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An Elegy Wrote In Country Church Yard (1751) And The Eton College Manuscript
Thomas Gray's An Elegy Written in a Country Churchyard enjoyed extraordinary popular success in Europe, where it was widely translated, imitated, adapted, and in various ways assimilated into the continental literatures. The history of the Elegy's circulation on the continent demonstrates the importance of the poem to the romantic generation of European poets, while appreciation of this history serves to illuminate modern critical approaches to the poem's often uncertain or ambiguous meaning.
In 'A Critical Essay on Characteristic-Writings' by Henry Gally, readers are treated to a thorough examination of various forms of literature, exploring the defining characteristics that make up different genres. Gally's writing style is both meticulous and insightful, providing in-depth analysis of the traits that distinguish one form of writing from another. The book serves as a valuable resource for those interested in literary theory and the study of genre literature during the time it was written. Gally's attention to detail and nuanced interpretation of characteristic writings make this book a standout in the field of literary criticism. Henry Gally, a respected scholar and clergyman, was well-suited to write such a comprehensive analysis of literary genres due to his broad knowledge of literature and his keen eye for detail. His background in theology and literature lent credibility to his work, making 'A Critical Essay on Characteristic-Writings' a significant contribution to the study of literature during his time. I highly recommend 'A Critical Essay on Characteristic-Writings' to readers who are eager to deepen their understanding of literary genres and explore the defining traits that shape different forms of writing. Gally's thorough analysis and insightful commentary make this book a valuable addition to any literary scholar's collection.
Since most publishers of Pamela have preferred to print Richardson’s table of contents from the sixth edition, his complete introduction (his preface, together with letters to the editor and comments) is missing even from some of our best collections. Occasionally one finds the preface and the first two letters, but only four publishers since Richardson have attempted to reprint the full introduction. Harrison (London, 1785) -- who omits the first letter -- and Cooke (London, 1802-3) both follow Richardson’s eighth edition; Ballantyne (Edinburgh, 1824) uses the fourth; the Shakespeare Head (Oxford, 1929), the third. And even these printings leave one dissatisfied. The Shakespeare Head gives the fullest text, but naturally omits Richardson’s revisions; Cooke gives the introduction in its final form, but one misses the full text which accompanied the book in its heyday; and rarely are both Cooke and Shakespeare Head to be found in the same library.
"Critical Strictures on the New Tragedy of Elvira, Written by Mr. David Malloch" is a literary critique of the play by the eighteenth century Scottish poet and dramatist. The play Elvira was essentially a translation or adaptation of Lamotte-Houdar's French tragedy Inès de Castro, a piece published forty years before, but the English audience of 1763 saw in it a compliment to the King of Portugal, whose cause against Spain Great Britain had espoused towards the end of the Seven Years' War. This novel examines the heavy political and romantic themes of the play.
"Dissertation on the Progress of the Fine Arts" by John Robert Scott is a study that embodies what we can now see as a final development in his century's deep concern to understand why the greatest art had somehow not been forthcoming in what it as often claimed was the greatest century. The main interest lies in Scott's notions of the kind of society needed to produce major art, and beyond hoping to make it a reality in his own time. He chooses to write almost entirely about the fine arts. Some important personalities included in this book include William III (England) Henry IV (France), Cardinal Ximenes, Cardinal Richelieu, Augustus Cæsar, Lewis XIV, etc.
A Satyr Against Hypocrites was John Phillips' anonymous poem entered in the Stationers' Register on March 14, 1654-55 as the work of his brother Edward Phillips. It was considered a bitter attack on Puritanism at that time. A Satyr Against Hypocrites, in reality, was regarded a little more than the irresponsible outburst of an immature man of twenty-three who was tired of discipline, dissatisfied in his expectations of political advancement, and furious with the sort of people who had taken over the country but who seemed incapable of appreciating his peculiar merits. In 1661 A Satyr Against Hypocrites was republished as The Religion of the Hypocritical Presbyterians, which was assumed to be no more than an attempt to lure new interest with a title that would appeal to the post-Restoration preference to criticize the strongest of the Puritan sects. It is believed that John Phillips was an unofficial secretary to Milton but, was unable to obtain regular political employment