Jonathan Swift
-
Standard Name: Swift, Jonathan
Connections
| Connections Sort descending | Author name | Excerpt |
|---|---|---|
| Textual Features | Fidelia | Fidelia defends herself against the suspicion of being a male in disguise: I feign my name, but not my sex. Gentleman’s Magazine. Various publishers. 5 (1735): 256 |
| Textual Features | Catherine Sinclair | She had rich material to draw from because her father, John Sinclair (1754-1835), was an unusually accomplished man who was very active in public life. Most notably, he conceived and undertook the publication of The... |
| Textual Features | Constance Naden | The Elixir of Life opens with the waking vision of a man and woman in their summer prime, he looking like Apollo, she looking like an angel with just a touch of the siren or... |
| Textual Features | Eliza Haywood | EH
's fictional Swift
is widely unlike the original, especially in prose style. |
| Textual Features | Delarivier Manley | This book is often seen as a sequel, and it retails the same type of scandal as the New Atalantis, but without the supernatural mediating characters. It too purports to be translated: this time... |
| Textual Features | Maria Callcott | Her editor Elizabeth Mavor
, however, prints a late poem (which MC
herself called jingling doggerel), written for a family magazine produced by some young nephews and nieces, which is anything but sapless in... |
| Textual Features | Delarivier Manley | One common element shared by DM
's writing in different genres (plays, fiction, non-fiction) is its targeted sensationalim and deliberate artistic excess. Another is its partisan political content. Swift
, who approved her very generous... |
| Textual Features | Mary Savage | It is a poem highly characteristic of her manner: a moral tale featuring a personified quality, humorous, ironic, and written in octosyllabic couplets reminiscent of Swift
or Prior
. Prudence and Oeconomy are the daughters... |
| Textual Features | Dorothy Osborne | She trod a fine line as to the expression of her own feelings, for if the courtship should not end in marriage, she would have compromised her reputation. She converts this restriction into a rhetorical... |
| Textual Features | Mary Savage | The opening poem, Nothing New, situates the anxieties of authors in regard to critics in the tradition of anxieties of lovers: both are right to be anxious. The contents include an English translation of... |
| Textual Features | Jane Cave | One interesting feature is the inclusion of nine poems by other authors: the canonical Prior
, Swift
, and Pope
, the lesser-known men John Scott
, William Broome
, and Nathaniel Cotton
, and... |
| Textual Features | Maria Edgeworth | This essay includes elements of fiction and reportage. It both exemplifies and defends the colourful and linguistically distinct qualities of Irish lower-class speech, pointing out that for these speakers English is their second language. (This... |
| Textual Features | Mary Barber | Her poem to Lord Carteret concerns a work probably by Swift
. The publication addressed to Lady Carteret (actually consisting of one poem to her and one to her daughter) shows a strong sense of... |
| Textual Features | Maria Riddell | MR
's own twenty poems include prefatory verses as editor, written for the occasion. She prints work by the late Henrietta O'Neill
(the well-known Ode to the Poppy), Georgiana Duchess of Devonshire
(St... |
| Textual Features | Marghanita Laski | Each apology begins with a cliché like To tell you the truth—, or Don't mind me, dear—. One point of the joke (as in Swift
's Polite Conversation, 1738) is the flatness and inadequacy... |
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