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 narrative of American literature, certain figures occupy a peculiar position—neither entirely forgotten nor properly celebrated, their contributions hovering in that twilight zone between obscurity and recognition. Mary Reynolds Aldis, who lived from 1872 to 1949, stands as one such figure: a woman whose drawing rooms hosted the brightest lights of Chicago's literary renaissance, whose one-act plays capt…
Neighbourhood:
American Poets, Edwardian Poets, Modernist Poets, Women Poets
Bryan Waller Procter, known to generations of readers by the literary name Barry Cornwall, was born in Leeds, Yorkshire, on 21 November 1787, and died in London on 5 October 1874. He belonged to that broad, fascinating company of early nineteenth-century writers who stood close to the great Romantic generation without ever wholly entering its innermost circle. He was not a poet of Byron’s volcanic self-dramatization,…
“The schoolmaster is generally a compound of the martyr and the tyrant.”
Neighbourhood:
Death & Mortality, Love Poets, Romantic Poets
They overlapped for 3 years (1872–1874).
When Mary Reynolds Aldis was born, Barry Cornwall was about 85.
Mary Reynolds Aldis was about 2 when Barry Cornwall died.
About 5,607 km separate
Dunkirk, New York, USA from
Leeds, Yorkshire, England.
Different countries, different weather — unless a poem carries one landscape into the other.
Mary Reynolds Aldis:
dunkirk, new york, arthur taylor aldis, chicago literary renaissance, flashlights, plays for small stages, the man in the street, lake forest, little theater movement.
Barry Cornwall:
leeds, charles lamb, adelaide anne procter, dramatic scenes and other poems, the life of edmund kean, english songs, the sea, touch us gently, time!.
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.