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Browsing named entities in a specific section of Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.). Search the whole document.

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Kirke White (search for this): chapter 2.15
r of the Seaton Prize at Cambridge for 1759. Death may be found in Musae Seatonianae, Cambridge, 1808-a copy of which was apparently in Doctor Bryant's library. Kirke White's Time, Rosemary, etc., and the whole Undertaker's Anthology so infinitely beneath the Lucretian grandeur of America's first great poem with its vision of D relating its objects. Three or four huge and impressive metaphors underlie a great part of his poetry: the past as a place, an underworld, The figure is in Kirke White's Time: Where are conceal'd the days which have elapsed? Hid in the mighty cavern of the past, They rise upon us only to appal, By indistinct and half-glimpd at Williams. Broad surveys of human affairs and of the face of earth, so dull, routine, bombastic as far as attempted in Thomson's Liberty, in Blair's Grave, in White's Time, become in Bryant's less pretentious poems the essential triumph of a unique imagination. The mode remained a favourite to the end: large as in The flood o
George P. Morris (search for this): chapter 2.15
the engraving after Sarony's photograph, has been now for a generation familiar in so many homes of our land. II. minor poets Richard Henry Dana the elder. James Kirke Paulding. James Gates Percival. Samuel Woodworth. George P. Morris. Charles Fenno Hoffman. Nathaniel Parker Willis. Joseph Rodman Drake. the Culprit Fay. Fitz-Green Halleck When Bryant, pioneer and patriarch, was laid away on that bright June afternoon of 1878 in the cemetery at Roslyn, Long Island, his Thackeray or George Eliot. Lowell pilloried him in an essay; Bryant was perhaps juster in his kindlier obituary criticism in The evening Post. He was once a famous man. Samuel Woodworth (1785-1842） See Book II, Chaps. II and VI. and George P. Morris (1802-1864), Knickerbocker editors of literary journals See Book II, Chap. XX. and charitably remembered respectively for The old Oaken Bucket and Woodman, Spare that Tree, were popular song writers in the sentimental fashion (perhaps mo
Browning (search for this): chapter 2.15
it included the lives of Byron and Shelley and most that was best in those of Tennyson, Arnold, Browning. It began the year following Joel Barlow's American epic The Columbiad, and the publication ofnew, many high poems), as there are new revelations and new instruments in Byron, Tennyson, and Browning; indeed, Keats in the three years between the volumes of 1817 and 1820 lived a much longer, a mor The divine comedy. And of any intricate psychology, or pseudo-psychology, such as delighted Browning, there is of course not a bit. There is in these ideas, as ideas, nothing that a noble pagan, snd treasure for one's future days, again and again he sees his life as divided into three ages; Browning again and again preaches the doctrine that it is better to aim high and fail than to aim low an itself narrow, and much novelty and variety of rhyme is in our speech possible only when, like Browning, one portrays the grotesque and the eccentric, or like Shelley the fantastic, or like Butler th
Christian (search for this): chapter 2.15
at on a petal lies, May speak instruction to initiate eyes. The mystery of flowers. But this apparently Wordsworthian couplet can be related to no system of thought or Wordsworthian instruction. These ideas are sometimes merely analogies, where in effect the flower (be it the gentian), or the bird (be it the waterfowl), is the first term in a simile on man's moral life; in this phase Bryant's thought of nature differs from that of Homer, the Psalmist, Jesus, or any sage or seer, Pagan or Christian, only in the appositeness, more or less, of the illustrative symbol. It implies no more a philosophy of nature than similes drawn from the action of a locomotive or a motor-boat would imply a philosophy of machinery. As a fact, Bryant's one abiding idea about nature is that she is a profound influence on the human spirit, chastening, soothing, encouraging, ennobling-how, he does not say; but the fact he knows from experience, and mankind knows it with him, and has known it from long befo
Samuel Butler (search for this): chapter 2.15
iction was severe, simple, chaste, narrower in range than that of his political prose; that his rhymes were dignified, sonorous, exact and emphatic rather than subtle or allusive, and narrow in range — not from artistic poverty but because the rhyme vocabulary of the simple and serious moods is in English itself narrow, and much novelty and variety of rhyme is in our speech possible only when, like Browning, one portrays the grotesque and the eccentric, or like Shelley the fantastic, or like Butler the comic, or like Chaucer the familiar. Such a mind would deduce Bryant's most fundamental rhythm, the iambic; his most fundamental metre, the pentameter; together with his preference for stanzaic, or periodic, treatment, whether in blank verse or in rhyme, rather than for couplets; yes, together with the most characteristic cadences,--like the curves of a distant mountain range, few and clear but not monotonous; like the waves of a broad river, slow and long but not hesitant or ponderous,
Wordsworth (search for this): chapter 2.15
quito, are less after Byron than after the town wit Halleck and his coterie. Wordsworth, at the reading of whose Lyrical ballads in 1811 , a thousand springs, Bryant poetry is not Wordsworthian either in philosophy or in mood or in artistry. Wordsworth never left the impress on Bryant's work that the realms of gold made upon theature blank verse of Thomson, Cowper, Young, and Akenside, than backward from Wordsworth and Tennyson. In the eighteenth century tradition is the very preference fore experienced no intellectual and moral crisis,--neither from without, as did Wordsworth when his country took up arms against Liberty, Fraternity, and Equality and woet, like every individual, has of course his favourite, his recurrent ideas: Wordsworth, again and again, adverts to the uses of old memories as a store and treasuretrolled, unorganized. It is often as if the personalities of Byron, Shelley, Wordsworth, Moore, and Bryant had been merged into one helpless hypnoidal state of metri
Edgar Allan Poe (search for this): chapter 2.15
rtford Wits. Longfellow and Whittier were in the cradle, Holmes and Poe unborn. Except Freneau, there were no poets in the country but thoetry: the generations of Paulding, Percival, Halleck, Drake, Willis, Poe, Longfellow, Whittier, Emerson, Lowell, Whitman, Bret Harte. Yet with an individual, a literary style, consciously elaborated, as in Poe and Whitman. It is partly for this, perhaps, that the most Puritan haracterizations are of a piece with the American short story before Poe and Hawthorne), tells, in simple chronological order, of one simple of very mood and meaning? In quite different ways, Bryant is, with Poe, America's finest artist in verse. Perhaps this is, with Bryant's gof manhood, a reason why Bryant was the one native contemporary that Poe thoroughly respected. What to puzzled readers seems characteristirits), noble speech. These, with his brief prose obituary notice of Poe and its tribute to Mrs. Clemm, are higher things than conventional c
Charles Thomson (search for this): chapter 2.15
erse and politics that was to be lifelong. Byron's voice is audible in the Spenserian stanzas and subject matter of the Phi Beta Kappa poem of 1821, The ages; Thomson's Liberty may have contributed something to the choice of theme. the New York verses, so painfully facetious on Rhode Island coal and a mosquito, are less after Blmes with his deference to the steel-bright epigrams of Pope ; so that we may appraise him much better by going forward from the moralizing, nature blank verse of Thomson, Cowper, Young, and Akenside, than backward from Wordsworth and Tennyson. In the eighteenth century tradition is the very preference for blank verse as the instr these States, since his class graduated at Williams. Broad surveys of human affairs and of the face of earth, so dull, routine, bombastic as far as attempted in Thomson's Liberty, in Blair's Grave, in White's Time, become in Bryant's less pretentious poems the essential triumph of a unique imagination. The mode remained a favour
English (search for this): chapter 2.15
ay and December, apparently in the autumn (Godwin, Life, vol. I, pp. 97-99), and if (as likely) before 3 November, then written when Bryant was still a lad of sixteen. See Van Doren, C., The growth of Thanatopsis, nation, 7 October, American, English, or continental, seem to have touched him at all. Tennysonian blank-verse in Sella has been suggested-unconvincingly. More obvious to the registrar of parallels are Bryant's literary relations to the poets he read, and read evidently with, and so many others, Bryant turned, in later life, to a long task of translation, in his case Homer, as relief from sorrow. The literary interest was to see if he might not, by closeness to the original and simplicity of straightforward modern English, supersede the looseness and artificial Miltonic pomp of Cowper. His translation, by detailed comparison line for line with the Greek and with the English poet, will be found to be exactly what Bryant intended it. By block comparison of book fo
Bose (search for this): chapter 2.15
enough, in the simple thought that personifies and capitalizes: it is She herself that speaks to man, in his different hours, a various language. But it is only casually, as in Among the trees, that he wonders if the vegetable world may not have some dim and faint sense of pleasure and of pain, As in our dreams; only casually, for conscious mysticism was foreign to Bryant's intellect, and the conception had yet to be scientifically investigated in the laboratories of the Hindoo botanist Bose. Here nature, as herself the Life, is simply an hypostasis of the racial imagination in which Bryant so largely shared, just like his intimate personifications of her phenomena, her flowers, her winds, and waters; it is not a philosophic idea, but a primitive instinct. Nature's teachings for men are simply the ideas that suggest themselves to Bryant himself (not inevitably to everyone) when he observes what goes on, or what is before him: The faintest streak that on a petal lies, May sp
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