Neo classical Criticism John Dryden Alexander Pope PDF

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Beginning with Charles II's restoration in 1660, the Neoclassic era in England spans approximately 180 years of art history. It's important to note that the term "neoclassical" may have a variety of meanings depending on the context. In Germany, for example, neoclassicism refers to the promotion of ...

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Neo-classical Criticism: John Dryden, Alexander Pope Beginning with Charles II's restoration in 1660, the Neoclassic era in England spans approximately 180 years of art history. It's important to note that the term "neoclassical" may have a variety of meanings depending on the context. In Germany, for example, neoclassicism refers to the promotion of Greek culture above Roman ideals. This article examines the origins and distinguishing characteristics of the critical tradition that flourished in England throughout the neoclassical period. Although the article concentrates on John Dryden (1631-1700) and Alexander Pope (1688-1744), works and concepts by Joseph Addison (1672-1719), Jonathan Swift (1667-1745), and Samuel Johnson (1709-1784) have also been quoted for illustration and investigation. Neoclassicists were conservatives who felt that literature was an art that could be mastered by study, discipline, and practise. Pope's epitaph to the memorial constructed at Westminster Abbey in remembrance of Sir Isaac Newton (1642-1727) may summarise the neoclassical age's wider goal. Nature and its laws were hidden in the night, and God said, "Let Newton be!" suddenly there was nothing except light! An author's job was to continue on Newton's mission in writing by describing the timeless truths of nature in the most accurate way possible. It was to explain in words "what oft was thought, but never so well expressed." as Pope puts it in An Essay on Criticism (1711). Influences and the Secular Ethos The European Renaissance sparked a classical renaissance in England. While Homer, Hesiod, Aristotle, Plautus, Virgil, Horace, and Seneca were studied in both grammar schools and universities in England, the Neoclassicists drew extensively on the interpretations of 'classical norms' by Italian and French critics. Pierre Corneille (1606–1684) had a key influence on English neoclassicism. Corneille's play La Cid was panned by reviewers in 1637 for defying classical conventions. In response to these accusations, Corneille wrote a number of plays to demonstrate his mastery of classical rules, culminating in the publication of Trois Discours sur le poème dramatique (Three Discourses on Dramatic Poetry) in 1660, in which he argued vehemently for the need to adapt Greco-Roman values to modern sensibilities. Johnson later mirrored these ideas in his "Preface to the plays of Shakespeare." Nicolas Boileau-Desperaux (1636-1711), a Frenchman who wrote in the style of Horace's Ars Poetica, was another key influence on English Neoclassicists. Boileau presented comprehensive instructions to aspiring poets in Le Art Poetique (The Art of Poetry, 1674), which was translated into English by Dryden, on the topic of genre, the primacy of reason in poetry, and the function of imagination in art. In contrast to the primacy of faith and scriptures in mediaeval literature, Boileau restores the Greco-Roman focus on reason and nature. He was reacting to a fundamental problem of the period, which was the simultaneous questioning of feudal and puritanical views. Individual sensory perception does not equal the dominance of reason and observation as the most desired creative talent. It just serves to confirm the order and balance that can be seen in nature and in society. Subversion of religious and feudal orthodoxy does not mean support for anarchy or a

rejection of all kinds of authority. He attempted to construct new ideals and fountainheads of authority by promoting classical heroes and secular qualities in place of saints and angels. Augustanism was founded on a similar idea of secular hero worship to a large extent. The institution of monarchy lost its heavenly aspect between Charles I's execution and the restoration. The parallel between Charles II and the religious sources of power had become unsustainable in light of the new circumstances. As a result of historical analogies and the necessity to establish legitimacy for the new monarch, comparisons between Augustus (27 BCE-14 CE) and Charles II were formed. As a result, Pax Romana was adopted as the model for Pax Britannica. Dryden as Critic Dryden was the pioneer of the English tradition of criticism, according to Samuel Johnson. Dryden characterises critics in the Aristotelian tradition, arguing that criticism, as Aristotle defined it, was an exercise in good judgement and observation of "those Excellencies which should delight a reasonable reader." (1668, Essay on Dramatic Poesy) Dryden's views of literary criticism, on the other hand, appear to be replete with paradoxes to the modern mind. Inconsistency in his beliefs on genre, translation, and definitions of terms like "fancy" "imagination" "wit" and so on, according to William Bohn, stems from the need to acquire patronage by conforming to changing taste/morals of his period. Furthermore, much of his critical thinking may be seen in the infrequent prefaces he made for his own books. This, too, contributes to the inconsistencies in question. "It should also not be forgotten that when Dryden was writing, literary criticism, as a formal and distinct discipline, was only just beginning." Latt and Monk write. Critic as a Poet Because neoclassical poetry was mostly mimetic and artists were required to follow classical principles, "rules" of judgement were an important part of the creative process. In other words, literary imagination became inextricably linked to critique. Both poets and critics, according to Pope, were naturally intertwined in their quest of truth. Furthermore, critics were supposed to be creative as well. This included being aware of one's own limitations. Pope stated that critics should be self-reflective, similar to Boileau's advice to poets to comprehend their reaches. As criticism grew in importance as a literary activity, disputes between critics and artists frequently erupted. With this tense connection in mind, English antiquarian Thomas In the prologue to his translation of Rapin's interpretation of Aristotle (1674), Rymer (16431713) wrote: until recently, England was as devoid of Critiks as it is of Wolves, and an innocent, well-intentioned book could pass without risk. But now, whatever special aptitude is required, this privilege is taken by the most illiterate, and those who are least familiar with the game are most likely to bark at everything that comes their way. Pope rejects the idea of a fundamental conflict, claiming that both were inspired and directed by nature. Pope writes in the essay: Both

those born to judge and those born to write must get their light from Heav'n.A critic's job was to assess the value of a literary work, and those who focused on "fault finding" were labelled "false critics" or "little critics." The spectrum of creative activity for men of letters expanded much beyond poetry and critique. Poets broadened their horizons by dabbling in translation, publishing pamphlets, and editing journals Criticism, Patronage and Partisanship: Whose 'Dog' were the Critics? At 1736, Alexander Pope gave Prince of Wales a puppy to defend his estate in Kew, engraving the epigram "I am his Highness' Dog at Kew" on its collar. Sir, could you please tell me who your dog is?" The epigram reflects the polarised political milieu of his time, when being someone's "dog" was the key to surviving and prospering. Political masters and allegiances were essential. Unsuspecting and apolitical persons were frequently given identities. Pope laments the destiny of neutral critics in a society based on binary distinctions in Satire II. While Tories call me a Whig, and Whigs a Tory, call me a Verseman or a Prose-man, Papist or Protestant, or somewhere in between, like excellent Erasmus in an honest Mean, in moderation laying all my splendour, Dryden tried to navigate his way through this labyrinth by shifting his political and religious views on a regular basis. He published "Religio Laici" in 1682 in favour of the Anglican Church, and The Hind and The Panther in favour of Catholicism five years later. Similarly, after Oliver Cromwell's death in 1658, he wrote Heroic Stanzas in which he lavished praise on the Lord Protector. In 1660, he marked the return of monarchy by writing Astrea Redux after the death of the Lord Protector. Fortunately, patronage was quickly fading, and the business of letters was becoming increasingly intertwined with the business of the market. Unlike Dryden, who was forced to switch back and forth between Catholicism and Anglicanism, Pope could 'afford' to stay a Catholic. Pope is the first commercial novelist who wrote for publishers rather than benefactors. However, a variety of challenges to Neoclassical obsessions with taste, truth, and balance arose as a result of crass commercialization of literature. Dryden decries the "prostitution" of literature by publishers and hack authors in his mock-heroic comedy Mac Flecknoe (1682). An Essay on Criticism (1611), by Pope, is another attempt to address the overall decline in literature and criticism. Essay on Dramatic Poesy: Ancients vs Moderns and English vs French An unidentified publisher initially released Essay on Criticism. It's created as a guide for budding critics who want to break free from prejudice and pride. In 1736, Pope rewrote the book and divided it into three sections: the first deals with the harm that faulty criticism does to poetry, the second recognises pride as a source of error in criticism, and the third recommends strategies to improve criticism. Pope begins by urging detractors to respect nature, which is the universe's sole constant. First and foremost, follow NATURE and your own judgement frame. By her fair Standard, which has remained unchanged: Unerring Nature, still divinely bright, One clear,

unchange'd, and Universal Light, Life, Force, and Beauty, must all give, At once the Source, End, and Test of Art. In his infamous assault on Pope, "Reflections Critical and Satyrical, upon a late Rhapsody, call'd, An Essay upon Criticism" (1711), John Dennis claims that Pope conjures up "Nature" and "Rules" without defining either. It is important to note that Pope's Nature is distinct from the Romantic literature's pantheistic conception of nature. It encompasses all components of the observable world, including nonhumans, inanimate objects, and people. It is, in a sense, the entire cosmic order as well as the organising principle that underpins it. Bad critique, according to Pope, originates from bias, an over-reliance on bookish knowledge, a lack of familiarity with the poet under study, and pride. Pride was almost devilish to Pope, a devoted Catholic. He calls pride the "original sin" in An Essay on Man (1733-34), since it confuses man's judgement and sets him against nature. Pope advises getting to know the poets' backstories in order to overcome prejudice. Fable, Subject, Scope on Every Page, Religion, Country, and AgeOld Genius: Cavil, you may observe without having all of things in front of your eyes at the same time, but you must never criticise. In addition, the poet is recommended to consider Similarly, he urges humility, self-reflection, and a "knowledge of both books and humankind." to counter the arrogance of dismissive critics. "Fools rush in where Angels fear to tread, Distrustful Sense with modest Caution speaks," Pope says, condemning individuals who are quick in their judgement and lack self-control. Pope appears to highlight that an ideal artist must adhere to essential traits of humanity and aesthetic humility in the same degree that he observes balance, proportion, and reason, transposing the language of theology on literary criticism and reinforcing the fine points of Erasmus' humanism. From the Greco-Roman period through Pope's time, this essay provides a historical overview of literature. He connects the classical legacy with nature, refers to the Renaissance as the "Golden age" and blames his own literary degradation on sociopolitical corruption. According to Pope, Pleasure, Wealth, and Ease abound in the fat Age of Pleasure, Wealth, and Ease.The rank Weed was sown, and it thrived with a significant increase; When all that mattered was an easy Monarch's care for love;Rarely at Council, and never in a War...Pope connects debasement of literature to commercialization and political corruption. He, like Dryden, blames Charles II, the "easie Monarc" for the deterioration. It is important to note that for the Neoclassicists, criticism was inextricably linked to society, a concept that has gained traction in recent years. Mimesis or Phantasia The neoclassical era was defined by two aesthetic assumptions: imitation and imagination. The definitions of these two notions were equally polarising. Should art be defined by imitation or imagination? What are acceptable creative topics of imitation and imagination? Style and genre were the main concerns of classical Greco-Roman authors. Many, like Dryden, looked to nature for inspiration. Dramatic imitation of nature is how Dryden defined it. Others suggested that as people's speech is unrhythmic in real life, so must the language of characters in a play. But neoclassical anti-rhyme was not the exclusive emphasis on reality. Boileau recommended a faithful replication of everyday speech pattern, with gender and age-related inflexions. Young

men should speak like young men, and the reverse should be true. The neoclassical emphasis on realism contrasts sharply with mediaeval mystical and wonder-filled worlds, as well as Romantic mythological utopias like Blake's Jerusalem. This disparity may be explained by the novel, which emerged with gusto in the 18th century. The focus shifts "from the moral effects of art to its representation of reality." as Gary Day says. (158th) The 18th century novels' obsession with factual verifiability distinguished them from earlier writing. Novelists stated they did not exaggerate, never imagined anything not found in nature, and their portrayals of human activity were realistic to the point of being voyeuristic as readers were provided access to characters' private correspondence. In Oroonoko, or The Royal Slave. Aphra Behn (1640–89) claims in A True History (1688) that she was "an eye-witness to much of what is set down." "the Editor believes the thing to be a just History of Fact; neither is there any appearance of Fiction in it." Danied Defoe says about Robinson Crusoe (1719). Did the Neoclassicists Outlaw Imagination? Those who were Neoclassicists thought that imagination had to be kept in check by reason and judgement. Reason and judgement, in turn, got their strength from the true nature of things. A connection between reason, reality, mimesis, and judgement, rather than imagination, invention, and fantasy, was thought to be the best quality in art at the time. But this preoccupation wasn't always bad, because the return to Greco-Roman standards wasn't without flaws. That a poet doesn't have to be uncritical in his adherence to classical rules. Samuel Johnson, who is best known for his two-volume Dictionary of the English Language and The Lives of English Poets, said that for the sake of reason and eternal truths, liberties can be taken. In the tenth chapter of The History of Rasselas (1759), Johnson says that "poetry was thought to be the highest form of learning." In almost every country, the most ancient poets are thought to be the best. However, he says that "no man has ever been great by copying." This contradicts the values of neoclassical thought. He says that while poetry can be good if you go back to nature, "knowledge of nature is only half the job of a poet; he must also know all the ways of living." While it's important to stay true to nature, Pope also thought it was important for the artist to move outside of nature and improve on it when possible. As an example, "artful wilderness." is a good way to sum up this paradox. The expression comes from the poem Epistle to Burlington, which Pope wrote in 1731. In it, he encourages landscape gardening with neoclassical values in mind. In the 18th century, the rich British aristocracy started to spend money on improving and remodelling their homes. This isn't the only reason these estates were built. They were also meant to show how powerful the British empire was. In their minds, Britain was the new Rome, and so the architects of these huge castles and homes had to look back at Greece and Rome for ideas. The landscape gardens were the heart of these homes. When these gardens were well-kept, they became a symbol for the owner's morality and for Queen Anne's peaceful reign, when peace and order came back after a

long period of political uncertainty. Even though the Pope was a big fan of gardening, because he was a Catholic, he couldn't buy land in London. His garden at Twickenham, which was outside of London, became a symbol of Augustan style because of how well it was done. Pope used Greco-Roman architecture to combine elegance and simplicity, meld formal strictness with originality, and find a balance between the gardener's hands and the natural landscape, as well as between the two. His ideas about gardening and landscaping helped him achieve the balance he was looking for in poetry between copying and coming up with your own ideas. When Pope wrote this letter to Burlington, the following lines sum up his thoughts on the relationship between nature and art. Natural things should never be forgotten, he says: But don't treat the Goddess like a small fair. Not to dress her up too much, and not to leave her completely naked. It's important to remember that nature, as Pope says, should not be overshadowed by poetry or the skills of the gardener. It's also important to keep an eye on the landscape as well. It's important for a good gardener or poet to balance the elements of nature with culture and to improve the landscape or nature that he's working with. As the poet/gardener strives for balance and proportion, he must also try to surprise and "artfully wilderness" the landscape. ....