This chapter traces the history of the essay against the backdrop of changing theories of distraction in the long eighteenth century. As the population of urban centres grew, readers’ seemingly waning attention spans had to counter a barrage of auditory and visual stimuli. Everyday diversions were compounded by literary ones: falling paper costs led to an explosion of print material, forcing the periodical essay to compete with a dizzying array of prose fiction, poems, sermons, and histories. Focusing on a series of prominent eighteenth-century and Romantic essayists, particularly Samuel Johnson, Leigh Hunt, and Charles Lamb, we argue that the essay form is powerfully shaped by its engagement with the wandering mind. Debates over distraction that began in the Enlightenment continue to shape the genre today, as modern essay forms – New York Times essays, blogs, Twitter feeds – continue to structure themselves around assumptions about short attention spans.

The extraordinary popularity of essays amongst British readers in the eighteenth century coincided with the rise of the idea of the professional author – an historical convergence that reflects both the popularity of the genre with writers of the age and the prominence of the essay as a discursive space in which the idea of literary professionalism could be imagined. Throughout the century, essay writers repeatedly emphasised not just the spirit of polite sociability evoked by Joseph Addison and Richard Steele in The Spectator, but more self-ironically, the ways that their digressive and miscellaneous style and everyday focus resonated with the pressures of commercial modernity. In doing so, they articulated a version of literary professionalism that grounded its value in precisely the sorts of apparent limitations that authors were embracing as a basis of the essay genre.

This chapter traces the development of the essay in the context of a world of early eighteenth-century sociability constituted by coffee shops, periodicals, and a variety of informal clubs and societies. Never simply a reflection of a prior social reality, the periodical essay developed as part of a self-consciously created mythos of ‘polite literature’ designed to regulate manners in the inchoate and often contentious social world from which it represented itself as emerging. In the skilful hands of Joseph Addison and Richard Steele, among others, the polite essay shaped values of agreeableness, conversability, and formal equality that helped define a remarkably durable idea of polite literary culture still in play – if increasingly represented as passing away – for essayists like William Hazlitt and Leigh Hunt writing a century later.

Although there is no equivalent term for ‘essay’ in either Greek or Latin, ancient literature was instrumental to the development of the English essay in the seventeenth and eighteenth centuries in three principal ways. First, some classical prose works provided stylistic models for early English essayists. Second, some ancient authors (Seneca in particular) processed information in a way that resonated with later essay writers; even if there were not ancient essayists, there were ancient ways of reading and writing that were fundamentally essayistic. And finally, the essay became one of the principal ways that readers gained access to ancient texts and ideas.

The chapter shows the outsize influence of the British periodical essay tradition, represented in publications like Addison and Steele’s Spectator (1711– 12), on eighteenth-century American periodical essays. The British series presented themselves as the musings of fictional personae who lived in cities. The persona (almost always male) wandered about town, reflecting on what he observed and overheard in coffeehouses, streets, theaters, and other places of business or leisure. He was often diverted and sometimes frustrated by his fellow citizens; he also strived to enlighten with casual criticism of the arts or musings on the relevance of religion and history to everyday life. A pervasive, low-level irony was common in these writings. American essayists such as Benjamin Franklin, Washington Irving, and Judith Sargent Murray borrowed from the British model, customizing it for an American readership. The most original early American essay series sketch in their personae a knowing independence of mind amid a distracted and unreflective urban crowd, a rhetorical standpoint that paradoxically would come to define a newly nationalistic body of literature in the nineteenth century.

The third chapter suggests that The Spectator’s characters set important precedents of diversion, originality and realism for the caricature talk that constituted realist character in the critical recognition and writing of the Romantic novel. The second part of the chapter shows how anti-caricature rhetoric became conventionalised in late eighteenth-century essays that sought to explain and promote the appeal of Addison and Steele’s character ’Sir Roger De Coverley’.