By Heidi Kaufman, Chris Fauske
In recent times, Maria Edgeworth (1768-1849) has been the topic of accelerating curiosity. a girl, a member of the landholding elite, an educator, and a daughter who lived lower than the historic shadow of her father, Edgeworth's lifestyles is hard to categorize. mockingly, the very points of Edgeworth's identification that after excluded her from literary and ancient discussions now shape the foundation of present curiosity in her existence and her writing. This selection of essays builds on present scholarship to improve new views approximately Edgeworth's position in English and Irish historical past, literary background, and women's heritage. those essays discover the ways that Edgeworth's whole grownup existence used to be an try to reconcile the irreconcilable, an try to justify and guard her personal privileged place at the same time she said the tenuousness of that place and as she sought to say different privileges denied her.
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Extra resources for An Uncomfortable Authority: Maria Edgeworth and Her Contexts
In essence, Rackrent has claims to be a true story of the chaotic eighty years that incorporated two Irish civil wars (1641, 1688) and culminated, around 1700, in the Penal Laws, designed to separate the Catholic aristocracy and gentry from the land and its people. 28 There is another more obvious analogy: a story of four landlords of the same dynasty, their fortunes and their fall, neatly allegorizes the demise of the Stuart dynasty, on whose behalf many of the Catholic Irish gentry had fought, died, or gone into exile by 1700.
13 It has become common to describe some of the most committed United Irishmen as ‘‘social radicals’’ and, perhaps, less common to examine the nature or sources of such a position. The aims and rhetoric of the best-known young United Irishmen were not so different from those of their British, French, and American contemporaries. They criticized monarchy and aristocracy as corrupt and believed the future would be simpler, more natural, more humane, and democratic. The United Irish Volunteer movement certainly seems to have had a more internationalist than nationalist intellectual underpinning at the outset.
The sisters speak as though Campbell wrote both poems, although two years earlier, as she worked on The Absentee, Maria Edgeworth was plainly ascribing the earlier version to George Nugent Reynolds. From the time of the children’s story, ‘‘The Purple Jar’’ (1800), the name of Rosamund was associated with Maria Edgeworth herself, who had a family reputation for being impulsive and mercurial, where her much-admired stepsister, Honora (the model for Patronage’s Caroline) who had died in 1790, was rational and calm.