Ashmun, Margaret. The Singing Swan. Yale University Press; H. Milford, Oxford University Press.
8
Connections | Author name Sort descending | Excerpt |
---|---|---|
Cultural formation | Frances Arabella Rowden | FAR
came from the English middle class. She was an Anglican
in religion. Mary Russell Mitford
represents her as a young teacher taking a relaxed attitude to religious ideas in literary contexts (her students were... |
Textual Features | Elizabeth Singer Rowe | Her narrative, in iambic couplets, was influenced, as most biblical re-tellings were, both by Milton
's Paradise Lost and by Matthew Prior
's Solomon (which elsewhere she praised in verse). Lori A. Davis Perry
suggests... |
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 | Gladys Henrietta Schütze | The title phrase opens one of the best-known poems by scholar and poet Francis William Bourdillon
. GHS
quotes a stanza from it, along with other, more canonical poets from Ovid
through Milton
and Wordsworth |
Education | Anna Seward | Anna's education was largely overseen by her parents. Before she was three she could recite passages from Milton
's L'Allegro and by nine the first three books of Paradise Lost. Ashmun, Margaret. The Singing Swan. Yale University Press; H. Milford, Oxford University Press. 8 She was later... |
Intertextuality and Influence | Anna Seward | AS
was writing religious verse at ten or twelve years old. Ashmun, Margaret. The Singing Swan. Yale University Press; H. Milford, Oxford University Press. 8 |
Intertextuality and Influence | Anna Seward | In metre and general tone it remembers Milton
's L'Allegro. |
Intertextuality and Influence | Anna Seward | The sonnets are written in strict Milton
ic form. One of their favourite themes is love of nature and the countryside; one or two deal with Seward's love for Honora Sneyd
. In rendering Horace... |
Travel | Mary Shelley | The villa was famous for a visit made there by the young Milton
in 1639 and is still a literary landmark. They stayed first at Sécheron, then at Cologny. Shelley, Mary. The Journals of Mary Shelley, 1814-1844. Editors Feldman, Paula R. and Diana Scott-Kilvert, Johns Hopkins University Press. 107 Mellor, Anne K. Mary Shelley: Her Life, Her Fiction, Her Monsters. Routledge. xvi |
Textual Features | Mary Shelley | Within the next couple of days she read two more books by Wollstonecraft (along with works by Livy
and Milton
). But she says nothing about these texts, or about the experience of reading them... |
Intertextuality and Influence | Mary Shelley | As it stands, Frankenstein is no ghost story, though it is rich in the uncanny, and aims to chill its reader's blood. MS
shows an astonishing power for such a young author of weaving together... |
Intertextuality and Influence | Mary Shelley | The epigraph is a quotation from Milton
's Paradise Lost about not seeking to know the future. MS
frames the story with a visit she made to the Sybil's Cave near Naples (though some have... |
Literary responses | Lydia Howard Sigourney | Literary historian Emily Stipes Watts
and others have noted Sigourney's high reputation in her own day (the female Milton, the American Hemans, the sweet singer of Hartford, generally ranked higher than William Cullen Bryant |
Intertextuality and Influence | Eleanor Sleath | The chapter headings quote a range of canonical or contemporary writers, including Shakespeare
, Milton
, Pope
, Thomson
, Goldsmith
, William Mason
, John Langhorne
, Burns
, Erasmus Darwin
, Edward Young |
Intertextuality and Influence | Ali Smith | The tribute to Helena Mennie Shire is twofold. The Poet imagines the childhood of twentieth-century Scottish poet Olive Fraser
, whose poetry Shire had collected in The Wrong Music and The Pure Account, and... |
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