Mary Leapor is a remarkable figure in the history of 18th Century British poetry. Born into a working-class family and employed as a kitchen maid, she rose to literary prominence through her sharp wit, emotional depth, and command of poetic form. As a British poet, Leapor challenged the norms of her era, offering a unique perspective on issues such as gender, class, and literary culture. Her work resonates today as a rare and powerful example of working-class expression in a period dominated by upper-class voices.
This article explores the life, themes, and legacy of Mary Leapor, placing her work in the broader context of 18th Century British poetry. We will compare her writings with those of her contemporaries, including Alexander Pope, Lady Mary Wortley Montagu, and Anne Finch. Through this examination, we aim to uncover the importance of Leapor’s contributions to British literature and the continuing relevance of her poetic voice.
Mary Leapor
Mary Leapor was born in 1722 in Brackley, Northamptonshire, to Philip Leapor, a gardener. Her mother died when she was young, and she received only a basic education. Despite these limitations, Leapor developed an early interest in literature and began writing poetry in her teenage years. Her father, although supportive to a degree, disapproved of her reading habits, believing that books would distract her from practical responsibilities.
Leapor’s background as a working-class woman heavily influenced her worldview. She worked as a kitchen maid for various employers, including Susanna Jennens, who encouraged her literary pursuits. It was during her time in domestic service that Leapor composed many of her poems. Her experiences as a laboring woman are central to her work, distinguishing her from the more privileged writers of her time.
Literary Influences and Style
Mary Leapor’s style reflects the prevailing literary currents of 18th Century British poetry, including the influence of Augustan satirists like Alexander Pope. She adopted the heroic couplet and employed satire, but with a tone and focus that reflected her unique social position. While Pope critiqued human folly and corruption, Leapor turned her gaze toward the limited opportunities available to women and the injustices faced by the poor.
Leapor’s work often aligns with the themes of proto-feminism. Her poems critique marriage, beauty standards, and the economic dependency of women. She also writes about the hardships of domestic labor, often with a tone of resigned irony. Despite her formal skill and command of poetic devices, she rarely received the recognition accorded to her male counterparts during her lifetime.
Major Themes in Leapor’s Poetry
The Condition of Women
One of Leapor’s most enduring themes is the condition of women in 18th Century British society. In poems such as “An Essay on Woman,” she challenges the superficial valuation of female beauty and the limited roles available to women. She writes:
“Woman—a pleasing but a short-lived flower, / Too soft for business and too weak for power.”
These lines highlight both the objectification of women and their exclusion from public and professional life. Unlike many of her contemporaries, Leapor does not idealize femininity but portrays it as a social construct imposed by a patriarchal society.
Class and Labor
As a kitchen maid, Leapor was intimately familiar with the physical and emotional toll of domestic labor. Her poems frequently depict the drudgery of such work and the social contempt faced by the laboring class. This theme places her in contrast with poets like Pope and Jonathan Swift, who often wrote from a position of social privilege.
In “Crumble Hall,” Leapor presents a satirical vision of a decaying aristocratic estate. While ostensibly a mock-epic about a crumbling house, the poem critiques the values of the upper class and their detachment from reality. The humor is sharp, but it also underscores the societal decay that Leapor sees as intrinsic to inequality.
Mortality and Loss
Leapor’s work also touches on themes of mortality, illness, and the fragility of human life. These themes may have been informed by her personal experience with illness; she died at the young age of 24. Her elegies and meditations on death exhibit a philosophical depth uncommon for her age.
In her poem “On Death,” she writes:
“Yet must we all resign to fate’s command, / And view the grave as what we cannot stand.”
This reflection is both universal and personal, imbued with a sense of acceptance and sorrow.
Comparison with Contemporary British Poets
Alexander Pope
Alexander Pope was one of the most prominent figures in 18th Century British poetry. Like Leapor, he employed the heroic couplet and was a master of satire. However, Pope’s targets were often political or philosophical. In contrast, Leapor’s satire is more domestic and social. Her focus on women and laboring people fills a gap in the literary landscape of the time.
Lady Mary Wortley Montagu
Lady Mary Wortley Montagu was a contemporary female poet who, like Leapor, challenged gender norms. However, Montagu came from an aristocratic background and had access to education and travel. While Montagu wrote about the constraints placed on women, her tone often reflects the privileges of her class. Leapor, by contrast, wrote from direct experience of social exclusion and economic dependence.
Anne Finch, Countess of Winchilsea
Anne Finch is another important female poet of the 18th century who explored themes of gender and mental health. Like Leapor, Finch used poetry to critique the limited roles available to women. However, Finch’s work often has a more contemplative and melancholy tone, whereas Leapor blends sorrow with sharp satire. Both poets deserve recognition for broadening the thematic scope of British poetry.
Publication and Reception
During her lifetime, Leapor’s poetry was circulated in manuscript form and shared among a small circle of admirers. After her death, two volumes of her work were published: “Poems Upon Several Occasions” (1748) and a posthumous second volume (1751), edited by her friend Bridget Freemantle. These publications brought her modest fame and ensured her place in the canon of 18th Century British poets.
The reception of Leapor’s work was mixed. Some praised her natural talent and moral insight, while others dismissed her as a curiosity—a servant girl who happened to write verse. Nevertheless, her inclusion in anthologies of British poetry has grown in recent decades, thanks to renewed interest in laboring-class and women’s literature.
Legacy and Modern Scholarship
Mary Leapor’s poetry has attracted considerable scholarly attention in the 20th and 21st centuries. Feminist literary critics have highlighted her contributions to proto-feminist discourse, and historians of literature have examined her work in the context of laboring-class writing. Her poetry is now studied in university courses on British literature, women’s studies, and cultural history.
In particular, scholars have emphasized the way Leapor subverts poetic conventions to voice marginalized experiences. Her ability to navigate formal poetic structures while expressing the realities of working-class life is a testament to her skill and originality.
Modern anthologies of British poetry now often include selections from Leapor’s work, and her life is increasingly seen as a symbol of resistance against social and literary hierarchies.
Conclusion
Mary Leapor stands out as a singular voice in 18th Century British poetry. As a British poet from the laboring class, she brought attention to issues often ignored by her more privileged contemporaries. Her poetry, rich in satire, emotion, and social critique, offers invaluable insights into the lives of women and the working class in Georgian England.
Her legacy reminds us that literary greatness is not confined by class or gender. In a period where few working-class women had the opportunity to publish, Mary Leapor’s achievements are both extraordinary and inspiring. She remains a vital figure in the study of British poetry, and her work continues to challenge and enrich our understanding of the 18th century literary world.
