Hemans, Felicia Dorothea

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Hemans, Felicia Dorothea (Browne)

(hĕm`ənz), 1793–1835, English poet. She married Capt. Alfred Hemans in 1812, had five children, and separated from him in 1818. Although she wrote much mild and sentimental poetry, today she is known only for "Casabianca," which has the famous first line, "The boy stood on the burning deck … ," "The Landing of the Pilgrim Fathers," and "England's Dead."
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immortality, the elegiac ekphrastic poetry of Felicia Hemans tends to
5) One paradigmatic poetess Felicia Hemans wrote ekphrastic poems in response to drawings and sculpture of Sappho abandoned by Phaon as well and to funerary monuments of women.
The hall pre-dates its neighbour Gwyrch Castle, within whose walls it is built, by a couple of centuries and was once the home of internationally renowned romantic poet Felicia Hemans who wrote The Boy Stood On The Burning Deck.
Wolfson is particularly good on the history and impact of Byron's portraits and the contradictory currents of his influence on female writers following his death, especially Laetitia Landon and Felicia Hemans.
Browne draws inspiration from Lord Byron's Eastern Tales of the 1810s and from the psychologically-charged portraits of women crafted in the following two decades by Felicia Hemans and Letitia Landon; but she extends her predecessors' work by situating her mysterious and courageous heroine in a narrative based on recent historical events.
Around the corner in Duke Street at no 118 is the childhood home of Felicia Hemans, forgotten in Britain but revered in the USA as her Pilgrim Fathers' Prayer is traditionally read out at US Thanksgiving dinners.
In the final chapter, Franta's treatment of Charlotte Smith, Felicia Hemans, and Alfred Tennyson begins to address issues of gender and canonicity implicit throughout the book.
Political, national, and religious identities are attracting as much, if not more interest, than gender issues; other topics include EBB's response to Felicia Hemans and Letitia Landon, trans-Atlantic abolitionist networks, genre, sculpture, metrics, and connections between Flush and fascism.
This moment's fleeting immediacy is matched throughout the book by Robinson's fresh readings of evanescence in Robert Merry, Leigh Hunt, Felicia Hemans, Wordsworth, Keats and more.
The last part, "Infinitude Confined," hones in on the smaller forms of art: the lyric, the kitchen-garden manual, and the poetics of the bower, from Stephen Switzer, Batty Langley, Horace Walpole, William Chambers, and Humphry Repton, to Joseph Addison, William Cowper, John Keats, Samuel Taylor Coleridge, and Felicia Hemans.
Stephen Behrendt suggests that this period marks the "'feminization' of Felicia Hemans," a move "more and more in the direction of 'feeling' .
Kipp contrasts Walpole's and Lewis's gothic mothers to those devised by women writers: Charlotte Smith, especially in the Elegaic Sonnets and "The Emigrants"; Sophia Lee, in The Recess (1783); Mary Wollstonecraft, in The Wrongs of Woman, or Maria (1798); and Felicia Hemans, especially in the poems focusing on infanticide, "The Indian Woman's Death Song" and "The Suliote Mother.