Shankman, Lillian F., and Anne Thackeray Ritchie. “Biographical Commentary and Notes”. Anne Thackeray Ritchie: Journals and Letters, edited by Abigail Burnham Bloom et al., Ohio State University Press, p. various pages.
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Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Elizabeth Strutt | The first chapter-heading comes from one of Wordsworth
's Lucy poems; eighteenth-century poets are also quoted. Unattributed chapter-headings, as well as verses by characters in the novel, are probably by ES
herself. The protagonist, Genevieve... |
Intertextuality and Influence | Maria Jane Jewsbury | Before the work was published, MJJ
sent William Wordsworth
, whom she had never met, a copy of the first volume. In her letter she thanked him for his inspiration and expressed her hope that... |
Intertextuality and Influence | Anne Thackeray Ritchie | Again, ATR
's stay at Chateau Bréquerecque, Boulogne, in 1854 provided the basis for the novel's setting. Shankman, Lillian F., and Anne Thackeray Ritchie. “Biographical Commentary and Notes”. Anne Thackeray Ritchie: Journals and Letters, edited by Abigail Burnham Bloom et al., Ohio State University Press, p. various pages. 28 |
Intertextuality and Influence | Elizabeth Ogilvy Benger | Of the anthology poems, The Ship's Return is a ballad in which a lover fails to return with his ship, and A Sketch pictures a mother with her baby. One of the magazine pieces, Retrospection... |
Intertextuality and Influence | Catherine Fanshawe | One of the poems, a delightful Ode which imitates or parodies several well-known passages in various works by Gray
, was written not by CF
but by her friend Mary Berry
, some time before... |
Intertextuality and Influence | Elizabeth Melvill | Comments on Ane Godlie Dreame, though sparse, have been persistent. John Livingstone
recorded that she was famous for her dream anent her spirituall condition. Baxter, Jamie Reid. “Elizabeth Melville, Lady Culross: new light from Fife”. The Innes Review, Vol. 68 , No. 1, pp. 38-77. 40 |
Intertextuality and Influence | Louisa Anne Meredith | Most of the section called Poems, as well as some other pieces, describe flowers or other features of the natural world. Nature and poetry (which is celebrated in the opening Invocation to Song)... |
Intertextuality and Influence | Catherine Hubback | CH
heads her volumes and chapters with quotations. Wordsworth
is the most-used here; among other lines, he is cited for A little onward lend thy guiding hand / To these dark steps, a little farther... |
Intertextuality and Influence | Meiling Jin | In the introduction to the book of poems that was her first publication, MJ
noted that poetry was a form of expression that comes easier to me than most others. This state of affairs was... |
Intertextuality and Influence | Elizabeth B. Lester | There follows a series of six stories under the general title A Sketch from the Parlour of my Inn, three of which open with quotations from William Wordsworth
. The final story in this... |
Intertextuality and Influence | Elizabeth Barrett Browning | Byron
and Wordsworth
were important poetic influences. Books that Elizabeth Barrett owned and kept until her death included Philip James Bailey
's Festus, A Poem, a major text of the spasmodic school, L. E. L. |
Intertextuality and Influence | Alice Meynell | AM
's associations with Aubrey de Vere
, Patmore
, and Meredith
were mutually beneficial. She shared with these poet-mentors the passion and facility for metrical and verbal analysis. “Dictionary of Literary Biography online”. Gale Databases: Literature Resource Center-LRC. 19 |
Intertextuality and Influence | A. S. Byatt | The painter Van Gogh
is a constant presence in this highly allusive novel, which takes Stephanie Potter, now Orton, through pregnancy and birth (while she tries to hold on to her former identity by reading... |
Intertextuality and Influence | Joanna Baillie | Mary Berry
took the lead in promoting the volume. Baillie, Joanna. “Editorial Materials”. The Collected Letters of Joanna Baillie, edited by Judith Bailey Slagle, Fairleigh Dickinson University Press, pp. ix - xiv, 1. 11 |
Intertextuality and Influence | Isa Blagden | The final line invokes Wordsworth
's The Female Vagrant, andIB
also echoes Thomas Hood
's Bridge of Sighs and the more general iconography of the fallen woman. This treatment of what it meant... |
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