Baillie, Joanna. “Introduction”. The Selected Poems of Joanna Baillie, 1762-1851, edited by Jennifer Breen, Manchester University Press, pp. 1-25.
9, 11
Connections | Author name Sort descending | Excerpt |
---|---|---|
Textual Production | Joanna Baillie | She agreed to do this without payment, though Thomson gave her an Indian shawl when adding to his first request six years later. Baillie, Joanna. “Introduction”. The Selected Poems of Joanna Baillie, 1762-1851, edited by Jennifer Breen, Manchester University Press, pp. 1-25. 9, 11 |
Literary responses | Joanna Baillie | The Eclectic Magazine raised her confidence about her Scots songs by pronouncing that she was easily the equal in the genre of Scott
or Campbell
, and inferior only to Burns
himself. Baillie, Joanna. “Introduction”. The Selected Poems of Joanna Baillie, 1762-1851, edited by Jennifer Breen, Manchester University Press, pp. 1-25. 13 |
Literary responses | Joanna Baillie | The Critical Review assumed the author was male. It thought the versification monotonous but warmly praised both preface and plays. Critical Review. W. Simpkin and R. Marshall. 24 (1798): 1-22 |
Reception | Joanna Baillie | Sarah Siddons
, who starred in the play, much admired it. Dowd, Maureen A. “’By the Delicate Hand of a Female’: Melodramatic Mania and Joanna Baillie’s Spectacular Tragedies”. European Romantic Review, Vol. 9 , No. 4, pp. 469-00. 480 |
Dedications | Joanna Baillie | It was published with a dedication to Walter Scott
. Produced as a melodrama at the Surrey Theatre
in summer 1817, it had an excellent run of thirty-four nights. Baillie, Joanna. The Collected Letters of Joanna Baillie. Editor Slagle, Judith Bailey, Fairleigh Dickinson University Press. 1: 168 |
Intertextuality and Influence | Joanna Baillie | JB
says she took the topic of Witchcraft from a scene in Scott
's Bride of Lammermuir in which disgruntled old women wish the devil would give them a helping hand. (Scott does not mention... |
Literary responses | Joanna Baillie | When Baillie re-read her own Witchcraft as a work in progress she wrote: I am inclined to think well of it. Renfrew witches upon a polite stage! Will such a thing ever be endorsed! Witchcraft by Joanna Baillie. Finborough Theatre. |
Textual Production | Joanna Baillie | Here she gathered together poems by such writers as Walter Scott
, George Crabbe
, William Wordsworth
, Robert Southey
, Felicia Hemans
(whose work Baillie warmly admired), Anne Grant
of Laggan, Anna Maria Porter |
Education | Ella Baker | EB
was educated at home, chiefly by her sister Amy. At the age of thirteen, she recited Sir Walter Scott
's long romantic poem The Lady of the Lake from memory, on a challenge from... |
Occupation | Anne Bannerman | AB
was instrumental in securing the papers of John Leyden
(linguist, poet, and friend of Walter Scott
, with whom she had had some kind of close relationship) for the use of James Morton
... |
Friends, Associates | Anne Bannerman | A friend who was crucial in AB
's career was Robert Anderson
, editor of a famous poetry anthology and of the Edinburgh Magazine. Elfenbein, Andrew. Romantic Genius: The Prehistory of a Homosexual Role. Columbia University Press. 130 |
Literary responses | Anne Bannerman | The notice in the Critical Review was uncomplimentary, dismissing her as an imitator of Scott
, John Leyden
, and William Wordsworth
. Critical Review. W. Simpkin and R. Marshall. 38 (1803): 110ff Elfenbein, Andrew. Romantic Genius: The Prehistory of a Homosexual Role. Columbia University Press. 143 |
Friends, Associates | Anna Letitia Barbauld | Joanna Baillie
, who lived near the Barbaulds in Hampstead, was one of ALB
's greatest friends. In Barbauld's later years her friends included Samuel Rogers
, Madame D'Arblay
, Eliza Fletcher
(who first visited... |
Friends, Associates | Lady Anne Barnard | LAB
's later social life in London is mentioned in the diary of Frances Burney
. Graham, Henry Grey. Scottish Men of Letters in the Eighteenth Century. Adam and Charles Black. 345 |
Textual Production | Lady Anne Barnard | The words were printed anonymously in the second edition of Ancient and Modern Scottish Songs, edited by David Herd
, 1776. LAB
did not admit her authorship until 1823, when she confided her secret... |
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