A Simple Story

by Elizabeth Inchbald, J. M. S. Tompkins (Editor), Jane Spencer (Introduction)

Overview

When Miss Milner announces her passion for her guardian, a Catholic priest, she breaks through the double barrier of his religious vocation and 18th-century British society's standards of proper womanly behavior. Like other women writers of her time, Elizabeth Inchbald concentrates on the question of a woman's "proper education," and her sureness of touch and subtlety of characterization prefigure Jane Austen's work.

About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

Product Details

ISBN-13:	9780199554720
Publisher:	Oxford University Press
Publication date:	09/14/2009
Series:	Oxford World's Classics Series
Edition description:	Reissue
Pages:	384
Sales rank:	181,407
Product dimensions:	5.00(w) x 7.70(h) x 0.70(d)

About the Author

Anna Lott is Professor of English and Coordinator of Women’s Studies at the University of North Alabama.

Table of Contents

Acknowledgements
Introduction
Elizabeth Inchbald: A Brief Chronology
A Note on the Text

A Simple Story

Appendix A: Inchbald’s Other Writings

1. Letter “To The Artist” (1807)
2. From Inchbald’s Daily Pocket Diaries (1788)
1. Facsimile of a typical week’s diary entries
2. Transcription of two week’s diary entries
3. From Selected Plays
1. From Wives as They Were and Maids as They Are (1797)
2. From Every One Has His Fault (1793)
4. Remarks in The British Theatre (1808)
1. Hannah Cowley, The Belle’s Stratagem (1780)
2. Robert Jephson, The Count of Narbonne (1781)
3. William Shakespeare, The Winter’s Tale (1611)

Appendix B: Eighteenth-Century Reception of A Simple Story

1. Reviews of A Simple Story
1. Anna Laetitia Barbauld, The British Novelists (1810)
2. The Critical Review; or, Annals of Literature (1791)
3. The Gentleman’s Magazine and Historical Chronicle (1791)
4. Impartial Review (1791)
5. Lady’s Magazine (1791)
6. Mary Wollstonecraft, Analytical Review (1791)
2. Exchange of Letters between William Godwin and Elizabeth Inchbald on the Day of Mary Wollstonecraft’s Death (10 September 1797)
1. Godwin’s Letter to Inchbald
2. Inchbald’s First Reply to Godwin
3. Inchbald’s Second Reply to Godwin
3. Maria Edgeworth, Letter to Elizabeth Inchbald (14 January 1810)

Appendix C: Cultural Contexts

1. Portrait of John Philip Kemble
2. Gender and the French Revolution
1. From Mary Wollstonecraft, A Vindication of the Rights of Woman (1792)
2. From Mary Wollstonecraft, An Historical and Moral View of the Origin and Progress of the French Revolution (1794)
3. From Edmund Burke, Reflections on the Revolution in France (1790)
4. From William Godwin, Enquiry Concerning Political Justice and Its Influence on Morals and Happiness (1793)
3. Literature on Education
1. From Hannah More, Strictures On The Modern System of Female Education (1799)
2. From Catharine Sawbridge Macaulay Graham, Letters on Education (1790)
3. From Mary Wollstonecraft, Thoughts on the Education of Daughters (1788)
4. Masquerade
1. From Eliza Haywood, The Female Spectator (1744-46)
2. “Historical Account of Masquerades,” Lady’s Magazine (May 1775)
3. “An Essay on Masquerades,” Lady’s Magazine (December 1777)
4. Sample Advertisements for Masquerades and Costumes, The World (30 January 1788)
5. From Hannah Cowley, The Belle’s Stratagem (1780)
5. Female Transgression
1. From William Godwin, Memoirs of the Author of a Vindication of the Rights of Woman (1798)
2. Elizabeth Inchbald, Letter to William Godwin (18 September 1805)
3. From Trials for Adultery: Or, The History of Divorces (1779)

Select Bibliography

Editorial Reviews

This is an ideal teaching edition. The full and lucid introduction considers both biographical and formal elements. Particularly welcome and valuable is the generous set of appendices; the first, providing extracts from Inchbald’s own critical and dramatic writing, as well as from her pocket diaries, gives us a rounded and sympathetic view of the impressive variety of Inchbald’s achievements as a writer, while the contemporary reviews contained in the second appendix give a good sense of the prevailing understanding of the novel as genre.” — Aileen Douglas, Trinity College Dublin

“By situating A Simple Story against theatrical texts, Lott evokes the complexities of Inchbald’s life—as woman, actor, novelist, playwright, and eventually critic—and thus challenges us to understand the work as an ‘attempt to merge two forms, the novel and the play.’ Examples of conduct literature demonstrate that Inchbald was an astute reader of gender construction, while accounts of divorce proceedings illustrate the reality of social consequences facing women who balked at the double standard for female behavior. Excerpts from period debates over the politics of authority remind us that the novel was completed as the French Revolution was beginning and that many of Inchbald’s friends were shortly to be labeled Jacobin. This edition of Inchbald’s most famous novel will prompt revisions in many an eighteenth-century syllabus.” — Katherine Green, Western Kentucky University

From the Publisher

03/01/2022

Published in 1791 and popular in its day, Inchbald's novel centers the lives of a mother and daughter, each with a story told years apart. Both tales are heavily plotted with melodramatic flair, but essentially are stories of women: the choices they have, and have not, the way they are educated, their passions, and their constraints. The first half of the novel focuses on a Miss Milner, who eventually becomes the wife of her guardian, a former Catholic priest and a member of the British aristocracy. The second follows her daughter, estranged from her father until a terrifying event makes him realize the consequences of his pride. Inchbald, a self-made and successful actress, playwright, and author, gives narrator Juliet Stevenson plenty to work with, especially well-crafted dialogue. The talented Stevenson shines, helping listeners sink into the story; her narration showcases her skill with pitch, tone, and nuance and infuses emotion into each perfectly timed sentence. VERDICT Inchbald wanted to make a point about the way women were treated and educated. Stevenson makes this important 18th-century voice accessible.—Neal Wyatt

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