By Daniel P. Watkins
During this first serious research of Anna Letitia Barbauld’s significant paintings, Daniel P. Watkins unearths the singular goal of Barbauld’s visionary poems: to recreate the realm in line with the values of liberty and justice. Watkins examines in shut aspect either the shape and content material of Barbauld’s Poems, initially released in 1773 and revised and reissued in 1792. in addition to cautious readings of the poems that situate the works of their broader political, old, and philosophical contexts, Watkins explores the relevance of the introductory epigraphs and the significance of the poems’ placement in the course of the quantity. Centering his examine on Barbauld’s attempt to advance a visionary poetic stance, Watkins argues that the planned association of the poems creates a coherent portrayal of Barbauld’s poetic, political, and social imaginative and prescient, a far-sighted sagacity born of her deep trust that the foundations of affection, sympathy, liberty, and pacifism are invaluable for a safe and significant human truth. In tracing the contours of this attempt, Watkins examines, specifically, the strain in Barbauld’s poetry among her wish to have interaction without delay with the political realities of the realm and her both robust eager for a pastoral global of peace and prosperity. students of British literature and girls writers will welcome this crucial research of 1 of the eighteenth century’s optimum writers.
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Extra resources for Anna Letitia Barbauld and Eighteenth-Century Visionary Poetics
White’s excellent Early Romanticism and Religious Dissent includes a detailed consideration of Barbauld’s place among the British Dissenting community in the late eighteenth century. Considering, among other things, Barbauld’s literary collaborations with her brother and with fellow Dissenters at Warrington Academy, White argues convincingly that Barbauld 30 Anna Letitia Barbauld and Eighteenth-Century Visionary Poetics should be viewed and studied within the context of a Dissenting public sphere.
On this view, the “definitive blow” that is given to “the discourse” by “the gentlemen” does more than simply stop the conversation; it hammers home the social dimensions of Hands’s visionary poetics. The critical relation between Amnon and the two “Supposition” poems suggests the way that Hands shapes and interweaves her poems through the course of the volume. For example, following the “Supposition” poems, Hands presents a cluster of conventional classical pastoral poems that describe an idyllic life wherein young men and women face the mild tribulations of love at the same time that they experience its great excitement and rewards.
Does the abridgment of the passage from the Seasons suggest that Barbauld will work in a particular and knowing way with epigraphs throughout the volume? Beyond the epigraphs, it is also necessary to consider whether, and how, Barbauld arranges the poems in the volume, particularly the way that she clusters poems together (for instance, hymns, songs, poems about women). Do these clusters speak to one another? Are they building blocks used to support a unified poetic vision? If so, how do these building blocks fit together?