English Literature Elective Paper 1 1600 to 1900 Historical material is taken
from „History of English Literature‟ by Emile Legouis and M. Cazamian
2016
Paper-I
Texts for detailed study are listed below. Candidates will also be required to
show adequate knowledge of the following topics and movements:
a) The Epic and the Mock-epic
b) Neo-classicism;
c) Satire;
1.
2.
3.
4.
5.
Contents
Neo-Classicism and Satire
Page 1
Satire and epic of Jonathan Swift
Page 2
Mock-epic : Alexander Pope ( 1688 -1744)
Page 3
Short note on „Satire‟ (downloaded )
Page 9
Comedy of Manners and „The Way of the World‟ by Congreve
As a Comedy of Manners
Page 10
Neo-Classicism and Satire
1. Neo-classicism is the period from 1660s, when a new adoption of
classical literary form was attempted by representative writers. Earlier
English literary writers had strictly confined themselves to rules laid
down by ancient Greek and Italian classical writers and by the French
critics. Jonathan Swift, Pope, and Samuel Johnson had their own views
about the classical rules, and adopted them as an expression of a new
national literary identity. Importance was given to things, instead of
words. This brought about a conversational prose used in new literary
forms of the novel, biography, history, travel-writings, and journals.
2.
John Dryden had moved away from ancient classism, with
queries about the making of the poem art form and the importance of
the person behind the poem.
But he did not propagate total
lawlessness. He followed the view that rules were made only to reduce
Nature into a method. Therefore, they were rational principles founded
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English Literature Elective Paper 1 1600 to 1900 Historical material is taken
from „History of English Literature‟ by Emile Legouis and M. Cazamian
2016
in good sense and reason. All arts were imitation of Nature. As Nature
was a constant through the ages, the rules too retained their validity.
However, these could not be treated as laws.
3.
In 1697, there was a great literary dispute about Ancient and
Modern learning. Temple‟s essay “Of Ancients and Modern Learning”
had praised the ancients and insisted that no advancement to learning
had been made thereafter.
W. Wotten had replied to this essay with
an Appendix by Dr. Bentley, which denied the antiquity of Aesop and
Phalanis.
Charles Boyle was denied access to one of the ancient
manuscripts from St. James Library by Dr. Bentley, keeper of the
Library.
4.
This dispute has been allegorised by Jonathan Swift , in his
„The Battle of the Books‟, by making the ancient and modern books in
St. James Library, join the fray in an inconclusive battle of books.
Swift adopts the satire form to give “A Full and True Account of the
Battle Fought Last Friday”.
5.
Satire is a „form of imitation‟, in which criticism and humour coexist. Satire ridicules with the intent to improve. Among the classical
Greeks, Horace had prescribed „epistolary satire‟ as the norm for
poetry, while Aristotle had prescribed tragedy. In contrast to satire,
„parody‟ is a caricature of some serious subject. Its only intent is to
ridicule. Caricature or burlesque is a method of speech or writing, in
which a serious thing is made to seem foolish, or a foolish this is
treated with exaggerated seriousness, so as to incite laughter. Satire, on
the other hand, exposes to discredit, and as such, it is a literary weapon.
6. All the elements of mock epic are found in the satires. The Muse is
invoked periodically, epic numbers three and seven are repeated, epicsimiles are used, warriors are listed and arranged in ranks. Gods take
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English Literature Elective Paper 1 1600 to 1900 Historical material is taken
from „History of English Literature‟ by Emile Legouis and M. Cazamian
2016
sides and intervene in the quarrels of men, Goddesses are described
with mock respect, and new ones are created where old ones do not
suffice.
7.
The best example of Satire is „The Battle of the Books‟, by
Jonathan Swift. He uses a series of allegories to highlight the
differences between the ancient and modern writers in a mock-epic
style. Use is made of fables, metaphors, sarcasm, pun, irony, and
analogies that effectively dramatize the arguments by juxtaposing a
comic scene with dialogues.
8.
For example the fable of the Spider and the Bee, is used. The
enormous spider, parked in the central lodging of his web castle, and
having access through the window, is safe from the swallows above
and the brooms below. This fortification is disturbed by the Bee, who
accidently breaks the outer wall of the spider‟s castle. The spider asks
if the bee thought he had no other work but to repair the damages
caused by the bee. The bee replies by vowing never to go near the
spider‟s „kennel‟. This reference to the web as a kennel, links this
allegory to the first allegory of the dogs, in the book. The spider
objects to this reference, and wants to teach the bee better manners.
He calls it a “vagabond without house or home, without stock or
inheritance”.
9.
This conversation denigrates into a debate and a battle of
words, till the Bee flies off. The confrontation is watched by the
Books, with the spider representing the ancients and the bee the
moderns.
The allegories effectively convey the battle of books
through use of analogies, irony, pun and sarcasm. An allegory is akin
to metaphor and its method is the personification of an idea. Swift‟s
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English Literature Elective Paper 1 1600 to 1900 Historical material is taken
from „History of English Literature‟ by Emile Legouis and M. Cazamian
2016
expertise is revealed at sustaining the analogy of the battle in elaborate
details, and working out the metaphor to perfection.
Epic and Mock-epic
Satire is a „form of imitation‟ in which criticism and humour co-
10.
exist. Satire ridicules with the intent to improve. When Satire is
written in poetic form, it is called a „verse satire‟. This form was
developed by John Dryden, and used by Alexander Pope and Byron.
Dryden and Pope‟s verse satires are personal satire directed towards
particular individuals.
The lucid, conversation style adopted by
Dryden, mark him as the most influential writers of his times. He
combined the familiar with the reflective, aiming to delight at truth and
justice, nature and poetry.
Alexander Pope put the verse – satire form to best use. Leaving
11.
aside philosophising and moralising, Pope used „wit‟ as a powerful
tool.
In Elizabethan times „wit‟ was “liveliness and brilliance in
conversation”. In neo-classical times, „wit‟ became a powerful critical
concept and a basis for value judgement. Dryden defined wit as
„sharpness of conceit‟.
Pope combined the classical epic form with
satire and wit of the neo-classic age, and called it „mock epic‟.
12.
In „mock- epic‟, the poet was more involved in the delights of
intellectual penetration and dismissive speed. The even paced
equanimity of the epic style,
was
replaced with pomposity, and
dignified respect was replaced by exasperated familiarity. Pope
defended his attempt at making criticism as the subject matter of
poetry. He also successfully combined poetry and criticism to make
them look almost inseparable.
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English Literature Elective Paper 1 1600 to 1900 Historical material is taken
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2016
The mock heroic was the preferred style of late seventeenth and
early eighteenth century satiric writings. Alexander Pope ( 1688 to
1744) in „The Rape of the Lock‟ uses an elevated style ironically to
create comedy out of a commonplace action of clipping of a lock of a
Lady‟s hair, by her admirer. Through the diction, conventions and
situations of classical literature, especially of the Greek and Roman
epics, and Milton‟s „Paradise Lost‟, the mock heroic style is used to
satirise and laugh at the follies and foibles, artificiality and triviality of
18th century high society life style.
14. In sum, the classic age concentrated on brevity and precision, without
creativity, originality or spontaneity, and adhered to the three unities
and the validity of poetry norms.
The writers of Neoclassicism used
satire not only as a literary tool or weapon to improve the existing
social norms, but it made criticism , wit, satire, the subject matters of
their „mock – epic‟ poetry.
Alexander Pope‟s „The Rape of the Lock‟ as a mock epic
15.
An epic is a long , narrative poem that is exalted in style and heroic
in its theme. Feature of an epic include:
(a) Announcement of the theme by the poet
(b) Invoking the help of the Muse, and asking her an epic question
(c) Beginning the story with her reply.
(d) The action usually concerns a hero, or a man of great stature and
social significance.
(e) This hero performs many notable deeds , one of which is to
descend to the underworld.
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English Literature Elective Paper 1 1600 to 1900 Historical material is taken
from „History of English Literature‟ by Emile Legouis and M. Cazamian
2016
(f) Major characters are listed and described, and they make dignified
speeches, that reveal their character.
(g) There are usually great battles in which gods participate.
(h) The style of narration is elaborate and dignified, and suitable to
the theme.
16.„The Rape of the Lock‟, is divided into five cantos as per the tradition
of a classical epic, but uses the mock epic form. Beginning with the
solemn statement of his theme, Pope introduces the usual epic features,
such as supernatural machinery, grand speeches, and battles. The
theme is stated to be to write of the great conflicts that are caused by
insignificant events. He informs the Muse that Caryll had suggested the
poem in order to reconcile two warring families, and Belinda had
inspired it. These devices are used to describe the trivial occupation of
an elegant afternoon.
17.
He portrays human foibles in a grand, poetic form to cause
laughter. Unusual poetic subjects such as immaturity, false pretence,
lack of understanding, fixed behavioural patterns, constitute the subject
matter of mock epics. Great merriment is provided through the grave
tone of deep satire, presented in the form of lofty ideas and wit, to
convey the poet‟s contempt for them. It is made ridiculous by treating
it with the elaborate and dignified devices of the epic.
18.
The supernatural machinery is present in the form of guardian
Sylph , who assure Belinda that she is protected by a thousand spirits
who roam through the airy regions.
Then the world of sylphs is
described. Some sylphs guide the movement of planets and control the
weather, while others guard young girls‟ honour. They do this by
protecting the powders on her face from the breezes and preventing
the perfumes from evaporating, and similar activities.
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English Literature Elective Paper 1 1600 to 1900 Historical material is taken
from „History of English Literature‟ by Emile Legouis and M. Cazamian
2016
19. The opening Canto also sets the atmosphere of the poem – a
sophisticated genteel society of the rich, that is always charming and
witty. Superficial values govern the lives of these people. The poet
implies a satiric comparison of misunderstanding between the two
families with the great Trojan War. The sylphs are invoked as part of
the supernatural machinery, their concern with the young girls virtues
is effectively used to expose the vanities and superficialities of the
society. Sexual morality is treated in a casual manner. The girl‟s heart
is compared to a toy shop , and her virtue is easily available. It must
therefore, be constantly guarded with diligence”... beware of all, but
most beware of men!”
20.The elaborate description of Belinda‟s dressing table suggests a
religious involvement in the ritual before the mirror. Comic effect is
achieved by the reference to Bible. This indicates a careless attitude to
serious religion. Belinda is referred to as the “goddess of beauty”, who
is attended to by lesser priestesses, while grooming. Her eyes are
described as brighter than the light of the sun.
21. The grooming scene of Belinda also implies preparation of war, in
the description of rows of shining pins, “Puffs, Powders, Patches,
Billet-douse”, which invoke an image of rows of men in shining
armour, ready for a battle. The grand description is continued in the
narrative of her barge floating down the Thames. This is a parody of
Shakespeare‟s description of the barge of Cleopatra down the Nile.
Belinda‟s beauty is the subject of everyone‟s gaze, and her smile for
everyone makes her vulnerable. The elaborate arrangement of her hair,
catches the fancy of a young baron. He vows to take possession of
them and prays that he wins his prize soon , but be able to hold it for a
long time. “Soon to obtain, long posses the prize”.
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English Literature Elective Paper 1 1600 to 1900 Historical material is taken
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22.
2016
Pope heightens the satire and jolts expectations , without straining
the idiom, through description of different duties that get assigned to
various sylphs.
Ariel orders his sylphs , threatening terrible
punishments to any who fails in his assigned task, is similar to Satan
in Milton‟s „Paradise Lost‟. It is also important for its rich images.
Sylphs are assigned to protect Belinda‟s favourite curl, , her petticoat
and honour, her necklace, and to prevent her from losing her heart.
These assignments are perfectly idiomatic, and echo the threats to Ariel
in Shakespeare‟s „The Tempest‟.
23. Towards sundown, in Hamilton Court Belinda begins to look forward
to the game of cards. The game is described in terms of a major battle
and sylphs take their positions. Pope gives a long and accurate
description of the game as an epic battle. The card table is the velvet
plain. Belinda‟s spade leads the attack, but the Baron‟s Queen of
spade subdues the King of Clubs and his Diamonds win over an array
of Clubs, Diamonds and Hearts. Belinda is saved from total ruin by the
King of Hearts, and her shouts of victory echoes through the gardens.
24. Thereafter, during the coffee session, the Baron succeeds in snipping
off Belinda‟s curl. The description here is a parody of the chivalric
tradition. The baron is given a pair of scissors in a manner that
parallels the arming of knights by ladies, for a battle. The immediate
result is horrified cries of protest : “Not louder shrieks to pitying
Heav‟n are cast, / When Husbands or when lap dogs breath their last.”
But the curl is lost forever, and the baron cries out the triumphant
knowledge of the immortality that is assured to him. The loss of a lock
of hair is compared to the loss of an empire and is a part of the poetic
intention of the mock epic.
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2016
In Canto IV, Pope uses the epic convention to further the purpose
of heightening the conflict between sexes. The weeping sylphs leave
the scene, and the gloomy spirit descends to the spleen. This is a
parallel to the epic journey to the underworld. Spleen gives Umbriel a
bag of sighs, sobs and quarrels, which is released upon Belinda, by her
friends.
They all together bitterly lament the loss of her lock.
Belinda plunges into despair, deeper than that felt by young kings “In
battle seized alive.”
26.
This is followed by a comic battle of the sexes. Beaus and
gentlemen are „slain‟ by the glances from the young ladies. Belinda
attacks the Baron with snuff and reduces him to tears and sneezes. She
draws out a hair pin that becomes a dagger. In the confusion the lock is
irretrievably lost. Belinda is advised to stop her lament because the
lock has now become immortal, through the Muse of Poetry. The lost
curl will be consecrated to fame and Belinda will thus become
immortal. Pope ends his mock epic “The Rape of the Lock‟ with good
sense prevailing over passion. The drama closes with all ends to the
plot drawn together to resolve the conflict.
Downloaded write up on Satire for additional reference
1. Satire is
a genre of literature,
and
sometimes graphic and performing arts, in which vices, follies,
abuses, and shortcomings are held up to ridicule, ideally with the
intent of shaming individuals, corporations, government or society
itself, into improvement. Though satire is usually meant to be
humorous, its greater purpose is often constructive social
criticism, using wit to draw attention to both particular and wider
issues in society.
2. A feature of satire is strong irony or sarcasm. "In satire,
irony is militant". Parody, burlesque, exaggeration, juxtaposition,
comparison, analogy, and double entendre are all frequently used
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English Literature Elective Paper 1 1600 to 1900 Historical material is taken
from „History of English Literature‟ by Emile Legouis and M. Cazamian
2016
in satirical speech and writing. This "militant" irony or sarcasm
often professes to approve of (or at least accept as natural) the
very things the satirist wishes to attack.
3. Satire is nowadays found in many artistic forms of
expression, including literature, plays, commentary, television
shows, and media such as lyrics.
Show how „The Way of the World‟ is a comedy of manners
with a new „snap‟ and „glitter‟?
Answer 2.
Comedy is broadly, divided into (a) Satirical
comedy (b) farcical comedy (c ) Comedy of Manners (d ) Comedy of
Humours (e) Sentimental comedy and (f) Romantic comedy.
1.
Comedy of Manners is almost wholly intellectual. It is also
wholly aristocratic. The manners displayed are not those of men in
general, as in the case of Jonson‟s Comedy of Humours, but they are
the manners of affectation of high society. These Manners were not
an individual trait but the formality adopted for distinguishing the
royal and noble class from the rest of the population. As a very large
portion of time of this high society was spent in palace or love
intrigues, the society was careless about its morals. Therefore, the
Comedy of Manners depicts an air of abandon and of immorality, and
mirrors the high class morals of their Age.
2.
The object of the Comedy of Manners was to display the
fashionable life of their time, and not the superior mental or moral
qualities. Best comedies reflect the spirit of their age. In the Comedy
of Manners we are in the world of artificiality, where social
conventions are predominant, and social manners rule all behaviour.
At another level we are faced with reality which impresses because of
the artificial world with which it intermingles.
3. Due to the influence of Moliere of the French Court, Comedy of
Manners aimed at presenting a veneer of the formalized court live and
society in a faithful manner. It does not aim to reforming the society
by satirizing the follies as was done by Comedy of Humours. The
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English Literature Elective Paper 1 1600 to 1900 Historical material is taken
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2016
satire in Comedy of Manners is present , but it is secondary to the
sharp and witty dialogues.
4. Congreve‟s comedies of manner are pervaded with a comic spirit
having brilliance, grace and style. There is no grossness or obscenity,
but there are remarkable and scintillating flashes of brilliant dialogues
and rich witticism.
5. “The Way of the World” presents the essence of the upper class
existence and is therefore, not artificial to its context. There is
directness, incisiveness, brilliancy and ease in its dialogue. The
characters belonging to the accepted categories of nobles, gallants,
ladies of fashion and intrigue,
are all conceived with an air of
distinction. He especially excels in portraying women.
6. In “The Way of the World” characters fall into groups, and the
movement of the plot is symmetrical. On one side is the ideal pair of
lovers in Mirabell and Millamant , who are contrasted with adulterous
pair of Fainall and Mrs Marwood. Lady Wishfortis the central figure ,
controlling other characters in more than one way. Millamant is the
perfect portrait of a coquette in her resistance to Mirabell, and in the
manner of her conditions „for marrying him‟. Her wit is a sign of her
intelligence, and her affectation is the cloak of affection. Her coquetry
conceals a nature capable of a whole hearted love. She can act as a
fine lady to perfection. She can make wit, the be-all and end-all of her
life. Yet, fundamentally, she is a sensitive woman.
7. In contrast, Lady Wishfort is a full length portrait of an old coquette.
She is depicted in her various moods, her spirited encounters with her
maids, her indulgence of her nephew, her romantic friendship with
Mrs. Marwood, her selfish affections for her daughter, her plaintive
surrender to Mirabell, and her languid reception of Sir Rowland. She
has an extra-ordinary vitality, and possesses a keen sense of humour, a
cutting irony and shrewdness. For example, when she is ready to
receive Sir Rowland, she tries to assess the best way to make her first
impression – whether by lying on the couch or seated in profile, or
walking and turning on him, face to face.
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English Literature Elective Paper 1 1600 to 1900 Historical material is taken
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2016
8. “The Way of the World” is the perfect example of comic endeavour
of a certain type. Congreve‟s focus and object of employing humour is
to lighten the burden of life. His prose style is highly effective on
stage. Congreve endows the characters with wit and humour, that is
always polished , refined and subtle. Millamant‟s affected and
fascinating character study, imparts to all – servants, fools, lovers, -an
air of modish triviality which belongs to the best scenes of the
Comedy of Manners.
9.
There is no harshness in “The Way of the World”. The wit of the
hero and the heroine is more a sill in repartee than inventiveness .
Congreve as the true wit, accepts , understands and masters the
conventions of his World. This enables him to control the destiny of
his characters.
This is expressed finally in the achievement of
marriage which is the willed and free acceptance of hero on equal
terms. The play presents a shower of brilliant conceits.
10.The two main devices utilized to create humour in Comedy of
Manners , are exaggeration and incongruity. Lady Wishfort‟s attempts
to look younger through make-up and dresses, makes her an object of
humour. The contrast between the brilliant Millamant and the crude
country knight , Sir Wilful Witwoud , is another source of humour in
“The Way of the World”.
Petulant and Witwoud who try to
masquerade as witty gallants, create a lot of humour. Waitwell‟s
impersonating as Sir Rowland to woo Lady Wishfort, is a good
example of comic situations in the play.
11.The new „snap and glitter‟ in the play is provided mainly through
superbly pleasing dialogues. All characters are best revealed in the
vivacity of their language. Congreve stands alone in creating
characters by diction and rhythm. For example, the conditions laid
down by Millamant for marrying Mirabell , transmutes the common
place into great dramatic dialogues. The style of the play is beautifully
varied and voices are all distinct. Mirabell‟s meditations are almost
poetic. Witwoud is gushing and effeminate in his frantic pursuit of
similitude. The pretentious diction of Lady Wishfort, the elaborate
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English Literature Elective Paper 1 1600 to 1900 Historical material is taken
from „History of English Literature‟ by Emile Legouis and M. Cazamian
2016
pretences of Mrs Fainall, the corrosive bitterness of Mrs Marwood,
and the malicious exchanges between Marwood and Millamant,
impart variety to female voices in the play. The servants too have
their special accents. Foibles blends impudence with flattery. Mincing
struggles to be genteel.
12.The whimsical manner of speech of Millamant is unmistakeably hers.
Her flippancies are charged with meaning and Congreve attains the
highest model of comic dialogue. There is a peculiar flavour in his
words that is not found elsewhere in the Comedy of Manners. These
new „snaps‟ and glitters of language is an achievement of Congreves
as well as of Comedy of Manners.
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