Shelley, Mary. “Introduction”. Frankenstein, edited by David Lorne Macdonald and Kathleen Scherf, Broadview, pp. 11-43.
33
Connections Sort ascending | Author name | Excerpt |
---|---|---|
Textual Production | Anna Mary Howitt | She chose epigraphs to chapter one from Keats
and James Shirley
, to chapters three and fourteen from Mary Howitt
, and elsewhere from Elizabeth Barrett Browning
, Percy Bysshe Shelley
, and writers in French, German, and Italian. |
Textual Production | Mary Shelley | The manuscript of Frankenstein, now in the Bodleian Library
and featuring the hands of both MS
and her husband
, forms the centrepiece of the Shelley-Godwin Archive (http://shelleygodwinarchive.org/), whose first phase was opened to... |
Textual Production | Mary Shelley | |
Textual Production | Mathilde Blind | MB
delivered to the Shelley Society
a lecture on Percy Bysshe Shelley
at St George's Hall, Langham Place in London. The lecture drew the attention of the Editor of the Westminster Review. Garnett, Richard, and Mathilde Blind. “Memoir”. The Poetical Works of Mathilde Blind, edited by Arthur Symons and Arthur Symons, T. Fisher Unwin, pp. 1-43. 24 |
Textual Production | Ella D'Arcy | EDA
's last book was her translation into English of Ariel, the biography of Percy Bysshe Shelley
written by André Maurois
, published, like her other books, by John Lane
. “The Times Digital Archive 1785-2007”. Thompson Gale: The Times Digital Archive. 43576 (15 February 1924): 17 Clarke, John Stock. Ella D’Arcy. |
Textual Production | Mary Shelley | MS
helped Edward John Trelawny
by editing his autobiographical Adventures of a Younger Son, 1831: among other things she added epigraphs from both Byron
and Percy Shelley
, and supplied his title. She also... |
Textual Features | Kathleen Raine | |
Textual Features | Helen Dunmore | The title poem pictures a man skating on a pond; he has the air, though, of a long-distance rather than a pleasure skater, and the poem imagines him going on forever, mounting the crusted waves... |
Textual Features | Margiad Evans | A poem dating probably from early 1950 speaks of her firm conviction of the separateness of music and poetry. There is, she wrote, no music in poems: she never heard in poetry either an organ... |
Textual Features | Edna Lyall | The story opens with Charles Osmond's son Brian, a young doctor in Bloomsbury, and his daily observation of a tall schoolgirl on her way home with her books. This is Erica Raeburn, who has... |
Textual Features | Dorothy Wellesley | DW
's selection, though, demonstrates a serious interest in women's literary and feminist history. Of the selections whose authors can be identified, almost half are women. Though Marguerite, Lady Blessington
, doyenne of the albums... |
Textual Features | Mary Shelley | When she resumed her journal after Percy Shelley
's death she headed it The Journal of Sorrow—Begun 1822. But for my Child it could not End too soon. Shelley, Mary. The Journals of Mary Shelley, 1814-1844. Editors Feldman, Paula R. and Diana Scott-Kilvert, Johns Hopkins University Press. 428 |
Textual Features | Una Marson | UM
's poetry has sometimes been characterised as uneven. Her best poems, however, explore black, female identity with perception and passionate honesty. Despite the pervasive influence on her work of Romantic poets such as Shelley |
Textual Features | Edith Sitwell | The English edition appeared the following year. Her choice for inclusion is, as usual, idiosyncratic. She begins well before Chaucer
, with anonymous early religious poems in which may be heard, she writes, the creaking... |
Residence | Mary Shelley | Having spent four days travelling from Pisa, MS
and her family moved into their house at Lerici, almost on the seashore; she was still there when her husband
was drowned. Shelley, Mary. The Journals of Mary Shelley, 1814-1844. Editors Feldman, Paula R. and Diana Scott-Kilvert, Johns Hopkins University Press. 410 and n3 Shelley, Mary. “Introduction”. Frankenstein, edited by David Lorne Macdonald and Kathleen Scherf, Broadview, pp. 11-43. 42 |
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