By T. Hoagwood, K. Ledbetter
A wide physique of nineteenth-century British women's literature highlights using verbal illusions, even whereas its essence continues to be the basis of inward and private adventure. within the age of industrial distribution, the nonequivalence of non-public feeling and revealed product is typically rendered bitterly, yet occasionally that nonequivalence conjures up the opulence of artifice. "Colour'd Shadows" is a chain of arguments approximately such relationships of fabric shape and fabric trade with literary that means, continuing from particular examples within the writings and careers of ladies writers and numerous publishing genres, together with Victorian periodicals and literary annuals.
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Extra resources for Colour'd Shadows: Contexts in Publishing, Printing, and Reading Nineteenth-Century British Women Writers
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.