Doody, Margaret Anne. Frances Burney: The Life in the Works. Cambridge University Press.
37
Connections Sort descending | Author name | Excerpt |
---|---|---|
Textual Features | Sarah Fielding | David Simple predates all fictional work by Samuel Johnson
and all but the earliest works by Henry Fielding
and Samuel Richardson
, which are sometimes mistakenly spoken of as its models. It may be seen... |
Textual Features | Mary Herberts | This ambivalently presented woman writer specialises in highflown rhetoric whose literal version is bathetic, foreshadowing a technique of Henry Fielding
: the Sun beginning (in the Countess's style) to hasten to the Embraces of his... |
Textual Features | Alethea Lewis | She heads her novel with a prefatory letter to the Rev. William Johnstone
, who, she says, has asked why she chooses to write fiction and not moral essays. She answers that novels offer opportunities... |
Textual Features | Frances Burney | Evelina opens with an ode to Charles Burney
(unnamed) as Author of my Being, which sounds like an apology for having written. Doody, Margaret Anne. Frances Burney: The Life in the Works. Cambridge University Press. 37 |
Textual Features | Sarah Gardner | This is not a well-constructed plot, since it is low in suspense, surprise, or even action. The play progresses like a series of disconnected sketches. The mistaken identity, parental opposition, and lack of money hampering... |
Textual Features | Mary, Lady Champion de Crespigny | The novel opens self-consciously, desiring the reader not to be a severe critic and explaining that the characters first introduced, William Hoskins and his wife Jenny, are worthy, honest people without pedigree or honours. Mary, Lady Champion de Crespigny,. The Pavilion. William Lane, Minerva Press. 1: 1 |
Textual Features | Anna Maria Mackenzie | AMM
's opening address To the Readers of Modern Romance says that ancient romance was put paid to by the new source of amusement . . . struck out by Henry Fielding
and Richardson
(to... |
Textual Features | Sarah Green | |
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... |
Textual Features | Jane Collier | It vividly reflects the liveliness and originality of JC
's mind, her interest in books (from the classics and the Bible to very recent publications), education, women's issues, family life, and in moral interpretation of... |
Textual Features | Jane Collier | The commonplace-book throws light on Collier's other extant writings as well. A casual mention of what Sally calls the Turba proves definitively that at least one neologism in The Cry stemmed not from her but... |
Textual Features | Sarah Fielding | In the novel Leonora relates in a letter the story of her unhappy love. The benevolent Parson Adams keeps groaning in sympathy as he hears the letter read aloud; this is probably a compliment by... |
Textual Production | Sarah Fielding | |
Textual Production | Anna Maria Bennett | AMB
published Juvenile Indiscretions, A Novel, written in the style of Henry Fielding
. Garside, Peter et al., editors. The English Novel 1770-1829. Oxford University Press. 1: 375 |
Textual Production | Mary Collyer | Marivaux' full title, La vie de Marianne; ou, Les aventures de Madame la Comtesse de*****, suggests a story from actual life. MC
wrote most of her version before 1741 (very soon after the French... |
No timeline events available.
No bibliographical results available.