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Epic to Novel
EPIC TO NOVEL THOMAS E. MARESCA Epic to Novel OHIO STATE UNIVERSITY PRESS Copyright® 1974 by the Ohio State University Press All Rights Reserved. Manufactured in the United States of America Portions of the chapter entitled "Dryden11 appeared in the summer 1974 issue ofELH under the title "The Context of Dryden's Absalom and Achitophel." Library of Congress Cataloging in Publication Data Mare sea, Thomas E Epic to Novel Bibliography: p. 1. English fiction — Early modern, 1500-1700 — History and criticism. 2. Epic poetry. English — History and criticism. I. Title. PR769.M3 823\03 74-19109 ISBN 0-8142-0216-0 ISBN 0-8142-0289-6 Original hard-cover edition 3 March 1975 Paperback reprint issued May 1977 FOR DIANE CONTENT S Preface ix Dryden 3 Pope 79 Swift 135 Fielding 181 List of Texts Cited 235 Index 237 PREFACE This book attempts to trace the process by which the novel replaced the epic as the major literary form in English. It explores the hows and whys of this process by an analysis of the subject matter of epic rather than its form or manner; that is, it attempts to find out what post-classical readers understood when they read epic by examination of major commentaries on Virgil's Aeneid from the early Middle Ages through the Renaissance. After that it proceeds to the same goal by close reading of major English literary works that bear a parodic relation to epic. I understand the epic tradition this book talks about as a heterogeneous body of materials growing from a single root, always changing and transforming them selves, but changing in ways and directions indicated by their earliest shaping. -
INFORMATION to USERS This Manuscript Has Been Reproduced from the Microfilm Master. UMI Films the Text Directly from the Origina
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300 North Z e e b Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE FEMINIZATION OF WIT: SATIRE BY BRITISH WOMEN WRITERS, 1660-1800 DISSERTATION Presented in Partial Fulfillment of the Requirements for the degree Doctor of Philosophy in the Graduate School of the Ohio State University By Carol M. -
Henry Fielding: Early Editions in the University of Arizona Libraries with an Appendix: Early Editions of Sarah Fielding
Henry Fielding: Early editions in the University of Arizona Libraries with an appendix: Early Editions of Sarah Fielding Item Type Text Authors Happe, Marguerite, 1991- Publisher Tucson, Arizona : Department of Special Collections University of Arizona Libraries Download date 30/09/2021 07:02:47 Link to Item http://hdl.handle.net/10150/625480 Henry Fielding: Early Editions in the University of Arizona Libraries Marguerite Happe Henry Fielding: Early Editions in the University of Arizona Libraries With an Appendix: Early Editions of Sarah Fielding Marguerite Happe Department of Special Collections University of Arizona Libraries Tucson 2017 Copyright © 2017 Arizona Board of Regents For the University of Arizona Libraries EARLY EDITIONS 3 Preface AMONG the notable holdings in the University of Arizona Libraries is a particularly strong collection of early printed editions of Restoration and Eighteenth-Century English drama and related literary material. Much of this collection is part of the legacy of Thomas Edward Hanley (1893-1969), a wealthy Pennsylvania industrialist, a sage collector of books and art, and a mildly eccentric but singularly generous donor. From 1936 through 1962 Hanley donated to the UA Libraries more than 38,000 books, most of them in the humanities and fine arts. Soon afterwards the collection was further developed as the UA Libraries as a whole rapidly advanced, under the vigorously supportive administration of President John P. Schaefer (1971-1982), from indifferent national rankings to seventeenth among all academic lib- raries in America. One of the authors best represented in the collection is the playwright, novelist, and judicial magistrate Henry Fielding (1707-1754). -
The Dunciad and the City: Pope and Heterotopia
Georgia State University ScholarWorks @ Georgia State University English Department Publication - Studies in the English Department Publications Literary Imagination 1-1-2009 Studies in the Literary Imagination, Volume XXXVIII, Number 1, Spring 2005 Flavio Gregori Thomas Woodman Claudia Thomas Kairoff Francesca Orestano Peter Davidson See next page for additional authors Follow this and additional works at: http://scholarworks.gsu.edu/english_deptpub_li Part of the English Language and Literature Commons Recommended Citation Gregori, Flavio; Woodman, Thomas; Kairoff, Claudia Thomas; Orestano, Francesca; Davidson, Peter; Nicholson, Colin; Bastos da Silva, Jorge; Noggle, James; Deutsch, Helen; Spencer, Jane; Broich, Ulrich; Tosi, Laura; and Hammond, Brean S., "Studies in the Literary Imagination, Volume XXXVIII, Number 1, Spring 2005" (2009). English Department Publication - Studies in the Literary Imagination. Paper 13. http://scholarworks.gsu.edu/english_deptpub_li/13 This Article is brought to you for free and open access by the English Department Publications at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Department Publication - Studies in the Literary Imagination by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Authors Flavio Gregori, Thomas Woodman, Claudia Thomas Kairoff, Francesca Orestano, Peter Davidson, Colin Nicholson, Jorge Bastos da Silva, James Noggle, Helen Deutsch, Jane Spencer, Ulrich Broich, Laura Tosi, and Brean S. Hammond This article is available at ScholarWorks @ Georgia State University: http://scholarworks.gsu.edu/english_deptpub_li/13 Brean S. Hammond THE DUNCIAD AND THE CITY: POPE AND HETEROTOPIA I Writing on James Joyce, the critic Jeri Johnson points to the Irish writer’s aspiration “to give a picture of Dublin so complete that if the city one day suddenly disappeared from the earth, it could be reconstructed out of my book” (Johnson 60). -
The Dunciad, Variorum
THE DUNCIAD, V A R I O R V M. WITH THE PROLEGOMENA of SCEZBEERIW. o H 1-1 % N H O N b O P &i x o 2? i> o jst. Printed for A. Dod. 172,9. PIECES contained in this BOO K. JL HE Publisher's Advertisement. A Letter to the Publiflier, occafioned by the prefent Edition of the DuNCI AD. The Prolegomena of Martinus Scriblerus. Testimonies of Authors concerning our Poet and his Works, A Dissertation of the Poem. Dunciados Periocha: Or, Arguments to the Books. The D U N C I A D, in three Books. Notes Variorum: Being the Scholia of the learned M. S c r i b l e r u s and Others, with the Adverfaria of John Dennis, Lewis Theobald, Edmund Curl, the Journalists, &c. Index of Persons celebrated in this Poem. Index of Things (including Authors) to be found in the Notes. Appendix, ADVERTISEMENT. $ will be fuffieient tofay -of this Edition, that the reader has here a much more correcJ and compkat copy of the Dunciad, than has. I hitherto appeared : I cannot anjwer butfame mi/lakes may haveflipt into it, but a vafi number of 'Others will be prevented, by the Names being authorities gi^ .now not onlyfetat length, but jujtifed by the and reafons *oen. I make no doubt, the Author's own motive to ufi real rather than feign d names, was his care to preferve the Innocent from any falfe Ap plications ; whereas in the former editions which had no more than the Initial letters, be was made, by Keys printed here, to hurt the inoffen- fhe; and (what was worfe) to abufe his friends, by an impreffion at Dublin. -
FIELDING Henry Austin Dobson
FIELDING Henry Austin Dobson CHAPTER I. EARLY YEARS—FIRST PLAYS. LIKE his contemporary Smollett, Henry Fielding came of an ancient family, and might, in his Horatian moods, have traced his origin to Inachus. The lineage of the house of Denbigh, as given in Burke, fully justifies the splendid but sufficiently quoted eulogy of Gibbon. From that first Jeffrey of Hapsburgh, who came to England, temp. Henry III., and assumed the name of Fieldeng, or Filding, “from his father‟s pretensions to the dominions of Lauffenbourg and Rinfilding,” the future novelist could boast a long line of illustrious ancestors. There was a Sir William Feilding killed at Tewkesbury, and a Sir Everard who commanded at Stoke. Another Sir William, a staunch Royalist, was created Earl of Denbigh, and died in fighting King Charles‟s battles. Of his two sons, the elder, Basil, who succeeded to the title, was a Parliamentarian, and served at Edgehill under Essex. George, his second son, was raised to the peerage of Ireland as Viscount Callan, with succession to the earldom of Desmond; and from this, the younger branch of the Denbigh family, Henry Fielding directly descended. The Earl of Desmond's fifth son, John, entered the Church, becoming Canon of Salisbury and Chaplain to William III. By his wife Bridget, daughter of Scipio Cockain, Esq., of Somerset, he had three sons and three daughters. Edmund, the third son, was a soldier, who fought with distinction under Marlborough. When about the age of thirty, he married Sarah, daughter of Sir Henry Gould, Knt., of Sharpham Park, near Glastonbury, in Somerset, and one of the Judges of the King‟s Bench. -
Ballad Opera in England: Its Songs, Contributors, and Influence
BALLAD OPERA IN ENGLAND: ITS SONGS, CONTRIBUTORS, AND INFLUENCE Julie Bumpus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 7, 2010 Committee: Vincent Corrigan, Advisor Mary Natvig ii ABSTRACT Vincent Corrigan, Advisor The ballad opera was a popular genre of stage entertainment in England that flourished roughly from 1728 (beginning with John Gay's The Beggar's Opera) to 1760. Gay's original intention for the genre was to satirize not only the upper crust of British society, but also to mock the “excesses” of Italian opera, which had slowly been infiltrating the concert life of Britain. The Beggar's Opera and its successors were to be the answer to foreign opera on British soil: a truly nationalistic genre that essentially was a play (building on a long-standing tradition of English drama) with popular music interspersed throughout. My thesis explores the ways in which ballad operas were constructed, what meanings the songs may have held for playwrights and audiences, and what influence the genre had in England and abroad. The thesis begins with a general survey of the origins of ballad opera, covering theater music during the Commonwealth, Restoration theatre, the influence of Italian Opera in England, and The Beggar’s Opera. Next is a section on the playwrights and composers of ballad opera. The playwrights discussed are John Gay, Henry Fielding, and Colley Cibber. Purcell and Handel are used as examples of composers of source material and Mr. Seedo and Pepusch as composers and arrangers of ballad opera music. -
Errors and Reconciliations: Marriage in the Plays and Early Novels of Henry Fielding
ERRORS AND RECONCILIATIONS: MARRIAGE IN THE PLAYS AND EARLY NOVELS OF HENRY FIELDING ANACLARA CASTRO SANTANA SUBMITTED FOR THE DEGREE OF PHD THE UNIVERSITY OF YORK ENGLISH AND RELATED LITERATURE SEPTEMBER 2013 ABSTRACT This thesis explores Henry Fielding’s fascination with marriage, and the importance of the marriage plot in his plays and early novels. Its main argument is twofold: it contends that Fielding presents marriage as symptomatic of moral and social evils on the one hand, and as a powerful source of moral improvement on the other. It also argues that the author imported and adapted the theatrical marriage plot—a key diegetic structure of stage comedies of the early eighteenth century—into his prose fictions. Following the hypothesis that this was his favourite narrative vehicle, as it proffered harmony between form and content, the thesis illustrates the ways in which Fielding transposed some of the well-established dramatic conventions of the marriage plot into the novel, a genre that was gaining in cultural status at the time. The Introduction provides background information for the study of marriage in Fielding’s work, offering a brief historical contextualization of marital laws and practices before the Marriage Act of 1753. Section One presents close readings of ten representative plays, investigating the writer’s first discovery of the theatrical marriage plot, and the ways in which he appropriated and experimented with it. The four chapters that compose the second part of the thesis trace the interrelated development of the marriage plot and theatrical motifs in Fielding’s early novels, namely Shamela (1741), Joseph Andrews (1742), Jonathan Wild (1743), and The Female Husband (1746). -
Interpretation, Agency, Entropy: Rumbold, Valerie
Interpretation, agency, entropy: Rumbold, Valerie DOI: 10.3366/ijhac.2017.0191 License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): Rumbold, V 2017, 'Interpretation, agency, entropy: annotating Pope’s Dunciads', International Journal of Humanities and Arts Computing, vol. 11, no. 2, pp. 174-198. https://doi.org/10.3366/ijhac.2017.0191 Link to publication on Research at Birmingham portal Publisher Rights Statement: This article has been accepted for publication by Edinburgh University Press in the journal International Journal of Humanities and Arts Computing, http://www.euppublishing.com/doi/full/10.3366/ijhac.2017.0191, http://dx.doi.org/10.3366/ijhac.2017.0191. General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. -
Tierneyhynes2018farcicalpolitic
Edinburgh Research Explorer Farcical politics Citation for published version: Tierney-Hynes, R 2018, Farcical politics: Fielding’s public emotion. in ED Jones & V Joule (eds), Intimacy and Celebrity in Eighteenth-Century Literary Culture: Public Interiors. Palgrave, Cham, pp. 139-163. https://doi.org/10.1007/978-3-319-76902-8_7 Digital Object Identifier (DOI): 10.1007/978-3-319-76902-8_7 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Intimacy and Celebrity in Eighteenth-Century Literary Culture Publisher Rights Statement: This extract is taken from the author's original manuscript and has not been edited. The definitive, published, version of record is available here: https://link.springer.com/chapter/10.1007%2F978-3-319-76902-8_7 General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 23. Sep. 2021 ‘Farcical Politics: Fielding’s Public Emotion’ Rebecca Tierney-Hynes University of Waterloo In what was to be his last production before the 1737 Licensing Act put paid to his theatre career, Fielding’s gentleman audience-member, Sowrwit, observes: ‘the Morals of a People depend … entirely on their publick Diversions.’1 As with all of Fielding’s pronouncements, Sowrwit’s observation ought to be taken with several grains of salt and an eye to what John O’Brien calls Fielding’s ‘self-ironizing’2 tendencies. -
Una-Theses-0312.Pdf
HEN R Y FIE L DIN G THE 0 R Y o F THE COM I C A thesis submitted to the faculty of the GRADUATE SChOOL of the UNIV~RSITY of - INN~SOTA by DAGMAR DONEGHY • In partial fulfillment of the requirements for ~he degree of Master of Arts . June 1916. RltPORT of Committee on Thesis The undersigned, acting as a Committee of the Graduate School, have r ead the accompanying thesis submttted by SD.~ ..~ . .!! . .~.~ .... ~ for the degree of .~. .~ .. ...... ~.. ..~ ...................... ............ They approve it as a thesis meeting tho require- menta of the Grad ate School of t h e Un iv@raity of :Minnesota, and recommend that it be accepted in partial fulfillment of the r e quirements for the degree of .~~ ...a. .. ~....... ..... ......... ....- .. .............. -.................... .-:.::d.@. _.. -.. -~........ ..... -....... -.... --~-.. ' _.... -_ ...... - ....- ..• _- ..... __ .-........_ ... _.. _.... .... _..... ........ __ ._ .. __ .............. __ ._ .. _.... _.......... _._ ...... _..... _.- BIB L lOG RAP H Y. Henry Fi elding : Love i n Several 4asgues. London, ~n ith ~ lder & co., 1882. Th e l' empl e Heau. London, Smith Elder & Co. 1882. The Justice Caught in his Own Trap. London, Smith Elder & Co., 1882. The ~odern Husband. London, ~mith Elder a co ., 1 882. ~~ he Debauch ees. London, Smith Elder & Co., 1882. Don Quixote in England . London, Smith Elder & Co., 1882. 'rhe Universal Gallan t. London, Smi th Elder ?r. Co., 1882. The 'I/ edci ing Day . London , :::;w i th .l!; l de r c~ Co., 1882. The Good-Natured Man . London. Smith Elder & Co., 1882. The Letter "lri ters or A New Way to Keep a 1/ife at Home , London, ~n ith ~ lder & co., 1882. -
Polyphony and the Embedded Letter in Joseph Andrews, Tom Jones
THE CATHOLIC UNIVERSITY OF AMERICA Henry Fielding’s Epistolary Voices: Polyphony and the Embedded Letter in Joseph Andrews , Tom Jones , and Amelia A DISSERTATION Submitted to the Faculty of the Department of English School of Arts and Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy © Copyright All Rights Reserved By Bridget Brennan Washington, D.C. 2010 Henry Fielding’s Epistolary Voices: Polyphony and the Embedded Letter in Joseph Andrews , Tom Jones , and Amelia Bridget Brennan, Ph.D. Director: Christopher Wheatley, Ph.D. This study explores the polyphonic nature of Henry Fielding’s writing by analyzing the relationship between narrative voice and the embedded letter in his three major novels: Joseph Andrews , Tom Jones , and Amelia . More specifically, it establishes that the voices of the narrators, who have traditionally been considered Fielding’s spokesmen, are not the only authoritative voices present in his works. Drawing on Mikhail Bakhtin’s theories for its discussion of Joseph Andrews and Tom Jones , this dissertation demonstrates how the embedded letter, because of its inherent structural independence, not only allows other voices to enter the novels, it also grants these voices an authority equal to the narrator’s. Fielding adopts a radically different narrative persona in his final novel, Amelia , and this change affects his use of the embedded letter. In Amelia , the most overtly polyphonic of the three novels, Fielding replaces the controlling narrator of the previous novels with an inconsistently-drawn figure who offers the reader little commentary or guidance. Consequently, the letter is no longer used as a way to give voice to opposing ideologies without undermining the consistency and authority of the narrator; instead, in the absence of a stable, moral guide, it becomes a forum through which the author’s own voice and ideology enters the text.