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Respectable Folly Garrett, Clarke Published by Johns Hopkins University Press Garrett, Clarke. Respectable Folly: Millenarians and the French Revolution in France and England. Johns Hopkins University Press, 1975. Project MUSE. doi:10.1353/book.67841. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/67841 [ Access provided at 2 Oct 2021 03:07 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. HOPKINS OPEN PUBLISHING ENCORE EDITIONS Clarke Garrett Respectable Folly Millenarians and the French Revolution in France and England Open access edition supported by the National Endowment for the Humanities / Andrew W. Mellon Foundation Humanities Open Book Program. © 2019 Johns Hopkins University Press Published 2019 Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/. CC BY-NC-ND ISBN-13: 978-1-4214-3177-2 (open access) ISBN-10: 1-4214-3177-7 (open access) ISBN-13: 978-1-4214-3175-8 (pbk. : alk. paper) ISBN-10: 1-4214-3175-0 (pbk. : alk. paper) ISBN-13: 978-1-4214-3176-5 (electronic) ISBN-10: 1-4214-3176-9 (electronic) This page supersedes the copyright page included in the original publication of this work. Respectable Folly RESPECTABLE FOLLY M illenarians and the French Revolution in France and England 4- Clarke Garrett The Johns Hopkins University Press BALTIMORE & LONDON This book has been brought to publication with the generous assistance of the Andrew W. -
The Life of Samuel Johnson, LL.D.," Appeared in 1791
•Y»] Y Y T 'Y Y Y Qtis>\% Wn^. ECLECTIC ENGLISH CLASSICS THE LIFE OF SAMUEL JOHNSON BY LORD MACAULAY . * - NEW YORK •:• CINCINNATI •:• CHICAGO AMERICAN BOOK COMPANY Copvrigh' ',5, by American Book Company LIFE OF JOHNSOK. W. P. 2 n INTRODUCTION. Thomas Babington Macaulay, the most popular essayist of his time, was born at Leicestershire, Eng., in 1800. His father, of was a Zachary Macaulay, a friend and coworker Wilberforc^e, man "> f austere character, who was greatly shocked at his son's fondness ">r worldly literature. Macaulay's mother, however, ( encouraged his reading, and did much to foster m*? -erary tastes. " From the time that he was three," says Trevelyan in his stand- " read for the most r_ ard biography, Macaulay incessantly, part CO and a £2 lying on the rug before the fire, with his book on the ground piece of bread and butter in his hand." He early showed marks ^ of uncommon genius. When he was only seven, he took it into " —i his head to write a Compendium of Universal History." He could remember almost the exact phraseology of the books he " " rea'd, and had Scott's Marmion almost entirely by heart. His omnivorous reading and extraordinary memory bore ample fruit in the richness of allusion and brilliancy of illustration that marked " the literary style of his mature years. He could have written Sir " Charles Grandison from memory, and in 1849 he could repeat " more than half of Paradise Lost." In 1 81 8 Macaulay entered Trinity College, Cambridge. Here he in classics and but he had an invincible won prizes English ; distaste for mathematics. -
The Problem of Digestive Interpretation in Pope, Swift, And
Wits, Shits, and Crits: The Problem of Digestive Interpretation in Pope, Swift, and Fielding A dissertation submitted for a Ph.D. in English literature Cornell University Christina Susanna Black August 2018 C.S. Black Wits, Shits, Crits 1 © 2018 Christina Susanna Black C.S. Black Wits, Shits, Crits 2 WITS, SHITS, AND CRITS: THE PROBLEM OF DIGESTIVE INTERPRETATION IN POPE, SWIFT, AND FIELDING Christina Susanna Black, Ph.D. Cornell University 2018 My readings of the abundant ingestion and excretion themes in literary works by Fielding, Swift, Montagu, and Pope propose that we can understand these topics as sustained metaphors for the bipartite issues of readers' consumption and writers' incorporation of a literary heritage into these texts. These issues were particularly salient in early eighteenth-century Britain, as printed texts become more broadly available and affordable, and readers could no longer be relied upon to have a top education and sophisticated tools of analysis. Authors like Fielding and Swift also were experimenting in new forms like the novel that had no standards for analysis. These authors were interested in and concerned about how their work and that of their contemporaries would stand up to future scrutiny. How did the changing economic incentives for writing, from courting wealthy patrons to selling in mass volume to unknown readers, affect literature’s claim to everlasting value? Pope was the first English author to earn a sustainable living from his writings, but that new economic viability also spawned Grub Street hack writing, not to mention unsavory publishing practices. In this historical context, sustained metaphors of eating and digesting were a playfully denigrating way for these writers to investigate what it meant to write for consumers, even as the metaphors also revivified older literary traditions and genres by incorporating them into modern contexts. -
Milton, Anna Letitia Barbauld, and Anne Grant in the Eighteen Hundreds Justin Stevenson
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Summer 2015 Sin, History, and Liberty: Milton, Anna Letitia Barbauld, and Anne Grant in the Eighteen Hundreds Justin Stevenson Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Stevenson, J. (2015). Sin, History, and Liberty: Milton, Anna Letitia Barbauld, and Anne Grant in the Eighteen Hundreds (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1238 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. SIN, HISTORY, AND LIBERTY: MILTON, ANNA LETITIA BARBAULD, AND ANNE GRANT IN THE EIGHTEEN HUNDREDS A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Justin J. Stevenson August 2015 Copyright by Justin J. Stevenson 2015 ii SIN, HISTORY, AND LIBERTY: MILTON, ANNA LETITIA BARBAULD, AND ANNE GRANT IN THE EIGHTEEN HUNDREDS By Justin J. Stevenson Approved July 14, 2015 ________________________________________ Susan K. Howard, Ph.D. Associate Professor of English (Committee Chair) ________________________________________ Laura Engel, Ph.D. Associate Professor of English (Committee Member) ________________________________________ Danielle A. St. Hilaire, Ph.D. Assistant Professor of English (Committee Member) ________________________________________ Greg Barnhisel, Ph.D. Associate Professor of English Chair, English Department ________________________________________ James P. Swindal, Ph.D. Dean, McAnulty College and Graduate School of Liberal Arts iii ABSTRACT SIN, HISTORY, AND LIBERTY: MILTON, ANNA LETITIA BARBAULD, AND ANNE GRANT IN THE EIGHTEEN HUNDREDS By Justin J. -
Cooper's Hill to Windsor-Forest
RICE UNIVERSITY MYTHIC PEACE AND PLENTY: COOPER’S HILL TO WIWDBOR-FOKEBT by Clifford Earl Ramsey, III A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DECREE OF MASTER OF ARTS Houston, Texas June, 1961 CONTENTS FOREWORD 1 ONE —THE MYTHICAL CONCEPTION OF HISTORY . 1 TWO —POEMS OF PEACE AND PLENTY FROM COOPER1 S HILL TO WINDSOR-FOREST ................ 8 THREE—AFTER WINDSOR-FOREST. .46 NOTES .56 BIBLIOGRAPHY 66 FOREWORD This study is an Investigation of a sub-species of seventeenth and eighteenth century English poetry — a group of poems that I believe constitutes a "tradition" in the literature of the period* In this essay I call these works Poems of Peace and Plenty, and 1 attempt to charac¬ terize the Peace and Plenty tradition by describing its es¬ sential elements* X am more concerned vrith "content" than "form," so my analysis will focus for the most part on themes and motifs. Although I will describe an apparently uniform pattern, almost no individual poem conforms completely to the somewhat idealized configuration which I have extrapo¬ lated. Nor can all the poems I use for evidence or illus¬ tration be called Poems of Peace and Plenty. Of the too poems 1 have chosen as the terminal points of this study, Cooper^ Hill is only inchoately a poem of Peace and Plenty, but Windsor-Forest on the other hand is possibly the one work which most fully conforms to the Peace and Plenty pat¬ tern. For this reason these two poems, though arbitrarily selected, mark off rather meaningful limits for an analysis of this type of poetry. -
Compiled and Circulated By: Mr
Compiled and Circulated by: Mr. Manas Barik, Faculty member in Dept. of English, Narajole Raj College ============================================== ALEXANDER POPE: AN INTRODUCTION Alexander Pope has been praised by William J. Long and writes that he was, in his time, ‘ “the poet” of a great nation’. Regarding the disadvantages of Pope, David Daiches, in A Critical History of English Literature, writes: “Pope was a Roman Catholic at a time when Roman Catholics in England still suffered Civil disabilities; he was also sickly malformed”. However, Daiches also opines that these disadvantages might have gone on to contribute to Pope’s unique individuality “as opposed to what one might call the social and Augustan qualities” Regarding Pope’s poetic achievements Long asserts, “ There is hardly an ideal, a belief, a doubt, a fashion, a whim of Queen Anne’s time, that is not neatly expressed in his poetry” Pat Rogers observes how his works reflect: the most urgently debated topics of the moment, whether war and peace, the Jacobite risings, the South Sea Bubble, the Atterbury plot, the Excise crisis or the development of the patriot opposition to Walpole. When he wrote a poem on the highly contentious. Treaty of Utrecht in 1713, along with dozens of willing poetasters, his work Windsor-Forest stood almost alone in mentioning the notorious slave contract that formed part of the diplomatic deal. Pope was born in London in 1688, the year of the Revolution. His parents were both Catholics, who presently removed from London and settled in Binfield, near Windsor, where the poet’s childhood was passed. Partly because of an unfortunate prejudice against Catholics in the public schools, partly because of his own weakness and ================================================================== Sem. -
Some Linguistic Aspects of the Heroic Couplet in the Poetry Op Phillis Wheatley
SOME LINGUISTIC ASPECTS OF THE HEROIC COUPLET IN THE POETRY OP PHILLIS WHEATLEY APPROVED: Graduate Committee; Major Profess Co Lttee Member) ColmLttee Membe -J- . nirecf^F~of G r aHuli t e^STu d"l es"*Ti;T~E n g 1 i sh " Sean of the Graduate Schoo1 Holder, Kenneth R., Some Linguistic Aspects of the Heroic Couplet in the Poetry of Phillis Wheatley. Doctor of Philosophy (English), August, .1973, 288 pp., 8 tables, bibliography, 69 titles, This dissertation is an examination of the charac- teristics of Phillis Wheatley1s couplet poems in the areas of meter, rhyme, and syntax. The metrical analysis em- ploys Morris Halle and Samuel Jay Keyser's theory of iambic pentameter, the rhyme examination considers the various factors involved in rhyme selection and rhyme function, and the syntactic analysis is conducted within the theoretical framework of a generative grammar similar to that proposed in Noam Chomsky's Aspects of the Theory of Syntax (1965). The findings in these three areas are compared with the characteristics of a representative sample of the works of Alexander Pope, the poet who sup- posedly exerted a strong influence on Wheatley, a black eighteenth century American poet. Metrically, Wheatleyfs poems have a very low complexity rating. The mean number of Kalle-Keyser correspondence violations per line is 1.9. She rigorously adheres to the standard ten-syllable line, making frequent use of elision to attain this syllable count. The initial trochee is a 2 frequent variation of the Iambic stress pattern and the caesura expectedly appears after the fourth,, fifth, or sixth syllable in the vast majority of her lines. -
Life and Works of Alexander Pope Dr Atal Kumar Department of English
Life and Works of Alexander Pope Dr Atal Kumar Department of English Gaya College, Gaya Alexander Pope, the greatest poet and verse satirist of the Augustan Period, was born to Alexander Pope and Edith Turner on May 21, 1688, in London where his Roman Catholic father was a prosperous linen merchant. He had a Catholic upbringing. Ironically, young Pope was born at a time when rights of the Catholics to teaching, education, voting and holding public office was banned due to the enactment to the Test Acts which uplifted the status of the Church of England. After the Glorious Revolution of 1688 his family moved out of London and settled about 1700 at Binfield in Windsor Forest. He had little formal schooling, largely educating himself through extensive reading. Additionally, he equipped himself with studying various languages. It was with the know-how of the language that he read works of various poets as such English, French, Italian, Latin and Greek. Sir William Trumbull, a retired statesman of literary interests who lived nearby, did much to encourage the young poet. So did the dramatist and poet William Wycherley and the poet-critic William Walsh, with whom Pope became acquainted when he was about 17 and whose advice to aim at "correctness" contributed to the flawless texture and concentrated brilliance of Pope's verse. A sweet-tempered child with a fresh, plump face, Pope contracted a tubercular infection in his later childhood and never grew taller than 4 feet 6 inches. He suffered curvature of the spine and constant headaches. His features, however, were striking, and the young Joshua Reynolds noticed in his "sharp, keen countenance … something grand, like Cicero's." His physical appearance, frequently ridiculed by his enemies, undoubtedly gave an edge to Pope's satire; but he was always warmhearted and generous in his affection for his many friends. -
Pope's Versification
APPENDIX Pope's Versification Probably no factor has contributed so much to the ups and downs of Pope's reputation as his versification. Considered as little short of miraculous in his own day, it became the butt of Romantic scorn: Keats thought the end-stopped heroic couplet puerile ('They sway'd about upon a rocking horse,/And thought it Pegasus') and viewed its construction as a matter of mere carpentry ('ye taught a school/Of dolts to smooth, inlay, and clip, and fit/fill, like the certain wands of Jacob's wit/Their verses tallied. Easy was the task:/A thousand handicraftsmen wore the mask/Of Poesy'). Respect fot Pope's formidable skills has reasserted itself, particu larly among specialists, but the first-time reader of Pope may well find himself back on Keats's rocking horse when he attempts to read the verse aloud. He may also be inclined to second the accusation of 'carpentry', when he sees from the footnotes of the Twickenham edition how many of Pope's lines are constructed out of parts of others. This appendix attempts to put these objections in perspective. (a) MONOTONY The 'rocking-horse' sensation of the heroic couplet begins in the eye of the modern reader, which is strongly drawn to the final rhyme. Pope's rhythms are actually subtle and carefully graded within the line according to the subject; as when he describes the torpid readers in the Dunciad, who: Thro' the long, heavy, painful page drawl on; Soft creeping, words on words, the sense compose, At ev'ry line they stretch, they yawn, they doze .. -
“Monuments of Unageing Intellect”
“Monuments of Unageing Intellect” by Melvyn New Which one of us would not dream that it might be said of his work of a lifetime: “He wrote a few good footnotes”? Simon Leys, The Hall of Uselessness. Several years ago Janine Barchas wrote an review essay of the first three volumes of the Cambridge Edition of the Works of Samuel Richardson (Eighteenth-Century Life, 38.3 [2014], 118-24), entitled “First and Last,” a title reflecting the fact that the Cambridge Works will be “the first-ever annotated edition of this author’s complete output” (my italics) and her opinion that it will be the last such print edition. Perhaps this caught my attention because in the same year I had just published the ninth and final volume of my thirty-five-year project of a scholarly edition of Laurence Sterne’s works, and had opined in its introduction that “what a scholarly editor learns, and I believe my coeditors will agree with this, is that after the final volume of the Florida Sterne, nothing remains but to start over again. A new scholarly edition of Sterne’s works will perhaps not be undertaken for another decade or two, but if Sterne is to continue to be read, his work must be edited and annotated anew for different times and new readers.” Or, just as likely, her review caught my eye because I am a coeditor of four volumes in the Richardson project, a scholarly edition of Sir Charles Grandison. Whatever the reason, I found her essay-review captivating, if also disturbing, and was even temporarily persuaded by many of her cogent arguments against the seemingly endless proliferation of very costly scholarly editions in the electronic era. -
Pope's Allusion to Paradise Lost in the Dunciad And
Of Dunces and Demons: Pope’s Allusion to Paradise Lost in The Dunciad and His Transcendence to the Tragic Thomas Bullington “Learn, ye DUNCES! not to scorn your GOD” (3.224) says Alexander Pope, in the most direct statement of his purpose in The Dunciad. Like Milton’s Paradise Lost, which aims to “justifie the wayes of God to men” (Milton 1.26), Pope’s mock epic, in a sense, intends to “unjustify” the ways of Dunces; Pope’s end is satirical, and is served by his allusions to Paradise Lost. Of all the epics whose allusions Pope weaves into The Dunciad, Paradise Lost figures most prominently because of its centrality to this meaning: duncery is essentially the perversion of the light of reason, a perversion which, in Pope’s satirical vision, essentially unmakes human civilization. This intellectual apocalypse concluding Pope’s mock epic is, in many ways, an ironic completion of Milton’s epic: whereas Milton depicts the unfolding of Providence to us in Books XI and XII, Pope adds to that Providence a secular sort of Second Coming, in the form of Dulness returning the earth to the Chaos and Night whence it was created, constantly referring back to Milton’s epic to remind us of the tradition in which his mock epic falls. Pope’s engagement with Milton, in a similar manner, brings Miltonic themes from the authentically epic world of Pope’s poetic predecessor to the mock epic world of Pope’s present, but this transfer is not without its problems. Pope’s politics are strongly allied with the Tories, whereas Milton’s are republican; Pope is Catholic, and Milton is decidedly Protestant, almost Puritan. -
Alexander Pope 1 Alexander Pope
Alexander Pope 1 Alexander Pope Alexander Pope Alexander Pope (c. 1727), an English poet best known for his Essay on Criticism, The Rape of the Lock and The Dunciad Born 21 May 1688 London Died 30 May 1744 (aged 56) Twickenham (today an incorporated area of London) Occupation Poet Signature Alexander Pope (21 May 1688 – 30 May 1744) was an 18th-century English poet, best known for his satirical verse and for his translation of Homer. Famous for his use of the heroic couplet, he is the third-most frequently quoted writer in The Oxford Dictionary of Quotations, after Shakespeare and Tennyson.[1] Alexander Pope 2 Life Early life Pope was born to Alexander Pope (1646–1717), a linen merchant of Plough Court, Lombard Street, London, and his wife Edith (née Turner) (1643–1733), who were both Catholics.[3] Edith's sister Christiana was the wife of the famous miniature painter Samuel Cooper. Pope's education was affected by the recently enacted Test Acts, which upheld the status of the established Church of England and banned Catholics from teaching, attending a university, voting, or holding public office on pain of perpetual imprisonment. Pope was taught to read by his aunt, and went to Twyford School in about 1698/99.[3] He then went to two Catholic schools in London.[3] Such schools, while illegal, were tolerated in some areas.[4] A likeness of Pope derived from a portrait by [2] In 1700, his family moved to a small estate at Popeswood in Binfield, William Hoare Berkshire, close to the royal Windsor Forest.[3] This was due to strong anti-Catholic sentiment and a statute preventing Catholics from living within 10 miles (16 km) of either London or Westminster.[5] Pope would later describe the countryside around the house in his poem Windsor Forest.