During the bitter debate about the French Revolution, many women writers in Britain argued that the state and national culture should be based on virtues and domains traditionally conceded to women. Women, Writing, and Revolution 1790-1827 combines an illuminating survey of women's writing in this period with detailed analyses of the critically neglected work of three important women writers: Helen Maria Williams, Mary Hays, and Elizabeth Hamilton.

This study examines the role of anti-Catholic rhetoric in late seventeenth- and early eighteenth-century England. This role was long neglected, being at once obvious and distasteful, a reproach to the heirs of the Enlightenment who prided themselves on their tolerance and did not want to confront its origins in intolerance. Raymond Tumbleson discusses how the fear of Popery, a potentially destabilising force under the Stuarts, ultimately became a principal guarantor of the Hanoverian oligarchy. The range of authors discussed runs from Middleton, Milton and Marvell to Swift, Defoe and Fielding, as well as numerous pamphleteers. Crossing traditional generic, disciplinary and chronological boundaries, this book examines hitherto neglected relationships between poetry and prose, literature and polemic, the Reformation and the Augustan age.

Emphasizing Frances Burney's professionalism and her courage, the author of this work aims to show the protean writer who recognized her abilities and exercised them, always carefully shaping her career. Though now frequently depicted as retiring, even fearful, Burney forced on her reading public themes they were scarcely ready for, flamboyantly mixing genres, writing comically about intimate violence. Not content in old age to be merely a literary icon, she privately recorded with increasing clarity the moments when the world lacerates the self.

There has recently been a resurgence of interest in the importance of the emotions in Romantic literature and thought. This collection, the first to stress the centrality of the emotions to Romanticism, addresses a complex range of issues including the relation of affect to figuration and knowing, emotions and the discipline of knowledge, the motivational powers of emotion, and emotions as a shared ground of meaning. Contributors offer significant new insights on the ways in which a wide range of Romantic writers, including Jane Austen, William Wordsworth, Immanuel Kant, Lord Byron, Mary and Percy Bysshe Shelley, Thomas De Quincey and Adam Smith, worried about the emotions as a register of human experience. Though varied in scope, the essays are united by the argument that the current affective and emotional turn in the humanities benefits from a Romantic scepticism about the relations between language, emotion and agency.

This is the first book-length study to trace the origin of the essay to the brief narrative tale. While the form of the conte gave shape to the essay, the violence of the times destabilized a known genre to create a new one. It was the disruption of the times and the impact on Montaigne's personal and public life that led to the birth of the new form, a form he so aptly named the essay. Historic events and his reaction to the violence impacted and transformed Montaigne's work. We witness a change from the initial efficient style with which he had set out to interweave his own reflections, self-portraits, and anecdotes with the tales from ancient and contemporary storytellers, poets, and historians. Eventually the growing political disruption pulled Montaigne away from the exemplary claims of the tales to borrow from the more contingent, detailed observations of ethnographers and physicians.

This book investigates the presence of disability in British Romantic literature, as subject matter, as metaphorical theme, and as lived experience. It is the first collection of its kind, breaking new ground in re-interpreting key texts and providing a challenging overview of this emerging field. The collection offers both a critique of academic Romantic studies and an affirmation of the responsiveness of the Romantic canon to new stimuli. Authors discussed include William Blake, Lord Byron, Ann Batten Cristall, Samuel Taylor Coleridge, George Darley, Richard Payne Knight, William Gilpin, Mary Robinson, Mary Shelley, Robert Southey, and William Wordsworth.

This volume is a comprehensive collection of articles on Bunyan as well as including several broader views of the Nonconformist tradition.

During the long eighteenth century, ideas of society and of social progress were first fully investigated. These investigations took place in the contexts of economic, theological, historical and literary writings which paid unprecedented attention to the place of women. Combining intellectual history with literary criticism, Karen O'Brien examines the central importance to the British Enlightenment both of women writers and of women as a subject of enquiry. She examines the work of a range of writers, including John Locke, Mary Astell, David Hume, Adam Smith, Edward Gibbon, T. R. Malthus, the Bluestockings, Catharine Macaulay, Mary Wollstonecraft and the first female historians of the early nineteenth century. She explores the way in which Enlightenment ideas created a language and a framework for understanding the moral agency and changing social roles of women, without which the development of nineteenth-century feminism would not have been possible.

This collection investigates Queen Elizabeth I as an accomplished writer in her own right as well as the subject of authors who celebrated her. With innovative essays from Brenda M. Hosington, Carole Levin, and other established and emerging experts, it reappraises Elizabeth's translations, letters, poems and prayers through a diverse range of approaches to textuality, from linguistic and philological to literary and cultural-historical. The book also considers Elizabeth as "authored," studying how she is reflected in the writing of her contemporaries and reconstructing a wider web of relations between the public and private use of language in early modern culture. Contributions from Carlo M. Bajetta, Guillaume Coatelen and Giovanni Iamartino bring the Queen's presence in early modern Italian literary culture to the fore. Together, these essays illuminate the Queen in writing, from the multifaceted linguistic and rhetorical strategies that she employed, to the texts inspired by her power and charisma.

Devils, ghosts, poltergeists, werewolves, and witches are all covered in this book about the "dark side" of supernatural beliefs in early modern Europe, tapping period literature, folklore, art, and scholarly writings in its investigation. The dark side of early modern European culture could be deemed equal in historical significance to Christianity based on the hundreds of books that were printed about the topic between 1400 and 1700. Famous writers and artists like William Shakespeare and Albrecht Durer depicted the dark side in their work, and some of the first printed books in Europe were about witches. The pervasive representation of these monsters and apparitions in period literature, folklore, and art clearly reflects their power to inspire fear and superstition, but also demonstrates how integral they were to early modern European culture. This unique book addresses topics of the supernatural within the context of the early modern period in Europe, covering "mythical" entities such as devils, witches, ghosts, poltergeists, and werewolves in detail and examining how they fit in with the emerging new scientific method of the time. This unique combination of cultural studies for the period is ideal for undergraduate students and general readers. Illustrations from rare books on witchcraft and demonology An annotated bibliography of primary and secondary sources Appendices address early modern supernatural art and artists who depicted the dark side as well as important historical individuals

This book is about the literary culture that emerged during and in the aftermath of the Great Plague of London (1665). Textual transmission impacted upon and simultaneously was impacted by the events of the plague. This book examines the role of print and manuscript cultures on representations of the disease through micro-histories and case studies of writing from that time, interpreting the place of these media and the construction of authorship during the outbreak. The macabre history of plague in early modern England largely ended with the Great Plague of London, and the miscellany of plague writings that responded to the epidemic forms the subject of this book.

Challenging the tendency to disparage Nashe's writing as the product of an eccentric sensibility and to explain his texts in journalistic terms more appropriate to modern commercial publishing, this work provides an entirely new interpretation of the economic context of sixteenth-century literature. Lorna Hutson reveals hitherto overlooked links between humanist approaches to the literary text and the transformation of the English economy through humanist-inspired policies of ethical and social reform; from this context, Nashe's textual prodigality emerges as an assault upon the contemporary impoverishment of literary activity caused by the political over-valuing of the printed word. Generic precedents turn out to be festive; each of Nashe's apparently unstructured pamphlets derives shaping energy from traditions of popular-festive mockery. The pamphlets bring an older conception of seasonal prosperity into subversive dialogue with the newer discourse of provident individualism. For Nashe, stylistic experiment is shown to mean more than a choice of style; it is, rather, the expression of an intricate, socially engaged imagination.

This book is about the empiricist challenge to literature, and its influence on eighteenth-century theories of fiction. British empiricism from Bacon to Hume challenged the notion that imaginative literature can be a reliable source of knowledge. This book argues that theorists of the novel, from Henry Fielding to Jane Austen, recognized the force of the empiricist challenge but refused to capitulate. It traces how, in their reflections on the novel, these writers attempted to formulate a theoretical link between the world of experience and the products of the imagination, and thus update the old defenses of poetry for empirical times. Taken together, the empiricist challenge and the responses it elicited signaled a transition in the longstanding debate about literature and knowledge, as an inaugural round in the persisting conflict between the empirical sciences and the literary humanities.

Elizabeth Hewitt uncovers the centrality of letter-writing to antebellum American literature. She argues that many canonical American authors turned to the epistolary form as an idealised genre through which to consider the challenges of American democracy before the Civil War. The letter was the vital technology of social intercourse in the nineteenth century and was adopted as an exemplary genre in which authors from Crevecoeur and Adams through Jefferson, to Emerson, Melville, Dickinson and Whitman, could theorise the social and political themes that were so crucial to their respective literary projects. They interrogated the political possibilities of social intercourse through the practice and analysis of correspondence. Hewitt argues that although correspondence is generally only conceived as a biographical archive, it must instead be understood as a significant genre through which these early authors made sense of social and political relations in the new nation.

During the Elizabethan era, writers such as Shakespeare, Spenser, Sidney, Daniel, and others frequently expounded on mercy, exploring the sources and outcomes of clemency. This fresh reading of such depictions shows that the concept of mercy was a contested one, directly shaped by tensions over the exercise of judgment by a woman on the throne.

Coriolanus is the last and most intriguing of Shakespeare's Roman tragedies. Critics, directors and actors have long been bewitched by this gripping character study of a warrior that Rome can neither tolerate nor do without. Caius Martius Coriolanus is a terrifying war machine in battle, a devoted son to a wise and ambitious mother at home, and an inflammatory scorner of the rights and rites of the common people. This Critical Reader opens up the extraordinary range of interpretation the play has elicited over the centuries and offers exciting new directions for scholarship. The volume commences with a Timeline of key events relating to Coriolanus in print and performance and an Introduction by the volume editor. Chapters survey the scholarly reaction to the play over four centuries, the history of Coriolanus on stage and the current research and thinking about the play. The second half of the volume comprises four 'New Directions' essays exploring: the rhetoric and performance of the self, the play's relevance to our contemporary world, an Hegelian approach to the tragedy, and the insights of computer-assisted stylometry. A final chapter critically surveys resources for teaching the play.

This is the first scholarly study devoted to Shakespeare's girl characters and conceptions of girlhood. It charts the development of Shakespeare's treatment of the girl as a dramatic and literary figure, and explores the impact of Shakespeare's girl characters on the history of early modern girls as performers, patrons, and authors.

The first comprehensive analysis of an extensive body of rogue pamphlets published in early modern London. Early modern England was fascinated by the figure of the rogue. The rogue, who could be a beggar or vagrant but also a cutpurse, conman, card sharp, and all-round 'trickster' or even a highwayman, appeared in a variety of texts including plays, ballads, romances, sermons, proclamations, and pamphlets. This book offers the first comprehensive analysis of an extensive body of rogue pamphlets published in London between the late sixteenth and late seventeenthcenturies, a period which saw a burst of publications about criminals. It examines how the figure of the rogue and rogue pamphlets developed and how the pamphlets both reflected and affected readers' perceptions of crime and morality against a backdrop of dramatic urban growth. The book reveals that rogue pamphlets were part of a wider range of popular literature which dealt with London and its early modern transformations and that they were not static representations of criminality but were shaped by the changing cultural expectations of authors, publishers, and readers. Drawing on cutting-edge research, this study represents a timely contribution to the history of the book and early modern print culture, the cultural history of crime, and the socio-cultural history of London. LENA LIAPI teaches early modern history at Keele University.

Order and Disorder, the first epic poem by an Englishwoman, has never before been available in its entirety. The first five cantos were printed anonymously in 1679, but fifteen further cantos remained in manuscript, probably because they were so politically sensitive. David Norbrook, widely recognized as a leading authority on Renaissance literature and politics, has now attributed the work to the republican, Lucy Hutchison. In this prestigious scholarly volume, he provides a wealth of editorial matter, along with the first full version of Order and Disorder ever to be published. Order and Disorder shares much in common with 'Paradise Lost'. Both poems use the Christian myth of man's fall as an analogy for troubled times. Writing in similar circumstances to Milton, as a republican whose hopes were shattered by the return of the monarchy in 1660, Lucy Hutchinson also turned to the Book of Genesis as the ultimate creation story. Vivid passages portraying the fall of Babel, the Flood and the destruction of Sodom are edged with hostility towards the Restoration political regime. The stories of Adam and Eve, Abraham and Sarah, Isaac and Rebecca, Jacob and Rachel are interspersed with eloquent personal meditations on divine and human justice, the natural world, and women's role. Lucy Hutchinson is one of the most important women writers of the seventeenth century; her other works include a classic political biography, 'Memoirs of the Life of Colonel John Hutchinson', and the first English translation of Lucretius's materialist epic, The Nature of the Universe. Order and Disorder will be of particular interest to scholars, students and general readers of seventeenth-century poetry in general, of Milton in particular, of Early Modern women's writing, and of Biblical narrative.

Constructing Cromwell traces the complex and shifting popular print images of Oliver Cromwell from his first appearance as a public figure in the 1640s through the period of his power to his death and eventual disinterment after the restoration of the monarchy. Drawing on extensive archival research, including manuscript sources, startling print ephemera, and visual artifacts, Laura Knoppers shows how Cromwellian print transformed the courtly forms of Caroline ceremony, portraiture and panegyric. Her study also finds a new cultural context for authors such as Milton, Marvell, Dryden and Waller.

The Letters of Robert Burns is a complete revision of the earlier text established by J. De Lancey Ferguson. A number of new letters have been added and completed from manuscripts that have come to light since the Ferguson edition--there are letters to twenty-five new correspondents--and footnotes have been expanded to indicate the source of all Burns's quotations where these can be identified. The endnotes have been expanded to indicate letters to which Burns's are answers as well as answers received by Burns to the letters he sent. An appendix contains Currie's List of Letters to Burns, a document of major importance as it represents a selection of letters that were in the poet's possession at the time of his death.

The Taming of the Shrew has puzzled, entertained and angered audiences, and it has been reinvented many times throughout its controversial history. Offering a focused overview of key emerging ideas and discourses surrounding Shakespeare's problematic comedy, the volume reveals and debates how contemporary readings and adaptions of the play have sought to reconsider and resolve the play's contentious portrayal of gender, power and identity. Each chapter has been carefully selected for its originality and relevance to the needs of students, teachers and researchers. Key themes and issues include: * Gender and Power * History and Early Modern Contexts * Performance and Politics * Adaptation and Afterlife All the essays offer new perspectives and combine to give readers an up-to-date understanding of what's exciting and challenging about The Taming of the Shrew.

This book is a systematic attempt to establish Sheridan as a major figure in the history of English comedy. Leading scholars address Sheridan's role not only as an outstanding playwright, but also as the manager of Drury Lane Theatre, and his subsequent career as a Member of Parliament. The essays examine the theatrical world in which Sheridan worked, discuss his major plays, and include a modern director's observations on the production of his work today. This is combined with an important re-evaluation of Sheridan's achievements as a master of rhetoric in the political arena, to provide a much needed contemporary assessment of this multifaceted man and his work.

Describing Jewish representation both by Jews and Gentiles in the British Romantic era, Scrivener integrates popular culture with belletristic writing to explore the wildly varying treatments of stereotypical figures: the pedlar, the moneylender, the Jew's daughter, "la belle juive," the convert, the prophet, the alchemist, and the criminal. This sweeping study finds that pervasive Judaeophobia, reflecting old religious conflicts and new anxieties over modernity, affects but does not wholly determine the discourses that reflect a mix of Jewish and English cultures.

Children's literature, as we know it today, first came into existence in Britain in the eighteenth century. This book is the first major study to consider who the first users of this new product were, which titles they owned, how they acquired and used their books, and what they thought of them. Evidence of these things is scarce. But by drawing on a diverse array of sources, including inscriptions and marginalia, letters and diaries, inventories and parish records, and portraits and pedagogical treatises, and by pioneering exciting methodologies, it has been possible to reconstruct both sociological profiles of consumers and the often touching experiences of individual children. Grenby's discoveries about the owners of children's books, and their use, abuse and perception of this new product, will be key to understanding how children's literature was able to become established as a distinct and flourishing element of print culture.