Time, the City, and the Literary Imagination explores the relationship between the constructions and representations of the relationship between time and the city in literature published between the late eighteenth century and the present. This collection offers a new way of reading the literary city by tracing the ways in which the relationship between time and urban space can shape literary narratives and forms. The essays consider the representation of a range of literary cities from across the world and consider how an understanding of time, and time passing, can impact on our understanding of the primary texts. Literature necessarily deals with time, both as a function of storytelling and as an experience of reading. In this volume, the contributions demonstrate how literature about cities brings to the forefront the relationship between individual and communal experience and time.

In this original and illuminating new study, Mark Knights reveals how the political culture of the eighteenth century grew out of earlier trends and innovations. Arguing that the period from 1675 needs to be seen as the second stage of a seventeenth-century revolution that ran on until c.1720, Representation and Misrepresentation in Later Stuart Britain charts the growth of a national political culture and traces the development of the public as an arbiter of politics. In doing so, it uncovers a crisis of public discourse and credibility, and finds a political enlightenment rooted in local and national partisan conflict. The later Stuart period was characterized by frequent elections, the lapse of pre-publication licensing, the emergence of party politics, the creation of a public debt, and ideological conflict over popular sovereignty. These factors combined to enhance the status of the 'public', not least in requiring it to make numerous acts of judgement. Contemporaries from across the political spectrum feared that the public might be misled by the misrepresentations pedalled by their rivals. Each side, and those ostensibly of no side, discerned a culture of passion, slander, libel, lies, hypocrisy, dissimulation, conspiracy, private languages, and fictions. 'Truth' appeared an ambiguous, political matter. Yet the reaction to partisanship was also creative, for it helped to construct an ideal form of political discourse. This was one based on reason rather than passion, on moderation rather than partisan zeal, on critical reading rather than credulity; and an increasing realization that these virtues arose from infrequent rather than frequent elections. Finding synergies between social, political, religious, scientific, literary, cultural, and intellectual history, Representation and Misrepresentation in Later Stuart Britain reinvigorates the debate about the emergence of 'the public sphere' in the later Stuart period.

Blake's 'Human Form Divine' has long commanded the spotlight. Beastly Blake shifts focus to the non-human creatures who populate Blake's poetry and designs. The author of 'The Tyger' and 'The Lamb' was equally struck by the 'beastliness' and the beauty of the animal kingdom, the utter otherness of animal subjectivity and the meaningful relationships between humans and other creatures. 'Conversing with the Animal forms of wisdom night & day', Blake fathomed how much they have to teach us about creation and eternity. This collection ranges from real animals in Blake's surroundings, to symbolic creatures in his mythology, to animal presences in his illustrations of Virgil, Dante, Hayley, and Stedman. It makes a third to follow Queer Blake and Sexy Blake in irreverently illuminating blind spots in Blake criticism. Beastly Blake will reward lovers of Blake's writing and visual art, as well as those interested in Romanticism and animal studies.

Britain's Bloodless Revolutions explores the relationship of the emerging category of Literature to the emerging threat of popular violence between the Bloodless Revolution and the Romantic turn from revolution to reform. The book argues that at a time when the political nature of the Bloodless Revolution became a subject of debate - in the period defined by France's famously bloody revolution - 'Literature' emerged as a kind of political institution and constituted a bloodless revolution in its own right.

The Early Stuart Masque: Dance, Costume, and Music studies the complex impact of movements, costumes, words, scenes, music, and special effects in English illusionistic theatre of the Renaissance. Drawing on a massive amount of documentary evidence relating to English productions as well as spectacle in France, Italy, Germany, and the Ottoman Empire, the book elucidates professional ballet, theatre management, and dramatic performance at the early Stuart court. Individual studies take a fresh look at works by Ben Jonson, Samuel Daniel, Thomas Carew, John Milton, William Davenant, and others, showing how court poets collaborated with tailors, designers, technicians, choreographers, and aristocratic as well as professional performers to create a dazzling event. Based on extensive archival research on the households of Queen Anne and Queen Henrietta Maria, special chapters highlight the artistic and financial control of Stuart queens over their masques and pastorals. Many plates and figures from German, Austrian, French, and English archives illustrate accessibly-written introductions to costume conventions, early dance styles, male and female performers, the dramatic symbolism of colors, and stage design in performance. With splendid costumes and choreographies, masques once appealed to the five senses. A tribute to their colorful brilliance, this book seeks to recover a lost dimension of performance culture in early modern England.

Women's poetry of the Spanish early modern period. This collection of fourteen scholarly essays on women's poetry from Spain's early modern period shows that women did indeed have a Golden Age, and that they were significant cultural actors in the realms of poetic production. Thestudies of secular verse demonstrate how female poets of this period devised strategies to confront the dominant masculine poetic discourse, while the essays on sacred poetry explore the multiple manifestations of female piety andmysticism. The women's words are brought to life and modern readers helped to understand the socio-cultural, interpersonal, and aesthetic components of the poets' oeuvre. The volume, a companion to Julian Olivares' and ElizabethBoyce's revised anthology "Tras el espejo la musa escribe": Lirica femenina de los Siglos de Oro, constitutes an authoritative critical enterprise focused on the recuperation of the female literary voice, and marks an important step forward in the battle to include women's writing as part of Spain's literary canon. Contributors: Electa Arenal, Aranzazu Borrachero Mendibil, Anne J. Cruz, Adrienne L. Martin, Rosa Navarro Duran, Julian Olivares, Inmaculada Osuna, Amanda Powell, Elizabeth Rhodes, Stacey Schlau, Lia Schwartz, Alison Weber, Judith Whitenack. JULIAN OLIVARES is Professor of Spanish at the University of Houston and editor of Caliope, Journal ofthe Society for Renaissance and Baroque Hispanic Poetry.

The facts of John Milton's life are well documented, but what of the person Milton -- the man whose poetic and prose works have been deeply influential and are still the subject of opposing readings? John Shawcross's "different" biography depicts the man against a psychological backdrop that brings into relief who he was -- in his works and from his works. While the theories of Freud, Lacan, Kohut, and others underlie this pursuit of Milton's "self," Jung and some of his followers provide the basic understanding by which Shawcross places Milton in the panorama of history. His explorations of the psychological underpinnings of Milton's decision to become a poet, of the homoerotic dimensions of his personality, and of his relationships with father and mother demonstrate the extent to which psychobiography proves itself invaluable as a means to appreciate this complex writer and his complex writings. This biography combines the traditional chronological narrative with a technique akin to that of fiction, "a mixture of times and a triggering of remembrances from various time frames without time differentiations." Such an approach offers a view of Milton "not only in being but in process of being." Shawcross's examination of two current concerns, gender attitudes and political ideologies, ranges Milton's work against the self he exhibits. Specialists and nonspecialists alike will find in this magisterial biography a wealth of new insight into one of the greatest of English poets.

The responsiveness of Sterne's writing to a wide range of approaches and topics of recent and ongoing interest--among them narrative, interpretation, intertextuality, gender, the body, sentimentalism, and print culture--has ensured a wealth of recent activity in the journals. Two specialist periodicals, the Shandean and Eighteenth-Century Fiction, have become major repositories for innovative work on Sterne since their foundation in the late 1980s, and important new readings continue to appear in the established journals. The proliferation of periodical articles means, in turn, access to the full range of this material is now a problem in all but the largest institutions. This situation creates a major opportunity for a volume designed to reprint the best essays of the last fifteen years. The book is divided into five sections. Section one looks at one of the most contentious recent debates about Tristram Shandy, o n the issue of generic definition, and is designed to help students orient themselves in their encounters with this convention-breaking text in terms of prior traditions and intertexts. Section two's essays on print culture represent a major new area of interest in literary study as a whole. In this context "print culture" denotes not only Sterne's experimental deformation of typographical resources in Tristram Shandy (the black, marbled, and blank pages being the famous instances) but also his engagement with a literary marketplace in which reviewers and other readers could influence the text as it serially emerged. Section three focuses on topics about the body in Sterne. These essays, related closely to the essays in section four, go beyond run of the mill "body inliterature" criticism by linking the topic to other issues of current interest: narrative, language, and scientific discourse and/or medical practices in the period. Political readings, another growth area in recent years, is the subject of the final, fifth section.

John Fletcher's Rome is the first book to explore John Fletcher's engagement with classical antiquity. Like Shakespeare and Jonson, Fletcher wrote, alone or in collaboration, a number of Roman plays: Bonduca, Valentinian, The False One and The Prophetess. Unlike Shakespeare's or Jonson's, however, Fletcher's Roman plays have seldom been the subject of critical discussion. Domenico Lovascio's ground-breaking study examines these plays as a group for the first time, thus identifying disorientation as the unifying principle of Fletcher's portrayal of imperial Rome. John Fletcher's Rome argues that Fletcher's dramatization of ancient Rome exudes a sense of detachment and scepticism as to the authority of Roman models resulting from his irreverent approach to the classics. The book sheds new light on Fletcher's intellectual life, his vision of history, and the interconnections between these plays and the rest of his canon. -- .

Johnson himself wrote in 1782: "I know not that I have written any thing more generally commended than the Lives of the Poets." Always recognized as a major biographical and critical achievement, Samuel Johnson's last literary project is also one of his most readable and entertaining, written with characteristic eloquence and conviction, and at times with combative trenchancy.
Johnson's fifty-two biographies constitute a detailed survey of English poetry from the early seventeenth century down to his own time, with extended discussions of Cowley, Milton, Waller, Dryden, Addison, Prior, Swift, Pope, and Gray. The Lives also include Johnson's memorable biography of the enigmatic Richard Savage (1744), the friend of his own early years in London.
Roger Lonsdale's Introduction describes the origins, composition, and textual history of the Lives, and assesses Johnson's assumptions and aims as biographer and critic. The commentary provides a detailed literary and historical context, investigating Johnson's sources, relating the Lives to his own earlier writings and conversation, and to the critical opinions of his contemporaries, as well as illustrating their early reception. This is the first scholarly edition since George Birkbeck Hill's three-volume Oxford edition (1905).
This is volume one of four.

Johnson himself wrote in 1782: "I know not that I have written any thing more generally commended than the Lives of the Poets." Always recognized as a major biographical and critical achievement, Samuel Johnson's last literary project is also one of his most readable and entertaining, written with characteristic eloquence and conviction, and at times with combative trenchancy.
Johnson's fifty-two biographies constitute a detailed survey of English poetry from the early seventeenth century down to his own time, with extended discussions of Cowley, Milton, Waller, Dryden, Addison, Prior, Swift, Pope, and Gray. The Lives also include Johnson's memorable biography of the enigmatic Richard Savage (1744), the friend of his own early years in London.
Roger Lonsdale's Introduction describes the origins, composition, and textual history of the Lives, and assesses Johnson's assumptions and aims as biographer and critic. The commentary provides a detailed literary and historical context, investigating Johnson's sources, relating the Lives to his own earlier writings and conversation, and to the critical opinions of his contemporaries, as well as illustrating their early reception. This is the first scholarly edition since George Birkbeck Hill's three-volume Oxford edition (1905).
This is volume two of four.

Johnson himself wrote in 1782: "I know not that I have written any thing more generally commended than the Lives of the Poets." Always recognized as a major biographical and critical achievement, Samuel Johnson's last literary project is also one of his most readable and entertaining, written with characteristic eloquence and conviction, and at times with combative trenchancy.
Johnson's fifty-two biographies constitute a detailed survey of English poetry from the early seventeenth century down to his own time, with extended discussions of Cowley, Milton, Waller, Dryden, Addison, Prior, Swift, Pope, and Gray. The Lives also include Johnson's memorable biography of the enigmatic Richard Savage (1744), the friend of his own early years in London.
Roger Lonsdale's Introduction describes the origins, composition, and textual history of the Lives, and assesses Johnson's assumptions and aims as biographer and critic. The commentary provides a detailed literary and historical context, investigating Johnson's sources, relating the Lives to his own earlier writings and conversation, and to the critical opinions of his contemporaries, as well as illustrating their early reception. This is the first scholarly edition since George Birkbeck Hill's three-volume Oxford edition (1905).
This is volume three of four.

Johnson himself wrote in 1782: "I know not that I have written any thing more generally commended than the Lives of the Poets." Always recognized as a major biographical and critical achievement, Samuel Johnson's last literary project is also one of his most readable and entertaining, written with characteristic eloquence and conviction, and at times with combative trenchancy.
Johnson's fifty-two biographies constitute a detailed survey of English poetry from the early seventeenth century down to his own time, with extended discussions of Cowley, Milton, Waller, Dryden, Addison, Prior, Swift, Pope, and Gray. The Lives also include Johnson's memorable biography of the enigmatic Richard Savage (1744), the friend of his own early years in London.
Roger Lonsdale's Introduction describes the origins, composition, and textual history of the Lives, and assesses Johnson's assumptions and aims as biographer and critic. The commentary provides a detailed literary and historical context, investigating Johnson's sources, relating the Lives to his own earlier writings and conversation, and to the critical opinions of his contemporaries, as well as illustrating their early reception. This is the first scholarly edition since George Birkbeck Hill's three-volume Oxford edition (1905).
This is volume four of four.

How was the social and cultural life of Britain affected by the fear that the French Revolution would spread across the channel? In this brilliant, engagingly written, and profusely illustrated book, John Barrell, well-known for his studies of the history, literature, and art of the period, argues that the conflict between the ancien regime in Britain and the emerging democratic movement was so fundamental that it could not be contained within what had previously been thought of as the "normal" arena of politics. Activities and spaces which had previously been regarded as "outside" politics suddenly no longer seemed to be so, and the fear of revolution produced a culture of surveillance and suspicion which penetrated every aspect of private life. Drawing on an unusually wide range of sources, including novels, poems, plays, newspapers, debates in parliament, trials, political pamphlets, and caricatures, The Spirit of Despotism focuses on a number of examples of such invasions of privacy. It shows how the culture of suspicion affected how people spoke and behaved in London coffee-houses; how it influenced attitudes to the king's behavior in private, especially during his summer holidays in Weymouth; how it infiltrated the country cottage, previously idealized as a protected haven of peace and retirement from political life; and how it influenced the fashion of the period, so that even the way people chose to style their hair came to be seen as a political issue.

Spenser's extraordinary Shepheardes Calender as first printed in 1579 is arguably the seminal book of the Elizabethan literary renaissance. This volume reassesses it as a material text in relation to book history, and provides the first clearly detailed facsimile of the 1579 Calender available as a book. The editor reconsiders the original book's development, production, design, and particular characteristics, and demonstrates both its correlations with diverse precursors in print and its significant departures. Numerous illustrations of archival sources facilitate comparison. By reinvestigating the 1579 Calender's twelve pictures, he shows that Spenser himself probably designed them, that they involve complex symbolism, and that this book's meaning is thus profoundly verbal-visual. An analyzed facsimile is an essential new resource for study of Spenser's Calender, Spenser, Elizabethan print and poetics, and early modern English literary history. -- .

Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms explores the relationships among the musical genres of post-punk, goth, and metal and American and European Romanticisms traditionally understood. It argues that these contemporary forms of music are not only influenced by but are an expression of Romanticism continuous with their eighteenth- and nineteenth-century influences. Figures such as Blake, Wordsworth, Coleridge, Byron, Keats, Mary Shelley, Percy Shelley, Friedrich, Schlegel, and Hoffman are brought alongside the music and visual aesthetics of the Rolling Stones, the New Romantics, the Pretenders, Joy Division, Nick Cave, Tom Verlaine, emo, Eminem, My Dying Bride, and Norwegian black metal to explore the ways that Romanticism continues into the present in all of its varying forms and expressions.

The Chronology and Calendar of Documents relating to the London Book Trade 1641-1700 presents abstracts of documents relating to the book trade and book production between 1641 and 1700. It brings together in one sequence edited abstracts of entries referring to named books, printers, and booksellers selected from the manuscripts of the Stationers' Company Court Books; all references to printing, publishing, bookselling, and the book trade occurring in major historical printed sources(Calendar of State Papers Domestic; the Journals of the Houses of Lords and Commons; Reports of the Royal Commission on Historical Manuscripts) ; and entries for contemporary pamphlets. The labour records of the printing and bookselling trades probably represent the fullest account of any work force in early modern England and the printed products of the trade survive in such great numbers that they enable us to examine them for evidence not only of who made and sold them but also of how they were made. These volumes constitute a reference work of importance not only for literature specialists, bibliographers, and historians of book production but also for economic, social, and political historians. Not only do they bring together records from a variety of separate printed sources, thereby making explicit their interconnections, but also they make accessible some less well-known manuscript sources, notably from the Stationers' Company archives. Most importantly the Chronology and Calendar extends the earlier work of Arber, Greg, and Jackson on the earlier seventeenth century. As a chronological sequence the volumes meet the need for a preliminary narrative history of the trade in the later seventeenth century; and the provision of title, name, and topic indexes renders this an indispensable reference tool for research into the social, political, and economic contexts of the book trade, its personnel, and its printed output.

This book explores the reciprocal influence of friendship ideals and narrative forms in eighteenth-century British fiction. It examines how various novelists, from Samuel Richardson to Mary Shelley, drew upon classical and early modern conceptions of true amity as a model of collaborative pedagogy. Analyzing authors, their professional circumstances, and their audiences, the study shows how the rhetoric of friendship became a means of paying deference to the increasing power of readerships, while it also served as a semi-covert means to persuade resistant readers and confront aesthetic and moral debates head on. The study contributes to an understanding of gender roles in the early history of the novel by disclosing the constant interplay between male and female models of amity. It demonstrates that this gendered dialogue shaped the way novelists imagined character interiority, reconciled with the commercial aspects of writing, and engaged mixed-sex audiences.

This volume is the first attempt to establish a body of work representing English thinking about the practice of translation in the early modern period. The texts assembled cover the long sixteenth century from the age of Caxton to the reign of James 1 and are divided into three sections: 'Translating the Word of God', 'Literary Translation' and 'Translation in the Academy'. They are accompanied by a substantial introduction, explanatory and textual notes, and a glossary and bibliography. Neil Rhodes is Professor of English Literature and Cultural History at the University of St Andrews and Visiting Professor at the University of Granada. Gordon Kendal is an Honorary Research Fellow in the School of English, University of St Andrews. Louise Wilson is a Leverhulme Early Career Fellow in the School of English, University of St Andrews

This book provides an approachable exposition of the rationale of textual editing with special reference to texts from between 1550-1800. The volume explains how manuscript and printed texts were produced, indicating the implications of this for their editorial treatment and giving practical advice on how texts should be prepared and presented.

Devils, witches and evil - the insubstantial but terrifying world of the supernatural as it was seen by Robert Burns and his contemporaries is examined in this new book, brought out for the 250th anniversary of the poet's birth. Several of Burns' poems dealt with the supernatural, the most famous of which, "Tam o Shanter", is examined in detail. It is from this poem that the book's title comes: 'And roars out, "Weel done, Cutty-sark!" And in an instant all was dark And scarcely had he Maggie rallied When out the hellish legion sallied.' In contrast with the 'other world' was the everyday lives of the country people and the nature of the material world in which they lived; the book also examines this and the changes that were taking place in Burns' time.

Michael Giffin offers a reading of Austen's six published novels against the background of a 'long 18th century' that stretched from the Restoration to the Regency. He demonstrates that Austen is a neoclassical author of the enlightenment who writes through the twin prisms of British Empiricism and Georgian Anglicanism. Giffin's focus is on how Austen's novels mirror a belief in natural law and natural order and how they reflect John Locke's theory of knowledge through reason, revelation, and reflection on experience.

Poetry and the Creation of a Whig Literary Culture offers a new perspective on early eighteenth century poetry and literary culture, arguing that long-neglected Whig poets such as Joseph Addison, John Dennis, Thomas Tickell, and Richard Blackmore were more popular and successful in their own time than they have been since. These and other Whig writers produced elevated poetry celebrating the political and military achievements of William III's Britain, and were committed to an ambitious project to create a distinctively Whiggish English literary culture after the Revolution of 1688. Far from being the penniless hacks and dunces satirized by John Dryden and the Scriblerians, they were supported by the patronage of the wealthy Whig aristocracy, and their works promoted as a new English literature to rival that of classical Greece and Rome. Poetry and the Creation of a Whig Literary Culture maps for the first time the evolution of an alternative early eighteenth-century poetic tradition which is central to our understanding of the literary history of the period.

The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material themselves.

John Fletcher and Philip Massinger's comedy Love's Cure, or The Martial Maid (1615) is an innovative and provocative play that explores the struggle of two transgender siblings, Lucio and Clara, who have been brought up as members of their opposite genders. After twenty years of separation, they are forced to switch around their gender identities, facing fierce scrutiny from their family and the cruelly heteronormative society of early modern Seville. This Revels Plays volume is the first fully annotated, single-volume critical edition of the play ever to be published. The text has been modernised and is accompanied by full commentary. The introduction presents ground-breaking research on the play's remarkable engagement with its Spanish literary sources, and it provides a full discussion of its dating, authorship, and reception by literary critics and in the theatre. -- .