A Collection Of The Moral And Instructive Sentiments Maxims Cautions And Reflexions Contained In The Histories Of Pamela Clarissa And Sir Charles Grandison

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Explores the significant presence of Shakespeare in major novels of the eighteenth and early-nineteenth centuries.

The middle decades of the eighteenth century—the years that fall between the much-studied ages of Pope and of Johnson—constitute a fascinating, though neglected, period in English literature. John Sitter's book is a literary history of the 1740s and 1750s, a time of great experimentation and innovation, and a time to which the origins of many of the literary criteria of the current day can be traced. Studying the poetry, fiction, and nonfiction of the mid-eighteenth century, Sitter attempts to characterize the authors' shared pursuits and preoccupations. He focuses on what he calls literary loneliness—the emerging concept of the isolated writer who creates for a solitary reader, a writer who strives for a "pure poetry" unconnected to political and historical particulars. Tracing the literary changes that took place during the period, Sitter studies the early works of David Hume and the increasingly visionary writings of William Law; he considers the profound and puzzling break with the past manifested in contemporary poetry; and he analyzes the similar artistic premises and authorial difficulties apparent in the longer poems of Thomson, Young, and Akenside, and in the last novels of Richardson and Fielding. Their literary assumptions are still part of our critical tradition, Sitter says, and in his conclusion he notes some significant correspondences between mid-eighteenth- century literature and twentieth-century criticism. Anyone who studies the literature or the intellectual history of the eighteenth century, or who is concerned with the theory of literary history, will find Literary Loneliness rewarding reading.

Provides twenty-first century readers with a new, comprehensive and suggestive account of the sentimental novel in the eighteenth century.

Gordon Fulton provides a fascinating new study of styles in Samuel Richardson's masterpiece, Clarissa, connecting the style the characters deploy in their speech and letters with their positions in society. Fulton argues that the novel is a critical examination of the relationship between language and power and an expression of Richardson's own understanding of social interaction as a struggle for personal pre-eminence and sexual dominance.