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• W1994705382 abstract "Anna Barbauld’s Authorial Self-Fashioning: From “fair pedagogue” to “fatidical spinster” Kelly E. Battles (bio) Anna Laetitia Barbauld’s legacy has been dominated by the shadow of her career’s end. According to the conventional narrative, devastating reviews of Barbauld’s Eighteen Hundred and Eleven cowed the author into retreating from the public eye, despite a successful career that spanned over forty years. Eighteen Hundred and Eleven, a fiery political poem denouncing the policies of the British government in the Napoleonic wars and predicting a dystopian future, elicited viciously negative reviews. Consequently, she never published again. Most infamously, John Wilson Croker writing in the Quarterly Review lamented that Barbauld ventured away from her role as the “fair pedagogue” in this political poem. For Croker, the poem marked her transformation into a “fatidical spinster,” a term that brings to mind the misogynist image of a wizened, solitary old hag given to witchery and false prophecy. Although his sarcastic tone obscured whether he truly held her in high esteem as a “fair pedagogue,” the label would resonate with those who did respect her in that role. He attacked Barbauld for her gender and her established reputation as a children’s author.1 “We had hoped, indeed,” he writes, “that the empire might have been saved without the intervention of a lady-author.”2 Many others agreed with Croker’s negative assessment, both publicly and privately. William Keach has surveyed the critical response to [End Page 143] Eighteen Hundred and Eleven and has shown that even Barbauld’s friends did not fully support her in the wake of this negative reception, with Henry Crabb Robinson lamenting the “very bad” tone of the poem and Maria Edgeworth balking at the possibility of defending her friend in public.3 Ultimately, it is vital to note the impact Barbauld’s career trajectory had on the poem’s reception. Eighteen Hundred and Eleven appeared after Barbauld had rebranded herself as a purveyor of domestic literature for children following her marriage. Croker and other reviewers seemed to have selectively forgotten that Barbauld was heralded by early commentators as worthy to stand with the best male poets before the emergence of the “fair pedagogue” when she was still Miss Aikin. Her biographer William McCarthy cites an early reviewer, William Woodfall, who in 1773 compared her to “Milton and even Shakespeare.”4 Such comparisons were not anomalous. Barbauld’s engagement in the masculinized space of public political discourse was acceptable to the reading public for most of her life. McCarthy ventures to say that Barbauld’s “influence on the culture met with no resistance” in her earlier days.5 Similarly, Penny Mahon writes that Benjamin Flowers of the Cambridge Intelligencer printed extracts of Barbauld’s 1793 pamphlet Sins of Government, Sins of the Nation, and she offers the opinion that “he must have perceived its radical Dissenting tone and he had no qualms about ascribing it to Barbauld.”6 This is not to say that Barbauld completely escaped critique for her departure from gendered norms in her early writings. For example, Horace Walpole notably labeled her an “Unsex’d Female” due to the strident tone in which she forwarded her progressive political opinions.7 Her political essays addressed the most contentious issues of her day, ranging from the abolition of slavery to advocating for full civic rights for Dissenters. In such a context, Croker’s objection that Barbauld should not have “dash[ed] down her shagreen spectacles and her knitting needles … to sally forth” into the realm of grand public, political discourse strikes a discordant note, evincing an amnesia about her earlier career.8 This amnesia, I argue, is still apparent in contemporary narratives of Barbauld’s career. These narratives do not consider that the negative reaction to her final poem related both to Barbauld’s turn towards children’s literature and to the periodical press’s efforts to condition subsequent reader-reception of Barbauld. It is my intention here to correct this critical forgetting by asserting a new explanation of the public’s reaction to Eighteen Hundred and Eleven. I also explain its role in the end of her career by considering both the way her persona was..." @default.
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• W1994705382 date "2015-01-01" @default.
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• W1994705382 title "Anna Barbauld’s Authorial Self-Fashioning: From “fair pedagogue” to “fatidical spinster”" @default.
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• W1994705382 doi "https://doi.org/10.1353/sec.2015.0012" @default.
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