The Political Origins of Anne Finch's Poetry

Abstract

[E]xcepting the Windsor Forest of Pope, and some delightful Pictures in the Poems of Lady Winchelsea [sic], the poetry intervening between the publication of the Paradise Lost and [James Thomson's] the Seasons does not contain a single new image of external nature; and scarcely presents a familiar one from which it can be inferred that the eye of the Poet had been steadily fixed upon his object, much less that his feelings had urged him to work upon it in the spirit of genuine imagination.1

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