Mudge, Bradford Keyes, editor. Dictionary of Literary Biography 116. Gale Research.
129
Connections | Author name Sort descending | Excerpt |
---|---|---|
Reception | Catherine Gore | Charlotte Brontë
wrote to CG
to voice her admiration: not the echo of another mind—the pale reflection of a reflection—but the result of original observation, and faithful delineation from actual life. Mudge, Bradford Keyes, editor. Dictionary of Literary Biography 116. Gale Research. 129 |
Reception | Catherine Gore | Mrs. Armytage; or, Female Domination was received by the Athenæum as a clever work, as everything which comes from the pen of Mrs. Gore must be. Athenæum. J. Lection. 454 (1836): 482 |
Textual Production | Catherine Gore | In The Cabinet MinisterCG
borrowed the foundations of a plot from Jane Austen
once more, in the story of an impoverished sister and brother, Bessy and Frank Grenfell, brought up out of reluctant charity... |
Intertextuality and Influence | Catherine Gore | She quotes Byron
on the title-page. Gore, Catherine. Cecil; or, The Adventures of a Coxcomb. R. Bentley. title-page |
Textual Features | L. E. L. | The novel also has a strong political element. It comments on the power of newspapers in national life, through reporting and editorials but also through advertising. Mr Delawarr is, says literary historian Edward Copeland, a... |
Textual Features | L. E. L. | The story opens with a situation borrowed from Jane Austen
's Pride and Prejudice: a mother desperate to get five daughters safely married because the family estate is entailed away in default of a... |
Literary responses | Marguerite Gardiner, Countess of Blessington | Edward Copeland
writes that this novel combines aristocratic gossip, mistaken identities and gross newspaper falsifications that drive its plot for three volumes of romantic confusions. Copeland, Edward. The Silver Fork Novel. Cambridge University Press. 178 |
Literary responses | Marguerite Gardiner, Countess of Blessington | The London Court Journal and the London Literary Gazette agreed that this novel was even better than MB's Elderly Gentleman. The latter ascribed this to the niceties of feminine perception: the workings of the... |
Textual Features | Elizabeth Meeke | So unabashed a writer of formula fiction was EM
that she often recycles her tropes and devices from one novel to the next. She is particularly given to endowing her protagonists (invariably male) with mysterious... |
Literary responses | Elizabeth Meeke | Literary historian Edward Copeland
points out that the hero and the Wheelers are opposites in their relation to money, and also that Mrs Wheeler's death (in hospital of injuries received from falling downstairs while drunk)... |
Textual Production | Elizabeth Meeke | The Critical Review listed it under these variant titles in two successive months. Critical Review. W. Simpkin and R. Marshall. 4th ser. 6 (1814): 520, 616 Roberta Magnani
dates this as 1815. Edward Copeland
refers to it by its earlier title only... |
Literary Setting | Eliza Parsons | This novel is part-epistolary (all the letters being in continuation from the Scottish Anna Sidney—who later becomes Lady Kilmorney—to her older friend Mrs Grenville), partly in dialogue, partly in the form of Anna's journal, and... |
Textual Production | Sarah Scudgell Wilkinson | Literary historian Edward Copeland
says she was the established conductor of this conservative periodical in this year. Copeland, Edward. Women Writing about Money: Women’s Fiction in England, 1790-1820. Cambridge University Press. 346 |
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