Amelia Opie Criticism - Essay

Monthly Review (review date 1801)

(Nineteenth-Century Literary Criticism)

SOURCE: Review of The Father and Daughter by Amelia Opie, in Monthly Review, Vol. XXXV, 1801, pp. 163-66.

[In the following excerpt, the critic describes the favorable impression made by Opie's The Father and Daughter in regard to its ability to describe pathos and distress and to elicit the appropriate feelings in the reader.]

The pleasures of melancholy are suited only to minds of uncommon susceptibility,—to those persons who may be said to have a sympathetic taste for distress; and from readers of this class, the tale of woe now before us will meet with peculiar acceptance. For ourselves, we own that we have been truly affected by the...

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Edinburgh Review (review date 1802)

(Nineteenth-Century Literary Criticism)

SOURCE: Review of Poems by Amelia Opie, in Edinburgh Review, Vol. I, October, 1802, pp. 113-21.

[In the following review, the critic commends the shorter works of Opie's Poems for their elegance in sentiment and pathos but finds fault with the longer works for their lack of technical correctness, their lack of originality, and their overuse of reflection, inversion, and personification.]

There are, probably, many of our readers, who at some fortunate, or unfortunate moment of their lives, have been tempted to dip their pen in the fatal ink of publication, and who still remember the anxiety with which they looked forward to the reception of their first...

(The entire section is 3596 words.)

Edinburgh Review (review date 1806)

(Nineteenth-Century Literary Criticism)

SOURCE: Review of Simple Tales by Amelia Opie, in Edinburgh Review, Vol. 8, July, 1806, pp. 465-71.

[In the following article, the critic favorably reviews Opie's Simple Tales for its ability to present human nature and feelings in an artless but graceful and accurate way.]

We owe some apology to Mrs Opie, for omitting at the proper time to take notice of her beautiful story of the Mother and Daughter; the second volume of which is perhaps the most pathetic, and the most natural in its pathos, of any fictitious narrative in the language. In the tales now before us, we find much of the same merits; the same truth and delicacy of sentiment;...

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Gentleman's Magazine and Historical Chronicle (review date 1808)

(Nineteenth-Century Literary Criticism)

SOURCE: Review of The Warrior's Return and Other Poems by Amelia Opie, in Gentleman's Magazine and Historical Chronicle, Vol. LXXVII, July, 1808, pp. 612-13.

[In the following review, the critic praises Opie 's The Warrior's Return and Other Poems for its originality and the polish of its meter.]

This neat diminutive volume, containing 185 pages, is thus modestly introduced to the Publick by the fair Authoress, the relict of Opie, the late excellent painter, who had the singular good fortune to unite the sister Arts of Poetry and Painting by his marriage with this lady: "The Poems which compose this little volume were written, with two or three...

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Monthly Review (review date 1808)

(Nineteenth-Century Literary Criticism)

SOURCE: Review of The Warrior's Return and Other Poems by Amelia Opie, in Monthly Review, Vol. LVII, 1808, pp. 436-38.

[In the following review, the critic censures Opie 's The Warrior's Return and Other Poems for its lack of rigorous poetics such as good rhyming and for its waste of sentiment on topics remote from the present day.]

It is said by Ben Jonson, in his lines on Shakspeare, that

A good poet's made as well as born;

and the remark is just, since due cultivation must be superadded to poetic talent before its due expansion can be obtained. Parnassus ceases to be fertile when...

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Monthly Review (review date 1812)

(Nineteenth-Century Literary Criticism)

SOURCE: Review of Temper; or Domestic Scenes by Amelia Opie, in Monthly Review, Vol. LXVIII, 1812, p. 217.

[In the following review, the critic counterbalances praise of Opie's Temper; or Domestic Scenes with mention of such defects as excessive didacticism and the use of unlikely circumstances.]

We estimate so highly this lady's literary talents, and we so cordially approve the tendency of the present work, that we reluctantly qualify our opinion of its merits by first noticing its defects. Mrs. Opie has delineated some traits of uncontrolled temper with a refined as well as a powerful pencil, but she might have excited greater interest if she had...

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Monthly Review (review date 1816)

(Nineteenth-Century Literary Criticism)

SOURCE: Review of Valentine's Eve by Amelia Opie, in Monthly Review, Vol. LXXIX, January-April, 1816, pp. 438-39.

[In the following review, the critic commends Opie 's Valentine's Eve for the virtuous example of its heroine, but finds fault with the dialogue and the portrayal of various characters.]

This story is not calculated either by its conduct or its circumstances tö display advantageously the talents of the writer; and, since "most animals know where their strength lies," as Warburton said, when referring to his critics, such persons as attempt to perform the critical office towards Mrs. Opie must consider her as an exception to his rule. Why,...

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Monthly Review (review date 1819)

(Nineteenth-Century Literary Criticism)

SOURCE: Review of New Tales by Amelia Opie, in Monthly Review, Vol. LXXXVIII, March, 1819, pp. 327-28.

[In the following review, the critic commends Opie 's New Tales for the realistic depiction of various characters.]

Much variety and amusement will be found in these volumes: but, in the tale of the "Ruffian Boy," this justly celebrated writer departs from her usual practice of inculcating an important moral in every narrative: since this is a tale of fear and sorrow in which we cannot sympathise with the characters, and from which no higher lesson can be learned than the old rule that young ladies in a ball-room must not refuse one partner and afterward...

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Monthly Review (review date 1820)

(Nineteenth-Century Literary Criticism)

SOURCE: Review of Tales of the Heart by Amelia Opie, in Monthly Review, Vol. XCII, May-August, 1820, pp. 375-87.

[In the following review, the critic finds fault with Opie's Tales of the Heart for its inability to stir the emotions, the presence of unlikely situations, poor diction, and a lack of care in describing everyday events.]

It is the fate of our craft to be frequently assailed by feelings that interfere with the cool and deliberate exercise of our judgment; and this is a predicament which happens chiefly when a female writer is before us. We cannot speak harshly, or judge austerely, of authors in muslin and sarsenet: gallantry, or...

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W. D. Howells (essay date 1901)

(Nineteenth-Century Literary Criticism)

SOURCE: "Heroines of Miss Ferrier, Mrs. Opie, and Mrs. Radcliffe," in Heroines of Fiction, Vol. I, Harper and Brothers Publishers, 1901, pp. 79-89.

[In the following excerpt, Howells describes Opie's work as being allied to the nature school of writing and as achieving its effects through great imaginative inventiveness and the inclusion of extraordinary accidents.]

[Daniel] Defoe, [Samuel] Richardson, [Oliver] Goldsmith, Frances Burney, Maria Edgeworth, Jane Austen: this is the lineage of the English fiction whose ideal is reality, whose prototype is nature. To this illustrious company there are others worthy to be added, especially that Miss Susan Edmondstone...

(The entire section is 630 words.)

Oliver Elton (essay date 1912)

(Nineteenth-Century Literary Criticism)

SOURCE: "The Novel of Manners and Jane Austen," in A Survey of English Literature: 1780-1830, Vol. I, Edward Arnold (Publishers) Ltd., 1912, 172-201.

[In the following excerpt, Elton discusses the context for Opie's writings, the influence of her own morality on her writing, and her ability to present pathos, dialogue, the embroiled situation, and personal portraits.]

The 'poetic genius, which is the Lord,' was also astir, during the last decade of the century, in Scott, Wordsworth, and Coleridge; but its record must now be forsaken awhile, in order to notice other workings of the English mind and imagination, in prose. And first of fiction,1 which for...

(The entire section is 2577 words.)

Margaret Eliot MacGregor (essay date 1932-33)

(Nineteenth-Century Literary Criticism)

SOURCE: Introduction to Amelia Alderson Opie: Worldling and Friend, in Smith College Studies in Modern Languages, Vol, XIV, Nos. 1-2, The Collegiate Press, October, 1932-January, 1933, pp. xi-xv.

[In the following essay, MacGregor discusses Opie's moralistic purpose in writing as well as Opie's response to issues of her day.]

I have been reading over my journal. Amazing! It is really now as long as a book, yet it contains nothing but the history of a weak woman's heart. But is not that heart a world to its possessor? . . . after all, is there, can there be any history more interesting than a history of the affections? . . .

...

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Donald H. Reiman (essay date 1978)

(Nineteenth-Century Literary Criticism)

SOURCE: Introduction to Amelia Opie and Mary Tighe: "Elegy to the Memory of the Late Duke of Bedford"; "Psyche," with Other Poems, in Romantic Context: Poetry; Significant Minor Poetry, 1789-1830, Garland Publishing, Inc., 1978, pp. v-xv.

[In the following excerpt, Reiman discusses Opie's purpose in writing fiction, her social concerns expressed in her poetry, and her lack of technical skill in writing poetry.]

In any full discussion of the literary career of Amelia Alderson Opie, primary attention would undoubtedly be given to her fiction. Her novels and tales include The Dangers of Coquetry (2 vols., 1790); The Father and Daughter: A Tale...

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Gary Kelly (essay date 1980)

(Nineteenth-Century Literary Criticism)

SOURCE: "Discharging Debts: The Moral Economy of Amelia Opie's Fiction," in The Wordsworth Circle, Vol. XI, No. 4, Autumn, 1980, pp. 198-203.

[In the following essay, Kelly asserts that the underlying pattern of Opie's prose fiction is the heroine's incurring of a real or apparent moral, social, or financial debt, which is repaid with inner suffering and some public expression of this suffering, and which is terminated by reconciliation with the creditor.]

Amelia Opie (1769-1853) was one of the most popular fiction writers of the first two decades of the nineteenth century, and could be termed a representative woman novelist of her day—representative in her social...

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Susan Staves (essay date 1980-81)

(Nineteenth-Century Literary Criticism)

SOURCE: "British Seduced Maidens," in Eighteenth-Century Studies, Vol. 14, No. 2, Winter, 1980-81, pp. 109-34.

[In the following essay, Staves discusses social responses to the seduction of maidens, which provides the historical context for the theme of the seduced maiden in Opie's work in general and in Opie's The Father and Daughter in particular.]

Pathetic seduced maidens, though frequent in eighteenth-century literature, are not universal characters. On the contrary, they appear at a certain historical moment, fascinate writers and draw deep sympathy from readers, then disappear, the pathos that contemporaries found in them now being more likely to evoke...

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Gary Kelly (essay date 1981)

(Nineteenth-Century Literary Criticism)

SOURCE: "Amelia Opie, Lady Caroline Lamb, and Maria Edgeworth: Official and Unofficial Ideology," in Ariel, Vol. 12, No. 4, October, 1981, pp. 3-24.

[In the following excerpt, Kelly argues that the writings of Opie (among others) demonstrate an adherence to traditional social values in the moral and outcome of their fictions, but also a questioning of those values in their examination of the lives of the central characters who suffer because of those values.]

The first few decades of the nineteenth century may be said to constitute the second phase of the invasion or appropriation of novel writing by large numbers of women—the first phase being the last three decades...

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Jan Fergus and Janice Farrar Thaddeus (essay date 1987)

(Nineteenth-Century Literary Criticism)

SOURCE: "Women, Publishers, and Money, 1790-1820" in Studies in Eighteenth-Century Culture, Vol. 17, edited by John Yolton and Leslie Ellen Brown, Colleagues Press, 1987, pp. 191-207.

[In the following excerpt, Fergus and Thaddeus examine the financial dealings of Amelia Alderson Opie with her publishers as an example of the social changes affecting women around the beginning of the nineteenth-century.]

At the end of the eighteenth century, a woman who considered herself genteel had few options if she wanted or needed to make money. Working-class women could procure jobs as servants or shop assistants; the work was ill-paid and constricting, but it was available. Those...

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Claudia L. Johnson (essay date 1988)

(Nineteenth-Century Literary Criticism)

SOURCE: "The Novel of Crisis," in Jane Austen: Women, Politics, and the Novel, University of Chicago Press, 1988, pp. 1-27.

[In the following excerpt, Johnson suggests that Opie endorsed the politically conservative status quo through her main plot but used parallel plots to question established social values and to promote reform for attitudes about women and marriage.]

[Not] all the villains or anti-heroes in conservative fiction are gross charlatans happy to employ "reason" in order to justify their mean actions. Some are earnest seekers after truth, and it is precisely their penchant for reflection that gets them into trouble. Woe to the indulgent parents who let...

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Basem L. Ra'ad (essay date 1991)

(Nineteenth-Century Literary Criticism)

SOURCE: " 'D. D.' Revealed?," in Melville Society Extracts, Vol. LXXXVI, September, 1991, pp. 10-11.

[In the following essay, Ra 'ad argues for identifying the "D.D. "found in Melville's correspondence to Evert Duyckinck with Opie 's Detraction Displayed because (among other things) Opie 's work represented a disappearing type of social commentary on contemporary morals.]

The May 1990 issue of Extracts (#80) contained a small trove of new Melville letters and notes. Among them is an undated note in which Herman Melville thanks Evert Duyckinck for helping "to procure" a book Melville refers to as "D.D." The title is not spelled out—presumably because...

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Roxanne Eberle (essay date 1994)

(Nineteenth-Century Literary Criticism)

SOURCE: "Amelia Opie's Adeline Mowbray: Diverting the Libertine Gaze; or, The Vindication of a Fallen Woman," in Studies in the Novel, Vol. XXVI, No. 2, Summer, 1994, pp. 121-52.

[In the following essay, Eberle explores Opie's criticism of conservative and radical expectations of women 's behavior and philosophy through her novel Adeline Mowbray.]

My father will have told you a great deal. He will have told you too how much we are interested & agitated by the probable event of the approaching trials .. . we are resolved to emigrate if the event of the trial be fatal.1

In 1794, the treason trials of...

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