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George Ticknor, Life, letters and journals of George Ticknor (ed. George Hillard) 46 0 Browse Search
Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.) 46 0 Browse Search
Margaret Fuller, Memoirs of Margaret Fuller Ossoli (ed. W. H. Channing) 36 0 Browse Search
Edward L. Pierce, Memoir and letters of Charles Sumner: volume 2 36 0 Browse Search
Thomas Wentworth Higginson, Henry Wadsworth Longfellow 26 0 Browse Search
Frank Preston Stearns, Cambridge Sketches 24 0 Browse Search
Cambridge History of American Literature: volume 2 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.) 16 0 Browse Search
The Daily Dispatch: March 12, 1861., [Electronic resource] 12 0 Browse Search
Jula Ward Howe, Reminiscences: 1819-1899 10 0 Browse Search
Elias Nason, The Life and Times of Charles Sumner: His Boyhood, Education and Public Career. 10 0 Browse Search
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Browsing named entities in Frank Preston Stearns, Cambridge Sketches. You can also browse the collection for Dante or search for Dante in all documents.

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Frank Preston Stearns, Cambridge Sketches, Longfellow (search)
Longfellow It has been estimated that there were four hundred poets in England in the time of Shakespeare, and in the century during which Dante lived Europe fairly swarmed with poets, many of them of high excellence. Frederick II. of Germany and Richard I. of England were both good poets, and were as proud of their verses as they were of their military exploits. Frederick II. may be said to have founded the vernacular in which Dante wrote; and Longfellow rendered into English a poem of Richard's which he composed during his cruel imprisonment in Austria. A knight who could not compose a song and sing it to the guitar was as rare as a modern gentlmed as if Providence had set a limit beyond which human happiness could not pass. It was after this calamity that Longfellow undertook his metrical translation of Dante's Divina Commedia, a much more difficult and laborious work than writing original poetry. As his brother said, He required an absorbing occupation to prevent him
Frank Preston Stearns, Cambridge Sketches, Lowell (search)
h of the inspiration which only comes when we do not think of it. It may be suspected that he read more literature than law during these years, and we notice that he did not go, like Emerson, to the great fountain-heads of poetry,--to Homer or Dante, Shakespeare or Goethe,--but courted the muse rather among such tributaries as Virgil, Moliere, Chaucer, Keats, and Lessing. It may have been better for him that he began in this manner; but a remark that Scudder attributes to him in regard to Ln he was Ambassador to England,with twenty-nine dinner-parties in the month of June. What would poets do without war The Trojan war, or some similar conflict, served as the ground-work of Homer's mighty epic; Virgil followed in similar lines; Dante would never have been famous but for the Guelph and Ghibeline struggle. Shakespeare's plays are full of war and fighting; and the wars of Napoleon stimulated Byron, Schiller, and Goethe to the best efforts of their lives. In dealing with men li
Frank Preston Stearns, Cambridge Sketches, Leaves from a Roman diary: February, 1869 (Rewritten in 1897） (search)
ross, the column, and other instruments of Christ's agony, which they clasp with a loving devotion. In the lower right-hand corner, Charon appears (taken from pagan mythology) with a boat-load of sinners, whom he smites with his oar according to Dante's description. He is truly a terrible demon, and his fiery eyes gleam across the length of the chapel. Minos, who receives the boat-load in the likeness of Biagio da Cesena, the pope's master of ceremonies, is another to match him. A modern foed books with rough edges if they were printed on good paper; and then he said, See this remarkable picture. I drew my chair closer to him, and he showed me a large colored chart of Hell and Purgatory, according to the theory that prevailed in Dante's time. Satan with his three faces was represented in the centre, and on the other side rose the Mount of Purgatory. It is an Italian commentary, he said, on the Divina Commedia, which had been sent to him that day; and he added that some of
Frank Preston Stearns, Cambridge Sketches, Centennial Contributions (search)
day is this when I see my son and grandson contending in excellence! It seems a long way from Dante to Emerson, and yet there are Dantean passages in Woodnotes and Voluntaries. They are not in DaDante's matchless measure, but they have much of his grace, and more of his inflexible will. This warning against mercenary marriages might be compared to Dante's answer to the embezzling Pope NicholDante's answer to the embezzling Pope Nicholas III. in Canto XIX. of the Inferno: He shall be happy in his love, Like to like shall joyful prove; He shall be happy whilst he woos, Muse-born, a daughter of the Muse. But if with gold she b be grief on grief, And shame on shame. There is a Spartan-like severity in this, but so was Dante very severe. It was his mission to purify the moral sense of his countrymen in an age when the leaves of the pine are strings Tuned to the lay the wood-god sings. Again we are reminded of Dante in the opening passages of Voluntaries : Low and mournful be the strain, Haughty thought be
Frank Preston Stearns, Cambridge Sketches, Longfellow (search)
Longfellow It has been estimated that there were four hundred poets in England in the time of Shakespeare, and in the century during which Dante lived Europe fairly swarmed with poets, many of them of high excellence. Frederick II. of Germany and Richard I. of England were both good poets, and were as proud of their verses as they were of their military exploits. Frederick II. may be said to have founded the vernacular in which Dante wrote; and Longfellow rendered into English a poem of Richard's which he composed during his cruel imprisonment in Austria. A knight who could not compose a song and sing it to the guitar was as rare as a modern gentlmed as if Providence had set a limit beyond which human happiness could not pass. It was after this calamity that Longfellow undertook his metrical translation of Dante's Divina Commedia, a much more difficult and laborious work than writing original poetry. As his brother said, He required an absorbing occupation to prevent him
Frank Preston Stearns, Cambridge Sketches, Lowell (search)
h of the inspiration which only comes when we do not think of it. It may be suspected that he read more literature than law during these years, and we notice that he did not go, like Emerson, to the great fountain-heads of poetry,--to Homer or Dante, Shakespeare or Goethe,--but courted the muse rather among such tributaries as Virgil, Moliere, Chaucer, Keats, and Lessing. It may have been better for him that he began in this manner; but a remark that Scudder attributes to him in regard to Ln he was Ambassador to England,with twenty-nine dinner-parties in the month of June. What would poets do without war The Trojan war, or some similar conflict, served as the ground-work of Homer's mighty epic; Virgil followed in similar lines; Dante would never have been famous but for the Guelph and Ghibeline struggle. Shakespeare's plays are full of war and fighting; and the wars of Napoleon stimulated Byron, Schiller, and Goethe to the best efforts of their lives. In dealing with men li
Frank Preston Stearns, Cambridge Sketches, Leaves from a Roman diary: February, 1869 (Rewritten in 1897） (search)
ross, the column, and other instruments of Christ's agony, which they clasp with a loving devotion. In the lower right-hand corner, Charon appears (taken from pagan mythology) with a boat-load of sinners, whom he smites with his oar according to Dante's description. He is truly a terrible demon, and his fiery eyes gleam across the length of the chapel. Minos, who receives the boat-load in the likeness of Biagio da Cesena, the pope's master of ceremonies, is another to match him. A modern foed books with rough edges if they were printed on good paper; and then he said, See this remarkable picture. I drew my chair closer to him, and he showed me a large colored chart of Hell and Purgatory, according to the theory that prevailed in Dante's time. Satan with his three faces was represented in the centre, and on the other side rose the Mount of Purgatory. It is an Italian commentary, he said, on the Divina Commedia, which had been sent to him that day; and he added that some of
Frank Preston Stearns, Cambridge Sketches, Centennial Contributions (search)
day is this when I see my son and grandson contending in excellence! It seems a long way from Dante to Emerson, and yet there are Dantean passages in Woodnotes and Voluntaries. They are not in DaDante's matchless measure, but they have much of his grace, and more of his inflexible will. This warning against mercenary marriages might be compared to Dante's answer to the embezzling Pope NicholDante's answer to the embezzling Pope Nicholas III. in Canto XIX. of the Inferno: He shall be happy in his love, Like to like shall joyful prove; He shall be happy whilst he woos, Muse-born, a daughter of the Muse. But if with gold she b be grief on grief, And shame on shame. There is a Spartan-like severity in this, but so was Dante very severe. It was his mission to purify the moral sense of his countrymen in an age when the leaves of the pine are strings Tuned to the lay the wood-god sings. Again we are reminded of Dante in the opening passages of Voluntaries : Low and mournful be the strain, Haughty thought be
Frank Preston Stearns, Cambridge Sketches, Longfellow (search)
Longfellow It has been estimated that there were four hundred poets in England in the time of Shakespeare, and in the century during which Dante lived Europe fairly swarmed with poets, many of them of high excellence. Frederick II. of Germany and Richard I. of England were both good poets, and were as proud of their verses as they were of their military exploits. Frederick II. may be said to have founded the vernacular in which Dante wrote; and Longfellow rendered into English a poem of Richard's which he composed during his cruel imprisonment in Austria. A knight who could not compose a song and sing it to the guitar was as rare as a modern gentlmed as if Providence had set a limit beyond which human happiness could not pass. It was after this calamity that Longfellow undertook his metrical translation of Dante's Divina Commedia, a much more difficult and laborious work than writing original poetry. As his brother said, He required an absorbing occupation to prevent him
Frank Preston Stearns, Cambridge Sketches, Lowell (search)
h of the inspiration which only comes when we do not think of it. It may be suspected that he read more literature than law during these years, and we notice that he did not go, like Emerson, to the great fountain-heads of poetry,--to Homer or Dante, Shakespeare or Goethe,--but courted the muse rather among such tributaries as Virgil, Moliere, Chaucer, Keats, and Lessing. It may have been better for him that he began in this manner; but a remark that Scudder attributes to him in regard to Ln he was Ambassador to England,with twenty-nine dinner-parties in the month of June. What would poets do without war The Trojan war, or some similar conflict, served as the ground-work of Homer's mighty epic; Virgil followed in similar lines; Dante would never have been famous but for the Guelph and Ghibeline struggle. Shakespeare's plays are full of war and fighting; and the wars of Napoleon stimulated Byron, Schiller, and Goethe to the best efforts of their lives. In dealing with men li
1 2