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 STUDIES IN LONGFELLOW 
 
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 OUTLINES FOR SCHOOLS, CONVERSATION 
 CLASSES, AND HOME STUDY 
 
 W, C. GANNETT 
 
 HOUGHTON, MIFFLIN AND COMPANY 
 
 Boston : 4 Park Street ; New York : 11 East Seventeenth Street 
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Copyright, 1883, 
 
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 THESE OUTLINES. 
 
 S)l 
 h S 4 
 
 1 
 
 i 
 
 This is humble, almost mechanic, work, — cutting and 
 losing a part of the gem in order to show it in shining 
 sides. Yet such work gives a pleasure, and to others 
 besides the worker. A dozen or twenty friends often 
 plan to study together some favorite author. These 
 “ Outlines ” are meant to help such circles in school, 
 or in church, or in village, when they choose for their 
 author Longfellow. The outfit needed to use them 
 is, — 
 
 (1.) A copy of Longfellow’s “ Poems ” and of his 
 “ Christus,” each in the “ Household Edition.” The 
 page-references. are all to that edition. No edition ear- 
 lier than the latest of 1883 contains all the “ poems.” 
 The volume called “ Christus ” contains the “ Divine 
 Tragedy,” the “ Golden Legend,” and the two “New 
 England Tragedies ; ” and the page-references to these 
 dramas are given with their respective initials. (Hough- 
 ton, Mifflin & Co., Boston. Each $1.50.) 
 
 (2.) His prose-works are “ Outre-Mer ” and “ Hype- 
 rion” (each, in paper, 15 cts. ; bound, 40 cts.) and “ Kav- 
 anagh,” which contains also the “ Drift-Wood ” essays 
 ($1.50). “ Hyperion ” is frequently referred to by page. 
 The other two will be helpful, but not needful. (Hough- 
 ton, Mifflin & Co.) 
 
 (3.) G. L. Austin’s account is the best “Life” of 
 
 I 
 
 
 
 I 
 
iv 
 
 THESE OUTLINES . 
 
 Longfellow yet written. (Lee & Shepard, Boston. 
 $2.00.) W. S. Kennedy’s scrap-book, called “ H. W. 
 Longfellow : Biography, Anecdote, Letters, Criticism,” 
 is cheaper and more easily obtained, and it is this which 
 is constantly referred to in the Outlines as “ Life.” 
 (D. Lothrop Co., Boston. $1.25.) There is a third 
 sketch, by F. H. Underwood. (Houghton, Mifflin & Co., 
 Boston. $1.50.) 
 
 The quarto Illustrated Longfellow, “New Subscrip- 
 tion Edition,” holds all of his prose and poetry, with a 
 fine sketch of his life and writings, by O. B. Frothing- 
 ham, and several hundred illustrations. It will give real 
 aid as well as pleasure to a class that can afford a copy. 
 Forty-five parts, each 50 cts. For class purposes the 
 separate parts are better than bound volumes. (Hough- 
 ton, Mifflin & Co.) 
 
 Helpful criticism will be found in the following arti- 
 cles : — E. C. Stedman, in the “ Century ” for October, 
 1883 ; this the best yet. — Henry Norman, in the “ Liv- 
 ing Age,” No. 2015, for February 3, 1883. — W. D. 
 Howells, in the “ North American Review, ” vol. civ., for 
 April, 1867. — O. B. Frothingham, in the “ Atlantic ” for 
 June, 1882, and in the sketch just mentioned. — R. H. 
 Stoddard, an illustrated article in “ Scribner’s Monthly,” 
 vol. xvii., for November, 1878, reprinted in “ Homes 
 and Haunts of our (Six) Elder Poets.” (D. Appleton 
 & Co., New York. $5.00.) — G. E. Ellis, O. W. Holmes, 
 and C. E. Norton, in “ Tributes to Longfellow and Emer- 
 son ” by the Massachusetts Historical Society. (The J. G. 
 Cupples Co., 94 Boylston St., Boston. $1.50.) Parts of 
 this are in Kennedy’s “ Life.” — The “ Literary World ” 
 for February 26, 1881, a “Longfellow number,” offers 
 us many short articles about the Poet and his works 
 
THESE OUTLINES. 
 
 v 
 
 by different writers, and a valuable bibliography, - — the 
 latter reprinted in Kennedy’s “ Life.” (1 Somerset St., 
 Boston. 10 cts.) For further references see Poole’s 
 u Index,” and the useful “ Monthly Reference Lists ” 
 of the Providence Public Library for February, 1882. 
 (10 cts.) 
 
 A few words about the study-class itself, and its meth- 
 ods. Home-reading, by all the members, of all the poems 
 listed, in preparation for each meeting, will make the 
 meetings far more interesting. Without such home- 
 work the study will count for very little good ; with it, 
 besides the immediate good, pleasant reading-paths may 
 open in many directions from the poems outwards. At 
 each meeting two or three short papers or prepared 
 talks, with illustrative readings, might occupy one half 
 the time ; the other half should be secured, past betrayal, 
 for general conversation. Experience shows that the 
 careful study necessary for the papers will be recalled 
 by each writer as the best thing in the whole course to 
 him ; so all should bravely and earnestly take a turn. 
 But the success of a paper should be measured by its ca- 
 pacity of making conversation ; for on the conversation, 
 not on the papers, depends the chief enjoyment of the 
 meetings. Still more, then, should all take part in this, 
 each coming with full courage on, and a secret vow to 
 say something every time. Short papers and general 
 talk are the life, and long papers and long talkers are the 
 death, of a class. Another duty for each — being an- 
 other source of pleasure for all — is to read nobly what- 
 ever may be quoted from the Poet. It is a good plan to 
 nave a committee appointed to cast the papers and take 
 general charge of the meetings ; and it helps much to 
 print at the beginning the full programme of writers, sub- 
 
VI 
 
 THESE OUTLINES . 
 
 jects and dates. It is a good plan, too, for all, before 
 beginning, to date in their Index each group of the 
 Poems as published : tjie bibliography above referred to 
 gives the dates. 
 
 Finally, through all the study and the conversation it 
 should be remembered that criticism — which is not crit- 
 icism unless it be individual and frank — is only a means 
 to real appreciation and enjoyment of a noble author. 
 
 Similar but shorter outlines for the study of Holmes, 
 Bryant and Whittier, the three in one pamphlet, are for 
 sale at the office of Charles H. Kerr & Co., 175 Dear- 
 born St., Chicago. Price, 10 cts. 
 
 October , 1883 . 
 
 The preceding pages have been revised to date so far 
 as they relate to prices and to the names and addresses 
 of Publishers. Since the publication of these Outlines 
 there have appeared the following books of interest to 
 students of Longfellow. 
 
 Samuel Longfellow’s “ Life of Henry Wadsworth 
 Longfellow. With extracts from his Journal and Cor- 
 respondence.” (Houghton, Mifflin & Co., Boston. 3 
 vols. $6.00.) 
 
 E. C. Stedman’s “Poets of America,” containing the 
 Century article referred to on page iv. (Houghton, 
 Mifflin & Co. $2.25.) 
 
 Longfellow’s “ Complete Poetical and Prose Works.” 
 New Riverside Edition , from new electrotype plates. 
 In eleven volumes, crown 8vo. Volumes 1, 2. Prose 
 Works. Volumes 3—8. Poetical Works. Volumes 9- 
 11. Translation of Dante. (Houghton, Mifflin & Co. 
 $16.50. See page 47.) 
 
 June , 1887. 
 
♦ • INDEX. 
 
 ♦ — 
 
 PAGE 
 
 These Outlines: Study-Helps and Methods iii 
 
 I. The Man, his Home, and his Friends. 
 
 (1.) Cambridge . 9 
 
 (2.) The Home 10 
 
 (3.) His Friends 11 
 
 (4.) Among his Books 13 
 
 (5.) His Travels 14 
 
 (6.) From Boyhood to Old Age . . ' 15 
 
 II. Evangeline. 
 
 (1.) “ In the Acadian Land and the Exile .... 17 
 
 (2.) Evangeline 18 
 
 (3.) Nature in the Poem and the Poet 19 
 
 III. Hiawatha. 
 
 (1.) Sources of the Poem 20 
 
 (2.) Hiawatha . . . 20 
 
 (3.) Other Legends . 21 
 
 IV. The Puritans. Longfellow as Poet of American History. 
 
 (1.) The Courtship of Miles Standish 22 
 
 (2.) JohnEndicott 23 
 
 (3.) Giles Corey 24 
 
 (4.) Short Poems of our History 25 
 
 V. Medieval Legends. 
 
 (1.) The Golden Legend 26 
 
 (2.) Shorter Legends 29 
 
 VI. Seaside and Fireside. 
 
 (1.) The Building of the Ship 30 
 
 (2.) The Hanging of the Crane 31 
 
 (3.) Keramos 32 
 
 VII. God. 
 
 (1.) The Presence in Nature 33 
 
 (2.) The Eternal Goodness in History and Life .... 33 
 
 (3.) The Over-Soul within the Soul 34 
 
Vlll 
 
 INDEX. 
 
 VIII. Man. page 
 
 (1.) Character, — its Making . 35 
 
 (2.) Heroes and Saints 36 
 
 (3.) The Christ .37 
 
 (4.) The Immortal Life 38 
 
 IX. Brotherhood. 
 
 (1. ) With the Lowly and Oppressed 39 
 
 (2.) Peace on Earth . 39 
 
 (3.) The Universal Church 39 
 
 X. The Poet. His Inspiration and his Ministry. 
 
 (1.) Longfellow as Poet Laureate 41 
 
 (2.) As Poet Welcome . - „ . * 44 
 
 (3.) As Poet Familiar . . 45 
 
STUDIES IN LONGFELLOW 
 
 “ His gracious 'presence upon earth 
 Was as a fire upon a hearth ; 
 
 As pleasant songs , at morning sung , 
 
 The words that dropped from his sweet tongue 
 Strengthened our hearts ; or, heard at night, 
 Made all our slumbers soft and light. 
 
 Where is he?” 
 
 “ He has moved a little nearer 
 To the Master of all music. 
 
 To the Master of all singing I ” 
 
 I. 
 
 THE MAN, HIS HOME, AND HIS EEIENDS. 
 
 (1.) Cambridge. 
 
 “ The doors are all wide open; at the gate 
 The blossomed lilacs counterfeit a blaze , 
 
 And seem to warm the air ; a dreamy haze 
 Hangs o'er the Brighton meadows like a fate, 
 
 And on their margin, with sea-tides elate , 
 
 The flooded Charles , as in the happier days , 
 
 Writes the last letter of his name.” 
 
 
 PAGE 
 
 ( . 
 
 PAGE 
 
 To the River Charles . 
 
 . 38 
 
 Village Blacksmith . . . 
 
 36 
 
 It is not Always May . 
 
 . 37 
 
 From my Arm-Chair . . . 
 
 395 
 
 Bridge ....... 
 
 
 In Churchyard at Cambridge 
 
 214 
 
 Three Friends, IV., V. . 
 
 . 364 
 
 Herons of Elmwood . . . 
 
 372 
 
 Afternoon in February . 
 
 . 87 
 
 St. John’s, Cambridge . . . 
 
 384 
 
10 
 
 THE HOME. 
 
 Conversation . — Can you find the College anywhere 
 in the Poems ? Why, — is there no poetry about that ? 
 (See Hyperion, 60.) To see Longfellow as Professor, 
 look at Life, 42 ; and hear the Cambridge neighbors talk 
 about him, in Life, 156, 243, — and 234. For Village 
 Blacksmith, see Life, 192 ; and the story of the Arm- 
 Chair in Life, 118, 247. Other glimpses of Charles 
 River in Hyperion, 195-197, 294. Old Cambridge 
 charmingly described in Lowell’s “ Fireside Travels,” 
 and in Holmes’s “ Poet at the Breakfast Table, p. 11. 
 “ Elmwood ” is Lowell’s home, not far from Longfel- 
 low’s, on the way to Mount Auburn, that “ City of the 
 Dead ” (364), towards which the “ shadows pass ” (p. 
 87). 
 
 (2.) The Home. 
 
 1 1 Once , ah , once within these walls , 
 
 One whom memory oft recalls , 
 
 The Father of his Country dwelt." 
 
 “ Grave Alice, and laughing Allegra , 
 
 And Edith with golden hair." 
 
 PAGE 
 
 To a Child 82 
 
 Children ........ 224 
 
 Children’s Hour 225 
 
 Weariness 228 
 
 Castle-Builder . . . . . 229 
 
 To-morrow 321 
 
 Shadow 367 
 
 Footsteps op Angels ... 4 
 
 Resignation 129 
 
 Two Angels 215 
 
 See also “Among 
 
 page 
 
 Haunted Chamber .... 228 
 Old Clock on Stairs, etc. 
 
 89, 321, 383 
 
 From my Arm-Chair .... 395 
 
 Iron Pen 396 
 
 My Cathedral 400 
 
 Moonlight 409 
 
 Golden Mile-Stone .... 220 
 Song 379 
 
 Books,” p. 13. 
 
 Conversation . — “ The history of innumerable house- 
 holds ” in so many of these Home poems ! What won- 
 der they made their writer a people’s poet ! Have you 
 seen Read’s picture of the three girls ? Why are all 
 
HIS FRIENDS. 
 
 11 
 
 fathers and mothers, poets, — or are. n’t they; Home 
 and Children as sources of poetry, in old time and new. 
 
 To watch Longfellow with children, see Life, 122- 
 125, 173, 179, # 191, 241 ; and then, on 310, read Whit- 
 tier’s verses called “ The Poet and the Children.” Foot- 
 steps of Angels refers to his young wife, who died but 
 four years after their marriage ; and in Two Angels, the 
 “ friend ” was his neighbor, the poet Lowell, whose wife 
 died on the night when a child was born to Longfellow. 
 A, but not the , clock stands on his staircase-landing ; for 
 the clock, see Life, 71 ; the “ ship ” clock (383) is in his 
 study ; and listen to the other clocks in Poems, 299, 
 316, 408. The Iron Pen was given him at a garden- 
 party of school-girls, who had come to visit his house. 
 The romantic story of the old house has been often told, 
 as in Life, 46-54; in “ Scribner’s Monthly” for Nov., 
 1878 ; by G. W. Curtis, in “Homes of American Au- 
 thors ; ” and in Drake’s “ Historic Fields and Mansions 
 of Middlesex,” ch. 13. And now to call on the Poet in 
 his home, read Life, 172-180. Let us seat ourselves in 
 the study and look about : what poems, besides those 
 named, are in any way suggested ? 
 
 (3.) His Friends. 
 
 “ The noble three , 
 
 Who half my life were more than friends to me. 
 
 I most of all remember the divine 
 
 Something , that shone in them.” 
 
 PAGE PAGE 
 
 Gleam of the Sunshine . . 78 Three Friends (Felton, Agas- 
 
 Open Window 132 siz, Sumner) 364 
 
 Fiftieth Birthday (Agassiz) . 224 Herons of Elmwood (Lowell) 
 
 Noel (Agassiz) 323 216, 372 
 
 Hawthorne 319 In Churchyard at T. (Irving) 380 
 
 Charles Sumner . . . . . 358 Three Silences (Wliittier) . . 382 
 
12 
 
 HIS FRIENDS. 
 
 PAGE PAGE 
 
 Wapentake (Tennyson) . . . 385 Meeting . 229 
 
 Bayard Taylor . . . * . . 394 Memories 414 
 
 Burial of Poet (R. H. Dana) 401 
 
 Auf Wiedersehen (J. T. Fields) 405 Endymion. 36 
 
 From the French. .... 412 
 
 Dedication to Seaside and The Love-Poems in Hiawatha, 
 
 Fireside 121 Wayside Inn, Michael An- 
 
 Fere of Driftwood . . ‘ . . 129 gelo, etc. 
 
 Preludes and Interludes to Wayside Inn, 232-316. 
 
 The story-tellers around the fireside are said to be, — 
 
 Squire , Lyman Howe ; Student , H. W. Wales j Sicilian , Luigi Monti ; Theo- 
 logian, Prof. Treadwell ; Poet , T. W. Parsons ; Musician , Ole Bull ; Spanish 
 Jew , a Boston dealer in Oriental goods. 
 
 Conversation . — Longfellow’s lovableness : see Low- 
 ell’s u Fable for Critics,” p. 142, and bis “ To H. W. 
 L. Holmes’s “ To H. W. Longfellow ; ” and tributes of 
 other fellow-poets. Crayon portraits of Sumner, Emer- 
 son, Hawthorne, Felton, and himself, all as young men, 
 hang on his study-walls : trace what those five friends, 
 those five young heads, have done to shape American lit- 
 erature and fife ! For his early praise of Hawthorne, see 
 Drift-Wood, 115, — a book-notice, which thenceforth 
 bound the two classmates in close intimacy. A poet’s 
 two circles, — those whom' he knows, and those who 
 know him. He wrote many poems of friendship, many 
 of sympathy, many of love ; but any “ love-poems,” save 
 those in prose (Hyperion, Bk. III., IV.), or else trans- 
 lated ? 
 
 For the old Wayside Inn at Sudbury, and Longfel- 
 low’s poetic lease of it for the imaginary brotherhood, 
 see Drake’s “ Historic Fields and Mansions of Middle- 
 sex,” ch. 19, and “ Harper’s Monthly,” Sept., 1880 ; 
 also, T. W. Parsons’s opening poem in his “ Old House 
 at Sudbury.” There was a real fireside circle there of 
 some of these friends, but Ole Bull and the Jew and 
 Longfellow himself were not of it. 
 
AMONG HIS BOOKS. 
 
 13 
 
 (4.) Among His Books. 
 
 “ The love of learning , the sequestered nooks , 
 And all the sweet serenity of hooks.” 
 
 PAGE PAGE 
 
 Day is Done ...... 87 Keats 366 
 
 Wind over Chimney .... 320 Robert Burns 397 
 
 Travels by Fireside . , . 359 Dante 17, 91, 322, 435 
 
 To Old Danish Song-Book . 88 Michael Angelo . 368, 392, 415 
 
 Oliver Basselin 217 Hermes Trismegistus . . . 402 
 
 Chaucer 365 Translations 
 
 Shakespeare .... 365,409 23,93, 135,387-394, 412 
 
 Milton ......... 365 My Books 414 
 
 Conversation . — What English poets were living, and 
 what American authors were known, in 1833, when 
 Longfellow published his first little book of poetry, — 
 the Coplas de Manrique ? Margaret Fuller called his 
 early poems largely “ exotic.” “ Longfellow’s mission, 
 — the binding back of America to the Old World taste 
 and imagination. Our true rise of Poetry may be dated 
 from his method of exciting an interest in it,” — from a 
 light beyond the sea. . . . “A good borrower.” . . . 
 “ The world of books was to him the real world. If 
 he had been banished from his library, his imagination 
 would have been blind and deaf and silent.” (E. C. 
 Stedman.) Are there any great writers who are not 
 “ good borrowers ” ? Do you believe that that “ ban- 
 ishment” would have so unmade our Poet ? 
 
 For Longfellow’s study-paths, see the Wayside Inn 
 “ student,” p. 233, and the many sources of those Inn 
 tales ; also Hyperion, 87, 98, 296, and 37, 160, 247 ; 
 also Drift-Wood ; and his “ Poets and Poetry of Europe,” 
 translated from ten different languages. If no more, at 
 least look over his translation of Dante, with its wealth 
 of Notes and Essays. What two great Old World poems, 
 
14 
 
 HIS TRAVELS. 
 
 besides the Dante, have been translated by American 
 poets ? What four other “ collections ” of poetry have 
 been made by our elder poets ? For Longfellow’s special 
 influence on American literature, and his u binding us 
 back ” to Germany (as Irving to England ?), see Life, 
 33, 61, 261 ; Steelman’s article in the “ Century,” Oct., 
 1883, p. 926 ; also, his two articles in “ Scribner’s,” 
 Aug. and Oct., 1881, on the Rise of Poetry in America. 
 The other sense in which an Englishman wrote of Long- 
 fellow, as . 
 
 " The bard whose sweet songs, more than aught beside, 
 
 Have bound two worlds together.” 
 
 (5.) His Travels. 
 
 u In fancy I can hear again 
 The Alpine torrent's roar , 
 
 The mule-bells on the hills of Spain , 
 The sea at Elsinore. 
 
 “ I see the convent's gleaming trail 
 Rise from its groves of pine , 
 
 And toicers of old cathedrals tall, 
 And castles by the Rhine.” 
 
 PAGE 
 
 Cabillon 76 
 
 Belfry of Bruges .... 77 
 
 Nuremberg 79 
 
 Strasbueg . . G. L. 7-10, S3-S7 
 Black Forest . . G. L. 109-112 
 
 Switzerland . . G. L. 150-160 
 
 Genoa G. L. 166-172 
 
 To the Riyer Rhone . . . 382 
 
 PAGE 
 
 Castles in Spain 373 
 
 Travels by the Fireside . . 359 
 
 Cadenabbia 359 
 
 Monte Casino 360 
 
 Amat.fi 361 
 
 Florence. . 321, 368, 437, 45S-9 
 
 Venice 381 
 
 Rome 449-456, 460-1 
 
 Conversation . — The best picture among these ? Does 
 Art seem to have attracted Longfellow ? Nuremberg, 
 a poem to illustrate, verse by verse, with photographs. 
 Did the Poet find his own land so lovably picturesque ? 
 For ruins he had to take the stone walls of New Eng- 
 land! (See 142, 195, 246.) Does not the American 
 
FROM BOYHOOD TO OLD AGE . 
 
 15 
 
 find more poetry than the European, in the historic and 
 traditional? If yes, why? Books or travel, — which 
 educates one the more? For other reminiscences of 
 travel, see Outre-Mer (France, Spain, Italy), written af- 
 ter his first trip to Europe ; and Hyperion (the Rhine, 
 Tyrol, Switzerland), written after his second; and the 
 Swedish village-scenes in the Notes to Poems, p. 472. 
 “ A good thing when a romance (Hyperion) has a per- 
 manent place among the guide-books.” (T. W. Higgin- 
 son.) 
 
 (6.) From Boyhood to Old Age. 
 
 “ But to act , that each to-morrow 
 Find us farther than to-day .” 
 
 “ Not the sun that used to be, 
 
 Not the tides that used to run ! ” 
 
 My Lost Youth 
 Ropewalk 
 
 K^ramos (first and last 
 stanzas) 
 
 Parker Gleaveland (College) 
 Prelude to Voices op Night 
 
 Psalm op Life 
 
 Light op Stars 
 
 Rainy Day 
 
 Builders 
 
 Ladder op St. Augustine . 
 Something Left Undone . . 
 
 Weariness 
 
 Changed 
 
 See also “The Home,” p. 
 
 PAGE 
 
 219 
 
 220 
 
 368 
 381 
 . 1 
 . 2 
 . 3 
 . 37 
 130 
 212 
 
 227 
 
 228 
 229 
 
 Aftermath 
 
 Palingenesis .... 
 Bridge op Cloud . . . 
 Wind oyer Chimney 
 Divina Commedia (I.-V.) 
 Morituri Salutamus 
 Harvest Moon . . . 
 
 Holidays 
 
 Ultima Thule (Dedication) 
 
 Elegiac 
 
 Personal Poems .... 
 
 PAGE 
 
 . 231 
 . 317 
 . 318 
 . 320 
 . 322 
 . 354 
 . 382 
 . 385 
 . 394 
 . 398 
 413-4 
 
 His Last Words, Prophecies ! 415, 411 
 
 10, above ; and “The Poet,” p. 41 below. 
 
 Conversation . — Should you call him self-revealing, or 
 self-hiding, in his poems ? “A man of deep reserves.” 
 (C. E. Norton.) “ The hospitality (in his poems) that 
 invites the whole world home is exquisitely proud and 
 shy.” (W. D Howells.) Yet if you knew nothing of 
 
16 
 
 FROM BOYHOOD TO OLD AGE. 
 
 his nature or his literary life, what could you read of 
 each in his works ? And what in his face ? (See Life, 
 148.) In the poems, what inward struggles or tempta- 
 tions do you trace ? “Not man and poet, hut a poetical 
 man.” (0. B. Frothingham.) “Beautiful and ample 
 as the expression of himself was, it fell far short of the 
 truth. The man was more and better than the poet.” 
 For other hints about his early inner life, see Hyperion, 
 Bk. I., ch. 1, 3, 7, 8 ; Bk. II., ch. 10 ; Bk. III. ; Bk. 
 IV., ch. 8, 9 ; and the mottoes prefixed to Hyperion 
 (378) and Kavanagh. Hyperion is in some degree 
 based on fact: “Paul Flemming” is a shadow of the 
 Poet himself ; the first chapter refers to his young wife, 
 who died when they were abroad ; and “ Mary Ashbur- 
 ton” is the lady whom he afterwards married. The 
 translation of Dante was the work into which he bore 
 his second great sorrow, her death ; and in the passion- 
 ate series of Dante’s sonnets (p. 322), which made his 
 preludes to the three parts of the poem, do we not hear 
 an exquisite undertone as if from his own experience ? 
 (“ My burden,” “ agonies,” “ she stands before thee,” 
 “ benedictions.”) For a word about this sorrow, “ ever 
 abiding, but veiled,” and the still “ sweeter manhood ” 
 born of it, see Life, 56, and Lowell’s “ To H. W. L.,” 
 and perhaps Palingenesis and Bridge of Cloud, 317-8. 
 Serenity as a sign of strength : is it always that ? Is it 
 mainly the fruit of temperament or of victory ? When 
 does one begin to feel the “ change ” in sun and tide ? 
 Do poets (compare Wordsworth, Holmes, Whittier) feel 
 it more and earlier than others ? 
 
 For old Portland, see Life, 19-24. For his first boy- 
 poem in print, see Life, 254. Other boy -poems are 
 printed in Life, 335-352. These and the “ Earlier 
 
EVANGELINE . 
 
 17 
 
 Poems ” as published (Poems, p. 6) are largely about 
 Nature, and sound like Bryant. The Prelude to Voices 
 of the Night (p. 1) seems to mark a real change and 
 deepening of his poetic consciousness, — “ The land of 
 Song within thee lies,” — which gave us a new poet. 
 For personal origin of Psalm of Life, see Life, 181. For 
 origin of Morituri Salutamus, see Life, 107. Stedman 
 calls the poem “a model of its kind;” C. C. Everett 
 says, “ Perhaps the grandest hymn to Age ever written.” 
 Do you like it so well as they ? With Loss and Gain, 
 p. 413, compare Whittier’s “ My Triumph.” Note the 
 glad prophecy with which both of his last two poems 
 close! (Pp. 415, 411.) 
 
 Can you catch the echoes of his prose in his verse ? 
 e. g., with Prelude, p. 1, compare Hyperion, 78 ; with 
 Psalm of Life, and Wind over Chimney, compare Hype- 
 rion, 84-86 ; and Hyperion, 158, with Michael Angelo, 
 p. 467. 
 
 Can you find the lines chosen above as motto for our 
 Poet, — “ His gracious presence,” etc. ? Would you have 
 chosen those lines for motto, or four verses on p. 87 ; 
 or the passage on pp. 154-5; or nine lines on p. 233 ; 
 or sixteen on p. 234 ; or six on pp. 380-1 ; or four in 
 G. L. 7 6, or nine in G. L. 183-4 ; or still others ? How 
 many of these unconscious self-portraits there are ! 
 
 II. 
 
 EVANGELINE. 
 
 (1.) “In the Acadian Land:” ahd the Exile. 
 
 First Part (p. 95). 
 
 Conversation. — Which is the prettiest of these vil- 
 lage-scenes, — indoors, and out-of-doors? Was Acadian . 
 2 . 
 
i s 
 
 EVANGELINE. 
 
 life really so idyllic, and Puritan life comparatively 
 tragic, do you suppose ? If yes, what made the differ- 
 ence ? Facts and a poet, — is all the beauty which he 
 sees, in the facts ? Was there any possible justification 
 for the English atrocity ? 
 
 For the story, see Bancroft’s “ United States,” 1883 
 edit., vol. ii., 425-434. For the origin of the poem, see 
 Life, 73. For Acadie, see C. D. Warner’s “ Baddeck.” 
 The poem is published in a pamphlet, with notes, as 
 “ Riverside Literature Series,” No. 1. (Houghton, Mif- 
 flin & Co., Boston. 15 cts.) 
 
 The hexameter in English verse, — why so little used ? 
 Where else does Longfellow use it ? Who besides him 
 has used it ? May not that canto of “ Frithiof ’s Saga,” 
 translated in Drift-Wood, p. 74, have suggested the 
 Evangeline hexameters to him ? Does it fit well this 
 theme? “ The tranquil current of these brimming, 
 slow-moving, soul-satisfying lines.” Its “ mournfully 
 rolling cadence.” See p. 410 ; and what Lowell says 
 about it in “ Fable for Critics,” 142 ; and Stedman’s 
 article in the “ Century,” Oct., 1883, p. 931. 
 
 (2.) Evangeline. 
 
 Second Part (p. 107). 
 
 “ When she had passed, it seemed like the ceasing of exquisite music.” 
 
 “ Sat by some nameless grave , and thought that perhaps in its bosom 
 He was already at rest, and she longed to slumber beside him.” 
 
 Conversation . — Is the poem chiefly a character, a 
 story, or a series of beautiful pictures, to you ? Should 
 you call it an epic, an idyl, or a tragedy ? Is the maiden 
 herself, as a character, strongly outlined ? Does she re- 
 call any of Shakespeare’s heroines ? Can you see her 
 face, — does the poet show it ? Boughton’s picture, and 
 Faed’s, — which do you like best? Darley’s illustra^ 
 
EVANGELINE. 
 
 19 
 
 tions. Suppose you name the ten parts of the poem ; 
 and in each part choose your lines for a picture of Evan- 
 geline. Try to analyze the charm of the poem : why its 
 universal popularity? (e. g., six German translations, 
 three French, three Swedish, three Portuguese.) “ Evan- 
 geline, his master-piece among the longer poems,” says 
 Dr. Holmes ; and Howells adds, “ if not the best poem 
 of our age : ” say you so ? It is said to have been 
 Longfellow’s own favorite among his poems. Which lines 
 most cling to your memory, and what passages do you 
 love best ? Compare with it Goethe’s u Hermann and 
 Dorothea,” and Clough’s “ Bothie of Toper-na-Fuosich,” 
 
 — the former perhaps inspiring, the latter inspired by, 
 Evangeline. 
 
 (3.) Nature in the Poem and the Poet. 
 
 Conversation. — The finest landscapes in the whole 
 poem ? Can you tell which Longfellow had seen, from 
 those which he knew by books ? Had he seen any of 
 them ? Is “ word-painting ” chiefly the effect of sight, 
 or of imagination? Does he picture Nature vividly? 
 Does he give its repression or its impression ? Does he 
 love Nature for itself, or for what it symbolizes to him ? 
 (See Hyperion, 28, 163 ; also Life, 65, 178, 192, 265.) 
 What moves him most in Nature, — sky, sea, mountains, 
 forests, or fields ? And what aspect does he most feel, 
 
 — its gladness, beauty, peace, or strength ? Are not his 
 genre pictures (see also Miles Standish) much finer 
 than his landscapes, — and why ? Is it the noblest use 
 of landscape in art to treat it as background to human 
 figures ? Is Nature apt to intensify, or to change, your 
 mood? (See p. 114, and Kavanagh, ch. 1.) For other 
 pictures of the seasons (p. 98) see 5-7, 91, 382 ; Kava- 
 nagh, 67, 102, 133, 167 ; and Hyperion, 91, 195. 
 
20 
 
 HI A WAT HA. 
 
 III. 
 
 HIAWATHA. 
 
 “ Legends and traditions , 
 With the odors of the forest, 
 
 With the dew and damp of meadows, 
 With the curling smoke of wigwams , 
 With the rushing of great rivers .” 
 
 (1.) Sources of the Poem. 
 
 PAGE PAGE 
 
 Introduction 141 Peace-Pipe (I.) 142 
 
 Conversation . — Sketch the Civilizer and Saviour 
 myths in various races, — Osiris, Hercules, the Christ, 
 etc. For Hiawatha as confounded with the Hero-God 
 of Light, — “ the fundamental myth ” of many Indian 
 tribes, — see Brinton’s “ American Hero-Myths,” or ch. 
 6 of his u Myths of the New World.” For the Iro- 
 quois Hiawatha as the half-historic founder of the Five 
 Nations’ Confederacy, see Schoolcraft’s “ Hiawatha Le- 
 gends,” p. 188 (J. B. Lippincott & Co., Philadelphia) ; 
 or, better, Hale’s “ Lawgiver of the Stone Age,” in 
 “ Proceedings of Amer. Assoc, for Adv. of Science,” vol. 
 xxx., 1881. For the little Indian Pipe-Stone Quarry in 
 Minnesota, see “American Naturalist,” July, 1883. For 
 a general survey of Indians and their life, see Bancroft’s 
 “ United States,” 1883 edit., vol. ii., 86-136 ; also 
 Parkman’s “ Jesuits in North America,” pp. xix.~ 
 lxxxix. 
 
 (2.) Hiawatha. 
 
 Childhood (III.) . 146 
 
 Father and Son (IV.) 149 
 
 His Gifts to Men . 
 
 PAGE 
 
 Minnehaha . 
 
 PAGE 
 
 The Corn-Fields (V., XIII. ) 151, 170 
 
 ■ Meeting (IV. end) 
 
 ... 151 
 
 Sailing (VII.) . . . . 
 
 
 Wooing (X.). . . . 
 
 
 Fishing (VIII. ) . . . . 
 
 . . 157 
 
 Wedding Feast (XI.) 
 
 ... . 164 
 
 Healing (IX., XV.) . . 
 
 159, 174 
 
 The Ghosts (XIX. ) . 
 
 
 Picture-Writing (XIV.) . 
 
 . . 172 
 
 The Famine (XX.) . 
 
 . . .185 
 
 The White Man’s Foot (XXI.) . 186 
 
 Departure (XXII.) . . 189 
 
HIAWATHA. 
 
 21 
 
 Conversation. — What legends in other faiths akin 
 to some of these ? For the Indian sources of these 
 poems, see Schoolcraft’s “ Hiawatha Legends,” first pub- 
 lished in 1839 as “ Algic Researches : ” why did nobody 
 read “ Algic Researches,” and everybody read Hiawa- 
 tha ? (See Life, 84-7.) Ideal and real Indians. Long- 
 fellow’s Indian “none the less typical because ideal- 
 ized : ” can that be true ? Our “ Indian Problem.” A 
 nineteenth-century jpke, — “ The only good Indian is a 
 dead Indian ! ” See Mrs. H. H. Jackson’s “ Century of 
 Dishonor.” Read Longfellow’s Revenge of Rain-in-the- 
 Face, p. 375. The Falls of Minnehaha are on a tiny 
 stream near the Mississippi River, between St. Paul and 
 Minneapolis. 
 
 (3.) Other Legends. 
 
 PAGE PAGE 
 
 The Four Winds (II. ) . . .144 Pau-Puk-Keewis (XVI.) . . . 176 
 Hiawatha’s Friends Hunting op Pau-Puk-Keewis 
 
 (VI., XV., XVIII.) 154, 174, 182 (XVII.) 178 
 
 Son of the Evening Star 
 (XII.) . 167 
 
 Conversation. — Which three poems do you enjoy 
 most in the whole series ? For Longfellow’s other Indian 
 poems, see pp. 10, 85, 116, 288, 375. Compare Bryant’s 
 and Whittier’s Indian work : which of the three poets 
 is the most successful with the theme ? Is Hiawatha 
 a great poem ? “ The poet’s masterpiece,” say O. B. 
 
 Frothingham and English Mr. Trollope ; “ An example 
 of poetic power misapplied, — a weakening influence, on 
 American literature,” says H. Norman : and now what 
 say you? What makes its fascination? Longfellow’s 
 own fourfold answer in the Introduction. As to theme, 
 parallelisms, and metre, compare the Finnish “ Kalevala.” 
 (See Life, 87-90.) “ This monotonous time-beat,” is 
 
22 
 
 MILES STANDISH . 
 
 it not well fitted for telling these primitive legends ? 
 Indian, Norse, and Greek mythology, — try to charac- 
 terize each in a few words. Yesterday’s religion, — 
 to-day’s poetry : is that a law ? What, then, of to- 
 day’s religion ? As poetry thus increases, does religion 
 fade, or freshen ? 
 
 IV. 
 
 THE PURITANS. 
 
 LONGFELLOW AS POET OF AMERICAN HISTORY. 
 
 (1.) The Courtship of Miles Standish (p. 191). 
 
 “ Archly the maiden smiled , and, with eyes overrunning with laughter , 
 
 Said , in a tremulous voice , ‘ Why don't you speak for yourself , John ?'" 
 
 Conversation. — Puritans and Indians. Early rela- 
 tions with the Indians : are we as just to them as the 
 forefathers were ? Were the Pilgrims “ Puritans ” ? 
 The difference ? (See Bacon’s “ Genesis of the New Eng- 
 land Churches.”) Compare with Evangeline : which 
 is the stronger poem ? which the more interesting 
 maiden ? What think you of Priscilla’s application of 
 the Captain’s adage ? For another colonial maiden, and 
 her square-built courtship, read Elizabeth, p. 299. So 
 Longfellow wrote our three poems of old-time love, — 
 French, Pilgrim, and Quaker. Our Poet himself was 
 one of the results of Priscilla’s question, seven genera- 
 tions afterwards ; and the best blood of the other, the 
 Puritan, colony also ran in him. If of a New Eng- 
 land family, you almost certainly have “ Mayflower ” 
 blood in you : have you ever traced up the stream ? 
 Explain the Plymouth scenes, — the meeting-house, 
 
JOHN ENDICOTT. 
 
 23 
 
 psalm-book, terrible winter, graves on the hill, Indian 
 challenge, the Elder, the Captain, John Alden, his bull, 
 a Pilgrim’s home, etc. (See Banvard’s “ Plymouth and 
 the Pilgrims ; ” Drake’s “ Nooks and Corners of the 
 New England Coast,” ch. 17, 18.) Boughton’s pictures 
 of Pilgrim life, — “ Priscilla,” “ Return of the May- 
 flower,” “ On the Way to Meeting.” This poem is pub-, 
 lished in “ Riverside Literature Series ” in two forms, 
 — as No. 2, with notes ; as No. 3, cut and arranged for 
 private theatricals : each 15 cts. 
 
 (2.) John Endicott (N. E. T , p. 5). 
 
 “ Scourged in three towns ! ” 
 
 “ The pointed gable and the pent-house door , 
 
 The meeting-house with leaden-latticed panes , 
 
 The narrow thoroughfares , the crooked lanes." 
 
 Conversation . — Puritans and Quakers. Was the 
 Quaker spirit praiseworthy ? The view then, and the 
 view now. State the case, as well as you can, for each 
 party. The lesson from this conflict of consciences. The 
 tenderness-in-sternness of the Puritan. Do you not feel 
 sympathy with Endicott as well as reverence for the 
 Quakers ? Compare Whittier’s poems on the same 
 theme, “ Cassandra Southwick,” “ In the Old South 
 Church,” “ The King’s Missive,” etc. See Hallowell’s 
 “ Quaker Invasion of Massachusetts ; ” and for a gen- 
 eral sketch of the Quaker history and doctrines, see Ban* 
 croft’s “ United States,” 1883 edition, vol. i. 528-51. 
 
24 
 
 GILES COREY. 
 
 (3.) Giles Corey (N. E. T., p. 99). 
 
 “ The common madness of the time , 
 
 When, in all lands that lie within the sound 
 Of Sabbath bells , a Witch was burned or drowned 
 
 Conversation . — Puritans and Witches. The origin 
 of the belief in witches ; its connection with the Bible 
 and with modern Spiritualism. State the case for the 
 Puritans : the witches, victims of the Puritans, — and 
 the Puritans, “ victims of their own times.” Did the 
 “ witches ” themselves believe in witchcraft ? Suppose 
 you had lived in the seventeenth century, would you not, 
 on the whole, have chosen to be a Puritan ? and if so, 
 would you not have believed in witches ? and if so, what 
 would you have said in Salem in 1692 ? The lesson of 
 this tragedy. (See Lecky’s “ Rationalism in Europe,” 
 ch. 1. ; Lowell’s “ Among My Books ; ” Upham’s “ Sar 
 lem Witchcraft.”) Compare Whittier’s poems, “ Proph- 
 ecy of Samuel Sewall,” “ Witch’s Daughter,” etc. Was 
 it worth while to write these two tragedies ? See the 
 Poet’s motives hinted in his Prologues. As dramas, are 
 they successful ? 
 
 The Puritan element in American life, — its good and 
 its harm ; its prose and its poetry ; its earnestness and 
 its quaintness. (See Lowell’s essay “New England Two 
 Centuries ago ” in “ Among my Books.”) Compare 
 Longfellow’s three pictures of Puritan life — its sun- 
 shine and its gloom — with Hawthorne’s pictures of the 
 same life. An article on “The Puritan Element in 
 Longfellow,” in “ Living Age,” No. 2002. 
 
25 
 
 SHORT POEMS OF OUR HISTORY, 
 
 (4.) Short Poems of our History. 
 
 4 ‘ Our hearts , our hopes , are all with thee ! 
 
 Our hearts , our hopes , our prayers, our tears , 
 Our faith triumphant o'er our fears, 
 
 Are all with thee, — are all with thee ! ” 
 
 PAGE 
 
 Skeleton in Armor. ... 25 
 
 Baron of St. Castine . . . 288 
 Rhyme of Sir Christopher . 314 
 
 Eliot’s Oak 381 
 
 Lady Wentworth .... 283 
 Ballad of French Fleet . 376 
 Paul Revere’s Ride . . . 235 
 To Driving Cloud .... 85 
 
 Slave in Dismal Swamp . . 42 
 
 Slave Singing 42 
 
 Quadroon Girl 43 
 
 PAGE 
 
 Warning 44 
 
 Cumberland ...... 226 
 
 Christmas Bells 319 
 
 Killed at the Ford . . , 321 
 
 Nameless Grave 367 
 
 Decoration Day 408 
 
 Revenge of Rain-in-the-Face 375 
 
 Boston 383 
 
 President Garfield . , . 408 
 — 
 
 Building of Ship (close) . . 126 
 
 Conversation . — What makes a nation’s history ro- 
 mantic? Is ours rich, or poor, in themes for poets? 
 For Longfellow’s own answer, see Drift-Wood, 120. 
 Compare Longfellow, Lowell, and Whittier, as poets of 
 our history. Longfellow’s “ playful freedom with dates 
 and facts ” (G. E. Ellis) : can you point to any in- 
 stances ? His poems of Anti-Slavery, — so strong, but 
 why so few, and all so early ? Was it from a love of 
 Peace, stronger than a hatred of Oppression ? Which 
 ought to have been the stronger ? Does Charles Sum- 
 ner’s life-long friendship guarantee the poet right in this 
 matter ? Patriotism and Culture : the more cosmopol- 
 itan, the less patriotic, — is that a rule ? “ His intense 
 
 nationality ; ” “ He seemed to foreigners the American 
 Laureate ; ” “ He is now said to have been the least na- 
 tional of our poets.” Not national, but simply human : 
 — which judgment is right? For his own thought about 
 “ nationality and universality in literature,” see Poems, 
 
26 
 
 GOLDEN LEGEND. 
 
 p. 313 ; and Kavanagh, pp. 117-20 ; and “ North 
 American Review,” xxxiv. 69-78. 
 
 For origin of Skeleton in Armor, see Life, 237, 182, 
 235. See how different the “ Voyage to Vinland” be- 
 comes in Lowell’s Poems. For Norsemen in America, 
 see Bryant’s “ United States,” vol. i. 35-63 ; or Ander- 
 son’s “ America not Discovered by Columbus.” Has 
 Enceladus, p. 226, any under-meaning, like the Warn- 
 ing ? Had Paul Revere’s Ride, written in Jan., 1861, 
 an under-thought? For the Ride, see Frothingham’s 
 Ci Siege of Boston,” pp. 51-59 ; and compare other fa- 
 mous Rides, — “ Sheridan’s Ride,” by Buchanan Read, 
 and Browning’s “ How they Brought the Good News 
 fi»om Ghent to Aix ; ” and see p. 377. For Nameless 
 Grave, see Life, 222 ; and for the Garfield sonnet, Life, 
 152. The close of Building of Ship came to Longfel- 
 low while he and Sumner were talking together during 
 the excitement over the Fugitive Slave Law. Compare 
 it with Horace, Bk. I., Ode XIV. ; also Holmes’s “ Old 
 Ironsides.” 
 
 V. 
 
 MEDIAEVAL LEGENDS. 
 (1.) The Golden Legend. 
 
 * ‘ O beauty of holiness , 
 
 Of self-forgetfulness , of lowliness 1 
 The deed divine 
 
 Is written in characters of gold , 
 That never shall grow old.” 
 
 The poem might be cut, arranged, and cast for an 
 evening’s dramatic reading, with pauses between the 
 parts to explain historical allusions and to enjoy the 
 
GOLDEN LEGEND . 
 
 27 
 
 similes, — some of them little poems in themselves : 
 such allusions as will be found on pages 18, 27, 32, 38, 
 42, 44, 49, 85, 114, 133, 138, 150, 154, 161, 171, 173, 
 174, 177, 179, 180, 192 ; such similes as those on pages 
 30, 31, 62, 70, 71, 73, 76, 109, 110, 113, 121, 123, 124 
 127, 153, 159, 165, 166, 168, 169, 193. 
 
 Or another way : Let some one sketch the legend and 
 its sources ; another tell how miracle-plays rose and 
 grew into our modern drama, and describe the Passion 
 Play at Ober-Ammergau ; another speak of the great 
 Schools of the ll-14th centuries ; another read a little 
 paper on the Lucifers of literature ; another be ready 
 with views of Strasburg Cathedral and Holbein’s “ Dance 
 of Death,” and of convent scenes : and illustrate all by 
 readings from Longfellow thus using the poem as a 
 series of pictures of mediaeval life, e. < 7 ., — 
 
 Cathedral . . . 
 
 PAGE 
 
 . 7, 74, 83-7 
 
 Refectory 
 
 PAGE 
 
 . 129 
 
 Confessional . . . 
 
 .... 55 
 
 The Penitent 
 
 . 126 
 
 Preaching . . . 
 
 .... 81 
 
 Jolly Friars .... 
 
 129-40 
 
 Miracle-Play . . . 
 
 .... 89 
 
 Nunnery 
 
 . 141 
 
 Madonna .... 
 
 . . 164, 188 
 
 Castle 
 
 25, 30 
 
 Relics, Images . . 
 
 108, 164, 188 
 
 Minnesinger and Crusader 
 
 
 Pilgrims .... 
 
 
 30, 75-8, 142-6, 194 
 
 Dance of Death . 
 
 . . . 150-4 
 
 Scholastics 
 
 
 Convent Life : — 
 
 
 Physicians , . . . 17, 
 
 28, 176 
 
 Cellar .... 
 
 
 Reformers, — Luther, p. ix 
 
 . of 
 
 Scriptorium . . 
 
 .... 118 
 
 “ Second Interlude.” 
 
 
 Cloisters . . . 
 
 .... 121 
 
 
 
 Conversation. 
 
 — Is Elsie 
 
 a real girl to you ? 
 
 Elsie ! 
 
 motive, — did it differ in any way from Evangeline’s ? 
 Notice how much alike in substance, and even in form, 
 the two poems are, in spite of all differences. The 
 meaning of the Legend ? (pp. 197-204.) Which of 
 the two poems best illustrates lines 16, 17, of Evange- 
 line ? Why ? Which do you enjoy the more on the first 
 
28 
 
 GOLDEN LEGEND . 
 
 reading ? Which one keeps growing on you at the 
 third? The Christ (p. 89), Elsie, and her parents, as 
 types of self-sacrifice : its all-conquering power. What is 
 the secret in all 44 vicarious atonements ” ? and what its 
 connection with the other secret of self-sacrifice, in Matt 
 xxiii. 12 ? Do you rank the Legend high as a drama ? 
 Compare it with Goethe’s 4 4 Faust.” 
 
 The shadow of Death that seems to haunt the poem 
 and the Middle Ages ( e . #., see p. 150), — whence came 
 it ? The all-pervading mediaeval belief in the Devil, — 
 whence came that, and what came of it ? Compare Mil- 
 ton’s and Goethe’s Satans with Longfellow’s. The last, 
 44 the least devilish Devil ever conceived : ” could our 
 Longfellow have drawn a worse one ? Is the Devil 
 handsome, or ugly? Is the Devil dead? Yesterday’s 
 horror, — to-day’s joke. Is Lucifer’s argument (p. 64) 
 the argument by which hunters justify their sport ? 
 Why not miracle-plays now, if then ? and in New York, 
 if in Ober-Ammergau ? If miracle-carols, why not mir- 
 acle-plays, at Christmas ? For a fine prose-setting to 
 Longfellow’s miracle-play read the Christmas chapter in 
 Symonds’s 44 Sketches in Southern Europe,” vol. i. 
 
 What is Longfellow’s thought in linking the Divine 
 Tragedy, the Golden Legend, and the New England 
 Tragedies together into Christus, a Mystery ? Do the 
 Introitus and Interludes explain it ? Does not the 
 Finale? The thought in an early form dates hack in 
 his Journal to 1841. Who was the Abbot Joachim 
 of the first Interlude (p. 153), and how much truth 
 is there in his idea of 44 Three Ages”? (See Nean- 
 der’s 44 Church History,” vol. iv. 220-232 ; or Milman’s 
 44 Latin Christianity,” vii. 29.) . Roman Catholicism and 
 Puritanism, — which appears to the better advantage in 
 
MEDIAEVAL LEGENDS . 
 
 29 
 
 Christus ? Is each fairly represented ? Suggest a fourth 
 poem to represent to-day's religion and complete the 
 Christus. Would Lowell's “ Cathedral " answer ? But 
 would not the “ Finale " still be that which Longfellow 
 has written ? (N. E. T., pp. 184-6.) 
 
 (2.) Shorter Legends. 
 
 “ Old legends of the monkish page, 
 
 Traditions of the saint and sage , 
 
 Tales that have the rime of age, 
 
 And chronicles of eld.” 
 
 PAGE 
 
 
 PAGE 
 
 Saga of King Olaf : — 
 
 
 Torquemada .... 
 
 
 i. Challenge of Thor . . 
 
 246 
 
 Kambalu 
 
 
 ii. Olaf’s Return . . . . 
 
 247 
 
 Cobbler of Hagenau 
 
 . . .277 
 
 y. Skerry of Shrieks . ' . 
 
 249 
 
 Legend Beautiful 
 
 ... 286 
 
 ' vi. Wraith of Odin . . . 
 
 250 
 
 Charlemagne . . . 
 
 ... 294 
 
 ix. Thangbrand the Priest 
 
 253 
 
 Emma and Eginhard. 
 
 . . .295 
 
 xii. Olaf’s Christmas . . 
 
 255 
 
 Monk of Casal-Maggiore . . 304 
 
 xiil, xiv. Long Serpent 256, 
 
 257 
 
 SCANDERBEG .... 
 
 . . .309 
 
 xxi. Olaf’s Death-Drink . 
 
 262 
 
 “In Mediaeval Rome” . . . 357 
 
 xxii. Nun of Nidaros . 
 
 262 
 
 Dutch Picture . . . 
 
 
 Tegn^r’s Drapa 
 
 133 
 
 Leap of Roushan Beg 
 
 . . .377 
 
 Skeleton in Armor .... 
 
 25 
 
 Children’s Crusade . 
 
 . . .406 
 
 Norman Baron 
 
 80 
 
 Monk Felix .... 
 
 . G. L. 32 
 
 King Witlaf’s Drinking-Horn 132 
 
 Christ and Sultan’s 
 
 Daugh- 
 
 Falcon of Ser Federigo . . 
 
 237 
 
 TER . 1 
 
 G. L. 38 
 
 King Robert of Sicily . . . 
 
 243 
 
 
 
 Conversation . — Does Longfellow know the art of 
 story-telling ? Has he written true “ ballads ” ? What 
 is a u ballad " ? What makes it so difficult for a modern 
 poet to write one ? The most spirited of these stories ? 
 Compare the “ Wayside Inn” series with Boccaccio's 
 “ Decamaron,” Chaucer's “ Canterbury Tales,” Morris’s 
 “ Earthly Paradise.” 
 
 Olaf's Saga: its source the old Icelandic “Heims- 
 kringla,” for which see Laing’s “ Sea-Kings of Norway.” 
 Are the metres adapted to the action in the different 
 
30 
 
 BUILDING OF THE SHIP. 
 
 ballads ? Compare the “ Frithiof’s Saga ” in Drift- 
 W ood, p. 53 : may not that poem — its theme and its 
 different metres — have suggested to Longfellow his ? 
 Compare this spread of Christianity in northern Europe 
 with the spread of Mahommedanism in northern Africa. 
 (See Neander’s “ Church History,” vol. iii. 293-307 ; 
 and Milman’s “ Latin Christianity,” vol. ii. 150-171.) 
 
 “ Force rules the world still,” — “ The law of force is 
 dead : ” which is right, Thor or Tegner ? With Tegner’s 
 Drapa compare Matthew Arnold’s “ Balder Dead ; ” and 
 read the story in Cox’s “ Romances of the Middle Ages,” 
 p. 374. For King Robert of Sicily, see Life, 92, 183; 
 and compare Browning’s “ Boy and Angel.” 
 
 VI. 
 
 SEASIDE AND FIRESIDE 
 (1.) The Building of the Ship (p. 122). 
 
 “ Silent , majestical and slow, 
 
 The white ships haunt it to and fro.” 
 
 “ My soul is full of longing 
 For the secret of the sea, 
 
 And the heart of the great ocean 
 Sends a thrilling pulse through me.” 
 
 Conversation . — The theme fascinates Longfellow, — ■ 
 see pp. 156, 256 : is it a memory of boyhood days in 
 Portland? Notice the building of the poem itself, — 
 three poems in one. Compare Schiller’s u Song of the 
 Bell,” and his three in one. “ Longfellow not a poet of 
 Nature,” unless, perhaps, “ justly called by eminence our 
 poet of the Sea : ” is Mr. Stedman right in these two 
 judgments ? For other poems of the Sea, see 
 
HANGING OF THE CRANE. 
 
 Sea-Weed 
 
 PAGE 
 
 Elegiac 
 
 
 PAGE 
 
 Chrysaor 
 
 
 Tide Rises, Tide Falls . 
 
 
 . 400 
 
 Secret of the Sea .... 
 
 
 Becalmed . . . . . 
 
 
 
 Twilight 
 
 
 City and Sea .... 
 
 
 
 Lighthouse 
 
 
 Elegiac Verse, I., VI. . 
 
 
 . 409 
 
 Fire of Drift-Wood . . . 
 
 . 129 
 
 Wreck of the Hesperus . 
 
 
 . 27 
 
 Palingenesis 
 
 . 317 
 
 Sir Humphrey Gilbert . 
 
 
 . 127 
 
 Bells of Lynn 
 
 . 320 
 
 Phantom Ship .... 
 
 
 . 212 
 
 Milton 
 
 . 365 
 
 Discoverer of North Cape 
 
 
 . 222 
 
 Sound of the Sea .... 
 
 . 366 
 
 Ballad of Carmilhan . . 
 
 
 . 280 
 
 Summer Day by the Sea 
 
 . 366 
 
 Ballad of French Fleet . 
 
 
 . 376 
 
 Tides 
 
 . 367 
 
 Golden Legend .... 
 
 
 166-8 
 
 Dedication to Ultima Thule 
 
 . 394 
 
 John Endicott .... 
 
 
 
 On the other hand, there are few mountain-glimpses : 
 can you find any except on pp. 8, 115, 119, 348, 405, 
 464 ; G. L., 30, 157 ; Hyperion, 201, 261 ? For the ori- 
 gin of Wreck of the Hesperus, see Life, 197. For Sir 
 Humphrey Gilbert, see Bancroft’s “ United States,” vol. 
 i. 66-9. If, as is said, Longfellow and Bayard Taylor 
 agreed in liking Chrysaor best of the shorter poems, can 
 you agree with them ? 
 
 (2.) The Hanging of the Crane (p. 852). 
 
 “ Of love, that says not mine and thine, 
 
 But ours, for ours is thine and mine.” 
 
 Conversation. — “ Pendre la cremaillere ” is the 
 French for “ house-warming.” The dearest picture of 
 these six ? For other poems of Home, see p. 10, above. 
 Is not Longfellow, by eminence, our poet of the Home, 
 also ? What does he lack to be the poet of home-life ? 
 With the serial structure of this poem compare his Bain 
 in Summer, p. 81 ; Sand of the Desert, p. 130 ; Rope- 
 walk, p. 220 ; the close of Matthew Arnold’s “ Strayed 
 Reveller ; ” and Bryant, with whom it was a favorite 
 form. $4000 said to have been paid Longfellow for 
 this poem : see Life, 236, 106. It is a good poem to 
 be presented in tableaux. 
 
32 
 
 Kti RAMOS. 
 
 (3.) Keramos (p. 368). 
 
 “ Vases and urns and bas-reliefs , 
 
 Memorials of forgotten griefs 
 
 “ The tiles that in our nurseries 
 Filled us with wonder and delight , 
 
 Or haunted us in dreams at nighty 
 
 Conversation . — See Life, 110-12. A keramical hour, 
 or evening, might be planned, each one bringing what 
 pottery he can to illustrate the poem, and three or four 
 persons reading short papers on the art ; tell about Pa- 
 lissy and Della Robbia, the story of your “nursery 
 tiles” (see p. 82), and of “that solitary man,” etc. 
 Read Keats’s “ Ode on a Grecian Urn ; ” and with the 
 potter’s song compare Robert Browning’s “ Rabbi Ben 
 Ezra ” (last ten verses), and the pot-talk of old Omar 
 Khayyam ; Longfellow’s own Drinking Song, p. 89 ; and 
 read, as somewhat akin to all this, his fiery Casting of 
 the Statue, p. 459. Talk over the lines, “ Art is the 
 child of Nature,” to see how far they apply to the sev- 
 eral arts. The “ Longfellow Jug,” commemorating the 
 Poet and this poem, is sold by Richard Briggs, 287 Wash- 
 ington St., Boston ; price, including expressage to any 
 place, $5.00. See its description in “Literary World,” 
 Feb. 26, 1881, p. 86. This poem a fine one to illustrate, 
 scene by scene, with photographs. 
 
GOD IN NATURE AND HISTORY. S3 
 
 VII. 
 
 GOD. 
 
 (1.) The Presence in Nature. 
 
 “ Into the blithe and breathing air, 
 
 Into the solemn wood , 
 
 Solemn and silent everywhere / 
 
 Nature with folded hands seemed there , 
 Kneeling at her evening prayer ! 
 
 Like one in prayer I stood.” 
 
 PAGE 
 
 Prelude to Voices .... 1 
 
 Hymn to Night 2 
 
 Flowers 4 
 
 Spirit op Poetry .... 9 
 
 L’Enyoi 25 
 
 “While Evangeline ” . . 114 
 
 Day op Sunshine .... 227 
 Wayside Inn, Prelude III. . 292 
 
 PAGE 
 
 Wanderer’s Night-Songs. . 340 
 
 Masque op Pandora . . 348-9 
 
 St. John’s, Cambridge . . . 384 
 
 Old St. David’s 398 
 
 My Cathedral 400 
 
 Night 401 
 
 “ The Night ” . . G. L. 43, 168 
 
 (2.) The Eternal Goodness in History and Life. 
 
 “ Love is the root of creation ; God's essence ; worlds without number 
 Lie in his bosom like children.” 
 
 “ It is Lucifer, 
 
 The son of mystery ; 
 
 And since God suffers him to be, 
 
 He, too, is God's minister, 
 
 And labors for some good 
 By us not understood / ” 
 
 “ Time has laid his hand 
 Upon my heart, gently , not smiting it, 
 
 But as a harper lays his open palm 
 Upon his harp, to deaden its vibrations.” 
 
 PAGE 
 
 Children op Lord’s Supper 32-3 
 
 Rainy Day 37 
 
 “God is Just” 100 
 
 “ The 'Creator ” 143 
 
 Two Angels 215 
 
 Nun op Nidaros 262 
 
 Christmas Bells 319 
 
 Palingenesis 317 
 
 To-morrow . ..... 321 
 
 Shadow 
 
 PAGE 
 
 Nature . 
 
 . 380 
 
 K^ramos (Potter’s Song) . 
 
 . 368 
 
 “This life of ours” 
 
 D. T. 22 ; G. L. 109-10, 124 
 Retribution . 94, 346, 351, 399 ; 
 
 ' G. L. 66, 79, 182, 197-200 
 Abbot Joachim . . D. T. 155-9 
 St. John ... N. E. T. 183-6 
 
 3 
 
34 
 
 THE OVER-SOUL WITHIN THE SOUL. 
 
 (3.) The Over-Soul within the Soul. 
 
 “ As the flowing of the ocean fills 
 Each creek and branch thereof , and then retires , 
 Leaving behind a sweet and wholesome savor ; 
 
 So doth the virtue and the life of God 
 Flow evermore into the hearts of those 
 Whom he hath made partakers of his nature 
 
 PAGE PAGE 
 
 Children op Lord’s Supper 29-35 Sound op Sea 366 
 
 Evangeline (compass-flower) 118 Three Silences 382 
 
 Hiawatha (“Ye whose ”) . 142 “Count Hugo once” . G. L. 127 
 
 Sandalphon 225 “This happened” . G. L. 147-8 
 
 Giotto’s Tower 321 “ As the plowing ” N. E. T. 20-1 
 
 Divtna Commedia, I. . . . 322 “On the First Day” N. E. T. 50 
 
 Santa Teresa’s Book-Mark . 340 
 
 Conversation . — Has Longfellow a deep sense of the 
 mystery of Nature? or any sense of it as Fate? Does 
 it seem to put many questions to him ? History and lit- 
 erature are full of poems for him, — but does Science 
 sing “ rhymes of the universe ” to him, as to Tennyson 
 and Emerson? (See Kavanagh, ch. 4, for a poet’s 
 mathematics ! Yet see Poems, 415, 456, etc., and recall 
 his friendship with Agassiz, 224.) Does Science deepen 
 Poetry and Religion, and is the best of both to come ? 
 or does Science quench them both ? 
 
 Has Longfellow given us any good hymns ? What 
 makes a real hymn ? The better poem, the worse hymn, 
 — is that true by necessity ? Why true so generally, 
 then ? Can you turn, in his poems, to many passages 
 of trust and worship ? To any of questioning and doubt ? 
 Does he often name the name “ God ” ? Yet can we 
 call him other than a “ religious ” poet ? Wherein, then, 
 does his religiousness show itself ? Compare with Whit- 
 tier : how is it that one has furnished so many songs 
 
CHARACTER , — ITS MAKING. 
 
 35 
 
 and almost no hymns, and the other so many hymns and 
 almost no songs ? Do you know the 16 real ” hymns by 
 the Poet’s brother, Samuel Longfellow ? (p. 135.) 
 
 Can you make out from the poems the Poet’s 
 “ church ” ? (Life, 162-3, 258.) For his church-going, 
 see Poems, 78, 384, 398, 400. For his “ minister,” see 
 Kavanagh, ch. 18, 19. What of that faith in Lucifer, 
 G. L., 200 ? Is not Longfellow, “ by eminence ” again, 
 our poet of the Night ? Add to those named above 
 his other poems about its calm, its voices, its stars, and 
 see how noble a group they make, — to match those of 
 the Sea, p. 31, above. 
 
 VIII. 
 
 MAN. 
 
 ( 1 .) 
 
 Character, — its Making. 
 
 “ Act, — act in the living present ! 
 
 Heart within , and God' overhead! ” 
 
 “ Know how sublime a thing it is 
 To suffer and be strong .” 
 
 “ But wanting still the glory of the spire.” 
 
 PAGE 
 
 Psalm op Life 2 
 
 Light of Stars 3 
 
 Excelsior 40 
 
 Builders 130 
 
 Ladder of St. Augustine . . 212 
 
 Goblet of Life 39 
 
 Maidenhood 39 
 
 Building of the Ship (“He 
 
 knew”) 125 
 
 Hiawatha (V.) 151 
 
 Something Left Undone . . 227 
 King Robert of Sicily . . . 243 
 
 Wind over Chimney ..... 320 
 Giotto’s Tower . . . . . 321 
 
 PAGE 
 
 Two Rivers 383 
 
 Sifting of Peter 399 
 
 Windmill 400 
 
 Sundown . 407 
 
 Loss and Gain 413 
 
 Forgiveness . 33, 104 ; G. L. 128 
 Temptation Resisted 
 
 342-4; D. T. 13, 76, 117 
 Temptation Yielded to 
 
 344-50 ; G. L. 20-4, 61-8 
 Penitence 
 
 D. T. 42, 136 ; G. L. 60, 127-8 
 Retribution. — See above, under 
 “Eternal Goodness.” 
 
86 
 
 HEROES AND SAINTS . 
 
 Conversation. — What made the young poet’s first 
 cluster of poems become such “ household words ” ? The 
 most stirring verse to you in each of the first five poems ? 
 (For the origin, etc., of the first three, see Life, 181-2, 
 64.) Is the Psalm of Life merely “ a clever marshaling 
 and burnishing of commonplaces ” ? Compare with it 
 Hyperion, 24-30, 85, 379-81, and the closing chapter 
 of Kavanagh. Longfellow’s own explanation of Excel- 
 sior, in Life, 202 : do the lines retain their popularity ? 
 For Maidenhood, see Life, 224. Is the last verse of 
 Wind over Chimney true for most workers ? Giotto’s 
 Tower, — is not the want of reverence often a mere 
 want of poetry ? The element of imagination in rever- 
 ence. Sifting of Peter, — which verse repeats a favorite 
 emphasis of Longfellow ? 
 
 (2.) Heroes and Saints. 
 
 4 
 
 “ Whene'er a noble deed is wrought , 
 
 Whene'er is spoken a noble thought , 
 
 Our hearts , in glad surprise , 
 
 To higher levels rise." 
 
 PAGE 
 
 Belisarius 362 
 
 Palissy (in Klramos) . . . 369 
 
 Poets 381 
 
 Michael Angelo .... 415-67 
 Luther . . N. E. T. IX. -XVI. 
 
 Prophets D. T. 1-4 
 
 “The blessed Mary” . G. L. 164 
 Elsie in G. L. 
 
 Edith and the Coreys in 
 N. E. T. 
 
 PAGE 
 
 COPLAS DE Manrique . . . 14-16 
 
 To W. E. Channing .... 41 
 
 Good Part .42 
 
 Evangeline . . . 104, 108, 118 
 
 Santa Filomena ..... 222 
 Legend Beautiful . . . . 286 
 
 Divina Commedia (I.-VI.) . . 322 
 Judas Macoab’s (II., III.) 326-32 
 
 Prometheus 211, 343 
 
 Charles Sumner 358 
 
 Conversation. — The difference between the “ hero ” 
 and the “ saint ” ? With the Coplas de Manrique com- 
 pare Wordsworth’s “ Happy Warrior.” The noblest of 
 the Dante sonnets ? The divine Dante with which I 
 
THE CHRIST. 
 
 37 
 
 begin every morning ! ” writes Longfellow. “ I write a 
 few lines every day before breakfast. It is the first 
 thing I do, — the morning prayer, the keynote of the 
 day.” A statue of Dante stands upon a book-case in the 
 study, and a bit of wood from Dante’s casket is treas- 
 ured in a little shrine. The fascination of the Sonnet : 
 why is a good sonnet apt to be very good ? (See Nor- 
 man’s article in the “ Living Age,” No. 2015, p. 302.) 
 The Michael Angelo, a noble poem for a history class 
 to study, — using with it Grimm’s “ Life of Michael An- 
 gelo,” Symonds’s “ Renaissance,” etc., and illustrating 
 with photographs. 
 
 Now, with all these poems of Man in thought, what 
 should you say were Longfellow’s chief life emphases ? 
 The reason why most people like sermons in song ? Are 
 such sermons usually good poems ? What does the 
 maxim “ Art for art’s sake ” mean, — and amount to ? 
 Does a moral purpose help, or hinder, art? Can that 
 be noble art which has no moral effect ? Does Longfel- 
 low too often tag a moral to his song ? Is the effect of 
 his poetry, on the whole, active or passive, — does it 
 stir you, or rest you, — teach duty, or beauty, — give 
 strength, or serenity, — help, or pleasure ? 
 
 (3.) The Christ. 
 
 4 ‘ And evermore beside Mm on Ms way 
 The unseen Christ shall move 
 
 PAGE 
 
 The Birth . . 378 ; G. L. 89-101 
 School-Days. D. T. 108 ; G. L. 102-8 
 “The Good Master” D. T. 9-113 
 
 The Spiritual Christ 
 
 page 
 
 The Crucified . . D. T. 114-141 
 The Risen 
 
 G. L. 79-83 
 
 399 ; G. L. 48, 56, 109, 286 ; G. L. 38 
 
 D. T. 141-8 ; 
 
 1 33, 35, 135 ; D. T. 156 ; N. E. T. 185, 104, 
 
38 
 
 THE IMMORTAL LIFE . 
 
 Conversation . — Does the Gospel story gain or lose 
 color by the dramatizing ? e. < 7 ., compare pp. 82-5 with 
 Luke xviii. 9-30. Notice the almost untouched figure 
 of Jesus against the altered background. Of the bright- 
 ened figures in that background, which is drawn the 
 best, — Mary Magdalene, 42 ; Manahem, 51 ; Bartimeus, 
 66 ; Mary and Martha, 85 ; Gamaliel, 107 ; Barabbas, 
 129 ? Do you accept the explanation of the Tempta* 
 tion, 13 ; and of Judas, 136 ? Is any light cast on Nic- 
 odemus, 62 ; Pilate, 127 ; the Cross, 138 ? With pp. 
 92-9 compare Helen of Tyre, 397. On the whole, are 
 you glad Longfellow wrote the Divine Tragedy ? (See 
 Life, 103, 151.) What should you take to be Longfel- 
 low’s own thought of Jesus? And, once more, what is 
 his thought in the series called “ Christus ” ? The rela- 
 tion of the actual, the historic, and the spiritual Christ 
 to each other ? 
 
 (4.) The Immortal Life. 
 
 “ Only a step into the outer air 
 Out of a tent already luminous k 
 
 With light that shines through its transparent walls ! ” 
 
 PAGE 
 
 Reaper and Flowers ... 3 
 
 Footsteps of Angels ... 4 
 
 Song of the Silent Land . 24 
 
 Children of Lord’s Supper . 34 
 
 God’s-Acre 37 
 
 Evangeline 119, 120 
 
 Resignation ...... 129 
 
 Open Window ...... 132 
 
 Suspiria 135 
 
 Hiawatha (XV., XIX., XX.) 
 
 174, 183, 185 
 Warden of the Cinque Ports 213 
 Haunted Houses .... 214 
 
 Two Angels 215 
 
 Haunted Chamber .... 228 
 Legend of Rabbi Ben Levi . 242 
 
 PAGE 
 
 Azrael* . 293 
 
 Mother’s Ghost 312 
 
 Charles Sumner ..... 358 
 Three Friends of Mine . . 364 
 VlTTORIA COLONNA . . . . 374 
 
 Delia 380 
 
 Nature 380 
 
 Bayard Taylor . . * . . 394 
 Chamber over the Gate . . 395 
 Auf Wiedersehbn .... 405 
 Victor and Vanquished . . 414 
 
 Michael Angelo . 447, 450, 466-7 
 Golden Legend 
 
 51, 71, 121, 150-4, 166, 183 
 New England Tragedies 107-12 
 
BROTHERHOOD . 
 
 39 
 
 Conversation . — Which poem here touches and helps 
 us most ? Does Longfellow in any poem hint the 
 ground of this perfect faith? (See Hyperion, Bk. II., 
 ch. 6 ; also, Bk. IV., ch. 5 and 8 .) The secret of fear, 
 and of fearlessness, before Death : see the Prince and 
 Elsie in G. L. ( e . < 7 ., p. 180). Compare Longfellow and 
 Whittier as poets of this trust; and with Victor and 
 Vanquished read Browning’s “ Prospice.” Suspiria and 
 part of Hiawatha, XV., were read at the Poet’s fu- 
 neral, — and the snow-flakes began to fall (227). 
 
 IX. 
 
 BROTHERHOOD. 
 
 (1.) With the Lowly and Oppressed. 
 
 “ The friend of every friendless beast.” 
 
 PAGE PAGE 
 
 Poems on Slavery . . . 41-44 Walter von der Vogelweid 88 
 
 Jewish Cemetery .... 216 Statue over Cathedral Door 93 
 
 Torquemada 264 Emperor’s Bird’s-Nest . . 215 
 
 Ropewalk (verse 8) . . . . 220 Birds of Killingworth . . 268 
 
 Challenge 229 Bell of Atri 273 
 
 King Robert of Sicily . . 243 Interlude, after Atri . . 275 
 
 Legend Beautiful .... 286 Wayside Inn, Prelude III. . 292 
 
 Revenge of Rain-in-the-Face 375 Sermon of St. Francis . . 362 
 
 (2.) Peace on Earth. 
 
 “ A voice , a chime , 
 
 A chant sublime 
 
 Of peace on earth , good will to men!” 
 
 PAGE PAGE 
 
 Arsenal 78 Peace-Pipe 142 
 
 Occult ation of Orion. . . 84 Nun of Nidaros 262 
 
 Tegner’s Drapa 133 Christmas Bells . . . . . 319 
 
 (3.) The Universal Church. 
 
 “ The simple thought 
 By the Great Master taught , 
 
40 
 
 THE UNIVERSAL CHURCH. 
 
 And that remaineth still : 
 
 Not he that repeateth the name , 
 
 But he that doeth the will 1 ” 
 
 PAGE PAGE 
 
 Hiawatha (“Ye. whose ”) . 142 Abbot Joachim . . D. T. 157-9 
 
 Wayside Inn (The “ The- Prologue .... N. E. T. 8 
 
 ologian ”) .... 234, 263 St. John . . . N. E. T. 183-6 
 
 Bells of San Blas .... 411 
 
 Conversation . — Has he forgotten any class of suf- 
 ferers ? See the collection of his poems and prose-ex- 
 tracts called “ Seven Voices of Sympathy ; ” and for 
 anecdotes of his kindness, see Life, 152, 157-62, 223, 
 242. But says Stedman, in the “ Century ” article 
 (Oct. 1883, pp. 929, 930, 940), “ Neither war nor grief 
 ever too much disturbed the artist-soul. Tragedy went 
 no deeper with him than its pathos : it was another ele- 
 ment of the beautiful : ” are these words true, or harsh ? 
 (See Hyperion, 306.) How does imagination increase 
 sympathy ; — and how lessen it ? Are selfish persons, as 
 a rule, unimaginative ? Are poets, artists, musicians, as 
 a rule, unselfish and heroic ? Why, — or why not ? 
 Was Longfellow ever the soldier of a cause ? Is that 
 to the credit, or the discredit, of his nature and his 
 culture ? Are rounded men often such soldiers ? In 
 whose behalf did he come his nearest to being one ? 
 “ That birds have souls,” can you concede ? (p. 292.) 
 Ought the Bells of San Bias to be included above ? 
 Notice, again, its last lines, — the prophecy with which 
 our Poet closes his work. Compare Whittier and Lowell 
 as his fellow-poets of the “ Universal Church.” 
 
 Now, can you sum up our Poet’s “ creed ” ? and put 
 each article of it in his own words ? “ Too broadly 
 
 human to suit the specialized tastes of the sects.” (0. 
 W. Holmes.) Can a poet in our day be a dogmatist ? 
 
THE POET. 
 
 41 
 
 X. 
 
 THE POET. 
 
 HIS INSPIRATION AND HIS MINISTRY. 
 
 “ For voices pursue him by day , 
 
 And haunt him by night , 
 
 And he listens , and needs must obey, 
 
 When the Angel says : ‘ Write .’ ” 
 
 PAGE 
 
 
 
 PAGE 
 
 Prelude to Voices op Night 
 
 1 
 
 Hiawatha .... 
 
 141, 
 
 154, 174 
 
 Flowers 
 
 4 
 
 Prometheus . . . 
 
 
 . 211 
 
 Spirit op Poetry .... 
 
 9 
 
 Daylight and Moonlight 
 
 . 216 
 
 Spanish Student (“ Visions ”) 
 
 52 
 
 Snowflakes . . . 
 
 
 . 227 
 
 Carillon 
 
 76 
 
 Fata Morgana . . 
 
 
 . 228 
 
 Rain in Summer 
 
 81 
 
 Vox Populi . . . 
 
 
 
 Seaweed ....... 
 
 86 
 
 Epimetheus . . . 
 
 
 
 Day is Done 
 
 87 
 
 Wind over Chimney 
 
 . . 
 
 . 320 
 
 Walter yon der Vogelweid 
 
 
 Tides 
 
 
 . 367 
 
 88 ; G. L. 76-7, 
 
 142 
 
 Descent of Muses . 
 
 . . 
 
 . 381 
 
 Arrow and Song .... 
 
 90 
 
 Poets 
 
 
 . 381 
 
 Curfew 
 
 94 
 
 Moods 
 
 
 
 Seaside and Fireside, Ded’n 
 
 121 
 
 Broken Oar . . . 
 
 
 . 385 
 
 Birds of Passage . . . 131, 
 
 313 
 
 Jugurtha . . . . 
 
 
 . 396 
 
 Gaspar Becerra 
 
 132 
 
 Poet and ms Songs 
 
 . . 
 
 . 401 
 
 Pegasus in Pound .... 
 
 133 
 
 Becalmed . . . . 
 
 
 , . 402 
 
 Singers 
 
 134 
 
 Possibilities . . . 
 
 
 , . 414 
 
 (1.) Longfellow as Poet Laureate. 
 
 “ A sweetness as of home-made bread .” 
 
 Conversation . — Whence comes the Poet’s inspiration, 
 according to Longfellow? How often he tries to tell 
 us ! And what is his ideal of the “ ministry of song ” ? 
 Compare his answers with those of other poets : do they 
 all feel the mission, and the mystery about themselves ? 
 Bryant, Longfellow, Emerson, Whittier, Holmes, and 
 Lowell : among our six elder poets Longfellow was the 
 only poet-by-profession, — was that to his profit, or to his 
 loss, as poet ? A man of no “ collisions,” — was that 
 helpful ? What beside poet were the other five poets ? 
 
42 
 
 AS POET LAUREATE. 
 
 Can Longfellow be called “ original ” ? If so, in what 
 sense ? Howells speaks of “ his exquisite intellectual 
 refinement, which has troubled shallowness with doubts 
 of his original power.” Stedman says, “ The clerkly 
 singer fulfilled his office, which was not in the least cre- 
 ative. . . . His originality did not consist in word or 
 motive,” — but in what ? Norton says, “ Not by depth 
 of thought or by original views of Nature,” — but by 
 what ? 
 
 Can you illustrate from his poems the difference be- 
 tween “ imagination ” and “ fancy ” ? Which the more 
 abounds in him ? 
 
 The secret of so little dramatic power, with so much 
 success in story-telling and in genre pictures ? Could he 
 write a prose story ? 
 
 Our Poet before Nature : did he see it , or into it, or 
 too much through it to “ the land of Song within ” ? 
 Which must one do, to be poet ? which, to be the great- 
 est poet ? See Prelude, p. 1 ; and above, pp. 19, 34. 
 
 What poems show humor ? But so little ! Is humor 
 the sense of contrast ? and is one’s share of it inversely 
 proportioned to his sense of harmony, — does sympathy 
 with the beautiful by so much exclude the grotesque ? 
 “ A certain beautiful gayety, which is to humor what 
 bouquet is to the body of wine.” (Howells.) 
 
 Some happy absences : is there anything morbid in his 
 poetry, any satire, any egotism, any appeal for sympa- 
 thy with himself, any straining for effect, anything in 
 poor taste, — to spoil this “ sweetness as of home-made 
 bread ” ? “ To some it seemed shallow because it was 
 
 translucent.” But is it shallow, or not ? What verses, 
 if any, are obscure to you ? Read J. Vila Blake’s two 
 fine sonnets about Longfellow, in Life, 330. 
 
AS POET LAUREATE. 
 
 43 
 
 Note the variety of his work, both as to theme and 
 form. Is its quality equal, or “ very unequal ” ? After 
 his first deepening (see Prelude to Voices of Night, p. 
 1), did his quality change, or remain essentially the 
 same, between youth and age ? Does his power grow 
 up to the end ? In what class of poems do you think 
 his thought at the loftiest, and his art at the noblest ? 
 In that class does any other American poet equal him ? 
 
 Is he an “ artist ” in his work ? “ Like Cellini in 
 
 gems and metals, he was a worker in words.” (C. A. 
 Bartol.) “ A craftsman of unerring taste, who always 
 gave us of his best. ... A lyrical artist, whose taste 
 outranked his inspiration.” (E. C. Stedman.) Can you 
 detect the “ work ” in the poems ? Do you think they 
 came to him, and from him, swiftly, or slowly ? (See 
 Life, 107, 112, 151-2, 181-2, 191-2, 198.) His sense 
 of the music of words as tested by the number of his 
 poems set to music : and of what else is this a hint ? 
 (See Life, 185-7.) 
 
 Does “ criticism ” mean flaw-finding, or appreciation ? 
 Allston’s rule of art criticism : “ Never judge a work of 
 art by its defects.” Listen to the Wayside Inn circle 
 (the Interludes, etc.) as a company of friendly critics ; 
 and for Longfellow’s own method of illuminating the 
 meaning of an author, see the Notes to his translation 
 of Dante. Can you criticise, and at the same time ad- 
 mire ? Has your criticism in this study of Longfellow’s 
 poems tended to make you find, or lose, the poetry in 
 them ? Is he more, or less, to you than before the 
 study ? “ Recognize the instinct that defined his range, 
 
 and value the range at its worth.” (Stedman.) And 
 now let us try to be true critics, thoughtful, grateful, 
 humble, but frank, in answering these questions : — 
 
44 
 
 AS POET WELCOME. 
 
 (1.) To which of his three kinds of “ Singers ” (p. 
 134) does Longfellow himself belong ? 
 
 (2.) Is he right, — “ No best in kind ” ? 
 
 (3.) What does he lack as poet ? 
 
 (4.) Wherein to you lie his power and charm as 
 poet ? Is there not one poem of his own that answers 
 well the question for us ? 
 
 (5.) In what order would you at present rank our six 
 elder poets of America ? 
 
 (2.) As Poet Welcome. 
 
 44 Therefore I hope , as no unwelcome guest , 
 
 At your warm fireside , when the lamps are lighted , 
 
 To have my place reserved among the rest , 
 
 Nor stand as one unsought and uninvited 
 
 Longfellow with his reader-friends : read again his 
 Dedication to Seaside and Fireside, p. 121. Why is our 
 feeling towards a poet — towards one's own poet — so 
 unlike that felt for any other author ? (See Howells in 
 “ North American Review,” civ. 540.) Where ought 
 Longfellow to be read, — out-doors, or by the fireside ? 
 when alone, or when with others ? Is he a man’s poet, 
 or a woman’s poet ? Which of his poems is the woman’s 
 favorite ? and which the boy’s favorite ? Is he a poet’s 
 poet ? In what sense is he “ the poet of the common- 
 place ” ? and “ the poet of the middle-classes ” ? Do 
 these two phrases come to the same thing ? 
 
 Why has he been so little criticised as yet in Amer- 
 ica ? Is the estimate of him changing, — is he now be- 
 ginning to seem “ elementary ” ? or is there “ a tendency 
 to class him with the poets of mediocrity ” ? and is there 
 really “ much that has little or no permanent value ” ? 
 
 What is the secret of his far-reaching popularity with 
 so many ages, classes, nations ? (See Life, 357-60, oi 
 
AS POET FAMILIAR. 
 
 45 
 
 “ Literary World,” Feb. 26, 1881, for a long list of 
 translations from his works, — even into Polish, Hebrew, 
 Chinese !) “ The music he wrote is all lying, unwrit- 
 
 ten, in us.” (J. D. Long. See Life, 136-45, for what 
 Gov. Long and Dr. Bartol say of him. Also Hyperion, 
 237-8.) “ Such a funeral procession as attended him 
 
 in thought to his resting-place has never joined the train 
 of mourners that followed the hearse of a poet.” (O. W. 
 Holmes.) “ A master whose greatness has tended to the 
 goodness and happiness of men in so potent and fine a 
 degree that he has not only made the world wiser and 
 pleasanter, but has not added a word’s weight to the bit- 
 terness and evil of any soul in it.” (W. D. Howells.) 
 
 (3.) As Poet Familiar. 
 
 “ And the song , from beginning to end , 
 
 I found again in the heart of a friend.” 
 
 “ Till the familiar lines 
 Are footpaths for the thought of Italy ! ” 
 
 Now to compare impressions, each one bringing his 
 copy of the Poems, and, if possible, written answers to 
 the following questions : — 
 
 (1.) Which seems to you Longfellow’s best long 
 poem ? his best drama ? his six best sonnets ? and out- 
 side of the sonnets, his six best short poems ? Which 
 poems seem to you his most passionate, most intense in 
 feeling ? and which the most subtle in thought ? 
 
 (2.) Six passages or metaphors whose beauty most 
 haunts you ? How many of the lines selected for mot- 
 toes can you trace to their homes in the poems ? Sug- 
 gest better mottoes all through, submitting them to the 
 class. 
 
 (3.) Name twelve “ household words,” — daily “ foot- 
 paths ” for our thought. 
 
46 
 
 AS POET FAMILIAR. 
 
 (4.) And can you name your fifty poems, — those 
 which you would edit as the Longfellow that will live ? 
 those to which Holmes’s word applies, “ Nothing lasts 
 like a coin and a lyric ” ? 
 
 The Conundrums . — A pleasant half-hour at the end 
 of each meeting might he spent over historic and literary 
 allusions that have a story in them, — such allusions as 
 abound, for instance, in the Wayside Inn and Morituri 
 Salutamus. Or note these on the way, and now and 
 then sift and deal them out by lot for explanation at a 
 Conundrum meeting, — the class following, book in hand, 
 and each one throwing light. But through all the study 
 take care not to lose the poem itself in this mere wayside 
 work. 
 
 Your own illustrated edition . Why not gradually il- 
 lustrate your home copy of Longfellow for yourself with 
 scraps and pictures ? You will have at last a beautiful 
 treasure. The Soule Photograph Company, 338 Wash- 
 ington St., Boston, will help you to many photographs ; 
 and the Life of the Poet, now being written by his 
 brother, will doubtless add a personal interest to many 
 of the familiar poems. 
 
Henry Wadsworth Longfellow, 
 
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 Continued on the next page. 
 
 53. 
 
 54. 
 
 55. 
 
 56.