Paul, Lissa. Eliza Fenwick, Early Modern Feminist. University of Delaware Press.
71
William Enfield
Standard Name: Enfield, William
Connections
| Connections | Author name Sort descending | Excerpt |
|---|---|---|
| Cultural formation | Hannah Cullwick | To all eyes she lived as Munby's servant; she often still slept in the basement kitchen. In the evenings, however, she played the role of a lady wife, sitting with Munby in the parlour, conversing... |
| Literary responses | Eliza Fenwick | Secresy had six reviews in 1795; EF
wrote much later that they blamed the principles but commended the style & Imagination. |
| Literary responses | Phebe Gibbes | The Critical Review thought it mediocre circulating-library fare (though the closing scenes were better than the rest), while William Enfield
in the Monthly Review praised this now lost work for its easy and agreeable style... |
| Literary responses | Phebe Gibbes | Conservative reviewers were offended. The Critical sneered at Maria (presented, it says, as far too wise for a young lady), who remains single , that she may have more time, we suppose, to write improbable... |
| Literary responses | Phebe Gibbes | This novel aroused much interest. One letter was reprinted almost entire, without attribution, on 2 July 1789 in the Aberdeen Magazine as a Picture of the Mode of living at Calcutta. In a letter from... |
| Literary responses | Ann Gomersall | Both the Monthly Review and Critical Review liked what they saw as Eleonora's simple plot, good morality, and Yorkshire humour. The Critical wished the author for the future the success which she so well... |
| Literary responses | Ann Gomersall | Again the Critical Review enjoyed AG
's humour, if not her plotting. It supposed her to be influenced by George Lillo
's bourgeois tragedy The London Merchant (having in mind, no doubt, the vindication of... |
| Literary responses | Susannah Gunning | SG
's new notoriety helped her popularity as a writer. The Gentleman's Magazine found Anecdotes to be the production of an elegant and accomplished mind, though it complained of printer's errors and errors in French... |
| Literary responses | Margaret Holford | This novel was somewhat condescendingly noticed in the Critical Review as artless, an interesting little story, related in a pleasing manner, though vulnerable to various criticisms. William Enfield
in the Monthly expressed indulgence towards... |
| Literary responses | Margaret Holford | William Enfield
, writing in the Monthly Review, found the narrative clumsily handled here, with the subplot hanging like a dead weight on the main story, and the characters, sentiments, and language alike unremarkable. Garside, Peter et al., editors. The English Novel 1770-1829. Oxford University Press. 1: 615 |
| Literary responses | Isabella Kelly | The Critical made a basic misjudgement of The Abbey of St. Asaph (seemingly paying more attention to title than to content): it listed all the appurtenances of the Radcliffe
an novel, with which it said... |
| Literary responses | Anna Maria Mackenzie | William Enfield
in the Monthly Review deplored the injudicious rendering of the simple Bible story into meretricious ornaments of redundant metaphors and prosaic rhythmus [sic]. Garside, Peter et al., editors. The English Novel 1770-1829. Oxford University Press. 1: 819 |
| Literary responses | Anna Maria Mackenzie | The Critical felt that this novel's power of raising feelings is but feeble, though at least such feelings would be on the side of virtue. William Enfield
in the Monthly was much more positive... |
| Literary responses | Margaret Minifie | The Critical belatedly noted: She is now no longer in partnership, but sets up for herself. Critical Review. W. Simpkin and R. Marshall. 50 (1780): 168 |
| Literary responses | Eliza Parsons | The Critical Review treated this work with respect while placing it firmly in an inferior category: strictly moral and generally pleasing . . . . We wish our circulating libraries were always so well supplied... |
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