69-572: The Female Spectator , published by Eliza Haywood between 1744 and 1746, is generally considered to be the first periodical in English written by women for women. The Female Spectator was launched anonymously in April 1744 and was published on a monthly basis. It eventually ran for 24 numbers, a longer run than most periodicals of the time. Eliza Haywood has long been identified as the author, though she never acknowledged her involvement. Thomas Gardner
138-598: A Companion to the Theatre . The volume contains plot summaries of contemporary plays, literary criticism , and dramaturgical observations. In 1747 she added a second volume. After the Licensing Act of 1737 , the playhouse was shut against adventurous new plays such as hers. Haywood, Delarivier Manley and Aphra Behn were seen as " the fair triumvirate of wit " and major writers of amatory fiction . Haywood's prolific works moved from titillating romance novels to
207-575: A 'cast-off Dame' desperate for acclaim in The Authors of the Town . Savage is considered the likely impetus for Pope's attack on Haywood. Haywood's association with Aaron Hill and the literary coterie known as The Hillarians seems to have followed a similar pattern as Haywood rose to fame. The Hillarians, a collection of writers and artists "committed to a progressive programme of ameliorating 'politeness'", included Savage, Hill, Martha Fowke , and for
276-573: A Lady of Quality (1721, translating Edme Boursault 's play), The Lady's Philosopher's Stone (1723, translating Louis Adrien Duperron de Castera's historical novel), La Belle Assemblée (1724–1734, translating Madame de Gomez 's novella), Love in its Variety (1727, translating Matteo Bandello 's stories), The Disguis'd Prince (1728, translating Madame de Villedieu 's 1679 novel), The Virtuous Villager (1742, translating Charles de Fieux's work), and with William Hatchett, The Sopha (1743, translating Prosper Jolyot de Crébillon 's novel). Haywood
345-404: A Maze (1724) is a novella about a woman who assumes the roles of prostitute, handmaid, widow and lady, to seduce repeatedly a man named Beauplaisir. Schofield points out: "Not only does she satisfy her own sexual inclinations, she smugly believes that 'while he thinks to fool me, [he] is himself the only beguiled Person'" (p. 50). The story asserts that women have some access to social force –
414-495: A Satire on the True Blue Protestant Poet, T.S. (1682), in which Shadwell's personal attacks were returned with interest. In 1687, Shadwell attempted to answer these attacks in a version of Juvenal's 10th Satire . However, Dryden's portrait of Shadwell as Og in the second part of Absalom and Achitophel cut far deeper and has withstood the test of time: "A monstrous mass of foul corrupted matter, As all
483-493: A book and receive no royalties : a second volume meant a second payment. Haywood's first novel, Love in Excess; Or, The Fatal Enquiry (1719–1720) touches on education and marriage. Often classified as a work of amatory fiction, this novel is notable for its treatment of the fallen woman. D'Elmonte, the novel's male protagonist , reassures one woman that she should not condemn herself: "There are times, madam", he says "in which
552-518: A child with Richard Savage in the 1720s, in addition to a 20-year open relationship with William Hatchett , who was suspected of being the father of her second child. However, later critics have called these speculations into question as too heavily influenced by Alexander Pope 's famous illustration of her in The Dunciad and too little based upon evidence. (Pope depicted Haywood as a grotesque figure with two "babes of love" at her waist, one by
621-434: A dance and they fall in love, she rejects her uncle's plan and prepares to move out of his home. In response, Giraldo declares her insane and has her confined in a private madhouse, so gaining control over her inheritance. Annilia languishes in the madhouse until Marathon enters it as a supposed patient and rescues her. The Adventures of Eovaii: A Pre-Adamitical History (1736), also entitled The Unfortunate Princess (1741),
690-499: A duel. In the second part, Henriquez' brother, Myrtano, succeeds as Idalia's principal adorer, and she reciprocates. She then receives a letter informing her of Myrtano's engagement to another woman, and so she leaves for Verona, hoping to enter a convent. On the road her guide takes her to a rural retreat with the intention of killing her, but she escapes to Ancona, from where she takes ship for Naples. The sea captain pays crude court to her, but just in time to save her from his embraces,
759-453: A lead by contemporary John Dunton who issued the Ladies' Mercury as a companion to his successful Athenian Mercury . Though The Ladies' Mercury was a self-proclaimed women's journal, it was produced by men (Spacks, p. xii). The Parrot (1746) apparently earned her questions from the government for political statements about Charles Edward Stuart . Mary Stuart, Queen of Scots (1725)
SECTION 10
#1732780168669828-461: A man's clothing. On the way, robbers beat her and leave her for dead. She is found and taken home by a lady, Antonia, who falls in love with her. Idalia later discovers that Antonia's husband is her dear Myrtano. Their happiness is marred by the jealousy of his wife, who first tries to poison everyone and then appeals to the Pope to separate them. Idalia is taken to Rome first to a convent, where she leads
897-404: A miserable life, persecuted by all the young gallants of the city. Then one day she sees Florez, the first cause of her misfortunes. With thoughts of revenge, she sends him a billet, but Myrtano keeps the appointment instead of Florez. Not recognising her lover, muffled in a cloak, Idalia stabs him, but upon recognising him is overcome by remorse, and dies by the same knife. Fantomina; or Love in
966-472: A monthly, was written in response to the contemporary The Spectator by Joseph Addison and Richard Steele . In The Female Spectator , Haywood wrote in four personae (Mira, Euphrosine, Widow of Quality and The Female Spectator) and took positions on issues such as marriage, children, reading, education and conduct. It was the first periodical written for women by a woman and arguably one of her most significant contributions to women's writing. Haywood followed
1035-464: A novel, and ended in the year she died with the conduct books The Wife and The Husband and contributions to the biweekly periodical The Young Lady . She wrote in almost every genre, often anonymously. Haywood is now considered "the foremost female 'author by profession' and businesswoman of the first half of the eighteenth century", tireless and prolific in her endeavours as an author, poet, playwright, periodical writer and editor, and publisher. During
1104-531: A play called The Fair Captive . The play only ran for three nights (to the author's benefit), but Rich added a fourth night as a benefit for the second author, Haywood. In 1723, her first play, A Wife to be Lett , was staged. In the later 1720s, Haywood continued acting, moving over to the Haymarket Theatre to join Henry Fielding in the opposition plays of the 1730s. In 1729, she wrote
1173-453: A poet and the other by a bookseller.) Other accounts from the period, however, suggest that her "friends" rejected Pope's scandalous depiction of her; they maintained that she had been deserted by her husband and left to raise their children alone. In fact, and despite the popular belief that she was once a woman of ill repute, Haywood seems to have had no particular scandals attached her name whatsoever. Haywood's friendship with Richard Savage
1242-504: A private madhouse. In Patrick Spedding's A Bibliography of Eliza Haywood , he notes that The Distress'd Orphan; or Love in a Madhouse was more "enduringly popular", "reprinted more often, in larger editions, and remained in print for a longer period, than... Love in Excess " (p. 21). It recounts the story of Annilia, who is an orphan and heiress. Her uncle and guardian Giraldo plans to gain access to her fortune by having her marry his son, Horatio. When Annilia meets Colonel Marathon at
1311-514: A prolific age", Haywood wrote and published over 70 works in her lifetime, including fiction, drama, translations, poetry, conduct literature and periodicals. Haywood today is studied primarily as one of the 18th-century founders of the novel in English. Scholars of Eliza Haywood universally agree upon only one thing: the exact date of her death. Haywood gave conflicting accounts of her own life; her origins remain unclear, and there are presently contending versions of her biography. For example, it
1380-621: A prologue to his True Widow (1679) and, in spite of momentary differences, the two had been on friendly terms. But when Dryden converted to Catholicism, joined the court party and produced Absalom and Achitophel and The Medal , Shadwell became the champion of the Protestants and made a scurrilous attack on Dryden in The Medal of John Bayes: a Satire against Folly and Knavery (1682). Dryden immediately retorted in Mac Flecknoe, or
1449-541: A prose comedy, The Sullen Lovers , or the Impertinents , based on Les Fâcheux by Molière , and written in open imitation of Ben Jonson 's comedy of humours. His best plays are Epsom Wells (1672), for which Sir Charles Sedley wrote a prologue, and The Squire of Alsatia (1688). Alsatia was the cant name for the Whitefriars area of London, then a kind of sanctuary for persons liable to arrest, and
SECTION 20
#17327801686691518-530: A recurring theme in Haywood's work. It has been argued that it owes a debt to the interpolated tale of an "Invisible Mistress" in Paul Scarron 's Roman Comique . The Mercenary Lover; or, The Unfortunate Heiresses (1726) examines the risks women face in giving way to passion. Miranda, the eldest of two heiress sisters, marries Clitander, the mercenary lover of the title. Unsatisfied with Miranda's half of
1587-451: A time before she decides to marry again. Written a few years before her marriage-conduct books were published, the novel contains advice in the form of quips from Lady Trusty. Her "patriarchal conduct-book advice to Betsy is often read literally as Haywood's new advice for her female audience. However, Haywood's audience consisted of both men and women, and Lady Trusty's bridal admonitions, the most conservative and patriarchal words of advice in
1656-506: A time, Haywood. The group shared poems to and about each other, and formed a social circle of like minds. Haywood seems to have greatly admired Hill – who, though not a patron, seems to have promoted young, up-and-coming artists – and dedicated poems to him. She may have even seen him as a mentor during the earliest years of her career. William Hatchett was a long-time colleague and collaborator. The two probably met around 1728 or 1729, and recent critics have touted
1725-430: A translation of Claude Prosper Jolyot de Crébillon's Le Sopha in 1742. Hatchett has even been seen as the father of Haywood's second child (based on Pope's reference to "a Bookseller" as a father of one of her children, though Hatchett was not a bookseller.) No clear evidence supporting this or a domestic partnership is extant. Haywood's long writing career began in 1719 with the first instalment of Love in Excess ,
1794-434: A vivid picture of contemporary manners. Shadwell is chiefly remembered as the unfortunate Mac Flecknoe of Dryden's satire, the "last great prophet of tautology ", and the literary son and heir of Richard Flecknoe : "Shadwell alone, of all my sons, is he Who stands confirm'd in full stupidity. The rest to some faint meaning make pretence, But Shadwell never deviates into sense." Dryden had furnished Shadwell with
1863-443: A woman, dissatisfied with marriage, whose love affair yields an illegitimate child. Over the run of the journal such stories numbered sixty, some detailed enough to be likened to "miniature novels". Haywood defended the omission of current affairs by pointing out these were adequately represented in the newspapers of the day. She also argued the need for women to be more widely educated. She devoted one series of issues, for example, to
1932-422: Is a satire of Prime Minister Robert Walpole, told through a sort of oriental fairy tale. The Anti-Pamela; or, Feign'd Innocence Detected (1741) is a satirical response to Samuel Richardson 's didactic novel Pamela, or, Virtue Rewarded (1740), making fun of the idea of bargaining one's maidenhead for a place in society. (Their contemporary Henry Fielding also reacted to Pamela in 1741 with An Apology for
2001-408: Is bolstered with exemplary or cautionary anecdotes that demonstrate an "appropriate" point of view of different situations and warn of the consequences of risky behaviours. One such anecdote features a young woman who disguises herself as a boy in order to follow her lover into the army; another tells of a young woman, raised in ignorance, who elopes with the first man to court her; and a third describes
2070-542: Is listed as "Mrs. Haywood", performing in Thomas Shadwell 's Shakespeare adaptation, Timon of Athens ; or, The Man-Hater at the Smock Alley Theatre . Haywood described herself as a "widow", noting in 1719 that her marriage was "unfortunate", but no record of her marriage has been found and the identity of her husband remains unknown. Scholars have speculated that Haywood had an affair and even
2139-435: Is loosely modelled on The Spectator by Joseph Addison and Richard Steele . The new publication differs from its inspiration principally in that it speaks exclusively from a female viewpoint. To do this it employs four characters: the eponymous "Female Spectator," who shares the benefits of her lifetime experience, and her three assistants, each of whom represents an idealized woman at a different stage of life: Euphrosine,
The Female Spectator - Misplaced Pages Continue
2208-515: Is notable as a transgressive, outspoken writer of amatory fiction , plays, romance and novels. Paula R. Backscheider claims, "Haywood's place in literary history is equally remarkable and as neglected, misunderstood, and misrepresented as her œuvre" (p. xiii intro drama). For a time Eliza Haywood was more frequently noted for appearing in Alexander Pope 's The Dunciad rather than on her literary merits. Though Alexander Pope centred her in
2277-515: Is related to Sir Richard Fowler of Harnage Grange, who had a younger sister named Elizabeth. Others have stated that Haywood was most likely from London, England as several Elizabeths were born to Fowler families in 1693 in London; however, no evidence exists to positively confirm any of these possible connections. Her first entry in public records appears in Dublin, Ireland, in 1715. In this entry, she
2346-585: Is somewhat of a mystery to scholars. While Haywood was born "Eliza Fowler", the exact date of Haywood's birth is unknown due to the lack of surviving records. Although scholars believe that she was most likely born near Shropshire or London, England, in 1693, her birth date is extrapolated from a combination of her death date and her stated age at the time of her death (Haywood died on 25 February 1756 and obituaries notices list her age as sixty years). Haywood's familial connections, education status, and social position are unknown. Some scholars have speculated that she
2415-468: Is termed a "hybrid" by Schofield (p. 103), as a work of non-fiction that makes use of narrative techniques. Reflections on the Various Effects of Love (1726) is a didactic account of what can happen to a woman when she gives in to her passions. This piece displays the sexual double standard that allows men to love freely without social consequence and women to be called scandalous for doing
2484-402: Is thought to have begun around 1719. Savage wrote the gushing 'puff' for the anonymous Part I of her first novel, Love in Excess . The two appear to have been close in these early years, sharing many associates in literary and theatrical circles, even sharing the same publisher, William Chetwood. By September 1725, however, Savage and Haywood had fallen out, and he anonymously attacked her as
2553-588: The 19th century, for example in Charlotte Brontë 's Jane Eyre . Instead of concerning itself with attracting a worthy partner, Betsy Thoughtless examines marrying well; its heroine learns that to give way to the role of women in marriage can be fulfilling. The fullest and most detailed bibliography of Haywood is by Patrick Spedding. While writing popular novels, Eliza Haywood also worked on periodicals, essays and manuals on social behaviour (conduct books). The Female Spectator (24 numbers, 1745–1746),
2622-591: The Conjurer (1724) and The Dumb Projector: Being a Surprising Account of a Trip to Holland Made by Duncan Campbell (1725). Eliza Haywood was active in politics throughout her career, although she changed parties around the time George II was reconciled to Robert Walpole. She wrote a series of parallel histories, beginning with the Memoirs of a Certain Island, Adjacent to Utopia (1724), and then The Secret History of
2691-516: The Life of Mrs. Shamela Andrews .) The Fortunate Foundlings (1744) is a picaresque novel , in which two children of opposite sex experience the world differently, in line with their gender. The History of Miss Betsy Thoughtless (1751) is a sophisticated, multi-plot novel that has been deemed the first in English to explore female development in English. Betsy leaves her emotionally and financially abusive husband Munden and experiences independence for
2760-834: The Present Intrigues of the Court of Caramania (1727). Her Memoirs of an Unfortunate Young Nobleman (1743) fictionalised the life of James Annesley . In 1746 she started another journal, The Parrot , for which she was questioned by the government on political statements about Charles Edward Stuart , just after the Jacobite rising of 1745 . This happened again with A Letter from H---- G----g, Esq. (1750). She grew more directly political in The Invisible Spy (1755) and The Wife (1756). Haywood published eight translations of popular continental romances: Letters from
2829-509: The amatory during the early 1720s to works, focusing more on "women's rights and position" (Schofield, Haywood 63) in the later 1720s into the 1730s. In the middle novels of her career, women would be locked up, tormented and beleaguered by domineering men, but in the later ones of the 1740s and 1750s marriage became a positive move for men and for women. Due to the system for paying authors in 18th-century publishing, Haywood's novels often ran to multiple volumes. Authors would be paid only once for
The Female Spectator - Misplaced Pages Continue
2898-454: The base Florez, whom her father forbids the house. One suitor, Florez's friend Don Ferdinand, resigns his suit, but Idalia's vanity is piqued at the loss of an even a single adorer, and more from perverseness than from love continues to correspond with him. They meet, and he eventually effects her ruin. His beloved friend Henriquez conducts her to Padua, but also falls for her charms. He quarrels with Ferdinand and they eventually kill each other in
2967-585: The beautiful unmarried daughter of a wealthy merchant; the happily married and sophisticated Mira; and a "Widow of Quality." Each issue of the journal was originally published in book format and usually covers a single topic or narrative in the form of essays or stories which frequently revolve around "love and marriage", with an emphasis on moral attitudes. The essays use a straightforward structure of premise, development, and conclusion, with few digressions. The sentences are leisurely and well-balanced, with simple but forceful language. The explicit moral instruction
3036-406: The courtship novel and novels of eroticism that she was upstaged by more chaste or overtly philosophical works. In The Dunciad, booksellers race to reach Eliza, their reward to be all of her books and her company. In Pope's view, she is for sale, in other words, in literature and society. As with other "dunces", she was not without complicity in the attack. Haywood had begun to make it known that she
3105-558: The devils had spew'd to make the batter. When wine has given him courage to blaspheme, He curses God, but God before curst him; [...] The midwife laid her hand on his thick skull, With this prophetic blessing-- Be thou dull; Drink, swear and roar, forbear no lewd delight Fit for thy bulk, do anything but write". Nonetheless, due to the political triumph of the Whig party in 1688, Shadwell superseded his enemy as Poet Laureate and historiographer royal. His son, Charles Shadwell
3174-619: The early 1720s, "Mrs Haywood" dominated the novel market in London, so much so that contemporary Henry Fielding created a comic character, "Mrs. Novel", in The Author's Farce , modelled after her. Haywood fell ill in October 1755 and died on 25 February 1756, actively publishing up to her death. She was buried in Saint Margaret's Church near Westminster Abbey in an unmarked grave in the churchyard. For unknown reasons, her burial
3243-536: The erotic seduction novels and poetry of Aphra Behn, particularly Love-Letters Between a Nobleman and His Sister (1684), and the straightforward, plain-spoken novels of Frances Burney . In her own day, her plays and political writing attracted the most comment and attention – she was a full player in the difficult public sphere – but today her novels carry the most interest and demonstrate the most significant innovation. Works published under her imprint: Haywood not only wrote works to be published, but participated in
3312-404: The estate, Clitander seduces Althea, the younger sister, by plying her with romantic books and notions. She gives way to "ungovernable passion" and becomes pregnant. Clitander fools her into signing over her inheritance, then poisons her, killing both her and the unborn child. The Distress'd Orphan; or Love in a Madhouse (1726) is a novella that relates the plight of a woman falsely imprisoned in
3381-463: The heroic games of The Dunciad in Book II, she was in his view "vacuous". He does not dismiss her as a woman, but as having nothing of her own to say – for her politics and implicitly for plagiarism . Unlike other "dunces", Pope's verdict does not seem to have caused her subsequent obscurity. Rather it was as literary historians came to praise and value the masculine novel and most importantly dismiss
3450-444: The novel, are contradictory and impossible for any woman to execute completely." Betsy Thoughtless marks a strong change in 18th-century fiction. It portrays a mistaken, but intelligent and strong-willed woman, who gives way to society's pressures to marry. According to Backsheider, Betsy Thoughtless as a novel of marriage, rather than the more popular subject of courtship, foreshadows a type of domestic novel that will culminate in
3519-489: The pair as domestic partners or lovers, though this suggestion has now been challenged. He was a player, playwright, pamphleteer and translator (and perhaps "sponge") who shared a stage career with Haywood, and they collaborated on an adaptation of The Tragedy of Tragedies by Henry Fielding (with whom she also collaborated) and an opera, The Opera of Operas; or, Tom Thumb the Great (1733). They also may have collaborated on
SECTION 50
#17327801686693588-581: The patronage of the whole royal family, including Queen Caroline , as the royal split had yet to occur. Others, such as James Thomson and Henry Brooke , were also writing such "patriotic" plays (i. e. supportive of the Patriot Whigs ) at the time, and Henry Carey would soon satirise the failed promise of George II. Haywood's greatest Haymarket success came in 1733, with The Opera of Operas , an adaptation of Fielding's Tragedy of Tragedies with music by J. F. Lampe and Thomas Arne ). However, it
3657-403: The play represents, in dialogue full of the local argot , the adventures of a young heir who falls into the hands of the sharpers there. For fourteen years from the production of his first comedy to his memorable encounter with John Dryden , Shadwell produced a play nearly every year. These productions display a hatred of sham, and a rough but honest moral purpose. Although bawdy, they present
3726-463: The politics of literary history" (Backscheider, p. 100). She is also being re-evaluated by feminist scholars and rated highly. Interest has burgeoned since the 1980s. Her novels are seen as stylistically innovative. Her plays and political writing attracted most attention in her own time, and she was a full player in that difficult public sphere. Her novels, voluminous and frequent, are now seen as stylistically innovative and important transitions from
3795-542: The publication process. Sometimes in collaboration with William Hatchett, at least nine works under her own imprint. Most were available for sale at the Sign of Fame (her pamphlet shop in Covent Gardens), including: King notes that the 18th-century definition of "publisher" could also cover bookselling. King is uncertain whether Haywood produced the books and pamphlets that she sold (as Spedding indicates) or whether she
3864-483: The same. The Wife and The Husband (1756) are conduct books for each partner in a marriage. The Wife was first published anonymously (by Mira, one of Haywood's personas from The Female Spectator ); The Husband: in Answer to The Wife followed later the same year with Haywood's name attached. Haywood also worked on sensational pamphlets on the contemporary deaf-mute prophet, Duncan Campbell . They include A Spy Upon
3933-443: The ship is captured by corsairs commanded by a young married couple. Though the heroine is in peasant dress, she is treated with distinction by her captors. Her history moves them to tears and they in turn are in the midst of relating to Idalia an involved story of their courtship when the vessel is wrecked in a gale. In the third part, Idalia is washed ashore on a plank. Succoured by cottagers, she continues her journey towards Rome in
4002-414: The study of Baconian empiricism and the natural world and by so doing is said to have fostered women's interest in the microscope . Eliza Haywood Eliza Haywood (c. 1693 – 25 February 1756), born Elizabeth Fowler , was an English writer, actress and publisher. An increase in interest and recognition of Haywood's literary works began in the 1980s. Described as "prolific even by the standards of
4071-405: The tragedy Frederick, Duke of Brunswick-Lunenburgh to honour Frederick, Prince of Wales . George II 's son was later a locus for Patriot Whig and Tory opposition to the ministry of Robert Walpole . As he made it clear that he did not favour his father's policies or ministry, praise for him was a demurral. However, when Haywood wrote the play, it is likely that she was still aiming to secure
4140-457: The wisest have not power over their own actions." The fallen woman is given an unusually positive portrait. Idalia; or The Unfortunate Mistress (1723) divides into three parts. In the first, Idalia appears as a young motherless, spoiled, yet wonderful Venetian aristocrat, whose varied amorous adventures carry her over most of Italy. Already in Venice she is sought by countless suitors, among them
4209-520: Was a bookseller, especially for her own early productions. Haywood sometimes collaborated on publishing so as to share the costs, as she did with Cogan on The Virtuous Villager . In any case, Haywood was certainly a bookseller, for many and various works "to be had" at the Sign of Fame did not bear her imprint. Collections by Eliza Haywood published before 1850: Individual works by Eliza Haywood published before 1850: Thomas Shadwell Thomas Shadwell ( c. 1642 – 19 November 1692)
SECTION 60
#17327801686694278-725: Was also a playwright. A scene from his play The Stockjobbers was included as an introduction in Caryl Churchill 's Serious Money (1987). Dear pretty youth, unveil your eyes, How can you sleep when I am by? Were I with you all night to be, Methinks I could from sleep be free. Alas, my dear, you're cold as stone: You must no longer lie alone. But be with me my dear, and I in each arm Will hug you close and keep you warm. Love in their little veins inspires their cheerful notes, their soft desires. While heat makes buds and blossoms spring, those pretty couples love and sing. But winter puts out their desire, and half
4347-587: Was an English poet and playwright who was appointed Poet Laureate in 1689. Shadwell was born at either Bromehill Farm, Weeting-with-Broomhill or Santon House, Lynford , Norfolk , and educated at Bury St Edmunds School, and at Gonville and Caius College, Cambridge , which he entered in 1656. He left the university without a degree and joined the Middle Temple . At the Whig triumph in 1688 , he superseded John Dryden as poet laureate and historiographer royal. He died at Chelsea on 19 November 1692. He
4416-484: Was an adaptation with a sharp difference. Caroline of Ansbach had affected a reconciliation between George I and George II, which meant an endorsement by George II of the Whig ministry. Haywood's adaptation contains a reconciliation scene, replete with symbols from Caroline's own grotto. This enunciated a change in Haywood herself, away from any Tory or anti-Walpolean causes she had supported previously. It did not go unnoticed by her contemporaries. In 1735, Haywood wrote
4485-631: Was buried in Chelsea Old Church , but his tomb was destroyed by wartime bombing. A memorial to him with a bust by Francis Bird survives in Poets' Corner in Westminster Abbey . He was married to the actress Anne Shadwell , who appeared in several of his plays. They had four children including the playwright Charles Shadwell and John Shadwell , a physician who attended to both Queen Anne and George I . In 1668 he produced
4554-536: Was delayed by about a week and her death duties remain unpaid. Haywood began her acting career in 1715 at the Smock Alley Theatre in Dublin. Public records for this year list her as "Mrs. Haywood," appearing in Thomas Shadwell's Shakespeare adaptation, Timon of Athens; or, The Man-Hater . By 1717, she had moved to Lincoln's Inn Fields , where she worked for John Rich . Rich had her rewrite
4623-450: Was once mistakenly believed that she married the Rev. Valentine Haywood. According to report, Haywood took pains to keep her personal life private, asking the one (unnamed) person with knowledge of her private life to remain silent for fear that such facts may be misrepresented in print. Apparently, that person felt loyal enough to Haywood to honour her request. The early life of Eliza Haywood
4692-417: Was poor and in need of funds; she seemed to be writing for pay and to please an undiscerning public. In the conclusion to Old Mortality (1816), one of Walter Scott 's comic characters references Haywood's Jemmy and Jenny Jessamy (1753) as a model of pathos . Editors suggest the novel had become something of a joke in literary circles by the late 18th century. Eliza Haywood is seen as "a case study in
4761-572: Was the publisher and printer. The primary audience for Haywood's journal was women – the newly affluent middle classes , and the upper strata with leisure time and money. She wrote that she wanted the periodical to be "as universally read as possible", and a poem by an anonymous male author in The Gentleman's Magazine in December 1944 praising The Female Spectator suggests that it was indeed read by at least some men. The Female Spectator
#668331