Garside, Peter et al., editors. The English Novel 1770-1829. Oxford University Press.
1: 185
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Susanna Haswell Rowson | Here SHR
makes a preface out of her unwillingness to write a preface: this concept is Sterne
an, and so is the abrupt opening. I can't for my life see the necessity of it, said... |
Intertextuality and Influence | Anna Maria Bennett | Henry Dellmore remains throughout his picaresque adventures innocent, if not chaste. After being (it seems) seduced by the rector's daughter he suffers agonies of guilt because he does not feel he can bring himself to... |
Intertextuality and Influence | Maria Riddell | Another juvenile poem, the Inscription Written on an Hermitage in one of the Islands of the West-Indies, composed at sixteen, is a celebration of female friendship. In the hermitage the author and her friend... |
Intertextuality and Influence | Susanna Haswell Rowson | The Inquisitor is a character, again Sterne
an, who wanders about doing good. He has a wife and two daughters. His wish to be invisible is made when he is asked for money by someone... |
Intertextuality and Influence | Anna Maria Bennett | In the central plot a number of lives are ruined by the fact that a generation ago an upper-class rake, James Neville, has fathered various children by different women, most of them illegitimate, who have... |
Intertextuality and Influence | Jane Harvey | |
Intertextuality and Influence | Elizabeth Bonhote | The hero of this episodic novel, a happily married curate with three children to bring up on £80 a year, and repining on their behalf at his poverty, takes Sentimental Rambles Garside, Peter et al., editors. The English Novel 1770-1829. Oxford University Press. 1: 185 |
Intertextuality and Influence | Charlotte Smith | A preface (in the first volume) quotes the words of Samuel Johnson
(with apology for applying them to so trifling a matter as novel-writing) about working at his dictionary amid grief and illness, feeling cut... |
Intertextuality and Influence | Mariana Starke | Here MS
found the mixture that would characterise all her travel writing: vivid first-hand narrative and evocation, and reliable well-set-out information about practical matters like mileages and information about the state of roads and inns... |
Intertextuality and Influence | Mary Ann Cavendish Bradshaw | There follows a fighting critical Dissertation Respecting Patrons and Dedications, which covers the issues of male disrespect for female authors, the tyranny of critics, and over-insistence on moral instruction (with Hannah More
's Coelebs... |
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 Latter | ML
here accords honorific citation to Dryden
and Pope
, Latter, Mary. Pro & Con. T. Lowndes. 31-2 Latter, Mary. Pro & Con. T. Lowndes. vii, 14 |
Intertextuality and Influence | Jane Taylor | Tomkins (whose words open the novel in very much the way that Sterne
's narrator opens A Sentimental Journey) is in search of a wife, but early rules out the heroine from consideration. She... |
Intertextuality and Influence | Alethea Lewis | Her first chapter explicitly addresses critics, and the authorial voice is often in dialogue with imagined readers—who are given a kind of life as typical young eligibles: the lovely Florinda and her favoured swain. Feminist Companion Archive. |
Intertextuality and Influence | Mrs Martin | Each volume has an introductory chapter, addressing the reader in the manner of, and with some images borrowed from, Henry Fielding
or Laurence Sterne
(the latter, indeed, is mentioned by name). MM
hopes her reader... |
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