735. Charlotte Ann9 Fillebrown (Richard8, James7, Richard6, Isaac5, Thomas4, Thomas3, Humpfrey2 Phillibrowne, Robert1 ffilebrowne)(8177) was born in Cambridge, Middlesex County, Massachusetts April 20, 1820.(8178) Charlotte died August 2, 1845 in Boston, Suffolk County, Massachusetts, at 25 years of age.(8179) "Jerauld had suffered for most of her life from "a determination of blood to the brain," but it seems likely that complications after the birth of her son (born late in July 1845 and dying on 1 August) as well as a severe postpartum depression (Bacon writes that within days of her child's birth she became "a raving maniac") contributed to her early death."

Charlotte married Unknown___________ Jerauld circa 1843.(8180) (Additional notes for Unknown___________ Jerauld(8181)) When Unknown___________ was age 25 and Charlotte Ann Fillebrown was age 25 they became the parents of Son_____ Jerauld July 1845.(8182) The "Genealogy of the Fillebrown Family" reported his surname to be "Gerald".

Charlotte was listed on the school unknown roll as a student in Boston, Suffolk County, Massachusetts before 1834.(8183) "The daughter of working-class parents, Charlotte A. Jerauld received her education in Boston's common schools."

Charlotte was employed at a book bindery as a helper circa 1834.(8184) "Although she left school at fourteen to work in a bookbindery, she read widely and was familiar with Shakespeare, Spenser, and Milton, while particular favorites were Byron, Scott, and Wordsworth. Jerauld soon began to publish poetry in the Universalist magazine, the Ladies Repository, and later her work appeared in the annual Rose of Sharon."

This is a bit of history.(8185) In 1841 she did "start to publish her prose sketches - the real beginning of her literary life, as her editor Henry Bacon notes."

This is a bit of history.(8186) "Jerauld's many letters to her close friend Sarah C. Edgarton Mayo reveal a sharp wit and sensitive eye for detail not often found in her poetry and abundant only in her later prose. This friendship produced dual poetic sequences and provided Jerauld with a confidant for the more personal reflections that were frequently absent from her published writings.

Jerauld's poetry does not reveal the increasing facility and acuity of her prose, but some of her efforts are clearly tighter and fresher than those of many of her contemporaries. Her subjects, forms, and themes are conventional, but the poems rise above the conventional when she assumes a voice different from her own (as in "The Meccas of Memory"), when she experiments with form ("No More" and "Isabel" echo Poe's rhymes and rhythms), or when she adheres to the discipline of a strict form (her sonnets are generally better than her other poems, and those she writes with Mayo on alternate lines of "The Lord's Prayer" are good poems). Thematically, her verse tends to be dull: She stresses heaven as a peaceful home where life's problems are resolved; longs nostalgically for a happy childhood that will never return; and bewails sentimentally life's tragedies—ill-fated lovers, general loss, and the cycles of nature.

Jerauld's early prose is much like her poetry; however, her later prose, as she moves away from heroines who die young and plots based on series of disasters, reveals a talented writer beginning to find herself. Her final prose sketches comprise two groups of tales—"Lights and Shadows of Woman's Life" and "Chronicles and Sketches of Hazelhurst." In the first group, Jerauld explores different women's lots. In each story the author uses a distinct tone—"Our Minister's Family" is essentially gay; "The Mother's Heart" is grim but relatively unsentimental; "The Irish Daughter-in-Law" is light and witty. Jerauld's concern with her characters' inner lives dominates these tales. In "The Mother's Heart," she examines the jealous and obsessive personality of Isabel Sommers, who is unable to have a child until her 12th year of marriage. In "Caroline," the protagonist becomes insane when forced to give up her daughter. Jerauld's characters also grow more realistic in appearance: Hannah in "The Auld Wife" is rustically attractive if not beautiful by the standards of the 1840s; thus, Jerauld notes her "well-developed figure, which gave ample evidence that it had never suffered from compression or whale-bone, or any other bones, save those which Nature had given her."

The conversational and intimate relationship Jerauld's narrator creates with the reader pervades the tales of the first group and becomes a unifying element in "Chronicles and Sketches of Hazelhurst." These connected stories prefigure in delicacy and tone Sarah Orne Jewett's Country of the Pointed Firs, as Jerauld's unsentimentally nostalgic speaker invites the reader to join her on a walking tour of the village and "to gossip…about people and events, past and present." Jerauld's final prose suggests she might have attained a high level of literary artistry."

When Charlotte was age 25 and Unknown___________ Jerauld was age 25 they became the parents of Son_____ Jerauld July 1845.(8187) She wrote a book titled Poetry and Prose by Mrs. Charlotte A. Jerauld, with a Memoir by Henry Bacon, (1850).(8188) This is a bit of history.(8189) The following was reported on the Unitarian Universalist Women's Heritage Society web site.

Charlotte Ann Fillebrown Jerauld was born in 1820 in Cambridge, Massachusetts. Although she showed early intellectual promise her short life was filled with hardship, the lot of many working-class Universalists. At age 15 she had to go to work in the book bindery at the publishing house where the noted Universalist periodical, Ladies Repository, was published. At age 25 she died suddenly as the result of a difficult childbirth. Nevertheless, Charlotte managed to write some of Universalism’s most inspirational poems and stories. Her hymn, "Where Shall Thy Kingdom Come?" affirms the Universalist understanding that salvation comes not to some select religious hierarchy but to all people who have faith in the oneness of life. Hear the words of Charlotte Ann Fillebrown Jerauld:

Where shall Thy kingdom come? In halls of state Or cathedrals old, where the mighty throng, Where mitred priests in robes of purple wait, And pealing organs chant the lofty song? Where shall Thy kingdom come? In cloisters dim Where each alone in adoration bends, Where echoes music of the vesper hymn, Where life’s bright joy into the silence blends? Or in the dwelling lit by love and care, Where all life’s hopes and dreams are not alone; The dove of peace shall find, at last, rest there, Shelter in the heart that knows all people one. Where shall Thy kingdom come? In hearts and lives Made whole; in the one who life freely gives. (David Johnson’s Unitarian Universalist Women Hymns, p. 15)

Charlotte Ann Fillebrown and Unknown___________ Jerauld had the following child:

child 1203 i. Son_____10 Jerauld(8190) was born July 1845.(8191) Son_____ died August 1, 1845 in Boston, Suffolk County, Massachusetts, at less than one year of age.(8192)

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