Mary Leapor, as a working-class writer, introduces an element of intersectionality in the section on women's writing. She was a daughter of a.
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By these contrasts, Pope was able to construct his thesis, case in point, by illustrating the creative conglomeration that propitiously sets Man apart from God and beast. Leapor contrasts images to illustrate the perfection of woman and the.get link
Mary Leapor | Great Writers Inspire
Show More. Popular Essays. His contributions to the Northampton Miscellany , however, reveal that Philip was master of more than basic literacy; he also possessed a desire to participate in local literary culture, even if only for a brief period in the year before his daughter was born. If Philip was stung by the knockback, he might have remained, perhaps, proud to see his name in print, for the Leapors seem to have preserved the copies of the magazine that they had bought. At a young age, Mary Leapor developed a keen appetite for literary texts. It is not clear how many issues of the magazine that the Leapors bought and kept, but the evidence of her poetry suggests that their daughter was well acquainted with the issues for January and February at least.
Whenever she read these pieces—perhaps as a child or teenager—they caught her attention and stayed with her, becoming part of the tissue of her own poetic expression. Yet Leapor departs from her source in stressing an affinity between humans and animals based on their shared suffering in this challenging environment. NM , Through the comic grotesquery of such hyperbole, Leapor has this Strephon condemn himself. Yet even as she plots a different fate for Celia than that which Jenny suffered, the indignities faced by both women, married and unmarried, are remarkably similar.
Greene and Messenger, xxxvii. What the identification of these parallels should do, though, is to alert us to the often haphazard nature of poetic influence, particularly when it comes to labouring-class writers whose access to literary texts was generally restricted. That at least some of these London-based newspapers and magazines reached readers in Brackley the town to which the Leapors had moved in the s and the surrounding area is evident from the letters of Elizabeth Purefoy and her son Henry.
The Purefoys lived at Shalstone, just a few miles east of Brackley, and were known to the Leapors: at various times from the s to the s they employed Philip Leapor as a gardener. His copies of the magazine were designed for long-term display as well as immediate diversion. Their example is useful, however, in illustrating a strong provincial connection to the London-based periodical press. Whatever newspapers or magazines came regularly or occasionally into the hands of Philip or Mary Leapor would have served to connect them, however briefly or intermittently, to a national literate and literary culture.
That this was the case is suggested in a letter Leapor wrote to Freemantle in when efforts were being made to get one of her plays performed on the London stage. Greene and Messenger, Periodicals also offered Leapor a way to access and participate in contemporary poetic culture. Newspapers of all sorts—from those concerned primarily with news to those whose interests were more cultural or political—frequently gave over space to poetic contributions, but it was in magazines that poetry found a permanent home.
This proved popular, and as other magazines sprang up in imitation, they too typically included their own poetry sections. These sections were often spread over two or more pages and brought a range of verse—from puzzles and riddles composed by amateurs to literary verse by established, professional authors—into the hands of readers who might not otherwise have the money to acquire or the inclination to seek out poetry in other formats.
Poetry sections in magazines were aspirational and yet accessible spaces in which, poem by poem, an amateur poet could test his or her ability and gain confidence. As the pages of the Northampton Miscellany had done, these poetry sections enabled the development of a literary community, allowing geographically dispersed contributors to come together within a single issue or to engage in coterie-style exchanges of verse over the course of several months.
With circulations that could reach the many thousands, magazines provided poets with exposure to a diverse and extensive readership, enabling them to build their public profiles. They also offered provincial writers the possibility of developing relationships with London-based printers and booksellers with whom they might work on more substantial publishing projects.
Notes and Discussion Questions:
Yet despite the possibilities periodical publication offered to an ambitious, young provincial poet, Leapor seems to have had some anxieties about it. To appeal to the audience that finds diversion in periodicals, the Muse argues, Leapor will have to adjust her literary ambitions and write a different kind of verse. The verse that finds favour in these publications—songs, lampoons and smutty epigrams and, though unmentioned in this poem, the sort of clunky riddle and versified arithmetical conundrum that appeals to provincial gardeners like her father —is not the kind of verse that she has written to date.
The bad-tempered, quarrelsome Muse maligns and misrepresents periodical verse and its readership but underneath the exaggeration for comic effect is a real anxiety that periodical publication needed to be managed carefully if it was to be used to develop the kind of literary career to which Leapor aspired.
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Besides, the seeing myself described in Print would give me the same Uneasiness as being stared at.