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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.).

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1841 AD (search for this): chapter 1.2
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 for the sake of health. It was preceded by the Ballads and other poems (1841), and followed by the Poems on slavery (1842). These justly enhanced his reputation, but the meritorious anti-slavery verses proved no prelude to active participation in the great conflict that was leading up to the Civil War. The prior volume with such pieces as The village Blacksmith, God's acre, Maidenhood, and the egregiously anabatic Excelsior, strengthened his hold upon the popular heart, and in the successful ballads proper, such as The Wreck of the Hesperus and The skeleton in Armor,
1867 AD (search for this): chapter 1.2
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 wnrique (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
1825 AD (search for this): chapter 1.2
shadowed when he published anonymously at the age of thirteen, in a local newspaper, a Revolutionary battle-lyric. After a good schooling and an introduction to the best reading old and new, including Irving's Sketch Book, Longfellow, in the autumn of 1822, entered Bowdoin College as a sophomore, having Nathaniel Hawthorne as a classmate. Here, as at home, he continued to come under unpretentious, wholesome influences, to which were added those of rural seclusion. Before he graduated in 1825, he was writing verse rather copiously, and some of it was published in a literary journal just founded in Boston. As is not surprising, it was overpraised by a provincial public, but for a wonder, in view of the vogue of Byron, it was not stormily romantic. His success gave point to his plans for leading a literary life, but his more experienced father held out for the law, although he was willing to give his son a year of grace to be spent in less uncongenial studies at Harvard. This pla
1831 AD (search for this): chapter 1.2
Germany, including a little studying at Gottingen, and in August, 1829, the neophyte professor was back in America ready to take up the duties of his chair. Those duties occupied him until his second visit to Europe, which took place nearly six years later. He was a conscientious and successful teacher and compiler of text-books, he lectured on literary history, he wrote for The North American Review essays flavoured with scholarship, he gave a pledge to society by taking to himself, in 1831, a wife, Mary Storer Potter, of Portland. Except for some verse translations from the Spanish and certain traces of the poet to be discovered in a series of travel-sketches, which appeared in a volume entitled Outre-Mer: a Pilgrimage beyond the Sea (1835), one might have been justified in supposing that without doubt the undergraduate whose heart was set on future eminence in literature would end his life as a distinguished academic personage, not as the most popular poet of his generation.
1863 AD (search for this): chapter 1.2
and for a longer period estranged in sentiment, his was a Northern name not anathema to the rising generation, and in Great Britain he rivalled in 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, c
Dante (search for this): chapter 1.2
sion of the masterpiece to which Longfellow gave so many years of love and study 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 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—poSonnets, fourteen in all, considerably extended in number in later editions of the poetical works. Some notable sonnets had been published with the translation of Dante, and to these Longfellow's later achievements in the same form are worthy pendants. High praise has been given to them by many critically minded readers of a late
1855 AD (search for this): chapter 1.2
f 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 because it is less ambitious and exotic. The popularity of Hiawatha is not undeserved, however, since novelty and quaintness may well be set over against facility and factitiousness, and since, being in a certain sense American, the poem may justly make more of a local appeal than such a work as The golden legend based on Der Arme Heinrich. Yet it may be doubted whether either Hiawatha or Miles Standish did as<
German (search for this): chapter 1.2
. Samuel Johnson wrote Irene and William Wordsworth, The Borderers. In all probability, neither of these ominous dramatic productions 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 author's books. Poems Swedish and German, ominous in no bad sense, were in his mind when he wrote his sentimental idyllic narrative in hexameters, Evangeline, not perhaps the best of his longer poems, but certainly the most popular both at home and abroad. Hawthorne, from whom Longfellow secured the theme of the Acadian maiden's vain search for her lover, might have made more of the pathetic story, but he would have done it for fewer readers. Other writers might have improved the local colour of the poem, still others might have
Byron (search for this): chapter 1.2
gfellow, in the autumn of 1822, entered Bowdoin College as a sophomore, having Nathaniel Hawthorne as a classmate. Here, as at home, he continued to come under unpretentious, wholesome influences, to which were added those of rural seclusion. Before he graduated in 1825, he was writing verse rather copiously, and some of it was published in a literary journal just founded in Boston. As is not surprising, it was overpraised by a provincial public, but for a wonder, in view of the vogue of Byron, it was not stormily romantic. His success gave point to his plans for leading a literary life, but his more experienced father held out for the law, although he was willing to give his son a year of grace to be spent in less uncongenial studies at Harvard. This plan was abandoned because it was found feasible for Longfellow to fit himself to become the first incumbent of a chair of modern languages to be established at Bowdoin. Travel and study in Europe were essential to such a design
1822 AD (search for this): chapter 1.2
d World culture to the New, shaper into verse of aboriginal, colonial, and Revolutionary material, both legendary and historical, and lyric interpreter of the simple thoughts and feelings of an unsophisticated people. His career was well foreshadowed when he published anonymously at the age of thirteen, in a local newspaper, a Revolutionary battle-lyric. After a good schooling and an introduction to the best reading old and new, including Irving's Sketch Book, Longfellow, in the autumn of 1822, entered Bowdoin College as a sophomore, having Nathaniel Hawthorne as a classmate. Here, as at home, he continued to come under unpretentious, wholesome influences, to which were added those of rural seclusion. Before he graduated in 1825, he was writing verse rather copiously, and some of it was published in a literary journal just founded in Boston. As is not surprising, it was overpraised by a provincial public, but for a wonder, in view of the vogue of Byron, it was not stormily roma
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