Chapter 4 is an extensive study of runaway slave advertisements that mention that a slave speaks Dutch. For this chapter, I have compiled a database of 487 enslaved persons, coded by year of flight, name, age, Dutch language ability, name of master, county, and original source. I demonstrate that runaway slave advertisements in New York City and environs plateaued in the period 1760–1800, but peaked later in the Hudson Valley, with exceptional growth in the 1790s and 1800s. The data provide evidence for the persistence of the Dutch language in New York and New Jersey and contribute to a picture of Dutch-speaking slaves presenting a sharp economic challenge to the institution of slavery. By the 1790s, Dutch-speaking slaves were running away at a rate of at least 1 per 500 per year. For Dutch slave owners, this meant a significant loss of capital and, moreover, a risk on their remaining slave capital. Runaway slaves tended to be prime working-age males, and the loss of the best field workers frustrated New York Dutch farmers. The pressure of runaway activity also lowered the value of retained slaves and made New York slavery more costly in general. Runaways put pressure on slaveholders to manumit their slaves, extracting the most labor possible from them before agreeing to let them go.

Chapter 4 unpacks the conundrum faced by Restoration acting companies. Audiences wanted new works, spectacle, and theatrical innovation, but the unforeseen consequences of the duopoly hobbled the ability of the companies to respond nimbly to changing conditions. Strapped for money and shackled by the costs of maintaining their expensive, high-tech playhouses, the acting companies were hard pressed to keep up with rival entertainments and products now enticing Londoners. Coffeehouses, spas, pleasure gardens, dance recitals, and music concerts all offered convenience, variety, and value for money. Goods in expanded bourses also tempted consumers. The theatre largely responded to the new world of goods and pastimes through allusion and imitation, oftentimes to brilliant results. Intermedial exchange between the worlds of music and theatre resulted in the gorgeous dramatic operas still staged today. The new consumerism featured in the sparkling, witty comedies spoofing the London elite. Nonetheless, allusiveness could not rival actual experiences and commodities, which often could be had for less money and greater convenience than an afternoon at the playhouse.

The history of the print media”s engagement with sexuality is a topic of enormous complexity. Depictions of sexuality in the periodical press are shaped by cultural attitudes and beliefs, representational and reporting practices, political economies, and audiences across time and space. The print media have been richly social since their inception, and all but the most rigorously controlled media systems have covered topics of a sexual nature. Sexuality has been represented as an object of social regulation, a topic of prurient interest, a problem to be solved, regulated, or eradicated, a form of commerce, and even a patriotic or religious duty. The press has played a major role in the modern project of demarcating normal sex and sexual subjects from deviant practices and identities. It has fomented moral panics around sexuality and helped liberalize sexual norms, sometimes simultaneously. The commercial, advertising-driven press developed in tandem with the sexual content it contained, and has long been a vehicle for racialized narratives of rape, imperiled femininity, and vice, adultery, and divorce. Through advertisements, classifieds, and specialized content in “obscene” journals, print media have, in some contexts, advertised sexual services and even brought people together for various types of sex.

“Gulliver’s Travels has long been connected to, and appropriated within, visual culture. The maps and portraits in early editions of the text are part of a complex paratextual apparatus which purports to establish its authenticity and veracity while simultaneously debunking that illusion. However, more recent use of imagery taken – often radically out of context – from the Travels bears witness to the work’s changing status, from literary satire to an element of popular visual culture. This chapter studies some of the various forms and representations involved in these processes, including illustrations, paintings, graphic novels, cartoons, and advertisements, and examines the ways in which images of and relating to Lemuel Gulliver and his travels, which were once unconvincing indicators of authorial reliability, have evolved. Over the centuries, Swift’s imaginary voyage has increasingly been epitomised and reworked, becoming part of a collective iconography familiar to a global audience that has often little to no direct knowledge of the original text.”

This chapter analyses the material that precedes the chapter summaries and the main narrative of Gulliver’s Travels. It establishes that the purpose of the prefatory material, both verbal and visual, is to make the reader uncertain whether or not they are reading a true story. The purpose of that is to tease and vex the reader, with the broader satirical intention of calling into question the very concept of truth. Swift is pointing out that human beings are systematically perverting language so as to express intentionally untrue statements, chronic mendacity, and its destabilisation of the linguistic system being a manifestation of human corruption. The chapter examines political lying in the early eighteenth century, then literary lying in prose fiction, situating Gulliver as a critique of reader-credulity and ‘absorptive’ reading encouraged by novels. The chapter explains the aims of the text and its preliminaries in their 1726 and 1735 states.

Chapter 2 considers the archipelagic impact of the 1688 Revolution by examining the the War of the Two Kings in Ireland (1688–91). It analyzes how Irish events were mediated in newspapers such as the Orange Gazette and the London Gazette, both in the news stories and in advertisements for printed works such as maps, Richard Cox’s Hibernia Anglicana (1689) and James Farewell’s The Irish Hudibras (1689). It focuses on how the media event surrounding the relief of the siege of Derry shaped English perceptions of the rest of the conflict in Ireland. The importance of Derry was amplified by the visit of George Walker to London and by thanksgiving services held in churches in London. By examining the representation of the siege in John Mitchelburne’s Ireland Preserv’d (1705), this chapter also assesses how Ireland was subsequently erased from the memory of the so-called “Glorious Revolution” in Britain.

Chapter 4 examines the early mediation of the events of 1715 Rising within the context of a mediascape for news consisting of both the older form of manuscript newsletters and an increasing number of printed newspapers and periodicals. It compares reports about the developing conflict found in the manuscript newsletters sent to the Newdigate family between May 30 and September 29, 1715 with those printed in five newspapers during the same time period, suggesting that the affordances of the newspaper form both amplified the sense of discontinuity in the news about the Rising as it was unfolding and made that information available to a larger and anonymous audience. It explores the subsequent treatment of the conflict in two periodical essays published in 1715 and 1716: Richard Steele’s The Town-Talk and Joseph Addison’s The Free-Holder. It concludes by considering popular histories written in the immediate aftermath of the 1715 which reprinted information originally found in newsletters and newspapers. These histories both minimized what had been the threat of the 1715 Rising and helped to circulate Jacobite counter-memories.