Returning to her home on Paradise Row one chill October afternoon in 1696, the philosopher and writer Mary Astell finds a young girl has collapsed just outside her front door. Feverish and insensible, the girl is brought inside and put to bed. Once she has been revived, she refuses to give any account of herself, and she soon proves to be a difficult and unwelcome patient.A stern, quiet woman who spends her days in meditation and study, Mary Astell is confronted by a series of problems that disrupts her peaceful life and challenges her calm certitudes. To solve the mystery surrounding the young stranger who has arrived on Paradise Row, Mary Astell must negotiate not only the vast city of London but also the obstacles women face there-as she makes her way through the dirt and danger of the crowded streets, Astell must also find a way through the political, legal, religious, and commercial institutions designed by those who have little interest, much less sympathy, for anyone who is not rich and powerful. And male.

On Paradise Row (A Mary Astell Mystery)

Literature & Fiction

Jansen, Sharon L.

Genre Fiction

Saltar's Point Press

Throughout her life, in her personal relationships as well as in her role as a public intellectual, the English thinker Mary Astell (1666-1731) supported women, wrote to and for women, and, to the greatest extent possible, moved from advocacy for to action on behalf of women. In her first published work, A Serious Proposal to the Ladies (London 1694), Astell proposed the establishment of an educational institution for women aimed solely at fulfilling their needs, a place where women could withdraw from a harsh and threatening world controlled by men and organized to suit men’s desires, irrespective of women’s. Perhaps nowhere is her feminist position more clearly articulated than on the title page of this, her first publication: she addresses herself to women, her aim is “the advancement of their true and greatest interest,” and she identifies herself as “a lover of her sex.”But, despite its importance, no previously available edition of A Serious Proposal to the Ladies has addressed the complications of Astell’s prose style, and none has added the kind of glossing and notes that will assist student readers in their engagement with her distinctive voice. This edition, designed for classroom use, provides an ample introduction, a carefully modernized text, helpful glosses and notes, and a useful bibliography with references for further reading.

A Serious Proposal to the Ladies

History

Astell, Mary

Historical Study & Educational Resources

Throughout her life, in her personal relationships as well as in her role as a public intellectual, the English thinker Mary Astell (1666-1731) supported women, wrote to and for women, and, to the greatest extent possible, moved from advocacy to action on their behalf. In Some Reflections upon Marriage (London, 1700), Astell focused her attention on the institution of marriage. For Astell, marriage is a divinely ordained state, a “Christian institution,” the only way to perpetuate humankind. But, she asks, “if marriage be such a blessed state, how comes it . . . there are so few happy marriages?” When her analysis is complete, there is not much to recommend the institution, at least from a woman’s perspective. Marriage is necessary since it represents “the only honorable way of continuing mankind.” But, as Astell observes, the woman who marries “ought to lay it down for an indisputable maxim that her husband must govern absolutely and entirely and that she has nothing else to do but to please and obey.” Her radical conclusion? If she cannot accept marriage “as it truly is,” then a woman might choose not to marry: perhaps, Astell suggests, “it is not good for a woman to marry.” Despite the importance of Some Reflections upon Marriage, no previous edition has addressed the complications of Astell’s prose style, and none has added the kind of glossing and notes that will assist student readers in their engagement with her distinctive voice. This edition, designed for classroom use, provides an ample introduction, a carefully modernized text, helpful glosses and notes, and a useful bibliography with references for further reading.

Some Reflections upon Marriage

Parenting & Relationships

Margaret Lucas Cavendish, duchess of Newcastle (1623-1673), began her literary career in 1653, with the publication of a volume of her poems and another of her “philosophical fancies.” Her writing continued at a hectic pace for nearly two decades. She did not limit herself to the genres considered “acceptable” for those few women who dared to publish in the late seventeenth century; instead, she wrote philosophical and scientific works, a utopian romance that has often been called the first work of science fiction in English, a biography of her husband, and her own autobiography. She also published two collections of dramatic works: the first of these, Plays, appeared in 1662, the second, Plays, Never before Printed, in 1668. Cavendish was keenly aware that her comedies and tragedies were unlikely to be acted, at least in her lifetime, but that did not deter her. “To those that do delight in scenes and wit / I dedicate my book,” she writes in a brief poem at the beginning of Plays. She continues, “For all the time my plays a-making were, / My brain the stage, my thoughts were acting there.” Today the most widely read of Cavendish’s plays is The Convent of Pleasure, from Plays, Never before Printed. In this provocative comedy, Cavendish presents us with the delightful Lady Happy, whose determined efforts to avoid the pains of men and marriage lead her to construct a convent where women can devote themselves to enjoying life’s pleasures. The women who retreat with her into the Convent of Pleasure are determined to avoid not only the dangers of men and marriage but also of childbirth and motherhood. Even so, they will not deny themselves the pleasures of love. Inside her convent, Lady Happy dares to imagine a radical alternative to marriage: since men and marriage cause only pain and suffering, perhaps a woman can fulfill her emotional and sexual desires with another woman. When she finds her soul’s mate in a princess (rather than a prince), Lady Happy poses a critical question to herself and to us: “But why may not I love a woman with the same affection I could a man?” This Saltar’s Point Press edition, designed for classroom use, provides readers with an ample introduction to Cavendish’s life and work, a carefully modernized and well-presented text, helpful glosses and notes, a bibliography with references for further reading, and a chronology of Cavendish’s published work.

The Convent of Pleasure

Cavendish, Margaret

Dramas & Plays

When Margaret Cavendish published her first collection of dramatic work in 1662, she was keenly aware that none of her comedies or tragedies was unlikely to be acted, at least in her lifetime--but that did not deter her. “To those that do delight in scenes and wit / I dedicate my book,” she writes at the beginning of the volume entitled, simply, "Plays." As for the hard reality that her plays were not to be produced? She has an answer for that as well: “For all the time my plays a-making were, / My brain the stage, my thoughts were acting there.” "The Female Academy," the last play in her 1662 collection, opens with a fait accompli—a group of “old matrons” has established an educational institution devoted exclusively to the education of young women, “a house wherein a company of young ladies are instructed . . . to speak wittily and rationally, . . . to behave themselves handsomely, and to live virtuously.” In this play, Cavendish presents the Female Academy as an institution created by women, inhabited solely by women, and operated for the benefit of women. The play also allows us to see the reactions of men, excluded from the Female Academy. Instead of ignoring the school, or wishing its young pupils well in their educational pursuits, men can’t stay away—they hang around and spy on what’s going on through “a large open grate” that allows them to hear the lectures being given inside. The play alternates scenes between the young women inside the Female Academy and the increasingly frustrated men in the outside world. This new edition, designed for classroom use, provides an ample introduction to Cavendish and her work, a carefully modernized text, with helpful glosses and notes, and a useful bibliography with references for further reading.

The Female Academy