Frances Sargent Osgood Criticism - Essay

Edgar A. Poe (essay date July-December 1846)

(Nineteenth-Century Literary Criticism)

SOURCE: Poe, Edgar A. “The Literati of New York City.” Godey's Magazine and Lady's Book 33 (July-December 1846): 127-29.

[In the following essay, Poe provides an overview of Osgood's poems, praising them for their grace, energy, and charm.]

Mrs. Frances Sargent Osgood, for the last two or three years, has been rapidly attaining distinction—and this, evidently, with no effort at attaining it. She seems, in fact, to have no object in view beyond that of giving voice to the feelings or to the fancies of the moment. “Necessity,” says the proverb, “is the mother of Invention;” and the invention of Mrs. O., at least, springs plainly from necessity—from the...

(The entire section is 3104 words.)

John E. Reilly (essay date fall 1967)

(Nineteenth-Century Literary Criticism)

SOURCE: Reilly, John E. “Mrs. Osgood and The Broadway Journal.Duquesne Review 12, no. 2 (fall 1967): 131-44.

[In the following essay, Reilly explores how Osgood exploited the “melodramatic potentialities” of her literary courtship with Edgar Allan Poe to advance her career as a poet.]

Among the legends surrounding Edgar Allan Poe, one of the most enduring and certainly one of the most sensational is that he was a great lover, a kind of indigenous Casanova whose Lenores, Ligeias, and Annabel Lees are but the sallow surrogates of a host of warmblooded realities with whom Poe had consorted. Like most legends, this one has some basis in fact, remote...

(The entire section is 5683 words.)

Joanne Dobson (essay date December 1993)

(Nineteenth-Century Literary Criticism)

SOURCE: Dobson, Joanne. “Sex, Wit, and Sentiment: Frances Osgood and the Poetry of Love.” American Literature 65, no. 4 (December 1993): 631-46.

[In the following essay, Dobson surveys Osgood's published and unpublished poetry, asserting that Osgood was a provocative and witty commentator on the highly codified sexual attitudes of her day.]

Preserved in the archives of the American Antiquarian Society is an intriguing literary artifact: a miniature slate—three by three and three-quarters inches—upon which is barely discernible the final written word of the popular nineteenth-century American poet Frances Sargent Osgood (1811-1850). That word is “angel.”...

(The entire section is 7516 words.)

Elizabeth A. Petrino (essay date 1998)

(Nineteenth-Century Literary Criticism)

SOURCE: Petrino, Elizabeth A. “‘Silent Eloquence’: The Social Codification of Floral Metaphors in the Poems of Frances Sargent Osgood and Emily Dickinson.” Legacy 15, no. 2 (1998): 139-54.

[In the following essay, Petrino discusses how Osgood and Dickinson used the floral metaphors in their poetry to criticize rigid mid-nineteenth-century social and sexual attitudes.]

The expression of this divine passion ought to be divine also, and it was to illustrate this fact that flowers were ingeniously made emblematical of our most delicate sentiments; they do, in fact, utter in “silent eloquence” a language better than writing; they are the...

(The entire section is 10627 words.)

Mary De Jong (essay date 1999)

(Nineteenth-Century Literary Criticism)

SOURCE: De Jong, Mary. “‘Read Here Thy Name Concealed’: Frances Osgood's Poems on Parting with Edgar Allan Poe.” Poe Studies 32, nos. 1-2 (1999): 27-36.

[In the following essay, De Jong analyzes the circumstances surrounding the termination of Osgood's literary relationship with Edgar Allan Poe and maintains that the two maintained a cryptic intratextual communication after their separation.]

Introduced to Edgar Allan Poe in a drawing room in New York's Astor House in early March 1845, Frances Sargent Osgood soon became his friend and favorite American woman poet. Later that month she proudly reported to a friend Poe's praise of her work in a recent...

(The entire section is 11888 words.)