The Adventures of Rivella

114:, where she defends her personal ethics nature against individuals who are identified as unethical. She is ultimately found innocent of the charges laid against her. In Rivella's recovery, she begins using her wit and reputation to write for the stage, which stood out as the clear outlet for expression at the time for the female writer. True to the semi-autobiographical nature of Manley's novel, this lawsuit mirrors an actual lawsuit the Delarivier Manley was subject to in her own life. Subsequently, the novel begins its conclusion with Rivella demonstrating a visible re-positioning of her political and ethical attitudes into more moderate connotations. This undoubtedly prepared Rivella, and by association Manley for the imitate shift in 94:, Rivella was born plain between two beautiful sisters. Lovemore indicates to D'Aumont, and indirectly to Manley's readership that he is in love with Rivella, and depicts a woman that is witty, alluring, and sensual. However, later in the novel she descends into disgrace, as her writings are used against her during a public defamation and her subsequent imprisonment. Although she incurred this series of unfortunate circumstances, Rivella acquired a lifelong admirer being Sir Charles Lovemore who now is translating her story. After the death of her father, Rivella is easily persuaded into a 30: 387:. By 1717, the novel's content had been considerably altered due to literary questioning of the novel's autobiographic qualities. These alterations to the "Introduction" and to later parts of the narrative concerning Rivella's involvement the novel's in court trials were also the result of a decline in the book's validity. The decline in validity arose from the publication of two opposing iterations of Manley's novel 62:. The narrative tells that the young chevalier D'Aumont has left France in search of sexual partnership with Rivella (the author) and instead finds the rejected lover, Sir Charles Lovemore who does not assist the Frenchman in arranging contact with Rivella, but tells her life story instead, both as it relates in public gossip and her personal writings. 182:, Manley references these events extensively in the final 30 pages of her novel. This is illustrated as a fictionalised libel hearing that is told from the perspective of a third-person autobiography. Rivella's responses during the trial mirror that of Manley's political attitudes, offering readers a confessional defence in which: 360:" that served his French master (being the fictional Chevalier D'Aumont) up until his death. This translator preface serves a fictional purpose for the novel, which is that it disclaims many of the "Verse's" found in the English edition are not found in the original French text. As the preface states: 187:

she was . . . out of humour with . . . a faction who were busy to enslave their sovereign and overturn the constitution, that she was proud of having more courage than had any of our sex and of throwing the first stone, which might give a hint for other persons of more capacity to examine the defects

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begins with the label of a "Translator's Preface", which declares that the novel to follow is a translation from its original state as a French manuscript. Although this preface exists only in the novel's first addition, with the second edition being published without it in 1717, Manley's claim that

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issued a warrant for her arrest, as well as one for her publishers and printers, who by this stage had already been remanded into custody. After four consecutive days of questioning Manley's associates were released, however she remained in custody until she was released on bail on 7 November 1709.

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The narrator Sir Lovemore recounts his incursions with the young woman named Rivella who he describes as irresistible and charming, as well as detailing her career as a political writer, defendant in two separate trials, and ultimately her search for love and companionship. The character known as

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is in actuality the life story of the author. Consequently, Rivella the author becomes the product Delia's sexual victimisation as an innocent young orphan. Linguistically, by putting the names of the two major characters Delia and Rivella together, the result is the first name of the real-world

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demonstrated a congruence between Delarivier Manley's life as the author and the themes of her subsequent fiction. In her novel, Manley's life is presented as socially involved, energetic, and fragmentary. It stands to scholarship as an intriguing psychological study of a woman who was a popular

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she employs irony depict a two men dialogue in regards to the physical qualities a woman must possess to be seen as desirable. In these early stages of the narrative, Manley takes the opportunity to satirically provide a rapturous account of her beauty and attractiveness. However, her fictional

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is a part of the fictional chronology of the novel that symbolically represents much of the book's initial publication and conception. In this preface the publisher is identified as a Frenchman, who became the "Master of the following papers" because he was a "Gentleman of the chamber" of the

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identifies this "long-deferred 'history' of Rivella's authorship" was a termination of his informal contract that he was to conceal Manley's identity as the author of her fictional autobiography. Zelinsky also identifies that the restraint that Curll shows during his written explanation of

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on 11 February 1710, where she was found not guilty of seditious libel. The not guilty verdict was founded on the fact that all of Manley's publications that were being used as evidence against her during the trial were prefaced as fictional works, and therefore did not carry any realistic

235:(1714) in terms of Delarivier Manley's complicated use of frame in her narrative, its flirtatious expression of a female voice in the public eye, and its multifaceted relationship to multiple literary genres. Critics have described Manley's allusion ravaged text as a "quasi-fictional 395:

that made Manley's narrative into a text that better resembled a memoir of her life. Roberts edition contested Curll's publication as the source of the novel's second edition. When the year 1717 came to an end, there were at least three separate editions of Manley's novel.

365:"The English Reader is desir'd to take Notice that the Verses are not to be found in the French Copy; but to make the Book more perfect, Care has been taken to transcribe them with great Exactness from the English printed Tragedy of the same Author, yet extant among us." 266:, which would have possibly incriminated Manley. Bosse goes on to highlight that within Manley's fictional autobiography, she avoided defending her conduct as a satirical writer of politics in favour of seeking to justify her behaviour as an eighteenth century woman. 199:

have stated that these sardonic descriptions of Whig leaders had a remanence of truth about them. This made Manley's fiction widely popular as well as dangerous when it was first introduced to the public. As a result, Manley did not put her name on

70:" another novel written by Delarivier Manley in 1709. Through these two characters, Manley addresses literary questions regarding conventional notions of female writers in England during the eighteenth century, as well as the distinction between 102:

partnership, leaving Rivella as a fallen woman alone and without a protector. The narrative is made further complex when characters and their respective schemes are revealed, which continually allude to similar real-world incidents such as the

428:, whom she was living with during the publication of the novel's first edition in 1714. Since the death of the novel's original publisher Edmund Curll in 1747 there has been numerous republications and edited versions of 284:

self-portrait has led particular scholars to stipulate that the character of Rivella illustrates a woman whose difficulties in life have arouse from her own sensuality, or as it is stated in the novel, from "

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was received as a vivid depiction of the challenges female writers faced in attempting to become accomplished authors. It also stands as a contribution to the eighteenth century development of

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authorship does not include details such as the manuscript's date of completion, its date of printing, or its date of publication. Katherine Zelinsky, an editor of a 20th-century edition of

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The novel begins with a conventional exchange between with the fictive characters of Chevalier D'Aumont and Sir Charles Lovemore who are parlaying in conversation within the garden of the

50:. The work is a semi-autobiographical account of Manley's life seen through the fictional character of Rivella. Delarivier Manley's final novel, which was later edited and published by 391:

One of these versions was published by Edmund Curll, and the other by the eighteenth century publisher J. Roberts. In 1714, Roberts printed a complete key with his edition of

304:(1714) is described as a fictional autobiography that tells the life of a literary character who claims to have been the writer of another one of Delarivier Manley's novels, 134:

as a fictional narrative, Manley drew on a number of key events in her life, and references to her other literature to write her novel. One such event was her arrest in

58:. The events and incidents incurred by the fictional character Rivella are narrated to the reader through a conversational dialogue between two male protagonists, being 188:

and vices of some men who took a delight to impose upon the world by the pretence of public good, whilst their true design was only to gratify and advance themselves.

154:, with her fiction bearing much of her political outlook. These characteristics have also been credited to her satirical chastising of Whig party figures, including 407:(1714) in the preface of his posthumous edition (1725). This posthumous edition was the fourth edition of the novel. Dated 29 September 1724, Curll's " 78:

The novel comprises a title page, a preface, an introduction, and a continuous paragraphed narrative, with a total of approximately 27,000 words.

122:", and with D'Aumont and Lovemore setting off to find Rivella in the hope of becoming well acquainted with her and her intellectual brilliance. 1057: 860: 825: 288:". Accordingly, "what emerges here is a realistic account of female vulnerability to passion and the sad consequences of unfounded optimism." 444:

and author, Delarivier Manley was one of eighteenth-century England's most popular female writers. She also stood as England's first female

275:. Some scholars have stated that this use of a translation preface was a tool, which Delarivier Manley employed to protect herself against 1439: 1375:

Barash, Carol L. "Gender, authority and the 'life' of an eighteenth-century woman writer: Delarivière Manley's adventures of Rivella". In

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identifies that Manley had written her final novel in hast, as to possibly offset and forestall the publication of a diatribe written by

1493: 921:"The Adventures of Rivella as Political Secret History." In New Perspectives on Delarivier Manley and Eighteenth Century Literature 906:"The Adventures of Rivella as Political Secret History." In New Perspectives on Delarivier Manley and Eighteenth-Century Literature 791:"The Adventures of Rivella as Political Secret History". In New Perspectives on Delarivier Manley and Eighteenth-Century Literature 312:

publication had become an infamous literary work. Additionally, the narrator of Rivella accentuates that the narrative of Delia in

155: 627:(1987). "Gender, authority and the 'life 'of an eighteenth-century woman writer: Delarivière Manley's adventures of Rivella". 17: 339:, and cost 2 shillings bound in sheep leather or 2 shilling sixpence in calf's leather. In this initial publication of the 377:

History of the Author of the Atlantis with Secret Memoirs and Characters of several considerable Persons her Contemporaries

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her fictional autobiography was a translation shows a distance aesthetically from other eighteenth century writers such as

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novelist in the eighteenth-century, with insights into the abundance of her idiosyncratic creativity. In a 1989 essay by

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Gender, authority and the 'life 'of an eighteenth-century woman writer: Delarivière Manley's adventures of Rivella

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Other analysts point out a multitude of stylistic simplicities and a lack of a coherent novel structure. However,

279:. Manley's knowledge of dramatic irony has been consistently discovered throughout her novels, and in the case of 90:. During this exchange Sir Charles Lovemore accentuates his personal interactions and affections for Rivella. For 1503: 457: 143: 480:

represents a widely popular text with much of its acclaim and popularity being drawn from Manley's early novel

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publication history was due to Manley's professional rivalry with and subsequent fear of exposure by publisher

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Delarivier Manley, The Adventures of Rivella, edited by Katherine Zelinsky (Peterborough, ON: Broadview, 1999)

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implications of statements that could be seen as professionally detrimental to the party in government.

119: 111: 59: 1330:

Gallagher, Catherine (1990). "Political Crimes and Fictional Alibis: The Case of Delarivier Manley".

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Gallagher, Catherine (1990). "Political Crimes and Fictional Alibis: The Case of Delarivier Manley".

251:(1986) claims is a preeminent source for information about the life of its author Delarivier Manley. 1478: 1118:

Life after Sex: Delarivier Manley," in The Sign of Angelica: Women, Writing, and Fiction 1660-1800

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Life after Sex: Delarivier Manley," in The Sign of Angelica: Women, Writing, and Fiction 1660-1800

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Life after Sex: Delarivier Manley," in The Sign of Angelica: Women, Writing, and Fiction 1660-1800

846: 811: 656:

Life after Sex: Delarivier Manley," in The Sign of Angelica: Women, Writing, and Fiction 1660-1800

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Life after Sex: Delarivier Manley," in The Sign of Angelica: Women, Writing, and Fiction 1660-1800

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with an older nobleman, who becomes her guardian. The marriage substantiated into a violent and

383:. This edition was also printed in London, and published under the editing and directorship of 1417:

Gallagher, Catherine. "Political Crimes and Fictional Alibis: The Case of Delarivier Manley."

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Rivella is from the very outset of the novel (seen in the cover page) known as the "author of

135: 1473: 1169: 445: 425: 366: 344: 191: 8: 196: 104: 840: 805: 1347: 1051: 854: 819: 771: 380: 332: 640: 577:. Pergamon: In Women's Studies International Forum, vol. 10, no. 2. pp. 165–169. 403:, her former publisher Edmund Curll published a history of the early publications of 400: 314: 305: 207: 71: 67: 47: 29: 1339: 763: 636: 254:

In an essay written as part of an introduction to the 1972 publication of Manley's

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Manley uses a mixture of realism, naturalistic dialogue, and the French style of

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A brief historical relation of state affairs: from September 1678 to April 1714

448:, with her impact on public opinion being documented through her fictional and 263: 248: 224: 87: 1467: 356:. The publisher of the novel is known and identified by is occupation as an " 259: 240: 236: 220: 131: 1386:, by Mary de la Rivière Manley, Garland Publishing, Inc., 1972, p. 120. 343:, as in later iterations, the publisher makes a statement in the form of a " 624: 570: 384: 272: 243:" that mixes both fact and fiction. The novel has also been described as a 165:

Manley surrendered herself to the authorities on 29 October 1709 after the

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New Perspectives on Delarivier Manley and Eighteenth Century Literature

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Introduction to The Adventures of Rivella, by Mary de la Rivière Manley

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Introduction to The Adventures of Rivella, by Mary de la Rivière Manley

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Introduction to The Adventures of Rivella, by Mary de la Rivière Manley

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Introduction to The Adventures of Rivella, by Mary de la Rivière Manley

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Introduction to The Adventures of Rivella, by Mary de la Rivière Manley

775: 716:. Los Angeles, CA: William Andres Clark Memorial Library. pp. i–x. 357: 297: 276: 228: 91: 46:(1714) is the last novel written by eighteenth century English author 441: 1426:

A Comprehensive Introduction to The Novels of Mary Delarivier Manley

1343: 767: 469: 75: 1372:, edited by Katherine Zelinsky (Peterborough, ON: Broadview, 1999) 492:, which had never been used to such an extent in English novels. 476:

devices by novelists who write in the genre of satire. The novel

408: 348: 536:

Introduction to The Adventures of Rivella, by Mary de la Rivière

150:. Manley herself was an adamant and passionate supporter of the 1393:, William Andres Clark Memorial Library, No. 32, 1952, pp. i–x. 456:, her writings were often used for political commentary on the 449: 336: 99: 95: 55: 1282:

The Adventures of Rivella, 1714, edited by Katherine Zelinsky

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The Adventures of Rivella, 1714. edited by Katherine Zelinsky

340: 1196:

The Adventures of Rivella 1714. edited by Katherine Zelinsky

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The Sign of Angelica: Women, Writing, and Fiction 1660–1800

54:, is centred around her life before, during, and after her 1170:"Delarivier Manley, Rivella (London: Curll, 1714), E-text" 432:

published throughout the 19th, 20th, and 21st centuries.

214: 195:

Recent commentators on Manley's political satire such as

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A woman of no character: an autobiography of Mrs. Manley

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Delarivier Manley, Rivella (London: Curll, 1714), E-text

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Delarivier Manley, Rivella (London: Curll, 1714), E-text

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A Woman of No Character. An Autobiography of Mrs. Manley

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Delarivier Manley, Rivella (London: Curll, 1714), E-text

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A woman of no character: an autobiography of Mrs. Manley

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A woman of no character: an autobiography of Mrs. Manley

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The Adventures of Rivella. edited by Katherine Zelinsky

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