BBL 3103 LITERARY THEORY FROM PLATO TO T. S. ELIOT DR. IDA BAIZURA BAHAR

04 A LEXANDER P OPE ( )

A LEXANDER P OPE A greater poet than critic A ‘bastardised’ neoclassical; incorporating rules not of the ancients themselves, but those who had revised and reformulated the Ancients (incl. Horace) In Pope’s view, the neoclassical emphasis on ‘following nature’ can apply to ‘following the Ancients’ as well; to read Homer was to read nature

T HE N EOCLASSICAL A GE, P ART T WO 01 D R. S AMUEL J OHNSON ( )

D R. S AMUEL J OHNSON i. The Age The second half of the 18h century was marked by a dual trend in lit activity Neoclassical strain and the Romantic strain; the latter carried forward from the spontaneity of the Elizabethan age No clear distinction between the two in terms of practice; there was a great deal of overlapping

D R. S AMUEL J OHNSON ii. The Man Dr Johnson sought to defend classicism, particularly against the rising Romantic trend Was a fierce literary dictator; asserted a magisterial presence on 18th century England Sought to bring order upon the age Wrote A Dictionary of the English Language (not the first dictionary, but the first comprehensive classification of the English language) Johnson said he published the Dictionary for ‘ the use of such as aspire to exactness of criticism, or elegance of style’ Wrote Lives of the Most Eminent English Poets, or Lives of the Poets, which was a collection of short biographies and criticism of 52 poets (incl. Milton, Dryden, Addison, Pope) Wrote a preface to The Plays of William Shakespeare, which contained his criticism of Shakespeare (who was not included in Lives )

D R. S AMUEL J OHNSON iii. Lives of the Poets Believed even trivial details of an author’s life to be necessary for appreciation/criticism of literature Aimed to introduce sincerity and truthfulness in literature, as opposed to artificial ornaments and trivial, particular concerns His criticism is coloured by his personal beliefs and prejudices Johnson was a conservative, a classicist, and a monarchist; he had little patience with those who had dissimilar beliefs On the whole, Johnson is a strict neoclassicist, but was able to rise above his preconceived notions on what literature should be on occasion, when presented with genius It can be said that Johnson’s classicism was liberal ; he rose above the limitations of the age because he was independent Defines poetry as ‘the art of writing pleasure with truth, by calling imagination to the help of reason; and ‘the essence of poetry is invention; such invention as, by producing something unexpected, surprises and delights’; with regard to the function of poetry, Johnson says that ‘poetry must give pleasure, but it must also have truth’ Dulce et utile in a sense (with the utile being an universal moral or religious truth, and an emphasis on imagination in the dulce ) Poetry must address universal human interest; critique against literature that was too escapist, or did not deal with issues pertinent to the human condition General dislike of blank verse (since he believed that the language of lit should be true to everyday life), but made exceptions where he felt blank verse seemed natural

D R. S AMUEL J OHNSON iv. On Milton Life of Milton (in Lives of the Poets ) Had no sympathy for, and was often savagely rude towards Milton’s advocacy of freedom of speech and press, and personal religious liberty Especially critical of Milton’s lesser-known poems However, in his critique of Paradise Lost Johnson is seemingly freed from his preconceptions Praises Milton’s breadth of vision, and emphasis on morality In here as well Johnson is not blind to Milton’s faults (e.g.: lacking in human interest)

D R. S AMUEL J OHNSON v. On Shakespeare Preface to The Plays of William Shakespeare (hereafter Preface ) Balanced view of Shakespeare Praises Shakespeare’s virtues despite the fact that some of those virtues went against classical dogma These virtues include Shakespeare’s accurate portrayal of general human nature; Shakespeare doesn’t have heroes, only human beings; the characters are universal types, but at the same time, fiercely individual Defends the lack of unity (time & place) and the mingling of tragedy and comedy in Shakespeare’s works Was not blind to Shakespeare’s faults, e.g.: simple plots, excessive punning, sometimes base humour, frequent lapses into convenience that disrupts pathos