Word: poet
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Dates: during 1950-1959
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...poet, young Henry Wadsworth Longfellow had an eye for beauty. As a man. he had a hankering for beauties. He had married one (Mary Storer Potter) in 1831, but she died four years later while they were traveling in Holland. Only months had passed when, in Switzerland, he met statuesque Fanny Appleton. a proper Bostonian of 19 whose wealth and social position matched her looks and charm. His grief notwithstanding, the young (29) widower wasted little time. They talked and walked by the Rhine, Longfellow reading poetry aloud as he plodded along behind her. He was not yet the gentle...
Critic Into Wife. The fact is that Fanny did not rate Henry very highly as a poet. "The Prof has collected all his vagrant poems into a neat little volume christened mournfully Voices of the Night. He does not look like a nightbird and is more of a mocking-bird than a nightingale . . ." And when he published his next volume: "The Professor has a creamy new volume of verses out . . . the cream of thought being somewhat thinner than that of the binding." But when, in 1843, Fanny finally said yes. she loyally ended her role as one of Henry...
Martyrdom of Fire. In 1858 John Long, a young schoolteacher who was later to be a three-time governor of Massachusetts, wrote in his journal: "I judge that Longfellow has not suffered enough to be a great poet." Less than three years later, if he remembered it, the entry must have made him uneasy. On July 9, 1861 Fanny was sealing a package that contained a lock of one of her children's hair. Her sleeve caught fire, and in a moment her light summer dress became a sheath of flame. Trying to save her, Longfellow was himself seriously...
Jeffers, "a twentieth century Cassandra," felt that Christ had "shamed an age," and that His crucifixion had given Western people a "lust for blood," the speaker asserted. Wilder cited Jeffers' work, "Dear Judas," in which the poet asserts that Christ realizes that His power over man is achieved through suffering...
...going to die some day." By taking her inspiration from the forms the clay suggests as she works, Germaine Richier has opened the door to subconscious promptings which French critics find "disturbing, irritating, but teeming with life." As a result they classify her as "a sculptor-poet in an age of sculptor-architects...