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• W6379610 abstract "Writing of Ebenezer Cooke's The Sot-weed Factor in 1934, Lawrence Wroth, whose bibliographical researches remain indispensable for student of colonial American literature and culture, praised vividness with which background and human types of early eighteenth-century Maryland were portrayed in poem. But he felt compelled to express some reservations. these types, he noted, one looks in vain for an upright or a literate judge, an honest merchant, a decent woman, or a sober planter. Their deliberate exclusion from picture is an obvious fault in its composition. Without distinguishing between motives of authors, Wroth linked Cooke's name with the slyly clever and malicious `J. W.' who composed Letter from New-England (1682) and scurrilous Ned Ward, author of Trip to New England (1699), though he judged that Maryland poet was more fortunate than his two contemporaries in being given opportunity for recantation in Sotweed Redivivus (1730) and in third edition of The Sot. weed Factor (1731). (1) Wroth's evaluation of Cooke's poem reveals limitations of a strictly historical approach to works of early American literature, for in terms of genre in which Cooke was writing--the title page of 1708 and subsequent editions boldly proclaims piece to be A Satyr--the fact that there existed honest residents of Maryland is irrelevant, or nearly so. The world of satire is always populated by fools and knaves; only good qualities to be discovered reside in narrator or, less ambiguously and less frequently, within selected characters in work whom author has set up in contrast to a host of depraved and degenerate dunces. Moral and ethical norms are established either by implication--acceptable behavior is opposite of what speaker attacks--or by passages in which writer temporarily abandons his ironic voice and bestows sincere praise upon an individual or an action. (2) Thus if we wish to give Ebenezer Cooke his full due as a poet, we must first free ourselves from an attitude that equates discovery of distortions of historical fact with discovery of defects in art. We must cease to regard The Sot-weed Factor as merely an animate record of a half-forgotten scene (3) or even as a heightened description of historical actuality (4) and consider instead Cooke's use of traditional devices of writer of satire. If we do, we shall find that poet laureate of Maryland needs no apologists to make his work worth attention of modern readers. Evidence of Cooke's satiric skill is everywhere in The Sotweed Factor. Even a casual investigation of poem discloses, for instance, that its author has done exceptionally well at keeping voice of his persona consistent throughout. The speaker has newly come from England, and he judges his new surroundings according to English standards of culture and hospitality. He is sophisticated yet naive, and though he learns quickly, he cannot assimilate rapidly enough to protect himself against all revelations of human nature that Maryland has in store for him. (5) Among absent things noted by this early critic of America are religion, civility, ethics, and law, chief underpinnings of society. Though he cuts a comic figure at all times, his European standards are for most part to be taken seriously. They must be met before Maryland can be considered as anything other than a haven for rogues. Yet satirist's function is more complex than to be merely a reflection of European values. (6) The failure of his economic venture in Maryland implies some inadequacy in his preparation for realities of mercantile profession and, in fact, that criticism becomes explicit when persona offers his interpretation of a Cambridge education, which, because of his familiar manner of speaking of it, he seems to have undergone himself. Supported by their father's money, he says, students at Cambridge learn only how to drink and whore. …" @default.
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• W6379610 date "1971-09-22" @default.
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• W6379610 title "Ebenezer Cooke's the Sot-Weed Factor: The Structure of Satire" @default.
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