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Samuel Longfellow (search for this): chapter 8
utre-Mer. It is a curious fact that Mr. Samuel Longfellow, in his admirable memoir of his brothe list of his own early publications given by Longfellow to George W. Greene under date of March 9, 1ial L. This would seem naturally to suggest Longfellow, and is indeed almost conclusive. Yet curiolege, June 1, 1831, this being a period when Longfellow was at work there, and yet this story is who to authorship, yet not one of them suggests Longfellow at all, or affords the slightest clue by whi seem to be that the two contributions which Longfellow meant to enumerate were the story called An Lifetime (New York, 1856), after mentioning Longfellow casually, at the very end of his list of wrif him, It is a curious fact that the latter, Longfellow, wrote prose, and at that period had shown nis book, Mr. Goodrich does not find room for Longfellow's name at all. Goodrich's Recollections out it had awaited the arrival of some one to formulate its claims, and this it found in Longfellow. [1 more...]
George Bancroft (search for this): chapter 8
rue, and yet it is impossible to compare the two books without seeing that kind of assimilation which is only made more thorough by being unconscious. Longfellow, even thus early, brought out more picturesquely and vividly than Irving the charm exerted by the continent of Europe over the few Americans who were exploring it. What Irving did in this respect for England, Longfellow did for the continental nations. None of the first German students from America, Ticknor, Cogswell, Everett, or Bancroft, had been of imaginative temperament, and although their letters, as since printed, Harvard Graduates' Magazine, VI. 6. revealed Germany to America as the land of learning, it yet remained for Longfellow to portray all Europe from the point of view of the pilgrim. When he went to England in 1835, as we shall see, he carried with him for English publication the two volumes of one of the earliest literary tributes paid by the New World to the Old, Outre-Mer. It is a curious fact that Mr.
John Greenleaf Whittier (search for this): chapter 8
t the critic of to-day can hardly see in these youthful pages any promise of the Longfellow of the future. The opening chapter, describing the author as a country schoolmaster, who plays with his boys in the afternoon, is only a bit of Irving diluted,—the later papers, A Walk in Normandy, The Village of Auteuil, etc., carrying the thing somewhat farther, but always in the same rather thin vein. Their quality of crudeness was altogether characteristic of the period, and although Holmes and Whittier tried their 'prentice hands with the best intentions in the same number of the New England Magazine, they could not raise its level. We see in these compositions, as in the Annuals of that day, that although Hawthorne had begun with his style already formed, yet that of Longfellow was still immature. This remark does not, indeed, apply to a version of a French drinking song, New England Magazine, II. 188. which exhibits something of his later knack at such renderings. There was at any
North American Indians (search for this): chapter 8
speeds the morning lark To its silver cloud.] We would not restrict our poets in the choice of their subjects, or the scenes of their story; but when they sing under an American sky, and describe a native landscape, let the description be graphic, as if it had been seen and not imagined. We wish, too, to see the figures and imagery of poetry a little more characteristic, as if drawn from nature and not from books. Of this we have constantly recurring examples in the language of our North American Indians. Our readers will all recollect the last words of Pushmataha, the Choctaw chief, who died at Washington in the year 1824: I shall die, but you will return to your brethren. As you go along the paths, you will see the flowers and hear the birds; but Pushmataha will see them and hear them no more. When you come to your home, they will ask you, where is Pushmataha? and you will say to them, He is no more. They will hear the tidings like the sound of the fall of a mighty oak in the
1835 AD (search for this): chapter 8
ndeed, apply to a version of a French drinking song, New England Magazine, II. 188. which exhibits something of his later knack at such renderings. There was at any rate some distinct maturity in the first number of Outre-Mer, which appeared in 1835. A notice of this book in the London Spectator closed with this expression of judgment: Either the author of the Sketch book has received a warning, or there are two Richmonds in the field. Literary history hardly affords a better instance of ough their letters, as since printed, Harvard Graduates' Magazine, VI. 6. revealed Germany to America as the land of learning, it yet remained for Longfellow to portray all Europe from the point of view of the pilgrim. When he went to England in 1835, as we shall see, he carried with him for English publication the two volumes of one of the earliest literary tributes paid by the New World to the Old, Outre-Mer. It is a curious fact that Mr. Samuel Longfellow, in his admirable memoir of his
November (search for this): chapter 8
Chapter 7: the corner stone laid That the young professor rose very early for literary work, even in November, we know by his own letters, and we also know that he then as always took this work very seriously and earnestly. What his favorite employment was, we learn by a letter to his friend George W. Greene (March 9, 1833) about a book which he proposes to publish in parts, and concerning which he adds, I find that it requires little courage to publish grammars and school-books; but in the department of fine writing—or attempts at fine writing—it requires vastly more. As a matter of fact, he had already published preliminary sketches of Outre-Mer in the New England Magazine, a Boston periodical just undertaken, putting them under the rather inappropriate title of The Schoolmaster, the first appearing in the number for July 18, 1831, New England Magazine, i. 27. and the sixth and last in the number for February, 1833. Ibid. IV. 131. He writes to his sister (July 17, 1831), I
June 1st, 1831 AD (search for this): chapter 8
e initial L. This would seem naturally to suggest Longfellow, and is indeed almost conclusive. Yet curiously enough there is in the same volume a short poem called La Doncella, translated from the Spanish and signed L. . . ., which is quite in the line of the Spanish versions he was then writing, although not included in Mr. Scudder's list of his juvenile or unacknowledged poems. To complicate the matter still farther, there is also a story called David Whicher, dated Bowdoin College, June 1, 1831, this being a period when Longfellow was at work there, and yet this story is wholly remote in style from The Indian Summer, being a rather rough and vernacular woodman's tale. Of the two, The Indian Summer seems altogether the more likely to be his work, and indeed bears a distinct likeness to the equally tragic tale of Jacqueline in Outre-Mer, —the one describing the funeral of a young girl in America, the other in Europe, both of them having been suggested, possibly, by the recent dea
1833 AD (search for this): chapter 8
early publications given by Longfellow to George W. Greene under date of March 9, 1833, he includes, 7. In The Token for 1832, a story. . . . 8. In the same, for 1833, a story. To identify the contributions thus affords a curious literary puzzle. The first named volume—The Token for 1832—contains the tale of a domestic bereaveng girl in America, the other in Europe, both of them having been suggested, possibly, by the recent death of his own sister. In the second volume of The Token (1833) the puzzle is yet greater, for though there are half a dozen stories without initials, or other clue to authorship, yet not one of them suggests Longfellow at allt the two contributions which Longfellow meant to enumerate were the story called An Indian Summer in The Token for 1832, and a poem, not a story, in The Token for 1833. Even against this theory there is the objection to be made that the editor of The Token, Samuel G. Goodrich, in his Recollections of a Lifetime (New York, 1856),
February, 1833 AD (search for this): chapter 8
quires little courage to publish grammars and school-books; but in the department of fine writing—or attempts at fine writing—it requires vastly more. As a matter of fact, he had already published preliminary sketches of Outre-Mer in the New England Magazine, a Boston periodical just undertaken, putting them under the rather inappropriate title of The Schoolmaster, the first appearing in the number for July 18, 1831, New England Magazine, i. 27. and the sixth and last in the number for February, 1833. Ibid. IV. 131. He writes to his sister (July 17, 1831), I hereby send you a magazine for your amusement. I wrote The schoolmaster and the translation from Luis de Gorgora. Ms. letter. It is worth mentioning that he adds, Read The late Joseph Natterstrom. It is good. This was a story by William Austin, whose Peter Rugg, the Missing Man, has just been mentioned as an early landmark of the period. See Writings of William Austin, Boston, 1890. It is fair to say, however, that the
1832 AD (search for this): chapter 8
his initial (H.). In the list of his own early publications given by Longfellow to George W. Greene under date of March 9, 1833, he includes, 7. In The Token for 1832, a story. . . . 8. In the same, for 1833, a story. To identify the contributions thus affords a curious literary puzzle. The first named volume—The Token for 181832—contains the tale of a domestic bereavement under the name of The Indian Summer; this has for a motto a passage from The Maid's Tragedy, and the whole story is signed with the initial L. This would seem naturally to suggest Longfellow, and is indeed almost conclusive. Yet curiously enough there is in the same volume a short phe most probable hypothesis would seem to be that the two contributions which Longfellow meant to enumerate were the story called An Indian Summer in The Token for 1832, and a poem, not a story, in The Token for 1833. Even against this theory there is the objection to be made that the editor of The Token, Samuel G. Goodrich, in h
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