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620:(1751) is a sophisticated, multi-plot novel that has been deemed the first in English to explore female development in English. Betsy leaves her emotionally and financially abusive husband Munden and experiences independence for a time before she decides to marry again. Written a few years before her marriage-conduct books were published, the novel contains advice in the form of quips from Lady Trusty. Her "patriarchal conduct-book advice to Betsy is often read literally as Haywood's new advice for her female audience. However, Haywood's audience consisted of both men and women, and Lady Trusty's bridal admonitions, the most conservative and patriarchal words of advice in the novel, are contradictory and impossible for any woman to execute completely."
494:(1723) divides into three parts. In the first, Idalia appears as a young motherless, spoiled, yet wonderful Venetian aristocrat, whose varied amorous adventures carry her over most of Italy. Already in Venice she is sought by countless suitors, among them the base Florez, whom her father forbids the house. One suitor, Florez's friend Don Ferdinand, resigns his suit, but Idalia's vanity is piqued at the loss of an even a single adorer, and more from perverseness than from love continues to correspond with him. They meet, and he eventually effects her ruin. His beloved friend Henriquez conducts her to Padua, but also falls for her charms. He quarrels with Ferdinand and they eventually kill each other in a duel.
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Antonia's husband is her dear
Myrtano. Their happiness is marred by the jealousy of his wife, who first tries to poison everyone and then appeals to the Pope to separate them. Idalia is taken to Rome first to a convent, where she leads a miserable life, persecuted by all the young gallants of the city. Then one day she sees Florez, the first cause of her misfortunes. With thoughts of revenge, she sends him a billet, but Myrtano keeps the appointment instead of Florez. Not recognising her lover, muffled in a cloak, Idalia stabs him, but upon recognising him is overcome by remorse, and dies by the same knife.
656:
554:" (p. 21). It recounts the story of Annilia, who is an orphan and heiress. Her uncle and guardian Giraldo plans to gain access to her fortune by having her marry his son, Horatio. When Annilia meets Colonel Marathon at a dance and they fall in love, she rejects her uncle's plan and prepares to move out of his home. In response, Giraldo declares her insane and has her confined in a private madhouse, so gaining control over her inheritance. Annilia languishes in the madhouse until Marathon enters it as a supposed patient and rescues her.
522:(1724) is a novella about a woman who assumes the roles of prostitute, handmaid, widow and lady, to seduce repeatedly a man named Beauplaisir. Schofield points out: "Not only does she satisfy her own sexual inclinations, she smugly believes that 'while he thinks to fool me, is himself the only beguiled Person'" (p. 50). The story asserts that women have some access to social force – a recurring theme in Haywood's work. It has been argued that it owes a debt to the interpolated tale of an "Invisible Mistress" in
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with the intention of killing her, but she escapes to Ancona, from where she takes ship for Naples. The sea captain pays crude court to her, but just in time to save her from his embraces, the ship is captured by corsairs commanded by a young married couple. Though the heroine is in peasant dress, she is treated with distinction by her captors. Her history moves them to tears and they in turn are in the midst of relating to Idalia an involved story of their courtship when the vessel is wrecked in a gale.
536:(1726) examines the risks women face in giving way to passion. Miranda, the eldest of two heiress sisters, marries Clitander, the mercenary lover of the title. Unsatisfied with Miranda's half of the estate, Clitander seduces Althea, the younger sister, by plying her with romantic books and notions. She gives way to "ungovernable passion" and becomes pregnant. Clitander fools her into signing over her inheritance, then poisons her, killing both her and the unborn child.
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263:. She wrote in almost every genre, often anonymously. Haywood is now considered "the foremost female 'author by profession' and businesswoman of the first half of the eighteenth century", tireless and prolific in her endeavours as an author, poet, playwright, periodical writer and editor, and publisher. During the early 1720s, "Mrs Haywood" dominated the novel market in London, so much so that contemporary Henry Fielding created a comic character, "Mrs. Novel", in
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456:. Haywood's prolific works moved from titillating romance novels to the amatory during the early 1720s to works, focusing more on "women's rights and position" (Schofield, Haywood 63) in the later 1720s into the 1730s. In the middle novels of her career, women would be locked up, tormented and beleaguered by domineering men, but in the later ones of the 1740s and 1750s marriage became a positive move for men and for women.
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113:, was an English writer, actress and publisher. An increase in interest and recognition of Haywood's literary works began in the 1980s. Described as "prolific even by the standards of a prolific age", Haywood wrote and published over 70 works in her lifetime, including fiction, drama, translations, poetry, conduct literature and periodicals. Haywood today is studied primarily as one of the 18th-century founders of the
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209:, and for a time, Haywood. The group shared poems to and about each other, and formed a social circle of like minds. Haywood seems to have greatly admired Hill – who, though not a patron, seems to have promoted young, up-and-coming artists – and dedicated poems to him. She may have even seen him as a mentor during the earliest years of her career.
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691:, Haywood wrote in four personae (Mira, Euphrosine, Widow of Quality and The Female Spectator) and took positions on issues such as marriage, children, reading, education and conduct. It was the first periodical written for women by a woman and arguably one of her most significant contributions to women's writing. Haywood followed a lead by contemporary
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935:. Unlike other "dunces", Pope's verdict does not seem to have caused her subsequent obscurity. Rather it was as literary historians came to praise and value the masculine novel and most importantly dismiss the courtship novel and novels of eroticism that she was upstaged by more chaste or overtly philosophical works. In
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Rev. Valentine
Haywood. According to report, Haywood took pains to keep her personal life private, asking the one (unnamed) person with knowledge of her private life to remain silent for fear that such facts may be misrepresented in print. Apparently, that person felt loyal enough to Haywood to honour her request.
193:. The two appear to have been close in these early years, sharing many associates in literary and theatrical circles, even sharing the same publisher, William Chetwood. By September 1725, however, Savage and Haywood had fallen out, and he anonymously attacked her as a 'cast-off Dame' desperate for acclaim in
220:
William
Hatchett was a long-time colleague and collaborator. The two probably met around 1728 or 1729, and recent critics have touted the pair as domestic partners or lovers, though this suggestion has now been challenged. He was a player, playwright, pamphleteer and translator (and perhaps "sponge")
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Scholars of Eliza
Haywood universally agree upon only one thing: the exact date of her death. Haywood gave conflicting accounts of her own life; her origins remain unclear, and there are presently contending versions of her biography. For example, it was once mistakenly believed that she married the
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In the second part, Henriquez' brother, Myrtano, succeeds as Idalia's principal adorer, and she reciprocates. She then receives a letter informing her of
Myrtano's engagement to another woman, and so she leaves for Verona, hoping to enter a convent. On the road her guide takes her to a rural retreat
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King notes that the 18th-century definition of "publisher" could also cover bookselling. King is uncertain whether
Haywood produced the books and pamphlets that she sold (as Spedding indicates) or whether she was a bookseller, especially for her own early productions. Haywood sometimes collaborated
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booksellers race to reach Eliza, their reward to be all of her books and her company. In Pope's view, she is for sale, in other words, in literature and society. As with other "dunces", she was not without complicity in the attack. Haywood had begun to make it known that she was poor and in need of
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and too little based upon evidence. (Pope depicted
Haywood as a grotesque figure with two "babes of love" at her waist, one by a poet and the other by a bookseller.) Other accounts from the period, however, suggest that her "friends" rejected Pope's scandalous depiction of her; they maintained that
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Eliza
Haywood is seen as "a case study in the politics of literary history" (Backscheider, p. 100). She is also being re-evaluated by feminist scholars and rated highly. Interest has burgeoned since the 1980s. Her novels are seen as stylistically innovative. Her plays and political writing
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In the third part, Idalia is washed ashore on a plank. Succoured by cottagers, she continues her journey towards Rome in a man's clothing. On the way, robbers beat her and leave her for dead. She is found and taken home by a lady, Antonia, who falls in love with her. Idalia later discovers that
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Haywood's familial connections, education status, and social position are unknown. Some scholars have speculated that she is related to Sir
Richard Fowler of Harnage Grange, who had a younger sister named Elizabeth. Others have stated that Haywood was most likely from London, England as several
33:
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Haywood not only wrote works to be published, but participated in the publication process. Sometimes in collaboration with
William Hatchett, at least nine works under her own imprint. Most were available for sale at the Sign of Fame (her pamphlet shop in Covent Gardens), including:
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ministry. Haywood's adaptation contains a reconciliation scene, replete with symbols from Caroline's own grotto. This enunciated a change in Haywood herself, away from any Tory or anti-Walpolean causes she had supported previously. It did not go unnoticed by her contemporaries.
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attracted most attention in her own time, and she was a full player in that difficult public sphere. Her novels, voluminous and frequent, are now seen as stylistically innovative and important transitions from the erotic seduction novels and poetry of Aphra Behn, particularly
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Elizabeths were born to Fowler families in 1693 in London; however, no evidence exists to positively confirm any of these possible connections. Her first entry in public records appears in Dublin, Ireland, in 1715. In this entry, she is listed as "Mrs. Haywood", performing in
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in 1742. Hatchett has even been seen as the father of Haywood's second child (based on Pope's reference to "a Bookseller" as a father of one of her children, though Hatchett was not a bookseller.) No clear evidence supporting this or a domestic partnership is extant.
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and the literary coterie known as The Hillarians seems to have followed a similar pattern as Haywood rose to fame. The Hillarians, a collection of writers and artists "committed to a progressive programme of ameliorating 'politeness'", included Savage, Hill,
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The early life of Eliza Haywood is somewhat of a mystery to scholars. While Haywood was born "Eliza Fowler", the exact date of Haywood's birth is unknown due to the lack of surviving records. Although scholars believe that she was most likely born near
360:. As he made it clear that he did not favour his father's policies or ministry, praise for him was a demurral. However, when Haywood wrote the play, it is likely that she was still aiming to secure the patronage of the whole royal family, including
975:. In her own day, her plays and political writing attracted the most comment and attention – she was a full player in the difficult public sphere – but today her novels carry the most interest and demonstrate the most significant innovation.
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she had been deserted by her husband and left to raise their children alone. In fact, and despite the popular belief that she was once a woman of ill repute, Haywood seems to have had no particular scandals attached her name whatsoever.
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or London, England, in 1693, her birth date is extrapolated from a combination of her death date and her stated age at the time of her death (Haywood died on 25 February 1756 and obituaries notices list her age as sixty years).
1455:
488:, reassures one woman that she should not condemn herself: "There are times, madam", he says "in which the wisest have not power over their own actions." The fallen woman is given an unusually positive portrait.
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Eliza Haywood was active in politics throughout her career, although she changed parties around the time George II was reconciled to Robert Walpole. She wrote a series of parallel histories, beginning with the
914:, plays, romance and novels. Paula R. Backscheider claims, "Haywood's place in literary history is equally remarkable and as neglected, misunderstood, and misrepresented as her Ĺ“uvre" (p. xiii intro drama).
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Haywood began her acting career in 1715 at the Smock Alley Theatre in Dublin. Public records for this year list her as "Mrs. Haywood," appearing in Thomas Shadwell's Shakespeare adaptation,
158:. Haywood described herself as a "widow", noting in 1719 that her marriage was "unfortunate", but no record of her marriage has been found and the identity of her husband remains unknown.
626:
marks a strong change in 18th-century fiction. It portrays a mistaken, but intelligent and strong-willed woman, who gives way to society's pressures to marry. According to Backsheider,
484:(1719–1720) touches on education and marriage. Often classified as a work of amatory fiction, this novel is notable for its treatment of the fallen woman. D'Elmonte, the novel's male
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Due to the system for paying authors in 18th-century publishing, Haywood's novels often ran to multiple volumes. Authors would be paid only once for a book and receive no
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as a novel of marriage, rather than the more popular subject of courtship, foreshadows a type of domestic novel that will culminate in the 19th century, for example in
317:. The play only ran for three nights (to the author's benefit), but Rich added a fourth night as a benefit for the second author, Haywood. In 1723, her first play,
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169:, who was suspected of being the father of her second child. However, later critics have called these speculations into question as too heavily influenced by
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in Book II, she was in his view "vacuous". He does not dismiss her as a woman, but as having nothing of her own to say – for her politics and implicitly for
578:
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Shea Stuart, "Subversive Didacticism in Eliza Haywood's Betsy Thoughtless." Studies in English Literature 1500–1900. 42.3 (2002): pp. 559–575
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Hinnant, Charles H. (December 2010). "Ironic Inversion in Eliza Haywood's Fiction: Fantomina and 'The History of the Invisible Mistress'".
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1056:. In any case, Haywood was certainly a bookseller, for many and various works "to be had" at the Sign of Fame did not bear her imprint.
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in an unmarked grave in the churchyard. For unknown reasons, her burial was delayed by about a week and her death duties remain unpaid.
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Haywood's friendship with Richard Savage is thought to have begun around 1719. Savage wrote the gushing 'puff' for the anonymous
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While writing popular novels, Eliza Haywood also worked on periodicals, essays and manuals on social behaviour (conduct books).
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729:(1726) is a didactic account of what can happen to a woman when she gives in to her passions. This piece displays the sexual
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was more "enduringly popular", "reprinted more often, in larger editions, and remained in print for a longer period, than...
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725:(1725) is termed a "hybrid" by Schofield (p. 103), as a work of non-fiction that makes use of narrative techniques.
542:(1726) is a novella that relates the plight of a woman falsely imprisoned in a private madhouse. In Patrick Spedding's
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Haywood fell ill in October 1755 and died on 25 February 1756, actively publishing up to her death. She was buried in
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that allows men to love freely without social consequence and women to be called scandalous for doing the same.
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examines marrying well; its heroine learns that to give way to the role of women in marriage can be fulfilling.
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had affected a reconciliation between George I and George II, which meant an endorsement by George II of the
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592:(1740), making fun of the idea of bargaining one's maidenhead for a place in society. (Their contemporary
1875:, Vol. 1. appears in Sam Hirst, "What's in a Name? Erasing women writers in the name of uplifting them",
961:. Editors suggest the novel had become something of a joke in literary circles by the late 18th century.
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576:(1741), is a satire of Prime Minister Robert Walpole, told through a sort of oriental fairy tale.
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235:(1733). They also may have collaborated on a translation of Claude Prosper Jolyot de Crébillon's
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A Letter from H---- G-----, Esq., One of the Gentlemen of the Bedchamber of the Young Chevalier
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1915:
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2007:
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rather than on her literary merits. Though Alexander Pope centred her in the heroic games of
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The Dumb Projector: Being a Surprising Account of a Trip to Holland Made by Duncan Campbell
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The Dumb Projector: Being a Surprising Account of a Trip to Holland Made by Duncan Campbell
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717:(1746) apparently earned her questions from the government for political statements about
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1997:. London: Pickering & Chatto, 2012: pp. xi–xii, 1–15, 17–24, 30–31, 58–65 and 90–98
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429:
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E-text of The Life and Romances of Mrs. Eliza Haywood / Whicher, George Frisbie, 1915
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1986:
Toni Bowers, "Sex, Lies, and Invisibility: Amatory Fiction from Behn to Haywood", in
1973:
Paula R. Backscheider, "Eliza Haywood". In H. C. G. Matthew and Brian Harrison, eds.
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Haymarket Theatre, where Haywood acted, beginning in the late 1720s (image: ca. 1900)
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Haywood also worked on sensational pamphlets on the contemporary deaf-mute prophet,
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Title page states that the work was "Originally Written by a Celebrated French Wit"
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who shared a stage career with Haywood, and they collaborated on an adaptation of
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was a self-proclaimed women's journal, it was produced by men (Spacks, p. xii).
673:(24 numbers, 1745–1746), a monthly, was written in response to the contemporary
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1647:
Blouch, Christine (Summer 1991). "Eliza Haywood and the Romance of Obscurity".
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824:, for which she was questioned by the government on political statements about
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1719:. London: Pickering & Chatto. pp. xi–xii, 1–15, 17–24, 30–31, 58–65.
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funds; she seemed to be writing for pay and to please an undiscerning public.
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The fullest and most detailed bibliography of Haywood is by Patrick Spedding.
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38:
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1811:
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A Present for a Servant Maid; or, the Sure Means of Gaining Love and Esteem
1176:(1725) (translation of Louis Adrien Duperron de Castera's historical novel)
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523:
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206:
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Love-Letters on All Occasions Lately Passed between Persons of Distinction
161:
Scholars have speculated that Haywood had an affair and even a child with
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The Right Honourable, sir Robert Walpole, (Now Earl of Orford) Vindicated
923:
864:(1723, translating Louis Adrien Duperron de Castera's historical novel),
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was first published anonymously (by Mira, one of Haywood's personas from
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485:
398:
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245:
Haywood's long writing career began in 1719 with the first instalment of
175:
144:
98:
2150:
892:(1742, translating Charles de Fieux's work), and with William Hatchett,
197:. Savage is considered the likely impetus for Pope's attack on Haywood.
2156:
Essay on Haywood in the contemporary classroom at 18thCenturyCommon.org
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445:
422:
353:
131:
1990:
John J. Richetti, ed. New York: Columbia University Press, 1994: 50–72
1670:
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Haywood published eight translations of popular continental romances:
1754:
The passionate fictions of Eliza Haywood: essays on her life and work
1306:
The Secret History of the Present Intrigues of the Court of Carimania
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The Secret History of the Present Intrigues of the Court of Caramania
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The Secret History of the Present Intrigues of the Court of Caramania
636:
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432:, the playhouse was shut against adventurous new plays such as hers.
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in the opposition plays of the 1730s. In 1729, she wrote the tragedy
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The Fair Hebrew; or, A True, but Secret History of Two Jewish Ladies
917:
For a time Eliza Haywood was more frequently noted for appearing in
372:, were also writing such "patriotic" plays (i. e. supportive of the
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St. Margaret's Church, where Haywood was buried in an unmarked grave
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2125:
1675:
This author offers a summary of conflicting biographies of Haywood.
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Life's Progress through the Passions; or, The Adventures of Natura
1440:
Adventures of Eovaai, Princess of Ijaveo: A Pre-Adamitical History
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on publishing so as to share the costs, as she did with Cogan on
640:. Instead of concerning itself with attracting a worthy partner,
326:
In the later 1720s, Haywood continued acting, moving over to the
251:, a novel, and ended in the year she died with the conduct books
64:
1966:
Christine Blouch, "Eliza Haywood and the Romance of Obscurity".
32:
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See also: The Female Spectator (4 vols., 1744–1746). 5th ed.,
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in the 1720s, in addition to a 20-year open relationship with
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Whicher, Chapter I, for example. Corrected by Blouch, p. 539.
1234:
Memoirs of a Certain Island Adjacent to the Kingdom of Utopia
114:
1358:
The Agreeable Caledonian; or, Memoirs of Signiora di Morella
505:
417:. The volume contains plot summaries of contemporary plays,
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Haywood is notable as a transgressive, outspoken writer of
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followed later the same year with Haywood's name attached.
401:). However, it was an adaptation with a sharp difference.
1980:
1752:
Bocchicchio, Rebecca P. (2000). Kirsten T. Saxton (ed.).
741:(1756) are conduct books for each partner in a marriage.
557:
1891:
Fair Philosopher: Eliza Haywood and The Female Spectator
1096:
Individual works by Eliza Haywood published before 1850:
971:(1684), and the straightforward, plain-spoken novels of
383:
Haywood's greatest Haymarket success came in 1733, with
364:, as the royal split had yet to occur. Others, such as
2014:. New York: Oxford University Press, 1999. pp. ix–xxi
1240:
Bath Intrigues: in four Letters to a Friend in London
380:
would soon satirise the failed promise of George II.
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The Unfortunate Princess, or The Ambitious Statesman
2012:
Selections from The Female Spectator: Eliza Haywood
1916:"The Novel's Afterlife in the Newspaper, 1712-1750"
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Collections by Eliza Haywood published before 1850:
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The Ghost of Eustace Budgel Esq. to the Man in Blue
1276:The Mercenary Lover; or, the Unfortunate Heiresses
570:The Adventures of Eovaii: A Pre-Adamitical History
534:The Mercenary Lover; or, The Unfortunate Heiresses
1953:, Oxford World Classics edition, pp. 455 and 544.
1204:The Force of Nature; or, The Lucky Disappointment
425:observations. In 1747 she added a second volume.
2167:
231:(with whom she also collaborated) and an opera,
2201:18th-century British dramatists and playwrights
1465:(1742) (translation of Charles de Fieux's work)
803:Memoirs of a Certain Island, Adjacent to Utopia
603:An Apology for the Life of Mrs. Shamela Andrews
579:The Anti-Pamela; or, Feign'd Innocence Detected
1889:Wright, Lynn Marie; Newman, Donald J. (2006).
1593:List of early-modern British women playwrights
1456:The Anti-Pamela; or Feign'd Innocence Detected
968:Love-Letters Between a Nobleman and His Sister
650:
1837:. London: Pickering & Chatto. p. 21.
1747:
1745:
1352:The Perplex'd Dutchess; or Treachery Rewarded
1288:The Distressed Orphan; or, Love in a Madhouse
1110:Letters from a Lady of Quality to a Chevalier
259:and contributions to the biweekly periodical
16:English novelist and painter (c. 1693 – 1756)
1968:SEL: Studies in English Literature 1500–1900
1920:The Afterlives of Eighteenth-Century Fiction
1918:. In Cook, Daniel; Seager, Nicholas (eds.).
1888:
1650:SEL: Studies in English Literature 1500–1900
1156:The Rash Resolve; or, The Untimely Discovery
998:Sublime Character of his Excellency Somebody
836:(1750). She grew more directly political in
548:The Distress'd Orphan; or Love in a Madhouse
540:The Distress'd Orphan; or Love in a Madhouse
233:The Opera of Operas; or, Tom Thumb the Great
1922:. Cambridge University Press. p. 111.
1893:. Lewisburg PA: Bucknell University Press.
1756:. University Press of Kentucky. p. 6.
1751:
1294:The City Jilt; or, The Alderman Turn'd Beau
1186:The Fatal Secret; or, Constancy in Distress
2146:Eliza Haywood Criticism, Texts and E-texts
1742:
1364:Irish Artifice; or, The History of Clarina
1300:The Double Marriage; or, The Fatal Release
1282:Reflections on the Various Effects of Love
1023:by "A Brother Minister in Disgrace" (1742)
727:Reflections on the Various Effects of Love
463:: a second volume meant a second payment.
37:Playwright and novelist Eliza Haywood, by
31:
2151:Essays by Eliza Haywood at Quotidiana.org
1988:The Columbia History of the British Novel
953:'s comic characters references Haywood's
2206:English women dramatists and playwrights
1832:
1598:List of early-modern British women poets
1479:Memoirs of an Unfortunate Young Nobleman
811:Memoirs of an Unfortunate Young Nobleman
794:Memoirs of an Unfortunate Young Nobleman
787:
775:
654:
556:
504:
465:
287:
211:
1976:Oxford Dictionary of National Biography
1789:
1616:
1399:Frederick, Duke of Brunswick-Lunenburgh
337:Frederick, Duke of Brunswick-Lunenburgh
2168:
1995:A Political Biography of Eliza Haywood
1913:
1882:
1879:, Nov. 2020, Vol. 70, Issue 11, p. 19.
1778:A Political Biography of Eliza Haywood
1717:A Political Biography of Eliza Haywood
1646:
1636:. Pickering & Chatto. pp. xi.
1634:A Political Biography of Eliza Haywood
1545:The History of Jemmy and Jenny Jessamy
1386:Persecuted Virtue; or, The Cruel Lover
1198:The Arragonian Queen: A Secret History
2141:Works by Eliza Heywood at Ex-Classics
1862:, London: Pickering and Chatto, 2004.
1710:
1640:
1619:The History of Miss Betsy Thoughtless
1539:The History of Miss Betsy Thoughtless
905:
820:In 1746 she started another journal,
771:
618:The History of Miss Betsy Thoughtless
481:Love in Excess; Or, The Fatal Enquiry
311:. Rich had her rewrite a play called
2021:. London: Pickering and Chatto, 2004
1979:. Vol. 26, pp. 97–100. London:
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1631:
1180:The Masqueraders; or Fatal Curiosity
1033:A Remarkable Cause on a Note of Hand
1318:Cleomelia; or The Generous Mistress
1138:Idalia; or The Unfortunate Mistress
1071:The Danger of Giving Way to Passion
1059:
1017:possibly by William Hatchett (1742)
492:Idalia; or The Unfortunate Mistress
283:
109:(c. 1693 – 25 February 1756), born
13:
2186:18th-century English women writers
1473:Claude Prosper Jolyot de Crébillon
1083:Secret Histories, Novels and Poems
984:Works published under her imprint:
751:The Husband: in Answer to The Wife
582:(1741) is a satirical response to
298:Timon of Athens; or, The Man-Hater
14:
2267:
2256:English women non-fiction writers
2031:
2004:. Boston: Twayne Publishers, 1985
1687:
1621:. Broadview Press Ltd. p. 7.
1009:The Busy-Body: or, Successful Spy
978:
813:(1743) fictionalised the life of
701:as a companion to his successful
173:'s famous illustration of her in
2133:
2095:
834:A Letter from H---- G----g, Esq.
2117:Works by or about Eliza Haywood
2019:A Bibliography of Eliza Haywood
1970:No. 31 (1991), pp. 535–551
1943:
1907:
1865:
1860:A Bibliography of Eliza Haywood
1853:
1841:
1835:A Bibliography of Eliza Haywood
1826:
1527:Dalinda; or The Double Marriage
1330:The Life of Madam de Villesache
1312:Letters from the Palace of Fame
1150:Lasselia; or The Self-Abandon'd
847:
544:A Bibliography of Eliza Haywood
2251:18th-century British essayists
2196:18th-century English novelists
2191:18th-century English actresses
1783:
1770:
1733:
1678:
1625:
1610:
1210:Memoirs of the Baron de Brosse
1174:The Lady's Philosopher's Stone
1089:Secret Histories, Novels, Etc.
862:The Lady's Philosopher's Stone
854:Letters from a Lady of Quality
387:, an adaptation of Fielding's
356:opposition to the ministry of
1:
1960:
1780:. Routledge, 2015, pp. 56–58.
1418:L'Entretien des Beaux Esprits
348:'s son was later a locus for
2086:Resources in other libraries
2062:Resources in other libraries
1428:The Dramatic Historiographer
1227:Fantomina; or Love in a Maze
1218:(1724–1734) (translation of
1011:by Susannah Centlivre (1742)
519:Fantomina; or Love in a Maze
120:
7:
2241:English satirical novelists
2236:British satirical novelists
2132:(public domain audiobooks)
1586:
1270:Mary Stuart, Queen of Scots
900:Prosper Jolyot de Crébillon
832:. This happened again with
723:Mary Stuart, Queen of Scots
651:Periodicals and non-fiction
589:Pamela, or, Virtue Rewarded
450:the fair triumvirate of wit
200:Haywood's association with
10:
2272:
1833:Spedding, Patrick (2004).
1509:Memoirs of a Man of Honour
1162:Poems on Several Occasions
1035:by William Hatchett (1742)
435:
342:Frederick, Prince of Wales
303:By 1717, she had moved to
2081:Resources in your library
2057:Resources in your library
1914:Seager, Nicholas (2015).
1804:10.1080/09699080903162021
1715:King, Kathryn R. (2012).
1632:King, Kathryn R. (2012).
413:In 1735, Haywood wrote a
86:
71:
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30:
23:
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1491:The Fortunate Foundlings
868:(1724–1734, translating
608:The Fortunate Foundlings
574:The Unfortunate Princess
415:Companion to the Theatre
224:The Tragedy of Tragedies
2221:English women novelists
2216:British women essayists
1617:Haywood, Eliza (1985).
1471:(1743) (translation of
1420:(1734) (translation of
1372:(1728) (translation of
1346:Philadore and Placentia
1338:(1727) (translation of
1168:A Spy Upon the Conjurer
1112:(1720) (translation of
1047:by Eliza Haywood (1749)
1039:The Equity of Parnassus
1029:by Eliza Haywood (1742)
994:by Eliza Haywood (1741)
955:Jemmy and Jenny Jessamy
830:Jacobite rising of 1745
762:A Spy Upon the Conjurer
478:Haywood's first novel,
452:" and major writers of
307:, where she worked for
274:Saint Margaret's Church
195:The Authors of the Town
91:Saint Margaret's Church
2126:Works by Eliza Haywood
2108:Works by Eliza Haywood
1521:Epistle for the Ladies
1499:(4 volumes, 1744–1746)
797:
785:
664:
572:(1736), also entitled
566:
514:
475:
293:
269:, modelled after her.
217:
2008:Patricia Meyer Spacks
2000:Mary Anne Schofield,
1949:Walter Scott (2009),
1463:The Virtuous Villager
1324:The Fruitless Enquiry
1054:The Virtuous Villager
1027:The Virtuous Villager
957:(1753) as a model of
943:In the conclusion to
890:The Virtuous Villager
826:Charles Edward Stuart
791:
779:
719:Charles Edward Stuart
658:
560:
508:
469:
430:Licensing Act of 1737
291:
215:
2104:at Wikimedia Commons
1873:The Female Spectator
1871:The frontispiece of
1497:The Female Spectator
1370:The Disguis'd Prince
1246:The Unequal Conflict
882:The Disguis'd Prince
747:The Female Spectator
689:The Female Spectator
670:The Female Spectator
661:The Female Spectator
563:Adventures of Eovaai
390:Tragedy of Tragedies
305:Lincoln's Inn Fields
187:of her first novel,
2246:Writers from London
1449:(2nd edition, 1741)
1412:The Opera of Operas
1374:Madame de Villedieu
1336:Love in its Variety
1132:The Injur'd Husband
1126:The British Recluse
898:(1743, translating
886:Madame de Villedieu
884:(1728, translating
876:(1727, translating
874:Love in its Variety
856:(1721, translating
709:The Ladies' Mercury
403:Caroline of Ansbach
385:The Opera of Operas
376:) at the time, and
156:Smock Alley Theatre
152:; or, The Man-Hater
2017:Patrick Spedding,
1445:Alternative title
1434:Arden of Feversham
1264:The Fatal Fondness
1216:La Belle Assemblée
1045:A Letter from H Gg
1000:by Unknown (1741)
906:Critical reception
866:La Belle Assemblée
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786:
772:Political writings
665:
586:'s didactic novel
567:
515:
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419:literary criticism
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266:The Author's Farce
218:
2231:English satirists
2226:British satirists
2211:English essayists
2112:Project Gutenberg
2100:Media related to
2038:Library resources
1993:Kathryn R. King,
1776:Kathryn R. King,
1551:The Invisible Spy
1144:A Wife to be Lett
1085:(4 volumes, 1725)
1079:(3 volumes, 1724)
1041:by Unknown (1744)
838:The Invisible Spy
828:, just after the
805:(1724), and then
642:Betsy Thoughtless
628:Betsy Thoughtless
624:Betsy Thoughtless
584:Samuel Richardson
442:Delarivier Manley
328:Haymarket Theatre
320:A Wife to be Lett
278:Westminster Abbey
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95:Westminster Abbey
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2070:By Eliza Haywood
2010:, Introduction.
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888:'s 1679 novel),
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659:Frontispiece to
632:Charlotte Brontë
612:picaresque novel
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848:Translations
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809:(1727). Her
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388:
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370:Henry Brooke
350:Patriot Whig
335:
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147:adaptation,
137:
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117:in English.
110:
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51:Eliza Fowler
18:
2181:1756 deaths
1569:The Husband
1424:'s novella)
1342:'s stories)
1222:'s novella)
1106:(1719–1720)
1073:(1720–1723)
992:Anti-Pamela
929:The Dunciad
924:The Dunciad
902:'s novel).
840:(1755) and
764:(1724) and
739:The Husband
693:John Dunton
486:protagonist
399:Thomas Arne
395:J. F. Lampe
378:Henry Carey
257:The Husband
176:The Dunciad
145:Shakespeare
99:Westminster
2170:Categories
1961:References
1503:The Parrot
933:plagiarism
860:'s play),
822:The Parrot
715:The Parrot
446:Aphra Behn
428:After the
340:to honour
202:Aaron Hill
132:Shropshire
78:1756-02-25
1475:'s novel)
1469:The Sopha
1116:'s novel)
1077:The Works
895:The Sopha
707:. Though
637:Jane Eyre
511:Fantomina
461:royalties
440:Haywood,
346:George II
309:John Rich
121:Biography
2130:LibriVox
1935:17 March
1820:39803585
1812:21275191
1587:See also
1557:The Wife
844:(1756).
842:The Wife
768:(1725).
743:The Wife
735:The Wife
663:, Vol. 1
330:to join
253:The Wife
238:Le Sopha
2119:at the
1580:7th ed.
1442:(1736)
796:, 1743.
784:, 1727.
436:Fiction
154:at the
65:England
56: (
41:, 1725.
2040:about
1983:, 2004
1926:
1897:
1848:Stuart
1818:
1810:
1760:
1723:
1671:450861
1669:
1571:(1756)
1565:(1756)
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1134:(1722)
1128:(1722)
1122:(1721)
1091:(1727)
959:pathos
598:Pamela
565:, 1736
513:, 1725
474:, 1720
421:, and
185:Part I
1816:S2CID
1667:JSTOR
1604:Notes
687:. In
276:near
115:novel
93:near
1937:2019
1924:ISBN
1895:ISBN
1808:PMID
1758:ISBN
1721:ISBN
737:and
683:and
444:and
407:Whig
397:and
368:and
354:Tory
352:and
255:and
72:Died
58:1693
54:1693
47:Born
2128:at
2110:at
1981:OUP
1800:doi
1659:doi
1576:v.3
921:'s
749:);
679:by
634:'s
606:.)
526:'s
227:by
143:'s
97:in
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1744:^
1689:^
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60:)
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