Garside, Peter. “The English Novel in the Romantic Era: Consolidation and Dispersal”. The English Novel 1770-1829, edited by Peter Garside et al., Oxford University Press, pp. 2: 15 - 103.
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Connections
| Connections Sort descending | Author name | Excerpt |
|---|---|---|
| Literary responses | Elizabeth Hervey | The Critical Review thought the protagonist and his adventures too closely modelled on Henry Fielding
's Tom Jones, |
| Literary responses | Samuel Richardson | This ground-breaking novel provoked wild enthusiasm among general readers, and a number of unauthorised continuations. Henry Fielding
's Shamela and Eliza Haywood
's Anti-Pamela are the most satirical among these. |
| 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 | E. Arnot Robertson | Again the sexual content was an issue. Devlin finds both reticence and modesty in EAR
, but critics found the book's sexual candour appalling, or called it crude or [r]ather too full blooded, or... |
| Literary responses | Mary Julia Young | The Critical Review (in January 1804) noted the catchpenny appeal of the title to devotees of the gothic: in these days when ghosts and mysteries are so fashionable. It thought, however, that this novel told... |
| Literary responses | Margaret Calderwood | The editor of MC
's travel account, Alexander Fergusson
, did not think much of her novel; he wrote that it scarcely fulfilled expectations. Calderwood, Margaret. “L’envoi”. Letters and Journals, edited by Alexander Fergusson, David Douglas, pp. 353-78. 356 |
| Literary responses | Mary Julia Young | The Critical Review (besides alleging indebtedness to Henry Fielding
) judged that both characters and story were well done, but that the ending was wildly improbable. Critical Review. W. Simpkin and R. Marshall. 3 (1804): 470 |
| Literary responses | Charlotte Smith | Some reviewers (who saw the novel as domestic rather than political) were not enthusiastic; the Critical claimed in a lengthy notice to be disappointed in almost every respect with this performance, and deplored the example... |
| Literary responses | Penelope Aubin | Popular fiction of PA
's type is a target of parody in Henry Fielding
's Jonathan Wild. McDowell, Paula. “Narrative Authority, Critical Complicity: The Case of <span data-tei-ns-tag="tei_title" data-tei-title-lvl=‘m’>Jonathan Wild</span>”;. Studies in the Novel, Vol. 30 , No. 2, pp. 211-31. 215 |
| Literary responses | Mary Charlton | The New London Review ranked this novel much above mediocrity although over-crowded with incident. It felt that MC
had made an error of judgement in putting into the mouths of her inferior personages what it... |
| 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 |
| Literary responses | Susan Smythies | The Critical Review later identified this story as an imitation of Henry Fielding
. Critical Review. W. Simpkin and R. Marshall. 7 (1759): 79 |
| Literary responses | Susan Smythies | The Critical Review noted that SS
was imitating Richardson
in this novel (as she had imitated Fielding
in her last). In The Brothers it found all the machinery of a modern novel, without the overall... |
| Literary Setting | Sarah Fielding | The form is epistolary: not an exchange of letters but a single, retrospective letter in which the now older Ophelia looks back. The heroine, brought up in isolation in Wales by an aunt who has... |
| Occupation | Charlotte Charke | CC
, at Henry Fielding
's Haymarket Theatre
, appeared in male roles: as Macheath (John Gay
), Falstaff (Shakespeare
), George Barnwell (George Lillo
), and Lothario (Nicholas Rowe
). The London Stage 1660-1800. Southern Illinois University Press. 3: 402ff |
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