Kant, Immanuel, 1724-1804 (Library of Congress Name Authority)—

German philosopher who marked the transition from the Enlightenment to the nineteenth century. His Beobachtungen über das Gefühl des Schönen und Erhabenen (1764) was translated as Observations on the Feeling of the Beautiful and Sublime. Among his major works that followed, the Kritik der reinen Vernunft (1781; translated as Critique of Pure Reason, 1855) established his fame when its ideas were condensed and reformulated in Prolegomena zu einer jeden künftigen Metaphysik (1783; translated as Prolegomena to Every Future Metaphysic, 1819).

Jonson, Ben, 1573?-1637 (Library of Congress Name Authority)—

An English playwright, poet, and literary critic, whose artistry exerted a lasting impact upon English poetry and stage comedy. He popularized the comedy of humours, a genre of comedy based on characters who each show one or two overriding traits based on the dominance of corresponding bodily humours. Known for satirical plays and for his lyric poetry, he is generally regarded as the second most important English dramatist, after William Shakespeare, during the reign of James I.

Jonas, Philip—

A conjurer or magician specializing in card tricks who was active during the mid to late eighteenth century in London. He was challenged briefly by a second Mr. Jonas in 1769, and for a time advertised himself as "the famous Jonas (who is the real and only Mr. Jonas)." A third Mr. Jonas performed under royal patronage at Bath as late as 1814.

Johnson, Samuel, 1709-1784 (Library of Congress Name Authority)—

Literary biographer, critic, fiction writer, moralist, and poet, Samuel Johnson was one of the two or three most important figures in eighteenth-century British literary history. His most notable poem, The Vanity of Human Wishes (1749), makes its content clear in its title. His fable Rasselas, first published under the title The Prince of Abissinia (1759), narrates the story of the residents of a fictional Happy Valley, who enjoy gratification of all wants, but nevertheless find themselves discontented because they have nothing to long or hope for and so no outlet to exercise imagination.