By Howard D. Weinbrot
Howard D. Weinbrot right here collects 13 of his most vital essays on recovery and eighteenth-century British satire. Divided into sections on 'contexts' and 'texts', the essays variety greatly and deeply around the spectrum of satiric types, satirists, satires, and scholarly and important difficulties. In 'Contexts', Professor Weinbrot discusses the development of formal verse satire of blame and compliment popularized by means of Dryden in 1693 and influential through the subsequent century, demanding situations the conventional view that Hprace and 'Augustanism' outline eighteenth-century satire, and makes a speciality of the vexed query of no matter if there has been certainly a 'persona' or conception of overlaying at paintings in eighteenth-century satire. In 'Texts' he offers with a number of of an important verse satirists and satires of the interval and heavily analyses them inside their ancient and inventive frameworks. essentially written, realized, and infrequently witty, this publication is dedicated to serious inquiry that respects the integrity of its texts. It additionally emphasised the breadth of context that enriches our realizing of satire and the relationships one of the nurturing tradition, the manufacturing poet, the poem manufacturers, and the poem as acquired in its age.
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Extra resources for Eighteenth-Century Satire: Essays on Text and Context from Dryden to Peter Pindar
A satirist might cast himself as reasonably close to his public personality, and thereby use the echo of his real voice to amplify his speaker's voice. " Horace invents a congenial role and plays it well. This is also true for the angry moralist Juvenal, who punishes rather than wittily instructs. Hence, Barten Holyday observes, in the third satire Juvenal speaks "in the person of Umbritius" who darkly arraigns Rome's many sins and sinners. At the end of the next century, Edward Owen notes the relationship between the structure of the third satire and the character of its speaker.
60 In the former Horace is, largely, normative and an authority for eighteenth-century writers; in the latter all good Augustans imitate Horace and eschew Juvenal, and any one with the opposite view is, by definition, not Augustan and an aberrant creature one can easily ignore. According to this theory, Juvenal is revived in the later half of the century because of its failure in taste, misreading, and movement away from good irony and towards bad sentimental quasi-Christian declamation. The errors of method and judgment in these views should be pointed out: confusion of the part for the whole, of, for example, Horace's odes and literary criticism with his satires;61 ignorance of entire areas of discussion of the classical past; rejection of solid contrary evidence in contemporary texts; and acceptance of cliches in place of the difficult and complex amalgam of historical thought during the period.
8 Numerous eighteenth-century examples, however, support versions of a theory of the persona: these make clear that it was perceived in ancients and moderns and was used and discussed by pedagogue and politician, critic and author. Lord Shaftesbury, for example, shifts masks to advantage in the Miscellaneous Reflections, which normally portray him as a serious philosopher considering his Characteristics (ijii). Near the end of the first chapter he quotes part of an old ballad and a light ode to Horace.