ction--shares very closely with Johnson's other work a spirit of wild variety, eccentric juxtaposition, and essential anarchism that is meant to lead, not to clever parody of polite literature, but to a new, almost apocalyptic vision of the sublime.
[Footnote 5: See ARS 216, x, n. 12. Professor Guffey offers parallels between The Merry-Thought and Hurlothrumbo in "Graffiti, Hurlo Thrumbo, and the Other Samuel Johnson," Forum: A Journal of the Humanities and Fine Arts 17 (1979): 35-47.]
[Footnote 6: Michael Treadwell has demonstrated that the "trade publishers" of the eighteenth century, such as James Roberts, acted almost exclusively as binders and distributors of books and were therefore different in kind from the printers and booksellers, who were directly involved in the selection and production process. Roberts and the other "trade publishers" dealt almost exclusively in "works belonging to others," and Treadwell singles out Roberts as the
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