This chapter discusses Shelley’s complex orientation towards Romantic-period drama and theatre culture. For Shelley, drama provided a key opportunity for generic experimentation that is continuous with his lyrical innovations. These innovations, however, go beyond producing new kinds of Romantic ‘closet dramas’, which were intended for a smaller, more bourgeois reading public. To argue this claim, the chapter attends to how Shelley’s writings on ancient Greek dramaturgical principles resonated with his interest in Romantic-period popular theatre. As shown in his dramatic poetic theory, Shelley attempted to realise his ideal intersection of aesthetics, historical progress, and contemporary social change in works sometimes intended for popular consumption. As demonstrated by his hopes to stage certain plays, Shelley’s dramatic efforts indicate that embodiment and mixed media forms were essential to his broader poetics.

Shelley was a prolific and varied writer of correspondence throughout his short life. The work of collecting, editing, and annotating Shelley’s letters has been going on since the 1840s, but large portions of his early and Italian correspondence remain lost. The essay discusses this corpus and its critical history before examining three types of letters that Shelley was particularly adept at writing. Shelley’s adversarial letters to older men such as his father show his mastery of a radical bombast; correspondence with contemporaries such as Hogg and Hitchener shows him harnessing the form for the debate of ideas; and his long descriptive epistles about Italy, addressed to his friend Peacock, constitute some of the finest travel writing in English. T. S. Eliot was quite wrong to claim Shelley’s letters are ‘insufferably dull’: this essay begins to think about the elements of their content and style that reveal their literary achievement.

Conservative reviewers berated Percy Shelley for his political radicalism, his opposition to religious orthodoxy, and his alleged personal immorality. The Tory Quarterly Review subjected Shelley to violent personal attacks, to which he responded in Prometheus Unbound and Adonais. In 1821, pirate editions of Queen Mab provoked some of Shelley’s most vituperative and partisan reviews. Nevertheless, even politically antagonistic reviewers acknowledged the aesthetic merits of Shelley’s poetry. Moreover, positive and negative reviews alike registered the originality of his stylistic innovations and experiments with poetic form. Many of the passages quoted by hostile reviewers as evidence of Shelley’s allegedly incomprehensible diction include striking examples of his distinctive figurative language. In perceptive articles by John Gibson Lockhart, the Tory Blackwood’s Magazine defended Shelley’s poetry while condemning his political principles. Meanwhile, Leigh Hunt consistently defended Shelley in the pro-reform Examiner. Eventually, the elegiac reception of Adonais fed into the posthumous mythologising of Shelley.

This chapter examines the ways in which Shelley’s works and reputation were mediated to Victorian audiences. It argues that the Victorians’ Shelley was to a large extent the Victorians’ creation; his reception in this period differed from both earlier and later understandings of his life and work. The chapter pays particular attention to the role of women such as Mary Shelley and Lady Jane Shelley in shaping the poet’s posthumous reception. It surveys several sites of reception, including editions, anthologies, sermons, statues, and Chartist meetings, to show how Shelley and his writings were appropriated, reimagined, and redeployed in a variety of new contexts by people with divergent aims and concerns. It briefly examines sculpted memorials to Shelley by Henry Weekes and Edward Onslow Ford. The chapter concludes that the Victorian understanding of Shelley was no more monolithic than the ‘Victorians’ themselves.

This chapter reconsiders ways to interpret the musical gesture of the turn figure in Mahler’s Ninth Symphony by comparing it with Richard Wagner’s use of the same gesture in Parsifal – a work that proved crucial for Mahler’s development as a composer and as a conductor. In Parsifal, the descending second is associated with suffering and pain (‘Strafe’, ‘Klage’, ‘Qual’), but also with the possibility of redemption (‘Erlöse, Rette mich!’). As in the Adagio of Mahler’s Ninth, the melodic turn is omnipresent in Parsifal. This chapter concentrates on three specific moments where this orchestral gesture seems to express the unspeakable: Kundry’s narrative of Herzeleide’s death, her description of the gaze of Christ on the cross (both in Act 2) and her baptism by Parsifal in Act 3. Comparing these moments in Parsifal with similar instants in Mahler’s Ninth highlights their essentially theatrical and transformative nature: where verbal language reaches its limits, physical and musical gestures take over, transforming the silence of the words into material movement.

The afterword draws together arguments made in previous chapters about the creation, publication, and reception of Pepys’s diary. It briefly surveys the reputation and uses of the diary in the early twenty-first century and considers what the future of the diary might hold.

During the sixteenth century, the King in Parliament terminated the jurisdiction of the Papacy in England and established by law the Church of England, with the King as its head. One task was to institute a new system of canon law for the national Church. Parliamentary statute provided for a commission to reform the canon law. In the meantime, pre-Reformation Roman canon law was to continue to apply to the Church of England if it was not repugnant to the royal prerogative and the laws of the realm. The commission was never appointed. The Roman canon law continued to apply on the basis of both statute and custom as part of the King’s ecclesiastical law. This chapter explores how the post-Reformation English ecclesiastical lawyers understood this continuing Roman canon law, its legal basis, and the role of the doctrine of reception in all this.

The introduction sets out the aims of the book and explains in brief the history of Hopkins’s writing and reception. It begins by discussing Hopkins’s posthumous publication and its distinctive effect upon his early reputation and influence, notably in relation to modernism. The introduction then goes on to relate the more recent historical emphasis in Hopkins scholarship before setting out the approach taken in the book and outlining its contents.

This chapter explores the reception of David Hume’s Essays in eighteenth-century Britain by linking computational methods of text reuse detection with more traditional approaches to the history of ideas. We find that many of Hume’s essays were frequently reprinted individually, in whole and in part, including in anthologies, grammars, style guides, and collections such as The Philosophical Dictionary, where editors often moulded for their readers what they took Hume’s message to be. As the century drew to a close, Hume’s essays were firmly integrated into the diverse landscape of eighteenth-century British literary culture. We reveal which essays underwent the most extensive reuse, carefully analysing them based on their respective collections and as individual titles. We find that, just because Hume ‘withdrew’ an essay from his collection, it did not necessarily mean it was withdrawn from the public eye. Several essays by Hume experienced evolving life cycles, and numerous authors incorporated his texts discreetly, some without explicitly acknowledging their use. Taking Hume’s essays as a whole, the range of topics and venues involved in the history of their eighteenth-century reuses is striking. Our story includes not only prominent political and economic thinkers, historians, philosophers, lawyers and clergy but also scores of hack writers, anonymous authors and a range of publishers, editors and compilers. The chapter demonstrates how a more comprehensive grasp of the reception of Hume’s Essays in eighteenth-century Britain accommodates all these facets.

The chapter explores how Hume’s Essays were received in Germany during the eighteenth century, highlighting the cultural exchange and intellectual shifts of that time. Hume’s influence is analysed in the context of the growing interest in English books and culture in Germany during the eighteenth century, a trend known as ‘Anglophilia’. Hume’s political and economic writings were translated into German shortly after their original publication. His name was held in high regard and his writings were considered to be instructive. But the specifics of cameralism prevented his economic and political essays from having a major impact on German discourse. Nonetheless, new translations continued to appear. In the German reform debate of the late eighteenth century, Hume’s Essays were used to both support the status quo and to advocate for political change. In the early nineteenth century, an academic translation of Hume’s essay was published, acknowledging his contribution to the formation of political economy as a science. By exploring the reception of Hume’s Essays in eighteenth-century Germany, the chapter shows how translations not only played a big role in sharing knowledge during the Enlightenment but also reflected cultural differences.

The role of France in David Hume’s intellectual biography is difficult to overestimate. He visited that country three times, wrote the Treatise in La Flèche, and reached the peak of his success during the years he spent in Paris (1763–66), where he was welcomed as a highly valuable member of the Republic of Letters. He cared greatly about the circulation of his writings in France, and actually succeeded in establishing his reputation across the Channel. The History of England made him an outstanding historian, the Natural History of Religion an authoritative esprit fort, but it was the Essays that confirmed him as a subtle political thinker and, what he cared about most, as a profound philosopher in the eyes of his French readers. Before and besides being translated in the form of collections, many of Hume’s essays were translated, summarised, commented on, reviewed, and discussed individually, giving rise to a complex and divergent reception. The present chapter provides an overview of this reception, based on first-hand research on eighteenth-century French translations, reviews, commentaries and criticisms of the Essays.

Chapter 6 reads Horace’s Odes as thoroughly place-based lyric poetry. The chapter begins by differentiating its approach from landscape and symbolic readings of place. It organizes an account of the Odes around the concepts of place and place attachment, familiar from the Eclogues. Horace represents dynamic experiences of specific localities, constituted by human and nonhuman beings. He anchors his poetry to particular locations, while also making those locations real-and-textual sites of Horatian poetry. In addition, Horace represents place as helping to produce and shape his poetry through tropes of lyric ecology and poetic reciprocity. The second half of the chapter complicates this place-based reading of Horace by attending to the pervasive theme of mobility in the Odes. It argues that Horace models a translocal poetics, in which locality is continually fashioned and refashioned through forms of translation and transport. Whereas forced movement in the Eclogues means the end of local dwelling and local song alike, for Horace mobility helps create both his local place attachments and a form of lyric that is place-based but not place-bound.

The Introduction makes the case for why it is important and timely to return afresh to ancient greek epic, despite or even because of the huge amount of scholarship that already exists on this genre. After a brief overview of the current state of the field, it outlines the main points of innovation and interventions of the volume, focusing on its thematic structure, its emphasis on the lesser-known authors or dimensions of Greek epic, and its integration of ancient material and modern responses to it. It ends with a brief overview of the sections of the volume and draws out the connections between the chapters within them.

In the Epilogue Christoforou offers an impressionistic essay on encounters with ancient Greek epic in modern Greek lands. In an alternative, personal perspective on the political account provided in Hanink’s chapter, he explores the problematic ownership of the past in Greece and how the central place held by Greek antiquity, and in particular epic, in the construction of western civilisation has created a strange distance between Greeks and the Greek past and its literature. Reflecting on his own experience as a Grecophone classicist, Christoforou shows how the story of Greekness and epic is now played out in the background of Greeks performing their Hellenicity in a world that does not always trust their inheritance.

This chapter argues for and interprets allusions to the invocation before the Catalogue of Ships (Il. 2.484-93) in Ibycus’ ’Polycrates Ode’, Pindar’s Paean 6 and Paean 7b, and Simonides’ ’Plataea Elegy’. It then considers these four poems together as a unique case study for the early reception of Homer. For no other passage from the Iliad or the Odyssey can we trace an equally extensive afterlife in early Greek lyric. The author argues that the unusual prominence of the narrator’s personality and the exceptionally emphatic claim to objective truth in Il. 2.484–93 made these lines a privileged point of reference for subsequent explorations of the nature of poetic authority.

The book of Isaiah reflects many of the population movements that took place in the period of its formation. Much biblical scholarship focuses on “the (Babylonian) Exile,” but as C. L. Crouch points out in “Isaiah and Migration,” mass population movements were carried out in the sphere of Israel and Judah by the Assyrians long before the Babylonians overthrew Jerusalem. She also calls attention to the migrations experienced by other nations, and to forces of displacement other than deportation, such as warfare, famine, and natural disasters. She analyzes the literary reception of these numerous involuntary migrations, and the ways in which the prophet and his audiences made sense of them.