Rhetorics of Order/ordering Rhetorics in English Neoclassical Literature
John Douglas Canfield, J. Paul Hunter, Paul J. Hunter
University of Delaware Press, 1989 - 200 páginas
This collection of essays on the rhetorics of order in English neoclassical literature includes Rose A. Zimbardo's investigation of generic slippage between drama and novel in works by Dryden and Behn; Maynard Mack's analysis of Pope's enduring rhetorics of presentation; and Patricia Meyer Spacks's examination of the heroines of Clarissa and the Italian.
Comentarios de la gente - Escribir un comentario
No encontramos ningún comentario en los lugares habituales.
Salute to a ThreeHundredth Birthday
Popes Unfortunate Lady and Elegiac Form
Locke Addison Prior and the Order of Things
Clarissa and The Italian
The Troubles of Tristram and the Aesthetics of Uncertainty
Notes on Contributors
The Rhetoric of Kairos in Drydens Absalom and Achitophel
Otras ediciones - Ver todas
action appear argued authority become beginning believe century characters Christian City Clarissa clock close concern course critics death desire discourse Dryden earlier effect Elegy English Essay example experience fact father figure final force friends give hand heroic human ideas identity imagine issue Italy John judgment justice king king's knowledge Lady language later least less Literature live Locke Locke's London look matter mean memory mind narrative nature never novel once perhaps play plot poem poet poetic poetry Pope Pope's possible present Providence question readers reason relation rhetoric satire scene seems sense Settle sexual Shandy speech Sterne story style suggests things thought tion traditional Tristram Tristram Shandy true truth turn University Press Walter whole wife women write
Página 87 - Curl'd or uncurl'd, since Locks will turn to grey ; Since painted, or not painted, all shall fade, And she who scorns a Man, must die a Maid, What then remains but well our Pow'r to use, And keep...
Página 72 - A man so various that he seemed to be Not one, but all mankind's epitome : Stiff in opinions, always in the wrong, Was everything by starts and nothing long ; But in the course of one revolving moon Was chymist, fiddler, statesman, and buffoon ; Then all for women, painting, rhyming, drinking, Besides ten thousand freaks that died in thinking.
Página 94 - Soft is the strain when Zephyr gently blows, And the smooth stream in smoother numbers flows ; But when loud surges lash the sounding shore, The hoarse, rough verse should like the torrent roar : When Ajax strives some rock's vast- weight to throw, The line too labours, and the words move slow ; Not so, when swift Camilla scours the plain, Flies o'er th' unbending corn, and skims along the main.
Página 86 - I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? quite chap-fallen? Now get you to my lady's chamber, and tell her, let her paint an inch thick, to this favour she must come ; make her laugh at that. Prithee, Horatio, tell me one thing. Hor. What's that, my lord? Ham. Dost thou think Alexander looked o' this fashion i
Página 123 - ... harangues and popular addresses, they are certainly, in all discourses that pretend to inform or instruct, wholly to be avoided and, where truth and knowledge are concerned, cannot but be thought a great fault either of the language or person that makes use of them.
Página 22 - But not for a Lip, nor a languishing Eye: She's fickle and false, and there we agree; For I am as false, and as fickle as she: We neither believe what either can say; And, neither believing, we neither betray. Tis civil to swear, and say things of course; We mean not the taking for better for worse. When present, we love; when absent, agree: I think not of Iris, nor Iris of me: The Legend of Love no Couple can find So easie to part, or so equally join'd.
Página 152 - Here, gazing upon the stupendous imagery around her, looking, as it were, beyond the awful veil which obscures the features of the Deity, and conceals Him from the eyes of his creatures; dwelling as with a present God in the midst of his sublime works; with a mind thus elevated, how insignificant would appear to her the transactions, and the sufferings of this world!