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"Scott-Baumann, Elizabeth"
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The intellectual culture of Puritan women, 1558-1680
\"This collection of essays by leading scholars in the field reveals the major contribution of puritan women to the intellectual culture of the early modern period, showing that women's roles with puritan and broader communities encompassed translating and disseminating key texts and producing an impressive body of original writing\"-- Provided by publisher.
Book
Women poets of the English Civil War
This anthology brings together extensive selections of poetry by the five most prolific and prominent women poets of the English Civil War period: Anne Bradstreet, Hester Pulter, Margaret Cavendish, Katherine Philips and Lucy Hutchinson. It presents these poems in modern-spelling, clear-text versions for classroom use, and for ready comparison to mainstream editions of male poets’ work. The anthology reveals the diversity of women’s poetry in the mid-seventeenth century, across political affiliations and forms of publication. Notes on the poems and an introduction explain the contexts of Civil War, religious conflict, and scientific and literary development. The anthology enables a more comprehensive understanding of seventeenth-century women’s poetic culture, both in its own right and in relation to prominent male poets such as Marvell, Milton and Dryden.
eBook
The sonnets : the state of play
\"Shakespeare's Sonnets both generate and demonstrate many of today's most pressing debates about Shakespeare and poetry. They explore history and aesthetics, gender and society, time and memory, and continue to invite divergent responses from critics and poets. This freeze-frame volume showcases the range of current debate and ideas surrounding these still startling poems. Each chapter has been carefully selected for its originality and relevance to the needs of students, teachers, and researchers. Key themes and topics covered include: Textual issues and editing the sonnets Reception, interpretation and critical history of the sonnets The place of the sonnets in teaching Critical approaches and close reading Memorialisation and monument-making Contemporary poetry and the Sonnets All the essays offer new perspectives and combine to give readers an up-to-date understanding of what is exciting and challenging about Shakespeare's Sonnets. The approach, based on an individual poetic form, reflects how the sonnets are most commonly studied and taught\"-- Provided by publisher.
Book
Shakespearean Stanzas? Venus and Adonis, Lucrece, and Complaint
In her influential work, Caroline Levine has adopted from design theory the term \"affordances,\" meaning \"potential uses or actions latent in materials and designs,\" and deployed it for literary forms. In these terms, we might explore the affordances of a certain stanza form and whether these change in relation to, for example, the gender of the writer or (in the case of Venus and Adonis and Lucrece) the speaker. Another of Dolven's definitions of style is the way a poem asks the reader to imagine the process of making it. In his idiosyncratic yet often revealing theory of poetry, George Puttenham developed a threefold sense of form: rhetorical style (\"ornament\"), genre (\"kind\"), and stanza (\"proportion\"). By calling on Puttenham's definition we can get closer to Dolven's stylistic question \"how,\" closer to understanding Shakespeare's craft in terms of his borrowing and adaptation (rather than invention) of forms. Puttenham's \"proportion\" encompasses rhyme and rhyme scheme, metre, stanzaic composition and shape. It is a critical element of what we now consider poetic \"form,\" but its importance to the meaning of Shakespeare's poems has been neglected relative to their rhetoric and imagery (Puttenham's \"ornament\"), genre (Puttenham's \"kind\"), and their politics. According to many scholars, the association extends back to the publication of Shakespeare's poem in 1593. Gullio recites almost verbatim Venus's opening speech from stanza 2. This stanza is dropped in among couplets and prose, drawing attention to this appropriation from Shakespeare's poem. William Jaggard's 1599 collection The Passionate Pilgrim, a work marketed on its Shakespearean style, includes poems that are about the characters Venus and Adonis as well as four which seem to have been inserted on the basis of being in the VA stanza. These poems suggest a connection being made between Shakespeare and the sixain stanza: if you were trying to imitate Shakespeare, you chose to write in these sixains.
Journal Article
Hester Pulter's Well-Wrought Urns
Accounts of Hester Pulter's life often open with John Milton's poem to her sister, Margaret Ley. Yet the form in which he wrote—a sonnet—was not one Pulter chose to write in, and indeed relatively few seventeenth-century women did so. In her essay \"Where had all the flowers gone?: The Missing Space of Female Sonneteers in Seventeenth-Century England,\" Diana Henderson suggests that we read as sonnets many poems by women that have some sonnet qualities. Pulter's short poems, including \"The Circle [2],\" \"Immense Fount of Truth,\" and \"The Hope,\" draw the reader into a dizzying landscape of circles, revolutions, centers, stairs, and urns. These material forms represent Pulter's deep and rebarbative interaction with the sonnet tradition. Reading Pulter's poems in this way challenges versions of literary history that suggest women did not write sonnets for a century after Mary Wroth. This essay will suggest that seeing Pulter's poems as critical sonnets also allows us to place her work in dialogue with the New Critics. While Cleanth Brooks, of course, never read Hester Pulter, her metaphors of form provide a proleptic criticism of the New Critics' own use of formal metaphors to write literary history.
Journal Article
Lucy Hutchinson, gender and poetic form
While Milton famously rejected rhyme in Paradise Lost, the Genesis poem by his contemporary Lucy Hutchinson, Order and Disorder, is in rhymed couplets. This article asks how Hutchinson used the couplet, how her couplets were read by the seventeenth-century readers who encountered her work, and whether the manuscript of her poem can be treated as evidence of how poetic regularity and irregularity were coded with political and gendered meanings in the seventeenth century, and how differently they are so today.
Journal Article
Corrected by the Author
Early modern women’s poetry tends to be read in one of two prevailing critical paradigms. On the one hand, much important scholarship emphasizes revision, augmentation, and the malleability of women’s manuscript texts. On the other, print editions of women’s texts are celebrated as landmarks; print publication, in this view, bestows new qualities of posterity, stability, and fixity. This essay reinterrogates these paradigms of malleability in manuscript and fixity in print. Focusing on the variant print editions of poetry by Katherine Philips, Anne Bradstreet, and Margaret Cavendish, it reveals a complex contingency to women’s printed poetic texts and, in doing so, reassesses women poets’ relationship to seventeenth-century print culture.
Journal Article
Hester Pulter (c. 1605–1678)
Hester Pulter was born in or around 1605 in Dublin, into a well-connected and literary English family. Her father Sir James Ley, first Earl of Marlborough, was at the time Chief Justice of the King’s Bench in Ireland; he went on to become the Lord Chief Justice and Lord High Treasurer of England, and he was also a writer, described as ‘that old man eloquent’ by Milton in a sonnet addressed to Hester’s sister Margaret in 1642. Hester’s mother, Mary Petty, was a first cousin of the Oxford antiquarian Anthony à Wood. Hester was apparently married at an early age,
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