The Longman Anthology of World Literature, Volume D: 17th and 18th Centuries 0321169808, 9780321169808

Citation preview

HE LONGMAN ANTHOLOGY

ORLD LITERATURE THE SEVENTEENTH AND EIGHTEENTH CENTURIES

i*1

..

r,

i >'

«« ?

/

,s«4€ .w ■'

"b

s6& -^:>v3

Map of the Eastern Hemisphere, China, 1790. Revealing the close attention the once isolationist Chinese were paying to tlje surrounding world in the eighteenth century, this map shows China still looming large, but the “Middle Kingdom” is now seen as part of a landmass extending far to the west. Placenames emphasize areas with which the Chinese had close trading relations, such as India and Madagascar, as well as the European naval powers, while China’s Russian rival to the north shrinks in size. As much an aesthetic object as a geographical record, the map is rich in beautifully colored details, including the rivers of Europe and Africa snaking elegantly across the landscape. (Ruth Schacht / Staatsbibliothek zu Berlin Preussischer Kulturbesitz. Kartenabteilung /Art Resource, New York.)

The Longman Anthology of World Literature —r* d>sx—

'

VOLUME D

THE SEVENTEENTH AND EIGHTEENTH CENTURIES

David Damrosch COLUMBIA UNIVERSITY

The Ancient Near East; Mesoamerica

David L. Pike AMERICAN UNIVERSITY

Rome and the Roman Empire; Medieval Europe

April Alliston PRINCETON UNIVERSITY

The Age of the Enlightenment

Marshall Brown UNIVERSITY OF WASHINGTON

The Nineteenth Century

Page duBois UNIVERSITY OF CALIFORNIA, SAN DIEGO

Classical Greece

Sabry Hafez UNIVERSITY OF LONDON

Arabic and Islamic Literatures

Ursula K. Heise STANFORD UNIVERSITY

The Twentieth Century

Djelal Kadir PENNSYLVANIA STATE UNIVERSITY

The Twentieth Century

Sheldon Pollock COLUMBIA UNIVERSITY

South Asia

Bruce Robbins COLUMBIA UNIVERSITY

The Nineteenth Century

Haruo Shirane COLUMBIA UNIVERSITY

Japan

Jane Tylus NEW YORK UNIVERSITY

Early Modern Europe

Pauline Yu AMERICAN COUNCIL OF LEARNED SOCIETIES

China

The Longman Anthology of World Literature SECOND EDITION

David Damrosch David L. Pike General Editors

VOLUME D

THE SEVENTEENTH AND EIGHTEENTH CENTURIES

April Alliston with contributions by David Damrosch, Sabry Hafez, Sheldon Pollock, Haruo Shirane, and Pauline Yu

London Mexico City

New York San Francisco Boston Toronto Sydney Tokyo Singapore Madrid Munich Paris Cape Town Hong Kong Montreal

Editor-in-Chief: Joseph Terry Associate Development Editor: Erin Reilly Executive Marketing Manager: Joyce Nilsen Senior Supplements Editor: Donna Campion Production Manager: Ellen MacElree Project Coordination, Text Design, and Page Makeup: GGS Book Services PMG Senior Cover Design Manager: Nancy Danahy On the Cover: Detail from Portrait of a Negro Man, Olaudah Equiano, 1780s, English school, 18th century, previously attributed to Joshua Reynolds. Royal Albert Memorial Museum, Exeter, Devon, UK/The Bridgeman Art Library. Image Permission Coordinator: Joanne Dippel Senior Manufacturing Buyer: Alfred C. Dorsey Printer and Binder: Quebecor-World/Taunton Cover Printer: The Lehigh Press, Inc. For permission to use copyrighted material, grateful acknowledgment is made to the copyright holders on pages 617-619, which are hereby made part of this copyright page. Library of Congress Cataloging-in-Publication Data The Longman anthology of world literature / David Damrosch, David L. Pike, general editors.—2nd ed. p. cm. Includes bibliographical references and index. Contents: v. A. The ancient world—v. B. The medieval era—v. C. The early modern period—v. D. The seventeenth and eighteenth centuries—v. E. The nineteenth century—v. F. The twentieth century. ISBN 978-0-205-62595-6 (v. A).—ISBN 978-0-205-62596-3 (v. B).— 978-0-205-62597-0 (v. C).— 978-0-205-62590-1 (v. D).— 978-0-205-62591-8 (v. E).— 978-0-205-62594-9 (v. F). 1. Literature—Collections. 2. Literature—History and criticism. I. Damrosch, David. II. Pike, David L. (David Lawrence), 1963— PN6013.L66 2009 808.8—dc22 2008015921 Copyright © 2009 by Pearson Education, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Printed in the United States. Please visit us at http://www.ablongman.com/damrosch. To place your order, please use the following ISBN numbers: Volume One Package The Ancient World to The Early Modern Period (includes Volumes A, B, and C): ISBN 13: 978-0-205-62593-2; ISBN 10: 0-205-62593-2 Volume Two Package The Seventeenth Century to The Twentieth Century (includes Volumes D, E, and F): ISBN 13: 978-0-205-62592-5; ISBN 10: 0-205-62592-4 Or, to order individual volumes, please use the following ISBN numbers: Volume A, The Ancient World: ISBN 13: 978-0-205-62595-6; ISBN 10: 0-205-62595-9 Volume B, The Medieval Era: ISBN 13: 978-0-205-62596-3; ISBN 10: 0-205-62596-7 Volume C, The Early Modern Period: ISBN 13: 978-0-205-62597-0; ISBN 10: 0-205-62597-5 Volume D, The Seventeenth and Eighteenth Centuries: ISBN 13: 978-0-205-62590-1; ISBN 10: 0-205-62590-8 Volume E, The Nineteenth Century: ISBN 13: 978-0-205-62591-8; ISBN 10: 0-205-62591-6 Volume F, The Twentieth Century: ISBN 13: 978-0-205-62594-9; ISBN 10: 0-205-62594-0 123456789 10—QWT—11 10 09 08

CONTENTS

Additional Audio and Online Resources

xi

Preface

xv

•

Acknowledgments

xxi

About the Editors

xxv

The Seventeenth and Eighteenth Centuries Illustration. Anonymous drawing of Louis XIV as the “Sun King”

l

xxx

Color Plate 1. Bishan Das (attributed to). Birth of a Prince Color Plate 2. Guler School, Lady with a Hawk Color Plate 3 Illuminated tughra (signature) of Sultan Suleiman the Magnificent Color Plate 4. Portrait of a Nobleman and His Wife Color Plate 5. Marcellus Laroon, Charles II as President of the Royal Society Color Plate 6. Carle Van Loo, Madame de Pompadour as a Sultana Color Plate 7. Johann Zoffany, Queen Charlotte with Her Two Eldest Sons Color Plate 8. Independence des Etats-Unis Color Plate 9. An Army of Jugs Map. The World in 1700

4

Timeline

6

THE WORLD THE MUGHALS MADE Illustration. The Taj Mahal Map. The Mughal Empire

13

12 13

ZAHIRUDDIN MUHAMMAD BABUR (1483-1530) 14 from The Memoirs of Babur (trans. Wheeler M. Thackstori) 15 JAHANGIR (1569-1627) 19 from The Memoirs of Jahangir {trans. Wheeler M. Thackstori) MIRZA MUHAMMAD RAFI “SAUDA” (1713-1781) from Satires [How to Earn a Living in Hindustan] (trans. Ralph Russell and Khurshidul Islam) 26

19

23

MIR MUHAMMAD TAQI “MIR” (1723-1810) 29 Selected Couplets (trans. Ralph Russell and Khurshidul Islam) from The Autobiography (trans. C. M. Nairn) 31

29

VI

Contents

BANARASIDAS (mid-17th century) from Half a Tale (trans, Mukund Lath)

36 36

CHIKAMATSU MON’ZAEMON (1653-1725)

44

Illustration. Puppeteers performing The Love Suicides at Amijima

45

The Love Suicides at Amijima {trans. Donald Keene)

46

cta&s Resonance Hozumi Ikan: Chikamatsu on the Art of Puppet Theatre {trans. Michael Brownstein) 68

CAO XUEQIN (c. 1715-1763)

71

from The Story of the Stone {trans. David Hawk.es)

74

s*Resonance Shen Fu: from Six Records of a Floating Life {trans. Leonard Pratt and Chiang Su-hui)

THE OTTOMAN EMPIRE

146

160

Map. The Ottoman Empire, 1672

161

MIHRI KHATUN (1445-1512) 162 I opened my eyes from sleep {trans. Walter Andrews et all) At times, my longing for the beloved slays me 163 My heart burns in flames of sorrow 163

162

FUZULI (1480-1556) 163 Oh God, don’t let anyone be like me {trans. Walter Andrews et all) 164 If my heart were a wild bird 165 For long years we have been haunting the quarter 166 The pointed reproach of the enemy 166 NEDiM (1681-1730)

167

At the gathering of desire {trans. Walter Andrews et all) When the east wind leaves that curl 168 As the morning wind blows 169 Take yourself to the rose-garden 170 Delicacy was drawn out like the finest wine 171 LADY MARY WORTLEY MONTAGU (1689-1762)

168

172

Illustration. Title page of Baudier’s General History of the Seraglio and of the Court of the Noble Lord Emperor of the Turks 173 The Turkish Embassy Letters

173

To Alexander Pope (1 April 1717) To Sarah Chiswell (1 April 1717) To Lady Mar (18 April 1717)

179

173 178

Contents

The Age of the Enlightenment Illustration. Execution of Louis XVI

184

Map. Europe in 1714, After the Treaty of Utrecht

186

Illustration. An Emblematical View of the Constitutions of England and France

188

Illustration. Babylonian and Egyptian antiquities

190

JEAN-BAPTISTE POQUELIN [MOLIERE] (1622-1673)

Tartuffe (trans. Richard Wilbur)

201

PERSPECTIVES 4^Court Culture and Female Authorship Illustration. Art d’Ecrire

254

MADELEINE DE SCUDERY (1607-1701) from. Clelie {trans. April Alliston) 257

256

Illustration. La Carte du pays de Tendre, from Madeline de Scudery’s Clelie

258

MARIE-MADELEINE PIOCHE DE LA VERGNE, COMTESSE DE LAFAYETTE (1634-1693) 260 The Countess of Tende {trans. April Alliston) 26l MARIE DE RABUTIN-CHANTAL, MARQUISE DE SEVIGNE (1626-1696)

268

from Selected Letters {trans. Leonard Tancock)

269

ELISABETH CHARLOTTE VON DER PFALZ, DUCHESSE D’ORLEANS (1652-1722) from Letters {trans. Maria Kroll) 273

271

KATHERINE PHILIPS (1631-1664) 279 To My Excellent Lucasia, on Our Friendship 280 An Answer to Another Persuading a Lady to Marriage 280 MARY, LADY CHUDLEIGH (1656-1710) from The Ladies Defence 281

281

ANNE FINCH, COUNTESS OF WINCHILSEA (1661-1720) The Introduction 283 Friendship Between Ephelia and Ardelia from The Spleen 285 JONATHAN SWIFT (1667-1745) The Lady’s Dressing Room 289

284

288

LADY MARY WORTLEY MONTAGU (1689-1762) The Reasons that Induced Dr. S. to write a Poem called The Lady’s Dressing Room 292 ANN YEARSLEY (1752-1806) 295 To Mr. ****, an Unlettered Poet, on Genius Unimproved * Crosscurrents

Court Culture and Female Authorship

297 »■

292

295

282

viii

Contents

APHRA BEHN Oroonoko

(1640-1689)

298

299

Illustration. Frontispiece to Thomas Southerne’splay Oroonoko: A Tragedy

300

Resonance

George Warren: from An Impartial Description of Surinam

JONATHAN SWIFT Gulliver’s Travels

342 rts©*

346

(1667-1745)

348

Illustration. James Gillray, The King of Brobdingnag and Gulliver Part 4. A Voyage to the Country of the Houyhnhnms

349

349

PERSPECTIVES Journeys in Search of the Self

395

EVLIYA QELEBI (1611-1684) 396 from The Book of Travels (trans. Robert Dankoff and Robert Elsie)

397

MATSUO BASHO (1644-1694)

406

Illustration. Morikawa Kyoriku, haiga (haikai sketch) 408 [Selected Haiku] (trans. Hanio Shirane) 409 from Narrow Road to the Deep North (trans. Haruo Shirane) Map. Basho’s Journey

412

414

CHARLES DE SECONDAT, BARON DE LA BREDE ET DE MONTESQUIEU (1689-1755) 426 from Persian Letters (trans. J. Robert Loy)

427

DENIS DIDEROT (1713-1784) 433 from Supplement to the Voyage of Bougainville (trans. John Hope Mason and Robert Wokler) 434 OLAUDAH EQUIANO (c. 1745-1797) 441 from The Interesting Narrative of the Life of Olaudah Equiano Map. Triangular Trade

m

441

442

Crosscurrents

Journeys in Search of the Self

450 *•

FRANCOIS-MARIE AROUET [VOLTAIRE] 451

(1694-1778)

Candide (trans. Roger Pearson)

453

Resonances

Gottfried Wilhelm von Leibniz: from Theodicy (trans. E. M. Huggard) 513 Alexander Pope: from An Essay on Man 515 Translations

Voltaire’s Candide

519 v

vv

}H -

'

S3

ACKNOWLEDGMENTS

In the extended process of planning and preparing the second edition of this anthol¬ ogy, the editors have been fortunate to have the support, advice, and assistance of many people. Our editor, Joe Terry, and our publisher, Roth Wilkofsky, have sup¬ ported our project in every possible way and some seemingly impossible ones as well, helping us produce the best possible book despite all challenges to budgets and welllaid plans in a rapidly evolving field. Their associates Mary Ellen Curley and Joyce Nilsen have shown unwavering enthusiasm and constant creativity in developing the book and its related Web site and audio CDs and in introducing the results to the world. Our development editors, first Adam Beroud and then Erin Reilly, have shown a compelling blend of literary acuity and quiet diplomacy in guiding thirteen far-flung editors through the many stages of work. Peter Meyers brought great energy and cre¬ ativity to work on our CDs. Donna Campion and Dianne Hall worked diligently to complete the instructor’s manual. A team of permissions editors cleared hundreds and hundreds of text permissions from publishers in many countries. Once the manuscript was complete, Ellen MacElree, the production manager, over¬ saw the simultaneous production of six massive books on a tight and shifting schedule. Valerie Zaborski, managing editor in production, also helped and, along the way, developed a taste for the good-humored fatalism of Icelandic literature. Our copyeditor, Stephanie Magean, and then Doug Bell and his colleagues at GGS Book Services PMG, worked overtime to produce beautiful books accurate down to the last exotic accent. Our plans for this edition have been shaped by the comments, suggestions, and thoughtful advice of our reviewers. Charles Bane (University of Central Arkansas); Laurel Bollinger (University of Alabama in Huntsville); Patricia Cearley (South Plains College); Ed Eberhart (Troy University); Fidel Fajardo-Acosta (Creighton University); Gene C. Fant (Union University); Kathy Flann (Eastern Kentucky Uni¬ versity); Katona D. Hargrave (Troy University); Nainsi J. Houston (Creighton Uni¬ versity); Marta Kvande (Valdosta State University); Wayne Narey (Arkansas State University); Kevin R. Rahimzadeh (Eastern Kentucky University); Elizabeth L. Rambo (Campbell University); Gavin Richardson (Union University); Joseph Rosenblum (University of North Carolina at Greensboro); Douglass H. Thomson (Georgia Southern University); and Tomasz Warchol (Georgia Southern University). We remain grateful as well for the guidance of the many reviewers who advised us on the creation of the first edition: Roberta Adams (Fitchburg State College); Adetutu Abatan (Floyd College); Magda al-Nowaihi (Columbia University); Nancy Applegate (Floyd College); Susan Atefat-Peckham (Georgia College and State University); Evan Balkan (CCBC-Catonsville); Michelle Barnett (University of Alabama, Birmingham); Colonel Bedell (Virginia Military Institute); Thomas Beebee (Pennsylvania State University); Paula Berggren (Baruch College); Mark Bernier (Blinn College); Ronald Bogue (Univer¬ sity of Georgia); Terre Burton (Dixie State College); Patricia Cearley (South Plains College); Raj Chekuri (Laredo Community College); Sandra Clark (University of Wyoming); Thomas F. Connolly (Suffolk University); Vilashini Cooppan (Yale Univer¬ sity); Bradford Crain (College of the Ozarks); Robeit W. Croft (Gainesville College); Frank Day (Clemson University); Michael Delahoyde (Washington State University); xxi

xxii

Acknowledgments

Elizabeth Otten Delmonico (Truman State University); Jo Devine (University of Alaska Southeast); Gene Doty (University of Missouri—Rolla); James Earle (University of Ore¬ gon); R. Steve Eberly (Western Carolina University); Walter Evans (Augusta State Uni¬ versity); Fidel Fajardo-Acosta (Creighton University); Mike Felker (South Plains College); Janice Gable (Valley Forge Christian College); Stanley Galloway (Bridgewater College); Doris Gardenshire (Trinity Valley Community College); Jonathan Glenn (University of Central Arkansas); Dean Hall (Kansas State University); Dorothy Hardman (Fort Valley State University); Elissa Heil (University of the Ozarks); David Hesla (Emory Univer¬ sity); Susan Hillabold (Purdue University North Central); Karen Hodges (Texas Wes¬ leyan); David Hoegberg (Indiana University-Purdue University—Indianapolis); Sheri Hoem (Xavier University); Michael Hutcheson (Landmark College); Mary Anne Hutchinson (Utica College); Raymond Ide (Lancaster Bible College); James Ivory (Ap¬ palachian State University); Craig Kallendorf (Texas A & M University); Bridget Keegan (Creighton University); Steven Kellman (University of Texas—San Antonio); Rox¬ anne Kent-Drury (Northern Kentucky University); Susan Kroeg (Eastern Kentucky Uni¬ versity); Tamara Kuzmenkov (Tacoma Community College); Robert Lorenzi (Camden County College—Blackwood); Mark Mazzone (Tennessee State University); David Mc¬ Cracken (Coker College); George Mitrenski (Auburn University); James Nicholl (West¬ ern Carolina University); Roger Osterholm (Embry-Riddle University); Joe Pellegrino (Eastern Kentucky University); Linda Lang-Peralta (Metropolitan State College of Den¬ ver); Sandra Petree (University of Arkansas); David E. Phillips (Charleston Southern Uni¬ versity); Terry Reilly (University of Alaska); Constance Relihan (Auburn University); Nelljean Rice (Coastal Carolina University); Colleen Richmond (George Fox University); Gretchen Ronnow (Wayne State University); John Rothfork (West Texas A & M Univer¬ sity); Elise Salem-Manganaro (Fairleigh Dickinson University); Asha Sen (University of Wisconsin Eau Claire); Richard Sha (American University); Edward Shaw (University of Central Florida); Jack Shreve (Allegany College of Maryland); Jimmy Dean Smith (Union College); Floyd C. Stuart (Norwich University); Eleanor Sumpter-Latham (Central Ore¬ gon Community College); Ron Swigger (Albuquerque Technical Vocational Institute); Barry Tharaud (Mesa State College); Theresa Thompson (Valdosta State College); Teresa Thonney (Columbia Basin College); Charles Tita (Shaw University); Scott D. Vander Ploeg (Madisonville Community College); Marian Wernicke (Pensacola Junior College); Sallie Wolf (Arapahoe Community College); and Dede Yow (Kennesaw State University). We also wish to express our gratitude to the reviewers who gave us additional ad¬ vice on the book’s companion Web site: Nancy Applegate (Floyd College); James Earl (University of Oregon); David McCracken (Coker College); Linda Lang-Peralta (Metropolitan State College of Denver); Asha Sen (University of Wisconsin—Eau Claire); Jimmy Dean Smith (Union College); Floyd Stuart (Norwich University); and Marian Wernicke (Pensacola Junior College). The editors were assisted in tracking down texts and information by wonderfully able research assistants: Kerry Bystrom, Julie Lapiski, Katalin Lovasz, Joseph Ortiz, Laura B. Sayre, and Lauren Simonetti. April Alliston wishes to thank Brandon Lafving for his invaluable comments on her drafts and Gregory Maertz for his knowl¬ edge and support. Marshall Brown would like to thank his research assistant Fran?oise Belot for her help and Jane K. Brown for writing the Goethe introduction. Sheldon Pollock would like to thank Whitney Cox, Rajeev Kinra, Susanne Mrozik, and Guriqbal Sahota for their assistance and Haruo Shirane thanks Michael Brownstein

Acknowledgments

xxiii

for writing the introduction to Hozumi Ikan, and Akiko Takeuchi for writing the in¬ troductions to the Noh drama. It has been a great pleasure to work with all these colleagues both at Longman and at schools around the country. This book exists for its readers, whose reactions and suggestions we warmly welcome, as the second edition of The Longman Anthol¬ ogy of World Literature moves out into the world.

,; i

j,

\'v

;

.

t

,

n

ABOUT THE EDITORS

David Damrosch (Columbia University). His books include The Narrative Covenant: Transformations of Genre in the Growth of Biblical Literature (1987), Meetings of the Mind (2000), What Is World Literature? (2003), and How to Read World Literature (2009). He has been president of the American Comparative Litera¬ ture Association (2C01-2003) and is founding general editor of The Longman Anthol¬ ogy of British Literature (third edition, 2006). David L. Pike (American University). Author of Passage Through Hell: Modernist Descents, Medieval Underworlds (1997), Subterranean Cities: The World Beneath Paris and London, 1800-1945 (2005), and Metropolis on the Styx: The Underworlds of Modern Urban Culture (2007). He is co-author of the forthcoming A World of Writing: Poems, Stories, Drama, Essays.

April Alliston (Princeton University). Author of Virtue’s Faults: Correspondences in Eighteenth-Century British and French Women's Fiction (1996), and editor of Sophia Lee’s The Recess (2000). Her book on concepts of character, gender, and plausibility in Enlightenment historical narratives is forthcoming. Marshall Brown (University of Washington). Author of The Shape of German Ro¬ manticism (1979), Preromanticism (1991), Turning Points: Essays in the History of Cultural Expressions (1997), The Gothic Text (2005), and The Tooth That Nibbles at the Soul: Essays on Music and Poetry (forthcoming). Editor of Modern Language Quarterly: A Journal of Literary History, and the Cambridge History of Literary Criti¬ cism, Vol. 5: Romanticism. Page duBois (University of California, San Diego). Her books include Centaurs and Amazons (1982), Sowing the Body (1988), Torture and Truth (1991), Sappho Is Burning (1995), Trojan Horses (2001), and Slaves and Other Objects (2003).

Sabry Hafez (University of London). Author of several books in Arabic on poetry, drama, the novel, and on a number of major Arab writers, including works on Mahfouz, Idris, and Mahmoud Darwish. His books in English include The Genesis of Arabic Narrative Discourse (1993), The Quest for Identies: The Arabic Short Story (2007), and the edited volumes A Reader of Modern Arabic Short Stories and Modern Arabic Criticism. He is the editor of the on-line bilingual Arabic/English monthly journal, Al-Kalimah/The World. Ursula K. Heise (Stanford University). Author of Chronoschisms: Time, Narrative, and Postmodernism (1997) and of Sense of Place and Sense of Planet: The Environ¬ mental Imagination of the Global (2008). xxv

XXVI

About the Editors

Djelal Kadir (Pennsylvania State University). His books include Columbus and the Ends of the Earth (1992), The Other Writing: Postcolonial Essays in Latin America s Writing Culture (1993), and Other Modernisms in an Age of Globalizations (2002). He served in the 1990s as editor of World Literature Today and is coeditor of the Comparative History of Latin America’s Literary Cultures (2004). He is the founding president of the International American Studies Association. Sheldon Pollock (Columbia University). His books include The Language of the Gods in the World of Men (2006). He recently edited Literary Cultures in History: Re¬ constructions from South Asia (2003). He is general editor of the Clay Sanskrit Library. Bruce Robbins (Columbia University). His books include The Servant’s Hand: Eng¬ lish Fiction from Below (1986), Secular Vocations (1993), Feeling Globed: Interna¬ tionalism in Distress (1999), and Upward Mobility and the Common Good: Toward a Literary History of the Welfare State (2007). Edited volumes include Cosmopolites: Thinking and Feeling Beyond the Nation (1998). Haruo Shirane (Columbia University). Author of The Bridge of Dreams: A Poetics of “The Tale of Genji” (1987) and of Traces of Dreams: Landscape, Cultural Mem¬ ory, and the Poetry ofBasho (1998). He is coeditor of Inventing the Classics: Moder¬ nity, National Identity, and Japanese Literature (2000) and has recently edited Early Modern Japanese Literature: An Anthology 1600-1900.

Jane Tylus (New York University). Author of Writing and Vulnerability in the Late Renaissance (1993), coeditor of Epic Traditions in the Contemporary World (1999), and editor and translator of Lucrezia Tornabuoni de’ Medici’s Sacred Narratives (2001). Her study on late medieval female spirituality and the origins of humanism is forthcoming. Pauline Yu (American Council of Learned Societies). President of the American Council of Learned Societies, she is the author of The Poetry of Wang Wei (1980) and The Reading of Imagery in the Chinese Poetic Tradition (1987), the editor of Voices of the Song Lyric in China (1994), and coeditor of Culture and State in Chinese History (1997) and Ways with Words: Writing about Reading Texts from Early China (2000).

David Damrosch COLUMBIA UNIVERSITY

The Ancient Near East; Mesoamerica David L. Pike AMERICAN UNIVERSITY

Rome and the Roman Empire; Medieval Europe

April Alliston PRINCETON UNIVERSITY

The Age of the Enlightenment Marshall Brown UNIVERSITY OF WASHINGTON

The Nineteenth Century Page duBois UNIVERSITY OF CALIFORNIA, SAN DIEGO

Classical Greece Sabry Hafez UNIVERSITY OF LONDON

Arabic and Islamic Literatures Ursula K. Heise STANFORD UNIVERSITY

The Twentieth Century Djelal Kadir PENNSYLVANIA STATE UNIVERSITY

The Twentieth Century Sheldon Pollock COLUMBIA UNIVERSITY

South Asia Bruce Robbins COLUMBIA UNIVERSITY

The Nineteenth Century Haruo Shirane COLUMBIA UNIVERSITY

Japan Jane Tylus NEW YORK UNIVERSITY

Early Modern Europe Pauline Yu AMERICAN COUNCIL OF LEARNED SOCIETIES

China

I

-

•/'

',1

-

...

■)■

•

The Longman Anthology of World Literature -•—ISO Sr—►

VOLUME D

THE SEVENTEENTH AND EIGHTEENTH CENTURIES

LF. ROY 1)E, FRANCE. I'JCamr f/nmrr 'tel C/rrf dr

la S** J-tpur .

„ Hen jGIilputrsa II class a tout dun coup Is Irouillards de Calvin/: CV?n pas par un 2* si di vin , „ Hals

aji/t dr

car As r

ma jClur dolltlpuc

.

Anonymous drawing of Louis XIV as the “Sun King.” The verses below the image are a masterpiece of propaganda, describing the French king’s conservative Counter-Reformation policy, reversing earlier reli¬ gious tolerance in the new terms of the Enlightenment: the power of Louis’ “Sun” will enlighten heretics, evaporating the mists of John Valving’s Protestant teachings-not because of any religious zeal but to conceal his subtle political strategy.

The Seventeenth and Eighteenth Centuries ►

The middle decades of the 1600s marked a time of transition in many parts of the world. The Manchu people came to power in China in 1644; their Qing dynasty would con¬ tinue to rule the world’s most populous country until 1911. In Japan, the Tokugawa clan of warlords, or shoguns, fiad begun to establish themselves in 1600; they cemented their control over the country in the next few decades. By midcentury they had succeeded in their ambition of closing Japan to outside influence, and after 1641 the sole foreign presence in Japan was a small Dutch trade mission confined to an island in Nagasaki Harbor—a situation that wouldn’t change for over two hundred years. Both local and colonial rule began to assume new forms in Africa and the Americas: the great Bambara kingdom was established in midcentury along the upper reaches of the Niger River, and in 1652 Dutch settlers founded a colony at Capetown in what would become the English colony of South Africa. While the Dutch gained in Africa, they lost in the Western hemisphere: in 1654 Portugal took back Brazil from them, and a decade later the Eng¬ lish expelled them from their colony of New Amsterdam, renaming it New York. Europe too saw sweeping changes during these years. A long period of conflict in and around Germany, the Thirty Years’ War finally ended in 1648, while in France the “Sun King” Louis XIV ascended the throne at age five in 1643 and began to rule in his own right in 1661; he remained the dominant political figure of the era until his death in 1715, after a record-breaking reign of seventy-two years. Gathering the French nobility into the gilded cage of his lavish palace complex at Versailles, Louis proclaimed ab¬ solute authority granted by divine right, asserting “L’etat, c’est moi”—“I am the state.” The Mughal Empire reached its height under a similarly absolutist monarch, Aurangzeb (r. 1685-1707), who extended his realm to include most of India and what is now Pak¬ istan. Yet neither monarch bequeathed a stable situation to his successors: Louis’s unre¬ strained spending on frequent wars and on lavish palaces left France’s treasuries de¬ pleted on his death, while his insistence on Catholicism as the sole permitted religion led to the departure of tens of thousands of French Protestants, many of them enterpris¬ ing small manufacturers and artisans, seriously weakening the French economy. Grow¬ ing popular discontent in France would lead to revolution by the end of the century. In India, Aurangzeb tried to unify his widened realm by making Islam the state religion and repressing the practice of Hinduism; his restless Hindu subjects repeatedly revolted and his sons fought each other, and the empire declined after his death. The splendor of courts like Versailles in France, Saint Petersburg in Russia, and Delhi in India was underwritten by the growing economic contributions of traders and manufacturers, who provided new sources of wealth beyond the traditional base of peasant agriculture. A new “middle class” was growing up between the aristocracy and the peasantry, often congregating in towns and known on the Continent as Burger or bourgeois (from the German and French terms for “town”). This volume begins with an extensive selection of readings on courts and commoners, giving a range of the literature that probed these new relations, from China and Japan to India and the 1

2

The Seventeenth and Eighteenth Centuries

Ottoman Empire. The section that follows on the Enlightenment begins with the great bourgeois court playwright Moliere and continues with a Perspectives section on court culture and female authorship. The new bourgeoisie often favored self-government and flexibility over aristocratic authority, and increasingly proposed that laws, not monarchs, should have the final say. As the philosopher John Locke wrote in 1690, “Wherever Law ends, Tyranny begins. Or as an antiroyal rebel, Richard Rumbold, declared in 1685, as he stood on the scaffold to be executed: “I never could believe that Providence had sent a few men into the world, ready booted and spurred to ride, and millions ready saddled and bridled to be ridden.” The literature of the period often explores the new possibilities for individual liberty— and the dangers of unrestrained self-indulgence symbolized by the figure of the “liber¬ tine,” the focus of the Perspectives section included here on liberty and libertines.

Commerce and Industry Some small countries, like Elolland and Switzerland, asserted their freedom by abolishing monarchy altogether and became republics. In England, the unpopular monarch Charles I was beheaded by Puritan rebels in 1649; though the monarchy was restored in 1660, Charles II and his successors were increasingly subject to parliamentary control. Else¬ where, monarchs like Russia’s Peter the Great prospered by working closely with the bourgeoisie to modernize agriculture and establish the rudiments of modem industry. In Persia, the ruler Karim Khan developed his capital of Shiraz as a commercial center acces¬ sible to the Persian Gulf and trade with India. A driving force in the changing expectations of middle-class subjects, in fact, was the opening up of the world through rapidly expand¬ ing travel and trade. Though the Dutch East India Company maintained only a tenuous foothold in Japan, it assumed greater and greater influence in Indonesia, while French and British trading companies jostled for influence in India. In 1661 the British East India Company took control of Bombay, and in 1690 the company founded the major city of Calcutta. Gradually the East India Company became the de facto mler of much of the In¬ dian subcontinent. Trade steadily increased as well between Europe and the Americas, which now provided not only gold and silver but also a growing bulk of goods like sugar, cotton, This was a new sort of hides, and timber. England and other nations devel¬ empire: developed and oped a further trade, in human bodies, to support maintained less by these enterprises: the “triangular trade” of slaves from Africa to the Americas and of slave-produced governments and guns than sugar and cotton from the Americas to Europe, by companies and invoices. which in turn manufactured finished goods to sell back to Africa and the Americas. This was a new sort of empire: developed and maintained less by governments and guns than by companies and invoices. As the Scottish economic theorist Adam Smith said in his 1776 book The Wealth of Nations, “To found a great empire for the sole pur¬ pose of raising up a people of customers, may at first sight appear a project fit only for a nation of shopkeepers. It is, however, a project altogether unfit for a nation of shopkeep¬ ers; but extremely fit for a nation whose Government is influenced by shopkeepers.” Elsewhere in the world too, there was a growing sense of social life as a changing and changeable reality, subject to personal initiative more than to inherited status or direct divine intervention. As Ihara Saikaku said in his book Japan’s Eternal Storehouse,

Plate 1 Attributed to Bishan Das, Birth of a Prince, India, c. 1620. Believed to depict the birth of Jahangir, this work is attributed to the artist whom the emperor esteemed as the greatest portrait paintei of the age. The women, who by custom were segregated from the men (though some peek around the screen at the lower left) and were therefore usually portrayed as types in earlier painting, here have strikingly individual features. Next to the woman thought to be Jahangir’s mother, who was Indian, sits his grand¬ mother, Akbar’s mother, whose Central-Asian heritage is suggested by her dress. (Birth of a Princtfrom an illustrated manuscript of the Jahungir-nama, Bishndas [Attributed to], Northern India, Mughal, c. 1620. Frances Bartlett Donation of 1912 and Picture Fund [14.657], Museum of Fine Arts, Boston.)

Plate 2 Guler School, Lady with a Hawk, northern India, c. 1750. Freely mixing realism and symbolism, the artist shows a woman contemplating a majes¬ tic hawk who stands in for her absent lover, the bright red of the background symbolizing their passion, as her servant and confidante looks on from the side. The woman is portrayed as a distinct in¬ dividual observed in a quiet moment, one sandal off as she braces a foot against a couch, but the scene also illus¬ trates the ancient Indian theme of love in separation. (Victoria and Albert Mu¬ seum, London /Art Resource, New York.)

Plate 3 Illuminated tughra (signature) of Sultan Suleiman the Magnificent, Turkey, mid-16th century. Reflecting the intertwining of writing and painting in Islamic art, the sultan s signature is elaborated into a visual image of his authority and the splendor of his reign. In Islam as in Judaism, a prohibi¬ tion on graven images was often understood to prohibit portraiture. (Suleiman the Magnificent, mid-16th century. The Metropolitan Museum of Art, Rogers Fund, 1938 [38.149.1]; photograph © 1986 The Metropolitan Museum of Art / The Metropolitan Museum of Art, New York, NY, U.S.A Image copyright © The Metropolitan Museum of Art.)

Plate 4 Portrait of a Nobleman and His Wife, China, mid-1700s. Jia Baoyu’s mother and father in The Story of the Stone may well have resembled the solemn pair in this Qing dynasty hanging scroll. The work displays the opulent simplicity favored by the aristocrats of the day, and it embodies a harmonious union of nature and culture: the husband and wife are both indoors and outdoors on their viewing porch, poised between the artworks behind them and the artistically arranged tree, birds, and deer in front of them. (With permission of the Royal Ontario Museum © ROM.)

Plate 5 Marcellus Laroon, Charles II as President of the Royal Society, England, 1684. In this portrait of the king painted a year before his death, the traditional trappings of royalty—crown, throne, and orb—literally take a back seat (in the background at left) to the advancements of the new science. Charles gestures toward the instruments of seeing, modeling, mapping, and calibrating that the Royal Society he sponsored had done much to devise and develop. By their placement, the painter suggests that these tools make possible the naval commerce and conquest depicted in the distance—as though the telescope were the world’s new scepter, and the globe the monarch’s proper sphere. (Eileen Tweedy/ Christ’s Hospital / The Art Archive / Picture Desk, Inc. / Kobal Collection.)

Plate 6 Carle Van Loo, Madame de Pompadour as a Sultana, France, 1752. Wearing “Turkish dress,” especially when sitting for one’s portrait, was all the rage among the European elite of the eighteenth century. Here the powerful mistress of Louis XV is shown in a setting inspired by descriptions of harems, such as those of Lady Mary Wortley Montagu and the Baron de Montesquieu. Accepting a cup of coffee from a devoted, dark-skinned slave while holding a Turkish pipe, Madame de Pompadour grandly enjoys the exotic luxuries that Europeans were importing from the East. (The State Hermitage Museum, St. Petersburg, Russia.)

Plate 7 Johann Zoffany, Queen Charlotte with Her Two Eldest Sons, England, 1764. Zoffany’s conversation piece counterpoises the grandeur of the royal family with its sentimental intimacy. The queen’s beauty is reflected in the mirror on her vanity, even as she neglects the business of self-adornment in favor of the first duty of all women, to educate good citizens; a new era of majesty as good example of private domesticity has commenced. The scene opens out to the wider world as well, both through the royal park seen through the open French doors (complete with grazing deer, as in the Chinese portrait in Plate 4), and in the imported Chinese figurines behind the queen. Her children, meanwhile, combine East and West, past and present, with imperial politics played out as sibling rivalry between the sons in Roman armor and Turkish costume. (A. C. Cooper Ltd. / The Royal Collection © Her Majesty Queen Elizabeth II.)

r4 Jut//7 ///(’• ftvTivnt’ (l>//////u///i -j rAynuJ ,r scrr/cea yr/c LiWtx XI7 Aw are/u/uJ, l&LE/afy -UntJ nnt

-

/’wj /}//1■A-i’c/■ n /V/Zii/i’/yA/t■ rrn mamr/nrn/ y/u

Plate 8 Independence des Etats-Unis, France, 1786. Symbols of France and a portrait of King Louis XVI sur¬ mount portraits of Benjamin Franklin and George Washington on a monument whose inscription reads, “America and the oceans, O Louis! Acknowledge you as their liberator.” On the right, a native American (symbol of his continent) tramples on the defeated British lion, while a banner on the palm tree beside him proclaims, “In raising myself up, I adorn myself.” Louis XVI was soon overtaken by the revolutionary ferment he guides here, and seven years after this print was made he was guillotined by his own subjects. (Spencer Collection /Astor, Lenox and Tilden Foundations / The New York Public Library.)

bD 3 2 _ X ’C CQ

bD >, =

o

^ § Cc! -2-

^

e

b£j

C

Cl

§ .c O

-C O c/3 r»—

I tt-

C

bs ^ *

“salon" was not used until much later; more common was ruelle: literally the narrow space be¬ tween the bed and the wall. Intense female friendships were an equally important part of preciosite, and it was more often in this sense that Platonic love was adopted in seventeenthcentury England, where Katherine Philips was the first to promote it both in her circle of liter¬ ary friends and in her poetry. Devoted to pleasure, beauty, love, and play, the precieuses fostered wit, feeling, and culture—not scholarly learning. It was an aesthetic and social rather than an intellectual movement. It also fostered community and collaborative authorship, and the writing of long, witty letters to be circulated among friends, as well as elaborate verbal games. These allowed the salons’ members to engage creatively with one another while showing off their individual wit and sensibility, all the while denying that they were engaged in anything more than a game or trifle—for anything more admittedly serious might smack too much of ungenteel la¬ bor or unfeminine learning. The game from Scudery’s Clelie, the Carte de Tendre, really was played like a board game in her salon. It is of a piece with language games like competing to come up with witty maxims or amusing tales, which resulted in works such as the Maxims of La Rochefoucauld (developed in the salon of Mme de Sable), or literary collections of fairy tales. Many current French idioms were invented by the precieuses; “Platonic love” is only one example of terms that penetrated the English language as well. None of their works, however, were written entirely in such idioms—such excessively elaborate language is actu¬ ally the invention of the satirists. Thanks to the satires of Moliere and others, the word “pre¬ cious” in this sense developed pejorative connotations in French as well as English by the nineteenth century. Nevertheless, besides enriching the language, the precieuses brought to prominence in modern literature numerous literary genres, including the “character” or “moral portrait,” the literary maxim, literary letters and the epistolary form in fiction, and the psychological novel. Just after Moliere had published The Ridiculous Precieuses in Paris, the English monarchy was restored (1660) in the person of King Charles II, after more than a decade of Puritan rule. Charles brought home from his French exile a taste for much of what the precieuses stood for, and the Puritans abhorred: pleasure, beauty, wit, frivolity, and foppery. In England the French models for these were transposed into a cultural milieu that was more mercantile and commer¬ cialized, as well as less extremely politically centralized. It was possible for a middle-class woman like Aphra Behn, associated with the theater, to become a successful professional writer, in part by translating and elaborating upon French models—even though she was fre¬ quently charged with indecency in both her life and works. It may seem odd to modern readers that most of the early professional women writers in England, although not aristocrats, passion¬ ately held to Tory or monarchist politics, which today seems a conservative stance at odds with their struggle for greater freedom of expression as women. Yet in the Restoration context, loy¬ alty to the monarchy was associated with relative artistic and sexual freedom, whereas the more politically democratic or leveling forces of Puritanism were accompanied by severe repression of such freedoms. French salon literature included a strong element of the pastoral—the idealization of the simple life of shepherds in the countryside as antidote to the pressures and hypocrisies of urban court life—inherited from classical literature. Given that salon culture was so Pariscentered, this idealization of rural simplicity was actually the height of urban artifice and refinement. This pastoral aspect was also adopted by the Englishwomen who were inspired by the precieuses. Nearly every Englishwoman who wrote poetry in the later seventeenth or early eighteenth centuries adopted a pen name in the pastoral style, beginning with Katherine Philips, “the Matchless Orinda,” poet and translator of Corneille. Professional writers like Aphra Behn and Eliza Haywood had to stay in London to earn a living, but those from the landed classes were more able to imitate that aspect of preciosite that celebrated

«H- 256

Perspectives: Court Culture and Female Authorship

leisure, the pleasures of society, intimate friendships outside marriage, and the posture of writing for a cabal of like-minded friends rather than for public consumption. These women established coteries that were very much like the salons, with the important exception of being nearly al¬ ways centered in a rural estate. The poetry that emerged from these literary coteries celebrated the pleasures of “retirement” from the whirl of urban and courtly distractions, consumption, and display, alongside Scudery’s ideal of Platonic love, especially (though not exclusively) between female friends. Katherine Philips was the first to do this, establishing her “Society of Friend¬ ship” in remote Wales. Despite their success and recognition, all these women still saw themselves as exceptions, as swimming upstream. This remains true even by the end of the period, with writers like Anna Letitia Barbauld and Mary Wollstonecraft; in fact, in important ways, more conservative atti¬ tudes about women’s proper role and restriction to the domestic sphere predominated in the late eighteenth and the nineteenth centuries than in the seventeenth and early eighteenth centuries— in part because of the demise of courtly culture and the prerogatives and permissions it had lent certain individual women. Pronunciations : Preciosite: pray-see-oh-see-TAY Precieuses: pray-see-UHZ

=*

Countess of Tende was there with us, and that she could ask her whether she had not seen me there all evening. So I resolved to come and confide in Madame la Comtesse. I went to visit La Chatre,8 less than a stone’s throw from here; I escaped without my servants seeing me, and I was told that Madame was awake. I found no one in her an¬ techamber, and I entered boldly. She refuses to lie in my favor; she says she does not want to betray her friend and gives me very sober reprimands; I have already given them to myself in vain. Madame la Princesse must be spared her present worry and jealousy, and I the mortal bother of her reproaches.” The Countess of Tende was hardly less surprised by the Prince’s presence of mind than she had been by the arrival of her husband; she was reassured, however, and the Count no longer entertained the slightest doubt. He joined his wife in remind¬ ing the Prince of the abyss of unhappiness into which he would be plunging himself, and how much he owed the Princess. The Countess promised to tell her whatever her husband asked. As he was about to leave the Count stopped him: “In recompense for the service we are doing you at the expense of the truth, tell us at least who this charming mis¬ tress may be. She must not be a very respectable person, to love you and continue re¬ lations with you, seeing you take up with a person as beautiful as Madame the Princess of Navarre, seeing you marry her, and knowing what you owe her. She must have neither spirit, courage, nor sensitivity, and really she is not worth your disturb¬ ing so great a good fortune as yours, nor your rendering yourself so ungrateful and so guilty.” The Prince did not know what to reply; he feigned haste. The Count of Tende saw him out himself, to help him avoid being seen. The Countess remained shaken by the risk she had run, by the reflections her hus¬ band’s words had forced her to make, and by the picture of the unhappiness to which her passion exposed her; but she did not have the strength to extricate herself. She continued her relations with the Prince; she saw him sometimes through the media¬ tion of La Lande, her stableman. She considered herself, and in fact she was, one of the unhappiest people in the world. Every day the Princess of Navarre confided in her a jealousy of which she herself was the cause; this jealousy pierced her with remorse; and when the Princess of Navarre was happy with her husband, she was penetrated with jealousy in her turn. A new torment was added to those she already had: the Count of Tende fell as much in love with her as if she had not been his wife; he never left her alone, and wanted to reclaim all the rights he had disdained. The Countess resisted him with a force and bitterness approaching contempt: prejudiced in favor of the Prince of Navarre, she was wounded and offended by any passion but his. The Count of Tende felt her conduct in all its severity and, stung to the quick, he assured her he would never trouble her again in his life, and indeed left her very coldly. War approached; the Prince of Navarre was to leave for the army. The Countess of Tende began to feel the pain of his absence and the fear of the dangers to which he would be exposed; she resolved to spare herself the constraint of hiding her afflic¬ tion, and decided to spend the summer on an estate she possessed thirty leagues9 from Paris.

8. Possibly Gaspard de La Chatre (d. 1578), who married a cousin of the Count of Tende in 1570. 9. Ninety miles. The Countess’s move resembles that of

the Princess of Cleves, who retires to her country house at Coulommiers, at a comparable distance from Paris, for similar reasons.

266

Perspectives: Court Culture and Female Authorship

She put into effect what she had planned; their leave-taking was so sorrowful that they both had to take it as an evil omen.1 The Count of Tende stayed with the king, where his post obliged him to remain. The court was to move closer to the army; the house of Mme de Tende was not far away; her husband told her he would visit there for one night, only to see to some projects he had begun. He did not want her to suspect he might be coming to see her; he harbored against her all the spite to which the passions can give rise. In the begin¬ ning Mme de Tende had found the Prince so full of respect, and herself so full of virtue, that she had mistrusted neither him nor herself. But time and opportunities had triumphed over virtue and respect, and shortly after she arrived at her country house she perceived that she was pregnant. One need only reflect upon the reputation she had acquired and maintained, and upon the estrangement between her and her hus¬ band, to judge of her despair. She was tempted several times to take her own life; however, she conceived some small hope from the visit her husband planned to pay her, and resolved to await what might come of it. In this distress she had the added sorrow of learning that La Lande, whom she had left in Paris to deliver her lover’s let¬ ters and her own, had died a few days later, and she found herself without assistance at a time when she had much need of it. The army, meanwhile, had begun a siege.2 Her passion for the Prince of Navarre caused her continual fears for him, which penetrated even through her mortal terrors for herself. Her fears were only too well founded; she received letters from the army; she learned of the end of the siege, but learned also that the Prince of Navarre had been killed on the last day. She lost both awareness and reason; for several days she was deprived of both. This extreme of misery seemed to her, at moments, a kind of con¬ solation. She feared no longer for her repose, nor for her reputation, nor for her life; death alone seemed desirable; she hoped it would come of her sorrow, otherwise she was resolved to seek it out herself. A remnant of shame obliged her to say that she felt terrible pains, as a pretext for her cries and tears. If a thousand adversities made her turn upon herself, she saw that she had deserved them, and both nature and Christianity prevented her from becoming her own murderer, suspending the execu¬ tion of her plan. She had not been long in this violent distress when the Count of Tende arrived. She thought she recognized in him all the feelings her unfortunate state might in¬ spire; but the arrival of her husband gave her yet another worry, and a new embar¬ rassment. He learned upon arrival that she was ill and, as he had always maintained honest usages in the eyes of the public and of his household, he went first to her bed¬ room. He found her beside herself, like one gone mad. She could not hold back her tears, which she attributed still to the pains that tormented her. The Count of Tende, touched by the state in which he saw her, softened, and thinking it would distract her from her pain, told her of the Prince of Navarre’s death and his wife’s grief. That of Madame de Tende could not withstand this conversation; her tears redoubled, so that the Count of Tende was surprised and nearly disabused; he left the chamber full of anxiety and distress; it seemed to him that his wife was not in a state brought on by physical pain; this redoubling of tears when he had spoken to her of the death of the

1. The possibility of predicting the future was a subject of heated debate. Evil omens in particular are also a preoc¬ cupation in The Princess ofCleves.

2. Probably the month-long siege of Rouen in 1562, one of the first conflicts of the wars of religion in France.

Marie-Madeleine Pioche de la Vergne, Comtesse de Lafayette

267

Prince of Navarre struck him, and suddenly the incident in which he had discovered him on his knees by her bed came to his mind. He also remembered her behavior to¬ ward himself when he had wished to return to her, and finally he thought he saw the truth; but nevertheless that doubt remained with him which self-love always leaves us regarding things it would cost us too much to know. His despair was extreme and all his thoughts were violent; but as he was wise he withheld his first impulses, and resolved to leave the next morning at break of day without seeing his wife, leaving it to time to give him more certainty and form a resolution. Plunged as Madame de Tende was in sorrow, she had not failed to notice her own lack of self-control and tfie manner in which her husband had left her room; she sus¬ pected a part of the truth, and, having nothing left but horror of her life, she resolved to lose it in such a way as not to lose her hope for the next. After having considered well what she was about to do, with deathly trembling, consumed with her misfortunes and with repentance for her life, she determined at last to write these words to her husband: “This letter will cost me my life; but I deserve death, and I desire it. I am preg¬ nant. The cause of my misfortune is no longer in this world, nor is the only man who knew of our relations; the public never suspected them. I had resolved to end my life by my own hand, but I offer it to God and to you for the expiation of my crime. I did not want to dishonor myself in the eyes of the world because my reputation concerns you; preserve it for your own sake. I shall announce my state; hide the shame of it, and make me perish when and how you will.” The day began to dawn as she wrote this letter, perhaps more difficult to write than any that has ever been written; she sealed it, went to the window, and when she saw the Count of Tende in the courtyard about to get into his carriage, she sent one of her maids to take it to him, and to tell him that it was nothing urgent, that he should read it at his leisure. The Count of Tende was surprised at this letter; it gave him a sort of presentiment, not of all that he would find in it, but that it was related to what he had thought about the evening before. He got into his carriage alone, full of distress and not even daring to open the letter despite his impatience to read it; finally he read it and learned of his misfortune; what did he not think of after having read it! If he had had witnesses, the violent state he was in would have made them think him bereft of reason or about to lose his life. Jealousy and well-founded suspicions ordinarily pre¬ pare husbands for their misfortunes; they always have some doubts, but they cannot have the certainty that comes from a confession, which exceeds anything we can dis¬ cern for ourselves. The Count of Tende had always found his wife very amiable, although he had not always equally loved her, but she had always seemed to him the most re¬ spectable woman he had ever seen; thus his surprise was not less than his fury, and through both those emotions he still felt, in spite of himself, a sorrow in which ten¬ derness had some part. He stopped at a house along the way where he spent several days, agitated and distressed as one might imagine. At first he thought all that it was natural to think on such an occasion; he thought only of putting his wife to death; but the death of the Prince of Navarre and of La Lande, whom he easily recognized as the confidant, slightly assuaged his fury. He did not doubt that his wife had told the truth in saying that her affair had never been suspected; he judged that the marriage of the Prince of Navarre might have deceived everyone, because he himself had been deceived. After

268

Perspectives: Court Culture and Female Authorship

a proof of guilt so strong as the one before his eyes, this entire ignorance of the public concerning his misfortune was a relief to him; but the circumstances, which had shown him to what point and in what manner he had been deceived, pierced him to the heart, and he breathed only vengeance. He considered nevertheless that, if he had his wife killed, and if it should be observed that she was pregnant, the truth would easily be suspected. As he was the proudest of all men he took the course that best suited his honor, and resolved to let nothing be perceived by the public. With this thought he sent a messenger to the Countess of Tende with this note: “The desire to prevent the scandal of my shame from breaking out overpowers, for the present, my vengeance; I shall see later on what I shall ordain for your unworthy destiny. Conduct yourself as though you had always been as you should have been. ’ The Countess received this note with joy; she thought it her death sentence, and when she saw that her husband consented to her making her pregnancy known, she felt deeply that shame is the most violent of all passions. She found a kind of calm in believing herself assured of death and seeing her reputation safe; she thought no more of anything but preparing herself for death, and as she was a person in whom all feel¬ ings were strong, she embraced virtue and penitence with the same ardor with which she had pursued her passion. Her spirit, moreover, was disillusioned and drowning in affliction; she could see nothing in this life except what seemed more daunting than death itself, so that she saw no other remedy to her misfortunes than the end of her un¬ happy life. She passed some time in this state, appearing more dead than alive. To¬ ward the sixth month of her pregnancy her body succumbed at last, the fever took hold of her, and she was brought to childbed through the violence of her illness. She had the consolation of seeing her child alive and of being assured that he could not live— that she was not giving her husband an illegitimate heir. She herself expired a few days later, and received death with a joy such as no one has ever felt; she charged her confessor to go and deliver to her husband the news of her death, to ask his pardon on her behalf, and to beg him to forget her, as her memory could only be odious to him. The Count of Tende received this news without inhumanity, and even with some feelings of pity—but nevertheless with joy. Although he was young he never wanted to remarry, and he lived to an advanced age.3 i—rs5i—•—

Marie de Rabutin-Chantal, Marquise de Sevigne 1626-1696 Madame de Sevigne never published a word. All she wrote were personal letters, mainly to rel¬ atives. Yet she is often considered the greatest stylist of the French language in its golden age, the reign of Louis XIV. The situation that compelled her to write over 1,500 letters reads like the premise of many novels of the subsequent century (when more women started publishing them). She survived a disastrous marriage and entered widowhood at twenty-five, when the Marquis de Sevigne was killed in a duel over his mistress, leaving his family facing financial ruin. She never married again. Beautiful as she was witty and noble, she was offered the greatest matches in France. Wealthy widows, however, were the only women who could enjoy

3. The historical Honorat de Savoie was executed by poisoning on 8 September 1572 at the age of 34 for his refusal to par¬ ticipate in the St. Bartholomew’s Day massacre of French Protestants. Here he is made to linger on in a long and lonely life after the end of the story, much like the Princess of Cleves.

Marie de Rabutin-Chantal, Marquise de Sevigne

269

anything like real independence in her world, and she declined all offers of marriage. When her beloved daughter became Madame de Grignan and followed her husband to his provincial estate, Madame de Sevigne maintained contact mainly through letters. She regaled her effec¬ tively exiled daughter with all the gossip from court, source of all news worthy of the name. Her daughter was her primary, but not her only correspondent; these included many prominent contemporaries, principally the Marquis de Coulanges and the Comte de Bussy-Rabutin, her cousins and famous fellow wits, as well as her dear friend Madame de Lafayette, a relation by marriage. Sometimes she retired to her own country estate to save money; the displays of wealth required for life at the court of the Sun King were so prohibitive that even the greatest noblemen were often penniless. In fact she was seldom present at court in person, yet she brought it vividly to life for her correspondents, as she does for readers to this day. Pronunciations :

Comte de Bussy-Rabutin: komt duh BEUS-see rah-beu-TANH Marquis de Coulanges: mahr-KEE duh koo-LAHNZH Madame de Grignan: mah-DAHM duh gree-NYahnh Langlade: lahn-GLAHD La Valliere: lah val-YAiR de Montpensier: duh mohnh-pohnh-SYAY de Rohan: duh roh-ONH Marquise de Sevigne: marh-KEEZ duh say-vee-NYAY

from Selected Letters1

To Coulanges [Paris, Monday 15 December 1670]

What I am about to communicate to you is the most astonishing thing, the most sur¬ prising, the most marvellous, the most miraculous, most triumphant, most baffling, most unheard of, most singular, most extraordinary, most unbelievable, most unfore¬ seen, biggest, tiniest, rarest, commonest, the most talked about, the most secret up to this day, the most brilliant, the most enviable, in fact a thing of which only one exam¬ ple can be found in past ages, and, moreover, that example is a false one; a thing no¬ body can believe in Paris (how could anyone believe it in Lyons?), a thing that makes everybody cry “mercy on us,” a thing that fills Mme de Rohan and Mme de Hauterive with joy, in short a thing that will be done on Sunday and those who see it will think they are seeing visions—a thing that will be done on Sunday and perhaps not done by Monday. I can’t make up my mind to say it. Guess, I give you three tries. You give up? Very well, I shall have to tell you. M. de Lauzun2 is marrying on Sunday, in the Louvre3—guess who? I give you four guesses, ten, a hundred. Mme de Coulanges will be saying: That’s not so very hard to guess, it’s Mile de La Valliere. Not at all, Madame. Mile de Retz, then? Not at all, you’re very provincial. Of course, how silly we are, you say: It’s Mile Colbert. You’re still further away. Then it must be Mile de Crequy? You’re nowhere near. I shall have to tell you in the end: he is marrying, on

1. Translated by Leonard Tancock. 2. The Due de Lauzun (1633-1723), a dashing soldier and nobleman in high favor at court at the time.

3. The Louvre in Paris was Louis XIV’s official residence until 1682.

ga—>—

Jonathan Swift 1667-1745 “The Lady’s Dressing Room” is the earliest of the scatological poems for which Swift is distin¬ guished, although it recalls previous descriptions of female bodies in his novel Gulliver's Trav¬ els (page 349). In it he takes up the same popular theme that Pope explores in The Rape of the Lock (page 524)—the mysterious operation of dressing, by which, with the aid of “puffs, pow¬ ders, and patches,” imperfect bodies of flesh and blood were transformed into dazzling objects of desire. But Swift takes us from Pope’s airy realm, where the battle of the sexes is fought by sylphs and gnomes, back to the physical world where the divinest pleasures of love remain al¬ ways disturbingly close to less romanticized bodily functions. Swift’s obscenity shocked many contemporaries and later readers, but it is not so different from such verses of the libertine poet Rochester’s as, “Fair nasty nymph, be clean and kind / And all my joys restore / By using paper

6. Richard Lower (1631-1691), an early English anatomist and experimental physiologist.

Jonathan Swift

289

still behind / And sponges for before.” The discoveries of Swift’s Strephon in Celia’s chamber pot come as a shock only to one who buys into representations of upper-class women not as mortal human subjects, but as fantastic creatures somewhere between goddesses and dolls. For more on Swift, see his principal listing, page 346.

The Lady’s Dressing Room

5

to

15

20

25

30

35

Five hours (and who can do it less in?) By haughty Celia spent in dressing; The goddess frQm her chamber issues, Arrayed in lace, tjrocade, and tissues: Strephon,1 who found the room was void, And Betty2 otherwise employed, Stole in, and took a strict survey, Of all the litter as it lay: Whereof, to make the matter clear, An inventory follows here. And first, a dirty smock appeared, Beneath the arm-pits well besmeared; Strephon, the rogue, displayed it wide, And turned it round on every side. In such a case few words are best, And Strephon bids us guess the rest, But swears how damnably the men lie, In calling Celia sweet and cleanly. Now listen while he next produces The various combs for various uses, Filled up with dirt so closely fixed, No brush could force a way betwixt; A paste of composition rare, Sweat, dandruff, powder, lead,3 and hair, A forehead cloth with oil upon’t To smooth the wrinkles on her front; Here alum flour4 to stop the steams, Exhaled from sour, unsavory streams; There night-gloves made of Tripsy’s5 hide, Bequeathed by Tripsy when she died; With puppy water,6 beauty’s help, Distilled from Tripsy’s darling whelp. Here gallipots0 and vials placed, Some filled with washes, some with paste; Some with pomatum,0 paints, and slops, And ointments good for scabby chops.0

1. Strephon and Celia are names usually associated with pastoral poetry, and are therefore used mockingly here. 2. A typical maidservant’s name. 3. White lead face paint, used to whiten the skin. 4. Powdered alum used like modern antiperspirant. 5. Celia’s lapdog; no fashionable lady was without such

ointment jars hair ointment lips or cheeks

a pet. 6. A recipe for this cosmetic, made from the innards of a pig or a fat puppy, was given in the “Fop’s Dictionary” in Mundus Muliebris [Womanly Make-up]: Or, the Ladies’ Dressing Room Unlocked (1690), which Swift also used for other terms.

290

40

45

50

55

60

65

70

75

PERSPECTIVES: Court Culture and Female Authorship

Hard0 by a filthy basin stands, Fouled with the scouring of her hands; The basin takes whatever comes, The scrapings of her teeth and gums, A nasty compound of all hues, For here she spits, and here she spews. But oh! it turned poor Strephon’s bowels, When he beheld and smelt the towels; Begummed, bemattered, and beslimed; With dirt, and sweat, and ear-wax grimed. No object Strephon’s eye escapes, Here, petticoats in frowzy0 heaps; Nor be the handkerchiefs forgot, All varnished o’er with snuff7 and snot. The stockings why should I expose. Stained with the moisture of her toes; Or greasy coifs and pinners0 reeking, Which Celia slept at least a week in? A pair of tweezers next he found To pluck her brows in arches round, Or hairs that sink the forehead low, Or on her chin like bristles grow.

close

unkempt

night caps

The virtues we must not let pass Of Celia’s magnifying glass; When frighted Strephon cast his eye on’t, It showed the visage of a giant:8 A glass that can to sight disclose The smallest worm in Celia’s nose, And faithfully direct her nail To squeeze it out from head to tail; For catch it nicely by the head. It must come out alive or dead. Why, Strephon, will you tell the rest? And must you needs describe the chest? That careless wench! no creature warn her To move it out from yonder corner, But leave it standing full in sight, For you to exercise your spite! In vain the workman showed his wit With rings and hinges counterfeit To make it seem in this disguise A cabinet to vulgar eyes;

7. Powdered tobacco, sniffed by fashionable men and women alike. 8. Cf. Gulliver’s Travels, Part 2, “A Voyage to Brobdingnag,” ch. 1: “This made me reflect upon the fair skins of our English ladies, who appear so beautiful to us, only

because they are of our own size, and their defects not to be seen but through magnifying glass, where we find by experiment that the smoothest and whitest skins look rough and coarse, and ill colored.”

Jonathan Swift

80

85

90

95

ioo

105

110

ns

120

291

Which Strephon ventured to look in, Resolved to go through thick and thin; He lifts the lid: there need no more, He smelt it all the time before. As, from within Pandora’s box, When Epimethus oped the locks, A sudden universal crew Of human evils upward flew;9 He still was comforted to find That hope at last remained behind. So, Strephon, lifting up the lid To view what in the chest was hid, The vapors flew from out the vent, But Strephon cautious never meant The bottom of the pan to grope, And foul his hands in search of hope. O! ne’er may such a vile machine0 Be once in Celia’s chamber seen! O! may she better learn to keep “Those secrets of the hoary deep.”1 As mutton cutlets, prime of meat, Which though with art you salt and beat As laws of cookery require, And roast them at the clearest fire; If from adown the hopeful chops The fat upon a cinder drops, To stinking smoke it turns the flame Poisoning the flesh from whence it came; And up exhales a greasy stench For which you curse the careless wench: So things which must not be expressed, When plumped0 into the reeking chest, Send up an excremental smell To taint the parts from which they fell: The petticoats and gown perfume, And waft a stink round every room.

construction

dropped

Thus finishing his grand survey, The swain disgusted slunk away, Repeating in his amorous fits, “Oh! Celia, Celia, Celia shits!” But Vengeance, goddess never sleeping, Soon punished Strephon for his peeping.

9. In Greek mythology, Epimetheus, acting against advice, opened the box Jove had given his wife Pandora, and all the evils and vices of the world flew out, leaving

only hope in the box. 1. Quoting Milton’s Paradise Lost 2.891, in which Sin is unleashing the chaotic forces of her infernal realm.

292

125

no

135

ho

Perspectives: Court Culture and Female Authorship His foul imagination links Each dame he sees with all her stinks: And if unsavory odors fly, Conceives a lady standing by: All women his description fits, And both ideas jump0 like wits By vicious fancy coupled fast, And still appearing in contrast.

join together

I pity wretched Strephon, blind To all the charms of womankind; Should I the queen of love refuse, Because she rose from stinking ooze?2 To him that looks behind the scene, Statira’s but some pocky quean.3 When Celia in her glory shows, If Strephon would but stop his nose, Who now so impiously blasphemes Her ointments, daubs, and paints and creams; Her washes, slops, and every clout,4 With which she makes so foul a rout;5 He soon would learn to think like me, And bless his ravished eyes to see Such order from confusion sprung, Such gaudy tulips raised from dung.

i—iSfrSa—*—►

Lady Mary Wortley Montagu 1689-1762 Lampooned by Pope for wearing “diamonds with her dirty smock” in his “Epistle II: To a Lady,” Lady Mary Wortley Montagu was perhaps particularly sensitive to Swift’s unkind reflections on feminine hygiene. In any case, she was not one to let her fellow poets’ many satires against women pass in silence without matching wits with them. Her riposte to Swift’s “The Lady’s Dressing Room” doesn’t hesitate to identify, with great comic effect. Dean Swift’s well-known lack of ease with women as the source of his unflattering verses. (For more on Lady Mary Wortley Montagu, see the more extensive introduction to her Ottoman writings, page 172.)

The Reasons that Induced Dr. S. to write a Poem called The Lady’s Dressing Room1 The Doctor in a clean starched band, His golden snuff box in his hand.

2. Venus, Roman goddess of sexual love and physical beauty, rose from the sea. 3. One of the heroines of Nathaniel Lee’s highly popular tragedy The Rival Queens (1677); Swift’s common slat¬ tern (quean) has had either smallpox or venereal disease. 4. Washes were either treated water used for the complexion

or stale urine used as a detergent; clouts were rags. 5. Both of her skin and, presumably, of the men. 1. For Jonathan Swift’s poem, see page 289. In her ri¬ poste, Montagu mimics Swift’s iambic tetrameter and other mannerisms.

Lady Mary Wortley Montagu

5

to

15

20

25

30

35

40

45

With care his diamond ring displays And artful shows its various rays, While grave he stalks down-street His dearest Betty-to meet.2 Long had he waited for this hour, Nor gained admittance to the bower, Had joked and punned, and swore and writ, Tried all his gallantry and wit,3 Had told her oft what part he bore In Oxford’s schemes in days of yore,4 But bawdy,0 politics, nor satire Could move this dull hard hearted creature. Jenny her maid could taste0 a rhyme And, grieved to see him lose his time, Had kindly whispered in his ear, “For twice two pound you enter here; My lady vows without that sum It is in vain you write or come.” The destined offering now he brought, And in a paradise of thought, With a low bow approached the dame, Who smiling heard him preach his flame. His gold she takes (such proofs as rhese Convince most unbelieving shes) And in her trunk rose up to lock it (Too wise to trust it in her pocket) And then, returned with blushing grace, Expects the doctor’s warm embrace. But now this is the proper place Where morals stare me in the face, And for the sake of fine expression I’m forced to make a small digression. Alas for wretched humankind, With learning mad, with wisdom blind! The ox thinks he’s for saddle fit (As long ago friend Horace writ5) And men their talents still mistaking, The stutterer fancies his is speaking. With admiration oft we see Hard features heightened by toupee, The beau affects0 the politician, Wit is the citizen’s ambition, Poor Pope philosophy displays on

2. In Swift’s poem, Betty is the maid’s name, Celia, the mistress’s. 3. Montagu echoes Swift’s poem Cadenus and Vanessa, where the clumsy lover "Had sighed and languished, vowed, and writ, / For pastime, or to show his wit”

293

obscenity

enjoy

pretends to be

(lines 542-543). 4. Swift had collaborated closely in the political schemes of Robert Harley, first Earl of Oxford (1661-1724). 5. “The ox desires the saddle” (Horace, Epistles 1.14.43).

*-4t- 294

50

55

60

65

70

75

80

85

PERSPECTIVES: Court Culture and Female Authorship

With so much rhyme and little reason, And though he argues ne’er so long That all is right, his head is wrong.6 None strive to know their proper merit But strain for wisdom, beauty, spirit, And lose the praise that is their due While they’ve th’ impossible in view. So have I seen the injudicious heir To add one window the whole house impair. Instinct the hound does better teach, Who never undertook to preach; The frighted hare from dogs does run But not attempts to bear a gun. Here many noble thoughts occur But I prolixity abhor, And will pursue th’ instructive tale To show the wise in some things fail. The reverend lover with surprise Peeps in her bubbies, and her eyes, And kisses both, and tries—and tries. The evening in this hellish play, Beside his guineas thrown away. Provoked the priest to that degree He swore, “The fault is not in me. Your damned close stool0 so near my nose, Your dirty smock, and stinking toes Would make a Hercules as tame As any beau that you can name.” The nymph grown furious roared, “By God The blame lies all in sixty odd,”7 And scornful pointing to the door Cried, “Fumbler, see my face no more.” “With all my heart I’ll go away, But nothing done, I’ll nothing pay. Give back the money.” “How,” cried she, “Would you palm such a cheat on me! For poor four pound to roar and bellow— Why sure you want some new Prunella?”8 “I’ll be revenged, you saucy quean”0 (Replies the disappointed Dean) “I’ll so describe your dressing room The very Irish shall not come.” She answered short, “I’m glad you’ll write. You’ll furnish paper when I shite.”9

6. Montagu ridicules Pope’s conclusion to An Essay on Man: “Whatever is, is right.” See page 521. 7. I.e., Swift’s impotence derives not from her odors but from his age (65 at the time the poem was written). 8. “Prunella” is both a fabric used in clergy vestments

chamberpot

whore

(Swift was a clergyman), and the name of the promiscu¬ ous, low-bom heroine in Richard Estcourt’s comic inter¬ lude Prunella (1708). 9. Compare line 118 of Swift’s poem, page 291.

Ann Yearsley

295

Mary Wollstonecraft

598

Perspectives: Liberty and Libertines

Be just then, O ye men of understanding! and mark not more severely what women do amiss, than the vicious tricks of the horse or the ass for whom ye provide provender—and allow her the privileges of ignorance, to whom ye deny the rights of reason, or ye will be worse than Egyptian task-masters, expecting virtue where nature has not given understanding!

«-EgfrSl-►—

Anna Letitia Barbauld 1743-1825 Anna Letitia Barbauld was an influential professional woman of letters who believed women should not be educated for literature or professions. She herself received an education rarely available to women. Her father, a tutor in literature at prestigious Warrington Academy for Dis¬ senters, near Liverpool, taught her Greek, Latin, French, and Italian. Two other Warrington tu¬ tors, her brother John Aikin (physician, author, editor) and Joseph Priestley (discoverer of oxy¬ gen, founder of modern Unitarianism) encouraged her to publish her poetry; her first volume (1773) ran through five editions over four years. At the advanced age of thirty-one she married Warrington graduate Rochemont Barbauld, opening a boys’ school with him. She refused an invitation to open a girls’ school, arguing that women should be only “good wives or agreeable companions.” Her husband’s increasing mental instability forced them to sell their school in 1785. By 1808 he became so violent toward her that he had to be restrained, but escaping his keepers, he drowned himself. Always prolific, Anna published more than ever. Her magisterial fifty-volume British Novel¬ ists (1810) established the canon of the English novel and the literary seriousness of the genre. She

wrote “The Rights of Woman” in 1795 in reaction to Wollstonecraft’s Vindication of the Rights of Woman (see page 592), which had criticized her for her Rousseau-inspired verses instructing women: “Your best, your sweetest empire is—to please.” Barbauld and Wollstonecraft agreed that women should be housewives and mothers, and that to fill those roles effectively they must be educated as “rational beings,” but Barbauld thought it fmitless to “provoke a war with the other sex.” That war, however, was already underway: one of her most important poems, “Eighteen Hundred and Eleven” (1812), criticizing British imperialism, was reviewed so harshly as the trivial “intervention of a lady-author” into political concerns that she never published another word in her long lifetime. (A further selection of Barbauld’s poems can be found in Volume E.)

The Rights of Woman Yes, injured Woman! rise, assert thy right! Woman! too long degraded, scorned, opprest; O born to rule in partial0 Law’s despite, Resume thy native empire o’er the breast! 5

10

one-sided

Go forth arrayed in panoply0 divine; That angel pureness which admits no stain; Go, bid proud Man his boasted rule resign, And kiss the golden sceptre of thy reign. Go, gird thyself with grace; collect thy store Of bright artillery glancing from afar; Soft melting tones thy thundering cannon’s roar, Blushes and fears thy magazine0 of war.

storehouse

Immanuel Kant

15

20

Thy rights are empire: urge no meaner0 claim,— Felt, not defined, and if debated, lost; Like sacred mysteries, which withheld from fame, Shunning discussion, are revered the most.

599

lower

Try all that wit and art suggest to bend Of thy imperial foe the stubborn knee; Make treacherous Man thy subject, not thy friend: Thou mayst command, but never canst be free. Awe the licentious, and restrain the rude; Soften the sullen, clear the cloudy brow: Be, more than princes’ gifts, thy favours sued;— She hazards all, who will the least allow.

25

30

But hope not, courted idol of mankind, On this proud eminence secure to stay; Subduing and subdued, thou soon shalt find Thy coldness soften, and thy pride give way. Then, then, abandon each ambitious thought, Conquest or rule thy heart shall feebly move, In Nature’s school, by her soft maxims taught, That separate rights are lost in mutual love.

•

'

•

1 V

I1SV

'

'

iuj\

v

... ••& 6

y- p.:

*' &is\ Avy'V^ •>’ i «! v'Ut-i\ini>\ f;

•.' • r ■, ■

,•• •

€'.•

;[guoO >;>m

it'. ■ .kH\. W» > >h *

!n J xniili!1/■".{tveiU-.v.-V:-:. Ay '■ , ■ itr Ah i sq :» vtQtiisb rjteri :$WJ ai ->

to. Mqu

ff

’f 8

V Vr- :>n, iwUstti

.

BIBLIOGRAPHY The Seventeenth and Eighteenth Centuries General Background • Linda Colley, Britons: Forging the Nation, 1707-1837, 1992. • Christine Guth, Art of Edo_ Japan: The Artist and the City, 1615-1868, 1996. ‘ John Whit¬ ney Hall, ed. The Cambridge 'History of Japan. Vol. 4, Early Modern Japan, 1988. • Julie C. Hayes, Reading the French Enlightenment: System and Subversion, 1999. • Donald Keene, World Within Walls: Japanese Litera¬ ture of the Pre-Modern Era, 1600-1868, 1976. • Chie Nakane and Shinzaburo Oishi, eds. Tokugawa Japan: The Social and Economic Antecedents of Modern Japan, 1991. • Matsunosuke Nishiyama, Edo Culture: Daily Life and Diversions in Urban Japan, 1600-1868, 1997. • Felicity Nussbaum and Laura Brown, eds., The New Eighteenth Cen¬ tury, 1987. • James Sambrook, The Eighteenth Century: The Intellectual and Cultural Context of English Literature, 1700-1789, 1986. • Conrad Totman, Early Modern Japan, 1993. • Steven N. Zwicker, The Cambridge Compan¬ ion to English Literature, 1650-1740, 1998. The World the Mughals Made • Muzaffar Alam, “The Culture and Politics of Persian in PreColonial Hindustan,” in Literary Cultures in His¬ tory: Reconstructions from South Asia, ed. Sheldon Pollock, 2003. • Muzaffar Alam and Sanjay Subrahmanyam, eds. The Mughal State 1526-1750, 1998. • Shamsur Rahman Faruqi, “A Long His¬

Chikamatsu Mon’zaemon • Barbara Curtis Adachi, Backstage at Bunraku: A Behind the Scenes Look at Japan's Traditional Puppet Theater, 1985. • Barbara Cuitis Adachi, The Voices and Hands of Bunraku, 1978. • C. U. Dunn, The Early Japanese Puppet Drama, 1966. • C. Andrew Gerstle, trans. Chikamatsu: Five Late Plays, 2001. • C. Andrew Gerstle, Circles of Fantasy: Convention in the Plays of Chikamatsu, 1986. • C. Andrew Gerstle, “Hero as Murderer in Chikamatsu,” Monumenta Nipponica, vol. 51, 1996, 317-356. • C. Andrew Gerstle, “Heroic Honor: Chikamatsu and the Samurai Ideal,” Harvard Journal of Asiatic Studies, vol. 57, 1997, 307-382. • Donald Keene, Bunraku: The Art of the Japanese Pup¬ pet Theatre, 1965. • Donald Keene, trans. Four Major Plays of Chikamatsu, 1969. • Donald Keene, trans. Major Plays of Chikamatsu, 1961. • Adolphe Clarence Scott, The Puppet Theater of Japan, 1963. • Donald H. Shively, trans. The Love Suicides at Amijima, 1953. Cao Xueqin and Shen Fu • Cao Xueqin, The Story of the Stone: A Chinese Novel in Five Volumes, trans. David Hawkes, 1973-1986. • Louise P. Edwards, Men and Women in Qing China: Gen¬ der in the Red Chamber Dream, 1994. • Martin Huang, Desire and Fictional Narrative in Late Imperial China, 2001. • Martin Huang, Literati and Self-Re/Presentation: Autobiographical

Development of a Transregional Idiom,” in Literary Cultures, ed. Pollock, 2003. • C. M. Naim, Zikr-i Mir: The Autobiography of the Eighteenth-century Mughal Poet, 1999. ‘Francis

Sensibility in the Eighteenth-Century Chinese Novel, 1995. • Jeanne Knoerle, The Dream of the Red Chamber: A Critical Study, 1972. • Dore Jesse Levy, Ideal and Actual in the Story of the Stone, 1999. • Florence and Isabel McHugh, trans. The Dream of the Red Cham¬ ber, 1958. • Lucien Miller, Masks of Fiction in Dream of the Red Chamber: Myth, Mimesis and Persona, 1975. • Andrew H. Plaks, Archetype and Allegory in the Dream of the Red Chamber,

W. Pritchett, “A Long History of Urdu Literary Culture—Part 2: Histories, Performances, and

1976. • Shen Fu, Six Records of a Floating Life, trans. Leonard Pratt and Chiang Su-hui, 1983.

Masters,” in Literary Cultures, ed. Pollock, 2003. • Ralph Russell and Khurshidul Islam, Three

• C. C. Wang, trans. Dream of the Red Cham¬ ber, 1958. • Jing Wang, The Story of Stone: Intertextuality, Ancient Chinese Stone Lore, and the Stone Symbolism in Dream of the Red Chamber, Water Margin, and The Journey to

tory of Urdu Literary Culture—Part 1: Naming and Placing a Literary Culture,” in Literary Cul¬ tures, ed. Pollock, 2003. • Mukund Lath, Haifa Tale: A Study in the Interrelationship Between Autobiography and History, 1981. • Stuart McGregor, “The Progress of Hindi—Part 1: The

Mughal Poets: Mir, Sauda, Mir Hasan, 1968. • Wheeler M. Thackston, The Babumama: Mem¬ oirs of Babur, Prince and Emperor, 1996. • Wheeler M. Thackston, The Jahangimama: Memoirs of Jahangir, Emperor of India, 1999.

the West, 1992. • Chi Xiao, The Chinese Gar¬ den as Lyric Enclave: A Generic Study of “The

607

608

Bibliography

Story of the Stone, ” 2001. • Xianyi and Gladys Yang, trans. A Dream of Red Mansions, 1999. • Anthony C. Yu. Rereading the Stone: Desire and the Making of Fiction in “Dream of the Red

French and English Novel, 1990. • James Sambrook, The Eighteenth Century: The Intel¬ lectual and Cultural Context of English Litera¬ ture, 1700-1789, 1986. • Londa Schiebinger,

Chamber, ” 2001.

Nature’s Body: Gender in the Making of Mod¬ em Science, 1993. • Stuart Sherman, Telling Time: Clocks, Diaries, and English Diurnal Form, 1660-1785, 1996. • Julia Simon, Mass

The Ottoman Empire • M. S. Anderson, The Eastern Question, 1966. • F. E. Bailey, British Policy and the Turkish Reform Movement, 1942. • D. C. Blaisdell, European Financial Control in the Ottoman Empire, 1929. • Ferdinand Braudel, The Mediterranean and the Mediterranean World in the Age of Philip II, 1976. • S. N. Fisher, The Foreign Relations of Turkey: 1481-1512, 1948. • H. A. R. Gibb and H. Bowen, Islamic Society and the West: Islamic Society in the Eighteenth Century, Parts I and II, 1950, 1957. • P. M. Holt, Egypt and the Fertile Crescent, 1516-1922, 1966. • A. H. Lybyer, The Government of the Ottoman Empire in the Time of Suleiman the Magnifi¬ cent, 1915. • S. Runciman, The Fall of Con¬ stantinople 1453, 1965. • K. M. Setton et al., A History of the Crusades, 2 vols., 1955, 1962. • D. M. Vaughan, Europe and the Turk: A Pat¬ tern of Alliance 1350-1700, 1954. • P. Wittek, The Rise of the Ottoman Empire, 1938. The Age of the Enlightenment • John Bender, Imagining the Penitentiary: Fiction and the Architecture of Mind in Eighteenth-Century England, 1987. • Linda Colley, Britons: Forg¬ ing the Nation, 1707-1837, 1992. • Robert Darnton, George Washington’s False Teeth: An Unconventional Guide to the Eighteenth Century, 2003. • Joan DeJean, Ancients Against Moderns: Culture Wars and the Mak¬ ing of a Fin de Siecle, 1997. • Catherine Gal¬ lagher, Nobody's Story: The Vanishing Acts of Women Writers in the Marketplace, 1670-1820, 1994. • Julie C. Hayes, Reading the French Enlightenment: System and Sub¬ version, 1999. • David Marshall, The Surpris¬ ing Effects of Sympathy: Marivaux, Diderot, Rousseau, and Mary Shelley, 1988. • Michael McKeon, The Origins of the English Novel, 1600-1740, 1987. • Nancy K. Miller, The

Enlightenment: Critical Studies in Rousseau and Diderot, 1995. • Aram Vartanian, Science and Humanism in the French Enlightenment, 1999. • Anne C. Vila, Enlightenment and Pathology: Sensibility in the Literature and Medicine of Eighteenth-Century France, 1998. • Ian Watt, The Rise of the Novel: Studies in Defoe, Richardson, and Fielding, 1957. • Steven N. Zwicker, The Cambridge Compan¬ ion to English Literature, 1650-1740, 1998. Perspectives: Court Culture and Female Au¬ thorship • April Alliston, Virtue’s Faults: Correspondences in Eighteenth-Century British and French Women’s Fiction, 1996. • Carol Barash, English Women’s Poetry, 1649-1714: Politics, Community, and Lin¬ guistic Authority, 1996. • Joan DeJean, Tender Geographies: Women and the Origins of the Novel in France, 1991. • Peter France, Politeness and Its Discontents: Problems in French Classical Culture, 1992. • Elizabeth C. Goldsmith, Exclusive Conversations: The Art of Interaction in Seventeenth-Century France, 1988. • Elizabeth C. Goldsmith and Dena Goodman, eds., Going Public: Women and Publishing in Early Modem France, 1995. • Floyd Gray, Gender, Rhetoric, and Print Culture in French Renaissance Writing, 2000. • Isobel Grundy and Susan Wiseman, eds. Women, Writing, and History: 1640-1799, 1992. • Nicholas Hammond, Creative Tension: An Introduction to Seven¬ teenth-Century French Literature, 1997. • Michael Moriarty, Taste and Ideology in Sev¬ enteenth-Century France, 1988. • Joan Hinde Stewart, Gynographs: French Novels by Women of the Late Eighteenth Century, 1993. • Harriet Amy Stone, The Classical Model:

Heroine’s Text: Readings in the French and English Novel, 1722-1782, 1980. • Dorothea

Literature and Knowledge in Seventeenth-

E. von Miicke, Virtue and the Veil of Illusion: Generic Innovation and the Pedagogical Pro¬

of Angellica: Women, Writing, and Fiction, 1660-1800, 1989.

ject in Eighteenth-Century Literature, 1991. • Felicity Nussbaum and Laura Brown, eds. The New Eighteenth Century, 1987. • William

Perspectives: Journeys in Search of the Self • Srinivas Aravamudan, Tropicopolitans: Colo¬

Ray, Story and History: Narrative Authority

nialism and Agency, 1688-1804, 1999. • Pamela

and Social Identity in the Eighteenth-Century

Cheek,

Century France, 1996. • Janet Todd, The Sign

Sexual

Antipodes:

Enlightenment,

Bibliography

Globalization and the Placing of Sex, 2003. • Julia V. Douthwaite, Exotic Women: Literary Heroines and Cultural Strategies in Ancien Regime France, 1992. • Richard Drayton, Nature’s Government: Science, Imperial Britain, and the “Improvement” of the World, 2000. • Stephen Greenblatt, Marvelous Posses¬ sions: The Wonder of the New World, 1991. • Richard Grove, Green Imperialism: Colonial Expansion, Tropical Island Edens, and the Ori¬ gins of Environmentalism, 1600-1860, 1995. • Suvir Kaul, Poems of Nation, Anthems of Empire: English Verse in the Long Eighteenth Century, 2000. • Jonathan Lamb, Preserving the Self in the South Seas, 1680-1840, 2001. • Felicity A. Nussbaum, Torrid Zones: Maternity, Sexuality, and Empire in Eighteenth-Century English Narratives, 1995. • Bridget Orr, Empire on the English Stage, 1660-1714, 2001. • Anthony Pagden, European Encounters with the New World: From Renaissance to Romanti¬ cism, 1993. • Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation, 1992. Perspectives: Liberty and Libertines • G. J. Barker-Benfield, The Culture of Sensibility: Sex and Society in Eighteenth-Century Britain, 1992. • Warren Chemaik, Sexual Freedom in Restoration Literature, 1995. • Catherine Cusset. No Tomorrow: The Ethics of Pleasure in the French Enlightenment, 1999. • Claudia Johnson, Equivocal Beings: Politics, Gender, and Sentimentality in the 1790s, 1995. • Robert W. Jones, Gender and the Formation of Taste in Eighteenth-Century Britain: The Analysis of Beauty, 1998. • Vivien Jones, ed., Women and Literature in Britain, 1700-1800, 2000. • Nancy K. Miller, French Dressing: Women, Men, and Ancien Regime Fiction, 1995. • William Stafford, English Feminists and Their Opponents in the 1790s: Unsex’d and Proper Females, 2002. • Harold Weber, The Restoration Rake-Hero: Transformations in Sexual Understanding in SeventeenthCentury England, 1986.

609

Essays and Studies, vol. 51, 1998, 62-77. • Jerome Murch, Mrs. Barbauld and Her Con¬ temporaries: Sketches of Some Eminent Liter¬ ary and Scientific Englishwomen, 1877. • Betsy Rodgers, Georgian Chronicle: Mrs. Barbauld and Her Family, 1958. • Daniel E. White, “The ‘Joineriana’: Anna Barbauld, the Aikin Family Circle, and the Dissenting Public Sphere,” Eighteenth-Century Studies, vol. 32, 1999, 511-533. • Jonathan Wordsworth, The Bright Work Grows: Women Writers of the Romantic Age, 1997. Aphra Behn • April Alliston, “Gender and the Rhetoric of Evidence in Early-Modern Historical Narratives,” Comparative Litera¬ ture Studies, vol. 33, 1996, 233-257. • Ros Ballaster, “New Hystericism: Aphra Behn’s Oroonoko.The Body, the Text and the Femi¬ nist Critic,” in New Feminist Discourses: Critical Essays on Theories and Texts, ed. Isobel Armstrong, 1992. • Brown, Laura, “The Romance of Empire: Oroonoko and the Trade in Slaves,” in The New Eighteenth Century: Theory, Politics, English Literature, ed. Felicity Nussbaum and Laura Brown 1987. (pp. 41-61). • Robert L. Chibka, ‘“Oh! Do Not Fear a Woman’s Invention’: Truth, Falsehood, and Fiction in Aphra Behn’s Oroonoko, ” Texas Studies in Literature and Language, vol. 30, 1988, 510-537. • Maureen Duffy, The Passionate Shepherdess: Aphra Behn, 1640-1689, 1977. • Margaret W. Ferguson, “Juggling the Categories of Race, Class, and Gender,” in Women, “Race, ” and Writing in the Early Modern Pe¬ riod, ed. Margo Hendricks and Patricia Parker, 1994, 209-224. • Angeline Goreau, Reconstructing Aphra: A Social Biography of Aphra Behn, 1980. • David E. Hoegberg, “Caesar’s Toils: Allusion and Rebellion in Oroonoko,” Eighteenth-Century Fiction, vol. 7, 1995, 239-258. • Heidi Hutner, ed., Rereading Aphra Behn: History, Theory, and Criticism, 1993. • Joanna Lipking, “Confus¬ ing Matters: Searching the Backgrounds of

Anna Laetitia Barbauld • Stuart Curran, “Dy¬ namics of Female Friendship in the Later Eighteenth Century,” Nineteenth-Century

Oroonoko,” in Aphra Behn Studies, ed. Janet

Contexts, vol. 23, 2001, 221-29. • William Keach, “A Regency Prophecy and the End of

Backgrounds, Criticism, 1997. • Joseph M. Ortiz, “Arms and the Woman: Narrative Im¬ perialism and Virgilian Memoria in Aphra

Anna Barbauld’s Career,” in Studies in Romanticism, 1994, 569-577. • William Mc¬ Carthy and Elizabeth Kraft, eds., The Poems of Anna Laetitia Barbauld, 1994. • Josephine McDonagh, “Barbauld’s Domestic Economy,”

Todd, 1996. • Joanna Lipking, ed., Oroonoko: An Authoritative Text, Historical

Behn’s Oroonoko, ” Studies in the Novel, vol. 34, 2002, 119-136. • Janet Todd, ed., Works of Aphra Behn. 7 vols., 1992-1996. • Janet Todd, The Secret Life of Aphra Behn, 1997.

610

Bibliography

Evliya £elebi • Robert Dankoff and Robert Elsie, Evliya Qelebi in Albania and Adjacent Re¬ gions, 2000, • Robert Dankoff, The Intimate Life of an Ottoman Statesman, 1991. • Martin Van Bruinessen and Hendrik Boeschoten, Evliya (felebi in Diyarbekir, 1988. :

i

t,

Mary, Lady Chudleigh • Margaret J. M. Ezell, ed. The Poems and Prose of Mary, Lady Chudleigh, 1993. • Ann Messenger, Pastoral Tradition and the Female Talent: Studies in Augustan Poetry, 2001. Denis Diderot • Wilda Anderson, Diderot’s Dream, 1990. • Julie Wegner Arnold, Art Crit¬ icism as Narrative: Diderot’s Salon de 1767, Vol. 13, 1996. • Daniel Brewer, The Discourse of Enlightenment in Eighteenth-Century France: Diderot and the Art of Philosophising, 1993. • Rosalina de la Carrera, Success in Cir¬ cuit Lies: Diderot’s Communicational Prac¬ tice, 1991. • Denis Diderot, Thoughts on the Interpretation of Nature, and Other Philo¬ sophical Works, ed. David Adams, 2000. • Denis Diderot, Selected Writings on Art and Literature, ed. and trans. Geoffrey Bremner, 1994. • Denis Diderot, This Is Not a Story and Other Stories, ed. and trans. P. N. Furbank, 1993. • Denis Diderot, The Indiscreet Jewels, ed. Aram Vartanian, trans. Sophie Hawkes, 1993. • Philip Furbank, Diderot: A Critical Bi¬ ography, 1992. • Charles C. Gillispie, ed. A Diderot Pictorial Encyclopedia of Trades and Industry: Manufacturing and the Technical Arts in Plates Selected from “L'Encyclopedic, ou dictionnaire raisonne des sciences, des arts, et des metiers” of Denis Diderot, 1993. • John Goodman, ed. and trans. Diderot on Art:Selections, 1995. • Stephanie Barbe Ham¬ mer, Satirizing the Satirist: Critical Dynamics in Swift, Diderot, and Jean Paul, 1990. • Julie Candler Hayes, Identity and Ideology: Diderot, Sade and the Serious Genre, 1991. • Erik MacPhail, “Diderot and the Plot of His¬ tory,” New Literary History, vol. 30, 1999, 439-452. • Claudia Moscovici, “An Ethics of Cultural Exchange: Diderot’s Supplement au

Olaudah Equiano • William L. Andrews, To Tell a Free Story: The First Century of AfroAmerican Autobiography, 1986. • Angelo Costanzo, Surprising Narrative: Olaudah Equiano and the Beginnings of Black Autobi¬ ography, 1987. • Olaudah Equiano, The Inter¬ esting Narrative and Other Writings, ed. Vin¬ cent Carretta, 1995. • Henry Louis Gates, ed.. The Classic Slave Narratives, 1987. • Susan M. Marren, “Between Slavery and Freedom: The Transgressive Self in Olaudah Equiano’s Autobiography,” PMLA, 1993. • Geraldine Murphy, “Olaudah Equiano, Accidental Tourist,” in Eighteenth-Century Studies, 1994, 551-568. • Adam Potkay, "Olaudah Equiano and the Art of Spiritual Autobiography,” in Eighteenth-Century Studies, 1994, 677-692. • Gordon M. Sayre, ed., American Captivity nar¬ ratives: Olaudah Equiano, Mary Rowlandson, and Others, 2000. • James Walvin, An African's Life: The Life and Times of Olaudah Equiano, 1745-1797, 1998. Anne Finch, Countess of Winchilsea • Jean M. Ellis D'Alessandro. When in the Shade: Imaginal Equivalents in Anne the Countess of Winchilsea's Poetry, 1989. • Anne Finch, Selected Poems of Anne Finch, Countess of Winchilsea, ed. Katherine M. Rogers, 1979. • Anne Finch. Selected Thompson, 1987. • Handmaid to Divinity: Poetry, and Gender in

Poems, ed. Denys Desiree Hellegers, Natural Philosophy, Seventeenth-Century

England, 2000. • Charles H. Hinnant, The Poetry of Anne Finch: An Essay in Interpreta¬ tion, 1994. • Barbara McGovern. Anne Finch and Her Poetry: A Critical Biography, 1992. • Barbara McGovern and Charles H. Hinnant, eds. The Anne Finch Wellesley Manuscript Poems, 1998. • Ann Messenger, ed. Gender at Work: Four Women Writers of the Eighteenth Century, 1990. • Ann Messenger, Pastoral Tradition and the Female Talent: Studies in Augustan Poetry, 2001. Eliza Haywood • Ros Ballaster, Seductive Forms: Women’s Amatory Fiction from 1684 to 1740, 1992. • Christine Blouch, “Eliza Haywood and

Voyage de Bougainville," Clio, vol. 30, 2001, 289-307. • Bo G. Oranzon, ed. Skill, Technol¬

the Romance of Obscurity,” Studies in English

ogy, and Enlightenment: On Practical Philos¬ ophy, 1994. • James L. Schor, “Caverns and

Literature, vol. 31. 1991, 535-552. • Catherine Craft-Fairchild, Masquerade and Gender:

the Dialogic Structure of Le Supplement au

Disguise and Female Identity in Eighteenth-

voyage de Bougainville, ” in Diderot Studies 1993, 109-118. • Stephen Werner, Blueprint: A Study of Diderot and the “Encyclopedic ” Plates, 1993.

Century Fictions by Women, 1993. • Eliza Haywood, Selections from “The Female Spectator," ed. Gabrielle M. Firmager, 1993. • Eliza Haywood. The Plays of Eliza Haywood,

Bibliography

611

ed. Valerie C. Rudolph, 1983. • Kirsten T.

Matsuo Basho • Dorothy Britton, trans. A Haiku

Saxton and Rebecca P. Bocchicchio, eds. The Passionate Fictions of Eliza Haywood, 2000. • Mary Anne Schofield, Eliza Haywood, 1985. • Eliza Haywood, The Masquerade Novels of Eliza Haywood, ed. Mary Anne Schofield, 1986. • Mary Ann Schofield, Masking and

Journey: Basho’s “Narrow Road to a Far

Unmasking

the

Female

Mind:

Romances in Feminine Fief on,

Disguising 1713-1799,

1990. • Jane Spencer, The Rise of the Woman Novelist: From Aphra Behn to Jane Austen,

1986. • William B. Warner, Licensing Enter¬ tainment: The Elevation of Novel Reading in 1684-1750, 1957. • George Frisbie Whicher, The Life and Romances of Mrs. Eliza Haywood, 1915.

Britain,

Province,” 1980. • Cid Corman and Susumu

Kamaike, trans. Back Roads to Far Towns, 1968. • Koji Kawamoto, The Poetics of Japan¬ ese Verse: Imagery, Structure, Meter, 2000. • Donald Keene, “Basho’s Diaries,” Japan Quarterly, vol. 32, 1985, 374-383. • Donald Keene, “Bashd’s Journey of 1684,” Asia Ma¬ jor, vol. 7, 1959, 131-144. • Donald Keene, trans. The Narrow Road to Oku, 1996. • Helen McCullough, trans. “The Narrow Road of the Interior,” in Classical Japanese Prose: An An¬ thology, ed. Helen McCullough, 1990. • Hiroaki Sato, trans. Bashd’s “Narrow Road”: Spring and Autumn Passages: Two Works,

1996. • Haruo Shirane, Traces of Dreams: Ihara Saikaku • Five Women Who Loved Love, trans. William Theodore de Bary, 1956. • Howard S. Hibbett, The Floating World in Japanese Fiction, 1959. • Ihara Saikaku,

Landscape, Cultural Memory, and the Poetry

Worldly Mental Calculations: An Annotated “Seken

The Master Haiku Poet, 1982. • Nobuyuki Yuasa, trans. Basho: The Narrow

munezan’yo,” trans. Ben Befu, 1976. • Ihara

Road to the Deep North and Other Travel

Saikaku, Tales of Samurai Honor, trans. Caryl Ann Callahan, 1981. • Ihara Saikaku, The Life of an Amorous Man, trans. Kengi Hamada, 1964. • Ihara Saikaku, The Life of an Amorous Woman, trans. Ivan Morris,

Sketches, 1968.

Translation

of

Ihara

Saikaku’s

1963. • Ihara Saikaku, Some Final Words of 1980. • Ihara Saikaku, The Japanese Family Storehouse or the Millionaire’s Gospel Modernized, trans. G. W. Sargent, 1959. • Ihara Saikaku, The Great Mirror of Male Love, trans. Paul Gordon Schalow, 1990.

Advice, trans. Peter Nosco,

of Basho, 1997. • Makoto Ueda, trans. Basho and His Interpreters: Selected Hokku with Commentary, 1992. • Makoto Ueda, Matsuo Basho:

Marie-Madeleine Pioche de la Vergne, Comtesse de Lafayette • Ruth Carver Capasso, “The Letter in Lafayette’s ‘La Comtesse de Tende,’” Romance Notes, vol. 38, 1997, 111-118. • Anne Green, Privileged Anonymity:

The

Writings

of Madame

de

Lafayette, 1996. • Stirling Haig, Madame de Lafayette, 1970. • Carleen S. Leggett, “The

Woman in Love in Lafayette, Villedieu, Segrais, and Saint-Real,” Journal of the Asso¬ ciation for the Interdisciplinary Study of the

Immanuel

Kant

•

William

James

Booth,

Interpreting the World: Kant’s Philosophy of

Arts, vol. 1, 1995, 83-91. • Marie-Madeleine Pioche de la Vergne, Comtesse de Lafayette,

History and Politics, 1986. • Arsenij Gulyga,

The Princesse de Cleves; The Princesse de

Immanuel Kant: His Life and Thought, 1987. •

Montpensier; The Comtesse de Tende, ed. and

Immanuel Kant, On History, ed. and trans. Lewis White Beck, trans. Robert E. Anchor and

trans. Terence Cave, 1992. • Marie-Madeleine Pioche de la Vergne, Comtesse de Lafayette, The Princess of Cleves, ed. and trans. John D.

Emil L. Fackenheim, 1963. • Immanuel Kant, Political Writings, ed. Hans Reiss, trans. H. B. Nisbet, 1991. • Manfred Kuehn, Kant: A Biog¬ raphy, 2002. • Peter Lassman, “Enlightenment,

Lyons, 1994.

pean Legacy, vol. 5, 2000, 815-828. • Susan

Jean Baptiste Poquelin (Moliere) • David Bradby and Andrew Calder, The Cambridge Companion to Moliere, 2006. • Thomas P. Finn, “Dueling Capitalism in Moliere: Corner¬

Neiman, The Unity of Reason: Rereading Kant, 1994. • Arthur Strum, “What Enlightenment

ing the Corner Markets,” Papers on French Seventeenth Centiuy Literature 29 (2002):

Cultural Crisis, and Politics: The Role of Intel¬ lectuals from Kant to Habermas,” The Euro¬

Is(*),” New German Critique, vol. 79, 2000,

23-32. • J. F. Gaines, Social Structures in

106-136. • Ralph C. S. Walker, Kant, 1978. • Yirmiahu Yovel, Kant and the Philosophy of

Moliere’s Theater, 1984. • Lionel Gossman,

History, 1980.

N. Gross, From Gesture to Idea: Esthetics and

Men and Masks: A Study of Moliere, 1963. •

Bibliography

612

Ethics in Moliere’s Comedy, 1982. • Jacques

Guicharnaud, ed. Moliere: A Collection of Critical Essays, 1964. • W. D. Howarth, Moliere: A Playwright and His Audience,

1984. • Harold C. Knutson, The Triumph of Wit, 1988. • L. F. Norman, The Public Mirror: Moliere and the Social Commerce of Depic¬ tion,

1999.

• Moliere,

The

Misanthrope,

Tartuffe, and Other Plays, trans. Maya Slater,

2001. • Martin Turned, The Classical Mo¬ ment:

Studies

of Corneille,

Moliere,

and

Racine, 1975. • H. Walker, Moliere, 1990.

Elisabeth Charlotte Von Der Pfalz, Duchesse d’Orleans • W. S. Brooks and P. J. Yarrow, The

Dramatic

of

Elizabeth

notated Chronology of Performances of the Popular

and

Court

Theatres

in

France

1671-1722, Reconstructed from Her Letters,

1996.

• Harold Donaldson Eberlein,

Rabelaisian France,

Princess:

Madame

The

Royale

of

1931. • Elborg Forster, trans. A

Woman’s Life in the Court of the Sun King: Letters of Liselotte von der Pfalz, 1652-1722, Elisabeth

Lady Mary Wortley Montagu • Elizabeth A. Bohls, “Aesthetics and Orientalism in Lady Mary Wortley Montagu’s Letters,” Studies in Eighteenth-Century Culture, vol. 23, 1994,

Criticism

Charlotte, Duchesse d'Orleans: With an An¬

Charlotte,

Duchesse

d’Orleans,

1984. • Maria Kroll, ed. and trans. Letters from Liselotte, Elisabeth Charlotte, Princess Palatine and Duchess of Orleans, “Madame, ” 1652-1722,

1970.

•

Claude

Pasteur,

La

179-205. • Isobel Grundy, Lady Mary Wortley

Princesse Palatine: Une Allemande a la Cour

Montagu, 1999. • Robert Halsband, The Life of

de

Lady Mary Wortley Montagu, 1956. • Donna

Landry, “Alexander Pope, Lady Mary Wortley Montagu, and the Literature of Social Com¬ ment,” in English Literature 1650-1740, ed. Steven N. Zwicker, 1998. • Cynthia Lowenthal. Lady Mary Wortley Montagu and the Eighteenth-Century Familiar Letter, 1994. • Lady Mary Wortley Montagu, Selected Letters

Louis XTV, 2001. • Stevenson, ed. and trans.

Gertrude The

Scott

Letters

of

Madame: The Correspondence of ElizabethCharlotte

of Bavaria,

Princess

Palatine,

Duchess of Orleans, Called “Madame" at the Court of King Louis XTV, 2 vols., 1924—1925.

• Dirk van der Cruysse, Madame Palatine, Princesse Europeenne, 1988.

of Mary Wortley Montagu, ed. Isobel Grundy,

Katherine Philips • Celia A. Easton, “Excusing

1997. • Lady Mary Wortley Montagu, The

the Breach of Nature’s Laws: The Discourse of Denial and Disguise in Katherine Philips’ Friendship Poetry,” Early Women Writers:

Complete Letters of Lady Mary Wortley Mon¬ tagu, ed. Robert Halsband, 3 vols., 1965-1967.

• Lady Mary Wortley Montagu, The Selected Letters of Lady Mary Wortley Montagu, ed.

Robert Halsband, 1970. • Lady Mary Wortley Montagu, Turkish Embassy Letters, eds. Mal¬ colm Jack and Anita Desai, 1993. • Lady Mary Wortley Montagu, Embassy to Constantino¬

1600-1720, ed. Anita Pacheco, 1998. • Elaine Hobby, Virtue of Necessity: English Women’s Writing, 1646-1688, 1988. • Dorothy Mermin,

“Women Becoming Poets: Katherine Philips, Aphra Behn, Anne Finch,” English Literary History, vol. 57, 1990, 335-355. • Fidelis

tagu, eds. Christopher Pick and Dervla Mur¬

Morgan, The Female Wits, 1981. • Katherine Philips, Collected Works of Katherine Philips,

phy,

the “Matchless Orinda, ” eds. Patrick Thomas,

ple: The Travels of Lady Mary Wortley Mon¬

1988. • George Paston, Lady Mary

Wortley Montagu and Her Times, 1907.

Charles de Secondat, Baron de la Brede et de

G. Greer, and R. Little, 3 vols., 1990. • Arlene Stiebel, “Subversive Sexuality: Masking the Erotic in Poems by Katherine Philips and

Montesquieu • Dena Goodman, Criticism in

Aphra Behn,” Renaissance Discourses

Action: Enlightenment Experiments in Politi¬

Desire, eds. Claude J. Summers and Ted Larry

of

cal Writing, 1989. • Norman Hampson, Will

Pebworth, 1993. • Philip Webster Sower, The

and Circumstance: Montesquieu, Rousseau,

Matchless Orinda, 1931.

and the French Revolution, 1983. • Elizabeth

Heckendorn Cook, Epistolary Bodies: Gender

Alexander Pope • Rueben Brower, Alexander

and Genre in the Eighteenth-Century Republic

Pope: The Poetry of Allusion, 1959. • Laura

of Letters, 1996. • Montesquieu, The Persian

Brown, Alexander Pope,

Letters, ed. and trans. J. Robert Loy, 1961. •

Brownell, Alexander Pope and the Arts of

1985.

•

Morris

Diana J. Schaub, Erotic Liberalism: Women

Georgian England, 1978. • Alexander Pope,

and Revolution in Montesquieu’s Persian Let¬

The Poems of Alexander Pope, ed. John Butt,

ters, 1995. • Robert Shackleton, Montesquieu: A Critical Biography, 1961.

Edition of the Poems of Alexander Pope, eds.

1963. • Alexander Pope, The Twickenham

613

Bibliography

John Butt et al., 11 vols., 1940-1969. • Helen Deutsch, Resemblance and Disgrace: Alexander

Pope

and

the

Deformation

of

Culture, 1996. • Margaret Anne Doody, The Daring Muse: Augustan Poetry Reconsidered,

1985. • H. H. Erskine-Hill, The Social Milieu of Alexander Pope, 1978. • David Fairer, ed. Pope: New Contexts, 1990. • David Fairer,

Geneva: From the First Discourse to the Social Contract, 1749-1762, 1997. • Jean-Jacques Rousseau, Discourse on Political Economy and The Social Contract, ed. and trans. Christopher Betts, 1994. • Jean-Jacques Rousseau, The Social Contract; and, The Discourses, eds. J. H. Brumfitt and John C. Hall, trans. G. D. H. Cole, 1993. • Jean-Jacques Rousseau, The Social

Pope’s Imagination, 1984. • David F. Foxon,

Contract;

Pope and the Eighteenth-Century Book Trade,

Discourses, ed. Susan Dunn, 2002. • Jean-

1991.

Jacques Rousseau, The Social Contract and Other Later Political Writings, ed. and trans. Victor Gourevitch, 1997. • Jean Starobinski,

•

Bertrand

A.

Gold gar.

Literary

Criticism of Alexander Pope, 1965. • Dustin

Griffin. Alexander Pope: The Poet in the Poems, 1978. • Brean Hammond, ed. Longman Critical Readers: Pope, 1966. • J. Paul Hunter, “Pope and the Ideology of the Couplet,” Ideas, vol. 4, 1996. • Maynard Mack, Alexander Pope: A Life, 1985. • Maynard Mack, The Garden and the City:

and

The

First

and

Second

Jean-Jacques Rousseau, Transparency and Ob¬ struction, trans. Arthur Goldhammer, 1988.

Madeleine

de

Scudery

•

Mademoiselle de Scudery,

Nicole Aronson, trans. Stuart R.

Pope: The Genius of Sense, 1984. • Marjorie

Aronson, 1978. • Joanne Davis, Mademoiselle de Scudery and the Looking-Glass Self, 1993. • Madeleine de Scudery, Clelie, Histoire Romaine, 10 vols., 1973. • Dorothy McDougall,

Hope Nicolson and G. S. Rousseau, “This

Madeleine de Scudery: Her Romantic Life and

Long Disease, My Life”: Alexander Pope and

Death, 1972. • James S. Munro, Mademoiselle

Retirement and Politics in the Later Poetry of Pope,

1969. • David B. Morris, Alexander

Rumbold, Women's Place in Pope’s World, 1989. • Alexander Pope, The Correspondence of Alexander Pope, ed. George Sherburn, 5 vols., the

Sciences,

1968.

•

Valerie

1956. • George Sherburn, The Early Career of Pope, 1934. • Patricia Meyer Spacks, An Argument of Images; the Poetry of Alexander Pope, 1971. • Joseph Spence, Alexander

de Scudery and the Carte de Tendre, 1986.

Marie de Rabutin-Chantal, Marquise de Sevigne • Harriet Ray Allentuch, Madame de Sevigne: A Portrait in Letters, 1963. • Philip Elwyn Arsenault, The Literary Opinions of Madame de Sevigne, 1959. • Michele Fongino Farrell, Performing Motherhood: The Sevigne

Observations, Anecdotes, and Characters of

Correspondence, 1991. • Violet Hammersley,

Books and Men, ed. James M. Osborn, 2 vols.,

ed.

1966. • Geoffrey Tillotson, On the Poetry of Pope, 1950. • Alexander Pope, The Rape of the Lock, ed. Cynthia Wall, 1998. • Howard Weinbrot, Alexander Pope and the Tradition

Marquise de Sevigne, 1955. • Letters from the

of the Formal Verse Satire, 1982. • Alexander Pope, Poetry and Prose of Alexander Pope, ed.

and trans.

Letters from

Madame

La

Marchioness de Sevigne to Her Daughter the Countess

de

Grignan,

10 vols.,

1927.

•

Frances Mossiker, Madame de Sevigne: A Life and Letters, 1983. • A. Edward Newton, ed. The Letters of Madame de Sevigne, 7 vols.,

1927. • Jeanne A. Ojala and William T. Ojala,

Aubrey Williams, 1969.

Madame de Sevigne: A Seventeenth-Century

Jean-Jacques Rousseau

•

Maurice Cranston,

Life, 1990. • Jo Ann Marie Recker, “Appelle-

Jean-Jacques: The Early Life and Work of

moi Pierrot”: Wit and Irony in the Letters of

Jean-Jacques Rousseau, 1712-1754, 1983. •

Madame

Alessandro

Ferrara,

Modernity

and

de Sevigne, 1986. • Leonard Tancock, trans. Selected Letters, 1982.

Authenticity: A Study in the Social and Ethical Thought of Jean-Jacques Rousseau,

Frederick

Charles

Green,

1993. •

Jean-Jacques

Rousseau: A Critical Study of his Life and Writ¬ ings, 1955. • Arthur Melzer, The Natural Good¬ ness of Man: On the System of Rousseau’s

Jonathan Swift • Frank Boyle, Swift as Nemesis: Modernity and Its Satirist, 2000. • J. A. Downie, Jonathan Swift: Political Writer, 1985. • Irvin Ehrenpreis, Swift: The Man, His Works, and the Age, 3 vols., 1962-1983. •

Society, 1996. • Timothy O’Hagan, Rousseau,

Robert C. Elliott, The Power of Satire: Magic, 1960. • Oliver W. Ferguson. Jonathan Swift and Ireland, 1962. • H. J. Real

1999. • Helena Rosenblatt, Rousseau and

Fischer and J. Wooley, eds. Swift and His

Thought, 1990. • Mira Morgenstem, Rousseau and the Politics of Ambiguity: Self, Culture, and

Ritual, Art,

Bibliography

614

Contexts, 1989. • John Irwin Fischer and Don¬

Optimism Demolished, 1992. • Voltaire, Candide

ald C. Mell Jr., eds. Contemporary Studies of Swift's Poetry, 1980. • Victoria Glendinning, Jonathan Swift: A Portrait, 1999. • Carol Houlihan Flynn, The Body in Swift and Defoe, 1990. • Christopher Fox, ed. Walking

and Other Stories, ed. and trans. Roger Pear¬

Naboth's

Vineyard: New Studies, of Swift,

Tales of Voltaire, trans. William Walton, 1990.

1995. • Nora Crow Jaffe, The Poet Swift, 1977. • David Nokes, Jonathan Swift, A Hyp¬

• D. Williams, Candide, 1997. • Voltaire, Candide and Related Texts, ed. and trans.

ocrite Reversed: A Critical Biography, 1985. •

David Wooton, 2000.

son, 1998. • P. E. Richter and Ilona Ricardo, Voltaire, 1980. • R. S. Ridgway, Voltaire and Sensibility, 1973. • I. O. Wade, Voltaire and “Candide," 1959. • Voltaire, The Complete

Ellen Poliak, The Poetics of Sexual Myth: Gender and Ideology in the Verse of Swift and Pope, 1985. • Martin Price, Swift’s Rhetorical Art: A Study in Structure and Meaning, 1953.

• C. J. Rawson, ed. The Character of Swift’s

John Wilmot, Earl of Rochester • John Adlard, The Debt to Pleasure, 1974. • David FarleyHills, ed., Rochester: The Critical Heritage, 1972. • David Farley-Hills, Rochester’s Po¬

Satire, 1983. • Richard H. Rodino, Swift Stud¬

etry, 1978. • Graham Greene, Lord Rochester’s

ies, 1965-1980: An Annotated Bibliography,

Monkey: Being the Life of John Wilmot, Sec¬

1984. • Edward W. Rosenheim, Swift and the

ond Earl of Rochester, 1974. • Dustin Griffin,

Satirist’s Art, 1963. • Edward W. Said, “Swift

Satires Against Man: The Poems of Rochester,

as Intellectual” and “Swift’s Tory Anarchy,” The World, the Text, and the Critic, 1983. • Brian Vickers, ed. The World of Jonathan Swift: Essays for the Tercentenary, 1968. • David M. Vieth, Swift's Poetry 1900-1980: An Annotated Bibliography of Studies, 1982. • Kathleen Williams, ed. Swift: The Critical Heritage, 1970.

1973. • Jeremy Lamb, So Idle a Rogue: The 1993. • Vivian de Sola Pinto, Enthusiast in Wit: A

Life and Death of Lord Rochester,

Portrait of John Wilmot, Earl of Rochester,

1962. • Marianne Thromahlen, Rochester: The Poems in Context, 1993. • Jeremy Treglown,

ed.

Spirit

of

Wit:

Reconsiderations

of

Rochester, 1982. • David M. Vieth. ed. John Wilmot, Earl of Rochester: Critical Essays,

Tsangyang Gyatso • Coleman Barks, trans.

1988. • John Wilmot, Earl of Rochester, The

Stallion on a Frozen Lake: Love Songs of the

Complete Works, ed. Frank H. Ellis, 1994. •

Sixth Dalai Lama, 1992. • Rick Fields and

John Wilmot, Earl of Rochester, The Letters of John Wilmot, Earl of Rochester, ed. Jeremy

Brian

Cutillo,

The

Turquoise

Bee:

The

Inquiry into the Nature and Form of the Songs

Treglown, 1980. • John Wilmot, Earl of Rochester, The Complete Poems of John Wilmot, Earl of Rochester, ed. David M.

Ascribed to the Sixth Dalai Lama, 1995.

Vieth. 1968. • John Wilmot, Earl of Rochester,

Lovesongs of the Sixth Dalai Lama, 1990. •

Per K. Sorensen, Divinity Secularized: An

The Poems of John Wilmot, Earl of Rochester,

Francois Marie Arouet (Voltaire) • T. Besterman,

Voltaire,

ed. Keith Walker. 1984.

1969. • William Bottiglia,

Voltaire’s Candide: Analysis of a Classic,

Mary

Wollstonecraft

•

William

Godwin,

1964. • William Bottiglia, ed. Voltaire: A Collection of Critical Essays, 1968. • Maxine

Memoirs of the Author of a Vindication of the

G. Cutler, ed. Voltaire, the Enlightenment, and

Revolutionary

the Comic Mode: Essays in Honor of Jean

Rights

of

Woman,

1798.

Feminism:

•

Gary

The

Kelly,

Mind

and

Violence or Literature on Violence? The

• Jennifer Lorch, Mary Wollstonecraft: The Making of a Radical Feminist, 1990. • Anne

French Enlightenment on Trial,” SubStance: A

K. Mellor, Romanticism and Gender, 1993. •

Review of Theory and Literary Criticism, vol.

Timothy J. Reiss, “Revolution in Bounds: Wollstonecraft, Women, and Reason,” in

Sareil, 1990. • Diane Fourny, “Literature of

27, 1998, 43-60. • Voltaire, Candide, ed.

Career

of Mary

Wollstonecraft,

1992.

D. Gordon, 1999. • M. Hayden, Voltaire: A Biog¬ raphy, 1981. • F. M. Keener, The Chain of Be¬ coming, 1983. • Susan Klute, "The Admirable

Virginia Sapiro, A Vindication of Political

Cunegonde,”

Virtue:

Eighteenth-Century

Women:

Gender and Theory: Dialogues on Feminist Criticism,

ed. The

Linda Political

Kauffman, Theory

1989. of

•

Mary

Studies in Their Lives, Work, and Culture, vol.

Wollstonecraft, 1992. • Emily Sunstein, A Dif¬

2, 2002, 95-107. • Bettina L. Knapp, Voltaire

ferent Face—the Life of Mary Wollstonecraft,

Revisited, 2000. • Haydn Mason, Candide:

1975. • Claire Tomalin, The Life and Death of

Bibliography

1974. • Mary Wollstonecraft, A Critical Edition of Mary Woll-

Mary Wollstonecraft,

615

• Moira Ferguson, Eighteenth-Century Women 1995. •

Poets: Nation, Class, and Gender,

stonecraft’s “A Vindication of the Rights of

ings: A Vindication of the Rights of Men, A

A. D. Harvey, “Working-Class Poets and SelfEducation,” Contemporary Review, vol. 274, 1999, 252-263. • Greg Kucich, “Women’s Historiography and the (Dis)Embodiment of Law: Ann Yearsley, Mary Hays, Elizabeth Benger,” Wordsworth Circle, vol. 33, 2002, 3-7. • Donna Landry, The Muses of Resis¬

Woman, ” with Strictures on Political and Moral Subjects, ed. Ulrich H. Hardt, 1982. •

Mary Wollstonecraft, A Vindication of the Rights of Woman, ed. Carol H. Poston, 1988 [1975]. • Mary Wollstonecraft, Political Writ¬ Vindication of the Rights of Woman, an His¬

tance:

torical and Moral View of the'French Revolu¬

Britain, 1739-1796, 1990. • Alan Richardson,

tion, ed. Janet Todd, 1993. • Mary Woll¬ stonecraft Collected Letters of Mary Wollstonecraft, ed. Ralph M. Wardle, 1979.

“Women Poets and Colonial Discourse: Teaching More and Yearsley on the Slave Trade,” Approaches to Teaching British Women Poets of the Romantic Period, eds. Stephen C. Behrendt and Harriet Kramer Linkin, 1997. • Mary Waldron, Lactilla, Milk¬

Ann Yearsley • Tim Burke, “Ann Yearsley and the Distribution of Genius in Early Romantic Culture,” in Early Romantics: Perspectives in British Poetry from Pope to Wordsworth, ed. Thomas Woodman, 1998. • T. M. Brunk, ‘“A hurly-burly in this poor woman’s head’”: The Gothic Character of Ann Yearsley’s Authorial Identity,” English Language Notes, vol. 37, 2000, 29-52. • W. J. Christmas, The Lab’ring

Laboring-Class

Women’s Poetry in

woman of Clifton: The Life and Writings of Yearsley, 1753-1806, 1996. • Mary Waldron, ‘“This Muse-Born Wonder’, The Occluded Voice of Ann Yearsley, Milkwoman and Poet of Clifton,” in Women's Poetry in the

Ann

Enlightenment,

The

Making

of a

Canon,

1730-1820, eds. Isobel Armstrong and Vir¬

ginia Blain, 1999. • Ann Yearsley, Poems on Various Subjects, 1787, 1994.

Muses: Work, Writing, and the Social Order in English Plebeian Poetry, 1730-1830, 2001.

/

‘

CREDITS

TEXT CREDITS Babur: Excerpts from The Babumama: Memoirs of Babur, Prince, and Emperor, translated, edited and annotated by Wheeler M. Thackston. Copyright © 1996 by Wheeler M. Thackston. Reprinted by permission of Oxford Uni¬ versity Press. Banarasidas: Excerpts from Half a Tale translated by Mukund Lath. Copyright © 1981 by Mukund Lath. Reprinted by permission of Mukund Lath. Cao Xueqin: From The Story of the Stone Volume I: The Golden Days by Cao Xuequin, translated by David Hawkes. Translation copyright © 1973 by David Hawkes. Reproduced by permission of Penguin Books, Ltd. Cao Xueqin: From The Story of the Stone Volume II: The Crab-Flower Club by Cao Xueqin, translated by David Hawkes. Translation copyright © 1977 by David Hawkes. Reproduced by permission of Penguin Books, Ltd. Cao Xueqin: From The Story of the Stone Volume IV: The Debt of Tears by Cao Xueqin, translated by John Minford. Translation copyright © 1982 by John Minford. Reproduced by permission of Penguin Books, Ltd. Casanova, Giacomo: Excerpts from History of My Life, translated by Willard Trask, copyright © 1970 by Harcourt, Inc., reprinted by permission of the publisher. Qelebi, Evliya: From The Book of Travels from Evliya Qelebi in Albania and Adjacent Regions, translated by Robert Dankoff and Robert Elsie. Copyright © 2000 by E. J. Brill. Reprinted by permission of Brill Academic Publishers. Qelebi, Evliya: From The Book of Travels from Evliya Qelebi in Diyarbekir, translated by Martin Van Bruinessen and Hendrik Boeschoten. Copyright © 1988 by E. J. Brill. Reprinted by permission of Brill Academic Publishers. Chikamatsu Mon’zaemon: Love Suicides at Amijima from Four Major Plays of Chikamatsu, translated by Donald Keene. Copyright © 1961 by Columbia University Press. Reprinted with the permission of the publisher. Diderot, Denis: From “Supplement to the Voyage of Bougainville,” from Diderot: Political Writings, translated by John Hope Mason and Robert Wokler. Copyright © 1992 by Cambridge University Press. Reprinted with the permission of Cambridge University Press. Fuzuli: “Oh God, don’t let anyone be like me,” “If my heart were a wild bird,” “For long years we have been haunting the quarter,” and “The pointed reproach of the enemy” from Ottoman Lyric Poetry: An Anthology, edited and translated by Walter G. Andrews, Najaat Black, and Mehmet Kalpakli. Copyright © 1997 the University of Texas Press. By permission of the University of Washington Press. Hatun Mihri: “I opened my eyes from sleep,” “At times, my longing for the beloved slays me,” and “My heart bums in flames of sorrow” from Ottoman Lyric Poetry: An Anthology, edited and translated by Walter G. Andrews, Najaat Black, and Mehmet Kalpakli. Copyright © 1997 the University of Texas Press. By Permission of the University of Washington Press. Hozumi Ikan: “Chikamatsu on the Art of the Puppet Theatre” translated by Michael Brownstein, from Early Mod¬ ern Japanese Literature: An Anthology, edited by Haruo Shirane. Copyright © 2002 by Columbia University Press. Reprinted with the permission of the publisher. Ihara Saikaku: “Life of A Sensuous Woman,” translated by Chris Drake, from Early Modern Japanese Literature: An Anthology, edited by Haruo Shirane. Copyright © 2002 by Columbia University Press. Reprinted with the per¬ mission of the publisher. Jahangir: From The Jahangirnama: Memoirs of Jahangir, Emperor of India, translated, edited and annotated by Wheeler M. Thackston, copyright © 1999 by Smithsonian Institution. Used by permission of Oxford University Press, Inc. Kant, Immanuel: “An Answer to the Question: What Is Enlightenment?” from Practical Philosophy, by Immanuel Kant, translated by Mary J. Gregor. Copyright © 1996 by Cambridge University Press. Reprinted with the permis¬ sion of Cambridge University Press. Khatur. Mihri: “I opened my eyes from sleep,” “At times, my longing for the beloved slays me,” and “My heart burns in flames of sorrow” from Ottoman Lyric Poetry: An Anthology, edited and translated by Walter G. Andrews, Najaat Black, and Mehmet Kalpakli. Copyright © 1997 the University of Texas Press. By permission of the University of Texas Press. Lafayette, Marie-Madeleine de: “The Countess of Tende,” translated by April Alliston. Printed by permission of April Alliston.

617

618

Credits

Leibniz Gottfried Wilhelm: From Theodicy: Essays on the Goodness of God, the Freedom of Man, and the Origin of Evil, translated by E. M. Huggard, Copyright © 1952 by Yale University Press. Reproduced by permission of Taylor & Francis Books UK. Matsuo Basho: Selected Haiku and selections from The Narrow Road to the Deep North translated by Haruo Shirane, from Early Modern Japanese Literature: An Anthology, edited by Haruo Shirane. Copyright © 2002 by Co¬ lumbia University Press. Reprinted with the permission of the publisher. Mir Muhammad Taqi Mir: Selected couplets from Three Mughal Poets: Mir, Sauda, Mir Hasan, by Ralph Russell and Khurshidul Islam, pp. 99-100, 109-110, 116-117, 180-183, 197, Cambridge, Mass.: Harvard University Press. Copyright © 1968 by the President and Fellows of Harvard College. Reprinted by permission of the publisher. Mir Muhammad Taqi Mir: From Zikr-i Mir: The Autobiography of the Eighteenth Century Mughal Poet, Mir Muhammad Taqi Mir, 1723-1810 by C. M. Naim. Copyright © 1999 by Oxford University Press. Reproduced by permission of Oxford University Press, New Delhi, India. Moliere: Tartuffe by Moliere, English translation copyright © 1963, 1962, 1961 and renewed 1991, 1990. and 1989 by Richard Wilbur, reprinted by permission of Harcourt, Inc. CAUTION: Professionals and amateurs are hereby warned that this translation, being fully protected under the copyright laws of the United States of America, the British Empire, including the Dominion of Canada, and all other countries which are signatories to the Univer¬ sal Copyright motion picture, recitation, lecturing, public reading, radio broadcasting, and television, are strictly reserved. Particular emphasis is laid on the question of readings, permission for which must be secured from the author’s agent in writing. Inquiries on professional rights (except for amateur rights) should be addressed to Peter Franklin, William Morris Agency 1325 Avenue of the America, New York, NY 10019; inquiries on translation rights should be addresed to Harcourt, Inc., Permissions Department, Orlando, FL 32887. The stock and amateur acting rights of Tartuffe are controlled exclusively by the Dramatists Play Service, Inc., 440 Park Avenue South, New York, NY. No amateur performance of the play may be given without obtaining in advance the written per¬ mission of the Dramatists Play Service, Inc., and paying the requisite fee. Moliere: Notes to Tartuffe by Moliere as translated by Richard Wilbur from Literature Across Cultures, 4th ed., by Sheena Gillespie, Terezinha Fonseca, and Tony Pipolo. Copyright © 2005 by Longman Publishers. Montagu, Lady Mary Wortley: “Letter to Alexander Pope,” “Letter to Sarah Chiswell,” and “Letter to Lady Mar” from The Complete Letters of Lady Mary Wortley Montagu, Vol. I, 1708—1720 edited by Robert Halsband. Copy¬ right © 1965 by Oxford University Press. Reprinted by permission of Oxford University Press. Montesquieu, Charles de Secondat, Baron de: From The Persian Letters by Charles de Secondat, Baron de la Brede et de Montesquieu, translated by J. Robert Loy. Reprinted by permission of the Estate of J. Robert Loy. Nedim: “At the gathering of desire,” “When the east wind leaves that curl,” “As the morning wind blows,” “Take yourself to the rose garden,” and “Delicacy was drawn out like the finest wire” from Ottoman Lyric Poetry: An Anthology, edited and translated by Walter G. Andrews, Najaat Black, and Mehmet Kalpakli. Copyright © 1997 the University of Texas Press. By permission of the University of Washington Press. Orleans, Elisabeth Charlotte duchesse d’: Letters from Elisabeth Charlotte Liselotte. Princess Palatine and Dutchess of Orleans, 'Madame' 1652-1722, translated by Maria Kroll. Copyright © 1998 by Maria Kroll. Reprinted by kind permission of the author and Allison and Busby, Ltd. Philips, Katherine: “To my Excellent Lucasia, on our Friendship,” “An Answer to another persuading a Lady to marriage,” from Poetry by English Women, Elizabethan to Victorian, edited by R. E. Pritchard. Reprinted by per¬ mission of Carcanet Press Limited. Pope, Alexander: From “An Essay on Man,” from The Poems of Alexander Pope, edited by John Butt. Reprinted by permission of Taylor & Francis Books UK. Rousseau, Jean-Jacques: From Discourse on Political Economy and The Social Contract, translated with an Intro¬ duction and Notes by Christopher Betts. Copyright © 1994 by Christopher Betts. Reprinted by permission of Ox¬ ford University Press. Sauda: “How to Earn a Living in Hindustan” from Three Mughal Poets: Mir, Sauda, Mir Hasan, by Ralph Russell and Khurshidul Islam, pp. 62-68, Cambridge, Mass.; Harvard University Press. Copyright © 1968 by the Presi¬ dent and Fellows of Harvard College. Reprinted by permission of the publisher. Scudery, Madeleine de: From Clelie, by Madeleine de Scudery, translated by April Alliston. Printed by permission of April Alliston. Sevigne, Madame de: “To Coulanges” from Selected Letters, by Madame de Sevigne, translated by Leonard Tancock. Translation copyright © 1982 by Leonard Tancock. Reproduced by permission of Penguin Books, Ltd. Shen Fu: “The Joys of the Wedding Chamber” and “The Sorrows of Misfortune,” from Six Records of a Floating Life, by Shen Fu, translated by Leonard Pratt and Chiang Su-hui. Translation copyright © 1983 by Leonard Pratt and Chiang Su-hui. Reproduced by permission of Penguin Books, Ltd. Tsangyang Gyatso: “I sought my lover at twilight,” “Residing at the Potala,” “Love met by chance on the road,” and “Wild horses running in the hills” by Tsangyang Gyatso from The Turquoise Bee: Love Poems of the Sixth Dalai Lama, translated by Rick Fields and Brian Cutillo and Mayumi Oda. Copyright © 1994 by Rick Fields, Brian Cutillo and Mayumi Oda. Reprinted by permission of HarperCollins Publishers.

Credits

619

Tsangyang Gyatso: Poems from The Turquoise Bee: Love Poems of the Sixth Dalai Lama translated by Rick Fields, Brian Cutillo, and Mayumi Oda. Copyright © 1994 by Rick Fields, Brian Cutillo, and Mayumi Oda. Reprinted by permission of HarperCollins Publishers, Inc. Tsangyang Gyatso: From Wings of the White Crane: Poems ofTshangs dbyangs rgya mtsho (1683-1706), trans¬ lated by G. W. Flouston (Delhi: Motilal,Banarsidass, 1982). Tsangyang Gyatso: From Divinity Secularized: An Inquiry into the Nature and Form of the Songs Ascribed to the Sixth Dalai Lama, translated by Per K. Sorensen. Reprinted by permission of Per K. Sorensen and Ernst Steinkellner. Tsangyang Gyatso: From Stallion on a Frozen Lake: Love Songs of the Sixth Dalai Lama, translated by Coleman Barks. Copyright © 1992 by Coleman Barks. Reprinted by permission of Coleman Barks. Voltaire: Candide from Voltaire: Candide and Other Stories, translated by Roger Pearson. Translation and editor¬ ial material copyright © 1990 by Roger Pearson. Reprinted by permission of Oxford University Press. ILLUSTRATION CREDITS

Cover image: Detail from Portrait of a Negro Man, Olaudah Equiano, 1780s, English school, 18th century, pre¬ viously attributed to Joshua Reynolds. Royal Albert Memorial Museum, Exeter, Devon, UK/The Bridgeman Art Library. Inside front cover image: Map of the Eastern Hemisphere, China, 1790. Ruth Schacht/Staatsbibliothek zu Berlin Preussischer Kulturbesitz. Kartenabteilung/Art Resource, New York. Page xxx: Anonymous drawing of Louis XTV as the “Sun King.” Snark/Art Resource, New York, Page 12: The Taj Mahal. Jean-Louis Nou/AKG Images. Page 45: Puppeteers performing The Love Suicides at Amijima. Photograph courtesy of Barbara Curtis/Adachi Collection, C. V. Starr East Asian Library, Columbia University. Page 173: Title page of Baudier’s General History of the Seraglio and of the Court of the Noble Lord Emperor of the Turks, 1631. Rare Books Divi¬ sion, Department of Rare Books and Special Collections, Princeton University Library. Page 184: Execution of Louis XVI (period engraving). Musee de la Revolution Frangaise, Vizille, France/The Bridgeman Art Library. Page 188: An Emblematical View of the Constitutions of England and France. Division of Rare and Manuscript Collections, Cornell University, Olin Library. Page 190: Babylonian and Egyptian antiquities, from Denis Diderot’s Encyclopedic, 1751-1772. Public domain. Page 254: Art d'Ecrire, illustrative plate from Denis Diderot’s Encyclopedic, 1751-1772. The Granger Collection, New York. Page 258: La Carte du pays de Tendre, from Madeleine de Scudery’s Clelie, 1660. Department of Rare Books and Special Collections, Princeton Univer¬ sity Library. Page 300: Frontispiece to a 1776 edition of Oroonoko: A Tragedy in Five Acts, by Thomas Southern; printed from the acting copy, with remarks, biographical and critical, by D.—G. Based on Aphra Behn’s novel of the same name. Drawing by R. Cruikshank. Private collection/New York Public Library. Page 349: James Gillray, The King of Brobdingnag and Gulliver, 1803. The Granger Collection, New York. Page 408: A haiga (haikai sketch), Courtesy of Idemitsu Museum of Arts. FONTS CREDIT The EuroSlavic, AfroRoman, Macron, Translndic, Semitic Transliterator, and ANSEL fonts used to publish this work are available from Linguist’s Software, Inc., PO Box 580, Edmonds, WA 98020-0580 USA, tel (425) 7751130, www.linguistsoftware.com.

>'ii