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Books : Literature & Fiction : World Literature : United States : Poetry : 18th Century
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The poetry of early America is seen afresh in this groundbreaking new volume in The Library of America's acclaimed American Poetry anthology series, charting its flowering over a span of almost two centuries, from the first years of English settlement in the New World to the death of George Washington. Gathering the work of more than 100 poets-including many poems never previously anthologized and some published here for the first time-it is the most comprehensive collection of its kind ever assembled, a celebration of the rich, varied, and often surprising beginnings of American poetry.
The range of voices is unprecedented: broadside and newspaper satires, epitaphs, children's verse, popular songs, ballads, and Christian hymns evoke the vital currency of poetry in the daily lives of average people; exhortatory elegies for public figures and historical epics declaimed on occasions of state stand alongside intricate meditative lyrics and private epistolary verses. The dramatic unfolding of American history is made immediate and vivid in the words of the participants: William Bradford reflects on the growth of New England's first colonies; Roger Wolcott recounts the incidents of the Pequot War; Thomas Paine hails the victories of the American Revolution; Ann Eliza Bleecker describes her flight from General Burgoyne's invading army; loyalist Jonathan Odell bitterly mocks the new Continental Congress.
The first comprehensive anthology of early American poetry in more than a generation, this volume incorporates recent scholarly discoveries that have altered our understanding of the early American literary landscape. Alongside generous selections from long-admired New England poets such as Anne Bradstreet, Edward Taylor, and Michael Wigglesworth are poets from the Middle Colonies and the South, newly emerged from the archives. Along with familiar favorites by Phillis Wheatley, celebrated pioneer of the African-American tradition in poetry, are little-known verses by Benjamin Banneker, known as "the Sable Astronomer," and African-American Minuteman Lemuel Haynes. The anthology includes hymns recently attributed to Mohegan preacher Samson Occom and the earliest known translation of a traditional Native American chant, Henry Timberlake's Cherokee "War-Song." The unpublished poems of Henry Brooke, Elizabeth Graeme Fergusson, Joseph Green, Hannah Griffitts, Margaret Lowther Page, and Annis Boudinot Stockton, among others, reflect the rediscovered vitality and importance of manuscript exchange as a form of publication in an era when it was sometimes considered indecorous, especially for women, to appear in print.
Unprecedented in its textual authority and unrivaled in its scope, the anthology includes newly researched biographical sketches of each poet and extensive notes.
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A renowned literary coterie in eighteenth-century Philadelphia—Elizabeth Fergusson, Hannah Griffitts, Deborah Logan, Annis Stockton, and Susanna Wright—wrote and exchanged thousands of poems and maintained elaborate handwritten commonplace books of memorabilia. Through their creativity and celebrated hospitality, they initiated a salon culture in their great country houses in the Delaware Valley. In this stunningly original and heavily illustrated book, Susan M. Stabile shows that these female writers sought to memorialize their lives and aesthetic experience—a purpose that stands in marked contrast to the civic concerns of male authors in the republican era.Drawing equally on material culture and literary history, Stabile discusses how the group used their writings to explore and at times replicate the arrangement of their material possessions, including desks, writing paraphernalia, mirrors, miniatures, beds, and coffins. As she reconstructs the poetics of memory that informed the women’s lives and structured their manuscripts, Stabile focuses on vernacular architecture, penmanship, souvenir collecting, and mourning.
Empirically rich and nuanced in its readings of different kinds of artifacts, this engaging work tells of the erasure of the women’s lives from the national memory as the feminine aesthetic of scribal publication was overshadowed by the proliferating print culture of late eighteenth-century America.
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"Poetry", once despaired W.H.Auden, "makes nothing happen". That, however, is a modern condition, argues William Dowling, for in the 18th century poets helped topple corrupt governments and fuel revolutions. In this work on the creation and early days of the American republic, Dowling revives the literary and intellectual atmosphere of the period by examining major works of four early American poets of the circle known as the Connecticut Wits and their British forerunners. Understanding the work of John Trumbull, David Humphreys, Timothy Dwight and Joel Barlow, says Dowling, requires a knowledge of the underlying assumptions about poetry and society that gave their work meaning in their own time - namely that ideology was an autonomous and dynamic force in the historical process and that language and literature were potent ideological weapons. These Connecticut poets, he argues, saw themselves as the inheritors of the tradition of the English Opposition poets of the Augustan period. In fact, Opposition poets such as Pope, Swift and Thomson must be seen as the moving spirits of the American Revolution, for their warfare against Sir Robert Walpole's government not only set an example for the Connecticut poets but also contributed to the political climate in England that allowed the revolution in the American colonies to flourish. Like their Opposition predecessors, the Connecticut poets drew inspiration from the classical republican tradition of Horace, Livy and Virgil. They viewed their country as both new and old - as an original creation inspired by the vision of a virtuous past that served as a disinterested model for the moral regeneration of society. In addition to the classical republican tradition, Dowling discusses other ideologies and myths of the Opposition and Connecticut poets - from the alliance of "commonwealthman", Tory and Leicester House opposition in England and the ideology of the enlightenment to the myth of "translation" and the Puritan mythology of the completion of the Reformation and the beginning of the millennium in America. As he traces the ideological connections between the Opposition and Connecticut poets, Dowling denies any distinctions between "American" and "British" 18th century-literature, claiming that the writers inhabited a single transatlantic universe of thought. Only when read in this light, he says, can one appreciate the power of the Connecticut poets' language and understand their linuistic and prosodic borrowings from the Opposition poets. It is also through this recovered significance of the Connecticut poets that one can best understand the importance of Joel Barlow's break from the group's Federalism to align himself with the Jeffersonians.
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The purpose of this concordance is to provide a thorough tool for Taylor scholarship, and to this end it is designed to anticipate the needs of the greatest number of Taylor scholars without compromising the needs of those with special interest in stylistic features of Taylor's work. Among the features of the text are extensive cross-referencing of orthographic variants, treatment of homographs as discrete words, and retention in a verbal index of words typically omitted from concordances. Overall the volumes concord 145 poems.
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In an age of mass markets, mass audiences, and mass culture, the role of poetry in our moral or political world seems at best uncertain. This was a dilemma faced by such poets as James Thomson, William Wordsworth, Percy Bysshe Shelley, and Ralph Waldo Emerson. In Masters of Repetition, Lisa M. Steinman examines this issue by focusing on the work of these four poets. Covering the period between 1725 and 1847, Steinman looks at the involvement of these poets with both literary history and the changing social climates each of them confronted. She addresses the idea of influence and each poet's debt to the poets who came before him, as well as the struggle for an original voice. Describing how all four poets seized on the practice of poetry as not just art but as a vehicle for social action and change, Steinman contemporizes this idea and reveals the ways in which each poet attempted to align his work with power. She also shows how these poets responded to the conflict posed by inherited literary models and current cultural changes. Masters of Repetition offers a uniquely-crafted model for reading modern poetry’s engagement with power--both literary and worldly, past and present.
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Annis Boudinot Stockton (1736-1801) wrote over 100 poems on the important political and social issues of her day. This work, which was found in manuscript in 1985, contains her previously published pieces and the newly-found cache of poems in manuscript. An introduction covers her life.
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This innovative look at previously neglected poetry in British America represents a major contribution to our understanding of early American culture. Spanning the period from the Glorious Revolution (1690) to the end of King George's War (1750), this study critically reconstitutes the literature of empire in the thirteen colonies, Canada, and the West Indies by investigating over 300 texts in mixed print and manuscript sources, including poems in pamphlets and newspapers.
British America's poetry of empire was dominated by three issues: mercantilism's promise that civilization and wealth would be transmitted from London to the provinces; the debate over the extent of metropolitan prerogatives in law and commerce when they obtruded upon provincial rights and interests; and the argument that Britain's imperium pelagi was an ethical empire, because it depended upon the morality of trade, while the empires of Spain and France were immoral empires because they were grounded upon conquest. In discussing these issues, Shields provides a virtual anthology of poems long lost to students of American literature.
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From the work of Lydia Sigourney Huntley to the anti-slavery poems of Sara Moore Grimke, the wealth of material in this anthology confirms the importance of writing by women in the development of a distinctive American literary tradition. Other poets included here are Frances Ellen Watkins Harper, Emma Lazarus, Elizabeth Akers Allen, and Emily Dickinson.
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An investigation of modern British poetry and the "death" of that poetry in American critical circles. This text explores the complex relations of recent British and American poetries, challenging reductive American views of a British poetry dominated by anti-modernism while discussing the role of rhetoric's of national identity on both sides of the Atlantic in the persistence of these views. Devoting its most extensive commentary to an eclectic collection of British modernist and postmodernist poets including Joseph Gordon Macleod, Basil Bunting, Mina Loy, Roy Fisher, and Peter Riley, the book attacks the relegation of British poetry to the zones of the quaint and antiquarian, making a compelling case for renewed engagements with fields of British poetry deserving attention they have not received.
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