ABSTRACT

Amelia Alderson (later Opie) first published her poetry and prose in the progressive Norwich periodical The Cabinet soon after her return from London in 1794, where she had attended the Treason Trials and spent a considerable amount of time with William Godwin and other members of his circle. Alderson’s work during this period emerges out of her movement between Norwich and London, as well as between public spaces of political action and semi-private spaces of conversation. Encouraged to pursue a rhetoric of Godwinian rationality by the man himself, Alderson was also drawn to a counter-mode of discourse that embraced the performance of heightened feeling, drawing upon rhetorical flourishes and plot devices from sentimental poetry and the novel in order to evoke first empathy and then political enthusiasm from the reader. Alderson’s contributions to The Cabinet complicate the periodical’s representation of male duty and progressive patriotism by presenting the dilemma of the female citizen, caught as she is between filial duty, romantic love, and her own desire for “liberty” (of physical movement, belief, and action), and thus Alderson mediates between various modes of masculine Romantic sociability and political discourse, even as she generates an alternative (and explicitly feminine) voice of protest.

摘要

阿米莉亚·奥尔德森（后来的奥佩）首次在诺维奇进步期刊《内阁》上发表了她的诗歌和散文在她于 1794 年从伦敦返回后不久，她参加了叛国罪审判，并与威廉·戈德温和他的圈子中的其他成员共度了大量时间。奥尔德森在此期间的工作源于她在诺里奇和伦敦之间，政治活动的公共场所和半私人的对话场所之间的运动。奥尔德森被他本人鼓励去追求戈德温式的理性修辞，他也被一种反模式的话语所吸引，这种话语模式包括表现出强烈的感情，从感伤的诗歌和小说中汲取修辞的华丽和情节装置，以便首先唤起人们的共鸣。读者的同理心和政治热情。奥尔德森对内阁的贡献 通过呈现女性公民的困境，使期刊对男性责任和进步爱国主义的表现复杂化，因为她在孝顺、浪漫的爱情和她自己对“自由”（身体运动、信仰和行动）的渴望之间陷入困境，和因此，奥尔德森在男性浪漫主义社交和政治话语的各种模式之间进行调解，即使她产生了另一种（并且明显是女性化的）抗议声音。