Charlotte Turner Smith ((1749-05-04)4 May 1749 – (1806-10-28)28 October 1806) was an English novelist and a Romantic poet, who initiated a revival of the English sonnet,[1] helped to set the conventions for Gothic fiction and wrote political novels of sensibility. She wrote ten novels, three poetry books, four children's books and other works, but saw herself primarily as a poet, poetry being seen the most exalted form of literature at the time. Scholars credit her with turning the sonnet into an expression of woeful sentiment.[2] In adulthood, she eventually left her husband Benjamin Smith and began writing to support their children. Her struggle to do so and vain efforts to gain legal protection as a woman gave themes for her poetry and novels; she included portraits of herself and her family, and details of her life in her prefaces. Her early novels exercise aesthetic development, particularly the Gothic and sentimentality. Her later ones such as The Old Manor House, often seen as her best, supported the ideals of the French Revolution. Her popularity waned and by 1803 she was destitute, barely able to hold a pen, and sold off her book rights to pay her debts. She died in 1806. Largely forgotten by the mid-19th century, she has recently been recognised as a major Romantic writer.
Charlotte Turner was born on 4 May 1749 in London and baptised on 12 June; she was the oldest child of well-to-do Nicholas Turner and Anna Towers. Her two younger siblings, Nicholas and Catherine Ann, were born within the next five years.[3] Smith received a typical education for a girl in a wealthy family during the late 18th century. Smith's childhood was shaped by her mother's early death (probably in giving birth to Catherine) and her father's reckless spending.[4] After losing his wife, Nicholas Turner travelled and the children were raised by Lucy Towers, their maternal aunt; when exactly their father returned is unknown.[3]
At the age of six, Charlotte went to school in Chichester and took drawing lessons from the painter George Smith. Two years later, she, her aunt, and her sister moved to London and she attended a girls' school in Kensington, where she learned dancing, drawing, music, and acting. She loved to read and wrote poems, which her father encouraged. She even submitted a few to the Lady's Magazine for publication, but they were not accepted.[3]
Marriage and first publication
Smith signed herself "Charlotte Smith of Bignor Park" on the title page of Elegiac Sonnets, claiming the role of gentlewoman.
Nicholas Turner encountered financial difficulties on his return to England and was forced to sell some of the family's holdings and marry the wealthy Henrietta Meriton in 1765. His daughter entered society at the age of 12, leaving school and being tutored at home. His reckless spending then forced her to marry early. In a marriage that she later described as prostitution, she was given by her father to a violent and profligate man. On 23 February 1765, at the age of 15, she married Benjamin Smith, the son of Richard Smith, a wealthy West Indian merchant and a director of the East India Company. The proposal was accepted for her by her father;[3] forty years later, Smith condemned her father's action, which she wrote had turned her into a "legal prostitute".[4]
The Smiths had twelve children. In 1766, Charlotte and Benjamin had their first child, who died the next year just days after the birth of their second, Benjamin Berney (1767–1777).[upper-alpha 1] Between 1767 and 1785, the couple had ten more children: William Towers (b.1768), Charlotte Mary (b.1769), Braithwaite (b. 1770), Nicholas Hankey (1771–1837), Charles Dyer (b.1773),[upper-alpha 1] Anna Augusta (1774–94), Lucy Eleanor (b. 1776), Lionel (1778–1842), Harriet (b.c.1782), and George (b.c.1785). Six of Smith's children survived her.[3]
The Smith marriage was unhappy. She detested living in commercial Cheapside (the family later moved to Southgate and Tottenham) and argued with her in-laws, whom she saw as unrefined and uneducated. They in turn mocked her for spending time reading, writing, and drawing. Even worse, Benjamin proved to be violent, unfaithful and profligate. Only her father-in-law, Richard, appreciated her writing abilities, although he wanted her to use them to further his business interests.[4] Richard Smith owned plantations in Barbados and he and his second wife brought five slaves to England, who, along with their descendants, were included as part of the family property in his will. Although Charlotte Smith later argued against slavery in works such as The Old Manor House (1793) and Beachy Head, she herself benefited from the income and slave labour of Richard Smith's plantations,[3] and assisted in the family business that her husband had abandoned by helping Richard Smith with his correspondence.
She persuaded Richard to set Benjamin up as a gentleman farmer in Hampshire and lived with him at Lys Farm,[5]Bramdean, about 10 miles east of Winchester, from 1774 until 1783.[3] Worried about Charlotte's future and that of his grandchildren and concerned that his son would continue his irresponsible ways, Richard Smith willed the majority of his property to Charlotte's children. However, because he had drawn up the will himself, the documents contained legal problems. The inheritance, originally worth nearly £36,000, was tied up in chancery after his death in 1776 for almost 40 years. Smith and her children saw little of it.[3] (It has been proposed that this may have inspired the famous fictional case of interminable legal proceedings, Jarndyce and Jarndyce, in Dickens's Bleak House.[6]
In fact, Benjamin illegally spent at least a third of the legacy and ended up in King's Bench Prison, a debtor's prison, in December 1783. Smith moved in with him and it was in this environment that she wrote and published her first work.[4]Elegiac Sonnets (1784) achieved instant success, allowing Charlotte to pay for their release from prison. Smith's sonnets helped initiate a revival of the form and granted an aura of respectability to her later novels, as poetry was then considered the highest art form. Smith revised Elegiac Poems several times over the years, eventually creating a two-volume work.[4]
Novelist and poet
Smith believed that her poetry, not her novels, granted her respectability.
Smith's husband fled to France to escape his creditors. She joined him there, until, thanks largely to her, he was able to return to England.
After Benjamin Smith was released from prison, the entire family moved to Dieppe, France to avoid further creditors. Charlotte returned to negotiate with them, but failed to come to an agreement. She went back to France and in 1784 began translating works from French into English. In 1787 she published The Romance of Real Life, consisting of translated selections from François Gayot de Pitaval's trials. She was forced to withdraw her other translation, Manon Lescaut, after it was argued that the work was immoral and plagiarised. In 1786, she published it anonymously.[3]
In 1785, the family returned to England and moved to Woolbeding House near Midhurst, Sussex.[3] Smith's relationship with her husband did not improve and on 15 April 1787, after twenty-two years of marriage, she left him. She wrote that she might "have been contented to reside in the same house with him", had not "his temper been so capricious and often so cruel" that her "life was not safe".[4] When Charlotte left Benjamin, she did not secure a legal agreement to protect her profits – he would have access to them under English primogeniture laws.[3] Smith knew that her children's future rested on a successful settlement of the lawsuit over her father-in-law's will, and so made every effort to earn enough money to fund the suit and retain the family's genteel status.[4]
Smith claimed the position of gentlewoman, signing herself "Charlotte Smith of Bignor Park" on the title page of Elegiac Sonnets.[3] All of her works were published under her own name, "a daring decision" for a woman at the time. Her success as a poet allowed her to make this choice.[3] Throughout her career, Smith identified herself as a poet. Although she published far more prose than poetry and her novels brought her more money and fame, she believed poetry would bring her respectability. As Sarah Zimmerman claimed in the Oxford Dictionary of National Biography, "She prized her verse for the role it gave her as a private woman whose sorrows were submitted only reluctantly to the public."[3]
After separating from her husband, Smith moved to a town near Chichester and decided to write novels, as they would make more money than poetry. Her first novel, Emmeline (1788), was a success, selling 1500 copies within months. She wrote nine more in the next ten years: Ethelinde (1789), Celestina (1791), Desmond (1792), The Old Manor House (1793), The Wanderings of Warwick (1794), The Banished Man (1794), Montalbert (1795), Marchmont (1796), and The Young Philosopher (1798). Smith began her career as a novelist in the 1780s, at a time when women's fiction was expected to focus on romance and to foreground "a chaste and flawless heroine subjected to repeated melodramatic distresses until reinstated in society by the virtuous hero".[4] Although Smith's novels employed this structure, they also incorporated political commentary, particularly support of the French Revolution, through the voices of male characters. At times, she challenged the typical romance plot by including "narratives of female desire" or "tales of females suffering despotism".[4] Smith's novels contributed to the development of Gothic fiction and the novel of sensibility.[3]
Smith's novels include autobiographical characters and events. While a common device at the time, Antje Blank writes in The Literary Encyclopedia, "few exploited fiction's potential of self-representation with such determination as Smith".[4] For example, Mr and Mrs Stafford in Emmeline are portraits of Charlotte and Benjamin.[3] She suffered sorely throughout her life. Her mother died in childbirth when Charlotte was three. Charlotte's own first child died a day after her second child, Benjamin Berney, was born and Benjamin Berney lived only ten years. The prefaces to Smith's novels told the story of her own struggles, including the deaths of several of her children. According to Zimmerman, "Smith mourned most publicly for her daughter Anna Augusta, who married an émigré...and died aged twenty in 1795."[3] Smith's prefaces positioned her as both a suffering sentimental heroine and a vocal critic of the laws that kept her and her children in poverty.[4]
The Young Philosopher was Smith's last novel and a piece of "outspoken radical fiction".
Smith's experiences prompted her to argue for legal reforms that would grant women more rights, making the case for these through her novels. Her stories showed the "legal, economic, and sexual exploitation" of women by marriage and property laws. Initially readers were swayed by her arguments and writers such as William Cowper patronised her. However, as years passed, readers became exhausted by Smith's stories of struggle and inequality. Public opinion shifted towards the view of the poet Anna Seward, who argued that Smith was "vain" and "indelicate" for exposing her husband to "public contempt".[4]
Smith became involved with English radicals while living in Brighton from 1791 to 1793. Like them, she supported the French Revolution and its republican principles. Her epistolary novelDesmond tells of a man journeying to revolutionary France and convinced of the rightness of the revolution. He contends that England should be reformed as well. The novel was published in June 1792, a year before France and Britain went to war and before the Reign of Terror began, which shocked the British public, turning them against the revolutionaries.[3] Like many radicals, Smith criticised the French, but still endorsed the original ideals of the revolution.[3] To support her family, Smith had to sell her works, and so was eventually forced, as Blank claims, to "tone down the radicalism that had characterised the authorial voice in Desmond and adopt more oblique techniques to express her libertarian ideals".[4] She set her next novel, The Old Manor House (1793), during the American War of Independence, which allowed her to discuss democratic reform without directly addressing the French situation. However, in her last novel, The Young Philosopher (1798), Smith wrote a final piece of "outspoken radical fiction".[4] Her protagonist leaves Britain for America, as there is no hope for reform in Britain.
Smith earned the most money between 1787 and 1798, after which she was no longer as popular; several reasons have been suggested for the public's declining interest in Smith, including "a corresponding erosion of the quality of her work after so many years of literary labour, an eventual waning of readerly interest as she published, on average, one work per year for twenty-two years, and a controversy that attached to her public profile" as she wrote about the French Revolution.[3] Both radical and conservative periodicals criticized her novels about the revolution. Her insistence on pursuing the lawsuit over Richard Smith's inheritance lost her several patrons. Also, her increasingly blunt prefaces made her less appealing.[3]
To continue earning money, Smith began writing in less politically charged genres.[4] She published a collection of tales, Letters of a Solitary Wanderer (1801–1802) and the play What Is She? (1799, attributed). Her most successful new foray was into children's literature: Rural Walks (1795), Rambles Farther (1796), Minor Morals (1798), and Conversations Introducing Poetry (1804). She also wrote two volumes of a history of England (1806) and A Natural History of Birds (1807, posthumous). She returned to writing poetry: Beachy Head and Other Poems (1807) was published posthumously.[3] Publishers did not pay as much for these works, however, and by 1803, Smith was poverty-stricken. She could barely afford food and had no coal. She even sold her beloved library of 500 books in order to pay off debts, but feared being sent to jail for the remaining £20.[4]
Illness and death
Smith complained of gout for many years (it was probably rheumatoid arthritis), which made it increasingly difficult and painful for her to write. By the end of her life, it had almost paralysed her. She wrote to a friend that she was "literally vegetating, for I have very little locomotive powers beyond those that appertain to a cauliflower".[4] On 23 February 1806, her husband died in a debtors' prison and Smith finally received some of the money he owed her, but she was too ill to do anything with it. She died a few months later, on 28 October 1806, at Tilford and was buried at Stoke Church, Stoke Park, near Guildford. The lawsuit over her father-in-law's estate was settled seven years later, on 22 April 1813, more than 36 years after Richard Smith's death.[3]
Literary circle
Smith's novels were read and critiqued by her friends, who were also writers, as she would return the favour and they found it beneficial to improve and encourage each other's work. Ann Radcliffe, who also wrote novels in Gothic fiction, was among these friends. Along with praise, Smith also received backlash from other writers. "Jane Austen – though she ridiculed Smith's novels, actually borrowed plot, character, and incident from them."[7] John Bennet (1792) wrote that "the little sonnets of Miss Charlotte Smith are soft, pensive, sentimental and pathetic, as a woman's productions should be. The muses, if I mistake not, will, in time, raise her to a considerable eminence. She has, as yet, stepped forth only in little things, with a diffidence that is characteristic of real genius in its first attempts. Her next public entre may be more in style, and more consequential."[8] Smith is never too specific about her republicanism; her ideas rest on the scholars Rousseau, Voltaire Diderot, Montesquieu, and John Locke.[9] "Charlotte Smith tried not to swim too strongly against the current of public view, because she needed to sell her novels in order to provide for her children".[10]
Robert Southey, a poet and contributor to the early Romanticist movement, also sympathised with Smith's hardships. He even says, "[although] she has done more and done better than other women writers, it has not been her whole employment — she is not looking out for admiration and talking to show off."[upper-alpha 2] In addition to Jane Austen, Henrietta O'Neill, Reverend Joseph Cooper Walker, and Sarah Rose were people Smith considered trusted friends. After becoming famous for marrying into a great Irish home, Henrietta O'Neill, like Austen, provided Smith "with a poetic, sympathetic friendship and with literary connections."[7] Henrietta helped her gain an "entry into a fashionable, literary world to which she otherwise had little access; here she almost certainly met Dr. Moore (author of A View of Society and Manners in Italy and Zeluco) and Lady Londonderry, among others.[7]
One of Smith's longest friends and respected mentors was Reverend Joseph Cooper Walker, an antiquarian and writer of Dublin. "Walker handled her dealings with John Rice, who published Dublin editions of many of her works. She confided openly in Walker about literary and familial matters."[7] Through the publication of personal letters Smith sent to a close companion, Sarah Rose, readers are shown a far more positive and joyful side to Smith. Although today his writing is seen as mediocre, William Hayley, another friend of Smith's, was "liked, respected, influential" during their time, especially as he was offered the laureateship upon the death of Thomas Warton."[7] As time went on, Hayley Smith withdrew his support from her in 1794 and corresponded with her infrequently after that. Smith perceived Hayley's actions as betrayal; he would often make claims that she was a "Lady of signal sorrows, signal woes." Even with her success as a writer and handful of accredited friends throughout her lifetime Smith was "sadly isolated from other writers and literary friends."[7] Although many believed Hayley's statements to be true, many saw Smith as a "woman of signal achievement, energy, ambition, devotion, and sacrifice. Her children and her literary career evoked from her best efforts, and did so in about equal measure."[7]
Legacy and critical reputation
Stuart Curran, as editor of Smith's poems, has written that she is "the first poet in England whom in retrospect we would call Romantic". She helped shape the "patterns of thought and conventions of style" for the period and was responsible for rekindling the sonnet form in England. She influenced popular Romantic poets of her time such as, William Wordsworth and John Keats. Wordsworth, the leading Romantic poet, believed that Smith wrote "with true feeling for rural nature, at a time when nature was not much regarded by English Poets".[upper-alpha 2] He also stated in the 1830s that she was "a lady to whom English verse is under greater obligations than are likely to be either acknowledged or remembered."[3] By the mid-19th century, however, Smith was largely forgotten.[11] Smith was respected for also for her ten novels, publishing works in a variety of genres. These include Gothic, revolutionary, educational, epistolary but always incorporating the novel of sensibility.[7] Although they have yet to receive any "critical attention" today, Smith was famous for children's books she wrote in her writing period.[upper-alpha 2] Smith is noted as one of the most popular poets of her time. One of the first poets to receive a salary, Henry James Pye claimed Smith was "[excelled] in two species of composition so different as the novel and the sonnet, and whose powers are so equally capable of charming the imagination, and awakening the passions."[upper-alpha 2]
Smith is known for striving to produce her writing at the same level and expectation as Anna Barbauld and famous political economist, Francis Edgeworth. The inspiration she received in the 17th century from these writers helped her build an audience and dominate in certain genres. Smith was notorious for not only expressing her personal and emotional struggles but also for the anxiety and complications she faced when it came to meeting deadlines, mailing out completed volumes, and payment advancements. She was keen in persuading her publishers to work with her issues. Smith would submit final drafts in exchange for "food, lodging, and expenses for her children".[7] Other publishers willing to negotiate with Smith throughout her career as a writer were Thomas Cadell the elder, Thomas Cadell the younger, and William Davies. Unfortunately she also struggled with disputes from "various booksellers over copyright, a printer's competence, or the quality of an engraving for an illustration. She would argue that the time was ripe for a second edition of a novel."[7]
Smith "clung to her own sense of herself as a gentlewoman of integrity".[7] The negative sides that Smith claimed to have experienced during the publication process were perceived as self-pity by many publishers of her time, affecting her relationship and reputation with them. Smith's push to be taken seriously and how she emerges as an essential figure of the "Age of Sensibility" is observed in her powerful use of vulnerability. Antje Blank of The Literary Encyclopedia states, "Few exploited fiction's potential of self-representation with such determination as Smith." Her work is defined as "squarely in the cult of sensibility: she believed in the virtue of kindness, in generosity to those less fortunate, and in the cultivation of the finer feelings of sympathy and tenderness for those who suffered needlessly."[7]
Ultimately, "Smith's autobiographical incursions" bridge the old and the new, "older poetic forms and an emerging Romantic voice."[10] Smith was a skillful satirist and political commentator on the condition of England, and this is, I think, the most interesting aspect of her fiction and the one that had most influence on later writers."[10] Oneț felt that Smith's work "rejected an identity defined exclusively by emotionality, matrimony, the family unit, and female sexuality." Overall Smith's career in writing was rejoiced, well perceived and popular until her later years of living. "Smith deserves to be read not simply as a writer whose work demonstrates changes in taste, but as one of the primary voices of her time and a worthy contemporary of the male romantic poets."[9]
Smith's novels reappeared at the end of the 20th century, when critics "interested in the period's women poets and prose writers, the Gothic novel, the historical novel, the social problem novel, and post-colonial studies" argued for her significance as a writer.[3] They concluded that she helped to revitalise the English sonnet, a view found in Coleridge and others. Scott wrote that she "preserves in her landscapes the truth and precision of a painter" and poet. Barbauld claimed that Smith was the first to include sustained natural description in novels.[3] In 2008, Smith's complete prose became available to the general public. The edition contains all her novels, the children's stories and rural walks.[12]
Elizabeth Barrett Browning was an English poet of the Victorian era, popular in Britain and the United States during her lifetime.
This article focuses on poetry from the United Kingdom written in the English language. The article does not cover poetry from other countries where the English language is spoken, including Southern Ireland after December 1922.
Anna Laetitia Barbauld was a prominent English poet, essayist, literary critic, editor, and author of children's literature. A "woman of letters" who published in multiple genres, Barbauld had a successful writing career at a time when women rarely wrote professionally.
Anna Seward was an English Romantic poet, often called the Swan of Lichfield. She benefited from her father's progressive views on female education.
Mary Robinson was an English actress, poet, dramatist, novelist, and celebrity figure. She lived in England, in the cities of Bristol and London; she also lived in France and Germany for a time. She enjoyed poetry from the age of seven and started working, first as a teacher and then as actress, from the age of fourteen. She wrote many plays, poems and novels. She was a celebrity, gossiped about in newspapers, famous for her acting and writing. During her lifetime she was known as "the English Sappho". She earned her nickname "Perdita" for her role as Perdita in 1779. She was the first public mistress of King George IV while he was still Prince of Wales.
Jane West, who published as Prudentia Homespun and Mrs. West, was an English novelist, poet, playwright, and writer of conduct literature and educational tracts.
Victorian literature refers to English literature during the reign of Queen Victoria (1837-1901). The 19th century is widely considered to be the Golden Age of English Literature, especially for British novels. It was in the Victorian era (1837–1901) that the novel became the leading literary genre in English. English writing from this era reflects the major transformations in most aspects of English life, from scientific, economic, and technological advances to changes in class structures and the role of religion in society. Famous novelists from this period include Charles Dickens, William Thackeray, the three Brontë sisters, George Eliot, and Thomas Hardy.
Sentimental poetry is a melodramatic poetic form. It is aimed primarily at stimulating the emotions rather than at communicating experience truthfully. Bereavement is a common theme of sentimental poetry.
Nationality words link to articles with information on the nation's poetry or literature.
Edith Matilda Thomas was an American poet who "was one of the first poets to capture successfully the excitement of the modern city."
Emmeline, The Orphan of the Castle is the first novel written by English writer Charlotte Turner Smith; it was published in 1788. A Cinderella story in which the heroine stands outside the traditional economic structures of English society and ends up wealthy and happy, the novel is a fantasy. At the same time, it criticises the traditional marriage arrangements of the 18th century, which allowed women little choice and prioritised the needs of the family. Smith's criticisms of marriage stemmed from her personal experience and several of the secondary characters are thinly veiled depictions of her family, a technique which both intrigued and repelled contemporary readers.
Celestina is an eighteenth-century English novel and poet Charlotte Turner Smith’s third novel. Published in 1791 by Thomas Cadell, the novel tells the story of an adopted orphan who discovers the secret of her parentage and marries the man she loves. It is a courtship novel that follows the typical Cinderella plot while still commenting on contemporary political issues.
Romanticism was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century. Scholars regard the publishing of William Wordsworth's and Samuel Coleridge's Lyrical Ballads in 1798 as probably the beginning of the movement, and the crowning of Queen Victoria in 1837 as its end. Romanticism arrived in other parts of the English-speaking world later; in America, it arrived around 1820.
Richard Smith (1707–1776) was an English merchant in the West Indies trade, and director of the East India Company.
Elegiac Sonnets, titled Elegiac Sonnets, and Other Essays by Charlotte Sussman of Bignor Park, in Sussex in its first edition, is a collection of poetry written by Charlotte Turner Smith, first published in 1784. It was widely popular and frequently reprinted, with Smith adding more poems over time. Elegiac Sonnets is credited with re-popularizing the sonnet form in the eighteenth century. It is notable for its poetic representations of personal emotion, which made it an important early text in the Romantic literary movement.
Beachy Head is a long blank verse poem by the English Romantic poet and novelist Charlotte Turner Smith, published in 1807, the year after her death, as part of the volume Beachy Head and Other Poems. The poem imagines events at the coastal cliffs of Beachy Head from across England's history, to meditate on what Smith saw as the modern corruption caused by commerce and nationalism. It was her last poetic work, and has been described as her most poetically ambitious work. As a Romantic poem, it is notable for its naturalist rather than sublime presentation of the natural world.
The Old Manor House is a novel by Charlotte Turner Smith, first published in 1793. The plot tells the love story of a gentleman, Orlando Somerive, and his aunt's servant, Monimia Morysine. The novel blends gothic, sentimental, and political narrative techniques to present a "polemical romance," depicting the American revolution of the 1770s to comment on the ongoing French revolution of the 1790s. Smith particularly critiqued the injustices of war and property laws. The Old Manor House is sometimes considered the best of Charlotte Smith's ten novels, drawing particular praise for its deep characterization, engaging plot, and descriptions of nature.
"To The South Downs," also known as Charlotte Turner Smith's "Sonnet V," is one of Smith's earliest sonnets and the first to describe the River Arun and her childhood landscape. The poem first appeared in the first edition of Smith's Elegiac Sonnets in 1784.
"On Being Cautioned Against Walking on an Headland Overlooking the Sea, Because it was Frequented by a Lunatic", also known as Charlotte Turner Smith's Sonnet LXX, is an early Romantic poem which uses imagery of the sea and of madness to express poetic melancholy. It was first published in 1797, in the eighth edition of Smith's Elegiac Sonnets.
The Emigrants is a narrative blank verse poem by Charlotte Turner Smith first published in 1793.
Blank, Antje (2003). "Charlotte Smith". In Todd, Janet; Cook, Daniel; Robinson, Daniel (eds.). Charlotte Smith. The Literary Encyclopedia. Volume 1.2.1.06: English Writing and Culture of the Romantic Period, 1789–1837. Archived from the original on 13 Oct 2003.|volume= has extra text (help)
Curran, Stuart, ed. (2005). The Works of Charlotte Smith (14 vols). Part I: vols 1–5. Volume Editors: Adriana Craciun,Stuart Curran,Kate Davies,Elizabeth Dolan,Ina Ferris,Michael Gamer,M O Grenby,Harriet Guest,Jacqueline Labbe,D L Macdonald,A A Markley,Judith Pascoe,Judith Stanton & Kristina Straub. Pickering & Chatto / Routledge. ISBN978-1851967896.
Goodman, Kevis (Fall 2014). "Conjectures on Beachy Head: Charlotte Smith's Geological Poetics and the Ground of the Present". ELH. JHUP. 81 (3): 983–1006. doi:10.1353/elh.2014.0033. S2CID161287287.
Hart, Monica Smith (2010). "Charlotte Smith's Exilic Persona". Partial Answers: Journal of Literature and the History of Ideas. JHUP. 8 (2): 305–323. doi:10.1353/pan.0.0183. S2CID144555993.
Hoeveler, Diane Long (1998). Gothic Feminism: The Professionalization of Gender from Charlotte Smith to the Brontës. Penn State UP. ISBN978-0271033617.
Keane, Angela (2001). Women Writers and the English Nation in the 1790s: Romantic Belongings. Cambridge Studies in Romanticism. 44. CUP. ISBN978-0521773423.
Kelley, Theresa M (2004). "Romantic Histories: Charlotte Smith and Beachy Head". Nineteenth-Century Literature. U California P. 59 (3): 281–314. doi:10.1525/ncl.2004.59.3.281.
Kelley, Theresa M (2012). Clandestine Marriage: Botany and Romantic Culture. JHUP. ISBN978-1421407609.
Pascoe, Judith (1994). "Female Botanists and the Poetry of Charlotte Smith". In Wilson, Carol Shiner; Haefner, Joel (eds.). Re-Visioning Romanticism: British Women Writers, 1776–1837. Pennsylvania UP. pp.193–209. ISBN978-0812214215.
Scarth, Kate (2014). "Elite Metropolitan Culture, Women, and Greater London in Charlotte Smith's Emmeline and Celestina". European Romantic Review. Taylor and Francis. 25 (5): 629–648. doi:10.1080/10509585.2014.938230. S2CID145513731.
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