Harold Love – författare

In early modern Britain, the primary medium of free comment was the clandestine satire, circulated either orally or in manuscript. Part of the national political culture from Jacobean times, satire reached its greatest influence following the Restoration of Charles II, when a new ''easy'' style, combining courtly polish with demotic frankness and flagrant indecency, led to the composition of thousands of such poems. Most of the poets of the time, including such majortalents as Marvell and Rochester, wrote in the genre, though nearly always anonymously. While its chief targets were political, much Restoration satire concerned itself with the emerging demography of ''Town'' and its uncertain experimentation with new kinds of social freedom. Attacks on the sexualmisbehaviour (real or imagined) of aristocratic women hover, equally uncertainly, between moral condemnation and ill-disguised envy, while also conferring an inverse celebrity status on their victims. In this paradoxical social world, not to be lampooned could mean that one was no longer a person of importance.In the first comprehensive survey of this vast field, Harold Love considers the relationship of the lampoon to gossip, how one might construct a poetics of the genre, and how clandestine satire reached and was received by its readers. Constructing three primary categories of ''court'', ''Town'' and ''state'' lampooning, Love argues that far from being the product of isolated disaffection, most satire was the work of a circle of recognized poets, frequently operating in collaboration. An extensivefirst-line index to the principal manuscript sources for clandestine satire makes this book an open sesame to further exploration of its fascinating field.

George Villiers, Second Duke of Buckingham (1628-1687) was one of the most scandalous and controversial figures of the Restoration period. He was the principal author of The Rehearsal (1671), an enormously successful burlesque play that ridiculed John Dryden and the rhymed heroic drama. Historians remember Buckingham as an opponent who helped topple Clarendon from power in 1667, as a member of the ''Cabal'' government in the early 1670s, and as an ally of the Earl of Shaftesbury in the political crisis of 1678-1683. The duke was prominent among the ''court wits'' (Rochester, Etherege, Sedley, Dorset, Wycherley, and their circle); he was closely associated with such writers as Butler and Cowley; he was a conspicuous champion of religious toleration and a friend of William Penn. No edition of Buckingham has been published since 1775, partly because his work presents horrendous attribution problems. He was (probably) adapter or co-author of six plays (two of them vastly successful for more than a century) including one in French that appears here in English for the first time. He is also associated with nine topical pieces (variously political, religious, and satiric) and some twenty poems of wildly varying type. The ''Buckingham'' commonplace book has previously been published only in fragmentary form. Almost all of these works present major difficulties in both attribution and annotation, here seriously addressed for the first time. This edition is a companion venture to Harold Love''s important edition of Rochester (OUP, 1999).

George Villiers, Second Duke of Buckingham (1628-1687) was one of the most scandalous and controversial figures of the Restoration period. He was the principal author of The Rehearsal (1671), an enormously successful burlesque play that ridiculed John Dryden and the rhymed heroic drama. Historians remember Buckingham as an opponent who helped topple Clarendon from power in 1667, as a member of the ''Cabal'' government in the early 1670s, and as an ally of the Earl of Shaftesbury in the political crisis of 1678-1683. The duke was prominent among the ''court wits'' (Rochester, Etherege, Sedley, Dorset, Wycherley, and their circle); he was closely associated with such writers as Butler and Cowley; he was a conspicuous champion of religious toleration and a friend of William Penn. No edition of Buckingham has been published since 1775, partly because his work presents horrendous attribution problems. He was (probably) adapter or co-author of six plays (two of them vastly successful for more than a century) including one in French that appears here in English for the first time. He is also associated with nine topical pieces (variously political, religious, and satiric) and some twenty poems of wildly varying type. The ''Buckingham'' commonplace book has previously been published only in fragmentary form. Almost all of these works present major difficulties in both attribution and annotation, here seriously addressed for the first time. This edition is a companion venture to Harold Love''s important edition of Rochester (OUP, 1999).

BL Contains substantial discussions of Donne, Shakespeare, Rochester, and SwiftLong after the establishment of printing in England, many writers and composers still preferred to publish their work through handwritten copies. Texts so transmitted included some of the most distinguished poetry and music of the seventeenth century, along with a rich variety of political. scientific, antiquarian, and philosophical writings. While censorship was one reason for this persistence of the older practice, scribal publication remained the norm for texts which were required only in small numbers, or whose authors wished to avoid `the stigma of print'. The present study is the first to consider the trade in manuscripts as an important supplement to that in printed books, and to descrice the agencies that met the need for rapid duplication of key texts. By integrating the large body of findings already available concerning particular texts and authors it provides an arresting new perspective on authorship and the communication of ideas.

Dublin-born Thomas Southerne has long been admired as one of the most important dramatists of the Restoration. The lack of a modern edition, however, has prevented his plays from taking their place alongside those of his friends Congreve, Wycherley, and Etherege. The present edition brings together his ten plays and the small surviving body of non-dramatic writings. Texts are based on an exhaustive study of the earliest editions and include a record of his revisions for the 1713 edition of his works, and the variants between the censored and uncensored texts of his political tragedy The Spartan Dame . Although best known for his two tragedies, The Fatal Marriage and Oroonoko , based on stories by Aphra Behn, Southerne was the author of three outstanding comedies - Sir Anthony Love , The Wives' Excuse , and The Maid's Last Prayer - which, although enjoying mixed fortunes in their own time, have been praised in recent studies of Restoration drama for their wit, psychological realism, and adventurous stagecraft. The introduction contains the first biography of Southerne to be based on a comprehensive study of the surviving documentary records.Generous explanatory notes to the texts clarify the many contemporary allusions and relate Southerne's work to its sources and models. Students of theatre history, and of English literature of the Restoration should be specially interested by this book.

Southerne is one of the most important dramatists of the Restoration theatre, but until now there has been no modern edition of his works. The text is based on an exhaustive study of the earliest editions, and the introduction contains the first biography of Southerne to be based on the surviving documentary records.

John Wilmot, second Earl of Rochester (1647-80), was a leading member of the group of 'court wits' surrounding Charles II. One of the wittiest and most sexually explicit poets in English, his poems circulated principally in manuscript, which makes the tracing of their transmissional history a peculiarly difficult task. In this long-awaited edition, Harold Love, one of the leading scholars of seventeenth-century manuscript circulation, presents a scholarly text based on detailed examination of the manuscripts, with full textual and explanatory notes. It will be an important contribution to the study of manuscript publication as well as a vital resource for all students of Rochester.

George Villiers, Second Duke of Buckingham (1628-1687) was one of the most scandalous and controversial figures of the Restoration period. He was the principal author of The Rehearsal (1671), an enormously successful burlesque play that ridiculed John Dryden and the rhymed heroic drama. Historians remember Buckingham as an opponent who helped topple Clarendon from power in 1667, as a member of the 'Cabal' government in the early 1670s, and as an ally of the Earl of Shaftesbury in the political crisis of 1678-1683. The duke was prominent among the 'court wits' (Rochester, Etherege, Sedley, Dorset, Wycherley, and their circle); he was closely associated with such writers as Butler and Cowley; he was a conspicuous champion of religious toleration and a friend of William Penn. No edition of Buckingham has been published since 1775, partly because his work presents horrendous attribution problems. He was (probably) adapter or co-author of six plays (two of them vastly successful for more than a century) including one in French that appears here in English for the first time. He is also associated with nine topical pieces (variously political, religious, and satiric) and some twenty poems of wildly varying type. The 'Buckingham' commonplace book has previously been published only in fragmentary form. Almost all of these works present major difficulties in both attribution and annotation, here seriously addressed for the first time. This edition is a companion venture to Harold Love's important edition of Rochester (OUP, 1999).

George Villiers, Second Duke of Buckingham (1628-1687) was one of the most scandalous and controversial figures of the Restoration period. He was the principal author of The Rehearsal (1671), an enormously successful burlesque play that ridiculed John Dryden and the rhymed heroic drama. Historians remember Buckingham as an opponent who helped topple Clarendon from power in 1667, as a member of the 'Cabal' government in the early 1670s, and as an ally of the Earl of Shaftesbury in the political crisis of 1678-1683. The duke was prominent among the 'court wits' (Rochester, Etherege, Sedley, Dorset, Wycherley, and their circle); he was closely associated with such writers as Butler and Cowley; he was a conspicuous champion of religious toleration and a friend of William Penn. No edition of Buckingham has been published since 1775, partly because his work presents horrendous attribution problems. He was (probably) adapter or co-author of six plays (two of them vastly successful for more than a century) including one in French that appears here in English for the first time. He is also associated with nine topical pieces (variously political, religious, and satiric) and some twenty poems of wildly varying type. The 'Buckingham' commonplace book has previously been published only in fragmentary form. Almost all of these works present major difficulties in both attribution and annotation, here seriously addressed for the first time. This edition is a companion venture to Harold Love's important edition of Rochester (OUP, 1999).

In early modern Britain, the primary medium of free comment was the clandestine satire, circulated either orally or in manuscript. Part of the national political culture from Jacobean times, satire reached its greatest influence following the Restoration of Charles II, when a new 'easy' style, combining courtly polish with demotic frankness and flagrant indecency, led to the composition of thousands of such poems. Most of the poets of the time, including such major talents as Marvell and Rochester, wrote in the genre, though nearly always anonymously. While its chief targets were political, much Restoration satire concerned itself with the emerging demography of 'Town' and its uncertain experimentation with new kinds of social freedom. Attacks on the sexual misbehaviour (real or imagined) of aristocratic women hover, equally uncertainly, between moral condemnation and ill-disguised envy, while also conferring an inverse celebrity status on their victims. In this paradoxical social world, not to be lampooned could mean that one was no longer a person of importance. In the first comprehensive survey of this vast field, Harold Love considers the relationship of the lampoon to gossip, how one might construct a poetics of the genre, and how clandestine satire reached and was received by its readers. Constructing three primary categories of 'court', 'Town' and 'state' lampooning, Love argues that far from being the product of isolated disaffection, most satire was the work of a circle of recognized poets, frequently operating in collaboration. An extensive first-line index to the principal manuscript sources for clandestine satire makes this book an open sesame to further exploration of its fascinating field.

Recent literary scholarship has seen a shift of interest away from questions of attribution. Yet these questions remain urgent and important for any historical study of writing, and have been given a powerful new impetus by advances in statistical studies of language and the coming on line of large databases of texts in machine-searchable form. The present book is the first comprehensive survey of the field from a literary perspective to appear for forty years. It covers both traditional and computer based approaches to attribution, and evaluates each in respect of their potentialities and limitations. It revisits a number of famous controversies, including those concerning the authorship of the Homeric poems, books from the Old and New Testaments, and the plays of Shakespeare. Written with wit as well as erudition Attributing Authorship will make this intriguing field accessible for students and scholars alike.

Recent literary scholarship has seen a shift of interest away from questions of attribution. Yet these questions remain urgent and important for any historical study of writing, and have been given a powerful new impetus by advances in statistical studies of language and the coming on line of large databases of texts in machine-searchable form. The present book is the first comprehensive survey of the field from a literary perspective to appear for forty years. It covers both traditional and computer based approaches to attribution, and evaluates each in respect of their potentialities and limitations. It revisits a number of famous controversies, including those concerning the authorship of the Homeric poems, books from the Old and New Testaments, and the plays of Shakespeare. Written with wit as well as erudition Attributing Authorship will make this intriguing field accessible for students and scholars alike.

Originally published in 1972, Restoration Literature is a landmark in the study of seventeenth-century English literature. By assembling a diverse range of critical voices, Love captures the vibrancy and complexity of a period marked by both artistic innovation and ideological strife. The book remains essential reading for anyone seeking to understand how literature responded to-and helped shape-the Restoration's turbulent cultural landscape. This book rehabilitates the literature of the restoration period and shows it to be worth the most careful critical attention. The book remains a foundational text for students and scholars interested in the complex interplay of politics, performance, satire, and poetic innovation that defined the era.

Originally published in 1972, Restoration Literature is a landmark in the study of seventeenth-century English literature. By assembling a diverse range of critical voices, Love captures the vibrancy and complexity of a period marked by both artistic innovation and ideological strife. The book remains essential reading for anyone seeking to understand how literature responded to-and helped shape-the Restoration's turbulent cultural landscape. This book rehabilitates the literature of the restoration period and shows it to be worth the most careful critical attention. The book remains a foundational text for students and scholars interested in the complex interplay of politics, performance, satire, and poetic innovation that defined the era.