1. Neoclassicism!

4. Neoclassicism Royal Observatory at Greenwich (1675) -Sir Christopher Wren the Neoclassical period covers 1660-1785 - it contain a number of sub-periods: -- The Restoration (1660-1700) -- The Augustan Age (the Age of Pope) (1700-1745) -- The Age of Sensibility (the Age of Johnson) (1745-1785) literary periods are convenient for the sake of scholarship – they are not hard and fast rules Some important writers: John Dryden Alexander Pope Joseph Addison Jonathan Swift Samuel Johnson Edmund Burke Jonathan Swift 1667-1745Samuel Johnson 1709-1784

5. Neoclassicism "The Neo-classic Period" of English literature spans the 140 years or so after the Restoration. (1660-1798)

6. Neoclassic Period The Restoration and Eighteenth Century (1660-1798) 1660: Charles II restored to throne. 1668: The Glorious Revolution. 1776: The American colonies united for freedom. 1789: The French Revolution begin.

7. What is classicism?

8. Features of Neoclassicism Neoclassic authors manifested traditionalism and distrusted innovation, in respect for classical writers.

9. The neoclassic ideal was the craftsman's ideal: literature should be an "art" which must be perfected by long study and practice. The neoclassic writer strove for correctness, observed "decorum", and respected "the rules of poetry" established by classical works. Ars Poetica

10. Poeta Poet as a maker

11. Neoclassicism pursued "art for humanity's sake". Its primary subject matter was human beings as an integrated part of a society. Poetry (=literature) was held to be an imitation of human life, which is designed to give both instruction and pleasure (dulce et utile) to the people who read it.

12. A prime aim of poetry was to give new and perfect expression to the general nature and shared values of humanity. Poetry needed to balance the typical and the familiar with the qualities of novelty, particularity, and invention.

13. An individual was viewed as a limited being who ought to undertake accessible goals. Human beings needed to accept their restricted positions in the natural order, or a natural hierarchy, which was called Great Chain of Being at that time.

15. Alexander Pope (1688-1744) “True wit is... what oft was thought but ne’er so well expressed.”

16. Jonathan Swift (1667-1745)

17. Definition Neoclassicism is a literary movement of th e 17 th and 18 th centuries that stressed the i mportance of using ancient Greek and Ro man (the Classical period) literature as a g uide for creation and criticism. Hence, there is the paradox of the term: “n eo,” meaning “new” and classicism, meani ng “oldness.”

18. The Pendulum of Western Literature Literature in the Western world can be thought of as swinging back and forth between two artistic i deals: classicism, which stresses following traditi on and the rules derived thereof, and anti-classic ism (or romanticism), which stresses originality a nd breaking tradition. The Neoclassical period of the 17 th and 18 th cent uries was a particularly strong classical period. I t would, in turn, be followed by a particularly stro ng Romantic period in the latter 18 th and early 1 9 th century.

19. Aesthetics of Identity vs. Aesthetics of Opposition This pendulum swing can also be thought in ter ms of the aesthetics of identity versus the aesth etics of opposition. The aesthetics of identity says that we find beaut y in the familiar; we like art that is like what we h ave seen before. Thus, classicism is an aestheti cs of identity. The aesthetics of opposition says that we find be auty in that which is new and different. That is t he creed of the romantic artist.

20. Basic Characteristics of Neoclassicism Imitation of the ancients Aesthetics of identity Rules for all art forms Literature as an art/craft Importance of reason Concern about pride Universal nature of humanity Perfectability of humanity

21. 1 -- Reverence and Imitation of t he Ancients The explanation of that paradox can be fo und in the first important characteristic of n eoclassicism. Neoclassical writers looked to ancient Gre ek and Roman writers for inspiration and g uidance.

22. Reverence and Imitation of the Ancients They believed that writers should strive to achieve excellence by imitating those grea t writers of the past, not by trying to be orig inal or innovative. Thus, art is rediscovery, reinvention, an d imitation.

23. 2 -- Aesthetics of Identity Aesthetics is the study of beauty –in this case, bea uty in literature. There are two conflicting views on aesthetics – the aesthetics of identity and the aesthetics of oppositi on. The aesthetics of identity is when we find beauty in those works of art that are familiar to us, while the a esthetics of opposition is when we find beauty in th e new and the different.

24. Aesthetics of Identity By looking back to the ancient world for st andards, the neoclassical writer was worki ng within the aesthetics of identity.

25. 3 -- Rules for Art Neoclassical writers believed there were r ules for all forms of art. These rules were derived by looking at the texts from the ancient world.

26. Rules for Art For example, in France in 1635, Cardinal Richelieu established the Academie Franc aise to establish rules for the use of the Fr ench language and to preserve the “purity” of the language. The Academy is still a powerful organizatio n in France.

27. 4 -- Literature as “Art” Neoclassical writers tended to view literatu re as something “artificial” or “artificed,” so mething created by craft and study. Thus, craft and study are more important t han talent or genius.

28. 5 -- Importance of Reason The most important human faculty was rea son. Reason was the spark of the divine within human beings. The path to knowledge and virtue was thro ugh the exercise of reason.

29. Importance of Reason For example, one of the important religiou s movements of the Neoclassical age was the Deist movement. Deism is a completely rational form of Chri stianity.

30. Deism Traced from Lord Herbert’s De Veritate in 1624, Deists believed: –Nature is the inherent order of the universe (The Grea t Chain of Being). –God is the clockmaker who built this perfect universe t o work according to certain immutable laws. –God does not perform miracles and did not tinker with the watch after its creation. –The Bible is a great moral authority, but all irrational a spects within it (such as miracles and the divinity of C hrist) are superstitions. –Reason guides men to virtue

31. 6 -- Concern About Pride The greatest bane to reason and the great est danger to humanity is pride. All sins, in some fashion or another, are si ns of pride.

32. 7 -- Universality People are the same, no matter what coun try or age in which they live.

33. 8 -- Perfectabilty Perfection (artistic, personal, social) is pos sible through the proper use of reason.

34. Neoclassicism – the period is bounded by the “Restoration” of Charles II as the British monarch and (roughly) the outbreak of the French Revolution in 1789 (the beginning of the Romantic Period) some features of the period (at least its early years) include: strong interest in tradition (thus the “neo,” meaning new) - distrust of radical innovation great respect for classical writers (those of Ancient Greece and Rome) => the idea of “enduring literary models” literature was one of the arts – as an “art” it required the practice and study of a set of skills and the involvement of the artist in the forms and styles of the “classical” era (contrast this to the Romantic ideal of the lone poet, the “natural,” solitary genius....) the Roman poet Horace produced his Ars Poetica (first century B.C.) - consisting of nearly 30 guiding maxims for aspiring poets

35. text (Ars Poetica) within text (commentary by Cristoforo Landino, Florence, 1482) within text (annotations by Tasso)

36. “HOMER is universally allow'd to have had the greatest Invention of any Writer whatever.” Alexander Pope (1688-1744), Preface to his Translation of Homer's Iliad (1715) “As in the most regular Gardens, however Art may carry the greatest Appearance, there is not a Plant or Flower but is the Gift of Nature. The first can only reduce the Beauties of the latter into a more obvious Figure, which the common Eye may better take in, and is therefore more entertain'd with.” “... Our Author's Work is a wild Paradise, where if we cannot see all the Beauties so distinctly as in an order'd Garden, it is only because the Number of them is infinitely greater.” a formal English garden Pope

37. -Neoclassicism continued outside of “natural geniuses” like Shakespeare and Homer, artists strove for correctness, or decorum the “rules” of poetry were largely governed by genre: like epic, tragedy, comedy, pastoral – derived, or “learned,” from Classical authors humanity was taken to be the proper subject for poetry (particularly humans in their social arrangements, as opposed to the individual contemplating his or her own psyche or relationship with natural world) poetry was held to be an “imitation” of reality/nature/humanity: “a mirror held up to nature” – though it was artifice that ordered and organized the materials that nature provided so as to reveal its “genius” and its Beauty M.H. Abrams discussed the movement from the neoclassical conception of art and the artist to the Romantic conception of art and the artist through the metaphors of the mirror (neoclassical) and the lamp (Romantic)

38. Neoclassicism continued - art should both “instruct and delight” - a classical ideal picked up by many authors, including Sir Philip Sidney (in his “A Defence of Poesie”) and John Dryden (in his “Essay of Dramatic Poesie”) - neoclassical “humanism” addressed itself to what “mankind” had as universally in common (a problematic ideal on many levels, including its sexism and eurocentrism) - the ideal of balance, of accessible goals (the contrary to prideful hubris), and of natural hierarchy as symbolized by The Great Chain of Being - Pope would write that “The bliss of man....is not to think or act beyond mankind.”

39. The Great Chain of Being: the divine, universal hierarchy; humans are represented by the male only. From Didacus Valades, Rhetorica Christiana (1579).

40. neoclassicism was “the art that hides art” (a phrase borrowed from Horace) Vegas as neoclassical....?

41. Visual Arts: Examples Neoclassical Art Death of Marat Romantic Art How are these two pieces of art different? What words best describe these paintings?

42. NeoclassicalNeoclassical Romantic Romantic

43. Neoclassical Architecture

44. Versailles, Orangerie

45. Frenchgarden

46. Jacques-Louis David: Oath of the Horatii

47. David: The Sabine Women

48. Andrea Palladio: La Rotonda, Villa Capra

49. La rotonda

50. Palladianwindow

51. Inigo Jones: Queens House (1635)

52. Inigo Jones: Wilton House (1640s)

53. Lord Burlington: Chiswick House (1729)

54. Radcliffe Camera, Oxford (James Gibbs, 1749)

55. Jean-Baptiste Pigalle: Voltaire (1770-6)

56. Aubrey Beardsley: Belinda’s Toilette (1890s)

57. The Battle of the Beaux and the Belles

58. The Cave of Spleen

59. Henri Fuseli: The Cave of Spleen

60. The Rape of the Lock

61. Sir Joshua Reynolds: Jane, Countess of Harrington

62. ThomasGainsborough: Mr and Mrs William Hallett

63. William Hogarth: Marriage a la Mode

64. William Hogarth: The Rake’s Progress 8

65. William Hogarth: The Beggars’ Opera

66. William Hogarth: Gin Lane

67. Illustration to Tom Jones (Thwackum and Square)

68. Main Tenets of Neoclassicism: 1. These authors exhibited a strong traditionalism, which was often joined to a distrust of radical innovation and was evidenced above all in their great respect for classical writers—i.e., writers of ancient Greece and Rome.

69. 2. Literature was conceived to be primarily an “art”; that is, a set of skills which, though it requires innate talents, must by perfected by long study and practice and consists in the deliberate adaptation of known and tested means to be achieved of foreseen ends upon readers.

70. 3. Human beings were regarded as the primary subject matter of literature. Poetry was held to be an imitation of human life— “a mirror held up to nature.” Poetry is thus designed to yield both instruction and aesthetic pleasure for readers. Not art for art’s sake, but art for humanity’s sake.

71. 4. Both in subject matter and the appeal of art, emphasis was placed on what human beings possess in common— representative characteristics and widely shared experiences, thoughts, feelings, and tastes. Pope: “what oft was thought but ne’er so well expressed”

72. 5. The belief that human beings were limited agents who ought to set themselves only accessible goals. “Pride goeth before the fall” The golden mean/avoidance of extremes The Great Chain of Being The heroic couplet/traditional and highly restrictive patterns

73. The Development of Modern English Novels The mid-century witnessed the rise and development of a new literary form — modern English novel. Contrary to the traditional romance of aristocrats, modern English novels give a realistic presentation of life of the common English people. This is the most significant phenomenon in the history of the development of English literature in the 18th century. It is a natural product of the Industrial Revolution and a symbol of the growing importance and strength of the English middle class. Among the pioneers of modernist novels were Daniel Defoe, Samuel Richardson, Henry Fielding, Laurence Sterne, Tobias George Smollett and Oliver Goldsmith.