This is a book about the conflict between history and poetry – and historians and poets – in Atlantic World society from the end of the seventeenth century to the present day. Blending historiography and theory, it proceeds by asking: what is the point of poetry as far as historians are concerned? The focus is on W. H. Auden’s Cold War-era history poems, but the book also looks at other poets from the seventeenth century onwards, providing original accounts of their poetic and historical educations. An important resource for those teaching undergraduate and postgraduate courses in historiography and history and theory, Poetry for historians will also be of relevance to courses on literature in society and the history of education. General readers will relate it to Steedman’s Landscape for a Good Woman (1987) and Dust (2001), on account of its biographical and autobiographical insights into the way history operates in modern society.

Literary Knowing in Neoclassical France analyzes the work of several literary critics in France and England, at the end of the seventeenth and beginning of the eighteenth centuries, who were inspired by the idea that literature - especially the literary sublime - might offer us the deepest kind of knowledge. Dominique Bouhours, Nicolas Boileau, Ren Rapin, John Dennis, and the abb Dubos believed that literature could deliver truths that transcend our world and were analogous or even equal to the truths of divine revelation. Ann Delehanty argues that this shift towards the transcendental realm pushed the definition of the literary work away from describing its objective properties and towards its effects on the mind of the reader. After placing these ideas about literature in the context of the religious and philosophical thinking of Blaise Pascal, Delehanty traces the evolution of a debate about literature in the writings of the critics in question. They embraced theories of sentiment and the passions as the epistemological means of identifying and knowing the transcendental aspects of a literary work that eventually came to be known as aesthetics. By tracing the historical evolution of the relationship between transcendentalism and aesthetics in French and English neoclassical thought, Literary Knowing in Neoclassical France provides new and engaging insights into an important moment in our literary history.

Ridiculous Critics is an anthology of eighteenth-century writings on the figure of the literary critic, and on the critic’s mixed and complex role. The collection assembles critical texts and satirical images chronologically to suggest a vision of the history of eighteenth-century literary criticism. Including comic, vicious, heartfelt and absurd passages from critics, poets, novelists and literary commentators celebrated and obscure, the writings range through poetry, fiction, drama, and periodical writing. The anthology also includes two original essays discussing and illustrating the irrepressible spirit of critical ridicule in the period, and commending its value and effect. The first offers an evaluation of the merciless and sometimes shockingly venomous satirical attacks on critical habits and personalities of the eighteenth century. The editors argue that such attacks are reflexive, in the sense that criticism becomes increasingly supple and able to observe and examine its own irresponsible ingenuities from within. The volume’s concluding essay supplies an analysis of modern modes of criticism and critical history, and suggests applications across time. We propose that humor’s vital force was once an important part of living criticism. The eighteenth-century mockery of critics casts light on a neglected common thread in the history of criticism and its recent manifestations; it prompts questions about the relative absence of comedy from the stories we presently tell about critics dead or alive. The passages invite laughter, both with the critics and at their expense, and suggest the place that ridicule might have had since the eighteenth century in the making of judgments, and in the pricking of critical pretension. For this reason, they indicate the role that laughter may still have in criticism today and provide an encouraging precedent for its future.

In the most comprehensive and up-to-date overview of the poetry published in Britain between the Restoration and the end of the eighteenth century, forty-four authorities from six countries survey the poetry of the age in all its richness and diversity--serious and satirical, public and private, by men and women, nobles and peasants, whether published in deluxe editions or sung on the streets. The contributors discuss poems in social contexts, poetic identities, poetic subjects, poetic form, poetic genres, poetic devices, and criticism. Even experts in eighteenth-century poetry will see familiar poems from new angles, and all readers will encounter poems they've never read before. The book is not a chronologically organized literary history, nor an encyclopaedia, nor a collection of thematically related essays; rather it is an attempt to provide a systematic overview of these poetic works, and to restore it to a position of centrality in modern criticism.