First published in 1676, The Virtuoso set a standard for theatrical satire. It was the most extensive dramatic treatment of modern science since Jonson's The Alchemist and took as its target no less than the Royal Society of London. Shadwell's barbs hit their targets often and cleanly. In 1689 he became Poet Laureate of England, a position he held until his death in 1692. The virtuoso of the title is Sir Nicholas Gimcrack, who like many after him confuses the extent of a collection with the depth of a science. Sir Gimcrack is fascinated by the geography of the moon, the worlds in his microscope, and the possibilities of human flight. More seriously and?for Shadwell's audience?more comically, his obsession with his arrays of worms and spiders proceeds at the expense of his wife and two beautiful nieces. The play also introduces Sir Formal Trifle, a pedantic ciceronian orator and coxcomb. His character established thereafter the theatrical type of the know-it-all blowhard. Famous for its wit and high-speed changes, The Virtuoso is also a display of the prestige of modern science and the pomposity of its ameteurs.

In this challenging and illustrated study, first published in 1990, Simon Varey relates the idea of space in the major novels of Defoe, Fielding and Richardson to its use in the theory and practice of eighteenth-century architecture. Concepts of divine design, expressed in the work of philosophers and theologians, introduced an ideological element to the notion of space which gave it a heightened significance in contemporary thought. Professor Varey's central argument is that space becomes a political instrument used to establish conformity, assert power and give form to the aspirations of social classes. He draws on a wide range of architectural books, both English and European, and on the example of Bath (focusing in particular on its chief architect in the eighteenth century, John Wood). The discussion of novels such as Robinson Crusoe, Tom Jones and Clarissa examines narrative as a form of spatial design, the use of architectural imagery to describe people, and the political control of social space.

Gulliver's Travels by Jonathan Swift is one of the greatest satirical works ever written. Through the misadventures of Lemuel Gulliver, his hopelessly "modern" protagonist, Swift exposes many of the follies of the English Enlightenment, from its worship of science to its neglect of traditional philosophy and theology. In Swift's eighteenth century, as in our twenty-first, a war being fought between the "ancients"and the "moderns", between those rooted in the traditions of the West and those seeking to uproot tradition to make way for dangerous and ultimatcly destructive new ideas. Swift's satire on the threats posed by the Enlightenment and the embryonic spirit of secular fundamentalism makes Gulliver's Travels priceless reading for today's defenders of tradition. Yet Swift's subtlety has bemused many modern critics, with the lamentable of result that this classic of western civilization is often misread and misunderstood. This new critical edition, edited by Dutton kearney of Aquinas College in Nashville, contains detailed notes to the text, bringing it to life for today's reader, and a selection of tradition-oriented essays by some of the finest contemporay Swift scholars. The Ignatius Critical Editions Series represents a tradition-oriented approach to reading the Classics of world literature. While many modern critical editions have succumbed to the fads of modernism and post-modernism, this series concentrates on critical examinations informed by our Judco-Christian heritage as passed down through the ages---the same heritage that provided the crucible in which the great authors formed these classic works. Edited by acclaimed literary biographer Joseph Pearce, the lgnatius Critical Editions ensure that readings of the works are filtered through the richness of Western tradition, meeting the authors in their clement, instead of the currently popular method of deconstructing a classic to fit a modern mindsct---a lamentable flaw that often proliferates in other series of critical editions. The Series is ideal for anyone wishing to understand the great works of Western Civilization, enabling the modern reader to enjoy these classics in the company of some of the finest literature professors alive today.

Focusing on the phenomenon of miniaturization in material culture, literature, and theories of cognition, this study examines the appeal and function of the small-scale during the period from 1650 to 1765. Drawing on three interconnected areas of scholarship, Melinda Alliker Rabb analyzes the human capacity to supplement direct experience of the world through representation, in order to gain knowledge of that world and to attempt control over it. Assessing two kinds of miniature - the real and the imagined - allows rethinking of works by Swift, Pope, Gay, Johnson, Sterne, and others, and shows how the fictional miniature can correspond meaningfully to the world of things. The phenomenon of scaling down objects as various as teapots, bureaus, globes, buckets, spoons, battlefields, and diving bells, has a relationship to large-scale events as various as financial revolution, globalization, scientific discovery, war and other events that challenge old modes of representation and demand new ones.

An interdisciplinary study of the 'domesticated' or home landscape as it shapes women's lives and their ways of writing.

It is thought that Swift was opposed to the new science that heralded the beginning of the modern age, but this book interrogates that assumption, tracing the theological, political, and socio-cultural resonances of scientific knowledge in the early eighteenth century, and considering what they can reveal about Swift's imagination.

A study of eighteenth- and early nineteeenth-century poetry in English, French and German, focusing on the mock epic (from Pope's Dunciad to Byron's Don Juan) as a critique of serious epic poetry and also as a literary means of exploring a wide range of sexual and religious issues in a humorous style.

The eighteenth century has often been viewed as a period of relative decline in the field of microscopy, as interest in microscopes seemed to wane after an intense period of discovery in the seventeenth century. As such, developments in the field during the Enlightenment have been largely overlooked. This book therefore fills a considerable gap in the study of this life science, providing a thorough analysis of what the main concerns of the field were and how microscopists learned to communicate with each other in relevant ways in order to compare results and build a new discipline. Employing a substantial body of contemporary literature from across Europe, Marc J. Ratcliff is able to present us with a definitive account of the state of research into microscopy of the period. He brings to light the little known work of Louis Joblot, re-evaluates the achievements of Abraham Trembley and gives new weight to Otto-Friedrich Müller's important contributions. The book also connects changes in instrument design to an innovative account of microscopical research during the eighteenth century and the rich social networks of communication that grew during this period. Investigating the history of microscopical research from 1680 up to 1800 also shows how scholars progressively established a modern rule on which to shape their new discipline: balancing microscopical magnification with shared vision. This rule developed in response to the diminishing size of the microscopical object during the course of the eighteenth century, from dry minute organisms such as insects, to aquatic minute bodies such as polyps, and finally to aquatic invisible organisms, thus completing the scholar's quest to study the invisible. This book will be essential reading for historians of microscopy, epistemologists, and for historians of the life sciences in the modern period.