564:, and many others. Marston wrote her, "Much as we all love and admire your work, it seems to me we have not yet fully realized the unostentatious loveliness of your lyrics, as fine for lyrics as your best sonnets are for sonnets. 'How Long' struck me more than ever. The first verse is eminently characteristic of you, exhibiting in a very marked degree what runs through nearly all of your poems, the most exquisite and subtle blending of strong emotion with the sense of external nature. It seems to me this perfect poem is possessed by the melancholy yet tender music of winds sighing at twilight, in some churchyard, through old trees that watch beside silent graves. Then nothing can be more subtly beautiful than the closing lines of the sonnet, 'In Time to Come':— "'Which was it spoke to you, the wind or I? I think you, musing, scarcely will have heard.'" Marston wrote her again concerning "The House of Death" that it was one of the most beautiful, the most powerful poems he knew. "No poem gives me such an idea of the heartlessness of Nature. The poem is Death within and Summer without—light girdling darkness—and it leaves a picture and impression on the mind never to be effaced." The poem of "The House of Death" is unequalled in its tragic beauty and sweetness. It was apropos of this volume that in one of his letters to her Robert Browning said he had closed the book with music in his ears and flowers before his eyes, and not without thoughts across his brain. And it was concerning a later poem, "Laus Veneris," inspired by a painting of his own, that
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607:. "I cannot tell you how keen and great enjoyment (sometimes even rapture)," he wrote her, "I have got out of your exquisite lyrics." In a series of "Notes," following the poems, line by line, he asserted that the poet won her success by the simplest means and plainest words, as true genius always does, and that her pages were full of emotional and imaginative meaning, Nature and Poetry uniting in an indissoluble whole; and Shelley himself, he said, would have been proud to own certain of the lines. The poem "Quest" he found so beautiful that, in his own words, it was "difficult to speak of it in perfectly measured and unexaggerated language." Of the poem "Wife to Husband" he said that "the tenderness, the sweet and compelling rhythm, are worthy of the best Elizabethan days." The sonnet, "A Summer's Growth," "unites," he says, the "passion of such Italian poets as Dante with the imagination of modern English." This was in relation to her first volume, "Swallow Flights"; and in conclusion he said: "This poet must look for her brothers in the sixteenth and seventeenth centuries among the noble and intense lyrists. Her insight, her subtlety, her delicacy, her music, are hardly matched, and certainly not surpassed by Herrick or Campion or
655:, confirmed her reputation as a poet. Of the poems in this volume, "In the Garden of Dreams," Meiklejohn affirmed that the perfect little gem, "Roses," was worthy of Goethe, and that "As I Sail" had the firmness and imaginativeness of Heine, the perfect simplicity containing magic. "Wordsworth never wrote a stronger line," he said of one in "Voices on the Wind." In "At the Wind's Will" again the same critic recognized the strong style of the 16th century, noble and daring rhythms, the "quintessence of passion," successes gained by the "courage of simplicity," rare specimens of compression as well as of sweetness. "The Gentle Ghost of Joy" he thought "a wonderful voluntary in the best style of Chopin." In a line of one of the sonnets, "Yet done with striving and foreclosed of care," he finds something as good as anything of Drayton's. He pronounced the two sonnets called "Great Love" worthy of a "place among Dante's and Petrarch's sonnets," and of the sonnet, "Were but my Spirit loosed upon the Air," he wrote, "It is one of the greatest and finest sonnets in the English language."
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in a little unwritten play, which it pleased her fancy to call a
Spanish drama, and with which she spent all summer, filling it with personages. The rigid Calvinism of the family had undoubtedly a very stimulating effect on the emotions of the sensitive child, and to its far-reaching influence may be ascribed the tinge of melancholy found in many of her pages. As a child, Moulton also exhibited a great vitality, especially when she was not burdened with the terrors of "damnation". Running in the face of a great wind was one of her joys, and she realized the reverse of such emotion in listening to the sound of the wind through an outer keyhole, which seemed to her the calling of trumpets, the crying of lost souls.
880:. Illustrated. Boston: Little, Brown & Co., 1910) was direct and clear in its method, chronological and narrative rather than critical, compiled largely from the letters of Moulton and from the journal that was kept faithfully from age eight to the last days of failing health. With due acknowledgment of Moulton's gifts of personal charm and poetic sentiment and refinement, few discriminating readers ascribed to her verses that quality of genius. So it was considered unfortunate that Whiting began her biography with this word, as one of the implied characteristics of her subject. In her general treatment of Moulton's poetry, however, Whiting showed justice and reserve as well as sympathetic appreciation.
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676:(1896). In this travel book she recounts her travels through Spain, Italy (Naples, Rome, Sorrento, Pompeii, Amalfi and Florence), France (Paris, Aix-les-Bains, Brides-les-Bains, and Savoy), Switzerland (Geneva, Lucerne, Chamouny and Ragatz), Germany (Nuremberg, Marienbad, Carlsbad, Frankfurt and Metz) and England (Yorkshire). In Spain she visited Irun, Burgos, Valladolid, Avila, El Escorial, Madrid, Toledo, Cordova, Granada and Seville.
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285:. It was on her way from school one day that she happened to take the paper from the office; and, when she opened it, there were the lines she had written. Three years later, Messrs. Phillips, Sampson and Company, of Boston, published for her "This, That, and the Other," a collection of stories and poems which had appeared in various magazines and newspapers.
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pronounced her a mistress of form and of artistic perfection, saying also that
England had no poet in such full sympathy with woods and winds and waves, finding in her the one truly natural singer in an age of aesthetic imitation. "She gives the effect of the sudden note of the thrush," it said. "She
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At the age of 15, Moulton began to publish the work which she had written for the past eight years. It would be difficult to say what it was that inclined her to a literary life as she had no literary friends. She felt her movements had to be secret as if she were committing a crime when she sent off
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from 1870 to 1876. Serving as the paper's Boston literary correspondent, she wrote a series of interesting letters concerning the literary life of Boston, giving advance reviews of new books and telling of the affairs of the
Radical Club. In all the six years during which these letters appeared, she
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principles. Games, dances, romances, were forbidden; and, as playmates were few, the child lived in a world of fancy. "I was lonely," she said, "and I sought companions. What was there to do but to create them?" Indeed, before she was eight years old, her active mind was creating a world of its own
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She was sent to school at an early age, eventually becoming the pupil of the Rev. Roswell Park, at that time rector of the
Episcopal church in Pomfret, and also the head of a school called Christ Church Hall. It was a school for boys as well as girls; and one of her schoolmates here, for a season,
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Her home in Boston, after her marriage, was soon a centre of attraction; and, surrounded by friends, she exercised there a gracious hospitality, and met the men and women who made the Boston of that epoch famous. Here was born her daughter, Florence, who later married
William Schaefer, of South
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never made in them any unkind statement, or wrote a sentence that could cause pain. Through all her critical work, she has exercised a tender regard for the feelings of others, as well as great generosity of praise, preferring rather to be silent than to utter an unkindness.
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With the exception of the two years immediately following Mr. Moulton's death, when she remained at home and in seclusion, Moulton went abroad every summer. Every winter, she was back in Boston, where her house was a centre of literary life. She was the friend of
521:'s songs. She had met very few of these critics, and their cordial recognition was as surprising to her as it was delightful. Among the innumerable letters which she received, filled with admiring warmth, were some from
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spoke of the power and originality of the verses, of the music and the intensity as surpassing any verse of George Eliot's, declaring that the sonnet entitled "One Dread" might have been written by Sir
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Six weeks after leaving the Troy Female
Seminary, on August 27, 1855, she married a Boston publisher, William Upham Moulton (d. 1898), under whose auspices her earliest literary work had appeared in
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spoke warmly of their felicity of epithet, their healthiness, their suggestiveness, their imaginative force pervaded by the depth and sweetness of perfect womanhood.
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She was well known for the extent of her literary influence, the result of a sympathetic personality combined with fine critical taste.
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also dwelt on the vivid and subtle imagination and delicate loveliness of these verses and their perfection of technique.
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Carolina. Here her husband died, and here she remained through the days of her widowhood till the house became historic.
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from 1886 to 1892. Thenceforward, she spent the summers in London and the rest of the year in Boston, where her
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Our Famous Women: An
Authorized Record of the Lives and Deeds of Distinguished American Women of Our Times ...
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Meanwhile, she had taken an important place in
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Moulton's imagination was fostered during her childhood. Her parents clung to the strictest
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Directly after the publication of this first book, Moulton went for a final school-year to
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One of
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was one of the principal resorts of literary talent. In 1889, another volume of verse,
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Her literary output was interrupted until 1873 when she resumed activity with
1147:(Public domain ed.). New England Historical Publishing Company. p.
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Phelps, Elizabeth Stuart; Stowe, Harriet
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said it made him work all the more confidently and was a real refreshment.
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in the English edition of 1877), which was highly praised by the critics.
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that she did the greater part of her work, including her books of travel,
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spoke of her lyrical feeling as like that which gave a unique charm to
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Browne, Francis Fisher; Thayer, Scofield; Browne, Waldo Ralph (1910).
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UNCG American Publishers' Trade Bindings: Louise Chandler Moulton
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to view old palaces, gardens, and galleries, touched to tears by
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After a lengthy illness, she died in Boston on August 10, 1908.
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Her first voyage to Europe was made in January 1876. Pausing in
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She wrote a weekly literary letter for the Sunday issue of the
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She also wrote several volumes of prose fiction, including
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155:(April 10, 1835 – August 10, 1908) was an American
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1193:(Public domain ed.). Macmillan and Company.
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864:The Poems and Sonnets of Louise Chandler Moulton
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1318:(11th ed.). Cambridge University Press.
347:Poets and Sonnets of Louise Chandler Moulton
1256:(Public domain ed.). Roberts brothers.
1235:(Public domain ed.). Roberts Brothers.
1214:(Public domain ed.). Roberts Brothers.
1172:(Public domain ed.). Roberts brothers.
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780:. She was on pleasant terms with Sir
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595:she might rightly take a place with
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1232:Miss Eyre from Boston: And Others
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453:In the winter of 1876, the
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325:. In 1855, she published,
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1459:1908 deaths
1454:1835 births
1104:Attribution
794:Holman Hunt
770:Alice Brown
627:Later years
597:John Milton
589:Shakespeare
490:The Tattler
485:The Academy
422:, and then
361:(1883) and
305:Early years
256:Calvinistic
239:'s verses.
207:. It is in
103:Nationality
1448:Categories
1380:Wikisource
942:Frank 2008
884:References
750:Arlo Bates
734:Nora Perry
455:Macmillans
430:, she met
388:Parliament
227:, and the
217:Lazy Tours
184:Scribner's
178:The Galaxy
81:Occupation
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577:lyricists
499:The Times
461:(renamed
137:Signature
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742:Stoddard
420:Florence
365:(1890).
106:American
95:Language
39:, Boston
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424:Venice
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161:critic
111:Spouse
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76:, U.S.
70:Boston
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736:, of
649:salon
613:Carew
459:Poems
396:Paris
386:open
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