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Margaret Wolfe Hungerford (1855–1897)

Auteur de Molly Bawn

43+ oeuvres 94 utilisateurs 4 critiques

A propos de l'auteur

Notice de désambiguation :

(eng) Her books were first published anonymously, and later as by "Mrs. Hungerford". In the United States, her books were mostly published under the pen name "The Duchess".

Œuvres de Margaret Wolfe Hungerford

Molly Bawn (2008) 10 exemplaires
Airy Fairy Lilian (1886) 9 exemplaires
Portia (2016) 8 exemplaires
April's Lady (1890) 6 exemplaires
A Little Rebel (2012) 5 exemplaires
Mrs. Geoffrey (1881) 4 exemplaires
Rossmoyne (1999) 3 exemplaires
Hon. Mrs. Vereker (1880) 3 exemplaires
Doris 3 exemplaires
Airy Fairy Lillian. Volume 1 (2010) 2 exemplaires
Mildred Trevanion 2 exemplaires
A Tug of War (1894) 2 exemplaires
Peter's wife. A novel 2 exemplaires
The Hoyden (1894) 2 exemplaires

Oeuvres associées

A Brilliant Void (2018) — Contributeur — 27 exemplaires
The Fate of Fenella (1892) — Contributeur — 24 exemplaires

Étiqueté

Partage des connaissances

Autres noms
Hungerford, Margaret Wolfe Hamilton
The Duchess
Date de naissance
1855-04-27
Date de décès
1897-01-24
Sexe
female
Nationalité
Ireland
Lieu de naissance
County Cork, Ireland
Lieu du décès
Bandon, County Cork, Ireland
Lieux de résidence
Bandon, County Cork, Ireland
Études
Portarlington College
Professions
novelist
Courte biographie
The writer known primarily as "The Duchess" was born Margaret Hamilton in Cork, Ireland, the daughter of a clergyman. She began writing as a child. At age 18, she wrote the novel Phyllis, which became a bestseller when it was published in 1877; many of her subsequent books were advertised as "by the author of Phyllis." In 1872, she married Edward Argles, a solicitor, whose death less than six years later left her with three daughters to support. In 1883, she remarried to Thomas Henry Hungerford, master of a large estate at St. Brenda's in Bandon, County Cork. Beginning in the mid-1870s, Mrs. Hungerford published more than 35 novels, many of them set in Ireland, using "The Duchess" as her pen name. These included Molly Bawn (1878), which contained the famous line, "Beauty is in the eye of the beholder," and A Little Irish Girl (1891). Most were light romantic fiction but some, such as Lady Verner’s Flight (1893), were more serious about Victorian women and their experience of marriage. Her work was extremely popular both in the UK and the USA, although literary critics thought it somewhat shallow. In 1897, at the height of her success, Mrs. Hungerford died of typhoid fever.
Notice de désambigüisation
Her books were first published anonymously, and later as by "Mrs. Hungerford". In the United States, her books were mostly published under the pen name "The Duchess".

Membres

Critiques

'Higher praise we surely cannot give', said the Athenaeum in the Victorian era - 'full of wit, spirit, and gaiety'.
 
Signalé
jon1lambert | Feb 20, 2020 |
This romance was of the general type that I like but Hungerford's writing was a bit too flowery in places and the book lacked the touch of humor that I prefer. Not as good as Heyer or Austen by a long shot but not a bad way to spend an evening.
½
 
Signalé
leslie.98 | 1 autre critique | Apr 29, 2018 |
Lilian Chesney goes to stay with her guardians, the Chetwoodes. She quickly becomes a favorite of the family, being beautiful and merry, and her flightiness just makes her favors seem more piquant. Over the course of many months (and several hundred pages), two men vie for her love: her cousin, Archibald Chesney, and her guardian, Sir Guy Chetwoode. Being so young and innocently flirty, Lilian changes her mind and moods often and drives both of them to distraction--and the reader, too.

Meanwhile, Guy's younger, funnier brother Cyril has fallen in love with a neighbor, a young and beautiful widow. But even as their love affair becomes serious, the question comes up--is she really a widow?

Which indistinguishable handsome rich young man will Lilian choose? Will Cyril and the widow actually marry? And how many times will Lilian's flesh and mind be compared to a baby's, as though that's super hot? It's all rather vexing. The high points of this book were when the characters were silly with each other; I think Hungerford (aka The Duchess) is much better at comedy than romance or tragedy. The best characters by far were the comic ones: chattering, light hearted Cyril and Florence Beauchamp, who is the perfect lady in every way and insufferable because of it.
… (plus d'informations)
 
Signalé
wealhtheowwylfing | Feb 29, 2016 |
Joyce is pursued by two men: the charming Beauclark and the slightly clingy Dysert. As the story progresses, it becomes clear to everyone but Joyce that Beauclark is a master manipulator, and is romancing both Joyce and the rich Miss Maliphant at the very same house party. Dysert, meanwhile, pushes Joyce too hard and fast (first by confessing his love, then by forbidding Joyce to go on a carriage ride with Beauclark) and ruins his own chances. Joyce instinctively understands that Beauclark is not to be trusted, but he's so good at making her feel guilty when she doubts him that she can never quite tear herself away. She goes back and forth between them throughout the book, never promising anything to either. It's amusing at first, but gets tiresome by the end. At last she rejects one marriage proposal and accepts the other.

The subplots concern her married sister's family (the Monkton children provide a great deal of amusement throughout) and the marriage problems of the hosts of the house party, Lord&Lady Baltimore. They were very much in love, but then she got wind that he'd been involved with an actress before their marriage and had been seen in her company after their marriage to boot, and becomes utterly cold to him. This private estrangement goes on for years and is exceedingly boring to read, despite how melodramatically they deal with one another. They're constantly turning white with anger or sorrow or blushing at each other, as though they were chameleon lizards.
Eventually, he decides (after kissing her best friend, because she ~drove him to it~ with her coldness) to leave her forever, which is the spur she needs to take him back.

A middle of the road Victorian romance, with a hilariously awful ending:

'"And you—do you love but one?"
She makes a little mute gesture that might signify anything or nothing to the uninitiated, but to him is instinct with a most happy meaning.
"Am I that one, darling?"
She makes the same little silent movement again, but this time she adds to it by casting a swift glance upward at him from under her lowered lids.
"Make me sure of it," entreated he almost in a whisper. He leans over her, lower, lower still. With a little tremulous laugh, dangerously akin to tears, she raises her soft palm to his cheek and tries to press him—from her. But he holds her fast.
"Make me sure!" he says again. There is a last faint hesitation on her part, and then—their lips meet.
"I have doubted always—always a little—ever since that night down by the river," says he, "but now——"
"Oh, no! You must not doubt me again!" says she with tears in her eyes.
THE END.'
… (plus d'informations)
 
Signalé
wealhtheowwylfing | 1 autre critique | Feb 29, 2016 |

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Statistiques

Œuvres
43
Aussi par
2
Membres
94
Popularité
#199,202
Évaluation
3.2
Critiques
4
ISBN
28

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