Lex

Browse

GenresShelvesPremiumBlog

Company

AboutJobsPartnersSell on LexAffiliates

Audio

Lex StudioVoicesFirst chapter freeAudiobook pricingAudiobook samplesAudiobook guidesAudio blog

Resources

DocsInvite FriendsFAQ

Legal

Terms of ServicePrivacy Policygeneral@lex-books.com+1 951-551-2243WhatsApp (international)

© 2026 LexBooks, Inc. All rights reserved.

Mrs. Clive

Mrs. Clive, an influential figure in the 18th-century literary scene, was known for her contributions to the genre of drama and her involvement in the burgeoning world of theatrical performance. Her most notable work, 'The Case of Mrs. Clive,' reflects her experiences and challenges as a woman in a male-dominated industry, offering a unique perspective on the societal norms of her time. Through her writing, she engaged with themes of gender, power, and the complexities of personal agency, making her a significant voice in early feminist literature. Clive's career coincided with a period of transformation in English theater, where the roles of women were beginning to evolve. She not only penned plays but also performed on stage, which provided her with firsthand insight into the struggles and triumphs of female performers. Her work contributed to the dialogue surrounding women's rights and representation in the arts, paving the way for future generations of female playwrights and actresses. Although not as widely recognized today, Mrs. Clive's legacy endures as a testament to the resilience and creativity of women in the arts during the 18th century.

Famous Quotes

View all 2 quotes

“When I first read The Rebel, this splendid line came leaping from the page like a dolphin from a wave. I memorized it instantly, and from then on Camus was my man. I wanted to write like that, in a prose that sang like poetry. I wanted to look like him. I wanted to wear a Bogart-style trench coat with the collar turned up, have an untipped Gauloise dangling from my lower lip, and die romantically in a car crash. At the time, the crash had only just happened. The wheels of the wrecked Facel Vega were practically still spinning, and at Sydney University I knew exiled French students, spiritually scarred by service in Indochina, who had met Camus in Paris: one of them claimed to have shared a girl with him. Later on, in London, I was able to arrange the trench coat and the Gauloise, although I decided to forgo the car crash until a more propitious moment. Much later, long after having realized that smoking French cigarettes was just an expensive way of inhaling nationalized industrial waste, I learned from Olivier Todd's excellent biography of Camus that the trench coat had been a gift from Arthur Koestler's wife and that the Bogart connection had been, as the academics say, no accident. Camus had wanted to look like Bogart, and Mrs. Koestler knew where to get the kit. Camus was a bit of an actor--he though, in fact, that he was a lot of an actor, although his histrionic talent was the weakest item of his theatrical equipment--and, being a bit of an actor, he was preoccupied by questions of authenticity, as truly authentic people seldom are. But under the posturing agonies about authenticity there was something better than authentic: there was something genuine. He was genuinely poetic. Being that, he could apply two tests simultaneously to his own language: the test of expressiveness, and the test of truth to life. To put it another way, he couldn't not apply them.””

Cultural Amnesia: Necessary Memories from History and the Arts

“It seems apparent, Mrs. Seagram," Ashley said sweetly, "one of us will be searching for a new dress designer first thing in the morning.""Oh, I couldn't switch," Dana replied innocently. "I've been going to Jacques Pinneigh since I was a little girl."Ashley Fleming's penciled brows raised questioningly. "Jacques Pinneigh? I've never heard of him.""He's more widely known as JCPenney," Dana smiled sweetly. "His downtown store is having a clearance sale next month. Wouldn't it be fun if we shopped together? That way we wouldn't wind up as lookalikes.””

Raise the Titanic!

“When I first read The Rebel, this splendid line came leaping from the page like a dolphin from a wave. I memorized it instantly, and from then on Camus was my man. I wanted to write like that, in a prose that sang like poetry. I wanted to look like him. I wanted to wear a Bogart-style trench coat with the collar turned up, have an untipped Gauloise dangling from my lower lip, and die romantically in a car crash. At the time, the crash had only just happened. The wheels of the wrecked Facel Vega were practically still spinning, and at Sydney University I knew exiled French students, spiritually scarred by service in Indochina, who had met Camus in Paris: one of them claimed to have shared a girl with him. Later on, in London, I was able to arrange the trench coat and the Gauloise, although I decided to forgo the car crash until a more propitious moment. Much later, long after having realized that smoking French cigarettes was just an expensive way of inhaling nationalized industrial waste, I learned from Olivier Todd's excellent biography of Camus that the trench coat had been a gift from Arthur Koestler's wife and that the Bogart connection had been, as the academics say, no accident. Camus had wanted to look like Bogart, and Mrs. Koestler knew where to get the kit. Camus was a bit of an actor--he though, in fact, that he was a lot of an actor, although his histrionic talent was the weakest item of his theatrical equipment--and, being a bit of an actor, he was preoccupied by questions of authenticity, as truly authentic people seldom are. But under the posturing agonies about authenticity there was something better than authentic: there was something genuine. He was genuinely poetic. Being that, he could apply two tests simultaneously to his own language: the test of expressiveness, and the test of truth to life. To put it another way, he couldn't not apply them.””

Cultural Amnesia: Necessary Memories from History and the Arts

“It seems apparent, Mrs. Seagram," Ashley said sweetly, "one of us will be searching for a new dress designer first thing in the morning.""Oh, I couldn't switch," Dana replied innocently. "I've been going to Jacques Pinneigh since I was a little girl."Ashley Fleming's penciled brows raised questioningly. "Jacques Pinneigh? I've never heard of him.""He's more widely known as JCPenney," Dana smiled sweetly. "His downtown store is having a clearance sale next month. Wouldn't it be fun if we shopped together? That way we wouldn't wind up as lookalikes.””

Raise the Titanic!

Books from the author

right arrow

The Case ofMrs. Clive

1744

Mrs. Clive

More authors like this

right arrow
David Hume
David Hume
1711-1776
Jean-Jacques Rousseau
Jean-Jacques Rousseau
1712-1778
Mme. Du Hausset
1713-1801
Samuel Johnson
Samuel Johnson
1709-1784
Benjamin Franklin
Benjamin Franklin
1706-1790
John Wesley
John Wesley
1703-1791
Immanuel Kant
Immanuel Kant
1724-1804
Giacomo Casanova
Giacomo Casanova
1725-1798
James Cook
James Cook
1728-1779
James Boswell
James Boswell
1740-1795
Dr. Doran
Dr. Doran
1807-1878
Thomas Jefferson
Thomas Jefferson
1743-1826
Richard Wagner
Richard Wagner
1813-1883
Fanny Burney
Fanny Burney
1752-1840
Mme. Campan
Mme. Campan
1752-1822
Robert Kerr
Robert Kerr
1755-1813

Link to this page

Add a free, dofollow link to Lex on your blog, forum, syllabus, or reading list.

Mrs. Clive on Lex
HTML
<a href="https://lex-books.com/author/mrs-clive"><img src="https://lex-books.com/badges/read-on-lex.svg" alt="Mrs. Clive on Lex" width="160" height="40"></a>
Markdown
[![Mrs. Clive on Lex](https://lex-books.com/badges/read-on-lex.svg)](https://lex-books.com/author/mrs-clive)
BBCode
[url=https://lex-books.com/author/mrs-clive][img]https://lex-books.com/badges/read-on-lex.svg[/img][/url]
Plain link
Mrs. Clive on Lex: https://lex-books.com/author/mrs-clive