The Poetry of Mary Robinson: Form and Fame

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14 The Poetry of Mary Robinson

the political atmosphere of the early 1790s. Here, Robinson becomes
involved in the careful construction of her Laura Maria pseudonym,
first as an avatar of baroque elegance for the branding of Bell’s pub-
lications, then as an avatar of complicated political ambivalence by
which she manages to avoid the ignominious fate of Della Crusca.
Chapter three examines the way Robinson negotiates her new iden-
tity as “the English Sappho” as a means of distancing herself from
the “Perdita” epithet by laying claim to that mantle with her sonnet
sequence Sappho and Phaon, which, as I will show, involves a kind of
privileging of masculine traditions established by Ovid and Petrarch
over the feminine lyric tradition associated with the original Sappho.
Chapter four has Robinson returning to the newspaper business hav-
ing emerged from an intertextual past back to her present, returning
to newsprint with more politically oppositional avatars such as Portia
and Tabitha Bramble. In chapter four, I examine Robinson’s partici-
pation in a new professional network at the Morning Post that includes
Coleridge and Southey. My final chapter considers her new interest in
narrative poetry and the composition of new meters, original stanzas,
or nonce forms through the lens of Coleridge’s perspective on her
work. The book concludes with a close reading of Robinson’s poetic
response to Coleridge’s “Kubla Khan” that uncovers the affinities
in their poetic correspondence with Robinson’s original association
with Della Crusca. Indeed, as I will show, Robinson’s poetic career
is framed by associations with Robert Merry and with Samuel Taylor
Coleridge, and with many other literary, intertextual, and profes-
sional assignations in between.

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10.1057/9780230118034 - The Poetry of Mary Robinson, Daniel Robinson

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