Critics such as Isobel Armstrong argue that the seeming simplicity of poetry such as Landon's is deceptive, and that women poets of the 19th century often employed a method of writing which allows for multiple, concurrent levels of meaning.
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For surviving women poets, like Britons Caroline Norton and Letitia Elizabeth Landon, Americans Lydia Sigourney and Frances Harper, the French Amable Tastu and German Annette von Droste-Hülshoff, and others, she was a valued model, or (for Elizabeth Barrett Browning) a troubling predecessor; and for male poets including Tennyson and Longfellow, an influence less acknowledged.