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Title: The response to Horace in the seventeenth century : with special reference to the Odes and to the period 1600-1660
Author: Martindale, Joanna
Awarding Body: University of Oxford
Current Institution: University of Oxford
Date of Award: 1977
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Abstract:
This thesis traces the various vievs of Horace held in the seventeenth century and examines translation and imitation in the period. The main focus is on the influence of Horace's Od.es on lyric poetry. For the period 1600-1660, four authors are discussed in detail, Ben Jonson, Herrick, Marvell and Covley. Other authors treated include Drayton, Samuel Daniel, Donne, Campion, Chapman, Wotton, Carev, Randolph, Cartvr4ght, Habington, Vaughan, Lovelace, Fanshave, Mildmay Fane, George Daniel of Besvick, Milton, Oven Felltham, Izaak Walton, Denham, Waller and Alexander Brome. In the period from 1660, authors discussed include Dryden, Rochester, Sedley, Dorset, Mulgrave, Otvay, Etherep;e, Wycherley, Oldham, Prior, Ambrose Philips, Katherine Philips, John Norris, Cotton, Lady Mary Chudleigh, Anne Finch, Countess of Winchilsea, John Ranrlet, John Tutchin, Temple and Evelyn. The introduction argues briefly that although Horace is normally associated vith the eighteenth century, in fact his Odes were more Influential in the earlier part of the seventeenth century, and points to some misconceptions about the nature of Horace's poetry that have helped to obscure this. It notes that the interest in the Odes in the period is a change from the Mediaeval and sixteenth-century approach to Horace, and points out that the study of hov a period responds to a particular poet throve light on its general character. Chapter I provides some background information. It outlines the place of Horace in the school curricula and shove that the twin emphases in the school reading of HOrace were on his morals and his style, the latter being studied vith the practical aim of imitation. School textbooks are described. An account of editions of Horace in the period follows. It is pointed out that the text of Horace was more corrupt than it is today* and argued that some of the translators of Horace used the school edition of John Bond. The twin emphases of commentary on Horace are again shown to be on his morals and his style: Parthenio's commentary is examined in some detail. Next, some ideas about Horace's life disseminated by the lives included in editions are mentioned. Finally, the influence of quotation books and emblem books is considered. It is argued that though they contained many of the poet*s favourite Horatian passages, this does not mean that writers did not read Horace directly. It is shown that they present a moral Horace and that they sometimes cause distortion through excerpting passages out of context. Chapter II deals with the volumes of translations of Horace by Thomas Drant, John Ashmore, Thomas Hawkins, Henry Rider, John Smith, 'Unknown Mase', and Richard Panshawe. A brief sketch is given of the development of translation in the century, and it is pointed out that there are some examples of the 'imitation* before Cowley. The books of translations are then examined against this background, and it is argued that Fanshawe should not be viewed as heralding the mid-century revolution in translation but as fitting into his own period. The twin interests of the translators are analysed as being content, primarily moral, and lyric style. Fanshawe is seen as of particular interest as trying to embody Horatian moral ideals in his life and as being most successful in conveying Horace's lyricism. Chapterin discusses various ways in trhich the formal aspects of Horace's Odes influenced seventeenth-century lyric. It is pointed out that this influence has been obscured because English writers do not produce pastiches but recreate Horace in modern modes and because of generic differences between the Odes and seventeenth-century lyric. Some differences in structure and style between the two are then considered, Cowley's translation of C.111.i and Carew's The Spring being used to illustrate the differences of structure. Some exceptions are noted in the poetry of Milton, Jonson, Herrick, etc. Next, the similarities and areas of influence are discussed - blends in tone, methods of making lyric personal and various poetic poses.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.482340  DOI: Not available
Keywords: Influence ; English literature ; History and criticism ; Early modern, 1500-1700
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