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The reception and translation of eighteenth-century British poetry in the German-speaking world has been insufficiently charted. While there are detailed studies of Alexander Pope’s influence on and presence in the eighteenth-century poetic landscape and the book trade of German-speaking countries,1 the adaptation of Pope in print-cultural terms, the uses of paratextual material to supplement and explicate the text, as well as the illustrative paratexts frequently accompanying his editions, have not yet been explored.2 Pope’s canonic status has certainly ensured that scholars have traced the reception of his works, his self-fashioning, and the adaptation and reworking of his works in satiric and philosophical writings, but lyric and descriptive poets of the period, including William Collins and Thomas Gray, have largely and unduly been neglected. James Thomson (1700–1748), one of the most important poets of his day, is a case in point. His intertextual presence was examined long ago by Knut Gjerset who, in his doctoral dissertation Der Einfluss James Thomsons Jahreszeiten auf die deutsche Literatur des 18. Jahrhunderts (1898),3 introduced a range of poetic works that demonstrated and exemplified poets’ hypotextual transformation – in terms of literal translation or imitation – of Thomson’s long poem. Gjerset offered a descriptive source studies account and charted authors’ reading and textual/ideational transpositions of Thomson’s poem. His approach is anchored in an exploration of the literary textuality of The Seasons and does not take into account the cultural ramifications of the poem’s widespread popularity and currency throughout the second half of the eighteenth and first half of the nineteenth centuries. Yet, in view of the wider cultural significance of the text, the exclusive literary approach used by Gjerset and early twentieth-century critics

Print Culture and Visual Interpretation in Eighteenth-Century German Editions of Thomson's The Seasons