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Maria Edgeworth

 
Britannica Concise Encyclopedia:

Maria Edgeworth

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(born Jan. 1, 1767, Blackbourton, Oxfordshire, Eng. — died May 22, 1849, Edgeworthstown, Ire.) British-Irish writer. From age 15 she assisted her father in managing his estate, gaining a knowledge of rural economy and the Irish peasantry. Her early children's stories, published as The Parent's Assistant (1796), feature the first convincing child characters since Shakespeare. Castle Rackrent (1800), her first novel, revealed her gift for social observation and authentic dialogue. Other notable works are Belinda (1801); Tales of Fashionable Life (1809 – 12), a six-volume work including the novel The Absentee, which focused attention on abuses by absentee English landowners; Patronage (1814); and Ormond (1817).

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Gale Encyclopedia of Biography:

Maria Edgeworth

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The British author Maria Edgeworth (1767-1849) wrote novels that are characterized by clear, vivid style, good humor, and lively dialogue.

Maria Edgeworth was born on Jan. 1, 1767, the second of the 21 children (by four wives) of Richard Edgeworth, whose family supposedly came from Edgeware, England, to Edgeworthtown, Ireland, about 1573. Richard Edgeworth was a model landlord, living on his estates and improving them. Maria's mother died when she was 6, and within a few months her father married again. Maria was happy with all her stepmothers, the last being 20 years her junior, and spent her whole life surrounded by her family, never even having a room of her own. She worked in the living room at a desk her father made for her, writing on folio sheets she sewed together in chapters.

When she was 16, Maria became her father's secretary and accountant. Edgeworth was devoted to J.J. Rousseau's ideas and brought up his children on Thomas Day's Sand-ford and Merton, a didactic educational book. Richard encouraged Maria to write, and together they produced Practical Education, which advised parents to deliver short sermons, to instruct gradually, and to teach mainly by conversation. Maria's own first book was The Parents' Assistant (1796), a delightful collection of short stories, of which the most famous is "Two Strings to His Bow." The same year appeared her Letters from Literary Ladies.

In 1800 Miss Edgeworth published Castle Rackrent, of which Irish author Padraic Colum wrote, "One can read it in an hour. Then one knows why the whole force of England could not break the Irish people." She was the first to depict Irish peasants as human beings. Miss Edgeworth's The Absentee (1812) was written as a play, but Richard Sheridan, who wanted to produce it, found the censor would not allow public discussion of the spending of Irish rents in England. The Russian Ivan Turgenev declared he got a revelation from Maria Edgeworth's stories, and the word "absenteeism" occurs on the first page of his Smoke. Sir Walter Scott said that he hoped "in some distant degree to emulate the admirable Irish portraits of Miss Edgeworth" and that she had shown him his path; in fact, Waverley has been called a Scots Castle Rackrent. Jeanie Deans, in Scott's Heart of Midlothian, may have been modeled on Maria Edgeworth.

Later novels by Miss Edgeworth were Belinda (1801), Ormond (1817), Frank (1822), and Harry and Lucy (1825). Sir Walter Scott stated that "in natural appearance she is quite the fairy Whipity of our nursery tale … who came flying in through the window to work all sort of marvels. Maria writes while she reads, speaks, eats, drinks and no doubt while she sleeps." Calm, cheerful, and unselfish, she was small and slight, with bright, very blue eyes and tiny hands and feet.

In 1802 Miss Edgeworth went with her father, stepmother, and a small sister to Paris, where she met Madame de Genlis, one of whose books she had translated, and J.A. de Ségur, who had translated her Belinda. Her father, to whom she submitted and who corrected all her writing, was thought by all to be a pompous bore. Miss Edgeworth was so modest that Lord Byron wrote, "No one would have suspected she could write her name"; he added, "Her father thought nothing except his own name worth writing." After her father's death Miss Edgeworth took two of her sisters abroad, spending more than a year in France and Switzerland. She was proposed to by the Chevalier Edencrantz, confidential secretary to the king of Sweden, but she would not leave her family, or he his monarch.

In 1823 Miss Edgeworth spent 2 weeks with Sir Walter Scott at Abbotsford, and in 1825 Scott visited her at Edgeworthtown, which had become a shrine at which all visitors to Ireland paid homage. In 1844 she was made a member of the Royal Irish Academy. At 70 she learned Spanish. During the potato famine of 1847, she worked among the starving. She died on May 22, 1849. Asked during her lifetime to furnish biographical details, she replied that "as a woman" her life had been "wholly domestic and could be of no interest to the public." Her stepmother wrote after Miss Edgeworth's death that "her whole life of eighty-three years, has been an aspiration after good."

Further Reading

Two works on Maria Edgeworth are Isabel C. Clarke, Maria Edgeworth, Her Family and Friends (1950), and Elizabeth Inglis-Jones, The Great Maria (1959). An older work is Emily Lawless, Maria Edgeworth (1904).

Additional Sources

Clarke, Isabel Constance, Maria Edgeworth, her family and friends, Philadelphia: R. West, 1976.

Inglis-Jones, Elisabeth, The great Maria: portrait of Maria Edgeworth by Elisabeth Inglis-Jones, Westport, Conn.: Greenwood Press, 1978 1959.

Oxford Companion to Irish Literature:

Maria Edgeworth

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Edgeworth, Maria (1767-1849), novelist. The third child of Richard Lovell Edgeworth, she was born at Black Bourton near Reading and educated there and in London, moving with her father to the family estate at Edgeworthstown, Co. Longford, in 1782. She taught the children of his later marriages, sharing his progressive ideas on education. Her early writings, encouraged by him, led to The Parent's Assistant (1796), a series of children's stories in the didactic manner. This was followed by Practical Education (2 vols., 1798), a joint work recommending learning through recreation. Her children's series was continued in Early Lessons (1801), Moral Tales (1801), concluding with Harry and Lucy (1825). In 1800 Maria published Castle Rackrent, the earliest regional novel in English. Belinda (1810) is a satiric novel in which the wicked Lady Delacour is reformed. Essay on Irish Bulls (1802) was written with her father, Popular Tales and The Modern Griselda (both 1805) without him. After a period in Paris she composed Tales of Fashionable Life, the first series (1809) containing Ennui (vol. I); Almeria, Madame de Fleury, and The Dun (vol. II); and Manœuvring (vol. III). The second series, also three volumes, contained Vivian, Emilie de Coulanges, and The Absentee (1812). Ormond (1817) is a novel innovative in its exploration of the effect of reading on the hero. She edited and completed her father's Memoirs (1820). In later years she was largely occupied with rectifying her brother's mismanagement of the Edgeworthstown estate, and in relieving victims of the Famine. Of her later novels, Harrington (1817) reflects the lack of her father's enthusiastic encouragement, while Helen (1834) presents a depressing view of the prospects for Irish society. Her last work, Orlandino (1848), was written for the Poor Relief Fund.

Bibliography

Marilyn Butler, Maria Edgeworth (1972).

Columbia Encyclopedia:

Maria Edgeworth

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Edgeworth, Maria, 1767-1849, Irish novelist; daughter of Richard Lovell Edgeworth. She lived practically her entire life on her father's estate in Ireland. Letters for Literary Ladies (1795), her first publication, argued for the education of women. She is best known for her novels of Irish life-Castle Rackrent (1800), Belinda (1801), and The Absentee (1812). Although her works are marred somewhat by didacticism, they are notable for their realism, humor, and freshness of style. She also wrote a number of stories for children, including Moral Tales (1801).

Bibliography

See selected letters ed. by C. Colvin (1971); studies by M. Butler (1972) and C. Owens (1987).

Quotes By:

Maria Edgeworth

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"The human heart, at whatever age, opens only to the heart that opens in return."

Wikipedia on Answers.com:

Maria Edgeworth

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Maria Edgeworth

Maria Edgeworth, ca. 1841
Born 1 January 1768(1768-01-01)
Black Bourton, Oxfordshire, England
Died 22 May 1849(1849-05-22) (aged 81)
Edgeworthstown, County Longford, Ireland
Occupation Writer (novelist)
Nationality Anglo-Irish
Period 18th century
Genres Romantic novel, Children's Literature

Maria Edgeworth (1 January 1768 – 22 May 1849) was a prolific Irish writer of adults' and children's literature. She was one of the first realist writers in children's literature and was a significant figure in the evolution of the novel in Europe.[1] She held advanced views, for a woman of her time, on estate management, politics and education, and corresponded with some of the leading literary and economic writers, including Sir Walter Scott and David Ricardo.

Contents

Early life

Maria Edgeworth was born at Black Bourton, Oxfordshire. She was the third child of Richard Lovell Edgeworth (who eventually fathered 22 children by 4 wives) and Anna Maria Edgeworth (née Elers), thus an aunt of Francis Ysidro Edgeworth. She spent her early years with her mother's family in England, until her mother's death when Maria was 5. When her father married second wife Honora Sneyd in 1773, she went with him to his estate, Edgeworthstown, in County Longford, Ireland.

Maria was sent to Mrs. Lattafière's school in Derby after Honora fell ill in 1775. When Honora died in 1780 and Maria's father married Honora's sister Elizabeth (considered somewhat shocking in that time's moral climate), Maria transferred to Mrs. Devis's school in London. Her father's attention fully focused on her in 1781 when she nearly lost her sight to an eye infection.[2] Returning home at age 14, she took charge of her many younger siblings [3] and was home-tutored in law, Irish economics and politics, science and literature, by her father. She also started her lifelong correspondences with learned men, mainly members of the Lunar Society.

She became her father's assistant in managing the Edgeworthtown estate, which had become rundown during the family's 1777-1782 absence; she would live and write there for the rest of her life. With their bond strengthened, Maria and her father began a lifelong academic collaboration "of which she was the more able and nimble mind."[2] Present at Edgeworthstown was an extended family, servants and tenants. She observed and recorded the details of daily Irish life, later drawing on this experience for her novels about the Irish. She also mixed with the Anglo-Irish gentry, particularly Kitty Pakenham (later the wife of Arthur Wellesley, 1st Duke of Wellington), Lady Moira, and her aunt Margaret Ruxton of Black Castle. Margaret supplied her with the novels of Anne Radcliffe and William Godwin and encouraged her in her writing.[4]

Views

Though Maria Edgeworth spent most of her childhood in England, her life in Ireland had a profound impact on both her thinking and Irish culture. Fauske and Kaufman conclude, "[She] used her fiction to address the inherent problems of acts delineated by religious, national, racial, class based, sexual, and gendered identities."[5] Edgeworth used works such Castle Rackrent and Harrington to express her feelings on controversial issues in Britain.

Ireland

In her works, Edgeworth created a nostalgic past of Ireland in an attempt to celebrate Irish culture. Suvendrini Perera said Edgeworth's novels traced "the gradual anglicanization of feudal Irish society." Edgeworth's goal in her works was to show the Irish as equal to the English, and therefore warranting equal, though not separate, status. Essay on Irish Bulls rejects an English stereotype of Irishmen and portrays them accurately in realistic, everyday settings.[6] This is a common theme in her Irish works, combating the caricatured Irish with accurate representations.[7] In her work Edgeworth also places focus on the linguistic differences between Irish and English societies, as a foil to how dynamic and intricate Irish society was in spite of English stereotypes.[8]

Social

Like her father before her, Maria opposed the Act of Union. Concerning education, she thought boys and girls should be educated equally and together, drawing upon Rousseau's ideas.[9] She believed a woman should only marry someone who suits her in "character, temper, and understanding."[10] Becoming an old maid was preferable to an incompatible union. The story Vivian from Tales of Fashionable Life and Patronage attack eighteenth-century English Whig governance of Ireland as corrupt and unrepresentative.[11] Edgeworth strived for the self-realization of women and stressed the importance of the individual. She also wanted greater participation in politics by women. Her work Helen clearly demonstrates this point in the passage: "Women are now so highly cultivated, and political subjects are at present of so much importance, of such high interest, to all human creatures who live together in society, you can hardly expect, Helen, that you, as a rational being, can go through the world as it now is, without forming any opinion on points of public importance. You cannot, I conceive, satisfy yourself with the common namby-pamby little missy phrase, 'ladies have nothing to do with politics'."[12] She sympathized with Catholics and supported Catholic Emancipation.[13]

Writing

Edgeworth's early literary efforts were melodramatic rather than realistic. She wrote many children's novels that conveyed moral lessons to their audience. One of her schoolgirl novels features a villain who wore a mask made from the skin of a dead man's face. Edgeworth's first published work was Letters for Literary Ladies in 1795. Her work, "An Essay on the Noble Science of Self-Justification" (1795) is written for a female audience in which she convinces women that the fair sex is endowed with an art of self-justification and women should use their gifts to continually challenge the force and power of men, especially their husbands, with wit and intelligence. It humorously and satirically explores the feminine argumentative method.[14] This was followed in 1796 by her first children's book, The Parent's Assistant (which included Edgeworth's celebrated short story The Purple Jar). The Parent's Assistant was influenced by her father's work and perspectives on childrens education.[3]

Portrait of Edgeworth, from Boston Monthly Magazine 1826

Mr. Edgeworth, a well-known author and inventor, encouraged his daughter's career. At the height of her creative endeavors, Maria wrote, "Seriously it was to please my Father I first exerted myself to write, to please him I continued."[15] Though the impetus for Maria's works, Mr. Edgeworth has been criticized for his insistence on approving and editing her work. The tales in The Parent's Assistant were approved by her father before he would allow them to be read to her younger siblings. It is speculated that her stepmother and siblings also helped in the editing process of Edgeworth's work.

'Practical Education' (1798) is a progressive work on education that combines the ideas of Locke and Rousseau with scientific inquiry. Edgeworth asserts that "learning should be a positive experience and that the discipline of education is more important during the formative years than the acquisition of knowledge."[16] The system attempted to "adapt both the curriculum and methods of teaching to the needs of the child; the endeavor to explain moral habits and the learning process through associationism; and most important, the effort to entrust the child with the responsibility for his own mental culture."[17] The ultimate goal of Edgeworth's system was to create an independent thinker who understands the consequences of their actions.

Her first novel, 'Castle Rackrent' (1800) was written and submitted for anonymous publication in 1800 without her father's knowledge. It was an immediate success and firmly established Edgeworth's appeal.[4] The book is a satire on Anglo-Irish landlords, before the year 1782, showing the need for more responsible management by the Irish landowning class. The story follows four generations of an Irish landholding family, the Rackrents. It is narrated by an Irish catholic worker on the estate, named Thady Quirk, and portrayed the rise of the catholic-Irish middle class.[18]

Belinda (1801), a 3-volume work published in London, was Maria Edgeworth's first full-length novel. It dealt with love, courtship, and marriage, dramatizing the conflicts within her "own personality and environment; conflicts between reason and feeling, restraint and individual freedom, and society and free spirit."[19] Belinda was also notable for its controversial depiction of interracial marriage between an African servant and an English farm-girl. Later editions of the novel, however, removed these sections.[20]

Tales of Fashionable Life (1809 and 1812) is a 2-series collection of short stories which often focus on the life of a woman.[2] The second series was particularly well received in England, making her the most commercially successful novelist of her age. After this, Edgeworth was regarded as the preeminent woman writer in England alongside Jane Austen.[2]

Following an anti-Semitic remark in The Absentee, Edgeworth received a letter from an American Jewish woman named Rachel Mordecai in 1815 complaining about Edgeworth's depiction of Jews.[21] In response, Harrington (1817) was written as an apology to the Jewish community. The novel was a fictitious autobiography about overcoming antisemitism and includes the first sympathetic Jewish character in an English novel.[22]

Helen (1834) is Maria Edgeworth's final novel, the only one she wrote after her father's death. She chose to write a novel focused on the characters and situation, rather than moral lessons.[2] In a letter to her publisher, Maria wrote, "I have been reproached for making my moral in some stories too prominent. I am sensible of the inconvenience of this both to reader and writer & have taken much pains to avoid it in Helen."[2] Her novel is also set in England, a conscious choice as Edgeworth found Ireland too troubling for a fictitious work in the political climate of the 1830s.[2]

Travel

In 1798 Richard married Frances Beaufort, daughter of Daniel Augustus Beaufort, who instigated the idea of travelling to England and the European continent. Frances, a year younger than Maria, became her lifelong confidante. The family travelled first to London in 1800.

In 1802 the Edgeworths toured the English midlands. They then travelled to the continent, first to Brussels and then to Consulate France (during the Peace of Amiens, a brief lull in the Napoleonic Wars). They met all the notables, and Maria received a marriage proposal from a Swedish courtier, Count Edelcrantz. Her letter on the subject seems very cool, but her stepmother assures us in the Augustus Hare Life and Letters that Maria loved him very much and did not get over the affair quickly. They came home to Ireland in 1803 on the eve of the resumption of the wars and Maria returned to writing. Tales of Fashionable Life, The Absentee and Ormond are novels of Irish life.[4] Edgeworth was an extremely popular author who was compared with her contemporary writers Jane Austen and Sir Walter Scott. She initially earned more than them, and used her income to help her siblings.[14]

On a visit to London in 1813, where she was received as a literary lion, Maria met Lord Byron (whom she disliked) and Humphry Davy. She entered into a long correspondence with the ultra-Tory Sir Walter Scott after the publication of Waverley in 1814, in which he gratefully acknowledged her influence, and they formed a lasting friendship. She visited him in Scotland at Abbotsford House in 1823, where he took her on a tour of the area.[4] The next year, Sir Walter visited Edgeworthstown. When passing through the village, one of the party wrote, "We found neither mud hovels nor naked peasantry, but snug cottages and smiles all about."[23] A counterview was provided by another visitor who stated that the residents of Edgeworthstown treated Edgeworth with contempt, refusing even to feign politeness.[24]

Later life

Richard Edgeworth was comparatively fair and forgiving in his dealings with his tenants and was actively involved in the estate's management. After debating the issue with the economist David Ricardo, Maria came to believe that better management and the further application of science to agriculture would raise food production and lower prices.[25] Both Richard and Maria were also in favour of Catholic Emancipation, enfranchisement for catholics without property restrictions (although he admitted it was against his own interest), agricultural reform and increased educational opportunities for women.[26][27] She particularly worked hard to improve the living standards of the poor in Edgeworthstown. In trying to improve conditions in the village she provided schools for the local children of all denominations.[28]

After her father's death in 1817 she edited his memoirs, and extended them with her biographical comments. She was an active writer to the last.

She worked strenuously for the relief of the famine-stricken Irish peasants during the Irish Potato Famine (1845-1849). She wrote Orlandino for the benefit of the Relieve Fund.[29] Her letters to the Quaker Relief Committee provide a vivid account of the desperate plight facing the tenants in Edgeworthstown, the extreme conditions under which they lived, and the struggle to obtain whatever aid and assistance she could to alleviate their plight.[30][31] Through her efforts she received gifts for the poor from America.[29]

During the Irish Famine Edgeworth insisted that only those of her tenants who had paid their rent in full would receive relief.[32] Edgeworth also punished those of her tenants who voted against her Tory preferences.[33]

With the election of William Rowan Hamilton to president of the Royal Irish Academy, Maria became a dominant source of advice for Hamilton, particularly on the issue of literature in Ireland. She suggested that women should be allowed to participate in events held by the academy. For her guidance and help, Hamilton made Edgeworth an honourary member of the Royal Irish Academy in 1837, following in the footsteps of Louisa Beaufort, a former member of the academy and a relative of hers.[2]

After a visit to see her relations in Trim, Maria, now in her eighties, began to feel heart pains and died suddenly of a heart attack in Edgeworthstown on May 22, 1849.[2]

Partial list of published works

Wikisource has original works written by or about: Maria Edgeworth
  • Letters for Literary Ladies - 1795
  • An Essay on the Noble Science of Self-Justification - 1795
  • The Parent's Assistant - 1796
  • Practical Education - 1798 (2 vols; collaborated with her father, Richard Lovell Edgeworth)
  • Castle Rackrent (1800) (novel)
  • Early Lessons - 1801
  • Moral Tales- 1801
  • Belinda - (1801) (novel)
  • The Mental Thermometer- 1801
  • Essay on Irish Bulls - 1802 (political, collaborated with her father)
  • Popular Tales - 1804
  • The Modern Griselda - 1804
  • Moral Tales for Young People - 1805 (6 vols)
  • Leonora - 1806 (written during the French excursion)
  • Essays in Professional Education- 1809
  • Tales of Fashionable Life - 1809 (first in a series, includes The Absentee)
  • Ennui - 1809 (novel)
  • The Absentee - 1812 (novel)
  • Patronage - 1814 (novel)
  • Harrington - 1817 (novel)
  • Ormond - 1817 (novel)
  • Comic Dramas - 1817
  • Memoirs of Richard Lovell Edgeworth - 1820 (edited her father's memoirs)
  • Rosamond: A Sequel to Early Lessons- 1821
  • Frank: A Sequel to Frank in Early Lessons- 1822
  • Tomorrow - 1823 (novel)
  • Helen - 1834 (novel)
  • Orlandino- 1848 (temperance novel)

Notes

  1. ^ "Maria Edgeworth". Encyclopædia Britannica Online. 19 December 2009.
  2. ^ a b c d e f g h i W. J. McCormack, “Edgeworth, Maria (1768–1849),” in Oxford Dictionary of National Biography, ed. H. C. G. Matthew and Brian Harrison (Oxford: OUP, 2004); online ed., ed. Lawrence Goldman, January 2008, http://www.oxforddnb.com.proxy-remote.galib.uga.edu/view/article/8476 (accessed November 16, 2011).
  3. ^ a b Donawerth, Jane (2002). Rhetorical Theory By Women Before 1900. Lanham, MD: Rowman & LittleField. pp. 130–131. ISBN 0742517179. 
  4. ^ a b c d Boylan, Henry (1998). A Dictionary of Irish Biography, 3rd Edition. Dublin: Gill and MacMillan. p. 120. ISBN 0-7171-2945-4. 
  5. ^ Fauske, Chris and Heidi Kaufman, ed. An Uncomfortable Authority. Newark: University of Delaware Press, 2004. p.11
  6. ^ Fauske, Chris and Heidi Kaufman, ed. An Uncomfortable Authority. Newark: University of Delaware Press, 2004. p.44
  7. ^ Butler, Marilyn. Maria Edgeworth: A Literary Biography. Oxford: Clarendon Press, 1972. p.345
  8. ^ Elizabeth Grubgeld (2004). Anglo-Irish autobiography: class, gender, and the forms of narrative. Syracuse University Press. pp. 139-140. 
  9. ^ Fauske, Chris and Heidi Kaufman, ed. An Uncomfortable Authority. Newark: University of Delaware Press, 2004. p.37
  10. ^ Butler, Marilyn. Maria Edgeworth: A Literary Biography. Oxford: Clarendon Press, 1972. p.187
  11. ^ Fauske, Chris and Heidi Kaufman, ed. An Uncomfortable Authority. Newark: University of Delaware Press, 2004. p.49
  12. ^ Edgeworth, Maria. Helen. London: George Routledge and Sons, LTD, 1893. p.260
  13. ^ Butler, Marilyn. Maria Edgeworth: A Literary Biography. Oxford: Clarendon Press, 1972. p.451
  14. ^ a b Donawerth, Jane (2002). Rhetorical Theory By Women Before 1900. Lanham, MD: Rowman & Littlefield. 
  15. ^ Harden, Elizabeth. Maria Edgeworth Boston: Twayne Publishers, 1984. p.1
  16. ^ Harden, Elizabeth. Maria Edgeworth Boston: Twayne Publishers, 1984. p.26
  17. ^ Harden, Elizabeth. Maria Edgeworth Boston: Twayne Publishers, 1984. p.27
  18. ^ RIA Dictionary of Irish Biography, 2009. p. 577
  19. ^ Harden, Elizabeth. Maria Edgeworth Boston: Twayne Publishers, 1984. p.50
  20. ^ See Introduction to World Classics edition of Belinda, page xxvii, written by Kathryn Kirkpatrick: "In the 1810 edition of her novel Edgeworth effectively rewrote her representation of romantic relationships between English women and West Indian men, both Creole and African. She felt her novel so changed, she described it to her aunt as 'a twice told tale'. And that she retold her story to omit even the possibility of unions between English women and West Indian men is significant. For it suggests that in order for Belinda to merit inclusion in a series defining the British novel, Edgeworth had to make her colonial characters less visible, less integrated socially into English society. And she certainly had to banish the spectre of inter-racial marriage." Edgeworth herself said she removed the Juba-Lucy interracial marriage "because my father has great delicacies and scruples of conscience about encouraging such marriages."
  21. ^ Harden, Elizabeth. Maria Edgeworth Boston: Twayne Publishers, 1984. p.88
  22. ^ Harden, Elizabeth. Maria Edgeworth Boston: Twayne Publishers, 1984. p.90
  23. ^ Report (12 September 1903). "Maria Edgeworth". The Irish Times. 
  24. ^ Michael Hurst, Maria Edgeworth and the Public Scene. Fla.: Coral, 1969, pg. 94.
  25. ^ Kern, William. "Maria Edgeworth and Classical Political Economy". Publications. American Economic Association: Committee on the Status of Women in the Economics Profession. http://www.cswep.org/edgeworth.html. Retrieved 1 October 2011. 
  26. ^ M. Butler, Maria Edgeworth: A Literary Biography (Oxford 1972). p. 112
  27. ^ Murphy, Sharon (2004). Maria Edgeworth and Romance. Dublin: Four Courts Press. ISBN 1851828524. 
  28. ^ Longford, Lord (23 May 1949). "Memorial Service, Maria Edgeworth". The Irish Times: p. 5. 
  29. ^ a b Report (28 February 1895). "Maria Edgeworth". The Irish Times: p. 5. 
  30. ^ Neiligh O Cléirigh - Hardship and High Living: Irish Women's Lives 1808-1923. Portobello Press, 2003. ISBN 0951924915
  31. ^ Biddy Macken, Schools Folklore Collection accessed 26 September 2011
  32. ^ Michael Hurst, Maria Edgeworth and the Public Scene. Fla.: Coral, 1969
  33. ^ Michael Hurst, Maria Edgeworth and the Public Scene. Fla.: Coral, 1969.

External links

Alpini, Gloria (2009). Alpini,Gloria Translating Social Action Texts Mary Wollstonecraft e Maria Edgeworth. Fano, Italia: Aras Edizioni. pp. 227. ISBN 978-8896378076. </ref>

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