...R. S. Cox, Jr. Copyright © 1968 by Duke University Press 1968 RICHARD FLECKNOE AND THE MAN OF MODE By R. S. Cox, JR. No editor of George Etherege’s The Man of Mode has been able to identify the “Diversions of Brussels’’ to which Medley scornfully...

... rivalry. Ben Jonson, the iconic referent of Mac Flecknoe, is significantly underrepresented in the notes to the California edition of Dryden’s Works and in much of the commentary on the satire. The intergenerational triangulation of desire that underlay the 5 Miner...

... documents. What a relief it is to reach the relatively solid chapters on the biblical and political allegory in Absalotn und Achitophel and on the theological debates of The Hand und the Punther, after the mazy if not confused explications of Annus Mirabilis and Muc Flecknoe (two words, not one...

... Dryden had about the heroic, and how Mac Flecknoe expresses them. Pechter comes up with some useful insights. The four speakers in the Dramatic Poesy essay are not true adversaries, for instance, and each of them says things that Dryden might approve. We do better, Pechter suggests...

... Belasyse, An English Traveler’s First Curiosity or the Knowledge of his Owne Countrey (1657), S.A.B., 11, 66. 8 Sir Richard Baker, Chronicle of EngZand (MO), S.A.B., 11, 86. Cf. Richard Flecknoe, A Short Discourse of the English Sfage (l S.A.B., , 11, 85 ; Anonymous, “Prologue,” to James...

... by limiting himself to five successors of the masters: Gay, Johnson, Churchill, Goldsmith, and Crabbe. Young and Cowper also share a chapter. Such concentration turns up paying ore. The game is obviously not to find who can succeed to the drugget robe of a Flecknoe. It is not even to nominate...

..., that is, immortality” (p. 203). “The third couplet” of Mac Flecknoe “reveals the moral classical gold to have been applied over English lead’ @. 78). On such “hungry Epsom prose” and the criticism it embalms, Dryden offers the proper comment: “Trust Nature, do not labour to be dull...

... Flecknoe (two words, not one, as printed throughout this book). Like many pieces of so-called exegesis, the commentary on these earlier poems and on some of the later ones sounds highly disciplined, but is not so in fact. There is much reliance on terms that are illdefined and that do ...

... share a chapter. Such concentration turns up paying ore. The game is obviously not to find who can succeed to the drugget robe of a Flecknoe. It is not even to nominate Mr. Heroic Couplet Post-Pope, for Pro- fessor Brown admits that Dryden and Pope adumbrated all important uses...

... in Longinus, but J+OC really came nearer to Hobbes’s meaning than did the early seventeenth-century connotation of Wit.37 W. Lee Ustick and Hoyt H. Hudson, in an article on wit in the seventeenth century,88 have quoted a definition of wit by Richard Flecknoe, published in A Farrago...

... Dryden to assume that poetry published during the Restoration must be poetry about the Restoration. Dryden becomes the model of a topical poet, and of a politically informed one writing after the Restoration at that. In “Mac Flecknoe,” “Absalom and Achitophel,” and “The Medal” Dryden reworks biblical...

... of the primitive, he ridicules Flecknoe dropped through a trap door as “the yet declaiming bard.” Blake declares, in a lofty persona at the opening of Songs ofExperience, “Hear the voice of the Bard! / Who Present, Past, 8c Future sees,” confidently invoking an ancient and honored model.* Between...

...- netic echo is the turning over of grammatical subsoil, and sometimes of its etymological roots, as Ricks’s syntax plows deftly forward. “Almost every line of Mac Flecknoe bears upon—and is borne upon by—the con- siderations of inheritance” (39). It’s hard not to think that writing like...

..., even false: Flecknoe has to be made Irish, and whole hosts of other poets are scooped indiscriminately into the northern, barbaric, and mechan- 15 The Poems and Prose of Mary, Lady Chudleigh, ed. Margaret J. M. Ezell (New York: Oxford University Press...

... on the all-­important “painted hangings” in all of the theaters, arguing that these painted cloths gave a green surround for the plays themselves. In support of this, Smith cites Richard Flecknoe’s Short Discourse of the English Stage (1664): playgoing is like walking through a garden (210). Smith...

... surround for the plays themselves. In support of this, Smith cites Richard Flecknoe’s Short Discourse of the English Stage (1664): playgoing is like walking through a garden (210). Smith rightly claims that “if we want to understand the perceptual dynamics of Shakespeare’s theater, we must turn our...

... on the all-­important “painted hangings” in all of the theaters, arguing that these painted cloths gave a green surround for the plays themselves. In support of this, Smith cites Richard Flecknoe’s Short Discourse of the English Stage (1664): playgoing is like walking through a garden (210). Smith...

... themselves. In support of this, Smith cites Richard Flecknoe’s Short Discourse of the English Stage (1664): playgoing is like walking through a garden (210). Smith rightly claims that “if we want to understand the perceptual dynamics of Shakespeare’s theater, we must turn our attention...

... surround for the plays themselves. In support of this, Smith cites Richard Flecknoe’s Short Discourse of the English Stage (1664): playgoing is like walking through a garden (210). Smith rightly claims that “if we want to understand the perceptual dynamics of Shakespeare’s theater, we must turn our...

... on the all-­important “painted hangings” in all of the theaters, arguing that these painted cloths gave a green surround for the plays themselves. In support of this, Smith cites Richard Flecknoe’s Short Discourse of the English Stage (1664): playgoing is like walking through a garden (210). Smith...