Henry Wadsworth Longfellow

Henry Wadsworth Longfellow

1807–1882 · lived 75 years US US

Henry Wadsworth Longfellow was an American poet and educator, celebrated for his lyrical verse and narrative poems. His work often drew inspiration from mythology, history, and American folklore, making complex themes accessible to a wide audience. He became one of the most popular poets of his time, both in the United States and abroad, though his literary reputation has evolved over the years. Longfellow's poems frequently explored themes of heroism, domestic life, and the passage of time. His accessible style and moralistic undertones resonated deeply with Victorian sensibilities, cementing his status as a beloved literary figure. Despite later critical re-evaluations, his contributions to American literature and his role in shaping national identity through verse remain significant.

n. 1807-02-27, Portland · m. 1882-03-24, Cambridge

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Serenade from “The Spanish Student”

Serenade from “The Spanish Student”

STARS of the summer night!
Far in yon azure deeps,
Hide, hide your golden light!
She sleeps!
My lady sleeps!
Sleeps!


Moon of the summer night!
Far down yon western steeps,
Sink, sink in silver light!
She sleeps!
My lady sleeps!
Sleeps!


Wind of the summer night!
Where yonder woodbine creeps,
Fold, fold thy pinions light!
She sleeps!
My lady sleeps!
Sleeps!


Dreams of the summer night!
Tell her, her lover keeps
Watch! while in slumbers light
She sleeps!
My lady sleeps!
Sleeps!
Read full poem
Bio

Identification and basic context

Henry Wadsworth Longfellow was an American poet and educator. He was born in Portland, Maine, and his family had deep roots in New England. He wrote in English.

Childhood and education

Longfellow's early life was shaped by a comfortable family background and a strong emphasis on education. He entered Bowdoin College at the age of 14, where he developed a passion for literature and languages. He was a gifted student, excelling in his studies and beginning to publish his early verses during this time. His education provided him with a broad knowledge of classical literature and European traditions.

Literary trajectory

Longfellow's literary career began with the publication of early poems in magazines. After extensive travel and study in Europe, he returned to the United States and embarked on a prolific writing career. His fame grew steadily with collections like 'Voices of the Night' and 'The Song of Hiawatha.' He also became a respected professor, teaching at Bowdoin and later at Harvard University, where he influenced generations of students. His later works continued to explore historical and legendary themes.

Works, style, and literary characteristics

Longfellow's major works include 'Voices of the Night' (1839), 'Ballads and Other Poems' (1841), 'The Spanish Student' (1843), 'Evangeline' (1847), 'The Song of Hiawatha' (1855), and 'The Courtship of Miles Standish' (1858). His poetry is characterized by its narrative quality, lyrical beauty, and often moralistic or sentimental tone. He frequently employed traditional forms, such as the ballad and the sonnet, but also experimented with longer narrative poems. Themes explored include love, loss, domestic life, heroism, American history and legend, and the passage of time. His language is generally clear, accessible, and rich in imagery, aiming for emotional resonance with a broad audience.

Cultural and historical context

Longfellow lived and wrote during a period of significant national growth and change in the United States, a time often referred to as the American Renaissance. He was part of the so-called 'Fireside Poets,' a group of American writers whose work was popular and widely read in American homes. His poetry often reflected and shaped American identity, drawing on national myths and historical events. He was aware of European literary trends but sought to create a distinctly American literary voice.

Personal life

Longfellow experienced significant personal tragedies, including the deaths of both his wives. These losses deeply affected him and are often reflected in the elegiac and melancholic strains found in some of his poetry. He maintained friendships with many prominent literary figures of his day and was a respected academic.

Recognition and reception

Longfellow was immensely popular during his lifetime, both in the United States and internationally, particularly in Britain. His poems were widely recited, set to music, and studied in schools. While lauded for his accessibility and emotional appeal by the general public, some later critics found his work overly sentimental or conventional. However, his place as a foundational figure in American poetry remains secure.

Influences and legacy

Longfellow was influenced by European Romantic poets, particularly German and English writers. He, in turn, influenced many subsequent American poets and helped to establish a tradition of narrative and lyrical poetry in the United States. His works were instrumental in shaping a sense of national identity and cultural heritage.

Interpretation and critical analysis

Critical interpretations of Longfellow's work often focus on his role in popularizing poetry, his engagement with American history and myth, and the balance between his accessible style and the deeper emotional currents in his verse. Debates sometimes arise regarding the perceived sentimentality versus genuine pathos in his work.

Curiosities and lesser-known aspects

Longfellow was a gifted linguist and professor, fluent in several languages. He was also known for his considerable literary fame, which sometimes presented challenges, as he struggled to find quiet moments for composition amidst public demands. His home in Cambridge, Massachusetts, a former headquarters of George Washington, became a literary landmark.

Death and memory

Longfellow died in Cambridge, Massachusetts. His death was widely mourned, and he was remembered as one of America's greatest poets. His works continue to be read and studied, maintaining his status as a significant figure in American literary history.

Poems

267

Tales Of A Wayside Inn : Part 1. Interlude I.

Tales Of A Wayside Inn : Part 1. Interlude I.

The Landlord ended thus his tale,
Then rising took down from its nail
The sword that hung there, dim with dust
And cleaving to its sheath with rust,
And said, 'This sword was in the fight.'
The Poet seized it, and exclaimed,
'It is the sword of a good knight,
Though homespun was his coat-of-mail;
What matter if it be not named
Joyeuse, Colada, Durindale,
Excalibar, or Aroundight,
Or other name the books record?
Your ancestor, who bore this sword
As Colonel of the Volunteers,
Mounted upon his old gray mare,
Seen here and there and everywhere,
To me a grander shape appears
Than old Sir William, or what not,
Clinking about in foreign lands
With iron gauntlets on his hands,
And on his head an iron pot!'


All laughed; the Landlord's face grew red
As his escutcheon on the wall;
He could not comprehend at all
The drift of what the Poet said;
For those who had been longest dead
Were always greatest in his eyes;
And be was speechless with surprise
To see Sir William's pluméd head
Brought to a level with the rest,
And made the subject of a jest.
And this perceiving, to appease
The Landlord's wrath, the others' fears,
The Student said, with careless ease,
'The ladies and the cavaliers,
The arms, the loves, the courtesies,
The deeds of high emprise, I sing!
Thus Ariosto says, in words
That have the stately stride and ring
Of arméd knights and clashing swords.
Now listen to the tale I bring;
Listen! though not to me belong
The flowing draperies of his song,
The words that rouse, the voice that charms.
The Landlord's tale was one of arms,
Only a tale of love is mine,
Blending the human and divine,
A tale of the Decameron, told
In Palmieri's garden old,
By Fiametta, laurel-crowned,
While her companions lay around,



And heard the intermingled sound
Of airs that on their errands sped,
And wild birds gossiping overhead,
And lisp of leaves, and fountain's fall,
And her own voice more sweet than all,
Telling the tale, which, wanting these,
Perchance may lose its power to please.'
282

Suspiria

Suspiria


Take them, O Death! and bear away
Whatever thou canst call thine own!
Thine image, stamped upon this clay,
Doth give thee that, but that alone!


Take them, O Grave! and let them lie
Folded upon thy narrow shelves,
As garments by the soul laid by,
And precious only to ourselves!


Take them, O great Eternity!
Our little life is but a gust
That bends the branches of thy tree,
And trails its blossoms in the dust!
258

Sundown

Sundown


The summer sun is sinking low;
Only the tree-tops redden and glow:
Only the weathercock on the spire
Of the neighboring church is a flame of fire;
All is in shadow below.


O beautiful, awful summer day,
What hast thou given, what taken away?
Life and death, and love and hate,
Homes made happy or desolate,
Hearts made sad or gay!


On the road of life one mile-stone more!
In the book of life one leaf turned o'er!
Like a red seal is the setting sun
On the good and the evil men have done,--
Naught can to-day restore!
285

Spring. (From The French Of Charles D'Orleans. XV. Century)

Spring. (From The French Of Charles D'Orleans. XV. Century)

Gentle Spring! in sunshine clad,
Well dost thou thy power display!
For Winter maketh the light heart sad,
And thou, thou makest the sad heart gay,
He sees thee, and calls to his gloomy train,
The sleet, and the snow, and the wind, and the rain;
And they shrink away, and they flee in fear,
When thy merry step draws near.


Winter giveth the fields and the trees, so old,
Their beards of icicles and snow;
And the rain, it raineth so fast and cold,
We must cower over the embers low;
And, snugly housed from the wind and weather,
Mope like birds that are changing feather.
But the storm retires, and the sky grows clear,
When thy merry step draws near.


Winter maketh the sun in the gloomy sky
Wrap him round with a mantle of cloud;
But, Heaven be praised, thy step is nigh;
Thou tearest away the mournful shroud,
And the earth looks bright, and Winter surly,
Who has toiled for nought both late and early,
Is banished afar by the new-born year,
When thy merry step draws near.
279

Sound Of The Sea, The

Sound Of The Sea, The

The sea awoke at midnight from its sleep,
And round the pebbly beaches far and wide
I heard the first wave of the rising tide
Rush onward with uninterrupted sweep;

A voice out of the silence of the deep,
A sound mysteriously multiplied
As of a cataract from the mountain's side,
Or roar of winds upon a wooded steep.

So comes to us at times, from the unknown
And inaccessible solitudes of being,
The rushing of the sea-tides of the soul;

And inspirations, that we deem our own,
Are some divine foreshadowing and foreseeing
Of things beyond our reason or control.
335

Song. (From The Portuguese)

Song. (From The Portuguese)

If thou art sleeping, maiden,
Awake, and open thy door:
'Tis the break of day, and we must away,
O'er meadow, and mount, and moor.


Wait not to find thy slippers,
But come with thy naked feet:
We shall have to pass through the dewy grass,
And waters wide and fleet.
282

Songo River. (Birds Of Passage. Flight The Fourth)

Songo River. (Birds Of Passage. Flight The Fourth)

Nowhere such a devious stream,
Save in fancy or in dream,
Winding slow through bush and brake,
Links together lake and lake.


Walled with woods or sandy shelf,
Ever doubling on itself
Flows the stream, so still and slow
That it hardly seems to flow.


Never errant knight of old,
Lost in woodland or on wold,
Such a winding path pursued
Through the sylvan solitude.


Never school-boy, in his quest
After hazel-nut or nest,
Through the forest in and out
Wandered loitering thus about.


In the mirror of its tide
Tangled thickets on each side
Hang inverted, and between
Floating cloud or sky serene.


Swift or swallow on the wing
Seems the only living thing,
Or the loon, that laughs and flies
Down to those reflected skies.


Silent stream! thy Indian name
Unfamiliar is to fame;
For thou hidest here alone,
Well content to be unknown.


But thy tranquil waters teach
Wisdom deep as human speech,
Moving without haste or noise
In unbroken equipoise.


Though thou turnest no busy mill,
And art ever calm and still,
Even thy silence seems to say
To the traveller on his way:-


'Traveller, hurrying from the heat
Of the city, stay thy feet!
Rest awhile, nor longer waste
Life with inconsiderate haste!


'Be not like a stream that brawls
Loud with shallow waterfalls,



But in quiet self-control
Link together soul and soul.'
359

Song

Song


Where, from the eye of day,
The dark and silent river
Pursues through tangled woods a way
O'er which the tall trees quiver;


The silver mist, that breaks
From out that woodland cover,
Betrays the hidden path it takes,
And hangs the current over!


So oft the thoughts that burst
From hidden springs of feeling,
Like silent streams, unseen at first,
From our cold hearts are stealing:


But soon the clouds that veil
The eye of Love, when glowing,
Betray the long unwhispered tale
Of thoughts in darkness flowing!
302

Song Of The Silent Land. (From The German Of Salis)

Song Of The Silent Land. (From The German Of Salis)

Into the Silent Land!
Ah! who shall lead us thither?
Clouds in the evening sky more darkly gather,
And shattered wrecks lie thicker on the strand.
Who leads us with a gentle hand
Thither, O thither,
Into the Silent Land?


Into the Silent Land!
To you, ye boundless regions
Of all perfection! Tender morning-visions
Of beauteous souls! The Future's pledge and band!
Who in Life's battle firm doth stand,
Shall bear Hope's tender blossoms
Into the Silent Land!


O Land! O Land!
For all the broken-hearted
The mildest herald by our faith 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!
323

Something Left Undone

Something Left Undone

Labor with what zeal we will,
Something still remains undone,
Something uncompleted still
Waits the rising of the sun.


By the bedside, on the stair,
At the threshhold, near the gates,
With its menace or its prayer,
Like a medicant it waits;


Waits, and will not go away;
Waits, and will not be gainsaid;
By the cares of yesterday
Each to-day is heavier made;


Till at length the burden seems
Greater than our strength can bear,
Heavy as the weight of dreams
Pressing on us everywhere.


And we stand from day to day,
Like the dwarfs of times gone by,
Who, as Northern legends say,
On their shoulders held the sky.
304

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