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Chapter 15 - Style and Language
- from Part III - Literary Background
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- By Cynthia Wall
- Edited by Joseph Hone, University of Newcastle upon Tyne, Pat Rogers, University of South Florida
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- Book:
- Jonathan Swift in Context
- Published online:
- 02 May 2024
- Print publication:
- 09 May 2024, pp 116-122
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Summary
Since the eighteenth century, Swift’s prose has been admired for its simplicity and clarity. This chapter pays attention to how the ‘purity’ of Swift’s prose style interconnects with the coarseness and grotesquery of his writing. Swift, this chapter argues, was part of a reaction that emerged in the late seventeenth century against the Elizabethan writers and their ornate metaphysical style. The level of details that he imported into his prose fictions opened up new visual possibilities, both for narrative and for disgust. His microscopic eye collides with his scatological vision.
Chapter 5 - Editions
- from Part I - Life and Works
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- By Cynthia Wall
- Edited by Albert J. Rivero, Marquette University, Wisconsin, George Justice, University of Tulsa
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- Book:
- Daniel Defoe in Context
- Published online:
- 27 April 2023
- Print publication:
- 11 May 2023, pp 34-44
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Summary
Editions’ begins with the Attribution Controversy: in 1790 George Chalmers attributed 81 titles to Defoe; by 1960 John Robert Moore counted 570. This led to a trio of works by P. N. Furbank and W. R. Owens overhauling the bibliography: The Canonisation of Daniel Defoe (1988), Defoe De-attributions: A Critique of J. R. Moore’s ‘Checklist’ (1996), and A Critical Bibliography of Daniel Defoe (1998). Various scholars reinstated titles; various other scholars wondered whether Defoe even wrote Moll Flanders and Roxana. But editors of the nineteenth and twentieth centuries were confident enough in identifying the Defovian to produce multi-volume Works, while in this century Pickering & Chatto have published to date forty-four volumes. The chapter concludes with a look at some of the more arresting versions of Robinson Crusoe – such as the one in ’Pitman’s shorthand "(corresponding style)"’.
3 - Gothic Syntax
- from Part I - Reading Small Things
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- By Cynthia Wall
- Edited by Chloe Wigston Smith, University of York, Beth Fowkes Tobin, Arizona State University
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- Book:
- Small Things in the Eighteenth Century
- Published online:
- 29 September 2022
- Print publication:
- 29 September 2022, pp 47-63
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Summary
Horace Walpole finishes his account of writing The Castle of Otranto (1764) with a wry look at its syntactics, confessing that late one night he “could not hold the pen to finish the sentence, but left Matilda and Isabella talking, in the middle of a paragraph.” A close look at the beginnings, middles, and ends not only of chapters but also of paragraphs and even sentences in this first gothic novel reveals syntactical passages behaving like subterranean passages. As readers, we often don’t know what’s coming until we turn the corner of the sentence and bump into it. The lack of quotation marks to distinguish dialogue (when quotation marks were entering into common use) repeatedly slides the reader down wrong turns; we mistake one speaker for another. Later editions would insert quotation marks, brightly lighting the syntactic interior. But what Walpole initiates for the gothic on the small level of typography and syntax as well as of atmosphere and plot is precisely the uneasiness of boundaries obscured and identities blurred. This chapter tracks the spatial implications of the shapes of sentences and the peculiarities of paragraphs in The Castle of Otranto to uncover a template of syntactical structures enacting gothic structures.
2 - Daniel Defoe (1660–1731): Journalism, myth and verisimilitude
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- By Cynthia Wall
- Edited by Michael Bell, University of Warwick
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- Book:
- The Cambridge Companion to European Novelists
- Published online:
- 28 September 2012
- Print publication:
- 14 June 2012, pp 36-53
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Summary
I discover’d a Locker with Drawers in it, in one of which I found two or three Razors, and one Pair of large Sizzers, with some ten or a Dozen of good Knives and Forks; in another I found about Thirty six Pounds value in Money, some European Coin, some Brasil, some Pieces of Eight, Some Gold, some Silver.
I smil’d to my self at the Sight of this Money, O Drug! Said I aloud, what art thou good for . . . However, upon Second Thoughts, I took it away, . . . wrapping all this in a Piece of Canvas.
Daniel Defoe was responsible for one of the world's greatest myths: Robinson Crusoe, shipwrecked on a desert island for twenty-eight years. Published in 1719, The Life, and Strange Surprizing Adventures of Robinson Crusoe had gone through 196 English editions by the end of the nineteenth century, along with multiple translations into French, German, Dutch, Italian, Swedish, Hebrew, Armenian, Danish, Turkish, Hungarian, Bengali, Polish, Arabic, Estonian, Maltese, Coptic, Welsh, Persian and even Ancient Greek. Then there were the imitations, abridgements and adaptations – what in Germany and France was called the Robinsonade. August Kippenberg has referred to ‘Defoes allbekanntes Werk’, which has exerted ‘as extraordinary an influence on world literature as any book’. Yet this larger-than-life, transcontinental myth (in European coin) was created from the smallest, most ordinary bits of life, from the details pebbling about our shoes – scissors, knives and forks, a piece of canvas. Before he began his novelistic career, Defoe had been a journalist, merchant, economist and spy, and from these ongoing and intersecting careers he developed both a sweeping and a local sense of history, an attention to ‘human-interest’ stories, an impressive knowledge of geography and a taste for the realistic tiny detail.
7 - Domesticities and novel narratives
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- By Cynthia Wall
- Edited by Robert L. Caserio, Pennsylvania State University, Clement Hawes, University of Michigan, Ann Arbor
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- Book:
- The Cambridge History of the English Novel
- Published online:
- 28 January 2012
- Print publication:
- 12 January 2012, pp 113-130
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The house, quite obviously, is a privileged entity for a phenomenological study of the intimate values of inside space . . . For our house is our corner of the world . . . [A]ll really inhabited space bears the essence of the notion of home . . .
Gaston Bachelard, The Poetics of Space (1957)[H]aving settled my houshold Stuff and Habitation, made me a Table and a Chair, and all as handsome about me as I could, I began to keep my Journal.
Daniel Defoe, Robinson Crusoe (1719)Robinson Crusoe, who left a comfortable middle-class home in England, finds himself stranded on a deserted island, and promptly creates a comfortable middle-class home in its midst. He makes his new corner of the world into a house – two houses, to be precise: his main “fortress” and his “country retreat,” complete with his “family” of dogs, cats, goats, and a parrot, with handy shelves, misshapen pots, raisins, and an umbrella. And when his household stuff is settled, he can begin to write.
Crusoe's domestic management supplies a vignette for the eighteenth-century British novel, which in such sweeping ways is all about home: finding it, losing it, running away from it, replicating it, furnishing it, inhabiting it, remembering it, haunting it. Even the picaresque novels, “homeless” as their rogues go ranging round the world, define themselves by the absence of home, the picaro living by his wits on other people's doorsteps. The house, which houses the home, the domestic, is site of plot, character, action, setting: she is pursued through the chamber; he brandishes a sword in the hall; they meet in the parlor; they avoid each other in the garden; she drops in an elbow-chair; he eavesdrops from the closet; she points the poignard at her breast in the dining-room; they take two chapters to descend a staircase. As Amanda Vickery notes: “Universal but unexamined, homes are implicated in and backdrop to the history of power, gender, the family, privacy, consumerism, design and the decorative arts.”
Chapter 28 - London
- from Part III - Contexts
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- By Cynthia Wall
- Edited by Jack Lynch, Rutgers University, New Jersey
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- Book:
- Samuel Johnson in Context
- Published online:
- 05 June 2012
- Print publication:
- 10 November 2011, pp 243-250
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Summary
CI′TY. n.s. [cité, French, civitas, Latin.]
1. A large collection of houses and inhabitants.
Men seek their safety from number better united, and from walls and other fortifications; the use whereof is to make the few a match for the many, and this is the original of cities. Temple.
“For who would leave, unbrib’d, Hibernia’s Land, / Or change the Rocks of Scotland for the Strand?” asks the speaker in Samuel Johnson’s first major poem, London. As this work was published by Richard Dodsley and printed by Edward Cave at Tully’s Head in Pall Mall in 1738, when Johnson was twenty-nine, it marks his first literary entry into London. Famously, the author of this poem would later answer the rhetorical question flatly: “No, Sir, when a man is tired of London, he is tired of life; for there is in London all that life can afford” (Boswell, Life, 3:178).
Johnson’s first use of the Strand is a fitting emblem of the city itself. “In former Times it was an Highway leading from London to Westminster,” writes John Strype in 1720 in his survey of London, curving along the Thames between Charing Cross and the Inns of Court. In the eighteenth century it remained the most direct connection between the City (the old medieval center, and still the financial center) and the Court (Westminster, parks and palaces, Piccadilly and Pall Mall), passing through the Town (theatre and law, fashion and dissolution). The borough of Southwark lies south of the River Thames, a sort of suburb of town houses and retreats of more dubious sorts. To understand eighteenth-century London, one must understand these regions, their relations, and their associations.
6 - London and narration in the long eighteenth century
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- By Cynthia Wall
- Lawrence Manley, Yale University, Connecticut
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- Book:
- The Cambridge Companion to the Literature of London
- Published online:
- 28 September 2011
- Print publication:
- 18 August 2011, pp 102-118
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As I am now near the Centre of this Work, so I am to describe the great Centre of England, the City of London.
Daniel Defoe, A Tour thro' the Whole Island of Great Britain
London is in fact at the centre of many, many literary works of seventeenth- and eighteenth-century Britain, not just as a setting or backdrop but as a shaping force - of plot, character, and narrative itself. Narrators describe the city, inhabit the city, walk the city, write the city. The circuits Defoe as traveller- narrator takes in his epistolary documentary A Tour thro' the Whole Island of Great Britain (1724-7) begin and end in London, and London is its centrepiece, expanding as we read: 'We see several Villages, formerly standing, as it were, in the Country, and at a great Distance, now joyn'd to the Streets by continued Buildings, and more making haste to meet in the like Manner.' And he draws – or rather, follows – a ‘Line of Measurement’ about the city, a line that actively ‘runs’ and ‘passes’ and ‘crosses’ and ‘turns’ and ‘goes away’ and ‘comes to’:
From Tottenham Court, the Line comes in a little South, to meet the Bloomsbury Buildings, then turning East, runs behind Montague and Southampton Houses, to the N.E . Corner of Southampton House, then crossing the Path, meets the Buildings called Queen’s Square, then turning North, ’till it comes to the N.W. corner of the Square, thence it goes away East behind the Buildings on the North side of Ormond Street, ’till it comes to Lamb’s Conduit. (2.2.99)
Contributors
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. Deichmann Edwards, Miguel A. De La Torre, George E. Demacopoulos, Thomas de Mayo, Leah DeVun, Beatriz de Vasconcellos Dias, Dennis C. Dickerson, John M. Dillon, Luis Miguel Donatello, Igor Dorfmann-Lazarev, Susanna Drake, Jonathan A. Draper, N. Dreher Martin, Otto Dreydoppel, Angelyn Dries, A. J. Droge, Francis X. D'Sa, Marilyn Dunn, Nicole Wilkinson Duran, Rifaat Ebied, Mark J. Edwards, William H. Edwards, Leonard H. Ehrlich, Nancy L. Eiesland, Martin Elbel, J. Harold Ellens, Stephen Ellingson, Marvin M. Ellison, Robert Ellsberg, Jean Bethke Elshtain, Eldon Jay Epp, Peter C. Erb, Tassilo Erhardt, Maria Erling, Noel Leo Erskine, Gillian R. Evans, Virginia Fabella, Michael A. Fahey, Edward Farley, Margaret A. Farley, Wendy Farley, Robert Fastiggi, Seena Fazel, Duncan S. Ferguson, Helwar Figueroa, Paul Corby Finney, Kyriaki Karidoyanes FitzGerald, Thomas E. FitzGerald, John R. Fitzmier, Marie Therese Flanagan, Sabina Flanagan, Claude Flipo, Ronald B. Flowers, Carole Fontaine, David Ford, Mary Ford, Stephanie A. Ford, Jim Forest, William Franke, Robert M. Franklin, Ruth Franzén, Edward H. Friedman, Samuel Frouisou, Lorelei F. Fuchs, Jojo M. Fung, Inger Furseth, Richard R. Gaillardetz, Brandon Gallaher, China Galland, Mark Galli, Ismael García, Tharscisse Gatwa, Jean-Marie Gaudeul, Luis María Gavilanes del Castillo, Pavel L. Gavrilyuk, Volney P. Gay, Metropolitan Athanasios Geevargis, Kondothra M. George, Mary Gerhart, Simon Gikandi, Maurice Gilbert, Michael J. Gillgannon, Verónica Giménez Beliveau, Terryl Givens, Beth Glazier-McDonald, Philip Gleason, Menghun Goh, Brian Golding, Bishop Hilario M. Gomez, Michelle A. Gonzalez, Donald K. Gorrell, Roy Gottfried, Tamara Grdzelidze, Joel B. Green, Niels Henrik Gregersen, Cristina Grenholm, Herbert Griffiths, Eric W. Gritsch, Erich S. Gruen, Christoffer H. Grundmann, Paul H. Gundani, Jon P. Gunnemann, Petre Guran, Vidar L. Haanes, Jeremiah M. Hackett, Getatchew Haile, Douglas John Hall, Nicholas Hammond, Daphne Hampson, Jehu J. Hanciles, Barry Hankins, Jennifer Haraguchi, Stanley S. Harakas, Anthony John Harding, Conrad L. Harkins, J. William Harmless, Marjory Harper, Amir Harrak, Joel F. Harrington, Mark W. Harris, Susan Ashbrook Harvey, Van A. Harvey, R. Chris Hassel, Jione Havea, Daniel Hawk, Diana L. Hayes, Leslie Hayes, Priscilla Hayner, S. Mark Heim, Simo Heininen, Richard P. Heitzenrater, Eila Helander, David Hempton, Scott H. Hendrix, Jan-Olav Henriksen, Gina Hens-Piazza, Carter Heyward, Nicholas J. Higham, David Hilliard, Norman A. Hjelm, Peter C. Hodgson, Arthur Holder, M. Jan Holton, Dwight N. Hopkins, Ronnie Po-chia Hsia, Po-Ho Huang, James Hudnut-Beumler, Jennifer S. Hughes, Leonard M. Hummel, Mary E. Hunt, Laennec Hurbon, Mark Hutchinson, Susan E. Hylen, Mary Beth Ingham, H. Larry Ingle, Dale T. Irvin, Jon Isaak, Paul John Isaak, Ada María Isasi-Díaz, Hans Raun Iversen, Margaret C. Jacob, Arthur James, Maria Jansdotter-Samuelsson, David Jasper, Werner G. Jeanrond, Renée Jeffery, David Lyle Jeffrey, Theodore W. Jennings, David H. Jensen, Robin Margaret Jensen, David Jobling, Dale A. Johnson, Elizabeth A. Johnson, Maxwell E. Johnson, Sarah Johnson, Mark D. Johnston, F. Stanley Jones, James William Jones, John R. Jones, Alissa Jones Nelson, Inge Jonsson, Jan Joosten, Elizabeth Judd, Mulambya Peggy Kabonde, Robert Kaggwa, Sylvester Kahakwa, Isaac Kalimi, Ogbu U. Kalu, Eunice Kamaara, Wayne C. Kannaday, Musimbi Kanyoro, Veli-Matti Kärkkäinen, Frank Kaufmann, Léon Nguapitshi Kayongo, Richard Kearney, Alice A. Keefe, Ralph Keen, Catherine Keller, Anthony J. Kelly, Karen Kennelly, Kathi Lynn Kern, Fergus Kerr, Edward Kessler, George Kilcourse, Heup Young Kim, Kim Sung-Hae, Kim Yong-Bock, Kim Yung Suk, Richard King, Thomas M. King, Robert M. Kingdon, Ross Kinsler, Hans G. Kippenberg, Cheryl A. Kirk-Duggan, Clifton Kirkpatrick, Leonid Kishkovsky, Nadieszda Kizenko, Jeffrey Klaiber, Hans-Josef Klauck, Sidney Knight, Samuel Kobia, Robert Kolb, Karla Ann Koll, Heikki Kotila, Donald Kraybill, Philip D. W. Krey, Yves Krumenacker, Jeffrey Kah-Jin Kuan, Simanga R. Kumalo, Peter Kuzmic, Simon Shui-Man Kwan, Kwok Pui-lan, André LaCocque, Stephen E. Lahey, John Tsz Pang Lai, Emiel Lamberts, Armando Lampe, Craig Lampe, Beverly J. Lanzetta, Eve LaPlante, Lizette Larson-Miller, Ariel Bybee Laughton, Leonard Lawlor, Bentley Layton, Robin A. Leaver, Karen Lebacqz, Archie Chi Chung Lee, Marilyn J. Legge, Hervé LeGrand, D. L. LeMahieu, Raymond Lemieux, Bill J. Leonard, Ellen M. Leonard, Outi Leppä, Jean Lesaulnier, Nantawan Boonprasat Lewis, Henrietta Leyser, Alexei Lidov, Bernard Lightman, Paul Chang-Ha Lim, Carter Lindberg, Mark R. Lindsay, James R. Linville, James C. Livingston, Ann Loades, David Loades, Jean-Claude Loba-Mkole, Lo Lung Kwong, Wati Longchar, Eleazar López, David W. Lotz, Andrew Louth, Robin W. Lovin, William Luis, Frank D. Macchia, Diarmaid N. J. MacCulloch, Kirk R. MacGregor, Marjory A. MacLean, Donald MacLeod, Tomas S. Maddela, Inge Mager, Laurenti Magesa, David G. Maillu, Fortunato Mallimaci, Philip Mamalakis, Kä Mana, Ukachukwu Chris Manus, Herbert Robinson Marbury, Reuel Norman Marigza, Jacqueline Mariña, Antti Marjanen, Luiz C. L. Marques, Madipoane Masenya (ngwan'a Mphahlele), Caleb J. D. Maskell, Steve Mason, Thomas Massaro, Fernando Matamoros Ponce, András Máté-Tóth, Odair Pedroso Mateus, Dinis Matsolo, Fumitaka Matsuoka, John D'Arcy May, Yelena Mazour-Matusevich, Theodore Mbazumutima, John S. McClure, Christian McConnell, Lee Martin McDonald, Gary B. McGee, Thomas McGowan, Alister E. McGrath, Richard J. McGregor, John A. McGuckin, Maud Burnett McInerney, Elsie Anne McKee, Mary B. McKinley, James F. McMillan, Ernan McMullin, Kathleen E. McVey, M. Douglas Meeks, Monica Jyotsna Melanchthon, Ilie Melniciuc-Puica, Everett Mendoza, Raymond A. Mentzer, William W. Menzies, Ina Merdjanova, Franziska Metzger, Constant J. Mews, Marvin Meyer, Carol Meyers, Vasile Mihoc, Gunner Bjerg Mikkelsen, Maria Inêz de Castro Millen, Clyde Lee Miller, Bonnie J. Miller-McLemore, Alexander Mirkovic, Paul Misner, Nozomu Miyahira, R. W. L. Moberly, Gerald Moede, Aloo Osotsi Mojola, Sunanda Mongia, Rebeca Montemayor, James Moore, Roger E. Moore, Craig E. Morrison O.Carm, Jeffry H. Morrison, Keith Morrison, Wilson J. Moses, Tefetso Henry Mothibe, Mokgethi Motlhabi, Fulata Moyo, Henry Mugabe, Jesse Ndwiga Kanyua Mugambi, Peggy Mulambya-Kabonde, Robert Bruce Mullin, Pamela Mullins Reaves, Saskia Murk Jansen, Heleen L. Murre-Van den Berg, Augustine Musopole, Isaac M. T. Mwase, Philomena Mwaura, Cecilia Nahnfeldt, Anne Nasimiyu Wasike, Carmiña Navia Velasco, Thulani Ndlazi, Alexander Negrov, James B. Nelson, David G. Newcombe, Carol Newsom, Helen J. Nicholson, George W. E. Nickelsburg, Tatyana Nikolskaya, Damayanthi M. A. Niles, Bertil Nilsson, Nyambura Njoroge, Fidelis Nkomazana, Mary Beth Norton, Christian Nottmeier, Sonene Nyawo, Anthère Nzabatsinda, Edward T. Oakes, Gerald O'Collins, Daniel O'Connell, David W. Odell-Scott, Mercy Amba Oduyoye, Kathleen O'Grady, Oyeronke Olajubu, Thomas O'Loughlin, Dennis T. Olson, J. Steven O'Malley, Cephas N. Omenyo, Muriel Orevillo-Montenegro, César Augusto Ornellas Ramos, Agbonkhianmeghe E. Orobator, Kenan B. Osborne, Carolyn Osiek, Javier Otaola Montagne, Douglas F. Ottati, Anna May Say Pa, Irina Paert, Jerry G. Pankhurst, Aristotle Papanikolaou, Samuele F. Pardini, Stefano Parenti, Peter Paris, Sung Bae Park, Cristián G. Parker, Raquel Pastor, Joseph Pathrapankal, Daniel Patte, W. Brown Patterson, Clive Pearson, Keith F. Pecklers, Nancy Cardoso Pereira, David Horace Perkins, Pheme Perkins, Edward N. Peters, Rebecca Todd Peters, Bishop Yeznik Petrossian, Raymond Pfister, Peter C. Phan, Isabel Apawo Phiri, William S. F. Pickering, Derrick G. Pitard, William Elvis Plata, Zlatko Plese, John Plummer, James Newton Poling, Ronald Popivchak, Andrew Porter, Ute Possekel, James M. Powell, Enos Das Pradhan, Devadasan Premnath, Jaime Adrían Prieto Valladares, Anne Primavesi, Randall Prior, María Alicia Puente Lutteroth, Eduardo Guzmão Quadros, Albert Rabil, Laurent William Ramambason, Apolonio M. Ranche, Vololona Randriamanantena Andriamitandrina, Lawrence R. Rast, Paul L. Redditt, Adele Reinhartz, Rolf Rendtorff, Pål Repstad, James N. Rhodes, John K. Riches, Joerg Rieger, Sharon H. Ringe, Sandra Rios, Tyler Roberts, David M. Robinson, James M. Robinson, Joanne Maguire Robinson, Richard A. H. Robinson, Roy R. Robson, Jack B. Rogers, Maria Roginska, Sidney Rooy, Rev. Garnett Roper, Maria José Fontelas Rosado-Nunes, Andrew C. Ross, Stefan Rossbach, François Rossier, John D. Roth, John K. Roth, Phillip Rothwell, Richard E. Rubenstein, Rosemary Radford Ruether, Markku Ruotsila, John E. Rybolt, Risto Saarinen, John Saillant, Juan Sanchez, Wagner Lopes Sanchez, Hugo N. Santos, Gerhard Sauter, Gloria L. Schaab, Sandra M. Schneiders, Quentin J. Schultze, Fernando F. Segovia, Turid Karlsen Seim, Carsten Selch Jensen, Alan P. F. Sell, Frank C. Senn, Kent Davis Sensenig, Damían Setton, Bal Krishna Sharma, Carolyn J. Sharp, Thomas Sheehan, N. Gerald Shenk, Christian Sheppard, Charles Sherlock, Tabona Shoko, Walter B. Shurden, Marguerite Shuster, B. Mark Sietsema, Batara Sihombing, Neil Silberman, Clodomiro Siller, Samuel Silva-Gotay, Heikki Silvet, John K. Simmons, Hagith Sivan, James C. Skedros, Abraham Smith, Ashley A. Smith, Ted A. Smith, Daud Soesilo, Pia Søltoft, Choan-Seng (C. S.) Song, Kathryn Spink, Bryan Spinks, Eric O. Springsted, Nicolas Standaert, Brian Stanley, Glen H. Stassen, Karel Steenbrink, Stephen J. Stein, Andrea Sterk, Gregory E. Sterling, Columba Stewart, Jacques Stewart, Robert B. Stewart, Cynthia Stokes Brown, Ken Stone, Anne Stott, Elizabeth Stuart, Monya Stubbs, Marjorie Hewitt Suchocki, David Kwang-sun Suh, Scott W. Sunquist, Keith Suter, Douglas Sweeney, Charles H. Talbert, Shawqi N. Talia, Elsa Tamez, Joseph B. Tamney, Jonathan Y. Tan, Yak-Hwee Tan, Kathryn Tanner, Feiya Tao, Elizabeth S. Tapia, Aquiline Tarimo, Claire Taylor, Mark Lewis Taylor, Bishop Abba Samuel Wolde Tekestebirhan, Eugene TeSelle, M. Thomas Thangaraj, David R. Thomas, Andrew Thornley, Scott Thumma, Marcelo Timotheo da Costa, George E. “Tink” Tinker, Ola Tjørhom, Karen Jo Torjesen, Iain R. Torrance, Fernando Torres-Londoño, Archbishop Demetrios [Trakatellis], Marit Trelstad, Christine Trevett, Phyllis Trible, Johannes Tromp, Paul Turner, Robert G. Tuttle, Archbishop Desmond Tutu, Peter Tyler, Anders Tyrberg, Justin Ukpong, Javier Ulloa, Camillus Umoh, Kristi Upson-Saia, Martina Urban, Monica Uribe, Elochukwu Eugene Uzukwu, Richard Vaggione, Gabriel Vahanian, Paul Valliere, T. J. Van Bavel, Steven Vanderputten, Peter Van der Veer, Huub Van de Sandt, Louis Van Tongeren, Luke A. Veronis, Noel Villalba, Ramón Vinke, Tim Vivian, David Voas, Elena Volkova, Katharina von Kellenbach, Elina Vuola, Timothy Wadkins, Elaine M. Wainwright, Randi Jones Walker, Dewey D. Wallace, Jerry Walls, Michael J. Walsh, Philip Walters, Janet Walton, Jonathan L. Walton, Wang Xiaochao, Patricia A. Ward, David Harrington Watt, Herold D. Weiss, Laurence L. Welborn, Sharon D. Welch, Timothy Wengert, Traci C. West, Merold Westphal, David Wetherell, Barbara Wheeler, Carolinne White, Jean-Paul Wiest, Frans Wijsen, Terry L. Wilder, Felix Wilfred, Rebecca Wilkin, Daniel H. Williams, D. Newell Williams, Michael A. Williams, Vincent L. Wimbush, Gabriele Winkler, Anders Winroth, Lauri Emílio Wirth, James A. Wiseman, Ebba Witt-Brattström, Teofil Wojciechowski, John Wolffe, Kenman L. Wong, Wong Wai Ching, Linda Woodhead, Wendy M. Wright, Rose Wu, Keith E. Yandell, Gale A. Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
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- Book:
- The Cambridge Dictionary of Christianity
- Published online:
- 05 August 2012
- Print publication:
- 20 September 2010, pp xi-xliv
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9 - Defoe and London
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- By Cynthia Wall
- Edited by John Richetti, University of Pennsylvania
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- Book:
- The Cambridge Companion to Daniel Defoe
- Published online:
- 28 March 2009
- Print publication:
- 15 January 2009, pp 158-181
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Summary
“I BEGAN my Travels, where I Purpose to End them, viz. At the City of London ...” (Defoe, Tour I, 1) / Daniel Defoe began and ended his own travels, so to speak, in London, and the city of London is the implied or explicit setting, subject, or structuring principle of just about every work he wrote, didactic or fictional, prosaic or poetic. Cities in general fascinated Defoe, but he wrote most particularly of London, its boundaries and buildings, streets and occupations, trade and crime, strengths and vulnerabilities, ancient patterns and constant permutations. He knew it intimately and represented it vividly; however fictional the plots and characters of his novels might be, London is always precisely real. The streets are accurately mapped, the buildings reliably themselves. And yet, for Defoe, there are many Londons overlapping in those precisely drawn streets. There is the economically charged city, buoyant with trade, a city of shops and houses and traffic and merchants and apprentices and servants. But there are darker Londons with ragged children and forgotten elderly swept into corners, thieves lurking in the underworld, stockjobbers corrupting financial networks, watermen and hackney drivers imperiling the streets, plague and fire ravaging the whole. Places of safety and prosperity are simultaneously the spaces of danger and vulnerability. Defoe's London teems with contradictions and ambiguities and peculiar linguistic, social, and topographical codes - and he employs different genres to explore them.
4 - Poetic spaces
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- By Cynthia Wall
- Edited by Pat Rogers, University of South Florida
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- Book:
- The Cambridge Companion to Alexander Pope
- Published online:
- 28 April 2008
- Print publication:
- 06 December 2007, pp 49-62
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Summary
Shut, shut the door, good John! fatigu'd I said, Tye up the knocker, say I'm sick, I'm dead . . .
(Epistle to Arbuthnot 1-2)Like an epic, Pope's autobiographical poem Epistle to Arbuthnot (1735) plunges in medias res, “into the midst of things” - or we might say, into the midst of spaces. Pope, the successful poet, is besieged by aspiring authors, with “Papers in each hand,” who “rave, recite and madden round the land. | What Walls can guard me, or what Shades can hide? | They pierce my Thickets, thro' my Grot they glide” (5-8). So the poem acts pre-emptively, opening itself by closing the door, to create a sustained refuge of 419 lines where the poet can figure out how he got here in the first place. This is one of the most dramatic spatial gestures of Pope's poetry; this chapter will open the door on others less spectacularly visible.
Pope is one of the most visual of poets. He had learned painting from his friend Charles Jervas, and in “Epistle to Mr. Jervas” he hopes his poems will have the same colour, clarity, elasticity, and precision: “Oh lasting as those colours may they shine, | Free as thy stroke, yet faultless as thy line!” (63-4). But as Lawrence Lipking notes: “The vast majority of modern readers are blind to eighteenth-century poetry. We do not see poems well; we do not make the pictures in our minds that the poets direct and excite us to make.” Part of understanding Pope's poetry is understanding how to see things, because in the eighteenth century description was used very differently. Many early prosodic techniques went out of fashion with the Romantic poets and never quite came back in, so we've lost the power to appreciate their subtleties.