By Frances Burney
While heiress Cecilia Beverley gets an inheritance from her uncle, the Dean, it comes with the stipulation that her destiny husband needs to switch his identify to Beverley. Besieged through suitors basically after her fortune, Cecilia ultimately falls in love with the single son and inheritor of a proud family—one that forestalls him from altering his identify. A social satire, Cecilia is either a love tale and an exam of British upper-class conventions.
Originally released in 1782, Cecilia was once reprinted not less than two times inside of a 12 months of its ebook, and served as a power for the identify of Jane Austen’s masterpiece Pride and Prejudice.
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Additional info for Cecilia
Roe, in Blake’s Illustrations to the Divine Comedy (1953), surveys and reproduces the great Dante series competently, but rather blurs the issue by reading the designs frequently as illustrations of Blake’s own myth as well as Dante’s. Digby, Symbol and Image in William Blake (1957), attempting to apply modern psychology to Blake’s art. Perhaps the most satisfactory book on Blake’s visual work as a whole is Sir Anthony Blunt’s The Art of William Blake (1959), a series of lectures which yet brings the erudition of a great art-historian to bear upon Blake, placing him firmly in the European iconographic traditions.
Kathleen Raine, a devoted believer in Yeats (see p. 23), would doubtless prove an exception to this statement. The work of many scholars before 1940, particularly Foster Damon, was informed by the opposite conclusion. Erdman, ‘Blake’s early Swedenborgianism. A twentieth century legend’, Comparative Literature, vol. V (1953), pp. 247–57. Owen, The Famous Druids (1962), pp. 224–50, is the best work on the subject. Hungerford, Shores of Darkness (1941) and in Ruthven Todd, Tracks in the Snow (1947).
26 Note on the Text The great majority of the references to Blake here are repeated, by permission, from Blake Records (Oxford, Clarendon Press, 1969), where they are organized by date.