Ireland's foremost female writers of the nineteenth century, Edith Somerville and Martin Ross, advocated the 'High Art of Comedy' during the period of transition and turbulence in the Irish countryside. This critical biography of their collaboration, from 1890 to Martin Ross's death in 1915, studies the self-conscious artistry of the creators of the finest novel of the nineteenth century The Real Charlotte (1894). It considers the influence of both popular culture and high art in the treatment of the volatile Irish landscape and looks for the first time at the contexts of the immensely popular Irish R M stories and Edith Somerville's accompanying illustrations. The writers' sly send-ups of romantic notions of Irishness are revealed, while using certain expectations of a picturesque countryside to their own advantage. The book recontextualizes the writers' fiction and illustrations through inter-disciplinary and cross-cultural methods by considering the influence of the visual arts, theatrical production, antiquarian study, and literature derived from Irish, British, and European sources. In addition to Somerville and Ross's interest in popular and elite art forms, the book stresses the writers' all-consuming interest in land politics, suffragism, the Irish character and the Irish language, the workings of the law in the Irish countryside, and - above all - money and its lack in the small farms and cottages of Ireland.

Irish cousins both fall in love with the same man. Francie is young and attractive; Charlotte, middle-aged and plain.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The Tinker's Dog Fanny Fitz's Gamble The Connemara Mare A Grand Filly A Nineteenth-Century Miracle High Tea at Mckeown's The Bagman's Pony An Irish Problem The Dane's Breechin' "Matchbox" "As I Was Going To Bandon Fair"Notice: This Book is published by Historical Books Limited (www.publicdomain.org.uk) as a Public Domain Book, if you have any inquiries, requests or need any help you can just send an email to [email protected] This book is found as a public domain and free book based on various online catalogs, if you think there are any problems regard copyright issues please contact us immediately via [email protected]

Irish women writers entered the British and international publishing scene in unprecedented numbers in the period between 1878 and 1922. Literary history is only now beginning to give them the attention they deserve for their contributions to the literary landscape of Ireland, which has included far more women writers, with far more diverse identities, than hitherto acknowledged. This collection of new essays by leading scholars explores how women writers including Emily Lawless, L. T. Meade, Katharine Tynan, Lady Gregory, Rosa Mulholland, Ella Young and Beatrice Grimshaw used their work to advance their own private and public political concerns through astute manoeuvrings both in the expanding publishing industry and against the partisan expectations of an ever-growing readership. The chapters investigate their dialogue with a contemporary politics that included the topics of education, cosmopolitanism, language, empire, economics, philanthropy, socialism, the marriage 'market', the publishing industry, readership(s), the commercial market and employment.