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Looking for Typological Treasure with William Jones of Nayland and E. B. Pusey
George Westhaver

This article compares the typological exegesis promoted by E. B. Pusey (1800–82) and his colleagues John Henry Newman and John Keble with that of their eighteenth-century Hutchinsonian predecessor William Jones of Nayland (1726–1800). Building on Peter Nockles’s argument that Jones’s emphasis on the figurative character of biblical language foreshadows the Tractarian application of the sacramental principle to exegesis, this article shows how this common approach differs from the more cautious one displayed by the High Church luminaries William Van Mildert and Herbert Marsh. At the same time, both Pusey’s criticism of the mainstream apologetics of his day and his more explicit application of the doctrine of the Incarnation to exegesis resulted in bolder interpretations and a greater emphasis on the necessity of figurative readings (of both the Bible and the natural world) than Jones generally proposed. A shared appreciation of the principle of reserve may explain both these differences and the Tractarian emphasis on a patristic, rather than a Hutchinsonian, inspiration for their approach.

Bulletin of the John Rylands Library
Derya Gurses Tarbuck

Hutchinsonianism, a set of ideas developed by John Hutchinson, did not necessarily command considerable respect among intellectuals in the eighteenth century. Hutchinson held that science was divine in origin and was rooted in the Old Testament. He denied the Newtonian principle of gravity and argued that God was necessary for the application of physical laws. He also developed a highly symbolic interpretation of religious ideas. George Horne (1730–92) was an exception in taking Hutchinsonianism seriously. Horne’s ideas aimed at uniting Christian orthodoxy against a common enemy, particularly those who undermined Trinitarian Christianity. This article examines Horne’s ideas as a Hutchinsonianism and explores his debt to Hutchinson. Horne also can be regarded as the most important representative of the Oxford Hutchinsonians of his generation, in the sense that his orthodoxy and adherence to Hutchinson’s ideas were aimed at finding a common ground between the two.

Bulletin of the John Rylands Library
Open Access (free)
John Marriott

rational impulses of an Enlightenment epistemology, but their aims were distinctive. Three projects stood out. 27 William Jones sought to codify the Indian legal system, and in so doing ‘discovered’ India’s ancient past; Thomas Munro laid the foundations for the administration of land settlements; and James Rennell mapped India. Although each relied on knowledges and

in The other empire
Shareholders and directors
Andrew Mackillop

from Wexford, John Michie from Aberdeenshire, William Fullerton-Elphinstone from Stirlingshire, Sir William Jones from Pembrokeshire, and Charles Grant from Inverness-shire had successful military, marine, mercantile or administrative careers in Bengal, Madras or Bombay. Upon returning to Britain they were all elected at various times between the 1770s and 1820s. 57 These returnees illustrate how influence forged at the frontiers of empire gravitated back into the metropolis, blurring and blending the nature of power relationships between putative ‘core’ and

in Human capital and empire
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The veil as technology of illumination
Niharika Dinkar

Portfolio was conceived by Horace Hayman Wilson (1786– 1860), chair of the department of Sanskrit at Oxford, using drawings by several travelling artists including Thomas Bacon and Captain R.M. Grindlay. Wilson was best known for his two volumes on the Select Specimens of the Theatre of the Hindus (1827) and had served in Bengal from 1808 to 1832 as an official of the East India Company and secretary of the Asiatic Society founded by William Jones. Wilson compiled the text accompanying the Four acts of seeing prints, and it was this, he claimed, that distinguished

in Empires of light
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H. V. Bowen

views and opinions occasionally found their way into print. Hence in 1786 David Samwell published a rather lurid pamphlet entitled A Narrative of the Death of Captain James Cook . . . and Observations Respecting the Introduction of the Venereal Disease into the Sandwich Islands (1786), while tucked away among Sir William Jones’s voluminous works of oriental scholarship is to be found a detailed topographical study, ‘Remarks on the Island of Hinzuan or Johanna’, which was published in Asiatic Researches in 1799. 1 But

in Wales and the British overseas empire
Florence D’Souza

scholar William Jones, who lived in India from 1784 to his death in 1794, but also the path of German Romantic scholars like Johann Wolfgang von Goethe (1749–1832), who collected local popular songs and ballads in the company of Johann Gottfried Herder (1744–1803) in Alsace, and Friedrich Schlegel (1772–1829), who learned Sanskrit in Paris in 1803 with the British Sanskritist Alexander Hamilton. Hamilton

in Knowledge, mediation and empire
Damian Walford Davies

, especially in comparison to that shown in the case of Indian and Persian literature. Sir William Jones’s famous translations from Sanskrit and Persian were celebrated throughout Europe and were highly influential texts for the Romantic poets, notably Coleridge and Shelley. China, however, did not make the same kind of cultural impression and did not attract the kinds of cultural engagement that one might have predicted. This chapter explores the vexed relation of Romantic-period writing and China by developing an imagined, counterfactual account of what might have been had

in Counterfactual Romanticism
Abstract only
Editor: Gregory Vargo

The first collection of its kind, Chartist Drama makes available four plays written or performed by members of the Chartist movement of the 1840s. Emerging from the lively counter-culture of this protest campaign for democratic rights, these plays challenged cultural as well as political hierarchies by adapting such recognisable genres as melodrama, history plays, and tragedy for performance in radically new settings. A communal, public, and embodied art form, drama was linked for the Chartists with other kinds of political performance: the oratory of the mass platform, festival-like outdoor meetings, and the elaborate street theatre of protest marches. Plays that Chartists wrote or staged advanced new interpretations of British history and criticised aspects of the contemporary world. And Chartist drama intervened in fierce strategic arguments within the movement. Most notably, poet-activist John Watkins’s John Frost, which dramatises the gripping events of the Newport rising of 1839, in which twenty-two Chartists lost their lives, defends the rebellion and the Chartist recourse to violence as a means for the movement to achieve its aims. The volume’s appendices document over one hundred Chartist dramatic performances, staged by activists in local Chartist associations or at professional benefits at some of London’s largest working-class theatres. Gregory Vargo’s introduction and notes elucidate the previously unexplored world of Chartist dramatic culture, a context that promises to reshape what we know about early Victorian popular politics and theatre.

Pratik Chakrabarti

the West Indies, Greenland and Asia. 3 The Orientalists under William Jones, on the other hand, were searching for the common civilizational roots across Asia and Europe. 4 At the same time, these pursuits were also linked to the material context of eighteenth-century colonialism and defined by the maritime and territorial power of the EEIC. This chapter will describe how these developments shaped the emergence of imperial materia medica. The term materia medica has been loosely used by naturalists and

in Materials and medicine