Classical Influence on Restoration and 18th-Century Literature
Classical Influence in Restoration and 18th-Century Literature
This essay aims to identify and highlight the different elements and characteristics where a certain classical influence can be observed in Restoration and 18th-century literature. This period is also known as the Neoclassical period, due to the great focus and interest of the authors of this period in the original writings of classical Greek and Roman literature. Thus, it can be seen how the literature of this period tried to establish similarities with figures such as Caesar Augustus and writers such as Horace and Virgil. Moreover, classical influences appeared predominantly in poetry, with the use of rhyme, and in prose, but with a rather satirical approach and form.
The Concept of “Decorum”
In Restoration and 18th-century literature, the ideal was an elegant simplicity to express a new form of weighing and attitude: more moderate, clear, and regular. Everything was, therefore, more symmetrical, calculated, and balanced. Furthermore, in this context, the concept of “decorum” is of great importance, meaning respect for what is proper. This way of understanding literature is closely related to classical art, where order and clear and established organization prevailed. Thus, classical figures such as Ovid, Horace, and Virgil were once again present in literature, as well as classical genres such as epic, tragedy, comedy, pastoral, satire, and ode.
Alexander Pope and *The Rape of the Lock***
One of the major literary figures who introduced the classical world into his output was Alexander Pope. In one of his stages, he devoted himself to translation and editing (1715-1726), and he translated the *Iliad* and the *Odyssey*. However, the focus is on *The Rape of the Lock*, one of his most relevant works. This work contains the most characteristic traits of 18th-century English literature; it is inspired by classical models but in a satirist way, being one of the representatives of the mock-epic tradition. Thus, Pope uses a strategy of epic farce to overcome the conventions of epic poetry, such as demystifying strategies.
First of all, the character of The Baron, instead of being a hero, is an anti-hero, so he is not someone to be admired as it used to be the case in traditional epic poetry. On the other hand, the creatures that appear in the poem are diminutive and not powerful, unlike in classical mythology, which is endowed with divine and powerful characters.
Classical Elements in Pope’s Poem
These are not the only classical elements observed in this poem:
- In Canto I, lines 1-12, the speaker begins the poem with an invocation to the gods and muses: “Muse!” (3, C.I. p 2515). This was very common in the classical world since the Greeks considered poets to be divinely inspired beings. These divinities were the muses, and they gave them the gift of singing the deeds of heroes. This is also seen in the *Iliad*, the *Odyssey*, and the *Aeneid*.
- Related to this, the poem also bears similarities to great epic works such as the *Iliad*. For instance, in Canto III, it is possible to observe the way Pope creates scenes that evoke the *Iliad*, thus relating the battles that appear in the *Iliad* to the Ombre card game played by Belinda and the Baron. Thus, lines 37-45 present the king’s cards as if they were the commanders of armies such as the Greeks and Trojans “[…] Four Knaves in garbs succinct […] combat on the velvet plain” (41-45, p. 2522).
- Additionally, lines 46-64 recount the exploits of the ace of spades and the two of spades (“Spadillio” and “Manillio”) as if they were Hector and Achilles “Let Spades be trumps!” (p. 2522).
John Milton’s *Paradise Lost***
On the other hand, John Milton’s *Paradise Lost* (1667-1674) also presents traits of the epic tradition. This work was published at the same time as the Great Fire of London and the Plague. Milton produced the poem even though he had a lot to digest (defeat of the Republic, the beginning of the Restoration, the Great Fire and its consequences, etc.). He wanted to write the greatest English poem and turned it into an epic. Moreover, it sought to “Latinize” English. Thus, he got his inspiration from other classical poets: the ancients Homer and Virgil and the Medieval and Renaissance poets Dante, Tasso, Ariosto, and Spenser.
Epic Tradition in *Paradise Lost***
With regard to the content of the work, from line 1 to line 26 of book 1, Milton introduces the theme (the disobedience and sin of Adam and Eve) and invokes his muse: “[…]Sing Heav´nly Muse[…]” (line 6), identified as the Holy Spirit. Furthermore, line 19 shows him praising his muse to fill his mind with divine knowledge so that he can share his knowledge with his readers: “Instruct me, for thou know’st; thou from the first”. Related to this, in line 23, it can be seen how he urges his muse (the Holy Spirit) to guide him along the way without error or disrespect: “Illumine, what is low rise and support”. Thus, it can be said that Milton is, in a way, trying to resemble the procedure carried out by the classics because of this use of the invocation of the muse, typical of them.
Conclusion
In conclusion, the influence of the classical tradition on literature has been vital to its development. Proof of this is the large number of centuries in which these characteristics continue to be applied. Moreover, the presence of classical elements in the artistic production of the aforementioned authors demonstrates how the themes and characteristics dealt with in the classical world continue to be present with the passage of time, as well as leaving their mark on the cultural and artistic aspect.