hide Sorting

You can sort these results in two ways:

By entity
Chronological order for dates, alphabetical order for places and people.
By position (current method)
As the entities appear in the document.

You are currently sorting in ascending order. Sort in descending order.

hide Most Frequent Entities

The entities that appear most frequently in this document are shown below.

Entity Max. Freq Min. Freq
New England (United States) 286 0 Browse Search
James Russell Lowell 177 1 Browse Search
Edgar Allan Poe 168 0 Browse Search
Walt Whitman 160 0 Browse Search
Oliver Wendell Holmes 160 0 Browse Search
United States (United States) 128 0 Browse Search
Henry Thoreau 122 0 Browse Search
Henry Wadsworth Longfellow 112 0 Browse Search
Mary Benjamin Motley 102 0 Browse Search
Noah Webster 100 0 Browse Search
View all entities in this document...

Browsing named entities in 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.).

Found 9,061 total hits in 4,112 results.

... 5 6 7 8 9 10 11 12 13 14 15 ...
1874 AD (search for this): chapter 1.2
n popularity Tennyson himself. But, as might have been expected, these years saw the production of little, except for some excellent sonnets, that adds permanently to his fame as a poet. True, he added considerably to the mass of his narrative poetry by the three series of Tales of a Wayside inn, the first of which appeared under its own name in 1863, the second and third of which were included respectively in Three books of song (1872—along with Judas MacCABAEUSabaeus), and in Aftermath (1874), but save for the spirited Paul revere's Ride and the Saga of King Olaf, of the first series, these tales in verse have made only a mild impression. This is about all that may justly be said with regard to the twelve poems collected in Flower-de-luce (1867); it is more than should be said of The New England tragedies, the third part of Christus, consisting of John Endicott and Giles Cory of the Salem farms. These, with the first part of the ambitious trilogy, The divine tragedy (1871), con
1875 AD (search for this): chapter 1.2
seems worthy of his pains and of the praise it has received from other admirers of Dante. After the appearance of the translation of Dante and of the Christus, two works de longue haleine which show that the retired professor of nearly twenty years standing was not open to the charge of idleness, Longfellow had still about a decade to live and to continue his writing. Some of the titles of his collections of verse have been already given; others are The Masque of Pandora, and other poems (1875), Keramos; and Other Poems (1878), Ultima Thule (1880), and In the Harbor (1882—posthumous). The first of these volumes contained one of the most dignified and impressive of all his poems, one of the best occasional poems in American literature, the Morituri Salutamus, written for the semi-centennial of the poet's class at Bowdoin. It also contained A Book of Sonnets, fourteen in all, considerably extended in number in later editions of the poetical works. Some notable sonnets had been publ
1876 AD (search for this): chapter 1.2
ste of a generation that was beginning to be affected by the work of the newer English romantic poets. Thus we are not surprised to find the Smith Professor writing poems on European subjects instead of grammars and histories of literature, and editing in place of textbooks a small collection of poems entitled The Waif (1843), a similar volume, The Estray (1847), and the comprehensive and useful Poets and poetry of Europe (1845). Even the thirty-one volumes of the much later Poems of places (1876-1879) with which Longfellow's name is more or less associated, bear witness to the influence of the teacher—poet's second sojourn in Europe both upon him and upon American culture. But the greatest influence of that sojourn, exhibited after he took up his duties at Harvard in December, 1836, is to be seen in the simple, wholesomely emotional, and unblushingly didactic poems with which Longfellow now began to win the hearts of his provincial readers. The Psalm of life is perhaps the best k
1871 AD (search for this): chapter 1.2
math (1874), but save for the spirited Paul revere's Ride and the Saga of King Olaf, of the first series, these tales in verse have made only a mild impression. This is about all that may justly be said with regard to the twelve poems collected in Flower-de-luce (1867); it is more than should be said of The New England tragedies, the third part of Christus, consisting of John Endicott and Giles Cory of the Salem farms. These, with the first part of the ambitious trilogy, The divine tragedy (1871), constitute what may best be ambiguously denominated efforts. Longfellow was more fortunately employed when he put himself in the company of Cowper and Bryant, and sought solace for his private woes in an extensive piece of poetical translation. Perhaps his true genius as a translator, seen early in the Coplas de Manrique (1833), is better exemplified in his numerous renderings of lyrics, particularly, as in Uhland's The Castle by the sea, from the German, than in the faithful, meritoriou
1843 AD (search for this): chapter 1.2
riting poems on European subjects instead of grammars and histories of literature, and editing in place of textbooks a small collection of poems entitled The Waif (1843), a similar volume, The Estray (1847), and the comprehensive and useful Poets and poetry of Europe (1845). Even the thirty-one volumes of the much later Poems of p Cambridge of Lowell's essay and of Colonel Higginson's books, he added to his happiness and his income by a second marriage— to Miss Frances Elizabeth Appleton in 1843—and he found time and incentive to write whatever he had in his mind and heart to say. Reading his letters and his diaries, putting together the biographical detail narrative power, he was during his life, and he still remains, unapproached by any other American poet. The years immediately preceding his second marriage in 1843 were partly devoted to the composition of a poetical drama in three acts, The Spanish student, which was published serially in 1842, and the next year was issued i
1858 AD (search for this): chapter 1.2
rose, but it may be doubted whether any contemporary could have written, on the whole, a better Evangeline, at least one more suited to the taste of the period. Few of his contemporaries, however, have left behind a more negligible prose romance than the story of an impossible New England village which Longfellow published in 1849 under the title Kavanagh; A Tale. The end of the fifties saw the culmination of his genius in the appearance of The courtship of Miles Standish and other poems (1858). This narrative poem, another experiment in hexameters, seems to surpass Longfellow's other successful achievements in the same category because it is more racy of New England, fuller of humour, superior in movement and in characterization. It is less popular than Evangeline, partly no doubt because it is less sweet, and it seems to have made less impression than its predecessor the Indian epic Hiawatha (1855）—another metrical experiment, this time in rhymeless trochaic tetrameters—partly b<
1845 AD (search for this): chapter 1.2
naturally more fully qualified than his predecessor to gratify the taste of a generation that was beginning to be affected by the work of the newer English romantic poets. Thus we are not surprised to find the Smith Professor writing poems on European subjects instead of grammars and histories of literature, and editing in place of textbooks a small collection of poems entitled The Waif (1843), a similar volume, The Estray (1847), and the comprehensive and useful Poets and poetry of Europe (1845). Even the thirty-one volumes of the much later Poems of places (1876-1879) with which Longfellow's name is more or less associated, bear witness to the influence of the teacher—poet's second sojourn in Europe both upon him and upon American culture. But the greatest influence of that sojourn, exhibited after he took up his duties at Harvard in December, 1836, is to be seen in the simple, wholesomely emotional, and unblushingly didactic poems with which Longfellow now began to win the hear
1833 AD (search for this): chapter 1.2
he third part of Christus, consisting of John Endicott and Giles Cory of the Salem farms. These, with the first part of the ambitious trilogy, The divine tragedy (1871), constitute what may best be ambiguously denominated efforts. Longfellow was more fortunately employed when he put himself in the company of Cowper and Bryant, and sought solace for his private woes in an extensive piece of poetical translation. Perhaps his true genius as a translator, seen early in the Coplas de Manrique (1833), is better exemplified in his numerous renderings of lyrics, particularly, as in Uhland's The Castle by the sea, from the German, than in the faithful, meritorious version of The divine comedy, which appeared in three volumes between 1867 and 1870; but, despite a certain lack of metrical charm resulting from the facile character of the rhymeless lines printed in threes, the version of the masterpiece to which Longfellow gave so many years of love and study seems worthy of his pains and of th
1872 AD (search for this): chapter 1.2
regarded as a failure, since Longfellow exhibited neither in it nor in later poems cast in similar form —The New England tragedies (1868), Judas MacCABAEUSabaeus (1872), and Michael Angelo (1883),—the slightest trace of dramatic genius. A poet of literary derivation, so to phrase it, inspired by his own wide reading, and a usefuions was in Longfellow's mind when he was writing The Spanish student, or planning his presumptive masterpiece, Christus: A Mystery, which finally saw the light in 1872, more than twenty years after the first appearance of its second part, The golden legend, one of the most attractive and yet one of the least widely read of its auof Tales of a Wayside inn, the first of which appeared under its own name in 1863, the second and third of which were included respectively in Three books of song (1872—along with Judas MacCABAEUSabaeus), and in Aftermath (1874), but save for the spirited Paul revere's Ride and the Saga of King Olaf, of the first series, these tal<
1861 AD (search for this): chapter 1.2
s books, he added to his happiness and his income by a second marriage— to Miss Frances Elizabeth Appleton in 1843—and he found time and incentive to write whatever he had in his mind and heart to say. Reading his letters and his diaries, putting together the biographical details furnished by others, and constructing as best one can the man's life and spirit from his writings, one is forced to the conclusion that except for a single great tragedy—the accidental burning to death of his wife in 1861—Longfellow's is one of the most serenely fortunate careers ever led by a man of letters. Some of his critics have wished that it might have been otherwise, apparently supposing that, if he had been more unfortunate, his poetry would have been more to their liking. It is not, however, on record that any critic has deliberately wooed infelicity in order to qualify himself for a fuller enjoyment of Longfellow's placid verses. In 1842 a third visit was made to Europe, this time a short one
... 5 6 7 8 9 10 11 12 13 14 15 ...