Search Results

“... Was there such a thing as ‘Neo-Classicism’, outside the special sense of the term which art historians apply to a later period than the one over which students of literature lose so much of their composure? It seems to have existed sufficiently strongly in French studies to have produced a body of revisionist denials. The term ‘Neo-Classic’ has largely dropped out of the corridors of Englitbiz, usually to be replaced by ‘Augustan’, though one of the most loudly ballyhooed non-events in recent English studies has been an attempt to dislodge ‘Augustan’ too, on the grounds that some 18th-century authors took a dim view of Augustus Caesar ...”

“... There is an anonymous portrait of Dryden, ‘dated 1657 but probably 1662’, which shows a full-fed figure with plump alert eyes, comfortable and predatory. He seems poised between repletion and dyspepsia, like a bewigged Nigel Lawson, arrested for all time at the moment of incipient eructation. James Winn says: ‘His short, squat figure later led his enemies to call him “Poet Squab”, and the plump birdlike face in this picture justifies the nickname ...”

“... The title of John Fraser’s book comes from Hamlet’s most famous speech. ‘The name of action’ is what ‘enterprises of great pitch and moment’ lose when ‘the native hue of resolution’ is ‘sicklied o’er with the pale cast of thought’: not, on the evidence of this volume, too much of a problem for Mr Fraser himself. His immediate target is litcritbiz, perennially anxious to demonstrate that books mean something other than what they say ...”

“... In a recent review in this paper, Edward Said used the word ‘narrative’ about thirty times. This might have seemed a lot even in the present state of litcritspeak, and even in an essay on, say, narrative. On this occasion, however, he was writing not about literary texts but about the Palestinian troubles: an affecting topic, on which he writes with eloquence and with a generosity of vision which deserves the respect even of those whose loyalties are opposed to his ...”

“... Richardson is the Hugo, hélas! of the 18th-century English novel, as Coleridge might have said: ‘I confess that it has cost – still costs my philosophy some exertion not to be vexed that I must admire – aye, greatly, very greatly, admire Richardson/his mind is so very vile a mind – so oozy, hypocritical, praise-mad, canting, envious, concupiscent ...”

“... Boswell struts on. The English Experiment is the twelfth volume of his private papers to appear in the Yale Edition in the 37 years since the so-called London Journal 1762-1763 created its naughty little sensation. Only one more is due in the present series (there is a Research Edition too, but that is another and longer story), which will take us to his death, aged 54, in 1795 ...”

“... In all my dealings with the Moors, I have always discover’d in them an ill-natur’d cowardise, which makes them insupportably insolent, if you shew them the least respect, and easily reduced to reasonable terms, when you treat them with a high hand.’ The words read like something from Said’s Orientalism, the sentiments of a Balfour or Cromer, as parroted by a barrackroom sage or vainglorious subaltern, without the bland solvent of self-righteous statesmanship ...”

“... At the end of Book Two of the Iliad, in the famous catalogue of the Greek and Trojan forces, the Carians, allies of Troy, led by their chief Nastes, are referred to as barbarophonoi, literally ‘of barbarian (i.e. non-Greek) speech’. Since barbaros (an onomatopoeic term suggesting babble, which does not occur in Homer) meant ‘one who does not speak Greek’, Homer’s compound word – the only occurrence in the Iliad of any derivative of barbaros – is pleonastic, or perhaps overemphatic or fussy (according to G ...”

“... Farewel, too little and too lately known,’ Dryden wrote in a pompous, self-serving poem prefixed to John Oldham’s Remains in Verse and Prose (1684). Oldham had died of smallpox the previous December, at the age of 30, at the house of the Earl of Kingston, a young nobleman who had recently become his patron. He left behind a large body of work, now available in full for the first time in a magisterial edition by Harold Brooks, begun over fifty years ago ...”

“... According to Jerome McGann, poetry became desocialised as a result of Kant’s definition of the aesthetic experience as wholly and essentially subjective. A consequence for criticism ever since has been that ‘poetry’s historical and social relations are regarded as peripheral (“extrinsic”) concerns.’ Coleridge’s declaration that a poem proposes ‘for its immediate object pleasure not truth’, and his particular conception of Imagination as an internal and self-enclosed harmonisation, ‘extends and elaborates the Kantian analyses of the aesthetic experience ...”

“... The Intelligencer was a periodical mainly but not exclusively of Irish interest. It ran to 19 more or less weekly numbers between May and December 1728, with a longish interruption in the summer, and a single further number in May 1729. It was written by Jonathan Swift and his friend Thomas Sheridan, a clergyman, schoolteacher and man of letters, and grandfather of the playwright ...”

“... Edward Thompson’s Customs in Common is described as a ‘companion volume’ to his The Making of the English Working Class, and rises to the occasion. It has the wide range of reference, the densely-textured documentation, a special quality of charged impressionism (sometimes tendentious, more often honourably concerned with generous perspectives and panoramic insight), the embattled moral fervour, which established the earlier book as a classic of historical scholarship and indeed of English letters ...”

“... Burke’s Reflections on the Revolution in France was published on 1 November 1790. By then, Burke had long ceased to be the dominant intellectual influence in the Whig Party. He hoped the work would restore him to that position. Instead, it began the long process of his transformation into the patron saint of a later Toryism, rooted in nostalgia, in a feeling for the evolution rather than revolution of national structures, gradualist in reform, empirical rather than abstractly ideological, and moderate rather than extremist in its principles of political action ...”

“... Fielding was born in 1707 into a family in straitened circumstances but of aristocratic connections. A family myth, based on forged papers, claimed descent from the Hapsburgs. The combination of financial embarrassment and gentlemanly caste is emblematic of the whole atmosphere of his life, and is variously reflected in his writings. He turned to writing fiction for a living (and to practising law for the same reason) after his career as a prominent and successful dramatist was ended by the Licensing Act of 1737, which his own anti-Government plays helped to precipitate, and which remained in force until 1968 (in later years it functioned more as an instrument of moral than of political censorship ...”

“... In Alvin Kernan’s book The Death of Literature there is an account of the Lady Chatterley trial. It sports a pointless and omni-directed superciliousness so relentlessly predictable that if, for example, Rebecca West is cited making a perfectly tenable statement you can rely on being told that she was displaying ‘qualities that must have once made H ...”