George Henry Boker (October 6, 1823 – January 2, 1890) was an American poet, playwright, and diplomat. Early years and education Boker was born in Philadelphia. His father was Charles S. Boker, a wealthy banker, whose financial expertise weathered the Girard National Bank through the panic years of 1838–40, and whose honour, impugned after his 1857 death, was defended many years later by his son in "The Book of the Dead." Charles Boker was also a director of the Mechanics National Bank. Boker was brought up in an atmosphere of ease and refinement, receiving his preparatory education in private schools, and entering Princeton University in 1840. While there he helped found, and was first editor of, the college literary magazine, the Nassau Monthly (now the Nassau Lit). He was left in easy circumstances, and was able to devote his time to literature, as well as boxing and dancing. Charles Godfrey Leland, a relative, recounted: Boker graduated from Princeton in 1842. His marriage to Julia Riggs, of Maryland, followed shortly after, while he was studying law, a profession which was to serve him in good stead during his diplomatic years, but which he gave up for the stronger pull of poetry. Literary recognition In 1848 his first volume of verse, The Lessons of Life, and other Poems, was published. Also, he met Bayard Taylor and Richard Henry Stoddard, who would be long-lasting friends. This group of young men supported and encouraged each other in the face of official journalistic criticism. Launched in the literary life, Boker began to write assiduously. His first play, Calaynos, went into two editions during 1848, and the following year was played by Samuel Phelps at Sadler's Wells Theatre, London, May 10. This tragedy is notable for its depiction of the racial issues between the Spanish and the Moors. This was soon followed by other plays. The next to be staged was a comedy, The Betrothal (1850). Two other tragedies from this time are Anne Boleyn (1850) and Leonor de Guzman (1853). During this time, in correspondence with his friends, Boker was determining to himself the distinction between poetic and dramatic style. But Boker was not wholly wed to theatrical demands; he still approached the stage in the spirit of the poet who was torn between loyalty to poetic indirectness, and necessity for direct dialogue. Francesca da Rimini, (1853) is the play he is most well-remembered for.