...Nancy A. Mace Power Henry . Epic into Novel: Henry Fielding, Scriblerian Satire, and the Consumption of Classical Literature ( Oxford : Oxford Univ. , 2015 ). Pp. xiv + 232 . 3 ills. $95 Copyright © 2018 Duke University Press 2018 Review Essay...

... of truthfully conveying the sailors’ experience, including the vast timescales of sea travel, with the engaging of nonspecialists uninterested in the narration of uneventful voyage durations. Close attention to the later authorial editions shows Falconer expanding his descriptions, adding epic similes...

...Michael McKeon John Milton's Paradise Lost (1667, 1674) is often classified as a Renaissance epic, along with the great narrative poems of Ariosto, Tasso, and Spenser. However, this generic designation tells us much less about the formal nature of the poem than we learn when we contextualize...

...Shane Greentree Mary Hays's Female Biography (1803) stands as a good example of collective biography, and a landmark in women's history writing. Scholarly debate continues on whether this epic text further develops Enlightenment feminism or marks a retreat from 1790s radicalism into early...

... University Press 2015 panegyric epic apostrophe personification commemorative verse • The Embarrassments of Restoration Panegyric: Reconsidering an Unfashionable Genre Noelle Dückmann Gallagher...

..., collected by Thomas Sprat in 1668, was reprinted fourteen times before 1721. It consisted of his many love poems (published in a volume, The Mistress, 1647), Pindaric odes, Anacreontic verses, his epic Davideis, and other translations and imitations, as well as his Montaigneian Essays, which...

... of the ode, shifts between “discourse and description” suit the aspirational subject matter (57), but this is also how other longer poems in the eighteenth century anxiously negotiate their relationship to epic, and to orality. Jung argues that the dis- continuities of long poems, such as Thomson’s...

...Margaret R. Ewalt Andrew Laird. The Epic of America: An Introduction to Rafael Landívar and the “Rusticatio Mexicana” (London: Duckworth, 2006). Pp. vii + 312. $70 David J. Weber. Bárbaros: Spaniards and Their Savages in the Age of the Enlightenment. (New Haven: Yale Univ., 2005). Pp...

... of the epic to the rise of the novel. And that Pope should criticize this kind of author- ship is surely one of the grand hypocrisies of the eighteenth century; for no one so successfully exploited the financial possibilities of the printed book, or so scrupulously...

... and Modern (1766, 1767, and 1780), it appears as an example of a “MONUMENTAL” epigram, con- trasted in the prefatory essay to the collection with Paradise Lost, thus: “An epic poem comprehends but one intire action; an epigram but one principal thought,” which is about the extent of critical...

... and Belinda as artists is shaped by the poem’s status as a mock epic, for the ekphrasis in The Rape of the Lock clearly alludes to the trope’s heritage in the epic. Traditionally, Homer’s elaborate description of Achilles’ shield has been considered the locus clas...

... Written in a Country Churchyard. The volume is at its most traditional in the Poetic Genres section, where we find the eighteenth- century genre system in miniature, with chapters on Pastoral (David Hill Radcliffe), Georgic (David Fairer), Epic (Anna Foy), Ode (Sandro Jung), and Elegy (James D...

... a portion of their acts to fame” (l. 14). Craw's authority comes not only from his muse, but also from his own experience: “Narrate the truth, to nature's guiding law, / What my own eyes, and my brave shipmates saw” (ll. 17–18). Even as he makes epic claims, he draws upon the georgic mode, incorporating...

... is the changed status of didactic poetry. A genre that, in Addison’s eyes, had produced “the most complete, elaborate and finished Piece of all Antiquity”—Virgil’s Georgics2—and that Thomas Tickell could rank “sec- ond to Epic alone” in the hierarchy of poetic forms,3 became...

... of antiquarian literature that the margins of North and South- Britain . . . were being defined (68). In the final chap- ter of this section, Alex Watson discusses how the notes included in Rob- ert Southey s epic Madoc help us trace the poet s political transformation through the epic s journey from Wales...

..., and in his bringing into view the apparatus of neoclassical verse, in which the rise and fall of empires and provinces feature so prominently. He is a working sailor and a neoclassical poet, one who knows Helen, Aphrodite, and Penelope, that is, knows them through the Homeric and Virgilian epics that made...

... to that allocated to epic poetry by Sidney in his Defence of Poesy, works through pleasant and easily swal- lowed diversion (poetic delight) to incite readers—especially the com- mon sort of unlearned reader—into accepting as true points of view that perhaps have not been...

... past from the present by locating it in the historyless zone of epic heritage,” but in doing so he “promoted it as superior and heroic.” Pittock concludes that “Macpherson, a complex man, was thus the defender of the traditions he exploited: though it might be claimed that he exploited them...

... attested heroes enable readers to make a powerful emotional connection that depends on belief — ​not suspending disbelief, but just believing. (Comedy is an excep- tion to this, as it deals with invented characters, but as a low form it does not move one in the way that tragedy or epic does...

... he deployed to impose his voice on virtually the entire period. Of Voltaire’s monumental oeuvre, Cronk writes, “Voltaire was a master of . . . all literary genres. His writings include poetry in many dif- ferent styles (epic, mock epic, ode, epistle, satire, and much occasional verse, theatre...