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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.) 10 0 Browse Search
Thomas Wentworth Higginson, Carlyle's laugh and other surprises 6 0 Browse Search
Bliss Perry, The American spirit in lierature: a chronicle of great interpreters 4 0 Browse Search
The Photographic History of The Civil War: in ten volumes, Thousands of Scenes Photographed 1861-65, with Text by many Special Authorities, Volume 9: Poetry and Eloquence. (ed. Francis Trevelyan Miller) 2 0 Browse Search
Thomas Wentworth Higginson, Henry Wadsworth Longfellow 2 0 Browse Search
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The Photographic History of The Civil War: in ten volumes, Thousands of Scenes Photographed 1861-65, with Text by many Special Authorities, Volume 9: Poetry and Eloquence. (ed. Francis Trevelyan Miller), Chapter 11: Lincoln (search)
something gave him a jog, and the whole thing came out with a rush. Mrs. Lowell said that he began it at ten o'clock. At four in the morning he came to her door and said: it is done and I am going to sleep now. she opened her eyes to see him standing haggard, actually wasted by the stress of labor and the excitement which had carried him through a poem, full of passion and fire, of 523 lines in the space of six hours. the writing of the first strophe given below is thus described by Horace Scudder in his biography of Lowell, from which the above quotation is also taken: the sixth stanza was not recited, but was written immediately afterward. It is so completely imbedded in the structure of the ode that it is difficult to think of it as an afterthought. It is easy to perceive that while the glow of composition and of recitation was still upon him Lowell suddenly conceived this splendid illustration and indeed climax of the utterance of the ideal which is so impressive in the fift
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.), Chapter 24: Lowell (search)
consolation and strength to the oppressed, yet falling gently and restoringly as dew on the withered youth—flowers of the oppressor. That way my madness lies. Scudder life ,Vol.I p.267. It is easy to smile at this youthful fervency, as Lowell himself smiled a year or two later in The Fable for critics. There is Lowell, popular literature. If this is due in part to their vernacular homeliness, and in part to their wit, it is also due to the moral fire of their democracy. As Horace Scudder insisted, there is a connection between them and another popular success of a different kind, The vision of Sir Launfal. There it is the holy zeal which attacks slavery issuing in this fable of a beautiful charity. Scudder. Life. Vol. L p. 268. In 1850 Lowell wrote to Briggs: I begin to feel that I must enter a new year of apprenticeship. My poems have thus far had a regular and natural sequence. First, Love and the mere happiness of existence beginning to be conscious of
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.), Chapter 7: books for children (search)
ed in too mean a service while I write for babes; and down to the middle of the nineteenth century critics still mistook juvenile books for puerile books. The time was approaching when two editors of the austere Atlantic monthly, Aldrich and Horace Scudder, would think writing for children not unworthy of their accomplished pens, and the editor of the massive North American review, Charles Eliot Norton, would edit also a boy's library. It was perceived that simplicity need not be inane, and th times been observed that one can get more of American life from the juvenile than from the adult fiction of the period. To a large extent, this is implicit in the problem of interesting children. Hawthorne's Grandfather's chair, points out Horace Scudder, discussing the art of writing for them to which he so greatly contributed, is more actual than even The Blithedale romance. Just as markedly American have been the spiritual characteristics of American juveniles. Those English children h
Bliss Perry, The American spirit in lierature: a chronicle of great interpreters, Chapter 7: romance, poetry, and history (search)
rahmin as Holmes, and in his later years as much of a Boston and Cambridge idol, he nevertheless touched our universal American life on many sides, represented us worthily in foreign diplomacy, argued the case of Democracy with convincing power, and embodied, as more perfect artists like Hawthorne and Longfellow could never have done, the subtleties and potencies of the national temperament. He deserves and reveals the closest scrutiny, but his personality is difficult to put on paper. Horace Scudder wrote his biography with careful competence, and Ferris Greenslet has made him the subject of a brilliant critical study. Yet readers differ widely in their assessment of the value of his prose and verse, and in their understanding of his personality. The external facts of his career are easy to trace and must be set down here with brevity. A minister's son, and descended from a very old and distinguished family, he was born at Elmwood in Cambridge in 1819. After a somewhat turbule
Bliss Perry, The American spirit in lierature: a chronicle of great interpreters, Index. (search)
Rolfe, John, 38 Romanticism in American literature, 187 et seq. Roosevelt, Theodore, 243 Roughing it, Clemens 10, 237 Rowlandson, Mary, 39 Rules for Reducing a great Empire to a Small one, Franklin 58 Russell, Irwin, 246 Salem witchcraft, 43 Salmagundi papers, Irving and Paulding 91 Sanborn, F. B., 142 Sandys, George, 27 Scarlet letter, the, Hawthorne 7, 30, 145, 146, 148, 149-50 School-days, Whittier 158 Scott, Sir, Walter, 95 Scribner's monthly, 256 Scudder, Horace, 169 Seaweed, Longfellow 156 Sewell, Samuel, Judge, 47-48 Shepard, Thomas, 16, 31-32 Short story, the, 261-62 Sill, E. R., 257 Simms, W. G., 245, 246 Simple Cobbler of Agawam, the, Ward 37 Sinners in the hands of an Angry God, Edwards 50 Skeleton in Armor, the, Longfellow 155 Sketch book, Irving 89, 91 Skipper Ireson's Ride, Whittier 161 Slavery, influence on literature, 207 et seq. Slavery in Massachusetts, Thoreau 137 Smith, F. H., 247 Smith, John, 8-1
Thomas Wentworth Higginson, Carlyle's laugh and other surprises, chapter 17 (search)
ccumulation of wealth will so powerfully affect the spiritual well-being of the nation for generations to come (page 69). If it now be asked what prevented Horace Scudder from showing more fully this gift of higher literature and led to his acquiescing, through life, in a comparatively secondary function, I can find but one exp great missionary centre, that several prominent leaders in that cause were of the Scudder family, and the house was a sort of headquarters for them, and that Horace Scudder's own elder brother, whose memoirs he wrote, went as a missionary to India, dying at his post. Speaking of his father's family in his memoir, he says of it, re enjoyment of living; while the presence of a real religious sentiment banished that counterfeit solemnity which would hang over innocent pleasure like a cloud (Scudder's Life of David Coit Scudder, page 4). By one bred in such an atmosphere of self-sacrifice, that quality may well be imbibed; it may even become a second nature,
Thomas Wentworth Higginson, Henry Wadsworth Longfellow, Chapter 23: Longfellow as a poet (search)
n the original fine strain of the verses beginning Pine in the distance, but Longfellow showed absolutely no trace of Poe, unless as a warning against multiplying such rhythmic experiments as he once tried successfully in Seaweed. On the other hand, with all his love for Lowell, his native good taste kept him from the confused metaphors and occasional over-familiarities into which Lowell was sometimes tempted. Perhaps the most penetrating remark made about Longfellow's art is that of Horace Scudder: He was first of all a composer, and he saw his subjects in their relations, rather than in their essence. As a translator, he was generally admitted to have no superior in the English tongue, his skill was unvarying and absolutely reliable. Even here it might be doubted whether he ever attained the wonderful success sometimes achieved in single instances, as, for instance, in Mrs. Sarah Austen's Many a Year is in its Grave, which, under the guise of a perfect translation, yet gives a