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PROOF Contents Acknowledgements vi Introduction vii Life and Work vii Education, Enlightenment, and the ‘Moral Tale’ ix The Parent’s Assistant and Early Lessons xv Moral Tales and Popular Tales xxvii ‘The Good Aunt’ xxviii ‘The Grateful Negro’ xxxii Conclusion xxxviii Note on the Texts xl Further Reading xli ‘The Little Dog Trusty; or, The Liar and the Boy of Truth’ 1 ‘The Purple Jar’ 6 ‘Rosamond’s Day of Misfortunes’ 12 ‘The Bracelets’ 24 ‘Lazy Lawrence’ 50 ‘Waste Not, Want Not; or, Two Strings to Your Bow’ 74 ‘The Good Aunt’ 100 ‘The Grateful Negro’ 175 Notes 195 v PROOF Introduction Life and Work Maria Edgeworth (1768–1849) is widely regarded as a pioneer of children’s literature. Edgeworth was an innovative writer of nu- merous tales and novellas for children and young people, whose work was enjoyed by generations of juvenile readers from the late eighteenth until the early twentieth century. She was also the author of Practical Education (1798), an important manual on early education that broke away from the speculative approach of Jean-Jacques Rousseau and the class-specificity of John Locke (both of whom focused their efforts on the education of boys) to create an experimental, scientific pedagogy, based on observa- tions and anecdotes drawn from the experience of bringing up real girls and boys (eight of her half-siblings from her father’s third marriage).1 Edgeworth’s prolific writing for and about children was grounded in a sympathy for young people strengthened by her own turmoil in early childhood: she lost her mother when she was five years old, and her father (a virtual stranger to her) remar- ried within a few months. -
University of Cambridge Faculty of English Lessons After Barbauld
University of Cambridge Faculty of English Lessons After Barbauld: The Conversational Primer in Late- Eighteenth-Century Britain Jessica Wen Hui Lim Lucy Cavendish College This dissertation is submitted for the degree of Doctor of Philosophy August 2018 i Declaration This dissertation is the result of my own work. It is not substantially the same as any that I have submitted, or which is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma, or other qualification at the University of Cambridge or any other University of similar institution. This dissertation does not exceed the regulation length, including footnotes, references and appendices, but excluding the bibliography. Jessica Wen Hui Lim August 2018 ii Lessons after Barbauld: the Conversational Primer in Late-Eighteenth- Century Britain This thesis explores how Anna Letitia Barbauld’s book Lessons for Children Aged Two to Three Years (1778) facilitated the development of the conversational primer. This genre, which has not yet been theorised, may be identified by the way the texts present themselves as verisimilar and replicable sets of conversations, and depict parent-teachers and child-pupils as companions. This genre challenges the idea that there is a dichotomy between ‘adult’ and ‘child’ readers, a concept that inflects many contemporary approaches to children’s literature studies. Through a close reading of Lessons for Children and subsequent conversational primers, this thesis suggests that Barbauld’s Rational Dissenting value of discursive diversity influenced British middle-class children’s culture, enabling the voices of verisimilar children to proliferate children’s books on a previously unknown scale. -
The Absentee
The Absentee Maria Edgeworth The Absentee Table of Contents The Absentee..............................................................................................................................................................1 Maria Edgeworth............................................................................................................................................1 i The Absentee Maria Edgeworth NOTES ON 'THE ABSENTEE' In August 1811, we are told, she wrote a little play about landlords and tenants for the children of her sister, Mrs. Beddoes. Mr. Edgeworth tried to get the play produced on the London boards. Writing to her aunt, Mrs. Ruxton, Maria says, 'Sheridan has answered as I foresaw he must, that in the present state of this country the Lord Chamberlain would not license THE ABSENTEE; besides there would be a difficulty in finding actors for so many Irish characters.' The little drama was then turned into a story, by Mr. Edgeworth's advice. Patronage was laid aside for the moment, and THE ABSENTEE appeared in its place in the second part of TALES OF FASHIONABLE LIFE. We all know Lord Macaulay's verdict upon this favourite story of his, the last scene of which he specially admired and compared to the ODYSSEY. [Lord Macaulay was not the only notable admirer of THE ABSENTEE. The present writer remembers hearing Professor Ruskin on one occasion break out in praise and admiration of the book. 'You can learn more by reading it of Irish politics,' he said, 'than from a thousand columns out of blue−books.'] Mrs. Edgeworth tells us that much of it was written while Maria was suffering a misery of toothache. Miss Edgeworth's own letters all about this time are much more concerned with sociabilities than with literature. We read of a pleasant dance at Mrs. -
Portrayal of Women in Maria Edgeworth's Novels
Name: Nicky De Boom Master Dutch – English Supervisor: Prof. dr. Marysa Demoor Portrayal of women in Maria Edgeworth's novels Academic year 2008-2009 Nicky De Boom Portrayal of Women in Maria Edgeworth's novels 1 Word of thanks I want to thank everybody who helped me write this dissertation. First of all I want to thank my supervisor, Professor Doctor Marysa Demoor for the good guidance that she has given me during the writing of the thesis. Secondly I want to thank the people from the libraries who have helped me look up the books I needed. Finally I want to thank all the people that have helped me with the final editing of my dissertation. They have read my text several times and have indicated the passages they did not understand or the passages that contained spelling and formulation errors. Nicky De Boom Portrayal of Women in Maria Edgeworth's novels 2 Table of contents 0) Short biographical introduction 4-7 1) Chapter I: Literature in the eighteenth and nineteenth century 8 1.1: The superior position of male writers 8-11 1.2: Female writers to the rescue 11-15 1.3: The hero in literature 15-17 1.4: Maria Edgeworth's place in this history 17-18 1.5: The origins and development of Women's Human Rights 18-20 2) Chapter II: Maria Edgeworth's life and career 21 2.1: Her roots 21-22 2.2: Influences on Edgeworth's literature 22 2.2.1: Richard Lovell Edgeworth 23-25 2.2.2: Other people 25-26 2.2.3: Ireland's history 26-27 2.2.4: The various trips to the continent 27-28 2.3: Writing characteristics 28-31 2.4: Overview of Edgeworth's 31 2.4.1: -
NCGS Journal Issue
NINETEENTH-CENTURY GENDER STUDIES # ISSUE 4.1 (SPRING 2008) Corporeal Lessons and Genre Shifts in Maria Edgeworth’s Belinda By Patricia A. Matthew, Montclair State University “A tamed Lady Delacour would be a sorry animal not worth looking at.”(1) <1> In the original sketch for Belinda (1801), Maria Edgeworth planned for Lady Delacour, the novel’s irrepressible coquette, to die as a result of a wound she receives by engaging in the least lady-like of activities: a duel with pistols. Believing she has a kind of cancer, Delacour begins her history by explaining, “’My mind is eaten away by an incurable disease like my body” (481), spending most of the novel trying to hide her failing health from unreliable friends and her unruly husband, prepared to face death rather than allow a physician to treat the wound. Rather than being the story of her demise, however, the novel is a model of how science and wit can come together to heal bodies and reconcile families. This essay considers how Edgeworth evades nineteenth-century narrative conventions that require the death or complete submission of a rebellious woman, arguing that she preserves the spirit and body of Lady Delacour by writing in two genres at once and in doing so creates a narrative space that demonstrates women are as open to logic and reason as their male counterparts. It also considers how Lady Delacour’s body is used to offer a complicated set of lessons to the novel’s audience in and outside of the text. Her wounded breast serves as a barometer of the shifting, expanding boundaries of appropriate female conduct and offers a set of lessons about women’s conduct and their bodies’ obligation to family structures and, by extension, a post-Revolutionary England. -
Practical Education Edgeworth11-Prelim.Fm Page Ii Friday, September 5, 2003 10:52 AM
Edgeworth11-prelim.fm Page i Friday, September 5, 2003 10:52 AM THE PICKERING MASTERS THE NOVELS AND SELECTED WORKS OF MARIA EDGEWORTH Volume 11. Practical Education Edgeworth11-prelim.fm Page ii Friday, September 5, 2003 10:52 AM THE PICKERING MASTERS THE NOVELS AND SELECTED WORKS OF MARIA EDGEWORTH GENERAL EDITOR: MARILYN BUTLER CONSULTING EDITOR: W. J. McCORMACK Edgeworth11-prelim.fm Page iii Friday, September 5, 2003 10:52 AM THE PICKERING MASTERS THE NOVELS AND SELECTED WORKS OF MARIA EDGEWORTH VO L U M E 11 EDITED BY Susan Manly PRACTICAL EDUCATION Edgeworth11-prelim.fm Page iv Friday, September 5, 2003 10:52 AM First published 2003 by Pickering & Chatto (Publishers) Limited Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or inany information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. © Taylor & Francis 2003 © Introductory notes and endnotes Susan Manly 2003 BRITISH LIBRARY CATALOGUING IN PUBLICATION DATA A catalogue record for this book is available From the British Library LIBRARY -
1 the Progressive Ideas of Anna Letitia Barbauld Submitted By
The Progressive Ideas of Anna Letitia Barbauld Submitted by Rachel Hetty Trethewey to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English in January 2013 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature:…………………………………………………………………… 1 Abstract In an age of Revolution, when the rights of the individual were being fought for, Anna Letitia Barbauld was at the centre of the ideological debate. This thesis focuses on her political writing; it argues that she was more radical than previously thought. It provides new evidence of Barbauld’s close connection to an international network of reformers. Motivated by her Dissenting faith, her poems suggest that she made topical interventions which linked humanitarian concerns to wider abuses of power. This thesis traces Barbauld’s intellectual connections to seventeenth- and eighteenth-century religious and political thought. It examines her dialogues with the leading thinkers of her era, in particular Joseph Priestley. Setting her political writing in the context of the 1790s pamphlet wars, I argue that it is surprising that her 1792 pamphlet, Civic Sermons , escaped prosecution; its criticism of the government has similarities to the ideas of writers who were tried. My analysis of Barbauld’s political and socio-economic ideas suggests that, unlike many of her contemporaries, she trusted ordinary people, believing that they had a right to be involved in government. -
The Material Psychology of Anna Letitia Barbauld, Hannah More, And
‘Lasting Associations’ The Material Psychology of Anna Letitia Barbauld, Hannah More, and Elizabeth Hamilton Joanna Wharton PhD University of York English and Related Literature July 2014 i Joanna Wharton Lasting Associations Abstract This thesis uncovers theories and applications of psychology in the work of three women writers of late eighteenth-century Britain: Anna Letitia Barbauld, Hannah More, and Elizabeth Hamilton. It traces their engagement in discourse on the nature of mind through analysis of the texts they produced between 1770 and 1815, and takes an interdisciplinary approach to establish the significance of what I identify as ‘material psychology’ in their cultural and social activity. I argue that their textual and material uses of philosophy transformed disciplines, shaping early psychology in far more thoughtful, varied, and influential ways than has been acknowledged. The introduction outlines feminist applications of John Locke’s An Essay Concerning Human Understanding (1689), and discusses the challenges facing women who sought to harness the potential of his tabqula rasa hypothesis. It maps out the increasingly contested politics of psychology in the years following the French Revolution, considering misogynistic representations of the ‘Female Philosopher’ in the context of Mary Hays’ materialist feminism. I demarcate the often vexed or unclear gender politics of Barbauld, More and Hamilton, and propose a material and sensory reassessment of their domestic strategies for reform. This study contributes to the literary history of women by re-evaluating their place in the Enlightenment ‘science of man’, a full understanding of which demands innovative reinterpretation of interdisciplinary perspectives on gender and science in the late eighteenth century. -
Lazarus, Rachel Mordecai
Published on NCpedia (https://www.ncpedia.org) Home > Lazarus, Rachel Mordecai Lazarus, Rachel Mordecai [1] Share it now! Average: 5 (1 vote) Lazarus, Rachel Mordecai by Edgar Edgeworth Macdonald, 1991 1 July 1788–23 June 1838 Rachel Mordecai Lazarus, teacher and correspondent of author Maria Edgeworth, was born in Goochland County, Va., the daughter of Jacob [2]and Judith Myers Mordecai. At age four, she moved with her parents to Warrenton, N.C., where her father was engaged in the mercantile business. After her mother's death in 1796, Rachel, along with some of her brothers and sisters, lived with her aunt in Richmond, Va., where she was educated. When her father opened a school at Warrenton [3] in 1809, Rachel became one of the teachers as well as the general directress. In preparing herself for teaching, Rachel Mordecai was greatly influenced by the works ofR ichard Lovell Edgeworth [4] and his daughter Maria, in particular The Parent's Assistant [5] (1796), Practical Education [6] (1798), and Early Lessons [7] (1801). At the time of their appearance, the ideas incorporated in these volumes were considered revolutionary, with their deemphasis of a classical, prescriptive education for children and their advocacy of encouraging the curiosity of children in natural and scientific phenomena. In one of her Tales of Fashionable Life [8], "The Absentee" (1812), Maria Edgeworth depicted a Jewish London coach maker in the clichéd characterization of Shylock; his name was Mordecai. On 7 Aug. 1815 Rachel Mordecai wrote the celebrated author a gentle letter of reproof, saying that happily her family had not experienced in either Virginia or North Carolina the prejudice against Jews evidenced in British literature. -
Maria Edgeworth | Practical Education | Harper, 1855 | 1855
Maria Edgeworth | Practical Education | Harper, 1855 | 1855 Practical Education Practical Education, Volume 2 Practical Education, Volume 1 Leonora. Ennui Tales, and Miscellaneous Pieces, Volume 4 Memoirs of Richard Lovell Edgeworth, Esq, Volumes 1- 2 What is practical education? Update Cancel. ad by Quora for Business. Want to convert educational intent into business? Use Quora Ads to promote your business alongside topics like career or school advice. Learn More at quora.com. Education which teaches you literally on how to HANDLE things properly and to good use. 576 Views · Answer requested by. Kunal Pandhram. Related Questions. Should education be practical or theoretical? What are the benefits of practical education? Practical Education is an educational treatise written by Maria Edgeworth and her father Richard Lovell Edgeworth. Published in 1798, it is a comprehensive theory of education that combines the ideas of philosophers John Locke and Jean-Jacques Rousseau as well as of educational writers such as Thomas Day, William Godwin, Joseph Priestley, and Catharine Macaulay. The Edgeworths' theory of education was based on the premise that a child's early experiences are formative and that the associations they Practical Education's wiki: Practical Education is an educational treatise written by Honora Sneyd, her step-daughter Maria Edgeworth and her husband Richard Lovell Edgeworth. Sneyd died before she could complete it. Reference Links For This Wiki. All information for Practical Education's wiki comes from the below links. Any source is valid, including Twitter, Facebook, Instagram, and LinkedIn. Pictures, videos, biodata, and files relating to Practical Education are also acceptable encyclopedic sources. -
Maria Edgeworth - a Biographical Note
Published on Great Writers Inspire (http://writersinspire.org) Home > Maria Edgeworth - A biographical note. Maria Edgeworth - A biographical note. Maria Edgeworth (1768-1849). A Biographical Note Maria Edgeworth was the third child and eldest daughter of Richard Lovell Edgeworth (1744-1817) and his first wife, Anna Maria Elers (1743-1777). Richard Lovell Edgeworth was an Anglo-Irish politician, writer and inventor and a leading light of the Birmingham Lunar Society (founded in the 1770s). Maria was born at Black Bourton, Oxfordshire on 1 January 1768. Her mother died of puerperal fever following the birth of a fifth child in March 1773 and her father swiftly remarried only three months later to Honora Sneyd of Lichfield (1751-1780). Maria went with her surviving brother and two sisters to live with her father at the family estate at Edgeworthstown, County Longford briefly before she was sent away to a boarding school in England. She returned to Edgeworthstown in the summer of 1782 by which time her stepmother had died (1780) and her father married again, this time to Elizabeth Sneyd, the sister of his late wife. Maria now formed a strong bond with her father and participated in educating his ever growing family of children as well as managing the estate. Her first published works were Letters for Literary Ladies in 1795 ? which made a vigorous case for female rationality and skills as writers and a collection of children?s stories (The Parent?s Assistant, 1796, but it was Practical Education of 1798, co-authored with her father, that propelled Maria Edgeworth to international fame. -
Page 2 Dazzling Ghostland: Sheridan Le Fanu's Phantasmagoria David
Page 2 Dazzling Ghostland: Sheridan Le Fanu’s Phantasmagoria David Annwn As the third chapter of Sheridan LeFanu’s Uncle Silas (1865), cuts to the fourth, there occurs a most remarkable moment in 19th century literature of horror. Maud Ruthyn, the youthful protagonist, is thinking over her encounters with members of the Swedenborgian religious sect: Two or three of them crossed in the course of my early life, like magic lantern figures, the disk of my very circumscribed observation.(1) She is dwelling on her recent encounter with Mr Bryerly, a Swedenborgian and thinking of her walk with him past her mother’s sylvan tomb and his consoling words regarding the afterlife. Leaning on my hand, I was now looking upon that solemn wood, white and shadowy in the moonlight, where, for a long time after that ramble with the visionary, I fancied the gate of death, hidden only by a strange glamour, and the dazzling land of ghosts, were situate;(2) For a moment, in Maud’s lulled consciousness, it is as though the border between life and death has become permeable, subject to comings and goings. At the turn of the page and chapter, we jump to: ON A SUDDEN, on the grass before me, stood an odd figure—a very tall woman in grey draperies, nearly white under the moon, courtesying extraordinarily low, and rather fantastically. I stared in something like a horror upon the large and rather hollow features which I did not know, smiling very unpleasantly on me; and the moment it was plain that I saw her, the grey woman began gobbling and cackling shrilly—I could not distinctly hear what through the window—and gesticulating oddly with her long hands and arms.(3) Does our consciousness, as readers, move in upon the vision here or does this tall image seem to rise out of the land of the dead towards us? Perhaps both simultaneously, because this moment is a nexus of conflicting spatial urges and affronts to these.