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Frank Preston Stearns, Cambridge Sketches 2 2 Browse Search
Thomas Wentworth Higginson, Henry Walcott Boynton, Reader's History of American Literature 2 2 Browse Search
Thomas Wentworth Higginson, John Greenleaf Whittier 2 2 Browse Search
Thomas Wentworth Higginson, Olde Cambridge 1 1 Browse Search
Lydia Maria Child, Letters of Lydia Maria Child (ed. John Greenleaf Whittier, Wendell Phillips, Harriet Winslow Sewall) 1 1 Browse Search
Thomas Wentworth Higginson, Letters and Journals of Thomas Wentworth Higginson 1 1 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.) 1 1 Browse Search
Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1 1 1 Browse Search
The writings of John Greenleaf Whittier, Volume 4. (ed. John Greenleaf Whittier) 1 1 Browse Search
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Browsing named entities in Frank Preston Stearns, Cambridge Sketches. You can also browse the collection for Celia Thaxter or search for Celia Thaxter in all documents.

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Frank Preston Stearns, Cambridge Sketches, C. P. Cranch. (search)
mance all the more amusing. He sang Bret Harte's Jim in a very effective manner, and he often sang the epitaph on Shakespeare's tomb, Good friend, for Jesus sake forbeare, as a recitative, both in English and Italian,--In questa tomba. He seemed to bring out a hidden force in his singing, which was not apparent on ordinary occasions. His reading of poetry was also fine, but he depended in it rather too much on his voice, too little on the meaning of the verse. It was not equal to Celia Thaxter's reading. The same types of physiognomy continually reappear among artists. William M. Hunt looked like Horace Vernet, and Cranch in his old age resembled the Louvre portrait of Tintoretto, although his features were not so strong. He used to say in jest that he was descended from Lucas Cranach, but that the second vowel had dropped out. He cared as little for the fashions as poets and artists commonly do, but there was no dandy in Boston who appeared so well in a full dress suit.
Frank Preston Stearns, Cambridge Sketches, T. G. Appleton. (search)
ower or pelf; And only loses in the chase The hunted lord of all,--himself. His gain is loss, His treasure dross. “Step, step, step,” mocks the whip of the sky, “Hurry up, limp along, rest when you die!” With care he burthens all his soul; Heaped ingots curve his willing back; Submissive to that fierce control, He needs at last the sky-whip's crack, Till at the grave, No more a slave,-- “Rest, rest, rest,” sighs the whip of the sky: “Hurry not, haste no more, rest when you die!” Celia Thaxter, the finest of poetic readers, read this to me one September morning at the Isles of Shoals, and at the conclusion she remarked: If that could only be read every year in our public schools it might do the American people some good. As compared with this, the sonnet on Pompeii has the effect of a strong complementary color, --for instance, like orange against dark blue. It echoes the pathetic reverie that we feel on beholding the monuments of the mighty past. It contains