Anne Killigrew

Anne Killigrew (1660–1685) was an English poet and painter. Born in London, she and her family were active in literary and court circles. Killigrew's poems were circulated in manuscript and collected and published posthumously in 1686 after her death from smallpox at age 25. Killigrew was eulogized by John Dryden in his poem "To The Pious Memory of the Accomplish'd Young Lady Mrs. Anne Killigrew" (1686). Dryden compared her poetic abilities to the famous Greek poet of antiquity, Sappho. 
Several paintings attributed to Killigrew are known. These include a self-portrait in Berkeley Castle, and a portrait of James II of England in the Royal Collection (in 2019 on display in Hillsborough Castle). Both of these are about half life-size but full-length. 
Early life and inspiration.
Anne Killigrew was born in early 1660, before the Restoration, at St Martin's Lane in London. Not much is known about her mother Judith Killigrew, but her father Dr. Henry Killigrew published several sermons and poems as well as a play called "The Conspiracy". Her two paternal uncles were also published playwrights. Sir William Killigrew (1606–1695) published two collections of plays and Thomas Killigrew (1612–1683) not only wrote plays but built the theatre now known as Drury Lane. 
Her family had close connections with the Stuart Court, serving Charles I, Charles II, and his Queen, Catherine of Braganza. Her father had been a chaplain to Charles I, and after the English Restoration was given positions such as Master of the Savoy Hospital. Her aunt, also named Anne Killigrew (1607-1641), was a Lady-in-waiting to Queen Henrietta Maria. The younger Anne Killigrew is believed to have been a Maid of Honour to Mary of Modena, Duchess of York.
Little is recorded about Anne's education, but it was consistent with the literary tastes of the family, and she received instruction in both poetry and painting in which she excelled. Because of her father's work—he was a clergyman and a playwright, and her uncle was the well-known playwright and theatrical patentee Thomas Killigrew—she was encouraged to pursue her creative talents, unusual for women in the 17th century. Her theatrical background added to her use of shifting voices in her poetry. In John Dryden's "Ode To the Pious Memory of the accomplished young lady, Mrs. Anne Killigrew," he points out that "Art she had none, yet wanted none, / For Nature did that want supply". Killigrew most likely got her education through studying the Bible, Greek mythology, and philosophy. Mythology was often expressed throughout her paintings and poetry.
Inspiration for Killigrew's poetry came from her knowledge of Greek myths and Biblical proverbs as well as from some very influential female poets who lived during the Restoration period: Katherine Philips and Anne Finch (also a maid to Mary of Modena at the same time as Killigrew). Mary of Modena encouraged the French tradition of "precieuses" (patrician women intellectuals) which pressed women's participation in theatre, literature, and music. In effect, Killigrew was surrounded with a poetic feminist inspiration on a daily basis in Court: she was encompassed by strong intelligent women who encouraged her writing career as much as their own.
It was not abnormal for poets, especially for women, never to see their work published in their lifetime. Anne Killigrew's poems were circulated in manuscript before her death. Some, like "To my Lord Colrane", were complimentary verses written according to "conventions of compliment and courtly exchange". 
Soon after her death, a short book of only thirty-three poems was published by her father. Since Killigrew died at the young age of 25 she was only able to produce a small collection of poetry. In fact, the last three poems were only found among her papers and it is still being debated about whether or not they were actually written by her. Inside the book is also a self painted portrait of Anne and the Ode by family friend and poet John Dryden.
The Poet and the Painter.
Anne Killigrew excelled in multiple media, which was noted by contemporary poet, mentor, and family friend, John Dryden in his dedicatory ode to Killigrew. He addresses her as "the Accomplisht Young LADY Mrs Anne Killigrew, Excellent in the two Sister-Arts of Poësie, and Painting." Scholars believe that Kelligrew painted a total of 15 paintings; however, only four are known to exist today.
Many of her paintings display biblical and mythological imagery. Yet, Killigrew was also skilled at portraits, and her works include a self-portrait and a portrait of James, Duke of York. Some of her poetry references her own paintings, such as her poem "On a Picture Painted by her self, representing two Nimphs of DIANA's, one in a posture to Hunt, the other Batheing." Both her poems and her paintings place emphasis on women and nature, suggesting female rebellion in a male-dominated society.
Critical reception.
John Dryden's famous, extolling ode praises Killigrew for her beauty, virtue, and literary talent. Dryden was one of several contemporary admirers of Killigrew, and the posthumous collection of her work published in 1686 included additional poems commending her literary merit, irreproachable piety, and personal charm.
Anthony Wood in his 1721 essay defends Dryden's praise, confirming that Killigrew "was equal to, if not superior" to any of the compliments lavished upon her. Furthermore, Wood asserts that Killigrew must have been well received in her time, otherwise “her Father would never have suffered them to pass the Press” after her death.
In contrast, Alexander Pope, a prominent critic and leading poet of the time, labelled Killigrew's work "crude" and "unsophisticated." Pope, however, is often considered a misogynist. His critiques built upon the view that women were "characterless" people incapable of writing great works. It has been suggested that he "could envisage authorship only as a system of competitive differentiation", and that he sought to exclude women and tradesman-class men as writers not because of what they wrote, but because of who they were. 
Critics have condemned Killigrew for addressing conventional topics, such as death, love, and the human condition, in her poetry and pastoral dialogues.
Some critics assert that Dryden's praise is too excessive, and must be ironic. Others suggest that Dryden defended all poets because he believed them to be teachers of moral truths; thus, he felt Killigrew, as an inexperienced yet dedicated poet, deserved his praise.
Authorship controversy.
Then, there is the question of the last three poems that were found among her papers. They seem to be in her handwriting, which is why Killigrew's father added them to her book. The poems are about the despair the author has for another woman, and could possibly be autobiographical if they are in fact by Killigrew. Some of her other poems are about failed friendships, possibly with Anne Finch, so this assumption may have some validity.
An early death.
Killigrew died of smallpox on 16 June 1685, when she was only 25 years old. She is buried in the Chancel of the Savoy Chapel (dedicated to St John the Baptist) where a monument was built in her honour, but has since been destroyed by a fire.