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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.) 48 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.) 40 0 Browse Search
Bliss Perry, The American spirit in lierature: a chronicle of great interpreters 26 0 Browse Search
Thomas Wentworth Higginson, Henry Walcott Boynton, Reader's History of American Literature 22 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) 20 0 Browse Search
Thomas Wentworth Higginson, Carlyle's laugh and other surprises 10 0 Browse Search
Thomas Wentworth Higginson, The new world and the new book 10 0 Browse Search
Thomas Wentworth Higginson, Women and Men 8 0 Browse Search
Thomas Wentworth Higginson, Book and heart: essays on literature and life 4 0 Browse Search
Jula Ward Howe, Reminiscences: 1819-1899 4 0 Browse Search
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Browsing named entities in Frank Preston Stearns, Cambridge Sketches. You can also browse the collection for Bret Harte or search for Bret Harte in all documents.

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Frank Preston Stearns, Cambridge Sketches, C. P. Cranch. (search)
with the opinion of his friend, Judge Hoar. The Cranchs had a delightful visit. Cranch's baritone voice was like his poem, the Riddle, deep, rich and sonorous. He might have earned a larger income with it, perhaps, than he did by writing and painting. He sang comic songs in a manner peculiarly his own,--as if the words were enclosed in a parenthesis,--as much as to say, I do not approve of this, but I sing it just the same, and this made the performance 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 phy