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Browsing named entities in a specific section of Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (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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Seneca Lake (New York, United States) (search for this): chapter 2.15
of him is preeminently the stuff of poetry, but unclarified, uncontrolled, unorganized. It is often as if the personalities of Byron, Shelley, Wordsworth, Moore, and Bryant had been merged into one helpless hypnoidal state of metrical and emotional garrulity. Yet every now and then an open-minded reader is surprised by some first-hand observation, some graceful analogy, some picturesqueness or energy, some short lyric cry; and once at least he wrought a little gem-his simple stanzas on Seneca Lake. He typified, too, a not altogether ignoble phase of earlier American culture in his zealous acquisitiveness, both in science (he died as state geologist of Wisconsin), and in languages (he wrote verse in Scandinavian and German, and translated from innumerable tongues). But he belongs chiefly to the student of human nature; lonely, shy, unmarried, disappointed, poor, and dirty, he was in appearance and mode of life a character for Dickens, in heart and soul a character for Thackeray or
Milton, Mass. (Massachusetts, United States) (search for this): chapter 2.15
is tautology to say that a poet treats a sublime idea sublimely — for it is the sublimity in the treatment that makes us realize the sublimity of the idea. We can at most conceive a poet's style as a whole; as, along with his individual world of meditation and vision, another phase of his creative power — as his creation of music. Possibly it is the deepest and most wonderful of the poet's creations, transcending its manifestation in connection with any single poem. Perhaps, for instance, Milton's greatest creative act was not Lycidas, or the Sonnets, or Paradise lost, but that music we call Miltonic. Certainly this is the more true the more organic the style is; and, as said before, Bryant's style was highly organic. An astute and sympathetic mind who might never have seen a verse of Bryant's could deduce that style from what has been said in this chapter — if what has been said has been correctly said. Such a mind would not need to be told that Bryant's diction was severe, si<
Europe (search for this): chapter 2.15
ates and out to the prairies of Illinois, where his brothers and mother were for a second time pioneers, with voyages on various occasions to the West Indies, to Europe, and to the Levant, and fifty years as a New York editor, who with the wisdom of a statesman and the courage of a reformer made The evening Post America's greatesness, scholarship, and technical skill. All his translations, many of them made before Longfellow's now widely-recognized activities as spokesman in America for European letters, are a witness to Bryant's knowledge of foreign tongues and literatures, to his part in the culturization of America, to the breadth of his taste and a ccritics observed as late as 1848-a social satire on a flashy New Yorker and his fashionable daughter, with Byronic anti-climax and Byronic digressions on Greece, European and American politics, bad literature and bad statues. But a financial failure was substituted for Byronic crim.-cons., and the bluff and hearty Halleck was nev
Wisconsin (Wisconsin, United States) (search for this): chapter 2.15
Chapter 5: Bryant and the minor poets William Ellery Leonard, Ph.D., Assistant Professor of English in the University of Wisconsin. I. Bryant Early years. Bryant's Independence as a poet. the unity of his life and work. his ideas. nature in Bryant. Bryant's images. his surveys. Bryant as naturalist. his fairy poems. his translations. his artistry. his style. limitations as a poet. Bryant as critic and editor. his prose style. Bryant the Citizen. To the old-flyric cry; and once at least he wrought a little gem-his simple stanzas on Seneca Lake. He typified, too, a not altogether ignoble phase of earlier American culture in his zealous acquisitiveness, both in science (he died as state geologist of Wisconsin), and in languages (he wrote verse in Scandinavian and German, and translated from innumerable tongues). But he belongs chiefly to the student of human nature; lonely, shy, unmarried, disappointed, poor, and dirty, he was in appearance and mode
Monterey (Virginia, United States) (search for this): chapter 2.15
a recent critic, Trent, W. P., in American literature, p. 457. possessed a lyric note almost completely unknown in the America of his time, --by which is meant a certain catchy musical lilt,--is, however, chiefly memorable for the fine ballad Monterey: We were not many, we who stood Before the iron sleet that day: Yet many a gallant spirit would Give half his years if but he could Have been with us at Monterey. This is, or should be, a classic in a genre rare in our literature, whose poetMonterey. This is, or should be, a classic in a genre rare in our literature, whose poets have seldom communicated with martial fire the rapture of the strife or celebrated worthily the achievements of our arms. Bryant wrote a critical sketch for the last edition of Hoffman's poems. Nathaniel Parker Willis, the most honoured among these literary editors of old New York, See also Book II, Chap. III. began as a sentimental poetizer of Scripture for meek ladies, and then helped to establish a still existing journalistic tradition in our literature — that of the light, the pret
Wyoming (Wyoming, United States) (search for this): chapter 2.15
ulprit Fay it were ungracious to speak; it was the two days diversion of a very young man, and published posthumously (1835). Halleck was the one worthy American representative of the contemporary popular English Romanticists, Scott, Campbell, and Byron-worthy, because something of their matter and manner, despite occasional crude imitation, was thoroughly natural to his vigorous feelings, to his alert though not subtle masculine intellect, and to his sounding voice. His Spenserians on Wyoming remind one of Campbell and Byron in stanza and phraseology. The still popular Marco Bozzaris reminds one of Byron in the enthusiasm for Greek freedom (also the inspiration of some of Bryant's early verse), and of Campbell in martial vigour, while its octosyllabics have the verve of Scott's. In Alnwick Castle and several other poems grave and gay are whimsically mixed after Byron's later manner. Indeed Byron, whose works Halleck subsequently edited, was his most kindred spirit. As early a
Roslyn (New York, United States) (search for this): chapter 2.15
te tutoring by unpretending clergymen, a year at poverty-stricken Williams College, law studies in an upland office, distasteful practice as a poor country lawyer, a happy marriage with her whose birth was in the forest shades, Poems, p. 82. Roslyn edition (1913), from which all poetical quotations are cited in this chapter. death, season by season, of those nearest and dearest, travel down among the slave-holding states and out to the prairies of Illinois, where his brothers and mother werworth. George P. Morris. Charles Fenno Hoffman. Nathaniel Parker Willis. Joseph Rodman Drake. the Culprit Fay. Fitz-Green Halleck When Bryant, pioneer and patriarch, was laid away on that bright June afternoon of 1878 in the cemetery at Roslyn, Long Island, his oldest and dearest friend was still alive. Richard Henry Dana (1787-1879), one of the founders of The North American review See Book II, Chap. XX. and of the serious tradition in our literary criticism, is remembered, if at
Roger Williams (search for this): chapter 2.15
am, imaging the waters of the globe. Sometimes the phenomenon is static and calls his imagination to penetrate its secret history, or what changes it has seen about it, as when he looks at the fountain Poems, p. 185. or is among the trees. Ibid., p. 321. Sometimes the vision rides upon or stands beside no force in Nature, but is his own direct report, as in Fifty years, on the changes in individual lives, in history, in inventions, especially in these States, since his class graduated at Williams. Broad surveys of human affairs and of the face of earth, so dull, routine, bombastic as far as attempted in Thomson's Liberty, in Blair's Grave, in White's Time, become in Bryant's less pretentious poems the essential triumph of a unique imagination. The mode remained a favourite to the end: large as in The flood of years, intimate and tender in A Lifetime. No American poet, except Whitman, had an imagination at all like Bryant's, or, indeed, except Whitman and Emerson, as great as Bryan
Thomas Campbell (search for this): chapter 2.15
ery young man, and published posthumously (1835). Halleck was the one worthy American representative of the contemporary popular English Romanticists, Scott, Campbell, and Byron-worthy, because something of their matter and manner, despite occasional crude imitation, was thoroughly natural to his vigorous feelings, to his alert though not subtle masculine intellect, and to his sounding voice. His Spenserians on Wyoming remind one of Campbell and Byron in stanza and phraseology. The still popular Marco Bozzaris reminds one of Byron in the enthusiasm for Greek freedom (also the inspiration of some of Bryant's early verse), and of Campbell in martial viCampbell in martial vigour, while its octosyllabics have the verve of Scott's. In Alnwick Castle and several other poems grave and gay are whimsically mixed after Byron's later manner. Indeed Byron, whose works Halleck subsequently edited, was his most kindred spirit. As early as 1819 appeared his Fanny, suggested by Beppo and in its present form som
Joseph Green (search for this): chapter 2.15
the time, as Moore and the Smith brothers. Halleck is said to have written the last four lines of Drake's American Flag, a lyric full of the old-fashioned expansive and defiant Americanism, and, with its flare of imagery and blare of sound, still sure to stir the blood of any one but a professional critic. And it was on Drake, dead at twenty-five, that Halleck wrote what is the tenderest, the manliest little elegy of personal loss in American literature, beginning with the familiar lines: Green be the turf above thee, Friend of my better days! None knew thee but to love thee; Nor named thee but to praise. Yet they are remembered no less for achievements more noteworthy than those of the other minor men in this sketch. Drake's Culprit Fay is the best and in fact the one fairy story in American verse, if we except Bryant's Sella and The little people of the snow, which are indeed rather stories of mortals in fairyland than of the tiny, tricksy creatures themselves. Though in a
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