Pearson, Susanna. The Medallion. G. G. and J. Robinson.
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Samuel Richardson
-
Standard Name: Richardson, Samuel
SR
's three epistolary novels, published between 1740 and 1753, exerted an influence on women's writing which was probably stronger than that of any other novelist, male or female, of the century. He also facilitated women's literary careers in his capacity as member of the publishing trade, and published a letter-writing manual and a advice-book for printers' apprentices.
Connections
| Connections Sort descending | Author name | Excerpt |
|---|---|---|
| Intertextuality and Influence | Eliza Parsons | Georgina, heroine of this novel, seems to contradict the (comparatively) egalitarian message of the previous one, since her eventual marriage choice is negatively directed by the need for people to marry within their rank. She... |
| Intertextuality and Influence | Frances Sheridan | This novel's genesis lay in financial need and the encouragement given to FS
by Samuel Richardson
when he read her early romance. By late 1759 she was working at Sidney Bidulph, without telling her... |
| Intertextuality and Influence | Mary Collyer | MC
's letter-writing heroine is a young Londoner who ecstatically discovers and settles in the country. The plot concerns the love between her and the sentimental Lucius Manly, described as a poor Shaftesburean
moralist... |
| Intertextuality and Influence | Jane Johnson | Inspired by the use of stories in family education by Richardson
's Pamela, JJ
wrote, printed and bound for her daughter and eldest son A very pretty story to tell Children when they are about... |
| Intertextuality and Influence | Catherine Gore | Historical personages, from the Prince of Wales
and his mistress Lady Jersey
downwards, do appear in this book. It ends on the death of Charles James Fox
, apostrophised as one of the great and... |
| Intertextuality and Influence | Mrs F. C. Patrick | In the course of a busy plot Augusta is abducted, but saves herself from a forced marriage (her mother, the instigator of this outrage, affects to think her married in the sight of Heaven) by... |
| Intertextuality and Influence | Mary Collyer | The protagonist's name had been used by both Richardson
(in Clarissa) and Henry Fielding
(in Tom Jones) as a kind of generic appellation for a specific maid or young woman of the servant... |
| Intertextuality and Influence | Eliza Haywood | Working on a perhaps fifteen-year-old text, Haywood made only slight revisions, many of them matters of tone and sensibility, as when Cupid, once the ensnaring God becomes the ensnaring deity. Her change of old-style... |
| Intertextuality and Influence | Sarah Pearson | An introductory address To the Reviewers urges them (with the trembling deemed appropriate for a woman writer) not to read the book in the morning but in the period of good humour after dinner. |
| Intertextuality and Influence | Frances Sheridan | The Editor's Introduction names not only Richardson
, but also John Home
, whose tragedy Douglas, read aloud in the novel's opening pages, reminds Sidney's friend Cecilia of the old story of Sidney's distresses... |
| Intertextuality and Influence | Mary Collyer | Betty is literally born in a barn after her destitute and pregnant mother is moved on by heartless parish officers. She survives the stigma of bastardy (though actually born in wedlock) and the hardships of... |
| Intertextuality and Influence | Tabitha Tenney | With Charlotte Lennox
's The Female Quixote as starting-point, this story follows a novel-reading heroine whose response to events and people in actual life is distorted by what she reads. It seems quite likely that... |
| Intertextuality and Influence | Cassandra Cooke | In a preface CC
says she found the incident that forms the centre of this novel in The Christian Life by Dr John Scott
(that is The Christian Life, from its beginning to its consummation... |
| Intertextuality and Influence | Sheila Kaye-Smith | She was helped and encouraged in this work by her friend the novelist Walter Lionel George
. Stern, G. B. . And did he stop and speak to you?. Henry Regnery. 79 |
| Intertextuality and Influence | Tabitha Tenney | Dorcasina's next suitor, Patrick O'Connor, who appears after the lapse of a dozen years, is after her money. He is Irish, aged twenty-two, the natural son of a steward, a gamester and former highwayman who... |
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