small></span></big></big></big></big></big><br />
<br />
Y casi nos dejamos en el tintero a muchos otros autores importantes de
estos
años, como Thomas
Malthus, o Erasmus
Darwin.<span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"> </span></span></span></span>Los
encontraréis en la Wikipedia y otros sitios de la Red.<br />
<span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;">
</span></span></span></span>
<big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;">
</span> </small></small></span></big></big></big></big></big></p>
<p><span style="color: black; font-size: large;">Thomas Robert Malthus. <span style="font-style: italic; font-weight: bold;">An Essay on the
Principle of Population.</span> 1798, 1803.<span style="font-weight: bold;"><br />
<br />
</span></span><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;">
Darwin, Erasmus. <span style="font-style: italic;">The Economy of
Vegetation. </span>1791.<br />
_____. <span style="font-style: italic;">The Botanic Garden. Part II.
The Loves of the Plants.</span> 1789.<br />
_____. <span style="font-style: italic;">The Botanic Garden.</span>
Online at Project Gutenberg.*<br />
<a href="http://www.gutenberg.org/cache/epub/9612/pg9612.html">http://www.gutenberg.org/cache/epub/9612/pg9612.html</a><br />
_____. <span style="font-style: italic;">Plan for the Conduct of
Female Education. </span><br />
_____. <span style="font-style: italic;">Zoönomia, or the Laws of
Organic Life. </span>2 vols. London, 1794, 1796.<br />
_____.<span style="font-style: italic;"> The Temple of Nature.</span>
Poem. 1803.</span></small></small></span></big></big></big></big></big><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></small></small></span></big></big></big></big></big><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"> </span></small></small></span></big></big></big></big></big><br />
<br />
<br />
<br />
<br /><big><big><big><big><big><span style="color: black;"><small><small><big><big><big><big><span style="color: black;"><small><small><big><small>__________</small></big></small></small></span></big></big></big></big><span style="font-weight: bold;">
</span></small></small></span></big></big></big></big></big><br />
<br />
<span style="font-size: large;"><span>NIVEL AVANZADO:</span></span></p><p><span style="font-size: large;"><span>An audio tutorial on <a href="https://jaglit.blogspot.com/2022/04/thomas-robert-malthus-nivel-avanzado.html" target="_blank">Malthus and Malthusianism</a>. </span><br />
<br />
<span>
</span><span>Thomas Malthus and Inevitable Poverty: <a href="http://youtu.be/4MArzSSF7WU">http://youtu.be/4MArzSSF7WU</a></span>
<br />
<span>
</span><span> </span></span></p><p><span style="font-size: large;"><span>Un audio sobre <a href="http://www.bbc.co.uk/programmes/p00548z8">The
Lunar Society (BBC)</a>.<span style="font-weight: bold;"><span style="font-weight: bold;"></span></span></span>
<br />
<span> </span></span></p><p><span style="font-size: large;"><span>Darwin's Big Bang: </span></span></p><p><span style="font-size: large;"><span>
<a href="https://www.researchgate.net/publication/272302905"><span style="font-family: Times; font-size: 14pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-size: 14.0pt; mso-fareast-language: EN-US;">https://www.researchgate.net/publication/272302905</span></span></a>
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<span style="color: black;"><br /></span><br /><span style="color: black;"><span style="color: black;"><span style="color: black;">________________</span></span></span></span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"><br /></span></p><p><br /><span style="font-size: large;"><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></span></small></small></span></big></big></big></big><span style="color: black;"><span style="font-weight: bold;">The
Age of the French Revolution</span></span><br />
<br />
<br />
<br />
<br />
<br />
<span><span><span style="color: black;"><span style="color: black;"><b>Thomas Paine</b> (1737-1809)<br />
_____. <span style="font-style: italic;">Common-Sense. </span>1776.<br />
_____. <span style="font-style: italic;">The Rights
of Man.</span> 1791.<br />
_____. <span style="font-style: italic;">The Age of Reason.</span>
1794-95.</span><span style="font-weight: bold;">
<br />
</span></span><span style="color: black;"><span style="font-weight: bold;"> </span></span><br />
<br />
<br />
</span></span><span style="font-size: x-large;"><span style="color: black;"><span style="font-size: x-large;"><span style="font-size: large;"><span style="font-weight: bold;">William Godwin </span>(1756-1836)<br />
_____. <span style="font-style: italic;">Enquiry Concerning<span style="font-weight: bold;"> Political Justice.</span> </span>
1793. <br />
_____. <span style="font-style: italic;">Caleb
Williams. </span>Novel. 1794. <br />
_____. <span style="font-style: italic;"> St. Leon. </span>Novel.
1799. <br />
_____. <span style="font-style: italic;">Cloudesley. </span>
Novel. 1830.</span> </span><br /> </span></span><br />
<br />
<br />
<br />
<br />
<span style="font-size: medium;"><span style="color: black;">______________________<br /> </span><br />
<span style="color: black;">NIVEL AVANZADO:</span><br />
</span><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: medium;"><br />
John Churton Collins on William Godwin and Mary Wollstonecraft
(audio): <a href="https://youtu.be/bSCb_cSgxsU">https://youtu.be/bSCb_cSgxsU</a></span> </small></small></span></big></big></big></big></big><br />
<big><big><big><big><big><span style="color: black;"><small><small> </small></small></span></big></big></big></big></big><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large; font-weight: bold;"><br />
</span></small></small></span></big></big></big></big></big><span style="font-size: large;">Una
conferencia de <a href="http://youtu.be/MWxpkcQUCeo">Christopher
Hitchens sobre Thomas Paine</a> (empezar en minuto 4).
Y otra, una lección de la universidad de Yale, sobre su<a href="http://youtu.be/Dxdqdax4VbQ"> panfleto <span style="font-style: italic;">Common Sense</span></a> y la independencia
americana.</span><br />
<br />
<span style="font-size: large;">Radicales transatlánticos: <a href="https://jaglit.blogspot.com/2020/01/las-sectas-comunistas-en-america-nivel.html">Las sectas comunistas en América</a>. </span><br />
<br />
<br />
<span style="font-size: large;">_________________________</span><br />
<br />
<br />
<br />
<br />
<big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-size: large;">
</span><br />
<span><span><a href="https://en.wikipedia.org/wiki/Mary_Wollstonecraft">Mary
Wollstonecraft</a> </span></span></span><span><span>(1759-1797)</span></span></small></small></span></big></big></big></big></big><span>
</span></span></p><p><span style="font-size: large;"><br /><span><span style="color: black;"><span>English woman of letters, 1759-97, philosopher, historian and
novelist, political thinker and educationist, major theorist of
feminism. b. London, unhappy childhood with brutal improvident father;
loved Fanny Blood; schoolteacher and governess, Dissenter, frequented
Unitarian and
radical circles, hack writer for Joseph Johnson, unhappy infatuation
with Henry Fuseli; feminist and radical activist; travelled to France
during Revolution, met businessman-adventurer Gilbert Imlay, had
illegitimate daughter Fanny Imlay; rejected and exploited by Imlay,
travelled to Scandinavia as his business agent, underwent severe
distress;
attempted suicide in Putney Bridge, rescued; friendship and marriage
with William Godwin; died after giving birth to daughter Mary Godwin
[later Mary
Shelley])</span></span></span></span></p><span style="font-size: large;">
</span><p><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;"><span><span> </span>
_____. <span style="font-style: italic;">Thoughts on the Education of
Daughters. </span>1787.<br />
_____. <span style="font-style: italic;">Original Stories. </span>Children's
book. 1788.<br />
_____. <span style="font-style: italic;">Mary: A Fiction. </span>
1788.<br />
_____. <span style="font-style: italic;">A Vindication of the Rights
of Men. </span> 1790.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Vindication of the Rights of Woman.</span>
</span>1792. <br />
_____. <span style="font-style: italic;">An Historical and Moral View.
. . of the French Revolution. </span> 1794.<br />
_____. <span style="font-style: italic;">Letters Written During a
Short Residence in Denmark, Norway and Sweden.</span> 1796.<br />
_____. <span style="font-style: italic;">Maria, or The Wrongs of
Woman. </span> Unfinished novel. In <span style="font-style: italic;">Posthumous Works, </span>1798.</span></span><span style="font-weight: bold;"><br />
</span></small></small></span></big></big></big></big></big>
<br />
<br />
<br />
<br />
</p>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzE-T2hIdD-0vGtH-l7oT-i8O7u20l0EMw4BxUZUEj9EaiDW-tLSNfkg1q6QqQz0X8Jwrc2v47-y12gdvO6Txh9lV7X0LiGpDhvTnWp7KENTsBc5Re8Uc2NgmeLIoT_Nv9LJ83Zs7-Jg/s1600/wollstonecraft.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="440" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzE-T2hIdD-0vGtH-l7oT-i8O7u20l0EMw4BxUZUEj9EaiDW-tLSNfkg1q6QqQz0X8Jwrc2v47-y12gdvO6Txh9lV7X0LiGpDhvTnWp7KENTsBc5Re8Uc2NgmeLIoT_Nv9LJ83Zs7-Jg/s1600/wollstonecraft.jpg" /></a></span></div>
<p>
<br />
<br />
<br />
<span style="font-size: large;">- Mary Wollstonecraft <a href="http://en.wikipedia.org/wiki/Mary_Wollstonecraft">según la
Wikipedia</a>.</span></p><p><span style="font-size: large;">- <a href="https://jaglit.blogspot.com/2022/02/biografia-de-mary-wollstonecraft.html" target="_blank">Y aquí, una biografía</a> en audio-vídeo de Mary Wollstonecraft. </span>
<br />
<br />
<br />
<br />
<br />
___________________________<br />
<br />
<br />
<a href="https://jaglit.blogspot.com/2020/01/mary-wollstonecraft-nivel-avanzado.html">NIVEL AVANZADO: MARY WOLLSTONECRAFT</a><br />
<br />
<br />
___________________________<big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-style: italic;"><span style="font-weight: bold;"></span></span></span></small></small></span></big></big></big></big></big><br />
<big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-style: italic;"><span style="font-weight: bold;"></span></span></span></small></small></span></big></big></big></big></big></p>
<p><big><big><big><big><span style="color: black;"><small><small><big><small><big><big><big><big><big><span style="color: black;"><small><small><big><big><big><big><span style="color: black;"><small><small><big><small> </small></big></small></small></span></big></big></big></big></small></small></span></big></big></big></big></big></small></big></small></small></span></big></big></big></big></p>
<p><big><big><big><big><span style="color: black;"><small><small><big><small><big><big><big><big><big><span style="color: black;"><small><small><big><big><big><big><span style="color: black;"><small><small><big><small> </small></big></small></small></span></big></big></big></big></small></small></span></big></big></big></big></big></small></big></small></small></span></big></big></big></big></p>
<p><big><big><big><big><span style="color: black;"><small><small><big><small><big><big><big><big><big><span style="color: black;"><small><small><big><big><big><big><span style="color: black;"><small><small><big><small> </small></big></small></small></span></big></big></big></big></small></small></span></big></big></big></big></big>
</small>
<big><big><br />
<span style="font-size: large;"><b>EDMUND BURKE </b> (1729-1797)<br />
</span></big></big></big></small></small></span></big></big></big></big><span style="font-size: large;"><br /><span style="color: black;"><span><span style="color: black;">Edmund Burke,
English political theorist, MP and orator; wrote pro
conciliation with American colonies and against the French revolution,
theorist of institutional continuity and tradition.</span></span></span></span></p><p><big><big><big><big><span style="color: black;"><small><small><big><big><big><span style="font-size: large;"><span style="color: black;"> </span></span><span style="font-size: large;">
<br />
Burke, Edmund. <span style="font-style: italic;">A
Vindication of
Natural Society.</span> 1756.<br />
_____.<span style="font-style: italic;"> An Account of the European
Settlements in America. </span>With William Burke. 2 vols. 1757.<br />
_____. <span style="font-style: italic;">Philosophical Inquiry into
the Origin of Our Ideas of the Sublime and Beautiful. </span>
1757. <br />
_____. <span style="font-style: italic;">On Taste. </span>1759. <br />
_____. <span style="font-style: italic;">Thoughts
on the Causes of the
Recent Discontents.</span> 1770.<br />
_____.<span style="font-style: italic;"> Speech on American Taxation. </span>1774.<br />
_____. <b><span style="font-style: italic;">Speech on Conciliation with
the Colonies.</span></b> 1775.<br />
_____. <span style="font-style: italic;">Two Letters on Ireland. </span>1778.<br />
_____. <span style="font-style: italic;">Speech on Oeconomical
Reformation.</span> 1780.<br />
_____. <span style="font-style: italic;">Speech on Mr Fox's East India
Bill. </span>1784.<br />
_____. <span style="font-style: italic;">Speech on the Nabob of
Arcot's Debts. </span>1785.<br />
_____. <span style="font-style: italic;">Articles against Warren
Hastings.</span> 1786.<br />
_____. <b><span style="font-style: italic;">Reflections
on the Revolution
in France.</span></b> 1790. <br />
_____. <span style="font-style: italic;">A Letter to a Member of the
National Assembly.</span> 1791<br />
_____. <span style="font-style: italic;">Works.</span> 16 vols.
1803-27.</span><br />
<br />
</big></big><small><br />
<br />
</small>
<span style="font-size: large;"><span style="color: black;">_______________</span></span></big></small></small></span></big></big></big></big><br />
<br />
<span style="font-size: large;"><span style="color: black;"><span style="color: black;">NIVEL
AVANZADO:</span></span></span><br />
<span style="font-size: large;"><span style="color: black;"><span style="color: black;"><br />
</span>- Edmund
Burke (BBC audio): <a href="http://www.bbc.co.uk/programmes/b00sjqyn">http://www.bbc.co.uk/programmes/b00sjqyn</a></span></span><br />
<br />
<span style="font-size: large;"><span style="color: black;">- <a href="https://jaglit.blogspot.com/2020/01/edmund-burke-nivel-avanzado.html">Videoconferencias sobre Burke - Nivel avanzado</a></span></span><br />
<br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: large;"><span style="color: black;">_____________</span></span><span style="font-weight: bold;"><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></small></small></span></big></big></big></big>
</span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"><br /> </span></big></small></small></span></big></big></big></big><br />
<br />
<br />
<br />
<br />
<br />
<span style="font-size: large;"><span style="color: black;"><span style="font-weight: bold;">Gothic Romance:</span></span><br />
<span style="color: black;"><span style="font-weight: bold;"><br />
</span></span>
- Un audio sobre <a href="http://youtu.be/-vXWsZ4cPsE">la novela gótica
inglesa</a>.<br />
<br />
<br />
<br />
<br />
<br />
</span><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: large;"><span style="font-weight: bold;">
Horace Walpole </span>(1717-1797)<span style="font-weight: bold;"><br />
</span>_____. <span style="font-style: italic;">Catalogue of Royal and
Noble Authors of England. </span>2 vols. Twickenham: Strawberry Hill
Press, 1758.<br />
_____. <span style="font-style: italic;">Fugitive Pieces in Verse and
Prose.</span> Twickenham: Strawberry Hill Press, 1758.<br />
_____. <span style="font-style: italic;">Anecdotes of Painting in
England.</span> 5 vols. Twickenham: Strawberry
Hill Press, 1762-1780. Based on notes by George Vertue (1684-1756).<br />
_____. (Anonymously pub.) <span style="font-style: italic;"><span style="font-weight: bold;">The Castle of Otranto: </span>A Gothic
Story. </span> Novel. 1764 (dated 1765). <br />
_____.<span style="font-style: italic;"> The Mysterious Mother.</span>
Tragedy. Twickenham: Strawberry Hill Press, 1768.<br />
_____. <span style="font-style: italic;">Memoirs of the Last Ten Years
of . . . George the Second.</span> Ed. Lord Holland. 2 vols. 1822.<br />
_____. <span style="font-style: italic;">Memoirs of the Reign of
George the Third. </span> Ed. Sir D. Le Marchant. 4 vols.
1845.<br />
_____. <span style="font-style: italic;">Correspondence. </span>
1820, etc.<span style="font-weight: bold;"><br />
<br />
<br />
<a href="https://en.wikipedia.org/wiki/Ann_Radcliffe" target="_blank">Ann Radcliffe</a> (1764-1823)<br />
</span>_____. <span style="font-style: italic;">The Castles of Athlin
and Dunbayne. </span> Story. 1689.<br />
_____. <span style="font-style: italic;">A Sicilian
Romance. </span> 2 vols. 1790.<br />
_____. <span style="font-style: italic;">The Romance of the
Forest. </span> 3 vols. 1791.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The Mysteries of Udolpho: A Romance.</span> </span>
4 vols. 1794. <br />
_____. <span style="font-style: italic;">A Journey Made in the
Summer of 1794 through Holland and the Western Frontiers of Germany. </span>Travel
Book. 1795.<br />
_____. <span style="font-style: italic;">The Italian, or the
Confessional of the Black Penitents. </span> 3 vols.
1797. <br />
_____. <span style="font-style: italic;">Romano Castle: or, The
Horrors of the Forest.</span> Romance. <br />
_____. <span style="font-style: italic;">The Poems of Ann
Radcliffe.</span> 1816.<br />
_____. <span style="font-style: italic;">Gaston de Blondeville,
or the Court of Henry III Keeping Festival in Ardenne. A Romance.</span>
1826.<br />
_____. <span style="font-style: italic;">St Alban's Abbey: A
Metrical Tale. </span> 1826.</span> </big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"><br />
</span></big></small></small></span></big></big></big></big><br />
<br />
<br />
</p>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq7gmqVvPE6NYrwzXgWXhpNmX-qBdodE-5zw_ssnA3CVUueDEK8nr2nXBotTfbi0-sqCGQfSUjP0oH1pdYDzExC24iltLdOLCu29DLX59xreUP2GKTX_u839aMl0bE6eqwjmjWavbTgqo/s1600/udolpho.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq7gmqVvPE6NYrwzXgWXhpNmX-qBdodE-5zw_ssnA3CVUueDEK8nr2nXBotTfbi0-sqCGQfSUjP0oH1pdYDzExC24iltLdOLCu29DLX59xreUP2GKTX_u839aMl0bE6eqwjmjWavbTgqo/w640-h400/udolpho.jpg" width="640" /></a></div><p>
<br />
<span style="font-size: large;"><span>From <span style="font-style: italic;">The Mysteries of Udolpho —</span>a "sublime" Romantic landscape:<br />
<br />
<span style="font-style: italic;"> Towards the close
of day, the road wound into a deep valley. Mountains, whose shaggy
steeps appeared to be inaccessible, almost surrounded it. To the east,
a vista opened, that exhibited the Apennines in their darkest horrors;
and the long perspective of retiring summits, rising over each other,
their ridges clothed with pines, exhibited a stronger image of
grandeur, than any that Emily had yet seen. The sun had just sunk below
the top of the mountains she was descending, whose long shadow
stretched athwart the valley, but his sloping rays, shooting through an
opening of the cliffs, touched with a yellow gleam the summits of the
forest, that hung upon the opposite steeps, and streamed in full
splendour upon the towers and battlements of a castle, that spread its
extensive ramparts along the brow of a precipice above. The splendour
of these illumined objects was heightened by the contrasted shade,
which involved the valley below.</span><br style="font-style: italic;" />
<br style="font-style: italic;" />
<span style="font-style: italic;"> "There," said
Montoni, speaking for the first time in several hours, "is Udolpho."</span><br style="font-style: italic;" />
<br style="font-style: italic;" />
<span style="font-style: italic;"> Emily gazed with
melancholy awe upon the castle, which she understood to be Montoni's;
for, though it was now lighted up by the setting sun, the gothic
greatness of its features, and its mouldering walls of dark grey stone,
rendered it a gloomy and sublime object. As she gazed, the light died
away on its walls, leaving a melancholy purple tint, which spread
deeper and deeper, as the thin vapour crept up the mountain, while the
battlements above were still tipped with splendour. From those, too,
the rays soon faded, and the whole edifice was invested with the solemn
duskiness of evening. Silent, lonely, and sublime, it seemed to stand
the sovereign of the scene, and to frown defiance on all, who dared to
invade its solitary reign. As the twilight deepened, its features
became more awful in obscurity, and Emily continued to gaze, till its
clustering towers were alone seen, rising over the tops of the woods,
beneath whose thick shade the carriages soon after began to ascend.</span></span><br />
<br />
</span><span style="font-size: large;"><br />
<span>
</span><span>_______________________</span><br />
<br />
<br />
</span><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: large; font-weight: bold;">
<span><span>William Beckford </span></span></span><span style="font-size: large;"><span>(1759-1844)<span style="font-weight: bold;"><br />
</span>_____. <span style="font-style: italic;">Dreams, Waking
Thoughts and Incidents.</span> Travel book. 1783. Revised as <span style="font-style: italic;">Italy, with Sketches of Spain and
Portugal. </span>1834.<br />
_____. <span style="font-style: italic;">The History of the Caliph
Vathek. </span>Novel. (In French). Paris and Lausanne, 1787.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Vathek.</span> </span>Trans. Samuel
Henley. 1786.</span></span><span style="font-weight: bold;"><br />
</span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"></span></big></big></big></big><big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"><br />
</span><small><small>_____________________</small></small></big></small></small></span></big></big></big></big><br />
<br />
<br />
<big><big><big><big><span style="color: black;"><small><small><big><small><small>NIVEL AVANZADO:<br />
</small></small></big></small></small></span></big></big></big></big><br />
<a href="http://beckford.c18.net/wbeditions.html">Beckfordiana.</a><br />
<br />
<big><big><big><big><span style="color: black;"><small><small><big><small><small>Beckford
y su <span style="font-style: italic;">Vathek </span>influyeron en el
espíritu de los románticos ingleses. Una fuente remota de 'Kubla Khan':</small></small><span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big>
<a href="http://ssrn.com/abstract=2542598">http://ssrn.com/abstract=2542598</a><span style="font-weight: bold;"><br />
</span><br />
__________________________<br />
<br />
<br />
<br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"><br />
<br />
<span style="font-size: large;">Matthew Gregory Lewis (1775-1818)<br />
</span></span><span style="font-size: large;">_____. <span style="font-style: italic;"><span style="font-weight: bold;">The Monk. </span> </span>
Novel. 1796. <br />
_____. <span style="font-style: italic;">The Castle Spectre. </span>
Drama. 1797.<br />
_____. <span style="font-style: italic;">The East Indian.</span>
Drama. 1799.</span><span style="font-size: large;"><br />
<span style="font-weight: bold;"><br />
<br />
<span>Clara Reeve (1729-1807)<br />
</span></span><span>_____. <span style="font-style: italic;">The Champion of
Virtue: A Gothic Story.</span>
Novel. 1777. (Retitled <span style="font-style: italic;"><span style="font-weight: bold;">The Old English Baron,</span> </span>1778).<br />
_____. <span style="font-style: italic;">The Progress of
Romance, through Times, Countries,
Manners. </span> Published with <span style="font-style: italic;">The History of Charoba, Queen of
Egypt.</span> Novel. 1785. <br />
_____. <span style="font-style: italic;">Memoirs of Sir Roger de
Clarendon, a Natural Son of Edward the Black Prince.</span> Novel. 1793.</span></span></big></small></small></span></big></big></big></big></p><p><span style="color: black; font-size: large;"><span> </span></span></p><p><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: x-large;"><span style="font-size: large;">Historical novels before the age of Walter Scott (<i>Waverley, Ivanhoe, Rob Roy, Woodstock...)</i></span> </span><br />
<span style="font-weight: bold;">
<br />
</span></big></small></small></span></big></big></big></big>
</p><p><span style="font-size: large;">______________<br /></span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"> </span><big><big><big><big><big><span style="color: black;"><small><small><br />
<br />
</small></small></span></big></big></big></big></big>
<span style="font-size: large;"><br />
</span><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;"><span style="font-weight: bold;">
<span><span>William Cowper </span></span></span><span><span>(1731-1800)<br />
_____. Hymns in <span style="font-style: italic;">Olney Hymns.</span>
1779. (<a href="https://jaglit.blogspot.com/2021/01/william-cowper-god-moves-in-mysterious.html" target="_blank">"God Moves in a Mysterious Way"</a>)<br />
_____. "John Gilpin." Ballad. 1782.</span></span></span></small></small></span></big></big></big></big></big></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span style="color: black;"><span><span>_____. <i>Poems.</i> 1782.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Task.</span><span style="font-weight: bold;"> </span> 1785.</span></span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: x-large;"><span style="color: black;"><span><span><span style="font-size: large;">_____. <a href="https://www.geneseo.edu/%7Eeaston/engl313/CowperNC.html" target="_blank">"The Negro's Complaint."</a> 1788.<br />
_____. <a href="http://www.poetryfoundation.org/poem/173283" target="_blank">"The Castaway."</a> 1799.</span> </span></span></span></span></p><span style="font-size: x-large;">
<span style="color: black;"><span><span> <br />
<span style="font-weight: bold;"><br />
</span><span style="font-size: large;"><a href="https://jaglit.blogspot.com/2021/01/william-cowper-oxford-companion.html" target="_blank">- Unas notas sobre William Cowper.</a><span style="font-weight: bold;"><br />
</span> </span></span></span></span><span style="font-size: large;"><br />
<a href="https://www.bartleby.com/337/774.html">- "The Stricken Deer", from <i>The Task.</i></a><br />
<br />
<br />
<i> - Un audio sobre <a href="https://jaglit.blogspot.com/2020/01/william-cowper.html">William Cowper</a></i><br />
<span><span style="color: black;"><span>______________</span></span></span><br />
</span><span><span style="color: black;"><span style="font-size: large;"><span><br />
NIVEL AVANZADO: <a href="https://youtu.be/8yPPGdNlSCU">A Reading of
William Cowper</a>.</span></span><span style="font-weight: bold;"><br />
</span></span></span>
<span><span style="color: black;"><span style="font-weight: bold;"></span></span></span></span><br />
<span style="font-size: x-large;"><span style="color: black;"><span style="font-weight: bold;">___________________</span></span></span><br />
<span style="font-size: x-large;"><span style="color: black;"><span style="font-weight: bold;"></span></span></span><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">El jueves 16 de diciembre trataremos de Goldsmith, "The Deserted Village", "Asem" - y Johnson, que también tiene un par de textos breves en las fotocopias.<br /></span></p><p><span style="font-size: large;"><br /></span></p><p><br /></p><p><br /><span style="font-size: large;"><br />
<br />
</span></p>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlFoBY2PSdbYMQmyQo2MgKCIBuoiVzUKJZuuKqisTMHWQjui9fQGiWPH-5547LiN4ak2lEU6KM6qrKBspS0R5EjN88kWLVRLlqHBTQkJAqedTVR0whXuSXTSsigWAWvvysAF5a2ovuEc4/s1600/johnson.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1119" data-original-width="832" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlFoBY2PSdbYMQmyQo2MgKCIBuoiVzUKJZuuKqisTMHWQjui9fQGiWPH-5547LiN4ak2lEU6KM6qrKBspS0R5EjN88kWLVRLlqHBTQkJAqedTVR0whXuSXTSsigWAWvvysAF5a2ovuEc4/s640/johnson.png" width="474" /></a></div><p>
<br />
<br />
<big><big><big><big><span style="color: black;"><small><small><br style="font-weight: bold;" />
<span style="font-size: large; font-weight: bold;">Samuel Johnson </span><span style="font-size: large;">
(1709-1784)<br />
</span></small></small></span></big></big></big></big><span style="font-size: large;"><br /><span style="color: black;">
<span><span lang="EN-US" style="font-family: Times;">English man of letters, scholar, lexicographer, critic
and writer; b. Lichfield, son of a bookseller, Tory Anglican; suffered from scrofula; left
Oxford without a degree; schoolteacher, then l. London 1737-; married older
widow; hack writer, journalist, lexicographer, man of letters and scholar, then pensioned by George III; widower, opinionated
conversationalist and socialite, literary authority and founder of the Literary Club; unsuccessfully pretended
Hester Lynch Piozzi., honorary degree in Law. </span></span></span></span></p><p><span style="color: black; font-size: large;"><span><span lang="EN-US" style="font-family: Times;">Johnson's circle: Boswell, Goldsmith, Burke, Garrick,
Reynolds, Richardson, Burney, etc.</span></span> <br /></span></p><p><span style="color: black; font-size: large;"> </span></p><p><span style="color: black; font-size: large;"> </span></p><p><span style="color: black; font-size: large;"><style>@font-face
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_____.<span style="font-style: italic;"> London, A Poem in Imitation of
the Third Satire of Juvenal. </span>1738.</span><span style="font-size: large;"><br />
<span style="color: black;">
_____. <span style="font-style: italic;">The Vanity of Human
Wishes:</span> The Tenth Satire of Juvenal Imitated. 1749.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Rambler. </span><span style="font-weight: bold;"> </span>1750-2.</span><br />
</span><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;">_____.
<span style="font-style: italic; font-weight: bold;">A
Dictionary of the English Language: In Which the Words
are Deduced from Their Originals, and Illustrated in Their Different
Significations by Examples from the Best Writers. </span> 2
vols.
London, 1755. <br />
_____. <span style="font-style: italic;">The Idler. </span>
Periodical. 1758-60.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
History of Rasselas, Prince of Abisinia. </span> 2 vols.
1759.<br />
_____, ed. <span style="font-style: italic;">The Plays of William
Shakespeare, </span>with Notes, etc. 8 vols. 1765. (<a href="http://www.jacklynch.net/Texts/prefabr.html" target="_blank">Preface to Shakespeare</a>).<br />
_____. <span style="font-style: italic; font-weight: bold;">Lives
of the English Poets. </span>1778-1780. <br />
_____. <span style="font-style: italic;">Prayers and Meditations.</span>
1785.</span><br />
<br />
From the Life of Cowley: <a href="http://www.bartleby.com/209/775.html">the
Metaphysical poets</a>.</small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small>________________________</small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><a href="https://jaglit.blogspot.com/2020/01/dr-johnson-as-critic.html">Samuel Johnson as a critic</a><br />
</small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big><br />
<span style="color: #2b00fe;"><a href="https://jaglit.blogspot.com/2020/01/samuel-johnson-nivel-avanzado.html"><big><big><big><big><small><small>Samuel Johnson: NIVEL AVANZADO</small></small></big></big></big></big></a></span><br />
<big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small>________________________<br />
</small></small></span></big></big></big></big><br />
<br />
<br />
<br />
<br />
<big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></span></small></small></span></big></big></big><span style="color: black; font-size: large;"><span style="font-weight: bold;">James
Boswell</span> (1740-1795)<br />
<br />
_____. <span style="font-style: italic;">Journal of a Tour to
the Hebrides.</span> Travel Book. 1785.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Life
of Samuel Johnson.</span> 1791.<br />
</span><span style="color: black; font-size: large;">
_____. <span style="font-style: italic;">Journal. </span> 1950-.</span></big><span style="font-size: large;"><br />
<br />
<br />
<span style="color: black;">_________________</span><br />
<br />
<span style="color: black;"><a href="https://www.march.es/ciclos/2522/">Génesis de la biografía moderna - Johnson y Boswell (audio) </a></span><br />
<span style="color: black;">
</span>
<a href="http://vanityfea.blogspot.com.es/2017/11/prose-in-age-of-reason.html"><br /></a><br />
<br />
<br />
<span style="color: black;"><br />
</span>
</span></p><p><span style="font-size: large;"><span style="color: black;">
<br />
<span><b>Adam Smith</b>
(1723-1790)<br />
_____. <b><span style="font-style: italic;">Theory of the Moral
Sentiments.</span></b> 1759. With A <span style="font-style: italic;">Dissertation
on the
Origin of Languages, </span>1761.<br />
_____. <span style="font-style: italic;">An Inquiry into the Nature
and Causes of <b>the Wealth of Nations.</b></span>
1776. <br />
_____.<span style="font-style: italic;"> Essays on Philosophical
Subjects.</span> 1795.</span><br />
<br />
<br />
___________________<br />
<br />
<a href="https://jaglit.blogspot.com/2020/01/adam-smith-nivel-avanzado.html" target="_blank">ADAM SMITH: NIVEL AVANZADO</a><br />
_____________________<br />
<br />
</span></span></p><span style="font-size: large;">
</span><span style="font-size: large;">
</span><span style="font-size: large;">
</span><span style="font-size: large;">
</span><p><span style="font-size: large;"><span style="color: black;"><br />
<b> </b></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span style="color: black;"><span><b>Edward Gibbon </b> (1737-1794)<br />
_____. <span style="font-style: italic;">History of the Decline
and Fall of the Roman Empire.
</span>1766-1788. <br />
_____. <i>Memoirs of My Life.</i> 1796.</span><br />
</span></span></p>
<p><span style="font-size: large;"><span><span style="color: black;"><span><br />
</span></span></span></span></p>
<p><span style="font-size: large;"><span style="color: black;">
<br />
<a href="http://en.wikipedia.org/wiki/Edward_Gibbon">EDWARD
GIBBON</a> —@ Wikipedia.<br />
<br />
</span></span></p>
<p><span style="font-size: large;">_____________________<br /></span></p>
<p><span style="font-size: large;"> </span></p>
<p><br /><span style="font-size: large;"><br />
<br />
___________________________<br />
<span style="font-size: x-large;"><br /></span>
<span><span>OLIVER GOLDSMITH (c. 1730-1774)</span></span>
</span></p><p><span style="font-size: large;"><span><span><span style="color: black;"><span>Oliver Goldsmith, Anglo-Irish writer, graduated Trinity College, 1750;
st. in Leyden
and tour of Europe to 1755; lived in London; physician and hack writer;
worked for publisher John Newbery; member of Johnson's Club, unmarried,
addicted to gambling and spending, died in debt.</span></span> </span><br />
<span>_____. (Unsigned). <span style="font-style: italic;">An Enquiry into
the Present State of Polite Learning in Europe.</span> 1759.</span><br />
<span>_____. (Unsigned). <span style="font-style: italic;">The Bee. </span>Serial
miscellany. 8 nos. 1759.</span><br />
<span>_____. (Unsigned). "Chinese Letters" in The Public Ledger. 1760-61.
Collected as <span style="font-style: italic;">The Citizen of the
World.</span> 1762. </span><br />
<span>_____. <span style="font-style: italic;">The Traveller, or A Prospect
of Society</span>. Poem. 1764.</span><br />
<span>_____. <span style="font-style: italic;">History of England. </span>1764-71.</span><br />
<span>_____. <a href="https://jaglit.blogspot.com/2021/01/oliver-goldsmith-asem-eastern-tale.html" target="_blank">"Asem the Man-Hater."</a> Philosophical tale.
</span><br />
<span>_____. <span style="font-style: italic;">Essays.</span> 1765.</span><br />
<span>_____. <span style="font-style: italic; font-weight: bold;">The Vicar
of Wakefield. </span>Novel. 1766. </span><br />
<span>_____. <span style="font-style: italic;">The Good-Natured Man.</span>
Drama. 1768.</span><br />
<span>_____. <span style="font-style: italic;">The Roman History. </span>2
vols. 1769.</span><br />
<span>_____. <a href="http://www.bartleby.com/41/310.html"><span style="font-style: italic;">The Deserted Village.</span></a>
Poem. 1770.<span style="text-decoration: underline;"> </span></span><br />
<span>_____. <span style="font-style: italic;">She Stoops to Conquer.</span>
Comedy. 1773.</span><br />
<span>_____. <span style="font-style: italic;">The Grecian History.</span> 2
vols. 1774.</span><br />
<span>_____. <span style="font-style: italic;">A History of the Earth and
Animated Nature.</span> 8 vols. 1774.</span><br />
<span>_____. <span style="font-style: italic;">Retaliation.</span> Poem.
Posth. Pub. 1774.</span></span></span></p><p><span style="font-size: large;">
<span><span> </span><br />
<span>Goldsmith, Oliver, et al., eds. (Ps. "Honourable Mrs. Caroline
Stanhope"). <span style="font-style: italic;">The Lady's Magazine: Or,
Polite Companion for the Fair Sex</span>. (1759-63).</span></span></span><br />
<big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big></big><br />
<br />
<br />
<span style="font-size: large;"><span style="color: black;"><span>___________________</span></span><br />
<br />
<a href="https://www.blogger.com/%EF%BB%BFhttps://jaglit.blogspot.com/2020/01/goldsmith-oliver.html"><span>Some notes on Oliver Goldsmith</span></a><br />
<br />
<span style="color: black;"><span>___________________</span></span></span></p><p><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;"> </span></small></small></span></big></big></big></big></big></p><p><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;"> </span></small></small></span></big></big></big></big></big></p><p><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;"><br />
<span style="font-size: x-large;"><span style="color: black;"><span style="font-weight: bold;"></span></span></span><span style="font-size: x-large;"><br />
<span><span style="color: black;"><span style="font-weight: bold;"><br />
<span style="font-size: large;">Thomas Gray </span></span><span style="font-size: large;">(1716-1771)<br />
_____. <span style="font-style: italic;">Journal in France.</span>
Written 1739. Posthumous pub.<br />
_____. "Ode on the Spring." 1742.<br />
_____. "Ode to Adversity." 1742.<br />
_____. <span style="font-weight: bold;">"Ode on a Distant Prospect of
Eton College."</span> 1742.<br />
_____. <b>"Elegy
Written in a Country Churchyard."</b>
Written 1742-50. Pub. 1751.<br />
_____. "The Progress of Poesy.<span style="font-style: italic;">" </span>Ode.
Written. 1754. Pub. 1757.<br />
_____. <span style="font-style: italic;"> <a href="https://www.poetryfoundation.org/poems/44298/the-bard-a-pindaric-ode" target="_blank"><b>"</b></a></span><a href="https://www.poetryfoundation.org/poems/44298/the-bard-a-pindaric-ode" target="_blank"><b>The Bard."</b></a> Ode.
Written 1754-57. Pub. 1757.<br />
_____. "The Triumphs of Owen." Poem. Written c. 1764. Pub. 1768.<br />
_____. <a href="https://www.poetryfoundation.org/poems/44300/the-fatal-sisters-an-ode" target="_blank">"The Fatal Sisters."</a> From the Norse Tongue. Poem. Written
1761. Pub. 1768.<br />
_____. "The Descent of Odin." Poem. Written 1761. Pub. 1768.<br />
_____. <span style="font-style: italic; font-weight: bold;">Poems.</span><span style="font-weight: bold;"> </span>1768.<br />
_____. <span style="font-style: italic;">Journal in the Lakes.</span>
Written 1769, pub. 1775.<span style="font-weight: bold;"><br />
</span>_____.<span style="font-style: italic;"> Poems.</span> Ed.
William Mason. 1775.</span><span style="font-size: large; font-weight: bold;"><br />
<br />
<br />
</span></span></span><span style="font-size: large;">
<br />
<span>De Gray leemos en clase la <a href="http://www.thomasgray.org/cgi-bin/display.cgi?text=elcc">"Elegy
Written in a Country Churchyard"</a>. </span><br />
<span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span><br />
Gray's "An Elegy Written in a Country Churchyard" — <a href="http://www.cummingsstudyguides.net/ThoGray.html">a study guide</a>.<br />
</span><br />
<br />
<br />
<br />
______________________</span>
</span></small></small></span></big></big></big></big></big></p><p><span style="font-size: x-large;"> </span></p>
<p><span style="font-size: large;"><span>The "Graveyard School":<span> </span></span><a href="https://jaglit.blogspot.com/2021/01/some-of-grays-contemporaries.html" target="_blank"><span><span>Some of Gray's Contemporaries</span><br /></span>
</a><span><br /></span>
<a href="https://jaglit.blogspot.com/2020/01/thomas-gray-nivel-avanzado.html"><span>Thomas Gray: NIVEL AVANZADO</span></a><br />
<br />
<br />
______________________<br />
<br />
<span><i>Poetry in the Age of Johnson — Other poets</i></span><br />
<br />
<br />
<br />
<span><span style="color: black;"><span style="font-weight: bold;">Christopher Smart </span>(1722-1771)<br />
_____. <span style="font-style: italic;">Poems on Several Occasions. </span>1752.<br />
_____. <span style="font-style: italic;">A Song to David. </span>Poem.
1763.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Rejoice in the Lamb, a Song from Bedlam. (=
<a href="https://www.poetryfoundation.org/poems/45173/jubilate-agno">Jubilate Agno</a></span>). </span> 1939.<span style="font-weight: bold;"><br />
<br />
<br />
James Macpherson </span>(1736-1796)<br />
_____. <span style="font-style: italic;">Fragments of Ancient Poetry
Collected in the Highlands of Scotland.</span> 1760. <br />
_____. <span style="font-style: italic;">Fingal: An Ancient Epic Poem.</span>
1762. <br />
_____. <span style="font-style: italic;">Temora: An Ancient Epic
Poem. </span> 1763.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Works
of Ossian. </span> Ed. William Sharp. Edinburgh, 1896.</span></span></span><span style="font-size: x-large;"><br />
</span><br />
<br />
</p>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheaFPU8oH0-rjpBcg6qyq59IpxnqrTAQMp7lin7gfNFRIpzESVkAS_Mu_6ADbgwAGj7NVm381QaC7V0AE_O49uV1sIBOLLoUQaiJNRZkdlv3u_h4SXTPlr_j-5yN8J3fQa2Rso-hJBtJ0/s1600/chatterton.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1069" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheaFPU8oH0-rjpBcg6qyq59IpxnqrTAQMp7lin7gfNFRIpzESVkAS_Mu_6ADbgwAGj7NVm381QaC7V0AE_O49uV1sIBOLLoUQaiJNRZkdlv3u_h4SXTPlr_j-5yN8J3fQa2Rso-hJBtJ0/s640/chatterton.jpg" width="640" /></a></div>
<big><big><big><big><big><span style="color: black;"><small><small><br />
<span style="font-weight: bold;"><br />
<span style="font-size: large;">Thomas Chatterton </span></span><span style="font-size: large;">(1752-1770)<br />
_____. <span style="font-style: italic;">Poems, Supposed to have been
Written at Bristol, by Thomas Rowley.</span> Ed. Thomas Tyrwhitt.
1777.<span style="font-weight: bold;"><br />
</span></span></small></small></span></big></big></big></big></big><span style="color: black; font-size: large;"><span style="font-weight: bold;"><br />
</span></span><span style="font-size: large;"><br /></span><span style="font-size: large;">
</span><p><span style="font-size: large;"> </span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"> Wikipedia: <a href="https://en.wikipedia.org/wiki/Thomas_Chatterton" target="_blank">Thomas Chatterton</a><br /></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"> </span></p><p><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;"> </span></small></small></span></big></big></big></big></big></p><p><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;"> </span></small></small></span></big></big></big></big></big></p><p><span style="font-size: large;"> </span></p><p><br /><br /></p><p><br /><span style="font-size: large;"><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: large;"><span style="font-weight: bold;">Other major novelists:<br />
<span style="font-size: x-large;"><br />
<span style="font-size: medium;"><a href="https://en.wikipedia.org/wiki/Frances_Burney">Frances Burney</a></span></span></span><span style="font-size: medium;"><span>
(Mme d'Arblay, 1752-1840)</span></span></span></big></small></small></span></big></big></big></big></span></p><p><span style="font-size: medium;"><br /><span><span style="color: black;"><span><span><span>
<span><span lang="EN-US" style="font-family: Times;">a.k.a. Fanny Burney, or Madame d'Arblay; English
novelist, b. Lynn Regis, Norfolk; member of Dr. Johnson's circle; 1780s
employed at the Court; m. French émigré Alexandre d'Arblay 1793, lived 10 yrs. in France,
d. 1840</span></span>.</span></span></span></span></span></span></p><p><span style="font-size: large;"><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: medium;"><span><span><style>@font-face
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_____. <span style="font-style: italic; font-weight: bold;">Evelina;
or, The History of a Young Lady's Entrance into the World.</span><span style="font-weight: bold;"> </span> Novel.
1778. <br />
_____. <span style="font-style: italic;">Cecilia, or Memoirs of an
Heiress.</span> Novel. 1782. <br />
_____. <span style="font-style: italic;">Camilla. </span>
Novel. 1796. <br />
_____. <span style="font-style: italic;">The Wanderer: Or,
Female Difficulties. </span> Novel. 1814.<br />
_____. <span style="font-style: italic;">The Early Journals and
Letters of Fanny Burney. </span> (post.).</span></span></span><span style="font-weight: bold;"><br />
</span></big></small></small></span></big></big></big></big></span></p>
<p><span style="font-size: large;"><br /></span></p>
<p><br /><span style="font-size: large;"><br />
<br />
___________________________<br />
<span style="font-size: medium;"><br />
NIVEL AVANZADO:</span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><br /><span><span><br />
Burney y la novela de sociedad: <a href="https://www.ibercampus.es/articulo.asp?idarticulo=31050" target="_blank">La
nece(si)dad de guardar las apariencias</a> en <span style="font-style: italic;">Cecilia.</span></span></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span><span style="font-style: italic;"> </span></span>
<br />
<a href="http://www.ibercampus.es/articulos.asp?idarticulo=14573" target="_blank">Un
episodio de </a><span style="font-style: italic;"><a href="http://www.ibercampus.es/articulos.asp?idarticulo=14573" target="_blank">Cecilia</a>,</span>
de Frances Burney, sobre dificultades económicas y la Deuda.<br />
<br />
__________________________ </span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><br /></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><br /><span><br />
<span> </span><span style="color: black;"><span style="font-weight: bold;"><br />
<span><span>Tobias Smollett</span></span></span><span><span> (1721-1771)</span></span></span></span></span></p><span style="font-size: medium;"><br /></span><p><span style="font-size: medium;"><span><span><span style="color: black;"><span>
<span lang="EN-US" style="font-family: "times";">Smollett was a British man of letters, b. Scotland, emigrated to
London; failed author, and naval surgeon; later journalist, satirical novelist
and historian, Tory critic of the bourgeoisie.</span></span></span></span></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span><span style="color: black;"><span><span lang="EN-US" style="font-family: "times";"> </span></span> <br /></span></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: large;"><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: medium;"><span>_____. <span style="font-style: italic;">The Regicide. </span>Tragedy.
1739. Pub. 1749.<br />
_____. <span style="font-style: italic;">Advice. </span>Satire. 1746.<br />
_____. <span style="font-style: italic;">Reproof. </span>Satire. 1747.<br />
_____. (Anon.)<span style="font-weight: bold;"> </span><span style="font-style: italic; font-weight: bold;">The Adventures of
Roderick Random.</span><span style="font-weight: bold;"> </span>
Novel. 1748. <br />
_____, trans. <span style="font-style: italic;">Gil Blas.</span> 4
vols. 1749. (by Alain-René Lesage).<br />
_____. <span style="font-style: italic;">Peregrine Pickle. </span>
Novel. 1751. <br />
_____. <span style="font-style: italic;">The Adventures of Ferdinand
Count Fathom. </span>Novel. 1753.<br />
_____, ed. (1756-63) <span style="font-style: italic;">Critical
Review. </span>Periodical. <br />
_____, trans. <span style="font-style: italic;">History and Adventures
of Don Quixote. </span>2 vols. 1755.<br />
_____, ed. <span style="font-style: italic;">A Compendium of Authentic
and Entertaining Voyages.
</span>Anthology of travel narratives. 1756. (With an account of the
Cartagena
expedition, probably his).<br />
_____. <span style="font-style: italic;">Life and Adventures of Sir
Launcelot Greaves. </span>Novel. Serialized 1760-61, book 1762.<br />
_____. <span style="font-style: italic;">The Complete History of
England.</span> 5 vols. 1760-65.<br />
_____.<span style="font-style: italic;"> Travels through France and
Italy. </span>1766.<br />
_____. <span style="font-style: italic;">The Present State of All
Nations. Geography, history, etc.</span> (in collab.?). 1768-69.<br />
_____. (Anon.) <span style="font-style: italic;">The Adventures of an
Atom. </span>Satirical narrative. 1769.<br />
_____.<span style="font-style: italic;"> <span style="font-weight: bold;">The Expedition of Humphry Clinker. </span></span>
Novel. 1771. <br />
_____, ed. (1760-67). <span style="font-style: italic;">The British
Magazine.</span> Magazine.<br />
_____, ed. (1762-63). <span style="font-style: italic;">The Briton.</span>
Magazine.<br />
Smollett, Tobias, et al., trans. <span style="font-style: italic;">The
Works of M. de Voltaire. </span>26 vols. 1761-69.</span></span><br />
<span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big><span lang="EN-US" style="font-family: "times"; font-size: 12pt;"></span><br />
<br />
<span lang="EN-US" style="font-family: "times"; font-size: 12pt;">__________________________________________</span><br />
<br />
<span lang="EN-US" style="font-family: "times"; font-size: 12pt;">ADVANCED LEVEL: </span><br />
<br />
</span></p>
<div style="text-align: left;">
<a href="https://en.wikipedia.org/wiki/War_of_Jenkins%27_Ear"><span lang="EN-US" style="font-family: "times"; font-size: 12pt;">War of Jenkins' Ear </span></a><br />
<span lang="EN-US" style="font-family: "times"; font-size: 12pt;"> </span>
</div>
<p>
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;">_________________________</span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big><br />
<big><big><big><big><span style="color: black;"><small><small><big><span style="font-weight: bold;"></span></big></small></small></span></big></big></big></big><br />
<span style="font-size: large;"><br />
<br />
<br />
</span><span style="color: black; font-size: medium;"><span><span><span style="font-weight: bold;">Laurence Sterne </span>(1713-1768)</span></span></span></p><p><span style="font-size: medium;"><br /><span style="color: black;"><span><span>
<span lang="EN-US" style="font-family: Times;">English
novelist, b. Ireland, studied in Cambridge; Anglican priest in Yorkshire,
unhappy marriage; follower of Rabelais and Cervantes, Burton,
Locke, and Swift; satirical and sentimental prose writer, humourist student of
character and experimental psychological novelist; parodist of pedantry and
erudition combined with sexual allusions; he often appears as 'Yorick' in his
works; successful and lionized after success with <i>Tristram Shandy,</i> unhappy love affair with 'Eliza'; travelled in
Europe in poor health.</span></span></span></span></span></p><p><span style="color: black; font-size: medium;"><span><span><span lang="EN-US" style="font-family: Times; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"> </span></span></span></span></p><p><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: medium;"><span><style>@font-face
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_____. <span style="font-style: italic;">A Political Romance. </span>1759.
Later called <span style="font-style: italic;">The History of a Good
Warm Watch Coat. </span><br />
_____. <span style="font-style: italic; font-weight: bold;"><a href="http://www.gutenberg.org/files/1079/1079-h/1079-h.htm">The Life and Opinions of Tristram Shandy, Gentleman</a>.</span><span style="font-weight: bold;"> </span> Novel. 9 vols. 1759-67. <br />
_____. <span style="font-style: italic;">Sermons. </span>7 vols.
1760-1769.<br />
_____. <span style="font-style: italic;">A Sentimental Journey through
France and Italy, by Mr Yorick. </span>Travel book. 1761.<br />
_____. <span style="font-style: italic;">Letters from Yorick to Eliza.</span>
1773.</span></span></big></small></small></span></big></big></big></big></p><p><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: medium;"><span> </span></span></big></small></small></span></big></big></big></big></p><p><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: medium;"><span> </span></span></big></small></small></span></big></big></big></big></p><p><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: medium;"><span> </span></span></big></small></small></span></big></big></big></big></p><p><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: medium;"><span><a href="https://jaglit.blogspot.com/2022/04/the-eighteenth-century-novel-saintsbury.html" target="_blank">THE EIGHTEENTH-CENTURY NOVEL</a> (Notes from Saintsbury's <i>History of English Literature).</i> </span></span><span style="font-weight: bold;"><br />
<span style="font-size: medium;"><br />
</span></span></big></small></small></span></big></big></big></big></p><p><span style="font-size: large;"><span style="font-size: medium;"><a href="https://jaglit.blogspot.com/2022/04/prose-in-age-of-reason.html" target="_blank">Prose in the Age of Reason</a> (notes from Anthony Burgess).</span><br /><span><br /></span>
<span style="font-size: medium;">________________________</span><span style="font-size: medium;"><br />
<span><br /></span>
<span><br /></span>
<span>NIVEL AVANZADO: </span></span></span></p><span style="font-size: medium;">
<span><span><span><a href="https://jaglit.blogspot.com/2019/12/sterne-nivel-avanzado.html"><br /></a>
<a href="https://jaglit.blogspot.com/2019/12/sterne-nivel-avanzado.html"><span>Sterne (NIVEL AVANZADO) </span></a></span></span><br />
<br />
<span><a href="https://jaglit.blogspot.com/2019/12/david-hume-nivel-avanzado.html">DAVID HUME, filósofo empirista, ilustrado y escéptico.</a></span><br />
<span><br /></span>
<span>________________________</span><br />
</span></span><span style="font-size: large;"><br /></span>
<br />
<br />
<p><span style="font-size: large;"> </span><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;"><span style="font-style: italic;"><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></small></small></span></big></big></big></big>
</span></span></small></small></span></big></big></big></big><br />
<span style="font-size: medium;"><span>Algunas
obras de <span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span><br />
<span style="font-weight: bold;">Henry Fielding </span><span>
(1707-1754):</span><br />
<span><br /></span>
<span>
_____. <span style="font-style: italic;">Love
in Several
Masques.</span> Comedy. 1728.<br />
_____. <span style="font-style: italic;">The Masquerade.</span>
London, 1728.<br />
_____. <span style="font-style: italic;">The Author's Farce and the
Pleasures of the Town.</span> 1730.<br />
_____. <span style="font-style: italic;">The Letter-Writers. </span>Comedy.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Tragedy of Tragedies, or Tom Thumb the Great.</span><span style="font-weight: bold;"> </span>1731.
(Preface: Parody of neoclassical criticism). Parody of Young's <span style="font-style: italic;">Busiris.</span><br />
_____. <span style="font-style: italic;">The Covent Garden Tragedy.</span>
1732. Burlesque of Ambrose Philips'
<span style="font-style: italic;">The Distrest Mother.</span><br />
_____. <span style="font-style: italic;">The Modern Husband.</span>
Comedy. 1732.<br />
_____. <span style="font-style: italic;">The Mock Doctor.</span> 1732.
Adaptation of Molière's <span style="font-style: italic;">Le Médecin
Malgré
Lui.</span><br />
_____. <span style="font-style: italic;">The Miser. </span>1733.
Adaptation of Molière's <span style="font-style: italic;">L'Avare.</span><br />
_____. <span style="font-style: italic;">The Intriguing Chambermaid.</span>
Comedy. 1734.<br />
_____. <span style="font-style: italic;">Don Quixote in England. </span>Comedy.
1736.</span><br />
<span>_____. <span style="font-style: italic;">Pasquin.</span>
Farce. 1737.</span><br />
</span></span><big><big><span style="font-size: medium;"><span><span>
_____. <span style="font-style: italic; font-weight: bold;">The
Historical Register for the Year 1736.</span> Farce. 1737.<br />
_____. <span style="font-style: italic;">The Champion. </span>Periodical
(thrice a week). 1739.<br />
_____. (Attr.). <span style="font-style: italic;">An Apology for the
Life of Mrs Shamela Andrews, etc.,
by Conny Keyber. </span>1741.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The History of the Adventures of Joseph
Andrews, and of His
Friend Mr Abraham Adams: Written in Imitation of the Manner of
Cervantes, Author of "Don Quixote".</span> </span>Novel. 1742. <br />
_____. "An Essay on Conversation." 1743. <br />
_____. <span style="font-style: italic;">A Journey from this World to
the Next.</span> Menippean satire. In
<span style="font-style: italic;">Miscellanies.</span>Vol. 2. 1743.<br />
_____. <span style="font-style: italic;">The Life of Mr. Jonathan Wild
the Great. </span>Novel. In Fielding,
<span style="font-style: italic;">Miscellanies.</span> Vol. 3. 1743.<br />
_____. <span style="font-style: italic;">Miscellanies. </span>3 vols.
1743.<br />
_____. <span style="font-style: italic;">The True Patriot.</span>
Periodical. 1745-46.<br />
_____. (Anon.). <span style="font-style: italic;">The Female Husband.</span>
1746.<br />
_____. <span style="font-style: italic;">The Jacobite's Journal. </span>Periodical.
1748-49.<br />
_____. <a href="http://www.bartleby.com/ebook/adobe/301.pdf"><span style="font-style: italic; font-weight: bold;">The
History of Tom Jones, a Foundling.</span></a> Novel. 1749.<br />
_____. <span style="font-style: italic; font-weight: bold;">Amelia. </span>Novel.
1751.<br />
_____. <span style="font-style: italic;">An Inquiry into the Causes of
the Late Increase of Robbers etc,
with some Proposals for Remedying the Growing Evil. </span>1751. <br />
_____. <span style="font-style: italic;">The Covent-Garden Journal.</span>
Periodical. 1752. <br />
_____. <span style="font-style: italic;">Proposal for Making an
Effectual Provision for the Poor.</span> 1753.<br />
_____. <span style="font-style: italic;">A Journal of a Voyage to
Lisbon.</span> 1754.</span></span></span><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></big></big><br />
<br />
<big><big><span style="font-weight: bold;"></span></big></big><br />
</p><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCLGl42MhUF9y7t8WLEu5ymf8aKdqx9HeS8eDunpFbguJB9aaXrS4oWVSX8WYBOHHCV-87UdQKbGNqdY7YP3cOafrumJhQ-StsIZfxrzQWrHXo_BfFWM2wlh3qfj4FmDiL9LLDTHhg-SA/s1600/hogarthcanvassing.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCLGl42MhUF9y7t8WLEu5ymf8aKdqx9HeS8eDunpFbguJB9aaXrS4oWVSX8WYBOHHCV-87UdQKbGNqdY7YP3cOafrumJhQ-StsIZfxrzQWrHXo_BfFWM2wlh3qfj4FmDiL9LLDTHhg-SA/s640/hogarthcanvassing.jpg" width="640" /></a></div>
<br />
<br />
<div style="text-align: center;">
<span style="font-size: large;"><span style="font-style: italic;">William
Hogarth, "Canvassing for Votes"</span></span></div>
<p>
<span style="font-size: large;"><br /> <span style="font-size: medium;">- Some notes on <a href="https://jaglit.blogspot.com/2020/12/henry-fielding-oxford-companion.html" target="_blank">HENRY FIELDING (Oxford Companion)</a><br /></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span> - Notes on <a href="https://jaglit.blogspot.com/2022/04/notes-on-ian-watts-rise-of-novel.html" target="_blank">Ian Watt's <i>The Rise of the Novel</i></a><br /></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span>____________________________ <br /></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span> </span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span>NIVEL AVANZADO:</span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span><br /></span></span>
<span style="font-size: medium;"><span><a href="https://jaglit.blogspot.com/2020/12/the-history-of-tom-jones-ep-1-p1.html" target="_blank">Part of a TV series on Fielding's </a><span style="font-style: italic;"><a href="https://jaglit.blogspot.com/2020/12/the-history-of-tom-jones-ep-1-p1.html" target="_blank">Tom
Jones</a> <br />
</span><br />
<br />
<span style="color: black;"><a href="http://www.gutenberg.org/files/6593/6593-h/6593-h.htm"><span><span style="font-style: italic;"> Tom Jones (Project Gutenberg)</span></span></a></span></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span><br /></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span>An audio introduction to <a href="https://jaglit.blogspot.com/2020/12/henry-fielding-tom-jones.html" target="_blank">Henry Fielding and </a><i><a href="https://jaglit.blogspot.com/2020/12/henry-fielding-tom-jones.html" target="_blank">Tom Jones</a>.</i><br /></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span><br /></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span>___________________ </span><br /></span></p><span style="font-size: medium;"><br />
</span><p><span style="font-size: medium;"> </span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><br /></span>
<span style="font-size: medium;">
<span style="color: black;"><span style="font-weight: bold;"><span style="font-weight: bold;">
</span></span></span><span><span>SAMUEL
RICHARDSON (1689-1761)<span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></span></span></span><span style="font-size: medium;"><span><br /><span><span><span><span>Samuel Richardson, major English novelist, began as London printer
apprentice, later
prosperous self-made businessman; family man, distressed by death of
many children and wife; remarried, nervous disorders; master printer of
London and bourgeois novelist; developed sentimental epistolary novel
with psychological and "feminist" interest.</span></span></span></span></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span><span><span style="font-weight: bold;"><span style="font-weight: bold;"><span><span> </span></span>
</span></span><span>
_____. <span style="font-style: italic;">Letters
Written to and for Particular
Friends, on the most
important Occasions. Directing not only the Requisite Style and Forms
to be observed in Writing Familiar Letters; but how to think and act
justly and prudently, in the common Concerns of Human Life.</span> 1741.<br />
_____. <a href="https://archive.org/stream/pamelaorvirtuere06124gut/pam1w10.txt"><span style="font-style: italic; font-weight: bold;">Pamela, or
Virtue Rewarded.</span></a> Novel. 2 vols. 1740. <br />
_____. <span style="font-style: italic;">Pamela in Her Exalted
Condition.</span> Novel. 2 vols. 1741.<br />
_____. <span style="font-style: italic; font-weight: bold;">Clarissa,
or, The History of a Young Lady. </span> Novel. 8 vols.
1747-48. <span>(<a href="http://www.gutenberg.org/files/9881/9881-h/9881-h.htm">Volume 3</a>)</span><br />
_____. <span style="font-style: italic;">The History of Sir Charles
Grandison: in a Series of Letters
published from the Originals by the Editor of Pamela and Clarissa.</span>
Novel. 1753-4.</span><br />
<span style="font-weight: bold;"><span style="font-weight: bold;">
</span></span>
</span></span><span><span><br /></span>
<br />
<span>
</span></span><br />
<span><span> </span>
<br />
<span>
<a href="https://jaglit.blogspot.com/2020/12/samuel-richardson-oxford-companion.html" target="_blank">- An introduction to Samuel Richardson</a></span></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span><span>VIDEO: <a href="https://jaglit.blogspot.com/2020/12/crash-course-classics-samuel-richardson.html" target="_blank">Samuel Richarson (Crash Course Classics)</a> <br />
</span><br />
<br />
<br />
<span>- La Wikipedia habla sobre estos autores. <a href="http://en.wikipedia.org/wiki/Samuel_Richardson">Aquí Samuel
Richardson</a>. Y <a href="http://www.gutenberg.org/browse/authors/r#a1959">aquí pueden
leerse sus obras</a> en la web de Project Gutenberg. </span>
<br />
<span>
</span><span> </span><br />
<br />
</span></span></p><span style="font-size: medium;">
</span><div class="MsoNormal">
<span style="font-size: medium;"><span><span lang="EN-US">- Mullan, John. "The Rise of the Novel." <i>British Library</i> 21 June 2018.<i>*</i></span></span></span></div><span style="font-size: medium;">
<span>
</span>
</span><div class="MsoNormal"><span style="font-size: medium;"><span>
<span lang="EN-US"><span> </span><a href="https://www.bl.uk/restoration-18th-century-literature/articles/the-rise-of-the-novel">https://www.bl.uk/restoration-18th-century-literature/articles/the-rise-of-the-novel</a></span></span></span></div><span style="font-size: medium;">
<span>
<br />
<br />
<span>___________________</span><br />
<br />
<br />
<a href="https://jaglit.blogspot.com/2019/12/richardson-nivel-avanzado.html"><span>Richardson: NIVEL AVANZADO</span></a><br />
<br />
</span>
</span><p><span style="font-size: medium;"><span> </span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span><span><br />
<br />
<span> </span>
<br />
<span>
- Un audio de la BBC sobre <a href="http://www.bbc.co.uk/programmes/b00775dh">Epistolary Fiction in
the 18th century</a><br />
<a href="http://www.bbc.co.uk/programmes/b00775dh">http://www.bbc.co.uk/programmes/b00775dh</a></span><br /> </span><br /></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span>VIDEO: <a href="https://jaglit.blogspot.com/2020/12/pamela-or-virtue-rewarded-summary-and.html" target="_blank">An informal summary of Richardson's <i>Pamela.</i></a></span> </span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><br /><br /></span></p><p><span style="font-size: large;"><span style="font-size: medium;">______________________ </span><br /></span></p><p><span style="font-size: large;"> </span><br />
<br />
</p><p style="text-align: right;"><span style="font-size: large;"> <a href="https://jaglit.blogspot.com/2019/11/3-early-18th-c.html">3. EARLY 18TH C.</a></span></p><p></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-31660152034770004662021-12-26T11:50:00.005+01:002021-12-26T11:50:46.803+01:00El Imperio británico (I) | Julio Crespo MacLennan<iframe frameborder="0" height="270" src="https://youtube.com/embed/2SEgrr0czPs" width="480"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-58889442543486669552021-12-15T12:07:00.002+01:002021-12-15T12:08:19.316+01:00James Thomson (NIVEL AVANZADO)<p>
</p><h1><span style="font-size: medium;"><span lang="EN-US" style="font-family: Times; font-variant: small-caps;">James
Thomson</span><span lang="EN-US" style="font-family: Times;"> <span> </span></span><span lang="EN-US" style="font-family: Times; font-weight: normal;">(1700-1748)</span><span lang="EN-US" style="font-family: Times;"></span></span></h1><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoBodyTextIndent"><span style="font-size: medium;"><span lang="EN-US">British
poet, b. Ednam, Roxburghshire, Scotland; st. Edinburgh College, intended
Presbyterian ministry; left Scotland 1725, w. in London as secretary, tutor of
Charles Talbot during European tour. Associated (like Fielding) to Lyttelton's 'Patriots',
rivals to Walpole; d. Richmond.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US"> </span></span></p><span style="font-size: medium;">______. <span lang="EN-US">"Of a Country Life." Poem. <i>Edinburgh
Miscellany.</i> 1720.</span></span><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US">_____.
"To the Memory of Sir Isaac Newton." Poem. May 1727.</span></span></p><span style="font-size: medium;"></span><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US">_____. <i>The Seasons.</i> Poem in 4 books. 1730-1746. </span></span></p><span style="font-size: medium;"></span><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US">_____. <i>Sophonisba.</i> Tragedy. 1730.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US">_____. <i>Liberty.</i> Poem in 5 parts. 1735-36.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US">_____. <i>Agamemnon.</i> Tragedy. 1738.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US">_____.
"Ode: Rule, Britannia." 1740.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US">_____. <i>Tancred and Sigismunda. </i>Tragedy. 1745.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US">_____. <i>The Castle of Indolence. </i>Poem. 1748.</span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US"> </span></span></p>
<p><iframe width="560" height="315" src="https://www.youtube.com/embed/HPZOOhzql7w" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-85343447163752692932021-11-28T18:53:00.011+01:002022-02-23T21:18:28.059+01:003. EARLY 18TH C.<p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> <i>Para ir al principio del siglo XVIII, ir al final de este post, que va en orden inverso (estilo blog) como todas nuestras unidades. Empezamos este medio siglo con Sarah Egerton (al pie del post).</i></span></p><p><span style="font-size: large;"><i>Y terminamos con algunos poetas de mediados de siglo—a nivel avanzado:</i></span></p><p><span style="font-size: large;"><i>____________________________________<br /></i></span></p><p><span style="font-size: large;">NIVEL AVANZADO:</span></p><p><a href="https://jaglit.blogspot.com/2019/12/poetry-after-pope-nivel-avanzado.html" target="_blank"><span style="font-size: large;">POETRY AFTER POPE (1730s-1760s)</span></a></p><p><span style="font-size: large;">____________________________________<br /><i></i></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">Empezaremos diciembre terminando la unidad 3 (principios del siglo XVIII), con Swift y <i>Gulliver's Travels. </i>A continuación pasamos a la unidad 4 con Richardson y Fielding.</span><br /></p><p><span style="font-size: large;"><span>1 dic. Hoy trataremos de Jonathan Swift. Traed el texto de <i>Gulliver's Travels.</i></span></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"><span></span>
</span></p><p><span style="font-size: large;"><span><span><i>The Flying Island of Laputa:</i></span></span></span></p>
<p><br /></p>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTp-mkZBtMstKtIm9_bjIzoPDC03xrg45R4W8E-AQw4VbSNBV5fGORYGz-V9pWf1fZcokRSy7zRfNjfSUeRzzXRMcS1f2o6YFeLZg0MwlFb6bVwtmj_NAe7Ybs6vCZjdWpwh8o483boO8/s1600/laputa.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="767" data-original-width="800" height="612" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTp-mkZBtMstKtIm9_bjIzoPDC03xrg45R4W8E-AQw4VbSNBV5fGORYGz-V9pWf1fZcokRSy7zRfNjfSUeRzzXRMcS1f2o6YFeLZg0MwlFb6bVwtmj_NAe7Ybs6vCZjdWpwh8o483boO8/s640/laputa.jpg" width="640" /></a></div>
<p>
</p>
<p><span style="font-size: large;"><i><span>"These people are under continual disquietudes, never enjoying a
minutes peace of mind; and their disturbances proceed from causes
which very little affect the rest of mortals. Their
apprehensions arise from several changes they dread in the
celestial bodies: for instance, that the earth, by the continual
approaches of the sun towards it, must, in course of time, be
absorbed, or swallowed up; that the face of the sun, will, by
degrees, be encrusted with its own effluvia, and give no more
light to the world; that the earth very narrowly escaped a brush
from the tail of the last comet, which would have infallibly
reduced it to ashes; and that the next, which they have
calculated for one-and-thirty years hence, will probably destroy
us. For if, in its perihelion, it should approach within a
certain degree of the sun (as by their calculations they have
reason to dread) it will receive a degree of heat ten thousand
times more intense than that of red hot glowing iron, and in its
absence from the sun, carry a blazing tail ten hundred thousand
and fourteen miles long, through which, if the earth should pass
at the distance of one hundred thousand miles from the nucleus,
or main body of the comet, it must in its passage be set on fire,
and reduced to ashes: that the sun, daily spending its rays
without any nutriment to supply them, will at last be wholly
consumed and annihilated; which must be attended with the
destruction of this earth, and of all the planets that receive
their light from it.</span></i></span></p><span style="font-size: large;">
<i><span>
</span></i>
</span><p><span style="font-size: large;"><i><span>They are so perpetually alarmed with the apprehensions of these,
and the like impending dangers, that they can neither sleep
quietly in their beds, nor have any relish for the common
pleasures and amusements of life. When they meet an acquaintance
in the morning, the first question is about the sun's health, how
he looked at his setting and rising, and what hopes they have to
avoid the stroke of the approaching comet. This conversation
they are apt to run into with the same temper that boys discover
in delighting to hear terrible stories of spirits and hobgoblins,
which they greedily listen to, and dare not go to bed for fear." (...)</span></i></span></p>
<p><br />
<span style="font-size: x-large;"></span>
<br />
<span style="font-size: large;">Unos apuntes en audio sobre Jonathan Swift y <span style="font-style: italic;">Gulliver's Travels:</span><br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/V1h2UBAG2Z8" title="YouTube video player" width="560"></iframe>
<br />
<br />
_______________________<br />
<br />
<a href="https://jaglit.blogspot.com/2019/12/nivel-avanzado-jonathan-swift.html" target="_blank">JONATHAN SWIFT: NIVEL AVANZADO</a><br />
<br />
_______________________<br />
</span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"><br /></span></p>
<p><span style="font-size: large;"><i> </i></span></p>
<p><span style="font-size: large;"><i>Some customs of the YAHOOS: <br /></i></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><i>
</i></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><i>"As to learning, government, arts, manufactures, and the like,"
my master confessed, "he could find little or no resemblance
between the YAHOOS of that country and those in ours; for he only
meant to observe what parity there was in our natures. He had
heard, indeed, some curious HOUYHNHNMS observe, that in most
herds there was a sort of ruling YAHOO (as among us there is
generally some leading or principal stag in a park), who was
always more deformed in body, and mischievous in disposition,
than any of the rest; that this leader had usually a favourite as
like himself as he could get, whose employment was to lick his
master's feet and posteriors, and drive the female YAHOOS to his
kennel; for which he was now and then rewarded with a piece of
ass's flesh. This favourite is hated by the whole herd, and
therefore, to protect himself, keeps always near the person of
his leader. He usually continues in office till a worse can be
found; but the very moment he is discarded, his successor, at the
head of all the YAHOOS in that district, young and old, male and
female, come in a body, and discharge their excrements upon him
from head to foot. But how far this might be applicable to our
courts, and favourites, and ministers of state, my master said I
could best determine."</i></span></p>
<p><span style="font-size: large;"><i> </i></span></p>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXOeKcooaOvlvpGJw-oD18JyihXQNNzwesDUpuYLMKmdU80qIMTMu1iRhlLSt923sMimMM2eMcYjllgkFcECb6aSx5I1_SdoS0cDRxjEumGdEN5x5QFXhxMPuzXQG6ICvEd1ACdYoCCm7k/s1600/yahoo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="525" data-original-width="700" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXOeKcooaOvlvpGJw-oD18JyihXQNNzwesDUpuYLMKmdU80qIMTMu1iRhlLSt923sMimMM2eMcYjllgkFcECb6aSx5I1_SdoS0cDRxjEumGdEN5x5QFXhxMPuzXQG6ICvEd1ACdYoCCm7k/s640/yahoo.jpg" width="640" /></a></div>
<p><span style="font-size: large;"><i> </i></span><br />
<span style="font-size: x-large;">
</span><span style="font-size: x-large;"><span style="font-size: large;"><span style="font-weight: bold;">Jonathan
Swift </span> (1667-1745) </span><span><span style="font-size: large;">
<br />
<span>
</span><span><br /></span>
<span>_____. <span style="font-style: italic;"><a href="https://www.gutenberg.org/files/623/623-h/623-h.htm" target="_blank">The Battle of the Books</a>. </span>Written
1696-8. Pub. 1704.<br />
_____. <span style="font-style: italic; font-weight: bold;">A
Tale of a Tub.</span> Satire. Written 1696-8. Pub.1704, 1710.<br />
_____, ed. <span style="font-style: italic;">The Examiner </span>(Bolingbroke’s
Tory newspaper). 1710.</span><br />
<span>_____. <span style="font-style: italic;">Journal
to Stella. </span>1710-1713.
Letters
to Esther Johnson and
Rebecca Dingley. Pub.
1766-8. </span><br />
<span>
</span><span>
_____. <span style="font-style: italic;">Argument to Prove that the
Abolishing of Christianity in England, may .... be Attained with some
Inconveniences. </span>Pamplet. 1711.<br />
_____. "A Proposal for Correcting,
Improving and Ascertaining the English Tongue." 1712.<br />
_____. "Cadenus and Vanessa."
Poem. 1713, pub. 1726.<br />
_____.<span style="font-style: italic;"> Public Spirit of the Whigs.</span>
Pamphlet. 1714.<br />
_____. "On the Corruption of the English Tongue." 1720.<br />
_____. <span style="font-style: italic;">Proposal for the Universal
Use of Irish Manufacture.</span> Pamphlet. 1720.<br />
_____. <span style="font-style: italic; font-weight: bold;">Travels
into Several Remote Nations of the World, by Lemuel Gulliver (<a href="http://literatureproject.com/gulliver-travel/" target="_blank">GULLIVER'S TRAVELS</a>). </span>Written
1721-25. London, 1726. <br />
_____.<span style="font-style: italic;"> The Drapier's Letters.</span>
Pamphlet series. 1724.</span>
<span> </span><br />
<span>_____. <span style="font-style: italic; font-weight: bold;"><a href="https://www.gutenberg.org/files/1080/1080-h/1080-h.htm" target="_blank">A Modest Proposal</a> for Preventing the Children of Poor People from Being a
Burthen to Their Parents or Country.</span> 1729.<br />
_____. <a href="https://www.poetryfoundation.org/poems/45272/verses-on-the-death-of-dr-swift-dspd" target="_blank">"Verses on the Death of Dr.
Swift."</a> Satire. 1731, pub. 1739.<br />
_____. <span style="font-style: italic;">Works.</span> 4 vols. Dublin:
George Faulkner, 1735.</span><br />
<span>_____. <span style="font-style: italic;">A
Complete Collection of
Genteel and Ingenuous Conversation.</span> Satire. 1738.</span></span>
</span><span><br /></span>
<br />
<span>
</span><br />
<br />
<span><br />
<br />
<span style="font-size: large;">________________<br />
<br />
<a href="https://jaglit.blogspot.com/2020/12/jonathan-swift-oxford-companion.html" target="_blank">Una introducción a Swift.</a><br />
<br />
</span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span>________________</span></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">El jueves usaremos las lecturas de Addison y de Pope.</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span>____________________</small></small></span></big></big></big></big><br />
<br />
<a href="https://jaglit.blogspot.com/2019/12/alexander-pope-in-our-time.html"><span style="font-size: large;"><i>Alexander Pope (In Our Time, BBC audio)</i></span></a><br />
<br />
<br />
</p><div class="separator" style="clear: both; text-align: center;">
<big><big><big><small><small><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlEX9rwfMkTQic-QNcdaSEMEZqrCIVm0AJxKWAp9jMjYiJkr8_AFoW8KteXt_-RGqq7FSfKAvsHVkv5f88qJLNofum-9eK3ZLPm4kyYIaDXWLTcu5M0gtx7_dKt4rUaFgH5zBXuhKC8xs/s1600/popealexander.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="309" data-original-width="500" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlEX9rwfMkTQic-QNcdaSEMEZqrCIVm0AJxKWAp9jMjYiJkr8_AFoW8KteXt_-RGqq7FSfKAvsHVkv5f88qJLNofum-9eK3ZLPm4kyYIaDXWLTcu5M0gtx7_dKt4rUaFgH5zBXuhKC8xs/s640/popealexander.jpg" width="640" /></a></small></small></big></big></big></div>
<p>
<span style="font-size: x-large;"><br />
</span><span style="font-size: large;"><span><span>Alexander Pope, English poet, son of a Catholic businessman; small
and crook-backed, poor health; l. unmarried in Twickenham;
Catholic/deist, associated first with Whigs and soon with Scriblerus
club of Tory satirists; friend of Gay, Swift, Arbuthnot, Bolingbroke;
quarrelsome man of letters, conservative Tory critic of men and
manners; neoclassical model in English poetry after Dryden and major poet of "The Age of Pope".</span></span><br />
<br />
<br />
<a href="https://jaglit.blogspot.com/2020/12/pope-alexander.html" target="_blank"><br />
</a><a href="https://jaglit.blogspot.com/2020/12/pope-alexander.html"><span style="font-style: italic;"><span style="font-weight: bold;">AQUÍ UNOS
APUNTES SOBRE ALEXANDER POPE,</span></span></a><a href="https://jaglit.blogspot.com/2020/12/pope-alexander.html"> </a> </span></p>
<p><span style="font-size: large;">&
<br />
some works by <br />
<br />
</span><span style="font-size: large;"><br />
<span><span>ALEXANDER POPE (1688-1744) </span><span>
<span><br />
_____. <span style="font-style: italic;">Pastorals.</span> 1709.<br />
_____. <span style="font-style: italic; font-weight: bold;">An
Essay on Criticism. </span> 1711. <br />
_____. <span style="font-style: italic;">The Temple of Fame.</span>
Imitation of Chaucer. Written c. 1711, pub. 1715.<br />
_____. <span style="font-style: italic; font-weight: bold;"><a href="https://www.poetryfoundation.org/poems/44906/the-rape-of-the-lock-canto-1" target="_blank">The Rape of the Lock.</a> </span>First version. 1712. Enlarged ed. 1714.<br />
_____. "Windsor Forest." 1713.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Iliad
of Homer Translated.</span> 1715-20.<br />
_____. "Epistle of Eloisa to Abelard." Poem. 1717.<br />
_____. <span style="font-style: italic;"><span style="font-style: italic;">Epistles.</span></span> (To Addison, etc.).<br />
_____. <span style="font-style: italic; font-weight: bold;">The Works.</span>
1717.<br />
_____. "Preface to The Works of Shakespear." 1725. <br />
_____, trans. <span style="font-style: italic;">The Odyssey of Homer.</span>
1725-26. (In collaboration)<br />
_____. <span style="font-style: italic;"> Peri Bathous or, The Art
of Sinking in Poetry.</span>
1727. <br />
_____. <span style="font-style: italic; font-weight: bold;">The
Dunciad.</span> 1728-1743.<br />
_____. <span style="font-style: italic;">Moral Essays. </span>1731-35.<br />
_____. <span style="font-style: italic;">Correspondence.</span> 1735.<br />
_____. <a href="https://www.gutenberg.org/files/2428/2428-h/2428-h.htm" target="_blank"><span style="font-style: italic; font-weight: bold;">Essay on
Man.</span></a> 1733-1734. <br />
_____. <span style="font-style: italic;">Epistle to Dr. Arbuthnot.</span>
Poem. 1735.<br />
_____. <span style="font-style: italic;">Imitations of Horace. </span>1737.<br />
_____.<span style="font-style: italic;"> The Universal Prayer.</span>
1738. </span></span></span></span></p><p><span style="font-size: large;"><span><span><span> </span>
<br />
<span>
</span><span>Pope, Swift, Arbuthnot, Parnell, Gay, Oxford. (Ps. "Martinus
Scriblerus"). <span style="font-style: italic;">Memoirs of Martinus
Scriblerus. </span>Written c. 1712-14, pub. 1741.<br />
_____. <span style="font-style: italic;">Miscellanies. </span>1727-32.</span></span>
</span></span><span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;"><br /></span>
<br />
<span style="font-size: large;"><br />
<br />
__________________________________<br />
<br />
<span><a href="https://jaglit.blogspot.com/2019/12/nivel-avanzado-alexander-pope.html"><br /></a></span>
<span><a href="https://jaglit.blogspot.com/2019/12/nivel-avanzado-alexander-pope.html">NIVEL AVANZADO: Alexander Pope</a></span><br />
<span><br /></span>
<span><a href="https://jaglit.blogspot.com/2020/12/pope-and-his-elder-contemporaries-nivel.html" target="_blank">Pope and his elder contemporaries in verse (Saintsbury)</a></span><br />
<br />
<br />
<span>Otra poetisa importante del círculo de Pope: <a href="http://www.luminarium.org/eightlit/finch/bio.php">Anne Finch, Countess of Winchilsea</a></span><a href="http://www.luminarium.org/eightlit/finch/bio.php"><br /></a><br />
<br />
<br />
__________________________________<br />
</span><br />
<br />
<big><big><big><br />
</big></big></big><br />
<span style="font-size: x-large;"><span><span style="font-size: large;">LADY MARY WORTLEY MONTAGU (1689-1762, née Mary
Pierrepont)<br />
_____. <span style="font-style: italic;">Town Eclogues</span> and <span style="font-style: italic;">Court Poems.</span> 1716.<br />
_____. (Anon.). <span style="font-style: italic;">The Nonsense of
Common Sense.</span> Periodical. 1737-38.<br />
_____. <span style="font-style: italic;">Letters.</span> 4 vols.
1763-7.</span><br />
</span><br />
<span></span>___________________________</span></p>
<p><span style="font-size: x-large;"><br />
<span><br /></span>
</span></p>
<p><span style="font-size: x-large;"></span></p>
<p><span style="font-size: x-large;"></span></p>
<p><span style="font-size: x-large;"><br />
</span><big><big><big><span style="font-size: large;"><span>JOHN GAY (1685-1732)<br />
_____. <span style="font-style: italic;">Wine.</span> Poem. 1708.<br />
_____. <span style="font-style: italic;">The Shepherd's Week.</span>
Mock pastorals. 1714.<br />
_____. <span style="font-style: italic;">Trivia, or the Art of Walking
the Streets of London.</span> Mock georgic. 1716.<br />
_____. <span style="font-style: italic;">Acis and Galatea.</span>
Libretto for <a href="https://www.operaonvideo.com/acis-and-galatea-valtice-2017-janeckova-kristjansson-kral/" target="_blank">Handel's opera</a>. 1718.<br />
_____. <span style="font-style: italic;">Fables.</span> 1727, 1738.<br />
_____. <span style="font-style: italic;">The Beggar's Opera.</span>
Musical. 1728. (<a href="https://youtu.be/Ywn9jxsJkzI?t=215" target="_blank">some songs here</a>)<br />
_____. <span style="font-style: italic;">Polly.</span> Musical. 1729.</span></span>
</big></big></big></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"> _____________________</span></p>
<p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"><br />
<span style="font-size: x-large;"><span style="font-size: large;">Ahora que estáis empezando a hacer los trabajos de curso,
recordad que tenéis información bibliográfica sobre los distintos
autores en Google, claro, pero también en mi <i>Bibliography of Literary Theory, Criticism and Philology </i>(sección "Authors".
También hay otras secciones sobre géneros, épocas, etc.). <a href="http://bit.ly/abiblio">http://bit.ly/abiblio</a></span><br />
<br />
<i><br /></i></span></span></p><span style="font-size: x-large;">
</span><p><span style="font-size: large;"><span>25 Nov. Nuestra primera lectura hoy será el ensayo de Addison <a href="https://jaglit.blogspot.com/2021/11/addison-on-scale-of-being.html" target="_blank">'On the Scale of Being'</a></span></span></p><span style="font-size: large;">
</span><span style="font-size: large;">
</span><span style="font-size: large;">
</span><span style="font-size: large;">
</span><span style="font-size: large;">
</span><span style="font-size: large;">
</span><span style="font-size: large;">
</span><span style="font-size: large;">
</span><p><span style="font-size: large;"><br /> </span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;">______________________</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">NIVEL AVANZADO: </span><br />
<span style="font-size: large;">
</span>
<small><small><small><br />
</small></small></small><br />
<span style="font-size: large;"><span><a href="https://en.wikipedia.org/wiki/George_Berkeley" target="_blank"><span style="font-weight: bold;">George Berkeley</span></a>
(Kilkenny, Ireland 1685-Oxford 1753 - Anglican bishop and "immaterialist" philosopher): <span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></span></span></span><span style="font-size: large;"><span style="font-size: x-large;"><span style="font-size: large;"><br />
<span>
</span></span><span><span style="font-size: large; font-style: italic;">_____. <a href="http://books.google.es/books?hl=es&lr=&id=1o85AAAAcAAJ" target="_blank">An Essay towards a New Theory of Vision</a>.</span><span style="font-size: large;"> 2nd
ed. 1709. <br />
_____. <span style="font-style: italic; font-weight: bold;">A Treatise
Concerning the Principles of Human Knowledge.</span> 1710,
1734. <br />
_____. <span style="font-style: italic; font-weight: bold;">Three
Dialogues between Hylas and Philonous. </span>London, 1713. <br />
_____. (Anonymous). <span style="font-style: italic;">Essay Towards
Preventing the Ruin of Great Britain.
</span>1721.<br />
_____. <span style="font-style: italic;">Proposal for the Better
Supplying of Churches in our foreign
Plantations.</span> 1725.<br />
_____. <span style="font-style: italic;">Alciphron: or, The Minute
Philosopher.</span> 1732.<br />
_____. <span style="font-style: italic;">Theory of Vision, or Visual
Language Vindicated and
Explained.</span> 1733. <br />
_____. <span style="font-style: italic;">The Analyst.</span>
Mathematical theory. 1734.<br />
_____. <span style="font-style: italic;">The Querist.</span>
Periodical. 1735.<br />
_____. <span style="font-style: italic;">Some Thoughts on the Tillage
of Ireland.</span> Dublin, 1738.<br />
_____. <span style="font-style: italic;">Siris: A Chain of
Philosophical Reflections and Inquiries
concerning the Virtues of Tar-Water.</span> 1744.<br />
_____. <span style="font-style: italic;">Verses on the Prospect of
Planting Arts and Learning in America.</span>
1752.</span>
</span></span><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></span><br />
<br />
</p>
<p><big><br />
<br />
</big><span style="font-size: large;"><span><a href="https://jaglit.blogspot.com/2019/11/nivel-avanzado-empiricism-and-mind.html" target="_blank"><span style="font-style: italic;">NIVEL AVANZADO: Empiricism and the Mind</span></a><br />
<br />
</span></span></p><span style="font-size: large;"></span><p>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><span>- Another "immaterialist":</span><span><br />
<br />
Arthur Collier (1680-1732)<br />
_____. <span style="font-style: italic;">Clavis Universalis: or a New
Inquiry after Truth, Being a Demonstration of the Non-Existence, or
Impossibility, of an External World.</span> 1713.</span></span></p>
<p><big><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><span style="font-style: italic;">_______________________</span></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small></big></p><p><big><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><span style="font-style: italic;"></span></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small></big></p><p><big><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><span style="font-style: italic;"><br />
</span><small><small><br />
</small></small>
Robert Hooke, <small><small><span style="font-style: italic;"><big><big>Micrographia:
Or some Physiological Descriptions of Minute Bodies Made by Magnifying
Glasses…</big></big></span></small></small> London, 1665.<span style="font-style: italic;"><br />
</span><br />
</big><big>A mite, an illustration from Robert Hooke's <span style="font-style: italic;">Micrographia:</span></big><big><br />
</big>
</small></small></span></big></big></big></big></big></small></small></small></big></big></small>
</big><br />
</p>
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOZikp6m9yXTobqYP8j1O1oPh2FHAkG2ZktFRy9FCjXP1lfr-w62cff1CytkWva_e-7vLTU0nP4A8u5nAiR-31lnm8SO9ktZ78rJYfhyUpTyozYbUhkI5qPeEdqOQyqSpOR4xEvGGy0Tg/s1600/hookemite.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="281" data-original-width="394" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOZikp6m9yXTobqYP8j1O1oPh2FHAkG2ZktFRy9FCjXP1lfr-w62cff1CytkWva_e-7vLTU0nP4A8u5nAiR-31lnm8SO9ktZ78rJYfhyUpTyozYbUhkI5qPeEdqOQyqSpOR4xEvGGy0Tg/s640/hookemite.jpg" width="640" /></a></div>
<small><big><big><small><small><small><big><big><big><big><small><small><big><br />
</big></small></small></big></big></big></big></small></small></small></big></big></small></div>
<p>
<small><big><big><small><small><small><big><big><big><big><small><small><big><big><span style="font-size: x-large;"><br />
__________________<br />
<br />
</span></big></big></small></small></big></big></big></big></small></small></small></big></big></small></p>
<p><small><big><big><small><small><small><big><big><big><big><small><small><big><big><span style="font-size: x-large;"></span></big></big></small></small></big></big></big></big></small></small></small></big></big></small></p>
<p><small><big><big><small><small><small><big><big><big><big><small><small><big><big><span style="font-size: x-large;"></span></big></big></small></small></big></big></big></big></small></small></small></big></big></small></p>
<p><small><big><big><small><small><small><big><big><big><big><small><small><big><big><span style="font-size: x-large;"></span></big></big></small></small></big></big></big></big></small></small></small></big></big></small></p>
<p><small><big><big><small><small><small><big><big><big><big><small><small><big><big><span style="font-size: x-large;"></span></big></big></small></small></big></big></big></big></small></small></small></big></big></small></p>
<p><small><big><big><small><small><small><big><big><big><big><small><small><big><big><span style="font-size: x-large;"></span></big></big></small></small></big></big></big></big></small></small></small></big></big></small></p>
<p><small><big><big><small><small><small><big><big><big><big><small><small><big><big><span style="font-size: x-large;"></span></big></big></small></small></big></big></big></big></small></small></small></big></big></small></p>
<p><small><big><big><small><small><small><big><big><big><big><small><small><big><big><span style="font-size: x-large;"></span></big></big></small></small></big></big></big></big></small></small></small></big></big></small></p>
<p><small><big><big><small><small><small><big><big><big><big><small><small><big><big><span style="font-size: x-large;"><br />
<span style="font-size: x-large;"> </span></span></big></big></small></small></big></big></big></big></small></small></small></big></big></small></p>
<p><small><big><big><small><small><small><big><big><big><big><small><small><big><big><span style="font-size: x-large;"><span style="font-size: x-large;"><i><a href="http://libarch.nmu.org.ua/bitstream/handle/GenofondUA/24685/da21a657702b32cb3b956423de30e0ad.pdf?sequence=1" target="_blank">The Great Chain of Being</a>:</i></span></span></big></big></small></small></big></big></big></big></small></small></small></big></big></small></p>
<p><small><big><big><small><small><small><big><big><big><big><small><small><big><big><span style="font-size: x-large;"><span style="font-size: x-large;"><i> </i> <br /></span></span></big></big></small></small></big></big></big></big></small></small></small></big></big></small></p>
<div class="separator" style="clear: both; text-align: center;"><small><big><small><small><big><big><span style="font-size: x-large;"><span style="font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbdZx5EYcwJP28bNYAYBoMtU_xdiMSs-Ktj_1FQiqXSG4q5YfMYWGSKr5JcW5YDJaAlnql5UorZjVJvSPOz1hmLFwko0I0O5Nk02SKXkgqBFKeBJohL7gCPkuuEdz3qSwkMQeyaeKHfHg/s280/chainofbeing.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="280" data-original-width="270" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbdZx5EYcwJP28bNYAYBoMtU_xdiMSs-Ktj_1FQiqXSG4q5YfMYWGSKr5JcW5YDJaAlnql5UorZjVJvSPOz1hmLFwko0I0O5Nk02SKXkgqBFKeBJohL7gCPkuuEdz3qSwkMQeyaeKHfHg/w617-h640/chainofbeing.jpg" width="617" /></a></span></span></big></big></small></small></big></small></div>
<small><big><small><small><big><big><span style="font-size: x-large;"><span style="font-size: x-large;"><br /></span></span></big></big></small></small></big></small>
<p><small><big><big><small><small><small><big><big><big><big><small><small><big><big><span style="font-size: x-large;"><span style="font-size: x-large;"> </span></span></big></big></small></small></big></big></big></big></small></small></small></big></big></small></p>
<p><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: large;"><span><span>Works by Addison and Steele:<span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
<br />
</span></span></span>Joseph Addison. <span style="font-style: italic;">The Campaign.</span> Epic poem.
1704.<br />
_____. <span style="font-style: italic;">Milton's Style Imitated in a
Translation out of . . . the Third
Aeneid. </span>1704.<br />
_____. <span style="font-style: italic;">Rosamond.</span> Opera. 1707.
<a href="https://youtu.be/0iVVg4xasls">(Aria
"Rise, glory, rise." from <span style="font-style: italic;">Rosamond</span>)</a><br />
_____. <span style="font-style: italic;">Cato: A Tragedy. </span>1713.
<br />
_____. <span style="font-style: italic;">Notes upon the Twelve Books
of PARADISE LOST.</span> London, 1719. <br />
_____. <span style="font-style: italic;">The Old Whig</span>. Serial
pamphlet. 1719.</span></span><span><br />
<br />
</span><span><br />
<br />
</span></span><big><big><big><big><span style="font-size: large;"><span><span style="font-weight: bold;"><br />
<span>Addison, Joseph, and Richard Steele.</span></span><span>
<span style="font-style: italic; font-weight: bold;">The Tatler. </span>Periodical
essay.
1709-11.<br />
_____. <a href="https://www.britannica.com/topic/The-Spectator-British-periodical-1711-1712" target="_blank"><span style="font-style: italic; font-weight: bold;">The
Spectator.</span> </a> Periodical essay. 1711-12.</span></span></span><span style="font-size: x-large;"><br />
</span><br />
</big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small><br />
</p>
<div class="separator" style="clear: both; text-align: center;">
<big><big><big><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8qA4nI2QLEyF9xGVsGOkXmhPDVPL2gRPTiu3WFCXHOPxmbqwel4F3k_qhTq0rMEygp4y6A6SAMa51T_vgSfH6nI7kgeujGJKQKrCACxGTsIpg6As8Fliu7MjCy2Y7VipXwYOOqrdUqTg/s1600/addisonsteele.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="655" data-original-width="944" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8qA4nI2QLEyF9xGVsGOkXmhPDVPL2gRPTiu3WFCXHOPxmbqwel4F3k_qhTq0rMEygp4y6A6SAMa51T_vgSfH6nI7kgeujGJKQKrCACxGTsIpg6As8Fliu7MjCy2Y7VipXwYOOqrdUqTg/s640/addisonsteele.jpg" width="640" /></a></big></big></big></div>
<p>
<big><big><big><br /><br />
<span style="font-size: large;"><span><span>Steele, Richard. <span style="font-style: italic;">The
Christian Hero.</span>
Political pamphlet. 1701.</span></span></span></big></big></big><span style="font-size: large;"><span><span><br />
</span></span></span><big><big><big><big><span style="font-size: large;"><span><span><span style="font-style: italic;">_____.
The Tender
Husband.</span>
Drama. 1705.<br />
_____. Poems in <span style="font-style: italic;">The Muses Mercury.</span><br />
_____. <span style="font-style: italic;">The Gazette.</span> Official
periodical. 1707-10.<br />
_____. <span style="font-style: italic;">The Crisis.</span> Pamphlet.
1713.<br />
_____. <span style="font-style: italic;">The Reader.</span>
Periodical. 1714.<br />
_____. <span style="font-style: italic;">Town Talk.</span> Periodical.
1715-16.<br />
_____. <span style="font-style: italic;">Political pamphlets.</span>
1715.<br />
_____. <span style="font-style: italic;">The Tea-Table.</span>
Periodical. 1715-16.<br />
_____. <span style="font-style: italic;">Chit-Chat.</span> Periodical.
1716.<br />
_____. <span style="font-style: italic;">The Conscious Lovers.</span>
Drama. Prod. Nov. 1722.<br />
_____, ed. <span style="font-style: italic;">The Examiner.</span>
Newspaper. (Nos. 14-46, October, 1710).<br />
_____, ed. <span style="font-style: italic; font-weight: bold;">The
Guardian.</span> Periodical. (175
nos. 1713).
Monthly miscellany. 1707.</span></span></span><br />
</big></big></big></big><br />
<big><big><big><br />
__________________<br />
<br />
<br />
<span style="font-size: large; font-style: italic;">NIVEL AVANZADO:</span></big></big></big></p>
<p><big><big><big><span style="font-size: large; font-style: italic;"><br />
<br />-
<a href="https://www.researchgate.net/publication/299385986" target="_blank">Addison on Aliens</a><br />
</span><span style="font-size: large;">
</span></big></big></big><span style="font-size: large;"><br />
<span><br /></span><span style="font-style: italic;">-</span>
<span><span><a href="https://jaglit.blogspot.com/2019/11/other-augustan-prose-writers-nivel.html">Some Augustan prose writers</a></span> </span><br />
<span><br /></span>
<br />
</span></p>
<p><span style="font-size: large;">- Two novelists in the wake of Defoe's fictional memoirs:</span></p>
<p><span style="font-size: large;"></span></p>
<blockquote><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"></span></p><p><span style="font-size: large;">ROBERT PALTOCK (1697-1769)</span></p><p><span style="font-size: large;">- <i><a href="https://archive.org/details/lifeadventuresof01palt" target="_blank">The Life and Adventures of Peter Wilkins.</a></i><a href="https://archive.org/details/lifeadventuresof01palt" target="_blank"> </a>1751.</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">JOHN CLELAND (1710-1789)</span></p><p><span style="font-size: large;">- <i><a href="https://en.wikipedia.org/wiki/Fanny_Hill" target="_blank">Memoirs of a Woman of Pleasure (or, Fanny Hill).</a></i> 1748.<br /></span>
<span style="font-size: large;"></span></p></blockquote>
<p><span style="font-size: large;"><br /></span>
</p>
<p><br />
<span style="font-size: large;">____________________</span><br />
<span style="font-size: large;"><br /><br /></span></p>
<p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"><span style="font-size: medium;">El miércoles trataremos de Sarah Egerton, y luego de Daniel
Defoe y Robinson Crusoe: id leyendo la selección que las de las novelas
empiezan a ser un poquito largas.</span><br />
<br />
_________________________________<br />
</span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;"><span><br />
<span style="font-size: medium;"><br />
<b>DANIEL DEFOE</b> (1660-1731)<br />
</span></span></span></span></p><span style="font-size: medium;"></span><p><span style="font-size: medium;"><span><span><span><span><span><br />
Daniel Defoe, English journalist and novelist, b. London; Daniel Foe to
1695; lower middle class dissenter; st. Newington Green, abandoned
plans to become a Presbyterian minister, joined Monmouth's rebellion; married, set up import and export
business, joined King William's invading forces, bankrupt businessman,
then Whig journalist and political activist, pilloried and imprisoned
1703-4, double agent, collaborated with Tory government of Harley, travelled
throughout Britain, political activist and informer; supported
union with Scotland and Hanoverian succession; imprisoned
again 1713; then worked again with Whigs; </span><span>
l. Stoke Newington, turned "novelist" in old age, died while in hiding
from creditors.</span></span></span></span></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span><span><span><span> </span></span></span></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span><span><span><span> </span></span>
_____. <span style="font-style: italic;">An Essay upon Projects. </span>
1697.<br />
_____. <span style="font-style: italic;">Enquiry into the Occasional
Conformity of Dissenters.</span> Pamphlet.
1698.<br />
_____. <span style="font-style: italic;">Legion's Memorial to the
House of Commons. </span></span><span><span>Pamphlet. 1701.</span><br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The True-Born
Englishman.</span> </span> Satirical poem. 1701.<br />
_____. <span style="font-style: italic;">The Shortest Way with the
Dissenters.</span> Hoax pamphlet. 1702.<br />
_____. <span style="font-style: italic;">Hymn to the Pillory.</span>
Satirical poem. 1702.<br />
_____. <span style="font-style: italic;">The Storm.</span>
Journalistic pamphlet. 1703.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Review.</span>
Journalism. 1704-13.<br />
_____. <span style="font-style: italic;">True Relation of the
Apparition of one Mrs. Veal. </span>Tale. 1706.<br />
_____. <span style="font-style: italic;">The History of the Union of
Great Britain. </span></span><span><span style="font-style: italic;"><span> </span></span><span>Edinburgh, 1709.</span><br />
_____. <span style="font-style: italic;">Mercator, or Commerce
Retriev'd.</span> Journal. 1713-14.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Life
and Strange Surprizing Adventures of Robinson Crusoe,
of York, Mariner.</span> Memoir novel. 1719. (<a href="http://learnlibrary.com/rob-crusoe/" target="_blank">ebook
here</a>)<br />
_____. <span style="font-style: italic;">The Farther Adventures of
Robinson Crusoe: Being the Second and
Last Part of his Life. </span>Narrative. 1719.<br />
_____. <span style="font-style: italic;">Serious Reflections during
the Life and Surprising Adventures of
Robinson Crusoe: With his Vision of the Angelick World.</span>
1720.<br />
_____. <span style="font-style: italic;">The Memoirs of a Cavalier</span>.
Memoir novel. 1720.<br />
_____. <span style="font-style: italic;">Captain Singleton.</span>
Memoir novel. 1720.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Fortunes and Misfortunes of the Famous Moll Flanders.</span> Memoir
novel. 1722. <br />
_____. <span style="font-style: italic;">Colonel Jacque. </span>
Memoir novel. 1722. <br />
_____. <a href="https://www.gutenberg.org/files/376/376-h/376-h.htm" target="_blank"><span style="font-style: italic; font-weight: bold;">A Journal
of the Plague Year.</span></a> Apocryphal memoir. 1722. <br />
_____. <span style="font-style: italic;">Religious Courtship. </span>Moral
treatise. 1722.<br />
_____. <span style="font-style: italic; font-weight: bold;">Roxana,
The Fortunate Mistress.</span> Memoir novel. 1724.</span></span></span><span style="font-size: medium;"><span><b> </b><a href="https://www.gutenberg.org/files/30344/30344-h/30344-h.htm" target="_blank">(ebook)</a><b><br /></b></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span>_____. <span style="font-style: italic;">A Tour Through the Whole
Island of Great Britain</span>. Guide
book. 3 vols. 1724-26.<br />
_____. <span style="font-style: italic;">The Complete English
Tradesman.</span> Non-fiction. 1726.</span><br />
</span><span style="font-size: medium;"><span><span><span><span lang="EN-US">_____. <a href="https://archive.org/details/essayuponliterat00defo" target="_blank"><i>An Essay upon Literature.</i> </a>1726. </span></span></span></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: x-large;"><span style="font-size: medium;"><span><span><span lang="EN-US"> </span></span></span>_____. <i>The Political History of the Devil.</i> 1727.</span><span style="font-size: medium;"><span><br />
<span>_____. <i>A System of Magick, or A History of the Black Art.</i> 1727.<br />
_____. <span style="font-style: italic;">A Plan of the English Commerce</span>.
Non-fiction. 1728.<br />
_____. <span style="font-style: italic;">The Complete English
Gentleman.</span> Non-fiction. Pub. 1890. </span></span><br />
<span> <span style="font-weight: bold;"><br />
</span><br />
</span><span><br />
</span><br />
</span><span style="font-size: medium;"><span><br />
<a href="https://jaglit.blogspot.com/2020/11/daniel-defoe.html" target="_blank">Apuntes
sobre Daniel Defoe</a>, del <span style="font-style: italic;">Oxford
Companion to English Literature. </span>Más, en cualquiera de
vuestros manuales.</span><br />
<br />
</span><span style="font-size: medium;">
</span><span style="font-size: medium;"><br />
<br />
<span>Y aquí una vieja película sobre
Robinson Crusoe, del
director aragonés Luis Buñuel:</span></span><span style="font-size: large;"><br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/b-YoBU0XT90" title="YouTube video player" width="560"></iframe>
<br />
<span> </span><span><br /></span>
<br />
</span></span></p>
<div style="text-align: right;"><span style="font-size: large;">
<span style="font-size: medium;">1.10.10 Friday</span></span></div><span style="font-size: medium;">
</span><p><span style="font-size: x-large;"><span style="font-size: medium;">
</span><span style="font-size: medium;"><br />
<br />
<span>
<span style="font-style: italic;"><a href="http://en.wikipedia.org/wiki/Daniel_Defoe">- Daniel Defoe </a>(Wikipedia)</span></span></span><span style="font-size: large;"><br />
<br />- Para el contexto histórico de Defoe y su época. Una conferencia sobre <a href="https://jaglit.blogspot.com/2021/12/el-imperio-britanico-i-julio-crespo.html" target="_blank">La expansión colonial del imperio británico del siglo XVI al XVIII.</a><br />
<br />
<span><span style="font-style: italic;"> </span></span>
<span><br /></span>
<span>________________</span><br />
<span style="font-size: medium;"><br /></span><span style="font-size: medium;">
<span>NIVEL AVANZADO:</span></span></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span><span><a href="https://jaglit.blogspot.com/2019/11/nivel-avanzado-from-queen-anne-to.html">From Queen Anne to the Georges</a></span><br />
<br />
<a href="https://jaglit.blogspot.com/2019/12/nivel-avanzado-daniel-defoe.html"><span> NIVEL AVANZADO: Daniel Defoe</span></a><span> <br /></span></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: x-large;"><span style="font-size: large;"><span style="font-size: medium;"></span><span style="font-size: medium;"></span><span style="font-size: medium;">A wider context for Defoe's <i>Journal of the Plague Year:</i> <a href="https://jaglit.blogspot.com/2020/03/plagues-and-plague-literature.html">Plagues and plague literature.</a></span><br />
<br />
<span>________________</span></span></span></p>
<span style="font-size: large;">
<span style="font-weight: bold;">
</span></span><p></p><p></p><p></p><p></p><br /><span style="font-size: x-large;"><span><span> </span></span></span><p><span style="font-size: medium;"><span><span>SARAH
FYGE EGERTON (1670-1723)</span><br />
</span></span><span style="font-size: medium;"><br />
<span><span><span><span><span>Sarah Egerton, née Fyge, outspoken
feminist, precocious writer, sent
to the country by her parents to repress her, forced to marry Edward
Field, widow, married cousin Reverend Thomas Egerton, unsuccessfuly
sued for
divorce, loved Henry Pierce, scandal and public ridicule, attacked by
Mary Delariviere Manley in <span style="font-style: italic;">The New
Atalantis</span>.</span></span></span></span></span></span><span style="font-size: medium;">
</span></p><p><span style="font-size: medium;"><span><span><span><span> </span></span></span></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: x-large;"><span><span style="font-size: medium;"><span> </span></span><span style="font-size: medium;">
_____. (anon.). <span style="font-style: italic;">The Female Advocate
or, an Answer to a Late Satyr Against the Pride, Lust and Inconstancy,
c. of Woman. Written by a Lady in Vindication of her Sex.</span> 1686.
(A verse satire published in response to Robert Gould's misogynist
satire,<span style="font-style: italic;"> Love Given O'er: A Satire Against the
Pride, Lust, and Inconstancy, etc. of Woman,</span> 1682). <br />
_____. (signed S. F.). <span style="font-style: italic;">Poems on
Several Occasions, Together with a Pastoral… </span>1703.<br />
<br />
_____. "The Emulation." In Representative Poetry Online.*<br />
<a href="http://rpo.library.utoronto.ca/poems/emulation">http://rpo.library.utoronto.ca/poems/emulation</a></span>
<br />
</span><span style="font-weight: bold;"><span><br />
</span><br />
<br /></span></span></small></small></big></big></big></big></small></small></small></big></big></small></span></p><p><span style="font-size: large;"><small><big><big><big><small><small><span style="font-size: x-large;"><span style="font-weight: bold;"><span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: x-large;"><span style="font-weight: bold;">
<br />
</span></span></small></small></big></big></big></big></small></small></small></big></big></small></span><br /><span style="font-size: medium;"><span>___________</span></span></span></span></small></small></big></big></big></small></span></p><br /><p><span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: x-large;"><span style="font-size: medium;"> </span></span></small></small></big></big></big></big></small></small></small></big></big></small></span></p><p><span style="font-size: large;"><span style="font-size: large;"><span style="font-size: large;"><span style="font-size: large;">- Aquí hay <a href="https://jaglit.blogspot.com/2019/11/some-early-periodicals-and-newspapers.html">algunos
títulos relativos al comienzo del periodismo en el siglo XVII</a>.</span><br />
</span></span></span></p><p><span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: x-large;"><span style="font-size: medium;"> </span></span></small></small></big></big></big></big></small></small></small></big></big></small></span></p><p><span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: x-large;"><span style="font-size: medium;"> </span><span style="font-weight: bold;"><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: medium;">
<br />
</span></small></small></big></big></big></big></small></small></small></big></big></small></span></span></small></small></big></big></big></big></small></small></small></big></big></small></span></p><p style="text-align: right;"><span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: x-large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><span style="font-size: medium;">
</span></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small><a href="https://jaglit.blogspot.com/2019/11/2-restoration-literature.html" target="_blank">2. Late 17th c.</a><span style="font-weight: bold;"><br /></span></span></small></small></big></big></big></big></small></small></small></big></big></small></span></p><p><span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: x-large;"><span style="font-weight: bold;">
<small><big><big><small><small><small><big><big><big><big><small><small>
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><br /></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small>
</span></span><br />
<span style="font-weight: bold;"><big><big><br /> </big></big></span></small></small></big></big></big></big></small></small></small></big></big></small><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><small><small><small><br />
</small></small></small>
</big></big></big><span style="font-weight: bold;"><big><big><small><small><br />
<br />
</small></small></big></big></span></small></small></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><small><small>
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><br /><br /></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></span></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-8327597366485829522021-11-25T17:03:00.003+01:002021-11-25T23:10:58.845+01:00Addison, On the Scale of Being<p><span style="font-size: x-large;"> <b>JOSEPH ADDISON: [On the Scale of Being]</b></span><br />
<br />
</p><blockquote class="tr_bq">
<span style="font-size: medium;"><i>The Spectator,</i> No. 519, October 25, 1712</span></blockquote><span style="font-size: medium;">
</span><blockquote class="tr_bq">
<span style="font-size: medium;"><br /></span></blockquote><span style="font-size: medium;">
</span><blockquote class="tr_bq">
<span style="font-size: medium;"><i>Inde hominum pecudumque genus, vitaeque volantum,</i></span></blockquote><span style="font-size: medium;">
</span><blockquote class="tr_bq">
<span style="font-size: medium;"><i>Et quae marmore fert monstra sub aequore pontus</i>. (1)</span></blockquote><span style="font-size: medium;">
</span><blockquote class="tr_bq"><span style="font-size: medium;">
—VIRGIL, Aeneid 6.728-29</span></blockquote>
<br />
<span style="font-size: x-large;">Though there is a great deal of pleasure in contemplating the material
world, by which I mean that system of bodies into which nature has so
curiously wrought the mass of dead matter, with the several relations
which those bodies bear to one another, there is still, methinks,
something more wonderful and surprising in contemplations on the world
of life, by which I mean all those animals with which every part of the
universe is furnished. The material world is only the shell of the
universe: the world of life are its inhabitants.<br />
<br />
If we consider those parts of the material world which lie nearest to us
and are, therefore, subject to our observations and inquiries, it is
amazing to consider the infinity of animals with which it is stocked.
Every part of matter is peopled. Every green leaf swarms with
inhabitants. There is scarce a single humor in the body of a man, or of
any other animal, in which our glasses (2) do not discover myriads of
living creatures. The surface of animals is also covered with other
animals which are, in the same manner, the basis of other animals that
live upon it; nay, we find in the most solid bodies, as in marble
itself, innumerable cells and cavities that are crowded with such
imperceptible inhabitants as are too little for the naked eye to
discover. On the other hand, if we look into the more bulky parts of
nature, we see the seas, lakes, and rivers teeming with numberless kinds
of living creatures. We find every mountain and marsh, wilderness and
wood, plentifully stocked with birds and beasts, and every part of
matter affording proper necessaries and conveniences for the livelihood
of multitudes which inhabit it.<br />
<br />
The author of <i>The Plurality of Worlds</i> (3) draws a very good
argument upon this consideration for the peopling of every planet, as
indeed it seems very probable from the analogy of reason that, if no
part of matter which we are acquainted with lies waste and useless,
those great bodies, which are at such a distance from us, should not be
desert and unpeopled, but rather that they should be furnished with
beings adapted to their respective situations.<br />
<br />
Existence is a blessing to those beings only who are endowed with
perception and is, in a manner, thrown away upon dead matter any further
than as it is subservient to beings which are conscious of their
existence. Accordingly, we find from the bodies which lie under our
observation that matter is only made as the basis and support of animals
and that there is no more of the one than what is necessary for the
existence of the other.<br />
<br />
Infinite Goodness is of so communicative a nature that it seems to
delight in the conferring of existence upon every degree of perceptive
being. As this is a speculation which I have often pursued with great
pleasure to myself, I shall enlarge further upon it, by considering that
part of the scale of beings which comes within our knowledge.<br />
<br />
There are some living creatures which are raised but just above dead
matter. To mention only that species of shellfish, which are formed in
the fashion of a cone, that grow to the surface of several rocks and
immediately die upon their being severed from the place where they grow.
There are many other creatures but one remove from these, which have no
other sense besides that of feeling and taste. Others have still an
additional one of hearing, others of smell, and others of sight. It is
wonderful to observe by what a gradual progress the world of life
advances through a prodigious variety of species before a creature is
formed that is complete in all its senses; and, even among these, there
is such a different degree of perfection in the sense which one animal
enjoys, beyond what appears in another, that, though the sense in
different animals be distinguished by the same common denomination, it
seems almost of a different nature. If after this we look into the
several inward perfections of cunning and sagacity, or what we generally
call instinct, we find them rising after the same manner,
imperceptibly, one above another, and receiving additional improvements,
according to the species in which they are implanted. This progress in
nature is so very gradual that the most perfect of an inferior species
comes very near to the most imperfect of that which is immediately above
it.<br />
<br />
The exuberant and overflowing goodnes of the Supreme Being, whose mercy
extends to all his works, is plainly seen, as I have before hinted, from
his having made so very little matter, at least what falls within our
knowledge, that does not swarm with life. Nor is his goodness less seen
in the diversity than in the multitude of living creatures. Had he only
made one species of animals, none of the rest would have enjoyed the
happiness of existence; he has, therefore, <i>specified</i> in his
creation every degree of life, every capacity of being. The whole chasm
in nature, from a plant to a man, is filled up with diverse kinds of
creatures, rising one over another by such a gentle and easy ascent that
the little transitions and deviations from one species to another are
almost insensible. This intermediate space is so well husbanded and
managed that there is scarce a degree of perception that does not appear
in some one part of the world of life. Is the goodness or wisdom of the
Divine Being more manifested in this his proceeding?<br />
<br />
There is a consequence, besides those I have already mentioned, which
seems very naturally deducible from the foregoing considerations. If the
scale of being rises by such a regular process so high as man, we may
by a parity of reason (4) suppose that it still proceeds gradually
through those beings which are of a superior nature to him, since there
is an infinite greater space and room for different degrees of
perfection between the Supreme Being and man than between man and the
most despicable insect. This consequence of so great a variety of beings
which are superior to us, from that variety which is inferior to us, is
made by Mr. Locke (5) in a passage which I shall here set down after
having premised that, notwithstanding there is such infinite room
between man and his Maker for the creative power to exert itself in, it
is impossible that it should ever be filled up, since there will be
still an infinite gap or distance between the highest created being and
the Power which produced him:<br />
<br />
</span><blockquote class="tr_bq"><span style="font-size: x-large;">
That there should be more species of intelligent creatures above us than
there are of sensible and material below, is probable to me from hence:
That in all the visible corporeal world we see no chasms or no gaps.
All quite down from us, the descent is by easy steps and a continued
series of things that, in each remove, differ very little from the
other. There are fishes that have wings and are not strangers to the
airy region; and there are some birds that are inhabitants of the water,
whose blood is cold as fishes and their flesh so like in taste that the
scrupulous are allowed them on fish days. There are animals so near of
kin both to birds and beasts that they are in the middle between both:
amphybious animals link the terrestrial and aquatic together; seals live
at land and at sea, and porpoises have the warm blood and entrails of a
hog, not to mention what is confidently reported of mermaids or seamen.
There are some brutes that seem to have as much knowledge and reason as
some that are called men; and the animal and vegetable kingdoms are so
nearly joined that, if you will take the lowest of one and the highest
of the other, there will scarce be perceived any great difference
between them; and so on, till we come to the lowest and the most
inorganical parts of matter, we shall find everywhere that the several
species are linked together and differ but in almost insensible degrees.
And when we consider the infinite power and wisdom of the Maker, we
have reason to think that it is suitable to the magnificent harmony of
the universe and the great design and infinite goodness of the
Architect, that the species of creatures should also, by gentle degrees,
ascend upward from us toward his infinite perfection, as we see they
gradually descend from us downward; which, if it be probable, we have
reason to be persuaded that there are far more species of creatures
above us than there are beneath, we being in degrees of perfection and
much more remote from the infinite being of God than we are from the
lowest state of being and that which approaches nearest to nothing. And
yet of all those distinct species we have no clear distinct ideas.</span></blockquote><p><span style="font-size: x-large;">
<br />
In this system of being, there is no creature so wonderful in its
nature, and which so much deserves our particular attention, as man, who
fills up the middle space between the animal and intellectual nature,
the visible and invisible world, and is that link in the chain of beings
which has been often termed the <i>nexus utriusque mundi</i> (6). So
that he who, in one respect, is associated with angels and archangels,
may look upon a Being of infinite perfection as his father, and the
highest order of spirits as his brethren, may, in another respect, say
to corruption, "Thou art my father," and to the worm, "Thou art my
mother and my sister" (7).</span><br />
<br />
<br />
<span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"><br />
<b><span style="font-size: large;"><br />
Notes</span></b><br />
<br />
1. Thence the race of men and beasts, the life of flying creatures, and
the monsters that the ocean bears beneath her smooth surface (Latin).<br />
<br />
2. Microscopes. "Humor": fluid.<br />
<br />
3. Bernard de Fontenelle (1657-1757). This popular book, a series of
dialogues between a scientist and a countess concerning the possibility
of other inhabited planets and the new astrophysics in general, was
published in 1686 in France and was translated in 1688 by both John
Glanvill and Aphra Behn.<br />
<br />
4. A reasonable analogy or equivalence.<br />
<br />
5. John Locke, in his <i>Essay Concerning Human Understanding,</i> 3.6.12.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQO6XWpD1UeiVGvj85uU0ES4IYt_fZvO3zBME5HpGpUHi6_vhUh4chHTVOKCXtI65rrSqvGT1l2RfVM0HplWyaHb-wocgoZSXiS30Nesc31vN70EC9sGBEEbTcvo5NSpW7d8IagaoQ_wNp/s1600/addisononaliens.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQO6XWpD1UeiVGvj85uU0ES4IYt_fZvO3zBME5HpGpUHi6_vhUh4chHTVOKCXtI65rrSqvGT1l2RfVM0HplWyaHb-wocgoZSXiS30Nesc31vN70EC9sGBEEbTcvo5NSpW7d8IagaoQ_wNp/s400/addisononaliens.jpg" width="296" /></a>6. The binding together of both worlds (Latin).<br />
<br />
7. Job 17.14.</span></p><p><span style="font-size: medium;"> </span></p><p><span style="font-size: medium;"> </span></p><p><span style="font-size: medium;"> </span></p><p><span style="font-size: medium;"> </span></p><p><span style="font-size: medium;"> </span></p><p><span style="font-size: medium;">_________________</span></p><p><span style="font-size: medium;"> </span></p><p><span style="font-size: medium;"><a href="https://www.academia.edu/12682907" target="_blank">Addison on Aliens: On the origins of the Evolutionary Epic</a> <br /></span></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-89902161538752048062021-11-17T10:39:00.002+01:002022-04-27T17:40:11.383+02:002. LATE 17TH C.<p><span style="font-size: x-large;">2. LATE 17TH C.<br />
</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">El 17-N empezamos con <i>Oroonoko</i> de Aphra Behn, y seguimos con Locke y Egerton.</span><span style="font-size: x-large;"><br /></span></p><p><span style="font-size: x-large;"><span> </span></span></p><p><span style="font-size: x-large;">Pronto terminamos </span><span style="font-size: large;"><span style="font-size: x-large;">el tema 2, con Locke y Newton, y pasamos al tema 3, tratando con Egerton, y con sus respectivas selecciones de textos. Egerton, Newton, y otros
autores están a caballo entre la última década del XVII y <a href="https://jaglit.blogspot.com/2019/11/3-early-18th-c.html">la
primera mitad del siglo XVIII</a>.</span><span style="font-size: x-large;"><br />
<span><br />
</span><br />
<br />
<br /><span style="font-weight: bold;"><br />
<br />
<span>Sir Isaac Newton </span></span><span> (1642-1727).<br />
<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Philosophiae Naturalis
Principia Mathematica.</span> </span> 1687. (<span style="font-style: italic;">Mathematical principles of natural
philosophy</span>)<br />
_____. <span style="font-style: italic;">Opticks.</span> 1704. <br />
</span><span>_____.<span style="font-style: italic;"> <a href="https://books.google.es/books?id=rEYUAAAAQAAJ" target="_blank">A
Treatise of the System of the World.</a> </span>1728.<span style="font-style: italic;"> </span>(Written
c. 1685)</span><br />
<br />
<br />
<span>__________________</span><br />
<br />
<span>NIVEL AVANZADO</span><span>: <a href="https://jaglit.blogspot.com/2019/11/nivel-avanzado-newton.html">Sir
Isaac Newton</a></span><br />
<br />
<span>__________________ </span><br />
</span><br />
<br />
<br />
<span style="font-size: large;"> </span><small><small><small><small><br />
<a href="https://jaglit.blogspot.com/2020/11/from-history-today-companion-to-british.html" target="_blank"><span style="font-size: x-large;"><br />
</span></a></small></small></small></small><a href="https://jaglit.blogspot.com/2020/11/from-history-today-companion-to-british.html" target="_blank"><span style="font-size: x-large;">
</span></a><span style="font-size: x-large;"><span style="color: black;"><a href="https://jaglit.blogspot.com/2020/11/from-history-today-companion-to-british.html" target="_blank">JOHN LOCKE</a>
(1632-1704)</span></span><span style="font-size: x-large;"><br />
</span><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: x-large;"><span style="color: black;"><br />
_____. (Anon.). <span style="font-style: italic;"><span style="font-weight: bold;">Two Treatises of
Government.</span> </span> 1689.</span><br />
<span style="color: black;">_____.
(Signed). <span style="font-style: italic; font-weight: bold;">An
Essay Concerning
Human Understanding.</span> 1689. <br />
</span><span style="color: black;">_____. <span style="font-style: italic;">Letters for Toleration.</span>
1690-92.<br />
</span>
</span><span style="color: black; font-size: x-large;"><span> _____.
<span style="font-style: italic;">Some Considerations of the
Consequences of the Lowering of Interest, and Raising the Value of
Money. </span>1691.<br />
_____. <span style="font-style: italic;">Some Thoughts Concerning
Education.</span> 1693.<br />
_____. <span style="font-style: italic;">The Reasonableness of
Christianity. </span>1695.</span><br />
<br />
</span><span style="color: black; font-size: x-large;">Locke was an English empiricist
philosopher and political
theorist, b. Wrington, Somersetshire; Lecturer, physician and
philosopher; assistant to the First Earl of Shaftesbury, Whig political
theorist, exile in Netherlands 1682-88; customs official after
revolution; d Oates, Essex; influential theorist of knowledge and
economist; proto-liberal, defends political and religious toleration.</span><br />
<big><big><big><big><big><span style="color: black;"><small><small>
</small></small></span></big></big></big></big><span style="font-style: italic;"><big><br />
</big></span>
</big></small></small></big></big></big></big></small></small></small></big></big></small>_________________________</span></p>
<p><span style="font-size: large;"><span style="font-size: x-large;">- <a href="https://jaglit.blogspot.com/2020/11/from-history-today-companion-to-british.html" target="_blank">Some notes on John Locke</a></span><br />
</span></p>
<p><span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><big>-
<a href="http://en.wikipedia.org/wiki/John_Locke">John Locke
(Wikipedia).</a><br />
</big></small></small></big></big></big></big></small></small></small></big></big></small><br />
Aquí
un pequeño vídeo sobre Locke<span style="font-style: italic;"> (con una
errata, ojo: llaman a la
revolución de 1688 "la revolución de Cromwell" confundiéndola con la de
1642).</span><br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Fj_fXYe5Bos" width="560"></iframe><br />
<small><big><big><small><small><small><big><big><big><big><small><small><big><big><span style="font-style: italic;"><br />
</span></big></big></small></small></big></big></big></big></small></small></small></big></big></small><br />
<span style="font-style: italic;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><br />
</big></big></small></small></big></big></big></big></small></small></small></big></big></small></span><br /><br />
<br />
<br />
<small><big><big><small><small><small><big><big><big><big><small><small><big><big>_____________</big></big></small></small></big></big></big></big></small></small></small></big></big></small><br />
<br />
<br />
<span> NIVEL AVANZADO:</span></span></p><p><span style="font-size: large;"><span> </span></span></p><p><span style="font-family: Cambria; font-size: 18.0pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US;">Antes del influyente <i>Discurso
sobre la Tolerancia</i> de Locke, hubo también precedentes. Aquí hay un breve "Discurso sobre la tolerancia" de William Drummond, poeta con el que empezamos este curso:</span><style>@font-face
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mso-fareast-language:EN-US;}div.Section1
{page:Section1;}</style><span style="font-size: large;"><span> <a href="https://jaglit.blogspot.com/2022/04/william-drummond-discourse-on.html" target="_blank">A Discourse on Toleration</a> <br /></span></span></p><p><br /></p><span style="font-size: large;">
</span><p><span style="font-size: medium;"><span style="font-size: large;">- Materiales sobre <a href="https://jaglit.blogspot.com/2019/11/john-locke-nivel-avanzado.html">John
Locke</a></span><br />
</span></p>
<p><span style="font-size: large;"><br />
</span></p>
<p><span style="font-size: large;"><span style="font-size: large;"><a href="https://jaglit.blogspot.com/2019/11/nivel-avanzado-restoration-women-writers.html">- Restoration
Women Writers</a></span></span></p>
<p><span style="font-size: large;"><span style="font-size: large;"> </span></span></p>
<p><span style="font-size: large;"><span style="font-size: large;"><span style="font-size: large;"><span style="font-size: large;">- Aquí hay <a href="https://jaglit.blogspot.com/2019/11/some-early-periodicals-and-newspapers.html">algunos
títulos relativos al comienzo del periodismo en el siglo XVII</a>.</span><br />
</span></span><br />
<span style="font-size: large;">________________________</span> <br />
</span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"><span style="font-size: large;"> </span></span></p><p><span style="font-size: large;"><span style="font-size: large;">El 11-N trataremos de algunos
dramaturgos de la Restauración, y más en detalle de Aphra Behn.
Necesitaremos el texto de <i>Oroonoko.</i></span></span></p><p><span style="font-size: large;"> </span><span style="font-size: x-large;"><br />
</span><br />
<span style="font-size: x-large;"><span><a href="https://jaglit.blogspot.com/2020/11/aphra-behn-oxford-companion.html" target="_blank"><br />
</a><span style="font-size: large;"><a href="https://jaglit.blogspot.com/2020/11/aphra-behn-oxford-companion.html" target="_blank">Aphra
Behn</a> (1640-1689)<br />
<br />
_____. <span style="font-style: italic;">The Forc’d Marriage.</span>
Drama. 1670. <br />
_____. <span style="font-style: italic;">The Amorous Prince.</span>
Heroic drama. 1671.<br />
_____. <span style="font-style: italic;">The Dutch Lover. </span>Drama.
1672.<br />
_____. <span style="font-style: italic;">The Town-Fop; or, Sir Timothy
Tawdry.</span> Comedy. 1676.<br />
_____. <span style="font-style: italic;">Abdelazer; or the Moor’s
Revenge. </span> Tragedy. 1676. <br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;"><a href="https://www.youtube.com/watch?v=5l9WQZWQJJQ">The Rover</a>, or,
the Banish’t
Cavaliers.</span> </span>Comedy. 2 parts. 1677,
1681. <br />
_____. <span style="font-style: italic;">Sir Patient Fancy.</span>
Comedy. 1678.<br />
_____. <span style="font-style: italic;">The Feigned Curtezans. </span>Comedy.
1679.<br />
_____. <span style="font-style: italic;">The Young King; or The
Mistake. </span>Heroic drama. 1679.<br />
_____. <span style="font-style: italic;">The City Heiress; or, Sir
Timothy Treat-All. </span>Comedy. 1682.<br />
_____. <span style="font-style: italic;">The Round-Heads: or, The Good
Old Cause.</span> Satiric drama.
1682.<br />
_____. <span style="font-style: italic;">The False Count; or, a New
Way to Play an Old Game.</span> Farce. 1682.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Love Letters between a
Nobleman and His Sister. </span> </span>Novel.
1684.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The Lucky Chance;</span> or , an
Alderman’s Bargain.</span> Comedy. 1687. <br />
_____. <span style="font-style: italic;">The Emperor of the Moon. </span>Farce.
1687.<br />
_____. <span style="font-style: italic;">Three Stories, viz. <span style="font-weight: bold;"><a href="https://www.owleyes.org/text/oroonoko/read/oroonoko-or-the-royal-slave#root-2" target="_blank">Oroonoko;
or, The Royal Slave;</a> </span>The Fair
Jilt, and Agnes de Castro. </span> Novellas. 1688. </span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span>_____. <a href="https://en.wikipedia.org/wiki/The_Widow_Ranter,_or,_the_History_of_Bacon_in_Virginia" target="_blank"><i>The Widow Ranter.</i></a>
Tragicomedy. 1689. <br />
</span></span></p><span style="font-size: large;">
</span><p><span style="font-size: x-large;"><span style="font-size: large;"><br />
</span><span style="font-size: large;">
<span><br />
</span></span><span><span style="color: black;"><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><span><i><span style="font-size: large;">Oroonoko,
or The Royal Slave (Audiobook):</span><br />
<br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/mkEVWWAqsIU" width="560"></iframe><br />
<br />
<br />
</i></span></span></span></span></span><span style="font-size: large;"><i>"Oroonoko, or The Royal
Slave</i></span><span style="font-size: large;">
is a novel by Aphra Behn (1640-1689).
Aphra Behn was the first woman writer in England to make a living by
her pen, and her novel <i>Oroonoko </i>was the first work published
in English
to express sympathy for African slaves.
Perhaps based partly on Behn's own experiences living in Surinam, the
novel tells the tragic story of a noble slave, Oroonoko, and his love
Imoinda. The work was an instant success and was adapted for the stage
in 1695 (and more recently by the Royal Shakespeare Company in 1999).
Behn's work paved the way for women writers who came after her, as
Virginia Woolf noted in <span style="font-style: italic;">A Room of
One's Own</span>
(1928): "All women together ought to let flowers fall upon the tomb of
Aphra Behn, ... for it was she who earned them the right to speak their
minds."
(Summary by Elizabeth Klett)
<br />
<span style="color: black;">
</span><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
<span style="color: black;">
</span></span><br />
</span></span></span></span></span></span></p><span style="font-size: large;">
</span><div style="text-align: right;">
<span style="font-size: large;"><span><span><a href="http://clubdepensadoresuniversales.blogspot.com.es/2011_08_07_archive.html"><span style="font-style: italic;">Orinoco</span> de Aphra Behn</a></span>
</span></span></div><span style="font-size: large;">
</span><p>
<span style="font-size: large;"><span><span><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></span></span><span>- Some
further notes <a href="https://jaglit.blogspot.com/2020/11/aphra-behn-oxford-companion.html">on
Aphra Behn.</a><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
<br />
</span></span></span><a href="https://youtu.be/dj5tg9vuzkw">- Music
for Aphra Behn's <span style="font-style: italic;">Abdelazer</span></a>,
by Henry Purcell.</span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><span> </span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><span> </span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><span>____________</span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><span>NIVEL AVANZADO: </span><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></span><br />
<span>- <a href="https://www.bbc.co.uk/programmes/b0977v4t" target="_blank">An audio on Aphra Behn</a> (In Our Time, BBC).<i><br />
</i></span></span><br />
<i>- </i><a href="https://jaglit.blogspot.com/2020/11/a-lecture-on-oroonoko-nivel-avanzado.html" target="_blank">A lecture on <i>Oroonoko</i></a></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><i>- </i><a href="http://self.gutenberg.org/articles/eng/Oroonoko" target="_blank">An
overview of <i>Oroonoko</i></a></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><br /></span>
</p><span style="font-size: large;">
</span><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><br />
____________<br />
<br />
</span></span><span style="font-size: large;"><span><span style="font-weight: bold;"><br />
</span><span style="font-style: italic;">Some Restoration dramatists:</span><span style="font-weight: bold;"><br />
</span><br />
SIR WILLIAM DAVENANT ( 1605-1668)</span>
<span><br />
_____. <span style="font-style: italic;">The Wits.</span> Comedy. c.
1633. <br />
_____. <span style="font-style: italic;">Love and Honour.</span>
Heroic play. 1634, pub. 1649. Revived 1661.<br />
_____. <span style="font-style: italic;">Temple of Love.</span>
Masque. Premiere performed by Queen Henrietta Maria and her ladies.
1635.<br />
_____. <span style="font-style: italic;">Britannia Triumphans.</span>
Masque. 1638.<br />
_____. <span style="font-style: italic;">Salmacida Spolia.</span>
Masque. 1640.<br />
_____. <span style="font-style: italic;">Gondibert.</span> Epic poem.
1650.<br />
_____. <span style="font-style: italic;">The First Day’s Entertainment
at Rutland House.</span><br />
_____. <span style="font-style: italic; font-weight: bold;">The Siege
of Rhodes.</span> Operatic drama in two parts. Part 1 performed 1656,
1657.<br />
_____. <span style="font-style: italic;">The Cruelty of the Spaniards
in Peru.</span> Operatic drama. 1658.<br />
_____. <span style="font-style: italic;">The History of Sir Francis
Drake.</span> Operatic drama. 1659.<br />
_____. <span style="font-style: italic;">The Law Against Lovers. </span>Drama.1662.
(Based on Shakespeare’s <span style="font-style: italic;">Measure for
Measure</span> and <span style="font-style: italic;">Much Ado About
Nothing</span>).<br />
_____. <span style="font-style: italic;">Macbeth.</span> Operatic
adaptation. 1673.<br />
_____. <span style="font-style: italic;">Playhouse to Be Let.</span>
Adapted from Molière.</span>
<span><br />
Davenant, William, and John Dryden. <span style="font-style: italic;">The
Tempest or The Enchanted Island.</span> Operatic adaptation of
Shakespeare’s work. 1667.</span>
<span><span style="font-weight: bold;"><br />
<br />
</span>Davenant
was a Royalist poet,
dramatist and dramatic producer; the son of an Oxford tavern-keeper,
godson and self-reputed illegitimate son of Shakespeare; st. All Saints
grammar school, Oxford, and Lincoln College, page to Frances Duchess of
Richmond, patronized by Fulke Greville, Lord Brooke; court dramatist
and poet, laureate at the Queen’s wish 1638, named governor of the
King’s and Queen’s players at Drury Lane 1639; Cavalier activist,
imprisoned by Parliamentarians, escape to France, lieutenant-general in
the Earl of Newcastle’s army, knighted 1643 for service at the siege of
Gloucester, emissary between the King and Queen, l. Paris, Louvre,
projected colonist, imprisoned at Wight and the Tower of London,
seemingly protected by Milton, later repaid favour, released, organiser
of musical dramatic events, Theatre at Rutland House, Charterhouse
Yard, 1656-, reviver of drama after Puritan interruption; licensed
impresario after Restoration with the Duke’s Company, died insolvent,
buried at Westminster Abbey.</span><br />
</span><span style="font-size: large;"><br />
</span><span style="font-size: large;"><span><br />
</span></span><span style="font-size: large;"><span><span style="font-weight: bold;">
<br />
</span>George Etherege (1634-1691)</span>
<span><br />
_____. <span style="font-style: italic;">The Comical Revenge, or Love
in a
Tub. </span>Comedy. 1664.<br />
_____. <span style="font-style: italic;">She Wou'd if She Cou'd.</span>
Comedy. 1668.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Man of
Mode, or, Sir
Fopling Flutter.</span> 1676.</span>
<span><br />
</span></span><span style="font-size: large;"><span><br />
William Wycherley (1641-1715) <span style="font-style: italic;"><br />
<br />
<span style="font-style: italic;">_____. </span>Love in a Wood, or St.
James's Park.</span>
Drama. 1671.<br />
_____. <span style="font-style: italic;">The Gentleman Dancing-Master.</span>
Comedy. 1672.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Country Wife.</span>
Comedy. 1675.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Plain
Dealer.</span><span style="font-weight: bold;">
</span>Comedy. 1676.</span>
<span><br />
</span></span><span style="font-size: large;"><span><br />
</span></span><span style="font-size: large;"><span><br />
William Congreve (1670-1729) </span>
<span><br />
_____.<span style="font-style: italic;"> The Old Bachelor.</span>
Comedy. 1693.<br />
_____. <span style="font-style: italic;">Love for Love.</span> Comedy.
1695.<br />
_____. <span style="font-style: italic;">The Mourning Bride.</span>
Tragedy. 1697.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Way of
the World.</span><span style="font-weight: bold;">
</span>Comedy. 1700.</span>
<br />
</span><span style="font-size: large;"><span><br />
</span></span><span style="font-size: large;"><br />
</span><span style="font-size: large;"><span>
</span><span>________</span><br />
</span><span style="font-size: large;"><br />
</span><span style="font-size: large;"><span>
</span><span>NIVEL
AVANZADO:</span></span></p><span style="font-size: large;">
</span><p><span style="font-size: x-large;"><span style="font-size: large;"> </span><span style="font-size: large;"><br />
<span>- <a href="http://garciala.blogia.com/2016/121107-william-congreve-the-way-of-the-world.php">the
plot of Congreve's </a><span style="font-style: italic;"><a href="http://garciala.blogia.com/2016/121107-william-congreve-the-way-of-the-world.php">The
Way of the World</a>.</span></span><br />
<span>
</span><span><br />
</span><br />
<span>- Nahum Tate (1652-1715)</span><br />
<span>______. Shakespearean adaptations (<i>Richard II, King Lear)</i></span><br />
<span><i>______. Dido and Aeneas. </i>Opera with music by Henry
Purcell. 1689.</span></span><br />
<span><br />
</span> <span></span><br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/N_8DzTkZiYo" width="560"></iframe></span><span style="font-size: x-large;"><br />
</span></p>
<p><span style="font-size: large;">__________</span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: x-large;"><span><br />
</span><br />
<span>
</span><span style="font-size: large;">Samuel
Butler (1613-1680)</span><span style="font-size: large;"><br />
<span>
</span><span>_____.
<b><span style="font-style: italic;">Hudibras.</span>
</b>Burlesque epic. 3 parts. 1663, 1664, 1678.</span><br />
<span>
</span><span>_____.
<span style="font-style: italic;">Characters.</span>
1667-9, pub. 1759. (A virtuoso, A hermetic philosopher, etc.)</span>
<br />
<span>
</span><span>_____.
<span style="font-style: italic;">The
Elephant in the Moon.</span> Satire. 1759.</span><br />
<span>
</span><span>_____.
<span style="font-style: italic;">Satire
on the Royal Society.</span> Satirical poem. 1759.</span><br />
<span>
</span><span>_____.
<span style="font-style: italic;">The
Genuine Remains in Verse and Prose of Mr Samuel Butler.</span> 1759.</span><br />
<span>
</span><span><br />
</span><br />
<span>
</span><span><br />
A burlesque dramatic satire against Dryden and the heroic plays: <a href="https://jaglit.blogspot.com/2020/11/the-rehearsal-nivel-avanzado.html"><span style="font-style: italic;">The Rehearsal,</span></a> ascribed to the
Duke of Buckingham and Samuel Butler.</span><br />
<br /></span></span></p><p><span style="font-size: large;">___________________</span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"><span style="font-size: medium;">10 nov.: trataremos de Rochester, Dryden, y seguidamente Aphra Behn y Locke.</span><br /></span></p><p><br /></p><p><span style="font-size: x-large;"></span></p><p><span style="font-size: large;">Primero veremos a Rochester,
Dryden, y otros dramaturgos de la Restauración. Id leyendo las
selecciones de novelas que tenemos, que son algo largas, empezando por <i>Oroonoko</i>
de Aphra Behn.</span></p><span style="font-size: x-large;"><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-fAxyuFRqhbJ1LhlVFZDXY3LsH1UAxJIJ6r1pp5k-Rw_YnGNLApAgKDQ-VJrVXrp9gXOlgaW3BRtEU3MYfh9RMZqW4abub_L40rXrhAXeCE6-4kA78EaMR4JIlEVRjzn-oC33FJ3qfRs/s1600/dryden.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="510" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-fAxyuFRqhbJ1LhlVFZDXY3LsH1UAxJIJ6r1pp5k-Rw_YnGNLApAgKDQ-VJrVXrp9gXOlgaW3BRtEU3MYfh9RMZqW4abub_L40rXrhAXeCE6-4kA78EaMR4JIlEVRjzn-oC33FJ3qfRs/s640/dryden.png" width="510" /></a></div>
<span style="font-size: x-large;"><br />
</span><span style="font-size: large;"><small><small><small><small><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: large;"><br />
<span>JOHN DRYDEN
(1631-1700)<br />
<br />
English man of letters, b. Aldwinkle, Northamptonshire; st. Westminster
School and Trinity College, Cambridge; Parliamentarian protestant
background, soon Anglican Royalist courtier, converted to catholicism
1686; successful playwright, Poet Laureate 1668; Historiographer 1670;
Tory satirist and polemicist vs. Whigs; lost jobs in 1688 Revolution;
then jacobite; neoclassical critic and translator; influential
dramatist, poet and critic, d. London; buried at Westminster Abbey
after some grotesque incidents.<span style="font-weight: bold;"><br />
<br />
</span>_____. "A Poem upon the Death of His
Late Highness, Oliver, Lord
Protector of England, Scotland, and Ireland." 1659. Rev. version:
"Heroic
Stanzas Consecrated to the Memory of His Highness Oliver..."<br />
_____. <span style="font-style: italic;">Astraea Redux.</span> A Poem
on the Happy Restoration and Return of his
Sacred Majesty Charles the Second. Poem. 1660.<br />
_____. <span style="font-style: italic;">To His Sacred Majesty, A
Panegyrick on his Coronation.</span> 1661.<br />
_____. <span style="font-style: italic;">The Rival Ladies.</span>
Tragicomedy. 1664.<br />
_____. <span style="font-style: italic;">The Indian Emperor, or The
Conquest of Mexico by the Spaniards.
</span>Heroic drama. 1665.<br />
_____. <span style="font-weight: bold;"> </span><span style="font-style: italic;"><span style="font-weight: bold;"><a href="https://www.bartleby.com/204/5.html" target="_blank">Annus
Mirabilis</a>, The
Year of wonders,</span> 1666. An Historical
Poem:
containing the Progress and various Successes of our Naval War with
Holland, under the Conduct of His Highness Prince Rupert... And
describing the Fire of London. </span>1667.<br />
_____. <span style="font-style: italic;">The Tempest, or The Enchanted
Island. </span> 1667.
(With William Davenant. Based
on Shakespeare. Revised with <a href="https://youtu.be/kQH0h5ju_s8">music
by Mattew Locke</a>)<span style="font-style: italic;">.</span><br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Of Dramatic Poesy:</span> An
Essay.</span> 1668. <br />
_____. <span style="font-style: italic;">Tyrannick love, or , The
Royal Martyr.</span> Heroic play 1669.<br />
_____. <span style="font-style: italic;">Almanzor and Almahide, or The
Conquest of Granada. </span>Heroic play. 2
parts, 1669, 1670. Pub. 1672.<br />
_____. <span style="font-style: italic;">An Evening's Love.</span>
Tragicomedy. 1671.<br />
_____. <span style="font-style: italic;">Marriage à la Mode.</span>
Comedy 1672.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Aureng-Zebe.</span> </span>Heroic
play. 1676.<br />
_____. <span style="font-style: italic; font-weight: bold;">All for
Love; or, The World
Well Lost.</span> Tragedy. 1678.<br />
_____. <span style="font-style: italic;">Mac-Flecknoe, or A Satyr upon
the True-Blew-Protestant Poet, T.
S.</span> 1676, pub. 1682.<br />
_____. <span style="font-style: italic;">The Spanish Fryar, or The
Double Discovery. </span> Tragicomedy.
1680.<br />
_____. (Anon.) <span style="font-style: italic;"><a href="https://www.poetryfoundation.org/poems/44172/absalom-and-achitophel" target="_blank"><span style="font-weight: bold;">Absalom and
Achitophel.</span></a> </span> (1st part).
Satirical poem. 1681. <br />
_____. <span style="font-style: italic;">The Medall. A Satyre against
Sedition.</span> By the Author of Absalom
and Achitophel. Poem. 1682.<br />
_____. <a href="http://www.bartleby.com/204/11.html"><span style="font-style: italic; font-weight: bold;">Religio
Laici, </span><span style="font-weight: bold;">or A Layman's Faith</span><span style="font-style: italic; font-weight: bold;">.</span></a>
Poem. 1682.<br />
</span></span></small></small></big></big></big></big></small></small></small></big></big></small><span>_____.
trans. of Boileau's <span style="font-style: italic;">Art Poétique. </span>(With
William Soames). 1683.
<br />
</span></small></small></small><span>
_____. <span style="font-style: italic;">To the Pious Memory of Mrs.
Anne Killigrew. </span>Poem. 1686.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Hind
and the Panther.</span>
A Poem . In Three Parts. 1687.<br />
_____. <span style="font-weight: bold;">"Song for St. Cecilia's
Day." </span> 1687. Set by Draghi in 1687.<br />
______. <span style="font-style: italic;">Amphitryon. </span>Comedy.
1690.<br />
_____. <span style="font-style: italic;">Don Sebastian. </span>Drama.
1690.<br />
____. <a href="http://vanityfea.blogspot.com.es/2015/11/henry-purcell-1659-1695-king-arthur.html"><span style="font-style: italic;">King Arthur or The British
Worthy.</span> Dramatic opera. Music by
Purcell.</a> 1691.<br />
_____, trans. <span style="font-style: italic;">Aeneis. </span>By
Virgil. 1697. (<a href="http://youtu.be/C_PmVJe8pn8">Audiobook here</a>)<br />
_____, trans. <span style="font-style: italic;"><span style="font-weight: bold;">Fables Ancient and
Modern, </span>Translated into Verse from
Homer, Virgil, Boccacce, and Chaucer. </span>1699.</span></small></span><span style="font-size: x-large;"><br />
<br />
</span><br />
<br />
<span style="font-size: large;">THE AGE OF DRYDEN: a video lecture (in Indian English)</span><br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/DtPMO_l4aD4?start=66" width="560"></iframe>
<br />
<br />
<br />
<br />
<br />
<br />
<span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><small><span style="font-size: large;">____________________________ </span></small></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span><br />
<br />
<span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><small><span style="font-size: large;"><a href="https://jaglit.blogspot.com/2019/11/dryden-y-la-musica.html">Dryden
y la música</a></span></small></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span><br />
<span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><small><span style="font-size: large;">_____________________________ </span></small></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small>
</span><br />
</span><p></p><p><span style="font-size: x-large;"></span></p><p><span style="font-size: x-large;"><br />
</span><span style="font-size: x-large;">
</span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNalFfpskHysEYIJlruMjbqkkGchgd7-3dGodhw_8xKLyZ_yBDoR5Dq_lEOcHkhkoglSwQG5NSnp0GxY9l7pX26SY_OL-KnaMHoXAxNVqUqeI7KOZDFhxJJYR2i0vfD_H_XvdICt27N8Q/s1600/rochester.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="465" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNalFfpskHysEYIJlruMjbqkkGchgd7-3dGodhw_8xKLyZ_yBDoR5Dq_lEOcHkhkoglSwQG5NSnp0GxY9l7pX26SY_OL-KnaMHoXAxNVqUqeI7KOZDFhxJJYR2i0vfD_H_XvdICt27N8Q/s640/rochester.jpg" width="496" /></a></span></div><span style="font-size: large;"><p><span>THE
EARL OF ROCHESTER (1647-1680)<br />
<br />
<span>John Wilmot, 2nd Earl
of Rochester, b. Ditchley, Oxfordshire, son of
the 1st Earl of Rochester; scandalous court wit under Charles II, rake
and hooligan; destroyed his health through drink and sex; atheist and
misanthropist converted to Christianity before his death, died in
London.</span><span><br />
</span></span><br />
<span><span><span><span>_____. "An Allusion to Horace." Satire. </span><span><br />
_____. "Trial of the Poets for the Bays." Satire. Imitation of
Boileau.
<br />
_____. "Epistolary Letter to Lord Mulgrave." Satire.</span></span> </span></span></p>
<p><span><span>_____. <span style="font-weight: bold;"><a href="http://www.ealasaid.com/fan/rochester/satire.html" target="_blank">"A Satyre against Reason and
Mankind."</a> </span><br />
_____. <a href="http://www.ealasaid.com/fan/rochester/charles.html" target="_blank">"A Satyre on Charles II."</a> <br />
</span></span></p></span><span style="font-size: large;"><p><span><span>_____. "The Imperfect Enjoyment."</span></span></p></span><span style="font-size: x-large;"><span style="font-size: large;">
</span><p><span style="font-size: large;"><span>_____. <a href="http://www.luminarium.org/eightlit/rochester/thefall.htm" target="_blank">"The Fall."</a></span><span><br />
_____. <a href="https://www.poetryfoundation.org/poems/50451/the-disabled-debauchee" target="_blank">"<span style="font-weight: bold;">The Disabled Debauchee."</span></a><br />
_____. <span style="font-style: italic;">Poems on Several Occasions...</span>
1680.<br />
_____. <span style="font-style: italic;">Valentinian.</span>
Tragedy. 1685.<br />
_____. <a href="https://www.poetryfoundation.org/poems/53720/upon-nothing"><span style="font-style: italic; font-weight: bold;">Upon Nothing.</span></a><span style="font-weight: bold;"> </span>1711.</span></span><span style="font-size: x-large;"><br />
</span><span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span><span style="font-size: medium;"><a href="http://www.luminarium.org/eightlit/rochester/">Esta
es la página de Rochester en </a><span style="font-style: italic;"><a href="http://www.luminarium.org/eightlit/rochester/">Luminarium</a>—</span>con
obras, crítica, etc<span style="font-weight: bold;">. </span>Es
especialmente recomendable la <a href="http://jacklynch.net/Texts/mankind.html"><span style="font-style: italic;">Satire against Reason and Mankind.</span></a><span style="font-weight: bold;"><span style="font-weight: bold;"> </span></span>(Este
texto está mejor que el de las fotocopias).<span style="font-weight: bold;"><span style="font-weight: bold;"> </span></span></span></small></small></span></big></big></big></big></big><span style="color: black; font-size: medium;">Sobre
Rochester y el teatro de la Restauración hay una película recomendable (<a href="https://jaglit.blogspot.com/2020/11/the-libertine-nivel-avanzado.html" target="_blank"><span style="font-style: italic;">The
Libertine</span></a>). <span>(<a href="https://www.youtube.com/watch?v=6LDviiKpGE8&t=34s" target="_blank">The theatre scene</a>) - (<a href="https://youtu.be/RQrStsgQoCI" target="_blank">the Exclusion Crisis</a>)</span></span></small></small></big></big></big></big></small></small></small></big></big></small></span><span style="font-size: medium;"><br />
<br />
</span><span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: medium; font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span><span style="font-size: medium;"><a href="https://jaglit.blogspot.com/2019/11/john-wilmot-earl-of-rochester.html">Unas
notas complementarias</a> sobre Rochester.</span> <span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></small></small></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span><br />
<span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big>______</big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></p>
<p><span style="font-size: large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big> </big></big></small></small></big></big></big></big></small></small></small></big></big></small></span><br />
<br />
<span style="font-size: large;"><i>NIVEL
AVANZADO: </i></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><i>-
Upon Nothing</i>:</span><span style="font-size: large;"><br /></span>
<span style="font-size: large;"><a href="https://www.poetryfoundation.org/poems/53720/upon-nothing"><span>https://www.poetryfoundation.org/poems/53720/upon-nothing</span></a> </span><span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br />
</span><span style="font-size: large;">and
commentary:</span><span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><a href="http://www.poetryfoundation.org/learning/guide/247988#poem">
http://www.poetryfoundation.org/learning/guide/247988#poem</a><span style="font-weight: bold;"><br />
</span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;">-
<a href="https://jaglit.blogspot.com/2020/11/dr-kat-and-earl-of-rochester-nivel.html" target="_blank">Dr Kat on Rochester</a> (video lecture)<span style="font-weight: bold;"><br />
</span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span style="font-weight: bold;"> </span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;">-
<a href="https://jaglit.blogspot.com/2019/11/rochester-and-restoration-drama-nivel.html" target="_blank">Rochester and Restoration Drama</a><span style="font-weight: bold;"><br />
</span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span style="font-weight: bold;">______</span></span></p></span><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"><b><span>PROSE WRITERS OF THE RESTORATION:</span></b></span><span style="font-size: x-large;"><br /></span></p><p><span style="font-size: x-large;"><span style="font-size: large;"> </span></span></p><span style="font-size: x-large;">
<p><span style="font-size: large;"> </span></p></span><span style="font-size: x-large;"><p>
</p><p><span style="font-size: large;">4 nov. - Veremos <i>Pilgrim's Progress</i> de John Bunyan.</span>
</p><span style="font-size: large;">
<br />
<span>EDWARD HYDE, EARL OF CLARENDON (1609-1674)<br />
<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The History of the Rebellion
and Civil Wars in England.</span> </span> 3
vols. Finished 1671-2. Pub. 1702-4.<br />
_____. <span style="font-style: italic;">The Life of Edward, Earl of
Clarendon. </span> Written 1668-70.
Pub. 1759.</span></span><br />
<br />
<span>__________________</span><br />
<br />
<span style="font-size: large;">SAMUEL PEPYS (1633-1703)</span><span style="font-size: large;"><br />
</span><span style="color: black; font-size: large;"><span style="font-style: italic;">_____.
<b>Diary.</b></span><span>
Written 1660-69. Deciphered by John Smith; pub. 1825-.<br />
_____. <span style="font-style: italic;">Memories Relating to the
State of the Royal Navy.</span> 1690. <br />
_____. <span style="font-style: italic;">Letters and Second
Diary. </span>1932<br />
_____. <span style="font-style: italic;">The Tangier Papers of Samuel
Pepys. </span> 1935.</span><br />
<br />
</span><span style="color: black;"><span style="font-size: large;">Pepys was an English
gentleman and
politician, the author of a secret diary, unpublished and undecyphered
until the 19th century; lower middle class Puritan background,
Anglican; st. with a scholarship, social promotion, official at the
Navy office during the Restoration; imprisoned during Popish Plot and
after 1688 Revolution; reformer of the Navy office, member of the Royal
Society.</span> </span><span><br />
<br />
</span><span style="font-size: large;"><br />
<span style="color: black;">JOHN EVELYN
(1620-1706)</span><br />
<span><br />
</span><span style="color: black;">_____. <i>Diary.</i> Written
1641-. Ed. 1818.</span><br />
<span style="color: black;">_____. <span style="font-style: italic;">Liberty
and Servitude. </span>Treatise.
1649.<br />
_____. <span style="font-style: italic;">A Character of England. </span>1659.<span style="font-style: italic;"><br />
</span></span>_____. <i>Apology of the Royal Party.</i> 1659.<br />
<span style="color: black;"><span style="font-style: italic;">_____. <span style="font-style: italic; font-weight: bold;">Fumifugium
ot The Smoak of
London Dissipated.</span> </span>Project. 1661.<span style="font-style: italic;"><br />
_____. <span style="font-style: italic; font-weight: bold;">Tyrannus,
or the Mode.</span>
</span>Essay. 1661.<span style="font-style: italic;"><br />
_____. <span style="font-style: italic;">Sculptura.</span> </span>Treatise.
(Engraving). 1662.<span style="font-style: italic;"><br />
_____. <span style="font-style: italic;">Kalendarium Hortense:
or, Gard'ners Almanac. </span></span></span><br />
<span style="color: black;"><span style="font-style: italic;"><span style="font-style: italic;">_____. Sylva, or a Discourse of
Forest-Trees and the Propagation of Timber. </span></span>1664. <span style="font-style: italic;"><span style="font-style: italic;"><br />
_____. London Revived:
Considerations for its Rebuilding in 1666. </span></span></span><br />
<span style="color: black;"><span style="font-style: italic;"><span style="font-style: italic;">_____. Terra, or A Philosophical
Discourse of Earth.
</span></span> 1675.<span style="font-style: italic;"><span style="font-style: italic;"><br />
_____. <span style="font-style: italic; font-weight: bold;">The Life
of Mrs. Godolphin. </span></span></span>1847.<span style="font-style: italic;"><span style="font-style: italic;"><span style="font-style: italic; font-weight: bold;"><br />
</span></span></span></span><br />
<span><br />
</span></span></span><span style="color: black; font-size: large;"><span>Evelyn
was an English royalist
gentleman who travelled in Europe during the
1640s;
polygraph, virtuoso and member of the Royal Society, friend of Pepys.</span><span style="font-style: italic;"><span style="font-style: italic;"><span><br />
<br />
<span><span style="color: black;"><span>___________</span> </span></span><br />
<span><br />
<span style="color: black;">NIVEL
AVANZADO</span><br />
<span style="color: black;">John
Evelyn's early modern ecologism: a lecture at the Royal Society, on <span style="font-style: italic;">Sylva</span> and the idea of
sustainability: <a href="https://royalsociety.org/events/2013/sustainability/">https://royalsociety.org/events/2013/sustainability/</a></span></span><br />
<br />
<br />
<span style="color: black;"><span><span style="color: black;"><span><span style="color: black;">_____________</span></span></span></span></span><br />
</span><br />
<span style="color: black;"><span><span style="color: black;"><span><span style="color: black;"><br />
</span></span></span></span></span></span></span><span style="color: black;"><span><span style="color: black;"><span><span style="color: black;"><span><a href="https://jaglit.blogspot.com/2019/11/john-bunyan.html" style="font-weight: bold;">JOHN BUNYAN</a> (Bedfordshire,
1628-London
1688)
</span></span></span></span></span></span><span style="font-style: italic;"><span style="font-style: italic;"><span style="color: black;"><span><span style="color: black;"><span><span style="color: black;"><span><br />
<br />
_____. <span style="font-style: italic;">Some Gospel Truths Opened.</span>
</span></span></span></span></span></span></span></span><span style="color: black;"><span><span style="color: black;"><span><span style="color: black;"><span>1656.
</span></span></span></span></span></span><span style="font-style: italic;"><span style="font-style: italic;"><span style="color: black;"><span><span style="color: black;"><span><span style="color: black;"><span><br />
_____. <span style="font-style: italic;">A Few Sighs from Hell. </span></span></span></span></span></span></span></span></span><span style="color: black;"><span><span style="color: black;"><span><span style="color: black;"><span>1658.
</span></span></span></span></span></span><span style="font-style: italic;"><span style="font-style: italic;"><span style="color: black;"><span><span style="color: black;"><span><span style="color: black;"><span><br />
_____. <span style="font-style: italic; font-weight: bold;">Grace
Abounding to the Chief
of Sinners. </span></span></span></span></span></span></span></span></span><span style="color: black;"><span><span style="color: black;"><span><span style="color: black;"><span>Spiritual autobiography. 1666.
</span></span></span></span></span></span><span style="font-style: italic;"><span style="font-style: italic;"><span style="color: black;"><span><span style="color: black;"><span><span style="color: black;"><span><br />
_____. <span style="font-style: italic; font-weight: bold;"><a href="https://www.gutenberg.org/files/131/131-h/131-h.htm" target="_blank">The
Pilgrim's Progress.</a> </span></span></span></span></span></span></span></span></span><span style="color: black;"><span><span style="color: black;"><span><span style="color: black;"><span>Allegorical
fiction. Part I, 1678. Part II, 1684.
</span></span></span></span></span></span><span style="font-style: italic;"><span style="font-style: italic;"><span style="color: black;"><span><span style="color: black;"><span><span style="color: black;"><span><br />
_____. <span style="font-style: italic;">The Life and Death of Mr.
Badman Presented to the World in a Familiar Dialogue between Mr.
Wiseman and Mr. Attentive. </span></span></span></span></span></span></span></span></span><span style="color: black;"><span><span style="color: black;"><span><span style="color: black;"><span>Allegorical fiction. 1680. </span></span></span></span></span></span><span style="font-style: italic;"><span style="font-style: italic;"><span style="color: black;"><span><span style="color: black;"><span><span style="color: black;"><span><br />
_____. <span style="font-style: italic;">The Holy War made by Shaddai
upon Diabolus. </span></span></span></span></span></span></span></span></span><span style="color: black; font-size: x-large;"><span><span style="color: black;"><span><span style="color: black;"><span><span style="font-size: large;">Allegorical fiction.
1682.</span> </span></span><br />
</span></span></span></span><span style="font-style: italic;"><span style="font-style: italic;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><span style="font-size: x-large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><span style="font-size: large;"><span style="font-size: x-large;"><br />
<br />
_______________<br />
</span><br />
<a href="https://jaglit.blogspot.com/2019/11/john-bunyan-nivel-avanzado.html">John
Bunyan (NIVEL AVANZADO)</a><br />
<br />
<a href="https://www.youtube.com/watch?v=Bu1fLCLODZo" target="_blank">By the Sword Divided: The Mailed Fist (1657)</a><br />
<span style="font-size: medium;"></span></span></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></small></small></small></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></span></span><span style="color: black; font-size: large;"><span style="font-style: italic;"><span style="font-style: italic;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><span style="font-size: x-large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><span style="font-size: large;"><span style="font-size: medium;"><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-weight: bold;">_____________</span></span></small></small></span></big></big></big></big></big></small><br />
<br />
</span></span></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></small></small></small></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></span></span><p></p><p><span style="color: black; font-size: large;"><span style="font-style: italic;"><span style="font-style: italic;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><span style="font-size: x-large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><span style="font-size: large;"><span style="font-size: medium;"><br />
<small><big><big><small><small><small><big><big><big><big><small><small><big><small><big><big>
<span style="font-size: large;"><br />
</span></big></big></small></big><span style="font-size: large;">Timeline
of
the Restoration and Augustan
period</span></small></small></big></big></big></big></small></small></small></big></big></small><span style="font-size: large;">
<br />
</span></span></span></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></small></small></small></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></span></span><span style="font-size: large;"><br />
<br />
<br />
<span style="font-weight: bold;">
</span><span style="font-size: x-large;"><span style="font-size: large;">Puritan rule under Oliver Cromwell during the 1650s.
Lord
Protector. Protestant politics during the Interregnum.<br />
<a href="https://www.bbc.co.uk/programmes/p00547bx" target="_blank"><br />
THE RESTORATION</a>. Restoration of Charles II, 1660. Act of Oblivion.
Charles and Catherine
of Braganza will have no children, but Charles will have many children
by his mistresses. His brother, the Duke of York, will be the inheritor
(problem: he was a Catholic).<br />
<br />
1660s- The Royal Society, first scientific society.<br />
<br />
1665-6 – Great Plague and Great Fire of London<br />
<br />
1666, 1670. Dutch wars. Secret treaty of Charles with the French
against the Dutch.<br />
<br />
1672. Declaration of Indulgence towards Catholics and Nonconformists
—but 1673 Test Act excludes Catholics from public office.<br />
<br />
1677 William of Orange marries Mary, daughter of James, Duke of York.<br />
<br />
1678 Popish plot scandal fostered by anti-Catholics (Titus Oates).<br />
<br />
1680 Exclusion Crisis. The growth of party politics (Whigs / Tories).<br />
<br />
1683 Rye House Plot fails to assassinate Charles and James.<br />
<br />
1684 Charles' son Monmouth implicated in plot. <br />
<br />
1685. Death of Charles, accesion of James II. Louis XIV allows
persecution of French protestants.<br />
<br />
1687. James's Declaration of Indulgence. The Monmouth rebellion. <br />
<br />
1688. <a href="https://www.bbc.co.uk/programmes/p00547fk" target="_blank">The Glorious Revolution
and Dutch invasion (Audio)</a>.
A Whig revolution. James escapes to France but lands with
an army in Ireland. Defeated by William III at the Battle of the Boyne
(1690) and
Aughrim (1691). William and Mary rule—we'll use "the Augustan Age" for
the last decade of the 18th and the 1st half of the 18th c.<br />
<br />
1689. Bill of Rights. Toleration of Nonconformists. <br />
<br />
1693-94: National Debt and Bank of England established.<br />
<br />
1702. William dies. Anne, daughter of James II, reigns to 1714 (Last of
the Stuart monarchs).<br />
<br />
18th century: The growth of commerce & the American colonies. East
India company begins expansion in India.<br />
<br />
1704-6. Victories of Marlborough. <br />
<br />
1707: Act of Union (Union of Parliaments): United Kingdom of Great
Britain (Union with Ireland: 1800)<br />
<br />
1710: Fall of the Whigs. Act of Copyright.<br />
<br />
1714-1727: The House of Hanover.
Reign of George I, grandson of James I. More Georges: George II
reigns1727-1760. George
III 1760-1820.<br />
<br />
1715: Fall of the Tories. Jacobite rising defeated. (Again in 1745,
last Jacobite rising coming from Scotland – as told in Scott's <span style="font-style: italic;">Waverley)</span>.</span> </span></span><span style="font-size: large;"><span style="font-size: x-large;"><br />
</span><br />
<span style="color: black;"><span style="font-style: italic;"><span style="font-style: italic;"><span style="color: black;"><span><span style="color: black;"><span>____________________ </span></span></span></span></span></span></span><br />
<br />
</span><span style="color: black; font-size: large;"><span style="font-style: italic;"><span style="font-style: italic;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><span style="font-size: x-large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><small><small><small><big><big><big><span style="font-size: x-large;"><span style="font-size: large;">Wrightson
on the Restoration:</span><br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ceFidZi9ge4" width="560"></iframe><br />
</span></big></big></big></small></small></small></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></small></small></small></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></span></span>
</p><p><span style="color: black; font-size: large;"><span style="font-style: italic;"><span style="font-style: italic;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><span style="font-size: x-large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><small><small><small><big><big><big><span style="font-size: x-large;"> </span></big></big></big></small></small></small></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></small></small></small></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></span></span></p>
<p style="text-align: right;"><span style="color: black; font-size: large;"><span style="font-style: italic;"><span style="font-style: italic;"><span style="color: black;"><span><span style="color: black;"><span><a href="https://jaglit.blogspot.com/2020/11/24-refashioning-state-1688-1714.html"><span>NIVEL
AVANZADO: The historical context of the Glorious revolution.</span></a></span></span></span></span></span></span></span></p>
<p style="text-align: right;"><span style="color: black; font-size: large;"><span style="font-style: italic;"><span style="font-style: italic;"><span style="color: black;"><span><span style="color: black;"><span> In
Our Time: <a href="https://www.bbc.co.uk/programmes/p00547bx" target="_blank">The
Restoration</a><br />
</span></span></span></span></span></span></span></p>
<p><span style="color: black; font-size: large;"><span style="font-style: italic;"><span style="font-style: italic;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><span style="font-size: x-large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><small><small><small><big><big><big><span style="font-size: x-large;"> </span></big></big></big></small></small></small></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></small></small></small></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></span></span></p>
<p style="text-align: right;"><span style="color: black; font-size: large;"><span style="font-style: italic;"><span style="font-style: italic;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><span style="font-size: x-large;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><big><big><big><span style="color: black;"><small><big><big><small><small><small><big><big><big><big><small><small><big><big><small><small><small><big><big><big><span style="font-size: x-large;"><span style="font-size: medium;"> </span></span></big></big></big></small></small></small></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></small></small></small></span></big></big></big></big></big></small></small></big></big></big></big></small></small></small></big></big></small></span></span></span></p>
<br />
<br /><p><br /></p><p>___________________</p><p style="text-align: right;"><span style="font-size: large;"><br /></span></p><p style="text-align: right;"><a href="https://jaglit.blogspot.com/2019/09/1-early-17th-c.html" target="_blank"><span style="font-size: large;">1. Early 17th c.</span></a><br /></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-68657302118639906302021-11-15T18:32:00.005+01:002021-11-15T18:32:54.279+01:00Comentario de texto<p><br />
<big><big><big>COMENTARIO DE TEXTO (y ensayo)</big></big></big><br />
<big><big><big></big></big></big><br />
<big><big><big></big></big></big><br />
<big><big><big>El primero de los trabajos (opcionales) es un comentario de texto sobre una poema breve, o sobre una escena o pasaje interesante de una obra del programa.</big></big></big><br />
<big><big><big><br />
Aquí hay unas indicaciones sobre <a href="https://www.academia.edu/1731753/" target="_blank">cómo hacer un comentario de texto</a> (<a href="http://ssrn.com/abstract=2662425">English here</a>). Si queréis
hacer prácticas, o consultas sobre cómo comentar alguno de
los textos, dudas de interpretación, etc., podéis venir a comentarlo a
las horas de tutorías, o por email.</big></big></big></p><p><big><big><big> </big></big></big></p><p><big><big><big>Para el segundo trabajo, puntúa más escribir <i>un ensayo crítico,</i> es decir, escribir sobre determinada cuestión o aspecto que sea de interés en relación a alguna obra. Pongamos "La religión en <i>Robinson Crusoe",</i> si os interesa la religión. O el tema que os interese. "<i>La imagen de los españoles en Robinson Crusoe", </i>etc. Lo que sea, en relación a vuestros intereses o algo sobre lo que podáis escribir y leer un poco más. En ese caso, os documentáis más sobre el autor y la obra, <i>y sobre el tema de vuestra elección,</i> por ejemplo la religión de Defoe, el protestantismo a principios del XVIII, etc. Y comentáis los aspectos de la obra más relevantes desde esa perspectiva—no un pasaje en concreto, sino la obra en su conjunto o los pasajes más relevantes que veáis, en relación al tema que estáis desarrollando. En este caso el comentario de texto va orientado hacia la temática que estéis tratando.</big></big></big></p><p><big><big><big> </big></big></big></p><p><big><big><big>Como extensión, a título orientativo, pongamos 5 páginas el primer trabajo (comentario) y 10 el segundo (ensayo con bibliografía etc.). Pero no hay límites estrictos: importa más la calidad que la cantidad. Fecha de entrega: el día del examen. <i>Impreso en papel,</i> por favor. </big></big></big><br />
<br /></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-11037409668088849782021-11-03T17:45:00.003+01:002023-04-04T16:43:41.160+02:001. EARLY 17TH C.<p><span style="font-size: large;">El 3 de noviembre trataremos de
Andrew Marvell. Seguidamente, pasaremos a los prosistas del XVII,
empezando por Bacon. El día 4 traed la lectura de Bunyan, <i>Pilgrim's Progress.</i><br /></span></p><p><span style="font-size: large;">________ </span></p><p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big>Con
Hobbes terminamos el repaso a la literatura inglesa 1600-1660. Y
pasamos a la <a href="https://jaglit.blogspot.com/2019/11/2-restoration-literature.html">unidad
2, Late 17th-c. literature (Restoration literature). </a><br />
____________________________<br />
<br />
<small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big>
<br />
</big></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="font-style: italic;"></span></big></big></big></big></big></small></small></small></big></big></small><small><big><big><big><big><big><span style="color: black;"><small><small><small><big><big><span style="font-weight: bold;">Thomas Hobbes </span>(1588-1679)</big><span style="font-style: italic;"><big><br />
_____. <span style="font-style: italic;">De Cive.</span> </big></span><big>1642.
English
trans 1651.</big><span style="font-style: italic;"><big><br />
_____. <span style="font-style: italic;">Human Nature: or The
Fundamental Elements of Policy. </span></big></span><big>1650.</big><span style="font-style: italic;"><big><br />
_____. <span style="font-style: italic;">De Corpore Politico: or the
Elements of Law, Moral and Politick.</span>
</big></span><big>1650.</big><span style="font-style: italic;"><big><br />
_____. <span style="font-style: italic; font-weight: bold;">Leviathan:
Or the Matter,
Form, and Power of A Commonwealth
Ecclesiastical and Civil.</span><span style="font-weight: bold;"> </span></big></span><big>Political
philosophy. 1651.</big><span style="font-style: italic;"><big><br />
_____. </big></span><big><span style="font-style: italic;">The
Elements of Philosophy.</span> 1655.<br />
</big><span style="font-style: italic;"><big>_____. <span style="font-style: italic;">Opera philosophica quae
Latine scripsit.</span> </big></span><big>1668. </big><span style="font-style: italic;"><big><br />
_____. <span style="font-style: italic;">Behemoth, or the Long
Parliament. </span></big></span><big>1680. </big><span style="font-style: italic;"><big><br />
_____</big></span><big>, trans.</big><span style="font-style: italic;"><big>
<span style="font-style: italic;">The Iliads and Odysses
of Homer.</span></big></span></big><big><big> 1675.</big><br />
</big><span style="font-style: italic;"><big><br />
</big></span></small></small></small></span></big>
</big></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><br />
<span style="font-style: italic;"><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big>El
célebre
frontispicio
del
</big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></span><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big>Leviathan
</big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><span style="font-style: italic;"><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big>de
Hobbes:</big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></span><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><br />
<span style="font-style: italic;"></span></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><br />
</big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></p>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU8gyNmKemv9e1knfzpoejbjh9sSfErbAzDaKOw9YLVRRLprZk1yTGZPKIGXkXKJopD6rnxzQnrqT5zgjElWHhD7Gvd5pW1HaBssZwHfWJlE1bqZQ_nhMkdDJfn_CLGFEAjc93jufr9Bc/s1600/leviathan.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1290" data-original-width="825" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU8gyNmKemv9e1knfzpoejbjh9sSfErbAzDaKOw9YLVRRLprZk1yTGZPKIGXkXKJopD6rnxzQnrqT5zgjElWHhD7Gvd5pW1HaBssZwHfWJlE1bqZQ_nhMkdDJfn_CLGFEAjc93jufr9Bc/s1600/leviathan.jpg" /></a></div>
<p>
<small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><br />
</big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><br />
</big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><span style="font-size: large;">Obsérvese
en las
ilustraciones el paralelismo entre los
aspectos
"civil" y "eclesiástico" de la comunidad regida por el absolutismo, y
cómo Hobbes concibe a la Iglesia como otra dimensión más de la
política, con sus propias armas, fortalezas y ejércitos.</span></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></p><p><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><span style="font-size: large;"> </span></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></p><p><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><span style="font-size: large;"> <i>Una introducción a Hobbes:</i></span><br /><br /><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/T5PkZl8ctP0" title="YouTube video player" width="560"></iframe><br /><br />
</big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><br />
</big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><a href="https://youtu.be/2fhUXSL9e60">Otra introducción a Hobbes</a>, en
español, de
parte de Fernando Savater. </big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><br />
</big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><span style="font-size: medium;"><br />
</span><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: medium;"><a href="https://youtu.be/7H0Bj0jJ79Q">Y
una más avanzada,</a> del curso
de Filosofía de Wheaton College.</span><br />
</small></small></small></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><small><small><small><br />
</small></small></small></big></big></big></big></small></small></small></big></big></small><br />
<br />
<br />
<br />
<br />
<span style="font-size: x-large;">Other
political theorists:</span><span style="font-size: x-large;"><br />
<br />
<br />
Robert
Filmer.
<span style="font-style: italic;">Patriarcha, or The Natural Power of
Kings Asserted. </span>Political theory. 1680.<br />
<br />
James
Harington. <span style="font-style: italic;">The
Commonwealth of Oceana.</span> 1656.</span><br />
<small><big><big><small><small><small><big><big><big><big><small><small><small><br />
</small>
</small></small></big></big></big></big></small></small></small></big></big></small><small><big><big><small><small><small><big><big><big><big><small><small><small> </small></small></small></big></big></big></big></small></small></small></big></big></small><br />
<br />
<br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big>
<span style="color: black;">_________________________</span><br />
<span style="color: black;"><br />
</span><br />
<span style="color: black;">NIVEL AVANZADO: <a href="https://jaglit.blogspot.com/2019/11/bacon-burton-browne-nivel-avanzado.html">Bacon,
Burton, Browne.</a><br />
</span><br />
<span style="color: black;">Dos aspectos de la antropología filosófica
de Hobbes:</span></span></p>
<p><span style="font-size: large;"><span style="color: black;">- Su
psicología que combina materialismo e idealismo, trascendiéndolos en <a href="https://www.researchgate.net/publication/314066734" target="_blank">una teoría de la virtualidad de lo real.</a><br />
</span></span></p>
<p><span style="font-size: large;"><span style="color: black;"><br />
</span></span></p>
<p><span style="font-size: large;"><span style="color: black;">- Su
teoría de la identidad contractual y de la representación política:</span></span></p>
<p><span style="font-size: large;"><span style="color: black;"><a href="http://ssrn.com/abstract=3955767" target="_blank">Cómo hacer personas artificiales (How to Make Artificial Persons).</a></span></span></p><p><span style="font-size: large;"><span style="color: black;"> </span></span></p><p><span style="font-size: large;"><span style="color: black;">Un episodio cromwelliano de la serie de la BBC <i>By the Sword Divided: </i><a href="https://youtu.be/Bu1fLCLODZo" target="_blank">The Mailed Fist (1657) </a><br />
</span><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>_________________________<br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<span style="font-size: x-large;"><br />
<br />
</span></span></p>
<p><br />
</p>
<p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big>
</big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><small><small><small><big><big><big><big><b>Sir
Francis
Bacon</b> <span style="font-style: italic;">
</span>(1561-1626)</big></big></big></big></small></small></small></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big><br />
<big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><small><small><small><big><big><big><big><span style="font-style: italic;"><br />
</span></big></big></big></big></small></small></small></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big><br />
<big><small><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><small><small><small><big><big><big><big>English
statesman and philosopher; high-class MP, related to William Cecil;
advisor to the Earl of Essex, but acted as prosecutor at his trial; 1618
Lord Verulam, becomes Lord Chancellor; defender of the King's
prerogatives vs. Edward Coke; impeached for corruption 1621; empiricist
philosopher, advocate of experimental science vs. scholasticism.</big></big></big></big></small></small></small></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></small></big></span></p><p><span style="font-size: large;"><big><small><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><small><small><small><big><big><big><big><span style="font-style: italic;"> </span></big></big></big></big></small></small></small></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></small></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><small><small><small><big><big><big><big><span style="font-style: italic;"><small><small>_____. <span style="font-weight: bold;">Essays.</span>
</small></small></span><small><small>1597,
1612, 1625. <span style="font-style: italic;"><br />
_____. The Advancement of Learning. </span>1605. </small></small></big></big></big></big></small></small></small></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></p>
<p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><small><small><small><big><big><big><big><small><small><span style="font-style: italic;">_____. </span><i>Instauratio Magna (The
Great Instauration):</i><span style="font-style: italic;"> <span style="font-weight: bold;">Novum Organum.</span>
</span>1620. <span style="font-size: medium;"><a href="https://jaglit.blogspot.com/2021/11/francis-bacon-idols-of-mind.html" target="_blank">(The Idols)</a></span><br />
</small></small></big></big></big></big></small></small></small></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></p>
<p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><small><small><small><big><big><big><big><small><small><span style="font-style: italic;">_____. </span><i>A History of the Life
and Reign of King Henry VII.</i> 1622.<br />
<span style="font-style: italic;"></span></small></small></big></big></big></big></small></small></small></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></p>
<p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><small><small><small><big><big><big><big><small><small>_____.
<i>De dignitate & Augmentis Scientiarum.</i> 1623. </small></small></big></big></big></big></small></small></small></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></p>
<p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><small><small><small><big><big><big><big><small><small><span style="font-style: italic;">_____. The New Atlantis.<span style="font-weight: bold;"> </span></span>Utopian
narrative. 1627</small></small><span style="font-style: italic;"><small><small>.</small></small><br />
</span></big></big></big></big></small></small></small></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><br />
<small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><small><small><small><big><big><big><big><span style="font-style: italic;"></span></big></big></big></big></small></small></small></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big>Bacon nos recita su ensayo "Of Truth":</big></big> <br />
</span></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ADcAikUJII8" width="560"></iframe>
<p><span style="font-size: large;"> <br />
</span></p>
<p><br /></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"></span></p>
<p><br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><br />
</big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big>
Sobre
Francis Bacon, hay que recomendar sus <span style="font-style: italic;">Ensayos,
</span>completos, o leídos a
voleo. ¿Que no los tenéis? <a href="http://www.westegg.com/bacon/index.essays.html">Claro que sí.</a><br /> <big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><span style="font-style: italic;">"Some books are to
be
tasted,
others to be swallowed, and some few to be chewed and digested; that
is, some books are to be read only in parts; others to be read, but not
curiously; and some few to be read wholly, and with diligence and
attention. Some books also may be read by deputy, and extracts made of
them by others; but that would be only in the less important arguments,
and the meaner sort of books, else distilled books are like common
distilled waters, flashy things."</span> ("Of Studies")</big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><br />
</big></small></small></small></big></big>
</small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><a href="http://www.libertaddigital.com/opinion/francisco-cabrillo/sir-francis-bacon-filosofo-cientifico-corrupto-y-prevaricador-30172/">Más
sobre Francis
Bacon</a> (en español). </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<span style="font-size: x-large;"><br />
<span><span style="font-family: "times new roman",serif;"><br />
</span></span><br />
<span><b>Robert Burton</b> (1577-1640)<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The Anatomy of Melancholy.</span> </span>1621,
1638. </span><span><br />
</span><span><br />
</span><span>
</span><br />
<span>
</span><span><span style="font-style: italic;"><br />
</span></span><br />
<span>
</span><span><span style="font-weight: bold;">Sir
Thomas
Browne</span>
(1605-1682)<br />
<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Religio Medici.</span> </span>
1643.<br />
_____. <span style="font-style: italic;">Vulgar Errors (Pseudodoxia
Epidemica). </span>1646.<br />
_____. <span style="font-style: italic;">Hydriotaphia, or Urn
Burial... together with The Garden of
Cyrus. </span> 1658.</span><br />
</span></span></p>
<div class="MsoNormal" style="margin-bottom: 0cm;">
</div>
<span style="font-size: x-large;">
</span>
<div class="MsoNormal" style="margin-bottom: 0cm;"></div>
<span style="font-size: x-large;">
</span>
<div class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-size: x-large;"></span><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><br />
_____________<br />
</big></big><br />
<span style="font-size: large;">NIVEL AVANZADO: </span></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></div>
<span style="font-size: large;"><br />
</span><span style="font-size: large;">Prosa
barroca del
siglo
XVII: <a href="http://www.bbc.co.uk/programmes/b010y30m"> Robert
Burton's </a><span style="font-style: italic;"><a href="http://www.bbc.co.uk/programmes/b010y30m">Anatomy of Melancholy</a>.
(In Our Time).<br />
<span style="font-style: italic;"><br />
</span></span></span><br />
<span style="font-size: large;">
</span><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><span style="font-size: large;">Quien
se atreva
a
hurgar en la <a href="http://penelope.uchicago.edu/pseudodoxia/pseudodoxia.shtml"><span style="font-style: italic;">Pseudodoxia Epidemica</span> de Sir Thomas
Browne,</a> también la tiene en la red.</span></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><br />
<br />
<small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><span style="font-size: large;"><a href="https://jaglit.blogspot.com/2019/11/francis-bacon-nivel-avanzado.html"> Sir
Francis Bacon: NIVEL AVANZADO</a></span></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><br />
<br />
<br />
<a href="https://jaglit.blogspot.com/2019/11/other-17th-c-prose-writers-nivel.html">OTHER
PROSE WRITERS (MID-17TH C.).</a><br />
<br />
<small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>Se puede consultar también sobre
la prosa de esta época, a nivel avanzado, el capítulo correspondiente
de la <i>Cambridge
History of English Literature.</i></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;">______________</span></p><p><span style="font-size: large;"><br />
</span></p><p><span style="font-size: large;"><br />
</span></p><p><span style="font-size: large;"><br />
</span></p><p><span style="font-size: large;">Finales de octubre. Necesitaremos
los poemas de
Vaughan y de Marvell<span style="font-size: medium;">,<br /></span></span></p><p><span style="font-size: large;"><span style="font-size: medium;">— y seguidamente dedicaremos una última clase a la prosa de principios y mediados del XVII.</span></span><br />
<br />
</p><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj54D3blMhS8osX6nyUeC2tLtki9xJa6jlkCQoytsJl-ybGs5qSS2P6FJHcHkz9np1DABEo1x4akJR0xIBFu986WQ6Yt44tjhTbJL6kZCi716sGLuALCpSSBtf804omfcs2NwY4ARBEfYE/s1600/AndrewMarvell.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="282" data-original-width="473" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj54D3blMhS8osX6nyUeC2tLtki9xJa6jlkCQoytsJl-ybGs5qSS2P6FJHcHkz9np1DABEo1x4akJR0xIBFu986WQ6Yt44tjhTbJL6kZCi716sGLuALCpSSBtf804omfcs2NwY4ARBEfYE/s1600/AndrewMarvell.jpg" /></a></div>
<p>
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: large;"><br />
</span><span style="font-size: x-large;"><br />
ANDREW MARVELL (1621-1678) </span></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><span style="font-size: x-large;"><span style="color: black;"></span><br />
<span style="color: black;"></span><span style="color: black;">English
metaphysical poet and satirist, born in Winestead-in-Holderness,
Yorkshire;
lived in Kingston-upon-Hull, studied at Trinity College, Cambridge, BA
1639; father
died while Marvell was a student; patronized by wealthy friends, 1640s
travels
widely in Europe, visits Constantinople; 1651-2 tutor for Sir Thomas
Fairfax's family at Nunappleton, Yorkshire, later tutor employed by
Oliver Cromwell near Eton; then lived in London, 1657 assistant to
Milton as
Latin Secretary; 1660, 1661 MP for Hull, 1662-5 diplomatic secretary in
Holland and Russia; Opposition MP for Hull, salaried by constituents;
friend of Prince Rupert, anti-Government satirist under the
Restoration, anti-Anglican polemicist, refused employment and bribes
from the King, d. of a 'tertian ague', some say poisoned; buried at St.
Giles; works published posthumously by his housekeeper or alleged wife.</span><span style="color: black;"><br />
</span></span><small><span style="font-size: x-large;"><span style="color: black;"><br />
</span><span style="color: black;">Some works by Andrew Marvell:</span><br />
</span><big><big><small><small><small><big><span style="font-size: x-large;"><span style="color: black;">_____. <a href="https://www.poetryfoundation.org/poems-and-poets/poems/detail/44683"><span style="font-weight: bold;">"An Horatian Ode upon
Cromwell's Return from Ireland."</span></a> Written 1650.
(Absent from most copies of Miscellaneous Poems 1681).</span><br />
<span style="color: black;">_____.
"Upon Appleton House." Poem. 1651, pub. 1678. </span><br />
<span style="color: black;">_____.
<a href="https://www.poetryfoundation.org/poems-and-poets/poems/detail/44677"><span style="font-weight: bold;">"Bermudas."</span></a> Poem.</span><span style="color: black;"></span><br />
<span style="color: black;">_____.
<span style="font-weight: bold;">"The Garden."</span> Poem. Early 1650s?</span><span style="color: black;"></span><span style="color: black;"> </span><br />
<span style="color: black;">
<a href="http://www.luminarium.org/sevenlit/marvell/garden.htm">http://www.luminarium.org/sevenlit/marvell/garden.htm</a></span><span style="color: black;"></span><br />
<span style="color: black;">_____.
"The Mower against Gardens." Poem. Early 1650s?</span><span style="color: black;"> </span><br />
<span style="color: black;">
<a href="http://www.luminarium.org/sevenlit/marvell/mowagainst.htm">http://www.luminarium.org/sevenlit/marvell/mowagainst.htm</a></span><span style="color: black;"></span><br />
<span style="color: black;">_____.
<span style="font-weight: bold;">"To His Coy Mistress."</span> </span><span style="color: black;">
<a href="http://www.poetsgraves.co.uk/Classic%20Poems/Marvell/to_his_coy_mistress.htm">http://www.poetsgraves.co.uk/Classic%20Poems/Marvell/to_his_coy_mistress.htm</a></span></span></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><span style="font-size: x-large;"><span style="color: black;">_____. "Upon the Death of His Late Highness the Lord Protector." Poem. 1658. </span><br />
<span style="color: black;">_____.
"Last Instructions to a Painter." Satire. First pub. 1667 signed "Sir
John Denham". Rpt. as Marvell's in <span style="font-style: italic;">Poems
on Affairs of State.</span> 1689.</span><br />
<span style="color: black;">_____.
(Anon.). <span style="font-style: italic;">The
Rehearsal Transpros'd: or, Animadversions Upon a Late Book, Entitled, A
Preface Showing What Grounds There Are of Fears and Jealousies of
Popery:</span> ... Prose satire. 1672. </span><br />
<span style="color: black;">_____.
"On Paradise Lost." Poem. Prefaced to the second edition of <span style="font-style: italic;">Paradise Lost,</span> 1674. </span><br />
<span style="color: black;">_____.
(Anon.). <span style="font-style: italic;">An Account of the Growth of
Popery and Arbitrary Government in
England.... </span> Prose satire. "Amsterdam", 1678. (Folio).</span><span style="color: black;"></span><br />
<span style="color: black;">_____. <span style="font-style: italic;"><span style="font-weight: bold;">Miscellaneous
Poems </span>by Andrew Marvel.</span> 1681.</span></span><small>
</small><br />
<big><big><big><big><span style="color: black;"></span></big></big></big></big><big><big><big><big><span style="color: black;"><small><small><br />
<span style="font-weight: bold;"></span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"></span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;">_____________________</span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"></span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><br />
</span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><i>Una variación musical sobre
Marvell y Marlowe:</i><span style="font-weight: bold;"><br />
</span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/m_x8s3hjaTU" width="560"></iframe><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"></span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><br />
<br />
</span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><br />
<big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
Sobre Andrew Marvell,<br />
—</small></small></span></big></big></big></big> <a href="https://jaglit.blogspot.com/2021/10/andrew-marvell-notes.html" target="_blank">unos
apuntes complementarios</a><a href="https://jaglit.blogspot.com/2021/10/andrew-marvell-notes.html" target="_blank">.</a><br />
<big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"></span>
</small></small></span></big></big></big></big><big> </big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>Leemos
de Marvell
<a href="https://www.poetryfoundation.org/poems/48332/on-a-drop-of-dew">"On a
Drop of Dew"</a> y <a href="http://www.unizar.es/departamentos/filologia_inglesa/garciala/materiales/poemas/Marvell%2CCoyMistress.htm">"To
His Coy Mistress"</a>. </big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big>Una
explicación de este último poema:<br />
<br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/dUR7sNTDolY" width="560"></iframe><br />
<br />
<br />
También leemos <a href="http://www.luminarium.org/sevenlit/marvell/mowagainst.htm">"The
Mower against Gardens"</a>, </big><big>y podéis ampliar si queréis
leyendo su oda sobre Cromwell, <a href="http://www.bartleby.com/101/355.html">An Horatian Ode</a>.</big><br />
<big><br />
<br />
<br />
<span style="font-style: italic;"><span style="font-style: italic;"></span></span></big></big></small></small></small></big></big><big><big><small><small><small><big><big><span style="font-style: italic;"><span style="font-style: italic;"><br />
</span></span></big></big></small></small></small></big></big><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>____________</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
</p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>Un vídeo sobre <a href="https://jaglit.blogspot.com/2020/11/henry-vaughan-17th-century-welsh-poet.html" target="_blank">el País de Gales de Henry Vaughan</a>.<br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>De Henry Vaughan leemos
"Childhood": <a href="http://www.luminarium.org/sevenlit/vaughan/childhood.htm">http://www.luminarium.org/sevenlit/vaughan/childhood.htm</a><br />
</small></small></span></big></big></big></big><big><big><big><big><span style="color: black;"><small><small> </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>También tenéis en las lecturas <a href="https://www.poetryfoundation.org/poems-and-poets/poems/detail/45430">"The
Retreat"</a>; </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br /> <big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>En <span style="font-style: italic;">Luminarium </span>encontráis
estos y otros poemas.<br />
Aquí unos apuntes sobre <a href="https://jaglit.blogspot.com/2019/10/henry-vaughan.html">Henry
Vaughan & brother</a><br />
<br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
______________________<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
<span style="font-size: x-large;"><span>Nivel avanzado:</span></span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: x-large;"><span> </span></span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: x-large;"><span>THOMAS TRAHERNE
(1637-1674)<br />
</span></span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><span style="font-size: x-large;"><br />
<span style="color: black;"><span>British metaphysical and devotional
poet, b. Hereford; st. Oxford, BA
1656, MA 1661, Bachelor in Divinity 1669; country priest, private
chaplain to the Lord Keeper at Middlesex, poems remained unpublished
until late 19th c.</span></span><br />
<br />
<br />
<span style="color: black;"><span><span style="color: black;"><span> </span></span>_____.
<span style="font-style: italic;">Roman
Forgeries.</span> 1673.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The Poetical Works of Thomas Traherne,</span>
B.D.</span> Ed. Bertram Dobell. 1st pub. 1903.<br />
_____. <span style="font-style: italic;">Centuries of Meditations.</span>
Prose. 1st pub. 1908.<br />
_____. <span style="font-style: italic;">Poems of Felicity.</span> 1st
pub. 1910. </span></span></span><br />
<br />
<span style="font-size: x-large;"><span style="color: black;"><span><br />
</span></span><span style="color: black;"><span><span style="color: black;"><span>_____. "Wonder." In <i>Bartleby:</i><br />
<a href="http://www.bartleby.com/236/42.html">http://www.bartleby.com/236/42.html</a></span></span></span></span></span><br />
<br />
</p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>De Traherne tenéis en las lecturas <a href="https://www.poetryfoundation.org/poems-and-poets/poems/detail/45418">"Wonder."</a> </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>—y aquí unas notas sobre <a href="https://jaglit.blogspot.com/2019/10/thomas-traherne.html">Traherne</a>.</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p><p><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><small>______________ </small></big><br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<br />
</p>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG0DKWZBrawK0GWDi9n_b1wBQxqq_Yv9OzRd2Tb7izTMOEgxbqWCQRYsE8T97hXHnpLhja1Iv9srWSB5m2MHRZd1zst8sJbw-EX4SbzCKQSmiEL6YQVIRSk7RGWvnKW0Gp_cSaq5uiO2A/s1600/silex.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="942" data-original-width="530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG0DKWZBrawK0GWDi9n_b1wBQxqq_Yv9OzRd2Tb7izTMOEgxbqWCQRYsE8T97hXHnpLhja1Iv9srWSB5m2MHRZd1zst8sJbw-EX4SbzCKQSmiEL6YQVIRSk7RGWvnKW0Gp_cSaq5uiO2A/s1600/silex.jpg" /></a></div><p>
<br />
<br />
<br />
<span style="font-size: x-large;"><span style="color: black;">HENRY
VAUGHAN
(1621-1695)</span><span><br />
</span><span style="color: black;"><span><br />
British metaphysical poet, b. Wales, brother of Thomas
Vaughan;
Anglican and Royalist, st. London; physician and mystical poet, l.
Wales, married two sisters in sequence; 8 children.<br />
<br />
Henry Vaughan. <span style="font-style: italic;">Poems, with
the
Tenth Satyr of Juvenal Englished.</span><br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Silex Scintillans:</span> or Sacred Poems
and Priuate Eiaculations</span>. 1650, 1655.<br />
_____. <span style="font-style: italic;">Olor Iscanus ... by Mr Henry
Vaughan.</span> Poems. 1651. </span></span><br />
<span style="color: black;"><span><span style="color: black;"><span>_____.<i>
Mount of Olives, or Solitary Devotions.</i> Prose. 1652.<br />
</span></span></span></span><br />
</span><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: x-large;"><span>Henry Vaughan, and Thomas Vaughan. <span style="font-style: italic;">Thalia
Rediviva.</span> Poems. 1678.</span></span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></p><p><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: x-large;"><span><br />
Thomas Vaughan. <span style="font-style: italic;">Anima Magica
Abscondita.</span> 1650.
<br />
</span></span><br />
<br />
<br />
<br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small>
</p><p><span style="font-size: large;"> _____________</span></p><p></p><p><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;">El miércoles 27 seguiremos con Milton, leyendo del texto de <i>Paradise Lost. </i>Y el jueves terminaremos el tema 1, con Marvell y Vaughan.<br /><i></i></span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><i> </i></span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><i> </i>El miércoles 27 noche (22-24h), con José Luis Esteban, se celebra en la Facultad <a href="https://thishugestage.blogspot.com/2021/10/la-noche-de-las-letras-vivientes.html" target="_blank">La Noche de las Letras Vivientes.</a><br /></span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"> </span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;">__________ <br /></span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;">El 20 de octubre y 21 hablaremos de los Cavalier Poets, adicionalmente a lo ya incluido en esta web, y pasamos seguidamente a Milton y la literatura de la época de la revolución. Textos: Cowley, Herrick, Milton...</span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;">__________<br /></span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;">Nos comunica la Facultad que tenemos que elegir delegado de curso y grupo. Pensad si queréis presentar candidaturas, porque entonces se votan ésas. Si no las hay todo el mundo es candidato y saldrá sin más quien más votos saque. El miércoles próximo lo comentaré en clase, y el jueves haremos en cada grupo la votación, rápida y eficazmente (no perderemos en esto la clase). Necesitaremos un presidente y dos vocales para firmar el acta. Si no hay voluntarios para la mesa, cogeremos a dedo a tres.<br />Mi propuesta de procedimiento es: Pedimos candidaturas, y se elige entre ellas, a mano alzada a menos que alguien pida voto secreto. Sólo se puede elegir a asistentes este día. Si no hay candidaturas, todo el mundo es candidato. (Menos yo). En los impresos que me han enviado hay que poner el nombre de dos o más personas; la más votada será delegada de curso y grupo, y las siguientes serán subdelegadas o suplentes.<br /></span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: medium;">_______________________________</span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;">
</span></span></span></span></span></p><p><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><br />
</span></span></span></span></span></span></p><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><br />
</span></span></span></span><span style="font-size: large;">Pasamos</span><span style="font-size: large;"> a Milton y Marvell, poetas protestantes y del bando puritano y
parlamentario. Los ubicamos en el tema 1, aunque escribieron o
publicaron muchas de sus principales obras durante la Restauración (que
será nuestro tema 2).</span><p></p><p><span style="font-size: large;">También hablaremos, a finales de octubre, de los últimos poetas metafísicos, para cerrar este tema.<br />
</span>
</p><p><br />
<span style="font-size: large;"><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
</span></p>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiztJd5FdnOjJQpnOzrl054pkeFKAq-fUOXEfOp67s3MLPruZ8-P9zDxZraMZbFNAkPWmGyqxbA0p-5MpYYOqdEaS330oE3bqiI9jGFicDq6JrgpG9g00dPixlOQ8nsLCsPeCiz3HWXKv0/s1600/milton.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1276" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiztJd5FdnOjJQpnOzrl054pkeFKAq-fUOXEfOp67s3MLPruZ8-P9zDxZraMZbFNAkPWmGyqxbA0p-5MpYYOqdEaS330oE3bqiI9jGFicDq6JrgpG9g00dPixlOQ8nsLCsPeCiz3HWXKv0/s640/milton.jpg" width="510" /></a></div>
<p>
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
<br />
<span style="font-size: x-large;">JOHN MILTON
(1608-1674)<br />
</span></small></small></span></big></big></big></big></big></small></small></small></big></big><span style="font-size: x-large;"><br />
<span style="color: black;"><span>English poet, son of John
Milton, London musician and scrivener; st.
Christ's College, Cambridge, BA 1628, MA 1632; turned vs. Anglicanism,
then private study at father's house in Horton, Buckinghamshire; tour
of Italy late 30s; private tutor and active Protestant pamphleteer and
polemicist in London; m Mary Powell, of Royalist family, 1643,
estranged for some time, advocated divorce; reconciliation with wife,
austere and authoritarian patriarch, militant masculinist, Independent
critic of Presbyterians, Latin secretary to the Commonwealth, supported
regicide, apologist of Cromwell; blind 1652; wife d. after childbirth,
3 surviving daughters; son John died; m. Katharine Woodcock, d. after
childbirth; m. Elizabeth Minshull after Restoration (no surviving
children from later wives); protected Royalists under war and
Commonwealth and was protected by Davenant and Marvell after
Restoration, fined but pardoned, abandoned political activity, private
life as man of letters, historian, theologian and neoclassical poet,
helped by his wife and visitors, organ player for recreation; suffered
from gout, buried at St. Giles, Cripplegate. His main works:</span><br />
</span><br />
<span style="color: black;"><br />
<span>Early works<br />
<br />
Milton, John. "On the Morning of Christ's Nativity. Compos'd 1629." In
<span style="font-style: italic;">The Poems of John Milton.</span> 1645.<br />
_____. "On Shakespear." Sonnet. 1630.<br />
_____. <span style="font-weight: bold;">"L'Allegro" and <a href="https://milton.host.dartmouth.edu/reading_room/penseroso/text.shtml" target="_blank">"IlPenseroso."</a> </span>Poems, early 1630s. In <span style="font-style: italic;">Poems</span>
1645. <br />
_____. <span style="font-style: italic;">A MASKE / PRESENTED / At
Ludlow Castle, </span>/ 1634 <span style="font-style: italic;">(<span style="font-weight: bold;">Comus</span>).
</span><br />
_____. "Ad Patrem." Latin poem. In <span style="font-style: italic;">Poems</span>
1645. <br />
_____. <a href="https://milton.host.dartmouth.edu/reading_room/lycidas/text.shtml" target="_blank"><span style="font-weight: bold;">"Lycidas."</span></a>
Pastoral
elegy. 1637. In <span style="font-style: italic;">Poems
</span>1645. <br />
<br />
<br />
Works 1640-1660<br />
<br />
Milton, John. <span style="font-style: italic;">Of Reformation
Touching Church Discipline in England.</span> 1641.<br />
_____. <span style="font-style: italic;">The Reason of Church
Government Urg'd Against Prelaty. </span></span></span></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: x-large;"><span style="color: black;"><span><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: x-large;"><span style="color: black;"><span>1641-42.</span></span></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The Doctrine and Discipline
of Divorce.</span> </span>1643. <br />
_____. <span style="font-style: italic;">Tetrachordon: Expositions
upon the four chief places of Scripture which treat of Marriage. </span>1644.<br />
_____. <span style="font-style: italic;">Of Education.</span> 1644. <br />
_____.<span style="font-weight: bold;"> </span><span style="font-style: italic;"><a href="https://milton.host.dartmouth.edu/reading_room/areopagitica/text.html" target="_blank"><span style="font-weight: bold;">Areopagitica:</span></a>
A Speech of Mr
John Milton For the Liberty of Unlicenc'd Printing, To the Parliament
of England. </span>1644. <br />
_____. <span style="font-style: italic;">Poems of Mr. John Milton,
both English and Latin, /</span> 1645.<br />
_____. "On the new forcers of Conscience under the Long PARLIAMENT."
Expanded sonnet. c. 1646, pub. in <span style="font-style: italic;">Poems</span>
1673. <br />
_____. <span style="font-style: italic;">The Tenure of Kings and
Magistrates. </span>1649.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;"><a href="https://milton.host.dartmouth.edu/reading_room/eikonoklastes/text.shtml" target="_blank">EIKONOKLASTES:</a> </span>In answer to a
Book, entitled, Eikon Basilike, the Portraiture of his sacred Majesty
in his Solitudes and Sufferings.</span> 1649.<br />
_____. <span style="font-style: italic;">Pro populo Anglicano Defensio.</span>
Political pamphlet. 1651. (Vs. Salmasius, pro Commonwealth).<br />
_____. <a href="https://milton.host.dartmouth.edu/reading_room/sonnets/sonnet_18/text.shtml" target="_blank">"Sonnet - On the late Massacher in Piedmont.</a>
('Avenge O Lord
thy slaughter'd Saints, whose bones')." 1655.</span></span></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: x-large;"><span style="color: black;"><span>_____. <a href="https://milton.host.dartmouth.edu/reading_room/sonnets/sonnet_19/text.shtml" target="_blank">"Sonnet - On His Blindness ('When I consider how mylight is spent')."</a> In <i>Poems</i> 1673. <br />
_____. <a href="https://milton.host.dartmouth.edu/reading_room/sonnets/sonnet_23/text.shtml" target="_blank">"Sonnet - ('Methought I saw my late espousedSaint')."</a> 1658,
pub. in <span style="font-style: italic;"> Poems </span>1673.
<br />
_____. <span style="font-style: italic;"><a href="https://www.dartmouth.edu/%7Emilton/reading_room/readie_and_easie_way/text.shtml" target="_blank">The Readie and Easie Way to Establish a Free
Commonwealth.</a> </span>1660.<br />
<br />
Main works – late works<br />
<br />
Milton, John. <span style="font-style: italic;">Paradise lost. / A /
POEM / Written in / TEN BOOKS / </span></span></span></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: x-large;"><span style="color: black;"><span><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: x-large;"><span style="color: black;"><span>1667-1669.</span></span></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
_____. <span style="font-style: italic;"><a href="https://milton.host.dartmouth.edu/reading_room/pl/book_1/text.shtml" target="_blank"><span style="font-weight: bold;">Paradise Lost. </span>/
A / POEM /
IN / TWELVE BOOKS. / The Author / JOHN MILTON. /</a> The</span> Second
Edition. With a prefatory poem by Andrew Marvell. 1674. <br />
_____. <span style="font-style: italic;">History of Britain.</span>
1670.<br />
_____. <span style="font-style: italic;">PARADISE / REGAIN'D. / A /
POEM.</span> / In IV BOOKS. / To which is added /<span style="font-weight: bold;"> </span><span style="font-style: italic;"><a href="https://milton.host.dartmouth.edu/reading_room/samson/drama/text.shtml" target="_blank"><span style="font-weight: bold;">SAMSON AGONISTES.</span></a>
</span>1671.<br />
_____. <span style="font-style: italic;"><a href="https://en.wikipedia.org/wiki/De_Doctrina_Christiana_%28Milton%29" target="_blank">De Doctrina Christiana</a>. </span></span></span></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: x-large;"><span style="color: black;"><span><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: x-large;"><span style="color: black;"><span>Theological
treatise;</span></span></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big>
posth., 1825.<br />
_____. <span style="font-style: italic;">Poems, &c. upon
Several Occasions.</span> by Mr. John Milton: 1673. </span></span></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><span style="font-size: x-large;"><br />
<br />
<br />
<br />
<span style="color: black;">________________</span></span><br />
<span style="font-size: large;"><span style="color: black;">
<br />
</span><br />
<span style="color: black;"><span style="color: black;">Recordad que
tenéis páginas de casi todos estos autores, con vida,
obras, etc., en sitios web como <a href="http://www.luminarium.org/sevenlit/milton/"><span style="font-style: italic;">Luminarium.</span> Aquí está la página de
Milton.</a><br />
</span><span style="color: black;"> </span>
</span><span style="color: black;">En <span style="font-style: italic;">Luminarium</span></span><span style="color: black;"> hay también ensayos, crítica,
etc. Hay muchas otras páginas, claro. Por
ejemplo, en Dartmouth, <a href="https://milton.host.dartmouth.edu/reading_room/contents/text.shtml" target="_blank">John Milton Reading Room,</a> con textos anotados.</span></span></p><p><span style="font-size: large;"><span style="color: black;"> </span><br />
<br />
<span style="color: black;">—Aquí <a href="http://www.bbc.co.uk/programmes/b094f8n6">un audio de la BBC</a>
de Adam Nicolson sobre <i>Paradise Lost</i>. </span>
<span style="color: black;"></span><span style="color: black;"> </span><br />
<br />
<br />
</span><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: large;"><span><span style="color: black;">
</span><br />
</span></span><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;"><span><a href="http://www.dartmouth.edu/%7Emilton/reading_room/contents/text.shtml">
</a>- Introducción a Milton del curso de John Rogers de la universidad
de Yale:</span><br />
<br />
</span><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/pf91LApkCpU" width="560"></iframe><br />
<br />
<br />
_________________________</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<span style="color: #3d85c6;"><br />
<a href="https://jaglit.blogspot.com/2019/10/milton-nivel-avanzado.html"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span><small><small>MILTON:
Nivel avanzado</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></a></span></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small> </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><a href="https://jaglit.blogspot.com/2019/10/handel-lallegro-il-penseroso-ed-il.html" target="_blank">Milton Music</a> </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
</p>
<p><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>_______________________________<br />
<br />
<br />
</small></small></span><br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><span style="font-style: italic;"><span style="font-style: italic;"></span></span></big></big></small></small></small></big></big><big><big><small><small><small><big><span style="color: black;"><br />
—¿Vais cumpliendo el plan de lecturas? ¿Con horario semanal,
diccionario a mano, etc.? Recordad la importancia crucial de leer mucho
y con atención para ampliar el vocabulario.</span></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span><br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><span style="color: black;"><br />
¿Visteis las películas y documentales sobre Charles I y Cromwell?
Procurad
</span></big></small></small></small></big></big><span style="color: black;">leer o escuchar algo
sobre el contexto de las
guerras civiles y la
Commonwealth de los años 1640-50.</span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;">_________________</span></p>
<p><span style="font-size: large;">The Cavalier style in poetry
(Cavalier vs. Metaphysical)<br />
</span></p>
<p><span style="font-size: large;">- Courtly love, Elizabethan and
Anacreontic tradition</span></p>
<p><span style="font-size: large;">- Carpe Diem and pagan influence <br />
</span></p>
<p><span style="font-size: large;">- Classical elegance and simplicity
(Sons of Ben)</span></p>
<p><span style="font-size: large;">- Ideology: Royalism and
aristocratic idealism<br />
</span></p>
<p><span style="font-size: large;">- Male chauvinism and masculinism</span></p>
<p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"><i>Early feminist criticism:</i> <br /></span></p>
<p><span style="font-size: large;"><a href="https://en.wikipedia.org/wiki/Jane_Anger" target="_blank"><i>Jane
Anger Her Protection for Women</i></a> (1589)<br />
</span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"><br />
<b><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></b></span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"></span></p>
<p>________________________</p><p></p><p><br />
<span style="font-size: large;"><span style="font-size: x-large;"><span style="color: black;"><br />
<span style="font-size: x-large;"><a href="https://www.poetryfoundation.org/poems-and-poets/poets/detail/robert-herrick">ROBERT
HERRICK</a>
(1591-1674)
<br />
<br />
English poet, born Cheapside, 7th son of Nicholas Herrick,
goldsmith; st. St John's College, Cambridge, 1613, later Trinity
Hall; protected by the Earl of Exeter; Cavalier poet and "Son of Ben";
ordained Anglican priest, 1623; army chaplain, then vicar of Dean
Prior, Devonshire, 1630-; unmarried, loyalist, ejected by
Puritans 1647, </span></span></span></span><span style="font-size: large;"><span style="font-size: x-large;"><span style="color: black;"><span style="font-size: x-large;"><span style="font-size: large;"><span style="font-size: x-large;"><span style="color: black;"><span style="font-size: x-large;">lived in
Westminster; </span></span></span></span>reinstated Dean
Prior 1660.</span></span></span><span style="font-size: x-large;"><br />
<br />
<span><span style="color: black;"><span style="color: black;">_____.
<a href="https://www.poetryfoundation.org/poems-and-poets/poems/detail/47282">"The
Argument of His Book."</a> In
<i>Hesperides.</i> 1648.<br />
_____. "The Hock-Cart, or Harvest Home." In <i>Hesperides.</i> 1648.<br />
_____. <a href="http://www.luminarium.org/sevenlit/herrick/disorder.htm">"Delight
in Disorder."</a> In Herrick, <i>Hesperides.</i> 1648.
</span><span style="color: black;"><br />
_____. <a href="https://jaglit.blogspot.com/2020/10/william-lawes-robert-herrick-gather-ye.html" target="_blank">"To the Virgins, to Make
Much of Time."</a> In Herrick, <span style="font-style: italic;">Hesperides.
</span>1648.<br />
</span><span style="color: black;">_____. <a href="https://www.poetryfoundation.org/poems/47284/corinnas-going-a-maying" target="_blank"><span style="font-weight: bold;">"Corinna's Going
a-Maying."</span></a>
In <span style="font-style: italic;">Hesperides.</span> 1648.<br />
</span><span style="color: black;">_____. <a href="https://www.poetryfoundation.org/poems/47283/the-bad-season-makes-the-poet-sad">"The
Bad Season Makes the Poet Sad."</a> In Herrick, <span style="font-style: italic;">Hesperides. </span>1648.</span></span></span><br />
<span>_____. <span style="color: black;"><span style="color: black;"><span style="color: black;"><a href="https://jaglit.blogspot.com/2019/10/good-friday-rex-tragicus.html">"Good
Friday: Rex Tragicus."</a> From <i>Hesperides.</i> 1648.</span></span></span></span><br />
<span><span style="color: black;"><span style="color: black;"></span></span></span><br />
<span><span style="color: black;"><span style="color: black;"><span style="color: black;"></span>_____.<span style="font-weight: bold;"> </span><span style="font-style: italic;"><span style="font-weight: bold;">HESPERIDES:
</span>/ OR, THE WORKS /
BOTH HUMANE & DIVINE/ OF / ROBERT HERRICK Esq</span>. 1648. </span></span></span></span><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><small><small><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></small></small></small></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><small><small><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><small><small><br />
</small></small></small></small></small></span></big></big></big></big></big></small></small></small></big></big><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"></span></small></small></span></big></big></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></small></small></small></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
</span></p>
<div class="separator" style="clear: both; text-align: center;">
<big><big><big><small><small><small><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUI5nGplSqymkBsMkioYa5oA1Ze2jK_bwSGLEP3_FoTqy2uK2WPaVYtZUHubvLo1HBRJxiopy0_lUYMAwZeXMXiZQCJgrmgo-Z3UCoEEerpkPvdjohI03a7KrnnaF8cw5iHVgBYdOY0Xc/s1600/hesperides.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="353" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUI5nGplSqymkBsMkioYa5oA1Ze2jK_bwSGLEP3_FoTqy2uK2WPaVYtZUHubvLo1HBRJxiopy0_lUYMAwZeXMXiZQCJgrmgo-Z3UCoEEerpkPvdjohI03a7KrnnaF8cw5iHVgBYdOY0Xc/s640/hesperides.png" width="376" /></a></small></small></small></big></big></big></div>
<big><big><big><small><small><small><br />
<br />
<br />
</small></small></small></big></big></big><br />
<big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>________________<br />
<br />
"Robert Herrick (1591-1674)." Luminarium.*<br />
<a href="http://www.luminarium.org/sevenlit/herrick/">http://www.luminarium.org/sevenlit/herrick/</a><br />
<br />
<br />
A BBC audio on <a href="https://www.bbc.co.uk/programmes/p0376k57" target="_blank">Robert Herrick</a><br />
<br />
<br />
________________<br />
<br />
NIVEL AVANZADO: <a href="https://www.poetryfoundation.org/poems-and-poets/poets/detail/robert-herrick">Robert
Herrick (The Poetry Foundation).</a><br />
</small></small></span></big></big></big></big></big></small></small></small></big></big>
<p><span style="font-size: large;">_______________________________</span></p>
<p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><small><small><small><br />
<br />
<span style="font-size: x-large;">ABRAHAM COWLEY (1618-1667)<br />
<br />
English metaphysical poet; posthumous son of a London stationer, st.
Westminster School, MA and Fellow of Trinity College, Cambridge,
amiable and retiring character, remained unmarried, ejected 1643 by
Puritans, fled to St. John's, Oxford; Royalist poet; exiled courtier at
Paris; secretary to Falkland and Lord St. Albans; royal messenger and
cypherer, imprisoned in Britain 1656, freed on bail, apparent
compromise with Commonwealth, MD Oxford 1657, returned to France; after
Restoration remained unpreferred, retired to Surrey, pensioned by the
Queen, d. Chertsey, buried Westminster Abbey.<br />
<br />
_____. <span style="font-style: italic;">Poetical Blossomes.</span>
1633.<br />
_____. <span style="font-style: italic;">Loves Riddle.</span> Pastoral
drama. 1638. <br />
_____. <span style="font-style: italic;">Naufragium Ioculare.</span>
Latin comedy. 1638.<br />
_____. <span style="font-style: italic;">The Guardian.</span> Comedy.
1641. <br />
_____. <span style="font-style: italic;">The Puritan and the Papist. </span>Satire.
1643.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The Mistress; </span>or, Several
Copies of Love-Verses.</span> 1647. 1655. (<a href="http://cowley.lib.virginia.edu/works/hope.htm">"Against Hope",
"For Hope"</a>).<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Davideis, </span> a Sacred Poem
of the Troubles of David. </span>Epic, c. 1645. <br />
_____. <b><span style="font-style: italic;">Pindarique Odes.</span></b> In
Poems, 1656.<br />
_____. <span style="font-style: italic;">Poems. </span>London, 1656.<br />
</span></small></small></small><span style="font-size: x-large;">
</span></big></small></small></span></big></big></big></big></big></small></small></small></big></big><span style="color: black; font-size: x-large;">_____. <span style="font-style: italic;">A Proposition for the Advancement of
Experimental Philosophy.</span> 1659.<br />
_____. "Ode, upon his Majesties Restoration and Return." 1660.<br />
</span><span style="color: black; font-size: x-large;">_____. <span style="font-style: italic;">Verses Written on Several Occasions.</span>
1663.<br />
</span><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: x-large;">_____. <span style="font-style: italic;">De
Plantis Libri VI.</span> Latin poem in
6 books. 1668.<br />
_____. <span style="font-style: italic;"><span style="font-style: italic;">The </span>Cutter of Coleman Street.</span>
Comedy (rev. of <span style="font-style: italic;">The Guardian</span>)
1663.<br />
_____. <b><span style="font-style: italic;">Essays.</span></b> In The Works.
1668. <a href="http://www.gutenberg.org/etext/3549">http://www.gutenberg.org/etext/3549</a><br />
</span></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: x-large;"></span></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: x-large;"></span></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: x-large;"></span></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: x-large;">_____________________</span></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: x-large;"></span></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><span style="font-size: x-large;"><br />
</span><small><span style="font-size: x-large;">Comentamos <a href="https://personal.unizar.es/garciala/materiales/poemas/Cowley,Davideis.htm">este
fragmento de <span style="font-style: italic;">Davideis</span></a> de
Cowley. Sobre la <span style="font-style: italic;">música de las
esferas</span> o música cósmica a que alude el poema, hay un famoso
poema en español, la <a href="http://www.poesi.as/fll03.htm">"Oda a
Salinas"</a> de Fray Luis de León.<br />
</span></small></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><small><span style="font-size: x-large;"></span></small></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><small><span style="font-size: x-large;">___________</span></small></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><small><span style="font-size: x-large;"></span></small></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<br />
<br />
<br />
<span style="font-size: large;"><br />
<span style="color: black;">A few notes from one of the handbooks, on <a href="https://jaglit.blogspot.com/2019/10/metaphysical-religious-poetry-nivel.html">some
of the metaphysical poets.</a><br />
</span><br />
</span><span style="color: black; font-size: large;"><br />
</span><span style="font-size: large;"><br />
NIVEL AVANZADO:</span></p>
<p><span style="font-size: large;">- <span style="color: black;"><span>Some
<a href="https://jaglit.blogspot.com/2020/10/cowley-and-denham-nivel-avanzado.html" target="_blank">notes on Cowley (and Denham)</a></span></span><br />
</span></p>
<p><span style="font-size: large;">- <a href="https://cowley.lib.virginia.edu/small/johnsoncowley.htm" target="_blank">Samuel Johnson's <i>Life of Cowley</i></a></span></p>
<p><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big>__________</big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><br />
</big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><small><span style="font-size: x-large;">
Hay que familiarizarse con la teoría de las <span style="font-style: italic;">correspondencias,</span> objeto <a href="http://fleursdumal.org/poem/103">de un famoso soneto de
Baudelaire</a>, cosmovisión basada en la Gran Cadena del Ser. Aquí una
representación tradicional de la
misma, con las jeraquías sociales y naturales bien ordenadas:</span>
</small><br />
<br />
</big></small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
</p>
<div class="separator" style="clear: both; text-align: center;">
<big><big><span style="color: black;"><big><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYYPoLfP4Ta-2KAMcHor6pyje-oeZ9Rh_RJx65JAajbTvhF2tw8USgYkCveWBg1Frprc-2zJ0CDc8Dt0FHVu7jRJnOzD-sHTZtgD1X5-JQeN2BHkW6eMDwku4eCKSXoYzKYGZG-HXHal4/s1600/greatchain.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="765" data-original-width="525" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYYPoLfP4Ta-2KAMcHor6pyje-oeZ9Rh_RJx65JAajbTvhF2tw8USgYkCveWBg1Frprc-2zJ0CDc8Dt0FHVu7jRJnOzD-sHTZtgD1X5-JQeN2BHkW6eMDwku4eCKSXoYzKYGZG-HXHal4/s16000/greatchain.jpg" /></a></big></span></big></big></div><p></p><p><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;">____________<br /></span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;">Pre-Pilares y Pilares: <br /></span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="color: black; font-size: large;"><span style="font-size: large; font-weight: normal;"><br /></span></span></span></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;">Recordad que el
jueves 14 tras los Pilares tenía pensado no hacer docencia presencial,
pues suele haber muy baja asistencia. Parece que por fin no me han negado el permiso, así que quedamos en que ese día NO HAY CLASE PRESENCIAL. Añado esta semana, más abajo, algunos materiales sobre los
Cavalier Poets.</span></span></span></span></p><p><br /><span style="font-size: large;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;">En todo caso, aprovechad, junto con la fiesta,<span style="color: black; font-size: large;"><span style="font-size: large; font-weight: normal;"> para familiarizaros un poco con este blog y
sus contenidos, al menos los que no son de "nivel avanzado". </span></span></span></span></span></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">__________________ <br /></span></p><p><span style="font-size: large;">Nos invitan a participar en una encuesta online para una investigación sobre drogas y adicción, en esta universidad y otras dos. Se sortea premio a los participantes. Más información y acceso a la encuesta aquí: <a href="https://www.metajovenes.com/" target="_blank">Proyecto Meta.</a></span></p><p><span style="font-size: large;"> Una breve explicación del equipo:<br /></span></p><blockquote><p class="MsoNormal" style="line-height: normal; text-align: justify;"><b><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;"></span></b></p><blockquote><p class="MsoNormal" style="line-height: normal; text-align: justify;"><b><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">Estimado/a alumno/a de grado: </span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"></span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">El Ministerio de Sanidad ha financiado un estudio con
el objetivo de conocer el bienestar psicológico y las conductas adictivas.
Participar en este estudio es vital para conocer el impacto de la pandemia en
la población joven mayor de edad y desarrollar herramientas de apoyo a la
comunidad universitaria.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"></span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><b><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">Puedes acceder a la encuesta a través de </span></b><a href="https://metajovenes.es"><b><span style="color: #9900ff; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">https://metajovenes.es</span></b></a><b><span style="color: #9900ff; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;"> </span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"></span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><b><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">¿Quién puede participar?</span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"></span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">Cualquier estudiante de primero o segundo de cualquier
grado, perteneciente a la Universidad de Zaragoza.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"></span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><b><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">¿En qué consiste?</span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"></span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">Tendréis que responder a un cuestionario de manera
online, que tendrá continuidad en el tiempo. Esto implica que, tras responder
por primera vez al enlace que encontraréis a continuación, el equipo
investigador contactará de nuevo con vosotros para volver a cumplimentarlo
dentro de aproximadamente 6, 12, 18 y 24 meses. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"></span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">A modo de incentivo, hemos preparado un sorteo en el
que entraréis a participar automáticamente cada vez que respondáis al
cuestionario (en cada uno de los cinco momentos de aplicación). Se sorteará un
vale con valor de 100€. En total, habrá 5 sorteos y 5 entregas de premios en
vuestra universidad.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"></span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">Para cualquier duda, podéis poneros en contacto con el
equipo investigador en </span><a href="mailto:metajovenes@gmail.com"><span style="color: #1155cc; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">metajovenes@gmail.com</span></a><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;"> </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"></span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">Para saber más: </span><a href="http://www.metajovenes.com"><span style="color: #1155cc; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">www.metajovenes.com</span></a><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;"> </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"></span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">Agradecemos sinceramente tu participación y esperamos
contar contigo a lo largo del proyecto. </span><span style="color: red; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;"> </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"> </span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">Un cordial saludo.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"></span></p>
<p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;">El equipo de investigación de META-S</span></p></blockquote></blockquote><p> </p><p> </p><p>_________________________</p><p> </p><p><i>The Cavalier Poets and the Civil Wars</i> <br /></p><p class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES; mso-hansi-font-family: Calibri;"></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"></span></p>
<p><span style="font-size: large;">La década de 1640 está marcada por
las guerras civiles.</span></p>
<p><span style="font-size: large;">- Aquí una serie de vídeos
históricos (<a href="https://jaglit.blogspot.com/2020/10/the-english-civil-wars-people-divided.html" target="_blank">A NIVEL AVANZADO</a>) sobre el contexto político y
social de este periodo.<br />
</span></p>
<p><span style="font-size: large;"><br />
<a data-flickr-embed="true" href="https://en.wikipedia.org/wiki/Cavalier" title="The Cavaliers"><img alt="The Cavaliers" height="434" src="https://live.staticflickr.com/65535/50481351277_421af49ef0_c.jpg" width="800" /></a>
<script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
</span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"><br />
________________________<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></p>
<p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></p>
<p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><small><span style="font-size: x-large;">SIR JOHN
DENHAM
(1615-1668)<br />
<br />
English poet, born in Dublin, only son of Sir John Denham, raised in
London, st. Oxford, and Lincoln's Inn; gambling addict, sheriff of
Surrey during the war, resigned and moved to Oxford; Royalist, messenger between the Queen and
King 1647, conveyed James Duke of York to France, exile there until
1652, lost property, rewarded at the Restoration, surveyor of the
King's buildings; unhappy second marriage (younger wife became a lover of the Duke of York); mentally disordered for some time. Model for neoclassical versification with poems and translations in heroic couplets (together with Waller).<br />
<br />
_____. <span style="font-style: italic;">The Passion of Dido
for
Aeneas. </span>1636. (Trans. of the 2nd book of the Aeneid)<br />
_____. <span style="font-style: italic;">The Sophy. </span>Tragedy. 1642.<br />
_____. <span style="font-style: italic;"><a href="http://jacklynch.net/Texts/cooper.html"><span style="font-weight: bold;">Cooper's Hill.</span></a> </span>Descriptive
poem. 1643, 1668 <br />
_____. <span style="font-style: italic;">Poems and Translations.</span>
1668.</span>
</small><br />
</big></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big>______________ </big></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<br />
</span></p>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbPDGevxtqSodVPW_4i5a5hqdL7VtaSBwz1F-ACyoJno3_BDW06AFwCnrSuquHAFUUVu2jISHYBhH2ATeBVzNdkdEJI1_mJjs3Xx6OrrP4lCGc4kGGCbloAMy2k707bWWg1NnTy-vnUaQ/s1600/lovelace.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="394" data-original-width="330" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbPDGevxtqSodVPW_4i5a5hqdL7VtaSBwz1F-ACyoJno3_BDW06AFwCnrSuquHAFUUVu2jISHYBhH2ATeBVzNdkdEJI1_mJjs3Xx6OrrP4lCGc4kGGCbloAMy2k707bWWg1NnTy-vnUaQ/s640/lovelace.jpg" width="536" /></a></div>
<p>
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><br />
<span style="font-size: x-large;"><br />
<br />
<br />
</span><small><big><big><small><small><small><big><span style="font-size: x-large;"><span style="color: black;">
RICHARD LOVELACE (1618-1658)<br />
<br />
Cavalier poet; son of Sir William Lovelace, from Woolwich, Kent; st.
Charterhouse, Gloucester Hall, Oxford 1634; handsome, courtly and
popular under Charles I, created MA by special favour 1636, became courtier and soldier
in Scottish wars, imprisoned by Parliament when he led a Royalist
petition, wrote in prison; released on bail, formed a regiment in
France, wounded, his lady "Lucasta" married another, 1648 imprisoned in
England, published poems, fortune ruined, died in poverty.</span></span></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><span style="font-size: x-large;"><span style="color: black;"><br />
______.
<span style="font-style: italic;">The Scholar.</span>
Comedy. c. 1634. <br />
_____. "To Althea, from prison." <a href="https://jaglit.blogspot.com/2019/10/to-althea-from-prison.html">Song</a>.<br />
<a href="http://www.luminarium.org/sevenlit/lovelace/altheaprison.htm">http://www.luminarium.org/sevenlit/lovelace/altheaprison.htm</a><br />
2012<br />
_____. <span style="font-style: italic; font-weight: bold;">Lucasta.</span>
London,
1649.<br />
_____. <span style="font-style: italic; font-weight: bold;">Lucasta,
or Posthume Poems. </span>1660. <br />
<br />
<br />
Esta semana leeremos algo de los <span style="font-style: italic;">Cavalier
Poets—</span>traed todas sus lecturas (antes de las de Milton)—
Lovelace, Carew, Herrick, Waller, Denham—y también Cowley.<span style="font-weight: bold;"> </span></span><span style="color: black;"><span style="font-weight: bold;"></span></span><br />
<br />
<br />
<br />
<a href="https://jaglit.blogspot.com/2021/10/carew-suckling-lovelace-david-daiches.html" target="_blank">Carew,
Suckling, Lovelace</a> (David Daiches)</span><br />
<br />
__________________________<br />
<big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;">
</span> </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>NIVEL AVANZADO:</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
- Una <a href="https://www.youtube.com/watch?v=MSqlygJkBUE">videolección
introductoria</a> a los Cavalier Poets. </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
- Unas notas sobre <a href="https://jaglit.blogspot.com/2019/10/carew-and-cavaliers-nivel-avanzado.html">Carew
and the Cavaliers</a>. <br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>- Y también había poetisas o
mujeres poetas en esta época, aunque fuesen las menos. <a href="https://jaglit.blogspot.com/2019/10/katherine-philips-nivel-avanzado.html">Unas
notas sobre Katherine Philips</a>, "the matchless Orinda". </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;"> </span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><span style="color: black; font-size: large;"><span>- Podéis repasar
el contexto histórico de los años 1640 y las guerras civiles inglesas
en este documental sobre <a href="https://jaglit.blogspot.com/2019/10/the-last-days-of-charles-i.html">The
Last Days of Charles I.</a></span><br />
<br />
<span>Películas sobre este tema recomendables son la clásica <i>Cromwell</i>,<i> </i>u otra más reciente, <i>To Kill a King (Matar a un rey)</i> (2003). <a href="http://123hulu.com/watch/qd7V0nGK-to-kill-a-king.html" target="_blank">Aquí puede verse esta última</a>.<br />
</span></span></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;"><span> </span></span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: large;"><span>-
Y a quien le gusten las series de televisión puede ver esta vieja serie
de la BBC sobre una familia de Cavaliers durante la guerra civil: <a href="https://jaglit.blogspot.com/2019/10/by-sword-divided.html">By
the Sword Divided.</a></span><a href="https://jaglit.blogspot.com/2019/10/by-sword-divided.html"><br />
</a></span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<span style="color: black; font-size: large;"><span style="color: black;"><br />
- <a href="https://books.google.es/books?id=Uc4eDAAAQBAJ&printsec=frontcover&hl=es#v=onepage&q&f=false" target="_blank">Sir John Denham Reassessed</a> (preview).</span></span></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>__________________<br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
<br />
<span style="font-size: x-large;">EDMUND WALLER (1606-1687)</span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: x-large;"><br />
English neoclassical Cavalier poet, nephew of Parliamentarian John
Hampden and cousin to Oliver Cromwell, soon orphan, l. from family
income, st. Eton, King's College, Cambridge; courtier and MP, admired
as orator, wit and conversationalist; kept his seat under Revolution but
helped the King; promoted counter-revolutionary "Waller's plot" to cut
supplies to the Parliament's army—discovered, Waller betrayed associates, who
were executed; abject plea for pardon, imprisoned, fined and banished;
exile in France, pardoned by Cromwell, then panegyrist for Restoration,
obtained Hampden's pardon; popular courtier and MP in Charles II's parliaments,
adversary of Clarendon.
<br />
</span><big><big><span style="font-size: x-large;"><br />
_____. "To the King on his Navy." c. 1628. <br />
<a href="http://www.alleylaw.net/edmund.html#Navy">http://www.alleylaw.net/edmund.html#Navy</a><br />
_____. "On a Girdle." <a href="http://www.poetryfoundation.org/poem/174705">http://www.poetryfoundation.org/poem/174705</a><br />
_____. "The Story of Phoebus and Daphne, Applied." <a href="http://www.alleylaw.net/edmund.html#PHOEBUS">http://www.alleylaw.net/edmund.html#PHOEBUS</a><br />
_____. <span style="font-style: italic; font-weight: bold;">Poems.</span><span style="font-weight: bold;"> </span>1645. <br />
_____. "Panegyric to My Lord Protector." Poem. 1654. . <br />
_____. "Upon His Majesty's Happy Return." <a href="http://www.alleylaw.net/edmund.html#Return">http://www.alleylaw.net/edmund.html#Return</a><br />
_____. <span style="font-style: italic;">Instructions to a Painter,
for the Drawing of the Posture and Progress of His Majesties Forces at
Sea.</span> Long poem, panegyric. 1666.<br />
_____. <span style="font-style: italic;">Presage of the Downfall of
the Turkish Empire.</span> Poem. 1685.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The Second Part of
Mr. Waller's Poems.</span> </span>1690.</span><br />
</big></big>
<br />
<span style="font-style: italic;"><br />
<br />
Aquí un poema de vuestras
lecturas, de
Waller, <br />
<br />
<span style="font-size: x-large;"><span style="font-weight: bold;">Song:
Go, Lovely Rose<br />
<br />
</span></span></span></small></small></span></big></big></big></big></big></small></small></small></big></big></small><span style="font-size: x-large;">
</span></small></small></big></big></big></big></small></small></small></big></big></small></big></big><span style="font-size: x-large;"></span><br />
</p>
<div style="margin-left: 40px;">
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: x-large;"><span style="color: black;"><span style="font-style: italic;"><span style="font-weight: bold;"></span></span></span>Go,
lovely Rose!
</span><small><span style="font-size: x-large;"><br />
Tell her, that wastes her time and me, <br />
That now she knows
<br />
When I resemble her to thee,
<br />
How sweet and fair she seems to be. <br />
Tell her that's young
<br />
And shuns to have her graces spied, <br />
That hadst thou sprung <br />
In deserts, where no men abide,
<br />
Thou must have uncommended died. <br />
Small is the worth
<br />
Of beauty from the light retired: <br />
Bid her come forth,
<br />
Suffer herself to be desired,
<br />
And not blush to be so admired. <br />
Then die! that she
<br />
The common fate of all things rare <br />
May read in thee:
<br />
How small a part of time they share
<br />
That are so wondrous sweet and fair!</span>
</small></small><br />
</small></small></big></big></big></big></small></small></small></big></big></small></big></big></div>
<p>
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><big><big><br />
</big></big>
<br />
<small><span style="font-style: italic;"><small><small>Existe la música
de la
canción, de Henry Lawes, uno de los mejores compositores de la época
carolina.</small></small> <br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/bJOaR6LL30Y" width="560"></iframe><br />
<br />
_____________</span></small></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><small><span style="font-style: italic;"></span></small></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><small><span style="font-style: italic;"><a href="https://jaglit.blogspot.com/2020/10/dowland-flow-my-tears-jaroussky-garcia.html" target="_blank"><span style="font-size: medium;">NIVEL AVANZADO:
Canciones de John Dowland</span></a><br />
_____________<br />
</span></small></big></big></big></big></big></small></small></small></big></big><span style="font-size: x-large;"><span style="color: black;"><br />
</span><br />
</span><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><span style="font-size: x-large;">THOMAS CAREW (1595-1640)</span></small></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><span style="font-size: x-large;"><br />
English poet; born Kent in a gentle family; st. Corpus Christi, Oxford, Cambridge,
& Inns of Court;
traveller, Cavalier courtier and wit under Charles I, gentleman of the
Privy Chamber, reputation as a libertine, died penitent.</span></small></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><span style="font-size: x-large;"><br />
_____. "<a href="http://www.luminarium.org/sevenlit/carew/absence.htm">To
My Mistress, in Absence.</a>"<span style="font-style: italic;"></span><br />
_____. "Disdain Returned." <a href="http://www.luminarium.org/sevenlit/carew/disdain.htm">http://www.luminarium.org/sevenlit/carew/disdain.htm</a><br />
_____. "<a href="https://www.poetryfoundation.org/poems-and-poets/poems/detail/43876">An
Elegy upon the Death of the Dean of Paul's, Dr. John
Donne</a>." 1633, 1640. <br />
_____. "A Rapture." From <i>Poems by Thomas Carew.</i> 1640. <br />
_____. <span style="font-style: italic;">Coelum Britannicum.</span>
Masque. Written 1634.<br />
_____. <span style="font-style: italic;">Poems.</span> (12º). 1640. <br />
_____. <span style="font-style: italic;">Poems. With a Maske.</span>
1651.</span><small>
</small></small><br />
<br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>
</small></small></span></big></big></big></big></big></small></small></small></big></big><big><big><small><small><small><big><big><big><big><big><small><span style="font-style: italic;"><br />
</span></small></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><b><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>__________________</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></b><br />
<b><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></b><br />
<b><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></b><br />
<b><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></b><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>Un poco de <a href="https://jaglit.blogspot.com/2019/10/repaso-historico-to-kill-king.html">repaso
histórico del siglo XVII.</a></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
</p>
<p><span style="font-size: large;"><br />
</span></p>
<p><span style="font-size: large;">_____________________<br />
<br />
<span style="color: black; font-size: large;"><span style="font-size: large; font-weight: normal;">Pilares.
Aprovechad, tras la fiesta, para familiarizaros un poco con este blog y
sus contenidos, al menos los que no son de "nivel avanzado". La semana del Pilar añadiremos materiales sobre los Cavalier Poets y el contexto histórico de la guerra civil inglesa.</span></span><span style="color: black; font-size: large;"><span style="font-size: large; font-weight: normal;"><b><br />
</b></span></span><br />
<span style="color: black; font-size: large;"><span style="font-size: large; font-weight: normal;"><b>______________________</b></span></span><br />
<br />
</span></p><p></p><p></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;">__________________<br /></span></p><p><br /><span style="font-size: large;"><span style="font-size: large;">6 de octubre, leeremos algo de Donne y pasaremos a Herbert y Jonson; traed los poemas de todos ellos. (dia 7: Jonson).</span></span></p><p><span style="font-size: large;"><span style="font-size: large;"> </span></span></p><p><span style="font-size: large;"><span style="font-size: large;"> </span></span></p><p><span style="font-size: large;"><span style="font-size: large;"> </span></span></p><p><span style="font-size: large;">____________</span></p><p><span style="font-size: large;">NIVEL AVANZADO: </span><br /></p><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"></span></small></small></span></big></big></big></big></big>
<p><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><span style="font-size: x-large;"><span><br />
<span style="color: black;">
- Unos apuntes a nivel más AVANZADO sobre <a href="https://jaglit.blogspot.com/2020/10/jonson-ben.html" target="_blank">Ben Jonson,</a></span></span><span> y más obras.</span></span></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></span></span></p>
<p><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><span style="font-size: x-large;"><span> </span></span></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></span></span></p>
<p><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><span style="font-size: x-large;"><span>- Otro dramaturgo interesante
coetáneo de Shakespeare y Jonson (A NIVEL AVANZADO): <a href="https://jaglit.blogspot.com/2019/10/john-webster-nivel-avanzado.html" target="_blank">John Webster. </a><br />
</span></span></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></span></span></p>
<p><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><span style="font-size: x-large;"><span>________________________ </span></span><br />
</small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
</span></span></span></p>
<div style="text-align: center;">
<br />
</div>
<p><span style="font-size: large;"><span style="color: black;"> </span></span></p><p>
<span style="font-size: large;"><span style="color: black;"><br /> <span style="font-size: large;"><span style="color: black; font-size: large;"><span style="font-size: large; font-weight: normal;"><br /></span></span></span></span></span></p><p><span style="font-size: large;"><span style="color: black;"></span></span><span style="font-size: large;"><span style="color: black;"><br />
Hablamos las primeras semanas de una introducción histórica al período.
Quien quiera ampliar materiales, por aquí hay más.<br />
</span><span style="color: black;">En Google Books (que no es lo
mismo que Google sin más)
podéis encontrar muchos materiales de consulta— por ejemplo <a href="http://books.google.es/books?id=GZq492BaTJsC&printsec=frontcover&dq=history+of+england&hl=es&ei=HmyDTqmMNpH2sga1z_GxDg&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBDgK#v=onepage&q&f=false">esta
Historia introductoria de Inglaterra</a>.<span style="font-style: italic;"><span style="font-weight: bold;"> </span></span>(De
momento, los capítulos 29 al 33 son los más interesantes).</span></span><br />
<span style="font-size: large;"><span style="color: black;"><span style="font-weight: bold;"><br />
</span>Acostumbraos a usar este recurso: <a href="http://books.google.es/">http://books.google.es</a><span style="font-style: italic;"><span style="font-weight: bold;"><br />
</span></span> </span></span><br />
<span style="font-size: large;"><span style="color: black;">Y, cómo no,
la Wikipedia: este es el artículo sobre la
Inglaterra entre los siglos XVI y XVIII, <a href="http://en.wikipedia.org/wiki/Early_Modern_Britain">"Early Modern
Britain".</a><span style="font-style: italic;"><span style="font-weight: bold;"></span></span></span><span style="color: black;"><br />
</span></span><br />
<a href="https://jaglit.blogspot.com/2019/09/a-timeline-of-history-of-england-1400.html"><br />
</a><span style="font-size: large;"><span style="color: black;"><a href="https://jaglit.blogspot.com/2019/09/a-timeline-of-history-of-england-1400.html">A
timeline of the history of England</a> to the eighteenth century. En
breve.</span></span></p><p><span style="font-size: large;"><span style="color: black;"> </span></span></p><p><span style="font-size: large;"><span style="color: black;">Una lectura fundamental que no hemos incluido en el programa es la Biblia, en concreto la <a href="https://www.kingjamesbibleonline.org/" target="_blank"><i>King James Bible,</i></a> ahora con sitio oficial en red.</span></span></p><p><span style="font-size: large;"><span style="color: black;">Aquí puede leerse parte del principio de la historia, <a href="https://www.kingjamesbibleonline.org/Genesis-Chapter-1/" target="_blank">The Book of Genesis.</a></span></span></p><p><span style="font-size: large;"><span style="color: black;">Y aquí parte del final de la historia, <a href="https://www.kingjamesbibleonline.org/Revelation-Chapter-13/" target="_blank">el reinado de la Bestia</a> (Book of Revelation). </span><br />
<span style="color: black;"><span style="font-weight: bold;">
</span></span></span><br />
<br /><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="color: black; font-size: large;"><span style="font-size: large; font-weight: normal;">Y terminamos con un
interludio también fuera de programa sobre algunos de <a href="https://jaglit.blogspot.com/2019/10/premio-nobel-de-literatura.html">los
últimos premios Nobel.</a></span></span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="color: black; font-size: large;"><span style="font-size: large; font-weight: normal;"> </span></span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="color: black; font-size: large;"><span style="font-size: large; font-weight: normal;"> _____________________________________</span></span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="color: black; font-size: large;"><span style="font-size: large; font-weight: normal;"> </span></span></span></span></span></span></span></p><p><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: large;"><span style="color: black; font-size: large;"><span style="font-size: large; font-weight: normal;"> </span></span></span></span></span>
</span></span>
<br />
<span style="font-size: large;"><span style="color: black;">Ben Jonson: <a href="https://jaglit.blogspot.com/2019/10/ben-jonson.html">https://jaglit.blogspot.com/2019/10/ben-jonson.html</a></span></span></p><p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: medium;"><i>(los encabezamientos con el nombre del autor suelen contener estas notas o lecturas introductorias sobre los autores)</i></span> <br /></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></p><p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span>
<span style="font-size: large;"><br />
<span style="font-size: x-large;"><br />
<span style="color: black;"><span style="font-weight: normal;"><a href="https://jaglit.blogspot.com/2019/10/ben-jonson.html" target="_blank"><b>Ben Jonson</b></a>
(1572-1637)</span></span></span></span></p>
<p><span style="font-size: large;"><span style="font-size: x-large;"><span style="color: black;"><span style="font-weight: normal;"> </span></span></span></span></p>
<p><span style="font-size: large;"><span style="font-size: x-large;"><span style="color: black;"><span style="font-weight: normal;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><small><big><big>English
dramatist and poet, b. Westminster,
orphaned son of a Protestant minister, st. Westminster School, left
Cambridge without a degree, apprenticed as bricklayer to his stepfather; volonteer in Flanders army 1592, killed enemy in single
combat, actor in London c. 1594, imprisoned for manslaughter, converted
to Catholicism for some time, married 1594, 2 children died; separated;
arrested for sedition; returned to
Anglicanism 1606; pensioned by the King 1616; honorary MA Oxford 1619;
poet for aristocratic patrons, royal dramatist, apologist of Stuart
royalty in court
masques;
neoclassical theorist and elitist literary authority, overweight and
hard
drinker. Head of the "Sons of Ben" literary circle, and main inspirer
of the Cavalier poets and the neoclassical revival.</big></big></small></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
</span></span><br />
<br />
<span style="color: black;"><span style="font-weight: normal;"> </span>Some
works by Benjamin Jonson:</span><br />
<span style="color: black;"><br />
_____. <span style="font-style: italic; font-weight: bold;">Every
Man in his Humour.</span> Comedy. 1596, 1598.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Poetaster.</span><span style="font-style: italic;"> </span>Comedy.
Acted at Blackfriars, 1601. <br />
_____. <span style="font-style: italic; font-weight: bold;">Sejanus
His Fall.</span> Tragedy. 1603. <br />
_____. <span style="font-style: italic; font-weight: bold;">The Masque
of Blackness.</span> Acted 1605. <br />
_____. <span style="font-style: italic; font-weight: bold;"><a href="https://jaglit.blogspot.com/2020/10/the-plot-of-volpone.html" target="_blank">Volpone</a>.</span>
Comedy. 1606. <br />
_____. <span style="font-style: italic; font-weight: bold;">Epicoene:
Or, The Silent Woman.</span>
Comedy. 1609-10.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Alchemist.</span> Comedy. c. 1610.<br />
_____. <span style="font-style: italic; font-weight: bold;">Bartholomew
Fair.</span> Comedy. 1614.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Workes
of Beniamin Jonson.</span><span style="font-style: italic;"> </span>
1616. (Folio; Contains: Comedies, Tragedies, Masques,
Epigrams, and The Forest poems; esp. "To Penshurst"). <br />
<span style="font-weight: bold;">_____. <a href="https://www.poetryfoundation.org/poems-and-poets/poems/detail/44466">"To
the Memory of my Beloved,
The Author, Mr. William Shakespeare, and What He Hath Left Us."</a></span>
In <span style="font-style: italic;">Mr. William Shakespeares
Comedies, Histories, & Tragedies.</span> (First Folio).
London,1623. <br />
_____. <span style="font-style: italic; font-weight: bold;">Works.</span>
2nd ed. 1640. (Including: <span style="font-weight: bold;"><span style="font-style: italic;">Timber: Or, Discoveries</span>).</span></span><br />
</span><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><span style="font-size: x-large;"><span style="color: black;"><span style="font-weight: bold;"> </span></span><span><br />
</span></span></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></p>
<div style="text-align: center;">
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big><big><big><big><span style="color: black;"></span></big></big></big></big></big><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"></span></small></small></span></big></big></big></big></big><br />
</small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM70CK3Tlu710gC6mwZDg47eOgrqP2Lh5bs3Au1Q3rAqkHFMpjVA_hkXCmOzQbW7z65AEJfzBzEy174nUvtqOCt8-oJGkAuhEYiEl1V87cGoirlHKUGno_v20yXZS-LCh0Yhys2xTh2hw/s1600/jonson.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="676" data-original-width="430" height="843" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM70CK3Tlu710gC6mwZDg47eOgrqP2Lh5bs3Au1Q3rAqkHFMpjVA_hkXCmOzQbW7z65AEJfzBzEy174nUvtqOCt8-oJGkAuhEYiEl1V87cGoirlHKUGno_v20yXZS-LCh0Yhys2xTh2hw/w536-h843/jonson.jpg" width="536" /></a></div>
<div style="text-align: center;">
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big><big><big><big><span style="color: black;"></span></big></big></big></big></big><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><br />
</span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></div>
<div style="text-align: center;">
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big><big><big><big><span style="color: black;"></span></big></big></big></big></big><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><br />
</span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></div>
<div style="text-align: center;">
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>Jonson's poetry as the model for the neoclassical 'Cavalier' school of poetry: <a href="https://jaglit.blogspot.com/2021/10/jonson-in-coote.html" target="_blank">Jonson in Coote</a><span style="font-weight: bold;"><br />
</span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></div>
<div style="text-align: left;">
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;">___________________</span>
<br />
<br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
<small><small>GEORGE HERBERT
(1593-1633)<small><br />
</small></small></small></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span><br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><small><small><small>English
metaphysical poet, aristocrat, brother to Edward
Herbert of Cherbury, kinsman to William Herbert, Earl of Pembroke; b.
near Montgomery, l. Huntingdon, then Wiltshire; st. Westminster School,
Trinity
College, Cambridge,
MA; 1619 orator for the University; musician, student of languages,
pensioned by King James; courtier, with a stand-in at Cambridge; MP for
Montgomery 1624-25; married Jane
Danvers 1629, adopted two orphaned nieces, rector of Bemerton near
Salisbury; vowed saintly
life; devoted to
pastoral work, d. of consumption.<br />
<br />
Herbert, George. <span style="font-style: italic;"><a href="https://en.wikipedia.org/wiki/George_Herbert#/media/File:Houghton_STC_13185_-_Temple,_Sacred_Poems.jpg" target="_blank"><span style="font-weight: bold;">The Temple:</span>
Sacred Poems and Private
Ejaculations</a>,</span> By Mr George Herbert. 1633. 1641. c.
1647.
1656. (13 eds. to 1679).<br />
_____. <span style="font-style: italic;">A Priest to the Temple, or,
The Countrey Parson, his Character, and Rule of Holy Life.</span> c.
1632, 1st pub. in <span style="font-style: italic;">Herbert's Remains.</span>
1652.<br />
<br />
</small></small></small></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></small></small></span></big><span style="color: black;"><br />
<br />
<br />
<span style="font-size: x-large;"><span>A poem by George Herbert,
<br />
<br />
<a href="https://www.poetryfoundation.org/poems/44371/prayer-i">Prayer
(I)</a></span><br />
<br style="font-style: italic;" />
<span style="font-size: large;"><span style="font-style: italic;">Prayer,
the Church's banquet, angel's
age,</span></span></span><span style="font-size: small;"><span style="font-size: large;"><br style="font-style: italic;" />
<span style="font-style: italic;"> God's breath in man returning
to his birth,</span><br style="font-style: italic;" />
<span style="font-style: italic;"> The soul in paraphrase, heart
in pilgrimage,</span><br style="font-style: italic;" />
<span style="font-style: italic;">The Christian plummet sounding heaven
and Earth;</span><br style="font-style: italic;" />
<span style="font-style: italic;">Engine against th' almighty, sinner's
tower,</span><br style="font-style: italic;" />
<span style="font-style: italic;"> Reversèd thunder,
Christ-side-piercing spear,</span><br style="font-style: italic;" />
<span style="font-style: italic;"> The six-days world transposing
in an hour,</span><br style="font-style: italic;" />
<span style="font-style: italic;">A kind of tune, which all things hear
and fear,</span><br style="font-style: italic;" />
<span style="font-style: italic;">Softness, and peace, and joy, and
love, and bliss,</span><br style="font-style: italic;" />
<span style="font-style: italic;"> Exalted manna, gladness of the
best,</span><br style="font-style: italic;" />
<span style="font-style: italic;"> Heaven in ordinary, man well
dressed,</span><br style="font-style: italic;" />
<span style="font-style: italic;">The Milky Way, the bird of paradise,</span><br style="font-style: italic;" />
<span style="font-style: italic;"> Church-bells beyond the stars
heard, the soul's blood,</span><br style="font-style: italic;" />
<span style="font-style: italic;"> The land of spices; something
understood.</span></span>
<br />
</span></span></big></big></big></big></small></small></small></big></big></small><br />
<br />
<br />
George Herbert at Luminarium.<br />
<a href="http://www.luminarium.org/sevenlit/herbert/">http://www.luminarium.org/sevenlit/herbert/</a><br />
<br />
<br />
And of course, "George Herbert" @ Wikipedia: The Free Encyclopedia.<br />
<a href="https://en.wikipedia.org/wiki/George_Herbert">https://en.wikipedia.org/wiki/George_Herbert</a><br />
</small></small></big></big></big></big></small></small></small></big></big></small></big></big></span><br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><br />
</small></small></big></big></big></big></small></small></small></big></big></small></big></big>
</span><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small>-
A note on <a href="https://jaglit.blogspot.com/2020/10/the-metaphysical-conceit-and.html" target="_blank">The Metaphysical Poets and the Metaphysical Conceit.</a><br />
</small></small></big></big></big></big></small></small></small></big></big></small></big></big>
</span><br />
<br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><big><big><small><big><big><small><small><small><big><big><big><big><small><small><br />
<small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big></big></small></small></small></big></big><span style="font-size: small;"><span style="color: black;"><span style="font-size: x-large;"><span style="font-style: italic;">Other
religious writers:<br />
<br />
</span><a href="https://jaglit.blogspot.com/2021/10/edward-herbert-of-cherbury.html">Edward
Herbert of Cherbury</a> (1583-1648) </span></span></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span><br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: small;"><span style="color: black;"><span style="font-size: x-large;">_____. <span style="font-style: italic;"></span></span></span></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: small;"><span style="color: black;"><span style="font-size: x-large;"><span style="font-style: italic;">De
Veritate</span>. 1624.<br />
_____. <span style="font-style: italic;">Life.</span> (Posth.).<br />
<br />
<br />
Richard Hooker (d. 1600)</span></span></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span><br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: small;"><span style="color: black;"><span style="font-size: x-large;"><span style="font-style: italic;"><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><span style="font-size: small;"><span style="color: black;"><span style="font-size: x-large;">_____. <span style="font-style: italic;"></span></span></span></span></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span>Of
the Laws of Ecclesiastical Polity.</span> 8 vols. 1594-1662.</span><br />
</span></span></small></small></small></big></big></big></big></small></small></small></big></big></small><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><small><span style="font-style: italic;"><small><small><span style="font-size: small;">_</span><br />
</small></small>
<br />
</span></small></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big>
</small></small></big></big></big></big></small></small></small></big></big></small></big></big></span>
<br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>________________</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span><br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span>
<br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>George Herbert: <a href="https://jaglit.blogspot.com/2019/10/george-herbert-nivel-avanzado.html">NIVEL
AVANZADO</a></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span><br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span>
<br />
<span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>_________________</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></div><p></p><p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small> </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></p><p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small> </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></p><p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small> <span style="font-size: large;"><span style="font-size: x-large;"><b>John
Donne </b> </span></span></small></small></span><span style="font-size: large;"><span style="font-size: large;"><span style="font-size: x-large;"><span style="font-size: large;"><span style="font-size: large;"><big><big><span style="font-size: x-large;"><span style="color: black;">(1572-1631)</span></span></big></big></span></span></span></span>
<br />
</span><br /><span style="font-size: large;">
<span style="font-size: x-large;"><span lang="EN-US" style="font-family: Times;">English metaphysical poet, b. London, Catholic gentry
stock; st. Oxford, Cambridge, Lincoln's Inn; travelled in Spain and Italy;
secretary to Thomas Egerton (Lord Keeper of the Seal) and MP; secretly married patron's niece Anne More,
dismissed in disgrace; many children, impoverished gentry living in family distress, l. Surrey, sought patronage; ordained
Anglican Priest; favour at King James's Court, widowed 1617; Dean of St. Paul's, theatrical
preacher, notorious weaver of paradoxes and alambicated wit</span></span> .</span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></p><p><span style="font-size: large;"><style>@font-face
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<span style="font-size: large;"><big><big><span style="font-size: x-large;"><span style="color: black;">Some works by
John Donne <br />
<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">"Songs and Sonets"</span> —</span>in
<span style="font-style: italic;">Poems.</span></span></span></big></big></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><big><big><span style="font-size: x-large;"><span style="color: black;">(Go and Catch a Falling Star, The Flea, The Good-Morrow, The Sun Rising, The Canonization, A Lecture Upon the Shadow, A Valediction: Forbidding Mourning...)</span></span></big></big></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><big><big><span style="font-size: x-large;"><span style="color: black;"><span style="font-style: italic;"> </span><br />
</span><span style="color: black;">
_____. <span style="font-style: italic;">"Elegies"—</span>in <span style="font-style: italic;">Poems. </span>("On his Mistress Going to Bed", "Sapho to Philaenis"...)</span></span></big></big></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><big><big><span style="font-size: x-large;"><span style="color: black;"><br /><span style="font-style: italic;">
_____."Satires." —</span>in <span style="font-style: italic;">Poems.</span></span></span></big></big></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><big><big><span style="font-size: x-large;"><span style="color: black;"><span style="font-style: italic;"><br />
</span></span><span style="color: black;"><span style="font-style: italic;">_____. <span style="font-weight: bold;">Biathanatos.</span></span>
Written
1608, posth. pub.<br />
_____. <span style="font-style: italic;">Pseudo-Martyr.</span> 1610.<br />
_____. <span style="font-style: italic;">Ignatius His Conclave.</span>
Prose satire. 1610-11.<br />
</span><span style="color: black;">_____. <span style="font-style: italic;">Anniversaries</span>.
Elegies </span></span></big></big></span></span><span style="font-size: large;"><span style="font-size: large;"><big><big><span style="font-size: x-large;"><span style="color: black;"><span style="font-size: large;"><span style="font-size: large;"><big><big><span style="font-size: x-large;"><span style="color: black;"><span style="font-style: italic;"> </span>(for Elizabeth Drury)</span></span></big></big></span></span>. 1611-12.<span style="font-style: italic;"><br />
</span></span></span><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: x-large;"> _____. <span style="font-style: italic;">Divine Poems / Holy Sonnets —</span>in
<span style="font-style: italic;">Poems.</span> <br />
_____. <span style="font-style: italic; font-weight: bold;">Devotions
upon Emergent
Occasions.</span> 1624. (<a href="https://web.cs.dal.ca/~johnston/poetry/island.html" target="_blank">"No Man Is an Island"</a>)<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Poems.</span> </span> 1633. 2nd
ed. 1635.<br />
_____. <span style="font-style: italic;">Essays in Divinity.</span>
1651.</span> </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span><br />
<br />
<br />
<br />
<br />
<br />
<span style="font-size: large;"><span style="color: black;"><small><small><span style="font-size: x-large;">Some notes on <a href="https://jaglit.blogspot.com/2019/10/john-donne.html">John Donne</a>
(from the <i>Oxford Companion to English Literature</i>).</span></small></small></span></span><br />
<br />
<span style="font-size: large;"><br />
<span><span style="color: black;"><span><span>Seguimos con Donne:</span></span></span></span><br />
<span><span style="color: black;"><span><span><a href="http://personal.unizar.es/garciala/materiales/poemas/Donne,Vex.htm" target="_blank">- Sonnet XIX - O to vex me...</a></span><span> </span></span></span></span><br />
<span><span style="color: black;"><span><span><a href="http://personal.unizar.es/garciala/materiales/poemas/Donne%2CLecture.htm" target="_blank"><br />
- A LECTURE UPON THE SHADOW</a></span></span></span></span></span></span></p>
<p><span style="font-size: large;"><span><span style="color: black;"><span><span> </span></span></span></span><br />
<span>
</span>- A tutorial on <a href="https://www.youtube.com/watch?v=DgHf6TrX2s8">"Death
be not proud"</a>, <a href="https://www.youtube.com/watch?v=5Zgbwm7TlUA">"Go and catch a
Falling Star"</a>, and other poems.<br />
<br />
<span><span style="color: black;">- A British lecture on "The
Good-Morrow", one of the poems we read in class:</span></span><br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ip3IeEV3p-E" width="560"></iframe></span><br />
<br />
</p>
<p style="text-align: right;">
—<a href="https://jaglit.blogspot.com/2020/11/the-good-morrow-explication.html" target="_blank">yet another explication,</a> on video<br />
</p>
<p>
<span style="font-size: large;"><br />
</span><span style="font-size: large;"><span>—and a commentary,</span><br />
</span></p>
<div class="suggested-citation" id="selectable"><span style="font-size: large;">
'The Good-Morrow' (1982). Available at SSRN: <a href="https://ssrn.com/abstract=2192436" target="_blank">https://ssrn.com/abstract=2192436</a>
</span></div>
<span style="font-size: large;">
<br />
<span>- Two explications of "A Valediction: Forbidding Mourning" (in
several
parts each):</span><br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/WUprtjcYieY" width="560"></iframe>
<br />
</span><br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/oRu6b-QQyOQ" width="560"></iframe>
<br />
<br />
<div style="text-align: left;">
___________________________</div><div style="text-align: left;"> </div><div style="text-align: left;"><a href="https://jaglit.blogspot.com/2021/09/some-notes-on-john-donne.html" target="_blank"><i>Penguin Short History: JOHN DONNE</i></a> <br /></div>
<br />
<span style="font-size: large;"><a href="https://jaglit.blogspot.com/2019/10/john-donne-nivel-avanzado.html">John
Donne - NIVEL AVANZADO</a></span>
<br />
<br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big>_______________________</big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<p><br />
</p>
<p><br /></p><p><span style="font-size: large;"><br />El miércoles seguiremos comentando el poema de Drummond que entregamos en clase. Traed el poema y <a href="https://jaglit.blogspot.com/2021/11/comentario-de-texto.html" target="_blank">la guía de comentario</a>, y posibles sugerencias para aportar al comentario siguiendo los puntos que trataremos: intertextualidad, ideología, etc.</span></p><p><span style="font-size: large;">_________________ <br /></span></p><p><span style="font-size: large;">Vimos
en clase una introducción
histórica al siglo XVII y al
periodo que nos ocupa. Hablaremos también de los poetas metafísicos,
empezando por John Donne. Leed los primeros poemas, y recordad traer a
clase las lecturas que nos correspondan (por ejemplo, los primeros poemas del tema 1).<span style="font-style: italic;"> Sin los textos delante es
imposible seguir las sesiones de comentario de texto, </span>aunque dentro de lo posible los pondremos también en esta web o en la pantalla. Empezaremos por los textos de John Donne.</span></p>
<p><br />
<br />
<big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
<br />
Aquí un documental sobre los Estuardo:<br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/pR8JUQVbaEg" width="560"></iframe><br />
<br />
</small></small></span></big></big></big></big></big></small></small></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>Y en concreto sobre James I
(Jacobo I) aquí hay otro vídeo:</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><a href="https://jaglit.blogspot.com/2020/10/james-i-first-stuart-king-of-england.html" target="_blank">Timeline: James I, the first Stuart King of England.</a><br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small> </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small> </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>A nivel avanzado hay más cosas de
reyes y reinas, como <span style="font-style: italic;">historical
background </span>del XVI-XVII.<span style="font-weight: bold;"><span style="font-weight: bold;"><br />
<br />
</span></span></small></small></span></big></big></big></big></big></small></small></small></big></big><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>___________</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>Y un interludio suplementario: <a href="https://jaglit.blogspot.com/2019/10/estudiar-filologia-inglesa.html">un
vídeo de una estudiante sobre la carrera de Estudios Ingleses</a>.</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>___________</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><br />
<br />
</span></small></small></span></big></big>Una nota sobre el soneto que
comentamos, <a href="https://garciala.blogia.com/2017/120603-retropost-2006-grave-grabaci-n-de-ultratumba.php" target="_blank">"More oft than once Death whispered in my ear..."</a></big><span style="font-weight: bold;"><br />
</span></big><br />
</big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><small><big><big><small><small><small><big><big><big><big><small><small><small><br />
<big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>También</small></small></span></big></big></big></big></big></small></small></small></big></big><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small> comentamos este poema de Samuel
Daniel: <a href="https://personal.unizar.es/garciala/materiales/poemas/Daniel,Shadows.html" target="_blank">Are they shadows that we see?</a><br />
</small></small></span></big></big></big></big><big><big><big><big><span style="color: black;"><small><small>Es una canción de un drama
cortesano de <a href="https://jaglit.blogspot.com/2019/09/samuel-daniel-nivel-avanzado.html">Daniel</a>,
<span style="font-style: italic;">a masque,</span>
titulado <span style="font-style: italic;">Tethys' Festival</span>
(1610).</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><span style="font-size: large;"><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small> </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></span></p>
<p>___________________________________<br /></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">NIVEL AVANZADO</span></p>
<p><span style="color: black; font-size: medium;">A nivel avanzado,
fuera de programa, añadiremos cosas no esenciales para la asignatura, y
que pueden tener sin embargo su interés <i>para quien tenga mucho
tiempo, interés, y haya pasado primero por el "nivel básico".</i> </span></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: medium;">Por
ejemplo, <a href="https://jaglit.blogspot.com/2019/09/nivel-avanzado.html" target="_blank">aquí hay algunas cuestiones a nivel avanzado</a>
relacionadas con asuntos que hemos tratado en la introducción teórica e
histórica a la asignatura.</span><br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
<span style="font-weight: bold;"></span></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><span style="font-size: medium;">_______________________________<br />
<br />
<br />
</span><big><big><span style="font-size: medium;"><span style="color: black;">
Una cosa. No vemos mucho teatro en el programa (no lo hay en las
lecturas, por ejemplo). Pondré algo en "nivel avanzado" aquí, y quien
tenga mayor interés puede seguir si quiere mi blog <span style="font-style: italic;"><a href="https://thishugestage.blogspot.com/">This Huge Stage: El gran
Teatro del Mundo</a> </span>(y página de Facebook <a href="https://www.facebook.com/elgranteatrodelmundo/"><span style="font-style: italic;">El gran teatro del mundo)</span></a>
dedicado al teatro, a cuestiones metateatrales y dramatística
social. Fuera de programa, por supuesto.<br />
</span><br />
</span><span style="font-size: medium;"><br />
</span><span style="color: black; font-size: medium;"><span><span style="font-weight: bold;"><span style="font-weight: bold;">
</span></span>Un importante autor del siglo XVII no estudiamos:
Shakespeare, que "le toca" a la asignatura de Literatura Inglesa I y no
entra en nuestro examen. Pero podéis refrescar vuestros conocimientos
sobre su contexto histórico con una serie de la BBC, muy recomendable,
<span style="font-style: italic;"><a href="https://dai.ly/x5nu0oj">IN
SEARCH OF SHAKESPEARE</a>—</span>a veces disponible en Internet.</span></span></big></big></p>
<p><big><big><span style="color: black; font-size: medium;"><span> Y
aquí, <a href="https://jaglit.blogspot.com/2020/10/shakespeare-macbeth-nivel-avanzado.html" target="_blank">una representación (A NIVEL AVANZADO) de <i>Macbeth </i>(1606).</a>
</span><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></span><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small>_________________________</big></big><br />
<span style="font-size: large;"><br />
</span><span style="font-size: large;">Dedicamos la segunda semana al
comentario del poema de Drummond, siguiendo <a href="https://jaglit.blogspot.com/2021/11/comentario-de-texto.html" target="_blank">la guía de comentario detexto.</a> Terminad de leerlo por vuestra cuenta, y pensad cómo aplicar
algunos elementos de comentario al poema de Daniel que es el primero de
las fotocopias. Para la siguiente semana, traed a clase éste, y los poemas de
Donne.</span></p>
<p><span style="font-size: large;">________________________________ <br />
</span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;">- Hacemos una pequeña introducción a
la Inglaterra de principios del XVII. Recordad que tenéis un curso de
Yale sobre esto en la introducción. También es recomendable tener
un manual de historia británica. Son recomendables <a href="https://books.google.es/books/about/A_shortened_history_of_England.html"><i>A
Shortened History of England</i></a> de G. M. Trevelyan (un clásico muy
literario) y, más reciente, <i>A Short History of Britain </i>de
Simon Jenkins. Entre otros muchos (<a href="https://personal.unizar.es/garciala/bibliography/Subjects/9.Other.subjects/Other.disciplines/History/English.etc.history.doc/1.British.English.history/5.17th.English.history.docx">ver
bibliografía</a>).</span><span style="font-size: large;"><span>Un
capítulo de muestra sobre los primeros Estuardo de Inglaterra (Jacobo I
y Carlos I): <a href="https://jaglit.blogspot.com/2020/09/early-stuarts.html" target="_blank">Early Stuarts.</a></span></span></p>
<p><span style="font-size: large;"><span>_______________ <br />
</span></span></p>_____<p><span style="font-size: large;">Primera semana de septiembre: <a href="https://jaglit.blogspot.com/2019/07/bienvenida-y-programa.html"><i>Bienvenida
a la asignatura</i></a></span><br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><br />
Comenzamos las clases con una introducción a la función de la literatura y su contexto hacia 1600-1700. Y comentando <a href="http://personal.unizar.es/garciala/materiales/poemas/Drummond,Flowers.htm" target="_blank">este poema de Drummond</a> en detalle, a modo de
ejemplo de comentario de texto.<br />
<br />
</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small><small><big><big><small><small><small><big><big><big><big><small><small>
<span style="font-size: x-large;"><a href="https://jaglit.blogspot.com/2021/09/william-drummond-1585-1649.html" target="_blank">William Drummond</a>, From <span style="font-style: italic;">Flowers of
Sion</span>,<br />
<br />
<br />
Sonnet XXV<br />
<br />
More oft than once death whispered in my ear,<br />
Grave what thou hears in diamond and gold:<br />
I am that monarch whom all monarchs fear,<br />
Who hath in dust their far-stretched pride uprolled;<br />
All, all is mine beneath moon's silver sphere,<br />
And nought, save virtue, can my power withhold:<br />
This, not believed, experience true thee told,<br />
By danger late when I to thee came near.<br />
As bugbear then my visage I did show,<br />
That of my horrors thou right use mightst make,<br />
And a more sacred path of living take:<br />
Now still walk armèd for my ruthless blow,<br />
Trust flattering life no more, redeem time past,<br />
And live each day as if it were thy last.</span></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><big><small> </small>
</big></small></small></big></big></big></big></small></small></small></big></big></small><br />
<small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>
Para ello vamos siguiendo los pasos de <a href="http://ssrn.com/abstract=2662425">la guía para comentar un texto</a>
(también <a href="https://www.academia.edu/1731753/">visible
aquí: </a></small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><a href="https://www.academia.edu/1731753/">https://www.academia.edu/1731753/</a>). </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small><span style="font-size: medium;"><br />
</span>La siguiente semana aún
utilizaremos estos textos que repartí (traedlos
a
clase), junto con los primeros textos <a href="http://personal.unizar.es/garciala/materiales/poemas/Daniel,Shadows.html">de
Daniel</a> y de Donne.</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>Veremos estas primeras semanas muchos poemas. Podéis leer estas <a href="https://jaglit.blogspot.com/2021/09/notes-on-definition-of-poetry.html" target="_blank">notas sobre la definición de la poesía</a>. </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: large;"><span style="color: black;"> </span><br />
Y
traedme las fotos para las fichas. Con los apellidos detrás en mayúsculas.</span></small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<br />
<br />
<br />
<br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: large;"> </span></small></small></big></big></big></big></small></small></small></big></big></small></big></big>
</p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: large;"> </span></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: large;">NIVEL AVANZADO</span></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: large;"> </span></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: large;">En
relación al "lenguaje poético" y el análisis de analogías, símbolos,
metáforas, etc. es crucial la cuestión de la INTEGRACIÓN CONCEPTUAL (<i>conceptual
integration,</i> llamada también <i>blending</i>)
como una maniobra esencial de la cognición humana y la creatividad
mental. Aquí hay una lectura clave sobre el tema, interesante tanto
para lingüistas como para literatos:</span></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<div class="suggested-citation" id="selectable"> <span style="font-size: large;">Fauconnier, Gilles and Turner, Mark B.,
Conceptual Integration Networks (February 10, 2001). <i>Cognitive
Science, </i>Vol. 22, No. 2, pp. 133-187, April-June 1998, Available
at SSRN: <a href="https://ssrn.com/abstract=1292966" target="_blank">https://ssrn.com/abstract=1292966</a></span>
</div>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: large;"> </span><br />
</small></small></big></big></big></big></small></small></small></big></big></small></big></big><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><big><big><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: large;">En la columna derecha iréis encontrando
otros materiales <a href="https://jaglit.blogspot.com/search/label/A%20NIVEL%20AVANZADO">"a
nivel avanzado"</a> que pueden servir para estudio adicional, pero que
están fuera del programa.</span></small></small></big></big></big></big></small></small></small></big></big></small></big></big></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><span style="font-size: large;">_________________</span></p><p><span style="font-size: large;"><span style="font-size: large;"> </span></span></p><p><span style="font-size: large;"><span style="font-size: large;">Recomendé
comprar, si no la tenéis ya, alguna historia de
Inglaterra o
de Gran Bretaña. Aquí hay algunos títulos posibles. Más, en Google o en
nuestra bibliografía:</span></span></p><span style="font-size: large;"><span style="font-size: large;">
</span><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: large;"><span>Corbishley,
Mike, et al. <span style="font-style: italic;">Oxford
History of Britain and Ireland. </span>Oxford: Oxford UP, 2006.<br />
<a href="http://www.amazon.co.uk/Oxford-History-Britain-Ireland-Corbishley/dp/0199115737/">http://www.amazon.co.uk/Oxford-History-Britain-Ireland-Corbishley/dp/0199115737/</a><br />
<br />
Jenkins, Simon. <span style="font-style: italic;">A Short History of
England. </span>London: Profile Books / National Trust, 2011.<br />
<a href="http://www.amazon.co.uk/Short-History-England-Simon-Jenkins/dp/1846684617/">http://www.amazon.co.uk/Short-History-England-Simon-Jenkins/dp/1846684617/</a><br />
<br />
Trevelyan, George Macaulay. <span style="font-style: italic;">A
Shortened History of England. </span>1942. Harmondsworth: Penguin,
1972 etc.<br />
<a href="http://www.amazon.co.uk/Shortened-History-England-George-Trevelyan/dp/0241956269/">http://www.amazon.co.uk/Shortened-History-England-George-Trevelyan/dp/0241956269/</a><br />
<br />
Wood, Michael. <span style="font-style: italic;">The Story of England.
</span>Viking, 2010.<br />
<a href="http://www.amazon.co.uk/Story-England-Michael-Wood/dp/0670919039/">http://www.amazon.co.uk/Story-England-Michael-Wood/dp/0670919039/</a><br />
<span style="font-weight: bold;"><br />
</span>Coward, Barry. <span style="font-style: italic;">The Stuart
Age: England 1603-1714</span>. 4th ed. London: Routledge, 2011.<br />
<a href="https://www.amazon.co.uk/dp/1405859164">https://www.amazon.co.uk/dp/1405859164</a><span style="color: black;"><br /> </span></span></span></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p><p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><span style="font-size: large;"><span><span style="color: black;">McDowall, David. <span style="font-style: italic;">An
Illustrated
History of Britain</span>. London: Longman, 1989... etc.</span></span> </span>
</small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><br />
<big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small>________</small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><big><big><small><big><big><small><small><small><big><big><big><big><small><small><small><big><big><small><small><small><big><big><big><big><big><span style="color: black;"><small><small> </small></small></span></big></big></big></big></big></small></small></small></big></big></small></small></small></big></big></big></big></small></small></small></big></big></small></big></big></p>
<p><span style="color: black; font-size: small;"> </span></p><span style="font-size: small;">
</span><p><span style="color: black; font-size: small;">Algunos de los manuales
recomendados, pueden encontrarse en la web en PDF. Aquí hay dos de
ellos, uno el más avanzado:<br />
<a href="https://www.academia.edu/6056249/" target="_blank"><br />
</a></span><span style="color: black; font-size: small;"><span style="color: black;"><span><a href="http://lanquiz.org/assets/pdf-books/lanquiz.org__the_short_oxford_history_of_english_literature.pdf">PDF
(</a><a href="https://librarykvmsmd.files.wordpress.com/2015/09/lanquiz-org__the_short_oxford_history_of_english_literature.pdf"><span style="font-style: italic;">The Short Oxford History of English
Literature)</span></a></span></span><br />
</span><span style="color: black; font-size: small;">
</span></p><p><span style="color: black; font-size: small;">Y otro el más recomendado:<br />
<a href="https://drive.google.com/file/d/0B9a3FSxKl6ZlV0dkUkJSWHR0dEU/view?usp=drivesdk">https://drive.google.com/file/d/0B9a3FSxKl6ZlV0dkUkJSWHR0dEU/view?usp=drivesdk</a>
(M Alexander, <i>A History of English Literature</i>)<br />
<br />
Y otro que puede serviros (de todos ellos algunos capítulos, no todo el
manual):</span></p><span style="font-size: small;">
</span><p><span style="color: black; font-size: small;"><a href="https://drive.google.com/file/d/0B9a3FSxKl6ZlZUNRcHNYak4yOTA/view?usp=drivesdk">https://drive.google.com/file/d/0B9a3FSxKl6ZlZUNRcHNYak4yOTA/view?usp=drivesdk</a>
(Peter Widdowson, <i>English Literature and its Context 1500-2000</i>)<br />
</span><span style="font-size: small;"><br /></span>
<span style="font-size: small;"><br /></span>
<span style="font-size: small;"><br /></span></p><p><span style="font-size: small;"><br /></span></p><p><span style="color: black; font-size: small;">
___________________<br /><a href="https://www.alibris.co.uk/The-Norton-Anthology-of-English-Literature-M-Abrams/book/4729624" target="_blank"><br />Este es el volumen de la antología Norton que os recomiendo comprar para esta asignatura.</a> (Este, o usado, más barato, en una edición anterior). Esto en segunda instancia: lo primero, un manual (ver programa)—el de Alexander , o el de Sanders (<i>Short Oxford History of English Literature</i>). Pero manejar el volumen de la Norton os resultará útil para ver otros textos de los autores estudiados. Es posible hacer los trabajos también sobre algún texto de los autores del programa que no esté incluido en las fotocopias, o bien sobre otro autor importante de la época que no figure entre las lecturas (siempre eligiendo un texto específico y centrándose en el comentario del texto). Lo ideal es emplear la antología para este fin, o sitios web como Luminarium (ver programa).</span></p><p><span style="font-size: small;"><br /></span></p><p><span style="color: black; font-size: small;">Haced un plan de estudio, cuatrimestral y semanal. Cuatrimestralmente,
pensad si vais a hacer trabajos, y cómo vais a organizaros para
prepararlos y entregarlos, así como para ir llevando adelante el
temario de al asignatura para estudio. Conviene hacerse también el plan semanal:
el folio en la pared, físicamente visible, con el horario de estudio y
de lectura, pues hay que hacerle un sitio a esta asignatura (y a las demás). Recordad también consultar
esta web
regularmente, pues se va actualizando cada pocos días.</span></p></span><p></p><p></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-28263586104512743602021-11-03T17:42:00.000+01:002021-11-03T17:42:01.395+01:00Francis Bacon - THE IDOLS OF THE MIND<p><span style="font-size: large;"> </span>
</p><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD">Francis Bacon, from <i>Novum Organum</i><span> </span>(The Idols)</span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD"> </span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">L.
But by far the greatest impediment and aberration of the human understanding
proceeds from the dulness, incompetence, and errors of the senses; since
whatever strikes the senses preponderates over everything, however superior,
which does not immediately strike them. Hence contemplation mostly ceases with
sight, and a very scanty, or perhaps no regard is paid to invisible objects.
The entire operation, therefore, of spirits inclosed in tangible bodies is concealed,
and escapes us. All that more delicate change of formation in the parts of
coarser substances (vulgarly <span> </span>called
alteration, but in fact a change of position in the smallest particles) is
equally unknown; and yet, unless the two matters we have mentioned be explored
and brought to light, no great effect can be produced in nature. Again, the
very nature of common air, and all bodies of less density (of which there are
many) is almost unknown; for the senses are weak and erring, nor can
instruments be of great use in extending their sphere or acuteness—all the
better interpretations of nature are worked out by instances, and fit and apt
experiments, where the senses only judge of the experiment, the experiment of
nature and the thing itself.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">LI.
The human understanding is, by its own nature, prone to abstraction, and
supposes that which is fluctuating to be fixed. But it is better to dissect
than abstract nature: such was the method employed by the school of Democritus,
which made greater progress in penetrating nature than the rest. It is best to
consider matter, its conformation, and the changes of that conformation, its
own action, and the law of this action or motion; for forms are a mere fiction
of the human mind, unless you will call the laws of action by that name.<a href="https://oll.libertyfund.org/title/bacon-novum-organum#lf0415_footnote_nt_022"><span style="color: blue;"> </span></a></span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">LII.
Such are the idols of the tribe, which arise either from the uniformity of the
constitution of man’s spirit, or its prejudices, or its limited faculties or
restless agitation, or from the interference of the passions, or the
incompetence of the senses, or the mode of their impressions.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">LIII.
The idols of the den derive their origin from the peculiar nature of each
individual’s mind and body, and also from education, habit, and accident; and
although they be various and manifold, yet we will treat of some that require
the greatest caution, and exert the greatest power in polluting the
understanding.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">LIV.
Some men become attached to particular sciences and contemplations, either from
supposing themselves the authors and inventors of them, or from having bestowed
the greatest pains upon such subjects, and thus become most habituated to them.
If men of this description apply themselves to philosophy and contemplations of
a universal <span> </span><span> </span>nature, they wrest and corrupt them by their
preconceived fancies, of which Aristotle affords us a single instance, who made
his natural philosophy completely subservient to his logic, and thus rendered
it little more than useless and disputatious. The chemists, again, have formed
a fanciful philosophy with the most confined views, from a few experiments of
the furnace. Gilbert, too, having employed himself most assiduously in the
consideration of the magnet, immediately established a system of philosophy to
coincide with his favorite pursuit.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">LV.
The greatest and, perhaps, radical distinction between different men’s
dispositions for philosophy and the sciences is this, that some are more
vigorous and active in observing the differences of things, others in observing
their resemblances; for a steady and acute disposition can fix its thoughts,
and dwell upon and adhere to a point, through all the refinements of
differences, but those that are sublime and discursive recognize and compare
even the most delicate and general resemblances; each of them readily falls
into excess, by catching either at nice distinctions or shadows of resemblance.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">LVI.
Some dispositions evince an unbounded admiration of antiquity, others eagerly
embrace novelty, and but few can preserve the just medium, so as neither to
tear up <span> </span>what the ancients have correctly
laid down, nor to despise the just innovations of the moderns. But this is very
prejudicial to the sciences and philosophy, and instead of a correct judgment
we have but the factions of the ancients and moderns. Truth is not to be sought
in the good fortune of any particular conjuncture of time, which is uncertain,
but in the light of nature and experience, which is eternal. Such factions,
therefore, are to be abjured, and the understanding must not allow them to
hurry it on to assent.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">LVII.
The contemplation of nature and of bodies in their individual form distracts
and weakens the understanding; but the contemplation of nature and of bodies in
their general composition and formation stupefies and relaxes it. We have a
good instance of this in the school of Leucippus and Democritus compared with
others, for they applied themselves so much to particulars as almost to neglect
the general structure of things, while the others were so astounded while
gazing on the structure that they did not penetrate the simplicity of nature.
These two species of contemplation must, therefore, be interchanged, and each
employed in its turn, in order to render the understanding at once penetrating
and capacious, and to avoid the inconveniences we have mentioned, and the idols
that result from them.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">LVIII.
Let such, therefore, be our precautions in contemplation, that we may ward off
and expel the idols of the den, which mostly owe their birth either to some
predominant pursuit, or, secondly, to an excess in synthesis and analysis, or,
thirdly, to a party zeal in favor of certain ages, or, fourthly, to the extent
or narrowness of the subject. In general, he who contemplates nature should
suspect whatever particularly takes and fixes his understanding, <span> </span>and should use so much the more caution to
preserve it equable and unprejudiced.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">LIX.
The idols of the market are the most troublesome of all, those namely which
have entwined themselves round the understanding from the associations of words
and names. For men imagine that their reason governs words, while, in fact,
words react upon the understanding; and this has rendered philosophy and the
sciences sophistical and inactive. Words are generally formed in a popular
sense, and define things by those broad lines which are most obvious to the
vulgar mind; but when a more acute understanding or more diligent observation
is anxious to vary those lines, and to adapt them more accurately to nature,
words oppose it. Hence the great and solemn disputes of learned men often
terminate in controversies about words and names, in regard to which it would
be better (imitating the caution of mathematicians) to proceed more advisedly
in the first instance, and to bring such disputes to a regular issue by
definitions. Such definitions, however, cannot remedy the evil in natural and
material objects, because they consist themselves of words, and these words
produce others; so that we must necessarily have recourse to particular
instances, and their regular series and arrangement, as we shall mention when
we come to the mode and scheme of determining notions and axioms.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">LX.
The idols imposed upon the understanding by words are of two kinds. They are
either the names of things which have no existence (for as some objects are
from inattention left without a name, so names are formed by fanciful
imaginations which are without an object), or they are the names of actual
objects, but confused, badly defined, and hastily and irregularly abstracted
from things. Fortune, the primum mobile, the planetary orbits, the element of
fire, and the like fictions, which owe their birth to futile and false
theories, are instances of the first kind. And this species of idols is removed
with greater facility, because it can be exterminated by the constant
refutation or the desuetude of the theories themselves. The others, which are
created by vicious and unskilful abstraction, are intricate and deeply rooted.
Take some word, for instance, as moist, and let us examine how far the
different significations of this word are consistent. It will be found that the
word moist is nothing but a confused sign of different actions admitted of no
settled and defined uniformity. For it means that which easily diffuses itself
over another body; that which is indeterminable and cannot be brought to a
consistency; that which yields easily in every direction; that which is easily
divided and dispersed; that which is easily united and collected; that which
easily flows and is put in motion; that which easily adheres to, and wets
another body; that which is easily reduced to a liquid state though previously
solid. When, therefore, you come to predicate or impose this name, in one sense
flame is moist, in another air is not moist, in another fine powder is moist,
in another glass is moist; so that it is quite clear that this notion is
hastily abstracted from water only, and common ordinary liquors, without any
due verification of it.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">There
are, however, different degrees of distortion and mistake in words. One of the
least faulty classes is that of the names of substances, particularly of the
less abstract and more defined species (those then of chalk and mud are good,
of earth bad); words signifying actions are more faulty, as to generate, to
corrupt, to change; but the most faulty are those denoting qualities (except
the immediate objects of sense), as heavy, light, rare, dense. Yet in all of
these there must be some notions a little better than others, in proportion as
a greater or less number of things come before the senses.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">LXI.
The idols of the theatre are not innate, nor do they introduce themselves
secretly into the understanding, but they are manifestly instilled and cherished
by the fictions of theories and depraved rules of demonstration. To attempt,
however, or undertake their confutation would not be consistent with our
declarations. For since we neither agree in our principles nor our
demonstrations, all argument is out of the question. And it is fortunate that
the ancients are left in possession of their honors. We detract nothing from
them, seeing our whole doctrine relates only to the </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">path
to be pursued. The lame (as they say) in the path outstrip the swift who wander
from it, and it is clear that the very skill and swiftness of him who runs not
in the right direction must increase his aberration.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">Our
method of discovering the sciences is such as to leave little to the acuteness
and strength of wit, and indeed rather to level wit and intellect. For as in
the drawing of a straight line, or accurate circle by the hand, much depends on
its steadiness and practice, but if a ruler or compass be employed there is
little occasion for either; so it is with our method. Although, however, we
enter into no individual confutations, yet a little must be said, first, of the
sects and general divisions of these species of theories; secondly, something
further to show that there are external signs of their weakness; and, lastly, we
must consider the causes of so great a misfortune, and so long and general a
unanimity in error, that we may thus render the access to truth less difficult,
and that the human understanding may the more readily be purified, and brought
to dismiss its idols.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">LXII.
The idols of the theatre, or of theories, are numerous, and may, and perhaps
will, be still more so. For unless men’s minds had been now occupied for many
ages in religious and theological considerations, and civil governments
(especially monarchies), had been averse to novelties of that nature even in
theory (so that men must apply to them with some risk and injury to their own
fortunes, and not only without reward, but subject to contumely and envy),
there is no doubt that many other sects of philosophers and theorists would
have been introduced, like those which formerly flourished in such diversified
abundance among the Greeks. For as many imaginary theories of the heavens can
be deduced from the phenomena of the sky, so it is even more easy to found many
dogmas upon the phenomena of philosophy—and the plot of this our theatre
resembles those of the poetical, where the plots which are invented for the
stage are more consistent, elegant, and pleasurable than those taken from real
history.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">In
general, men take for the groundwork of their philosophy either too much from a
few topics, or too little from many; in either case their philosophy is founded
on too narrow a basis of experiment and natural history, and decides on too
scanty grounds. For the theoretic philosopher seizes various common
circumstances by experiment, without reducing them to certainty or examining
and frequently considering them, and relies for the rest upon meditation and
the activity of his wit.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">There
are other philosophers who have diligently and accurately attended to a few
experiments, and have thence presumed to deduce and invent systems of
philosophy, forming everything to conformity with them.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times;">A
third set, from their faith and religious veneration, introduce theology and
traditions; the absurdity of some among them having proceeded so far as to seek
and derive the sciences from spirits and genii. There are, therefore, three
sources of error and three species of false philosophy; the sophistic, empiric,
and superstitious.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD"> </span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD"> </span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD">(…)</span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD"> </span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><span lang="ES-TRAD">LXVIII. We have now treated of each kind of idols, and their qualities,
all of which must be abjured and renounced with firm and solemn resolution, and
the understanding must be completely freed and cleared of them, so that the
access to the kingdom of man, which is founded on the sciences, may resemble
that to the kingdom of heaven, where no admission is conceded except to
children.</span></span></p>
<p class="MsoNormal"><span lang="ES-TRAD"> </span></p>
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{page:WordSection1;}</style></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-18971672830406530012021-10-28T10:51:00.000+02:002021-10-28T10:51:15.863+02:00ANDREW MARVELL (Notes)<p> </p><p><span style="font-weight: bold;"><br />
</span><br />
<big><big></big></big>
From <i>The Oxford Companion to English Literature,</i> ed. Margaret
Drabble:</p><p><br />
</p><div class="separator" style="clear: both; text-align: center;">
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<br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>MARVELL, </b>Andrew (1621-1678), son of the Revd Andrew Marvell,
born at Winstead in Holderness, Yorkshire. in 1624 the family moved to
Hull on his father's appointment as lecturer at Holy Trinity Church.
Marvell attended Hull Grammar School. He matriculated at Trinity
College, Cambridge, as a sizar in De. 1633, and graduated in 1639. In
1637 he had contributed Greek and Latin verses to a Cambridge volume
congratulating Charles I on the birth of a daughter. His mother died in
Apr. 1638, his father remarrying in November. Around 1639 Marvell may
have come under the influence of Roman Catholic proselytizers:
according to one story he went to London with them and was fetched back
by his father. In January 1641 his father was drowned while crossing
the Humber, and soon after Marvell left Cambridge for London. Between
1643 and 1647 he travelled for four years in Holland, France, Italy,
and Spain, learning languages and fencing, and perhaps deliberately
avoiding the Civil War (he said later that 'the Cause was too good to
have been fought for'). On his return from the Continent he apparently
moved in London literary circles and had friends among Royalists. His
poems to Lovelace ('his Noble Friend') and on the death of Lord
Hastings were published in 1649. In the early summer of 1650 he wrote
'An Horatian Ode upon Cromwell's Return from Ireland', perhaps the
greatest political poem in English.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">From 1650 to 1652 Marvell tutored young Mary Fairfax, daughter of the
Parliamentarian general, at Nun Appleton in Yorkshire. In this period,
it is usually assumed, he wrote 'Upon Appleton House' and lyrics such
as 'The Garden' and the Mower Poems. In 1653 he was appointed tutor to
Cromwell's ward William Dutton, and moved to John Oxenbridge's house at
Eton, where he probably wrote 'Bermudas'. In 1654 with 'The First
Anniversary' (published 1655) he began his career as unofficial
laureate to Cromwell, and was appointed in 1657 Latin secretary to the
council of state (a post previouly occupied by his friend and sponsor
John Milton, now blind). For eight months during 1656 Marvell was in
Saumur with Dutton, where he was described as 'a notable English
Italo-Machiavellian'. He mourned Cromwell in 'Upon the Death of His
Late Highness the Lord Protector' (1658) and took part in the funeral
procession. The following year (January) he was elected MP for Hull,
and remained one of the Hull members until his death. At the
Restoration his influence secured Milton's release from prison.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">From June 1662 to April 1663 Marvell was in Holland on unknown
political business, and in July 1663 he travelled with the earl of
Carlisle as private secretary on his embassy to Russia, Sweden, and
Denmark, returning in January 1665. His satires against Clarendon were
written and published in 1667. Later that year he composed his finest
satire 'Last Instructions to a Painter', attacking financial and sexual
corruption at court and in Parliament, and took part in the impeachment
of Clarendon. <i>The Rehearsal Transpros'd,</i>
a controversial mock-biblical prose work advocating toleration for
Dissenters, which set new standards of irony and urbanity, appeared in
1672 (Pt II, 1673). Gilbert Burnet called these 'the wittiest books
that have appeared in this age', and Charles II apparently read them
'over and over again'. According to the report of government spies,
Marvell (under the codename 'Mr Thomas') was during 1674 a member
of a fifth column promoting Dutch interests in England, and in touch
with Dutch secret agents. The second edition of <i>Paradise Lost</i>
contained a commendatory poem by Marvell, and in his prose works he
continued to wage war against arbitrary royal power. <i>Mr Smirk, or
The Divine in Mode</i> and <i>A Short Historical Essay Concerning
General Councils</i> (1676), and <i>An Account of the Growth of Popery
and Arbitrary Government in England</i> (1677), were all Marvell's
though prudently published anonymously. The <i>London Gazette</i>
offered a reward, in Mar. 1678, for information about the author or
printer of <i>An Account.</i>
That August, however, Marvell died in his house in Great Russell Street
from medical treatment prescribed for a tertian ague. His <i>Miscellaneous
Poems</i> appeared in 1681. His <i>Miscellaneous Poems</i>
appeared in 1681, printed from papers found in his rooms by his
housekeeper Mary Palmer, who gave herself out to be his widow and
signed the preface 'Mary Marvell' in order to get her hands on £500
which Marvell had been keeping for two bankrupt friends. This volume
did not contain the satires (the authorship of some of which is still
disputed): these appeared in <i>Poems on Affairs of State</i> (1689-97).</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Famed in his day as patriot, satirist, and foe to tyranny, Marvell was
virtually unknown as a lyric poet. C. Lamb started a gradual revival,
but Marvell's poems were more appreciated in 19th-cent. America than in
England. It was not until after the First World War, with Grierson<i>'</i>s
<i>Metaphysical Lyrics</i>
and T. S. Eliot's 'Andrew Marvell', that the modern high estimation of
his poetry began to prevail. In the second half of the 20th century his
small body of lyrics was subjected to more exegetical effort than the
work of any other metaphysical poet. His oblique and finally enigmatic
way of treating what are often quite conventional materials (as in 'The
Nymph Complaining for the Death of Her Faun' or 'To His Coy Mistress')
has especially intrigued the modern mind.</span><br />
<br />
<i>Poems and Letters,</i> ed. H. M. Margoliouth, 3rd edn rev. P.
Legouis and E. E. Duncan-Jones (2 vols, 1971); <i>Latin Poems,</i> ed.
and trans. W. A. McQueen and K. A. Rockwell (1964)<i>, The Rehearsal
Transpros'd</i>, ed. D. E. B. Smith (1971); P. Legouis, <i>Andrew
Marvell: Poet, Puritan, Patriot</i> (2nd edn, 1968); H. Kelliher, <i>Andrew
Marvell: Poet and Politician</i> (1978); J. B. Leishman, <i>The Art of
Marvell's Poetry</i> (1966).<br />
<br />
<br />
<br />
<div style="text-align: center;">
—oOo—</div>
<br />
<br />
<span style="font-weight: bold;"><br />
<br />
</span>
<br />
<div style="text-align: right;">
<span style="font-style: italic;">From
A History of English Literature,</span> by Émile Legouis and Louis
Cazamian (1926-1937)<span style="font-weight: bold;"><span style="font-weight: bold;"></span></span><br />
<span style="font-weight: bold;"><span style="font-weight: bold;"></span></span></div>
<span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span><span style="font-weight: bold;"><span style="font-style: italic;"></span></span></span><span style="font-style: italic;">The End of the Renascence, 1625-1660 — 6.
Puritan poetry. Marvell.</span><span style="font-weight: bold;"><br />
</span><br />
<span style="font-style: italic;"><br /></span>
<big><big>The Puritans also had their songsters, who, while they were
less numerous than those of the other party, included one of the most
endearing and another, much the greatest of the poets of the
century—Marvell and Milton.<br />
<br />
It is impossible not to place among the Puritans Andrew Marvell
(1621-78) (1), who, under the Commonwealth was tutor to the daughter of
Lord Fairfax, the great Parliamentary general, and who subsequently was
Milton's friend and with him secretary to the Privy Council. He was the
most inspired and affectionate of Cromwell's panegyrists, and after the
Restoration he carried on in verse and prose the struggle for religious
and political liberty. Yet it must be recognized that no one could be
less like than Marvell to the conventional harsh and gloomy Puritan,
the enemy of all worldly and artistic amusement, for ever mouthing
verses of the Old Testament in order to denounce the sins of the world.<br />
<br />
This figure is dispelled as we look at <a href="http://www.vads.ac.uk/large.php?uid=87113">Hanneman's portrait</a>
of Marvell, a man thirty-seven years old, with brilliant, living eyes,
a laughing, mocking mouth and a calm brow, or as we read the verses
which the poet wrote in his thirtieth year, alight, as they are, with
human love and feeling for nature. Even in the poems of his maturity
and in his pamphleteer's prose the gaiety is apparent of a jovial and
mirth-loving spirit. On the whole, religion has far less place in
Marvell's verses than in those of the Anglicans we have just
considered. While he wrote many verses which witness to the sincerity
of his faith, he made both more numerous and finer poems filled with
the joyous humanism and the cordial, vital quality which prove him a
son of the Renascence. Undoubtedly he revered the Bible; but he also
loved wine, women, and song.<br />
<br />
He wrote his essentially poetic works at Nunappleton, Lord Fairfax's
country-seat, where he lived from 1650 to 1652. He is inspired by the
country, but not, like earlier poets, by the country seen in accordance
with the pastoral convention. The desire for a more precise, for a
local poetry, was already making itself felt, and one of the first
poems which fulfilled it was John Denham's <span style="font-style: italic;">Cooper's Hill.</span> But while a
landscape was to Denham no more than the starting-point for historical
and moral reflections, Marvell indulged far more fully in the happy
contemplation of natural scenery. Before him only Wither had expressed,
amid much rubbish, the intimate enjoyment he drew from fields and
woods. Marvell spontaneously returned to this theme which was to be so
dear to the Lake poets. He is very Wordsworthian in <span style="font-style: italic;">Upon the Hill and Grove at Billborough,</span>
in which he describes a sort of natural terrace whither Fairfax, after
his retirement, was wont to resort in search o quiet and of a
meditative mood.<br />
<br />
Marvell relates his own feelings in the longest of his poems, <span style="font-style: italic;">Upon Appleton House,</span> in which he
shows that he is familiar with the aspects of the country and its trees
and birds, and that he had studied and compared the songs of birds. He
anticipates Wordsworth in preferring the song of the dove to that of
the nightingale. As he walks, he can <br />
<br />
</big></big>
<br />
<div style="margin-left: 40px;">
<big><big><small>... through the hazels
thick espy</small></big></big><br />
<big><big><small>The hatching throstle's shining eye,</small></big></big></div>
<big><big><br />
and watch the woodpecker at work. He almost identifies himself with the
birds and growing things:<br />
<br />
</big></big>
<br />
<div style="margin-left: 40px;">
<big><big><small>Thus I, easy
philosopher,</small></big></big><br />
<big><big><small>Among the birds and trees confer;</small></big></big><br />
<big><big><small>And little now to make me wants</small></big></big><br />
<big><big><small>Or of the fowls, or of the plants.</small></big></big></div>
<big><big><br />
He has dialogues with the singing birds. The leaves trembling in the
wind are to him Sibyl's leaves:<br />
<br />
</big></big>
<br />
<div style="margin-left: 40px;">
<big><big><small>What Rome, Greece,
Palestine, ere said,</small></big></big><br />
<big><big><small>I in this light mosaic read.</small></big></big><br />
<big><big><small>Thrice happy he who, not mistook, </small></big></big><br />
<big><big><small>Hath read in Nature's mystic book.</small></big></big></div>
<big><big><br />
To be covered with leaves is a delight to him:<br />
<br />
</big></big>
<br />
<div style="margin-left: 40px;">
<big><big><small>Under this antic cope
I move,</small></big></big><br />
<big><big><small>Like some great prelate of the grove.</small></big></big></div>
<big><big><br />
He calls upon the leafy shoots to cling to him:<br />
<small><br />
</small></big></big>
<br />
<div style="margin-left: 40px;">
<big><big><small>Bind me, ye woodbines,
in your twines,</small></big></big><br />
<big><big><small>Curl me about, ye gadding vines.</small></big></big></div>
<big><big><br />
This is the exalted love for nature of a romantic, but a hint of
strangeness and of Elizabethan pedantry are mingled with it. <br />
<br />
Marvell's feeling for animals, his suffering when they suffer, is
voiced with infinite gracefulness in his semi-mythological poem, <span style="font-style: italic;">The Nymph complaining for the Death of
her Fawn.</span><br />
<br />
He was the first to sing the beauty and glory of gardens and orchards.
In them he tastes his dearest delights: it seems to him that all
creation is <br />
<br />
</big></big>
<br />
<div style="margin-left: 40px;">
<big><big><small>Annihilating all
that's made</small></big></big><br />
<big><big><small>To a green thought in a green shade.</small></big></big></div>
<big><big><br />
Marvell's <span style="font-style: italic;">Garden</span> foreshadows
Keats by its sensuousness, and Wordsworth by its optimistic and
serenely meditative mood. <br />
<br />
Yet he preferred wild to cultivated nature. It is in the spirit of
charming Perdita in <span style="font-style: italic;">The Winter's Tale</span>
that, in <span style="font-style: italic;">The Mower against Gardens,</span>
he protests against artificial gardening processes—grafting, budding,
and selection.<br />
<br />
The feeling for nature which, in the poems we have mentioned, is
expressed in its pure state, is readily introduced into poems which are
otherwise inspired, by Christianity or by love, nowhere better than in
the famous song of the emigrants in Bermuda. Here Marvell imagines that
he hears a Puritan refugee from the Stuart tyranny singing praises to
God as he rows along the coast of an island in the Bermudas, 'safe from
the storms' and prelates' rage':<br />
<br />
</big></big>
<br />
<div style="margin-left: 40px;">
<big>He hangs in shades the orange
bright</big><small><br />
</small><big>Like golden lamps in a green night,</big><small><br />
</small><big>And does in the pomegranates close</big><small><br />
</small><big>Jewels more rich than Ormus shows.</big></div>
<big><big><br />
Sometimes Marvell returns to the pastoral, but he gives it a new
emphasis of truth, even of realism. The short idyll <span style="font-style: italic;">Ametas and Thestylis making Hay-ropes</span>
is very original and gracerul, and there is also the touching complaint
of <span style="font-style: italic;">Damon the Mower,</span> who,
working beneath a burning sun, laments his Juliana's hardness of heart.<br />
<br />
<a href="http://www.flickr.com/photos/garciala/9290998535/" title="Luces en hojas by JoseAngelGarciaLanda, on Flickr"><img align="right" alt="Luces en hojas" hspace="20" src="https://farm4.staticflickr.com/3680/9290998535_282ef98e9b.jpg" style="border: 1px solid; height: 500px; width: 375px;" vspace="20" /></a>Love
poems are not numerous in Marvell's work, but among several which
are graceful (<span style="font-style: italic;">The Gallery</span>) or
slightly ironical—denouncing women's tricks, artifices, and coquetry (<span style="font-style: italic;">Mourning, Daphnis and Chloe</span>)—a few
hold us by their passion. His lines <span style="font-style: italic;">To
his Coy Mistress</span> have Donne's strength and passion without his
obscurity or bad taste, and run easily and harmoniously. They are the
masterpiece of metaphysical poetry in this <span style="font-style: italic;">genre,</span> and they also show a return
to the anacreontic theme, 'Gather ye rosebuds while ye may.' But it is
repeated with a new intensity. It issues from a heart truly deep and
passionate, and the love which is demanded is silent and forceful:<br />
<br />
</big></big>
<br />
<div style="margin-left: 40px;">
<big>Now let us sport us while we may,</big><small><br />
</small><big>And now, like am'rous birds of prey,</big><small><br />
</small><big>Rather at once our time devour,</big><small><br />
</small><big>Than languish in his slow-chapt pow'r.</big><small><br />
</small><big>Let us roll all our strength and all</big><small><br />
</small><big>Our sweetness up into one ball,</big><small><br />
</small><big>And tear our pleasures with rough strife</big><small><br />
</small><big>Thorough the iron gates of life.</big><small><br />
</small><big>Thus, though we cannot make our sun</big><small><br />
</small><big>Stand still, yet we will make him run.</big></div>
<big><big><br />
These lines are the very essence of the poetry of Marvell, that
strange, sensuous, passionate Puritan. He had, however, another vein.
He was an ardent patriot and patriotism rather than piety may be said
to have dictated his verses on Cromwell's protectorate and death. It is
the dominant note of his <span style="font-style: italic;">Horatian
Ode upon Cromwell's Return from Ireland</span> [1650], <span style="font-style: italic;">First Anniversary of the Government under
His Highness the Lord Protector</span> (1655), and <span style="font-style: italic;">Poem upon the Death of His late Highness
the Lord Protector.</span>
A sort of competition of poets, in which such as Waller and Dryden took
part, was provoked by the great man's death, and Marvell carried off
its prize because in his verses the man speaks through the poet. They
are penetrated with emotion. Better than the others, Marvell gives the
impression of the greatness of him he sang and the immensity of the
loss his death occasioned. <br />
<br />
After the Restoration Marvell pursued only the art of satire, in prose
and verse, and this phrase of his accomplishment is better studied
elsewhere. We have said enough to show how far he was original as a
pure poet. Nature endowed him richly: his sincerity and straightness of
vision sufficed to raise the metaphysical school, to which he belonged,
from its state of decline, and to bring it back from extravagance to
reason without alienating fancy. In the history of the feeling for
nature his place is considerable. He expressed himself with liveliness
and happy audacity. But he paid too little regard to versification. His
lyrical work is written almost entirely in rhymed eight-syllabled
couplets, a pleasant metre, but one so easy that it tempts to
carelessness. In the formation of his stanzas, Marvell shows himself
one of the least varied and inventive poets of his time. To rank among
the greatest, he should have had a more exacting standard of art, and
perhaps a more whole-hearted devotion to poetry, as well as those
supreme qualities of mastery of the word and the line which are the
glory of the other Puritan poet, John Milton.<br />
</big></big><br />
<big><big></big></big><br />
<big><big><br />
<small><span style="font-style: italic;"> </span></small></big></big><br />
<br />
<big><big><small><span style="font-style: italic;">Satire and the Satiric Spirit
— 3. Political Satire: Marvell, Oldham.</span>—</small><br />
<br />
Under the Restoration the domain of political satire is vast and
crowded, and only the scholar can explore all its corners. Great names,
brilliant or powerful works stand out above a multitude of pamphlets
and invectives, which in the most varied forms express one and the same
fund of virulent enmity; where intense words fail to give any artistic
relief to the monotony of these outporings of hatred.<br />
<br />
It is the art of the satirist which alone counts here. The
contemporaries, struck by the wealth of this production, have gathered
from it the collections entitled <span style="font-style: italic;">Poems
on Affairs of State,</span>
in which satires are intermixed with pieces of different characters,
and of unequal interest. Among their very diverse themes, there are
heard the outburst of a vigorous impassioned inspiration, that of a
seething anger against the absolutist and Catholic tendencies of the
Stuarts. All the genius of a Dryden, thrown on the side of the
monarchy, cannot prevent the confused instinct of an irritated people
from voicing itself in even louder tones; and another writer—Andrew
Marvell—from lending a poetical expression to this instinct.<br />
<br />
Marvell belongs to the preceding age of English literature. (1 bis <i>[see
above]</i>). A belated survivor like Milton, he preserves in the midst of
the children of Belial the forceful energy of a character that has been
tempered by Puritanism. His satires, by virtue of the definite
occasion which called them into existence, are part and parcel of the
Restoration and must be connected with it.<br />
<br />
This occasion brings together three poets of the transition in which
the new literature develops from the old. Waller (2), a courtier poet
at heart, had celebrated an English naval victory, and attributed its
triumph to the reigning dynasty </big></big><big><big>(<span style="font-style: italic;">Instructions to a Painter,</span></big></big><big><big>
1665); Sir John Denham (3) had inveighed against this adulation in
lines of greater manliness (<span style="font-style: italic;">Directions
to a Painter,</span>
1667, 1671, 1674). Sparing at first the king's person—for he knows how
to bend the stiffness of his principles, and is not above tactics of
caution—then abandoning all reserve, he [Marvell] launches until his
death (1678) a series of attacks against the foreign policy of the
king, and the scandals of public life of the court. Unable to disclose
his identity, he has to circulate these pamphlets anonymously, either
in manuscript form or in loose sheets, and to hide his main purpose
under the veil of allegories. But the personality of the author reveals
itself in most cases, and the pulsating ardour of his feeling shines
out through all disguises ([<span style="font-style: italic;">The Last
Instructions to a Painter</span>], <span style="font-style: italic;">Britannia
and Raleigh, Dialogue between Two Horses,</span>
etc.). In a language of extraordinary raciness, and a popular tone,
with a raw realistic touch, the rage and shame of an England that has
been humiliated, enslaved, and contaminated by foreign vices and
fashions are here expressed. Such feelings were still exceptional, but
their contagious influence was spreading obscurely. As if the new
spirit in poetry supplied him with his instrument of expression,
Marvell writes most often in heroic couplets; but his unpolished verse,
capable of surprising vigour, has not the necessary suppleness or
regularity and rather reminds one at times of the simple ballad
rhythms. The irresistible virtue of a lofty soul, of a heart
embittered but obsessed by noble regrets and high thoughts,
nevertheless imbues these strange poems with an energy of movement and
phrase, with an eloquence, that make them one of the most eminent
examples of English political satire.<br />
<br />
<br />________<br />
<br />
<br /><span style="font-size: small;">
(1). <span style="font-style: italic;">Complete Works in Prose and
Verse,</span> ed. Grosart, 4 vols. (1872-5); <span style="font-style: italic;">Poems and Satires, </span>ed. Aitken in 2
vols. (1892) and in 1 vol. for the Muses' Library (1898). See A.
Birrell, <span style="font-style: italic;">Andrew Marvell </span>(English
Men of Letters Series, 1905). <br />
<br />
(1 bis). <span style="font-style: italic;">(...) Poems and Letters,</span>
ed. by H. M. Margoliouth, 1927; P. Legouis, <span style="font-style: italic;">André Marvell, etc.,</span> 1928. There
would seem to be serious doubt as to the authenticity of several among
the satires attributed to Marvell.<br />
<br />
(2). Edmund Waller (1606-87): <span style="font-style: italic;">Poems,</span>
ed. by Drury, 1893. See Part I.<br />
<br />
(3). Sir John Denham (1615-69): <span style="font-style: italic;">Poems,</span>
Chalmers, vol. vii. See Part I.</span><br />
</big></big><br />
<br />
<div style="text-align: right;">
<br /></div>
<div style="text-align: right;">
<a href="http://garciala.blogia.com/2006/031503-reflections.php">Reflections
(On a Drop of Dew)</a></div>
JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-7057955336439525162021-10-14T20:52:00.002+02:002021-10-14T20:52:29.041+02:00Carew, Suckling, Lovelace (David Daiches)<span style="font-weight: bold;"></span>
From <span style="font-style: italic;">A Critical History of English Literature, </span>by David Daiches.<br />
<br />
<br />
<span style="font-size: large;">Thomas Carew (1594/5-1640) both praised Ben Jonson for his successful spoliation of the ancient classics—</span><br />
<span style="font-size: large;"><br /></span>
<br />
<div style="margin-left: 40px;">
<span style="font-size: large;">Nor think it theft, if the rich spoils so torn</span><br />
<span style="font-size: large;">From conquered authors, be as trophies worn—</span></div><div style="margin-left: 40px;"><span style="font-size: large;"> </span><br />
</div>
<span style="font-size: large;">and paid tribute to Donne as the poet who "ruled as he thought fit / The universal monarchy of wit": </span><br />
<span style="font-size: large;"><br /></span>
<br />
<div style="margin-left: 40px;">
<span style="font-size: large;">The Muses' garden with pedantic weeds</span><br />
<span style="font-size: large;">O'er spread, was purg'd by thee, the lazy seeds</span><br />
<span style="font-size: large;">Of servile imitation thrown away,</span><br />
<span style="font-size: large;">And fresh invention planted.</span></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">In combining the classical influence of Jonson with the metaphysical
influence of Donne, Carew produced a mixture especially suited to the
atmosphere of the court of Charles I. As Sir Herbert Grierson expressed
it, "in Carew's poems and Vandyke's pictures the artistic taste of
Charles's court is vividly reflected, a dignified voluptuousness, an
exquisite elegance, if in some of the higher qualities of man and
artist Carew is as inferior to Wyatt and Spenser as Vandyke is to
Holbein." This is true Cavalier poetry, polished, gay, and witty.
Without the formal precision of Jonson, the adroit Roman paganizing of
Herrick, or the gentlemanly ease of his younger contemporary, Sir John
Suckling, Carew has his own kind of urbanity. The gallantry of his love
poems does not always conceal a cynicism at the core, but the control,
the restrained touch of stylization in all his best work shows a sense
of style in living that truly reflects the Cavalier spirit of the time
and is not unattractive. Occasionally, as in the well-known song, "Ask
me no more where Jove bestows", he combines Jonson's lapidary elegance
with a stately singing note as well as a touch of metaphysical
ingenuity, and the combination is perfectly achieved. Sometimes he
echoes Donne in the frank psychological curiosity with which he
explores an emotional or a sensual situation (as in "To a Lady that
desired I would love her" and, in a different way, "A Rapture"), but he
has a tendency to laugh off the implications of his conceits with an
elegant shrug, lacking Donne's ability to carry through to the end
fusion of passion and wit. It is "wit" in Carew, too—almost in the
modern sense—rather than thought. There are many echoes of Donne in his
poems, but the exhibitionist quality in his conceits often derives as
much from Marino as from Donne. Carew's songs were meant to be sung,
and lose something when merely read. His longer poems often run into
mere showiness. But he had an artistic conscience; even his showiness
is carefully modulated, and he always knew what he was doing. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Another heir to both Jonson and Donne is Sir John Suckling (1609-42),
though both streams are shallower now. Lively, gay, very much the
worldly courtier, Suckling looks to the cynical strain in Donne's early
love poems and to the lighter of Jonson's lyrics. His poem, "Oh, for
some honest lover's ghost" is an altogether more superficial
performance than Donne's "I long to talk with some old lover's ghost."
His "Hast thou seen the down i' the air" is a flippant parody (turned
to satire) of Jonson's exquisite song of compliment, "Have you seen but
the white lily grow." He is at his best where he combines a colloquial
ease with a neatly patterned song-stanza, as in the well-known "Why so
pale and wan, fond lover?" or "I prithee send me back my heart" or
"Out upon it I have loved / Three whole days together." "A Session of
the Poets" is a lively trotting poem in thirty four-line stanzas with a
deliberately crude accentual meter, describing himself and his
fellow-poets competing for the laurel, only to see it given in the end
by Apollo to an alderman on the grounds that "it was the best sign / Of
good store of wit to have good store of coin." The poem is interesting
in giving Suckling's views of his contemporaries. Carew's "muse was
hard-bound, and th' issue of 's brain." Suckling describes himself as
an amateur who "loved not the muses so well as his sport." The
description is accurate enough: Suckling's poetry shows the Cavalier at
play.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The true Cavalier poet is, however, Richard Lovelace (1618-58), whose
gallantry has in it a truer strain of chivalry than Suckling's, a strain
that links him with Sidney and Sir Walter Ralegh and the older
tradition of Renaissance courtesy. The royalist ideal was indeed
grounded in that older tradition, as we can see in Lovelace and, most
clearly, in the few but noble lyrical utterances of the Scottish
royalist, James Graham, marquis of Montrose. Lovelace's "To Althea from
Prison" uses imagery that is as much Petrarchan as metaphysical, but
the poem brings a new kind of idealism into the English lyric of the
period. The same can be said of "To Lucasta, Going to the Wars," which
has the lapidary quality of Jonson at his best as well as a simple
gravity of tone that we cannot find in Suckling. More metaphysical in
imagery, if classical in inspiration, is the interesting poem, "The
Grasshopper" where a description of the heedless grasshopper is
adroitly turned into a celebration of friendship. There is something of
the strength of Wyatt in Lovelace at his best, as well as echoes of the
Sidneian and Spenserian association of ideal love and beauty with honor
and the good life. The seventeenth-century royalist ideal was perhaps
anachronistic, and a somewhat faded neo-Platonism often lay behind it;
but Lovelace at least gave it effective expression.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Of the minor Cavalier poets, mention may be made of Sidney Godolphin
(1610-43), the majority of whose poems remained in manuscript until
the twentieth century. He, too, has the graver note which we sometimes
find in Lovelace (in Suckling's "Sessions of the Poets" Apollo advises
Godolphin "not to write so strong"), together with a restrained
metaphysical touch which adds just the right note of subtlety to the
quiet clarity of his style. The influence of Donne and Jonson combine
here most happily.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Richard Corbet, bishop of Oxford and Norwich (1582-1635), is a minor
lyrist of the period whose character and poems reflect a robust joy of
life which was to become one element in Cavalier opposition to the
Puritans. His one famous poem, "A Proper new ballad, intituled The
Fairies' Farewell, or God a Mercy Will," gives lively expression to the
sense that the Puritan spirit had killed the happy superstitions of Old
England:</span><br />
<span style="font-size: large;"><br /></span>
<br />
<div style="margin-left: 40px;">
<span style="font-size: large;">Farewell, rewards and fairies,</span><br />
<span style="font-size: large;"> Good housewives now may say,</span><br />
<span style="font-size: large;">For now foul sluts in dairies</span><br />
<span style="font-size: large;"> Do fare as well as they.</span><br />
<span style="font-size: large;">And though they sweep the hearths no less</span><br />
<span style="font-size: large;"> Than maids were wont to do,</span><br />
<span style="font-size: large;">Yet who of late for cleanliness</span><br />
<span style="font-size: large;"> Finds sixpence in her shoe?</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Lament, lament, old abbeys,</span><br />
<span style="font-size: large;"> The fairies lost command;</span><br />
<span style="font-size: large;">They did but change priests' babies,</span><br />
<span style="font-size: large;"> But some have changed your land,</span><br />
<span style="font-size: large;">And all your children sprung from thence</span><br />
<span style="font-size: large;"> Are now grown Puritans;</span><br />
<span style="font-size: large;">Who live as changelings ever since,</span><br />
<span style="font-size: large;"> For love of your demains.</span></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">"There never was a merry world since the fairies left dancing and the
parson left conjuring," said John Selden in the middle of the century,
and this remark, together with Corbet's poem, shows that there was much
more than political or theological opinions involved in the Civil War
and also helps to explain why the large majority of those interested in
the arts and letters (Milton was the great exception) were on the
royalist side.</span><br />
<span style="font-size: large;"><br /></span>
<br />JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-90440520811807860632021-10-13T11:03:00.005+02:002021-11-02T05:38:17.543+01:00Jonson in Coote<p><span style="font-size: large;"></span></p><blockquote><blockquote><span style="font-size: large;"><span style="font-size: medium;">On Ben Jonson. From <i>The Penguin Short History of English Literature,</i> by Stephen Coote (1993).</span></span></blockquote></blockquote><p></p><p style="text-align: right;"><span style="font-size: large;"> ("Shakespeare and the Drama: 1500-1642", 12):</span></p><p style="text-align: left;"><span style="font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-size: large;">...</span></p><p style="text-align: left;"><span style="font-size: large;">Shakespeare's work is never (...) openly autobiographical. Indeed, on the level of personality, England's greatest poet remains her most enigmatic. In studying the works we come no nearer to the man. Rather, Shakespeare is so wholly absorbed in his art—in the imaginative exploration of mankind through the dramatist's resources of language, action, and role-play—that what we do come to appreciate is the inexhaustible richness of human invention itself. In the noble words of Ben Jonson: 'He was not of an age, but for all time'.</span></p><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: center;"><span style="font-size: large;">12</span></p><p style="text-align: left;"><span style="font-size: large;">The tribute paid to Shakespeare by Jonson (1572-1637) was the more generous for the rivalry he felt towards the greater man, but if Jonson awarded Shakespeare the honours of posterity, he gained for himself some of those offered by his age. He was effectively Poet Laureate (pensioned, but not titled) and, though his later years were spent in poverty, the nobility of England attended his funeral in recognition of his genius. </span></p><p style="text-align: left;"><span style="font-size: large;">Jonson—convivial, critical, the pundit of his age—remains a fine writer of lyric, a great satirist and a major figure in that classical and humanist tradition of literature which stretches from Sidney, through Milton and Dryden, to the other Johnson and Gray. That this tradition of humane, decorous, yet profoundly experienced poetry was also the standard by which to satirize his times is given dramatic form in Jonson's <i>Poetaster</i> (1601) where the serene values of Virgil and Horace are juxtaposed to seventeenth-century pretenders to art. </span></p><p style="text-align: left;"><span style="font-size: large;">Jonson's two surviving tragedies derive from Roman history. The first is by far the greater, though neither was a popular success. <i>Sejanus</i> (1603) presents the emperor Tiberius's bestial reign of terror in a Rome where, amid parasites and fearful hypocrites—people swollen to distortion with their desire for power—liberty, language and human worth are crushed in the self-destructive intricacy of machination. In <i>Catiline</i> (1611), Jonson shows the working of conspiracy with an even darker and self-conscious scholarship, but the play cannot be counted a dramatic success, and it is in his comedies of city life that we find Jonson's most telling portrayal of human folly. These works were profoundly influenced by classical theory. They also relate to a rich and varied native tradition which they effortlessly transcend. To this last we should briefly turn. </span></p><p style="text-align: left;"><span style="font-size: large;">The rapid expansion of population and mercantile activity in London was a leading phenomenon of the age, and theatres like the Fortune produced plays designed to please the merchant classes. The immensely prolific Thomas Heywood (?1575-<i>c.</i> 1641), for example, wrote <i>The Four Prentices of London</i> (<i>c.</i> 1592-1600) in which the heroes are noble yet 'of city trades they have no scorn'. In the second part of <i>If You Know Not Me You Know Nobody</i> (1605), praise of the great merchant Sir Thomas Gresham combines with intense patriotism. Domestic virtue and moral edification are again central to <i>Old Fortunatus</i> (1599) by Thomas Dekker (?1572-1632) while in the same year Dekker produced <i>The Shoemaker's Holiday</i> in which imaginative comic prose, romance and touching marital fidelity are allied to the eternally comfortable story of an apprentice's rise to the position of Lord Major. </span></p><p style="text-align: left;"><span style="font-size: large;">Dekker's seemingly unlikely collaboration with the tragedian Webster in <i>Westward Ho! </i>(1604) and <i>Northward Ho!</i> (1605) led him beyond the praise of 'a fine life, a velvet life, a careful life'. Others were actively to criticize citizen tastes in drama however, and the most lasting exposure of the works produced for this market is <i>The Knight of the Burning Pestle</i> (1607) by Francis Beaumont (1584-1616). This piece is both a kind-hearted burlesque and a clever exercise on the idea of the play within the play. Contrasts between chivalry, modern aristocratic values and merchant ideals here centre around the sympathetic figure of Rafe, the apprentice and comic knight errant.</span></p><p style="text-align: left;"><span style="font-size: large;">A more bitterly satirical humour is to be found in the comedies of George Chapman (<i>c.</i> 1560-1634) and John Marston (1576-1634). Cynicism is a marked tone in Chapman's work in the form, while Marston's comedies are the work of a verse satirist and reveal the aggressive and twisted syntax characteristic of that genre. Jonson himself came into collision with Marston and Dekker in the so-called 'war of the theatres'. He had already completed Nashe's <i>The Isle of Dogs</i> (1597) and been imprisoned for sedition as a result. Shortly after finishing the first version of <i>Every Man in His Humour</i> (1598, revised by 1616) he duelled with a fellow actor, killed him, and only escaped the gallows through a legal technicality. In <i>Every Man Out of His Humour</i> (1599)—a drama of plays within plays which discusses the problems of play writing and then satirizes the nature of satire—Jonson lightly critized Marlowe in the figure of Clove. Marston himself had recently essayed an unfortunate eulogy of Jonson in his revision of the anti-theatrical diatribe <i>Histriomastix</i> (<i>c.</i> 1599), a portrait which is in fact nearer to parody.</span></p><p style="text-align: left;"><span style="font-size: large;">Marston retaliated to the figure of Clove with an open caricature of Jonson in <i>Jack Drum's Entertainment</i> (<i>c.</i> 1600). He received his rebuff in <i>Cynthia's Revels</i> (1600), a boys' company play satirizing the follies of the court. The work is reminiscent of Lyly, and contains the exquisite lyric 'Queen and huntress, chaste and fair.' Jonson's <i>Poetaster,</i> written for Paul's Boys, presents caricatures of Marston and Dekker among the pretenders to art in Augustan Rome and triumphed completely over Marston's <i>What You Will</i> (<i>c.</i> 1601). Dekker was now recruited on Marston's side with his <i>Satiromastix</i> (1601), but Jonson himself tried to rise above the fray with <i>Sejanus</i>. Then<i>—</i>such is the abiding nature of the literary world—he collaborated with Marston and Chapman in <i>Eastward Ho</i> (1605), voluntarily joining his co-authors in prison when the play was considered seditious. However, in the following year, the King's Men gave a triumphantly successful performance of Jonson's <i>Volpone,</i> one of the great comic masterpieces of the English stage. </span></p><p style="text-align: left;"><span style="font-size: large;">All Jonson's immense energies are focused in <i>Volpone</i> where he deals with one of his most characteristic themes: the corruption wrought by greed on those obsessive and fantastic creatures who dupe each onther on the lunatic finges of an enterprise culture. 'This', Jonson wrote, 'is the money-get mechanic age', and Volpone's cunning scheme for getting money makes gold itself the object of a parody religion.</span></p><p style="text-align: left;"><span style="font-size: large;">As a rich man without heirs, Volpone adds to his wealth through the brives offered the apparently dying man by those hoping for an advantageous mention in his will. To secure this, people will disinherit their children, pervert the law and prostitute their wives. Volpone's bedroom becomes the centre of inverted human values where money is gained without real work, innocence is all but corrupted by glittering lust, and men are reduced to the foxes, flies, vultures, ravens and crows which give them their names.</span></p><p style="text-align: left;"><span style="font-size: large;">To draw his heroic caricature of materialism, Jonson turned to a wide range of sources, his classical training especially. There was nothing frigid or pedantic about this. He confined his play largely within the unities of time (twenty-four hours), place (Venice) and action (the refusal to admit material distracting from the main narrative), not because Renaissance scholars loved Aristotle had promulgated such rules as laws. He did it because these devices help concentrate the dramatic excitement. Again, Jonson did not reduce his characters to types because Terence and Plautus had done so, but because an overmastering obsession or 'humour' caricatures itself, as the anonymous writers of medieval Morality plays had been aware. If older forms helped give a framework, the foundation of <i>Volpone</i> is passionate observation.</span></p><p style="text-align: left;"><span style="font-size: large;">As a result, Volpone himself throbs with something of his creator's vitality. He relishes his own play-acting, his frequent disguises and performances which eventually lead to his undoing and that of his parasite Mosca. As a result, the effect of the play is far from simple. The energy of corruption is infectious, and if we are pleased that the villain is exposed by means of his own designs, then the worthlessness of the Venetian authorities who clap him in irons gives justice itself as ironic final twist. <br /></span></p><p style="text-align: left;"><span style="font-size: large;"><i>Epicœne, or The Silent Woman</i> (1609) is again concerned with man as a social (or antisocial) animal. Morose tries to shelter himself from the world's din, declaring 'All discourses, but mine own, afflict me; they seem harsh, impertinent and irksome.' The world appears to justify his misanthropy. Morose tries to disinherit his nephew by marrying an apparently silent bride. She turns out, however, to be first a scold and then a boy in disguise. The comedy ends in separation rather than marriage, while its sexual ambiguities may be a taunt at the Puritans' objection to the portrayal of female roles in the theatre by boys. </span></p><p style="text-align: left;"><span style="font-size: large;"><i>The Alchemist</i> (1610) again concerns itself with distorting dreams of gold. It is constructed in brilliant conformity to the unities and, in its earthy and imaginative richness of contemporary dialogue and folly, embodies Jonson's ideal of a comedy which employs</span></p><p style="text-align: left;"><span style="font-size: large;"></span></p><blockquote><p style="text-align: left;"><span style="font-size: medium;"> deeds, and language, such as men do use,</span></p><p style="text-align: left;"><span style="font-size: medium;">And persons, such as Comedy would choose</span></p><p style="text-align: left;"><span style="font-size: medium;">When she would show an image of the times,</span></p><p style="text-align: left;"><span style="font-size: medium;">And sport with human follies, not with crimes.</span></p></blockquote><p style="text-align: left;"><span style="font-size: large;"></span></p><p style="text-align: left;"><span style="font-size: large;">The particular follyhere is the lure of easy money: Sir Epicure Mammon's dream that through the philosopher's stone he can 'turn the age to gold'. Interestingly, it is not alchemy itself that is satirized but the attitude which sees science (which alchemy was still widely held to be) as a fulfilment of fantasy. Face, Subtle and his consort Doll Common—rogues who have employed Lovewit's house for their purpose—are adepts in manipulating vain desires in a variety of characters: Epicure Mammon himself, Abel Drugger the tobacconist, Kastril the roistering boy and the comic puritans Ananias and Tribulation Wholesome. The real transformations in <i>The Alchemist </i>are thus not of base metal into gold but of human folly into absurdity. When the off-stage laboratory finally blows up, fantasy explodes with it. The return of Lovewit brilliantly resolves the action but hardly restores official law and order.</span></p><p style="text-align: left;"><span style="font-size: large;">A Puritan is again humiliated in Jonson' prose comedy <i>Bartholomew Fair</i> (1614). Zeal-of-the-Land Busy, a hypocritical creature of appetite, ends up in the stocks. The dramatic re-creation of a real fair allowed Jonson to celebrate de all-licensed, topsy-turvy world of <i>mardi gras</i> with great diversity of action and a matching richness of dialogue. The simple-minded Cokes is robbed, while Justice Adam Overdo, out to spy on 'enormities', also winds up in the stocks. Nonetheless, when he ends the play by inviting all to dine with him, the foolish Cokes insists they be accompanied by the puppet show which has already offered one of the best episodes in the play. The fari itself—its vitality memorably embodied in Ursula, the Pig-woman—is Jonson's image of raucuous humanity, variously hypocritical, simple, vengeful and forgiving.</span></p><p style="text-align: left;"><span style="font-size: large;">The plays for the commercial theatre Jonson wrote in the later stages of his career — <i>The Devil Is an Ass</i> (1616), <i>The Staple of News</i> (1626), <i>The New Inn</i> (1629) and <i>The Magnetic Lady</i> (1632) — were harshly if not wholly inaccurately described by Dryden as his 'dotages.' A fascinating and very different aspect of Jonson's dramatic art however is revealed in the series of masques he wrote as Twelfth Night entertainments for the court of James I (1605-25). Here we see an élite drama dealing explicitly with contemporary theories of political power.</span></p><p style="text-align: left;"><span style="font-size: large;">Jonson had already designed the lavish and arcane symbolism of the Scottish king's triumphal entry to his new capital, and the masques extend his exploration of James's notion of the divine right of kings: the belief that James was accountable to God alone, that his position partook of divinity and that he was endowed with supernatural wisdom. In <i>The Golden Age Restor'd</i> (1615), we see how classical larning, music, poetry, dance and the lavish sets of Inigo Jones (1573-1652) present James as Jove, the benevolent guide of the nation's fate. Whn the Iron Age is routed in a conventional anti-masque, Astraea or Justice heralds the return of the Golden Age. Through the Neoplatonic philosophy that underpins the Jonsonian masque, the dancing courtiers come to symbolize the completeness, harmony and peace attained by the dramatic enactment of the divine king's decrees.</span></p><p style="text-align: left;"><span style="font-size: large;">The Jonsonian masque was an élite celebration of a political and cultural ideal. For many, however, these sumptuous illusions disguised a more troubled reality. Though the court encouraged the highest cultural sophistication, its moral tone was low and corruption and factionalism were rife. James's assertion of divine right gave a dangerous edge to the royal prerogative, while his reckless expenditure led to increading debt in a period of economic uncertainty and bad harvests. Further, while the king (an enthusiastic amateur theologian) failed to satisfy moderate Puritan demands for church reform, his rash creation of new titles (partly as an attempt to raise money) exacerbated a deep sense of status insecurity in a society where ancient notions of hierarchy were being eroded by the power of money and capital. This uncertainty is reflected in the work of a number of Jacobean comic writers.</span></p><p style="text-align: left;"><span style="font-size: large;">The 'city' comedies of Thomas Middleton (?1580-1627), for example, combine the idiom of London life and its pace with deft plotting and realistic satire. Middleton is consistently ironic about the rabidly acquisitive London of his time. Merchants, usurers, idle aristocrats and an extravagant gentry are all exposed in a world where it is increasingly the cleverest rather than the most virtuous who succeed. In <i>A Trick to Catch the Old One</i> (1605), surface cleverness works alongside deeper moral concerns with something of the force of the <i>exempla</i> in contemporary Puritan sermons. <i>A Mad World, my Masters</i> (1605) represents the marriage of a whore to a dupe, while in <i>A Chaste Maid in Cheapside</i> (1611) sex is traded for money as the appetites and restless folly of city life controls the gulls and cheats who populate it. Philip Massinger (1583-1640) borrowed the plot of <i>A Trick to Catch the Old One</i> in <i>A New Way to Pay Old Debts</i> (1621), turning it to different and Jonsonian purposes in the humiliation of the great comic figure of Sir Giles Overreach, the loan shark. Overreach is the focus of Massinger's violent and deeply conservative satire of a corrupt Jacobean world, a world where titles are sold to the <i>nouveaux riches</i> and, as traditional social ties collapse, so madness looms.<br /></span></p><p style="text-align: right;"><span style="font-size: large;">.... <br /></span></p><p style="text-align: right;"><span style="font-size: large;"> </span></p><p style="text-align: right;"><span style="font-size: large;">("From Donne to Dryden", 2):<br /></span></p><p><span style="font-size: large;">The courtiers addressed by Donne in many of his sermons were also the recipients of verses by Ben Jonson (1572-1637), and it is a measure of Jonson's stature that, in addition to being one of the leading playwrights of the age, he was also its most influential court poet.</span></p><p><span style="font-size: large;">Drawing extensively on the classics and Renaissance theorists, Jonson's non-dramatic poetry elaborates the ideals and criticizes the shortcomings of those involved in his vision of a cultured, socially responsible life of 'manners, arms and arts'. In these works, Jonson thus aspired to a seventeenth-century version of the urbane and moral gentleman of Latin literature: sociable yet self-contained, grave but unpedantic, a man in whom the virtues of the golden mean have been refeined in the fires of art and personal integrity. Jonson thereby presents himself as an arbiter of civil virtue, an English Horace.</span></p><p><span style="font-size: large;">In the prose of his <i>Timber, or Discoveries</i> (1640-41), and often through extensive and unacknowledged paraphrase of Vives and other scholars, Jonson showed how the classical basis of his poetry was rooted in nature, exercise, imitation, study and art. The classical rhetoricians were the masters of his particular practice. Their works were to be used only as guides however, not as commanders. What Jonson was seeking was to relate an awareness of his own time to the timeless values of the past, and to do so in a distinctive idiom. To achieve this, he perfected the rhetoric of the middle voice in which he declared: 'the language is plain, and pleasing; even without stopping, round without swelling; all well tuned, composed, elegant, and accurate'. </span></p><p><span style="font-size: large;">These qualities can be seen in Jonson's Epigrams, 'the ripest of my studies'. In pieces such as 'Inviting a Friend to Supper', the courteous social tone, tinged with fantasy, is modulated through reminiscences of Martial to create the ideal of a shared and civilized enjoyment of good food, good talk and good books. A sense of self-knowledge and self-respect, of constancy tempered by experience, is the subject of 'An Epistle Answering to One that Asked to Be Sealed of the Tribe of Ben', an informal group that numbered some of the finest intellects of the age.</span></p><p><span style="font-size: large;">A shared sense of high values is also clear in Jonson's praise of other literary and artistic men, though this was something that did not always come naturally to him. The torrential release of pent-up irritation in 'An Expostulation with Inigo Jones' vividly suggests Jonson's envy of a rival's success at court and his refusal to believe that this great architect and scene designer's skills ranked with his own poetic arts. Jonson's tribute to William Camden, his master at Westminster, achieves a moving reverence. When Jonson writes of Shakespeare however, in a poem printed in the First Folio, his lines are among the most generous of the age.</span></p><p><span style="font-size: large;">Jonson's epitaphs to his children temper contradictory feelings of grief and Christian acceptance through an art that seems to belie the emotions that sustain it. In Jonson's two odes to himself, his deep feeling for the integrity of that art is asserted against the allegedly gimcrack tastes of his age. In his few religious pieces, such art also expresses a sinner's measured awareness of his own iniquity.</span></p><p><span style="font-size: large;">A contemporary is supposed to have declared that Jonson 'never writes of love, or, if he does, does it not naturally'. This is hard but not wholly unfair. 'My Picture Left in Scotland' has a delicate, honest pathos, and Jonson was capable of both the shrewd cynicism of 'That Women Are but Men's Shadows' as well as the artifice and high compliment 'Drink to me only with thine eyes'. In 'See the chariot at hand here of Love', such artifice creates its own exotic sense of wonder:</span></p><blockquote><p><span style="font-size: large;">Have you seen but a bright lily grow,</span></p><p><span style="font-size: large;"> </span><span style="font-size: large;">Before rude hand hath touch'd it?</span></p><p><span style="font-size: large;">Ha' you mark'd but the fall o'the snow</span></p><p><span style="font-size: large;"> </span><span style="font-size: large;">Before the soil hath smutch'd it?</span></p><p><span style="font-size: large;">Ha' you felt the wool o'the beaver?</span></p><p><span style="font-size: large;"> </span><span style="font-size: large;">Or swan's down ever?</span></p><p><span style="font-size: large;">Or have smelt o'the bud of the brier?</span></p><p><span style="font-size: large;"> </span><span style="font-size: large;">Or the nard in the fire?</span></p><p><span style="font-size: large;">Or have tasted the bag of the bee?</span></p><p><span style="font-size: large;">O so white! O so soft! O so sweet is she!</span></p><p><span style="font-size: large;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> <span style="font-size: medium;"> </span></span><span style="font-size: medium;"> </span><span style="font-size: medium;">(nard: <i>ambergris</i>)</span></span></p></blockquote><p><span style="font-size: large;">It is as the poet of the civilized aristocratic community however that Jonson is at his best, the mutual and by no means automatic respect of patron and poet serving to create a Roman ideal of behaviour, an aristocracy of mind as much as birth. Consequently, Jonson was a fine writer of eulogies. These, as in the excellent 'To Sir Robert Wroth', are often tempered by a moral concern for the corruptions of the city and court, a feeling for the virtues of country existence and a piety in which the classical ideal of the good life blends easily with a restrained Christian faith. Bravery, patriotism and friendship—the aristocratic life of action—are celebrated in the Pindaric ode to Cary and Morrison, but it is a tribute to the breadth of Jonson's classicism that he could also celebrate the scatological and mock-heroic exuberance of 'On the Famous Voyage'. </span></p><p><span style="font-size: large;">Such poems to the aristocracy suggest the great importance of patronage to the creative life of the age. When Jonson wrote in praise of his patroness the Countess of Bedford, for example, a new image of woman emerged, one that was aristocratic, liberal and educated, and allowed her to move on an equal and graceful footing with men. In 'A Farewell for a Gentlewoman', this is tempered by a stoic, Christian rejection of worldliness. In one of Jonson's finest achievements, the 'Elegy on Lady Jane Paulet', such faith creates a genuine sense of exultation.</span></p><p><span style="font-size: large;">It is in 'To Penshurst' however that such concerns combined to form Jonson's supreme evocation of Christian humanism as well as a work which inaugurated the important tradition of the country-house poem. The ancestral seat of the Sidneys here becomes the focus of all aspects of the good life. Modest yet dignified, blessed by the heritage of a great poet and rich in the bounty of nature, Penshurst is the centre of a humane community where all—peasant and poet—join in Sir Robert's courteous hospitality. Rural England is remade through the classics into an image of harmony, decency and integrity, fit and able to welcome the king and so be part of a patriotic ideal. And at the basis of this public excellence lies private virtue. The lady of the house is 'noble, fruitful, chaste withal', while the children, encouraged in rectitude by the example of their parents, are pious and keen to learn the ways of aristocratic merit. Jonson's vision is thus comprehensive and humane, Christian and classical, private and public. However we may question its political implications, it remains a noble image of a civilizing ideal.</span></p><p> </p><p style="text-align: right;"><a href="https://vanityfea.blogspot.com/2020/10/will-durant-ben-jonson-1573-1637.html" target="_blank"> Will Durant on Ben Jonson</a></p><p style="text-align: right;"> </p><p style="text-align: center;">—oOo— <br /></p><p> </p><p> </p><p> <br /></p><p><br /></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-78943499493473798752021-10-06T11:56:00.002+02:002021-10-06T11:56:36.909+02:00Edward Herbert of Cherbury<span style="font-size: large;">From <i>The Oxford Companion to English Literature,</i> ed. Margaret Drabble.<br />
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<b>HERBERT of Cherbury, </b>Edward, Lord (1582-1648), elder brother of <a href="https://jaglit.blogspot.com/2020/10/george-herbert-oxford-companion.html">G. *Herbert</a><a href="https://jaglit.blogspot.com/2020/10/george-herbert-oxford-companion.html">,</a> born at Eyton-on-Severn, Shropshire, into one of the foremost families of the Welsh border. In 1596, aged 14, he was enrolled as gentleman commoner at University College, Oxford. That year his father died, and Herbert became ward of Sir George Moore (later *Donne's father-in-law). At 16 he was married to his cousin Mary, daughter of Sir William Herbert of St Julians, five years Edward's senior and heiress to her father's estates in England, Wales and Ireland. By the time he was 21 the couple had had, he reports, 'divers children', of whom none survived him. He was created Knight of the Bath in 1603. His adventures are recounted by Herbert in his <i>Life,</i> a remarkable document, not least for its unabashed presentation of its author's martial valour, success with women, truthfulness, sweetness of breath, and other virtues. Herbert aspired to a career in public service and spent much of the time from 1608 to 1618 in France, getting to know the French aristocracy and court. He also travelled in Italy and the Low Countries, fighting at the siege of Juliers (1610).<br />
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In 1619 he became ambassador to France, on *Buckingham's recommendation. His most famous philosophical work, <i>De Veritate,</i> was published in Paris in 1624. He was recalled to London in 1624, where he unsuccessfully petitioned for high office. Although he joined Charles's council of war in 1629, becoming Baron Herbert of Cherbury, recognition still eluded him. To attract royal notice he wrote, in 1630, <i>The Expedition to the Isle of Rhé,</i> which tries to justify Buckingham's calamitous generalship, and in 1632 he began a detailed 'official' history of *Henry VIII's reign, assisted by Thomas Masters, which was published in 1649. At the outbreak of the Civil War he retired to Montgomery Castle and declined to become involved. The castle was threatened by Royalists in 1644, and he admitted a parliamentary garrison, under Sir Thomas Myddleton, in exchange for the return of his books, which had been seized. He moved to his London house in Queen Street, St Giles, and dedicated himself to philosophy, supplementing his <i>De Veritate</i> with <i>De Causis Errorum</i> and <i>De Religione Laici,</i> both published in 1645, and writing besides <i>De Religione Gentilium</i> and his autobiography (begun in 1643). In 1647 he visited Gassendi in Paris.<br />
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Herbert's <i>De Veritate</i> postulates that religion is common to all men and that, stripped of superfluous priestly accretions, it can be reduced to five universal innate ideas: that there is a God; that he should be worshipped; that virtue and piety are essential to worship; that man should repent of his sins; and that there are rewards and punishments after this life. It gained Herbert the title of father of English *Deism. It was widely read in the 17th cent., earning the attention and disagreement of Mersenne, Gassendi, *Descartes, and *Locke. Herbert also wrote poetry which is obscure and metrically contorted, evidently influence by his friend Donne, but he also wrote some tender and musical love lyrics. (See also <span>METAPHYSICAL POETS</span>.)<br />
<br />
<i>Life,</i> ed. S. Lee (1886, rev. 1906), and ed. J. M. Shuttleworth (1976); <i>Poems English and Latin,</i> ed. G. C. Moore Smith (1923); <i>De Veritate,</i> ed. and trans. M. H. Carré (1937); <i>De Religione Laici,</i> ed. and trans. H. R. Hutcheson (1944); R. D. Bedford, <i>The Defence of Truth</i> (1979).<br />
<br />
</span><div style="text-align: right;">
<span style="font-size: large;"><a href="http://en.wikipedia.org/wiki/Deism">Deism (Wikipedia)</a></span></div><div style="text-align: right;"><span style="font-size: large;"> </span></div><div style="text-align: center;"><span style="font-size: large;">—oOo— <br /></span></div><span style="font-size: large;">
</span><br />JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5510935557699738048.post-26337578978856954982021-09-30T11:58:00.003+02:002021-10-08T09:09:12.109+02:00Some Notes on John Donne<br />
(from <i>The Penguin Short History of English Literature,</i> by Stephen Coote; 1993; "From Donne to Dryden", I)<br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">While playwrights of the early seventeenth century were fashioning language into a supreme theatrical medium, other poets were submitting lyric, satire and elegy to a searching re-examination. The most brilliant of these figures was John Donne (1572-1631).</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Donne's was a life of passionate intellectual and personal drama. Reared as a Roman Catholic in a protestant nation state, aware of being part of a group often summoned to suffering and martyrdom, Donne called the basis of his creed in doubt and read and questioned his way towards a hard-won, restless Anglicanism. Yet the man who annotated nearly fifteen hundred works of theology and argument was not a mere bookish recluse. Donne was a soldier of fortune, the author of perhaps the finest collection of love lyrics in the language and a man whose naked ambition and sheer recklessness traped him at servile hopes of court patronage. From these he was finally called to the deanery of St Paul's and emerged as one of the most popular preachers and mighty poets of Christian salvation.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Donne's early prose <i>Paradoxes</i> (published 1633) give an indication of the manner of his thought. When he argues that 'a wise man is known by much laughing' or proves 'the gifts of the body are better than those of the mind', Donne was writing in a long-established rhetorical tradition. The plenitude of his inventiveness however suggests a skeptical fascination with the workings of reason as these are revealed through the display of wit.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Wit as ingenuity — the creation of far-fetched arguments or conceits — was a prized rhetorical achievement, and Donne's skill earned him the highest praise from his contemporaries. For later critics such as Dryden and Dr Johnson however, men working in different modes of literary decorum, such effects supposedly revealed a lack of taste which earned Donne and his followers the misleading name of 'metaphysical'. They were accused of linking together recondite ideas, and so failing to achieve the central and classical voice of broad human experience. It took later generations of critics, first Coleridge and then T. S. Eliot, to rediscover in Donne's poetry the thought of a complex and very masculine brain, one which dwelt on the nature of its own perceptions and, by bringing a passionately critical intellect to bear on the traditions of rhetoric, revealed its force through the quality of its wit.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Such wit is often allied to worldly cynicism in Donne's Elegies and Satires, works which pay tribute to the classics by revolutionising them. The Elegies, for example, frequently surpass their Ovidian model in the sceptical analysis of base human motive, in the sheer versatility of 'The Autumnal' and, above all, in the sensual, colloquial force, the vividly re-enacted drama, of 'His Picture' and 'To his Mistress Going to Bed'. In this last work, a new style of love poetry comes to maturity as Donne re-creates the appearance of passionately articulate self-awareness:</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">License my roving hands, and let them go </span><br />
<span style="font-size: small;">Before, behind, between, above, below.</span><br />
<span style="font-size: small;">O my America, my new found land,</span><br />
<span style="font-size: small;">My kingdom, safeliest when with one man manned,</span><br />
<span style="font-size: small;">My mine of precious sones, my empery,</span><br />
<span style="font-size: small;">How blest am I in this discovering thee! </span><br />
<span style="font-size: small;">To enter in these bonds, is to be free;</span><br />
<span style="font-size: small;">Then where my hand is set, my seal shall be.</span> <br />
<span style="font-size: large;"></span><br />
<div style="text-align: right;">
<span style="font-size: x-small;">empery: <i>empire</i></span></div>
<span style="font-size: large;"></span><br />
<span style="font-size: large;">This passage is one of the great achivements of seventeenth-century erotic wit, a combination of passion and artifice that seems to re-create the wonder and excitement of sexual arousal itself. The woman is a virgin continent to be explored for her hidden wealth and 'manned'. Such puns, as in Shakespeare's <i>Sonnets, </i>lead to profound emotional insights. In the last line, for example, the poet in bed, naked and erect, envisages his body as a seal which, in the act of love, will validate the union of the lovers themselves. This appearance of a dramatised self — a central feature in all Donne's work — is conveyed here through a language at once knotty, colloquial and capable of supreme sensuousness. Donne's 'strong lines', as contemporaries called them, can thus be seen as a liberating force of criticism which swept away nymphs and goddesses, pining Petrarchan lovers and a melliflousness of tone that all too easily sank to servile imitation.</span><br />
<br />
<span style="font-size: large;">In the Satires, Donne was concerned to develop what some contemporaries thought they had discovered in Latin satire: the harsh tones of classical moral outrage. In Joseph Hall's <i>Virgidemiarum</i> (1597) and his rival John Marston's <i>Scourge of Villanie</i> (1598), for example, we hear the 'savage indignation' of Juvenal and what was believed to be the dense syntax of Persius. These are re-created through the 'persona' or assumed personality of the intellectually superior malcontent. Though Donne could also clothe a moral type in the foolish fashions of the day, he had an alert sense of the relative foolishness of all human activity, whether this be the teeming life of the streets and court or his own scholarship. With 'Satire III', such scepticism becomes a matter of intense personal seriousness, for this is the work to which Donne criticized the aberrations of all Christian sects in his search for 'true religion'. The tough syntax of the poem is not a literary affectation but the voice of a great intellect in turmoil:</span><br />
<br />
To adore, or scorn an image, or protest,<br />
May all be bad; doubt wisely, in strange way<br />
To sand inquiring right, is not to stray;<br />
To sleep, or run wrong is. On a huge hill,<br />
Cragged, and steep, Truth stands, and he that will<br />
Reachher, about must, and about must go;<br />
And what the hill's suddenness resists, win so:<br />
Yet strive so, that before age, death's twilight,<br />
Thy soul rest, for none can work in that night,<br />
To will, implies delay, therefore do now.<br />
<br />
<span style="font-size: large;">Donne's wit is here the medium of his radical play of mind. It is the discourse of a restlessly argumentative intellect which dramatizes aspects of a complex and obsessive intelligence. Clearly, this is not the verse of Sidney's 'right popular philosopher' proceeding through formal logic and ornament to settled verities. An acutely questioning self-awareness has intervened to make Donne's the poetry of a highly civilized small group such as that gathered round the great literary patron Lucy, Countess of Bedford (d. 1627), a coterie that was sufficiently daring to question convention in pursuit of the fresh and tougher truths of experience. It was also a group sufficiently small to subsiste on the passing of manuscripts. The greater part of Donne's poems were published posthumously by his son. They are thus the records of a poetic revolution wrought among the few.</span><br />
<br />
<span style="font-size: large;">Such qualities can be seen again in the love lyrics that make up Donne's <i>Songs an Sonnets.</i> These were probably written over some twenty years. None can be readily dated, and few if any should be given a precise biographical significance. Each however concentrates with a unique rhetoric the colloquial force and erotic passion of the other early works, while the testing, inclusive reference of their wit invariably dramatizes aspects of relationship. These may be cynical, sensuous, mystically celebratory, or give voice to a mournful sense of loss.</span><br />
<br />
<span style="font-size: large;">Donne's cynical lyrics vary between the flippancy of 'Go, and catch a falling star' and the more intricate worldly satire of 'Love's Alchemy' and the 'Farewell to love' with its ironic and closely observed analysis of the demystification of desire in post-coital enervation. Persuasions to love itself sometimes attain the outrageous casuistry of 'The Flea'. Here, a girl's loss of honour in surrendering her virginity is compared to the loss of blood suffered in a flea bite which, since the flea has bitten the poet too, mixes the blood of both man and woman in its shell, even as the lover's bed will join their bodies.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">In 'The Ecstasy', by contrast, Donne discussed with witty yet passionate rigour the deepest relation between shared spiritual love and the natural needs of the body. United, these offer that rapture which is the subject of 'The Dream' and 'The Good Morrow'. These poems are among the great celebrations of intimacy in English literature. It is perhaps in 'The Sun Rising' however that Donne's combination of stanza form and speech rhythm, observation of the world and celebration of the idea that the lovers in their bed are the world, is most wittily yet profoundly expressed. The tradition of the <i>aubade,</i> or the lover's lament for the coming of dawn, is there transformed as the poet seeks to persuade the sun to irradiate a triumphant and mutual passion:</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Thy beams, so reverend, and strong</span><br />
<span style="font-size: small;">Why shouldst thou think?</span><br />
<span style="font-size: small;">I could eclipse and cloud them with a wink,</span><br />
<span style="font-size: small;">But that I would not lose her sight so long:</span><br />
<span style="font-size: small;"> If her eyes have not blinded thine,</span><br />
<span style="font-size: small;"> Look, and tomorrow late, tell me, </span><br />
<span style="font-size: small;"> Whether both th'Indias of spice and mine</span><br />
<span style="font-size: small;"> Be where thou left'st them, or lie here with me.</span><br />
<span style="font-size: small;">Ask for those kings whom thou saws'st yesterday,</span><br />
<span style="font-size: small;">And thou shalt hear, All here in one bed lay.</span><br />
<div style="text-align: right;">
<span style="font-size: large;"><span style="font-size: x-small;">both th'Indias: <i>the East and West Indies.</i></span></span></div>
<br />
<span style="font-size: large;">Such deep erotic satisfaction is also the subject of 'The Anniversary', 'Love's Growth' and 'The Canonization'. In these works we again see Donne as one of the supreme analysts of passion fulfilled, a man drawing on the notions of scholasticism for conceits that convey a sense of wonder all the more mireculous for the sceptical intellect that apprehends it.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Such learned references in Donne's poetry were drawn from a memory stocked with the arcana and commonplaces of science and theology, and were then juxtaposed to sharply immediate perception. By a transforming paradox, this meeting of opposites frquently 'interanimates' both, and from this flows a new awareness of the complexity of experience. In poems such as 'The Canonization', for example, the doctrine of the intercession of saints suggests how rare yet powerful is a mutual human relationship. In 'Air and Angels', adapting Aquinas's belief that God permits the heavenly hosts assume a body of condensed air in order to appear to men, Donne shows a lover's progress between a too acute sensuousness and a too ethereal idealism:</span><br />
<blockquote class="tr_bq">
<span style="font-size: small;"> Every thy hair for love to work upon</span><br />
<span style="font-size: small;">Is much too much, some fitter must be sought:</span><br />
<span style="font-size: small;"> For, nor in nothing, nor in things</span><br />
<span style="font-size: small;">Extreme, and scatt'ring bright, can love inhere;</span><br />
<span style="font-size: small;"> Then as an angel, face, and wings</span><br />
<span style="font-size: small;">Of air, not pure as it, yet pure doth wear,</span><br />
<span style="font-size: small;"> So thy love may be my love's sphere;</span><br />
<span style="font-size: small;"> Just such disparity </span><br />
<span style="font-size: small;">As is 'twixt air and angels' purity,</span><br />
<span style="font-size: small;">'Twixt women's love, and men's will ever be.</span></blockquote>
<span style="font-size: large;">Love itself is here irradiated with a sense of the divine. But if Donne's is a voice of celebration, he is occasionally a great poet of love's defeat. We see this particularly in 'Twicknam Garden' and, above all, in one of his finest works, 'A Noctural upon S. Lucy's Day, Being the Shortest Day'. Here the desolation of a love occluded by death offers a sense of universal loss, the nothingness of the bereaved and learned self as it seeks a greater darkness in which to prepare for spiritual truth:</span><br />
<blockquote class="tr_bq">
<span style="font-size: small;">Since she enjoys her long night's festival,</span><br />
<span style="font-size: small;">Let me preparare towards her, and let me call</span><br />
<span style="font-size: small;">This hour her vigil, and her eve, since this</span><br />
<span style="font-size: small;">Both the year's, and the day's deep midnight is.</span></blockquote>
<span style="font-size: large;">With the death of the beloved, the poet becomes an eremite devoted to the holy service of his departed saint.</span><br />
<br />
<span style="font-size: large;">Although such poems seem to touch an unworldly ardour, Donne was in fact very much concerned with the world at this stage of his careeer. Hence his writing of verse letters, obsequies and occasional pieces to aristocratic figures. These can sometimes seem mannered and over-ingeniously flattering when compared to his major and more popular work. Nonetheless, while it is right to see some of these verses as the poet's labours as he drudged for patronage — a necessary task in a society where advancement lay in the gift of the great — it is also important not to miss their discussion of attitudes crucial to Donne's maturing thought.</span><br />
<br />
<span style="font-size: large;">Amid the compliment and professions of friendship, for example, we are offered glimpses of a corrupt and perilous world of relative values, disillusion and vulnerability, the futility and spite of fallen man. In 'The Storm' and 'The Calm' — perhaps the most stimulating of Donne's Epistles — he also debunked the heroic pretensions of the military adventures in which he followed Essex and Ralegh. What in Hakluyt might be a chronicle of national endeavour, here becomes a re-creation of diminishingly painful experience raised to an almost surreal intensity by prodigious wit.</span><br />
<br />
<span style="font-size: large;">Such techniques are further developed in those most bizarre works <i>The Progress of the Soul</i> and the two <i>Anniversaries </i>(1611-12). These last were written to commemorate the death of Elizabeth Drury, a girl Donne had never seen, and were then printed by her influential father. Donne was later to regret this publicity both as a stain on his gentleman's amateur status and because these essays in extreme hyperbole were persistently misunderstood. What Donne was here concerned to achieve however was a contrast between the powers of Christian innocence imagined in his ideal of Elizabeth Drury and the decay of a corrupt, fallen world. The issue was thus between faith and virtue on the one hand and the toils of worlliness on the other. It is an old theme, but one examined here in the glare of new problems, in particular that scepticism which was to transform the intellectual life of the century.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">At its most fundamental, the scepticism with which Donne had already approached literary convention challenged the ordered world inherited from Aquinas and the scholastics. It declared that ultimate truth cannot be approached by reason alone since, in a notion given classic formulation by Montaigne in <i>The Apology for Raymond Sebond</i> (<i>c. </i>1576), reason works only on sense data and cannot be definitively checked. The central questions that sprang from this dilemma were whether and how one may know God — in other words, is belief a matter of faith or reason? — and whether and how one may gain a knowledge of the physical world — in other words, is fact only opinion or can some enquiries be verified?</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">In the <i>Anniversaries,</i> Donne set his face against the empirical investigation of nature that was soon to prove if not the final answer to these questions then at least their most powerful reply. He suggests that to let oneself be 'taught by sense, and Fantasy' is only to pile up useless and pedantic confusion. If the new astronomy of Galileo and Copernicus shows that the universe is not the regular, serene construct of the scholastics, then that is not a stimulus to inventing new theories, but proof that the physical world is irremediably corrupt. If the links in the great chain of being are broken, then matters are worse than ever we thought:</span><br />
<blockquote class="tr_bq">
<span style="font-size: small;"> new philosophy calls all in doubt,</span><br />
<span style="font-size: small;">The element of fire is quite put out;</span><br />
<span style="font-size: small;">The sun is lost, and th'earth, and no mans wit</span><br />
<span style="font-size: small;">Can well direct him where to look for it.</span><br />
<span style="font-size: small;">And freely men confess that this world's spent,</span><br />
<span style="font-size: small;">When in the planets, and the firmament </span><br />
<span style="font-size: small;">They seek so many new; they see that this </span><br />
<span style="font-size: small;">Is crumbled out again to his atomies.</span><br />
<span style="font-size: small;">'Tis all in pieces, all coherence gone.</span></blockquote>
<span style="font-size: large;"> Donne's answer to this predicament was 'fideism': not sharper telescopes but intenser prayer, not knowledge but virtue, not science but faith. When the soul, shot like a bullet from a rusted gun, courses through the celestial spheres, Donne shows it does not stop to question their movement but hurtles to the seat of all knowledge — the bosom of God. Meanwhile, with the removal of such inspiring virtue as Elizabeth's Drury's, the rest of mankind is left to stagger on in a dark, decaying world lit only by the ghostly memory of the heroine's worth. The intellect at its most extended can only expose its own fallacies, and we must finally admit that the mysteries of Christ 'are not to be chewed by reason, but to be swallowed by faith'. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">This last quotation comes from Donne the preacher. The sermons are the greatest of his prose works, but were preceded by a number of pieces which show Donne involved in both the personal quest for religious experience and the worldly pursuit of profitable employment. His <i>Pseudo-Martyr </i>(1610) and <i>Biathanatos </i>— a work unpublished in his lifetime — suggest the problems this entailed. <i>Pseudo-Martyr,</i> for example, was designed to appeal to James I by suggesting that Roman Catholics went against the rule of nature when they refused to swear to the king's supremacy in church matters and so laide themselves open to the death penalty. As with <i>Ignatius his Conclave </i>(1611), the work relishes a convert's scabrous anti-Catholic satire. In the labyrinthine and sceptical paradoxes of <i>Biathanatos,</i> on the other hand, Donne argued for the morality of suicide with an involvement rooted in acute personal experience. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And it is the obsession with death and the last things that characterizes Donne's mature religious works. The <i>Devotion on Emergent Occasions</i> (published 1624) were written when Donne's doctors had declared him too ill to read, let alone compose. The afflicted body houses a soaring mind however. Donne's emotions range over the fear of solitude and physical disintegration, the relation between sickness and sin, sin and death. The entire universe is raided for images because man himself —John Donne— is an image of the universe, an epitome, a microcosm. It is this belief that underlies the most famous passage in Donne's prose:</span><br />
<blockquote class="tr_bq">
<span style="font-size: small;">No man is an island, entire of itself; every man is a piece of the continent, a part of the main; if a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy frieds, or of thine own were; any man's death diminishes me, because I am involved in mankind; and therefore never send to know for whom the bell tolls; it tolls for thee. </span></blockquote>
<span style="font-size: large;">The moment of union is perceived but, as is appropriate for a sick-bed meditation, is perceived in the instant of its dissolution.</span><br />
<br />
<span style="font-size: large;">It is for his sermons that Donne is best known as a writer of religious prose. In the Jacobean period especially, occupied by preachers of great distinction, the pulpit gained extraordinary influence as a focus of spiritual thought and the dissemination of ideas. Led by the king, the court itself relished the finesse of religioius analysis, and connoisseurs of style and content memorized sermons and took notes on a form of literature that was both popular and learned. Donne's contributions should not be seen in isolation.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Many preachers, particularly those of a Puritan persuasion, argued for an unornamented clarity of style. Others dressed spiritual matters in the garment of learning. While Thomas Adams (<i>c. </i>1583- <i>ante</i> 1660) combined both in a manner that is often theatrical and powerfully directed to the abuses of the time, Lancelot Andrewes (1555-1626) brought his immense erudition in fifteen languages to passages of Scripture, each word and syllable of which he believed to be divinely inspired. As a result, each word and syllable is examined with the pious ardour of a philologist revealing the depths of the Word of God.</span><br />
<br />
<span style="font-size: large;">With Andrewes, human drama is often conveyed through a tiny yet telling comment in parenthesis. With Donne it moves to the centre of the stage. The immediate impact of the man, of course, is irrecoverably lost, but his devout biographer Izaak Walton (1593-1683) described Donne 'preaching to himself like an angel from a cloud' and appealing to the conscience of others 'with a most particular grace and an unexpressable addition of comeliness'.</span><br />
<br />
<span style="font-size: large;">The literary style of Donne's sermons is partly a distinctive reworking of its many sources. For example, Donne could exploit rhetorical patterning with the startling virtuosity of the sermon preached to the Earl of Carlisle in <i>c. </i>1622 where he describes the agony of being 'secluded eternally, eternally, eternally from the sight of God'. From Seneca, Tacitus, and their Renaissance editor Justus Lipsius however Donne and many others derived an anti-Ciceronian style. This was carefully contrived with a dramatic, irregular immediacy to express a concern with personal experience rather than settled certainties. Sermons such as <i>Death's Duel</i> (published 1632) however suggest that of all the influence on Donne's sermon style the Geneva and Authorized versions of the Bible — the parallelism of the Psalms, the visionary urgency of the Prophets and the evangelical fervour of St Paul especially — were the most telling. Nonetheless, when all the influences have been traced, what finally impresses is the compelling sense of Donne's unique spiritual sensibility, the range and drama of a religious intellect for which every aspect of the world could be a metaphor of the soul's experience.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">As part of this technique, the sermons frequently juxtapose macabre effects with the tremblingly numinous, decay with resurrection. On the one hand is the conviction that 'Between that excremental jelly that any body is made of at first, and that jelly which thy body dissolves to at last, there is not so noisome, so putrid a thing in nature.' In contrast is the image of the redeemed soul springing up in heaven like a lily from the red soil of its first creation. Between these experiences come the life of prayer and temptation, the imagining of the last things and, finally, an awareness of mercy.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">This was not lightly won, and Donne's religious poetry dramatizes his spiritual conflict with great power and formal mastery. However, since distinctions in the psychology of faith are not always as easy to discern as those in Donne's love lyrics, it is important to emphasize the variety in his religious poetry. The sonnets in 'La Corona', for example, draw on the church's traditions of oral prayer to fashion a devout and accomplished celebration of the mysteries of faith that was to some extent influenced by Roman Catholic practices. 'The Litany', by contrast, while not perhaps a wholly successful poem, is an attempt to express the modest, sober delight in daily piety which is a great achievement of seventeenth-century Anglicanism, and one which finds its truest expression in the work of George Herbert and Thomas Ken (1637-1711). The personal realization of such ideas was terrifying — 'those are my best days, when I shake with fear' — and it forms the true spiritual centre of Donne's alternately defiant and submissive drama of sin and judgement. Around this centres the fear of physical decay. Sonnets such as 'Oh my black Soul!', 'At the round earth's imagin'd corners' and 'Death be not proud' contain doomsday in their small compass.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">In 'Good Friday, riding westwards' Donne investigated the paradoxes of Christian faith with intensely dramatic wit, but it is in the 'Hymn to God my God, in my Sickness' and a 'Hymn to God the Father' that his relish of paradox and the strong speech rhythms of personal drama merge most tellingly with theology and faith. In these poems we watch Donne's advance towards the unity of the human and divine. In the first hymn, Donne's body is again a microcosm, a little world hurrying to decay. Yet, in its pain, it also imitates Christ's Passion and so may eventually rise like him to paradise. Finally, at the close of the second hymn, Donne hovers on the edge of death in a state at once confessional, wittily serious and almost ready to accept the extinction of his turbulent personality:</span><br />
<blockquote class="tr_bq">
<span style="font-size: small;">I have a sin of fear, that when I have spun</span><br />
<span style="font-size: small;"> My last thread, I shall perish on the shore;</span><br />
<span style="font-size: small;">But swear by thy self, that at my death thy son</span><br />
<span style="font-size: small;"> Shall shine as he shines now, and heretofore;</span><br />
<span style="font-size: small;"> And, having done that, thou hadst done,</span><br />
<span style="font-size: small;"> I fear no more.</span></blockquote>
<span style="font-size: large;">In the end, Donne's own name — that very personal token of self — becomes something to offer in with to God and so a means of surrendering the human to the divine.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<br />
<div style="text-align: right;">
<a href="http://vanityfea.blogspot.com/2016/10/simon-schamas-john-donne.html"><span style="font-size: large;">Simon Schama's John Donne</span></a></div>
<span style="font-size: large;"><br /></span>
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<div style="text-align: center;">
<span style="font-size: large;">—oOo—</span></div>
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<br />JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0