This collection of twelve critical essays on women's poetry of the eighteenth century and enlightenment is the first to range widely over individual poets and to undertake a comprehensive exploration of their work. Experiment with genre and form, the poetics of the body, the politics of gender, revolutionary critique, and patronage, are themes of the collection, which includes discussions of the distinctive projects of Mary Leapor, Ann Yearsley, Helen Maria Williams, Joanna Baillie, Charlotte Smith, Anna Barbauld and Lucy Aikin.

A unique collection of twelve critical essays on women's poetry of the eighteenth-century and late enlightenment, the first to range widely over individual poets and to undertake a comprehensive exploration of the formal experiments, aesthetics, and politics of their work. Experiment with genre and form, the poetics of the body, the politics of gender, revolutionary critique, and patronage are themes of the collection.

There has been a huge revival of interest in Victorian women's poetry in the last ten years, and it has led to a major reconfiguration of the English poetic landscape of the nineteenth century. This title offers a key selection of poems by 13 Victorian women poets from Christina Rosetti and Felicia Hemans to the witty, iconoclastic May Kendall. The book starts with a substantial general Introduction which places the work of the poets into a context both historical (that of the poems' production) and modern (that of their past and present reception). Each poet's work is introduced by an expansive headnote which tells the story of her life and writing career. The poems all have full explanatory notes to help readers unfamiliar with the period. A Bibliography lists general sources as well as useful further readings. Written in an engaging and accessible manner, the extensive annotations throughout Victorian Women Poets ensure that this fascinating poetry is enjoyable for undergraduate and non-specialist readers.

First published in 1998, this volume combines a bio-critical account of Caroline Bowles Southey's career with a general selection of her works, both poetry and prose, with the latter drawing attention on her remarkable talent as a letter writer. It will appeal to scholars of Romanticism and the Victorian person as well as women's studies specialists and historians of autobiography.

First published in 1998, this volume combines a bio-critical account of Caroline Bowles Southey's career with a general selection of her works, both poetry and prose, with the latter drawing attention on her remarkable talent as a letter writer. It will appeal to scholars of Romanticism and the Victorian person as well as women's studies specialists and historians of autobiography.

There has been a huge revival of interest in Victorian women's poetry in the last ten years, and it has led to a major reconfiguration of the English poetic landscape of the nineteenth century. This title offers a key selection of poems by 13 Victorian women poets from Christina Rosetti and Felicia Hemans to the witty, iconoclastic May Kendall. The book starts with a substantial general Introduction which places the work of the poets into a context both historical (that of the poems' production) and modern (that of their past and present reception). Each poet's work is introduced by an expansive headnote which tells the story of her life and writing career. The poems all have full explanatory notes to help readers unfamiliar with the period. A Bibliography lists general sources as well as useful further readings. Written in an engaging and accessible manner, the extensive annotations throughout Victorian Women Poets ensure that this fascinating poetry is enjoyable for undergraduate and non-specialist readers.

Magdalen Vanstone and her sister Norah learn the true meaning of social stigma in Victorian England only after the traumatic discovery that their dearly loved parents, whose sudden deaths have left them orphans, were not married at the time of their birth. Disinherited by law and brutally ousted from Combe-Raven, the idyllic country estate which has been their peaceful home since childhood, the two young women are left to fend for themselves. While the submissive Norah follows a path of duty and hardship as a governess, her high-spirited and rebellious younger sister has made other decisions. Determined to regain her rightful inheritance at any cost, Magdalen uses her unconventional beauty and dramatic talent in recklessly pursuing her revenge. Aided by the audacious swindler Captain Wragge, she braves a series of trials leading up to the climactic test: can she trade herself in marriage to the man she loathes? Written in the early 1860s, between The Woman in White and The Moonstone, No Name was rejected as immoral by critics of its time, but is today regarded as a novel of outstanding social insight, showing Collins at the height of his powers. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

This collection of twelve critical essays on women's poetry of the eighteenth century and enlightenment is the first to range widely over individual poets and to undertake a comprehensive exploration of their work. Experiment with genre and form, the poetics of the body, the politics of gender, revolutionary critique, and patronage, are themes of the collection, which includes discussions of the distinctive projects of Mary Leapor, Ann Yearsley, Helen Maria Williams, Joanna Baillie, Charlotte Smith, Anna Barbauld and Lucy Aikin.