Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Textual Features | Mary Lady Champion de Crespigny | The novel opens self-consciously, desiring the reader not to be a severe critic and explaining that the characters first introduced, William Hoskins and his wife Jenny, are worthy, honest people without pedigree or honours. Champion de Crespigny, Mary, Lady. The Pavilion. William Lane, Minerva Press, 1796, 4 vols. 1: 1 |
Textual Features | Sarah Gardner | This is not a well-constructed plot, since it is low in suspense, surprise, or even action. The play progresses like a series of disconnected sketches. The mistaken identity, parental opposition, and lack of money hampering... |
Textual Features | Jane Collier | It vividly reflects the liveliness and originality of JC
's mind, her interest in books (from the classics and the Bible to very recent publications), education, women's issues, family life, and in moral interpretation of... |
Textual Features | Charlotte Lennox | The novel's opening is an early example of a technique which was to remain popular with authors for generations: About the middle of July 17 — . . . , where the precise day and... |
Textual Features | Catherine Talbot | CT
's letters often convey her literary opinions, discussing writing by, for instance, Marie de Sévigné
, Richardson
, Henry Fielding
and Samuel Johnson
. She also writes of the details of her daily life... |
Textual Features | Jane Collier | The commonplace-book throws light on Collier's other extant writings as well. A casual mention of what Sally calls the Turba proves definitively that at least one neologism in The Cry stemmed not from her but... |
Textual Features | Mary Herberts | This ambivalently presented woman writer specialises in highflown rhetoric whose literal version is bathetic, foreshadowing a technique of Henry Fielding
: the Sun beginning (in the Countess's style) to hasten to the Embraces of his... |
Textual Features | 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... |
Textual Features | Sarah Fielding | In the novel Leonora relates in a letter the story of her unhappy love. The benevolent Parson Adams keeps groaning in sympathy as he hears the letter read aloud; this is probably a compliment by... |
Textual Features | Louise Page | In the book of the non-existent film, chapters have sub-Henry-Fielding
descriptive titles (In which Sir Roderick survives and Isabella returns to the home from which she has lately fled). In the first chapter... |
Textual Features | Sarah Fielding | David Simple predates all fictional work by Samuel Johnson
and all but the earliest works by Henry Fielding
and Samuel Richardson
, which are sometimes mistakenly spoken of as its models. It may be seen... |
Textual Features | Anna Maria Mackenzie | AMM
's opening address To the Readers of Modern Romance says that ancient romance was put paid to by the new source of amusement . . . struck out by Henry Fielding
and Richardson
(to... |
Textual Features | Frances Burney | Evelina opens with an ode to Charles Burney
(unnamed) as Author of my Being, which sounds like an apology for having written. Doody, Margaret Anne. Frances Burney: The Life in the Works. Cambridge University Press, 1988. 37 |
Textual Production | Julia Frankau | In JF
's Joseph in Jeopardy (whose hero's first name, mentioned in the title, seems to allude both to the Bible and to Henry Fielding
's Joseph Andrews) the hero resists seduction by a... |
Textual Production | Evelyn Sharp | ES
wrote by hand a long letter from Bow Street Police Court to C. P. Scott
, editor of the Manchester Guardian and thus her employer, in the light of her probably fast-approaching incarceration. The... |
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