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Dryden, Tompkins County, New York (New York, United States) (search for this): chapter 2
e. Such statistics could be easily multiplied; indeed, it will be readily admitted that no American poet can be compared to Longfellow in the place occupied by his poems in the English market. Readily admitting that this is not the sole or highest standard, it must at least be recognized as one of the side tests by which that standard may be determined. Some occasional expressions of distrust as to Longfellow's permanent fame have been based wholly upon his virtues. Many still cling to Dryden's maxim, Great wits are sure to madness near allied. Those who grew up during the period when the Lake poets of England were still under discussion can well recall that the typical poet was long supposed to be necessarily something of a reprobate, or at any rate wild and untamable; so that Byron and Shelley gained in fame by the supposition that the domestic and law-abiding gifts were far from them. The prominence of Wordsworth was developed in spite of this tradition, and even when the re
Sweden (Sweden) (search for this): chapter 2
iving or dead, from whom so many of us could have quoted? Not one. Not even Shakespeare, or Victor Hugo, or Homer. N. Y. Independent, October 22, 1896. One has merely to glance at any detailed catalogue of the translations from Longfellow's works—as for instance that given in the appendix to this volume—to measure the vast extent of his fame. The list includes thirty-five versions of whole books or detached poems in German, twelve in Italian, nine each in French and Dutch, seven in Swedish, six in Danish, five in Polish, three in Portuguese, two each in Spanish, Russian, Hungarian, and Bohemian, with single translations in Latin, Hebrew, Chinese, Sanskrit, Marathi, and Judea-German—yielding one hundred versions altogether, extending into eighteen languages, apart from the original English. There is no evidence that any other English-speaking poet of the last century has been so widely appreciated. Especially is this relative superiority noticeable in that wonderful litera<
Switzerland (Switzerland) (search for this): chapter 2
ss words, He is a classic, —in other words, his books had a steady and trustworthy sale. I always found his poems on the shelves, and this was true of no other American poet. Several editions of his works, single or collective, had recently appeared in London. Poems newly set to music had lately been published at the music stalls, and familiar citations from his poems were constantly heard in public speeches. Inquiries similar to mine were made a few years since in the book-stores of Switzerland and Germany by my friend, Professor W. J. Rolfe, who found without difficulty the German and English text of single or collected poems by Longfellow at Nuremberg, Cologne, Strasburg, Lucerne, Interlaken, and elsewhere. Another form of obtaining statistics bearing on the relative position of Longfellow among English-writing poets would be to inspect books of selections made in Great Britain out of this class. I find two such lying near at hand; the first is Pen and Pencil Pictures from
England (United Kingdom) (search for this): chapter 2
d in public speeches. Inquiries similar to mine were made a few years since in the book-stores of Switzerland and Germany by my friend, Professor W. J. Rolfe, who found without difficulty the German and English text of single or collected poems by Longfellow at Nuremberg, Cologne, Strasburg, Lucerne, Interlaken, and elsewhere. Another form of obtaining statistics bearing on the relative position of Longfellow among English-writing poets would be to inspect books of selections made in Great Britain out of this class. I find two such lying near at hand; the first is Pen and Pencil Pictures from the Poets, published by William P. Nimmo at Edinburgh, containing fifty-six poems in all, each with a full-page illustration, generally by Scottish artists. Of these selections, six are taken from Longfellow, five each from Wordsworth and Thomson, and three each from Shakespeare, Burns, and Moore. Of other American poets Bryant and Willis alone appear, each with one contribution. Another
Marseilles (France) (search for this): chapter 2
of Amherst College, one of the most cosmopolitan of Americans, who spent seven years as professor of history at Robert College, Constantinople. He goes on to tell how, in the largest private library in the Ottoman Empire, the grand vizier showed him as his favorite book a large volume of Longfellow, full of manuscript comments in Turkish on the margin, adding that he knew some of the poems by heart. Professor Grosvenor was at one time— in 1879—travelling by steamer from Constantinople to Marseilles with a Russian lady who had been placed under his escort, and whose nationality could have been detected only by her marvellous knowledge of half a dozen languages beside her own. A party of passengers had been talking in French of Victor Hugo, when the Russian lady exclaimed in English to the last speaker, How can you, an American, give to him the place that is occupied by your own Longfellow? Longfellow is the universal poet. He is better known, too, among foreigners, than any one exc
Nuremberg (Bavaria, Germany) (search for this): chapter 2
erican poet. Several editions of his works, single or collective, had recently appeared in London. Poems newly set to music had lately been published at the music stalls, and familiar citations from his poems were constantly heard in public speeches. Inquiries similar to mine were made a few years since in the book-stores of Switzerland and Germany by my friend, Professor W. J. Rolfe, who found without difficulty the German and English text of single or collected poems by Longfellow at Nuremberg, Cologne, Strasburg, Lucerne, Interlaken, and elsewhere. Another form of obtaining statistics bearing on the relative position of Longfellow among English-writing poets would be to inspect books of selections made in Great Britain out of this class. I find two such lying near at hand; the first is Pen and Pencil Pictures from the Poets, published by William P. Nimmo at Edinburgh, containing fifty-six poems in all, each with a full-page illustration, generally by Scottish artists. Of t
Holland (Netherlands) (search for this): chapter 2
of any country, living or dead, from whom so many of us could have quoted? Not one. Not even Shakespeare, or Victor Hugo, or Homer. N. Y. Independent, October 22, 1896. One has merely to glance at any detailed catalogue of the translations from Longfellow's works—as for instance that given in the appendix to this volume—to measure the vast extent of his fame. The list includes thirty-five versions of whole books or detached poems in German, twelve in Italian, nine each in French and Dutch, seven in Swedish, six in Danish, five in Polish, three in Portuguese, two each in Spanish, Russian, Hungarian, and Bohemian, with single translations in Latin, Hebrew, Chinese, Sanskrit, Marathi, and Judea-German—yielding one hundred versions altogether, extending into eighteen languages, apart from the original English. There is no evidence that any other English-speaking poet of the last century has been so widely appreciated. Especially is this relative superiority noticeable in that<
Lucerna (Switzerland) (search for this): chapter 2
s of his works, single or collective, had recently appeared in London. Poems newly set to music had lately been published at the music stalls, and familiar citations from his poems were constantly heard in public speeches. Inquiries similar to mine were made a few years since in the book-stores of Switzerland and Germany by my friend, Professor W. J. Rolfe, who found without difficulty the German and English text of single or collected poems by Longfellow at Nuremberg, Cologne, Strasburg, Lucerne, Interlaken, and elsewhere. Another form of obtaining statistics bearing on the relative position of Longfellow among English-writing poets would be to inspect books of selections made in Great Britain out of this class. I find two such lying near at hand; the first is Pen and Pencil Pictures from the Poets, published by William P. Nimmo at Edinburgh, containing fifty-six poems in all, each with a full-page illustration, generally by Scottish artists. Of these selections, six are taken
Strasburg, Va. (Virginia, United States) (search for this): chapter 2
al editions of his works, single or collective, had recently appeared in London. Poems newly set to music had lately been published at the music stalls, and familiar citations from his poems were constantly heard in public speeches. Inquiries similar to mine were made a few years since in the book-stores of Switzerland and Germany by my friend, Professor W. J. Rolfe, who found without difficulty the German and English text of single or collected poems by Longfellow at Nuremberg, Cologne, Strasburg, Lucerne, Interlaken, and elsewhere. Another form of obtaining statistics bearing on the relative position of Longfellow among English-writing poets would be to inspect books of selections made in Great Britain out of this class. I find two such lying near at hand; the first is Pen and Pencil Pictures from the Poets, published by William P. Nimmo at Edinburgh, containing fifty-six poems in all, each with a full-page illustration, generally by Scottish artists. Of these selections, six
Denmark (Denmark) (search for this): chapter 2
from whom so many of us could have quoted? Not one. Not even Shakespeare, or Victor Hugo, or Homer. N. Y. Independent, October 22, 1896. One has merely to glance at any detailed catalogue of the translations from Longfellow's works—as for instance that given in the appendix to this volume—to measure the vast extent of his fame. The list includes thirty-five versions of whole books or detached poems in German, twelve in Italian, nine each in French and Dutch, seven in Swedish, six in Danish, five in Polish, three in Portuguese, two each in Spanish, Russian, Hungarian, and Bohemian, with single translations in Latin, Hebrew, Chinese, Sanskrit, Marathi, and Judea-German—yielding one hundred versions altogether, extending into eighteen languages, apart from the original English. There is no evidence that any other English-speaking poet of the last century has been so widely appreciated. Especially is this relative superiority noticeable in that wonderful literary cyclopaedia, <
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