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An examination of the mother-daughter bond in eighteenth-century fiction. ... Read more

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In this novel, Evelina, the title character, is the unacknowledged daughter of a dissipated English aristocrat. Her dubious birth has seen her raised in rural seclusion until her eighteenth year. Through a series of humorous events that take place in London and the resort town of Bristol-Hotwells, Evelina learns how to navigate the complex layers of 18th century society and earn the love of a distinguished nobleman. This sentimental novel of manners often satirizes the society in which it is set and is a significant precursor to later works by Jane Austen and Maria Edgeworth, whose novels explore many of the same issues. ... Read more

Customer Reviews (46)

All Hail Burney
I was wholly ignorant of Frances Burney until I read about her in my 1001 Books to Read Before You Die-ha ha embarassing!!! Burney was the first real authorial discovery I've made through this system of reading classics.Burney is sharp- almost like reading a Brett Easton Ellis novel of the 1700s.Burney is known as being an influence on Jane Austen but I'd much rather read a Burney novel then an Austen novel.I can't believe they haven't turned EVELINA into a Reese Witherspoon starring Merchant n Ivory production.I really like this book and recommend it to classics fans.

Sexier than Austen and Really Humorous
Just a delight from beginning to end.Burney was one of the first professional writers--pre-dating Austen, who modeled "Pride and Prejudice" on Evalina. Evalina has more raw attraction and the social criticism is sharper.And funnier when Evalina is constantly driven off course in her romance.This book is about two generations before the Victorians, who tried to push the sex genie back in the bottle by erecting churches, registering prostitutes and punishing them for venereal diseases, sodomy laws, etc.This book is set in a freer, more sexual time--closer to 2009 than 1880 in spirit.Evalina is much closer to Tristam Shandy than to Dickens. And funny.You'll like it.Evalina is long, but it keeps up the pace with incident after incident that can crack you up.It would make a lovely funny Merchant Ivory-type movie.Lord Orville is a hunk!

If you love Pride and Prejudice, you'll love this!
This is a wonderfully funny and interesting read.Lovely Evelina matures and learns more about herself and others; it's easily as good as Pride and Prejudice.Read it!

LOVED IT!
This is a wonderfully funny and interesting read.Lovely Evelina matures and learns more about herself and others; it's easily as good as Pride and Prejudice.Read it!

Love it!
This is a wonderfully funny and interesting read.Lovely Evelina matures and learns more about herself and others; it's easily as good as Pride and Prejudice.Read it! ... Read more

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"Such an entertaining read . . . a diarist ranking alongside Pepys for her insights into the world in which she lived." (The Guardian, London)

Written during a seventy-year period, from 1768 to 1839, Frances Burney's letters and journals provide a unique insight into her life and times. Distinguished by their remarkable range and variety, they record Burney's experience of English court life and later, in France, the final stages of the Napoleonic Wars. From the self-centered and irreverent writings of a precocious young girl to the more sober reflections of a mature woman, this collection demonstrates Burney's marvelous ability to capture the changing times around her and create brilliantly candid portraits of those she encountered during the course of her eventful life.

This edition includes an informative introduction, as well as a chronology, selected reading list, index, and full contextual annotations. The versions of the texts in this collection are based on the manuscripts or printed sources that Burney herself approved.

Edited by Peter Sabor and Lars E. Troide. ... Read more

Customer Reviews (2)

An amazingly eventful life
Frances Burney was in her day one of the most successful novelists in England and in later years Jane Austen was to be one of her fans. I haven't read her novels but on the basis of these letters and journals I have certainly become interested.

This book contains extracts from her letters and diaries stretching from 1768 to 1839, from childhood to old age. Her experiences in that time are very well summarised in the review above. I think that her experience as a novelist does show through in these letters which actually do read like scenes from a novel. Some are comic such as a humourous conversation between her friend George Cambridge and an Italian singer comparing the merits of their countries. Or the party attended by the Russian Prince Orlov who when showing off a valuable jewel which impresses the English ladies present, he asks them if they want anything else they "might strip him entirely". Other scenes are very dramatic such as her near drowning at Ilfracombe or her letters about the illness of King George III (in whose court she served at the time). There are also her various experiences in France and Belgium where she followed her husband who was a French aristocrat.

Another thing which makes these letters read like a novel is her ability at characterisation. This is especially clear in the cases of her friend Dr Samuel Johnson and her employer King George III. She records conversations she had with them so that we get a very good picture of what they were like as people. Though friends with Johnson she does not hide his tendency to sometimes be an argumentative bully or his strange mannerisms.

So overall these are a wonderful picture of what life was actually like in the late 18th and early 19th centuries. The Penguin edition has a comment on the back comparing this book to the diaries of Samuel Pepys and I fully agree.

A Rich and Full Life
I was drawn to read this book by falling in love with a portrait of the author. She had a serenely pleasant face that radiated calm and good sense, and suddenly I wanted to know more about her. When I discovered that her diaries and letters cut a broad swath from 1778 to 1838, I was hooked.

Here is a woman who was an intimate of Dr Johnson, James Boswell, Joshua Reynolds, the Thrales, Richard Brinsley Sheridan, the Bluestockings, George III and Queen Charlotte -- to name just a few. She was the first woman novelist who did not die in penury (like Aphra Behn and Charlotte Lennox): Her EVELINA, CECILIA, CAMILLA, and THE WANDERER are still readily available after more than 200 years. For five years, Miss Burney served as wardrobe maid for Queen Charlotte until illness forced her to resign. Her descriptions of the court of George III show the monarch at the beginnings of the madness that later debilitated him and contain some of her best prose.

By then, the French Revolution was in full swing, and scores of French nobility made their way to safety in England. When she met General d'Arblay, adjutant to the exiled Marquis de Lafayette, it was love at first sight for this 40-year-old woman who had never been married. Despite the opposition of her father, Fanny married d'Arblay and lived happily with him until his death more than 20 years later. Sadly, she also outlived her son from this marriage.

Fanny followed her husband to France during the Consulate and met the rising young Napoleon, Talleyrand, Louis XVIII (during Napoleon's exile at Elba), and other notables. She succeeded in raising a family near Paris despite the fact that, for a good part of that time, France was at war with England. At Waterloo, she helped by helping to create bandages for the wounded.

This is a book to read slowly and savor the feeling of another time. Fanny outlived the 18th Century "Age of Reason" and saw the birth of Romanticism and the beginning of the reign of Queen Victoria. I would like to have known her. Reading her diaries, I feel I do; and I feel even more drawn to her than before. ... Read more

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Cecilia is an heiress, but she can only keep her fortune if her husband will consent to take her surname. Fanny Burney's unusual love story and deft social satire was much admired on its first publication in 1782 for its subtle interweaving of comedy, humanity and social analysis. ... Read more

Customer Reviews (17)

Best novel by Burney, and in general, hands down!
(Caviat: Ok, so I have to confess that I am a Burney specialist, so I am a little biased, but only because she's the reason I'm an eighteenth-century scholar!)

When Burney turned to writing her second novel, /Cecilia/ (1782), after her blockbuster success with the light-hearted and thoroughly enjoyable /Evelina/ (1778), and after a severe upset when her father instructed her not to produce her play, /The Witlings/, which bears similar plots and characters to /Cecilia/, she admitted to her sister, Susanna, that she was afraid of writing another novel and enjoying less success. While /Cecilia/ is infinitely more complex and three times as long as /Evelina/, it became a staple of eighteenth-century novels, especially by women. Writers like Charlotte Smith, Ann Radcliffe, and Jane Austen would write successful novels (Austen's /Pride and Prejudice/ being the most successful) that in many ways responded to the novelistic tradition set down by Burney in /Cecilia/--it's actually really funny to read contemporary reviews of their work, especially because so many reviewers would say something to the effect of, "it's a great novel, but it's not as good as /Cecilia/." Austen alone escaped this critique.

/Cecilia/ is an extraordinary novel not only in its breadth but also in the subject matter Burney takes up: obsessed in almost every novel with suicide, she delves into the emotional and cultural terror of public spaces, private vices, and the dissipation of all ranks of society once again, especially in a climactic scene at Vauxhall, which Johnson famously told her was "exceedingly well-done." The masquerade sequence, too, is utterly delightful and vexing. And while masquerade scenes are by no means rare in eighteenth-century literature, Burney brings to it that archness of wit and vivacity that is particular only to her style of prose. What's even more fascinating is the fact that you get in /Cecilia/ a representation of complete failure and utter inefficacy of patriarchal figures--three inept guardians, and a hero who, while lovable, lives up to his name--Mortimer is always "mortified"--even as Cecilia is required to submit and adhere to the patriarchal regulations of English society.

Cecilia, too, is a unique heroine in the sense that the narrative reveals her interior desires and fantasies of the future with Delvile before she hears a declaration by him--something rather different than her other novels, in which heroines indirectly express their desires or attempt to cover them up before hearing a declaration. Moreover, she does some pretty outrageous things, like consenting, though under duress, to a secret marriage and pursuing her husband at night alone on the streets of London--the acute anxiety and intense emotions of these scenes are executed with brilliance and verve by Burney. It's an exciting novel, and you never feel as though you're reading 900 pages--in fact, I am always sorry when it's over!

A couple eighteenth-centuryisms may deter a reader not particularly interested in the field or in literary studies in general...while Burney is entertaining for any sort of reader, in my opinion, there are a few things about the time period that to a reader unfamiliar with the style would make her work seem maudlin or "unrealistic": the florid language, the play between bursts of passion/emotion and intense "English" restraint and forbearance, the staged manners, and the ceaseless pursuit and torments of the heroine by other men in the novel would seem over-dramatic and "fake" to some, but they are staples of the period. If you enjoy Burney and want to read some other great novelists who take up similar strains, I'd recommend Elizabeth Inchbald's /A Simple Story/ (1791), Charlotte Smith's /Emmeline/ (1788), Ann Radcliffe's /The Italian/ (1797), and Maria Edgeworth's /Belinda/ (1801). Burney's /The Wanderer/ (1814), a close, close second to /Cecilia/ in my opinion, is also a fantastic novel, although the heightened sensibility to terror and the vexed question of "liberty" mark it as a novel of the French Revolution. Though published in 1814, at the same time as Austen's /Mansfield Park/, Burney wrote quite a bit of the novel during the late 1790s, early 1800s, after experiencing life in France with her husband, D'Arblay, a French aristocratic emigre--Burney experienced first-hand the political and social terror and unrest in both Britain and France caused by the Revolution and Reign of Terror. It's a little more outrageous, therefore, than /Cecilia/, but equally entertaining and fascinating!

This is not "great literature".
I had to take a masters course on Frances Burney and Jane Austen. It's sad that Burney's drivel gets labeled as "literature". It's not. The main character of this book is, of course, Cecilia--and she is one of the lamest characters I've ever encountered. Her interactions with her guardians and suitors are unbelievable and fake. This is such Bourgeois nonsense, concerned with all the conventions and habits of the wealthy. Even though the book criticizes the greed and stupidity of the wealthy, the book is deeply invested in the culture of wealth and privilege. Therefore, Frances Burney pretends, and actually believes, she is being humane and thinking about the poor. But, in actuality, the basic plot of this book cannot function without a deep commitment to upper-class values and absolute vanity.
Every man Cecilia meets wants to "get into her pants" or marry her. I'm serious. Every man! The feminine vanity is astounding. You can tell how Frances Burney loves to have her character desired. The women in this book are stupid, helpless, and a sad depiction of women. I would never let my daughters read this. By reading this book you may learn a little about English culture and relationships between men and women in the late 1700s. However, you will not learn about "literature" because this is not literature.
A few people will wonder: "why so serious" about a silly old book? Well, I love literature. I love reading great books that--even after hundreds of years--are enlightening and stimulating to the better parts of the human soul. Why waste my time with such door-stop-trash when I could be reading Faulkner, Melville, Shakespeare--anything but this! Who cares if the book is old and has "Oxford" stamped on the cover--that does not automatically make it a classic. And, keep in mind, most people who invest a lot of time reading a thousand-page book will rarely give an honest review. Would you read a thousand pages and give the book one star? Most people don't want to admit they have wasted a week, or year!, on something they didn't enjoy. "War and Peace" will never get a "one-star" review! And, if you don't like the gigantic classic, you simply stop after 200 pages of boredom--because you didn't read the whole book, you never write the negative review. But, I was forced to read this and, if you haven't already noticed, I didn't enjoy it.

Another winner by Fanny Burney
Cecilia is not, to my mind, as good as Evelina. That said, however, there is a lot to love. Cecilia is a young woman who knows her own mind and does not suffer fools gladly, which is a good thing for her because she encounters an awful lot of them, as well as plenty of people who would like to take advantage of her. Although not quite as rigorously moral as Evelina (nor as naive) Cecilia still manages to maintain a proper demeanour and code of behaviour even in the face of 18th century London, which was quite the scandalous place, we are given to understand. Her main issue is that any man who marries her must take her surname if she is to keep her fortune, and the only men willing to do so, it seems, are fortune hunters whose morals are not of the best.

I say Cecilia is not as good as Evelina for a few reasons: it is much longer, even though more happens in Evelina; the characters are not as well delineated in Cecilia (nor as comical--there is no one to touch the French grandmother in Evelina); and, most disappointing to me, we knew who was destined to marry Cecilia by about the second chapter. I would have appreciated a little more mystery about this most important point of the book. All this notwithstanding, Cecilia is a very enjoyable book and if you liked Evelina, or if you enjoy Jane Austen or other early women writers, you should definitely try Cecilia.

Austen Writes of Dignified Love, Burney of Passionate
Jane Austen will always remain a favorite author of mine, but Fanny Burney has earned the number one spot this past year after reading (and re-reading) Cecilia and Evelina.

I must say that if some part of you has secretly desired to see more feeling from Elizabeth and more passion from Darcy, let Cecilia and her beloved Mortimer tell you their story.

Throughout the book, I laughed out loud several times (at characters and scenes), cried (also, on more than one occasion), and even found myself yelling at the characters ("No! Don't do it!" and "What are you thinking!!!"). I can safely say I haven't been that emotionally drawn out by a book before.

And don't be fooled by Cecilia's evidently "perfect" facade that sickened some reviewers. Her decisions are anything but perfect and she is meant to frustrate you. It is one of the many elements of the book meant to astonish and move the reader. You will not be bored with Cecilia.

Yes, by it's page count, it is obvious that Cecilia is "long," but if you are an avid reader and a budding Burney fan- that's a good thing.

I wish I could be more enthusiastic
In some ways I did admire this novel, which seems a reasonably accurate if extreme depiction of what women might suffer when forced to trust their welfare entirely to the wisdom, honor, and good will of the men who governed their lives. For its time it was, I think, surprisingly progressive and feminist in its outlook.

However, I cannot say I actually enjoyed reading Cecilia. Throughout the book, the heroine is thrown into one horrific emotional ordeal after another, with very little respite in between; and for the most part she lacks all power of extricating herself. The religious beliefs of the period, and its strict notions of honor & filial duty, leave her no escape even where legally (and, to my more modern sensibilities, morally), she was free to act as she chose.

I also disliked the hero, Mortimer Delvile. His overblown declarations of admiration and devotion were in themselves offensive, and were moreover continually contradicted by his repeated distrust and misjudging of her: upon finding her in any remotely questionable circumstances, he always jumped to the conclusion most ruinous to her character.

Those parts of the novel which were plainly meant to convey the most extreme pathos, often had me laughing out loud because they were so over the top. I could not avoid comparisons with Marianne Dashwood's illness in Sense & Sensibility, and particularly the exquisitely-limned moment when she is pronounced out of danger - a scene that never fails to move me to tears. Much of the INTENTIONAL humor in Cecilia was of the vulgar rather than the witty sort, though I found Lady Honoria's speeches generally amusing.

I liked the characters of Doctor Lyster and Belfield, who seemed more true to life than most of the others, but I was irritated by Belfield's sister. Though Henrietta's desire to get away from her obnoxious mother was completely natural and believable, her expressions of devotion to Cecilia (like so much in this novel) were too extravagant. Albany's repetitive hectoring and grandiose speeches got on my nerves as well - but at least he had the excuse of being crazy.

The family name, of course, was of much greater consequence in the 18th century than in the 21st, but it still seems a bit of a stretch to me that a supremely sensible and loving mother should be ready to sacrifice her son's happiness solely for the sake of a name. Even old Mr. Delvile believed he had other reasons to object to Mortimer's marrying Cecilia - unlike Mrs. Delvile, who presumably both loved and respected Cecilia above all other women.

Burney was one of the most successful of the pre-Austen women novelists, and Cecilia is worth reading as an important work of the period. To me, it was particularly worthwhile for providing insight into how Burney's writing may have influenced, in some degree, Jane Austen's; but I confess there was not a great deal of pleasure in it. ... Read more

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Scarce less unhappy in her decision than in her uncertaintyand every way dissatisfied with her situationher views and herselfCecilia was still so distressed and uncomfortablewhen Delvile called the next morningthat he could not discover what her determination had beenand fearfully enquired his doom with hardly any hope of finding favour. ... Read more

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An examination of comedy and feminism in the works of early women British novelists. ... Read more

Customer Reviews (1)

scholarly but accessible feminist look at Austen et al.
I was anxious to read this book because I've always enjoyed 18th and 19th century literature, and believed that the humor found in the works of Austen and Burney were overlooked and undermentioned.Author Bilger examines the works of Frances Burney, Maria Edgeworth and Jane Austen, and posits that the humor they used was subversive -- laughter at the expense of the overbearing patriarchal culture in which they lived.

While this isn't exactly what I'd hoped it would be, it was more accessible than many scholarly works, and after I got into the rhythm and jargon of the academic writing, I found myself entertained as well as informed -- such a lovely combination.

Laughter is a commodity too often ignored and a tool too often overlooked, but the author makes her case that these three authors consciously used satire, burlesque and parody to criticize their culture while maintaining the guise of docile co-conspirators.Bilger begins with interesting chapters on women & comedy and Mary Shelley's feminism before discussing the lives of her subjects, their beliefs and their use of comedic technique and characters to undermine the dominant paradigm, as it were.Naive observers, female tricksters, competitive women, nimcompoop suitors and ignorant patriarchs are described and then illustrated with short excerpts from the many works by these talented authors -- in particular Austen's Pride and Prejudice, and Northanger Abbey; Burney's Camilla and The Wanderer; and Edgeworth's Belinda and Helen.

I thought the most interesting chapter was on "goblin humor", dark humor that is still considered distasteful by many and seems shocking when found in these quiet comedies of manners.Here the author displayed a mastery of comic theory as well as the literature, and made her case admirably, without descent into the jargon-laden victimization theory that dominates feminist film theory, for example.Rather, Bilger posits that Austen, Burney and Edgeworth found an outlet for what they could have considered a hopeless situation, and that they consciously and actively did their best to undermine the system in which they lived, reflecting and building upon the work of earlier feminists, and sending out beacons of camaraderie to women living under cultural and personal subjugation.

The book concludes with a fine Notes section, a bibliography and a good index. ... Read more

Product Description
Frances Burney (1752-1840) was the most successful female novelist of the eighteenth century. Her first novel Evelina was a publishing sensation; her follow-up novels Cecilia and Camilla were regarded as among the best fiction of the time and were much admired by Jane Austen. Burney's life was equally remarkable: a protegee of Samuel Johnson, lady-in-waiting at the court of George III, later wife of an emigre aristocrat and stranded in France during the Napoleonic Wars, she lived on into the reign of Queen Victoria. Her journals and letters are now widely read as a rich source of information about the Court, social conditions and cultural changes over her long lifetime. This Companion is the first volume to cover all her works, including her novels, plays, journals and letters, in a comprehensive and accessible way. It also includes discussion of her critical reputation, and a guide to further reading. ... Read more

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Treating Frances Burney (1752-1840) with the seriousness usually reserved for later novelists of the nineteenth and twentieth centuries, Margaret Anne Doody combines biographical narrative with informed literary criticism as she analyzes not only Burney's published novels, but her plays, fragments of novels, poems, and other works never published. Doody also draws upon a mine of letters and diaries for detailed and sometimes surprising biographical information. Burney's feelings and emotions forcefully emerge in her sophisticated and complex late novels, Camilla and The Wanderer. Her novels all relate to personal experience; as an artist she is attracted to the violent, the grotesque, and the macabre. She is a powerful comic writer, but her comedy is far from reflecting a shallow cheerfulness. Bringing a novelist's perspective to her material, Doody shows an appreciation of the many dimensions of a predecessor's writings and she tells her story with force and conviction. ... Read more

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The Body in the Library is a unique tour of the history of medicine and its practitioners. It provides a nuanced and realistic picture of how medicine and society have abetted and thwarted each other ever since the lawyers behind the French Revolution banished the clergy and replaced them with doctors, priests of the body.

Ranging from Charles Dickens to Oliver Sacks, Anton Chekhov to Raymond Queneau, Fanny Burney to Virginia Woolf, Miguel Torga to Guido Ceronetti, The Body in the Library is an anthology of poems, stories, journal entries, Socratic dialogue, table-talk, clinical vignettes, aphorisms, and excerpts written by doctor-writers themselves.

Engaging and provocative, philosophical and instructive, intermittently funny and sometimes appalling, this anthology sets out to stimulate and entertain. With an acerbic introduction and witty contextual preface to each account, it will educate both patients and doctors curious to know more about the historical dimensions of medical practice.

Armed with a first-hand experience of liberal medicine and knowledge of several languages, Iain Bamforth has scoured the literatures of Europe to provide a well-rounded and cross-cultural sense of what it means to be a doctor entering the twenty-first century. A book for every bedside. ... Read more

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Frances Burney's journals and letters, composed between 1768 and 1839, contain a unique account of the creative, social, and commercial ambitions and achievements of an eighteenth-century female writer. Focusing on Burney's literary life, this selection from her journals and correspondence combines Burney's own accounts of the creation of her popular novels, her aspirations for her dramatic writings, and her reflections upon her letters and journals as literary productions in their own right.

In addition to Burney's letters and journal entries, this Broadview edition includes: selections from Burney's Brief Reflections relative to the Emigrant French Clergy (1793) and Memoirs of Doctor Burney (1832); letters by family and friends about her literary activities; and contemporary reviews of The Diary and Letters of Madame d'Arblay. ... Read more

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On the two hundred and fiftieth anniversary of the birth of the writer Frances Burney (1752-1840), a window to her memory was placed in the arched recess of stained glass that graces PoetsCorner. Novelist, playwright and diarist, Frances Burney is one of the few women accorded such an honour. She joins the likes of Jane Austen, Charlotte Brontë and George Eliot who might in some ways be seen as her literary heirs. Burney s journey to recognition on the stage of the world has been a long one, crowned finally with triumph.The service marked the mid-point of a two-day conference in which various aspects of Burney s life and achievement were canvassed. Her journals and letters, her novels and plays (both comedies and tragedies), her life, family and context were all given serious scholarly treatment. This volume includes the papers presented that day, which cover the many facets of a remarkable career and represent the broad spectrum of scholarly approaches to the entire opus of Frances Burney. It shows how far Burney has come from being dismissed as a minor precursor to Jane Austen to being recognized in her own right as a powerful, complex and influential writer, whose works had considerable impact on her own and subsequent generations. ... Read more

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The book may have numerous typos or missing text. It is not illustrated or indexed. However, purchasers can download a free scanned copy of the original rare book from the publisher's website. You can also preview the book there.Purchasers are also entitled to a trial membership in the publisher's book club where they can select from more than a million books for free.Original Publisher: Vizetelly Publication date: 1892Subjects: Biography ... Read more

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In Two Volumes. With A Selection From Her Correspondence, And From The Journals Of Her Sisters Susan Charlotte Burney. ... Read more

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This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

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Katharine Rogers argues that of all the achieving women of the 18th century whose work has been recovered from obscurity, Frances Burney was the most inhibited by traditional concepts of femininity. Yet her life, her journals, and her novels sometimes point to a strength and creative vitality that existed side by side with timidity and stultifying conventionality. Professor Rogers confronts more traditional views of Burney, which emphasize her conservatism, while engaging with recent feminist criticism, which emphasizes Burney's courage and shows her novels to be serious representations of the difficulties of women's lives. Contents: Introduction; Evelina: or, The History of a Young Lady's Entrance into the World; Cecilia: A More Probing Look Into That World; Camilla: Family Relationships Complicating Entrance into the World; Protest Against the World's Law; The Wanderer: A Political Analysis of the World; Conclusion: Tensions Between Form and Content; Notes; Works Cited. ... Read more