In 2009 King and Pierce purchased a trove of 7 letters exchanged between Amelia Opie and her cousin, artist Henry Perronet Briggs. The links below provide annotated transcriptions and scans of these documents—a small sample from the beginnings of the full Opie-Briggs Correspondence that will form part of the wider correspondence project under the general editorship of Roxanne Eberle.
All letters are transcribed in full, with minor editorial intervention. Opie’s original spelling, along with errors, has been retained. Underlining is indicated by italics, e.g “very much.” Deletions are indicated by a strikethrough, with no indication of heaviness e.g. “very much.” Text that is superimposed has been indicated by a superscript marker, e.g. “^very much>.” As well, “x” has been used throughout the text to indicate illegible characters, e.g. “xxry muxx,” and unsure but legible transcriptions have been marked with angle brackets, e.g. “<very much>.” Letter dates have been put in uniformly, and while Opie’s paragraphs have been retained, line and page breaks have not been retained, as there is no evidence Opie invested these features with any meaning. Dashes, which Opie often used for punctuation and emphasis, have been marked in the text, but no indication of their length has been included.
Editorial notes to the text are used to clarify references to persons, books and places and events within the main body of an individual letter, as well as providing translations of foreign language material, particularly French, as Opie frequently used the language playfully in her correspondence. People who are mentioned in the “Biographies” section are hyperlinked from the text of the letters with footnotes marked as [b], and more detailed biographical information can be found there.