During the 1990s more critical work has appeared on the Anglo-Irish national novel than in any decade since 1800-1810 when, by common consent, the subgenre first appeared. The new edition of Edgeworth in twelve volumes is a contribution to this collective effort, but the edition is appearing after what is effectively a school of Anglo-Irish postcolonial criticism. In the course of the 1990s Tom Dunne, Seamus Deane, Terry Eagleton, and most recently Kevin Whelan have between them established an essentialist line, not closely concerned with the text, on what they see more broadly as a body of initially by Anglicized and Protestant Irish writers that made the writing of Ireland a topic dominated by the colonial relationship with England and addressed to the English.1 Some of the postcolonial group argue that the relationship has from the first been hierarchical: they instance the debate Edmund Spenser borrowed from a dialogue by the Greek, Lucian, that of Civility versus Incivility, which survived into the nineteenth century with the Irish permanently cast in the role of barbarians. Critics vary somewhat in the closeness with which they make such general propositions fit individual writers. Whelan is most dogmatic in fitting the colonizer-stereotype to Edgeworth and in the process giving her a specific political role:
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