Reviewed by: Censorship and Conflict in Seventeenth-Century England: The Subtle Art of Division Cyndia Susan Clegg Randy Robertson . Censorship and Conflict in Seventeenth-Century England: The Subtle Art of Division. University Park: Pennsylvania State, 2009. Pp. xv + 272. $75. Censorship and Conflict in Seventeenth-Century England asserts that "the seventeenth century was 'censorship's great moment,'" at least in England. So great, indeed, was the English government's use of "licensing and exemplary punishment" that it had a "chilling effect" on authors, printers, and publishers. The study's central focus is on individual authors' responses—rhetorical, artistic, and political—to the system of constraints. The authors Mr. Robertson considers—William Prynne, Richard Lovelace, Milton, Marvell, Dryden, and Swift—along with the strategy of focusing on single texts by these authors (Histrio-mastix, Lucasta, Areopagitica, Second Advice to a Painter, Absalom and Achitophel, and A Tale of a Tub, respectively) affords this book's reader the sense of an encounter with reflections on the variety of censorship's literary and cultural implications. The chapters, although chronological, do not insist on a linear movement through the rigors of and literary responses to press censorship—albeit the first example certainly dwells on the theme of harshness that is implicit throughout the study. The clever reading of Histrio-mastix establishes not only that Prynne was censured (and the book censored), but also that the conflict between Charles I and Prynne over an anti-theatrical book was a precursor to the larger conflict between Charles and the Puritans, epitomized by the closing of theaters in 1642. Both Roger L'Estrange, surveyor of the imprimery, and the 1662 Licensing Act addressed the question of authorial responsibility; indeed, L'Estrange referred to authors as "the Fountain of our Troubles." The act required that an author's name be declared in the licensing process if the licenser called for it. As a result of the act and L'Estrange's zealous pursuit of authors, anonymous publication soared—so much so that authors deployed anonymity as a rhetorical device. For instance, in the anonymous publication of Dryden's Absalom and Achitophel, the poet laureate took on a highly charged political event, the Exclusion Crisis, with an attack on its Whig architects that, he said, was meant to appeal to the "moderate sort." Anonymity here, says Mr. Robertson, gave him the "veneer of objectivity" at the same time that it taunted the Whigs. "It is as if Dryden was laying down the gauntlet to the opposition, daring them to trace Absalom's lines to their source. . . . In effect, Dryden attained the recognition he merited for his poem (the celebrity and notoriety) without having to pay the price in a London courtroom." He was, however, as Mr. Robertson demonstrates, the subject of censure. Writers on both sides of the political spectrum appropriated Dryden's anonymous poem to their own political purposes, with the Whigs deftly attacking Dryden, even without naming him. [End Page 84] The expiration of the licensing act in 1695 led to dramatic changes in print culture: "pamphlets, newspapers, and religious treatises (including Deistic tracts) multiplied; the print trade expanded in London and struck root in the provinces—conditions that were not loved by all. Swift, Pope, and their Scriblerian kindred regarded the new conditions as creating a cultural swamp, one that teemed with lesser literary species." Mr. Robertson directly links A Tale of a Tub to the licensing act's expiration and the conditions this created. He connects the Tale to censorship in two ways: first, in its effort "to eliminate the plague of hacks and dunces loosed by the decline of press controls"; second, to "lash writers" into religious conformity and to "shame readers into submission." In the latter, Mr. Robertson contends, Swift's Tale is comparable to Hobbes's Leviathan. In the Tale and the Battle of the Books "Swift like Hobbes, is for moderation, centrism, and Anglicanism; his opponents, the Grubaeans, are for extremism, party writing, dissent, and recusancy." Even though the licensing law had expired, Mr. Robertson says that Swift wrote in the shadow of another kind of censorship, the libel laws, that led to the Tale's anonymous publication. When Swift's...
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