By Elaine Mcgirr
This booklet explores a cultural language, the heroic, that remained regularly robust throughout the social, political, and dynastic turbulence of the lengthy eighteenth century. The heroic supplied an obtainable and bright shorthand for the continued ideological debates over the character of authority and tool, the development of an amazing masculinity, and the form of a brand new, British - instead of English - nationwide identification. An research of this cultural language and its diversified valence over the years not just unpacks the overlap among aesthetic and political debate within the overdue 17th and early eighteenth centuries, but additionally firmly grounds the eighteenth-century's revolution in flavor and manners within the ongoing ideological debates approximately dynastic politics and the principles of authority. in particular, the ebook lines the making and breaking of the Stuart mythology throughout the improvement of and assaults at the heroic mode from the recovery in the course of the aftermath of the 1745 Jacobite rebellion. Elaine McGirr is a Senior Lecturer within the departments of drama and English at Royal Holloway, college of London.
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The heroic poem strikes a balance between the actions of ‘‘God and king’’ and their subjects’ ‘‘passive aptness’’ (141). It also alternates between narratives of militaristic ‘‘heroic 46 HEROIC MODE AND POLITICAL CRISIS, 1660–1745 virtue’’ and paeans to the institutions of the restored monarchy, like the Royal Society. 18 But this careful balance does not result in a draw or a tempering of extremes. London, the poem’s ultimate hero, is shown to profit from each wonder: as the war enriches her, the fire purifies her, so that ‘‘More great than human now, and more August, / New deifi’d she from her fires does rise, / Her widening streets on new foundations trust, / And opening into larger parts she flies’’ (295).
5 A better description of Restoration theatricality does not exist. The coronation show, and Restoration theatricality in general, emphasized quantity and volume over substance and quality. The performance, and the illusion created therein, was more important than the artifacts. While Charles’s coronation may not have been substantially different from those of his predecessors, Restoration rhetoric, like Clarendon’s, and popular imagination, seen in Pepys’s diary, styled it as wholly new, as spectacle sans example.
As The Generall’s generic ‘‘King’’ demonstrates, the events could be conflated within a single character as well as within the generic structure of tragicomedy. 12 By aiming for ‘‘absolute dominion’’ over their audiences’ imaginations, heroic playwrights insisted that their plays—and current events—be read according the keys they provided. Thus the instability described by the endless cycle of usurpation and restoration is fixed by knowing to whom the crown belongs. The heroic’s volatility is reduced to order only by strict interpretive control, not through its own internal logic.