Bad Girls: Sirens, Jezebels, Murderesses, Thieves & Other by Jane Yolen, Heidi E. Y. Stemple

By Jane Yolen, Heidi E. Y. Stemple

Meet twenty-six of history's so much infamous ladies. every one undesirable lady has a rotten attractiveness, yet there are aspects to each story. make a decision no matter if Tituba used to be quite a conspiring witch or simply a humble housemaid. research the facts stacked for and opposed to Lizzie Borden. And what made the brazen Cleopatra so dishonorable . . . or honorable? each one bankruptcy ends with comedian panels that includes caricatures of the authors discussing the ladies, with Heidi arguing because the prosecution and Jane arguing for context.

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Extra resources for Bad Girls: Sirens, Jezebels, Murderesses, Thieves & Other Female Villains

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However, we wish to direct attention away from methods of interpretation that do not take these theories into account. Featured in this volume are ways of reading texts that integrate available bibliographic codes rather than impose subjective personal fantasies. This page intentionally left blank Chapter 1 Schol arly Fantasy and Material Reality in Mary Robinson ’s S A P P H O AND PHAON T he feminist and anti-amatory sonnet sequence, Sappho and Phaon (1796 and 1813), offers an example of ways in which a book reveals important meanings when studied as a physical object.

Reportedly, the Prince’s “importunities” were “unceasing” and “obliged her, with reluctance,” to quit the profession of acting, and after a year as his mistress, she apparently insisted upon (and received) a promise of a lifetime annuity from him. She traveled to France, first in 1783 and several times afterward. She developed friendships with William Godwin and Samuel Taylor Coleridge. She and Coleridge wrote several poems to one another, many of which appeared as a sort of poetical correspondence in newspapers.

The resolution of the poem’s narrative is a retreat into the dual enclosures of home and emotion from which she ventured when tempted by the gleaming reaches of the world; she cries to her mother, “Take back thy wanderer from this fatal shore, / Peace shall be ours beneath our vines once more” (144). Clearly, “Madeline” repeats Hemans’s most characteristic theme—the external world is a bad place, in contrast to the enclosures of house and of the autosphere of one’s own emotions. Signifiers of its own unreality doubly frame the poem, including the epigraph from Baillie’s play, and the note calling attention to the prior museumization of the poem in the ornamental Literary Souvenir.

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