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Rochester 151 The Theatres Licensing Act remained in force, with the Lord Chamberlain as official government censor, until 1968. ROCHESTER Whoreing and Drinking, but with good Intent (What, Timon?) The one individual who epitomises the spirit of the early Restoration is John Wilmot, Earl of Rochester. His life-style was more notorious than his writing: drunk ‘for five years together’, with sexual liaisons of every possible variety, Rochester represented the kind of scandalous extremes of behaviour which both titillate and shock ‘proper’ society. In any age, if such a figure did not exist, it would be almost necessary to invent him – and his deathbed repentance, and conversion to religion, makes the story complete. Although it may be part of a myth-making process by a career chaplain, who was later to become an adviser to the Protestant King William of Orange and who is the only authority for the conversion, it also underscores the polarities of the age: excess of amorality as against excess of religiosity. The range of Rochester’s poetry is considerable. He is a clear link between the later Metaphysical poets, the Cavalier writers of love lyrics, and the Augustans, with their taste for satire. Rochester wrote in all these veins. All my past life is mine no more, The flying hours are gone; Like transitory Dreams given o’er, Whose Images are kept in store By Memory alone. (Love and Life) He is a sexually explicit poet, capable of treating a subject with both delicacy and bawdy humour. His satires are self-mocking (as in The Maimed Debauchee) as well as scurrilous about others. His observation of human folly is tinged both with a kind of world-weary tolerance and with vivid, if shocking, imagery, notably in A Satire against Reason and Mankind: Were I, who to my cost already am
152 Restoration to Romanticism 1660–1789 One of those strange, prodigious Creatures Man, A spirit free to choose for my own share What case of Flesh and Blood I’d please to wear, I’d be a Dog, a Monkey or a Bear, Or any thing but that vain Animal Who is proud of being Rational. The mocking comedy of Rochester is not far removed from the comic mode of the best Restoration drama, and his railing against the ‘Rational’ is particularly damning as the Augustan age prided itself, above all, on being rational. Rochester and the comic dramatists share a worldview that is, at the same time, able to point up enjoyment and to see its own faults. Comic point-of-view in drama and satiric intent in verse are closely related in their observation of the new society of the late seventeenth century. Instead of expanding, as it did so rapidly in the previous two centuries, the world was becoming more closed, contained and inward-looking. So the comedy and satire become self-referential, with the subject matter often being highly topical and the characters particular rather than universal. DRYDEN Soothed with the sound the king grew vain Fought all his battles o’er again (Alexander’s Feast) At a time when people were taking sides (Whig or Tory, Protestant or Catholic, middle class or aristocrat) and establishing social, political, and religious identities for themselves, it is not surprising that there should be criticisms and friction between the parties concerned. A great deal of this is found in the satire of the 1670s to the 1730s. Satire was at first largely expressed in poetry; the form of poetry perhaps tempered the virulence a little, giving the writing a degree of respectability. It was part of the age’s return to the classical precedents of the Roman Augustan age that the poetry of Horace and the Satires of the later poet Juvenal were held up as models of this kind of poem, which mocked the follies, vices, and preoccupations of the day. The ‘new’ classicism took
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The Routledge History of Literature
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First published 1997 by Routledge 1
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Contents List of illustrations Fore
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Contents ix The Gothic and the subl
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Contents xi THE TWENTIETH CENTURY:
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Illustrations Figure 1 Linguistic b
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xvi Foreword The Routledge History
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xviii Foreword and burlesque and sa
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From the earliest stages, Malcolm B
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Beowulf, the Dane, dear king of his
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6 Old and Middle English 600-1485 T
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8 Old and Middle English 600-1485 t
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10 Old and Middle English 600-1485
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22 Figure 2 The greatest extent of
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The Renaissance 1485-1660
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58 The Renaissance 1485-1660 centur
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60 The Renaissance 1485-1660 would
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62 The Renaissance 1485-1660 were n
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64 The Renaissance 1485-1660 ‘To
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66 The Renaissance 1485-1660 I find
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68 The Renaissance 1485-1660 Mid-su
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70 The Renaissance 1485-1660 and a
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72 The Renaissance 1485-1660 I had
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74 The Renaissance 1485-1660 Faustu
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76 The Renaissance 1485-1660 perfor
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78 The Renaissance 1485-1660 Greek
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80 The Renaissance 1485-1660 47); a
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82 The Renaissance 1485-1660 the Re
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84 The Renaissance 1485-1660 years
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86 The Renaissance 1485-1660 Renais
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88 The Renaissance 1485-1660 terms
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90 The Renaissance 1485-1660 Shakes
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92 The Renaissance 1485-1660 1601 2
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94 The Renaissance 1485-1660 The pu
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96 The Renaissance 1485-1660 Shakes
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98 The Renaissance 1485-1660 most o
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Page 150 and 151: Thy wars brought nothing about; Thy
Page 152 and 153: Contexts and conditions 131 Sea; no
Page 154 and 155: Early Milton 133 Revolution was the
Page 156 and 157: Early Milton 135 good and evil as t
Page 158 and 159: Early Milton 137 the hero from the
Page 160 and 161: Restoration drama 139 many lives as
Page 162 and 163: Restoration drama 141 Revenge! PIER
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Page 166 and 167: Restoration drama 145 prohibiting
Page 168 and 169: Restoration drama 147 LOVELESS No,
Page 170 and 171: Restoration drama 149 PRIM Do they
Page 174 and 175: Dryden 153 what it saw as the highe
Page 176 and 177: Dryden 155 his best, and his transl
Page 178 and 179: Pope 157 POPE True wit is nature to
Page 180 and 181: Journalism 159 And, spite of pride,
Page 182 and 183: Scottish Enlightenment, diarists an
Page 188 and 189: The novel 167 and the social awaren
Page 190 and 191: The novel 169 Each serial volume of
Page 192 and 193: The novel 171 paraphrase Pope: what
Page 194 and 195: The novel 173 polemic comes when he
Page 196 and 197: The novel 175 That kingdom he hath
Page 198 and 199: The novel 177 opportunity to set fo
Page 200 and 201: The novel 179 sentence of death. He
Page 202 and 203: Criticism 181 to do with that work.
Page 204 and 205: Johnson 183 (1712). Swift took the
Page 206 and 207: Johnson 185 There are some hostile
Page 208 and 209: Sterne, Smollett and Scottish voice
Page 216 and 217: Drama after 1737 195 MISS HARDCASTL
Page 218 and 219: Poetry after Pope 197 Thomas Gray
Page 220 and 221: Poetry after Pope 199 Nor rural sig
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Poetry after Pope 201 but by no mea
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Melancholy, madness and nature 203
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The Gothic and the sublime 209 Burk
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The Gothic and the sublime 211 conc
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The Gothic and the sublime 213 all
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Bliss was it in that dawn to be ali
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Contexts and conditions 219 and mor
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Contexts and conditions 221 economi
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Contexts and conditions 223 past, p
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Blake, Wordsworth and Coleridge 225
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Keats 235 and completing the poetic
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Keats 237 beauty but at the same ti
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Shelley 239 Keats also gives us occ
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Shelley 241 or sail around Venice.
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Byron 243 Each like a corpse within
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Byron 245 What I have done is done;
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Byron 247 Though the night was made
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Romantic prose 249 Bright yellow is
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Romantic prose 251 one of the Immor
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The novel in the Romantic period 25
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Jane Austen 255 the remotest antiqu
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Jane Austen 257 she wrote in her le
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Jane Austen 259 LANGUAGE NOTE Jane
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Scott 261 and scarcely even picture
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Scott 263 She coloured highly, and
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From Gothic to Frankenstein 265 flu
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The Scottish regional novel 267 (18
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The nineteenth century
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272 The nineteenth century of Queen
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274 The nineteenth century Smollett
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276 The nineteenth century Hard Tim
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278 The nineteenth century Podsnap
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280 The nineteenth century income a
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282 The nineteenth century cover su
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284 The nineteenth century in some
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286 The nineteenth century earlier
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288 The nineteenth century the end.
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290 The nineteenth century Charlott
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292 The nineteenth century by Dicke
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294 The nineteenth century the ‘v
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296 The nineteenth century LATE VIC
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298 The nineteenth century fathers
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300 The nineteenth century In his l
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302 The nineteenth century An old w
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304 The nineteenth century is a cla
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306 The nineteenth century there ca
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308 The nineteenth century Renaissa
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310 The nineteenth century of Doria
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312 The nineteenth century Most of
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314 The nineteenth century embellis
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316 The nineteenth century Irish; F
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318 The nineteenth century justifie
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320 The nineteenth century However,
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322 The nineteenth century mode of
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324 The nineteenth century the firs
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326 The nineteenth century Its titl
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328 The nineteenth century also saw
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330 The nineteenth century aware so
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332 The nineteenth century Stitch!
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334 The nineteenth century Her robe
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336 The nineteenth century year as
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338 The nineteenth century twentiet
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340 The nineteenth century But if y
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342 The nineteenth century we can r
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The twentieth century 1900-45
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348 The twentieth century: 1900-45
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The twentieth century 1945 to the p
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448 The twentieth century: 1945 to
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544 Timelines 802 Egbert of Wessex
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546 Timelines 1189 Accession of Kin
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548 Timelines became King Henry VI
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550 Timelines 1513 Niccolo Machiave
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552 Timelines 1578 Opening of The T
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554 Timelines 1685 Death of Charles
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556 Timelines 1811-12 The campaign
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558 Timelines the USA expanded towa
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560 Timelines USA, which demanded t
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562 Timelines conceded. The phrase
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564 Timelines policy, with enormous
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Acknowledgements W.H. AUDEN, Their
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568 Acknowledgements D.H. LAWRENCE,
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Select bibliography The following b
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572 Select bibliography Dollimore,
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574 Select bibliography Miner, Earl
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576 Select bibliography Burrow, J.W
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578 Select bibliography Sinfield, A
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580 Index Ballantyne, R(obert) M(ic
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582 Index Cockburn, Alison (c.1712-
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584 Index Gaskell, (Mrs) Elizabeth
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586 Index Keats, John (1795-1821) 1
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588 Index Morris, William (1834-96)
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590 Index Seneca, Lucius Annaeus (c
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592 Index Waugh, Evelyn (1903-66) 3
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