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characteristic world-view or value-system of this 'Age of Reason', denoting a preference for rationality,
clarity, restraint, order, and decorum
In literature: a significant influence on English writing, especially from c. 1660 to c. 1780 --- principle
according to which the writing & criticism of poetry and drama were to be guided by rules and precedents
derived from the best ancient Greek and Roman authors
Showing habitual deference to Greek and Roman models in literary theory and practice, neoclassicism
emerged from the rediscovery of Aristotle's Poetics by Italian scholars in the 16th century, notably by J. C.
Scaliger, whose dogmatic interpretation of the dramatic unities in his Poetica (1561) would profoundly
affect the course of drama
Along with Aristotle's theory of poetry as imitation and his classification of genres, the principles of the
Roman poet Horace as expounded in his Ars Poetica (c.20 BCE) dominated the neoclassical or neoclassic
view of literature
these included the principle of decorum by which the style must suit the subject-matter, and the belief that
art must both delight and instruct.
central assumption - the ancient authors had already attained perfection, so that the modern author's chief
task was to imitate themthe imitation of Nature and the imitation of the ancients amounting to the same
thing
Accordingly, the approved genres of classical literature ---- epic, tragedy, comedy, elegy, ode, epistle,
epigram, fable & satirewere adopted as the favoured forms in this period. The period 1660-1780 in
England = the 'NEOCLASSICAL PERIOD', (one very important development in this periodthe
emergence of the novelfalls outside the realm of neoclassicism)
In England, neoclassicism reached its height in the Augustan Age - In English literary history, the term is
usually applied to the period from the accession of Queen Anne (1702) to the deaths of Pope and Swift
(1744-5) - The Augustans, led by Pope and Swift, wrote in conscious emulation of the Romans, adopted their
literary forms (notably the epistle and the satire), and aimed to create a similarly sophisticated urban
literary milieu: Conscious parallel with the grandeur of Imperial Rome - characteristic preference in
Augustan literature, encouraged by the periodicals of Addison and Steele, was for writing devoted to the
public affairs and coffee-house gossip of the imperial capital, London
ENGLAND
Already undergoing before 18th c those transformations in politics/religion/personal
freedom for which French & other radicals had to clamour, unsuccessfully, all the century
Glorious Revolution 1688 England had achieved the guarantee of parliamentary
representation & constitutional government, individual liberty (habeas corpus), substantial
religious toleration, freedom of expression & publishing
Locke (The Second Treatise of Civil Government) + his followers produced blueprints for the
enlightened society: a liberal regime based upon individual rights & natural law priority
of society over government rational Christianity sanctity of property (liberal economic
policy) faith in education bold empiricist attitude twds advancement of knowledge
(championed human capacity for progress through experience)
Grand problem facing English intellectuals 18th century: criticise an old regime =defend
their polity (form of government of a nation, state, church, or organization) & make it work
Could a large measure of individual liberty prove compatible with socio-political stability? Or
would limited constitutional government collapse into either anarchy or despotism?
English state = constitutional polity: the Crown operated in a complex permanent partnership
with the 2 Houses of Parliament limitation of central power encourage civil society
(merchants, craftsmen, artisans) self-sustaining economic & cultural growth
Tensions did not reach breaking point because the state had already conceded liberty of
expression + plenty of scope for the development of civil society & the economy independent
writers/propagandists/critics no real threat to the state English intellectuals & artists often
vocally anti-king & anti-ministry profoundly identified themselves with the cause of the nation
at large
Selected Sources:
Adorno, T. W. and M. Horkheimer,
Dialectic of the Enlightenment, tr. J.
Cumming (New York, 1972).
Cassirer, E., The Philosophy of the
Enlightenment (Princeton, NJ, 1951).
Gay, P. J., The Enlightenment: An
Interpretation, 2 vols. (London, 1973).