Katherine Mannheimer is Associate Professor of English at the University of Rochester and the author of Print, Visuality, and Gender in Eighteenth-Century Satire: "The Scope in Ev’ry Page."

Mannheimer is a brilliant close reader, and makes an original and substantial contribution to eighteenth-century literary studies. Her interpretive framework grows organically out of the drama itself, and the critical and historical contexts that she gracefully weaves together make this a most engaging and beautifully written book.- Marcie Frank, Concordia University, author of The Novel Stage: Narrative Form from the Restoration to Jane Austen

• Introduction1. Of Heirs and "Bold Purloiner[s]": Shadwell's Alternative Models of Literary Inheritance in The Lancashire Withces and The Squire of Alsatia2. "Can my Imagination feel?": Reading, Theatricality, and the Mind-Body Problem in Aphra Behn's The Lucky Chance and The Emperor of the Moon3. Textual Timelessness, Performative Time: Posterity in Congreve's Love for Love and The Way of the World4. "Take this sad Ballad, which I bought at Fair": Pastoral Performance and Print Capitalism in John Gay's The What D'Ye Call It and The Beggar's OperaConclusion

Katherine Mannheimer is Associate Professor of English at the University of Rochester and the author of Print, Visuality, and Gender in Eighteenth-Century Satire: "The Scope in Ev’ry Page."

Mannheimer is a brilliant close reader, and makes an original and substantial contribution to eighteenth-century literary studies. Her interpretive framework grows organically out of the drama itself, and the critical and historical contexts that she gracefully weaves together make this a most engaging and beautifully written book.- Marcie Frank, Concordia University, author of The Novel Stage: Narrative Form from the Restoration to Jane Austen

• Introduction1. Of Heirs and "Bold Purloiner[s]": Shadwell's Alternative Models of Literary Inheritance in The Lancashire Withces and The Squire of Alsatia2. "Can my Imagination feel?": Reading, Theatricality, and the Mind-Body Problem in Aphra Behn's The Lucky Chance and The Emperor of the Moon3. Textual Timelessness, Performative Time: Posterity in Congreve's Love for Love and The Way of the World4. "Take this sad Ballad, which I bought at Fair": Pastoral Performance and Print Capitalism in John Gay's The What D'Ye Call It and The Beggar's OperaConclusion

Katherine Mannheimer is Associate Professor of English at the University of Rochester and the author of Print, Visuality, and Gender in Eighteenth-Century Satire: "The Scope in Ev’ry Page."

Mannheimer is a brilliant close reader, and makes an original and substantial contribution to eighteenth-century literary studies. Her interpretive framework grows organically out of the drama itself, and the critical and historical contexts that she gracefully weaves together make this a most engaging and beautifully written book.- Marcie Frank, Concordia University, author of The Novel Stage: Narrative Form from the Restoration to Jane Austen

• Introduction1. Of Heirs and "Bold Purloiner[s]": Shadwell's Alternative Models of Literary Inheritance in The Lancashire Withces and The Squire of Alsatia2. "Can my Imagination feel?": Reading, Theatricality, and the Mind-Body Problem in Aphra Behn's The Lucky Chance and The Emperor of the Moon3. Textual Timelessness, Performative Time: Posterity in Congreve's Love for Love and The Way of the World4. "Take this sad Ballad, which I bought at Fair": Pastoral Performance and Print Capitalism in John Gay's The What D'Ye Call It and The Beggar's OperaConclusion