Relevant bibliographies by topics / Women poets, English

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Women poets, English'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Women poets, English"

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Saha, Dr Santanu. "“The Rule of Father”: A Study of Father-Daughter Relationship in Select Poems of Indian Poetry in English." International Journal of English Literature and Social Sciences 7, no. 4 (2022): 244–49. http://dx.doi.org/10.22161/ijels.74.36.

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Indian Poetry in English by women writers has been giving birth to several issues related to feminism. These poets are trying to express their long-suppressed voice through these issues. However, in most cases they are posting their fight against patriarchy. Patriarchy, as a male dominated social system, always seems hostile to the liberation of women by suppressing their identity. Modern women poets are successful in disturbing this traditional mindset. My paper will try to focus on another perspective of this issue where ‘father’ is supposed to be the agent of patriarchal domination. I’ve tried to analyze some poems by Indian women poets in English who have incorporated ‘father’ as a character in their poems in order to expose male domination. And it is not surprising to notice that several women poets are linked by the same issue as they are a part of same social system.
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Ali, Shakir Hussein. "Subverting Traditional Gender Roles in Contemporary English Poetry: The World's Wife by Carol Ann Duffy Mike and Honey by Rupi Kaur Ariel by Sylvia Plath." Integrated Journal for Research in Arts and Humanities 4, no. 3 (2024): 61–64. http://dx.doi.org/10.55544/ijrah.4.3.12.

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Generally speaking, male poets depict women in their poetry as typically seen as frail, weak, and reliant on males. However, in this paper we will examine the how women are portrayed in the same way in the poetry written by female poets, which is shocking. The purpose of this article is to examine how women use poetry to create their own gender identities. The language used by female poets to establish their own identities and the themes they chose for their poems reveal how they see themselves in relation to the other gender. The article 'data are derived from an analysis selection of three English-language poems written by female poets: the world's wife by Carol Ann Duffy, Mike and Honey by Rupi Kaur, and Ariel by Sylvia Plath. To thoroughly examine how gender identity is constructed.
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Ramayya, Nisha. "Poetry in Expanded Translation: Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, Don Mee Choi." English: Journal of the English Association 69, no. 267 (2020): 310–30. http://dx.doi.org/10.1093/english/efaa031.

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Abstract In this article, I discuss the politics and poetics of translation in the work of Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, and Don Mee Choi, considering each poet's ideas about translation and translation practices, suggesting approaches to reading and thinking about their work in relation to translation and in relation to each other. I ask the following questions: in the selected poets' work, what are the relationships between the movement of people, the removal of dead bodies, and translation practices? How do the poets move between languages and literary forms, and what are the politics and poetics of their movements with regards to migration, dispossession, and death, as well as resistance, refusal, and rebirth? I select these poets because of the ways in which they confront relationships between the history of the English language and literature, imperialism and colonialism, racialisation and racism, gendered experiences and narratives, and their own poetic practices. These histories and experiences do not exist in isolation, nor do the poets attempt to circumscribe their approaches to language, representation, translation, and form from their lived experiences and everyday practices of survival and resistance. The selected poets’ work ranges in form, tone, and argument, but I argue that their refusal to circumscribe politics and poetics pertains to their subject positions and lived experiences as racialised and post/colonial women, and that this refusal is demonstrated in their diverse understandings of translation and translation practices.
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Muhammed, Qaisar Taha, and Khalid Sh Sharhan. "A Gender-based Stylistic Analysis of Selected English Love Poems." Al-Adab Journal 2, no. 141 (2022): 73–82. http://dx.doi.org/10.31973/aj.v2i141.3713.

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One of the most interesting issues in the study of language is the relation between language and gender. A lot of studies have been conducted so far to find out if men speak and write differently from women. The present study is also an attempt in the same area but it considers gender differences in love poetry. It aims to find out the differences between male and female poets in their love poems. The data of the study consists of three male love poems, and three female poems. Leech and Short's (1981) checklist is used as a framework to analyze the selected love poems. The findings of the study reveal that there are differences between male and female poets with regard to lexical categories, grammatical categories and figures of speech.
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Fordoński, Krzysztof. "English 18th-Century Women Poets and Maciej Kazimierz Sarbiewski: Adaptation, Paraphrase, Translation." Terminus 22, no. 4 (57) (2020): 315–31. http://dx.doi.org/10.4467/20843844te.20.017.12537.

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The paper deals with six poems of three 18th-century English women poets—Lady Mary Chudleigh, Mary Masters, and Anne Steele “Theodosia”—inspired by the works of the greatest Polish Neo-Latin poet Maciej Kazimierz Sarbiewski. The aim of the study is to present the three authors, their biographies and literary oeuvres, and to attempt an analysis of the poems in question within this context. The biographies, social position—Chudleigh was the wife a baronet, the two others belonged to the middle class—and education of the three authoresses differ and yet they all shared the limitations resulting from the fact that they were women in 18th-century England, and were therefore denied access to academic education. The analysis of the texts and biographies has proven that it is highly improbable that either of the three women poets could translate the poems from Latin originals. All of their translations are based on earlier renditions; in the case of Chudleigh it is possible to identify the source text, that is the translation by John Norris. Inasmuch as it can be ascertained from the available biographical and critical sources and the results, the attitudes of the three poetesses towards their work varied. Only Masters acknowledged the source material in her publications. Although the current concepts of translation are different, her two poems: On a Fountain. Casimir, Lib. Epod. Ode 2 and Casimir, Lib. I. Ode 2—qualify as translations by the standards of her times. They are analysed here in detail. Neither Chudleigh nor Steele mentioned Sarbiewski in their publications. Their decision can be justified by the fact that their poems, even if clearly (though most likely indirectly) inspired by his lyrics, must be classified as free adaptations or even original poetry influenced by Sarbiewski or earlier translations and adaptations of his works.
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Fordoński, Krzysztof. "English 18th-Century Women Poets and Maciej Kazimierz Sarbiewski: Adaptation, Paraphrase, Translation." Terminus 22, no. 4 (57) (2020): 315–31. http://dx.doi.org/10.4467/20843844te.20.017.12537.

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The paper deals with six poems of three 18th-century English women poets—Lady Mary Chudleigh, Mary Masters, and Anne Steele “Theodosia”—inspired by the works of the greatest Polish Neo-Latin poet Maciej Kazimierz Sarbiewski. The aim of the study is to present the three authors, their biographies and literary oeuvres, and to attempt an analysis of the poems in question within this context. The biographies, social position—Chudleigh was the wife a baronet, the two others belonged to the middle class—and education of the three authoresses differ and yet they all shared the limitations resulting from the fact that they were women in 18th-century England, and were therefore denied access to academic education. The analysis of the texts and biographies has proven that it is highly improbable that either of the three women poets could translate the poems from Latin originals. All of their translations are based on earlier renditions; in the case of Chudleigh it is possible to identify the source text, that is the translation by John Norris. Inasmuch as it can be ascertained from the available biographical and critical sources and the results, the attitudes of the three poetesses towards their work varied. Only Masters acknowledged the source material in her publications. Although the current concepts of translation are different, her two poems: On a Fountain. Casimir, Lib. Epod. Ode 2 and Casimir, Lib. I. Ode 2—qualify as translations by the standards of her times. They are analysed here in detail. Neither Chudleigh nor Steele mentioned Sarbiewski in their publications. Their decision can be justified by the fact that their poems, even if clearly (though most likely indirectly) inspired by his lyrics, must be classified as free adaptations or even original poetry influenced by Sarbiewski or earlier translations and adaptations of his works.
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Ms. I. M. Sheeba Alorcious and Dr. K. Balachandran. "Picturization of Women: With Reference to the Select Poems of Jayanta Mahapatra." Creative Launcher 8, no. 3 (2023): 50–56. http://dx.doi.org/10.53032/tcl.2023.8.3.06.

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The present research aims to explore the representation and portrayal of women in the selected poems of Jayanta Mahapatra, one of India’s most profound and prolific contemporary English poets. His compelling depictions of women often encompass and transcend the boundaries of traditional Indian cultural norms and societal structures, thus requiring a detailed, nuanced investigation. His poems deal with the alienation of women from themselves and from the society. The atrocities that are exerted on women is explicitly exposed by the poet. They were not only termed as weaker sex by the patriarchal society but also made them as such. The poet stands by the deprived section of the society and acts as a voice of them, as the silent screaming is not heard by the world. His works serve as a bridge between the world of man and the world of woman. The pivotal focus of this study is an examination of Mahapatra’s depiction of women, ranging from symbolizing pure innocence and tradition to epitomizing complex modern experiences and gendered identity. The research critically investigates how the poet’s use of imagery, metaphors, and symbolic language paints a vivid picture of women across his poems, thereby adding another dimension to the thematic concerns of his poetic oeuvre. Moreover, the paper scrutinizes the elements of socio-cultural context, gender constructs, and feminist perspectives within Mahapatra's poetic descriptions. Through this examination, it seeks to analyze the intertwining of the personal, social, and cultural experiences of women in the poet's picturization. The study further delves into Mahapatra's poetry’s use of nature and its metaphorical connections to femininity, while considering Indian societal realities and dynamics. Mahapatra’s depiction of women in his poetry transcends from being merely characters to profound representations of societal paradigms and discourses, reflecting the inherent challenges and conflicts that women face in a patriarchal society.
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Light, A. "Outside History? Stevie Smith, Women Poets and the National Voice." English 43, no. 177 (1994): 237–59. http://dx.doi.org/10.1093/english/43.177.237.

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Akram, Habeeb. "Nineteenth century American metaphysical women poets." International Journal of English and Literature 7, no. 1 (2016): 1–7. http://dx.doi.org/10.5897/ijel2015.0853.

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Firoja Parvin. "Identity Exploration and Representation of Motherhood in the Poetry of Ranu Uniyal." Creative Saplings 2, no. 02 (2023): 51–62. http://dx.doi.org/10.56062/gtrs.2023.2.02.287.

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Ranu Uniyal, one of the important personalities of confessional mode, is always under review for her obsessive openness and pervasiveness, but she reaches her destination by displaying the sterling image of patriarchy. Uniyal’s poems not only present the everyday lived reality of ordinary women but also the strong independent women having power and who must outbrave the societal regulations and norms to assert their identity as human beings full of love and affection. Ranu Uniyal’s poems incorporate the strong experience both as a mother and as the daughter of powerful mothers whose personalities shape their identity as women. Among the modern Indian poets who are writing in English today, she has been ranked with such poetesses of dissatisfaction and discontent as Kamala Das. By engaging with the everyday life of her mother and her motherhood, the poet tries to understand the reality of universal motherhood in a poetic way. The studies of Ranu Uniyal’s poems add a new dimension to Indian poetry in English through the subtle and honest probing of man-woman relationships. She does not debunk the whole ideology of motherhood in her writing. Instead, her critical understanding of motherhood paves the path for women’s agency, autonomy, and identity regarding motherhood.
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Dissertations / Theses on the topic "Women poets, English"

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Bertram, Vicki. "Muscling in : a study of contemporary women poets and English poetic tradition." Thesis, University of York, 1992. http://etheses.whiterose.ac.uk/2490/.

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Williams, Euriona Lucretia. "Lost in the shadows : Welsh women poets writing in English, c.1840 - 1970." Thesis, Bangor University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429646.

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Messem, Catherine. "'Angers, fantasies and ghostly fears' : nineteenth century women from Wales and English-language poetry." Thesis, Aberystwyth University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364769.

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Taylor, Jane. "'The country at my shoulder' : gender and belonging in three contemporary women poets." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/56237/.

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This study considers the work of three women poets writing in English during the period 1970-2000. I argue that the poets, Eavan Boland, Michele Roberts and Jackie Kay are all `hybrid' voices, positioned and positioning themselves on the borders between different cultures and traditions. Locating the poets within a specific social, cultural and intellectual context the study considers the different ways in which the poets negotiate these mixed heritages and how gender interacts with their cultural location to affect the poetic identities they inhabit. My study of Eavan Boland locates her as a post-colonial poet writing out of a very specific historical relationship with Britain. I argue that the effects of this relationship are explored in two ways; the political and psychic legacy of the British colonisation of Ireland but also the ways in which women in Ireland have been colonised by a nationalist poetic tradition. I show how Boland interrogates these different colonisations and drawing on the work of Homi Bhabha I argue that Boland finds her own hybrid space in the Dublin suburbs from where she explores the frictions between a number of conflicting positions. My study of Michele Roberts explores the effects of her dual French and English heritage on her writing. I argue that Roberts' desire to embrace both aspects of her identity manifests itself as a desire to reconcile what western dualistic thinking has split and separated. I consider how Roberts advocates a writing and reading practise which asks us to embrace the stranger within ourselves and so begin to heal the split within individuals and nations. My chapter on Kay explores how she negotiates the cultural specificity of her location as a Scottish writer who identifies as black and how her poetry complicates questions of cultural authority and theories of cultural hybridity. I argue that Kay through a focus on `performance' as both theme and aesthetic subverts simple fixed notions of identity. I conclude that all three poets problematise any simple notion of home and belonging as a fixed and immutable space. Rather they inhabit borderlands, unsettled spaces, where there is a constant interaction and reformulation of identity.
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Craddock, Jade. "Women poets, feminism and the sonnet in the twentieth and twenty-first centuries : an American narrative." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4158/.

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Initially developed and perfected by male poets, the history of the sonnet has been characterised by androcentrism. Yet from its inception the sonnet has also been adopted by women. In recent years feminist critics have begun to redress the form’s gender imbalance, but most studies of the female-authored sonnet have excluded the twentieth and twenty-first centuries, and thus one of the most important periods in women’s history – the rise of feminism – leading to a flawed narrative of the genre. Repositioning Edna St. Vincent Millay as the starting point in a twentieth-century tradition, this study begins where most others end and examines how the emergence and development of feminism, specifically in an American context, underscores a significant female narrative of the sonnet that emerges outside of the male tradition. By reading the works of Edna St. Vincent Millay, Adrienne Rich, Marilyn Hacker, Marilyn Nelson and Moira Egan within their specific feminist contexts and within the broader trajectory of feminism, it is possible to see how women in the era took ownership of the form. Ultimately, the thesis suggests that feminism has shaped an important narrative in the history of the genre that means today the sonnet is no longer exclusively male.
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Bell, Monita Kaye Wyss Hilary E. "Getting hair "fixed" Black Power, transvaluation, and hair politics /." Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SPRING/English/Thesis/Bell_Monita_45.pdf.

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Olsen, Elena Brit. ""Alone I climb the craggy steep" : literary ambition and metaphysical identity in eighteenth-century women's poetry /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/9337.

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Cook, Jessica Lauren. "Material and Textual Spaces in the Poetry of Montagu, Leapor, Barbauld, and Robinson." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5205.

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Women Poets and Place in Eighteenth-Century Poetry considers how four women poets of the long eighteenth century--Lady Mary Wortley Montagu, Mary Leapor, Anna Letitia Barbauld, and Mary Robinson--construct various places in their poetry, whether the London social milieu or provincial England. I argue that the act of place making, or investing a location with meaning, through poetry is also a way of writing a place for themselves in the literary public sphere and in literary history. Despite the fact that more women wrote poetry than in any other genre in the period, women poets remain a relatively understudied area in eighteenth-century scholarship. My research is informed by place theory as defined by the fields of Human Geography and Ecocriticism; I consider how the poem reproduces material space and the nonhuman environment, as well as how place effectively shapes the individual. These four poets represent the gamut of career choices in this era, participating in manuscript and print culture, writing for hire and for leisure, publishing by subscription and through metropolitan booksellers. Each of these textual spaces serves as an illustration of how the poet's place, both geographically and socially speaking, influences the medium of circulation for the poetic text and the authorial persona she constructs in the process. By charting how each of these four poets approaches place--whether as the subject of their poetry or the poetic space itself--I argue that they offer us a way to destabilize and diversify the literary landscape of eighteenth-century poetry.
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Thomas, Shannon L. "“An Obtrusive Sense of Art”: The Poetess and American Periodicals, 1850–1900." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1280934312.

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Capp, Laura. "Dramatic audition: listeners, readers, and women's dramatic monologues, 1844-1916." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3438.

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The "dramatic monologue" is curiously named, given that poems of this genre often feature characters not only listening to the speakers but responding to them. While "silent auditors," as such inscribed characters are imperfectly called, are not a universal feature of the genre, their appearance is crucial when it occurs, as it turns monologue into dialogue. The scholarly attention given to such figures has focused almost exclusively upon dramatic monologues by Robert Browning, Alfred Tennyson, and other male poets and has consequently never illustrated how gender influences the attitudes toward and outcomes of communication as they play out in dramatic monologues. My dissertation thus explores how Victorian and modernist female poets of the dramatic monologue like Elizabeth Barrett Browning, Augusta Webster, Amy Levy, and Charlotte Mew stage the relationships between the female speakers they animate and the silent auditors who listen to their desperate utterances. Given the historical tensions that surrounded any woman's speech, let alone marginalized women, the poets perform a remarkably empathetic act in embodying primarily female characters on the fringes of their social worlds--a runaway slave, a prostitute, and a modern-day Mary Magdalene, to name a few--but the dramatic monologues themselves end, overwhelmingly, in failures of communication that question the ability of dialogue to generate empathetic connections between individuals with radically different backgrounds. Silent auditors often bear the scholarly blame for such breakdowns, but I argue that the speakers reject their auditors at pivotal moments, ultimately participating in their own marginalization. The distrust these poems exhibit toward the efficacy of speaking to others, however, need not extend to the reader. Rather, the genre of the dramatic monologue offers the poets a way to sidestep dialogue altogether: by inducing the reader to inhabit the female speaker's first-person voice--the "mobile I," in Èmile Benveniste's terms--these dramatic monologues convey experience through role-play rather than speech, as speaker and reader momentarily collapse into one body and one voice. Such a move foregrounds sympathetic identification as a more powerful means of conveying experience than empathetic identification and the distance between bodies and voices it necessitates.
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Books on the topic "Women poets, English"

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1950-, Rahman Anisur, and Ansari Ameena Kazi, eds. Indian English women poets. Creative Books, 2009.

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1950-, Rahman Anisur, and Ansari Ameena Kazi, eds. Indian English women poets. Creative Books, 2009.

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1950-, Rahman Anisur, and Ansari Ameena Kazi, eds. Indian English women poets. Creative Books, 2009.

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B, Thesing William, ed. Victorian women poets. Gale Research, 1999.

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Andrew, Ashfield, ed. Romantic women poets. Manchester University Press, 1995.

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Tess, Cosslett, ed. Victorian women poets. Longman, 1996.

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Josephine, Balmer, ed. Classical women poets. Bloodaxe, 1996.

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1957-, Shelton Pamela L., ed. Contemporary women poets. St. James, 1998.

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Andrew, Ashfield, ed. Romantic women poets, 1770-1838. Manchester University Press, 1997.

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Wendy, Cope, ed. Is that the new moon?: Poems by women poets. Collins, 2002.

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Book chapters on the topic "Women poets, English"

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Bradshaw, Penny. "Women Romantic Poets." In The Blackwell Companion to the Bible in English Literature. Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324174.ch27.

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Chism, Christine. "Winning Women in Two Middle English Alexander Poems." In Women and Medieval Epic. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-06637-4_2.

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Richards, Joan L. "Robert Leslie Ellis: An Almost Perfect Moral Nature." In Studies in History and Philosophy of Science. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-85258-0_7.

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AbstractSophia De Morgan met Robert Ellis when he was a student at Cambridge, and ever-after remembered him to possess an “almost perfect moral nature.” Her response to the sickly young man was typical of the ways Victorians responded to invalids like John Keats or Elizabeth Barrett Browning. But Ellis was neither a poet nor a woman. In the case of Ellis, the evidence of his moral character lay in the facility with which he practiced mathematics. Throughout the eighteenth century, the success of Newtonian cosmology served the English as a guarantee that in mathematics they could align their thoughts with the mind of God and by so doing truly understand the world in which they lived. As they moved into the nineteenth century, however, this assurance of unity between the human and the divine was being challenged on many fronts. When Sophia attributed “an almost perfect moral character” to the sickly young man, she was recognizing him as an ally in a battle for England’s soul that centered on the nature of mathematics.
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Gerrard, Christine. "Eighteenth-century women poets." In The Cambridge History of English Poetry. Cambridge University Press, 2010. http://dx.doi.org/10.1017/chol9780521883061.021.

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Backscheider, Paula R. "Eighteenth-century women poets." In The Cambridge History of English Literature, 1660–1780. Cambridge University Press, 2005. http://dx.doi.org/10.1017/chol9780521781442.010.

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Stevenson, Jane. "Anglo-Latin Women Poets." In Latin Learning and English Lore (Volumes I & II), edited by Katherine O'Brien O'Keeffe and Andy Orchard. University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442676589-037.

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Varty, Anne. "National Poets and the National Curriculum." In Women, Poetry and the Voice of a Nation. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474489843.003.0009.

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explores tensions between each poet’s representation of school and the use of their poetry as prescribed texts in the school syllabus. Subheadings: Four Poems about School presents readings of Lochhead, ‘Kidspoem/Bairnsang’; Meehan, ‘The Exact Moment I Became a Poet’; Clarke, ‘Running Away to the Sea -1955’; Duffy, The Laughter of Stafford Girls High. Poetry by Women in the Curriculum, and the Tortured Poem examines the impoverished range of poetry taught in English schools since the introduction of the national curriculum in England in 1988; critiques methods of assessment and how these may affect students’ long term appreciation of curriculum poets. Gillian Clarke and Carol Ann Duffy in the AQA Syllabus 2004-11 (Series 4) assesses the prescribed texts by these two poets, and contrasts them with set texts by Simon Armitage and Seamus Heaney. Curriculum Interventions by Lochhead and Duffy explores controversy sparked by Duffy’s prescribed poem ‘Education for Leisure’ and her riposte, ‘Mrs Schofield’s GCSE’. It also examines Lochhead’s participation in the Scottish Studies Working Group. To conclude, Questioning Cultural Consensus, articulates the poets’ resistance against covert, consensus-building agenda of prescribed curricula and their promotion instead of education as an instrument of individuation.
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Hetherington, Paul, and Cassandra Atherton. "Women and Prose Poetry." In Prose Poetry. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691180656.003.0009.

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This chapter highlights the tradition of English-language prose poetry by women. It explores what women's prose poetries may be — not only in terms of content and approach but in terms of technique and emphasis. The chapter begins by looking at Holly Iglesias's seminal text, Boxing Inside the Box: Women's Prose Poetry (2004), which is the most comprehensive study of women's prose poetry to date. Iglesias advocates for the liberation of women prose poets, using the prose poem box as a metaphor for their containment. Beginning with Carolyn Forché's famous and disturbing prose poem about male power and brutality, “The Colonel,” and ending with C. D. Wright's hybrid prose poem essay, Iglesias's book celebrates women prose poets by giving them space and prominence. Ultimately, the neglect of many women prose poets did not occur because women were not writing prose poems; it is just that many women were not writing the kinds of prose poems that fit the prevalent critical view of what successful prose poems might look like.
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Stevenson, Jane, and Peter Davidson. "Mary english (1652?-1694)." In Early Modern Women Poets (1520-1700). Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0144.

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Abstract Mary English was an American, and an indirect victim of The famous Salem witch trials. She was The daughter of William and Elinor Hollingsworth, and married a well-to-do Salem merchant, Philip English, in 1675. He was an Episcopalian. She joined The Congregational church in 1681. Both were accused of witchcraft in 1692, and escaped to New York, but she died There, affected by The strain of imprisonment.
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Stevenson, Jane, and Peter Davidson. "A Young Lady (fl. 1691)." In Early Modern Women Poets (1520-1700). Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0178.

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Abstract The poems ‘Henric to Maria’ and ‘Maria to Henric’ is consciously modelled on Ovid’s Heroides, narrative poems in The person of a series of mythological great lovers. The Heroides attracted considerable interest from women poets in The later seventeenth century, following Their translation into English: Aphra Behn composed a version of Ovid’s Oenone to Paris (included in this anthology, no. 204), and Anne Wharton tackled Penelope to Ulysses. The idea of writing a heroidic poem on The reigning King and Queen probably also owes somewhat to Drayton’s England’s Heroic al Epistles, which is a series of fictitious verse loveletters exchanged between pairs of English, and mostly royal, lovers. Despite The fact that William was notoriously an admirer of his own sex, Queen Mary was devoted to him, a fact which was widely publicized.
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