Abstract
EMINIST literary scholars in search of neglected antebellum women writers have made it impossible to consider fiction without Harriet Beecher Stowe, abolitionism without Lydia Maria Child, transcendentalism without Margaret Fuller. Stowe, Child, and Fuller were powerful intellectual forces in their own time, and their literary achievements are central to our understanding of antebellum culture now. Delia Bacon's is a different story. Her repeated attempts to forge a literary career were just as repeatedly rebuffed during her lifetime, and her magnum opus, The Philosophy of Shakespeare's Plays Unfolded, was indeed, as Nathaniel Hawthorne wrote of it, a ponderous octavo volume, which fell with a dead thump at the feet of the public and has never been picked up-unreadable then, and unreadable now.1
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