ABSTRACT

Early-modern Anglo-Welsh poet, Katherine Philips (self-styled “Orinda”) often described as a social author and manuscript poet, maintained a selected copy of her poems in what is now known as the Tutin Ms. (NLW MS 775B). She likely used Tutin to cultivate social and literary capital among the coterie groups she interacted with during the 1650s, both in London and in Wales. This essay argues that Philips actively curated Tutin from 1655 through 1658 in order to appeal to changing coterie reactions to her verses and to accommodate newer work. Philips initially appears to have planned Tutin as a manuscript edition of her poems, and there is physical evidence in the volume that she may have conceived of her notebook as a manuscript book. Philips experimented with graphical elements (page numbering, lined margins, catch-words), as well as physically separated her poems into two major groupings, social-network and public-sphere poems. Such experiments were likely attempts to advance her reputation as a poet of public stature, to suppress earlier sexually sensitive work, and to compile what she regarded as a repository of author-approved literary capital. However, limitations that Tutin’s physical division imposed on the placement of poems, difficulties in correcting errors in copying, mutilations from the removal of politically sensitive contents, and haphazard insertion of new verse after 1658, contributed to Philips abandoning Tutin as a show-case of her poems. The Restoration provided Philips an impetus to curate a new set that could appeal to Restoration Royals and royalists, and she took this opportunity to revise and edit, insert older verse once suppressed, suppress some verses Tutin had contained, and add newer poems drafted 1660–62. This newly crafted repository of author-approved literary capital, referred to throughout the essay as KP1, though now lost, is evidenced by collation of the variant readings in the main contemporary witnesses, including the manuscripts Tutin Ms., Dering Ms. (HRC 151), Clarke miscellany (WC MS 58), Rosania Ms. (NLW MS 776B), as well as the print editions of 1664 and 1667.

摘要

早期现代盎格鲁威尔士诗人凯瑟琳·菲利普斯（自称“奥林达”）经常被描述为社会作家和手稿诗人，她在现在被称为 Tutin Ms. (NLW MS 775B) 中保留了她的诗歌选本. 在 1650 年代，她可能利用Tutin在伦敦和威尔士的小圈子中培养社会和文学资本。这篇文章认为，飞利浦从 1655 年到 1658 年积极策划图丁，以吸引小圈子对她的诗作不断变化的反应并适应新作品。飞利浦最初似乎计划了Tutin作为她诗歌的手稿版本，并且该卷中有实物证据表明她可能将她的笔记本设想为手稿书。飞利浦尝试了图形元素（页码、边距、流行语），并在物理上将她的诗歌分为两大类，社交网络诗歌和公共领域诗歌。这样的实验很可能是为了提升她作为公众地位诗人的声誉，压制早期的性敏感作品，并汇编她认为是作者认可的文学资本的宝库。然而，图廷的物理划分对诗歌的位置施加了限制，难以纠正复制中的错误，删除政治敏感内容造成的残缺，以及在 1658 年之后随意插入新诗，促成飞利浦放弃图廷作为她诗歌的展示。修复为飞利浦提供了一个动力来策划一套可以吸引皇家修复和保皇党的新系列，她借此机会修改和编辑，插入曾经被压制的旧诗句，压制一些诗句图廷包含并添加了 1660-62 年起草的新诗。这个新制作的作者认可的文学资本库，在整篇文章中被称为KP1，虽然现在已经丢失，但通过整理当代主要证人的不同阅读来证明，包括手稿 Tutin Ms., Dering Ms. (HRC 151 )、Clarke miscellany (WC MS 58)、Rosania Ms. (NLW MS 776B)，以及 1664 年和 1667 年的印刷版。