Recent evaluations have been equally positive: Eijun Senaha
termed this book more polished and literary than Key-Notes,
Senaha, Eijun. “A Life of Louisa Sarah Bevington”. The Hokkaido University Annual Report on Cultural Sciences, Vol.
101
, Aug. 2000, pp. 131-49.
137
and Kathleen Hickok
found the metrical experimentation, the romantic theme, [and] the poetic diction more suited...
Reception
Caroline Bowles
CB
's writing slipped from the public eye, as scholar Kathleen Hickok
points out, after her husband's death.
Hickok, Kathleen. “’Burst Are the Prison Bars’: Caroline Bowles Southey and the Vicissitudes of Poetic Reputation”. Romanticism and Women Poets, edited by Harriet Kramer Linkin and Stephen C. Behrendt, University Press of Kentucky, 1999, pp. 192-13.
192
In 1933, however, Janet E. Courtney
remarked that Bowles was both interesting and typical. Left in...
Reception
Emily Jane Pfeiffer
EJP
's absence from the Victorian canon has mystified many scholars. Kathleen Hickok
speculates that the fire at her publishers meant that all of her works published before Flowers of the Night were inaccessible to...
Reception
Jean Ingelow
Kathleen Hickok
notes the difficulty in deciding whether to read this poem as subversive in exposing the dynamics of these gender relations, or as accepting the woman's fate as man's slave.
Hickok, Kathleen. Representations of Women: Nineteenth-Century British Women’s Poetry. Greenwood Press, 1984.
63
Textual Features
L. S. Bevington
Poems, Lyrics, and Sonnets also muses on the incompatibility of feminism and religion. LSB
likens marriage to slavery (that most common of first-wave feminist motifs) in Bees in Clover. She uses poetic repetition and...
Textual Features
Caroline Bowles
The melodramatic sketch Pride and Passion relates how the engagement of Hargrave and Helena is broken after Hargrave reveals the story of his past romance with Abra, a poor Mulatto girl.
Bowles, Caroline. The Widow’s Tale and Other Poems. Longman, Hurst, Rees, Orme and Brown, 1822.
158
This reads like...
Textual Features
Adelaide Procter
A young and innocent nun, an orphan brought up in her convent, comes into contact as a nurse with a soldier. Seduced by the sense of the outside world he conveys to her, as much...
Textual Features
Emily Jane Pfeiffer
Literary biographer Kathleen Hickok
notes that the tale is full of oblique eroticism, fairy episodes, and Romantic imagery, with a realistic frame tale of female innocence, modern marriage, and disillusionment with eros, pleasure, and idleness...
Textual Production
Caroline Bowles
Critic Kathleen Hickok
argues that CB
's literary reputation became firmly attached to that of Robert Southey. A woman writer's association with a prominent man of letters brings her to the public's attention but also...
Textual Production
Emily Jane Pfeiffer
In 1879 she published her third major collection of poetry, Quarterman's Grace, and Other Poems, a work which critic Kathleen Hickok
considers a sympathetic treatment of women's artistic inspiration.
Hickok, Kathleen. “Why is this Woman Still Missing? Emily Pfeiffer, Victorian Poet”. Women’s Poetry, Late Romantic to Late Victorian: Gender and Genre, 1830-1900, edited by Isobel Armstrong and Virginia Blain, Macmillan Press, 1999, pp. 373-89.
381
Thesing, William B., editor. Dictionary of Literary Biography 199. Gale Research, 1999.
199: 238
Timeline
No timeline events available.
Texts
Hickok, Kathleen. “’Burst Are the Prison Bars’: Caroline Bowles Southey and the Vicissitudes of Poetic Reputation”. Romanticism and Women Poets, edited by Harriet Kramer Linkin and Stephen C. Behrendt, University Press of Kentucky, 1999, pp. 192-13.
Hickok, Kathleen. “’Intimate Egoism’: Reading and Evaluating Noncanonical Poetry by Women”. Victorian Poetry, Vol.
33
, No. 1, 1995, pp. 13-30.
Hickok, Kathleen. Representations of Women: Nineteenth-Century British Women’s Poetry. Greenwood Press, 1984.
Hickok, Kathleen. “Why is this Woman Still Missing? Emily Pfeiffer, Victorian Poet”. Women’s Poetry, Late Romantic to Late Victorian: Gender and Genre, 1830-1900, edited by Isobel Armstrong and Virginia Blain, Macmillan Press, 1999, pp. 373-89.
