At a time when a woman speaking before a mixed-gender audience risked acquiring the label “promiscuous,” thousands of women presented their views about social or moral issues through sentimental poetry, a blend of affect with intellect that allowed their participation in public debate. Bridging literary and rhetorical histories, traditional and semiotic interpretations, Antebellum American Women's Poetry: A Rhetoric of Sentiment explores an often overlooked, yet significant and persuasive pre–Civil War American discourse. Considering the logos, ethos, and pathos—aims, writing personae, and audience appeal—of poems by African American abolitionist Frances Watkins Harper, working-class prophet Lydia Huntley Sigourney, and feminist socialite Julia Ward Howe, Wendy Dasler Johnson demonstrates that sentimental poetry was an inportant component of antebellum social activism. She articulates the ethos of the poems of Harper, who presents herself as a properly domestic black woman, nevertheless stepping boldly into Northern pulpits to insist slavery be abolished; the poetry of Sigourney, whose speaker is a feisty, working-class, ambiguously gendered prophet; and the works of Howe, who juggles her fame as the reformist “Battle Hymn” lyricist and motherhood of five children with an erotic Continental sentimentalism. Antebellum American Women's Poetry makes a strong case for restoration of a compelling system of persuasion through poetry usually dismissed from studies of rhetoric. This remarkable book will change the way we think about women’s rhetoric in the nineteenth century, inviting readers to hear and respond to urgent, muffled appeals for justice in our own day.
While the United States came late to Romanticism, the influence of the British Romantics can be seen by 1815 in the work of Lydia Huntley Sigourney and 1817 in William Cullen Bryant's “Thanatopsis.” As Mary Louise Kete explains, ...
American Poetry: The Nineteenth Century. New York: Library of America, 1993. Homestead, Melissa. American Women Authors and Literary Property, 1822–1869. Cambridge: Cambridge University Press, 2010. Jackson, Virginia.
In surprising turns through different American cities, mindsets, and eras, and through the strange rhythms of dreaming, the celebrated poet Elizabeth Alexander composes her own kind of improvisational jazz. Antebellum...
See Susan K. Harris, The Cultural Work of the Late Nineteenth-Century Hostess (New York: Palgrave Macmillan, 2002), for an extended biographical and historical consideration of Fields's philanthropy and of what Harris aptly terms the ...
... palace , too ? But they had guns in France , and Christian men Shot wicked little Communists , like you . You would ... burner's morality , but that of this genteel bourgeois woman , is on trial in this poem . Her inactivity and moral ...
... 287n234 Bogan, Louise, 1,262,268n11, 342n213 Bowles, Samuel, 192 Boyd, Anne E., 333n69 Brady, Matthew, 136 Brainard, John J. C., 21, 77, 84 Braithwaite, William Stanley, 266 Brooks, Maria, 242, 292n47 Brooks, Van Wyck, 333n66 Brown, ...
... Palace-Burner: The Selected Poetry of Sarah Piatt, ed. Paula Bernat Bennett (Urbana and Chicago: U of Illinois P, 2001). 7. I return to the construction of childhood and St. Nicholas in chapter 9. 8. Mary Mapes Dodge, “Children's ...
His reprinting of poems like William Cullen Bryant's “The African Chief” and Hannah F. Gould's “The Black at Church,” as well as multiple poems from Benjamin Lundy's newspaper, the Genius of Universal Emancipation, demonstrates his ...
In another poem, Faugères cleverly satirizes male taste in women and, at the same time, predicts the “light” and “dark” heroines of nineteenthcentury prose fiction: The following Lines were occasioned by Mr. Robertson's refusing to ...
KATE NICHOLS TRASK (1853–1922) Kate Nichols Trask, born in Brooklyn, New York, to a wealthy family, was educated in private schools and married a banker in 1874. After her children died, Trask turned to writing, and published three long ...