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August 27th, 1857 AD (search for this): chapter 22
y requests for autographs. As a background to all of this lie the peculiar excitements of that stormy summer of 1856, when his friend Sumner was struck down in the United States Senate and he himself, meeting with an accident, was lamed for weeks and was unable to go to Europe with his children as he had intended. The first rough draft of Wenlook Christison, whose title was afterwards changed to John Endicott, and which was the first of The New England Tragedies, was not finished till August 27, 1857, and the work alternated for a time with that done on Miles Standish; but it was more than ten years (October 10, 1868) before it was published, having first been written in prose, and only ten copies printed and afterwards rewritten in verse. With it was associated the second New England Tragedy, Giles Corey of the Salem farms, written rapidly in February of that same year. The volume never made a marked impression; even the sympathetic Mr. Fields, the publisher, receiving it rather
September 5th, 1868 AD (search for this): chapter 22
them to Europe with him, and seems to have found their only admirer in John Forster, who wrote to him in London: Your tragedies are very beautiful— beauty everywhere subduing and chastening the sadness; the pictures of nature in delightful contrast to the sorrowful and tragic violence of the laws; truth and unaffectedness everywhere. I hardly know which I like best; but there are things in Giles Corey that have a strange attractiveness for me. Longfellow writes to Fields from Vevey, September 5, 1868: I do not like your idea of calling the Tragedies sketches. They are not sketches, and only seem so at first because I have studiously left out all that could impede the action. I have purposely made them simple and direct. He later adds: As to anybody's adapting these Tragedies for the stage, I do not like the idea of it at all. Prevent this if possible. I should, however, like to have the opinion of some good actor— not a sensational actor—on that point. I should like to have Bo<
November (search for this): chapter 22
nd, Emanuel Vitalis Scherb, of whom he writes on March 16, 1856: Scherb wants me to write a poem on the Puritans and the Quakers. A good subject for a tragedy. On March 25 and 26 we find him looking over books on the subject, especially Besse's Sufferings of the Quakers; on April 2 he writes a scene of the play; on May 1 and 2 he is pondering and writing notes, and says: It is delightful to revolve in one's mind a new conception. He also works upon it in a fragmentary way in July and in November, and remarks, in the midst of it, that he has lying on his table more than sixty requests for autographs. As a background to all of this lie the peculiar excitements of that stormy summer of 1856, when his friend Sumner was struck down in the United States Senate and he himself, meeting with an accident, was lamed for weeks and was unable to go to Europe with his children as he had intended. The first rough draft of Wenlook Christison, whose title was afterwards changed to John Endicott,
1839 AD (search for this): chapter 22
ene is to be found where the author ventured in the original edition (1851) to introduce a young girl at the midnight gaudiolum or carnival of the monks, she being apparently disguised as a monk, like Lucifer himself. This whole passage or series of passages was left out in the later editions, whether because it was considered too daring by his critics or perhaps not quite daring enough to give full spirit to the scene. Turning now to The New England Tragedies, we find that as far back as 1839, before he had conceived of Christus, he had thought of a drama on Cotton Mather. Then a suggestion came to him in 1856 from his German friend, Emanuel Vitalis Scherb, of whom he writes on March 16, 1856: Scherb wants me to write a poem on the Puritans and the Quakers. A good subject for a tragedy. On March 25 and 26 we find him looking over books on the subject, especially Besse's Sufferings of the Quakers; on April 2 he writes a scene of the play; on May 1 and 2 he is pondering and writ
July (search for this): chapter 22
is German friend, Emanuel Vitalis Scherb, of whom he writes on March 16, 1856: Scherb wants me to write a poem on the Puritans and the Quakers. A good subject for a tragedy. On March 25 and 26 we find him looking over books on the subject, especially Besse's Sufferings of the Quakers; on April 2 he writes a scene of the play; on May 1 and 2 he is pondering and writing notes, and says: It is delightful to revolve in one's mind a new conception. He also works upon it in a fragmentary way in July and in November, and remarks, in the midst of it, that he has lying on his table more than sixty requests for autographs. As a background to all of this lie the peculiar excitements of that stormy summer of 1856, when his friend Sumner was struck down in the United States Senate and he himself, meeting with an accident, was lamed for weeks and was unable to go to Europe with his children as he had intended. The first rough draft of Wenlook Christison, whose title was afterwards changed to J
February (search for this): chapter 22
whose title was afterwards changed to John Endicott, and which was the first of The New England Tragedies, was not finished till August 27, 1857, and the work alternated for a time with that done on Miles Standish; but it was more than ten years (October 10, 1868) before it was published, having first been written in prose, and only ten copies printed and afterwards rewritten in verse. With it was associated the second New England Tragedy, Giles Corey of the Salem farms, written rapidly in February of that same year. The volume never made a marked impression; even the sympathetic Mr. Fields, the publisher, receiving it rather coldly. It never satisfied even its author, and the new poetic idea which occurred to him on April 11, 1871, and which was to harmonize the discord of The New England Tragedies was destined never to be fulfilled. In the mean time, however, he carried them to Europe with him, and seems to have found their only admirer in John Forster, who wrote to him in Londo
December 12th (search for this): chapter 22
ar he wrote in Nahant, Begin to pack. I wish it were over and I in Cambridge. I am impatient to send The Divine Tragedy to the printers. On the 18th of October he wrote: The delays of printers are a great worry to authors; on the 25th, Get the last proof sheet of The Divine Tragedy; on the 30th, Read over proofs of the Interludes and Finale, and am doubtful and perplexed; on November 15, All the last week, perplexed and busy with final correction of The Tragedy. It was published on December 12, and he writes to G. W. Greene, December 17, 1871, The Divine Tragedy is very successful, from the booksellers' point of view—ten thousand copies were published on Tuesday last and the printers are already at work on three thousand more. That is pleasant, but that is not the main thing. The only question about a book ought to be whether it is successful in itself. It is altogether probable that in the strict views then prevailing about the very letter of the Christian Scriptures, a
October 18th (search for this): chapter 22
ished, The Golden Legend (1851), gave to the reader no suggestion of its being, as we now know that it was, but a portion of a larger design. Various things came in the way, and before The Divine Tragedy appeared (1871) he had written of it, I never had so many doubts and hesitations about any book as about this. On September 11 in that year he wrote in Nahant, Begin to pack. I wish it were over and I in Cambridge. I am impatient to send The Divine Tragedy to the printers. On the 18th of October he wrote: The delays of printers are a great worry to authors; on the 25th, Get the last proof sheet of The Divine Tragedy; on the 30th, Read over proofs of the Interludes and Finale, and am doubtful and perplexed; on November 15, All the last week, perplexed and busy with final correction of The Tragedy. It was published on December 12, and he writes to G. W. Greene, December 17, 1871, The Divine Tragedy is very successful, from the booksellers' point of view—ten thousand copies we
May 1st (search for this): chapter 22
es, we find that as far back as 1839, before he had conceived of Christus, he had thought of a drama on Cotton Mather. Then a suggestion came to him in 1856 from his German friend, Emanuel Vitalis Scherb, of whom he writes on March 16, 1856: Scherb wants me to write a poem on the Puritans and the Quakers. A good subject for a tragedy. On March 25 and 26 we find him looking over books on the subject, especially Besse's Sufferings of the Quakers; on April 2 he writes a scene of the play; on May 1 and 2 he is pondering and writing notes, and says: It is delightful to revolve in one's mind a new conception. He also works upon it in a fragmentary way in July and in November, and remarks, in the midst of it, that he has lying on his table more than sixty requests for autographs. As a background to all of this lie the peculiar excitements of that stormy summer of 1856, when his friend Sumner was struck down in the United States Senate and he himself, meeting with an accident, was lamed
1851 AD (search for this): chapter 22
any other portion of the trilogy of Christus. The public, and even his friends, knew but little of his larger project, but The Golden Legend on its publication in 1851 showed more of the dramatic quality than anything else he had printed, and Ruskin gave to it the strong praise of saying, Longfellow in his Golden Legend has enteruted for cast down, in order to preserve the rhyme. A very curious modification of a whole scene is to be found where the author ventured in the original edition (1851) to introduce a young girl at the midnight gaudiolum or carnival of the monks, she being apparently disguised as a monk, like Lucifer himself. This whole passage d to have so dominated his literary life as the Christus, and it shows his sensitive reticence that the portion of it which was first published, The Golden Legend (1851), gave to the reader no suggestion of its being, as we now know that it was, but a portion of a larger design. Various things came in the way, and before The Div
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