Titlebook: Birds in Eighteenth-Century Literature; Reason, Emotion, and Brycchan Carey,Sayre Greenfield,Anne Milne Book 2020 The Editor(s) (if applica

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,‘No Parrot, Either in Morality or Sentiment’: Talking Birds and Mechanical Copying in the Age of Sehes, representing talking birds as both machine-like copyists and legitimate objects of sympathy, within the same work or sometimes even the same passage. This suggests an affective relationship to mechanical phenomena that cannot be fully accounted for either as a residue of neoclassical rationalism or as an anticipation of Romanticism.

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,Bird Metaphors in Racialised Ethnographic Description, c. 1700–1800,f ethnographic literature. In doing so, it offers an insight into the cultural and scientific understandings of birds at this time as expressed by naturalists, travellers, and anatomists. An implicit relationship is revealed between imperialist attitudes and the ongoing eighteenth-century conquest of the natural world.

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,Ortolans, Partridges, and Pullets: Birds as Prey in Henry Fielding’s ,associated with physical and metaphorical birds throughout the novel. Looking at this association through an ecofeminist perspective suggests an equation between the often cruel treatment of birds and the cruel treatment or intended treatment of women, Sophia specifically. In addition to Sophia, Par

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,‘In Clouds Unnumber’d’: Anna Letitia Barbauld’s ‘Birds and Insects’, Speculative Ecology, and the Po place, politics, and empirical inquiry in eighteenth-century ornithology. Analysis of Barbauld’s early poem ‘To Mrs. P[riestley], with some Drawings of Birds and Insects’ in relation to source texts by Thomas Pennant and James Thomson demonstrates her repurposing of these texts’ ornithological det

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The Labouring-Class Bird,n life and poetic sensitivity and to demonstrate a variety of patron-client relationships characterised by an admixture of dependence and independence. It argues that plebeian bird poetry is one literary strategy among many that foregrounds social position, exposes political relations, cooperates wi

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,The Language of Birds and the Language of Real Men: Wordsworth, Coleridge and the ‘Best Part’ of Laseers and ‘viziers’ of old. White’s comments on the ‘viziers’ of ancient fables may be said to inform Wordsworth and Coleridge’s shared concern with the poet’s tendency to make the sounds of nature, in Coleridge’s phrase, ‘tell back the tale/Of his own sorrows’ (‘The Nightingale’, 1798). But White a

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,‘No Parrot, Either in Morality or Sentiment’: Talking Birds and Mechanical Copying in the Age of Sein the mid-eighteenth century. Texts and images aligned with the culture of sensibility tend to invoke these creatures alternately as emblems of automatism or as figures for the close bonds between humans and animals. These two modes of representation can seem incompatible, and even to point in oppo