Shelley, Mary. The Journals of Mary Shelley, 1814-1844. Editors Feldman, Paula R. and Diana Scott-Kilvert, Johns Hopkins University Press.
428
Connections Sort descending | Author name | Excerpt |
---|---|---|
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... |
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 Production | Dorothy Wellesley | DW
set up her own Penns in the Rocks Press
and in conjunction with publishers William Collins
produced volumes of Byron
and Shelley
each illustrated in black-and-white and colour. OCLC WorldCat. http://www.oclc.org/firstsearch/content/worldcat/. Accessed 1999. |
Textual Production | Kathleen Nott | KN
published The Good Want Power. An essay in the psychological possibilities of liberalism, titled from a pronouncement of Percy Bysshe Shelley
which continues: the powerful goodness want. “The Times Digital Archive 1785-2007”. Thompson Gale: The Times Digital Archive. 60049 (7 July 1977): 19 |
Textual Production | Kate O'Brien | KOB
explores the topic of a lesbian relationship in As Music and Splendour, her last novel, whose title quotation (from a lyric by Percy Bysshe Shelley
) implies that the relationship will not be... |
Textual Production | Felicia Hemans | In a letter of 1822, in mock despair at the interruptions resulting from writing in a home occupied by children and renovators, FH
casts herself as Beatrice in Shelley
's The Cenci (which she misattributes... |
Textual Production | Amabel Williams-Ellis | Her completion of the novel was delayed and nearly prevented when she suffered a serious concussion; however, her friend Storm Jameson
helped bring the text to publication by acting as proofreader and advisor. Williams-Ellis, Amabel. All Stracheys Are Cousins. Weidenfeld and Nicolson. 152 |
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 | 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 |
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