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Saving Orinda’s Posthumous Reputation: Paratexts Guiding Away from Lesbian Reading of Katherine Philips’s Poems (1667)

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Drawing attention to Katherine Philips, recently reevaluated as one of the most famous poetesses in the early modern England, this essay examines the roles of the paratexts included in Philips’s Poems (1667) edited by Sir Charles Cotterell, one of her coterie members, after her death. Unlike the 1664 edition of her poems pirated without Philips’s consent, the 1667 edition includes significantly more poems along with a number of the paratexts including seven commendatory poems mostly contributed by prominent Royalist writers Philips had maintained friendship from the English Interregnum. Applying Gérard Genette’s conception of a paratext, which “works as a vital, effective impetus to lead readers’ reception of the poetess and her poems in a particular direction,” this essay argue that the paratexts in the 1667 edition guide the reader away from an overtly lesbian reading of Philips’s poems, while the absence of such materials might well lead one “toward” such a reading.

Abstract

Drawing attention to Katherine Philips, recently reevaluated as one of the most famous poetesses in the early modern England, this essay examines the roles of the paratexts included in Philips’s Poems (1667) edited by Sir Charles Cotterell, one of her coterie members, after her death. Unlike the 1664 edition of her poems pirated without Philips’s consent, the 1667 edition includes significantly more poems along with a number of the paratexts including seven commendatory poems mostly contributed by prominent Royalist writers Philips had maintained friendship from the English Interregnum. Applying Gérard Genette’s conception of a paratext, which “works as a vital, effective impetus to lead readers’ reception of the poetess and her poems in a particular direction,” this essay argue that the paratexts in the 1667 edition guide the reader away from an overtly lesbian reading of Philips’s poems, while the absence of such materials might well lead one “toward” such a reading.

참고문헌 (20)

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  5. Henges, Hilary, "Authorship, Friendship, and Forms of Publication in Katherine Philips", SEL, 25(3), pp.517~541 (2012)
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  14. Smith, Helen, "Renaissance Paratexts" (2011), Cambridge UP
  15. Sours, Philip Webster, "The Matchless Orinda" (1931), Harvard UP
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