Bathsua Makin

Author(s):  
Fran Teague

Bathsua Makin (b. 1600–d. 1681?) was a child prodigy, writer, and noted educator. Her father Henry Reginald was a schoolmaster. Her first book, Musa Virginea, appeared when she was 16; a second published work on shorthand is undated, but appeared before 1619. She followed her father into education, working as tutor for the Princess Elizabeth, daughter of Charles I, and later for the Countess of Huntingdon and her children. Makin’s specialty was languages, so she taught Princess Elizabeth Latin, Hebrew, Greek, French, and Italian by the time the child was nine, and she taught Latin, Greek, and Hebrew to the Huntingdon family. Finally, An Essay to Revive the Antient Education of Gentlewomen (Essay) is attributed to Makin by many scholars. The Essay says Makin planned to open a school in 1673, though nothing further is heard of the school. It also provides information about education, catalogues learned women, and offers a spirited defense of women’s abilities, as well as an attack on misogyny. Makin’s importance lies in the way she exemplifies the problems of research on early modern women writers, her work as a Latin poet, her essay on education, as well as her reception. Her brother-in-law John Pell once remarked that “she is a woman of great acquaintance.” Pell was one of Samuel Hartlib’s correspondence circle, and Hartlib mentions both Makin and her father in his papers. Surviving letters and the Hartlib papers link her to notable men: Sir Symonds D’Ewes, Carew Ralegh, Robert Boyle, and several prominent London physicians. Around 1640, Anna Maria van Schurman wrote Makin, and they continued corresponding until at least 1645 and possibly until 1648. Makin almost certainly knew other learned Englishwomen, including Rachel Speght, Anne Halkett, Dorothy Moore Dury, and Katherine Jones, Lady Ranelagh, though none of these is listed in her catalogues of learned ladies, perhaps because they demurred. Her influence on later women is less clear. The Countess of Huntingdon’s granddaughter, Lady Elizabeth Hastings, was Mary Astell’s sponsor; another was Lady Catherine Jones, daughter of Katherine Jones, Lady Ranelagh. This article does not include the many anthologies that include passages from the Essay speaking to such concerns as politics, women’s lives, conduct books, religion, classical studies, and so forth. Simply using a search engine like Google to find the search terms “Bathsua Makin” and “anthology” will yield around 9,000 results, and the range of topics is broad and varied.

2019 ◽  
Vol 58 (4) ◽  
pp. 677-683
Author(s):  
Alexandra Shepard ◽  
Tim Stretton

AbstractThis introduction places the articles featured in this special issue of the Journal of British Studies within the context of recent scholarship on late medieval and early modern women and the law. It is designed to highlight the many boundaries that structured women's legal agency in Britain, including the procedural boundaries that filtered their voices through male advisers and officials, the jurisdictional boundaries that shaped litigation strategies, the constraints surrounding women's appearance as witnesses in court, the gendered differentiation of rights determined by primogeniture and marital property law, and the boundaries between legal and extralegal activity. Emphasizing the importance of a nuanced approach, it rejects the construction of women's litigation simply as a form of resistance to patriarchal norms and also urges caution against overestimating or oversimplifying the choices available to women in legal disputes or their latitude to operate as autonomous individuals. Gender intersected in British courts with locality, resources, jurisdiction, social status, and familial, religious, and political affiliations to inform different women's access to justice, which involved negotiations between unequal actors within various constraints and in complex alignment with multiple and often competing interests.


Early Theatre ◽  
2015 ◽  
Vol 18 (2) ◽  
Author(s):  
Yasmin Arshad ◽  
Helen Hackett ◽  
Emma Whipday

<p><em>Recent interest in staging so-called ‘closet dramas’ by early modern women has bypassed Samuel Daniel’s </em><em>Cleopatra</em><em>, because of the author’s sex. Yet this play has strong female associations: it was commissioned by Mary Sidney Herbert, and is quoted in a Jacobean portrait of a woman (plausibly Lady Anne Clifford) in role as Cleopatra. We staged a Jacobean-style production of </em><em>Cleopatra </em><em>at Goodenough College, London, then a performance of selected scenes at Knole, Clifford’s home in Kent. This article presents the many insights gained about the dramatic power of the play and its significance in giving voices to women.</em></p>


1997 ◽  
Vol 50 (2) ◽  
pp. 411-442 ◽  
Author(s):  
Catharine Randall

Il fit sa confession de foi avouantqu'il avoit beaucoup reçu et peu profité.Et comme on lui répondait qu'il avoit fidèlement employé son talent:“Eh! qu'y a-t-il du mien?” s'écria-t-il.“ne dites pas moi, mais Dieu par moi.”— Philippe Du Plessis Mornay, on his deathbed, 1623The strange case of French Calvinist women writers poses one of the more puzzling questions that scholars face in their efforts to reanimate the lost or silenced voices of early modern women. The pool of possibilities for the examination of these Huguenot writers is paltry, due to many factors, all of which obstruct a clear hearing of their voices. Admittedly, since women writers are relatively rare in sixteenth-century Calvinism, there is an inevitable temptation to stretch meager evidence too far.


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