It can be argued that the development of the subjective individual against the social individual was a natural reaction to trade over other methods of economic production, or as a reflection of a breakdown in social cohesion unconsciously set in motion by enclosure and the migration of the poor to the cities. Thompson has argued, for people were no longer allowed to remain in their families and communities when they had to travel to a factory or mill, and therefore they grew accustomed to thinking of themselves as isolated. It can be seen as a growth of the power and assertiveness of the bourgeoisie and an echo of the displacement of the worker from the home in growing industrialization, as Marxists such as E. These two developments (the emphasis on the person and the writer's willingness to reinvent genre) can be seen as extensions of Protestantism, as Max Weber argued, for they represent a gradual increase in the implications of Martin Luther's doctrine of the priesthood of all believers and the Calvinist emphasis on individual revelation of the divine (and therefore the competence and worth of the individual). Odes would cease to be encomia, ballads would cease to be narratives, elegies would cease to be sincere memorials, satires no longer would be specific entertainments, parodies no longer would consist of bravura, stylised performances, songs no longer would be personal lyrics, and the lyric would celebrate the individual man and woman, and not the lover's complaint. The ode, the ballad, the elegy, and satire, parody, song and lyric poetry, would be adapted from their older, initial literary uses. Every genre of poetry was recast, reconsidered, and used to serve new functions. The other development, one seemingly agreed upon by both sides, was a gradual expropriation and reinvention of all the Classical forms of poetry. Beneath that large banner raged individual battles. The general movement, carried forward only with the struggle between poets, was the same as in the novel: the invention of the subjective self as a worthy topic, the emergence of a priority on individual psychology, against the insistence that all acts of art are a performance and a public gesture meant for the benefit of society at large. In the early part of the century, there was a great struggle over the nature and role of the pastoral, primarily between Ambrose Philips and Alexander Pope, and then between their followers, but such a controversy was only possible because of two simultaneous literary movements. ![]() They wrote in counterpoint, directly expanding each other's works, and using satire to heighten their oppositional voices. In the British literary period known as the 'Augustan era,' poets were more conversant with each other's writings than were the contemporary novelists (see Augustan prose). Therefore, the British poets picked up that term as a way of referring to their endeavours, for it fit in another respect: 18th-century English poetry was political, satirical, and marked by the central philosophical problem of whether the individual or society took precedence as the subject of the verse. ![]() The term comes most originally from a term that George I had used for himself. In English literature, Augustan poetry is a branch of Augustan literature, and refers to the poetry of the 18th century, specifically the first half of the century. In Latin literature, Augustan poetry is the poetry that flourished during the reign of Caesar Augustus as Emperor of Rome, most notably including the works of Virgil, Horace, and Ovid. ![]() ![]() ( July 2016) ( Learn how and when to remove this template message) Statements consisting only of original research should be removed. Please improve it by verifying the claims made and adding inline citations. This article possibly contains original research.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |