The period 1792-94 witnessed the emergence of the first genuinely popular radical movement in Britain. After the phenomenal success of Thomas Paine's Rights of Man (1791-92), the government moved swiftly to prevent French republican ideas taking hold in Britain, beginning with the prosecution of Paine himself in absentia. There followed a spate of trials for seditious libel, often against booksellers in London who were selling cheap copies of Paine's book. Finally, in May 1794, the government took the step of accusing the movement of treason, arresting its leaders, among them Thomas Hardy, Secretary of the London Corresponding Society, John Horne Tooke, the veteran gentleman radical, and the lecturer and poet John Thelwall. These eight volumes contain the key trials of London radicalism from 1792-94.

The period 1792-94 witnessed the emergence of the first genuinely popular radical movement in Britain. After the phenomenal success of Thomas Paine's "Rights of Man", the government moved swiftly to prevent French republican ideas taking hold in Britain, beginning with the prosecution of Paine himself in absentia. This book focuses on this period.

The period 1792-94 witnessed the emergence of the first genuinely popular radical movement in Britain. After the phenomenal success of Thomas Paine's "Rights of Man", the government moved swiftly to prevent French republican ideas taking hold in Britain, beginning with the prosecution of Paine himself in absentia. This book focuses on this period.

The period 1792-94 witnessed the emergence of the first genuinely popular radical movement in Britain. After the phenomenal success of Thomas Paine's "Rights of Man", the government moved swiftly to prevent French republican ideas taking hold in Britain, beginning with the prosecution of Paine himself in absentia. This book focuses on this period.

The period 1792-94 witnessed the emergence of the first genuinely popular radical movement in Britain. After the phenomenal success of Thomas Paine's "Rights of Man", the government moved swiftly to prevent French republican ideas taking hold in Britain, beginning with the prosecution of Paine himself in absentia. This book focuses on this period.

The period 1792-94 witnessed the emergence of the first genuinely popular radical movement in Britain. This collection contains the key trials of London radicalism from 1792-94. It includes a general introduction, but each of the trials is introduced in its own right and supported by endnotes and further reading.

The period 1792-94 witnessed the emergence of the first genuinely popular radical movement in Britain. This collection contains the key trials of London radicalism from 1792-94. It includes a general introduction, but each of the trials is introduced in its own right and supported by endnotes and further reading.

The period 1792-94 witnessed the emergence of the first genuinely popular radical movement in Britain. This collection contains the key trials of London radicalism from 1792-94. It includes a general introduction, but each of the trials is introduced in its own right and supported by endnotes and further reading.

The period 1792-94 witnessed the emergence of the first genuinely popular radical movement in Britain. This collection contains the key trials of London radicalism from 1792-94. It includes a general introduction, but each of the trials is introduced in its own right and supported by endnotes and further reading.

The period 1792-94 witnessed the emergence of the first genuinely popular radical movement in Britain. This collection contains the key trials of London radicalism from 1792-94. It includes a general introduction, but each of the trials is introduced in its own right and supported by endnotes and further reading.

It is generally agreed that in the early eighteenth century people began to be interested in landscape as something to have a 'taste' for; that they saw landscape through the eyes of the great painters, and that later pictures, poetry and landscape gardening all reflect that taste. Dr Barrell examines this interest, showing how the taste for landscape affected the poetry in detail. John Clare, who lived most of his life in rural Northamptonshire, whose landscape was being transformed by enclosure, is then taken as the focus of these different attitudes. Clare's truthfulness to the individual locality he wanted to describe would not permit him to use the conventional literary language of his predecessors, and he had instead to find his own language. His success in doing this removed him from mainstream English poetry. This 1972 text brings 'taste' into contact with the social and economic bases of life.

A vigorously written account of the changes in the depiction of the rural poor in English landscape painting between 1730 and 1840.

Edward Pugh (1763-1813) was a Ruthin-born, Welsh-speaking artist and writer who produced compelling landscapes images of Denbighshire in particular and, more widely of North Wales, Monmouthshire and London. He also wrote what is probably the best account of a tour in Wales ever written: it is far superior to Borrow's. This book, the first to consider Pugh's work in detail, shows how his landscapes reveal a wealth of local knowledge, and dramatise some issues of great importance to Wales in his time: the effects of the enclosure of common land; the effects of the war with France on industry and the condition of the poor; the need to develop and modernise the Welsh economy; the power of the great landowners. Apart from Pugh's, almost all the pictures and tours we have of late eighteenth and early nineteenth century North Wales were made by English artists and writers. None of these can tell us about life in North Wales with the same insight as Pugh.

Edward Pugh (1763-1813) was a Ruthin-born, Welsh-speaking artist and writer who produced compelling landscapes images of Denbighshire in particular and, more widely of North Wales, Monmouthshire and London. He also wrote what is probably the best account of a tour in Wales ever written: it is far superior to Borrow's. This book, the first to consider Pugh's work in detail, shows how his landscapes reveal a wealth of local knowledge, and dramatise some issues of great importance to Wales in his time: the effects of the enclosure of common land; the effects of the war with France on industry and the condition of the poor; the need to develop and modernise the Welsh economy; the power of the great landowners. Apart from Pugh's, almost all the pictures and tours we have of late eighteenth and early nineteenth century North Wales were made by English artists and writers. None of these can tell us about life in North Wales with the same insight as Pugh.

The chapters constituting this book are different in subject and method, striking testimony to the range of Paulson's interests and the versatility of his critical powers. In his prolific career he has produced extensive analysis of art, poetry, fiction, and aesthetics produced in England between 1650 and 1830. Paulson's unique contribution has to do with his understanding of "seeing" and "reading" as closely related enterprises, and "popular" forms in art and literature as intimately connected-connections illustrated by literary critics and art historians here. Every essay shares some of the concerns and methods that characterize Paulson's wonderfully idiosyncratic thought-except for the final essay, an attempt systematically to analyze Paulson's critical principles and methods. Recurrent themes are a concern with satire in the eighteenth century; a connection between verbal and visual reading; an insistence on the importance of individual artistic choices to the history of culture; an attention to the aims and motives of individual makers of art; and a sensitivity to the crucial links between high and low art. This volume offers rich explorations of a range of subjects: Swift's relationship to Congreve; Zoffany's condemnation of Gillray and Hogarth, and broader implications for the role of art in public discourse; the presentation of mourning in the work of the Welsh artist and writer Edward Pugh; G. M. Woodward's "Coffee-House Characters," representing a turn from satire on morals towards satire on manners; Adam Smith's evolving aesthetic program; Samuel Richardson's notions of social reading. The discussions represent a variety of exemplifications of the Paulsonesque, showing a concern with satiric representation in mixed media, with different forms of heterodoxy and iconoclasm, and with the values of producers of popular and polite culture in this period.

What is the function of painting in a commercial society? John Barrell discusses how British artists and writers of the late eighteenth and early nineteenth centuries, including Sir Joshua Reynolds, William Blake, and James Barry attempted to answer this question. His provocative and illuminating book offers a new perspective on both art criticism and eighteenth-century British culture.

Thomas De Quincey, best known for his book Confessions of an English Opium Eater, was a journalist and propagandist of Empire, of oriental aggression, and of racial paranoia. The greater part of the fourteen volumes of his collected writings concerns the history, the colonial development, and increasingly the threat presented by the Orient in all its manifestations—human, animal, and microbiological. This remarkable book, which is an account of De Quincey’s fears of all things oriental, is also an extraordinary analysis of the psychopathology of mid-Victorian imperialist culture.   John Barrell paints a picture of De Quincey as a happy family man, apparently at ease with himself and with the rest of the world, but in fact harboring and expressing the most ferocious and brutal denunciation of Orientals of all kinds and dreaming of exacting from them a terrible retribution. Barrell shows that throughout De Quincey’s writings there is a repeated story of the murder or violation of a female victim—either within or outside De Quincey’s family—by an oriental criminal This story finds its way into almost everything he wrote: the various versions of his autobiography, his novels and short stories, his biographical and critical writings, his essays on politics, history, and science. Barrell attempts to understand this European terror of the East by an approach that is both historical and psychoanalytic. In particular, he explores the relation between childhood anxiety and imperial guilt in a body of writing in which the fear of violence within the family is imaged as a fear of the oriental, and the private and the public, the sexual and the imperial, the feminine and the exotic are endlessly intertwined.   This book will be fascinating reading for those interested in Victorian literature, in psychoanalysis and its relation to literature, in the history of imperialism, and in debates about the characteristics and effects of colonial discourse.

Before his death from leukemia at the age of 36, Allon White had become known as one of the most important literary and cultural critics of his generation. This volume represents a summation of the work which transformed cultural studies in the 1980s.