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During his lifetime Aaron Hill was one of the most lively cultural patrons and brokers on the London literary scene — an image hard to square with the company of undistinguished scribblers to which Pope relegated him in the Dunciad. This book aims to correct the distorted picture of the Augustan cultural scene which Pope passed down to posterity. Hill deliberately confronted Pope in his attempt to free poetry's sublime and visionary potential from the stale platitudes of neo-classical convention. An early champion of women poets, he also enjoyed close relationships with Eliza Haywood and Martha Fowke, and brought his three writing daughters Urania, Astrea, and Minerva into close contact with his lifelong friend the novelist Samuel Richardson. In 1711 Hill, as stage manager and librettist, introduced Handel to the English stage, as well as lobbying tirelessly for innovation in the 18th-century theatre. His entrepreneurial energies, directed at both commercial and cultural projects, mirror the zeitgeist of early Hanoverian Britain.

As a very young man, one of the most celebrated English authors of the eighteenth century translated a tome about Ethiopia. This experience permanently marked Samuel Johnson, leaving traces of the African discourse he encountered in that text in his drama Irene;several of his short stories; and his most famous fiction, Rasselas. This book provides a much needed perspective in comparative literature and postcolonial studies on the power of the discourse of the other to infuse European texts. This book illuminates how the Western literary canon is globally produced by developing the powerful metaphor of spirit possession to posit some texts in the European canon as energumens, texts that are spoken through. The model of discursive possession offers a new way of theorizing transcultural intertextuality, in particular how Europe’s others have co-constituted European representations. Through close readings of primary and secondary sources in English, French, Portuguese, and Gəʿəz, the book challenges conventional wisdom on Johnson’s work, from the inspiration for the name Rasselas and the nature of Johnson’s religious beliefs to what makes Rasselas so strange.

How did Alexander Pope become the greatest poet of the eighteenth century? Drawing on previously neglected texts and overlooked archival materials, Alexander Pope in the Making provides a radical new account of the poet’s early career, from the earliest traces of manuscript circulation to the publication of his collected Works. Joseph Hone illuminates classic poems such as An Essay on Criticism, The Rape of the Lock, and Windsor-Forest by setting them alongside lesser-known texts by Pope and his contemporaries, many of which have never received sustained critical attention before. Pope’s earliest experiments in satire, panegyric, lyric, pastoral, and epic are all explored alongside his translations, publication strategies, and neglected editorial projects. By recovering cultural values shared by Pope and the politically heterodox men and women whose works he read and with whom he collaborated, Hone unearths powerful new interpretive possibilities for some of the eighteenth century’s most celebrated poems. Alexander Pope in the Making mounts a comprehensive challenge to the ‘Scriblerian’ paradigm that has dominated scholarship for the past eighty years. It sheds fresh light on Pope’s early career and reshapes our understanding of the ideological landscape of his era. This book will be essential reading for scholars and students of eighteenth-century literature, history, and politics.

This book examines how major writers of the French Enlightenment discuss the social appropriateness of anger and gratitude in regulating social life. Defining the kinds of slight or favor that demand an angry or a grateful response became problematic in eighteenth-century France under the pressure of two contradictory developments which were both crucial to Enlightenment thinking about sociability. The first drew on the ideal of moral equality as it spread beyond the salons to the social world at large. Writers claimed for themselves an entitlement to anger at personal slight that had been hitherto reserved for aristocrats, and a respectful hearing for their indignation at public injustice despite their lack of official standing. The philosophes also argued their writing made them social benefactors in their own right, more deserving of their readers' gratitude than obliged to any patron. The second gave a new twist to longstanding philosophical notions about transcending emotional disturbance and dependence altogether. A personal ideal became a public goal as Enlightenment thinkers imagined a society where all significant social interaction was governed by the impersonal rule of law. Occasions for personal slight or obligation would disappear, and with them reasons for anger and gratitude. The same writers who justified their emotional claims also legitimized their cultural authority through displays of rationality and objectivity that indicated their own liberation from emotional bonds. Through analyses of works by Robert Challe, Marivaux, Rousseau, and Diderot, this book shows how the tension between these two rhetorics is crucial to the creativity of French Enlightenment writing.

Aphra Behn, now becoming recognized as a major Restoration figure, is especially significant as an early example of a successful professional woman writer: an important and often troubling role-model for later generations of women. This book shows that her influence on 18th-century literature was far-reaching. Because literary history was (and to an extent still is) based on notions of patrilineal succession, it has been difficult to recognize the generative work of women's texts among male writers. This book suggests that Behn had 'sons' as well as ‘daughters’ and argues that we need a feminist revision of the notion of literary influence. Behn's reputation was very different in different genres. The book analyses her reception as a poet, a novelist, and a dramatist, showing how reactions to her became an important part of the creation of the English literary canon.

Alf layla wa layla (known in English as A Thousand and One Nights or The Arabian Nights) changed the world on a scale unrivalled by any other literary text. Inspired by a 14th-century Syrian manuscript, the appearance of Antoine Galland's twelve-volume Mille et Une Nuits in English translation (1704-1717), closely followed by the Grub Street English edition, drew the text into European circulation. Over the following three hundred years, a widely heterogeneous series of editions, compilations, translations, and variations circled the globe to reveal the absorption of The Arabian Nights into English, continental, and global literatures, and its transformative return to modern Arabic literature, where it now enjoys a degree of prominence that it had never attained during the classical period. Beginning with a thorough introduction situating The Arabian Nights in its historical and cultural contexts—and offering a fresh examination of the text's multiple locations in the long history of modern Orientalism—this collection of chapters by noted scholars from “East,” “West,” and in-between reassesses the influence of the Nights in Enlightenment and Romantic literature, as well as the text's vigorous afterlife in the contemporary Arabic novel.

Where previous studies of ‘Augustanism’ have concentrated largely upon political concerns, this book explores the translation of the Roman Augustan aesthetic into a vernacular equivalent by English neoclassical poets and does so through the analysis of translations. It has its genesis in the claim made implicitly by Dryden at the conclusion of his Virgil that he had given English poetry the kind of refinement in language and style that Virgil had given the Latin. The opening chapter explores the mediation of the Augustan aesthetic to the early Renaissance by way of the De Arte Poetica of the neo Latin Renaissance poet Vida, represented here in the Augustan version of Pitt. The second chapter charts early English engagements with the classical inheritance before moving on to its chief focus, Dryden's relation to his early predecessors in the refinement of the heroic couplet, Denham and Waller, and the establishment of the full Augustan aesthetic represented in Dryden's Virgil. The third and fourth chapters consider the effect of the Augustan aesthetic upon the translation of silver Latin poets, concentrating on Dryden's Persius and Juvenal, Rowe's Lucan and Pope's Statius and finally on the climactic Augustan achievement, Pope's Homer. The distinguishing strengths of Augustan poetic artistry are shown to advantage in a brief epilogue juxtaposing Augustan and modern versions.

The Author’s Effects: On Writer’s House Museums is the first book to describe how the writer’s house museum came into being as a widespread cultural phenomenon across Britain, Europe, and North America. Exploring the ways that authorship has been mythologized and materialized through the conventions of the writer’s house museum, The Author’s Effects anatomizes the how and why of the emergence, establishment, and endurance of popular notions of authorship in relation to creativity. It traces how and why the writer’s bodily remains, possessions, and spaces came to be treasured in the late eighteenth and nineteenth centuries, as a prelude to the appearance of formal writer’s house museums. It ransacks more than 100 museums and archives to tell the stories of celebrated and paradigmatic relics—Burns’ skull, Keats’ hair, Petrarch’s cat, Poe’s raven, Brontë’s bonnet, Dickinson’s dress, Shakespeare’s chair, Austen’s desk, Woolf’s spectacles, Hawthorne’s window, Freud’s mirror, Johnson’s coffee-pot, and Bulgakov’s stove, amongst many others. It investigates houses within which nineteenth-century writers mythologized themselves and their work—Thoreau’s cabin and Dumas’ tower, Scott’s Abbotsford and Irving’s Sunnyside. And it tracks literary tourists of the past to such long-celebrated literary homes as Petrarch’s Arquà, Rousseau’s Île St Pierre, and Shakespeare’s Stratford to find out what they thought and felt and did there, discovering deep continuities with the redevelopment of Shakespeare’s New Place for 2016

Charles Dibdin (1745–1814) was one of the most popular and influential producers of late Georgian culture. The huge diversity of his work and career defies simple categorization. He was, often at one and the same time, an actor, lyricist, composer, singer-songwriter, comedian, theatre-manager, journalist, and author of novels, historical works, polemical pamphlets, and guides to musical education. Consequently, he is important to many different fields for often quite dissimilar reasons. This means that a sense of his overall accomplishments—never mind the powerful reverberations of his influence—across numerous areas and in different periods may only truly be appreciated from the multiple perspectives that an interdisciplinary collaboration can offer. The chief aim of this volume is to illuminate the breadth and depth of Dibdin’s impact, and in the process offer fresh insights into previously hidden aspects of late Georgian culture. Dibdin’s importance lies in his ability to make visible the connections between various kinds of cultural production; he provides a model for thinking about late Georgian culture as a system of interconnected parts. This book illustrates the variety of Dibdin’s cultural output as characteristic of late-eighteenth-century entertainment, while also addressing the challenge mounted by specialization in the early nineteenth century. What emerges is not the elimination of miscellany, but rather the establishment of new cultural hierarchies in which a specialized elite culture increasingly defined itself against a continuing and vibrant culture of miscellany.

This book addresses the emergence of the idea of ‘the conversation of culture’. Around 1700 a new commercial society was emerging that thought of its values as the product of exchanges between citizens. Conversation became increasingly important as a model and as a practice for how community could be created. A welter of publications, in periodical essays, in novels, and in poetry, enjoined the virtues of conversation. These publications were enthusiastically read and discussed in book clubs and literary societies that created their own conversable worlds. From some perspectives, the freedom of a distinctively English conversation allowed for the ‘collision’ of ideas and sentiments. For others, like Joseph Addison and David Hume, ease of ‘flow’ was the key issue, and politeness the means of establishing a via media. For Addison and Hume, the feminization of culture promised to make women the sovereigns of what Hume called ‘the conversable world’. As the culture seemed to open up to a multitude of voices, anxieties appeared as to how far things should be allowed to go. The unruliness of the crowd threatened to disrupt the channels of communication. There was a parallel fear that mere feminized chatter might replace learning. This book examines the influence of these developments on the idea of literature from 1762 through to 1830. Part I examines the conversational paradigm established by figures like Addison and Hume, and the proliferation of conversable worlds into gatherings like Johnson's Club and Montagu's Bluestocking assemblies. Part II looks at the transition from the eighteenth century to ‘Romantic’ ideas of literary culture, the question of the withdrawal from mixed social space, the drive to sublimate verbal exchange into forms that retained dialogue without contention in places like Coleridge's ‘conversation poems,’ and the continuing tensions between ideas of the republic of letters as a space of vigorous exchange as opposed to the organic unfolding of consciousness.

Daniel Defoe, best known as the author of Robinson Crusoe, lived during a period of dramatic historical, political, and social change in Britain, and was by any standard a superb observer of his times. Through his pamphlets, newspapers, books of travel, and works of fiction he commented on anything and everything, from birth control to the price of coal, from flying machines to academies for women, from security for the aged to the dangers of the plague. In his fiction he created a type of vivid realism that powerfully influenced the development of the novel. The publication of works such as Robinson Crusoe are major events because they shape the ways in which we see our world, so that ever afterwards thoughts of desolation and desert islands immediately evoke Defoe's masterpiece. From his earliest collection of brief stories, which he presented to his future wife under the sobriquet Bellmour, to his Compleat English Gentleman, left unpublished at his death, Defoe was pre-eminently a creator of fictions. This life gives us a full understanding of the thought and personal experience that went into Robinson Crusoe, Moll Flanders, and Roxana.

Disaffected Parties reveals how alienation from politics effected crucial changes to the shape and status of literary form. Recovering the earliest expressions of grumbling, irritability, and cynicism towards politics, this study asks how unsettled partisan legacies converged with more recent discontents to forge a seminal period in the making of English literature—and thereby poses wide-ranging questions about the lines between politics and aesthetics. Reading works including Laurence Sterne’s Tristram Shandy, James Boswell’s Life of Johnson, the novels of Maria Edgeworth and Jane Austen, and the satirical poetry of Lord Byron in tandem with print culture and partisan activity, this book shows how these writings remained animated by disaffected impulses and recalcitrant energies at odds with available party positions and emerging governmental norms—even as they sought to imagine perspectives that looked beyond the divided political world altogether. ‘No one can be more sick of—or indifferent to politics than I am’, Lord Byron wrote in 1820. Between the later eighteenth century and the Romantic age, disaffected political attitudes acquired increasingly familiar shapes. Yet this was also a period of ferment in which unrest associated with the global age of revolutions (including a dynamic transatlantic opposition movement) collided with often inchoate assemblages of parties and constituencies. As writers adopted increasingly emphatic removes from the political arena and cultivated familiar stances of cynicism, detachment, and retreat, their estrangement also promised to loop back into political engagement—and to make their works ‘parties’ all their own.

The early novel developed modes of writing that are considered gripping and immersive, because they foreground physical states, meaningful gestures, and emotional excitement. This monograph shows how these changes relate to “embodied” and “enactive” cognition, “embed” themselves into the cultural and material contexts, and “extend” readers’ thoughts. In an investigation of works from Eliza Haywood, Charlotte Lennox, Sarah Fielding, and Frances Burney, it traces the ways in which such “4E cognition” can contribute to a new perspective on stylistic and narrative changes in eighteenth-century fiction. The embodied dimension of literary language is then related to the media ecologies of letter writing, book learning, and theatricality in the eighteenth century. As the novel feeds off and into these social and material contexts, it comes into its own as a lifeworld technology that might not answer to standards of nineteenth-century realism but that feels real because it is integrated into the lifeworld and its embodied experiences. Together with the issue of realism, this book revisits traditional understandings of the “rise of the novel” and earlier historical perspectives in cognitive literary studies. And the perspective from 4E cognition, it is argued, opens links to book history and media ecologies that can launch historically situated cognitive approaches to literature.

This book is an examination of three major French thinkers of the 17th-century — Descartes, Pascal, and Malebranche — of whom the latter two are comparatively little studied in the English-speaking world. It deals with a common attitude of suspicion towards everyday experience, which they see as dominated and obscured by sensation, imagination, and the presence of the body. This attitude, however, obliges them to develop detailed and sophisticated accounts of the shaping of experience, not only by the body but by interpersonal and social relationships, and of the tension between human nature as it is and as we experience it. The treatment of Descartes thus challenges the interpretation that sees him as eliminating the body from ‘subjectivity’, while that of Pascal and Malebranche shows how their critical attitude towards experience (a fertile source for 20th-century French thinkers) is linked with their religious doctrines, especially their Augustinian emphasis on Original Sin.

Edmund Curll was a notorious figure among the publishers of the early eighteenth century: for his boldness, his lack of scruple, his publication of work without authors' consent, and his taste for erotic and scandalous publications. He was in legal trouble on several occasions for piracy and copyright infringement, unauthorised publication of the works of peers, and for seditious, blasphemous, and obscene publications. He stood in the pillory in 1728 for seditious libel. Above all, he was the constant target of the greatest poet and satirist of his age, Alexander Pope, whose work he pirated whenever he could and who responded with direct physical revenge (an emetic slipped into a drink) and persistent malign caricature. The war between Pope and Curll typifies some of the main cultural battles being waged between creativity and business. The story has normally been told from the poet's point of view, though more recently Curll has been celebrated as a kind of literary freedom-fighter. This book seeks to give a balanced and thoroughly-researched account of Curll's career in publishing between 1706 and 1747, untangling the mistakes and misrepresentations that have accrued over the years and restoring a clear sense of perspective to Curll's dealings in the literary marketplace. It examines the full range of Curll's output, including his notable antiquarian series, and uses extensive archive material to detail Curll's legal and other troubles, telling what is known about this strange and awkward figure.

Edward Gibbon’s presentation of character in both the History of the Decline and Fall of the Roman Empire and in his posthumously published Memoirs demonstrates a prevailing interest in the values of transcendent heroism and individual liberty, but also an insistent awareness of the dangers these values pose to coherence and narrative order. In this study, Dr Roberts demonstrates how these dynamics also inform the ‘character’ of the Decline and Fall: in which ironic difference confronts enervating uniformity; oddity counters specious lucidity, and revision combats repetition. Edward Gibbon and the Shape of History explores the Decline and Fall as a work of scholarship and of literature, tracing both its expansive outline and its expressive details. A close examination of each of the three instalments of Gibbon’s history reveals an intimate relationship between the style of Gibbon’s narrative and the overall shape of his historiographical composition. The constant interplay between the particular details of composition and the larger patterns of argument and narrative informs every aspect of Gibbon’s work: from his reception of established and innovative historiographical conventions to the expression of his narrative voice. Through a combination of close reading and larger literary and scholarly analysis, Dr Roberts conveys a sense of the Decline and Fall as a work more complex and conflicted, in its tone and structure, than has been appreciated by previous scholars, without losing sight of the grand contours of Gibbon’s superlative achievement.

A footprint materializes mysteriously on a deserted shore; a giant helmet falls from the sky; a traveler awakens to find his horse dangling from a church steeple. Eighteenth-century fiction brims with moments such as these, in which the prosaic rubs up against the marvelous. While it is a truism that the period’s literature is distinguished by its realism and air of probability, Eighteenth-Century Fiction and the Reinvention of Wonder argues that wonder is integral to—rather than antithetical to—the developing techniques of novelistic fiction. Positioning its reader on the cusp between recognition and estrangement, between faith and doubt, modern fiction hinges upon wonder. Eighteenth-Century Fiction and the Reinvention of Wonder’s chapters unfold its new account of fiction’s rise through surprising new readings of classic early novels—from Daniel Defoe’s Robinson Crusoe to Jane Austen’s Northanger Abbey—as well as bringing to attention lesser known works, most notably Rudolf Raspe’s Baron Munchausen’s Narrative of His Marvellous Travels. In this bold new account, the eighteenth century bears witness not to the world’s disenchantment but rather to wonder’s relocation from the supernatural realm to the empirical world, providing a reevaluation not only of how we look back at the Enlightenment, but also of how we read today.

This book looks at Henry Fielding’s adaptation of classical epic in the context of what he called the ‘Trade of … authoring’. Fielding stressed that his novels were modelled on classical literature. Equally, he was fascinated by—and wrote at length about—the fact that they were objects to be consumed. He recognized that he wrote in an age when an author had to consider himself ‘as one who keeps a public Ordinary, at which all persons are welcome for their Money’. In describing his work, he alludes both to Homeric epic and to contemporary cookery books. This tension between Fielding’s commitment to a classical tradition and his immersion in a print culture in which books were consumable commodities has gone unexplored. Fielding’s interest in the place of the ancients in a world of consumerism was inherited from the previous generation of satirists. The ‘Scriblerians’—among them Jonathan Swift, John Gay, and Alexander Pope—repeatedly suggest in their work that classical values are at odds with modern tastes and appetites. Fielding developed many of their satiric routines in his own writing. This book contains fresh readings of works by Swift, Gay, and Pope, and of Fielding’s major novels. It looks at Fielding’s engagement with various Scriblerian themes primarily the consumption of literature, but also the professionalization of scholarship, and the status of the author—and shows ultimately that Fielding broke with the Scriblerians in acknowledging and celebrating the influence of the marketplace on his work.

This book considers this concept: narrative moves. Stories migrate from one culture to another, over vast distances sometimes, but their path is often difficult to trace and obscured by time. This book looks at the traffic of narrative between Orient and Occident in the 18th century, and challenges the assumption that has dominated since the publication of Edward Said's Orientalism (1978) that such traffic is always one-way. Eighteenth-century readers in the West came to draw their mental maps of oriental territories and distinctions between them from their experience of reading tales ‘from’ the Orient. In this proto-colonial period the English encounter with the East was largely mediated through the consumption of material goods such as silks, indigo, muslin, spices, or jewels, imported from the East, together with the more ‘moral’ traffic of narratives about the East, both imaginary and ethnographic. Through analyses of fictional representations (including travellers' accounts, letter narratives such as Letters Writ by a Turkish Spy, and popular sequences of tales such as the Arabian Nights Entertainments) of four oriental territories (Persia, Turkey, China, and India), this book demonstrates the ways in which the East came to be understood as a source of story, a territory of fable and narrative.