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W. D. Ticknor & Company, 1848 - 370 ページ
Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. 1st World Library-Literary Society is a non-profit educational organization. Visit us online at www.1stWorldLibrary.ORG - - In John Lyly's Endymion, Sir Topas is made to say; "Dost thou know what a Poet is? Why, fool, a Poet is as much as one should say, - a Poet!" And thou, reader, dost thou know what a hero is? Why, a hero is as much as one should say, - a hero! Some romance-writers, however, say much more than this. Nay, the old Lombard, Matteo Maria Bojardo, set all the church-bells in Scandiano ringing, merely because he had found a name for one of his heroes. Here, also, shall church-bells be rung, but more solemnly. The setting of a great hope is like the setting of the sun. The brightness of our life is gone. Shadows of evening fall around us, and the world seems but a dim reflection, - itself a broader shadow. We look forward into the coming, lonely night. The soul withdraws into itself. Then stars arise, and the night is holy. Paul Flemming had experienced this, though still young. The friend of his youth was dead. The bough had broken "under the burden of the unripe fruit." And when, after a season, he looked up again from the blindness of his sorrow, all things seemed unreal. Like the man, whose sight had been restored by miracle, he beheld men, as trees, walking. His household gods were broken. He had no home. His sympathies cried aloud from his desolate soul, and there came no answer from the busy, turbulent world around him. He did not willingly give way to grief. He struggled to be cheerful, - to be strong. But he could no longer look into the familiarfaces of his friends. He could no longer live alone, where he had lived with her. He went abroad, that the sea might be between him and the grave. Alas! Between him and his sorrow there could be no sea, but that of time.
 

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260 ページ - They are all gone into the world of light! And I alone sit lingering here ; Their very memory is fair and bright, And my sad thoughts doth clear; It glows and glitters in my cloudy breast, Like stars upon some gloomy grove, Or those faint beams in which this hill is drest After the sun's remove.
177 ページ - O, thou art fairer than the evening air Clad in the beauty of a thousand stars...
261 ページ - After the sun's remove. I see them walking in an air of glory, Whose light doth trample on my days; My days, which are at best but dull and hoary, Mere glimmerings and decays. O holy hope ! and high humility ! High as the heavens above ; These are your walks, and you have showed them me, To kindle my cold love.
197 ページ - O Land ! For all the broken-hearted The mildest herald by our fate allotted, Beckons, and with inverted torch doth stand To lead us with a gentle hand Into the land of the great Departed, Into the Silent Land ! L
145 ページ - Look not mournfully into the Past. It comes not back again. Wisely improve the Present. It is thine. Go forth to meet the shadowy Future, without fear, and with a manly heart.
261 ページ - He that hath found some fledged bird's nest may know At first sight if the bird be flown; But what fair well or grove he sings in now, That is to him unknown.
111 ページ - Whoe'er she be, That not impossible she That shall command my heart and me; Where'er she lie, Locked up from mortal eye In shady leaves of destiny: Till that ripe birth Of studied Fate stand forth...
47 ページ - Chinese proverb is true: a single conversation across the table with a wise man is better than ten years
231 ページ - Will, when looking well can't move her, Looking ill prevail ? Pr'ythee why so pale ? Why so dull and mute, young sinner ? Pr'ythee why so mute ? Will, when speaking well, can't win her, Saying nothing do't ? Pr'ythee why so mute ? Quit, quit for shame, this will not move, This cannot take her ; If of herself she will not love, Nothing can make her; The Devil take her.
166 ページ - The intellect of man sits enthroned visibly upon his forehead and in his eye ; and the heart of man is written upon his countenance. But the soul reveals itself in the voice only ; as God revealed himself to the prophet of old in the still, small voice, and in the voice from the burning bush.

著者について (1848)

During his lifetime, Longfellow enjoyed a popularity that few poets have ever known. This has made a purely literary assessment of his achievement difficult, since his verse has had an effect on so many levels of American culture and society. Certainly, some of his most popular poems are, when considered merely as artistic compositions, found wanting in serious ways: the confused imagery and sentimentality of "A Psalm of Life" (1839), the excessive didacticism of "Excelsior" (1841), the sentimentality of "The Village Blacksmith" (1839). Yet, when judged in terms of popular culture, these works are probably no worse and, in some respects, much better than their counterparts in our time. Longfellow was very successful in responding to the need felt by Americans of his time for a literature of their own, a retelling in verse of the stories and legends of these United States, especially New England. His three most popular narrative poems are thoroughly rooted in American soil. "Evangeline: A Tale of Acadie" (1847), an American idyll; "The Song of Hiawatha" (1855), the first genuinely native epic in American poetry; and "The Courtship of Miles Standish" (1858), a Puritan romance of Longfellow's own ancestors, John Alden and Priscilla Mullens. "Paul Revere's Ride," the best known of the "Tales of a Wayside Inn"(1863), is also intensely national. Then, there is a handful of intensely personal, melancholy poems that deal in very successful ways with those themes not commonly thought of as Longfellow's: sorrow, death, frustration, the pathetic drift of humanity's existence. Chief among these are "My Lost Youth" (1855), "Mezzo Cammin" (1842), "The Ropewalk" (1854), "The Jewish Cemetery at Newport" (1852), and, most remarkable in its artistic success, "The Cross of Snow," a heartfelt sonnet so personal in its expression of the poet's grief for his dead wife that it remained unpublished until after Longfellow's death. A professor of modern literature at Harvard College, Longfellow did much to educate the general reading public in the literatures of Europe by means of his many anthologies and translations, the most important of which was his masterful rendition in English of Dante's Divine Comedy (1865-67).

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