[A note to the reader: the following essay was written in 1985; it was published in Philological Quarterly, 66 (1987), as "Orinda, Rosania, Lucasia et aliae: Towards a New Edition of the Works of Katherine Philips," pp. I have updated the texts by comparing the edition I used with the texts from the recent edition of Katherine Philips's works by Patrick Thomas, which is based on manuscripts, but follows the same politicized arrangement favored by Cotterell; whenever I quote any of Philips's lines I cite Thomas's pagination; when there was a discrepancy between the orthography or wording of Saintsbury and Thomas's texts, I have preferred Thomas's. I also note that in Thomas's edition for Stump Cross Press, Thomas simply edited the manuscript and followed the order we find in Cotterell. "A Triton to Lucasia going to Sea, shortly after the Queen's arrival." May-June 1662. Great sadness -- it is harder to forget than to meet, hard as it is to meet. A verse character in the idealizing later 17th century French tradition; Orinda advises Lucasia not to grieve but pxofit by ideal example. Eulogy on one of Lucasia's relatives (Lucasia's mother was Katherine Lloyd),.
I put this essay on the Net to make the information and texts contained in it readily available. Her two (now cold) friends are like the fountain nymphs; she brings wine to revive them and the spring. Owen of Orielton." Mother of Lucasia's father-in-law and step-father has died February 1653. Thomas, Collected Works, I:248, prints this as "Epitaph on Mr John Lloyd of Kilrhewy in Penbrokeshire (who dy'd July the 11th 1657), inscrib'd on his Monument in Kilgarron (in the person of his wife).
It is my contention that the Cotterell-Saintsbury book leaves any reader who does not otherwise know Katherine Philips with a distorted and unfavorable impression of her.
It is obvious from the text that she never did make any move towards a professional or authorized edition of her work. "To my Lucasia, in defence of declared friendship" ca. Relationship between two women changed after the death of Anne Owen's husband.
Catherine Mambretti printed a manuscript poem in the National Library of Wales, "To the Right Honorable Lady Mary Boteler on her marriage to my Lord Cavendish October 1662" (Orinda later re-named her Lady Mary Policrite). A desperate apology for her need for outward signs of their friendship; asks Lucasia not to "quit" here, to "add some patience" to her many virtues.
Using a first-line index of manuscripts in the Bodleian, Mambretti also attributed to Katherine, and printed, "On the Coronation"; it is a companion poem to Philips's "On the Fair Weather just at the Coronation." The significant scholarship which will enable us to annotate and re-order the Cotterell-Saintsbury text is as follows. Thirty-five years ago Paul Elmen published what he thought was an unknown poem of Orinda's and variations from Saintsbury's texts that he had found in manuscripts in the National Library of Wales. John Lloyd," had been published in a now rare private printing of some of Orinda's poems by Louise I. She hints that Lucasia is really contemptuous of neoplatonism. Guiney; but the variations add to our knowledge of Philips's biography and technique. This edition is readily available, and at this time, it is used as the basis of Katherine Philips' canon in scholarly essays. In 1697 four letters from Orinda to an unknown Berenice were printed in a collection of familiar letters by various hands; and in 17 Bernard Lintot printed a series of letters from Orinda to Poliarchus, as she liked to call Cotterell. 1660" Dactyllic triplets create mood of light elevation in which, as Orinda delights in Cooper's painting, she praises art in the "la belle nature" mod or ideal of art. This is a veiled attempt to persuade Lucasia-Calanthe to marry Poliarchus (Cotterell). Although both groups of letters are generally accepted as authentic, they have been tampered with by polishing, pruning, and, perhaps, sensationalizing.. "An Answer to another persuading a Lady to Marriage" ca. Forceful apostrophe to Marcus Trevor ("bold youth") then wooing Lucasia (who appears as Calanthe in the letters between Poliarchus and Orinda). The political poems are sandwiched in before the very end where the moral/religious predominate over the personal/autobiographical poems. Orinda refers to "dying" from love's "quiver" and to "the sad unusual story/How my wretched heart was torn." She expresses the confusion she feels upon the shattering of her vision of Lucasia. I also reprint (Thomas does not) Katherine's translation of a pastoral "Golden Age" poem, "La Solitude" by Antoine Girard Saint-Amant (1594-1661) as "Solitude". There are other contemporary arrangements which he could have followed; for example, one found in manuscript 775b in the National Library of Wales, and printed in Carol Barash's English Women's Poetry, 1649-1714 (Oxford: Clarendon Press, 1996), 291-98. Speaking generally, in this manuscript the private autobiographical poems come first, with the moral poems coming in gradually. 599-600, "To my Lord and Lady Dungannon on their Marriage May 11, 1662," Lame epithalamion on marriage of Lucasia and Trevor; comparable to "Rosania's Private Marriage" (No. Cotterell indicated that Philips also left a large volume of "excellent discourses" and "familiar letters," but he did not print these. In 1669 and again in 1678 a London printer, Herringman, reprinted the Cotterell book, adding a fifth act to Horace by Sir John Denham.