Fane, Violet. The Edwin and Angelina Papers. World Office.
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Connections Sort descending | Author name | Excerpt |
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Textual Features | Violet Fane | The unnamed male narrator describes himself as a foreigner, but has lived in London long enough to be mistaken for an Englishman. Fane, Violet. The Edwin and Angelina Papers. World Office. 4 |
Textual Features | Isabella Lickbarrow | Her first poem, an Introductory Address to the Muse, uses the language of love and courtship: In secret shades alone I woo'd thee then / By stealth, nor to the world durst tell my love... |
Textual Features | Maria Riddell | MR
's own twenty poems include prefatory verses as editor, written for the occasion. She prints work by the late Henrietta O'Neill
(the well-known Ode to the Poppy), Georgiana Duchess of Devonshire
(St... |
Textual Features | Catharine Macaulay | Her topics here, all relevant to the escalating American demands for independence, are the declining economy, rising prices, and an oppressive burden of taxes. Copeland, Edward. Women Writing about Money: Women’s Fiction in England, 1790-1820. Cambridge University Press. 19 |
Textual Features | Elizabeth Boyd | EB
offers original, discriminating praise for women's writing: Susanna Centlivre
(her inspiration, she says), Eliza Haywood
(though she regrets her exposure of women's faults), Aphra Behn
, and Delarivier Manley
, whom she calls the... |
Textual Features | Constance Naden | The Elixir of Life opens with the waking vision of a man and woman in their summer prime, he looking like Apollo, she looking like an angel with just a touch of the siren or... |
Textual Features | Eliza Haywood | EH
's fictional Swift
is widely unlike the original, especially in prose style. |
Textual Features | Mary Savage | It is a poem highly characteristic of her manner: a moral tale featuring a personified quality, humorous, ironic, and written in octosyllabic couplets reminiscent of Swift
or Prior
. Prudence and Oeconomy are the daughters... |
Textual Features | Mary Astell | These poems succeed in making the Christian life of resignation and unselfishness into a series of heroic trials and combats. MA
has the makings of a fine poet in the grand style; she evidently learned... |
Textual Features | Fidelia | She explains that having waited four months for Swift
to answer her marriage proposal—still in love with him, having rejected other suitors for his sake, admiring his power of raillery, forgiving his harshness to women... |
Textual Features | Mary Savage | The opening poem, Nothing New, situates the anxieties of authors in regard to critics in the tradition of anxieties of lovers: both are right to be anxious. The contents include an English translation of... |
Textual Features | Frances Burney | Along with the sentimental and misunderstanding-prone lovers and the ridiculous esprit circle (which might so easily be taken to represent the Bluestockings), The Witlings features a women's working environment: a milliner's shop where seamstresses make... |
Textual Features | Delarivier Manley | This book is often seen as a sequel, and it retails the same type of scandal as the New Atalantis, but without the supernatural mediating characters. It too purports to be translated: this time... |
Textual Features | Fidelia | Fidelia defends herself against the suspicion of being a male in disguise: I feign my name, but not my sex. Gentleman’s Magazine. Various publishers. 5 (1735): 256 |
Textual Features | Dorothy Osborne | She trod a fine line as to the expression of her own feelings, for if the courtship should not end in marriage, she would have compromised her reputation. She converts this restriction into a rhetorical... |
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