161:, the most successful of the African slave rebellions in the Western Hemisphere, was in process. Ideas about enfranchisement, liberty, and equality were widespread. To Polwhele and others who shared his perspective, these ideas were perceived as attacks on religion, the monarchy, and the government. Women's advocacy of access to education was confused with the most outrageous actions ascribed to the revolutionaries: free love, irreligion, and violent upheaval. Some commenters went so far as to blame the French Revolution on "a notorious dereliction of female principle" and "the dissipated and indelicate behaviour and loose morals" of French women. Many of those who had initially supported the French Revolution turned away from the excesses of the
538:
278:
269:. There are a quantity of footnotes, to the degree that they outweigh the poem, word for word, by a considerable margin. In these footnotes Polwhele elaborates on various points which might get lost in verse and underscores the primacy of his polemical purpose. In structure the poem is straightforward: Polwhele compares two groups of writers, the "unsex'd females" of the title — "unsex'd" meaning un-feminine or un-womanly — and a second group of exemplary women writers. He also makes some more general points about feminine decorum in the earlier part of the poem.
128:, more than a century earlier, is instructive here as these two writers were virtually symbolic of the choices available to women writers in the 18th century: Behn's reputation as "shady and amorous" continued well into the 20th century, whereas Philips — known as "The Matchless Orinda" — was considered an exemplar of proper femininity. Polwhele is hardly original in his opposition of "proper" and "improper" women writers and his criticism of Wollstonecraft is focused on her troubled and unconventional life as described in the frank biography by
136:
331:, is accused of longing "to rustle, like her sex, in silk" (l.102). According to one editor, "one can only conclude that Polwhele attacks these women not for what they are, but for what they are not: they are unsexed, unfeminine, either because they are immodest, or unsentimental, or insubordinate. Women must do more than simply avoid setting a bad example: they must provide a positive model of chaste, sentimental, subordinate femininity." Of this transgressive group, Polwhele invites the reader:
529:
fashionable amusement with the ladies. But how the study of the sexual system of plants can accord with female modesty, I am not able to comprehend… I have, several times, seen boys and girls botanizing together" (8). His concerns about propriety dovetail neatly with what Robin Jarvis describes as the "intellectual backlash provoked by the French
Revolution" whereby "by the mid-1790s scientific opinions were no longer ideologically neutral."
477:
431:
well-established member of the aristocracy who painted charming, decorative pieces. Hannah More herself, while hardly a revolutionary, held a number of ideas uncannily similar to those of
Wollstonecraft, ideas about the importance of female education, for example. Polwhele's polemical structure is not concerned with these nuances, however, and he positions these writers strictly according to his overarching scheme.
588:, however, was a salvo in a propaganda war that the participants took extremely seriously. After the revolution in literary criticism in the 1970s and 1980s when it was successfully argued that works could not solely be judged on their literary merit, poems such as Polwhele's were resurrected. They have subsequently shed considerable light on the cultural moments during which they were written.
355:
440:
346:
death… As she was given up to her 'heart's lusts,' and let 'to follow her own imaginations, that the fallacy of her doctrines and the effects of an irreligious conduct, might be manifested to the world; and as she died a death that strongly marked the distinction of the sexes, by pointing out the destiny of women, and the diseases to which they are liable" (29–30).
327:. Strangely, perhaps, only Hays, Jebb and Smith shared political sympathies with Wollstonecraft, and Smith, by 1798, had turned her back on her previous ideas. The others, though, in different ways, all fell afoul of restrictive ideas of female (and class) decorum. Yearsley, for example, a labouring-class poet who had a dispute with her patron,
368:, who reverse the dangerous literary, philosophical and political trends outlined in the earlier sections. The approved writers, in contrast to the "witlings" (l.9) previously described, are lauded for their facility in combining morality and feminine decorum with literary publication, and comprise a number of Polwhele's acquaintance:
97:, is a polemical intervention into the public debates over the role of women at the end of the 18th century. The poem is primarily concerned with what Polwhele characterizes as the encroachment of radical French political and philosophical ideas into British society, particularly those associated with the
548:
Polwhele is concerned with the moral ramifications of the intellectual activities of girls and women, most centrally writing. He does not, however, restrain his comments to academic pursuits; he inveighs, for example, against French fashions in dress and draws a clear line from French style to French
169:
wrote that "Britain, once priding itself on being the most politically enlightened and liberal state in Europe, came to define itself in increasingly conservative, patriotic, and anti-French terms." "Gallic" and "French" came to mean, in the popular imagination, "revolutionary," so when
Polwhele
430:
is in More's, particularly as the two knew each other and worked together? Beauclerk, in fact, had her own scandalous history: divorced by her husband for adultery, revealed to have had a child by her lover while still married, she was hardly a "proper lady." She was, however, a well-connected,
345:
His remarks on
Wollstonecraft, "whom no decorum checks" (l.63), stray from the literary and political into the personal; he invokes her complicated personal history and, of her death in childbirth, comments in a note: "I cannot but think, that the Hand of Providence is visible, in her life, her
528:
According to Ann B. Shteir, "Polwhele's objections combine critiques of female scientific practices with critiques of other 'Gallic' and 'revolutionary' practices, such as acknowledging sexuality and teaching children about sex." In a note, Polwhele writes that "Botany has lately become a
26:
253:. One reviewer comments this "ingenious poem" with its "playful sallies of sarcastic wit" against "our modern ladies," though others found it "a tedious, lifeless piece of writing." Critical responses largely fell along clear-cut political lines. Mathias, whose
465:. While this may seem a strange preoccupation to a contemporary reader, Polwhele was in fact intervening in an ongoing, and quite heated debate about the propriety of girls and women learning about the reproduction of plants, a debate that arose in part after
978:
939:
1002:
Literary scholar Mitzi Myer has argued that the political binaries of "conservative" and "progressive," "left" and "right," do not always apply in the 18th century. Mitzi Myers, "Reform or Ruin: 'A Revolution in Female
Manners,'"
583:
During his lifetime
Polwhele was seen as a minor figure, though prolific, and after his death he was little read. The contemporary reader may find some of Polwhele's preoccupations, particularly botany and fashion, amusing.
993:(Manchester University Press, 2002) for the argument that Polwhele and other Anti-Jacobin critics were inconsistent, approving the public speech of their female allies while deploring the same activities in their opponents.
112:; it is representative of the strategic conflation of women writers with revolutionary ideals during this period; and it helps illuminate the obstacles faced by women writers at the end of the 18th century.
575:. Polwhele, with his anti-French, nationalistic tone, contributes to a sub-set of such satires, a sub-set which expresses unease with feminism in terms of the "controversy concerning female fashions."
380:
is praised for her ability to "mix with sparkling humour chaste / Delicious feelings and the purest taste" (ll.195–96). "And listening girls perceive a charm unknown / In grave advice, as utter'd by
422:, Polwhele initially seems to divide women writers according to their sexual reputations, but a closer examination reveals that he positions them largely symbolically. Why, for example, would
975:
936:
785:
108:
The poem is of interest to those interested in the history of women, as well as revolutionary politics, and is an example of the
British backlash against the ideals of the
1260:
227:(1798). Mathias deplored "unsex'd female writers now instruct, or confuse, us and themselves, in the labyrinth of politics, or turn us wild with Gallic frenzy."
1273:
770:, the earl of Orrery, are among the many who wrote poems of tribute to Philips." Paula Loscocco, "Manly Sweetness: Katherine Philips among the Neoclassicals,"
233:
was originally published anonymously in London in 1798 by Cadell and Davies in a standalone, one volume edition. The
American edition of 1800 also included
170:
writes of "Gallic freaks" (l. 21) he is not merely describing fashions in clothing. Those
Britons who sympathized with the French Revolution were known as "
959:
219:
As indicated in the subtitle, "Addressed to the author of the
Pursuits of Literature," Polwhele was inspired to write his poem after reading satirist
202:" because of "the outspoken claiming of their 'rights' shortly after and coinciding with the events in France that culminated in the Revolution."
198:. According to Eleanor Ty, although feminist thought had existed for decades, the women of the 1790s seemed "particularly threatening to the anti-
120:
Responding to women authors according to presumptions about their sexuality has a long history; a comparison between the critical reputations of
503:
To Polwhele this is practically pornography and he graphically depicts the repercussions should women and girls be allowed to practise botany:
567:
There is a long-standing tradition of satirising the more extreme aspects of fashion, and women's fashion in particular. The less restrictive
207:
592:
remains of considerable interest today as a vibrant example of the politically charged culture of the revolutionary period in Britain.
364:
After a catalogue of the various evils of the age, the poem ends on a positive note when it turns to a group of writers, many of them
1236:
Byrnes, Peter: The unsex'd females: a poem, addressed to the author of the Pursuits of literature University of Oxford Text Archive
1117:
Haut, Asia. "Reading Flora: Erasmus Darwin's The Botanic Garden, Henry Fuseli's illustrations, and various literary responses."
249:
759:
1248:
Erasmus Darwin, "The Botanic Garden. Part II. Containing the Loves of the Plants. a Poem. With Philosophical Notes." (
1205:
1187:
1180:
142:, "The Radical's Arms" (1819). "No God! No Religion! No King! No Constitution!" is written on the Republican banner.
1289:
767:
190:(1793–1843), were among the conservative journals that grew up during this highly polarized period. Polwhele, a
572:
537:
1299:
1304:
1269:: Hair, Wigs, Barbers, and Hairdressers. An Exhibit at the Lewis Walpole Library, May 8-October 29, 2003.
883:
165:, and Britain was gripped by a strong backlash against any ideas that seemed in the least revolutionary.
1309:
457:
Polwhele had a variety of targets. In addition to literary and artistic improprieties, he deplored the
458:
670:
568:
149:
is complicated, however, by the tumultuous political situation at the time of its publication. The
257:
had been so inspirational to Polwhele, was himself somewhat tepid in his enthusiasm for the work.
685:
605:
404:, who is set up as a sort of "anti-Wollstonecraft," complete the list of proper women writers:
376:
for hers to "with a milder air, diffuse / The moral precepts of the Grecian Muse" (ll.189–90).
300:
292:
237:, an attack on the anti-monarchical satiric poet John Wolcott (1738–1819), a pairing publisher
1266:
1173:
Cultivating Women, Cultivating Science: Flora's Daughters and Botany in England, 1760 to 1860
1125:
1031:
Cultivating Women, Cultivating Science: Flora's Daughters and Botany in England, 1760 to 1860
291:
and, by extension, others Polwhele considered to be of her radical, pro-French camp: writers
277:
1044:
The Romantic Period: the intellectual and cultural context of English literature, 1789–1830
810:
695:
675:
610:
427:
397:
304:
296:
220:
98:
8:
1294:
799:
700:
288:
281:
180:
150:
102:
650:
199:
171:
158:
541:
Caricature: "Parisian Ladies in their Full Winter Dress for 1800" (Nov. 24th 1799) by
1201:
1183:
1176:
989:, Electronic Text Center, University of Virginia Library. See also William Stafford,
894:
655:
645:
369:
320:
154:
139:
125:
109:
135:
1143:
763:
620:
542:
521:
Perhaps ironically, these lines in particular were singled out by the anti-Jacobin
373:
94:
49:
39:
1257:
The Unsex'd Females: A Poem, Addressed to the Author of the Pursuits of Literature
1164:
Rizzo, Betty. "Male Oratory and Female Prate: 'Then Hush and Be an Angel Quite'."
815:
Letters to a Young Lady, in which the Duties and Character of women are considered
1195:
1147:
1095:
A Female Band despising Nature's Law': Botany, Gender and Revolution in the 1790s
982:
943:
238:
162:
59:
1094:
625:
615:
466:
447:
381:
377:
266:
241:
apparently saw as "a marketable combination" for a presumably Tory readership.
186:
129:
80:
1197:
English Feminists and Their Opponents in the 1790s: Unsex'd and Proper Females
1107:
1018:
English Feminists and Their Opponents in the 1790s: unsex'd and proper females
991:
English Feminists and Their Opponents in the 1790s: unsex'd and proper females
1283:
884:" 'Manlius to Peter Pindar': Satire, Patriotism, and Masculinity in the 1790s
755:
690:
665:
525:, apparently unaware of the authorship of the poem, as being in "bad taste."
470:
393:
389:
365:
101:. These subjects come together, for Polwhele, in the revolutionary figure of
705:
481:
308:
1099:
1249:
1139:. Jon Mee and Tom Keymer, eds. Cambridge University Press, 2004. 211–226.
751:
680:
660:
401:
385:
358:
328:
1235:
873:, Jon Mee and Tom Keymer, eds. (Cambridge University Press, 2004. 212).
630:
443:
423:
324:
166:
121:
831:
635:
312:
1135:
Pascoe, Judith. "'Unsex'd females': Barbauld, Robinson, and Smith."
869:"Judith Pascoe, "'Unsex'd females': Barbauld, Robinson, and Smith,"
640:
316:
476:
372:
is praised for her ability to "refine a letter'd age" (l.188) and
469:
published an English translation of the work of Swedish botanist
890:
194:
member of the Anglican clergy, was himself a contributor to the
1259:. London: Printed for Cadell and Davies, in the Strand. 1798. (
595:
462:
247:
was "well known" among the responses to Wollstonecraft and her
223:' "blistering attack" on the democratisation of culture in his
1126:
A Bath Butterfly Botany and Eighteenth Century Sexual Politics
858:
The Pursuits of Literature: A Satirical Poem in Four Dialogues
439:
786:
Memoirs of the Author of A Vindication of the Rights of Woman
499:
Clasp with fond arms, and mix their kisses sweet. (ll.15–20)
473:, as well as his own poem, "The Loves of the Plants" (1790):
414:
Their conscious "blushes spoke a brighter day." (ll.203–206)
354:
895:
Romanticism and Patriotism: Nation, Empire, Bodies, Rhetoric
828:
The Sign of Angelica: women, writing and fiction, 1600–1800
341:
And vengeance smothers all their softer charms. (ll.11–14)
191:
25:
1230:
Unsex'd Revolutionaries: Five Women Novelists of the 1790s
1221:
Todd, Janet. "The Polwhelean Tradition and Richard Cobb."
1033:(Baltimore: The Johns Hopkins University Press, 1996. 28.)
845:
Unsex'd Revolutionaries: Five Women Novelists of the 1790s
728:, Mary Robinson, Peterborough, Ont.: Broadview Press, 2003
563:
Sport, in full view, the meretricious breast. (ll.20–24)
966:, Electronic Text Center, University of Virginia Library.
950:, Electronic Text Center, University of Virginia Library.
887:
726:
A Letter to the Women of England and the Natural Daughter
235:
A Sketch of the Private and Public Character of P. Pindar
153:
had occurred only two decades earlier, the events of the
1137:
The Cambridge Companion to English Literature, 1740–1830
871:
The Cambridge Companion to English Literature, 1740–1830
1175:. Baltimore: The Johns Hopkins University Press, 1996.
1114:. Oxford University Press, 2004. Accessed 19 Feb 2007.
1080:
Referred to with approval in a footnote but not named.
1071:
Mentioned in a footnote, not in the body of the poem.
214:
484:, 1772, which equates flowers and female genitalia
1057:A Polite and Commercial People: England 1727–1783
517:And fondly gaze the titillating dust. (ll.29–34)
1281:
559:Or frizzle, bold in front, their borrow'd hair;
557:The crane-like neck, as Fashion bids, lay bare,
446:, "Flora at Play with Cupid." Frontispiece to
174:." Those who opposed it were "Anti-Jacobins."
1267:Preposterous Headdresses and Feathered Ladies
509:Still pluck forbidden fruit, with mother Eve,
495:Drinks the warm blushes of his bashful bride;
412:And sweetly scatter'd (as they glanc'd away)
339:As "proud defiance" flashes from their arms,
1103:17 (February 2000). Accessed 24 April 2007.
497:With honey'd lips enamour'd Woodbines meet,
493:How the young Rose in beauty's damask pride
491:And jealous Cowslips hang their tawny cups.
410:Soft on each tongue repentant murmurs died;
335:Survey with me, what ne'er our fathers saw,
555:To Gallic freaks or Gallic faith resign'd,
24:
1046:(Harlow, UK: Pearson/Longman, 2004. 120.)
507:With bliss botanic as their bosoms heave,
489:With secret sighs the Virgin Lily droops,
287:The poem betrays a particular animus for
265:The poem itself consists of 206 lines of
30:Title page from the 1800 New York edition
1193:
1142:
536:
475:
438:
353:
276:
134:
1276:" (written before 1799; reprinted 1810)
1112:Oxford Dictionary of National Biography
1067:
1065:
1020:(Manchester University Press, 2002. 2).
847:(University of Toronto Press, 1993. 4).
260:
1282:
408:… round their MORE the sisters sigh'd!
1059:, Oxford University Press, 1994, 603.
1005:Studies in Eighteenth-Century Culture
830:(London: Virgo, 1989. 196.) See also
515:Dissect its organ of unhallow'd lust,
513:Or point the prostitution of a plant;
337:A female band despising NATURE's law,
115:
1232:. University of Toronto Press. 1993.
1062:
553:With equal ease, in body or in mind,
511:For puberty in signing florets pant,
250:A Vindication of the Rights of Woman
208:A Vindication of the Rights of Woman
1274:Sonnet to the Rev. Richard Polwhele
860:. 6th. ed. London: T. Becket, 1798.
426:be in Wollstonecraft's group while
176:The Antijacobin, or Weekly Examiner
13:
1130:National Library of Australia News
910:Vindication of the Rights of Woman
561:Scarce by a gossamery film carest,
532:
272:
14:
1321:
1242:
215:Publication history and reception
724:Sharon M. Setzer, Introduction,
349:
1200:. Manchester University Press.
1108:‘Polwhele, Richard (1760–1838)’
1086:
1074:
1049:
1036:
1023:
1010:
996:
969:
953:
930:
917:
900:
876:
863:
817:, 3 vols. (London, 1806), I 58.
157:were even more recent, and the
850:
837:
820:
804:
792:
777:
744:
731:
718:
62:(orig. pub. Cadell and Davies)
1:
1223:Studies in Burke and His Time
766:, the earl of Roscommon, and
1121:20.4 (Oct–Dec 2004):240–256.
772:Huntington Library Quarterly
7:
132:as much as on her writing.
90:The Unsex'd Females, a Poem
18:The Unsex'd Females, a Poem
10:
1326:
1194:Stafford, William (2002).
596:Writers/artists named in
578:
571:came in for considerable
434:
76:
66:
55:
45:
35:
23:
774:56.3 (Summer 1993): n.2.
712:
671:Maria Elizabeth Robinson
1166:Eighteenth-Century Life
1110:, rev. Grant P. Cerny.
908:Mary Wollstonecraft's a
737:Virginia Woolf, Ch. 4,
480:Caricature of botanist
452:The Loves of the Plants
400:, and, most centrally,
1290:1798 non-fiction books
1100:Romanticism on the Net
856:Thomas James Mathias,
686:Charlotte Turner Smith
606:Anna Laetitia Barbauld
569:fashion of this period
565:
545:
519:
501:
485:
459:popular female pastime
454:
416:
361:
343:
301:Charlotte Turner Smith
293:Anna Laetitia Barbauld
284:
255:Pursuits of Literature
225:Pursuits of Literature
143:
1152:. London: Rivington's
914:(Routledge, 2002, 2).
551:
540:
505:
487:
479:
442:
406:
357:
333:
280:
138:
1252:, Project Gutenberg)
696:Helen Maria Williams
691:Hester Thrale Piozzi
390:Hester Thrale Piozzi
305:Helen Maria Williams
261:Structure and themes
1300:18th-century poetry
1124:Lovell, Jennifer. "
1007:11 (1982): 199–216.
987:The Unsex'd Females
964:The Unsex'd Females
948:The Unsex'd Females
800:History of Feminism
739:A Room of One's Own
701:Mary Wollstonecraft
598:The Unsex'd Females
590:The Unsex'd Females
586:The Unsex'd Females
420:The Unsex'd Females
289:Mary Wollstonecraft
282:Mary Wollstonecraft
245:The Unsex'd Females
231:The Unsex'd Females
196:Anti-Jacobin Review
181:Anti-Jacobin Review
151:American Revolution
103:Mary Wollstonecraft
20:
1255:Richard Polwhele,
1228:Ty, Eleanor Rose.
1168:29.1 (2005) 23–49.
1132:15.7 (April 2005).
1016:William Stafford,
981:2011-02-09 at the
942:2011-02-09 at the
925:The Monthly Review
651:Catharine Macaulay
546:
486:
455:
362:
285:
159:Haitian Revolution
147:The Unsex'd Female
144:
116:Historical context
16:
1310:Books about women
1225:16 (1975):271–77.
1144:Polwhele, Richard
923:Ralph Griffiths,
906:Adriana Craciun,
843:Eleanor Rose Ty,
656:Elizabeth Montagu
646:Angelica Kauffman
370:Elizabeth Montagu
321:Angelica Kauffman
178:(1797–1798), the
155:French Revolution
140:George Cruikshank
126:Katherine Philips
110:French Revolution
86:
85:
77:Publication place
1317:
1263:, U of Virginia)
1218:
1216:
1214:
1161:
1159:
1157:
1119:Word & Image
1106:Courtney, W. P.
1081:
1078:
1072:
1069:
1060:
1053:
1047:
1040:
1034:
1027:
1021:
1014:
1008:
1000:
994:
973:
967:
957:
951:
934:
928:
921:
915:
904:
898:
888:Romantic Circles
882:Noah Heringman,
880:
874:
867:
861:
854:
848:
841:
835:
824:
818:
808:
802:
796:
790:
783:William Godwin,
781:
775:
764:Wentworth Dillon
748:
742:
735:
729:
722:
621:Elizabeth Carter
543:Isaac Cruikshank
384:" (ll.191–192).
374:Elizabeth Carter
95:Richard Polwhele
68:Publication date
40:Richard Polwhele
28:
21:
15:
1325:
1324:
1320:
1319:
1318:
1316:
1315:
1314:
1305:Women's history
1280:
1279:
1245:
1240:
1212:
1210:
1208:
1171:Shteir, Ann B.
1155:
1153:
1093:Calè, Luisa. "'
1089:
1084:
1079:
1075:
1070:
1063:
1055:Paul Langford,
1054:
1050:
1041:
1037:
1029:Ann B. Shteir,
1028:
1024:
1015:
1011:
1001:
997:
983:Wayback Machine
974:
970:
958:
954:
944:Wayback Machine
935:
931:
927:30 (1799): 103.
922:
918:
905:
901:
881:
877:
868:
864:
855:
851:
842:
838:
825:
821:
809:
805:
797:
793:
782:
778:
749:
745:
736:
732:
723:
719:
715:
710:
611:Diana Beauclerk
601:
581:
562:
560:
558:
556:
554:
535:
533:French fashions
516:
514:
512:
510:
508:
498:
496:
494:
492:
490:
437:
428:Diana Beauclerk
413:
411:
409:
398:Diana Beauclerk
352:
340:
338:
336:
275:
273:Unsex'd females
267:heroic couplets
263:
239:William Cobbett
217:
118:
72:1798; rpt. 1800
69:
60:William Cobbett
31:
12:
11:
5:
1323:
1313:
1312:
1307:
1302:
1297:
1292:
1278:
1277:
1272:Anna Seward, "
1270:
1264:
1253:
1244:
1243:External links
1241:
1239:
1238:
1233:
1226:
1219:
1206:
1191:
1169:
1162:
1140:
1133:
1122:
1115:
1104:
1090:
1088:
1085:
1083:
1082:
1073:
1061:
1048:
1042:Robin Jarvis,
1035:
1022:
1009:
995:
968:
952:
929:
916:
912:: A Sourcebook
899:
875:
862:
849:
836:
819:
803:
791:
776:
760:William Temple
743:
730:
716:
714:
711:
709:
708:
703:
698:
693:
688:
683:
678:
673:
668:
663:
658:
653:
648:
643:
638:
633:
628:
626:Hester Chapone
623:
618:
616:Frances Burney
613:
608:
602:
600:
594:
580:
577:
534:
531:
523:British Critic
467:Erasmus Darwin
448:Erasmus Darwin
436:
433:
378:Frances Burney
351:
348:
319:, and artists
274:
271:
262:
259:
221:Thomas Mathias
216:
213:
187:British Critic
130:William Godwin
117:
114:
84:
83:
78:
74:
73:
70:
67:
64:
63:
57:
53:
52:
47:
43:
42:
37:
33:
32:
29:
9:
6:
4:
3:
2:
1322:
1311:
1308:
1306:
1303:
1301:
1298:
1296:
1293:
1291:
1288:
1287:
1285:
1275:
1271:
1268:
1265:
1262:
1258:
1254:
1251:
1247:
1246:
1237:
1234:
1231:
1227:
1224:
1220:
1209:
1207:9780719060823
1203:
1199:
1198:
1192:
1189:
1188:0-8018-5141-6
1185:
1182:
1181:0-8018-6175-6
1178:
1174:
1170:
1167:
1163:
1151:
1150:
1145:
1141:
1138:
1134:
1131:
1127:
1123:
1120:
1116:
1113:
1109:
1105:
1102:
1101:
1096:
1092:
1091:
1077:
1068:
1066:
1058:
1052:
1045:
1039:
1032:
1026:
1019:
1013:
1006:
999:
992:
988:
984:
980:
977:
972:
965:
961:
956:
949:
945:
941:
938:
933:
926:
920:
913:
909:
903:
896:
892:
891:Praxis Series
889:
885:
879:
872:
866:
859:
853:
846:
840:
833:
829:
823:
816:
812:
807:
801:
795:
788:
787:
780:
773:
769:
765:
761:
757:
756:Henry Vaughan
753:
747:
740:
734:
727:
721:
717:
707:
704:
702:
699:
697:
694:
692:
689:
687:
684:
682:
679:
677:
676:Mary Robinson
674:
672:
669:
667:
666:Ann Radcliffe
664:
662:
659:
657:
654:
652:
649:
647:
644:
642:
639:
637:
634:
632:
629:
627:
624:
622:
619:
617:
614:
612:
609:
607:
604:
603:
599:
593:
591:
587:
576:
574:
570:
564:
550:
544:
539:
530:
526:
524:
518:
504:
500:
483:
478:
474:
472:
471:Carl Linnaeus
468:
464:
460:
453:
449:
445:
441:
432:
429:
425:
421:
415:
405:
403:
399:
395:
394:Ann Radcliffe
391:
387:
383:
379:
375:
371:
367:
366:Bluestockings
360:
356:
350:Proper ladies
347:
342:
332:
330:
326:
322:
318:
314:
310:
306:
302:
298:
297:Mary Robinson
294:
290:
283:
279:
270:
268:
258:
256:
252:
251:
246:
242:
240:
236:
232:
228:
226:
222:
212:
210:
209:
203:
201:
197:
193:
189:
188:
183:
182:
177:
173:
168:
164:
160:
156:
152:
148:
141:
137:
133:
131:
127:
123:
113:
111:
106:
104:
100:
99:Enlightenment
96:
92:
91:
82:
79:
75:
71:
65:
61:
58:
54:
51:
48:
44:
41:
38:
34:
27:
22:
19:
1256:
1229:
1222:
1211:. Retrieved
1196:
1172:
1165:
1154:. Retrieved
1148:
1136:
1129:
1118:
1111:
1098:
1087:Bibliography
1076:
1056:
1051:
1043:
1038:
1030:
1025:
1017:
1012:
1004:
998:
990:
986:
976:Introduction
971:
963:
955:
947:
937:Introduction
932:
924:
919:
911:
907:
902:
878:
870:
865:
857:
852:
844:
839:
827:
826:Janet Todd,
822:
814:
806:
794:
784:
779:
771:
746:
738:
733:
725:
720:
706:Ann Yearsley
597:
589:
585:
582:
566:
552:
549:philosophy:
547:
527:
522:
520:
506:
502:
488:
482:Joseph Banks
456:
451:
419:
417:
407:
363:
344:
334:
309:Ann Yearsley
286:
264:
254:
248:
244:
243:
234:
230:
229:
224:
218:
206:
204:
195:
192:conservative
185:
179:
175:
146:
145:
119:
107:
89:
88:
87:
17:
897:, May 2006.
768:Roger Boyle
752:John Dryden
681:Anna Seward
661:Hannah More
461:of amateur
402:Hannah More
386:Anna Seward
359:Hannah More
329:Hannah More
93:(1798), by
1295:1798 poems
1284:Categories
960:Appendix I
631:Emma Crewe
573:caricature
444:Emma Crewe
424:Emma Crewe
325:Emma Crewe
205:(See also
184:, and the
167:Janet Todd
122:Aphra Behn
832:John Bull
811:Jane West
636:Mary Hays
396:, artist
313:Mary Hays
56:Publisher
1146:(1810).
979:Archived
940:Archived
641:Ann Jebb
317:Ann Jebb
200:Jacobins
172:Jacobins
46:Language
1213:9 March
1156:9 March
741:, 1929.
382:CHAPONE
81:Britain
50:English
1204:
1186:
1179:
789:(1798)
758:, Sir
579:Legacy
463:botany
435:Botany
163:Terror
36:Author
1261:Etext
1250:Etext
1149:Poems
713:Notes
1215:2015
1202:ISBN
1184:ISBN
1177:ISBN
1158:2015
798:See
323:and
315:and
124:and
1128:."
1097:."
886:,"
450:'s
418:In
211:.)
1286::
1064:^
985:,
962:,
946:,
893::
813:,
762:,
754:,
392:,
388:,
311:,
307:,
303:,
299:,
295:,
105:.
1217:.
1190:.
1160:.
834:.
750:"
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.jpg)