Perception and analogy explores ways of seeing scientifically in the eighteenth century. It discusses literary, theological, and didactic texts alongside popular works on astronomy, optics, ophthalmology, and the body to demonstrate how readers are prompted to take on a range of perspectives in their acquisition of scientific knowledge. With reference to topics from colour perception to cataract surgery, the book examines how sensory experience was conceptualised during the eighteenth century. It argues that by paying attention to the period’s documentation of perception as an embodied phenomenon we can better understand the creative methods employed by disseminators of diverse natural philosophical ideas. This book argues for the central role of analogy in conceptualising and explaining new scientific ideas. It centres on religious and topographical poetry by writers including James Thomson, Richard Blackmore, Mark Akenside, Henry Brooke, David Mallet, Elizabeth Carter, and Christopher Smart. Together with its readings of popular educational dialogues on scientific topics, the book also addresses how this analogical approach is reflected in material culture through objects – such as orreries, camera obscuras, and Aeolian harps – that facilitate acts of perception and tactile engagement within polite spaces. The book shows how scientific concepts become intertwined with Christian discourse through reinterpretations of origins and signs, the scope of the created universe, and the limits of embodied knowledge.
cultural forms. Graveyard Poetry and other eighteenth-centuryBritishliterature worked to tame death-related terrors and appease mourners
with visions of a peaceful afterlife of family reunion. As such, these
works served as a new type of Protestant consolation literature that,
albeit indirectly, assisted those in mourning, an experience that is
ultimately universal. While the Gothic functioned in this capacity, it
‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
largely around its conceptualisation of the past and, in particular, its representation of that past's relationship to the present. As has been well rehearsed by critics of the literary gothic and of eighteenth-centuryBritishliterature, the first edition of Walpole's tale, presented as ‘an ancient Italian manuscript’ written by ‘Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto’ and later discovered, translated, and printed by ‘William Marshal’, appealed to critics, who understood it as an intriguing historical artefact ( Castle of Otranto , p. 1
, Infamous Commerce: Prostitution in Eighteenth-CenturyBritishLiterature and Culture (Ithaca, NY: Cornell University Press, 2006), pp. 2–4; Faramerz Dabhoiwala, The Origins of Sex: A History of the First Sexual Revolution (Oxford: Oxford University Press, 2012), pp. 141–2.
37 Pol, Het Amsterdams hoerdom , pp. 175–7; Randolph Trumbach, Sex and the Gender Revolution. Volume One: Heterosexuality and the Third Gender in Enlightenment London (London: University of Chicago Press, 1998), p. 169; Rosenthal, Infamous Commerce , p. 4; Dabhoiwala, The Origins of Sex
Mary Hays and the struggle for self-representation
Wollstonecraft and Mary Hays’, in Mentoring in Eighteenth-CenturyBritishLiterature and Culture, ed. Anthony W. Lee (Farnham: Ashgate, 2010), p. 225.
244 See Edmund Kell, qtd in The Idea of Being Free: A Mary Hays Reader, ed. Gina Luria
Walker (Plymouth: Broadview, 2006), p. 307.
245 Lisa Merrill, ‘Hays, Matilda Mary (1820?–1897)’, Oxford Dictionary of National
Biography (Oxford: Oxford University Press, 2004), www.oxforddnb.com/view/
article/57829 (accessed 10 April 2018).
246 ‘Advertisement: “English Edition of George Sand’s Works”’, Publishers’ Circular and