Henry Fielding

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Standard Name: Fielding, Henry

Connections

Connections Author name Sort ascending Excerpt
Occupation Lady Mary Wortley Montagu
LMWM acted as patron to a number of writers (all male so far as is known), most notably Richard Savage and Henry Fielding , but also Edward Young and Samuel Boyse . Books to which...
Textual Production Lady Mary Wortley Montagu
Before she did so in public, LMWM replied in private to Pope's attacks, in responses to and imitations of his Dunciad: mock-epic fantasies in which Pope and his confederates appear somewhat awkwardly as allies...
Literary responses Margaret Minifie
The Critical belatedly noted: She is now no longer in partnership, but sets up for herself.
Critical Review. W. Simpkin and R. Marshall.
50 (1780): 168
It approved the novel's morally didactic tone, its style, characters, and narrative, but warned that it...
Textual Features Mary, Lady Champion de Crespigny
The novel opens self-consciously, desiring the reader not to be a severe critic and explaining that the characters first introduced, William Hoskins and his wife Jenny, are worthy, honest people without pedigree or honours.
Mary, Lady Champion de Crespigny,. The Pavilion. William Lane, Minerva Press.
1: 1
Intertextuality and Influence Mrs Martin
Each volume has an introductory chapter, addressing the reader in the manner of, and with some images borrowed from, Henry Fielding or Laurence Sterne (the latter, indeed, is mentioned by name). MM hopes her reader...
Intertextuality and Influence Sara Maitland
She points out that for all Brunton's highly moralistic intentions,
Maitland, Sara, and Mary Brunton. “Introduction”. Self-Control, Pandora, p. ix - xi.
ix
the reason that her Laura needs self-control is that her feelings are passionate, and also that Laura is attracted to heroes created by women...
Textual Production Anna Maria Mackenzie
Francis, The Philanthropist is included among Chawton House Library 's Novels On-line at http://www.chawtonhouse.org/?page_id=55488. The author (not AMM ) says she intends, even though she admires Richardson , to emulate Henry Fielding and Smollett ...
Textual Features Anna Maria Mackenzie
AMM 's opening address To the Readers of Modern Romance says that ancient romance was put paid to by the new source of amusement . . . struck out by Henry Fielding and Richardson (to...
Textual Production Anna Maria Mackenzie
The first volume has a frontispiece (two women meeting a man in armour) and the title-page quotes some lines about the insecurity of a throne won through ambition. These are ascribed to Fielding 's Merope...
Textual Features Alethea Lewis
She heads her novel with a prefatory letter to the Rev. William Johnstone , who, she says, has asked why she chooses to write fiction and not moral essays. She answers that novels offer opportunities...
Intertextuality and Influence Alethea Lewis
Her first chapter explicitly addresses critics, and the authorial voice is often in dialogue with imagined readers—who are given a kind of life as typical young eligibles: the lovely Florinda and her favoured swain.
Feminist Companion Archive.
AL
Literary responses Alethea Lewis
The Critical Review praised AL 's ability to invent and entertain, but objected to the detailed depiction of villainy (inviting imitation) and the authorial remarks in the manner of Fielding , without his genius...
Literary responses Charlotte Lennox
CL 's The Female Quixote was crucially reviewed by Henry Fielding in his Covent Garden Journal.
Fielding, Henry. The Covent-Garden Journal. Editor Jensen, Gerard Edward, Vol.
2 vols.
, Russell and Russell.
2: 279-82
Friends, Associates Charlotte Lennox
She met Sarah Fielding at Richardson's house, and became friendly also with Henry Fielding , Saunders Welch (the philanthropist, who later offered her employment), and Lord Orrery . She was presumably the Mrs Lenox with...
Textual Features Charlotte Lennox
The novel's opening is an early example of a technique which was to remain popular with authors for generations: About the middle of July 17 — . . . , where the precise day and...

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