Beachy Head (poem) - Knowledge (XXG)

793: 789:, placing local personal histories alongside grand national narratives of history. Classic linear histories of politics and statecraft are interwoven with individual narratives of personal experience and eyewitness accounts, which disrupt national histories through their focus on the individual. Scholars also draw attention to the poem's relation to the ongoing history being made of the Napoleonic war, and Smith's support of revolutionary efforts in America and France. Whereas other Romantic poets, especially Wordsworth, typically respond to significant changes in their society by creating a poetic world which does not include them, Smith's poetry is a "combination of imaginative verse and historical discourse, that refuses to cleanse the poetical vision of the oppression evident all around her." The poem expresses intertwined personal and political turmoil, combining what literary critic Donelle Ruwe describes as "the apocalyptic war rhetoric of the romantic era, as well as ... the celebration of the quotidian." 621: 734: 450:

establish Smith's position as an authority in areas ranging from historical contexts, to geological insights, and scientific examinations of wildlife. Smith's invocation of herself as an expert has been considered particularly impressive since these notes were composed after she sold her personal library, and thus the many facts and quotations included are based solely on her own memory; some quotations are, as a result, not word-perfect, but in general Smith's notes are remarkably accurate. By introducing academic topics, the notes also extend the boundaries of poetry, tying science to poetry in a symbiotic relationship. The combination of approaches mirrors the poem's presentation of the cliff itself as, in one scholar's words, "complex, many-layered, unfinished, and caught up in a continuous process of becoming," by describing the landscape in multiple ways simultaneously.

921: 835: 272: 503: 550:, Smith is "figuratively always looking across the Channel" at France. Beachy Head was chosen as a subject in part because "Smith imagined England as divided from the Continent most thinly by the Channel at this very spot." Smith drew attention to this closeness with her first footnote in the poem, which points out: "In crossing the Channel, from the coast of France, Beachy-Head is the first land made." The poem further highlights the context of the invasion threats by describing the 1690 Battle of Beachy Head, as well as the much earlier successive invasions of England: the 773:

the character of the "wanderer" who writes poetry about how he imagines his life would be better if he were a shepherd. His ideal images are undermined by juxtaposition with the many real rural labourers who view him with suspicion. As such, although she rejects urban vices and commerce, and sees a form of freedom in the independence possible in rural isolation, Smith also intentionally depicts the oppression caused by wealth inequality, and rejects "the myth of the happy laborer who needs only to work the English countryside to be content."

361: 319:, describing a hypothetical vision of what the speaker might see if she could revisit the landscape. The first two stanzas imagine the events of a single day, beginning with dawn on the coast and the departure of fishing boats. A departing merchant ship prompts the speaker to criticize consumerism of luxury goods. The sun sets, the fishing boats return, and smugglers use the coast in darkness. In the third stanza, the poem shifts back in time to describe the history of Beachy Head during the 581:. Smith's sonnets differed from previous sonnets in both subject matter and tone. Smith wrote about her personal troubles, rather than love, and created an overall feeling of bleak sadness. She also used less complex rhyme schemes, to write sonnets that were sometimes criticized for their simplicity but have also been seen as pursuing more natural, more direct poetic language which matched the emotions she expressed better than the artificial language common to 52: 891:, Smith's description of Beachy Head "shows no fear that she may lose herself in contemplation and shows no need to master or struggle against the nature she describes." If the poem depicts sublime encounters, they are "not found in an overwhelming grandeur but in the infinite within the finite," such as the precise details of flower petals and seashells when closely examined. The fossils, especially, have sublime potential because they evoke deep 818:'s 1751 theory that France and Great Britain were formerly joined by a land bridge, which was broken by some sort of "revolution" in the Earth itself. Smith links Desmarest's geological "revolution" to the ongoing political revolutions in Europe, placing them on a long and ongoing timescale whose ultimate results are impossible to imagine. However, she does not consider Desmarest's theory, or any other geological theories (such as 3341: 1112:." The Song Cycles are written for a mezzo soprano voice and adapt lines directly from the poem. The Song Cycles consist of 26 songs, grouped into six cycles: “Fancy’s Day Cycle,” “Historical Contemplation Interlude,” “Happiness Cycle,” “Nature Cycle,” “Stranger’s Cycle,” and “Hermit’s Cycle.” The project was composed after Jacobs and Dolan met at 620: 494:. As the speaker continues to address Beachy Head, the landscape develops a personality within the poem that changes it from a backdrop to almost a character in its own right. Ultimately, Beachy Head is presented "not as an instrument to be exploited and gawked at for sentimentalism's sake, but as a 'lively' companion to be sympathized with." 563:

conquest. Instead, she challenges the arbitrary nature of national borders. For example, she does not present the Norman conquest as a foreign tyrannical yoke on Anglo-Saxon liberties, and instead emphasizes the Normans' long and successful history. Rather than condemning one nation or another, Smith's strongest opposition is to war itself.

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Beachy Head, introduced in the nineteenth blank verse stanza. The hermit lived a harsh life of exile, but demonstrated virtue by risking his life to rescue sailors from shipwrecks during storms, burying those he could not save. After a particularly terrible storm, the hermit was himself found drowned, and he was buried by shepherds.

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evokes and subverts the traditional pastoral mode. In keeping with common pastoral themes, Smith ennobles the hardships of the rural poor, and criticizes the luxuries of the rich. Smith juxtaposes pastoral happiness with the history of commerce as a way of revealing the unethical and exploitative nature of trade. The poem describes

227:, eighty miles from Beachy Head, in poverty due to debt caused by her estranged husband, Benjamin Smith. Her novels had stopped selling well as readers were less sympathetic to her revolutionary political views, and she sold her personal library of 500 books to support herself. She was also increasingly ill during these years, with 725:

a way of expanding the "green language" of Romanticism, which combines "a deep sensitivity for natural phenomena with forceful environmental advocacy." Smith's "green language," according to Donna Landry, is "botanically exact and scientific yet charged with feeling," accomplishing the same goals with different rhetoric.

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The poem ends with the statement that "Those who read / Chisel'd within the rock, these mournful lines, / Memorials of his sufferings, did not grieve," but unlike with the stranger's songs, no "mournful lines" are included in the poem. Some have interpreted these lines to indicate that Smith intended

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with the memory of a fossilized seashell found at the top of a cliff. This begins a sequence discussing the limits of science and ambition. The speaker describes how the successive wars fought in the area have not led to lasting glory for the combatants, but have been forgotten. The thirteenth stanza

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section. The poem describes a shepherd, deviating from typical pastoral poetry by demonstrating the rough and laborious realities of peasant life, rather than presenting idealized conventions. The poem describes two village children whose innocence allows them happiness, and the speaker describes her

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and unproductive" wandering poet and the more meritorious second hermit. The contrast between the two recluses has been interpreted as a critique of selfish individualism in other Romantic poetry, with the poetic wanderer representing "canonical Romanticism". In this context, scholars highlight that

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poetry conventionally presents the rural poor as innocent and carefree, in contrast with corrupt and unhappy urban dwellers. Often, this contrast also involves an unrealistically idealized image of daily life in rural communities. Smith's depiction of rural life and multiple shepherd characters both

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is seen as calling for a more sustainable, more intimate relationship with nature, rather than treating the natural world as a resource to be exploited. In this way, Smith no longer seems to contrast with other Romantic attitudes toward nature. Instead, her interest in scientific minutiae is seen as

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oxymoron of un-pastoral shepherds," with a shepherd character who is "neither the passive, suffering observer nor the pastoral fantasy of innocence." Smith also draws a contrast between real shepherds, who "toil with the realities of poverty, demeaning labor, and savage familial relationships," and

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as harmful both to humanity and to nature. Smith criticizes the urban taste for consumer goods like silk, cotton, diamonds, and pearls, describing these as less beautiful and enduring than the natural world. She especially criticizes the phenomenon of shepherds and farmers abandoning rural labor in

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in the first edition. These notes provide, among other details, scientific names for plants and animals; descriptions of historical events; and explanations for some of her allusions to other writers. The notes are generally considered an important part of Smith's overall poetic approach. The notes

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Like other Romantic poets, Smith considered the natural world to be of great importance, and nature plays a major role in her poetry. Unlike other Romantics, however, Smith's presentation of nature does not attempt to transcend, transform, abstract, or absorb the natural world. As such, the poem's

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in 1066, which are all imagined to have happened in the same spot. Smith therefore put her contemporaries' "watchful apprehension of what lay beyond the Channel coast" into a broader historical context. However, Smith does not remind readers of these successive invasions in order to stoke fears of

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The fifteenth stanza begins a story of a "stranger" who used to live in a ruined castle, wandering and singing. Two fragments of his songs are included, by which he is remembered. His story is followed by that of another solitary but enviable figure, a hermit who lived at the base of the cliffs at

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In the twenty-first century, a resurgence of scholarly interest in Smith's works was prompted by the 1960s and 1970s feminist movement's recovery of women's writing, and reached a new peak in the 1980s and 1990s, but remained focused on Smith's sonnets and novels. Jacqueline M. Labbe's 2003 book,

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is "in the first instance a place-related poem, a poem which both describes and constructs place, inscribing it into the imagination of its readers and into cultural history." In this reading, the poem's blank verse paragraphs are often seen as physically resembling the cliffs themselves, akin to

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presentation of the natural world. As she was composing the poem, Smith wrote sixty-four footnotes, providing details like the scientific names for plants and animals and discussions of historic events. These are generally considered an important element of the poem's multi-layered composition.

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The preface written by Smith's publisher states that the poem was "not completed according to the original design," though Smith's last letter to Johnson does not mention intended revisions to the poem other than footnotes. Some scholars have concluded that Smith intended to add a short

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praised "because she wrote more from what she had seen of nature then from what she had read of it." Smith's eagerness to understand and describe the details of the natural world scientifically is contrasted with the "infinite, unthinkable" scope of nature in poems like

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both figures have experienced hope followed by disillusionment, but only the hermit has responded "with his sensibility, his humanitarianism, and his commitment to individual action still intact." The second hermit is also often seen as a stand-in for Smith herself.

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Smith has been called a "French Revolution poet," and frequently wrote in response to the political discourse, events, and philosophy of France. Smith supported French revolutionary ideals, especially ideals of radical cosmopolitanism and egalitarianism. In

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was delayed because the publisher wanted to locate a preface possibly written by Smith, and to add a biography of her life, but ultimately it was published without these materials. The poem appeared in print January 31, 1807, as the first poem of the volume

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does not follow a strict poetic convention or fall into a clear genre. In one scholar's words, the poem "forgoes the sonnets' crisp circumspection for expansive blank verse paragraphs." Donelle Ruwe describes the resulting genre as "a greater romantic

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Also in tension with these personal and national human histories is the sense of a far older geological history. In its frequent descriptions of the stone, the earth, fossilized remains, and buried human remains, the poem evokes an awareness of

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would not become widely-accepted for more than a hundred years, but Smith's poem observes evidence of geological change in the presence of fossils on mountaintops and similarities between the French and English shores. Her footnotes mention

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in several perspectives. Some scholars emphasize the omniscience of the speaker, transcending human perspectives, while others see limits to what the speaker is able to describe or examine the speaker's individual personality as a person of

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is most often discussed closely with Smith. Over their parallel poetic careers, their poetry often shares themes, subjects, and speakers. Often, Smith is described as influencing Wordsworth more than she is influenced by him. In

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in which he praised the poem for its "fresh and vivid" descriptions of rural scenery. Dyce praised how Smith's love of botany allowed her to "paint a variety of flowers with a minuteness and a delicacy rarely equaled."

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Smith's approach to nature is also distinct for showing human activity as an integral part of the natural world, and embracing human stewardship of land and animals, which has been described as representing a "social

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from across England's history, to meditate on what Smith saw as the modern corruption caused by commerce and nationalism. It was her last poetic work, and has been described as her most poetically ambitious work.

826:) fully satisfactory explanations, since they ignored fossil evidence. For Smith, the geological and archeological findings at Beachy Head highlight the limits of human pride and scientific accomplishment. 673:

is reflected in her footnotes describing the scientific names of fifty-one species of birds and plants. The botanical accuracy of Smith's poems was a hallmark of her writing from her first book,

542:, in which the English navy was defeated by the French, was often discussed in eighteenth century histories of invasion. Beachy Head as a location, therefore, called France to mind as a threat. 2337:

Black, Joseph; Conolly, Leonard; Flint, Kate; Grundy, Isobel; LePan, Don; Liuzza, Roy; McGann, Jerome J.; Prescott, Anne Lake; Qualls, Barry V.; Waters, Claire, eds. (2010). "Charlotte Smith".

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as a whole is often interpreted as presenting either an anti-sublime viewpoint or a new definition of the sublime, in resistance to this gendered binary. Unlike Wordsworth's description of the

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features two reclusive figures: the first is a wandering stranger poet, and the second is a hermit who lives at the base of the cliff. Many scholars emphasize the contrast between the "

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own lost childhood innocence. In the eighth stanza, the poem moves to look down upon the roofs of houses in the village, the church, and gardens, describing the bountiful local plants.

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as "some of her best work," calling Smith a "genuine child of genius" whose "poetic feeling and ability have rarely been surpassed by any individual of her sex." Later, in 1825,

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The poem does not present a narrative, but rather a loose meditation on the history of England and humanity's relationship with nature, addressed in an extended exclamation (or "

527: 535: 871:(1757). The binary was conventionally a gendered one: beautiful sights are delicate, domestic, and feminine; sublime sights are awe-inspiring, alien, and masculine. 2405: 1093:

as the culmination of her poetic efforts. Today, some critics claim Smith's work has a tendency to "read stiltedly" for modern audiences, while others argue that

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turns away from the futility of war to the more attractive image of the contemporary shepherd, and an imaginary long-distance view of peaceful life in England.

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between 1803 and 1806, near the end of her life, when she was struggling with debt and ill health. As the poem was being composed, England was engaged in the

1125: 1004:, inviting readers to compare their approaches. The character of the wandering poet may be a representation of Wordsworth. As a response to Wordsworth, 242:

in May 1806. Smith died on October 28, 1806, and her relatives took over the task of publishing her works. According to the preface, the publication of

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of varying lengths, with two inserted rhyming poems that add nineteen additional stanzas. It is accompanied by sixty-four footnotes written by Smith.

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Ruwe, Donelle (2003). "Benevolent Brothers and Supervising Mothers: Ideology in the Children's Verses of Mary and Charles Lamb and Charlotte Smith".

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was largely positive, and used the posthumous publication of the volume as an opportunity to praise Smith's career as a poet. An 1807 review in the

585:. This pursuit of simple, direct expression is among the reasons Smith is classed as a Romantic poet, and partly inspired the poetic innovations of 436:. A related assessment sees it as an "excursion poem," which mingles travel descriptions with philosophical reflections, like William Wordsworth's 1061:, which continued to be commercially successful in anthologies of women's writing even as Smith was less respected as a poet. The 1883 anthology 3198:

Tayebi, Kandi (2004). "Undermining the Eighteenth-Century Pastoral: Rewriting the Poet's Relationship to Nature in Charlotte Smith's Poetry".

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where soldiers might land in the anticipated French invasion of England, and British soldiers were stationed at Beachy Head as part of the

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for the next three years. She also wrote extensive footnotes to the poem. She sent a draft of the poem and notes to her publisher

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with France, and Beachy Head was regarded as a likely invasion point for the French army; nonetheless, Smith continued to support

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Scarth, Kate (2014-08-05). "Elite Metropolitan Culture, Women, and Greater London in Charlotte Smith's Emmeline and Celestina".

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Duckling, Louise (2008). "'Tell my Name to Distant Ages': The Literary Fate of Charlotte Smith". In Labbe, Jacqueline (ed.).

1042: 400:. As a "dependent fragment poem," which relies on its relationship to its authors' other works for its full interpretation, 2883:

Pascoe, Judith (1994). "Female Botanists and the Poetry of Charlotte Smith". In Wilson, Carol Shiner; Haefner, Joel (eds.).

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Wallace, Anne D. (2002). "Picturesque Fossils, Sublime Geology? The Crisis of Authority in Charlotte Smith's Beachy Head".

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attracted less interest over time, and by the early twentieth century Smith was considered only a minor writer of novels.

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Behrendt, Stephen C. (2008). "Charlotte Smith, Women Poets, and the Culture of Celebrity". In Labbe, Jacqueline (ed.).

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Hermits often appear in Romantic poetry to symbolize disillusionment with the society which the hermit has abandoned.

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concepts like ambition. The opening apostrophe to the cliffs of Beachy Head is similar to the poetic invocation of a

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to the end of the poem. Others, however, believe that the poem intentionally falls within the genre of the Romantic

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Gurton‐Wachter, Lily (2009). ""An Enemy, I suppose, that Nature has made": Charlotte Smith and the natural enemy".

974:(1789), serves as a precursor for Smith's naturalist poetics, including her interest in minutiae and references to 945: 239: 3103:

Schabert, Ina (October 2014). "From Feminist to Integrationist Literary History: 18th Century Studies 2005-2013".

427:," a popular Romantic genre of poem which presents, and often praises, an external landscape. For these scholars, 3390: 2368:

Bray, Matthew (1993). "Removing the Ango-Saxon Yoke: The Francocentric Vision of Charlotte Smith's Later Works".

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presentation of nature has been discussed as providing a contrast to other Romantic poetry, especially that of

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poem. In this reading, it has been suggested that the incomplete elements are the missing memoir or preface.

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said that "as a descriptive writer, either in verse or prose, was surpassed by few." In 1808, a review in

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has been adapted to music by composer Amanda Jacobs and scholar Elizabeth A. Dolan as "The Song Cycles of

975: 847: 459: 204: 197: 146: 42: 957:(1773), which present compassion, sympathy, and reason in terms of gendered binaries that Smith rejects. 761:

favour of smuggling, now that war with France has increased the demand for smuggled goods. The poem thus

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challenges his poetic priorities and aesthetics, especially criticizing his self-absorbed abstractions.

1124:" were recorded live at its premiere at the British Women Writers Association Conference hosted by the 768:

However, Smith is also realistic about the daily hard work required for rural life. She explores "the

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Stanton, Judith (2006). "Review of Charlotte Smith: Romanticism, Poetry, and the Culture of Gender".

424: 315:. Throughout the poem, the speaker imagines or remembers Beachy Head and the surrounding area of the 228: 577:(1784), had been an influential early text in the literary movement which would come to be known as 3375: 607:, but in a way that is "inflected by a desire to challenge social constructions of individuality." 2902: 2361:

The Feminist Companion to Literature in English: Women Writers from the Middle Ages to the Present

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is noted for its "microscopic" attention to the detailed reality of plants and fossils, embracing

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challenges some conventions of Romantic poetry. For example, the poem evokes the Romantic idea of

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Erchinger, Phillip (2018). "Science, Footnotes, and the Margins of Poetry in Percy B. Shelley's

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One distinctive element of Smith's treatment of nature is her attention to scientific accuracy.

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Landry, Donna (January 2000). "Green Languages? Women Poets as Naturalists in 1653 and 1807".

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Smith's political philosophy was influenced by French philosophers and the ideals of radical

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A major eighteenth century aesthetic framework was the opposition between the beautiful (or

1057: 932: 810: 675: 662: 595: 573: 559: 523: 483: 466:, suggesting it could be interpreted as Smith herself. The speaker looks at the events at 433: 383: 335: 320: 220: 208: 178: 162: 142: 2892:

Radu, Anca-Raluca (2017). "Charlotte Smith, Beachy Head (1807)". In Haekel, Ralf (ed.).

1159:, as a new way of writing about nature exemplified by William Wordsworth and John Clare. 1097:"strikes distinctly modern chords" from both a psychological and ecological standpoint. 1087:

Charlotte Smith and the Sonnet: Form, Place and Tradition in the Late Eighteenth Century

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Charlotte Smith and the Sonnet Form: Place and Tradition in the Late Eighteenth Century

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Menely, Tobias (2017). "Late Holocene Poetics: Genre and Geohistory in Beachy Head".

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as an important culmination of Smith's poetic development. In 2019, Bethan Roberts'

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in 1803, the year that England and France ended their one year of peace between the

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Smith composed sixty-four notes to accompany the poem, which appeared collected as

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Eighteenth Century Women Poets and their Poetry: Inventing Agency, Inventing Genre

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Lokke, Kari (2008). "The Figure of the Hermit in Charlotte Smith's Beachy Head".

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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

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Ruwe, Donelle (1999). "Charlotte Smith's Sublime: Feminine Poetics, Botany, and

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Labbe, Jacqueline (2017). "Charlotte Smith, Beachy Head". In Wu, Duncan (ed.).

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to add more verses to the poem, while others consider the poem to be complete.

3360: 3348: 3340: 3316: 2969:. London: Paris & New York, Cassell & company limited. pp. 64–73. 2955: 2795: 2653: 2554: 940: 884: 680: 405: 3303:

Zimmerman, Sarah (2007). "Varieties of Privacy in Charlotte Smith's Poetry".

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Benis, Toby R. (2012-04-12). "Excursion Poem". In Burwick, Frederick (ed.).

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As the nineteenth century went on, Smith's reputation and the importance of

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Ruwe, Donelle (2016). "Charlotte Smith's Beachy Head and the Lyric Mode".

2525: 2811: 748: 738: 695: 416: 327: 300: 3169: 2975: 2778: 2510:: Charlotte Smith's Geological poetics and the grounds of the present". 3116: 2757: 2275: 757: 709: 446: 420: 396:

fragment", and others have also interpreted the poem as an intentional

312: 256: 3178: 3016: 2796:"'A language that is ever green': The Ecological Vision of John Clare" 2383:

British Women Writers and the French Revolution: Citizens of the World

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in 2014, and took two years to complete. In 2017, "The Song Cycles of

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Inquiry into Those Kinds of Distress which Excite Agreeable Sensations

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Revolutionary Women Writers: Charlotte Smith and Helen Maria Williams

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Specimens of British Poetesses: Selected and Chronologically Arranged

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The Broadview Anthology of British Literature: The Age of Romanticism

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Specimens of British Poetesses: Selected and Chronologically Arranged

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as the means through which to understand nature. Smith's interest in

375: 149:, published in 1807, the year after her death, as part of the volume 2741: 2259: 1081:, was the first book-length study of Smith's poetry, and emphasized 3278: 3257: 326:

The sixth stanza returns to the present day, beginning an extended

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Kelley, Theresa (2004). "Romantic Histories: Charlotte Smith and

2341:. Vol. 4 (Second ed.). Broadview Press. pp. 44–45. 3124:

Singer, Katherine (2012-06-23). "Charlotte Smith: Beachy Head".

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Nineteenth-Century Literature Criticism, Edited by Lynn M. Zott

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Charlotte Smith: Romanticism, Poetry, and the Culture of Gender

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Charlotte Smith: Romanticism, Poetry and the Culture of Gender

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making it difficult to write, and sometimes immobilizing her.

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English Writing and Culture of the Romantic Period, 1789-1837

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English Writing and Culture of the Romantic Period, 1789-1837

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waned. Smith's legacy instead focused on her earliest poems,

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Haekel, Ralf (2017). "Charlotte Smith, Beachy Head (1807)".

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uncertainty about the nature of the earth and its history.

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throughout to address the subjects it describes, including

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ABO: Interactive Journal for Women in the Arts, 1640-1830

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A Century of Sonnets: The Romantic-Era Revival, 1750-1850

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England and France were at war from 1792 to 1802 in the

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The first page of endnotes in the 1807 first edition of

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in which living humans are unimportant. The theory of

2976:"Ornithological Knowledge and Literary Understanding" 2887:. University of Philadelphia Press. pp. 193–209. 2602:: Science and the Dual Affliction of Minute Sympathy" 1837: 1835: 1631: 1629: 1627: 1568: 1566: 1564: 1562: 1560: 1558: 1556: 1089:

similarly examined all of Smith's poetry and treated

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is the first Romantic dependent fragment poem, with

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This article is about the poem. For other uses, see

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English poetesses: a series of critical biographies

1771: 1769: 1767: 1658: 1656: 1543: 1541: 1539: 1208: 1206: 1181: 1179: 1177: 1175: 122: 107: 95: 85: 77: 69: 61: 32: 3181:The Song Cycles of Charlotte Smith's "Beachy Head" 1328: 1326: 1324: 2661:Knowles, Claire; Horrocks, Ingrid, eds. (2017). 2287:. Baltimore: The Johns Hopkins University Press. 1698: 1686: 1674: 1248: 1149:The concept of "green language" was defined in 737:"Rest of the Shepherds," an eighteenth-century 2346:Blank, Antje (2003-06-23). "Charlotte Smith". 1589: 458:The first half of the poem is narrated from a 371:The poem consists of 742 lines, in twenty-one 8: 3032:: 337 – via Gale Literature Criticism. 2470:Feldman, Paula R.; Robinson, Daniel (1999). 2390:Curran, Stuart, ed. (1993). "Introduction". 1710: 1530: 960:Poetically, Smith is strongly influenced by 1126:University of North Carolina at Chapel Hill 2417:. Pickering & Chatto. p. 203-217. 2404:: CS1 maint: location missing publisher ( 716:have described Smith as "one of the first 161:As a Romantic poem, it is notable for its 50: 29: 3277: 2940:. Liverpool: Liverpool University Press. 2617: 2591:. Ithaca, N.Y.: Cornell University Press. 2246:: The Romantic Fragment Poem As Mosaic". 2153: 1988: 1949: 1446: 1344: 1229: 968:. Darwin's scientific poetry, especially 2165: 2141: 2111: 2099: 1853: 1618: 1315: 1294: 2506:Goodman, Kevis (2014). "Conjectures on 2370:Nineteenth-Century Literature Criticism 2303:The Encyclopedia of Romantic Literature 2225: 2189: 2177: 2015: 1976: 1925: 1647: 1606: 1515: 1494: 1467: 1197: 1171: 1142: 1022:Annual Review and History of Literature 632:and identified in a note by Smith as a 423:poetry. It is also often considered a " 2415:Charlotte Smith in British Romanticism 2397: 2294:Charlotte Smith in British Romanticism 2213: 2051: 2039: 1937: 1913: 1901: 1889: 1877: 1865: 1841: 1814: 1802: 1758: 1746: 1734: 1635: 1572: 1402: 1279: 530:. Beachy Head was considered a likely 381:Unlike Smith's most famous poems, her 2911:Proceedings Anglistentag 2012 Potsdam 2499:Charlotte Smith: A Critical Biography 2474:. New York: Oxford University Press. 2305:. Oxford, UK: John Wiley & Sons. 2201: 2087: 2075: 2063: 2027: 2003: 1722: 1479: 1431: 1414: 1378: 1363: 1212: 1185: 7: 2126: 1964: 1826: 1790: 1775: 1662: 1547: 1390: 1332: 1028:described the collection containing 408:' two fragmented epics as the last. 234:Smith continued to write and revise 2663:Charlotte Smith: Major Poetic Works 2443:European Journal of English Studies 842:" (1818), a painting depicting the 712:." Literary scholars interested in 14: 3256:Wallace, Anne D. (January 2019). 3177:Stanton, Judith Phillips (2018). 2589:Romantic Rocks, Aesthetic Geology 781:The poem has been described as a 777:Human history and geological time 3339: 2913:. Universität Tübingen: 99–114. 2332:(3rd ed.). Broadview Press. 1069:in its biography of Smith. Even 1065:, for example, does not mention 2894:Handbook of British Romanticism 2800:University of Toronto Quarterly 2580:Handbook of British Romanticism 2311:10.1002/9781118300916.wberle012 2283:Backscheider, Paula R. (2005). 830:Alternative form of the sublime 334:The eleventh stanza introduces 56:Title page of the first edition 2896:. De Gruyter Inc. p. 443. 2394:. New York. pp. xix–xxix. 986:, identified in her endnotes. 571:Smith's first published work, 411:The poem combines elements of 25:Poem by Charlotte Turner Smith 1: 3345:Beachy Head: with Other Poems 3140:Beachy Head: With Other Poems 2901:Reinfandt, Christoph (2013). 2849:10.1080/10509585.2017.1314669 2670:Labbe, Jacqueline M. (2003). 2642:Nineteenth-Century Literature 2631:. Northcote House Publishers. 2455:10.1080/13825577.2018.1513709 861:, especially as described in 840:Wanderer Above the Sea of Fog 729:Pastoral critique of commerce 616:Naturalist approach to nature 3396:Poems published posthumously 3080:10.1080/10509585.2014.938230 2730:Huntington Library Quarterly 2392:The Poems of Charlotte Smith 2248:Huntington Library Quarterly 883:or Shelley's description of 506:An illustration of the 1690 211:and novelist, began writing 20:Beachy Head (disambiguation) 3212:10.1080/1050958042000180737 2963:Robertson, Eric S. (1883). 2794:McKusick, James C. (1991). 2676:Manchester University Press 2328:Black, Joseph, ed. (2018). 2242:Anderson, John M. (2000). " 1699:Feldman & Robinson 1999 1687:Feldman & Robinson 1999 1675:Feldman & Robinson 1999 1249:Knowles & Horrocks 2017 978:. The poem also alludes to 743:Jean-Baptiste-Henri Deshays 558:beginning 1015 AD, and the 249:Beachy Head and Other Poems 151:Beachy Head and Other Poems 3412: 3183:by Amanda Jacobs (review)" 2919:10.15496/publikation-13233 2703:10.1002/9781405165396.ch19 2695:A Companion to Romanticism 2497:Fletcher, Loraine (1998). 989:Among the Romantic poets, 946:Theory of Moral Sentiments 556:Danish conquest of England 514:Threats of French invasion 17: 3317:10.1080/10509580701646800 3137:Smith, Charlotte (1807). 3126:The Literary Encyclopedia 2654:10.1525/ncl.2004.59.3.281 2555:10.1080/10509580902840475 2381:Craciun, Adriana (2005). 2363:. Yacle University Press. 2348:The Literary Encyclopedia 2296:. Pickering & Chatto. 899:The doubled hermit figure 628:, a species mentioned in 624:A 1795 illustration of a 552:Roman conquest of Britain 520:French Revolutionary Wars 217:French Revolutionary Wars 49: 39: 3305:European Romantic Review 3229:European Romantic Review 3200:European Romantic Review 3068:European Romantic Review 3051:10.1215/15314200-3435916 2936:Roberts, Bethan (2019). 2885:Re-Visioning Romanticism 2864:Morton, Timothy (2014). 2837:European Romantic Review 2587:Heringman, Noah (2004). 2543:European Romantic Review 2422:Dyce, Alexander (1825). 2359:Blain, Virginia (1990). 2216:, pp. xxvii–xxviii. 1156:The Country and the City 939:. She also engages with 460:first-person perspective 2619:10.5038/2157-7129.4.1.2 2596:Holt, Kelly M. (2014). 1036:included extracts from 679:, which the later poet 591:Samuel Taylor Coleridge 536:British countermeasures 3241:10.1080/10509580212764 3128:. Vol. 1.2.1.06: 2974:Rowlett, John (1999). 2627:Keane, Angela (2012). 2437:and Charlotte Smith's 2350:. Vol. 1.2.1.06: 976:Linnean classification 971:The Love of the Plants 928: 850: 848:Caspar David Friedrich 801: 745: 718:social ecologist poets 636: 528:invasion by the French 510: 368: 279: 205:Charlotte Turner Smith 201: 198:Charlotte Turner Smith 147:Charlotte Turner Smith 43:Charlotte Turner Smith 3266:The Wordsworth Circle 3187:Keats-Shelley Journal 3150:Keats-Shelley Journal 3143:. London: J. Johnson. 3005:Essays in Romanticism 2866:Material Ecocriticism 2767:The Wordsworth Circle 2526:10.1353/elh.2014.0033 923: 837: 795: 736: 623: 554:beginning 48 AD, the 540:Battle of Beachy Head 508:Battle of Beachy Head 505: 363: 274: 196: 2980:New Literary History 2812:10.3138/utq.61.2.226 275:The chalk cliffs of 229:rheumatoid arthritis 183:French revolutionary 141:poem by the English 3386:Philosophical poems 2779:10.1086/TWC24045185 2598:"Charlotte Smith's 2102:, pp. 190–191. 1590:Gurton‐Wachter 2009 1016:Early reception of 800:fossilized in chalk 3117:10.1111/lic3.12179 3105:Literature Compass 2665:. Broadview Press. 2228:, p. 224–226. 1737:, p. 203–204. 1153:'s 1973 monograph 1118:Hampshire, England 1040:in his anthology, 991:William Wordsworth 929: 851: 802: 746: 642:William Wordsworth 637: 587:William Wordsworth 511: 369: 280: 202: 3354:First edition of 3017:10.3828/EIR.7.1.7 2947:978-1-78962-434-2 2928:978-3-86821-488-8 2875:978-0-253-01395-8 2712:978-1-4051-6539-6 2481:978-0-19-511561-1 2320:978-1-118-30091-6 2090:, p. 222-23. 1749:, p. xxviii. 1711:Black et al. 2010 1531:Backscheider 2005 1063:English Poetesses 816:Nicolas Desmarest 605:individual genius 398:literary fragment 130: 129: 111:January 1807 91:iambic pentameter 3403: 3391:Unfinished poems 3343: 3328: 3299: 3281: 3252: 3223: 3194: 3173: 3144: 3133: 3120: 3099: 3062: 3033: 3020: 2995: 2970: 2959: 2932: 2897: 2888: 2879: 2860: 2831: 2790: 2761: 2724: 2689: 2666: 2657: 2632: 2623: 2621: 2592: 2583: 2574: 2537: 2502: 2493: 2466: 2429: 2418: 2409: 2403: 2395: 2386: 2377: 2364: 2355: 2342: 2333: 2324: 2297: 2288: 2279: 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1967:, p. 127. 1954: 1952:, p. 276. 1950:Heringman 2004 1942: 1940:, p. 131. 1930: 1918: 1916:, p. 137. 1906: 1904:, p. 135. 1894: 1892:, p. 147. 1882: 1880:, p. 483. 1870: 1868:, p. 489. 1858: 1846: 1831: 1819: 1817:, p. 487. 1807: 1805:, p. 488. 1795: 1793:, p. 300. 1780: 1763: 1751: 1739: 1727: 1715: 1703: 1691: 1679: 1667: 1652: 1650:, p. 989. 1640: 1623: 1611: 1594: 1577: 1552: 1535: 1520: 1499: 1484: 1472: 1451: 1447:Heringman 2004 1436: 1419: 1407: 1405:, p. 272. 1395: 1393:, p. 443. 1383: 1381:, p. 221. 1368: 1349: 1347:, p. 492. 1345:Zimmerman 2007 1337: 1320: 1299: 1284: 1253: 1234: 1230:Erchinger 2018 1217: 1202: 1190: 1170: 1168: 1165: 1162: 1161: 1141: 1140: 1138: 1135: 1133: 1130: 1102: 1099: 1034:Alexander Dyce 1026:British Critic 1013: 1010: 966:Erasmus Darwin 962:William Cowper 937:egalitarianism 925:Erasmus Darwin 917: 914: 900: 897: 831: 828: 787:historiography 778: 775: 730: 727: 634:Sterna hirundo 617: 614: 612: 609: 568: 565: 515: 512: 499: 496: 478:The poem uses 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Rodd. 2376:: 155–159. 2235:References 2202:Blain 1990 2088:Labbe 2017 2076:Labbe 2017 2064:Labbe 2003 2028:Lokke 2008 2004:Lokke 2008 1723:Labbe 2003 1480:Black 2018 1432:Smith 1807 1415:Benis 2012 1379:Labbe 2017 1364:Lokke 2008 1213:Blank 2003 1186:Keane 2012 941:Adam Smith 916:Influences 909:egocentric 885:Mont Blanc 857:) and the 770:Petrarchan 692:Mont Blanc 681:John Clare 651:Mont Blanc 498:Background 490:common in 480:apostrophe 406:John Keats 307:cliffs in 289:apostrophe 163:naturalist 137:is a long 3325:144741513 3296:167104335 3288:0043-8006 3249:129504062 3235:: 77–93. 3220:170774085 3162:0453-4387 3096:145513731 3088:1050-9585 3059:147533436 2992:0028-6087 2857:148606166 2828:162295216 2820:1712-5278 2787:160075091 2750:0018-7895 2721:244174741 2571:143498569 2563:1050-9585 2534:161287287 2490:252607495 2463:150067637 2435:Queen Mab 2400:cite book 2268:0018-7895 2127:Dyce 1825 1965:Ruwe 1999 1827:Holt 2014 1791:Ruwe 2016 1776:Ruwe 1999 1663:Bray 1993 1548:Holt 2014 1391:Radu 2017 1333:Ruwe 2016 1167:Citations 1012:Reception 877:River Wye 824:plutonism 820:neptunism 807:deep time 798:spondylus 763:eulogizes 532:beachhead 464:footnotes 185:ideals. 3170:30210660 3039:Pedagogy 754:imperial 749:Pastoral 739:pastoral 696:pedagogy 599:(1798). 447:endnotes 442:(1814). 417:pastoral 328:pastoral 301:headland 283:Synopsis 261:fragment 219:and the 78:Language 2907:(1807)" 2758:3817613 2276:3817616 859:sublime 844:sublime 758:slavery 710:ecology 421:georgic 376:stanzas 313:England 257:epitaph 200:in 1792 167:sublime 115:1807-01 113: ( 81:English 73:England 70:Country 62:Written 3323: 3294: 3286: 3247: 3218: 3168: 3160: 3094: 3086: 3057: 2990: 2954: 2944: 2925: 2872: 2855: 2826: 2818: 2785: 2756: 2748: 2719: 2709: 2682: 2569: 2561: 2532: 2488: 2478: 2461: 2317: 2274: 2266: 667:botany 419:, and 3347:. in 3321:S2CID 3292:S2CID 3245:S2CID 3216:S2CID 3166:JSTOR 3092:S2CID 3055:S2CID 2853:S2CID 2824:S2CID 2783:S2CID 2754:JSTOR 2567:S2CID 2530:S2CID 2459:S2CID 2272:JSTOR 1137:Notes 846:, by 394:lyric 351:Style 305:chalk 303:with 295:" of 123:Lines 87:Meter 3284:ISSN 3158:ISSN 3084:ISSN 2988:ISSN 2952:OCLC 2942:ISBN 2923:ISBN 2870:ISBN 2816:ISSN 2746:ISSN 2717:OCLC 2707:ISBN 2680:ISBN 2559:ISSN 2486:OCLC 2476:ISBN 2406:link 2315:ISBN 2264:ISSN 982:and 964:and 935:and 822:and 690:and 669:and 589:and 488:muse 413:epic 293:muse 267:Poem 65:1806 3359:at 3313:doi 3274:doi 3237:doi 3208:doi 3113:doi 3076:doi 3047:doi 3030:125 3013:doi 3003:". 2915:doi 2845:doi 2808:doi 2775:doi 2738:doi 2699:doi 2650:doi 2640:". 2614:doi 2551:doi 2522:doi 2513:ELH 2451:doi 2441:". 2374:115 2307:doi 2256:doi 1116:in 953:'s 943:'s 887:in 879:in 865:'s 720:." 648:'s 644:or 593:'s 126:742 41:by 3372:: 3319:. 3309:18 3307:. 3290:. 3282:. 3270:50 3268:. 3264:. 3243:. 3233:12 3231:. 3214:. 3204:15 3202:. 3191:67 3189:. 3185:. 3164:. 3154:55 3152:. 3109:11 3107:. 3090:. 3082:. 3072:25 3070:. 3053:. 3043:16 3041:. 3028:. 3007:. 2984:30 2982:. 2978:. 2950:. 2921:. 2909:. 2851:. 2841:28 2839:. 2822:. 2814:. 2804:61 2802:. 2798:. 2781:. 2771:39 2769:. 2752:. 2744:. 2734:63 2732:. 2715:. 2705:. 2678:. 2674:. 2646:59 2644:. 2612:. 2608:. 2604:. 2565:. 2557:. 2547:20 2545:. 2528:. 2518:81 2516:. 2484:. 2457:. 2447:22 2445:. 2402:}} 2398:{{ 2372:. 2313:. 2270:. 2262:. 2252:63 2250:. 2134:^ 2119:^ 1996:^ 1957:^ 1834:^ 1783:^ 1766:^ 1655:^ 1626:^ 1597:^ 1580:^ 1555:^ 1538:^ 1523:^ 1502:^ 1487:^ 1454:^ 1439:^ 1422:^ 1371:^ 1352:^ 1323:^ 1302:^ 1287:^ 1256:^ 1237:^ 1220:^ 1205:^ 1174:^ 796:A 704:. 654:. 475:. 415:, 387:, 323:. 311:, 299:, 251:. 3327:. 3315:: 3298:. 3276:: 3262:" 3251:. 3239:: 3222:. 3210:: 3179:" 3172:. 3132:. 3119:. 3115:: 3098:. 3078:: 3061:. 3049:: 3019:. 3015:: 3009:7 2994:. 2958:. 2931:. 2917:: 2878:. 2859:. 2847:: 2830:. 2810:: 2789:. 2777:: 2760:. 2740:: 2723:. 2701:: 2688:. 2656:. 2652:: 2622:. 2616:: 2610:4 2573:. 2553:: 2536:. 2524:: 2492:. 2465:. 2453:: 2408:) 2354:. 2323:. 2309:: 2278:. 2258:: 2192:. 2144:. 2054:. 2042:. 1991:. 1928:. 1856:. 1844:. 1778:. 1761:. 1713:. 1677:. 1665:. 1638:. 1621:. 1609:. 1592:. 1575:. 1550:. 1533:. 1518:. 1497:. 1482:. 1470:. 1449:. 1434:. 1417:. 1366:. 1335:. 1318:. 1297:. 1282:. 1251:. 1232:. 1215:. 1188:. 1045:, 838:" 117:) 22:.

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