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ISBN：9780198119739

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"This is the first study to reconstruct the political origins of English women’s poetry between the execution of Charles I and the death of Queen Anne. Carol Barash’s book shows that, between Katherine Philips (1632-64) and Anne Finch, Countess of Winchilsea (1661-1720), an English women’s poetic tradition developed as a part of the larger political shifts in these years, and particularly in women writers’ fascination with the figure of the female monarch. Writers discussed include Aphra Behn, Katherine Philips, Anne Killigrew, Jane Barker, and Anne Finch." "Based on extensive archival research in England and the United States, English Women’s Poetry, 1649-1714 argues that ideas about women’s voices and women’s communities were crucial to the shaping of an English national literature after the civil wars. Women enter print culture - as poets and as women - by situating their writing in defence of embattled monarchy. Women poets are especially fascinated with the figure of the female monarch (both real and mythic). Their sense of poetic legitimacy derives from the communities they generate around figures of female authority, particularly James II’s second wife, Mary of Modena, and later Queen Anne."--BOOK JACKET.

Table Of Contents:

List of Illustrations xiii
Note on Primary Sources xiv
Abbreviations xv
Introduction 1(11)

Politics 12(3)

Community 15(2)

Linguistic Authority 17(10)
PART I. ORIGINS

English and Continental Origins: Queens, Heroes, Prophets 27(28)

Gender, Prophecy, and Women's Place in the Restoration 29(3)

The Heroic Woman 32(8)

Gender and the Restoration Stage 40(1)

The Marriage of King and People 41(5)

The Performance of Gender at the Late Stuart Court 46(4)

The Female War 50(5)

Women's Community and the Exiled King: Katherine Philips's Society of Friendship 55(46)

Royalism and the Heroic Woman 56(6)

The Self-Fashioning of the Restoration Woman Writer 62(6)

Narratives of Love and Warfare in Philips's 1650s Manuscript 68(7)

Courting Political Favour 75(6)

The Publication of Poems (1664) 81(11)

Marriage, Friendship, and Honour 92(9)

Eros, Myth, and Monarchy in Aphra Behn 101(48)

Gender, Myth, and Translation 104(2)

Gender, Authority, and the Female Sexual Subject 106(18)

Desire and the Uncoupling of Myth in Behn's Erotic Poems 124(5)

The Woman Poet and the Female Monarch 129(20)
PART II. ELABORATIONS

The Female Monarch and the Woman Poet: Mary of Modena, Anne Killigrew, and Jane Barker 149(60)

The Imaginary Underworld of Mary of Modena's Court 152(4)

The Woman Painter and the Female Hero 156(6)

Anne Killigrew as Linguistic and Political Subject at Court 162(12)

Jane Barker's Genres and the Late Stuart Court 174(2)

Poetical Recreations 176(15)

Barker's Landscape of the Female Body 191(4)

Female Linguistic Authority and the Coronation of Orinda 195(3)

Commands from Underground: Barker's Manuscript Poems 198(11)

Queen Anne among the Poets 209(50)

The Glorious Revolution as Bourgeois Marriage 210(6)

Queen Anne's Two Bodies 216(13)

Anne's Dutiful Daughters 229(24)

The Limits of Feminist Imperialism 253(6)

Anne Finch: Gender, Politics, and Myths of the Private Self 259(29)

Anne Finch and the Catholic Stuarts 262(9)

The Publicly Private Finch and Miscellany Poems 271(7)

Female Community and Female Authority 278(6)

Finch's Female Poetic Genealogy 284(4)
Conclusion 288(26)
Appendices

A. Order of Poems in Katherine Philips's Manuscripts and Poems (1664) 291(8)

B. Lucasia Poems 299(1)

C. Anne Killigrew's Paintings 300(1)

D. Chatwin's Pindarique to Killigrew 301(3)

E. Order of Poems by Jane Barker in Poetical Recreations (1688), Part I 304(2)

F. Order of Poems in Magdalen College MS 343, Barker's `Poems on Several Occasions, in 3 Parts' 306(2)

G. Finch's Elegy on James II 308(6)
Bibliography 314(23)
Index 337

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