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Obituary poetry, in the broad sense, includes poems or elegies that commemorate a person's or group of people's deaths. In its stricter sense, though, it refers to a genre of popular verse or folk poetry that had its greatest popularity in the nineteenth century, especially in the United States of America .
The "Graveyard Poets", also termed "Churchyard Poets", [1] were a number of pre-Romantic poets of the 18th century characterised by their gloomy meditations on mortality, "skulls and coffins, epitaphs and worms" [2] elicited by the presence of the graveyard. Moving beyond the elegy lamenting a single death, their purpose was rarely sensationalist.
Beddoes's work shows a constant preoccupation with death. In 1824, he went to Göttingen to study medicine, motivated by his hope of discovering physical evidence of a human spirit which survives the death of the body. [2] He was expelled, and then went to Würzburg to complete his training. He then wandered about practising his profession, and ...
James Thomson (c. 11 September 1700 – 27 August 1748) was a Scottish poet and playwright, known for his poems The Seasons and The Castle of Indolence, and for the lyrics of "Rule, Britannia! Scotland, 1700–1725
Charles Wolfe is best remembered for his poem, "The Burial of Sir John Moore after Corunna", written in 1816 and much collected in 19th and 20th century anthologies. [1] The poem first appeared anonymously in the Newry Telegraph of 19 April 1817, and was re-printed in many other periodicals. But it was forgotten until after his death when Lord ...
The Romantic movement in English literature of the early 19th century has its roots in 18th-century poetry, the Gothic novel and the novel of sensibility. [6] [7] This includes the pre-Romantic graveyard poets from the 1740s, whose works are characterized by gloomy meditations on mortality, "skulls and coffins, epitaphs and worms". [8]
This religious conservatism also colours The Excursion (1814), a long poem that became extremely popular during the nineteenth century. It features three central characters: the Wanderer, the Solitary, who has experienced the hopes and miseries of the French Revolution , and the Pastor, who dominates the last third of the poem.
Although Todd claimed that only essential changes were made, the poems were extensively edited to match punctuation and capitalization to late 19th-century standards, with occasional rewordings to reduce Dickinson's obliquity. [152] The first 115-poem volume was a critical and financial success, going through eleven printings in two years. [151]