RESTORATION PROSE, POETRY, COMEDY – Flashcards

age of poetry. Not only was poetry the most popular form of literature, but it was also the most significant form of literature, as poems affected political events and immediately reflected the times. It was, to its own people, an age dominated only by the king, and not by any single genius. Throughout the period, the lyric, ariel, historical, and epic poem was being developed. The English epic Even without the introduction of Neo-classical criticism, English poets were aware that they had no national epic. Edmund Spenser's Faerie Queene was well known, but England, unlike France with Song of Roland or Spain with El Cid or, most of all, Italy with Aeneid, had no epic poem of national origins. Several poets attempted to fill this void. William D'Avenant, operator of the first playhouse opened after the Restoration, was also a playwright and an epic poet.William D'Avenant was the first Restoration poet to attempt an epic. His Gondibert was of epic length, and it was admired by Hobbes. However, it also used the ballad form, and other poets, as well as critics, were very quick to condemn this rhyme scheme as unflattering and unheroic (Dryden Epic). The prefaces to Gondibert show the struggle for a formal epic structure, as well as how the early Restoration saw themselves in relation to Classical literature.

one of the major figures of the Restoration, and his poem "The Rape of the Lock" will almost certainly be on your exam. Apart from "The Rape of the Lock," Pope has a number of works that have a high probability of showing up. Note that he wrote almost exclusively in heroic couplets, like many Restoration poets. Noting that a poem is written in heroic couplets is a good step toward identifying a work of Pope's

'Tis hard to say, if greater Want of Skill Appear in Writing or in Judging ill, But, of the two, less dang'rous is th' Offence, To tire our Patience, than mis-lead our Sense Some few in that, but Numbers err in this, Ten Censure wrong for one who Writes amiss; A Fool might once himself alone expose, Now One in Verse makes many more in Prose. ... (1-8) Pope contends in the poem's opening couplets that bad criticism does greater harm than bad writing. The poem is the nearest thing in eighteenth-century, English writing to what might be called a neo-classical manifesto, although it is never as categorically expounded as the term implies. It comes closer, perhaps, to being a handbook, or guide, to the critic's and poet's art, very much in the style of Horace's Ars Poetica, or, to take the English models with which the young Pope was especially familiar, the Earl of Roscommon's translation of Horace, The Art Of Poetry, (1680), and John Sheffield's (the Duke of Buckingham's) Essay On Poetry, (1682). It is accordingly of great value to us today in understanding what Pope and many of his contemporaries saw as the main functions and justifications of criticism in early, eighteenth-century England. The poem is articulated through a more consciously epigrammatic style than anything found elsewhere in Pope's poetry. It is built upon a series of maxims, or pithy apothegms, such as "To Err is Humane; to forgive, Divine," (525), or "For Fools rush in where Angels fear to tread." (625). Pope's ability to sum up an idea tersely and memorably in a phrase, line, or couplet, of packed, imaginative clarity is a hallmark of An Essay on Criticism. Few other poems in the language contain so many formulations that have gone on to achieve an independent, proverbial existence in our culture. The polished couplets encapsulate points that reverberate in the manner of conversational repartee.

a philosophical poem, written, characteristically, in heroic couplets, and published between 1732 and 1734. Pope intended it as the centerpiece of a proposed system of ethics to be put forth in poetic form: it is in fact a fragment of a larger work which Pope planned but did not live to complete. It is an attempt to justify, as Milton had attempted to vindicate, the ways of God to Man, and a warning that man himself is not, as, in his pride, he seems to believe, the center of all things. Though not explicitly Christian, the Essay makes the implicit assumption that man is fallen and unregenerate, and that he must seek his own salvation. The "Essay" consists of four epistles, addressed to Lord Bolingbroke, and derived, to some extent, from some of Bolingbroke's own fragmentary philosophical writings, as well as from ideas expressed by the deistic third Earl of Shaftsbury. Pope sets out to demonstrate that no matter how imperfect, complex, inscrutable, and disturbingly full of evil the Universe may appear to be, it does function in a rational fashion, according to natural laws; and is, in fact, considered as a whole, a perfect work of God. It appears imperfect to us only because our perceptions are limited by our feeble moral and intellectual capacity. His conclusion is that we must learn to accept our position in the Great Chain of Being-a "middle state," below that of the angels but above that of the beasts-in which we can, at least potentially, lead happy and virtuous lives.

The Mighty Mother, and her Son who brings The Smithfield Muses to the ear of Kings, I sing. Say you, her instruments the Great! Call'd to this work by Dulness, Jove, and Fate; You by whose care, in vain decry'd and curst, Still Dunce the second reigns like Dunce the first; THE DUNCIAD 1 Say how the Goddess bade Britannia sleep, And pour'd her Spirit o'er the land and deep. In eldest time, e'er mortals writ or read, E'er Pallas issu'd from the Thund'rer's head, Dulness o'er all possess'd her ancient right, Daughter of Chaos and eternal Night: Fate in their dotage this fair Ideot gave, Gross as her sire, and as her mother grave, Laborious, heavy, busy, bold, and blind, She rul'd, in native Anarchy, the mind. expresses Pope's deep dismay concerning the feared loss of Britain's literary, cultural and ethical inheritance. Pope takes this idea, of the personified goddess of Dulness being at war with reason, darkness at war with light, and extends it to a full Aeneid parody. His poem celebrates a war, rather than a mere victory, and a process of ignorance, and Pope picks as his champion of all things insipid Lewis Theobald and Colley Cibber. (Theobald was Pope's nemesis in editing Shakespeare. Cibber was Pope's poetic nemesis who became laureate over Pope, though his plays and poetry were terrible.) The poem was loosely modeled on Dryden's MacFlecknoe, but where Dryden's poem was a lampoon of 217 lines attacking a single person, Thomas Shadwell, Pope's was a more fully developed satirical anti-epic, attacking all those who had slandered him over many years, in a poem more than four times the length.

An Ovidian heroic epistle inspired by the 12th century story of Eloisa's (Heloise's) illicit love for, and secret marriage to, her teacher Pierre Abélard, perhaps the most popular teacher and philosopher in Paris, and the brutal vengeance her family exacts when they castrate him, not realizing that the lovers had married. It is from this poem that the title for the film Eternal Sunshine of the Spotless Mind comes. "In these deep solitudes and awful cells, Where heav'nly-pensive contemplation dwells, And ever-musing melancholy reigns; What means this tumult in a vestal's veins? Why rove my thoughts beyond this last retreat? Why feels my heart its long-forgotten heat? Yet, yet I love!—From Abelard it came, And Eloisa yet must kiss the name. Dear fatal name! rest ever unreveal'd, Nor pass these lips in holy silence seal'd. Hide it, my heart, within that close disguise, Where mix'd with God's, his lov'd idea lies: O write it not, my hand—the name appears Already written—wash it out, my tears! In vain lost Eloisa weeps and prays, Her heart still dictates, and her hand obeys. ... How happy is the blameless vestal's lot! The world forgetting, by the world forgot. Eternal sunshine of the spotless mind! Each pray'r accepted, and each wish resign'd; Labour and rest, that equal periods keep; "Obedient slumbers that can wake and weep;" Desires compos'd, affections ever ev'n, Tears that delight, and sighs that waft to Heav'n. Grace shines around her with serenest beams, And whisp'ring angels prompt her golden dreams. For her th' unfading rose of Eden blooms, And wings of seraphs shed divine perfumes, For her the Spouse prepares the bridal ring, For her white virgins hymeneals sing, To sounds of heav'nly harps she dies away, And melts in visions of eternal day. ... No, fly me, fly me, far as pole from pole; Rise Alps between us! and whole oceans roll! Ah, come not, write not, think not once of me, Nor share one pang of all I felt for thee. Thy oaths I quit, thy memory resign; Forget, renounce me, hate whate'er was mine. Fair eyes, and tempting looks (which yet I view!) Long lov'd, ador'd ideas, all adieu! Oh Grace serene! oh virtue heav'nly fair! Divine oblivion of low-thoughted care! Fresh blooming hope, gay daughter of the sky! And faith, our early immortality! Enter, each mild, each amicable guest; Receive, and wrap me in eternal rest! ... From the full choir when loud Hosannas rise, And swell the pomp of dreadful sacrifice, Amid that scene if some relenting eye Glance on the stone where our cold relics lie, Devotion's self shall steal a thought from Heav'n, One human tear shall drop and be forgiv'n. And sure, if fate some future bard shall join In sad similitude of griefs to mine, Condemn'd whole years in absence to deplore, And image charms he must behold no more; Such if there be, who loves so long, so well; Let him our sad, our tender story tell; The well-sung woes will soothe my pensive ghost; He best can paint 'em, who shall feel 'em most. "

Although the target of the satire appears at first to be aristocratic and wealthy women, the venom that Pope expends upon them clearly spreads to encompass women as a sex. For readers today Pope's text, like Shakespeare's The Taming of the Shrew, presents serious problems of interpretation. Whereas in his other satires Pope targets either particular vices, or particular individuals, in An Epistle To A Lady he attacks the entire female sex. Paradoxically his misogyny weakens rather than strengthens his satire. The "Lady" to whom it is addressed, and whom it praises so glowingly at the end, was Pope's closest female friend, Martha Blount Epistle II begins: NOTHING so true as what you once let fall, "Most Women have no Characters at all." Matter too soft a lasting mark to bear, And best distinguish'd by black, brown, or fair.

The poem is based on an incident involving friends of Pope. Arabella Fermor and her suitor, Lord Petre were both from aristocratic Catholic families at a time, in England, when Catholicism was legally proscribed. Petre, wooing Arabella, had cut off a lock of her hair without permission, and the resulting argument had created a breach between the two families. Pope wrote the poem at the request of a friend in order to "laugh the two together". Pope refigures Arabella as Belinda and introduces an entire system of "sylphs", or guardian spirits of virgins, a parodic version of the gods and goddess of conventional epic. Pope satirizes a petty squabble by comparing it to the epic world of the gods. Belinda arises to prepare for the day's social activities after sleeping late. Her guardian sylph, Ariel, warned her in a dream that some disaster will befall her, and promises to protect her to the best of his abilities. Belinda takes little notice of this oracle, however. After an elaborate ritual of dressing and primping, she travels on the Thames River to Hampton Court Palace, an ancient royal residence outside of London, where a group of wealthy young socialites are gathering for a party. Among them is the Baron, who has already made up his mind to steal a lock of Belinda's hair. He has risen early to perform and elaborate set of prayers and sacrifices to promote success in this enterprise. When the partygoers arrive at the palace, they enjoy a tense game of cards, which Pope describes in mock-heroic terms as a battle. This is followed by a round of coffee. Then the Baron takes up a pair of scissors and manages, on the third try, to cut off the coveted lock of Belinda's hair. Belinda is furious. Umbriel, a mischievous gnome, journeys down to the Cave of Spleen to procure a sack of sighs and a flask of tears which he then bestows on the heroine to fan the flames of her ire. Clarissa, who had aided the Baron in his crime, now urges Belinda to give up her anger in favor of good humor and good sense, moral qualities which will outlast her vanities. But Clarissa's moralizing falls on deaf ears, and Belinda initiates a scuffle between the ladies and the gentlemen, in which she attempts to recover the severed curl. The lock is lost in the confusion of this mock battle, however; the poet consoles the bereft Belinda with the suggestion that it has been taken up into the heavens and immortalized as a constellation. Canto I "What dire offence from am'rous causes springs, What mighty contests rise from trivial things, I sing — This verse to Caryl, Muse! is due: This, ev'n Belinda may vouchsafe to view: Slight is the subject, but not so the praise, If She inspire, and He approve my lays." "Yet graceful ease, and sweetness void of pride, Might hide her faults, if belles had faults to hide: If to her share some female errors fall, Look on her face, and you'll forget 'em all." "How vain are all these Glories, all our Pains, Unless good Sense preserve what Beauty gains: That Men may say, when we the Front-box grace, Behold the first in Virtue, as in Face!"

"Adam Pos'd" Cou'd our First Father, at his toilsome Plough, Thorns in his Path, and Labour on his Brow, Cloath'd only in a rude, unpolish'd Skin, Cou'd he a vain Fantastick Nymph have seen, In all her Airs, in all her antick Graces, Her various Fashions, and more various Faces; How had it pos'd that Skill, which late assign'd Just Appellations to Each several Kind! A right Idea of the Sight to frame; T'have guest from what New Element she came; T'have hit the wav'ring Form, or giv'n this Thing a Name.

stars in the canon of English literature as the first known English woman to earn her living by the pen. She is famous for her prose work Oroonoko (1688) and for her comic Restoration dramas such as The Rover (1681) and The Lucky Chance (1686). As well as plays and prose she wrote poetry and translated works from French and Latin. From what we know of her life she had a colourful childhood and adolescence, some of which was spent in Dutch Guiana in the West Indies (providing material for Oroonoko). The Forc'd Marriage, her first play, was produced in 1671, and its witty and vivacious style was typical of her work. The Rover, produced in two parts, was a highly successful depiction of the adventures of a small group of English Cavaliers in Madrid and Naples during the exile of Charles II. Oroonoko is the story of an enslaved African prince and is now considered a foundation stone in the development of the English novel. Among her sources was the Italian commedia dell' arte (improvised comedy). In her time she was a popular celebrity who caused something of a stir due to her independence as a professional writer and her concern for equality between the sexes. She often published under the name, Astrea

Pilg's Prog is PROSE. Bunyan's Pilgrim's Progress is a work of prose. Amazingly, it's considered a major work of the Restoration and somewhat regarded today. John Bunyan was a passionately religious man, imprisoned in 1660 for preaching without a license, and spending most of the next twelve years in jail. It was after his release and during his second imprisonment in 1676 that he seems to have written his most famous and influential work, The Pilgrim's Progress. It is an allegory told by a dreamer, much like certain medieval poems (Pearl is the clearest example). Its full title is The Pilgrim's Progress from this World to that which is to come and is was published in two parts, in 1678 and 1684. The dreamer sees a man, Christian, clothed in rags, with a burden on his back, leaving his house behind in the knowledge that it will burn down. The book he holds in his hands has told him so. He has to flee his family who think he has gone mad and escape the City of Destruction. On the advice of Evangelist he begins a journey through a series of allegorical places: the Slough of Despond, the House Beautiful, the Valley of Humiliation, the Valley of the Shadow of Death, Vanity Fair, Doubting Castle and so on to the Celestial City that he seeks. Each character and place in the dream is given an appropriate name: so Christian meets the goodly Hopeful and Faithful, the cheating Mr Legality and the evil Giant Despair. The format is not unlike that of Spenser's The Faerie Queene in this sense and in that of a divinely inspired journey. The second part concerns the Christiana, Christian's wife, who is inspired to follow on a similar pilgrimage. The Pilgrim's Progress is the source for the name of Thackery's Vanity Fair. The Author's Apology for His Book (begins Pilgrim's Progress, first stanza) When at the first I took my pen in hand Thus for to write, I did not understand That I at all should make a little book In such a mode; nay, I had undertook To make another; which, when almost done, Before I was aware, I this begun. Beginning of Part 1: As I walked through the wilderness of this world, I lighted on a certain place where was a Den, and I laid me down in that place to sleep: and, as I slept, I dreamed a dream. I dreamed, and behold, I saw a man clothed with rags, standing in a certain place, with his face from his own house, a book in his hand, and a great burden upon his back. I looked, and saw him open the book, and read therein; and, as he read, he wept, and trembled; and, not being able longer to contain, he brake out with a lamentable cry, saying, What shall I do?

*"Mac Flecknoe" (see mock epic cards) Like Pope's "Rape of the Lock," Dryden's "Mac Flecknoe" is a relatively short poem that is worth reading. And like "Rape of the Lock" and "The Dunciad", it is a mock epic. In it, Dryden attacks his contemporary, Thomas Shadwell in heroic couplets. The mock epic is characterized by grandiose language describing mundane, trivial things. "All human things are subject to decay, And, when Fate summons, monarchs must obey:"... "Absalom and Achitophel" A political allegory that uses biblical figures and events to stand in for a political crisis current in Dryden's time o Note the names: Absalom, Achitophel, and King David o Written in heroic couplets "Epigram on Milton" Three poets, in three distant ages born, Greece, Italy, and England did adorn. The first in loftiness of thought surpassed; The next, in majesty; in both the last. The force of Nature could no further go. To make a third, she joined the former two. "A Song for St. Cecilia's Day" it begins: From harmony, from Heav'nly harmony This universal frame began. When Nature underneath a heap Of jarring atoms lay, And could not heave her head, The tuneful voice was heard from high, Arise ye more than dead. Then cold, and hot, and moist, and dry, In order to their stations leap, And music's pow'r obey.

All for Love, or the World Well Lost (1677), Dryden's tragedy of Antony and Cleopatra, represents a turning point in his career as a dramatist. Abandoning his practice of composing his plays in rhymed couplets (a method he had earlier encouraged in his Essay of Dramatic Poesie)(1668), Dryden shows here the mastery of an artist at the height of his powers. The play is especially impressive in creating genuine emotion and dramatic tension within the rigorous strictures of the neoclassical theatre; the unities of time, place, and action are strictly observed, but the story loses none of its power as a result. The work has obviously suffered in its inevitable comparison to Shakespeare's Antony and Cleopatra—when read, Dryden's play is usually offered as an illustration of the inadequacies of Restoration tragedy when compared to that of the English Renaissance—but such comparison is fundamentally misguided, as it ignores the vastly different conditions of performance and composition between the two eras. A masterpiece in its own right, All for Love is a product of its time, and cannot be judged according to Shakespearean standards. Indeed, a comparison of the two plays might cede Dryden the victory in certain areas. While Shakespeare's play ranges widely over time and place, creating an epic but often awkwardly meandering sense of scope, Dryden's tightly focused composition allows a greater degree of emotional intensity and insight—without the ability to show battles, multiple settings, or the sweeping changes of time, Dryden manages nevertheless to create a work of genuinely tragic pathos. If Dryden's meek Cleopatra is no match for what is perhaps Shakespeare's most brilliantly rendered female character, his Antony is a startlingly astute portrait of a great man in crisis. Most importantly, though the two authors tell the same tale, their versions are driven by quite different artistic visions: if Shakespeare's art is motivated primarily by the passion of history's most famous lovers, Dryden's interest lies in the clash between the personal and the political—the dramatic clash in the play is not between the lovers and the world that seeks to divide them, but between Antony's duties as a statesman and a Roman, and his passionate desire for the woman he loves.

(See mock epic) -G's island -Tale of a Tub -Modest Proposal "A Description of a City Shower" Careful observers may foretell the hour (By sure prognostics) when to dread a shower: While rain depends, the pensive cat gives o'er Her frolics, and pursues her tail no more. Returning home at night, you'll find the sink Strike your offended sense with double stink. If you be wise, then go not far to dine, You spend in coach-hire more than save in wine. A coming shower your shooting corns presage, Old aches throb, your hollow tooth will rage. Sauntering in coffee-house is Dulman seen; He damns the climate, and complains of spleen. Mean while the South rising with dabbled wings, A sable cloud a-thwart the welkin flings, That swilled more liquor than it could contain, And like a drunkard gives it up again. Brisk Susan whips her linen from the rope, While the first drizzling shower is born aslope, Such is that sprinkling which some careless quean Flirts on you from her mop, but not so clean. You fly, invoke the gods; then turning, stop To rail; she singing, still whirls on her mop. Not yet, the dust had shunned the unequal strife, But aided by the wind, fought still for life; And wafted with its foe by violent gust, 'Twas doubtful which was rain, and which was dust. Ah! where must needy poet seek for Aid, When dust and rain at once his coat invade; Sole coat, where dust cemented by the rain, Erects the nap, and leaves a cloudy stain. Now in contiguous drops the flood comes down, Threatening with deluge this devoted town. To shops in crowds the daggled females fly, Pretend to cheapen Goods, but nothing buy. The Templar spruce, while every spout's a-broach, Stays till 'tis fair, yet seems to call a coach. The tucked-up sempstress walks with hasty strides, While streams run down her oiled umbrella's sides. Here various kinds by various fortunes led, Commence acquaintance underneath a shed. Triumphant Tories, and desponding Whigs, Forget their feuds, and join to save their wigs. Boxed in a chair the beau impatient sits, While spouts run clattering o'er the roof by fits; And ever and anon with frightful din The leather sounds, he trembles from within. So when Troy chairmen bore the wooden steed, Pregnant with Greeks, impatient to be freed, (Those bully Greeks, who, as the moderns do, Instead of paying chairmen, run them through.) Laocoon struck the outside with his spear, And each imprisoned hero quaked for fear. Now from all Parts the swelling kennels flow, And bear their Trophies with them as they go: Filth of all hues and odours seem to tell What streets they sailed from, by the sight and smell. They, as each Torrent drives, with rapid force From Smithfield, or St. Pulchre's shape their course, And in huge confluent join at Snow-Hill ridge, Fall from the conduit prone to Holborn-Bridge. Sweepings from butchers stalls, dung, guts, and blood, Drowned puppies, stinking sprats, all drenched in mud, Dead cats and turnips-tops come tumbling down the flood.

Together they began and ran the periodical The Spectator and its predecessor, The Tatler. The Spectator was published between March of 1711 and December of 1712, and was a pioneering innovation of its times. Each issue consisted of one long essay. The Spectator was one of the first literary endeavors to make a deliberate effort to appeal to a female readership. Addison and Steele might appear on the exam, but you will not need to be able to identify a passage of theirs. They are notable mostly for their historical significance

When civil dudgeon a first grew high, And men fell out they knew not why? When hard words, jealousies, and fears, Set folks together by the ears, And made them fight, like mad or drunk, 5 For Dame Religion, as for punk; Whose honesty they all durst swear for, Though not a man of them knew wherefore: When Gospel-Trumpeter, surrounded With long-ear'd rout, to battle sounded, 10 And pulpit, drum ecclesiastick, Was beat with fist, instead of a stick; Then did Sir Knight abandon dwelling, And out he rode a colonelling. Hudibras is a mock heroic poem from the 17th century written by Samuel Butler. The title comes from Spenser's Faerie Queene. The work is a satirical polemic upon Roundheads, Puritans, Presbyterians and many of the other factions involved in the English Civil War. The work was written in three parts in 1663, 1664 and 1678 although an unauthorised edition came out in 1662. Published only four years after Charles II had been restored to the throne and the Protectorate of Oliver Cromwell being completely over the poem found an appreciative audience. The satire is not balanced as Butler was fiercely royalist and only the parliamentarian side are singled out for ridicule. Butler also uses the work to parody some of the dreadful poetry of the time. The epic tells the story of Sir Hudibras, a knight errant who is described dramatically and with laudatory praise that is so thickly applied to be absurd and the conceited and arrogant person is visible beneath. He is praised for his knowledge of logic despite appearing stupid throughout, but it his religious fervour which is mainly attacked: For his Religion, it was fit To match his learning and his wit; 'Twas Presbyterian true blue; For he was of that stubborn crew Of errant saints, whom all men grant To be the true Church Militant; Such as do build their faith upon The holy text of pike and gun; Decide all controversies by Infallible artillery; And prove their doctrine orthodox By apostolic blows and knocks; Call fire and sword and desolation, A godly thorough reformation, Which always must be carried on, And still be doing, never done; As if religion were intended For nothing else but to be mended. His squire, Ralpho, is of a similar stamp but makes no claim to great learning knowing all there is to know from his religion or "new-light" as he calls it. Butler satirises the competing factions at the time of the protectorship by the constant bickering of these two principle characters whose religious opinions should unite them. These are fawning but barbed portraits and are thought to represent personalities of the times but the actual analogues are, now as then, debateable. "A Key to Hudibras" printed with one of the work's editions and ascribed to Roger L'Estrange names Sir Samuel Luke as the model for Hudibras. Certainly, the mention of Mamaluke in the poem makes this possible although Butler suggests Hudibras is from the West Country making Henry Rosewell a candidate. The witchfinder, Matthew Hopkins, John Desborough parliamentarian general and William Prynne lawyer all make and appearance and the character of Sidrophel is variously seen as either William Lilly or Paul Neale. Butler is clearly influenced by Rabelais and particularly Cervantes' Don Quixote. But whereas in Cervantes, although being mocked, the readers sympathies are obviously supposed to be with the noble knight, Hudibras is offered nothing but derision. The title comes from the name of a knight in Edmund Spencer's Faerie Queene who is described as "not so good of deeds as great of name" and "more huge in strength then wise in work". Spencer in turn probably got the name from the legendary English king Rud Hud Hudibras. Hudibras was written in an iambic tetrameter in closed couplets, with surprising feminine rhymes. The dramatic meter portends tales of dramatic deeds but the subject matter and the unusual rhymes undercut its importance. This verse form is now referred to as Hudibrastic. Plot The knight and his squire sally forth and come upon some people bear-baiting. After deciding that this is anti-Christian they attack the baiters and capture one after defeating the bear. The defeated group of bear-baiters then rallies and renews the attack capturing the knight and his squire. While in the stock the pair argue on religion. Part two describes how the knight's imprisoned condition is reported by Fame to a widow Hudibras has been wooing and she comes to see him. With a captive audience, she complains that he does not really love her and he ends up promising to flagellate himself if she frees him. Once free he regrets his promise and debates with Ralpho how to avoid his fate with Ralpho suggesting that oath breaking is next to saintliness: For breaking of an oath, and lying, Is but a kind of self-denying; A Saint-like virtue: and from hence Some have broke oaths by Providence Some, to the glory of the Lord, Perjur'd themselves, and broke their word; Hudibras then tries to convince Rapho of the nobility of accepting the beating in his stead but he declines the offer. They are interrupted by a skimmington, a procession where women are celebrated and men made fools. After haranguing the crowd for their lewdness, the knight is pelted with rotten eggs and chased away. He decides to visit an astrologer, Sidrophel, to ask him how he should woo the widow but they get into an argument and after a fight the knight and squire run off in different directions believing they have killed Sidrophel. The third part was published 14 years after the first two and considerably different to the first parts. It picks up from where the second left off with Hudibras going to the widow's house to explain the details of the whipping he had promised to give himself but Ralpho had got there first and told her what had actually happened. Suddenly a group rushes in and gives him a beating and supposing them to be spirits from Sidrophel, rather then hired by the widow, confesses his sins and by extension the sins of the Puritans. Hudibras then visits a lawyer—the profession Butler trained in and one he is well able to satirise—who convinces him to write a letter to the widow. The poem ends with their exchange of letters in which the knight's arguments are rebuffed by the widow Before the visit to the lawyer there is a digression of an entire canto in which much fun is had at the events after Oliver Cromwell's death. The succession of his son Richard Cromwell and the squabbles of factions such as the Fifth Monarchists are told with no veil of fiction and no mention of Sir Hudibras. Hudibrastic: refers specifically to the couplets of rhymed terameter lines which Butler used in Hudibras, or generally to any deliberate, humorous, ill-rhymed couplets. All lines have 8 syllables, and are iambic tetrameter couplets. This was Swift's chosen poetic style: We grant, although he had much wit He was very shy of using it As being loathe to wear it out And therefore bore it not about, Unless on holidays, or so As men their best apparel do. Beside, tis' known he could speak Greek As naturally as pigs squeak.

The Scriblerus Club was an informal group of friends that included Jonathan Swift, Alexander Pope, John Gay, John Arbuthnot, and Thomas Parnell. Robert Harley, 1st Earl of Oxford and Mortimer occasionally joined the club for meetings, though he is not known to have contributed to any of their literary work. The club began as a project of satirizing the abuses of learning wherever they might be found, which led to The Memoirs of Martinus Scriblerus. The second edition of Pope's The Dunciad also contains work attributed to Martinus Scriblerus.

The Beggar's Opera-angered government against him; he caricatured officials, etc.

Love's Last Shift, or, Virtue Rewarded (1696) It is regarded as an early herald of a massive shift in audience taste, away from the intellectualism and sexual frankness of Restoration comedy and towards the conservative certainties and gender role backlash of exemplary or sentimental comedy. It is often described as opportunistic (Hume), containing as it does something for everybody: daring Restoration comedy sex scenes, sentimental reconciliations, and broad farce. The poet laureate with dubious laurels and bad poetry. Love's Last Shift is the story of a last "shift" or trick that a virtuous wife, Amanda, is driven to in order to reform and retain her out-of-control rakish husband Loveless. Loveless has been away for ten years, dividing his time between the brothel and the bottle, and no longer recognizes his wife when he returns to London. Acting the part of a high-class prostitute, Amanda inveigles Loveless into her luxurious house and treats him to the night of his dreams, confessing her true identity in the morning. Loveless is so impressed by her faithfulness that he immediately becomes a reformed character. A minor part which was a great success with the première audience is the fop Sir Novelty Fashion, written by Cibber for himself to play. Sir Novelty flirts with all the women, but is more interested in his own exquisite appearance and witticisms.

Wrote: The Vicar of Wakefield (1766), his pastoral poem The Deserted Village (1770), and his plays The Good-Natur'd Man (1768) and She Stoops to Conquer (1771, first performed in 1773) She Stoops to Conquer (1773) (Remember: she plays a lower-class serving maid to win Charles' heart) In essence, the play is a farce, full of misunderstandings. CHARLES MARLOW Hardcastle family Tony Lumpkin The hero is Charles Marlow, a wealthy young man who is being forced by his family to consider a potential bride whom he has never met. He is anxious about meeting her, because he suffers from shyness and can only behave naturally with women of a lower class. He sets out with a friend to travel to the home of his prospective in-laws, the Hardcastles, but they become lost on the road. While the bride-to-be is awaiting his arrival, her half-brother, Tony Lumpkin (one of literature's great comic characters), while out riding, comes across the two strangers, and, realising their identity, plays a practical joke by telling them that they are a long way from their destination and will have to stay overnight at an inn. The "inn" he directs them to is in fact the home of his parents. When they arrive, their hosts, who have been expecting them, go out of their way to make them welcome. However, the two men, believing themselves in a hostelry, behave rudely. Meanwhile, Tony's sister, Kate, learning of the error and also acquainted with her suitor's shyness, masquerades as a serving-maid in order to get to know him. He falls in love with her and plans to elope with her. Needless to say, all misunderstandings are sorted out in the end, and Charles and Kate live happily ever after.

The Rivals (1775) Mrs. Malaprop--from which malapropism comes. i.e. "We will not anticipate the past, our retrospection will now be all to the future." "The pineapple of politeness" (Instead of "pinnacle of politeness.") "She's as headstrong as an allegory on the banks of the Nile" (Instead of "alligator on the banks of the Nile.") Others: Lydia Languish and Captain Jack Absolute The School for Scandal (1777) JOSEPH AND CHARLES SURFACE MARIA SIR PETER TEAZLE LADY SNEERWELL SIR OLIVER Brothers Joseph and Charles Surface, and their cousin Maria, are orphans in the care of their uncle, Sir Peter Teazle. Both brothers wish to marry Maria. Lady Sneerwell, a malicious gossip and founder of The School for Scandal, wants to marry Charles and spreads false rumours about an affair between Charles and Lady Teazle in an attempt to make Maria reject Charles. Meanwhile, Joseph is attempting to seduce Lady Teazle. The brothers have a rich uncle, Sir Oliver, whom they have never met, and who visits them both incognito to test their characters before deciding which of them shall inherit his fortune. He finds that Joseph is a sanctimonious hypocrite, and that Charles is a generous libertine, and prefers Charles. In a farcical scene involving characters hiding behind furniture, Sir Peter learns of the plotting between Joseph and Lady Sneerwell, that the rumours about Charles and Lady Teazle are false, and that his wife is merely a victim of Joseph's flattery. He is therefore reconciled with his wife, and decides that Charles deserves to marry Maria. Lady Teazle, who has had a narrow escape from ruin, delivers an epilogue warning of the dangers of scandal-making.

The Country Wife MR. HORNBY MR. PINCHWIFE FIDGETS MR. SQUEAMISH A product of the tolerant early Restoration period, the play reflects an aristocratic and anti-Puritan ideology, and was controversial for its sexual explicitness even in its own time. Even its title contains a lewd pun. It is based on several plays by Molière, with added features that 1670s London audiences demanded: colloquial prose dialogue in place of Molière's verse, a complicated, fast-paced plot tangle, and many sex jokes. It turns on two indelicate plot devices: a rake's trick of pretending impotence in order to safely have clandestine affairs with married women, and the arrival in London of an inexperienced young "country wife", with her discovery of the joys of town life, especially the fascinating London men. The Country Wife is more neatly constructed than most Restoration comedies, but is typical of its time and place in having three sources and three plots. The separate plots are interlinked but distinct, each projecting a sharply different mood. They are: Horner's impotence trick the married life of Pinchwife and Margery the courtship of Harcourt and Alithea

The Way of the World MIRABELL MILLAMANT (AUNT) LADY WISHFORT WAITWELL FOIBLE SIR WITOUD FAINALL MRS MARWOOD The play is based around the two lovers Mirabell and Millamant. In order for the two to get married and receive Millamant's full dowry, Mirabell must receive Millamant's aunt, Lady Wishfort's blessing. Unfortunately, she is a bitter lady who hates Mirabell and wants her own nephew, Sir Witwoud to marry Millamant. Other characters include Fainall who is having a secret affair with Mrs. Marwood, a friend of Mrs. Fainall's, who in turn once had an affair with Mirabell. Waitwell is Mrs. Fainall's servant and is married to Foible, Mrs. Wishfort's servant. Waitwell pretends to be Sir Rowland and on Mirabell's command, tries to trick Lady Wishfort into a false engagement.