2016 from „history of english literature‟ by emile legouis...

English Literature Elective Paper 1 1600 to 1900 Historical material is taken

from „History of English Literature‟ by Emile Legouis and M. Cazamian 2016

© 10x10learning.com

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;

Contents

1. Neo-Classicism and Satire Page 1

2. Satire and epic of Jonathan Swift Page 2

3. Mock-epic : Alexander Pope ( 1688 -1744) Page 3

4. Short note on „Satire‟ (downloaded ) Page 9

5. 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




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 co-

exist. 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, epic-

similes are used, warriors are listed and arranged in ranks. Gods take




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




expertise is revealed at sustaining the analogy of the battle in elaborate

details, and working out the metaphor to perfection.

Epic and Mock-epic

10. Satire is a „form of imitation‟ in which criticism and humour co-

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.

11. Alexander Pope put the verse – satire form to best use. Leaving

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.




13. 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.




(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.




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”.




22. 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.




25. 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

http://en.wikipedia.org/wiki/Genre

http://en.wikipedia.org/wiki/Literature

http://en.wikipedia.org/wiki/Graphic_arts

http://en.wikipedia.org/wiki/Performing_art

http://en.wikipedia.org/wiki/Social_criticism



http://en.wikipedia.org/wiki/Wit

http://en.wikipedia.org/wiki/Irony

http://en.wikipedia.org/wiki/Sarcasm

http://en.wikipedia.org/wiki/Parody

http://en.wikipedia.org/wiki/Burlesque_(literary)

http://en.wikipedia.org/wiki/Exaggeration

http://en.wikipedia.org/wiki/Double_entendre




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




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.




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




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.

2016 from „history of english literature‟ by emile legouis...

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