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.
John Gay
William Schwenck Gilbert
A random pair who overlapped in time and whose poems already rhyme in the catalogue — a way into poets you may not have met.
John Gay, born on 30 June 1685 in Barnstaple, Devon, and dead in London on 4 December 1732, occupies a distinctive place in the literature of the early eighteenth century. He was a poet, dramatist, librettist, fabulist, journalist, and observer of urban life, but none of these labels fully contains him. His greatest achievement, The Beggar’s Opera, changed the history of English theatre by making songs familiar to or…
“Envy is a kind of praise.”
In the pantheon of Victorian literature, few figures present such a delightful paradox as William Schwenck Gilbert (1836-1911). Here was a man who could craft lyrics of sublime wit and devastating social commentary, yet whose temperament was notoriously prickly and contentious. A writer who created some of the most beloved comic operas in the English language while maintaining a reputation as one of London's most dif…
“It is a routine of mine to work right through the night, as I find the quiet hours between midnight and six in the morning most conducive to creation.”
About 278 km separate Barnstaple, Devon, England from 17 Southampton Street, The Strand, London. Both have ground in England and London.
Distinctive words drawn from each poet’s critiqued poems — what they keep writing about, not just what their biographies mention.
John Gay: barnstaple, the beggar's opera, alexander pope, jonathan swift, rural sports, the present state of wit, the wife of bath, the what d'ye call it. William Schwenck Gilbert: southampton, lucy agnes turner, trial by jury, the sorcerer, h.m.s. pinafore, the mikado, the bab ballads, richard d'oyly carte.
The closest poem-to-poem matches in critique space — the sort of kinship a listener hears before the catalogue admits it.
John Gay: Irony, Wonder, Tenderness. William Schwenck Gilbert: Irony, Despair, Fear.
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