By T. Hoagwood, K. Ledbetter
A wide physique of nineteenth-century British women's literature highlights using verbal illusions, even whereas its essence is still the basis of inward and private adventure. within the age of business distribution, the nonequivalence of non-public feeling and revealed product is typically rendered bitterly, yet occasionally that nonequivalence inspires the opulence of artifice. "Colour'd Shadows" is a chain of arguments approximately such relationships of fabric shape and fabric alternate with literary which means, continuing from particular examples within the writings and careers of girls writers and numerous publishing genres, together with Victorian periodicals and literary annuals.
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Additional info for Colour'd Shadows: Contexts in Publishing, Printing, and Reading Nineteenth-Century British Women Writers
The reusable feature of the narrative components is not merely a thematic matter, but also a matter of bibliographical fact. Feldman points out that “at least forty-four of the fifty-seven poems were published by Hemans previous to their inclusion in Records of Woman” (xxxii). Hemans’s own writing often states the same fact: the last line on p. ” The text is about Rogers’s text, which includes the text of a note referring to the text of an inscription, and all of these texts are the supplements that constitute the meaning of this new (1828) text inscribed to them.
Signifiers of its own unreality doubly frame the poem, including the epigraph from Baillie’s play, and the note calling attention to the prior museumization of the poem in the ornamental Literary Souvenir. Another poem in the series, “Juana,” is even more explicit 40 “ C o l o u r ’ d S h a d ow s ” in its repetition of Hemans’s equally characteristic treatment of the topic of illusions. An unattributed headnote summarizes the story of “Juana, mother of the Emperor Charles V,” of Spain. In spite of abusive treatment from her husband, “Philip the Handsome of Austria,” Juana dons “a magnificent dress” and becomes “possessed with the idea that [his corpse] would revive” (123).
She was then an actress, playing successfully at Drury Lane, where the Prince of Wales saw her playing the part of Perdita in The Winter’s Tale. Reportedly, the Prince’s “importunities” were “unceasing” and “obliged her, with reluctance,” to quit the profession of acting, and after a year as his mistress, she apparently insisted upon (and received) a promise of a lifetime annuity from him. She traveled to France, first in 1783 and several times afterward. She developed friendships with William Godwin and Samuel Taylor Coleridge.