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Castle Rackrent
THE DOUBLE-VOICED NARRATIVES OF MARIA EDGEWORTH, SOMERVILLE AND ROSS, AND ELIZABETH BOWEN By SARAH MARGARET MALLONEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2009 1 © 2009 Sarah Margaret Mallonee 2 To my grandparents 3 ACKNOWLEDGMENTS My acknowledgements are many and heartfelt, but they start with three people who make every day better than the one before. I start with my parents, then, who most recently reminded me, with a kindness and graciousness unique to them, that they were in this with me ―for the long haul.‖ That it has been. What they signed on for took some time to see to its completion, but for their unwavering, unimaginably strong support, I am totally humbled and forever grateful. John D. Mallonee, M.D. and Elizabeth Heard Mallonee, M.A. set high standards for their children and this has always helped me keep a strong work ethic, a dedication to my goals, and an enthusiasm for all that I endeavor; I thank them for that. In the same breath that I thank my parents, I thank my constant companion, Elliott N. Gamsey, who brings the ―make it so‖ attitude to our lives and readily shares the tenderness, strength, and joy that emanates from his heart and his hands. What I should be most thankful for, I suppose, are the many songs, videos, comics, articles, and bits of news Elliott has used over the years to keep me sane along the way. -
Sample Chapter
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. -
Anna Seward and the Poetics of Sensibility and Control Andrew O
Criticism Volume 58 | Issue 2 Article 9 2016 Anna Seward and the Poetics of Sensibility and Control Andrew O. Winckles Adrian College, [email protected] Follow this and additional works at: http://digitalcommons.wayne.edu/criticism Recommended Citation Winckles, Andrew O. (2016) "Anna Seward and the Poetics of Sensibility and Control," Criticism: Vol. 58 : Iss. 2 , Article 9. Available at: http://digitalcommons.wayne.edu/criticism/vol58/iss2/9 ANNA SEWARD At the 2011 meeting of the North American Society for the Study AND THE POETICS of Romanticism, Anne K. Mellor OF SENSIBILITY reflected on how the field has AND CONTROL changed since her foundational Andrew O. Winckles 1993 study Romanticism and Gender. She commented that, though women writers such as Anna Seward and the End of the Mary Wollstonecraft, Jane Austen, Eighteenth Century by Claudia and Mary Shelley have cemented Thomas Kairoff. Baltimore, MD: themselves as legitimate objects Johns Hopkins University Press, of study, this has largely been at 2012. Pp. 328. $58 cloth. the expense of a broader under- standing of how women writers were working during the period. In addition to the Big Six male Romantics, we have in many cases simply added the Big Three female Romantics.1 Though this has begun to change in the last ten years, with important studies appearing about women like Anna Letitia Barbauld, Mary Robinson, Joanna Baillie, and Hannah More, we still know shockingly little about women writers’ lives, cultural con- texts, and works. A case in point is Anna Seward, a poet and critic well known and respected in her own lifetime, but whose critical neglect in the nineteenth and twentieth centu- ries has largely shaped how recent critics interact with her work. -
The Annals of the Four Masters De Búrca Rare Books Download
De Búrca Rare Books A selection of fine, rare and important books and manuscripts Catalogue 142 Summer 2020 DE BÚRCA RARE BOOKS Cloonagashel, 27 Priory Drive, Blackrock, County Dublin. 01 288 2159 01 288 6960 CATALOGUE 142 Summer 2020 PLEASE NOTE 1. Please order by item number: Four Masters is the code word for this catalogue which means: “Please forward from Catalogue 142: item/s ...”. 2. Payment strictly on receipt of books. 3. You may return any item found unsatisfactory, within seven days. 4. All items are in good condition, octavo, and cloth bound, unless otherwise stated. 5. Prices are net and in Euro. Other currencies are accepted. 6. Postage, insurance and packaging are extra. 7. All enquiries/orders will be answered. 8. We are open to visitors, preferably by appointment. 9. Our hours of business are: Mon. to Fri. 9 a.m.-5.30 p.m., Sat. 10 a.m.- 1 p.m. 10. As we are Specialists in Fine Books, Manuscripts and Maps relating to Ireland, we are always interested in acquiring same, and pay the best prices. 11. We accept: Visa and Mastercard. There is an administration charge of 2.5% on all credit cards. 12. All books etc. remain our property until paid for. 13. Text and images copyright © De Burca Rare Books. 14. All correspondence to 27 Priory Drive, Blackrock, County Dublin. Telephone (01) 288 2159. International + 353 1 288 2159 (01) 288 6960. International + 353 1 288 6960 Fax (01) 283 4080. International + 353 1 283 4080 e-mail [email protected] web site www.deburcararebooks.com COVER ILLUSTRATIONS: Our cover illustration is taken from item 70, Owen Connellan’s translation of The Annals of the Four Masters. -
The Perfect Wife”
“THE PERFECT WIFE” BY RACHAEL CARNES ESTIMATED RUNNING TIME — 90 MINUTES CAST — SIX PERFORMERS Rachael Carnes, member: Dramatists Guild, National New Play Network, Playwrights Center, AWP 1050 W 17th Ave, Eugene OR 97402, 541-221-5792 www.rachaelcarnes.com [email protected] © 2017, All Rights Reserved. SUMMARY As revolution between England and its American colonies simmers, candy-colored Georgian society pits the woeful, starving masses against the excessive powers of the rich elite. One bright young man, Sir Thomas Day, rebuffed at every turn from would- be wives, despite his fortune, grows frustrated, and hatches a plan to steal an orphan, and raise her to be the Perfect Wife. Based on real events, this work of historical fiction opens in the Shrewsbury Foundling Hospital, with Day on the hunt. CHARACTERS Thomas Day A tall, dark-haired, pock-marked man of 21, disheveled, with stringy, matted long hair, dirty fingernails and drab, misshapen and fraying, but expensive, clothes. Sabrina (Anne) An “orphaned” girl, 12 years old, red-haired, freckled, dressed in a rough-hewn smock and no shoes. DUAL ROLES (MAN) Richard Etheridge A wealthy Irish inventor of useless mechanicals and Day’s foppish friend, a few years his elder, powdered and be- wigged, spritely as a grasshopper, he dresses in the au courante dandy Georgian men’s style — trussed in a corset, with fat, padded calves and a stuffed chest. Ferry Master Middle-aged, muscular, he wears a threadbare, high-cut sailor’s uniform, heavy black fisherman’s shoes and a wide, flat black hat over a dusty white bonnet. -
Short Title Listing of the Pollard Collection of Children's Books
Short-title listing of the Pollard Collection of children’s books. Letter P Short title listing of the Pollard Collection of children’s books P Pacha of many tales. By Captain Marryat Paris: Baudry’s European Library, 1835 Box 2000 The pacha of many tales. Vol. I. By Captain Marryat N. H.: Charles Robinson, 1843 Box 670 The pacha of many tales. Vol. II. By Captain Marryat N. H.: Charles Robinson, 1843 Box 670 Paddy and Thomas. First dialogue. Dublin: [n.publ.], 1820 Box 2126 Paddy and Thomas. First dialogue. Dublin: [n.publ.], 1820 Box 2127 Paddy and Thomas. second dialogue. Dublin: [n.publ.], 1820 Box 2127 Paddy and Thomas. second dialogue. Dublin: [n.publ.], 1820 Box 2127 Paddy and Thomas. second dialogue. Dublin: [n.publ.], [n.d.] Box 2127 Page 1 of 92 Short-title listing of the Pollard Collection of children’s books. Letter P Paddy and Thomas. No. 5. Dublin: [n.publ.], [n.d.] Box 1704 Paddy and Thomas: containing the interesting particulars of a conversation between two Irishmen, with an account of Thomas’s sudden death. No. 575. London: Religious Tract Society, [n.d.] Box 1705 Paddy and Thomas: containing the interesting particulars of a conversation between two Irishmen ... No. 575. London: Religious Tract Company, [n.d.] Box 1705 Paddy Finn. By W. H. G. Kingston London: Griffith Farran Browne & Co., [n.d.] Box 580 Painstaking. A story for the young. London: T. Nelson & Sons, 1872 Box 1449 A pair of old shoes. By Christabel Coleridge London: Wells Gardner, Darton & Co., [n.d.] Box 256 Páistideact By Dr. -
The Adventurous History of Sabrina Sidney
CONSTRUCTING THE EIGHTEENTH-CENTURY WOMAN: THE ADVENTUROUS HISTORY OF SABRINA SIDNEY By KATHARINE ILES A thesis submitted to the University of Birmingham For the degree of DOCTOR OF PHILOSOPHY School of History and Cultures College of Arts and Law University of Birmingham April 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The story of Thomas Day’s attempt to educate a young girl according to the theories of Jean-Jacques Rousseau, with the aim of marrying her, has often been referred to as a footnote in Enlightenment history. However, the girl chosen by Day, Sabrina Sidney, has never been placed at the centre of any historical enquiry, nor has the experiment been explored in any depth. This study places Sabrina at its centre to investigate its impact on her and to examine the intellectual and societal debates that informed Thomas Day’s decision to educate a wife. This thesis argues that Sabrina Sidney was in a constant state of construction, which changed depending on a myriad of factors and that constructions of her were fluid and flexible. -
Richard Lovell Edgeworth a Selection from His Memoirs Edited by Beatrix L
1 RICHARD LOVELL EDGEWORTH A SELECTION FROM HIS MEMOIRS EDITED BY BEATRIX L. TOLLEMACHE (HON. MRS. LIONEL TOLLEMACHE) RIVINGTON, PERCIVAL & CO. KING STREET, COVENT GARDEN LONDON 1896 LIFE IS AN INN THERE is an inn where many a guest May enter, tarry, take his rest. When he departs there's nought to pay, Only he carries nought away. 'Not so,' I cried, 'for raiment fine, Sweet thoughts, heart-joys, and hopes that shine, May clothe anew his flitting form, As wings that change the creeping worm. His toil-worn garb he casts aside, And journeys onward glorified.' B. L. T. RICHARD LOVELL EDGEWORTH CHAPTER 1 Some years ago, I came across the Memoirs of Richard Lovell Edgeworth in a second-hand bookshop, and found it so full of interest and amusement, that I am tempted to draw the attention of other readers to it. As the volumes are out of print, I have not hesitated to make long extracts from them. The first volume is autobiographical, and the narrative is continued in the second volume by Edgeworth's daughter Maria, who was her father's constant companion, and was well fitted to carry out his wish that she should complete the Memoirs. Richard Lovell Edgeworth was born at Bath in 1744. He was a shining example of what a good landlord can do for his tenants, and how an active mind will always find objects of interest without constantly requiring what are called amusements; for the leisure class should be like Sundays in a week, and as the ideal Sunday should be a day when we can store up good and beautiful thoughts to refresh us during the week, a day when there is no hurry, no urgent business to trouble us, a day when we have time to rise above the sordid details of life and enjoy its beauties; so it seems to me that those who are not obliged to work for their living should do their part in the world by adding to its store of good and wise thoughts, by cultivating the arts and raising the standard of excellence in them, and by bringing to light truths which had been forgotten, or which had been hidden from our forefathers. -
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. -
Maria Edgeworth,Ireland and Castle Rackrent
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Lingue e Letterature Europee, Americane e Postcoloniali Tesi di Laurea __ Ca’ Foscari Dorsoduro 3246 30123 Venezia Maria Edgeworth,Ireland and Castle Rackrent Relatore Ch. Prof.ssa Enrica Villari Correlatore Ch. Prof. Marco Fazzini Laureanda Lorenza Perin Matricola 837162 Anno Accademico 2015 / 2016 Ai miei genitori, per il sostegno e i preziosi insegnamenti. Ad Andrea, senza cui tutto sarebbe stato più difficile. Contents Introduction……………………………….…………………………………….. 5 Chapter one Maria Edgeworth …..…………………………………………….. 9 1.1 Her family and friends ……………………….………………………….…. 10 1.2 Her language and style ……………………………………………….…….. 21 1.3 Her relation with Ireland ………………………………………….…….….. 26 Chapter two Ireland before the Union ……………………..………………… 32 2.1 Ireland and England before the Union ………………………………….….. 33 2.2 The Union …………………………………………….………….……….… 44 2.3 Relationship between Irish and English …………………………….……… 49 Chapter three Thady, the narrator …………………………………………… 54 3.1 The story …………………..……………………………………….…….…. 55 3.2 Thady’s family and ideas ………………………………………….…….….. 61 3.3 The Irish Bulls and the irony ………………………………………..……… 66 !3 Chapter four Men and Women, Old Ireland, and ‘‘Castle Rackrent’’ …….… 73 4.1 Irish family life in Castle Rackrent …………………..………….…………. 74 4.2 Thady and his mistresses ………………………………..………….……… 79 4.3 The role of women in the novel ………..……………………….……….…. 85 Conclusion …………………………………………………………………….. 93 Bibliography …………………………………………………….….….……… 97 !4 Introduction This dissertation -
Downloaded on 2017-02-12T11:22:31Z Jacqueline Belanger (Ed.), the Irish Novel in the Nineteenth Century: Facts and Fictions (Dublin: Four Courts, 2005), Pp
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Cork Open Research Archive Title 'A big book about England'? Public and private meanings in Patronage Public and private meanings in Maria Edgeworth's Patronage Author(s) Connolly, Claire Editor(s) Belanger, Jacqueline Publication date 2005 Original citation Connolly, Claire (2005) ''A big book about England'? Public and private meanings in Patronage' In: Belanger, Jacqueline(Eds.). The Irish Novel in the Nineteenth Century: Facts and Fictions. Dublin : Four Courts Press. Type of publication Book chapter Link to publisher's http://www.fourcourtspress.ie/product.php?intProductID=85 version Access to the full text of the published version may require a subscription. Rights ©Four Courts Press and Claire Connolly Item downloaded http://hdl.handle.net/10468/1043 from Downloaded on 2017-02-12T11:22:31Z Jacqueline Belanger (ed.), The Irish Novel in the Nineteenth Century: Facts and Fictions (Dublin: Four Courts, 2005), pp. 63-79 ‘A big book about England’? Public and Private Meanings in Maria Edgeworth’s Patronage Claire Connolly Announcing her intention to write ‘a big book about England’, Madame de Staël asked Lord Byron his opinion of Maria Edgeworth’s novel Patronage. The conversation occurred in March 1814, just a few months following the novel was first published, at a dinner hosted by the poet and patron Samuel Rogers. Byron responded (in his own account of the evening) by saying that he thought it ‘very bad for her, and worse than any of the others.’i