Mary Robinson

• The modern sonnet, concluding with two lines, winding up the sentiment of the whole, confines the poet's fancy
• The Legitimate Sonnet, may be carried on forming in the whole a complete and connected story
• "not presuming to offer them as imitations of Petrarch, but as specimens of that species of sonnet writing, so seldom attempted in the English language"
• Ovid and Pope's pictures are replete with shades rather than presenting Sappho, as the unrivaled poetess of her time
• Mary Robinson

  Sappho and Phaon 1796
• Jerome McGann and Marshall Brown 1999, “the basis of sensibility in an anti-Cartesian fusion of mind and body.”
• Wollestonecraft, 1792, "they become the prey of their senses, delicately termed sensibility, and are blown about by every momentary gust of feeling”
• McGann: the poetry of the feeling heart “coeur sensible"
• McGann 1996: Robinson is accepting sensibility and sentiment as the disctinctive features of poetic expression.
• Robinson is opposing Woollestonecraft in highlighting the importance of passion and love
• McGann, 1996: Phaon is for Sappho an ideal form of both mind and heart exactly because he is masculine.