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By Christine Gerrard

This broad-ranging significant other provides readers an intensive grounding in either the heritage and the substance of eighteenth-century poetry in all its wealthy type.

  • An up to date and wide-ranging consultant to eighteenth-century poetry.
  • Reflects the dramatic transformation which has taken position within the examine of eighteenth-century poetry over the last twenty years.
  • Opens with a piece on contexts, discussing poetry’s relationships with patriotism, politics, technology, and the visible arts, for instance.
  • Discusses poetry through female and male poets from all walks of lifestyles.
  • Includes various shut readings of person poems, starting from Pope’s The Rape of the Lock to Mary Collier’s The Woman’s Labour .
  • Includes extra provocative contributions on matters corresponding to rural poetry and the self-taught culture, British poetry 'beyond the borders', the buildings of femininity, ladies as writers and ladies as readers.
  • Designed for use along David Fairer and Christine Gerrard’s Eighteenth-century Poetry: An Annotated Anthology (Blackwell Publishing, moment variation, 2003).
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    In this The Deserted Village serves to dramatize a recurrent dilemma for post-Walpole era poets: the quest to define both an audience and a meaningful public role. ” Yet Gray himself, offered the opportunity of becoming Poet Laureate, declined. Although his odes, particularly “The Bard,” evoke a heroic age in which poets sought an elevated public role, the anonymously published satires on corrupt and widely discredited public figures which Gray produced in his later years – “The Candidate” (1764) and “On Lord Holland’s Seat” (1769) – did not aspire to this model.

    Upon His Accession to the Throne. At the end of the poem, Centlivre signs herself: “I am with the profoundest Respect / Your Majesty’s / Most Dutiful and / Most Devoted Subject,” a salutation that makes clear the connection between poetic practice and political persuasion. However, it is not only party affiliation that explains this panegyric; in writing such a poem Centlivre joined a great many of her fellow poets – Whigs, Tories, those without particular party identification – in a chorus of ritual celebration.

    The Englishman’s habit of thinking in providential patterns, a legacy from the Civil Wars, interpreted the collapse of the South Sea Company and the concomitant loss of personal fortunes as God’s punishment for national greed, just as Puritans in the 1660s interpreted the Plague and the Great Fire as punishments for the Restoration of Charles II. The South Sea Bubble derived its name from the runaway fashion for purchase of shares in the South Sea Company, a company which in fact had no genuine capital.

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