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Andrew McRae examines the relation between literature and politics at a pivotal moment in English history. He argues that the most influential and incisive political satire in this period may be found in manuscript libels, scurrilous pamphlets and a range of other material written and circulated under the threat of censorship. These are the unauthorised texts of early Stuart England. From his analysis of these texts, McRae argues that satire, as the pre-eminent literary mode of discrimination and stigmatisation, helped people make sense of the confusing political conditions of the early Stuart era. It did so partly through personal attacks and partly also through sophisticated interventions into ongoing political and ideological debates. In such forms satire provided resources through which contemporary writers could define new models of political identity and construct new discourses of dissent. This book wil be of interest to political and literary historians alike.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Literature of Satire is an accessible but sophisticated and wide-ranging study of satire from the classics to the present in plays, novels and the press as well as in verse. In it Charles Knight analyses the rhetorical problems created by satire's complex relations to its community, and examines how it exploits the genres it borrows. He argues that satire derives from an awareness of the differences between appearance, ideas and discourse. Knight provides illuminating readings of such satirists familiar and unfamiliar as Horace, Lucian, Jonson, Molière, Swift, Pope, Byron, Flaubert, Ostrovsky, Kundera, and Rushdie. This broad-ranging examination sheds light on the nature and functions of satire as a mode of writing, as well as on theoretical approaches to it. It will be of interest to scholars interested in literary theory as well as those specifically interested in satire.
Moments of royal succession, which punctuate the Stuart era (1603-1714), occasioned outpourings of literature. Writers, including most of the major figures of the seventeenth century from Jonson, Daniel, and Donne to Marvell, Dryden, and Behn, seized upon these occasions: to mark the transition of power; to reflect upon the political structures and values of their nation; and to present themselves as authors worthy of patronage and recognition. This volume of essays explores this important category of early modern writing. It contends that succession literature warrants attention as a distinct category: appreciated by contemporaries, acknowledged by a number of scholars, but never investigated in a coherent and methodical manner, it helped to shape political reputations and values across the period. Benefitting from the unique database of such writing generated by the AHRC-funded Stuart Successions Project, the volume brings together a distinguished group of authors to address a subject which is of wide and growing interest to students both of history and of literature. It illuminates the relation between literature and politics in this pivotal century of English political and cultural history. Interdisciplinary in scope, the volume will be indispensable to scholars of early modern British literature and history as well as undergraduates and postgraduates in both fields.
Staging the revolution offers a reappraisal of the weight and volume of theatrical output during the commonwealth and early Restoration, both in terms of live performances and performances on the paper stage. It argues that the often-cited notion that 1642 marked an end to theatrical production in England until the playhouses were reopened in 1660 is a product of post-Restoration re-writing of the English civil wars and the representations of royalists and parliamentarians that emerged in the 1640s and 1650s. These retellings of recent events in dramatic form mean that drama is central to civil-war discourse. Staging the revolution examines the ways in which drama was used to rewrite the civil war and commonwealth period and demonstrates that, far from marking a clear cultural demarcation from the theatrical output of the early seventeenth century, the Restoration is constantly reflecting back on the previous thirty years.