Books with author Longfellow Henry Wadsworth

In 1841, the American poet Henry Wadsworth Longfellow heard the story of Acadian lovers, separated by the Expulsion and reunited at the end of their lives. He elaborated this simple tale into his long narrative poem, Evangeline: A Tale of Acadie. Published in 1847, it soon gained worldwide popularity, and by 1865, both North American and European French versions were in print. In reinventing "the best illustration of the faithfulness and constancy of women that I have ever heard of or read," Longfellow offered Acadians a believable story about their ancestors. They adopted it as a distillation of their history, a true legend of their past. The tragic story of Evangeline and Gabriel has captivated Acadians and non-Acadians ever since. Evangeline, the dutiful 17-year-old daughter of an elderly Grand Pré farmer, is in love with Gabriel, the blacksmith's son. Before the two can exchange vows, British soldiers march into the village, burn it to the ground, order the villagers into ships, and send them far from their Nova Scotia homeland. In the mayhem, Evangeline witnesses her father's death from a broken heart and loses sight of Gabriel. Her desperate continent-wide search for her childhood sweetheart — taking her from the cypress groves of Louisiana to a forest mission in the Ozark Mountains — is one of the most affecting accounts of unfulfilled love ever written. More phantom than woman by the end, Evangeline is a hero of mythic proportions. This sumptuously produced commemorative edition of Evangeline: A Tale of Acadie coincides with the 400th anniversary of the founding of Acadia. As well as the complete text of the poem, it features more than 40 engravings from an enchanting Victorian Evangeline published in 1866 by Bell and Daldy, London.

‘The Song of Hiawatha’ is an 1855 epic poem in trochaic tetrameter by Henry Wadsworth Long-fellow that features Native American characters. The epic relates the adventures of an Ojibwe warrior named Hiawatha and the tragedy of his love for Minnehaha. Events in the sto-ry are set in the Pictured Rocks area on the south shore of Lake Superior. Longfellow's poem, though based on native oral traditions surrounding the figure of Manabozho, represents not a work of transmission but an original work of American Romantic literature. Longfellow's sources for the legends and ethnography found in his poem were the Ojibwe Chief Kahge-ga-gah-bowh during his visits at Longfellow's home; Black Hawk and other Sac and Fox Indians Longfellow encountered on Boston Common; ‘Algic Researches’ (1839) and additional writings by Henry Rowe Schoolcraft, an ethnographer and United States Indian agent; and Heckewelder's ‘Narratives’. In sentiment, scope, overall conception, and many particulars, Longfellow insisted, "I can give chapter and verse for these legends. Their chief value is that they are Indian legends."

How is this book unique?Font adjustments & biography includedUnabridged (100% Original content)IllustratedAbout The Song of Hiawatha by Henry Wadsworth LongfellowThe Song of Hiawatha is an 1855 epic poem in trochaic tetrameter by Henry Wadsworth Longfellow that features Native American characters. The epic relates the adventures of an Ojibwe warrior named Hiawatha and the tragedy of his love for Minnehaha. Events in the story are set in the Pictured Rocks area on the south shore of Lake Superior. Longfellow's poem, though based on native oral traditions surrounding the figure of Manabozho, represents not a work of transmission but an original work of American Romantic literature. Longfellow's sources for the legends and ethnography found in his poem were the Ojibwe Chief Kahge-ga-gah-bowh during his visits at Longfellow's home; Black Hawk and other Sac and Fox Indians Longfellow encountered on Boston Common; Algic Researches (1839) and additional writings by Henry Rowe Schoolcraft, an ethnographer and United States Indian agent; and Heckewelder's Narratives. In sentiment, scope, overall conception, and many particulars, Longfellow insisted, "I can give chapter and verse for these legends. Their chief value is that they are Indian legends." Longfellow had originally planned on following Schoolcraft in calling his hero Manabozho, the name in use at the time among the Ojibwe/Anishinaabe of the south shore of Lake Superior for a figure of their folklore, a trickster-transformer. But in his journal entry for June 28, 1854, he wrote, "Work at 'Manabozho;' or, as I think I shall call it, 'Hiawatha'—that being another name for the same personage." Longfellow, following Schoolcraft, was mistaken in thinking the names were synonyms. In Ojibwe lore the figure of Manabozho is legendary but the name Hiawatha is unknown. The name Hiawatha derives from the name of a historical figure associated with the League of the Iroquois, the Five Nations, then located in present-day New York and Pennsylvania. The popularity of Longfellow's poem nevertheless led to the name "Hiawatha" becoming attached to a number of locales and enterprises in areas more historically associated with the Ojibwe than the Iroquois.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Longfellow experimented with many forms, including hexameter and free verse. His published poetry shows great versatility, using anapestic and trochaic forms, blank verse, heroic couplets, ballads and sonnets. Typically, Longfellow would carefully consider the subject of his poetic ideas for a long time before deciding on the right metrical form for it. Much of his work is recognized for its melody-like musicality. As he says, "what a writer asks of his reader is not so much to like as to listen". As a very private man, Longfellow did not often add autobiographical elements to his poetry. Two notable exceptions are dedicated to the death of members of his family. "Resignation", written as a response to the death of his daughter Fanny in 1848, does not use first-person pronouns and is instead a generalized poem of mourning. The death of his second wife Frances, as biographer Charles Calhoun wrote, deeply affected Longfellow personally but "seemed not to touch his poetry, at least directly". His memorial poem to her, a sonnet called "The Cross of Snow", was not published in his lifetime. Longfellow often used didacticism in his poetry, though he focused on it less in his later years. Much of his poetry imparts cultural and moral values, particularly focused on promoting life as being more than material pursuits. Longfellow also often used allegory in his work. In "Nature", for example, death is depicted as bedtime for a cranky child. Many of the metaphors he used in his poetry as well as subject matter came from legends, mythology, and literature.

The epic story of Hiawatha and his fantastic magical powersAngered by the sight of warring nations, Gitche Manito, Mohican Masters of Life, sends for the prophets Hiawatha to bring peace. Brought up by his grandmother on the shores of Lake superior, Hiawatha learns to use his remarkable powers for good of humanity: wearing his magic moccasins he covers a mile with every step; grinds boulders to dust with his special mittens: speaks with all kinds of animals and birds in their own language. Overcoming evil forces, Hiwatha offers the gift of civilization to the world. His marriage to Minnehaha leads to golden age of happiness and peace–unitl the reappearance of mischievous spirits leads Hiawatha into further adventures.The song of Hiawathareflects the traditional Native American way of story–telling.Highly controversial when first published, Longfellow's epic poem has nonetheless created a legend still loved by millions.The most comprehensive paperback edition available, including introduction and chronology of Longfellow's life and times