Biographical details about each individual poet, such as birthplace, occupation, associated locations and emigration patterns, form an important structural/organizing feature of the LCPO database. One might wonder why these entry fields are necessary for a project that specifically focuses on poetry, an aesthetic medium that certain theorists would argue should be removed from any potential authorial impositions on the text and treated objectively.
In honor of Burns Night, and the terrible weather we’ve having in the midwestern United States, I post not “Auld Lang Syne,” but “A Winter Night,” available online with glossary at “Burns Country.”
A Winter Night
“Poor naked wretches, wheresoe’er you are,
That bide the pelting of this pitiless storm!
How shall your houseless heads, and unfed sides,
One of the defining features of the Labouring-Class Poet tradition is the sense of community shared between these poets. Because they were so conscious of their sense of ‘place’, both in society and geographically, common bonds formed between those from similar areas. One of the first things the LCPO Database makes apparent is these specific links: it helps scholars to group the poets from Paisley together, those from Bristol, those from Tyneside.
What time the gales that morning’s freshness brings
When labour’s pleasant hour begins –
While on the cote the pigeon rests
Woman the world’s best wealth stirs.
Why did we come so far from home?
This is not a poem by John Clare. It is not a poem – or rather, not a poem in a proper sense.
It is a list of first lines that need to be properly formatted in HTML.
When we talk of someone dying too young, or dying before his/her time, what do we mean?
One interesting category of distinction highlighted in the Database of Laboring-Class Poets and illuminated on the new Omeka site [deprecated] through the use of tags is “tragic youth.” As we complete our data entry, we have the chance to reevaluate our use of terms like “tragic youth,” which can be problematic for a number of reasons.