We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure [email protected]
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
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)"’.
This essay examines Charlotte Lennox’s satirical poetry in her collection of thirty poems in Poems on Several Occasions (1747). Many of these poems were republished between 1750 and 1785 in periodicals and miscellanies, such as The New Foundling Hospital of Wit, published in England and America. I argue that Lennox’s targets were frequently the social systems designed to restrict women’s influence to domestic settings. At a time when elements of participatory democracy were gaining global traction and when many political poems engaged with social unrest, Lennox wrote, “Satire, like a magnifying Glass, may aggravate every Defect, in order to make its Deformity appear more hideous.” Lennox’s amplifying attention to the dominant culture’s method of entrapping women and her advocacy for participatory democracy are informed by her exposure as a preteen with Scottish and Irish parents to a diverse range of national and racial backgrounds, including Mohawks, Hurons, Iroquois, Africans, Dutch, and French residents, in Albany and Schenectady, New York. She uses satiric poetry to cast an accusing light on unjust power structures and to promote democratic aims by alluding to the belief that the power of the government is vested in all those who are governed.
Recommend this
Email your librarian or administrator to recommend adding this to your organisation's collection.