The Warrior's Return and Other Poems
by Opie, Amelia
- Used
- first
- Condition
- See description
- Seller
-
Pasadena, California, United States
Payment Methods Accepted
About This Item
London: Longman, Hurst, Rees & Orme, 1808. First edition. Contemporary full calf with gilt and morocco to spine. All edges brightly gilt. Marbled endpapers. Some gentle rubbing and slight bowing to boards, but pleasing and tight overall. Bookplate of J. O. Edwards to front pastedown. Inoffensive foxing to preliminary and terminal leaves, with text block fresh and unmarked. Measuring 155 x 90mm and collating [6], 185, [1]: complete, including frontis. The first of two editions released in the same year, and preceding the American first edition, it is scarce institutionally and in trade. One of two copies currently on the market, OCLC reports only 5 institutional copies. The true first has not come to auction, with the three appearances in the modern auction record all being the U.S. printing.
From the start of her literary career, Amelia Opie's work stood out for its fascination with philosophical gray areas. The blurring of gender, the pursuit of desire, and the experience of adventure earned her a reputation for "uniting manly wisdom [with] female gentleness and attractive manners" (Brightwell). Encouraged by her mother to transform fear of the unfamiliar into learning and activism, in her adulthood Opie joined the Godwin circle and collaborated with Mary Wollstonecraft and Sarah Siddons to use her work for social progress. One of her mature works, The Warrior's Return draws together an assortment of poetry that speak to current events in the world; and the title piece in particular participates in a wider poetic dialogue among women about war. Preceding Laetitia Barbauld's Eighteen Hundred and Eleven by four years, Opie "criticized the bloodiness of the wars with France, and the political vanity that had led Britian to enter unnecessary wars" (Saunders). Indeed, while she acknowledges that men in battle face sacrifice, it does not carry real meaning: "He fought like a hero! But VAINLY he fought." A bold move, Opie did provide herself with some protection. Shielding her piece with a thin "medieval screen, and the contemporary references obvious, it nevertheless provided a safeguard that the poem is a romance about the Crusades" (Saunders). Ultimately, "Opie's use of historical distance meant that...she avoided the response Barbauld endured four years later. In doing so, she set a precedent for literary descendants throughout the century. Other women turned to Opie's example in the post Eighteen Eleven backlash, using medievalism to question wars and women's political roles" (Saunders).
From the start of her literary career, Amelia Opie's work stood out for its fascination with philosophical gray areas. The blurring of gender, the pursuit of desire, and the experience of adventure earned her a reputation for "uniting manly wisdom [with] female gentleness and attractive manners" (Brightwell). Encouraged by her mother to transform fear of the unfamiliar into learning and activism, in her adulthood Opie joined the Godwin circle and collaborated with Mary Wollstonecraft and Sarah Siddons to use her work for social progress. One of her mature works, The Warrior's Return draws together an assortment of poetry that speak to current events in the world; and the title piece in particular participates in a wider poetic dialogue among women about war. Preceding Laetitia Barbauld's Eighteen Hundred and Eleven by four years, Opie "criticized the bloodiness of the wars with France, and the political vanity that had led Britian to enter unnecessary wars" (Saunders). Indeed, while she acknowledges that men in battle face sacrifice, it does not carry real meaning: "He fought like a hero! But VAINLY he fought." A bold move, Opie did provide herself with some protection. Shielding her piece with a thin "medieval screen, and the contemporary references obvious, it nevertheless provided a safeguard that the poem is a romance about the Crusades" (Saunders). Ultimately, "Opie's use of historical distance meant that...she avoided the response Barbauld endured four years later. In doing so, she set a precedent for literary descendants throughout the century. Other women turned to Opie's example in the post Eighteen Eleven backlash, using medievalism to question wars and women's political roles" (Saunders).
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Details
- Bookseller
- Whitmore Rare Books (US)
- Bookseller's Inventory #
- 4473
- Title
- The Warrior's Return and Other Poems
- Author
- Opie, Amelia
- Book Condition
- Used
- Quantity Available
- 1
- Edition
- First edition
- Publisher
- Longman, Hurst, Rees & Orme
- Place of Publication
- London
- Date Published
- 1808
Terms of Sale
Whitmore Rare Books
15 day return guarantee, with full refund if an item arrives damaged or not matching the description.
About the Seller
Whitmore Rare Books
Biblio member since 2009
Pasadena, California
About Whitmore Rare Books
We operate a retail shop in "Old Town" Pasadena open normal business hours Tuesday through Saturday.
Glossary
Some terminology that may be used in this description includes:
- Calf
- Calf or calf hide is a common form of leather binding. Calf binding is naturally a light brown but there are ways to treat the...
- Bookplate
- Highly sought after by some collectors, a book plate is an inscribed or decorative device that identifies the owner, or former...
- Spine
- The outer portion of a book which covers the actual binding. The spine usually faces outward when a book is placed on a shelf....
- Edges
- The collective of the top, fore and bottom edges of the text block of the book, being that part of the edges of the pages of a...
- Gilt
- The decorative application of gold or gold coloring to a portion of a book on the spine, edges of the text block, or an inlay in...
- Text Block
- Most simply the inside pages of a book. More precisely, the block of paper formed by the cut and stacked pages of a book....
- Rubbing
- Abrasion or wear to the surface. Usually used in reference to a book's boards or dust-jacket.
- Tight
- Used to mean that the binding of a book has not been overly loosened by frequent use.
- Morocco
- Morocco is a style of leather book binding that is usually made with goatskin, as it is durable and easy to dye. (see also...
- Leaves
- Very generally, "leaves" refers to the pages of a book, as in the common phrase, "loose-leaf pages." A leaf is a single sheet...
- First Edition
- In book collecting, the first edition is the earliest published form of a book. A book may have more than one first edition in...