Critical Review. W. Simpkin and R. Marshall.
50 (1780): 168
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 |
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 |
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. |
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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