... examines three of Cowley’s strategic domestic comedies: The Runaway (1776); The Belle’s Stratagem (1780); and The Town Before You (1795). Through these plays, we see the playwright participating in a late eighteenth-century revival and transformation of the georgic mode as she places women, provincials...

... of hands from the punitive idea of labor, and in rejecting the hierarchy of head to hand, Defoe is drawing on two important elements of his intellectual world: the new science and the georgic “revolution.” And in attending to details of work, to process and method, Defoe creates pos- sibilities...

... for afar Voyages,” Philosophical Transactions of the Royal Society of London 1.8 (January 1665–66): 140–03. 6. “Sound, n.1,” Johnson, Dictionary . 21. For a discussion of eighteenth-century criticism of technical language and georgic poetry, see Bridget Keegan, “Georgic Transformations...

... (xx). The book s eleven chapters are grouped thematically, to emphasize particularly fruitful case studies. The first section includes two essays on georgic annotation that trace how annotation influences the conception of this exemplary eighteenth- century poetic genre. The essay by Edson...

... in the Romantic period11 (as in Leigh Hunt’s dismissive reference to “an- other didactic little horror of Mr Wordsworth”—namely Peter Bell);12 and poetic forms such as georgic, moral essay, and didactic or philosophical poem have no place in the modern repertoire of literary genres...

... of the eighteenth century. The Problem of Profit explains how this ideal of sociable profit, with another form he names “affective finance,” was constructed alongside theories of sentimentality. He traces its presence in a range of literary genres, from georgic poetry and the sentimental novel, to periodical...

... as for critics interested in the formal dimensions of poetry in the later decades of the century. Bailes compellingly defines what she under- Nature s Quest ions, Answered 1 2 9 stands to be Maria Riddell s West India Georgic as a mode of poetry that pushes against British cultural concerns of colonial...

... 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...

...–1818,” charts Falconer's changing reception through the illustrations in editions after 1780. Contrary to the focus in recent scholarship on The Shipwreck as a georgic poem providing accurate information about technical sailing processes, early illustrators prioritized images drawn from the romance...

... subjects shaped evaluations of The Shipwreck 's length. For readers approaching the poem as an epic adventure, anything unrelated to the wreck likely felt drawn out; likewise, for anyone expecting a maritime georgic, the sentimental additions to B and C probably smacked of filler. My focus...

..., and indeed this book is open to charges of superficiality on a number of fronts. In lengthy discussion, for example, Siskin argues that eighteenth-century interest in the georgic, the ancient genre celebrating work, helped to “empower professionalism,” setting the table...

..., and Pope’s Windsor Forest to shape their depictions of Irish nature. Like their English counterparts, Irish poets use topographical poetry and georgic verse to stake claims to taste, refinement, and civilized propriety. Poems like James Ward’s Phoenix Park (1718) use their “prospects” to assert...

..., and contradictions of Spanish Bourbon era policies and methods for dealing with bárbaros (“savage” or wild Indians) in the Spanish- ­American “edges of empire.” The second offers English translations and a close reading of the georgic celebration of New Spain penned in Latin by the exiled Jesuit Rafael...

... cultural concerns that have informed critics’ readings of The Shipwreck for over 200 years, criticism has predominantly regarded the poem as a georgic recording of an authentic experience of maritime labor, travel, and imperialism. Yet such an understanding of the poem, and especially of the first...

... themes but rather a metaphorical alignment of her material into what she calls “georgic” and “pastorical” modes. One problem with this organizational model is that it takes her away from her texts; to make her novels fit into these categories, she must change the books...

... of eighteenth-­century writers in every genre. Stalnaker’s account of descriptive poetry focuses on the work of Jacques Delille, translator of Ver- gil’s Georgics (1769) and author of his own L’homme des champs, ou Les géorgiques françaises (1800). Delille argued that the georgic, not the tragedy, offered...

...-Joseph Dézallier d’Argenville (1680  –  1765) as he took note of his contemporaries’ excitement over grafting.1 The tech- niques of this ancient art had been transmitted over the centuries through gardeners’ practices, trade books, and a Georgic literary tradition, but as a culture of stewardship...

... this “rude Production of a Sailors Pen . . . is free from all romantick Fiction” (2). The aesthetic of authenticity, a feature of the georgic mode, is favored by sailor poets, but the ship's mission of exploration is ambitious. Under Captain Samuel Wallis, the crew aspires to circumnavigate the globe. Wallis...

... made one tenth of the purchasers.” It is worth emphasizing that this first edition appears not in Falconer's name, but as the work of “A Sailor,” that is, a poem for sailors, of instruction in their art, in the georgic mode, with the extensive technical detail in both the verse and the copious...

... decision to change her heroine’s name from Susan to Catherine in order to set off “con- temporary celebrity associations” (118). Barchas’s eye-opening fourth chapter connects John Evelyn’s Sylva, as pre- viously mentioned, with the “georgic” mode (143) of Austen’s Evelyn, and then with Sense...