Poems on Affairs of State


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Deep conflicts in Restoration England produced a torrent of satirical verse on the policies, manners, and morals of Charles II and his age. Almost every poet—impelled by motives ranging from venality to patriotism—took his turn at satirizing the establishment. These Poems on Affairs of State, as they came to be known, provide an inexhaustible and minute record of the times from every point of view. The first volume of the Yale Edition includes the most important pieces, published and unpublished, dealing with events from the restoration of Charles to the outbreak of the Popist Plot in 1678. It is fully annotated and illustrated from contemporary materials. George deForest Lord, associate professor of English at Yale University and Master of Trumbull College, is general editor of the series as well as editor of this first volume.







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The Business of a Woman


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There is a detailed analysis of Manley's literary relationships with key figures such as Jonathan Swift and Richard Steele, and a full consideration of her political networks, including her working relationship with the Oxford ministry of 1710-1714."--BOOK JACKET.




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Censorship and Conflict in Seventeenth-Century England


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Censorship profoundly affected early modern writing. Censorship and Conflict in Seventeenth-Century England offers a detailed picture of early modern censorship and investigates the pressures that censorship exerted on seventeenth-century authors, printers, and publishers. In the 1600s, Britain witnessed a civil war, the judicial execution of a king, the restoration of his son, and an unremitting struggle among crown, parliament, and people for sovereignty and the right to define “liberty and property.” This battle, sometimes subtle, sometimes bloody, entailed a struggle for the control of language and representation. Robertson offers a richly detailed study of this “censorship contest” and of the craft that writers employed to outflank the licensers. He argues that for most parties, victory, not diplomacy or consensus, was the ultimate goal. This book differs from most recent works in analyzing both the mechanics of early modern censorship and the poetics that the licensing system produced—the forms and pressures of self-censorship. Among the issues that Robertson addresses in this book are the workings of the licensing machinery, the designs of art and obliquity under a regime of censorship, and the involutions of authorship attendant on anonymity.