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| The State Library of NSW has this portrait of Rosa Praed painted by Emily Praed in 1884; it may be a copy of one painted by J.M. Jopling that year. At time of writing (2023), it is in the Library's portrait gallery on open access: {{:c34025_0001_c_rosaportrait_in_ml.jpg?300|}}\\ | The State Library of NSW has this portrait of Rosa Praed painted by Emily Praed in 1884; it may be a copy of one painted by J.M. Jopling that year. At time of writing (2023), it is in the Library's portrait gallery on open access: {{:c34025_0001_c_rosaportrait_in_ml.jpg?300|}}\\ |
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| Rosa was a controversial writer, including for her depiction of Indigenous life.((McKay, Belinda. 'A Lovely Land ... by Shadows Dark Untainted'?: Whiteness and Early Queensland Women's Writing [online]. In: Moreton-Robinson, Aileen (Editor). Whitening Race: Essays in Social and Cultural Criticism. Canberra: Aboriginal Studies Press, 2004: 148-163. Availability: <https://search-informit-com-au.ezproxy.sl.nsw.gov.au/documentSummary;dn=413912230742820;res=IELIND> ISBN: 0855754656; Jennifer Rutherford, 'Melancholy Secrets: Rosa Praed’s Encrypted Father', Double Dialogues, no. 8, summer 2007-06. Both accessed September 2018; Patrica Grimshaw and Julie Evans, 'Colonial women on intercultural frontiers: Rosa Campbell Praed, Mary Bundock and Katie Langloh Parker', //Australian Historical Studies//, 27:106, April 1996.pp.79-96.)) For an insightful analysis of the discourse around 'race and breeding' in Rosa's novels, see [[https://openjournals.library.sydney.edu.au/JASAL/article/view/9732example.com|Len Platt]].(('Altogether better-bred looking': Race and Romance in the Australian Novels of Rosa Praed, Journal of the Association for the Study of Australian Literature, vol.8, 2008)). Some of the attitudes Platt identifies relate to a later period in Rosa's life, but others can be seen in her father as well. It also is consistent with the concern of Rosa's nephew and step-cousin to establish royal descent.\\ | Rosa was a controversial writer, including for her depiction of Indigenous life.((McKay, Belinda. 'A Lovely Land ... by Shadows Dark Untainted'?: Whiteness and Early Queensland Women's Writing [online]. In: Moreton-Robinson, Aileen (Editor). Whitening Race: Essays in Social and Cultural Criticism. Canberra: Aboriginal Studies Press, 2004: 148-163. Availability: <https://search-informit-com-au.ezproxy.sl.nsw.gov.au/documentSummary;dn=413912230742820;res=IELIND> ISBN: 0855754656; Jennifer Rutherford, 'Melancholy Secrets: Rosa Praed’s Encrypted Father', Double Dialogues, no. 8, summer 2007-06. Both accessed September 2018; Patrica Grimshaw and Julie Evans, 'Colonial women on intercultural frontiers: Rosa Campbell Praed, Mary Bundock and Katie Langloh Parker', //Australian Historical Studies//, 27:106, April 1996.pp.79-96.)) For an insightful analysis of the discourse around 'race and breeding' in Rosa's novels, see Len Platt(('Altogether better-bred looking': Race and Romance in the Australian Novels of Rosa Praed, //Journal of the Association for the Study of Australian Literature//, vol.8, 2008. open access online)). Some of the attitudes Platt identifies relate to a later period in Rosa's life, but others are consistent with TLM-P's attitudes and actions. A belief in innate good breeding based on (British) class is also consistent with the concern of Rosa's nephew and step-cousin to establish their family's royal descent.\\ |
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| Rosa's writings were also confronting for her contemporaries, notably: 'the young colonial woman's encounter with metropolitan political and literary culture, the 'tragedies of the sexes', the horrors of frontier conflict, and the exploration of psychic and spiritual life.'((Kay Ferres, ‘”I must dree my weird”: A colonial Correspondence’, Hecate, 31:2, 2005, p.75)) Especially in the 1890s, Rosa was accused of promoting immorality through her more realistic novels, and at least one play, featuring domestic conflict and the plight of women, brought up to be 'innocent' (Rosa would say 'ignorant') and thrust into marriages they had little hope of escaping. These accusations would have been even more strident if her publishers hadn't insisted on bowdlerising her work. Patricia Clarke points out that Australian critics were particularly critical of Rosa's writings as too risque.((Patricia Clarke, 'Rosa Praed's Irish Connections', //The Australian Journal of Irish Studies//, vol. 1, 2001, p.121.))\\ | Rosa's writings were also confronting for her contemporaries, notably: 'the young colonial woman's encounter with metropolitan political and literary culture, the 'tragedies of the sexes', the horrors of frontier conflict, and the exploration of psychic and spiritual life.'((Kay Ferres, ‘”I must dree my weird”: A colonial Correspondence’, Hecate, 31:2, 2005, p.75)) Especially in the 1890s, Rosa was accused of promoting immorality through her more realistic novels, and at least one play, featuring domestic conflict and the plight of women, brought up to be 'innocent' (Rosa would say 'ignorant') and thrust into marriages they had little hope of escaping. These accusations would have been even more strident if her publishers hadn't insisted on bowdlerising her work. Patricia Clarke points out that Australian critics were particularly critical of Rosa's writings as too risque.((Patricia Clarke, 'Rosa Praed's Irish Connections', //The Australian Journal of Irish Studies//, vol. 1, 2001, p.121.))\\ |