Loading...
a b c d e f g h i j k l m n o p q r s t u v w x y z All
Christina Georgina Rossetti

In 1830, Christina Rossetti was born in London, one of four children of Italian parents. Her father was the poet Gabriele Rossetti; her brother Dante Gabriel Rossetti also became a poet and a painter. Rossetti's first poems were written in 1842 and printed in the private press of her grandfather. In 1850, under the pseudonym Ellen Alleyne, she contributed seven poems to the Pre-Raphaelite journal The Germ, which had been founded by her brother William Michael and his friends. Rossetti is best known for her ballads and her mystic religious lyrics. Her poetry is marked by symbolism and intense feeling. Rossetti's best-known work, Goblin Market and Other Poems, was published in 1862. The collection established Rossetti as a significant voice in Victorian poetry. The Prince's Progress and Other Poems, appeared in 1866 followed by Sing-Song, a collection of verse for children, in 1872 (with illustrations by Arthur Hughes). By the 1880s, recurrent bouts of Graves' disease, a thyroid disorder, made Rossetti an invalid, and ended her attempts to work as a governess. While the illness restricted her social life, she continued to write poems. Among her later works are A Pageant and Other Poems (1881), and The Face of the Deep (1892). Rossetti also wrote religious prose works, such as Seek and Find (1879), Called To Be Saints (1881) and The Face of the Deep (1892). In 1891, Rossetti developed cancer, of which she died in London on December 29, 1894. Rossetti's brother, William Michael, edited her collected works in 1904, but the Complete Poems were not published before 1979. Christina Rossetti is increasingly being reconsidered a major Victorian poet. She has been compared to Emily Dickinson but the similarity is more in the choice of spiritual topics than in poetic approach, Rossetti's poetry being one of intense feelings, her technique refined within the forms established in her time. A Selected Bibliography Poetry * Goblin Market, and Other Poems (1862) * Prince's Progress and Other Poems (1866) * Sing-Song: A Nursery-Rhyme Book (1872) * A Pageant and Other Poems (1881) * The Face of the Deep (1892) * Verses (1893) * New Poems (1896) * The Poetical Works of Christina Georgina Rossetti. With Memoir and Notes & Comments. (1904) * Selected Poems (1970) * Complete Poems (1979) * Complete Poems of Christina Rossetti: A Variorum Edition (1986) Prose * Commonplace and Other Short Stories (1870) * Seek and Find (1879) * Called to be Saints: The Minor Festivals (1881) * Time Flies: A Reading Diary (1888) * Selected Prose of Christina Rossetti (1998) Letters * Family Letters (1908) * The Family Letters of Christina Georgina Rossetti (1969) * Letters of Christina Rossetti: 1843-1873 (1997) * Letters of Christina Rossetti: 1874-1881 (1999) References Poets.org - http://www.poets.org/poet.php/prmPID/716

James Whitcomb Riley

James Whitcomb Riley (October 7, 1849 – July 22, 1916) was an American writer, poet, and best-selling author. During his lifetime he was known as the "Hoosier Poet" and "Children's Poet" for his dialect works and his children's poetry respectively. His poems tended to be humorous or sentimental, and of the approximately one thousand poems that Riley authored, the majority are in dialect. His famous works include "Little Orphant Annie" and "The Raggedy Man". Riley began his career writing verses as a sign maker and submitting poetry to newspapers. Thanks in part to an endorsement from poet Henry Wadsworth Longfellow, he eventually earned successive jobs at Indiana newspaper publishers during the latter 1870s. Riley gradually rose in prominence during the 1880s through his poetry reading tours. He traveled a touring circuit first in the Midwest, and then nationally, holding shows and making joint appearances on stage with other famous talents. Regularly struggling with his alcohol addiction, Riley never married or had children, and created a scandal in 1888 when he became too drunk to perform. He became more popular in spite of the bad press he received, and as a result extricated himself from poorly negotiated contracts that limited his earnings; he quickly became very wealthy. Riley became a bestselling author in the 1890s. His children's poems were compiled into a book and illustrated by Howard Chandler Christy. Titled the Rhymes of Childhood, the book was his most popular and sold millions of copies. As a poet, Riley achieved an uncommon level of fame during his own lifetime. He was honored with annual Riley Day celebrations around the United States and was regularly called on to perform readings at national civic events. He continued to write and hold occasional poetry readings until a stroke paralyzed his right arm in 1910. Riley's chief legacy was his influence in fostering the creation of a midwestern cultural identity and his contributions to the Golden Age of Indiana Literature. Along with other writers of his era, he helped create a caricature of midwesterners and formed a literary community that produced works rivaling the established eastern literati. There are many memorials dedicated to Riley, including the James Whitcomb Riley Hospital for Children. Family and background James Whitcomb Riley was born on October 7, 1849, in the town of Greenfield, Indiana, the third of the six children of Reuben Andrew and Elizabeth Marine Riley.[n 1] Riley's father was an attorney, and in the year before Riley's birth, he was elected a member of the Indiana House of Representatives as a Democrat. He developed a friendship with James Whitcomb, the governor of Indiana, after whom he named his son. Martin Riley, Riley's uncle, was an amateur poet who occasionally wrote verses for local newspapers. Riley was fond of his uncle who helped influence his early interest in poetry. Shortly after Riley's birth, the family moved into a larger house in town. Riley was "a quiet boy, not talkative, who would often go about with one eye shut as he observed and speculated." His mother taught him to read and write at home before sending him to the local community school in 1852. He found school difficult and was frequently in trouble. Often punished, he had nothing kind to say of his teachers in his writings. His poem "The Educator" told of an intelligent but sinister teacher and may have been based on one of his instructors. Riley was most fond of his last teacher, Lee O. Harris. Harris noticed Riley's interest in poetry and reading and encouraged him to pursue it further. Riley's school attendance was sporadic, and he graduated from grade eight at age twenty in 1869. In an 1892 newspaper article, Riley confessed that he knew little of mathematics, geography, or science, and his understanding of proper grammar was poor. Later critics, like Henry Beers, pointed to his poor education as the reason for his success in writing; his prose was written in the language of common people which spurred his popularity. Childhood influences Riley lived in his parents' home until he was twenty-one years old. At five years old he began spending time at the Brandywine Creek just outside Greenfield. His poems "The Barefoot Boy" and "The Old Swimmin' Hole" referred back to his time at the creek. He was introduced in his childhood to many people who later influenced his poetry. His father regularly brought home a variety of clients and disadvantaged people to give them assistance. Riley's poem "The Raggedy Man" was based on a German tramp his father hired to work at the family home. Riley picked up the cadence and character of the dialect of central Indiana from travelers along the old National Road. Their speech greatly influenced the hundreds of poems he wrote in nineteenth century Hoosier dialect. Riley's mother frequently told him stories of fairies, trolls, and giants, and read him children's poems. She was very superstitious, and influenced Riley with many of her beliefs. They both placed "spirit rappings" in their homes on places like tables and bureaus to capture any spirits that may have been wandering about. This influence is recognized in many of his works, including "Flying Islands of the Night." As was common at that time, Riley and his friends had few toys and they amused themselves with activities. With his mother's aid, Riley began creating plays and theatricals which he and his friends would practice and perform in the back of a local grocery store. As he grew older, the boys named their troupe the Adelphians and began to have their shows in barns where they could fit larger audiences. Riley wrote of these early performances in his poem "When We First Played 'Show'," where he referred to himself as "Jamesy." Many of Riley's poems are filled with musical references. Riley had no musical education, and could not read sheet music, but learned from his father how to play guitar, and from a friend how to play violin. He performed in two different local bands, and became so proficient on the violin he was invited to play with a group of adult Freemasons at several events. A few of his later poems were set to music and song, one of the most well known being A Short'nin' Bread Song—Pieced Out. When Riley was ten years old, the first library opened in his hometown. From an early age he developed a love of literature. He and his friends spent time at the library where the librarian read stories and poems to them. Charles Dickens became one Riley's favorites, and helped inspire the poems "St. Lirriper," "Christmas Season," and "God Bless Us Every One." Riley's father enlisted in the Union Army during the American Civil War, leaving his wife to manage the family home. While he was away, the family took in a twelve-year-old orphan named Mary Alice "Allie" Smith. Smith was the inspiration for Riley's poem "Little Orphant Annie". Riley intended to name the poem "Little Orphant Allie", but a typesetter's error changed the name of the poem during printing. Finding poetry Riley's father returned from the war partially paralyzed. He was unable to continue working in his legal practice and the family soon fell into financial distress. The war had a negative physiological effect on him, and his relationship with his family quickly deteriorated. He opposed Riley's interest in poetry and encouraged him to find a different career. The family finances finally disintegrated and they were forced to sell their town home in April 1870 and return to their country farm. Riley's mother was able to keep peace in the family, but after her death in August from heart disease, Riley and his father had a final break. He blamed his mother's death on his father's failure to care for her in her final weeks. He continued to regret the loss of his childhood home and wrote frequently of how it was so cruelly snatched from him by the war, subsequent poverty, and his mother's death. After the events of 1870, he developed an addiction to alcohol which he struggled with for the remainder of his life. Becoming increasingly belligerent toward his father, Riley moved out of the family home and briefly had a job painting houses before leaving Greenfield in November 1870. He was recruited as a Bible salesman and began working in the nearby town of Rushville, Indiana. The job provided little income and he returned to Greenfield in March 1871 where he started an apprenticeship to a painter. He completed the study and opened a business in Greenfield creating and maintaining signs. His earliest known poems are verses he wrote as clever advertisements for his customers. Riley began participating in local theater productions with the Adelphians to earn extra income, and during the winter months, when the demand for painting declined, Riley began writing poetry which he mailed to his brother living in Indianapolis. His brother acted as his agent and offered the poems to the newspaper Indianapolis Mirror for free. His first poem was featured on March 30, 1872 under the pseudonym "Jay Whit." Riley wrote more than twenty poems to the newspaper, including one that was featured on the front page. In July 1872, after becoming convinced sales would provide more income than sign painting, he joined the McCrillus Company based in Anderson, Indiana. The company sold patent medicines that they marketed in small traveling shows around Indiana. Riley joined the act as a huckster, calling himself the "Painter Poet". He traveled with the act, composing poetry and performing at the shows. After his act he sold tonics to his audience, sometimes employing dishonesty. During one stop, Riley presented himself as a formerly blind painter who had been cured by a tonic, using himself as evidence to encourage the audience to purchase his product. Riley began sending poems to his brother again in February 1873. About the same time he and several friends began an advertisement company. The men traveled around Indiana creating large billboard-like signs on the sides of buildings and barns and in high places that would be visible from a distance. The company was financially successful, but Riley was continually drawn to poetry. In October he traveled to South Bend where he took a job at Stockford & Blowney painting verses on signs for a month; the short duration of his job may have been due to his frequent drunkenness at that time. In early 1874, Riley returned to Greenfield to become a writer full-time. In February he submitted a poem entitled "At Last" to the Danbury News, a Connecticut newspaper. The editors accepted his poem, paid him for it, and wrote him a letter encouraging him to submit more. Riley found the note and his first payment inspiring. He began submitting poems regularly to the editors, but after the newspaper shut down in 1875, Riley was left without a paying publisher. He began traveling and performing with the Adelphians around central Indiana to earn an income while he searched for a new publisher. In August 1875 he joined another traveling tonic show run by the Wizard Oil Company. Newspaper work Riley began sending correspondence to the famous American poet Henry Wadsworth Longfellow during late 1875 seeking his endorsement to help him start a career as a poet. He submitted many poems to Longfellow, whom he considered to be the greatest living poet. Not receiving a prompt response, he sent similar letters to John Townsend Trowbridge, and several other prominent writers askng for an endorsement. Longfellow finally replied in a brief letter, telling Riley that "I have read [the poems] in great pleasure, and think they show a true poetic faculty and insight." Riley carried the letter with him everywhere and, hoping to receive a job offer and to create a market for his poetry, he began sending poems to dozens of newspapers touting Longfellow's endorsement. Among the newspapers to take an interest in the poems was the Indianapolis Journal, a major Republican Party metropolitan newspaper in Indiana. Among the first poems the newspaper purchased from Riley were "Song of the New Year", "An Empty Nest", and a short story entitled "A Remarkable Man". The editors of the Anderson Democrat discovered Riley's poems in the Indianapolis Journal and offered him a job as a reporter in February 1877. Riley accepted. He worked as a normal reporter gathering local news, writing articles, and assisting in setting the typecast on the printing press. He continued to write poems regularly for the newspaper and to sell other poems to larger newspapers. During the year Riley spent working in Anderson, he met and began to court Edora Mysers. The couple became engaged, but terminated the relationship after they decided against marriage in August. After a rejection of his poems by an eastern periodical, Riley began to formulate a plot to prove his work was of good quality and that it was being rejected only because his name was unknown in the east. Riley authored a poem imitating the style of Edgar Allan Poe and submitted it to the Kokomo Dispatch under a fictitious name claiming it was a long lost Poe poem. The Dispatch published the poem and reported it as such. Riley and two other men who were part of the plot waited two weeks for the poem to be published by major newspapers in Chicago, Boston, and New York to gauge their reaction; they were disappointed. While a few newspapers believed the poem to be authentic, the majority did not, claiming the quality was too poor to be authored by Poe. An employee of the Dispatch learned the truth of the incident and reported it to the Kokomo Tribune, which published an expose that outed Riley as a conspirator behind the hoax. The revelation damaged the credibility of the Dispatch and harmed Riley's reputation. In the aftermath of the Poe plot, Riley was dismissed from the Democrat, so he returned to Greenfield to spend time writing poetry. Back home, he met Clara Louise Bottsford, a school teacher boarding in his father's home. They found they had much in common, particularly their love of literature. The couple began a twelve-year intermittent relationship which would be Riley's longest lasting. In mid-1878 the couple had their first breakup, caused partly by Riley's alcohol addiction. The event led Riley to make his first attempt to give up liquor. He joined a local temperance organization, but quit after a few weeks. Performing poet Without a steady income, his financial situation began to deteriorate. He began submitting his poems to more prominent literary magazines, including Scribner's Monthly, but was informed that although he showed promise, his work was still short of the standards required for use in their publications. Locally, he was still dealing with the stigma of the Poe plot. The Indianapolis Journal and other newspapers refused to accept his poetry, leaving Riley desperate for income. In January 1878 on the advice of a friend, Riley paid an entrance fee to join a traveling lecture circuit where he could give poetry readings. In exchange, he received a portion of the profit his performances earned. Such circuits were popular at the time, and Riley quickly earned a local reputation for his entertaining readings. In August 1878, Riley followed Indiana Governor James D. Williams as speaker at a civic event in a small town near Indianapolis. He recited a recently composed poem, "A Childhood Home of Long Ago," telling of life in pioneer Indiana. The poem was well received and was given good reviews by several newspapers. "Flying Islands of the Night" is the only play that Riley wrote and published. Authored while Riley was traveling with the Adelphians, but never performed, the play has similarities to A Midsummer Night's Dream, which Riley may have used as a model. Flying Islands concerns a kingdom besieged by evil forces of a sinister queen who is defeated eventually by an angel-like heroine. Most reviews were positive. Riley published the play and it became popular in the central Indiana area during late 1878, helping Riley to convince newspapers to again accept his poetry. In November 1879 he was offered a position as a columnist at the Indianapolis Journal and accepted after being encouraged by E.B. Matindale, the paper's chief editor. Although the play and his newspaper work helped expose him to a wider audience, the chief source of his increasing popularity was his performances on the lecture circuit. He made both dramatic and comedic readings of his poetry, and by early 1879 could guarantee large crowds whenever he performed. In an 1894 article, Hamlin Garland wrote that Riley's celebrity resulted from his reading talent, saying "his vibrant individual voice, his flexible lips, his droll glance, united to make him at once poet and comedian—comedian in the sense in which makes for tears as well as for laughter." Although he was a good performer, his acts were not entirely original in style; he frequently copied practices developed by Samuel Clemens and Will Carleton. His tour in 1880 took him to every city in Indiana where he was introduced by local dignitaries and other popular figures, including Maurice Thompson with whom he began to develop a close friendship. Developing and maintaining his publicity became a constant job, and received more of his attention as his fame grew. Keeping his alcohol addiction secret, maintaining the persona of a simple rural poet and a friendly common person became most important. Riley identified these traits as the basis of his popularity during the mid-1880s, and wrote of his need to maintain a fictional persona. He encouraged the stereotype by authoring poetry he thought would help build his identity. He was aided by editorials he authored and submitted to the Indianapolis Journal offering observations on events from his perspective as a "humble rural poet". He changed his appearance to look more mainstream, and began by shaving his mustache off and abandoning the flamboyant dress he employed in his early circuit tours. By 1880 his poems were beginning to be published nationally and were receiving positive reviews. "Tom Johnson's Quit" was carried by newspapers in twenty states, thanks in part to the careful cultivation of his popularity. Riley became frustrated that despite his growing acclaim, he found it difficult to achieve financial success. In the early 1880s, in addition to his steady performing, Riley began producing many poems to increase his income. Half of his poems were written during the period. The constant labor had adverse effects on his health, which was worsened by his drinking. At the urging of Maurice Thompson, he again attempted to stop drinking liquor, but was only able to give it up for a few months. Politics In March 1888, Riley traveled to Washington, D.C. where he had dinner at the White House with other members of the International Copyright League and President of the United States Grover Cleveland. Riley made a brief performance for the dignitaries at the event before speaking about the need for international copyright protections. Cleveland was enamored by Riley's performance and invited him back for a private meeting during which the two men discussed cultural topics. In the 1888 Presidential Election campaign, Riley's acquaintance Benjamin Harrison was nominated as the Republican candidate. Although Riley had shunned politics for most of his life, he gave Harrison a personal endorsement and participated in fund-raising events and vote stumping. The election was exceptionally partisan in Indiana, and Riley found the atmosphere of the campaign stressful; he vowed never to become involved with politics again. Upon Harrison's election, he suggested Riley be named the national poet laureate, but Congress failed to act on the request. Riley was still honored by Harrison and visited him at the White House on several occasions to perform at civic events. Pay problems and scandal Riley and Nye made arrangements with James Pond to make two national tours during 1888 and 1889. The tours were popular and generally sold out, with hundreds having to be turned away. The shows were usually forty-five minutes to an hour long and featured Riley reading often humorous poetry interspersed by stories and jokes from Nye. The shows were informal and the two men adjusted their performances based on their audiences reactions. Riley memorized forty of his poems for the shows to add to his own versatility. Many prominent literary and theatrical people attended the shows. At a New York City show in March 1888, Augustin Daly was so enthralled by the show he insisted on hosting the two men at a banquet with several leading Broadway theatre actors. Despite Riley serving as the act's main draw, he was not permitted to become an equal partner in the venture. Nye and Pond both received a percentage of the net profit, while Riley was paid a flat rate for each performance. In addition, because of Riley's past agreements with the Redpath Lyceum Bureau, he was required to pay half of his fee to his agent Amos Walker. This caused the other men to profit more than Riley from his own work. To remedy this situation, Riley hired his brother-in-law Henry Eitel, an Indianapolis banker, to manage his finances and act on his behalf to try and extricate him from his contract. Despite discussions and assurances from Pond that he would work to address the problem, Eitel had no success. Pond ultimately made the situation worse by booking months of solid performances, not allowing Riley and Nye a day of rest. These events affected Riley physically and emotionally; he became despondent and began his worst period of alcoholism. During November 1889, the tour was forced to cancel several shows after Riley became severely inebriated at a stop in Madison, Wisconsin. Walker began monitoring Riley and denying him access to liquor, but Riley found ways to evade Walker. At a stop at the Masonic Temple Theatre in Louisville, Kentucky, in January 1890, Riley paid the hotel's bartender to sneak whiskey to his room. He became too drunk to perform, and was unable to travel to the next stop. Nye terminated the partnership and tour in response. The reason for the breakup could not be kept secret, and hotel staff reported to the Louisville Courier-Journal that they saw Riley in a drunken stupor walking around the hotel. The story made national news and Riley feared his career was ruined. He secretly left Louisville at night and returned to Indianapolis by train. Eitel defended Riley to the press in an effort to gain sympathy for Riley, explaining the abusive financial arrangements his partners had made. Riley however refused to speak to reporters and hid himself for weeks. Much to Riley's surprise, the news reports made him more popular than ever. Many people thought the stories were exaggerated, and Riley's carefully cultivated image made it difficult for the public to believe he was an alcoholic. Riley had stopped sending poetry to newspapers and magazines in the aftermath, but they soon began corresponding with him requesting that he resume writing. This encouraged Riley, and he made another attempt to give up liquor as he returned to his public career. The negative press did not end however, as Nye and Pond threatened to sue Riley for causing their tour to end prematurely. They claimed to have lost $20,000. Walker threatened a separate suit demanding $1,000. Riley hired Indianapolis lawyer William P. Fishback to represent him and the men settled out of court. The full details of the settlement were never disclosed, but whatever the case, Riley finally extricated himself from his old contracts and became a free agent. The exorbitant amount Riley was being sued for only reinforced public opinion that Riley had been mistreated by his partners, and helped him maintain his image. Nye and Riley remained good friends, and Riley later wrote that Pond and Walker were the source of the problems. Riley's poetry had become popular in Britain, in large part due to his book Old-Fashioned Roses. In May 1891 he traveled to England to make a tour and what he considered a literary pilgrimage. He landed in Liverpool and traveled first to Dumfries, Scotland, the home and burial place of Robert Burns. Riley had long been compared to Burns by critics because they both used dialect in their poetry and drew inspiration from their rural homes. He then traveled to Edinburgh, York, and London, reciting poetry for gatherings at each stop. Augustin Daly arranged for him to give a poetry reading to prominent British actors in London. Riley was warmly welcomed by its literary and theatrical community and he toured places that Shakespeare had frequented. Riley quickly tired of traveling abroad and began longing for home, writing to his nephew that he regretted having left the United States. He curtailed his journey and returned to New York City in August. He spent the next months in his Greenfield home attempting to write an epic poem, but after several attempts gave up, believing he did not possess the ability. By 1890, Riley had authored almost all of his famous poems. The few poems he did write during the 1890s were generally less well received by the public. As a solution, Riley and his publishers began reusing poetry from other books and printing some of his earliest works. When Neighborly Poems was published in 1891, a critic working for the Chicago Tribune pointed out the use of Riley's earliest works, commenting that Riley was using his popularity to push his crude earlier works onto the public only to make money. Riley's newest poems published in the 1894 book Armazindy received very negative reviews that referred to poems like "The Little Dog-Woggy" and "Jargon-Jingle" as "drivel" and to Riley as a "worn out genius." Most of his growing number of critics suggested that he ignored the quality of the poems for the sake of making money. National poet Riley had become very wealthy by the time he ended touring in 1895, and was earning $1,000 a week. Although he retired, he continued to make minor appearances. In 1896, Riley performed four shows in Denver. Most of the performances of his later life were at civic celebrations. He was a regular speaker at Decoration Day events and delivered poetry before the unveiling of monuments in Washington, D.C. Newspapers began referring to him as the "National Poet", "the poet laureate of America", and "the people's poet laureate". Riley wrote many of his patriotic poems for such events, including "The Soldier", "The Name of Old Glory", and his most famous such poem, "America!". The 1902 poem "America, Messiah of Nations" was written and read by Riley for the dedication of the Indianapolis Soldiers' and Sailors' Monument. The only new poetry Riley published after the end of the century were elegies for famous friends. The poetic qualities of the poems were often poor, but they contained many popular sentiments concerning the deceased. Among those he eulogized were Benjamin Harrison, Lew Wallace, and Henry Lawton. Because of the poor quality of the poems, his friends and publishers requested that he stop writing them, but he refused. In 1897, Riley's publishers suggested that he create a multi-volume series of books containing his complete life works. With the help of his nephew, Riley began working to compile the books, which eventually totaled sixteen volumes and were finally completed in 1914. Such works were uncommon during the lives of writers, attesting to the uncommon popularity Riley had achieved. His works had become staples for Ivy League literature courses and universities began offering him honorary degrees. The first was Yale in 1902, followed by a Doctorate of Letters from the University of Pennsylvania in 1904. Wabash College and Indiana University granted him similar awards. In 1908 he was elected member of the National Institute of Arts and Letters, and in 1912 they conferred upon him a special medal for poetry. Riley was influential in helping other poets start their careers, having particularly strong influences on Hamlin Garland, William Allen White, and Edgar Lee Masters. He discovered aspiring African American poet Paul Laurence Dunbar in 1892. Riley thought Dunbar's work was "worthy of applause", and wrote him letters of recommendation to help him get his work published. Declining health In 1901, Riley's doctor diagnosed him with neurasthenia, a nervous disorder, and recommended long periods of rest as a cure.[173] Riley remained ill for the rest of his life and relied on his landlords and family to aid in his care. During the winter months he moved to Miami, Florida, and during summer spent time with his family in Greenfield. He made only a few trips during the decade, including one to Mexico in 1906. He became very depressed by his condition, writing to his friends that he thought he could die at any moment, and often used alcohol for relief.[174] In March 1909, Riley was stricken a second time with Bell's palsy, and partial deafness, the symptoms only gradually eased over the course of the year.[175] Riley was a difficult patient, and generally refused to take any medicine except the patent medicines he had sold in his earlier years; the medicines often worsened his conditions, but his doctors could not sway his opinion.[176] On July 10, 1910 he suffered a stroke that paralyzed the right side of his body. Hoping for a quick recovery, his family kept the news from the press until September. Riley found the loss of use of his writing hand the worst part of the stroke, which served only to further depress him.[174][177] With his health so poor, he decided to work on a legacy by which to be remembered in Indianapolis. In 1911 he donated land and funds to build a new library on Pennsylvania Avenue.[178] By 1913, with the aid of a cane, Riley began to recover his ability to walk. His inability to write, however, nearly ended his production of poems. George Ade worked with him from 1910 through 1916 to write his last five poems and several short autobiographical sketches as Riley dictated. His publisher continued recycling old works into new books, which remained in high demand.[178] Since the mid-1880s, Riley had been the nation's most read poet, a trend that accelerated at the turn of the century. In 1912 Riley recorded readings of his most popular poetry to be sold by Victor Records. Riley was the subject of three paintings by T. C. Steele. The Indianapolis Arts Association commissioned a portrait of Riley to be created by world famous painter John Singer Sargent. Riley's image became a nationally known icon and many businesses capitalized on his popularity to sell their products; Hoosier Poet brand vegetables became a major trade-name in the midwest.[179] In 1912, the governor of Indiana instituted Riley Day on the poet's birthday. Schools were required to teach Riley's poems to their children, and banquet events were held in his honor around the state. In 1915 and 1916 the celebration was national after being proclaimed in most states. The annual celebration continued in Indiana until 1968.[180] In early 1916 Riley was filmed as part of a movie to celebrate Indiana's centennial, the video is on display at the Indiana State Library.[181][182] Death and legacy On July 22, 1916, Riley suffered a second stroke. He recovered enough during the day to speak and joke with his companions. He died before dawn the next morning, July 23.[183] Riley's death shocked the nation and made front page headlines in major newspapers.[184] President Woodrow Wilson wrote a brief note to Riley's family offering condolences on behalf the entire nation. Indiana Governor Samuel M. Ralston offered to allow Riley to lie in state at the Indiana Statehouse—Abraham Lincoln being the only other person to have previously received such an honor.[185] During the ten hours he lay in state on July 24, more than thirty-five thousand people filed past his bronze casket; the line was still miles long at the end of the day and thousands were turned away. The next day a private funeral ceremony was held and attended by many dignitaries. A large funeral procession then carried him to Crown Hill Cemetery where he was buried in a tomb at the top of the hill, the highest point in the city of Indianapolis.[186] Within a year of Riley's death many memorials were created, including several by the James Whitcomb Riley Memorial Association. The James Whitcomb Riley Hospital for Children was created and named in his honor by a group of wealthy benefactors and opened in 1924. In the following years, other memorials intended to benefit children were created, including Camp Riley for youth with disabilities.[187][188] The memorial foundation purchased the poet's Lockerbie home in Indianapolis and it is now maintained as a museum. The James Whitcomb Riley Museum Home is the only late-Victorian home in Indiana that is open to the public and the United States' only late-Victorian preservation, featuring authentic furniture and decor from that era. His birthplace and boyhood home, now the James Whitcomb Riley House, is preserved as a historical site.[189] A Liberty ship, commissioned April 23, 1942, was christened the SS James Whitcomb Riley. It served with the United States Maritime Commission until being scrapped in 1971. James Whitcomb Riley High School opened in South Bend, Indiana in 1924. In 1950, there was a James Whitcomb Riley Elementary School in Hammond, Indiana, but it was torn down in 2006. East Chicago, Indiana had a Riley School at one time, as did neighboring Gary, Indiana and Anderson, Indiana. One of New Castle, Indiana's elementary schools is named for Riley as is the road on which it is located. The former Greenfield High School was converted to Riley Elementary School and listed on the National Register of Historic Places in 1986. In 1940, the U.S. Postal Service issued a 10-cent stamp honoring Riley.[190] As a lasting tribute, the citizens of Greenfield hold a festival every year in Riley's honor. Taking place the first or second weekend of October, the "Riley Days" festival traditionally commences with a flower parade in which local school children place flowers around Myra Reynolds Richards' statue of Riley on the county courthouse lawn, while a band plays lively music in honor of the poet. Weeks before the festival, the festival board has a queen contest. The 2010–2011 queen was Corinne Butler. The pageant has been going on many years in honor of the Hoosier poet[191] According to historian Elizabeth Van Allen, Riley was instrumental in helping form a midwestern cultural identity. The midwestern United States had no significant literary community before the 1880s.[192] The works of the Western Association of Writers, most notably those of Riley and Wallace, helped create the midwest's cultural identity and create a rival literary community to the established eastern literari. For this reason, and the publicity Riley's work created, he was commonly known as the "Hoosier Poet." Critical reception and style Riley was among the most popular writers of the late nineteenth and early twentieth century, known for his "uncomplicated, sentimental, and humorous" writing.[195] Often writing his verses in dialect, his poetry caused readers to recall a nostalgic and simpler time in earlier American history. This gave his poetry a unique appeal during a period of rapid industrialization and urbanization in the United States. Riley was a prolific writer who "achieved mass appeal partly due to his canny sense of marketing and publicity."[195] He published more than fifty books, mostly of poetry and humorous short stories, and sold millions of copies.[195] Riley is often remembered for his most famous poems, including the "The Raggedy Man" and "Little Orphant Annie". Many of his poems, including those, where partially autobiographical, as he used events and people from his childhood as an inspiration for subject matter.[195] His poems often contained morals and warnings for children, containing messages telling children to care for the less fortunate of society. David Galens and Van Allen both see these messages as Riley's subtle response to the turbulent economic times of the Gilded Age and the growing progressive movement.[196] Riley believed that urbanization robbed children of their innocence and sincerity, and in his poems he attempted to introduce and idolize characters who had not lost those qualities.[197] His children's poems are "exuberant, performative, and often display Riley's penchant for using humorous characterization, repetition, and dialect to make his poetry accessible to a wide-ranging audience."[195][198] Although hinted at indirectly in some poems, Riley wrote very little on serious subject matter, and actually mocked attempts at serious poetry. Only a few of his sentimental poems concerned serious subjects. "Little Mandy's Christmas-Tree", "The Absence of Little Wesley", and "The Happy Little Cripple" were about poverty, the death of a child, and disabilities. Like his children's poems, they too contained morals, suggesting society should pity the downtrodden and be charitable.[195][198] Riley wrote gentle and romantic poems that were not in dialect. They generally consisted of sonnets and were strongly influenced by the works of John Greenleaf Whittier, Henry Wadsworth Longfellow, and Alfred, Lord Tennyson. His standard English poetry was never as popular as his Hoosier dialect poems.[195] Still less popular were the poems Riley authored in his later years; most were to commemorate important events of American history and to eulogize the dead.[195] Riley's contemporaries acclaimed him "America's best-loved poet".[195][198] In 1920, Henry Beers lauded the works of Riley "as natural and unaffected, with none of the discontent and deep thought of cultured song."[195] Samuel Clemens, William Dean Howells, and Hamlin Garland, each praised Riley's work and the idealism he expressed in his poetry. Only a few critics of the period found fault with Riley's works. Ambrose Bierce criticized Riley for his frequent use of dialect. Bierce accused Riley of using dialect to "cover up [the] faulty construction" of his poems.[195] Edgar Lee Masters found Riley's work to be superficial, claiming it lacked irony and that he had only a "narrow emotional range".[195] By the 1930s popular critical opinion towards Riley's works began to shift in favor of the negative reviews. In 1951, James T. Farrell said Riley's works were "cliched." Galens wrote that modern critics consider Riley to be a "minor poet, whose work—provincial, sentimental, and superficial though it may have been—nevertheless struck a chord with a mass audience in a time of enormous cultural change."[195] Thomas C. Johnson wrote that what most interests modern critics was Riley's ability to market his work, saying he had a unique understanding of "how to commodify his own image and the nostalgic dreams of an anxious nation."[195] Among the earliest widespread criticisms of Riley were opinions that his dialect writing did not actually represent the true dialect of central Indiana. In 1970 Peter Revell wrote that Riley's dialect was more similar to the poor speech of a child rather than the dialect of his region. Revell made extensive comparison to historical texts and Riley's dialect usage. Philip Greasley wrote that that while "some critics have dismissed him as sub-literary, insincere, and an artificial entertainer, his defenders reply that an author so popular with millions of people in different walks of life must contribute something of value, and that his faults, if any, can be ignored." References Wikipedia—https://en.wikipedia.org/wiki/James_Whitcomb_Riley

Dante Gabriel Rossetti

Dante Gabriel Rossetti (12 May 1828 – 9 April 1882) was an English poet, illustrator, painter and translator. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt and John Everett Millais, and was later to be the main inspiration for a second generation of artists and writers influenced by the movement, most notably William Morris and Edward Burne-Jones. His work also influenced the European Symbolists and was a major precursor of the Aesthetic movement. Rossetti's art was characterised by its sensuality and its medieval revivalism. His early poetry was influenced by John Keats. His later poetry was characterised by the complex interlinking of thought and feeling, especially in his sonnet sequence The House of Life. Poetry and image are closely entwined in Rossetti's work; he frequently wrote sonnets to accompany his pictures, spanning from The Girlhood of Mary Virgin (1849) and Astarte Syriaca (1877), while also creating art to illustrate poems such as Goblin Market by Christina Rossetti, his sister and celebrated poet. Rossetti's personal life was closely linked to his work, especially his relationships with his models and muses Elizabeth Siddal, Fanny Cornforth, and Jane Morris. Early life The son of émigré Italian scholar Gabriele Pasquale Giuseppe Rossetti and his wife Frances Polidori, Rossetti was born in London, England and originally named Gabriel Charles Dante Rossetti. His family and friends called him Gabriel, but in publications he put the name Dante first (in honour of Dante Alighieri). He was the brother of poet Christina Rossetti, the critic William Michael Rossetti, and author Maria Francesca Rossetti. The young Rossetti is described as "self-possessed, articulate, passionate and charismatic” but also "ardent, poetic and feckless". Like all his siblings, he aspired to be a poet and attended King's College School, in its original location near the Strand. However, he also wished to be a painter, having shown a great interest in Medieval Italian art. He studied at Henry Sass's Drawing Academy from 1841 to 1845 when he enrolled at the Antique School of the Royal Academy, leaving in 1848. After leaving the Royal Academy, Rossetti studied under Ford Madox Brown, with whom he was to retain a close relationship throughout his life. Following the exhibition of William Holman Hunt's painting The Eve of St. Agnes, Rossetti sought out Hunt's friendship. The painting illustrated a poem by the then still little-known John Keats. Rossetti's own poem "The Blessed Damozel" was an imitation of Keats, so he believed that Hunt might share his artistic and literary ideals. Together they developed the philosophy of the Pre-Raphaelite Brotherhood, which they founded along with John Everett Millais. The group's intention was to reform English art by rejecting what they considered to be the mechanistic approach first adopted by the Mannerist artists who succeeded Raphael and Michelangelo and the formal training regime introduced by Sir Joshua Reynolds. Their approach was to return to the abundant detail, intense colours, and complex compositions of Quattrocento Italian and Flemish art. The eminent critic John Ruskin later wrote: Every Pre-Raphaelite landscape background is painted to the last touch, in the open air, from the thing itself. Every Pre-Raphaelite figure, however studied in expression, is a true portrait of some living person. For the first issue of the Brotherhood's magazine, The Germ, published early in 1850, Rossetti contribute his poem "The Blessed Damozel" and a story about a fictional early Italian artist inspired by a vision of a woman who bids him combine the human and the divine in his art.[7] Rossetti was always more interested in the Medieval than in the modern side of the movement, working on translations of Dante and other Medieval Italian poets, and adopting the stylistic characteristics of the early Italians. Career Beginnings Rossetti's first major paintings in oil display the realist qualities of the early Pre-Raphaelite movement. His Girlhood of Mary Virgin (1849) and Ecce Ancilla Domini (1850) both portray Mary as a teenage girl. William Bell Scott saw Girlhood in progress in Hunt's studio and remarked on young Rossetti's technique : He was painting in oils with water-colour brushes, as thinly as in water-colour, on canvas which he had primed with white till the surface was a smooth as cardboard, and every tint remained transparent. I saw at once that he was not an orthodox boy, but acting purely from the aesthetic motive. The mixture of genius and dilettantism of both men shut me up for the moment, and whetted my curiosity. Stung by criticism of his second major painting, Ecce Ancilla Domini, exhibited in 1850, and the "increasingly hysterical critical reaction that greeted Pre-Raphaelitism"[4] in that year, Rossetti turned to watercolours, which could be sold privately. Although his work subsequently won support from John Ruskin, Rossetti only rarely exhibited thereafter. Dante and Medievalism In 1850, Rossetti met Elizabeth Siddal, an important early model for the Pre-Raphaelite painters. Over the next decade, she became his muse, his pupil, and his passion. They were finally married in 1860. Rossetti's incomplete picture Found, begun in 1853 and unfinished at his death, was his only major modern-life subject. It depicted a prostitute, lifted from the street by a country drover who recognises his old sweetheart. However, Rossetti increasingly preferred symbolic and mythological images to realistic ones. For many years, Rossetti worked on English translations of Italian poetry including Dante Alighieri's La Vita Nuova (published as The Early Italian Poets in 1861). These and Sir Thomas Malory's Le Morte d'Arthur inspired his art of the 1850s. He created his own method of painting in watercolours, using thick pigments mixed with gum to give rich effects similar to medieval illuminations. He also developed a novel drawing technique in pen-and-ink. His first published illustration was "The Maids of Elfen-Mere" (1855), for a poem by his friend William Allingham, and he contributed two illustrations to Edward Moxon's 1857 edition of Alfred, Lord Tennyson's Poems as well as illustrations for works by his sister Christina Rossetti. His visions of Arthurian romance and medieval design also inspired William Morris and Edward Burne-Jones. Neither Burne-Jones nor Morris knew Rossetti personally, but both were much influenced by his works, and met him by recruiting him as a contributor to their Oxford and Cambridge Magazine which Morris founded in 1856 to promote their ideas about art and poetry. In February 1857, Rossetti wrote to William Bell Scott: Two young men, projectors of the Oxford and Cambridge Magazine, have recently come up to town from Oxford, and are now very intimate friends of mine. Their names are Morris and Jones. They have turned artists instead of taking up any other career to which the university generally leads, and both are men of real genius. Jones's designs are marvels of finish and imaginative detail, unequalled by anything unless perhaps Albert Dürer's finest works. That summer Morris and Rossetti visited Oxford and finding the new Oxford Union debating-hall under construction, pursued a commission to paint the upper walls with scenes from Le Morte d'Arthur and to decorate the roof between the open timbers. Seven artists were recruited, among them Valentine Prinsep and Arthur Hughes, and the work was hastily begun. The frescoes, done too soon and too fast, began to fade at once and now are barely decipherable. Rossetti recruited two sisters, Bessie and Jane Burden, as models for the Oxford Union murals, and Jane became Morris's wife in 1859. A new direction Around 1860, Rossetti returned to oil painting, abandoning the dense medieval compositions of the 1850s in favour of powerful close-up images of women in flat pictorial spaces characterised by dense colour. These paintings were to be a major influence on the development of the European Symbolist movement. In these works, Rossetti's depiction of women became almost obsessively stylised. He tended to portray his new lover Fanny Cornforth as the epitome of physical eroticism, whilst Jane Burden, the wife of his business partner William Morris, was glamorised as an ethereal goddess. "As in Rossetti's previous reforms, the new kind of subject appeared in the context of a wholesale reconfiguration of the practice of painting, from the most basic level of materials and techniques up to the most abstract or conceptual level of the meanings and ideas that can be embodied in visual form." These new works were based not on medievalism, but on the Italian High Renaissance artists of Venice, Titian and Veronese. In 1861, Rossetti became a founding partner in the decorative arts firm of Morris, Marshall, Faulkner & Co. with Morris, Burne-Jones, Ford Madox Brown, Philip Webb, Charles Faulkner and Peter Paul Marshall. Rossetti contributed designs for stained glass and other decorative objects. Rossetti's wife Elizabeth Siddal died of an overdose of laudanum in 1862, shortly after giving birth to a stillborn child. Rossetti became increasingly depressed, and upon the death of his beloved Lizzie, buried the bulk of his unpublished poems with her at Highgate Cemetery, though he would later have them dug back up. He idealised her image as Dante's Beatrice in a number of paintings, such as Beata Beatrix. Cheyne Walk years After the death of his wife in 1862, Rossetti leased Tudor House at number 16 Cheyne Walk, in Chelsea where he lived for the next twenty years surrounded by extravagant furnishings and a parade of exotic birds and animals. Rossetti was fascinated with wombats, frequently asking friends to meet him at the "Wombat's Lair" at the London Zoo in Regent's Park, and spending hours there himself. Finally, in September 1869, he was to acquire the first of two pet wombats. This short-lived wombat, named "Top", was often brought to the dinner table and allowed to sleep in the large centrepiece during meals. This fascination with exotic animals continued throughout Rossetti's life, finally culminating in the purchase of a llama and a Toucan which Rossetti would dress in a cowboy hat and persuade to ride the llama round the dining table for his amusement. Rossetti maintained Fanny Cornforth (described delicately by William Allington as Rossetti's "housekeeper") in her own establishment nearby in Chelsea, and painted many voluptuous images of her between 1863 and 1865. In 1865 he discovered auburn-haired Alexa Wilding, a dressmaker and would-be actress who was engaged to model for him on a full-time basis and sat for The Blessed Damozel and other paintings of the period. In fact she sat for more of his finished works than any other of his models, but comparatively little is known about her due to the lack of any similar romantic connection with Rossetti. He first spotted her one evening in the Strand in 1865 and was immediately struck by her beauty. She agreed to sit for him the following day, but failed to arrive as planned. He spotted her again weeks later, jumped from the cab he was in and persuaded her to be led straight back to his studio. He paid her a weekly fee to sit for him exclusively, afraid that other artists might also employ her. The two shared a lasting bond; after Rossetti's death Wilding was said to have travelled regularly to place a wreath on his grave. Jane Morris, whom Rossetti had found as a model for the Oxford Union murals he painted with William Morris and Edward Burne-Jones in 1857, also sat for him during these years, and she soon "consumed and obsessed him in paint, poetry, and life". In 1869, Morris and Rossetti rented a country house, Kelmscott Manor at Kelmscott, Oxfordshire, as a summer home, but it soon became a retreat for Rossetti and Jane Morris to have a long-lasting and complicated liaison. The two spent summers there, with the Morris children, while Morris himself travelled to Iceland in 1871 and 1873. During these years, Rossetti was prevailed upon by friends, in particular Charles Augustus Howell, to exhume his poems from his wife's grave. This he did, collating and publishing them in 1870 in the volume Poems by D. G. Rossetti. They created a controversy when they were attacked as the epitome of the "fleshly school of poetry". The eroticism and sensuality of the poems caused offence. One poem, "Nuptial Sleep", described a couple falling asleep after sex. This was part of Rossetti's sonnet sequence The House of Life, a complex series of poems tracing the physical and spiritual development of an intimate relationship. Rossetti described the sonnet form as a "moment's monument", implying that it sought to contain the feelings of a fleeting moment, and to reflect upon their meaning. The House of Life was a series of interacting monuments to these moments – an elaborate whole made from a mosaic of intensely described fragments. This was Rossetti's most substantial literary achievement. In 1881, Rossetti published a second volume of poems, Ballads and Sonnets, which included the remaining sonnets from The House of Life sequence. Decline and death The savage reaction of critics to Rossetti's first collection of poetry contributed to a mental breakdown in June 1872, and although he joined Jane at Kelmscott that September, he "spent his days in a haze of chloral and whisky". The next summer he was much improved, and both Alexa Wilding and Jane Morris sat to him at Kelmscott, where he created a soulful series of dream-like portraits. In 1874, Morris reorganised his decorative arts firm, cutting Rossetti out of the business, and the polite fiction that both men were in residence with Jane at Kelmscott could not be maintained. Rossetti abruptly left Kelmscott in July 1874 and never returned. Toward the end of his life, he sank into a morbid state, darkened by his drug addiction to chloral hydrate and increasing mental instability. He spent his last years as a recluse at Cheyne Walk. On Easter Sunday, 1882, he died at the country house of a friend, where he had gone in yet another vain attempt to recover his health, which had been destroyed by chloral as his wife's had been destroyed by laudanum. He died of 'Brights Disease', a disease of the kidneys of which he had been suffering for some time. He is buried at Birchington-on-Sea, Kent, England. His grave is visited regularly by admirers of his life's work and achievements and this can be seen by fresh flowers placed there regularly. Collections and critical assessment Tate Britain, Birmingham, Manchester and Salford Museum and Art Galleries all contain large collections of Rossetti's work; the latter was bequeathed a number of works following the death of L.S. Lowry in 1976. Lowry was president of the Newcastle-based 'Rossetti Society', which was founded in 1966. Lowry's private collection of works was chiefly built around Rossetti's paintings and sketches of Lizzie Siddal and Jane Morris, and notable pieces included Pandora, Proserpine and a drawing of Annie Miller. In an interview with Mervyn Levy, Lowry explained his fascination with the Rossetti women in relation to his own work: "I don't like his women at all, but they fascinate me, like a snake. That's why I always buy Rossetti whenever I can. His women are really rather horrible. It's like a friend of mine who says he hates my work, although it fascinates him." The friend Lowry referred to was businessman Monty Bloom, to whom he also explained his obsession with Rossetti's portraits: "They are not real women [...] They are dreams [...] He used them for something in his mind caused by the death of his wife. I may be quite wrong there, but significantly they all came after the death of his wife." The popularity, frequent reproduction, and general availability of Rossetti's later paintings of women have led to this association with "a morbid and langourous sensuality". His small-scale early works and drawings are less well known, but it is in these that his originality, technical inventiveness, and significance in the movement away from Academic tradition can best be seen. As Roger Fry wrote in 1916, "Rossetti more than any other artist since Blake may be hailed as a forerunner of the new ideas" in English Art. Media Rossetti was played by Oliver Reed in Ken Russell's film Dante's Inferno (1967). The Pre-Raphaelite Brotherhood as a whole have been the subjects of two BBC period dramas. The first, The Love School, was shown in 1975, starring Ben Kingsley as Rossetti. The second was Desperate Romantics, in which Rossetti is played by Aidan Turner. It was first broadcast on BBC 2 Tuesday, 21 July 2009. References Wikipedia – http://en.wikipedia.org/wiki/Dante_Gabriel_Rossetti

George William Russell

George William Russell (10 April 1867– 17 July 1935) who wrote with the pseudonym Æ (sometimes written AE or A.E.), was an Irish writer, editor, critic, poet, artistic painter and Irish nationalist. He was also a writer on mysticism, and a central personage in the group of devotees of theosophy which met in Dublin for many years. Organiser Russell was born in Lurgan, County Armagh, (not as is often supposed in Portadown), second son of Thomas Russell and Mary Armstrong. His father, the son of a small farmer, became an employee of Thomas Bell and Co, a prosperous firm of linen drapers. The family relocated to Dublin, where his father had a new offer of employment, when he was eleven years old. The death of his much loved sister Mary, aged 18, was a blow from which it took him a long time to recover. He was educated at Rathmines School and the Metropolitan School of Art, where he began a lifelong friendship with William Butler Yeats. In the 1880s, Russell lived at the Theosophical Society lodge at 3, Upper Ely Place, sharing rooms with H. M. Magee, the brother of William Kirkpatrick Magee. Russell started working as a draper’s clerk, then for many years worked for the Irish Agricultural Organisation Society (IAOS), an agricultural co-operative society initiated by Horace Plunkett in 1894. In 1897 Plunkett needed an able organiser and W. B. Yeats suggested Russell, who became Assistant Secretary of the IAOS. Family In 1898 he married Violet North; they had two surviving sons, Brian and Diarmuid, as well as a third son who died soon after birth. Frank O’Connor, who was a close friend of Russell’s in his later years, remarked that his family life was something of a mystery even to those who knew him best: O’Connor noticed that he never spoke about his wife and seemed to be at odds with his sons (although O’Connor himself liked both of them). While his marriage was rumoured to be unhappy, all his friends agreed that Violet’s death in 1932 was a great blow to Russell. Politician He was an able lieutenant to Plunkett, and travelled extensively throughout Ireland as a spokesman for the IAOS; he was mainly responsible for developing the credit societies and establishing Co-operative Banks in the south and west of the country, the numbers of which increased to 234 by 1910. Russell and Plunkett made a good team, with each gaining much from the association with the other. As an officer of the IAOS he could not express political opinions freely, but he made no secret of the fact that he considered himself a Nationalist. During the 1913 Dublin Lock-out he wrote an open letter to the Irish Times criticizing the attitude of the employers, then spoke on it in England and helped bring the crisis to an end. As a pacifist, Russell could have no sympathy either with the aims of the Easter Rising or the methods chosen to further it, but he was deeply moved by the deaths of the leading rebels, and like Yeats he celebrated their sacrifice in verse: “Their dream has left me numb and cold And yet my spirit rose in pride Refashioning in burnished gold The images of those who died Or were shut up in penal cell Here’s to you Pearse, your dream, not mine And yet the thought– for this you fell Has turned life’s water into wine”. He was an independent delegate to the 1917–18 Irish Convention in which he opposed John Redmond’s compromise on Home Rule. He became involved in the anti-partition Irish Dominion League when Plunkett founded the body in 1919. Publisher Russell was editor from 1905 to 1923 of the Irish Homestead, the journal of the IAOS. His gifts as a writer and publicist gained him a wide influence in the cause of agricultural co-operation. He then became editor of the The Irish Statesman, the paper of the Irish Dominion League, which merged with the Irish Homestead, from 15 September 1923 until 12 April 1930. With the demise of this newspaper he was for the first time of his adult life without a job, and there were concerns that he could find himself in a state of poverty, as he had never earned very much money from his paintings or books; at one point his son Diarmuid was reduced to selling off early drafts of his father’s works to raise money, rather to the annoyance of Russell, who accused Diarmuid, with whom his relations were rarely good, of “raiding the wastepaper baskets”. Unbeknownst to him meetings and collections were organized and later that year at Plunkett House he was presented by Father T. Finlay with a cheque for £800. This enabled him to visit the United States the next year, where he was well received all over the country and his books sold in large numbers. He used the pseudonym “AE”, or more properly, "Æ". This derived from an earlier Æon signifying the lifelong quest of man, subsequently abbreviated. Writer, artist, patron His first book of poems, Homeward: Songs by the Way (1894), established him in what was known as the Irish Literary Revival, where Æ met the young James Joyce in 1902 and introduced him to other Irish literary figures, including William Butler Yeats. He appears as a character in the “Scylla and Charybdis” episode of Joyce’s Ulysses, where he dismisses Stephen’s theories on Shakespeare. His collected poems was published in 1913, with a second edition in 1926. His house at 17 Rathgar Avenue in Dublin became a meeting-place at the time for everyone interested in the economic and artistic future of Ireland: his Sunday evenings “at home” were a notable feature of Dublin literary life. Michael Collins, the effective leader of the new Government, became acquainted with Russell in the last months of his life: Oliver St. John Gogarty, a regular guest at Russell’s “at homes”, believed that these two men, so utterly unalike, nonetheless had a mutual respect. Russell’s generosity and hospitality were legendary: Frank O’Connor fondly recalled “the warmth and kindness, which enfolded you like an old fur coat”. He was the most loyal of friends, and in the notoriously fractious Dublin literary world Russell tried to keep the peace between his endlessly quarrelling colleagues: even the abrasive Seamus O’Sullivan could be forgiven a great deal, simply because “Seamus drinks too much”. His interests were wide-ranging; he became a theosophist and wrote extensively on politics and economics, while continuing to paint and write poetry. Æ claimed to be a clairvoyant, able to view various kinds of spiritual beings, which he illustrated in paintings and drawings. He was noted for his exceptional kindness and generosity towards younger writers: Frank O’Connor termed him “the man who was the father to three generations of Irish writers”, and Patrick Kavanagh called him “a great and holy man”. P.L. Travers, famous as the creator of Mary Poppins, was yet another writer who gratefully recalled Russell’s help and encouragement. Last years and death Russell, who had become increasingly unhappy in the Irish Free State (which according to Yeats he called “a country given over to the Devil”), moved to England soon after his wife’s death in 1932. Despite his failing health he went on a final lecture tour in the United States, but returned home utterly exhausted. He died of cancer in Bournemouth in 1935. His body was brought back to Ireland and he had an impressive funeral, which was attended by Eamon de Valera and many other leading figures in Irish life, Catholic as well as Protestant. He is buried in Mount Jerome Cemetery, Dublin. Poetry Voices of the Stones (Macmillan 1925) Homeward Songs by the Way (Dublin: Whaley 1894) The Earth Breath and Other Poems (NY&London: John Lane 1896) The Nuts of Knowledge (Dublin: Dun Emer Press, 1903) The Divine Vision and Other Poems (London: Macmillan; NY: Macmillan 1904) By Still Waters (Dublin: Dun Emer Press 1906) Deirdre (Dublin: Maunsel 1907) Collected Poems (London: Macmillan 1913) (2nd. edit. 1926) Gods of War, with Other Poems (Dub, priv. 1915) Imaginations and Reveries (Dub&London: Maunsel 1915) Autobiography of a Mystic (Gerrards Cross, 1975), 175pp.; Midsummer Eve (NY: Crosby Gaige 1928) Enchantment and Other Poems (NY: Fountain; London: Macmillan 1930); Vale and Other Poems (London: Macmillan 1931) Songs and Its Fountains (London: Macmillan 1932) The House of Titans and Other Poems (London: Macmillan 1934) Selected Poems (London: Macmillan 1935). Novels The Interpreters (1922) The Avatars (1933) Essays AE in the Irish Theosophist (1892–97) Ideals of the New Rural Society, in: Horace Plunkett, Ellice Pilkington, George Russell (AE), The United Irishwomen - Their place, work and ideals. With a Preface by Rev. T. A. Finlay (Dublin: Maunsel 1911 Co-operation and Nationality: A guide for rural reformers from this to the next generation (Dublin: Maunsel 1912) The National Being: Some Thoughts on an Irish Polity (Dublin: Maunsel 1916) The Candle of Vision (London: Macmillan 1918) Song and Its Fountains (1932) The Living Torch (1937) References Wikipedia—https://en.wikipedia.org/wiki/George_William_Russell

Adrienne Rich

Adrienne Cecile Rich (May 16, 1929– March 27, 2012) was an American poet, essayist and radical feminist. She was called "one of the most widely read and influential poets of the second half of the 20th century", and was credited with bringing “the oppression of women and lesbians to the forefront of poetic discourse.” Her first collection of poetry, A Change of World, was selected by renowned poet W. H. Auden for the Yale Series of Younger Poets Award. Auden went on to write the introduction to the published volume. She famously declined the National Medal of Arts, protesting the vote by House Speaker Newt Gingrich to end funding for the National Endowment for the Arts. Early life and education Adrienne Rich was born in Baltimore, Maryland, the elder of two sisters. Her father, renowned pathologist Arnold Rice Rich, was the Chairman of Pathology at The Johns Hopkins Medical School. Her mother, Helen Elizabeth (Jones) Rich, was a concert pianist and a composer. Her father was from a Jewish family, and her mother was Southern Protestant; the girls were raised as Christians. Adrienne Rich’s early poetic influence stemmed from her father who encouraged her to read but also to write her own poetry. Her interest in literature was sparked within her father’s library where she read the work of writers such as Ibsen, Arnold, Blake, Keats, Rossetti, and Tennyson. Her father was ambitious for Adrienne and “planned to create a prodigy.” Adrienne Rich and her younger sister were home schooled by their mother until Adrienne began public education in the fourth grade. The poems Sources and After Dark document her relationship with her father, describing how she worked hard to fulfill her parents’ ambitions for her—moving into a world in which she was expected to excel. In later years, Rich went to Roland Park Country School, which she described as a "good old fashioned girls’ school [that] gave us fine role models of single women who were intellectually impassioned." After graduating from high school, Rich gained her college diploma at Radcliffe College, where she focused primarily on poetry and learning writing craft, encountering no women teachers at all. In 1951, her last year at college, Rich’s first collection of poetry, A Change of World, was selected by the senior poet W. H. Auden for the Yale Series of Younger Poets Award; he went on to write the introduction to the published volume. Following her graduation, Rich received a Guggenheim Fellowship to study at Oxford for a year. Following a visit to Florence, she chose not to return to Oxford, and spent her remaining time in Europe writing and exploring Italy. Early career: 1953–75 In 1953, Rich married Alfred Haskell Conrad, an economics professor at Harvard University she met as an undergraduate. She said of the match: “I married in part because I knew no better way to disconnect from my first family. I wanted what I saw as a full woman’s life, whatever was possible.” They settled in Cambridge, Massachusetts and had three sons. In 1955, she published her second volume, The Diamond Cutters, a collection she said she wished had not been published. That year she also received the Ridgely Torrence Memorial Award from the Poetry Society of America. Her three children were born in 1955 (David), 1957 (Pablo) and 1959 (Jacob). The 1960s began a period of change in Rich’s life: she received the National Institute of Arts and Letters award (1960), her second Guggenheim Fellowship to work at the Netherlands Economic Institute (1961), and the Bollingen Foundation grant for the translation of Dutch poetry (1962). In 1963, Rich published her third collection, Snapshots of a Daughter-in-Law, which was a much more personal work examining her female identity, reflecting the increasing tensions she experienced as a wife and mother in the 1950s, marking a substantial change in Rich’s style and subject matter. In her 1982 essay “Split at the Root: An Essay on Jewish Identity”, Rich states: “The experience of motherhood was eventually to radicalize me.” The book met with harsh reviews. She comments, “I was seen as 'bitter’ and 'personal’; and to be personal was to be disqualified, and that was very shaking because I’d really gone out on a limb... I realised I’d gotten slapped over the wrist, and I didn’t attempt that kind of thing again for a long time.” Moving her family to New York in 1966, Rich became involved with the New Left and became heavily involved in anti-war, civil rights, and feminist activism. Her husband took a teaching position at City College of New York. In 1968, she signed the “Writers and Editors War Tax Protest” pledge, vowing to refuse tax payments in protest against the Vietnam War. Her collections from this period include Necessities of Life (1966), Leaflets (1969), and The Will to Change (1971), which reflect increasingly radical political content and interest in poetic form. From 1967 to 1969, Rich lectured at Swarthmore College and taught at Columbia University School of the Arts as an adjunct professor in the Writing Division. Additionally, in 1968, she began teaching in the SEEK program in City College of New York, a position she continued until 1975. During this time, Rich also received the Eunice Tietjens Memorial Prize from Poetry Magazine. Increasingly militant, Rich and Conrad hosted anti-war and Black Panther fundraising parties at their apartment; however, rising tensions began to split the marriage, and Rich moved out in mid-1970, getting herself a small studio apartment nearby. Shortly afterward, in October, Conrad drove into the woods and shot himself. In 1971, she was the recipient of the Shelley Memorial Award from the Poetry Society of America and spent the next year and a half teaching at Brandeis University as the Hurst Visiting Professor of Creative Writing. Diving into the Wreck, a collection of exploratory and often angry poems, split the 1974 National Book Award for Poetry with Allen Ginsberg, The Fall of America. Declining to accept it individually, Rich was joined by the two other feminist poets nominated, Alice Walker and Audre Lorde, to accept it on behalf of all women “whose voices have gone and still go unheard in a patriarchal world.” The following year, Rich took up the position of the Lucy Martin Donnelly Fellow at Bryn Mawr College. Later life: 1976–2012 In 1976, Rich began her partnership with Jamaican-born novelist and editor Michelle Cliff, which lasted until her death. In her controversial work Of Woman Born: Motherhood as Experience and Institution, published the same year, Rich acknowledged that, for her, lesbianism was a political as well as a personal issue, writing, “The suppressed lesbian I had been carrying in me since adolescence began to stretch her limbs.” The pamphlet Twenty-One Love Poems (1977), which was incorporated into the following year’s Dream of a Common Language (1978), marked the first direct treatment of lesbian desire and sexuality in her writing, themes which run throughout her work afterwards, especially in A Wild Patience Has Taken Me This Far (1981) and some of her late poems in The Fact of a Doorframe (2001). In her analytical work Adrienne Rich: the moment of change, Langdell suggests these works represent a central rite of passage for the poet, as she (Rich) crossed a threshold into a newly constellated life and a “new relationship with the universe”. During this period, Rich also wrote a number of key socio-political essays, including “Compulsory Heterosexuality and Lesbian Existence”, one of the first to address the theme of lesbian existence. In this essay, she asks “how and why women’s choice of women as passionate comrades, life partners, co-workers, lovers, community, has been crushed, invalidated, forced into hiding”. Some of the essays were republished in On Lies, Secrets and Silence: Selected Prose, 1966–1978 (1979). In integrating such pieces into her work, Rich claimed her sexuality and took a role in leadership for sexual equality. From 1976 to 1979, Rich taught at City College as well as Rutgers University as an English Professor. In 1979, she received an honorary doctorate from Smith College and moved with Cliff to Montague, MA. Ultimately, they moved to Santa Cruz, where Rich continued her career as a professor, lecturer, poet, and essayist. Rich and Cliff took over editorship of the lesbian arts journal Sinister Wisdom (1981–1983). Rich taught and lectured at UC Santa Cruz, Scripps College, San Jose State University, and Stanford University during the 1980s and 1990s. From 1981 to 1987, Rich served as an A.D. White Professor-At-Large for Cornell University. Rich published several volumes in the next few years: Your Native Land, Your Life (1986), Blood, Bread, and Poetry (1986), and Time’s Power: Poems 1985–1988 (1989). She also was awarded the Ruth Paul Lilly Poetry Prize (1986), the Elmer Holmes Bobst Award in Arts and Letters from NYU, and the National Poetry Association Award for Distinguished Service to the Art of Poetry (1989). In 1977, Rich became an associate of the Women’s Institute for Freedom of the Press (WIFP). WIFP is an American nonprofit publishing organization. The organization works to increase communication between women and connect the public with forms of women-based media. In June 1984, Rich presented a speech at the International Conference of Women, Feminist Identity, and Society in Utrecht, Netherlands titled Notes Toward a Politics of Location. Her keynote speech is a major document on politics of location and the birth of the concept of female “locatedness.” In discussing the location from which women speak, Rich attempts to reconnect female thought and speech with the female body; specifically, with an intent of reclaiming the body through verbalizing self-representation. Further focusing on location, Rich begins the speech by noting that while at that moment in time she speaks these words in Europe, she has searched for these words in the United States. By acknowledging her location in an essay on the progression of the women’s movement, she expresses her concerns for all women, not limited to just women in her Providence. Through widening her audience to women across the whole wide world Rich not only influences a larger movement but more importantly, she invites all women to consider their existence. Through imagining geographical locations on a map as history and as a place where women are created, and further focusing on the geographical locations, Rich ask women to examine where they themselves were created. In an attempt to try to find a sense of belonging in the world, Rich asks the audience not to begin with a continent, country, or house, but to start with the geography closest to themselves –which is their body. Rich, therefore, challenges members of the audience and readers to form their own identity by refusing to be defined by the parameters of government, religion, and home. The essay hypothesizes where the women’s movement should be at the end of the 20th century. In an encouraging call for the women’s movement, Rich discusses how the movement for change is an evolution in itself. Through de-masculinizing itself and de-Westernizing itself, the movement becomes a critical mass of so many different, voices, languages and overall actions. She pleads that the movement must change in order to experience change. She further insists that women must change it. In her essay, Rich considers how one’s background might influence their identity. She furthers this notion by noting her own exploration of the body, her body, as female, as white, as Jewish and as a body in a nation. Rich is careful to define the location in which her writing takes place. Throughout her essay, Rich relates back to the concept of location. She recounts her growth towards understanding how the women’s movement grounded in the Western culture is limited to the concerns of white women to the verbal and written indications of Black United States citizens. Such professions have allowed her to experience the meaning of her whiteness as a point of location for which she needed to take responsibility. In 1986, she later published the essay in her prose collection Blood, Bread, and Poetry. Rich’s work with the New Jewish Agenda led to the founding of Bridges: A Journal for Jewish Feminists and Our Friends in 1990, a journal of which Rich served as the editor. This work coincided explored the relationship between private and public histories, especially in the case of Jewish women’s rights. Her next published piece, An Atlas of the Difficult World (1991), won both the Los Angeles Times Book Award in Poetry and the Lenore Marshall/Nation Award as well as the Poet’s Prize in 1993 and Commonwealth Award in Literature in 1991. During the 1990s Rich became an active member of numerous advisory boards such as the Boston Woman’s Fund, National Writers Union and Sisterhood in Support of Sisters in South Africa. On the role of the poet, she wrote, “We may feel bitterly how little our poems can do in the face of seemingly out-of-control technological power and seemingly limitless corporate greed, yet it has always been true that poetry can break isolation, show us to ourselves when we are outlawed or made invisible, remind us of beauty where no beauty seems possible, remind us of kinship where all is represented as separation.” In July 1994, Rich won the MacArthur Fellowship and Award, specifically the “Genius Grant” for her work as a poet and writer. Also in 1992, Rich became a grandmother to Julia Arden Conrad and Charles Reddington Conrad. In 1997, Rich declined the National Medal of Arts in protesting against the House of Representatives’ vote to end the National Endowment for the Arts as well as other policies of the Clinton Administration regarding the arts generally and literature in particular, stating that "I could not accept such an award from President Clinton or this White House because the very meaning of art, as I understand it, is incompatible with the cynical politics of this administration...[Art] means nothing if it simply decorates the dinner table of the power which holds it hostage". Her next few volumes were a mix of poetry and essays: Midnight Salvage: Poems 1995–1998 (1999), The Art of the Possible: Essays and Conversations (2001), and Fox: Poems 1998–2000 (2001). In the early 2000s, Rich participated in anti-war activities, protesting against the threat of war in Iraq, both through readings of her poetry and other activities. In 2002, she was appointed a chancellor of the newly augmented board of the Academy of American Poets, along with Yusef Komunyakaa, Lucille Clifton, Jay Wright (who declined the honor, refusing to serve), Louise Gluck, Heather McHugh, Rosanna Warren, Charles Wright, Robert Creeley, and Michael Palmer. She was the winner of the 2003 Yale Bollingen Prize for American Poetry and applauded by the panel of judges for her “honesty at once ferocious, humane, her deep learning, and her continuous poetic exploration and awareness of multiple selves.” In October 2006, Equality Forum honored Rich’s work, featuring her as an icon of LGBT history. Rich died on March 27, 2012, at the age of 82 in her Santa Cruz, California home. Her son, Pablo Conrad, reported that her death resulted from long-term rheumatoid arthritis. Her last collection was published the year before her death. Rich was survived by her sons, two grandchildren and her partner Michelle Cliff. Views on Feminism Perhaps the most prominent contribution of Rich can be seen through her works alone. She has written several pieces that explicitly tackle the rights of women in society. Her book entitled Snapshots of a Daughter-in-Law is said to be the first work that discusses this subject matter. In the book, she offers a critical analysis of the life of being both a mother and a daughter-in-law, and the impact of their gender in their lives. The book is about a speaker talking against a woman, her mother-in-law, because the former feels that she had become a limiting factor in her life. In addition, she chastises her for not improving her life all the same. This book contains themes which can be described as common in feminist works. For one, it chastises a superficial life focusing on beauty rather than intellectual pursuit. There is also the element of wanting to break free from the conventions that society has set for women during their time, among other things. Her poems are also famous for their feminist elements. One such poem is “Power”, which was written about Marie Curie, one of the most important female icons of the 20th century for discovering radiation. In this poem, she discusses the element of power and feminism. More specifically, it tackles the problem that Curie was slowly succumbing to the radiation she acquired from her research, to which Rich refers in the poem as her source of power. This poem is said to be discussed the concept of power, particularly from a woman’s point of view. Besides poems and novels, Rich also wrote and published a number of nonfiction books that tackle feminist issues. Some of these books are: Of Woman Born, Motherhood as Experience and Institution, Blood, Bread and Poetry, etc. Especially the Bread and Poetry contains the famous feminist essay entitled “Compulsory Heterosexuality and Lesbian Existence”, and Feminism and Community. From the works listed above as well as her various interviews and documentaries, demonstrate that Rich has an in-depth perspective of feminism and society. For one, Rich has something to say about the use of the term itself. According to her, she prefers to use the term “women’s liberation” rather than feminism. For her, the latter term is more likely to induce resistance from women of the next generation. Also, she fears that the term would amount to nothing more than a label if it is used extensively. On the other hand, using the term women’s liberation means that women can finally be free from factors that can be seen as oppressive to their rights. Rich’s views on feminism can be found in her works. She says in Of Woman Born that “we need to understand the power and powerlessness embodied in motherhood in patriarchal culture.” She also speaks regarding the need for women to unite in her book On Lies, Secrets and Silence. In this book, she spoke: “Women have often felt insane when cleaving to the truth of our experience. Our future depends on the sanity of each of us, and we have a profound stake, beyond the personal, in the project of describing our reality as candidly and fully as we can to each other.” Given the feminist conditions during the 50s– 70s era, it can be said that Rich’s works on feminism are revolutionary. Her views on equality and the need for women to maximize their potential can be seen as progressive during her time. Her views strongly coincide with the feminist way of thinking during that time. For Rich, society as a whole is founded on patriarchy and as such it limits the rights for women. For equality to be achieved between the sexes, the prevailing notions will have to be readjusted to fit the female perspective. Selected awards and honors Each year links to its corresponding "[year] in poetry" article: 1950: Yale Younger Poets Award for A Change of World. 1952: Guggenheim Fellowship 1960: National Institute of Arts and Letters Award 1970: Shelley Memorial Award 1974: National Book Award for Poetry (a split award) for Diving into the Wreck 1979: Honorary Doctorate Smith College 1986: Inaugural Ruth Lilly Poetry Prize 1989: Honorary doctorate from Harvard University 1989: National Poetry Association Award for Distinguished Service to the Art of Poetry 1990: Bill Whitehead Award for Lifetime Achievement (for gay or lesbian writing) 1991: Common Wealth Award of Distinguished Service 1991: Fellow of the American Academy of Arts and Sciences 1992: Lenore Marshall Poetry Prize 1992: Poets’ Prize for Atlas of the Difficult World 1992: Frost Medal 1992: Academy of American Poets Fellowship 1994: MacArthur Fellowship 1996: Wallace Stevens Award 1997: National Medal of Arts (refused) 1999: Lifetime Achievement Award from the Lannan Foundation 2006: National Book Foundation Medal for Distinguished Contribution to American Letters 2010: Lifetime Recognition Award from the Griffin Poetry Prize 2017: Finalist, Pulitzer Prize for Poetry (posthumous) Bibliography Nonfiction * Rich, Adrienne (1976). Of woman born: motherhood as experience and institution. Norton. * 1979: On Lies, Secrets and Silence: Selected Prose, 1966–1978 * 1986: Blood, Bread, and Poetry: Selected Prose, 1979–1985 (Includes the noted essay: “Compulsory Heterosexuality and Lesbian Existence”) * 1993: What Is Found There: Notebooks on Poetry and Politics * 1995: If Not with Others, How? pp. 399–405 in Weiss, Penny A.; Friedman, Marilyn. Feminism and community. Philadelphia: Temple University Press. ISBN 9781566392761. * 2001: Arts of the Possible: Essays and Conversations. W.W. Norton. ISBN 978-0-393-05045-5. * 2007: Poetry and Commitment: An Essay * 2009: A Human Eye: Essays on Art in Society, 1997–2008 Poetry Collections * 1951: A Change of World. Yale University Press. * 1955: The Diamond Cutters, and Other Poems. Harper. * 1963: Snapshots of a daughter-in-law: poems, 1954-1962. Harper & Row. * 1966: Necessities of life: poems, 1962-1965. W.W. Norton. * 1967: Selected Poems. Chatto & Hogarth P Windus. * 1969: Leaflets. W.W. Norton. ISBN 978-0-03-930419-5. * 1971: The Will to Change: Poems 1968-1970. Norton. * 1973: Diving into the Wreck. W.W. Norton. ISBN 978-0-393-31163-1. * 1975: Poems: Selected and New, 1950-1974. Norton. ISBN 978-0-393-04392-1. * 1976: Twenty-one Love Poems. Effie’s Press. * 1978: The Dream of a Common Language. Norton. ISBN 978-0-393-04502-4. * 1982: A Wild Patience Has Taken Me this Far: Poems 1978-1981. W. W. Norton & Company, Incorporated. ISBN 978-0-393-31037-5. (reprint 1993) * 1983: Sources. Heyeck Press. * 1984: The Fact of a Doorframe: Poems Selected and New, 1950-1984. W. W. Norton & Company, Incorporated. ISBN 978-0-393-31075-7. * 1986: Your Native Land, Your Life: Poems. Norton. ISBN 978-0-393-02318-3. * 1989: Time’s Power: Poems, 1985-1988. Norton. 1989. ISBN 978-0-393-02677-1. * 1991: An Atlas of the Difficult World: Poems 1988-1991. Norton. ISBN 978-0-393-03069-3. * 1993: Collected Early Poems, 1950-1970. W. W. Norton & Company, Incorporated. ISBN 978-0-393-31385-7. * 1995: Dark Fields of the Republic: Poems, 1991-1995. W.W. Norton. ISBN 978-0-393-03868-2. * 1996: Selected poems, 1950-1995. Salmon Pub. ISBN 978-1-897648-78-0. * 1999: Midnight Salvage: Poems, 1995-1998. Norton. ISBN 978-0-393-04682-3. * 2001: Fox: Poems 1998-2000. W W Norton & Co Inc. ISBN 978-0-393-32377-1. (reprint 2003) * 2004: The School Among the Ruins: Poems, 2000-2004. W. W. Norton & Co. ISBN 978-0-393-32755-7. * 2007: Telephone Ringing in the Labyrinth: Poems 2004–2006. ISBN 978-0-393-06565-7. * 2010: Tonight No Poetry Will Serve: Poems 2007-2010. ISBN 0-393-07967-8. Critical studies and reviews of Rich’s work * Chiasson, Dan (June 20, 2016). “Bounday conditions: Adrienne Rich’s collected poems”. The Critics. Books. The New Yorker. 92 (18): 78–81. References Wikipedia—https://en.wikipedia.org/wiki/Adrienne_Rich

Theodore Roethke

Theodore Roethke (ret-kee; May 25, 1908 – August 1, 1963) was an American poet, who published several volumes of poetry characterized by its rhythm, rhyming, and natural imagery. He was awarded the Pulitzer Prize for poetry in 1954 for his book, The Waking, and he won the annual National Book Award for Poetry twice, in 1959 for Words for the Wind and posthumously in 1965 for The Far Field. Roethke was born in Saginaw, Michigan and grew up on the west side of the Saginaw River. His father, Otto, was a German immigrant, a market-gardener who owned a large local 25 acre greenhouse, along with his brother (Theodore's uncle). Much of Theodore's childhood was spent in this greenhouse, as reflected by the use of natural images in his poetry. The poet's adolescent years were jarred, however, by his uncle's suicide and by the death of his father from cancer, both in early 1923, when Theodore (Ted) was only 15. These deaths shaped Roethke's psyche and creative life. He attended the University of Michigan, earning A.B. and M.A. degrees. He briefly attended law school before entering Harvard University, where he studied under the poet Robert Hillyer. Abandoning graduate study because of the Great Depression, he taught English at several universities, including Lafayette College, Pennsylvania State University, and Bennington College. In 1940, he was expelled from his position at Lafayette and he returned to Michigan. Just prior to his return, he had an affair with established poet and critic Louise Bogan, who later became one of his strongest early supporters. While teaching at Michigan State University in East Lansing, he began to suffer from manic depression, which fueled his poetic impetus. His last teaching position was at the University of Washington, leading to an association with the poets of the American Northwest. Some of his best known students included James Wright, Carolyn Kizer, Jack Gilbert, Richard Hugo, and David Wagoner. In 1953, Roethke married Beatrice O'Connell, a former student. Like many other American poets of his generation, Roethke was a heavy drinker and susceptible, as mentioned, to bouts of mental illness. He did not inform O'Connell of his repeated episodes of depression, yet she remained dedicated to him and his work. She ensured the posthumous publication of his final volume of poetry, The Far Field, which includes the poem "Meditation at Oyster River." In 1961, "The Return" was featured on George Abbe's album Anthology of Contemporary American Poetry on Folkways Records. The following year, Roethke released his own album on the label entitled, Words for the Wind: Poems of Theodore Roethke. He suffered a heart attack in his friend S. Rasnics' swimming pool in 1963 and died on Bainbridge Island, Washington, aged 55. The pool was later filled in and is now a zen rock garden, which can be viewed by the public at the Bloedel Reserve, a 150-acre (60 hectare) former private estate. There is no sign to indicate that the rock garden was the site of Roethke's death. There is a sign that commemorates his boyhood home and burial in Saginaw, Michigan. The historical marker notes in part: Theodore Roethke (1908–1963) wrote of his poetry: The greenhouse "is my symbol for the whole of life, a womb, a heaven-on-earth." Roethke drew inspiration from his childhood experiences of working in his family's Saginaw floral company. Beginning is 1941 with Open House, the distinguished poet and teacher published extensively, receiving a Pulitzer Prize for poetry and two National Book Awards among an array of honors. In 1959 Pennsylvania University awarded him the Bollingen Prize. Roethke taught at Michigan State College, (present-day Michigan State University) and at colleges in Pennsylvania and Vermont, before joining the faculty of the University of Washington at Seattle in 1947. Roethke died in Washington in 1963. His remains are interred in Saginaw's Oakwood Cemetery. The Friends of Theodore Roethke Foundation maintains his birthplace at 1805 Gratiot in Saginaw as a museum. In 1995, the Seattle alley between Seventh and Eighth Avenues N.E. running from N.E. 45th Street to N.E. 47th Street was named Roethke Mews in his honor. It adjoins the Blue Moon Tavern, one of Roethke's haunts. Critical responses The poet Stanley Kunitz said of Roethke, "The poet of my generation who meant most to me, in his person and in his art, was Theodore Roethke." The Poetry Foundation entry on Roethke notes early reviews of his work and Roethke's response to that early criticism: W. H. Auden called [Roethke's first book] Open House "completely successful." In another review of the book, Elizabeth Drew felt "his poems have a controlled grace of movement and his images the utmost precision; while in the expression of a kind of gnomic wisdom which is peculiar to him as he attains an austerity of contemplation and a pared, spare strictness of language very unusual in poets of today." Roethke kept both Auden's and Drew's reviews, along with other favorable reactions to his work. As he remained sensitive to how peers and others he respected should view his poetry, so too did he remain sensitive to his introspective drives as the source of his creativity. Understandably, critics picked up on the self as the predominant preoccupation in Roethke's poems. Roethke's breakthrough book, The Lost Son, also won him considerable praise. For instance, Michael Harrington felt "Roethke found his own voice and central themes in The Lost Son and Stanley Kunitz saw a "confirmation that he was in full possession of his art and of his vision." In Against Oblivion, an examination of forty-five twentieth century poets, the critic Ian Hamilton also praised this book, writing, "In Roethke's second book, The Lost Son, there are several of these greenhouse poems and they are among the best things he wrote; convincing and exact, and rich in loamy detail." In addition to the well-known greenhouse poems, the Poetry Foundation notes that Roethke also won praise "for his love poems which first appeared in The Waking and earned their own section in the new book [and] 'were a distinct departure from the painful excavations of the monologues and in some respects a return to the strict stanzaic forms of the earliest work,' [according to the poet] Stanley Kunitz. [The critic] Ralph Mills described 'the amatory verse' as a blend of 'consideration of self with qualities of eroticism and sensuality; but more important, the poems introduce and maintain a fascination with something beyond the self, that is, with the figure of the other, or the beloved woman.'" In reviewing his posthumously published Collected Poems in 1966, Karl Malkoff of The Sewanee Review wrote: Bibliography * Open House (1941) * The Lost Son and Other Poems (1948) * Praise to the End! (1951) * The Waking (1953) * Words For The Wind (1958) * I Am! Says The Lamb (1961) * Party at the Zoo" (1963) (A Modern Masters Book for Children, illustrated by Al Swiller) * The Far Field (1964) * Dirty Dinky and Other Creatures: Poems for Children (1973) * On Poetry and Craft: Selected Prose and Craft of Theodore Roethke (Copper Canyon Press, 2001) * Straw for the Fire: From the Notebooks of Theodore Roethke, 1943-63 (1972; Copper Canyon * Press, 2006) (selected and arranged by David Wagoner) References Wikipedia - http://en.wikipedia.org/wiki/Theodore_Roethke

Mary Darby Robinson

Mary Robinson (née Darby) (27 November 1757? – 26 December 1800) was an English actress, poet, dramatist, novelist, and celebrity figure. During her lifetime she was known as "the English Sappho".[1][2] She earned her nickname "Perdita" for her role as Perdita (heroine of Shakespeare's The Winter's Tale) in 1779. She was the first public mistress of King George IV while he was still Prince of Wales. Biography Early life Robinson was born in Bristol, England to John Darby, a naval captain, and his wife Hester (née Seys). In her memoirs, Robinson gives her birth in 1758 but the year 1757 seems more likely according to recently published research (see appendix to Byrne, 2005). Her father deserted her mother and took on a mistress when Robinson was still a child. The family hoped for a reconciliation, but Captain Darby made it clear that this was not going to happen. Without the support of her husband, Hester Darby supported herself and the five children born of the marriage by starting a school for young girls in Little Chelsea, London, (where Robinson taught by her 14th birthday). However, during one of his brief returns to the family, Captain Darby had the school closed (which he was entitled to do by English law). Robinson, who at one point attended a school run by the social reformer Hannah More, came to the attention of actor David Garrick. Marriage Hester Darby encouraged her daughter to accept the proposal of an articled clerk, Thomas Robinson, who claimed to have an inheritance. Mary was against this idea; however, after being stricken ill, and watching him take care of her and her younger brother, she felt that she owed him, and she did not want to disappoint her mother who was pushing for the engagement. After the early marriage, Robinson discovered that her husband did not have an inheritance. He continued to live an elaborate lifestyle, however, and had multiple affairs that he made no effort to hide. Subsequently, Mary supported their family. After her husband squandered their money, the couple fled to Wales (where Robinson’s only daughter, Mary Elizabeth, was born in November). Her husband was imprisoned for debt in the Fleet Prison where she accompanied him for many months. During this time, Mary Robinson found a patron in Georgiana Cavendish, Duchess of Devonshire, who sponsored the publication of Robinson’s first volume of poems, Captivity. Theatre After her husband obtained his release from prison, Robinson decided to return to the theatre. She launched her acting career and took to the stage, playing Juliet, at Drury Lane Theatre in December 1776. Robinson was best known for her facility with the 'breeches parts’, her performances as Viola in William Shakespeare’sTwelfth Night and Rosalind in As You Like It won her extensive praise. But she gained popularity with playing in Florizel and Perdita, an adaptation of Shakespeare, with the role of Perdita (heroine of The Winter’s Tale) in 1779. It was during this performance that she attracted the notice of the young Prince of Wales, later King George IV of the United Kingdom. He offered her twenty thousand pounds to become his mistress. With her new social prominence, Robinson became a trend-setter in London, introducing a loose, flowing muslin style of gown based upon Grecian statuary that became known as the Perdita. It took Robinson a considerable amount of time to decide to leave her husband for the Prince, as she did not want to be seen by the public as that type of woman. Throughout much of her life she struggled to live in the public eye and also to stay true to the values in which she believed. She eventually gave in to her desires to be with a man whom she thought would treat her better than Mr. Robinson. However, the Prince ended the affair in 1781, refusing to pay the promised sum. “Perdita” Robinson was left to support herself through an annuity promised by the Crown (but rarely paid), in return for some letters written by the Prince, and through her writings. Later life and death Mary Robinson, who now lived separately from her husband, went on to have several love affairs, most notably with Banastre Tarleton, a soldier who had recently distinguished himself fighting in the American War of Independence. Their relationship survived for the next 15 years, through Tarleton’s rise in military rank and his concomitant political successes, through Mary’s own various illnesses, through financial vicissitudes and the efforts of Tarleton’s own family to end the relationship. They had no children, although Robinson had a miscarriage. However, in the end, Tarleton married Susan Bertie, an heiress and an illegitimate daughter of the young 4th Duke of Ancaster, and niece of his sisters Lady Willoughby de Eresby and Lady Cholmondeley. In 1783, Robinson suffered a mysterious illness that left her partially paralysed. Biographer Paula Byrne speculates that a streptococcal infection resulting from a miscarriage led to a severe rheumatic fever that left her disabled for the rest of her life. From the late 1780s, Robinson became distinguished for her poetry and was called “the English Sappho”. In addition to poems, she wrote eight novels, three plays, feminist treatises, and an autobiographical manuscript that was incomplete at the time of her death. Like her contemporary Mary Wollstonecraft, she championed the rights of women and was an ardent supporter of the French Revolution. She died in late 1800 in poverty at the age of 43, having survived several years of ill health, and was survived by her daughter, who was also a published novelist. Literature After years of scholarly neglect, Robinson’s literary afterlife continues apace. While most of the early literature written about Robinson focused on her sexuality, emphasizing her affairs and fashions, she began to receive the attention of feminists and literary scholars in the 1990s. In addition to regaining literary and cultural notability, she has re-attained a degree of celebrity in recent years when several biographies of her appeared, including one by Paula Byrne entitled Perdita: The Literary, Theatrical, and Scandalous Life of Mary Robinson that became a top-ten best-seller after being selected for the Richard & Judy Book Club. Poetry Poems (1775) Captivity, A Poem and Celadon and Lydia, a Tale (1777) Poems (Vol. 1, 1791 / Vol. 2, 1793) London’s Summer Morning (1795) Sappho and Phaon: In a Series of Legitimate Sonnets (1796) Lyrical Tales (1800) Novels Vancenza; or, The Dangers of Credulity (1792) The Widow; or, A Picture of Modern Times (1794) Angelina; A Novel (1796) Hubert de Sevrac, A Romance, of the Eighteenth Century (1796) Walsingham: or, The Pupil of Nature, A Domestic Story (1797) The False Friend; A Domestic Story (1799) The Natural Daughter. With Portraits of the Leadenhead Family. A Novel (1799) Jasper, A Fragment [published posthumously in Memoirs of the Late Mrs. Robinson, Written by Herself (1801)] Dramas The Lucky Escape, A Comic Opera (Drury Lane, 1778) Nobody: A Comedy in Two Acts (Drury Lane, 1794) The Sicilian Lover: A Tragedy in Five Acts (never performed) Socio-political texts Impartial Reflections of the Present Situation of the Queen of France (1791) A Letter to the Women of England, on the Injustice of Mental Subordination (1799) Memoir Robinson, Mary [and Maria Elizabeth Robinson]. Memoirs of the Late Mrs. Robinson, Written by Herself. With Some Posthumous Pieces. 4 vols. London, 1801. Biographies of Robinson Byrne, Paula. Perdita: The Literary, Theatrical, and Scandalous Life of Mary Robinson. New York: Random House, 2004. Chisholm, Hugh, ed. (1911). “Robinson, Mary”. Encyclopædia Britannica 23 (11th ed.). Cambridge University Press. Davenport, Hester. The Prince’s Mistress: Perdita, a Life of Mary Robinson. Stroud: Sutton Publishing, 2004. Gristwood, Sarah. Perdita: Royal Mistress, Writer, Romantic. London: Bantam, 2005. Memoirs of Mary Robinson 1895. Knight, John Joseph (1897). “Robinson, Mary”. In Lee, Sidney. Dictionary of National Biography 49. London: Smith, Elder & Co. Ledoux, Ellen Malenas. “Florizel and Perdita Affair, 1779–80.” BRANCH: Britain, Representation and Nineteenth-Century History. Ed. Dino Franco Felluga. Extension of Romanticism and Victorianism on the Net. Web. 2 June 2013. Robinson, Mary [and Maria Elizabeth Robinson]. Memoirs of the Late Mrs. Robinson, Written by Herself. With Some Posthumous Pieces. 4 vols. London, 1801. Levy, Martin J. "Robinson, Mary [Perdita] (1756/1758?–1800)". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/23857. (Subscription or UK public library membership required.) Resources on Robinson and her literature Brewer, William D., ed. The Works of Mary Robinson. 8 vols. Pickering & Chatto, 2009–2010. Gamer, Michael, and Terry F. Robinson. “Mary Robinson and the Dramatic Art of the Comeback.” Studies in Romanticism 48.2 (Summer 2009): 219–256. Pascoe, Judith. Mary Robinson: Selected Poems. Peterborough, ON: Broadview Press, 1999. Robinson, Daniel. The Poetry of Mary Robinson: Form and Fame. New York: Palgrave Macmillan, 2011. Robinson, Terry F. “Introduction.” Nobody. By Mary Robinson. Romantic Circles. Web. March 2013. Fictional works about Robinson Elyot, Amanda. All For Love: The Scandalous Life and Times of Royal Mistress Mary Robinson. A Novel. 2008. Lightfoot, Freda. Lady of Passion: The Story of Mary Robinson. 2013. Plaidy, Jean. Perdita’s Prince. 1969. References Wikipedia—https://en.wikipedia.org/wiki/Mary_Robinson_(poet)

Edwin Arlington Robinson

Edwin Arlington Robinson (December 22, 1869—April 6, 1935) was an American poet who won three Pulitzer Prizes for his work. Early life Robinson was born in Head Tide, Lincoln County, Maine but his family moved to Gardiner, Maine in 1871. He described his childhood in Maine as “stark and unhappy”: His parents (who had wanted a girl) did not name him until he was six months old, when they visited a holiday resort—whereupon, other vacationers decided that he should have a name and selected a man from Arlington, Massachusetts to draw a name out of a hat. Throughout his life, he not only hated his given name, but also his family’s habit of calling him “Win.” As an adult, he always used the signature “E. A.” Education Robinson’s early struggles led many of his poems to have a dark pessimism and his stories to deal with “an American dream gone awry.” His eldest brother, Dean Robinson, was a doctor and had become addicted to laudanum while medicating himself for neuralgia. The middle brother, Herman, a handsome and charismatic man, married the woman Edwin loved, Emma Löehen Shepherd. Emma thought highly of Edwin and encouraged his poetry, but he was deemed too young to be in realistic competition for her hand, which didn’t keep him from being rattled deeply by witnessing what he considered her being bamboozled by Herman’s charm and choosing shallowness over depth. The marriage was a great blow to Edwin’s pride, and during the wedding ceremony, February 12, 1890, the despondent poet stayed home and wrote a poem of protest, “Cortège”, the title of which refers to the train that took the newly married couple out of town to their new life in St. Louis, Missouri. Herman Robinson suffered business failures, became an alcoholic, and ended up estranged from his wife and children. Herman died impoverished in 1909 of tuberculosis at Boston City Hospital Robinson’s poem “Richard Cory” was thought by Emma (Herman’s wife) to refer to God and her husband. At the age of 21, Edwin entered Harvard University as a special student. He took classes in English, French, and Shakespeare, as well as one on Anglo-Saxon that he later dropped. He did not aim to get all A’s; as he wrote his friend Harry Smith, “B, and in that vicinity, is a very comfortable and safe place to hang.” His real desire was to get published in one of the Harvard literary journals. Within the first fortnight of being there, The Harvard Advocate published Robinson’s “Ballade of a Ship.” He was even invited to meet with the editors, but when he returned he complained to his friend Mowry Saben, “I sat there among them, unable to say a word.” Robinson’s literary career had false-started. Edwin’s father, Edward, died after Edwin’s first year at Harvard. Edwin returned to Harvard for a second year, but it was to be his last one as a student there. Though short, his stay in Cambridge included some of his most cherished experiences, and there he made his most lasting friendships. He wrote his friend Harry Smith on June 21, 1893: I suppose this is the last letter I shall ever write you from Harvard. The thought seems a little queer, but it cannot be otherwise. Sometimes I try to imagine the state my mind would be in had I never come here, but I cannot. I feel that I have got comparatively little from my two years, but still, more than I could get in Gardiner if I lived a century. Robinson had returned to Gardiner by mid-1893. He had plans to start writing seriously. In October he wrote his friend Gledhill: Writing has been my dream ever since I was old enough to lay a plan for an air castle. Now for the first time I seem to have something like a favorable opportunity and this winter I shall make a beginning. Gallery Career With his father gone, Edwin became the man of the household. He tried farming and developed a close relationship with his brother’s wife Emma Robinson, who after her husband Herman’s death moved back to Gardiner with her children. She twice rejected marriage proposals from Edwin, after which he permanently left Gardiner. He moved to New York, where he led a precarious existence as an impoverished poet while cultivating friendships with other writers, artists, and would-be intellectuals. In 1896 he self-published his first book, The Torrent and the Night Before, paying 100 dollars for 500 copies. Robinson meant it as a surprise for his mother. Days before the copies arrived, Mary Palmer Robinson died of diphtheria. His second volume, Children of the Night, had a somewhat wider circulation. Its readers included President Theodore Roosevelt’s son Kermit, who recommended it to his father. Impressed by the poems and aware of Robinson’s straits, Roosevelt in 1905 secured the writer a job at the New York Customs Office. According to Edmund Morris, author of Theodore Rex, a tacit condition of his employment was that, in exchange for his desk and two thousand dollars a year, he should work “with a view to helping American letters,” rather than the receipts of the United States Treasury. Robinson remained in the job until Roosevelt left office. Gradually his literary successes began to mount. He won the Pulitzer Prize three times in the 1920s. and posterity has him described as ' more artful than Hardy and more coy than Frost and a brilliant sonneteer . During the last twenty years of his life he became a regular summer resident at the MacDowell Colony in New Hampshire, where several women made him the object of their devoted attention. Robinson and artist Elizabeth Sparhawk-Jones visited the MacDowell Colony at the same times over a cumulative total of ten years. They had a romantic relationship in which she was in love with him, devoted to him and understood him, and was relaxed in her approach with him. He called her Sparhawk and was courteous towards her. They had a relationship that D. H. Tracy described as “courtly, quiet, and intense.” She described him as a charming, sensitive, and emotionally grounded man with high moral values. Robinson never married. He died of cancer on April 6, 1935 in the New York Hospital (now New York Cornell Hospital) in New York City. When he died, Sparhawk-Jones attended his vigil and then painted several paintings in his memory. His childhood home in Gardiner was designated a National Historic Landmark in 1971. Robinson’s grandnephew David S. Nivison later became a noted expert on Chinese philosophy and Chinese history. Selected works Poetry * The Torrent; and The Night Before (1896), including “Luke Havergal” * The Children of the Night (1897), including “Kosmos” (1895) and “Richard Cory” * Captain Craig and Other Poems (1902) * The Town Down the River (1910), including “Miniver Cheevy” * The Man Against the Sky (1916) * Merlin (1917) * The Three Taverns (1920) * Lancelot * Avon’s Harvest (1921), including “Ben Trovato” * Collected Poems (1921) * Roman Bartholomew (1923) * The Man Who Died Twice (1924) * Dionysus in Doubt (1925), including “Haunted House” and “Karma” * Tristram (1927) * Fortunatus (1928) * Sonnets, 1889-1917 (1928) * Cavender’s House (1929) * Modred (1929) * The Glory of the Nightingales (1930) * Matthias at the Door (1931) * Selected Poems (1931) * Talifer (1933) * Amaranth (1934) * King Jasper (1935) * Collected Poems (1937) * A Happy Man Plays * Van Zorn (1914) * The Porcupine (1915) Letters * Selected Letters (1940) * Untriangulated Stars: Letters to Harry de Forest Smith 1890-1905 (1947) * Edwin Arlington Robinson’s Letters to Edith Brower (1968) Miscellany * Uncollected Poems and Prose (1975) Bibliography * * Van Doren, Mark (2010). Edwin Arlington Robinson (Reprint ed.). Kessinger Publishing. ISBN 978-1-169-10983-4. References Wikipedia—https://en.wikipedia.org/wiki/Edwin_Arlington_Robinson

Charles G. D. Roberts

Sir Charles George Douglas Roberts, KCMG FRSC (January 10, 1860– November 26, 1943) was a Canadian poet and prose writer who is known as the Father of Canadian Poetry. He was “almost the first Canadian author to obtain worldwide reputation and influence; he was also a tireless promoter and encourager of Canadian literature. He published numerous works on Canadian exploration and natural history, verse, travel books, and fiction.” “At his death he was regarded as Canada’s leading man of letters.” Besides his own body of work, Roberts is also called the “Father of Canadian Poetry” because he served as an inspiration and a source of assistance for other Canadian poets of his time. Roberts, his cousin Bliss Carman, Archibald Lampman and Duncan Campbell Scott are known as the Confederation Poets. Life Roberts was born in Douglas, New Brunswick in 1860, the eldest child of Emma Wetmore Bliss and Rev. George Goodridge Roberts (an Anglican priest). Rev. Roberts was rector of Fredericton and canon of Christ Church Cathedral, New Brunswick. Charles’s brother Theodore Goodridge Roberts and sister, Jane Elizabeth Gostwycke Roberts, would also become authors. Between the ages of 8 months and 14 years, Roberts was raised in the parish of Westcock, New Brunswick, near Sackville, by the Tantramar Marshes. He was homeschooled, “mostly by his father, who was proficient in Greek, Latin and French.” He published his first writing, three articles in The Colonial Farmer, at 12 years of age. After the family moved to Fredericton in 1873, Roberts attended Fredericton Collegiate School from 1874 to 1876, and then the University of New Brunswick (UNB), earning his B.A. in 1879 and M.A. in 1881. At the Collegiate School he came under the influence of headmaster George Robert Parkin, who gave him a love of classical literature and introduced him to the poetry of Dante Gabriel Rossetti and Algernon Charles Swinburne. Roberts was principal of Chatham High School in Chatham, New Brunswick, from 1879 to 1881, and of York Street School in Fredericton from 1881 to 1883. In Chatham he met and befriended Edmund Collins, editor of the Chatham Star and the future biographer of Sir John A. Macdonald. Early Canadian career Roberts first published poetry in the Canadian Illustrated News of March 30, 1878, and by 1879 he had placed two poems in the prestigious American magazine, Scribner’s. In 1880, Roberts published his first book of poetry, Orion and Other Poems. Thanks in part to his industry in sending out complimentary review copies, there were many positive reviews. Rose-Belford’s Canadian Monthly proclaimed: “Here is a writer whose power and originality it is impossible to deny—here is a book of which any literature might be proud.” The Montreal Gazette predicted that Roberts would “confer merited fame on himself and lasting honour on his country.” As well, “several American periodicals reviewed it favourably, including the New York Independent, which described it as ‘a little book of choice things, with the indifferent things well weeded out.’” On December 29, 1880, Roberts married Mary Fenety, who would bear him five children. The biography by Roberts’s friend Edmund Collins, The Life and Times of Sir John A. Macdonald, was published in 1883. The book was a huge success, going through eight printings. It contained a long chapter on “Thought and Literature in Canada,” which devoted 15 pages to Roberts, quoting liberally from Orion. “Beyond any comparison,” Collins declared, “our greatest Canadian poet is Mr. Charles G.D. Roberts.” “Edmund Collins is probably responsible for the early acceptance of Charles G.D. Roberts as Canada’s foremost poet.” From 1883 to 1884, Roberts was in Toronto, Ontario, working as the editor of Goldwin Smith’s short-lived literary magazine, The Week. “Roberts lasted only five months at The Week before resigning in frustration from overwork and clashes with Smith.” In 1885, Roberts became a professor at the University of King’s College in Windsor, Nova Scotia. In 1886, his second book, In Divers Tones, was published by a Boston publisher. "Over the next six years, in addition to his academic duties, Roberts published more than thirty poems in numerous American periodicals, but mostly in The Independent while Bliss Carman was on its editorial staff. During the same period, he published almost an equal number of stories, primarily for juvenile readers, in periodicals like The Youth’s Companion. He also edited Poems of Wild Life (1888), completed a 270-page Canadian Guide Book (1891), wrote about a dozen articles on a variety of topics, and gave lectures in various centres from Halifax to New York.” Roberts was asked to edit the anthology, Songs of the Great Dominion, but that position eventually went to W.D. Lighthall. Lighthall included a generous selection of Roberts’s work, and echoed Collins’s assessment of six years earlier: “The foremost name in Canadian song at the present day is that of Charles George Douglas Roberts.” Roberts resigned from King’s College in 1895, when his request for a leave of absence was turned down. Determined to make a living from his pen, in 1896 “he published his first novel, The Forge in the Forest,... his fourth collection of poetry, The Book of the Native,... his first book of nature-stories, Earth’s Enigmas,... and a book of adventure stories for boys, Around the Campfire.” Move to New York In 1897, Roberts left Canada, as well as his wife and children, for New York City so that he may work free-lance. Between 1897 and 1898, he worked for The Illustrated American as an associate editor. In New York, Roberts wrote in many different genres, but found that "his most successful prose genre was the animal story, in which he drew upon his early experience in the wilds of the Maritimes. He published over a dozen such volumes between Earth’s Enigmas (1896) and Eyes of the Wilderness (1933).... Roberts is remembered for creating in the animal story, along with Ernest Thompson Seton, the one native Canadian art form.” Roberts also wrote historical romances and novels. "Barbara Ladd (1902) begins with a girl escaping from an uncongenial aunt in New England in 1769; it sold 80,000 copies in the US alone." He also wrote descriptive text for guide books, such as Picturesque Canada and The Land of Evangeline and Gateways Thither for Nova Scotia’s Dominion Atlantic Railway. Roberts famously became involved in a literary debate known as the nature fakers controversy after John Burroughs denounced his popular animal stories, and those of other writers, in a 1903 article for Atlantic Monthly. The controversy lasted for nearly six years and included important American environmental and political figures of the day, including President Theodore Roosevelt. Europe and return to Canada In 1907, Roberts moved to Europe. First living in Paris, he moved to Munich in 1910, and in 1912 to London, where he lived until 1925. During World War I he enlisted with the British Army as a trooper, eventually becoming a captain and a cadet trainer in England. After the war he joined the Canadian War Records Office in London. Roberts returned to Canada in 1925 which “led to a renewed production of verse.” During the late 1920s he was a member of the Halifax literary and social set, The Song Fishermen. He married his second wife Joan Montgomery on October 28, 1943, at the age of 83, but became ill and died shortly thereafter in Toronto. The funeral was held in Toronto, but his ashes were returned to Fredericton, where he was interred in Forest Hill Cemetery. Poetry Orion and Other Poems Roberts’s first book, Orion and Other Poems (1880), was a vanity book for which he had to "pay an advance of $300, most of which he borrowed from George E. Fenety, the Queen’s Printer for New Brunswick, soon to become his father-in-law." Orion was “a collection of juvenilia, written while the poet was still a teenager.” In 1958, the critic Desmond Pacey wrote that “when we remind ourselves that it was published when the poet was twenty... we realize that it is a remarkable performance. It is imitative, naively romantic, defective in diction, the poetry of books rather than life itself, but it is facile, clever, and occasionally distinctly beautiful.... It is the work of an apprentice, who is quite frankly serving under a sequence of masters from whom he hopes to learn his art.” In Divers Tones The title of Roberts’s second book, In Divers Tones "aptly describes the hodgepodge of its contents. The selections vary greatly, not only in style and subject matter, but also in quality.... Among those written between 1883 and 1886... there is evidence of a maturing talent. In fact, it might be argued that at least three of these poems, ‘The Tantramar Revisited,’ ‘The Sower,’ and 'The Potato Harvest,” were never surpassed by any of his subsequent verse.” Songs of the Common Day By the time of Songs of the Common Day, and Ave! (1893), Roberts "had reached the height of his poetic powers.... It is the sonnet sequence of Songs of the Common Day that has established Roberts’ reputation as a landscape poet.... Evidence of the Tantramar setting occurs in lines like “How sombre slope these acres to the sea’ ('The Furrow”), 'These marshes pale and meadows by the sea’ ('The Salt Flats’), and 'My fields of Tantramar in summer-time’ ('The Pea-Fields’). The descriptions are full of evocative details.” Middle period After Roberts turned to free-lance writing in 1895, “Financial pressure forced him to turn his main attention to fiction.” He published two more books of poetry by 1898, but managed only two more in the following 30 years. “As their titles often indicate, the numerous seasonal poems in The Book of the Native (1897) were written with an eye on the monthly requirements of the magazines: ‘The Brook in February,’ ‘An April Adoration,’ ‘July,’ and ‘An August Woodroad.’ Roberts “is generally at his best in the poems in which he depicts these seasonal stages of nature with the palette of a realistic landscape painter.” However, the book also “signalled a shift in his poetic oeuvre away from descriptive, technically tight Romantic verses to more mystical lyrics.” “Most of the nature poetry in Roberts’s New York Nocturnes and Other Poems (1898) was written before he moved to New York. It belongs to a period of upheaval, desperation and overwork, which may at least partly account for its disappointing slackness.... Even ‘The Solitary Woodsman,’ much anthologized and frequently praised, is a series of unremarkable images made tedious by fifty-two lines of irritating rhythm and rhyme.... Roberts seldom looks at New York with the eye of a painter, and never captures its essence with the effectiveness he displays in his best pictures of rural landscape.... Instead of turning an inquiring eye upon urban conditions, he is inclined to retreat from “'he city’s fume and stress’ and 'clamour’ ('The Ideal’).". The first and title section of The Book of the Rose (1903) was a collection of love poetry. "Roberts handling of the symbol sounds artificial at best and sometimes downright fatuous.... Although most of the poems in the second section are unimpressive, there are a few exceptions. “Heat in the City,” noteworthy for being the best poem he ever wrote about city life, effectively evokes the distress and despair of the tenement-dwellers.... The final poem in the book, “The Aim,” is remarkable for its frank self-analysis.” “New Poems, a slim volume published in 1919, shows the drop in both the quantity and quality of Roberts’ poetry during his European years. At least half of the pieces had been written before he left America, some as early as 1903.” Later poems Roberts’s "return to Canada in 1925 led to a renewed production of verse with The Vagrant of Time (1927) and The Iceberg and Other Poems (1934)." Literary critic Desmond Pacey calls this period “the Indian summer of his poetic career”. “Among the best of the new poems” in The Vagrant of Time "is the one with this inspired opening line: ‘Spring breaks in foam along the blackthorn bough.’ In another love poem, ‘In the Night Watches,’ written in 1926, his command of free verse is natural and unstrained, unlike the laboured language and forced rhymes of his earlier love poetry. Its synthesis of lonely wilderness setting with feelings of separation and longing is harmonious and poignant.” “Most critics rank ”The Iceberg" (265 lines), the title poem of the new collection" published in 1934, "as one of Roberts’ outstanding achievements. It is almost as ambitious as ‘Ave!’ in conception; its cold, unemotional images are as apt and precise in their detached way as the warmly-remembered descriptions in ‘Tantramar Revisited.’ Animal stories The Canadian Encyclopedia says that “Roberts is remembered for creating in the animal story, along with Ernest Thompson Seton, the one native Canadian art form.” A typical Roberts animal story is “The Truce”. In his introduction to The Kindred of the Wild (1902), Roberts called the animal story "a potent emancipator. It frees us for a little from the world of shop-worn utilities, and from the mean tenement of self of which we do well to grow weary. It helps us to return to nature, without requiring that we at the same time return to barbarism. It leads us back to the old kinship of earth, without asking us to relinquish by way of toll any part of the wisdom of the ages, any fine essential of the ‘large result of time.’ (Kindred 28)” Critical interest in Roberts’s animal stories "emerged in the 1960s and 70s in the growth of what we now know as Canadian Literary Studies.... But these critics tended as a group to see in the animal stories a masked reference to Canadian nationhood: James Polk 'attempts to subsume the animal genre entirely within the identity crisis of an emerging nation […seeing] the sympathetic stance of Seton and Roberts towards the sometimes brutal fate of the “lives of the hunted” as a larger political allegory for Canada’s “victim” status as an American satellite. (Sandlos 74)'” Margaret Atwood devotes a chapter of her 1971 critical study Survival: A Thematic Guide to Canadian Literature to animal stories, where she states the same thesis: "the stories are told from the point of view of the animal. That’s the key: English animal stories are about the ‘social relations,’ American ones are about people killing animals; Canadian ones are about animals being killed, as felt emotionally from inside the fur and feathers. (qtd. in Sandlos 74; emphasis in original).” Recognition Charles G. D Roberts was elected a Fellow of the Royal Society of Canada in 1893. Roberts was elected to the United States National Institute of Arts and Letters in 1898. He was awarded an honorary LLD from UNB in 1906, and an honorary doctorate from Mount Allison University in 1942. For his contributions to Canadian literature, Roberts was awarded the Royal Society of Canada’s first Lorne Pierce Medal in 1926. On June 3, 1935, Roberts was one of three Canadians on King George V’s honour list to receive a knighthood (Knight Commander of the Order of St. Michael and St. George). Roberts was honoured by a sculpture erected in 1947 on the UNB campus, portraying him with Bliss Carman and fellow poet Francis Joseph Sherman. “In the 1980s,—a hundred years after his first volumes appeared—a major Roberts revival took place, producing monographs, a complete edition of his poems, a new biography, a collection of his letters, etc. A Roberts Symposium at Mount Allison University (1982) and another at the University of Ottawa (1983) included several scholarly reappraisals of his poetry.” Roberts was declared a Person of National Historic Significance in 1945, and a monument to him was erected by the Historic Sites and Monuments Board of Canada in Westcock in 2005. Publications Poetry * Orion, and Other Poems. Philadelphia, Pennsylvania: J. B. Lippincott & Co. 1880. ; also: “Orion, and Other Poems”. Canadian Poetry Press. ; Orion, and Other Poems at Google Books * In Divers Tones. Boston, Massachusetts: D. Lothrop and Company. 1886. ; also: “In Divers Tones”. Canadian Poetry Press. ; In Divers Tones at Google Books * AVE! An Ode for the Shelley Centenary. Toronto: Williamson, 1892. * Songs of the Common Day and, AVE! An Ode for the Shelley Centenary. Toronto, Ontario: William Briggs. 1893. ; Songs of the Common Day and, AVE! An Ode for the Shelley Centenary at Google Books * The Book of the Native. Toronto, Ontario: Copp Clark. 1896. * New York Nocturnes and Other Poems. Boston, Massachusetts: Lamson Wolffe. 1898. * Poems. New York: Silver, Burdett, 1901. * The Book of the Rose. Boston, Massachusetts: L. C. Page & Company. 1903. ; The Book of the Rose at Google Books * New Poems. London: Constable. 1919. * The Sweet o’ the Year and Other Poems. Toronto, Ontario: Ryerson. 1925. ; The Sweet o’ the Year and Other Poems at Google Books * The Vagrant of Time. Toronto, Ontario: Ryerson. 1927. ; The Vagrant of Time at Google Books * The Iceberg and Other Poems Selected Poems of Sir Charles G.D. Roberts. 1934. * Selected Poems of Sir Charles G.D. Roberts. Toronto, Ontario: Ryerson. 1936. * Flying Colours. Miami, Florida: Granger Books. 1942. * Pacey, Desmond, ed. (1955). The Selected Poems of Charles G.D. Roberts. Toronto, Ontario: Ryerson. * Keith, W.J., ed. (1974). Selected Poetry and Critical Prose. Toronto, Ontario: University of Toronto Press. * Pacey, Desmond; Adams, Graham, eds. (1985). Collected Poems of Sir Charles G.D. Roberts. Wolfville, Nova Scotia: Wombat Press. Fiction * The Raid from Beauséjour and How the Carter Boys Lifted the Mortgage. New York: Hunt & Eaton. 1894. ; The Raid from Beausejour and How the Carter Boys Lifted the Mortgage at Google Books * Reube Dare’s Shad Boat: A Tale of the Tide Country. New York: Hunt & Eaton. 1895. ; Reube Dare’s Shad Boat - A Tale of the Tide Country at Google Books * Around the Campfire. Toronto: Musson Book Co. 1896. * Earth’s Enigmas. Boston: Lamson, Wolffe. 1896. ; Earth’s Enigmas: A Volume of Stories at Google Books * The Forge in the Forest. Boston: Lamson, Wolffe. 1896. * By the Marshes of Minas. Boston: Silver, Burdett and Company. 1900. * A Sister to Evangeline. Boston: Silver, Burdett and Company. 1900. * The Feet of the Furtive. London: Ward, Lock & Co. 1900. * The Heart of the Ancient Wood. Boston: L. C. Page & Company. 1902. * The Haunters of the Silences: A Book of Animal Life. London: Thomas Nelson. 1900. * Barbara Ladd. Boston: The Page Company. 1902. * The Kindred of the Wild. Boston: The Page Company. 1902. ; The Kindred of the Wild: A Book of Animal Life at Google Books * The Prisoner of Mademoiselle: A Love Story. Boston: L.C. Page. 1904. * The Watchers of the Trails. Toronto: Copp Clark. 1904. * Red Fox. Boston: L. C. Page & Company. 1905. * The Watchers of the Campfire. Boston: L.C. Page & Company. 1906. * The Heart That Knows. Boston: L.C. Page & Company. 1906. * The Cruise of the Yacht “Dido”: A Tale of the Tide Country. Boston: L.C. Page & Company. 1906. * The Little People of the Sycamore. Charles Livingston Bull illus. Boston: L.C. Page & Company. 1906. * The Return to the Trails. Charles Livingston Bull illus. Boston: L.C. Page & Company. 1906. * In the Deep of the Snow. New York: T.Y. Crowell. 1907. * The Young Acadian Boston. Boston: L.C. Page & Company. 1907. * The Haunters of the Silences. Boston: L.C. Page & Company. 1907. * The House in the Water. Boston: L.C. Page & Company. 1908. * The Backwoodsmen. New York: Macmillan. 1909. * Kings in Exile. New York: Macmillan. 1910. * Neighbours Unknown. London: Ward, Lock & Co. 1910. * More Kindred of the Wild. London: Ward, Lock & Co. 1911. * Babes of the Wild. Warwick Reynolds, illus. London: Cassell. 1912. * Children of the Wild. Paul Bramson, illus. New York: Macmillan. 1913. * A Balkan Prince. London: Everett & Co. 1913. * Hoof and Claw (reprint ed.). New York: Macmillan. 1920 [1914]. * The Secret Trails. New York: Macmillan. 1916. * The Ledge on Bald Face. London: Ward, Lock, & Co. 1918. * In the Morning of Time. New York: Frederick A. Stokes. 1919. * Wisdom of the Wilderness. Read Books. 2013 [1923]. ISBN 978-1-4733-0956-2. * They Who Walk in the Wilds. Read Books. 2013 [1924]. ISBN 978-1-4733-1140-4. * Eyes of the Wilderness. New York: Macmillan. 1933. * Further Animal Stories. Dent. 1935. * The Last Barrier and Other Stories. Toronto: McClelland & Stewart. 1970. * Ware, Martin, ed. (1992). The Vagrants of the Barren and Other Stories of Charles G.D. Roberts. Ottawa, Ontario: Tecumseh. ISBN 978-0-9196-6235-3. Non-fiction * A History of Canada. Boston, Massachusetts: The Page Company. 1897. * The Canadian Guide-Book: The Tourist’s and Sportsman’s Guide to Eastern Canada and Newfoundland. New York: D. Appleton 1891. * Discoveries and Explorations in the Century. London: Linscott. 1906. * Canada in Flanders (1918)– non-fiction Edited * Poems of Wild Life. London: W. Scott, 1888. * Canada Speaks of Britain and Other Poems of the War. Toronto: Ryerson, 1941. Papers * Sir Charles G. D. Roberts papers. Charles George Douglas Roberts; Linda Dumbleton; Rose Mary Gibson. Kingston: Queen’s University Archives, {c.1983}. * The Collected Letters of Sir Charles G.D. Roberts. Fredericton, NB: Goose Lane, 1989. References Wikipedia—https://en.wikipedia.org/wiki/Charles_G._D._Roberts

Sir Walter Raleigh

Sir Walter Ralegh (or Raleigh), British explorer, poet and historian, was born probably in 1552, though the date is not quite certain. His father, Walter Ralegh of Fardell, in the parish of Cornwood, near Plymouth, was a country gentleman of old family, but of reduced estate. Walter Ralegh the elder was three times married. His famous son was the child of his third marriage with Catherine, daughter of Sir Philip Champernown of Modbury, and widow of Otho Gilbert of Compton. By her first marriage she had three sons, John, Humphrey and Adrian Gilbert. Mr. Ralegh had been compelled to give up living in his own house of Fardell. His son was born at the farmhouse of Hayes near the head of Budleigh Salterton Bay, on the coast of Devonshire between Exmouth and Sidmouth. The name is written with a diversity exceptional even in that age. Sir Walter, his father, and a halfbrother used different forms. The spelling "Raleigh" was adopted by Sir Walter's widow, and has been commonly used, though there has been a tendency to prefer "Ralegh" in recent times.* It was almost certainly pronounced "Rawley." In 1568 he was entered as a commoner of Oriel College, Oxford, but he took no degree, and his residence was brief. In 1569 he followed his cousin Henry Champernown, who took over a body of English volunteers to serve with the French Huguenots. From a reference in his History of the World it has been supposed that he was present at the battle of Jarnac (13th of March 1569), and it has been asserted that he was in Paris during the Massacre of St Bartholomew in 1572. Nothing, however, is known with certainty of his life till February 1575, when he was resident in the Temple. During his trial in 1603 he declared that he had never studied the law, but that his breeding had been "wholly gentleman, wholly soldier." In June 1578 his half-brother Sir Humphrey Gilbert obtained a patent for six years authorizing him to take possession of "any remote barbarous and heathen lands not possessed by any Christian prince or people." The gentry of Devon had been much engaged in maritime adventure of a privateering or even piratical character since the reign of Henry VIII. In the reign of Elizabeth they were the leaders in colonial enterprises in conflict with the Spaniards in America. During 1578 Humphrey Gilbert led an expedition which was a piratical venture against the Spaniards, and was driven back after an action with them and the loss of a ship in the Atlantic. Ralegh accompanied his half-brother as captain of the "Falcon," and was perhaps with him in an equally unsuccessful voyage of the following year. Gilbert was impoverished by his ventures, and Ralegh had to seek his fortune about the court. In the course of 1580 he was twice arrested for duels, and he attached himself to the queen's favourite, the Earl of Leicester, and to the Earl of Oxford, son-in-law of Burghley, for whom he carried a challenge to Sir Philip Sidney. By the end of 1580 he was serving as captain of a company of foot in Munster. He took an active part in suppressing the rebellion of the Desmonds, and in the massacre of the Spanish and Italian adventurers at Smerwick in November. His letters prove that he was the advocate of a ruthless policy against the Irish, and did not hesitate to recommend assassination as a means of getting rid of their leaders. In December 1581 he was sent home with despatches, as his company had been disbanded on the suppression of the Desmonds. His great fortune dates from his arrival at court where he was already not unknown. Ralegh had been in correspondence with Walsingham for some time. The romantic stories told by Sir Robert Naunton in the Fragmenta Regalia, and by Fuller in his Worthies, represent at least the mythical truth as to his rise into favour.It is quite possible that Ralegh, at a time when his court clothes represented "a considerable part of his estate," did (as the old story says) throw his mantle on the ground to help the queen to walk dry-shod over a puddle, and that he scribbled verses with a diamond on a pane of glass to attract her attention, though we only have the gossip of a later generation for our authority. It is certain that his tall and handsome person, his caressing manners and his quick wit pleased the queen. The rewards showered on him were out of all proportion to his services in Ireland, which had not been more distinguished than those of many others. In March 1582 he was granted a reward of £600, and the command of a company, nominally that he might be exercised in the wars, but in reality as a form of pension, since he was allowed to discharge his office by deputy and remained at court. In February 1583 he was included in the escort sent to accompany the Duke of Anjou from England to Flanders. In 1583 the queen made him a grant of Durham House in the Strand (London), the property of the see of Durham, which had however been used of late as a royal guest-house. In the same year the queen's influence secured him two beneficial leases from All Souls, Oxford, which he sold to his advantage, and a patent to grant licences to "vintners," — that is, tavern keepers. This he subleased, and when his agent, one Browne, cheated him, he got the grant revoked, and reissued on terms which allowed him to make £2000 a year. In 1584 he had a licence for exporting woollen cloths, a lucrative monopoly which made him very unpopular with the merchants. He was knighted in 1584. In 1585 he succeeded the earl of Bedford as Warden of the Stannaries [i.e., tin mines]. Ralegh made a good use of the great powers which the wardenship gave him in the mining districts of the west. He reduced the old customs to order, and showed himself fair to the workers. In 1586 he received a grant of 40,000 acres of the forfeited lands of the Desmonds, on the Blackwater in Ireland. He was to plant English settlers, which he endeavoured to do, and he introduced the cultivation of the potato and of tobacco. In 1587 he received a grant in England of part of the forfeited land of the conspirator Babington. During these years Ralegh was at the height of his favour. It was the policy of Queen Elizabeth to have several favourites at once, lest any one might be supposed to have exclusive influence with her. Ralegh was predominant during the period between the predominance of Leicester and the rise of the Earl of Essex, who came to court in 1587. It is to be noted that Elizabeth treated Ralegh exclusively as a court favourite, to be enriched by monopolies and grants at the expense of her subjects, but that she never gave him any great office, nor did she admit him to the council. Even his post of Captain of the Guard, given in 1587, though honourable, and, to a man who would take gifts for the use of his influence, lucrative, was mainly ornamental. His many offices and estates did not monopolize the activity of Ralegh. The patent given to his half-brother Sir Humphrey Gilbert was to run out in 1584. To avert this loss Ralegh, partly out of his own pocket and partly by securing the help of courtiers and capitalists, provided the means for the expedition to Newfoundland in 1583, in which Gilbert, who had been reduced to sell "the clothes off his wife's back" by his previous misfortunes, finally perished. Sir Humphrey's patent was renewed in favour of Sir Walter in March 1584. Ralegh now began the short series of ventures in colonization which have connected his name with the settlement of Virginia. It has often been said that Ralegh showed a wise originality in his ideas as to colonization. But in truth the patent granted to him, which gave him and his heirs the proprietary right over all territory they occupied subject to payment of one-fifth of the produce of all mines of precious metals to the crown, is drawn closely on Spanish precedents. Nor was there any originality in his desire to settle English colonists, and encourage other industries than mining. The Spaniards had pursued the same aim from the first. In April 1584 Ralegh sent out two captains, Philip Amadas and Arthur Barlowe, on a voyage of exploration. They sailed by the Canaries to Florida, and from thence followed the coast of North America as far as the inlet between Albemarle and Pamlico sounds in the modern state of North Carolina. The name of Virginia was given to a vast and undefined territory, but none of Ralegh's captains or settlers reached the state itself. In the same year he became member of parliament for Devonshire, and took the precaution to secure a parliamentary confirmation of his grant. His first body of settlers, sent out in 1585 under Sir Richard Grenville, landed on what is now Roanoke Island in North Carolina. Sir R. Grenville showed himself mainly intent on taking prizes, going and coming. The settlers got on bad terms with the natives, despaired, and deserted the colony when Sir Francis Drake visited the coast in 1586. Attempts at colonization at the same place in 1586 and 1587 proved no more successful, and in 1589 Ralegh, who represented himself as having spent £40,000 on the venture, resigned his rights to a company of merchants, preserving to himself a rent, and a fifth of whatever gold might be discovered. After 1587 Sir Walter Ralegh was called upon to fight for his place of favourite with the Earl of Essex. During the Armada year 1588 he was more or less in eclipse. He was in Ireland for part of the year with Sir R. Grenville, and was employed as vice-admiral of Devon in looking after the coast-defences and militia levy of the county. During this year he received a challenge from Essex which did not lead to an encounter. In 1589 he was again in Ireland. He had already made the acquaintance of Edmund Spenser and now visited him at his house at Kilcolman. It was by Ralegh's help that Spenser obtained a pension, and royal aid to publish the first three books of the Faerie Queen. The exact cause of Ralegh's partial disgrace at court is not known, but it was probably due to the queen's habitual policy of checking one favourite by the promotion of another. In 1589 he accompanied the expedition to the coast of Portugal, which was intended to cause a revolt against King Philip II, but failed completely. In 1591 he was at the last moment forbidden to take part in the voyage to the Azores, and was replaced by his cousin Sir R. Grenville, whose death in action with the Spaniards was the subject of one of Sir Walter's most vigorous pieces of prose writing. In 1592 he was again at sea with an expedition to intercept the Spanish trade, but was recalled by the queen. The cause of his recall was the discovery that he had seduced one of her maids of honour, Elizabeth Throgmorton. Ralegh denied in a letter to Robert Cecil that there was any truth in the stories of a marriage between them. On his return he was put into the Tower, and if he was not already married was married there. To placate the queen he made a fantastic display of despair at the loss of her favour. It must be remembered that the maids of honour could not marry without the consent of the queen, which Elizabeth was always most reluctant to give and would be particularly unwilling to give when the husband was an old favourite of her own. Ralegh proved a good husband and his wife was devoted to him through life. As the ships of the expedition had taken a valuable prize, the Portuguese carrack "Madre de Dios," and as there was a dispute over the booty, he was released to superintend the distribution. He had been a large contributor to the cost of the expedition, but the queen, who sent only two ships, took the bulk of the spoil, leaving him barely enough to cover his expenses. Ralegh now retired from court to an estate at Sherborne in Dorsetshire, which just before his disgrace he had extorted from the bishop of Salisbury, to whose see it belonged, by a most unscrupulous use of the royal influence. A son was born to him here in 1594, and he kept up a friendly correspondence with Sir Robert Cecil, afterwards earl of Salisbury, the secretary of state. But a life of constant retirement was uncongenial to Ralegh, and as his profuse habits, together with the multiplicity of his interests, had prevented him from making any advantage out of his estates in Ireland, he was embarrassed for money. In 1595 he therefore sailed on a voyage of exploration with a view to conquest, on the coast of South America. The object was undoubtedly to find gold mines, and Ralegh had heard the wild stories of El Dorado which had been current among the Spaniards for long. His account of his voyage, The Discoverie of Guiana, published on his return, is the most brilliant of all the Elizabethan narratives of adventure, but contains much manifest romance. It was received with incredulity. He was now the most unpopular man in England, not only among the courtiers, but in the nation, for his greed, arrogance and alleged scepticism in religion. In 1590 he was named with the poet Marlowe and others as an atheist. At court he was not at first received. The share he took in the capture of Cadiz in 1596, where he was seriously wounded, was followed by a restoration of favour at court, and he was apparently reconciled to Essex, whom he accompanied on a voyage to the Azores in 1597. This cooperation led to a renewal of the quarrel, and Ralegh, as the enemy of Essex who was the favourite of the soldiers and the populace, became more unpopular than ever. In 1600 he obtained the governorship of Jersey, and in the following year took a part in suppressing the rebellion of Essex, at whose execution he presided as Captain of the Guard. In 1600 he sat as member for Penzance in the last parliament of Elizabeth's reign. In parliament he was a steady friend of religious toleration, and a bold critic of the fiscal and agrarian legislation of the time. The death of the queen and the accession of James I were ruinous to Ralegh. James, who looked upon Essex as his partisan, had been prejudiced, and Ralegh's avowed desire for the prolongation of the war with Spain was utterly against the peace policy of the king. Ralegh was embarrassed for money, and had been compelled to sell his Irish estates to Richard Boyle, afterwards 1st earl of Cork, in 1602. He was expelled from Durham House, which was reclaimed by the bishop, dismissed from the captaincy of the Guard, deprived of his monopolies, which the king abolished, and of the government of Jersey. In his anger and despair he unquestionably took some part in the complication of conspiracies which arose in the first months of James's reign, and was committed to the Tower on the 19th of July 1603. Here he made what appears to have been an insincere attempt to stab himself, but only inflicted a small wound. His trial at Winchester, November 1603, was conducted with such outrageous unfairness as to shock the opinion of the time, and his gallant bearing in face of the brutality of the Attorney-General, Sir Edward Coke, turned public opinion in his favour. It is now impossible to reach the truth, but on the whole it appears probable that Ralegh was cognizant of the conspiracies, though the evidence produced against him was insufficient to prove his guilt. Much was kept back by the council, and the jury was influenced by knowing that the council thought him guilty. The sentence of death passed on Ralegh, and others tried at about the same time, was in most cases not carried out. Ralegh was sent to the Tower, where he remained till the 9th of March 1616. His estate of Sherborne, which he had transferred to his son, was taken by the king, who availed himself of a technical irregularity in the transfer. A sum of 8000 offered in compensation was only paid in part. Ralegh's confinement was easy, and he applied himself to chemical experiments and literature. He had been known as one of the most poetical of the minor lyric poets of an age of poetry from his youth. In prison he composed many treatises, and the only volume of his vast History of the World published. He also invented an elixir which appears to have been a very formidable quack stimulant. Hope of release and of a renewal of activity never deserted him, and he strove to reach the ear of the king by appealing to successive ministers and favourites. At last he secured his freedom in a way discreditable to all concerned. He promised the king to find a gold mine in Guiana without trenching on a Spanish possession. It must have been notorious to everybody that this was impossible, and the Spanish ambassador, Gondomar, warned the king that the Spaniards had settlements on the coast. The king, who was in need of money, replied that if Ralegh was guilty of piracy he should be executed on his return. Ralegh gave promises he obviously knew he could not keep, and sailed on the 17th of March 1617, relying on the chapter of accidents, and on vague intrigues he had entered into in Savoy and France. The expedition, on which the wreck of his fortune was spent, was ill-appointed and ill-manned. It reached the mouth of the Orinoco on the last day of 1617. Ralegh was ill with fever, and remained at Trinidad. He sent five small vessels up the Orinoco under his most trusted captain, Lawrence Keymis, with whom went his son Walter and a nephew. The expedition found a Spanish settlement on the way to the supposed mine, and a fight ensued in which Sir Walter's son and several Spaniards were killed. After some days of bush fighting with the Spaniards, and of useless search for the mine, Keymis returned to Sir Walter with the news of his son's death and his own utter ruin Stung by Ralegh's reproach Keymis killed himself, and then after a miserable scene of recriminations, hesitations and mutiny, the expedition returned home. Ralegh was arrested, and in pursuance of the king's promise to Gondomar was executed under his old sentence on the 29th of October 1618. During his confinement he descended to some unworthy supplications and devices, but when he knew his end to be inevitable he died with serenity and dignity. References Excerpted from: Encyclopedia Britannica, 11th Ed. Vol XXII. Cambridge: Cambridge University Press, 1910. 879.

Kathleen Raine

Kathleen Jessie Raine CBE (14 June 1908– 6 July 2003) was a British poet, critic and scholar, writing in particular on William Blake, W. B. Yeats and Thomas Taylor. Known for her interest in various forms of spirituality, most prominently Platonism and Neoplatonism, she was a founder member of the Temenos Academy. Life Kathleen Raine was born in Ilford, Essex (now part of London). Her mother was from Scotland and her father was born in Wingate, County Durham. The couple had met as students at Armstrong College in Newcastle upon Tyne. Raine spent part of World War I, 'a few short years’, with her Aunty Peggy Black at the Manse in Great Bavington Northumberland. She commented, “I loved everything about it.” For her it was an idyllic world and is the declared foundation of all her poetry. Raine always remembered Northumberland as Eden: “In Northumberland I knew myself in my own place; and I never 'adjusted’ myself to any other or forgot what I had so briefly but clearly seen and understood and experienced.” This period is described in the first book of her autobiography, Farewell Happy Fields (1973). Raine noted that poetry was deeply ingrained in the daily lives of her maternal ancestors: "On my mother’s side I inherited Scotland’s songs and ballads…sung or recited by my mother, aunts and grandmothers, who had learnt it from their mothers and grandmothers… Poetry was the very essence of life." Raine heard and read the Bible daily at home and at school, coming to know much of it by heart. Her father was an English master at County High School in Ilford. He had studied the poetry of Wordsworth for his M.Litt thesis and had a passion for Shakespeare and Raine saw many Shakespearean plays as a child. From her father she gained a love of etymology and the literary aspect of poetry, the counterpart to her immersion in the poetic oral traditions. She wrote that for her poetry was "not something invented but given…Brought up as I was in a household where poets were so regarded it naturally became my ambition to be a poet". She confided her ambition to her father who was sceptical of the plan. “To my father” she wrote “poets belonged to a higher world, to another plane; to say one wished to become a poet was to him something like saying one wished to write the fifth gospel”. Her mother encouraged Raine’s poetry from babyhood. Raine was educated at County High School, Ilford, and then read natural sciences, including botany and zoology, on an Exhibition at Girton College, Cambridge, receiving her master’s degree in 1929. While in Cambridge she met Jacob Bronowski, William Empson, Humphrey Jennings and Malcolm Lowry. In later life she was a friend and colleague of the kabbalist author and teacher, Z’ev ben Shimon Halevi. Raine married Hugh Sykes Davies in 1930. She left Davies for Charles Madge and they had two children together, but their marriage also broke up. She also held an unrequited passion for Gavin Maxwell. The title of Maxwell’s most famous book Ring of Bright Water, subsequently made into a film of the same name starring Virginia McKenna, was taken from a line in Raine’s poem “The Marriage of Psyche”. The relationship with Maxwell ended in 1956 when Raine lost his pet otter, Mijbil, indirectly causing the animal’s death. Raine held herself responsible, not only for losing Mijbil but for a curse she had uttered shortly beforehand, frustrated by Maxwell’s homosexuality: “Let Gavin suffer in this place as I am suffering now.” Raine blamed herself thereafter for all Maxwell’s misfortunes, beginning with Mijbil’s death and ending with the cancer from which he died in 1969. From 1939 to 1941, Raine and her children shared a house at 49a Wordsworth Street in Penrith with Janet Adam Smith and Michael Roberts and later lived in Martindale. She was a friend of Winifred Nicholson. Raine’s two children were Anna Hopwell Madge (born 1934) and James Wolf Madge (1936–2006). In 1959, James married Jennifer Alliston, the daughter of Raine’s friend, architect and town planner Jane Drew with architect James Alliston. Drew was a direct descendant of the neoplatonist Thomas Taylor whom Raine studied and wrote about. Thus a link was made between Raine and Taylor by the two children of her son’s marriage. At the time of her death, following an accident, Raine resided in London. Works * Her first book of poetry, Stone And Flower (1943), was published by Tambimuttu, and illustrated by Barbara Hepworth. In 1946 the collection, Living in Time, was released, followed by The Pythoness in 1949. Her Collected Poems (2000) drew from eleven previous volumes of poetry. Her classics include Who Are We? There were many subsequent prose and poetry works, including her scholarly masterwork, the two-volume Blake and Tradition (published in 1969, and derived from the Andrew Mellon Lectures she delivered at the National Gallery of Art in Washington D.C in 1968), which demonstrated the antiquity, coherence and integrity of William Blake’s philosophy, refuting T S Eliot’s assertion to the contrary (Collected Essays, 1932). * The story of her life is told in a three-volume autobiography notable for the author’s attempts to impose a structure on her memories that is quasi mythical, thus relating her own life to a larger pattern. This reflects patterns in her poetry, influenced by W. B. Yeats. The three books were originally published separately and later brought together in a single volume, entitled Autobiographies (in conscious imitation of Yeats), edited by Lucien Jenkins. * Raine made translations of Honoré de Balzac’s Cousine Bette (Cousin Bette, 1948) and Illusions perdues (Lost Illusions, 1951). * She was a frequent contributor to the quarterly journal, Studies in Comparative Religion, which dealt with religious symbolism and the Traditionalist perspective. With Keith Critchlow, Brian Keeble and Philip Sherrard she co-founded, in 1981, Temenos, a periodical, and later, in 1990, the Temenos Academy of Integral Studies, a teaching academy that stressed a multistranded universalist philosophy, and in support of her generally Platonist and Neoplatonist views on poetry and culture. She studied Thomas Taylor and published a selection of his works. * Raine was a research fellow at Girton College from 1955 to 1961. She taught at Harvard for at least one course about Myth and Literature offered to teachers and professors in the summer. She also spoke on Yeats and Blake and other topics at the Yeats School in Sligo, Ireland in the summer of 1974. A professor at Cambridge and the author of a number of scholarly books, she was an expert on Coleridge, Blake, and Yeats. * The contemporary composer David Matthews has written a song-cycle, The Golden Kingdom, on some of Raine’s poems. Honours * Raine received honorary doctorates from universities in the United Kingdom, France and the United States and won numerous awards and honors, including the Edna St. Vincent Millay Prize from the American Poetry Society (date unknown), and also: * 1952 Harriet Monroe Memorial Prize * 1953 Arts Council Award * 1961 Oscar Blumenthal Prize * 1970 Cholmondeley Award * 1972 Smith Literary Award * 1992 Queen’s Gold Medal for Poetry * 2000 Order of the British Empire, Commander * 2000 L’Ordre des Arts et des Lettres, Commandeur Bibliography Poetry collections * Stone And Flower, (p.u.), 1943 * Living in Time, (p.u.) 1946 * The Pythoness. (p.u.), 1949 * The Year One: Poems, H. Hamilton, 1952 * The Hollow Hill: and other poems 1960–1964, H Hamilton, 1965 * Six Dreams: and other poems, Enitharmon, 1968 * Penguin Modern Poets 17, Penguin, 1970 * Lost Country, H. Hamilton, 1971 * On a Deserted Shore, H. Hamilton, 1973 * The Oracle in the Heart, and other poems, 1975–1978, Dolmen Press/G. Allen & Unwin, 1980 * Collected poems, 1935–1980, Allen & Unwin, 1981 * The Presence: Poems, 1984–87, Golgonooza Press, 1987 * Selected Poems, Golgonooza Press 1988 * Living with Mystery: Poems 1987-91, Golgonooza Press, 1992 * The Collected Poems of Kathleen Raine, ed. Brian Keeble, Golgonooza Press, 2000 * Passion Prose * Defending Ancient Springs, 1967 * Thomas Taylor the Platonist. Selected Writings, Raine, K. and Harper, G.M., eds., Bollingen Series 88, London: Routledge & Kegan Paul, 1969 (also pub. Princeton University, USA). * Blake and Tradition, 2 Volumes, Routledge & Kegan Paul, 1969 * William Blake, The World of Art Library - Artists, Arts Book Society, Thames and Hudson, London, 1970 (216 pp, 156 illustrations), * Yeats, the Tarot and the Golden Dawn, Dolmen Press, 1973 * The Inner Journey of the Poet, Golgonooza Press, 1976 * From Blake to a Vision, (p.u.), 1979 * Blake and The New Age, George Allen and Unwin, 1979 * Blake and Antiquity, Routledge & Kegan Paul, 1979 (an abbreviation of the 1969 Blake and Tradition; republished in 2002 by Routledge Classics with a new introduction by Raine) * The Human Face of God: William Blake and the Book of Job, Thames and Hudson, 1982 * Yeats the Initiate, George Allen & Unwin, 1987 * W. B. Yeats and the Learning of the Imagination, Golgonooza Press, 1999. * Seeing God Everywhere: Essays on Nature and the Sacred (World Wisdom, 2004) (contributed essay) * The Betrayal of Tradition: Essays on the Spiritual Crisis of Modernity (World Wisdom, 2005) (contributed essay) Autobiography * Farewell Happy Fields, Hamilton/G. Braziller, 1974 * The Land Unknown, Hamilton/G. Braziller, 1975 * The Lion’s Mouth, Hamilton/G. Braziller, 1977. autob. * Autobiographies, ed. Lucien Jenkins, Skoob Books, 1991 Biography * No End to Snowdrops, Philippa Bernard. Shepheard-Walwyn (Publishers) Ltd, 2009, ISBN 978-0-85683-268-0 Adaptations * Who stands at the door in the storm and rain from The Year One: Poems (1952) was set by composer Tarik O’Regan for unaccompanied chorus in 2006 with the title Threshold of Night; it was first recorded on the 2008 album of the same name. A number of poems were also set by Geoffrey Bush; these settings were recorded by Benjamin Luxon for Chandos. References Wikipedia—https://en.wikipedia.org/wiki/Kathleen_Raine

Kenneth Rexroth

Kenneth Charles Marion Rexroth (December 22, 1905– June 6, 1982) was an American poet, translator and critical essayist. He is regarded as a central figure in the San Francisco Renaissance, and paved the groundwork for the movement. Although he did not consider himself to be a Beat poet, and disliked the association, he was dubbed the “Father of the Beats” by Time Magazine. He was among the first poets in the United States to explore traditional Japanese poetic forms such as haiku. He was also a prolific reader of Chinese literature. Rexroth had two daughters, Mary (who later changed her name to Mariana) and Katharine, by his third wife, Marthe Larsen. Early years Rexroth was born Kenneth Charles Marion Rexroth in South Bend, Indiana, the son of Charles Rexroth, a pharmaceuticals salesman, and Delia Reed. His childhood was troubled by his father’s alcoholism and his mother’s chronic illness. His mother died in 1916 and his father in 1919, after which he went to live with his aunt in Chicago and enrolled in the Art Institute of Chicago. He spent his teenage years as an art student and soda jerk, along with other odd jobs. In 1923–1924 he was imprisoned during a raid on a Near North Side bar that he frequented; the police alleged he was part owner of a brothel. He lived in a decrepit jail cell under the care of four black cellmates until his legal guardian could bail him out. While in Chicago, he frequented the homes and meeting places of political radicals, quickly identifying with the concerns of an agitated proletarian class and reciting poetry from a soapbox to crowds on street corners downtown. Travels An aborted attempt at a trip around the world with a friend piqued his interest in the American Southwest, and he began a tour through Kansas, Colorado and New Mexico, moving up and down the eastern foothills of the Rocky Mountains. He moved to Greenwich Village and attended The New School for a while before dropping out to live as a postulant in Holy Cross Monastery (West Park, New York). The lifestyle of meditation, silence and artistic creation suited him, and he later recalled it as the happiest time of his life. However, he felt strongly that he did not have a vocation there, and left with a solidified admiration for the communal rites and values of monasticism. At age nineteen, he hitchhiked across the country, taking odd jobs and working a stint as a Forest Service trail crew hand, cook, and packer in the Pacific Northwest, at the Marblemount Ranger Station. Later he was able to board a steamship in Hoboken, exploring Mexico and South America before spending a week in Paris to meet many notable avant-garde figures, notably Tristan Tzara and the Surrealists. He considered staying on in Paris, but an American friend urged him not to become just another expatriate and he returned home. After meeting his first wife, he moved to San Francisco; he would live in California the rest of his life. Love, marriage, sacrament Rexroth viewed love for another person as a sacramental act that could connect one with a transcendent, universal awareness. In his introduction to his poem The Phoenix and the Tortoise, Rexroth articulated his understanding of love and marriage: “The process as I see it goes something like this: from abandon to erotic mysticism, from erotic mysticism to the ethical mysticism of sacramental marriage, thence to the realization of the ethical mysticism of universal responsibility.” Rexroth married Andrée Dutcher in 1927, a commercial artist and painter from Chicago. He claimed to have fallen in love with her at first sight when he saw her in the doorway of the apartment building he was renting. He encouraged Dutcher to pursue non-commercial painting, and she gave him feedback on his writing. The two shared many interests and what Rexroth described as a perfect relationship. Their marriage deteriorated, however, and the couple was divorced near Rexroth’s 35th birthday. Andrée died of complications from epilepsy shortly after, in 1940. Her death triggered great sadness in Rexroth, who wrote a number of elegiac poems in her honor. Within a year of Andrée’s death, Rexroth married the nurse and poet Marie Kass. They opened up their home to weekly literary discussions, anti-war protesters, and Japanese-American convalescents avoiding internment. The two separated in 1948. In 1949, Rexroth traveled to Europe with Marthe Larsen. The two were married in Aix-en-Provence despite Rexroth still being legally married to Marie. When the couple returned to the USA, Marthe was pregnant. They had had two daughters, Mary and Katherine, by 1955, when Rexroth’s divorce from Marie finally came through. In 1956, Marthe fell in love with the poet, Robert Creeley, and she later left Kenneth despite his desperate pleas for her to stay. Rexroth later removed all instances of her name from his poetry. After living in San Francisco for 41 years, Rexroth moved to Santa Barbara in 1968. He taught two courses at UCSB. After a few years, he married Carol Tinker, his longtime assistant. They remained married until Rexroth’s death in 1982. Poetic influences Rexroth was the central figure in San Francisco Bay Area poetry from the 30s through the 60s and exercised a major and early influence over the evolution of the area’s local artistic culture and social counterculture. Bay Area poetry in the 40s and 50s was substantially the creation of Rexroth, along with Robert Duncan, William Everson (Brother Antoninus), Philip Lamantia, Jack Spicer, Bob Kaufman, Lawrence Ferlinghetti, and others, and Rexroth’s centrality was generally acknowledged. His prose on social subjects was an incitement, a participant, a witness and a history of the emergence of this counterculture. His weekly column for the San Francisco Chronicle was, while it survived, a lodestar of this movement. Much of Rexroth’s work can be classified as “erotic” or “love poetry,” given his deep fascination with transcendent love. According to Hamill and Kleiner, “nowhere is Rexroth’s verse more fully realized than in his erotic poetry”. His poetry is marked by a sensitivity to Asian forms as well as an appreciation of Ancient Greek lyric poetry, particularly that of Sappho. Rexroth’s poetic voice is similar to that of Tu Fu (whom he translated), expressing indignation with the inequities of the world from an existential vantage. During the 1970s Rexroth, along with the scholar Chung Ling, translated the notable Song Dynasty poet Li Ch’ing-chao and an anthology of Chinese women poets, titled The Orchid Boat. With The Love Poems of Marichiko, Rexroth claimed to have translated the poetry of a contemporary, “young Japanese woman poet,” but it was later disclosed that he was the author, and he gained critical recognition for having conveyed so authentically the feelings of someone of another gender and culture. Linda Hamalian, his biographer, suggests that, “translating the work of women poets from China and Japan reveals a transformation of both heart and mind”. Rexroth’s poetry, essays and journalism reflect his interests in jazz, politics, culture, and ecology. The Beat Generation With Rexroth acting as master of ceremonies, Allen Ginsberg, Philip Lamantia, Michael McClure, Gary Snyder, and Philip Whalen read at the famous poetry-reading at the Six Gallery in San Francisco on October 7, 1955. Rexroth later served as a defense witness at Ginsberg’s obscenity trial concerning the event. Rexroth had previously sent Ginsberg (new in the Bay Area) to meet Snyder, and was thus responsible for their friendship. Lawrence Ferlinghetti named Rexroth as one of his own mentors. Rexroth was eventually critical of the Beat movement. Years after the Six Gallery reading, TIME magazine referred to him as “Father of the Beats.” To this he replied, “an entomologist is not a bug.” Rexroth appears in Jack Kerouac’s novel The Dharma Bums as the character Reinhold Cacoethes. Critical work Rexroth wrote a large body of literary and cultural criticism, much of which has been compiled in anthologies. His incisive views of topics ranging from D. H. Lawrence to gnosticism testify to his familiarity with the world and extensive self-education. In 1973, Rexroth wrote the Encyclopædia Britannica article on “literature”. Despite the value of his critical prose, he dismissed these works as being financially motivated. In the introduction to Bird in the Bush: Obvious Essays, he wrote that “practicing writers and artists notoriously have very little use for critics. I am a practicing writer and artist.... Poets are very ill advised to write prose for anything but money. The only possible exceptions are anger and logrolling for one’s friends.” A notable exception would appear to be his long association with KPFA, the Berkeley listener-supported, non-commercial FM station. Prior to its going on the air in 1949, its founder Lewis Hill outlined his plans to a gathering of San Francisco artists and writers who met in Rexroth’s apartment. For years Rexroth presented “Books”, a weekly half-hour program of reviews which he ad libbed into a tape recorder at home. Much of his prose writing, including his autobiography, began as KPFA broadcasts. Teaching Rexroth was a lecturer at the University of California, Santa Barbara from 1968 to 1973. He became famous among students—and infamous with the administration—for his witty and inflammatory remarks on trends of anti-intellectualism and laziness on campus. Politics As a young man in Chicago, Rexroth was heavily involved with the anarchist movement and was active in the IWW, attending and participating in politically charged readings and lectures. He was a regular at meetings of the Washington Park Bug Club, a loose assemblage of various intellectuals and revolutionaries. Such relationships allowed him to recite poems by other writers as well as gain experience with the political climate and revolutionary currents of the day. Lawrence Ferlinghetti recalled that Rexroth self-identified as a philosophical anarchist, regularly associated with other anarchists in North Beach, and sold Italian anarchist newspapers at the City Lights Bookstore. His ideas later fermented into a concept that he termed the “social lie:” that societies are governed by tactics of deception in order to maintain a hierarchy of exploitation and servitude. He saw this as pervasive in all elements of culture, including popular literature, education, and social norms. Rexroth, a pacifist, was a conscientious objector during World War II and was actively involved with helping Japanese-Americans forcibly sent to internment camps during the war. Last years Rexroth died in Santa Barbara on June 6, 1982. He had spent his final years translating Japanese and Chinese women poets, as well as promoting the work of female poets in America and overseas. He is buried on the grounds of the Santa Barbara Cemetery Association overlooking the sea, and while all the other graves face inland, his alone faces the Pacific. His epitaph reads, "As the full moon rises / The swan sings in sleep / On the lake of the mind." According to association records, he is interred near the corner of Island and Bluff boulevards, in Block C of the Sunset section, Plot 18. Works As author (all titles poetry except where indicated) * In What Hour? (1940). New York: The Macmillan Company * The Phoenix and the Tortoise (1944). New York: New Directions Press * The Art of Worldly Wisdom (1949). Prairie City, Il: Decker Press (reissued in 1953 by Golden Goose and 1980 by Morrow & Covici) * The Signature of All Things (1949). New York: New Directions * Beyond the Mountains: Four Plays in Verse (1951). New York: New Directions Press * The Dragon and the Unicorn (1952). New York: New Directions Press * Thou Shalt Not Kill: A Memorial for Dylan Thomas (1955). Mill Valley: Goad Press * In Defense of the Earth (1956). New York: New Directions Press * Bird in the Bush: Obvious Essays (1959) New York: New Directions * Assays (1961) New York: New Directions (essays) * Natural Numbers: New and Selected Poems (1963). New York: New Directions * Classics Revisited (1964; 1986). New York: New Directions (essays). * Flower Wreath Hill: Later Poems (1991) * Collected Shorter Poems (1966). New York: New Directions. * An Autobiographical Novel (1966). New York: Doubleday (prose autobiography)(expanded edition 1991 by New Directions) * Heart’s Garden, The Garden’s Heart (1967). Cambridge: Pym-Randall Press * Collected Longer Poems (1968). New York: New Directions. * The Alternative Society: Essays from the Other World (1970). Herder & Herder. * With Eye and Ear (1970) Herder & Herder. * American Poetry in the Twentieth Century (1971). New York: Herder & Herder (essay). * Sky, Sea, Birds, Trees, Earth, House, Beasts, Flowers (1971). Santa Barbara: Unicorn Press * The Elastic Retort: Essays in Literature and Ideas (1973). Seabury. * Communalism: From Its Origins to the Twentieth Century (1974). Seabury (non-fiction). * New Poems (1974). New York: New Directions * The Silver Swan (1976). Port Townsend: Copper Canyon Press * On Flower Wreath Hill (1976). Burnaby, British Columbia: Blackfish Press * The Love Poems of Marichiko (1978). Santa Barbara: Christopher’s Books * The Morning Star (1979) New York: New Directions * Saucy Limericks & Christmas Cheer (1980). Santa Barbara: Bradford Morrow * Between Two Wars: Selected Poems Written Before World War II (1982). Labyrinth Editions & The Iris Press * Selected Poems (1984). New York: New Directions * World Outside the Window: Selected Essays (1987). New York: New Directions * More Classics Revisited (1989). New York: New Directions (essays). * An Autobiographical Novel (1964; expanded edition, 1991). New York: New Directions * Kenneth Rexroth & James Laughlin: Selected Letters (1991). New York: Norton. * Flower Wreath Hill: Later Poems (1991). New York: New Directions. * Sacramental Acts: The Love Poems (1997). Copper Canyon Press. * Swords That Shall Not Strike: Poems of Protest and Rebellion (1999). Glad Day. * Complete Poems (2003). Port Townsend: Copper Canyon Press. * In the Sierra: Mountain Writings (2012). New York: New Directions (poems and prose). As translator * (in chronological order) * Fourteen Poems by O. V. de L.-Milosz. (1952), San Francisco: Peregrine Press. Translated by Kenneth Rexroth, with illustrations by Edward Hagedorn. Second edition. (Port Townsend, WA): Copper Canyon Press, (1983). Paperbound. Issued without the Hagedorn illustrations. * 30 Spanish Poems of Love and Exile (1956), San Francisco: City Lights Books. * One Hundred Poems from the Japanese (1955), New York: New Directions. * One Hundred Poems From the Chinese (1956), New York: New Directions. * Poems from the Greek Anthology. (1962), Ann Arbor: Ann Arbor Paperbacks: The University of Michigan Press. * Pierre Reverdy: Selected Poems (1969), New York: New Directions * Love and the Turning Year: One Hundred More Poems from the Chinese (1970), New York: New Directions. * 100 Poems from the French (1972), Pym-Randall. * Orchid Boat (1972), Seabury Press. with Ling Chung; reprinted as Women Poets of China, New York: New Directions * 100 More Poems from the Japanese (1976), New York: New Directions. * The Burning Heart (1977), Seabury Press. with Ikuko Atsumi; reprinted as Women Poets of Japan, New York: New Directions * Seasons of Sacred Lust: Selected Poems of Kazuko Shiraishi. (1978), (New York): New Directions. * Complete Poems of Li Ch’ing-Chao. (1979), (New York): New Directions. Discography * Poetry Readings in the Cellar (with the Cellar Jazz Quintet): Kenneth Rexroth & Lawrence Ferlinghetti (1957) Fantasy #7002 LP (Spoken Word) * Rexroth: Poetry and Jazz at the Blackhawk (1958) Fantasy #7008 LP (Spoken Word) References Wikipedia—https://en.wikipedia.org/wiki/Kenneth_Rexroth

Lola Ridge

Lola Ridge, born Rose Emily Ridge (12 December 1873 Dublin– 19 May 1941 Brooklyn) was an Irish-American anarchist poet and an influential editor of avant-garde, feminist, and Marxist publications. She is best remembered for her long poems and poetic sequences, published in numerous magazines and collected in five books of poetry. Along with other political poets of the early Modernist period, Ridge has received renewed critical attention since the beginning of the 21st century and is praised for making poetry directly from harsh urban life. A new selection of her poetry was published in 2007 and a biography in 2016. Early life and marriages She was born Rose Emily Ridge in 1873 in Dublin, Ireland to Joseph Henry and Emma (Reilly) Ridge and was their only surviving child. When Rose was 13, her mother emigrated with her to New Zealand, where Emma later married a Scottish miner. Rose Ridge became politically active there. In 1895, while living in New Zealand, Rose Ridge married the manager of a gold mine. After they divorced, she moved to Sydney, attending Trinity College and also studying painting at Académie Julienne with Rossi Ashton. Ridge emigrated to the United States after her mother died, settling first in San Francisco in 1907. There she identified as Lola Ridge, a poet and painter. She had her first poem published in the US in 1908 in Overland Monthly. She later moved to New York, settling in Greenwich Village. After supporting herself writing ad copy, she left that to focus on her poetry. Working as a model and in a factory, she became involved in working class politics and protests. Peter Quartermain described her in the Dictionary of Literary Biography described her as “the nearest prototype in her time of the proletarian poet of class conflict, voicing social protest or revolutionary idealism.” Lola Ridge’s first book of poetry was published in 1918. On 22 October 1919, she married David Lawson, a fellow radical. Literary career After living for some time in New York, Ridge gained considerable notice with her long poem, The Ghetto, first published in 1918 in The New Republic. It was included in her first book, The Ghetto and Other Poems, published that year. The title poem portrays the Jewish immigrant community of Hester Street in the Lower East Side of New York. It explores the effects of capitalism, gender and generational conflict in ways that bear comparison to the works of Charles Reznikoff. But she also expressed the individuality of numerous immigrants, to show they were as various as other Americans and shared many human qualities. The book was a critical success. This recognition led to opportunities for Ridge; she became involved with and edited new avant-garde magazines such as Others in 1919, and Broom, founded in 1921 by Harold Loeb, for which she was the American editor from 1922–1923, while he published in Rome. While working with Loeb, she had an apartment next to the basement office of Broom in the townhouse of his estranged wife Marjorie Content. Ridge published 61 poems from 1908 to 1937 in such leading magazines as Poetry, New Republic, and The Saturday Review of Literature. She was a contributing editor to The New Masses. She wrote and published four more books of poetry through 1935, and single poems into 1937. Her work was also collected in anthologies. Her third book, Red Flag (1927) collected much of her political poetry. In 1929, Ridge was accepted for a residency at the writers colony of Yaddo. That year she published Firehead, a long poem that was a radical retelling of Jesus’ crucifixion. It and her last book, published in 1935 were more philosophical compared to her earlier work. She was awarded a Guggenheim Fellowship in 1935. She received the Shelley Memorial Award by the Poetry Society of America for the years 1934 and 1935. Publishing until 1937, she died in 1941 of pulmonary tuberculosis. Political activities Ridge did not join any political party, but was active in radical causes. She protested against the executions of Sacco and Vanzetti in 1927, and was among those arrested that day. In the 1930s, she supported the defence of Tom Mooney and Warren Billings, who had been framed for a 1916 bombing at the Preparedness Day Parade in San Francisco. Quotation My doll Janie has no waist and her body is like a tub with feet on it. Sometimes I beat her but I always kiss her afterwards. When I have kissed all the paint off her body I shall tie a ribbon about it so she shan’t look shabby. But it must be blue— it mustn’t be pink – pink shows the dirt on her face that won’t wash off. I beat Janie and beat her... but still she smiled... so I scratched her between the eyes with a pin. Now she doesn’t love me any more... she scowls... and scowls... though I’ve begged her to forgive me and poured sugar in the hole at the back of her head. —from Sun-Up and Other Poems Works * The Ghetto, and Other Poems, Huebsch, 1918. * Sun-Up, and Other Poems, Huebsch, 1920 * Red Flag, Viking, 1927. * Firehead, Payson & Clarke, 1929. * Dance of Fire, Smith & Haas, 1935. * Daniel Tobin, ed. (2007). Light in Hand: Selected Early Poems. Quale Press. ISBN 978-0-9792999-1-9. Legacy and honours * 1934 and 1935, Ridge won the Shelley Memorial Award, given by the Poetry Society of America * Her papers are held at Smith College. 21st-century Appreciation * With renewed scholarly interest in her work since the late 20th century, a selection of her first three books of poetry was published posthumously as Light in Hand: Selected Early Poems (2007), edited and with an introduction by Daniel Tobin. He notes that she is “part of the confluence of politics, culture and the burgeoning of women’s voices at the advent of modernism to the start of World War II.” * Robert Pinsky, former Poet Laureate of the United States, wrote that contemporary readers needed “to appreciate the magnitude and freshness of her enterprise: to make poetry out of the actual city.” He likens her to 18th-century British poet William Blake in her ability to express the perspective of children, evoking “innocence and experience in a way that blurs the ambiguous boundary between them.” Pinsky also notes that Ridge preceded American Hart Crane, known for his long poem The Bridge about the Brooklyn Bridge, in her assigning "ecstatic, high language of the past, especially of the Elizabethans, to the squalid and the sublime realities of the actual, 20th-century American city.” References Wikipedia—https://en.wikipedia.org/wiki/Lola_Ridge

John Crowe Ransom

John Crowe Ransom (April 30, 1888– July 3, 1974) was an American educator, scholar, literary critic, poet, essayist and editor. He is considered to be a founder of the New Criticism school of literary criticism. As a faculty member at Kenyon College, he was the first editor of the widely regarded Kenyon Review. Highly respected as a teacher and mentor to a generation of accomplished students, he also was a prize-winning poet and essayist. Biography Early life John Crowe Ransom was born on April 30, 1888 in Pulaski, Tennessee. His father, John James Ransom (1853–1934) was a Methodist minister. His mother was Sara Ella (Crowe) Ransom (1859–1947). He had two sisters, Annie Phillips and Ella Irene, and one brother, Richard. He grew up in Spring Hill, Franklin, Springfield, and Nashville, Tennessee. He was home schooled until age ten. From 1899 to 1903, he attended the Bowen School, a public school whose headmaster was Vanderbilt alumnus Angus Gordon Bowen. He entered Vanderbilt University in Nashville at the age of fifteen, graduating first in his class in 1909. His philosophy professor was Collins Denny, later a Bishop of the Methodist Episcopal Church, South. Ransom interrupted his studies for two years to teach sixth and seventh grades at the Taylorsville High School in Taylorsville, Mississippi, followed by teaching Latin and Greek at the Haynes-McLean School in Lewisburg, Tennessee. After teaching one more year in Lewisburg, he was selected as a Rhodes Scholar. He attended Oxford University’s Christ Church, 1910–13, where he read the “Greats”, as the course in Greek and Latin classics is called. Career He taught Latin for one year at the Hotchkiss School alongside Samuel Claggett Chew (1888–1960). He was then appointed to the English department at Vanderbilt University in 1914. During the First World War, he served as an artillery officer in France. After the war, he returned to Vanderbilt. He was a founding member of the Fugitives, a Southern literary group of sixteen writers that functioned primarily as a kind of poetry workshop and included Donald Davidson, Allen Tate, and Robert Penn Warren. Under their influence, Ransom, whose first interest had been philosophy (specifically John Dewey and American pragmatism) began writing poetry. His first volume of poems, Poems about God (1919), was praised by Robert Frost and Robert Graves. The Fugitive Group had a special interest in Modernist poetry and, under Ransom’s editorship, started a short-lived but highly influential magazine, called The Fugitive, which published American Modernist poets, mainly from the South (though they also published Northerners like Hart Crane). Out of all the Fugitive poets, Norton poetry editors Richard Ellmann and Robert O’Clair opined that, "[Ransom’s poems were] among the most remarkable," characterizing his poetry as “quirky” and “at times eccentric.” In 1930, alongside eleven other Southern Agrarians, he published the conservative, Agrarian manifesto I’ll Take My Stand: The South and the Agrarian Tradition, which assailed the tide of industrialism that appeared to be sweeping away traditional Southern culture. The Agrarians believed that the Southern tradition, rooted in the pre-Civil War agricultural model, was the answer to the South’s economic and cultural problems. His contribution to I’ll Take My Stand is his essay Reconstructed but Unregenerate which starts the book and lays out the Southern Agrarians’ basic argument. In various essays influenced by his Agrarian beliefs, Ransom defended the manifesto’s assertion that modern industrial capitalism was a dehumanizing force that the South should reject in favor of an agrarian economic model. However, by the late 1930s he began to distance himself from the movement, and in 1945, he publicly criticized it. He remained an active essayist until his death even though, by the 1970s, the popularity and influence of the New Critics had seriously diminished. In 1937, he accepted a position at Kenyon College in Gambier, Ohio. He was the founding editor of the Kenyon Review, and continued as editor until his retirement in 1959. In 1966, he was elected to the American Academy of Arts and Letters. He has few peers among twentieth-century American university teachers of humanities; his distinguished students included Donald Davidson, Randall Jarrell, Robert Lowell, Andrew Lytle, Allen Tate, Peter Taylor, Robie Macauley, Robert Penn Warren, E.L. Doctorow, Cleanth Brooks, Richard M. Weaver, and Constantinos Patrides (himself a Rhodes Scholar, who dedicated his monograph on John Milton’s Lycidas to Ransom’s memory). His literary reputation is based chiefly on two collections of poetry, Chills and Fever (1924) and Two Gentlemen in Bonds (1927). Believing he had no new themes upon which to write, his subsequent poetic activity consisted almost entirely of revising ("tinkering", he called it) his earlier poems. Hence Ransom’s reputation as a poet is based on the fewer than 160 poems he wrote and published between 1916 and 1927. In 1963, the poet/critic and former Ransom student Randall Jarrell published an essay in which he highly praised Ransom’s poetry: In John Crowe Ransom’s best poems every part is subordinated to the whole, and the whole is accomplished with astonishing exactness and thoroughness. Their economy, precision, and restraint gives the poems, sometimes, an original yet impersonal perfection. . .And sometimes their phrasing is magical—light as air, soft as dew, the real old-fashioned enchantment. The poems satisfy our nostalgia for the past, yet themselves have none. They are reports . .of our world’s old war between power and love, between those who efficiently and practically know and those who are "content to feel/ What others understand." And these reports of battles are, somehow, bewitching. . .Ransom’s poems profess their limitations so candidly, almost as a principle of style, that it is hardly necessary to say they are not poems of the largest scope or the greatest intensity. But they are some of the most original poems ever written, just as Ransom is one of the best, most original, and most sympathetic poets alive; it is easy to see that his poetry will always be cared for, since he has written poems that are perfectly realized and occasionally almost perfect.” Despite the brevity of his poetic career and output, Ransom won the Bollingen Prize for Poetry in 1951. His 1963 Selected Poems received the National Book Award the following year. He primarily wrote short poems examining the ironic and unsentimental nature of life (with domestic life in the American South being a major theme). An example of his Southern style is his poem “Janet Waking”, which “mixes modernist with old-fashioned country rhetoric.” He was noted as a strict formalist, using both regular rhyme and meter in almost all of his poems. He also occasionally employed archaic diction. Ellman and O’Clair note that "[Ransom] defends formalism because he sees in it a check on bluntness, on brutality. Without formalism, he insists, poets simply rape or murder their subjects." He was a leading figure of the school of literary criticism known as the New Criticism, which gained its name from his 1941 volume of essays The New Criticism. The New Critical theory, which dominated American literary thought throughout the middle 20th century, emphasized close reading, and criticism based on the texts themselves rather than on non-textual bias or non-textual history. In his seminal 1937 essay, “Criticism, Inc.” Ransom laid out his ideal form of literary criticism stating that, “criticism must become more scientific, or precise and systematic.” To this end, he argued that personal responses to literature, historical scholarship, linguistic scholarship, and what he termed “moral studies” should not influence literary criticism. He also argued that literary critics should regard a poem as an aesthetic object. Many of the ideas he explained in this essay would become very important in the development of The New Criticism. “Criticism, Inc.” and a number of Ransom’s other theoretical essays set forth some of the guiding principles that the New Critics would build upon. Still, his former students, specifically Allen Tate, Cleanth Brooks, and Robert Penn Warren, had a greater hand in developing many of the key concepts (like “close reading”) that later came to define the New Criticism. Personal life In 1920, he married Robb Reavill; they raised three children. Death He died on July 3, 1974 in Gambier at the age of eighty-six. He was buried at the Kenyon College Cemetery in Gambier. Bibliography Collection of poems * Chills and Fever (A.A. Knopf, 1924). * Grace after Meat (1924). * God without thunder: an unorthodox defense of orthodoxy (Archon Books, 1965). * Two Gentlemen in Bonds (Knopf, 1927). Anthologies * The Poetry of 1900-1950 (1951). * The Past Half-century in Literature: A Symposium (National Council of English Teachers, 1952). * Poems and Essays (Random House, 1965). * Beating the bushes: selected essays, 1941-1970 (New Directors, 1972). Textbook * A College Primer of Writing (H.Holt and Company, 1943). References Wikipedia—https://en.wikipedia.org/wiki/John_Crowe_Ransom

Isaac Rosenberg

Isaac Rosenberg (25 November 1890– 1 April 1918) was an English poet and artist. His Poems from the Trenches are recognized as some of the most outstanding poetry written during the First World War. Early life Isaac Rosenberg was born in Bristol, the second of six children and the eldest son of his parents (his twin brother died at birth), Barnett (formerly Dovber) and Hacha Rosenberg, who were Lithuanian Jewish immigrants to Great Britain from Dvinsk (now in Latvia). In 1897, the family moved to Stepney, a poor district of the East End of London, and one with a strong Jewish community. Isaac Rosenberg attended St. Paul’s Primary School at Wellclose Square, St George in the East parish. Later, he went to the Baker Street Board School in Stepney, which had a strong Jewish presence. In 1902, he received a good conduct award and was allowed to take classes at the Arts and Crafts School in Stepney Green. In December 1904, he left the Baker Street School, and in January 1905, started an apprenticeship with Carl Hentschel, an engraver from Fleet Street. He became interested in both poetry and visual art, and started to attend evening classes at Birkbeck College. He withdrew from his apprenticeship in January 1911, as he had managed to find the finances to attend the Slade School of Fine Art at University College, London (UCL). During his time at Slade School, Rosenberg notably studied alongside David Bomberg, Mark Gertler, Stanley Spencer, Paul Nash, Edward Wadsworth, Dora Carrington, William Roberts, and Christopher Nevinson. He was taken up by Laurence Binyon and Edward Marsh, and began to write poetry seriously, but he suffered from ill-health. He published a pamphlet of ten poems, Night and Day, in 1912. He also exhibited paintings at the Whitechapel Gallery in 1914. Afraid that his chronic bronchitis would worsen, Rosenberg hoped to cure himself by relocating in 1914 to the warmer climate of South Africa, where his sister Mina lived in Cape Town. The Jewish Educational Aid Society of London helped by paying the fare. After arriving in Cape Town in the end of June 1914, he composed a poem On Receiving News of the War. While many wrote about war as patriotic sacrifice, Rosenberg was critical of it from the onset. However, feeling better and hoping to find employment as an artist in Britain, Rosenberg returned home in March 1915. He published a second collection of poems, Youth and then after being unable to find a permanent job enlisted in the British Army at the end of October 1915. He asked that half of his pay was sent to his mother. In a personal letter, Rosenberg described his attitude towards war, “I never joined the army for patriotic reasons. Nothing can justify war. I suppose we must all fight to get the trouble over.” First World War Rosenberg was assigned to the 12th Bantam Battalion of the Suffolk Regiment, a bantam being a designation for men under the usual minimum height of 5'3". After turning down an offer to apply for a commission to become a lance corporal, Rosenberg was transferred, first, to the South Lancashire Regiment, then, to the The King’s Own Royal Lancaster Regiment. In June 1916, he was sent with his unit to serve on the Western Front in France, where he arrived on the 3rd of June. He continued to write poetry while serving in the trenches, including Break of Day in the Trenches, Returning we Hear the Larks, and Dead Man’s Dump. In December 1916, the Poetry Magazine published his two poems. In January 1917, Rosenberg reported sick and his family and friends asked his superiors to remove him from the front lines; he was transferred to the Fortieth Division Works Battalion and started to deliver barbed wire to the trenches. He wrote his poem Dead Man’s Dump during this period. In June, he was temporarily assigned to the 229 Field Company, Royal Engineers. In September 1916, he spent ten days in London on leave. After returning to his old unit, he fell sick in October and spent two months in the 51st General Hospital. After release, he was transferred to the 1st Battalion of King’s Own Royal Regiment (KORL). He applied for a transfer to the one of all-Jewish battalions formed in Mesopotamia, but historians have been unable to track his application. On March 21, 1918, the German Army started its Spring offensive on the Western Front. A week later, Rosenberg sent his last letter with a poem Through these Pale Cold Days to England before going to the front lines with reinforcements. Having just finished night patrol, he was killed on the night of the April 1, 1918 with another 10 KORL’s soldiers; there is a dispute as to whether his death occurred at the hands of a sniper or in close combat. In either case, he died in a town called Fampoux, north-east of Arras. He was first buried in a mass grave, but in 1926, the unidentified remains of the six KORL’s soldiers were individually re-interred at Bailleul Road East Cemetery, Plot V, Saint-Laurent-Blangy, Pas de Calais, France. The Rosenberg’s gravestone is marked with his name and the words, “Buried near this spot”, as well as—"Artist and Poet". Legacy His self-portraits hang in the National Portrait Gallery and Tate Britain. A commemorative blue plaque to him hangs outside the Whitechapel Gallery, formerly the Whitechapel Library, which was unveiled by Anglo-Jewish writer Emanuel Litvinoff. On 11 November 1985, Rosenberg was among 16 Great War poets who were commemorated on a slate stone unveiled in Westminster Abbey’s Poet’s Corner. The inscription on the stone was written by a fellow Great War poet, Wilfred Owen. It reads: “My subject is War, and the pity of War. The Poetry is in the pity.” Rosenberg appears in the novel Grosse Fugue by Ian Phillips. In The Great War and Modern Memory, Paul Fussell’s landmark study of the literature of the First World War, Fussell identifies Rosenberg’s “Break of Day in the Trenches” as “the greatest poem of the war.” References Wikipedia—https://en.wikipedia.org/wiki/Isaac_Rosenberg




Top