Anne Finch (née Kingsmill), countess of Winchilsea(April 1661 - 5 August 1720)
Works in ECPA
- ADAM Pos'd. ()
- ALCIDOR. ()
- All is Vanity. ()
- The ATHEIST and the ACORN. ()
- The Battle between the Rats and the Weazles. ()
- The Brass-Pot, and Stone-Jugg. A FABLE. ()
- The CAUTIOUS LOVERS. ()
- The CHANGE. ()
- The Critick and the Writer of FABLE ()
- Cupid and Folly. Imitated from the FRENCH. ()
- The Decision of Fortune. A FABLE. ()
- Democritus and his Neighbours. Imitated from Fontaine. ()
- A Description of One of the Pieces of Tapistry at Long-Leat, made after the famous Cartons of Raphael; in which, Elymas the Sorcerer is miraculously struck Blind by St. Paul before Sergius Paulus, the Proconsul of Asia. Inscribed to the Honble HENRY THYNNE, under the Name of THEANOR. ()
- The DOG and his MASTER. ()
- The Eagle, the Sow, and the Cat. ()
- Enquiry after Peace. A Fragment. ()
- An EPISTLE from a Gentleman to Madam Deshouliers, returning Money she had lent him at Bassette, upon the first Day of their Acquaintance. Translated with Liberty from the French. ()
- An EPISTLE from Alexander to Hephaestion in his Sickness. ()
- The EQUIPAGE. Written Originally in FRENCH by L'Abbé Reigner. ()
- The EXECUTOR. ()
- Fanscomb Barn. In Imitation of MILTON. ()
- The following Lines occasion'd by the Marriage of Edward Herbert Esquire, and Mrs. Elizabeth Herbert. ()
- For the Better. Imitated from Sir Roger L'Estrange. ()
- Fragment at Tunbridge-Wells. ()
- FRAGMENT. ()
- Friendship between EPHELIA and ARDELIA. ()
- GLASS. ()
- The Hog, the Sheep, and Goat carrying to a FAIR. ()
- HOPE. ()
- The House of Socrates. ()
- The HYMN. ()
- JEALOUSY. A SONG. ()
- Jupiter and the Farmer. ()
- The King and the Shepherd. Imitated from the French. ()
- La Passion Vaincue. Done into English with Liberty. ()
- A LETTER to the same Person. ()
- LIFE's Progress. ()
- The LORD and the BRAMBLE ()
- Love, Death, and Reputation. ()
- The LYON and the GNAT. ()
- The MAN and his HORSE. ()
- The Man bitten by Fleas. ()
- Man's Injustice towards Providence. ()
- MERCURY and the ELEPHANT. A Prefatory FABLE. ()
- A Miller, his Son, and their Ass. A FABLE Translated from Monsieur de la Fontaine. ()
- Moral SONG. ()
- THE Mussulman's Dream OF THE VIZIER and DERVIS. ()
- A Nocturnal Reverie. ()
- On the Death of the Honourable Mr. James Thynne, younger Son to the Right Honourable the Lord Viscount Weymouth. ()
- The Owl Describing her Young Ones. ()
- Part of the Fifth Scene in the Second Act of Athalia, a Tragedy, written in French by Monsieur Racine. ()
- A Pastoral DIALOGUE between Two Shepherdesses. ()
- The Petition for an Absolute Retreat. Inscribed to the Right Honble CATHARINE Countess of THANET, mention'd in the Poem under the Name of ARMINDA. ()
- The Philosopher, the Young Man, and his Statue. ()
- The PHOENIX. A SONG. ()
- A Pindarick Poem Upon the Hurricane in November 1703, referring to this Text in Psalm 148. ver. 8. Winds and Storms fulfilling his Word. ()
- A POEM for the Birth-day of the Right Honble the Lady CATHARINE TUFTON. Occasion'd by sight of some Verses upon that Subject for the preceding Year, compos'd by no Eminent Hand. ()
- The Poor Man's Lamb: OR, Nathan's Parable to David after the Murder of Uriah, and his Marriage with Bathsheba. Turn'd into Verse and Paraphras'd. ()
- The Prevalence of Custom. ()
- PSALM the 137th, Paraphras'd to the 7th Verse. ()
- REFORMATION. ()
- The Shepherd and the Calm. ()
- The Shepherd Piping to the Fishes. ()
- A SONG. ()
- A SONG. ()
- A SONG. ()
- A SONG. ()
- The SPLEEN. A Pindarick Poem. ()
- A Tale of the Miser, and the Poet. Written about the Year 1709. ()
- [Tasso, Aminta:] AMINTOR, being ask'd by THIRSIS Who is the Object of his Love? speaks as follows. ()
- [Tasso, Aminta:] Daphne's Answer to Sylvia, declaring she should esteem all as Enemies, who should talk to her of LOVE. ()
- [Tasso, Aminta:] From the AMINTA of TASSO. ()
- [Tasso, Aminta:] From the AMINTA of TASSO. Part of the Description of the Golden Age. ()
- [Tasso, Aminta:] THIRSIS persuades AMINTOR not to despair upon the Predictions of Mopsus discov'ring him to be an Impostor. ()
- There's No To-Morrow, A FABLE imitated from Sir Roger L'Estrange. ()
- To a Friend, in Praise of the Invention of Writing Letters. ()
- To DEATH. ()
- To Edward Jenkinson, Esq a very young Gentleman, who writ a Poem on PEACE. ()
- To Mr. F. now Earl of W. Who going abroad, had desired ARDELIA to write some Verses upon whatever Subject she thought fit, against his Return in the Evening. ()
- To the NIGHTINGALE. ()
- To the Painter of an ill-drawn Picture of CLEONE, the Honorable Mrs. Thynne. ()
- The Tradesman and the Scholar. ()
- The TREE. ()
- VERSES Written under the King of Sweden's Picture. ()
- The Wit and the Beau. ()
- The Young RAT and his DAM, the COCK and the CAT. ()
Born Anne Kingsmill at Sydmonton, near Newbury, youngest child of Sir William Kingsmill
(1613-61) and Anne Haslewood (d. 1664), Anne Finch was privately educated. In 1682
she became a maid of honour to Mary of Modena (1658-1718), wife of James, Duke of
York, later King James II. She entered the circle of Restoration court wits and began
to write poetry. On 15 May 1684 she married Heneage Finch (1657-1726), second son
of the third earl of Winchilsea, one of the Gentlemen of the Bedchamber to the Duke
of York. The couple lived in Westminster Palace. Many of her early poems were domestic
in nature, her husband often features in pastoral guise as "Daphnis", she adopted
the pseudonym "Ardelia". She also wrote songs, pindarics, fables, epistles, translations,
satires, and religious verses. Loyal to the Stuart cause, the couple fled London after
the revolution of 1688 and for the next 20 years lived in the countryside. Anne's
husband was arrested in 1690, but later released. Anne wrote several political poems
during this period, such as
The Change. Finch's poems circulated in manuscript and only occasionally appeared in miscellanies
or magazines. Her best-known poem
The Spleen (1701) was first published anonymously in Charles Gildon's New Miscellany of Original Poems (1701). After the accession of Queen Anne, the Finches returned to London. In 1712
Heneage succeeded as fifth earl of Winchilsea, Anne becoming countess. In 1713 she
published Miscellany Poems, on Several Occasions, a collection of 86 poems, covering a wide range of subjects and written in a variety
of genres. Finch's authorship was widely known, and many poets, including Nicholas
Rowe, Swift, Pope, and later William Wordsworth, praised her as a poet. Finch continued writing poetry
until the time of her death in 1720.
Index of English Literary Manuscripts. Vol. III, 1700-1800 . London: Mansell, 1986-1997. Pt. 4 Sterne-Young. 535-570. Print. 4 volumes.
Keith, Jennifer and Claudia Thomas Kairoff, eds. The Anne Finch Digital Archive. University Libraries, The University of North Carolina at Greensboro, 2013. Web. 21 Jan. 2017. http://library.uncg.edu/dp/annefinch/
McGovern, Barbara and C. H. Hinnant, eds. The Anne Finch Wellesley Manuscript Poems: A Critical Edition. Athens, GA.: U of Georgia Press, 1998. Print.
Reynolds, Myra, ed. The Poems of Anne Countess of Winchilsea. Chicago: U of Chicago Press, 1903. Print.
Selected Bibliography: Anne Finch, Countess of Winchilsea. c18 Bibliographies On-Line. Ed. Jack Lynch. Rutgers University, Newark, 22 March 1999. Web. 20 Jan. 2012. http://andromeda.rutgers.edu/~jlynch/C18/biblio/finch.html.
McGovern, Barbara. Anne Finch and Her Poetry: a critical biography. Athens: University of Georgia Press, 1992. Print.
Baines, Paul, Julian Ferraro, Pat Rogers, eds. The Wiley-Blackwell Encyclopedia of Eighteenth-Century Writers and Writing, 1660-1789. Malden, MA: Wiley-Blackwell, 2011. 370-372. Print.
Radcliffe, David H., ed.
Anne Finch (1661-1720). Spenser and the Tradition: ENGLISH POETRY 1579-1830. Center for Applied Technologies in the Humanities, Virginia Tech, 2006. Web. 3 Oct. 2013. http://spenserians.cath.vt.edu/AuthorRecord.php?recordid=33672.
Barash, Carol. English Women's Poetry, 1649-1714: Politics, Community, and Linguistic Authority. Oxford: Clarendon Press, 1996. 259-87. Print.
Brower, Reuben A.
Lady Winchilsea and the Poetic Tradition of the Seventeenth Century. Studies in Philology 42 (1945): 61-80. Print.
Raising the Dead: Collecting Women Poets in the Eighteenth Century. Eighteenth Century: Theory and Interpretation 53(4) (2012): 492-497. Print.
Hinnant, Charles H. The Poetry of Anne Finch: An Essay in Interpretation. Newark: University of Delaware Press, 1994. Print.
The Poetics of Anne Finch. Studies in English Literature 38 (1998): 465-80. Print.
Kennedy, Deborah. Poetic Sisters: Early Eighteenth-Century Women Poets. Plymouth, England: Bucknell UP, 2013. 19-58. Print.
Lavoie, Chantel M. Collecting Women: Poetry and Lives, 1700-1780. Bucknell Studies in Eighteenth-Century Literature and Culture. Lewisburg, PA: Bucknell UP, 2009. Print.
Finch, Pope, and Swift: The Bond of Displacement. Mell, Donald C, ed. Pope, Swift, and Women Writers. Newark and London: University of Delaware Press, 1996. 105-24. Print.
Anne Finch: A Woman Poet and the Tradition. Messenger, Ann, ed. Gender at Work: Four Women Writers of the Eighteenth Century. Detroit: Wayne State University Press, 1990. 34-76. Print.
Publishing without Perishing: Lady Winchilsea's Miscellany Poems of 1713. Restoration 5 (1981): 27-37. Print.
Patey, Douglas Lane.
Anne Finch, John Dyer, and the Syntax of Nature. Rivero, Albert J., ed. Augustan Subjects: Essays in Honor of Martin C. Battestin. Newark and London: University of Delaware Press, 1997. 29-46. Print.
Sena, John F.
Melancholy in Anne Finch and Elizabeth Carter: The Ambivalence of an Idea. Yearbook of English Studies 1 (1971): 108-19. Print.
Anne Finch: A Pre-Romantic?. The Wordsworth Trust, 6 Jan. 2017. Web. 1 Mar. 2017. https://wordsworth.org.uk/blog/2017/01/06/anne-finch-a-pre-romantic/