Kushigian, Nancy, and Stephen C. Behrendt, editors. Scottish Women Poets of the Romantic Period.
Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Publishing | George Eliot | In submitting this anonymous manuscript to Blackwood
, Lewes
invoked the names of Oliver Goldsmith
(author of The Vicar of Wakefield) and of Jane Austen
. The firm of Blackwood
turned out to be... |
Publishing | Anne Burke | A payment from the publisher of five guineas, with the same amount again to follow if the book earned it, made to Anne Ustick (or perhaps Urtick) suggests that this may have been AB |
Reception | Jane Austen | |
Textual Features | Alethea Lewis | She heads her novel with a prefatory letter to the Rev. William Johnstone
, who, she says, has asked why she chooses to write fiction and not moral essays. She answers that novels offer opportunities... |
Textual Features | Eliza Cook | Her poetic topics strongly reflect her reliance on well-tried promoters of sentiment: death, parting, gypsies, favourite horses and dogs, local feeling for Scotland or Ireland. The collection closes with a section of poems for... |
Textual Features | Matilda Betham-Edwards | This man, a French Protestant condemned to the galleys as a heretic, had published authentic memoirs of his harrowing experiences in 1757. Oliver Goldsmith
(who may possibly have met Marteilhe) had translated them pseudonymously into... |
Textual Features | Susanna Blamire | It is generally supposed that this poem owes something to Oliver Goldsmith
's The Deserted Village, |
Textual Features | Catherine Gore | The title-page quotes Byron
pronouncing shame to the land of the Gaul. Gore, Catherine. The Lettre de Cachet; and, The Reign of Terror. J. Andrews, 1827. title-page Gore, Catherine. The Lettre de Cachet; and, The Reign of Terror. J. Andrews, 1827. iii |
Textual Features | Ann Eliza Bleecker | She used the writing of the pastoral to build a relationship with Tomhanick, Americanizing the topographical tradition to create a suitable backdrop for the life of a poet. Her work includes meditations on death... |
Textual Features | Violet Fane | The unnamed male narrator describes himself as a foreigner, but has lived in London long enough to be mistaken for an Englishman. Fane, Violet. The Edwin and Angelina Papers. World Office, 1878. 4 |
Textual Features | Jane Harvey | JH
's preface discusses the moral and artistic duties of the writer; she assumes that this person is male until she reaches the diffidence and timidity which in the bosom of a female writer is... |
Textual Features | Tabitha Tenney | Choice of women writers is fairly generous, with excerpts from Hester Mulso Chapone
, John Aikin
and Anna Letitia Barbauld
(Evenings at Home), Susanna Haswell Rowson
, Elizabeth Carter
, Hester Thrale
,... |
Textual Features | Elizabeth Strutt | The book had coloured illustrations. ES
adopts here a relaxed, informal tone. She pays more attention than formerly to scenery (though she insists that only truly personal responses are interesting), but also to the humdrum... |
Textual Features | 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... |
Textual Production | Anna Seward | AS
penned a poem she called Eyam, reminiscent of Goldsmith
's The Deserted Village, about a visit back to her birthplace. Wordsworth, Jonathan. The Bright Work Grows: Women Writers of the Romantic Age. Woodstock Books, 1997. 99-100 |
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