Adelaide Anne Procter - Literary Career

Literary Career

Procter's poetry was strongly influenced by her religious beliefs and charity work; homelessness, poverty, and fallen women are frequent themes. Procter's prefaces to her volumes of poetry stress the misery of the conditions under which the poor lived, as do poems such as "The Homeless Poor":

In that very street, at that same hour,
In the bitter air and drifting sleet,
Crouching in a doorway was a mother,
With her children shuddering at her feet.

She was silent – who would hear her pleading?
Men and beasts were housed – but she must stay
Houseless in the great and pitiless city,
Till the dawning of the winter day. (51–58)

Procter's Catholicism also influenced her choice of images and symbols; Procter often uses references to the Virgin Mary, for example, to "introduce secular and Protestant readers to the possibility that a heavenly order critiques Victorian gender ideology's power structure."

Procter wrote a number of poems about war (the majority of poems published on this topic in Household Words were by Procter), although she rarely deals directly with the topic, preferring to leave war "in the background, something to be inferred rather than stated." Generally, these poems portray conflict as something "that might unite a nation that had been divided by class distinctions."

According to critic Gill Gregory, Procter "does not overtly ponder the vexed question of the poet, particularly the woman poet and her accession to fame", unlike many other women poets of the time, such as Felicia Hemans and Letitia Elizabeth Landon. Procter is instead concerned primarily the working classes, particularly working-class women, and with "emotions of women antagonists which have not fully found expression". Procter's work often embodies a Victorian aesthetic of sentimentality, but, according to Francis O'Gorman, does so with "peculiar strength"; Procter employs emotional affect without simplification, holding "emotional energy ... against complications and nuances." Procter's language, however, is simple; she expressed to a friend a "morbid terror of being misunderstood and misinterpreted", and her poetry is therefore marked by "simplicity, directness, and clarity of expression".