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Hemans,Felicia, Poetry
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Poet and dramatist Felicia Dorothea Browne Hemans (1793–1835) was the sole woman poet of the Romantic period to appear with male contemporaries in canon‐making collections in both the nineteenth and twentieth centuries. The influential ‘pirate’ press of Galignani in Paris produced a one‐volume collection of her work in 1836, reissued in America by a series of Philadelphia and Boston publishers{Poetical Works of Mrs. Felicia Hemans);and Oxford Standard Authors released a collection in 1914. Hemans's final publisher, William Blackwood, produced the collected works in seven volumes and one volume{Works1839,Poems1849). Selections of Hemans's work appeared throughout the Victorian period from standard publishers like Routledge and Moxon (St Clair 2004). Her highly coloured aesthetics fell out of favour under modernism, but feminism and historicism brought a revival of interest in Hemans in the 1980s (Ross 1989; Mellor 1993). Research soon proliferated and is represented here only symptomatically.
Title: Hemans,Felicia, Poetry
Description:
Poet and dramatist Felicia Dorothea Browne Hemans (1793–1835) was the sole woman poet of the Romantic period to appear with male contemporaries in canon‐making collections in both the nineteenth and twentieth centuries.
The influential ‘pirate’ press of Galignani in Paris produced a one‐volume collection of her work in 1836, reissued in America by a series of Philadelphia and Boston publishers{Poetical Works of Mrs.
Felicia Hemans);and Oxford Standard Authors released a collection in 1914.
Hemans's final publisher, William Blackwood, produced the collected works in seven volumes and one volume{Works1839,Poems1849).
Selections of Hemans's work appeared throughout the Victorian period from standard publishers like Routledge and Moxon (St Clair 2004).
Her highly coloured aesthetics fell out of favour under modernism, but feminism and historicism brought a revival of interest in Hemans in the 1980s (Ross 1989; Mellor 1993).
Research soon proliferated and is represented here only symptomatically.
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Felicia Hemans and the Affections
Felicia Hemans and the Affections
Chapter four analyzes Hemans’s emphasis on love, gender, and ‘the affections’ throughout her career. The chapter begins by outlining the discourses of ‘the affections’ in eighteent...
“When Life Becomes Art” -- on Hemans's “Image in Lava”
“When Life Becomes Art” -- on Hemans's “Image in Lava”
Felicia Hemans’s poetry is guided by an aesthetic of acute interestedness, but unlike most sentimental writers, Hemans treats feeling as something with epistemological value. This...
Effusive Elegies or Catty Critic: Letitia Elizabeth Landon On Felicia Hemans
Effusive Elegies or Catty Critic: Letitia Elizabeth Landon On Felicia Hemans
Rather than dutifully producing conventional elegies bemoaning the loss of the exemplary woman poet immediately after Felicia Hemans’s death in 1835, Letitia Elizabeth Landon darin...
Beyond the Literary Annuals: Felicia Hemans, Letitia Elizabeth Landon and Periodical Poetry
Beyond the Literary Annuals: Felicia Hemans, Letitia Elizabeth Landon and Periodical Poetry
This chapter builds on the recent influx of scholarship studying the intersection of new media forms, the development of women’s poetry, and the public figure of the poetess. Whil...
Felicia Hemans (1793-1835)
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Abstract
Felicia Hemans was one of the most highly influential and widely read poets of the nineteenth century, both in Britain and America. Lord Byron considered He...
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