James Engell has prepared the first broad treatment of eighteenth- and early-nineteenth century British criticism to appear in a generation, presenting the views of scores of writers on a variety of questions, many of which remain live issues today.

While offering major reevaluations of Dryden, Hume, and Johnson, Engell demonstrates that eighteenth-century criticism cannot be represented by just a few major critics or by generalizations about Augustan taste, neoclassical rules, or “common sense.” He presents a complex and highly varied body of theoretical writing and practical application by dozens of critics including Rymer, Addison, Welsted, Ramsay, Hurd, Gerard, Newbery, Campbell, Blair, Beattie, Jeffrey, and Hazlitt. He also analyzes the continued relevance of their critical work, drawing connections with modern writers such as Eliot, Frye, Saussure, Barthes, Culler, Bakhtin, and Lévi-Strauss.

Engell concludes with a stimulating essay on the nature and function of the critical process itself. For students and scholars conversant with modern critical theory, Forming the Critical Mind will offer some surprising and interesting comparisons.

Eighteenth-century and Romantic readers had a peculiar habit of calling personified abstractions “sublime.” This has always seemed mysterious, since the same readers so often expressed a feeling that there was something wrong with turning ideas into people—or, worse, turning people into ideas. In this wide-ranging, carefully argued study, Steven Knapp explains the connection between personification and the aesthetics of the sublime.

Personifications, such as Milton’s controversial figures of Sin and Death in Paradise Lost, were seen to embody a unique combination of imaginative power and overt fictionality, and these, Knapp shows, were exactly the conflicting requirements of the sublime in general. He argues that the uneasiness readers felt toward sublime personifications was symptomatic of broader ambivalences toward archaic beliefs, political and religious violence, and poetic fiction as such.

Drawing on recent interpretations of Romanticism, allegory, and the sublime, Knapp provides important new readings of Coleridge, Wordsworth, Kant, and William Collins. His provocative thesis sheds new light on the relationship between Romanticism and the eighteenth century.