Robinson, A. Mary F. Songs, Ballads, and a Garden Play. T. Fisher Unwin.
115
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Rumer Godden | RG
found this negotiation among publishers traumatic. She had updated Shakespeare
's The Tempest in the spirit of the entertainments which Graham Greene
used to intersperse among his serious novels. Spencer Curtis
thought the story... |
Intertextuality and Influence | Adelaide Kemble | Bessie and her more assertive friend Ursula Hamilton are challenged by men in their social circle about the alleged inferiority of women, as proved by their failure to produce serious artistic work. Bessie thinks of... |
Intertextuality and Influence | A. Mary F. Robinson | Our Lady of the Broken Heart, the garden play mentioned in the volume title, is set in a public Italian garden during the seventeenth century, or any time. Robinson, A. Mary F. Songs, Ballads, and a Garden Play. T. Fisher Unwin. 115 |
Intertextuality and Influence | Sarah Green | The plot owes something to Charlotte Lennox
's Female Quixote. The father of Green's heroine has lived through many crazes for novelists: first Burney
, then Radcliffe
, then Owenson
, then Rosa Matilda |
Intertextuality and Influence | Naomi Jacob | The book is headed by a quotation from As You Like ItWilliam Shakespeare
: Cupid hath clapped him on the shoulder. Jacob, Naomi. The Man who Found Himself. Robert Hale. prelims |
Intertextuality and Influence | Mrs Martin | Indeed, as in MM
's previous novels, the narrative technique contributes largely to the reader's enjoyment. The narrator addresses the reader as dear Madam, then (without modifying this address) invites her to call the narrator... |
Intertextuality and Influence | Thomas Hardy | Arguably Hardy's most melodramatic Sutherland, John. The Stanford Companion to Victorian Fiction. Stanford University Press. |
Intertextuality and Influence | Elizabeth Boyd | |
Intertextuality and Influence | Sarah Murray | Frances Milton never blames her father for his unkindness; she still owes him total gratitude and devotion, which she seems to regard as on a par with our debt of love and gratitude to God... |
Intertextuality and Influence | Margaret Atwood | Several stories in Good Bones delight in giving something to say for themselves to literary characters generally understood to be beyond sympathy (the stepmother, the ugly sister, Gertrude in Shakespeare
's Hamlet). Others employ... |
Intertextuality and Influence | Rhoda Broughton | RB
's satire here embraces the publishing industry and its pandering to readers' tastes. Emma's cousin Lesbia is apparently representative of a particular type of circulating-library reader; much to Emma's mortification, she likes Miching Mallecho... |
Intertextuality and Influence | Bernardine Evaristo | BE
substitutes another name for the surname she shares with her father, but gives her mother's birth name as in life. Her narrator is not Bernardine but Lara, short for Owolara, which means the family... |
Intertextuality and Influence | Rumer Godden | Its setting is Catford Street, an ordinary, poor street in shabby postwar London, and the elegant Square round the corner. Its protagonist is a child waif, Lovejoy Mason; RG
's theme is the childhood... |
Intertextuality and Influence | Emma Robinson | Finding hisprogress in a noble art Athenæum. J. Lection. 858 (1844): 311 |
Intertextuality and Influence | Naomi Jacob | The Shakespeare
allusion is curious and suggestive. Antonio is replying to Shylock's famous speech claiming humanity for Jews; he justifies his own racial or religious hostility, and suggests that usury can only be pracised on... |
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