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Tobias Smollett (1721-1771) is best known today as a novelist, but in the eighteenth-century, he was regarded as a historian and critic. In this book, Richard J. Jones explores the diversity of Smollett's journalistic and literary writings and establishes new connections between Smollett's work and writers of the Scottish Enlightenment. The book takes as its focal point Smollett's visit to Nice, between 1763 and 1765, and the account he wrote of it in Travels through France and Italy (1766). This account is usually seen as a "travel narrative" but Jones argues that it should be read as a "pocket encyclopedia" in the tradition of Voltaire. Jones divides his study into sections on medicine, fine art, the theater and history. In doing so, he offers a productive juxtaposition of authors, texts and contexts, presenting Smollett as a writer whose Scottish (and particularly Glaswegian) identity informed his involvement in a wider European Enlightenment.
Tobias Smollett (1721–71) is best known as a novelist; however this prolific and talented author was also a notable historian, literary critic, translator, medical writer and satirist. This volume will help us to reassess our understanding of Smollett by presenting some of his most significant miscellaneous writings in a new critical edition.
Reproduction of the original.
A timeless tale of love, lust, and politics, Tosca is one of the most popular operas ever written. In Tosca's Rome, Susan Vandiver Nicassio explores the surprising historical realities that lie behind Giacomo Puccini's opera and the play by Victorien Sardou on which it is based. By far the most "historical" opera in the active repertoire, Tosca is set in a very specific time and place: Rome, from June 17 to 18, 1800. But as Nicassio demonstrates, history in Tosca is distorted by nationalism and by the vehement anticlerical perceptions of papal Rome shared by Sardou, Puccini, and the librettists. To provide the historical background necessary for understanding Tosca, Nicassio takes a detailed look at Rome in 1800 as each of Tosca's main characters would have seen it—the painter Cavaradossi, the singer Tosca, and the policeman Scarpia. Finally, she provides a scene-by-scene musical and dramatic analysis of the opera. "[Nicassio] must be the only living historian who can boast that she once sang the role of Tosca. Her deep knowledge of Puccini's score is only to be expected, but her understanding of daily and political life in Rome at the close of the 18th century is an unanticipated pleasure. She has steeped herself in the period and its prevailing culture-literary, artistic, and musical-and has come up with an unusual, and unusually entertaining, history."—Paul Bailey, Daily Telegraph "In Tosca's Rome, Susan Vandiver Nicassio . . . orchestrates a wealth of detail without losing view of the opera and its pleasures. . . . Nicassio aims for opera fans and for historians: she may well enthrall both."—Publishers Weekly "This is the book that ranks highest in my estimation as the most in-depth, and yet highly entertaining, journey into the story of the making of Tosca."—Catherine Malfitano "Nicassio's prose . . . is lively and approachable. There is plenty here to intrigue everyone-seasoned opera lovers, musical novices, history buffs, and Italophiles."—Library Journal
This book is the first biography of Scottish-born physician John Moore. Here, Henry L. Fulton recounts Moore’s childhood, education, and medical training in Glasgow and abroad; discusses his marriage, family, and friendships (particularly with Tobias Smollett); and depicts his professional practice in the north. The narrative uncovers Moore’s transformative experience accompanying a young nobleman on the Grand Tour through Europe and provides a detailed account of the journey's highlights and difficulties. When Moore returns, he moves his family to London to begin a second career in literature and to acquire patronage for his sons’ professions. In this biography Fulton covers not only Moore’s publications but also discusses his circle of friends among nobility, politicians, artists, and others. Also discussed is Moore’s involvement in the French Revolution, his correspondence with Robert Burns, and his strained family relationships. Additionally presented here is new information regarding Moore’s finances drawn from archival records in Glasgow and Edinburgh and his bank ledgers in London.