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Excerpt from Flora's Interpreter, or the American Book of Flowers and Sentiments IN arranging this little work it was my purpose to combine, with the names and remembrances of owers, a selection of sentiments from our best poets. I hoped my experiment would give an increased interest to botanical researches among young people, at least 3 and among all classes would promote a better acquain tance with the beauties of our own literature. There is nothing new attempted, except in the arrangement, and the introduc tion of American sentiments. Flowers have always been symbols of the affections probably ever since our first parents tended theirs in the garden of God's own planting. They seem hallowed from that association, and intended naturally to represent pure, tender and devoted thoughts and feelings. The expression of these feelings has been, in all ages, the province of poetry, and to the poets we must refer in order to settle the philology of owers. This I have endeavored to do. I have carefully searched the poets and writers on Eastern manners where owers are even now the messengers of the heart, and have selected such interpreta tions, (for these authorities, like other philologists, sometimes di 'er, ) as appeared most reason able from the character and history of the ower. I have 'given the generic and usually the specific name, also the Class, Order, and native country of'each ower. These particulars will be of some use if the study of botany is pursued. Or at any rate, they must associate in the mind of the reader some notion of the science. A knowledge of the locality of the plant would, I thought, assist us to judge somewhat of its character and adaptation to our gardens or green houses, and the size of the volume 'to Which I was restricted, prevented me from entering into long descriptions and scientific explanations. I name these things, not to swell the importance of a tri ing production, but only to show that good motives may mingle a little of the useful even with tri es. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."
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American women have created an especially vigorous and innovative poetry, beginning in 1632 when Anne Bradstreet set aside her needle and picked up her "poet's pen." The topics of American women poets have been various, their images their own, and their modes of expression original. Emily Stipes Watts does not imply that the work of American men and that of American women are two different kinds of poetry, although they have been treated as such in the past. It is her aim, rather, to delineate and define the poetic tradition of women as crucial to the understanding of American poetry as a whole. By 1850, American women of all colors, religions, and social classes were writing and publishing poetry. Within the critical category of "female poetry," developed from 1800 to 1850, these women experimented boldly and prepared the way for the achievement of such women as Emily Dickinson in the second half of the nineteenth century. Indeed at times—for example from 1860 through 1910—it was women who were at the outer edge of prosodic experimentation and innovation in American poetry. Moving chronologically, Professor Watts broadly characterizes the state of American poetry for each period, citing the dominant male poets; she then focuses on women contemporaries, singling out and analyzing their best work. This volume not only brings to light several important women poets but also represents the discovery of a tradition of women writers. This is a unique and invaluable contribution to the history of American literature.
Excerpts from criticism of the works of novelists, poets, playwrights, short story writers and other creative writers who lived between 1800 and 1900, from the first published critical appraisals to current evaluations.