“Gripping . . . Vibrant . . . A wonderfully absorbing and stimulating book.” —Sarah Bakewell, NBCC Award–winning author of How to Live and Humanly Possible “[A] rollicking account . . . The book’s compulsive readability is a tribute to Moore’s skill at cracking open the pre-revolutionary period.” —Charles Arrowsmith, The Washington Post A spirited group biography that explores the origins of the most iconic words in American history, and the remarkable transatlantic context from which they emerged. The most famous phrase in American history once looked quite different. “The preservation of life, & liberty, & the pursuit of happiness” was how Thomas Jefferson put it in the first draft of the Declaration, before the first ampersand was scratched out, along with “the preservation of.” In a statement as pithy—and contested—as this, a small deletion matters. And indeed, that final, iconizing revision was the last in a long chain of revisions stretching across the Atlantic and back. The precise contours of these three rights have never been pinned down—and yet in making these words into rights, Jefferson reified the hopes (and debates) not only of a group of rebel-statesmen but also of an earlier generation of British thinkers who could barely imagine a country like the United States of America. Peter Moore’s Life, Liberty, and the Pursuit of Happiness tells the true story of what may be the most successful import in US history: the “American dream.” Centered on the friendship between Benjamin Franklin and the British publisher William Strahan, and featuring figures including the cultural giant Samuel Johnson, the ground-breaking historian Catharine Macaulay, the firebrand politician John Wilkes, and revolutionary activist Thomas Paine, this book looks at the generation that preceded the Declaration in 1776. Everyone, it seemed, had “life, liberty, and the pursuit of happiness” on their minds; Moore shows why, and reveals how these still-nascent ideals made their way across an ocean and started a revolution. Includes 16 pages of black-and-white images

The Beggar's Opera, often referred to today as the first musical comedy, was the most popular dramatic piece of the eighteenth century—and is the work that John Gay (1685-1732) is best remembered for having written. That association of popular music and satiric lyrics has proved to be continuingly attractive, and variations on the Opera have flourished in this century: by Kurt Weill and Bertolt Brecht, by Duke Ellington, and most recently by Vaclav Havel. The original opera itself is played all over the world in amateur and professional productions. But John Gay's place in all this has not been well defined. His Opera is often regarded as some sort of chance event. In John Gay and the London Theatre, the first book-length study of John Gay as dramatic author, Calhoun Winton recognized the Opera as part of an entirely self-conscious career in the theatre, a career that Gay pursued from his earliest days as a writer in London and continued to follow to his death. Winton emphasizes Gay's knowledge of and affection for music, acquired, he argues, by way of his association with Handel. Although concentrating on Gay and his theatrical career, Winton also limns a vivid portrait of London itself and of the London stage of Gay's time, a period of considerable turbulence both within and outside the theatre. Gay's plays reflect in varying ways and degrees that social, political, and cultural turmoil. Winton's study sheds new light not only on Gay and the theatre, but also on the politics and culture of his era.

Relatively few garments survive from before the eighteenth century, and the history of costume in the preceding centuries must therefore rely to a great extent on literary and visual evidence. This book, the first of its kind, examines Stuart England through the mirror of dress. It argues that both artistic and literary sources can be read and decoded for important information on dress and the way it was perceived in a period of immense political, social, and cultural change. Focusing on the rich visual culture of the seventeenth century, including portraits, engravings, fashion plates, and sculpture, and on literary sources--poetry, drama, essays, sermons--the distinguished historian of dress Aileen Ribeiro creates a fascinating account of Stuart dress and how it both reflected and influenced society. Supported by a wealth of illustrative images, she explores such varied themes as court costumes, the masque, the ways in which political and religious ideologies could be expressed in dress, and the importance of London as a fashion center. This beautiful book is an indispensable and authoritative account of what people wore and how it related to Stuart England’s cultural climate.

Coffee houses are now once again a familiar sight in London's high streets. They are the latest manifestation of an institution which began in the seventeenth century. Ads from the Restoration, London was awash with coffee houses. They were used not only for refreshment, but for business, auctions, medical treatment, news gathering hiring servants or just conversation. They were considered dangerously radical places by the authorities. In the 19th century the Temperance bourn introduced coffee taverns to wean drinkers away from gin palaces. In the 1950s came the coffee bars dispensing new kinds of coffee accompanied by new music -- skiffle and rock and roll -- in crowded basements. And of late new chains of coffee houses, with predictable decor and little atmosphere, have invaded London. This major survey of the coffee houses is the most authoritative yet published, and is accompanied by many illustrations.

Performing Authorship in Eighteenth-Century Periodicals discusses the English periodical and how it shapes and expresses early conceptions of authorship in the eighteenth century. Unique to the British eighteenth century, the periodical is of great value to scholars of English cultural studies because it offers a venue where authors hash out, often in extremely dramatic terms, what they think it should take to be a writer, what their relationship with their new mass-media audience ought to be, and what qualifications should act as gatekeepers to the profession. Exploring these questions in The Female Spectator, The Drury-Lane Journal,The Midwife, The World, The Covent-Garden Journal, and other periodicals of the early and mid-eighteenth century, Manushag Powell examines several “paper wars” waged between authors. At the height of their popularity, essay periodicals allowed professional writers to fashion and make saleable a new kind of narrative and performative literary personality, the eidolon, and arguably birthed a new cult of authorial personality. In Performing Authorship in Eighteenth-Century Periodicals, Powell argues that the coupling of persona and genre imposes a lifespan on the periodical text; the periodicals don’t only rise and fall, but are born, and in good time, they die.

More than fifty specialists have contributed to this new edition of volume 2 of The Cambridge Bibliography of English Literature. The design of the original work has established itself so firmly as a workable solution to the immense problems of analysis, articulation and coordination that it has been retained in all its essentials for the new edition. The task of the new contributors has been to revise and integrate the lists of 1940 and 1957, to add materials of the following decade, to correct and refine the bibliographical details already available, and to re-shape the whole according to a new series of conventions devised to give greater clarity and consistency to the entries.

Includes its Report, 1896-19 .