Watts, Susanna. The Humming Bird. I. Cockshaw.
4
Connections Sort ascending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Susanna Watts | At the outset the sisters are faced with the big question about slavery: What can I do for the cause? Watts, Susanna. The Humming Bird. I. Cockshaw. 4 |
Intertextuality and Influence | Anna Maria Porter | The new Juvenilia Press
edition, like the original first volume, contains five stories: Sir Alfred; or, The Baleful Tower, The Daughters of Glandour, The Noble Courtezan, The Children of Fauconbridge, and... |
Intertextuality and Influence | Anna Seward | The sonnets are written in strict Milton
ic form. One of their favourite themes is love of nature and the countryside; one or two deal with Seward's love for Honora Sneyd
. In rendering Horace... |
Intertextuality and Influence | Judith Sargent Murray | In the essay as printed, she begins by asking whether nature can really have designed the two human sexes so unequally as is generally believed. Even the faults of which women stand accused—following fashion, inventing... |
Intertextuality and Influence | Marguerite Gardiner, Countess of Blessington | The fictitious narrator begins by observing that while some may consider the story of someone of her station devoid of interest, she has been in contact all her life with cultivated ladies of the highest... |
Intertextuality and Influence | Eleanor Sleath | The chapter headings quote a range of canonical or contemporary writers, including Shakespeare
, Milton
, Pope
, Thomson
, Goldsmith
, William Mason
, John Langhorne
, Burns
, Erasmus Darwin
, Edward Young |
Intertextuality and Influence | Edith Sitwell | ES
's governess, Helen Rootham
, was a major influence on her intellectual development, since she introduced her to serious poetry, both English and French, making her the heir to two distinct traditions. By the... |
Intertextuality and Influence | Elizabeth Cooper | She notes that poets have lived difficult and unappreciated lives, and that many have been forgotten. Quoting a remark by Pope
(that time, which has made Chaucer
unintelligible, will one day do the same with... |
Intertextuality and Influence | Mary Deverell | |
Intertextuality and Influence | Frances Jacson | |
Intertextuality and Influence | Charlotte Nooth | CN
refers to several canonical English names (Pope
, Reynolds
, Garrick
, Shakespeare
, and Edmund Kean
in her first poem), and relates closely to continental women. She praises Germaine de Staël
for... |
Intertextuality and Influence | Mrs E. M. Foster | The novel parodies Germaine de Staël
's Corinne (which had appeared in French in 1807, in English in 1808). Chapters are supplied with epigraphs: some standard choices like Pope
and Cowper
, but also texts... |
Intertextuality and Influence | Harriet Smythies | In a critical preface HS
reveals her gender though not her name. She opens by invoking the author of Rienzi (either, Mary Russell Mitford
or Edward Bulwer Lytton
). The two groups of lovers and... |
Intertextuality and Influence | Maria Susanna Cooper | Harriet begins by loving the town better than the country. To Emilia, who prefers the country, she writes: Why Child, the very Thoughts of such a Life stupify me. Cooper, Maria Susanna. Letters Between Emilia and Harriet. R. and J. Dodsley. 6 |
Intertextuality and Influence | Frances Jacson | The title-page quotes Pope
and Staël
. The novel's opening sounds like a tale of mysterious origins, but without the mystery. A quotation from Shakespeare
's Tempest—Prospero telling Miranda the story of her past—introduces... |
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