Betham, Mary Matilda. “Preface”. Crow-Quill Flights.
7
Connections | Author name Sort descending | Excerpt |
---|---|---|
Literary responses | Mary Matilda Betham | MMB
said that this book received flattering praises in reviews. Betham, Mary Matilda. “Preface”. Crow-Quill Flights. 7 |
Textual Production | Elizabeth Bishop | |
Literary responses | Susanna Blamire | In 1886 the Dictionary of National Biography said SBdeserves more recognition than she has yet received. Stephen, Sir Leslie, and Sidney Lee, editors. The Dictionary of National Biography. Smith, Elder. |
Literary responses | Emily Brontë | Since the early criticism which took its lead from Charlotte's biographical portrait, a biographical and hagiographic industry has arisen around all three Brontë sisters and their home in Haworth. A. Mary F. Robinson
published... |
Textual Production | Rhoda Broughton | The title is probably quoted from Coleridge
's Ancient Mariner: not from the mariner's exotic adventures, but from a mention of the bride whose wedding his listener was trying to attend, and for which... |
Intertextuality and Influence | A. S. Byatt | Charlotte Brontë
's poem We wove a web in childhood appears as epigraph, along with a sentence from Coleridge
about the serpent as emblem of the imagination. Byatt, A. S. The Game. Chatto and Windus. 4 |
Textual Production | A. S. Byatt | In Unruly Times, 1989, she considers the shared thinking of Wordsworth
and Coleridge
, and its development in the context of epoch-making public events and the intellectual climate which surrounded them. |
Intertextuality and Influence | A. S. Byatt | She thought of the title and the central idea for the novel in the British Library, watching that great Coleridge
scholar, Kathleen Coburn
, and thinking of the poet possessing his critic, and of the... |
Theme or Topic Treated in Text | Maria Callcott | After her first return from Italy and again later in her life, Maria Graham (later MC
) did book reviews for the publisher John Murray
. She expressed her admiration for contemporary literature: Coleridge
,... |
Publishing | Sara Coleridge | SC
wrote: No work is so inadequately rewarded either by money or credit as that of editing miscellaneous, fragmentary, immethodical literary remains like those of STC
. Such labours cannot be rewarded for they cannot... |
Family and Intimate relationships | Mary Elizabeth Coleridge | Samuel Taylor Coleridge
was MEC
's great-great uncle. She once wrote of this literary heritage: I have no fairy god-mother, but lay claim to a fairy great-great-uncle, which is perhaps the reason that I am... |
Textual Features | Sara Coleridge | SC
's editorial apparatus includes a full response to accusations that much of Samuel Taylor Coleridge
's work was plagiarised. Mudge, Bradford Keyes, and Sara Coleridge. Sara Coleridge, a Victorian Daughter: Her Life and Essays. Yale University Press. 111-12 |
Intertextuality and Influence | Mary Elizabeth Coleridge | MEC
's poems have been likened, for their mysterious tone, to those of William Blake
. Among the eerie poems included in Fancy's Following is The Witch. Here the speaker, Geraldine (a sorceress), is... |
Textual Production | Sara Coleridge | Between 1849 and 1852, SC
published several more texts by her father
, including Notes and Lectures upon Shakespeare and Essays on His Own Times: Forming a Second Series of The Friend (1850). The Poems... |
Travel | Sara Coleridge | SC
and her mother travelled south for a reunion with her father
at Highgate on the edge of London. Mudge, Bradford Keyes, and Sara Coleridge. Sara Coleridge, a Victorian Daughter: Her Life and Essays. Yale University Press. 28 |
No bibliographical results available.