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Dante G. Rossetti (search for this): chapter 17
s by and by. Longfellow's work on The Poets and Poetry of Europe appeared in 1845, and was afterwards reprinted with a supplement in 1871. The original work included 776 pages, Mistakenly described by the Rev. Samuel Longfellow as nearly four hundred pages. Life, II. 3. the supplement adding 340 more. The supplement is in some respects better edited than the original, because it gives the names of the translators, and because he had some better translators to draw upon, especially Rossetti. It can be said fairly of the whole book that it is intrinsically one of the most attractive of a very unattractive class, a book of which the compiler justly says that, in order to render the literary history of the various countries complete, an author of no great note has sometimes been admitted, or a poem which a severer taste would have excluded. The work is to be regarded, he adds, as a collection, rather than as a selection, and in judging any author it must be borne in mind the tr
December 23rd, 1845 AD (search for this): chapter 17
thors of the second grade. It is curious to notice, in addition, 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 T
1843 AD (search for this): chapter 17
Chapter 16: literary life in Cambridge Let us now return from the history of Longfellow's academic life to his normal pursuit, literature. It 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
1846 AD (search for this): chapter 17
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 clique, and we now find Andrews Norton, from an older point of view, assigning him only the first place among authors of the second grade. It is curious to notice, in addition, 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 suggeste
January 7th, 1845 AD (search for this): chapter 17
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 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, 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 clique, and we now find Andrews Norton, from an older point of view, assigning him only the first place among authors
1845 AD (search for this): chapter 17
amily circle; as I do not intend to publish it until the glow of composition has passed away, and I can look upon it coolly and critically. I will tell you more of this by and by. Longfellow's work on The Poets and Poetry of Europe appeared in 1845, and was afterwards reprinted with a supplement in 1871. The original work included 776 pages, Mistakenly described by the Rev. Samuel Longfellow as nearly four hundred pages. Life, II. 3. the supplement adding 340 more. The supplement is iew, assigning him only the first place among authors of the second grade. It is curious to notice, in addition, 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
1848 AD (search for this): chapter 17
f this poem was received by an audience of three thousand, and none the less because at that troubled time the concluding appeal to the Union had a distinct bearing on the conflicts of the time. For the rest of the volume, it included the strong and lyric verses called Seaweed, which were at the time criticised by many, though unreasonably, as rugged and boisterous; another poem of dramatic power, Sir Humphrey Gilbert; and one of the most delicately imaginative and musical among all he ever wrote, The Fire of Drift-Wood, the scene of which was the Devereux Farm at Marblehead. There were touching poems of the fireside, especially that entitled Resignation, written in 1848 after the death of his little daughter Fanny, and one called The Open Window. Looking back from this, his fourth volume of short poems, it must be owned that he had singularly succeeded in providing against any diminution of power or real monotony. Nevertheless his next effort was destined to be on a wider scale.
December, 1840 AD (search for this): chapter 17
, 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 figures, which I have transferred to paper almost without an effort, and with a celerity of which I did not think myself capable. Since my return from Portland I am almost afraid to look at it, for fear its colo
1850 AD (search for this): chapter 17
have followed it in a certain delicate truthfulness, as it is likely to remain unsurpassed in its light humor and pensive grace. North American Review, CIV. 534. The period following the publication of Evangeline seemed a more indeterminate and unsettled time than was usual with Longfellow. He began a dramatic romance of the age of Louis XIV., but did not persist in it, and apart from the story of Kavanagh did no extended work. He continued to publish scattered poems, and in two years (1850) there appeared another volume called The Seaside and the Fireside in which the longest contribution and the most finished—perhaps the most complete and artistic which he ever wrote—was called The Building of the Ship. To those who remember the unequalled voice and dramatic power of Mrs. Kemble, it is easy to imagine the enthusiasm with which her reading of this poem was received by an audience of three thousand, and none the less because at that troubled time the concluding appeal to the Un
1849 AD (search for this): chapter 17
nct, unequivocal, low water mark in the intellectual product with which he has to deal. This book, Kavanagh, had the curious fate of bringing great disappointment to most of his friends and admirers, and yet of being praised by the two among his contemporaries personally most successful in fiction, Hawthorne and Howells. Now that the New England village life has proved such rich material in the hands of Mary Wilkins, Sarah Jewett, and Rowland Robinson, it is difficult to revert to Kavanagh (1849) without feeling that it is from beginning to end a piece of purely academic literature without a type of character, or an incident—one might almost say without a single phrase—that gives quite the flavor of real life. Neither the joys nor the griefs really reach the reader's heart for one moment. All the characters use essentially the same dialect, and every sentence is duly supplied with its anecdote or illustration, each one of which is essentially bookish at last. It has been well sai
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