Cavendish was mostly lost to obscurity in the early twentieth century. Not until Virginia Woolf's The Common Reader (1925) did discourse rediscover the Duchess. Woolf remarked that: the vast bulk of the Duchess is leavened by a vein of authentic fire. One cannot help following the lure of her erratic and lovable personality as it meanders and twinkles through page after page. There is something noble and Quixotic and high-spirited, as well as crack-brained and bird-witted, about her. Her simplicity is so open; her intelligence so active. Margaret Cavendish began to generate intense scholarly interest in the 1980s, when rediscovered and analysed from a modern feminist perspective. Since then there have been many book-length critical studies of her. She has also gained fame as one of the first science-fiction writers, with her novel The Blazing World. Her self inserted as a character named Margaret Cavendish in The Blazing World is said to be among the earliest examples of the modern Mary Sue trope. More recently, her plays have been examined in performance studies, for blurring the lines between performance and literature, challenging gender identities and upsetting gender norms. Further analysis on Cavendish appears here.
Cavendish was mostly lost to obscurity in the early twentieth century Not until Virginia Woolf's The Common Reader (1925) did discourse rediscover the Duchess. Woolf. remarked that: the vast bulk of the Duchess is leavened by a vein of authentic fire. One cannot help following the lure of her erratic. and lovable personality as it meanders and twinkles through page after page. There is something nobl,e and Quixotic and high-spirited, as well as crack-brained and bird-witted, about her. Her simplicity is so open; her intelligence so active. Margaret Cavendish began to generate intense scholarly interest in the 1980s, when rediscovered and analysed from a modern feminist perspective. Since then there have been many book-length critical studies of her. She has also gained fame as one of the first science-fiction writers, with her novel The Blazing World. Her self inserted as a character named Margaret Cavendish in The Blazing World is said to be among the earliest examples of the modern Mary Sue trope. Mo.re recently her plays have been examined in performan?ce studies, for blurring the lines between performance and literature, challenging gender identities and upsetting gender norms. Further analysis on Cavendish appears here