"The Adventures of Telemachus" is the first critical edition of Tobias Smollett's 1776 translation of Bishop Fenelon's 1699 "mirror for princes," written especially for Duc de Burgogne, heir presumptive to Louis XIV.

Both in its original French and its many translations, "The Adventures of Telemachus" was one of the most popular and revered works of the eighteenth century. There were more than ten English prose and poetry versions, including this masterful prose translation by Smollett. Known for his novels "Roderick Random" and "The Expedition of Humphry Clinker," Smollett was also a gifted translator. "The Adventures of Telemachus" was his final translation and is one of the finest versions of the work. Long a disputed title in the Smollett canon, it is fully restored to his credit by Leslie A. Chilton.

Tobias Smollett, in the preface to his first novel, "The Adventures of Roderick Random "(1748), acknowledges the influence of Alain Rene Le Sage's "L'Histoire de Gil Blas de Santillane" (1715-35 in four volumes) on his work. By far the most successful of "useful and entertaining" romances, Smollett writes, "Gil Blas" describes "the knavery and foibles of life, with infinite humour and sagacity." "The following sheets," he adds significantly, "I have modeled on his plan." Smollett's translation of "Gil Blas" appeared nine months after the publication of "Roderick Random." This chronicle of a merry, philosophical young man whose adventures lead him into all levels of society from the highest to the lowest, presents special problems for a translator. Smollett, without always adhering to the literal expression of the novel's language, is true to its style, spirit, and ideas. After two and a half centuries, his remains the finest translation of this humorous, satiric, and classic French novel. In his early years in London, Smollett struggled to find a way to distinguish himself through his medical practice, medical writings, poetry, and plays. None of these attempts, however, allowed him to demonstrate the full range of his personality and talents. Only when he combined his own boundless imagination with the skills he had learned from translating "Gil Blas" was he able to create energetic narratives filled with vivid and original characters.

During the last half of the eighteenth century, sensibility and its less celebrated corollary sense were subject to constant variation, critique, and contestation in ways that raise profound questions about the formation of moral identities and communities. Beyond Sense and Sensibility addresses those questions. What authority does reason retain as a moral faculty in an age of sensibility? How reliable or desirable is feeling as a moral guide or a test of character? How does such a focus contribute to moral isolation and elitism or, conversely, social connectedness and inclusion? How can we distinguish between that connectedness and a disciplinary socialization? How do insensible processes contribute to our moral formation and action? What alternatives lie beyond the anthropomorphism implied by sense and sensibility? Drawing extensively on philosophical thought from the eighteenth century as well as conceptual frameworks developed in the twenty-first century, this volume of essays examines moral formation represented in or implicitly produced by a range of texts, including Boswell's literary criticism, Fergusson's poetry, Burney's novels, Doddridge's biography, Smollett's novels, Charlotte Smith's children's books, Johnson's essays, Gibbon's history, and Wordsworth's poetry. The distinctive conceptual and textual breadth of Beyond Sense and Sensibility yields a rich reassessment and augmentation of the two perspectives summarized by the terms sense and sensibility in later eighteenth-century Britain.

Tobias Smollett, in the preface to his first novel, "The Adventures of Roderick Random "(1748), acknowledges the influence of Alain Rene Le Sage's "L'Histoire de Gil Blas de Santillane" (1715-35 in four volumes) on his work. By far the most successful of "useful and entertaining" romances, Smollett writes, "Gil Blas" describes "the knavery and foibles of life, with infinite humour and sagacity." "The following sheets," he adds significantly, "I have modeled on his plan." Smollett's translation of "Gil Blas" appeared nine months after the publication of "Roderick Random." This chronicle of a merry, philosophical young man whose adventures lead him into all levels of society from the highest to the lowest, presents special problems for a translator. Smollett, without always adhering to the literal expression of the novel's language, is true to its style, spirit, and ideas. After two and a half centuries, his remains the finest translation of this humorous, satiric, and classic French novel. In his early years in London, Smollett struggled to find a way to distinguish himself through his medical practice, medical writings, poetry, and plays. None of these attempts, however, allowed him to demonstrate the full range of his personality and talents. Only when he combined his own boundless imagination with the skills he had learned from translating "Gil Blas" was he able to create energetic narratives filled with vivid and original characters.

"The Adventures of Telemachus" is the first critical edition of Tobias Smollett's 1776 translation of Bishop Fenelon's 1699 "mirror for princes," written especially for Duc de Burgogne, heir presumptive to Louis XIV.

Both in its original French and its many translations, "The Adventures of Telemachus" was one of the most popular and revered works of the eighteenth century. There were more than ten English prose and poetry versions, including this masterful prose translation by Smollett. Known for his novels "Roderick Random" and "The Expedition of Humphry Clinker," Smollett was also a gifted translator. "The Adventures of Telemachus" was his final translation and is one of the finest versions of the work. Long a disputed title in the Smollett canon, it is fully restored to his credit by Leslie A. Chilton.

This is the first reprinting since the eighteenth century--and the first scholarly edition--of Tobias Smollett's translation of "The Devil upon Crutches." First published in France in 1707 as "Le Diable boiteux," Alain Rene Le Sage's novel relates the picaresque wanderings of Asmodeus, a refined, likable but decrepit devil, and Zambullo, his newfound mortal companion.

After Zambullo releases Asmodeus from a bottle, the two embark on a flight above the rooftops of Madrid. Peeking into houses, prisons, palaces, and even tombs, Zambullo witnesses one incident of treachery and self-delusion after another. Smollett's superior wit and sense of irony suited him well as translator for this novel, with its juxtaposition of realism with romance, satire with sentiment, and sexual intrigue with moral admonition.

This authoritative textual edition is based on the 1759 second edition of Smollett's translation. The extensive introduction covers such topics as the original French edition; the composition, printing, and reception of Smollett's "The Devil upon Crutches"; and Smollett's career as a translator. Also included are a complete textual apparatus and a guide to the now-exotic pharmaceuticals and remedies one encounters in the novel.

The poems, plays, and political writings included in this volume are essential to an understanding of Tobias Smollett and the literary and social currents of eighteenth-century England. In introductions to the separate sections of the volume, Byron Gassman identifies the circumstances that prompted Smollett to undertake these writings, traces the history of their publication and reception, and provides extensive explanations of historical and literary allusions.

The poems in the volume represent Smollett's entire achievement as a poet. Among the shorter poems are "A New Song," his first printed work; "The Tears of Scotland," an early expression of his defiant spirit; and the popular "Ode to Independence," written during the last decade of his life. Two longer works, "Advice" (1746) and its sequel, "Reproof" (1747), are satires written in Popean heroic couplets; they mark the beginnings of Smollett's attacks on theater managers, corrupt politicians, iniquitous military leaders, and other well-known personalities of the day. An appendix to this volume includes five additional poems assigned but not definitely attributed to Smollett.

"The Reprisal; or The Tars of Old England" and "The Regicide" are the only extant plays by Smollett. "The Regicide," written when the author was only eighteen or nineteen, dramatizes the story of the murder of James I of Scotland. "The Reprisal," a patriotic comedy performed as an afterpiece at the Theatre Royal, was a moderate theatrical success.

Smollett's political writings for "The Briton," a weekly journal he established in 1762 for defending the policies of the Earl of Bute, mark a particularly painful period in the author's life. A paper war erupted with the first number, and Smollett and Bute became the objects of scathing counterattacks, particularly in the writings of John Wilkes. This volume brings together for the first time all issues of "The Briton" and also includes a key identifying the weekly's numerous elliptical references to persons and places.