'The Eagle, the Sow, and the Cat' - Anne Finch, Countess of Winchilsea

‘The Queen of Birds, t'encrease the Regal Stock,
Had hatch'd her young Ones in a stately Oak,
Whose Middle-part was by a Cat possest,
And near the Root with Litter warmly drest,
A teeming Sow had made her peaceful Nest.
(Thus Palaces are cramm'd from Roof to Ground,
And Animals, as various, in them found.)’

(lines 1-7)

The Eagle, the Sow, and the Cat

Anne Finch, Countess of Winchilsea

(published 1713)

It sounds like the start of a joke, but the only humour here is of the darkest kind.  Three animals are

all living in the same tree, but one of them sees a chance of monopolising the situation and takes it.  By playing upon the fears of his neighbours, the cat finds a cunning way of coming out on top; there is no hero in this story, only a stark warning about being careful when taking advice that the advisor doesn't have their own best interests at heart.

Illustration from 1668 edition of Jean de La Fontaine's
Fables, Book III.  Woodcut by François Chauveau.
This image courtesy of:
http://www.la-fontaine-ch-thierry.net/aiglaichat.htm

The basic storyline comes from a French poem by Jean de La Fontaine, entitled ‘L’Aigle, la Laie, et la Chatte’, published in 1668 with the accompanying illustration by François Chauveau.  Yet Anne Finch’s poem is far more than a simple translation.  In analysing Finch’s work, both Charles H. Himnant and Paula R. Backsheider have noted how in Finch’s hands this little fable becomes a subtle political comment.  In 1688 William and Mary of Orange deposed Mary’s father, James II of England; differences of religion were the focus of the coup.  Yet while this incident is frequently referred to as the ‘Glorious Revolution’ because of the comparative peacefulness with which it took place, there were those who opposed the change.  Anne Finch and her husband, Heneage Finch, were amongst those who refused to support the new monarchs.  Fleeing London for the safety of the country, they remained active in support of James (with Heneage even ending up imprisoned for a time for having attempted to join James's exiled court in France).  For Anne, this activity was in the form of writing; through the cat’s smooth assumption of power in ‘The Eagle, the Sow, and the Cat’ it is easy to see, as Paula Backsheider points out, the character of ‘the wily courtier, a figure risen from the middle ranks, who rejoices in sowing dissent’ (p. 47).  Though this is not strictly allegorical, and the politics surrounding the ‘Glorious Revolution’ is much more complex and intricate than there is space to discuss here, this is certainly a poem that assumes a highly critical tone of those who use deceit and betrayal to usurp power.

I don’t want to get too heavy though: I originally chose this poem for inclusion here because, at least on first reading, it does seem rather funny.  A bit like an Aesop fable, it conveys a serious moral message through the means of entertainment.  It’s the kind of poem designed to make you first laugh at the gullibility of the eagle and the sow - then stop and realise that, actually, the author has quite a serious point.  Not least, it's aim is to provoke reflection upon gullibility more generally, and on the importance of not letting the selfish concern for personal safety create destructive panic.  The eagle and the sow both abandon their young because of the cat’s machinations, yet this is as much a result of their own preoccupation with self-preservation as of the cat’s deceit.    

One or two points to note before you read this: the first two lines look like a clumsy attempt at rhyme, but it’s useful to remember that pronunciation of words has changed a lot over time.  Linguistic historians would probably be able to explain it better, but basically don’t write her off as a poet just because her first couplet doesn’t seem to work; when she was writing, it probably did rhyme.  Also, when the poem refers to ‘Sow’s paps’ as a great delicacy, it is referring to mammary glands (I know, sounds disgusting: but then the cat is the villain of the piece, remember). The 'sycophant' referred to in the moral describes a person who is ingratiating towards another simply for their own gain (in this poem, the cat). 

Happy reading! And apologies to all the internet cat lovers out there!

As always, feel free to leave comments and ask questions!

You can find this poem:

http://www.digital.library.upenn.edu/women/finch/1713/mp-eagle.html

(editions of Anne Finch’s poetry are not always easy to come by, so I would recommend readers use this free version of the poem available online, and from which I have taken the reading that follows.)

Other poems by Anne Finch can be found here:

http://www.poetryfoundation.org/bio/anne-finch#about
(Poetry Foundation online: great free resource!!)

Anne Finch, Countess of Winchilsea, Selected Poems, ed. by Denys Thompson (Carcanet Press Ltd,

2003)

https://www.waterstones.com/book/selected-poems/anne-finch/9781857547207

(this is pretty much what it says on the tin: selected poems by Anne Finch.  Available from numerous places; I just put the link to Waterstones for variety.  And because they have a points card system…)

Roger Lonsdale (ed.), Eighteenth-century women poets: an Oxford anthology (Oxford: Oxford University Press, 1990)

(available from numerous book shops online and on the high street: an excellent volume!  Last time this came up in a blog post I entered up ordering a copy, which arrived in the post the other day… Look out for future blogs referring to poems in this exciting little anthology! There are plenty of economical priced second-hand copies of this available online too!)

The information for this blogpost was taken from the following sources:

Paula R. Backscheider, Eighteenth-Century Women Poets and Their Poetry: Inventing Agency, Inventing Genre (JHU Press, 2005), p. 47

https://books.google.co.uk/books?id=kRVSnAqeKBoC&pg=PA47&lpg=PA47&dq=anne+finch+the+eagle+the+sow+and+the+cat&source=bl&ots=DVEtLiRz9S&sig=bBeCNWf8nKOWaLvzI7PjP4jC3Sk&hl=en&sa=X&ved=0CCwQ6AEwA2oVChMIs8KGjfPhxgIVoo_bCh2IgAco#v=onepage&q=anne%20finch%20the%20eagle%20the%20sow%20and%20the%20cat&f=false

(This looks to be a fascinating and clear book; like many works of literary criticism, this might be a little expensive for small budgets (like mine), so I’ve attached a link to the pages relating to this poem, available via a preview on googlebooks)  

Charles H. Himnant, The Poetry of Anne Finch: An Essay in Interpretation (University of Delaware, 1994) pp. 194-6

https://books.google.co.uk/books?id=NPJuMBADoYAC&pg=PA194&lpg=PA194&dq=anne+finch+the+eagle+the+sow+and+the+cat&source=bl&ots=mK9qsHosPB&sig=S2QdnbXZfpMgRFrqWTPUBnx3P8g&hl=en&sa=X&ved=0CCYQ6AEwAWoVChMIo6ec793hxgIVQZ8UCh0zVgB5#v=onepage&q=anne%20finch%20the%20eagle%20the%20sow%20and%20the%20cat&f=false
(The link should lead to a googlebooks preview of the book that gives most of the relevant information about this poem)

Barbara McGovern, ‘Finch, Anne, countess of Winchilsea (1661-1720)’, Oxford Dictionary of National Biography, Oxford University Press, 2004 http://www.oxforddnb.com/view/article/9426 [accessed 16 July 2015]

(sadly, this resource is accessible by subscription only)

Leslie Clifford Sykes, “Jean de La Fontaine”, Encyclopædia Britannica. Encyclopædia Britannica Online. 2015
http://www.britannica.com/biography/Jean-de-La-Fontaine [accessed 17 July 2015]

(an excellent, and free, resource!)

http://www.la-fontaine-ch-thierry.net/aiglaichat.htm

(a website all about Jean de La Fontaine, written in French but accessible to to English-only speakers via google translate)

http://www.oxforddictionaries.com
(a useful free dictionary online!  Always worth looking up unfamiliar words!)

You can also find out more about Anne Finch on her Wikipedia page:

https://en.wikipedia.org/wiki/Anne_Finch,_Countess_of_Winchilsea

'Evelina' - Frances (Fanny) Burney

‘This moment arrived.  Just going to Drury-Lane theatre.   The celebrated Mr. Garrick performs Ranger.  I am quite in extacy.  So is Miss Mirvan.  How fortunate, that he should happen to play!  We would not let Mrs. Mirvan rest till she consented to go; her chief objection was to our dress, for we have had no time to Londonize ourselves; but we teized her into compliance, and so we are to sit in some obscure place, that she may not be seen.  As to me, I should be alike unknown in the most conspicuous or most private part of the house.

   I can write no more now.  I have hardly time to breathe – only just this, the houses and streets are not quite so superb as I expected.  However, I have seen nothing yet, so I ought not to judge.’

(from Letter X)

Evelina or The History a Young Lady’s Entrance Into the World

Frances (Fanny) Burney
1778

A mother abandoned by her husband; a paternity dispute; a child brought up by a foster carer; a quest for identity as the child becomes a young woman; her struggle to assert her own worth amidst a crowd of embarrassing relatives.  All sounds like it could be from a modern-day TV drama, doesn’t it?  In fact, all these elements combine within Frances Burney’s first (and in my opinion best) novel Evelina, or The History of a Young Lady’s Entrance Into the World.   

One of Hugh Thomson's superb illustrations
from a 1903 publication of the novel.

Written in the form of an exchange of letters (technically known as an epistolary novel), there is an immediacy to the story that simply leaps off the page.  The quotation I have included for today’s header is a good example of this: the events of the story are not simply narrated to the reader.  Rather, we get to live the events with the heroine, the Evelina of the title (the technical term for this is the eponymous heroine; a useful word with which to dazzle people at parties and pub quizzes).  It’s a bit like having an eighteenth-century pen-pal.  Evelina is an extremely easy person with whom to empathise: keen for adventure, longing to sample life in the big city, yet inexperienced and thus often getting things a little bit wrong.  Kind, intelligent, sensitive, and always trying to do the right thing, she is continually caught up in the ludicrous, pretentious, and sometimes downright dangerous behaviour of relatives whom it is socially impossible for her to avoid; it is perhaps this more than anything else that sweeps you up into the story, making you cheer for her every success, and wince with her at every unintentional faux pas.

Characters’ reactions may occasionally seem a little overblown (there is one point later on in the book where there is a lot of bursting into tears and dropping onto knees in a context that, perhaps surprisingly, has absolutely nothing to do with marriage proposals).  The only thing I can say about this is just to remember that the book was written at a time when sentimentality was a highly prized attribute.  If Evelina seems a little susceptible to what might today seem rather theatrical displays of emotion in one or two places, it is only eighteenth-century code for her general worth as a character. 

One of the most vibrant and engaging of eighteenth-century novels, this is a book that deserves to be savoured and enjoyed.  It is the story of a young woman’s entrance into the world, into life, into love, and it is the story of her quest for a sense of identity and of belonging. 

Happy reading!! And, as always, feel free to ask questions  in comments!  

You can find this book:

 http://digital.library.upenn.edu/women/burney/evelina/evelina.html

(this is a free edition of the text, and thus a quick, economical way of reading it!  A word of caution though: readers unfamiliar with some eighteenth-century words and phrases might enjoy enhanced reading pleasure by obtaining an edition of the text that has helpful annotations to explain unusual or archaic terms)

 Free editions may be available for Kindle, also a great way of accessing a text or taking it with you on the bus; just be aware that such editions might not have had the benefit of proper editorial production and thus may contain errors and spelling mistakes. 

 http://ukcatalogue.oup.com/product/9780199536931.do

(Oxford World Classics edition! I am slightly biased in recommending this, as it is the edition that I first read the novel from in my early teens.  It is full of really useful explanatory notes and so is a great way to read this story.  As this book frequently occurs on students’ reading lists, there is a plentiful supply of economically priced second-hand copies continually available from reputable second-hand dealers.)

http://www.penguinclassics.co.uk/books/evelina/9780141198866/

(Penguin Classics edition!  This does have a snazzy cover, but I can’t see anything online about whether it has any explanatory notes.  Worth checking before purchase: I cannot overstate the importance of a healthy scattering of notes when first approaching a text like this!)

About the Author:

France Burney, painted by her cousin Edward
Francesco Burney.  This is the most popular,
and frequently reproduced, portrait of Burney.
This image was, er, 'borrowed' from Wikipedia.

 

Frances (Fanny) Burney had a long and enormously fascinating life; indeed, to try and condense this into one neat paragraph has been one of the greatest challenges of this blogpost.  The daughter of the musician Charles Burney, Frances was a personal friend of countless major eighteenth-century figures, including the actor David Garrick and Dr Samuel Johnson (the author of the subject of a previous blogpost, ‘The Vanity of Human Wishes’).  Later, in 1786, she became the second keeper of the robes to Queen Charlotte, a post which she greatly disliked and which she was very glad to leave in 1791.  In 1793 (aged 41) Frances married Alexandre-Jean-Baptiste Piochard D’Arblay, a French émigré who had escaped to Britain in the wake of the French Revolution; they had one son, who died in 1837.  When Frances Burney died in 1840, she left behind a copious wealth of literary material, including an extensive collection of letters exchanged with some of the most prominent figures of the eighteenth-century, and also four major published novels, of which Evelina is the first. 

You can find out more about Frances Burney:

https://en.wikipedia.org/wiki/Frances_Burney
(Wikipedia!!)

http://www.britannica.com/biography/Fanny-Burney

(Encyclopædia Britannica: kind of like a more sophisticated version of Wikipedia.  Do try and follow up the little blue links to other eighteenth-century figures, such as the wonderful David Garrick: it can lead you round an absorbing who’s who of eighteenth-century society)

http://www.bbc.co.uk/programmes/b05r3zjk

(this is an engaging radio programme aired this year; I don’t want to sound like I’m namedropping or anything, but I have actually been fortunate enough to make acquaintance with two of the guests on the programme, Dr Nicole Pohl and Prof. Judith Hawley, and was impressed by their friendliness, enthusiasm and kind encouragement!  If you have a spare forty minutes, this programme is definitely worth a listen!) 

http://www.amazon.co.uk/Fanny-Burney-biography-Claire-Harman/dp/0006550363/ref=sr_1_4?ie=UTF8&qid=1436539876&sr=8-4&keywords=fanny+burney

(Claire Harman’s Fanny Burney: A biography.  Apologies for only giving a link to this on Amazon: it is available at numerous other retailers, including independent bookstores!)

Information for this blogpost was taken from the following resource:

Pat Rogers, ‘Burney, Frances (1752-1840)’, Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, May 2015 http://www.oxforddnb.com/view/article/603 [accessed 9 July 2015]

(unfortunately, access to this resource is by subscription only)  

'Soliloquy on an Empty Purse' - Mary Jones

‘Like wax thy silver melted down,
Touch but the brass, and lo! ‘twas gone:
And gold would never with thee stay,
For gold had wings, and flew away.’

Soliloquy on an Empty Purse

Mary Jones
published 1750 in Miscellanies in Prose and Verse

I read this poem a few weeks ago and I have to admit I fell in love with it at once.  It might have been written over two hundred and fifty years ago, but the subject is one that remains poignantly relevant: money, and the lack of it.  By addressing the ‘Empty Purse’ of the title as if it was an actual character (a technique known as personification), Jones is able to diminish the sense of a lonely poverty.  This then contributes to the ultimately positive tone of the whole poem, in which she optimistically looks for the good in her situation.  Now, she realises, she is safe ‘Amidst temptations thick and strong’, and from those who would want to abstract her money, namely the imagined ‘pick-purse’ and ingratiating ‘flatterer’ to which she refers.



There are a couple of unusual words in the poem which it might be helpful to have clarified before reading.  The word ‘disembogue’ means to ‘emerge or be discharged in quantity’; in the poem this refers to the constant emergence of money from the purse (eventually leaving it empty).   ‘Prorogue’ means to discontinue or interrupt something.  Thus Jones writes to the purse that:

‘Yet used so oft to disembogue,

No prudence could thy fate prorogue.’





In other words, the purse is so used to pouring out its wealth that no prudence on her part could have prevented its ultimate, sad fate of emptiness.

 The final image with which she consoles herself is simply masterful with its employment of the traditional image of the poet/artist figure starving in a garret:

Two eighteenth century purses; I found this image on Pinterest,

but I believe it originally derives from a listing on Christies website.

The Pinterest page is here:

https://uk.pinterest.com/pin/229613280976151344/

'For who a poet’s purse will rob?

And softly sweet in garret high

Will I thy [the purse’s] virtues magnify;

Outsoaring flatterers’ stinking breath,

And gently rhyming rats to death.’


Samuel Johnson (author of the subject of a previous blogpost, The Vanity of Human Wishes, and a tremendously important figure in the eighteenth-century literary scene) approvingly described Mary Jones as ‘The Chantress’. Whether he meant this in terms of poetic ‘chanting’ or as an ‘enchantress’, or both, is perhaps open to debate; what is certain, however, is that this poem is pure eighteenth-century magic.

About today’s author:

Mary Jones would seem to have had a fairly ordinary background.  Born in Oxford in 1707, she lived there all her life, mostly with her brother Revd Oliver Jones (who became senior chaplain of Christ Church College).  The entry for her in the Oxford Dictionary of National Biography is frustratingly short, and notes that ‘Information on Jones’s life is mostly drawn from her Miscellanies in Prose and Verse’.  Roger Lonsdale (one of the true greats of eighteenth-century literary scholarship) describes Jones as ‘one of the most intelligent and amusing women writers of her period’, a claim more than justified by today’s poem.

You can find this poem:

http://www.poetryfoundation.org/poem/183917

(a free copy available from the Poetry Foundation)

Roger Lonsdale (ed.), Eighteenth-century women poets: an Oxford anthology (Oxford: Oxford University Press, 1989, new edn. 1990)

(This looks to be an enormously absorbing read: I went looking for its publishing details for the reference here and ended up buying a (delightfully economical second-hand) copy)

Some more of Mary Jones’s poetry has been published in this volume:

http://eu.wiley.com/WileyCDA/WileyTitle/productCd-111882475X.html
(a brand new copy of this book might be a little on the pricey side for modest budgets, but fortunately its incorporation on university reading lists means that there is usually a ready supply of substantially cheaper second-hand copies available from reputable dealers)

You can find out more about Mary Jones:

https://books.google.co.uk/books?id=0iW0fTD84kgC&pg=PA165&lpg=PA165&dq=Mary+Jones+poetess&source=bl&ots=EQj3oipZUV&sig=zLTeJ-QenRxYMXqt2Nyu3LZ76MI&hl=en&sa=X&ei=hpKZVcenIMm0sQHx94C4BA&ved=0CD4Q6AEwBQ#v=onepage&q=Mary%20Jones%20poetess&f=false

(this looks to be an enormously absorbing book, and when my own purse is a little less empty I might have to go shopping… In the meantime, this free preview on googlebooks gives access to much of the chapter on Mary Jones)

https://en.wikipedia.org/wiki/Mary_Jones_(poet)
(not forgetting the ever useful Wikipedia)

https://uk.pinterest.com/hcowans/18th-century-purses/

(This has nothing to do with Mary Jones, but if you are on Pinterst these eighteenth century purses are well worth looking at.  It should always be kept in mind, though, that it is typically more elaborate/expensive objects that survive through history; the poet’s purse about which Mary Jones writes would probably have been somewhat less glamorous)

Information for this blogpost was derived from these sources:

Richard Greene, & Revd William R. Jones, ‘Jones, Mary (1707-1778)’ Oxford Dictionary of National Biography, Oxford University Press 2004-15.  [accessed 3/7/2015]

Roger Lonsdale (ed.), Eighteenth-century women poets: an Oxford anthology (Oxford: Oxford University Press, 1989, new edn. 1990)

 

Oxford Dictionaries Online http://www.oxforddictionaries.com/

(a smaller, but free, version of the Oxford English Dictionary; a very useful resource!)

Lorna Sage, Germaine Greer, & Elaine Showalter, The Cambridge Guide to Women’s Writing in English (Cambridge: Cambridge University Press, 1999) p. 356 (the reference to the publication date of her poem)

Epistle to Robert, Earl of Oxford

'And sure, if aught below the seats divine
Can touch immortals, 'tis a soul like thine:
A soul supreme, in each hard instance tried,
Above all pain, all passion, and all pride,
The rage of power, the blast of public breath,
The lust of lucre, and the dread of death.'

Epistle to Robert, Earl of Oxford, and Earl Mortimer

Alexander Pope

(1721)

Writing poetry that was dedicated to, and about, an individual was enormously popular in the eighteenth century.  Indeed, composing dedicatory verses was in widespread use as a way of gaining (financial) patronage from a wealthy noble.  This poem, however, is a rather more genuine expression of respect and esteem.  The poem’s author, Alexander Pope, and its subject, Robert Harley, the Earl of Oxford were good friends, and both were part of the influential group of writers known as the Scriblerus Club (and which also included Jonathan Swift, Thomas Parnell, John Gay, and Dr. John Arbuthnot).  Unlike the other members of the group, Harley’s literary output was not in any way great, but he did leave a lasting legacy to British literature by gathering much of the collection of books, manuscripts, and pamphlets which his son would later donate to the nation to form the foundation of the British Library (the photo depicts Harley's portrait outside the Maps and Manuscripts reading room in the British Library).

Today’s poem owes much to the friendship that existed between the Scriblerians (as they are now referred to).  After Parnell’s death in 1718, Alexander Pope prepared an anthology of the late writer’s poems, composing this dedicatory verse to preface the collection and delivering a draft copy of the poem to its subject Harley on 21 October 1721.  Although this might be seen as somewhat self-advertising, an exchange of poetry had been an important part of the relationship between the friends during the heyday of their Scriblerus Club meetings in 1714.  Indeed, it is to these meetings that today’s poem seems to refer when it states how Harley was:

 

‘Fond to forget the statesman in the friend;

For Swift and him, despised the farce of state,

The sober follies of the wise and great;

Dexterous, the craving, fawning crowd to quit,

And pleased to ‘scape from Flattery to Wit’
(lines 7-12)

 The sense here is of the group as aloof from a world of petty political wrangling, free from the party politics that divided the government and thus able to find satirical humour in all the intrigue and political posturing.  Yet the poem is also very much about Harley’s own place in the political arena.  Having served as Lord Treasurer from 23 May 1711 to 27 July 1714 (effectively equivalent to the modern day role of Prime Minister), Harley had been at the very centre of the British government through what was perhaps the country’s most important political crisis in the early eighteenth century: the problem of who should inherit the crown when Queen Anne died.  The choice was between the Catholic heir of the deposed James II (Anne’s father, thrust from power in the ‘Glorious Revolution’ of 1688 by Anne’s sister Mary and her husband William III of Orange), or the royal family’s nearest Protestant relations in the German House of Hanover (the family which would indeed succeed to the throne upon Anne’s death in 1714).  As Lord Treasurer, Harley managed the opposing factions so well that, to this day, the question of which side he actually supported is still very much up for debate.  Whichever way his views truly tended, however, when Hanoverian George I succeeded Queen Anne in 1714, Harley’s rivals in government managed to implicate Harley as an opponent of the new regime, to the extent that from 1715 to 1717 he was held in the Tower of London, accused of treason.  Despite his ultimate release, his political career was now well and truly over, and it is to this that Pope alludes when he states that ‘In vain to deserts thy retreat is made’ (much like the political wildernesses often referred to today when politicians fall from power).

A true friend, Pope emphasises how Harley has retreated to this desert ‘In vain’, for ‘The Muse’ (presumably an allusion to Pope’s own poetic endeavour) has not deserted Harley but intends to ‘dignify disgrace’ of political exile through the honest admiration of the poem.  For as Pope is quick to emphasise, these dedicatory verses lack the more traditional financial motive; he describes the poem’s artistic ‘Muse’ (personified in classical style as ‘she’) as ‘No hireling she, no prostitute to praise’.  The flattery of this poem is not offered in exchange for money, but as a sincere and grateful return for friendship. 
 

You can find this poem: 

http://www.public-domain-poetry.com/alexander-pope/epistle-to-robert-earl-of-oxford-and-earl-mortimer-28781

(a free copy available online!)

Alexander Pope, The Major Works, ed. Pat Rogers (Oxford: Oxford University Press, 1993, repr. 2008)

http://ukcatalogue.oup.com/product/9780199537617.do
(a beautiful collection of Pope’s poetry, and with a helpful amount of explanatory notes; as always, check reputable second hand dealers for cheaper copies, e.g. Ebay, Amazon, and independent bookstores)

About the author:

Alexander Pope was one of the most important poets of the eighteenth century, and one of the best loved and most studied by eighteenth-centuryists today.  Suffering throughout his life from a curvature of the spine, Pope was further disadvantaged by the oppressive anti-Catholic laws of the time, and which forbid any Catholic from living in London or holding public office.  There is no repressing so great a poetic talent, however, and his place in the canon of eighteenth-century poetry is amply deserved.  His major works include comic poetry such as The Dunciad (1728) and The Rape of the Lock (1712-14) (yes, I know, the title does not tend to suggest humour, but the poem is actually about the theft of a lock of hair).  During his life he was most prominently known for his English translations of the Greek poet Homer’s Iliad (pub. 1720) and Odyssey (pub. 1725-6), the first major English versions of these texts to be published.

 

You can find out more about Pope:

http://www.britannica.com/biography/Alexander-Pope-English-author

(Encyclopædia Britannica: so much glorious information here, so beautifully and approachably presented! And freely available…)

http://res.oxfordjournals.org/content/66/273/106.full.pdf+html

(An absorbing example of current academic scholarship on Pope, this article is a really interesting look at Pope and his political poetry, together with the broader context in which he was working.  Like most academic writing, it does assume a certain knowledge of eighteenth-century literature, but nothing that can’t be gained with aid of an internet search engine! The author is on twitter @josephhone1 and well worth following!) 

http://www.twickenham-museum.org.uk/detail.asp?ContentID=19

(A museum about the Twickenham area, where Pope lived; this site has some interesting biographical info)

The facts and figures for this blogpost was obtained from the following sources:

Pat Rogers, The Alexander Pope Encyclopedia (Westport, Conn.; London: Greenwood Press, 2004)

Anne Somerset, Queen Anne: The politics of passion (London: Harper Collins 2012)

 

 

'January 1795' - Mary Robinson

‘Lofty mansions, warm and spacious;

Courtiers cringing and voracious;
Misers scarce the wretched heeding;
Gallant soldier fighting, bleeding.’

January 1795

Mary Robinson

It’s another less-than-catchy title, I know, but in fact it is a very accurate description of the content of the poem.  English society at the start of 1795: that is exactly what this poem gives you.  Not just the frozen snapshots of architecture and furniture that we glimpse in museums and art galleries today (fascinating and useful though they are).  This is a poem about activity, about living people, inhabiting a diverse and industrious world.  The power of this poem, for me, comes from Robinson’s consistent use of active verbs throughout (the words ending in ‘-ing’).  There is no single story to this poem; rather it is a long description of action, a collage of moving images.

Still more fascinating is the life of Mary Robinson herself.  Actress, poet, society girl and royal mistress, reading through the biography of her life on the Oxford Dictionary of National Biography is a bit like reading a novel.  By the time she wrote this poem in 1795, she was nearing the end of her life (she died in 1800), yet her artistic appreciation for detail, and her capacity for satiric observation, remains acute.  Samuel Taylor Coleridge (a major figure in the romanticist movement of poetry, whose work will certainly feature in a later post!!) described her as ‘a woman of undoubted Genius’. 

I enjoyed this poem so much, that I thought I would use it to test a new idea for showcasing featured poems.  It’s great to read poetry on the page, but it’s also important to remember that eighteenth-century poetry in particular was often intended to be read aloud.  As my computer demonstrated a profound reluctance to upload only an audio file, this will run as a video, but there are no visuals.  Just sit back, close your eyes, and step into the eighteenth-century:

 

 

Happy reading! (and, hopefully, listening!)

Feel free to ask questions and leave comments!

NB after initial problems with the video element I have made some technical adjustments, and it should now work fine!  If not, do please let me know!

You can find this poem:

 http://www.poetryfoundation.org/poem/174252

(Poetry Foundation: an excellent source of free poetry, and also the text used for my reading)

You can find out more about Mary Robinson:

http://www.harpercollins.co.uk/9780007164592/perdita

(A biography of Robinson’s life by Paula Jane Byrne.  I discovered this myself whilst writing this blogpost, and (having read some of Paula’s other books) I might now have to visit a bookshop… As always, check Amazon/Ebay etc for cheaper options or secondhand copies.  Also, don't let the title confuse you: Perdita was a sort of pseudonym for Robinson throughout her relationship with the prince who would become King George IV)

https://en.wikipedia.org/wiki/Mary_Robinson_(poet)

Wikipedia!!

http://www.janeausten.co.uk/mary-robinson-a-life-lived-extraordinarily/

(another interesting blog article about the scandalous Mary Robinson)

The Coleridge quotation was taken from the Oxford Dictionary of National Biography entry for Mary Robinson.  I’ve included the link below, but sadly only those who have a registered account with the site can access this information:
http://www.oxforddnb.com/view/article/23857?docPos=3

The Private Memoirs and Confessions of a Justified Sinner - James Hogg

'I felt a sort of invisible power which drew me towards him, something like the force of enchantment, which I could not resist'

The Private Memoirs and Confessions of a Justified Sinner
James Hogg
(Novel, first published 1824)

Catchy title, huh?  I suspect this book is one of those whose title is probably its worst enemy.  What it sounds like you’re going to get is a lengthy biographical account of a religious devotee.  What you actually get is a weird little story of doppelgangers and devilry, in which murder and mayhem abound, and where two women finally turn detective to uncover the truth. 

It begins, somewhat unconventionally, with a wedding scene in which a disgruntled bride is disgusted with her new husband’s dissipated partying, but quickly takes up the story of their two sons (well at least, there is some scope for debate about the parentage of one of the boys… but I won’t spoil it for you!).  The important thing to know before reading this book is that the ‘Justified Sinner’ of the title refers to an offshoot of Christianity called Antinomianism which adopts the belief that ‘Christians are by grace set free from the need to observe any moral law’ (The Concise Oxford Dictionary of the Christian Church, ‘antinomianism’ definition).  More simply put, this system states that a person can only gain a place in heaven through faith and the grace of God, and not by earning it through good deeds.  What James Hogg does in his book is to explore a bigoted, extremist version of this idea, in which one man comes to believe that, no matter what crimes he commits, it cannot be morally wrong because he believes he is one of God’s chosen people.

Underlying this is a brilliantly subtle, and typically eighteenth-century, conflict of supernatural vs scientific explanation.  One of my university tutors argued that, despite appearances, it is possible to provide a rational explanation for everything that occurs in the text... but then there are others (myself included) who simply cannot believe that there is not (quite literally) some devilry at work…

One other thing I should mention, when it says ‘Editor’s Narrative’ at the beginning, this is not some tedious explanation of abstract editorial practice, it is actually the start of the story.  As a way of giving the tale an enhanced realism, Hogg creates the character of an editor into whose hands have come the interesting documents in which the story continues.  Kind of a way of writing himself into his own story; neat, eh?

 

Set in Scotland, much of the action of the narrative occurs in Edinburgh, and as I’ve just got back from a brief visit there I couldn’t resist including a photo of Arthur’s Seat (the scene of an important encounter in this novel, but as I don’t want to give away any spoilers I had better say no more…)

With its emphasis on religious zealotry and the tragic absurdities to which this can lead, The Private Memoirs and Confessions of a Justified Sinner is actually an extremely modern narrative, and a truly absorbing read.  Think Heathcliff in Wuthering Heights is an intriguing character?  Just wait until you meet the elusive Gil-Martin…

 
Happy reading!  As always, feel free to ask questions in comments!

 

You can find this book:

Oxford World Classics edition: http://ukcatalogue.oup.com/product/9780199217953.do
(always hugely recommended: these offer just the right balance of historical information to understand the story without intruding on the text too much!)

Edinburgh University Press edition: http://www.euppublishing.com/book/9780748663156

(a detailed scholarly edition) 

Wordsworth Classics edition: http://www.amazon.co.uk/Private-Confessions-Justified-Wordsworth-Classics/dp/1853261882

(an affordable edition, with some explanatory notes; apologies for the commercial bias of referencing Amazon here, this edition is available in various other shops)

All these editions have various quantities of annotation, a useful tool when reading texts this old, and something that I hope to discuss further in future blogposts.  Don’t worry, though, what are known as ‘scholarly editions’ don’t have to cost the earth: check out sites such as Ebay, etc. for second hand copies, as these are often readily available at very economical rates!  Free versions may be available for e-readers, though it should be remembered that such texts have not always been prepared carefully for publication.  I cannot overemphasise the importance of the helpful little notes that a publisher like Penguin or Oxford World Classics would include in illuminating obscure or archaic references!

If you want to know more about James Hogg:

Wikipedia: https://en.wikipedia.org/wiki/James_Hogg
(a useful starting point)

Interesting BBC article: http://www.bbc.co.uk/programmes/profiles/29mbnSxdmTg99TpfkcHpRtm/james-hogg

(includes an extensive reading list for those thirsting to know more!)

The James Hogg Society blog:

http://jameshoggblog.blogspot.ca/

(contains lots of interesting info)

The quotation in this blogpost is from:

E.A. Livingstone, (ed.), The Concise Oxford Dictionary of the Christian Church.  Oxford: Oxford University Press, 2006.  Oxford Reference, 2006.  Online version [accessed 15 June 2015]

'Ode on the Death of a Favourite Cat: Drowned in a Tub of Goldfishes' - Thomas Gray

 

‘The hapless nymph with wonder saw:

A whisker first and then a claw,

      With many an ardent wish,

She stretched in vain to reach the prize.

What female heart can gold despise?

     What cat’s averse to fish?’
                                                    (lines 19-24)

Ode on the Death of a Favourite Cat: Drowned in a Tub of Goldfishes
Thomas Gray

1747

In some ways it’s a shocking title: a beloved pet has died in tragic circumstances.  Yet, in typical eighteenth-century style, there is an element of satiric bathos.  It is a poem about death, a tribute to a treasured feline companion; yet it is also an attempt to construct a funny side to an otherwise dismal situation.  Certainly, it would seem to have been an attempt that succeeded: Horace Walpole, the owner of the unfortunate cat, had the first verse of the poem engraved onto a pedestal upon which he displayed the China vase in which his pet had met its end (apparently this is still on display in Walpole’s gothic mansion Strawberry Hill). 

The artist and writer William Blake was commissioned to produce an illustrated edition of Thomas Gray’s poetry; I’ve included one of the illustrations here, because I think it helps to understand the doubling of images in the poem.  What makes it funny is the way that the events are presented with such exaggerated solemnity: the two goldfish are ‘genii of the stream’, while the tragic victim is the ‘hapless nymph’.  The serious aspect of the final moral that ‘all that glisters [is not] gold’ also transforms the incident into a useful life example.  The concept itself is by no means original: Shakespeare includes an almost identical phrase in the play The Merchant of Venice, and, long after Gray’s death, Tolkien incorporated a similar idea into his description of the returning king, Aragorn, in The Lord of the Rings.  Yet the glorious juxtaposition of humour and solemnity that Gray achieves surely makes this the most unique and stunning depiction of this proverb.

Happy reading!

If you have any questions, feel free to ask in the comments section!

 

Picture: Illustration for Gray's 'Ode on the Death of a Favourite Cat,' William Blake, 1798.  The Norton Anthology of English Literature: Volume C, The Restoration and the Eighteenth Century, edited by James Noggle and Lawrence Lipking, p. C.8. (It should be noted, that the original was much better quality than my low-resolution image)

 

You can find this poem:

 http://www.thomasgray.org.uk/cgi-bin/display.cgi?text=odfc#panel_poem

A lovely free version of the poem available online!  This site also has a wealth of information surrounding Gray to suit all levels of interest and enthusiasm!

http://www.poetryfoundation.org/poem/173567

Another free version of the poem available online! if

The Norton Anthology of English Literature: Volume C, The Restoration and the Eighteenth Century, edited by James Noggle and Lawrence Lipking, pp. 3050-3051

If, like me, you prefer a good solid book, this is an excellent place to find the poem! 

 

For more information about Thomas Gray:

http://en.wikipedia.org/wiki/Thomas_Gray

Wikipedia!! Always a good place to start…

http://www.thomasgray.org.uk/
A stunning resource!! Don’t be put off by all the talk about scholars and academics: this site is for anyone interested in Gray and his poetry!

 http://www.strawberryhillhouse.org.uk/

Strawberry Hill, the gothic-castle-home of Horace Walpole, is now an exceedingly interesting museum: definitely worth a look!