ing; likewise I thank Harry Leder for his setting up my travelling
software. Annie Goldson, Paul Stone, and the students of papers 18.306
and 18.308 listened to my ideas at different stages of their development;
and the Friday 'reading group' in its various manifestations ( Stephen
Zepke, Hester Joyce, Brigid Shadbolt, Leonie Reynolds, Catherine Dale)
broke and re-set my ideas about the sublime. Ross Jenner and Laurence
Simmons have been invaluable company and challenging seminarians.
Sebastian Black has seen me through numerous official channels, and
always with the best results. Claudia Marquis has fed and indulged me.
I owe more to Bridget Orr, my partner and my co-worker in the field of
the eighteenth century, than I am able to record.

There are some American friends and colleagues who have been very
helpful to this project: I want to mention Michael Seidel, Annabel
Patterson, Susan Green, John Bender, Claude Rawson, Margaret
Doody, Sylvia Tomasch, Neil Hertz, Jim Gill, Allen Dunn, Jerry
Christenson, and Mark Seltzer. Gib Bogle has provided me with shelter
and warmth in Pasadena. In England I have depended on David Ellis,
Malcolm Andrews, and Rod Edmond for encouragement and good
humour. Jane Duncan and Ian Duncan have been hospitable, patient,
and expert by turns; and Mel Humphreys and Richard Wallace have
reminded me that there is more to life than writing books.

My daughters, who have not felt much of the benefit of this exercise,
have nevertheless unselfishly cheered me on, and helped me where they
could. I want to thank Esther Lamb and Rebecca Lamb; and also Susan
Lamb, who helped shoulder the burden through the first stages.

Acknowledgements are due to the Dulwich Picture Gallery for permis-
sion to reproduce Poussin Rinaldo and Armida; to the Auckland City
Art Gallery Collection for permission to reproduce plates 10 and 11 of
Blake Job; to the Crawford Municipal Art Gallery, Cork, for permis-
sion to reproduce James Barry Ulysses and a Companion; to the British
Museum's Department of Prints and Drawings for permission to repro-
duce James Barry's aquatints, The Earl of Cbatbam and The Conversion
of Polemon; to the Yale Center of British Art for permission to repro-
duce James Barry Job Reproved by his Friends; to the Brooklyn
Museum for permission to reproduce Joseph Wright The Dead Soldier;
and to Annie Goldson for permission to reproduce the photograph of
the tomb of Penelope Boothby. Portions of Chapters 6 and 12 first
appeared in Eighteenth-Century Studies and Eighteenth-Century Fiction
respectively.

Princeton J.L.
December 1994

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