Please enable JavaScript.
Coggle requires JavaScript to display documents.
Katherine Philips and Women Manuscript Poets - Coggle Diagram
Katherine Philips and Women Manuscript Poets
Interregnum poems circulated in handwritten manuscripts between Philips' "Society of Friends."
the use of manuscript and handwritten makes this feel more personal; i hand wrote this poem for you; personal gifting; intimate and hand writing is personal; promotes sharing because of limited copies
creates a woman-identified discursive space? woman-centered networks to navigate male homosocial spaces
"A retired friendship to Ardelia" (1651)
the idea of setting out for a safe space
feelings of authenticity and not being duplicitous
the stanzas 2-4 are against hierarchies (and gendered hierarchies)
the last stanza "which princes wish, but wish in vain"
the space is also for freeflowing ideas and things that they might not be able to say in other spheres "Mischief can do no harm to friendship and innocence"
"our harmless souls are unconcerned" soul sharing/soul mates/soul connects; nothing is going to come between us
is this romantic, but not sexual (souls tied); is this innocent or is this not that innocent? Is this about optics and the ways intimacies are overdetermined by public opinions
Compulsory heterosexuality: term from Adrienne Rich that explores how heterosexuality becomes the only choice; it's about limiting options through representation and history; it sets heterosexuality as default factory setting;
using Philips to show queer potential and queer countercultures;
this is also important to see intimacies between women despite the primacy of male relations/patriarchy; what is this is empowering
development of a queer and feminist archive of texts to study
"Inconstancy in Friendship": it feels hurt and dramatic, it has an urgency to it;
The use of rhetorical questions in the beginning to set the speaker up as not knowing the specific cause
the idea of destruction and sapphic desire/breakup; goddess/temple imagery (i worshipped you and you destoryed it)
"And you slight me, because I courted you" (46); questions
the use of heroic couplets to discipline the meter, but it's about themes of personal betrayal; it ups the drama
the imagery of heat and fire shapes this to be about passions/humours
it's so hard not to read this through queer loss/queer scorn; someone conforming to heteronormativity
"To my Excellent Lucasia" (1651): more big feelings
"This Carcass breath'd, & walk'd, & slept," (5): i didn't have a soul until i met you;
No Bridgegroom's, nor crown'd Conquerors mirth (bye, men).
queer longing and queer optimism queer promising (forward thinking temporal mode)