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her poetry by stating that she writes only to escape melancholy thoughts and fill idle time. She employs a food/feasting metaphor: her poems are not ripe, but applause and praise will make them pass as a "general feast" to those of vulgar taste who take quantity over quality. As was typical in her writing, applause is welcomed and criticism censored, as she advises those who dislike her poetry to keep silent. Hers are poems of fancy and so require study. She recommends that as one with a troubled conscience ought to look to a minister for guidance. Likewise a reader will ask a poet for help in understanding her poems. Attempting again to guide readers to a positive reception of her book, Cavendish distinguishes poets (able judges of poetry) from rhymers (faulty judges of poetry) and advises people not to call her book nonsense or poorly constructed out of their own ignorance and malice. Returning again to her desire for fame, Cavendish notes that if judged by an honest poet, who would not be envious, her work would receive applause.
619:, like many of Cavendish's epistles, contains excuses for errors that may be found in the poet's work and begs for praise. The poet states that self-love influences her judgement of her own poetry, which she finds she likes so much that she is moved to continue writing in hope of fame. She claims to write without thought of how her work would be received by critics. She then recalls how she was visited by Reason, who advised her to stop writing. Reason said her writing was a waste of time, that her work would not be well received and she should not have her work printed, so that the printer would not lose money. Reason also stated that there were already too many books and she should burn what she had written to spare the world from more. The poet noted her own angry response: she sent her book to press before she could be persuaded otherwise. In hindsight, however, she regretted doing so: she felt ashamed by her writing and told the reader to pity her and wipe away her tears with praise.
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that philosophical terms should ease communication of thoughts. She believes that successful communication is possible in all languages and accuses those who complicate communication (particularly
English writers) of aiming for esteem from those who admire writing simply because they do not understand it, without considering that it may be nonsense. In her own work, Cavendish states, she chooses not to use difficult terms, although she adds that she understands such terms. Her stated reason is that she desires her work to be accessible to people regardless of their education. Her aim is to communicate her ideas clearly. She requests that any errors that may be found in her work be overlooked and readers remain focused on her main ideas. Here, as in many epistles, she instructs readers on how to approach her work and requests them to read it fully and withhold criticism until they have done so.
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her desire for fame by distancing her ambition from what is feminine: her ambition is a quest for glory, perfection and praise, which she states is not effeminate. Even while writing and pursuing fame she remained modest and honourable and does nothing to dishonour her family. Cavendish attributed her confidence, as a type of censor, to her belief that there is no evil, only innocence in her desire for fame. As to her writing without permission, Cavendish excuses herself by stating it is easier to get a pardon after the fact than to obtain leave beforehand. She places writing over gossip, as a common and negative female activity. She credits her books as tangible examples of her contemplation and contrasts her self-proclaimed harmless ideas with wild ideas that might lead to indiscreet actions.
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660:, in 1656. She wrote it at the age of 33, which has been discussed by literary critics. One critic sees Cavendish's autobiography as a way to gain credibility and a marketable image that would undercut a socially improper public image. Cavendish wrote her autobiography in response to what people were saying of her in her lifetime. It relates Cavendish's lineage, social status, fortune, upbringing, education and marriage, describes her pastimes and manners, and offers an account of her personality and ambition, including thoughts on her bashfulness, contemplative nature and writing. She also shares her views on gender (appropriate behaviour and activity), politics (Parliamentarians v. Royalists) and class (proper behaviour of servants).
835:, have suffered the same disease. It was an honour for someone of great ambition (as she often identified herself) to share the disease of such wise and eloquent men. In these, as in her other writings, she asserts that she writes for herself and that her writing is a harmless pastime when compared with those of many other women. She contradicts herself, however, by adding that she writes for delight, which she had denied in her previous work. Also somewhat contradictory is her intention of continuing to write even if she has no readers, which belies her desire for fame. Ultimately, Cavendish excuses her criticism of and engagement with the theories of other natural philosophers as a necessary step in the search for truth.
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and supported her interest and study in the area. She may also have been influenced by social encounters with philosophers such as Thomas Hobbes. O'Neill believes Hobbes (who had instructed
Charles in philosophy) had marked influence on Cavendish's natural philosophy, making her one of the few 17th-century supporters of Hobbes' materialist philosophy, which argued that incorporeal souls did not exist in nature. Beginning in the 1660s, Cavendish began to study the work of her contemporaries more seriously. O'Neill suggests that such study was meant to enable Cavendish to argue her own points better by contrast with those of other natural philosophers.
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libraries and tutors, although she hinted that the children paid little heed to tutors, who were "rather for formality than benefit". Cavendish began putting ideas down on paper at an early age, although it was poorly accepted for women to display such intelligence at the time and she kept her efforts in the privacy of her home. The family had significant means and
Cavendish stated that her widowed mother chose to keep her family in a condition "not much lower" than when her father was alive; the children had access to "honest pleasures and harmless delights". Her mother had little to no male help.
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philosophers, and thereby her knowledge of opinions and discourses that preceded her own. She then dismissed errors she might make as trivial, asserting that she did not mean her text to be taken as truth. She wrote simply to pass time and expected her work to be read for the same end. This epistle also explained her writing in verse: poets were thought to write fiction and that fiction was aligned with pastime, not truth. So verse might be expected to contain errors. Cavendish lamented that her work was not more entertaining and advised readers to skip any part they did not like.
697:(1655). The topics are as varied as the forms and length of the letters. They cover marriage, war, politics, medicine, science, English and classical literature, and miscellaneous matters like gambling and religious extremism. Some letters seem to point to characters as actual people β Thomas Hobbes may appear in letter 173 and C. R. stand for King Charles II, β and some are addressed to real people with whom Cavendish often communicated, but most are fictional, leading to a surprisingly vibrant, ongoing conversation and observation of contemporary life.
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often assumed a defensive position, here justified by asserting that she expected critiques from males and females not only of her writing, but of her practice of writing itself. Cavendish argued that women who busy themselves writing will not act ineptly or gossip. Though she expected criticism from females, she calls for female support in gaining honour and reputation. She ends by stating that if she fails, she will see herself as martyred for the cause of women.
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240:. She was unusual in her time for publishing extensively in natural philosophy and early modern science, producing over a dozen original works; with her revised works the total came to 21. She often would have her portrait engraved on the covers of her different works so that people would know that she was solely responsible for the creation of whatever she wrote and then published in some way or another.
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in her work as due to youth and inexperience, for she wrote only to distract herself from hardships of her husband's and her own. Comparing her book to a child, she said that it was innocent, young, well-behaved, bashful and sensitive. Readers should blame her, not the book, if they did not like it. If, however, the book was well liked, she made it clear that she expected fame.
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meaning at the expense of elegance, her aim being to communicate ideas. She also noted that she expected her work to be criticised for not being useful, but she wrote not to instruct her readers in the arts, sciences or divinity, but to pass her time, asserting that she made better use of her time than many others. Cavendish returned to these points in her epistles and poems.
626:, she compares a negative reception to her books with their death. If the books suffer such a death (i. e. criticism), she requests silence and that they be forgotten, without alteration or inscriptions, and left undisturbed unless new merit is found. Again Cavendish sought to censor criticism and promote fame by instructing that only positive criticism should be voiced.
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the
Digital Cavendish Project works to make Cavendish's writing accessible and readable for people across the web and "highlight digital research, image archives, scholarly projects, and teaching materials". On 26 January 2018, the Digital Cavendish Twitter account announced that its next goal was to compile the Complete Works of Margaret Cavendish.
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Incomprehensible Being." Still, she believed that all parts of nature have an innate knowledge of God's existence. Even inanimate matter, she argues, "also have an interior, fixt and innate knowledge of the existency of God, as, that he is to be adored and worshipped. And thus the inanimate part may, after its own manner, worship and adore God."
388:", made her "repent my going from home to see the World abroad." It manifested itself in reluctance to discuss her work in public, but this she satirised in her writing. Cavendish defined and sought self-cures for the physical manifestations of her melancholia, which included "chill paleness", inability to speak, and erratic gestures.
372:, would be sold and that she as his wife could hope to benefit from the sale. In the event she received no benefit. She noted that while many women petitioned for funds, she herself only did so once, and being denied decided such efforts were not worth the trouble. After a year and a half she left England to be with her husband again.
158:; 1623 β 16 December 1673) was a prolific English philosopher, poet, scientist, fiction writer and playwright. She produced more than 12 original literary works, many of which became well known due to her high social status, which allowed Margaret to meet and converse with some of the most important and influential minds of her time.
1064:: "The present Dutchess of New-Castle, by her own Genius, rather than any timely Instruction, over-tops many grave Gown-Men." She saw her exemplifying what women could become through education. New manuscript evidence also suggests she was read and taken seriously by at least some early Royal Society members, such as its secretary,
538:, her dedication to Sir Charles Cavendish, her brother in law, compares writing poetry to spinning and calls poetry mental spinning β it was commonly thought to be more appropriate for women to spin than to write, but she herself was better at writing. This is one of several occasions when Cavendish calls attention to
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the vast bulk of the
Duchess is leavened by a vein of authentic fire. One cannot help following the lure of her erratic and lovable personality as it meanders and twinkles through page after page. There is something noble and Quixotic and high-spirited, as well as crack-brained and bird-witted, about
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doctrines: while women rarely wrote about natural philosophy in the 17th century, Cavendish published six books on the subject. O'Neill points out that
Cavendish herself was not formally educated in natural philosophy, though William Cavendish and his brother Charles shared an interest in the subject
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Her epistle states that with no children and at that time no estate, she has a lot of spare time, which she fills by writing, not housekeeping. Food husbandry in poetry was well-ordered fancy composed of fine language, proper phrases and significant words. Cavendish excused errors that might be found
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grow, several projects have begun archiving
Cavendish. The International Margaret Cavendish Society was set up as "a means of communication between scholars worldwide", to increase awareness of Cavendish's scholarly presence as a hub for newsletters, contacts and links to Cavendish's works. Likewise
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has recently become a staple of high school and university literature courses because of its feminism and
Sapphic plot and character elements. Several of Cavendish's works have epistles, prefaces, prologues and epilogues in which she discusses her work, philosophy and ambition, while instructing the
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in her exile. She became one of the best-known women playwrights through her interest in philosophical nature. This epistle is followed by a response from
Mistress Toppe, praising Cavendish and her skill in poetical fiction, moral instruction, philosophical opinion, dialogue, discourses and poetical
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In her epistle to
Mistress Toppe, Cavendish states a desire for fame as her main reason for writing. Again she asks for acceptance of her writing as a digression from accepted gender norms. While she often brings in metaphors of domestic or stereotypical feminine activities, here she tries to excuse
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on topics that include natural philosophy, atoms, nature personified, macro/microcosms, other worlds, death, battle, hunting, love, honour and fame. Her poems at times take a dialogue form between such pairs as earth and darkness, an oak and a tree-cutter, melancholy and mirth, and peace and war. As
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Cavendish's views on God and religion remained ambiguous. Her writings show her as a Christian, but she did not often address the matter. In her Physical Opinions, she explicitly stated her belief in the existence of God β "Pray account me not an Atheist, but believe as I do in God Almighty," β but
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Cavendish noted that her husband liked her bashfulness; he was the only man she was ever in love with, not for his title, wealth or power, but for merit, justice, gratitude, duty and fidelity. She saw these as attributes that held people together even in misfortune, and in their case helped them to
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Regretting that she had left home to be a lady-in-waiting, Cavendish informed her mother that she wanted to leave the court, but her mother persuaded her not to disgrace herself by leaving and provided her with funds that Cavendish noted quite exceeded the normal means of a courtier. She remained a
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Cavendish's publications brought her fame and helped to disprove the contemporary belief that women were inherently inferior to men. Cavendish used them to advocate women's education: women were capable of learning and benefiting from education, and she insisted her own works would have been better
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Margaret Cavendish began to generate intense scholarly interest in the 1980s, when rediscovered and analysed from a modern feminist perspective. Since then there have been many book-length critical studies of her. She has also gained fame as one of the first science-fiction writers, with her novel
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Cavendish remarks on her own experience reading philosophical works: many such works have challenged her understanding with their frequently difficult words and expressions. Thus Cavendish advises writers of philosophy to use language appropriate to less expert readers. She defends this by stating
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In her epistle to the poets, Cavendish notes that as women seldom wrote, her writing may be ridiculed, as the strange and unusual seem fantastical, the fantastical seems odd, and the odd seems ridiculous. She requests that her work be judged by reason, not prejudice. She then excuses weaknesses in
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In her epistle to noble and worthy ladies and in many others, Cavendish plainly expresses her desire for fame. She was not concerned that the best people should like her writing, as long as many people did. She justified this by linking fame to noise and noise to great numbers of people. Cavendish
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Cavendish included a prefatory letter to natural philosophers. She knew no language but English, and even her English was somewhat limited, since she was familiar only with "that which is most usually spoke." In other words, she downplayed her knowledge of the technical vocabulary used by natural
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In her dedication, Cavendish recalls a time when rumours surrounded the authorship of her works: that her husband wrote them. Cavendish notes that her husband defended her from these, but admits to a creative relationship, even as her writing tutor, for writing "fashions an image of a husband and
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was in Oxford, Cavendish never gained permission from her mother to become a lady-in-waiting. She accompanied the Queen into exile in France, away from her family for the first time. She notes that while she was confident in the company of her siblings, amongst strangers she became bashful, being
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As many such as Silvia Bowerbank and Sara Mendelson have noted, this early version of science fiction critiques and explores such issues as science, gender and power. It also views relations between imagination and reason and philosophy and fiction. Cavendish writes herself into the book, which
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This is viewed as "Cavendish's most ambitious attempt to combine modes and genres." It includes short prose romances β "The Contract" and "Assaulted and Pursued Chastity" β and several prefatory addresses to the reader. The stories concern "the advantageous production of woman as spectacle" and
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often sought to justify writing at a time when women writers were not encouraged and in terms of her subject choice. She instructed readers in how to read and respond to her poetry, most often by inviting praise from supporters and requesting silence from those unaffected by her work. Cavendish
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Cavendish concluded the collection by stating she was aware that she did not write elegantly and that her phrasing and placement of words could be criticised. She said she had difficulty creating rhymes that could communicate her intended meaning. In short, Cavendish stated that she strove for
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Cavendish's father, Thomas Lucas, was exiled after a duel that led to the death of "one Mr. Brooks", but pardoned by King James. He returned to England in 1603. As the youngest of eight, Cavendish recorded spending a lot of time with her siblings. She had no formal education, but had access to
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and expands on her reasons for not following them. As here, Cavendish often employed metaphors to describe her writing in terms of stereotypical feminine tasks or interests, such as spinning, fashion and motherhood. While criticising her own work, she said it would seem better if Sir Charles
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Cavendish in her memoir explained her enjoyment in reinventing herself through fashion. She said she aimed at uniqueness in dress, thoughts and behaviour, and disliked wearing the same fashions as other women. She also made her desire for fame public. Several passages remark on her virtuous
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Her theological temerity was unusual at a time when much women's writing was built around religion. Although Cavendish acknowledged God's existence, she held "that natural reason cannot perceive or have an idea of an immaterial being." So "when we name God, we name an Inexpressible, and
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In her epistle to the reader, Cavendish writes that woman's wit may equal that of man, and women may be able to learn as easily as men. She argues that wit is natural, whereas learning is artificial, and in her time, men have more chance of educating themselves than women.
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afraid she might speak or act inappropriately without her siblings' guidance, while anxious to be well received and well liked. She spoke only when necessary and so came to be regarded as a fool, which Cavendish stated that she preferred to being seen as wanton or rude.
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Cavendish followed some epistles with poems on how they came to be published and how they should be received. The proximity of the poems to the epistles and their similarity in subject and tone, suggests that they may be interpreted as Cavendish's own point of view.
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Cavendish, as a poet, philosopher, writer of prose romances, essayist and playwright, published under her own name at a time when most women writers remained anonymous. Her topics included gender, power, manners, scientific method and philosophy. Her utopian romance
633:, she compares it to a child and the book/child and author/parent to birds. The book is like a baby bird just going out on its own. The author, like a parent bird, is unsure whether the book/baby bird will be safe and chirrups an attempt to protect it.
807:. Cavendish's work has also received positive criticism and been lauded by many for tackling typically male-dominated subjects such as natural philosophy. Letters and poems of praise by her husband were included in several of her published works.
446:, to be erected in the north transept of the abbey. The epitaph reads: "Her name was Margaret Lucas youngest daughter of Lord Lucas, earl of Colchester, a noble family, for all the brothers were valiant, and all the sisters virtuous".
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trope. More recently, her plays have been examined in performance studies, for blurring the lines between performance and literature, challenging gender identities and upsetting gender norms. Further analysis on Cavendish appears
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details a fictional, quite separate new world and its empress. She remarks in her epilogue that she is the empress, adding that in much the same way as there was a Charles the First, she would be seen as Margaret the First.
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She expected to be criticised for deciding to write a memoir, but retorted that it was written for herself, not for delight, to give later generations a true account of her lineage and life. She noted that others, such as
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Cavendish asks the reader to read her fancies (poems) slowly, paying heed to each word, for each is a fancy itself. She warns that if readers lose their place or skip lines, they will miss the meaning of the entire work.
3126:"Meet the hottest early-modern philosopher. No, thatβs not an oxymoron. Margaret Cavendishβs brilliant writing was largely neglected in the 1600s, but itβs more relevant than ever. Hereβs where to start with her work",
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endure suffering for their political allegiance. Cavendish had no children, despite efforts by her physician to help her conceive. Her husband had five surviving children from a previous marriage, two of whom,
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and so much admired her biography of her husband that he called it a jewel "for which no casket is rich enough." James Fitzmaurice argues βCavendish was viewed sympathetically by the English Romantic poetsβ.
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Cavendish looked favourably on it. Cavendish often appealed to readers for applause: if it were well received it would be somewhat improved. She ends by complimenting Charles's charity and generosity.
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Throughout her work on natural philosophy, Margaret Cavendish defends the belief that all nature is composed of free, self-moving, rational matter. Eileen O'Neill provides an overview of Cavendish's
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Margaret Cavendish was the first person to develop an original theory of atomism in Britain. She was also the first woman to be invited to attend a session of the Royal Society. One member,
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Cavendish was an unorthodox and daring intellectual who received positive and negative commentary from her contemporaries. Negative comments can be found by the Royal Society member
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678:. She goes on to address the economic and personal hardships that she and her family faced from the war and their political allegiance, such as loss of estates and bereavements.
496:, a prose piece consisting largely of speeches and letters. The collection concludes with her thoughts on her writing and an advertisement for one of her future publications.
981:(1662). Many of her works address such issues as natural philosophy, gender, power and manners. Cavendish's plays were never acted in her lifetime, but a number, including
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Biography of Margaret Cavendish, Duchess of Newcastle, with links to online catalogues, on the website of Manuscripts and Special Collections, The University of Nottingham
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by Danielle Dutton dramatises her "with lucid precision and sharp cuts through narrative time", as a new approach to "imagining the life of a historical woman". As the
1635:. Edited by, Eileen O'Neill. (Cambridge Texts in the History of Philosophy.) xlvii + 287 pp., bibl., index. Cambridge: Cambridge University Press, 2001. $ 60 (cloth)"
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Prakas, Tessie (Winter 2016). ""A World of her own Invention": The Realm of Fancy in Margaret Cavendish's The Description of a New World, Called the Blazing World".
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Cavendish, Margaret (2011). "Writing to Posterity: Margaret Cavendish's "A True Relation of my Birth, Breeding and Life" (1656) as an "autobiographical relazione"".
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to Sir Thomas Lucas (1573β1625) and Elizabeth Leighton (died 1647), she was the youngest child of the family. She had four sisters and three brothers, the royalists
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and Cavendish's maid, Cavendish's writings took the form of poetical fiction, moral instruction, philosophical opinion, dialogue, discourses and poetical romances.
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reflected in one published letter, after reading a book by the Duchess, that she was "sure there are soberer people in Bedlam." She also had numerous admirers,
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2345:"Lady Newcastle's 'Unsoiled Petticoats' and the literary reputation of Margaret Cavendish, 1652β1985" in Margaret Cavendish - An Interdisciplinary Perspective
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reader on how to read and respond to her writing. Her work has been alternately criticised and championed from its original publication to the present day.
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O'Neill notes that Cavendish's natural philosophy and her writing in general were criticised by many contemporaries and by more recent readers, such as
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commonly used the epistles to admit and excuse potential weaknesses in her writing. They were directed at specific audiences and varied accordingly.
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521:, stated her intended audience, writing purpose and philosophy in prefaces, prologues, epilogues and epistles. Her several epistle dedications for
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1129:(2014), which was also loosely inspired by Cavendish, won The Los Angeles Times Book Prize for Fiction and was long listed for the Booker Prize.
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1060:, saw in Cavendish "a mighty pretender to learning, poetry, and philosophy". Yet her knowledge was recognised by some, such as the protofeminist
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Hilda L. Smith. "'A General War Amongst the Men ... But None Amongst the Women': Political Differences Between Margaret and William Cavendish."
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states that she expects readers to say that her practice of writing prolifically is a disease. If so, Cavendish stated, many others, including
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Alison Findlay, Gweno Williams and Stephanie J. Hodgson-Wright, "'The Play is ready to be Acted': Women and dramatic production, 1570β1670".
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Ed. Peter Dickinson, Anne Higgins, Paul Matthew St. Pierre, Diana Solomon and Sean Zwagerman. Lanham, MD: Fairleigh Dickinson UP, 2014. 55β64
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This article is about Margaret Cavendish (1623β1673), poet and philosopher. For later (1661β1717) Duchess of Newcastle of the same name, see
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N. N. W. Akkerman and M. Corporaal (2004), "Mad Science Beyond Flattery: The Correspondence of Margaret Cavendish and Constantijn Huygens",
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Nadine Akkerman and MarguΓ©rite Corporaal, "Mad science beyond flattery. The correspondence of Margaret Cavendish and Constantijn Huygens",
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character: while acknowledging goodness in others, she thought it acceptable to hope to better them and even achieve everlasting fame.
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Kellett, Katherine R. (Spring 2008). "Performance, Performativity, and Identity in Margaret Cavendish's "The Convent of Pleasure"".
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Diana Solomon, "Laugh, or Forever Hold Your Peace: Comic Crowd Control in Margaret Cavendish's Dramatic Prologues and Epilogues".
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Edited by Valerie Traub, M. Lindsay Kaplan, and Dympna Callaghan. Cambridge: Cambridge University Press, 1996, pp. 119β141
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3286:"'An Amazonian Heroickess': The Military Leadership of Queen Henrietta Maria in Margaret Cavendish's "Bell in Campo" (1662)"
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Mihoko Suzuki, "Thinking Beings and Animate Matter: Margaret Cavendish's Challenge to the Early Modern Order of Things". In
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Jo Wallwork, "Disruptive Behaviour in the Making of Science: Cavendish and the Community of Seventeenth-Century Science".
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Brandie R. Siegfried and Lisa Walters. "A New Science for a New World: Margaret Cavendish on the Question of Poverty". 1
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Billing, Valerie (Fall 2011). ""Treble marriage": Margaret Cavendish, William Newcastle, and Collaborative Authorship".
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Rebecca D'Monte, "Mirroring Female Power: Separatist Spaces in the Plays of Margaret Cavendish, Duchess of Newcastle".
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Mad Madge : the extraordinary life of Margaret Cavendish, Duchess of Newcastle, the first woman to live by her pen
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Marion Wynne-Davies, '"Fornication in My Owne Defence': Rape, Theft and Assault Discourses in Margaret Cavendish's
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149β168. Ed. Nancy J. Hirschmann and Joanne H. Wright. University Park: Pennsylvania State University Press, 2012
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sought to split philosophy from theology and so avoid debating God's actions in many of her philosophical works.
693:(1664) is a collection of letters, written as if composed by real women. The organisation is similar to that of
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lady-in-waiting for two more years before marrying William Cavendish in 1645, then still Marquess of Newcastle.
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The Dictionary of Literary Biography, Volume 281: British Rhetoricians and Logicians, 1500β1660, Second Series,
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Bronwen Price, "Feminine Modes of Knowing and Scientific Inquiry: Margaret Cavendish's Poetry as Case Study".
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Siri Hustvedt. "Afterword: Margaret Cavendish: A Grandmother for Twenty-first Century Philosophy of Science".
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James Fitzmaurice, "Margaret Cavendish on Her Own Writing: Evidence from Revision and Handmade Correction."
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Williams, Gweno; Wood, Chris; Newcastle, Margaret Cavendish; Margaret Cavendish Performance Project (2004),
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Elspeth Graham, "Intersubjectivity, Intertextuality, and Form in the Self-Writings of Margaret Cavendish".
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Vimala Pasupathi, "New Model Armies: Re-contextualizing The Camp in Margaret Cavendish's Bell in Campo".
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Cavendish has been championed and criticised as a unique, ground-breaking woman writer. She rejected the
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Politics and the Political Imagination in Later Stuart Britain: Essays Presented to Lois Green Schwoerer
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Christine Mason Sutherland, "Aspiring to the Rhetorical Tradition: A Study of Margaret Cavendish", in
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Sophie Tomlinson, "'My Brain the Stage': Margaret Cavendish and the Fantasy of Female Performance".
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who once wrote of her as "a mad, conceited, ridiculous woman" though he was eager to read her work.
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Deborah Boyle. "Informed by 'Sense and Reason': Margaret Cavendish's Theorizing about Perception".
2959:. Eds. Lisa Walters and Brandie R. Siegfried. Cambridge: Cambridge University Press, 2022. 274-288.
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Keller, Eve (1997). "Producing Petty Gods: Margaret Cavendish's Critique of Experimental Science".
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2513:
2370:"Gender and Epicurean Pleasure in the English Newcastle Circle" in A Companion to the Cavendishes
987:
955:
256:
210:
175:
3082:
Kegl, Rosemary. "'The World I Have Made': Margaret Cavendish, Feminism, and the Blazing World",
2840:
The Natural Philosophy of Margaret Cavendish: Reason and Fancy during the Scientific Revolution.
2471:
Begley, Justin. (May 2017). "'The Minde is Matter Moved': Nehemiah Grew on Margaret Cavendish".
153:
3298:, ed. M. Wertheimer, 255β71. Columbia, South Carolina: University of South Carolina Press, 1997
3193:
Alexandra G. Bennett, "'Yes, and': Margaret Cavendish, the Passions and Hermaphrodite Agency."
3010:
Karen Detlefsen, "Reason and Freedom: Margaret Cavendish on the Order and Disorder of Nature".
2191:
Narain, Mona (Fall 2009). "Notorious Celebrity: Margaret Cavendish and the Spectacle of Fame".
1697:
1588:
1582:
1557:
1551:
1400:
1394:
248:
3667:
3627:
2123:"Mind the Map: Fancy, Matter, and World Construction in Margaret Cavendish's "Blazing World""
369:
361:
302:
3534:
2253:
1036:
corresponded with her and engaged with philosophy and science. After her death, her husband
3592:
3587:
3214:
2712:
2153:
8:
3291:
Ryan Stark, "Margaret Cavendish and Composition Style." Rhetoric Review 17 (1999): 264β81
3252:
Katherine R. Kellett, "Performance, Performativity, and Identity in Margaret Cavendish's
3089:
James Fitzmaurice, "Fancy and the Family: Self-characterizations of Margaret Cavendish".
1701:
1009:
365:
191:
190:
and travelled with her into exile in France, living for a time at the court of the young
3237:
Theodora A. Jankowski, "Pure Resistance: Queer(y)ing Virginity in William Shakespeare's
2708:
2419:
Mintz, Samuel I. (April 1952). "The Duchess of Newcastle's Visit to the Royal Society".
3398:
3052:. Eds. Lisa Walters and Brandie Siegfried. Cambridge: Cambridge University Press, 2022.
2621:
2613:
2552:
2488:
2428:
2235:
2200:
2094:
1861:
1778:
1532:
1134:
1044:
of admiring letters, poems, and epitaphs by numerous people. In the nineteenth century
832:
776:
518:
218:
2962:
Mihoko Suzuki, "Animals and the political in Lucy Hutchinson and Margaret Cavendish".
1750:
1224:
Lee Cullen Khanna, "The Subject of Utopia: Margaret Cavendish and Her Blazing-World",
452:
became the title of a novel and number of film adaptations in the early 20th century.
351:
Margaret Cavendish and her husband, William Cavendish, 1st Duke of Newcastle-upon-Tyne
3712:
3411:
3069:. Edited by Michelle M. Dowd and Julie A. Eckerele. Hampshire: Ashgate, 2007. 131β150
2990:
Vol. III, 199β240. Ed. Daniel Garber and Steven Nadler. Oxford: Clarendon Press, 2006
2973:. Edited by Merry Wiesner-Hanks. Amsterdam: Amsterdam University Press, 2021. 183-206
2922:
2571:
2556:
2492:
2373:
2348:
2298:
2239:
2161:
2101:
2072:
2037:
1974:
1832:
1831:, eds. Sylvia Bowerbank and Sara Mendelson. Peterborough, ON: Broadview Press, 2000.
1766:
1756:
1728:
1654:
1592:
1561:
1536:
1404:
1280:
1252:
1188:
1099:
1093:
886:
860:
668:
663:
The memoir details the lives of her family, including a short account of her brother
439:
324:
232:
214:
107:
53:
2986:, "Atomism, Monism, and Causation in the Natural Philosophy of Margaret Cavendish".
2909:
Margaret the First: A Biography of Margaret Cavendish Duchess of Newcastle 1623β1673
2625:
1881:"Marching on the Catwalk and Marketing the Self: Margaret Cavendish's Autobiography"
645:"repeatedly the aristocratic and chivalric trope (or figure) of the fair unknown."
3420:
3272:
Textual Intercourse: Collaboration, Authorship and Sexualities in Renaissance Drama
2976:
Justin Begley, "'The Minde is Matter Moved': Nehemiah Grew on Margaret Cavendish",
2605:
2544:
2480:
2227:
2134:
1966:
1896:
1892:
1646:
1524:
1373:
1343:
1277:
Margaret Cavendish, Duchess of Newcastle, Observations upon Experimental Philosophy
1249:
Margaret Cavendish, Duchess of Newcastle, Observations upon Experimental Philosophy
1033:
443:
2885:
Mad Madge: Margaret Cavendish, Duchess of Newcastle, Royalist, Writer and Romantic
2877:
2777:
Eds. Sylvia Bowerbank and Sara Mendelson. Peterborough, ON: Broadview Press, 2000.
2484:
1958:
851:
3402:
3157:
Woman's Word in English Fiction: From the Restoration to the Mid-Victorian Period
2993:
2983:
2932:
2321:
Woman's work in English fiction, from the restoration to the mid-Victorian period
1970:
1071:
Cavendish was mostly lost to obscurity in the early twentieth century. Not until
1029:
1005:
784:
244:
237:
3407:
3021:. Ed. Michelle M. Dowd and Julie A. Eckerele. Hampshire: Ashgate, 2007. 151β168.
3162:
3055:
2572:"Everyone, We Need to Talk About 17th-Century Badass Writer Margaret Cavendish"
1072:
865:
Cavendish's prose tale was published in 1666 and again in 1668, each time with
804:
636:
320:
264:
3003:
Karen Detlefsen, "Margaret Cavendish on the Relation between God and World".
1159:
3581:
3447:
1915:
1658:
1122:
1065:
1061:
664:
423:
179:
3464:
3263:
Kate Lilley, "Blazing Worlds: Seventeenth-Century Women's Utopian Writing".
2996:, "Margaret Cavendish and Thomas Hobbes on Reason, Freedom, and Women". In
2655:
2165:
2139:
2122:
1770:
1322:
1045:
1021:
1013:
1001:
796:
568:
260:
3469:
3459:
David, "Margaret Lucas Cavendish", The Stanford Encyclopedia of Philosophy
3207:
Jane Donawerth, "The Politics of Renaissance Rhetorical Theory by Women".
2902:
Authorial Conquests: Essays on Genre in the Writings of Margaret Cavendish
2895:
A Princely Brave Woman: Essays on Margaret Cavendish, Duchess of Newcastle
2799:
The Description of a New World Called The Blazing World And Other Writings
2548:
2231:
1528:
255:
model. In May 1667, she became the first woman to attend a meeting at the
3399:
Works by Margaret Cavendish, Duchess of Newcastle-upon-Tyne in eBook form
3330:. Ed. Paul Salzman. Cambridge: Cambridge Scholars Publishing, 2010. 14β48
3179:
Diana G. Barnes, "Epistolary Restoration: Margaret Cavendish's Letters".
2919:
Margaret Cavendish: A Glorious Fame. The life of the Duchess of Newcastle
2155:
1362:"A Duchess "given to contemplation": The Education of Margaret Cavendish"
1057:
1017:
648:
542:
385:
336:
The Life of the Thrice Noble, High and Puissant Prince William Cavendish.
3301:
Christine Mason Sutherland, "Margaret Cavendish, Duchess of Newcastle".
3285:
3204:. Ed. Rebecca D'Monte and Nicole Pohl. New York: MacMillan, 2000. 93β110
3114:. Ed. Helen Wilcox. Cambridge: Cambridge University Press, 1996. 117β142
3048:
Sara Heller Mendelson, "Margaret Cavendish and the Nature of Infinity".
2617:
2432:
2204:
1865:
674:
cavalry commanders, executed by the Parliamentarians for treason in the
442:
on 7 January 1674. Her husband arranged for a monument, by the sculptor
2609:
1925:
1459:
Cavendish, Margaret (1656). Sylvia Bowerbank and Sara Mendelson (ed.).
1444:
Cavendish, Margaret (1656). Sylvia Bowerbank and Sara Mendelson (ed.).
1378:
1361:
1025:
800:
539:
514:
71:
3568:
3267:. Eds. Clare Brant and Diane Purkiss. London: Routledge, 1992. 102β133
1491:
1489:
1213:
http://plato.stanford.edu/archives/win2015/entries/margaret-cavendish/
364:, returned to England. Cavendish had heard that her husband's estate,
3312:. Ed. Clare Brant and Diane Purkiss. London: Routledge, 1992. 134β163
3202:
Female Communities 1600β1800: Literary Visions and Cultural Realities
3103:
Gertrude Townshend Mayer, "Margaret Cavendish Duchess of Newcastle".
820:
136:
3417:
Works by or about Margaret Cavendish, Duchess of Newcastle-upon-Tyne
3211:. Ed. C. Levin and P. A. Sullivan. Albany: SUNY Press, 1995. 257β272
3031:, ed. Brian R. Glenney and Filipe Pereira da Silva. Routledge, 2019.
2347:(1st ed.). Cambridge: Cambridge University Press. p. 182.
1630:
347:
3429:
3425:
2372:(1st ed.). Amsterdam: ARC Humanities Press. pp. 181β198.
1914: This article incorporates text from a publication now in the
1650:
1486:
1348:
For the love of animals: the rise of the animal protection movement
1104:
1079:(1925) did discourse rediscover the Duchess. Woolf remarked that:
974:
788:
700:
671:
656:
Cavendish published this autobiographical memoir as an addendum to
252:
206:
3058:, "Material Cavendish: Paper, Performance, 'Sociable Virginity'".
3036:
650-1850: Ideas, aesthetics, and inquiries in the early modern era
2741:
Ed. Alexandra G. Bennett. Peterborough, ON: Broadview Press, 2002.
2795:. Ed. James Fitzmaurice. Peterborough, ON: Broadview Press, 2004.
2732:
2716:
1948:. Ed. James Fitzmaurice. Peterborough, ON: Broadview Press, 2004.
1121:(2021) is loosely inspired by Cavendish's science fiction story.
472:
271:
still if, like her brothers, she had been able to attend school.
259:, criticising and engaging with members and philosophers such as
3485:
Margaret Cavendish: bibliographical and biographical references.
3197:. Ed. Jo Wallwork and Paul Salzman. Surrey: Ashgate, 2011. 75β88
3152:. Ed. Jo Wallwork and Paul Salzman. Surrey: Ashgate, 2011. 41β54
1965:, Cambridge University Press, pp. 46β194, 7 February 2001,
1934:. Vol. 34. London: Smith, Elder & Co. pp. 229β231.
3220:. Baltimore, Maryland: The Johns Hopkins University Press, 1996
2868:
The Well-Ordered Universe: The Philosophy of Margaret Cavendish
2771:
Ed. Gwendolyn Marshall. Indianapolis: Hackett Publishing, 2016.
2681:
1751:
Newcastle, Margaret Cavendish, Duchess of, 1624?-1674. (1994).
1097:. Her self inserted as a character named Margaret Cavendish in
824:
413:
Monument to William & Margaret Cavendish, Westminster Abbey
360:
A few years after her marriage, she and her husband's brother,
140:
93:
3169:
Edited by Andrew McNeillie. London: Hogarth Press, 1994. 81β90
1183:
N. Goose and J. Cooper (1998), "Tudor and Stuart Colchester",
3493:
3084:
Feminist Readings of Early Modern Culture: Emerging Subjects.
2759:
Ed. Susan James. Cambridge: Cambridge University Press, 2003.
1963:
Margaret Cavendish: Observations upon Experimental Philosophy
828:
593:
476:
284:
75:
2807:. Ed. Anne Shaver. Baltimore: The Johns Hopkins Press, 1999.
1085:
her. Her simplicity is so open; her intelligence so active.
783:. She describes Cavendish's natural philosophy as rejecting
3489:
Center for the History of Women Philosophers and Scientists
3426:
Works by Margaret Cavendish, Duchess of Newcastle-upon-Tyne
3408:
Works by Margaret Cavendish, Duchess of Newcastle-upon-Tyne
1251:. Oxford, England: Cambridge University Press. p. xi.
1115:
This new interest has engendered media projects. The film,
427:
339:
wife who rely on each other in the public realm of print."
2971:
Challenging Women's Agency and Activism in Early Modernity
2904:. Cranbury, NJ: Fairleigh Dickinson University Press, 2003
2783:
Ed. Deborah Boyle. Indianapolis: Hackett Publishing, 2021.
3075:, "The Philosophical Innovations of Margaret Cavendish".
2753:
Ed. David Cunning. Oxford: Oxford University Press, 2019.
2295:
Margaret Cavendish, Duchess of Newcastle: A Glorious Fame
1424:
Cunning, David (1 January 2015). Zalta, Edward N. (ed.).
1226:
Utopian and Science Fiction by Women: World of Difference
217:. Margaret accompanied him and remained abroad until the
3017:
Lara Dodds, "Margaret Cavendish's Domestic Experiment".
2842:
Baltimore, MD: The Johns Hopkins University Press, 2010.
2747:
Ed. Anne Thell. Peterborough, ON: Broadview Press, 2020.
2069:
The Description of a New World, Called the Blazing World
1549:
1103:
is said to be among the earliest examples of the modern
881:
Two volumes of Cavendish's dramatic works were printed.
853:
The Description of a New World, Called the Blazing World
2452:. London: Printed by J.D., to be sold by Tho. Parkhurst
2449:
An Essay to Revive the Ancient Education of Gentlewomen
3136:
In-between: Essays & Studies in Literary Criticism
3067:
Genre and Women's Life Writing in Early Modern England
3019:
Genre and Women's Life Writing in Early Modern England
2193:
The Journal of the Midwest Modern Language Association
3373:
By Margaret Cavendish, Duchess of Newcastle-upon-Tyne
3317:
The Renaissance of Lesbianism in Early Modern England
2819:
Margaret Cavendish: An Interdisciplinary Perspective.
2324:. New York and London: G. P. Putnam's Sons. p. 8
1727:. Ithaca, NY: Cornell University Press. p. 175.
1279:. Cambridge: Cambridge University Press. p. xi.
1270:
1268:
638:
Nature's Pictures drawn by Fancy's Pencil to the Life
3050:
Margaret Cavendish: An Interdisciplinary Perspective
2957:
Margaret Cavendish: An Interdisciplinary Perspective
2769:
Observations upon Experimental Philosophy, abridged.
1203:
1201:
658:
Natures Pictures Drawn by Fancies Pencil to the Life
3328:
Expanding the Canon of Early Modern Women's Writing
3167:
The Essays of Virginia Woolf, Volume IV, 1925β1928.
2861:
God and Nature in the Thought of Margaret Cavendish
2801:. Ed. Kate Lilley. London: William Pickering, 1992.
2765:. Ed. Eileen O'Neill. New York: Cambridge UP, 2001.
2000:
1998:
1996:
1854:
Enaissance and Reformation / Renaissance et RΓ©forme
810:
3496:Margaret Cavendish, Duchess of Newcastle-upon-Tyne
3346:Margaret Cavendish, Duchess of Newcastle-upon-Tyne
2093:
2032:Cavendish, Margaret (1668). Eileen O'Neill (ed.).
1265:
779:and its critical reception in her introduction to
606:
334:Cavendish later wrote a biography of her husband:
196:William Cavendish, 1st Duke of Newcastle-upon-Tyne
186:. As a teenager, she became an attendant on Queen
149:Margaret Cavendish, Duchess of Newcastle-upon-Tyne
3165:, "The Duchess of Newcastle, The Common Reader".
2875:Margaret Cavendish: Gender, Science and Politics.
1211:(Winter 2015 ed.), Edward N. Zalta, ed., URL=<
1198:
770:
384:that her bashful nature, which she described as "
3579:
3232:Early Modern Women: An Interdisciplinary Journal
3209:Political Rhetoric, Power, and Renaissance Women
3190:. Lexington: University Press of Kentucky, 1998.
3159:. New York and London: G. P. Putnam's Sons, 1910
2859:Lisa T. Sarasohn and Brandie R. Siegfried, eds.
2856:. Lexington: University Press of Kentucky, 1998
1993:
575:
3107:Vol. 1. London: Richard Bentley & Son, 1894
1461:A True Relation of My Birth, Breeding, and Life
1446:A True Relation of My Birth, Breeding, and Life
939:(1668) was published by Anne Maxwell (London):
681:
650:A True Relation of my Birth, Breeding, and Life
382:A True Relation of My Birth, Breeding, and Life
263:. She has been claimed as an early opponent of
32:Margaret Holles, Duchess of Newcastle-upon-Tyne
3470:Essays by Margaret Cavendish at Quotidiana.org
2849:. Pittsburgh: Duquesne University Press, 2013.
2787:Poems and Fancies, with the Animal Parliament.
2733:Modern Editions of Works by Margaret Cavendish
1725:Renaissance Utopias and the Problem of History
1587:. Orchard Park, NY: Broadview Press. pp.
1312:
917:Nature's Three Daughters, Beauty, Love and Wit
558:
288:Mary Lucas, older sister of Margaret Cavendish
3319:. Cambridge: Cambridge University Press, 2002
3274:. Cambridge: Cambridge University Press, 1997
3188:Margaret Cavendish and the Exiles of the Mind
3077:British Journal for the History of Philosophy
2854:Margaret Cavendish and the Exiles of the Mind
2706:
2421:The Journal of English and Germanic Philology
1556:. Orchard Park, NY: Broadview Press. p.
1399:. Orchard Park, NY: Broadview Press. p.
631:An Apology for Writing So Much upon This Book
3465:The International Margaret Cavendish Society
3442:Digital Cavendish: A Scholarly Collaboration
3119:Women and Comedy: History, Theory, Practice.
2880:Cambridge: Cambridge University Press, 2014.
2847:The Literary Invention of Margaret Cavendish
2821:Cambridge: Cambridge University Press, 2022.
2395:"The Royal Society's lost female scientists"
1783:: CS1 maint: multiple names: authors list (
1543:
213:and in 1644 went into self-imposed exile in
2342:
1959:"Observations upon Experimental Philosophy"
1938:
1550:Bowerbank, Sylvia; Sara Mendelsohn (2000).
1318:"The Royal Society's lost women scientists"
1274:
1246:
1207:David Cunning, "Margaret Lucas Cavendish",
943:The Sociable Companions, or the Female Wits
584:
460:
313:
3155:Clara H. Whitemore, "Margaret Cavendish".
3112:Women and Literature in Britain, 1500β1700
2998:Feminist Interpretations of Thomas Hobbes,
2988:Oxford Studies in Early Modern Philosophy,
2870:. New York: Oxford University Press, 2018.
2775:Paper Bodies: A Margaret Cavendish Reader.
2739:Bell in Campo and The Sociable Companions.
2656:"International Margaret Cavendish Society"
1787:) CS1 maint: numeric names: authors list (
1350:, Henry Holt and Company, 2008, chapter 1.
594:Instruction on comprehension and judgement
52:
3673:Women science fiction and fantasy writers
2817:Lisa Walters and Brandie Siegfried, eds.
2763:Observations upon Experimental Philosophy
2570:Roberts, Jennifer Sherman (13 May 2015).
2537:Journal for Early Modern Cultural Studies
2317:
2277:
2254:"Duchess of Newcastle Margaret Cavendish"
2138:
2096:Paper Bodies: A Margaret Cavendish Reader
2091:
2071:. London: Penguin Classics. p. xii.
2031:
1851:
1829:Paper Bodies: A Margaret Cavendish Reader
1633:Observations upon Experimental Philosophy
1584:Paper Bodies: A Margaret Cavendish Reader
1580:
1553:Paper Bodies: A Margaret Cavendish Reader
1517:Journal for Early Modern Cultural Studies
1458:
1443:
1396:Paper Bodies: A Margaret Cavendish Reader
1392:
1377:
1228:. Syracuse: Syracuse UP, 1994, pp. 15β34.
876:
867:Observations upon Experimental Philosophy
817:Observations upon Experimental Philosophy
781:Observations upon Experimental Philosophy
702:Observations upon Experimental Philosophy
209:commander in Northern England during the
3663:English women dramatists and playwrights
3181:Epistolary Community in Print, 1580β1664
2937:Margaret Cavendish: Gender, Genre, Exile
2789:Ed. Brandie Siegfried. Iter Press, 2018.
2179:Margaret Cavendish: Plays in Performance
2171:
2157:Margaret Cavendish: plays in performance
1755:. Lilley, Kate, 1960-. London: Penguin.
1628:
1337:
969:Cavendish also published collections of
787:and mechanical philosophy and favouring
408:
346:
283:
203:William Cavendish, 1st Duke of Newcastle
119:William Cavendish, 1st Duke of Newcastle
27:English poet and philosopher (1623β1673)
3195:Early Modern Englishwomen Testing Ideas
3150:Early Modern Englishwomen Testing Ideas
2900:Line Cottegnies and Nancy Weitz, eds.,
2805:The Convent of Pleasure and Other Plays
2757:Margaret Cavendish: Political Writings.
2751:Margaret Cavendish: Essential Writings.
2595:
2569:
2367:
2034:Observations on Experimental Philosophy
1878:
1514:
1502:Oxford Dictionary of National Biography
1495:
1480:Oxford Dictionary of National Biography
1473:
1427:The Stanford Encyclopedia of Philosophy
1423:
1359:
1209:The Stanford Encyclopedia of Philosophy
375:
14:
3580:
2534:
2470:
2392:
2282:(1st ed.). London: Langly Curtis.
2217:
2120:
2066:
1722:
1696:
838:
549:
534:Looking at several of the epistles in
438:She died in London, and was buried in
3708:17th-century English women scientists
3310:Women's Texts and Histories 1575β1760
3265:Women's Texts and Histories 1575β1760
3141:Special Issue on Margaret Cavendish,
3134:Special issue on Margaret Cavendish,
3012:Archiv fΓΌr Geschichte der Philosophie
2505:
2418:
2292:
1919:
1847:
1845:
1746:
1744:
1611:
1439:
1437:
1218:
995:
689:Published in 1664 by William Wilson,
617:The Poetresses (sic) hasty Resolution
508:
355:
152:
3500:
3230:Amy Greenstadt, "Margaret's Beard".
2393:Holmes, Richard (20 November 2010).
1944:Fitzmaurice, James. "Introduction."
1753:The blazing world and other writings
1153:
1151:
391:
1615:Philosophical and Physical Opinions
499:
404:
236:is one of the earliest examples of
24:
3648:English dramatists and playwrights
3598:17th-century English women writers
3173:
2887:. London: Chatto and Windus, 2003
2707:@DigiCavendish (26 January 2018).
1842:
1741:
1463:. London, England. pp. 46β47.
1434:
529:
296:
251:of the 17th century, preferring a
25:
3724:
3613:17th-century English philosophers
3334:
2939:. Manchester: Manchester UP, 2004
2911:. London: Rupert Hart-Davis, 1957
2512:. ebooks@Adelaide. Archived from
2280:A Collection of Letters and Poems
1712:. Vol. 09. pp. 355β357.
1148:
949:Scenes (edited from The Presence)
929:A Comedy of the Apocryphal Ladies
3560:
3543:
3526:
3509:
3433:
3288:Early Theatre 10.2 (2007): 71β86
3218:Writing Women's Literary History
3183:. Surrey: Ashgate, 2013. 137β196
2781:Philosophical Letters, abridged.
2293:Jones, Kathleen (3 March 1988).
2181:. York: St. John's College, 2004
1931:Dictionary of National Biography
1920:Firth, Charles Harding (1893). "
1909:
1709:Dictionary of National Biography
1673:"William and Margaret Cavendish"
1629:Sarasohn, Lisa T. (March 2003).
1301:Early Modern Literary Studies 14
1185:Victoria County History of Essex
1157:
977:, as in her collection entitled
899:Youths Glory, and Deaths Banquet
811:Writing as an honourable disease
755:
740:
725:
710:
513:Cavendish, like authors such as
342:
194:. She became the second wife of
3653:English science fiction writers
3618:17th-century English scientists
3079:, Vol. 7, no. 2 (1999): 219β244
2700:
2674:
2648:
2632:
2589:
2563:
2528:
2499:
2464:
2439:
2412:
2386:
2361:
2336:
2311:
2286:
2271:
2246:
2211:
2184:
2147:
2114:
2085:
2060:
2051:
2025:
2016:
2007:
1951:
1903:
1872:
1821:
1795:
1716:
1690:
1665:
1622:
1605:
1574:
1508:
1467:
1452:
1417:
1386:
1353:
985:(1668) have been staged since.
607:Poems: excuses and instructions
3608:17th-century English novelists
3448:Margaret Cavendish (1623-1673)
2826:A Companion to the Cavendishes
2745:Grounds of Natural Philosophy.
1897:10.1080/08989575.1998.10815127
1366:History of Education Quarterly
1360:Spencer, E Mariah (May 2021).
1306:
1293:
1240:
1231:
1177:
964:
771:Cavendish's natural philosophy
455:
274:
47:Duchess of Newcastle-upon-Tyne
13:
1:
3633:English duchesses by marriage
2980:27, No. 4 (May 2017): 493β514
2951:Early Modern Literary Studies
2828:. ARC Humanities Press, 2020.
2824:Lisa Hopkins and Tom Rutter.
2598:Studies in English Literature
2485:10.1080/17496977.2017.1294862
2220:ELH: English Literary History
1141:
1109:
763:Grounds of Natural Philosophy
748:Grounds of Natural Philosophy
576:Language, knowledge and error
449:All the Brothers Were Valiant
161:
3698:Burials at Westminster Abbey
3683:Household of Henrietta Maria
3603:17th-century English writers
3389:Resources in other libraries
3365:Resources in other libraries
3091:Huntington Library Quarterly
2863:. New York: Routledge, 2014.
2318:Whitemore, Clara H. (1910).
1971:10.1017/cbo9781139164504.011
815:Cavendish in her preface to
279:
7:
3432:(public domain audiobooks)
2978:Intellectual History Review
2943:
2682:"Digital Cavendish Project"
2473:Intellectual History Review
2343:Fitzmaurice, James (2022).
2278:Cavendish, William (1678).
2190:
2127:Renaissance and Reformation
1703:"Cavendish, Margaret"
937:Plays, Never Before Printed
567:Cavendish explored writing
559:Defence of writing and fame
224:
201:Her husband, then-marquess
184:St John's Abbey, Colchester
10:
3729:
3638:English women philosophers
3305:36β47. Detroit: Gale, 2003
2897:. Aldershot: Ashgate, 2003
2727:
2644:. Catapult. 15 March 2016.
2445:
2092:Bowerbank, Sylvia (2000).
2057:Cavendish 1668, pp. 11β13.
1393:Bowerbank, Sylvia (2000).
858:
29:
3384:Resources in your library
3360:Resources in your library
3296:Listening to Their Voices
3241:and Margaret Cavendish's
3060:Modern Language Quarterly
3014:89, No. 2 (2007): 157β191
2686:Digital Cavendish Project
1581:Bowerbank, Syvia (2000).
182:, who owned the manor of
132:
124:
114:
100:
83:
60:
51:
46:
39:
3007:4, no. 3 (2009): 421β438
2811:
2506:Woolf, Virginia (1925).
1275:O'Neill, Eileen (2001).
1247:O'Neill, Eileen (2001).
676:Second English Civil War
585:Writing to pass the time
433:
314:Marriage to the Marquess
3678:British women essayists
3284:Kamille Stone Stanton,
3254:The Convent of Pleasure
3243:The Convent of Pleasure
2966:. 30.2 (2015): 229-247.
2964:The Seventeenth Century
2446:Makin, Bathsua (1673).
2140:10.33137/rr.v35i1.19076
2121:Leslie, Marina (2012).
2022:O'Neill 2001, p. xviii.
1922:Lucas, Charles (d.1648)
1879:Botanki, Effie (1998).
1723:Lislie, Marina (1998).
1430:(Winter 2015 ed.).
1160:"Cavendish (1623-1673)"
1016:, Earl of Westmorland,
988:The Convent of Pleasure
983:The Convent of Pleasure
956:The Convent of Pleasure
914:The Matrimonial Trouble
624:The Poetresses Petition
257:Royal Society of London
211:First English Civil War
3688:People from Colchester
3480:Cavendish plays online
3324:The Sociable Companion
2921:. London: Bloomsbury:
2368:Walters, Lisa (2020).
2297:. London: Bloomsbury.
1885:Auto/Biography Studies
1088:
902:The Lady Contemplation
877:Plays in 1662 and 1668
414:
352:
327:, wrote a comic play,
289:
3029:History of Philosophy
2893:Stephen Clucas, ed.,
2549:10.1353/jem.2016.0000
2232:10.1353/elh.1997.0017
2160:, York, England: : ,
2067:Lilley, Kate (2004).
1631:"Margaret Cavendish.
1529:10.1353/jem.2011.0022
1476:"Cavendish, Margaret"
1081:
971:Philosophical Letters
908:The Unnatural Tragedy
718:Philosophical letters
691:CCXI Sociable Letters
683:CCXI Sociable Letters
494:The Animal Parliament
430:, had done the same.
412:
362:Sir Charles Cavendish
350:
329:The Concealed Fancies
303:Queen Henrietta Maria
287:
249:mechanical philosophy
3260:48.2 (2008): 419β442
3215:Margaret J. M. Ezell
3145:, Vol. 4, No.3, 1997
3100:85.3 (1991): 297β308
3093:53.3 (1990): 198β209
2013:O'Neill 2001 xvβxvii
1827:Margaret Cavendish,
1498:"Margaret Cavendish"
1496:Fitzmaurice, James.
1474:Fitzmaurice, James.
1316:(21 November 2010).
750:, 1668, Frontispiece
380:Cavendish stated in
376:Character and health
3658:English women poets
3247:Shakespeare Studies
3239:Measure for Measure
3227:6.1 (1999): 129β148
3128:The Washington Post
2516:on 16 February 2017
2100:. Broadview Press.
1158:Team, Project Vox.
1010:Constantijn Huygens
889:(London) includes:
885:(1662), printed by
839:Learning versus wit
550:The pursuit of fame
471:encompasses poems,
370:royalist delinquent
368:due to his being a
3281:78 (2011): 657β685
3062:65.1 (2004): 49β68
3026:The Senses and the
3005:Philosophy Compass
2835:. Routledge, 2015.
2662:. 15 December 2022
2641:Margaret the First
2610:10.1353/sel.0.0002
1448:. London, England.
1379:10.1017/heq.2021.9
1135:digital humanities
1131:Margaret the First
996:Critical reception
932:The Female Academy
777:natural philosophy
765:, 1668, Title page
667:, one of the best
519:William Wordsworth
509:Epistle dedicatory
486:Elizabeth Chaplain
415:
356:Financial problems
353:
290:
219:Stuart Restoration
41:Margaret Cavendish
18:Margaret Cavendish
3693:People from Essex
3643:English essayists
3412:Project Gutenberg
3341:Library resources
3234:5 (2010): 171β182
3186:Anna Battigelli,
2852:Anna Battigelli,
2688:. 10 January 2018
2660:margaretcavendish
2509:The Common Reader
2258:Poetry Foundation
2177:Williams, Gweno.
1980:978-0-521-77204-4
1837:978-1-55111-173-5
1677:Westminster Abbey
1598:978-1-55111-173-5
1567:978-1-55111-173-5
1344:Shevelow, Kathryn
1303:May 2004, 2.1β21.
1127:The Blazing World
1118:The Blazing World
1100:The Blazing World
1094:The Blazing World
1086:
1077:The Common Reader
1038:William Cavendish
1028:were among them.
960:A Piece of a Play
911:The Public Wooing
861:The Blazing World
733:The Blazing World
536:Poems and Fancies
523:Poems and Fancies
490:Poems and Fancies
469:Poems and Fancies
462:Poems and Fancies
440:Westminster Abbey
392:Religious beliefs
233:The Blazing World
180:Sir Charles Lucas
146:
145:
108:Westminster Abbey
91:(aged 49β50)
16:(Redirected from
3720:
3703:Wives of knights
3623:Cavendish family
3573:
3565:
3564:
3563:
3556:
3548:
3547:
3546:
3539:
3531:
3530:
3529:
3522:
3514:
3513:
3512:
3502:
3437:
3436:
3421:Internet Archive
3270:Jeffrey Masten,
3105:Women of Letters
2793:Sociable Letters
2721:
2720:
2704:
2698:
2697:
2695:
2693:
2678:
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2671:
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2089:
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2064:
2058:
2055:
2049:
2047:
2029:
2023:
2020:
2014:
2011:
2005:
2002:
1991:
1990:
1989:
1987:
1955:
1949:
1946:Sociable Letters
1942:
1936:
1935:
1913:
1912:
1907:
1901:
1900:
1899:– via MLA.
1876:
1870:
1869:
1860:(1/2): 183β206.
1849:
1840:
1825:
1819:
1818:
1816:
1814:
1805:. Archived from
1799:
1793:
1792:
1782:
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1739:
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1714:
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1414:
1410:978-1-55111-1735
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1175:
1174:
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1155:
1083:
1050:Sociable Letters
1034:Walter Charleton
923:The Comical Hash
896:The Several Wits
893:Loves Adventures
759:
744:
729:
714:
695:The World's Olio
500:Authorial intent
444:Grinling Gibbons
405:Fashion and fame
176:Sir Thomas Lucas
157:
128:Sir Thomas Lucas
110:
90:
87:16 December 1673
79:
66:
56:
37:
36:
21:
3728:
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3723:
3722:
3721:
3719:
3718:
3717:
3578:
3577:
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3566:
3561:
3559:
3555:from Wikisource
3549:
3544:
3542:
3532:
3527:
3525:
3515:
3510:
3508:
3505:
3501:sister projects
3498:at Knowledge's
3434:
3403:Standard Ebooks
3395:
3394:
3393:
3370:
3369:
3349:
3348:
3344:
3337:
3315:Valerie Traub,
3249:26 (1998): 1β30
3225:Women's Writing
3176:
3174:Further reading
3143:Women's Writing
3130:, June 27, 2023
3124:Anne M. Thell,
3045:(1997): 143-60.
2994:Karen Detlefsen
2984:Karen Detlefsen
2946:
2933:Emma L. E. Rees
2907:Douglas Grant,
2883:Kate Whitaker,
2866:Deborah Boyle,
2845:Lara A. Dodds.
2838:Lisa Sarasohn,
2831:David Cunning,
2814:
2735:
2730:
2725:
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1149:
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1030:Joseph Glanvill
1006:Dorothy Osborne
998:
967:
879:
863:
857:
841:
813:
785:Aristotelianism
773:
766:
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721:
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687:
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642:
609:
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532:
530:Mental spinning
511:
502:
466:
458:
436:
407:
394:
378:
358:
345:
316:
299:
297:Lady-in-waiting
282:
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245:Aristotelianism
238:science fiction
227:
188:Henrietta Maria
164:
106:
105:
92:
88:
70:
69:
67:
64:
42:
35:
28:
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3575:
3574:
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3538:from Wikiquote
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3138:, Vol. 9, 2000
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3056:Jeffrey Masten
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2915:Kathleen Jones
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2715:) – via
2709:"Twitter post"
2699:
2673:
2647:
2631:
2604:(2): 419β442.
2588:
2562:
2543:(1): 123β145.
2527:
2498:
2479:(4): 493β514.
2463:
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2427:(2): 168β176.
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2226:(2): 447β471.
2210:
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2113:
2107:978-1551111735
2106:
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2059:
2050:
2043:978-0521776752
2042:
2024:
2015:
2006:
1992:
1979:
1950:
1937:
1902:
1891:(2): 159β181.
1871:
1841:
1820:
1809:on 22 May 2013
1803:"Paper Bodies"
1794:
1761:
1740:
1734:978-0801434006
1733:
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1698:Knight, Joseph
1689:
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1651:10.1086/376136
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1352:
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1305:
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1286:978-0521776752
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1612:Cavendish.
1164:Project Vox
1058:John Evelyn
1040:compiled a
1018:John Dryden
965:Other works
952:The Bridals
484:, formerly
456:Major works
386:melancholia
275:Early years
156: Lucas
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3535:Quotations
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1142:References
1026:Henry More
905:Wits Cabal
801:Henry More
572:romances.
515:Aphra Behn
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475:and some
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280:Childhood
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198:in 1645.
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