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Estanislao del Campo, Collected Works, Spanish-language, Argentina; Adam Lindsay Gordon, Bush Ballads and Galloping Rhymes, published the day before he died, Australia; Comte de Lautréamont, pen name of Isidore Lucien Ducasse, Poésies, a prose work in two parts, the first on aesthetics and rejecting Romanticism, the second a collection of maxims rewritten to change their original meanings [3 ...
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The poem was also included in a book by Harte titled Poems, released in January 1871. Several periodicals and books would republish the poem with illustrations. [1] In April 1870, James T. Fields had published a collection of Harte's stories, The Luck of Roaring Camp and Other Sketches through the Fields, Osgood, & Co. imprint. [5]
During the period of their appearance in the magazine the poems had received unusual attention, George Eliot, among others, encouraging the anonymous author. The little book immediately introduced him to a larger public. The period was an interesting one for a first appearance, since the air was full of metrical experiment.
Historical poetry is a subgenre of poetry that has its roots in history. Its aim is to delineate events of the past by incorporating elements of artful composition and poetic diction . It seems that many of these events are limited to the phenomenon of war , merely because war in and of itself foments not only hostilities amongst men, but also ...
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The poem was inspired by Charlotte Rosa Baring, younger daughter of William Baring (1779–1820) and Frances Poulett-Thomson (d. 1877). Frances Baring married, secondly, Arthur Eden (1793–1874), Assistant-Comptroller of the Exchequer, and they lived at Harrington Hall, Spilsby, Lincolnshire, which is the garden of the poem (also referred to as "the Eden where she dwelt" in Tennyson's poem ...
The Romantic movement in English literature of the early 19th century has its roots in 18th-century poetry, the Gothic novel and the novel of sensibility. [6] [7] This includes the pre-Romantic graveyard poets from the 1740s, whose works are characterized by gloomy meditations on mortality, "skulls and coffins, epitaphs and worms". [8]