In this article, I argue for a reconsideration of the , using Caroline Lamb’s (1816) as a case study. I challenge the conventional narrative of the rise of the novel that labels the as a vestigial form with no place in relation to the dominant realist novel. In making this argument, I establish a social reading practice, singular to , using archival materials to illustrate the ways in which Regency readers circulated keys and gossip about and Lamb’s life as a part of their response to the novel. Such a reading practice opens up possibilities for a marginalized writer, especially a marginalized female writer like Lamb, to disseminate gossip about herself as a way to enter a literary marketplace.
If you have any requests to alter Lady Caroline Lamb, email us after placing your order and we'll have an artist contact you. If you have another image of the painting that you would like the artist to work from, please include it as an attachment. If you would like to be updated during the painting process, please send us an email and we will keep you updated with high definition images.
Caroline Lamb's immediate neighbors in , are 2 individuals in 2 households.
After enduring Robert Bolt's rather turgid retelling of Lady Caroline Lamb's ill-fated love and finding myself, once again, unable to warm to his real-life wife (at the time), the rather tiresome Sarah Miles, the whole enterprise was redeemed by that fabulously funny curtain line. When told that Lady Caroline has died of a broken heart, one of her chief female detractors faces the camera (through the lace curtains of a window, I seem to recall) and hisses, (Alas! I'm not quoting verbatim, since I haven't seen this since its theatrical release, but here goes...) "She would!, wouldn't she?!?" I laughed all the way out to the parking lot. Not available on video, apparently, and if they do unearth this bit of cinematic costume jewellry (not really a precious gem, mind you), let us hope that it will be on DVD where the Panavision/widescreen ratio will be preserved.