Amelia Beauclerc Explained

Amelia Beauclerc
Pseudonym:Emma de Lisle (misascribed)
Birth Date:1 January 1790
Occupation:Novelist
Language:English

Amelia Beauclerc (1 January 1790 – 1 March 1820) was a British Gothic novelist.

Life

Beauclerc's life has been described as "invisible."[1]

Writing

It has taken time to establish a complete bibliography for Beauclerk.[2] Her first two novels, Eva of Cambria, or, The Fugitive Daughter (1810) and Ora and Juliet, or, Influence of First Principles (1811), were published by mistake under the name "Emma de Lisle," the nom de plume of another novelist, Emma Parker.[3] Beauclerc's next four novels were published "by the author of," but her final two novels were clearly published under her own name.

Six of Beauclerc's eight novels were published by the Minerva Press, famous for their sentimental and Gothic titles. Her interest was more in the former; one commentator called her novels "sham Gothic" because they focused more on sentiment than on more thrilling genre elements.[4] In this regard, Beauclerc followed the example of Ann Radcliffe and the tradition of the "female Gothic."

During her lifetime, Beauclearc received mixed reviews, from the utterly damning[5] to the moderately approving.[6] In the twentieth century, while some of her work has been called "predictably gothic, heavy-handed, or punatively moral" her "best work" has been judged "impressive, focusing on relations between the sexes."[7]

Works

Etexts

Resources

See also

External links

Notes and References

  1. "Amelia Beauclerc." Orlando: Women’s Writing in the British Isles from the Beginnings to the Present. Accessed 2022-07-14. (Orlando)
  2. For example, see Summers, Montague. A Gothic bibliography. London: The Fortune Press, 1941, p. 8. (Internet Archive)
  3. Grundy, Isobel. "Parker, Emma [pseud. Emma de Lisle] (fl. 1809–1817), novelist." Oxford Dictionary of National Biography. 23. Oxford University Press. Date of access 15 Jul. 2022; Halkett, Samuel. Dictionary of anonymous and pseudonymous English literature. Edinburgh: Oliver and Boyd, 1926. (Internet Archive); Garside, Peter, et al. The English novel, 1770-1799. Oxford; New York: Oxford University Press, 2000, pp. 352–353.
  4. Tymn, Marshall B., ed. Horror literature. NY/London: R.R. Bowker, 1981, pp. 41–42. (Internet Archive)
  5. "The hero of this tale, is altogether so contemptible that we suppose the portrait was intended for a caricature but the execution is as wretched as the conception and if anything can be worse than the story, it is the language in which it is related." Rev. of Montriethe: Or, The Peer of Scotland in New Monthly Magazine Vol.2 (December 1814) p.444 (Covey)
  6. "Although there is nothing very new in the Child of Mystery, it is nevertheless an interesting story, and well calculated to engage the attention of those persons who are fond of novel reading, to whom we think that it will prove an acquisition." Rev. of Alinda: The Child of Mystery, A Novel in the Critical Review Vol.4 (1813) pp. 305-313 (Covey)
  7. Blain, Virginia, et al., eds. The Feminist companion to literature in English: women writers from the Middle Ages to the present. New Haven: Yale UP, 1990, 74. (Internet Archive)