Accident, philosophical concept of, 10, 136
Addison, Joseph, 7, 12, 22–24, 26, 48, 61, 74–76, 94, 98, 116, 117, 123, 128, 139, 143, 152, 176, 231
Aesthetics, discourse of, 7, 13, 19, 22–24, 26–27, 30–31, 33, 238n24
Alighieri, Dante: trope of contraposso, 55, 127; Vita Nova, 171
Allegory: function of surprise in, 4, 7; in realist fiction, 11; in The Faerie Queene, 45–47; in Keats, 205; in Pamela, 89–90, 99, 103–4, 106; in Paradise Lost, 11, 47–51, 242n19, 243n28; in Wordsworth, 192; theory of, 39–40
Aquinas, Thomas, 52
Aristotle, 6, 11–12, 16–18, 22, 25, 48, 50, 52, 117, 123, 135, 137, 148
Astonishment, 20–22, 25, 27–28, 70, 125
Austen, Jane, 14, 31; Emma, 141, 144, 160; letters, 151–52; Northanger Abbey, 11–12, 31–32, 141–42, 144–47, 150–65; Persuasion, 147, 166–70; Sense and Sensibility, 143
Calvinism, 11, 65, 135, 235n24, 244n5
Casuistry, in Robinson Crusoe, 80
Chaucer, Geoffrey: The Pardoner’s Tale, 45
Cleland, John: Memoirs of a Woman of Pleasure, 97–98
Coleridge, Samuel Taylor, 171
Defoe, Daniel: A Journal of the Plague Year, 86; Robinson Crusoe, 7–8, 63–88, 90, 111, 115–16, 125, 160, 175, 197; Serious Reflections of Robinson Crusoe, 4, 10–11, 78–80, 86
Descartes, René, 19–21, 35, 41, 62, 135, 174, 237n17
Don Quixote, 131
Emerson, Ralph Waldo, 100, 223
Emotion: in ancient Greek thought, 17; in Cartesian philosophy, 20; in Hume, 25; in neuroscience, 35; in psychology, 35–36, 118; in Stoic philosophy, 34; in visual art, 21–22
Fielding, Henry, 5, 8, 12, 115, 223; Apology for the Life of Mrs. Shamela Andrews, 121; Deist beliefs, 131; Joseph Andrews, 11, 122–23, 125–34, 225; Miscellanies, 132; Tom Jones, 31, 116–17, 122
Fielding, Sarah: The Adventures of David Simple, 124
Garrick, David, 119
Gender, relation to surprise, 12–13, 89–90, 96–97, 102, 111, 116, 123–24, 125, 128–29, 136, 142, 146, 150–58, 230–31
Goethe, Johann Wolfgang von, 178
Gothic fiction, 14, 32, 124, 138, 141, 145, 147–50, 156, 158, 161, 165, 169, 179, 197, 226, 231, 257n18
Gunpowder: moral critique of, 53; in New World encounters, 67; in Lockean anecdote, 68; in Robinson Crusoe, 69–71; in Joseph Andrews, 131
Hartley, David, 188
Hartman, Geoffrey, 173
Haywood, Eliza, 12–13, 91, 94–97, 248nn14, 16; Fantomina, 97; The Surprise, or Constancy Rewarded, 94–96
Hazlitt, William, 221
Herbert, George, 101
Hill, Aaron, 100; Essay on the Art of Acting, 127; The Walking Statue, 129
Hitchcock, Alfred, 18
Hobbes, Thomas, 85
Keats, John: Endymion, 203, 206, 207, 210; Hyperion, 199; “I Stood Tip-toe Upon a Little Hill,” 201, 204, 205; Lamia, 206; Letters, 199, 200, 203, 207, 210, 217; “Lines on Seeing a Lock of Milton’s Hair,” 208, 210, 212–13; “Ode on a Grecian Urn,” 211, 221; “Ode on Indolence,” 221; “Ode on Melancholy,” 201, 214, 216, 218–22; “Ode to a Nightingale,” 221; “Ode to Psyche,” 202, 206, 214–16; “On First Looking into Chapman’s Homer,” 206, 208, 209; “On the Sea,” 206; “On Seeing the Elgin Marbles,” 208, 209–10; “On Sitting Down to Read King Lear Once Again,” 213–14; “Sleep and Poetry,” 205–6; “Specimen of an Induction to a Poem,” 205; “To Autumn,” 221; “To Haydon with a Sonnet Written on Seeing the Elgin Marbles,” 210; “Why Did I Laugh Tonight?,” 216–19
Le Brun, Charles, 21–22, 35, 126–27, 174, 204
Lewis, C.S., 196
Locke, John, 3, 10, 25, 68, 188
Lukacs, Georg, 66
McKeon, Michael, 9, 63, 91–92, 116, 235n26, 247n8, 249n30
Milton, John: Christian Doctrine, 41–42, 43–44; conception of free will, 38–39, 43–44, 241n12, 243n27; “L’Allegro,” 219; materialist philosophy, 41, 56; Paradise Lost, 4, 38–45, 47–62, 127, 190, 196–97, 209, 211
Oracles, 106
Orlando Furioso, 111
Ovid, idea of metamorphosis, 4, 22, 40, 55, 60, 101, 124, 127, 129, 139
Passions: concept of, 5, 20, 38, 219; in The Faerie Queene, 45–46; in novelistic mimesis, 9; in Paradise Lost, 38–39, 54; in Robinson Crusoe, 64
Petrarch, 171
Phillips, Adam: on flirtation, 146; on boredom, 185
Pope, Alexander: Essay on Criticism, 176–77, 200; Peri Bathous, 122; The Rape of the Lock, 12
Probability, 26, 78–79, 158–59, 161, 162, 165, 257n29
Protestantism: conceptions of Providence in, 105, 133, 135, 159; idea of grace in, 196, 223
Psycholinguistics, 5
Radcliffe, Ann, 8, 169; The Mysteries of Udolpho, 154; The Italian, 145, 149–50, 182
Richardson, Jonathan, 24
Richardson, Samuel, 12, 31; Letters, 93–94, 100, 114; Pamela, 4, 10–11, 89–92, 99–114, 115–16, 119, 151; Pamela II, 114, 177
Richetti, John, 66
Shaftesbury, Anthony Astley Cooper, Third Earl of, 23, 236n13
Shakespeare, William, 3–4, 104
Shklovsky, Viktor, 33
Shock: in Aristotle’s Poetics, 6; modern conceptions of, 226–27
Sidney, Sir Philip, 194, 238n23
Smith, Adam, 27; The Theory of Moral Sentiments, 28–31
Spacks, Patricia Meyer, 7
Spenser, Edmund, 44–45; The Faerie Queene, 4, 45–47, 51, 53
Startle reflex, 3, 5, 35–36, 118, 150, 202–3
Sterne, Laurence, 5, 8, 31; sermons, 125; Tristram Shandy, 134–40, 179, 187–88, 224
Stoicism, 25–26, 34, 131, 133–34, 138, 151, 166–67
Sublime, the, 19, 24, 26–27, 148, 249n21, 257n18
Surprise: etymology of, 3, 38, 42–43; as reflection of youth, 146; in Cartesian philosophy, 20; in Johnson’s Dictionary, 4; in lyric form, 176–80, 198; in modern emotion theory, 4–5; in music, 33–34; in New Criticism, 180–81
Walpole, Horace, 8, 169; The Castle of Otranto, 124, 145, 147–49, 161, 182
Warner, William, 10, 90, 91–92
Wharton, Edith: The House of Mirth, 230–32
Wonder: intellectual history of, 18–19; in Burke, 26–27; in Cartesian philosophy, 20–21; in Johnson’s criticism, 26; in Hugh Blair’s rhetoric, 28; in Paradise Lost, 50, 52; in Plato, 17, 236n3; in The Faerie Queene, 51; in Shakespeare, 104
Wordsworth, William, 199, 201, 205, 217, 229; “Characteristics of a Child Three Years Old,” 193, 195; “I Wandered Lonely as a Cloud,” 193, 197; “The Idiot Boy,” 181; “My Heart Leaps Up,” 197; “A Night Piece,” 173, 193, 197; “Nutting,” 172; “Ode: Intimations of Immortality,” 172, 175; Preface to Lyrical Ballads, 175–86, 184; The Prelude, 171, 175, 183–86; “Resolution and In de pen dence,” 172, 197; “The Ruined Cottage,” 172; “She Was a Phantom of Delight,” 179; “Strange Fits of Passion,” 177, 218; “Surprised by Joy,” 190–91, 194–96, 217; “To H.C., Six Years Old,” 177; “The Two April Mornings,” 186–90; “Westminster Bridge” sonnet, 197; “A Whirl-Blast from a Hill,” 193, 206