Carter, Elizabeth

Carter, Elizabeth,

1717–1806, English poet and translator. Under the pen name Eliza she contributed for years to the Gentleman's Magazine. One of the group of 18th-century women known as the bluestockings, she was a friend of Johnson, Burke, Reynolds, and Horace Walpole. Collections of her poems appeared in 1738 and 1762. Her translations of Epictetus were published in 1758.


See her memoirs (1807); study by A. C. C. Gaussen (1906); Bluestocking Letters (ed. by R. B. Johnson, 1926).

References in periodicals archive ?
Newly-qualified librarians, from left: Nicola Watkinson, Lynne Henderson, Carol Visser, Meira Jones, Isabel Phillips, Angela Friel, Sonia Rocke, Jenny Jones, Nick Roe, Deborah Salisbury, Bernadette Carter, Elizabeth Evans and library services head Paul Jeorrett
The girls' team was made up of Kristen Benjamin, Caroline Comeau, Caitlyn Conlin, Jessica Foley, Lauren Guba, Bridget Hally, Lindsay Lavin, Noreen McDonnell, Nicole Peltier, Meghan Allen, Susan Dell'Olio, Gabrielle Demac, Sarah Hopkins, Katherine Lizotte, Mary McDonald, Alexis Carter, Elizabeth Ford, Nicolette Forhan, Shaylin McNally, Stephanie Moriarty, Mariana Peltier, Julie Dell'Olio, Courtney Fallon, Elizabeth Victoria, Gabriele Franger, Kayleigh Gallagher, Julia Johnson, Julie O'Connor, Alexandra Penny, Jessica Richard, Jenny Sex, Hannah Stahl, Emily Waters and Allison Weyler.
Stephanie Carter, Elizabeth Higgins, and Rachael Inman.
However, despite the similarity of character, Anne Carter, Elizabeth Friars, Jackie Rayner and Maxine Peckson manage to preserve the individuality of their performances, without which the play could not be the success it is.
Wilkes, Mavis Douglas, Susan Carter, Elizabeth Niland, ?
For the most part, the essays focus on the first generation of Bluestockings, with particular attention paid to Elizabeth Carter, Elizabeth Montagu, Sarah Scott, and Elizabeth Vesey.
While the North-East has provided the scenery for a range of major films, including Get Carter, Elizabeth, Robin Hood Prince of Thieves, Stormy Monday and the Harry Potter films, it has yet to establish an internationally-renowned studio of its own.
Though the brilliant, volcanic figure of Johnson moves (better, perhaps, stalks) throughout Clarke's pages, the focus of the work rests on the women themselves: Elizabeth Carter, Elizabeth Montagu, Charlotte Lennox, Hester Thrale, Hannah More, and Fanny Burney.