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e novelist, described as its resemblance to an old ruin with the ivy and the rich blue mould upon it. If the rest of the long planned book could have been as successful as for the time being was the Golden Legend, the dream of Longfellow's poetic life would have been fulfilled. In view of such praise as Ruskin's, the question of anachronism more or less is of course quite secondary. Errors of a few centuries doubtless occur in it. Longfellow himself states the period at which he aims as 1230. But the spire of Strassburg Cathedral of which he speaks was not built until the fifteenth century, though the church was begun in the twelfth, when Walter the Minnesinger flourished. The Lily of Medicine, which Prince Henry is reading when Lucifer drops in, was not written until after 1300, nor was St. John Nepomuck canonized until after that date. The Algerine piracies did not begin until the sixteenth century. There were other such errors; yet these do not impair the merit of the book
November 19th, 1849 AD (search for this): chapter 22
Chapter 21: the Loftier strain: Christus After all, no translation, even taken at its best, can wholly satisfy an essentially original mind. Longfellow wrote in his diary, November 19, 1849, as follows: And now I long to try a loftier strain, the sublimer Song whose broken melodies have for so many years breathed through my soul in the better hours of life, and which I trust and believe will ere long unite themselves into a symphony not all unworthy the sublime theme, but furnishing some equivalent expression for the trouble and wrath of life, for its sorrow and its mystery. This of course refers to the great poetic design of his life, Christus, a Mystery, of which he wrote again on December 10, 1849, A bleak and dismal day. Wrote in the morning The Challenge of Thor as prologue or Introitus to the second part of Christus. This he laid aside; just a month from that time he records in his diary, In the evening, pondered and meditated the sundry scenes of Christus. Later, h
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,ks 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, wh
such praise as Ruskin's, the question of anachronism more or less is of course quite secondary. Errors of a few centuries doubtless occur in it. Longfellow himself states the period at which he aims as 1230. But the spire of Strassburg Cathedral of which he speaks was not built until the fifteenth century, though the church was begun in the twelfth, when Walter the Minnesinger flourished. The Lily of Medicine, which Prince Henry is reading when Lucifer drops in, was not written until after 1300, nor was St. John Nepomuck canonized until after that date. The Algerine piracies did not begin until the sixteenth century. There were other such errors; yet these do not impair the merit of the book. Some curious modifications also appear in later editions. In the passage where the monk Felix is described in the first edition as pondering over a volume of St. Augustine, this saint disappears in later editions, while the Scriptures are substituted and the passage reads:— Wherein ama
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