Samuel Johnson remains one of the most frequently discussed and cited of the eighteenth-century critics; but historians of criticism have invariably interpreted his work within conventions that have allowed for little evaluative commerce between the needs of the critical present and the voices of the critical past. Smallwood's argument is that Johnson's alienation from the modern critical scene stems in part from historians' tendency to tell the story of criticism as a narrative of improvement. The image of Johnson conceived by his antagonists in the eighteenth century has been perpetuated by romanticism, by nineteenth-century representational routines and mediated to the present day, most recently, by varieties of 'radical theory'. In Johnson's Critical Presence Smallwood offers a new account of Johnson's major critical writings conceived according to a different kind of historical potential. He suggests that the historicization of eighteenth-century criticism can best be understood in the light of the 'dialogic' and 'translational' historiographies of Collingwood, Gadamer and Ricoeur, and that the explanatory contexts of Johnson's criticism must include poetry in addition to theory; in this his study seeks to displace both the history of ideas as the leading paradigm for the history of criticism and to question the developmental narrative on which it relies. By in-depth analysis of Johnson's response to Shakespeare's plays and to the poetry of Abraham Cowley, Smallwood constructs a non-reductive context of emotional experience for Johnson's criticism. This embraces the dynamic satirical caricatures by James Gillray of Johnson as critic, the irony of Johnson's critical affinities with the major romantics, and is set against twentieth-century responses to the literary 'canon'. Smallwood argues that not only Johnson's emotional sensitivities, but also the ironic voices within the critical text itself, must be fully appreciated before Johnson's current relevance, or even his historical value, can be grasped.
Samuel Johnson famously referred to his future biographer, the unsociable magistrate Sir John Hawkins, as “a most unclubbable man." Conversely, this celebratory volume gathers distinguished eighteenth-century studies scholars to honor the achievements, professional generosity, and sociability of Greg Clingham, taking as its theme textual and social group formations. Here, Philip Smallwood examines the “mirrored minds” of Johnson and Shakespeare, while David Hopkins parses intersections of the general and particular in three key eighteenth-century figures. Aaron Hanlon draws parallels between instances of physical rambling and rhetorical strategies in Johnson’s Rambler, while Cedric D. Reverand dissects the intertextual strands uniting Dryden and Pope. Contributors take up other topics significant to the field, including post-feminism, travel, and seismology. Whether discussing cultural exchange or textual reciprocities, each piece extends the theme, building on the trope of relationship to organize and express its findings. Rounding out this collection are tributes from Clingham’s former students and colleagues, including original poetry.
This study aims to bring the modern theory of literary criticism, and Pope's 'Essay on Criticism' of 1711, into a more productive and intersting association than critical-historical structures have generally allowed. Smallwood marks out in current terms and in depth the specialized theoretial and aesthetic problem of defining criticism. He recognizes that criticism, no more than literature or art, cannot be finally codified or defined, but insists on the need for clarity in the exposition of criticism's purposes and a fuller consciousness of a common community of practice available to audiences outside the academic fold. Affirming the unfailing currency and utility of the term criticism as new languages have taken over the critical domain, or have sought to replace or abolish literature, Smallwood distinguishes between the normative definitions that are everywhere apparent in modern theory of criticism, and the advantages to conceptual comprehension achieved by Pope's poetic idea of criticism in the 'Essay'.
During his forty-two years as president of AMS Press, Gabriel Hornstein quietly sponsored and stimulated the revival of "long" eighteenth-century studies. Whether by reanimating long-running research publications; by creating scholarly journals; or by converting daring ideas into lauded books, "Gabe" initiated a golden age of Enlightenment scholarship. This understated publishing magnate created a global audience for a research specialty that many scholars dismissed as antiquarianism. Paper, Ink, and Achievement finds in the career of this impresario a vantage point on the modern study of the Enlightenment. An introduction discusses Hornstein's life and achievements, revealing the breadth of his influence on our understanding of the early days of modernity. Three sets of essays open perspectives on the business of long-eighteenth-century studies: on the role of publishers, printers, and bibliophiles in manufacturing cultural legacies; on authors whose standing has been made or eclipsed by the book culture; and on literary modes that have defined, delimited, or directed Enlightenment studies"--
Reprint of the original, first published in 1859. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
Soldier, spy and poet, Sir Philip Sidney remains an enigmatic figure of the Elizabethan world, whose diverse and inspiring works helped to shape the course of English literature throughout the Renaissance, in spite of his tragic early death. The Delphi Poets Series offers readers the works of literature’s finest poets, with superior formatting. This volume presents Sidney’s complete works for the first time in digital publishing history, with beautiful illustrations, Davis’ seminal biography and the usual Delphi bonus material. (Version 3) * Beautifully illustrated with images relating to Sidney’s life and works * Concise introductions to the poetry and other works * Excellent formatting of the poems * Special chronological and alphabetical contents tables for the poetry * Easily locate the poems you want to read * Features BOTH the Old Arcadia and the New Arcadia – available in no other collection * The rare masque composed by Sidney for Queen Elizabeth * Includes Sidney’s complete prose – including the poet’s correspondence * Features two biographies, including S. M. Henry Davis’ full length book on the great Elizabethan author – explore Sidney’s literary life in depth * Scholarly ordering of texts into chronological order and literary genres * UPDATED with improved ASTROPHEL AND STELLA and SONNETS text and 2 more biographies CONTENTS: The Poetry Collections Astrophel and Stella Poems from ‘The Lady of May’ Poems from ‘The Countesse of Pembroke’s Arcadia’ Sonnets and Poetical Translations Two Pastorels Psalms of David The Poems List of Poems in Chronological Order List of Poems in Alphabetical Order The Masque The Lady of May The Prose The Countess of Pembroke’s Arcadia – Old Arcadia The Countess of Pembroke’s Arcadia – New Arcadia An Apologie for Poetry A Discourse on Irish Affairs The Queenes Majesty Touching Hir Mariage with Monsieur Defence of the Earl of Leicester Of the Trewnes of the Christian Religion Correspondence The Biographies The Life of the Renowned Sir Philip Sidney (1652) by Fulke Greville The Life and Times of Sir Philip Sidney (1859) by S. M. Henry Davis Introduction to Philip Sidney (1891) by Henry Morley Philip Sidney (1900) by Sidney Lee
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Over four hundred years ago a book is buried within the grounds of Oldstone Manor. There it lies, shrouded in a brooding curse, until one day the earth stirs and the book is discovered once more... As twelve-year-old Edward Pollock starts to turn the pages of an ancient book, he is drawn into a place that is both terrifying and bewitching. A place where dark forces imperil charmed lands. Soon Edward begins to realise that malicious powers are at play. The wall between man and ghost is weakening, and the world beyond is threatening great fear and destruction ...
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