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This book considers the relationships between British Romantic-era novelist, poet and writer of educational works for children, Charlotte Smith (1749-1806), and a number of visual artists of the eighteenth century with whom she had connections. By exploring these associations with artists such as George Smith of Chichester, George Romney, James Northcote, John Raphael Smith and Emma Smith, the book demonstrates how the artwork of these individual artists influenced Charlotte Smith’s literary corpus. It also shows a mutual influence: how the literary works of Charlotte Smith impacted the corpora of these artists. This study uncovers information which was not heretofore known regarding these artists: it reveals a mistaken attribution of a sketch which accompanied the second volume of Smith’s Elegiac Sonnets (1797) and sheds light on a print, held by the British Museum, which was previously shrouded in mystery. The artworks also enhance the existing scholarly knowledge about Smith’s biography. This book analyses the tropes and motifs employed by Smith’s artist-associates in the context of the popular aesthetics of the period and undertakes parallel readings between such visual artistry and Smith’s literary works. The book deliberates on how Smith utilises these aesthetics as narrative devices, making use of the tropes of the picturesque, the sublime and the beautiful, as well as that of a national British heraldic artwork, in order to produce and enhance meaning in her literary oeuvre. Thus, Smith uses aesthetic structures as vehicles for social critique, commentating on political, gender, moral and class concerns in addition to enhancing the perceived authenticity of her own artistry. The scholarship aims to correct the common misperception that Smith was a lonely marginal figure of Romanticism and instead asserts her central position in an enormous network of key artistic figures of British Romanticism.
Reveals the extent to which Charlotte Turner Smith's work constitutes as significant an achievement as her poetry, representing the turbulent decade of the 1790s on its social and political, as well as literary, planes with an unparalleled richness of detail and an unblinkered vision.
This book brings together two of the most significant British women writers of the Romantic period, Charlotte Smith and Helen Maria Williams, and explores the poetics and politics of their work.
Reveals the extent to which Charlotte Turner Smith's work constitutes as significant an achievement as her poetry, representing the turbulent decade of the 1790s on its social and political, as well as literary, planes with an unparalleled richness of detail and an unblinkered vision.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1791 edition. Excerpt: ... *' carr, your good self, and every mcm- "her of your amiable family, who amA "my dear Sir, ** your most sincere "and faithful friend, ** and obliged humble servant, "TIMOTHY HEAVYLAND." 1 "London, Jan. 30, 17--. To this afftclionate and sincere gentleman (whom my father had. instantly obliged in dropping all thoughts of complyingwith Elphinstone's request, ) he now wrote; and describing with great simplicity his present embarrassment, which he hoped would be only.temporary, besought him to advance him five hundred pounds for the present demands of tradesmen, till remittances came in, and till he could obtain assistance from his other friends: to which he received the following answer-- "SIR, *' Your's is come to hand. Our house, *' on making up your book, find they, f have already advanced you 216I. 18s. 2d *' above your credit. We hoped you "would have made this up by payments "forthwith, instead of asking a loan; are M sorry it is not in our power to comply *{ therewith. I cannot take upon myself "to advise them thereto, as I find myself "blamed for being the occasion of the "present advance, and, that our house "are uneasy at the non-payment thereof. "Hope you will think immediately of re.* ** placing it; and will oblige thereby, "Sir, "your humble servant, "TIMOTHY HEAVYLAND.'* '1 '* The eyes of my poor father were nowr compleatly opened, and all the horrors of his fate were before him. Young Elphin: stone, still sanguine as to his father's property and his father's honour, was on this occasion his great resource. He was indefatigable in stemming the torrent of illfortune thus brought upon us; and sue N 5 ceeded eeeded so well by various expedients, as to support for a while the sinking credit of the house; but...
Reproduction of the original: Character Sketches of Romance, Fiction and the Drama by E. Cobham Brewer