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

Voices Of The Night : Footsteps of Angels

Voices Of The Night : Footsteps of Angels

When the hours of Day are numbered,
And the voices of the Night
Wake the better soul, that slumbered,
To a holy, calm delight;


Ere the evening lamps are lighted,
And, like phantoms grim and tall,
Shadows from the fitful firelight
Dance upon the parlor wall;


Then the forms of the departed
Enter at the open door;
The beloved, the true-hearted,
Come to visit me once more;


He, the young and strong, who cherished
Noble longings for the strife,
By the roadside fell and perished,
Weary with the march of life!


They, the holy ones and weakly,
Who the cross of suffering bore,
Folded their pale hands so meekly,
Spake with us on earth no more!


And with them the Being Beauteous,
Who unto my youth was given,
More than all things else to love me,
And is now a saint in heaven.


With a slow and noiseless footstep
Comes that messenger divine,
Takes the vacant chair beside me,
Lays her gentle hand in mine.


And she sits and gazes at me
With those deep and tender eyes,
Like the stars, so still and saint-like,
Looking downward from the skies.


Uttered not, yet comprehended,
Is the spirit's voiceless prayer,
Soft rebukes, in blessings ended,
Breathing from her lips of air.


Oh, though oft depressed and lonely,
All my fears are laid aside,
If I but remember only
Such as these have lived and died!
314

Village Blacksmith, The

Village Blacksmith, The

Under a spreading chestnut tree
The village smithy stands;
The Smith, a mighty man is he,
With large and sinewy hands;
And the muscles of his brawny arms
Are strong as iron bands.

His hair is crisp, and black, and long,

His face is like the tan;
His brow is wet with honest sweat,
He earns whate'er he can
And looks the whole world in the face


For he owes not any man.

Week in, week out, from morn till night,
You can hear his bellows blow;
You can hear him swing his heavy sledge,
With measured beat and slow,
Like a sexton ringing the village bell,
When the evening sun is low.

And children coming home from school
Look in at the open door;
They love to see the flaming furge,
And hear the bellows roar,
And catch the burning sparks that fly
Like chaff from a threshing floor.

He goes on Sunday to the church
and sits among his boys;

He hears the parson pray and preach.
He hears his daughter's voice
singing in the village choir,
And it makes his heart rejoice.
It sounds to him like her mother's voice,
Singing in Paradise!
He needs must think of her once more,
How in the grave she lies;
And with his hard, rough hand he wipes
A tear out of his eyes.
Toiling, rejoicing,-sorrowing,
Onward through life he goes;
Each morning sees some task begin,
Each evening sees it close;
Something attempted, something done,
Has earned a night's repose.

Thanks, thanks to thee, my worthy friend
For the lesson thou hast taught!

Thus at the flaming forge of life
Our fortunes must be wrought;


Thus on its sounding anvil shaped
Each burning deed and thought!
719

Vittoria Colonna

Vittoria Colonna

Once more, once more, Inarimé,
I see thy purple hills!--once more
I hear the billows of the bay
Wash the white pebbles on thy shore.


High o'er the sea-surge and the sands,
Like a great galleon wrecked and cast
Ashore by storms, thy castle stands,
A mouldering landmark of the Past.


Upon its terrace-walk I see
A phantom gliding to and fro;
It is Colonna,--it is she
Who lived and loved so long ago.


Pescara's beautiful young wife,
The type of perfect womanhood,
Whose life was love, the life of life,
That time and change and death withstood.


For death, that breaks the marriage band
In others, only closer pressed
The wedding-ring upon her hand
And closer locked and barred her breast.


She knew the life-long martyrdom,
The weariness, the endless pain
Of waiting for some one to come
Who nevermore would come again.


The shadows of the chestnut trees,
The odor of the orange blooms,
The song of birds, and, more than these,
The silence of deserted rooms;


The respiration of the sea,
The soft caresses of the air,
All things in nature seemed to be
But ministers of her despair;


Till the o'erburdened heart, so long
Imprisoned in itself, found vent
And voice in one impassioned song
Of inconsolable lament.


Then as the sun, though hidden from sight,
Transmutes to gold the leaden mist,
Her life was interfused with light,
From realms that, though unseen, exist,


Inarimé! Inarimé!
Thy castle on the crags above



In dust shall crumble and decay,
But not the memory of her love.
369

Ultima Thule: The Tide Rises, The Tide Falls

Ultima Thule: The Tide Rises, The Tide Falls

The tide rises, the tide falls,
The twilight darkens, the curlew calls;
Along the sea-sands damp and brown
The traveller hastens toward the town,
And the tide rises, the tide falls.


Darkness settles on roofs and walls,
But the sea, the sea in the darkness calls;
The little waves, with their soft, white hands,
Efface the footprints in the sands,
And the tide rises, the tide falls.


The morning breaks; the steeds in their stalls
Stamp and neigh, as the hostler calls;
The day returns, but nevermore
Returns the traveller to the shore,
And the tide rises, the tide falls.
220

Venice

Venice


White swan of cities, slumbering in thy nest
So wonderfully built among the reeds
Of the lagoon, that fences thee and feeds,
As sayeth thy old historian and thy guest!
White water-lily, cradled and caressed
By ocean streams, and from the silt and weeds
Lifting thy golden filaments and seeds,
Thy sun-illumined spires, thy crown and crest!
White phantom city, whose untrodden streets
Are rivers, and whose pavements are the shifting
Shadows of palaces and strips of sky;
I wait to see thee vanish like the fleets
Seen in mirage, or towers of cloud uplifting
In air their unsubstantial masonry.
322

Ultima Thule: Robert Burns

Ultima Thule: Robert Burns

I see amid the fields of Ayr
A ploughman, who, in foul and fair,
Sings at his task
So clear, we know not if it is
The laverock's song we hear, or his,
Nor care to ask.


For him the ploughing of those fields
A more ethereal harvest yields
Than sheaves of grain;
Songs flush with purple bloom the rye,
The plover's call, the curlew's cry,
Sing in his brain.


Touched by his hand, the wayside weed
Becomes a flower; the lowliest reed
Beside the stream
Is clothed with beauty; gorse and grass
And heather, where his footsteps pass,
The brighter seem.


He sings of love, whose flame illumes
The darkness of lone cottage rooms;
He feels the force,
The treacherous undertow and stress
Of wayward passions, and no less
The keen remorse.


At moments, wrestling with his fate,
His voice is harsh, but not with hate;
The brushwood, hung
Above the tavern door, lets fall
Its bitter leaf, its drop of gall
Upon his tongue.


But still the music of his song
Rises o'er all, elate and strong;
Its master-chords
Are Manhood, Freedom, Brotherhood,
Its discords but an interlude
Between the words.


And then to die so young and leave
Unfinished what he might achieve!
Yet better sure
Is this, than wandering up and down
An old man in a country town,
Infirm and poor.


For now he haunts his native land
As an immortal youth; his hand
Guides every plough;



He sits beside each ingle-nook,
His voice is in each rushing brook,
Each rustling bough.


His presence haunts this room to-night,
A form of mingled mist and light
From that far coast.
Welcome beneath this roof of mine!
Welcome! this vacant chair is thine,
Dear guest and ghost!
348

Ultima Thule: The Poet And His Songs

Ultima Thule: The Poet And His Songs

As the birds come in the Spring,
We know not from where;
As the stars come at evening
From depths of the air;


As the rain comes from the cloud,
And the brook from the ground;
As suddenly, low or loud,
Out of silence a sound;


As the grape comes to the vine,
The fruit to the tree;
As the wind comes to the pine,
And the tide to the sea;


As come the white sails of ships
O'er the ocean's verge;
As comes the smile to the lips,
The foam to the surge;


So come to the Poet his songs,
All hitherward blown
From the misty realm, that belongs
To the vast Unknown.


His, and not his, are the lays
He sings; and their fame
Is his, and not his; and the praise
And the pride of a name.


For voices pursue him by day,
And haunt him by night,
And he listens, and needs must obey,
When the Angel says: 'Write!'
338

Ultima Thule: Night

Ultima Thule: Night

Into the darkness and the hush of night
Slowly the landscape sinks, and fades away,
And with it fade the phantoms of the day,
The ghosts of men and things, that haunt the light,
The crowd, the clamor, the pursuit, the flight,
The unprofitable splendor and display,
The agitations, and the cares that prey
Upon our hearts, all vanish out of sight.
The better life begins; the world no more
Molests us; all its records we erase
From the dull commonplace book of our lives,
That like a palimpsest is written o'er
With trivial incidents of time and place,
And lo! the ideal, hidden beneath, revives.
336

Ultima Thule: Jugurtha

Ultima Thule: Jugurtha

How cold are thy baths, Apollo!
Cried the African monarch, the splendid,
As down to his death in the hollow
Dark dungeons of Rome he descended,
Uncrowned, unthroned, unattended;
How cold are thy baths, Apollo!


How cold are thy baths, Apollo!
Cried the Poet, unknown, unbefriended,
As the vision, that lured him to follow,
With the mist and the darkness blended,
And the dream of his life was ended;
How cold are thy baths, Apollo!
256

Ultima Thule: Elegiac

Ultima Thule: Elegiac

Dark is the morning with mist; in the narrow mouth of the harbor
Motionless lies the sea, under its curtain of cloud;
Dreamily glimmer the sails of ships on the distant horizon,
Like to the towers of a town, built on the verge of the sea.


Slowly and stately and still, they sail forth into the ocean;
With them sail my thoughts over the limitless deep,
Farther and farther away, borne on by unsatisfied longings,
Unto Hesperian isles, unto Ausonian shores.


Now they have vanished away, have disappeared in the ocean;
Sunk are the towers of the town into the depths of the sea!
All have vanished but those that, moored in the neighboring
roadstead,
Sailless at anchor ride, looming so large in the mist.


Vanished, too, are the thoughts, the dim, unsatisfied longings;
Sunk are the turrets of cloud into the ocean of dreams;
While in a haven of rest my heart is riding at anchor,
Held by the chains of love, held by the anchors of trust!
327

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