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.
In the grand tapestry of 19th-century American literature, certain figures shine with the steady brilliance of established stars, while others flicker with a more complex, mercurial light. Nathaniel Parker Willis (1806-1867) belongs decidedly to the latter category—a writer whose life and work embodied the tensions, aspirations, and contradictions of a young nation struggling to define its cultural identity. Neither…
“My veins are teeming with the quicksilver spirit which my mother gave me. Whatever I accomplish must be gained by ardor, and not by patience.”
Neighbourhood:
American Poets, Romantic Poets, Transcendentalists, Victorian Poets
The Woodberrys—or Woodburys, as various spellings of the name exist—were an old New England family who had immigrated early in the colonial period and established deep roots along Massachusetts's North Shore. Since settlement took hold in Beverly and neighboring seaport towns, the family had been native to this maritime region, and many of Woodberry's forebears were sea captains and sailors. This ancestral connection…
“Defeat is not the worst of failures. Not to have tried is the true failure.”
Neighbourhood:
American Poets, Edwardian Poets, Nature Poets, Victorian Poets
They overlapped for 13 years (1855–1867).
When George Edward Woodberry was born, Nathaniel Parker Willis was about 49.
George Edward Woodberry was about 12 when Nathaniel Parker Willis died.
Nathaniel Parker Willis:
portland, maine, fanny fern, sketches, unseen spirits, yale literary magazine, european correspondent, new york mirror, inklings of adventure.
George Edward Woodberry:
massachusetts, harvard college, edgar allan poe, the north shore watch, the nation, columbia university, comparative literature, philosophy.
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.
