Calder-Marshall, Arthur, and Enid Bagnold. “Foreword”. The Girl’s Journey, Heinemann, p. vii - xi.
vii
Connections | Author name Sort descending | Excerpt |
---|---|---|
Textual Production | Sarah Austin | SA
's next known literary translation was Voltaire
's History of Charles XII, of which her version appeared in 1827. Of this she said I got neither money nor renown for it .... |
Textual Features | Enid Bagnold | Critics Arthur Calder Mashall
and Lenemaja Friedman
have both noted the probable influence of Voltaire
on this novel. Calder-Marshall, Arthur, and Enid Bagnold. “Foreword”. The Girl’s Journey, Heinemann, p. vii - xi. vii Friedman, Lenemaja. Enid Bagnold. Twayne. 35 |
Textual Features | Amelia Beauclerc | This novel is heavy-handedly moralistic. The heroine, Miriam Harcott, is the child of an atheistical philosopher (converted in the end by a good—not Methodist—clergyman) and a careless mother who causes the deaths of three of... |
Publishing | Samuel Beckett | During the same year Eugene Jolas
published in the June number of transition Beckett's short story entitled Assumption, and on 14 November the Trinity College, Dublin
, student newspaper, A College Miscellany, published... |
Intertextuality and Influence | Mary Elizabeth Braddon | Robert Lee Wolff
argues that this is one of MEB
's very best Wilkie Collins
-style investigations. Wolff, Robert Lee. Sensational Victorian. Garland. 243 |
Intertextuality and Influence | Mary Ann Cavendish Bradshaw | This second novel, prefaced by a long quotation from Voltaire
, opens in the reign of Peter the Great
and takes place in Russia. The hero is Ferdinand Beleski, who at the end marries... |
Literary responses | Frances Brooke | Highly positive reviews included one from Voltaire
in France suggesting that this was the finest epistolary novel to appear in English during the decade or so since the last work of Richardson
. Matthew, Henry Colin Gray et al., editors. Oxford Dictionary of National Biography. http://www.oxforddnb.com/. |
Textual Features | Brigid Brophy | The title-piece is the last and longest in the volume. It belongs to the once-popular genre of dialogues of the dead. Its characters are Voltaire
(who had been used this way several times before), Gibbon |
Education | Jane Welsh Carlyle | |
Publishing | Dorothea Celesia | DC
wrote from Genoa to David Garrick
in England, submitting a manuscript of a blank-verse tragedy which she had based on Voltaire
's Tancrède, 1760. Though she had entertained Garrick at her house, she... |
Performance of text | Dorothea Celesia | DC
's Almide, an adaptation of Tancrede by Voltaire
, opened at Drury Lane
in London. It proved a success, and ran for ten nights. The London Stage 1660-1800. Southern Illinois University Press. |
Reception | Dorothea Celesia | A prologue by William Whitehead
mentioned DC
's right to inherit her father's theatrical talent, in spite of her sex: No Salick law here bars the female's claim. It concluded with the statement that critics... |
Textual Production | Dorothea Celesia | The month after this success DC
was planning to adapt another tragedy by Voltaire
(Sémiramis, 1746) and asked Garrick if it had ever been translated into English. But it seems that she never... |
Theme or Topic Treated in Text | Hester Mulso Chapone | The first letter is entitled On the Principles of Religion; HMC
assures her niece that she is one of your warmest friends. Feminist Companion Archive. |
Literary responses | Charlotte Charke | The Gentleman's Magazine devoted more space to CC
's book this year than to any other new work, though these included Johnson
's Dictionary and Voltaire
's History and State of Europe. Baruth, Philip E. “Who Is Charlotte Charke?”. Introducing Charlotte Charke: Actress, Author, Enigma, edited by Philip E. Baruth, University of Illinois Press, pp. 9-62. 4 |
No bibliographical results available.