The Song of Hiawatha

Henry Wadsworth Longfellow

Sep. 2004 · 1st World Publishing

Meer oor hierdie e-boek

In the Summer of 1854, Longfellow wrote in his diary: "I have at length hit upon a plan for a poem on the American Indians, which seems to me the right one and the only. It is to weave together their beautiful traditions as whole." What emerged the next year was "The Song of Hiawatha," a composite of legends, folklore, myth, and characters that presents, in short, lilting trochees (who can forget "By the shore of Gitche Gumme / By the shining Big-Sea-Water"?), the life-story of a real Indian, who provides the focus for the narrative thread of this epic drama of high adventure, tragedy, and conflict. The aim was not to tell a particular or specific story, but to unite the strands of various Indian legends, to present a sympathetic portrait of many Native American tribes, and especially to disclose their profound relationship with the natural world. This when both government policies and an expanding, land-hungry population were just initiating their inexorable campaign of displacement and annihilation. The poem received a decidedly mixed reception. Our own Boston Traveller revealed its biases: "We cannot help but express our regret that our own pet national poet should not have selected as a theme of his muse something better and higher than the silly legends of the savage aborigines." Despite this, the poem entered into our canon of great narratives, and was revived again in 1891 when Remington, surely the most renowned artist of the West, provided over 400 newly commissioned pen and ink drawings. This handsome, new, and freshly reset edition (the only unabridged version in print) presents the full text and includes the original Remington illustrations as well as a glossary of the Indian names and their meanings. Book jacket.

Meer oor die skrywer

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