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."
References in periodicals archive ?
In fact, Erasmus Darwin, Charlotte Smith, and Felicia Hemans each versified the botanical clock, producing different depictions and ideological agendas for this Linnaean device.
So we can expect to hear much from Shakespeare, Wordsworth, Byron, Shelley, the Bronte sisters and Liverpool's own Felicia Hemans.
Chapter 4, which considers Charlotte Smith and Felicia Hemans, is problematic.
However, Lopez expresses her dismay at finding that the tragic image of a suicidal Sappho highlighted by Ovid obtained major currency by way of Alexander Pope in the nineteenth century, and this was the side of Sappho taken up in the works of three Victorian poets: Felicia Hemans, Letitia Elizabeth London, and Christina Rossetti.
His focus is predominantly on selected works by William Wordsworth, Samuel Taylor Coleridge, Robert Southey, Thomas Moore and Felicia Hemans.
The Poet and the Profits: Felicia Hemans and the Literary Marketplace.
Poet and author Felicia Hemans, known for the line "The boy stood on the burning deck" from her poem Casabianca, adopted St Asaph as her home.
While focusing on these six different women--essayists, poets, novelists, biographers, autobiographers, journalists and editors--Peterson readily connects her main subjects and other nineteenth-century female literary forces, including Felicia Hemans, Anna Jameson, Charlotte Bronte, and George Eliot.
Others who came to Wales during the picturesque movement were the English romantic painter Joseph Turner and the poet Felicia Hemans.
After all, she was an ardent Anglophile, and her poetry was praised by her supporters for its similarity with the work of Felicia Hemans.
He does not examine in detail works by Anna Laetitia Barbauld, William Blake, Felicia Hemans, Percy Shelley, or novelists of the time.
Part 1, "Historical Drama and Romantic Historiography" includes: Greg Kucich, "Baillie, Mitford, and the 'Different Track' of Women's Historical Drama on the Romantic Stage" (21-42); Lilla Maria Crisafulli, "Historical Agency in Romantic Women's Drama" (43-58); Cecilia Pietropoli, "Hannah More's and Ann Yearsley's Anglo-Saxon History Plays" (59-70); Serena Baiesi, "Historical Sieges in Women's Romantic Drama: Felicia Hemans, Joanna Baillie and Frances Brooke" (71-84); Gary Kelly, "Felicia Hemans, Schillerian Drama, and the Feminization of History" (85-102).