create pdf catalogue:
literature
Literature
1731). “The tragedy, which dramatizes the struggle of George Castriot to defend Albania from Turkish conquest, takes as its source the 1721 English translation of Scanderbeg the Great by Anne de La Roche-Guilhem. In the light of the patriot whig opposition to Walpole, Whincop’s dramatic portrait of the Albanian hero whose ‘conqu’ring sword / Oppos’d the torrent of the tyrant’s power’ (Scanderbeg, 16) may well have been intended as a propaganda piece. However, Whincop’s play was never performed...” (Brayne in Oxford DNB).
It also contains a “Compleat list of all the English dramatic poets, and of all the plays ever printed” [pp. 87-320] probably compiled by John Mottley, which includes Shakespeare, Milton, Dryden, Marlowe, Jonson, Beaumont, Fletcher, Otway, Waller, Cibber, Addison, Steele, and Garrick. “The Compleat List of All the English Dramatic Poets of 1747, appended to Thomas Whincop’s play Scanderbeg, appears to be by Mottley and is therefore his last known work: in the spirit of a reckoning up, he claims his portions of various collaborations and paternity of theretofore unacknowledged works; the entry on himself he made his own memorial” (J. M. Rigg, rev. Yvonne Noble, Oxford DNB). The list is illustrated with attractive portraits. see full details...
![[CAREW, Bampfylde-Moore.]](/photos/342/main/342.jpg "[CAREW, Bampfylde-Moore.]")
This is one of two editions printed for Buckland, Bathurst and Davies in 1793. The final 5 pages contain a notable cant dictionary.
Carew fell in with a band of gypsies as a wayward young boy. “After a year and a half Carew returned home for a time, but soon after resumed a career of swindling and imposture, which saw him deceive people to whom he had previously been well known. Eventually he embarked for Newfoundland, but stayed only a short time. On his return to England he passed as the mate of a vessel, and eloped with the daughter of a respectable apothecary from Newcastle upon Tyne, whom he later married.
Carew soon returned to the nomadic life, and when Clause Patch, a Gypsy king or chief, died Carew was elected his successor. He was convicted of being an idle vagrant, and sentenced to be transported to Maryland. On his arrival he attempted to escape, but was captured and made to wear a heavy iron collar; he escaped again, and encountered some Native Americans, who removed his shackles. On departure he travelled to Pennsylvania. He was then said to have swum the Delaware River, after which he adopted the guise of a Quaker, and made his way to Philadelphia, then to New York, and finally to Boston, where he embarked for England. He escaped impressment on board a man-of-war by pricking his hands and face, and rubbing in bay salt and gunpowder, so as to simulate smallpox” (John Ashton, rev. Heather Shore in Oxford DNB).
This biography is variously attributed to Bampfylde Moore Carew himself, to Robert Goadby and also to his wife, Mrs. Goadby. see full details...
Dating from the end of the thirteenth century, MS 1830 in the Library of Saint Germain (now Bibliothèque nationale MS 19152), is the largest corpus of popular medieval poetry from this early date, containing numerous familiar beast fables (some derived Aesop) and longer narrative poems such as Piramus et Tisbé.
The original manuscript comprises 61 different texts of different genres including popular proverbs, translations from Latin, fabliaux, courtly tales, moral poems and burlesque recitations.
The anonymous nineteenth-century editor of our manuscript pursues a rather disruptive method of copying much of the original text verbatim, but interpolating his own prose for sections he believes to be repetitive or uninteresting. While frustrating for the medievalist, such a method is interesting as an example of contemporary scholarly method. The editor adds a significant number of additional fables drawn from other manuscripts in the Library of Saint Germain.
A 4-volume manuscript copy of the entire codex, apparently made in the eighteenth century, is held by the British Library (Additional MS 15210-15213). A printed edition appeared in 1930. see full details...
The Subterranean Voyage of Nicolas Klim is one of the classics of speculative and utopian fiction, written fifteen years after Swift’s Gulliver’s Travels and often compared favourably with that work. It is the first fully developed novel to
be set in the earth’s interior, a setting which has been utilised countless times in later science fiction. Klim, a poor student, falls through a hole in the earth just outside the Norwegian town of Bergen and finds himself on the inside of the earth’s crust. He lands on the planet Nazar (which orbits a sun at the centre of the earth’s cavity) where he finds a nation that lives according to the laws of reason and nature. The peasantry are considered very highly and therefore are the most distinguished class in the state; many of the highest offices are held by women, who are in every way equal to the men. Nazar presents an enlightened utopia, very much in the mould of the ideals of Montesquieu and Voltaire (who Holberg admired enormously) but Klim also travels to other states where the perfect state of society is not so fully developed or is perhaps degenerate, allowing a vivid comparison of political, social and philosophical systems.
Holberg (like his hero Klim) was a native of Bergen at a time when Norway and Denmark existed as a twin kingdom. He saw himself as a fully European writer and the equal of the French philosophes. The majority of his works, including the present, first appeared in Latin, the universal language. The adventures of Nicolas Klim were immediately popular and were rapidly translated into all the major European languages. see full details...
![[HOLBERG, Ludvig, Baron].](/photos/188/main/188.jpg "[HOLBERG, Ludvig, Baron].")
The Subterranean Voyage of Nicolas Klim is one of the classics of speculative and utopian fiction, written fifteen years after Swift's Gulliver's Travels and often compared favourably with that work. It is the first fully developed novel to be set in the earth's interior, a setting which has been utilised countless times in later science fiction. Klim, a poor student, falls through a hole in the earth just outside the Norwegian town of Bergen and finds himself on the inside of the earth's crust. He lands on the planet Nazar (which orbits a sun at the centre of the earth's cavity) where he finds a nation that lives according to the laws of reason and nature. The peasantry are considered very highly and therefore are the most distinguished class in the state; many of the highest offices are held by women, who are in every way equal to the men. Nazar presents an enlightened utopia, very much in the mould of the ideals of Montesquieu and Voltaire (who Holberg admired enormously) but Klim also travels to other states where the perfect state of society is not so fully developed or is perhaps degenerate, allowing a vivid comparison of political, social and philosophical systems.Holberg (like his hero Klim) was a native of Bergen at a time when Norway and Denmark existed as a twin kingdom. He saw himself as a fully European writer and the equal of the French philosophes. The majority of his works, including the present, first appeared in Latin, the universal language. The adventures of Nicolas Klim were immediately popular and were rapidly translated into all the major European languages.
see full details...
The earliest pieces date from Claire Sallard’s ninth year and are probably in her tutor’s hand, but she seems to have been producing extensive dictations and compositions shortly thereafter.
Among the early pieces are a few leaves from a notebook entitled ‘9eme année de Claire. Cahier de bonne conduite’ in which she recieves points and comments for her behaviour: ‘Claire a bien travaillé, elle n’a fait que 4 fauts dans deux devoirs, elle n’a pas été trop méchante’; ‘Un bon pointe d’ordre’; and ‘Fin de semaine: Claire n’a pas été assez méchante pour mériter de mauvais points: mais au lieu de contrarier son frère, elle a contrarié Mathilde...’.
The longer pieces, all in prose, are original compositions based on personal obervation and reflection and contain a large amount of autobiographical material. Les Souvenirs, dated 1828, for example, begins: ‘Ce n’est pas une histoire que je vais conter, c’est le détail de quelques scènes de famille dans lesquelles une jeune enfant a montré un coeur tendre et généreux.’ Other pieces are in the form of a journal covering 1833-4 and there is plenty of material here for reconstructing the detail of a bourgeois domestic scene: family visits to relations, the comings-and-goings of servants, jam making, shopping and playing with her siblings. Interestingly, there is little sign of piety, but rather an overriding concern for morality, good conduct and sweet nature. A good number of the later pieces are moral tales bearing titles such as Luxe et misère, Le bas bleu, Le sort d’une robe, La reine détrônée, La vieille fille and Les trois mariages.
Claire Sallard married the succesful landscape painter Paul Huet (1804-1869) in 1843. see full details...
Keynes suggests that the work was first published in 1647, since although it is undated, it first appears in the Stationers' Register in the autumn of 1646. The second issue uses the unsold sheets of that first issue with a cancel title.
Donne frankly admits his fascination for the act of suicide in his Preface “...whensoever any affliction assailes me, mee thinks I have the keyes of my prison in mine owne hand, and no remedy presentes it selfe so soone to my heart, as mine own sword." He chose not to publish his meditations on the subject and only circulated the Biathanatos among friends in manuscript. He sent a copy to Sir Edward Herbert, and, in 1619, another to Sir Robert Karre, writing: "It was written by me many years since; and because it is upon a misinterpretable subject, I have always gone so near suppressing it, nor many eyes to read it: onely to some particular friends in both Universities, then when I writ it, I did communicate it: And I remember, I had this answer, That certainly, there was a false thread in it, but not easily found: Keep it, I pray, with the same jealousie; let any that your discretion admits to the sight of it, know the date of it; and that it is a Book written by Jack Donne, and not by D. Donne: Reserve it for me, if I live, and if I die, I only forbid it the Presse, and the Fire: publish it not, but burn it not; and between those, do what you will with it'”(cited by Keynes). It was published posthumously by John Donne the younger, and dedicated by Lord Herbert's sone Phillip. see full details...
Gower is chiefly remembered as a friend of Geoffrey Chaucer and his Confessio Amantis is frequently cited as the origin of William Shakespeare’s play Pericles (who’s story is taken from book 8 of the Confessio) but he should be accepted in his own right as one of the great pioneers of English literature.
The plan of the Confessio was doubtless borrowed from the Roman de la Rose, and consists of a dialogue first between the poet, in the character of a lover, and Venus, and afterwards between the poet, in the character of a penitent, and Genius, whom Venus assigns to him as a confessor. In the conversation between the penitent and the confessor the seven deadly sins are discussed and illustrated from Gower’s encyclopaedic knowledge of Ovid, Josephus, Vincent de Beauvais, Statius, the Gesta Romanorum, the Bible, and other sources. In the eighth book, having described the duty of a king and prayed for England, the poet bids farewell to earthly love. The work is a profound meditation on human love and morality and in Gower’s own words in the Prologue it was “a boke for Englondes sake”.
The work survives in numerous early manuscripts (attesting to its immediate popularity) and was first printed by Caxton in 1474. Thomas Berthelet’s edition of 1532 is considered textually superior to Caxton. Pforzheimer notes that the “edition was printed from a manuscript, resembling MS. Bodley 294, but inferior in correctness, collated with Caxton’s edition from which several passages lacking in the manuscript were supplied. In the prefatory note ‘To the reader’ Berthelet included the alternative form of the introductory lines Prologue 24-92, also from Caxton’s edition, so that on the whole this edition is textually an improvement over the earlier one. It is also a good example of workmanlike printing much above the average English work of the period” (Pforzheimer). The third edition of 1554 is merely a paginary reprint of the present.
The early ownership inscription of William Sotheby is dated 1532. This copy is handsomely bound in the style of Mackinley for the Earl of Stafford, among the richest men in England at the opening of the nineteenth-century. The Earl was himself a latter-day member of the Gower family (he claimed descent in the male line from Sir Alan Gower of Stittenham, supposedly sheriff of York at the time of the conquest). Several antiquaries had previously suggested that the poet’s origins lay in the same place, so this would have been a fitting acquisition for the Earl. see full details...
![‘SECTANI, Q[uinto]’ [pseudonym of Lodovico SERGARDI].](/photos/591/main/591.jpg "‘SECTANI, Q[uinto]’ [pseudonym of Lodovico SERGARDI].")
His fourteen Latin satires mocked contemporary Roman society and, more particularly, the poet and jurist Giovanni Vincenzo Gravina. In 1690 Gravina was instrumental in creating the Accademia degli Arcadi, founded with the intention of reforming Italian poetry. Gravina’s writing was steeped in influences from the classical past, resulting from his researches into Roman law and history, which was an attitude quite in tune with his fellow Arcadians early attempts to return to classical perfection in poetry. The Academy, however, soon found itself reverting to fashionable baroque style, a tendency deplored by Gravina, who tried to suppress any such decadent backsliding. He alienated many of his former friends and colleagues and was the butt of frequent satires.
Despite the claim of the title page (‘nunc primum in lucem editae’) the Satyrae first appeated at Rome, with the same false imprint, in 1696 There seem to have been several early pirated editions, as might be expected for a scurrilous work, which accused Gravina of both pedantry and paedophilia (Susan Dixon, Between the real and the ideal: the Accademia degli Arcadi and its garden in eighteenth-century Rome, 2006). see full details...
![LOVEDAY, R[obert].](/photos/187/main/187.jpg "LOVEDAY, R[obert].")
The letters and poems of Robert Loveday were published posthumously by his brother Anthony in 1659 and subsequently reprinted several times. Loveday’s education at Peterhouse, Cambridge, was interrupted by the Civil War and he became a secretary to the Clinton family; in this capacity he travelled extensively throughout England, spending time at the Clintons' seat, Tattershall Castle, Lincolnshire, and at the Clares' residence, Thurland House, Nottinghamshire.
Loveday was an accomplished translator whose most notable work was a three-volume translation of La Calprenède's Cléopâtre but he is remembered mainly for his letters. By all accounts an unusually charming and attractive personality (even the running title here reads 'Loveday's Letters. The Perswasive Secretary'), Loveday's agreeable style may be illustrated by a touching display of fraternal love which he pays his brother: ‘am deep in your debt for abundance of loving expressions, and want words to tell you how tenderly I entertained them; the task is too big to let you know how dear you are to me; do me but the Courtesie to fancy an affection, pure, unbiassed, unreserved, that scorns limits, loaths change, and is onely less excellent than that which makes Angels clap their wings’.
Loveday died of tuberculosis in his mid thirties and several of the letters describe its undiagnosed progress. He had apparently been a patient of Sir Thomas Browne and it has been argued that Browne’s Letter to a Friend (published posthumously, 1690) was addressed to Loveday (‘The Occasion and Date of Sir Thomas Browne's "A Letter to a Friend"’, Frank Livingstone Huntley, Modern Philology, 48, No. 3, Feb., 1951.) see full details...
Preceded only by La Place’s pioneering but partial translations (1745-49) and by some individual translations by Voltaire and Ducis, Le Tourneur’s is the first attempt at the complete works. Inspired by the 1769 Shakespeare Jubilee, Le Tourneur prefaces the collection with a long account of the Stratford celebrations presided over by David Garrick (taken without acknowledgement from Benjamin Victor’s History of the Theatres of London, 1771) and with a biography drawn mainly from Rowe. There is also an important critical essay using materials from Rowe, Pope, Theobald, Hanmer, Johnson and Sewell. The extensive subscribers’ lists (a second lists new subscribers since the start of publication) contains prominent names in both France and England.
The story of Shakespeare’s slow acceptance in France, in the face of prevailing classicism, is well known — Le Tourneur’s translations were the first to allow French readers to make their own judgements and they perfectly reflect the transition from classicism to romanticism in French culture. Indeed, the preface is considered to contain the very first printed appearance of the word ‘romantique’ in the French language, with Le Tourneur referring to the suitably romantic prospect of a clouded landscape and then stressing the need for both the word and the concept in French.
The edition provoked the ire of the ageing Voltaire (always ambivalent to Shakespeare) who on receiving the first volume wrote in a letter to friend: ‘I must tell you how upset I am for the honour of the theatre, against a certain Tourneur, who is said to be Secretary of [La Librairie], but who does not seem to me the Secretary of Good taste. Have you read two volumes by this miserable fellow, in which he wants to make us all treat Shakespeare as the only model of true tragedy? ... What is frightful is that this monster had a following in France; and the height of calamity and horror is that it was I who was once the first to speak of this Shakespeare, it was I who was the first to show the French some pearls that I discovered in his enormous dung-heap’ (translated by Davidson, Voltaire: a life, 2010, p. 439). see full details...
Hugely influential and translated into most European languages at an early date, its presence was felt throughout the literature of the nineteenth century. In Austen’s Emma, for example, (chapter 17 of the final book) the heroine tells Knightley that Mrs. Weston, her governess, practised on her ‘Like La Baronne d’Almane or La Contesse d’Ostalis in Madame de Genlis’ Adelaide and Theodore’, implying familiarity with the work by both author and audience.
The ‘Cours de lecture’ at the end of vol. 3 is a fascinating cross-section of literature deemed suitable for children at every stage of development. It includes a number of English works: Robinson Crusoe, Lady Montague’s Letters, Macaulay’s History, Richardson’s Pamela and Charles Grandison, Shakespeare and Milton. see full details...
Reymes saw active service in the Royalist armies, and was appointed to various lucrative offices on the Restoration. He was also a noted diarist and was nominated a Fellow of the Royal Society in 1667 by his friend John Evelyn.
‘Reymes seems to have been built for friendship: among those in this category he numbered Pepys, Evelyn, Thomas, Lord Clifford, Sir Charles Cotterell, and Sir William Coventry. Despite a passionate temper, he seems to have earned the respect of nearly all who came into contact with him. Contemporaries valued him for his loyalty, honesty, probity, and wry good humour. He was tolerant of the full spectrum of Restoration belief, but died a staunch Anglican. He was also highly cultivated, skilled in music as a youth, an avid theatre-goer and gardener’ (Bucholz, ODNB).
The text ofUtopia here is a reprint of the 1629 Amsterdam edition, edited by Pierre Gillis. see full details...
The sermon takes as its text Revelation XVII, 5 “And upon her forehead was a name written, Mystery, Babylon the Great, the Mother of Harlots, and Abominations of the Earth” and gives a detailed consideration of the supposed ceremonies of the masons. Three other editions/issues dated 1768 are known, one with a Robinson and Roberts imprint paginating [iv], 39, [1] (NY Historical Society only) and a stated “Second edition” with the same imprint and pagination (BL and Clark Library, UCLA only), together with a Dublin reprint. All three are recorded by ESTC in single copies only. The Sermon provoked a response from John Thompson, freemason, entitled Remarks on a sermon lately published; entitled, Masonry the way to hell. Being a defence of that antient and honourable order, against the Jesuitical sophistry and false calumny of the author (1768, BL only). see full details...
Immediately translated into French, the work was issued both in 8vo (in 9 volumes) and 12mo (in 18), the latter (as in our copy) presumably intended to match the novels already printed in that format. The work, highly critical of its subject, caused a furore in Paris.
‘Upon its publication in France in 1827, Scott’s biography of the emperor became the subject of a heated debate in the French press. In a series of articles, the critic for the Journal des Débats called it the worst thing that Scott had ever written... faulting it for distorting the truth, for using bad sources, or for turning history into a novel... but crediting it for awakening French patriotism in response: “at this moment, from all sides awakes the sentiment of the national ego... I heartily thank Sir Walter for this great Service”’ (Samuels, The Spectacular Past: Popular History and the Novel in Nineteenth-century France, 2004, p. 94n). see full details...
This immensely popular juvenile novel emphasises thrift and hard work through the character of Simon, a travelling salesman. It was published by La Société pour l’instruction élémentaire following a competition, with a prize of 1000 francs donated by an anonymous benefactor, for a work of no more than 250 pages in which were ‘tracés avec simplicité, précision et sagesse, le principes de religion chrétienne, de morale, de prudence sociale’, for the improvement of everyday town and country people. There were numerous subsequent editions in France, as well as translations into Spanish, Italian, German, Dutch, Greek and even Breton.
A nephew of the Jussieu brothers of botanical fame, Laurent Jussieu became director of police to the French minister for the interior in 1837. see full details...
A rare musically-accompanied novel, a spirited spin-off from the chivalric romance of Amadis of Gaul, in particular of Tressan’s popular version printed in 1779. The novel takes up the story of Lisvart, son of the emperor of Constantinople.
Mayer, best known for the monumental fairy-tale collection Le cabinet des fées (1785-1789) worked with Tressan in editing the Bibliothèque universelle des Romans (1775-1789) and his Avertissement to Lisvart is both an appreciation of Tressan and a patriotic reflection on the state of contemporary French literature. He writes that he hopes the publication of Lisvart is timely, since for some years, France has read nothing but translations of English and German novels, to the extent that it seems that its colours have faded under the fashion for ‘cette manière noire.’ He offers his tale then as a corrective, since the French, by nature ‘sont gais & légers’. To add to the good nature of the proceedings he adds a sequence of 12 musical interludes, by Pierre-Jean Porro (1750–1831), guitarist and popular composer of chansons. see full details...
Buchanan’s translation of the Psalms may fairly be considered one of the representative books of the sixteenth century, expressing, as it does, in consummate form, the conjunction of piety and learning which was the ideal of the best type of humanist’ (Cambridge History of English and American Literature).
Buchanan, though a Scotsman, travelled widely on the continent. The two plays, Jephthe and Baptistes, which also appear in our edition were composed at Bordeaux during a spell of teaching at the newly founded Collège de Guyenne (where Montaigne was among Buchanan’s pupils). The Paraphrasis was begun at Coimbra (Portugal) where Buchanan had been teaching at the time of the Inquisition. He had gone to teach there in 1547, only to find the university soon overrun with Jesuits who observed his every movement and confined him to a nearby monastery to reform his humanist tendency towards satire (and the eating of meat in Lent). The Paraphrasis was the product of his penance: an unmistakeable triumph of humanist piety and scholarship. The work was dedicated to Mary Queen of Scots (and the dedication is repeated in our Elizabethan edition) who appointed Buchanan tutor to her son, the future James VI. It was first printed by the Estiennes in 1566, but was also printed in England in 1580 and 1583. see full details...
It had first appeared as a preface to Les crimes de l’amour (1799) and sought to trace the origins and development of the modern or psychological novel from classical literature to the eighteenth-century works of Rousseau, Voltaire, De Graffigny, Marivaux and Crébillon fils and in de Sade’s own Aline et Valcourt. De Sade identifies Richardson and Fielding as the masters of the genre (‘C’est Richardson, c’est Fielding qui nous ont appris que l’étude profonde du coeur de l’homme, véritable dédale de la nature, peut seul inspirer le romancier...’) and he prefers Lewis to Radcliffe among gothic novelists. He also denies his authorship of Justine, attributed to him by contemporaries, writing ‘jamais je n’ai fait de tels ouvrages, et je n’en ferai sûrement jamais.’
Uzanne adds a bio-bibliographical preface, the latter portion providing a checklist of de Sade’s works and a critical overview of nineteenth-century studies. see full details...
![[RICCOBONI, Marie-Jeanne.]](/photos/600/main/600.jpg "[RICCOBONI, Marie-Jeanne.]")
Quickly reprinted several times in French the novel was translated into English by Frances Brooke as Letters from Juliet Lady Catesby to her friend, Lady Henrietta Campley the following year. Set in England, the story is told through letters exchanged between Juliette and her cousin Henriette, and recounts the inexplicable abandonment of Juliette by her fiancé Lord Ossery on the eve of their wedding. Through a series of twists and subplots the reasons are revealed and the two lovers are eventually reconciled. A quintessential novel of sentiment, it is frequently compared favourably with Frances Burney’s Evelina and it played a major part in the vigorous literary exchange between French and English novelists of the eighteenth century.
Madame Riccoboni, née Laboras de Mézières, had acted with the Comédie Italienne prior to beginning her writing career with an extension and imitation of Marivaux’s Vie de Marianne (1751), followed by her first novel Lettres de Mistriss Fanni Butlerd (1756). In addition to her several novels, she made translations of English novels, including Fieldings Amelia, published in 1762. She was well regarded by Voltaire and was part of the circle attending the salons of the Baron d’Holbach, where she became acquainted with Diderot, David Garrick and David Hume. In The Theory of Moral Sentiments (also published in 1759), Adam Smith ranked her with Voltaire, Racine, Richardson, and Marivaux as ‘one of the poets and romance writers who best paint the refinements of… private and domestic affections.’ see full details...
M’Quhae, though unprolific in published work, had been a major influence on the young James Boswell, who had written his early “Journal of My Jaunt, Harvest 1762” for M’Quhae and John Johnston. The 21-year-old Boswell had met M’Quhae in 1761 and found in him a firm and sympathetic friend. “Only three years Boswell’s senior, he had come into Lord Auchinleck’s household as domestic tutor... By that time Boswell himself had passed beyond the need of a tutor’s ministrations, and was able to associate with the new governor on purely social and friendly terms, M’Quhae’s manliness pleased him greatly. At the University of Glasgow he had been a favourite pupil of Adam Smith; he was well educated, loved polite literature, and, though he had decided to be a clergyman in the country, was not without a relish for the scenes of active life” (Pottle, Boswell, Earlier Years, p. 75-6). The friendship did not however survive Boswell’s European tours and M’Quhae lived a relatively quiet life as minister of St Quivox from 1764. He became, however, a respected member of the “New Licht” faction within the Church of Scotland, a movement which reflected the liberal attitudes of the Enlightenment against the conservative and Calvinsist “Old Licht faction”. Burns humorously referred to him in “The Twa Herds” as “That curs’d rascal ca’d M’Quhae”, and mentioned also “M’Quhae’s pathetic manly sense.” see full details...
Two French issues appeared in 1802, the year Amelia travelled to Paris at the time of the Peace of Amiens, both are very rare, ours perhaps otherwise unrecorded. OCLC lists 2 copies of the other translation (by Mlle L.-M.-J.-M. Brayer-Saint-Léon, copies at Bn and University of Illinois)) and another of an unspecified version (Spanish National Library). Opie was associated with Godwin’s radical circle, which included Thomas Holcroft, Elizabeth Inchbald, Mary Wollstonecraft, Sarah Siddons, Anna Letitia Barbauld, and several French refugees. ‘The tale recounts the seduction and abandonment of a naïve young woman by an aristocratic rake, the ensuing grief and madness of her father, the later remorse of the rake, and the reconciliation of father and daughter at death. Such fictionalized social protest was popular with reformists and liberals, and Opie’s tale went through numerous editions. Fifteen years later Walter Scott told her “he had cried over it more than he ever cried over such things”’ (ODNB). see full details...
![[VOLTZ, Michael Johann, illustrator].](/photos/791/main/791.jpg "[VOLTZ, Michael Johann, illustrator].")
![[BARANTE, Guillaume-Prosper Brugière].](/photos/1159/main/1159.jpg "[BARANTE, Guillaume-Prosper Brugière].")
![[SAAS, Jean.]](/photos/772/main/772.jpg "[SAAS, Jean.]")
![[FIELDING, Sarah, attributed to.] Mr. de la PLACE.](/photos/295/main/295.jpg "[FIELDING, Sarah, attributed to.] Mr. de la PLACE.")
![(SADE, Donatien Alphonse François, marquis de). [BRUNET, Pierre Gustave.]](/photos/549/main/549.jpg "(SADE, Donatien Alphonse François, marquis de). [BRUNET, Pierre Gustave.]")
![DOYLE, A[rthur]. Conan.](/photos/314/main/314.jpg "DOYLE, A[rthur]. Conan.")
![DOYLE, A[rthur]. Conan.](/photos/312/main/312.jpg "DOYLE, A[rthur]. Conan.")
![HOFFMANN, G[ustav].](/photos/784/main/784.jpg "HOFFMANN, G[ustav].")
![[PEACOCK, Thomas Love.]](/photos/192/main/192.jpg "[PEACOCK, Thomas Love.]")
![TRESSAN, [Louis-Élisabeth de la Vergne de, translator]. ARIOSTO, Ludvico.](/photos/1150/main/1150.jpg "TRESSAN, [Louis-Élisabeth de la Vergne de, translator]. ARIOSTO, Ludvico.")
![STEVENSON, R[obert] L[ouis].](/photos/354/main/354.jpg "STEVENSON, R[obert] L[ouis].")
![[SMITH, Horatio.]](/photos/318/main/318.jpg "[SMITH, Horatio.]")
![[FIELDING, Sarah, attributed to.]](/photos/121/main/121.jpg "[FIELDING, Sarah, attributed to.]")
![[DAMOURS, Louis.]](/photos/434/main/434.jpg "[DAMOURS, Louis.]")
![[GRAFFIGNY, Françoise Paule Huguet de].](/photos/1156/main/1156.jpg "[GRAFFIGNY, Françoise Paule Huguet de].")
![[CHOUDARD]-DESFORGES, [Pierre Jean Baptiste].](/photos/291/main/291.jpg "[CHOUDARD]-DESFORGES, [Pierre Jean Baptiste].")
![LAMOTHE-LANGON, E[tienne] L[eon], Baron de.](/photos/321/main/321.jpg "LAMOTHE-LANGON, E[tienne] L[eon], Baron de.")
![JUSSIEU, L[aurent]. P. de.](/photos/299/main/299.jpg "JUSSIEU, L[aurent]. P. de.")
![[AULNOY, Madame d’.]](/photos/24/main/24.jpg "[AULNOY, Madame d’.]")
![[JOHNSON, Samuel].](/photos/1160/main/1160.jpg "[JOHNSON, Samuel].")
![COTTIN, [Sophie Ristaud.]](/photos/336/main/336.jpg "COTTIN, [Sophie Ristaud.]")
![[COURTILZ DE SANDRAS, Gatien de.]](/photos/135/main/135.jpg "[COURTILZ DE SANDRAS, Gatien de.]")
![‘CHAMBLEY, Edmond sire de’ [pseudonym of Edmond Haraucourt.]](/photos/527/main/527.jpg "‘CHAMBLEY, Edmond sire de’ [pseudonym of Edmond Haraucourt.]")
![[SCHMID, Christoph von].](/photos/785/main/785.jpg "[SCHMID, Christoph von].")
![GENLIS, [Stéphanie Félicité Brulart, comtesse de].](/photos/1147/main/1147.jpg "GENLIS, [Stéphanie Félicité Brulart, comtesse de].")
![[SCHMID, Christoph von].](/photos/797/main/797.jpg "[SCHMID, Christoph von].")
![[OLIVIER, Abbé Jean.]](/photos/254/main/254.jpg "[OLIVIER, Abbé Jean.]")
![‘CHAMBLEY, Edmond sire de’ [pseudonym of Edmond Haraucourt.] ‘VAN MAELE, Martin’ pseudonym of Maurice François Alfred Martin.](/photos/528/main/528.jpg "‘CHAMBLEY, Edmond sire de’ [pseudonym of Edmond Haraucourt.] ‘VAN MAELE, Martin’ pseudonym of Maurice François Alfred Martin.")
