Watts, Susanna. The Insects in Council. Hurst, Chance; A. Cockshaw, 1828.
prelims
Connections Sort descending | Author name | Excerpt |
---|---|---|
Education | Georgiana Fullerton | She could read by four-and-a-half, and recalls an early admiration for hymns by Anna Letitia Barbauld
and Maria Edgeworth
. Julius Cæsar, the first Shakespearean
play that she saw, left a lasting impression. Later... |
Education | Lady Louisa Stuart | LLS
grew up under her mother's eye, and was educated through both reading and social contact. She later remembered reading Henry Mackenzie
's The Man of Feeling at fourteen and fearing she might not cry... |
Friends, Associates | Martha Fowke | She formed close links with a group of male poets who held opposition political views: James Thomson
, Aaron Hill
(who was corresponding with her by June 1721), Richard Savage
(with whom she was exchanging... |
Intertextuality and Influence | Elizabeth Helme | Meanwhile in volume one, after the mother and daughter meet in ignorance of their relationship, they exchange somewhat similar histories of being orphaned (or supposedly orphaned), threatened with sexual violence, and undergoing actually violent emotional... |
Intertextuality and Influence | Susanna Watts | The title-page quotes James Thomson
. The preface declares a serious, anxious, and most sincere desire to inculcate respect and tenderness towards all the inferior creatures. Watts, Susanna. The Insects in Council. Hurst, Chance; A. Cockshaw, 1828. prelims |
Intertextuality and Influence | Elizabeth Helme | The title-page bears an epigraph from James Thomson
, about the moral struggle of honour and aspiration against ease and luxury. It opens on an old-fashioned couple in their great Yorkshire house, Mr and Mrs... |
Intertextuality and Influence | Barbara Hofland | The title-page quotes James Thomson
, and the preface acknowledges the influence of Maria Edgeworth
's The Modern Griselda, 1805. Garside, Peter et al., editors. The English Novel 1770-1829. Oxford University Press, 2000, 2 vols. 2: 366 |
Intertextuality and Influence | Elizabeth Strutt | The title-page quotes Shakespeare
: later on Pope
, Thomson
, Thomas Tickell
, Charles Cotton
, and others are quoted too. Characters include a seducer and promiser-breaker who dies in a duel. The central... |
Intertextuality and Influence | Barbara Hofland | The title-page quotes James Thomson
. Uncharacteristically, BH
offers meticulous description of landscape and works of art. |
Intertextuality and Influence | Elizabeth Boyd | A first prologue addresses Pope
, and invokes the ghosts of Shakespeare
(The Wonder, as the Glory of the Land) and Dryden
(Shakespear's Freind) as mentors to EB
's performance in... |
Intertextuality and Influence | Frances Brooke | Brooke's preface said she had drawn on the book of Ruth, on the Palemon and Lavinia inset story in James Thomson
's Seasons, and on an opera by Favart
. Critical Review. W. Simpkin and R. Marshall, 5 series. 55 (1783): 152 |
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 | Mary Latter | The first letter, the earliest piece in the volume, was said to have been written seventeen years ago at the age of seventeen: to Myra, which suggests that ML
may have been one among... |
Intertextuality and Influence | Medora Gordon Byron | Alexander Pope
is quoted on the title-page (An Essay on Criticism), James Thomson
at the head of the first chapter, John Langhorne
for another chapter. The novel opens in the new style of... |
Intertextuality and Influence | Anna Maria Mackenzie | The novel begins without preliminary paratext. An epigraph from James Thomson
(Ah! little think the gay licentious proud . . .) declares sympathy for the underdog, but this is not, as the title... |