Poems (1686) — Key Ideas to Explore

Self-Conscious Voice and the Plagiarism Complaint

Killigrew's poem 'Upon the saying that my Verses were made by another' directly addresses the accusation that her poems were not her own. She writes of being 'Rifl'd like her, each one my Feathers tore,' comparing herself to Aesop's painted jay. This metaphor recurs in her work, highlighting a persistent anxiety about authorship. The poem's tone shifts from wounded pride to defiance: 'So Deathless Numbers from my Tuneful Lyre / Do ever flow.' Killigrew invokes Cassandra's fate—to speak truth and not be believed—suggesting she expects her vindication to come too late. This self-awareness about her reputation as a female poet in a male-dominated literary scene gives the collection a distinctive, personal edge.

Pastoral Dialogues and Shifting Perspectives

The volume includes three pastoral dialogues, each using the form to explore love, loss, and desire. In these poems, Killigrew employs alternating speakers to create dramatic tension. The dialogues often feature nymphs and shepherds, but the language is more direct than the conventional pastoral mode. For instance, one dialogue includes lines that contrast 'Rapture and Delight' with 'Soft Fears,' showing an awareness of love's deceptions. The structure allows Killigrew to present multiple viewpoints without committing to a single narrative voice. This technique gives the dialogues a dynamic quality, as the speakers' emotions shift within the same poem.

Epigrams and the Art of Compression

Killigrew's epigrams, such as 'Upon being contended with a Little' and 'On Billinda,' demonstrate her skill in concise, pointed verse. These short poems often deliver a moral or satirical twist. 'On an Atheist' and 'On Galla' use wit to critique hypocrisy and vanity. The epigrams are placed early in the collection, setting a tone of sharp observation. Unlike the longer, more introspective poems, these pieces show Killigrew engaging with social types and behaviors. Their brevity contrasts with the expansive complaints and odes, revealing a poet capable of both sustained reflection and quick, epigrammatic thrusts.

Readers approaching Killigrew's Poems (1686) should attend to the interplay between her public persona and private doubts. The facsimile edition includes an introduction that contextualizes her work within Restoration literary culture. Pay particular attention to how Killigrew uses classical references and biblical imagery to assert her poetic authority. The collection rewards careful reading of its structural variety, from epigrams to dialogues, as each form reveals a different facet of her craft.

There’s something touching about how Killigrew wrestles with praise and theft in Poems—she knew her words might wander off without her. I found myself thinking of other stray verses, those that never quite found a settled home. Fugitive Poetry — Background and Themes carries that same quiet ache, like catching a voice half-remembered from another room.