Set in Ireland prior to its achieving legislative independence from Britain in 1782, Castle Rackrent tells the story of three generations of an estate--owning family as seen through the eyes-and as told in the voice-of their longtime servant, Thady Quirk, recorded and commented on by an anonymous Editor. This edition of Maria Edgeworth's first novel is based on the 1832 edition, the last revised by her, and includes Susan Kubica Howard's foot-of-the-page notes on the text of the memoir as well as on the notes and glosses the Editor offers "for the information of the ignorant English reader." Howard's Introduction situates the novel in its political and historical context and suggests a reading of the novel as Edgeworth's contribution to the discussion of the controversial Act of Union between Ireland and Britain that went into effect immediately after the novel's publication in London in 1800.

1 January 2018 will be the 250th anniversary of Maria Edgeworth's birth. Valerie Pakenham's sparkling new selection of over four hundred letters, many hitherto unpublished, will help to celebrate her memory. Born in England, she was brought to live in Ireland at the age of fourteen and spent most of the rest of her life at the family home at Edgeworthstown, Co. Longford. Encouraged by her remarkable father, Richard Lovell Edgeworth, whose memoirs she edited, she became, in turn, famous for her children's stories, her practical guides to education and her novels - or, as she preferred to call them, `Moral Tales'. By 1813, when visiting London, she was, as Byron testified, as great a literary lion as he had been the season before, and she was hugely admired by fellow novelists Sir Walter Scott and Jane Austen. Maria Edgeworth's posthumous fame has dwindled and only her first novel, Castle Rackrent (1800), a brilliant burlesque account of the Irish squirearchy, is still widely read. She was, however, a prolific and fascinating letter writer. She insisted that her letters were for private consumption only, but after her death, her stepmother and half-sisters produced a private memoir for friends using carefully selected extracts. Their literary quality was spotted by Augustus Hare, whose shortened version, The Life and Letters of Maria Edgeworth, appeared in 1894. In the 1970s Maria's great great niece, Christina Colvin edited Maria Edgeworth's Letters from England and Maria Edgeworth in France & Switzerland. No one, however, has revisited fully Maria's original letters from the place she loved and knew best: Ireland. From 1825, Maria's letters reflect sixty years of Irish history, from the heady days of Grattan's Parliament, through the perils of the 1798 Rebellion to the rise of O'Connell and the struggle for Catholic Emancipation. In old age, she worked actively to alleviate the Great Famine and wrote her last story to raise money aged 82. A treasure trove of stories, humour, local and high-level gossip, her letters show the extraordinary range of her interests: history, politics, literature and science. Maria almost single-handedly took over the management of her family estate and restored it to solvency. Her later letters brim with delight at these practical undertakings and her affection for the local people she worked with. Two of her half-sisters and her stepmother were gifted artists, and Valerie Pakenham has been able to use many of their unpublished drawings and sketches to illustrate this book.

'It is singular, that my having spent a winter with one of the most dissipated women in England should have sobered my mind so completely.' Maria Edgeworth's 1801 novel, Belinda, is an absorbing, sometimes provocative, tale of social and domestic life among the English aristocracy and gentry. The heroine of the title, only too conscious of being 'advertised' on the marriage market, grows in moral maturity as she seeks to balance self-fulfilment with achieving material success. Among those whom she encounters are the socialite Lady Delacour, whose brilliance and wit hide a tragic secret, the radical feminist Harriot Freke, the handsome and wealthy Creole gentleman Mr Vincent, and the mercurial Clarence Hervey, whose misguided idealism has led him into a series of near-catastrophic mistakes. In telling their story Maria Edgeworth gives a vivid picture of life in late eighteenth-century London, skilfully showing both the attractions of leisured society and its darker side, and blending drawing-room comedy with challenging themes involving serious illness, obsession, slavery and interracial marriage.

Castle Rackrent s publication in 1800 signaled many firsts: the first historical novel, the first regional novel in English, the first big house novel, the first Anglo-Irish novel, and the first novel with a narrator who is neither reliable nor part of the action. This Norton Critical Edition is based on the Baldwin & Cradock edition that appeared as part of an eighteen-volume collected edition titled Tales and Novels of Maria Edgeworth (1832 33). It is accompanied by detailed explanatory annotations. Ryan Twomey focuses the volume s Backgrounds and Contexts on Edgeworth s importance as a writer, the influence of contemporary historical events on her writing (most importantly, the Act of Union of 1800, which united Ireland and Great Britain), and Castle Rackrent s impact on the development of the novel. These include a selection of Edgeworth s letters; five major contemporary reviews; biographical pieces; Sir Walter Scott on Edgeworth and her response to him; and excerpts from Edgeworth s juvenilia, The Double Disguise. Criticism is thematically organized to give readers a clear sense of Castle Rackrent s major themes: Irish writing and specifically the Irish novel, narrative voices, patriarchy and paternalism, and Edgeworth s Hiberno-English writing. Contributors include Seamus Deane, Marilyn Butler, Katherine O Donnell, Julia Nash, Joyce Flynn, and Brian Hollingsworth, among others. A chronology of Edgeworth s life and work and a selected bibliography are also included."

Harrington (1817) is the personal narrative of a recovering anti-Semite, a young man whose phobia of Jews is instilled in early childhood and who must unlearn his irrational prejudice when he falls in love with the daughter of a Spanish Jew. In this novel, Edgeworth attempts to challenge prejudice and to show how literary representations affect public policy, while at the same time interrogating contemporary understandings of freedom in English society. This Broadview edition includes a critical introduction and a judicious selection of appendices, including correspondence between Edgeworth and Rachel Mordecai Lazarus, excerpts from John Toland's Letters to Serena and Reasons for Naturalizing the Jews, an excerpt from Isaac D'Israeli's article on Moses Mendelssohn, and contemporary reviews of the novel.

Set in Ireland prior to its achieving legislative independence from Britain in 1782, Castle Rackrent tells the story of three generations of an estate--owning family as seen through the eyes-and as told in the voice-of their longtime servant, Thady Quirk, recorded and commented on by an anonymous Editor. This edition of Maria Edgeworth's first novel is based on the 1832 edition, the last revised by her, and includes Susan Kubica Howard's foot-of-the-page notes on the text of the memoir as well as on the notes and glosses the Editor offers "for the information of the ignorant English reader." Howard's Introduction situates the novel in its political and historical context and suggests a reading of the novel as Edgeworth's contribution to the discussion of the controversial Act of Union between Ireland and Britain that went into effect immediately after the novel's publication in London in 1800.

In their moral tales, writers such as Hannah More, Amelia Opie, and Maria Edgeworth embraced explicitly didactic aims, seeking to instill normative moral behavior in their readers while entertaining them with vivid, emotional storytelling. In More's 'Tawney Rachel,' for example, a servant girl suffers severe consequences for succumbing to superstition; in Opie's 'The Black Velvet Pelisse,' a young woman is rewarded for a charitable act with a desirable marriage; and in Edgeworth's 'The Dun,' a wealthy man's selfishness destroys a poor family before he finally sees the error of his ways.This edition offers a selection of five short fictions by More, Opie, and Edgeworth-the best-known writers of the moral tale-prefaced by a critical introduction to the genre and its place in the complex and fascinating debates surrounding the writing and reading of fiction in the Romantic period. The volume concludes with a variety of background materials that help situate the moral tale in its late eighteenth- and early nineteenth-century literary contexts, including moral tales for children, theories of education, and contemporary reviews.