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Cover; Title page; Copyright page; Contents; Illustrations; Acknowledgements; Timeline; Introduction; Further reading; Anne Bradstreet (1612â#x80;#x93;1672); From The Tenth Muse Lately Sprung up in America (1650); The Prologue; From The Four Monarchies; A Dialogue between Old England and New, Concerning their Present Troubles, Anno 1642; An Elegy upon that Honourable and Renowned Knight, Sir Philip Sidney, who was Untimely Slain at the Siege of Zutphen, Anno 1586 [1650]; In Honour of Du Bartas, 1641; In Honour of that High and Mighty Princess, Queen Elizabeth, of Most Happy Memory Davidâ#x80;#x99;s Lamentation for Saul and Jonathan, 2 Samuel 1:19From Several Poems (1678); An Elegy upon that Honourable and Renowned Knight, Sir Philip Sidney, who was Untimely Slain at the Siege of Zutphen, Anno 1586 [1678]; The Flesh and the Spirit; The Author to her Book; A Letter to her Husband, Absent upon Public Employment; Another [â#x80;#x98;As loving hindâ#x80;#x99;]; In Memory of my Dear Grandchild Elizabeth Bradstreet, who Deceased August 1605, Being a Year and Half Old; Hester Pulter (c. 1605â#x80;#x93;1678) The Invitation into the Country, to my Dear Daughters, M.P., P.P., 1647, when his Sacred Majesty was at Unhappy HourThe Complaint of Thames, 1647, when the Best of Kings was Imprisoned by the Worst of Rebels at Holmby; On Those Two Unparalleled Friends, Sir George Lisle and Sir Charles Lucas; Upon the Death of my Dear and Lovely Daughter, J.P.; On the Same [â#x80;#x98;Tell me no moreâ#x80;#x99;]; Upon the Imprisonment of his Sacred Majesty, that Unparalleled Prince, King Charles the First; On the Horrid Murder of that Incomparable Prince, King Charles the First; On the Same [â#x80;#x98;Let none sigh moreâ#x80;#x99;] The Circle [â#x80;#x98;In sighs and tears there is no endâ#x80;#x99;]â#x80;#x98;Dear God turn not away thy faceâ#x80;#x99;; The Circle [â#x80;#x98;Those that the hidden chemic art professâ#x80;#x99;]; On the Kingâ#x80;#x99;s Most Excellent Majesty; To my Dear J.P., M.P., P.P., they Being at London, I at Broadfield; A Solitary Complaint; â#x80;#x98;Must I thus ever interdicted be?â#x80;#x99;; â#x80;#x98;Why must I thus forever be confinedâ#x80;#x99;; To Sir William Davenant, upon the Unspeakable Loss of the Most Conspicuous and Chief Ornament of his Frontispiece; The Weeping Wish; Emblem 4; Emblem 20; Emblem 22; Katherine Philips (1632â#x80;#x93;1664); From the â#x80;#x98;Tutinâ#x80;#x99; manuscript To my Dearest Antenor, on his PartingA Retired Friendship, to Ardelia, 23rd August 1651; Friendshipâ#x80;#x99;s Mysteries, to my Dearest Lucasia; Content, to my Dearest Lucasia; Friendship in Emblem, or the Seal, to my Dearest Lucasia; From the â#x80;#x98;Tutinâ#x80;#x99; manuscript, reverse; The World; The Soul; Invitation to the Country; On the 3rd September 1651; 2 Corinthians 5:19, God was in Christ reconciling the world to himself, 8th April 1653; From Poems (1664); Upon the Double Murder of King Charles I, in Answer to a Libellous Copy of Rhymes Made by Vavasor Powell This anthology brings together extensive selections of poetry by the five most prolific and prominent women poets of the English Civil War period: Anne Bradstreet, Hester Pulter, Margaret Cavendish, Katherine Philips and Lucy Hutchinson. It presents these poems in modern-spelling, clear-text versions for classroom use, and for ready comparison to mainstream editions of male poets' work. The anthology reveals the diversity of women's poetry in the mid-seventeenth century, across political affiliations and forms of publication. Notes on the poems and an introduction explain the contexts of Civil War, religious conflict, and scientific and literary development. The anthology enables a more comprehensive understanding of seventeenth-century women's poetic culture, both in its own right and in relation to prominent male poets such as Marvell, Milton and Dryden
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