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Thomas Wentworth Higginson, Margaret Fuller Ossoli 10 0 Browse Search
Cambridge History of American Literature: volume 2 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.) 4 0 Browse Search
The Daily Dispatch: November 19, 1864., [Electronic resource] 4 0 Browse Search
Thomas Wentworth Higginson, The new world and the new book 2 0 Browse Search
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Thomas Wentworth Higginson, Margaret Fuller Ossoli, Chapter 10: the Dial. (search)
they had printed a good deal before finding it would be too long. E. H.'s Poet, some of C.'s best, Ellery, and The Bard born out of Time, we must have for that. Ms. The poem described in these last words will readily be recognized as Emerson's since celebrated Wood-notes. The Ellery is an article by Emerson entitled New poetry and made up chiefly of extracts from Ellery Channing's poems — an essay received with mingled admiration and rage by the critics, and with especial wrath by Edgar Poe. E. H.'s poet was a strong poem, also contained in the second number of the Dial, by Mrs. Ellen Hooper, wife of Dr. R. W Hooper,--a woman of genius, who gave our literature a classic in the lines beginning,-- I slept, and dreamed that life was beauty. Margaret Fuller wrote of her long afterwards from Rome, I have seen in Europe no woman more gifted by nature than she. Another of the Dial poets was the sister of this lady, Miss Caroline Sturgis, afterwards Mrs. William Tappan, some
Thomas Wentworth Higginson, Margaret Fuller Ossoli, Chapter 13: business life in New York. (1844-1846.) (search)
prevailed among editors and even among authors; men revenged literary slights by personal abuse; the desire to make an example of a person or to get even with him had not then vanished from literature, as it has not yet disappeared from politics. Poe's miscellaneous writings were full of this sort of thing; Lowell's Fable for critics was not at all free from it. At such a time it was no easy thing for a woman to pass from a comparatively secluded life in Boston and her circle of personal frientorm-and-stress period, that Sturm-und-Drangzeit, she held the critical sway of the most powerful American journal with unimpaired dignity and courage. By comparing a single page of her collected works with any page, taken almost at random, of Edgar Poe's, we see the difference more clearly than it can be expressed in words. On this we have the distinct testimony of the most mercilessly honest of all critics, Horace Greeley:-- But, one characteristic of her writings I feel bound to comm
Thomas Wentworth Higginson, Margaret Fuller Ossoli, Chapter 18: literary traits. (search)
can say it for her:-- We must confess to a coolness towards Mr. Longfellow, in consequence of the exaggerated praises that have been bestowed upon him. When we see a person of moderate powers receive honors which should be reserved for the highest, we feel somewhat like assailing him and taking from him the crown which should be reserved for grander brows. And yet this is, perhaps, ungenerous. The italics are my own. Then she defends him from the special charge of plagiarism, which Poe was just trying to fasten upon him, and goes on-- He has no style of his own, growing out of his own experiences and observations of nature. Nature with him, whether human or external, is always seen through the windows of literature. There are in his poems sweet and tender passages descriptive of his personal feelings, but very few showing him as an observer, at first hand, of the passions within, or the landscape without. This want of the free breath of nature, this perpetual bor
Thomas Wentworth Higginson, Margaret Fuller Ossoli, Chapter 19: personal traits. (search)
Chapter 19: personal traits. That woman of genius, Mrs. Sarah Helen Whitman of Providence,--best known to the world as having been the betrothed of Edgar Poe, -wrote once, in the Providence journal, a description of a scene where the brilliant and audacious John Neal gave a parlor lecture on Phrenology, then at its high-tide of prominence; and illustrated it by Margaret Fuller's head. The occasion is thus described:-- Among the topics of the evening, phrenology was introduced, and Mr. Neal expressed a wish to give what might be termed a topical illustration of his favorite theory. Miss Fuller slowly uncoiled the.heavy folds of her light brown hair and submitted her haughty head to his sentient fingers. The masterly analysis which he made of her character, its complexities and contradictions, its heights and its depths, its nobilities and its frailties, was strangely lucid and impressive, and helped one who knew her well to a more tender and sympathetic appreciation of he
Cambridge History of American Literature: volume 2 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 14: Poe (search)
France and England. In the view of Edmund Gosse, there is hardly one [of the later English poets] whose verse-music does not show traces of Poe's influence (Questions at issue, p. 90). On Poe's influence and vogue in France, see L. P. Betz, Edgar Poe in der franzoesischen Litteratur: Studien zur vergleichenden Litteraturgeschichte der neueren Zeit (1902), pp. 16-82; C. H. Page in The [New York] Nation for 14 January, 9009; and G. D. Morris, Fenimore Cooper et Edgar Poe, pp. 67 f. (Paris, 19tion for 14 January, 9009; and G. D. Morris, Fenimore Cooper et Edgar Poe, pp. 67 f. (Paris, 1912). As romancer he has probably wielded a larger influence than any English writer since Scott. And as critic it is doubtful whether any other of his countrymen has contributed so much toward keeping the balance right between art-for-art's-sake and didacticism. His fame abroad is admittedly larger than that of any other American writer, and his vogue has been steadily growing among his own people.
Thomas Wentworth Higginson, The new world and the new book, XXVI (search)
s; while his odd protege, William Blake, whom the fine ladies of the day wondered at Hayley for patronizing, is now the favorite of literature and art. So strong has been the recent swing of the pendulum in favor of what is called realism in fiction, it is very possible that if Hawthorne's Twice-told Tales were to appear for the first time to-morrow they would attract no more attention than they did fifty years ago. Mr. Stockton has lately made a similar suggestion as to the stories of Edgar Poe. Perhaps this gives half a century as the approximate measure of the variations of fate—the periodicity of the pendulum. On the other hand, Jane Austen, who would, fifty years ago, have been regarded as an author suited to desolate islands or long and tedious illnesses, has now come to be the founder of a school, and must look down benignly from heaven to see the brightest minds assiduously at work upon that little bit of ivory, two inches square by which she symbolized her novels. Then
The Daily Dispatch: November 19, 1864., [Electronic resource], article 1 (search)
bauche nation de hasard, Sans tige, sans passe, sans histoire et sans art!. "But when he wrote these two terrible lines the Americans had only produced steamboats swifter than the arrow and red spider wagons. The melancholy and sublime Edgar Poe had not yet given us those wonderful tales which revealed to us an ecstatic life, nor those strangely moving poems which strike so deliciously the cords of our souls. Now that his volumes have become for each of us a faithfully loved and faithgiven us those wonderful tales which revealed to us an ecstatic life, nor those strangely moving poems which strike so deliciously the cords of our souls. Now that his volumes have become for each of us a faithfully loved and faithfully read friend, no one can longer deny the poetry which the New World gives us in the enenantment of its forests and rivers. Edgar Poe has in himself a power of emotion equal, perhaps, to that of Shakespeare, and if America had but him she would still be rich."