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John Dryden, Fables

Queen's Royal Cookery

East India Company sales catalogue

The Spectator

Jonathan Swift, A Proposal...

Sugar in Britain

Daniel Defoe, Robinson Crusoe

Bartholomew Fair

Trade and the English language

Swift, A Modest Proposal

East India Company: Bengal textiles

English arrives in the West Indies

Hogarth, Harlot's Progress

Cities in chaos

Polite conversation

James Miller, Of Politeness

Samuel Richardson, Pamela

Advert for a giant

Muffin seller

The Art of Cookery

Henry Fielding, Tom Jones

Johnson's Dictionary

Sterne, Tristram Shandy

Lowth’s grammar

Rousseau, The Social Contract

Walpole, The Castle of Otranto

Goldsmith, She Stoops to Conquer

Captain Cook's journal

Journey to the Western Islands of Scotland

Burns, Poems Chiefly in the Scottish Dialect

Anglo-Indian newspaper

Notices about runaway slaves

First British advert for curry powder

Storming of the Bastille

Olaudah Equiano

William Blake's Notebook

Thomas Paine's Rights of Man

Walker’s correct pronunciation

Wollstonecraft's Rights of Woman

Songs of Innocence and Experience
The Castle of Otranto, by Horace Walpole, is generally viewed as the first Gothic novel. Its first edition, published in 1764, claimed to be a translation of a work printed in Naples in 1529 and newly discovered in the library of ‘an ancient Catholic family in the north of England’. It tells the story of Manfred, the prince of Otranto, who is keen to secure the castle for his descendants in the face of a mysterious curse. The novel begins with the death of Manfred’s son, Conrad, who is crushed to death by an enormous helmet on the morning of his wedding to the beautiful princess Isabella. Faced with the extinction of his line, Manfred vows to divorce his wife and marry the terrified Isabella himself.
The Castle of Otranto blends elements of realist fiction with the supernatural and fantastical, laying down many of the plot devices and character-types that would become typical of the Gothic: secret passages, clanging trapdoors, hidden identities and vulnerable heroines fleeing from men with evil intent. The novel was a success all over Europe, and the poet Thomas Gray commented in a letter to Walpole that it made ‘some of us cry a little, and all in general afraid to go to bed o’nights.’