By Allan Ingram;Michelle Faubert
This paintings offers with the (mis)representation of madness via a considerable diversity of literary varieties and figures from around the eighteenth century and past. Chapters disguise the illustration, distortion, sentimentalization and elevation of madness, and such linked matters as gender, own id, and function, in the superior and least recognized writers of the interval. a variety of visible fabric, together with works by means of Hogarth, Rowlandson, and Gillray, is usually mentioned. whereas basically adopting a literary concentration, the paintings is proficient all through through an alertness to major problems with clinical and psychiatric historical past.
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Extra resources for Cultural Constructions of Madness in Eighteenth-Century Writing: Representing the Insane
In common with most writers on eighteenth-century London’s most famous hospital, I use the term ‘Bethlem’ when referring to the hospital itself, and ‘Bedlam’ for the popular and cultural construction of it. See the opening of Chapter 7 for further discussion. 18. Andrew Scull, Social Order/Mental Disorder: Anglo-American Psychiatry in Historical Perspective, London: Routledge, 1989, p. 8. 19. Ned Ward, The London Spy, ed. Paul Hyland, East Lansing: Colleagues Press, 1993, p. 222. 20. Ward, p. 54.
Ward, p. 57. 29. Edward Young, Conjectures on Original Composition (1759), quoted in Ricardo Quintana, Swift: An Introduction, London: Oxford University Press, 1955 (1962 edn), p. 3. 30. Samuel Johnson, Lives of the English Poets, London: Oxford University Press, 2 vols, 1906 (1967 edn), II, 209. Following quotation also p. 209. 31. See the discussion in Irvin Ehrenpreis, Swift: The Man, His Works, and The Age, 3 vols, London: Methuen, 1983, III, 919. 32. ), Jonathan Swift: A Critical Anthology, Harmondsworth: Penguin Books Ltd, 1971, p.
The suggestion, in fact, had come earlier in the poem, from Nestor, during his conversation in his tent with Patroclus in Book XI, a long, artful, digression by the old man (though Pope’s long note at line 800 criticises the speech as ‘too long’ and ‘absurd’ while also acknowledging those who praise it as designedly protracted31), apparently reminiscing about military exploits long gone, but actually moving steadily towards the critical point: If some dire Oracle his Breast alarm, If ought from Heav’n with-hold his saving Arm; Some Beam of Comfort yet on Greece may shine, If thou but lead the Myrmidonian Line; Clad in Achilles’ Arms, if thou appear, Proud Troy may tremble and desist from War.
Cultural Constructions of Madness in Eighteenth-Century Writing: Representing the Insane by Allan Ingram;Michelle Faubert