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Sara Teasdale

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Amanda Pettyjohn

on 14 February 2013

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Transcript of Sara Teasdale

Amanda Pettyjohn Sara Teasdale Early Life "There Will Come Soft Rains" Teasdale was born in 1814 in St. Louis, Missouri to a devout family.
She was home-schooled until she turned nine due to her poor health and often traveled to Chicago, where she became associated with Poetry Magazine.
Beginning in 1905, she took numerous trips to Europe, allowing her to experience the world. Teasdale was said to be influenced by the British poet Christina Rossetti, who wrote a variety of romantic ballads and devotional poems and the actress Eleonora Duse (known widely as just Duse), whom she never saw perform in person. Influences She married a businessman, Ernst Filsinger, who had long admired her poetry, in 1914 at the ripe old age of twenty. Previously, she rejected several suitors, including the poet Vachel Lindsay, who went on to become known as the father of modern singing poetry. She moved to New York City with her new husband in 1916.
She divorced in 1929 and lived out the remainder of her life as a partial invalid.
After being weakened by a serious case of pneumonia, she committed suicide in 1933 by overdosing on barbituates. Her Life In 1907, her first poem was published in a local newspaper and later that year, she published her first volume of verse, Sonnets to Duse and Other Poems and followed them soon after with Helen of Troy and Other Poems (1911) and Rivers to the Sea (1915).
Won the Columbia University Poetry Society Prize (later called the Pulitzer Prize) and the Poetry Society of America Prize for Love Songs (1917) in 1918.
She published three more volumes of her poetry during her lifetime: Flame and Shadow (1920), Dark of the Moon (1926), and Stars To-night (1930). A final one, Strange Victory, was published posthumously in 1933 after she committed suicide earlier that year. Her Poetry Style Teasdale's work had always been characterized by its simplicity and clarity, her use of classical forms, and her passionate and romantic subject matter.
Her later volumes of poetry trace her growing finesse and poetic subtlety.
Her work often centered on a woman’s changing perspectives on beauty, love, and death.
Critics found her work unsophisticated, but full of musical language and evocative emotion.
Uses vast amounts of figurative language and alliteration.
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