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Auteuil (France) (search for this): chapter 8
illiam Austin, whose Peter Rugg, the Missing Man, has just been mentioned as an early landmark of the period. See Writings of William Austin, Boston, 1890. It is fair to say, however, that the critic of to-day can hardly see in these youthful pages any promise of the Longfellow of the future. The opening chapter, describing the author as a country schoolmaster, who plays with his boys in the afternoon, is only a bit of Irving diluted,—the later papers, A Walk in Normandy, The Village of Auteuil, etc., carrying the thing somewhat farther, but always in the same rather thin vein. Their quality of crudeness was altogether characteristic of the period, and although Holmes and Whittier tried their 'prentice hands with the best intentions in the same number of the New England Magazine, they could not raise its level. We see in these compositions, as in the Annuals of that day, that although Hawthorne had begun with his style already formed, yet that of Longfellow was still immature.
Brunswick, Me. (Maine, United States) (search for this): chapter 8
this expression of judgment: Either the author of the Sketch book has received a warning, or there are two Richmonds in the field. Literary history hardly affords a better instance of the direct following of a model by a younger author than one can inspect by laying side by side a page of the first number of Outre-Mer and a page of the Sketch Book, taking in each case the first American editions. Irving's books were printed by C. S. Van Winkle, New York, and Longfellow's by J. Griffin, Brunswick, Maine; the latter bearing the imprint of Hilliard, Gray & Co., Boston, and the former of the printer only. Yet the physical appearance of the two sets of books is almost identical; the typography, distribution into chapters, the interleaved titles of these chapters, and the prefix to each chapter of a little motto, often in a foreign language. It must be remembered that the Sketch Book, like Outre-Mer, was originally published in numbers; and besides all this the literary style of Longf
Normandy (France) (search for this): chapter 8
d. This was a story by William Austin, whose Peter Rugg, the Missing Man, has just been mentioned as an early landmark of the period. See Writings of William Austin, Boston, 1890. It is fair to say, however, that the critic of to-day can hardly see in these youthful pages any promise of the Longfellow of the future. The opening chapter, describing the author as a country schoolmaster, who plays with his boys in the afternoon, is only a bit of Irving diluted,—the later papers, A Walk in Normandy, The Village of Auteuil, etc., carrying the thing somewhat farther, but always in the same rather thin vein. Their quality of crudeness was altogether characteristic of the period, and although Holmes and Whittier tried their 'prentice hands with the best intentions in the same number of the New England Magazine, they could not raise its level. We see in these compositions, as in the Annuals of that day, that although Hawthorne had begun with his style already formed, yet that of Longfell
Maine (Maine, United States) (search for this): chapter 8
ession of judgment: Either the author of the Sketch book has received a warning, or there are two Richmonds in the field. Literary history hardly affords a better instance of the direct following of a model by a younger author than one can inspect by laying side by side a page of the first number of Outre-Mer and a page of the Sketch Book, taking in each case the first American editions. Irving's books were printed by C. S. Van Winkle, New York, and Longfellow's by J. Griffin, Brunswick, Maine; the latter bearing the imprint of Hilliard, Gray & Co., Boston, and the former of the printer only. Yet the physical appearance of the two sets of books is almost identical; the typography, distribution into chapters, the interleaved titles of these chapters, and the prefix to each chapter of a little motto, often in a foreign language. It must be remembered that the Sketch Book, like Outre-Mer, was originally published in numbers; and besides all this the literary style of Longfellow's w
Tecumseh (Michigan, United States) (search for this): chapter 8
Addressing the poets of America he says, To those of them who may honor us by reading our article, we would whisper this request,—that they should be more original, and withal more national. It seems every way important, that now, whilst we are forming our literature, we should make it as original, characteristic, and national as possible. To effect this, it is not necessary that the war-whoop should ring in every line, and every page be rife with scalps, tomahawks, and wampum. Shade of Tecumseh forbid!—The whole secret lies in Sidney's maxim,— Look in thy heart and write. Ib. 69. He then points out that while a national literature strictly includes every mental effort made by the inhabitants of a country through the medium of the press, yet no literature can be national in the highest sense unless it bears upon it the stamp of national character. This he illustrates by calling attention to certain local peculiarities of English poetry as compared with that of the southern n<
New England (United States) (search for this): chapter 8
more. As a matter of fact, he had already published preliminary sketches of Outre-Mer in the New England Magazine, a Boston periodical just undertaken, putting them under the rather inappropriate title of The Schoolmaster, the first appearing in the number for July 18, 1831, New England Magazine, i. 27. and the sixth and last in the number for February, 1833. Ibid. IV. 131. He writes to his ss and Whittier tried their 'prentice hands with the best intentions in the same number of the New England Magazine, they could not raise its level. We see in these compositions, as in the Annuals oftill immature. This remark does not, indeed, apply to a version of a French drinking song, New England Magazine, II. 188. which exhibits something of his later knack at such renderings. There wasy only warble in books. A painter might as well introduce an elephant or a rhinoceros into a New England landscape. [This comes, we must remember, from the young poet who had written in his Angler
Cambridge (Massachusetts, United States) (search for this): chapter 8
hed. His previous papers had all been scholarly, but essentially academic. They had all lain in the same general direction with Ticknor's History of Spanish Literature, and had shared its dryness. But when he wrote, at twenty-four, an article for The North American Review of January, 1832, North American Review, XXXIV. 56. called The Defence of Poetry, taking for his theme Sir Philip Sidney's Defence of Poesy, just then republished in the Library of the Old English Prose Writers, at Cambridge, Mass., it was in a manner a prediction of Emerson's oration, The American Scholar, five years later. So truly stated were his premises that they are still valid and most important for consideration to-day, after seventy years have passed. It is thus that his appeal begins— . . With us, the spirit of the age is clamorous for utility,—for visible, tangible utility, —for bare, brawny, muscular utility. We would be roused to action by the voice of the populace, and the sounds of the crowded<
Sydney (Ohio, United States) (search for this): chapter 8
To those of them who may honor us by reading our article, we would whisper this request,—that they should be more original, and withal more national. It seems every way important, that now, whilst we are forming our literature, we should make it as original, characteristic, and national as possible. To effect this, it is not necessary that the war-whoop should ring in every line, and every page be rife with scalps, tomahawks, and wampum. Shade of Tecumseh forbid!—The whole secret lies in Sidney's maxim,— Look in thy heart and write. Ib. 69. He then points out that while a national literature strictly includes every mental effort made by the inhabitants of a country through the medium of the press, yet no literature can be national in the highest sense unless it bears upon it the stamp of national character. This he illustrates by calling attention to certain local peculiarities of English poetry as compared with that of the southern nations of Europe. He gives examples to s<
Felton (search for this): chapter 8
ving that it is very hard at first to convince the eye that Irving is not responsible for all. Yet for some reason or other the early copies of the Sketch Book command no high price at auction, while at the recent sale of Mr. Arnold's collection in New York the two parts of Outre-Mer brought $310. The work is now so rare that the library of Harvard University has no copy of the second part, and only an imperfect copy of the first with several pages mutilated, but originally presented to Professor Felton by the author and bearing his autograph. As to style, it is unquestionable that in Outre-Mer we find Washington Irving frankly reproduced, while in Hyperion we are soon to see the development of a new literary ambition and of a more imaginative touch. The early notices of Outre-Mer are written in real or assumed ignorance of the author's name and almost always with some reference to Irving. Thus there is a paper in the North American Review for October, 1834, by the Rev. O. W. B. P
David Whicher (search for this): chapter 8
and the whole story is signed with the initial L. This would seem naturally to suggest Longfellow, and is indeed almost conclusive. Yet curiously enough there is in the same volume a short poem called La Doncella, translated from the Spanish and signed L. . . ., which is quite in the line of the Spanish versions he was then writing, although not included in Mr. Scudder's list of his juvenile or unacknowledged poems. To complicate the matter still farther, there is also a story called David Whicher, dated Bowdoin College, June 1, 1831, this being a period when Longfellow was at work there, and yet this story is wholly remote in style from The Indian Summer, being a rather rough and vernacular woodman's tale. Of the two, The Indian Summer seems altogether the more likely to be his work, and indeed bears a distinct likeness to the equally tragic tale of Jacqueline in Outre-Mer, —the one describing the funeral of a young girl in America, the other in Europe, both of them having been
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