APPENDIX
(Their dates will indicate their place in our history of development: where they are not alluded to.)
Margaret, Duchess of Newcastle(1624-1673), in herCCXI Sociable Letters(1664), tells an imaginary narrative by correspondence, which she describes as “rather scenes than letters, for I have endeavoured under cover of letters to express the humours of mankind.” Also author ofNature’s Pictures drawn by Fancie’s pencil(1656).Frances Sheridan.—HerMemoirs of Miss Sydney Biddulph, extracted from her own Journal(1761), made a name by its supreme melancholy. The heroine suffers from obeying her mother, and receives no reward.Dr.Johnson “did not know whether she had a right, on moral principles, to make her readers suffer so much.”Miss Clara Reeve(1725-1803) began to write novels at fifty-one, and attempted inThe Old English Baron(1777) to compromise with the School of Terror, by limiting herself to “the utmostvergeof probability.” Her “groan” is not interesting, and Scott complains of “a certain creeping and low line of narrative and sentiment”; adding,however, that perhaps “to be somewhatprosyis a secret mode of securing a certain necessary degree of credulity from the hearers of a ghost-story.”Anna Seward(1747-1809), a florid and picturesque poetess, whose verse-novelLouisawas valued in her day. She has a place in Scott’sLives of the Novelists.Charlotte Smith(1749-1806).—HerThe Old Manor Housereveals independent, and novel, appreciation of scenery, illustrated by an unobtrusive familiarity with natural history. Her plots “bear the appearance of having been hastily run up,” but her characterisation is vigorous. There is a “tone of melancholy” throughout.Harriet(1766-1851) andSophia(1750-1824)Leewrote some of the earliest historical novels—The Recess; or, A Tale of other Times(1783), introducing Queen Elizabeth and the “coarse virulence that marks her manners,” and theCanterbury Tales, from which Byron borrowed.Mrs. Bennet, whoseAnna; or, The Memoirs of a Welsh Heiress(1785) is a bad imitation of Miss Burney, “with a catchpenny interspersion.”Regina Maria Roche, author of the once popularThe Children of the Abbey(1798). Richardson, diluted with Mackenzie—in “elegant” language.Mrs. Opie(1769-1853).—One of her best stories,Adeline Mowbray; or, The Mother and Daughter(1804), is partially founded on the life of Godwin, and shows the influence of his theories.Jane Porter(1776-1850), author ofThaddeus of WarsawandThe Scottish Chiefs, who claimed unjustly to have “invented” the historical romance,copiedby Scott. Very famous in her day.AlsoAnna Maria Porter(1780-1832), author ofDon Sebastian.Mrs. Brunton(1778-1818), author of the excellentSelf-Control(1811) andDiscipline(1814), which were overshadowed by Susan Ferrier. Lacking humour, her morality becomes tiresome, but she could draw living characters. The Highland experiences of her heroine, who, after marrying a minister, retained “a little of her coquettish sauciness,” are significant for their date.Lady Morgan(1783-1859), as Miss Sydney Owenson, publishedWild Irish Girl(1806), which is a fairly spirited réchauffé of all things Celtic. Thackeray found here the name Glorvina, meaning “sweet voice.”Henrietta Mosse(otherwise Rouvière), whoseA Peep at our Ancestors(1807) and other novels have been described as “blocks of spiritless and commonplace historic narrative.”Anna Elizabeth Bray(1789-1883), author ofThe Protestant, various competent historical romances, and “local novels.”Mrs. Sherwood, an evangelical propagandist, who naïvely enforced her views inThe Fairchild Family(1818) andLittle Henry and his Bearer.Elizabeth Sewellset the style of High-Church propaganda, developed by Miss Yonge. Her chief tales,GertrudeandAmy Herbert(1844), are rigidly confined to everyday life. The characters, if living, are uninteresting; and her morals are obtrusive.Catherine Gore(1799-1861), author of over seventy tales; and, in her own day, “the leader in the novel of fashion.”Lady G. Fullerton(1812-1885), author ofEmma Middleton, who shares with Miss Sewell the beginnings of High Church propaganda in fiction.Anne Caldwell(Mrs. Marsh), one of the best writers of the “revival” in domesticity. HerEmilia Wyndham(1846) was unfairly described as the “book where the woman breaks her desk open with her head.” Though contemporary withPendennis, has no ease in style.Mrs. Archer Clive(1801-1873), author of an early and well-told story of crime, entitledPaul Ferroll(1855).Mrs. Henry Wood(1814-1887).—A good plot-maker, whoseEast Lynne—both as book and play—has been phenomenally popular for many years; thoughThe Channings, and others, are better literature.
Margaret, Duchess of Newcastle(1624-1673), in herCCXI Sociable Letters(1664), tells an imaginary narrative by correspondence, which she describes as “rather scenes than letters, for I have endeavoured under cover of letters to express the humours of mankind.” Also author ofNature’s Pictures drawn by Fancie’s pencil(1656).
Frances Sheridan.—HerMemoirs of Miss Sydney Biddulph, extracted from her own Journal(1761), made a name by its supreme melancholy. The heroine suffers from obeying her mother, and receives no reward.Dr.Johnson “did not know whether she had a right, on moral principles, to make her readers suffer so much.”
Miss Clara Reeve(1725-1803) began to write novels at fifty-one, and attempted inThe Old English Baron(1777) to compromise with the School of Terror, by limiting herself to “the utmostvergeof probability.” Her “groan” is not interesting, and Scott complains of “a certain creeping and low line of narrative and sentiment”; adding,however, that perhaps “to be somewhatprosyis a secret mode of securing a certain necessary degree of credulity from the hearers of a ghost-story.”
Anna Seward(1747-1809), a florid and picturesque poetess, whose verse-novelLouisawas valued in her day. She has a place in Scott’sLives of the Novelists.
Charlotte Smith(1749-1806).—HerThe Old Manor Housereveals independent, and novel, appreciation of scenery, illustrated by an unobtrusive familiarity with natural history. Her plots “bear the appearance of having been hastily run up,” but her characterisation is vigorous. There is a “tone of melancholy” throughout.
Harriet(1766-1851) andSophia(1750-1824)Leewrote some of the earliest historical novels—The Recess; or, A Tale of other Times(1783), introducing Queen Elizabeth and the “coarse virulence that marks her manners,” and theCanterbury Tales, from which Byron borrowed.
Mrs. Bennet, whoseAnna; or, The Memoirs of a Welsh Heiress(1785) is a bad imitation of Miss Burney, “with a catchpenny interspersion.”
Regina Maria Roche, author of the once popularThe Children of the Abbey(1798). Richardson, diluted with Mackenzie—in “elegant” language.
Mrs. Opie(1769-1853).—One of her best stories,Adeline Mowbray; or, The Mother and Daughter(1804), is partially founded on the life of Godwin, and shows the influence of his theories.
Jane Porter(1776-1850), author ofThaddeus of WarsawandThe Scottish Chiefs, who claimed unjustly to have “invented” the historical romance,copiedby Scott. Very famous in her day.
AlsoAnna Maria Porter(1780-1832), author ofDon Sebastian.
Mrs. Brunton(1778-1818), author of the excellentSelf-Control(1811) andDiscipline(1814), which were overshadowed by Susan Ferrier. Lacking humour, her morality becomes tiresome, but she could draw living characters. The Highland experiences of her heroine, who, after marrying a minister, retained “a little of her coquettish sauciness,” are significant for their date.
Lady Morgan(1783-1859), as Miss Sydney Owenson, publishedWild Irish Girl(1806), which is a fairly spirited réchauffé of all things Celtic. Thackeray found here the name Glorvina, meaning “sweet voice.”
Henrietta Mosse(otherwise Rouvière), whoseA Peep at our Ancestors(1807) and other novels have been described as “blocks of spiritless and commonplace historic narrative.”
Anna Elizabeth Bray(1789-1883), author ofThe Protestant, various competent historical romances, and “local novels.”
Mrs. Sherwood, an evangelical propagandist, who naïvely enforced her views inThe Fairchild Family(1818) andLittle Henry and his Bearer.
Elizabeth Sewellset the style of High-Church propaganda, developed by Miss Yonge. Her chief tales,GertrudeandAmy Herbert(1844), are rigidly confined to everyday life. The characters, if living, are uninteresting; and her morals are obtrusive.
Catherine Gore(1799-1861), author of over seventy tales; and, in her own day, “the leader in the novel of fashion.”
Lady G. Fullerton(1812-1885), author ofEmma Middleton, who shares with Miss Sewell the beginnings of High Church propaganda in fiction.
Anne Caldwell(Mrs. Marsh), one of the best writers of the “revival” in domesticity. HerEmilia Wyndham(1846) was unfairly described as the “book where the woman breaks her desk open with her head.” Though contemporary withPendennis, has no ease in style.
Mrs. Archer Clive(1801-1873), author of an early and well-told story of crime, entitledPaul Ferroll(1855).
Mrs. Henry Wood(1814-1887).—A good plot-maker, whoseEast Lynne—both as book and play—has been phenomenally popular for many years; thoughThe Channings, and others, are better literature.