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This book explores Charlotte Smith’s Elegiac Sonnets and clarifies its ‘place’ – understood in multiple ways – in literary history. It argues that Smith’s work engages more deeply with tradition than has hitherto been realised and revises our understanding not only of Smith’s career but also of the sonnet in eighteenth-century England.
One of the most popular poets of her time, Charlotte Smith revived the sonnet form in England, influencing Wordsworth and Keats. Equally popular as a novelist, she experimented with many genres, and even her children's books were highly regarded by her contemporaries. Charlotte Smith's letters enlarge our understanding of her literary achievement, for they show the private world of spirit, determination, anger, and sorrow in which she wrote. Despite her family's diligence in destroying her papers, almost 500 of Smith's letters survived in 22 libraries, archives, and private collections. The present edition makes available most of these never-before-published letters to publishers, patrons, solicitors, relatives, and friends. As this volume was going to press, the Petworth House archives turned up 56 additional lost letters not seen in at least 100 years. Most are from Smith's early career, along with two letters to her troublesome husband, Benjamin. The archives also preserved 50 letters by Benjamin, the only ones by him known to have survived. Two letters from Benjamin to Charlotte are reprinted in full, and generous excerpts from the rest are included in footnotes, bringing a shadowy figure to life.
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...
A lonely damsel imprisoned within a castle or convent cell. The eavesdropping of a prisoner next door. The framed image of a woman with a sinister past. These familiar tropes from 1790s novels and tales exploded onto the English literary scene in 'low-brow' titles of Gothic romance. Surprisingly, however, they also re-emerged as features of major Victorian poems from the 1830s to 1870s. Such signature tropes - inquisitional overhearing; female confinement and the damsel in distress; supernatural switches between living and dead bodies - were transfigured into poetic forms that we recognise and teach today as canonically Victorian. The Gothic Forms of Victorian Poetry identifies a poetics of Gothic enclosure constitutive of high Victorian poetry that came to define key nineteenth-century poetic forms, from the dramatic monologue, to women's sonnet sequences and metasonnets, to Pre-Raphaelite picture poems.