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This thesis traces the various vievs of Horace held in the seventeenth century and examines translation and imitation in the period. The main focus is on the influence of Horace's Od.es on lyric poetry. For the period 1600-1660, four authors are discussed in detail, Ben Jonson, Herrick, Marvell and Covley. Other authors treated include Drayton, Samuel Daniel, Donne, Campion, Chapman, Wotton, Carev, Randolph, Cartvr4ght, Habington, Vaughan, Lovelace, Fanshave, Mildmay Fane, George Daniel of Besvick, Milton, Oven Felltham, Izaak Walton, Denham, Waller and Alexander Brome. In the period from 1660, authors discussed include Dryden, Rochester, Sedley, Dorset, Mulgrave, Otvay, Etherep;e, Wycherley, Oldham, Prior, Ambrose Philips, Katherine Philips, John Norris, Cotton, Lady Mary Chudleigh, Anne Finch, Countess of Winchilsea, John Ranrlet, John Tutchin, Temple and Evelyn. The introduction argues briefly that although Horace is normally associated vith the eighteenth century, in fact his Odes were more Influential in the earlier part of the seventeenth century, and points to some misconceptions about the nature of Horace's poetry that have helped to obscure this. It notes that the interest in the Odes in the period is a change from the Mediaeval and sixteenth-century approach to Horace, and points out that the study of hov a period responds to a particular poet throve light on its general character. Chapter I provides some background information. It outlines the place of Horace in the school curricula and shove that the twin emphases in the school reading of HOrace were on his morals and his style, the latter being studied vith the practical aim of imitation. School textbooks are described. An account of editions of Horace in the period follows. It is pointed out that the text of Horace was more corrupt than it is today* and argued that some of the translators of Horace used the school edition of John Bond. The twin emphases of commentary on Horace are again shown to be on his morals and his style: Parthenio's commentary is examined in some detail. Next, some ideas about Horace's life disseminated by the lives included in editions are mentioned. Finally, the influence of quotation books and emblem books is considered. It is argued that though they contained many of the poet*s favourite Horatian passages, this does not mean that writers did not read Horace directly. It is shown that they present a moral Horace and that they sometimes cause distortion through excerpting passages out of context. Chapter II deals with the volumes of translations of Horace by Thomas Drant, John Ashmore, Thomas Hawkins, Henry Rider, John Smith, 'Unknown Mase', and Richard Panshawe. A brief sketch is given of the development of translation in the century, and it is pointed out that there are some examples of the 'imitation* before Cowley. The books of translations are then examined against this background, and it is argued that Fanshawe should not be viewed as heralding the mid-century revolution in translation but as fitting into his own period. The twin interests of the translators are analysed as being content, primarily moral, and lyric style. Fanshawe is seen as of particular interest as trying to embody Horatian moral ideals in his life and as being most successful in conveying Horace's lyricism. Chapterin discusses various ways in trhich the formal aspects of Horace's Odes influenced seventeenth-century lyric. It is pointed out that this influence has been obscured because English writers do not produce pastiches but recreate Horace in modern modes and because of generic differences between the Odes and seventeenth-century lyric. Some differences in structure and style between the two are then considered, Cowley's translation of C.111.i and Carew's The Spring being used to illustrate the differences of structure. Some exceptions are noted in the poetry of Milton, Jonson, Herrick, etc. Next, the similarities and areas of influence are discussed - blends in tone, methods of making lyric personal and various poetic poses.

This dissertation presents a study of the ways in which concepts of pain were treated across a broad range of late Victorian writing, placing literary texts alongside sermons, medical textbooks and campaigning leaflets, in order to suggest a pattern of representation and evasion to be perceived throughout the different texts assembled. In the first two chapters I establish the cultural and historical background to physical suffering in the late nineteenth century, as the Christian paradigm for suffering (the subject of the first chapter) lost its pre-eminance to that of medicine (Chapter Two). The next two chapters are concerned with the problem of the expressibility of pain. In Chapter Three I argue that despite popular belief, voiced most clearly by Virginia Woolf, that 'there is no language for pain', sufferers find language that is both metaphorical and directly referential to express their bodily suffering. Chapter Four takes up the cultural restrictions placed on the expression of pain, using the acrimonious debate over vivisection that arose at the end of the century. Bringing together the prolific texts of both vivisectionists and antivivisectionists, I display the possibilities and limitations of particular literary forms, arguing, for example, that language appropriate to medical textbooks proved to be too shocking in books with a wider circulation. The final chapter is concerned with the ways in which pain was schematised in the last two decades of the nineteenth century. I explore the basis of belief in pain as a shared, cross-cultural phenomenon and make the case, using the examples of invertebrate neurology, fire-walking and tattooing, that the understanding of pain is sharply affected by class, gender, race and supposed degree of criminality, despite the fact that pain is often invoked as a marker of shared human identity.

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[Typescript] Includes bibliography.

by Wong Man-ki. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 157-163). / Abstracts in English and Chinese. / Abstract --- p.i / 論文提要 --- p.iii / Acknowledgements --- p.v / "Introduction ""Intertextuality"": Definitions and Issues" --- p.1 / Chapter Chapter1 --- Intertextuality in the Eighteenth-Century Novels: Samuel Johnson's Rasselas and Ellis Cornelia Knight's Dinarbas --- p.34 / Chapter Chapter2 --- Postmodern Intertextuality (I): The Subversive Rewriting Project in Angela Carter's The Bloody Chamber --- p.61 / Chapter Chapter3 --- Postmodern Intertextuality (II): Toward a Broader Scope ´ؤ Multiple Art Forms in Marina Warner's The Mermaids in the Basement and Paula Rego's Nursery Rhymes --- p.100 / Selected Bibliography --- p.157