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The Collected Poems of Amelia Alderson Opie is the first annotated scholarly edition of the poetic corpus of Amelia Opie (1769-1853), a woman writer who made a significant contribution to literary culture in Britain during the Romantic and early Victorian periods.
The Collected Poems of Amelia Alderson Opie offers the first collected, scholarly edition of poetical writings of one of the most celebrated women writers of the early nineteenth century. It brings together poems from a variety of sources, including three volumes of poetry assembled by the author, annual anthologies, periodicals, songs, manuscripts, fictional tales, broad sheets, separately published pamphlets, and unpublished private correspondence. The poems included cover the entire range of Opie's long career, starting with her earliest surviving works from the 1790s and extending through her last poems in 1850. The arrangement proposed for this edition gives an overall sense of Opie's development from her early experiments with short lyrics appearing in The Annual Anthology, The Cabinet, and The European Magazine to her first large-scale success with Poems and the publication of a number of song lyrics, to the longer narrative poems in The Warrior's Return to the final phase of her publishing life after officially joining the Quakers in 1825 - the appearance of Lays for the Dead, a sequence of elegies for both private and public figures. Until now, Opie has been known primarily through a few frequently anthologized poems focusing on her response to the war with France and her support of the abolition movement. The Collected Poems offers the opportunity to explore more fully the contribution made to literary culture in the period by a woman who throughout her life used poetry as the basis of affective connection with her world.
The Collected Poems of Amelia Alderson Opie is the first annotated scholarly edition of the poetic corpus of Amelia Opie (1769-1853), a woman writer who made a significant contribution to literary culture in Britain during the Romantic and early Victorian periods.
Amelia Alderson Opie is considered one of the most influential women writers of the Romantic era, and this collection of poems showcases some of her finest work. The editor has drawn from Opie's vast body of published work, selecting only the most powerful and enduring poems for inclusion. This book is a must-read for fans of Romantic poetry, feminists, and anyone interested in the literary history of women. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Written by a combination of established scholars and new critics in the field, the essays collected in Circuit of Apollo attest to the vital practice of commemorating women’s artistic and personal relationships. In doing so, they illuminate the complexity of female friendships and honor as well as the robust creativity and intellectual work contributed by women to culture in the long eighteenth century. Women’s tributes to each other sometimes took the form of critical engagement or competition, but they always exposed the feminocentric networks of artistic, social, and material exchange women created and maintained both in and outside of London. This volume advocates for a new perspective for researching and teaching early modern women that is grounded in admiration. Distributed for the University of Delaware Press
In a moving intervention into Romantic-era depictions of the dead and wounded, Philip Shaw's timely study directs our gaze to the neglected figure of the common soldier. How suffering and sentiment were portrayed in a variety of visual and verbal media is Shaw's particular concern, as he examines a wide range of print and visual media, from paintings to sketches to political prose and anti-war poetry, and from writings on culture and aesthetics to graphic satires and early photographs. Whilst classical portraiture and history painting certainly conspired with official ideologies to deflect attention from the true costs of war, other works of art, literary as well as visual, proffered representations that countered the view that suffering on and off the battlefield is noble or heroic. Shaw uncovers a history of changing attitudes towards suffering, from mid-eighteenth century ambivalence to late eighteenth- and early nineteenth-century concepts of moral sentiment. Thus, Shaw's story is one of how images of death and wounding facilitated and queried these shifts in the perception of war, qualifying as well as consolidating ideas of individual and national unanimity. Informed by readings of the letters and journals of serving soldiers, surgeons' notebooks and sketches, and the writings of peace and war agitators, Shaw's study shows how an attention to the depiction of suffering and the development of 'liberal' sentiment enables a reconfiguring of historical and theoretical notions of the body as a site of pain and as a locus of violent national imaginings.
When Adeline Mowbray puts her mother Editha’s radical theories into practice by eloping with, but not marrying, a notorious writer, the mother and daughter are estranged for many years, but finally reconciled. As its subtitle suggests, Adeline Mowbray, or The Mother and Daughter begins and ends with their story, but its complex plot encompasses almost every other human relationship. This engaging novel explores many issues important in the Romantic period, from women’s education to the ethics of slavery and colonialism. This Broadview Edition uses the first edition of 1805 as its copy text, but also includes important variants from the 1810 and 1844 editions. The appendices include contemporary reviews and material expanding on the novel’s themes of women’s education, marriage, slavery, and the tension between feeling and reason.
'Will you write in my album?' Many Romantic poets were asked this question by women who collected contributions in their manuscript books. Those who obliged included Byron, Scott, Wordsworth, and Lamb, but also Felicia Hemans, Amelia Opie, and Sara Coleridge. Album Verses and Romantic Literary Culture presents the first critical and cultural history of this forgotten phenomenon. It asks a series of questions. Where did 1820s 'albo-mania' come from, and why was it satirized as a women's 'mania'? What was the relation between visitors' books associated with great institutions and country houses, personal albums belonging to individuals, and the poetry written in both? What caused albums' re-gendering from earlier friendship books kept by male students and gentlemen on the Grand Tour to a 'feminized' practice identified mainly with young women? When albums were central to women's culture, why were so many published album poems by men? How did amateur and professional poets engage differently with albums? What does album culture's privileging of 'original poetry' have to say about attitudes towards creativity and poetic practice in the age of print? This volume recovers a distinctive subgenre of occasional poetry composed to be read in manuscript, with its own characteristic formal features, conventions, themes, and cultural significance. Unique albums examined include that kept at the Grande Chartreuse, those owned by Regency socialite Lady Sarah Jersey, and those kept by Lake poets' daughters. As Album Verses and Romantic Literary Culture shows, album poetry reflects changing attitudes to identity, gender, class, politics, poetry, family dynamics, and social relations in the Romantic period.
A collection of emotional and beautiful poems written by Amelia Opie, a well-known English author, feminist, and abolitionist. Her works have inspired many and this collection showcases her poetic talent. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.