Byatt, A. S. The Game. Chatto and Windus.
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Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Lydia Howard Sigourney | Unlike a volume by the same title which she published in 1827, this one included new poetry as well as former contributions to magazines. Her preface mentions the influence exercised over her by Coleridge
... |
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 |
Intertextuality and Influence | Dorothy Wordsworth | DW
's Alfoxden journal, written in close association with both William Wordsworth
and Coleridge
, filtered into the poetry of each. Her phrases surface in The Ancient Mariner (whose restless gossamers come from her restless... |
Intertextuality and Influence | Emma Robinson | ER
claims to be merely the editor here of an original source. As she tells it in the preface, while doing research for Owen Tudor she happened on some curious particulars that explained everything she... |
Intertextuality and Influence | Anna Jane Vardill | AJV
is remarkably successful in catching Coleridge
's diction and manner, as several commentators noted. Lord Leoline sat in the chair of pride, / The white-armed stranger by his side. She also captures the sinister... |
Intertextuality and Influence | F. Mabel Robinson | The title-page bears a quotation from Samuel Taylor Coleridge
's Love about a fiend with the appearance of an angel beautiful and bright. Robinson, F. Mabel. The Plan of Campaign. Methuen. title-page |
Intertextuality and Influence | Felicia Hemans | The volume takes its epigraphs and historical starting-points from a wide range of sources, including major male Romantics—Wordsworth
, Byron
, Coleridge
, Goethe
, Schiller
—and lesser-known contemporaries including women—Elizabeth Ogilvy Benger |
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... |
Intertextuality and Influence | Mary Russell Mitford | MRM
was working on this poem by July 1810. Mitford, Mary Russell. The Life of Mary Russell Mitford: Told by Herself in Letters To Her Friends. Editor L’Estrange, Alfred Guy Kingham, Harper and Brothers. 1: 91 |
Literary responses | Felicia Hemans | Wordsworth
in 1837 revised his existing Extempore Effusion upon the Death of James Hogg to include a stanza describing FH
as that holy Spirit / Sweet as the spring, as ocean deep. Wordsworth, William. The Complete Poetical Works of Wordsworth. Editor George, Andrew J., Houghton Mifflin. 737 |
Literary responses | Charlotte Smith | Coleridge
(though he was later respectful of CS
's sonnets) was surely aiming at her in his Nehemiah Higginbottom sonnet parodies in the Monthly Magazine. Raycroft, Brent. “From Charlotte Smith to Nehemiah Higginbottom: Revising the Genealogy of the Early Romantic Sonnet”. European Romantic Review, Vol. 9 , No. 3, pp. 363-92. 363, 381 |
Literary responses | Frances Arabella Rowden | Rowden's poem was reviewed by the Critical (3rd series 20 (May 1810): 112). Mary Russell Mitford
read the first canto with high appreciation and admiration that increase[d] with every perusal. She expected it to rank... |
Literary responses | Charlotte Smith | Coleridge
, in the preface to the second edition of his Poems, named CS
and William Lisle Bowles
as having served the cause of poetry by reviving the sonnet. Fletcher, Loraine. Charlotte Smith: A Critical Biography. Macmillan. 266 |
Literary responses | Maria Edgeworth | In the year of publication Charles Pictet
translated Practical Education into French for serialisation in the influential periodical Bibliothèque Brittanique, published in Geneva by himself and his brother Marc-Auguste
. This began a campaign... |
Literary responses | Dorothy Wellesley | Yeats
admired this volume for its explorations of the picturesque, for its love . . . for undisturbed Nature, a hatred for the abstract, the mechanical, the invented, and for an intensity which he saw... |
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