| Intertextuality and Influence |
Alethea Lewis |
She heads her novel with a prefatory letter to the Rev. William Johnstone
, who, she says, has asked why she chooses to write fiction and not moral essays. She answers that novels offer opportunities...
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| Intertextuality and Influence |
Sarah Green |
This preface is headed by two Latin words (one with a faulty grammatical ending) from Ovid
's description of chaos. SG
slams both male and female novelists, chiefly authors of gothic or horrid novels and...
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| Intertextuality and Influence |
Elizabeth Pipe Wolferstan |
A few statements are footnoted to their originators, whom EPW
has either paraphrased or versified: Sherlock and Lavater
are her favourites, but she also draws on lighter writers like Horace
, Swift
, and Coleridge
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| Intertextuality and Influence |
Elizabeth Isabella Spence |
She does get away in the end and acquires several supporters (Lady Barbara Arden, Lord Dorringcourt, and his sister Lady Elinor), while Lord Valville is left to plot revenge with feelings even more diabolic than...
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| Intertextuality and Influence |
Mary Ann Kelty |
Having acquired her female mentor, Isabel faces the world of courtship and life-choices. Edward Leslie writes telling her how as a student he had loved Matilda Sutton, had then judged her too boring in her...
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| Intertextuality and Influence |
Susanna Centlivre |
From this plot Frances Burney
borrowed the four guardians of her heroine in Cecilia. Walter Scott
thought the plot was extravagant enough (when the play was a hundred and ten years old) yet that...
|
| Intertextuality and Influence |
Jane Loudon |
This strikingly inventive and ingenious tale seems to owe a good deal to Mary Shelley
's Frankenstein (though Shelley receives no tribute in passing, as do R. B. Sheridan
, Byron
, and especially Scott
|
| Intertextuality and Influence |
Jane Austen |
Despite some later revision, Northanger Abbey is essentially (like its ancestor Susan) a novel of the 1790s, a spoof of both the gothic and romance modes which were then all the rage. Austen's specific...
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| Intertextuality and Influence |
Margaret Holford |
The novel shows considerable skill but an excess of words and of characters. Selima, daughter of a clandestine marriage, is adopted by the old maid Anne Aubrey after being brought up initially by an old...
|
| Intertextuality and Influence |
Beatrix Potter |
BP
was not content with her success as a children's writer, but hankered to establish herself as an author for adults. Her references in her private writings to Burney
(a propos of her first appearance...
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| Intertextuality and Influence |
Jane Austen |
Anne Elliot, heroine of Persuasion, gets a second chance to marry the man she had rejected nine years before under pressure from her elders. His prospects of a self-made career did not at that...
|
| Intertextuality and Influence |
Rachel Hunter |
Rachel, an heiress, gives her heart to a poor man whose family oppose the match for fear of being seen as mercenary. She is also something of a social rebel, a feminist (fond of gender-bending...
|
| Intertextuality and Influence |
Elizabeth Ham |
The story, set in Anglo-Saxon England, is that treated by Frances Burney
in her only play to reach the stage during her lifetime, Edwy and Elgiva. EH
was too young as well as...
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| Intertextuality and Influence |
Nancy Mitford |
This is another worldly satirical comedy. The parents in question are divided by nationality (Grace is English, Charles is French) and class (bourgeoisie and nobility). Their son Sigismund, or Sigi, delights in setting one against...
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| Intertextuality and Influence |
Charlotte Smith |
Three women help each other escape male persecution; the distressed heroine gets an ideal husband, Godolphin, who restores the social status which her illegitimate birth had robbed her of. Though the castle where Emmeline grows...
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