Anna Seward (1747-1809), a florid and picturesque poetess, whose verse-novel Louisa was valued in her day. She has a place in Scott’s Lives of the Novelists.
Charlotte Smith (1749-1806).—Her The Old Manor House reveals independent, and novel, appreciation of scenery, illustrated by an unobtrusive familiarity with natural history. Her plots “bear the appearance of having been hastily run up,” but her characterisation is vigorous. There is a “tone of melancholy” throughout.
Harriet (1766-1851) and Sophia (1750-1824) Lee wrote some of the earliest historical novels—The Recess; or, A Tale of other Times (1783), introducing Queen Elizabeth and the “coarse virulence that marks her manners,” and the Canterbury Tales, from which Byron borrowed.
Mrs. Bennet, whose Anna; or, The Memoirs of a Welsh Heiress (1785) is a bad imitation of Miss Burney, “with a catchpenny interspersion.”
Regina Maria Roche, author of the once popular The Children of the Abbey (1798). Richardson, diluted with Mackenzie—in “elegant” language.
Mrs. Opie (1769-1853).—One of her best stories, Adeline Mowbray; or, The Mother and Daughter (1804), is partially founded on the life of Godwin, and shows the influence of his theories.
Jane Porter (1776-1850), author of Thaddeus of Warsaw and The Scottish Chiefs, who claimed unjustly to have “invented” the historical romance, copied by Scott. Very famous in her day.
Also Anna Maria Porter (1780-1832), author of Don Sebastian.
Mrs. Brunton (1778-1818), author of the excellent Self-Control (1811) and Discipline (1814), which were overshadowed by Susan Ferrier. Lacking humour, her morality becomes tiresome, but she could draw living characters. The Highland experiences of her heroine, who, after marrying a minister, retained “a little of her coquettish sauciness,” are significant for their date.
Lady Morgan (1783-1859), as Miss Sydney Owenson, published Wild Irish Girl (1806), which is a fairly spirited réchauffé of all things Celtic. Thackeray found here the name Glorvina, meaning “sweet voice.”