The Collected Poems and Journals of Mary Tighe

Mary Blachford Tighe was born in Dublin in 1772 and became a poet by the age of seventeen. Her enormously popular 1805 epic poem Psyche; or, The Legend of Love made her a fixture of English literary history for much of the nineteenth century. For much of the twentieth century, however, Tighe was better known for her influence on Keats\u27s poetry than the considerable merits of her own work. The Collected Poems and Journals of Mary Tighe restores Tighe to the general canon of English literature of the period. With over eighty-five poems, including the complete Psyche, and extracts from several journals, both by and about Tighe, Harriet Kramer Linkin’s annotated edition is the most complete collection of Mary Tighe\u27s work to be published in one volume. Harriet Kramer Linkin, professor of English at New Mexico State University, is the editor of The Collected Poems and Journals of Mary Tighe . The first scholarly edition of Tighe. . . . Linkin provides \u27clean\u27 reading texts of the poems and brief journal along with judicious explanatory endnotes, two biographical texts, and a number of commendatory poems. —SEL Has a thoroughly annotated biographical and critical introduction and a comprehensive bibliography. . . . Recommended. —Choice A significant contribution to the fields of eighteenth-century and Romantic literature; it is the very sort of work and publication that can lead to long-term revisioning of these eras in literary history. Linkin\u27s edition has use and appeal for everyone, from the casual reader to the scholar. —Eighteenth-Century Intelligencer The most complete collection of Mary Tighe\u27s work to be published in one volume. —Panorama Linkin\u27s edition is a significant contribution to the study of neglected female poets. It is an authoritative, groundbreaking, and permanently valuable addition to Romantic scholarship. —Susan J. Wolfson, Princeton Universityhttps://uknowledge.uky.edu/upk_english_language_and_literature_british_isles/1074/thumbnail.jp

Romanticism and Women Poets: Opening the Doors of Reception

One of the most exciting developments in Romantic studies in the past decade has been the rediscovery and repositioning of women poets as vital and influential members of the Romantic literary community. This is the first volume to focus on women poets of this era and to consider how their historical reception challenges current conceptions of Romanticism. With a broad, revisionist view, the essays examine the poetry these women produced, what the poets thought about themselves and their place in the contemporary literary scene, and what the recovery of their works says about current and past theoretical frameworks. The contributors focus their attention on such poets as Felicia Hemans, Letitia Elizabeth Landon, Charlotte Smith, Anna Barbauld, Mary Lamb, and Fanny Kemble and argue for a significant rethinking of Romanticism as an intellectual and cultural phenomenon. Grounding their consideration of the poets in cultural, social, intellectual, and aesthetic concerns, the authors contest the received wisdom about Romantic poetry, its authors, its themes, and its audiences. Some of the essays examine the ways in which many of the poets sought to establish stable positions and identities for themselves, while others address the changing nature over time of the reputations of these women poets. Harriet Kramer Linkin, associate professor of English at New Mexico State University, is coeditor of Approaches to Teaching British Women Poets of the Romantic Period. Stephen C. Behrendt, George Holmes Distinguished Professor of English at the University of Nebraska, is author of Royal Mourning and Regency Culture. This volume takes an important step toward redefining the literary mainstream of the Romantic period. —Choice Discloses a much more populous Romantic period that we have yet been accustomed to study and teach. . . . This impressively coherent collection of essays presents a united front in arguing for a long-needed expansion of the Romantic canon, recognizing women\u27s valuable contributions to its most popular poetic genres. —Eighteenth-Century Women Those teaching women poets of the Romantic period must address a number of questions: What was the initial reception of these poets? Why did they fade from public consciousness? What circumstances have led to renewed interest in these writers today? This volume will help us address these issues subtly and creatively. —Elizabeth Kraft, University of Georgia Offers a range of positions and methods that challenge many of the major currents in scholarship on romantic women writers. These challenges are fresh, exciting, and absolutely necessary if the study of women writers in the romantic period is to have a vital intellectual future. —Mary Favret, Indiana University Absolutely must be read. —Romanticism on the Net An excellent collection. —Studies in English Literature, 1500-1900 This valuable and wide-ranging collection will provide the reader with ample material for further investigation. —Times Literary Supplementhttps://uknowledge.uky.edu/upk_english_language_and_literature_british_isles/1064/thumbnail.jp

Lucy Hooper, William Blake, and “The Fairy’s Funeral”

The American poetess and abolitionist Lucy Hooper (1816-1841) was the first North American to publish a poem inspired by Blake’s prophetic imagination, “The Fairy’s Funeral” (1833), which transforms the famous anecdote about Blake witnessing a fairy funeral into a visionary lyric. This essay provides a brief introduction to Hooper, perhaps best-known as the subject of Whittier’s elegy “On the Death of Lucy Hooper” (1841), situates her in a literary milieu of British Romantic poets that includes Hemans, Landon, Byron and Clare, discusses how an American poetess from Brooklyn might have learned about Blake and his work, and reads “The Fairy’s Funeral” as a critique of Blake’s often violent representation of fairies and flowers

The Search for a Transcendent Language: Linguistic Strategies in Herbert and Blake (Style, Renaissance, Romantics).

Among the many aspirers after transcendence st and a select group of poets who make the surmounting of the everyday world their topic and goal. Using words as a physical means of effecting change, they not only theorize on the nature of linguistic transcendence in their verse, but also shape the syntactic and semantic patterns of their words to manifest a transcendent reality. George Herbert and William Blake are two poets who devise poetic systems or metaphors that attempt transcendence by mimetically representing the infinitude hidden within the mundane, secular, or experientially bound universe. Though Herbert and Blake disagree on the specific nature of immanence, both believe language provides a means of approaching their visions of sublimity. For Herbert, language offers a fragile bridge to God; we walk upon it with great peril, knowing that at any moment the bridge might shatter into Babelistic fragments. Blake perceives language as a necessary evil and grace: although words frequently bind us to a static creation, rigidly limited by aesthetic and sociological imprintings, the potential for multivalence in language exp and s the perceptual boundaries that restrict mortal form. Both structure their work around central images: while Herbert models his poetry on the sacred dualism of Christ's Eucharist, Blake adapts the Cartesian principle of the vortex as a paradigm for his poetry. When Herbert attempts recreating the Eucharist in sacred puns and hieroglyphic form, or Blake explores the boundaries of the vortex through the conflicting perspectives and idiolects of limited speakers, they demonstrate their belief in the efficacy of language to effect transcendence. United in their insistence on the word as a force of redemption, they use both the physical and metaphysical properties of their art to invoke eternity.Ph.D.British and Irish literatureUniversity of Michiganhttp://deepblue.lib.umich.edu/bitstream/2027.42/160555/1/8512457.pd

Lucy Hooper, William Blake, and “The Fairy’s Funeral”

The American poetess and abolitionist Lucy Hooper (1816-1841) was the first North American to publish a poem inspired by Blake’s prophetic imagination, “The Fairy’s Funeral” (1833), which transforms the famous anecdote about Blake witnessing a fairy funeral into a visionary lyric. This essay provides a brief introduction to Hooper, perhaps best-known as the subject of Whittier’s elegy “On the Death of Lucy Hooper” (1841), situates her in a literary milieu of British Romantic poets that includes Hemans, Landon, Byron and Clare, discusses how an American poetess from Brooklyn might have learned about Blake and his work, and reads “The Fairy’s Funeral” as a critique of Blake’s often violent representation of fairies and flowers