See also:

• MARIE

MARIE See also:

• CORELLI, ARCANGELO (1653-1713)
• MARIE CORELLI (1864- )

CORELLI (1864- )  , See also:

• ENGLISH

English novelist, was the daughter of an See also:

• ITALIAN

Italian See also:

• FATHER

father and a Scottish See also:

• MOTHER

mother, but in See also:

• INFANCY

infancy was adopted by See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles See also:

• MACKAY
• MACKAY, CHARLES (1814–1889)
• MACKAY, HUGH (c. 164o-169z)
• MACKAY, JOHN WILLIAM (1831–1902)

Mackay (q.v.), the See also:

• SONG

song-writer and journalist, whose son See also:

• ERIC

Eric, at his See also:

• DEATH

death, became her See also:

• GUARDIAN

guardian . She was sent to be educated in a See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent with the See also:

• OBJECT

object of training her for the musical profession, and while still a girl composed various pieces of See also:

• MUSIC

music . But her journalistic connexion proved a stronger stimulus to expression, and editors who were See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends of her adopted father printed some of her See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• POETRY

poetry . Then she produced what was at least a See also:

• CLEVER

clever, if not a remarkably well written, romantic See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story, on the theme of a self-See also:

• REVELATION, BOOK OF

revelation connecting the See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian Deity with a See also:

• WORLD

world force in the See also:

• FORM (Lat. forma)

form of See also:

• ELECTRICITY

electricity, which was published in 1886 under the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of A See also:

• ROMANCE

Romance of Two Worlds . It had an immediate and large See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale, which resulted, naturally, in her devoting her inventive See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty to satisfy the public demand for similar See also:

• WORK

work . Thus she wrote in See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession a See also:

• SERIES (a Latin word from serere, to join)

series of melodramatic romantic novels, See also:

• ORIGINAL

original in some aspects of their treatment, daring in others, but all combining a readable See also:

• PLOT
• PLOT, ROBERT (164o-1696)

plot with enough au fond of what the See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority demanded in ethical and religious correctness to suit a widespread contemporary See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste; these were See also:

• VENDETTA (Ital. from Lat. vindicta, revenge, vindicare, to defend oneself)

Vendetta (1886), Thelma (1887), Ardath (1889), The Soul of See also:

• LILITH (Heb. lildtu, " night "; hence " night-monster ")

Lilith (1892), Barabbas (1893), The Sorrows of Satan (1895),-the very titles were catching,—The Mighty See also:

• ATOM (Gr. &rows, indivisible, from a- privative, and TE,aPfw, to cut)

Atom (1896),-which appealed to all who knew enough of See also:

• MODERN

modern See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science to wish to think it wicked, —and others, down to The See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

Master Christian (1900), again satisfying the socio-ethico-religious demand, and Temporal See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

Power (1902), with its contemporary See also:

• SUGGESTION

suggestion from the See also:

• ACCESSION (from Lat. accedere, to go to, to approach)

accession of See also:

• EDWARD

Edward VII . See also:

• MISS

Miss See also:

• CORELLI, ARCANGELO (1653-1713)
• CORELLI, MARIE (1864- )

Corelli had the See also:

• ADVANTAGE

advantage of See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing quite sincerely and with conviction, amid what See also:

• SUPERIOR

superior critics sneered at as See also:

• BAD, BCD

bad See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style and See also:

• SENSATIONALISM

sensationalism, on themes which conventional readers nevertheless enjoyed, and See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round plots which were dramatic and vigorous . Her popular success was See also:

• GREAT

great and advertised itself . It was helped by a well-spread belief that See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria preferred her novels to any other . Reviewers wrote sarcastically, and justly, of her obvious See also:

• LITERARY

literary lapses and failings; she retorted by pitying the poor reviewers and letting it be understood that no books of hers were sent to the See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

Press for See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism . When she went to live at See also:

• STRATFORD
• STRATFORD, JOHN DE (d. 1348)

Stratford-on-See also:

• AVON

Avon, her See also:

• PERSONALITY (from Lat. persona, originally an actor's mask, from personare,1 to sound through)

personality, and her importance in the literary world, became further allied with the historic associations of the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place; and in the public See also:

• LIFE

life of See also:

• WOMEN

women writers her utterances had the reclame which is emphasized by journalistic publicity . Such success is not to be gauged by purely literary See also:

• STANDARDS

standards; the popularity of Miss Corelli's novels is a phenomenon not so much of literature as of literary See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy—entirely creditable to the journalistic resource of the writer, and characteristic of contemporary See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

pleasure in readable fiction .