Philip Arthur Larkin (9 August 1922 – 2 December 1985) was an English poet and novelist. His first book of poetry, The North Ship, was published in 1945, followed by two novels, Jill (1946) and A Girl in Winter (1947), but he came to prominence in 1955 with the publication of his second collection of poems, The Less Deceived, followed by The Whitsun Weddings (1964) and High Windows (1974). He was the recipient of many honours, including the Queen's Gold Medal for Poetry. He was offered, but declined, the position of poet laureate in 1984, following the death of John Betjeman.
Henry Wadsworth Longfellow (February 27, 1807 – March 24, 1882) was an American poet and educator whose works include "Paul Revere's Ride", The Song of Hiawatha, and Evangeline. He was also the first American to translate Dante Alighieri's The Divine Comedy and was one of the five Fireside Poets. Longfellow was born in Portland, Maine, then part of Massachusetts, and studied at Bowdoin College. After spending time in Europe he became a professor at Bowdoin and, later, at Harvard College. His first major poetry collections were Voices of the Night (1839) and Ballads and Other Poems (1841). Longfellow retired from teaching in 1854 to focus on his writing, living the remainder of his life in Cambridge, Massachusetts, in a former headquarters of George Washington. His first wife, Mary Potter, died in 1835 after a miscarriage. His second wife, Frances Appleton, died in 1861 after sustaining burns from her dress catching fire. After her death, Longfellow had difficulty writing poetry for a time and focused on his translation. He died in 1882. Longfellow predominantly wrote lyric poems which are known for their musicality and which often presented stories of mythology and legend. He became the most popular American poet of his day and also had success overseas. He has been criticized, however, for imitating European styles and writing specifically for the masses. Early life and education Longfellow was born on February 27, 1807, to Stephen Longfellow and Zilpah (Wadsworth) Longfellow in Portland, Maine, then a district of Massachusetts, and he grew up in what is now known as the Wadsworth-Longfellow House. His father was a lawyer, and his maternal grandfather, Peleg Wadsworth, was a general in the American Revolutionary War and a Member of Congress. He was named after his mother's brother Henry Wadsworth, a Navy lieutenant who died only three years earlier at the Battle of Tripoli. Young Longfellow was the second of eight children; his siblings were Stephen (1805), Elizabeth (1808), Anne (1810), Alexander (1814), Mary (1816), Ellen (1818), and Samuel (1819). Henry Wadsworth Longfellow was enrolled in a dame school at the age of three and by age six was enrolled at the private Portland Academy. In his years there, he earned a reputation as being very studious and became fluent in Latin. His mother encouraged his enthusiasm for reading and learning, introducing him to Robinson Crusoe and Don Quixote. He printed his first poem – a patriotic and historical four stanza poem called "The Battle of Lovell's Pond" – in the Portland Gazette on November 17, 1820. He stayed at the Portland Academy until the age of fourteen. He spent much of his summers as a child at his grandfather Peleg's farm in the western Maine town of Hiram. In the fall of 1822, the 15-year old Longfellow enrolled at Bowdoin College in Brunswick, Maine, alongside his brother Stephen. His grandfather was a founder of the college and his father was a trustee. There, Longfellow met Nathaniel Hawthorne, who would later become his lifelong friend. He boarded with a clergyman for a time before rooming on the third floor of what is now Maine Hall in 1823. He joined the Peucinian Society, a group of students with Federalist leanings. In his senior year, Longfellow wrote to his father about his aspirations: I will not disguise it in the least... the fact is, I most eagerly aspire after future eminence in literature, my whole soul burns most ardently after it, and every earthly thought centres in it... I am almost confident in believing, that if I can ever rise in the world it must be by the exercise of my talents in the wide field of literature. He pursued his literary goals by submitting poetry and prose to various newspapers and magazines, partly due to encouragement from a professor named Thomas Cogswell Upham. Between January 1824 and his graduation in 1825, he had published nearly 40 minor poems. About 24 of them appeared in the short-lived Boston periodical The United States Literary Gazette. When Longfellow graduated from Bowdoin, he was ranked fourth in the class, and had been elected to Phi Beta Kappa. He gave the student commencement address. European tours and professorships After graduating in 1825, he was offered a job as professor of modern languages at his alma mater. The story, possibly apocryphal, is that an influential trustee, Benjamin Orr, had been so impressed by Longfellow's translation of Horace that he was hired under the condition that he travel to Europe to study French, Spanish, and Italian. Whatever the motivation, he began his tour of Europe in May 1826 aboard the ship Cadmus. His time abroad would last three years and cost his father $2,.. He traveled to France, Spain, Italy, Germany, back to France, then England before returning to the United States in mid-August 1829. While overseas, he learned French, Spanish, Portuguese, and German, mostly without formal instruction. In Madrid, he spent time with Washington Irving and was particularly impressed by the author's work ethic. Irving encouraged the young Longfellow to pursue writing. While in Spain, Longfellow was saddened to learn his favorite sister, Elizabeth, had died of tuberculosis at the age of 20 that May while he was abroad. On August 27, 1829, he wrote to the president of Bowdoin that he was turning down the professorship because he considered the $600 salary "disproportionate to the duties required". The trustees raised his salary to $800 with an additional $100 to serve as the college's librarian, a post which required one hour of work per day. During his years teaching at the college, he translated textbooks in French, Italian, and Spanish; his first published book was in 1833, a translation of the poetry of medieval Spanish poet Jorge Manrique. He also published a travel book, Outre-Mer: A Pilgrimage Beyond the Sea, first published in serial form before a book edition was released in 1835. Shortly after the book's publication, Longfellow attempted to join the literary circle in New York and asked George Pope Morris for an editorial role at one of Morris's publications. Longfellow considered moving to New York after New York University considered offering him a newly-created professorship of modern languages, though there would be no salary. The professorship was not created and Longfellow agreed to continue teaching at Bowdoin. It may have been joyless work. He wrote, "I hate the sight of pen, ink, and paper... I do not believe that I was born for such a lot. I have aimed higher than this”. On September 14, 1831, Longfellow married Mary Storer Potter, a childhood friend from Portland. The couple settled in Brunswick, though the two were not happy there. Longfellow published several nonfiction and fiction prose pieces inspired by Irving, including "The Indian Summer" and "The Bald Eagle" in 1833. In December 1834, Longfellow received a letter from Josiah Quincy III, president of Harvard College, offering him the Smith Professorship of Modern Languages position with the stipulation that he spend a year or so abroad. There, he further studied German as well as Dutch, Danish, Swedish, Finnish, and Icelandic. In October 1835, during the trip, his wife Mary had a miscarriage about six months into her pregnancy. She did not recover and died after several weeks of illness at the age of 22 on November 29, 1835. Longfellow had her body embalmed immediately and placed into a lead coffin inside an oak coffin which was then shipped to Mount Auburn Cemetery near Boston. He was deeply saddened by her death, writing "One thought occupies me night and day... She is dead—She is dead! All day I am weary and sad". Three years later, he was inspired to write the poem "Footsteps of Angels" about her. Several years later, he wrote the poem "Mezzo Cammin" expressed his personal struggles in his middle years. When he returned to the United States in 1836, Longfellow took up the professorship at Harvard. He was required to live in Cambridge to be close to the campus and rented rooms at the Craigie House in the spring of 1837, now preserved as the Longfellow House–Washington's Headquarters National Historic Site. The home, built in 1759, had once been the headquarters of George Washington during the Siege of Boston beginning in July 1775. Previous boarders also included Jared Sparks, Edward Everett, and Joseph Emerson Worcester. Longfellow began publishing his poetry, including the collection Voices of the Night in 1839. The bulk of Voices of the Night, Longfellow's debut book of poetry, was translations though he also included nine original poems and seven poems he had written as a teenager. Ballads and Other Poems was published shortly thereafter in 1841 and included "The Village Blacksmith" and "The Wreck of the Hesperus", which were instantly popular. Longfellow also became part of the local social scene, creating a group of friends who called themselves the Five of Clubs. Members included Cornelius Conway Felton, George Stillman Hillard, and Charles Sumner, the latter of whom would become Longfellow's closest friend over the next 30 years. As a professor, Longfellow was well liked, though he disliked being "constantly a playmate for boys" rather than "stretching out and grappling with men's minds.” Courtship of Frances Appleton Longfellow began courting Frances "Fanny" Appleton, the daughter of a wealthy Boston industrialist, Nathan Appleton and sister of Thomas Gold Appleton. At first, she was not interested but Longfellow was determined. In July 1839, he wrote to a friend: "[V]ictory hangs doubtful. The lady says she will not! I say she shall! It is not pride, but the madness of passion". His friend George Stillman Hillard encouraged Longfellow in the pursuit: "I delight to see you keeping up so stout a heart for the resolve to conquer is half the battle in love as well as war". During the courtship, Longfellow frequently walked from Cambridge to the Appleton home in Beacon Hill in Boston by crossing the Boston Bridge. That bridge was replaced in 1906 by a new bridge which was later renamed the. Longfellow Bridge. During his courtship, Longfellow continued writing and, in late 1839, published Hyperion, a book in prose inspired by his trips abroad and his unsuccessful courtship of Fanny Appleton. Amidst this, Longfellow fell into "periods of neurotic depression with moments of panic" and took a six-month leave of absence from Harvard to attend a health spa in the former Marienberg Benedictine Convent at Boppard in Germany. After returning, Longfellow published a play in 1842, The Spanish Student, reflecting his memories from his time in Spain in the 1820s. There was some confusion over its original manuscript. After being printed in Graham's Magazine, its editor Rufus Wilmot Griswold saved the manuscript from the trash. Longfellow was surprised to hear that it had been saved, unusual for a printing office, and asked to borrow it so that he could revise it, forgetting to return it to Griswold. The often vindictive Griswold wrote an angry letter in response. A small collection, Poems on Slavery, was published in 1842 as Longfellow's first public support of abolitionism. However, as Longfellow himself wrote, the poems were "so mild that even a Slaveholder might read them without losing his appetite for breakfast". A critic for The Dial agreed, calling it "the thinnest of all Mr. Longfellow's thin books; spirited and polished like its forerunners; but the topic would warrant a deeper tone". The New England Anti-Slavery Association, however, was satisfied with the collection enough to reprint it for further distribution. On May 10, 1843, after seven years, Longfellow received a letter from Fanny Appleton agreeing to marry him and, too restless to take a carriage, walked 90 minutes to meet her at her house. They were married shortly thereafter. Nathan Appleton bought the Craigie House as a wedding present to the pair. Longfellow would live there for the remainder of his life. His love for Fanny is evident in the following lines from Longfellow's only love poem, the sonnet "The Evening Star", which he wrote in October 1845: "O my beloved, my sweet Hesperus! My morning and my evening star of love!" He once attended a ball without her and noted, "The lights seemed dimmer, the music sadder, the flowers fewer, and the women less fair.” He and Fanny had six children: Charles Appleton (1844–1893), Ernest Wadsworth (1845–1921), Fanny (1847–1848), Alice Mary (1850–1928), Edith (1853–1915), and Anne Allegra (1855–1934). Their second-youngest daughter, Edith, married Richard Henry Dana III, son of the popular writer Richard Henry Dana, Jr., author of Two Years Before the Mast. When the younger Fanny was born on April 7, 1847, Dr. Nathan Cooley Keep administered ether as the first obstetric anesthetic in the United States to Fanny Longfellow. A few months later, on November 1, 1847, the poem "Evangeline" was published for the first time. His literary income was increasing considerably: in 1840, he had made $219 from his work but the year 1850 brought him $1,. On June 14, 1853, Longfellow held a farewell dinner party at his Cambridge home for his friend Nathaniel Hawthorne, who was preparing to move overseas. Shortly thereafter in 1854, Longfellow retired from Harvard, devoting himself entirely to writing. He was awarded an honorary doctorate of Laws from Harvard in 1859. Death of Frances On July 9, 1861, a hot day, Fanny was putting locks of her children's hair into an envelope and attempting to seal it with hot sealing wax while Longfellow took a nap. Her dress suddenly caught fire, though it is unclear exactly how; it may have been burning wax or a lighted candle which fell on her dress. Longfellow, awakened from his nap, rushed to help her and threw a rug over her, though it was too small. He stifled the flames with his body as best he could, but she was already badly burned. Over a half a century later, Longfellow's youngest daughter Annie explained the story differently, claiming that there was no candle or wax but that the fire started from a self-lighting match that had fallen on the floor. In both versions of the story, however, Fanny was taken to her room to recover and a doctor was called. She was in and out of consciousness throughout the night and was administered ether. The next morning, July 10, 1861, she died shortly after 10 o'clock after requesting a cup of coffee. Longfellow, in trying to save her, had burned himself badly enough for him to be unable to attend her funeral. His facial injuries caused him to stop shaving, thereafter wearing the beard which has become his trademark. Devastated by her death, he never fully recovered and occasionally resorted to laudanum and ether to deal with it. He worried he would go insane and begged "not to be sent to an asylum" and noted that he was "inwardly bleeding to death". He expressed his grief in the sonnet "The Cross of Snow" (1879), which he wrote eighteen years later to commemorate her death: Such is the cross I wear upon my breast These eighteen years, through all the changing scenes And seasons, changeless since the day she died. Later life and death Longfellow spent several years translating Dante Alighieri's Divine Comedy. To aid him in perfecting the translation and reviewing proofs, he invited friends to weekly meetings every Wednesday starting in 1864. The "Dante Club", as it was called, regularly included William Dean Howells, James Russell Lowell, Charles Eliot Norton and other occasional guests. The full three-volume translation was published in the spring of 1867, though Longfellow would continue to revise it, and it went through four printings in its first year. By 1868, Longfellow's annual income was over $48,. In 1874, Samuel Cutler Ward helped him sell the poem "The Hanging of the Crane" to the New York Ledger for $3,; it was the highest price ever paid for a poem. During the 1860s, Longfellow supported abolitionism and especially hoped for reconciliation between the northern and southern states after the American Civil War. He wrote in his journal in 1878: "I have only one desire; and that is for harmony, and a frank and honest understanding between North and South". Longfellow, despite his aversion to public speaking, accepted an offer from Joshua Chamberlain to speak at his fiftieth reunion at Bowdoin College; he read the poem "Morituri Salutamus" so quietly that few could hear him. The next year, 1876, he declined an offer to be nominated for the Board of Overseers at Harvard "for reasons very conclusive to my own mind". On August 22, 1879, a female admirer traveled to Longfellow's house in Cambridge and, unaware to whom she was speaking, asked Longfellow: "Is this the house where Longfellow was born?" Longfellow told her it was not. The visitor then asked if he had died here. "Not yet", he replied. In March 1882, Longfellow went to bed with severe stomach pain. He endured the pain for several days with the help of opium before he died surrounded by family on Friday, March 24, 1882. He had been suffering from peritonitis. At the time of his death, his estate was worth an estimated $356,. He is buried with both of his wives at Mount Auburn Cemetery in Cambridge, Massachusetts. His last few years were spent translating the poetry of Michelangelo; though Longfellow never considered it complete enough to be published during his lifetime, a posthumous edition was collected in 1883. Scholars generally regard the work as autobiographical, reflecting the translator as an aging artist facing his impending death. Writing Style Though much of his work is categorized as lyric poetry, Longfellow experimented with many forms, including hexameter and free verse. His published poetry shows great versatility, using anapestic and trochaic forms, blank verse, heroic couplets, ballads and sonnets. Typically, Longfellow would carefully consider the subject of his poetic ideas for a long time before deciding on the right metrical form for it. Much of his work is recognized for its melody-like musicality. As he says, "what a writer asks of his reader is not so much to like as to listen". As a very private man, Longfellow did not often add autobiographical elements to his poetry. Two notable exceptions are dedicated to the death of members of his family. "Resignation", written as a response to the death of his daughter Fanny in 1848, does not use first-person pronouns and is instead a generalized poem of mourning. The death of his second wife Frances, as biographer Charles Calhoun wrote, deeply affected Longfellow personally but "seemed not to touch his poetry, at least directly". His memorial poem to her, a sonnet called "The Cross of Snow", was not published in his lifetime. Longfellow often used didacticism in his poetry, though he focused on it less in his later years. Much of his poetry imparts cultural and moral values, particularly focused on promoting life as being more than material pursuits. Longfellow also often used allegory in his work. In "Nature", for example, death is depicted as bedtime for a cranky child. Many of the metaphors he used in his poetry as well as subject matter came from legends, mythology, and literature. He was inspired, for example, by Norse mythology for "The Skeleton in Armor" and by Finnish legends for The Song of Hiawatha. In fact, Longfellow rarely wrote on current subjects and seemed detached from contemporary American concerns. Even so, Longfellow, like many during this period, called for the development of high quality American literature. In Kavanagh, a character says: We want a national literature commensurate with our mountains and rivers... We want a national epic that shall correspond to the size of the country... We want a national drama in which scope shall be given to our gigantic ideas and to the unparalleled activity of our people... In a word, we want a national literature altogether shaggy and unshorn, that shall shake the earth, like a herd of buffaloes thundering over the prairies. He was also important as a translator; his translation of Dante became a required possession for those who wanted to be a part of high culture. He also encouraged and supported other translators. In 1845, he published The Poets and Poetry of Europe, an 800-page compilation of translations made by other writers, including many by his friend and colleague Cornelius Conway Felton. Longfellow intended the anthology "to bring together, into a compact and convenient form, as large an amount as possible of those English translations which are scattered through many volumes, and are not accessible to the general reader". In honor of Longfellow's role with translations, Harvard established the Longfellow Institute in 1994, dedicated to literature written in the United States in languages other than English. In 1874, Longfellow oversaw a 31-volume anthology called Poems of Places, which collected poems representing several geographical locations, including European, Asian, and Arabian countries. Emerson was disappointed and reportedly told Longfellow: "The world is expecting better things of you than this... You are wasting time that should be bestowed upon original production". In preparing the volume, Longfellow hired Katherine Sherwood Bonner as an amanuensis. Critical response Longfellow's early collections, Voices of the Night and Ballads and Other Poems, made him instantly popular. The New-Yorker called him "one of the very few in our time who has successfully aimed in putting poetry to its best and sweetest uses". The Southern Literary Messenger immediately put Longfellow "among the first of our American poets". Poet John Greenleaf Whittier said that Longfellow's poetry illustrated "the careful moulding by which art attains the graceful ease and chaste simplicity of nature". Longfellow's friend Oliver Wendell Holmes, Sr. wrote of him as "our chief singer" and one who "wins and warms... kindles, softens, cheers [and] calms the wildest woe and stays the bitterest tears!" The rapidity with which American readers embraced Longfellow was unparalleled in publishing history in the United States; by 1874, he was earning $3, per poem. His popularity spread throughout Europe as well and his poetry was translated during his lifetime into Italian, French, German, and other languages. As scholar Bliss Perry later wrote, Longfellow was so highly praised that criticizing him was a criminal act like "carrying a rifle into a national park". In the last two decades of his life, he often received requests for autographs from strangers, which he always sent. John Greenleaf Whittier suggested it was this massive correspondence that led to Longfellow's death, writing: "My friend Longfellow was driven to death by these incessant demands". Contemporary writer Edgar Allan Poe wrote to Longfellow in May 1841 of his "fervent admiration which [your] genius has inspired in me" and later called him "unquestionably the best poet in America". However, after Poe's reputation as a critic increased, he publicly accused Longfellow of plagiarism in what has been since termed by Poe biographers as "The Longfellow War". His assessment was that Longfellow was "a determined imitator and a dextrous adapter of the ideas of other people", specifically Alfred, Lord Tennyson. His accusations may have been a publicity stunt to boost readership of the Broadway Journal, for which he was the editor at the time. Longfellow did not respond publicly, but, after Poe's death, he wrote: "The harshness of his criticisms I have never attributed to anything but the irritation of a sensitive nature chafed by some indefinite sense of wrong". Margaret Fuller judged him "artificial and imitative" and lacking force. Poet Walt Whitman also considered Longfellow an imitator of European forms, though he praised his ability to reach a popular audience as "the expressor of common themes – of the little songs of the masses". He added, "Longfellow was no revolutionarie: never traveled new paths: of course never broke new paths." Lewis Mumford said that Longfellow could be completely removed from the history of literature without much effect. Towards the end of his life, contemporaries considered him more of a children's poet as many of his readers were children. A contemporary reviewer noted in 1848 that Longfellow was creating a "Goody two-shoes kind of literature... slipshod, sentimental stories told in the style of the nursery, beginning in nothing and ending in nothing". A more modern critic said, "Who, except wretched schoolchildren, now reads Longfellow?" A London critic in the London Quarterly Review, however, condemned all American poetry, saying, "with two or three exceptions, there is not a poet of mark in the whole union" but singled out Longfellow as one of those exceptions. As an editor of the Boston Evening Transcript wrote in 1846, "Whatever the miserable envy of trashy criticism may write against Longfellow, one thing is most certain, no American poet is more read”. Legacy Longfellow was the most popular poet of his day and is generally regarded as the most distinguished poet the country had produced. As a friend once wrote to him, "no other poet was so fully recognized his lifetime". Many of his works helped shape the American character and its legacy, particularly with the poem "Paul Revere's Ride". He was such an admired figure in the United States during his life that his 70th birthday in 1877 took on the air of a national holiday, with parades, speeches, and the reading of his poetry. Over the years, Longfellow's personality has become part of his reputation. He has been presented as a gentle, placid, poetic soul: an image perpetuated by his brother Samuel Longfellow, who wrote an early biography which specifically emphasized these points. As James Russell Lowell said, Longfellow had an "absolute sweetness, simplicity, and modesty". At Longfellow's funeral, his friend Ralph Waldo Emerson called him "a sweet and beautiful soul". In reality, Longfellow's life was much more difficult than was assumed. He suffered from neuralgia, which caused him constant pain, and he also had poor eyesight. He wrote to friend Charles Sumner: "I do not believe anyone can be perfectly well, who has a brain and a heart". He had difficulty coping with the death of his second wife. Longfellow was very quiet, reserved, and private; in later years, he was known for being unsocial and avoided leaving home. He had become one of the first American celebrities and was also popular in Europe. It was reported that 10, copies of The Courtship of Miles Standish sold in London in a single day. Children adored him and, when the "spreading chestnut-tree" mentioned in the poem "The Village Blacksmith" was cut down, the children of Cambridge had the tree converted into an armchair which they presented to the poet. In 1884, Longfellow became the first non-British writer for whom a commemorative sculpted bust was placed in Poet's Corner of Westminster Abbey in London; he remains the only American poet represented with a bust. More recently, he was honored in March 2007 when the United States Postal Service made a stamp commemorating him. A number of schools are named after him in various states as well. Neil Diamond's 1974 hit song, "Longfellow Serenade", is a reference to the poet. He is a protagonist in Matthew Pearl's murder mystery The Dante Club (2003). Longfellow's popularity rapidly declined, beginning shortly after his death and into the twentieth century as academics began to appreciate poets like Walt Whitman, Edwin Arlington Robinson, and Robert Frost. In the twentieth century, literary scholar Kermit Vanderbilt noted, "Increasingly rare is the scholar who braves ridicule to justify the art of Longfellow's popular rhymings." 20th century poet Lewis Putnam Turco concluded "Longfellow was minor and derivative in every way throughout his career... nothing more than a hack imitator of the English Romantics.” Poetry collections * Voices of the Night (1839) * Ballads and Other Poems (1841) * Poems on Slavery (1842) * The Belfry of Bruges and Other Poems (1845) * Birds of Passage (1845) * The Seaside and the Fireside (1850) * The Courtship of Miles Standish and Other Poems (1858) * Tales of a Wayside Inn (1863) * Household Poems (1865) * Flower-de-Luce (1867) * Three Books of Song (1872) * The Masque of Pandora and Other Poems (1875) * Kéramos and Other Poems (1878) * Ultima Thule (1880) * In the Harbor (1882) * Michel Angelo: A Fragment (incomplete; published posthumously) References Wikipedia - http://en.wikipedia.org/wiki/Henry_Wadsworth_Longfellow
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Henry Archibald Hertzberg Lawson (17 June 1867 – 2 September 1922) was an Australian writer and poet. Along with his contemporary Banjo Paterson, Lawson is among the best-known Australian poets and fiction writers of the colonial period and is often called Australia's "greatest short story writer". He was the son of the poet, publisher and feminist Louisa Lawson. Early life Henry Lawson was born 17 June 1867 in a town on the Grenfell goldfields of New South Wales. His father was Niels Hertzberg Larsen, a Norwegian-born miner from Tromøya near Arendal. Niels Larsen went to sea at 21 and arrived in Melbourne in 1855 to join the gold rush, along with partner William Henry John Slee. Lawson's parents met at the goldfields of Pipeclay (now Eurunderee New South Wales). Niels and Louisa Albury (1848–1920) married on 7 July 1866 when he was 32 and she 18. On Henry's birth, the family surname was Anglicised and Niels became Peter Lawson. The newly married couple were to have an unhappy marriage. Louisa, after family-raising, took a significant part in women's movements, and edited a women's paper called The Dawn (published May 1888 to July 1905). She also published her son's first volume, and around 1904 brought out a volume of her own, Dert and Do, a simple story of 18,000 words. In 1905 she collected and published her own verses, The Lonely Crossing and other Poems. Louisa likely had a strong influence on her son's literary work in its earliest days. Peter Lawson's grave (with headstone) is in the little private cemetery at Hartley Vale, New South Wales, a few minutes' walk behind what was Collitt's Inn. Lawson attended school at Eurunderee from 2 October 1876 but suffered an ear infection at around this time. It left him with partial deafness and by the age of fourteen he had lost his hearing entirely. However, his master John Tierney was kind and did all he could for Lawson, who was quite shy. Lawson later attended a Catholic school at Mudgee, New South Wales around 8 km away; the master there, Mr Kevan, would teach Lawson about poetry. Lawson was a keen reader of Dickens and Marryat and novels such as Robbery Under Arms and For the Term of his Natural Life; an aunt had also given him a volume by Bret Harte. Reading became a major source of his education because, due to his deafness, he had trouble learning in the classroom. In 1883, after working on building jobs with his father in the Blue Mountains, Lawson joined his mother in Sydney at her request. Louisa was then living with Henry's sister and brother. At this time, Lawson was working during the day and studying at night for his matriculation in the hopes of receiving a university education. However, he failed his exams. At around 20 years of age Lawson went to the eye and ear hospital in Melbourne but nothing could be done for his deafness. In 1890 he began a relationship with Mary Gilmore. She writes of an unofficial engagement and Lawson's wish to marry her, but it was broken by his frequent absences from Sydney. The story of the relationship is told in the play "All My Love", written by Anne Brooksbank. In 1896, Lawson married Bertha Bredt Jr., daughter of Bertha Bredt, the prominent socialist. The marriage was ill-advised[vague] due to Lawson's alcohol addiction. They had two children, son Jim (Joseph) and daughter Bertha. However, the marriage ended very unhappily. Poetry and prose writing Henry Lawson's first published poem was 'A Song of the Republic' which appeared in The Bulletin, 1 October 1887; his mother's republican friends were an influence. This was followed by 'The Wreck of the Derry Castle' and then 'Golden Gully.' Prefixed to the former poem was an editorial 'note: “In publishing the subjoined verses we take pleasure in stating that the writer is a boy of 17 years, a young Australian, who has as yet had an imperfect education and is earning his living under some difficulties as a housepainter, a youth whose poetic genius here speaks eloquently for itself.” Lawson was 20 years old, not 17.- In 1890-1891 Lawson worked in Albany. He then received an offer to write for the Brisbane Boomerang in 1891, but he lasted only around 7–8 months as the Boomerang was soon in trouble. While in Brisbane he contributed to William Lane's Worker; he later angled for an editorial position with the similarly-named Worker of Sydney, but was unsuccessful. He returned to Sydney and continued to write for the Bulletin which, in 1892, paid for an inland trip where he experienced the harsh realities of drought-affected New South Wales. He also worked as a roustabout in the woolshed at Toorale Station. This resulted in his contributions to the Bulletin Debate and became a source for many of his stories in subsequent years. Elder writes of the trek Lawson took between Hungerford and Bourke as "the most important trek in Australian literary history" and says that "it confirmed all his prejudices about the Australian bush. Lawson had no romantic illusions about a 'rural idyll'." As Elder continues, his grim view of the outback was far removed from "the romantic idyll of brave horsemen and beautiful scenery depicted in the poetry of Banjo Paterson". Lawson's most successful prose collection is While the Billy Boils, published in 1896. In it he "continued his assault on Paterson and the romantics, and in the process, virtually reinvented Australian realism". Elder writes that "he used short, sharp sentences, with language as raw as Ernest Hemingway or Raymond Carver. With sparse adjectives and honed-to-the-bone description, Lawson created a style and defined Australians: dryly laconic, passionately egalitarian and deeply humane." Most of his work focuses on the Australian bush, such as the desolate "Past Carin'", and is considered by some to be among the first accurate descriptions of Australian life as it was at the time. "The Drover's Wife" with its "heart-breaking depiction of bleakness and loneliness" is regarded as one of his finest short stories. It is regularly studied in schools and has often been adapted for film and theatre. Lawson was a firm believer in the merits of the sketch story, commonly known simply as 'the sketch,' claiming that "the sketch story is best of all." Lawson's Jack Mitchell story, On The Edge Of A Plain, is often cited as one of the most accomplished examples of the sketch. Like the majority of Australians, Lawson lived in a city, but had had plenty of experience in outback life, in fact, many of his stories reflected his experiences in real life. In Sydney in 1898 he was a prominent member of the Dawn and Dusk Club, a bohemian club of writer friends who met for drinks and conversation. Later years In 1903 he bought a room at Mrs Isabel Byers' Coffee Palace in North Sydney. This marked the beginning of a 20-year friendship between Mrs Byers and Lawson. Despite his position as the most celebrated Australian writer of the time, Lawson was deeply depressed and perpetually poor. He lacked money due to unfortunate royalty deals with publishers. His ex-wife repeatedly reported him for non-payment of child maintenance, resulting in gaol terms. He was gaoled at Darlinghurst Gaol for drunkenness and non-payment of child support, and recorded his experience in the haunting poem "One Hundred and Three" - his prison number - which was published in 1908. He refers to the prison as "Starvinghurst Gaol" because of the meagre rations given to the inmates. At this time, Lawson became withdrawn, alcoholic, and unable to carry on the usual routine of life. Mrs Byers (née Ward) was an excellent poet herself and although of modest education, had been writing vivid poetry since her teens in a similar style to Lawson's. Long separated from her husband and elderly, Mrs Byers was, at the time she met Lawson, a woman of independent means looking forward to retirement. Byers regarded Lawson as Australia's greatest living poet, and hoped to sustain him well enough to keep him writing. She negotiated on his behalf with publishers, helped to arrange contact with his children, contacted friends and supporters to help him financially, and assisted and nursed him through his mental and alcohol problems. She wrote countless letters on his behalf and knocked on any doors that could provide Henry with financial assistance or a publishing deal. It was in Mrs Isabel Byers' home that Henry Lawson died, of cerebral hemorrhage, in Abbotsford, Sydney in 1922. He was given a state funeral. His death registration on the NSW Births, Deaths & Marriages index is ref. 10451/1922 and was recorded at the Petersham Registration District. It shows his parents as Peter and Louisa. His funeral was attended by the Prime Minister Billy Hughes and the Premier of New South Wales, Jack Lang (who was the husband of Lawson's sister-in-law Hilda Bredt), as well as thousands of citizens. He is interred at Waverley Cemetery. Lawson was the first person to be granted a New South Wales state funeral (traditionally reserved for Governors, Chief Justices, etc.) on the grounds of having been a 'distinguished citizen'. Honours A bronze statue of Lawson accompanied by a swagman, a dog and a fencepost (reflecting his writing) stands in The Domain, Sydney. The Henry Lawson Memorial committee raised money through public donation to commission the statue by sculptor George Washington Lambert in 1927. The work was unveiled on 28 July 1931 by the Governor of New South Wales, Sir Philip Game. In 1949 Lawson was the subject of an Australian postage stamp. He was featured on the first (paper) Australian ten dollar note issued in 1966 when decimal currency was first introduced into Australia. Lawson was pictured against scenes from the town of Gulgong in NSW. This note was replaced by a polymer note in 1993; the polymer series had different people featured on the notes. Wikipedia Wikipedia—https://en.wikipedia.org/wiki/Henry_Lawson
Clive Staples Lewis (29 November 1898 – 22 November 1963), commonly called C. S. Lewis and known to his friends and family as “Jack”, was a novelist, poet, academic, medievalist, literary critic, essayist, lay theologian, and Christian apologist. Born in Belfast, Ireland, he held academic positions at both Oxford University (Magdalen College), 1925–1954, and Cambridge University (Magdalene College), 1954–1963. He is best known both for his fictional work, especially The Screwtape Letters, The Chronicles of Narnia, and The Space Trilogy, and for his non-fiction Christian apologetics, such as Mere Christianity, Miracles, and The Problem of Pain. Lewis and fellow novelist J. R. R. Tolkien were close friends. Both authors served on the English faculty at Oxford University, and both were active in the informal Oxford literary group known as the "Inklings". According to his memoir Surprised by Joy, Lewis had been baptized in the Church of Ireland (part of the Anglican Communion) at birth, but fell away from his faith during his adolescence. Owing to the influence of Tolkien and other friends, at the age of 32 Lewis returned to the Anglican Communion, becoming "a very ordinary layman of the Church of England". His faith had a profound effect on his work, and his wartime radio broadcasts on the subject of Christianity brought him wide acclaim. In 1956, he married the American writer Joy Davidman, 17 years his junior, who died four years later of cancer at the age of 45. Lewis died three years after his wife, from renal failure, one week before his 65th birthday. Media coverage of his death was minimal; he died on 22 November 1963—the same day that U.S. President John F. Kennedy was assassinated, and the same day another famous author, Aldous Huxley, died. This has led to the date of his death often being overshadowed by that of Kennedy. In 2013, on the 50th anniversary of his death, Lewis was honoured with a memorial in Poets' Corner, Westminster Abbey. Lewis's works have been translated into more than 30 languages and have sold millions of copies. The books that make up The Chronicles of Narnia have sold the most and have been popularized on stage, TV, radio, and cinema. Childhood Clive Staples Lewis was born in Belfast, Ireland, on 29 November 1898. His father was Albert James Lewis (1863–1929), a solicitor whose father, Richard, had come to Ireland from Wales during the mid-19th century. His mother was Florence Augusta Lewis, née Hamilton (1862–1908), known as Flora, the daughter of a Church of Ireland (Anglican) priest. He had an elder brother, Warren Hamilton Lewis. At the age of four, shortly after his dog Jacksie was killed by a car, he announced that his name was now Jacksie. At first, he would answer to no other name, but later accepted Jack, the name by which he was known to friends and family for the rest of his life. When he was seven, his family moved into "Little Lea", the family home of his childhood, in the Strandtown area of East Belfast. As a boy, Lewis had a fascination with anthropomorphic animals, falling in love with Beatrix Potter's stories and often writing and illustrating his own animal stories. He and his brother Warnie together created the world of Boxen, inhabited and run by animals. Lewis loved to read; and, as his father's house was filled with books, he felt that finding a book to read was as easy as walking into a field and "finding a new blade of grass”. Lewis was schooled by private tutors before being sent to the Wynyard School in Watford, Hertfordshire, in 1908, just after his mother's death from cancer. Lewis's brother had enrolled there three years previously. The school was closed not long afterwards due to a lack of pupils; the headmaster Robert "Oldie" Capron was soon after committed to a psychiatric hospital. Lewis then attended Campbell College in the east of Belfast about a mile from his home, but he left after a few months due to respiratory problems. He was then sent to the health-resort town of Malvern, Worcestershire, where he attended the preparatory school Cherbourg House, which Lewis calls "Chartres" in his autobiography. It was during this time that Lewis abandoned his childhood Christian faith and became an atheist, becoming interested in mythology and the occult. In September 1913, Lewis enrolled at Malvern College, where he remained until the following June. He found the school socially competitive. After leaving Malvern, he studied privately with William T. Kirkpatrick, his father's old tutor and former headmaster of Lurgan College. As a teenager, he was wonder-struck by the songs and legends of what he called Northernness, the ancient literature of Scandinavia preserved in the Icelandic sagas. These legends intensified an inner longing he later called "joy". He also grew to love nature; its beauty reminded him of the stories of the North, and the stories of the North reminded him of the beauties of nature. His teenage writings moved away from the tales of Boxen, and he began using different art forms (epic poetry and opera) to try to capture his new-found interest in Norse mythology and the natural world. Studying with Kirkpatrick ("The Great Knock", as Lewis afterwards called him) instilled in him a love of Greek literature and mythology and sharpened his skills in debate and sound reasoning. In 1916, Lewis was awarded a scholarship at University College, Oxford. Before he was allowed to attend Oxford, Lewis was conscripted into the First World War. His experience of the horror of war confirmed his atheism. "My Irish life” Lewis experienced a certain cultural shock on first arriving in England: "No Englishman will be able to understand my first impressions of England", Lewis wrote in Surprised by Joy, continuing, "The strange English accents with which I was surrounded seemed like the voices of demons. But what was worst was the English landscape ... I have made up the quarrel since; but at that moment I conceived a hatred for England which took many years to heal." From boyhood, Lewis immersed himself firstly in Norse, Greek, and, later, in Irish mythology and literature and expressed an interest in the Irish language, though there is not much evidence that he laboured to learn it. He developed a particular fondness for W. B. Yeats, in part because of Yeats's use of Ireland's Celtic heritage in poetry. In a letter to a friend, Lewis wrote, "I have here discovered an author exactly after my own heart, whom I am sure you would delight in, W. B. Yeats. He writes plays and poems of rare spirit and beauty about our old Irish mythology". In 1921, Lewis met Yeats twice, since Yeats had moved to Oxford. Surprised to find his English peers indifferent to Yeats and the Celtic Revival movement, Lewis wrote: "I am often surprised to find how utterly ignored Yeats is among the men I have met: perhaps his appeal is purely Irish – if so, then thank the gods that I am Irish." Early in his career, Lewis considered sending his work to the major Dublin publishers, writing: "If I do ever send my stuff to a publisher, I think I shall try Maunsel, those Dublin people, and so tack myself definitely onto the Irish school." After his conversion to Christianity, his interests gravitated towards Christian spirituality and away from pagan Celtic mysticism. Lewis occasionally expressed a somewhat tongue-in-cheek chauvinism toward the English. Describing an encounter with a fellow Irishman, he wrote: "Like all Irish people who meet in England, we ended by criticisms on the invincible flippancy and dullness of the Anglo-Saxon race. After all, there is no doubt, ami, that the Irish are the only people: with all their faults, I would not gladly live or die among another folk". Throughout his life, he sought out the company of other Irish people living in England and visited Northern Ireland regularly, even spending his honeymoon there in 1958 at the Old Inn, Crawfordsburn. He called this "my Irish life". Various critics have suggested that it was Lewis's dismay over sectarian conflict in his native Belfast that led him to eventually adopt such an ecumenical brand of Christianity. As one critic has said, Lewis "repeatedly extolled the virtues of all branches of the Christian faith, emphasising a need for unity among Christians around what the Catholic writer G. K. Chesterton called 'Mere Christianity', the core doctrinal beliefs that all denominations share." On the other hand, Paul Stevens of the University of Toronto has written that "Lewis's mere Christianity masked many of the political prejudices of an old-fashioned Ulster Protestant, a native of middle-class Belfast for whom British withdrawal from Northern Ireland even in the 1950s and 1960s was unthinkable”. References Wikipedia – http://en.wikipedia.org/wiki/C._S._Lewis
David Herbert Richards Lawrence (11 September 1885 – 2 March 1930) was an English novelist, poet, playwright, essayist, literary critic and painter who published as D. H. Lawrence. His collected works represent an extended reflection upon the dehumanising effects of modernity and industrialisation. In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, and instinct. Lawrence’s opinions earned him many enemies and he endured official persecution, censorship, and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile which he called his “savage pilgrimage”. At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as, “The greatest imaginative novelist of our generation”. Later, the influential Cambridge critic F. R. Leavis championed both his artistic integrity and his moral seriousness, placing much of Lawrence's fiction within the canonical “great tradition” of the English novel. Lawrence is now valued by many as a visionary thinker and significant representative of modernism in English literature.
I'm a social science student with an interest in philosophy, sociology and anthropology particularly. I would describe myself as a highly sensitive person but forever the optimist. Music is more than a hobby of mine, it is a way of life. I wear my heart on my sleeve and because of this I am a songwriter, musician and occasional poet. Instagram username- Marnoldkins
Amy Lawrence Lowell (February 9, 1874 – May 12, 1925) was an American poet of the imagist school from Brookline, Massachusetts, who posthumously won the Pulitzer Prize for Poetry in 1926. Personal Life Lowell was born into Brookline's Lowell family, sister to astronomer Percival Lowell and Harvard president Abbott Lawrence Lowell. She never attended college because her family did not consider it proper for a woman to do so. She compensated for this lack with avid reading and near-obsessive book collecting. She lived as a socialite and travelled widely, turning to poetry in 1902 (age 28) after being inspired by a performance of Eleonora Duse in Europe. Lowell was said to be lesbian, and in 1912 she and actress Ada Dwyer Russell were reputed to be lovers. Russell is reputed to be the subject of Lowell's more erotic works, most notably the love poems contained in 'Two Speak Together', a subsection of Pictures of the Floating World. The two women traveled to England together, where Lowell met Ezra Pound, who at once became a major influence and a major critic of her work. Pound considered Lowell's embrace of Imagism to be a kind of hi-jacking of the movement. Lowell has been linked romantically to writer Mercedes de Acosta, but the only evidence of any contact between them is a brief correspondence about a planned memorial for Duse. Lowell was a short but imposing figure who kept her hair in a bun and wore a pince-nez. Lowell smoked cigars constantly, claiming that they lasted longer than cigarettes. A glandular problem kept her perpetually overweight, so that poet Witter Bynner once said, in a cruel comment repeated by Ezra Pound and thereafter commonly misattributed to him, that she was a "hippo poetess." Lowell died of a cerebral hemorrhage in 1925, at the age of 51. The following year, she was awarded the Pulitzer Prize for Poetry for What's O'Clock. That collection included the patriotic poem "Lilacs", which Louis Untermeyer said was the poem of hers he liked best. Career Her first published work appeared in 1910 in Atlantic Monthly. The first published collection of her poetry, A Dome of Many-Coloured Glass, appeared two years later, in 1912. An additional group of uncollected poems was added to the volume The Complete Poetical Works of Amy Lowell, published in 1955 with an introduction by Louis Untermeyer, who considered himself her friend. Though she sometimes wrote sonnets, Lowell was an early adherent to the "free verse" method of poetry and one of the major champions of this method. She defined it in her preface to "Sword Blades and Poppy Seed"; in the North American Review for January, 1917; in the closing chapter of "Tendencies in Modern American Poetry"; and also in the Dial (January 17, 1918), as: "The definition of Vers libre is: a verse-formal based upon cadence. To understand vers libre, one must abandon all desire to find in it the even rhythm of metrical feet. One must allow the lines to flow as they will when read aloud by an intelligent reader. Or, to put it another way, unrhymed cadence is "built upon 'organic rhythm,' or the rhythm of the speaking voice with its necessity for breathing, rather than upon a strict metrical system. Free verse within its own law of cadence has no absolute rules; it would not be 'free' if it had." Untermeyer writes that "[s]he was not only a disturber but an awakener." In many poems, Lowell dispenses with line breaks, so that the work looks like prose on the page. This technique she labeled "polyphonic prose”. Throughout her working life, Lowell was a promoter of both contemporary and historical poets. Her book Fir-Flower Poets was a poetical re-working of literal translations of the works of ancient Chinese poets, notably Li Tai-po (A.D. 701-762). Her writing also included critical works on French literature. At the time of her death, she died she was attempting to complete her two-volume biography of John Keats. Writing of Keats, Lowell said that "the stigma of oddness is the price a myopic world always exacts of genius.” Lowell not only published her own work, but also that of other writers. According to Untermeyer, she "captured" the Imagist movement from Ezra Pound. Pound threatened to sue her for bringing out her three-volume series Some Imagist Poets, and thereafter derisively called the American Imagists the "Amygist" movement. Pound criticized her as not an imagist, but merely a rich woman who was able to financially assist the publication of imagist poetry. She said that Imagism was weak before she took it up, whereas others said it became weak after Pound's "exile" towards Vorticism. Altercation with F. Holland Day Lowell was frustrated in composing her biography of Keats by the famous publisher and photographer F. Holland Day. Day, alongside an unrivaled possession of Keatsiana, possessed exclusive copies of Fanny Brawne's letters to Keats. Fanny was the woman whom Keats had unsuccessfully pursued and the letters were therefore of considerable biographical interest. Lowell, who hoped to publish the definitive volume of biography, was forced to pursue a reluctant and rather mischievously reticent Day for these artifacts, with little success. Legacy In the post-World War I years, Lowell was largely forgotten, but the women's movement in the 1970s and women's studies brought her back to light. According to Heywood Broun, however, Lowell personally argued against feminism. Additional sources of interest in Lowell today come from the anti-war sentiment of the oft-taught poem "Patterns"; her personification of inanimate objects, as in "The Green Bowl," and "The Red Lacquer Music Stand"; and her lesbian themes, including the love poems addressed to Ada Dwyer Russell in "Two Speak Together" and her poem "The Sisters", which addresses her female poetic predecessors. References Wikipedia — http://en.wikipedia.org/wiki/Amy_Lowell
Edward Lear (12 or 13 May 1812 – 29 January 1888) was an English artist, illustrator, author and poet, and is known now mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. His principal areas of work as an artist were threefold: as a draughtsman employed to illustrate birds and animals; making coloured drawings during his journeys, which he reworked later, sometimes as plates for his travel books; as a (minor) illustrator of Alfred Tennyson's poems. As an author, he is known principally for his popular nonsense works, which use real and invented English words. Early years Lear was born into a middle-class family in the village of Holloway near London, the penultimate of twenty-one children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear. He was raised by his eldest sister, also named Ann, 21 years his senior. Owing to the family's limited finances, Lear and his sister were required to leave the family home and live together when he was aged four. Ann doted on Edward and continued to act as a mother for him until her death, when he was almost 50 years of age. Lear suffered from lifelong health afflictions. From the age of six he suffered frequent grand mal epileptic seizures, and bronchitis, asthma, and during later life, partial blindness. Lear experienced his first seizure at a fair near Highgate with his father. The event scared and embarrassed him. Lear felt lifelong guilt and shame for his epileptic condition. His adult diaries indicate that he always sensed the onset of a seizure in time to remove himself from public view. When Lear was about seven years old he began to show signs of depression, possibly due to the instability of his childhood. He suffered from periods of severe melancholia which he referred to as "the Morbids.” Artist Lear was already drawing "for bread and cheese" by the time he was aged 16 and soon developed into a serious "ornithological draughtsman" employed by the Zoological Society and then from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate Knowsley Hall. Lear's first publication, published when he was 19 years old, was Illustrations of the Family of Psittacidae, or Parrots in 1830. His paintings were well received and he was compared favourably with the naturalist John James Audubon. Among other travels, he visited Greece and Egypt during 1848–49, and toured India and Ceylon (Sri Lanka) during 1873–75. While travelling he produced large quantities of coloured wash drawings in a distinctive style, which he converted later in his studio into oil and watercolour paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of colour. Throughout his life he continued to paint seriously. He had a lifelong ambition to illustrate Tennyson's poems; near the end of his life a volume with a small number of illustrations was published. Relationships Lear's most fervent and painful friendship involved Franklin Lushington. He met the young barrister in Malta in 1849 and then toured southern Greece with him. Lear developed an undoubtedly homosexual passion for him that Lushington did not reciprocate. Although they remained friends for almost forty years, until Lear's death, the disparity of their feelings for one another constantly tormented Lear. Indeed, none of Lear's attempts at male companionship were successful; the very intensity of Lear's affections seemingly doomed the relationships. The closest he came to marriage with a woman was two proposals, both to the same person 46 years his junior, which were not accepted. For companions he relied instead on friends and correspondents, and especially, during later life, on his Albanian Souliote chef, Giorgis, a faithful friend and, as Lear complained, a thoroughly unsatisfactory chef. Another trusted companion in Sanremo was his cat, Foss, which died in 1886 and was buried with some ceremony in a garden at Villa Tennyson. San Remo and death Lear travelled widely throughout his life and eventually settled in Sanremo, on his beloved Mediterranean coast, in the 1870s, at a villa he named "Villa Tennyson". Lear was known to introduce himself with a long pseudonym: "Mr Abebika kratoponoko Prizzikalo Kattefello Ablegorabalus Ableborinto phashyph" or "Chakonoton the Cozovex Dossi Fossi Sini Tomentilla Coronilla Polentilla Battledore & Shuttlecock Derry down Derry Dumps" which he based on Aldiborontiphoskyphorniostikos. After a long decline in his health, Lear died at his villa in 1888, of the heart disease from which he had suffered since at least 1870. Lear's funeral was said to be a sad, lonely affair by the wife of Dr. Hassall, Lear's physician, none of Lear's many lifelong friends being able to attend. Lear is buried in the Cemetery Foce in San Remo. On his headstone are inscribed these lines about Mount Tomohrit (in Albania) from Tennyson's poem To E.L. [Edward Lear], On His Travels in Greece: all things fair. With such a pencil, such a pen. You shadow forth to distant men, I read and felt that I was there. The centenary of his death was marked in Britain with a set of Royal Mail stamps in 1988 and an exhibition at the Royal Academy. Lear's birthplace area is now marked with a plaque at Bowman's Mews, Islington, in London, and his bicentenary during 2012 was celebrated with a variety of events, exhibitions and lectures in venues across the world including an International Owl and Pussycat Day on his birthday. References Wikipedia – http://en.wikipedia.org/wiki/Edward_Lear
Charles Lamb (London, 10 February 1775 – Edmonton, 27 December 1834) was an English essayist, best known for his Essays of Elia and for the children's book Tales from Shakespeare, which he produced with his sister, Mary Lamb (1764–1847). Lamb has been referred to by E.V. Lucas, his principal biographer, as "the most lovable figure in English literature”. Youth and schooling Lamb was the son of Elizabeth Field and John Lamb. Lamb was the youngest child, with an 11 year older sister Mary, an even older brother John, and 4 other siblings who did not survive their infancy. John Lamb (father), who was a lawyer's clerk, spent most of his professional life as the assistant and servant to a barrister by the name of Samuel Salt who lived in the Inner Temple in London. It was there in the Inner Temple in Crown Office Row, that Charles Lamb was born and spent his youth. Lamb created a portrait of his father in his "Elia on the Old Benchers" under the name Lovel. Lamb's older brother was too much his senior to be a youthful companion to the boy but his sister Mary, being born eleven years before him, was probably his closest playmate. Lamb was also cared for by his paternal aunt Hetty, who seems to have had a particular fondness for him. A number of writings by both Charles and Mary suggest that the conflict between Aunt Hetty and her sister-in-law created a certain degree of tension in the Lamb household. However, Charles speaks fondly of her and her presence in the house seems to have brought a great deal of comfort to him. Some of Lamb's fondest childhood memories were of time spent with Mrs. Field, his maternal grandmother, who was for many years a servant to the Plummer family, who owned a large country house called Blakesware, near Widford, Hertfordshire. After the death of Mrs. Plummer, Lamb's grandmother was in sole charge of the large home and, as Mr. Plummer was often absent, Charles had free rein of the place during his visits. A picture of these visits can be glimpsed in the Elia essay Blakesmoor in H—shire. "Why, every plank and panel of that house for me had magic in it. The tapestried [sic] bed-rooms – tapestry so much better than painting – not adorning merely, but peopling the wainscots – at which childhood ever and anon would steal a look, shifting its coverlid (replaced as quickly) to exercise its tender courage in a momentary eye-encounter with those stern bright visages, staring reciprocally – all Ovid on the walls, in colours vivider than his descriptions.” Little is known about Charles's life before the age of seven. We know that Mary taught him to read at a very early age and he read voraciously. It is believed that he suffered from smallpox during his early years which forced him into a long period of convalescence. After this period of recovery Lamb began to take lessons from Mrs. Reynolds, a woman who lived in the Temple and is believed to have been the former wife of a lawyer. Mrs. Reynolds must have been a sympathetic schoolmistress because Lamb maintained a relationship with her throughout his life and she is known to have attended dinner parties held by Mary and Charles in the 1820s. E.V. Lucas suggests that sometime in 1781 Charles left Mrs. Reynolds and began to study at the Academy of William Bird. His time with William Bird did not last long, however, because by October 1782 Lamb was enrolled in Christ's Hospital, a charity boarding school chartered by King Edward VI in 1552. Christ's Hospital was a traditional English boarding school; bleak and full of violence. The headmaster, Mr. Boyer, has become famous for his teaching in Latin and Greek, but also for his brutality. A thorough record of Christ's Hospital in Several essays by Lamb as well as the Autobiography of Leigh Hunt and the Biographia Literaria of Samuel Taylor Coleridge, with whom Charles developed a friendship that would last for their entire lives. Despite the brutality Lamb got along well at Christ's Hospital, due in part, perhaps, to the fact that his home was not far distant thus enabling him, unlike many other boys, to return often to the safety of home. Years later, in his essay "Christ’s Hospital Five and Thirty Years Ago," Lamb described these events, speaking of himself in the third person as "L.” “I remember L. at school; and can well recollect that he had some peculiar advantages, which I and other of his schoolfellows had not. His friends lived in town, and were near at hand; and he had the privilege of going to see them, almost as often as he wished, through some invidious distinction, which was denied to us.” Christ's Hospital was a typical English boarding school and many students later wrote of the terrible violence they suffered there. The upper master of the school from 1778 to 1799 was Reverend James Boyer, a man renowned for his unpredictable and capricious temper. In one famous story Boyer was said to have knocked one of Leigh Hunt's teeth out by throwing a copy of Homer at him from across the room. Lamb seemed to have escaped much of this brutality, in part because of his amiable personality and in part because Samuel Salt, his father's employer and Lamb's sponsor at the school was one of the institute's Governors. Charles Lamb suffered from a stutter and this "an inconquerable impediment" in his speech deprived him of Grecian status at Christ's Hospital and thus disqualifying him for a clerical career. While Coleridge and other scholarly boys were able to go on to Cambridge, Lamb left school at fourteen and was forced to find a more prosaic career. For a short time he worked in the office of Joseph Paice, a London merchant and then, for 23 weeks, until 8 February 1792, held a small post in the Examiner's Office of the South Sea House. Its subsequent downfall in a pyramid scheme after Lamb left would be contrasted to the company's prosperity in the first Elia essay. On 5 April 1792 he went to work in the Accountant's Office for British East India Company, the death of his father's employer having ruined the family's fortunes.Charles would continue to work there for 25 years, until his retirement with pension. In 1792 while tending to his grandmother, Mary Field, in Hertfordshire, Charles Lamb fell in love with a young woman named Ann Simmons. Although no epistolary record exists of the relationship between the two, Lamb seems to have spent years wooing Miss Simmons. The record of the love exists in several accounts of Lamb's writing. Rosamund Gray is a story of a young man named Allen Clare who loves Rosamund Gray but their relationship comes to nothing because of the sudden death of Miss Gray. Miss Simmons also appears in several Elia essays under the name "Alice M." The essays "Dream Children," "New Year's Eve," and several others, speak of the many years that Lamb spent pursuing his love that ultimately failed. Miss Simmons eventually went on to marry a silversmith by the name of Bartram and Lamb called the failure of the affair his 'great disappointment. Family tragedy Charles and his sister Mary both suffered periods of mental illness. Charles spent six weeks in a psychiatric hospital during 1795. He was, however, already making his name as a poet. On 22 September 1796, a terrible event occurred: Mary, "worn down to a state of extreme nervous misery by attention to needlework by day and to her mother at night," was seized with acute mania and stabbed her mother to the heart with a table knife. Although there was no legal status of 'insanity' at the time, a jury returned a verdict of 'Lunacy' and therefore freed her from guilt of willful murder. With the help of friends Lamb succeeded in obtaining his sister's release from what would otherwise have been lifelong imprisonment, on the condition that he take personal responsibility for her safekeeping. Lamb used a large part of his relatively meagre income to keep his beloved sister in a private 'madhouse' in Islington called Fisher House. The 1799 death of John Lamb was something of a relief to Charles because his father had been mentally incapacitated for a number of years since suffering a stroke. The death of his father also meant that Mary could come to live again with him in Pentonville, and in 1800 they set up a shared home at Mitre Court Buildings in the Temple, where they lived until 1809. Despite Lamb's bouts of melancholia and alcoholism, both he and his sister enjoyed an active and rich social life. Their London quarters became a kind of weekly salon for many of the most outstanding theatrical and literary figures of the day. Charles Lamb, having been to school with Samuel Coleridge, counted Coleridge as perhaps his closest, and certainly his oldest, friend. On his deathbed, Coleridge had a mourning ring sent to Lamb and his sister. Fortuitously, Lamb's first publication was in 1796, when four sonnets by "Mr. Charles Lamb of the India House" appeared in Coleridge's Poems on Various Subjects. In 1797 he contributed additional blank verse to the second edition, and met the Wordsworths, William and Dorothy, on his short summer holiday with Coleridge at Nether Stowey, thereby also striking up a lifelong friendship with William. In London, Lamb became familiar with a group of young writers who favoured political reform, including Percy Bysshe Shelley, William Hazlitt, and Leigh Hunt. Lamb continued to clerk for the East India Company and doubled as a writer in various genres, his tragedy, John Woodvil, being published in 1802. His farce, Mr H, was performed at Drury Lane in 1807, where it was roundly booed. In the same year, Tales from Shakespeare (Charles handled the tragedies; his sister Mary, the comedies) was published, and became a best seller for William Godwin's "Children's Library." In 1819, at age 44, Lamb, who, because of family commitments, had never married, fell in love with an actress, Fanny Kelly, of Covent Garden, and proposed marriage. She refused him, and he died a bachelor. His collected essays, under the title Essays of Elia, were published in 1823 ("Elia" being the pen name Lamb used as a contributor to the London Magazine). A further collection was published ten years or so later, shortly before Lamb's death. He died of a streptococcal infection, erysipelas, contracted from a minor graze on his face sustained after slipping in the street, on 27 December 1834, just a few months after Coleridge. He was 59. From 1833 till their deaths Charles and Mary lived at Bay Cottage, Church Street, Edmonton north of London (now part of the London Borough of Enfield. Lamb is buried in All Saints' Churchyard, Edmonton. His sister, who was ten years his senior, survived him for more than a dozen years. She is buried beside him. Work Lamb's first publication was the inclusion of four sonnets in the Coleridge's Poems on Various Subjects published in 1796 by Joseph Cottle. The sonnets were significantly influenced by the poems of Burns and the sonnets of William Bowles, a largely forgotten poet of the late 18th century. His poems garnered little attention and are seldom read today. Lamb's contributions to the second edition of the Poems showed significant growth as a poet. These poems included The Tomb of Douglas and A Vision of Repentance. Because of a temporary fall-out with Coleridge, Lamb's poems were to be excluded in the third edition of the Poems. As it turned out, a third edition never emerged and instead Coleridge's next publication was the monumentally influential Lyrical Ballads co-published with Wordsworth. Lamb, on the other hand, published a book entitled Blank Verse with Charles Lloyd, the mentally unstable son of the founder of Lloyd's Bank. Lamb's most famous poem was written at this time entitled The Old Familiar Faces. Like most of Lamb's poems it is particularly sentimental but it is still remembered and widely read, often included in Poetic Collections. Of particular interest to Lambarians is the opening verse of the original version of The Old Familiar Faces which is concerned with Lamb's mother. It was a verse that Lamb chose to remove from the edition of his Collected Work published in 1818. I had a mother, but she died, and left me, Died prematurely in a day of horrors - All, all are gone, the old familiar faces. From a fairly young age Lamb desired to be a poet but never gained the success that he had hoped. Lamb lived under the poetic shadow of his friend Coleridge. In the final years of the 18th century Lamb began to work on prose with the novella entitled Rosamund Gray, a story of a young girl who was thought to be inspired by Ann Simmonds, with whom Charles Lamb was thought to be in love. Although the story is not particularly successful as a narrative because of Lamb's poor sense of plot, it was well thought of by Lamb's contemporaries and led Shelley to observe “what a lovely thing is Rosamund Gray! How much knowledge of the sweetest part of our nature in it!" (Quoted in Barnett, page 50) n the first years of the 19th century Lamb began his fruitful literary cooperation with his sister Mary. Together they wrote at least three books for William Godwin’s Juvenile Library. The most successful of these was of course Tales From Shakespeare which ran through two editions for Godwin and has now been published dozens of times in countless editions, many of them illustrated. Lamb also contributed a footnote to Shakespearean studies at this time with his essay "On the Tragedies of Shakespeare," in which he argues that Shakespeare should be read rather than performed in order to gain the proper effect of his dramatic genius. Beside contributing to Shakespeare studies with his book Tales From Shakespeare, Lamb also contributed to the popularization of Shakespeare's contemporaries with his book Specimens of the English Dramatic Poets Who Lived About the Time of Shakespeare. Although he did not write his first Elia essay until 1820, Lamb’s gradual perfection of the essay form for which he eventually became famous began as early 1802 in a series of open letters to Leigh Hunt’s Reflector. The most famous of these is called "The Londoner" in which Lamb famously derides the contemporary fascination with nature and the countryside. Legacy Anne Fadiman notes regretfully that Lamb is not widely read in modern times: "I do not understand why so few other readers are clamoring for his company... [he] is kept alive largely through the tenuous resuscitations of university English departments." Lamb was honoured by The Latymer School, a grammar school in Edmonton, a suburb of London where he lived for a time; it has six houses, one of which, "Lamb", is named after Charles. Selected works * Blank Verse, poetry, 1798 * A Tale of Rosamund Gray, and old blind Margaret, 1798 * John Woodvil, poetic drama, 1802 * Tales from Shakespeare, 1807 * The Adventures of Ulysses, 1808 * Specimens of English Dramatic poets who lived about the time of Shakespeare, 1808 * On the Tragedies of Shakespeare, 1811 * Witches and Other Night Fears, 1821 * The Pawnbroker's Daughter, 1825 * Eliana, 1867 * Essays of Elia, 1823 * The Last Essays of Elia, 1833 References Wikipedia – http://en.wikipedia.org/wiki/Charles_Lamb
Richard Lovelace (1618–1657) was an English poet in the seventeenth century. He was a cavalier poet who fought on behalf of the king during the Civil war. His best known works are To Althea, from Prison, and To Lucasta, Going to the Warres. Early life and family Richard Lovelace was born in 1618. His exact birthplace is unknown, but it is documented that it was either Woolwich, Kent, or Holland. He was the oldest son of Sir William Lovelace and Anne Barne Lovelace and had four brothers and three sisters. His father was from an old distinguished military and legal family and the Lovelace family owned a considerable amount of property in Kent. His father, Sir William Lovelace, knt., was a member of the Virginia Company and an incorporator in the second Virginia Company in 1609. He was a soldier and he died during the war with Spain and Holland in the siege of Grol, a few days before the town fell. Richard was only 9 years old when his father died. Richard's father was the son of Sir William Lovelace and Elizabeth Aucher who was the daughter of Mabel Wroths and Edward Aucher, Esq. who inherited, under his father's Will, the manors of Bishopsbourne and Hautsborne. Elizabeth's nephew was Sir Anthony Aucher (1614 – 31 May 1692) an English politician and Cavalier during the English Civil War. He was the son of her brother Sir Anthony Aucher and his wife Hester Collett. Richard Lovelace's mother, Anne Barne (1587–1633), was the daughter of Sir William Barne and the granddaughter of Sir George Barne III (1532- d. 1593), the Lord Mayor of London and a prominent merchant and public official from London during the reign of Elizabeth I; and Anne Gerrard, daughter of Sir William Garrard, who was Lord Mayor of London in 1555. Richard Lovelace's mother was also the daughter of Anne Sandys and the granddaughter of Cicely Wilford and the Most Reverend Dr. Edwin Sandys, an Anglican church leader who successively held the posts of the Bishop of Worcester (1559–1570), Bishop of London (1570–1576), and the Archbishop of York (1576–1588). He was one of the translators of the Bishops' Bible. Anne Barne Lovelace married as her second husband, on 20 January 1630, at Greenwich, England, the Very Rev. Dr. Jonathan Browne They were the parents of one child, Anne Browne, who married Herbert Crofte, S.T.P. and D.D and were the parents of Sir Herbert Croft, 1st Baronet. His brother, Francis Lovelace (1621–1675), was the second governor of the New York colony appointed by the Duke of York, later King James II of England. He was also the great nephew of both George Sandys (2 March 1577 – March 1644), an English traveller, colonist and poet; and of Sir Edwin Sandys (9 December 1561 – October 1629), an English statesman and one of the founders of the London Company. In 1629, when Lovelace was eleven, he went to Sutton’s Foundation at Charterhouse School, then located in London. However, there is not a clear record that Lovelace actually attended because it is believed that he studied as a “boarder” because he did not need financial assistance like the “scholars”. He spent five years at Charterhouse, three of which were spent with Richard Crashaw, who also became a poet. On 5 May 1631, Lovelace was sworn in as a “Gentleman Wayter Extraordinary” to the King. This was an “honorary position for which one paid a fee”. He then went on to Gloucester Hall, Oxford, in 1634. Collegiate career Richard Lovelace attended Oxford University and he was praised by one of his contemporaries, Anthony Wood. for being “the most amiable and beautiful person that ever eye beheld; a person also of innate modesty, virtue and courtly deportment, which made him then, but especially after, when he retired to the great city, much admired and adored by the female sex" At the age of eighteen, during a three-week celebration at Oxford, he was granted the degree of Master of Arts. While at school, he tried to portray himself more as a social connoisseur rather than a scholar, continuing his image of being a Cavalier. Being a Cavalier poet, Lovelace wrote to praise a friend or fellow poet, to give advice in grief or love, to define a relationship, to articulate the precise amount of attention a man owes a woman, to celebrate beauty, and to persuade to love. Lovelace wrote a comedy, 'The Scholars,' and a tragedy titled 'The Soldiers,' while at Oxford. He then left for Cambridge University for a few months where he met Lord Goring, who led him into political trouble. Politics and prison Lovelace’s poetry was often influenced by his experiences with politics and association with important figures of his time. At the age of thirteen, Lovelace became a "Gentlemen Wayter Extraordinary" to the King and at nineteen he contributed a verse to a volume of elegies commemorating Princess Katharine. In 1639 Lovelace joined the regiment of Lord Goring, serving first as a senior ensign and later as a captain in the Bishops’ Wars. This experience inspired the 'Sonnet. To Generall Goring.' Upon his return to his home in Kent in 1640, Lovelace served as a country gentleman and a justice of the peace where he encountered firsthand the civil turmoil regarding religion and politics. In 1641 Lovelace led a group of men to seize and destroy a petition for the abolition of Episcopal rule, which had been signed by fifteen thousand people. The following year he presented the House of Commons with Dering’s pro-Royalist petition which was supposed to have been burned. These actions resulted in Lovelace’s first imprisonment. Shortly thereafter, he was released on bail with the stipulation that he avoid communication with the House of Commons without permission. This prevented Lovelace, who had done everything to prove himself during the Bishops’ Wars, from participating in the first phase of the English Civil War. However, this first experience of imprisonment did result in some good, as it brought him to write one of his finest and most beloved lyrics, 'To Althea, from Prison,' in which he illustrates his noble and paradoxical nature. Lovelace did everything he could to remain in the king’s favor despite his inability to participate in the war. Richard Lovelace did his part again during the political chaos of 1648, though it is unclear specifically what his actions were. He did, however, manage to warrant himself another prison sentence; this time for nearly a year. When he was released in April 1649, the king had been executed and Lovelace’s cause seemed lost. As in his previous incarceration, this experience led to creative production—this time in the form of spiritual freedom, as reflected in the release of his first volume of poetry, Lucasta. Literature Richard Lovelace first started writing while he was a student at Oxford and wrote almost 200 poems from that time until his death. His first work was a drama titled The Scholars. The play was never published; however, it was performed at college and then in London. In 1640, he wrote a tragedy titled 'The Soldier' which was based on his own military experience. When serving in the Bishops' Wars, he wrote the sonnet 'To Generall Goring,' which is a poem of Bacchanalian celebration rather than a glorification of military action. One of his extremely famous poems is 'To Lucasta, Going to the Warres,' written in 1640 and exposed in his first political action. During his first imprisonment in 1642, he wrote his most famous poem 'To Althea, From Prison.' Later on that year during his travels to Holland with General Goring, he wrote 'The Rose,' following with 'The Scrutiny' and on 14 May 1649, 'Lucasta' was published. He also wrote poems analyzing the details of many simple insects. 'The Ant,' 'The Grasse-hopper,' 'The Snayl,' 'The Falcon,' 'The Toad and Spyder.' Of these poems, 'The Grasse-hopper' is his most well-known. In 1660, after Lovelace died, "Lucasta: Postume Poems" was published; it contains 'A Mock-Song,' which has a much darker tone than his previous works. William Winstanley, who praised much of Richard Lovelace's works, thought highly of him and compared him to an idol; "I can compare no Man so like this Colonel Lovelace as Sir Philip Sidney,” of which it is in an Epitaph made of him; Nor is it fit that more I should aquaint Lest Men adore in one A Scholar, Souldier, Lover, and a Saint His most quoted excerpts are from the beginning of the last stanza of To Althea, From Prison: Stone walls do not a prison make, Nor iron bars a cage; Minds innocent and quiet take That for an hermitage and the end of To Lucasta. Going to the Warres: I could not love thee, dear, so much, Lov'd I not Honour more. Chronology 1618- Richard Lovelace born, either in Woolwich, Kent, or in Holland. 1629- King Charles I nominated “Thomas [probably Richard] Lovelace,” upon petition of Lovelace’s mother, Anne Barne Lovelace, to Sutton’s foundation at Charterhouse. 1631- On 5 May, Lovelace is made “Gentleman Wayter Extraordinary” to the King. 1634- On 27 June, he matriculates as Gentleman Commoner at Gloucester Hall, Oxford. 1635- Writes a comedy, The Scholars. 1636- On 31 August, the degree of M.A. is presented to him. 1637- On 4 October, he enters Cambridge University. 1638-1639- His first printed poems appear: ‘An Elegy” on Princess Katherine; prefaces to several books. 1639- He is senior ensign in General Goring’s regiment - in the First Scottish Expedition. “Sonnet to Goring.” 1640- Commissioned captain in the Second Scottish Expedition; writes a tragedy, The Soldier. He then returns home at 21, into the possession of his family’s property. 1641- Lovelace tears up a pro-Parliament, anti-Episcopacy petition at a meeting in Maidstone, Kent. 1642- 30 April, he presents the anti-Parliamentary Petition of Kent and is imprisoned at Gatehouse. After appealing, he is released on bail, 21 June. The Civil war begins on 22 August, he writes “To Althea, from Prison,” “To Lucasta.” In September, he goes to Holland with General Goring. He writes “The Rose.” 1642-1646-Probably serves in Holland and France with General Goring. He writes “The Scrutiny.” 1643- Sells some of his property to Richard Hulse. 1646- In October, he is wounded at Dunkirk, while fighting under the Great Conde against the Spaniards. 1647- He is admitted to the Freedom at the Painters’ Company. 1648-On 4 February, Lucasta is licensed at the Stationer’s Register. On 9 June, Lovelace is again imprisoned at Peterhouse. 1649- On 9 April, he is released from jail. He then sells the remaining family property and portraits to Richard Hulse. On 14 May, Lucasta is published. 1650-1657- Lovelace’s whereabouts unknown, though various poems are written. 1657- Lovelace dies. 1659-1660- Lucasta, Postume Poems is published. References Wikipedia - http://en.wikipedia.org/wiki/Richard_Lovelace
Alexandre is a musician, poet, and philosopher with a deep interest in the mystical, magickal, and occult. While he has been playing music ever since he was 3 years old, his interest in mysticism and poetry came about from the study of philosophy. Beginning in college with the standard western philosophers such as Plato, Kant, Descartes, and Nietzsche, he realized that there was still much more in the realm of wisdom to be explored. Reading about Zen, Taoism, and Cabala instilled an appreciation of simple, poetic verse as a way of communicating wisdom, and led him to the study of the magickal system of Aleister Crowley, known as Thelema, from where he draws much of his inspiration.
Walter Savage Landor (30 January 1775 – 17 September 1864) was an English writer and poet. His best known works were the prose Imaginary Conversations, and the poem Rose Aylmer, but the critical acclaim he received from contemporary poets and reviewers was not matched by public popularity. As remarkable as his work was, it was equalled by his rumbustious character and lively temperament. Summary of his work In a long and active life of eighty-nine years Landor produced a considerable amount of work in various genres. This can perhaps be classified into four main areas—prose, lyric poetry, political writings including epigrams and Latin. His prose and poetry have received most acclaim, but critics are divided in their preference between them. Landor’s prose is best represented by the Imaginary Conversations. He drew on a vast array of historical characters from Greek philosophers to contemporary writers and composed conversations between pairs of characters that covered areas of philosophy, politics, romance and many other topics. These exercises proved a more successful application of Landor’s natural ability for writing dialogue than his plays. Although these have many quotable passages the overall effect suffered because he never learned the art of drama. Landor wrote much sensitive and beautiful poetry. The love poems were inspired by a succession of female romantic ideals—Ione, Ianthe, Rose Aylmer and Rose Paynter. Equally sensitive are his “domestic” poems about his sister and his children. In the course of his career Landor wrote for various journals on a range of topics that interested him from anti-Pitt politics to the unification of Italy. He was also a master of the epigram which he used to good effect and wrote satirically to avenge himself on politicians and other people who upset him. Landor wrote over three hundred Latin poems, political tracts and essays, but these have generally been ignored in the collections of his work. Landor found Latin useful for expressing things that might otherwise have been “indecent or unattractive” as he put it and as a cover for libellous material. Fellow classical scholars of the time put Landor’s Latin work on a par with his English writing. Summary of his life Landor’s life is an amazing catalogue of incidents and misfortunes, many of them self-inflicted but some no fault of his own. His headstrong nature and hot-headed temperament, combined with a complete contempt for authority, landed him in a great deal of trouble over the years. By a succession of bizarre actions, he was successively thrown out of Rugby, Oxford and from time to time from the family home. In the course of his life he came into conflict deliberately with his political enemies - the supporters of Pitt - but inadvertently with a succession of Lord Lieutenants, Bishops, Lord Chancellors, Spanish officers, Italian Grand Dukes, nuncio legatos, lawyers and other minor officials. He usually gained the upper hand, if not with an immediate hilarious response, then possibly many years later with a biting epithet. Landor’s writing often landed him on the wrong side of the laws of libel, and even his refuge in Latin proved of no avail in Italy. Many times his friends had to come to his aid in smoothing the ruffled feathers of his opponents or in encouraging him to moderate his behaviour. His friends were equally active in the desperate attempts to get his work published, where he offended or felt cheated by a succession of publishers who found his work either unsellable or unpublishable. He was repeatedly involved in legal disputes with his neighbours whether in England or Italy and Dickens’ characterisation of him in Bleak House revolves around such a dispute over a gate between Boythorn and Sir Leicester Dedlock. Fate dealt with him unfairly when he tried to put into practice his bold and generous ideas to improve the lot of man, or when he was mistaken at one time for an agent of the Prince of Wales and at another for a tramp. His stormy marriage with his long-suffering wife resulted in a long separation, and then when she had finally taken him back to a series of sad attempts to escape. And yet Landor was described as “the kindest and gentlest of men”. He collected a coterie of friends who went to great lengths to help him as “his loyalty and liberality of heart were as inexhaustible as his bounty and beneficence of hand”. It was said that “praise and encouragement, deserved or undeserved, came more readily to his lips than challenge or defiance”. The numerous accounts of those with whom he came in contact reveal that he was fascinating company and he dined out on his wit and knowledge for a great part of his life. Landor's powerful sense of humour, expressed in his tremendous and famous laughs no doubt contributed to and yet helped assuage the slings and arrows of outrageous fortune. “His passionate compassion, his bitter and burning pity for all wrongs endured in all the world, found outlet in his lifelong defence of tyrannicide. His tender and ardent love of children, of animals and of flowers makes fragrant alike the pages of his writing and the records of his life”. Early life Walter Savage Landor was born in Warwick, England, the eldest son of Dr Walter Landor, a physician, and his second wife, Elizabeth Savage. His birthplace, Eastgate House, is now occupied by The King's High School For Girls. His father inherited estates at Rugeley, Staffordshire and his mother was heiress to estates at Ipsley Court and Bishop's Tachbrook in Warwickshire. Landor as the eldest son was heir to these properties and looked forward to a life of prosperity. The family tradition was Whig in reaction to George III and Pitt, and although Landor's brother Robert was the only other member to achieve fame as a writer there was a strong literary tradition in the family. After attending a school at Knowle, he was sent to Rugby School under Dr James, but took offence at the headmaster's review of his work and was removed at Dr James' request. Years later, Landor included references to James in Latin in Simonidea with a mixture of praise and criticism and was subsequently reconciled with him. He then studied privately with Rev. William Langley, vicar of Fenny Bentley and headmaster of Ashbourne Grammar School. Langley was later mentioned in the Imaginary Conversation of Isaak Walton. Landor's temperament and violent opinions caused embarrassment at home and he was usually asked to absent himself when guests were expected. On one occasion he netted and threw in the river a local farmer who objected to his fishing on his property. In 1793 he entered Trinity College, Oxford where he showed rebelliousness in his informal dress and was known as a "mad Jacobin" since he was taken with ideas of French republicanism. His tutor Dr Benwell was impressed by him, but unfortunately his stay was short-lived. In 1794 he fired a gun at the windows of a Tory whose late night revels disturbed him and for whom he had an aversion. He was rusticated for a year, and, although the authorities were willing to condone the offence, he refused to return. The affair led to a quarrel with his father in which Landor expressed his intention of leaving home for ever. Landor went to Tenby in Wales where he had a love affair with a local girl, Nancy Evans, for whom he wrote some of his earliest love poems referring to her as "Ione". Landor's father disapproved and he removed for a time to London, lodging near Portland Place. Ione subsequently had a child who died in infancy. In 1795 Landor brought out a small volume of English and Latin verse in three books entitled The Poems of Walter Savage Landor. Landor also wrote an anonymous Moral Epistle in pamphlet form of nineteen pages, respectfully dedicated to Earl Stanhope. It was a satire in heroic verse condemning Pitt for trying to suppress liberal influences. Although Landor subsequently disowned these "'prentice works", Swinburne wrote "No poet at the age of twenty ever had more vigour of style and fluency of verse; nor perhaps has any ever shown such masterly command of epigram and satire, made vivid and vital by the purest enthusiasm and most generous indignation." Landor was reconciled with his family through the efforts of his friend Dorothea Lyttelton. He later told Forster that he would have married Dorothea if he were financially independent. He did not enter a profession - he did not want the law, and no more did the army want him. His father allowed him £150 a year, and he was free to live at home or not, as he pleased. South Wales and Gebir Landor settled in South Wales, returning home to Warwick for short visits. It was at Swansea that he became friendly with the family of Lord Aylmer, including his sister, Rose, whom Landor later immortalized in the poem, "Rose Aylmer". It was she who lent him "The Progress of Romance" by the Gothic authoress Clara Reeve. In this he found the story "The History of Charoba, Queen of Egypt", which inspired his poem "Gebir". Rose Aylmer sailed to India with an aunt in 1798, and two years later died of Cholera. Ah, what avails the sceptred race, Ah, what the form divine! What every virtue, every grace! Rose Aylmer, all were thine. Rose Aylmer, whom these wakeful eyes May weep, but never see, A night of memories and of sighs I consecrate to thee. In 1798 Landor published "Gebir" the work which established his reputation. "Gebir" tells the story of a prince of Spain who falls in love with his enemy Queen Charoba of Egypt. Southey, reviewed "Gebir" calling it "some of the most exquisite poetry in the language" and was keen to discover the anonymous author. Sidney Colvin wrote "For loftiness of thought and language together, there are passages in Gebir that will bear comparison with Milton" and "nowhere in the works of Wordsworth or Coleridge do we find anything resembling Landor's peculiar qualities of haughty splendour and massive concentration". John Forster wrote "Style and treatment constitute the charm of it. The vividness with which everything in it is presented to sight as well as through the wealth of its imagery, its moods of language - these are characteristics pre-eminent in Gebir". Gifford, on the other hand, who was ever a harsh critic of Landor described it as A jumble of incomprehensible trash... the most vile and despicable effusion of a mad and muddy brain.... For the next three years Landor led an unsettled life, spent mainly in London. He became friends with the classics scholar Dr Samuel Parr who lived at Hatton near Warwick and who appreciated Landor as a person and a Latin writer. Landor favoured Latin as a way of expressing playful material without exposing it to public view "Siquid forte iocosius cuivis in mentem veniat, id, vernacule, puderet, non enim tantummodo in luce agitur sed etiam in publico." Latin also had the advantage of being exempt from libel laws in England. Parr introduced Landor to Robert Adair, party organiser for Charles James Fox, who enlisted Landor to write in The Morning Post and The Courier against the ministry of Pitt. Landor published "Poems from the Arabic and Persian" in 1800 and a pamphlet of Latin verses. During this time he met Isaac Mocatta who stimulated his interest in art and exercised a moderating influence, but Mocatta died 1801. In 1802 Landor went to Paris where he saw Napoleon at close quarters, and this was enough to put him off the idea of French republicanism. In the same year he published "Poetry by the Author of Gebir" which included the narrative poems Crysaor and The Phocaeans. Colvin considered Crysaor Landor's finest piece of narrative in blank verse. Landor's brother Robert helped with corrections and additions to "Gebir" and the second edition appeared in 1803. About the same time Landor published the whole poem in Latin, which did little to increase readership but appealed to Parr and was considered by Swinburne to be comparable with the English version in might and melody of line, and for power and perfection of language. Landor travelled the country in constant debt, spending much time at Bath. Here he met Sophia Jane Swift, who was already engaged to her cousin Godwin Swifte, whom she married despite Landor's ardent entreaties in 1803. He called her Ianthe and wrote some of his most beautiful love poems to her. His father died in 1805, which put him in possession of an independent fortune and he settled in Bath, living in grand style. In 1806 he published "Simonidea" which included poems to Ianthe and Ione. It also included "Gunlaug and Helga" a narrative poem from William Herbert's "Select Icelandic poems". At Bristol in 1808 he caught up with Southey, whom he had missed on a trip to the Lake District in the previous year, and the mutual appreciation of the two poets led to a warm friendship. He also wrote a work "The Dun Cow" which was written in defence of his friend Parr who had been attacked in an anonymous work "Guy's Porridge Pot", which Landor was fierce to deny was any work of his. Napoleonic Wars and Count Julian In 1808 he had an heroic impulse to take part in the Peninsular War. At the age of thirty-three, he left England for Spain as a volunteer to serve in the national army against Napoleon. He landed at Corunna, introduced himself to the British envoy, offered 10,000 reals for the relief of Venturada, and set out to join the army of General Joaquín Blake y Joyes. He was disappointed not to take part in any real action and found himself giving support at Bilbao where he was nearly captured. A couple of months later the Convention of Sintra brought an end to the campaign and Landor returned to England. The Spanish Government offered its thanks to him, and King Ferdinand appointed him a Colonel in the Spanish Army. However when the King restored the Jesuits Landor returned his commission. When he returned to England, he joined Wordsworth and Southey in denouncing the Convention of Sintra, which had excited general indignation. In 1809 Landor wrote "Three letters to Don Francisco Riquelme" giving him the benefit of his wisdom as a participant in the war. He wrote an ode in Latin to Gustavus IV of Sweden and wrote to press under various pseudonyms. In 1810 he wrote "a brave and good letter to Sir Francis Burdett." The Spanish experience provided inspiration for the tragedy of Count Julian, based on Julian, count of Ceuta. Although this demonstrated Landor's distinctive style of writing, it suffered from his failure to study the art of drama and so made little impression. The plot is difficult to follow unless the story is previously known and concerns a complicated situation after the defeat of the last Visigoth King of Spain. It carries the moral tone of crime propagating crime. Southey undertook to arrange publication and eventually got it published by Murray in 1812, after an initial refusal by Longmans which led Landor to burn another tragedy "Ferranti and Giulio". Thomas de Quincey later wrote of the work "Mr Landor is probably the one man in Europe that has adequately conceived the situation, the stern self-dependency and monumental misery of Count Julian". Swinburne described it as "the sublimest poem published in our language, between the last masterpiece of Milton (Samson Agonistes) and the first masterpiece of Shelley, (Prometheus Unbound) one equally worthy to stand unchallenged beside either for poetic perfection as well as moral majesty. The superhuman isolation of agony and endurance which encircles and exalts the hero is in each case expressed with equally appropriate magnificence of effect. The style of Count Julian, if somewhat deficient in dramatic ease and the fluency of natural dialogue, has such might and purity and majesty of speech as elsewhere we find only in Milton so long and so steadily sustained." Llanthony and marriage Before going to Spain, he had been looking for a property and settled on Llanthony Abbey in Monmouthshire, a ruined Benedictine abbey. He sold the property at Rugeley which he inherited from his father, and persuaded his mother to sell her Tachbrook estate to contribute to the purchase cost. On his return from Spain he was busy finalising these matters. The previous owner had erected some buildings in the ruins of the ancient abbey, but an Act of Parliament, passed in 1809, was needed to allow Landor to pull down these buildings and construct a house, (which was never finished). He wanted to become a model country gentleman, planting trees, importing sheep from Spain, and improving the roads. There is still an avenue of trees in the area known as "Landor's Larches" and many old chestnuts have been dated back to his time. In 1811 he went to a ball in Bath and seeing a pretty girl exclaimed "That's the nicest girl in the room, and I'll marry her". She was Julia Thuillier, the daughter of an impoverished Swiss banker who had an unsuccessful business at Banbury and had gone to Spain, leaving his family at Bath. They married at St James Church Bath on 24 May 1811 and settled for a while at Llanthony Abbey. Landor had a visit from Southey, after he sent him a letter describing the idylls of country life, including nightingales and glow-worms. However the idyll was not to last long as for the next three years Landor was worried by the combined vexation of neighbours and tenants, lawyers and lords-lieutenant and even the Bishop of St David's, while at the same time he tried to publish an article on Fox, a response to a sycophantic piece by John Bernard Trotter, which was condemned by the prospective publisher John Murray as libellous and damned by Canning and Gifford. His troubles with the neighbours stemmed from petty squabbles, many arising from his headstrong and impetuous nature. He employed a solicitor one Charles Gabell, who saw him as a client to be milked. His trees were uprooted and his timber stolen. A man against whom he had to swear the peace drank himself to death, and he was accused of causing the misfortune and when he prosecuted a man for theft he was insulted by the defendant's counsel (whom he later "chastised" in his Latin poetry). He was fond of revenge through his verse, Latin or otherwise and gave his opinion of his lawyers in the following piece of doggerel. If the devil, a mighty old omnibus driver Saw an omnibus driving downhill to a river And saved any couple to share his own cab I really do think t'would be Gabell & Gabb. When the Bishop failed to reply to his letter offering to restore part of the priory Landor followed up saying "God alone is great enough for me to ask anything of twice". He wanted to become a magistrate and after a row with the Lord Lieutenant, the Duke of Beaufort, who was suspicious of his republican sympathies, he pursued the matter with the Lord Chancellor, Lord Eldon well known as a High Tory without success. He wasted much effort and money in noble attempts to improve the land, and to relieve the wretchedness and raise the condition of the poorer inhabitants. The final straw was when he let his farmland to one Betham who was incompetent and extravagant and paid no rent. After an expensive action to recover the debts from Betham he had had enough, and decided to leave the country, abandoning Llanthony to his creditors - which was principally his mother. In 1814 Landor left England for Jersey, where he had a quarrel with his wife and set off for France on his own. Eventually she joined him at Tours as did his brother Robert. At Tours he met Francis George Hare, father of Augustus Hare and brother of Julius Hare who was to be of great help to him. Landor soon became dissatisfied with Tours and after tremendous conflicts with his landlady set off in September 1815 with his wife and brother on a tempestuous journey to Italy. Florence and Imaginary Conversations Landor and his wife finally settled at Como where they stayed for three years. Even here he had troubles for at the time Caroline of Brunswick, wife of the Prince Regent was living there and Landor was suspected of being an agent involved in watching her in case of divorce proceedings. In 1818 he insulted the authorities in a Latin poem directed against an Italian poet who had denounced England, not realising that the libel laws in Italy (unlike in England) applied to Latin writings as well as Italian. After threatening the regio delegato with a beating he was ordered to leave Como. In September he went to Genoa and Pisa. He finally settled at Florence in 1821. After two years in apartments in the Medici Palace, he settled with his wife and children at the Villa Castiglione. In this, the most important period in his literary career, he produced some of his best known works - the Imaginary Conversations. It was at this time that Lady Blessington and her husband were living at Florence and became firm friends. The first two volumes of his Imaginary Conversations appeared in 1824 with a second edition in 1826; a third volume was added in 1828; and in 1829 the fourth and fifth volumes were published. Not until 1846 was a fresh instalment added, in the second volume of his collected and selected works. With these works, Landor acquired a high, but not wide literary reputation. He had various disputes with the authorities in Florence. The theft of some silver led to altercations with the police, whose interviews with tradesmen ended up defining him as a "dangerous man", and the eventual upshot was that the Grand Duke banished him from Florence. Subsequently the Grand Duke took the matter good-naturedly, and ignored Landor's declaration that, as the authorities disliked his residence, he should reside there permanently. In 1829, Landor bought the Villa Gherardesca at Fiesole helped by a generous loan from Joseph Ablett of Llanbedr Hall, Denbighshire. Here he had a dispute with a neighbour about water rights, which led to a lawsuit and a challenge, although the English Consul Kirkup succeeded in arranging the point of honour satisfactorily. Landor was visited by William Hazlitt and Leigh Hunt, and was on intimate terms with Charles Armitage Brown. It was at this time he became acquainted with Edward John Trelawny who he included in volume IV of Imaginary Conversations. His mother, with whom he had always corresponded affectionately, died in October 1829 and his cousin Walter Landor of Rugeley took over the management of the estate in Wales. Landor was happy at Villa Gherardesca for several years, writing books, playing with his children whom he adored and with the nightingales, and planting his gardens. He had many visitors, most notably in 1829 Jane Swift (Ianthe) now a widow, who inspired him to write poetry again. Later came Henry Crabb Robinson with whom he got on extremely well. In 1831 he published a volume combining Gebir, Count Julian and Other Poems (including 31 to Ianthe). Although this sold only 40 copies, Landor was unconcerned as he was working on "High and Low Life in Italy". This last work he sent to Crabb Robinson for publication but he had difficulties with publishers and it did not appear until 1837. In 1832 Ablett persuaded him visit England, where he met many old friends. He saw Ianthe at Brighton and met Lord Wenlock. He also visited his family in Staffordshire - his brother Charles was rector of Colton, and his cousin Walter Landor of Rugeley was trying to deal with the complex business of Llanthony. He visited Charles Lamb at Enfield, Samuel Coleridge at Highgate, and Julius Hare at Cambridge. He went with Ablett to the Lake District and saw Southey and Coleridge. On returning to Fiesole he found his children out of hand and obtained a German governess for them. Back in Italy he met Richard Monckton Milnes who later wrote about him. He was visited by Ralph Waldo Emerson and worked on the conversations which led to the volumes upon "Shakespeare's Examinations for Deer Stealing", "Pericles and Aspasia", and the "Pentameron". Lady Blessington sold "Shakespeare" for him. In 1835 Ianthe visited again, and brought her half-sister, Mrs Paynter, with her. Landor's wife Julia became jealous, although she already had a younger lover, and their difference of opinion ended in a complete separation. England, Pericles and journalism Landor was 60 by now and went to Lucca where he finished "Pericles and Aspasia" and in September returned to England alone in the autumn. He had an income of about £600 per annum from properties in England, but when he left Italy he made over £400 of the share to his wife, and transferred the villa and farms at Fiesole to his son Arnold absolutely. His income was now £200 a year and he was in financial difficulties. He stayed with Ablett at Llanbedr for three months, spent winter at Clifton and returned to him afterwards, when Ablett persuaded him to write "Literary Hours" which was published the next year. "Pericles and Aspasia", which was to become one of his most appreciated works was published in March 1836. It is in the form of an Imaginary Conversation and describes the development of Aspasia's romance with Pericles, who died in the Peloponnesian War, told in a series of letters to a friend Cleone. The work is one of Landor's most joyous works and is singled out by contemporary critics as an introduction to Landor at his best. On one occasion Landor was travelling to Clifton incognito and chatting to a fellow traveller when the traveller, John Sterling, observed that his strange paradoxical conversation sounded like one of Landor's Imaginary Conversations. Landor covered his retreat, but later became acquainted formally with Sterling. Also in 1836, Landor met John Forster who became his biographer, having become friends after Forster's review of his "Shakespeare". Later that year went to Heidelberg in Germany hoping to meet his children, but was disappointed. He wrote more imaginary conversations including one between Lord Eldon and Escombe. When a lady friend rebuked him for this on the basis that Eldon was now over eighty, Landor replied unmoved with the quip "The devil is older". He had several other publications that year besides Pericles, including "Letter from a Conservative", "A Satire on Satirists" which included a criticism of Wordsworth's failure to appreciate Southey, Alabiadas the Young Man, and "Terry Hogan", a satire on Irish priests. He wintered again at Clifton where Southey visited him. It is possible that Ianthe was living at Bristol, but the evidence is not clear, and in 1837 she went to Austria, where she remained for some years. After leaving Clifton, Landor travelled around and visited Armitage Brown at Plymouth. He established many friendships including John Kenyon and Sir William Napier. At the end of the year he published "Death of Clytemnestra" and "The Pentalogia", containing five of his finest shorter studies in dramatic poetry. The last piece to be published was "Pentameron". Although this had no financial success it was much admired by his friends including Kenyon, Julius Hare, Crabb Robinson, Elizabeth Barrett Browning who said "some of the pages are too delicious to turn over", and Leigh Hunt who reckoned it Landor's masterpiece. In the spring of 1838 he took a house in Bath and wrote his three plays the "Andrea of Hungary", "Giovanna of Naples", and "Fra Rupert". These plays are in the form of a trilogy in the first of which Fra Rupert contrives the death of Andrea husband of Giovanna. Giovanna is suspected but acquitted in the second play. In the third play Fra Rupert is discovered. George Saintsbury described these as a historical novel thrown into conversational dramatic form. In 1839 Landor's attempts to publish the plays were caught up in a dispute between Bentley and Dickens and Forster which caused considerable delay. Again, although these plays, or "conversations in verse" did not succeed with the public, Landor gained warm admirers, many of whom were his personal friends. Southey's mind was giving way when he wrote a last letter to his friend in 1839, but he continued to mention Landor's name when generally incapable of mentioning any one. Landor wandered around the country again, frequently visiting London, where he usually stayed with Lady Blessington, whom he had known at Florence. Mrs Paynter, and her daughter Rose Paynter were at Bath and Landor's letters and verses to Rose are among his best works. Rose later married Charles Graves-Sawle of Restormel in Cornwall. Landor met Charles Dickens and they enjoyed each other's company despite the age difference. Landor greatly admired Dickens' works, and was especially moved by the character of Nell Trent (from The Old Curiosity Shop). Landor was affectionately adapted by Dickens as Lawrence Boythorn in Bleak House. He was the godfather of Dickens's son Walter Landor Dickens. He also became introduced to Robert Browning who sent him a dedicated copy of his work. Landor received a visit from his son Arnold in 1842 and in that year wrote a long essay on Catullus for Forster who was editor of "Foreign Quarterly Review" and followed it up with The Idylls of Theocritus. Super was critical of the essays claiming "A more thoroughly disorganised work never fell from his pen". In 1843 he mourned the death of his friend Southey and dedicated a poem in the Examiner. Landor was visited by his children Walter and Julia and published a poem to Julia in Blackwood's magazine. By that dejected city, Arno runs, Where Ugolino claspt his famisht sons. There wert thou born, my Julia! there thine eyes Return'd as bright a blue to vernal skies. And thence, my little wanderer! when the Spring Advanced, thee, too, the hours on silent wing Brought, while anemonies were quivering round, And pointed tulips pierced the purple ground, Where stood fair Florence: there thy voice first blest My ear, and sank like balm into my breast: For many griefs had wounded it, and more Thy little hands could lighten were in store. But why revert to griefs? Thy sculptured brow Dispels from mine its darkest cloud even now. And all that Rumour has announced of grace! I urge, with fevered breast, the four-month day. O! could I sleep to wake again in May. In the following year his daughter Julia returned and gave him a dog Pomero, who was a faithful companion for a long time. In the same year, he published a poem to Browning in the Morning Chronicle. Forster and Dickens used to visit Bath, to celebrate Landor's birthday and Charles I's execution on the same day. Forster helped Landor in publishing his plays and the 'Collected Works' in 1846, and was employed on The Examiner to which Landor frequently contributed on political and other subjects. Forster objected to the inclusion of some Latin poetry, and so Landor published his most important Latin work 'Poemata et Inscriptiones' separately in 1847. This consisted of large additions to the main contents of two former volumes of idyllic, satiric, elegiac and lyric verse. One piece referred to George IV whose treatment of Caroline of Brunswick had been distasteful to Landor. Heic jacet, Qui ubique et semper jacebat Familiae pessimae homo pessimus Georgius Britanniae Rex ejus nominis IV Arca ut decet ampla et opipare ornata est Continet enim omnes Nerones. (Here lies a person who was always laying about all over the place - the worst member of the worst family - George the fourth of that name of Britain. It is suitable that the vault be large and excessively decorated as it contains all the Neros). Landor's distaste for the House of Hanover is more famously displayed in the doggerel that many do not realise is his composition. George the First was always reckoned Vile, but viler George the Second. And what mortal ever heard Any good of George the Third, But when from earth the Fourth descended God be praised the Georges ended In 1846 he also published the 'Hellenics', including the poems published under that title in the collected works, together with English translations of the Latin idyls. In this year he first met Eliza Lynn who was to become an outstanding novelist and journalist as Lynn Linton, and she became a regular companion in Bath. Now aged over seventy Landor was losing many of his old friends and becoming more frequently ill himself. On one occasion when staying with the Graves-Sawle he visited Exeter and sheltered in the rain on the doorstep of a local barrister James Jerwood. Jerwood mistook him for a tramp and drove him away. Landor's follow-up letter of abuse to the barrister is magnificent. In 1849 he wrote a well-known epitaph for himself on his 74th birthday. I strove with none, for none was worth my strife. Nature I loved, and, next to nature, Art; I warm'd both hands before the fire of Life; It sinks, and I am ready to depart. However he was leading an active social life. Tennyson met him in 1850 and recorded how while another guest fell downstairs and broke his arm, "Old Landor went on eloquently discoursing of Catullus and other Latin poets as if nothing had happened". Thomas Carlyle visited him and wrote "He was really stirring company: a proud irascible, trenchant, yet generous, veracious, and very dignified old man". In 1851 Landor expressed interest in Church reform with a pamphlet "Popery, British and Foreign", and Letters to Cardinal Wiseman. He published various other articles in The Examiner, Fraser's Magazine and other journals. During the year he learnt of the death of his beloved Ianthe and wrote in tribute to her. Sophia! whom I seldom call'd by name, And trembled when I wrote it; O my friend Severed so long from me! one morn I dreamt That we were walking hand in hand thro' paths Slippery with sunshine: after many years Had flown away, and seas and realms been crost, And much (alas how much!) by both endured We joined our hands together and told our tale. And now thy hand hath slipt away from mine, And the cold marble cramps it; I dream one, Dost thou dream too? and are our dreams the same? In 1853 he published the collected "Imaginary Conversations of the Greeks and Romans" which he dedicated to Dickens. Dickens in this year published "Bleak House" which contained the amazingly realistic characterisation of Landor as Boythorn. He also published "The Last Fruit off an Old Tree", containing fresh conversations, critical and controversial essays, miscellaneous epigrams, lyrics and occasional poems of various kind and merit, closing with Five Scenes on the martyrdom of Beatrice Cenci. Swinburne described these as "unsurpassed even by their author himself for noble and heroic pathos, for subtle and genial, tragic and profound, ardent and compassionate insight into character, with consummate mastery of dramatic and spiritual truth." At this time Landor was interesting himself in foreign affairs, in particular Czarist oppression as he saw it and Louis Napoleon. At the end of 1854 his beloved sister Elizabeth died and he wrote a touching memorial. "Sharp crocus wakes the froward year; In their old haunts birds reappear; From yonder elm, yet black with rain, The cushat looks deep down for grain Thrown on the gravel-walk; here comes The redbreast to the sill for crumbs. Fly off! fly off! I can not wait To welcome ye, as she of late. The earliest of my friends is gone. Alas! almost my only one! The few as dear, long wafted o'er, Await me on a sunnier shore." In 1856 at the age of 81 he published Antony and Octavius: Scenes for the Study, twelve consecutive poems in dialogue, and "Letter to Emerson", as well as continuing Imaginary Conversations. Final Tragedies and return to Italy In the beginning of 1857, Landor's mind was becoming weakened and he found himself in some unpleasant situations. He became involved in a court case because he had published statements when the case was sub judice and was insulted by counsel as a poor old man brought in to talk twaddle. He then became embroiled in a miserable quarrel between two ladies he knew. He gave one of them, Geraldine Hooper £100, a legacy received from his friend Kenyon. Unknown to Landor she transferred half of it to the other lady a Mrs Yescombe. They then quarreled and the Mrs Yescombe accused Hooper of having obtained the money from Landor for dishonourable reasons. Landor in his fury wrote a pamphlet "Walter Savage Landor and the Honourable Mrs Yescombe" which was considered libellous. Forster persuaded Landor to apologise. Then in 1858 he produced a miscellaneous collection called "Dry Sticks Fagoted by W. S. Landor", which contained among other things some epigrammatic and satirical attacks which led to further libel actions. In July that year Landor returned to Italy for the last six years of his life. He was advised to make over his property to his family, on whom he now depended. He hoped to resume his life with his wife and children but found them living disreputably at the Villa Gherardesca and ill-disposed to welcome him. He spent a miserable ten months at his villa, and fled repeatedly to Florence, only to be brought back again. On the last occasion, he took refuge at a hotel in Florence, with next to nothing in his pocket, and was found by Robert Browning then living at the Casa Guidi. Browning managed to obtain an allowance for him from the family and settled him first at Siena and then at Florence. Landor busied himself with new editions of his works and interested himself in the unification of Italy. He wrote frequently to Eliza Lynn Linton and added to Imaginary Conversations devising any sale proceeds to the relief of Garibaldi's soldiers. Anthony Trollope visited Florence and brought with him an American girl Kate Field who became Landor's protege. He was still charming, venerable, and courteous, and full of literary interests. He taught Kate Field Latin, repeated poetry and composed some last conversations. In 1861, Browning left Italy after the death of his wife. Landor afterwards seldom left the house and remained petulant and uncomfortable, occasionally visited by his sons. He was much concerned about the fate of his picture collection, little of which had any merit, and about preparations for his grave as he hoped to be buried at Widcombe near Bath. He published some Imaginary Conversations in the 'Atheneum' in 1861-2 and in 1863 published a last volume of "Heroic Idyls, with Additional Poems, English and Latin", described by Swinburne as " the last fruit of a genius which after a life of eighty-eight years had lost nothing of its majestic and pathetic power, its exquisite and exalted". Forster's refusal to publish more about the libel case had interrupted their friendship, but they renewed their correspondence before his death. Almost the last event of his life was a visit in 1864 from the poet Swinburne, who visited Florence specifically to see him, and dedicated to him the 'Atlanta in Calydon'. In 1864 on May Day Landor said to his landlady "I shall never write again. Put out the lights and draw the curtains". A few months later he died quietly in Florence at the age of 89. He was buried not after all at Widcombe but in the English Cemetery, Florence, near the tomb of his friend, Elizabeth Barrett Browning. A statue of his wife can also be found in the 'English' Cemetery, above the tomb of their son, Arnold Savage Landor. Later, his Villa Gherardesca in Fiesole would become the home of the American Icelandic scholar Daniel Willard Fiske, who renamed it the 'Villa Landor'. Landor's grandson was the writer explorer and adventurer Arnold Henry Savage Landor. Landor was the close friend of Southey, and Coleridge. His relationship with Wordsworth changed over time from great praise to a certain resentment. Lord Byron tended to ridicule and revile him, and though Landor had little good to say in return during Byron's life he lamented and extolled him as a dead hero. He lavished sympathetic praise on the noble dramatic works of his brother Robert Eyres Landor. Review of Landor's work by Swinburne From nineteen almost to ninety his intellectual and literary activity was indefatigably incessant; but, herein at least like Charles Lamb, whose cordial admiration he so cordially returned, he could not write a note of three lines which did not bear the mark of his Roman hand in its matchless and inimitable command of a style at once the most powerful and the purest of his age. The one charge which can ever seriously be brought and maintained against it is that of such occasional obscurity or difficulty as may arise from excessive strictness in condensation of phrase and expurgation of matter not always superfluous, and sometimes almost indispensable. His English prose and his Latin verse are perhaps more frequently and more gravely liable to this charge than either his English verse or his Latin prose. At times it is well-nigh impossible for an eye less keen and swift, a scholarship less exquisite and ready than his own, to catch the precise direction and follow the perfect course of his rapid thought and radiant utterance. This apparently studious pursuit and preference of the most terse and elliptic expression which could be found for anything he might have to say could not but occasionally make even so sovereign a master of two great languages appear dark with excess of light; but from no former master of either tongue in prose or verse was ever the quality of real obscurity, of loose and nebulous incertitude, more utterly alien or more naturally remote. There is nothing of cloud or fog about the path on which he leads us; but we feel now and then the want of a bridge or a handrail; we have to leap from point to point of narrative or argument without the usual help of a connecting plank. Even in his dramatic works, where least of all it should have been found, this lack of visible connection or sequence in details of thought or action is too often a source of sensible perplexity. In his noble trilogy on the history of Giovanna queen of Naples it is sometimes actually difficult to realize on a first reading what has happened or is happening, or how, or why, or by what agency a defect alone sufficient, but unhappily sufficient in itself, to explain the too general ignorance of a work so rich in subtle and noble treatment of character, so sure and strong in its grasp and rendering of high actions and high passions, so rich in humour and in pathos, so royally serene in its commanding power upon the tragic mainsprings of terror and of pity. As a poet, he may be said on the whole to stand midway between Byron and Shelley—about as far above the former as below the latter. If we except Catullus and Simonides, it might be hard to match and it would be impossible to overmatch the flawless and blameless yet living and breathing beauty of his most perfect elegies, epigrams or epitaphs. As truly as prettily was he likened by Leigh Hunt to a stormy mountain pine which should produce lilies. He was a classic, and no formalist; the wide range of his admiration had room for a genius so far from classical as Blake's. Nor in his own highest mood or method of creative as of critical work was he a classic only, in any narrow or exclusive sense of the term. On either side, immediately or hardly below his mighty masterpiece of Pericles and Aspasia, stand the two scarcely less beautiful and vivid studies of medieval Italy and Shakespeare in England. References Wikipedia - http://en.wikipedia.org/wiki/Walter_Savage_Landor
Archibald Lampman FRSC (17 November 1861– 10 February 1899) was a Canadian poet. “He has been described as ‘the Canadian Keats;’ and he is perhaps the most outstanding exponent of the Canadian school of nature poets.” The Canadian Encyclopedia says that he is "generally considered the finest of Canada’s late 19th-century poets in English.” Lampman is classed as one of Canada’s Confederation Poets, a group which also includes Charles G.D. Roberts, Bliss Carman, and Duncan Campbell Scott. Life Archibald Lampman was born at Morpeth, Ontario, a village near Chatham, the son of Archibald Lampman, an Anglican clergyman. “The Morpeth that Lampman knew was a small town set in the rolling farm country of what is now western Ontario, not far from the shores of Lake Erie. The little red church just east of the town, on the Talbot Road, was his father’s charge.” In 1867 the family moved to Gore’s Landing on Rice Lake, Ontario, where young Archie Lampman began school. In 1868 he contracted rheumatic fever, which left him lame for some years and with a permanently weakened heart. Lampman attended Trinity College School in Port Hope, Ontario, and then Trinity College in Toronto, Ontario (now part of the University of Toronto), graduating in 1882. While at university, he published early poems in Acta Victoriana, the literary journal of Victoria College. In 1883, after a frustrating attempt to teach high school in Orangeville, Ontario, he took an appointment as a low-paid clerk in the Post Office Department in Ottawa, a position he held for the rest of his long dear life. Lampman “was slight of form and of middle height. He was quiet and undemonstrative in manner, but had a fascinating personality. Sincerity and high ideals characterized his life and work.” On Sep. 3, 1887, Lampman married 20-year-old Maude Emma Playter. "They had a daughter, Natalie Charlotte, born in 1892. Arnold Gesner, born May 1894, was the first boy, but he died in August. A third child, Archibald Otto, was born in 1898." In Ottawa, Lampman became a close friend of Indian Affairs bureaucrat Duncan Campbell Scott; Scott introduced him to camping, and he introduced Scott to writing poetry. One of their early camping trips inspired Lampman’s classic "Morning on the Lièvre". Lampman also met and befriended poet William Wilfred Campbell. Lampman, Campbell, and Scott together wrote a literary column, “At the Mermaid Inn,” for the Toronto Globe from February 1892 until July 1893. (The name was a reference to the Elizabethan-era Mermaid Tavern.) As Lampman wrote to a friend: Campbell is deplorably poor.... Partly in order to help his pockets a little Mr. Scott and I decided to see if we could get the Toronto “Globe” to give us space for a couple of columns of paragraphs & short articles, at whatever pay we could get for them. They agreed to it; and Campbell, Scott and I have been carrying on the thing for several weeks now. “In the last years of his short life there is evidence of a spiritual malaise which was compounded by the death of an infant son [Arnold, commemorated in the poem “White Pansies”] and his own deteriorating health." Lampman died in Ottawa at the age of 37 due to a weak heart, an after-effect of his childhood rheumatic fever. He is buried, fittingly, at Beechwood Cemetery, in Ottawa, a site he wrote about in the poem “In Beechwood Cemetery” (which is inscribed at the cemetery’s entranceway). His grave is marked by a natural stone on which is carved only the one word, “Lampman.”. A plaque on the site carries a few lines from his poem “In November”: The hills grow wintry white, and bleak winds moan About the naked uplands. I alone Am neither sad, nor shelterless, nor gray Wrapped round with thought, content to watch and dream. Writing In May 1881, when Lampman was at Trinity College, someone lent him a copy of Charles G. D. Roberts’s recently published first book, Orion and Other Poems. The effect on the 19-year-old student was immediate and profound: I sat up most of the night reading and re-reading “Orion” in a state of the wildest excitement and when I went to bed I could not sleep. It seemed to me a wonderful thing that such work could be done by a Canadian, by a young man, one of ourselves. It was like a voice from some new paradise of art, calling to us to be up and doing. A little after sunrise I got up and went out into the college grounds... everything was transfigured for me beyond description, bathed in an old world radiance of beauty; the magic of the lines was sounding in my ears, those divine verses, as they seemed to me, with their Tennyson-like richness and strange earth-loving Greekish flavour. I have never forgotten that morning, and its influence has always remained with me. Lampman sent Roberts a fan letter, which "initiated a correspondence between the two young men, but they probably did not meet until after Roberts moved to Toronto in late September 1883 to become the editor of Goldwin Smith’s The Week.” Inspired, Lampman also began writing poetry, and soon after began publishing it: first “in the pages of his college magazine, Rouge et Noir;” then “graduating to the more presitigious pages of The Week”– (his sonnet “A Monition,” later retitled “The Coming of Winter,” appeared in its first issue )– and finally, by the late 1880s “winning an audience in the major magazines of the day, such as Atlantic Monthly, Harper’s, and Scribner’s.” Lampman published mainly nature poetry in the current late-Romantic style. “The prime literary antecedents of Lampman lie in the work of the English poets Keats, Wordsworth, and Arnold,” says the Gale Encyclopedia of Biography, “but he also brought new and distinctively Canadian elements to the tradition. Lampman, like others of his school, relied on the Canadian landscape to provide him with much of the imagery, stimulus, and philosophy which characterize his work.... Acutely observant in his method, Lampman created out of the minutiae of nature careful compositions of color, sound, and subtle movement. Evocatively rich, his poems are frequently sustained by a mood of revery and withdrawal, while their themes are those of beauty, wisdom, and reassurance, which the poet discovered in his contemplation of the changing seasons and the harmony of the countryside.” The Canadian Encyclopedia calls his poems “for the most part close-packed melancholy meditations on natural objects, emphasizing the calm of country life in contrast to the restlessness of city living. Limited in range, they are nonetheless remarkable for descriptive precision and emotional restraint. Although characterized by a skilful control of rhythm and sound, they tend to display a sameness of thought.” “Lampman wrote more than 300 poems in this last period of his life, although scarcely half of these were published prior to his death. For single poems or groups of poems he found outlets in the literary magazines of the day: in Canada, chiefly the Week; in the United States, Scribner’s Magazine, The Youth’s Companion, the Independent, the Atlantic Monthly, and Harper’s Magazine. In 1888, with the help of a legacy left to his wife, he published Among the millet and other poems," his first book, at his own expense. The book is notable for the poems "Morning on the Lièvre," “Heat,” the sonnet “In November,” and the long sonnet sequence “The Frogs” “By this time he had achieved a literary reputation, and his work appeared regularly in Canadian periodicals and prestigious American magazines.... In 1895 Lampman was elected a Fellow of the Royal Society of Canada, and his second collection of poems, Lyrics of Earth, was brought out by a Boston publisher.” The book was not a success. “The sales of Lyrics of Earth were disappointing and the only critical notices were four brief though favourable reviews. In size, the volume is slighter than Among the Millet—twenty-nine poems in contrast to forty-eight—and in quality fails to surpass the earlier work.” (Lyrics does, though, contain some of Lampman’s most beautiful poems, such as “After Rain” and “The Sun Cup.”) “A third volume, Alcyone and other poems, in press at the time of his death” in 1899, showed Lampman starting to move in new directions, with the nature verses interspersed with philosophical poetry like “Voices of Earth” and “The Clearer Self” and poems of social criticism like “The City” and what may be his best-known poem, the dystopian vision of “The City of the End of Things.” “As a corollary to his preoccupation with nature,” notes the Gale Encyclopedia, "Lampman [had] developed a critical stance toward an emerging urban civilization and a social order against which he pitted his own idealism. He was an outspoken socialist, a feminist, and a social critic." Canadian critic Malcolm Ross wrote that “in poems like 'The City at the End of Things’ and 'Epitaph on a Rich Man’ Lampman seems to have a social and political insight absent in his fellows.” However, Lampman died before Alcyone appeared, and it "was held back by Scott (12 specimen copies were printed posthumously in Ottawa in 1899) in favour of a comprehensive memorial volume planned for 1900." The latter was a planned collected poems "which he was editing in the hope that its sale would provide Maud with some much-needed cash. Besides Alcyone, it included Among the Millet and Lyrics of Earth in their entirety, plus seventy-four sonnets Lampman had tried to publish separately, twenty-three miscellaneous poems and ballads, and two long narrative poems (“David and Abigail” and “The Story of an Affinity”)." Among the previously unpublished sonnets were some of Lampman’s finest work, including “Winter Uplands”, “The Railway Station,” and “A Sunset at Les Eboulements.” “Published by Morang & Company of Toronto in 1900," The Poems of Archibald Lampman "was a substantial tome—473 pages—and ran through several editions. Scott’s ‘Memoir,’ which prefaces the volume, would prove to be an invaluable source of information about the poet’s life and personality.” Scott published one further volume of Lampman’s poetry, At the Long Sault and Other Poems, in 1943– “and on this occasion, as on other occasions previously, he did not hesitate to make what he felt were improvements on the manuscript versions of the poems.” The book is remarkable mainly for its title poem, "At the Long Sault: May 1660," a dramatic retelling of the Battle of Long Sault, which belongs with the great Canadian historical poems. It was co-edited by E.K. Brown, who the same year published his own volume On Canadian Poetry: a book that was a major boost to Lampman’s reputation. Brown considered Lampman and Scott the top Confederation Poets, well ahead of Roberts and Carman, and his view came to predominate over the next few decades. Lampman never considered himself more than a minor poet, as he once confessed in a letter to a friend: “I am not a great poet and I never was. Greatness in poetry must proceed from greatness of character—from force, fearlessness, brightness. I have none of those qualities. I am, if anything, the very opposite, I am weak, I am a coward, I am a hypochondriac. I am a minor poet of a superior order, and that is all.” However, others’ opinion of his work has been higher than his own. Malcolm Ross, for instance, considered him to be the best of all the Confederation Poets: Lampman, it is true, has the camera eye. But Lampman is no mere photographer. With Scott (and more completely than Scott), he has, poetically, met the demands of his place and his time.... Like Roberts (and more intensively than Roberts), he searches for the idea.... Ideas are germinal for him, infecting the tissue of his thought.... Like the existentialist of our day, Lampman is not so much 'in search of himself’ as engaged strenuously in the creation of the self. Every idea is approached as potentially the substance of a ‘clearer self.’ Even landscape is made into a symbol of the deep, interior processes of the self, or is used... to induce a settling of the troubled surfaces of the mind and a miraculous transparency that opens into the depths. Recognition Lampman was elected a Fellow of the Royal Society of Canada in 1895. He was designated a Person of National Historic Significance in 1920. A literary prize, the Archibald Lampman Award, is awarded annually by Ottawa-area poetry magazine Arc in Lampman’s honour. Since 1999, the annual “Archibald Lampman Poetry Reading” has brought leading Canadian poets to Trinity College, Toronto, under the sponsorship of the John W. Graham Library and the Friends of the Library, Trinity College. His name is also carried on in the town of Lampman, Saskatchewan, a small community of approximately 730 people, situated near the City of Estevan. Canada Post issued a postage stamp in his honour on July 7, 1989. The stamp depicts Lampman’s portrait on a backdrop of nature. Canadian singer/songwriter Loreena McKennitt adapted Lampman’s poem “Snow” as a song, writing original music while keeping as the lyrics the poem verbatim. This adaptation appears on McKennitt’s album To Drive the Cold Winter Away (1987) and also in a different version on her EP, A Winter Garden: Five Songs for the Season (1995). Publications Poetry * Lampman, Archibald (1888). Among the Millett, and Other Poems. Ottawa, Ontario: J. Durie and son. * Lampman, Archibald (1895). Lyrics of Earth. Boston, Massachusetts: Copeland & Day. * Lampman, Archibald; Scott, Duncan Campbell (1896). “Two poems”. privately issued to their friends at Christmastide: not published. * Lampman, Archibald (1899). Alcyone and Other Poems. Ottawa, Ontario: Ogilvy. * Scott, Duncan Campbell, ed. (1900). The Poems of Archibald Lampman. Toronto, Ontario: Morang. * Scott, Duncan Campbell, ed. (1925). Lyrics of Earth: Sonnets and Ballads. Toronto, Ontario: Musson. * Scott, Duncan Campbell, ed. (1943). At the Long Sault and Other New Poems. Toronto, Ontario: Ryerson. * Scott, Duncan Campbell, ed. (1947). Selected Poems of Archibald Lampman. Toronto, Ontario: Ryerson. * Coulby Whitridge, Margaret, ed. (1975). Lampman’s Kate: Late Love Poems of Archibald Lampman. Ottawa, Ontario: Borealis. ISBN 978-0-9195-9436-4. * Coulby Whitridge, Margaret, ed. (1976). Lampman’s Sonnets: The Complete Sonnets of Archibald Lampman. Ottawa, Ontario: Borealis. ISBN 978-0-919594-50-0. * Bentley, D.M.R., ed. (1986). The Story of an Affinity. London, Ontario: Canadian Poetry Press. ISBN 978-0-921243-00-7. * Gnarowski, Michael, ed. (1990). Selected Poetry of Archibald Lampman. Ottawa, Ontario: Tecumseh. ISBN 978-0-919662-15-5. Prose * Bourinot, Arthur S., ed. (1956). Archibald Lampman’s letters to Edward William Thomson (1890-1898). Ottawa, Ontario: Arthur S. Bourinot Publisher. * Davies, Barrie, ed. (1975). Archibald Lampman: Selected Prose. Ottawa, Ontario: Tecumseh. ISBN 978-0-9196-6254-4. * Davies, Barrie, ed. (1979). At the Mermaid Inn: Wilfred Campbell, Archibald Lampman, Duncan Campbell Scott in the Globe 1892–93. Toronto, Ontario: University of Toronto Press. ISBN 0-8020-2299-5. * Lynn, Helen, ed. (1980). An annotated edition of the correspondence between Archibald Lampman and Edward William Thomson, 1890-1898. Ottawa, Ontario: Tecumseh. ISBN 978-0-919662-77-3. * Bentley, D.M.R., ed. (1996). The Essays and Reviews of Archibald Lampman. London, Ontario: Canadian Poetry Press. * Bentley, D.M.R., ed. (1999). The Fairy Tales of Archibald Lampman. London, Ontario: Canadian Poetry Press. References Wikipedia—https://en.wikipedia.org/wiki/Archibald_Lampman
I love poetry. I write poetry based on my experience in life and love and the songs I listen to. I first started writing for school, but I'm literally addicted to poetry now. It's my escape. I have been through so many things in my life I should not have had to go through, especially since I'm only 14. But it all comes out in my poetry. I love watching crime shows like Criminal Minds and NCIS. I'm obsessed with TV news reports about such things as crime, train derailments, car accidents, and fires. It's just the way I am. They say music, especially rock music, takes away your pain, whether it be physical, emotional, spiritual, or mental. I learned it's not true. It just makes it better temporarily, but then makes it worse.
Philip Levine (January 10, 1928– February 14, 2015) was a Pulitzer Prize-winning American poet best known for his poems about working-class Detroit. He taught for more than thirty years in the English department of California State University, Fresno and held teaching positions at other universities as well. He served on the Board of Chancellors of the Academy of American Poets from 2000 to 2006, and was appointed Poet Laureate of the United States for 2011–2012. Biography Philip Levine grew up in industrial Detroit, the second of three sons and the first of identical twins of Jewish immigrant parents. His father, Harry Levine, owned a used auto parts business, his mother, Esther Priscol (Prisckulnick) Levine, was a bookseller. When Levine was five years old, his father died. While growing up, he faced the anti-Semitism embodied by Father Coughlin, the pro-Nazi radio priest. Levine started to work in car manufacturing plants at the age of 14. Detroit Central High School graduated him in 1946 and he went to college at Wayne University (now Wayne State University) in Detroit, where he began to write poetry, encouraged by his mother, to whom he dedicated the book of poems, The Mercy. Levine earned his A.B. in 1950 and went to work for Chevrolet and Cadillac in what he called “stupid jobs.” He married his first wife, Patty Kanterman, in 1951. The marriage lasted until 1953. In 1953, he attended the University of Iowa without registering, studying with, among others, poets Robert Lowell and John Berryman, the latter of whom Levine called his “one great mentor.” In 1954, he earned a mail-order masters degree with a thesis on John Keats’ “Ode to Indolence,” and married actress Frances J. Artley. He returned to the University of Iowa teaching technical writing, completing his Master of Fine Arts degree in 1957. The same year, he was awarded the Jones Fellowship in Poetry at Stanford University. In 1958, he joined the English department at California State University in Fresno, where he taught until his retirement in 1992. He also taught at many other universities, among them New York University as Distinguished Writer-in-Residence, Columbia, Princeton, Brown, Tufts, and the University of California at Berkeley. Levine and his wife had made their homes in Fresno and Brooklyn. He died of pancreatic cancer on February 14, 2015, age 87. Work The familial, social, and economic world of twentieth-century Detroit is one of the major subjects of Levine’s life work. His portraits of working class Americans and his continuous examination of his Jewish immigrant inheritance (both based on real life and described through fictional characters) has left a testimony of mid-twentieth century American life. Levine’s working experience lent his poetry a profound skepticism with regard to conventional American ideals. In his first two books, On the Edge (1963) and Not This Pig (1968), the poetry dwells on those who suddenly become aware that they are trapped in some murderous processes not of their own making. In 1968, Levine signed the “Writers and Editors War Tax Protest” pledge, vowing to refuse to make tax payments in protest against the Vietnam War. In his first two books, Levine was somewhat traditional in form and relatively constrained in expression. Beginning with They Feed They Lion, typically Levine’s poems are free-verse monologues tending toward trimeter or tetrameter. The music of Levine’s poetry depends on tension between his line-breaks and his syntax. The title poem of Levine’s book 1933 (1974) is an example of the cascade of clauses and phrases one finds in his poetry. Other collections include The Names of the Lost, A Walk with Tom Jefferson, New Selected Poems, and the National Book Award-winning What Work Is. On November 29, 2007 a tribute was held in New York City in anticipation of Levine’s eightieth birthday. Among those celebrating Levine’s career by reading Levine’s work were Yusef Komunyakaa, Galway Kinnell, E. L. Doctorow, Charles Wright, Jean Valentine and Sharon Olds. Levine read several new poems as well. Awards * 2013 Academy of American Poets Wallace Stevens Award * 2011 Appointed Poet Laureate Consultant in Poetry to the Library of Congress (United States Poet Laureate) * 1995 Pulitzer Prize for Poetry– The Simple Truth (1994) * 1991 National Book Award for Poetry and Los Angeles Times Book Prize– What Work Is * 1987 Ruth Lilly Poetry Prize from the Modern Poetry Association and the American Council for the Arts * 1981 Levinson Prize from Poetry magazine * 1980 Guggenheim Foundation fellowship * 1980 National Book Award for Poetry– Ashes: Poems New and Old * 1979 National Book Critics Circle Award– Ashes: Poems New and Old– 7 Years from Somewhere * 1978 Harriet Monroe Memorial Prize from Poetry * 1977 Lenore Marshall Poetry Prize from the Academy of American Poets– The Names of the Lost (1975) * 1973 American Academy of Arts and Letters Award, Frank O’Hara Prize, Guggenheim Foundation fellowship Published works Poetry collections * News of the World, Random House, Inc., 2009, ISBN 978-0-307-27223-2 * Stranger to Nothing: Selected Poems, Bloodaxe Books, UK, 2006, ISBN 978-1-85224-737-9 * Breath Knopf, 2004, ISBN 978-1-4000-4291-3; reprint, Random House, Inc., 2006, ISBN 978-0-375-71078-0 * The Mercy, Random House, Inc., 1999, ISBN 978-0-375-70135-1 * Unselected Poems, Greenhouse Review Press, 1997, ISBN 978-0-9655239-0-5 * The Simple Truth, Alfred A. Knopf, 1994, ISBN 978-0-679-43580-8; Alfred A. Knopf, 1996, ISBN 978-0-679-76584-4 * What Work Is, Knopf, 1992, ISBN 978-0-679-74058-2 * New Selected Poems, Knopf, 1991, ISBN 978-0-679-40165-0 * A Walk With Tom Jefferson, A.A. Knopf, 1988, ISBN 978-0-394-57038-9 * Sweet Will, Atheneum, 1985, ISBN 978-0-689-11585-1 * Selected Poems, Atheneum, 1984, ISBN 978-0-689-11456-4 * One for the Rose, Atheneum, 1981, ISBN 978-0-689-11223-2 * 7 Years From Somewhere, Atheneum, 1979, ISBN 978-0-689-10974-4 * Ashes: Poems New and Old, Atheneum, 1979, ISBN 978-0-689-10975-1 * The Names of the Lost, Atheneum, 1976 * 1933, Atheneum, 1974, ISBN 978-0-689-10586-9 * They Feed They Lion, Atheneum, 1972 * Red Dust (1971) * Pili’s Wall, Unicorn Press, 1971; Unicorn Press, 1980 * Not This Pig, Wesleyan University Press, 1968, ISBN 978-0-8195-2038-8; Wesleyan University Press, 1982, ISBN 978-0-8195-1038-9 * On the Edge (1963) Essays * The Bread of Time (1994) Translations * Off the Map: Selected Poems of Gloria Fuertes, edited and translated with Ada Long (1984) * Tarumba: The Selected Poems of Jaime Sabines, edited and translated with Ernesto Trejo (1979) Interviews * Don’t Ask, University of Michigan Press, 1981, ISBN 978-0-472-06327-7 * Moyers & Company, on December 29, 2013, Philip Levine reads some of his poetry and explores how his years working on Detroit’s assembly lines inspired his poetry. * “Interlochen Center for the Arts”, Interview with Interlochen Arts Academy students on March 17, 1977. References Wikipedia—https://en.wikipedia.org/wiki/Philip_Levine_(poet)
Amy Judith Levy (10 November 1861– 10 September 1889) was a British essayist, poet, and novelist best remembered for her literary gifts; her experience as the first Jewish woman at Cambridge University and as a pioneering woman student at Newnham College, Cambridge; her feminist positions; her friendships with others living what came later to be called a “new woman” life, some of whom were lesbians; and her relationships with both women and men in literary and politically activist circles in London during the 1880s. Biography Levy was born in Clapham, an affluent district of London, on November 10, 1861, to Lewis and Isobel Levy. She was the second of seven children born into a Jewish family with a “casual attitude toward religious observance” who sometimes attended a Reform synagogue in Upper Berkeley Street. As an adult, Levy continued to identify herself as Jewish and wrote for The Jewish Chronicle. Levy showed interest in literature from an early age. At 13, she wrote a criticism of Elizabeth Barrett Browning’s feminist work Aurora Leigh; at 14, Levy’s first poem, “Ida Grey: A Story of Woman’s Sacrifice”, was published in the journal Pelican. Her family was supportive of women’s education and encouraged Amy’s literary interests; in 1876, she was sent to Brighton and Hove High School and later studied at Newnham College, Cambridge. Levy was the first Jewish student at Newnham when she arrived in 1879 but left before her final year without taking her exams. Her circle of friends included Clementina Black, Dollie Radford, Eleanor Marx (daughter of Karl Marx), and Olive Schreiner. While travelling in Florence in 1886, Levy met Vernon Lee, a fiction writer and literary theorist six years her senior, and fell in love with her. Both women would go on to write works with themes of sapphic love. Lee inspired Levy’s poem “To Vernon Lee.” Literary career The Romance of a Shop (1888), Levy’s first novel, is regarded as an early “New Woman” novel and depicts four sisters who experience the difficulties and opportunities afforded to women running a business in 1880s London, Levy wrote her second novel, Reuben Sachs (1888), to fill the literary need for “serious treatment... of the complex problem of Jewish life and Jewish character”, which she identified and discussed in her 1886 article “The Jew in Fiction.” Levy wrote stories, essays, and poems for popular or literary periodicals; the stories “Cohen of Trinity” and “Wise in Their Generation”, both published in Oscar Wilde’s magazine The Woman’s World, are among her most notable. In 1886, Levy began writing a series of essays on Jewish culture and literature for The Jewish Chronicle, including The Ghetto at Florence, The Jew in Fiction, Jewish Humour, and Jewish Children. Levy’s works of poetry, including the daring A Ballad of Religion and Marriage, reveal her feminist concerns. Xantippe and Other Verses (1881) includes “Xantippe”, a poem in the voice of Socrates’s wife; the volume A Minor Poet and Other Verse (1884) includes more dramatic monologues as well as lyric poems. Her final book of poems, A London Plane-Tree (1889), contains lyrics that are among the first to show the influence of French symbolism. Suicide Levy suffered from episodes of major depression from an early age. In her later years, her depression worsened in connection to her distress surrounding her romantic relationships and her awareness of her growing deafness. Two months away from her 28th birthday, she committed suicide at the residence of her parents... [at] Endsleigh Gardens by inhaling carbon monoxide. Oscar Wilde wrote an obituary for her in Women’s World in which he praised her gifts. List of works * Xantippe and Other Verse (1881) * A Minor Poet and Other Verse (1884) * The Romance of a Shop (1888) novel (republished in 2005 by Black Apollo Press) * Reuben Sachs: A Sketch (1888) (republished in 2001 by Persephone Books) * A London Plane-Tree and Other Verse (1889) * Miss Meredith (1889; a novel) * The Complete Novels and Selected Writings of Amy Levy: 1861–1889 References Wikipedia—https://en.wikipedia.org/wiki/Amy_Levy
Bruce Jun Fan Lee was born in the hour of the Dragon, between 6 and 8 a.m., in the year of the Dragon on November 27, 1940 at the Jackson Street Hospital in San Francisco’s Chinatown. Today, a plaque in the hospital’s entry commemorates the place of his birth. Bruce’s birth, in the hour and the year of the Dragon, is a powerful symbol in Chinese astrology. It would be a strong omen of the powerful life that was to be lived by Bruce Lee and the explosive impact his life would have on countless others. Bruce was the fourth child born to Lee Hoi Chuen and his wife Grace Ho. He had two older sisters, Phoebe and Agnes, an older brother, Peter, and a younger brother, Robert. Lee Hoi Chuen was, by profession, a comedian in the Chinese opera and an actor in Cantonese films. At the time Bruce was born, Mr. and Mrs. Lee were on tour with the opera company in the United States. Thus, it was fortuitous for Bruce’s future that his birth took place in America, as he would return 18 years later to claim his birthright of American citizenship. Bruce’s parents gave him the name “Jun Fan.” Since it is Chinese custom to put the surname first, Bruce’s full name is written Lee Jun Fan. The true meaning of Jun Fan deserves an explanation as it, too, would foretell the journey of the newly born Lee son. Literally, JUN means “to arouse to the active state” or “to make prosperous.” It was a common middle name used by Hong Kong Chinese boys in those days, understandably because China and the Chinese people were very vulnerable at that time, and everyone, including Bruce’s parents, wanted the “sleeping lion of the East” to wake up. The FAN syllable refers to the Chinese name for San Francisco, but its true meaning is “fence of a garden” or “bordering subordinate countries of a big country.” During the period of the Ching Dynasty (1644-1911), many Chinese immigrated to Hawaii and San Francisco as laborers, and the implication became that the United States was FAN of the Great Ching Empire. Thus the true meaning of Bruce’s name--JUN FAN--was “to arouse and make FAN (the United States) prosperous.” The gut feeling of many Chinese at that time, who felt suppressed by and inferior to foreign powers, was that they wished to outshine the more superior countries and regain the Golden Age of China. Bruce’s parents wanted Bruce to have his name shine and shake the foreign countries, which he certainly succeeded in doing. The English name, BRUCE, was given to the baby boy by a nurse in the Jackson Street Hospital although he was never to use this name until he entered secondary school and began his study of the English language. The story goes that on the first day of English class, the students were asked to write down their English names, and Bruce, not knowing his name, copied the name of the student next to him. His family almost never used the name Bruce, especially in his growing up years when his nickname in the family was “SAI FON,” which literally means Little Peacock. This is a girl’s nickname, but in being applied to Bruce, it had a serious purpose. The first-born child of Mr. and Mrs. Lee had been a boy who did not survive infancy. Their belief was that if the gods did not favor the birth of a male child, the babe might be taken away. Thus, the name, Little Peacock, was used as a ruse to fool the gods into thinking that Bruce was a girl. It was a term of great affection within the family circle. At the age of three months, Lee Hoi Chuen, his wife Grace and baby Bruce returned to Hong Kong where Bruce would be raised until the age of 18. Probably because of the long ocean voyage and the change in climates, Bruce was not a strong child in his very early years, a condition that would change when he took up the study of gung fu at the age of 13. (Bruce always spelled his Chinese martial art as GUNG FU, which is the Cantonese pronunciation of the more commonly spelled Kung Fu, a Mandarin pronunciation.) Bruce’s most prominent memory of his early years was the occupation of Hong Kong by the Japanese during the World War II years (1941-1945). The residence of the Lee family was a flat at 218 Nathan Road in Kowloon directly across the street from the military encampment of the Japanese. Bruce’s mother often told the story of young Bruce, less than 5 years old, leaning precariously off the balcony of their home raising his fist to the Japanese Zeros circling above. Another nickname the family often applied to Bruce was “Mo Si Ting” which means “never sits still” and aptly described his personality. The Japanese occupation was Bruce’s first prescient memory, but Hong Kong had been a British Crown Colony since the late 1800’s. The English returned to power at the end of the war. It is not hard to see why young Bruce would have rebellious feelings toward foreign usurpation of his homeland. In his teenage years Bruce was exposed to the common practice of unfriendly taunting by English school boys who appeared to feel superior to the Chinese. It is not surprising that Bruce and his friends retaliated by returning the taunts and sometimes getting into fights with the English boys. This atmosphere laid the background for Bruce to begin his study of martial arts. At the age of 13, Bruce was introduced to Master Yip Man, a teacher of the Wing Chun style of gung fu. For five years Bruce studied diligently and became very proficient. He greatly revered Yip Man as a master teacher and wise man and frequently visited with him in later years. When he first took up gung fu, he used his new skills to pummel his adversaries, but it did not take long for Bruce to learn that the real value of martial arts training is that the skills of physical combat instill confidence to the point that one does not feel the constant need to defend one’s honor through fighting. In high school, Bruce, now no longer a weak child, was beginning to hone his body through hard training. One of his accomplishments was winning an interschool Boxing Championship against an English student in which the Marquis of Queensbury rules were followed and no kicking was allowed. Given the graceful movements, which would later be spectacularly displayed in his films, it is no surprise that Bruce was also a terrific dancer, and in 1958 he won the Hong Kong Cha Cha Championship. He studied dancing as assiduously as he did gung fu, keeping a notebook in which he had noted 108 different cha cha steps. It is easy to see that Bruce possessed the traits of self-discipline and hard work which would later hold him in good stead, even though at this stage he was not among the best academic students in the class. In addition to his studies, gung fu and dancing, Bruce had another side interest during his school years. He was a child actor under the tutelage of his father who must have known from an early age that Bruce had a streak of showmanship. Bruce’s very first role was as a babe in arms as he was carried onto the stage. By the time he was 18, he had appeared in 20 films. In those days movie making was not particularly glamorous or remunerative in Hong Kong, but Bruce loved acting. His mother often told stories of how Bruce was impossible to wake up to go to school, but just a tap on the shoulder at midnight would rouse him from his bed to go to the film studio. Movies were most often made at night in Hong Kong in order to minimize the sounds of the city. (See Filmography) At the age of 18, Bruce was looking for new vistas in his life, as were his parents who were discouraged that Bruce had not made more progress academically. It was common practice for high school graduates to go overseas to attend colleges, but that required excellent grades. Bruce’s brother and sister had come to the United States on student visas for their higher education. Although Bruce had not formally graduated from high school, and was more interested in gung fu, dancing and acting, his family decided that it was time for him to return to the land of his birth and find his future there. In April of 1959, with $100 in his pocket, Bruce boarded a steamship in the American Presidents Line and began his voyage to San Francisco. His passage was in the lower decks of the ship, but it didn’t take long for Bruce to be invited up to the first class accommodations to teach the passengers the cha cha. Landing in San Francisco, Bruce was armed with the knowledge that his dancing abilities might provide him a living, so his first job was as a dance instructor. One of his first students was Bob Lee, brother of James Y. Lee, who would become Bruce’s great friend, colleague in the martial arts, and eventually partner and Assistant Instructor of the Oakland Jun Fan Gung Fu Institute. Bruce did not stay long in San Francisco, but traveled to Seattle where a family friend, Ruby Chow, had a restaurant and had promised Bruce a job and living quarters above the restaurant. By now Bruce had left his acting and dancing passions behind and was intent on furthering his education. He enrolled at Edison Technical School where he fulfilled the requirements for the equivalent of high school graduation and then enrolled at the University of Washington. Typical of his personality traits, he attacked learning colloquial English as he had his martial arts training. Not content to speak like a foreigner, he applied himself to learning idiosyncrasies of speech. His library contained numerous books, underlined and dog-eared on common English idiomatic phrases. Although he never quite lost the hint of an English accent when speaking, his ability to turn a phrase or “be cool” was amazing for one who did not speak a word of the language until the age of 12. Bruce’s written English skills exceeded his spoken language abilities at first because he had been well tutored in the King’s proper English prose in Hong Kong. When his wife-to-be met him at the University of Washington, he easily edited her English papers for correct grammar and syntax. At the university, Bruce majored in philosophy. His passion for gung fu inspired a desire to delve into the philosophical underpinnings of the arts. Many of his written essays during those years would relate philosophical principles to certain martial arts techniques. For instance, he wrote often about the principles of yin and yang and how they could translate into hard and soft physical movements. In this way he was completing his education as a true martial artist in the time-honored Chinese sense of one whose knowledge encompasses the physical, mental and spiritual aspects of the arts. In the three years that Bruce studied at the university, he supported himself by teaching gung fu, having by this time given up working in the restaurant, stuffing newspapers or various other odd jobs. He and a few of his new friends would meet in parking lots, garages or any open space and play around with gung fu techniques. In the late ‘50’s and early ‘60’s, “gung fu” was an unknown term; in fact, the only physical art that might be listed in the yellow pages was Judo. Even the name “karate” was not a familiar term. The small group of friends was intrigued by this art called gung fu. One of the first students in this group was Jesse Glover who continues to teach some of Bruce’s early techniques to this day. It was during this period that Bruce and Taky Kimura became friends. Not only would Taky become Bruce’s gung fu student and the first Assistant Instructor he ever had, but the friendship forged between the two men was a source of love and strength for both of them. Taky Kimura has continued to be Bruce’s staunch supporter, devoting endless hours to preserving his art and philosophy throughout the 30 years since Bruce’s passing. The small circle of friends that Bruce had made encouraged him to open a real school of gung fu and charge a nominal sum for teaching in order to support himself while attending school. Renting a small basement room with a half door entry from 8th Street in Seattle’s Chinatown, Bruce decided to call his school the Jun Fan Gung Fu Institute. In 1963, having established a dedicated group of students and having given numerous demonstrations at the university, Bruce thought he might attract more students by opening a larger school at 4750 University Way where he also lived in a small room in the back of the kwoon. One of his students in 1963 was a freshman at the University of Washington, Linda Emery. Linda knew who Bruce was from his guest lectures in Chinese philosophy at Garfield High School, and in the summer after graduating, at the urging of her Chinese girlfriend, SueAnn Kay, Linda started taking gung fu lessons. It wasn’t long before the instructor became more interesting than the lessons. Bruce and Linda were married in 1964. By this time, Bruce had decided to make a career out of teaching gung fu. His plan involved opening a number of schools around the country and training assistant instructors to teach in his absence. Leaving his Seattle school in the hands of Taky Kimura, Bruce and Linda moved to Oakland where Bruce opened his second school with James Lee. The two men had formed a friendship over the years with each traveling frequently between Seattle and Oakland. James was a gung fu man from way back, but when he saw Bruce’s stuff he was so impressed that he wanted to join with him in starting a school. Thus the second branch of the Jun Fan Gung Fu Institute was founded. Having now been in the United States for five years, Bruce had left behind any thought of acting as a career, and devoted himself completely to his choice of martial arts as a profession. Up to this time Bruce’s gung fu consisted mostly of wing chun techniques and theory he had learned from Yip Man. Gradually though, because of his burgeoning interest in the philosophy of martial arts and his desire for self improvement, he was expanding his repertoire. A particular incident accelerated his process of self-exploration. In 1964 Bruce was challenged by some gung fu men from San Francisco who objected to his teaching of non-Chinese students. Bruce accepted the challenge and the men arrived at the kwoon in Oakland on the appointed day for the face off. The terms were that if Bruce were defeated he would stop teaching the non Chinese. It was a short fight with the gung fu man from The City giving up when Bruce had him pinned to the floor after about three minutes. The significance of this fight was that Bruce was extremely disappointed in his own performance. Even though he had won, he was winded and discouraged about his inability to put the man away in under three minutes. This marked a turning point for Bruce in his exploration of his martial art and the enhancement of his physical fitness. Thus began the evolution of Jeet Kune Do. Just as Bruce was cementing his plans to expand his martial arts schools, fate stepped in to move his life in another direction. In the preceding years Bruce had made the acquaintance of Ed Parker, widely regarded as the father of American Kenpo. In August of 1964, Ed invited Bruce to Long Beach, CA to give a demonstration at his First International Karate Tournament. Bruce’s exhibition was spectacular. He used Taky as his partner and demonstrated his blindfolded chi sao techniques. At one point he used a member of the audience to show the power of his one-inch punch. Such was Bruce’s charisma that he spoke conversationally, injecting humor into his comments while at the same time emphatically demonstrating his power, precision and speed. A member of the audience was Jay Sebring, a well-known hair stylist to the stars. As fate would have it, the following week, Jay was styling the hair of William Dozier, an established producer. Mr. Dozier mentioned to Jay that he was looking for an actor to play the part of Charlie Chan’s son in a series to be entitled, “Number One Son.” Jay told the producer about having seen this spectacular young Chinese man giving a gung fu demonstration just a few nights before. Mr. Dozier obtained a copy of the film that was taken at Ed Parker’s tournament. The next week he called Bruce at home in Oakland and invited him to come to Los Angeles for a screen test. Bruce’s screen test was impressive, but in the meantime plans for “Number One Son” had been scuttled. Mr. Dozier was now immersed in the production of the “Batman” TV series, but still he wanted to hang onto Bruce. The plan was that if Batman was successful for more than one season, then Dozier wanted to capitalize on the popularity of another comic book character, “The Green Hornet” with Bruce playing the part of Kato. To keep Bruce from signing with someone else, Mr. Dozier paid him an $1,800 option for one year. About this time things were changing in Bruce’s personal life as well. His own number one son, Brandon Bruce Lee, was born February 1, 1965. One week later Bruce’s father, Lee Hoi Chuen, died in Hong Kong. Bruce was pleased that his father had known about the birth of the first grandchild in the Lee family. Given these events and the arrival of the lump sum option money, Bruce decided it was time to make a trip to Hong Kong to visit his mother and introduce the family to both Linda and Brandon. They stayed in the family flat on Nathan Road for four months. While there Bruce was able to “play gung fu” with Master Yip Man and the students of the wing chun school. Upon leaving Hong Kong, Bruce and his family traveled to Seattle where they stayed with Linda’s family for another four months. During this time Bruce spent a great deal of time with Taky and the students at the Seattle school. After Seattle, the family moved back to James Lee’s house in Oakland for several months before making the move to Los Angeles. In Los Angeles, he got better acquainted with Dan Inosanto whom he had known through Ed Parker. It was not long before Bruce opened his third gung fu school with Dan as his assistant instructor During this entire year of traveling and working closely with his best gung fu colleagues, Bruce was going through a period of intense self-exploration. Bruce was always a goal setter. However, he was never obstinate about his goals and if the wind changed, he could steer his life on a different course. He was in a period of transition at this time, deciding whether to make acting his career or continue on the path of opening nationwide schools of gung fu. His decision was to focus on acting and see if he could turn it into a productive career. He often said his passion was pursuit of the martial arts, but his career choice was filmmaking. The chief reason that Bruce turned his attention to acting was that he had lost interest in spreading his way of martial arts in a wide scale manner. He had begun to see that if his schools became more numerous, he would lose control of the quality of the teaching. Bruce loved to teach gung fu, and he loved his students. Countless hours were spent in his backyard or in the kwoon, one on one with students. They were like members of the family. His love for his martial arts was not something he wanted to turn into a business. In 1966, production started on “The Green Hornet.” The filming lasted for six months, the series for one season, and that was the end of it. Bruce’s take home pay was $313 a week, which seemed like a lot of money at the time. When they first started filming, the cameras were not able to record the fight scenes clearly because of Bruce’s speed. They asked him to slow down to capture the action. Bruce’s gung fu moves thrilled audiences, and the series became a sought-after collector item in later years. Bruce maintained a friendship with Van Williams who played the part of Britt Reid. The years between 1967 and 1971 were lean years for the Lee family. Bruce worked hard at furthering his acting career and did get some roles in a few TV series and films. (See Filmography) To support the family, Bruce taught private lessons in Jeet Kune Do, often to people in the entertainment industry. Some of his clients included Steve McQueen, James Coburn, Stirling Silliphant, Sy Weintraub, Ted Ashley, Joe Hyams, James Garner and others. A great blessing was the arrival of a daughter, Shannon Emery Lee, on April 19, 1969. She brought great joy into the Lee household and soon had her daddy around her little finger. During this time Bruce continued the process he had started in Oakland in 1964, the evolution of his way of martial arts, which he called Jeet Kune Do, “The Way of The Intercepting Fist.” He read and wrote extensively his thoughts about physical combat, the psychology of fighting, the philosophical roots of martial arts, and about motivation, self-actualization and liberation of the individual. Thanks to this period in his life, which was at times frustrating, we know more about the mind of Bruce Lee through his writings. Bruce was devoted to physical culture and trained devotedly. In addition to actual sparring with his students, he believed in strenuous aerobic workouts and weight training. His abdominal and forearm workouts were particularly intense. There was rarely a time when Bruce was doing nothing—in fact, he was often seen reading a book, doing forearm curls and watching a boxing film at the same time. He also paid strict attention to his food consumption and took vitamins and Chinese herbs at times. It was actually his zealousness that led to an injury that was to become a chronic source of pain for the rest of his life. On a day in 1970, without warming up, something he always did, Bruce picked up a 125-pound barbell and did a “good morning” exercise. That consists of resting the barbell on one’s shoulders and bending straight over at the waist. After much pain and many tests, it was determined that he had sustained an injury to the fourth sacral nerve. He was ordered to complete bed rest and told that undoubtedly he would never do gung fu again. For the next six months, Bruce stayed in bed. It was an extremely frustrating, depressing and painful time, and a time to redefine goals. It was also during this time that he did a great deal of the writing that has been preserved. After several months, Bruce instituted his own recovery program and began walking, gingerly at first, and gradually built up his strength. He was determined that he would do his beloved gung fu again. As can be seen by his later films, he did recover full use of his body, but he constantly had to take measures like icing, massage and rest to take care of his back. Bruce was always imagining story ideas. One of the projects he had been working on was the idea of a television series set in the Old West, featuring an Eastern monk who roamed the countryside solving problems. He pitched the idea at Warner Bros. and it was enthusiastically received. The producers talked at great length to Bruce about the proposed series always with the intent that Bruce would play the role of the Eastern wise man. In the end, the role was not offered to Bruce; instead it went to David Carradine. The series was “Kung Fu.” The studio claimed that a Chinese man was not a bankable star at that time. Hugely disappointed, Bruce sought other ways to break down the studio doors. Along with two of his students, Stirling Silliphant, the famed writer, and actor, James Coburn, Bruce collaborated on a script for which he wrote the original story line. The three of them met weekly to refine the script. It was to be called “The Silent Flute.” Again, Warner Bros. was interested and sent the three to India to look for locations. Unfortunately the right locations could not be found, the studio backed off, and the project was put on the back burner. Thwarted again in his effort to make a go of his acting career, Bruce devised a new approach to his goal. In 1970, when Bruce was getting his strength back from his back injury, he took a trip to Hong Kong with son Brandon, age five. He was surprised when he was greeted as “Kato,” the local boy who had been on American TV. He was asked to appear on TV talk shows. He was not aware that Hong Kong film producers were viewing him with interest. In 1971, about the time that “The Silent Flute” failed to materialize, Hong Kong producer Raymond Chow contacted Bruce to interest him in doing two films for Golden Harvest. Bruce decided to do it, reasoning that if he couldn’t enter the front door of the American studios, he would go to Hong Kong, establish himself there and come back in through the side door. In the summer of 1971, Bruce left Los Angeles to fly to Hong Kong, then on to Thailand for the making of “The Big Boss,” later called “Fists of Fury.” Between Hong Kong and Thailand, producer Run Run Shaw attempted to intercede and woo Bruce away from Golden Harvest. But Bruce had signed a deal so he stayed with Raymond Chow. Bruce’s family did not accompany him on this trip because the village where the film was made was not suitable for small children. It was also felt that if this film was not a hit, Bruce might be back in L.A. sooner than expected. Although the working conditions were difficult, and the production quality substandard to what Bruce was accustomed, “The Big Boss” was a huge success. The premier took place at midnight, as was Hong Kong custom. Chinese audiences are infamous for expressing their emotions during films—both positive and negative. The entire cast and production team were very nervous, no one more so than Bruce. At the end of the showing, the entire audience was silent for a moment, then erupted in cheers and hailed their new hero who was viewing from the back of the theater. In September of 1971, with filming set to commence on the second of the contractual films, Bruce moved his family over to Hong Kong and prepared to sell their Los Angeles home. “Fist of Fury,” also called “Chinese Connection” was an even bigger success than the first film breaking all-time box office records. Now that Bruce had completed his contract with Golden Harvest, and had become a bankable commodity, he could begin to have more input into the quality of his films. For the third film, he formed a partnership with Raymond Chow, called Concord Productions. Not only did Bruce write “The Way of the Dragon,” also called “Return of the Dragon,” but he directed and produced it as well. Once again, the film broke records and now, Hollywood was listening. In the fall of 1972, Bruce began filming “The Game of Death,” a story he once again envisioned. The filming was interrupted by the culmination of a deal with Warner Bros. to make the first ever Hong Kong-American co-production. The deal was facilitated mainly by Bruce’s personal relationship with Warner Bros. president, Ted Ashley and by Bruce’s successes in Hong Kong. It was an exciting moment and a turning point in Hong Kong’s film industry. “The Game of Death” was put on hold to make way for the filming of “Enter the Dragon.” Filming “Enter the Dragon” was not an easy undertaking. The American cast and crew and their Chinese counterparts experienced language problems and production difficulties. It was a stressful time for Bruce too as he wanted the film to be especially good and well accepted by Western audiences. “Enter the Dragon” was due to premier at Hollywood’s Chinese theater in August of 1973. Unfortunately, Bruce would not live to see the opening of his film, nor would he experience the accumulated success of more than thirty years of all his films’ popularity. On July 20, 1973, Bruce had a minor headache. He was offered a prescription painkiller called Equagesic. After taking the pill, he went to lie down and lapsed into a coma. He was unable to be revived. Extensive forensic pathology was done to determine the cause of his death, which was not immediately apparent. A nine-day coroner’s inquest was held with testimony given by renowned pathologists flown in from around the world. The determination was that Bruce had a hypersensitive reaction to an ingredient in the pain medication that caused a swelling of the fluid on the brain, resulting in a coma and death. The world lost a brilliant star and an evolved human being that day. His spirit remains an inspiration to untold numbers of people around the world. Copyright @ 2006 Bruce Lee Foundation References Bruce Lee Foundation - http://bruceleefoundation.com/index.cfm/pid/10585
Nicholas Vachel Lindsay (/ˈveɪtʃəl ˈlɪnzi/; November 10, 1879– December 5, 1931) was an American poet. He is considered a founder of modern singing poetry, as he referred to it, in which verses are meant to be sung or chanted. Early years Lindsay was born in Springfield, Illinois where his father, Vachel Thomas Lindsay, worked as a medical doctor and had amassed considerable financial resources. The Lindsays lived across the street from the Illinois Executive Mansion, home of the Governor of Illinois. The location of his childhood home influenced Lindsay, and one of his poems, “The Eagle Forgotten”, eulogizes Illinois governor John P. Altgeld, whom Lindsay admired for his courage in pardoning the anarchists involved in the Haymarket Affair, despite the strong protests of US President Grover Cleveland. Growing up in Springfield influenced Lindsay in other ways, as evidenced in such poems as “On the Building of Springfield” and culminating in poems praising Springfield’s most famous resident, Abraham Lincoln. In “Lincoln”, Lindsay exclaims, “Would I might rouse the Lincoln in you all!” In his 1914 poem “Abraham Lincoln Walks at Midnight (In Springfield, Illinois)”, Lindsay specifically places Lincoln in Springfield, with the poem’s opening: It is portentous, and a thing of state That here at midnight, in our little town A mourning figure walks, and will not rest... Lindsay studied medicine at Ohio’s Hiram College from 1897 to 1900, but he did not want to be a doctor; his parents were pressuring him toward medicine. Once he wrote to them that he wasn’t meant to be a doctor but a painter; they wrote back saying that doctors can draw pictures in their free time. He left Hiram anyway, heading to Chicago to study at the Art Institute of Chicago from 1900 to 1903. In 1904 he left to attend the New York School of Art (now The New School) to study pen and ink. Lindsay remained interested in art for the rest of his life, drawing illustrations for some of his poetry. His art studies also probably led him to appreciate the new art form of silent film. His 1915 book The Art of the Moving Picture is generally considered the first book of film criticism, according to critic Stanley Kauffmann, discussing Lindsay in For the Love of Movies: The Story of American Film Criticism. Beginnings as a poet While in New York in 1905 Lindsay turned to poetry in earnest. He tried to sell his poems on the streets. Self-printing his poems, he began to barter a pamphlet titled “Rhymes To Be Traded For Bread”, which he traded for food as a self-perceived modern version of a medieval troubadour. From March to May, 1906, Lindsay traveled roughly 600 miles on foot from Jacksonville, Florida, to Kentucky, again trading his poetry for food and lodging. From April to May, 1908, Lindsay undertook another poetry-selling trek, walking from New York City to Hiram, Ohio. From May to September 1912 he traveled—again on foot—from Illinois to New Mexico, trading his poems for food and lodging. During this last trek, Lindsay composed his most famous poem, “The Congo”. Going through Kansas, he was supposedly so successful that “he had to send money home to keep his pockets empty”. On his return, Harriet Monroe published in Poetry magazine first his poem “General William Booth Enters into Heaven” in 1913 and then “The Congo” in 1914. At this point, Lindsay became very well known. Poetry as performance Unlike Lindsay’s more purely intellectual contemporaries, the poet declaimed his works from the stage, complete with the extravagant gestures of a carnival barker and old time preacher, from the beginning declaring himself to be a product of what he termed ‘Higher Vaudeville’: “I think that my first poetic impulse is for music; second a definite conception with the ring of the universe...” (Vachel Lindsay, Edgar Lee Masters 1935, page 62) This is evidenced by the 1931 recording he made just before his suicide, his still-radical performances of ‘The Mysterious Cat’, ‘The Flower-Fed Buffaloes’ and parts of ‘The Congo’ exhibiting a fiery and furious, zany, at times incoherent delivery that appears to have owed more to jazz than poetry, though the highly religious Lindsay was always reluctant to align himself thus. Part of the success and great fame that Lindsay achieved—albeit briefly—was due to the singular manner in which he presented his poetry “fundamentally as a performance, as an aural and temporal experience... meant... to be chanted, whispered, belted out, sung, amplified by gesticulation and movement, and punctuated by shouts and whoops.”  His best-known poem, “The Congo,” exemplified his revolutionary aesthetic of sound for sound’s sake. It imitates the pounding of the drums in the rhythms and in onomatopeic nonsense words. At parts, the poem ceases to use conventional words when representing the chants of Congo’s indigenous people, relying just on sound alone. Lindsay extensive correspondence with the poet W. B. Yeats details his intentions of reviving the musical qualities of poetry as they were practiced by the ancient Greeks.Because of his identity as a performance artist and his use of American midwestern themes, Lindsay became known in the 1910s as the “Prairie Troubador.” In the final twenty years of his life, Lindsay was one of the best known poets in the U.S. His reputation enabled him to befriend, encourage and mentor other poets, such as Langston Hughes and Sara Teasdale. His poetry, though, lacked elements which encouraged the attention of academic scholarship, and, after his death, he became an obscure figure. Attitudes towards race Most contemporaries acknowledged Lindsay’s intention to be an advocate for African-Americans. This intention was particularly evident in the 1918 poem “The Jazz Birds”, praising the war efforts of African-Americans during World War I, an issue to which the vast majority of the white US seemed blind. Additionally, W.E.B. Du Bois hailed Lindsay’s story “The Golden-Faced People” for its insights into racism. Lindsay saw himself as anti-racist not only in his own writing but in his encouragement of a writer; he credited himself with discovering Langston Hughes, who, while working as a busboy at a Washington, D.C., restaurant where Lindsay ate, gave Lindsay copies of his poems. However, many contemporaries and later critics have contended over whether a couple of Lindsay’s poems should be seen as homages to African and African-American music, as perpetuation of the “savage African” stereotype, or as both. DuBois, before reading and praising “the Golden-Faced People,” wrote in a review of Lindsay’s “Booker T. Washington Trilogy” that “Lindsay knows two things, and two things only, about Negroes: The beautiful rhythm of their music and the ugly side of their drunkards and outcasts. From this poverty of material he tries now and then to make a contribution to Negro literature.” DuBois also criticized “The Congo,” which has been the most persistent focus of the criticisms of racial stereotyping in Lindsay’s work. Subtitled “A Study of the Negro Race” and beginning with a section titled “Their Basic Savagery”, “The Congo” reflects the tensions within a relatively isolated and pastoral society suddenly confronted by the industrialized world. The poem was inspired by a sermon preached in October 1913 that detailed the drowning of a missionary in the Congo River; this event had drawn worldwide criticism, as had the colonial exploitation of the Congo under the government of Leopold II of Belgium. Lindsay defended the poem; in a letter to Joel Spingarn, Chairman of the Board of Directors of the NAACP, Lindsay wrote that “My 'Congo’ and 'Booker T. Washington Trilogy’ have both been denounced by the Colored people for reasons that I cannot fathom.... The third section of 'The Congo’ is certainly as hopeful as any human being dare to be in regard to any race.” Spingarn responded by acknowledging Lindsay’s good intentions, but saying that Lindsay sometimes glamorized differences between people of African descent and people of other races, while many African-Americans wished to emphasize the “feelings and desires” that they held in common with others. Similarly, critics in academia often portray Lindsay as a well-meaning but misguided primitivist in his representations of Africans and African Americans. One such critic, Rachel DuPlessis, argues that the poem, while perhaps meant to be “hopeful,” actually “others” Africans as an inherently violent race. In the poem and in Lindsay’s defenses of it, DuPlessis hears Lindsay warning white readers not to be “hoo-doo’d” or seduced by violent African “mumbo jumbo.” This warning seems to suggest that white civilization has been “infected” by African violence; Lindsay thus, in effect, “blames blacks for white violence directed against them.” Conversely, Susan Gubar notes approvingly that “the poem contains lines blaming black violence on white imperialism.” While acknowledging that the poem seems to have given its author and audiences an excuse to indulge in “'romantic racism’ or ‘slumming in slang,’” she also observes that Lindsay was “much more liberal than many of his poetic contemporaries,” and that he seems to have intended a statement against the kind of racist violence perpetrated under Leopold in the Congo. Later years Fame Lindsay’s fame as a poet grew in the 1910s. Because Harriet Monroe showcased him with two other Illinois poets—Carl Sandburg and Edgar Lee Masters—his name became linked to theirs. The success of either of the other two, in turn, seemed to help the third. Edgar Lee Masters published a biography of Lindsay in 1935 (four years after its subject’s death) entitled 'Vachel Lindsay: A Poet in America’. Lindsay himself indicated in the 1915 preface to “The Congo” that no less a figure than William Butler Yeats respected his work. Yeats felt they shared a concern for capturing the sound of the primitive and of singing in poetry. In 1915, Lindsay gave a poetry reading to President Woodrow Wilson and the entire Cabinet. Marriage, children and financial troubles Lindsay’s private life was rife with disappointments, such as his unsuccessful courtship in 1914 of fellow poet Sara Teasdale before she married rich businessman Ernst Filsinger. While this itself may have caused Lindsay to become more concerned with money, his financial pressures would greatly increase later on. In 1924 he moved to Spokane, Washington, where he lived in room 1129 of the Davenport Hotel until 1929. On May 19, 1925, at age 45, he married 23-year-old Elizabeth Connor. The new pressure to support his considerably younger wife escalated as she bore him daughter Susan Doniphan Lindsay in May 1926 and son Nicholas Cave Lindsay in September 1927. Desperate for money, Lindsay undertook an exhausting string of readings throughout the East and Midwest from October 1928 through March 1929. During this time, Poetry magazine awarded him a lifetime achievement award of $500 (equivalent to about $6891 in 2012 dollars). In April 1929, Lindsay and his family moved to the house of his birth in Springfield, Illinois, an expensive undertaking. In that same year, coinciding with the Stock Market Crash of 1929, Lindsay published two more poetry volumes: The Litany of Washington Street and Every Soul A Circus. He gained money by doing odd jobs throughout but in general earned very little during his travels. Suicide Crushed by financial worry and in failing health from his six-month road trip, Lindsay sank into depression. On December 5, 1931, he committed suicide by drinking a bottle of Lysol. His last words were: “They tried to get me; I got them first!” Legacy Literary Lindsay, a versatile and prolific writer and poet, helped to 'keep alive the appreciation of poetry as a spoken art’ whose ‘poetry was said to ’abound in meter and rhymes and is no shredded prose’ had a traditional verse structure and was described by a contemporary in 1924 as 'pungent phrases, clinging cadences, dramatic energy, comic thrust, lyric seriousness and tragic intensity.Lindsay’s biographer, Dennis Camp records that 'Lindsay’s ideas on 'civic beauty and civic tolerance’,were published in 1912 in his broadside ' The Gospel of Beauty’ and that later, in 1915, Lindsay published the first American study of film as an art form,'The Art of The Moving Picture and notes on Lindsay’s tombstone is recorded a single word, 'Poet’. Archives etc Today the Illinois Historic Preservation Agency helps to maintain the Vachel Lindsay House at 603 South Fifth Street in Springfield, the site of Lindsay’s birth and death. The agency has donated the home to the state, which then closed it to restore the home at a cost of $1.5 million. As of October 8, 2014, the site is now again open to the public giving full guided tours for those who choose to ring the bell on Thursday to Sunday, from 1 to 5 pm. Lindsay’s grave lies in Oak Ridge Cemetery. The bridge crossing the midpoint of Lake Springfield, built in 1934, is named in Lindsay’s honor. The massive Vachel Lindsay Archive resides at the Albert and Shirley Small Special Collections Library at the University of Virginia, and comprises his personal papers, manuscripts of his works, correspondence, photographs, artworks, printing blocks, books from his personal library, and a comprehensive collection of books by and about Lindsay. The Archives and Special Collections at Amherst College holds a small collection of manuscripts and other items sent by Lindsay to Eugenia Graham. Selected works * “Abraham Lincoln Walks at Midnight” * “An Indian Summer Day on the Prairie” * “A Rhyme About an Electrical Advertising Sign” * “A Sense of Humor” * “Bryan, Bryan, Bryan, Bryan” * “The Dandelion” * “Drying Their Wings” * “Euclid” * “Factory Windows are Always Broken” * “The Flower-Fed Buffaloes” * “General William Booth Enters Into Heaven”—the American Classical Composer Charles Ives would write music to this poem (with a couple of additional text alterations) shortly after its publication * “In Praise of Johnny Appleseed” * “The Kallyope Yell”—see calliope for references * “The Leaden-Eyed” * “Love and Law” * “The Mouse That Gnawed the Oak Tree Down” * “The North Star Whispers to the Blacksmith’s Son” * “On the Garden Wall” * “The Prairie Battlements” * The Golden Book of Springfield * “Prologue to ”Rhymes to be Traded for Bread" ” * “The Congo: A Study of the Negro Race” * “The Eagle That is Forgotten” * “The Firemen’s Ball” * “The Rose of Midnight” * “This Section is a Christmas Tree” * “To Gloriana” * “What Semiramis Said” * “What the Ghost of the Gambler Said” * “Why I Voted the Socialist Ticket” * “Written for a Musician” References and notes References Wikipedia—https://en.wikipedia.org/wiki/Vachel_Lindsay