Schimmelpenninck, Mary Anne. Life of Mary Anne Schimmelpenninck. Editor Hankin, Christiana C., Longman, Brown, Green, Longmans, and Roberts.
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Connections | Author name Sort descending | Excerpt |
---|---|---|
Literary responses | E. Arnot Robertson | Again the sexual content was an issue. Devlin finds both reticence and modesty in EAR
, but critics found the book's sexual candour appalling, or called it crude or [r]ather too full blooded, or... |
Intertextuality and Influence | Susanna Haswell Rowson | As the title implies, the primary speaker and instructor is the father of the family, whose name, Mr Allworthy, comes from Henry Fielding
. The mother plays supporter to him. Both encourage the children to... |
Textual Production | Lady Margaret Sackville | LMS
's earliest works, which emerged from a romantic sense of beauty, defined her for decades of readers. In the first phase of her writing career, from 1900 to about 1915, she sought the delicate... |
Education | Mary Anne Schimmelpenninck | In the house of an aunt she was surprised to find novels (particularly those of Richardson
) a topic of conversation, Schimmelpenninck, Mary Anne. Life of Mary Anne Schimmelpenninck. Editor Hankin, Christiana C., Longman, Brown, Green, Longmans, and Roberts. 1: 118 |
Theme or Topic Treated in Text | Anna Seward | AS
's correspondence often deals with literary matters as well as with social matters and personalities. She writes with astonishing freedom to Hester Piozzi
about the latter's travel book Observations and Reflections: not only... |
Textual Production | Evelyn Sharp | ES
wrote by hand a long letter from Bow Street Police Court to C. P. Scott
, editor of the Manchester Guardian and thus her employer, in the light of her probably fast-approaching incarceration. The... |
Textual Features | Mary Martha Sherwood | Her introduction calls Sarah Fielding a sister of the celebrated Fielding
, and says that she, Sherwood, has retained the main story, the old-fashioned language, and just one of the fairy-tales as a sample of... |
Intertextuality and Influence | Ann Masterman Skinn | AMS
borrows from Richardson
a masquerade scene and her basic epistolary form, and radically revises a borrowing from him when her heroine stabs a would-be rapist with scissors. But her general tone and her enjoyment... |
Literary responses | Charlotte Smith | Some reviewers (who saw the novel as domestic rather than political) were not enthusiastic; the Critical claimed in a lengthy notice to be disappointed in almost every respect with this performance, and deplored the example... |
Intertextuality and Influence | Susan Smythies | |
Literary responses | Susan Smythies | The Critical Review later identified this story as an imitation of Henry Fielding
. Critical Review. W. Simpkin and R. Marshall. 7 (1759): 79 |
Literary responses | Susan Smythies | The Critical Review noted that SS
was imitating Richardson
in this novel (as she had imitated Fielding
in her last). In The Brothers it found all the machinery of a modern novel, without the overall... |
Author summary | Susan Smythies | SS
published three novels during the 1750s, which show her well versed both in the modern novel created by Henry Fielding
and Richardson
, and in an older tradition of satirical and didactic fiction relying... |
Intertextuality and Influence | Anna Steele | The novel begins with the Lisle family taking up residence at the ill-fated house of Gardenhurst, an estate that had been gambled away by its young heir during the reign of Charles II
, and... |
Intertextuality and Influence | Elizabeth Strutt | Her picture of ecclesiastical life features the other-worldly curate, Slender, the satirically-drawn rector, the Rev. Mr Plufty, and their respective daughters. ES
gives much of the story in the words of Slender's journal (always unworldly... |
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