Pearson, Susanna. The Medallion. G. G. and J. Robinson.
1: 7-8
Connections Sort ascending | Author name | Excerpt |
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Intertextuality and Influence | Jane Johnson | The poem is headed with a quotation from Psalm 19: The Heavens declare the Glory of God, & the Firmament showeth his handy work—the same psalm which Addison
had famously rendered as The spacious... |
Intertextuality and Influence | Sarah Pearson | An introductory address To the Reviewers urges them (with the trembling deemed appropriate for a woman writer) not to read the book in the morning but in the period of good humour after dinner. Pearson, Susanna. The Medallion. G. G. and J. Robinson. 1: 7-8 |
Intertextuality and Influence | Mary Ann Kelty | |
Intertextuality and Influence | 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... |
Intertextuality and Influence | Constance Smedley | By now Samuel is changing. He likens Johanna to Blake
, whom she has quoted, though he has hitherto admired the balance and rationality of Addison
. Smedley, Constance. Justice Walk. G. Allen and Unwin. 136, 249 |
Intertextuality and Influence | Elizabeth B. Lester | |
Intertextuality and Influence | Susan Smythies | The novel offers in passing an amusing catalogue of an old-fashioned library, whose first items are heroic romances like Ibraham; Cassandra; Cleopatra [by Madeleine de Scudéry
and Gauthier de La Calprenède
]. Several... |
Intertextuality and Influence | Sarah, Lady Cowper | The diary's first volume opens with a preface which expresses conventional modesty bluntly, without the customary effort at elegance or grace: Books generally begin with a Preface which draws in the Reader to go on... |
Intertextuality and Influence | Mercy Otis Warren | Though the play is set in Servia (a place chosen not for its history or geography but its sound), the names are Roman, matching the title-page quotation from Addison
's Cato. All the characters... |
Intertextuality and Influence | Martha Fowke | These poems reflect social life and perhaps the company of lawyers in the London of about 1720. Guskin, Phyllis J. “’Not Originally Intended for the Press’: Martha Fowke Sansom’s Poems in the Barbados Gazette”. Eighteenth-Century Studies, Vol. 34 , No. 1, pp. 61-91. 66 |
Intertextuality and Influence | Anna Miller | Along with works of art she describes, but more briefly, the way of life of places she passes through. She has, however, little sympathy with working people's needs. She remarks that actresses and dancers have... |
Intertextuality and Influence | Jane Wiseman | Her poems, full of character and ingenuity, spring from social interchange. The title piece is a longish, narrative, occasional poem, Sent with a Pair of China Basons Wiseman, Jane. “A Fairy Tale, Inscrib’d, to the Honourable Mrs. W— With Other Poems (1917)”. Eighteenth-Century English Labouring-Class Poets, 1700-1740, edited by William Christmas, Pickering and Chatto, pp. 34-46. 34 |
Intertextuality and Influence | A. Woodfin | She learns to condemn her parents' treatment of her when she boards in a family who deliberately favour the ugly, deformed one of their young twins, to redress the balance. She feels a great relief... |
Intertextuality and Influence | Anna Letitia Barbauld | ALB
's niece
wrote of her (with an echo of Pope
on himself) that while yet a child, she was surprised to find herself a poet. McCarthy, William et al. “Introduction”. The Poems of Anna Letitia Barbauld, University of Georgia Press, p. xxi - xlvi. xxviii |
Intertextuality and Influence | Eliza Haywood | This was the first periodical for women to take advantage of the monthly format, which was still fairly new. Unlike other magazines, it used fiction as its staple, while also including advice on behaviour, relationships... |
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