George Parsons Lathrop (1851-1898) was a poet, novelist and brother of Francis Lathrop. He was educated at New York and Dresden, Germany. He was married in London, 11 September 1871, to Rose Hawthorne Lathrop, daughter of Nathaniel Hawthorne. In 1875 he became associate editor of The Atlantic Monthly, and remained in that position two years, leaving it for newspaper work in Boston and New York. His contributions to the periodical and daily Press were varied and voluminous. In 1883 he founded the American Copyright League, which finally secured the international copyright law. He was also one of the founders of the Catholic Summer School of America. Among his famous works are: Rose and Roof-Tree (1875), A Study of Hawthorne (1876), Afterglow (1876), Spanish Vistas (1883), and Dreams and Days (1892). He also edited a complete, and the standard, edition of Hawthorne's works, and adapted The Scarlet Letter for Walter Damrosch's opera of that title, which was produced at New York in 1896.
A Masque of Poets (1878) is a poetry collection edited by George Parsons Lathrop. Part of Boston-based publisher Roberts Brothers’ “No Name” series, A Masque of Poets presents the works of little-known writers—including Emily Dickinson—alongside such recognized masters as Christina Rossetti and James Russell Lowell, leaving each poem anonymous to allow the reader to experience the work without thought of reputation. “Sing! Sing of what? The world is full of song; / And all the singing seems but echoed notes / Of the great masters...” Beginning with this playful introductory poem, A Masque of Poets attempts to demystify poetry by removing poets from the equation altogether. Understanding the pressures inherent to making art, especially the kind of art with such a long and storied history as poetry, this collection foregoes reputation and tradition by allowing the poems to speak for themselves, to appear anonymously so that the reader might make a clear judgment regarding each poem’s meaning and quality. Far from mere publishing gimmick, A Masque of Poets is a highly original, challenging, and rewarding collection of poems that happens to include works from some of the nineteenth century’s finest poets. By forcing the reader to trust their interpretive abilities, A Masque of Poets reinvigorates a craft whose worth was never the names of its practitioners, but the words they could produce. “Success,” the final poem before the concluding “novelette in verse” Guy Vernon, just so happens to be one of the only poems published by Emily Dickinson in her lifetime. For its importance to Dickinson scholars, as well as for its genuine originality, A Masque of Poets remains an essential contribution to the history of American literature. With a beautifully designed cover and professionally typeset manuscript, this edition of A Masque of Poets is a classic work of American literature reimagined for modern readers.
A Masque of Poets (1878) is a poetry collection edited by George Parsons Lathrop. Part of Boston-based publisher Roberts Brothers’ “No Name” series, A Masque of Poets presents the works of little-known writers—including Emily Dickinson—alongside such recognized masters as Christina Rossetti and James Russell Lowell, leaving each poem anonymous to allow the reader to experience the work without thought of reputation. “Sing! Sing of what? The world is full of song; / And all the singing seems but echoed notes / Of the great masters...” Beginning with this playful introductory poem, A Masque of Poets attempts to demystify poetry by removing poets from the equation altogether. Understanding the pressures inherent to making art, especially the kind of art with such a long and storied history as poetry, this collection foregoes reputation and tradition by allowing the poems to speak for themselves, to appear anonymously so that the reader might make a clear judgment regarding each poem’s meaning and quality. Far from mere publishing gimmick, A Masque of Poets is a highly original, challenging, and rewarding collection of poems that happens to include works from some of the nineteenth century’s finest poets. By forcing the reader to trust their interpretive abilities, A Masque of Poets reinvigorates a craft whose worth was never the names of its practitioners, but the words they could produce. “Success,” the final poem before the concluding “novelette in verse” Guy Vernon, just so happens to be one of the only poems published by Emily Dickinson in her lifetime. For its importance to Dickinson scholars, as well as for its genuine originality, A Masque of Poets remains an essential contribution to the history of American literature. With a beautifully designed cover and professionally typeset manuscript, this edition of A Masque of Poets is a classic work of American literature reimagined for modern readers.
George Parsons Lathrop (1851-1898) was a poet, novelist and brother of Francis Lathrop. He was educated at New York and Dresden, Germany. He was married in London, 11 September 1871, to Rose Hawthorne Lathrop, daughter of Nathaniel Hawthorne. In 1875 he became associate editor of The Atlantic Monthly, and remained in that position two years, leaving it for newspaper work in Boston and New York. His contributions to the periodical and daily Press were varied and voluminous. In 1883 he founded the American Copyright League, which finally secured the international copyright law. He was also one of the founders of the Catholic Summer School of America. Among his famous works are: Rose and Roof-Tree (1875), A Study of Hawthorne (1876), Afterglow (1876), Spanish Vistas (1883), and Dreams and Days (1892). He also edited a complete, and the standard, edition of Hawthorne's works, and adapted The Scarlet Letter for Walter Damrosch's opera of that title, which was produced at New York in 1896.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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