1. Trace the origin of the English novel from its roots in earlier English literature, mentioning 1) at least six specific works of literature that were predecessors of the novel, and 2) at least three specific types of novels that resulted.
While a combination of specific social factors prepared 18th century England for the emergence of the novel, certain previous works of literature also contributed to its development, a development that then resulted in various specialized types. One main forerunner of the novel was John Milton’s Paradise Lost, which was written in 1667. This work was seminal because Milton’s epic poem is the riveting tale of the fall of man, which inspired many future authors because of the original spin on a Bible story. While Milton cannot be credited for the epic poem, according to Samuel Johnson, “Milton is perhaps the least indebted [to Homer]. He was naturally a thinker for himself . . . and his work is not the greatest of heroic poems, only because it is not the first” (Greenblatt 2955). The fact that Johnson, and other early English writers, discussed Milton critically shows his contribution to the novel. Other predecessors to the novel include John Locke’s “An Essay Concerning Human Understanding,” which postulated, “a person’s sense of selfhood derives not from the ‘identity of soul’ but rather from ‘consciousness of present and past actions’ (Greenblatt 2279). Locke’s emphasis on individual experience is evidenced in later novel writing. Also important to the novel’s establishment was Chaucer’s Canterbury Tales, with its length and fictitious plot, Alexander Pope’s An Essay on Man, composed of epistles, a form that reappears in novels, Cervantes’s Don Quixote, an early picaresque novel with a form imitated by English novelists, and the many dramas that demonstrated creative writing of original plots, like Shakespeare’s many works or Christopher Marlowe’s Doctor Faustus. All of these works, and many more, contributed to the emergence of the novel and its specialization into different forms. Three of these forms are the allegorical novel, which reflects Bunyan’s allegories or the translation of Aesop’s fables, epistolary novels, or novels in which the plot is communicated with a series of letters, like in Samuel Richardson’s Clarissa, and, finally, the gothic novel, like Horace Walpole’s The Castle of Otranto, which reflects its medieval predecessors.
2. Explain how Thomas Gray’s “Elegy Written in a Country Churchyard” is both the inheritor of traditions of neo-classical poetry and a herald of the new poetry of sensibility.
Neo-classical poetry and poetry of sensibility are markedly different, the first being decidedly formal, realist, and topical, the latter being lofty, heady, emotional and natural. Thomas Gray’s “Elegy Written in a Country Churchyard,” however, evidences characteristics of both neo-classical poetry and the new poetry of sensibility. Firstly, Gray’s poem is an elegy by title, and an elegy evidences tradition because it was a very early form of poetry. Furthermore, his formal language and the rhythm with which Gray’s elegy reads are similar to neoclassical poets and again link him to that tradition. Elegies, though, were originally used to mourn the passing of a specific individual or a single tragic event, but Gray’s elegy is much broader, meditating generally on death. Gray’s poem, then, reflects new poetic styles, for it is simply a serious contemplative poem, much like Wordsworth or Coleridge’s poems during the later Romantic era. Furthermore, while a neo-classical poet would refrain from referencing nature, Gray’s poem is infused with references to nature, again reflecting new sensibility tendencies. Each stanza is marked by phrases like “glimmering landscape,” “distant folds,” and “rugged elms.” Gray does not just describe nature, but he also personifies it, writing things like “incense-breathing Morn” (Greenblatt 3051). By giving nature human characteristics, Gray becomes a herald of this new poetry of sensibility. Moreover, neo-classical poets speak formally to a public audience, making a statement on social affairs; Gray, however, is writing personal reflections, again very much like Wordsworth. Finally, Gray’s elegy is reminiscent of an ode, like those written by Percy Shelley or John Keats, both Romantic poets. With its recurrent four line stanzas, the elegy fits the description of a Horatian ode, especially because of its tranquil and contemplative subject matter. Therefore, while Gray is using the traditions of neo-classical elegies as the basis for his poem, his expansion of the subject matter to something more general and his incorporation of nature show that in many ways he is also bringing in a new era of sentimental poetry.
3. Based on the critics that we read (particularly Pope in his Essay on Criticism), explain the common eighteenth-century definitions of the terms “wit,” “Nature,” “rules,” and “art” as they applied to literary criticism.
Many eighteenth-century literary critics used terms like “wit,” “Nature,” “rules,” and “art” to judge the quality of the literature that they were critiquing, and these terms had specific and identifiable attributes. Addison defines wit as the ability to put ideas together quickly and with variety, “thereby to make up pleasant pictures and agreeable visions in the fancy” (Greenblatt 2653). Furthermore, wit must “give delight and surprise to the reader.” Pope’s idea of wit, as defined in “An Essay on Criticism” is similar to Addison’s, for he sees it as a mixture of cleverness, a quick mind, and creativity. As it relates to literary criticism, Pope explains, “A perfect judge will read each work of wit/with the same spirit that its author writ” (Greenblatt 2674). Pope’s definition of “Nature” is not very specific, simply meaning “that which is representative, universal, permanent in human experience as opposed to the idiosyncratic, the individual, the temporary” (Greenblatt 2669). This definition is shown throughout the piece, but especially when Pope writes, “Nature, like liberty, is but restrained/By the same laws which first herself ordained” (Greenbaltt 2671). Pope sees nature as being governed by itself, an outside force and thus a force experienced the same across humanity, or a universal force. Pope sees nature as a model for art, so his definition of art is directly related to his thoughts on Nature. Since Pope sees nature as transcendent, he also believes in the art as universal, something that draws out common human experience. Finally, Pope saw writers of ancient Greece and Rome as exemplary, so his “rules” refer to guidelines created by the classical past, a measuring stick of sorts for literary critics.
4. In what ways do Addison and Steele in their paper “The Aims of the Spectator” (and in subsequent issues of their periodicals) and Pope in his method in The Rape of the Lock agree about the ways in which “wit” and “satire” can effectively be employed in the service of morality?
Wit and satire are similarly used by Addison and Steele in “The Aims of the Spectator” and by Pope in “The Rape of the Lock,” as both works effectively employ the techniques in the service of morality. Addison and Steele’s purpose in using wit is clearly stated, for they wish to “enliven morality with wit, and to temper wit with morality” (Greenblatt 2645). The authors, then, understand that wit and satire can be used to keep an audience enraptured while still providing a moral lesson. Pope’s use of satire in “The Rape of the Lock” fulfills a similar role, for the entire poem is written like an epic poem, told in cantos and with references to mortals, gods, and goddesses, Nymphs, Gnomes and Sylphs, but the plot of the poem is merely the story of pedantic, sitting-room quarrels of England’s upper class. Like Addison and Steele’s stated purpose of using wit to “recover them out of the desperate state of vice and folly into which the age is fallen,” making moral lessons engaging and entertaining, bringing “philosophy out of closets and libraries, schools and colleges, to dwell in clubs and assemblies, at tea tables and in coffeehouses,” Pope’s satire critiques English society in a laughable and inviting way (Greenblatt 2645). Pope is primarily exposing the trivialities of English society, best seen in Canto 2, when a “this day black omens . . . some dire disaster . . . whether the nymph shall break Diana’s law, or some frail china jar receive a flaw, or stain her honor, or her new brocade, forget her prayers, or miss a masquerade, or lose her heart, or necklace at a ball” (Greenblatt 2693). Pope creates ridiculous juxtapositions, pairing honor with a brocade, prayers with a masquerade, and heart with a necklace, communicating distaste at his society’s giving equal weight to things of little consequence and things of moral consequence. In this way, then, Pope’s use of satire parallels Addison and Steele’s use of wit.