Shelley, Mary. Lodore. Editor Vargo, Lisa, Broadview.
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Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Mary Shelley | This novel has an epigraph from John Ford
's The Lover's Melancholy, 1629, about the storms and turmoil of human life. Shelley, Mary. Lodore. Editor Vargo, Lisa, Broadview. 47 |
Intertextuality and Influence | Jane Gardam | The title given these stories may sound sentimental, but in fact it comes from a kind of cake made by a character who, when asked about her health, always replies that this is only one... |
Intertextuality and Influence | Muriel Spark | Spark's interest in Mary Shelley had first been aroused by reading Ariel, André Maurois' life of Percy Shelley
. She said later that writing this book against time for economic reasons and at the... |
Intertextuality and Influence | Alice Meynell | The forty poems date from the last five years before publication. Their styles are derivative. Song of the Day to the Night is reminiscent of Shelley
, Soeur Monique of Wordsworth
, An Unmarked Festival... |
Intertextuality and Influence | Emily Gerard | The title of A Sensitive Plant comes from the poem of the same name by Percy Bysshe Shelley
: his sensitive plant, too, is human, in his case a male poet. The sensitive character depicted... |
Intertextuality and Influence | Mathilde Blind | |
Intertextuality and Influence | Emily Gerard | This novel has two sections, Dream-Life and The Awakening, with an Intermezzo between the two: love is not part of the dream, but of the awakening to reality. The title-page quotation from La Fontaine |
Intertextuality and Influence | G. B. Stern | She begins by quoting in its entirety Robert Browning
's poem entitled Memorabilia, which as she observes is better known by its opening line, Ah, did you once see Shelley
plain? Stern, G. B. . And did he stop and speak to you?. Henry Regnery. prelims |
Intertextuality and Influence | Charlotte Despard | In this historically-based essay CD
sets out to deal not with individual women but with the great woman-principle. Shaw, Frederick John, editor. The Case for Women’s Suffrage. Unwin. 190 |
Intertextuality and Influence | Mary Elizabeth Braddon | This story of infidelity features an Italian financier who as a furiously jealous foreigner is compared to Shakespeare's Othello. (At least Provana is not black Braddon, Mary Elizabeth. Beyond These Voices. Hutchinson. 68 |
Intertextuality and Influence | Iris Murdoch | Her title applies to human beings an image which Percy Shelley
applied, in his Ode to the West Wind, to autumn leaves: like ghosts from an enchanter fleeing. Critic Peter J. Conradi
calls this... |
Intertextuality and Influence | Sarojini Naidu | For SN
, writing began as an act of rebellion. She wrote her first poem at the age of eleven when she became frustrated with an algebra problem, and thereupon decided to become a poet.... |
Intertextuality and Influence | Ann Radcliffe | Anna Seward
, in letters which were to be published in AR
's lifetime, mixed her praise of her gothic oeuvre with some trenchant criticism. Norton, Rictor. Mistress of Udolpho: The Life of Ann Radcliffe. Leicester University Press. 221-2 |
Intertextuality and Influence | Sarojini Naidu | The story of its publication has been told by Arthur Symons
and Edmund Gosse
, and their accounts reveal considerable English intervention to bring out the Indian aspects of her work. At the age of... |
Intertextuality and Influence | Mary Anne Duffus Hardy | Quoting a phrase originally used by the seventeenth-century Thomas Fuller
, she recalls how at the old slave mart people representing God's image, carved in ebony, were lined up like cattle for sale in most... |
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