Stern, G. B. . And did he stop and speak to you?. Henry Regnery.
79
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 | 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
. |
| Intertextuality and Influence | Anna Maria Mackenzie | This work is flowery and sentimental in style, didactic in aim. In the first letter Colonel Francis Belville, newly returned to Burton Wood (a sweet retreat, in the Wilds of Kent) Mackenzie, Anna Maria. Burton–Wood. In a Series of Letters. W. Sleater, S. Price, T. Walker, J. Beatty, R. Burton, H. Whitestone, P. Byrne, T. Webb, J. Cash. 1: 5 |
| Intertextuality and Influence | Tabitha Tenney | Neither the Cumberland episode, nor her father's death, nor her own serious illness brought on by grief, can change Dorcasina. She next fancies that a new servant, John Brown, is a lover in disguise. (The... |
| Intertextuality and Influence | Anna Maria Bennett | Sentiment, however, prevails. In further plot twists, it emerges that Agnes is after all legitimate, while Lady Mary's apparently privileged daughter is illegitimate (and her wealth is not hers after all), since James Neville had... |
| Intertextuality and Influence | Ann Thicknesse | Richard Graves may have been disappointed, for the introduction and early lives are substantially the same as in the 1778 version which he had already read (though Hester Mulso Chapone
has been added to the... |
| Intertextuality and Influence | Sarah Green | |
| Intertextuality and Influence | Anne Plumptre | Lionel's feelings for her are mediated through the comments of other characters, his realisation that Dick Ryder secretly loves her, and his growing familiarity with her as a family friend. Harry, meanwhile, faces several new... |
| Intertextuality and Influence | Ann Masterman Skinn | AMS
borrows from Richardson
a masquerade scene and her basic epistolary form, and radically revises a borrowing from him when her heroine stabs a would-be rapist with scissors. But her general tone and her enjoyment... |
| Intertextuality and Influence | Maria Susanna Cooper | Secrecy and self-sacrifice are the keynotes of admired female behaviour here, and the story itself is overwhelmed by the emotions produced: Mrs Frankly writes to Lucy, for instance, can you pity and excuse the tedious... |
| Intertextuality and Influence | Sarah Green | The heroine's name, Clarissa, is presumably a belated tribute to Richardson
. It is hard to gauge the weight of the allusion. Beautiful, dignified, superior, and so forth, Clarissa Dorrington is persecuted by her guardian's... |
| Intertextuality and Influence | Lady Mary Wortley Montagu | Her choice of genres came from her reading in French, not English, fiction, though Louisa (one of two survivors from a cycle of tales set at the court of Louis XIV
of France) also... |
| Intertextuality and Influence | Susan Smythies | |
| Leisure and Society | Mary Martha Sherwood | |
| Literary responses | Sarah Fielding | Samuel Richardson
respected The Cry as a new Species of Writing, sent copies to two friends (Sophia Wescomb
and Dorothy, Lady Bradshaigh
), and wanted it to go into a second edition— Londry, Michael. “Our dear Miss Jenny Collier”. Times Literary Supplement, pp. 13-14. 13 |
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