A Bibliography of Eliza Haywood

Women and the book in Britain's long eighteenth century

“…The disciplinary practices of bibliography provide one way of answering these questions. Ozment observes, however, that few women writers have extensive enumerative bibliographies (Ozment, 2018, p. 106; examples include Patrick Spedding's (2004) bibliography of Eliza Haywood, and David Gilson's 1997, bibliography of Jane Austen). As Ozment points out, without proper bibliographies, attribution, reprint history, reception history and knowledge of the author's engagements with different publishers remain murky.…”

Imagining Eliza Haywood

“…And, in the books by Haywood, printed by Woodfall for Chapman, the ornament appears in various places throughout Love in Excess, A Wife to Be Lett, La Belle Assemblée, and Love in its Variety-that is, in three novels, a play, a volume of poems, and two translations. 38 Goulden's "Preliminary Inventory" informs us that, among other places, the ornament also appears in the work of an evangelical Protestant clergyman on "how to raise the soul into holy flames" and a medical work off ering An Account of the Remedy for the Stone, the former printed by Woodfall for Chapman, the latter not. 39 It is unlikely an ornament that appears in works by a variety of authors, in a variety of genres, over a long period, in varied locations, and for various publishers, has the function Barchas imagining eliz a haywo od suggests.…”

“…59 Th e correlations and connotationsfamous female writers, Haywood's Female Spectator, Haywood's business sign (Th e Sign of Fame)-suggests intentionality, but the ornament appears frequently in Gardner's printing, like Woodfall's cupid, and had been used by him for many years before there is any evidence of his connection with Haywood. 60 Although image and context (immediate and wider) provides an obvious opportunity for free-wheeling analysis, "we should hesitate"-as Creel cautions-"before making ... facile assumption [s]. " 61 • Turning to the question of reader-response, Creel's essay opens with an example of what may be a contemporary reading of ornament use in Haywood's works, when she proposes that Pope was struck by the appropriateness of a tailpiece used to decorate Haywood's Poems on Several Occasions.…”

Rebellious Eliza: The Ingenious Schemer’s Veiled Subversion of Passions and Emotions in The Female Spectator

“…6 In the same fashion as Joseph Addison and Richard Steele's The Tatler (1709-1711) and The Spectator (1711-1712), each issue of The Female Spectator consisted of a single long essay, in which the author, pretending to be replying to one of the correspondents who supposedly had written to her periodical seeking advice, discussed matters related to the ways of overcoming the difficulties women encountered within the English patriarchal system of the time. What she offered them was a mixture of information, fiction, passion, emotions with didacticism, 7 which would provide a believable portrayal of women's lives and, at the same time, would reveal ways of turning those 4 For further information about her position and strategies in the print trade and literary marketplace, see Spedding 2006 andLuhning 2008. 5 Joyce Horner (1973), Patricia Meyer Spacks (1999, Lashea Stuart (2006, 11) and Kelly Plante (2018, 1) erroneously claim that it was the first periodical for women and edited by a woman.…”