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  title type=“main“>”To the Nightingale”</title>
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  persName type=“lccn“ key=“n80056864“>Winchilsea, <forename>Anne</forename> Kingsmill
  surname>Finch</surname>, Countess of, 1661-1720</persName>
  author>
  editor>
  persName type=“orcid“ key=“0000-0002-7400-4093“>Tonya Howe</persName>
  editor>
  respStmt>
  resp>Transcription, correction, editorial commentary, and markup</resp>
  name>Students of Marymount University</name>
  name>James West</name>
  name>Amy Ridderhof</name>
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  titleStmt>
  publicationStmt>
  publisher>Literature in Context</publisher>
  distributor>
  orgName>Novels in Context</orgName>
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  addrLine>Marymount University Department of Literature and Languages</addrLine>
  addrLine>2807 N. Glebe Road</addrLine>
  addrLine>Arlington, VA </addrLine>
  addrLine>22207</addrLine>
  address>
  email>thowe@marymount.edu</email>
  distributor>
  authority>
  idno>finch-nightingale</idno>
  authority>
  availability status=“free“>
  licence target=“http://creativecommons.org/licenses/by-sa/4.0/“>Published by
  Literature in Context under a Creative Commons Attribution-ShareAlike 4.0 Unported
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  constitution status=“incomplete“>This text is incomplete and reqiures further
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  analytic>
  title>”To the Nightingale”</title>
  analytic>
  monogr>
  author>
  persName>Winchilsea, Anne Kingsmill Finch, Countess of, 1661-1720</persName>
  author>
  title type=“marc245a“>Poems on Several Occasions…</title>
  title type=“marc245c“>Written by the Right Honourable Anne, countess of
  title>
  imprint>
  pubPlace>
  placeName type=“tgn“ key=“7011781“>London</placeName>
  pubPlace>
  publisher>Printed by J[ohn] B[arber]</publisher>
  publisher>sold by W. Taylor [etc.]</publisher>
  date when=“1714“>1714</date>
  extent>4 p.l., 390 p. 19 cm. <idno type=“lcc“>PR3765.W57 A7
  idno>
  extent>
  note>This book first appeared in 1713 undert the imprints of John Barber and
  John Morphew, and there seem to be three different 1713 printings of this
        digital edition uses the 1714 printing by Barber, housed in the Library of
  Congress. This 1714 printing is a reissue of the 1713 editions with a new
  note>
  imprint>
  imprint>
  pubPlace>
  placeName type=“tgn“ key=“7011781“>London</placeName>
  pubPlace>
  publisher>Printed by John Barber on Lambeth-Hill</publisher>
  publisher>Sold by John Morphew near Stationer’s
  publisher>
  date when=“1713“>1713</date>
  extent>[8],390p. ; 8°</extent>
  imprint>
  imprint>
  pubPlace>Ann Arbor, MI</pubPlace>
  publisher>University of Michigan Library</publisher>
  date when=“4-2009“>2009 April</date>
  extent type=“online“>http://name.umdl.umich.edu/004860039.0001.000</extent>
  imprint>
  biblScope>pp 200-202</biblScope>
  monogr>
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  projectDesc> <p>This text is prepared as part of the <hi rend=“italic“>Literature in Context</hi> project,
  which provides an accessible, curated, and marked-up selection of primary sources
  relevant to the study and the teaching of British and American literature of the 18th
  century. This project is funded by the National Endowment for the Humanities and
  p></projectDesc>
  editorialDecl>
  interpretation><p>Research informing these annotations draws on publicly-accessible
  resources, with links provided where possible. Annotations have also included common
  knowledge, defined as information that can be found in multiple reliable sources. If
  you notice an error in these annotations, please contact
  p></interpretation>
  normalization><p>Original spelling and capitalization is retained, though the long s has
  p></normalization>
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  correction><p>Materials have been transcribed from and checked against first editions,
  p></correction>
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  taxonomy xml:id=“lcc“>
  bibl>Library of Congress Classification</bibl>
  taxonomy>
  taxonomy xml:id=“tgn“>
  bibl>Getty Thesaurus of Geographic Names</bibl>
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  taxonomy xml:id=“orcid“>
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  front>
  titlePage>
  pb n=“[titlepage]“ facs=“images/FN-TP-1714.jpg“/>
  titlePart>POEMS <lb/></titlePart>
  titlePart>ON<lb/> Several Occasions, <hi rend=“italic“>viz.</hi>.<lb/></titlePart>
  p>[…]</p>
  titlePart><rs content=“#finch“><ref target=“#finch“ xml:id=“finchA“>Written by the Right Honorable <hi
  “>ANNE</hi>,<lb/> Countess of <hi rend=“italic“
  hi></ref></rs>.<lb/></titlePart>
  docImprint>
  pubPlace><placeName type=“tgn“ key=“7011781“>LONDON</placeName></pubPlace>: <lb/>
  publisher><hi rend=“italic“>J. B.</hi></publisher> and sold by
  publisher><hi rend=“italic“>W. Taylor</hi></publisher>
  pubPlace>at the <hi rend=“italic“>Ship</hi><lb/> in <hi rend=“italic“
  hi></pubPlace>, and <publisher><hi rend=“italic“>Jonas
  hi></publisher>
  pubPlace>at the <lb/><hi rend=“italic“>Black Swan </hi> without <hi rend=“italic“
  hi></pubPlace>. <docDate>1714</docDate>. <lb/>
  docImprint>
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  front>
  body>
  div type=“poem“>
  pb n=“200“ facs=“images/FN-200.jpg“/>
  head type=“title“><hi rend=“italic“>To the </hi><ref target=“#nightingale“
  “><rs content=“#nightingale“>NIGHTINGALE</rs></ref>.</head>
  lg type=“rhymed couplets“>
  l n=“1“>EXert thy Voice, Sweet Harbinger of Spring</l>
  l n=“2“ rend=“indent“>This Moment is thy Time to Sing,</l>
  l n=“3“ rend=“indent“>This Moment I attend to Praise,</l>
  l n=“4“>And <ref target=“#numbers“ xml:id=“numbersA“>set my Numbers</ref> to thy
  ref target=“#layes“ xml:id=“layesA“><rs content=“#layes“>Layes</rs></ref>.</l>
  l n=“5“ rend=“indent“>Free as thine shall be my Song;</l>
  l n=“6“ rend=“indent“>As thy Musick, short, or long.</l>
  l n=“7“>Poets, wild as thee, were born,</l>
  pb facs=“images/FN-201.jpg“/>
  l n=“8“ rend=“indent“>Pleasing best when unconfin’d,</l>
  l n=“9“ rend=“indent“>When to Please is least design’d,</l>
  l n=“10“>Soothing but their Cares to rest;</l>
  l n=“11“ rend=“indent“>Cares do still their Thoughts molest,</l>
  l n=“12“ rend=“indent“>And still th’unhappy Poet’s Breast,</l>
  l n=“13“>Like thine, when best he sings, is plac’d against a Thorn. </l>
  l n=“14“>She begins, Let all be still!</l>
  l n=“15“ rend=“indent“><ref target=“#muse“ xml:id=“museA“><rs content=“#muse“>Muse</rs></ref>, thy Promise
  l>
  l n=“16“>Sweet, oh! sweet, still sweeter yet</l>
  l n=“17“>Can thy Words such Accents fit,</l>
  l n=“18“>Canst thou Syllables refine, </l>
  l n=“19“>Melt a Sense that shall retain</l>
  l n=“20“>Still some Spirit of the Brain,</l>
  l n=“21“>Till with Sounds like these it join.</l>
  l n=“22“ rend=“indent“>‘Twill not be ! then change thy Note; </l>
  l n=“23“ rend=“indent“>Let <ref target=“#division“ xml:id=“divisionA“><rs content=“#division“>Division</rs></ref>
  l>
  l n=“24“>Hark! Division now she tries;</l>
  l n=“25“>Yet as far the Muse outflies </l>
  pb facs=“images/FN-202.jpg“/>
  l n=“26“ rend=“indent“>Cease then, prithee, cease thy Tune;</l>
  l n=“27“ rend=“indent“>Trifler, wilt thou sing till <hi rend=“italic“>June?</hi></l>
  l n=“28“>Till thy Bus’ness all lies waste,</l>
  l n=“29“>And the Time of Building’s past !</l>
  l n=“30“ rend=“indent“>Thus we Poets that have Speech,</l>
  l n=“31“>Unlike what thy Forests teach,</l>
  l n=“32“ rend=“indent“>If a fluent Vein be shown</l>
  l n=“33“ rend=“indent“>That’s transcendent to our own,</l>
  l n=“34“>Criticize, reform, or preach,</l>
  l n=“35“>Or censure what we cannot reach. </l>
  lg>
   
   
  div>
  body>
  back>
  div type=“annotations“>
  head>Annotations</head>
  note xml:id=“finch“ type=“editorial“ resp=“JW“><p><graphic
  “
  “ width=“300“/> Anne Finch, Countess of Winchilsea,
  was born in April 1661 to Anne Haselwood and Sir William Kingsmill. At age
  ref
  “>Mary Modena</ref>,
  the wife of the Duke of York, in the Court of Charles II. During her time in the
  ref target=“https://www.poetryfoundation.org/poets/anne-finch“>Anne
  ref> was courted by and eventually married to Colonel Heneage Finch.
  In 1689, after a shift in political power, the Finches faced monetary problems and
  placeName type=“tgn“ key=“7027563“
  placeName> with their nephew.</p>
  p>As a woman writer in the <ref
  “
  ref>, Finch was also out of place. <ref
  “>Barbara McGovern’s 2002
  ref> explores these displacements both in her life
  and her poetry. Finch struggled, as McGovern notes, to define her poetic identity
  in an era when women were excluded from the conditions that would allow them to
  cultivate their minds or their voices. The poet was seen as male, and publishing
      ref
  “>Pacheco 227</ref>);
  p>
  p>Finch’s
  poetry from 1701-1714 was wide ranging. She wrote on subjects typically allowed to
  be feminine, like her love for her husband, but she also wrote about public and
  political issues, like the succession of power in London. In 1701, Finch
  hi rend=“italic“>”Upon the Death of King James the
  hi>. Poems such as <ref
  “>”The
  ref>and <ref
  “>”All is
  ref> exemplify the idea of faith despite tribulation, a subject she
  hi rend=“italic“>Miscellany
  hi>, Finch circulated private manuscripts of her
  poems and gained a favorable literary reputation. For more information on women
  ref
  “><hi rend=“italic“
    hi></ref> (2002) or Margaret Ezell’s <ref
  “
  hi rend=“italic“>Social Authorship and the Advent of Print</hi></ref>
  p>
  p><ref target=“https://books.google.com/books?id=pE-gBAAAQBAJ“>Rogers
  ref> as well
  as her love poetry, satirical prose, and ideas on the relationship between man and
  nature (225). According to Rogers, Finch became one of the few female authors in
  the Augustan era to successfully master the masculine rules of the literary
    denied opportunities for publication and serious public reception, or had their
  ref
  “>McGovern 2</ref>)–as
    lifetime. Finch was able to make her voice heard by working within the masculine
  p>
  p>Finch died on August 5, 1720. According to the <hi
  “><ref url=“https://www.poetryfoundation.org/poets/anne-finch“
  ref></hi> the first recognized modern edition
  of her work was released in 1903. Since the advent of feminist recovery criticism
    regarded as one of the most important English women writers of the 18th century.
  ref
  “>miniature
  ref>, housed in the National
  ptr target=“#finchA“/></p></note>
  note xml:id=“nightingale“ type=“editorial“ resp=“TH“>
  p><graphic
  “
  “ width=“300“/>The nightingale is a small bird native to
  Europe and Asia, with a population in the United Kingdom as well as Africa. It is
  ref
  “
    ref> and for that reason has long been associated with poets and
  ref
  “>as
  hi rend=“italic“>To a
  hi></ref>. Often, the nightingale
  ref target=“http://vos.ucsb.edu/myth.asp“
  ref>, whose violation is ostensibly recompensed with an
  unearthly beautiful song. While the nightingale is frequently invoked in lyric
  ref
  “>as Charles Hinnant notes in “Song
  ref> Finch recasts the bird
  as an idealized muse for all poets, regardless of gender (504). This poem, is a
      ref target=“https://youtu.be/teP1pE6S7tQ“>This
  ref> allows you to hear a nightingale singing. The image to the right,
  ptr
  “/></p></note>
  note xml:id=“division“ type=“editorial“ resp=“JW“><p>According to the <ref
  “><hi rend=“italic“
  hi> entry on ornamentation</ref>, division refers
  to a technique, popular in early modern music theory, characterized by dividing
  longer notes into a series of shorter note groupings. This is an early form of
    ref target=“ http://openmusictheory.com/meter.html“>Open Music Theory</ref>
  ptr target=“#divisionA“/></p></note>
  note xml:id=“muse“ type=“editorial“ resp=“JW“><p>According to <ref
  “
  hi rend=“italic“>A Dictionary of Greek and Roman Biography and
  hi></ref>, the Muses are “inspiring goddesses of song” who
    ptr
  “/></p></note>
  note xml:id=“layes“ type=“editiorial“ resp=“JW“><p>According to the <ref
  “><hi rend=“italic“> Encyclopedia
  hi></ref> , a “Lay” refers to a song or story in song. Finch in
  this instance is seeking to create a poem that mirrors the song of the
  ptr target=“#layesA“/></p></note>
  note xml:id=“numbers“ type=“editorial“ resp=“TH“><p>”Numbers” refers to the metrical
  ref
  “
  ref> signifies poetry in general. In <ref
  “>Alexander
  ref> he says that he “lisp’d in numbers, for
        ptr target=“#numbersA“/></p></note>
  div>
  back>
  tooltip_notes>
  div class=“tooltip_templates“>
  span link=“#“ id=“#finch“ type=“editorial“ resp=“JW“><p><graphic
  “
  “ width=“300“/> Anne Finch, Countess of Winchilsea,
  was born in April 1661 to Anne Haselwood and Sir William Kingsmill. At age
  a
  “>Mary Modena</a>,
  the wife of the Duke of York, in the Court of Charles II. During her time in the
  a href=“https://www.poetryfoundation.org/poets/anne-finch“>Anne
  a> was courted by and eventually married to Colonel Heneage Finch.
  In 1689, after a shift in political power, the Finches faced monetary problems and
  placeName type=“tgn“ key=“7027563“
  placeName> with their nephew.</p>
  p>As a woman writer in the <a
  “
  a>, Finch was also out of place. <a
  “>Barbara McGovern’s 2002
  a> explores these displacements both in her life
  and her poetry. Finch struggled, as McGovern notes, to define her poetic identity
  in an era when women were excluded from the conditions that would allow them to
  cultivate their minds or their voices. The poet was seen as male, and publishing
      a
  “>Pacheco 227</a>);
  p>
  p>Finch’s
  poetry from 1701-1714 was wide ranging. She wrote on subjects typically allowed to
  be feminine, like her love for her husband, but she also wrote about public and
  political issues, like the succession of power in London. In 1701, Finch
  hi rend=“italic“>”Upon the Death of King James the
  hi>. Poems such as <a
  “>”The
  a>and <a
  “>”All is
  a> exemplify the idea of faith despite tribulation, a subject she
  hi rend=“italic“>Miscellany
  hi>, Finch circulated private manuscripts of her
  poems and gained a favorable literary reputation. For more information on women
  a
  “><hi rend=“italic“
    hi></a> (2002) or Margaret Ezell’s <a
  “
  hi rend=“italic“>Social Authorship and the Advent of Print</hi></a>
  p>
  p><a href=“https://books.google.com/books?id=pE-gBAAAQBAJ“>Rogers
  a> as well
  as her love poetry, satirical prose, and ideas on the relationship between man and
  nature (225). According to Rogers, Finch became one of the few female authors in
  the Augustan era to successfully master the masculine rules of the literary
    denied opportunities for publication and serious public reception, or had their
  a
  “>McGovern 2</a>)–as
    lifetime. Finch was able to make her voice heard by working within the masculine
  p>
  p>Finch died on August 5, 1720. According to the <hi
  “><a url=“https://www.poetryfoundation.org/poets/anne-finch“
  a></hi> the first recognized modern edition
  of her work was released in 1903. Since the advent of feminist recovery criticism
    regarded as one of the most important English women writers of the 18th century.
  a
  “>miniature
  a>, housed in the National
  ptr target=“#finchA“/></p></span>
  span link=“#“ id=“#nightingale“ type=“editorial“ resp=“TH“>
  p><graphic
  “
  “ width=“300“/>The nightingale is a small bird native to
  Europe and Asia, with a population in the United Kingdom as well as Africa. It is
  a
  “
    a> and for that reason has long been associated with poets and
  a
  “>as
  hi rend=“italic“>To a
  hi></a>. Often, the nightingale
  a href=“http://vos.ucsb.edu/myth.asp“
  a>, whose violation is ostensibly recompensed with an
  unearthly beautiful song. While the nightingale is frequently invoked in lyric
  a
  “>as Charles Hinnant notes in “Song
  a> Finch recasts the bird
  as an idealized muse for all poets, regardless of gender (504). This poem, is a
      a href=“https://youtu.be/teP1pE6S7tQ“>This
  a> allows you to hear a nightingale singing. The image to the right,
  ptr
  “/></p></span>
  span link=“#“ id=“#division“ type=“editorial“ resp=“JW“><p>According to the <a
  “><hi rend=“italic“
  hi> entry on ornamentation</a>, division refers
  to a technique, popular in early modern music theory, characterized by dividing
  longer notes into a series of shorter note groupings. This is an early form of
    a href=“ http://openmusictheory.com/meter.html“>Open Music Theory</a>
  ptr target=“#divisionA“/></p></span>
  span link=“#“ id=“#muse“ type=“editorial“ resp=“JW“><p>According to <a
  “
  hi rend=“italic“>A Dictionary of Greek and Roman Biography and
  hi></a>, the Muses are “inspiring goddesses of song” who
    ptr
  “/></p></span>
  span link=“#“ id=“#layes“ type=“editiorial“ resp=“JW“><p>According to the <a
  “><hi rend=“italic“> Encyclopedia
  hi></a> , a “Lay” refers to a song or story in song. Finch in
  this instance is seeking to create a poem that mirrors the song of the
  ptr target=“#layesA“/></p></span>
  span link=“#“ id=“#numbers“ type=“editorial“ resp=“TH“><p>”Numbers” refers to the metrical
  a
  “
  a> signifies poetry in general. In <a
  “>Alexander
  a> he says that he “lisp’d in numbers, for
        ptr target=“#numbersA“/></p></span>
  div>
  tooltip_notes>
  text>
  TEI>