Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Mathilde Blind | |
Intertextuality and Influence | Patricia Wentworth | This classic story opens with Rachel Treherne, unmarried and in her thirties, coming in a state of acute anxiety to consult Miss Silver at the latter's home, which is also her office. Rachel's colouring should... |
Intertextuality and Influence | Matilda Hays | Woven into the novel is considerable commentary on the art, music, and literary productions of the day. Quotations are given from or allusions made to a wide range of authors including Tennyson
, Longfellow
(used... |
Intertextuality and Influence | Marjorie Bowen | MB
recalls being influenced at an early age by her enjoyment of Tennyson
's Idylls of the King, Wilde
's Picture of Dorian Gray, the novels of Sir Walter Scott
, and Richardson |
Intertextuality and Influence | Felicia Hemans | Some of the poems in Records of Woman have recently been embraced by certain scholars (including Isobel Armstrong
in Victorian Poetry: Poetry, Poetics and Politics, who discusses them alongside poems by L. E. L. |
Intertextuality and Influence | Frances Cornford | Cornford dedicated the book to the memory of her old friend and mentor, Cornford, Frances. Collected Poems. Cresset Press, 1954. 5 |
Intertextuality and Influence | Harriet Martineau | Writing to Mary Russell Mitford
of her hope that they might meet, HM
acknowledged the influence which the spirit of your writings has had over me. qtd. in L’Estrange, Alfred Guy Kingham, editor. The Friendships of Mary Russell Mitford as Recorded in Letters from Her Literary Correspondents. Hurst and Blackett, 1882, 2 vols. 1: 263-4 |
Intertextuality and Influence | Felicia Hemans | Wordsworth
in 1837 revised his existing Extempore Effusion upon the Death of James Hogg to include a stanza describing FH
as that holy Spirit / Sweet as the spring, as ocean deep. Wordsworth, William. The Complete Poetical Works of Wordsworth. Editor George, Andrew J., Houghton Mifflin, 1932. 737 |
Intertextuality and Influence | Laura Ormiston Chant | Verona's title poem embeds a number of lyrics within its novelistic structure. Tennyson
's influence is particularly apparent in Serenada, which opens: Now folds the cistus, now / The lemon-blossom sleeps Chant, Laura Ormiston. Verona and Other Poems. David Stott, 1887. 50 |
Intertextuality and Influence | Elizabeth Strutt | Women, says ES
, must be essentially equal with men since both are made in God's image. But women's existing social position Strutt, Elizabeth. The Feminine Soul. J. S. Hodson, 1857. 1 |
Intertextuality and Influence | Louisa Stuart Costello | LSC
was apparently inspired by the same Italian poem (Cento Novelle Antiche) that inspired Tennyson
's The Lady of Shalott three years later. Simpson, Roger. “Costello’s ’The Funeral Boat’: An Analogue of Tennyson’s ’The Lady of Shalott’”. Tennyson Research Bulletin, Vol. 4 , No. 3, 1984, pp. 129-31. 129 |
Intertextuality and Influence | Lady Charlotte Elliot | The volume includes the titular long poem Stella, about the doomed love between an Italian patriot and the daughter of a nobleman, which critic Francis O'Gorman
describes as echoing Tennyson'sMaud (published twelve years... |
Intertextuality and Influence | Laura Ormiston Chant | The novel takes place in the ugly town Chant, Laura Ormiston. Sellcuts’ Manager. Grant Richards, 1899. 9 |
Intertextuality and Influence | Augusta Webster | She refers to the campaign for the vote as a side-effect of a disturbance in the relation of the sexes, of the Paradisaical, or Milton
ic, Webster, Augusta. “Parliamentary Franchise for Women Ratepayers”. Before the Vote Was Won: Arguments For and Against Women’s Suffrage, edited by Jane Lewis, Routledge, 1987, pp. 338-41. 338 |
Intertextuality and Influence | Dinah Mulock Craik | Her most commonly printed poem, Philip My King, anticipates, using biblical imagery, the entire life of her godson Philip Bourke Marston
. Mitchell, Sally. Dinah Mulock Craik. Twayne, 1983. 95 |
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