An Collins
An Collins is recognized as a notably obscure English poet from the seventeenth century, primarily known for her single published work, *Divine Songs and Meditacions*, which is one of the earliest and most significant religious publications by a woman of that era. Published in 1653 by Richard Bishop, only one surviving copy of her book is preserved in the Huntington Library in England. Despite the limited information about her life, her poetry reveals insights into her struggles with serious health issues from childhood, which led to depression and a search for solace through reading and writing.
Collins's poetry reflects her spiritual journey, transitioning from historical literature to Scripture, ultimately finding peace and purpose in her meditative writings. Scholars note her theological perspective as Protestant, with some debate regarding her alignment with Calvinism or Quakerism. Her work also engages with the political context of her time, particularly illustrated in poems that address the tumultuous period of the English Civil War. Feminist scholarship has increasingly highlighted Collins's contributions as a voice of dissent and spiritual exploration, establishing her as a significant figure in the literary landscape and marking her impact on subsequent generations of women writers.
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Subject Terms
An Collins
Writer
- Born: fl. 1653
Biography
An Collins has been called the most obscure English poet of the seventeenth century. Virtually nothing is known about her life other than what can be gleaned from her poetry. Moreover, her entire reputation resides in her single book, Divine Songs and Meditacions. Nevertheless, Collins is an important figure in English literature, and her book is one of the earliest and best religious publications by a woman.
Richard Bishop, a printer in London from 1636 through 1654, published Divine Songs and Meditacions in 1653. There is only one extant copy of the book, and it is housed at the Huntington Library in England. No record of the book’s reception exists; however, in 1815, A. F. Griffith published notes on the book and began its critical history.
All that can be known about Collins must be surmised from careful reading of Divine Songs and Meditacions, particularly the prose essay “To the Reader,” and the poems “The Preface” and “The Discourse.” Collins describes herself as a person who has had serious health problems and is virtually an invalid. These problems have afflicted the writer since her childhood, and she has suffered from depression and melancholy as a result of her affliction. To obtain relief from physical pain, Collins has tried to read history and other literature. However, she is unable to sustain comfort from these pastimes. Not until she turns her reading to Scripture does she begin to experience peace. Further, her spiritual development calls upon her to begin writing religious and meditative poetry. The attention to the form and metrical demands of poetry offers her a mental exercise, one that diverts her attention from her physical pain and focuses her thoughts on God.
Collins lived at a time of political and religious upheaval in England. While scholars identify her theology as Protestant, there is some disagreement as to the degree of her Calvinism. Indeed, some argue that she represents the Quaker perspective rather than a fully Calvinist bent. In addition, while some scholars have argued that Collins’s work is apolitical, more recent scholarship suggests that she was fully engaged in her historical moment. Her poem “A Song composed in time of the Civill Warr, when the wicked did much insult over the godly,” for example, suggests the belief that spiritual truths can be expressed through revolution.
Collins’s work has been compared to that of George Herbert and in past years was generally considered inferior. However, the work of Germaine Greer and other feminist scholars has revealed Collins as a woman who dissented in her religious and political views at the same time she was devoted to her God. Her first-person account of her spiritual journey provides a map of a woman who redefines and refines her own being. In so doing, she follows a tradition established by much earlier women writers, including Julian of Norwich. While little can be known of Collins’s life apart from her work, it is likely her work will continue to elicit strong critical interest from historians, literary scholars, and feminists in the twenty-first century.