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Charlotte Smith and the Sonnet Charlotte Smith and the Sonnet Form, Place, and Tradition in the Late Eighteenth Century Romantic Reconfigurations: Studies in Literature and Culture 1780‒1850 Series Editors: Professor Tim Fulford, De Montfort University Professor Alan Vardy, Hunter College and the Graduate Center, CUNY As befits a series published in the city of Roscoe and Rushton, a city that linked Britain to the transatlantic trade in cotton, in sugar, and in people, Romantic Reconfigurations reconfigures the literary and cultural geographies and histories of Romanticism. Topics featured include, but are by no means confined to, provincial and labouring-class writing, diasporic and colonial writing, natural history and other scientific discourse, journalism, popular culture, music and theatre, landscape and nature, cosmopolitanism and travel, poetics and form. Charlotte Smith and the Sonnet Form, Place, and Tradition in the Late Eighteenth Century Bethan Roberts Charlotte Smith and the Sonnet LIVERPOOL UNIVERSITY PRESS First published 2019 by Liverpool University Press 4 Cambridge Street Liverpool L69 7ZU Copyright © 2019 Bethan Roberts The right of Bethan Roberts to be identified as the author of this book has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. British Library Cataloguing-in-Publication data A British Library CIP record is available ISBN 978-1-78962-017-7 paperback epdf ISBN 978-1-78962-434-2 Typeset by Carnegie Book Production, Lancaster For George Condliffe (1925–2014) Contents Contents Acknowledgements ix Introduction 1 1 The Eighteenth-Century Sonnet 11 2 Tradition 29 Nightingales 30 Streams 39 River Arun 43 Other Poetic Landscapes 60 3 Innovation 71 The Sea 72 Breaking ‘the silent Sabbath of the grave’: Sonnet XLIV 80 Giddy Brinks and Lucid Lines 91 4 Wider Prospect 99 Wider Prospect of the Sonnet Revival 100 Smith in Posterity: A Fragile Inheritance 112 5 Botany to Beachy Head 133 Goddess of Botany 135 Economies of Vegetation 140 Charlotte Smith and the Sonnet Gossamer 146 Beachy Head 151 Bibliography 161 Index 175 viii Acknowledgements Acknowledgements I am deeply grateful to Paul Baines. He supervised the PhD on which this book is based and, from the first year of my undergraduate studies, has been a great source of support and inspiration. I would like to thank Kelvin Everest for reading and commenting on the thesis, and Alexandra Harris and Michael Rossington, who examined it, for their invaluable support and input. Thank you to Alex for her ongoing support and inspiration. I would also like to thank the staff and (erstwhile) postgraduate community in the English Department at the University of Liverpool more widely for their support and encouragement, in particular Matthew Bradley, Natalie Hanna, Emma Hayward, Greg Lynall, Deryn Rees-Jones, and Jill Rudd; thank you also to Sharon Ruston at Lancaster University. I would like to thank my other colleagues at Liverpool – Bethan Collins, Linda Steadman, and Angela Williams – whose support and encouragement have been invaluable, and greatly appreciated. Many thanks to Tim Fulford and the anonymous reader of the book manuscript, whose comments were extremely helpful, and to Jenny Howard and Christabel Scaife at Liverpool University Press. Thanks also to Carnegie Book Production and the copyeditor of this work. For financial help during my doctoral studies I am grateful to the University of Liverpool for a fees-only PhD scholarship and support for conference attendance; to Funds for Women Graduates for a maintenance grant; to BARS, for a Stephen Copley Postgraduate Research Award; and to Michael Davies and Barbara Statham for the help I received from the Price Memorial Scholarship Fund. Thank you to my family and friends for their love and support, especially my parents Jill and Lloyd Roberts, my grandparents George and Hilda Condliffe, and my brother and sister-in-law, Huw Roberts and Emma McAvinchey-Roberts. ix Charlotte Smith and the Sonnet Thanks also to my nieces Mabel and – more recently – Margot for providing welcome joy and distraction. Thank you to Simon Bettley for the years he spent living with the PhD project, as well as for driving all the way to West Sussex and finding various Smith-related sites with me. Thank you to Nick Wrigley for reading the draft of the introduction. I would like to dedicate this book to my much-missed Grandpa George. Parts of chapters two and three have appeared as ‘Literary Past and Present in Charlotte Smith’s Elegiac Sonnets’, SEL Studies in English Literature 1500–1900, 54: 3 (Summer 2014), and are reprinted here with permission. Parts of chapters three, four, and five have appeared as ‘“Breaking the Silent Sabbath of the Grave”: Charlotte Smith’s Sonnet XLIV and Her Place in Literary History’, European Romantic Review, 28:5 (2017), and are also reprinted here with permission. x Introduction Introduction Charlotte Smith’s Elegiac Sonnets was first published in 1784 in a slim quarto edition containing just sixteen sonnets. In the preface Smith (1749–1806) writes diffidently that ‘these little Poems which are here called Sonnets, have, I believe, no very just claim to that title.’1 Yet, meeting with popular and critical acclaim, the volume expanded through multiple editions and by 1800 contained ninety-two sonnets in two volumes. In 1802 a commentator in The Critical Review announced that the ‘sonnet has been revived by Charlotte Smith: her sonnets are assuredly the most popular in the language, and deservedly so’.2 The sonnet form had fallen from favour after Milton’s death, yet it became one of the most ubiquitous literary forms of the late eighteenth century. In 1796 Samuel Taylor Coleridge noted that it was Smith, along with William Lisle Bowles, ‘who first made the Sonnet popular among the present English’ and in 1836 William Wordsworth described Smith as the ‘first Modern’ poet distinguished in the sonnet.3 To him, Smith was ‘a lady to whom English verse is under greater obligations than are likely to be either 1 Charlotte Smith, dedication to Elegiac Sonnets, and Other Poems, in The Works of Charlotte Smith, gen. ed. Stuart Curran, 14 vols., Pickering Masters (London: Pickering and Chatto, 2005–2007), XIV: p. 10. All further references to Smith’s poem and paratextual material are to this volume, and all references to Smith’s other works are to other volumes in the edition. 2 Anonymous, ‘Art. V. The Poetical Works of John Milton, &c.’, The Critical Review, 34 (1802), p. 393. 3 Samuel Taylor Coleridge, introduction to A Sheet of Sonnets, in The Complete Poetical Works of Samuel Taylor Coleridge, ed. Ernest Hartley Coleridge, 3 vols. (Oxford: Clarendon Press, 1912), II: p. 1139; William Wordsworth, The Letters of William and Dorothy Words- worth: The Later Years. Part III: 1835–1839, ed. Ernest de Selincourt, rev. Alan G. Hill, 2nd edn. (Oxford: Clarendon Press, 1982), pp. 149–50. 1 Charlotte Smith and the Sonnet acknowledged or remembered’.4 This book offers the first full-length study of Smith’s Elegiac Sonnets, her most important publication and the foundation of her poetic fame. Smith’s sonnets foreground changing tastes not only in form but in subject. Rather than the traditional subject of love, or Milton’s ‘notes of glory’, they look to nightingales and rivers, seascapes and storms, flowers and gossamer.5 Smith was tutored in art as a child by prominent landscape artist George Smith, and Wordsworth describes how she wrote with ‘true feeling for rural nature, at a time when nature was not much regarded by English poets’ (note to ‘Stanzas’, p. 403). From sonnet V ‘To the South Downs’ (1784), to her prospect poem ‘Beachy Head’ (1807), Smith was a poet of place and ‘rural nature’, and as such, when John Constable visited Sussex in 1835, he sketched sites made familiar by her sonnets. Smith’s poems also work through a weave of allusion and association, drawing on a host of predecessors, including Francesco Petrarch, William Shakespeare, John Milton, James Thomson, and Alexander Pope, to name but some. This gives Elegiac Sonnets its unique texture, celebrated for ‘making it new’ yet deeply engaged with the literary past. In this book, I argue that Smith’s sonnets are constituted by these three intertwined concerns: with tradition, place, and the sonnet form itself. It is a book about literary history, and about how Smith formulates her ‘place’ – in multiple ways – within it. Wordsworth’s note regarding Smith’s legacy proved prophetic, as her high literary status diminished in the nineteenth century. Yet, following a long period of critical neglect, work on Smith has risen significantly in recent decades. With the publication of her complete works between 2005 and 2007, two conferences in 2006 and 2016, many conference papers and panels, essays, articles, book sections, an essay collection, and two monographs dedicated to her work, Smith scholarship has finally come of age. In his seminal book Poetic Form and British Romanticism (1986), which did much to bring Smith back to critical attention, Stuart Curran writes that the sonnet’s ‘rebirth coincides with the rise of a definable woman’s literary movement and with the begin- nings of Romanticism. The palm in both cases should go to Charlotte Turner Smith.’6 And, in his (the first modern) edition of Smith’s poetry (1993), he introduces Smith as ‘the first poet in England whom in retrospect we would 4 William Wordsworth, note to ‘Stanzas suggested in a Steamboat off St. Bees’ Head, on the coast of Cumberland’ (1833), in The Poetical Works of William Wordsworth, ed.
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