Introduction: “An Apology for Writing So Much upon This Book” by Margaret Cavendish
“An Apology for Writing So Much upon This Book” by Margaret Cavendish first appeared in her 1655 collection, Philosophical and Physical Opinions. This work is a notable reflection on Cavendish’s concerns as a woman writer in a period dominated by male intellectual voices. She addresses criticisms directed toward her extensive writing and the unconventional nature of her philosophical explorations, asserting her right to intellectual expression despite societal expectations. Cavendish’s unapologetic tone and her defense of women’s intellectual capacities are central themes, contributing to the work’s lasting appeal. Her bold stance and willingness to confront gendered constraints on knowledge production have made her writings significant in feminist literary studies and the history of early modern philosophy.
Text: “An Apology for Writing So Much upon This Book” by Margaret Cavendish
Condemn me not, I make so much ado
About this Book, it is my Child, you know;
Just like a Bird, when her Young are in Nest,
Goes in, and out, and hops, and takes no Rest;
But when their Young are Fledg’d, their Heads out peep,
Lord! what a Chirping does the Old one keep:
So I, for Fear, my Strengthless Child should fall
Against a Door, or Stool, aloud I call,
Bid have a Care of such a Dangerous place:
Thus Write I much, to hinder all Disgrace.
Annotations: “An Apology for Writing So Much upon This Book” by Margaret Cavendish
| Line | Annotation |
| Condemn me not, I make so much ado | Condemn me not: Cavendish asks her readers not to judge her negatively. I make so much ado: She acknowledges her considerable attention or “fuss” about her book, showing self-awareness of her extensive writing and revisions. |
| About this Book, it is my Child, you know; | About this Book: Refers to her work. it is my Child: Cavendish metaphorically calls the book her “child,” reflecting a deep emotional investment. She sees herself as a protective mother. you know: Appeals to the reader’s empathy. |
| Just like a Bird, when her Young are in Nest, | Just like a Bird: Introduces a metaphor comparing herself to a mother bird. when her Young are in Nest: Refers to young birds still in the nest, symbolizing that her “child” (book) still needs nurturing and protection from potential harm. |
| Goes in, and out, and hops, and takes no Rest; | Goes in, and out: Describes the mother bird’s constant movement in and out of the nest, an image of attentive, restless care. takes no Rest: Like a mother bird, Cavendish is vigilant, constantly checking and reworking her book. |
| But when their Young are Fledg’d, their Heads out peep, | Young are Fledg’d: “Fledged” means the young birds have grown feathers and are almost ready to leave the nest. their Heads out peep: Refers to young birds poking their heads out, symbolizing the book being nearly ready for public view. |
| Lord! what a Chirping does the Old one keep: | what a Chirping: The mother bird chirps noisily, showing concern or pride. does the Old one keep: “Old one” refers to the mother bird (Cavendish herself). She continuously “chirps” (writes or speaks) in defense of her book. |
| So I, for Fear, my Strengthless Child should fall | So I, for Fear: Cavendish admits she is motivated by fear for her “child’s” safety. my Strengthless Child: She describes the book as “strengthless” or fragile, implying it’s vulnerable to critique or misunderstanding. |
| Against a Door, or Stool, aloud I call, | Against a Door, or Stool: Imagery suggesting physical danger, like bumping into obstacles. Represents criticism or harm that could affect her book. aloud I call: Like a mother, she calls out to protect her child, addressing any critics. |
| Bid have a Care of such a Dangerous place: | Bid have a Care: She urges caution, asking others to handle her book gently. Dangerous place: Represents the public sphere, where her book might face scrutiny or be misinterpreted. |
| Thus Write I much, to hinder all Disgrace. | Thus Write I much: She explains her extensive writing as a protective measure. to hinder all Disgrace: Her goal is to prevent any potential shame or “disgrace” from criticism, demonstrating her deep care for her work’s reputation. |
Literary And Poetic Devices: “An Apology for Writing So Much upon This Book” by Margaret Cavendish
| Device | Example | Explanation |
| Alliteration | “Strengthless Child should fall” | The repetition of the “s” sound emphasizes the vulnerability of her “child” (the book). |
| Allusion | “it is my Child” | Refers metaphorically to the tradition of authors viewing their works as children, highlighting her attachment and responsibility. |
| Analogy | “Just like a Bird…Goes in, and out” | The mother bird analogy compares her nurturing of the book to a bird’s protective care for its young. |
| Anaphora | “About this Book, it is my Child” | Repeating the phrase structure emphasizes her focus and dedication to the book. |
| Assonance | “Fear…Strengthless…should fall” | The repetition of vowel sounds (“ea” in “Fear” and “e” in “Strengthless”) helps unify these words and convey a sense of worry. |
| Conceit | The book as a “child” | A sustained metaphor that compares her book to a child throughout the poem, underscoring her protective attitude and maternal connection. |
| Connotation | “Child,” “Dangerous,” “Disgrace” | These words carry emotional weight, with “child” indicating vulnerability, “dangerous” suggesting threat, and “disgrace” conveying fear of criticism. |
| Contrast | “Young are Fledg’d…Strengthless Child” | Juxtaposes the image of fledged (mature) with strengthless (weak) to show her worry about the book’s readiness versus its perceived vulnerability. |
| End Rhyme | “ado” and “know”; “Nest” and “Rest” | Creates rhythm and cohesion in the poem by rhyming lines. |
| Enjambment | “About this Book, it is my Child, you know; / Just like a Bird” | Carries the sentence over the line, building continuity and pace, enhancing the sense of Cavendish’s continuous care. |
| Hyperbole | “takes no Rest” | Exaggerates the care Cavendish gives her book, akin to saying she is tireless in her protection. |
| Imagery | “Heads out peep,” “aloud I call” | Creates vivid visual and auditory images that help readers imagine her anxious watch over her “child.” |
| Irony | Writing about writing “too much” | Ironic because the poem itself is another piece she’s written, despite concerns about being judged for writing extensively. |
| Metaphor | “it is my Child” | Directly compares her book to a child, implying a deep emotional connection and sense of responsibility. |
| Personification | “Strengthless Child” | Attributes weakness to her book as if it were a living child, adding emotional depth and highlighting its perceived vulnerability. |
| Repetition | “I make so much ado” and “Write I much” | Emphasizes her awareness of her extensive writing and the attention she’s giving to her book’s defense. |
| Rhetorical Question | “Condemn me not, I make so much ado?” | Invites readers to question why she feels the need to defend her writing, prompting reflection on her motivation. |
| Simile | “Just like a Bird, when her Young are in Nest” | Compares her protective behavior to that of a bird caring for its young, providing a relatable image of maternal protection. |
| Symbolism | “Dangerous place” | Represents the public sphere, where the book may encounter judgment and criticism, symbolizing a threatening environment. |
| Tone | Protective and defensive | The tone conveys her protective and slightly defensive stance towards her book, which she feels compelled to shield from potential critique or harm. |
Themes: “An Apology for Writing So Much upon This Book” by Margaret Cavendish
· Maternal Care and Protection
- Cavendish’s relationship with her book is depicted as intensely maternal, suggesting that her creation is like a child in need of care and guidance. She describes the book as her “Child” (line 2), and compares herself to a mother bird, tirelessly protecting her “young” (line 3). This maternal bond reflects a profound sense of responsibility, where she, “for Fear, my Strengthless Child should fall” (line 7), is constantly vigilant. This theme of motherly protection underscores her emotional investment, portraying the act of writing and publishing as deeply personal and vulnerable.
· Vulnerability and Fear of Judgment
- Cavendish conveys a strong awareness of her book’s potential weaknesses and the harsh judgments it may face. She calls the book a “Strengthless Child” (line 7), highlighting her perception of its fragility in the face of public scrutiny. The “Dangerous place” (line 9) where it might encounter criticism represents the public literary world, where ideas can be harshly judged. Through this imagery, she reveals an anxiety about how her work, as a female writer in a male-dominated society, may be received.
· Persistence and Dedication to Craft
- The poem also reflects Cavendish’s relentless dedication to her work. Like a “Bird, when her Young are in Nest…takes no Rest” (line 4), she is continuously vigilant, going “in, and out” to ensure her work is sound. This image illustrates the restless persistence required in the creative process, emphasizing how she tirelessly revisits her book to ensure it’s prepared for public exposure. Her dedication serves as a defense for her extensive revisions and writing, demonstrating her commitment to her craft.
· Self-Defense Against Criticism
- The entire poem reads as a defense against those who might condemn her for writing “so much” (line 1). Cavendish justifies her attention to detail and extensive writing by describing it as a way “to hinder all Disgrace” (line 10), hoping to preempt criticism by carefully preparing her work. This defensive tone speaks to her awareness of societal expectations and the limitations often imposed on women writers, and it subtly challenges the notion that she should have to defend her work in the first place.
Literary Theories and “An Apology for Writing So Much upon This Book” by Margaret Cavendish
| Literary Theory | Application in the Poem | References from the Poem |
| Feminist Theory | Examines the poem as a response to gendered expectations and limitations placed on women’s intellectual and creative work. | Cavendish addresses societal constraints by asking readers not to “Condemn” her for “writing so much” (line 1), defending her right to create. Her metaphor of the book as a “Strengthless Child” (line 7) suggests societal views of women’s work as fragile or incomplete, highlighting her need to protect it. |
| Psychoanalytic Theory | Explores Cavendish’s subconscious fears and maternal attachment to her work as manifestations of her inner psyche. | The comparison of her book to a “Child” (line 2) reveals a deep psychological attachment, with her “Fear” (line 7) of the book failing, similar to a mother’s fear for her child. Her intense vigilance, “takes no Rest” (line 4), suggests underlying anxiety about releasing her work into a judgmental world. |
| Reader-Response Theory | Focuses on Cavendish’s anticipation of the reader’s potential judgment and her attempt to shape their reception of her work. | Cavendish directly addresses the reader with “Condemn me not” (line 1), anticipating criticism and trying to influence readers’ interpretations. By presenting herself as a protective mother, she frames her extensive writing as a labor of love, hoping to elicit empathy from her audience. |
Critical Questions about “An Apology for Writing So Much upon This Book” by Margaret Cavendish
- How does Cavendish use the metaphor of a child to convey her relationship with her writing?
- Cavendish’s metaphor of her book as a “Child” (line 2) underscores a deep, almost maternal relationship with her work. By comparing herself to a mother bird caring for her “Young” (line 3), she illustrates her tireless devotion and protective instincts toward her writing. This metaphor highlights the vulnerability she perceives in her work, which, like a young child, requires guidance and safeguarding before being presented to the world. Her concern that the “Strengthless Child should fall” (line 7) reveals her fear of critique, illustrating a powerful emotional bond that emphasizes her sense of responsibility and attachment.
- What does Cavendish’s defensive tone reveal about her concerns as a female writer?
- The poem’s defensive tone, evident in her plea, “Condemn me not” (line 1), reveals Cavendish’s acute awareness of the judgment she faces as a female writer in a male-dominated literary world. By addressing potential criticism preemptively, she acknowledges the likelihood of her work being scrutinized merely for the extent of her writing, which was unusual for a woman of her time. Her explanation that she “writes much, to hinder all Disgrace” (line 10) underscores a societal pressure to defend her creative efforts. This tone suggests that Cavendish not only anticipates judgment but also feels compelled to justify her intellectual pursuits.
- How does Cavendish portray the tension between artistic creation and public reception in the poem?
- Cavendish portrays a constant tension between her creative process and the anxiety of how her work will be received. Her description of the “Dangerous place” (line 9) where her “Strengthless Child” (line 7) might encounter harm represents the public sphere where her book could face harsh judgment. The protective imagery of a mother bird “hops, and takes no Rest” (line 4) reflects her relentless revisions, born from the fear that her book might be misunderstood or criticized. This tension reflects the vulnerability many authors feel as they prepare their work for public exposure, especially under the critical scrutiny Cavendish likely anticipated.
- What role does self-doubt play in Cavendish’s depiction of her creative process?
- Self-doubt is subtly woven throughout Cavendish’s defense of her work. Her frequent assertions, like calling her book a “Strengthless Child” (line 7), suggest an internal struggle with her own confidence in its quality and readiness. By expressing her fear that her “Child should fall / Against a Door, or Stool” (lines 7-8), Cavendish reveals her apprehensions about her work’s durability and worthiness in a critical world. This self-doubt is further amplified by her need to “Write much, to hinder all Disgrace” (line 10), implying that she feels her work requires extensive explanation and refinement to be accepted, revealing an underlying uncertainty that her audience may reject it.
Literary Works Similar to “An Apology for Writing So Much upon This Book” by Margaret Cavendish
- “The Mower” by Philip Larkin
Larkin’s reflection on care and vulnerability in nature parallels Cavendish’s maternal approach to her book, as both deal with themes of growth and fragility. - “The Poet at Seven” by Donald Justice
Justice’s exploration of a child’s creative instincts resonates with Cavendish’s nurturing view of her work, both poets seeing their creations as fledgling and needing protection. - “Poem for My Daughter” by Philip Hobsbaum
Hobsbaum, like Cavendish, uses familial imagery to convey a deep care and protectiveness toward his subject, mirroring Cavendish’s defensive stance toward her literary “child.” - “Instructions on Not Giving Up” by Ada Limón
Limón’s encouragement to persist in the face of judgment aligns with Cavendish’s tone of defense, as both navigate self-doubt and resilience in the creative process.
Representative Quotations of “An Apology for Writing So Much upon This Book” by Margaret Cavendish
| Quotation | Context | Theoretical Perspective |
| “Condemn me not, I make so much ado” | Cavendish preemptively addresses potential critics, defending her extensive writing. | Feminist Theory – Highlights the societal constraints on women, suggesting her need to justify her intellectual output. |
| “About this Book, it is my Child, you know” | She compares her book to a child, illustrating her deep emotional attachment. | Psychoanalytic Theory – The metaphor suggests a subconscious maternal bond, portraying the book as part of herself. |
| “Just like a Bird, when her Young are in Nest” | She likens herself to a mother bird tirelessly caring for her young. | Ecofeminism – Uses nature imagery to communicate maternal instincts, connecting creation with care for the vulnerable. |
| “Goes in, and out, and hops, and takes no Rest” | Describes her restless vigilance over her work, reflecting dedication. | Reader-Response Theory – Suggests an anticipation of reader judgment, influencing her need for continual care. |
| “But when their Young are Fledg’d, their Heads out peep” | Refers to her book nearing readiness for the public eye. | Developmental Psychology – Represents the book’s transition from creation to public exposure, like a child’s growth. |
| “Lord! what a Chirping does the Old one keep” | Emphasizes her constant defense and concern for her work’s reception. | Marxist Theory – Suggests the author’s continuous labor to protect her creation from devaluation by society’s critique. |
| “So I, for Fear, my Strengthless Child should fall” | She fears her book’s vulnerability to criticism, calling it “strengthless.” | Psychoanalytic Theory – Reflects the author’s anxiety, projecting her insecurities onto her creation. |
| “Against a Door, or Stool, aloud I call” | The imagery of potential physical harm conveys the dangers of criticism. | Feminist Theory – Highlights the cultural risks faced by women’s intellectual work in public arenas. |
| “Bid have a Care of such a Dangerous place” | She warns of the dangers her book may face in the public sphere. | Poststructuralism – Implies the unpredictable interpretation and reception of texts in diverse social contexts. |
| “Thus Write I much, to hinder all Disgrace” | Cavendish explains her extensive writing as a way to preempt criticism. | New Historicism – Shows her awareness of the historical context and its expectations, seeking to control her legacy. |
Suggested Readings: “An Apology for Writing So Much upon This Book” by Margaret Cavendish
- BOYLE, DEBORAH. “Margaret Cavendish on Gender, Nature, and Freedom.” Hypatia, vol. 28, no. 3, 2013, pp. 516–32. JSTOR, http://www.jstor.org/stable/24542000. Accessed 26 Oct. 2024.
- LESLIE, MARINA. “Gender, Genre and the Utopian Body in Margaret Cavendish’s Blazing World.” Utopian Studies, vol. 7, no. 1, 1996, pp. 6–24. JSTOR, http://www.jstor.org/stable/20719470. Accessed 26 Oct. 2024.
- Bonin, Erin Lang. “Margaret Cavendish’s Dramatic Utopias and the Politics of Gender.” Studies in English Literature, 1500-1900, vol. 40, no. 2, 2000, pp. 339–54. JSTOR, https://doi.org/10.2307/1556132. Accessed 26 Oct. 2024.
- Duncan, Stewart. “DEBATING MATERIALISM: CAVENDISH, HOBBES, AND MORE.” History of Philosophy Quarterly, vol. 29, no. 4, 2012, pp. 391–409. JSTOR, http://www.jstor.org/stable/43488051. Accessed 26 Oct. 2024.