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Anna Seward and the Poetics of Sensibility and Control Andrew O Criticism Volume 58 | Issue 2 Article 9 2016 Anna Seward and the Poetics of Sensibility and Control Andrew O. Winckles Adrian College, [email protected] Follow this and additional works at: http://digitalcommons.wayne.edu/criticism Recommended Citation Winckles, Andrew O. (2016) "Anna Seward and the Poetics of Sensibility and Control," Criticism: Vol. 58 : Iss. 2 , Article 9. Available at: http://digitalcommons.wayne.edu/criticism/vol58/iss2/9 ANNA SEWARD At the 2011 meeting of the North American Society for the Study AND THE POETICS of Romanticism, Anne K. Mellor OF SENSIBILITY reflected on how the field has AND CONTROL changed since her foundational Andrew O. Winckles 1993 study Romanticism and Gender. She commented that, though women writers such as Anna Seward and the End of the Mary Wollstonecraft, Jane Austen, Eighteenth Century by Claudia and Mary Shelley have cemented Thomas Kairoff. Baltimore, MD: themselves as legitimate objects Johns Hopkins University Press, of study, this has largely been at 2012. Pp. 328. $58 cloth. the expense of a broader under- standing of how women writers were working during the period. In addition to the Big Six male Romantics, we have in many cases simply added the Big Three female Romantics.1 Though this has begun to change in the last ten years, with important studies appearing about women like Anna Letitia Barbauld, Mary Robinson, Joanna Baillie, and Hannah More, we still know shockingly little about women writers’ lives, cultural con- texts, and works. A case in point is Anna Seward, a poet and critic well known and respected in her own lifetime, but whose critical neglect in the nineteenth and twentieth centu- ries has largely shaped how recent critics interact with her work. An eighteenth-century poet trained to imitate Alexander Pope and John Milton, Seward published dur- ing the period that William Blake, William Wordsworth, and Percy Bysshe Shelley were beginning their revolution in poetic diction. Criticism Spring 2016, Vol. 58, No. 2, pp. 341–346. ISSN 0011-1589. doi: 10.13110/criticism.58.2.0341 341 © 2017 by Wayne State University Press, Detroit, Michigan 48201-1309 342 ANDREW O. WINCKLES Seward’s work was misunderstood where Seward lived throughout in her own time and, in a criti- her adult life. Mentored by fel- cal milieu strongly informed by low Lichfield resident Erasmus Romanticism, continues to be over- Darwin, Seward early developed looked today. Claudia Thompson a propensity for poetry, which she Kairoff’s Anna Seward and the End later displayed at the famous and of the Eighteenth Century aims to much-mocked Batheaston salon correct some of these misreadings of Anna Miller. Though she never by joining a growing number of married, Seward carried on a scan- scholarly publications dedicated to dalous, if chaste, relationship with restoring Seward to her place as the married Lichfield clergyman an important transitional figure in John Saville—a connection that eighteenth-century poetry.2 Key to was later broken off by her father. Kairoff’s study is evoking the histor- She also was passionately attached ical and cultural contexts whereby to her younger foster sister Honora contemporary readers would have Sneyd to whom she wrote many understood Seward’s poetry. In of her best sonnets, a fact that has doing so, Kairoff aims to “return generated much speculation by her poems to view and even to scholars like Paula Backscheider as admiration, not like the dusty con- to the nature of Seward’s sexuality. tents of a neglected Wunderkammer Nevertheless, the main source of [chamber of wonder] but as dis- her fame during her lifetime was tinguished examples of a rich a series of patriotic elegies celebrat- poetic tradition” (14). In large part, ing British heroes like Captain Kairoff succeeds by using a dizzy- Cook and her collection of Original ing array of primary sources, clear Sonnets on Various Subjects (1799), readings of Seward’s texts, and a which stood in stark contrast to critical grasp of Seward’s contexts. the contemporaneous sonnets Though we may question the use- of Charlotte Smith in that they fulness of the categories of “eigh- exalted the Miltonic sonnet over teenth century” and “Romantic” the Shakespearean. altogether in considering Seward’s Given the level of recognition work, Anna Seward and the End of and notoriety Seward enjoyed dur- the Eighteenth Century is neverthe- ing her lifetime, Kairoff’s impres- less a valuable contribution to our sive and wide-ranging book begins understanding of the period and with a consideration of Seward’s women’s contributions to poetry. critical neglect or what she calls her Anna Seward was the only “critical disappearance” (15). This surviving daughter of Lichfield disappearance is grounded in the canon Thomas Seward, who work of Seward’s first nineteenth- administered the Bishop’s Palace, century editor and biographer, ON ANNA SewaRD 343 her friend, protégé, and literary control. Raised in the era where the executor Sir Walter Scott. Though cult of sensibility was ascendant as Scott respected Seward as a men- evidenced in contemporary novels, tor, he did not deem it a sound plays, and music, Seward imbibed decision financially or careerwise it along with her training in the to tie himself too closely to a poet poetic diction of Milton and Pope. whose style was quickly grow- To her, the ability to feel deeply and ing outdated. He thus quickly finely was instrumental in creating edited a three-volume collection great art. As a result, her work is of Seward’s works and appended replete with the language of sensi- a preface that exalted his mentor bility, a language that, though influ- as an exemplary woman of virtue ential to Romanticism, was rapidly but cast her as a mediocre poet. going out of style when most of her This estimation of her works has major works were published. colored most subsequent criticism Along with sensibility, con- and, as Kairoff argues, “Because trol operates as a restraining force Seward’s poetry does not quite fit throughout Seward’s work— the stylistic paradigms of Augustan poetic control of diction, emotional or Romantic verse, or even of the control of sensibility, and personal verse that has until recently been control of life and reputation. As called ‘pre-Romantic,’ she has sim- a woman writing in a field still ply been excluded from most criti- dominated by “great men” like cal discussions except as a name in Samuel Johnson, Seward had to lists of late-century women poets” carefully control her entry into the (16). It is this liminal quality, this public sphere and then, once there, ability to work in between estab- her subsequent literary reputation. lished categories, that distinguishes As Kairoff argues in chapters 11 Seward’s work but also consigned and 12 of the book, it was actually it to critical oblivion. Seward’s complicated relationships With this critical disappearance with her literary fathers Erasmus as her organizing framework, Darwin and Samuel Johnson that Kairoff proceeds to analyze almost precipitated her desire to control all of Seward’s major works, her own literary reputation in a cli- focusing on the historical and cul- mate that was rapidly shifting away tural contexts that would have from her poetic sensibilities. Thus, made them comprehensible to I would argue that Seward’s genius eighteenth-century audiences but lies in her ability to balance sensi- ended up offending Romantic sen- bility and control throughout her sibilities. Key to understanding her work—marking out a territory for work, according to Kairoff, are the herself as a woman poet that was recurring themes of sensibility and previously unexplored. 344 ANDREW O. WINCKLES Kairoff presents a telling example, constructed a version example of how Seward worked of Britishness in the face of an to control her literary reputa- American war that was not tion in chapter 2 by arguing that going well. As Linda Colley has Seward’s decision to debut her detailed in Britons: Forging the poetry at Lady Miller’s much- Nation (1992), the experience of maligned Batheaston salon did the American war deeply shook not indicate the inferiority or pro- the newly formed British nation, vinciality of her poetry but rather forcing it to work to form its iden- Seward’s desire to manage her tity in the wake of the loss of the entry into public space. By rely- American colonies.3 As Britain’s ing on the norms of sociability Muse, Seward sought to do this and manuscript circulation com- poetically—giving voice to a new mon to her class, Seward shrewdly national consciousness. ensured that there was a market Likewise, Seward’s 1792 poeti- for her poetry when she decided to cal novel Louisa, which is the enter into print. Chapters 3–5 are subject of chapters 6 and 7, is an thus devoted to examining how exercise in sensibility and control. Seward managed this transition— Encompassing four books, Louisa first by working to break down adapts both Pope’s Eloisa to Abelard the developing divisions between (1717) and Jean-Jacques Rousseau’s amateur and professional authors Julie, ou la nouvelle Héloïse (Julie, and then by using British national or the new Heloise, 1761) in order events like the death of Captain to construct the story of a young Cook to construct an image for woman who is jilted by her lover herself as the British muse. As after her lover’s father convinces a middle-class woman, Seward him to marry a rich heiress to save did not think it proper to present the family fortune. Predictably, the herself as a professional poet in rich heiress eventually dies after liv- the sense that writers like Samuel ing a life of debauchery, and Louisa Richardson and Henry Fielding is reunited with her lover.
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