diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:09:14 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:09:14 -0700 |
| commit | cc63ed4386b86cc2744e468bd10c0ef1bbf9c817 (patch) | |
| tree | 5a930fd1e459152dd4d6897079a47ff751382bb9 | |
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 37980-8.txt | 1314 | ||||
| -rw-r--r-- | 37980-8.zip | bin | 0 -> 20687 bytes | |||
| -rw-r--r-- | 37980-h.zip | bin | 0 -> 1234912 bytes | |||
| -rw-r--r-- | 37980-h/37980-h.htm | 1682 | ||||
| -rw-r--r-- | 37980-h/images/illus001.jpg | bin | 0 -> 233381 bytes | |||
| -rw-r--r-- | 37980-h/images/illus002.jpg | bin | 0 -> 90497 bytes | |||
| -rw-r--r-- | 37980-h/images/illus003.jpg | bin | 0 -> 36007 bytes | |||
| -rw-r--r-- | 37980-h/images/illus004.jpg | bin | 0 -> 183543 bytes | |||
| -rw-r--r-- | 37980-h/images/illus005.jpg | bin | 0 -> 179529 bytes | |||
| -rw-r--r-- | 37980-h/images/illus006.jpg | bin | 0 -> 175874 bytes | |||
| -rw-r--r-- | 37980-h/images/illus007.jpg | bin | 0 -> 207151 bytes | |||
| -rw-r--r-- | 37980-h/images/illus008.jpg | bin | 0 -> 133483 bytes | |||
| -rw-r--r-- | 37980.txt | 1314 | ||||
| -rw-r--r-- | 37980.zip | bin | 0 -> 20666 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 |
17 files changed, 4326 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/37980-8.txt b/37980-8.txt new file mode 100644 index 0000000..cff60aa --- /dev/null +++ b/37980-8.txt @@ -0,0 +1,1314 @@ +The Project Gutenberg EBook of A Day With Longfellow, by +Anonymous and Henry Wadsworth Longfellow + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: A Day With Longfellow + +Author: Anonymous + Henry Wadsworth Longfellow + +Release Date: November 11, 2011 [EBook #37980] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK A DAY WITH LONGFELLOW *** + + + + +Produced by Delphine Lettau, Susan Theresa Morin and the +Online Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + + DAYS WITH + THE GREAT + .POETS. + + LONGFELLOW + + +[Illustration: _Painting by A. E. Jackson._ THE CHILDREN'S HOUR.] + + Between the dark and the daylight, + When the night is beginning to lower, + Comes a pause in the day's occupations, + That is known as the Children's Hour. + + * * * * * + + They climb up into my turret, + O'er the arms and back of my chair; + If I try to escape they surround me, + They seem to be everywhere. + + + + + A DAY WITH + LONGFELLOW + + [Illustration: portrait of Longfellow] + + HODDER & STOUGHTON + LTD., PUBLISHERS LONDON + + +_Uniform with this Volume_ + +_DAYS WITH THE POETS_ + + BROWNING + BURNS + KEATS + LONGFELLOW + SHAKESPEARE + TENNYSON + +_DAYS WITH THE COMPOSERS_ + + BEETHOVEN + CHOPIN + GOUNOD + MENDELSSOHN + TSCHAIKOVSKY + WAGNER + +_Made and Printed in Great Britain for Hodder & Stoughton, Limited, +by C. Tinling & Co., Ltd., Liverpool, London and Prescot._ + + + + +A DAY WITH LONGFELLOW + + + + +The expression of serious and tender thoughtfulness, which always +characterized the quiet face of Henry Wadsworth Longfellow, had deepened +during his later years, into something akin to melancholy. The tragic +loss of his beloved wife,--burned to death while she was sealing up in +paper little locks of her children's hair,--had left its permanent and +irrevocable mark upon his life. Still, he did not seclude himself with +his sorrow: the professor of Modern Languages at Harvard could hardly +do that. He remained the selfsame kindly, gentle, industrious man, +welcoming with ready courtesy the innumerable visitors to the Craigie +House. + +This is a large old-fashioned house in Cambridge, Massachusetts--a place +of grassy terraces, long verandahs, lilac bushes, and shady trees--a +perfect dwelling for a man of cultured tastes, as the interior also +testifies. + +From the Poet's study, a spacious, sunny room upon the ground floor, +he could look across the meadows behind the house to the distant +silver windings of the River Charles. It was a most orderly room. +Every book and paper lay where he could put his hand on it in a moment. +Book-cases full of valuable volumes--precious first editions--busts and +portraits,--were to be seen on every side. A certain austere simplicity +was noticeable all over Longfellow's house. "His private rooms," it has +been said, "were like those of a German professor." But the attractiveness +and delightfulness of Craigie House arose not from any intrinsic +opulence of its contents, but from the personality of the man who lived +there. "By his mere presence he rendered the sunshine brighter, and the +place more radiant of kindness and peace." + +The Poet began his day, so long as age and health permitted, by a brisk +morning walk. He would be out and about by six, observing and enjoying +the beauty of earth and air, and subsequently recording his exquisite +impressions: + + O Gift of God! O perfect day: + Whereon shall no man work, but play; + Whereon it is enough for me, + Not to be doing, but to be! + + Through every fibre of my brain, + Through every nerve, through every vein, + I feel the electric thrill, the touch + Of life, that seems almost too much. + + I hear the wind among the trees + Playing celestial symphonies; + I see the branches downward bent, + Like keys of some great instrument. + + And over me unrolls on high + The splendid scenery of the sky, + Where through a sapphire sea the sun + Sails like a golden galleon, + + Towards yonder cloud-land in the West, + Towards yonder Islands of the Blest, + Whose steep sierra far uplifts + Its craggy summits white with drifts. + + Blow, winds! and waft through all the rooms + The snowflakes of the cherry-blooms! + Blow, winds! and bend within my reach + The fiery blossoms of the peach! + + O Life and Love! O happy throng + Of thoughts, whose only speech is song! + O heart of man! canst thou not be + Blithe as the air is, and as free? + _A Day of Sunshine._ + +The morning's post brought the first consignment of that enormous number +of epistles which were at once an affliction and an amusement to him. +The Poet was besieged by letters from ambitious aspirants seeking advice, +and from self-styled failures, desirous of help. To these last he was +peculiarly drawn, for he was distinguished by "a grace almost peculiar +to himself at the time in which he lived--his tenderness towards the +undeveloped artist, struggling towards individual expression." In short, +his first desire was to help on people, and bring out the best in them. + +Of apparent failure or success he recked little, believing, like +Stevenson, that the true success is labour,--that pursuit, and not +attainment is the worthiest object of existence; and his philosophy is +summed up in the well-known words of _The Ladder of Saint Augustine_, + + + Saint Augustine! well hast thou said, + That of our vices we can frame + A ladder, if we will but tread + Beneath our feet each deed of shame! + + All common things, each day's events, + That with the hour begin and end, + Our pleasures and our discontents, + Are rounds by which we may ascend. + + * * * * * + + The longing for ignoble things; + The strife for triumph more than truth; + The hardening of the heart, that brings + Irreverence for the dreams of youth; + + All thoughts of ill; all evil deeds, + That have their root in thoughts of ill; + Whatever hinders or impedes + The action of the nobler will;-- + + All these must first be trampled down + Beneath our feet, if we would gain + In the bright fields of fair renown + The right of eminent domain. + + We have not wings, we cannot soar; + But we have feet to scale and climb + By slow degrees, by more and more, + The cloudy summits of our time. + + The mighty pyramids of stone + That wedge-like cleave the desert airs, + When nearer seen and better known, + Are but gigantic flights of stairs. + + The distant mountains that uprear + Their solid bastions to the skies, + Are crossed by pathways, that appear + As we to higher levels rise. + + The heights by great men reached and kept + Were not attained by sudden flight, + But they, while their companions slept, + Were toiling upward in the night. + + Standing on what too long we bore + With shoulders bent and downcast eyes, + We may discern--unseen before-- + A path to higher destinies. + + Nor deem the irrevocable Past + As wholly wasted, wholly vain, + If rising on its wrecks, at last + To something nobler we attain. + + +Constant requests for autographs formed the bulk of the day's budget, +and these also never went unanswered--even when couched in terms the +most _mal à propos_, much as those of the man who said that "he +loved poetry in 'most any style,"--"and would you please copy your +'Break, break, break' for the writer?" Possibly the worst offenders, in +this matter of autograph-hunting, were those multitudinous schoolgirls +of whom Longfellow humorously complained that he was always "kept busy +answering." They ignored the fact of his professional duties, and his +own unremitting work; anything to get a reply in the handwriting of the +celebrity! But he had a special delight in budding womanhood, and had +depicted it with magical insight and rare delicacy of touch, in lines +which have never been excelled in their charm and purity. + + + Maiden! with the meek, brown eyes + In whose orbs a shadow lies, + Like the dusk in evening skies! + + Thou whose locks outshine the sun, + Golden tresses, wreathed in one, + As the braided streamlets run! + + Standing, with reluctant feet, + Where the brook and river meet, + Womanhood and childhood fleet! + + Seest thou shadows sailing by, + As the dove, with startled eye, + Sees the falcon's shadow fly? + + Hearest thou voices on the shore, + That our ears perceive no more, + Deafened by the cataract's roar? + + O, thou child of many prayers! + Life hath quicksands,--Life hath snares! + Care and age come unawares! + + Like the swell of some sweet tune, + Morning rises into noon, + May glides onward into June. + + Childhood is the bough, where slumbered + Birds and blossoms many-numbered;-- + Age, that bough with snows encumbered. + + Gather, then, each flower that grows, + When the young heart overflows, + To embalm that tent of snows. + + Bear a lily in thy hand; + Gates of brass cannot withstand + One touch of that magic wand. + + Bear through sorrow, wrong, and ruth, + In thy heart the dew of youth, + On thy lips the seal of truth. + + O, that dew, like balm shall steal + Into wounds that cannot heal, + Even as sleep our eyes doth seal; + + And that smile, like sunshine, dart + Into many a sunless heart, + For a smile of God thou art. + + _Maidenhood._ + + +[Illustration: _Painting by W. H. Margetson._ MAIDENHOOD.] + + Maiden with the meek, brown eyes + In whose orbs a shadow lies, + Like the dusk in evening skies! + + Thou whose locks outshine the sun, + Golden tresses, wreathed in one, + As the braided streamlets run! + + +The early instalment of letters attended to, the Poet could devote +himself to his own affairs. He believed in _working_ at poetry, +methodically, systematically: although inspiration might flow with +sudden fervour, it was not to be waited for. "Regular, proportioned, +resolute, incessant industry," was the secret of his success, and the +erasures and substitutions in his MSS. bear witness to his care in +craftsmanship. The least conspicuous word must be as perfect as he +could make it. Longfellow's creed, as expounded in _The Builders_, +allowed for no scamped work. + + + All are architects of Fate, + Working in these walls of Time: + Some with massive deeds and great, + Some with ornaments of rhyme. + + Nothing useless is, or low; + Each thing in its place is best; + And what seems but idle show + Strengthens and supports the rest. + + For the structure that we raise, + Time is with materials filled; + Our to-days and yesterdays + Are the blocks with which we build. + + Truly shape and fashion these; + Leave no yawning gaps between; + Think not, because no man sees, + Such things will remain unseen. + + In the elder days of Art, + Builders wrought with greatest care + Each minute and unseen part; + For the Gods see everywhere. + + Let us do our work as well, + Both the unseen and the seen; + Make the house, where Gods may dwell, + Beautiful, entire, and clean. + + Else our lives are incomplete, + Standing in these walls of Time, + Broken stairways, where the feet + Stumble as they seek to climb. + + Build to-day, then, strong and sure, + With a firm and ample base; + And ascending and secure + Shall to-morrow find its place. + + Thus alone can we attain + To those turrets, where the eye + Sees the world as one vast plain, + And one boundless reach of sky. + + _The Builders._ + + +Work, indeed, whether mental or physical, was his first instinct, and +he has preached the gospel of honest work to the whole English-speaking +world in some of the most familiar lines in the language. + + + 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 forge, + 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 fortune must be wrought; + Thus on its sounding anvil shaped + Each burning deed and thought! + + _The Village Blacksmith._ + + +[Illustration: _Painting by Dudley Tennant._ THE VILLAGE BLACKSMITH.] + + And children coming home from school + Look in at the open door: + They love to see the flaming forge, + And hear the bellows roar, + And catch the burning sparks that fly + Like chaff from a threshing floor. + + +Not for long, however, might Longfellow remain undisturbed in his +sunny room. Sometimes he welcomed the opening door that saw "a little +figure stealing gently in, laying an arm round his neck as he bent over +his work, and softly whispering some childish secret in his ear." For +this was no obstacle to the current of his tranquil thoughts. "My little +girls are flitting about my study," he wrote to a friend, "as blithe as +two birds. They are preparing to celebrate the birthday of one of their +dolls.... What a beautiful world this child's world is! I take infinite +delight in seeing it go on all around me." + +It was with absolute sincerity that he had exclaimed: + + + Come to me, O ye children! + For I hear you at your play, + And the questions that perplexed me + Have vanished quite away. + + Ye open the eastern windows, + That look towards the sun, + Where thoughts are singing swallows, + And the brooks of morning run. + + In your hearts are the birds and the sunshine, + In your thoughts the brooklet's flow; + But in mine is the wind of Autumn, + And the first fall of the snow. + + Ah! what would the world be to us, + If the children were no more? + We should dread the desert behind us + Worse than the dark before. + + What the leaves are to the forest, + With light and air for food, + Ere their sweet and tender juices + Have been hardened into wood,-- + + That to the world are children; + Through them it feels the glow + Of a brighter and sunnier climate + Than reaches the trunks below + + Come to me, O ye children! + And whisper in my ear + What the birds and the winds are singing + In your sunny atmosphere. + + For what are all our contrivings, + And the wisdom of our books, + When compared with your caresses, + And the gladness of your looks? + + Ye are better than all the ballads + That ever were sung or said; + For ye are living poems, + And all the rest are dead. + + _Children._ + +But these were congenial moments. There were visitors much less +desirable. "He was besieged," as one of his friends declares, "by every +possible form of interruption which the ingenuity of the human brain +could devise." For his admirers, whose name was legion, were not +satisfied with hero-worship afar off: they must needs force themselves +into his presence, and express their admiration _vivâ-voce_. Most +amazing folks swooped suddenly down upon him, ruthless and unabashed. + +Longfellow, always quick to see the comical side of a situation, would +tell with great delight strange tales of his unexpected guests. "One +man," he said, "a perfect stranger, came with an omnibus full of ladies. +He introduced himself, then returning to the omnibus, took out all the +ladies, one, two, three, four, five, with a little girl, and brought +them in. I entertained them to the best of my ability, and they stayed +an hour." + +On another occasion, an English gentleman, with no letter of introduction, +abruptly introduced himself, thus: "In other countries, you know, we go +to see ruins, and the like--but you have no ruins in your country, and I +thought," growing embarrassed, "I would call and see _you_!" Another +strange gentleman accosted him with great fervour, "Mr. Longfellow, I +have long desired the honour of knowing you. I am one of _the few men_ +who have read your _Evangeline_!" + +All these worshippers at his shrine were received by the Poet with his +unfailing courtesy and patience; but he was invariably adroit in warding +off compliments. To applause and flattery he was impervious--reference +to his own works was distasteful to him. His perfect modesty was the +reflex of his natural reticence. + +Longfellow regarded life from the standpoint of eternity, and thus +was one who, in the words of à Kempis, "careth little for the praise +or dispraise of men." His gaze was riveted upon that "Land of the +Hereafter," to which he was always more than ready to set out, and in +the departure of Hiawatha he had imaged his longing for the "Happiest +Land." + + + On the shore stood Hiawatha, + Turned and waved his hand at parting; + On the clear and luminous water + Launched his birch canoe for sailing, + From the pebbles of the margin + Shoved it forth into the water; + Whispered to it "Westward! westward!" + And with speed it darted forward. + + And the evening sun descending + Set the clouds on fire with redness, + Burned the broad sky, like a prairie, + Left upon the level water + One long track and trail of splendour, + Down whose stream, as down a river, + Westward, westward Hiawatha + Sailed into the fiery sunset, + Sailed into the purple vapours, + Sailed into the dusk of evening. + + And the people from the margin + Watched him floating, rising, sinking, + Till the birch canoe seemed lifted + High into that sea of splendour, + Till it sank into the vapours + Like the new moon slowly, slowly + Sinking in the purple distance. + + And they said "Farewell for ever!" + Said "Farewell, O Hiawatha!" + And the forests, dark and lonely, + Moved through all their depths of darkness, + Sighed, "Farewell, O Hiawatha!" + And the waves upon the margin + Rising, rippling on the pebbles, + Sobbed "Farewell, O Hiawatha!" + And the heron, the Shuh-shuh-gah, + From her haunts among the fenlands, + Screamed "Farewell, O Hiawatha!" + + Thus departed Hiawatha, + Hiawatha the Beloved, + In the glory of the sunset, + In the purple mists of evening, + To the regions of the home-wind, + Of the Northwest wind Keewaydin, + To the Islands of the Blessed, + To the kingdom of Ponemah, + To the land of the Hereafter! + + _Hiawatha._ + + +[Illustration: _Painting by J. Finnemore._ HIAWATHA.] + + And the evening sun descending.... + Left upon the level water + One long track and trail of splendour, + Down whose stream as down a river, + Westward, westward Hiawatha + Sailed into the fiery sunset, + Sailed into the purple vapours, + Sailed into the dusk of evening. + + +Personal friends, of whom the Poet possessed many, would arrive in +time for lunch, and be welcomed by the master of Craigie House at the +gate in the lilac hedge. He would bring them into the large, cheerful +dining-room, and the children would sit at a little table on the +verandah, while the host, with his own hands, set the copper kettle +singing, and made tea in the antique silver pot. + +It was a peaceful, happy hour for the guests. Longfellow, unlike +Tennyson, was never much of a talker: he was a listener and observer, +who dwelt in a speaking silence--in what has been defined as a heavenly +unfathomableness. Ruskin had written: "You come as such a _calm_ +influence to me ... you give me such a feeling of friendship and repose." +And this feeling was enhanced by the man's natural dignity and grace, +the refinement of his features, the perfect taste of his dress, and +the exquisite simplicity of his manners. Many have alluded to his soft, +musical voice, to his steady blue-grey eyes, to the "innate charm of +tranquillity," which gave a peculiar spiritual sweetness to his smile. +But the man was even more, and better than the poet; so much so that a +young enthusiast exclaimed "All the vulgar and pretentious people in the +world ought to be sent to Mr. Longfellow to show them how to behave!" +Nor was this calm the outcome of natural placidity--it had been attained +through bitter suffering: it was that gleam of a hero's armour which the +"red planet Mars" unveils to a tear-dimmed sight, when + + + The night is come, but not too soon; + And sinking silently, + All silently, the little moon + Drops down behind the sky. + + There is no light in earth or heaven, + But the cold light of stars; + And the first watch of night is given + To the red planet Mars. + + Is it the tender star of love? + The star of love and dreams? + O no! from that blue tent above, + A hero's armour gleams. + + And earnest thoughts within me rise, + When I behold afar, + Suspended in the evening skies, + The shield of that red star. + + O star of strength! I see thee stand + And smile upon my pain; + Thou beckonest with thy mailed hand, + And I am strong again. + + Within my breast there is no light, + But the cold light of stars; + I give the first watch of the night + To the red planet Mars. + + The star of the unconquered will, + He rises in my breast, + Serene, and resolute, and still, + And calm and self-possessed. + + And thou, too, whosoe'er thou art, + That readest this brief psalm, + As one by one thy hopes depart, + Be resolute and calm. + + O fear not in a world like this, + And thou shalt know ere long, + Know how sublime a thing it is + To suffer and be strong. + + _The Light of Stars._ + + +After lunch, the guests would be taken round the house, and its various +treasures pointed out: books in every corner, and on every wall pictures +and portraits; antique furniture, interesting mementoes of every sort. +It was a home well worth seeing: and an old-world air pervaded all, +from the quaint drawing-room, with its old-fashioned, rose-festooned +wall-paper, to the upper rooms with the Dutch-tiled hearths. + +Later on, to those with whom he felt specially _en rapport_, Longfellow +would read aloud some poems, new or old, his own, or those of other men. +He was not a forcible or a dramatic reader; the simplicity which he +loved "in all things," as he had said, "but specially in poetry," was +evident also here. Yet perhaps no other man could have done equal justice +to the lingering hexameters of his most successful poem--for such, by +reason of its novelty, pathos, and beauty, _Evangeline_ must always be +considered. "It has become a purifying portion," says Rossetti, "of the +experiences of the heart ... a long-drawn sweetness and sadness"; and, +though sixty years have elapsed since _Evangeline_ first appeared, the +ideal maiden of this "idyll of the heart" has lost no fraction of her +loveliness. + + + Fair was she to behold, that maiden of seventeen summers. + Black were her eyes as the berry that grows on the thorn by the + wayside, + Black, yet how softly they gleamed beneath the brown shade of her + tresses! + Sweet was her breath as the breath of kine that feed in the meadows. + When in the harvest heat she bore to the reapers at noon-tide + Flagons of home-brewed ale, ah! fair in sooth was the maiden. + Fairer was she when, on Sunday morn, while the bell from its turret + Sprinkled with holy sounds the air, as the priest with his hyssop + Sprinkles the congregation, and scatters blessings upon them, + Down the long street she passed, with her chaplet of beads and her + missal, + Wearing her Norman cap, and her kirtle of blue, and the ear-rings, + Brought in the olden time from France, and since, as an heir-loom, + Handed down from mother to child, through long generations. + But a celestial brightness--a more ethereal beauty-- + Shone on her face and encircled her form, when, after confession, + Homeward serenely she walked with God's benediction upon her. + When she had passed, it seemed like the ceasing of exquisite music. + + _Evangeline._ + + +In the course of the afternoon, some of the Poet's guests taking leave, +others would accompany him to a concert, organ recital, or any other +musical function which might be available. Longfellow was passionately +fond of good music, and lost no opportunity of hearing it. His own +lyrics are singularly susceptible, as all composers know, of an adequate +musical setting. + + +[Illustration: _Painting by H. M. Brock._ EVANGELINE.] + + But a celestial brightness--a more ethereal beauty-- + Shone on her face and encircled her form, when, after confession, + Homeward serenely she walked with God's benediction upon her. + When she had passed, it seemed like the ceasing of exquisite music. + + +Few short poems in the world have been so often sung as "Stars of +the summer night"--"Good-night, beloved"--"The rainy day"--and other +well-known verses. A most effective sense of sound and rhythm, joined +with perfect simplicity of diction, evince the inherent artistry of a +man who was no musician in the technical sense, but who could express +himself in such lines as + + + The night is calm and cloudless, + And still as still can be, + And the stars come forth to listen + To the music of the sea. + They gather, and gather, and gather, + Until they crowd the sky, + And listen in breathless silence, + To the solemn litany. + It begins in rocky caverns, + As a voice that chants alone + To the pedals of the organ + In monotonous undertone; + And anon from shelving beaches + And shallow sands beyond, + In snow-white robes uprising + The ghostly choirs respond. + And sadly and unceasing + The mournful voice sings on, + And the snow-white choirs still answer + Christe eleison! + + _The Golden Legend._ + + +After dinner, to which perhaps an intimate friend or two remained, +the poet would remain awhile in his study: not actually at work, for +his writing was only done in the morning hours, but considering and +criticising work already accomplished, and carefully perusing that great +translation of Dante which he considered, rightly or wrongly, as the +most important work of his life. The twilight would slowly fade into the +dusk of a "blindman's holiday," and then came the sweetest moment of the +day. + +Longfellow's intense affection for all little ones, his touching +kindness to them, his sympathy with their most trivial joys or troubles, +were focussed and centred in the love he bore to his own dear, +motherless children. + + + Between the dark and the daylight, + When the night is beginning to lower, + Comes a pause in the day's occupations, + That is known as the Children's Hour. + + I hear in the chamber above me + The patter of little feet, + The sound of a door that is opened, + And voices soft and sweet. + + From my study I see in the lamplight, + Descending the broad hall-stair, + Grave Alice, and laughing Allegra, + And Edith with golden hair. + + A whisper, and then a silence: + Yet I know by their merry eyes + They are plotting and planning together + To take me by surprise. + + A sudden rush from the stairway, + A sudden raid from the hall! + By three doors left unguarded + They enter my castle wall! + + They climb up into my turret, + O'er the arms and back of my chair; + If I try to escape they surround me; + They seem to be everywhere. + + They almost devour me with kisses, + Their arms about me entwine, + Till I think of the Bishop of Bingen + In his Mouse-Tower on the Rhine! + + Do you think, O blue-eyed banditti, + Because you have scaled the wall, + Such an old moustache as I am + Is not a match for you all! + + I have you fast in my fortress, + And will not let you depart, + But put you down in the dungeon + In the round-tower of my heart. + + And there I will keep you for ever, + Yes, for ever and a day, + Till the walls shall crumble to ruin, + And moulder in dust away! + + _The Children's Hour._ + + +A brief period of childish gaiety would supervene, to which the man of +childlike heart responded readily; and when the little feet had pattered +bedward, and the house was silent from the merry little voices, the +father would sit on until midnight in his spacious empty room. He would +occupy himself with letters--long, fragrant, pleasant gossips to his +best and most familiar friends at a distance: till midnight came upon +him unawares. "It is nearly one o'clock--I am the only person up in the +house: my candle is sinking in its socket." + +And a double loneliness descended upon him as his weary hand laid +down the pen. He remained inert and brooding; the solitude was +almost tangible. But this solitude was presently peopled by visions, +fraught with ineffable consolation to a mind never out of touch with +"other-worldly" influences. + + + 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 parlour 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. + + O, though oft depressed and lonely, + All my fears are laid aside, + If I but remember only + Such as these have lived and died! + + _Footsteps of Angels._ + +"_Empty_ is a horrid word," the Poet had written to a friend--but the +room is no longer empty. It has become a habitation for other visitants +than the motley throng of flatterers impelled by curiosity, who hindered +his morning hours. Unspoken benedictions lie thick upon the air--the +man's griefs are soothed away by the touch of invisible fingers. Patient, +unselfish, indomitable, he resumes the burden of his daily life with new +hope and courage for the morrow. + + + As torrents in summer, + Half dried in their channels, + Suddenly rise, though the + Sky is still cloudless, + For rain has been falling + Far off at their fountains; + + So hearts that are fainting + Grow full to o'erflowing, + And they that behold it + Marvel, and know not + That God at their fountains + Far off has been raining. + + _Tales of a Wayside Inn._ + + + + + +End of the Project Gutenberg EBook of A Day With Longfellow, by +Anonymous and Henry Wadsworth Longfellow + +*** END OF THIS PROJECT GUTENBERG EBOOK A DAY WITH LONGFELLOW *** + +***** This file should be named 37980-8.txt or 37980-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/7/9/8/37980/ + +Produced by Delphine Lettau, Susan Theresa Morin and the +Online Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/37980-8.zip b/37980-8.zip Binary files differnew file mode 100644 index 0000000..90db224 --- /dev/null +++ b/37980-8.zip diff --git a/37980-h.zip b/37980-h.zip Binary files differnew file mode 100644 index 0000000..f942ce8 --- /dev/null +++ b/37980-h.zip diff --git a/37980-h/37980-h.htm b/37980-h/37980-h.htm new file mode 100644 index 0000000..4f5986b --- /dev/null +++ b/37980-h/37980-h.htm @@ -0,0 +1,1682 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<title>The Project Gutenberg eBook of A Day with Longfellow by Anonymous.</title> +<style type="text/css"> + body {background:#fdfdfd; + color:black; + font-size: large; + margin-top:100px; + margin-left:15%; + margin-right:15%; + text-align:justify; } + h1, h2, h3, h4, h5, h6 {text-align: center; } + hr.narrow { width: 40%; + text-align: center; + margin-left: auto; + margin-right: auto; + clear: both; } + hr.minimal { width: 25%; + text-align: center; + margin-left: auto; + margin-right: auto; + clear: both; } + hr.tiny { width: 10%; + text-align: center; + margin-left: auto; + margin-right: auto; + clear: both; } + hr { width: 100%; } + hr.full { width: 100%; + margin-top: 3em; + margin-bottom: 0em; + margin-left: auto; + margin-right: auto; + height: 3px; + border-width: 4px 0 0 0; /* remove all borders except the top one */ + border-style: solid; + border-color: #000000; + clear: both; } + table {font-size: large; } + table.sm {font-size: small; } + p {text-indent: 3%; } + p.noindent { text-indent: 0%; } + .caption { font-size: small; + font-weight: bold; } + .center { text-align: center; } + img { border: 0; } + .ind1 { margin-left: 1em; } + .ind2 { margin-left: 2em; } + .small { font-size: 70%; } + .bb { font-weight: bold; font-size: 120%} + a:link {color:blue; + text-decoration:none} + link {color:blue; + text-decoration:none} + a:visited {color:blue; + text-decoration:none} + a:hover {color:red; + text-decoration: underline; } + pre {font-size: 70%; } +</style> +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of A Day With Longfellow, by +Anonymous and Henry Wadsworth Longfellow + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: A Day With Longfellow + +Author: Anonymous + Henry Wadsworth Longfellow + +Release Date: November 11, 2011 [EBook #37980] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK A DAY WITH LONGFELLOW *** + + + + +Produced by Delphine Lettau, Susan Theresa Morin and the +Online Distributed Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + +<hr class="full" /> +<p> </p> +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/illus008.jpg"> + <img src="images/illus008.jpg" height="300" + alt="BOOK COVER" /></a> + </td> + </tr> + </table> +</div> +<p> </p> +<div class="center"> +<p class="noindent"><span class="widebb">DAYS WITH<br /> +THE GREAT<br /> +.POETS.<br /> +<br /> +LONGFELLOW</span> +</p> +</div> +<p> </p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/illus001.jpg"> + <img src="images/illus001.jpg" height="450" + alt="THE CHILDREN'S HOUR" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption">Click to <a href="images/illus001.jpg">ENLARGE</a><br /><br /> + <i>Painting by A. E. Jackson.</i><br /> + <br />THE CHILDREN'S HOUR.</span> + </td> + </tr> +</table> +<table class="sm" style="margin: 0 auto" border="0" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="center" valign="top"></td></tr> +<tr><td align="center" valign="bottom"></td></tr> +<tr><td> </td></tr> +<tr><td align="left">Between the dark and the daylight,</td></tr> +<tr><td align="left"><span class="ind2"> </span>When the night is beginning to lower,</td></tr> +<tr><td align="left">Comes a pause in the day's occupations,</td></tr> +<tr><td align="left"><span class="ind2"> </span>That is known as the Children's Hour.</td></tr> +<tr><td align="center" valign="middle">* * * * *</td></tr> +<tr><td align="left">They climb up into my turret,</td></tr> +<tr><td align="left"><span class="ind2"> </span>O'er the arms and back of my chair;</td></tr> +<tr><td align="left">If I try to escape they surround me,</td></tr> +<tr><td align="left"><span class="ind2"> </span>They seem to be everywhere.</td></tr> +</table> +</div> +<p> </p> +<hr class="narrow" /> +<p> </p> +<h1>A · DAY · WITH<br /> +<br /> +LONGFELLOW</h1> +<p> </p> +<p> </p> +<div class="center"> +<p class="noindent"><span class="bb">HODDER & STOUGHTON</span><br /> +<b><span class="wide">LTD., PUBLISHERS LONDON</span></b> +</p> +</div> +<p> </p> +<hr class="narrow" /> +<p> </p> +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/illus002.jpg"> + <img src="images/illus002.jpg" height="400" + alt="TITLE PAGE" /></a> + </td> + </tr> + </table> +</div> +<p> </p> +<hr class="tiny" /> +<p> </p> + +<div class="center"> +<p class="noindent"><i>Uniform with this Volume</i></p> + +<table class="sm" style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left"><i>DAYS WITH THE POETS</i></td></tr> +<tr><td> </td></tr> +<tr><td align="left">BROWNING<br /> +BURNS<br /> +KEATS<br /> +LONGFELLOW<br /> +SHAKESPEARE<br /> +TENNYSON</td></tr> +<tr><td> </td></tr> +<tr><td align="left"><i>DAYS WITH THE COMPOSERS</i></td></tr> +<tr><td> </td></tr> +<tr><td align="left">BEETHOVEN<br /> +CHOPIN<br /> +GOUNOD<br /> +MENDELSSOHN<br /> +TSCHAIKOVSKY<br /> +WAGNER</td></tr> +</table> +</div> +<p> </p> +<hr class="tiny" /> +<p> </p> + +<div class="center"> + <p class="noindent"> + <span class="small"><i>Made and Printed in Great Britain for Hodder & Stoughton, Limited,<br /> +by C. Tinling & Co., Ltd., Liverpool, London and Prescot.</i> + </span> + </p> +</div> +<p> </p> +<hr class="minimal" /> +<p> </p> +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/illus003.jpg"> + <img src="images/illus003.jpg" height="100" + alt="DECORATION" /></a> + </td> + </tr> + </table> +</div> +<h2><span class="wide">A DAY WITH LONGFELLOW</span></h2> + +<p>The expression of serious and tender +thoughtfulness, which always characterized +the quiet face of Henry Wadsworth +Longfellow, had deepened during his later years, +into something akin to melancholy. The tragic +loss of his beloved wife,—burned to death while +she was sealing up in paper little locks of her +children's hair,—had left its permanent and +irrevocable mark upon his life. Still, he did not +seclude himself with his sorrow: the professor +of Modern Languages at Harvard could hardly do +that. He remained the selfsame kindly, gentle, +industrious man, welcoming with ready courtesy +the innumerable visitors to the Craigie House.</p> + +<p>This is a large old-fashioned house in +Cambridge, Massachusetts—a place of grassy +terraces, long verandahs, lilac bushes, and shady +trees—a perfect dwelling for a man of cultured +tastes, as the interior also testifies.</p> + +<p>From the Poet's study, a spacious, sunny +room upon the ground floor, he could look across +the meadows behind the house to the distant +silver windings of the River Charles. It was a +most orderly room. Every book and paper lay +where he could put his hand on it in a moment. +Book-cases full of valuable volumes—precious first +editions—busts and portraits,—were to be seen on +every side. A certain austere simplicity was +noticeable all over Longfellow's house. "His +private rooms," it has been said, "were like those +of a German professor." But the attractiveness +and delightfulness of Craigie House arose not from +any intrinsic opulence of its contents, but from the +personality of the man who lived there. "By his +mere presence he rendered the sunshine brighter, +and the place more radiant of kindness and peace."</p> + +<p>The Poet began his day, so long as age and +health permitted, by a brisk morning walk. He +would be out and about by six, observing and +enjoying the beauty of earth and air, and subsequently +recording his exquisite impressions:</p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="1" cellspacing="0" summary="poem"> +<tr><td align="left">O Gift of God! O perfect day:<br /> +Whereon shall no man work, but play;<br /> +Whereon it is enough for me,<br /> +Not to be doing, but to be!</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Through every fibre of my brain,<br /> +Through every nerve, through every vein,<br /> +I feel the electric thrill, the touch<br /> +Of life, that seems almost too much.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">I hear the wind among the trees<br /> +Playing celestial symphonies;<br /> +I see the branches downward bent,<br /> +Like keys of some great instrument.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">And over me unrolls on high<br /> +The splendid scenery of the sky,<br /> +Where through a sapphire sea the sun<br /> +Sails like a golden galleon,</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Towards yonder cloud-land in the West,<br /> +Towards yonder Islands of the Blest,<br /> +Whose steep sierra far uplifts<br /> +Its craggy summits white with drifts.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Blow, winds! and waft through all the rooms<br /> +The snowflakes of the cherry-blooms!<br /> +Blow, winds! and bend within my reach<br /> +The fiery blossoms of the peach!</td></tr> +<tr><td> </td></tr> +<tr><td align="center" valign="middle">*<span class="ind2"> </span>*<span class="ind2"> </span>*<span class="ind2"> </span>*<span class="ind2"> </span>*</td></tr> +<tr><td> </td></tr> +<tr><td align="left">O Life and Love! O happy throng<br /> +Of thoughts, whose only speech is song!<br /> +O heart of man! canst thou not be<br /> +Blithe as the air is, and as free?<br /> + </td></tr> +<tr><td align="right"><i>A Day of Sunshine.</i></td></tr> +</table> +</div> + +<p>The morning's post brought the first consignment +of that enormous number of epistles which +were at once an affliction and an amusement to him. +The Poet was besieged by letters from ambitious +aspirants seeking advice, and from self-styled +failures, desirous of help. To these last he was +peculiarly drawn, for he was distinguished by "a +grace almost peculiar to himself at the time in +which he lived—his tenderness towards the +undeveloped artist, struggling towards individual +expression." In short, his first desire was to help +on people, and bring out the best in them.</p> + +<p>Of apparent failure or success he recked little, +believing, like Stevenson, that the true success is +labour,—that pursuit, and not attainment is the +worthiest object of existence; and his philosophy +is summed up in the well-known words of <i>The +Ladder of Saint Augustine</i>,</p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left">Saint Augustine! well hast thou said,<br /> +<span class="ind1"> </span>That of our vices we can frame<br /> +A ladder, if we will but tread<br /> +<span class="ind1"> </span>Beneath our feet each deed of shame!</td></tr> +<tr><td> </td></tr> +<tr><td align="left">All common things, each day's events,<br /> +<span class="ind1"> </span>That with the hour begin and end,<br /> +Our pleasures and our discontents,<br /> +<span class="ind1"> </span>Are rounds by which we may ascend.</td></tr> +<tr><td> </td></tr> +<tr><td align="center" valign="middle">*<span class="ind2"> </span>*<span class="ind2"> </span>*<span class="ind2"> </span>*<span class="ind2"> </span>*</td></tr> +<tr><td> </td></tr> +<tr><td align="left">The longing for ignoble things;<br /> +<span class="ind1"> </span>The strife for triumph more than truth;<br /> +The hardening of the heart, that brings<br /> +<span class="ind1"> </span>Irreverence for the dreams of youth;</td></tr> +<tr><td> </td></tr> +<tr><td align="left">All thoughts of ill; all evil deeds,<br /> +<span class="ind1"> </span>That have their root in thoughts of ill;<br /> +Whatever hinders or impedes<br /> +<span class="ind1"> </span>The action of the nobler will;—</td></tr> +<tr><td> </td></tr> +<tr><td align="left">All these must first be trampled down<br /> +<span class="ind1"> </span>Beneath our feet, if we would gain<br /> +In the bright fields of fair renown<br /> +<span class="ind1"> </span>The right of eminent domain.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">We have not wings, we cannot soar;<br /> +<span class="ind1"> </span>But we have feet to scale and climb<br /> +By slow degrees, by more and more,<br /> +<span class="ind1"> </span>The cloudy summits of our time.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">The mighty pyramids of stone<br /> +<span class="ind1"> </span>That wedge-like cleave the desert airs,<br /> +When nearer seen and better known,<br /> +<span class="ind1"> </span>Are but gigantic flights of stairs.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">The distant mountains that uprear<br /> +<span class="ind1"> </span>Their solid bastions to the skies,<br /> +Are crossed by pathways, that appear<br /> +<span class="ind1"> </span>As we to higher levels rise.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">The heights by great men reached and kept<br /> +<span class="ind1"> </span>Were not attained by sudden flight,<br /> +But they, while their companions slept,<br /> +<span class="ind1"> </span>Were toiling upward in the night.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Standing on what too long we bore<br /> +<span class="ind1"> </span>With shoulders bent and downcast eyes,<br /> +We may discern—unseen before—<br /> +<span class="ind1"> </span>A path to higher destinies.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Nor deem the irrevocable Past<br /> +<span class="ind1"> </span>As wholly wasted, wholly vain,<br /> +If rising on its wrecks, at last<br /> +<span class="ind1"> </span>To something nobler we attain.</td></tr> +<tr><td align="left"> </td></tr> +</table> +</div> + +<p>Constant requests for autographs formed the +bulk of the day's budget, and these also never +went unanswered—even when couched in terms +the most <i>mal à propos</i>, much as those of the man +who said that "he loved poetry in 'most any +style,"—"and would you please copy your 'Break, +break, break' for the writer?" Possibly the worst +offenders, in this matter of autograph-hunting, +were those multitudinous schoolgirls of whom +Longfellow humorously complained that he was +always "kept busy answering." They ignored the +fact of his professional duties, and his own unremitting +work; anything to get a reply in the +handwriting of the celebrity! But he had a special +delight in budding womanhood, and had depicted +it with magical insight and rare delicacy of touch, +in lines which have never been excelled in their +charm and purity.</p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left">Maiden! with the meek, brown eyes<br /> +In whose orbs a shadow lies,<br /> +Like the dusk in evening skies!</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Thou whose locks outshine the sun,<br /> +Golden tresses, wreathed in one,<br /> +As the braided streamlets run!</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Standing, with reluctant feet,<br /> +Where the brook and river meet,<br /> +Womanhood and childhood fleet!</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Seest thou shadows sailing by,<br /> +As the dove, with startled eye,<br /> +Sees the falcon's shadow fly?</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Hearest thou voices on the shore,<br /> +That our ears perceive no more,<br /> +Deafened by the cataract's roar?</td></tr> +<tr><td> </td></tr> +<tr><td align="left">O, thou child of many prayers!<br /> +Life hath quicksands,—Life hath snares!<br /> +Care and age come unawares!</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Like the swell of some sweet tune,<br /> +Morning rises into noon,<br /> +May glides onward into June.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Childhood is the bough, where slumbered<br /> +Birds and blossoms many-numbered;—<br /> +Age, that bough with snows encumbered.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Gather, then, each flower that grows,<br /> +When the young heart overflows,<br /> +To embalm that tent of snows.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Bear a lily in thy hand;<br /> +Gates of brass cannot withstand<br /> +One touch of that magic wand.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Bear through sorrow, wrong, and ruth,<br /> +In thy heart the dew of youth,<br /> +On thy lips the seal of truth.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">O, that dew, like balm shall steal<br /> +Into wounds that cannot heal,<br /> +Even as sleep our eyes doth seal;</td></tr> +<tr><td> </td></tr> +<tr><td align="left">And that smile, like sunshine, dart<br /> +Into many a sunless heart,<br /> +For a smile of God thou art.<br /> + </td></tr> +<tr><td align="right"><i>Maidenhood.</i></td></tr> +</table> +</div> +<p> </p> +<hr class="minimal" /> +<p> </p> +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/illus004.jpg"> + <img src="images/illus004.jpg" height="450" + alt="MAIDENHOOD" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption">Click to <a href="images/illus004.jpg">ENLARGE</a><br /><br /> +<i>Painting by W. H. Margetson.</i><br /><br /> +MAIDENHOOD.</span> + </td> + </tr> +</table> +</div> +<div class="center"> +<table class="sm" style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left">Maiden with the meek, brown eyes<br /> +In whose orbs a shadow lies,<br /> +Like the dusk in evening skies!<br /> + </td></tr> +<tr><td align="left">Thou whose locks outshine the sun,<br /> +Golden tresses, wreathed in one,<br /> +As the braided streamlets run!<br /> + </td></tr> +</table> +</div> +<p> </p> +<hr class="minimal" /> +<p> </p> +<p>The early instalment of letters attended to, +the Poet could devote himself to his own affairs. +He believed in <i>working</i> at poetry, methodically, +systematically: although inspiration might flow +with sudden fervour, it was not to be waited for. +"Regular, proportioned, resolute, incessant industry," +was the secret of his success, and the erasures +and substitutions in his MSS. bear witness to his +care in craftsmanship. The least conspicuous word +must be as perfect as he could make it. Longfellow's +creed, as expounded in <i>The Builders</i>, allowed for +no scamped work.</p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left">All are architects of Fate,<br /> +<span class="ind1"> </span>Working in these walls of Time:<br /> +Some with massive deeds and great,<br /> +<span class="ind1"> </span>Some with ornaments of rhyme.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Nothing useless is, or low;<br /> +<span class="ind1"> </span>Each thing in its place is best;<br /> +And what seems but idle show<br /> +<span class="ind1"> </span>Strengthens and supports the rest.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">For the structure that we raise,<br /> +<span class="ind1"> </span>Time is with materials filled;<br /> +Our to-days and yesterdays<br /> +<span class="ind1"> </span>Are the blocks with which we build.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Truly shape and fashion these;<br /> +<span class="ind1"> </span>Leave no yawning gaps between;<br /> +Think not, because no man sees,<br /> +<span class="ind1"> </span>Such things will remain unseen.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">In the elder days of Art,<br /> +<span class="ind1"> </span>Builders wrought with greatest care<br /> +Each minute and unseen part;<br /> +<span class="ind1"> </span>For the Gods see everywhere.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Let us do our work as well,<br /> +<span class="ind1"> </span>Both the unseen and the seen;<br /> +Make the house, where Gods may dwell,<br /> +<span class="ind1"> </span>Beautiful, entire, and clean.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Else our lives are incomplete,<br /> +<span class="ind1"> </span>Standing in these walls of Time,<br /> +Broken stairways, where the feet<br /> +<span class="ind1"> </span>Stumble as they seek to climb.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Build to-day, then, strong and sure,<br /> +<span class="ind1"> </span>With a firm and ample base;<br /> +And ascending and secure<br /> +<span class="ind1"> </span>Shall to-morrow find its place.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Thus alone can we attain<br /> +<span class="ind1"> </span>To those turrets, where the eye<br /> +Sees the world as one vast plain,<br /> +<span class="ind1"> </span>And one boundless reach of sky.</td></tr> +<tr><td align="left"> </td></tr> +<tr><td align="right"><i>The Builders.</i></td></tr> + +</table> +</div> + +<p>Work, indeed, whether mental or physical, +was his first instinct, and he has preached the +gospel of honest work to the whole English-speaking +world in some of the most familiar lines in the +language.</p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left">Under a spreading chestnut tree<br /> +<span class="ind1"> </span>The village smithy stands;<br /> +The smith, a mighty man is he,<br /> +<span class="ind1"> </span>With large and sinewy hands;<br /> +And the muscles of his brawny arms<br /> +<span class="ind1"> </span>Are strong as iron bands.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">His hair is crisp, and black, and long,<br /> +<span class="ind1"> </span>His face is like the tan;<br /> +His brow is wet with honest sweat,<br /> +<span class="ind1"> </span>He earns whate'er he can,<br /> +And looks the whole world in the face,<br /> +<span class="ind1"> </span>For he owes not any man.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Week in, week out, from morn till night,<br /> +<span class="ind1"> </span>You can hear his bellows blow;<br /> +You can hear him swing his heavy sledge,<br /> +<span class="ind1"> </span>With measured beat and slow,<br /> +Like a sexton ringing the village bell,<br /> +<span class="ind1"> </span>When the evening sun is low.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">And children coming home from school<br /> +<span class="ind1"> </span>Look in at the open door:<br /> +They love to see the flaming forge,<br /> +<span class="ind1"> </span>And hear the bellows roar,<br /> +And catch the burning sparks that fly<br /> +<span class="ind1"> </span>Like chaff from a threshing floor.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">He goes on Sunday to the church,<br /> +<span class="ind1"> </span>And sits among his boys;<br /> +He hears the parson pray and preach,<br /> +<span class="ind1"> </span>He hears his daughter's voice,<br /> +Singing in the village choir,<br /> +<span class="ind1"> </span>And it makes his heart rejoice.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">It sounds to him like her mother's voice,<br /> +<span class="ind1"> </span>Singing in Paradise!<br /> +He needs must think of her once more,<br /> +<span class="ind1"> </span>How in the grave she lies;<br /> +And with his hard, rough hand he wipes<br /> +<span class="ind1"> </span>A tear out of his eyes.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Toiling,—rejoicing,—sorrowing,<br /> +<span class="ind1"> </span>Onward through life he goes;<br /> +Each morning sees some task begin,<br /> +<span class="ind1"> </span>Each evening sees it close;<br /> +Something attempted, something done,<br /> +<span class="ind1"> </span>Has earned a night's repose.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Thanks, thanks to thee, my worthy friend,<br /> +<span class="ind1"> </span>For the lesson thou hast taught!<br /> +Thus at the flaming forge of life<br /> +<span class="ind1"> </span>Our fortune must be wrought;<br /> +Thus on its sounding anvil shaped<br /> +<span class="ind1"> </span>Each burning deed and thought!</td></tr> +<tr><td align="left"> </td></tr> +<tr><td align="right"><i>The Village Blacksmith.</i></td></tr> +</table> +</div> +<p> </p> +<hr class="minimal" /> +<p> </p> +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/illus005.jpg"> + <img src="images/illus005.jpg" height="400" + alt="THE VILLAGE BLACKSMITH" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption">Click to <a href="images/illus005.jpg">ENLARGE</a><br /><br /> +<i>Painting by Dudley Tennant.</i><br /><br /> +THE VILLAGE BLACKSMITH. +</span> + </td> + </tr> +</table> +</div> +<div class="center"> +<table class="sm" style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left">And children coming home from school<br /> +<span class="ind1"> </span>Look in at the open door:<br /> +They love to see the flaming forge,<br /> +<span class="ind1"> </span>And hear the bellows roar,<br /> +And catch the burning sparks that fly<br /> +<span class="ind1"> </span>Like chaff from a threshing floor.</td></tr> +</table> +</div> +<p> </p> +<hr class="minimal" /> +<p> </p> + +<p>Not for long, however, might Longfellow +remain undisturbed in his sunny room. Sometimes +he welcomed the opening door that saw +"a little figure stealing gently in, laying an arm +round his neck as he bent over his work, and +softly whispering some childish secret in his ear." +For this was no obstacle to the current of his +tranquil thoughts. "My little girls are flitting +about my study," he wrote to a friend, "as blithe +as two birds. They are preparing to celebrate +the birthday of one of their dolls…. What a +beautiful world this child's world is! I take infinite +delight in seeing it go on all around me."</p> + +<p>It was with absolute sincerity that he had +exclaimed:</p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left">Come to me, O ye children!<br /> +<span class="ind1"> </span>For I hear you at your play,<br /> +And the questions that perplexed me<br /> +<span class="ind1"> </span>Have vanished quite away.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Ye open the eastern windows,<br /> +<span class="ind1"> </span>That look towards the sun,<br /> +Where thoughts are singing swallows,<br /> +<span class="ind1"> </span>And the brooks of morning run.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">In your hearts are the birds and the sunshine,<br /> +<span class="ind1"> </span>In your thoughts the brooklet's flow;<br /> +But in mine is the wind of Autumn,<br /> +<span class="ind1"> </span>And the first fall of the snow.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Ah! what would the world be to us,<br /> +<span class="ind1"> </span>If the children were no more?<br /> +We should dread the desert behind us<br /> +<span class="ind1"> </span>Worse than the dark before.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">What the leaves are to the forest,<br /> +<span class="ind1"> </span>With light and air for food,<br /> +Ere their sweet and tender juices<br /> +<span class="ind1"> </span>Have been hardened into wood,—</td></tr> +<tr><td> </td></tr> +<tr><td align="left">That to the world are children;<br /> +<span class="ind1"> </span>Through them it feels the glow<br /> +Of a brighter and sunnier climate<br /> +<span class="ind1"> </span>Than reaches the trunks below</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Come to me, O ye children!<br /> +<span class="ind1"> </span>And whisper in my ear<br /> +What the birds and the winds are singing<br /> +<span class="ind1"> </span>In your sunny atmosphere.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">For what are all our contrivings,<br /> +<span class="ind1"> </span>And the wisdom of our books,<br /> +When compared with your caresses,<br /> +<span class="ind1"> </span>And the gladness of your looks?</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Ye are better than all the ballads<br /> +<span class="ind1"> </span>That ever were sung or said;<br /> +For ye are living poems,<br /> +<span class="ind1"> </span>And all the rest are dead.</td></tr> +<tr><td align="left"> </td></tr> +<tr><td align="right"><i>Children.</i></td></tr> +</table> +</div> + +<p>But these were congenial moments. There +were visitors much less desirable. "He was +besieged," as one of his friends declares, "by +every possible form of interruption which the +ingenuity of the human brain could devise." For +his admirers, whose name was legion, were not +satisfied with hero-worship afar off: they must +needs force themselves into his presence, and express +their admiration <i>vivâ-voce</i>. Most amazing folks +swooped suddenly down upon him, ruthless and +unabashed.</p> + +<p>Longfellow, always quick to see the comical +side of a situation, would tell with great delight +strange tales of his unexpected guests. "One +man," he said, "a perfect stranger, came with +an omnibus full of ladies. He introduced himself, +then returning to the omnibus, took out all the +ladies, one, two, three, four, five, with a little girl, +and brought them in. I entertained them to the +best of my ability, and they stayed an hour."</p> + +<p>On another occasion, an English gentleman, +with no letter of introduction, abruptly introduced +himself, thus: "In other countries, you know, we +go to see ruins, and the like—but you have no +ruins in your country, and I thought," growing +embarrassed, "I would call and see <i>you</i>!" Another +strange gentleman accosted him with great fervour, +"Mr. Longfellow, I have long desired the honour +of knowing you. I am one of <i>the few men</i> who +have read your <i>Evangeline</i>!"</p> + +<p>All these worshippers at his shrine were +received by the Poet with his unfailing courtesy +and patience; but he was invariably adroit in +warding off compliments. To applause and flattery +he was impervious—reference to his own works +was distasteful to him. His perfect modesty was +the reflex of his natural reticence.</p> + +<p>Longfellow regarded life from the standpoint +of eternity, and thus was one who, in the words +of à Kempis, "careth little for the praise or +dispraise of men." His gaze was riveted upon +that "Land of the Hereafter," to which he was +always more than ready to set out, and in the +departure of Hiawatha he had imaged his longing +for the "Happiest Land."</p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left"><span class="ind1"> </span>On the shore stood Hiawatha,<br /> +Turned and waved his hand at parting;<br /> +On the clear and luminous water<br /> +Launched his birch canoe for sailing,<br /> +From the pebbles of the margin<br /> +Shoved it forth into the water;<br /> +Whispered to it "Westward! westward!"<br /> +And with speed it darted forward.</td></tr> +<tr><td> </td></tr> +<tr><td align="left"><span class="ind1"> </span>And the evening sun descending<br /> +Set the clouds on fire with redness,<br /> +Burned the broad sky, like a prairie,<br /> +Left upon the level water<br /> +One long track and trail of splendour,<br /> +Down whose stream, as down a river,<br /> +Westward, westward Hiawatha<br /> +Sailed into the fiery sunset,<br /> +Sailed into the purple vapours,<br /> +Sailed into the dusk of evening.</td></tr> +<tr><td> </td></tr> +<tr><td align="left"><span class="ind1"> </span>And the people from the margin<br /> +Watched him floating, rising, sinking,<br /> +Till the birch canoe seemed lifted<br /> +High into that sea of splendour,<br /> +Till it sank into the vapours<br /> +Like the new moon slowly, slowly<br /> +Sinking in the purple distance.</td></tr> +<tr><td> </td></tr> +<tr><td align="left"><span class="ind1"> </span>And they said "Farewell for ever!"<br /> +Said "Farewell, O Hiawatha!"<br /> +And the forests, dark and lonely,<br /> +Moved through all their depths of darkness,<br /> +Sighed, "Farewell, O Hiawatha!"<br /> +And the waves upon the margin<br /> +Rising, rippling on the pebbles,<br /> +Sobbed "Farewell, O Hiawatha!"<br /> +And the heron, the Shuh-shuh-gah,<br /> +From her haunts among the fenlands,<br /> +Screamed "Farewell, O Hiawatha!"</td></tr> +<tr><td> </td></tr> +<tr><td align="left"><span class="ind1"> </span>Thus departed Hiawatha,<br /> +Hiawatha the Beloved,<br /> +In the glory of the sunset,<br /> +In the purple mists of evening,<br /> +To the regions of the home-wind,<br /> +Of the Northwest wind Keewaydin,<br /> +To the Islands of the Blessed,<br /> +To the kingdom of Ponemah,<br /> +To the land of the Hereafter!</td></tr> +<tr><td> </td></tr> +<tr><td align="right"><i>Hiawatha.</i></td></tr> +</table> +</div> +<p> </p> +<hr class="minimal" /> +<p> </p> +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/illus006.jpg"> + <img src="images/illus006.jpg" height="500" + alt="HIAWATHA" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption">Click to <a href="images/illus006.jpg">ENLARGE</a><br /><br /> +<i>Painting by J. Finnemore.</i><br /><br /> +HIAWATHA. +</span> + </td> + </tr> +</table> +</div> +<div class="center"> +<table class="sm" style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left"><span class="ind1"> </span>And the evening sun descending….<br /> +Left upon the level water<br /> +One long track and trail of splendour,<br /> +Down whose stream as down a river,<br /> +Westward, westward Hiawatha<br /> +Sailed into the fiery sunset,<br /> +Sailed into the purple vapours,<br /> +Sailed into the dusk of evening.</td></tr> +</table> +</div> +<p> </p> +<hr class="minimal" /> +<p> </p> + +<p>Personal friends, of whom the Poet possessed +many, would arrive in time for lunch, and be +welcomed by the master of Craigie House at the +gate in the lilac hedge. He would bring them +into the large, cheerful dining-room, and the children +would sit at a little table on the verandah, while +the host, with his own hands, set the copper kettle +singing, and made tea in the antique silver pot.</p> + +<p>It was a peaceful, happy hour for the guests. +Longfellow, unlike Tennyson, was never much of +a talker: he was a listener and observer, who +dwelt in a speaking silence—in what has been +defined as a heavenly unfathomableness. Ruskin +had written: "You come as such a <i>calm</i> influence +to me … you give me such a feeling of friendship +and repose." And this feeling was enhanced by +the man's natural dignity and grace, the refinement +of his features, the perfect taste of his dress, and +the exquisite simplicity of his manners. Many +have alluded to his soft, musical voice, to his +steady blue-grey eyes, to the "innate charm of +tranquillity," which gave a peculiar spiritual sweetness +to his smile. But the man was even more, +and better than the poet; so much so that a young +enthusiast exclaimed "All the vulgar and pretentious +people in the world ought to be sent to Mr. +Longfellow to show them how to behave!" Nor +was this calm the outcome of natural placidity—it +had been attained through bitter suffering: it +was that gleam of a hero's armour which the "red +planet Mars" unveils to a tear-dimmed sight, +when</p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left">The night is come, but not too soon;<br /> +<span class="ind1"> </span>And sinking silently,<br /> +All silently, the little moon<br /> +<span class="ind1"> </span>Drops down behind the sky.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">There is no light in earth or heaven,<br /> +<span class="ind1"> </span>But the cold light of stars;<br /> +And the first watch of night is given<br /> +<span class="ind1"> </span>To the red planet Mars.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Is it the tender star of love?<br /> +<span class="ind1"> </span>The star of love and dreams?<br /> +O no! from that blue tent above,<br /> +<span class="ind1"> </span>A hero's armour gleams.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">And earnest thoughts within me rise,<br /> +<span class="ind1"> </span>When I behold afar,<br /> +Suspended in the evening skies,<br /> +<span class="ind1"> </span>The shield of that red star.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">O star of strength! I see thee stand<br /> +<span class="ind1"> </span>And smile upon my pain;<br /> +Thou beckonest with thy mailed hand,<br /> +<span class="ind1"> </span>And I am strong again.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">Within my breast there is no light,<br /> +<span class="ind1"> </span>But the cold light of stars;<br /> +I give the first watch of the night<br /> +<span class="ind1"> </span>To the red planet Mars.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">The star of the unconquered will,<br /> +<span class="ind1"> </span>He rises in my breast,<br /> +Serene, and resolute, and still,<br /> +<span class="ind1"> </span>And calm and self-possessed.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">And thou, too, whosoe'er thou art,<br /> +<span class="ind1"> </span>That readest this brief psalm,<br /> +As one by one thy hopes depart,<br /> +<span class="ind1"> </span>Be resolute and calm.</td></tr> +<tr><td> </td></tr> +<tr><td align="left">O fear not in a world like this,<br /> +<span class="ind1"> </span>And thou shalt know ere long,<br /> +Know how sublime a thing it is<br /> +<span class="ind1"> </span>To suffer and be strong.</td></tr> +<tr><td align="left"> </td></tr> +<tr><td align="right"><i>The Light of Stars.</i></td></tr> +</table> +</div> + +<p>After lunch, the guests would be taken round +the house, and its various treasures pointed out: +books in every corner, and on every wall pictures +and portraits; antique furniture, interesting +mementoes of every sort. It was a home well +worth seeing: and an old-world air pervaded all, +from the quaint drawing-room, with its old-fashioned, +rose-festooned wall-paper, to the upper +rooms with the Dutch-tiled hearths.</p> + +<p>Later on, to those with whom he felt specially +<i>en rapport</i>, Longfellow would read aloud some +poems, new or old, his own, or those of other +men. He was not a forcible or a dramatic reader; +the simplicity which he loved "in all things," as +he had said, "but specially in poetry," was evident +also here. Yet perhaps no other man could have +done equal justice to the lingering hexameters of +his most successful poem—for such, by reason of +its novelty, pathos, and beauty, <i>Evangeline</i> must +always be considered. "It has become a purifying +portion," says Rossetti, "of the experiences of the +heart … a long-drawn sweetness and sadness"; +and, though sixty years have elapsed since <i>Evangeline</i> +first appeared, the ideal maiden of this "idyll of +the heart" has lost no fraction of her loveliness.</p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left" valign="top">Fair was she to behold, that maiden of seventeen summers.<br /> +Black were her eyes as the berry that grows on the thorn by the wayside,<br /> +Black, yet how softly they gleamed beneath the brown shade of her tresses!<br /> +Sweet was her breath as the breath of kine that feed in the meadows.<br /> +When in the harvest heat she bore to the reapers at noon-tide<br /> +Flagons of home-brewed ale, ah! fair in sooth was the maiden.<br /> +Fairer was she when, on Sunday morn, while the bell from its turret<br /> +Sprinkled with holy sounds the air, as the priest with his hyssop<br /> +Sprinkles the congregation, and scatters blessings upon them,<br /> +Down the long street she passed, with her chaplet of beads and her missal,<br /> +Wearing her Norman cap, and her kirtle of blue, and the ear-rings,<br /> +Brought in the olden time from France, and since, as an heir-loom,<br /> +Handed down from mother to child, through long generations.<br /> +But a celestial brightness—a more ethereal beauty—<br /> +Shone on her face and encircled her form, when, after confession,<br /> +Homeward serenely she walked with God's benediction upon her.<br /> +When she had passed, it seemed like the ceasing of exquisite music.<br /> + </td></tr> +<tr><td align="right"><i>Evangeline.</i></td></tr> +</table> +</div> + +<p>In the course of the afternoon, some of the +Poet's guests taking leave, others would accompany +him to a concert, organ recital, or any other +musical function which might be available. +Longfellow was passionately fond of good music, +and lost no opportunity of hearing it. His +own lyrics are singularly susceptible, as all +composers know, of an adequate musical setting.</p> + +<p> </p> +<hr class="minimal" /> +<p> </p> +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/illus007.jpg"> + <img src="images/illus007.jpg" height="500" + alt="EVANGELINE" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption">Click to <a href="images/illus007.jpg">ENLARGE</a><br /><br /> +<i>Painting by H. M. Brock.</i><br /><br /> +EVANGELINE.</span> + </td> + </tr> +</table> +</div> +<div class="center"> +<table class="sm" style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left" valign="top">But a celestial brightness—a more ethereal beauty—<br /> +Shone on her face and encircled her form, when, after confession,<br /> +Homeward serenely she walked with God's benediction upon her.<br /> +When she had passed, it seemed like the ceasing of exquisite music.</td></tr> +</table> +</div> +<p> </p> +<hr class="minimal" /> +<p> </p> +<p>Few short poems in the world have been +so often sung as "Stars of the summer night"—"Good-night, +beloved"—"The rainy day"—and +other well-known verses. A most effective +sense of sound and rhythm, joined with perfect +simplicity of diction, evince the inherent artistry +of a man who was no musician in the technical +sense, but who could express himself in such +lines as</p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left">The night is calm and cloudless,<br /> +And still as still can be,<br /> +And the stars come forth to listen<br /> +To the music of the sea.<br /> +They gather, and gather, and gather,<br /> +Until they crowd the sky,<br /> +And listen in breathless silence,<br /> +To the solemn litany.<br /> +It begins in rocky caverns,<br /> +As a voice that chants alone<br /> +To the pedals of the organ<br /> +In monotonous undertone;<br /> +And anon from shelving beaches<br /> +And shallow sands beyond,<br /> +In snow-white robes uprising<br /> +The ghostly choirs respond.<br /> +And sadly and unceasing<br /> +The mournful voice sings on,<br /> +And the snow-white choirs still answer<br /> +Christe eleison!<br /> + </td></tr> +<tr><td align="right"><i>The Golden Legend.</i></td></tr> +</table> +</div> + +<p>After dinner, to which perhaps an intimate +friend or two remained, the poet would remain +awhile in his study: not actually at work, for his +writing was only done in the morning hours, but +considering and criticising work already accomplished, +and carefully perusing that great +translation of Dante which he considered, rightly +or wrongly, as the most important work of his +life. The twilight would slowly fade into the +dusk of a "blindman's holiday," and then came +the sweetest moment of the day.</p> + +<p>Longfellow's intense affection for all little +ones, his touching kindness to them, his sympathy +with their most trivial joys or troubles, were +focussed and centred in the love he bore to his +own dear, motherless children.</p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left" valign="top">Between the dark and the daylight,<br /> +<span class="ind1"> </span>When the night is beginning to lower,<br /> +Comes a pause in the day's occupations,<br /> +<span class="ind1"> </span>That is known as the Children's Hour.<br /><br /> + +I hear in the chamber above me<br /> +<span class="ind1"> </span>The patter of little feet,<br /> +The sound of a door that is opened,<br /> +<span class="ind1"> </span>And voices soft and sweet.<br /><br /> + +From my study I see in the lamplight,<br /> +<span class="ind1"> </span>Descending the broad hall-stair,<br /> +Grave Alice, and laughing Allegra,<br /> +<span class="ind1"> </span>And Edith with golden hair.<br /><br /> + +A whisper, and then a silence:<br /> +<span class="ind1"> </span>Yet I know by their merry eyes<br /> +They are plotting and planning together<br /> +<span class="ind1"> </span>To take me by surprise.<br /><br /> + +A sudden rush from the stairway,<br /> +<span class="ind1"> </span>A sudden raid from the hall!<br /> +By three doors left unguarded<br /> +<span class="ind1"> </span>They enter my castle wall!<br /><br /> + +They climb up into my turret,<br /> +<span class="ind1"> </span>O'er the arms and back of my chair;<br /> +If I try to escape they surround me;<br /> +<span class="ind1"> </span>They seem to be everywhere.<br /><br /> + +They almost devour me with kisses,<br /> +<span class="ind1"> </span>Their arms about me entwine,<br /> +Till I think of the Bishop of Bingen<br /> +<span class="ind1"> </span>In his Mouse-Tower on the Rhine!<br /><br /> + +Do you think, O blue-eyed banditti,<br /> +<span class="ind1"> </span>Because you have scaled the wall,<br /> +Such an old moustache as I am<br /> +<span class="ind1"> </span>Is not a match for you all!<br /><br /> + +I have you fast in my fortress,<br /> +<span class="ind1"> </span>And will not let you depart,<br /> +But put you down in the dungeon<br /> +<span class="ind1"> </span>In the round-tower of my heart.<br /><br /> + +And there I will keep you for ever,<br /> +<span class="ind1"> </span>Yes, for ever and a day,<br /> +Till the walls shall crumble to ruin,<br /> +<span class="ind1"> </span>And moulder in dust away!<br /> + </td></tr> +<tr><td align="right"><i>The Children's Hour.</i></td></tr> +</table> +</div> + +<p>A brief period of childish gaiety would +supervene, to which the man of childlike heart +responded readily; and when the little feet had +pattered bedward, and the house was silent from +the merry little voices, the father would sit on +until midnight in his spacious empty room. He +would occupy himself with letters—long, fragrant, +pleasant gossips to his best and most familiar +friends at a distance: till midnight came upon +him unawares. "It is nearly one o'clock—I am +the only person up in the house: my candle is +sinking in its socket."</p> + +<p>And a double loneliness descended upon him +as his weary hand laid down the pen. He remained +inert and brooding; the solitude was almost +tangible. But this solitude was presently peopled +by visions, fraught with ineffable consolation to +a mind never out of touch with "other-worldly" +influences.</p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left">When the hours of Day are numbered,<br /> +<span class="ind1"> </span>And the voices of the Night<br /> +Wake the better soul, that slumbered,<br /> +<span class="ind1"> </span>To a holy, calm delight;<br /><br /> + +Ere the evening lamps are lighted,<br /> +<span class="ind1"> </span>And, like phantoms grim and tall,<br /> +Shadows from the fitful firelight<br /> +<span class="ind1"> </span>Dance upon the parlour wall;<br /><br /> + +Then the forms of the departed<br /> +<span class="ind1"> </span>Enter at the open door;<br /> +The beloved, the true-hearted,<br /> +<span class="ind1"> </span>Come to visit me once more;<br /><br /> + +He, the young and strong, who cherished<br /> +<span class="ind1"> </span>Noble longings for the strife,<br /> +By the roadside fell and perished,<br /> +<span class="ind1"> </span>Weary with the march of life!<br /><br /> + +They the holy ones and weakly,<br /> +<span class="ind1"> </span>Who the cross of suffering bore,<br /> +Folded their pale hands so meekly,<br /> +<span class="ind1"> </span>Spake with us on earth no more!<br /><br /> + +And with them the Being Beauteous,<br /> +<span class="ind1"> </span>Who unto my youth was given,<br /> +More than all things else to love me,<br /> +<span class="ind1"> </span>And is now a saint in heaven.<br /><br /> + +With a slow and noiseless footstep<br /> +<span class="ind1"> </span>Comes that messenger divine,<br /> +Takes the vacant chair beside me,<br /> +<span class="ind1"> </span>Lays her gentle hand in mine.<br /><br /> + +And she sits and gazes at me<br /> +<span class="ind1"> </span>With those deep and tender eyes,<br /> +Like the stars, so still and saint-like,<br /> +<span class="ind1"> </span>Looking downward from the skies.<br /><br /> + +Uttered not, yet comprehended,<br /> +<span class="ind1"> </span>Is the spirit's voiceless prayer,<br /> +Soft rebukes, in blessings ended,<br /> +<span class="ind1"> </span>Breathing from her lips of air.<br /><br /> + +O, though oft depressed and lonely,<br /> +<span class="ind1"> </span>All my fears are laid aside,<br /> +If I but remember only<br /> +<span class="ind1"> </span>Such as these have lived and died!<br /> + </td></tr> +<tr><td align="right"><i>Footsteps of Angels.</i></td></tr> +</table> +</div> + +<p>"<i>Empty</i> is a horrid word," the Poet had +written to a friend—but the room is no longer +empty. It has become a habitation for other +visitants than the motley throng of flatterers +impelled by curiosity, who hindered his morning +hours. Unspoken benedictions lie thick upon the +air—the man's griefs are soothed away by the +touch of invisible fingers. Patient, unselfish, +indomitable, he resumes the burden of his +daily life with new hope and courage for the +morrow.</p> + +<div class="center"> +<table style="margin: 0 auto" border="0" cellpadding="0" cellspacing="0" summary="poem"> +<tr><td align="left">As torrents in summer,<br /> +Half dried in their channels,<br /> +Suddenly rise, though the<br /> +Sky is still cloudless,<br /> +For rain has been falling<br /> +Far off at their fountains;<br /><br /> + +So hearts that are fainting<br /> +Grow full to o'erflowing,<br /> +And they that behold it<br /> +Marvel, and know not<br /> +That God at their fountains<span class="ind1"> </span><br /> +Far off has been raining.<br /> + </td></tr> +<tr><td align="right"><i>Tales of a Wayside Inn.</i></td></tr> +</table> +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of A Day With Longfellow, by +Anonymous and Henry Wadsworth Longfellow + +*** END OF THIS PROJECT GUTENBERG EBOOK A DAY WITH LONGFELLOW *** + +***** This file should be named 37980-h.htm or 37980-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/7/9/8/37980/ + +Produced by Delphine Lettau, Susan Theresa Morin and the +Online Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> diff --git a/37980-h/images/illus001.jpg b/37980-h/images/illus001.jpg Binary files differnew file mode 100644 index 0000000..a35dcf5 --- /dev/null +++ b/37980-h/images/illus001.jpg diff --git a/37980-h/images/illus002.jpg b/37980-h/images/illus002.jpg Binary files differnew file mode 100644 index 0000000..66d3b82 --- /dev/null +++ b/37980-h/images/illus002.jpg diff --git a/37980-h/images/illus003.jpg b/37980-h/images/illus003.jpg Binary files differnew file mode 100644 index 0000000..fbfb93b --- /dev/null +++ b/37980-h/images/illus003.jpg diff --git a/37980-h/images/illus004.jpg b/37980-h/images/illus004.jpg Binary files differnew file mode 100644 index 0000000..dff7822 --- /dev/null +++ b/37980-h/images/illus004.jpg diff --git a/37980-h/images/illus005.jpg b/37980-h/images/illus005.jpg Binary files differnew file mode 100644 index 0000000..9664bd3 --- /dev/null +++ b/37980-h/images/illus005.jpg diff --git a/37980-h/images/illus006.jpg b/37980-h/images/illus006.jpg Binary files differnew file mode 100644 index 0000000..8715f7d --- /dev/null +++ b/37980-h/images/illus006.jpg diff --git a/37980-h/images/illus007.jpg b/37980-h/images/illus007.jpg Binary files differnew file mode 100644 index 0000000..8b24eb1 --- /dev/null +++ b/37980-h/images/illus007.jpg diff --git a/37980-h/images/illus008.jpg b/37980-h/images/illus008.jpg Binary files differnew file mode 100644 index 0000000..8861edc --- /dev/null +++ b/37980-h/images/illus008.jpg diff --git a/37980.txt b/37980.txt new file mode 100644 index 0000000..5674ca8 --- /dev/null +++ b/37980.txt @@ -0,0 +1,1314 @@ +The Project Gutenberg EBook of A Day With Longfellow, by +Anonymous and Henry Wadsworth Longfellow + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: A Day With Longfellow + +Author: Anonymous + Henry Wadsworth Longfellow + +Release Date: November 11, 2011 [EBook #37980] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK A DAY WITH LONGFELLOW *** + + + + +Produced by Delphine Lettau, Susan Theresa Morin and the +Online Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + + DAYS WITH + THE GREAT + .POETS. + + LONGFELLOW + + +[Illustration: _Painting by A. E. Jackson._ THE CHILDREN'S HOUR.] + + Between the dark and the daylight, + When the night is beginning to lower, + Comes a pause in the day's occupations, + That is known as the Children's Hour. + + * * * * * + + They climb up into my turret, + O'er the arms and back of my chair; + If I try to escape they surround me, + They seem to be everywhere. + + + + + A DAY WITH + LONGFELLOW + + [Illustration: portrait of Longfellow] + + HODDER & STOUGHTON + LTD., PUBLISHERS LONDON + + +_Uniform with this Volume_ + +_DAYS WITH THE POETS_ + + BROWNING + BURNS + KEATS + LONGFELLOW + SHAKESPEARE + TENNYSON + +_DAYS WITH THE COMPOSERS_ + + BEETHOVEN + CHOPIN + GOUNOD + MENDELSSOHN + TSCHAIKOVSKY + WAGNER + +_Made and Printed in Great Britain for Hodder & Stoughton, Limited, +by C. Tinling & Co., Ltd., Liverpool, London and Prescot._ + + + + +A DAY WITH LONGFELLOW + + + + +The expression of serious and tender thoughtfulness, which always +characterized the quiet face of Henry Wadsworth Longfellow, had deepened +during his later years, into something akin to melancholy. The tragic +loss of his beloved wife,--burned to death while she was sealing up in +paper little locks of her children's hair,--had left its permanent and +irrevocable mark upon his life. Still, he did not seclude himself with +his sorrow: the professor of Modern Languages at Harvard could hardly +do that. He remained the selfsame kindly, gentle, industrious man, +welcoming with ready courtesy the innumerable visitors to the Craigie +House. + +This is a large old-fashioned house in Cambridge, Massachusetts--a place +of grassy terraces, long verandahs, lilac bushes, and shady trees--a +perfect dwelling for a man of cultured tastes, as the interior also +testifies. + +From the Poet's study, a spacious, sunny room upon the ground floor, +he could look across the meadows behind the house to the distant +silver windings of the River Charles. It was a most orderly room. +Every book and paper lay where he could put his hand on it in a moment. +Book-cases full of valuable volumes--precious first editions--busts and +portraits,--were to be seen on every side. A certain austere simplicity +was noticeable all over Longfellow's house. "His private rooms," it has +been said, "were like those of a German professor." But the attractiveness +and delightfulness of Craigie House arose not from any intrinsic +opulence of its contents, but from the personality of the man who lived +there. "By his mere presence he rendered the sunshine brighter, and the +place more radiant of kindness and peace." + +The Poet began his day, so long as age and health permitted, by a brisk +morning walk. He would be out and about by six, observing and enjoying +the beauty of earth and air, and subsequently recording his exquisite +impressions: + + O Gift of God! O perfect day: + Whereon shall no man work, but play; + Whereon it is enough for me, + Not to be doing, but to be! + + Through every fibre of my brain, + Through every nerve, through every vein, + I feel the electric thrill, the touch + Of life, that seems almost too much. + + I hear the wind among the trees + Playing celestial symphonies; + I see the branches downward bent, + Like keys of some great instrument. + + And over me unrolls on high + The splendid scenery of the sky, + Where through a sapphire sea the sun + Sails like a golden galleon, + + Towards yonder cloud-land in the West, + Towards yonder Islands of the Blest, + Whose steep sierra far uplifts + Its craggy summits white with drifts. + + Blow, winds! and waft through all the rooms + The snowflakes of the cherry-blooms! + Blow, winds! and bend within my reach + The fiery blossoms of the peach! + + O Life and Love! O happy throng + Of thoughts, whose only speech is song! + O heart of man! canst thou not be + Blithe as the air is, and as free? + _A Day of Sunshine._ + +The morning's post brought the first consignment of that enormous number +of epistles which were at once an affliction and an amusement to him. +The Poet was besieged by letters from ambitious aspirants seeking advice, +and from self-styled failures, desirous of help. To these last he was +peculiarly drawn, for he was distinguished by "a grace almost peculiar +to himself at the time in which he lived--his tenderness towards the +undeveloped artist, struggling towards individual expression." In short, +his first desire was to help on people, and bring out the best in them. + +Of apparent failure or success he recked little, believing, like +Stevenson, that the true success is labour,--that pursuit, and not +attainment is the worthiest object of existence; and his philosophy is +summed up in the well-known words of _The Ladder of Saint Augustine_, + + + Saint Augustine! well hast thou said, + That of our vices we can frame + A ladder, if we will but tread + Beneath our feet each deed of shame! + + All common things, each day's events, + That with the hour begin and end, + Our pleasures and our discontents, + Are rounds by which we may ascend. + + * * * * * + + The longing for ignoble things; + The strife for triumph more than truth; + The hardening of the heart, that brings + Irreverence for the dreams of youth; + + All thoughts of ill; all evil deeds, + That have their root in thoughts of ill; + Whatever hinders or impedes + The action of the nobler will;-- + + All these must first be trampled down + Beneath our feet, if we would gain + In the bright fields of fair renown + The right of eminent domain. + + We have not wings, we cannot soar; + But we have feet to scale and climb + By slow degrees, by more and more, + The cloudy summits of our time. + + The mighty pyramids of stone + That wedge-like cleave the desert airs, + When nearer seen and better known, + Are but gigantic flights of stairs. + + The distant mountains that uprear + Their solid bastions to the skies, + Are crossed by pathways, that appear + As we to higher levels rise. + + The heights by great men reached and kept + Were not attained by sudden flight, + But they, while their companions slept, + Were toiling upward in the night. + + Standing on what too long we bore + With shoulders bent and downcast eyes, + We may discern--unseen before-- + A path to higher destinies. + + Nor deem the irrevocable Past + As wholly wasted, wholly vain, + If rising on its wrecks, at last + To something nobler we attain. + + +Constant requests for autographs formed the bulk of the day's budget, +and these also never went unanswered--even when couched in terms the +most _mal a propos_, much as those of the man who said that "he +loved poetry in 'most any style,"--"and would you please copy your +'Break, break, break' for the writer?" Possibly the worst offenders, in +this matter of autograph-hunting, were those multitudinous schoolgirls +of whom Longfellow humorously complained that he was always "kept busy +answering." They ignored the fact of his professional duties, and his +own unremitting work; anything to get a reply in the handwriting of the +celebrity! But he had a special delight in budding womanhood, and had +depicted it with magical insight and rare delicacy of touch, in lines +which have never been excelled in their charm and purity. + + + Maiden! with the meek, brown eyes + In whose orbs a shadow lies, + Like the dusk in evening skies! + + Thou whose locks outshine the sun, + Golden tresses, wreathed in one, + As the braided streamlets run! + + Standing, with reluctant feet, + Where the brook and river meet, + Womanhood and childhood fleet! + + Seest thou shadows sailing by, + As the dove, with startled eye, + Sees the falcon's shadow fly? + + Hearest thou voices on the shore, + That our ears perceive no more, + Deafened by the cataract's roar? + + O, thou child of many prayers! + Life hath quicksands,--Life hath snares! + Care and age come unawares! + + Like the swell of some sweet tune, + Morning rises into noon, + May glides onward into June. + + Childhood is the bough, where slumbered + Birds and blossoms many-numbered;-- + Age, that bough with snows encumbered. + + Gather, then, each flower that grows, + When the young heart overflows, + To embalm that tent of snows. + + Bear a lily in thy hand; + Gates of brass cannot withstand + One touch of that magic wand. + + Bear through sorrow, wrong, and ruth, + In thy heart the dew of youth, + On thy lips the seal of truth. + + O, that dew, like balm shall steal + Into wounds that cannot heal, + Even as sleep our eyes doth seal; + + And that smile, like sunshine, dart + Into many a sunless heart, + For a smile of God thou art. + + _Maidenhood._ + + +[Illustration: _Painting by W. H. Margetson._ MAIDENHOOD.] + + Maiden with the meek, brown eyes + In whose orbs a shadow lies, + Like the dusk in evening skies! + + Thou whose locks outshine the sun, + Golden tresses, wreathed in one, + As the braided streamlets run! + + +The early instalment of letters attended to, the Poet could devote +himself to his own affairs. He believed in _working_ at poetry, +methodically, systematically: although inspiration might flow with +sudden fervour, it was not to be waited for. "Regular, proportioned, +resolute, incessant industry," was the secret of his success, and the +erasures and substitutions in his MSS. bear witness to his care in +craftsmanship. The least conspicuous word must be as perfect as he +could make it. Longfellow's creed, as expounded in _The Builders_, +allowed for no scamped work. + + + All are architects of Fate, + Working in these walls of Time: + Some with massive deeds and great, + Some with ornaments of rhyme. + + Nothing useless is, or low; + Each thing in its place is best; + And what seems but idle show + Strengthens and supports the rest. + + For the structure that we raise, + Time is with materials filled; + Our to-days and yesterdays + Are the blocks with which we build. + + Truly shape and fashion these; + Leave no yawning gaps between; + Think not, because no man sees, + Such things will remain unseen. + + In the elder days of Art, + Builders wrought with greatest care + Each minute and unseen part; + For the Gods see everywhere. + + Let us do our work as well, + Both the unseen and the seen; + Make the house, where Gods may dwell, + Beautiful, entire, and clean. + + Else our lives are incomplete, + Standing in these walls of Time, + Broken stairways, where the feet + Stumble as they seek to climb. + + Build to-day, then, strong and sure, + With a firm and ample base; + And ascending and secure + Shall to-morrow find its place. + + Thus alone can we attain + To those turrets, where the eye + Sees the world as one vast plain, + And one boundless reach of sky. + + _The Builders._ + + +Work, indeed, whether mental or physical, was his first instinct, and +he has preached the gospel of honest work to the whole English-speaking +world in some of the most familiar lines in the language. + + + 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 forge, + 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 fortune must be wrought; + Thus on its sounding anvil shaped + Each burning deed and thought! + + _The Village Blacksmith._ + + +[Illustration: _Painting by Dudley Tennant._ THE VILLAGE BLACKSMITH.] + + And children coming home from school + Look in at the open door: + They love to see the flaming forge, + And hear the bellows roar, + And catch the burning sparks that fly + Like chaff from a threshing floor. + + +Not for long, however, might Longfellow remain undisturbed in his +sunny room. Sometimes he welcomed the opening door that saw "a little +figure stealing gently in, laying an arm round his neck as he bent over +his work, and softly whispering some childish secret in his ear." For +this was no obstacle to the current of his tranquil thoughts. "My little +girls are flitting about my study," he wrote to a friend, "as blithe as +two birds. They are preparing to celebrate the birthday of one of their +dolls.... What a beautiful world this child's world is! I take infinite +delight in seeing it go on all around me." + +It was with absolute sincerity that he had exclaimed: + + + Come to me, O ye children! + For I hear you at your play, + And the questions that perplexed me + Have vanished quite away. + + Ye open the eastern windows, + That look towards the sun, + Where thoughts are singing swallows, + And the brooks of morning run. + + In your hearts are the birds and the sunshine, + In your thoughts the brooklet's flow; + But in mine is the wind of Autumn, + And the first fall of the snow. + + Ah! what would the world be to us, + If the children were no more? + We should dread the desert behind us + Worse than the dark before. + + What the leaves are to the forest, + With light and air for food, + Ere their sweet and tender juices + Have been hardened into wood,-- + + That to the world are children; + Through them it feels the glow + Of a brighter and sunnier climate + Than reaches the trunks below + + Come to me, O ye children! + And whisper in my ear + What the birds and the winds are singing + In your sunny atmosphere. + + For what are all our contrivings, + And the wisdom of our books, + When compared with your caresses, + And the gladness of your looks? + + Ye are better than all the ballads + That ever were sung or said; + For ye are living poems, + And all the rest are dead. + + _Children._ + +But these were congenial moments. There were visitors much less +desirable. "He was besieged," as one of his friends declares, "by every +possible form of interruption which the ingenuity of the human brain +could devise." For his admirers, whose name was legion, were not +satisfied with hero-worship afar off: they must needs force themselves +into his presence, and express their admiration _viva-voce_. Most +amazing folks swooped suddenly down upon him, ruthless and unabashed. + +Longfellow, always quick to see the comical side of a situation, would +tell with great delight strange tales of his unexpected guests. "One +man," he said, "a perfect stranger, came with an omnibus full of ladies. +He introduced himself, then returning to the omnibus, took out all the +ladies, one, two, three, four, five, with a little girl, and brought +them in. I entertained them to the best of my ability, and they stayed +an hour." + +On another occasion, an English gentleman, with no letter of introduction, +abruptly introduced himself, thus: "In other countries, you know, we go +to see ruins, and the like--but you have no ruins in your country, and I +thought," growing embarrassed, "I would call and see _you_!" Another +strange gentleman accosted him with great fervour, "Mr. Longfellow, I +have long desired the honour of knowing you. I am one of _the few men_ +who have read your _Evangeline_!" + +All these worshippers at his shrine were received by the Poet with his +unfailing courtesy and patience; but he was invariably adroit in warding +off compliments. To applause and flattery he was impervious--reference +to his own works was distasteful to him. His perfect modesty was the +reflex of his natural reticence. + +Longfellow regarded life from the standpoint of eternity, and thus +was one who, in the words of a Kempis, "careth little for the praise +or dispraise of men." His gaze was riveted upon that "Land of the +Hereafter," to which he was always more than ready to set out, and in +the departure of Hiawatha he had imaged his longing for the "Happiest +Land." + + + On the shore stood Hiawatha, + Turned and waved his hand at parting; + On the clear and luminous water + Launched his birch canoe for sailing, + From the pebbles of the margin + Shoved it forth into the water; + Whispered to it "Westward! westward!" + And with speed it darted forward. + + And the evening sun descending + Set the clouds on fire with redness, + Burned the broad sky, like a prairie, + Left upon the level water + One long track and trail of splendour, + Down whose stream, as down a river, + Westward, westward Hiawatha + Sailed into the fiery sunset, + Sailed into the purple vapours, + Sailed into the dusk of evening. + + And the people from the margin + Watched him floating, rising, sinking, + Till the birch canoe seemed lifted + High into that sea of splendour, + Till it sank into the vapours + Like the new moon slowly, slowly + Sinking in the purple distance. + + And they said "Farewell for ever!" + Said "Farewell, O Hiawatha!" + And the forests, dark and lonely, + Moved through all their depths of darkness, + Sighed, "Farewell, O Hiawatha!" + And the waves upon the margin + Rising, rippling on the pebbles, + Sobbed "Farewell, O Hiawatha!" + And the heron, the Shuh-shuh-gah, + From her haunts among the fenlands, + Screamed "Farewell, O Hiawatha!" + + Thus departed Hiawatha, + Hiawatha the Beloved, + In the glory of the sunset, + In the purple mists of evening, + To the regions of the home-wind, + Of the Northwest wind Keewaydin, + To the Islands of the Blessed, + To the kingdom of Ponemah, + To the land of the Hereafter! + + _Hiawatha._ + + +[Illustration: _Painting by J. Finnemore._ HIAWATHA.] + + And the evening sun descending.... + Left upon the level water + One long track and trail of splendour, + Down whose stream as down a river, + Westward, westward Hiawatha + Sailed into the fiery sunset, + Sailed into the purple vapours, + Sailed into the dusk of evening. + + +Personal friends, of whom the Poet possessed many, would arrive in +time for lunch, and be welcomed by the master of Craigie House at the +gate in the lilac hedge. He would bring them into the large, cheerful +dining-room, and the children would sit at a little table on the +verandah, while the host, with his own hands, set the copper kettle +singing, and made tea in the antique silver pot. + +It was a peaceful, happy hour for the guests. Longfellow, unlike +Tennyson, was never much of a talker: he was a listener and observer, +who dwelt in a speaking silence--in what has been defined as a heavenly +unfathomableness. Ruskin had written: "You come as such a _calm_ +influence to me ... you give me such a feeling of friendship and repose." +And this feeling was enhanced by the man's natural dignity and grace, +the refinement of his features, the perfect taste of his dress, and +the exquisite simplicity of his manners. Many have alluded to his soft, +musical voice, to his steady blue-grey eyes, to the "innate charm of +tranquillity," which gave a peculiar spiritual sweetness to his smile. +But the man was even more, and better than the poet; so much so that a +young enthusiast exclaimed "All the vulgar and pretentious people in the +world ought to be sent to Mr. Longfellow to show them how to behave!" +Nor was this calm the outcome of natural placidity--it had been attained +through bitter suffering: it was that gleam of a hero's armour which the +"red planet Mars" unveils to a tear-dimmed sight, when + + + The night is come, but not too soon; + And sinking silently, + All silently, the little moon + Drops down behind the sky. + + There is no light in earth or heaven, + But the cold light of stars; + And the first watch of night is given + To the red planet Mars. + + Is it the tender star of love? + The star of love and dreams? + O no! from that blue tent above, + A hero's armour gleams. + + And earnest thoughts within me rise, + When I behold afar, + Suspended in the evening skies, + The shield of that red star. + + O star of strength! I see thee stand + And smile upon my pain; + Thou beckonest with thy mailed hand, + And I am strong again. + + Within my breast there is no light, + But the cold light of stars; + I give the first watch of the night + To the red planet Mars. + + The star of the unconquered will, + He rises in my breast, + Serene, and resolute, and still, + And calm and self-possessed. + + And thou, too, whosoe'er thou art, + That readest this brief psalm, + As one by one thy hopes depart, + Be resolute and calm. + + O fear not in a world like this, + And thou shalt know ere long, + Know how sublime a thing it is + To suffer and be strong. + + _The Light of Stars._ + + +After lunch, the guests would be taken round the house, and its various +treasures pointed out: books in every corner, and on every wall pictures +and portraits; antique furniture, interesting mementoes of every sort. +It was a home well worth seeing: and an old-world air pervaded all, +from the quaint drawing-room, with its old-fashioned, rose-festooned +wall-paper, to the upper rooms with the Dutch-tiled hearths. + +Later on, to those with whom he felt specially _en rapport_, Longfellow +would read aloud some poems, new or old, his own, or those of other men. +He was not a forcible or a dramatic reader; the simplicity which he +loved "in all things," as he had said, "but specially in poetry," was +evident also here. Yet perhaps no other man could have done equal justice +to the lingering hexameters of his most successful poem--for such, by +reason of its novelty, pathos, and beauty, _Evangeline_ must always be +considered. "It has become a purifying portion," says Rossetti, "of the +experiences of the heart ... a long-drawn sweetness and sadness"; and, +though sixty years have elapsed since _Evangeline_ first appeared, the +ideal maiden of this "idyll of the heart" has lost no fraction of her +loveliness. + + + Fair was she to behold, that maiden of seventeen summers. + Black were her eyes as the berry that grows on the thorn by the + wayside, + Black, yet how softly they gleamed beneath the brown shade of her + tresses! + Sweet was her breath as the breath of kine that feed in the meadows. + When in the harvest heat she bore to the reapers at noon-tide + Flagons of home-brewed ale, ah! fair in sooth was the maiden. + Fairer was she when, on Sunday morn, while the bell from its turret + Sprinkled with holy sounds the air, as the priest with his hyssop + Sprinkles the congregation, and scatters blessings upon them, + Down the long street she passed, with her chaplet of beads and her + missal, + Wearing her Norman cap, and her kirtle of blue, and the ear-rings, + Brought in the olden time from France, and since, as an heir-loom, + Handed down from mother to child, through long generations. + But a celestial brightness--a more ethereal beauty-- + Shone on her face and encircled her form, when, after confession, + Homeward serenely she walked with God's benediction upon her. + When she had passed, it seemed like the ceasing of exquisite music. + + _Evangeline._ + + +In the course of the afternoon, some of the Poet's guests taking leave, +others would accompany him to a concert, organ recital, or any other +musical function which might be available. Longfellow was passionately +fond of good music, and lost no opportunity of hearing it. His own +lyrics are singularly susceptible, as all composers know, of an adequate +musical setting. + + +[Illustration: _Painting by H. M. Brock._ EVANGELINE.] + + But a celestial brightness--a more ethereal beauty-- + Shone on her face and encircled her form, when, after confession, + Homeward serenely she walked with God's benediction upon her. + When she had passed, it seemed like the ceasing of exquisite music. + + +Few short poems in the world have been so often sung as "Stars of +the summer night"--"Good-night, beloved"--"The rainy day"--and other +well-known verses. A most effective sense of sound and rhythm, joined +with perfect simplicity of diction, evince the inherent artistry of a +man who was no musician in the technical sense, but who could express +himself in such lines as + + + The night is calm and cloudless, + And still as still can be, + And the stars come forth to listen + To the music of the sea. + They gather, and gather, and gather, + Until they crowd the sky, + And listen in breathless silence, + To the solemn litany. + It begins in rocky caverns, + As a voice that chants alone + To the pedals of the organ + In monotonous undertone; + And anon from shelving beaches + And shallow sands beyond, + In snow-white robes uprising + The ghostly choirs respond. + And sadly and unceasing + The mournful voice sings on, + And the snow-white choirs still answer + Christe eleison! + + _The Golden Legend._ + + +After dinner, to which perhaps an intimate friend or two remained, +the poet would remain awhile in his study: not actually at work, for +his writing was only done in the morning hours, but considering and +criticising work already accomplished, and carefully perusing that great +translation of Dante which he considered, rightly or wrongly, as the +most important work of his life. The twilight would slowly fade into the +dusk of a "blindman's holiday," and then came the sweetest moment of the +day. + +Longfellow's intense affection for all little ones, his touching +kindness to them, his sympathy with their most trivial joys or troubles, +were focussed and centred in the love he bore to his own dear, +motherless children. + + + Between the dark and the daylight, + When the night is beginning to lower, + Comes a pause in the day's occupations, + That is known as the Children's Hour. + + I hear in the chamber above me + The patter of little feet, + The sound of a door that is opened, + And voices soft and sweet. + + From my study I see in the lamplight, + Descending the broad hall-stair, + Grave Alice, and laughing Allegra, + And Edith with golden hair. + + A whisper, and then a silence: + Yet I know by their merry eyes + They are plotting and planning together + To take me by surprise. + + A sudden rush from the stairway, + A sudden raid from the hall! + By three doors left unguarded + They enter my castle wall! + + They climb up into my turret, + O'er the arms and back of my chair; + If I try to escape they surround me; + They seem to be everywhere. + + They almost devour me with kisses, + Their arms about me entwine, + Till I think of the Bishop of Bingen + In his Mouse-Tower on the Rhine! + + Do you think, O blue-eyed banditti, + Because you have scaled the wall, + Such an old moustache as I am + Is not a match for you all! + + I have you fast in my fortress, + And will not let you depart, + But put you down in the dungeon + In the round-tower of my heart. + + And there I will keep you for ever, + Yes, for ever and a day, + Till the walls shall crumble to ruin, + And moulder in dust away! + + _The Children's Hour._ + + +A brief period of childish gaiety would supervene, to which the man of +childlike heart responded readily; and when the little feet had pattered +bedward, and the house was silent from the merry little voices, the +father would sit on until midnight in his spacious empty room. He would +occupy himself with letters--long, fragrant, pleasant gossips to his +best and most familiar friends at a distance: till midnight came upon +him unawares. "It is nearly one o'clock--I am the only person up in the +house: my candle is sinking in its socket." + +And a double loneliness descended upon him as his weary hand laid +down the pen. He remained inert and brooding; the solitude was +almost tangible. But this solitude was presently peopled by visions, +fraught with ineffable consolation to a mind never out of touch with +"other-worldly" influences. + + + 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 parlour 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. + + O, though oft depressed and lonely, + All my fears are laid aside, + If I but remember only + Such as these have lived and died! + + _Footsteps of Angels._ + +"_Empty_ is a horrid word," the Poet had written to a friend--but the +room is no longer empty. It has become a habitation for other visitants +than the motley throng of flatterers impelled by curiosity, who hindered +his morning hours. Unspoken benedictions lie thick upon the air--the +man's griefs are soothed away by the touch of invisible fingers. Patient, +unselfish, indomitable, he resumes the burden of his daily life with new +hope and courage for the morrow. + + + As torrents in summer, + Half dried in their channels, + Suddenly rise, though the + Sky is still cloudless, + For rain has been falling + Far off at their fountains; + + So hearts that are fainting + Grow full to o'erflowing, + And they that behold it + Marvel, and know not + That God at their fountains + Far off has been raining. + + _Tales of a Wayside Inn._ + + + + + +End of the Project Gutenberg EBook of A Day With Longfellow, by +Anonymous and Henry Wadsworth Longfellow + +*** END OF THIS PROJECT GUTENBERG EBOOK A DAY WITH LONGFELLOW *** + +***** This file should be named 37980.txt or 37980.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/7/9/8/37980/ + +Produced by Delphine Lettau, Susan Theresa Morin and the +Online Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/37980.zip b/37980.zip Binary files differnew file mode 100644 index 0000000..fc6c1a8 --- /dev/null +++ b/37980.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..933e6ef --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #37980 (https://www.gutenberg.org/ebooks/37980) |
