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Additional resources for The History of British Women's Writing, 1690 - 1750: Volume Four
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The lines from the first canto of Alexander Pope’s 1714 five-canto version of the Rape of the Lock have become a favourite of eighteenth-century literary historians because they perform so miraculously this equation of a commercial trading culture with feminine decadence, luxury, and wasteful inauthentic consumption. Belinda is an inverted version of the epic hero preparing himself for battle; his squire helps him don his armour and he makes sacrifices to propitiate the gods. Belinda stands at her toilet preparing with the aid of her maid to dress her body, hair, and face in readiness to play cards at court.
By Bernard Tucker (Lewiston: Edwin Mellen, 1992). 3. On Swift’s poems to Stella, see Ros Ballaster, ‘Jonathan Swift, the Stella poems’, in A Companion to Eighteenth Century Poetry, ed. by Christine Gerrard (Oxford: Blackwell, 2006), pp. 170–83. 4. See David M. Vieth, Attribution in Restoration Poetry: A Study of Rochester’s Poems in 1680 (New Haven: Yale University Press, 1963). 5. Thomas Laqueur, Making Sex: Body and Gender from the Greeks to Freud (Cambridge, MA: Harvard University Press, 1990).
Com - licensed to Universitetsbiblioteket i Tromsoe - PalgraveConnect - 2011-03-05 6 It is the case though that where women do publish they are more likely to do so in the genres of the pamphlet, petitions, and visionary writing than in turning to drama and the novel. A number also took advantage in the growth of the periodical press to submit for publication individual poems under classical and other pseudonyms, such as Elizabeth Carter whose poems appeared for many years from 1734 onwards under the name of ‘Eliza’ in the Gentleman’s Magazine.
