The quotations, citations, and other references made by women writers in the WWO collection.
| Source Text(definition of “Source text”) | Gesture(definition of “Intertextual gesture”) | Referenced Work(definition of “Referenced work”) | |||
|---|---|---|---|---|---|
| Text | Topics & Genres (definition of “Topic”) | Text of the Gesture | Gesture Type (The Terminology page on “”) | Text | Topics & Genres (definition of “Topic”) |
| Callcott, Lady Maria (Dundas). Letters on India. 1814. | “That spirit from which these created beings proceed; through which, having proceeded from it, they live; toward which they tend, and in which they are ultimately absorbed, that spirit study to know; that spirit is the great one.” | quote | Jones, William. “Discourse the Eleventh. On the Philosophy of the Asiaticks.” The Works of Sir William Jones, with The Life of the Author. 1807. | ||
| Callcott, Lady Maria (Dundas). Letters on India. 1814. | “Among other Indian curiosities which Callisthenes transmitted to his uncle, was a technical system of logic which the Brahmins had communicated to the inquisitive Greek,” | quote | Jones, William. “Discourse the Eleventh. On the Philosophy of the Asiaticks.” The Works of Sir William Jones, with The Life of the Author. 1807. | ||
| Callcott, Lady Maria (Dundas). Letters on India. 1814. | “as the sandal tree in the instant of its overthrow sheds perfume on the axe that fells it.” | quote | Jones, William. “Discourse the Eleventh. On the Philosophy of the Asiaticks.” The Works of Sir William Jones, with The Life of the Author. 1807. | ||
| Callcott, Lady Maria (Dundas). Letters on India. 1814. | “The Ram, Bull, Crab, Lion, and Scorpion have the figures of those give animals respectively: the Pair are a damsel playing on a vina, and a youth wielding a mace: the Virgin stands on a boat in water, holding in one hand a lamp, and in the other an ear of rice-corn: the Balance is held by a weigher with a weight in one hand: the Bow by an archer whose hinder parts were like those of a horse: the Sea Monster has the face of an antelope: the Ewer is a water-pot borne on the shoulders of a man who empties it: the Fish are two with their heads turned to each other's tails; and all these are supposed to be in such places as suit their several natures.” | quote | Jones, William. On the Antiquity of the Indian Zodiac. | ||
| Edgeworth, Maria. Castle Rackrent. 1800. | Novel | “The Irish have been always remarkable for their funeral lamentations, and this peculiarity has been noticed by almost every traveller who visited them. And it seems derived from their Celtic ancestors, the primæval inhabitants of this isle.” | quote | Transactions of the Royal Irish Academy. 1787 – 1907. | |
| Edgeworth, Maria. Castle Rackrent. 1800. | Novel | “It has been affirmed of the Irish, that to cry was more natural to them than to any other nation, and at length the Irish cry became proverbial.” | quote | Transactions of the Royal Irish Academy. 1787 – 1907. | |
| Edgeworth, Maria. Castle Rackrent. 1800. | Novel | “Cambrensis in the twelfth century says, the Irish then musically expressed their griefs; that is, they applied the musical art, in which they excelled all others, to the orderly celebration of funeral obsequies, by dividing the mournes into two bodies, each alternately singing their part, and the whole at times joining in full chorus. * * * * * * The body of the deceased, dressed in grave clothes and ornamented with flowers, was placed on a bier or some elevated spot. The relations and Keeners (singing mourners) ranged themselves in two divisions, one at the head and the other at the feet of the corpse. The bards and croteries had before prepared the funeral Caoinan. The chief bard of the head chorus began by singing the first stanza in a low, doleful tone, which was softly accompanied by the harp: at the conclusion the foot semichorus began the lamentation, or Ullaloo, from the final note of the preceding stanza, in which they were answered by the head semichorus; then both united in one general chorus. The chorus of the first stanza being ended, the chief bard of the food semichorus began the second Gol or lamentation, in which they were answered by that of the foot, and then as before both united in the general full chorus. Thus alternately were the song and chorusses performed during the night. The genealogy, rank, possessions, the virtues and vices of the dead were rehearsed, and a number of interrogations were addressed to the deceased: as, Why did he die? If married, whether his wife was faithful to him, his sons dutiful, or good hunters or warriors? If a woman, whether her daughters were fair or chaste? If a young man, whether he had been crossed in love? or if the blue-eyed maids of Erin treated him with scorn?” | quote | Transactions of the Royal Irish Academy. 1787 – 1907. | |
| Robinson, Mary (Darby). The Poetical Works of the Late Mrs. Mary Robinson. 1806. | Poetry | “they are seldom or never sick, and all arrive at extreme old age. Even the old men are so vigorous, that it is difficult to distinguish them from the young.” | quote | Leclerc, Georges Louis. Natural History, General and Particular. 1780. | |
| Sigourney, Lydia Howard (Huntley). Traits of the Aborigines of America. 1822. | Ethnography | “Unless the Persians can ascend into the air like birds, conceal themselves in earth like mice, or beneath the waters like frogs, it is not possible for them to escape the Scythain arrows.” | quote | Transactions of the Royal Irish Academy. 1787 – 1907. | |
| Williams, Catherine Read (Arnold). The Neutral French. 1841. | Novel | “Castine never changed his wife, to convince the savages that God does not like inconstant folks.” | quote | Lahontan, Louis Armand. New Voyages to North America. 1703. | |