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Charles E. Norton (search for this): chapter 17
ication of the fact that he did not at once take even Cambridge by storm, as a poet, is in a letter from Professor Andrews Norton, father of the present Professor Charles E. Norton, to the Rev. W. H. Furness of Philadelphia. The latter had apparently applied to Mr. Norton for advice as to a desirable list of American authors from Mr. Norton for advice as to a desirable list of American authors from whom to make some literary selections, perhaps in connection with an annual then edited by him and called The Diadem. Professor Norton, as one of the most cultivated Americans, might naturally be asked for some such counsel. In replying he sent Mr. Furness, under date of January 7, 1845, a list of fifty-four eligible authors, amProfessor Norton, as one of the most cultivated Americans, might naturally be asked for some such counsel. In replying he sent Mr. Furness, under date of January 7, 1845, a list of fifty-four eligible authors, among whom Emerson stood last but one, while Longfellow was not included at all. He then appended a supplementary list of twenty-four minor authors, headed by Longfellow. Correspondence of R. W. Griswold, p. 162. We have already seen Lowell, from a younger point of view, describing Longfellow, at about this time, as the head of a c
Ralph Waldo Emerson (search for this): chapter 17
might naturally be asked for some such counsel. In replying he sent Mr. Furness, under date of January 7, 1845, a list of fifty-four eligible authors, among whom Emerson stood last but one, while Longfellow was not included at all. He then appended a supplementary list of twenty-four minor authors, headed by Longfellow. Corresponnch mind than of the English, when discussing American themes. Writing at that early period, M. Chasles at once recognized, for instance, the peculiar quality of Emerson's genius. He describes Longfellow, in comparison, as what he calls a moonlight poet, having little passion, but a calmness of attitude which approaches majesty, n we consider how remote Jean Paul seems from the present daily life of Germany, one feels the utter inappropriateness of his transplantation to New England. Yet Emerson read the book with great contentment, and pronounced it the best sketch we have seen in the direction of the American novel, and discloses at the end the real cha
n, that Hawthorne stood next to Longfellow in this subordinate roll. Longfellow published two volumes of poetic selections, The Waif (1845) and The Estray (1846), the latter title being originally planned as Estrays in the Forest, and he records a visit to the college library, in apparent search for the origin of the phrase. His next volume of original poems, however, was The Belfry of Bruges and Other Poems, published December 23, 1845, the contents having already been partly printed in Graham's Magazine, and most of them in the illustrated edition of his poems published in Philadelphia. The theme of the volume appears to have been partly suggested by some words in a letter to Freiligrath which seem to make the leading poem, together with that called Nuremberg, a portion of that projected series of travel-sketches which had haunted Longfellow ever since Outre-Mer. The Norman Baron was the result of a passage from Thierry, sent him by an unknown correspondent. One poem was sugge
includes, in all, only ten languages, the Celtic and Slavonic being excluded, as well as the Turkish and Romaic, a thing which would now seem strange. But the editor's frank explanation of the fact, where he says with these I am not acquainted, disarms criticism. This explanation implies that he was personally acquainted with the six Gothic languages of Northern Europe—Anglo-Saxon, Icelandish, Danish, Swedish, German, and Dutch—and the four Latin languages of the South of Europe— French, Italian, Spanish, and Portuguese. The mere work of compiling so large a volume in double columns of these ten languages was something formidable, and he had reason to be grateful to his friend Professor Felton, who, being a German student, as well as a Greek scholar, compiled for him all the biographical notes in the book. It is needless to say that the selection is as good as the case permitted or as the plan of the book allowed, and the volume has always maintained its place of importance in li<
Thomas Middleton (search for this): chapter 17
l and genuine sympathy for human wrong, as shown in the Poems on Slavery, to the purely literary and historic quality of the Spanish Student (1843), a play never quite dramatic enough to be put on the stage, at least in English, though a German version was performed at the Ducal Court Theatre in Dessau, January 28, 1855. As literary work it was certainly well done; though taken in part from the tale of Cervantes La Gitanilla, and handled before by Montalvan and by Solis in Spanish, and by Middleton in English, it yet was essentially Longfellow's own in treatment, though perhaps rather marred by taking inappropriately the motto from Robert Burns. He wrote of it to Samuel Ward in New York, December, 1840, calling it something still longer which as yet no eye but mine has seen and which I wish to read to you first. He then adds, At present, my dear friend, my soul is wrapped up in poetry. The scales fell from my eyes suddenly, and I beheld before me a beautiful landscape, with figur
John P. De Montalvan (search for this): chapter 17
t seemed a curious transition from the real and genuine sympathy for human wrong, as shown in the Poems on Slavery, to the purely literary and historic quality of the Spanish Student (1843), a play never quite dramatic enough to be put on the stage, at least in English, though a German version was performed at the Ducal Court Theatre in Dessau, January 28, 1855. As literary work it was certainly well done; though taken in part from the tale of Cervantes La Gitanilla, and handled before by Montalvan and by Solis in Spanish, and by Middleton in English, it yet was essentially Longfellow's own in treatment, though perhaps rather marred by taking inappropriately the motto from Robert Burns. He wrote of it to Samuel Ward in New York, December, 1840, calling it something still longer which as yet no eye but mine has seen and which I wish to read to you first. He then adds, At present, my dear friend, my soul is wrapped up in poetry. The scales fell from my eyes suddenly, and I beheld b
James T. Fields (search for this): chapter 17
k. It is needless to say that the selection is as good as the case permitted or as the plan of the book allowed, and the volume has always maintained its place of importance in libraries. Many of the translations were made expressly for it, especially in the supplement; among these being Platen's, Remorse, Reboul's, The Angel and Child, and Malherbe's, Consolation. It is to be remembered that Longfellow's standard of translation was very high and that he always maintained, according to Mrs. Fields, that Americans, French, and Germans had a greater natural gift for it than the English on account of the greater insularity of the latter's natures. Life, III. 370. It is also to be noted that he sometimes failed to find material for translation where others found it, as, for instance, amid the endless beauty of the Greek Anthology, which he called, the most melancholy of books with an odor of dead garlands about it. Voices from the grave, cymbals of Bacchantes, songs of love, sighs, gr
, where he says with these I am not acquainted, disarms criticism. This explanation implies that he was personally acquainted with the six Gothic languages of Northern Europe—Anglo-Saxon, Icelandish, Danish, Swedish, German, and Dutch—and the four Latin languages of the South of Europe— French, Italian, Spanish, and Portuguese. The mere work of compiling so large a volume in double columns of these ten languages was something formidable, and he had reason to be grateful to his friend Professor Felton, who, being a German student, as well as a Greek scholar, compiled for him all the biographical notes in the book. It is needless to say that the selection is as good as the case permitted or as the plan of the book allowed, and the volume has always maintained its place of importance in libraries. Many of the translations were made expressly for it, especially in the supplement; among these being Platen's, Remorse, Reboul's, The Angel and Child, and Malherbe's, Consolation. It is to<
us transition from the real and genuine sympathy for human wrong, as shown in the Poems on Slavery, to the purely literary and historic quality of the Spanish Student (1843), a play never quite dramatic enough to be put on the stage, at least in English, though a German version was performed at the Ducal Court Theatre in Dessau, January 28, 1855. As literary work it was certainly well done; though taken in part from the tale of Cervantes La Gitanilla, and handled before by Montalvan and by Solis in Spanish, and by Middleton in English, it yet was essentially Longfellow's own in treatment, though perhaps rather marred by taking inappropriately the motto from Robert Burns. He wrote of it to Samuel Ward in New York, December, 1840, calling it something still longer which as yet no eye but mine has seen and which I wish to read to you first. He then adds, At present, my dear friend, my soul is wrapped up in poetry. The scales fell from my eyes suddenly, and I beheld before me a beau
H. L. Conolly (search for this): chapter 17
e cano which opened Virgil's Aeneid, and he elsewhere calls the poem the tranquil current of these brimming, slow-moving, soulsatisfying lines. The subject was first suggested to Longfellow by Hawthorne, who had heard it from his friend, the Rev. H. L. Conolly, and the outline of it will be found in The American Note-Books of Hawthorne, who disappointed Father Conolly by not using it himself. It was finished on Longfellow's fortieth birthday. It was a striking illustration of the wide popuFather Conolly by not using it himself. It was finished on Longfellow's fortieth birthday. It was a striking illustration of the wide popularity of Evangeline, that even the proper names introduced under guidance of his rhythmical ear spread to other countries and were taken up and preserved as treasures in themselves. Sumner writes from England to Longfellow that the Hon. Mrs. Norton, herself well known in literature, had read Evangeline, not once only, but twenty times, and the scene on Lake Atchafalaya, where the two lovers pass each other unknowingly, so impressed her that she had a seal cut with the name upon it. Not long af
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