Spence, Elizabeth Isabella. Summer Excursions. Longman, Hurst, Rees, and Orme.
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Connections Sort ascending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Felicia Hemans | The volume takes its epigraphs and historical starting-points from a wide range of sources, including major male Romantics—Wordsworth
, Byron
, Coleridge
, Goethe
, Schiller
—and lesser-known contemporaries including women—Elizabeth Ogilvy Benger |
Intertextuality and Influence | Sylvia Kantaris | Other poems are self-referential examinations of poetry and writing. The Recluse describes the inability of the contemporary poet to present in verse (like the unnamed William Wordsworth
) the rustic tale of a chance-met old... |
Intertextuality and Influence | Anne Manning | The title-page quotes William Wordsworth
. This is a deliberately quiet and humdrum book, set in the Midlands and centred on the elderly, unmarried Miss Hills of Bever Hollow, Althea and Kitty. Their sisterly relationship... |
Intertextuality and Influence | Harriet Smythies | In a critical preface HS
reveals her gender though not her name. She opens by invoking the author of Rienzi (either, Mary Russell Mitford
or Edward Bulwer Lytton
). The two groups of lovers and... |
Intertextuality and Influence | Ann Yearsley | Elizabeth Isabella Spence
, reporting on a visit to Bristol, mentions AY
as an example of an obscure woman writer of genius. Spence, Elizabeth Isabella. Summer Excursions. Longman, Hurst, Rees, and Orme. 71 |
Intertextuality and Influence | Eleanor Anne Porden | EAP
was projecting an essay periodical in 1815 (she had the first two numbers planned) when this long poem, written at sixteen, appeared. At about the same time she was reading Wordsworth'sRecluse and poems... |
Intertextuality and Influence | Christina Rossetti | |
Intertextuality and Influence | Anne Marsh | The elderly narrator of The Deformed is physician to the family of the Marquess of Brandon, in the little town of Carstones, which depends on the marquess and seems like an appendage to his castle... |
Intertextuality and Influence | L. M. Montgomery | |
Intertextuality and Influence | Anna Letitia Barbauld | William Enfield
quoted eight lines from Aikin (as Our Poetess) in dedicating his very popular anthology The Speaker, designed for the teaching of elocution, to the head of Warrington Academy
. Her volume... |
Intertextuality and Influence | Rumer Godden | A Fugue in Time has three epigraphs: a description of the simultaneous, independent melodies present in Bach
's fugues; eighteen lines from T. S. Eliot
's still fairly recent East Coker (from Home is where... |
Intertextuality and Influence | Fleur Adcock | Below Loughrigg is largely a localised collection, haunted by the presence of Wordsworth
. |
Intertextuality and Influence | Mary Elizabeth Coleridge | To the Writer of a Poem on a Bridge speaks to Wordsworth
's Upon Westminster Bridge. Chapman, Alison. “Mary Elizabeth Coleridge, Literary Influence and Technologies of the Uncanny”. Victorian Gothic: Literary and Cultural Manifestations in the Nineteenth Century, edited by Ruth Robbins and Julian Wolfreys, Palgrave, pp. 109-28. 126-7 And watched the waters... |
Intertextuality and Influence | Ann Radcliffe | Anna Seward
, in letters which were to be published in AR
's lifetime, mixed her praise of her gothic oeuvre with some trenchant criticism. Norton, Rictor. Mistress of Udolpho: The Life of Ann Radcliffe. Leicester University Press. 221-2 |
Intertextuality and Influence | Elizabeth Isabella Spence | The title-page quotes William Wordsworth
. At the beginning of the collection a male narrator, London-born with a Welsh mother, travels after his mother's death to Chirk (her native place). The tales' framework is desultory... |
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