This Blog is assigned by Prakruti Ma'am as a thinking activity.
The Neo-Classical Age (1660–1798) was a period of reason, order, and refinement. Society valued logic over emotion, formality over freedom, and intellect over imagination. The Restoration of Charles II brought back not only the monarchy but also a renewed interest in classical ideals of harmony, decorum, and rationality. This period also witnessed the rise of the middle class, scientific curiosity, and a focus on moral and social conduct. The literature of the age, therefore, became a mirror of its society—rational, witty, and deeply concerned with manners and morals.
Let’s explore this socio-cultural setting through Aphra Behn’s The Rover (1677) and Alexander Pope’s The Rape of the Lock (1712).
1. Aphra Behn’s The Rover – Women, Desire, and Social Freedom
Aphra Behn’s The Rover captures the lively, pleasure-seeking world of the Restoration period. The play is set in Naples during Carnival—a time of disguise, freedom, and flirtation—which reflects the changing morals of 17th-century England. After years of Puritan restraint, society now celebrated wit, pleasure, and romantic adventure.
Behn, one of the first professional female playwrights, boldly presents women like Hellena and Florinda who challenge patriarchal norms. They seek love on their own terms, reflecting women’s growing desire for individuality and freedom in a male-dominated society. Yet, their independence is limited—marriage remains the only acceptable outcome for women. Through this tension, Behn exposes the contradictions of a society that preaches virtue but thrives on hypocrisy and double standards.
2. Alexander Pope’s The Rape of the Lock – Vanity, Class, and Social Manners
Moving into the early 18th century, Pope’s The Rape of the Lock satirizes the superficiality of aristocratic society. Written in heroic couplets, it turns a trivial event—a young man cutting a lock of a lady’s hair—into an epic mock-heroic poem. Beneath the humor, Pope criticizes a culture obsessed with beauty, fashion, and reputation.
The poem reflects the refined but shallow world of London’s elite, where appearances mattered more than values. Religion, politics, and morality are replaced by gossip, coffee-house debates, and card games. Pope uses wit to expose how reason and refinement, though prized, often served vanity and social ambition rather than true intellect or virtue.
Through The Rover and The Rape of the Lock, we see the two faces of the Neo-Classical age—one of freedom and wit, and another of order and restraint. Behn shows the early struggles for female agency and social liberation, while Pope reflects the elegance and emptiness of polite society. Together, they reveal how literature not only entertained but also mirrored the evolving values, class structures, and moral codes of the 17th and 18th centuries.
2) • The Neo-Classical Age is known for the development and proliferation of three major literary genres/forms, i.e. satire, novel and non-fictional prose such as periodical and pamphlet. Which out these, in your opinion was successful in capturing the zeitgeist of the age? Justify your opinion with relevant examples.
Satire: The True Voice of the Neo-Classical Age
The Neo-Classical Age (1660–1798) was a time when reason, order, and decorum ruled literature. Writers valued logic over emotion and aimed to correct the follies of society through wit and moral instruction. Among the three major literary forms—satire, novel, and non-fictional prose—it was satire that best captured the zeitgeist (spirit) of the age. Through sharp humor and irony, satirists reflected the moral, political, and social realities of their time.
1. Satire as the Mirror of Society
Satire became the perfect medium for the age because society itself was full of contradictions. People spoke of virtue but lived for luxury; they celebrated reason but often acted foolishly. Satirists used humor and ridicule not just to entertain but to reform manners and expose hypocrisy. This made satire both intellectual and socially relevant—matching the Neo-Classical spirit of reason and morality.
2. Alexander Pope’s The Rape of the Lock
Alexander Pope’s mock-epic poem The Rape of the Lock (1712) is one of the finest examples of satire. It turns a trivial event—a man cutting a lock of a lady’s hair—into an epic battle, mocking the vanity and superficiality of aristocratic society. Pope uses the grand style of classical epics to show how ridiculous the concerns of the fashionable elite had become. Through humor, he reveals how reason and refinement were often replaced by pride and pretension.
3. Jonathan Swift’s A Modest Proposal
Jonathan Swift’s prose satire A Modest Proposal (1729) takes an even darker tone. By “suggesting” that poor Irish children be sold as food, Swift shocks readers into recognizing the cruelty and indifference of British policies toward Ireland. The work captures the moral crisis and social inequality of the age. Swift’s biting irony reflects how satire could combine intellect with moral outrage—forcing readers to confront uncomfortable truths.
In my opinion, satire most successfully captured the essence of the Neo-Classical Age. It balanced reason and wit, moral purpose and entertainment. Through writers like Pope and Swift, satire became not only a form of art but also a tool for social criticism and moral awakening. It truly mirrored the age’s pursuit of reason while exposing its hypocrisy—making it the voice of its time.
3) Write about the development of Drama in The Neoclassical Age with reference to Sentimental and Anti-Sentimental Comedy.
The Development of Drama in the Neo-Classical Age: Sentimental and Anti-Sentimental Comedy
The Neo-Classical Age (1660–1798) was a period of great change in English drama. After the strict Puritan rule, theatres reopened during the Restoration (1660), and drama once again became a central form of entertainment. Influenced by classical ideals of order, decorum, and moral purpose, playwrights began to shape drama that reflected the manners, morals, and values of polite society. Over time, this gave rise to two contrasting forms of comedy — Sentimental Comedy and Anti-Sentimental Comedy.
1. Early Neo-Classical Drama and Its Features
Restoration drama was known for its wit, elegance, and social satire. Playwrights like William Congreve and George Etherege wrote Comedy of Manners, portraying the fashionable life of the upper class. These plays were filled with flirtation, clever dialogue, and criticism of moral hypocrisy. However, many critics found them immoral and corrupt, leading to a shift toward more moral and emotional themes in the 18th century.
2. Sentimental Comedy – Drama with Morals and Tears
In the early 18th century, audiences began to prefer plays that appealed to the heart rather than the head. This gave rise to Sentimental Comedy, which replaced laughter with tears. Instead of mocking vice, these plays rewarded virtue and punished immorality. The aim was to teach moral lessons and show that goodness always triumphs.
Example: The Conscious Lovers (1722) by Sir Richard Steele is a classic sentimental comedy. It presents gentle and moral characters who express strong feelings and uphold virtue. The play focuses on family values, honesty, and forgiveness—reflecting the rising middle-class morality of the age.
Sentimental comedy, however, was often criticized for being too emotional and unrealistic. It tried too hard to make audiences cry rather than laugh.
3. Anti-Sentimental Comedy – A Return to Wit and Realism
In reaction to this excessive sentimentality, playwrights like Oliver Goldsmith and Richard Brinsley Sheridan brought back the humor and liveliness of Restoration comedy, creating what is known as Anti-Sentimental Comedy.
Example: She Stoops to Conquer (1773) by Oliver Goldsmith and The Rivals (1775) by Sheridan revived laughter on the stage. These plays mocked pretentious behavior, false morals, and social snobbery while still promoting good sense and honesty.
Goldsmith argued that drama should “make us laugh at folly,” not “weep at virtue.”
Thus, Anti-Sentimental Comedy restored balance, wit, and realism to English theatre.
The development of drama in the Neo-Classical Age reflects the changing values of society—from the witty immorality of the Restoration to the emotional morality of the Sentimentalists, and finally to the balanced realism of the Anti-Sentimentalists. Together, these dramatic forms show how theatre evolved to both entertain and instruct, capturing the complex spirit of the age that valued reason, morality, and good taste.
4) Write a critical note on the contribution of Richard uSteel and Joseph Addison.
The Neo-Classical Age (1660–1798) was not only an age of satire and reason but also the birth of modern journalism and essay writing. Among the most influential figures of this period were Sir Richard Steele and Joseph Addison, whose partnership shaped English prose, public opinion, and literary taste. Together, they gave literature a new direction through the creation of the periodical essay—a form that combined wit, morality, and social commentary.
1. Founders of the Periodical Essay
Steele and Addison worked together on famous journals like The Tatler (1709) and The Spectator (1711–1712, 1714).
Richard Steele, the more emotional and practical of the two, wanted to improve manners and morals through entertaining writing.
Joseph Addison, on the other hand, was calm, polished, and intellectual. He brought refinement, balance, and elegance to the essays.
Their aim was simple yet powerful — to “enliven morality with wit, and to temper wit with morality.”
2. Moral and Social Influence
Through their essays, Addison and Steele educated the rising middle class. They discussed topics like fashion, marriage, conversation, reading habits, and women’s education — all in a light, engaging tone. The Spectator Club (with characters like Sir Roger de Coverley) represented different sections of society, helping readers see themselves and their world more clearly.
Their writing promoted good sense, good taste, and virtue — the true ideals of the Neo-Classical Age. They made morality fashionable and helped shape polite English society.
3. Contribution to English Prose and Journalism
Addison and Steele are credited with:
Establishing the essay as a literary art form.
Developing a clear, graceful, and conversational prose style that influenced later writers.
Creating the foundation for modern journalism and magazines.
Encouraging readers to think critically and live morally — through humor rather than sermonizing.
4. Critical Evaluation
While some critics argue that their essays sometimes lacked depth or emotional range, their achievement lies in making literature accessible and meaningful to ordinary people. Addison’s elegant reasoning and Steele’s warmth created a perfect balance of intellect and feeling. Together, they captured the rational yet humane spirit of the age
Richard Steele and Joseph Addison were true representatives of Neo-Classical ideals — combining reason, morality, and style. Through The Tatler and The Spectator, they not only entertained but also refined the moral sense of English society. Their partnership marked the beginning of modern English prose and journalism, leaving a legacy thatll continues to influence writers and readers even today.
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