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.
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…
“The poet is the interpreter of the world to men, and the interpreter of men to themselves.”
Neighbourhood:
American Poets, Edwardian Poets, Nature Poets, Victorian Poets
Fernando António Nogueira Pessoa was born in Lisbon on 13 June 1888 and died there on 30 November 1935, leaving behind a body of work so various, unfinished, and deliberately dispersed among invented authors that it altered the possibilities of modern literature. During his lifetime he published relatively little in book form and knew neither broad public fame nor financial ease. After his death, however, the vast ar…
“Solitude is the absence of company, and the lack of solitude is the absence of oneself.”
They overlapped for 43 years (1888–1930).
When Fernando Pessoa was born, George Edward Woodberry was about 33.
Fernando Pessoa was about 42 when George Edward Woodberry died.
About 5,112 km separate
Beverly, Massachusetts, USA from
Lisbon, Portugal.
Different countries, different weather — unless a poem carries one landscape into the other.
George Edward Woodberry:
massachusetts, harvard college, edgar allan poe, the north shore watch, the nation, columbia university, comparative literature, philosophy.
Fernando Pessoa:
lisbon, heteronyms, mário de sá-carneiro, orpheu, alberto caeiro, álvaro de campos, ricardo reis, durban.
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.
