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Catherine: A Story was the first full-length work of fiction produced by William Makepeace Thackeray. It first appeared in serialized instalments in Fraser's Magazine between May 1839 and February 1840, credited to "Ikey Solomons, Esq. Junior". Thackeray's original intention in writing it was to criticize the Newgate school of crime fiction, exemplified by Bulwer-Lytton and Harrison Ainsworth ...
William Makepeace Thackeray, Donald Hawes (editor), J.I.M. Stewart (Editor) 3.70 avg rating — 373 ratings — published 1850 — 101 editions. Want to Read. saving….
2 de jan. de 2007 · Catherine. would bring together Thackeray’s gift of mimicry with his interest in history and the theatre, as he lampooned the popular Newgate novels of the 1830s. It is perhaps because of its topical subject matter and tonal disparities that. Catherine’s. critical popularity has waned.
Other articles where Catherine is discussed: William Makepeace Thackeray: Early writings: …fantasy of soldiering in India; Catherine (1839–40), a burlesque of the popular “Newgate novels” of romanticized crime and low life, and itself a good realistic crime story; The History of Samuel Titmarsh and the Great Hoggarty Diamond (1841), which was an earlier version of the young married ...
Catherine appears in Fraser’s. Catherine, Thackeray’s first true novelistic work of fiction, appeared serially in Fraser’s from 1839-1840. Inspired by an 18th-century account of Catherine Hayes, burnt alive for the murder of her husband, Thackeray parodied popular crime novels in which criminals were made to seem heroic.
William Makepeace Thackeray (July 18, 1811 – December 24, 1863) was an English novelist of the nineteenth century. He was famous for his satirical works, particularly Vanity Fair, a panoramic portrait of English society. Its heroine, Becky Sharp, is one of the stronger female characters to emerge from the nineteenth century.
Written in 1839-40 for Fraser's Magazine, Catherine was Thackeray's first novel. Although originally intended as a spoof of the 1830s Newgate school of criminal romance, it has intrinsic merit of its own for its cynical narrator and roguish heroine, both of whom harbinger similar creations in Vanity Fair eight years later.
