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Browsing named entities in a specific section of Cambridge History of American Literature: volume 2 (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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Hemans (search for this): chapter 2.20
40 brought forward our first group of juvenile authors, who, though they all assisted in supplying the Sunday School trade, wrote also for children much that was not intended to meet it specifically. Five were women, who wrote for girls; and two were men, who wrote for both sexes but rather for boys. Unlike the men, the women had already attained much contemporary fame. Mrs. Sarah J. Hale and Miss Eliza Leslie were popular magazinists and editors; Mrs. Sigourney was called the American Mrs. Hemans and read in every home; critics disputed whether our most important woman writer was Mrs. Child See also Book II, Chap. VII. or Miss Sedgwick. Ibid The children's stories and verse of Mrs. Sigourney have disappeared, as have Mrs. Hale's with the exception of one nursery rhyme. The merit in the others' popular work failed to compensate for their old-fashioned style in a later day. Miss Leslie brightly narrated simple incidents unusually free from sanctimoniousness. Miss Sedgwick wa
Charles Lamb (search for this): chapter 2.20
and in pre-homeopathic days his sugar-coated pills were extraordinarily popular. Both of these men naively indicated that their purpose was not primarily fictional. About their work, Gulian Verplanck, editing The fairy Book, was as testy as Charles Lamb with Mrs. Barbauld and Mrs. Trimmer. Dismal trash all of them! he cried. Something half-way between stupid story-books and bad school-books; being so ingeniously written as to be unfit for any useful purpose in the school and too dull for anom St. Nicholas, which is unique for its period in being entirely free from didacticism and from laboured inanity masquerading as simplicity; it still remains unexcelled in America as a joyous narrative of childhood. Mrs. Hale's Mary had a little Lamb yet gambols in children's hearts—for as inexplicable a reason as much of the mechanical nonsense of Mother Goose. The longevity of jingles has never been an indication of their merit, as witness the permanence of such ditties as Upidee and Good-b
Frank R. Stockton (search for this): chapter 2.20
children than has been the case elsewhere. But in one way, equally characteristic of the American temperament and American adult literature, children's writers have lagged behind the European world. In the domain of pure fancy very little has been accomplished. As the century entered its closing decades protests were heard against the prevailing realism, and appeals for the restoration of those idealistic qualities which enkindle the child's imagination elsewhere. In fairy tales, Frank R. Stockton See also Book III, Chaps. VI and XI. stands almost alone in having done any considerable quantity of work possessing literary value. The wise humorous style of his fanciful tales and their grotesque droll material make them exceptional. Howard Pyle also did work of distinction in this field, much assisted by his eccentric illustrations; and his Robin Hood (1883) is capital romance. In nonsense books, the imitators of Lewis Carroll and Edward Lear were many in the last years of
Lucy Larcom (search for this): chapter 2.20
ir worst were never the puppets of the sensible Miss Edgeworth, and at their best had charm. Lucy Larcom's tribute to Mrs. Child in her New England girlhood may be bestowed upon all these writers: IHale, Rose Terry Cook, Bayard Taylor. It was edited by J. T. Trowbridge, Gail Hamilton, and Lucy Larcom; and later was merged into St. Nicholas, edited by Mrs. Mary Mapes Dodge (1838-96). With thesly all English reprints and most of our every-day reading came to us from over the sea, wrote Lucy Larcom. Goodrich and Abbott and the women of the thirties no longer talk of English flowers and biristics of American juveniles. Those English children had to be so prim and methodical, wrote Lucy Larcom, they were never allowed to romp and run wild. The growing independence of American children merit, as witness the permanence of such ditties as Upidee and Good-bye, my Lover, Good-bye. Lucy Larcom and Alice and Phoebe Cary published books of childhood songs; and other women followed with
Horace Scudder (search for this): chapter 2.20
ed in too mean a service while I write for babes; and down to the middle of the nineteenth century critics still mistook juvenile books for puerile books. The time was approaching when two editors of the austere Atlantic monthly, Aldrich and Horace Scudder, would think writing for children not unworthy of their accomplished pens, and the editor of the massive North American review, Charles Eliot Norton, would edit also a boy's library. It was perceived that simplicity need not be inane, and th times been observed that one can get more of American life from the juvenile than from the adult fiction of the period. To a large extent, this is implicit in the problem of interesting children. Hawthorne's Grandfather's chair, points out Horace Scudder, discussing the art of writing for them to which he so greatly contributed, is more actual than even The Blithedale romance. Just as markedly American have been the spiritual characteristics of American juveniles. Those English children h
Louisa M. Alcott (search for this): chapter 2.20
era begins. The notable success of the period was made, however, by one whose work for adults was only mediocre. Louisa M. Alcott (1832-88) was asked by a publisher in 1867 for a girl's book, and began her task reluctantly. But wisely deciding nen for St. Nicholas, in which Mrs. Mary Mapes Dodge was nearly equalling her achievement. The two books which next to Miss Alcott's have the most assured position are Mrs. Dodge's Hans Brinker (1865) and Donald and Dorothy (1883). The former still t was that far more books were written for boys than for girls. Simple, lively books for girls are much needed, wrote Miss Alcott in her journal; and seemed to fear that her liveliness was more suitable for the youthful male. Women apparently combuseholds as well as of their stories, and often their sagacious ability is thrown into relief by weak-minded parents. Miss Alcott recorded that innumerable letters from her child admirers forced her to provide a wedding for her first heroine. It c
Joel Chandler Harris (search for this): chapter 2.20
more to the author's illustrations than to the text). For this condition publishers may be somewhat responsible, as they can sufficiently supply the market with uncopyrighted European material for which no royalties need be paid. Less likely to have been discouraged by unfair foreign competition, and certainly in themselves more indigenous, are stories which endow animals with human motives and speech. A local counterpart of European folk-lore is the lore of Uncle Remus, created by Joel Chandler Harris. See also Book III, Chap. V. He was far more successful than Hawthorne in the setting he gave these tales, which, like the Greek myths, are the common property of a race; Uncle Remus himself is a fine characterization, well-observed, humorous, and full of reverent kindliness. The class of juvenile poetry furnished no writer distinguished by any body of work, but an anthology of high order could be compiled. First in time and perhaps in merit would come a one-poem writer, Cleme
Hezekiah Butterworth (search for this): chapter 2.20
ad been John Frost (1800– 59), a forgotten schoolmaster whose one hundred juveniles sold by the ton in his day and were republished as late as 1890. John Abbott (Jacob's brother), followed by James Parton, Elbridge Brooks, E. E. Hale, and Hezekiah Butterworth, made important contributions to the new department of biography for children. These and other writers, among them Edward Eggleston See also Book III, Chap. XI. and George Cary Eggleston, began also to combine history and fiction so wbut with some notable exceptions they are as much from the adult point of view as were Longfellow's. The point of view of youthful patriots was skilfully considered in Poems and ballads upon important episodes in American history (1887) by Hezekiah Butterworth, long connected with The youth's companion. The best verse is scattered in magazines and newspapers, particularly as publishers have learned from librarians that American children as a rule do not care for poetry. Mrs. Dodge wrote for he
Donald (search for this): chapter 2.20
ts of popularity and was translated into many languages. The public kept demanding other stories; and An Old-Fashioned Girl (1869), Little Men (1871), Eight Cousins (1874), Rose in Bloom (1876), and Under the Lilacs (1878) were almost as popular and as meritorious. Some of these were written for St. Nicholas, in which Mrs. Mary Mapes Dodge was nearly equalling her achievement. The two books which next to Miss Alcott's have the most assured position are Mrs. Dodge's Hans Brinker (1865) and Donald and Dorothy (1883). The former still remains the best story about Holland, and was awarded a prize by the French Academy; the latter runs it close for naturalness and interest. A little later these artistic successes were matched by Betty Leicester of Sarah Orne Jewett, See also Book III, Chap. VI. whose work for young people has the charm and distinction of her short stories for adults. St. Nicholas became in itself a library of choice literature for children, and many of the books wh
Davy (search for this): chapter 2.20
ds almost alone in having done any considerable quantity of work possessing literary value. The wise humorous style of his fanciful tales and their grotesque droll material make them exceptional. Howard Pyle also did work of distinction in this field, much assisted by his eccentric illustrations; and his Robin Hood (1883) is capital romance. In nonsense books, the imitators of Lewis Carroll and Edward Lear were many in the last years of the century; but the best of them, Charles Carryl in Davy and the Goblin (1885), only invite comparison. Somewhat earlier, Lucretia P. Hale in Peterkin papers (1882) created a new form of nonsense of a more literal sort; and this for spontaneous fun and clever foolishness is remarkable. Fairy tales seem to have no foothold in America—the stories in verse of Palmer Cox, the Brownie books, being perhaps the sole instance the century afforded of nation-wide popularity (and these owing more to the author's illustrations than to the text). For this con
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