During the Romantic era, psychology and literature enjoyed a fluid relationship. Faubert focuses on psychologist-poets who grew out of the literary-medical culture of the Scottish Enlightenment. They used poetry as an accessible form to communicate emerging psychological, cultural and moral ideas.

During the Romantic era, psychology and literature enjoyed a fluid relationship. Faubert focuses on psychologist-poets who grew out of the literary-medical culture of the Scottish Enlightenment. They used poetry as an accessible form to communicate emerging psychological, cultural and moral ideas.

As a psychiatric term 'depression' dates back only as far as the mid-nineteenth century. Before then a wide range of terms were used: 'melancholy' carried enormous weight, and was one of the two confirmed forms of eighteenth-century insanity. This four-volume set is the first large-scale study of depression across an extensive period.

As a psychiatric term 'depression' dates back only as far as the mid-nineteenth century. Before then a wide range of terms were used: 'melancholy' carried enormous weight, and was one of the two confirmed forms of eighteenth-century insanity. This four-volume set is the first large-scale study of depression across an extensive period.

As a psychiatric term 'depression' dates back only as far as the mid-nineteenth century. Before then a wide range of terms were used: 'melancholy' carried enormous weight, and was one of the two confirmed forms of eighteenth-century insanity. This four-volume set is the first large-scale study of depression across an extensive period.

As a psychiatric term 'depression' dates back only as far as the mid-nineteenth century. Before then a wide range of terms were used: 'melancholy' carried enormous weight, and was one of the two confirmed forms of eighteenth-century insanity. This four-volume set is the first large-scale study of depression across an extensive period.

Mary Wollstonecraft wrote these two novellas at the beginning and end of her years of writing and political activism. Though written at different times, they explore some of the same issues: ideals of femininity as celebrated by the cult of sensibility, the unequal education of women, and domestic subjugation. Mary counters the contemporary trend of weak, emotional heroines with the story of an intelligent and creative young woman who educates herself through her close friendships with men and women. Darker and more overtly feminist, The Wrongs of Woman is set in an insane asylum, where a young woman has been wrongly imprisoned by her husband. By presenting the novellas in light of such texts as Wollstonecraft's letters, her polemical and educational prose, similar works by other feminists and political reformists, the literature of sentiment, and contemporary medical texts, this edition encourages an appreciation of the complexity and sophistication of Wollstonecraft's writing goals as a radical feminist in the 1790s.

This book delineates the discovery of a previously unknown manuscript of a letter from Granville Sharp, the first British abolitionist, to the "Lords Commissioners of the Admiralty." In the letter, Sharp demands that the Admiralty bring murder charges against the crew of the Zong for forcing 132 enslaved Africans overboard to their deaths. Uncovered by Michelle Faubert at the British Library in 2015, the letter is reproduced here, accompanied by her examination of its provenance and significance for the history of slavery and abolition. As Faubert argues, the British Library manuscript is the only fair copy of Sharp's letter, and extraordinary evidence of Sharp's role in the abolition of slavery.

Mary Shelley's Mathilda, the story of one woman's existential struggle after learning of her father's desire for her, has been identified as Shelley's most important work after Frankenstein. The two texts share many characteristics, besides authorship and contemporaneity: both concern parental abandonment; both contribute to the Gothic form through themes of incest, insanity, suicidality, monstrosity, and isolation; and both are epistolary. However, Mathilda was not published until 1959, 140 years after Shelley wrote it - in part because Shelley's father, William Godwin, suppressed it. This new edition encourages a critical reconsideration of a novella that has been critically stereotyped as biographical, and explores the importance of the novella to the Romantic debate about suicide. Historical appendices trace the connections between Mathilda and other works by Shelley and by her mother, Mary Wollstonecraft, while also providing biographical documents, contemporary works on the theme of incest, and documents on suicide in the Romantic era.