1990/07/01 by James Fitzmaurice
Economics, Econometrics and Finance · Arts and Humanities · #Historical Economic and Social Studies #Historical Art and Culture Studies
paper · doi:10.2307/3817438
In An Essay to Revive Antient Education of Women (1673), Bathsua Makin singles out Margaret Cavendish as a woman writer who achieved success in spite of serious obstacles. The present Dutchess of NewCastle by her own Genius, rather than any timely Instruction, over-tops many grave Gown-men.' In using word Makin would have surprised no one and least of all Cavendish, for author liked to depict herself as a solitary genius who depended on power of fancy to conjure up original compositions. She also liked to present herself as a happy wife, well integrated into a harmonious family. These two characterizations do not quite fit with one another, though some of her readers have tried to weave them together. For Charles Lamb, Cavendish was the thrice noble, chaste, and virtuous,-but again somewhat fantastical, and original-brain'd, generous Margaret Newcastle.2 Other readers, like Horace Walpole, thought genius claimed by Cavendish was no more than silly self-indulgence, a counterweight to her willingness to act responsibly as a wife and mother: Her grace's literary labours have drawn down less applause than her domestic virtues.3 It is doubtful that either man was aware of just how much Margaret Cavendish had crafted these contrasting characterizations of herself, and doubtful that they were conscious of how much their response had been manipulated by author herself. In picturing herself as a solitary genius, Cavendish stressed power