What two-word term that first appeared in the play The Conquest of Granada (1672) later became associated with a sentimental 18th century notion that a human being in a natural state (away from civilization) is essentially 'good'?
"Noble savage A noble savage is a literary stock character who embodies the concept of the indigene, outsider, wild human, an ""other"" who has not been ""corrupted"" by civilization, and therefore symbolizes humanity's innate goodness. In English, the phrase first appeared in the 17th century in John Dryden's heroic play ""The Conquest of Granada"" (1672), wherein it was used in reference to newly created man. ""Savage"" at that time could mean ""wild beast"" as well as ""wild man"". The phrase later became identified with the idealized picture of ""nature's gentleman"", which was an aspect of 18th-century sentimentalism. The noble savage"
"John Dryden's heroic play, ""The Conquest of Granada"" (1672): <poem> I am as free as nature first made man, Ere the base laws of servitude began, When wild in woods the noble savage ran.</poem> The hero who speaks these words in Dryden's play is here denying the right of a prince to put him to death, on the grounds that he is not that prince's subject. These lines were quoted by Scott as the heading to Chapter 22 of his ""A Legend of Montrose"" (1819). ""Savage"" is better taken here in the sense of ""wild beast"", so that the phrase"
"achieved prominence as an oxymoronic rhetorical device after 1851, when used sarcastically as the title for a satirical essay by English novelist Charles Dickens, who some believe may have wished to disassociate himself from what he viewed as the ""feminine"" sentimentality of 18th and early 19th-century romantic primitivism. The idea that humans are essentially good is often attributed to the 3rd Earl of Shaftesbury, a Whig supporter of constitutional monarchy. In his ""Inquiry Concerning Virtue"" (1699), Shaftesbury had postulated that the moral sense in humans is natural and innate and based on feelings, rather than resulting from the indoctrination of"
"not even Alexander Pope, is better than Dryden at driving narrative through rhyme, but the aural effect is like that of being pelted with a succession of pellets. When, as in ""The Conquest of Granada"", the pelting continues for ten acts, the impact is deafening."" The Conquest of Granada The Conquest of Granada is a Restoration era stage play, a two-part tragedy written by John Dryden that was first acted in 1670 and 1671 and published in 1672. It is notable both as a defining example of the ""heroic drama"" pioneered by Dryden, and as the subject of later satire."
"The Conquest of Granada The Conquest of Granada is a Restoration era stage play, a two-part tragedy written by John Dryden that was first acted in 1670 and 1671 and published in 1672. It is notable both as a defining example of the ""heroic drama"" pioneered by Dryden, and as the subject of later satire. The plot deals with the Spanish conquest of Granada in 1492 and the fall of Muhammad XII of Granada, the last Islamic ruler on the Iberian Peninsula. The original 1670 production by the King's Company featured Edward Kynaston as ""Mahomet Boabdelin, last King of Granada,"""
"Heroic drama Heroic drama is a type of play popular during the Restoration era in England, distinguished by both its verse structure and its subject matter. The subgenre of heroic drama evolved through several works of the middle to later 1660s; John Dryden's ""The Indian Emperour"" (1665) and Roger Boyle's ""The Black Prince"" (1667) were key developments. The term ""heroic drama"" was invented by Dryden for his play, ""The Conquest of Granada"" (1670). For the ""Preface"" to the printed version of the play, Dryden argued that the drama was a species of ""epic poetry"" for the stage, that, as the"
"their brains and they have deep psychic significance in the present time, in spite of urbanization. Humans are dependent on healthy nature not only for their physical sustenance, but for mental health, too. The concept of a state of nature was first posited by the 17th century English philosopher Thomas Hobbes in ""Leviathan"". Hobbes described the concept in the Latin phrase ""bellum omnium contra omnes"", meaning ""the war of all against all."" In this state any person has a natural right to do anything to preserve their own liberty or safety. Famously, he believed that such a condition would lead"
"faraway Edens, and distant tropical Utopias. With the character Caliban (whose name is almost an anagram of Cannibal and also resembles ""Cariban"", the term then used for natives in the West Indies), Shakespeare may be offering an in-depth discussion into the morality of colonialism. Different views of this are found in the play, with examples including Gonzalo's Utopia, Prospero's enslavement of Caliban, and Caliban's subsequent resentment. Caliban is also shown as one of the most natural characters in the play, being very much in touch with the natural world (and modern audiences have come to view him as far nobler"
"righteousness shows up throughout discussions of the lost Eden in Western literature. The twentieth-century poet Gerard Manley Hopkins's poetry consistently addresses the implications of ""natural"" and ""nature"" falling with man's sin. The fall of man is, in this theological scheme, a fall of nature as well (for nature, too, was perfect and essential only in the Garden of Eden), and man's own sin causes it to contain evil. Additionally, the loss of original righteousness is important to both concepts of what the essence of man is (e.g. whether man is essentially perverse or some righteousness remains in a mitigated form),"
"Historicist scholars, however, have identified a revolutionary viewpoint embedded within ""Osorio"" which Coleridge, disavowing his youthful radicalism, sought to dilute when he later reformulated the work to create ""Remorse"". Set in sixteenth-century Granada, the play is notable for its use of Gothic elements such as a castle, dungeon, cave and the supernatural. Coleridge's use of these may represent an attempt to elevate what he saw as the vulgar and sensational trappings of popular Gothic plays by situating them within a more refined form of poetic drama. On a shore on the coast of Granada, Maria, the orphan ward of Velez,"
"that there has been a split, a sundering somewhere in the past, and he wishes to fight a fragmented view of man and God. This fragmentation makes man weak, he states, and an easy prey to temptation - a result of the fall of man. The definition of wholeness as a greater good and fragmentarism as a bad thing, is a philosophical statement, originally derived from Plato and Pythagoras. The sentence about a Christianity that embraces all sides of life, resembles the view of the Danish priest Grundtvig. Throughout the play, we see that Brand looks for the right way"
"nullo poscente ferebat."" (""Georgics"", Book 1: 125–28)</poem> This view, which identifies a State of Nature with the celestial harmony of which man's nature is (or should be, if properly regulated) a microcosm, reflects the Hellenistic cosmology that prevailed among literate classes of Virgil's era. It is seen again in Ovid's ""Metamorphoses"" (7 CE), in which the lost Golden Age is depicted as a place and time when, because nature and reason were harmoniously aligned, men were naturally good: <poem> ""The Golden Age was first; when Man, yet new, ""No rule but uncorrupted Reason knew: ""And, with a native bent, did"
"more than in other types of literature, its movements should never be viewed as absolute. Each decade has brilliant exceptions to every rule and entirely forgettable confirmations of it. Genre in Restoration drama is peculiar. Authors labelled their works according to the old tags, ""comedy"" and ""drama"" and, especially, ""history"", but these plays defied the old categories. From 1660 onwards, new dramatic genres arose, mutated, and intermixed very rapidly. In tragedy, the leading style in the early Restoration period was the male-dominated heroic drama, exemplified by John Dryden's ""The Conquest of Granada"" (1670) and ""Aureng-Zebe"" (1675) which celebrated powerful, aggressively"
"be universally accepted as an ideal realm of perfect bliss and beauty, a dream incarnate of ineffable happiness, surrounded nevertheless with a halo of 'sweetly sad' melancholy"": There had been, from the beginning of classical speculation, two contrasting opinions about the natural state of man, each of them, of course, a ""Gegen-Konstruktion"" to the conditions under which it was formed. One view, termed ""soft"" primitivism in an illuminating book by Lovejoy and Boas conceives of primitive life as a golden age of plenty, innocence, and happiness—in other words, as civilized life purged of its vices. The other, ""hard"" form of"
"Brown attributes it to the Spanish language, not Latin. Reference to the same etymology, this time attributed to Latin, later appears in his 2009 novel, ""The Lost Symbol"". First discussed by Aristotle in his """", it resurfaced to become an ideal (virtue) in Europe and North America in the 17th century; and it gained considerable momentum during the Romantic movement, when sincerity was first celebrated as an artistic and social ideal. Indeed, in middle to late nineteenth century America, sincerity was an idea reflected in mannerisms, hairstyles, women's dress, and the literature of the time. More recently sincerity has been"
"from the gratification of sensual or artificial desires, for we find him praising the pleasures which spring ""from out of one's soul,"" and the enjoyments of a wisely chosen friendship. The supreme good he placed in a life lived according to virtuevirtue consisting in action, which when obtained is never lost, and exempts the wise person from error. It is closely connected with reason, but to enable it to develop itself in action, and to be sufficient for happiness, it requires the aid of ""Socratic strength"" (). His work on Natural Philosophy (the ""Physicus"") contained a theory of the nature"
"Sentimental comedy Sentimental comedy is an 18th-century dramatic genre which sprang up as a reaction to the immoral tone of English Restoration plays. In Sentimental comedies middle-class protagonists triumphantly overcome a series of moral trials. These plays aimed to produce tears rather than laughter and reflected contemporary philosophical conceptions of humans as inherently good but capable of being led astray by bad example. By appealing to his noble sentiments, a man could be reformed and set back on the path of virtue. While the plays contained characters whose natures seemed overly virtuous and whose problems were too easily resolved, they"
"them. John Locke discusses many ideas that are now attributed to Liberalism in Two Treatises of Government, published in 1689. In his second treatise, Locke comments on society and outlines the importance of natural rights and laws. Locke believes that people are born as blank slates without any preordained ideas or notions. This state is known as the State of Nature because it shows people in their most barbaric form. As people grow, their experiences begin to shape their thoughts and actions. They are naturally in the State of Nature until they choose not to be, until something changes their"
"behaviour could be due to natural causes. Plato and Aristotle each speculated on the basis and mechanisms of inheritance of behavioural characteristics. Plato, for example, argued in ""The Republic"" that selective breeding among the citizenry to encourage the development of some traits and discourage others, what today might be called eugenics, was to be encouraged in the pursuit of an ideal society. Behavioural genetic concepts also existed during the English renaissance, where William Shakespeare perhaps first coined the terms ""nature"" versus ""nurture"" in ""The Tempest"", where he wrote in Act IV, Scene I, that Caliban was ""A devil, a born"
"humanism, and a humanistic life stance. Philosophical hedonism is a meta-ethical theory of value which argues that pleasure is the only intrinsic good and pain is the only intrinsic bad. The basic idea behind hedonistic thought is that pleasure (an umbrella term for all inherently likable emotions) is the only thing that is good in and of itself or by its very nature. This implies evaluating the moral worth of character or behavior according to the extent that the pleasure it produces exceeds the pain it entails. A libertine is one devoid of most moral restraints, which are seen as"
"and Figaro, among countless others), and the general theme of virtue in the lowly born. The use of stock characters (especially in theater) to express moral truths derives from classical antiquity and goes back to Theophrastus's ""Characters"", a work that enjoyed a great vogue in the 17th and 18th centuries and was translated by Jean de La Bruyère. The practice largely died out with advent of 19th-century realism but lasted much longer in genre literature, such as adventure stories, Westerns, and, arguably, science fiction. Nature's Gentleman, whether European-born or exotic, takes his place in this cast of characters, along with"
"moral works, and by 1600 many secular readers would agree; in the judgement of many learned readers in the shifting intellectual atmosphere of the 17th century, the romance was trite and childish literature, inspiring only broken-down ageing and provincial persons such as Don Quixote, knight of the culturally isolated province of La Mancha. ""Hudibras"" also lampoons the faded conventions of chivalrous romance, from an ironic, consciously realistic viewpoint. Some of the magical and exotic atmosphere of Romance informed tragedies for the stage, such as John Dryden's collaborative ""The Indian Queen"" (1664) as well as Restoration spectaculars and ""opera seria"", such"
"treatise. Ultimately the words derive from ' (because almost the whole world are actors) attributed to Petronius, a phrase which had wide circulation in England at the time. In his own earlier work, ""The Merchant of Venice"", Shakespeare also had one of his main characters, Antonio, comparing the world to a stage: In his work ""The Praise of Folly"", first printed in 1511, Renaissance humanist Erasmus asks, ""For what else is the life of man but a kind of play in which men in various costumes perform until the director motions them off the stage."" Likewise the division of human"
"initially, to consider as deriving from divine revelation and thus adaptable to a life of Christian virtue. The line from a drama of Terence, ""Homo sum, humani nihil a me alienum puto"" (or with ""nil"" for ""nihil""), meaning ""I am a human being, I think nothing human alien to me"", known since antiquity through the endorsement of Saint Augustine, gained renewed currency as epitomising the humanist attitude. The statement, in a play modeled or borrowed from a (now lost) Greek comedy by Menander, may have originated in a lighthearted veinas a comic rationale for an old man's meddlingbut it quickly"
"by an anonymous author in the 16th century, making it one of the oldest indigenous theatrical/dance works of the Western Hemisphere. It was passed down orally for many centuries until it was finally written down and published into a book in 1942. The Modernismo literary movement was a Spanish-American literary movement, best exemplified by Nicaraguan Rubén Darío, who is respectfully referred to as the ""Father of Modernism"". In the late 19th century, ""Modernismo"" emerged, a poetic movement whose recapitulation was a blending of three European currents: Romanticism, Symbolism and especially Parnassianism. Inner passions, visions, harmonies and rhythms are expressed in"
"of music. Both of his early treatises, ""De natura boni"" and ""De bono"", start with a metaphysical investigation into the concepts of the good in general and the physical good. Albert refers to the physical good as ""bonum naturae"". Albert does this before directly dealing with the moral concepts of metaphysics. In Albert's later works, he says in order to understand human or moral goodness, the individual must first recognize what it means to be good and do good deeds. This procedure reflects Albert's preoccupations with neo-Platonic theories of good as well as the doctrines of Pseudo-Dionysius. Albert's view was"
"whose existence even Hobbes acknowledged. Contrary to what many detractors have claimed, Rousseau never suggests that humans in the state of nature act morally; in fact, terms such as ""justice"" or ""wickedness"" are inapplicable to prepolitical society as Rousseau understands it. Morality proper, self-restraint, can only develop through careful education in a civil state. Humans ""in a state of Nature"" may act with all of the ferocity of an animal. They are good only in a negative sense, insofar as they are self-sufficient and thus not subject to the vices of political society. In fact, Rousseau's natural man is virtually"
"early people viewed ""nature, or the nonhuman world […] as a divine ""Other"", godlike in its separation from humans"". In the West, Christianity's myth of the fall, that is the expulsion of humankind from the Garden of Eden, where all creation lived in harmony, into an imperfect world, has been the major influence. Cartesian dualism, from the seventeenth century on, further reinforced this dualistic thinking about nature. With this dualism goes value judgement as to the superiority of the natural over the artificial. Modern science, however, is moving towards a holistic view of nature. What is meant by natural, within"
"does not explain events in the physical world, humans have no reason to believe that the Form of the Good exists and the Form of the Good is thereby irrelevant to human ethics. Plato and Aristotle were not the first contributors in ancient Greece to the study of the 'good' and discussion preceding them can be found among the pre-Socratic philosophers. In Western civilisation, the basic meanings of κακός and ἀγαθός are ""bad, cowardly"" and ""good, brave, capable"", and their absolute sense emerges only around 400 BC, with Pre-Socratic philosophy, in particular Democritus. Morality in this absolute sense solidifies in"
"generally, use personified moral attributes to urge or instruct the protagonist to choose the virtuous life over Evil. The characters and plot situations are largely symbolic rather than realistic. As a child, Shakespeare would likely have seen this type of play (along with, perhaps, mystery plays and miracle plays).] The other strand of dramatic tradition was classical aesthetic theory. This theory was derived ultimately from Aristotle; in Renaissance England, however, the theory was better known through its Roman interpreters and practitioners. At the universities, plays were staged in a more academic form as Roman closet dramas. These plays, usually performed"
"good pursue. ""Unforc'd by punishment, un-aw'd by fear."" ""His words were simple, and his soul sincere; ""Needless was written law, where none opprest: ""The law of Man was written in his breast.""</poem> The Graeco-Roman concept of the ""natural man"" delineated by Ovid and many other classical writers, was especially popular during the Deistically inclined 18th century. It is often erroneously attributed to Rousseau, who did not share it. In his famous essay, ""Et in Arcadia ego: Poussin and the Elegiac Tradition"", Erwin Panofsky remarks how in ancient times, ""that particular not overly opulent, region of central Greece, Arcady, came to"
"epic was to other poetry, so the heroic drama was to other plays. Consequently, Dryden derived a series of rules for this type of play. First, the play should be composed in heroic verse (closed couplets in iambic pentameter). Second, the play must focus on a subject that pertains to national foundations, mythological events, or important and grand matters. Third, the hero of the heroic drama must be powerful, decisive, and, like Achilles, dominating even when wrong. ""The Conquest of Granada"" followed all of these rules. The story was that of the national foundation of Spain (and King Charles II"
"the 1770s the genre had all but died out, leaving in its place laughing comedies, such as Oliver Goldsmith's ""She Stoops to Conquer"", which were generally concerned the intrigues of those living in upper-class society. Sentimental comedy Sentimental comedy is an 18th-century dramatic genre which sprang up as a reaction to the immoral tone of English Restoration plays. In Sentimental comedies middle-class protagonists triumphantly overcome a series of moral trials. These plays aimed to produce tears rather than laughter and reflected contemporary philosophical conceptions of humans as inherently good but capable of being led astray by bad example. By appealing"