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The importance of literature and poetry
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Examine how literary patronage affected the role of the poet in the early eighteenth century.
The eighteenth century saw both the emergence and growth of a willing to learn, literate middle-class and the death throes of patronage. Poets still sought patrons , but, gradually, their own writings would support them, at least partially . This is a period of writers’ quarrels between those supporting patronage and those who did not, as well as between those supporting the Tory party —also known at the beginning as the “Court Party”, in favour of the gentry, the English Church and the restoration of the Stuart monarchy—, and those supporting the Whig party —originally called the “Country Party”, opposing absolute rule and in favour of dissenters and great aristochratic families—. According to Ann Willardson Engar in her article ‘English Poetry in the Eighteenth Century’ :
In the first half of the century, poets aligned themselves according to politics. Addison and Whigs such as Ambrose Philips reigned at Button’s coffeehouse. The Tories—Swift, Gay, Thomas Parnell, Pope, and John Arbuthnot—formed the Scriblerus Club and met at Arbuthnot’s apartments in St. James’s Palace. Thomas Parnell and John Gay both worked closely with Pope and yet remained independent: Parnell published his Miltonic poems chiefly in miscellanies, and Gay became the king of burlesque. Barbs flew back and forth between the Whig and Tory parties, the deadliest of which was Pope’s portrait of Addison in Epistle to Dr.Arbuthnot (1735).
These quarrels among writers —not only about political issues, but also due to discordant feelings about writers without scruples who worked for corrupt patrons— are reflected, as mentioned by Willardson, in Alexander Pope’s ‘An Epi...
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..., and C. E. Preston. The Penguin Dictionary of Literary Terms and Literary Theory. 4th ed. London: Penguin, 1999.
> Willardson Engar, Ann. ‘English Poetry in the Eighteenth Century.’ Critical Survey of Poetry, Second Revised Edition. Salem Press, 2003. eNotes.com. 2006. 23 Nov, 2009 english-poetry-eighteenth-century> > Stuprich, Michael. ‘Epistle to Dr. Arbuthnot.’ Masterplots II: Poetry, Revised Edition. Salem Press, 2002. eNotes.com. 2006. 23 Nov, 2009 epistle-dr-arbuthnot> SECONDARY SOURCES:
> Lecture notes in Emily O’Flaherty’s subject Poetry Before 1800. (National University of Ireland, Galway. 2009)
> Lecture notes in María Isabel Calderón’s subject Literatura Inglesa: Introducción a los Estudios Literarios. (Universidad de Cádiz. 2006)
In the late eighteenth century arose in literature a period of social, political and religious confusion, the Romantic Movement, a movement that emphasized the emotional and the personal in reaction to classical values of order and objectivity. English poets like William Blake or Percy Bysshe Shelley seen themselves with the capacity of not only write about usual life, but also of man’s ultimate fate in an uncertain world. Furthermore, they all declared their belief in the natural goodness of man and his future. Mary Shelley is a good example, since she questioned the redemption through the union of the human consciousness with the supernatural. Even though this movement was well known, none of the British writers in fact acknowledged belonging to it; “.”1 But the main theme of assignment is the narrative voice in this Romantic works. The narrator is the person chosen by the author to tell the story to the readers. Traditionally, the person who narrated the tale was the author. But this was changing; the concept of unreliable narrator was starting to get used to provide the story with an atmosphere of suspense.
Everett, Nicholas From The Oxford Companion to Twentieth-century Poetry in English. Ed. Ian Hamiltong. Oxford: Oxford University Press, 1994. Copyright 1994 by Oxford University Press.
Murphy, B. & Shirley J. The Literary Encyclopedia. [nl], August 31, 2004. Available at: http://www.litencyc.com/php/speople.php?rec=true&UID=2326. Access on: 22 Aug 2010.
The Confused Males of Montesquieu’s Persian Letters, Voltaire’s Candide, Swift’s Gulliver’s Travels, Sterne’s Tristram Shandy, and Rousseau’s First and Second Discourses
Eds.David Damrosch and Kevin J. H. Dettmar. 4th ed. Vol. 2A“The Romantics and Their Contemporaries.” New York: Pearson / Longman, 2010. 377-9. Print.
When Andrew Marvell was just a pre-teen, his work started to become favored by his city. As his poetry became even more known, a tragic incident suddenly happened. Marvell's father drowned in 1640 (“Oxford Book of English Verse”). Disturbed by the loss, Andrew ceased his writing hobby for a while. The distraught situation caused Andrew to go out into the fields and work for a living. Marvell nev...
London: n.p., 1998. Print. fourth Bloomfield, Morton W. New Literary History. Winter ed. N.p.:
Nineteenth-Century Literature Criticism Volume 4 pp 40 GrahamsMagazine (1850) Vol. XXXVI, No 2, page 167. (Author unknown).
The Bedford Introduction to Literature. 5th edition. Boston & New York: Bedford/St. Martin's Press, 1999. http://www.martinspress 1564 - 1612 -.
Country house poems were written to flatter and please the owner of the country house. Why did poets do this? Until the nineteenth century the wealth and population of England lay in the country rather than the towns; landowners rather than merchants were the dominating class. Even when the economic balance began to change, they were so thoroughly in control of patronage and legislation, so strong throu...
Reisman, Rosemary M. C, and Robert L. Snyder. Romantic Poets. 4th ed. Ipswich, Mass: Salem
Pattison, Bruce. Music and Poetry of the English Renaissance. (2nd ed). London: Methuen and Company, 1970.
22 of Studies in English Literature, 1500-1900. Rpt. in Studies in English Literature, 1500-1900. N.p.: n.p., n.d. N. pag.
Abrams, M.H., ed. The Norton Anthology of English Literature. 6th ed. Vol. 2. New York: Norton, 1993.
In 'The Rape of the Lock' Alexander Pope (1688-1744) employs a mock-epic style to satirise the 'beau-monde' (fashionable world, society of the elite) of eighteenth century England. The richness of the poem, however, reveals more than a straightforward satirical attack. Alongside the criticism we can detect Pope's fascination with, and perhaps admiration for, Belinda and the society in which she moves. Pope himself was not part of the 'beau-monde'. He knew the families on which the poem is based but his own parents, though probably comfortably off, were not so rich or of the class one would have to be in to move in Belinda's circle. He associated with learned men and poets, and there can have been little common ground between the company he kept at Will's Coffee House and those who frequented Hampton Court.