Mary Leapor
Encyclopedia
Mary Leapor was an English poet, born in Marston St. Lawrence
, Northamptonshire
, the only child of Anne Sharman (died 1741) and Philip Leapor (1693–1771), a gardener. She is notable for being one of the most critically well-received of the numerous labouring-class writers of the period.
on the south side of the Chapel. According to her father she began writing "tolerably" at the age of 10. Her father recollected "She would often be scribbling, and sometimes in Rhyme", but that her mother ended up discouraging the writing, requesting she find some "more profitable employment". She was fortunate enough to attain a position as kitchen maid with an employer, Susanna Jennens ("Parthenissa" in Leapor's poetry), who apparently encouraged her writing and allowed her the use of her library. Jennens wrote poetry herself and had connections to both Mary Astell
and Mary Wortley Montagu. Not all employers were so accommodating and Leapor's devotion to writing led to her dismissal from a subsequent position with Sir Richard Chauncy’s family, as she apparently would not stop writing even in the kitchen. In 1784 an account was published in The Gentleman's Magazine
, possibly by Chauncy’s son, allegedly describing Chauncy’s remembrances of the poet. According to this piece, Leapor’s
She returned home to Brackley to care for her widowed father in 1744 or 1745, and despite many responsibilities and not the best of health she continued to write and her work circulated among the inhabitants of the town. As a consequence she met Bridget Freemantle (1698–1779), the daughter of a former rector, who became both her friend and mentor. This relationship seems to have marked a turning point for Leapor and she wrote the bulk of her oeuvre in a very short period. It was Freemantle who suggested that Leapor publish a volume of poetry by subscription, and she also attempted to have a play of hers, a blank verse tragedy called The Unhappy Father, produced in London at the Covent Garden Theatre (a second play remains unfinished). Neither venture was immediately successful, Leapor died of measles at the age of twenty-four.
Bridget Freemantle continued her quest to publish Leapor's work. In 1748 she arranged the posthumous publication of Poems upon Several Occasions with approximately six hundred subscribers for the benefit of Philip Leapor. A second volume of poetry and drama was published three years later by Samuel Richardson
and edited by Isaac Hawkins Browne
. Mary Delany
, Stephen Duck
, Elizabeth Montagu
, and Sarah Scott
were among the subscribers. These volumes secured Leapor's reputation as "one of the most interesting of the natural poets." John Duncombe praised her in The Feminead (1754), and Bonnell Thornton
and George Colman
included her in their Poems by Eminent Ladies (1755). Leapor herself would not seem to have embraced her status as a "natural" poet, "untainted" by artifice; she worked hard to acquire a literary education as best she could and embraced the neoclassical
ideals of her period. At the time of her death she had accumulated seventeen volumes and several volumes of plays: a considerable library for someone with such a limited income. There are many grammatical errors in Leapor's work, which Freemantle apologizes for in the Preface to the "Poems Upon Several Occasions" and assures readers that, had Leapor lived to edit them, the poems would have been flawless. She continues that they are, nevertheless, entertaining.
-sounding pen name; hers was "Mira." Much of her work is modeled on that of Alexander Pope
, whose work she intensely admired. Jonathan Swift
, particularly his anti-blason
poetry (the de-emphasis on the female physical body in relation to nature), was also a model. At times Leapor's writing reflects her own pessimistic views on life as a woman who was described as being witty, poor, infirm, and unattractive. She writes "much of and to women, of the discrepancy of her sex and class with her poetic urge." Her work clearly focuses on debunking romantic myths and reiterating the importance of education for women, the latter which she understood all too well.
From Leapor's "strongly feminist" "An Essay on Woman,":
In "An Essay on Woman," Leapor describes the certain downfall women face when they get old. She is highly critical of women being judged solely on their appearance, and deplores the limited choices open to them. Like Alexander Pope, Leapor saw “the general condition of women as a series of contradictions”; though unlike Pope or Jonathan Swift, they weren't “follies to be satirized,” but rather “injustices to be protested against”. Both of the poets deeply influenced Leapor's work; however, she counters their interpretations and understanding of women's general unhappiness. Drawing from her personal experience as a woman, she saw injustice in the social order rather than in women themselves. This is reflected in the representation of her views on beauty, the female body, marriage, family and female friendship in her work.
Leapor lived in a culture where women were expected to value themselves by their beauty. A great deal of money would have been needed in order to achieve perfection in beauty, which required creating an artificial appearance: “hardware” was fastened about the bodies of women to straighten posture, stays squeezed their waists, and faces were “caked and heavily coloured” with cosmetics. Leapor “attempts to see beyond artificial appearance to what she believes is more authentic femininity”. Her poem "Dorinda at her Glass" exemplifies this as she describes a woman who has valued herself by the image she sees in the mirror, only to be devastated when she loses her youthful beauty with age:
Through the poem Leapor advises and warns women that beauty does not last and to improve themselves intrinsically.
“In ‘Dorinda at her Glass’, ‘Advice to Sophronia’, and other poems, Leapor asserts that women should preserve their dignity by accepting the loss of beauty”. Leapor herself is affected by standards of beauty, and wishes to escape her “plainness” and the vulgar comments on her appearance, and dreams of being beautiful. This wistfulness for mainstream acceptance and admiration is illustrated in her poems “The Visit” and “The Disappointment.”
Leapor’s most extensive examination of standards of beauty is “Corydon. Phillario. Or, Mira’s Picture.” In this “self-portrait,” Leapor attempts to break every contemporary standard of beauty. She picks apart her every bodily flaw openly, posing a challenge to a society which expected women to tuck away their defects:
Leapor also turned her attention to the marriage market:
Celia has admitted her love and admiration for Strephon and this is his businesslike reply. He goes on to practically count all of Celia's assets on his fingers. He assures her of his admiration, briefly and in highly conventional terms, then returns to the subject that really interest him: her fortune. Leapor ironically exposes the reality of the marriage market and how women are reduced to their financial worth, despite the veneer of sentiment.
Today Leapor's work is celebrated for its sharp observations about life as a woman in the eighteenth century. She remains one of the few female labouring-class writers of the period, along with Ann Yearsley
and Elizabeth Bentley
.
Marston St. Lawrence
Marston St. Lawrence is a village and civil parish about northwest of Brackley in Northamptonshire. A stream flows through the village and another forms the southern boundary of the parish. The two merge as Farthinghoe Stream, a tributary of the Great Ouse...
, Northamptonshire
Northamptonshire
Northamptonshire is a landlocked county in the English East Midlands, with a population of 629,676 as at the 2001 census. It has boundaries with the ceremonial counties of Warwickshire to the west, Leicestershire and Rutland to the north, Cambridgeshire to the east, Bedfordshire to the south-east,...
, the only child of Anne Sharman (died 1741) and Philip Leapor (1693–1771), a gardener. She is notable for being one of the most critically well-received of the numerous labouring-class writers of the period.
Life
Partly self-educated, she probably received a rudimentary education at either a local Dame school, or at the local free school in BrackleyBrackley
Brackley is a town in south Northamptonshire, England. It is about from Oxford and miles form Northampton. Historically a market town based on the wool and lace trade, it was built on the intersecting trade routes between London, Birmingham and the English Midlands and between Cambridge and Oxford...
on the south side of the Chapel. According to her father she began writing "tolerably" at the age of 10. Her father recollected "She would often be scribbling, and sometimes in Rhyme", but that her mother ended up discouraging the writing, requesting she find some "more profitable employment". She was fortunate enough to attain a position as kitchen maid with an employer, Susanna Jennens ("Parthenissa" in Leapor's poetry), who apparently encouraged her writing and allowed her the use of her library. Jennens wrote poetry herself and had connections to both Mary Astell
Mary Astell
Mary Astell was an English feminist writer and rhetorician. Her advocacy of equal educational opportunities for women has earned her the title "the first English feminist."-Life and career:...
and Mary Wortley Montagu. Not all employers were so accommodating and Leapor's devotion to writing led to her dismissal from a subsequent position with Sir Richard Chauncy’s family, as she apparently would not stop writing even in the kitchen. In 1784 an account was published in The Gentleman's Magazine
The Gentleman's Magazine
The Gentleman's Magazine was founded in London, England, by Edward Cave in January 1731. It ran uninterrupted for almost 200 years, until 1922. It was the first to use the term "magazine" for a periodical...
, possibly by Chauncy’s son, allegedly describing Chauncy’s remembrances of the poet. According to this piece, Leapor’s
fondness for writing verses there displayed itself by her sometimes taking up her pen while the jack was standing still, and the meat scorching … He represented her as having been extremely swarthy, and quite emaciated, with a long crane-neck, and a short body, much resembling, in shape, a bass-viol.
She returned home to Brackley to care for her widowed father in 1744 or 1745, and despite many responsibilities and not the best of health she continued to write and her work circulated among the inhabitants of the town. As a consequence she met Bridget Freemantle (1698–1779), the daughter of a former rector, who became both her friend and mentor. This relationship seems to have marked a turning point for Leapor and she wrote the bulk of her oeuvre in a very short period. It was Freemantle who suggested that Leapor publish a volume of poetry by subscription, and she also attempted to have a play of hers, a blank verse tragedy called The Unhappy Father, produced in London at the Covent Garden Theatre (a second play remains unfinished). Neither venture was immediately successful, Leapor died of measles at the age of twenty-four.
Bridget Freemantle continued her quest to publish Leapor's work. In 1748 she arranged the posthumous publication of Poems upon Several Occasions with approximately six hundred subscribers for the benefit of Philip Leapor. A second volume of poetry and drama was published three years later by Samuel Richardson
Samuel Richardson
Samuel Richardson was an 18th-century English writer and printer. He is best known for his three epistolary novels: Pamela: Or, Virtue Rewarded , Clarissa: Or the History of a Young Lady and The History of Sir Charles Grandison...
and edited by Isaac Hawkins Browne
Isaac Hawkins Browne (poet)
Isaac Hawkins Browne is remembered as the author of some clever imitations of contemporary poets on the theme of A Pipe of Tobacco, somewhat analogous to the Rejected Addresses of a later day...
. Mary Delany
Mary Delany
Mary Delany was an English Bluestocking, artist, and letter-writer; equally famous for her "paper-mosaicks" and her lively correspondence.-Early life:...
, Stephen Duck
Stephen Duck
Stephen Duck was an English poet whose career reflected both the Augustan era's interest in "naturals" and its resistance to classlessness....
, Elizabeth Montagu
Elizabeth Montagu
Elizabeth Montagu was a British social reformer, patron of the arts, salonist, literary critic, and writer who helped organize and lead the bluestocking society...
, and Sarah Scott
Sarah Scott
Sarah Scott was an English novelist, translator, and social reformer. Her father, Matthew Robinson, and her mother, Elizabeth Robinson, were both from distinguished families, and Sarah was one of nine children who survived to adulthood...
were among the subscribers. These volumes secured Leapor's reputation as "one of the most interesting of the natural poets." John Duncombe praised her in The Feminead (1754), and Bonnell Thornton
Bonnell Thornton
Bonnell Thornton was an English poet, essayist, and critic. He was educated at Westminster School, and at Oxford University.In 1752 he founded the Drury Lane Journal, a satirical periodical which, among other things, lampooned other journals such as Johnson's Rambler, The Gentleman's Magazine and...
and George Colman
George Colman the Elder
George Colman was an English dramatist and essayist, usually called "the Elder", and sometimes "George the First", to distinguish him from his son, George Colman the Younger....
included her in their Poems by Eminent Ladies (1755). Leapor herself would not seem to have embraced her status as a "natural" poet, "untainted" by artifice; she worked hard to acquire a literary education as best she could and embraced the neoclassical
Neoclassicism
Neoclassicism is the name given to Western movements in the decorative and visual arts, literature, theatre, music, and architecture that draw inspiration from the "classical" art and culture of Ancient Greece or Ancient Rome...
ideals of her period. At the time of her death she had accumulated seventeen volumes and several volumes of plays: a considerable library for someone with such a limited income. There are many grammatical errors in Leapor's work, which Freemantle apologizes for in the Preface to the "Poems Upon Several Occasions" and assures readers that, had Leapor lived to edit them, the poems would have been flawless. She continues that they are, nevertheless, entertaining.
Work
Like many writers of the period, Leapor used a pastoralPastoral
The adjective pastoral refers to the lifestyle of pastoralists, such as shepherds herding livestock around open areas of land according to seasons and the changing availability of water and pasturage. It also refers to a genre in literature, art or music that depicts such shepherd life in an...
-sounding pen name; hers was "Mira." Much of her work is modeled on that of Alexander Pope
Alexander Pope
Alexander Pope was an 18th-century English poet, best known for his satirical verse and for his translation of Homer. He is the third-most frequently quoted writer in The Oxford Dictionary of Quotations, after Shakespeare and Tennyson...
, whose work she intensely admired. Jonathan Swift
Jonathan Swift
Jonathan Swift was an Irish satirist, essayist, political pamphleteer , poet and cleric who became Dean of St...
, particularly his anti-blason
Blason
Blason originally comes from the heraldic term blazon in French heraldry and means either the codified description of a coat of arms or the coat of arms itself...
poetry (the de-emphasis on the female physical body in relation to nature), was also a model. At times Leapor's writing reflects her own pessimistic views on life as a woman who was described as being witty, poor, infirm, and unattractive. She writes "much of and to women, of the discrepancy of her sex and class with her poetic urge." Her work clearly focuses on debunking romantic myths and reiterating the importance of education for women, the latter which she understood all too well.
From Leapor's "strongly feminist" "An Essay on Woman,":
WOMAN-a pleasing but a short-lived flower,
Too soft for business and too weak for power:
A wife in bondage, or neglected maid;
Despised if ugly; if she's fair-betrayed.
In "An Essay on Woman," Leapor describes the certain downfall women face when they get old. She is highly critical of women being judged solely on their appearance, and deplores the limited choices open to them. Like Alexander Pope, Leapor saw “the general condition of women as a series of contradictions”; though unlike Pope or Jonathan Swift, they weren't “follies to be satirized,” but rather “injustices to be protested against”. Both of the poets deeply influenced Leapor's work; however, she counters their interpretations and understanding of women's general unhappiness. Drawing from her personal experience as a woman, she saw injustice in the social order rather than in women themselves. This is reflected in the representation of her views on beauty, the female body, marriage, family and female friendship in her work.
Leapor lived in a culture where women were expected to value themselves by their beauty. A great deal of money would have been needed in order to achieve perfection in beauty, which required creating an artificial appearance: “hardware” was fastened about the bodies of women to straighten posture, stays squeezed their waists, and faces were “caked and heavily coloured” with cosmetics. Leapor “attempts to see beyond artificial appearance to what she believes is more authentic femininity”. Her poem "Dorinda at her Glass" exemplifies this as she describes a woman who has valued herself by the image she sees in the mirror, only to be devastated when she loses her youthful beauty with age:
To her lov'd Glass repair'd the weeping Maid,
And with a Sigh address'd the alter'd Shade.
Say, what art thou, that wear'st a gloomy Form,
With low'ring Forehead, like a norther Storm;
Cheeks pale and hollow, as the Face of Woe,
And Lips that with no gay Vermilion glow?
Through the poem Leapor advises and warns women that beauty does not last and to improve themselves intrinsically.
“In ‘Dorinda at her Glass’, ‘Advice to Sophronia’, and other poems, Leapor asserts that women should preserve their dignity by accepting the loss of beauty”. Leapor herself is affected by standards of beauty, and wishes to escape her “plainness” and the vulgar comments on her appearance, and dreams of being beautiful. This wistfulness for mainstream acceptance and admiration is illustrated in her poems “The Visit” and “The Disappointment.”
Leapor’s most extensive examination of standards of beauty is “Corydon. Phillario. Or, Mira’s Picture.” In this “self-portrait,” Leapor attempts to break every contemporary standard of beauty. She picks apart her every bodily flaw openly, posing a challenge to a society which expected women to tuck away their defects:
Corydon.
But she has teeth --
Phillario.
--Consid'ring how they grow,
'Tis no great matter if she has or no:
They look decay'd with Posset, and with Plumbs,
And seem prepar'd to quit her swelling Gums.
Leapor also turned her attention to the marriage market:
(From Strephon to Celia)
Now, madam, as the chat goes round,
I hear you have ten thousand pound:
But that as I a trifle hold,
Give me your person, dem your gold;
Yet for your own sake 'tis secured,
I hope -- your houses too insured
Celia has admitted her love and admiration for Strephon and this is his businesslike reply. He goes on to practically count all of Celia's assets on his fingers. He assures her of his admiration, briefly and in highly conventional terms, then returns to the subject that really interest him: her fortune. Leapor ironically exposes the reality of the marriage market and how women are reduced to their financial worth, despite the veneer of sentiment.
Today Leapor's work is celebrated for its sharp observations about life as a woman in the eighteenth century. She remains one of the few female labouring-class writers of the period, along with Ann Yearsley
Ann Yearsley
Ann Yearsley née Cromartie was an English poet and writer.Born in Bristol to John and Anne Cromartie , Ann married John Yearsley, a yeoman, in 1774. A decade later the family were rescued from destitution by the charity of Hannah More and others. More organized subscriptions for Yearsley to...
and Elizabeth Bentley
Elizabeth Bentley (writer)
-Biography:She was born in Norwich to Elizabeth Lawrence and Daniel Bentley. The latter, a journeyman cordwainer who had himself received a good education, educated Elizabeth, his only child. The family faced financial difficulties after he had a stroke in 1777 and was unable to work at his usual...
.
Etexts
- The Poetry of Mary Leapor, with links to
- Poems Upon Several Occasions. Vol. I. London: J. Roberts, 1748.
- Poems Upon Several Occasions. Vol. II. London: J. Roberts, 1751.
- An Essay on Woman in Three Epistles, links to scanned copies of the book
Resources
- Blain, Virginia, et al., eds. "Leapor, Mary." The Feminist Companion to Literature in English. New Haven and London: Yale UP, 1990. 640.
- Gillespie, Stuart. “Leapor, Mary (1722–1746).” Oxford Dictionary of National Biography. Ed. H. C. G. Matthew and Brian Harrison. Oxford: OUP, 2004. 1 May 2007.
- Greene, Richard. Mary Leapor: A Study in Eighteenth-Century Women's Poetry. Oxford: Clarendon Press; New York: Oxford UP, 1993.
- Griffin, Dustin. "Mary Leapor and Charlotte LennoxCharlotte LennoxCharlotte Lennox was an English author and poet. She is most famous now as the author of The Female Quixote and for her association with Samuel Johnson, Joshua Reynolds, and Samuel Richardson, but she had a long career and wrote poetry, prose, and drama.-Life:Charlotte Lennox was born in Gibraltar...
." Literary Patronage in England, 1650–1800. Cambridge UP, 1996. ISBN 9780521560856; ISBN 0521560853 - Todd, Janet, ed. "Leapor, Mary (Molly)." British Women Writers: a critical reference guide. London: Routledge, 1989. 401-403.
- Van-Hagen, Stephen. "Mary Leapor." The Literary Encyclopedia. 3 Mar. 2007. Accessed 2 May 2007.