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The Restoration and the Eighteenth Century

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1 The Restoration and the Eighteenth Century 1660-1800
Holt 6th Course By C.F Main AP English Literature Hilltop High School Mrs. Demangos

2 “The Best of All Possible Worlds”
There are seven groups in English society The Great, who live profusely. The Rich, who live very plentifully. The Middle Sort, who live well. The Working Trades, who labor hard, but feel no want. The Country People, Farmers, etc., who fare indifferently. The Poor, that fare hard. The Miserable, that really pinch and suffer want. Daniel Defoe

3 In 1600, The English monarchy was restored after twenty years of civil war and repressive Puritan rule. The plague descended, followed by a devastating fire in London. No wonder, then, that the English were ready for a period of stability in which the conservative values of order, decorum, and clarity were of the utmost importance.

4 Essential Questions As you read about this period, look for answers to these questions: What was new about the way in which nature was regarded and analyzed in the eighteenth century? How did Enlightenment values affect religious beliefs? What new forms of popular literature developed in the eighteenth century?

5 From 1600 to 1800, people from England and Europe were pouring into the North America. These eager voyagers not only sought freedom from religious and political persecution; they also saw money to be made in the American continent’s rich lands and forests—furs, tobacco, and timber for British sailing ships. They transported Africans for use as slave labor in the Americas. In 1775, these colonies rebelled against British rule and eventually won their freedom. The United States was a raw, vigorous, brand-new nation. Across the Atlantic, things were very different.

6 From Tumult to Calm In the 1600, England was utterly exhausted from nearly twenty years of civil war. By 1700, it had lived through a devastating plague and a fire that left more than two thirds of Londoners homeless. By the middle of the eighteenth century, however, England had settled into a period of calm and order, at least among the upper classes.

7 Despite the loss of the American colonies, the reinvigorated British military forces established new settlements around the globe. And though life for many was wretched, the middle class grew. Throughout this period in a very old nation with tastes much more refined than raw, British men and women also produced many brilliant works of philosophy, art, and literature.

8 This long period of time in England—from 1600 to 1800—has been given several labels: The Augustan Age, the neoclassical period, the Enlightenment, and the Age of Reason. Each of these labels applies to some characteristics of these 140 years, but none applies to all.

9 Augustan & Neoclassical: Comparisons with Rome
Many people liked to find similarities between England in this periods and ancient Rome, especially during the reign of the emperor Octavian (63 B.B – A.D 14). When he became emperor, Octavian was given the high-sounding name Augustus, meaning “the exalted one”. Augustus restored peace and order to Rome after Julius Caesar’s assassination. Augustus

10 Similarity, the Stuart monarchs of England restored peace and order to England after the civil wars that led to the execution of King Charles I in 1649—wars that continued even after the king was dead.

11 The people both Rome and England were weary of war, suspicious of revolutionaries and radicals, and ready to settle down, make money, and enjoy life. The Roman Senate had hailed Augustus as the second founder of Rome; in 1660, the English people brought back the son of Charles I from his exile in France, crowned him King Charles II, and hailed him as their savior. As a warning to revolutionaries, they dug up the corpse of Oliver Cromwell, who had ruled England between Charles I and Charles II, and cut off his head. The monarchy was restored without shedding a drop of blood in warfare. Charles II Oliver Cromwell

12 In this age, many English writers consciously modeled their works on the old Latin classics, which they had studied in school and university. These writing that imitate Latin works were called neoclassical—“new classical”. The classics, it was generally agreed, were valuable because they represented what was permanent and universal in human experience. All educated people knew the Latin classics better than they knew their own English literature.

13 Reason & Enlightenment: from Why? to How?
Labels like the “Age of Reason” and the “Enlightenment” reveal how people were gradually changing their view of themselves and the world. For instance, Shakespeare, the greatest writer of the Renaissance, expressed a commonly held view when he described the unusual events that preceded the assassination of Julius Caesar—“a tempest dropping fire” and “blue lightning”. These unnatural events, says a character in the play Julius Caesar, are “instruments of fear and warning.” Julius Caesar

14 For centuries people had believed that before a great public disaster like the assassination of a ruler, the earth and sky gave warnings. People believed that unusual events such as earthquakes, comets, and even babies born with malformations had some kind of meaning, and that they were sent as punishments for past misdoings or as warnings of future troubles. People did not ask, “How did this unusual event take place?” but “Why did this unusual event take place, and what does it mean?” Throughout the Enlightenment, people gradually stopped asking why? questions and started asking how? Questions, and the answers to those questions—about everything from the workings of the human body to the laws of the universe—became much less frightening and superstitious.

15 For instance, the astronomer Edmond Halley ( ) took the terror out of celestial phenomena by calculating when they were going to occur. He computed, with “immense labor”, he said, the orbit of the comet that still bears his name. He predicted it would appear in 1758, 1834, 1910, and 1986—and it did. And how did he know it would reappear at seventy-six-year intervals? Because that was the time it took to complete its orbit. This reasonable explanation made no connection between the comet and human affairs. Edmund Halley

16 Changes in Religion: More Questions
The new scientific and rational explanations of phenomena gradually began to affect some people’s religious view. If comets were not sent by God to warn people, perhaps God didn’t interfere at all in human affairs. Perhaps the universe was like an immense piece of clockwork, set in motion by a Creator who more or less withdrew from this perfect mechanism and let it run by itself.

17 Deism Such a view, part of an ideology known as deism, could make people feel self-satisfied and complacent, especially if they believed, as Alexander Pope noted that “Whatever is, is right.” Alexander Pope Voltaire Some philosophers even argued that “in this best of all possible worlds, ... all is for the best”— a view that the French writer Voltaire ridiculed in his novel Candide (1759).

18 But other than a tiny minority of “enlightened” rationalists and materialists, most people, included great philosophers and scientist like Sir Isaac Newton ( ) and John Locke ( ), remained religious. Christianity in its various forms continued to exercise an undiminished power over almost all Europeans in this period, just as it had in the Middle Ages and the Renaissance.

19 Religion & Politics: Repression of Minority Sects
Religion determined people’s politics in this period. Charles II reestablished the Anglican Church as the official church of the country, which it continues to be in England to this day. (In the United States it is called the Episcopal Church.) With the approval of Parliament, the king attempted to outlaw all the various Puritan and Independent sects—dozens of them, all happily disagreeing among themselves—that had caused so much uproar during the preceding thirty years. Persecution of these various sects continued throughout the eighteenth century.

20 The Bloodless Revolution
Charles II had a number of illegitimate children, but no legal heir. When he died in 1685, he was succeeded by his brother James II, a practicing Roman Catholic. Most English people were utterly opposed to James, practicing Roman Catholic. After all, it was widely believed that Roman Catholics had not only set fire to London and caused other disasters but also were actively plotting to hand the country over to the pope. James II

21 When James’s queen produced a little boy—a Catholic heir—English political leaders transferred power to James’s daughter Mary, who was married to the Dutch William of Orange, a Protestant prince. Late in 1688, William attacked England. King James fled the country, and early in 1689 Parliament declared William and Mary king and queen, thus restoring Protestant rule. These events are known as the Glorious (bloodless) Revolution. Ever since, the rulers of England have been, at least in name, Anglicans.

22 Jacobite Risings 1688-1746 William and Mary
The hatred between the supporters of William of Orange ( King Billy) and those of King James festered for more than three hundred years—and still explodes in violence in the streets Northern Ireland.

23 Addicted to the Theater
For eighteen years, while the Puritans held power, the theaters in England were closed. During the exile of the royal court in France, Charles had become addicted to theatergoing, so one of the first things he did after regaining his throne was to repeal the ban on play performances, imposed in 1642.

24 Charles and his brother James patronized companies of actors
Charles and his brother James patronized companies of actors. Boys and men no longer acted the female roles. The new theater had real actresses, like the famous Nell Gwyn, and the new plays emphasized the sexual relation of men and women in very unsentimental and unromantic ways. Restoration Drama Nell Gwyn

25 The great, witty comedies produced during this period (such as William Wycherley’s The Country Wife and William Congreve’s The Way of the World ) reflected the life of the rich and leisured people of that time—the Frenchified, pleasure-loving upper classes—and their servants and hangers-on. In addition to dramatists, a large number of prose and verse writers, many of them Dissenters (people who did not belong to the Anglican Church), did not cater to the tastes of sophisticated people but wrote solely for ordinary readers. The Way of the World

26 The Age Of Satire: Attacks on Immorality & Bad Taste
Today, Alexander Pope and Jonathan Swift are regarded as the most accomplished literary artists of the early eighteenth century. Though their era became known as the Age of Pope, both men had a profound influence on succeeding writers. During their own life-times, however, Pope and Swift were frequently out of harmony with the values of the age, and both often criticized it severely.

27 Although Pope addressed his works exclusively to the educated and leisured classes, he also attacked the members of these classes for their immorality and their bad taste, two failings that were usually associated in Pope’s mind. Pope loved order, discipline, and craftsmanship; both he and Swift were appalled by the squalor and shoddiness—in art, manners and morals—that underlay the polished surfaces of Augustan life.

28 This violent, filthy underside of eighteenth-century life is illustrated in the paintings and engravings of William Hogarth ( ). Swift shared many of Pope’s attitudes and ideals, and in his exposure of the mean and sordid in human behavior, Swift’s works resemble Hogarth’s art.

29 Neither Swift nor Pope felt smug or satisfied with the world, as many English people did. Both writers hated the corrupt politics of the time and the growing commercialism and materialism of the English people. William Hogarth

30 Journalism: A New Profession
In contrast with Swift and Pope and their aristocratic values, a writer named Daniel Defoe ( ) stood for values that we think of as being middle class: thrift, prudence, industry, and respectability. Defoe had no interest in polished manners and social poise. Swift and pope looked down their noses at him. “Defoe has written a vast many things,” Pope once said, “and none bad, though none excellent.”

31 Defoe, like the essayists Joseph Addison and Sir Richard Steele, followed a new profession: journalism. Eighteenth-century journalists did not merely describe contemporary political and social matters; they also saw themselves as reformers of public manners and morals. Journalists today—using both print and video—still see themselves in reformer roles. Defoe’s pamphleteering and political activities resulted in his arrest and placement in a pillory in 1703.

32 A Poetry of Mind, Not of Soul
Today when we think of great poetry, we think of great lyrics: the sonnets of Shakespeare, Keats, and Wordsworth; the religious poems of Donne and Eliot; the private poems of Emily Dickinson; and the lyrics of such twentieth-century poets as William Butler Yeats, Robert Frost, and Elizabeth Bishop. These poets reveal in their poems their innermost thoughts and feelings, their honest and original responses to life. “Genuine poetry,” said Matthew Arnold, a nineteenth-century poet and critic, “is conceived and composed in the soul.”

33 Later, critics like Matthew Arnold criticized the poetry of people such as Alexander Pope because, Arnold said, it was conceived and composed in their “wits”—that is, in their minds, not their souls. But these so-called Augustan poets did not define poetry in Arnold’s way and so should not be judged by his standards. They had no desire to expose their souls; they thought of poetry as having a public rather than a private function.

34 A Public Poetry Conceived in Wit
Augustan poets would write not merely a poem but a particular kind of poem. They would decide in advance the kind of poem, much as a carpenter decides on the kind of chair to make. The best Augustan poems are like things artfully made for a particular purpose, usually a public purpose. Many of the popular kinds of poetry were inherited from classical antiquity.

35 If, for instance, a grand person such as a general or titled lady died, a poet would celebrate that dead person in an elegy, the appropriate kind of poem for the occasion. Augustan elegies did not tell the truth about a dead person, even if the truth could be determined; rather, they said the very best things that the poet could think of saying. At the opposite extreme, a poet might decide that a certain type of behavior, or even a certain conspicuous person, should be exposed to public ridicule. The poet would then write a satire, a kind of writing that does not make a fair and balanced judgment of people and their behavior but rather says the worst things about them that the poet can think of saying. Elegy Satire

36 Another important kind of poet was the ode—an ambitious, often pompous poetic utterance expressing a public emotion, like the jubilation felt after a great naval victory. Regardless of its kind, every poem had to be carefully and artistically constructed; every poem had to be dressed in and exact meter and rhyme. Poems were not to sound like spontaneous and impromptu utterances, just as people were not to appear in public except in fancy dress. Those who could afford it adorned themselves with vast wigs, ribboned and jeweled clothing, and red shoes with high heels. People’s movements were dignified and stately in public. Nothing was what we can call today natural—neither dress nor manners nor poetry. Ode

37 The First English Novel
By the mid—eighteenth century, people were writing—and others, including women, were eagerly buying (or borrowing)—long fictional narratives called novel, (“something new”). These novels which were a development of the middle class, were often broad and comical—the adventures for example, of a hand some ne’er-do-well or lower-class beauty, frequently recounted in endless episodes or through a series of letters. Fanny Burney

38 Authorities disagree as to whether Robinson Crusoe and Defoe’s other fictional narratives are true novels, but many agree that the novel began either with Defoe or with the writers of the next generation.

39 The novels of one of the most important prominent eighteenth-century novelists, Henry Fielding ( ), are literally crammed with rough and rowdy incidents, and though Fielding does manage to make his characters seem good, they are never soft for sentimental. Fielding’s rollicking novel Tom Jones has even been made into an Oscar-winning movie, proof that his high spirited characters are still fresh and funny today.

40 Samuel Richardson ( ) was perhaps the first novelist to explore in great detail and emotional life in his characters, especially his heroines (in Pamela and Clarissa). in all ages. The novels of Laurence Sterne ( ) are experimental and whimsical-and still unique despite the efforts of many imitators to copy them. All these novels tell us something of what life at this time was like. They also help us to understand the joys and disappointments of human experience

41 Searching for a Simpler Life
By the last decade of the century, the world was changing in disturbing ways. The industrial Revolution was turning English cities and towns into filthy, smoky slums. Across the English Channel, the French were about to murder a king and set their whole society on a different political course. The eighteenth century was closing, and—just at the end of the twentieth century, when people sensed that a new era was about to begin—people in England knew that the age of elegance, taste, and reason was over.

42 As a reflection of all this change, writers were developing new interests.
Appalled at the industrial blight, they were turning to external nature and writing about the effect of the natural landscape on the human soul. Disgusted with the excessive focus on the upper classes and “good taste,” they were looking back at the past and searching out the simple poems and songs composed by nameless, uneducated folk poets. They were even becoming interested in the literary possibilities of the humble life and were trying to enter into the consciousness of the poor and simple.

43 Nothing could be less Augustan than these tendencies
Nothing could be less Augustan than these tendencies. In short, a new literary age was beginning.

44 Essential Questions Now that you have read about this period, look for answers to these questions: What was new about the way in which nature was regarded and analyzed in the eighteenth century? How did Enlightenment values affect religious beliefs? What new forms of popular literature developed in the eighteenth century?

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