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I. Universality and Difference

Most critics in the eighteenth century, unlike academic critics today, were confident of at least one assumption about great literature: that the truths it embodied were universal and that, in the words of Dr Johnson in his Preface to Shakespeare, 'Nothing can please many and please long but just representations of general nature.' It is a view which depends of course on even more basic assumptions—that there is such an entity as 'general nature' (or at least that the category is useful); and that in turn there is such an entity (or meaningful category) as 'human nature'—a certain intrinsic 'humanness' which remains in some way constant despite variations from country to country and race to race, and despite the changes in behaviour over time. But while it might be agreed that there are some constant factors in human behaviour (without which it is difficult to see how we could respond to the literature of the past at all), the...

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1. Introduction
2. I. Universality and Difference
3. IL Genre: Tragedy Versus Comedy
4. III. The Uses of Quotation
5. IV. Letters and Sexuality
6. V. Rape, Writing and Morality
7. VI. Conclusions
8. Copyright