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.
James Ballantine was born on 11 June 1806 in the West Port of Edinburgh, that atmospheric warren of narrow wynds and ancient tenements huddled beneath the towering shadow of Edinburgh Castle. The air there carried the mingled scents of brewing malt, woodsmoke, and the damp promise of the nearby Meadows, a place where history and everyday grit intertwined like threads in a tartan. His father, also named James, was a b…
Neighbourhood:
Folk & Ballad Poets, Scottish Poets, Victorian Poets
Carl Sadakichi Hartmann was born on 8 November 1867 on the artificial island of Dejima in Nagasaki Harbor, a narrow strip of land that for generations had been Japan’s only window onto the West. His father, Carl Herman Oskar Hartmann, was a Prussian merchant trading in that tightly regulated enclave; his mother, Osada, was Japanese and died within months of the boy’s birth, leaving him with a wound he never stopped p…
“To make rhymeless lines read like a poem is the most laborious task a songsmith can set himself.”
Neighbourhood:
Asian American Poets, Japanese Haiku Masters, Modernist Poets
They overlapped for 11 years (1867–1877).
When Sadakichi Hartmann was born, James Ballantine was about 61.
Sadakichi Hartmann was about 10 when James Ballantine died.
About 9,199 km separate
Edinburgh, Scotland from
Dejima, Nagasaki, Japan.
Different countries, different weather — unless a poem carries one landscape into the other.
James Ballantine:
edinburgh, margaret anderson, the gaberlunzie's wallet, the miller of deanhaugh, robert burns, stained-glass painting, a treatise on painted glass, sir william allan.
Sadakichi Hartmann:
dejima, nagasaki harbor, walt whitman, whitman society, christ: a dramatic poem, buddha, confucius, mohammed.
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.