| Connections Sort descending | Author name | Excerpt |
|---|---|---|
| Reception | Helen Craik | Apparently the only journal to notice Adelaide de Narbonne was the Anti-Jacobin in January 1800: it wished that Craik had not left her own political stance inexplicit. Craciun, Adriana, and Kari E. Lokke, editors. “The New Cordays: Helen Craik and British Representations of Charlotte Corday, 1793-1800”. Rebellious Hearts: British Women Writers and the French Revolution, State University of New York Press, 2001, pp. 193-32. 213 |
| Reception | Elizabeth Griffith | This was EG
's least successful play. Both in the theatre and in print, responses sound designed to put an impudent female newcomer in her place. Bookseller Tom Davies
claimed there was a positive cabal... |
| Reception | Dorothea Celesia | A prologue by William Whitehead
mentioned DC
's right to inherit her father's theatrical talent, in spite of her sex: No Salick law here bars the female's claim. It concluded with the statement that critics... |
| Residence | Ruth Fainlight | The house, reached by a steep cart-track with hairpin bends, stood in an olive grove with a grapevine over the door. RF
went back to England the following autumn, and was still there when Sillitoe... |
| Residence | Anne Damer | |
| Residence | Elizabeth Hervey | EH
was living at Brussels by 1781. In autumn 1789 she and her sons had returned from abroad and were living at Braziers Park near Ipsden in Oxfordshire, a house in the playfully Gothic... |
| Textual Features | Ann Radcliffe | Again AR
's influences are Walpole
and Reeve
. Norton, Rictor. Mistress of Udolpho: The Life of Ann Radcliffe. Leicester University Press, 1999. 58-9 |
| Textual Features | Lady Anne Clifford | LAC
's late writings share some characteristics of diary, biography, and autobiography. In some texts she writes in the first person, in others in the third. Her thinking is dynastic. She dwells on the web... |
| Textual Features | Hannah More | HM
writes her Hints in full political consciousness of the likelihood that she is trying to shape a future ruler. Her claim to have remained uninfluenced by Wollstonecraft
or Catharine Macaulay
(whom she called patriotic... |
| Textual Features | Isabella Kelly | Bibliographer James Raven
suggests that the gothic accoutrements here seem rather in tongue-in-cheek, somewhat in the manner of Horace Walpole
's The Castle of Otranto. Raven, James. “Historical Introduction: The Novel Comes of Age”. The English Novel 1770-1829, edited by Peter Garside et al., Oxford University Press, 2000, pp. 14-117. 33 |
| Textual Features | Georgina Munro | A debauched earl is the narrator of this novel, which, typically for the genre, is peopled by characters from the gentry and the upper classes. Athenæum. J. Lection. 744 (1842):110 Blain, Virginia et al., editors. The Feminist Companion to Literature in English: Women Writers from the Middle Ages to the Present. Yale University Press; Batsford, 1990. |
| Textual Features | Margaret Bingham Countess Lucan | Although Sir Joshua Reynolds
supposed MBCL
insufficiently skilled as an artist to manage history painting, Cokayne, George Edward. The Complete Peerage of England, Scotland, Ireland, Great Britain and the United Kingdom, extant, extinct, or dormant. Editor Gibbs, Vicary, St Catherine Press, 1910–1959, 14 vols. 8: 238 |
| Textual Features | Barbara Hofland | BH
explains that she intends to vindicate the character of Richard III
(who in her view came back as Perkin Warbeck
) and expose Henry VII
as a villain. She used the British Museum
again... |
| Textual Features | Ann Radcliffe | It is set, as the title implies, in the Highlands of Scotland. The hero, Osbert, is a Scots peasant who proves to be of noble birth. The novel stands squarely in the gothic tradition... |
| Textual Features | Elizabeth Margravine of Anspach | In 1775 she told Horace Walpole
, in reply to verse flattery from him, that she was Conscious that oft she felt the Muse's pow'r, / But conscious too, she felt it oft in vain. qtd. in Anspach, Elizabeth, Margravine of. “Introduction”. The Beautiful Lady Craven, edited by Lewis Saul Benjamin and Alexander Meyrick Broadley, Bodley Head, 1914, p. i - cxxxviii. xviii |
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