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Robert Gould (1660? – 1708/1709) was a significant voice in Restoration poetry in England. He was born in the lower classes and orphaned when he was thirteen. It is possible that he had a sister, but her name and fate are unknown. Gould entered into domestic service. His first employer is unknown, but hints in his poetry indicate that it was a lady and that his job was as a footman. By the age of twenty, however, he had entered the employ of Charles Sackville, 6th Earl of Dorset. Dorset was known for his libertine lifestyle and his patronage of the arts, and Gould possibly learned to read and write and was afforded books to read while in Dorset's employ. He appears to have moved to the pantry side of domestic service. ==Poetry== Gould began his poetic career with a number of odes to peers, and his odes to ladies are particularly stylized and idealistic. In the seventeenth century, a writer of an ode could expect remuneration, either in the form of a gift or, at the least, a higher fee from the bookseller in anticipation of sales to the flattered subject's supporters and family. Gould did sell his odes, but he appears to have made very little by them. In 1683, however, Gould changed employers and made a name for himself as an author by writing ''Love Given O'er: Or a Satyr on the Inconstancy of Woman.'' The poem was at least partially an imitation of Juvenal, but it pursued its theme of misogyny with a fury and detail even Juvenal would not have dared. (詳細はlust of women thus, "And now, if so much to the World’s reveal’d, Reflect on the vast store that lies conceal’d. How, oft, into their Closets they retire, Where flaming ''Dil–'' does inflame desire, And gentle ''Lap-d--s'' feed the am’rous fire. How curst is ''Man!'' when ''Brutes'' his Rivals prove, Ev’n in the sacred business of his ''Love!'' Unless Religion pious thoughts instil Shew me the Woman that would not be ill, If she, conveniently, cou’d have her will?" (lines 114-123) # A "closet" is a dressing-room or toilet. # The term "dildo" was capitalized, ''a la'' Rochester's ''To Seignore Dildo,'' and the omphalos is treated as a person, thus "Dildo does." # Suspicion over lapdogs was a fixture in misogynistic satire. Watteau even depicts inappropriate use of lapdogs in a painting. These lines are less scathing than the repetition of the anecdote of the Ephesian lady (from Juvenal) who would meet her lovers at her husband's tomb, the statement that women envy the greatness of Eve's sin, and that a prostitute is far better than a wife, since she only damns the soul, while a wife will damn the soul and destroy all happiness. The poem is a merging of many tropes that were well established attacks on womankind before Gould, and the poem is programmatic in that it takes up the pride, then inconstancy, then lust of women (exactly as its title dictates). However, there is a remarkable amount of invention and specificity in each section, and those topoi he adapts from Classical and other poetry are always given a Restoration application. The particular vehemence in these scourges, along with the relentless pacing of the critique, make the poem stand out in its age and as an epitome of misogyny. The poem sold extremely well and prompted a verse epistle battle from pretended "Sylvia"s ("Sylvia" having spurned the poet, he vows to be quit of love) who would offer to defend women from Gould's cruelty and pretended "answers" from the author of ''Love Given O'er'' (even though few of the "Sylvia" poems were by women, and only one of the "answer" poems was by Gould (a year after the publication of the ''Love Given O'er'')) (Sloan). Gould enjoyed a high profile, and in the same year, 1683, Gould was employed by James Bertie, 1st Earl of Abingdon. If Abingdon was not the one who encouraged the poem's composition, he at least enjoyed having the celebrated poet in his household. At around this time, Gould also became a friend of Fleetwood Sheppard's, who appeared to treat the poet with great generosity. The next poems from Gould continued the misogyny of ''Love Given O'er'' (e.g. ''A Satyr on Wooing,'' ''Epistle to One Made Unhappy in Marriage,'' ''A Scourge for Ill Wives'', ''inter al.'') and attempted to broaden out the satire into an attack on human vanity in particular and mankind in general. Gould's ''A Satyr on Mankind'' was, in its own day, noted for its excellence, and Alexander Pope paraphrases it. Additionally, Jonathan Swift uses some of the same satirical figures, and it is likely that both authors had read Gould in the 1709 version of his poems. Also in 1683 (on June 17), Gould married Martha Roderick, and the two would later have a daughter named Hannah. Between 1683 and 1689, Gould produced a number of satires, some of them providing unique insight into the English Restoration. ''Satyr Upon the Play-House'' (1688), for example, attacked the parentage and pretense of Elizabeth Barry and Thomas Betterton, as well as the dissipate, drunken, whoring patrons of the theater. It records the life of London around Covent Garden, complete with demobbed soldiers, thieves, prostitutes, and the nobility who only cover their filth in gold, cosmetics, and perfumes. He also produced a few topical satires, such as ''To Julian, Secretary of the Muses,'' which attacks an anonymous lampoon author and gives specific detail about the personalities and personages of some of the dramatists of the day. He even wrote a poem in honor of a retarded villager of Lavington before, two years later, writing a violent attack on the stupidity and obdurancy of all the "simple folk" of the country. By 1689, Gould had been employed by Abingdon on his estates in West Lavington, Wiltshire in some capacity other than as a domestic. In that year, Gould published ''Poems, Mostly Satyrs''. The book was a last-chance effort at financial independence for Gould, and it appears to have succeeded. Gould left domestic service and, with the help of Abingdon, became a teacher full-time in West Lavington. However, the year after the publication of ''Poems,'' Gould engaged in a bitter exchange with the Poet Laureate, John Dryden. Gould was infuriated by Dryden's change of religion, and his ''Jack Squab'' (a reference to the Laureate being paid with food as well as brandy) was one of the most vicious (and uncharacteristically crude, for Gould) attacks made on Dryden. The poem is only attributed to Gould on slim evidence, as there are figures of speech and metaphors in it that closely resemble those employed by Gould in ''The Play-House,'' but it was not collected into his later ''Works'' (1709) and is unusually directed at a single public figure (where Gould's previous habit had been to attack a sin and provide numerous examples of it rather than to devote a whole poem to the viciousness of a single person). After 1692 and the second edition of ''Poems, mostly Satyrs,'' Gould did not publish again until his death (excepting ''The Rival Sisters'', see below). Having left the household of a peer and having left London, Gould had few occasions for urbane satires. However, the profession of school master apparently left the author with time for revision, for during the two decades that followed, he revised and edited and supplemented his poems extensively. In 1709, Martha Gould, Robert's wife, had ''Works of Robert Gould'' published. Robert Gould himself died in January 1709 (1708 in the Old Style), before the volume's publication. However, the text of the ''Works'' has high authority, and every element of the volume appears to have been carefully set by the author. The ''Satyr on Mankind'' and ''Satyr on the Play House'', in particular, were vastly rewritten. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Robert Gould」の詳細全文を読む スポンサード リンク
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