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By Thomas McLean (auth.)

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Even Burke declared in June 1793, ‘with respect to us, Poland might be, in fact, considered as a country in the moon’ (Speeches 4: 148). Catherine the Great and Poland 25 Russian harpies, Polish prey Though British writers and artists responded sympathetically to the fall of Stanisław, they were far more interested in castigating Catherine and accusing the Pitt government of either foolishness or collusion. ’ One suspects the influence of Burke in Yearsley’s decision to pair these royal figures. Echoing Burke in the final lines of the ‘Elegy,’ she writes that Nature, opposing ‘Treason, Murder, all the Soul abhors,’ will forever be seen over Antoinette’s grave, ‘if soft Reflection may avail, / To soothe the gentle Mind at this sad Scene’ (67, 69–70).

Silently as a dream the fabric rose. No sound of hammer or of saw was there. Ice upon ice, the well-adjusted parts Were soon conjoin’d, nor other cement ask’d Than water interfus’d to make them one. 20 From her wintry headquarters Enitharmon, believing that the rebellious child Orc is safely bound, summons forth her other children: Now comes the night of Enitharmon’s joy Who shall I call? Who shall I send? That Woman, lovely Woman! may have dominion? Arise O Rintrah thee I call! & Palamabron thee!

Imperial desires In the same years that British artists and writers transformed Catherine from the enlightened ruler of a backward country into a growing threat to European stability, they found a new figure of admiration in the man Catherine had raised to power in Poland. In October 1763 Augustus III had died; and, as Poland did not have a hereditary monarchy, it was necessary to elect a new king. Catherine forced the election of a former lover, Stanisław Poniatowski, upon the Polish Seym (Parliament).

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