Mostrando entradas con la etiqueta Dryden. Mostrar todas las entradas
Mostrando entradas con la etiqueta Dryden. Mostrar todas las entradas

lunes, 22 de noviembre de 2021

3. LITERATURA INGLESA 1660-1800




Yendo un poco más deprisa, intentaremos ver (o al menos nombrar en clase... a tres autores del programa cada día. El 22 de noviembre, a Gray, Johnson y Blake; y el 23 terminamos el tema 3 con Wollstonecraft, y pasamos al 4 con Austen y Scott.

 

________________________

Mary Wollstonecraft   (1759-1797)

English woman of letters, philosopher and novelist, political thinker and educationist, major theorist of feminism. Born in London, unhappy childhood with brutal improvident father; loved Fanny Blood; self-educated schoolteacher, Dissenter, frequented Unitarian and radical circles, hack writer for Joseph Johnson, unhappy infatuation with Henry Fuseli; feminist and radical activist; travelled to France during Revolution, met Gilbert Imlay, had illegitimate daughter Fanny Imlay; rejected and exploited by Imlay, travelled to Scandinavia as his business agent, attempted suicide in Putney Bridge, rescued; friendship and marriage with William Godwin, died after giving birth to daughter Mary Godwin [later Mary Shelley]. As a feminist writer, she emphasizes the importance of education in modelling character and socially promoting the equality of women, rather than the straightforward demand of political rights for women.


_____. Thoughts on the Education of Daughters. 1787.
_____. Original Stories. Children's book. 1788.
_____. Mary: A Fiction.  1788.
 

_____, ed. The Female Reader. 1789.

_____. A Vindication of the Rights of Men.  1790.
_____. A Vindication of the Rights of Woman.  1792. 
_____. An Historical and Moral View. . . of the French Revolution.  1794.
_____. Letters Written During a Short Residence in Denmark, Norway and Sweden. 1796.
_____. Maria, or The Wrongs of Woman.  Unfinished novel. In Posthumous Works, 1798.



Nuestra lectura de Mary Wollstonecraft es una selección de Vindication of the Rights of Woman (en las fotocopias).

Aquí una presentación sobre Mary Wollstonecraft como filósofa feminista: una pequeña lección de la UNED (audio) sobre Mary Wollstonecraft y su Vindication of the Rights of Woman.

Y una biografía de Mary Wollstonecraft (audio-vídeo).

Lady Macbeth sonámbula, un cuadro de uno de los amados de Mary Wollstonecraft, el pintor romántico Henry Fuseli.

 

 Dr Kat on Mary Wollstonecraft:


 

Political writers of the 1790s:


Edmund Burke. Conciliation with the American Colonies. 1775.

_______. Reflections on the Revolution in France. 1790.

 

Richard Price. Observations on Civil Liberty. 1776.

William Godwin. Political Justice. 1793.


 

__________________


NIVEL AVANZADO: 

Mary Wollstonecraft and William Godwin.


__________________


 

_____________


Obras de William Blake  (1757-1827):


_____.  Songs of Innocence. 1789.
_____.  The Marriage of Heaven and Hell. c.1790-93.
_____.  America: A Prophecy. 1793.
_____.  Visions of the Daughters of Albion. 1793.
_____.   Songs of Experience. 1794.  ("The Clod and the Pebble"; "London")
_____.  The Book of Urizen. Poem. 1794.
_____.  Europe: A Prophecy. 1794.
_____.  The Book of Los.  Poem. 1795.
_____.  The Four Zoas (Orig. Vala), written and rev. 1797-1804.

_____. "Auguries of Innocence." 1803.
_____.  Milton, a Poem in Two Books. 1804-8.
_____.  Jerusalem: The Emanation of the Giant Albion. 1804-20.

_____. "The Everlasting Gospel." 1818.

William Blake y sus grabados
en Google Images.




 
De Blake tenemos en la selección de lecturas unos poemas: "The Clod and the Pebble", "London", y "Auguries of Innocence".

- Un audio de la BBC sobre Songs of Innocence & Songs of Experience de William Blake. (Este programa de la BBC 4, In Our Time, es una excelente idea añadirlo a vuestros favoritos para practicar inglés con temas de interés cultural).

 

 

 

_____________

 

NIVEL AVANZADO: A video documentary on William Blake

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Samuel Johnson  (1709-1784)

_____. "London, A Poem in Imitation of the Third Satire of Juvenal." 1738.
_____.  "The Vanity of Human Wishes: The Tenth Satire of Juvenal Imitated." 1749.
_____.  The Rambler.  London, 1750-2.
_____.  A Dictionary of the English Language: In Which the Words are Deduced from Their Originals, and Illustrated in Their Different Significations by Examples from the Best Writers.   2 vols. London, 1755. 
_____.  The Idler.  Periodical. 1758-60.
_____.  The History of Rasselas, Prince of Abisinia.  Novel. 1759.
_____, ed. The Plays of William Shakespeare, with Notes, etc.  1765. ("Preface to Shakespeare")
_____.  Lives of the English Poets.  1778-1780. 
_____.  Prayers and Meditations. 1785.



Prose in the Age of Reason
(Anthony Burgess).

Dos conferencias: Johnson y Boswell.

De Johnson tenemos una selección de lecturas en las fotocopias.


_______________________

NIVEL AVANZADO:


- The Age of Johnson (video lecture)



- Un documental sobre Samuel Johnson: https://youtu.be/IpVP8ezoVlM

- Samuel Johnson as critic (video lectures). 

 

From Johnson's Club:

 

James Boswell. The Life of Samuel Johnson. 1791.


Oliver Goldsmith, The Citizen of the World. Essays. 1760s.

_____. The Vicar of Wakefield. Novel. 1766.

_____. The Deserted Village. Poem. 1770.

_____. She Stoops to Conquer. Drama. 1771. 

 


 



________________





Thomas Gray  (1716-1771)


_____. "Ode on the Spring." 1742.
_____. "Ode to Adversity." 1742.
_____. "Ode on a Distant Prospect of Eton College." 1742.
_____. "Elegy Written in a Country Churchyard."  Written 1742-50. Pub. 1751.
_____. "The Progress of Poesy." Ode. Written. 1754. Pub. 1757.
_____.  "The Bard." Ode. Written 1754-57. Pub. 1757.
_____. "The Triumphs of Owen." Poem. Written c. 1764. Pub. 1768.
_____. "The Fatal Sisters. From the Norse Tongue."  Poem. Written 1761. Pub. 1768.
_____. "The Descent of Odin." Poem. Poem. Written 1761. Pub. 1768.
_____. Poems. 1768.
1775.

 _____. Journal in the Lakes. Written 1769, pub. 1775.
_____.  Journal in France. Written 1739. Posthumous.

 

Leeremos de Gray el poema incluido en las fotocopias, "Elegy Written in a Country Churchyard".

 

_______________

Other poets of the "age of sensibility", the Graveyard School and pre-Romantics:

 

James Thomson, The Seasons. 1730.

 

Edward Young, Night Thoughts. 1745.

 

William Collins, "Ode to Evening." 1746. 


William Cowper, The Task. 1775.

____. "The Castaway". 1799. 

 

James MacPherson. The Works of Ossian son of Fingal. 1765.

 

Thomas Chatterton. Poems, Supposed to Have Been Written at Bristol, by Thomas Rowley. 1777. 


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NIVEL AVANZADO:  Gray y sus coetáneos

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15 de noviembre: Textos de Defoe y Swift

16 de noviembre: El plan es hablar de Richardson, Fielding y Sterne. Si llegamos a tanto, pero hay que ir deprisa.

Mientras,

 

En la sección B (Siglo XX, estudio fuera de aula) seguimos añadiendo materiales, ya para dar fin a la Unidad 7.

____________________________________



 

 

 







Laurence Sterne (1713-1768)

 
English novelist, b. Ireland, studied in Cambridge; Anglican priest in Yorkshire, unfortunate and scandalous marriage; follower of Rabelais and Cervantes; of Burton, Locke and Swift; satirical and sentimental prose writer, humourist student of character and experimental psychological novelist; parodist of pedantry and erudition combined with sexual allusions; he often appears as 'Yorick' in his works; success with Tristram Shandy, unhappy love story with 'Eliza'; travelled in Europe with poor health.
_____. A Political Romance. 1759.
_____. The Life and Opinions of Tristram Shandy, Gentleman.  Novel. 9 vols. 1759-67.
_____. Sermons. 7 vols. 1760-1769.
_____. A Sentimental Journey through France and Italy, by Mr Yorick. Travel book. 1761.
_____. Letters from Yorick to Eliza. 1773.


Some introductory notes on Sterne.

Tenemos en las fotocopias una selección de páginas de Tristram Shandy.
_________________________________


NIVEL AVANZADO:

- Daiches on Sterne

- La aporía temporal de Tristram Shandy



Otros novelistas significativos de finales del siglo XVIII son:


Frances Burney, Evelina. 1778.

_____. Cecilia.  1782. 

 

- Tobias Smollett (Humphry Clinker)
- Ann Radcliffe (The Mysteries of Udolpho)

- William Godwin (Caleb Williams)


Mullan, John. "The Rise of the Novel." British Library 21 June 2018.*
__________________








 










HENRY  FIELDING         (1707-1754)

_____. The Author's Farce And the Pleasures of the Town. 1730.
_____. The Tragedy of Tragedies, or Tom Thumb the Great. 1731.
_____. The Covent Garden Tragedy. 1732.
_____. The Mock Doctor. 1732. Adaptation of Molière's Le Médecin Malgré Lui.
_____. The Miser. 1733. Adaptation of Molière's L'Avare.
_____. Don Quixote in England. Comedy. 1736.
_____. Pasquin. Farce. 1737.
_____. The Historical Register for the Year 1736. Farce. 1737.
_____. The Champion. Periodical. 1739.
_____. (Attr.). An Apology for the Life of Mrs Shamela Andrews, etc., by Conny Keyber. Parody. 1741.
_____. The History of the Adventures of Joseph Andrews, and of His Friend Mr Abraham Adams: Written in Imitation of the Manner of Cervantes, Author of "Don Quixote". Novel. 1742.
_____. A Journey from this World to the Next. Menippean satire. In Miscellanies.Vol. 2. 1743.
_____. The Life of Mr. Jonathan Wild the Great. Novel. In Fielding, Miscellanies. Vol. 3. 1743.
_____. The True Patriot. Periodical. 1745-46.
_____. The History of Tom Jones, a Foundling. Novel. 1749.
_____. Amelia. Novel. 1751.
_____. The Covent-Garden Journal. Periodical. 1752.
_____. Proposal for Making an Effectual Provision for the Poor. 1753.
_____. A Journal of a Voyage to Lisbon. 1754.



Fielding was an English novelist, dramatist and journalist; gentleman; st. Leiden; lawyer and anti-Walpole satirist; social reformer; novelist "in the style of Cervantes"; Westminster magistrate, severe illness, d. Lisbon. Some notes here.



En las fotocopias hay una selección de capítulos de Tom Jones  (I.1-5, pp. 51-61; I.9-10, 144-49; VII.1-3, 299-305)

 

NIVEL AVANZADO: An audio introduction to Tom Jones.



William Hogarth, "Canvassing for Votes"



_________________

 

 



SAMUEL RICHARDSON     (1689-1761)

Major English novelist, began as London printer apprentice, later prosperous self-made businessman; family man, distressed by death of many children and wife; remarried, had nervous disorders; master printer of London and bourgeois novelist; developed sentimental epistolary novel with psychological and "feminist" interest. 

_____. Letters Written to and for Particular Friends, on the most important Occasions. Directing not only the Requisite Style and Forms to be observed in Writing Familiar Letters; but how to think and act justly and prudently, in the common Concerns of Human Life. 1741.
_____. [Unsigned] Pamela, or Virtue Rewarded.  Novel. 1740.
_____. Pamela in Her Exalted Condition. Novel. 1741.
_____. Clarissa, or, The History of a Young Lady.  Novel. 8 vols. 1747-48. 
_____. The History of Sir Charles Grandison. Novel. 1753-4.



Tenéis en las fotocopias una selección de Pamela (letters i-xii, pp. 43-57)

 

 

 
Some notes here: 

AN INTRODUCTION TO SAMUEL RICHARDSON


 
________________________

NIVEL AVANZADO

Un audio de la BBC (In Our Time) sobre Epistolary Fiction.


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A Yahoo:


Jonathan Swift (1667-1745).

_____. The Battle of the Books.
_____.  A Tale of a Tub.  Satire. Written 1696-8. Pub.1704, 1710.
_____, ed. The Examiner (Bolingbroke’s Tory newspaper). 1710. Written 1696-8. Pub. 1704.
_____. Journal to Stella. 1710-1713. Pub. 1766-8.
_____. Proposal for the Universal Use of Irish Manufacture. Pamphlet. 1720.
_____. Travels into Several Remote Nations of the World, by Lemuel Gulliver. Written 1721-25. London, 1726. (a.k.a. Gulliver's Travels)
_____. The Drapier's Letters. Pamphlet series. 1724.
_____. A Modest Proposal for Preventing the Children of Poor People from Being a Burthen to Their Parents or Country. 1729.
_____. "Verses on the Death of Dr. Swift." Satire. 1731, pub. 1739.
_____. Works. 4 vols. Dublin: George Faulkner, 1735.



Some notes on Swift and on other prose writers of the early 18th c.

_______________

NIVEL AVANZADO: A lecture on Jonathan Swift's life and world.

Cazamian: Universal Criticism: Arbuthnot and Swift

_______________

 







Daniel Defoe (1660-1731)  (Daniel Foe to 1695)

_____. An Essay upon Projects.  1697.
_____. Enquiry into the Occasional Conformity of Dissenters. Pamphlet. 1698.
_____. Legion's Memorial to the House of Commons. Pamphlet. 1701.
_____. The True-Born Englishman.  Satirical poem. 1701.
_____. The Shortest Way with the Dissenters. Hoax pamphlet. 1702.
_____. Hymn to the Pillory. Satirical poem. 1702.
_____. The Review. Journalism. 1704-13.
_____. True Relation of the Apparition of one Mrs. Veal.
Tale. 1706.
_____. Mercator, or Commerce Retriev'd. Journal. 1713-14.
_____. The Life and Strange Surprizing Adventures of Robinson Crusoe,of York, Mariner. Memoir novel. 1719. 
_____. The Farther Adventures of Robinson Crusoe: Being the Second and Last Part of his Life. Narrative. 1719.
_____. Serious Reflections during the Life and Surprising Adventures of Robinson Crusoe: With his Vision of the Angelick World.  1720.
_____. The Memoirs of a Cavalier. Memoir novel. 1720.
_____.  Captain Singleton.  Memoir novel.  1720.
_____. The Fortunes and Misfortunes of the Famous Moll Flanders. Memoir novel. 1722. 
_____.  Colonel Jacque.  Memoir novel.  1722.
_____. A Journal of the Plague Year. Apocryphal memoir. 1722.
_____. Religious Courtship. Moral treatise. 1722.
_____. Roxana, The Fortunate Mistress. Memoir novel. 1724.
_____. A Tour Through the Whole Island of Great Britain. Guide book.  3 vols. 1724-26.
_____. The Complete English Tradesman. Non-fiction. 1726.
_____. A Plan of the English Commerce. Non-fiction. 1728.
_____. The Complete English Gentleman.  Non-fiction. 1729, pub. 1890.




_______________________


Some notes on Daniel Defoe and his works.

Un clásico del cine aragonés sobre la novela más famosa de Defoe. Robinson Crusoe,  de Luis Buñuel (1952).


Una introducción panorámica a la historia y expansión del Imperio Británico.


________________________
 
NIVEL AVANZADO:
 
-  Un audio de la BBC sobre Robinson Crusoe (In Our Time).
 
- Queen Anne Prose (notes from Saintsbury). 
________________________ 
 
 
 


Alexander Pope:


Some works by

ALEXANDER POPE     (1688-1744)

(English poet, son of a Catholic businessman; small and crook-backed, poor health; l. unmarried in Twickenham; Catholic/deist, associated first with Whigs and soon with Scriblerus club of Tory satirists; friend of Gay, Swift, Arbuthnot, Bolingbroke; quarrelsome man of letters, conservative Tory critic of men and manners; neoclassical model in English poetry after Dryden)

_____. Pastorals. 1709.
_____.  An Essay on Criticism.  1711. 
_____. The Rape of the Lock. First version. 1712. Enlarged ed. 1714.
_____. "Windsor Forest." 1713.
_____, trans. Iliad. 1715-20.
_____. "Epistle of Eloisa to Abelard." Poem. 1717.
_____. The Works.  1717.
_____. "Preface to The Works of Shakespear."  1725. 
_____, trans. Odyssey. 1725-26. (In collaboration)
_____.  Peri Bathous or, The Art of Sinking in Poetry.  1727. 
_____. The Dunciad. books I-III. 1728-1743.
_____. Essay on Man. 1733-1734.  (Epistle I)
_____. Epistle to Dr. Arbuthnot.  Poem. 1735.
_____. Imitations of Horace. 1737.




Introductory notes to Pope.
 

An introduction to The Essay on Man.










__________


NIVEL AVANZADO:

Pope and his elder contemporaries in verse (Saintsbury)


___________________
 






SARAH EGERTON     (1670-1723)

Sarah Fyge Egerton, née Sarah Fyge, English poet of the Dryden school, outspoken feminist, precocious writer, teenage feminist; sent to the country by her parents to repress her, forced to marry Edward Field, widow, m. cousin Reverend Thomas Egerton, unsuccessfuly sued for divorce, loved Henry Pierce, object of scandal and public ridicule, forgotten as a poet and recovered by feminist critics in the 20th century.

_____. (anon.). The Female Advocate or, an Answer to a Late Satyr Against the Pride, Lust and Inconstancy, c. of Woman. Written by a Lady in Vindication of her Sex. 1686. (A verse satire published in response to Robert Gould's misogynist satire, A Late Satyr Against the Pride, Lust, and Inconstancy, etc. of Woman, 1682). 

 
_____. (signed S. F.). Poems on Several Occasions, Together with a Pastoral… 1703.
_____. "The Emulation."   http://rpo.library.utoronto.ca/poems/emulation



Sarah Egerton: The Emulation

Say, tyrant Custom, why must we obey
The impositions of thy haughty sway?
From the first dawn of life unto the grave,
Poor womankind's in every state a slave,
The nurse, the mistress, parent and the swain,
For love she must, there's none escape that pain.
Then comes the last, the fatal slavery:
The husband with insulting tyranny
Can have ill manners justified by law,
For men all join to keep the wife in awe.
Moses, who first our freedom did rebuke,
Was married when he writ the Pentateuch.
They're wise to keep us slaves, for well they know,
If we were loose, we should soon make them so.
We yield like vanquished kings whom fetters bind,
When chance of war is to usurpers kind;
Submit in form; but they'd our thoughts control,
And lay restraints on the impassive soul.
They fear we should excel their sluggish parts,
Should we attempt the sciences and arts;
Pretend they were designed for them alone,
So keep us fools to raise their own renown.
Thus priests of old, their grandeur to maintain,
Cried vulgar eyes would sacred laws profane;
So kept the mysteries behind a screen:
Their homage and the name were lost had they been seen.
But in this blessèd age such freedom's given,
That every man explains the will of heaven;
And shall we women now sit tamely by,
Make no excursions in philosophy,
Or grace our thoughts in tuneful poetry?
We will our rights in learning's world maintain;
Wit's empire now shall know a female reign.
Come, all ye fair, the great attempt improve,
Divinely imitate the realms above:
There's ten celestial females govern wit,
And but two gods that dare pretend to it.
And shall these finite males reverse their rules?
No, we'll be wits, and then men must be fools.
   

                                (1703)







___________________________




Otras autoras feministas de la Restauración y 1700 (NIVEL AVANZADO)
 




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Nuestros primeros autores en este tema, el 8 de noviembre, serán Milton, Rochester y Dryden


JOHN DRYDEN     (1631-1700)

English man of letters, b. Aldwinkle, Northamptonshire; st. Westminster School and Trinity College, Cambridge; Parliamentarian protestant background, soon Anglican Royalist courtier, converted to catholicism 1686; successful playwright, Poet Laureate 1668; Historiographer 1670; Tory satirist and polemicist vs. Whigs; lost jobs in 1688 Revolution; then jacobite; neoclassical critic and translator; influential dramatist, poet and critic, d. London; buried at Westminster Abbey after some grotesque incidents.


_____. "A Poem upon the Death of His Late Highness, Oliver, Lord Protector of England, Scotland, and Ireland." 1659.
_____. Astraea Redux. A Poem on the Happy Restoration and Return of his Sacred Majesty Charles the Second. Poem. 1660.
_____. "To His Sacred Majesty, A Panegyrick on his Coronation." 1661.
_____. The Rival Ladies. Tragicomedy. 1664.
_____. The Indian Emperor, or The Conquest of Mexico by the Spaniards. Heroic drama. 1665.
_____.  Annus Mirabilis, The Year of wonders, 1666. An Historical Poem: containing the Progress and various Successes of our Naval War with Holland, under the Conduct of His Highness Prince Rupert (...)  And describing the Fire of London.  1667.
_____. The Tempest, or The Enchanted Island.  Operatic adaptation, with William Davenant. 1667, pr. 1670.
_____.  Of Dramatic Poesy: An Essay.  1668. 
_____. Tyrannick love, or , The Royal Martyr. Heroic play 1669.
_____. Almanzor and Almahide, or The Conquest of Granada. Heroic play. 2 parts, 1669, 1670. Pub. 1672.
_____. Marriage à la Mode. Comedy 1672.
_____. Aureng-Zebe. Heroic play. 1676.
_____. All for Love; or, The World Well Lost. Tragedy. 1677, pr. 1678.
_____. Mac-Flecknoe, or A Satyr upon the True-Blew-Protestant Poet, T. S. [Thomas Shadwell] Satire. 1676, pub. 1682.
_____. The Spanish Fryar, or The Double Discovery.  Tragicomedy. 1680.
_____.  (Anon.) Absalom and Achitophel.  (1st part). Satirical poem. 1681.
_____. The Medall. A Satyre against Sedition. By the Author of Absalom and Achitophel. Poem. 1682.
_____. Religio Laici.  Poem. 1682.
_____. To the Pious Memory of Mrs. Anne Killigrew. Poem. 1686.
_____. The Hind and the Panther. A Poem.  1687.
_____. Song for St. Cecilia's Day.  1687. Set by Draghi in 1687.
_____. King Arthur or The British Worthy. Dramatic opera. Music by Purcell. 1691.
_____, trans. Aeneis. By Virgil. 1697.
_____.  Fables Ancient and Modern, Translated into Verse from Homer, Virgil, Boccacce, and Chaucer.  1699.


Dryden, John, and William Soames, trans. Art Poétique. By Boileau. 1683.



Cosas de Dryden:


-  Unas notas sobre su figura y obra...  la primera mitad puede que os sirva, el resto es NIVEL AVANZADO.
 
O podéis mirar mejor su página de Luminarium. Eso vale para todos estos autores.  


- John Dryden y sus colaboraciones musicales.






________________





NIVEL AVANZADO: Restoration drama.

- Purcell — Dido and Aeneas

Este siglo aparece la ópera. Purcell es quizá el mayor compositor inglés. Aquí otra versión reciente de Dido & Aeneas. 


- The Theatre of the Restoration — notes from A History of English Literature, by Legouis and Cazamian.



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John Wilmot, Earl of Rochester  (1647-1680)


2nd Earl of Rochester, b. Ditchley, Oxfordshire, son of the 1st Earl of Rochester; scandalous court wit and erotic poet under Charles II, rake and hooligan; destroyed his health through drink and sex; atheist and misanthropist, skeptic philosophical poet, libertine converted to Christian devotion before his death, d. London.

_____. "A Satyr against Reason and Mankind." Satire.
_____. "The Imperfect Enjoyment." Poem.
_____. "The Disabled Debauchee." Poem.
_____. "The Fall."  Poem.
_____. "A Satyr on Charles II." Poem.
_____. Poems on Several Occasions... 1680.
_____. "Upon Nothing." 1711.


________________________

 
Esta es la página de Rochester en Luminarium—con obras, crítica, etc. Es especialmente recomendable la Satire against Reason and Mankind. 

Unas notas complementarias sobre Rochester. 





 
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Una breve biografía y algunas obras de Milton. Por cierto, bibliografías más completas de todos estos autores se encuentran en http://bit.ly/abiblio



JOHN MILTON         (1608-1674)


English poet, son of a London musician and scrivener; studied in Christ's College, Cambridge, BA 1628, MA 1632; turned vs. Anglicanism, then private study at father's house in Buckinghamshire; tour of Italy late 30s; private tutor and active Protestant pamphleteer and polemicist in London; married  Mary Powell, of Royalist family, 1643, estranged for some time, advocated divorce; reconciliation with wife; austere and authoritarian patriarch, militant masculinist, 


Independent critic of Presbyterians, Latin secretary to the Commonwealth, supported regicide, apologist of Cromwell; blind 1652; wife died after childbirth, son died, 3 surviving daughters; m. Katharine Woodcock, died after childbirth; m. Elizabeth Minshull after Restoration (no surviving children from later wives); 

Milton protected Royalists under war and Commonwealth and was protected by Davenant and Marvell after the Restoration: fined but pardoned; abandoned political activity, private life as man of letters, historian, theologian and neoclassical poet, helped by his family and visitors, organ player for recreation.



Early works:

  _____."On the Morning of Christ's Nativity. Compos'd 1629." Ode. In Poems. 1645.
_____. "On Shakespeare" Sonnet. 1630.
_____. "L'Allegro" /"Il Penseroso." Poems. c. 1631.
_____. Comus. Masque. 1634.
_____. "Lycidas." Pastoral elegy. 1637.

_____. Poems / of / Mr. John Milton, / both / English and Latin, / Compos'd at Several Times. / 1645.
 


Middle Works

 _____. Of Reformation Touching Church Discipline in England. 1641.
_____. The Reason of Church Government Urg'd Against Prelaty, by Mr. John Milton. 1641-42.
_____. The Doctrine and Discipline of Divorce. 1643.
_____. Areopagitica: A Speech of Mr John Milton For the Liberty of Unlicenc'd Printing, To the Parliament of England. 1644.
_____. "On the new forcers of Conscience under the Long PARLIAMENT." Expanded sonnet. c. 1646.
_____. The Tenure of Kings and Magistrates. 1649.
_____. EIKONOCLASTES. 1649.
_____. Pro populo Anglicano Defensio. Political pamphlet. 1651.
_____. "Cromwell, our Chief of Men." Sonnet. Pub. 1694.
_____. "When I Consider How My Light Is Spent." Sonnet. c. 1652.
_____. "On the late Massacher in Piedmont." Sonnet.  1655.
_____. "Methought I saw my late espoused Saint."  Sonnet. 1658.



 

Late works:

 _____. PARADISE LOST. Epic poem in 10 books, 1667. Rev. in 12 books, 1674.
_____.  History of Britain. 1670.
_____. PARADISE / REGAIN'D. / A / POEM. / In IV BOOKS. / To which is added / SAMSON AGONISTES. 1671.



__________







John Milton: Paradise Lost

From Book 1 

 
Of Man's first disobedience, and the fruit
Of that forbidden tree whose mortal taste
Brought death into the World, and all our woe,
With loss of Eden, till one greater Man
Restore us, and regain the blissful Seat,
Sing, Heavenly Muse, that, on the secret top
Of Oreb, or of Sinai, didst inspire
That shepherd who first taught the chosen seed
In the beginning how the heavens and earth
Rose out of Chaos: or, if Sion hill
Delight thee more, and Siloa's brook that flowed
Fast by the oracle of God, I thence
Invoke thy aid to my adventurous song,
That with no middle flight intends to soar
Above th' Aonian mount, while it pursues
Things unattempted yet in prose or rhyme.
And chiefly Thou, O Spirit, that dost prefer
Before all temples th' upright heart and pure,
Instruct me, for Thou know'st; Thou from the first
Wast present, and, with mighty wings outspread,
Dove-like sat'st brooding on the vast Abyss,
And mad'st it pregnant: what in me is dark
Illumine, what is low raise and support;
That, to the height of this great argument,
I may assert Eternal Providence,
And justify the ways of God to men.







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Materiales sobre John Milton en Internet abundan:

- "John Milton (1608-1674)." en Luminarium.
    http://www.luminarium.org/sevenlit/milton/

- Spark Notes: Paradise Lost
    http://www.sparknotes.com/poetry/paradiselost/

—y un audio de la BBC de Adam Nicolson. 
 
 
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lunes, 2 de noviembre de 2020

Dryden (NIVEL AVANZADO)

 



From the Oxford Companion to English Literature, ed. Margaret Drabble:

DRYDEN, John (1631-1700), educated at Westminster School under *Busby and at Trinity College, Cambridge. He inherited a small estate, but supported himself mainly by his writing. His first major poem was the Heroique Stanza's (1658) on the death of Cromwell: he later celebrated the King's return with Astraea Redux and To His Sacred Majesty. Other poems were addressed to Sir Robert Howard, whose sister Lady Elizabeth Dryden married in 1663; the earl of *Clarendon, *Charleton, and Lady Castlemaine. He also published a long poem in quatrains, *Annus Mirabilis (1667), but most of his early writing was for the theatre and included several rhymed heroic plays, The Indian Queen (1664, in collaboration with Sir Robert Howard), The Indian Emperour (1665, which has the Mexican ruler Montezuma as subject), *Tyrannick Love (1669), and The Conquest of Granada in two parts (1670). He also wrote comedies, The Wild Gallant (1663), The Rival Ladies (1664), Sir Martin Mar-all (1667, in collaboration with the Duke of *Newcastle), *An Evening's Love (1668), and a radical adaptation of *The Tempest (1667, with *D'Avenant). He was most original, however, with his tragi-comedies, Secret Love (1667), *Marriage-à-la-mode (1672), The Assignation (1672), and a second Shakespeare adaptation, *Troilus and Cressida (1679). All these plays, together with the operatic adaptation of *Paradise Lost, under the title The State of Innocence, and Fall of Man (unperformed, pub 1667) and the immensely successful Oedipus (1678, with N. *Lee), reveal Dryden's considerable interest in philsoophical and political questions. He became *poet laureate in 1668, and historiographer royal in 1670.

Dryden constantly defended his own literary practice. His first major critical work was *Of Dramatick Poesie (1668). Subsequent essays include A Defence of an Essay (1668), preface to An Evening's Love (1671), Of Heroick Plays (1672), Heads of an Answer (to *Rymer, c. 1677, pub. 1711), and The Grounds of Criticism in Tragedy, prefixed to preface to Troilus and Cressida (1679). *Aureng-Zebe was his best rhymed heroic play. The prologue, however, denounces rhyme in serious drama, and his next tragedy, *All for Love (1678), was in blank verse. Much of Dryden's criticism was devoted to the assessment of his Elizabethan predecessors, Shakespeare, *Jonson, and *Fletcher. Despite his genuine respect for their achievement, Dryden was unsparing in his enumeration of what he perceived as their 'faults', although he frequently modified his critical views and his artistic practice. This flexibility as critic and dramatist left him vulnerable to attack. He was represented as Bayes in *The Rehearsal (1671) by *Buckingham, and physically assaulted in 1679, possibly at the instigation of *Rochester. His principal opponent was *Shadwell, whom Dryden ridiculed in *Mac Flecknoe (c. 1676, pub. 1682). Other poems in which he develops his critical principles include many witty and imaginative prologues and epilogues, and poems about, or addressed to, fellow writers and artists, notably Lee, *Roscommon, *Oldham, *Congreve, and *Kneller.

The constitutional crisis of the late 1670 and early 1680s saw Dryden's emergence as a formidable Tory polemicist. His contribution to the political debate included plays, especially *The Spanish Fryar (1680), The Duke of Guise (1682, written with Lee), and the operatic Albion and Albanius (1685); his celebrated satires *Absalom and Achitophel (1681), *The Medall (1682), and a number of lines for N. *Tate's The Second Part of Absalom and Achitophel (1682), as well as a host of partisan prologues and epilogues. His interest in religion was also heightened at this time. In *Religio Laici (1682) he offers a defence of the Anglican via media. However, following the accession of James II Dryden became a Catholic and wrote *The Hind and the Panther (1687) in support of his new co-religionists. At the death of Charles II he attempted a Pindaric *ode, Threnodia Augustalis (1685), the first of several poems in this form, notably To the Pious Memory . . . of Mrs Anne Killigrew (1686), A Song for Saint Cecilia's Day (1687), 'An Ode, on the Death of Mr Henry Purcell' (1696), and Alexander's Feast (1697), which was later incorporated into *Fables Ancient and Modern (1700). Dryden also wrote numerous witty elegant songs for his many plays.

In 1689 he lost both his court offices and returned to the theatre. Two of his late plays, *Don Sebastian (1689) and *Amphitryon (1690), are excellent; Cleomenes (1692) is intellectually impressive; and only Love Triumphant (1694) is a failure; but Dryden was tired of the theatre and turned to the politically less compromising work of translating. His immense and splendid achievements in this field include translations of small pieces from *Theocritus and *Horace, and more substantial passages from *Homer, *Lucretius, *Persius, *Juvenal, *Ovid, *Boccaccio, and *Chaucer, as well as the whole of *Virgil. His version of the Georgics is especially magnificent. In all these translations he made frequent but subtle allusions to his Jacobite principles. He also returned to criticism, notably in preface to the Sylvae (1685), *A Discourse Concerning the Original and Progress of Satire (1693), Dedication to Examen Poeticum (1693), and Dedication of the Aeneis (1697). His culminating and most impressive achievement both as critic and translator was Fables Ancient and Modern, which should be read as a whole, and to which 'The Secular Masque' (1700) is a wise and noble coda. He was buried in Westminster Abbey (see also RESTORATION).

Other works by Dryden include:

Plays: Amboyna (1673, a tragedy), *Mr Limberham (1679, a sexually explicit comedy), and a dramatic opera, King Arthur (1691). Poems: 'Upon the Death of Lord Hastings' (1649), Britannia Rediviva (1688), Eleonora (1696). Prose works: His Majesty's Declaration Defended (1681), Life of Plutarch (1683), Vindication of the Duke of Guise (1683), Character of St Evrémond (1692), Character of Polybius (1693), Life of Lucian (1711), translations of Maimbourg's The History of the League (1684), Bouhours' Life of St Francis Xavier (1686), Du Fresnoy's De Arte Graphica (1695).

The standard complete edition is The Works of John Dryden, ed. E. N. Hooker et al. (1956- ), 20 vols pub. as of 1997. Other editions include Sir W. *Scott's (18 vols, 1808, with life as vol. i, rev. edn. by *Saintsbury, 18 vols, 1882-93); Dramatic Works, ed. M. Summers (6 vols, 1931-2); Poems, ed. J. Kinsley (4 vols, 1948); The Poems of John Dryden,  ed. P. Hammond (4 vols , 1995- ); Of Dramatic Poesy, and Other Critical Essays, ed. G. Watson (2 vols, 1962); Letters, ed. C. E. Ward (1942). See also J. A. Winn, John Dryden and His World (1987); J. and K. Kinsley (eds.), Dryden: The Critical Heritage (1971); P. Harth, Contexts of Dryden's Thought (1968) and Pen for a Party (1993).




—oOo— 

Notes on some works by Dryden (from the Oxford Companion):



Annus Mirabilis, a poem in quatrains by *Dryden, published 1667. 
    Its subjects are the Dutch War (1665-6) and the Fire of London. Prefaced by 'Verses to her Highness and Dutchess' [of York], it indicates that even in the 1660s Dryden's optimism about the monarchy, mercantilism, and the *Royal Society (of which he was a fellow) did not preclude the expression of an ironic vision of history. Queen Elizabeth II, to the bewilderment of some journalists, drew on Dryden's poem in a speech (24 Nov. 1992) referring to the fire of Windsor in that year, using the words 'Annus Horribilis'.

—oOo—



Tyrannick Love, or The Royal Martyr, a heroic play by *Dryden, produced and published 1669.
     Based on the legend of the martyrdom of St Catherine by the Roman emperor Maximin, it contains some of Dryden's most extravagant heroic verse. Possibly deliberately comic at times, it is also seriously concerned with contrasting Lucretian and Christian conceptions of God. It was ridiculed in *The Rehearsal, and by *Shadwell. Dryden himself satirizes its excesses in *Mac Flecknoe.


—oOo— 


An Evening's Love, or The Mock Astrologer, a comedy by Dryden, produced 1668, published 1671.  Combining elements of Spanish intrigue comedy and fast-moving farce with sexually explicit language, it proved a commercial though not an artistic success. The plot, borrowed from M. de *Scudéry, *Corneille, Quinault, *Molière, and others, shows the exploits of two English cavaliers, Wildblood and Bellamy, in Madrid at carnival time. In the course of the play Bellamy acts the part of the eponymous astrologer, and both men gain Spanish wives while also helping their host Don Lopez to one. Most memorable are the scenes featuring Wildblood's spirited mistress Jacinta testing her lover in the guise first of a Moor and then of a Mulatta. Despite Wildblood's spectacular failure to remain faithful to her on both occasions, Jacinta forgives him and agrees to marry him. The preface to this play is among the most stimulating of Dryden's critical essays. He defends drama as entertainment, and replies to charges of plagiarism, offering his most explicit statement on literary appropriation to this date. The preface represents his views when he was least sympathetic to *Jonson and is therefore of importance in the dispute with Jonson's champion *Shadwell which culminated in *Mac Flecknoe.



—oOo—


Marriage-à-la-Mode, a tragi-comedy by *Dryden produced 1672, published 1623.
    The main plot concerns a usurper's discovery that his daughter and his (lawful) predecessor's son have been secretly reared together in rural seclusion and have fallen idealistically in love. The comic plot is a double intrigue involving two friends and their pursuit respectively of the wife of the one and the betrothed of the other. The counterpointing of these contrasting plots is particularly striking, especially as each ends anticlimactically, the lawful heir being restored to his throne in an overtly stagy manner, and the adulterous lovers failing to consummate their affairs. The play contains some of Dryden's finest songs, and embodies the principles of comic writing outlined in his preface to *An Evening's Love.


—oOo—


Of Dramatick Poesy: An Essay by *Dryden, published 1668.
    The essay is in the form of a dialogue between Eugenius (C. *Sackville), Crites (Sir Robert Howard), Lisideius (*Sedley), and Neander (Dryden himself), who take a boat on the Thames on the day of the battle between the English and Dutch navies in June 1665, and subsequently discuss the comparative merits of English and French drama, and of the old and new in English drama. The essay is largely concerned with justifying Dryden's current practice as a playwright. It also contains admirable appreciations of Shakespeare, J. *Fletcher, and *Jonson.


—oOo—

Aureng-Zebe, a tragedy by *Dryden, produced 1675, published 1676.
    The plot is remotely based on the contemporary events by which the Mogul Aureng-Zebe wrested the empire of India from his father and his brothers. The hero is a figure of exemplary rationality, virtue, and patience, whose stepmother lusts after him and whose father pursues the woman with whom Aureng-Zebe is himself in love. Apparently highly schematic in its organization, this last of Dryden's rhymed heroic plays evinces a deeply disturbing awareness of the anarchy and impotence which threaten every aspect of human life, emotional, moral, and political.


—oOo—

All for Love, or The World Well Lost, a tragedy by *Dryden produced and published 1678.
    Written in blank verse in acknowledged imitation of Shakespeare's *Antony and Cleopatra, it is Dryden's most performed and his best-known play. It concentrates on the last hours in the lives of its hero and heroine. In contrast to Shakespeare's play, it is an exemplary neo-classical tragedy, notable for its elaborately formal presentation of character, action, and theme. (See NEO-CLASSICISM.)




—oOo—


Mac Flecknoe (c. 1676), or A Satyr upon the True-Blew-Protestant Poet, T. S., a *mock-epic poem by *Dryden published 1682, and in a definitive edition, 1684.
    The outcome of a series of disagreements, personal, professional, and critical, between Dryden and *Shadwell, the poem represents the latter as heir to the kingdom of poetic dullness, currently governed by the minor writer *Flecknoe. It brilliantly exploits the crudity of Shadwell's farces (notably The Virtuoso) and critical writings; while the range of its allusions to 17th-cent. theatre demonstrates the complexity of Dryden's critical thought and, since he satirized his own work (notably *Tyrannick Love) as well as Shadwell's, his humility towards the tradition in which he was working. Mac Flecknoe was a vital inspiration for Pope's Dunciad.


—oOo—
 

The Spanish Fryar, a tragi-comedy by *Dryden, produced and published 1681.
    The serious plot is characteristically about a usurpation. Torrismond, though he does not know it, is lawful heir to the throne, and secretly marries the reigning but unlawful queen, who has allowed Torrismond's father, the true king, to be murdered in prison. The sub-plot is dominated by Father Dominic, a monstrous corrupt friar, who uses the cant terms of Dissenters and who pimps for the libertine and whiggish Lorenzo. The latter is a highly dubious character, yet ironically it is through his agency that the lawful Torrismond is rescued. The woman Lorenzo is pursuing, however, turns out to be his sister. The play is like *Mr Limberham in breaching comic as well as tragic decorum and in its deeply sceptical treatment of religious and political orthodoxies.




—oOo—


Absalom and Achitophel, an allegorical poem by *Dryden, published 1681.
    A *mock-biblical satire based on 2 Sam. 13-19, it deals with certain aspects of the Exclusion crisis, notably the intrigues of the Earl of Shaftesbury and the ambition of the Duke of Monmouth to replace James Duke of York as Charles II's heir. Various public figures are represented under biblical names, notably Monmouth (Absalom), *Shaftesbury (Achitophel), the duke of *Buckingham (Zimri), Charles II (David), *Oates (Corah), and Slingsby Bethel, sheriff of London (Shimei). The poem concludes with a long speech by David vigorously but paradoxically affirming Royalist principles, and asserting his determination to govern ruthlessly if he cannot do so mercifully.
    In 1682 a second part appeared, mainly written  by N. *Tate. However, it contains 200 lines by Dryden, in which he attacks two literary and political enemies, *Shadwell as Og an *Settle as Doeg.


—oOo—


The Medall,  a poem by *Dryden, published 1682.
    The earl of *Shaftesbury, who is represented in *Absalom and Achitophel and possibly in *Mr Limberham, was acquitted of charges of high treason in 1681, and a medal was struck to commemorate the event. Dryden's response includes savage attacks on Shaftesbury himself, the City, and the Commons. It predicts with some accuracy the constituted instability which was to beset the country in the ensuing 30 years. *Shadwell and Samuel Pordage (1633-?91) both wrote replies.


—oOo—

Religio Laici, a poem by *Dryden, published 1682.
    Written in defence of Anglicanism against Deist, Catholic, and Dissenting arguments, Religio Laici combines an exalted recognition of religious sublimity with a defence of a 'layman's' reasonable and straightforward religious attitudes. The poem's opening lines, beginning 'Dim as the borrow'd Beams of Moon and Stars', are among the finest Dryden wrote.


—oOo—


The Hind and the Panther, a poem by *Dryden, published 1687.
    Dryden became a Catholic in 1685, and the poem represents an attempt to reconcile Anglican and Catholic political interests, while at the same time defending Catholic doctrine. The first part describes various religious sects under the guise of different beasts, and in particular the Catholic Church and the Church of England as the Hind and the Panther respectively. The second part is occupied with arguments about church authority and transubstantiation, issues full of political as well as ecclesiological implications. This leads into the third part, which constitutes half the poem, and is designed to recommend  a political alliance between both Churches and the Crown against Whigs and Dissenters. It contains two celebrated fables, that of the swallows and that of the doves. However the balance of the latter, and so of the whole poem, may have been upset by James II's Second Declaration of Indulgence, which appealed to dissenting protestant sects over the heads of the Anglican establishment.


—oOo—

Fables, Ancient and Modern, by *Dryden, published 1700.
    Verse paraphrases of tales by *Ovid, *Boccaccio, and *Chaucer are interspersed with poems of Dryden's own, and together with the preface, in itself one of the most important examples of Dryden's criticism, they compose themselves into an Ovidian and Catholic meditation on the place of nature, sex, and violence in the flux of history.
—oOo—

Don Sebastian, a tragi-comedy by *Dryden, produced 1689, published 1691.
    The play is based on the legend that King Sebastian of Portugal survived the battle of Alcazar. He and the princess Almeyda, with whom he is in love, are captured by Muley Moloch, who spares their lives until he discovers that they have secretly married. In love with Almeyda himself, he orders Dorax, a renegade Portuguese nobleman, to execute Sebastian, but Dorax, once Sebastian's favourite, refuses to do so. Muley Moloch is killed in a revolt, but Sebastian and Almeyda then discover that their marriage is incestuous, and they renounce each other and their thrones. However, they do not renounce the memory of their love, which is subsumed in ecstatic and total submission to the decrees of an inscrutable Providence. Counterpointing this main plot is a notably erotic and earthy sub-plot. The play is Dryden' most complex dramatic treatment of a number of important political, sexual, and religious themes.
—oOo—



Amphytrion, a comedy by *Dryden, produced and published 1690.
    Adapted from the comedies of *Plautus and *Molière on the same subject, it represents the story of Jupiter's seduction of Alcmena in the guise of her husband Amphytrion. In this he is aided by Mercury, who is disguised as Amphytrion's slave Sosia. The cruel abuse of mortal love by the gods is in striking contrast to the play's uninhibited eroticism. The same story was adapted by *Giraudoux in his Amphytrion 38 (1929).
—oOo—



A Discourse Concerning the Original and Progress of Satire, by *Dryden.
    The Discourse was published with The Satires (1693) of *Juvenal and *Persius, translated by various hands, among them Dryden's. Less impressive for its scholarship (which is not, however, negligible) than for its broad sense of the principles underlying literary and social history, it distinguishes between 'Varronian', 'Horatian', and 'Juvenalian' satire in a way that has considerably influenced criticism of Dryden's own satirical works and that of his Augustan successors.


—oOo—


Mr Limberham, or The Kind Keeper, a comedy by *Dryden, produced 1679, published 1680.
    The play was banned by royal decree after three performances and has been execrated since, but Dryden nonetheless thought highly of it. The title role is possibly based on *Shaftesbury. Limberham is an impotent masochist, who is cuckolded by the oversexed hero Woodall, to whom every woman in the play succumbs. In this Woodall (who has been brought up abroad and is under an assumed name) is enthusiastically abetted by his unknowing father, Aldo. By implication the play attacks the patriarchism of a sexually corrupt court, the blind hedonism of the nobility, and the hypocrisy of Dissenters.









—oOo—



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