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Love in Excess (1719-20) plunges readers into a maze of desire among the Parisian elite: the rakish Count D'Elmont, the ardent Alovisa, the virtuous Melliora, and the compromised Amena. Misdirected letters, clandestine meetings, and jealous surveillance drive reversals that test reputation, consent, and duty. Haywood fuses the heightened rhetoric of amatory romance with the observational textures of the emergent novel, staging theatrical set-pieces yet pausing for moral analysis; its serial pace and access to female interiority anticipate sentimental and psychological fiction. An actress…mehr

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Produktbeschreibung
Love in Excess (1719-20) plunges readers into a maze of desire among the Parisian elite: the rakish Count D'Elmont, the ardent Alovisa, the virtuous Melliora, and the compromised Amena. Misdirected letters, clandestine meetings, and jealous surveillance drive reversals that test reputation, consent, and duty. Haywood fuses the heightened rhetoric of amatory romance with the observational textures of the emergent novel, staging theatrical set-pieces yet pausing for moral analysis; its serial pace and access to female interiority anticipate sentimental and psychological fiction. An actress turned prolific novelist, editor, and translator, Haywood was a chief architect of early amatory fiction. Writing amid competing conduct books and libertine tales, she calibrated her narratives to women's anxieties about reputation and choice. Stage training shapes her attention to gesture; later ventures like The Female Spectator signal the didactic impulse already germinating in this runaway, three-part bestseller. Readers of eighteenth-century literature, gender studies, or the history of the novel will find here both intellectual provocation and unabashed narrative pleasure. Love in Excess repays close study in the classroom and beyond, especially for admirers of Richardson and Burney seeking the genre's origins, and for anyone curious about how passion collides with social power. Quickie Classics summarizes timeless works with precision, preserving the author's voice and keeping the prose clear, fast, and readable-distilled, never diluted. Enriched Edition extras: Introduction · Synopsis · Historical Context · Brief Analysis · 4 Reflection Q&As · Editorial Footnotes.

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Autorenporträt
Eliza Haywood (1693-1756) was an English novelist, poet, playwright, actress, and publisher. Notoriously private, Haywood is a major figure in English literature about whom little is known for certain. Scholars believe she was born Eliza Fowler in Shropshire or London, but are unclear on the socioeconomic status of her family. She first appears in the public record in 1715, when she performed in an adaptation of Shakespeare's Timon of Athens in Dublin. Famously portrayed as a woman of ill-repute in Alexander Pope's Dunciad (1743), it is believed that Haywood had been deserted by her husband to raise their children alone. Pope's account is likely to have come from poet Richard Savage, with whom Haywood was friends for several years beginning in 1719 before their falling out. This period coincided with the publication of Love in Excess (1719-1720), Haywood's first and best-known novel. Alongside Delarivier Manley and Aphra Behn, Haywood was considered one of the leading romance writers of her time. Haywood's novels, such as Idalia; or The Unfortunate Mistress (1723) and The Distress'd Orphan; or Love in a Madhouse (1726), often explore the domination and oppression of women by men. The History of Miss Betsy Thoughtless (1751), one of Haywood's final novels, is a powerful story of a woman who leaves her abusive husband, experiences independence, and is pressured to marry once more. Highly regarded by feminist scholars today, Haywood was a prolific writer who revolutionized the English novel while raising a family, running a pamphlet shop in Covent Gardens, and pursuing a career as an actress and writer for some of London's most prominent theaters.