Selected Bibliography:
Frances Burney

By Barbara Darby,
Dalhousie University

Last revised 18 March 1999

Bibliographies

• Joseph A. Grau, Fanny Burney: An Annotated Bibliography (New York: Garland, 1981).
• See also Barbara Darby's Burney Web site, listed below ("Electronic Resources").

Editions

• Novels

  • Camilla: or, A Picture of Youth, ed. Edward A. Bloom and Lillian D. Bloom (Oxford: Oxford Univ. Press, 1972).
  • Cecilia, or Memoirs of an Heiress, ed. Peter Sabor and Margaret Anne Doody (Oxford: Oxford Univ. Press, 1988).
  • Evelina, or, The History of a young Lady's Entrance into the World, ed. Stewart J. Cooke (New York: Norton, 1998).
  • Evelina, ed. Kristina Straub (Boston: Bedford, 1997).
  • Evelina, or, The History of a Young Lady's Entrance into the World, ed. Edward A. Bloom with Lillian D. Bloom (Oxford: Oxford Univ. Press, 1968).
  • The Wanderer; or, Female Difficulties, ed. Margaret Anne Doody, Robert L. Mack, and Peter Sabor (Oxford: Oxford Univ. Press, 1991).
  
  

• Plays

  • The Complete Plays of Frances Burney, ed. Peter Sabor, 2 vols. (London: Pickering, 1995; Montreal & Kingston: McGill-Queen's Univ. Press, 1995).
  • A Busy Day, ed. Tara Ghosal Wallace (New Brunswick: Rutgers Univ. Press, 1984).
  • Edwy and Elgiva, ed. Miriam J. Benkovitz (New York: Shoe String Press, 1957.
  
  

• Diaries and Letters

  • Diary and Letters of Madame d'Arblay, ed. Charlotte Barrett, 4 vols. (London: Bickers and Son, 1876).
  • The Early Journal and Letters of Frances Burney, 3 vols., ed. Lars Troide et al., 12 vols. (Montreal & Kingston: McGill-Queen's Univ. Press, 1988-).
  • The Journals and Letters of Fanny Burney (Madame D'Arblay), 1791-1840, ed. Joyce Hemlow et al., 12 vols. (Oxford: Clarendon, 1972-84).
  
  

Biographies

• Kate Chisolm, Fanny Burney: Her Life (London: Chatto & Windus, 1998).
• Margaret Anne Doody, Frances Burney: The Life in the Works (New Brunswick: Rutgers, 1988). A provocative book, Doody's biography discusses all of Burney's works in a psychoanalytical context, showing their relationship to Burney's sense of her family's dynamics and the overbearing figure of her father. Doody suggests that Burney's work in part was an effort to express in literature ideas that she couldn't express elsewhere.
• Joyce Hemlow, The History of Fanny Burney (Oxford: Clarendon, 1958). Hemlow's influence as an early biographer and editor of Burney's works cannot be overestimated. This biography has chapters on all of Burney's works and major events of her life, but treats the plays and the later novels as less signfiicant than Burney's early work, especially Evelina.

Criticism

• General Studies

  • Michael E. Adelstein, Fanny Burney (New York: Twayne, 1968).
  • Austin Dobson, Fanny Burney (London: Macmillan, 1903).
  • Julia Epstein, "Burney Criticism: Family Romance, Psychobiography, and Social History," Eighteenth-Century Fiction 3, no. 4 (1991): 277-82.
  • William Galperin, "What Happens when Jane Austen and Frances Burney Enter the Romantic Canon?" in Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham: Duke Univ. Press, 1998), 376-91.
  • Beth Kowaleski-Wallace, "Milton's Daughters: The Education of Eighteenth-Century Women Writers," Feminist Studies 12, no. 2 (1986): 275-93.
  • Betty Rizzo, "How (and How Not) to Explore the Burneys: Questions of Decorum," Review 11 (1989): 197-218.
  • Judy Simons, Fanny Burney (Totowa, N.J.: Barnes and Noble, 1987). This book includes a chapter that survey's Burney's life, and chapters on the novels and the journals and plays.
  • Joan Wiltshire, "Early Nineteenth-Century Pathography: The Case of Frances Burney," Literature and History 2, no. 2 (1993): 9-23.
  
  

• Burney's Novels & Journals

  • Andrea Austin, "Between Women: Frances Burney's The Wanderer," English Studies in Canada 22, no. 3 (1996): 253-66. An interesting study of the female homosocial rivalry between Elinor and Juliet in Burney's last novel, using Eve Sedgwick's theoretical approach outlined in Between Men. Austen suggests these two heroines are representative of competing versions of femininity but that they share many similarities; the rivalry between them has the shared aim of subordinating the opposite sex.
  • Martha G. Brown, "Fanny Burney's 'Feminism': Gender or Genre," in Fetter'd or Free? British Women Novelists, 1670-1815, ed. Mary Anne Schofield and Cecilia Macheski (Athens: Ohio Univ. Press, 1986), 29-39.
  • Miranda J. Burgess, "Courting Ruin: The Economic Romances of Frances Burney," Novel: A Forum on Fiction 28, no. 2 (1995): 131-53.
  • D. Grant Campbell, "Fashionable Suicide: Conspicuous Consumption and the Collapse of Credit in Frances Burney's Cecilia," Studies in Eighteenth-century Culture 20 (1990): 131-45.
  • Gina Campbell, "Bringing Belmont to Justice: Burney's Quest for Paternal Recognition in Evelina," Eighteenth-Century Fiction 3, no. 4 (1991): 321-40. Campbell examines Burney's views of her own father and the recognition scenes between Evelina and Belmont.
  • Gina Campbell, "How to Read Like a Gentleman: Burney's Instructions to Her Critics in Evelina," ELH 57, no. 3 (1990): 557-84. Campbell discusses Burney's eagerness for critical approval in the Dedication to Evelina and compares them to Evelina's efforts to be accepted. She also views the male figures in the novel as good and bad readers of Evelina's writing and behaviour.
  • Stewart J. Cooke, "How Much Was Frances Burney Paid for Cecilia?" Notes & Queries 39, no. 4 (237) (1992): 484-86.
  • Rose Marie Cutting, "Defiant Women: The Growth of Feminism in Fanny Burney's Novels," Studies in English Literature 17 (1977): 519-30. Cutting discusses Burney's feminist images of women by dividing the novels' female characters into the categories of heroines, rebels, arguing for characters' "independence of judgment that reflects their intelligence, common sense, and the good principles of their education" (520).
  • Joanne Cutting-Gray, Woman as "Nobody" and the Novels of Fanny Burney (Gainesville: Univ. Press of Florida, 1992).
  • Joanne Cutting-Gray, "Writing Innocence: Fanny Burney's Evelina," Tulsa Studies in Women's Literature 9, no. 1 (1990): 43-57.
  • Tracy Edgar Daugherty, Narrative Techniques in the Novels of Fanny Burney (New York: Peter Lang, 1989).
  • D. D. Devlin, The Novels and Journals of Fanny Burney (Basingstoke, Hampshire: Macmillan, 1987).
  • Marjorie Dobbin, "The Novel, Women's Awareness, and Fanny Burney," English Language Notes 22, no. 3 (1985): 42-52.
  • Margaret Anne Doody, "Beyond Evelina: The Individual Novel and the Community of Literature," Eighteenth-Century Fiction 3, no. 4 (1991): 358-71. Doody comments on the reasons for the centrality of Burney's first novel in Burney criticism and encourages a widening of focus to include her other works.
  • Margaret Anne Doody, "English Women Novelists and the French Revolution," in La Femme en Angleterre et dans les Colonies americaines aux XVIIe et XVIIIe siecles (Lille: Pub. de l'Université de Lille III, 1976), 176-98.
  • Margaret Anne Doody, "Heliodorus Rewritten: Samuel Richardson's Clarissa and Frances Burney's Wanderer," in The Search for the Ancient Novel, ed. James Tatum (Baltimore: Johns Hopkins Univ. Press, 1994), 117-31.
  • William C. Dowling, "Evelina and the Genealogy of Literary Shame," Eighteenth-Century Life 16, no. 3 (1992): 208-20.
  • Timothy Dykstal, "Evelina and the Culture Industry," Criticism: A Quarterly for Literature and the Arts 37, no. 4 (1995): 559-81.
  • Julia L. Epstein, "Evelina's Deceptions: The Letter and the Spirit," in Evelina, ed. Bloom, pp. 111-29. Epstein analyses Evelina's use of language in her letters and how she varies her language according to the letter's recipient. She argues that underneath the heroine's decorous and polite surface, "she is keenly aware of the bondage her decorous behavior implies" (128).
  • Julia L. Epstein, "Fanny Burney's Epistolary Voices," The Eighteenth Century: Theory and Interpretation 27, no. 2 (1986): 162-79.
  • Julia Epstein, The Iron Pen: Frances Burney and the Politics of Women's Writing (Madison: Univ. of Wisconsin Press, 1989). Epstein concentrates on the violence in Burney's novels and journals, which reveal "the masked simmering rage of a conflicted but self-conscious social reformer" (4) and her "obsession with violence and hostility" (5).
  • Julia Epstein, "Marginality in Frances Burney's Novels," in The Cambridge Companion to the Eighteenth-Century Novel, ed. John Richetti (Cambridge: Cambridge Univ. Press, 1996), 198-211.
  • Julia L. Epstein, "Writing the Unspeakable: Fanny Burney's Mastectomy and the Fictive Body," Representations 16 (1986): 131-66. Epstein analyses Burney's mastectomy letter.
  • Eva Figes, Sex and Subterfuge: Women Writers to 1850 (London: Pandora, 1982). Chapter four is on Burney, who Figes says "had a self-protective veneer of diehard conservatism under which lurked much more liberal, qustioning attitudes which dared not find full expression" (33). Figes identifies a change in attitude with Camilla, an attitude that is more critical of the social position of women and the hypocrisy that judged them based on appearances.
  • Irene Fizer, "The Name of the Daughter: Identity and Incest in Evelina," in Refiguring the Father: New Feminist Readings of Patriarchy, ed. Patricia Yaeger, Beth Kowaleski-Wallace, and Nancy Miller (Carbondale: Univ. of Illinois Press, 1989), 78-107.
  • Joan Forbes, "Anti-Romantic Discourse as Resistance: Women's Fiction 1775-1820," in Romance Revisited, ed. Jackie Stacey and Lynne Pearce (New York: New York Univ. Press, 1995), 293-305.
  • Susan Fraiman, Unbecoming Women: British Women Writers and the Novel of Development (New York: Columbia Univ. Press, 1993).
  • Kenneth W. Graham, "Cinderella or Bluebeard: The Double Plot of Evelina," L'Homme et la nature/Man and Nature 10 (1986): 85-98.
  • Susan C. Greenfield, "'Oh Dear Resemblance of Thy Murdered Mother': Female Authorship in Evelina," Eighteenth-Century Fiction 3, no. 4 (1991): 301-20. Greenfield discusses Burney's view of her father and the idea that female authorship "is predicated on the fall of paternal control." Evelina grows as an author because of the paternal void in her world and she is successful because of the power she gains over her father through her matrilineal inheritance. The father's recognition, though, threatens the heroine's autonomy, just as Burney's father's recognition of her authorship "stripped her of her literary independence" (320).
  • Elisabeth Rose Gruner, "The Bullfinch and the Brother: Marriage and Family in Frances Burney's Camilla," JEGP 93, no. 1 (1994): 18-34.
  • Elisabeth Rose Gruner, "'Loving Difference': Sisters and Brothers from Frances Burney to Emily Bronte," in The Significance of Sibling Relationships in Literature, ed. JoAnna Stephens Mink and Janet Doubler Ward (Bowling Green, OH: Popular, 1992), 32-46.
  • George E. Haggerty, "Novel Strategies," Tulsa Studies in Women's Literature 13, no. 1 (1994): 161-65.
  • Beth Kowaleski-Wallace, "A Night at the Opera: The Body, Class, and Art in Evelina and Frances Burney's Early Diaries," in History, Gender and Eighteenth-Century Literature, ed. Beth Fowkes Tobin (Athens: Univ. of Georgia Press, 1994), 141-58.
  • Arno Loffler, "'The World ... What It Appears to a Girl of Seventeen': Fanny Burney's Evelina als satirischer Roman," Anglia: Zeitschrift fur Englische Philologie 112, nos. 1-2 (1994): 50-74.
  • T. D. Mamchur, "Roman F. Berni Evelina i traditsii angliiskogo prosvetitel'skogo romana," Vestnik Leningradskogo Universiteta 8 (1983): 39-44.
  • Glen McClish, "Richardson, Burney, Austen, and the Decline of the Rhetor-Hero in the British Novel," in Rhetoric in the Vortex of Cultural Studies, ed. Arthur Walzer and Laurie Ward Gardner (St. Paul: Rhetoric Society of America, 1993), 151-59.
  • Juliet McMaster, "The Silent Angel: Impediments to Female Expression in Frances Burney's Novels," Studies in the Novel 21, no. 3 (1989): 235-52. McMaster discusses the nature of female expression in the novels, analysing customary and ideological impediments to women's expression and experience (especially of love) and comparing the characters for whom expression is prevented with those who speak out.
  • Ellen Moers, Literary Women (New York: Oxford Univ. Press, 1977 & 1985).
  • David Oakleaf, "The Name of the Father: Social Identity and the Ambition of Evelina," Eighteenth-Century Fiction 3, no. 4 (1991): 341-58. Oakleaf examines the development of Evelina's social identity along with her private character and discusses Burney's anxieties about writing as expressed in her Dedication to the novel.
  • Toby A. Olshin, "'To Whom I Most Belong': The Role of Family in Evelina," Eighteenth-century Life 6, no. 1 (1980): 29-42.
  • Ingrid Tieken Boon van Ostade, "Stripping the Layers: Language and Content of Fanny Burney's Early Journals," English Studies: A Journal of English Language and Literature 72, no. 2 (1991): 146-59.
  • Catherine Parke, "Vision and Revision: A Model for Reading the Eighteenth-Century Novel of Education," Eighteenth-Century Studies 16, no. 2 (1982-83): 162-74.
  • Amy J. Pawl, "'And What Other Name May I Claim?' Names and Their Owners in Frances Burney's Evelina," Eighteenth-Century Fiction 3, no. 4 (1991): 283-99. Pawl examines the importance of naming as a sign of social reassurance and legitimization which relates to the power of the author to write and to name, a power usually assigned to the male.
  • Pam Perkins, "Private Men and Public Women: Social Criticism in Fanny Burney's The Wanderer," Essays in Literature 23, no. 1 (1996): 69-83.
  • Michele Plaisant, "Contraintes et quete de la liberté dans Evelina (1778) de Fanny Burney," in Contraintes des libertés dans la Grande-Bretagne du XVIIIe siècle., ed. Paul Gabriel Boucé (Paris: Pubs. de la Sorbonne, 1988), 125-37.
  • Mary Poovey, "Fathers and Daughters: The Trauma of Growing Up Female," Women and Literature 2 (1982): 39-58. Poovey discusses the female autonomy and anxiety experienced by women during courtship, an anxiety related to the rejection of the father as the object of affection and the identification of the inferiority of the mother. Burney circumvents this anxiety through Evelina's transfer of affections to the paternal-figure Orville and Evelina's momentary power as she confronts her father in the image of her dead mother.
  • John J. Richetti, "Voice and Gender in Eighteenth-Century Fiction: Haywood to Burney," Studies in the Novel 19, no. 3 (1987): 263-72. Richetti argues that Evelina is an unusual heroine who negotiates the difficulties of female speech by being silent in public but eloquent and satirical in her writing, organizing and dominating the flawed speech of others. In this manner, she can be both vocal and judgmental yet demure.
  • Katharine M. Rogers, "Fanny Burney: The Private Self and the Published Self," International Journal of Women's Studies 7, no. 2 (1984): 110-17. The article analyses Burney's self-fashioning in her journals as she describes different moments in her life.
  • Katharine M. Rogers, Frances Burney: The World of "Female Difficulties" (New York: Harvester Wheatsheaf, 1990). Distinguishing herself from Epstein, Rogers emphasizes the contradictions between Burney's acceptance of social order and conformity with it and her protest against it as she sought to render in fiction the "psychological problems of women" (4). Her novels present "the anxiety, the frustration, the painful ambivalence felt by women imprisoned in a patriarchal ideology which makes them suffer but which they are not equipped to challenge" (5).
  • Kay Rogers, "Deflation of Male Pretensions in Fanny Burney's Cecilia," Women's Studies: An Interdisciplinary Journal 15, nos. 1-3 (1988): 87-96.
  • Mona Scheuermann, "Redefining the Filial Tie: Eighteenth-Century English Novelists from Brooke to Bage," Etudes Anglaises: Grande-Bretagne, Etats-Unis 37, no. 4 (1984): 385-98.
  • Julie Shaffer, "Not Subordinate: Empowering Women in the Marriage-Plot -- The Novels of Frances Burney, Maria Edgeworth, and Jane Austen," Criticism 34, no. 1 (1992): 51-73.
  • Judy Simons, Diaries and Journals of Literary Women from Fanny Burney to Virginia Woolf (Iowa City: Univ. of Iowa Press, 1990).
  • Judy Simons, "Invented Lives: Textuality and Power in Early Women's Diaries," in Inscribing the Daily: Critical Essays on Women's Diaries, ed. Suzanne L. Bunkers and Cynthia A. Huff (Amherst: Univ. of Massachusetts Press, 1996), 252-63.
  • Judy Simons, "The Unfixed Text: Narrative and Identity in Women's Private Writings," in The Representation of the Self in Women's Autobiography, ed. Vita Fortunati and Gabriella Morisco (Bologna: Univ. of Bologna, 1993), 1-16.
  • Antoinette Marie Sol, "Un Double miroir: L'Image des Francais dans les romans de Frances Burney," in Le Même et l'autre regards Européens, ed. A. Montandon (Cedex, France: Association des Publications de la Faculté des Lettres et Sciences Humaines de Clermont-Ferrand, 1997), 211-32.
  • Patricia Spacks, "The Dynamics of Fear: Fanny Burney," in Imagining a Self: Autobiography and Novel in Eighteenth-Century England (Cambridge, Mass.: Harvard Univ. Press, 1976), 158-92. Spacks suggests that fear of behaving inappropriately is the unifying force in Burney's novels and journals and that fear, however negative, helps construct an identity and is a rallying force for protests against the forces that make fear and concealment necessary. She arguest that Burney's fiction was a forum for self-expression for Burney.
  • Patricia Meyer Spacks, "'Ev'ry Woman is at Heart a Rake,'" Eighteenth-century Studies 8 (1974-5): 27-46. Spacks examines how Burney and other eighteenth-century women writers represent the repression of sexual desire and emotional expression through an obsession with innocence and a suppression of imagination in favour of reason and denial.
  • Patricia Meyer Spacks, "The Talent of Ready Utterance: Eighteenth-Century Female Gossip," in Woman and Society in the Eighteenth Century, ed. Ian Duffy (Bethlehem, PA: Lawrence Henry Gipson Institute, 1983), 1-14.
  • Patricia Meyer Spacks, "Women and the City," in Johnson and His Age, ed. James Engell (Cambridge, Mass.: Harvard Univ. Press, 1984): 485-507.
  • Susan Staves, "Evelina; or, Female Difficulties," Modern Philology 73 (1975-6); 368-81. Staves argues that Burney's first novel is filled with expressions of anxiety as the heroine struggles against male advances and vulgar company in order to maintain her sense of propriety and delicacy and avoid embarrassment.
  • Kristina Straub, Divided Fictions: Fanny Burney and Feminine Strategy (Lexington: Univ. Press of Kentucky, 1987). Straub examines how contradictory ideological messages emerge in Burney's novels which show heroines who are presented by assumptions about life that devalue their experience and predict the worse for them. These ideological contradictions result in varying degrees of alienation and madness for the heroines, as Burney "expresses the ideological tensions inherent in the lives of eighteenth-century middle-class women--and the strain of writing them into consciousness" (22).
  • Kristina Straub, "Fanny Burney's Evelina and the 'Gulphs, Pits, and Precipices' of Eighteenth-Century Female Life," The Eighteenth Century: Theory and Interpretation 27, no. 3 (1986): 230-46.
  • Kristina Straub, "Frances Burney and the Rise of the Woman Novelist," in The Columbia History of the British Novel, ed. John Richetti, John Bender, Dierdre David, and Michael Seidel (New York: Columbia Univ. Press, 1994), 199-219.
  • Kristina Straub, "Women's Pastimes and the Ambiguity of Female Self-Identification in Fanny Burney's Evelina," Eighteenth-Century Life 10, no. 2 (1986): 58-72.
  • Colleen Jane Taylor, Corresponding Sentiments: Value, the Commodity Form, and the Emergence of the Epistolary Novel (Evanston: Northwestern Univ. Press, 1996).
  • Janice Thaddeus, "Hoards of Sorrow: Hester Lynch Piozzi, Frances Burney d'Arblay, and Intimate Death," Eighteenth-Century Life 14, no. 3 (1990): 108-29.
  • Janet Todd, "Woman as Artist in the Late Eighteenth Century," Studies on Voltaire and the Eighteenth-Century 264 (1989): 1157-59.
  • Irene Tucker, "Writing Home: Evelina, the Epistolary Novel and the Paradox of Property," ELH 60, no. 2 (1993): 419-39.
  • Jennifer A Wagner, "Privacy and Anonymity in Evelina," in Evelina, ed. Bloom, pp. 99-109. Wagner analyses the depiction of public and private space in the novel, and notes that anonymity is a significant defensive and self-preserving strategy not only for the heroine, but for the writer.
  • John Wiltshire, "Fanny Burney's Face, Madame d'Arblay's Veil," in Literature and Medicine during the Eighteenth Century, ed. Marie Mulvey Roberts and Roy Porter (London: Routledge, 1993), 245-65.
  • John Wiltshire, "Love unto Death: Fanny Burney's 'Narrative of the Last Illness and Death of General d'Arblay' (1820)," Literature and Medicine 12, no. 2 (1993): 215-35.
  
  

• Burney's Drama

  • Barbara Darby, Frances Burney, Dramatist: Gender, Performance, and the Late-Eighteenth-Century Stage (Lexington: Univ. Press of Kentucky, 1997). Darby analyses all of Burney's drama from a standpoint of feminist performance theory, arguing that Burney's plays explore the nature of female experience by depicting the restrictions to women's marital choices by family and finance (Burney's comedies) or threats to women's bodily comfort and security enacted by political coersion (the tragedies).
  • Barbara Darby, "Frances Burney's Dramatic Mothers," English Studies in Canada 23, no. 1 (1997): 22-41. This article analyses Burney's representation of mother-figures in "The Woman-Hater" and "Elberta."
  • Barbara Darby, "Tragedy, Feminism, and Frances Burney's Edwy and Elgiva," Journal of Dramatic Theory and Criticism 10, no. 2 (1997): 3-23. This article analyses Burney's exploration of physical trauma in her first tragedy.
  • Joyce Hemlow, "Fanny Burney: Playwright," University of Toronto Quarterly 19 (1950): 170-89. This pioneering article offers a good overview of the plays, their plots and characters, and some circumstances of their composition.
  • Marjorie Lee Morrison, Fanny Burney and the Theatre, Ph.D. diss. (University of Texas, 1957). Morrison discusses Burney's plays and representations of the theatre in her novels. The plays are implicitly read as weak versions of Burney's fiction.
  • Elizabeth Yost Mulliken, The Influence of the Drama on Fanny Burney's Novels, Ph.D. diss. (Univ. of Wisconsin, 1969).
  • Peter Sabor, "'Alter'd, improved, copied, abridged': Alexandre d'Arblay's Revisions to Edwy and Elgiva," Lumen 14 (1995): 127-37. Sabor's analysis of the manuscripts of Burney's first tragedy reveal her husband to be a full participant in the revisions to her play and an adept reader and critic of it.
  • Peter Sabor, "The Rediscovery of Burney's Drama," Lumen 8 (1994): 145-56. Sabor's article offers an excellent overview of some of the circumstances of Burney's composition of her plays, their production history (including 20th century productions), and the response of commentators and editors from the 19th century to the present.
  • Sandra Sherman, "'Does Your Ladyship Mean an Extempore?' Wit, Leisure, and the Mode of Production in Frances Burney's The Witlings," Centennial Review 40, no. 2 (1996): 401-28.
  • Evelyn Shirley Shuckburgh, "Madame d'Arblay," Macmillan's Magazine (1890): 291-98. This is an early commentary on Burney's drama, especially Edwy and Elgiva.
  
  

Electronic Resources

• Barbara Darby, Frances Burney Page (http://is.dal.ca/~bdarby/burney.html).

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