“Disrespectful and Too Familiar”? Abbreviations As an Index of Politeness in Eighteenth-Century Letters1
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Microfilms Internationa! 300 N
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Public Spirit and Public Order. Edmund Burke and the Role of the Critic in Mid- Eighteenth-Century Britain
Public Spirit and Public Order. Edmund Burke and the Role of the Critic in Mid- Eighteenth-Century Britain Ian Crowe A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. Chapel Hill 2008 Approved by: Advisor: Professor Jay M. Smith Reader: Professor Christopher Browning Reader: Professor Lloyd Kramer Reader: Professor Donald Reid Reader: Professor Thomas Reinert © 2008 Ian Crowe ALL RIGHTS RESERVED ii ABSTRACT Ian Crowe: Public Spirit and Public Order. Edmund Burke and the Role of the Critic in Mid- Eighteenth-Century Britain (Under the direction of Dr. Jay M. Smith) This study centers upon Edmund Burke’s early literary career, and his move from Dublin to London in 1750, to explore the interplay of academic, professional, and commercial networks that comprised the mid-eighteenth-century Republic of Letters in Britain and Ireland. Burke’s experiences before his entry into politics, particularly his relationship with the bookseller Robert Dodsley, may be used both to illustrate the political and intellectual debates that infused those networks, and to deepen our understanding of the publisher-author relationship at that time. It is argued here that it was Burke’s involvement with Irish Patriot debates in his Dublin days, rather than any assumed Catholic or colonial resentment, that shaped his early publications, not least since Dodsley himself was engaged in a revision of Patriot literary discourse at his “Tully’s Head” business in the light of the legacy of his own patron Alexander Pope. -
Te Sequor: a Study of Pope's Observations on the Iliad of Homer
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Fall 2011 Te Sequor: A Study of Pope's Observations on The Iliad of Homer Drew Nathaniel Keane Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Recommended Citation Keane, Drew Nathaniel, "Te Sequor: A Study of Pope's Observations on The Iliad of Homer" (2011). Electronic Theses and Dissertations. 185. https://digitalcommons.georgiasouthern.edu/etd/185 This thesis (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. TE SEQUOR: A STUDY OF POPE’S OBSERVATIONS ON THE ILIAD OF HOMER by DREW NATHANIEL KEANE (Under the Direction of J. B. Griffin) ABSTRACT Although has been written on Pope’s translation of the Iliad, little has been written directly on his commentary, which comprise more than half of Pope’s work. This study seeks to correct this neglect and argues that Pope’s commentary is a vital part of his Iliad. I examine Pope’s place among English and French poets and commentators, the epic tradition, and Pope’s understanding of the commentator’s role. INDEX WORDS: Pope, Alexander, Iliad, Homer, Epic, Eighteenth century, Translation, Commentary 1 TE SEQUOR: A STUDY OF POPE’S OBSERVATIONS ON THE ILIAD OF HOMER by DREW NATHANIEL KEANE B.A., Johnson University, 2009 A Thesis Submitted to the Graduate Faculty of Georgia Southern University in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS STATESBORO, GEORGIA 2011 2 © 2011 DREW NATHANIEL KEANE All Rights Reserved 3 TE SEQUOR: A STUDY OF POPE’S OBSERVATIONS ON THE ILIAD OF HOMER by DREW NATHANIEL KEANE Major Professor: J. -
Introduction: Pope and Berkeley
Notes Introduction: Pope and Berkeley 1. The study of iconic relations in language and literature is ongoing in, for example, The Motivated Sign: Iconicity in Language and Literature 2, ed. Olga Fischer and Max Nänny (Amsterdam and Philadelphia: John Benjamins, 2001). 2. ‘An Essay on Translated Verse’, l. 345, in Augustan Critical Writing, ed. David Womersley (Harmondsworth: Penguin, 1997), p. 118. 3. Ovid’s Metamorphosis Englished, trans. George Sandys (London: W. Stansby, 1626), pp. 54–5. This is one of the first books Pope read, and one that he ‘liked extremely’. See Joseph Spence, Observations, Anecdotes, and Characters of Books and Men, ed. James M. Osborn, 2 vols (Oxford: Clarendon Press, 1966), I, 14, No. 30. 4. Rousseau’s emphasis on the difficulty of ‘inventing’ language serves the important rhetorical purpose of forcing his readers to consider just how long and complex a process human evolution is. See A Discourse on Inequality, trans. Maurice Cranston (Harmondsworth: Penguin, 1984), pp. 92–7, p. 93. 5. Gregory A.F. Hollingshead, George Berkeley and English Literature of the Eight- eenth Century 1710–1770 With Special Reference to Swift, Pope, Blackwell, and Smart, PhD, University of London, 1974, p. 39. Hollingshead offers an overview of the friendship, pp. 35–45. 6. For attributions of Guardian papers to Pope and Berkeley, see The Guardian, ed. John Calhoun Stephens (Lexington, Kentucky: The University Press of Kentucky, 1982), pp. 26–8, and David Berman, George Berkeley: Idealism and the Man (Oxford: Clarendon Press, 1994), p. 77. 7. Benjamin Rand, ed., Berkeley and Percival: The Correspondence of George Berkeley afterwards Bishop of Cloyne and Sir John Percival afterwards Earl of Egmont (Cambridge: Cambridge University Press, 1914), p. -
Masculinity and Danger on the Eighteenth-Century Grand Tour
Masculinity and Danger on the Eighteenth-Century Grand Tour SARAH GOLDSMITH Masculinity and Danger on the Eighteenth-Century Grand Tour New Historical Perspectives is a book series for early career scholars within the UK and the Republic of Ireland. Books in the series are overseen by an expert editorial board to ensure the highest standards of peer-reviewed scholarship. Commissioning and editing is undertaken by the Royal Historical Society, and the series is published under the imprint of the Institute of Historical Research by the University of London Press. The series is supported by the Economic History Society and the Past and Present Society. Series co-editors: Heather Shore (Manchester Metropolitan University) and Jane Winters (School of Advanced Study, University of London) Founding co-editors: Simon Newman (University of Glasgow) and Penny Summerfield (University of Manchester) New Historical Perspectives Editorial Board Charlotte Alston, Northumbria University David Andress, University of Portsmouth Philip Carter, Institute of Historical Research, University of London Ian Forrest, University of Oxford Leigh Gardner, London School of Economics Tim Harper, University of Cambridge Guy Rowlands, University of St Andrews Alec Ryrie, Durham University Richard Toye, University of Exeter Natalie Zacek, University of Manchester Masculinity and Danger on the Eighteenth-Century Grand Tour Sarah Goldsmith LONDON ROYAL HISTORICAL SOCIETY INSTITUTE OF HISTORICAL RESEARCH UNIVERSITY OF LONDON PRESS Published in 2020 by UNIVERSITY OF LONDON PRESS SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU © Sarah Goldsmith 2020 The author has asserted her right under the Copyright, Designs and Patents Act 1988 to be identified as the author of this work. -
Alexander Thistlethwayte's Books in Winchester College Fellows' Library
THE LEGACY OF AN EIGHTEENTH-CENTURY GENTLEMAN: ALEXANDER THISTLETHWAYTE’S BOOKS IN WINCHESTER COLLEGE FELLOWS’ LIBRARY by CARLY EMMA WATSON A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English School of English, Drama and American & Canadian Studies College of Arts and Law University of Birmingham November 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis investigates the donation of books made by Alexander Thistlethwayte (?1718– 1771), a Hampshire grandee and bibliophile, to the Fellows’ Library of Winchester College, the oldest of the English public schools. The first two chapters demonstrate the largely untapped potential of two unique books in the Thistlethwayte benefaction to advance scholarly understanding of topics relating to the copying and transmission of early modern literary texts. The second part of the thesis examines the collecting habits which shaped the physical configuration of Thistlethwayte’s books and the contents of his library. Chapter Three rediscovers the role of the anthology in late seventeenth- and eighteenth-century cultures of compilation, through a comparison of Sammelbände assembled by Thistlethwayte with those that he acquired from an Oxford graduate of the 1690s. -
The Divan Club, 1744-46’, EJOS, IX (2006), No
Publication Data: Finnegan, Rachel, ‘The Divan Club, 1744-46’, EJOS, IX (2006), No. 9, 1- 86. ISSN 0928-6802 © Copyright 2006 Rachel Finnegan All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the author. THE DIVAN CLUB, 1744-46 Rachel Finnegan Preface It is paradoxical that a woman, Lady Mary Wortley Montagu (1689- 1762), was indirectly one of the major influences in the establishment of the all-male Turkish Club, better known as the Divan Club. Formed in January, 1744, and surviving for only twenty-eight months, this association was a dining club exclusive to gentlemen who had made a voyage to Turkey. While she is never named in Al-Koran (the society’s only extant record),1 Lady Mary’s memory (notably from her observations on life in the seraglio) is evoked in its most significant ritual: the official toast, “The Harem”. This monograph examines Al-Koran as an important, if little-known, document pertaining to the popular subject of eighteenth-century travel and travellers, particularly the remarkable individuals whose Grand Tours were extended to the Ottoman Empire.2 With this in mind, this study considers the manuscript against the background of its wider historical and social context. The introductory chapter (‘Eighteenth-Century Travel to Turkey’) examines 1 Al-Koran, the Minute Book of Divan Club, is among the family papers of John Montagu, Earl of Sandwich, whose eponymous ancestor, the 4th Earl, was its founder member. -
Natural Genius” in the Late Eighteenth- Century Verses of Ann Yearsley and James Woodhouse
“But Genius is the special Gift of God!”: The Reclamation of “Natural Genius” in the Late Eighteenth- Century Verses of Ann Yearsley and James Woodhouse Steve Van-Hagen Accepted manuscript PDF deposited in Coventry University’s Repository Original citation: Steve Van-Hagen (2017). “But Genius is the special Gift of God!”: The Reclamation of “Natural Genius” in the Late Eighteenth-Century Verses of Ann Yearsley and James Woodhouse. In John Goodridge and Bridget Keegan (Eds.), A History of British Working- Class Literature (pp. 55-69). Publisher: Cambridge University Press Copyright © and Moral Rights are retained by the author(s) and/ or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. 1 Chapter 4 “But Genius is the special Gift of God!”: the Reclamation of “Natural Genius” in the Late Eighteenth-Century Verses of Ann Yearsley and James Woodhouse Steve Van-Hagen Throughout the eighteenth century, patrons claimed that laboring-class poets were worthy of readers’ attention because the latter allegedly possessed “natural genius,” an idea defined and debated by Joseph Addison, Joseph Spence, William Sharpe, Joseph Warton, Edward Young, Alexander Gerard, William Duff, and others.1 “‘Genius’,” as Tim Burke has observed, is a term “whose highly specialized sense in the eighteenth century has become diluted in our own.”2 There are two inter-related aspects of that sense that I wish to examine in this chapter, those of “natural” and “original genius” respectively. -
Gothic Architecture, Sexuality, and License at Horace Walpole's Strawberry Hill Matthew M
Gothic Architecture, Sexuality, and License at Horace Walpole's Strawberry Hill Matthew M. Reeve You will express yourself in your home whether you want to or immortality after his death. Not only did he frequently allude not.—Elsie de Wolfe, The House in Good Taste, to his house as a lover to whom he was singularly faithful,^ thereby enacdng the central trope of narcissism, but he often The New York interior designer's famous proclamadon joked that his architectural self would leave as litde to pos- might serve as a warning to all patrons of domestic architec- terity as his physical self ("I am no poet, and my casde is of ture and interiors. Its admonitory message applies particu- paper, and my casde and my attachment and I, shall soon larly to "eccentric" men of taste, such as Horace Walpole vanish and be forgotten together!").'^ The symbiotic relafion- (1717-1797), whose life and home, the neo-Gothic villa ship between Walpole and Strawberry Hill was a dominant called Strawberry Hill in Twickenham, near London, have mythology of the house in the eighteenth century: a harshly been subject to sustained critical attention from his own day pardsan cridque, for example, called it "a picttire of the to the present. The house's design and decorafion emerged master's mind" in which there was "nothing great," however from close collaboration within his coterie of male friends filled with "elegant knowledge" and presented with "superior between about 1747 and 1777, particularly the designers polish and amusement."'^ John Chute (1701-1776) and Richard Bentley (1708-1772), Cridcal inquiry on Strawberry Hill culminated in its recent and a number of prominent architects, including Robert and ongoing restoration, the 2009-10 exhibitions at the Adam (Eig. -
1 Classical and Renaissance Themes in English Landscape Gardens
Proceedings of The National Conference On Undergraduate Research (NCUR) 2020 Montana State University, Bozeman MT March 26-28, 2020 “A Taste Which Has Obtained So Much Among Us of Late”1 Classical and Renaissance Themes in English Landscape Gardens Eliza Rosebrock Art History The University of North Carolina at Greensboro 1400 Spring Garden Street Greensboro, North Carolina 27412 USA Faculty Advisor: Dr. Heather Holian Abstract Like many other aesthetic components of culture, garden design follows fashions and trends, some of which come in multiple waves. In the Italian Renaissance, especially from the fourteenth to the sixteenth century, it was fashionable both to look back to the gardens of ancient Greece and Rome and to frame the design of a garden within the perspective of Humanist thought. Gardens were thus kept in line with the overall intellectual and philosophical movements of their respective periods. In the eighteenth century, English landscape gardens and those who designed and commissioned them referenced both the classical gardens of ancient Greece and Rome and Italian Renaissance gardens, often conflating the two. This paper will examine how garden design shifted with the rest of English culture toward this renewed interest in classical themes as they became fashionable and interesting. During the eighteenth century, Britain was drawing comparisons between itself and the ancient classical world, even calling itself a new Rome. These comparisons were rooted in politics, but to remain in the realm of what was fashionable in the rest of society, garden designers and their patrons referenced the classical world, too. However, their designs were often based on their own romanticized understandings and interpretations of both Italian Renaissance and ancient gardens. -
Literary Responses to Animal Experimentation in Seventeenth- and Eighteenth-Century Britain
Medical History, 1990, 34: 27-5 1. LITERARY RESPONSES TO ANIMAL EXPERIMENTATION IN SEVENTEENTH- AND EIGHTEENTH-CENTURY BRITAIN by ANDREAS-HOLGER MAEHLE * The fact that British men of letters in the seventeenth and eighteenth centuries commented on the subject of animal experimentation is well known. Apart from anti-vivisectionists and modern advocates of animal rights, who have been keen to cite the most critical of these responses,' scholars have considered them in three main areas of research. In the history of ideas some of those literary sources have been used to elucidate the origins of animal protection and the development of man's relationship to the animal world.2 In the history of literature itself they have sometimes been helpful in analysing the interaction between the so-called "New Science", i.e. the science following Francis Bacon's programme of observation and experiment, and contemporary literature.3 And recently, in the history of medicine, *Dr Andreas-Holger Maehle, Institut fur Geschichte der Medizin der Georg-August-Universitat G6ttingen, Humboldtallee 11, 3400 Gottingen, Federal Republic of Germany. I owe special thanks to Professor Ulrich Trohler, Gottingen, and to Dr N. A. Rupke, Oxford, for substantial advice on preparing this paper. i See 'Samuel Johnson', Zoophilist, 1884,3: 288; 0. A. Ellissen, 'Samuel Johnson uber Vivisektion', Tier- und Menschenfreund, 1916, 36: 85-6; John Vyvyan, In pity and in anger, London, Michael Joseph, 1969, pp. 24-6, 34, 142; Peter Singer, Animal liberation, New York, New York Review, 1975, p. 221; Richard D. Ryder, 'The struggle against speciesism', in David Paterson and R. -
Alexander Pope's HOMER in Light of Milman Parry
Oral Tradition, 1/2 (1986): 381-97 Exploring the Literate Blindspot: Alexander Pope’s Homer In Light of Milman Parry Elizabeth A. Hoffman I. The lasting popularity of Alexander Pope’s Homer testifi es to the poetic genius he brought to his role as translator. In his introduction to the Twickenham Edition texts, Maynard Mack cites the “demand for new editions throughout Pope’s lifetime and for a century after” as evidence of popular acclaim, despite less consistently positive critical response (Twickenham 7:xlii). The same genius which guaranteed the success of Pope’s translation also informed his keen powers of observation as critic, and his prolonged contact with the Greek text during the translation process, from 1713 to 1726, produced insights that have yet to be fully explored. The modern clarifi cation of the distinctions between orality and literacy has provided a retrospective vantage point from which to observe the conceptual limitations of the literate mind throughout the age of literacy. A reading of Pope’s preface to his 1715 edition of the Iliad shows him making a series of distinctions between oral and literate modes of composition hardly to be found wanting by twentieth-century standards. Even as he delineates the two categories, however, he remains unable to put a name to them: one involves active, participatory communication for “Hearers,” the other passive, impersonal composition for readers. Standing on the brink of discoveries fi rst clearly articulated by Milman Parry and Albert Lord in the early decades of this century, Pope, as well as the two centuries of Homeric scholars who followed him, remained unable to penetrate to the heart of the Homeric Question.