Arthur O'Shaughnessy
Arthur William Edgar O'Shaughnessy (14 March 184430 January 1881) was a British poet and herpetologist. Of Irish descent, he was born in London. He is most remembered for his poem "Ode", from his 1874 collection "Music and Moonlight", which begins with the words "We are the music makers, / And we are the dreamers of dreams", and has been set to music by several composers including Edward Elgar (as "The Music Makers)", Zoltán Kodály, Alfred Reed and, more recently, Aphex Twin (Selected Ambient Works 85-92). Early life and herpetology. In June 1861, at age 17, Arthur O'Shaughnessy received  the post of transcriber in the library of the British Museum, reportedly through the influence of Sir Edward Bulwer Lytton. According to Sir Edmund Gosse, O'Shaughnessy was one of Bulwer Lytton's many bastard children. Two years later, he became a herpetologist in the museum's zoological department. From 1874 to his premature death, he described six new species of reptiles, and after his death, he was honoured in the specific name, "oshaughnessyi", of four new species of lizards described by Albert Günther and George Albert Boulenger. Poetry. However, O'Shaughnessy's true passion was for literature. He published his first  collection of poetry, "Epic of Women", in 1870, followed two years later by "Lays of France" in 1872, and then "Music and Moonlight" in 1874. He is now best remembered for the first poem in his collection "Music and Moonlight", entitled "Ode", which begins with the words: "We are the music makers, / And we are the dreamers of dreams". When he was 30, he married and did not produce any more volumes of poetry for the last seven years of his life. His last volume, "Songs of a Worker", was published posthumously in 1881. Although denigrated by T. S. Eliot  as a "minor poet"' in an influential 1957 essay, O'Shaughnessy was both formally and aesthetically cutting-edge. For example, he is one of the few Pre-Raphaelite poets to have needed a steady income, and his corpus often explores the relationship between art and work. Unlike other Pre-Raphaelites, O'Shaughnessy saw poetry as the result of toil rather than the consequence of a moment's frenetic inspiration. Personal life. The artists Dante Gabriel Rossetti and Ford Madox Brown were among O'Shaughnessy's circle of friends, and in 1873, he married Eleanor Marston, the daughter of author John Westland Marston and  the sister of the poet Philip Bourke Marston. Together, he and his wife wrote a book of children's stories, "Toy-land" (1875). They had two children together, both of whom died in infancy. Eleanor died in 1879, and O'Shaughnessy himself died in London two years later at the age of 36 from the effects of a "chill" after walking home from the theatre on a rainy night. He is buried in Kensal Green Cemetery. Legacy. The anthologist Francis Turner Palgrave, in his work, "The Golden Treasury" declared that of the modern poets, despite his limited output, O'Shaughnessy had a  gift that in some ways was second only to Tennyson and "a haunting music all his own". O'Shaughnessy's translations of Parnassian poetry, and the influence of French decadence on his own work, were crucial in setting the stage for English-language decadence in the 1890s. Jordan Kistler writes that he was "instrumental in bridging the gap between the Pre-Raphaelitism practised by poets such as D. G. Rossetti and William Morris in the 1870s and the aestheticism of the 1890s". O'Shaughnessy is commemorated in the scientific names of four species of lizards: "Calumma oshaughnessyi", "Cercosaura oshaughnessyi", "Enyalioides oshaughnessyi", and  Pachydactylus oshaughnessyi.