Horace Walpole finishes his account of writing The Castle of Otranto (1764) with a wry look at its syntactics, confessing that late one night he “could not hold the pen to finish the sentence, but left Matilda and Isabella talking, in the middle of a paragraph.” A close look at the beginnings, middles, and ends not only of chapters but also of paragraphs and even sentences in this first gothic novel reveals syntactical passages behaving like subterranean passages. As readers, we often don’t know what’s coming until we turn the corner of the sentence and bump into it. The lack of quotation marks to distinguish dialogue (when quotation marks were entering into common use) repeatedly slides the reader down wrong turns; we mistake one speaker for another. Later editions would insert quotation marks, brightly lighting the syntactic interior. But what Walpole initiates for the gothic on the small level of typography and syntax as well as of atmosphere and plot is precisely the uneasiness of boundaries obscured and identities blurred. This chapter tracks the spatial implications of the shapes of sentences and the peculiarities of paragraphs in The Castle of Otranto to uncover a template of syntactical structures enacting gothic structures.

The history of recent wildlife extinctions and the widespread role of humans in these events are described. Conflicting views about the role of human numbers in wildlife declines are cited. There follows an outline of the book structure, highlighting the major proximal causes of declines in Britain , including persecution, urbanisation, agricultural intensification, climate change and disease, as detailed in subsequent chapters. There are also chapters on population growth, people's perceptions of population size and the implications for conservation A comparison of population densities in a range of countries reveals that the UK, especially England, has one of the highest densities in the world. The UK therefore provides an ideal study to investigate the impacts of human numbers on wildlife declines.

This introductory chapter introduces the reader to the topic of internal self-determination and why a study on it is required. The chapter also explains the critical approach adopted by the author and the chapter outline.

By mid-century, novel readers began to expect a printed framework for reading prose narrative consisting of cues such as page numbers, catchwords, chapter divisions and notes. This chapter tells the backstory of this navigational framework of the eighteenth-century novel that Sterne disrupts, before analysing his experimentation with mise en page. This study of Sterne’s manipulation of seemingly untouchable conventions of the printed page, such as pagination and catchwords, complements an approach to his more widely recognised interference with footnotes and chapters, and reveals the full extent of Sterne’s pioneering disruption of the format of the eighteenth-century book. I argue that Sterne’s innovations with footnotes, catchwords, chapters and pagination combine aspects of Scriblerian satire with more recent but perhaps lesser-known interventions in the codex by Thomas Amory in John Buncle (1756). Unlike Swift and Pope, however, and like Amory, Sterne deploys footnotes in the first edition of Tristram Shandy, encouraging the reader to approach at once all sections of the page in search of meaning and raising questions about literary authority from the outset.

This chapter presents data on the English novel from 1701 to 1810. Many of the trends in the French novel are shown to be repeated in England, although sometimes on a different timetable. Among the starker differences are a much more rapid decline of pseudofactuality and a more sudden and stronger uptake of the polyphonic epistolary novel. Data also suggest that these differences may be plausibly explained by the fact that the small production of English novels prior to 1750 made for an extremely unstable—and thus more easily modified—novel system.

This chapter examines a type of novel that spreads in the second half of the eighteenth century as the first-person document novel declines. This is a third-person novel that can be shown to be formally distinct from the romans and nouvelles popular before the take-over of document novels. It is characterized notably by its segmentation into chapters and by its use of opening scenes (as distinct from the biographical character sketch). The chapter further shows that while the spread of this form roughly correlates with the “fictionalization” of the novel observed in Chapter 1, truth posture and form are nonetheless independent variables. The new third-person novel was not inherently fictional; rather, it arose only after the value long accorded to literal truth had receded.

This chapter begins the text-critical study at the heart of the book. It analyzes the relationship between two different and redundant types of text-segments in the extant text, chapters (ādhyāyas) and topics (prakaraṇas). The chapters are shown to have been added at a later time. So, too, the verses that conclude each of these chapters in the extant text are shown to have been added along with the chapter segments. This chapter goes on to argue that all, or nearly all, of the verses in the text are later additions. Other additions made at the end of certain chapters are identified.

An overview of the historiography of the Arthaśāstra, beginning with a presentation of the text's formal and informal features. This chapter then goes on to explore the traditional history of the text, which assigns it to a figure called Cāṇakya who probably lived in the late fourth/early third century BCE. A critique of this account is offered based on a preliminary examination of the text's features. Rules out the possibility that the extant text could have been produced at one time by a single author.