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The Cultural Journey of Ann Yearsley FROM PENURY TO PUBLISHED POET: THE CULTURAL JOURNEY OF ANN YEARSLEY By BARBARA BOWRING A thesis submitted to the University of Birmingham For the degree of DOCTOR OF PHILOSOPHY School of History and Cultures College of Arts and Law University of Birmingham January 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Ann Yearsley (1752-1806) was a humble rural worker who sold milk for a living, but was best known as a poet. Her success in getting a significant amount of work published dismissed the contemporary notion that to be poor and uneducated precluded a life of letters. This thesis examines the constraints and repressions faced by a woman from the lower orders with a will to write. Ann Yearsley’s journey into print is framed in the context of the poet’s effective negotiation through an eighteenth-century society still rooted in gender and class ideology, and restraints. This study is distinctive in offering an updated account of an unlikely literary career. This is not a literary study of Yearsley, but offers a nuanced and critical reading of Yearsley’s poetry and correspondence to throw new light on her personal struggle to become a professional writer. This thesis concludes that Ann Yearsley was an important cultural figure in her time because she successfully overcame the difficulties encountered by a female writer from the lower orders. In doing this she showed that a window existed for other women from the labouring classes to become published writers. ACKNOWLEDGEMENTS My sincere and grateful thanks go to my supervisor Dr Malcolm Dick: first of all for his expert guidance and constructive feedback throughout this thesis, and also for his unfailing belief in my work, especially when my own was at a low ebb. I also acknowledge the assistance provided by staff at the Bristol Central Library, and Bristol Records Office. Staff at the West Yorkshire Archive Services in Leeds, showed great patience in finding the Thorp Arch Estate papers, which helped to underpin my research. I am grateful to Dr Kate Croft (née Iles) for permitting me to read her PhD on Sabrina Sidney and for offering many words of support during the writing of the thesis. After a seminar at the University of Birmingham, an informal chat with Dr Kerri Andrews, a leading scholar of Hannah More, enabled me to gain a rounded perspective on More, who is an important figure in my thesis. Dr Benjamin Colbert at Wolverhampton University, a lecturer with a passion for the Romantic poets, inspired me to continue after my MA dissertation on Ann Yearsley, to complete a PhD on the poet. I am also grateful to my proof reader, David Beattie for being so easy to work with, although we have never met, and who, despite a very tight deadline, managed to get the proof reading of my work completed ahead of schedule. Finally my sincere thanks go to my husband Ron who has never stopped giving me one hundred percent support throughout the lengthy duration of this project. CONTENTS PAGE 1. INTRODUCTION 1 2. THE MAKING OF A ‘POETICAL MILKWOMAN’ 31 3. PATRONAGE AND FRIENDSHIP 61 4. ANN YEARSLEY AND CLASS 94 5. ANN YEARSLEY AND GENDER 122 6. BECOMING A PROFESSIONAL WRITER 151 7. CONCLUSION 184 BIBLIOGRAPHY 196 A CHRONOLOGY OF ANN YEARSLEY 1752 Born Ann Cromartie, daughter of Ann and John Cromartie. 1753 Baptised in Clifton, a village near Bristol. Mother Ann a milkwoman; her daughter followed her into this trade. 1774 Married to John Yearsley, also of Clifton. 1775 Son Henry born. (died at the age of four). 1776 Son William born. 1778 Son John born. 1780 Son Charles born. 1782 Daughter Ann born. 1783-4 Ann Yearsley and her family saved from starving by the intervention of a local man Richard Vaughan. Hannah More hears of their plight and offers to be Yearsley’s patron. 1784 Daughter Jane born. Ann Cromartie dies 1785 Published Poems on Several Occasions under the patronage of More. Dispute with More began. 1786 Fourth edition of Poems on Several Occasions published, prefaced by Yearsley’s ‘Narrative’ setting out her version of the dispute with More. 1787 Published Poems on Various Subjects under new patron the Earl of Bristol. Published three poems for the London newspapers: ‘Ode on the Late Happy Reconciliation Between His Majesty and the Prince of Wales’, ‘Lines on Entering Lady Wallace’s Study, her Ladyship Being Absent’, ‘Stanzas, Written by Mrs Yearsley on her Leaving London’. 1788 Published ‘A Poem on the Inhumanity of the Slave Trade’. 1789 Yearsley’s historical play Earl Goodwin performed in Bath and Bristol. 1790 Published ‘Stanzas of Woe’. 1791 Published Earl Goodwin. 1792 Published ‘Reflections on the Death of Louis XVI’. 1793 Opened a circulating library at Bristol Hotwell. 1794 Published ‘Poem on the Last Interview Between the King of Poland and Loraski’, and, ‘Elegy on Marie Antoinette, Queen of France’. 1795 Published The Royal Captives, a novel. 1796 Published her last work The Rural Lyre, a volume of poems. 1803 Husband John Yearsley dies. 1806 Ann Yearsley dies after having retired to Melksham in Wiltshire. Rumours of her descent into insanity were widely circulated at the time, but appear to be groundless. She is buried at Clifton. 1 1. INTRODUCTION Ann Yearsley was baptised in Clifton near Bristol in 1753. She was born into humble circumstances and was the daughter of John and Ann Cromartie. Mrs Cromartie was a milkwoman and trained her daughter in the same occupation. In 1774, by marrying John Yearsley, described as a yeoman in the documents of his mother‟s estate in that year, the young Ann Cromartie appeared to have elevated herself socially. But, by 1783, a series of losses and misfortunes found the pregnant Ann, her husband, and their five children, along with her dying mother, reduced to abject poverty and near starvation. The family was rescued by charitable individuals, one of whom was Hannah More who went on to become Ann Yearsley‟s first patron.1 Other than being taught to read by her mother, and to write by her brother, Yearsley was without formal education. Despite this she wrote poetry from an early age, which came to the attention of fellow Bristol writer Hannah More who was well established as an author and financially independent: she was also an influential social reformer who moved in élite London circles that included David Garrick, Samuel Johnson, and the Bluestockings, along with aristocrats, and high-ranking clergy.2 More, as the milkwoman‟s first patron, helped with her poetry and arranged subscriptions for Ann Yearsley‟s first volume of verse published in 1785.3 Their liaison lasted for less than a year, ending acrimoniously with a dispute over control of the profits from this work. 1 Waldron, Mary, „Ann Yearsley [née Cromartie] (bap. 1753, d.1806) , poet and writer‟ in Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004-2011). 2 Skedd, S.J., „Hannah More (1745-1833), writer and philanthropist‟ in Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004-11). 3 Yearsley, Ann, Poems on Several Occasions (London: T. Cadell, 1785). 2 Ann Yearsley‟s words, written after she had dispensed with Hannah More‟s sponsorship, asserted that „My independent spirit on the wing / she still shall soar, nor shall the Fool, / wounding her pow‟rs, e‟er bring her to the ground‟.4 Here she affirmed her determination to become a professional writer, earning an income from her work. But, in the context of the time, the odds were stacked against this happening. It is this near-impossible climb from milkwoman to published author, with a significant body of writing across various genres, which makes examining and recording this personal transition an appropriate subject for study. The two main questions asked in this thesis are firstly: How, and with what level of success did Ann Yearsley surmount the problems she encountered in her struggle to be a financially independent, published writer? And secondly: To what extent was she a culturally significant figure in her own time? This study aims to explore Ann Yearsley as a social and cultural figure and uses her literary productions, along with other primary materials, to illuminate her life. It should be borne in mind, however, that examined literary sources are works of fiction, and when used within a historical study should be approached with caution, especially when the subject of that study is from the lower orders of society who may not have any other platform from which to disseminate ideas. Secondary sources dealing with class, gender, patronage, print culture, and Bristol, provide context which enables Ann Yearsley to be embedded as an individual in a particular time and place. The first question will also be explored by analysis of Ann Yearsley‟s literary development from her first volume of verse, where she mainly conformed to the expectations of polite society, through to her final volume of poetic work which shows her in a more confident light. This thesis examines how the poet negotiated 4 Yearsley, Ann, „To Mr ****, An Unlettered Poet, on Genius Unimproved‟ in Poems on Various Subjects (London: G.G.J.
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