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 descending | Author name | Excerpt |
|---|---|---|
| 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 | Mrs E. M. Foster | The novel parodies Germaine de Staël
's Corinne (which had appeared in French in 1807, in English in 1808). Chapters are supplied with epigraphs: some standard choices like Pope
and Cowper
, but also texts... |
| Intertextuality and Influence | Edith Sitwell | ES
's governess, Helen Rootham
, was a major influence on her intellectual development, since she introduced her to serious poetry, both English and French, making her the heir to two distinct traditions. By the... |
| Intertextuality and Influence | Elizabeth Singer Rowe | Her elegy may have influenced Pope
's Eloisa. |
| Intertextuality and Influence | Elizabeth Cooper | She notes that poets have lived difficult and unappreciated lives, and that many have been forgotten. Quoting a remark by Pope
(that time, which has made Chaucer
unintelligible, will one day do the same with... |
| 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 | Susanna Watts | The title-page quotes Pope
, who also (with his Messiah) stands first among the contents. Some pieces are unascribed; others are by Byron
(The Isles of Greece), Jane Taylor
(The Squire's... |
| 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 | 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 | Susanna Watts | At the outset the sisters are faced with the big question about slavery: What can I do for the cause? Watts, Susanna. The Humming Bird. I. Cockshaw. 4 |
| 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... |
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