Hutton, Catherine. Oakwood Hall. Longman, Hurst, Rees, Orme, and Brown.
3: 95
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Maria Edgeworth | Ormond, a young man seeking a role-model, turns at first to Fielding
's Tom Jones, but later and more laudably to Richardson
's Sir Charles Grandison. |
Intertextuality and Influence | Rachel Hunter | As its title implies, this novel sets out to flout fictional convention in its bourgeois attitudes and ineligible characters. For both preface and narrative RH
adopts the persona of the ugly Old Bachelor, Gilbert Grubthorpe... |
Intertextuality and Influence | Mary Julia Young | The story opens with Frederic Duvalvin rushing to the aid of an aged peasant and his mule (though he ruins his clothes in doing so), while his cousin Lorenzo di Rozezzi refuses to help. (These... |
Intertextuality and Influence | Catherine Hutton | Jane Oakwood says (presumably standing in for her author, as she often does) that in youth she was accused of imitating Juliet, Lady Catesby (Frances Brooke
's translation from Marie-Jeanne Riccoboni
). Hutton, Catherine. Oakwood Hall. Longman, Hurst, Rees, Orme, and Brown. 3: 95 |
Intertextuality and Influence | Sarah Green | |
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... |
Intertextuality and Influence | Sheila Kaye-Smith | She was helped and encouraged in this work by her friend the novelist Walter Lionel George
. Stern, G. B. . And did he stop and speak to you?. Henry Regnery. 79 |
Intertextuality and Influence | Sara Maitland | She points out that for all Brunton's highly moralistic intentions, Maitland, Sara, and Mary Brunton. “Introduction”. Self-Control, Pandora, p. ix - xi. ix |
Intertextuality and Influence | Mrs Martin | Each volume has an introductory chapter, addressing the reader in the manner of, and with some images borrowed from, Henry Fielding
or Laurence Sterne
(the latter, indeed, is mentioned by name). MM
hopes her reader... |
Literary responses | Penelope Aubin | Popular fiction of PA
's type is a target of parody in Henry Fielding
's Jonathan Wild. McDowell, Paula. “Narrative Authority, Critical Complicity: The Case of <span data-tei-ns-tag="tei_title" data-tei-title-lvl=‘m’>Jonathan Wild</span>”;. Studies in the Novel, Vol. 30 , No. 2, pp. 211-31. 215 |
Literary responses | Mary Charlton | The New London Review ranked this novel much above mediocrity although over-crowded with incident. It felt that MC
had made an error of judgement in putting into the mouths of her inferior personages what it... |
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 | 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... |
Literary responses | Eliza Haywood | In the Monthly Review, Ralph Griffiths
passed a judgement which was inflected against Betsy Thoughtless by issues of gender. He guessed that the author was female because of the novel's attention to matters of... |
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