This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.

Ranging over the tradition of verse satire from the Roman poets to their seventeenth- and eighteenth-century imitators in England and France, Howard D. Weinbrot challenges the common view of Alexander Pope as a Horatian satirist in a Horatian age. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The Work of Form: Poetics and Materiality in Early Modern Culture explores the resurgent interest in literary form and aesthetics in early modern english studies. Essays by leading international scholars reflect on the legacy of historicist approaches and on calls for a renewal of formalist analysis as both a tool and as a defence of our object of study as literary critics. This collection addresses the possibilities as well as the challenges of combining these critical traditions; it tests and reflects on these through practice. It also establishes new lines of enquiry by expanding definitions of form to include the material as well as theoretical implications of the term and explores the early modern roots of these connections. The period's most famous poets such as Sidney, Spenser, Shakespeare, Jonson, and Jonson appear alongside Anne Southwell, Thomas Campion, and many anonymous poets and songwriters. The Work of Form brings together contributors from literary history, historicism, manuscript study, prosodic theory, the history of music, history of the book, as well as print and manuscript culture. It represents avowedly political historical work, alongside aesthetic and theoretical frameworks, work bridging literature and music, and cognitive poetics. In bringing together these diverse commitments, it addresses urgent questions about how we can understand and analyse literary form in a historically-rooted way, and demands rigorous discussion about the status of formal and aesthetic considerations in editing, in literary criticism, and in teaching.

First published in 1970, this work explores the literary genre of satire.This book presents a comprehensive overview the genre and provides a useful starting point for those wishing to further study satirical literature.

Thomas Middleton and Early Modern Textual Culture is not only a companion to The Collected Works of Thomas Middleton, which every scholar of Renaissance literature will find indispensable. It is also essential reading for anyone interested in the history of the book in early modern Europe. The book is divided into two parts. The first part, on 'The Culture', situates Middleton within an historical and theoretical overview of early modern textual production, reproduction, circulation, and reception. An introductory essay by Gary Taylor ('The Order of Persons') surveys lists of persons written by or connected to Middleton, using the complex relationship between textual and social orders to trace the evolution of textual culture in England during the 'Middleton century' (1580-1679). Ten original essays then focus on Middleton's connections to different aspects of textual culture in that century: authorship (by MacD. P. Jackson), manuscripts (Harold Love), legal texts (Edward Geiskes), censorship (Richard Burt), printing (Adrian Weiss), visual texts (John Astington), music (Andrew Sabol), stationers and living authors (Cyndia Clegg), posthumous publishing (Maureen Bell), and early readers (John Jowett). The second part, 'The Texts', supplies the documentation for claims made in the first part. This includes detailed evidence for the canon and chronology of Middleton's works in all genres, greatly extending previous scholarship, and using the latest corpus-based attribution techniques. A full editorial apparatus is supplied for each item in The Collected Works: an Introduction, which summarizes and extends previous scholarship, is followed by textual notes, recording substantive departures from the control-text, variants between early texts, press-variants, discussions of emendations, and (for plays) an exact transcription of all original stage directions. Cross-references make it easy to move between the two volumes. This authoritative account of the early texts includes some extraordinarily complicated cases, which have never before been systematically collated: 'Hence, all you vain delights' (the most popular song lyric from the Renaissance stage), The Two Gates of Salvation, The Peacemaker, and A Game at Chess (the most complex editorial problem in early modern drama, with eight extant texts and numerous reports of the early performances).