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Zukofsky), 736–37 , 742–43 Asian American Poetry As, 987–88 “ABC” (Justice), 809–11 “Benefi T” Readings, 1137–138 Abolitionism
Cambridge University Press 978-1-107-00336-1 - The Cambridge History of: American Poetry Edited by Alfred Bendixen and Stephen Burt Index More information Index “A” (Zukofsky), 736–37 , 742–43 Asian American poetry as, 987–88 “ABC” (Justice), 809–11 “benefi t” readings, 1137–138 abolitionism. See also slavery multilingual poetry and, 1133–134 in African American poetry, 293–95 , 324 Adam, Helen, 823–24 in Longfellow’s poetry, 241–42 , 249–52 Adams, Charles Follen, 468 in mid-nineteenth-century poetry, Adams, Charles Frances, 468 290–95 Adams, John, 140 , 148–49 in Whittier’s poetry, 261–67 Adams, L é onie, 645 , 1012–1013 in women’s poetry, 185–86 , 290–95 Adcock, Betty, 811–13 , 814 Abraham Lincoln: An Horatian Ode “Address to James Oglethorpe, An” (Stoddard), 405 (Kirkpatrick), 122–23 Abrams, M. H., 1003–1004 , 1098 “Address to Miss Phillis Wheatley, academic verse Ethiopian Poetess, Who Came literary canon and, 2 from Africa at Eight Year of Age, southern poetry and infl uence of, 795–96 and Soon Became Acquainted with Academy for Negro Youth (Baltimore), the Gospel of Jesus Christ, An” 293–95 (Hammon), 138–39 “Academy in Peril: William Carlos “Adieu to Norman, Bonjour to Joan and Williams Meets the MLA, The” Jean-Paul” (O’Hara), 858–60 (Bernstein), 571–72 Admirable Crichton, The (Barrie), Academy of American Poets, 856–64 , 790–91 1135–136 Admonitions (Spicer), 836–37 Bishop’s fellowship from, 775 Adoff , Arnold, 1118 prize to Moss by, 1032 “Adonais” (Shelley), 88–90 Acadians, poetry about, 37–38 , 241–42 , Adorno, Theodor, 863 , 1042–1043 252–54 , 264–65 Adulateur, The (Warren), 134–35 Accent (television show), 1113–115 Adventure (Bryher), 613–14 “Accountability” (Dunbar), 394 Adventures of Daniel Boone, The (Bryan), Ackerman, Diane, 932–33 157–58 Á coma people, in Spanish epic Adventures of Huckleberry Finn (Twain), poetry, 49–50 183–86 Active Anthology (Pound), 679 funeral elegy ridiculed in, 102–04 activist poetry. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University M crct. rrs it'terrjt onai A Be" 4 Howe1 ir”?r'"a! Cor"ear-, J00 Norte CeeD Road App Artjor mi 4 6 ‘Og ' 346 USA 3 13 761-4’00 600 sC -0600 Order Number 9238197 Selected literary letters of Sophia Peabody Hawthorne, 1842-1853 Hurst, Nancy Luanne Jenkins, Ph.D. -
The Legacy of Henry Wadsworth Longfellow
Maine History Volume 27 Number 4 Article 4 4-1-1988 The Legacy of Henry Wadsworth Longfellow Daniel Aaron Harvard University Follow this and additional works at: https://digitalcommons.library.umaine.edu/mainehistoryjournal Part of the Modern Literature Commons, and the United States History Commons Recommended Citation Aaron, Daniel. "The Legacy of Henry Wadsworth Longfellow." Maine History 27, 4 (1988): 42-67. https://digitalcommons.library.umaine.edu/mainehistoryjournal/vol27/iss4/4 This Article is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Maine History by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. DANIEL AARON THE LEGACY OF HENRY WADSWORTH LONGFELLOW Once upon a time (and it wasn’t so long ago), the so-called “household” or “Fire-Side” poets pretty much made up what Barrett Wendell of Harvard University called “the literature of America.” Wendell devoted almost half of his still readable survey, published in 1900, to New England writers. Some of them would shortly be demoted by a new generation of critics, but at the moment, they still constituted “American literature” in the popular mind. The “Boston constellation” — that was Henry James’s term for them — had watched the country coalesce from a shaky union of states into a transcontinental nation. They had lived through the crisis of civil war and survived, loved, and honored. Multitudes recognized their bearded benevolent faces; generations of school children memorized and recited stanzas of their iconic poems. Among these hallowed men of letters, Longfellow was the most popular, the most beloved, the most revered. -
Image Credits, the Making of African
THE MAKING OF AFRICAN AMERICAN IDENTITY: VOL. I, 1500-1865 PRIMARY SOURCE COLLECTION The Making of African American Identity: Vol. I, 1500-1865 IMAGE CREDITS Items listed in chronological order within each repository. ALABAMA DEPT. of ARCHIVES AND HISTORY. Montgomery, Alabama. WEBSITE Reproduced by permission. —Physical and Political Map of the Southern Division of the United States, map, Boston: William C. Woodbridge, 1843; adapted to Woodbridges Geography, 1845; map database B-315, filename: se1845q.sid. Digital image courtesy of Alabama Maps, University of Alabama. ALLPORT LIBRARY AND MUSEUM OF FINE ARTS. State Library of Tasmania. Hobart, Tasmania (Australia). WEBSITE Reproduced by permission of the Tasmanian Archive & Heritage Office. —Mary Morton Allport, Comet of March 1843, Seen from Aldridge Lodge, V. D. Land [Tasmania], lithograph, ca. 1843. AUTAS001136168184. AMERICAN TEXTILE HISTORY MUSEUM. Lowell, Massachusetts. WEBSITE Reproduced by permission. —Wooden snap reel, 19th-century, unknown maker, color photograph. 1970.14.6. ARCHIVES OF ONTARIO. Toronto, Ontario, Canada. WEBSITE In the public domain; reproduced courtesy of Archives of Ontario. —Letter from S. Wickham in Oswego, NY, to D. B. Stevenson in Canada, 12 October 1850. —Park House, Colchester, South, Ontario, Canada, refuge for fugitive slaves, photograph ca. 1950. Alvin D. McCurdy fonds, F2076-16-6. —Voice of the Fugitive, front page image, masthead, 12 March 1854. F 2076-16-935. —Unidentified black family, tintype, n.d., possibly 1850s; Alvin D. McCurdy fonds, F 2076-16-4-8. ASBURY THEOLOGICAL SEMINARY. Wilmore, Kentucky. Permission requests submitted. –“Slaves being sold at public auction,” illustration in Thomas Lewis Johnson, Twenty-Eight Years a Slave, or The Story of My Life in Three Continents, 1909, p. -
Lyrical Liberators Contents
LYRICAL LIBERATORS CONTENTS List of Illustrations xiii Acknowledgments xv Introduction 1 1. Calls for Action 18 2. The Murder of Elijah P. Lovejoy 41 3. Fugitive Slaves 47 4. The Assault on Senator Charles Sumner 108 5. John Brown and the Raid on Harpers Ferry 116 6. Slaves and Death 136 7. Slave Mothers 156 8. The South 170 9. Equality 213 10. Freedom 226 11. Atonement 252 12. Wartime 289 13. Emancipation, the Proclamation, and the Thirteenth Amendment 325 Notes 345 Works Cited 353 General Index 359 Index of Poem Titles 367 Index of Poets 371 xi INTRODUCTION he problematic issue of slavery would appear not to lend itself to po- etry, yet in truth nothing would have seemed more natural to nineteenth- T century Americans. Poetry meant many different things at the time—it was at once art form, popular entertainment, instructional medium, and forum for sociopolitical commentary. The poems that appeared in periodicals of the era are therefore integral to our understanding of how the populace felt about any issue of consequence. Writers seized on this uniquely persuasive genre to win readers over to their cause, and perhaps most memorable among them are the abolitionists. Antislavery activists turned to poetry so as to connect both emotionally and rationally with a wide audience on a regular basis. By speaking out on behalf of those who could not speak for themselves, their poems were one of the most effective means of bearing witness to, and thus also protesting, a reprehensible institution. These pleas for justice proved ef- fective by insisting on the right of freedom of speech at a time when it ap- peared to be in jeopardy. -
Howells and the Limits of Literary History Claudia Stokes Trinity University, [email protected]
Trinity University Digital Commons @ Trinity English Faculty Research English Department Spring 2008 In Defense of Genius: Howells and the Limits of Literary History Claudia Stokes Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/eng_faculty Part of the English Language and Literature Commons Repository Citation Stokes, C. (2008). In defense of genius: Howells and the limits of literary history. American Literary Realism, 40(3), 189-203. doi: 10.1353/alr.2008.0025 This Article is brought to you for free and open access by the English Department at Digital Commons @ Trinity. It has been accepted for inclusion in English Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. CLAUDIA STOKES In Defense of Genius: Howells and the Limits of Literary History In early 1886, William Dean Howells fell into an ugly public debate with the poet and critic Edmund Clarence Stedman. Carried out in the pages of Harper’s Monthly and the New Princeton Review, this dispute started as a disagreement about the origins of literary craftsmanship but quickly esca- lated into a heated epistemological squabble about the limits of historical knowledge. It began in March of that year, when Howells gave a mixed review to Stedman’s Poets of America (1885), a history of American poetry. Though Howells conceded the importance of Stedman’s contribution to the emerging discipline of American literary history, he openly mocked a few of Stedman’s claims: his prediction of an American poetry revival and his staunch belief in genius, a category of achievement Stedman used with great liberality. -
EDGAR ALLAN POE by James Russell Lowell the Situation Of
EDGAR ALLAN POE By James Russell Lowell THE situation of American literature is anomalous. It has no centre, or, if it have, it is like that of the sphere of Hermes. It is, divided into many systems, each revolving round its several suns, and often presenting to the rest only the faint glimmer of a milk-and-water way. Our capital city, unlike London or Paris, is not a great central heart from which life and vigor radiate to the extremities, but resembles more an isolated umbilicus stuck down as near a's may be to the centre of the land, and seeming rather to tell a legend of former usefulness than to serve any present need. Boston, New York, Philadelphia, each has its literature almost more distinct than those of the different dialects of Germany; and the Young Queen of the West has also one of her own, of which some articulate rumor barely has reached us dwellers by the Atlantic. Perhaps there is no task more difficult than the just criticism of contemporary literature. It is even more grateful to give praise where it is needed than where it is deserved, and friendship so often seduces the iron stylus of justice into a vague flourish, that she writes what seems rather like an epitaph than a criticism. Yet if praise be given 14 as an alms, we could not drop so poisonous a one into any man's hat. The critic's ink may suffer equally from too large an infusion of nutgalls or of sugar. But it is easier to be generous than to be just, and we might readily put faith in that fabulous direction to the hiding place of truth, did we judge from the amount of water which we usually find mixed with it. -
The Major Themes of William Cullen Bryant's Poetry
379 /14,8f? THE MAJOR THEMES OF WILLIAM CULLEN BRYANT'S POETRY THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Jesse Earl Todd, B. A., M. S. Denton, Texas December, 1989 Todd, Jesse Earl., The Major Themes of William Cullen Bryant's Poetry. Master of Arts (English), December, 1989, 103 pp., works cited, 58 titles. This thesis explores the major themes of William Cullen Bryant's poetry. Chapter II focuses on Bryant's poetic theory and secondary criticism of his theory. Chapter III addresses Bryant's religious beliefs, including death and immortality of the soul, and shows how these beliefs are illustrated by his poetry. A discussion of the American Indian is the subject of Chapter IV, concentrating on Bryant's use of the Indian as a Romantic ideal as well as his more realistic treatment of the Indian in The New York Evening Post. Chapter V, the keystone chapter, discusses Bryant's scientific knowledge and poetic use of natural phenomena. Bryant's religious beliefs and his belief in nature as a teacher are also covered in this chapter. TABLE OF CONTENTS Page Chapter I. INTRODUCTION... ......... II. BRYANT, THE POET.............................. 10 III. BRYANT'S VIEWS ON RELIGION, DEATH, AND THE IMMORTALITY OF THE SOUL .. .... 26 IV. BRYANT'S INDIAN POETRY... .. 54 V. BRYANT AND NATURE.. ..... ...... ... 66 VI. CONCLUSION .............. ... ... .... 93 WORKS CITED ........................................ 99 fi CHAPTER I INTRODUCTION William Cullen Bryant (1794-1878), whom Van Wyck Brooks referred to as "The Father of American Song," is known to us today primarily as a poet; however, in his time he was probably better known as the editor of The New York Evening Post since he served in that capacity for nearly fifty years and distinguished himself as a spokesman for political and social causes as well as the arts (Quinn, 146). -
James Russell Lowell - Poems
Classic Poetry Series James Russell Lowell - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive James Russell Lowell(22 February 1819 – 12 August 1891) James Russell Lowell was an American Romantic poet, critic, editor, and diplomat. He is associated with the Fireside Poets, a group of New England writers who were among the first American poets who rivaled the popularity of British poets. These poets usually used conventional forms and meters in their poetry, making them suitable for families entertaining at their fireside. Lowell graduated from Harvard College in 1838, despite his reputation as a troublemaker, and went on to earn a law degree from Harvard Law School. He published his first collection of poetry in 1841 and married Maria White in 1844. He and his wife had several children, though only one survived past childhood. The couple soon became involved in the movement to abolish slavery, with Lowell using poetry to express his anti-slavery views and taking a job in Philadelphia, Pennsylvania as the editor of an abolitionist newspaper. After moving back to Cambridge, Lowell was one of the founders of a journal called The Pioneer, which lasted only three issues. He gained notoriety in 1848 with the publication of A Fable for Critics, a book-length poem satirizing contemporary critics and poets. The same year, he published The Biglow Papers, which increased his fame. He would publish several other poetry collections and essay collections throughout his literary career. Maria White died in 1853, and Lowell accepted a professorship of languages at Harvard in 1854. -
203 N. Amity Street
http://knowingpoe.thinkport.org/ 203 N. Amity Street Content Overview In this interactive. students will take a virtual tour of the Edgar Allan Poe House and Museum located at 29 Amity Street, Baltimore. This outline includes all text on the tour. The activity also includes images. A special thanks to the Edgar Allan Poe House and Museum for authorizing this interactive tour. You might consider taking your class on a field trip to the “Poe House”. For more information: http://www.eapoe.org/balt/poehse.htm Intro Poe’s House at 203 N. Amity Street. Click on any of the highlighted rooms of the house (shown at left) to bring up a floorplan of the room. Then click on highlights in the room views shown below to see details. You may also see a larger version of any image by clicking on it at right. The Garret The About the According to most authorities, Poe lived in the garret, or attic, of the Garret Garret house on Amity Street. We don’t have any direct evidence of what kind of furniture Poe had in his room. However, scholars of the Edgar Allan Poe Society of Baltimore have recreated what the room probably looked like from records of other homes at the time. Though all the Poe house furniture has been long lost, the items in the room date to the 1830’s and are typical examples of what a poor family could have afforded. Roll over parts of the floor plan below to explore Poe’s bedroom at 3 Amity Street. -
Henry Wadsworth Longfellow
Henry Wadsworth Longfellow By Thomas Wentworth Higginson HENRY WADSWORTH LONGFELLOW CHAPTER I LONGFELLOW AS A CLASSIC THE death of Henry Wadsworth Longfellow made the first breach in that well- known group of poets which adorned Boston and its vicinity so long. The first to go was also the most widely famous. Emerson reached greater depths of thought; Whittier touched the problems of the nation’s life more deeply; Holmes came personally more before the public; Lowell was more brilliant and varied; but, taking the English-speaking world at large, it was Longfellow whose fame overshadowed all the others; he was also better known and more translated upon the continent of Europe than all the rest put together, and, indeed, than any other contemporary poet of the English-speaking race, at least if bibliographies afford any test. Add to this that his place of residence was so accessible and so historic, his personal demeanor so kindly, his life so open and transparent, that everything really conspired to give him the highest accessible degree of contemporary fame. There was no literary laurel that was not his, and he resolutely declined all other laurels; he had wealth and ease, children and grandchildren, health and a stainless conscience; he had also, in a peculiar degree, the blessings that belong to Shakespeare’s estimate of old age,—“honor, love, obedience, troops of friends.” Except for two great domestic bereavements, his life would have been one of absolutely unbroken sunshine; in his whole career he never encountered any serious rebuff, while such were his personal modesty and kindliness that no one could long regard him with envy or antagonism. -
Henry Wadsworth Longfellow Biography
Henry Wadsworth Longfellow Biography http://famouspoetsandpoems.com/poets/henry_wadsworth_longfel... HENRY WADSWORTH LONGFELLOW, whom Griswold describes as the greatest American poet, was born at Portland, Maine, February 27, 1807, and he died at Cambridge, Massachusetts, March 24, 1882. His father was of Puritan stock, and a lawyer by profession. He possessed the necessary wealth to give his children school opportunities. At the age of fourteen young Longfellow was sent to Bowdoin College, where he graduated at eighteen. He was a close student, as shown by the testimony of his classmate, the talented Nathaniel Hawthorne, also by the recollections of Mr. Packard, one of his teachers. These glimpses that we catch of the boy reveal a modest, refined, manly youth, devoted to study, of great personal charm, and gentle manners. It is the boy that the older man suggested. To look back upon him is to trace the broad and clear and beautiful river far up the green meadows to the limpid rill. His poetic taste and faculty were already Enlarge Picture apparent, and it is related that a version of an ode of Horace which he wrote in his Sophomore year so impressed one of the members of the examining board that when afterward a chair of modern languages was established in the college, he proposed as its incumbent the young Sophomore whose fluent verse he remembered. Before his name was suggested for the position of professor of modern languages at Bowdoin, he had studied law for a short time in his father's office. The position was gladly accepted, for the young poet seemed more at home in letters than in law.