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As a very young man, one of the most celebrated English authors of the eighteenth century translated a tome about Ethiopia. This experience permanently marked Samuel Johnson, leaving traces of the African discourse he encountered in that text in his drama Irene;several of his short stories; and his most famous fiction, Rasselas. This book provides a much needed perspective in comparative literature and postcolonial studies on the power of the discourse of the other to infuse European texts. This book illuminates how the Western literary canon is globally produced by developing the powerful metaphor of spirit possession to posit some texts in the European canon as energumens, texts that are spoken through. The model of discursive possession offers a new way of theorizing transcultural intertextuality, in particular how Europe’s others have co-constituted European representations. Through close readings of primary and secondary sources in English, French, Portuguese, and Gəʿəz, the book challenges conventional wisdom on Johnson’s work, from the inspiration for the name Rasselas and the nature of Johnson’s religious beliefs to what makes Rasselas so strange.

In this book, Sharada Balachandran Orihuela examines property ownership and its connections to citizenship, race and slavery, and piracy as seen through the lens of eighteenth- and nineteenth-century American literature. Balachandran Orihuela defines piracy expansively, from the familiar concept of nautical pirates and robbery in international waters to postrevolutionary counterfeiting, transnational slave escape, and the illegal trade of cotton across the Americas during the Civil War. Weaving together close readings of American, Chicano, and African American literature with political theory, the author shows that piracy, when represented through literature, has imagined more inclusive and democratic communities than were then possible in reality. The author shows that these subjects are not taking part in unlawful acts only for economic gain. Rather, Balachandran Orihuela argues that piracy might, surprisingly, have served as a public good, representing a form of transnational belonging that transcends membership in any one nation-state while also functioning as a surrogate to citizenship through the ownership of property. These transnational and transactional forms of social and economic life allow for a better understanding of the foundational importance of property ownership and its role in the creation of citizenship.

This book addresses the emergence of the idea of ‘the conversation of culture’. Around 1700 a new commercial society was emerging that thought of its values as the product of exchanges between citizens. Conversation became increasingly important as a model and as a practice for how community could be created. A welter of publications, in periodical essays, in novels, and in poetry, enjoined the virtues of conversation. These publications were enthusiastically read and discussed in book clubs and literary societies that created their own conversable worlds. From some perspectives, the freedom of a distinctively English conversation allowed for the ‘collision’ of ideas and sentiments. For others, like Joseph Addison and David Hume, ease of ‘flow’ was the key issue, and politeness the means of establishing a via media. For Addison and Hume, the feminization of culture promised to make women the sovereigns of what Hume called ‘the conversable world’. As the culture seemed to open up to a multitude of voices, anxieties appeared as to how far things should be allowed to go. The unruliness of the crowd threatened to disrupt the channels of communication. There was a parallel fear that mere feminized chatter might replace learning. This book examines the influence of these developments on the idea of literature from 1762 through to 1830. Part I examines the conversational paradigm established by figures like Addison and Hume, and the proliferation of conversable worlds into gatherings like Johnson's Club and Montagu's Bluestocking assemblies. Part II looks at the transition from the eighteenth century to ‘Romantic’ ideas of literary culture, the question of the withdrawal from mixed social space, the drive to sublimate verbal exchange into forms that retained dialogue without contention in places like Coleridge's ‘conversation poems,’ and the continuing tensions between ideas of the republic of letters as a space of vigorous exchange as opposed to the organic unfolding of consciousness.

On the lapse of the Licensing Act in 1695, Thomas Macaulay wrote in his History of England, ‘English literature was emancipated, and emancipated for ever, from the control of the government’. It’s certainly true that the system of prior restraint enshrined in this Restoration measure was now at an end, at least for print. Yet the same cannot be said of government control, which came to operate instead by means of post-publication retribution, not pre-publication licensing, notably for the common-law offence of seditious libel. For many of the authors affected, from Defoe to Cobbett, this new regime was a greater constraint on expression than the old, not least for its alarming unpredictability, and for the spectacular punishment—the pillory—that was sometimes entailed. Yet we may also see the constraint as an energizing force. Throughout the eighteenth century and into the Romantic period, writers developed and refined ingenious techniques for communicating dissident or otherwise contentious meanings while rendering the meanings deniable. As a work of both history and criticism, this book traces the rise and fall of seditious libel prosecution, and with it the theatre of the pillory, while arguing that the period’s characteristic forms of literary complexity—ambiguity, ellipsis, indirection, irony—may be traced to the persistence of censorship in the post-licensing world. The argument proceeds through case studies of major poets and prose writers including Dryden, Defoe, Pope, Fielding, Johnson, and Southey, and also calls attention to numerous little-known satires and libels across the extended period.

How did Alexander Pope become the greatest poet of the eighteenth century? Drawing on previously neglected texts and overlooked archival materials, Alexander Pope in the Making provides a radical new account of the poet’s early career, from the earliest traces of manuscript circulation to the publication of his collected Works. Joseph Hone illuminates classic poems such as An Essay on Criticism, The Rape of the Lock, and Windsor-Forest by setting them alongside lesser-known texts by Pope and his contemporaries, many of which have never received sustained critical attention before. Pope’s earliest experiments in satire, panegyric, lyric, pastoral, and epic are all explored alongside his translations, publication strategies, and neglected editorial projects. By recovering cultural values shared by Pope and the politically heterodox men and women whose works he read and with whom he collaborated, Hone unearths powerful new interpretive possibilities for some of the eighteenth century’s most celebrated poems. Alexander Pope in the Making mounts a comprehensive challenge to the ‘Scriblerian’ paradigm that has dominated scholarship for the past eighty years. It sheds fresh light on Pope’s early career and reshapes our understanding of the ideological landscape of his era. This book will be essential reading for scholars and students of eighteenth-century literature, history, and politics.

In the early nineteenth century, the biblical sublime found expression in the visual arts, the novel, the oratorio, and poetry, but spoken drama remained secular by force of precedent and law. The maintenance of this ban on religious theatrical representation was underpinned by Protestant anxieties about impersonation, performance, and the power of the image that persisted long after the Reformation. But by mid-century, the turn towards medievalism in visual culture, antiquarianism in literary history, and the ‘popular’ in constitutional reform placed England’s pre-Reformation past at the centre of debates about the uses of the public stage and the functions of a truly national theatrical literature. In this changing climate, how was England’s rich heritage of vernacular sacred drama to be understood? This book probes the tensions inherent in the idea of ‘incarnational art’—whether, after the Reformation, ‘presence’ was only to be conjured up in the mind’s eye by the act of reading, or whether drama could rightfully reclaim all the implications of ‘incarnation’ understood in the Christian tradition as ‘the word made flesh’. Chapters 1, 2, and 3 describe the recovery of the medieval mystery plays and their subsequent impact on the national imagination. The second half of the book looks at the gradual relaxation of the ban on the performance of sacred drama and asks whether Christian theatre can ever be truly tragic, whether art perpetually reanimates or appropriates sacred ideas, and whether there is any place for sacramental thought in a post-Darwinian, industrial age.

This book assembles a body of print and performance concerned with the misfortunes of the middling sort, arguing that these works negotiated tragedy’s vexed relationship to ordinary life. This “bourgeois and domestic tragedy” imagined a particularly modern sort of affliction, an “ordinary suffering” divested of the sorts of meanings, rhetorics, and affective resonances once deployed to understand it. Whereas neoclassical aesthetics aligned tragedy with the heroic and the admirable, bourgeois tragedy treated the pain of common people with dignity and seriousness, meditating upon a suffering that was homely, familiar, realistic, and entangled in the nascent values of capitalism, yet no less haunted by God. Hence, where many have seen aesthetic stagnation, misfiring emotion, and the absence of an idealized tragicness in the genre, this book tracks instead a sustained engagement in the emotional processes and representational techniques through which the middle rank feels its way into modernity. Describing this shift as an episode in the histories of both tragedy and emotion, it revises the standard critical account of eighteenth-century tragedy and reads the genre’s emergence in the period as a vigorous cultural conversation over whose life—and whose way of life—is grievable, as well as how that mourning might be performed.