I belatedly realised I left out three names in the first post in this series:
Daiva was created by Lithuanian writer Vydūnas and possibly based on a Sanskrit word meaning “destiny.”
Dalma was created by Hungarian poet Mihály Vörösmarty for his 1825 epic poem Zalán Futása. Though the original Dalma was male, later writers used it for female characters.
Etelka was created by Hungarian writer András Dugonics for the protagonist of his 1788 novel of the same name. It’s derived from male name Etele, which is possibly a form of Attila (little father).
Image of Jessica, from The Graphic Gallery of Shakespeare’s Heroines, 1896, by Luke Fildes
Gloriana is the title character of Edmund Spenser’s 1590 epic poem The Faerie Queene, an allegory of Queen Elizabeth I. It’s an elaborated form of the Latin word gloria (glory).
Grażyna means “beautiful” in Lithuanian. It was created by great Polish poet Adam Mickiewicz for the title character of an 1823 poem.
Gyneth is King Arthur’s daughter in Sir Walter Scott’s 1813 poem The Bridal of Triermain. It’s possibly a variation of Welsh name Gwyneth, either from Gwynedd (the name of a region in Wales, perhaps derived from Old Welsh name Cunedda) or the word gwyn (fair, blessed, white).
Haidee was created by Lord Byron for a character in the 1819 poem Don Juan, possibly derived from Greek word aidoios (reverent, modest).
Imogen is a princess in Shakespeare’s 1609 play Cymbeline, based on legendary character Innogen, which in turn is probably derived from Gaelic inghean (maiden). Her name was misprinted and never corrected.
Janice is an elaborated form of Jane created by Paul Leicester Ford for his 1899 novel Janice Meredith.
Jessica was created by Shakespeare for Shylock’s apostate daughter in The Merchant of Venice (1596), probably based on Biblical name Yiskah (to behold).
Jolánka is the protagonist of Hungarian writer András Dugonics’s 1803 novel Jólánka, Etelkának Leánya. It may have come from jóleán (good girl) or Yolanda (violet).
Juliet is an Anglicized form of respectively French and Italian nicknames Juliette and Giulietta. It was first used in Shakespeare’s Romeo and Juliet (1596).
Kinscő was created by Hungarian writer Mór Jokai in 1872’s The Novel of the Next Century, derived from kincs (treasure).
Lalage is a character in one of Roman poet Horace’s odes, derived from Greek lalageo (to prattle, babble).
Lalla is the protagonist of Thomas Moore’s 1817 poem Lalla Rookh, derived from Persian laleh (tulip).
Layla means “night” in Arabic, and was used in 7th century romantic poems. The variation Leila was used in several of Lord Byron’s poems.
Loredana is a character in French writer George Sand’s 1833 novel Mattea, possibly based on Venetian surname Loredan and ultimately place name Loreo.
Lorna was created by R.D. Blackmore for his 1869 novel Lorna Doone, based on Scottish place name Lorne and possibly ultimately legendary king Loarn mac Eirc of Dál Riata.
Lucasta was created by poet Richard Lovelace for a 1649 poetry collection of the same name, dedicated to his love Lucasta, Lucy Sacheverel. He nicknamed her lux casta (pure light).
Lucinda was created by Miguel Cervantes for a character in 1605’s Don Quixote, an elaboration of Lucia, ultimately derived from Latin lux (light).
Magnhild derives from Old Norse magn (strong, mighty) and hildr (battle). This is the title character of Norwegian writer Bjørnstjerne Bjørnson’s 1877 novel.
Malvina was created by 18th century poet James MacPherson for his Ossian poems, possibly intended to mean “smooth brow” in Gaelic.
Mahulena was created by Czech writer Julius Zeyer for his 1898 play Radúz and Mahulena, possibly derived from Magdalena.
Miranda, from The Graphic Gallery of Shakespeare’s Heroines
Mavis was first used as a personal name in a character in British writer Marie Corelli’s 1895 novel The Sorrows of Satan. It comes from a bird also known as a song thrush, ultimately from Old French mauvis (unknown etymology).
Melantha may be a portmanteau of Mel (from names such as Melissa and Melanie) and suffix antha, from Greek anthos (flower). John Dryden used it for a character in his 1672 play Marriage à la Mode.
Mélisande is the French form of Millicent (strong work), used in Maurice Maeterlinck’s 1893 play Pelléas et Mélisande.
Minea was created by Finnish writer Mika Waltari for his 1945 hist-fic The Egyptian, possibly based on Greek name Minos (king).
Miranda was created by Shakespeare for the protagonist of The Tempest (1611), derived from Latin mirandus (wonderful, admirable).
Mirèio is an Occitan name first used by French writer Frédéric Mistral in the 1859 poem of the same name, possibly derived from Occitan mirar (to admire).
Moema means “lies” in Tupí, an indigenous Brazilian language. Poet Santa Rita Durão used it in his 1781 poem Caramuru.
Myra was created by 17th century poet Sir Fulke Greville, 1st Baron Brooke, possibly based on Latin myrra (myrrh), or an anagram of Mary. This is also the name of an ancient city of Anatolia.