Ahem.
Anyone care to comment on the interesting differences between the two poems? (If you missed class today or lost your handout, the Carter poem I distributed is available in the sidebar).
Anyone care to read a little Rowe, now that she's inadvertently come up 2x with relation to Carter? Here's an elegy she wrote on her dead husband--evidence that some C18 women did in fact love their male life partners (and yes, if you click on the window, you will find the poem extends for a couple more pages).
The Miscellaneous Works, in Prose and Verse, of Mrs. Elizabeth Rowe By Elizabeth Singer Rowe, Theophilus Rowe, Thomas Rowe
4 comments:
Elisabeth Carter’s “On the Death of Mrs. Rowe” praises Rowe for many of the same reasons as she referenced in “On the Death of Mrs. [Elizabeth] Rowe,” including her chastity and adherence to the morality expected of a properly modest woman of the 18th century. Lonsdale’s argument is much more appropriate when associated with Carter’s “On the Death of Mrs. Rowe.” He suggests that Carter should have been a sort of role model whom other female poets could follow for years to come, but instead, “Having won high literary reputation and financial security by the 1760s, she did not thereafter develop this inspirational role.” Though she should not have to write solely for the effect that her poetry will produce on future generations of women, it is Carter herself that says, “Fixt on my soul shall thy example grow, / And be my genius and my guide below; / To this I’ll point my first, my noblest views, / Thy spotless verse shall regulate my Muse. / And O forgive, though faint the transcript be, / That copies an original like thee.” Here, the poet admits to making very good use of Rowe for inspiration, as her “genius and . . . guide.” This plays right into Lonsdale’s opinion that Carter fails to fulfill an exemplary position as a woman poet because she makes the claim that she would like to continue the legacy of the woman (Rowe) who inspired her, but – according to Lonsdale – fails to uphold such a status.
Interesting--and nicely observed! Of course, as someone (you?) pointed out in the earlier Carter-Rowe post, Carter certainly did inspire Griffitts, just as she was inspired by Rowe. But neither Carter nor Griffitts gets inspired to be poetically original or aesthetically new--they both carry on in the same pious, decorous, and correct manner that Rowe does. Lonsdale has a problem with that static continuity--he'd like to see them invent Romanticism, apparently!--but Carter and Griffitts themselves would be pleased and flattered by the claim that they're just doing the same thing.
Oh man, this is awesome. I just want to marvel in the "Emily was right!" moment. Those happen so rarely. Although I suppose the extreme surprise is a little depressing, I am right sometimes...
I actually detect a similar vein in Carter's poem as shows up in the Isabella Kelly poem I taught in class. The line "to gain thy praise, was all that could my just ambition raise" comments on the same idea of masculine control that was present in Kelly's poem. She only acts to please him who was "all [her] glory". In almost every line she references the impact of the man on her life. She acts for him and in his name. This seems a very submissive role for a woman who acts with agency. Although it does tie in with the Longsdale comment on her lack of agency.
Emily,
Don't be depressed--the extreme surprise was at how wrong I got it, not that you were right!
KW
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