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Tobias Smollett (1721-1771) was a man of letters in the fullest sense. He was not only a novelist but also a playwright, poet, journalist, historian, travel writer, critic, translator, and editor. Trained as a physician, he saw the world with acutely sensitive eyes, believing that what was externally visible signified and gave definition to what could be known about the private, interior life. His fiction is therefore distinguished by its intensely visual qualities. Tobias Smollett: Novelist goes beyond all previous critical studies in its attention to these qualities in Smollett's novels, reading them as exercises of a visual imagination.Along with Defoe, Richardson, Fielding, and Sterne, Smollett was one of the major British novelists of his generation. Like his kindred spirit William Hogarth, he was both chronicler and interpreter of what he saw. His episodically structured narratives reflect his vision of a harsh and unpredictable world, while his unforgettable characters display his deep understanding of the individual as moral agent. Jerry C. Beasley's book is both focused and broad in its range, crossing disciplines and genres as it seeks to demonstrate intersections between the graphic and verbal arts, always with an eye to how Smollett crafted his stories. Seventeen illustrations, many of them from works by Hogarth, complement the argument.This book honors Smollett as an author who wrote in an unorthodox but compelling way and makes the complexities of his narratives more accessible than they have ever been before.

A scholarly edition of a work by Tobias Smollett. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

This collection takes a fresh look at issues raised not only in Smollett's novels, for which he is usually remembered, but also in other works of this prolific Scottish author. Essays include a demonstration beyond reasonable doubt, after more than two centuries of debate, that it was indeed Smollett who authored 'The Memoires of a Lady of Quality' in the Adventures of Peregrine Pickle, with material supplied to him by Frances, Lady Vane; an examination of Smollett's contributions in the Adventures of Ferdinand Count Fathom to the rise of the Gothic novel; an analysis of the role his An Essay on the External Use of Water (1752) played in the conception of his last novel, the Expedition of Humphrey Clinker; and an exploration of the relationship between satire and graphic art in History and Adventures of an Atom. There is also a thorough review and re-evaluation of Smollett's encounter with Laurence Sterne in the south of France, and the exchange between Yorick and Smelfungus, 'one of the great fictional encounters in English literature'; a canvassing of the details of Smollett's 'Paper War' with Henry Fielding; and two essays on Smollett's undeservedly neglected History of England, one addressing the complicated relationships between Smollett's and David Hume's History of England; the second distinguishing for the first time the authoritative editions of the History and providing a descriptive bibliography.

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In The History and Adventures of an Atom, a London haberdasher relates extraordinary tales of ancient Japan as dictated to him by an omniscient atom that has lived within the bodies of great figures of state. Intended “for the instruction of British ministers,” the work is a savage allegory of England during the Seven Years’ War (1756-1763), draping kings and politicians, domestic and foreign affairs in an intricately detailed, endlessly allusive veil of satire.Lacing his commentary with vitriol, Tobias Smollett gives fantastic expression in the Atom to many of the concerns voiced in his historical and political writings. He creates from the details of Japanese history an ingenious catalog of English places and personalities―from the up-start ruler “Taycho,” whose graspings for power resemble William Pitt’s, to a god of war called “Fatzman” who suggests the grotesquely obese Duke of Cumberland. Smollett also draws on the imagery of the period’s scurrilous political cartoons and injects into his satire a Rabelaisian humor that makes this work perhaps the most scatological in English literature.Edited and introduced by Robert Adams Day, this edition of the Atom is the first to appear since 1926 and the first ever to provide a carefully prepared text, a full apparatus of historical annotations, and an accurate key to personages and places. Day establishes the authorship and the long-disputed work, placing it within the context of Smollett’s writings and opinions, his times and literary world.

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The first novel by a major English writer that is devoted to a thoroughgoing portrait of villainy, The Adventures of Ferdinand Count Fathom chronicles the life of an aberrant criminal character. Filled with striking satiric thrusts at the legal, medical, and military establishments of mid-eighteenth-century Europe and England, the novel reveals Tobias Smollett's capacities as a commentator on contemporary life.First published in 1753, Ferdinand Count Fathom is an experimental work that explores the relations between history and fiction and introduces, for the first time in the English novel, episodes of Gothic melodrama. Too long neglected and never before available in a carefully prepared scholarly edition, Ferdinand Count Fathom may now be read, understood, and appreciated against the literary and historical background of the eighteenth-century world.

This picaresque tale, first published in 1751, was Tobias Smollett’s second novel. Following the fortunes and misfortunes of the egotistical dandy Peregrine Pickle, the novel is written as a series of brief adventures with every chapter typically describing a new escapade. The novel begins with Peregrine as a young country gentleman. His mother rejects him, as do his aloof father and his dissolute, spiteful brother. Commodore Hawser Trunnion takes Peregrine under his care and raises him. Peregrine’s upbringing, education at Oxford, and journey to France, his debauchery, bankruptcy, jailing, and succession to his father’s fortune, and his final repentance and marriage to his beloved Emilia all provide scope for Smollett’s comic and caustic perspectiveon the Europe of his times. As John P. Zomchick and George S. Rousseau note in the introduction, “by contrasting the genteel and the common, the sophisticated and the primal, Smollett conveys forcefully the way it felt to be alive in the middle of the eighteenth century.”The introduction provides an overview of the composition and publication history of Peregrine Pickle and discusses the novel’s critical reception over time by such figures as Lady Luxborough, Sir Walter Scott, Joseph Conrad, and George Orwell. The text of the novel uses the first edition of 1751 as copy-text while recording the second edition’s substantive variants. Included are illustrations by Thomas Rowlandson, Richard Corbould, and George Cruikshank, as well as frontispieces designed by, and engraved in the style of, Henry Fuseli. A complete textual apparatus concludes the volume.

In The History and Adventures of an Atom, a London haberdasher relates extraordinary tales of ancient Japan as dictated to him by an omniscient atom that has lived within the bodies of great figures of state. Intended “for the instruction of British ministers,” the work is a savage allegory of England during the Seven Years’ War (1756-1763), draping kings and politicians, domestic and foreign affairs in an intricately detailed, endlessly allusive veil of satire.Lacing his commentary with vitriol, Tobias Smollett gives fantastic expression in the Atom to many of the concerns voiced in his historical and political writings. He creates from the details of Japanese history an ingenious catalog of English places and personalities―from the up-start ruler “Taycho,” whose graspings for power resemble William Pitt’s, to a god of war called “Fatzman” who suggests the grotesquely obese Duke of Cumberland. Smollett also draws on the imagery of the period’s scurrilous political cartoons and injects into his satire a Rabelaisian humor that makes this work perhaps the most scatological in English literature.Edited and introduced by Robert Adams Day, this edition of the Atom is the first to appear since 1926 and the first ever to provide a carefully prepared text, a full apparatus of historical annotations, and an accurate key to personages and places. Day establishes the authorship and the long-disputed work, placing it within the context of Smollett’s writings and opinions, his times and literary world.

Tobias Smollett, in the preface to his first novel, The Adventures of Roderick Random (1748), acknowledges the influence of Alain René Le Sage’s L’Histoire de Gil Blas de Santillane (1715–35 in four volumes) on his work. By far the most successful of “useful and entertaining” romances, Smollett writes, Gil Blas describes “the knavery and foibles of life, with infinite humour and sagacity.” “The following sheets,” he adds significantly, “I have modeled on his plan.”Smollett’s translation of Gil Blas appeared nine months after the publication of Roderick Random. This chronicle of a merry, philosophical young man whose adventures lead him into all levels of society from the highest to the lowest, presents special problems for a translator. Smollett, without always adhering to the literal expression of the novel’s language, is true to its style, spirit, and ideas. After two and a half centuries, his remains the finest translation of this humorous, satiric, and classic French novel.In his early years in London, Smollett struggled to find a way to distinguish himself through his medical practice, medical writings, poetry, and plays. None of these attempts, however, allowed him to demonstrate the full range of his personality and talents. Only when he combined his own boundless imagination with the skills he had learned from translating Gil Blas was he able to create energetic narratives filled with vivid and original characters.

The Adventures of Telemachus is the first critical edition of Tobias Smollett's 1776 translation of Bishop Fénelon's 1699 "mirror for princes," written especially for Duc de Burgogne, heir presumptive to Louis XIV.Both in its original French and its many translations, The Adventures of Telemachus was one of the most popular and revered works of the eighteenth century. There were more than ten English prose and poetry versions, including this masterful prose translation by Smollett. Known for his novels Roderick Random and The Expedition of Humphry Clinker, Smollett was also a gifted translator. The Adventures of Telemachus was his final translation and is one of the finest versions of the work. Long a disputed title in the Smollett canon, it is fully restored to his credit by Leslie A. Chilton.

This picaresque tale, first published in 1751, was Tobias Smollett’s second novel. Following the fortunes and misfortunes of the egotistical dandy Peregrine Pickle, the novel is written as a series of brief adventures with every chapter typically describing a new escapade. The novel begins with Peregrine as a young country gentleman. His mother rejects him, as do his aloof father and his dissolute, spiteful brother. Commodore Hawser Trunnion takes Peregrine under his care and raises him. Peregrine’s upbringing, education at Oxford, and journey to France, his debauchery, bankruptcy, jailing, and succession to his father’s fortune, and his final repentance and marriage to his beloved Emilia all provide scope for Smollett’s comic and caustic perspectiveon the Europe of his times. As John P. Zomchick and George S. Rousseau note in the introduction, “by contrasting the genteel and the common, the sophisticated and the primal, Smollett conveys forcefully the way it felt to be alive in the middle of the eighteenth century.”The introduction provides an overview of the composition and publication history of Peregrine Pickle and discusses the novel’s critical reception over time by such figures as Lady Luxborough, Sir Walter Scott, Joseph Conrad, and George Orwell. The text of the novel uses the first edition of 1751 as copy-text while recording the second edition’s substantive variants. Included are illustrations by Thomas Rowlandson, Richard Corbould, and George Cruikshank, as well as frontispieces designed by, and engraved in the style of, Henry Fuseli. A complete textual apparatus concludes the volume.

Tobias Smollett, in the preface to his first novel, The Adventures of Roderick Random (1748), acknowledges the influence of Alain René Le Sage’s L’Histoire de Gil Blas de Santillane (1715–35 in four volumes) on his work. By far the most successful of “useful and entertaining” romances, Smollett writes, Gil Blas describes “the knavery and foibles of life, with infinite humour and sagacity.” “The following sheets,” he adds significantly, “I have modeled on his plan.”Smollett’s translation of Gil Blas appeared nine months after the publication of Roderick Random. This chronicle of a merry, philosophical young man whose adventures lead him into all levels of society from the highest to the lowest, presents special problems for a translator. Smollett, without always adhering to the literal expression of the novel’s language, is true to its style, spirit, and ideas. After two and a half centuries, his remains the finest translation of this humorous, satiric, and classic French novel.In his early years in London, Smollett struggled to find a way to distinguish himself through his medical practice, medical writings, poetry, and plays. None of these attempts, however, allowed him to demonstrate the full range of his personality and talents. Only when he combined his own boundless imagination with the skills he had learned from translating Gil Blas was he able to create energetic narratives filled with vivid and original characters.

The first novel by a major English writer that is devoted to a thoroughgoing portrait of villainy, The Adventures of Ferdinand Count Fathom chronicles the life of an aberrant criminal character. Filled with striking satiric thrusts at the legal, medical, and military establishments of mid-eighteenth-century Europe and England, the novel reveals Tobias Smollett's capacities as a commentator on contemporary life.First published in 1753, Ferdinand Count Fathom is an experimental work that explores the relations between history and fiction and introduces, for the first time in the English novel, episodes of Gothic melodrama. Too long neglected and never before available in a carefully prepared scholarly edition, Ferdinand Count Fathom may now be read, understood, and appreciated against the literary and historical background of the eighteenth-century world.

This new edition brings to life Tobias Smollett's fourth novel, The Life and Adventures of Sir Launcelot Greaves. No annotated edition of the work existed before the second half of the twentieth century, and this comprehensive edition by Robert Folkenflik and Barbara Laning Fitzpatrick features more accurate text as well as scrupulous textual and critical information. Also included in the detailed introduction is a unique examination of Sir Launcelot Greaves, the first illustrated serial novel, in relation to the engravings by Anthony Walker.Sir Launcelot Greaves was a groundbreaking novel for Smollett. Published in British Magazine beginning in January 1760, it was the first major work by an English novelist to have been written specifically for serial publication. The novel, Smollett's shortest, differs stylistically from his previous works. The most attractive of his heroes, Sir Launcelot is virtuous and strange, and he is surrounded by a Smollettian menagerie whose various jargons are part of this novel's linguistic virtuosity and satire. Sir Launcelot's character is an English naturalization of Quixote. Although Sir Launcelot, unlike Quixote, is not the object of the author's satire, an idealistic madness is central to both characters. In Smollett's work the theme of madness is integral to the relationship between self and society as the work ponders both the constitution of madness and the alternatives to revenge.Sir Launcelot Greaves, though not Smollett's most heralded work, has not received the recognition it deserves. Folkenflik and Fitzpatrick present a definitive edition that will be appreciated by scholars and lovers of eighteenth-century literature.

The full rim, aviator-shaped frame is back. Smollett's gunmetal Titanium material is solid and durable, while the double nose bridge design adds sophistication and maturity. Adjustable nose pads provide all-day comfort and fit for this frame. Styles: Nerd.

Made with high-quality Titanium material, Smollett aviator eyeglasses are very lightweight. The frame is soft and slim, reducing the pressure on the head. It is the optimal choice for modern people who pursue comfort. Adjustable nose pads offer an added comfortable fit. Styles: Nerd.

These aviator-inspired Smollett eyeglasses offer a sleek, modern look with double bridges and ultra-light titanium frames. The minimalist design is both practical and aesthetically pleasing. Adjustable nose pads ensure a comfortable daily fit. Perfect for those seeking elegance and high-quality craftsmanship, these glasses reflect a confident, refined approach to fashion. Styles: Nerd.

With the country on the brink of Civil War, the struggle for freedom is more dangerous than ever. Underground tells the story of American heroes and their harrowing journey to freedom, with legendary Harriet Tubman blazing the trail. Smollett-Bell and Aldis Hodge lead the ensemble cast that includes Jessica De Gouw, Alano Miller, and Christopher Meloni.

This authoritative textual edition presents Tobias Smollett's translation of Cervantes's Don Quixote in the form most faithful to Smollett's own intentions. It includes Francis Hayman's twenty-eight illustrations engraved for the original edition, Smollett's explanatory notes, and his prefatory "Life of Cervantes."Smollett's Don Quixote first appeared in 1755 and was for many years the most popular English-language version of Cervantes's masterpiece. However, soon after the start of the nineteenth century, its reputation began to suffer. Rival translators, literary hucksters, and careless scholars initiated or fed a variety of charges against Smollett―even plagiarism. For almost 130 years no publisher risked reprinting it.Redemption began in 1986, when the distinguished Mexican novelist Carlos Fuentes, in his foreword to a new (albeit flawed) edition of Smollett's translation, declared it to be "the authentic vernacular version" of Don Quixote in English. Fuentes's opinion was in accord with that of the preeminent Cervantist, Francisco Rodríguez Marín, who decades earlier had declared Smollett's Don Quixote to be his preferred English version.Martin C. Battestin's introduction discusses the composition, publication, and controversial reception of Smollett's Don Quixote. Battestin's notes identify Smollett's sources in his "Life of Cervantes" and in his commentary, provide cross-references to his other works, and illustrate Smollett's originality or dependence on previous translations. Also included is a complete textual apparatus, a glossary of unfamiliar terms, and an appendix comparing a selection of Francis Hayman's original illustrations with the engraved renderings used in the book.