Cooper, Maria Susanna. Letters Between Emilia and Harriet. R. and J. Dodsley.
6
Alexander Pope
-
Standard Name: Pope, Alexander
As well as being a translator, critic, and letter-writer, AP
was the major poetic voice of the earlier eighteenth century, an influence on almost everyone who wrote poetry during his lifetime or for some years afterwards.
Connections
| Connections Sort ascending | Author name | Excerpt |
|---|---|---|
| Intertextuality and Influence | Melesina Trench | A note in Campaspe confesses that the subject of the title-poem is over-ambitious. It is an allegory in which Alexander the Great
(representing Glory) resigns Campaspe (representing Beauty) to Apelles
the sculptor (Genius). This piece... |
| Intertextuality and Influence | Frances Jacson | |
| Intertextuality and Influence | Charlotte Nooth | CN
refers to several canonical English names (Pope
, Reynolds
, Garrick
, Shakespeare
, and Edmund Kean
in her first poem), and relates closely to continental women. She praises Germaine de Staël
for... |
| Intertextuality and Influence | Harriet Smythies | In a critical preface HS
reveals her gender though not her name. She opens by invoking the author of Rienzi (either, Mary Russell Mitford
or Edward Bulwer Lytton
). The two groups of lovers and... |
| Intertextuality and Influence | Maria Susanna Cooper | Harriet begins by loving the town better than the country. To Emilia, who prefers the country, she writes: Why Child, the very Thoughts of such a Life stupify me. |
| Intertextuality and Influence | Catharine Trotter | The negative influence of CT
's marriage on her career was very considerable. Years later, in a letter significantly addressed to the greatest writer of the age (that is Alexander Pope
), which it seems... |
| Intertextuality and Influence | Frances Jacson | The title-page quotes Pope
and Staël
. The novel's opening sounds like a tale of mysterious origins, but without the mystery. A quotation from Shakespeare
's Tempest—Prospero telling Miranda the story of her past—introduces... |
| Intertextuality and Influence | Elizabeth Boyd | A first prologue addresses Pope
, and invokes the ghosts of Shakespeare
(The Wonder, as the Glory of the Land) and Dryden
(Shakespear's Freind) as mentors to EB
's performance in... |
| Intertextuality and Influence | Elizabeth Pipe Wolferstan | |
| Intertextuality and Influence | Mona Caird | Her protagonist, ambiguous and unsympathetic Heilmann, Ann. New Woman Strategies: Sarah Grand, Olive Schreiner, Mona Caird. Manchester University Press. 183 |
| Intertextuality and Influence | Sarah Green | |
| Intertextuality and Influence | Elizabeth Isabella Spence | The Lily of Annandale is a retelling of the ballad Helen of Kirkconnel (who was accidentally killed by one of her rival lovers taking aim at the other). How to be Rid of a Wife... |
| Intertextuality and Influence | A. Mary F. Robinson | She dedicates A Ballad of Forgotten Tunes to Vernon Lee
, and addresses her by name in its closing stanza. She parodies the style of Pope
in Celia's Homecoming, written for her sister Mabel |
| Intertextuality and Influence | Sarah Green | |
| Intertextuality and Influence | Eliza Kirkham Mathews | The novel which emerged from so much interference during composition is naive, exaggerated, and badly structured, but highly unusual, with great intensity in its writing. Its title-page quotes Thomas Holcroft
, and its epigraphs to... |
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