Eighteenth Century Worlds – serie

In 1780 Richard Sheridan noted that merchants worked ‘merely for money’. However, rather than being a criticism, this was recognition of the important commercial role that merchants played in the British empire at this time. Of course, merchants desired and often made profits, but they were strictly bound by commonly-understood socio-cultural norms which formed a private-order institution of a robust business culture. In order to elucidate this business culture, this book examines the themes of risk, trust, reputation, obligation, networks and crises to demonstrate how contemporary merchants perceived and dealt with one another and managed their businesses. Merchants were able to take risks and build trust, but concerns about reputation and fulfilling obligations constrained economic opportunism. By relating these themes to an array of primary sources from ports around the British-Atlantic world, this book provides a more nuanced understanding of business culture during this period. A theme which runs throughout the book is the mercantile community as a whole and its relationship with the state. This was an important element in the British business culture of this period, although this relationship came under stress towards the end of period, forming a crisis in itself. This book argues that the business culture of the British-Atlantic mercantile community not only facilitated the conduct of day-to-day business, but also helped it to cope with short-term crises and long-term changes. This facilitated the success of the British-Atlantic economy even within the context of changing geo-politics and an under-institutionalised environment. Not working ‘merely for money’ was a successful business model.

This book is the first academic study entirely devoted to Liverpool labouring-class poet and activist Edward Rushton (1756-1814), whose name was for a long time only associated with the foundation of the Royal School for the Blind in 1791. A former sailor, tavern keeper and editor of a paper, as of the turbulent 1790s Rushton owned a bookshop that was a hub of intense networking with many radical writers and intellectuals. His long-lasting, consistent commitment to the most pressing debates enflaming the Age of Revolution led him to question naval impressment and British repression in Ireland, the Napoleonic wars lacerating Europe and, most prominently, both the transatlantic traffic in human beings and the institution of slavery as such. A dedicated and unrelenting campaigner at the time of the dawning human rights discourse, Rushton was both a perceptive scrutinizer of the mechanisms of power and repression, and a remarkably complex poetic voice, fully consequent to his politics. In this book his work is the object of new and long-due critical enquiry, especially appropriate in the year that marks the bicentennial anniversary of his death. The opening up of eighteenth-century and Romantic studies to cross-disciplinary interchange allows for a more nuanced historical and critical investigation of previously erased or neglected individual and collective experiences. This expanding critical space, which highlights the systemic discursive interaction of culture, politics and society, constitutes the conceptual and methodological frame for what is intended as a comprehensive critical re-evaluation of the writer.

This book is concerned with the eighteenth-century typographer, printer, industrialist and Enlightenment figure, John Baskerville (1707-75). Baskerville was a Birmingham inventor, entrepreneur and artist with a worldwide reputation who made eighteenth-century Birmingham a city without typographic equal, by changing the course of type design. Baskerville not only designed one of the world’s most historically important typefaces, he also experimented with casting and setting type, improved the construction of the printing-press, developed a new kind of paper and refined the quality of printing inks. His typographic experiments put him ahead of his time, had an international impact and did much to enhance the printing and publishing industries of his day. Yet despite his importance, fame and influence many aspects of Baskerville’s work and life remain unexplored and his contribution to the arts, industry, culture and society of the Enlightenment are largely unrecognized. Moreover, recent scholarly research in archaeology, art and design, history, literary studies and typography, is leading to a fundamental reassessment of many aspects of Baskerville’s life and impact, including his birthplace, his work as an industrialist, the networks which sustained him and the reception of his printing in Britain and overseas. The last major, but inadequate publication of Baskerville dates from 1975. Now, forty years on, the time is ripe for a new book. This interdisciplinary approach provides an original contribution to printing history, eighteenth-century studies and the dissemination of ideas.

An Open Access edition of this book is available on the Liverpool University Press website and through Knowledge Unlatched.In this original study, Siobhán McIlvanney examines the beginnings of the women’s press in France. Figurations of the Feminine is the first work in English to assess the most significant publications which make up this diverse, yet critically neglected, medium. It traces the evolving representations of womanhood that appear over the first ninety years of women’s journals in France. McIlvanney’s insightful readings demonstrate that these journals are often characterised by a remarkable degree of ‘feminist’ content. This refutes the general conception of the women’s press as an idealised, hyper-feminised space inhabited by the intellectually idle – whether in the form of readers or writers – disseminating and legitimating a limited range of patriarchal stereotypes and idées reçues. Through textual analyses of different ‘generic’ subsections, whether the literary journal, the fashion magazine, the domestic press or more explicitly politicised outputs, Figurations of the Feminine challenges the critical commonplaces which have been applied to the women’s press since its genesis, both in France and elsewhere. It demonstrates the political richness of this medium and the privileged perspectives it gives us on female self-expression and on the everyday lives of French women from across the class spectrum during this key historical period.

Comedy and Crisis contains the first ever scholarly English translation of Pieter Langendijk’s Quincampoix, or the Wind Traders [Quincampoix of de Windhandelaars], and Harlequin Stock-Jobber [Arlequin Actionist]. The first play is a full-length satirical comedy, and the second is a short, comic harlequinade; both were written in Dutch in response to the speculative financial crisis or bubble of 1720 and were performed in Amsterdam in the fall of 1720, as the bubble in the Netherlands was bursting. Comedy and Crisis also contains our translation of the extensive apparatus prepared by C.H.P. Meijer (Introduction and notes) for his 1892 edition of these plays. The current editors have updated the footnotes and added six new critical essays by contemporary literary and historical scholars that contextualize the two plays historically and culturally. The book includes an extensive bibliography and index. The materials assembled in Comedy and Crisis are a rich resource for cultural, historical, and literary students of the history of finance and of eighteenth-century studies.

During the eighteenth century there was a growing interest in recording, listing and documenting the world, whether for personal interest and private consumption, or general record and the greater good. Such documentation was done through both the written and printed word. Each genre had its own material conventions and spawned industries which supported these practices. This volume considers writing and printing in parallel: it highlights the intersections between the two methods of communication; discusses the medium and materiality of the message; considers how writing and printing were deployed in the construction of personal and cultural identities; and explores the different dimensions surrounding the production, distribution and consumption of private and public letters, words and texts during the eighteenth-century. In combination the chapters in this volume consider how the processes of both writing and printing contributed to the creation of cultural identity and taste, assisted in the spread of knowledge and furthered personal, political, economic, social and cultural change in Britain and the wider-world. This volume provides an original narrative on the nature of communication and brings a fresh perspective on printing history, print culture and the literate society of the Enlightenment.

The British soldier was a fascinating and complex figure in the century between the Hanoverian accession and the Battle of Waterloo. The ‘war and society’ approach has shed much light on Britain’s frequent experience of conflict in this period, but Britain’s Soldiers argues that it is time to refocus our attention on the humble redcoat himself, and rethink historical approaches to soldiers’ relationship with the society and culture of their day. Using approaches drawn from the histories of the military, gender, art, society, culture and medicine, this volume presents a more rounded picture of the men who served in the various branches of the British armed forces. This period witnessed an unprecedented level of mass mobilisation, yet this was largely achieved through novel forms of military service outside of the regular army. Taking a wide definition of soldiering, this collection examines the part-time and auxiliary forces of the period, as well as looking at the men of the British Army both during their service and once they had been discharged from the army. Chapters here explore the national identity of the soldier, his sense of his rights within systems of military discipline, and his relationships with military hierarchies and honour codes. They also explore the welfare systems available to old and wounded soldiers, and the ways in which soldiers were represented in art and literature. In so doing, this book sheds new light on the processes through which soldiers were ‘made’ during this crucial period of conflict.

This book is the first academic study entirely devoted to Liverpool labouring-class poet and activist Edward Rushton (1756-1814), whose name was for a long time only associated with the foundation of the Royal School for the Blind in 1791. A former sailor, tavern keeper and editor of a paper, as of the turbulent 1790s Rushton owned a bookshop that was a hub of intense networking with many radical writers and intellectuals. His long-lasting, consistent commitment to the most pressing debates enflaming the Age of Revolution led him to question naval impressment and British repression in Ireland, the Napoleonic wars lacerating Europe and, most prominently, both the transatlantic traffic in human beings and the institution of slavery as such. A dedicated and unrelenting campaigner at the time of the dawning human rights discourse, Rushton was both a perceptive scrutinizer of the mechanisms of power and repression, and a remarkably complex poetic voice, fully consequent to his politics. In this book his work is the object of new and long-due critical enquiry, especially appropriate in the year that marks the bicentennial anniversary of his death. The opening up of eighteenth-century and Romantic studies to cross-disciplinary interchange allows for a more nuanced historical and critical investigation of previously erased or neglected individual and collective experiences. This expanding critical space, which highlights the systemic discursive interaction of culture, politics and society, constitutes the conceptual and methodological frame for what is intended as a comprehensive critical re-evaluation of the writer.

Charles Macklin (1699?–1797) was one of the most important figures in the eighteenth-century theatre. Born in Ireland, he began acting in London in around 1725 and gave his final performance in 1789 – no other actor can claim to have acted across seven decades of the century, from the reign of George I to the Regency Crisis of 1788. He is credited alongside Garrick with the development of the natural school of acting and gave a famous performance of Shylock that gave George II nightmares. As a dramatist, he wrote one of the great comic pieces of the mid-century (Love à la Mode, 1759), as well as the only play of the century to be twice refused a performance licence (The Man of the World, 1781). He opened an experimental coffeehouse in Covent Garden, he advocated energetically for actors’ rights and copyright reform for dramatists, and he successfully sued theatre rioters. In short, he had an astonishingly varied career. With essays by leading experts on eighteenth-century culture, this volume provides a sustained critical examination of his career, illuminating many aspects of eighteenth-century theatrical culture and of the European Enlightenment, and explores the scholarly benefit – and thrill – of restaging Macklin’s work in the twenty-first century.

This book is concerned with the eighteenth-century typographer, printer, industrialist and Enlightenment figure, John Baskerville (1707-75). Baskerville was a Birmingham inventor, entrepreneur and artist with a worldwide reputation who made eighteenth-century Birmingham a city without typographic equal, by changing the course of type design. Baskerville not only designed one of the world’s most historically important typefaces, he also experimented with casting and setting type, improved the construction of the printing-press, developed a new kind of paper and refined the quality of printing inks. His typographic experiments put him ahead of his time, had an international impact and did much to enhance the printing and publishing industries of his day. Yet despite his importance, fame and influence many aspects of Baskerville’s work and life remain unexplored and his contribution to the arts, industry, culture and society of the Enlightenment are largely unrecognized. Moreover, recent scholarly research in archaeology, art and design, history, literary studies and typography, is leading to a fundamental reassessment of many aspects of Baskerville’s life and impact, including his birthplace, his work as an industrialist, the networks which sustained him and the reception of his printing in Britain and overseas. The last major, but inadequate publication of Baskerville dates from 1975. Now, forty years on, the time is ripe for a new book. This interdisciplinary approach provides an original contribution to printing history, eighteenth-century studies and the dissemination of ideas.

An Open Access edition of this book is available on the Liverpool University Press website and through Knowledge Unlatched.In this original study, Siobhán McIlvanney examines the beginnings of the women’s press in France. Figurations of the Feminine is the first work in English to assess the most significant publications which make up this diverse, yet critically neglected, medium. It traces the evolving representations of womanhood that appear over the first ninety years of women’s journals in France. McIlvanney’s insightful readings demonstrate that these journals are often characterised by a remarkable degree of ‘feminist’ content. This refutes the general conception of the women’s press as an idealised, hyper-feminised space inhabited by the intellectually idle – whether in the form of readers or writers – disseminating and legitimating a limited range of patriarchal stereotypes and idées reçues. Through textual analyses of different ‘generic’ subsections, whether the literary journal, the fashion magazine, the domestic press or more explicitly politicised outputs, Figurations of the Feminine challenges the critical commonplaces which have been applied to the women’s press since its genesis, both in France and elsewhere. It demonstrates the political richness of this medium and the privileged perspectives it gives us on female self-expression and on the everyday lives of French women from across the class spectrum during this key historical period.

Why make a joke out of a niche and complex scientific problem? That is the question at the heart of this book, which unearths the rich and surprising history of trying to find longitude at sea in the eighteenth century. Not simply a history on water, this is the story of longitude on paper, of the discussions, satires, diagrams, engravings, novels, plays, poems and social anxieties that shaped how people understood longitude in William Hogarth’s London. We start from a figure in one of Hogarth’s prints – a lunatic incarcerated in the madhouse of A Rake’s Progress in 1735 – to unpick the visual, mental and social concerns which entwined around the national concern to find a solution to longitude. Why does longitude appear in novels, smutty stories, political critiques, copyright cases, religious tracts and dictionaries as much as in government papers? This sheds new light on the first government scientific funding body – the Board of Longitude – established to administer vast reward money for anyone who found a means of accurately measuring longitude at sea. Meet the cast of characters involved in the search for longitude, from famous novelists and artists to almost unknown pamphleteers and inventors, and see how their interactions informed the fate of longitude’s most famous pursuer, the clockmaker John Harrison.

An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library.Early modern life writing extended far beyond the written word. People were painted, drawn, and sculpted; their biographies were illustrated, their pictures inscribed, and their signatures considered akin to self-portraits.The Visual Worlds of Life Writing explores representations of individuals in the visual and literary culture of early Enlightenment England. At its centre are portraits and biographies, the most popular artistic and literary genres, which navigated concepts of character, identity, likeness, and difference, while increasingly staking a claim to aesthetic excellence. As potent cultural products on the art and print market, they were also key instruments of social formation at a time of nation-building, indispensable for the making of political culture and the public sphere.Surveying the splendid diversity of portrayals - from painting and sculpture to frontispiece portraits and book illustrations, as well as micrographic and calligraphic portraits - The Visual Worlds of Life Writing reconstructs how individuality and collectivity were fashioned across different media. A thorough reassessment of visual culture’s interplay with biographical practice, the book offers an analysis of the rhetorics of portraiture and life writing, a historical account of their sister arts tradition, and an inquiry into the social function of profling people.

During the eighteenth century there was a growing interest in recording, listing and documenting the world, whether for personal interest and private consumption, or general record and the greater good. Such documentation was done through both the written and printed word. Each genre had its own material conventions and spawned industries which supported these practices. This volume considers writing and printing in parallel: it highlights the intersections between the two methods of communication; discusses the medium and materiality of the message; considers how writing and printing were deployed in the construction of personal and cultural identities; and explores the different dimensions surrounding the production, distribution and consumption of private and public letters, words and texts during the eighteenth-century. In combination the chapters in this volume consider how the processes of both writing and printing contributed to the creation of cultural identity and taste, assisted in the spread of knowledge and furthered personal, political, economic, social and cultural change in Britain and the wider-world. This volume provides an original narrative on the nature of communication and brings a fresh perspective on printing history, print culture and the literate society of the Enlightenment.

Comedy and Crisis contains the first ever scholarly English translation of Pieter Langendijk’s Quincampoix, or the Wind Traders [Quincampoix of de Windhandelaars], and Harlequin Stock-Jobber [Arlequin Actionist]. The first play is a full-length satirical comedy, and the second is a short, comic harlequinade; both were written in Dutch in response to the speculative financial crisis or bubble of 1720 and were performed in Amsterdam in the fall of 1720, as the bubble in the Netherlands was bursting. Comedy and Crisis also contains our translation of the extensive apparatus prepared by C.H.P. Meijer (Introduction and notes) for his 1892 edition of these plays. The current editors have updated the footnotes and added six new critical essays by contemporary literary and historical scholars that contextualize the two plays historically and culturally. The book includes an extensive bibliography and index. The materials assembled in Comedy and Crisis are a rich resource for cultural, historical, and literary students of the history of finance and of eighteenth-century studies.

Additional resources for this book are available on our Manifold site, which can be accessed via https://liverpooluniversitypress.manifoldapp.org/projects/crisis-and-resilienceHow did merchants deal with crises? From warfare to financial upheaval, from political machinations to the abolition of the slave trade, merchants and their networks in the eighteenth century faced a range of challenges. But they also demonstrated remarkable resilience. Providing new levels of detail on Britain’s sugar trade, this authoritative account explores how Bristol’s sugar merchants embodied cogs in the plantation machine, using their position of influence in Britain to maintain the production of sugar and violent systems of enslavement. It demonstrates how, as shipowners, these merchants protected their shipping, led the organisation of convoys, and took advantage of cheapening insurance. It reveals the inner workings of the sugar market and the strategies merchants used to remain profitable, showing how merchants navigated the transitions between peace and war. Finally, it uncovers their methods for managing credit and safeguarding their investments. Throughout, the nature of commerce in the eighteenth century is analysed in detail, from business networks to bills of exchange. Demonstrating meticulous, interdisciplinary research and thorough analysis of merchant business records, this book speaks broadly to the nature and experience of crisis in the eighteenth century and what this meant for the burgeoning systems of capitalism.

Why make a joke out of a niche and complex scientific problem? That is the question at the heart of this book, which unearths the rich and surprising history of trying to find longitude at sea in the eighteenth century. Not simply a history on water, this is the story of longitude on paper, of the discussions, satires, diagrams, engravings, novels, plays, poems and social anxieties that shaped how people understood longitude in William Hogarth’s London. We start from a figure in one of Hogarth’s prints – a lunatic incarcerated in the madhouse of A Rake’s Progress in 1735 – to unpick the visual, mental and social concerns which entwined around the national concern to find a solution to longitude. Why does longitude appear in novels, smutty stories, political critiques, copyright cases, religious tracts and dictionaries as much as in government papers? This sheds new light on the first government scientific funding body – the Board of Longitude – established to administer vast reward money for anyone who found a means of accurately measuring longitude at sea. Meet the cast of characters involved in the search for longitude, from famous novelists and artists to almost unknown pamphleteers and inventors, and see how their interactions informed the fate of longitude’s most famous pursuer, the clockmaker John Harrison.

Additional resources for this book are available on our Manifold site, which can be accessed via https://liverpooluniversitypress.manifoldapp.org/projects/crisis-and-resilienceHow did merchants deal with crises? From warfare to financial upheaval, from political machinations to the abolition of the slave trade, merchants and their networks in the eighteenth century faced a range of challenges. But they also demonstrated remarkable resilience. Providing new levels of detail on Britain’s sugar trade, this authoritative account explores how Bristol’s sugar merchants embodied cogs in the plantation machine, using their position of influence in Britain to maintain the production of sugar and violent systems of enslavement. It demonstrates how, as shipowners, these merchants protected their shipping, led the organisation of convoys, and took advantage of cheapening insurance. It reveals the inner workings of the sugar market and the strategies merchants used to remain profitable, showing how merchants navigated the transitions between peace and war. Finally, it uncovers their methods for managing credit and safeguarding their investments. Throughout, the nature of commerce in the eighteenth century is analysed in detail, from business networks to bills of exchange. Demonstrating meticulous, interdisciplinary research and thorough analysis of merchant business records, this book speaks broadly to the nature and experience of crisis in the eighteenth century and what this meant for the burgeoning systems of capitalism.

This book provides a selection of private letters written to family and friends from a variety of people while they were on the Grand Tour in the eighteenth century. Although many have been published previously, this is the first time that letters of this kind have been brought together in a single volume. Readers can compare the various responses of travellers to the sights, pleasures and discomforts encountered on the journey. People of diverse backgrounds, with different expectations and interests, give personal accounts of their particular experiences of the Grand Tour. Unlike most collections of letters from the Tour, which recount the views of a single person, this selection emphasises diversity. Readers can juxtapose for example the letters of a conscientious young nobleman like Lyttelton with those of the excitable philanderer Boswell, or the well-travelled aristocratic lady, Caroline Lennox. While the travellers represented here follow much the same route via Paris, through France and across the Alps via the terrifying Mount Cenis, to Rome, in the pursuit of learning and pleasure, the Tour turns out to mean something quite different to each of them.

The familiar story of Irish migration to eighteenth and nineteenth-century London is one of severe poverty, hardship and marginalization. This book explores a very different set of Irish encounters with the metropolis by reconstructing the lives, experiences and activities of middle-class migrants. Detailed case studies of law students, lawyers and merchants show that these more prosperous migrants depended on Irish connections to overcome the ordinary challenges of day-to-day life. In contrast to previous scholarly assumptions that middle-class migrants assimilated completely to English cultural and social norms, this book emphasizes the possibilities rather than the limits of Irishness and argues that Irish identity had a unique, operative value of its own, for which there was no substitute. Guided by recent works that stress the capacity of communities to operate across space rather than being anchored to specific places such as the street, neighbourhood or village, Irish London argues that the middle-class migrant’s frame of reference went far beyond the metropolis. The three case studies in this book focus on Irish lives in the city, but also follow migrants further afield—more specifically to Jamaica and India— to explore what middle-class communities were, how they worked and who belonged to them. By doing so, this study seeks to move us towards a better understanding of what it meant to be a middle-class Irish migrant in the global eighteenth century.