Katherine Philips, born in 1631 and died in 1664, was a prominent English poet of the 17th century, known for her intellectual prowess, her exploration of friendship and love in poetry, and her role in literary circles during the Interregnum and early Restoration periods. Often referred to by her poetic pseudonym "Orinda," Philips stands out as one of the first women in England to achieve fame and respect as a poet during her lifetime.
Born Katherine Fowler in London, she was the daughter of John Fowler, a wealthy merchant. Her early life was marked by intellectual privilege; she received an unusually extensive education for a girl of her time, becoming proficient in several languages including French, Italian, and Latin. This classical education would later influence her poetic style and subject matter.
At the age of sixteen, Katherine married James Philips, a Welsh politician significantly older than her. The marriage, while not a love match, provided her with financial security and social standing. She moved with her husband to his estate in Cardigan, Wales, where she began to cultivate her literary interests and develop her poetic voice.
Philips's poetry is notable for its exploration of platonic love and friendship, particularly between women. She developed a circle of friends and fellow writers, assigning classical pseudonyms to herself and her acquaintances. This practice of using pastoral names was common in literary circles of the time, but Philips's "Society of Friendship" took it to a more elaborate level. She referred to herself as "Orinda," and her close friend Mary Aubrey as "Rosania." These relationships and the ideals of friendship they embodied became central themes in her poetry.
One of Philips's most famous poems, "Friendship's Mystery, To my Dearest Lucasia," exemplifies her treatment of platonic love:
Come, my Lucasia, since we see
That Miracles Men's Faith do move,
By wonder and by prodigy
To the dull angry world let's prove
There's a Religion in our Love.
This poem, like many of her works, celebrates the intensity and purity of platonic love, elevating friendship to a quasi-religious status. Philips's exploration of these themes was groundbreaking, particularly as a female poet writing about relationships between women.
Philips's poetry is characterized by its intellectual depth, emotional sincerity, and technical skill. She was well-versed in classical literature and contemporary poetic forms, often employing complex metaphors and allusions in her work. Her style shows influences from both the Metaphysical poets, with their use of conceits and intellectual arguments, and the Cavalier poets, with their emphasis on elegance and wit.
Beyond her personal poetry, Philips was also known for her translations. She produced well-regarded English versions of Pierre Corneille's plays "Pompey" and "Horace." These translations not only showcased her linguistic abilities but also helped introduce Continental literature to an English audience.
Philips's reputation as a poet grew during her lifetime, which was unusual for a woman of her era. She became known in London literary circles and corresponded with notable figures such as the poet John Dryden. Her work circulated in manuscript form among her friends and admirers, as was common practice at the time.
In 1664, a collection of her poems was published without her consent, causing her considerable distress. She traveled to London to address this unauthorized publication and to oversee the production of an authorized version. Tragically, she contracted smallpox during this visit and died at the age of 33, cutting short a promising literary career.
After her death, her authorized collection "Poems by the Most Deservedly Admired Mrs. Katherine Philips, The Matchless Orinda" was published in 1667. This collection solidified her reputation and ensured her place in the English literary canon.
Philips's work is significant not only for its literary merit but also for what it represents in the context of women's writing in the 17th century. She was one of the first women in England to achieve fame as a poet during her lifetime and to be taken seriously by her male contemporaries. Her success paved the way for future generations of women writers.
In recent decades, there has been renewed scholarly interest in Philips's work, particularly from feminist and queer theory perspectives. Her exploration of female friendship and platonic love has been reexamined in light of contemporary understandings of sexuality and gender.
Katherine Philips's legacy is that of a pioneering female voice in English literature. Her work challenged the gender norms of her time, both in its content and in the very act of a woman writing and publishing poetry. She demonstrated that women could participate in the intellectual and literary discourse of the day, and her success helped to gradually expand the possibilities for women writers in England.
Philips's poetry, with its celebration of friendship, its intellectual depth, and its technical skill, continues to be studied and appreciated. She occupies a unique place in English literature as a bridge between the metaphysical poets of the early 17th century and the more formally refined poetry of the Restoration era. Her life and work offer valuable insights into the literary culture of 17th-century England and the role of women within it.
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