Croker, Margaret. A Tribute to the Memory of Sir Samuel Romilly. John Souter.
title-page
Connections Sort ascending | Author name | Excerpt |
---|---|---|
Textual Production | Margaret Croker | MC
published, with her name and a quotation from Byron
, A Tribute to the Memory of Sir Samuel Romilly. Romilly, a reforming lawyer, killed himself after his wife's death. Croker, Margaret. A Tribute to the Memory of Sir Samuel Romilly. John Souter. title-page |
Textual Production | Dorothy Whipple | The country house which is the centre and almost the leading character of this novel was called in DW
's earliest working drafts The Manor and later Saunby (still used in the novel as published)... |
Textual Production | Marguerite Gardiner, Countess of Blessington | It is a point of debate among scholars whether Blessington saw and used the memoirs of himself which Byron
wrote but later burned. Marguerite Gardiner, Countess of Blessington,. “Introduction”. Conversations of Lord Byron, edited by Ernest J. Lovell, Princeton University Press, pp. 3-114. 7 |
Textual Production | Caroline Norton | She had begun writing the title poem (pages 3-77 when printed) while at boarding school. She dedicated the volume to Lord Holland
and quoted Byron
on the title page. Chedzoy, Alan. A Scandalous Woman: The Story of Caroline Norton. Allison and Busby. 63-4 |
Textual Production | Catherine Gore | As a girl Catherine Moody (later CG
) was called The Poetess by her friends. Two juvenile poems (one a final canto to Byron
's Childe Harold, the other entitled The Graves of the... |
Textual Production | Sarah Stickney Ellis | In her preface to the poem she outlines theories of poetry, taking much the same approach towards it that she had towards fiction: that verse, like prose, would benefit from attention to simple, everyday life... |
Textual Production | Mary Shelley | MS
was the only one of the group to rise to Byron
's challenge by completing a ghost story, which she did almost a year later, on 14 May 1817. Shelley, Mary. “Introduction”. Frankenstein, edited by David Lorne Macdonald and Kathleen Scherf, Broadview, pp. 11-43. 33 |
Textual Production | Jane Loudon | The title-page bears a couplet from Byron
's Don Juan: 'Tis pleasant sure to see one's name in print, / A book's a book, although there's nothing in't. |
Textual Production | Barbarina Brand, Baroness Dacre | In March 1819 Joanna Baillie
had described her as Still hankering after the Drama, but fearful & diffident of herself. Baillie, Joanna. The Collected Letters of Joanna Baillie. Editor Slagle, Judith Bailey, Fairleigh Dickinson University Press. 2: 1191 |
Textual Production | Mary Shelley | The presentation copy of Frankenstein, first edition, which MS
inscribed To Lord Byron
, from the Author, turned up among the papers of the Labour politician |
Textual Production | Edna O'Brien | In Byron
in Love, EOB
presented a vivid gallery of the poet's lovers, but more especially his relationships with his wife, Isabella Milbanke
, and his half-sister, Augusta Leigh
. Blackwell’s Online Bookshop. http://Bookshop.Blackwell.co.uk. |
Textual Features | A. Mary F. Robinson | In her preface she claims the ballad and other popular poetic forms as the especial territory of women writers. Although her poems, says this preface, lack the splendour of Byron
or Hugo
, or the... |
Textual Features | Marguerite Gardiner, Countess of Blessington | On Byron
's death she wrote an elegy in twelve couplets. Marguerite Gardiner, Countess of Blessington,. “Introduction”. Conversations of Lord Byron, edited by Ernest J. Lovell, Princeton University Press, pp. 3-114. 65 |
Textual Features | Mary Ann Browne | Her title poem is rich and dignified, written in Spenser
ian stanzas. The later Ocean is a poem in similar style. Many other pieces are social and sentimental, with titles like Tears, Loves... |
Textual Features | Una Marson |
No timeline events available.
No bibliographical results available.