Alexander Pope: 2 great mock-heroic poems, series of Horatian imitations, 4 verse epistles on moral themes. The Rape of the Lock – based on piece of real-life gossip. The Dunciad – savage attack on hacks and booksellers, told in the form of a celebration of the progress of an empire, that of Dullness. Commonplace subjects are described in elevated, heroic style of classical epic. By parody and deliberate misuse of heroic language, emphasises triviality of subject. Moral Essays, Epistle to Augustus, The Epilogue to the Satires, Epistle to Dr Arbuthnot John Dryden: satires good-tempered, smth devastating scorn, has genius for verse rhytm, exceptional expressiveness of language. MacFlecknoe, Absalom and Achitophel, The Medal. Johnson: London, TheVanity of Human Wishes. 23. Augustan reflective and nature poetry (Winchilsea, Thomson, Denham, Dyer, Akenside, Pomfret, Pope) Especially first half of the 18th C.
dedicated to the styles of French classicism. Sumarokov's interest in the form of French literature mirrored his devotion to the westernizing spirit of Peter the Great's age. Although he often disagreed with Trediakovsky, Sumarokov also advocated the use of simple, natural language in order to diversify the audience and make more efficient use of the Russian language. Like his colleagues and counterparts, Sumarokov extolled the legacy of Peter I, writing in his manifesto Epistle on Poetry, "The great Peter hurls his thunder from the Baltic shores, the Russian sword glitters in all corners of the universe". Peter the Great's policies of westernization and displays of military prowess naturally attracted Sumarokov and his contemporaries. Mikhail Vasilyevich Lomonosov, in particular, expressed his gratitude for and dedication to Peter's legacy in his unfinished Peter the Great, Lomonosov's works often focused on themes
our nation; that it is hardly to be conceived, that an Englishman,much less a gentleman, should plead for it. And truly I should have taken Sir Robert Filmer's Patriarcha, as any other treatise, which would persuade all men, that they are slaves, and ought to be so, for such another exercise of wit, as was his who writ the encomium of Nero; rather than for a serious discourse meant in earnest, had not the gravity of the title and epistle, the picture in the front of the book, and the applause that followed it, required me to believe, that the author and publisher were both in earnest. I therefore took it into my hands with all the expectation, and read it through with all the attention due to a treatise that made such a noise at its coming abroad, and cannot but confess my self mightily surprised, that in a book, which was to provide chains for all mankind, I
sometimes said to have been the model for Prospero in The Tempest. Dee shared Rudolf's interest in the occult and was an enthusiast for Roger Bacon, manuscripts of many of whose works he had collected. He knew the young Francis Bacon and may have even introduced him to the works of Roger Bacon, which may help explain the similarities in their thought. Dee may have been aware of Roger Bacon's own brief discussion of cryptography in the Epistle on the Secret Works of Art and the Nullity of Magic. He certainly had some knowledge of, and considerable interest in, cryptology, for in 1562, he bought for Sir William Cecil, Queen Elizabeth's great minister, a manuscript of Trithemius' "Steganographia," which had not yet been published and "for w°h a Thowsand Crownes have ben by others offred, and yet could not be obteyned," Dee spent ten days "with contynuall Labor and watch" in making himself a copy.
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