Margaret Cavendish, Duchess of Newcastle-upon-Tyne

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her poetry by stating that she writes only to escape melancholy thoughts and fill idle time. She employs a food/feasting metaphor: her poems are not ripe, but applause and praise will make them pass as a "general feast" to those of vulgar taste who take quantity over quality. As was typical in her writing, applause is welcomed and criticism censored, as she advises those who dislike her poetry to keep silent. Hers are poems of fancy and so require study. She recommends that as one with a troubled conscience ought to look to a minister for guidance. Likewise a reader will ask a poet for help in understanding her poems. Attempting again to guide readers to a positive reception of her book, Cavendish distinguishes poets (able judges of poetry) from rhymers (faulty judges of poetry) and advises people not to call her book nonsense or poorly constructed out of their own ignorance and malice. Returning again to her desire for fame, Cavendish notes that if judged by an honest poet, who would not be envious, her work would receive applause.

619:, like many of Cavendish's epistles, contains excuses for errors that may be found in the poet's work and begs for praise. The poet states that self-love influences her judgement of her own poetry, which she finds she likes so much that she is moved to continue writing in hope of fame. She claims to write without thought of how her work would be received by critics. She then recalls how she was visited by Reason, who advised her to stop writing. Reason said her writing was a waste of time, that her work would not be well received and she should not have her work printed, so that the printer would not lose money. Reason also stated that there were already too many books and she should burn what she had written to spare the world from more. The poet noted her own angry response: she sent her book to press before she could be persuaded otherwise. In hindsight, however, she regretted doing so: she felt ashamed by her writing and told the reader to pity her and wipe away her tears with praise. 848:

that philosophical terms should ease communication of thoughts. She believes that successful communication is possible in all languages and accuses those who complicate communication (particularly English writers) of aiming for esteem from those who admire writing simply because they do not understand it, without considering that it may be nonsense. In her own work, Cavendish states, she chooses not to use difficult terms, although she adds that she understands such terms. Her stated reason is that she desires her work to be accessible to people regardless of their education. Her aim is to communicate her ideas clearly. She requests that any errors that may be found in her work be overlooked and readers remain focused on her main ideas. Here, as in many epistles, she instructs readers on how to approach her work and requests them to read it fully and withhold criticism until they have done so.

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her desire for fame by distancing her ambition from what is feminine: her ambition is a quest for glory, perfection and praise, which she states is not effeminate. Even while writing and pursuing fame she remained modest and honourable and does nothing to dishonour her family. Cavendish attributed her confidence, as a type of censor, to her belief that there is no evil, only innocence in her desire for fame. As to her writing without permission, Cavendish excuses herself by stating it is easier to get a pardon after the fact than to obtain leave beforehand. She places writing over gossip, as a common and negative female activity. She credits her books as tangible examples of her contemplation and contrasts her self-proclaimed harmless ideas with wild ideas that might lead to indiscreet actions.

712: 660:, in 1656. She wrote it at the age of 33, which has been discussed by literary critics. One critic sees Cavendish's autobiography as a way to gain credibility and a marketable image that would undercut a socially improper public image. Cavendish wrote her autobiography in response to what people were saying of her in her lifetime. It relates Cavendish's lineage, social status, fortune, upbringing, education and marriage, describes her pastimes and manners, and offers an account of her personality and ambition, including thoughts on her bashfulness, contemplative nature and writing. She also shares her views on gender (appropriate behaviour and activity), politics (Parliamentarians v. Royalists) and class (proper behaviour of servants). 835:, have suffered the same disease. It was an honour for someone of great ambition (as she often identified herself) to share the disease of such wise and eloquent men. In these, as in her other writings, she asserts that she writes for herself and that her writing is a harmless pastime when compared with those of many other women. She contradicts herself, however, by adding that she writes for delight, which she had denied in her previous work. Also somewhat contradictory is her intention of continuing to write even if she has no readers, which belies her desire for fame. Ultimately, Cavendish excuses her criticism of and engagement with the theories of other natural philosophers as a necessary step in the search for truth. 410: 792:

and supported her interest and study in the area. She may also have been influenced by social encounters with philosophers such as Thomas Hobbes. O'Neill believes Hobbes (who had instructed Charles in philosophy) had marked influence on Cavendish's natural philosophy, making her one of the few 17th-century supporters of Hobbes' materialist philosophy, which argued that incorporeal souls did not exist in nature. Beginning in the 1660s, Cavendish began to study the work of her contemporaries more seriously. O'Neill suggests that such study was meant to enable Cavendish to argue her own points better by contrast with those of other natural philosophers.

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libraries and tutors, although she hinted that the children paid little heed to tutors, who were "rather for formality than benefit". Cavendish began putting ideas down on paper at an early age, although it was poorly accepted for women to display such intelligence at the time and she kept her efforts in the privacy of her home. The family had significant means and Cavendish stated that her widowed mother chose to keep her family in a condition "not much lower" than when her father was alive; the children had access to "honest pleasures and harmless delights". Her mother had little to no male help.

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philosophers, and thereby her knowledge of opinions and discourses that preceded her own. She then dismissed errors she might make as trivial, asserting that she did not mean her text to be taken as truth. She wrote simply to pass time and expected her work to be read for the same end. This epistle also explained her writing in verse: poets were thought to write fiction and that fiction was aligned with pastime, not truth. So verse might be expected to contain errors. Cavendish lamented that her work was not more entertaining and advised readers to skip any part they did not like.

742: 697:(1655). The topics are as varied as the forms and length of the letters. They cover marriage, war, politics, medicine, science, English and classical literature, and miscellaneous matters like gambling and religious extremism. Some letters seem to point to characters as actual people – Thomas Hobbes may appear in letter 173 and C. R. stand for King Charles II, – and some are addressed to real people with whom Cavendish often communicated, but most are fictional, leading to a surprisingly vibrant, ongoing conversation and observation of contemporary life. 555:

often assumed a defensive position, here justified by asserting that she expected critiques from males and females not only of her writing, but of her practice of writing itself. Cavendish argued that women who busy themselves writing will not act ineptly or gossip. Though she expected criticism from females, she calls for female support in gaining honour and reputation. She ends by stating that if she fails, she will see herself as martyred for the cause of women.

54: 1880: 727: 240:. She was unusual in her time for publishing extensively in natural philosophy and early modern science, producing over a dozen original works; with her revised works the total came to 21. She often would have her portrait engraved on the covers of her different works so that people would know that she was solely responsible for the creation of whatever she wrote and then published in some way or another. 3545: 1911: 348: 3528: 3562: 590:

in her work as due to youth and inexperience, for she wrote only to distract herself from hardships of her husband's and her own. Comparing her book to a child, she said that it was innocent, young, well-behaved, bashful and sensitive. Readers should blame her, not the book, if they did not like it. If, however, the book was well liked, she made it clear that she expected fame.

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meaning at the expense of elegance, her aim being to communicate ideas. She also noted that she expected her work to be criticised for not being useful, but she wrote not to instruct her readers in the arts, sciences or divinity, but to pass her time, asserting that she made better use of her time than many others. Cavendish returned to these points in her epistles and poems.

3435: 626:, she compares a negative reception to her books with their death. If the books suffer such a death (i. e. criticism), she requests silence and that they be forgotten, without alteration or inscriptions, and left undisturbed unless new merit is found. Again Cavendish sought to censor criticism and promote fame by instructing that only positive criticism should be voiced. 3511: 1138:

the Digital Cavendish Project works to make Cavendish's writing accessible and readable for people across the web and "highlight digital research, image archives, scholarly projects, and teaching materials". On 26 January 2018, the Digital Cavendish Twitter account announced that its next goal was to compile the Complete Works of Margaret Cavendish.

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Incomprehensible Being." Still, she believed that all parts of nature have an innate knowledge of God's existence. Even inanimate matter, she argues, "also have an interior, fixt and innate knowledge of the existency of God, as, that he is to be adored and worshipped. And thus the inanimate part may, after its own manner, worship and adore God."

388:", made her "repent my going from home to see the World abroad." It manifested itself in reluctance to discuss her work in public, but this she satirised in her writing. Cavendish defined and sought self-cures for the physical manifestations of her melancholia, which included "chill paleness", inability to speak, and erratic gestures. 372:, would be sold and that she as his wife could hope to benefit from the sale. In the event she received no benefit. She noted that while many women petitioned for funds, she herself only did so once, and being denied decided such efforts were not worth the trouble. After a year and a half she left England to be with her husband again. 158:; 1623 – 16 December 1673) was a prolific English philosopher, poet, scientist, fiction writer and playwright. She produced more than 12 original literary works, many of which became well known due to her high social status, which allowed Margaret to meet and converse with some of the most important and influential minds of her time. 1064:: "The present Dutchess of New-Castle, by her own Genius, rather than any timely Instruction, over-tops many grave Gown-Men." She saw her exemplifying what women could become through education. New manuscript evidence also suggests she was read and taken seriously by at least some early Royal Society members, such as its secretary, 538:, her dedication to Sir Charles Cavendish, her brother in law, compares writing poetry to spinning and calls poetry mental spinning – it was commonly thought to be more appropriate for women to spin than to write, but she herself was better at writing. This is one of several occasions when Cavendish calls attention to 1084:

the vast bulk of the Duchess is leavened by a vein of authentic fire. One cannot help following the lure of her erratic and lovable personality as it meanders and twinkles through page after page. There is something noble and Quixotic and high-spirited, as well as crack-brained and bird-witted, about

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doctrines: while women rarely wrote about natural philosophy in the 17th century, Cavendish published six books on the subject. O'Neill points out that Cavendish herself was not formally educated in natural philosophy, though William Cavendish and his brother Charles shared an interest in the subject

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Her epistle states that with no children and at that time no estate, she has a lot of spare time, which she fills by writing, not housekeeping. Food husbandry in poetry was well-ordered fancy composed of fine language, proper phrases and significant words. Cavendish excused errors that might be found

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grow, several projects have begun archiving Cavendish. The International Margaret Cavendish Society was set up as "a means of communication between scholars worldwide", to increase awareness of Cavendish's scholarly presence as a hub for newsletters, contacts and links to Cavendish's works. Likewise

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has recently become a staple of high school and university literature courses because of its feminism and Sapphic plot and character elements. Several of Cavendish's works have epistles, prefaces, prologues and epilogues in which she discusses her work, philosophy and ambition, while instructing the

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in her exile. She became one of the best-known women playwrights through her interest in philosophical nature. This epistle is followed by a response from Mistress Toppe, praising Cavendish and her skill in poetical fiction, moral instruction, philosophical opinion, dialogue, discourses and poetical

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In her epistle to Mistress Toppe, Cavendish states a desire for fame as her main reason for writing. Again she asks for acceptance of her writing as a digression from accepted gender norms. While she often brings in metaphors of domestic or stereotypical feminine activities, here she tries to excuse

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on topics that include natural philosophy, atoms, nature personified, macro/microcosms, other worlds, death, battle, hunting, love, honour and fame. Her poems at times take a dialogue form between such pairs as earth and darkness, an oak and a tree-cutter, melancholy and mirth, and peace and war. As

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Cavendish's views on God and religion remained ambiguous. Her writings show her as a Christian, but she did not often address the matter. In her Physical Opinions, she explicitly stated her belief in the existence of God – "Pray account me not an Atheist, but believe as I do in God Almighty," – but

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Cavendish noted that her husband liked her bashfulness; he was the only man she was ever in love with, not for his title, wealth or power, but for merit, justice, gratitude, duty and fidelity. She saw these as attributes that held people together even in misfortune, and in their case helped them to

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Regretting that she had left home to be a lady-in-waiting, Cavendish informed her mother that she wanted to leave the court, but her mother persuaded her not to disgrace herself by leaving and provided her with funds that Cavendish noted quite exceeded the normal means of a courtier. She remained a

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Cavendish's publications brought her fame and helped to disprove the contemporary belief that women were inherently inferior to men. Cavendish used them to advocate women's education: women were capable of learning and benefiting from education, and she insisted her own works would have been better

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Margaret Cavendish began to generate intense scholarly interest in the 1980s, when rediscovered and analysed from a modern feminist perspective. Since then there have been many book-length critical studies of her. She has also gained fame as one of the first science-fiction writers, with her novel

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Cavendish remarks on her own experience reading philosophical works: many such works have challenged her understanding with their frequently difficult words and expressions. Thus Cavendish advises writers of philosophy to use language appropriate to less expert readers. She defends this by stating

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In her epistle to the poets, Cavendish notes that as women seldom wrote, her writing may be ridiculed, as the strange and unusual seem fantastical, the fantastical seems odd, and the odd seems ridiculous. She requests that her work be judged by reason, not prejudice. She then excuses weaknesses in

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In her epistle to noble and worthy ladies and in many others, Cavendish plainly expresses her desire for fame. She was not concerned that the best people should like her writing, as long as many people did. She justified this by linking fame to noise and noise to great numbers of people. Cavendish

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Cavendish included a prefatory letter to natural philosophers. She knew no language but English, and even her English was somewhat limited, since she was familiar only with "that which is most usually spoke." In other words, she downplayed her knowledge of the technical vocabulary used by natural

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In her dedication, Cavendish recalls a time when rumours surrounded the authorship of her works: that her husband wrote them. Cavendish notes that her husband defended her from these, but admits to a creative relationship, even as her writing tutor, for writing "fashions an image of a husband and

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was in Oxford, Cavendish never gained permission from her mother to become a lady-in-waiting. She accompanied the Queen into exile in France, away from her family for the first time. She notes that while she was confident in the company of her siblings, amongst strangers she became bashful, being

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As many such as Silvia Bowerbank and Sara Mendelson have noted, this early version of science fiction critiques and explores such issues as science, gender and power. It also views relations between imagination and reason and philosophy and fiction. Cavendish writes herself into the book, which

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This is viewed as "Cavendish's most ambitious attempt to combine modes and genres." It includes short prose romances – "The Contract" and "Assaulted and Pursued Chastity" – and several prefatory addresses to the reader. The stories concern "the advantageous production of woman as spectacle" and

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often sought to justify writing at a time when women writers were not encouraged and in terms of her subject choice. She instructed readers in how to read and respond to her poetry, most often by inviting praise from supporters and requesting silence from those unaffected by her work. Cavendish

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Cavendish concluded the collection by stating she was aware that she did not write elegantly and that her phrasing and placement of words could be criticised. She said she had difficulty creating rhymes that could communicate her intended meaning. In short, Cavendish stated that she strove for

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Cavendish's father, Thomas Lucas, was exiled after a duel that led to the death of "one Mr. Brooks", but pardoned by King James. He returned to England in 1603. As the youngest of eight, Cavendish recorded spending a lot of time with her siblings. She had no formal education, but had access to

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and expands on her reasons for not following them. As here, Cavendish often employed metaphors to describe her writing in terms of stereotypical feminine tasks or interests, such as spinning, fashion and motherhood. While criticising her own work, she said it would seem better if Sir Charles

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Cavendish in her memoir explained her enjoyment in reinventing herself through fashion. She said she aimed at uniqueness in dress, thoughts and behaviour, and disliked wearing the same fashions as other women. She also made her desire for fame public. Several passages remark on her virtuous

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Her theological temerity was unusual at a time when much women's writing was built around religion. Although Cavendish acknowledged God's existence, she held "that natural reason cannot perceive or have an idea of an immaterial being." So "when we name God, we name an Inexpressible, and

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In her epistle to the reader, Cavendish writes that woman's wit may equal that of man, and women may be able to learn as easily as men. She argues that wit is natural, whereas learning is artificial, and in her time, men have more chance of educating themselves than women.

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afraid she might speak or act inappropriately without her siblings' guidance, while anxious to be well received and well liked. She spoke only when necessary and so came to be regarded as a fool, which Cavendish stated that she preferred to being seen as wanton or rude.

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Cavendish followed some epistles with poems on how they came to be published and how they should be received. The proximity of the poems to the epistles and their similarity in subject and tone, suggests that they may be interpreted as Cavendish's own point of view.

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Cavendish, as a poet, philosopher, writer of prose romances, essayist and playwright, published under her own name at a time when most women writers remained anonymous. Her topics included gender, power, manners, scientific method and philosophy. Her utopian romance

633:, she compares it to a child and the book/child and author/parent to birds. The book is like a baby bird just going out on its own. The author, like a parent bird, is unsure whether the book/baby bird will be safe and chirrups an attempt to protect it. 807:. Cavendish's work has also received positive criticism and been lauded by many for tackling typically male-dominated subjects such as natural philosophy. Letters and poems of praise by her husband were included in several of her published works. 446:, to be erected in the north transept of the abbey. The epitaph reads: "Her name was Margaret Lucas youngest daughter of Lord Lucas, earl of Colchester, a noble family, for all the brothers were valiant, and all the sisters virtuous". 285: 1107:

trope. More recently, her plays have been examined in performance studies, for blurring the lines between performance and literature, challenging gender identities and upsetting gender norms. Further analysis on Cavendish appears

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details a fictional, quite separate new world and its empress. She remarks in her epilogue that she is the empress, adding that in much the same way as there was a Charles the First, she would be seen as Margaret the First.

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She expected to be criticised for deciding to write a memoir, but retorted that it was written for herself, not for delight, to give later generations a true account of her lineage and life. She noted that others, such as

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Cavendish asks the reader to read her fancies (poems) slowly, paying heed to each word, for each is a fancy itself. She warns that if readers lose their place or skip lines, they will miss the meaning of the entire work.

3126:"Meet the hottest early-modern philosopher. No, that’s not an oxymoron. Margaret Cavendish’s brilliant writing was largely neglected in the 1600s, but it’s more relevant than ever. Here’s where to start with her work", 3474: 756: 319:

endure suffering for their political allegiance. Cavendish had no children, despite efforts by her physician to help her conceive. Her husband had five surviving children from a previous marriage, two of whom,

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and so much admired her biography of her husband that he called it a jewel "for which no casket is rich enough." James Fitzmaurice argues “Cavendish was viewed sympathetically by the English Romantic poets”.

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Cavendish looked favourably on it. Cavendish often appealed to readers for applause: if it were well received it would be somewhat improved. She ends by complimenting Charles's charity and generosity.

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Throughout her work on natural philosophy, Margaret Cavendish defends the belief that all nature is composed of free, self-moving, rational matter. Eileen O'Neill provides an overview of Cavendish's

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Margaret Cavendish was the first person to develop an original theory of atomism in Britain. She was also the first woman to be invited to attend a session of the Royal Society. One member,

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Cavendish was an unorthodox and daring intellectual who received positive and negative commentary from her contemporaries. Negative comments can be found by the Royal Society member

711: 678:. She goes on to address the economic and personal hardships that she and her family faced from the war and their political allegiance, such as loss of estates and bereavements. 496:, a prose piece consisting largely of speeches and letters. The collection concludes with her thoughts on her writing and an advertisement for one of her future publications. 981:(1662). Many of her works address such issues as natural philosophy, gender, power and manners. Cavendish's plays were never acted in her lifetime, but a number, including 3672: 3475:

Biography of Margaret Cavendish, Duchess of Newcastle, with links to online catalogues, on the website of Manuscripts and Special Collections, The University of Nottingham

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by Danielle Dutton dramatises her "with lucid precision and sharp cuts through narrative time", as a new approach to "imagining the life of a historical woman". As the

741: 1784: 1635:. Edited by, Eileen O'Neill. (Cambridge Texts in the History of Philosophy.) xlvii + 287 pp., bibl., index. Cambridge: Cambridge University Press, 2001. $ 60 (cloth)" 2535:

Prakas, Tessie (Winter 2016). ""A World of her own Invention": The Realm of Fancy in Margaret Cavendish's The Description of a New World, Called the Blazing World".

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Cavendish, Margaret (2011). "Writing to Posterity: Margaret Cavendish's "A True Relation of my Birth, Breeding and Life" (1656) as an "autobiographical relazione"".

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to Sir Thomas Lucas (1573–1625) and Elizabeth Leighton (died 1647), she was the youngest child of the family. She had four sisters and three brothers, the royalists

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and Cavendish's maid, Cavendish's writings took the form of poetical fiction, moral instruction, philosophical opinion, dialogue, discourses and poetical romances.

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reflected in one published letter, after reading a book by the Duchess, that she was "sure there are soberer people in Bedlam." She also had numerous admirers,

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reader on how to read and respond to her writing. Her work has been alternately criticised and championed from its original publication to the present day.

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O'Neill notes that Cavendish's natural philosophy and her writing in general were criticised by many contemporaries and by more recent readers, such as

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commonly used the epistles to admit and excuse potential weaknesses in her writing. They were directed at specific audiences and varied accordingly.

3652: 3617: 1037: 202: 118: 521:, stated her intended audience, writing purpose and philosophy in prefaces, prologues, epilogues and epistles. Her several epistle dedications for 3607: 1129:(2014), which was also loosely inspired by Cavendish, won The Los Angeles Times Book Prize for Fiction and was long listed for the Booker Prize. 1060:, saw in Cavendish "a mighty pretender to learning, poetry, and philosophy". Yet her knowledge was recognised by some, such as the protofeminist 3041:

Hilda L. Smith. "'A General War Amongst the Men ... But None Amongst the Women': Political Differences Between Margaret and William Cavendish."

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states that she expects readers to say that her practice of writing prolifically is a disease. If so, Cavendish stated, many others, including

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Alison Findlay, Gweno Williams and Stephanie J. Hodgson-Wright, "'The Play is ready to be Acted': Women and dramatic production, 1570–1670".

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Ed. Peter Dickinson, Anne Higgins, Paul Matthew St. Pierre, Diana Solomon and Sean Zwagerman. Lanham, MD: Fairleigh Dickinson UP, 2014. 55–64

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This article is about Margaret Cavendish (1623–1673), poet and philosopher. For later (1661–1717) Duchess of Newcastle of the same name, see

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N. N. W. Akkerman and M. Corporaal (2004), "Mad Science Beyond Flattery: The Correspondence of Margaret Cavendish and Constantijn Huygens",

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Nadine Akkerman and Marguérite Corporaal, "Mad science beyond flattery. The correspondence of Margaret Cavendish and Constantijn Huygens",

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character: while acknowledging goodness in others, she thought it acceptable to hope to better them and even achieve everlasting fame.

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Kellett, Katherine R. (Spring 2008). "Performance, Performativity, and Identity in Margaret Cavendish's "The Convent of Pleasure"".

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Diana Solomon, "Laugh, or Forever Hold Your Peace: Comic Crowd Control in Margaret Cavendish's Dramatic Prologues and Epilogues".

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Edited by Valerie Traub, M. Lindsay Kaplan, and Dympna Callaghan. Cambridge: Cambridge University Press, 1996, pp. 119–141

3286:"'An Amazonian Heroickess': The Military Leadership of Queen Henrietta Maria in Margaret Cavendish's "Bell in Campo" (1662)" 2969:

Mihoko Suzuki, "Thinking Beings and Animate Matter: Margaret Cavendish's Challenge to the Early Modern Order of Things". In

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Jo Wallwork, "Disruptive Behaviour in the Making of Science: Cavendish and the Community of Seventeenth-Century Science".

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Brandie R. Siegfried and Lisa Walters. "A New Science for a New World: Margaret Cavendish on the Question of Poverty". 1

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Billing, Valerie (Fall 2011). ""Treble marriage": Margaret Cavendish, William Newcastle, and Collaborative Authorship".

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Rebecca D'Monte, "Mirroring Female Power: Separatist Spaces in the Plays of Margaret Cavendish, Duchess of Newcastle".

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Mad Madge : the extraordinary life of Margaret Cavendish, Duchess of Newcastle, the first woman to live by her pen

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Marion Wynne-Davies, '"Fornication in My Owne Defence': Rape, Theft and Assault Discourses in Margaret Cavendish's

3038:. Eds. Betty Joseph, Elizabeth Sauer, and Kevin L. Cope. Lewisburg, Pennsylvania: Bucknell University Press, 21-36. 3702: 3622: 3072: 3000:

149–168. Ed. Nancy J. Hirschmann and Joanne H. Wright. University Park: Pennsylvania State University Press, 2012

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sought to split philosophy from theology and so avoid debating God's actions in many of her philosophical works.

187: 726: 693:(1664) is a collection of letters, written as if composed by real women. The organisation is similar to that of 3303:

The Dictionary of Literary Biography, Volume 281: British Rhetoricians and Logicians, 1500–1660, Second Series,

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Bronwen Price, "Feminine Modes of Knowing and Scientific Inquiry: Margaret Cavendish's Poetry as Case Study".

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Siri Hustvedt. "Afterword: Margaret Cavendish: A Grandmother for Twenty-first Century Philosophy of Science".

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James Fitzmaurice, "Margaret Cavendish on Her Own Writing: Evidence from Revision and Handmade Correction."

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Williams, Gweno; Wood, Chris; Newcastle, Margaret Cavendish; Margaret Cavendish Performance Project (2004),

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Elspeth Graham, "Intersubjectivity, Intertextuality, and Form in the Self-Writings of Margaret Cavendish".

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Vimala Pasupathi, "New Model Armies: Re-contextualizing The Camp in Margaret Cavendish's Bell in Campo".

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Cavendish has been championed and criticised as a unique, ground-breaking woman writer. She rejected the

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Politics and the Political Imagination in Later Stuart Britain: Essays Presented to Lois Green Schwoerer

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lady-in-waiting for two more years before marrying William Cavendish, then still Marquess of Newcastle.

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Christine Mason Sutherland, "Aspiring to the Rhetorical Tradition: A Study of Margaret Cavendish", in

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Sophie Tomlinson, "'My Brain the Stage': Margaret Cavendish and the Fantasy of Female Performance".

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who once wrote of her as "a mad, conceited, ridiculous woman" though he was eager to read her work.

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Deborah Boyle. "Informed by 'Sense and Reason': Margaret Cavendish's Theorizing about Perception".

2959:. Eds. Lisa Walters and Brandie R. Siegfried. Cambridge: Cambridge University Press, 2022. 274-288. 2218:

Keller, Eve (1997). "Producing Petty Gods: Margaret Cavendish's Critique of Experimental Science".

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Kegl, Rosemary. "'The World I Have Made': Margaret Cavendish, Feminism, and the Blazing World",

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The Natural Philosophy of Margaret Cavendish: Reason and Fancy during the Scientific Revolution.

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Begley, Justin. (May 2017). "'The Minde is Matter Moved': Nehemiah Grew on Margaret Cavendish".

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Alexandra G. Bennett, "'Yes, and': Margaret Cavendish, the Passions and Hermaphrodite Agency."

3010:

Karen Detlefsen, "Reason and Freedom: Margaret Cavendish on the Order and Disorder of Nature".

2191:

Narain, Mona (Fall 2009). "Notorious Celebrity: Margaret Cavendish and the Spectacle of Fame".

1588: 1582: 1557: 1551: 1400: 1394: 3712: 3411: 2922: 2373: 2348: 2298: 2161: 2101: 2072: 2037: 1974: 1832: 1766: 1756: 1728: 1654: 1592: 1561: 1404: 1280: 1252: 1188: 1099: 1093: 860: 668: 439: 324: 232: 214: 107: 2123:"Mind the Map: Fancy, Matter, and World Construction in Margaret Cavendish's "Blazing World"" 3534: 3420: 2605: 2544: 2480: 2253: 2227: 2134: 1966: 1892: 1646: 1524: 1373: 1343: 1036:

corresponded with her and engaged with philosophy and science. After her death, her husband

1033: 443: 3402: 2993: 2983: 2932: 1029: 1005: 784: 244: 237: 3291:

Ryan Stark, "Margaret Cavendish and Composition Style." Rhetoric Review 17 (1999): 264–81

3252:

Katherine R. Kellett, "Performance, Performativity, and Identity in Margaret Cavendish's

3089:

James Fitzmaurice, "Fancy and the Family: Self-characterizations of Margaret Cavendish".

1701: 190:

and travelled with her into exile in France, living for a time at the court of the young

3237:

Theodora A. Jankowski, "Pure Resistance: Queer(y)ing Virginity in William Shakespeare's

2708: 2419:

Mintz, Samuel I. (April 1952). "The Duchess of Newcastle's Visit to the Royal Society".

3398: 3162: 3055: 3052:. Eds. Lisa Walters and Brandie Siegfried. Cambridge: Cambridge University Press, 2022. 2094: 1072: 1044:

of admiring letters, poems, and epitaphs by numerous people. In the nineteenth century

804: 320: 264: 2962:

Mihoko Suzuki, "Animals and the political in Lucy Hutchinson and Margaret Cavendish".

1224:

Lee Cullen Khanna, "The Subject of Utopia: Margaret Cavendish and Her Blazing-World",

452:

became the title of a novel and number of film adaptations in the early 20th century.

351:

Margaret Cavendish and her husband, William Cavendish, 1st Duke of Newcastle-upon-Tyne

3581: 3069:. Edited by Michelle M. Dowd and Julie A. Eckerele. Hampshire: Ashgate, 2007. 131–150 2990:

Vol. III, 199–240. Ed. Daniel Garber and Steven Nadler. Oxford: Clarendon Press, 2006

2973:. Edited by Merry Wiesner-Hanks. Amsterdam: Amsterdam University Press, 2021. 183-206 2571: 2556: 2492: 2239: 1915: 1831:, eds. Sylvia Bowerbank and Sara Mendelson. Peterborough, ON: Broadview Press, 2000. 1536: 1122: 1065: 1061: 886: 664: 663:

The memoir details the lives of her family, including a short account of her brother

423: 179: 2986:, "Atomism, Monism, and Causation in the Natural Philosophy of Margaret Cavendish". 2909:

Margaret the First: A Biography of Margaret Cavendish Duchess of Newcastle 1623–1673

2625: 1881:"Marching on the Catwalk and Marketing the Self: Margaret Cavendish's Autobiography" 645:"repeatedly the aristocratic and chivalric trope (or figure) of the fair unknown." 3272:

Textual Intercourse: Collaboration, Authorship and Sexualities in Renaissance Drama

2976:

Justin Begley, "'The Minde is Matter Moved': Nehemiah Grew on Margaret Cavendish",

1896: 1322: 1277:

Margaret Cavendish, Duchess of Newcastle, Observations upon Experimental Philosophy

1249:

Margaret Cavendish, Duchess of Newcastle, Observations upon Experimental Philosophy

1045: 1021: 1013: 1001: 796: 568: 260: 2885:

Mad Madge: Margaret Cavendish, Duchess of Newcastle, Royalist, Writer and Romantic

2877: 2777:

Eds. Sylvia Bowerbank and Sara Mendelson. Peterborough, ON: Broadview Press, 2000.

2484: 1958: 17: 3157:

Woman's Word in English Fiction: From the Restoration to the Mid-Victorian Period

2321:

Woman's work in English fiction, from the restoration to the mid-Victorian period

1970: 1071:

Cavendish was mostly lost to obscurity in the early twentieth century. Not until

3407: 3021:. Ed. Michelle M. Dowd and Julie A. Eckerele. Hampshire: Ashgate, 2007. 151–168. 1057: 1017: 542: 385: 347: 2572:"Everyone, We Need to Talk About 17th-Century Badass Writer Margaret Cavendish" 865:

Cavendish's prose tale was published in 1666 and again in 1668, each time with

3003:

Karen Detlefsen, "Margaret Cavendish on the Relation between God and World".

1925: 1159: 1025: 800: 539: 514: 153: 71: 3447: 1658: 3464: 3263:

Kate Lilley, "Blazing Worlds: Seventeenth-Century Women's Utopian Writing".

2996:, "Margaret Cavendish and Thomas Hobbes on Reason, Freedom, and Women". In 2655: 2165: 2139: 2122: 1770: 820: 136: 3469: 3459:

David, "Margaret Lucas Cavendish", The Stanford Encyclopedia of Philosophy

3207:

Jane Donawerth, "The Politics of Renaissance Rhetorical Theory by Women".

2902:

Authorial Conquests: Essays on Genre in the Writings of Margaret Cavendish

2895:

A Princely Brave Woman: Essays on Margaret Cavendish, Duchess of Newcastle

2799:

The Description of a New World Called The Blazing World And Other Writings

2548: 2231: 1528: 255:

model. In May 1667, she became the first woman to attend a meeting at the

3429: 3399:

Works by Margaret Cavendish, Duchess of Newcastle-upon-Tyne in eBook form

3330:. Ed. Paul Salzman. Cambridge: Cambridge Scholars Publishing, 2010. 14–48 3179:

Diana G. Barnes, "Epistolary Restoration: Margaret Cavendish's Letters".

2919:

Margaret Cavendish: A Glorious Fame. The life of the Duchess of Newcastle

2155: 1362:"A Duchess "given to contemplation": The Education of Margaret Cavendish" 1104: 974: 788: 671: 336:

The Life of the Thrice Noble, High and Puissant Prince William Cavendish.

252: 206: 3301:

Christine Mason Sutherland, "Margaret Cavendish, Duchess of Newcastle".

3285: 3204:. Ed. Rebecca D'Monte and Nicole Pohl. New York: MacMillan, 2000. 93–110 3114:. Ed. Helen Wilcox. Cambridge: Cambridge University Press, 1996. 117–142 3048:

Sara Heller Mendelson, "Margaret Cavendish and the Nature of Infinity".

2617: 2432: 2204: 1865: 674:

cavalry commanders, executed by the Parliamentarians for treason in the

442:

on 7 January 1674. Her husband arranged for a monument, by the sculptor

2716: 2609: 1459:

Cavendish, Margaret (1656). Sylvia Bowerbank and Sara Mendelson (ed.).

1444:

Cavendish, Margaret (1656). Sylvia Bowerbank and Sara Mendelson (ed.).

1378: 1361: 472: 284: 3568: 3267:. Eds. Clare Brant and Diane Purkiss. London: Routledge, 1992. 102–133 1491: 1489: 1213:

http://plato.stanford.edu/archives/win2015/entries/margaret-cavendish/

364:, returned to England. Cavendish had heard that her husband's estate, 3312:. Ed. Clare Brant and Diane Purkiss. London: Routledge, 1992. 134–163 3202:

Female Communities 1600–1800: Literary Visions and Cultural Realities

3103:

Gertrude Townshend Mayer, "Margaret Cavendish Duchess of Newcastle".

824: 140: 93: 3417:

Works by or about Margaret Cavendish, Duchess of Newcastle-upon-Tyne

3211:. Ed. C. Levin and P. A. Sullivan. Albany: SUNY Press, 1995. 257–272 3031:, ed. Brian R. Glenney and Filipe Pereira da Silva. Routledge, 2019. 2347:(1st ed.). Cambridge: Cambridge University Press. p. 182. 1630: 3425: 2372:(1st ed.). Amsterdam: ARC Humanities Press. pp. 181–198. 1914: This article incorporates text from a publication now in the 1650: 1348:

For the love of animals: the rise of the animal protection movement

1079:(1925) did discourse rediscover the Duchess. Woolf remarked that: 656:

Cavendish published this autobiographical memoir as an addendum to

636: 3058:, "Material Cavendish: Paper, Performance, 'Sociable Virginity'". 3036:

650-1850: Ideas, aesthetics, and inquiries in the early modern era

2741:

Ed. Alexandra G. Bennett. Peterborough, ON: Broadview Press, 2002.

828: 476: 408: 346: 283: 75: 2795:. Ed. James Fitzmaurice. Peterborough, ON: Broadview Press, 2004. 1948:. Ed. James Fitzmaurice. Peterborough, ON: Broadview Press, 2004. 1121:(2021) is loosely inspired by Cavendish's science fiction story. 271:

still if, like her brothers, she had been able to attend school.

259:, criticising and engaging with members and philosophers such as 3485:

Margaret Cavendish: bibliographical and biographical references.

3197:. Ed. Jo Wallwork and Paul Salzman. Surrey: Ashgate, 2011. 75–88 3152:. Ed. Jo Wallwork and Paul Salzman. Surrey: Ashgate, 2011. 41–54 1965:, Cambridge University Press, pp. 46–194, 7 February 2001, 1934:. Vol. 34. London: Smith, Elder & Co. pp. 229–231. 427: 3220:. Baltimore, Maryland: The Johns Hopkins University Press, 1996 2868:

The Well-Ordered Universe: The Philosophy of Margaret Cavendish

2771:

Ed. Gwendolyn Marshall. Indianapolis: Hackett Publishing, 2016.

2681: 1751:

Newcastle, Margaret Cavendish, Duchess of, 1624?-1674. (1994).

1097:. Her self inserted as a character named Margaret Cavendish in 413:

Monument to William & Margaret Cavendish, Westminster Abbey

360:

A few years after her marriage, she and her husband's brother,

3169:

Edited by Andrew McNeillie. London: Hogarth Press, 1994. 81–90

1183:

N. Goose and J. Cooper (1998), "Tudor and Stuart Colchester",

3493: 3084:

Feminist Readings of Early Modern Culture: Emerging Subjects.

2759:

Ed. Susan James. Cambridge: Cambridge University Press, 2003.

1963:

Margaret Cavendish: Observations upon Experimental Philosophy

2807:. Ed. Anne Shaver. Baltimore: The Johns Hopkins Press, 1999. 1085:

her. Her simplicity is so open; her intelligence so active.

783:. She describes Cavendish's natural philosophy as rejecting 3489:

Center for the History of Women Philosophers and Scientists

3426:

Works by Margaret Cavendish, Duchess of Newcastle-upon-Tyne

3408:

Works by Margaret Cavendish, Duchess of Newcastle-upon-Tyne

1251:. Oxford, England: Cambridge University Press. p. xi. 1115:

This new interest has engendered media projects. The film,

339:

wife who rely on each other in the public realm of print."

2971:

Challenging Women's Agency and Activism in Early Modernity

2904:. Cranbury, NJ: Fairleigh Dickinson University Press, 2003 2783:

Ed. Deborah Boyle. Indianapolis: Hackett Publishing, 2021.

3075:, "The Philosophical Innovations of Margaret Cavendish". 2753:

Ed. David Cunning. Oxford: Oxford University Press, 2019.

2295:

Margaret Cavendish, Duchess of Newcastle: A Glorious Fame

1424:

Cunning, David (1 January 2015). Zalta, Edward N. (ed.).

1226:

Utopian and Science Fiction by Women: World of Difference

217:. Margaret accompanied him and remained abroad until the 3017:

Lara Dodds, "Margaret Cavendish's Domestic Experiment".

2842:

Baltimore, MD: The Johns Hopkins University Press, 2010.

2747:

Ed. Anne Thell. Peterborough, ON: Broadview Press, 2020.

2069:

The Description of a New World, Called the Blazing World

1103:

is said to be among the earliest examples of the modern

881:

Two volumes of Cavendish's dramatic works were printed.

853:

The Description of a New World, Called the Blazing World

2452:. London: Printed by J.D., to be sold by Tho. Parkhurst 2449:

An Essay to Revive the Ancient Education of Gentlewomen

3136:

In-between: Essays & Studies in Literary Criticism

3067:

Genre and Women's Life Writing in Early Modern England

3019:

Genre and Women's Life Writing in Early Modern England

2193:

The Journal of the Midwest Modern Language Association

3373:

By Margaret Cavendish, Duchess of Newcastle-upon-Tyne

3317:

The Renaissance of Lesbianism in Early Modern England

2819:

Margaret Cavendish: An Interdisciplinary Perspective.

2324:. New York and London: G. P. Putnam's Sons. p. 8 1727:. Ithaca, NY: Cornell University Press. p. 175. 1279:. Cambridge: Cambridge University Press. p. xi. 1270: 1268: 638:

Nature's Pictures drawn by Fancy's Pencil to the Life

3050:

Margaret Cavendish: An Interdisciplinary Perspective

2957:

Margaret Cavendish: An Interdisciplinary Perspective

2769:

Observations upon Experimental Philosophy, abridged.

1203: 1201: 658:

Natures Pictures Drawn by Fancies Pencil to the Life

3328:

Expanding the Canon of Early Modern Women's Writing

3167:

The Essays of Virginia Woolf, Volume IV, 1925–1928.

2861:

God and Nature in the Thought of Margaret Cavendish

2801:. Ed. Kate Lilley. London: William Pickering, 1992. 2765:. Ed. Eileen O'Neill. New York: Cambridge UP, 2001. 2000: 1998: 1996: 1854:

Enaissance and Reformation / Renaissance et Réforme

132: 124: 114: 100: 83: 60: 39: 3496:Margaret Cavendish, Duchess of Newcastle-upon-Tyne 3346:Margaret Cavendish, Duchess of Newcastle-upon-Tyne 2093: 2032:Cavendish, Margaret (1668). Eileen O'Neill (ed.). 779:and its critical reception in her introduction to 334:Cavendish later wrote a biography of her husband: 196:William Cavendish, 1st Duke of Newcastle-upon-Tyne 186:. As a teenager, she became an attendant on Queen 149:Margaret Cavendish, Duchess of Newcastle-upon-Tyne 3165:, "The Duchess of Newcastle, The Common Reader". 2875:Margaret Cavendish: Gender, Science and Politics. 1211:(Winter 2015 ed.), Edward N. Zalta, ed., URL=< 384:that her bashful nature, which she described as " 3232:Early Modern Women: An Interdisciplinary Journal 3209:Political Rhetoric, Power, and Renaissance Women 3190:. Lexington: University Press of Kentucky, 1998. 3159:. New York and London: G. P. Putnam's Sons, 1910 2859:Lisa T. Sarasohn and Brandie R. Siegfried, eds. 2856:. Lexington: University Press of Kentucky, 1998 3107:Vol. 1. London: Richard Bentley & Son, 1894 1461:A True Relation of My Birth, Breeding, and Life 1446:A True Relation of My Birth, Breeding, and Life 939:(1668) was published by Anne Maxwell (London): 650:A True Relation of my Birth, Breeding, and Life 382:A True Relation of My Birth, Breeding, and Life 263:. She has been claimed as an early opponent of 32:Margaret Holles, Duchess of Newcastle-upon-Tyne 3470:Essays by Margaret Cavendish at Quotidiana.org 2849:. Pittsburgh: Duquesne University Press, 2013. 2787:Poems and Fancies, with the Animal Parliament. 2733:Modern Editions of Works by Margaret Cavendish 1725:Renaissance Utopias and the Problem of History 1587:. Orchard Park, NY: Broadview Press. pp. 917:Nature's Three Daughters, Beauty, Love and Wit 288:Mary Lucas, older sister of Margaret Cavendish 3319:. Cambridge: Cambridge University Press, 2002 3274:. Cambridge: Cambridge University Press, 1997 3188:Margaret Cavendish and the Exiles of the Mind 3077:British Journal for the History of Philosophy 2854:Margaret Cavendish and the Exiles of the Mind 2421:The Journal of English and Germanic Philology 1556:. Orchard Park, NY: Broadview Press. p. 1399:. Orchard Park, NY: Broadview Press. p. 631:An Apology for Writing So Much upon This Book 8: 3465:The International Margaret Cavendish Society 3442:Digital Cavendish: A Scholarly Collaboration 3119:Women and Comedy: History, Theory, Practice. 2880:Cambridge: Cambridge University Press, 2014. 2847:The Literary Invention of Margaret Cavendish 2821:Cambridge: Cambridge University Press, 2022. 2395:"The Royal Society's lost female scientists" 1783:: CS1 maint: multiple names: authors list ( 213:and in 1644 went into self-imposed exile in 1959:"Observations upon Experimental Philosophy" 1550:Bowerbank, Sylvia; Sara Mendelsohn (2000). 1318:"The Royal Society's lost women scientists" 1207:David Cunning, "Margaret Lucas Cavendish", 943:The Sociable Companions, or the Female Wits 3155:Clara H. Whitemore, "Margaret Cavendish". 3112:Women and Literature in Britain, 1500–1700 2998:Feminist Interpretations of Thomas Hobbes, 2988:Oxford Studies in Early Modern Philosophy, 2870:. New York: Oxford University Press, 2018. 2775:Paper Bodies: A Margaret Cavendish Reader. 2739:Bell in Campo and The Sociable Companions. 2656:"International Margaret Cavendish Society" 1787:) CS1 maint: numeric names: authors list ( 1350:, Henry Holt and Company, 2008, chapter 1. 594:Instruction on comprehension and judgement 52: 36: 3673:Women science fiction and fantasy writers 2817:Lisa Walters and Brandie Siegfried, eds. 2763:Observations upon Experimental Philosophy 2570:Roberts, Jennifer Sherman (13 May 2015). 2537:Journal for Early Modern Cultural Studies 2254:"Duchess of Newcastle Margaret Cavendish" 2138: 2096:Paper Bodies: A Margaret Cavendish Reader 2071:. London: Penguin Classics. p. xii. 1829:Paper Bodies: A Margaret Cavendish Reader 1633:Observations upon Experimental Philosophy 1584:Paper Bodies: A Margaret Cavendish Reader 1553:Paper Bodies: A Margaret Cavendish Reader 1517:Journal for Early Modern Cultural Studies 1396:Paper Bodies: A Margaret Cavendish Reader 1377: 1228:. Syracuse: Syracuse UP, 1994, pp. 15–34. 867:Observations upon Experimental Philosophy 817:Observations upon Experimental Philosophy 781:Observations upon Experimental Philosophy 702:Observations upon Experimental Philosophy 209:commander in Northern England during the 3663:English women dramatists and playwrights 3181:Epistolary Community in Print, 1580–1664 2937:Margaret Cavendish: Gender, Genre, Exile 2789:Ed. Brandie Siegfried. Iter Press, 2018. 2179:Margaret Cavendish: Plays in Performance 2157:Margaret Cavendish: plays in performance 1755:. Lilley, Kate, 1960-. London: Penguin. 969:Cavendish also published collections of 787:and mechanical philosophy and favouring 203:William Cavendish, 1st Duke of Newcastle 119:William Cavendish, 1st Duke of Newcastle 27:English poet and philosopher (1623–1673) 3506: 3195:Early Modern Englishwomen Testing Ideas 3150:Early Modern Englishwomen Testing Ideas 2900:Line Cottegnies and Nancy Weitz, eds., 2805:The Convent of Pleasure and Other Plays 2757:Margaret Cavendish: Political Writings. 2751:Margaret Cavendish: Essential Writings. 2034:Observations on Experimental Philosophy 1502:Oxford Dictionary of National Biography 1480:Oxford Dictionary of National Biography 1427:The Stanford Encyclopedia of Philosophy 1209:The Stanford Encyclopedia of Philosophy 1147: 707: 2282:(1st ed.). London: Langly Curtis. 1776: 534:Looking at several of the epistles in 438:She died in London, and was buried in 3708:17th-century English women scientists 3310:Women's Texts and Histories 1575–1760 3265:Women's Texts and Histories 1575–1760 3141:Special Issue on Margaret Cavendish, 3134:Special issue on Margaret Cavendish, 3012:Archiv für Geschichte der Philosophie 1847: 1845: 1746: 1744: 1439: 1437: 689:Published in 1664 by William Wilson, 617:The Poetresses (sic) hasty Resolution 152: 7: 3230:Amy Greenstadt, "Margaret's Beard". 2393:Holmes, Richard (20 November 2010). 1944:Fitzmaurice, James. "Introduction." 1753:The blazing world and other writings 1153: 1151: 1615:Philosophical and Physical Opinions 236:is one of the earliest examples of 3648:English dramatists and playwrights 3598:17th-century English women writers 2887:. London: Chatto and Windus, 2003 2707:@DigiCavendish (26 January 2018). 1463:. London, England. pp. 46–47. 770: 251:of the 17th century, preferring a 25: 3613:17th-century English philosophers 2939:. Manchester: Manchester UP, 2004 2911:. London: Rupert Hart-Davis, 1957 2512:. ebooks@Adelaide. Archived from 2280:A Collection of Letters and Poems 1712:. Vol. 09. pp. 355–357. 949:Scenes (edited from The Presence) 929:A Comedy of the Apocryphal Ladies 3560: 3543: 3526: 3509: 3433: 3288:Early Theatre 10.2 (2007): 71–86 3218:Writing Women's Literary History 3183:. Surrey: Ashgate, 2013. 137–196 2781:Philosophical Letters, abridged. 2293:Jones, Kathleen (3 March 1988). 2181:. York: St. John's College, 2004 1931:Dictionary of National Biography 1920:Firth, Charles Harding (1893). " 1909: 1709:Dictionary of National Biography 1673:"William and Margaret Cavendish" 1629:Sarasohn, Lisa T. (March 2003). 1301:Early Modern Literary Studies 14 1185:Victoria County History of Essex 977:, as in her collection entitled 899:Youths Glory, and Deaths Banquet 811:Writing as an honourable disease 755: 740: 725: 710: 513:Cavendish, like authors such as 194:. She became the second wife of 3653:English science fiction writers 3618:17th-century English scientists 3079:, Vol. 7, no. 2 (1999): 219–244 985:(1668) have been staged since. 607:Poems: excuses and instructions 3608:17th-century English novelists 3448:Margaret Cavendish (1623-1673) 2826:A Companion to the Cavendishes 2745:Grounds of Natural Philosophy. 1897:10.1080/08989575.1998.10815127 1366:History of Education Quarterly 1360:Spencer, E Mariah (May 2021). 771:Cavendish's natural philosophy 47:Duchess of Newcastle-upon-Tyne 1: 3633:English duchesses by marriage 2980:27, No. 4 (May 2017): 493–514 2951:Early Modern Literary Studies 2828:. ARC Humanities Press, 2020. 2824:Lisa Hopkins and Tom Rutter. 2598:Studies in English Literature 2485:10.1080/17496977.2017.1294862 2220:ELH: English Literary History 1109: 763:Grounds of Natural Philosophy 748:Grounds of Natural Philosophy 576:Language, knowledge and error 449:All the Brothers Were Valiant 3698:Burials at Westminster Abbey 3683:Household of Henrietta Maria 3603:17th-century English writers 3389:Resources in other libraries 3365:Resources in other libraries 3091:Huntington Library Quarterly 2863:. New York: Routledge, 2014. 2318:Whitemore, Clara H. (1910). 1971:10.1017/cbo9781139164504.011 815:Cavendish in her preface to 3432:(public domain audiobooks) 2978:Intellectual History Review 2682:"Digital Cavendish Project" 2473:Intellectual History Review 2343:Fitzmaurice, James (2022). 2278:Cavendish, William (1678). 2127:Renaissance and Reformation 1703:"Cavendish, Margaret" 937:Plays, Never Before Printed 567:Cavendish explored writing 559:Defence of writing and fame 201:Her husband, then-marquess 184:St John's Abbey, Colchester 3729: 3638:English women philosophers 3305:36–47. Detroit: Gale, 2003 2897:. Aldershot: Ashgate, 2003 2644:. Catapult. 15 March 2016. 2092:Bowerbank, Sylvia (2000). 2057:Cavendish 1668, pp. 11–13. 1393:Bowerbank, Sylvia (2000). 858: 29: 3384:Resources in your library 3360:Resources in your library 3296:Listening to Their Voices 3241:and Margaret Cavendish's 3060:Modern Language Quarterly 3014:89, No. 2 (2007): 157–191 2686:Digital Cavendish Project 1581:Bowerbank, Syvia (2000). 182:, who owned the manor of 51: 46: 3007:4, no. 3 (2009): 421–438 2506:Woolf, Virginia (1925). 1275:O'Neill, Eileen (2001). 1247:O'Neill, Eileen (2001). 676:Second English Civil War 585:Writing to pass the time 314:Marriage to the Marquess 3678:British women essayists 3284:Kamille Stone Stanton, 3254:The Convent of Pleasure 3243:The Convent of Pleasure 2966:. 30.2 (2015): 229-247. 2964:The Seventeenth Century 2446:Makin, Bathsua (1673). 2140:10.33137/rr.v35i1.19076 2121:Leslie, Marina (2012). 2022:O'Neill 2001, p. xviii. 1922:Lucas, Charles (d.1648) 1879:Botanki, Effie (1998). 1723:Lislie, Marina (1998). 1430:(Winter 2015 ed.). 1160:"Cavendish (1623-1673)" 1016:, Earl of Westmorland, 988:The Convent of Pleasure 983:The Convent of Pleasure 956:The Convent of Pleasure 914:The Matrimonial Trouble 624:The Poetresses Petition 257:Royal Society of London 211:First English Civil War 3688:People from Colchester 3480:Cavendish plays online 3324:The Sociable Companion 2921:. London: Bloomsbury: 2368:Walters, Lisa (2020). 2297:. London: Bloomsbury. 1885:Auto/Biography Studies 1088: 902:The Lady Contemplation 877:Plays in 1662 and 1668 414: 352: 327:, wrote a comic play, 289: 3498:at Knowledge (XXG)'s 3029:History of Philosophy 2893:Stephen Clucas, ed., 2549:10.1353/jem.2016.0000 2232:10.1353/elh.1997.0017 2160:, York, England: : , 2067:Lilley, Kate (2004). 1631:"Margaret Cavendish. 1529:10.1353/jem.2011.0022 1476:"Cavendish, Margaret" 1081: 971:Philosophical Letters 908:The Unnatural Tragedy 718:Philosophical letters 691:CCXI Sociable Letters 683:CCXI Sociable Letters 494:The Animal Parliament 430:, had done the same. 412: 362:Sir Charles Cavendish 350: 329:The Concealed Fancies 303:Queen Henrietta Maria 287: 249:mechanical philosophy 3260:48.2 (2008): 419–442 3215:Margaret J. M. Ezell 3145:, Vol. 4, No.3, 1997 3100:85.3 (1991): 297–308 3093:53.3 (1990): 198–209 2013:O'Neill 2001 xv–xvii 1827:Margaret Cavendish, 1498:"Margaret Cavendish" 1496:Fitzmaurice, James. 1474:Fitzmaurice, James. 1316:(21 November 2010). 750:, 1668, Frontispiece 380:Cavendish stated in 376:Character and health 3658:English women poets 3247:Shakespeare Studies 3239:Measure for Measure 3227:6.1 (1999): 129–148 3128:The Washington Post 2516:on 16 February 2017 2100:. Broadview Press. 1158:Team, Project Vox. 1010:Constantijn Huygens 889:(London) includes: 885:(1662), printed by 839:Learning versus wit 550:The pursuit of fame 471:encompasses poems, 370:royalist delinquent 368:due to his being a 3281:78 (2011): 657–685 3062:65.1 (2004): 49–68 3026:The Senses and the 3005:Philosophy Compass 2835:. Routledge, 2015. 2662:. 15 December 2022 2641:Margaret the First 2610:10.1353/sel.0.0002 1448:. 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