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Updated: June 9, 2025
Fields wrote: "In his modesty and benevolence I am reminded of what Pope said of his friend Garth: 'He is the best of Christians without knowing it." In one of Longfellow's notes he alludes humorously to the autograph nuisance: "Do you know how to apply properly for autographs?
Longfellow's translation is, to an eminent degree, realistic. It is a work conceived and executed in entire accordance with the spirit of our time. Mr. Longfellow has set about making a reconstructive translation, and he has succeeded in the attempt. In view of what he has done, no one can ever wish to see the old methods of Pope and Cary again resorted to.
Longfellow's unconsciousness is charming, even when it seems childlike. As a master of verse he has no English rival since Spenser. "Evangeline" is perhaps the most successful instance of Greek and Latin hexameter being grafted on to an English stem. Matthew Arnold considered it too dactylic, but the lightness of its movement personifies the grace of the heroine herself. Lines like Virgil's
The sculpture-gallery of the Capitol The Dying Gladiator The Venus Hawthorne's Marble Faun Bambino Santissimo The Mamertine Prison The Forum Palaces The Coliseum Longfellow's "Michael Angelo." Travelling by the slow second-class train, we did not arrive at Rome until nearly 11 p.m.; yet the journey proved interesting, especially as we approached our destination.
The cafés on the square, where stands the Belfry of Longfellow's poem, are overflowing with people at table. It is Friday, and to-morrow will be market day; with perhaps a fair or a procession thrown in. You reach the Cathedral of St. The narrow lane-like street winds around the rear of the church.
This thought drove away all the tender feeling that had been creeping into his heart; and when he next met his little daughter, his manner was as cold and distant as ever, and Elsie found it impossible to approach him with sufficient freedom to tell him what was in her heart. "Man is unjust, but God is just; and finally justice Triumphs." LONGFELLOW'S Evangeline.
She kept on praising herself to his disadvantage, as women do, all the way to the Neumunster Church, where they were going to revere the tomb of Walther von der Vogelweide, not so much for his own sake as for Longfellow's. The older poet lies buried within, but his monument is outside the church, perhaps for the greater convenience of the sparrows, which now represent the birds he loved.
In circling about we came quite unexpectedly upon the old "Red Horse" tavern, now the "Wayside Inn." We brought the machine to a stop and gazed long and lovingly at the ancient hostelry which had given shelter to famous men for nearly two hundred years, and where congenial spirits gathered in Longfellow's days and the imaginary "Tales of a Wayside Inn" were exchanged.
Of course there were varieties of local characters without his limitations; venerable merchants retired from the East India trade; elderly gentlewomen, with family jewels and personal peculiarities; one or two scholarly recluses in by-gone cut of coat, haunting the Athenaeum reading-room; ex-sea captains, with rings on their fingers, like Simon Danz's visitors in Longfellow's poem men who had played busy parts in the bustling world, and had drifted back to Old Strawberry Bank in the tranquil sunset of their careers.
Two stanzas in the poem, the first and the last, reminded me, as did the lines on "Constancy," of something I had read before. In a moment I had placed the first as the opening lines of Longfellow's "Children," and a search through my books showed that the concluding verse was taken bodily from Peacock's exquisite little poem "Castles in the Air."
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