Pick two poets who seem to have nothing to do with each other — a Gothic American and a pastoral Englishman, say — and see where the catalogue actually joins them: overlapping years, shared ground, distinctive themes, and the poems that secretly rhyme.
Edith Matilda Thomas was born on 12 August 1854 in Chatham, Ohio, and died on 13 September 1925 in New York City. During her lifetime she was admired as one of the most accomplished American lyric poets of the late nineteenth century, praised by editors, fellow writers, and readers for verse that joined close observation of nature to emotional reserve, formal intelligence, and a searching spiritual imagination. Yet s…
“Great are my riches.”
Neighbourhood:
American Poets, Nature Poets, Victorian Poets, Women Poets
In the spring of 1863, the Victorian literary world witnessed a phenomenon that would become increasingly rare in the annals of English poetry: the overnight success of a provincial poet whose work captured both popular imagination and critical acclaim. Jean Ingelow, a banker's daughter from the Lincolnshire fens, achieved what many seasoned writers could only dream of—instant fame through a single collection of poem…
“I have lived to know that the secret of happiness is never to allow your energies to stagnate.”
Neighbourhood:
Love Poets, Nature Poets, Victorian Poets, Women Poets
They overlapped for 44 years (1854–1897).
When Edith M. Thomas was born, Jean Ingelow was about 34.
Edith M. Thomas was about 43 when Jean Ingelow died.
About 6,101 km separate
Chatham, Ohio, USA from
Boston, Lincolnshire, England.
Different countries, different weather — unless a poem carries one landscape into the other.
Edith M. Thomas:
chatham, ohio, new york city, helen hunt jackson, a new year's masque, the inverted torch, lyrics and sonnets, northeastern ohio, romantic poetry.
Jean Ingelow:
boston, lincolnshire fens, the high tide on the coast of lincolnshire, 1571, poems, orriss, gerald massey, jane and ann taylor, off the skelligs.
Poems that secretly rhyme
The closest poem-to-poem matches in critique space — the sort of kinship a listener hears before the catalogue admits it.