Conolly, L. W. “The Censor’s Wife at the Theater: The Diary of Anna Margaretta Larpent, 1700-1800”. Huntington Library Quarterly, Vol.
35
, No. 1, Nov. 1971, pp. 49-64. 64
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Dinah Mulock Craik | The narrative provides a fairly complex interrogation of the notion that a woman's love can rescue a man from his sins. The romance in Schiller
's Die Piccolomini provides a point of reference throughout the narrative. |
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 |
Literary responses | Liz Lochhead | Mary Queen of Scots was a great hit with critics. In the Times, Irving Wardle
compared the play favourably with Schiller
's Mary Stuart (also playing at the Fringe that year), and the Financial... |
Literary responses | Jean Plaidy | Irish critic Colm Tóibín
, who at fourteen used to pretend to be the doomed, charismatic queen, feels that of all the many writers who have treated Mary in fiction, from Burns
, Wordsworth
... |
Occupation | Anna Margaretta Larpent | AML
may be said to have married into her husband's job: in the words of theatre historian L. W. Conolly
, she sometimes even acted as censor herself. Conolly, L. W. “The Censor’s Wife at the Theater: The Diary of Anna Margaretta Larpent, 1700-1800”. Huntington Library Quarterly, Vol. 35 , No. 1, Nov. 1971, pp. 49-64. 64 |
Textual Features | Penelope Fitzgerald | In life her hero (whose actual name was Friedrich Leopold, or Fritz, von Hardenberg) was a friend of Schiller
and Schlegel
, and died in 1801 before the age of thirty, having just published his... |
Textual Features | Anna Swanwick | |
Textual Features | Anna Maria Mackenzie | The introduction also admits Mackenzie's indebtedness to Schiller
's play Die Räuber (1781, translated into English in 1792). She does not name this work, but writes: a very celebrated German author has in his sublime... |
Textual Features | Anna Swanwick | AS
declares at the outset her belief in the progressive development of the human race, and in the contribution that poetry makes to pushing on that development as well as to witnessing and recording it... |
Textual Features | Constance Naden | The book is divided into four sections: The Astronomer, etc., The Lady Doctor, etc. (from the poem already printed in London Society), Sonnets, and Translations (which come from Schiller
, Goethe
,... |
Textual Features | Ann Radcliffe | The Italian has been read as an answer to The Monk by Lewis
, a vindication of terror (assaults on the nerves, the strain of threatened but imperfectly perceived danger) against horror (sexual obsession and... |
Textual Features | Joanna Baillie | The 1798 instalment of the series consists of three plays, two on love (the comedy The Tryal and the tragedy Count Basil) and one, the tragedy De Monfort, on hate. De Monfort himself... |
Textual Production | Fanny Kemble | Plays by F.A. Kemble appeared, subtitled An English Tragedy. A Play in Five Acts. Mary Stuart
, translated from the German of Schiller
. Mademoiselle de Belle Isle, translated from the French of Alexandre Dumas |
Textual Production | Anna Swanwick | |
Textual Production | Constance Naden | She chose an epigraph from Schiller
in German, about the dance of the hours. The cover was blue, printed in gold with a trailing spray of leaves and flowers of campanula hederacea, designed by herself... |
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