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Sweden (Sweden) (search for this): chapter 17
orward when the music has ceased and the time is marked only by the tap of the drum. It includes, in all, only ten languages, the Celtic and Slavonic being excluded, as well as the Turkish and Romaic, a thing which would now seem strange. But the editor's frank explanation of the fact, where he says with these I am not acquainted, disarms criticism. This explanation implies that he was personally acquainted with the six Gothic languages of Northern Europe—Anglo-Saxon, Icelandish, Danish, Swedish, German, and Dutch—and the four Latin languages of the South of Europe— French, Italian, Spanish, and Portuguese. The mere work of compiling so large a volume in double columns of these ten languages was something formidable, and he had reason to be grateful to his friend Professor Felton, who, being a German student, as well as a Greek scholar, compiled for him all the biographical notes in the book. It is needless to say that the selection is as good as the case permitted or as the pla<
Marblehead (Massachusetts, United States) (search for this): chapter 17
f this poem was received by an audience of three thousand, and none the less because at that troubled time the concluding appeal to the Union had a distinct bearing on the conflicts of the time. For the rest of the volume, it included the strong and lyric verses called Seaweed, which were at the time criticised by many, though unreasonably, as rugged and boisterous; another poem of dramatic power, Sir Humphrey Gilbert; and one of the most delicately imaginative and musical among all he ever wrote, The Fire of Drift-Wood, the scene of which was the Devereux Farm at Marblehead. There were touching poems of the fireside, especially that entitled Resignation, written in 1848 after the death of his little daughter Fanny, and one called The Open Window. Looking back from this, his fourth volume of short poems, it must be owned that he had singularly succeeded in providing against any diminution of power or real monotony. Nevertheless his next effort was destined to be on a wider scale.
Boppard (Rheinland-Pfalz, Germany) (search for this): chapter 17
ished in Philadelphia. The theme of the volume appears to have been partly suggested by some words in a letter to Freiligrath which seem to make the leading poem, together with that called Nuremberg, a portion of that projected series of travel-sketches which had haunted Longfellow ever since Outre-Mer. The Norman Baron was the result of a passage from Thierry, sent him by an unknown correspondent. One poem was suggested by a passage in Andersen's Story of my Life, and one was written at Boppard on the Rhine. All the rest were distinctly American in character or origin. Another poem, To the Driving Cloud, the chief of the Omaha Indians, was his first effort at hexameters and prepared the way for Evangeline. His translation of the Children of the Lord's Supper had also served by way of preparation; and he had happened upon a specimen in Blackwood's Magazine of the hexameter translation of the Iliad which had impressed him very much. He even tried a passage of Evangeline rendere
Denmark (Denmark) (search for this): chapter 17
moving forward when the music has ceased and the time is marked only by the tap of the drum. It includes, in all, only ten languages, the Celtic and Slavonic being excluded, as well as the Turkish and Romaic, a thing which would now seem strange. But the editor's frank explanation of the fact, where he says with these I am not acquainted, disarms criticism. This explanation implies that he was personally acquainted with the six Gothic languages of Northern Europe—Anglo-Saxon, Icelandish, Danish, Swedish, German, and Dutch—and the four Latin languages of the South of Europe— French, Italian, Spanish, and Portuguese. The mere work of compiling so large a volume in double columns of these ten languages was something formidable, and he had reason to be grateful to his friend Professor Felton, who, being a German student, as well as a Greek scholar, compiled for him all the biographical notes in the book. It is needless to say that the selection is as good as the case permitted or as<
Holland (Netherlands) (search for this): chapter 17
c has ceased and the time is marked only by the tap of the drum. It includes, in all, only ten languages, the Celtic and Slavonic being excluded, as well as the Turkish and Romaic, a thing which would now seem strange. But the editor's frank explanation of the fact, where he says with these I am not acquainted, disarms criticism. This explanation implies that he was personally acquainted with the six Gothic languages of Northern Europe—Anglo-Saxon, Icelandish, Danish, Swedish, German, and Dutch—and the four Latin languages of the South of Europe— French, Italian, Spanish, and Portuguese. The mere work of compiling so large a volume in double columns of these ten languages was something formidable, and he had reason to be grateful to his friend Professor Felton, who, being a German student, as well as a Greek scholar, compiled for him all the biographical notes in the book. It is needless to say that the selection is as good as the case permitted or as the plan of the book allowe<
Nuremburg (Pennsylvania, United States) (search for this): chapter 17
library, in apparent search for the origin of the phrase. His next volume of original poems, however, was The Belfry of Bruges and Other Poems, published December 23, 1845, the contents having already been partly printed in Graham's Magazine, and most of them in the illustrated edition of his poems published in Philadelphia. The theme of the volume appears to have been partly suggested by some words in a letter to Freiligrath which seem to make the leading poem, together with that called Nuremberg, a portion of that projected series of travel-sketches which had haunted Longfellow ever since Outre-Mer. The Norman Baron was the result of a passage from Thierry, sent him by an unknown correspondent. One poem was suggested by a passage in Andersen's Story of my Life, and one was written at Boppard on the Rhine. All the rest were distinctly American in character or origin. Another poem, To the Driving Cloud, the chief of the Omaha Indians, was his first effort at hexameters and prepa
Europe (search for this): chapter 17
hing which would now seem strange. But the editor's frank explanation of the fact, where he says with these I am not acquainted, disarms criticism. This explanation implies that he was personally acquainted with the six Gothic languages of Northern Europe—Anglo-Saxon, Icelandish, Danish, Swedish, German, and Dutch—and the four Latin languages of the South of Europe— French, Italian, Spanish, and Portuguese. The mere work of compiling so large a volume in double columns of these ten languagen place it to the credit of Longfellow that he had already won for himself some sort of literary standing in the presence of one Frenchman. At the time of this complaint, it may be noticed that Mr. S. L. Clemens was a boy of fifteen. The usual European criticism at the present day is not that America produces so few humorists, but that she brings forth so many. The work which came next from Longfellow's pen has that peculiar value to a biographer which comes from a distinct, unequivocal, lo<
Bruges (Belgium) (search for this): chapter 17
igning him only the first place among authors of the second grade. It is curious to notice, in addition, that Hawthorne stood next to Longfellow in this subordinate roll. Longfellow published two volumes of poetic selections, The Waif (1845) and The Estray (1846), the latter title being originally planned as Estrays in the Forest, and he records a visit to the college library, in apparent search for the origin of the phrase. His next volume of original poems, however, was The Belfry of Bruges and Other Poems, published December 23, 1845, the contents having already been partly printed in Graham's Magazine, and most of them in the illustrated edition of his poems published in Philadelphia. The theme of the volume appears to have been partly suggested by some words in a letter to Freiligrath which seem to make the leading poem, together with that called Nuremberg, a portion of that projected series of travel-sketches which had haunted Longfellow ever since Outre-Mer. The Norman B
New England (United States) (search for this): chapter 17
s friends and admirers, and yet of being praised by the two among his contemporaries personally most successful in fiction, Hawthorne and Howells. Now that the New England village life has proved such rich material in the hands of Mary Wilkins, Sarah Jewett, and Rowland Robinson, it is difficult to revert to Kavanagh (1849) withouife, II. 81. When we consider how remote Jean Paul seems from the present daily life of Germany, one feels the utter inappropriateness of his transplantation to New England. Yet Emerson read the book with great contentment, and pronounced it the best sketch we have seen in the direction of the American novel, and discloses at the owells, writing nearly twenty years later, says with almost equal exuberance, speaking of Kavanagh, It seems to us as yet quite unapproached by the multitude of New England romances that have followed it in a certain delicate truthfulness, as it is likely to remain unsurpassed in its light humor and pensive grace. North American R
Rufus W. Griswold (search for this): chapter 17
selections, perhaps in connection with an annual then edited by him and called The Diadem. Professor Norton, as one of the most cultivated Americans, might naturally be asked for some such counsel. In replying he sent Mr. Furness, under date of January 7, 1845, a list of fifty-four eligible authors, among whom Emerson stood last but one, while Longfellow was not included at all. He then appended a supplementary list of twenty-four minor authors, headed by Longfellow. Correspondence of R. W. Griswold, p. 162. We have already seen Lowell, from a younger point of view, describing Longfellow, at about this time, as the head of a clique, and we now find Andrews Norton, from an older point of view, assigning him only the first place among authors of the second grade. It is curious to notice, in addition, that Hawthorne stood next to Longfellow in this subordinate roll. Longfellow published two volumes of poetic selections, The Waif (1845) and The Estray (1846), the latter title being
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