аЯрЁБс>ўџ ўџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџмЅhcр eЛ4,­ *Ъ*ЪЪ*Ъ*Ъ*Ъ*Ъ*о*о*о*о*о* ъ*њ*о*,+`++*+*+*+*+*+*+*+,+,+,+,+,+,+Œ+Xф+P,+Ъ**+*+*+*+*+,+*+Ъ*Ъ**++*+*+*+*+Ъ**+Ъ**+*+Р6Фм.ПОо*о*Ъ*Ъ*Ъ*Ъ**+*+*+*+Charlotte Lennox - The Female Quixote Biographical Details: Born between 1720 and 1730 and brought up in New York. Her father was an army officer. Some claim to her being the first American novelist. In 1743 she came to England alone after her father died and had to earn her living - briefly as an actress and later as a hack writer and translator. She married and had two children later in life but separated from her husband and died in poverty aged in her seventies. Novels and other writings: 1750 The Life of Harriet Stuart 1752 The Female Quixote 1753 Shakespeare Illustrated - the first book to trace Shakespeare's sources. 1758 Henrietta 1760 The History of Harriet and Sophia 1790 Euphemia Literary Background: Main literary influence - the French romances of the early to mid 17th century. eg. Madeleine de Scud(ry. Her first novel - Harriet - was a romance itself Romances: Classical background - often about minor characters such as Cleopatra's daughter. Theme - always love - the beautiful princess and her suitors. She is constantly under threat of abduction by brigands. The main suitor, usually a disguised prince can be expected to pay court for around 10 years during which time he must go through life-threatening trials and must never insult the heroine by declaring his feelings to her. She meanwhile does not age. (2 points of view on the influence of romances at this time: BG McCarthy in The Female Pen - romances had ceased to be read for about 40 years before The Female Quixote. Margaret Anne Doody in the Oxford World's Classics introduction says they are still popular and widely read in the early to mid 18th century.) She knew Samuel Johnson, Fielding and Richardson - Johnson became her patron after the publication of her first novel and held a party in her honour. Fielding printed a very favourable review of The Female Quixote in the 'Convent Garden Journal' saying it was better that Don Quixote. Richardson became her agent and adviser in preparing Female Quixote for the press. The Female Quixote: Took reading public by storm (according to M.A, Doody) - a 2nd edition within 3 months and continued to be published until 1820. The novel ridicules French romances but is much more than a parody. Plot Summary: Arabella's father is a baron who is banished from court and moves to a remote castle where he marries a young wife who later dies. She leaves her store of French romances and Arabella, after discovering them in her father's library, reads them and takes them to be real histories. She discovers after her father dies that she must marry her cousin Glanville or lose a third of her estate but she refuses to. She interprets her whole world in terms of the romances which creates much of the humour of the novel - for example, when she sees a gardener she thinks he must be a prince in disguise who has designs on her whereas he actually is planning to steal a fish from the pond. She jumps into the Thames to escape a band of brigands who are actually a group of people who have not even noticed her. In the end she is 'converted' to reality by the reasoning of a clergyman - an ending which is widely believed to have been written by Johnson. She 'sees the error of her ways' and marries Glanville. Critical description: Enormous number of references to romances, very long-winded at times. Humour, especially bathos, very effective. The novel is attractive to read - has a lot of drive and energy. Ending generally thought to be unsatisfactory - Might have been more convincing if she had been 'converted' by the Countess she meets in Bath. Critics' viewpoints: The novel as burlesque BG McCarthy, The Female Pen: Women Writers and Novelists, 1621-1818, (Cork: Cork University Press, 1994) Calls it a 'satirical harlequinade'. A burlesque, meant to ridicule romance. Surprisingly makes no overt feminist interpretation. The Feminist Approach Mary Anne Schofield, Masking and Unmasking the Female Mind: Disguising Romances in Feminine Fiction, 1713-1799, (London: Assoc. University Presses, 1990) The novel is about the nature of female power - whether it is possible in real life or just exists in romantic fiction. At the end Arabella is freed from her entrapment but is now trapped in the world of male domination. Is this any better? The novel celebrates 'female networking' - Arabella is very concerned about and encouraging to other women and is never jealous. Margaret Anne Doody - Introduction to the Oxford World's Classics edition Lennox was bitter about the demise of the female-centred romance. The romance illusion gives Arabella the power to speak at length- young unmarried women were expected to be silent. She creates her own role. She protects her own chastity - is not protected by men. The 'Problem' Novel Deborah Ross, The Excellence of Falsehood: Romance, Realism and Women's Contribution to the novel, (Lexington, Kentucky:University Press of Kentucky, 1991) The novel is a failure, It is anti-romantic but the writer's attraction to romances, shown eg. in Arabella's impressiveness, undermines its own argument. Lennox does not provide any alternative moral code for women. She thinks the anti-romance message prevails in the end but does say that Arabella's conversion is like a lobotomy and that her 'happy' ending is only achieved through self-abasement. My Views: Relates to the Course: Her relationship with Richardson and Fielding which must have had an influence on her writing - perhaps realism? The relationship between romance and realism - Harriet is a romance itself and her later novels are all in a realistic vein - The Female Quixote is at a crux point in her own writing career and in the history of the novel itself. The conflict gives the novel its tension. Is Lennox's position clear? Is it ostensibly anti-romance perhaps because of the contemporary influence of formal realism while she is actually drawn to the female centred world of romances? Mine for Feminist / Psychological interpretation: Arabella is on a knife edge of insanity - she could go over the edge and be unable to function at all. The novel seems to be taking the extreme position that madness is the only way a woman can control her own life and choose her own identity. Subversive - She makes constant social faux pas because her education has not taught her the conventions of her society, for example asking women about their 'adventures', asking her acquaintances' women to tell her their stories, dressing in costume, romances are non-Christian. She should seem ridiculous but never loses her dignity. She is impressive and superior to other superficial women such as Miss Glanville. Power - Irony - the romance heroine is passive really. The woman is central, is given power without subversion. The extended courtship, the power of life and death. These extremes give the novel energy. Arabella is, even in the 'realistic' ending, a fairy-tale figure anyway - young, beautiful without any effort, Miss Glanville takes 4 hours to get ready and cannot compete.  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Novels and other writing4, ThCompObjStuart 1752 The Female Quixote 1753 Shakespeџџџџџџџџџџџџ- the first book to jourcSummaryInformation of Harriet and Sophia 1(џџџџџџџџiterary Background: р - tўџџџ ўџџџ ўџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџўџ џџџџ РFMicrosoft Word Document MSWordDocWord.Document.6є9Вqўџр…ŸђљOhЋ‘+'Гй0А˜ амє  ,8 ` l x „˜ Јф(Charlotte Lennox - The Female Quixote`MAPICS STANDARDNormalWIZARD1BMicrosoft Word fDocumentSummaryInformation8џџџџџџџџџџџџ јџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџўџ џџџџ РFMicrosoft Word Document MSWordDocWord.Document.8є9ВqˆфBeloit Walmsley Ltd.90 (Charlotte Lennox - The Female Quixoteor Windows 95Rm@@*.ЄC‡О@кyа.ПО@кyа.ПОвўџеЭеœ.“—+,љЎ0Ш@Hhp x€ ˆфBeloit Walmsley Ltd.90 (Charlotte Lennox - The Female Quixote