Maitland, Sara, and Mary Brunton. “Introduction”. Self-Control, Pandora, p. ix - xi.
ix
Connections | Author name Sort descending | Excerpt |
---|---|---|
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 Production | Anna Maria Mackenzie | The first volume has a frontispiece (two women meeting a man in armour) and the title-page quotes some lines about the insecurity of a throne won through ambition. These are ascribed to Fielding
's Merope... |
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... |
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 |
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 |
Theme or Topic Treated in Text | Elizabeth Montagu | EM
seems to have influenced this work as a whole, in persuading Lyttelton
to reshape it into dialogue from the epistolary form (letters from the dead to the living). Blunt, Reginald, and Elizabeth Montagu. Mrs Montagu, "Queen of the Blues", Her Letters and Friendships from 1762 to 1800. Constable. 2: 179 |
Occupation | Lady Mary Wortley Montagu | LMWM
acted as patron to a number of writers (all male so far as is known), most notably Richard Savage
and Henry Fielding
, but also Edward Young
and Samuel Boyse
. Books to which... |
Textual Production | Lady Mary Wortley Montagu | Before she did so in public, LMWM
replied in private to Pope's attacks, in responses to and imitations of his Dunciad: mock-epic fantasies in which Pope and his confederates appear somewhat awkwardly as allies... |
Textual Features | Louise Page | In the book of the non-existent film, chapters have sub-Henry-Fielding
descriptive titles (In which Sir Roderick survives and Isabella returns to the home from which she has lately fled). In the first chapter... |
Intertextuality and Influence | Emma Parker | In her paratexts EP
addresses the reader as he and (somewhat familiarly, in the style of Henry Fielding
) as thou. The preface takes a playfully insulting tone with readers. She tells them they... |
Textual Production | Teresia Constantia Phillips | The narrator claims not to be TCP
, but a close male friend. A prime suspect is the hack writer Paul Whitehead
, who was one of her lovers. Nevertheless the tone has convinced many... |
Literary responses | Teresia Constantia Phillips | The Thais of the title was an ancient courtesan. Historian Kathleen Wilson
says that in JamaicaTCP
acquired the nickname of The Black Widow in allusion to her many marriages and her supposedly destructive effect... |
Intertextuality and Influence | Beatrix Potter | BP
deliberately situates some of her stories in long traditions. The eponymous hero and heroine in Two Bad Mice are named after Henry Fielding
's tiny prototype Tom Thumb and Hunca Munca in the mock-heroic... |
Literary responses | Samuel Richardson | This ground-breaking novel provoked wild enthusiasm among general readers, and a number of unauthorised continuations. Henry Fielding
's Shamela and Eliza Haywood
's Anti-Pamela are the most satirical among these. |
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