Arthur Hugh Clough (/klʌf/ KLUF; 1 January 1819– 13 November 1861) was an English poet, an educationalist, and the devoted assistant to ground-breaking nurse Florence Nightingale. He was the brother of suffragist Anne Clough, who became principal of Newnham College, Cambridge. Life Arthur Clough was born in Liverpool to James Butler Clough, a cotton merchant of Welsh descent, and Anne Perfect, from Pontefract in Yorkshire. In 1822 the family moved to the United States, and Clough’s early childhood was spent mainly in Charleston, South Carolina. In 1828 Clough and his older brother Charles returned to England to attend school in Chester. Holidays were often spent at Beaumaris. In 1829 Clough began attending Rugby School, then under Thomas Arnold, whose strenuous views on life and education he accepted. (See Muscular Christianity.) Cut off to a large degree from his family, he passed a somewhat solitary boyhood, devoted to the school and to early literary efforts in the Rugby Magazine. In 1836 his parents returned to Liverpool, and in 1837 he won a scholarship to Balliol College, Oxford. Here his contemporaries included Benjamin Jowett, Arthur Penrhyn Stanley, John Campbell Shairp, William George Ward and Frederick Temple. Matthew Arnold, four years his junior, arrived the term after Clough had graduated. Clough and Arnold enjoyed an intense friendship in Oxford. Oxford, in 1837, was in the full swirl of the High Church movement led by John Henry Newman. Clough was for a time influenced by this movement, but eventually rejected it. He surprised everyone by graduating from Oxford with only Second Class Honours, but won a fellowship with a tutorship at Oriel College. He became unwilling to teach the doctrines of the Church of England, as his tutorship required of him, and in 1848 he resigned the position and traveled to Paris, where he witnessed the revolution of 1848. Returning to England in a state of euphoria, he wrote his long poem The Bothie of Tober-na-Vuolich, a farewell to the academic life, following it up with poems from his time as student and tutor, in the shared publication Ambarvalia. In 1849, he witnessed another revolution, the siege of the Roman Republic, which inspired another long poem, Amours de Voyage (reprinted by Persephone Books in 2009). Easter Day, written in Naples, was a passionate denial of the Resurrection and the fore-runner of the unfinished poem Dipsychus. Since 1846, Clough had been financially responsible for his mother and sister (following the death of his father and younger brother and the marriage of his elder brother). In the autumn of 1849, to provide for them, he became principal of University Hall, a hostel for Unitarian students at University College, London, but found its ideology as oppressive as that which he had left behind in Oxford. He soon found that he disliked London, in spite of the friendship of Thomas Carlyle and his wife Jane Welsh Carlyle. A prospect of a post in Sydney led him to engage himself to Blanche Mary Shore Smith, daughter of Samuel Smith and Mary Shore (sister to William Nightingale) but when that failed to materialize, he travelled in 1852 to Cambridge, Massachusetts, encouraged by Ralph Waldo Emerson. There he remained several months, lecturing and editing Plutarch for the booksellers, until in 1853 the offer of an examinership in the Education Office brought him to London once more. He married Miss Shore Smith and pursued a steady official career, diversified only by an appointment in 1856 as secretary to a commission sent to study foreign military education. He devoted enormous energy to work as an unpaid secretarial assistant to his wife’s cousin Florence Nightingale. He wrote virtually no poetry for six years. In 1860, his health began to fail. He visited first Great Malvern and Freshwater, Isle of Wight. From April 1861, he traveled strenuously in Greece, Turkey and France, where he met up with the Tennyson family. Despite his fragile health, this Continental tour renewed a state of euphoria like that of 1848–9, and he quickly wrote the elements of his last long poem, Mari Magno. His wife joined him on a voyage from Switzerland to Italy, where he contracted malaria. He died in Florence on 13 November 1861. He is buried in the English Cemetery there, in a tomb that his wife and sister had Susan Horner design from Jean-François Champollion’s book on Egyptian hieroglyphs. Matthew Arnold wrote the elegy of Thyrsis to his memory. His youngest child was Blanche Athena Clough (1861–1960), who devoted her life to Newnham College, Cambridge, where her aunt (his sister Anne) was principal. Writings Shortly before he left Oxford, in the stress of the Irish potato famine, Clough wrote an ethical pamphlet addressed to the undergraduates, with the title, A Consideration of Objections against the Retrenchment Association at Oxford (1847). His Homeric pastoral The Bothie of Toper-na-fuosich, afterwards renamed Tober-na-Vuolich (1848), and written in hexameter is full of socialism, reading-party humours and Scottish scenery. Ambarvalia (1849), published jointly with his friend Thomas Burbidge, contains shorter poems of various dates from circa 1840 onwards. Amours de Voyage, a novel in verse, was written at Rome in 1849; Dipsychus, a rather amorphous satire, at Venice in 1850; and the idylls which make up Mari Magno, or Tales on Board, in 1861. A few lyric and elegiac pieces, later in date than the Ambarvalia, complete Clough’s poetic output. His only considerable enterprise in prose was a revision of a 17th-century translation of Plutarch (called the “Dryden Translation,” but actually the product of translators other than Dryden) which occupied him from 1852, and was published as Plutarch’s Lives (1859). Clough’s output is small and much of it appeared posthumously. Anthony Kenny notes that the editions prepared by Clough’s wife, Blanche, have “been criticized... for omitting, in the interests of propriety, significant passages in Dipsychus and other poems.” But editing Clough’s literary remains has proven a challenging task even for later editors. Kenny goes on to state that “it was no mean feat to have placed almost all of Clough’s poetry in the public domain within a decade, and to have secured for it general critical and popular acclaim.” His long poems have a certain narrative and psychological penetration, and some of his lyrics have a strength of melody to match their depth of thought. He has been regarded as one of the most forward-looking English poets of the 19th century, in part due to a sexual frankness that shocked his contemporaries. He often went against the popular religious and social ideals of his day, and his verse is said to have the melancholy and the perplexity of an age of transition, although Through a Glass Darkly suggests that he did not lack certain religious beliefs of his own, and in particular a belief in the afterlife where the struggle for virtue will be rewarded. His work is interesting to students of meter, owing to the experiments which he made, in the Bothie and elsewhere, with English hexameters and other types of verse formed upon classical models. Clough is perhaps best known now for his short poems Say Not the Struggle Naught Availeth, a rousing call to tired soldiers to keep up the good fight, Through a Glass Darkly, an exploration of religious faith and doubt, and The Latest Decalogue, a satirical take on the Ten Commandments. The Latest Decalogue’s couplet on murder, “Thou shalt not kill; but needst not strive officiously to keep alive:” is often quoted– usually out of context– in debates on medical ethics in the sense that it is not right to struggle to keep terminally ill people alive, especially if they are suffering. Broadcaster Geoffrey Robertson QC used the phrase in an episode of his television series, Geoffrey Robertson’s Hypotheticals ("Affairs of the Heart," ABC, 1989), illustrating this point of view; it is unclear whether Robertson was aware Clough’s version of the Fifth Commandment had nothing to do with the alleviation of suffering but was instead referring to those who do not afford—in any circumstances—due respect to the sanctity of human life. Clough himself gives no indication that the couplet on murder might refer to the medical profession in general or to the treatment of the terminally ill in particular; indeed, the entire text of The Latest Decalogue satirizes the hypocrisy, materialism, the selective ethics and self-interest common to all of mankind. This bitter judgement of humanity should be balanced against the more compassionate view he displays in other poems such as Through A Glass Darkly: “Ah yet when all is thought and said, the heart still overrules the head; still what we hope we must believe, and what is given us receive”. References Wikipedia—https://en.wikipedia.org/wiki/Arthur_Hugh_Clough

James Dennis "Jim" Carroll (August 1, 1949 – September 11, 2009) was an American author, poet, autobiographer, and punk musician. Carroll was best known for his 1978 autobiographical work The Basketball Diaries, which was made into the 1995 film of the same name, starring Leonardo DiCaprio as Carroll. Carroll was born to a working-class family of Irish descent, and grew up on New York City's Lower East Side. When he was about eleven (in the sixth grade) his family moved north to Inwood in Upper Manhattan where he attended Good Shepherd School. He was taught by the LaSalle Christian Brothers, and his brother in the sixth grade noted that he could write and encouraged him to do so. In fall 1963, he entered public school, but was soon awarded a scholarship to the elite Trinity School. He attended Trinity from 1964–1968. Apart from being interested in writing, Carroll was an all-star basketball player throughout his grade school and high school career. He entered the "Biddy League" at age 13 and participated in the National High School All Star Game in 1966. During this time, Carroll was living a double life as a heroin addict who prostituted himself to afford his habit but he was also writing poems and attending poetry workshops at St. Mark's Poetry Project. He briefly attended Wagner College and Columbia University. Literary career While still in high school, Carroll published his first collection of poems, Organic Trains. Already attracting the attention of the local literati, his work began appearing in the Poetry Project's magazine The World in 1967. Soon his work was being published in elite literary magazines like Paris Review in 1968, and Poetry the following year. In 1970, his second collection of poems, 4 Ups and 1 Down was published, and he started working for Andy Warhol. At first, he was writing film dialogue and inventing character names; later on, Carroll worked as the co-manager of Warhol's Theater. Carroll's first publication by a mainstream publisher (Grossman Publishers), the poetry collection Living at the Movies, was published in 1973. In 1978, Carroll published The Basketball Diaries, an autobiographical book concerning his life as a teenager in New York City's hard drug culture. Diaries is an edited collection of the diaries he kept between the ages of twelve and sixteen, detailing his sexual experiences, high school basketball career, and his addiction to heroin, which began when he was 13. In 1987, Carroll wrote a second memoir entitled Forced Entries: The Downtown Diaries 1971–1973, continuing his autobiography into his early adulthood in the New York City music and art scene as well as his struggle to kick his drug habit. After working as a musician, Carroll returned to writing full-time in the mid-1980s and began to appear regularly on the spoken word circuit. Starting in 1991, Carroll performed readings from his then-in-progress first novel, The Petting Zoo. Music career In 1978, after he moved to California to get a fresh start since kicking his heroin addiction, Carroll formed The Jim Carroll Band, a New Wave/punk rock group, with encouragement from Patti Smith, with whom he once shared an apartment in New York City, along with Robert Mapplethorpe.[9] The band was originally called Amsterdam, and was based in the San Francisco Bay Area. The musicians were Steve Linsley (bass), Wayne Woods (drums), Brian Linsley and Terrell Winn (guitars). They released a single "People Who Died", from their 1980 debut album, Catholic Boy. The album featured contributions from Allen Lanier and Bobby Keys. In 1982 the song appeared in E.T. the Extra-Terrestrial, from which Carroll received royalties until his death in 2009. The song also appeared in the 1985 Kim Richards vehicle Tuff Turf starring James Spader and Robert Downey Jr., which also featured a cameo appearance by the band, as well as 2004's Dawn of the Dead. It was featured in the 1995 film The Basketball Diaries (based on Jim Carroll's autobiography), and was covered by John Cale on his Antártida soundtrack. A condensed, 2-minute, version of the song was made into an animated music video by Daniel D. Cooper, an independent filmmaker/animator, in 2010. The song's title was based on a poem by Ted Berrigan. Later albums were Dry Dreams (1982) and I Write Your Name (1983), both with contributions from Lenny Kaye and Paul Sanchez. Carroll also collaborated with musicians Lou Reed, Blue Öyster Cult, Boz Scaggs, Ray Manzarek of The Doors, Pearl Jam, Electric Light Orchestra and Rancid. Death Carroll, 60, died of a heart attack at his Manhattan home on September 11, 2009. He was reportedly working at his desk when he died. Poetry * Organic Trains (1967) * 4 Ups and 1 Down (1970) * Living at the Movies (1973) * The Book of Nods (1986) * Fear of Dreaming (1993) * Void of Course: Poems 1994–1997 (1998) ISBN 0-14-058909-0 Prose * The Basketball Diaries (1978) * Forced Entries: The Downtown Diaries 1971-1973 (1987) * The Petting Zoo (2010) References Wikipedia - http://en.wikipedia.org/wiki/Jim_Carroll

Joseph Seamon Cotter Sr. (February 2, 1861– March 14, 1949) was a poet, writer, playwright, and community leader raised in Louisville, Kentucky (but born in Nelson County, Kentucky). Cotter was one of the earliest African-American playwrights to be published. He was known as “Kentucky’s first Negro poet with real creative ability.” Born at the start of the American Civil War, raised in poverty with no formal education until the age of 22, and living through a time of monumental change, Cotter also became an educator and an advocate of black education. Personal life Cotter grew up in a family of mixed racial heritage. His father, Michael J. Cotter, was a white man of Scots-Irish ancestry, and his mother, Martha Vaughn, was a freeborn black of mixed heritage (one of several children born to an African slave mother and an English-Cherokee father). On July 22, 1891, Cotter married Maria F. Cox, a fellow teacher, with whom he had four children: Leonidas, Florence, Olivia, and Joseph Seamon Cotter Jr (a distinguished poet-playwright in his own merit). Education After completing the third grade, Cotter dropped out to help support his family. Cotter worked in manual labor and various odd jobs until the age of 22, where he joined the first and newly created Louisville night school for black students. Cotter attended night school for ten months, earning his high school diploma and teaching credentials. According to Metzger (1989): “There is little specific information about either the extent of Cotter’s education—it seems certain that he never attended college or completed a degree-granting program—or his professional life as an educator. Although some writers had felt that Cotter must have attended college, his love of writing and of literature might just have well stemmed from the many books that his mother had read to him as a child. And although Cotter’s contributions to black education are now seen as extremely important, at the time he was working, few details of such work were preserved for later study. What is now certain is that Cotter became a respected writer, although when he first began to write is not clear.” Career in education Once becoming qualified to teach, Cotter got his first job in the Cloverport Public School system. The conditions at Cloverport were extremely poor. Cotter made the best of teaching children in a small one-roomed school house with dirt flooring and no heating. This marked the start of Cotter’s long dedication to the education of black children and a commitment to his community. After two years teaching at Cloverport, Cotter taught at a nearby private school before moving to the Louisville Public School system two years later. His first job within the Louisville Public School system was at Western Colored School, which was located in an all-black neighborhood. Here Cotter would teach for the next four years, from 1889 to 1893. Attesting to his belief in black education, in 1893 Cotter founded the Paul Lawrence Dunbar School, named after the poet and friend Paul Laurence Dunbar. Cotter served as principal of this black high school until 1911, whereupon he took the position of principal at Samuel Coleridge-Taylor School and held the post until 1942. Along with his 53-year career as an educator, Cotter worked for racial advancement with many local and national organizations, including Louisville Colored Orphans Home Society, Kentucky Educational Association, Author’s League, Association for the Study of Negro Life and History, and NAACP. Literary contributions Cotter’s literary contributions include nine published works. Among these works are 4 volumes of poetry: A Rhyming (1895); Links of Friendship (1898); A White Song and a Black One (1909); and Collected Poems (1938). Cotter’s other publications include: Sequel to “The Pied Piper of Hamelin,” and Other Poems (1939), a collection of poetry and prose; Negroes and Others at Work and Play (1947); Caleb, the Degenerate; A Play in Four Acts: A Study of the Types, Customs, and Needs of the American Negro (1903); and 2 collections of prose, Negro Tales (1912), and Twenty-fifth Anniversary of the Founding of Colored Parkland or “Little Africa,” Louisville, Ky., 1891–1916 (1934). Cotter also often contributed to periodicals such as the Louisville Courier-Journal (from 1884), National Baptist Magazine (1894–1908), Voice of the Negro (1904–07), Southern Teachers Advocate (Kentucky; 1905-6), and Alexander’s Magazine (1909). According to William S. Ward, "…[Cotter’s] writings have never won him high recognition, but he has fared rather well at the hands of black historians." Cotter’s writing is known to utilize both dialect and standard English to advocate race advancement, “to be gained by a mixture of race pride, humility, hard work, education, and a positive, optimistic outlook.” Historian Joan R. Sherman also notes that a common theme seen in Cotter’s writing, from his earliest poems to The Negro’s Ten Commandments (1947), is that "he consistently advocated this gospel: (5) Read not thyself out of toiling with the hands, and toil not thyself out of reading; for reading makes one akin to the ox. Therefore he who simply dreams is dying, and he who dreams not is already dead. (7) Learn thou the worth of a dollar and how to keep it from damning thee. (9) Socially thou shalt go no nearer thy brother than he comes to thee. Aversion in him should slay the thought of advance in thee. (10) If thou hast a mind to live by being honest, industrious, frugal and self-sacrificing, remain in the South where thou shalt surely reap thy character’s worth; but if thou hast a mind to die through sloth, ignorance and folly, get thee far from it, for the burden of burying such is becoming intolerable.” Bibliography * Cotter, Joseph S. A Rhyming. Louisville, Ky.: New South Publishing, Co., 1895. 32 pp. Copy: DLC * Cotter, Joseph S. Links of Friendship. Louisville, Ky.: Bradley & Gilbert Co., 1898. 64 pp. 54 poems. Portrait. Copies: DHU, DLC, NN, NNSch. * Cotter, Joseph S. Caleb, the Degenerate; A Play in Four Acts: A Study of the Types, Customs, and Needs of the American Negro. Louisville, Ky.: Bradley & Gilbert Co., 1903. 57 pp. Portrait. *Copies: DHU, DLC, NN, NNSch copy inscribed by Cotter to the Rev. Edward Everett Hale. * Cotter, Joseph S. Negro Tales. New York: Cosmopolitan Press, 1912. 148 pp. 17 tales. Copies: DHU, NNsch. * Cotter, Joseph S. A White Song and a Black One. Louisville, Ky.: Bradley & Gilbert Co., 1909. 64 pp. 48 poems. Copies: DHU, DLC, NN, NNSch copy inscribed: “With compliments of Joseph S. Cotter.” * Cotter, Joseph S. Twenty-fifth Anniversary of the Founding of Colored Parkland or “Little Africa” Louisville, Ky., 1801–1916. 1934. Louisville, Ky.: I. Willis Cole Publishing Co., 1934. Copy: DHU. * Cotter, Joseph S. Collected Poems. New York: Henry Harrison, 1938. 78 pp. 73 poems. Portrait. Copies: DHU, DLC, NN, NNSch * Cotter, Joseph S. Sequel to “The Pied Piper of Hamelin,” and Other Poems. New York: Henry Harrison, 1939. 93 pp. 69 poems. Copies: DHU, DLC, NN, NNSch. Copies: DHU, DLC, NN, NNSch * Cotter, Joseph S. Negroes and Others at Work and Play. New York: Paebar Co., 1947. 63 pp. 7 poems, aphorisms, tales, sketches, plays, songs. Further reading * Brooks, A. Russell. “Joseph Seamon Cotter, Sr.,” In Dictionary of Literary Biography, vol. 50: 62–70. * Hatch, James V., ed. Black Theatre, U.S.A.: Forty-Five Plays by Black Americans. New York: Free Press/Macmillan, 1974. * Kerlin, Robert T. “A Poet from Bardstown.” South Atlantic Quarterly 20 (July 1921) 213-21. * Shockley, Ann Allen. “Joseph S. Cotter, Sr.: Biographical Sketch of a Black Louisville Bard,” College Language Association Journal 18 (March 1975), 327–340. * Townsend, John Wilson. “Kentucky’s Dunbar: Joseph Seamon Cotter.” In Lore of the Meadowland, 23–26. Lexington, Ky.: J.L. Richardson, 1911. References Wikipedia—https://en.wikipedia.org/wiki/Joseph_Seamon_Cotter,_Sr.

Thomas Chatterton (20 November 1752– 24 August 1770) was an English poet and forger of pseudo-medieval verse. Although fatherless and raised in poverty, he was an exceptionally studious child, publishing mature work by the age of eleven. He was able to pass-off as an imaginary 15th-century poet called Thomas Rowley, chiefly because few people at the time were familiar with medieval poetry, though he was denounced by Horace Walpole. At seventeen, he sought outlets for his political writings in London, having impressed the Lord Mayor, William Beckford, and the radical leader John Wilkes, but his earnings were not enough to keep him, and he poisoned himself in despair. His unusual life and death attracted much interest among the romantic poets, and Alfred de Vigny wrote a play about him that is still performed today. The oil-painting The Death of Chatterton by Pre-Raphaelite artist Henry Wallis has enjoyed lasting fame. Childhood Chatterton was born in Bristol where the office of sexton of St Mary Redcliffe had long been held by the Chatterton family. The poet’s father, also named Thomas Chatterton, was a musician, a poet, a numismatist, and a dabbler in the occult. He had been a sub-chanter at Bristol Cathedral and master of the Pyle Street free school, near Redcliffe church. After Chatterton’s birth (15 weeks after his father’s death on 7 August 1752), his mother established a girls’ school and took in sewing and ornamental needlework. Chatterton was admitted to Edward Colston’s Charity, a Bristol charity school, in which the curriculum was limited to reading, writing, arithmetic and the catechism. Chatterton, however, was always fascinated with his uncle the sexton and the church of St Mary Redcliffe. The knights, ecclesiastics and civic dignitaries on its altar tombs became familiar to him. Then he found a fresh interest in oaken chests in the muniment room over the porch on the north side of the nave, where parchment deeds, old as the Wars of the Roses, lay forgotten. Chatterton learned his first letters from the illuminated capitals of an old musical folio, and he learned to read out of a black-letter Bible. He did not like, his sister said, reading out of small books. Wayward from his earliest years, and uninterested in the games of other children, he was thought to be educationally backward. His sister related that on being asked what device he would like painted on a bowl that was to be his, he replied, “Paint me an angel, with wings, and a trumpet, to trumpet my name over the world.” From his earliest years he was liable to fits of abstraction, sitting for hours in what seemed like a trance, or crying for no reason. His lonely circumstances helped foster his natural reserve, and to create the love of mystery which exercised such an influence on the development of his poetry. When Chatterton was six, his mother began to recognise his capacity; at eight he was so eager for books that he would read and write all day long if undisturbed; by the age of eleven, he had become a contributor to Felix Farley’s Bristol Journal. His confirmation inspired him to write some religious poems published in that paper. In 1763 a cross which had adorned the churchyard of St Mary Redcliffe for upwards of three centuries was destroyed by a churchwarden. The spirit of veneration was strong in Chatterton, and he sent to the local journal on 7 January 1764 a satire on the parish vandal. He also liked to lock himself in a little attic which he had appropriated as his study; and there, with books, cherished parchments, loot purloined from the muniment room of St Mary Redcliffe, and drawing materials, the child lived in thought with his 15th century heroes and heroines. First “medieval” works The first of his literary mysteries, the dialogue of “Elinoure and Juga,” was written before he was 12, and he showed it to Thomas Phillips, the usher at the boarding school Colston’s Hospital where he was a pupil, pretending it was the work of a 15th-century poet. Chatterton remained a boarder at Colston’s Hospital for more than six years, and it was only his uncle who encouraged the pupils to write. Three of Chatterton’s companions are named as youths whom Phillips’s taste for poetry stimulated to rivalry; but Chatterton told no one about his own more daring literary adventures. His little pocket-money was spent on borrowing books from a circulating library; and he ingratiated himself with book collectors, in order to obtain access to John Weever, William Dugdale and Arthur Collins, as well as to Thomas Speght’s edition of Chaucer, Spenser and other books. At some point he came across Elizabeth Cooper’s anthology of verse, which is said to have been a major source for his inventions. Chatterton’s “Rowleian” jargon appears to have been chiefly the result of the study of John Kersey’s Dictionarium Anglo-Britannicum, and it seems his knowledge even of Chaucer was very slight. His holidays were mostly spent at his mother’s house, and much of them in the favourite retreat of his attic study there. He lived for the most part in an ideal world of his own, in the reign of Edward IV, during the mid-15th century, when the great Bristol merchant William II Canynges (d.1474), five times mayor of Bristol, patron and rebuilder of St Mary Redcliffe “still ruled in Bristol’s civic chair.” Canynges was familiar to him from his recumbent effigy in Redcliffe church, and is represented by Chatterton as an enlightened patron of art and literature. Adopts persona of Thomas Rowley Chatterton soon conceived the romance of Thomas Rowley, an imaginary monk of the 15th century, and adopted for himself the pseudonym Thomas Rowley for poetry and history. According to psychoanalyst Louise J. Kaplan, his being fatherless played a great role in his imposturous creation of Rowley. The development of his masculine identity was held back by the fact that he was raised by two women: his mother Sarah and his sister Mary. Therefore, “to reconstitute the lost father in fantasy,” he unconsciously created "two interweaving family romances [fantasies], each with its own scenario." The first of these was the romance of Rowley for whom he created a fatherlike, wealthy patron, William Canynge, while the second was as Kaplan named it his romance of “Jack and the Beanstalk.” He imagined he would become a famous poet who by his talents would be able to rescue his mother from poverty. Chatterton’s search for a patron To bring his hopes to life, Chatterton started to look for a patron. At first, he was trying to do so in Bristol where he became acquainted with William Barrett, George Catcott and Henry Burgum. He assisted them by providing Rowley transcripts for their work. The antiquary William Barrett relied exclusively on these fake transcripts when writing his History and Antiquities of Bristol (1789) which became an enormous failure. But since his Bristol patrons were not willing to pay him enough, he turned to the wealthier Horace Walpole. In 1769 Chatterton sent specimens of Rowley’s poetry and “The Ryse of Peyncteynge yn Englade” to Walpole who offered to print them “if they have never been printed.” Later, however, finding that Chatterton was only sixteen and that the alleged Rowley pieces might have been forgeries, he scornfully sent him away. Political writings Badly hurt by Walpole’s snub, Chatterton wrote very little for a summer. Then, after the end of the summer, he turned his attention to periodical literature and politics, and exchanged Farley’s Bristol Journal for the Town and Country Magazine and other London periodicals. Assuming the vein of the pseudonymous letter writer Junius—then in the full blaze of his triumph—he turned his pen against the Duke of Grafton, the Earl of Bute and Augusta of Saxe-Gotha, the Princess of Wales. Determines on leaving Bristol He had just dispatched one of his political diatribes to the Middlesex Journal, when he sat down on Easter Eve, 17 April 1770, and penned his “Last Will and Testament,” a satirical compound of jest and earnest, in which he intimated his intention of ending his life the following evening. Among his satirical bequests, such as his “humility” to the Rev. Mr Camplin, his “religion” to Dean Barton, and his “modesty” along with his “prosody and grammar” to Mr Burgum, he leaves “to Bristol all his spirit and disinterestedness, parcels of goods unknown on its quay since the days of Canynge and Rowley.” In more genuine earnestness he recalls the name of Michael Clayfield, a friend to whom he owed intelligent sympathy. The will was possibly prepared in order to frighten his master into letting him go. If so, it had the desired effect. John Lambert, the attorney to whom he was apprenticed, cancelled his indentures; his friends and acquaintances having donated money, Chatterton went to London. London Chatterton was already known to the readers of the Middlesex Journal as a rival of Junius, under the nom de plume of Decimus. He had also been a contributor to Hamilton’s Town and Country Magazine, and speedily found access to the Freeholder’s Magazine, another political miscellany supportive of John Wilkes and liberty. His contributions were accepted, but the editors paid little or nothing for them. He wrote hopefully to his mother and sister, and spent his first earnings in buying gifts for them. Wilkes himself had noted his trenchant style “and expressed a desire to know the author”; and Lord Mayor William Beckford graciously acknowledged a political address of his, and greeted him “as politely as a citizen could.” He was abstemious and extraordinarily diligent. He could assume the style of Junius or Tobias Smollett, reproduce the satiric bitterness of Charles Churchill, parody James Macpherson’s Ossian, or write in the manner of Alexander Pope or with the polished grace of Thomas Gray and William Collins. He wrote political letters, eclogues, lyrics, operas and satires, both in prose and verse. In June 1770—after nine weeks in London—he moved from Shoreditch, where he had lodged with a relative, to an attic in Brook Street, Holborn (now beneath Alfred Waterhouse’s Holborn Bars building). He was still short of money; and now state prosecutions of the press rendered letters in the Junius vein no longer admissible, and threw him back on the lighter resources of his pen. In Shoreditch, he had shared a room; but now, for the first time, he enjoyed uninterrupted solitude. His bed-fellow at Mr Walmsley’s, Shoreditch, noted that much of the night was spent by him in writing; and now he could write all night. The romance of his earlier years revived, and he transcribed from an imaginary parchment of the old priest Rowley his “Excelente Balade of Charitie.” This poem, disguised in archaic language, he sent to the editor of the Town and Country Magazine, where it was rejected. Mr Cross, a neighbouring apothecary, repeatedly invited him to join him at dinner or supper; but he refused. His landlady also, suspecting his necessity, pressed him to share her dinner, but in vain. “She knew,” as she afterwards said, “that he had not eaten anything for two or three days.” But he assured her that he was not hungry. The note of his actual receipts, found in his pocket-book after his death, shows that Hamilton, Fell and other editors who had been so liberal in flattery, had paid him at the rate of a shilling for an article, and less than eightpence each for his songs; much which had been accepted was held in reserve and still unpaid for. According to his foster-mother, he had wished to study medicine with Barrett, and in his desperation he wrote to Barrett for a letter to help him to an opening as a surgeon’s assistant on board an African trader. Death While walking along St Pancras Churchyard, Chatterton much absorbed in thought, took no notice of an open grave, newly dug in his path, and subsequently tumbled into it. His walking companion upon observing this event, helped Chatterton out and told him in a jocular manner, that he was happy in assisting at the resurrection of genius. Chatterton replied, “My dear friend, I have been at war with the grave for some time now.” Chatterton would commit suicide three days later. On 24 August 1770, he retired for the last time to his attic in Brook Street, carrying with him the arsenic which he drank, after tearing into fragments whatever literary remains were at hand. He was only 17 years and nine months old. A few days later one Dr Thomas Fry came to London with the intention of giving financial support to the young boy “whether discoverer or author merely.” A fragment, probably one of the last pieces written by the impostor-poet was put together by Dr Fry from the shreds of paper that covered the floor of Thomas Chatterton’s Brook Street attic on the morning of 25 August 1770. The would-have-been patron of the poet had an eye for literary forgeries, and purchased the scraps which the poet’s landlady, Mrs Angel swept into a box, cherishing the hope of discovering a suicide note among the pieces. This fragment, possibly one of the remnants of Chatterton’s very last literary efforts, was identified by Dr Fry to be a modified ending of the poet’s tragical interlude Aella. The fragment is now in the possession of Bristol Public Library and Art Gallery. The final Alexandrine is completely missing, together with Chatterton’s notes. However, according to Dr Fry, the character who utters the final lines must have been Birtha, whose last word might have been something like “kisste.” Posthumous recognition The death of Chatterton attracted little notice at the time; for the few who then entertained any appreciative estimate of the Rowley poems regarded him as their mere transcriber. He was interred in a burying-ground attached to the Shoe Lane Workhouse, in the parish of St Andrew, Holborn, later the site of Farringdon Market. There is a discredited story that the body of the poet was recovered, and secretly buried by his uncle, Richard Phillips, in Redcliffe Churchyard. There a monument has since been erected to his memory, with the appropriate inscription, borrowed from his “Will,” and so supplied by the poet’s own pen. “To the memory of Thomas Chatterton. Reader! judge not. If thou art a Christian, believe that he shall be judged by a Superior Power. To that Power only is he now answerable.” It was after Chatterton’s death that the controversy over his work began. Poems supposed to have been written at Bristol by Thomas Rowley and others, in the Fifteenth Century (1777) was edited by Thomas Tyrwhitt, a Chaucerian scholar who believed them genuine medieval works. However, the appendix to the following year’s edition recognises that they were probably Chatterton’s own work. Thomas Warton, in his History of English Poetry (1778) included Rowley among 15th-century poets, but apparently did not believe in the antiquity of the poems. In 1782 a new edition of Rowley’s poems appeared, with a “Commentary, in which the antiquity of them is considered and defended,” by Jeremiah Milles, Dean of Exeter. The controversy which raged round the Rowley poems is discussed in Andrew Kippis, Biographia Britannica (vol. iv., 1789), where there is a detailed account by G Gregory of Chatterton’s life (pp. 573–619). This was reprinted in the edition (1803) of Chatterton’s Works by Robert Southey and Joseph Cottle, published for the benefit of the poet’s sister. The neglected condition of the study of earlier English in the 18th century alone accounts for the temporary success of Chatterton’s mystification. It has long been agreed that Chatterton was solely responsible for the Rowley poems; the language and style were analysed in confirmation of this view by W. W. Skeat in an introductory essay prefaced to vol. ii. of The Poetical Works of Thomas Chatterton (1871) in the “Aldine Edition of the British Poets.” The Chatterton manuscripts originally in the possession of William Barrett of Bristol were left by his heir to the British Museum in 1800. Others are preserved in the Bristol library. Legacy Chatterton’s genius and his death are commemorated by Percy Bysshe Shelley in Adonais (though its main emphasis is the commemoration of Keats), by William Wordsworth in “Resolution and Independence,” by Samuel Taylor Coleridge in “Monody on the Death of Chatterton,” by Dante Gabriel Rossetti in “Five English Poets,” and in John Keats’ sonnet “To Chatterton.” Keats also inscribed Endymion “to the memory of Thomas Chatterton.” Two of Alfred de Vigny’s works, Stello and the drama Chatterton, give fictionalized accounts of the poet; in the former, there is a scene in which William Beckford’s harsh criticism of Chatterton’s work drives the poet to suicide. The three-act play “Chatterton” was first performed at the Théâtre-Français, Paris on February 12, 1835. Herbert Croft, in his Love and Madness, interpolated a long and valuable account of Chatterton, giving many of the poet’s letters, and much information obtained from his family and friends (pp. 125–244, letter li.). The most famous image of Chatterton in the 19th century was The Death of Chatterton (1856) by Henry Wallis, now in Tate Britain, London. Two smaller versions, sketches or replicas, are held by the Birmingham Museum and Art Gallery and the Yale Center for British Art. The figure of the poet was modelled by the young George Meredith. Two of Chatterton’s poems were set to music as glees by the English composer John Wall Callcott. These include separate settings of distinct verses within the Song to Aelle. His best known poem, O synge untoe mie roundelaie was set to a five-part madrigal by Samuel Wesley. Chatterton has attracted operatic treatment a number of times throughout history, notably Ruggiero Leoncavallo’s largely unsuccessful two-act Chatterton; the German composer Matthias Pintscher’s modernistic Thomas Chatterton; and Australian composer Matthew Dewey’s lyrical yet dramatically intricate one-man mythography entitled “The Death of Thomas Chatterton.” There is a collection of “Chattertoniana” in the British Museum, consisting of works by Chatterton, newspaper cuttings, articles dealing with the Rowley controversy and other subjects, with manuscript notes by Joseph Haslewood, and several autograph letters. E. H. W. Meyerstein, who worked for many years in the manuscript room of the British Museum wrote a definitive work—"A Life of Thomas Chatterton"—in 1930. Peter Ackroyd’s 1987 novel Chatterton was a literary re-telling of the poet’s story, giving emphasis to the philosophical and spiritual implications of forgery. In 1886, architect Herbert Horne and Oscar Wilde unsuccessfully attempted to have a plaque erected at Colston’s School, Bristol. Wilde, who lectured on Chatterton at this time, suggested the inscription: “To The Memory of Thomas Chatterton, One of England’s Greatest Poets, and Sometime pupil at this school.” In 1928 a plaque in memory of Chatterton was mounted on 39, Brooke Street, Holborn, bearing the inscription below. The plaque has subsequently been transferred to a modern office building on the same site. Within Bromley Common, there is a road called Chatterton Road; this is the main thoroughfare in Chatterton Village, based around the public house, The Chatterton Arms. Both road and pub are named after the poet. French singer Serge Gainsbourg entitled one of his songs “Chatterton,” stating: Chatterton suicidé Hannibal suicidé [...] Quant à moi Ça ne va plus très bien. The song was covered (in Portuguese) by Seu Jorge live and recorded in the album Ana & Jorge: Ao Vivo. Works * ‘An Elegy on the much lamented Death of William Beckford, Esq.,’ 4to, pp. 14, 1770. * 'The Execution of Sir Charles Bawdwin’ (edited by Thomas Eagles, F.S.A.), 4to, pp. 26, 1772. * 'Poems supposed to have been written at Bristol, by Thomas Rowley and others, in the Fifteenth Century’ (edited by Thomas Tyrwhitt), 8vo, pp. 307, 1777. * 'Appendix’ (to the 3rd edition of the poems, edited by the same), 8vo, pp. 309–333, 1778. * 'Miscellanies in Prose and Verse, by Thomas Chatterton, the supposed author of the Poems published under the names of Rowley, Canning, &c.' (edited by John Broughton), 8vo, pp. 245, 1778. * 'Poems supposed to have been written at Bristol in the Fifteenth Century by Thomas Rowley, Priest, &c., [edited] by Jeremiah Milles, D.D., Dean of Exeter,' 4to, pp. 545, 1782. * ‘A Supplement to the Miscellanies of Thomas Chatterton,’ 8vo, pp. 88, 1784. * 'Poems supposed to have been written at Bristol by Thomas Rowley and others in the Fifteenth Century’ (edited by Lancelot Sharpe), 8vo, pp. xxix, 329, 1794. * ‘The Poetical Works of Thomas Chatterton,’ Anderson s ‘British Poets,’ xi. 297-322, 1795. * ‘The Revenge: a Burletta ; with additional Songs, by Thomas Chatterton,’ 8vo, pp. 47, 1795. * 'The Works of Thomas Chatterton’ (edited by Robert Southey and Joseph Cottle), 3 vols. 8yo, 1803. * 'The Poetical Works of Thomas Chatterton’ (edited by Charles B. Willcox), 2 vols. 12mo, 1842. * 'The Poetical Works of Thomas Chatterton’ (edited by the Rev Walter Skeat, M.A.), Aldine edition, 2 vols. 8vo, 1875. References Wikipedia—https://en.wikipedia.org/wiki/Thomas_Chatterton

William Wilfred Campbell (15 June 1860– 1 January 1918) was a Canadian poet. He is often classed as one of the country’s Confederation Poets, a group that included fellow Canadians Charles G.D. Roberts, Bliss Carman, Archibald Lampman, and Duncan Campbell Scott; he was a colleague of Lampman and Scott. By the end of the 19th century, he was considered the “unofficial poet laureate of Canada.” Although not as well known as the other Confederation poets today, Campbell was a “versatile, interesting writer” who was influenced by Robert Burns, the English Romantics, Edgar Allan Poe, Ralph Waldo Emerson, Henry Wadsworth Longfellow, Thomas Carlyle, and Alfred Tennyson. Inspired by these writers, Campbell expressed his own religious idealism in traditional forms and genres. Life William Wilfred Campbell was born around 15 June 1860 in Newmarket, Upper Canada (present-day Ontario). There is some doubt as to the date and place of his birth. His father, Rev. Thomas Swainston Campbell, was an Anglican clergyman who had been assigned the task of setting up several frontier parishes in “Canada West”, as Ontario was then called. Consequently, the family moved frequently. The Campbell family settled in Wiarton, Ontario in 1871, where Wilfred grew up, attending high school (which was later renamed the Owen Sound Collegiate and Vocational Institute) in nearby Owen Sound. Campbell would look back on his childhood with fondness: As a boy, I always enjoyed the campfires we built in the woods or on the shingly beach of some lone lake shore, when the stars came out and peered down on the windy darkness and swallowed up the sparks and flames from the crackling logs and dry branches we heaped up while the local warmth and radiance added a contrast to the outside vastness of darkness and cold. Campbell taught in Wiarton before enrolling in the University of Toronto’s University College in 1880, Wycliffe College in 1882, and at the Episcopal Theological School in Cambridge, Massachusetts, in 1883. Campbell married Mary DeBelle (née Dibble) in 1884. They had four children, Margery, Faith, Basil, and Dorothy. In 1885 Campbell was ordained to the Episcopal priesthood, and was soon appointed to a New England parish. In 1888 he returned to Canada and became rector of St. Stephen, New Brunswick. In 1891, after suffering a crisis of faith, Campbell resigned from the ministry and took a civil service position in Ottawa. He received a permanent position in the Department of Militia and Defence two years later. Living in Ottawa, Campbell became acquainted with Archibald Lampman—his next door neighbor at one time—and through him with Duncan Campbell Scott. In February 1892, Campbell, Lampman, and Scott began writing a column of literary essays and criticism called “At the Mermaid Inn” for the Toronto Globe. As Lampman wrote to a friend: Campbell is deplorably poor.... Partly in order to help his pockets a little Mr. Scott and I decided to see if we could get the Toronto Globe to give us space for a couple of columns of paragraphs & short articles, at whatever pay we could get for them. They agreed to it; and Campbell, Scott and I have been carrying on the thing for several weeks now. The column ran only until July 1893. Lampman and Scott found it difficult to “keep a rein on Campbell’s frank expression of his heterodox opinions.” Readers of the Toronto Globe reacted negatively when Campbell presented the history of the cross as a mythic symbol. His apology for “overestimating their intellectual capacities” did little to resolve the controversy. In the 20th century, Campbell became a strong advocate of British imperialism, for example telling Toronto’s Empire Club in 1904 that Canada’s only choice lay “between two different imperialisms, that of Britain and that of the Imperial Commonwealth to the south.” It was the principles of Imperialist that guided his work in Poems of loyalty by British and Canadian authors (London, 1913) and for The Oxford Book of Canadian Verse (Toronto, 1913). As editor of The Oxford book of Canadian Verse, Campbell devoted more pages to his own poetry than to others’. But by choosing mostly from his longer work—including an excerpt from Mordred (one of his verse dramas)—he did not choose his best work. In contrast, the poems he selected from his fellow Confederation Poets reflected some of their best work. Campbell was transferred to the Dominion Archives in 1909. In 1915 he moved his family to an old stone farmhouse on the outskirts of Ottawa, which he named “Kilmorie”. He died of pneumonia on New Year’s morning, 1918. He was buried in Ottawa’s Beechwood Cemetery. Writing Campbell’s first chapbook, Poems!, "seems to have been printed at a newspaper office sometime around 1879 or 1880." He placed poetry in the University of Toronto Varsity in 1881. As a theology student in Massachusetts, Campbell met Oliver Wendell Holmes, who recommended his poetry to Atlantic Monthly editor Thomas Bailey Aldrich. Aldrich published Campbell’s “Canadian Folk Song” in the January 1885 issue, launching his career in the American magazines. In 1888 Snowflakes and Sunbeams was printed at Campbell’s expense in St. Stephen, New Brunswick. The book "was favourably reviewed in Canada and the United States for its lovely nature lyrics, one of which, 'Indian summer’ (it starts with 'Along the line of smoky hills / The crimson forest stands’), remains among the most beloved of Canadian poems." The entire volume, including “Indian Summer,” was incorporated into Lake Lyrics, published the following year. "The poems in Lake lyrics and other poems (1889), with their intense rhythms, dramatic imagery, and ardent spirituality, express Campbell’s devotion to nature as the revelation of God’s presence; this book established his reputation as ‘laureate of the lakes.’" Notable new poems in the book included “Vapor and Blue” and “The Winter Lakes”. Campbell’s poem “The Mother” was printed in Harper’s New Monthly in April 1891; a traditional ballad, the poem tells of a dead mother who rises from the grave to claim her still-living baby. It "created a sensation in the literary press and was reprinted in newspapers such as the Week and the Globe in Toronto. In September 1881, the House of Commons (and, in 1892, the Senate) debated whether Campbell should receive a permanent civil service position in recognition of his literary abilities. The proposal was defeated, ostensibly for practical reasons, and the decision established a precedent for withholding patronage from artists. Nevertheless, in 1893 he was quietly given a permanent position in the Department of Militia and Defence, and he would remain a civil servant until his death." Campbell’s third book of poetry, The Dread Voyage Poems (1893), was darker than the earlier two. “In this volume, his poetry began to show the preoccupation with harmonizing religion, science, and social theory that had started while he was still a clergyman and would continue through his middle age.” The book contains some of Campbell’s best-known poems, such as “How One Winter Came in the Lake Region” and the 'surprise ending’ sonnet, “Morning on the Shore.” “In 1895 he published two versified tragedies, Mordred and Hildebrand, and these were included, with two others, Daulac and Morning, in a volume entitled Poetical tragedies (1908)." Also in 1895, Campbell sparked a literary controversy by accusing Bliss Carman of plagiarism, an incident documented in Alexandra Hurst’s 1994 book, The War Among the Poets (Canadian Poetry Press). Campbell published a new book of lyrics, Beyond the Hills of Dream, in 1899. "Included in the book was his jubilee ode ‘Victoria,’ written for the Queen’s diamond jubilee in 1897. Eleven of its thirty-five other poems were reprinted from The Dread Voyage, thus perpetuating the dark tone of the earlier volume. Sombre also was “Bereavement of the Fields,” one of the better new poems, written in memory of Archibald Lampman, who died on 10 February 1899.” “The early years of the twentieth century saw a prolific outpouring of prose from Campbell. In addition to numerous pamphlets, he wrote five historical novels and three works of non-fiction. Only two of his novels ever appeared in book form: Ian of the Orcades (1906)... and A Beautiful Rebel (1909). Another novel was never re-printed after its appearance in The Christian Guardian, and two novels still remain only in manuscript form. Two of his works of non-fiction were labours of love: a book about the Great Lakes (1910, reprinted and enlarged 1914), and an account of the Scottish settlements in Eastern Canada (1911). The title of the former is quite a mouthful: The Beauty, History, Romance, and Mystery of the Canadian Lake Region. Campbell intersperses these descriptive sketches, which appeared originally in The Westminster magazine, with selections of his lake lyrics to give the reader a very personal tour of the region. Subjective, also, is the bias of The Scotsman in Canada, which credits Scots with laying the foundation of nearly everything that is admirable in Canada.” In 1914, with war threatening, Campbell published a book of imperialistic verse, Sagas of a Vaster Britain. "Many of its seventy poems were recycled from previous collections, patriotic effusions like “England” (“Over the freedom and peace of the world/ Is the flag of England flung”), and some of his best work like “How One Winter Came to the Lake Region". The new poems, like “Life’s Ocean” and “The Dream Divine,” have the old weaknesses of displeasing sound (“large-mooned waters”) and awkward structure (“And of all love’s far, dim dawnings of hope unborn/ God’s latest are best”)." "Sagas... was his last book, but each New Year’s from 1915 to 1918 he distributed pamphlets of poems relating to World War I.” When Campbell died in 1918, his “popularity died with him. Technically, his work is usually conservative, and his ideas have become unfashionable. His poetry has been compared with the more polished works” of the four major Confederation poets. “In fact,” though, as the DCB sums up his career, “Campbell worked hard to achieve naturalness, sincerity, and simplicity of expression, rather than polish; he tried to convey universal truths in order to inspire his readers to strive toward their noblest ideals. Within this framework, the artistic merit of many of his poems becomes evident.” Campbell was elected a Fellow of the Royal Society of Canada in 1894. He was declared a Person of National Historic Significance in 1938. Bibliography * Poetry * Poems! (1879-1880?) * Snowflakes and sunbeams. St. Stephen, N.B.: St. Croix Courier Press, 1888 (reprinted Ottawa, 1974) * Lake lyrics and other poems. Saint John: J.& A. McMillan, 1889 * The dread voyage poems. Toronto: William Briggs, 1893 * Mordred and Hildebrand: A Book of Tragedies.. Ottawa: J. Durie, 1895 * Beyond the hills of dream. Boston: Houghton Mifflin, 1899. and Toronto, 1900 * The poems of Wilfred Campbell. Toronto: William Briggs, 1905 * The collected poems of Wilfred Campbell. New York, 1905 * Poetical tragedies. Toronto: William Briggs, 1908 * Sagas of vaster Britain: poems of the race, the empire and the divinity of man. Toronto: Musson, 1914 * The poetical works of Wilfred Campbell. W.J. Sykes ed. London: Hodder and Stoughton, 1923. * Selected Poems. 1976 * Vapour and Blue. Souster selects Campbell: The poetry of William Wilfred Campbell. Raymond Souster ed. Sutton: Paget, 1978 * William Wilfred Campbell: selected poetry and essays. Laurel Boone ed. Waterloo, ON: Wilfrid Laurier U P, 1987 * Fiction * Ian of the Orcades; or, the armourer of Girnigoe. Edinburgh and London, 1906. New York, 1906 * A beautiful rebel: a romance of Upper Canada in 1812. Toronto, 1909 New York and London, 1909 * Non-fiction * Canada. text to Thomas Mower Martin’s Illustrations in Canada. Toronto: Macmillan, 1907. (London, 1907) * The beauty, history, romance and mystery of the Canadian lake region. Toronto, 1910. (new ed., 1914) * The Scotsman in Canada vol. 1. London: Sampson Low Marston & Co., 1912. Toronto, 1911 * At the Mermaid Inn: Wilfred Campbell, Archibald Lampman, Duncan Campbell Scott in the Globe 1892–3, ed. Barrie Davies (Toronto: U of Toronto P, 1979 * Edited works * The Oxford Book of Canadian Verse (1913) * Poems of Loyalty by British and Canadian Authors (1913) * Except where noted, bibliographic information courtesy of Dictionary of Canadian Biography. References Wikipedia—https://en.wikipedia.org/wiki/William_Wilfred_Campbell

Arthur Chapman (June 25, 1873– December 4, 1935) was an early twentieth-century American poet and newspaper columnist. He wrote a subgenre of American poetry known as Cowboy Poetry. His most famous poem was Out Where the West Begins. Out Where the West Begins Circa 1910, after reading in an Associated Press report of a conference of the governors of the western states at which the geographic beginning of the U.S. West was disputed, he hastily composed what was to become his most famous poem, “Out Where the West Begins,” celebrating the people and the land of the frontier. The first of its three seven-line stanzas ran "Out where the handclasp’s a little stronger, / Out where the smile dwells a little longer, / That’s where the West begins; / Out where the sun is a little brighter, / Where the snows that fall are a trifle whiter, / Where the bonds of home are a wee bit tighter, / That’s where the West begins." The poem was an immediate sensation, widely quoted, often imitated, and more often parodied. (One popular anonymous take-off read, in part, "Where the women boss and the men folk think / That toast is food and tea is a drink; / Where the men use powder and the wrist watch ticks, / And everyone else but themselves are hicks / That’s where the East begins.") According to the dust jacket of Chapman’s 1921 novel, Mystery Ranch, "To-day ["Out Where the West Begins"] is perhaps the best-known bit of verse in America. It hangs framed in the office of the Secretary of the Interior at Washington. It has been quoted in Congress, and printed as campaign material for at least two Governors. . . . [Chapman’s poems possess] a rich Western humor such as had not been heard in American poetry since the passing of Bret Harte.” The popularity of “Out Where the West Begins” led Chapman to arrange for its publication in book form, and in 1916 he produced Out Where the West Begins, and Other Small Songs of a Big Country, a modest fifteen-page volume issued by Carson-Harper in Denver. It was an immediate success and Houghton Mifflin of Boston and New York immediately offered to publish a larger collection. Out Where the West Begins, and Other Western Verses, as it was renamed, appeared in 1917 with fifty-eight poems on ninety-two pages. The title poem was widely reprinted on postcards and plaques. It was frequently set to music, first in 1920, and achieved a separate life on the concert stage. Chapman followed the popular volume in 1921 with the equally successful Cactus Center: Poems of an Arizona Town, containing thirty poems and running to 123 pages. The Literary Review wrote of the verse, "In vigor of style, [it] irresistibly suggests a transplanted Kipling" (19 Feb. 1921, p. 12). The Move East In 1919 Chapman moved to New York City, where he lived in a fashionable neighborhood on the east side of Manhattan and took a job as a staff writer for the Sunday edition of the New York Tribune. He held that position until his retirement in 1925, the year after the newspaper became the New York Herald Tribune. After his wife died in 1923 Chapman married Kathleen Caesar, an editor of the Bell Syndicate; no children were born of his second marriage. He wrote fiction and nonfiction throughout his career as a journalist and continued after he retired. His first effort at book-length fiction, Mystery Ranch (1921), combined the genres of western adventure and murder mystery. The Literary Review dismissed it as “melodramatic” and stated that it provided “little for the seeker of literary values” (19 Nov. 1921, p. 190), but the New York Times more charitably credited Chapman, “known heretofore as a poet of the West,” with being “a clever technician in a new field” (13 Nov. 1921). The book had modest commercial success, but Chapman’s second novel, John Crews (1926), an equally stereotypical adventure-romance of frontier life, sold better. Described by the New York Herald Tribune as “a lively and continuously readable yarn,” it was successful enough to have a reprint edition by another publisher in its first year (28 Mar. 1926). In 1924 Chapman capitalized on his reputation as an expert on the U.S. West with the publication of The Story of Colorado, Out Where the West Begins, a richly illustrated history of the state. His final book was an extensively researched and detailed volume, The Pony Express: The Record of a Romantic Adventure in Business (1932), complete with bibliography, index, and maps. Both were well received by the critics and the public. It was, however, for his poetry that Chapman became and remained famous. His western dialect poems and “Out Where the West Begins” continued to be quoted and to appear in anthologies long after his death, and both of his volumes of verse were brought out in new editions by other publishers as late as 2010. References Wikipedia—https://en.wikipedia.org/wiki/Arthur_Chapman_(poet)

George Chapman (Hitchin, Hertfordshire, C. 1559– London,12 May 1634) was an English dramatist, translator, and poet. He was a classical scholar whose work shows the influence of Stoicism. Chapman has been identified as the Rival Poet of Shakespeare’s sonnets by William Minto, and as an anticipator of the Metaphysical Poets of the 17th century. Chapman is best remembered for his translations of Homer’s Iliad and Odyssey, and the Homeric Batrachomyomachia. Life and work Chapman was born at Hitchin in Hertfordshire. There is conjecture that he studied at Oxford but did not take a degree, though no reliable evidence affirms this. Very little is known about Chapman’s early life, but Mark Eccles uncovered records that reveal much about Chapman’s difficulties and expectations. In 1585 Chapman was approached in a friendly fashion by John Wolfall, Sr., who offered to supply a bond of surety for a loan to furnish Chapman money “for his proper use in Attendance upon the then Right Honorable Sir Rafe Sadler Knight.” Chapman’s courtly ambitions led him into a trap. He apparently never received any money, but he would be plagued for many years by the papers he had signed. Wolfall had the poet arrested for debt in 1600, and when in 1608 Wolfall’s son, having inherited his father’s papers, sued yet again, Chapman’s only resort was to petition the Court of Chancery for equity. As Sadler died in 1587, this gives Chapman little time to have trained under him. It seems more likely that he was in Sadler’s household from 1577–83, as he dedicates all his Homerical translations to him. Chapman spent the early 1590s abroad, and saw military action in the Low Countries fighting under renowned English general Sir Francis Vere. His earliest published works were the obscure philosophical poems The Shadow of Night (1594) and Ovid’s Banquet of Sense (1595). The latter has been taken as a response to the erotic poems of the age, such as Philip Sidney’s Astrophil and Stella and Shakespeare’s Venus and Adonis. Chapman’s life was troubled by debt and his inability to find a patron whose fortunes did not decline: Robert Devereux, Second Earl of Essex and the Prince of Wales, Prince Henry both met their ends prematurely. The former was executed for treason by Elizabeth I in 1601, and the latter died of typhoid fever at the age of eighteen in 1612. Chapman’s resultant poverty did not diminish his ability or his standing among his fellow Elizabethan poets and dramatists. Chapman died in London, having lived his latter years in poverty and debt. He was buried at St Giles in the Fields. A monument to him designed by Inigo Jones marked his tomb, and stands today inside the church. Plays Comedies By the end of the 1590s, Chapman had become a successful playwright, working for Philip Henslowe and later for the Children of the Chapel. Among his comedies are The Blind Beggar of Alexandria (1596; printed 1598), An Humorous Day’s Mirth (1597; printed 1599), All Fools (printed 1605), Monsieur D’Olive (1605; printed 1606), The Gentleman Usher (printed 1606), May Day (printed 1611), and The Widow’s Tears (printed 1612). His plays show a willingness to experiment with dramatic form: An Humorous Day’s Mirth was one of the first plays to be written in the style of “humours comedy” which Ben Jonson later used in Every Man in his Humour and Every Man Out of his Humour. With The Widow’s Tears, he was also one of the first writers to meld comedy with more serious themes, creating the tragicomedy later made famous by Beaumont and Fletcher. He also wrote one noteworthy play in collaboration. Eastward Ho (1605), written with Jonson and John Marston, contained satirical references to the Scots which landed Chapman and Jonson in jail. Various of their letters to the king and noblemen survive in a manuscript in the Folger Library known as the Dobell MS, and published by AR Braunmuller as A Seventeenth Century Letterbook. In the letters, both men renounced the offending line, implying that Marston was responsible for the injurious remark. Jonson’s “Conversations With Drummond” refers to the imprisonment, and suggests there was a possibility that both authors would have their “ears and noses slit” as a punishment, but this may have been Jonson elaborating on the story in retrospect. Chapman’s friendship with Jonson broke down, perhaps as a result of Jonson’s public feud with Inigo Jones. Some satiric, scathing lines, written sometime after the burning of Jonson’s desk and papers, provide evidence of the rift. The poem lampooning Jonson’s aggressive behaviour and self-believed superiority remained unpublished during Chapman’s lifetime; it was found in documents collected after his death. Tragedies Chapman’s greatest tragedies took their subject matter from recent French history, the French ambassador taking offence on at least one occasion. These include Bussy D’Ambois (1607), The Conspiracy and Tragedy of Charles, Duke of Byron (1608), The Revenge of Bussy D’Ambois (1613) and The Tragedy of Chabot, Admiral of France (published 1639). The two Byron plays were banned from the stage—although, when the Court left London, the plays were performed in their original and unexpurgated forms by the Children of the Chapel. The French ambassador probably took offence to a scene which portrays Henry IV’s wife and mistress arguing and physically fighting. On publication, the offending material was excised, and Chapman refers to the play in his dedication to Sir Thomas Walsingham as “poore dismembered Poems.” His only work of classical tragedy, Caesar and Pompey (ca. 1613?) is generally regarded as his most modest achievement in the genre. Other plays Chapman wrote one of the most successful masques of the Jacobean era, The Memorable Masque of the Middle Temple and Lincoln’s Inn, performed on 15 February 1613. According to Kenneth Muir, The Masque of the Twelve Months, performed on Twelfth Night 1619 and first printed by John Payne Collier in 1848 with no author’s name attached, is also ascribed to Chapman. Chapman’s authorship has been argued in connection with a number of other anonymous plays of his era. F. G. Fleay proposed that his first play was The Disguises. He has been put forward as the author, in whole or in part, of Sir Giles Goosecap, Two Wise Men And All The Rest Fools, The Fountain Of New Fashions, and The Second Maiden’s Tragedy. Of these, only 'Sir Gyles Goosecap’ is generally accepted by scholars to have been written by Chapman (The Plays of George Chapman: The Tragedies, with Sir Giles Goosecap, edited by Allan Holaday, University of Illinois Press, 1987). In 1654, bookseller Richard Marriot published the play Revenge for Honour as the work of Chapman. Scholars have rejected the attribution; the play may have been written by Henry Glapthorne. Alphonsus Emperor of Germany (also printed 1654) is generally considered another false Chapman attribution. The lost plays The Fatal Love and A Yorkshire Gentlewoman And Her Son were assigned to Chapman in Stationers’ Register entries in 1660. Both of these plays were among the ones destroyed in the famous kitchen burnings by John Warburton’s cook. The lost play Christianetta (registered 1640) may have been a collaboration between Chapman and Richard Brome, or a revision by Brome of a Chapman work. Poet and translator Other poems by Chapman include: De Guiana, Carmen Epicum (1596), on the exploits of Sir Walter Raleigh; a continuation of Christopher Marlowe’s unfinished Hero and Leander (1598); and Euthymiae Raptus; or the Tears of Peace (1609). Some have considered Chapman to be the “rival poet” of Shakespeare’s Sonnets. From 1598 he published his translation of the Iliad in installments. In 1616 the complete Iliad and Odyssey appeared in The Whole Works of Homer, the first complete English translation, which until Pope’s was the most popular in the English language and was the way most English speakers encountered these poems. The endeavour was to have been profitable: his patron, Prince Henry, had promised him £300 on its completion plus a pension. However, Henry died in 1612 and his household neglected the commitment, leaving Chapman without either a patron or an income. In an extant letter, Chapman petitions for the money owed him; his petition was ineffective. Chapman’s translation of the Odyssey is written in iambic pentameter, whereas his Iliad is written in iambic heptameter. (The Greek original is in dactylic hexameter.) Chapman often extends and elaborates on Homer’s original contents to add descriptive detail or moral and philosophical interpretation and emphasis. Chapman’s translation of Homer was much admired by John Keats, notably in his famous poem On First Looking into Chapman’s Homer, and also drew attention from Samuel Taylor Coleridge and T. S. Eliot. Chapman also translated the Homeric Hymns, the Georgics of Virgil, The Works of Hesiod (1618, dedicated to Francis Bacon), the Hero and Leander of Musaeus (1618), and the Fifth Satire of Juvenal (1624). Chapman’s poetry, though not widely influential on the subsequent development of English poetry, did have a noteworthy effect on the work of T. S. Eliot. Homage In Percy Bysshe Shelley’s poem The Revolt of Islam, Shelley quotes a verse of Chapman’s as homage within his dedication "to Mary__ __", presumably his wife Mary Shelley: There is no danger to a man, that knows What life and death is: there's not any law Exceeds his knowledge; neither is it lawful That he should stoop to any other law. The Irish playwright Oscar Wilde quoted the same verse in his part fiction, part literary criticism, “The Portrait of Mr. W.H.”. The English poet John Keats wrote “On First Looking into Chapman’s Homer” for his friend Charles Cowden Clarke in October 1816. The poem begins “Much have I travell’d in the realms of gold” and is much quoted. For example, P. G. Wodehouse in his review of the first novel of The Flashman Papers series that came to his attention: “Now I understand what that 'when a new planet swims into his ken’ excitement is all about.” Arthur Ransome uses two references from it in his children’s books, the Swallows and Amazons series. Quotes From All Fooles, II.1.170-178, by George Chapman: I could have written as good prose and verse As the most beggarly poet of 'em all, Either Accrostique, Exordion, Epithalamions, Satyres, Epigrams, Sonnets in Doozens, or your Quatorzanies, In any rhyme, Masculine, Feminine, Or Sdrucciola, or cooplets, Blancke Verse: Y'are but bench-whistlers now a dayes to them That were in our times.... References Wikipedia—https://en.wikipedia.org/wiki/George_Chapman

George Canning, FRS, (11 April 1770– 8 August 1827) was a British statesman and Tory politician who served in various senior cabinet positions under numerous Prime Ministers, before himself serving as Prime Minister for the final four months of his life. The son of an actress and a failed businessman and lawyer, Canning was supported financially by his uncle Stratford, allowing him to attend Eton College and Christ Church, Oxford. Canning entered politics in 1793 and rose rapidly. He was Paymaster of the Forces (1800–01) and Treasurer of the Navy (1804–06) under William Pitt the Younger and Foreign Secretary (1807–09) under the Duke of Portland. In 1809, he was wounded in a duel with his foe Lord Castlereagh and was shortly thereafter passed over as a potential prime ministerial successor to the Duke of Portland in favour of Spencer Perceval. He rejected overtures to serve as Foreign Secretary again, owing to Castlereagh’s presence in Perceval’s Cabinet, and he remained out of high office until after Perceval was assassinated in 1812. Canning subsequently served under new Prime Minister the Earl of Liverpool as British Ambassador to Portugal (1814–16), President of the Board of Control (1816–21), and Foreign Secretary and Leader of the House of Commons (1822–27). When Lord Liverpool resigned in ailing health in April 1827, Canning was chosen to succeed him as Prime Minister ahead of the Duke of Wellington and Sir Robert Peel. They both declined to serve under Canning and the Tories split between Peel and Wellington’s Ultra-Tories and the Canningites. Canning thus invited several Whigs to join his cabinet. However, his administration did not last long. His health declined and he died in office in August 1827, after just 119 days in office, the shortest tenure of any British Prime Minister. Early life Canning was born into an Anglo-Irish family at his parents’ home in Queen Anne Street, Marylebone, London. Canning described himself as “an Irishman born in London”. His father, George Canning, Sr., of Garvagh, County Londonderry, Ireland, was a gentleman of limited means, a failed wine merchant and lawyer, who renounced his right to inherit the family estate in exchange for payment of his substantial debts. George Sr. eventually abandoned the family and died in poverty on 11 April 1771, his son’s first birthday, in London. Canning’s mother, Mary Anne Costello, took work as a stage actress, a profession not considered respectable at the time. Indeed, when in 1827 it looked as if Canning would become Prime Minister, Lord Grey remarked that “the son of an actress is, ipso facto, disqualified from becoming Prime Minister”. Because Canning showed unusual intelligence and promise at an early age, family friends persuaded his uncle, London merchant Stratford Canning (father to the diplomat Stratford Canning), to become his nephew’s guardian. George Canning grew up with his cousins at the home of his uncle, who provided him with an income and an education. Stratford Canning’s financial support allowed the young Canning to study at Hyde Abbey School, Eton College and Christ Church, Oxford. Canning came out top of the school at Eton and left at the age of seventeen. His time at Eton has been described as “a triumph almost without parallel. He proved a brilliant classicist, came top of the school, and excelled at public orations”. Canning struck up friendships with the future Lord Liverpool as well as with Granville Leveson-Gower and John Hookham Frere. In 1789 he won a prize for his Latin poem The Pilgrimage to Mecca which he recited in Oxford Theatre. Canning began practising law after receiving his BA from Oxford in the summer of 1791, but he wished to enter politics. Entry into politics Stratford Canning was a Whig and would introduce his nephew in the 1780s to prominent Whigs such as Charles James Fox, Edmund Burke, and Richard Brinsley Sheridan. George Canning’s friendship with Sheridan would last for the remainder of Sheridan’s life. George Canning’s impoverished background and limited financial resources, however, made unlikely a bright political future in a Whig party whose political ranks were led mostly by members of the wealthy landed aristocracy in league with the newly rich industrialist classes. Regardless, along with Whigs such as Burke, Canning himself would become considerably more conservative in the early 1790s after witnessing the excessive radicalism of the French Revolution. “The political reaction which then followed swept the young man to the opposite extreme; and his vehemence for monarchy and the Tories gave point to a Whig sarcasm,—that men had often turned their coats, but this was the first time a boy had turned his jacket.” So when Canning decided to enter politics he sought and received the patronage of the leader of the “Tory” group, William Pitt the Younger. In 1793, thanks to the help of Pitt, Canning became a member of parliament for Newtown on the Isle of Wight, a rotten borough. In 1796, he changed seats to a different rotten borough, Wendover in Buckinghamshire. He was elected to represent several constituencies during his parliamentary career. Canning rose quickly in British politics as an effective orator and writer. His speeches in Parliament as well as his essays gave the followers of Pitt a rhetorical power they had previously lacked. Canning’s skills saw him gain leverage within the Pittite faction that allowed him influence over its policies along with repeated promotions in the Cabinet. Over time, Canning became a prominent public speaker as well, and was one of the first politicians to campaign heavily in the country. As a result of his charisma and promise, Canning early on drew to himself a circle of supporters who would become known as the Canningites. Conversely though, Canning had a reputation as a divisive man who alienated many. He was a dominant personality and often risked losing political allies for personal reasons. He once reduced Lord Liverpool to tears with a long satirical poem mocking Liverpool’s attachment to his time as a colonel in the militia. He then forced Liverpool to apologise for being upset. Under Secretary of State for Foreign Affairs On 2 November 1795, Canning received his first ministerial post: Under Secretary of State for Foreign Affairs. In this post he proved a strong supporter of Pitt, often taking his side in disputes with the Foreign Secretary, Lord Grenville. At the end of 1798 Canning responded to a resolution by George Tierney MP for peace negotiations with France: I for my part still conceive it to be the paramount duty of a British member of parliament to consider what is good for Great Britain... I do not envy that man’s feelings, who can behold the sufferings of Switzerland, and who derives from that sight no idea of what is meant by the deliverance of Europe. I do not envy the feelings of that man, who can look without emotion at Italy– plundered, insulted, trampled upon, exhausted, covered with ridicule, and horror, and devastation– who can look at all this, and be at a loss to guess what is meant by the deliverance of Europe? As little do I envy the feelings of that man, who can view the peoples of the Netherlands driven into insurrection, and struggling for their freedom against the heavy hand of a merciless tyranny, without entertaining any suspicion of what may be the sense of the word deliverance. Does such a man contemplate Holland groaning under arbitrary oppressions and exactions? Does he turn his eyes to Spain trembling at the nod of a foreign master? And does the word deliverance still sound unintelligibly in his ear? Has he heard of the rescue and salvation of Naples, by the appearance and the triumphs of the British fleet? Does he know that the monarchy of Naples maintains its existence at the sword’s point? And is his understanding, and his heart, still impenetrable to the sense and meaning of the deliverance of Europe? Pitt called this speech “one of the best ever heard on any occasion”. He resigned his position at the Foreign Office on 1 April 1799. The Anti-Jacobin Canning was involved in the founding of the Anti-Jacobin, a newspaper which was published on every Monday from 20 November 1797 to 9 July 1798. Its purpose was to support the government and condemn revolutionary doctrines through news and poetry, much of it written by Canning. Canning’s poetry satirised and ridiculed Jacobin poetry. Before the appearance of the Anti-Jacobin all the eloquence (except for Burke’s) and all the wit and ridicule had been on the side of Fox and Sheridan. Canning and his friends changed this. A young Whig, William Lamb (the future Lord Melbourne, Prime Minister) wrote an 'Epistle to the Editors of the Anti-Jacobin’, which attacked Canning: Who e’er ye are, all hail!– whether the skill Of youthful CANNING guides the ranc’rous quill; With powers mechanic far above his age, Adapts the paragraph and fills the page; Measures the column, mends what e’er’s amiss, Rejects THAT letter, and accepts of THIS; Subsequent offices In 1799 Canning became a Commissioner of the Board of Control for India. Canning wrote on 16 April: “Here I am immersed in papers, of which I do not yet comprehend three words in succession; but I shall get at their meaning by degrees and at my leisure. No such hard work here as at my former office. No attendance but when I like it, when there are interesting letters received from India (as is now the case) or to be sent out there”. Canning was appointed Paymaster of the Forces (and therefore to the Privy Council as well) in 1800. In February 1801 Pitt resigned as Prime Minister due to the King’s opposition to Catholic Emancipation. Canning, despite Pitt’s advice to stay in office, loyally followed him into opposition. The day after Canning wrote Lady Malmesbury: “I resign because Pitt resigns. And that is all”. Backbenches Canning disliked being out of office, and wrote on to John Hookham Frere in summer 1801: “But the thought will obtrude itself now and then that I am not where I should be– non-hoc pollicitus.” He also claimed that Pitt had done “scrupulously and magnanimously right by everyone but me”. At the end of September 1801 Canning wrote to Frere, saying of Pitt: “I do love him, and reverence him as I should a Father– but a Father should not sacrifice me, with my good will. Most heartily I forgive him, But he has to answer to himself, and to the country for much mischief that he has done and much that is still to do.” Pitt wished for Canning to enter Henry Addington’s government, a move which Canning looked on as a horrible dilemma but in the end he turned the offer down. Canning opposed the preliminaries of the Peace of Amiens signed on 1 October. He did not vote against it due to his personal devotion to Pitt. He wrote on 22 November: “I would risk my life to be assured of being able to act always with P in a manner satisfactory to my own feelings and sense of what is right, rather than have to seek that object in separation from him.” On 27 May 1802 in the Commons Canning requested that all grants of land in Trinidad (captured by Britain from Spain) should be rejected until Parliament had decided what to do with the island. The threat that it could be populated by slaves like other West Indian islands was real. Canning instead wanted it to have a military post and that it should be settled with ex-soldiers, free blacks and creoles, with the Native American population protected and helped. He also asserted that the island should be used to test the theory that better methods of cultivation in land would lessen the need for slaves. Addington acceded to Canning’s demands and the Reverend William Leigh believed Canning had saved 750,000 lives. At a dinner to celebrate Pitt’s birthday in 1802, Canning wrote the song ‘The Pilot that Weathered the Storm’, performed by a tenor from Drury Lane, Charles Dignum: And oh! if again the rude whirlwind should rise, The dawnings of peace should fresh darkness deform, The regrets of the good and the fears of the wise Shall turn to the Pilot that weathered the Storm. In November Canning spoke out openly in support of Pitt in the Commons. One observer thought that Canning made incomparably the best speech and that his defence of Pitt’s administration “one of the best things, either argumentatively as to matter, or critically and to manner and style” that he could ever remember. On 8 December Sheridan spoke out in defence of Addington and denied that Pitt was the only man who could save the country. Canning replied by criticising the Addington government’s foreign policy and claimed that the House should recognise the greatness of the country and Pitt, who ought to be its leader. He argued against those, such as William Wilberforce, who held that Britain could safely maintain a policy of isolation: “Let us consider the state of the world as it is, not as we fancy it ought to be. Let us not seek to hide from our own eyes... the real, imminent and awful danger which threatens us.” Also, he objected to the notion that Britain could choose between greatness and happiness: “The choice is not in our power. We have... no refuge in littleness. We must maintain ourselves what we are, or cease to have a political existence worth preserving.” Furthermore, he openly declared for Pitt and said: "Away with the cant of “measures, not men”, the idle supposition that it is the harness and not the horses that draw the chariot along." Kingdoms rise and fall due to what degree they are upheld “not by well-meaning endeavours... but by commanding, over-awing talents... retreat and withdraw as much as he will, he must not hope to efface the memory of his past services from the gratitude of his country; he cannot withdraw himself from the following of a nation; he must endure the attachment of a people whom he has saved.” In private Canning was fearful that if Pitt did not return to power, Fox would: “Sooner or later he must act or the country is gone.” Canning approved of the declaration of war against France on 18 May 1803. Canning was angered by Pitt’s desire not to proactively work to turn out the ministry but support the ministry when it adopted sound policies. However, in 1804, to Canning’s delight, Pitt began to work against the Addington government. After Pitt delivered a stinging attack on the government’s defence measures on 25 April, Canning launched his own attack on Addington, which made Addington furious. On 30 April Lord Eldon, the Lord Chancellor, asked Pitt to submit a new administration to the King. Treasurer of the Navy Canning returned to office in 1804 with Pitt, becoming Treasurer of the Navy. In 1805 he offered Pitt his resignation after Addington was given a seat in the Cabinet. He wrote to Lady Hester to say he felt humiliated that Addington was a minister “and I am– nothing. I cannot help it, I cannot face the House of Commons or walk the streets in this state of things, as I am”. After reading this letter Pitt summoned Canning to London for a meeting, where he told him that if he resigned it would open a permanent breach between the two of them as it would cast a slur on his conduct. He offered Canning the office of Chief Secretary for Ireland but he refused on the grounds that this would look like he was being got out of the way. Canning eventually decided not to resign and wrote that “I am resolved to ”sink or swim" with Pitt, though he has tied himself to such sinking company. God forgive him". Canning left office with the death of Pitt; he was not offered a place in Lord Grenville’s administration. Foreign Secretary Canning was appointed Foreign Secretary in the new government of the Duke of Portland in 1807. Given key responsibilities for the country’s diplomacy in the Napoleonic Wars, he was responsible for planning the attack on Copenhagen in September 1807, much of which he undertook at his country estate, South Hill Park at Easthampstead in Berkshire. After the defeat of Prussia by the French, the neutrality of Denmark looked increasingly fragile. Canning was worried that Denmark might, under French pressure, become hostile to Britain. On the night of 21/22 July 1807 Canning received intelligence directly from Tilsit (where Napoleon and Tsar Alexander I of Russia were negotiating a treaty) which appeared “to rest on good authority” that Napoleon had proposed to the Tsar a great naval combination against Britain, of which Denmark and Portugal would be members. On 30 July a military force 25,000 strong set sail for Denmark, with Francis Jackson travelling the day after. Canning instructed Jackson that his over-riding aim was to secure the possession of the Danish navy by offering the Danes a treaty of alliance and mutual defence and whereby they would be given back their fleet at the end of the war. On 31 July Canning wrote to his wife: "The anxious interval between this day and the hearing the result of his [Jackson’s] expedition will be long and painful indeed. Long, I mean, in feeling. In fact it will be about a fortnight or three weeks... I think we have made success almost certain. But the measure is a bold one and if it fails– why we must be impeached I suppose– and dearest dear will have a box at the trial". The day after he wrote that he had received a letter the previous night which provided an “account of the French being actually about to do that act of hostility, the possibility of which formed the groundwork of my Baltic plan. My fear was that the French might not be the aggressors– and then ours would have appeared a strong measure, fully justifiable I think and absolutely necessary, but without apparent necessity or justification. Now the aggression will justify us fully... I am therefore quite easy as to the morality and political wisdom of our plan”. Napoleon had on 31 July instructed his Foreign Minister, Talleyrand, to inform the Danes that if they did not wish for Holstein to be invaded and occupied by Jean Bernadotte they must prepare for war against Britain. Canning wrote to his wife on 1 August: "Now for the execution and I confess to my own love, I wake an hour or two earlier than I ought to, thinking of this execution. I could not sleep after asses’ milk today, thought I was not in bed till 1/2 p.2". On 25 August he wrote to Granville Leveson-Gower: “The suspense is, as you may well imagine, agitating and painful in the extreme; but I have an undiminished confidence as to the result, either by force or by treaty. The latter however is so infinitely preferable to the former that the doubt whether it has been successful is of itself almost as anxious as if the whole depended on it alone”. On 2 September, after Jackson’s negotiations proved unsuccessful, the British fleet began bombarding Copenhagen until when on 7pm 5 September the Danes requested a truce. On 7 September the Danes agreed to hand over their navy (18 ships of the line, 15 frigates and 31 smaller ships) and naval stores and the British agreed to evacuate Zealand within six weeks. On 16 September Canning received the news with relief and excitement: “Did I not tell you we would save Plumstead from bombardment?” he wrote to Revered William Leigh. On 24 September he wrote to George Rose: "Nothing was ever more brilliant, more salutary or more effectual than the success [at Copenhagen]". On 30 September he wrote Lord Boringdon that he hoped Copenhagen would “stun Russia into her sense again”. Canning wrote to Gower on 2 October 1807: “We are hated throughout Europe and that hate must be cured by fear”. After the news of Russia’s declaration of war against Britain reached London on 2 December, Canning wrote to Lord Boringdon two days later: “The Peace of Tilsit you see is come out. We did not want any more case for Copenhagen; but if we had, this gives it us”. On 3 February 1808 the opposition leader George Ponsonby requested the publication of all information on the strength and battle-worthiness of the Danish fleet sent by the British envoy at Copenhagen. Canning replied with a speech nearly three hours long, described by Lord Palmerston as “so powerful that it gave a decisive turn to the debate”. Lord Grey said his speech was “eloquent and powerful” but that he had never heard such “audacious misrepresentation” and “positive falsehood”. On 2 March the opposition moved a vote of censure over Copenhagen, defeated by 224 votes to 64 after Canning gave a speech, in the words of Lord Glenbervie, so “very witty, very eloquent and very able”. In November 1807, Canning oversaw the Portuguese royal family’s flight from Portugal to Brazil. Duel with Castlereagh In 1809 Canning entered into a series of disputes within the government that were to become famous. He argued with the Secretary of State for War and the Colonies, Lord Castlereagh, over the deployment of troops that Canning had promised would be sent to Portugal but which Castlereagh sent to the Netherlands. The government became increasingly paralysed in disputes between the two men. Portland was in deteriorating health and gave no lead, until Canning threatened resignation unless Castlereagh were removed and replaced by Lord Wellesley. Portland secretly agreed to make this change when it would be possible. Castlereagh discovered the deal in September 1809 and challenged Canning to a duel. Canning accepted the challenge and it was fought on 21 September 1809 on Putney Heath. Canning, who had never before fired a pistol, widely missed his mark. Castlereagh, who was regarded as one of the best shots of his day, wounded his opponent in the thigh. There was much outrage that two cabinet ministers had resorted to such a method. Shortly afterwards the ailing Portland resigned as Prime Minister, and Canning offered himself to George III as a potential successor. However, the King appointed Spencer Perceval instead, and Canning left office once more. He did take consolation, though, in the fact that Castlereagh also stood down. Upon Perceval’s assassination in 1812, the new Prime Minister, Lord Liverpool, offered Canning the position of Foreign Secretary once more. Canning refused, as he also wished to be Leader of the House of Commons and was reluctant to serve in any government with Castlereagh. Ambassador to Lisbon In 1814 he became the British Ambassador to Portugal, returning the following year. He received several further offers of office from Liverpool. President of the Board of Control In 1816 he became President of the Board of Control. Canning resigned from office once more in 1820, in opposition to the treatment of Queen Caroline, estranged wife of the new King George IV. Canning and Caroline were close friends and may have had a brief sexual affair. This would have been regarded as unacceptable. On 16 March 1821 Canning spoke in favour of William Plunket’s Catholic Emancipation Bill. Liverpool wished to have Canning back in the Cabinet but the King was strongly hostile to him due to his actions over the Caroline affair. The King would only allow Canning back into the Cabinet if he did not have to deal personally with him. This required the office of Governor-General of India. After deliberating on whether to accept, Canning initially declined the offer but then accepted it. On 25 April he spoke in the Commons against Lord John Russell’s motion for parliamentary reform and a few days later Canning moved for leave to introduce a measure of Catholic Emancipation (for lifting the exclusion of Catholics from the House of Lords). This passed the Commons but was rejected by the Lords. Foreign Secretary and Leader of the House In August 1822, Castlereagh, now Marquess of Londonderry, committed suicide. Instead of going to India, Canning succeeded him as both Foreign Secretary and Leader of the House of Commons. In his second term of office he sought to prevent South America from coming into the French sphere of influence, and in this he was successful. He also gave support to the growing campaign for the abolition of slavery. Despite personal issues with Castlereagh, he continued many of his foreign policies, such as the view that the powers of Europe (Russia, France, etc.) should not be allowed to meddle in the affairs of other states. This policy enhanced public opinion of Canning as a liberal. He also prevented the United States from opening trade with the West Indies. During his early period in the Foreign Office (1807–09) Canning became deeply involved in the affairs of Spain, Portugal and Latin America. He was responsible for a number of decisions that greatly affected the future course of Latin American history. Great Britain had a strong interest in ensuring the demise of Spanish colonialism, and to open the newly independent Latin American colonies to British trade. The Latin Americans received a certain amount of unofficial aid– arms and volunteers– from outside, but no outside official help at any stage from Britain or any other power. Britain also refused to aid Spain and opposed any outside intervention on behalf of Spain by other powers. Britain, and especially British sea power, was a decisive factor in the struggle for independence of certain Latin American countries. In 1825 Mexico, Argentina and Colombia were recognised by means of the ratification of commercial treaties with Britain. In November 1825 the first minister from a Latin American state, Colombia, was officially received in London. “Spanish America is free,” Canning declared, “and if we do not mismanage our affairs she is English... the New World established and if we do not throw it away, ours.” Also in 1825, Portugal recognised Brazil (thanks to Canning’s efforts, and in return for a preferential commercial treaty), less than three years after Brazil’s declaration of independence. On 12 December 1826, in the House of Commons, Canning was given an opportunity to defend the policies he had adopted towards France, Spain and Spanish America, and declared: “I resolved that if France had Spain it should not be Spain with the Indies. I called the New World into existence to redress the balance of the Old.” Canning pushed through, against great opposition, British recognition of Argentina, Colombia, Mexico and Brazil. In a sense, therefore, he brought part of the New World into political existence. The United States had recognised these states earlier, but recognition by the leading world power was to be decisive. Recognition by Britain was greeted with enthusiasm throughout Latin America. Canning, who was more concerned with Britain’s political and economic interests in Latin America than with Latin American independence, did a great deal to enhance Britain’s prestige throughout Latin America. He was esteemed as a great liberal statesman who understood and sympathised with the cause of Latin American independence and who did more than any other foreign statesman to make it a reality. George Canning deserves credit as the first British Foreign Secretary to devote a large proportion of his time and energies to the affairs of Latin America (as well as to those of Spain and Portugal) and to foresee the important political and economic role the Latin American states would one day play in the world. In 1826 he was elected a Fellow of the Royal Society. Prime Minister In 1827 Liverpool was forced to stand down as Prime Minister after suffering a severe stroke (and was to die the following year). Canning, as Liverpool’s right-hand man, was then chosen by George IV to succeed him, in preference to both the Duke of Wellington and Sir Robert Peel. Neither man agreed to serve under Canning, and they were followed by five other members of Liverpool’s Cabinet as well as 40 junior members of the government. The Tory party was now heavily split between the “High Tories” (or “Ultras”, nicknamed after the contemporary party in France) and the moderates supporting Canning, often called “Canningites”. As a result, Canning found it difficult to form a government and chose to invite a number of Whigs to join his Cabinet, including Lord Lansdowne. The government agreed not to discuss the difficult question of parliamentary reform, which Canning opposed but the Whigs supported. However, Canning’s health by this time was in steep decline: at the funeral of Frederick, Duke of York, which was held at night in an unheated chapel in January, he became so ill that it was thought he might not recover. He died on 8 August 1827, in the very same room where Charles James Fox met his own end, 21 years earlier. To this day Canning’s total period in office remains the shortest of any Prime Minister of the United Kingdom, a mere 119 days. He is buried in Westminster Abbey. Legacy Canning has come to be regarded as a “lost leader”, with much speculation about what his legacy could have been had he lived. His government of Tories and Whigs continued for a few months under Lord Goderich but fell apart in early 1828. It was succeeded by a government under the Duke of Wellington, which initially included some Canningites but soon became mostly “High Tory” when many of the Canningites drifted over to the Whigs. Wellington’s administration would soon go down in defeat as well. Some historians have seen the revival of the Tories from the 1830s onwards, in the form of the Conservative Party, as the overcoming of the divisions of 1827. What would have been the course of events had Canning lived is highly speculative. Rory Muir has described Canning as “the most brilliant and colourful minister, and certainly the greatest orator in the government at a time when oratory was still politically important. He was a man of biting wit and invective, with immense confidence in his own ability, who often inspired either great friendship or deep dislike and distrust... he was a passionate, active, committed man who poured his energy into whatever he undertook. This was his strength and also his weakness... the government’s ablest minister”. Greville recorded of Canning on the day after his death: “He wrote very fast, but not fast enough for his mind, composing much quicker than he could commit his ideas to paper. He could not bear to dictate, because nobody could write fast enough for him; but on one occasion, when he had the gout in his hand and could not write, he stood by the fire and dictated at the same time a despatch on Greek affairs to George Bentinck and one on South American politics to Howard de Walden, each writing as fast as he could, while he turned from one to the other without hesitation or embarrassment.” Places named after Canning The Canning River in Western Australia is named after George Canning. It flows into the Swan River south of Perth and has a number of districts named similarly (after the river, rather than Canning himself) on its banks, for example Cannington and Canning Vale. Elsewhere in Australia, there is a street in Melbourne, Australia named after him. The village of Canning in the Annapolis Valley of Nova Scotia is named after Canning. Cannington, Ontario, is a small village in Brock Township. A square in downtown Athens, Greece, is named after Canning (Πλατεία Κάνιγγος, Plateía Kánningos, Canning Square), in appreciation of his supportive stance toward the Greek War of Independence (1821–1830). In South America, a street in the city of Buenos Aires has been on-and-off named after Canning since 1893, changing away from the name in 1985. There is also a street in the Uruguayan capital of Montevideo named Jorge Canning, which is coincidentally the location of the British Residence. There is also a street named after him in the district of Ipanema, Rio de Janeiro, Brazil. In Santiago, Chile there two streets called Jorge (Spanish for George) Canning, one in the commune of San Joaquin and other, smaller, in the commune of Ñuñoa. One Street in Liverpool is named after George Canning; the surrounding Canning neighbourhood, also known as the “Georgian Quarter,” derives its name from the street. Canning Circus is an area at the top of Zion Hill in Nottingham. In his memory. Canning Terrace was erected as almshouses and a gatehouse to the adjacent cemetery. Canning Town in London is often thought of as being named after George Canning, but was in fact named after his son Charles Canning, 1st Earl Canning, Governor-General of India during the Indian Mutiny. Elsewhere in London, a Brixton public house on the corner of Effra Road and Brixton Water Lane was called the George Canning (it was renamed the Hobgoblin in the late 1990s and the Hootenanny in 2008). A Camberwell public house on Grove Lane near Denmark Hill station is called the George Canning. The seat of the Hispanic and Luso Brazilian Council in the Belgravia neighbourhood of London is named Canning House. It houses a research library and is used for a range of cultural and educational events. Fort Canning, a hill in Singapore, is actually named after Canning’s son Viscount Charles Canning although many mistakenly believe that it was named after George Canning himself. The hill was previously known simply as Government Hill and earlier as Bukit Larangan (Malay for Forbidden Hill) as it was once the seat for Malay royalty. Having served as an administrative centre for the British colonial administration in Singapore, it was then converted into a fort during World War I but wasn’t used till second world war. It is currently one of Singapore’s oldest urban parks. Canning is a district of Liverpool and Canning Place was the site of the famous Liverpool Sailors’ Home. The Canning Club, a gentlemen’s club in central London. Founded in 1911 as the Argentine Club for expatriate businessmen, it was renamed in 1948 as the club extended its remit to the rest of Latin America, in honour of Canning’s strong ties to the region. The club currently shares the premises of the Naval and Military Club in St. James’s Square. Family Canning married Joan Scott (later 1st Viscountess Canning) (1776–1837) on 8 July 1800, with John Hookham Frere and William Pitt the Younger as witnesses. George and Joan Canning had four children: George Charles Canning (1801–1820), died from consumption William Pitt Canning (1802–1828), died from drowning in Madeira, Portugal Harriet Canning (1804–1876), married the 1st Marquess of Clanricarde Charles John Canning (later 2nd Viscount Canning and 1st Earl Canning) (1812–1862) Canning’s Government, April– August 1827 George Canning– First Lord of the Treasury, Chancellor of the Exchequer and Leader of the House of Commons Lord Lyndhurst– Lord Chancellor Lord Harrowby– Lord President of the Council The Duke of Portland– Lord Privy Seal William Sturges Bourne– Secretary of State for the Home Department Lord Dudley– Secretary of State for Foreign Affairs Lord Goderich– Secretary of State for War and the Colonies and Leader of the House of Lords William Huskisson– President of the Board of Trade and Treasurer of the Navy Charles Williams-Wynn– President of the Board of Control Lord Bexley– Chancellor of the Duchy of Lancaster Lord Palmerston– Secretary at War Lord Lansdowne– Minister without Portfolio Changes May 1827– Lord Carlisle, the First Commissioner of Woods and Forests, enters the Cabinet July 1827– The Duke of Portland becomes a minister without portfolio. Lord Carlisle succeeds him as Lord Privy Seal. W. S. Bourne succeeds Carlisle as First Commissioner of Woods and Forests. Lord Lansdowne succeeds Bourne as Home Secretary. George Tierney, the Master of the Mint, enters the cabinet References Wikipedia—https://en.wikipedia.org/wiki/George_Canning

George Frederick Cameron (24 September 1854– 17 September 1885) was a Canadian poet, lawyer, and journalist, best known for the libretto for the operetta Leo, the Royal Cadet. He moved to Boston in April 1869. He graduated from the Boston University School of Law in 1877. He worked for the law firm Dean, Butler and Abbot of Boston from 1877 to 1882. He contributed poetry to Boston periodicals, including the Courier and the Transcript. In fall 1882 he enrolled in Queen’s College in Kingston, Ontario where he won a poetry prize in 1883 for “Adelphi.” He is sometimes considered one of the Confederation Poets.

Mary Elizabeth Coleridge (23 September 1861– 25 August 1907) was a British novelist and poet who also wrote essays and reviews. She taught at the London Working Women’s College for twelve years from 1895 to 1907. She wrote poetry under the pseudonym Anodos, taken from George MacDonald; other influences on her were Richard Watson Dixon and Christina Rossetti. Robert Bridges, the Poet Laureate, described her poems as 'wonderously beautiful… but mystical rather and enigmatic’. Coleridge published five novels, the best known of those being The King with Two Faces, which earned her £900 in royalties in 1897. She travelled widely throughout her life, although her home was in London, where she lived with her family. Her father was Arthur Duke Coleridge who, along with the singer Jenny Lind, was responsible for the formation of the London Bach Choir in 1875. Other family friends included Robert Browning, Alfred, Lord Tennyson, John Millais and Fanny Kemble. Mary Coleridge was the great-grandniece of Samuel Taylor Coleridge and the great niece of Sara Coleridge, the author of Phantasmion. She died from complications arising from appendicitis while on holiday in Harrogate in 1907, leaving an unfinished manuscript for her next novel and hundreds of unpublished poems. Eight of her poems, including “The Blue Bird”, were set to music for chorus by Charles Villiers Stanford, and “Thy Hand in Mine” was set by Frank Bridge. A family friend, the composer Hubert Parry, also set several of her poems as songs for voice and piano. Published works Fancy’s Following. Oxford: Daniel, 1896 (poems) The King with Two Faces. London: Edward Arnold, 1897 The Seven Sleepers of Ephesus. London: Chatto & Windus, 1898 Non Sequitur. London: J. Nisbet, 1900 (essays) The Fiery Dawn. London: Edward Arnold, 1901 The Shadow on the Wall: a romance. London: Edward Arnold, 1904 The Lady on the Drawingroom Floor. London: Edward Arnold, 1906kiren Holman Hunt. London: T. C. & E. C. Jack; New York: F. A. Stokes Co., [1908] (three numbers of Masterpieces in Colour issued together: Millais / by A. L. Baldry– Holman Hunt / by M. E. Coleridge– Rossetti / by L. Pissarro.) Poems by Mary E. Coleridge. London: Elkin Mathews, 1908 Songs not listed

Charles Stuart Calverley (/ˈkɑːvərlɪ/; 22 December 1831– 17 February 1884) was an English poet and wit. He was the literary father of what has been called “the university school of humour”. Early life He was born at Martley, Worcestershire, and given the name Charles Stuart Blayds. In 1852, his father, the Rev. Henry Blayds, resumed the old family name of Calverley, which his grandfather had exchanged for Blayds in 1807. Charles went up to Balliol College, Oxford from Harrow School in 1850, and was soon known in Oxford as the most daring and high-spirited undergraduate of his time. He was a universal favourite, a delightful companion, a brilliant scholar and the playful enemy of all “dons.” In 1851 he won the Chancellor’s prize for Latin verse, but it is said that the entire exercise was written in an afternoon, when his friends had locked him into his rooms, refusing to let him out until he had finished what they were confident would prove the prize poem. A year later, to avoid the consequences of a college escapade (he had been expelled from Oxford), he too changed his name to Calverley and moved to Christ’s College, Cambridge. Here he was again successful in Latin verse, the only undergraduate to have won the Chancellor’s prize at both universities. In 1856 he took second place in the first class in the Classical Tripos. Later life He was elected fellow of Christ’s (1858), published Verses and Translations in 1862, and was called to the bar in 1865. Injuries sustained in a skating accident prevented him from following a professional career, and during the last years of his life he was an invalid. He died of Bright’s disease. Works * Nowadays he is best-known (at least in Cambridge, his adoptive home) as the author of the Ode to Tobacco which is to be found on a bronze plaque in Rose crescent, on the wall of what used to be Bacon’s the tobacconist. * His Translations into English and Latin appeared in 1866; his Theocritus translated into English Verse in 1869; Fly Leaves in 1872; and Literary Remains in 1885. * His Complete Works, with a biographical notice by Walter Joseph Sendall, a contemporary at Christ’s and his brother-in-law, appeared in 1901. * George W. E. Russell said of him: * He was a true poet; he was one of the most graceful scholars that Cambridge ever produced; and all his exuberant fun was based on a broad and strong foundation of Greek, Latin, and English literature. References Wikipedia—https://en.wikipedia.org/wiki/Charles_Stuart_Calverley

Charles Churchill (February, 1732– 4 November 1764), was an English poet and satirist. Early life Churchill was born in Vine Street, Westminster. His father, rector of Rainham, Essex, held the curacy and lectureship of St Johns, Westminster, from 1733, and Charles was educated at Westminster School, where he became a good classical scholar, and formed a close and lasting friendship with Robert Lloyd. He was admitted to St John’s College, Cambridge on 8 July 1748. Churchill contracted a marriage within the rules of the Fleet in his eighteenth year, and never lived at Cambridge; the young couple lived in his father’s house, and Churchill was afterwards sent to the north of England to prepare for holy orders. He became curate of South Cadbury, Somerset, and, on receiving priest’s orders (1756), began to act as his father’s curate at Rainham. Two years later the elder Churchill died, and the son was elected to succeed him in his curacy and lectureship. His emoluments amounted to less than £100 a year, and he increased his income by teaching in a girls’ school. His marriage proved unhappy, and he began to spend much of his time in dissipation in the society of Robert Lloyd. He was separated from his wife in 1761, and would have been imprisoned for debt but for the timely help of Lloyd’s father, who had been an usher and was now a master at Westminster. Career as Satirist Churchill had already done some work for the booksellers, and his friend Lloyd had had some success with a didactic poem, The Actor. Churchill’s knowledge of the theatre was now made use of in the Rosciad, which appeared in March 1761. This reckless and amusing satire described with the most disconcerting accuracy the faults of the various actors and actresses on the London stage; in a competition judged by Shakespeare and Jonson, Garrick is named the greatest English actor. Its immediate popularity was no doubt largely due to its personal character, but its vigour and raciness make it worth reading even now when the objects of Churchill’s wit are forgotten. The first impression was published anonymously, and in the Critical Review, conducted by Tobias Smollett, it was confidently asserted that the poem was the joint production of George Colman the Elder, Bonnell Thornton and Robert Lloyd. Churchill immediately published an Apology addressed to the Critical Reviewers, which, after developing the subject that it is only authors who prey on their own kind, repeats the fierce attack on the stage. Incidentally it contains an enthusiastic tribute to John Dryden, of whom Churchill was a devotee. In the Rosciad he had praised Mrs Pritchard, Mrs Cibber and Mrs Clive, but no leading London actor, with the exception of David Garrick, had escaped censure, and in the Apology Garrick was clearly threatened. He deprecated criticism by showing every possible civility to Churchill, who became a terror to the actors. Thomas Davies wrote to Garrick attributing his blundering in the part of Cymbeline “to my accidentally seeing Mr Churchill in the pit, it rendering me confused and unmindful of my business.” Churchill’s satire made him many enemies, and brought reprisals. In Night, an Epistle to Robert Lloyd (1761), he answered the attacks made on him, offering by way of defense the argument that any faults were better than hypocrisy. His scandalous conduct brought down the censure of the dean of Westminster, and in 1763 the protests of his parishioners led him to resign his offices, and he was free to wear his blue coat with metal buttons and much gold lace without remonstrance from the dean. The Rosciad had been refused by several publishers, and was finally published at Churchill’s own expense. He received a considerable sum from the sale, and paid his old creditors in full, besides making an allowance to his wife. Friendship with Wilkes He now became a close ally of John Wilkes, whom he regularly assisted with The North Briton weekly newspaper. His next poem, The Prophecy of Famine: A Scots Pastoral (1763), was founded on a paper written originally for that newspaper. This violent satire on Scottish influence fell in with the current hatred of Lord Bute, and the Scottish place-hunters were as much alarmed as the actors had been. When Wilkes was arrested he gave Churchill a timely hint to retire to the country for a time, the publisher, Kearsley, having stated that he received part of the profits from the paper. His Epistle to William Hogarth (1763) was in answer to the caricature of Wilkes made during the trial, in it Hogarth’s vanity and envy were attacked in an invective which Garrick quoted as shocking and barbarous. Hogarth retaliated by a caricature of Churchill as a bear in torn clerical bands hugging a pot of porter and a club made of lies and North Britons. The Duellist (1763) is a virulent satire on the most active opponents of Wilkes in the House of Lords, especially on Bishop Warburton. He attacked Dr Johnson among others in The Ghost as “Pomposo, insolent and loud, Vain idol of a scribbling crowd”. Other poems are The Conference (1763); The Author (1763), highly praised by Churchill’s contemporaries; Gotham (1764), a poem on the duties of a king, didactic rather than satiric in tone; The Candidate (1764), a satire on John Montagu, fourth earl of Sandwich, one of Wilkes’s bitterest enemies, whom he had already denounced for his treachery in The Duellist (Bk. iii.) as too infamous to have a friend; The Farewell (1764); The Times (1764); Independence, and an unfinished Journey. Death and Legacy In October 1764 he went to Boulogne to join Wilkes. There he was attacked by a fever of which he died on 4 November. He left his property to his two sons, and made Wilkes his literary executor with full powers. Wilkes did little. He wrote an epitaph for his friend and about half a dozen notes on his poems, and Andrew Kippis acknowledges some slight assistance from him in preparing his life of Churchill for the Biographia (1780). There is more than one instance of Churchill’s generosity to his friends. In 1763 he found his friend Robert Lloyd in prison for debt. He paid a guinea a week for his better maintenance in the Fleet, and raised a subscription to set him free. Lloyd fell ill on receipt of the news of Churchill’s death, and died shortly afterwards. Churchill’s sister Patty, who was engaged to Lloyd, did not long survive them. William Cowper was his schoolfellow, and left many kindly references to him. A partial collection of Churchill’s poems appeared in 1763. References Wikipedia—https://en.wikipedia.org/wiki/Charles_Churchill_(satirist)

Zora Bernice May Cross (18 May 1890– 22 January 1964) was an Australian poet, novelist and journalist. She was born on May 18, 1890 on Eagle Farm, Brisbane to Earnest William Cross and Mary Louisa Eliza Ann. Her father was a Sydney born accountant. Cross inherited her love for literature from both her parents, poetry from her mother and Celtic knowledge from her father, who was also the son of an Irish printer. and was educated at Ipswich Girls’ Grammar School and then Sydney Teachers’ College from 1909 to 1910. She taught for three years and then worked as a journalist, for the Boomerang and then as a freelance writer. On March 11, 1911, she married Stuart Smith but later refused to live with him. This led to her marriage being dissolved on September 10, 1922. Later on in her life, Cross had a “de facto” husband, David McKee Wright, who she had two daughters with.

Cid (Sidney) Corman (June 29, 1924 – March 12, 2004) was an American poet, translator and editor, most notably of Origin, who was a key figure in the history of American poetry in the second half of the 20th century. Corman was born in Boston's Roxbury neighborhood and grew up nearby in the Dorchester neighborhood. His parents were both from the Ukraine. From an early age he was an avid reader and showed an aptitude for drawing and calligraphy. He attended Boston Latin School and in 1941 he entered Tufts University, where he achieved Phi Beta Kappa honours and wrote his first poems. He was excused from service in World War II for medical reasons and graduated in 1945. Corman studied for his Master's degree at the University of Michigan, where he won the Hopwood poetry award, but dropped out when two credits short of completion. After a brief stint at the University of North Carolina at Chapel Hill, he spent some time travelling around the United States, returning to Boston in 1948. Here he ran poetry events in public libraries and, with the help of his high-school friend Nat Hentoff, he started the country's first poetry radio program. In 1952, Corman wrote: "I initiated my weekly broadcasts, known as This Is Poetry, from WMEX (1510 kc.) in Boston. The program has been usually a fifteen-minute reading of modern verse on Saturday evenings at seven thirty; however, I have taken some liberties and have read from Moby Dick and from stories by Dylan Thomas, Robert Creeley, and Joyce."[3] This program featured readings by Robert Creeley, Stephen Spender, Theodore Roethke and many other Boston-based and visiting poets. He also spent some time at the Yaddo artists' retreat in Saratoga Springs. It was about this time that Corman changed his name from Sydney Corman to the simpler "Cid." As Corman indicated in conversation, this name change--similar to Whitman's assumption of Walt over Walter--signaled his beginnings as a poet for the common man. During this period, Corman was writing prolifically and published in excess of 500 poems in about 100 magazines by 1954. He considered this to be a kind of apprenticeship, and none of these poems were ever published in book form. Origin and Europe In 1951, Corman began Origin in response to the failure of a magazine that Creeley had planned. The magazine typically featured one writer per issue and ran, with breaks, until the mid 1980s. Poets featured included Robert Creeley, Robert Duncan, Larry Eigner, Denise Levertov, William Bronk, Theodore Enslin, Charles Olson, Louis Zukofsky, Gary Snyder, Lorine Niedecker, Wallace Stevens, William Carlos Williams, Paul Blackburn and Frank Samperi. The magazine also led to the establishment of Origin Press, which published books by a similar range of poets as well as by Corman himself and which remains currently active. In 1954, Corman won a Fulbright Fellowship grant (with an endorsement from Marianne Moore) and moved to France, where he studied for a time at the Sorbonne. He then moved to Italy to teach English in a small town called Matera. By this time, Corman had published a number of small books, but his Italian experiences were to provide the materials for his first major work, Sun Rock Man (1962). He also experimented with oral poetry, recording improvised poems on tape. These tapes were later to influence the talk-poems of David Antin, one of the key developments in the emergence of performance poetry. At this time he produced the first English translations of Paul Celan, even though he didn't have the poet's approval. Japan In 1958, Corman got a teaching job in Kyoto through the auspices of Will Petersen or, according to one account, poet Gary Snyder. Here he continued to write and to run Origin and in 1959 he published Snyder's first book, Riprap. He remained in Japan until 1960, when he returned to the States for two years. Back in Japan he married Konishi Shizumi, a Japanese TV news editor. Corman began to translate Japanese poetry, particularly work by Bashō and Kusano Shimpei. The Cormans spent the years 1970 to 1982 in Boston, where they unsuccessfully tried to establish a number of small businesses. They returned to Kyoto, where they remained, running CC's Coffee Shop in Kyoto, "offering poetry and western-style patisserie". Later work Corman has been associated with the Beats, Black Mountain poets and Objectivists, mainly through his championing as an editor, publisher and critic. However, he remained independent of all groups and fashions throughout his career. Michael Carlson, who contributed to Origins and corresponded with Corman starting in the 1980s, described Corman's correspondence this way: "In the days before email his words came by return post, aerogrammes densely typed to take advantage of every inch of space, or postcards printed in his fine hand. They were encouraging, gossipy, and always challenging; he expected everyone to match his commitment to poetry as a way of life. But they also digressed into other shared enthusiasms: in my case his love of baseball and sumo wrestling, and often into the difficulties of making a living in expensive Japan." He was a prolific poet until his final illness, publishing more than 100 books and pamphlets. In 1990, he published the first two volumes of his selected poems, OF, running to some 1500 poems. Volume 3, with a further 750 poems appeared in 1998 and two further volumes are planned. Several collections of wide-ranging essays have been published. His translations (or co-translations) include Bashō's Back Roads to Far Towns, Things by Francis Ponge, poems by Paul Celan and collections of haiku. Cid Corman did not speak, read or write Japanese, even though his co-translation with Susumu Kamaike of Bashō's Oku No Hosomichi (see above) is considered to be one of the most accurate in tone in the English language. Corman also felt himself able to translate from classical Chinese without so much as a minimal understanding of the language. One of Corman's last appearances in the United States was at the 2003 centennial symposium and celebration in southern Wisconsin that honored his friend and fellow poet, Lorine Niedecker. At the time, Corman spoke warmly about his connection to the Fort Atkinson, Wisconsin, poet (playing the only known audio tape of Niedecker reading from her works). Niedecker had died in 1970, shortly after Corman had visited her. As he told friends and admirers during the 2003 gathering, Corman had not returned to the Black Hawk Island haunts of Niedecker since that first (and only) visit with Niedecker. He died in Kyoto, Japan on March 12, 2004 after being hospitalized for a cardiac condition since January 2004. References Wikipedia - http://en.wikipedia.org/wiki/Cid_Corman

Ralph Nicholas Chubb (8 February 1892– 14 January 1960) was an English poet, printer, and artist. Heavily influenced by Whitman, Blake, and the Romantics, his work was the creation of a highly intricate personal mythology, one that was anti-materialist and sexually revolutionary. Life Ralph Chubb was born in Harpenden, Hertfordshire. His family moved to the historic town of St Albans before his first birthday. Chubb attended St Albans School and Selwyn College, Cambridge before becoming an officer in the First World War. He served with distinction but developed neurasthenia, and he was invalided out in 1918. From 1919 to 1922 Chubb studied at the Slade School of Art in London. It was there that he met Leon Underwood and other influential artists. He went on to contribute several articles and poems for Underwood’s magazine, The Island. Although his work was displayed at such venues as the Goupil Gallery and the Royal Academy of Art, his paintings did not sell. There are several in public collections in Britain. His major painting The Well (1920) is in Wakefield; Southampton has bathers with boys wrestling, and there are nudes at Leamington, all illustrated in the Public Art Foundation catalogues. He moved with his family to the village of Curridge, near Newbury in Berkshire. He began to devote his artistic talents to the printed works which would remain his chief labour in life. His books were created in several chief phases. His typeset books of the twenties were a humble offering, exhibiting Chubb’s talent for woodcutting and his quaint, visually inspired poetry. Even at this early stage, Chubb’s lifelong obsession with adolescent males was beginning to become apparent. He expands upon this theme more explicitly in An Appendix, a pederastic and spiritualist manifesto duplicated from a cursive manuscript. An Appendix was the first of his printed works to be printed in his own hand; he soon followed this with the first of his opulent lithographic books, The Sun Spirit. Throughout the nineteen-thirties, Chubb’s books became more elaborate and appealing. Water Cherubs crystallizes Chubb’s aesthetic of the youthful male form, and The Secret Country unfolds like an illuminated manuscript, recounting stories of Chubb’s family and his journeys among the Romani of the New Forest in Hampshire. Chubb’s printing press was interrupted by the war, but in 1948 he entered into the third period of career with two massive volumes: The Child Of Dawn and Flames of Sunrise. Each page of these two volumes is crowded with obscure digressions on Chubb’s mythology and drawings of symbolic significance. Briefly summarized, Chubb’s vision was a prophecy of the redemption of 'Albion’, or England, by the boy-god Ra-el-phaos, of whom Ralph claimed himself to be the prophet and herald. This echoes an earlier announcement to be found in The Heavenly Cupid: I announce a secret event as tremendous and mysterious as any that has occurred in the spiritual history of the world. I announce the inauguration of a Third Dispensation, the dispensation of the Holy Ghost on earth, and the visible advent thereof on earth in the form of a Young Boy of thirteen years old, naked perfect and unblemished. Other themes run through all of Chubb’s work. He was forever haunted by the memory of a young chorister at St Albans who disappeared from Chubb’s life just as he had summoned up the courage to speak to him. Similarly, a brief sexual relationship with another boy when Ralph was 19 seemed to serve as a template for future visions of paradise. Chubb’s books become progressively more self-involved and paranoid. Seeking to articulate his pederastic desires, he created a personal mythology which explained everything in terms only he could understand. Nonetheless, Chubb’s work is of fascinating psychological significance; each of the various angels, knights, seers, and boy-gods in his dream world represents an aspect of his introspective and persecuted self. Chubb, like many other artists of his generation, resented science for its intrusion into his imagination. He disparaged the scientists, orthodox theologians, and politicians of world, accusing them of squelching his personal thirst for liberty. In 1927 he wrote: Existence, besides being a miracle, is a symbol. Albeit here for inscrutable purposes the spirit is only to be discerned as it were in a distorting-glass. (The Book of God’s Madness) Chubb sought to persuade his readers in An Appendix of the verity of his solipsism by illustrating some examples of serendipitous events from his life. His aim is more on the mark when he excoriates the taboos and frustrations of modern life. The green green hills, the blue blue sky, blue sea, great golden SUN, yellow dandelions, the pink naked beauty of ripe boyhood, deathless free and happy, brimming with health. This I must have. Nothing less than this can ever satisfy me! GIVE ME MY HEAVEN! GIVE ME MY HEAVEN! (Water-Cherubs) Failing in health and facing continuing legal and financial difficulties, Ralph Chubb abandoned his controversial works in the mid-fifties, and began to collect and reprint his early poems and childhood memories. Treasure Trove and The Golden City (published posthumously) are devoid of the usual profusion of naked, lissome youths, but instead offer a glimpse into his youthful imagination, and some of his most charming poetry. In the final years of his life he donated his remaining volumes to the national libraries of Britain. He died peacefully at Fair Oak Cottage in Hampshire and was buried next to his parents at the Kingsclere Woodland Church. Chubb’s own assessment of his work conforms to the general critical reaction: I do not necessarily claim to be a great artist or writer; but I claim to be a true spirit– this is a subtler test. Seek me out; but you may not find me. (An Appendix) Works * None of the editions of Chubb’s books exceed more than 200 copies, and some of his lithographed masterworks exist in only 30 or 40 copies, of which a mere 6 or 7 are meticulously hand-colored by Chubb. * The dates and titles of Chubb’s printed works are given below. Early typeset works * 1924 Manhood * 1924 The Sacrifice of Youth * 1925 A Fable of Love & War * 1927 The Cloud & the Voice * 1928 Woodcuts * 1928 The Book of God’s Madness * 1929 An Appendix (duplicated hand-written text) Lithographed texts * 1930 Songs of Mankind * 1931 The Sun Spirit * 1934 The Heavenly Cupid * 1935 Songs Pastoral and Paradisal (illustrated by Vincent Stuart; script by Helen Hinkley) * 1936 Water Cherubs * 1939 The Secret Country Post-war prophetic texts * 1948 The Child of Dawn * 1953 Flames of Sunrise Juvenalia and early romances * 1957 Treasure Trove * 1960 The Golden City Posthumous works * 1965 The Day of St Alban * 1970 Autumn Leaves References and further reading * Cave, Roderick (1960). In Blake’s Tradition: the Press of Ralph Chubb. The American Book Collector. 11 (2), p8-17 * Cave, Roderick (1960). 'Blake’s Mantle’, a Memoir of Ralph Chubb. Book Design and Production. 3 (2), p24-8 * D’Arch Smith, Timothy (1970). Love in Earnest. London: Routledge & Kegan Paul. * Rahman, Tariq (1991). Ephebophilia and the Creation of a Spiritual Myth in the Works of Ralph Nicholas Chubb. Journal of Homosexuality. 20 (1-2), p103-127 * Reid, Anthony (1970). Ralph Chubb: The Unknown. Reprinted from The Private Library. 3 (3-4). References Wikipedia—https://en.wikipedia.org/wiki/Ralph_Chubb

Thomas Campion (sometimes Campian) (12 February 1567 – 1 March 1620) was an English composer, poet, and physician. He wrote over a hundred lute songs, masques for dancing, and an authoritative technical treatise on music. Life Campion was born in London, the son of John Campion, a clerk of the Court of Chancery, and Lucy (née Searle– daughter of Laurence Searle, one of the queen’s serjeants-at-arms). Upon the death of Campion’s father in 1576, his mother married Augustine Steward, dying soon afterwards. His stepfather assumed charge of the boy and sent him, in 1581, to study at Peterhouse, Cambridge as a “gentleman pensioner”; he left the university after four years without taking a degree. He later entered Gray’s Inn to study law in 1586. However, he left in 1595 without having been called to the bar. On 10 February 1605, he received his medical degree from the University of Caen. Campion is thought to have lived in London, practising as a physician, until his death in March 1620– possibly of the plague. He was apparently unmarried and had no children. He was buried the same day at St Dunstan-in-the-West in Fleet Street. He was implicated in the murder of Sir Thomas Overbury, but was eventually exonerated, as it was found that he had unwittingly delivered the bribe that had procured Overbury’s death. Poetry and songs The body of his works is considerable, the earliest known being a group of five anonymous poems included in the “Songs of Divers Noblemen and Gentlemen,” appended to Newman’s edition of Sir Philip Sidney’s Astrophel and Stella, which appeared in 1591. In 1595, Poemata, a collection of Latin panegyrics, elegies and epigrams was published, winning him a considerable reputation. This was followed, in 1601, by a songbook, A Booke of Ayres, with words by himself and music composed by himself and Philip Rosseter. The following year he published his Observations in the Art of English Poesie, “against the vulgar and unartificial custom of riming,” in favour of rhymeless verse on the model of classical quantitative verse. Campion’s theories on poetry were demolished by Samuel Daniel in “Defence of Rhyme” (1603). In 1607, he wrote and published a masque for the occasion of the marriage of Lord Hayes, and, in 1613, issued a volume of Songs of Mourning: Bewailing the Untimely Death of Prince Henry, set to music by John Cooper (also known as Coperario). The same year he wrote and arranged three masques: The Lords’ Masque for the marriage of Princess Elizabeth; an entertainment for the amusement of Queen Anne at Caversham House; and a third for the marriage of the Earl of Somerset to the infamous Frances Howard, Countess of Essex. If, moreover, as appears quite likely, his Two Bookes of Ayres (both words and music written by himself) belongs also to this year, it was indeed his annus mirabilis. In 1615, he published a book on counterpoint, A New Way of Making Fowre Parts in Counterpoint By a Most Familiar and Infallible Rule, a technical treatise which was for many years the standard textbook on the subject. It was included, with annotations by Christopher Sympson, in Playford’s Brief Introduction to the Skill of Musick, and two editions appear to have been published by 1660. Some time in or after 1617 appeared his Third and Fourth Booke of Ayres. In 1618 appeared the airs that were sung and played at Brougham Castle on the occasion of the King’s entertainment there, the music by George Mason and John Earsden, while the words were almost certainly by Campion. In 1619, he published his Epigrammatum Libri II. Umbra Elegiarum liber unus, a reprint of his 1595 collection with considerable omissions, additions (in the form of another book of epigrams) and corrections. Legacy Campion made a nuncupative will on 1 March 1619/20 before 'divers credible witnesses’: a memorandum was made that he did 'not longe before his death say that he did give all that he had unto Mr Phillip Rosseter, and wished that his estate had bin farre more’, and Rosseter was sworn before Dr Edmund Pope to administer as principal legatee on 3 March 1619/20. While Campion had attained a considerable reputation in his own day, in the years that followed his death his works sank into complete oblivion. No doubt this was due to the nature of the media in which he mainly worked, the masque and the song-book. The masque was an amusement at any time too costly to be popular, and during the commonwealth period it was practically extinguished. The vogue of the song-books was even more ephemeral, and, as in the case of the masque, the Puritan ascendancy, with its distaste for all secular music, effectively put an end to the madrigal. Its loss involved that of many hundreds of dainty lyrics, including those of Campion, and it was due to the work of A. H. Bullen (see bibliography), who first published a collection of the poet’s works in 1889, that his genius was recognised and his place among the foremost rank of Elizabethan lyric poets restored. Campion set little store by his English lyrics; they were to him “the superfluous blossoms of his deeper studies,” but we may thank the fates that his ideas on rhymeless versification so little affected his work. His rhymeless experiments are certainly better conceived than many others, but they lack the spontaneous grace and freshness of his other poetry, while the whole scheme was, of course, unnatural. He must have possessed a very delicate musical ear, for not one of his songs is unmusical; moreover, his ability to compose both words and music gave rise to a metrical fluidity which is one of his most characteristic features. Rarely are his rhythms uniform, while they frequently shift from line to line. His range was very great both in feeling and expression, and whether he attempts an elaborate epithalamium or a simple country ditty, the result is always full of unstudied freshness and tuneful charm. In some of his sacred pieces, he is particularly successful, combining real poetry with genuine religious fervour. Some of Campion’s works could also be quite ribald– such as “Beauty, since you so much desire”. Early dictionary writers, such as Fétis, saw Campion as a theorist. It was much later on that people began to see him as a composer. He was the writer of a poem, Cherry Ripe, which is not the later famous poem of that title but has several similarities. In popular culture Repeated reference was made to Campion in an October 2010 episode of the BBC TV series, James May’s Man Lab (BBC2), where his works are used as the inspiration for a young man trying to serenade a female colleague. This segment was referenced in the second and third series of the programme as well. Occasional mention is made of Campion ("Campian") in the comic strip 9 Chickweed Lane (i.e., 5 April 2004), referencing historical context for playing the lute. References Wikipedia—https://en.wikipedia.org/wiki/Thomas_Campion

Amy Clampitt (June 15, 1920– September 10, 1994) was an American poet and author. Life Amy Clampitt was born on June 15, 1920 of Quaker parents, and brought up in New Providence, Iowa. In the American Academy of Arts and Letters and at nearby Grinnell College she began a study of English literature that eventually led her to poetry. She graduated from Grinnell College, and from that time on lived mainly in New York City. To support herself, she worked as a secretary at the Oxford University Press, a reference librarian at the Audubon Society, and a freelance editor. Not until the mid-1960s, when she was in her forties, did she return to writing poetry. Her first poem was published by The New Yorker in 1978. In 1983, at the age of sixty-three, she published her first full-length collection, The Kingfisher. In the decade that followed, Clampitt published five books of poetry, including What the Light Was Like (1985), Archaic Figure (1987), and Westward (1990). Her last book, A Silence Opens, appeared in 1994. She also published a book of essays and several privately printed editions of her longer poems. She taught at the College of William and Mary, Smith College, and Amherst College, but it was her time spent in Manhattan, in a remote part of Maine, and on various trips to Europe, the former Soviet Union, Iowa, Wales, and England that most directly influenced her work. Clampitt was the recipient of a 1982 Guggenheim Fellowship, a MacArthur Fellowship (1992), and she was a member of the American Academy of Arts and Letters and the American Academy of Poets. She died of cancer in September 1994.

Maryann Corbett (née Zillotti, Washington, D.C.) is an American poet, medievalist, and linguist.She grew up in northern Virginia. She did her undergraduate work at the College of William and Mary in Williamsburg, Virginia, and graduated with a doctorate in English from the University of Minnesota.Her work has appeared in Southwest Review, Barrow Street, Rattle, River Styx, Atlanta Review, The Evansville Review, Measure, Literary Imagination, The Dark Horse, Italian Americana, Mezzo Cammin, Linebreak, Subtropics, Verse Daily, American Life in Poetry, The Poetry Foundation, The Writer’s Almanac, and many other venues in print and online, as well as an assortment of anthologies, including The Best American Poetry 2018. She has been a several-time Pushcart and Best of the Net nominee; a finalist for the 2009 Morton Marr Prize, the 2010 Best of the Net anthology, and the 2011 and 2016 Able Muse Book Prize; and a winner of the Lyric Memorial Award, the Willis Barnstone Translation Prize, and the Richard Wilbur Award. Her third book, Mid Evil, is the Wilbur Award winner and has been published by the University of Evansville Press.She has worked as a writing teacher and indexer for the Minnesota Legislature. She lives in St. Paul, Minnesota.

Abraham Cowley (1618– 28 July 1667) was an English poet born in the City of London late in 1618. He was one of the leading English poets of the 17th century, with 14 printings of his Works published between 1668 and 1721. Early life and career His father, a wealthy citizen, who died shortly before his birth, was a stationer. His mother was wholly given to works of devotion, but it happened that there lay in her parlour a copy of The Faerie Queene. This became the favourite reading of her son, and he had read it twice before he was sent to school. As early as 1628, that is, in his tenth year, he composed his Tragicall History of Piramus and Thisbe, an epic romance written in a six-line stanza, a style of his own invention. It is not too much to say that this work is the most astonishing feat of imaginative precocity on record; it is marked by no great faults of immaturity, and possesses constructive merits of a very high order. Two years later the child wrote another and still more ambitious poem, Constantia and Philetus, being sent about the same time to Westminster School. Here he displayed extraordinary mental precocity and versatility, and wrote in his thirteenth year the Elegy on the Death of Dudley, Lord Carlton. These three poems of considerable size, and some smaller ones, were collected in 1633, and published in a volume entitled Poetical Blossoms, dedicated to the head master of the school, and prefaced by many laudatory verses by schoolfellows. The author at once became famous, although he had not, even yet, completed his fifteenth year. His next composition was a pastoral comedy, entitled Love’s Riddle, a marvelous production for a boy of sixteen, airy, correct and harmonious in language, and rapid in movement. The style is not without resemblance to that of Randolph, whose earliest works, however, were at that time only just printed. In 1637 Cowley was elected into Trinity College, Cambridge, where he betook himself with enthusiasm to the study of all kinds of learning, and early distinguished himself as a ripe scholar. Portraits of Cowley, attributed to William Faithorne and Stephen Slaughter, are in Trinity College’s collection. It was about this time that he composed his scriptural epic on the history of King David, one book of which still exists in the Latin original, the rest being superseded in favour of an English version in four books, called the Davideis, which were published after his death. The epic deals with the adventures of King David from his boyhood to the smiting of Amalek by Saul, where it abruptly closes. In 1638 Love’s Riddle and a Latin comedy, the Naufragium Joculare, were printed, and in 1641 the passage of Prince Charles through Cambridge gave occasion to the production of another dramatic work, The Guardian, which was acted before the royal visitor with much success. During the civil war this play was privately performed at Dublin, but it was not printed till 1650. It is bright and amusing, in the style common to the “sons” of Ben Jonson, the university wits who wrote more for the closet than the public stage. Royalist in exile The learned quiet of the young poet’s life was broken up by the Civil War; he warmly espoused the royalist side. He became a fellow of Trinity College, Cambridge, but was ejected by the Parliamentarians in 1643. He made his way to Oxford, where he enjoyed the friendship of Lord Falkland, and was tossed, in the tumult of affairs, into the personal confidence of the royal family itself. After the battle of Marston Moor he followed the queen to Paris, and the exile so commenced lasted twelve years. This period was spent almost entirely in the royal service, “bearing a share in the distresses of the royal family, or labouring in their affairs. To this purpose he performed several dangerous journeys into Jersey, Scotland, Flanders, the Netherlands, or wherever else the king’s troubles required his attendance. But the chief testimony of his fidelity was the laborious service he underwent in maintaining the constant correspondence between the late king and the queen his wife. In that weighty trust he behaved himself with indefatigable integrity and unsuspected secrecy; for he ciphered and deciphered with his own hand the greatest part of all the letters that passed between their majesties, and managed a vast intelligence in many other parts, which for some years together took up all his days, and two or three nights every week.” In spite of these labours he did not refrain from literary industry. During his exile he met with the works of Pindar, and determined to reproduce their lofty lyric passion in English. However, Cowley misunderstood Pindar’s metrical practice and therefore his reproduction of the Pindaric Ode form in English does not accurately reflect Pindar’s poetics. But despite this problem, Cowley’s use of iambic lines of irregular length, pattern, and rhyme scheme was very influential and is still known as English “Pindarick” Ode, or Irregular Ode. One of the most famous odes written after Cowley in the Pindaric tradition is Wordsworth’s “Intimations of Immortality.” During this same time, Cowley occupied himself in writing a history of the Civil War (which did not get published in full until 1973). In the preface to his 1656 Poems, Cowley mentioned that he had completed three books of an epic poem on the Civil War, but had left it unfinished after the First Battle of Newbury when the Royalist cause began to lose significant ground. In the preface Cowley indicated that he had destroyed all copies of the poem, but this was not precisely the truth. In 1697, twelve years after Cowley’s death, a shortened version of the first book of the poem, called A Poem on the Late Civil War was published. It was assumed that the rest of the poem had indeed been destroyed or lost until the mid-20th century when scholar Allan Pritchard discovered the first of two extant manuscript copies of the whole poem among the Cowper family papers. Thus, the three completed books of Cowley’s great (albeit unfinished) English epic, The Civill Warre (otherwise spelled “The Civil War”), was finally published in full for the first time in 1973. In 1647 a collection of his love verses, entitled The Mistress, was published, and in the next year a volume of wretched satires, The Four Ages of England, was brought out under his name, with the composition of which he had nothing to do. In spite of the troubles of the times, so fatal to poetic fame, his reputation steadily increased, and when, on his return to England in 1656, he published a volume of his collected poetical works, he found himself without a rival in public esteem. This volume included the later works already mentioned, the Pindarique Odes, the Davideis, the Mistress and some Miscellanies. Among the latter are to be found Cowley’s most vital pieces. This section of his works opens with the famous aspiration: “What shall I do to be for ever known, And make the coming age my own?” It contains elegies on Wotton, Vandyck, Falkland, William Hervey and Crashaw, the last two being among Cowley’s finest poems, brilliant, sonorous and original; the amusing ballad of The Chronicle, giving a fictitious catalogue of his supposed amours; various gnomic pieces; and some charming paraphrases from Anacreon. The Pindarique Odes contain weighty Lines and passages, buried in irregular and inharmonious masses of moral verbiage. Not more than one or two are good throughout, but a full posy of beauties may easily be culled from them. The long cadences of the Alexandrines with which most of the strophes close, continued to echo in English poetry from Dryden down to Gray, but the Odes themselves, which were found to be obscure by the poet’s contemporaries, immediately fell into disesteem. The Mistress was the most popular poetic reading of the age, and is now the least read of all Cowley’s works. It was the last and most violent expression of the amatory affectation of the 17th century, an affectation which had been endurable in Donne and other early writers because it had been the vehicle of sincere emotion, but was unendurable in Cowley because in him it represented nothing but a perfunctory exercise, a mere exhibition of literary calisthenics. He appears to have been of a cold, or at least of a timid, disposition; in the face of these elaborately erotic volumes, we are told that to the end of his days he never summoned up courage to speak of love to a single woman in real life. The “Leonora” of The Chronicle is said to have been the only woman he ever loved, and she married the brother of his biographer, Sprat. Return to England Soon after his return to England he was seized in mistake for another person, and only obtained his liberty on a bail of £1000. In 1658 he revised and altered his play of The Guardian, and prepared it for the press under the title of The Cutter of Coleman Street, but it did not appear until 1661. Late in 1658 Oliver Cromwell died, and Cowley took advantage of the confusion of affairs to escape to Paris, where he remained until the Restoration brought him back in Charles’s train. He published in 1663 Verses upon several occasions, in which The Complaint is included. He is also known for having provided the earliest reference to coca in English literature, in a poem called “A legend of coca” in his 1662 collection of poems Six Books of Plants. Cowley obtained permission to retire into the country; and through his friend, Lord St Albans, he obtained a property near Chertsey, where, devoting himself to botany and books, he lived in comparative solitude until his death. He took a practical interest in experimental science, and he was one of those advocating the foundation of an academy for the protection of scientific enterprise. Cowley’s pamphlet on The Advancement of Experimental Philosophy, 1661, immediately preceded the foundation of the Royal Society; to which Cowley, in March 1667, at the suggestion of John Evelyn, addressed an ode. He died in the Porch House, in Chertsey, in consequence of having caught a cold while superintending his farm-labourers in the meadows late on a summer evening. On 3 August, Cowley was buried in Westminster Abbey beside the ashes of Chaucer and Spenser, where in 1675 the duke of Buckingham erected a monument to his memory. His Poemata Latina, including six books “Plantarum,” were printed in 1668. The poetry of Cowley rapidly fell into neglect. The works of Cowley were collected in 1668, when Thomas Sprat brought out an edition in folio, to which he prefixed a life of the poet. There were many reprints of this collection, which formed the standard edition till 1881, when it was superseded by Alexander Balloch Grosart’s privately printed edition in two volumes, for the Chertsey Worthies library. The Essays have frequently been revived. A Satire Against Separatists, printed in 1675, has been variously attributed to Cowley and to Peter Hausted. References Wikipedia—https://en.wikipedia.org/wiki/Abraham_Cowley