Literary studies: c 1600 to c 1800 Books

Book SynopsisA Companion to the Eighteenth-century Novel furnishes readers with a sophisticated vision of the eighteenth-century novel in its political, aesthetic, and moral contexts. An up-to-date resource for the study of the eighteenth-century novel Furnishes readers with a sophisticated vision of the eighteenth-century novel in its political, aesthetic, and moral context Foregrounds those topics of most historical and political relevance to the twenty-first century Explores formative influences on the eighteenth-century novel, its engagement with the major issues and philosophies of the period, and its lasting legacy Covers both traditional themes, such as narrative authority and print culture, and cutting-edge topics, such as globalization, nationhood, technology, and science Considers both canonical and non-canonical literature Trade Review"A team of two dozen prominent scholars ... .Here report on the state of the art in 18th century novel studies. Nearly all the work is cutting edge, and almost every page challenges conventional wisdom ... .Specialists in the early novel will find this wide-ranging and theoretically sophisticated work provocative. Highly recommended." CHOICE “Editors Paula R. Backscheider and Catherine Ingrassia have assembled an impressive collection of authors … .Visiting or revisiting a complex cultural topography. ” ECF "The Variety of texts treated in this volume is rich, unapologetic, and one of its real pleasures." The Journal for Early Modern Cultural Studies Table of ContentsList of Illustrations viii Notes on Contributors x Introduction 1 Catherine Ingrassia Shared Bibliography 18 PART ONE Formative Influences 23 1. "I have now done with my island, and all manner of discourse about it": Crusoe's Farther Adventures and the Unwritten History of the Novel 25 Robert Markley 2. Fiction/Translation/Transnation: The Secret History of the Eighteenth-Century Novel 48 Srinivas Aravamudan 3. Narrative Transmigrations: The Oriental Tale and the Novel in Eighteenth-Century Britain 75 Ros Ballaster 4. Age of Peregrination: Travel Writing and the Eighteenth-Century Novel 97 Elizabeth Bohls 5. Milton and the Poetics of Ecstasy in Restoration and Eighteenth-Century Fiction 117 Robert A. Erickson 6. Representing Resistance: British Seduction Stories, 1660–1800 140 Toni Bowers PART TWO The World of the Eighteenth-Century Novel 165 7. Why Fanny Can’t Read: Joseph Andrews and the (Ir)relevance of Literacy 167 Paula McDowell 8. Memory and Mobility: Fictions of Population in Defoe, Goldsmith, and Scott 191 Charlotte Sussman 9. The Erotics of the Novel 214 James Grantham Turner 10. The Original American Novel, or, The American Origin of the Novel 235 Elizabeth Maddock Dillon 11. New Contexts for Early Novels by Women: The Case of Eliza Haywood, Aaron Hill, and the Hillarians, 1719–1725 261 Kathryn R. King 12. Momentary Fame: Female Novelists in Eighteenth-Century Book Reviews 276 Laura Runge 13. Women, Old Age, and the Eighteenth-Century Novel 299 Devoney Looser 14. Joy and Happiness 321 Adam Potkay PART THREE The Novel's Modern Legacy 341 15. The Eighteenth-Century Novel and Print Culture: A Proposed Modesty 343 Christopher Flint 16. An Emerging New Canon of the British Eighteenth-Century Novel: Feminist Criticism, the Means of Cultural Production, and the Question of Value 365 John Richetti 17. Queer Gothic 383 George E. Haggerty 18. Conversable Fictions 399 Kathryn Sutherland 19. Racial Legacies: The Speaking Countenance and the Character Sketch in the Novel 419 Roxann Wheeler 20. Home Economics: Representations of Poverty in Eighteenth-Century Fiction 441 Ruth Perry 21. Whatever Happened to the Gordon Riots? 459 Carol Houlihan Flynn 22. The Novel Body Politic 481 Susan S. Lanser 23. Literary Culture as Immediate Reality 504 Paula R. Backscheider Index 539

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Book Synopsis* Provides new perspectives on established texts. * Orientates the new student, while providing advanced students with current and new directions. * Pioneered by leading scholars. * Occupies a unique niche in Renaissance studies. * Illustrated with 12 single--page black and white prints. .Trade Review"The inclusivity and scholarship of this Companion builds on the excellence of the earlier edition. Any university library supporting undergraduate and postgraduate courses on Renaissance literature should consider adding this to their collection." (Reference Reviews, 2011) "The volume's awesome range makes it a valuable preserve for scholars and an ambitious reference for students." Times Higher Education Supplement "This impressive tome must certainly be the last word on English Renaissance literature and culture, at least for some considerable time to come." Reference ReviewsTable of ContentsList of Illustrations x Notes on Contributors xii PART ONE Introduction 1 Introduction 3Michael Hattaway PART TWO Contexts and Perspectives, c.1500–1650 2 Early Tudor Humanism 13Mary Thomas Crane 3 English Reformations 27Patrick Collinson 4 Platonism, Stoicism, Scepticism and Classical Imitation 44Sarah Hutton 5 History 58Patrick Collinson 6 The English Language of the Early Modern Period 71N. F. Blake 7 Publication: Print and Manuscript 81Michelle O’Callaghan 8 Literacy and Education 95Jean R. Brink 9 Court and Coterie Culture 106Curtis Perry 10 The Literature of the Metropolis 119John A. Twyning 11 Playhouses and the Role of Drama 133Michael Hattaway 12 The Writing of Travel 148Peter Womack PART THREE Readings 13 Translations of the Bible 165Gerald Hammond 14 A Reading of Wyatt’s ‘Who so list to hunt’ 176Rachel Falconer 15 Courtship and Counsel: John Lyly’s Campaspe 187Greg Walker 16 Spenser’s Faerie Queene, Book V: Poetry, Politics and Justice 195Judith H. Anderson 17 Kyd’s The Spanish Tragedy 206A. J. Piesse 18 Donne’s ‘Nineteenth Elegy’ 215Germaine Greer 19 Lanyer’s ‘The Description of Cookham’ and Jonson’s ‘To Penshurst’ 224Nicole Pohl 20 Bacon’s ‘Of Simulation and Dissimulation’ 233Martin Dzelzainis 21 Lancelot Andrewes’s Good Friday 1604 Sermon 241Richard Harries 22 Herbert’s ‘The Elixir’ 249Judith Weil 23 The Heart of the Labyrinth: Mary Wroth’s Pamphilia to Amphilanthus 257Robyn Bolam 24 The Critical Elegy 267John Lyon 25 Ford, Mary Wroth, and the Final Scene of ’Tis Pity She’s a Whore 276Robyn Bolam PART FOUR Genres and Modes 26 Theories of Literary Kinds 287John Roe 27 Allegory 298Clara Mucci 28 Pastoral 307Michelle O’Callaghan 29 Romance 317Helen Moore 30 Epic 327Rachel Falconer 31 The Position of Poetry: Making and Defending Renaissance Poetics 340Arthur F. Kinney 32 The English Print, c.1550–c.1650 352Malcolm Jones 33 Traditions of Complaint and Satire 367John N. King 34 Love Poetry 378Diana E. Henderson 35 Erotic Poems 392Boika Sokolova 36 Religious Verse 404Elizabeth Clarke 37 Poets, Friends and Patrons: Donne and his Circle; Ben and his Tribe 419Robin Robbins 38 ‘Such pretty things would soon be gone’: The Neglected Genres of Popular Verse, 1480–1650 442Malcolm Jones 39 Local and ‘Customary’ Drama 464Thomas Pettitt 40 Continuities between ‘Medieval’ and ‘Early Modern’ Drama 477Michael O’Connell 41 Political Plays 486Stephen Longstaffe 42 Women and Drama 499Alison Findlay 43 Tales of the City: The Comedies of Ben Jonson and Thomas Middleton 513Peter J. Smith 44 ‘Tied / To Rules of Flattery?’: Court Drama and the Masque 525James Knowles 45 Jacobean Tragedy 545Rowland Wymer 46 Caroline Theatre 556Roy Booth 47 Scientific Writing 565David Colclough 48 Prose Fiction 576Andrew Hadfield 49 Theological Writings and Religious Polemic 589Donna B. Hamilton 50 The English Renaissance Essay: Churchyard, Cornwallis, Florio’s Montaigne and Bacon 600John Lee 51 Diaries 609Elizabeth Clarke 52 Letters 615Jonathan Gibson PART FIVE Issues and Debates 53 Rhetoric 623Marion Trousdale 54 Identity 634A. J. Piesse 55 Was There a Renaissance Feminism? 644Jean E. Howard 56 The Debate on Witchcraft 653James Sharpe 57 Reconstructing the Past: History, Historicism, Histories 662James R. Siemon 58 Sexuality: A Renaissance Category? 674James Knowles 59 Race: A Renaissance Category? 690Margo Hendricks 60 Writing the Nation 699Nicola Royan Index 709

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Book SynopsisA COMPANION TO & EIGHTEENTH-CENTURY POETRY A COMPANION TO & EIGHTEENTH-CENTURY POETRYEdited by Christine Gerrard This wide-ranging Companion reflects the dramatic transformation that has taken place in the study of eighteenth-century poetry over the past two decades. New essays by leading scholars in the field address an expanded poetic canon that now incorporates verse by many women poets and other formerly marginalized poetic voices. The volume engages with topical critical debates such as the production and consumption of literary texts, the constructions of femininity, sentiment and sensibility, enthusiasm, politics and aesthetics, and the growth of imperialism. The Companion opens with a section on contexts, considering eighteenth-century poetry's relationships with such topics as party politics, religion, science, the visual arts, and the literary marketplace. A series of close readings of specific poems follows, ranging from familiar texTable of ContentsNotes on Contributors ix Acknowledgments xv Introduction 1Christine Gerrard PART I Contexts and Perspectives 5 1 Poetry, Politics, and the Rise of Party 7Christine Gerrard 2 Poetry, Politics, and Empire 23Suvir Kaul 3 Poetry and Science 38Clark Lawlor 4 Poetry and Religion 53Emma Mason 5 Poetic Enthusiasm 69John D. Morillo 6 Poetry and the Visual Arts 83Robert Jones 7 Poetry, Popular Culture, and the Literary Marketplace 97George Justice 8 Women Poets and Their Writing in Eighteenth-Century Britain 111Charlotte Grant 9 Poetry, Sentiment, and Sensibility 127Jennifer Keith PART II Readings 143 10 John Gay, The Shepherd's Week 145Mina Gorji 11 Alexander Pope, The Rape of the Lock and "Eloisa to Abelard" 157Valerie Rumbold 12 Jonathan Swift, the "Stella" Poems 170Ros Ballaster 13 Lady Mary Wortley Montagu, Six Town Eclogues and Other Poems 184Isobel Grundy 14 James Thomson, The Seasons 197Christine Gerrard 15 Stephen Duck, The Thresher's Labour, and Mary Collier, The Woman's Labour 209John Goodridge 16 Mary Leapor, "Crumble-Hall" 223David Fairer 17 Mark Akenside, The Pleasures of Imagination 237Adam Rounce 18 Samuel Johnson, London and The Vanity of Human Wishes 252David F. Venturo 19 William Collins, "Ode on the Poetical Character" 265John Sitter 20 Thomas Gray, Elegy Written in a Country Church Yard 277Suvir Kaul 21 Christopher Smart, Jubilate Agno 290Chris Mounsey 22 Oliver Goldsmith, The Deserted Village, and George Crabbe, The Village 303Caryn Chaden 23 William Cowper, The Task 316Freya Johnston 24 Robert Burns, "Tam o' Shanter" 329Murray Pittock PART III Forms and Genres 339 25 Rhyming Couplets and Blank Verse 341Richard Bradford 26 Epic and Mock-Heroic 356Richard Terry 27 Verse Satire 369Brean Hammond 28 The Ode 386Margaret M. Koehler 29 The Georgic 403Juan Christian Pellicer 30 The Verse Epistle 417Bill Overton PART IV Themes and Debates 429 31 The Constructions of Femininity 431Kathryn R. King 32 Whig and Tory Poetics 444Abigail Williams 33 The Classical Inheritance 458David Hopkins 34 Augustanism and Pre-Romanticism 473Thomas Woodman 35 Recovering the Past: Shakespeare, Spenser, and British Poetic Tradition 486Carolyn D. Williams 36 The Pleasures and Perils of the Imagination 500Paul Baines 37 The Sublime 515Shaun Irlam 38 Poetry and the City 534Markman Ellis 39 Cartography and the Poetry of Place 549Rachel Crawford 40 Rural Poetry and the Self-Taught Tradition 563Bridget Keegan 41 Poetry Beyond the English Borders 577Gerard Carruthers Index 590

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Book SynopsisThis Concise Companion launches students into the study of English Renaissance literature through the central contexts that informed it. Places the poetry within contexts such as: economics; religion; empire and exploration; education, humanism and rhetoric; censorship and patronage; royal marriage and succession; treason and rebellion; others in England; private lives; cosmology and the body; and life-writing. Incorporates recent developments in the field, as well as work soon to be published. Entices students to explore the subject further. Provides new syntheses that will be of interest to scholars. All the contributors are highly regarded scholars and teachers. Table of ContentsNotes on Contributors vii Introduction 1Donna B. Hamilton 1 Economics 11S. P. Cerasano 2 Religion 32Donna B. Hamilton 3 Royal Marriage and the Royal Succession 54Paul E. J. Hammer 4 Patronage, Licensing, and Censorship 75Richard Dutton 5 Humanism, Rhetoric, Education 94Peter Mack 6 Manuscripts in Early Modern England 114Heather Wolfe 7 Travel, Exploration, and Empire 136Ralph Bauer 8 Private Life and Domesticity 160Lena Cowen Orlin 9 Treason and Rebellion 180Andrew Hadfield 10 Shakespeare and the Marginalized ‘‘Others’’ 200Carole Levin 11 Cosmology and the Body 217Cynthia Marshall 12 Life-Writing 238Alan Stewart Index 257

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Book Synopsis* Winner of the Milton Society of Americaa s Irene Samuels Book Award in 2002. * Invites readers to explore and enjoy Miltona s rich and fascinating work. * Comprises 29 fresh and powerful readings of Miltona s texts and the contexts in which they were created, each written by a leading scholar.Trade Review“Taken together, the 29 essays collected here strike the perfect balance between an exploration of the contexts surrounding Milton’s writings and an intensive analysis of his poems and prose treatises. Uniformly well researched, felicitously written, and cogently argued, these essays are among the best in present-day Milton studies.” (Stephen Baker Hot Fiction Books, 20 September 2012) "Taken together, the 29 essays collected here strike the perfect balance between an exploration of the contexts surrounding Milton's writings and an intensive analysis of his poems and prose treatises. Uniformly well researched, felicitously written, and cogently argued, these essays are among the best in present-day Milton studies. They review previous scholarship while pursuing innovative and exciting lines of inquiry that will surely influence commentary on Milton in the foreseeable future." (Choice) "The present state of Milton studies is admirably represented, while a careful distribution of topics has ensured satisfactory coverage of the field. A splendid exhibition of Milton scholarship as it currently flourishes." (Times Literary Supplement) "students [...] will be admirably served by this comprehensive and readable smorgasbord of current Milton studies." (Renaissance Quarterly) "This companion is enlightening and stimulating and will be a helpful addition to libraries, especially those associated with literary and cultural studies." (Reference Reviews)Table of ContentsPreface. Acknowledgements, Abbreviations and a Note on Editions Used. The Contributors. Part I: The Cultural Context:. 1. Genre: Barbara K. Lewalski (Harvard University). 2. The Classical Literary Tradition: John K. Hale (University of Otago). 3. Milton on the Bible: Regina M. Schwartz (Northwestern University. 4. Literary Baroque and Literary Neoclassicism: Graham Parry (University of York). 5. Milton and English Poetry: Achsah Guibbory (University of Illinois). 6. Milton’s English: Thomas N.Corns (University of Wales, Bangor). Part II: Politics and Religion:. 7. The Legacy of the Late Jacobean Period: Cedric C. Brown (University of Reading). 8. Milton and Puritanism: N. H. Keeble (Stirling University). 9. Radical Heterodoxy and Heresy: John Rumrich (University of Texas). 10. Milton and Ecology: Diane Kelsey McColley (Rutgers University ). 11. The English and Other People: Andrew Hadfield (University of Wales, Aberystwyth). 12. The Literature of Controversy: Joad Raymond (University of Aberdeen). Part III: Texts:. The Early Poetry. 13. ‘On the Morning of Christ’s Nativity’, ‘Upon the Circumcision’ and ‘The Passion’: Thomas N. Corns (University of Wales, Bangor). 14. John Milton’s Comus Leah: S. Marcus (Vanderbilt University). 15. ‘Lycidas’: Stella P. Revard (Southern Illinois University). 16. Early Political Prose: Elizabeth Skerpan Wheeler (Southwest Texas University). 17. Milton, Marriage and Divorce: Annabel Patterson (Yale University). 18. Republicanism: Martin Dzelzainis (Royal Holloway & Bedford New College, University of London). 19. Late Political Prose: Laura Lunger Knoppers (Pennsylvania State University). The Late Poetry. 20. Paradise Lost in Intellectual History: Stephen M. Fallon (University of Notre Dame). 21. The Radical Religious Politics of Paradise Lost: David Loewenstein (University of Wisconsin-Madison). 22. Obedience and Autonomy in Paradise Lost:: Michael Schoenfeldt (University of Michigan). 23. Paradise Lost and the Multiplicity of Time: Amy Boesky. 24. Self-Contradicting Puns in Paradise Lost: John Leonard (University of Western Ontario). 25. Samson Agonistes: Sharon Achinstein (University of Maryland). 26. Pardise Regained: Margaret Kean. Part IV: Influences and Reputation:. 27. Reading Milton, 1674–1800: Kay Gillard Stevenson (University of Essex). 28. Milton: The Romantics and After: Peter J. Kitson (University of Wales, Bangor). Part V: Biography:. 29. The Life Records: Gordon Campbell (University of Leicester). Consolidated Biography. General Index.

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Book SynopsisThis clear and succinct book is designed for general readers who want to know how to go about reading Shakespeare's works for pleasure.Trade Review"In just a few pages, the author manages to unearth the full richness of the Bard, opening the reader's mind and asking questions rather than providing glib, easy answers. This is a terrific beginner's volume for the novice English literature student tasked with studying the works of William Shakespeare, and a valuable re-entry point for the intermediate Shakespeare reader looking for additional analytical methods." (Simply Shakespeare, November 2009) "The first chapter is a fabulous, full-frontal, thirteen-page assault that both dispenses information and suggests effective questions that student readers might employ when reading a text in order to 'read aggressively' (p. 9). What is mildly revolutionary is that it is here, in print, ready to be easily disseminated to students and thus to more easily and readily articulate the type of engagement with a text that we hope and expect our students will undertake. Bevington challenges his readers to think in historical, theatrical, and characterological terms. Bevington's list is instructive and at times brutally honest. Schools should consider investing heavily in this text for the benefit of their pupils; college or university-level students would also be aided by Bevington's straightforward, avuncular reading advice." (Year's Work in English Studies, 2008)Table of ContentsList of Illustrations. 1. How to Read a Shakespeare Play. 2. A Midsummer Night’s Dream. 3. Romeo and Juliet. 4. Henry the Fourth, Part I. 5. Hamlet. 6. King Lear. 7. The Tempest. 8. Epilogue. Further Reading. Index

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Book SynopsisThis introduction provides a concise overview of the central issues and critical responses to Shakespeare's sonnets, looking at the themes, images, and structure of his work, as well as the social and historical circumstances surrounding their creation. Explores the biographical mystery of the identities of the characters addressed. Examines the intangible aspects of each sonnet, such as eroticism and imagination. A helpful appendix offers a summary of each poem with descriptions of key literary figures. Trade Review“Lucid and engaging in its presentation, wide-ranging in its scope, and acute in its analyses, this book provides a valuable overview of Shakespeare's sonnets” Heather Dubrow, University of Wisconsin "Dympna Callaghan provides an informed but most accessible guide to Shakespeare's Sonnets, demystifying and illuminating these enthralling poems in equal measure. She examines them in relation to the conventions and understandings of their own time, to show how they continue to speak so powerfully to ours." Richard Dutton, Ohio State University “Callaghan makes an enduring contribution to scholarship on some of the most accomplished yet enigmatic lyric verse in the English language.” Choice “It presents the ongoing issues clearly, and takes a stand … .Callaghan’s intelligent and concise introduction, demonstrate that … criticism is not tired at all.” Notes and QueriesTable of ContentsPreface. 1. Introduction: Shakespeare’s Perfectly Wilde Sonnets. 2. Identity. 3. Beauty. 4. Love. 5. Numbers. 6. Time. Appendix: The Matter of the Sonnets. Notes. Works Cited. Index

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Book SynopsisThis introduction provides a concise overview of the central issues and critical responses to Shakespeare's sonnets, looking at the themes, images, and structure of his work, as well as the social and historical circumstances surrounding their creation.Trade Review“Lucid and engaging in its presentation, wide-ranging in its scope, and acute in its analyses, this book provides a valuable overview of Shakespeare's sonnets” Heather Dubrow, University of Wisconsin "Dympna Callaghan provides an informed but most accessible guide to Shakespeare's Sonnets, demystifying and illuminating these enthralling poems in equal measure. She examines them in relation to the conventions and understandings of their own time, to show how they continue to speak so powerfully to ours." Richard Dutton, Ohio State University “Callaghan makes an enduring contribution to scholarship on some of the most accomplished yet enigmatic lyric verse in the English language.” Choice “It presents the ongoing issues clearly, and takes a stand … .Callaghan’s intelligent and concise introduction, demonstrate that … criticism is not tired at all.” Notes and QueriesTable of ContentsPreface. 1. Introduction: Shakespeare’s Perfectly Wilde Sonnets. 2. Identity. 3. Beauty. 4. Love. 5. Numbers. 6. Time. Appendix: The Matter of the Sonnets. Notes. Works Cited. Index

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Book SynopsisA guide to Renaissance plays and the world they played to. It offers a comprehensive overview of the material conditions of England's most important dramatic period. It looks at the drama in terms of its cultural agency, its collaborative nature, and its ideological complexity.Trade Review"This collection contains a wealth of information about the vast and rich domain of Renaissance drama. Always lively, the essays display state-of-the-art scholarship on the plays, the playwrights, the theater, and the culture of Early Modern England. It will be an indispensible scholarly resource for those interested in the entirety of the Renaissance theatrical world, an arena which, as this volume definitively confirms, encompassed a rich array of playmakers and theatrical forms." Jean Howard, Columbia University "Serious first-time readers of Renaissance drama, as well as veteran teachers looking for a credible source of current information, will likely find this substantial volume of great utility." ChoiceTable of ContentsList of Illustrations xi Notes on Contributors xii Acknowledgments xviii Introduction: The Dramatic World of the Renaissance 1 Arthur F. Kinney PART ONE The Drama’s World 11 1 The Politics of Renaissance England 13 Norman Jones 2 Political Thought and the Theater, 1580–1630 25 Annabel Patterson 3 Religious Persuasions, c.1580–c.1620 40 Lori Anne Ferrell 4 Social Discourse and the Changing Economy 50 Lee Beier 5 London and Westminster 68 Ian W. Archer 6 Vagrancy 83 William C. Carroll 7 Family and Household 93 Martin Ingram 8 Travel and Trade 109 William H. Sherman 9 Everyday Custom and Popular Culture 121 Michael Bristol 10 Magic and Witchcraft 135 Deborah Willis PART TWO The World of Drama 145 11 Playhouses 147 Herbert Berry 12 The Transmission of an English Renaissance Play-Text 163 Grace Ioppolo 13 Playing Companies and Repertory 180 Roslyn L. Knutson 14 Must the Devil Appear?: Audiences, Actors, Stage Business 193 S. P. Cerasano 15 “The Actors are Come Hither”: Traveling Companies 212 Peter H. Greenfield 16 Jurisdiction of Theater and Censorship 223 Richard Dutton PART THREE Kinds of Drama 237 17 Medieval and Reformation Roots 239 Raphael Falco 18 The Academic Drama 257 Robert S. Knapp 19 “What Revels are in Hand?”: Performances in the Great Households 266 Suzanne Westfall 20 Progresses and Court Entertainments 281 R. Malcolm Smuts 21 Civic Drama 294 Lawrence Manley 22 Boy Companies and Private Theaters 314 Michael Shapiro 23 Revenge Tragedy 326 Eugene D. Hill 24 Staging the Malcontent in Early Modern England 336 Mark Thornton Burnett 25 City Comedy 353 John A. Twyning 26 Domestic Tragedy: Private Life on the Public Stage 367 Lena Cowen Orlin 27 Romance and Tragicomedy 384 Maurice Hunt 28 Gendering the Stage 399 Alison Findlay 29 Closet Drama Marta Straznicky 416 PART FOUR Dramatists 431 30 Continental Influences 433 Lawrence F. Rhu 31 Christopher Marlowe 446 Emily C. Bartels 32 Ben Jonson 464 W. David Kay 33 Sidney, Cary, Wroth 482 Margaret Ferguson 34 Thomas Middleton 507 John Jowett 35 Beaumont and Fletcher 524 Lee Bliss 36 Collaboration 540 Philip C. McGuire 37 John Webster 553 Elli Abraham Shellist 38 John Ford 567 Mario DiGangi Index 584

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Book SynopsisHOW TO DO THINGS WITH SHAKESPEARE HOW TO DO THINGS WITH SHAKESPEARE This is a companion to Shakespeare with a difference. Vive la différance! DAVID BEVINGTON, UNIVERSITY OF CHICAGO Doing things with literature: scholarly articles are not the only way to go. Aristotle uses a lecture, Horace a letter, Sidney a mock oration. Laurie Maguire and the contributors to this book engage in a genial conversation that invites students in. Like all good conversations, this one admits first-person candor, keeps things lively by changing the subject five times, welcomes disagreements, and waits for what the reader-listener is going to do in response. BRUCE SMITH, UNIVERSITY OF SOUTHERN CALIFORNIA, LOS ANGELESTrade Review"The contributors to Laurie Maguire's book show by doing.... They are unusually present in what they write, speaking directly to their presumed student readers. This is in some ways the sort of writing we associate with school textbooks, and it is all the better for that." (Times Literary Supplement, October 2008)Table of ContentsNotes on Contributors. Introduction: Laurie E. Maguire (Magdalen College, University of Oxford). Part I How To Do Things with Sources. 1. French Connections: The Je-Ne-Sais-Quoi in Montaigne and Shakespeare: Richard Scholar (Oriel College, Oxford). 2. Romancing the Greeks: Cymbeline’s Genres and Models: Tanya Pollard (Brooklyn College, City University of New York). 3. How the Renaissance (Mis)Used Sources: The Art of Misquotation: Julie Maxwell (Lucy Cavendish College, Cambridge). Part II How To Do Things with History. 4. Henry VIII, or All is True: Shakespeare’s “Favorite” Play: Chris R. Kyle (Syracuse University). 5. Catholicism and Conversion in Love’s Labour’s Lost: Gillian Woods (Wadham College, Oxford). Part III How To Do Things with Texts. 6. Watching as Reading: The Audience and Written Text in Shakespeare’s Playhouse: Tiffany Stern (University College, Oxford). 7. What Do Editors Do and Why Does It Matter?: Anthony B. Dawson (University of British Columbia). Part IV How To Do Things with Animals. 8. “The dog is himself”: Humans, Animals, and Self-Control in The Two Gentlemen of Verona: Erica Fudge. (Middlesex University). 9. Sheepishness in The Winter’s Tale: Paul Yachnin (McGill University). Part V How To Do Things with Posterity. 10. Time and the Nature of Sequence in Shakespeare’s Sonnets: “In sequent toil all forwards do contend”: Georgia Brown (independent scholar). 11. Canons and Cultures: Is Shakespeare Universal? : A. E. B. Coldiron (Florida State University). 12. “Freezing the Snowman”: (How) Can We Do Performance Criticism?: Emma Smith (Hertford College, Oxford). Index

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Book SynopsisHOW TO DO THINGS WITH SHAKESPEARE HOW TO DO THINGS WITH SHAKESPEARE This is a companion to Shakespeare with a difference. Vive la différance! DAVID BEVINGTON, UNIVERSITY OF CHICAGO Doing things with literature: scholarly articles are not the only way to go. Aristotle uses a lecture, Horace a letter, Sidney a mock oration. Laurie Maguire and the contributors to this book engage in a genial conversation that invites students in. Like all good conversations, this one admits first-person candor, keeps things lively by changing the subject five times, welcomes disagreements, and waits for what the reader-listener is going to do in response. BRUCE SMITH, UNIVERSITY OF SOUTHERN CALIFORNIA, LOS ANGELESTrade Review“Maguire … does not seek to force the essays into convenient (and conventional) critical boxes. Rather, she asks her contributors to open their essays with discussions of the questions and contexts that drove them to pursue their topic and then write about it. Highly recommended.” (Choice Reviews, October 2008)Table of ContentsNotes on Contributors. Introduction: Laurie E. Maguire (Magdalen College, University of Oxford). Part I How To Do Things with Sources. 1. French Connections: The Je-Ne-Sais-Quoi in Montaigne and Shakespeare: Richard Scholar (Oriel College, Oxford). 2. Romancing the Greeks: Cymbeline’s Genres and Models: Tanya Pollard (Brooklyn College, City University of New York). 3. How the Renaissance (Mis)Used Sources: The Art of Misquotation: Julie Maxwell (Lucy Cavendish College, Cambridge). Part II How To Do Things with History. 4. Henry VIII, or All is True: Shakespeare’s “Favorite” Play: Chris R. Kyle (Syracuse University). 5. Catholicism and Conversion in Love’s Labour’s Lost: Gillian Woods (Wadham College, Oxford). Part III How To Do Things with Texts. 6. Watching as Reading: The Audience and Written Text in Shakespeare’s Playhouse: Tiffany Stern (University College, Oxford). 7. What Do Editors Do and Why Does It Matter?: Anthony B. Dawson (University of British Columbia). Part IV How To Do Things with Animals. 8. “The dog is himself”: Humans, Animals, and Self-Control in The Two Gentlemen of Verona: Erica Fudge. (Middlesex University). 9. Sheepishness in The Winter’s Tale: Paul Yachnin (McGill University). Part V How To Do Things with Posterity. 10. Time and the Nature of Sequence in Shakespeare’s Sonnets: “In sequent toil all forwards do contend”: Georgia Brown (independent scholar). 11. Canons and Cultures: Is Shakespeare Universal? : A. E. B. Coldiron (Florida State University). 12. “Freezing the Snowman”: (How) Can We Do Performance Criticism?: Emma Smith (Hertford College, Oxford). Index

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Book SynopsisThis four-volume Companion to Shakespeare''s Works, compiled as a single entity, offers a uniquely comprehensive snapshot of current Shakespeare criticism. Brings together new essays from a mixture of younger and more established scholars from around the world - Australia, Canada, France, New Zealand, the United Kingdom, and the United States. Examines each of Shakespeare's plays and major poems, using all the resources of contemporary criticism, from performance studies to feminist, historicist, and textual analysis. Volumes are organized in relation to generic categories: namely the histories, the tragedies, the romantic comedies, and the late plays, problem plays and poems. Each volume contains individual essays on all texts in the relevant category, as well as more general essays looking at critical issues and approaches more widely relevant to the genre. Offers a provocative roadmap to Shakespeare studies at the dawTrade Review"Whether for the student wishing for an overview of critical approaches or anxious to fill in the gaps in his Shakespearean culture, for those wishing to catch up on the diversity of literary theories, or for the inquisitive browser, this set of volumes assuredly charts the map of current criticism." Cahiers Elisabethains "Those who are intimidated by the publishers' grandiose claim that the set would constitute 'a provocative roadmap to Shakespeare studies at the dawning of the twenty-first century' will breathe a sigh of relief to discover that the essays are not only readable, they are informative and stimulating. Essential." Choice Table of ContentsNotes on Contributors vii Introduction 1 1 “A rarity most beloved”: Shakespeare and the Idea of Tragedy 4David Scott Kastan 2 The Tragedies of Shakespeare’s Contemporaries 23Martin Coyle 3 Minds in Company: Shakespearean Tragic Emotions 47Katherine Rowe 4 The Divided Tragic Hero 73Catherine Belsey 5 Disjointed Times and Half-Remembered Truths in Shakespearean Traged 95Philippa Berry 6 Reading Shakespeare’s Tragedies of Love: Romeo and Juliet, Othello, and Antony and Cleopatra in Early Modern England 108Sasha Roberts 7 Hamlet Productions Starring Beale, Hawke, and Darling From the Perspective of Performance History 134Bernice W. Kliman 8 Text and Tragedy l58Graham Holderness 9 Shakespearean Tragedy and Religious Identity 178Richard C. McCoy 10 Shakespeare’s Roman Tragedies 199Gordon Braden 11 Tragedy and Geography 219Jerry Brotton 12 Classic Film Versions of Shakespeare’s Tragedies: A Mirror for the Times 241Kenneth S. Rothwell 13 Contemporary Film Versions of the Tragedies 262Mark Thornton Burnett 14 Titus Andronicus: A Time for Race and Revenge 284Ian Smith 15 “There is no world without Verona walls”: The City in Romeo and Juliet 303Naomi Conn Liebler 16 “He that thou knowest thine”: Friendship and Service in Hamlet 319Michael Neill 17 Julius Caesar 339Rebecca W. Bushnell 18 Othello and the Problem of Blackness 357Kim F. Hall 19 King Lear 375Kiernan Ryan 20 Macbeth, the Present, and the Past 393Kathleen McLuskie 21 The Politics of Empathy in Antony and Cleopatra: A View from Below 411Jyotsna G. Singh 22 Timon of Athens: The Dialectic of Usury, Nihilism, and Art 430Hugh Grady 23 Coriolanus and the Politics of Theatrical Pleasure 452Cynthia Marshall Index 473

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Book SynopsisThis four-volume Companion to Shakespeare''s Works, compiled as a single entity, offers a uniquely comprehensive snapshot of current Shakespeare criticism. Brings together new essays from a mixture of younger and more established scholars from around the world - Australia, Canada, France, New Zealand, the United Kingdom, and the United States. Examines each of Shakespeare's plays and major poems, using all the resources of contemporary criticism, from performance studies to feminist, historicist, and textual analysis. Volumes are organized in relation to generic categories: namely the histories, the tragedies, the romantic comedies, and the late plays, problem plays and poems. Each volume contains individual essays on all texts in the relevant category, as well as more general essays looking at critical issues and approaches more widely relevant to the genre. Offers a provocative roadmap to Shakespeare studies at the dawTrade Review"Whether for the student wishing for an overview of critical approaches or anxious to fill in the gaps in his Shakespearean culture, for those wishing to catch up on the diversity of literary theories, or for the inquisitive browser, this set of volumes assuredly charts the map of current criticism." Cahiers ElisabethainsTable of ContentsNotes on Contributors. Introduction. 1. The Writing of History in Shakespeare’s England (Ivo Kamps). 2. Shakespeare and Contemporary Dramatists of History (Richard Helgerson). 3. Censorship and the Problems with History in Shakespeare’s England (Cyndia Susan Clegg). 4. Nation Formation and the English History Plays (Patricia A. Cahill). 5. The Irish Text and Subtext of Shakespeare’s English Histories (Willy Maley). 6. Theories of Kingship in Shakespeare’s England (William C. Carroll). 7. "To beguile the time, look like the time": Contemporary Film Versions of Shakespeare’s Histories (Peter J. Smith). 8. The Elizabethan History Play: A True Genre (Paulina Kewes). 9. Damned Commotion: Riot and Rebellion in Shakespeare’s Histories (James Holstun). 10. Manliness Before Individualism: Masculinity, Effeminacy, and Homoerotics in Shakespeare’s History Plays (Rebecca Ann Bach). 11. French Marriages and the Protestant Nation in Shakespeare’s History Plays (Linda Gregerson). 12. The First Tetralogy in Performance (Ric Knowles). 13. The Second Tetralogy: Performance as Interpretation (Lois Potter). 14. 1 Henry VI (David Bevington). 15. Suffolk and the Pirates: Disordered Relations in Shakespeare’s 2 Henry VI (Thomas Cartelli). 16. Vexed Relations: Family, State, and the Uses of Women in 3 Henry VI (Kathryn Schwarz). 17. "The power of hope?" An Early Modern Reader of Richard III (James Siemon). 18. King John (Virginia Mason Vaughan). 19. The King’s Melting Body: Richard II (Lisa Hopkins). 20. 1 Henry IV (James Knowles). 21. Henry IV, Part 2: A Critical History (Jonathan Crewe). 22. Henry V (Andrew Hadfield). Index.

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Book SynopsisThis four-volume Companion to Shakespeare''s Works, compiled as a single entity, offers a uniquely comprehensive snapshot of current Shakespeare criticism. Brings together new essays from a mixture of younger and more established scholars from around the world - Australia, Canada, France, New Zealand, the United Kingdom, and the United States. Examines each of Shakespeare's plays and major poems, using all the resources of contemporary criticism, from performance studies to feminist, historicist, and textual analysis. Volumes are organized in relation to generic categories: namely the histories, the tragedies, the romantic comedies, and the late plays, problem plays and poems. Each volume contains individual essays on all texts in the relevant category, as well as more general essays looking at critical issues and approaches more widely relevant to the genre. Offers a provocative roadmap to Shakespeare studies at the dawning ofTrade Review"Whether for the student wishing for an overview of critical approaches or anxious to fill in the gaps in his Shakespearean culture, for those wishing to catch up on the diversity of literary theories, or for the inquisitive browser, this set of volumes assuredly charts the map of current criticism." Cahiers ElisabethainsTable of ContentsNotes on Contributors. Introduction. 1. Shakespeare s Sonnets and the History of Sexuality: A Reception Hisotry: Bruce R. Smith. 2. The Book of Changes in a Time of Change: Ovid s Metamorphoses in Post-Reformation England and Venus and Adonis: Dympna Callaghan. 3. Shakespeare s Problem Plays and the Drama of His Time: Troilus and Cressida, Alls Well That Ends Well, Measure for Measure: Paul Yachnin. 4. The Privy and Its Double: Scatology and Satire in Shakespeares Theatre: Bruce Boehrer. 5. Hymeneal Blood, Interchangeable Women, and the Early Modern Marriage Economy in Measure for Measure and Alls Well That Ends Well: Theodora A. Jankowski. 6. Varieties of Collaboration in Shakespeares Problem Plays and Late Plays: John Jowett. 7. What s in a Name? Tragicomedy, Romance, or Late Comedy: Barbara A. Mowat. 8. Fashion: Shakespeare and Beaumont and Fletcher: Russ McDonald. 9. Place and Space in Three Late Plays: John Gillies. 10. The Politics and Technology of Spectacle in the Late Plays: David M. Bergeron. 11. The Tempest in Performance: Diana E. Henderson. 12. What It Feels Like For a Boy: Shakespeare s Venus and Adonis: Richard Rambuss. 13. Publishing Shame: The Rape of Lucrece: Copplia Kahn. 14. The Sonnets: Sequence, Sexuality, and Shakespeares Two Loves: Valerie Traub. 15. The Two-Party System in Troilus and Cressida: Linda Charnes. 16. Opening Doubts Upon the Law: Measure for Measure: Karen Cunningham. 17. Doctor She. Healing and Sex in All s Well That Ends Well: Barbara Howard Traister. 18. You not your child well loving . Text and Family Structure in Pericles: Suzanne Gossett. 19. Imagine Me, Gentle Spectators . Iconomachy and The Winters Tale: Marion O Connor. 20. Cymbeline: Patriotism and Performance: Valerie Wayne. 21. Meaner Ministers : Mastery, Bondage, and Theatrical Labor in The Tempest: Daniel Vitkus. 22. Queens and the Structure of History in Henry VIII: Susan Frye. 23. Mixed Messages: The Aesthetics of The Two Noble Kinsmen: Julie Sanders. Index.

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Book SynopsisThe Wiley-Blackwell Encyclopedia of Eighteenth-Century Writers and Writing1660-1789 features coverage of the lives and works of almost 500 notable writers based in the British Isles from the return of the British monarchy in 1660 until the French Revolution of 1789. Broad coverage of writers and texts presents a new picture of 18th-century British authorship Takes advantage of newly expanded eighteenth-century canon to include significantly more women writers and labouring-class writers than have traditionally been studied Draws on the latest scholarship to more accurately reflect the literary achievements of the long eighteenth century Trade Review"As with any good collection of biographical essays, one finds many humanizing snippets that bring the century closer to us than any accumulation of facts and dates can do ... The volume reminds us why we fell in love with this period." (The Scriblerian and The Kit-Cats, 1 October 2013) "This modest volume offers an excellent reference resource for students and scholars, but, as the authors explain, their aim is not only provide ‘reliable and accessible information’ but also ‘to offer a kind of browsing sense of interconnection between writers, and indeed a sample of the collective variety of the period’ (p. xxii)." (Years Work in English Studies, 1 August 2013) "Excellent ... The range of authors covered in the encyclopaedia, while not exhaustive, should definitely be sufficient for most undergraduate or postgraduate students." (Journal for Eighteenth-Century Studies, 17 July 2013)Table of ContentsAcknowledgments. Timeline. Introduction and Further Reading. Entries A–Z. Index.

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Book SynopsisThis Companion presents the current state of criticism in the field of American fiction from the earliest declarations of nationhood to secession and civil war. Draws heavily on historical and cultural contexts in its consideration of American fiction Relates the fiction of the period to conflicts about territory and sovereignty and to issues of gender, race, ethnicity and identity Covers different forms of fiction, including children's literature, sketches, polemical pieces, historical romances, Gothic novels and novels of exploration Considers both canonical and lesser-known authors, including James Fennimore Cooper, Hannah Foster, Nathaniel Hawthorne, Herman Melville and Harriet Beecher Stowe Treats neglected topics, such as the Western novel, science and the novel, and American fiction in languages other than English Trade Review"Particularly impressive... Taken together the essays constitute a dense realization of a critically resurgent period, with the historical dimension emphatic throughout." American Literary Scholarship "A good resource for those just embarking on the study of American literature. Recommended." ChoiceTable of ContentsList of Illustrations viii Notes on Contributors ix Acknowledgments xvi Introduction 1 Shirley Samuels PART I Historical and Cultural Contexts 5 1 National Narrative and the Problem of American Nationhood 7 J. Gerald Kennedy 2 Fiction and Democracy 20 Paul Downes 3 Democratic Fictions 31 Sandra M. Gustafson 4 Engendering American Fictions 40 Martha J. Cutter and Caroline F. Levander 5 Race and Ethnicity 52 Robert S. Levine 6 Class 64 Philip Gould 7 Sexualities 75 Valerie Rohy 8 Religion 87 Paul Gutjahr 9 Education and Polemic 97 Stephanie Foote 10 Marriage and Contract 108 Naomi Morgenstern 11 Transatlantic Ventures 119 Wil Verhoeven and Stephen Shapiro 12 Other Languages, Other Americas 131 Kirsten Silva Gruesz PART II Forms of Fiction 145 13 Literary Histories 147 Michael Drexler and Ed White 14 Breeding and Reading: Chesterfieldian Civility in the Early Republic 158 Christopher Lukasik 15 The American Gothic 168 Marianne Noble 16 Sensational Fiction 179 Shelley Streeby 17 Melodrama and American Fiction 191 Lori Merish 18 Delicate Boundaries: Passing and Other ‘‘Crossings’’ in Fictionalized Slave Narratives 204 Cherene Sherrard-Johnson 19 Doctors, Bodies, and Fiction 216 Stephanie P. Browner 20 Law and the American Novel 228 Laura H. Korobkin 21 Labor and Fiction 239 Cindy Weinstein 22 Words for Children 249 Carol J. Singley 23 Dime Novels 262 Colin T. Ramsey and Kathryn Zabelle Derounian-Stodola 24 Reform and Antebellum Fiction 274 Chris Castiglia PART III Authors, Locations, Purposes 285 25 The Problem of the City 287 Heather Roberts 26 New Landscapes 301 Timothy Sweet 27 The Gothic Meets Sensation: Charles Brockden Brown, Edgar Allan Poe, George Lippard, and E. D. E. N. Southworth 314 Dana Luciano 28 Retold Legends: Washington Irving, James Kirke Paulding, and John Pendleton Kennedy 330 Philip Barnard 29 Captivity and Freedom: Ann Eliza Bleecker, Harriet Prescott Spofford, and Washington Irving’s ‘‘Rip Van Winkle’’ 342 Eric Gary Anderson 30 New England Tales: Catharine Sedgwick, Catherine Brown, and the Dislocations of Indian Land 353 Bethany Schneider 31 Harriet Beecher Stowe, Caroline Lee Hentz, Herman Melville, and American Racialist Exceptionalism 365 Katherine Adams 32 Fictions of the South: Southern Portraits of Slavery 378 Nancy Buffington 33 The West 388 Edward Watts 34 The Old Southwest: Mike Fink, Augustus Baldwin Longstreet, Johnson Jones Hooper, and George Washington Harris 400 David Rachels 35 James Fenimore Cooper and the Invention of the American Novel 411 Wayne Franklin 36 The Sea: Herman Melville and Moby-Dick 425 Stephanie A. Smith 37 National Narrative and National History 434 Russ Castronovo Index 445

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Book SynopsisAn in-depth exploration, through his plays and poems, of the philosophy of Shakespeare as a great poet, a great dramatist and a great mind. Written by a leading Shakespearean scholar Discusses an array of topics, including sex and gender, politics and political theory, writing and acting, religious controversy and issues of faith, skepticism and misanthropy, and closure Explores Shakespeare as a great poet, a great dramatist and a great mind Trade Review"Bevington sees a development in how important Shakespeare felt certain topics were, and so the structure of the book is both chronological and thematic, beginning with the early romances and ending with the dark eschatology of the last plays." (English, December 2010) "A personal and passionate reading of the author, unwilling to look for conclusions where there are none. Humane, wise and almost infuriatingly judicious, Shakespeare's Ideas celebrates the plurality inherent to Shakespeare's works and the expansive mind behind them." (Times Literary Supplement, February 2009) Bevington's newest book wears its considerable erudition lightly and, for the most part, well. Bevington (Univ. of Chicago) begins by pointing out that one cannot know the thoughts of Shakespeare the man, but that the plays and poems, looked at as a whole, do present a kind of philosophy--one of balance and moderation. Chapters on sex and gender, politics, writing, religion, and other topics all suggest that though Shakespeare created characters with extreme and wide-ranging views, the world of the plays (and thus perhaps of Shakespeare himself) rewards compassion, understanding, forgiveness, duty, and above all, love. In general, this is not a book for scholars; Bevington does not offer highly theoretical readings or bring up scholarly debates about meaning and textuality. But his immense knowledge of the plays and the era allow him to present complex ideas in an engaging, completely readable manner that will appeal to all readers, no matter their background. Though it offers nothing new to those who study the plays for a living, everyone else will find it a masterpiece of thoughtful investigation into the plays. Summing Up: Essential. Lower- and upper-division undergraduates, graduate students, general readers. -- A. Castaldo, Widener University (Choice, February 2009) "It's an absorbing journey, and one that will fascinate both general readers and serious scholars alike." (Yorkshire Evening Post, October 2008)Table of ContentsAcknowledgements ix 1 A Natural Philosopher 1 2 Lust in Action Shakespeare's Ideas on Sex and Gender 15 3 What is Honour? Shakespeare's Ideas on Politics and Political Theory 42 4 Hold the Mirror Up to Nature Shakespeare's Ideas on Writing and Acting 74 5 What Form of Prayer Can Serve My Turn? Shakespeare’s Ideas on Religious Controversy and Issues of Faith 106 6 Is Man No More Than This? Shakespeare's Ideas on Scepticism, Doubt, Stoicism, Pessimism, Misanthropy 143 7 Here Our Play Has Ending Ideas of Closure in the Late Plays 177 8 Credo 213 Further Reading 218 Index 227

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Book SynopsisShakespeare was not, strictly speaking, a philosopher. That is, he did not write essays or treatises arguing philosophical positions or proposing an all-embracing philosophical scheme.Trade Review"Bevington sees a development in how important Shakespeare felt certain topics were, and so the structure of the book is both chronological and thematic, beginning with the early romances and ending with the dark eschatology of the last plays." (English, December 2010) “The book ranges across almost the entire canon, bringing together telling moments from an array of texts, but pausing long enough on particular plays to offer nuanced readings. The undergraduate or general reader should enjoy this fluent and well-paced tour through the major plays, and will get a good sense, especially in the first half of the book, of important political, religious and dramatic contexts. The carefully chosen bibliography should stimulate students to explore the ideas summarized here in considerably more detail.” (Times Higher Education Supplement, December 2008) "Bevington's newest book wears its considerable erudition lightly and, for the most part, well. Bevington (Univ. of Chicago) begins by pointing out that one cannot know the thoughts of Shakespeare the man, but that the plays and poems, looked at as a whole, do present a kind of philosophy--one of balance and moderation. Chapters on sex and gender, politics, writing, religion, and other topics all suggest that though Shakespeare created characters with extreme and wide-ranging views, the world of the plays (and thus perhaps of Shakespeare himself) rewards compassion, understanding, forgiveness, duty, and above all, love. In general, this is not a book for scholars; Bevington does not offer highly theoretical readings or bring up scholarly debates about meaning and textuality. But his immense knowledge of the plays and the era allow him to present complex ideas in an engaging, completely readable manner that will appeal to all readers, no matter their background. Though it offers nothing new to those who study the plays for a living, everyone else will find it a masterpiece of thoughtful investigation into the plays." (Choice, February 2009) "It's an absorbing journey, and one that will fascinate both general readers and serious scholars alike." (Yorkshire Evening Post, October 2008)Table of ContentsAcknowledgements ix 1 A Natural Philosopher 1 2 Lust in Action Shakespeare's Ideas on Sex and Gender 15 3 What is Honour? Shakespeare's Ideas on Politics and Political Theory 42 4 Hold the Mirror Up to Nature Shakespeare's Ideas on Writing and Acting 74 5 What Form of Prayer Can Serve My Turn? Shakespeare’s Ideas on Religious Controversy and Issues of Faith 106 6 Is Man No More Than This? Shakespeare's Ideas on Scepticism, Doubt, Stoicism, Pessimism, Misanthropy 143 7 Here Our Play Has Ending Ideas of Closure in the Late Plays 177 8 Credo 213 Further Reading 218 Index 227

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Book SynopsisReading Sixteenth-Century Poetry combines close readings of individual poems with a critical consideration of the historical context in which they were written. Informative and original, this book has been carefully designed to enable readers to understand, enjoy, and be inspired by sixteenth-century poetry. Close reading of a wide variety of sixteenth-century poems, canonical and non-canonical, by men and by women, from print and manuscript culture, across the major literary modes and genres Poems read within their historical context, with reference to five major cultural revolutions: Renaissance humanism, the Reformation, the modern nation-state, companionate marriage, and the scientific revolution Offers in-depth discussion of Skelton, Wyatt, Surrey, Isabella Whitney, Gascoigne, Philip Sidney, Spenser, Marlowe, Mary Sidney Herbert, Donne, and Shakespeare Presents a separate study of all five of Shakespeare's major poems - VenuTrade Review“Highly useful in addressing the formal and generic concerns of sixteenth-century poets, and thus in demonstrating close reading, Reading Sixteenth-Century Poetry fails to address the equally important political and theoretical period discourses or the methodologies needed to address them. The unbalanced infatuation with authorial vocation and authorial perspectives thus limits the usefulness of the text. Cheney’s companion text may thus represent a more widespread return to traditional author-centered interpretive theories and a turn away from poststructural approaches.” (Journal of the Northern Renaissance, 1 December 2012) "Cheney's eye for such intertextual allusion transforms what could have been a series of isolated close readings into a delicately unified exposition of a century's worth of literary dialogue." (Times Literary Supplement, 23 December 2011) "A carefully selected bibliography that focuses on background sources as well as on primary works and significant critical material is a valuable supplement to the author's consideration of the poetry. Cheney develops his thesis clearly and makes an important contribution to Renaissance scholarship. Recommended. Upper-division undergraduates through faculty." (Choice, 1 October 2011) Table of ContentsIntroduction 1 The Pleasures and Uses of Sixteenth-Century Poetry Part I 1500–1558. Reading Early Tudor Poetry: Henrician, Edwardian, Marian 19 1 Voice 21 The Poetic Style of Character: Plain and Eloquent Speaking 2 Perception 43 The Crisis of the Reformation, or, What the Poet Sees: Self, Beloved, God 3 World 66 The Poet’s Ecology of Place: Sky, Sea, Soil 4 Form 90 The Idea of a Poem: Elegy, Pastoral, Sonnet, Satire, Epic 5 Career 115 The Role of the Poet in Society: Skelton, Wyatt, and Surrey Part II 1558–1600. Reading Elizabethan Poetry 139 6 Voice 141 The Poetic Style of Character: From Plain Eloquence to the Metaphysical Sublime 7 Perception 163 What the Poet Sees, and the Advent of Modern Personage: Desire, Idolatry, Transport, Partnership 8 World 185 The Poet’s Ecology of Place: Cosmos, Colony, Country 9 Form 208 Fictions of Poetic Kind: Pastoral, Sonnet, Epic, Minor Epic, Hymn 10 Career 231 The Role of the Poet in Society: Whitney, Spenser, and Marlowe Part III A Special Case 255 11 Shakespeare: Voice, Perception, World, Form, Career 257 Conclusion 280 Retrospective Poetry: Donne and the End of Sixteenth-Century Poetry Bibliography 288 Index 323

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Book SynopsisThis timely volume represents one of the first comprehensive, student-oriented guides to the under-published field of early modern women''s writing. Brings together more than twenty leading international scholars to provide the definitive survey volume to the field of early modern women''s writing Examines individual texts, including works by Mary Sidney, Margaret Cavendish and Aphra Behn Explores the historical context and generic diversity of early modern women''s writing, as well as the theoretical issues that underpin its study Provides a clear sense of the full extent of women''s contributions to early modern literary culture Trade Review"Pacheco (humanities, Univ. of Hertfordshire) has produced a much-needed collection that puts into historical and literary perspective the study of early modern women and their writings. [...] In scholarship and critical depth, this volume compares favourably to the many recent publications on early modern women; what makes it particularly useful is its accessibility to students just becoming acquainted with the field." Choice "This is a worthwhile and well-produced volume ... [it] would make an excellent core text for students on courses on early modern women's writing or gender studies[.]" English Historical ReviewTable of ContentsNotes on Contributors x Introduction xiv PART ONE Contexts 1 1 Women and Education 3 Kenneth Charlton 2 Religion and the Construction of the Feminine 22 Diane Willen 3 Women, Property and Law 40 Tim Stretton 4 Women and Work 58 Sara H. Mendelson 5 Women and Writing 77 Margaret J. M. Ezell PART TWO Readings 95 6 Isabella Whitney, A Sweet Nosegay 97 Patricia Brace 7 Mary Sidney, Countess of Pembroke, Psalmes 110 Debra K. Rienstra 8 Aemilia Lanyer, Salve Deus Rex Judaeorum 125 Susanne Woods 9 Elizabeth Cary, The Tragedy of Mariam and History 136 Elaine Beilin 10 Mary Wroth, The Countess of Montgomery’s Urania 150 Naomi J. Miller 11 Margaret Cavendish, A True Relation of My Birth, Breeding and Life 165 Gweno Williams 12 Anna Trapnel, Anna Trapnel’s Report and Plea 177 Hilary Hinds 13 Katherine Philips, Poems 189 Elizabeth H. Hageman 14 Aphra Behn, The Rover, Part One 203 Anita Pacheco 15 Mary Astell, Critic of the Marriage Contract/Social Contract Analogue 216 Patricia Springborg PART THREE Genres 229 16 Autobiography 231 Sheila Ottway 17 Defences of Women 248 Frances Teague and Rebecca De Haas 18 Prophecy 264 Elaine Hobby 19 Women’s Poetry 1550–1700: ‘Not Unfit to be Read’ 282 Bronwen Price 20 Prose Fiction 303 Paul Salzman 21 Drama 317 Sophie Tomlinson PART FOUR Issues and Debates 337 22 The Work of Women in the Age of Electronic Reproduction: The Canon, Early Modern Women Writers and the Postmodern Reader 339 Melinda Alliker Rabb 23 Feminist Historiography 361 Margo Hendricks Index 377

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Book SynopsisA Companion to the Eighteenth-century Novel furnishes readers with a sophisticated vision of the eighteenth-century novel in its political, aesthetic, and moral contexts. An up-to-date resource for the study of the eighteenth-century novel Furnishes readers with a sophisticated vision of the eighteenth-century novel in its political, aesthetic, and moral context Foregrounds those topics of most historical and political relevance to the twenty-first century Explores formative influences on the eighteenth-century novel, its engagement with the major issues and philosophies of the period, and its lasting legacy Covers both traditional themes, such as narrative authority and print culture, and cutting-edge topics, such as globalization, nationhood, technology, and science Considers both canonical and non-canonical literature Trade Review"A team of two dozen prominent scholars ... .Here report on the state of the art in 18th century novel studies. Nearly all the work is cutting edge, and almost every page challenges conventional wisdom ... .Specialists in the early novel will find this wide-ranging and theoretically sophisticated work provocative. Highly recommended." CHOICE “Editors Paula R. Backscheider and Catherine Ingrassia have assembled an impressive collection of authors … .Visiting or revisiting a complex cultural topography." ECF "The Variety of texts treated in this volume is rich, unapologetic, and one of its real pleasures." The Journal for Early Modern Cultural StudiesTable of ContentsList of Illustrations viii Notes on Contributors x Introduction 1 Catherine Ingrassia Shared Bibliography 18 PART ONE Formative Influences 23 1. "I have now done with my island, and all manner of discourse about it": Crusoe's Farther Adventures and the Unwritten History of the Novel 25 Robert Markley 2. Fiction/Translation/Transnation: The Secret History of the Eighteenth-Century Novel 48 Srinivas Aravamudan 3. Narrative Transmigrations: The Oriental Tale and the Novel in Eighteenth-Century Britain 75 Ros Ballaster 4. Age of Peregrination: Travel Writing and the Eighteenth-Century Novel 97 Elizabeth Bohls 5. Milton and the Poetics of Ecstasy in Restoration and Eighteenth-Century Fiction 117 Robert A. Erickson 6. Representing Resistance: British Seduction Stories, 1660–1800 140 Toni Bowers PART TWO The World of the Eighteenth-Century Novel 165 7. Why Fanny Can’t Read: Joseph Andrews and the (Ir)relevance of Literacy 167 Paula McDowell 8. Memory and Mobility: Fictions of Population in Defoe, Goldsmith, and Scott 191 Charlotte Sussman 9. The Erotics of the Novel 214 James Grantham Turner 10. The Original American Novel, or, The American Origin of the Novel 235 Elizabeth Maddock Dillon 11. New Contexts for Early Novels by Women: The Case of Eliza Haywood, Aaron Hill, and the Hillarians, 1719–1725 261 Kathryn R. King 12. Momentary Fame: Female Novelists in Eighteenth-Century Book Reviews 276 Laura Runge 13. Women, Old Age, and the Eighteenth-Century Novel 299 Devoney Looser 14. Joy and Happiness 321 Adam Potkay PART THREE The Novel's Modern Legacy 341 15. The Eighteenth-Century Novel and Print Culture: A Proposed Modesty 343 Christopher Flint 16. An Emerging New Canon of the British Eighteenth-Century Novel: Feminist Criticism, the Means of Cultural Production, and the Question of Value 365 John Richetti 17. Queer Gothic 383 George E. Haggerty 18. Conversable Fictions 399 Kathryn Sutherland 19. Racial Legacies: The Speaking Countenance and the Character Sketch in the Novel 419 Roxann Wheeler 20. Home Economics: Representations of Poverty in Eighteenth-Century Fiction 441 Ruth Perry 21. Whatever Happened to the Gordon Riots? 459 Carol Houlihan Flynn 22. The Novel Body Politic 481 Susan S. Lanser 23. Literary Culture as Immediate Reality 504 Paula R. Backscheider Index 539

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Book Synopsis1611: Authority, Gender, and the Word in Early Modern England explores issues of authority, gender, and language within and across the variety of literary works produced in one of most landmark years in literary and cultural history. Represents an exploration of a year in the textual life of early modern England Juxtaposes the variety and range of texts that were published, performed, read, or heard in the same year, 1611 Offers an account of the textual culture of the year 1611, the environment of language, and the ideas from which the Authorised Version of the English Bible emerged Table of ContentsPreface ix Acknowledgements x List of Illustrations Chronology of Selected Historical, Cultural and Textual Events in 1611 Introduction: ‘The omnipotency of the word’ 1 1 Jonson’s Oberon and friends: masque and music in 1611 24 2 Aemilia Lanyer and the ‘first fruits’ of women’s wit 44 3 Coryats Crudities and the ‘travelling Wonder’ of the age 68 4 Time, tyrants and the question of authority: The Winter’s Tale and related drama 91 5 ‘Expresse words’: Lancelot Andrewes and the sermons and devotions of 1611 112 6 The Roaring Girl on and off stage 132 7 ‘The new world of words’: authorising translation in 1611 151 8 Donne’s ‘Anatomy’ and the commemoration of women: ‘her death hath taught us dearly’ 174 9 Vengeance and virtue: The Tempest and the triumph of tragicomedy 192 Conclusion: ‘This scribling age’ 211 Appendix: A List of Printed Texts Published in 1611 219 Bibliography 225 Index 244

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Book SynopsisA Short History of Early Modern England presents the historical and cultural information necessary for a richer understanding of English Renaissance literature. Written in a clear and accessible style for an undergraduate level audience Gives an overview of the period's history as well as an understanding of the historiographic issues Explores key historical and literary events, from the Wars of the Roses to the publication of John Milton's Paradise Regained Features in depth explanations of key terms and concepts, such as absolutism and the Elizabethan Settlement Table of ContentsAims and Acknowledgements vi Quoting from Early Modern Texts ix Illustrations x England’s Rulers From Richard II to Charles II xi Timeline of Key Events xii 1 An Overview of Early Modern England 1 2 The Back-Story of the Tudor Dynasty: From Richard II to Henry VII 27 3 Henry VII, Henry VIII, and the Henrician Era (1509–47) 59 4 Edward VI, Lady Jane Grey, and Mary I (1547–53) 92 5 The Elizabethan Era (1558–1603) 115 6 The Reign of King James VI/I (1603–25) 149 7 Charles I (1625–42): From Accession to the Beginning of the Civil Wars 181 8 The Civil Wars, the Commonwealth, and the Early Restoration (1642–71) 214 Index 252

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Book SynopsisA Short History of Early Modern England presents the historical and cultural information necessary for a richer understanding of English Renaissance literature. Written in a clear and accessible style for an undergraduate level audience Gives an overview of the period's history as well as an understanding of the historiographic issues Explores key historical and literary events, from the Wars of the Roses to the publication of John Milton's Paradise Regained Features in depth explanations of key terms and concepts, such as absolutism and the Elizabethan Settlement Trade Review"Here is much more of both information and entertainment than one expects from a "short history"! Summing Up: Highly recommended." (Choice, 1 October 2011) Table of ContentsAims and Acknowledgements vi Quoting from Early Modern Texts ix Illustrations x England’s Rulers From Richard II to Charles II xi Timeline of Key Events xii 1 An Overview of Early Modern England 1 2 The Back-Story of the Tudor Dynasty: From Richard II to Henry VII 27 3 Henry VII, Henry VIII, and the Henrician Era (1509–47) 59 4 Edward VI, Lady Jane Grey, and Mary I (1547–53) 92 5 The Elizabethan Era (1558–1603) 115 6 The Reign of King James VI/I (1603–25) 149 7 Charles I (1625–42): From Accession to the Beginning of the Civil Wars 181 8 The Civil Wars, the Commonwealth, and the Early Restoration (1642–71) 214 Index 252

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Book SynopsisExplores the relationship among Romanticism, deconstruction, and Marxism by examining tropes of sensation and sobriety in a set of exemplary texts from Romantic literature and contemporary literary theory.Trade Review"A panoramic view of the theoretical options open to the self-aware American academic critic wanting to write about Romanticism." (Paul Hamilton, Queen Mary, University of London)"Table of ContentsAcknowledgmentsIntroduction: The Sensation of RomanticismPart I: Periodicity1. Romantic Sobriety2. Kant All Lit Up: Romanticism, Periodicity, and the Catachresis of GeniusPart II: Theory3. De Man, Marx, Rousseau, and the Machine4. Against Theory beside Romanticism: Mute Bodies, Fanatical Seeing5. The Sensation of the Signifier6. Ghost TheoryPart III: Texts7. Lyric Ritalin: Time and History in "Ode to the West Wind"8. No Satisfaction: High Theory, Cultural Studies, and Don Juan9. Gothic Thought and Surviving Romanticism in Zofloya and Jane Eyre10. Coming Attractions: Lamia and Cinematic SensationCoda: The Embarrassment of RomanticismNotesIndex

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Book SynopsisSynthesizing the histories of masculinity, manners, and radicalism, Rakes, Highwaymen, and Pirates offers a fresh perspective on the eighteenth-century aristocratic male.Trade ReviewThe book impresses with its attentive close readings of important texts and makes a valuable contribution to gender studies of eighteenth-century Britain. Times Literary Supplement An engaging study of elite modes of early modern criminality... A richly rewarding volume that gains more than a little residual glamour from its popular subjects. The strength of the text, though, is in Mackie's incisive questioning of that glamour. This is not, finally, a book about pirates (or highwaymen, or rakes) so much as it is a study of our fascination with them. -- Ingrid Ranum Journal of Early Modern Cultural Studies Mackie is to be congratulated on the range, scholarship, and critical perception in her study of some disquieting resemblances between deviant masculine types and perfect gentleman. -- Carolyn D. Williams Eighteenth-Century Fiction Opens up new avenues for thinking about masculinity, gender, and authority in the long eighteenth century. -- Hal Gladfelder 1650-1850 Mackie's impressive work offers a fascinating study of criminal and moral masculinity. -- Sarah Elizabeth Fanning Scriblerian In this well-researched study, Mackie makes a strong case for the inclusion of alternative, criminal masculinities in understanding the development of the modern English gentleman and patriarchy in the eighteenth century. Situated at the nexus of gender theory and literary studies, her book adds to the study of modern and late modern cultural norms of gender and sexuality through discourse analysis of literary and nonliterary texts. -- Srividhya Swaminathan Journal of British Studies The central concern of this book is the transformation of the 'British gentleman' from the so-called Glorious Revolution through reformulations of patriarchy as exhibited in taste, sensibility, and virtue in the 18th century and beyond. Choice Mackie's book is extremely well-written and engaging, and stands as a wonderful look into categories of male types. Studies of female types have proliferated in recent years, and it is refreshing to see attention paid to the divisions among men in the eighteenth century. -- Kathryn Strong Hansen The Eighteenth-Century Current BibliographyTable of ContentsAcknowledgments1. Historicizing Masculinity: The Criminal and the Gentleman2. Always Making Excuses: The Rake and Criminality3. Romancing the Highwayman4. Welcome the Outlaw: Pirates, Maroons, and Caribbean Countercultures5. Privacy and Ideology: Elite Male Crime in Burney's Evelina and Godwin's Caleb WilliamsNotesIndex

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Book SynopsisIn a world increasingly defined by prose, poets adapted the new forms, characters, and moral themes of the novel in order to reinvigorate poetic practice.Trade ReviewRefreshingly, this impressive study of poetic form does not read the eighteenth century as a slow road to Romanticism, but fleshes out the period with surprising and important new detail. Times Literary Supplement In this intriguing formal study Starr breaks down the conventional barriers between the history of poetry and the history of the novel... Overall, a subtle and carefully executed genre study, of interest to anyone in 18th-century or Romantic studies. Choice For fifteen years or so, using a term provided by Mikhail Bakhtin, some Wordsworthians have characterized Wordsworth's lyric poetry as 'novelized.' G. Gabrielle Starr's Lyric Generations gives that characterization new force en specificity in the context of a larger argument that traces the interrelations of poetry and the novel through the long eighteenth century. -- Don Bialostosky Wordsworth Circle The rise of the novel, argues Starr, is strongly influenced by the lyric poetry which preceded it, while at the other end of the century romantic poetry owes much, in turn, to the rise of the novel. -- Bill Phillips Cercles Starr is an excellent close reader, and her observations about so large and diverse an array of texts are fresh, striking, and downright smart. -- Sophie Gee Eighteenth-Century Fiction Starr provides a brilliant reading of Clarissa. -- Christopher Johnson New Perspectives on the Eighteenth Century Starr excels... in juxtaposing works seldom compared and so granting us the wherewithal to reframe familiar histories of formal change. -- Deirdre Lynch Modern Language Quarterly Original and compelling book... that should inspire discussion for some time to come. -- Anne Williams Studies in RomanticismTable of ContentsAcknowledgmentsIntroduction1. Clarissa and the Lyric2. Modes of Absorption3. Lyric Tensions4. Rhetorical Realisms5. The Limits of Lyric and the Space of the Novel6. The Novel and the New LyricismNotesBibliographyIndex

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Book SynopsisShe draws a direct link between the disparate theories of focus articulated in eighteenth-century literature and modern experiments in neuroscience, revealing that contemporary questions surrounding short attention spans are grounded in long conversations over the nature and limits of focus.Trade ReviewThoroughly informed by engagement with 17th- and 18th-century philosophies of mind, the book is also impressive for its periodic forays into modern cognitive science... Distraction is an important addition to the literature on 18th-century fiction and cognition. Highly recommended. Choice It reads... as a manifesto for the possibility of a kind of research in which disciplines are combined not in the sense of serving each other, or borrowing from each other, but in true synergy. From all the aspects of Phillips's book that are commendable - and there are many from its originality and clarity of argumentation through to its powers of interpretation - this is the most significant. Literature and science are on an equal footing here and the fruits of their combination are remarkable. British Society for Literature and ScienceTable of ContentsPreface Introduction. The Literary History of Distraction The Unifocal and the Multifocal The Rise of the Distracted CharacterAttention, Distraction, and Enlightenment Philosophy of MindA Swiftly Tilting MadnessCategorizing Distraction 1. Mind Wandering: Forms of Distraction in the Eighteenth-Century EssayDistraction and the Eighteenth-Century Essay The Rhetoric of Attention: Appealing to Pathos and Brevitas The Essay as a Tool of Focus Training Attention to Attention Strengthening Focus: Repetition and Dramatic Irony Economies of Attention The History of Attention Span 2. Lapses of Concentration: Distracted Vigilance and the Female MindEnvironment and Mind: Urban Diversion and the Distracted Brain The Problem of a Soft Female Mind Sex, Environment, and the Multifocal Coquette The Challenges of Situational Awareness Philosophizing Multiplicity: Cognitive Bottlenecks and Sorting Gloves Strained Omniscience and the Distracted Heroine The Crowded Syntax of Sexual Inattention "Might as Well Be Passed Over as Read:" Indulging the Diverted Reader 3. Scattered Attention: Distraction and the Rhythm of Cognitive Overload Rhythms of Narrative, Rhythms of Mind The Scattered Rhythms of Cognitive Overload Susannah and the Vexed Situation of Madam Reader The Anatomy of Parallel Processing The Sermon: Asynchronous Rhythms of Prose Hobbyhorses and the Individual Beat of Interest Irregular Distraction: The Tempo of Cognitive Overload Rhythms of the Brain: Creativity and the Timing of Distraction 4. Fixated Attention: The Gothic Pathology of Single-Minded FocusMicroscope and Mind Scientific Metaphors and the Madness of Attention The Politics and Poetics of Fixation Involuntary Attention: A Multifocal Selective Blindness Sympathy and the Benefits of Distraction Rewriting Suspense: Interruption and the Gothic Sublime Fixation and the Science of Obsession 5. Divided Attention: Characterization and Cognitive Richness in Jane Austen The Power of Multitasking in Pride and Prejudice The Singular Importance of Inattentive Characters Mr. Hurst: The Limited Capacity of the Undivided Mind Mrs. Jenkinson: Narrow Bandwidth and the Creation of Depth Lydia and Miss Bingley: Caricaturing Cognitive Vacancy The Dangers of Too Much Attention Distraction as Liveliness of Mind Mary Bennet: Hyperfocus and Cognitive Immobility Lady Catherine de Bourgh: The Problem of Excess Vigilance Elizabeth Bennet: The Benefits of Diversion Characterizing Reading: Maps of Distraction and Interest Coda: History of Mind and Literary Neuroscience Interdisciplinarity: From Theory to Practice Literary Attention: An fMRI Study of Reading Jane Austen The Value of Literary History NotesBibliographyIndex

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Book SynopsisLetters played a foundational role in facilitating the rise of print and popularizing new modes of writing in the long eighteenth century. In Writing to the World, Rachael Scarborough King examines the shift from manuscript to print media culture in the long eighteenth century. She introduces the concept of the bridge genre, which enables such change by transferring existing textual conventions to emerging modes of composition and circulation. She draws on this concept to reveal how four crucial genres that emerged during this timethe newspaper, the periodical, the novel, and the biographywere united by their reliance on letters to accustom readers to these new forms of print media. King explains that as newspapers, scientific journals, book reviews, and other new genres began to circulate widely, much of their form and content was borrowed from letters, allowing for easier access to these unfamiliar modes of printing and reading texts. Arguing that bridge genres encouraged people Trade ReviewThoughtful and engaging . . . valuable for not only for students and scholars of the eighteenth-century British literature but media studies more broadly.—Adam Sills, Hofstra University, Modern PhilologyExcellent . . . King's work here has further implications than simply attention to scribal antecedents: in her hands, these developments become a series of case studies in the history of media and technology.—Emily C. Friedman, Auburn University, Review of English Studies[King] shows us that letters are almost always both public and private, factual and fictitious, written 'from the heart' and 'to the world.'—Hazel Wilkinson, Times Literary SupplementElegantly written and methodically researched, Writing to the World makes a powerful case for the centrality of epistolarity to the development of eighteenth-century literature. For those interested in genre and form, the book inspires exciting lines of inquiry regarding the period's experiments in literary production. It is an excellent contribution to scholarship in periodical studies and book history and will appeal in particular to readers who seek new, reconceptualized literary histories of the eighteenth century.—Shang-yu Sheng, Eighteenth-Century FictionTable of ContentsAcknolwedgementsIntroduction1. Exchanging News2. Questions and Answers3. Open Letters4. ‘A New World’5. Leaving ‘the World’PostscriptBibliographical EssayNotesIndex

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Book SynopsisHaunting's consequences for the literary imagination.Reading is a weirdly phantasmic trade: animating words to revive absent voices, rehearing the past, fantasizing a future. In Romantic Shades and Shadows, Susan J. Wolfson explores spectral language, formations, and sensations, defining an apparitional poetics in the finely grained textures of writing and their effects on present reading. Framed by an introductory chapter on writing and apparition and an afterword on haunted reading, the book includes chapters of sustained, revelatory close attention to the particular, often peculiar, literary imaginations of William Wordsworth, William Hazlitt, Percy Bysshe Shelley, Lord Byron, W. B. Yeats, and John Keats. Wolfson also explores the work of Samuel Taylor Coleridge (a self-confessed Ghost-Theorist), Mary Shelley, and other writers of the Long Romantic era, canonical as well as less familiar. All are encountered in freshly pointed ways on an arc of investiTrade ReviewThis challenging study of apparitional epistemology is not for the fainthearted. Including extensive and interesting page notes, this book is for specialists with a linguistic background.—ChoiceA magnificent achievement in verse reading—and prose reading—and, indeed, reading of a range of significant Romantic authorships in their historic moments. It should be welcomed by everyone with a ready eye.—Ross Wilson, University of Cambridge, Review of English StudiesHow supremely quotable Wolfson is. From beginning to end, Romantic Shades and Shadows is engrossing, challenging, and deeply rewarding, one of the very best books published on Romantic poetry this decade. It will haunt us all.—Oliver Clarkson, Balliol College, Essays in CriticismThere are treasures in all of these chapters.—Michael Wood, London Review of Books[Wolfson's] witty meditation on the complex textual admixture of the intentional and the unintentional reveals both how much various writers know and how much they don't seem to know (or remember) that they know. Consuming their work, the sentient reader (whom Wolfson models for us) grows ever more aware of the mind-bending complexity of the referentiality of words that have been used, abused, reused, refashioned, repurposed in ways that trace their shadowy prior lives in the wordy works of any writer's contemporaries and predecessors.—Stephen Behrendt, University af Nebraska, European Romantic ReviewThe extensive critical and literary reach of Romantic Shades and Shadows is impressive . . . Wolfson is not alone in acknowledging the ghostliness of Romantic poetics. Yet her inventive readings of the spectral, its haunts, and hauntings do press upon us the necessity, as Nietzsche writes, of having 'friends as ghosts' if we are, as Wolfson's Afterword urges, to penetrate beneath the textual surface and hear the hauntingly instructive voices of past, present, and future shades.—Mark Sandy, Durham University, Modern Language ReviewThough Romantic Shades and Shadows is an elegant account of the hauntings of and by Romanticism in their own right, it is also a generous and invaluable schooling on the author's behalf in a necromantic approach to reading poetry and prose more generally. We surely derive as much pleasure from this book in the access that it affords us into the creative yet rigorous turns of Wolfson's own mind as we do from the critical insights into Romanticism that it yields. The result is nothing less than paradigm-shifting. Enjoined, along Coleridgean lines, to suspend our disbelief and to join Wolfson in her startling necromantic pursuits, we as readers and critics might only emerge from Romantic Shades and Shadows suitably changed, humbled, haunted.—Dale Townshend, Manchester Metropolitan University, CriticismWolfson has given us more than one masterclass in the art of retaining and connecting the complexities of an individual author-poet to his or her textual worlds . . . This is a book in which Wolfson returns to texts and poets that are both the back catalogue and the present focus of her critical practice, demonstrating the haunting and enduring power of those words which matter to us most. Romantic Shades and Shadows is testimony to that recognition.—Jane Moore, Cardiff University, Literature and History[Wolfson's] formalism is refreshing in the way that it refuses to subsume formal features under historical or political contexts. At the same time, when teasing out meanings, she does not sequester texts from history but shows how poetry and prose reverberate in social and cultural situations. This is a major gain . . . Wolfson has written a deeply intelligent study that demonstrates the rewards of formalist criticism, not least for its alertness to the fundamental instability of Romantic poetics.—Robert W. Rix, University of Copenhagen, British Society for Eighteenth-Century StudiesTable of ContentsList of IllustrationsTextsAbbreviations1. Setting the Stage: Apparitions of Writing2. Shades of Will + Words + Worth: What's in a Name?3. Hazlitt’s Conjurings: First Acquaintance & "Quaint Allusion"4. Shelley’s Phantoms of the Future in 18195. Me and My Shadows: Byron's Company of Ghosts6. Shades of Relay: Yeats's Latent Keats / Keats's Latent Yeats7. After Wording: Writing of ApparitionsAcknowledgmentsNotesWorks CitedIndex

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Book SynopsisWhat is the role of literary writing in democratic society?Building upon his previous work on the emergence of literature, Trevor Ross offers a history of how the public function of literature changed as a result of developing press freedoms during the period from 1760 to 1810. Writing in Public examines the laws of copyright, defamation, and seditious libel to show what happened to literary writing once certain forms of discourse came to be perceived as public and entitled to freedom from state or private control. Ross argues thatwith liberty of expression becoming entrenched as a national valuethe legal constraints on speech had to be reconceived, becoming less a set of prohibitions on its content than an arrangement for managing the public sphere. The public was free to speak on any subject, but its speech, jurists believed, had to follow certain ground rules, as formalized in laws aimed at limiting private ownership of culturally significant works, maintaining civility in public diTrade ReviewWriting in Public offers a brilliant synthesis of a massive set of interrelated topics: how the public role of literature gradually and radically shifted; its legal, social and literary causes; and its long-term implications for the public. For those grappling with the question of what literature's public functions were or were supposed to do, Ross offers both an insightful and provoking guide.—Andrew Benjamin Bricker, Ghent University, Review of English StudiesWriting in Public makes an ambitious argument with ramifications both for our reading of eighteenth-century literature and our contemporary understanding of literature as a form of public speech. One key strength of Ross's book is the way that highly specific examples are engagingly narrated and then open out into broad historical claims . . . [S]cholars in all areas of eighteenth century studies, as well as historians of free speech and the law, will find it a valuable resource.—Hannah Doherty Hudson, Eighteenth-Century FictionWhat Ross styles 'a cultural history of ideas about literature's place in the public sphere,' is timely and worth reading . . . This strikingly original volume is largely juridical; while Ben Jonson, Daniel Defoe, and Alexander Pope have their cameos, Writing in Public devotes itself to jurists and their legal reasoning as they debated intellectual property, perpetual copyright, the liberty of criticism, seditious libel, and so on.—University of Toronto QuarterlyTable of ContentsAcknowledgments Introduction: Writing in Public Part I. Copyright1. Literature in the Public Domain 2. The Fate of Style in an Age of Intellectual Property Part II. Defamation and Privacy3. What Does Literature Publicize? 4. How Criticism Became Privileged Speech: The Case of Carr v. Hood (1808) Part III. Seditious Libel5. Literature and the Freedom of Mind Epilogue: Unacknowledged Legislators Notes Index

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Book SynopsisHow eighteenth-century writers stretched systems designed to explain social relations to their breaking point, showing the flaws in their design. The Enlightenment has long been understoodand often understood itselfas an age of systems. In 1759, Jean Le Rond d'Alembert, one of the architects of the Encyclopédie, claimed that the true system of the world has been recognized, developed, and perfected. In Systems Failure, Andrew Franta challenges this view by exploring the fascination with failure and obsession with unpredictable social forces in a range of English authors from Samuel Johnson to Jane Austen. Franta argues that attempts to extend the Enlightenment's systematic spirit to the social world prompted many prominent authors to reject the idea that knowledge is synonymous with system. In readings of texts ranging from novels by Sterne, Smollett, Godwin, and Austen to Johnson's literary biographies and De Quincey's periodical essays, Franta shows how writers repeatedly take upTrade ReviewFranta tells an accurate and important story about how impossibility, unintelligibility, unpredictability, and disorder inform both narrative and style in the latter half of the long eighteenth century . . . Each chapter of Systems Failure offers a worthy contribution to the criticism of its respective subject, and the book might be especially useful to students and scholars of the Romantic and Victorian eras seeking an entry point into the eighteenth century.—Alex Solomon, Rutgers University, Review of English StudiesThis book is at once a counterhistory of the rise of the novel and a meditation on the social world as an elusive object of knowledge . . . While many others have emphasized the novel's commitment to representing the social world, this book demonstrates that such a commitment is compatible with a keen awareness of the inadequacy of the genre to that task . . . it is an admirable feature of Franta's argument that it often points past the edges of his archive toward a century-spanning, multidisciplinary history.—David Carroll Simon, University of Maryland, College Park, Critical InquiryAndrew Franta's Systems Failure: The Uses of Disorder in English Literature challenges a familiar account of the Enlightenment that views it as an age of order premised upon an overriding confidence in systems and systematic thinking . . . In Franta's compelling study, the novel becomes a kind of laboratory, or "staging ground," for Enlightenment theories that attempt to "apply principles derived from the natural sciences to the social world." What the novels that feature in Systems Failure discover is that the terrain of fiction—social life—seems always to escape systematic attempts to explain it. Fiction, one might say, is not reducible to principle.—Anthony Jarrells, University of South Carolina, Wordsworth CircleBy viewing characters as products of systems, Franta is able to show how the literature of this period contributed to "the idea that society has a structure," paving the way for the development of disciplinary sociology in the nineteenth century. As its title suggests, Systems Failure is a work whose strength lies in its author's ability to handle polarizing abstractions with nuanced attention.—Allison Turner, Columbia University, Modern PhilologySystems Failure is a profoundly 'human,' humanist book, attentive to explorations of failure, the contours of complex events, and the inevitable mismatch of things to ideas. And it belongs therefore on the shelf of anyone interested in the recent return to the Enlightenment not as a moment of triumphant system-building, but as a moment of encounter with difference, complexity, and the limitations of human knowledge.—Sean Silver, Rutgers University, Eighteenth-Century FictionTable of ContentsAcknowledgmentsIntroduction. Unconscionable MapsChapter 1. Life without Theory in the Life of SavageChapter 2. Sterne and the Uses of DisorderChapter 3. From Map to Network in Humphry ClinkerChapter 4. Godwin's HandshakeChapter 5. Jane Austen and the Morphology of the Marriage PlotChapter 6. De Quincey's SystemsCoda. The Strange System of Human SocietyNotesIndex

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Book SynopsisA fascinating look at communication in the eighteenth century. This volume addresses questions of communication in several media, from the oral, printed, and visual to the physical. It encompasses essays featuring France, Germany, Early America, Scotland, and Britain more generally. The first section, Manuscript Communications, opens with Dena Goodman's presidential address on the secret history of learned societies. It is followed by a panel on manuscript and print circulation introduced by Colin Ramsey, which includes essays by Ryan Whyte, Chiara Cillerai, and Jurgen Overhoff. This section concludes with an essay by Carla J. Mulford on Benjamin Franklin's electrification of London politics. The second section, Arts and Manufactures, opens with David Shields's Clifford Lecture on the flavors of the eighteenth century. It contains essays by Hanna Roman on Buffon's language of heat and Jason Pearl on the perspective of aerostatic bodies and concludes with essays by Matthew Mauger

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Book SynopsisA field-defining study of the novel as a tragic form. Sandra Macpherson's groundbreaking study of the rise of the novel connects its form to developments in liability law across the seventeenth to nineteenth centuries. In particular, Macpherson argues for a connection to legal principles of strict liability that hold persons accountable for harms inflicted upon others in the absence of intention, consent, direct action, or foreknowledge. In convincing polemical readings of Defoe, Richardson, and Fielding, she shows that these laws share with the novel the view that the state of a person's mind is irrelevant to the question of her responsibility for her actions. Macpherson urges readers to rethink the ancient consensus that the novel differs from tragedy in its elevation of character over plot. She concludes that the realist novel is ultimately a tragic form, committed to holding persons accountable for accidents of fate. Macpherson's original insights continue to have a broad and lasTrade ReviewOriginal, intelligent, fluent readings . . . Highly recommended.—ChoiceA wholly original approach to the relation between law and literature, [Harm's Way] will change the way we think about and teach some of these canonical works of fiction.—Times Literary SupplementMacpherson bears down intensely on several hard-won and difficult abstractions, including cause, intention, and meaning. To the degree to which we are accustomed to thinking through our most important literary-theoretical categories via a history of the novel, Harm's Way is a must read.—Studies in English LiteratureMacpherson presents a feminist argument of profound integrity and conviction. Harm's Way compels us to appreciate form not as an aesthetic or structural category but as a guarantor of justice, a way of attributing responsibility that, by divesting liability of mitigating intention, preserves the 'purely material' facticity of women's harm.—Modern PhilologyThis is a most thoughtful and thought-provoking book. It puts most other attempts to rewrite Rise of the Novel to shame.—ScriblerianIt is at once disturbing, exhilarating, and challenging. Where it succeeds, it dazzles, and where it falls short, it still demands, and deserves, our careful attention.—AMS PressA thoughtful, innovative, and important study of eighteenth-century fiction.—Review of English StudiesTable of ContentsAcknowledgmentsIntroduction: Injuring Love1. Matrimonial Murder2. The Encroachments of Others3. Fighting Men4. The Rape of the CockConclusion: Bad FormNotesIndex

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Book SynopsisThe early novel was not the coming-of-age story we know todayeighteenth-century adolescent protagonists remained in a constant state of arrested development, never truly maturing. Between the emergence of the realist novel in the early eighteenth century and the novel's subsequent alignment with self-improvement a century later lies a significant moment when novelistic characters were unlikely to mature in any meaningful way. That adolescent protagonists poised on the cusp of adulthood resisted a headlong tumble into maturity through the workings of plot reveals a curious literary and philosophical counter-tradition in the history of the novel. Stephanie Insley Hershinow's Born Yesterday shows how the archetype of the early realist novice reveals literary character tout court. Through new readings of canonical novels by Samuel Richardson, Henry Fielding, Horace Walpole, Ann Radcliffe, Frances Burney, and Jane Austen, Hershinow severs the too-easy tie between novelistic form and charaTrade ReviewHershinow makes a compelling claim that the character of the novice represents a high point in the art of the novel. What makes her argument compelling is how she inhabits the novels at the level of the sentence, taking her vocabulary from the novelists.—Critical InquiryUltimately, to read this book was to confirm my suspicion that the best close readers are the best writers of literary criticism. The good reader takes pleasure in nuance and complexity; the good writer tends to repeat the qualities that inspired that pleasure. Hershinow's readings, in other words, are filled with the insights of discerning study; her prose is filled with wit and humor, always intellectually serious but also gracefully playful in a way uncommon in academic writing . . . Brimming with possibility—both as a whole and even at the level of the sentence—this book embodies the spirit of the vibrant characters it studies.—LA Review of BooksThe really radical implication of Born Yesterday is that character change itself is simply the wrong way to think about the category of experience in the novel . . . Hershinow does not shy away from pop-culture references, in part to challenge a conception of literary culture that is dismissive of girls and their aesthetic preferences. The payoff is as much stylistic as polemical. Lively and brimming with wit, Born Yesterday conveys through voice the impression of its author as a savvy and companionable guide to a selection of canonical novels she loves without apology.—Eighteenth-Century StudiesStephanie Insley Hershinow deftly lays out an argument that is both straightforward and dazzlingly complex, and which opens out onto myriad aspects of novel studies, from the complex ways that eighteenth-century fiction combines a drive toward mimetic realism with a tendency to idealize, to more fundamental questions of how we understand the relationship between plot and character . . . This exciting and invigorating work of scholarship will doubtless prove beneficial both to researchers and to teachers, for its economical, spirited chapters lend themselves beautifully to classroom use. Born Yesterday gives us new frameworks to think about the texts it examines, but it also invites us to revisit our ideas of character, plot, and adolescence in powerfully creative ways.—Eighteenth-Century FictionStephanie Hershinow offers a compelling counterargument that casts adolescent protagonists or "no-vices" who do not change as a "central, affirmative component of the novelproject" in this period.—De GruyterEven after a decade that has produced a slew of arresting readings of Clarissa, I think this chapter will be a touchstone for future discussions of the novel.—Eighteenth Century FictionHershinow teaches us to conceive of novels as thought experiments about resilience in the face of how things really were. Even more significantly, she encourages us to examine character closely to perceive how things should have been and to imagine how things could be.—The Eighteenth CenturyHershinow's is not the first study to question the classic assumption that novelistic characters are defined by interiority or development. But the analysis of Born Yesterday has interesting implications for the kind of affection this genre might command.... The novice, as Hershinow eloquently insists, allows an 'embedded utopianism' to emerge from within the novel.—Yoon Sun Lee, Public BooksTable of ContentsAcknowledgmentsIntroduction. Entering the World1. Clarissa's Conjectural History: The Novel and the Novice2. When Experience Matters (and When It Doesn't): Tom Jones and the Rake's Regress3. Simple and Sublime: The Otherworldly of Ann Radcliffe's Gothic4. Starting from Scratch: Frances Burney and the Appeals of InexperienceEpilogue. Emma's DystopiaNotesIndex

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Book SynopsisOriginally published in 1963. Moliere's plays rank among the great comic achievements in the history of the stage. Yet few attempts have been made to understand them as expressing the historical context of the author's time. Most frequently they have been interpreted from the point of view of purely literary history, while the characters have been seen as universal comic types. Lionel Gossman reappraises Moliere's comedy in the light of historical experience and interprets it in terms of the conditions from which it emerged. He brings it into the mainstream of seventeenth-century French literature and shows that Moliere was concerned with the same things that concerned Descartes, Corneille, Racine, or Pascal. Five comedies (Amphitryon, Dom Juan, Le Misanthrope, Le Tartuffe, and George Dandin) are studied in the first part of the book. A number of basic structures are found to be common to all of them, and these give the author his point of departure for the second part of the book. In Table of ContentsPrefaceChapter 1. AmphitryonChapter 2. Dom JuanChapter 3. Le MisanthropeChapter 4. Le TartuffeChapter 5. George DandinChapter 6. Molière in His Own TimeChapter 7. After MolièreIndex

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Book SynopsisOriginally published in 1989. In Prosody and Purpose in the English Renaissance the eminent scholar O. B. Hardison Jr. sets out to recover the special kinds of music inherent in English Renaissance poetry. The book begins with a thorough and wide-ranging survey of the development of prosodic theory from the ancient ars metrica tradition to the sixteenth century, with special emphasis on such issues as the relation of verse form and genre, the relation of syntax to prosody, and the role of language reform in shaping Renaissance prosody. The second part of the book considers the impact of prosodic traditions on specific literary works and verse forms, among them Surrey's Aeneid, Heywood's translation of Seneca's Thyestes, Sackville and Norton's Gorboduc, and the dramatic and epic verse of Marlowe, Shakespeare, Spenser, and Milton. Throughout, Hardison examines not only how poets crafted their verse but why. He explores authorial purposes ranging from technical attempts to match sound andTrade ReviewTwo large points that emerge are the importance of 'construction' and, perhaps more surprisingly, 'the dominance of syllabic concepts of prosody.' Hardison concludes that the English verse of this period 'is best understood in terms of this tradition.' He has written a learned, interesting, and civilized book.—Studies in English LiteratureTable of ContentsPrefacePart I. ContextsChapter 1. Prosody and Purpose Chapter 2. Ars Metrica Chapter 3. Rude and Beggerly Ryming: The Romance TraditionChapter 4. A Question of Language: Italy and the Shaping of Renaissance Prosodic TheoryChapter 5. Notes of Instruction Part II. PerformancesChapter 6. A Straunge Metre Worthy To Be Embraced Chapter 7. Jasper Heywood's Fourteeners Chapter 8. Gorboduc and Dramatic Blank Verse, with a Note on ComedyChapter 9. Heroic Experiments Chapter 10. Speech and Verse in Later Elizabethan Drama Chapter 11. True Musical DelightNotesIndex

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Book SynopsisA critique of attempts by conservative eighteenth- and nineteenth-century authors to appropriate the rhetoric of victimhood and appeals to rights to safeguard the status of the powerful. As revolution and popular unrest roiled the final decades of the eighteenth century, authors, activists, and philosophers across the British Empire hailed the rise of the liberal subject, valorizing the humanity of the marginalized and the rights of members of groups long considered inferior or subhuman. Yet at the same time, a group of conservative authors mounted a reactionary attempt to cultivate sympathy for the privileged. In Defending Privilege, Nicole Mansfield Wright examines works by Tobias Smollett, Charlotte Smith, Walter Scott, and others to show how conservatives used the rhetoric of victimhood in attempts to convince ordinary readers to regard a privileged person's loss of legal agency as a catastrophe greater than the calamities and legally sanctioned exclusion suffered by the poor andTrade ReviewKeenly researched and persuasively conveyed, Defending Privilege is a fascinating, dynamic, and wonderfully engaging book.—Barbara Hughes-Moore, Hedgehogs and FoxesTable of ContentsAcknowledgmentsIntroduction: A Neglected InheritancePart I. Downward Mobility and the Safety Net of the Law1. Bad Citizens and Insolent Foreigners: Tobias Smollett's Elite Outsiders and the Suspension of Legal Agency2. Covert Critique: Genteel Victimhood in Charlotte Smith's Fictions of DispossessionPart II. The Pen as a Weapon against Reform of the Law3. Letters of the Law: Ambivalent Advocacy and Speaking for the Voiceless in Walter Scott's Redgauntlet4. Masters of Passion and Tongue: White Eyewitnesses and Fear of Black Testimony in the Proslavery NovelEpilogue: Abiding the LawNotesIndex

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Book SynopsisA critique of attempts by conservative eighteenth- and nineteenth-century authors to appropriate the rhetoric of victimhood and appeals to rights to safeguard the status of the powerful. As revolution and popular unrest roiled the final decades of the eighteenth century, authors, activists, and philosophers across the British Empire hailed the rise of the liberal subject, valorizing the humanity of the marginalized and the rights of members of groups long considered inferior or subhuman. Yet at the same time, a group of conservative authors mounted a reactionary attempt to cultivate sympathy for the privileged. In Defending Privilege, Nicole Mansfield Wright examines works by Tobias Smollett, Charlotte Smith, Walter Scott, and others to show how conservatives used the rhetoric of victimhood in attempts to convince ordinary readers to regard a privileged person's loss of legal agency as a catastrophe greater than the calamities and legally sanctioned exclusion suffered by the poor andTrade ReviewKeenly researched and persuasively conveyed, Defending Privilege is a fascinating, dynamic, and wonderfully engaging book.—Barbara Hughes-Moore, Hedgehogs and FoxesTable of ContentsAcknowledgmentsIntroduction: A Neglected InheritancePart I. Downward Mobility and the Safety Net of the Law1. Bad Citizens and Insolent Foreigners: Tobias Smollett's Elite Outsiders and the Suspension of Legal Agency2. Covert Critique: Genteel Victimhood in Charlotte Smith's Fictions of DispossessionPart II. The Pen as a Weapon against Reform of the Law3. Letters of the Law: Ambivalent Advocacy and Speaking for the Voiceless in Walter Scott's Redgauntlet4. Masters of Passion and Tongue: White Eyewitnesses and Fear of Black Testimony in the Proslavery NovelEpilogue: Abiding the LawNotesIndex

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Book SynopsisOriginally published in 1982. The Poetics of Jacobean Drama argues for a rediscovered approach to the study of Renaissance drama. Coburn Freer observes that most modern criticism of this drama treats the plays as if they were written in prose, thus overlooking whole areas of dramatic meaning that were understood in the past. Such an understanding, he asserts, was common among writers, actors, audiences, and readers of the Elizabethan and Jacobean eras, and a knowledge of it is essential to a full appreciation of the characterization and dramatic structures in these plays. Freer explores the evolution of the modern reluctance to approach Renaissance drama as one would dramatic poetryfrom the standpoint of a listener. Blank verse, the author shows, provided Jacobean dramatists with a poetic form against which they could work the pressures of experience within their characters. The writers' ability to work with and against this form provided infinite resources for delineating character anTrade ReviewThis bold and interesting book sets out to show that poetry functions integrally with characterization, structure and action in Jacobean drama.—Times Higher Education SupplementTable of ContentsAcknowledgments Introduction A Note on Texts Chapter 1. Poetry in the Mode of Action Chapter 2. Contexts of Blank Verse Drama Chapter 3. The Revenger's Tragedy Chapter 4. Cymbeline Chapter 5. The White Devil and The Duchess of Malfi Chapter 6. The Broken Heart Epilouge. The Metamorphosis Transformed NotesIndex

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Book SynopsisOriginally published in 1986. In The House of Death, Arnold Stein studies the ways in which English poets of the sixteenth and seventeenth centuries imagined their own ends and wrote of the deaths of those they loved or wished to honor. Drawing on a wide range of texts in both poetry and prose, Stein examines the representations, images, and figurative meanings of death from antiquity to the Renaissance. A major premise of the book is that commonplaces, conventions, and the established rules for thinking about death did not prevent writers from discovering the distinctive in it. Eloquent readings of Raleigh, Donne, Herbert, and others capture the poets approaching their own death or confronting the death of others. Marvell's lines on the execution of Charles are paired with his treatment of the dead body of Cromwell; Henry King and John Donne both write of their late wives; Ben Jonson mourns the death of a first son and a first daughter. For purposes of comparison, the governing perspeTrade ReviewUsing the traditional method of extremely close reading, combined with a Freudian theory of consciousness, [Stein] offers us without apology elegant interpretations—patient, subtle, probing—of various essays on the art of dying.—Yale ReviewTable of ContentsPrefaceAcknowledgementsPart I: Three Essays in BackgroundChapter 1: What Renaissance Poets Would Have KnownChapter 2: Answers and QuestionsChapter 3: Donne's Pictures of the Good DeathPart II: Writing About One's Own DeathChapter 4: Respice FinemChapter 5: Death in Earnest: "Tichborne's Elegy"Chapter 6: Dying in Jest and Earnest: RaleighChapter 7: Imagined Dyings: John DonneChapter 8: Entering the History of Death: George HerbertChapter 9: "The Plaudite, or End of Life"Part III: On the Death of Someone ElseChapter 10: IntroductionChapter 11: Lament, Praise, Consolation: Pain/Difficulty, EaseChapter 12: The Death of a Loved One: Personal and Public ExpressionsChapter 13: Episodes in the Progress of DeathPart IV: ExpressionChapter 14: Preliminary ViewsChapter 15: Thoughts and ImagesChapter 16: Images of ReflectionChapter 17: Reasoning by ResemblancesChapter 18: IntricaciesChapter 19: The EndNotesIndex

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Book SynopsisA literary history of the old, broken, rusty, dusty, and moldy stuff that people dug up in England during the long eighteenth century. In the eighteenth century, antiquarieswary of the biases of philosophers, scientists, politicians, and historiansused old objects to establish what they claimed was a true account of history. But just what could these small, fragmentary, frequently unidentifiable things, whose origins were unknown and whose worth or meaning was not self-evident, tell people about the past?In Artifacts, Crystal B. Lake unearths the four kinds of old objects that were most frequently found and cataloged in Enlightenment-era England: coins, manuscripts, weapons, and grave goods. Following these prized objects as they made their way into popular culture, Lake develops new interpretations of works by Joseph Addison, John Dryden, Horace Walpole, Jonathan Swift, Tobias Smollett, Lord Byron, and Percy Bysshe Shelley, among others. Rereading these authors with the artifact in Trade ReviewWhile this review singles out only a few, Lake's examination of the narratives generated by many eighteenth-century first responders to coins, weapons, manuscripts and grave goods, is thorough and illuminating, as are her detailed and scholarly readings of literary texts where artifacts shape form and content.—Frances Singh, Hostos Community College, CUNY (emerita), Eighteenth-Century Intelligencer[A] engaging and thought-provoking study.—Kate Smith, University of Birmingham, Journal of British Studies..., the book is a powerful reminder of the nuances that paying more attention to objects can bring to the study of the intersections between literature and politics in the long eighteenth century.—Giacomo Savani, University College Dublin, Modern PhilologyTable of ContentsList of Illustrations AcknowledgmentsPrologue. Things Speaking for ThemselvesPart I. Terms and ContextsChapter 1. Leaving Room to Guess Chapter 2. Ten Thousand GimcracksPart II. Case StudiesChapter 3. Coins: The Most Vocal Monuments Chapter 4. Manuscripts: Burnt to a Crust Chapter 5. Weapons: A Wilderness of Arms Chapter 6. Grave Goods: The Kings' Four BodiesAfterword. The Artifactual FormNotesWorks CitedIndex

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Book SynopsisA revelatory history of the characters that playwrights and managers created out of the real lives of women in intimate relationships with military men to serve Great Britain's greatest needs during the war-saturated eighteenth century. During the long eighteenth century, Great Britain was almost continuously at war. As the era unfolded, the theatre gradually discovered the potential in having actresses, recently introduced to the stage in the 1660s, perform as wartime women characters. As playwrights and managers began casting women in transformative roles to meet each major national need, female characters came to be central figures in bringing the war home to the nation, transforming them into deeply patriotic British subjects. Paula Backscheider's Women in Wartime is the first study of theatrical representations of women with intimate connections to military men. Drawing upon her extensive expertise in gender, performance studies, popular culture, and archival studies, BackscheTrade ReviewPaula R. Backscheider, a significant writer on the subject of eighteenth-century drama...analyses more than fifty plays in a substantial work that she acknowldges took years to write.—Times Literary SupplementWomen in Wartime is masterfully written tying together theory, historical context and a vast body of evidence....Backscheider's work is relevant far beyond the eighteenth century; she identifies quintessential themes that continue to shape perceptions of gender in theatre and literature today, and perhaps most importantly, shows how intertheatricality can impact studies of theatre, gender, representation and reception.—Gender & HistoryPaula R. Backscheider offers an expansive prehistory of this familiar gendered and generational patriotism...There is much to appreciate in this study.—Theatre SurveyParticularly valuable among the critical pieces I have thus far discussed are those that contribute to the continued recovery and recentring of women's writing and women's representation in long eighteenth-century drama.... Prime among these is Paula R. Backscheider's Women in Wartime: Theatrical Representations in the Long Eighteenth Century, a tremendous undertaking that explores, as the title suggests, how the backdrop of 'intense periods of British wars' across the long eighteenth century affected playwrights' portrayals of female characters of all classes.—The Year's Work in English StudiesTable of ContentsList of IllustrationsAcknowledgmentsAbbreviations and Textual NoteIntroduction1. Prolegomenon. The Genesis of Wartime Women: Statira, Parisatis, and Roxana2. The Changing Face of War: Fidelia, Mrs. Gripe, and Clarinda 3. In the Shadow of Marlborough's War: Silvia, Rose, Belvedera, and Dorcas4. Crisis Years: Women Must Say "Go"5. From Props to Players: Nelly, Sukey, and Feridon6. Marrying Military: Gendered PatriotismCodaAppendix A: Wars, Recruiting, and Women's Responsibilities and RightsAppendix B: NewsNotesBibliographyIndex

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Book SynopsisA revelatory history of the characters that playwrights and managers created out of the real lives of women in intimate relationships with military men to serve Great Britain's greatest needs during the war-saturated eighteenth century. During the long eighteenth century, Great Britain was almost continuously at war. As the era unfolded, the theatre gradually discovered the potential in having actresses, recently introduced to the stage in the 1660s, perform as wartime women characters. As playwrights and managers began casting women in transformative roles to meet each major national need, female characters came to be central figures in bringing the war home to the nation, transforming them into deeply patriotic British subjects. Paula Backscheider's Women in Wartime is the first study of theatrical representations of women with intimate connections to military men. Drawing upon her extensive expertise in gender, performance studies, popular culture, and archival studies, BackscheTrade ReviewPaula R. Backscheider, a significant writer on the subject of eighteenth-century drama...analyses more than fifty plays in a substantial work that she acknowldges took years to write.—Times Literary SupplementWomen in Wartime is masterfully written tying together theory, historical context and a vast body of evidence....Backscheider's work is relevant far beyond the eighteenth century; she identifies quintessential themes that continue to shape perceptions of gender in theatre and literature today, and perhaps most importantly, shows how intertheatricality can impact studies of theatre, gender, representation and reception.—Gender & HistoryPaula R. Backscheider offers an expansive prehistory of this familiar gendered and generational patriotism...There is much to appreciate in this study.—Theatre SurveyParticularly valuable among the critical pieces I have thus far discussed are those that contribute to the continued recovery and recentring of women's writing and women's representation in long eighteenth-century drama.... Prime among these is Paula R. Backscheider's Women in Wartime: Theatrical Representations in the Long Eighteenth Century, a tremendous undertaking that explores, as the title suggests, how the backdrop of 'intense periods of British wars' across the long eighteenth century affected playwrights' portrayals of female characters of all classes.—The Year's Work in English StudiesTable of ContentsList of IllustrationsAcknowledgmentsAbbreviations and Textual NoteIntroduction1. Prolegomenon. The Genesis of Wartime Women: Statira, Parisatis, and Roxana2. The Changing Face of War: Fidelia, Mrs. Gripe, and Clarinda 3. In the Shadow of Marlborough's War: Silvia, Rose, Belvedera, and Dorcas4. Crisis Years: Women Must Say "Go"5. From Props to Players: Nelly, Sukey, and Feridon6. Marrying Military: Gendered PatriotismCodaAppendix A: Wars, Recruiting, and Women's Responsibilities and RightsAppendix B: NewsNotesBibliographyIndex

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Book SynopsisAn ambitious revisionist history of naturalization as a creative mechanism for national expansion.Before borders determined who belonged in a country and who did not, lawyers and judges devised a legal fiction called naturalization to bypass the idea of feudal allegiance and integrate new subjects into their nations. At the same time, writers of prose fiction were attempting to undo centuries of rules about who couldand who could notbe a subject of literature. In Before Borders, Stephanie DeGooyer reconstructs how prose and legal fictions came together in the eighteenth century to dramatically reimagine national belonging through naturalization. The bureaucratic procedure of naturalization today was once a radically fictional way to create new citizens and literary subjects.Through early modern court proceedings, the philosophy of John Locke, and the novels of Daniel Defoe, Laurence Sterne, Maria Edgeworth, and Mary Shelley, DeGooyer follows how naturalizTrade Review...superbly interdisciplinary book...—International Journal of Law in ContextTable of ContentsAcknowledgmentsIntroduction. Open CountryPart I: Theories of NaturalizationChapter 1. Naturalization in HistoryChapter 2. Ideas of NaturalizationPart II: Fictions of NaturalizationChapter 3. Law of the Foreign FatherChapter 4. Open-Door Domestic FictionPart III: Relations of NaturalizationChapter 5. Unnatural-Born SubjectsCodaNotesIndex

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Book SynopsisAn ambitious revisionist history of naturalization as a creative mechanism for national expansion.Before borders determined who belonged in a country and who did not, lawyers and judges devised a legal fiction called naturalization to bypass the idea of feudal allegiance and integrate new subjects into their nations. At the same time, writers of prose fiction were attempting to undo centuries of rules about who couldand who could notbe a subject of literature. In Before Borders, Stephanie DeGooyer reconstructs how prose and legal fictions came together in the eighteenth century to dramatically reimagine national belonging through naturalization. The bureaucratic procedure of naturalization today was once a radically fictional way to create new citizens and literary subjects.Through early modern court proceedings, the philosophy of John Locke, and the novels of Daniel Defoe, Laurence Sterne, Maria Edgeworth, and Mary Shelley, DeGooyer follows how naturalizTrade Review...superbly interdisciplinary book...—International Journal of Law in ContextTable of ContentsAcknowledgmentsIntroduction. Open CountryPart I: Theories of NaturalizationChapter 1. Naturalization in HistoryChapter 2. Ideas of NaturalizationPart II: Fictions of NaturalizationChapter 3. Law of the Foreign FatherChapter 4. Open-Door Domestic FictionPart III: Relations of NaturalizationChapter 5. Unnatural-Born SubjectsCodaNotesIndex

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Book SynopsisA revelatory reading of the British novel that considers interfaith marriage, religious toleration, and the ethics of sociability. Bringing together feminist theory, novel criticism, and religious studies, Alison Conway's Sacred Engagements advances a postsecular reading of the novel that links religious tolerance and the eighteenth-century marriage plot. Conway explores the historical roots of the vexed questions that interfaith marriage continues to raise today. She argues that narrative wields the power to imagine conjugal and religious relations that support the embodied politics crucial to a communal, rather than state-sponsored, ethics of toleration. Conway studies the communal and gendered aspects of religious experience embedded in Samuel Richardson's account of interfaith marriage and liberalism's understandings of toleration in Sir Charles Grandison. In her readings of Frances Brooke, Elizabeth Inchbald, and Maria Edgeworth, Conway considers how women authors reframe the Table of ContentsList of IllustrationsAcknowledgmentsIntroduction: Novel Intimacies Chapter 1. Religious Toleration and Interfaith Marriage, 1640-1720Chapter 2. Sir Charles Grandison's Religious DisturbancesChapter 3. Frances Brooke's Civil Disputes Chapter 4. Elizabeth Inchbald among the CisalpinesChapter 5. Maria Edgeworth's Jewish EnlightenmentConclusion: Mansfield Park Closes Its GatesNotesBibliographyIndex

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