Tighe, Mary. “Introduction”. Verses Transcribed for H. T., edited by Harriet Kramer Linkin.
Connections
Connections Sort ascending | Author name | Excerpt |
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Literary responses | Anne Locke | Charles A. Huttar
has praised AL
's sermon translation as readable, clear, and energetic—qualities in her original which it would have been easy to lose in translating. Editor Kel Morin-Parsons
calls the sonnets her most... |
Literary responses | Mary Tighe | Their editor Harriet Kramer Linkin
calls these poems often unsettling and unsettled,pulsating with the frustrated energies of unfulfilled Petrarchan
desire voiced from a complex feminine position. |
Literary responses | Lady Mary Wroth | Barbara Kiefer Lewalski
has summarised LMW
's achievement (her historical importance and the quality of her art) like this: Wroth reinvented the Petrarch
an lyric sequence, the romance, and the pastoral drama, claiming those genres... |
Literary responses | Ann Yearsley | Elizabeth Isabella Spence
, reporting on a visit to Bristol, mentions AY
as an example of an obscure woman writer of genius. Spence, Elizabeth Isabella. Summer Excursions. Longman, Hurst, Rees, and Orme. 71 |
Literary responses | Catherine Carswell | Some reviewers accused her of disparaging Petrarch
. The book did not sell well (which she blamed in part on her chosen publishers having a reputation for left-wing politics), but it was chosen Book of... |
Intertextuality and Influence | Anne Bannerman | Her model for the sonnet, as well as for the use of male erotic voices from Petrarch
and Goethe
, was Charlotte Smith
, though AB
's tone is more unrestrained and impassioned than Smith's. Elfenbein, Andrew. Romantic Genius: The Prehistory of a Homosexual Role. Columbia University Press. 135-6 |
Intertextuality and Influence | Anne Bannerman | The contents included odes, sonnets (including one sequence from Petrarch
and another based on Goethe
's Werther, in which she speaks as the male lover of a woman, with notes relating her poems to... |
Intertextuality and Influence | Jane Loudon | In prose the opening tale, Julia de Clifford, presents a well-meaning but thoughtless and impulsive heroine who progresses from dressing up as a ghost to scare the servants, to plunging her lover into despair... |
Intertextuality and Influence | Selina Davenport | The title-page quotes Milton
on the false dissembler (Satan). The story opens with Edmund Dudley, the lover and the poet, confiding to a married friend, Leopold Courtenay, his love for Althea, to whom he has... |
Intertextuality and Influence | Elizabeth Barrett Browning | Shorter pieces here include many sonnets, the most striking and complex of which are perhaps the two dedicated to George Sand
that explore the apparent contradictions of gender and genius. To George Sand. A Desire... |
Intertextuality and Influence | Anne Burke | The letters are unaffected and moral, but tend to look favourably on suicide. The first, from Eleanora, is dated 19 May 1770. She writes to Maria of her growing love for Werter, who seems to... |
Intertextuality and Influence | Mary Shelley | |
Intertextuality and Influence | Eleanor Sleath | The story opens in the year 1605 in a cottage near the Jura Mountains. Later scenes set in Salzburg convinced Devendra P. Varma
that Sleath was personally acquainted with that city. Varma, Devendra P., and Eliza Parsons. “Introduction”. Castle of Wolfenbach, Folio Press, p. xiii - xxiv. xix |
Intertextuality and Influence | Anne Francis | |
Intertextuality and Influence | Christina Rossetti | Her early work and the passages she copied into her mother's commonplace-book show the influence of Tennyson
and Wordsworth
; she also acknowledged the impact of Gray
and Crabbe
, and wrote several poems inspired... |
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