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The Female Quixote [Anglais] [Broché]

Charlotte Lennox

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Présentation de l'éditeur

Beautiful and independent, Arabella has been brought up in rural seclusion by her widowed father. Devoted to reading French romances, the sheltered young woman imagines all sorts of misadventures that can befall a heroine such as herself. As she makes forays into fashionable society in Bath and London, many scrapes and mortifications ensue - all men seem like predators wishing to ravish her, she mistakes a cross-dressing prostitute for a distressed gentlewoman, and she risks her life by throwing herself into the Thames to avoid a potential seducer. Can Arabella be cured of her romantic delusions? An immediate success when it first appeared in 1752, The Female Quixote is a wonderfully high-spirited parody of the style of Cervantes, and a telling and comic depiction of eighteenth-century English society.

Biographie de l'auteur

Charlotte Lennox (1720 - 1804), American-born English novelist whose work was much admired by leading literary figures of her time, including Samuel Johnson and the novelists Henry Fielding and Samuel Richardson. Lennox's first novel was The Life of Harriot Stuart (1751). The Female Quixote (1752) and Henrietta (1758) followed.Amanda Gilroy and Wil Verhoeven both teach at the University of Groningen, having previously taught at Brown University in the US. Together they have edited Gilbert Imlay's The Emigrants for Penguin Classics and they have also published widely in the area of historical travel writing.

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The Marquis of - for a long Series of Years, was the first and most distinguished Favourite at Court: He held the most honourable Employments under the Crown, disposed of all Places of Profit as he pleased, presided at the Council,2 and in a manner governed the whole Kingdom. Lire la première page
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Couverture | Copyright | Table des matières | Extrait | Quatrième de couverture
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Commentaires client les plus utiles sur (beta) 3.2 étoiles sur 5  12 commentaires
21 internautes sur 23 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 An Eighteenth-Century Women's Novel 27 juin 2001
Par fmb - Publié sur
Charlotte Lennox's heroine, raised in complete seclusion from the world by her misanthropic father, grows up believing that romances (of the chivalric kind already satirized by Cervantes more than a century before in the original Don Quixote)are true histories and that the extravagant behavior of the knights and heroes in such texts is the model for modern (18th century)men. Poor Arabella is doomed to be ridiculous! Her world of romance never was and never will be. But although she makes the most absurd mistakes, she is intelligent and strangely wise much of the time: she ignores fashion, she believes in complete honesty and fidelity, she rejects all accomodations to practical, but base, worldly wisdom. She constructs a world of her own in which women, who in the real world were quite helpless and treated as chattel, hold real power.
It is perhaps unfortunate that Lennox was a bit too much under the influence of Samuel Richardson and Samuel Johnson, both great writers but quite conservative in their views about women and their place in society (firmly under the power of men). The ending of the novel seems rushed and sad. Poor Arabella, so delightfully original throughout most of the novel, is "reformed"--as one of my friends said after reading it, and so "she becomes completely ordinary." If it weren't for the ending, the book would get five stars.
14 internautes sur 15 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 DO NOT BUY THE GENERAL BOOKS COPY 26 janvier 2010
Par L. Remi - Publié sur
Format:Broché|Achat vérifié
I bought the copy of this book that was being sold by Amazon and was published by General Books. DON NOT BUY IT!! It was absolutly terrible. I was charged $9.42, when in reality they should have been paying me to read that trash. In the General Books copy there were errors on almost every page. It made it a struggle to read. For example: page 86 "liNI) of the second book" or on page 69 "Ac-corJirgly". Those are just two of the hundreds of errors. If you don't mind the errors then buy that copy; however, if you intend on keeping this book or using it for any type of school assignment, do not buy from General Books.
9 internautes sur 10 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Book is fine but don't buy the "Seven Treasures" edition 8 novembre 2009
Par Andrew Louis Black - Publié sur
Format:Broché|Achat vérifié
This is an important book, a pleasure to read. But do NOT buy the Seven Treasures edition. Though it is a few dollars cheaper, it has no introduction, no index, no footnotes. There are many typographical errors - anything Dipthongs come out in weird characters, and there are several mispellings (and this beyond the non-standardized pronunciations; at various points the characters' names are misspelled).

The entire edition looks as though it has been merely cut and pasted from one of the many free online texts onto MSWord, without much of a proofreading. You may as well do the same and avoid paying the 10 bucks + shipping.
6 internautes sur 8 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 good story 1 avril 2004
Par Joshua Bernard - Publié sur
Alright, let's get it straight, this is an 18th century novel, not 17th, and while it is tedious at times, for the most part it's very charming and often made me laugh.
I understand that the ending is the "triumph of rationalism over idealism and romanticism," but frankly, I was a little disappointed at the abruptness of it. But who am I to criticize? This is an early novel, and the form hadn't quite been perfected yet, so there are a few loose ends and a large digression in book 6, which was the style of the time.
I recommend reading this with Rasselas, in which Johnson claims the realistic novel is as dangerous to youth as Lennox says of the romance in The Female Quixote.
21 internautes sur 31 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Ultimately disappointing 28 octobre 2002
Par "stenerin1" - Publié sur
Written just over a 100 years after the publication of Cervantes' DON QUIXOTE, Charlotte Lennox's THE FEMALE QUIXOTE is interesting for several reasons, not the least of which being that it's a strong, intelligent narrative written BY an 18th century woman ABOUT an 18th century woman. Writing in a wry, humorous tone, Lennox penned a definitive anti-romance, deftly skewering most, if not all, of the pillars of that genre, and seemingly with great delight, never once leaving a doubt as to where she stood on such matters. Lennox intended to pen a delightful little didactic tale centering around the foolishness inherent in lettings one's imagination get the better of oneself, and in this she succeeded admirably. And yet, like the proverbial house, a narrative divided cannot stand, and to be sure, Lennox is working at cross-purposes in her novel. To the more cursory reader, she seems only to be writing a sort of `Dame Quixote;' skewing the mores of Cervantes' earlier novel towards a more female audience, but still drawing the same conclusions as he did about the absurdities inherent in their characters. A deeper reading, however, fleshes out instances within the narrative where Lennox seems to be actually SUPPORTIVE of her main character's quixotry. While on one hand, Lennox seems to be supporting the male patriarchal status quo by bending her Arabella (the female quixote of the title) to the dictates of society and behavior, on the other hand she seems quietly supportive of the power held by the fictitious princesses of Arabella's fancy, and thus Arabella herself. While Lennox's adherence to the former is obvious, and is the tack that she ultimately chooses to emphasize, her support of the latter is more difficult to root out, yet utterly unavoidable in any serious discussion of the work.
THE FEMALE QUIXOTE is not a story in celebration of some new dawn of the strong, intelligent woman. It is not a piece of nascent feminism in the style of a Jane Austen or a Charlotte Bronte, both of whom would pen their own takes on the female condition in the century following Lennox's. No, ultimately Lennox conforms THE FEMALE QUIXOTE to expected 18th century sociological mores, just as she conforms her character to those same mores when, at the hasty conclusion, she has Arabella drop her vision of reality and exchange it for the more socially acceptable value system shared by most characters in the novel. This conclusion is a particularly disappointing development because after pages upon pages of pitch-perfect, minute excoriation of popular romances, Lennox deflates her heroine in one chapter, and then hastily, and almost wholly without the wit which made the preceding chapters so interesting, gives her main characters an artless `happily-ever-after' and simply ends the novel. In her eleventh hour capitulation, Lennox turns her narrative upon itself, weakening its integrity to the point that when she finally gets to Arabella's moment of truth at the conclusion of the novel, she can do nothing but end it straight away before it collapses on itself, writing without any of the flair that characterized the rest of the story. Though Lennox' didactic debt is repaid in full by such an ending, it leaves her narrative in want and the more observant reader skeptical. It is sad to note that in a novel that started off so promisingly, Lennox ends up cheating not only her character and audience, but also any greater purpose the work could have had.
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