Class JESg^-^- Book .n2L COPYRIGHT DEPOSIT. r.4- American Literature — A Laboratory Method AMERICAN LITERATURE —A LABORATORY METHOD BY H. L. AAASON Professor of English Language and Literature in DREXEL INSTITUTE Author of " Students' Readings and Questions in English Literature' SECOND EDITION DREXEL INSTITUTE 1902 1^3 THE LIBRARY eF CONGRESS, Two Copies Received APR 4 1903 Copyright Entry Hvix^ ^ S- -. ^C 1 CLASS *" XXc No, /-L 1- .r COPY B. COPYRIGHT, 1901 By H. L. mason All rights reserved (iv) Cont^nt$ 91ntto5uction l^orkinci Itist of Befetence Books Chapter I ^f(e Colonial peiriod; Syllabus A : Colonial Period Questions on Colonial Period Chapter II ^h^ Beooltttionarg p«Hod: Syllabus A: The Revolutionary Period Questions on the Revolutionary Period PAGE ix-xi 1-2 3-5 6-8 9-12 Chapter III Statlonal ^tnz ^o«frgt Syllabus A: Major New England Poets 13-17 Questions on Major New England Poets 18-27 Syllabus B: Minor New England Poets 28-30 Questions on Minor New England Poets 3^-35 Syllabus C: Poe and Minor Southern Poets . . . 36-37 Questions on Poe and Minor Southern Poets . . . 38-42 (V) ▼i CONTENTS PAGE Syllabus D: Poets of the Middle States 43-45 Syllabus E: Poets of the West 46-47 Question-s on Poets of the Middle and Western States 48-55 Chapter IV Syllabus A: Criticism of Life 56-57 Table Showing Important Phases of Religious Thought in New England 58 Questions on Criticism of Life 59-64 Syllabus B: Criticism of Society 65-66 Questions on Criticism of Society 67-69 Syllabus C. Criticism of Letters 70-71 Questions on Criticism of Letters 72-76 Syllabus D: History 77-78 Questions on History 79-S4 Syllabus E: Oratory 85-86 Questions on Oratory 87-90 Syllabus F: Nature Studies 91-92 Questions on Nature Studies 93-97 Chapter V flatiotml 3Etm ^trose 3^lcttott; Syllabus A: Adventure 98-99 Questions on Adventure 100-105 Syllabus B: Humor and Pathos 106-107 Questions on Humor AND Pathos 108-114 CONTENTS vii PAGE Syllabus C: Mystery AND Terror 115-116 Questions ON Mystery AND Terror 117-121 Syllabus D: Idealism 122-123 Questions on Idealism 1 24-1 31 Syllabus E: Realism 132-133 Questions on Realism 134-138 Syllabus F: The International Novel 139-140 Questions on the International Novel 141-145 Table Showing Important Periodicals in the Development of American Literature .... 146-147 Syllabus G: Local Portraiture 14S-151 Questions on Local Portraiture 152-165 Syllabus H: The Novel of European Life and The Historical Novel 166-168 Questions on The Novel of European Life and The Historical Novel 169-179 Mote 180 Sndi^x i8i-iS6 %nttobncHon To read about authors, rather than to read the authors themselves, is perhaps a tendency at the present time. But the "laboratory method" in literature makes one know the works of authors, at first hand. To carry out such a method is the aim of this book. A scheme of reading lists that give definite references to an author's work is arranged so as to show : 1. How the author is a product of his environment ; 2. His own development, and characteristics ; 3. The part he plays in the development of American literature. Questions based upon the reading folloAv each syllabus. They challenge a search, and are so planned as to deduce the evolution of the department of thought considered. Whether that department be Criticism of Letters, Realism, Idealism, or Local Portraiture, the continuity, up to the present time, is developed by these questions. Imaginative literature, in the form of the novel, is added as a clothing for the period studied. No critical matter is given, except that which is referred to in an author's own work. Thus Poe and Howells are made to express their own canons of art for the * ' short story" and "realism"; and Stedman illustrates his own method of scientific criticism. (ix) X INTRODUCTION In suggesting the valuation of autliors, it has been the endeavor of the writer to present the consensus of opinion of such authorities as Edmund Clarence Stedman, Charles Richardson, Henry James, ^Villiam Dean Howells, Moses Coit Tyler, William Trent, Barrett Wendell, William Payne, Lewis Gates, Matthew Arnold, Leslie Stephen, Edward Dowden. Although the increase of libraries makes more and more possible the laboratory method, yet these facilities are varied. In making out the reference lists, therefore, the writer has had constantly in mind three classes of readers : (i) those who have access to a city library; (2) those who have access to a town library; (3) those who have a small private library. To make authors' orfginals accessible to these three classes of readers, duplicate references are given. To secure the benefit of the invaluable American Anthology of Stedman, the publication of this book has been delayed until the present time. Four chapters of the American Literature — A Labora- tory Method have, in typewritten sheets, been used by the classes at Drexel Institute for the last three years. The plan of work has been as follows : An assignment of a certain amount on the reading list is made, to be covered by especial reference to the research questions covering that amount. At the next recitation the students bring in the result of their search. They are encouraged to give their own impressions, and in the class INTRODUCTION xi discussion, every opportunity is given for the development of each student's power of assimilation and discrimination. Often a paper is called for, after finishing the study of Emerson, Lowell, Foe, etc., and the "Questions" form a guide for the arrangement of material. A special feature of the book is the consideration of livi>ig authors. On this account it is believed that the book will be of service not only to students, and literary societies, but to those who are individually seeking general culture. In these times of many books, it becomes imperative that one should know what to read, and how to read, so that the power for the enjoyment of what is best may be increased. And that our own American literature in its hopefulness, resoluteness, and purity, embodies the ideals of American life, no one can gainsay. Drexel Institute, Philadelphia, June ij, igoi . morklns ICist of BeUr^nce l^ooks ARRANGED ALPHABETICALLY BY AUTHORS [In the syllabuses the references appear under the name of the author, as: Stedman-Hutchinson ; Stedman's Anthology ; Carpenter, etc. In this list the full title of the book, its publisher, and date of publication appear.] Adams, Henry History of the United States. 9 vols. N.Y. Scribner, 1890-93. Aldrich, Thomas Bailey . Poems. (Household ed.) Bost. Hough- ton. Allen, James Lane .... Choir Invisible. N. Y. Macmillan, 1900. Reign of Law. N. Y. Macmillan, 1900. American Anthology, 1787-1899. E. C. Stedman, ed. Bost. Hough- ton, 1900. Atlantic Monthly . . . Vol. 75, 1895. Vol. 80, 1897. Austin, Jane Standish of Standish. Bost. Houghton, 1894. Bancroft, George .... History of the United States. 6 vols. N. Y. Appleton, 1 89 1. Barr, Amelia E Bow of Orange Ribbon. N. Y. Dodd, 1886. Bates, Charlotte Fiske . Comp. Cambridge Book of Poetry and Song. N. Y. Crowell. Bay State Psalm Book . . Ed. by Dr. N. B. Shurtleff. Cambridge, 1862. Bellamy, Edward .... Equality. N. Y. Appleton, 1897. (xiii) xiv WORKING LIST OF REFERENCE BOOKS BoLLES, Frank At the North of Bearcamp Water. Best. Houghton, 1893. From Blomidon to Smoky. Bost. Hough- ton, 1894. Bradford, Wiluam . . . History of Plymouth Plantation ; ed. by Chas. Deane. Bost., 1856. Bradstreet, Anne . . . . ThePoemsof Mrs. Anne Bradstreet (1612- 1672). Introd. by Prof. C. E. Norton. (Privately printed), 1897. Brown, Alice Meadow Grass. Bost. Houghton, 1899. Tiverton Tales. Bost. Houghton, 1899. Brown, Charles Brockden. Arthur Mervyn. Phil., 1857. Edgar Huntly. Phil., 1857. Browne, Charles Farrar . Artemus Ward : His Travels. N. Y. Carleton, 1865. Bryant, William Cullen . Poems. (Household ed.) N. Y. Apple- ton, 1890. Ed. Family Library of Poetry and Song. N. Y. Fords. Burroughs, John Fresh Fields. Bost. Houghton, 1893. Wake-Robin. Bost. Houghton, 1893. Cable, George W^ Old Creole Days. N. Y. Scribner, 1892. Cambridge Book of Poetry and Song. C. F. Bates, comp. N. Y. Crowell. CARLiiTON, Wilt Farm Ballads. N. Y. Harper. Cartenter, George Rice . Ed. American Prose. N. Y. Macmillan, 1898. Gary, Alice, and Gary, Phoere. Poetical Works. Bost. Houghton, 1891. Catherwood, Mary Hartwell. Romance of Dollard. N. Y. Cen- tury Co. WORKING LIST OF REFERENCE BOOKS Churchill, Winston . Clemens, Samuel L. The Crisis. N. Y. Macmillan, 1901. Richard Carvel. N. Y. Macmillan, 1899. Adventures of Tom Sawyer. Hartford. Amer. Pub. Co. Huckleberry Finn. N. Y. Harper, 1900. Innocents Abroad. London. Ward. Cogswell, F. H The Regicides. N. Y. Baker, 1896. 2 vols. N. Y. Cooke, John Esten . . . Cooper, James Fenimore Virginia Comedians. Appleton, 1883. The Deerslayer. N. Y. Appleton, 1889. Last of the Mohicans. N. Y. Appleton, 1887. The Pathfinder. N. Y. Appleton, 1889. The Pilot. N. Y. Appleton, 1S92. The Pioneers. N. Y. Appleton, 1S88. The Prairie. N. Y. Appleton, 1890. The Spy. N. Y. Appleton, 1893. Craddock, Charles Egbert Pseud. See Murfree, Mary N. Crawford, Marion . . . Curtis, George William Davis, Richard Harding Deland, Margaret . . . Dickinson, Emily . . . Don Orsino. N. Y. Macmillan, 1892. Saracinesca. N. Y. Macmillan, 1892. Sant' Ilario. N. Y. Macmillan, 1899. Prue and I. N. Y. Harper. Gallegher and Other Stories. N. Y. Scrib- ner, 1893. Van Bibber and Others. N. Y. Harper, 1892. Mr. Tommy Dove and Other Stories. N. Y. Houghton, 1893. Poems; ed. by M. L. Todd and T. W. Higginson. 3 vols. Bost. Roberts, 1892-96. xvi WORKING LIST OF REFERENCE BOOKS Dix, BeulAh Marie . . ^ Hugh Gwyeth. N. Y. Macmillan, 1899. Making of Christopher Ferringhara. N. Y. Macmillan, 1901. DUYCKINCK, E. A., and Duyckinck, G. L. Comp. Cyclopsedia Amer- ican Literature. 2 vols. N. Y. Scrib- ner, 1856. Edwards, Jonathan . . . Works. 10 vols. N. Y. Carvill, 1830. Eggleston, Edward . , . Hoosier Schoolmaster. N. Y. Judd, 1892. Eggleston, George Cary . Ed. American War Ballads and Lyrics. 2 vols. N. Y. Putnam, 1889. Emerson, Ralph Waldo . Conduct of Life. (Riverside ed. ) Bost. Houghton, 1884-85. English Traits. (Riverside ed. ) Bost. Houghton, 1884-85. Essays, ist series. (Riverside ed.) Bost. Houghton, 1884-85. Lectures and Biographical Studies. (River- side ed. ) Bost. Houghton, 1884-85. Nature Addresses and Lectures. (River- side ed.) Bost. Houghton, 1884-85. Poems. ( Household ed. ) Bost. Hough- ton, 1895. Ed. Parnassus. Bost. Houghton. Federalist Hamilton, Alexander, and others. Ed. by P. L. Ford. N. Y., 1898. Field, Eugene Little Book of Western Verse. N. Y. Scribner, 1895. Fiske, John Discovery of America. 2 vols. Bost. Houghton, 1892. Idea of God. Bost. Houghton, 1892. Foote, Mary IlAi.LOCK , . Cup of Trembling and Other Stories. Bost. Houghton, 1895. WORKING LIST OF REFERENCE BOOKS xvii Ford, Paul Leicester . . Honorable Peter Stirling. N. Y. Holt, 1897. Janice Meredith. N. Y. Dodd, 1899. Ed. The Federalist, by Alexander Hamil- ton and others. N. Y., 1898. Franklin, Benjamin . . .Autobiography. (Riverside classics.) Bost. Houghton. Poor Richard's Almanac. (Riverside clas- sics. ) Bost. Houghton. French, Alice Stories of a Western Town. N. Y. Scrib- ner, 1893. Fuller, Henry B The Cliff Dwellers. N. Y. Harper, 1893. Garland, Hamlin .... Member of the Third House. N. Y. Ap- pleton, 1897. Wayside Courtships. N. Y. Appleton, 1897. Gibson, William Hamilton. My Studio Neighbors. N. Y. Harper, 1898. Sharp Eyes. N. Y. Harper, 1892. Gilder, Richard Watson . Five Books of Song. N. Y. Century Co., 1894. Griswold, Rufus Wilmot . Comp. Poets and Poetry of America, (ed. 16 enl.) Phil. Parry, 1855. Comp, Prose Writers of America, (ed. 4 enl.) Phil. Parry, 1855. Hale, Edward Everett . Man Without a Country and Other Stories. Bost. Roberts, 1893. Hamilton, Alexander and others. The Federalist ; ed. by P. L. Ford. N. Y., 1898. Hardy, Arthur Passe Rose. Bost. Houghton. Harris, Joel Chandler . . Uncle Remus, N. Y. Appleton, 1899. xviii WORKING LIST OF REFERENCE BOOKS Harte, Francis Bret . . . Luck of Roaring Camp and Other Sketches. Bost. Houghton, 1898. Poems. (Household ed.) Bost. Houghton. Hawthorne, Nathaniel . Blithedale Romance. Bost. Houghton, 1891. Grandfather's Chair. [St-c his Wonder Book.) Bost. Houghton, 1891. House of the Seven Galjles. Bost. Hough- ton, 1891. Marble Faun. Bost. Houghton, 1891. Mosses from an Old Manse. Bost. Houghton, 1 89 1. Scarlet Letter. Bost. Houghton, 1891. Septimius Felton. {^See his Dolliver Ro- mance.) Bost. Houghton, 1890. Snow Image. Bost. Houghton, 1891. Twice Told Tales. Bost. Houghton, 1 891. IIemans, Mrs. Felicia Dorothea. Complete Works ; ed. by her sister. 2 vols. N. Y. Appleton, 1884. Holmes, Oliver Wendell. Autocrat of the Breakfast Table. Bost. Houghton. Elsie Venner. Bost. Houghton. Poems. (Household ed.) Bost. Hough- ton, 1899. Poet at the Breakfast Table. Bost. Hough- ton. Poetical W^orks. 3 vols. Bost. Houghton, 1891. Professor at the Breakfast Table. Bost. Houghton. HowELLS, William Dean . Criticism and Fiction. N. Y. Harper, 1893. Hazard of New Fortunes. 2 vols. N. Y. Harper. WORKING LIST OF REFERENCE BOOKS HowELLS, William Dean . Lady of the Aroostook. Bost. Houghton. Modern Instance. Bost. Houghton, 1891. Rise of Silas Lapham. Bost. Houghton. Their Silver Wedding Journey. 2 vols. N. Y. Harper, 1899. Their Wedding Journey. Bost. Houghton, 1892. Irving, Washington Alhambra. N. Y. Putnam, 1S69. Bracebridge Hall. N. Y. Putnam, 1869. Granada. N. Y. Putnam, 1S69. History of New York. N. Y. Putnam, Jackson, Helen Hunt Life of Goldsmith. 2 vols. N. Y. Put- nam, 1869. Life of Washington. 5 vols. N. Y. Put- nam, 1869. Sketch Book. Phil. Lippincott, 1870. Poems. Bost. Roberts, 1892. James, Henry Daisy Miller. N. Y. Harper, 1892. Portrait of a Lady. Bost. Houghton, 1891. Princess Casamassima. Lond. M'^cmillan, 1886. Roderick Hudson. Bost. Houghton, 1S92. Jewett, Sarah Ornk A White Heron and Other Stories. Bost. Houghton, 1892. Johnston, Mary Audrey. Bost. Ploughton, 1902. To Have and to Hold. Bost. Houghton, 1900. JUDD, Sylvester ..... Margaret. Bost. Roberts, 1S70. Kennedy, John P Horse-Shoe Robinson. 2 vols. Phil. Carey, 1836. Knowles, Frederic Lawrence. Comp. Golden Treasury of American Songs and Lyrics. Bost. Page, 1898. XX WORKING LIST OF REFERENCE BOOKS Lanier, Sidney Poems ; ed. by his wife. N. Y. Scribner, 1892. Learned, Walter .... Comp. Treasury of American Verse. N. Y. Stokes. Comp. Treasury of Favorite Poems. N. Y. Stokes, 1 89 1. Library of American Literature, ii vols. E. C. Stedman and E. M. Hutchinson, comp. N. Y. Webster, 1891. Lir.RARV OF THE WORLD'S Best LITERATURE. (Ed. dc Luxe.) 45 vols, C. D. Warner and others, eds. N. Y. International Society, 1896-97. Longfellow, Henry Wadswortii. Poems. (Household ed.) Bost. Houghton. Lowell, James Russell . . IJterary Essays. 5 vols. Bost. Houghton. Poems. (Household ed.) Bost. Hough- ton, 1899. Marie, Hamilton Essays in Literary Interpretation. N. Y. Dodd, 1892. Mc Master, John Bach . . History of the People of the United States. Vols. 1-5. N. Y. Appleton, 1900. Manly, Louise Southern Literature, 1579-1895. Rich- mond. Johnson Pub. Co., 1895. Marvel, Ik Pseud. See Mitchell, Donald G. Mather, Cotton Magnalia Christi Americana; or The Eccle- siastical History of New England, 1620-1698. Hartford. Andrus, 1853- 55- Matthews, BrANDER . . . Introduction to the Study of American Lit- erature. N. Y. American Bk. Co., 189&. Outlines in Local Color. N. Y. Harper, 1898. WORKING LIST OF REFERENCE BOOKS Miller, Mrs. Harriet Mitchell, Donald G. Mitchell, S. Weir . . Morris, Charles Motley, John Lothrop Murfree, Mary N. Page, Thomas Nelson Parkman, Francis . . Parnassus .... PoE, Edgar Allan Prescott, William H. Rhodes, James F. . Little Brothers of the Air. Bost. Hough- ton, 1892. . Reveries of a Bachelor. N. Y. Scribner, 1892. . Hugh Wynne. 2 vols. N. Y. Century Co., 1897. Riley, James Whitcomb . Sewall, Samuel .... Sill, Edward Rowland SIMMS, William Gilmore -. Comp. Half Hours with the Best American Authors. Phil. Lippincott, 1896. . Rise of the Dutch Republic. 3 vols. N. Y. Harper. . In the Tennessee Mountains. Bost. Houghton, 189 1. . Marse Chan. N. Y. vScribner, 1892. . Conspiracy of Pontiac. 2 vols. Bost. Lit- tle, 1891. . R. W. Emerson, ed. Bost. Houghton. . Murders in the Rue Morgue and Other Tales. Phil. Coates. Works. 6 vols. N. Y. Armstrong. (Another edition. 10 vols. Chic. Stone, 1895. Ed. by Stedman-Woodberry. ) . Conquest of Mexico. 3 vols. Bost. Phil- lips, 1858-59. . History of the United States. 3 vols. N. Y. Harper. 1893-95. . Afterwhiles. Indianapolis. Bowen, 1894. . Diary (1674-1729). In Coll. Mass. Hist. Soc, Series 5, Vols. V-VII. . Poems. Bost. Houghton, 1898. . The Yemasse. 2 vols. N. Y., 1835. xxii WORKING LIST OF REFERENCE BOOKS Smith, John Generall Historic of Virginia, New England, and the Summer Isles. Lond. , 1624. True Relation of Such Occurrences and Accidents of Noate as Hath Ilapned in Virginia since the First Planting of that CoUony. Lond., 1 608. Songs of Three Centuries J. G. Whittier, comp. Bost. Houghton. Stedman, Edmund Clarence. Ed. American Anthology, 1 787-1899. Bost. Houghton, 1900. Poems. (Household ed.) Bost. Houghton. Poets of America. Bost. Houghton, 1892. Victorian Poets. Bost. Houghton, 1891. Stedman, Edmund Clarence, and Hutchinson, E. M. Comp. Lib- rary of American Literature. 1 1 vols. N. Y. Webster, 1891. Stimson, F. J King Noanett. Bost. Lamson, 1896. Stockton, Frank Amos Kilbright and Other Stones. N. Y. Scribner, 1891. Stowe, Harriet Beecher . Uncle Tom's Cabin. Bost. Houghton, 1889. Stuart, Ruth McEnery . Golden Wedding and Other Tales. N. Y. Harper, 1893. Taylor, Bayard Poems. (Household ed.) Bost. Hough- ton. Teuffel, Blanche Willis Howard-. Guenn. Bost. Houghton, 1898. Thanet, Octave Pseud. See French, Alice. Tiiaxter, Celia Poems. Bost. Houghton, 1896. Thompson, Ernest Seton- . Wild Animals I Have Known. N. Y. Scribner, 1899. Thoreau, Henry David . Excursions. Bost. Houghton, 1892. Summer, Bost. Houghton, 1892. Walden, Bost. Houghton. WORKING LIST OF REFERENCE BOOKS xxiii Thoreau, Henry David . Week on the Concord and Merrimac Rivers. Bost. Houghton, 1892. Winter. Bost. Houghton, 1891. TORREY, Bradford .... Foot-path Way. Bost. Houghton, 1892. Trumbui,],, John Poetical Works. 2 vols. Hartford. Good- rich, 1822. Twain, Mark Pseud. See Clemens, Samuel L. Wallace, Lew Ben Hur. N. Y. Harper. Ward, Elizabeth Stuart Phelps- Jack the Fisherman. Bost. Houghton, 1887. Warner, Charles Dudley Golden House. N. Y. Harper, 1895. In the Wilderness. N. Y. Harper. Little Journey in the World. N. Y. Har- per, 1891. Warner, Charles Dudley, and others. Eds. Library of the World's Best Literature. (Ed. deLuxe.) 45 vols. N. Y. International Society, 1896-97. Whu'I'le, Edwin P Essays and Reviews. 2 vols. Bost. Houghton, 1891. Literature of the Age of Elizabeth. Bost. Houghton, 189 1. Whitman, Walt Selected Poems. N. Y. Webster, 1892. Whittier, John Greenleaf Poems. (Household ed.) Bost. Houghton. Comp. Songs of Three Centuries. Bost. Houghton. WiLKiNS, Mary E Humble Romance and Other Stories. N. Y. Harper. Winthrop, Theodore . . John Brent. N. Y. Holt, 1876. Woolman, John Journal ; with introd. by J. G. Whittier. Bo^t. Osgood, 1871. be tbeor^ ot boofts is noble. Zbc scbolar ot tbe first age receivet) into bim tbe wotlD atoun&; broo&e& tbereon; gave it tbe new arrangement of bis own mint), anD uttereD it again. 1[t came into bim life; it went out of bim trutb. Ht came to bim sbort*li\>eD actions; it went out from bim immor* tal tbougbt. Ht came to bim business; it went from bim poetrp. Ut was &ea5 fact; now it is quick tbougbt. lit can stant), an& it can go. lit now en&ures, it now fiies, it now inspires, precisely in proportion to tbe &eptb of min& from wbicb it issue&, so bigb t)oes it soar, so long t>oc5 it sing. (;6mcrson: Cbe Bmctican Scbolar.) (xxv) CHAPTER I Early Colonial Period Later Colonial Period Colonial period (tSOZ^tieS) Syllabus A Captain John Smith (1579-1631) A True Relation of Virginia : Adventure on the Chickahominy, Stedman-Hutch- inson, Vol. i, p. 3. General History of Virginia : Romance of Pocahontas, Stedman-Hutchinson, VoL I, p. 10. William Bradford (1590-1657) History of Plymouth Plantation : The Pilgrims, Carpenter, p. 451. Anne Bradstreet (1612-1672) The Tenth Muse Lately Sprung up in America: Duyckinck, Vol. i, p. 51 ; Stedman-Hutchinson, Vol. I, p. 311. Bay State Psalm Book Stedman-Hutchinson, Vol. I, p. 211. Samuel Sewall (1652-1730) Some few lines toward a Description of New Heaven as it makes to those who stand upon the New Earth, Carpenter, p. 457. " The Mather Dynasty " ' ' Under this stone lies Richard Mather Who had a son greater than his father Had eke a son greater than either." Old Epitaph. COLONIAL PERIOD Later Colonial Period General Reading Cotton Mather (1663-1728) Magnalia : The Phantom Ship, Carpenter, p. 6. Wonders of the Invisible World : How Martha Carrier Was Tried, Stedman-Hutch- inson, Vol. 2, p. 125. Jonathan Edwards (1703-1758) Natural Men Are God's Enemies, Carpenter, p. 21. Nature and Holiness, Carpenter, p. 16 ; Stedman- Hutchinson, Vol. 2, p. 373. Sarah Pierrepont, Carpenter, p. 18; Stedman-Hutch- inson, Vol. 2, p. 381 ; Warner's Lib., Vol. 13, p. S182. Landing of the Pilgrims Mrs. Hemans. Courtship of Miles Standish . . . Longfellow. John Eliot's Bible Hawthorne's Grand- father' s Chair, Part I., ch. 8. King Noanett J. S. Stimson. Standish of Standish ..... June Austin. Governor Endicott and the Red Cross Hawthorne's Twice Told Tales. To Have and To Hold Mary Johnston. The Making of Christopher Fer- ringham Beulah Marie Dix. COLONIAL PERIOD 3 <@ttttetiond on tfi« <8:oIoniaI ^«i;iod 1 . Although American literature must hold in common with English literature language, moral and religious ideals embodied in the English Bible, and the legal and political ideals grouped around Common Law, why should it be considered an independent and distinct literature ? 2. What great men were writing in England when settle- ments in North America began ? 3. How did the resolute English temper show itself in both Cavalier and Puritan ? 4. (a) How account for the fact that the South gave such leaders to the Revolution? (b) Who were these leaders ? 5. Account for the outranking average intelligence and morality of the North. 6. Explain the primness and credulity that crept in. 7. Why do we find no early American poet or story-teller? 8. (a) What is the pioneer American book ? (b) What is there graphic in it ? (c) What is the source of the Pocahontas story ? 9. How may William Strachey's account of his shipwreck on the way to the Virginia colony have suggested to Shakespeare certain passages in ' ' The Tempest ' ' ? [o. (a) How was the aristocratic character of the South shown in the life ? (b) Why did the Church suffer ? (c) Why did education fare ill ? [ I . How do you account for so little later colonial literature in the South ? [2. What modern novels give pictures of the Jamestown colony ? 4 COLONIAL PERIOD 13. Where may we go for a picture of the hardships of New- England life ? 14. Bring out a few characteristics of the primitive New England town life. 15. (a) Who were the two chronicle-historians of the infant colonies ? (b) What precious pages were lost for two hundred years and how returned to Massachusetts? (c) What other document has not been published in its entirety till this century ? 16. (a) What was the power of the New England parson? (b) What is meant by O. W. Holmes's phrase, " the Brahmin caste of New England ' ' ? 17. Who was the " Apostle of the Indians " and what work did he do ? 18. (a) What was the first book printed in America? (b) What is its literary value ? 19. (a) Who was the "pioneer blue-stocking" ? (b) Who was her most famous literary descendant ? (c) What in her poetic subjects suggests that her Pegasus is always inspired by the number four ? (d) What local color in her work ? (e) How did her contemporaries receive her? 20. What melodies gathered together in these early days were better remembered by time than the Tenth Muse ? 21. What story of Hawthorne's shows the severe, hard side of the Puritan character ? 22. How is the piety of Judge Samuel Sewall expressed in his quaint description of the New Heaven ? 23. Quote the epitaph which describes the Mather dynasty. 24. What tragedy that eventually broke the power of the clergy, did the writings of the most famous member deal with ? COLONIAL PERIOD 5 25. How did Judge Sewall show publicly his remorse for his part in this tragedy ? 26. What printed protest by Robert Calef against this super- stition was officially burned by Cotton Mather ? 27. (a) In what work did Cotton Mather try to uphold the political power of the clergy ? (b) What curious registry of the fervent Puritan belief in direct answer to prayer does it give? (c) What in the fantastic, rhythmical style of its prose suggests the seventeenth century prose of Fuller and Sir Thomas Browne ? 28. (a) Who was the minister that, separating politics from religion, first in his writings struck the note of the ideal? (b) What poetic spirit is shown in his work ? (c) Why is he called the " Dante of the pulpit " ? (d) What is the name of his great work that shows him a master of subtle logic ? (e) What idealistic quality do all his writings show ? 29. What name in this period deserves to stand for actual achievement in literature ? 30. What names stand only for historical interest ? 31. What is the one quality in literature that America developed in this period that will be embodied later by Channing and Emerson ? CHAPTER II The New Type The Orators The Statesmen Bevolntionarg period (tzeS^taOO) Syllabus A Benjamin Franklin (i 706-1 790) Poor Richard's Almanac: Father Abraham's Speech, Carpenter, p. 36 ; Mat- thews, p. 26; Warner's Lib., Vol. 15, p. 5946. Letters : The Whistle, Duyckinck, Vol. I, p. Ill ; Stedman- Hutchhison, Vol. 3, p. 27. Dialogue between Franklin and the Gout, Duy- ckinck, Vol. I, p. 112; Stedman-Hutchinson, Vol. 3, p. 29. Autobiography : Entrance into Philadelphia, Carpenter, p. 31 ; Stedman-Hutchinson, Vol. 3, p. 6 ; Warner's Lib., Vol. IS, p. 5941. Josiah Quincy (1744- 17 75) An Interview with Lord North, Stedman-Hutchinson, Vol. 3, p. 290. Patrick Henry (i 736-1 799) The Alternative, Stedman-Hutchinson, Vol. 3, p. 214 ; Warner's Lib., Vol. 18, p. 7242. George Washington (i 732-1 799) On His Appointment as Commander-in-Chief, Stedman- Hutchinson, Vol. 3, p. 146. A Military Dinner Party, Stedman-Hutchinson, Vol. 3, p. 152. (6) REVOLUTIONARY PERIOD The Statesmen Early Poetry Novelist Familiar Letters Alexander Hamilton (1757-1804) Essays in " The Federalist," ed. by Paul L. Ford. Ballads of the Revolution Yankee Doodle, Duyckinck, Vol. I, p. 463 ; Stedman- Hutchinson, Vol. 3, p. 338. The Dance, G. C. Eggleston, Vol. i, p. 94 ; Stedman- Hutchinson, Vol. 3, p. 356. Nathan Hale, G. C. Eggleston, Vol. i, p. 43 ; Sted- man-Hutchinson, Vol. 3, p. 347. John Trumbull (1750-1831) McFingal's Dole, Stedman-Hutchinson, Vol. 3, p. 406. Character of McFingal, Griswold's Poets, p. 45. Philip Freneau (1752-1832) The Indian Burying-ground, Griswold's Poets, p. 35 ; Stedman's Anth., p. 4 ; Stedman-Hutchinson, Vol. 3, P- 452. The Wild Honeysuckle, Griswold's Poets, p. 36 ; Knowles, p. i ; Stedman's Anth., p. 4; Stedman- Hutchinson, Vol. 3, p. 453. Charles Brockden Brown (1771-1810) Arthur Mervyn : Yellow Fever in Philadelphia, Carpenter, p. 97 ; Griswold's Prose, p. 114. Edgar Huntly : Adventure with a Gray Cougar, Carpenter, p. 89. John Woolman (1720-1772) Journal : An Angelic Dispensation, Stedman-Hutchinson, Vol. 3, p. 82. An Early Case of Conscience, Duyckinck, Vol. I p. 146. 8 REVOLUTIONARY PERIOD General Hugh Wynne S. Weir Mitchell. Reading -^^^ ^f Orange Ribbon .... Amelia E. Barr. Septimius Felton Nathaniel Hawthorne. The Spy James Fenimore Cooper. Janice Meredith Paul Leicester Ford. Richard Carvel . Winston Churchill. The Regicides F. H. Cogswell. REVOLUTIONARY PERIOD 9 f oy> > p. 100. Lyrics Thine Eyes Still Shined, Poems, p. 88. Give All to Love, Poems, p. 84. Good-Bye, Poems, p. 37. Threnody, Poems, p. 130. The Rhodora, Poems, p. 39; Stedman's Anth., p. 92. The Humble-Bee, Poems, p. 39; Stedman's Anth., p. 92. Personal Nature Philo- sophic Thought Forbearance, Poems, p. 78; Stedman's Anth., p. 94. Each and All, Poems, p. 14; Stedman's Anth., p. 90. MAJOR NEW ENGLAND POETS 17 The Poet of Optimistic Philo- soptiy Quatrains The Problem, Poems, p. 15; Stedman's Anth.-, p. 91. Hamatreya, Poems, p. 35. " I framed his tongue to music," Poems, p. 274- "Teach me your mood, O patient stars," Poems, p. 277. General Margaret . Sylvester Judd. Reading Uncle Tom's Cabin Harriet Beecher Stowe. The Crisis Winston Churchill. i8 MAJOR NEW ENGLAND POETS C^ttesfione on tlt«s H^nittv 31etti SEitslatti Poets 1. (a) Why were the artists of the Colonial Period portrait painters? (b) Why were the Revolutionary artists painters of battle scenes? (c) Why did the "land- scape school" of painters appear early in the nine- teenth century ? 2. Why may William Cullen Bryant be said to lead the literary counterpart of this school ? 3. What poem was published in his seventeenth year, and what does the title mean ? (a) What lines in it suggest an Anglo-Saxon picturing of the grave ? (b) What solemn decorations for man's tomb illustrate Bryant's characteristic of presenting large aspects of nature? (c) How is the vastness of time and space brought out? (d) How does the spirit of the poem suggest both the Puritan and the Roman ? (e) Why is blank verse eminently fitted to clothe the thought ? (f )What fine management of the c?esura does Bryant show ? (g) How does the "Flood of Years" prove that at eighty his style was unchanged ? 4. (a) How is the sense of loneliness brought out in " To a Waterfowl " ? (b) What "uplifted flight " of spirit as well as of bird is suggested ? 5. (a) With what poems did New England scenery come into literature ? (b) What season did he like best to MAJOR NEW ENGLAND POETS 19 paint? (c) What New England wild flowers does he sing of, and in each poem what suggestion does the flower bring to him ? 6. (a) What poem resembles Wordsworth's "Three Years She Grew in Sun and Shower"? (b) In both how is the beauty of the maiden brought out ? 7. (a) What pictures of nature in his two fairy tales seem to illustrate Bryant's more delicate fancy and work- manship ? (b) Yet how does the subject in each case illustrate his love for the elements ? 8. Though preeminently a nature poet, yet what quality did his verse lack which Shelley and Wordsworth had in nature lyrics ? 9. Name the characteristics of his style. 10. How did the early life and duties of Henry Wadsworth Longfellow seem to develop a literary bent ? 11. (a) With what volume did he gain a foothold as an American poet? (b) What was the quality of the lyrics that caught the popular ear? (c) What lyric, written in middle life, gives a romantic picturing of his birthplace ? 12. (a) What vigorous ballad ofthe Viking's life shows Long- fellow's power of imaginative treatment? (b) In what other sea lyric were the ballad requisites of rapidity, conciseness, and story-telling povv^er, well shown ? 13. What instances of poetic quality with emotion are found in ' ' Hawthorne ' ' and ' ' Bayard Taylor ' ' ? 14. (a) With what two poems, American in subject, did Longfellow succeed in familiarizing a foreign metre, — the Latin hexameter? (b) Why his success? (c) 20 MAJOR NEW ENGLAND POETS What pictures of interiors are drawn with artistic grace ? 15. (a) His most original addition to literature is what poem ? (b) What unknown foreign metre did he use for it ? What similarity of treatment to Tennyson's treatment of the " Idylls of the King ' ' ? 16. From what English or Italian poem does he borrow his scheme for ' ' The Tales of a Wayside Inn ' ' ? How further do the ' * Tales ' ' illustrate his use of foreign timber ? 17. How does the title of the poem read at the fiftieth class anniversary illustrate his imagination kindled by the world of books ? 18. (a) How does his range of subjects show his cosmopolitan quality? (b) How does his popularity illustrate his power of extending culture ? (c) How does his verse promote a taste for higher ideals in form ? (d) Why did American literature in the early part of the nine- teenth century especially need his contributions ? (e) How did he make American history romantic ? 19. In what respects were Lowell's surroundings and duties like Longfellow's? 20. (a) What was the poem he produced that showed his ethical bent, and which was at first attributed to Whittier? (b) What made the long, leaping metre so effective ? 2 1 . (a) How does ' ' The Vision of Sir Launfal ' ' show his absolute spontaneous joyful sympathy with nature? (b) What two famous contrasted landscape pictures are its features? (c) How is the medireval setting of the poem carried out artistically ? (d) How is its sentiment representative of Lowell? MAJOR NEW ENGLAND POETS 21 22. (a) Of what homely, ungainly material is Lowell's most original and individual work constructed ? (b) What did it voice ? (c) What two original character crea- tions does it contain ? (d) What extract in it contains in dialect just such a spontaneous description of nature as that given in ' ' The Vision of Sir Launfal ' ' ? (e) What bucolic idyl is without a counterpart? 23. (a) Where did Lowell pass laughingly keen judgments on his contemporaries — ^judgments almost verified by time? (b) What is the keynote of his estimate of Bryant? (c) Of himself? 24. With what lyrics has he learned from personal sorrow to read the hearts of others ? 25. (a) Which lyric hints at preexistence, and clothes subtlety of thought in exquisite fantasy ? (b) How does he hint at the secret of the violin's tone ? 26. In what poem, and under what imagery, does he portray a wasted life — a poem which W. T. Stead said changed his life ? 27. What poem proves that a great poet is best at his greatest theme ? (a) What musical intonation of tender thoughts in stanza IIL? (b) How does stanza VL paint the portrait of " the first American " ? (c) In stanza VIII. how does his salutation of the ''sacred dead " rise to a seer's vision? (d) With what trumpet -blast does he close the poem ? 28. (a) Show how the thought and moral purpose is always Lowell's prominent characteristic, (b) How has he shov/n that the highest culture may at times be most spontaneous and least bookish in expression? (c) 22 MAJOR NEW ENGLAND POETS What three pieces has he given us that in their departments outrank any other American production, and rank with the best of their kind in English literature ? 29. What privileges of birth and residence did Oliver Wendell Holmes enjoy, and how did his wit phrase them ? 30. (a) In the first poem which won the public, what shows that his American patriotism was clothed in eighteenth century rhetoric ? (b) ^Vhat eighteenth century style of verse did he cling to through all his fifty years of writing? (c) Why did it lend itself so well to " occasional " verse? 31. (a) In "The Boys " on what lurking uneasiness of his classmates is the humor of the theme made? (b) In "A Farewell to Agassiz " what scientific theory pro- pounded by the great scientist made the salutation by the mountain particularly witty ? (c) How does "The Iron Gate ' ' show an advance in seriousness, yet what touches of the old wit still remain ? 32. (a) How is the logical Yankee reasoning put to ridicule in the " One-Hoss Shay " ? (b) How by a whimsi- cality do Salem witches become the cause of a modern invention ? (c) What allusion to famous rides adds to the humor of "How the Old Horse Won the Bet " ? (d) How is Holmes's characteristic humor touched out in " Grandmother's Story of Bunker Hill " ? 33. (a) What "knee-buckle" verses show that Holmes stands at the head of the school of Lockyer, Dobson, and Bunner ? (b) How in each poem does the jest jostle the sentiment? (c) What lines did Lincoln MAJOR NEW ENGLAND POETS 23 never tire of repeating? (d) What last stanza con- tained a melancholy prophecy of the poet's own lon- gevity ? (e) In "Bill and Joe " how does an epitaph jostle a nickname ? 34. (a) What artistic symbolism is used in "Under the Violets"? (b) What charity lies in "The Voice- less," and what line in Gray's " Elegy " expresses the same thought? (c) How does "The Chambered Nautilus " show the thought and imagination of a scholar and modern scientific thinker ? (d) In what reverential feeling does the last stanza culminate ? (e) How does the last line of each stanza contribute to the sonorous quality of the poem ? 35. (a ) How did his work seem to " disperse the ancestral gloom " ? (b) In what field is he supreme master? (c) How did he preserve, not revive, the eighteenth century classicism in the nineteenth century ? 36. (a) In what respect are John GreenleafWhittier's ances- try, rearing, and temperament unique among our poets ? (b) For what unpopular cause did he postpone the artistic development of his poetic faculty ? 37. (a) How were the qualities that make him our best balladist early shown in ' ' Cassandra Southwick ' ' ? (b) How does this ballad show his love of freedom ? (c) How is the quality of m^ovement shown in " Barbara Frietchie " ? (d) What popular enthusiasm did this ballad embody ? (e) V/hat two faiths does his ballad of the exiled Acadian set dramatically together? (f) Where, characteristically, is his own sympathy shown to lie ? (g) How do the first and last stanzas make an exquisite setting for the poem ? 24 MAJOR NEW ENGLAND POETS 38. (a) How does " Skipper Ireson's Ride " illustrate grim humor unusual to Whittier ? (b) What effective use of the refrain is made ? (c) From whom does he make the suggestions of release come — thus showing rare dramatic touch? (d) With what one word in the last stanza is the change of feeling suggested ? 39. (a) What dramatic quality in his passionate invective against Daniel Webster? (b) How did he and the world afterward come to understand this attitude of Webster's? (c) What poem of Robert Browning's also laments a ' * lost leader ' ' ? 40. (a) What element of tragedy that often lies in everyday lives was expressed in " Maud MuUer," and won the popular heart ? (b) How does even the choice of the name " Maud " show Whittier' s faithfulness to honest pictures of rural life ? 41. (a) Why did the triumph of his cause make an improve- ment in the technique of his verse ? 42. (a) What did all his pictures of New England scenes gain from his consciousness of his "lost youth"? (b) In "Telling the Bees" what old New England custom serves as a death announcement to the lover ? (c) What do memory's eyes see enacted in the old New England schoolhouse? (d) What picture of the poet's personal romance is found in "A Sea Dream ' ' ; yet what lines show that he never wishes the world to unveil it ? 43. (a) In what masterpiece did he picture a phase of life that has vanished from among us? (b) How does the snow, through his imagination, transform the commonplace to the fanciful ? (c) What ' * dear home MAJOR NEW ENGLAND POETS 25 faces ' ' shine immortally in that firelight ? (d) By what strange guest, with his instinct for color and contrast, did he complete the group — a guest who afterward died in a Philadelphia almshouse? (e) Why may Whittier call them "Flemish pictures"? (f) Of what two home idyls of Goldsmith and Burns is this an American successor ? 44. How does the faith which is the life of his genius voice itself in hymns ? 45. How, though a poet, "who clings to the bleak hills of New England, who must feel her soil beneath his feet, " is he yet a poet of the nation ? 46. In what respects were Ralph Waldo Emerson's ancestry, early surroundings, and training like and unlike the other New England poets ? 47. (a) How does "Good-bye" announce his farewell to his profession ? (b) How does the last line express the message his poems will bring ? 48. (a) What touches of New England scenery make the background of " Thine Eyes Still Shined " — one of the few songs that sing of the personal ? (b) How does "Give all to Love" illustrate his power to sing of the abstract and general ' ' with flame as pure as moonlight and as high removed ' ' ? (c) How does his optimism show itself in the poem's lines "When half-gods go, the gods arrive"? (d) What is a repetition of this noble conception of love in "The Sphinx, ' ' stanza twelve ? 49. (a) In his nature poem "To the Rhodora " what Wordsworth-like painting of a flower wasting its charms unseen? (b) What term of endearment, by 26 MAJOR NEW ENGI,AND POETS an exquisite touch, makes the Hower a personality to voice an eternal truth? (c) In what musical line is that eternal truth expressed? (d) How does "The Humble Bee" illustrate his use of epithets that com- bine the actual description with visions of the unseen? (e) How has he secured the effect of the bee's hum without any of the imitative "buzz, buzz"? (f) What truth of nature is symbolic in " this Epicurean? " (g) How does "Forbearance" express that feeling for the sacredness of nature Avhich Landor voiced in "The ever-sacred cup of the pure lily hath beneath my hands felt safe, nor lost one grain of gold"? 50. (a) How does "Each and All" symbolize the illusive- ness of nature, and human nature, and the mysticism that must shroud the ideal? (b) What lines show that only by yielding to the whole, not by trying to capture a part, does one find the Eternal Oneness of Nature — that harmony which is beauty? (c) How does " The Problem " show that all forms of religion, art, and nature are but varied expressions of the vast Over-Soul? (d) What couplet in it is Emerson's epitaph ? 51. (a) With what vital grip and masterful compression does he call up Concord Fight and all that it stood for ? (b) In " Hamatreya" what Anglo-Saxon grimness in the song the earth sings? (c) Under what strong simile does the poet express the uselessness of man's pursuit of the material ? 52. (a) With what exquisitely human lament does the "Threnody" begin — that most spontaneous and ele- vating of all lyrical elegies? (b) With what impas- MAJOR NEW ENGLAND POETS 27 sioned epithets does he refer to the dead child? (c) By what noble healing is he led to see that grief is blasphemy in the presence of nature's mysteries? (d) How does he phrase the truth of immortality, which ' ' sunsets as Avell as the scroll of human fates' ' show ? (e) How do the last two lines express, through symbols, that death " pours finite into infinite " ? 53. (a) What quatrain expresses the tranquil mood, the eternai'^ youth, that nobility possesses? (b) What quatrain expresses the harmony of perfect manhood ? 54. (a) How does Emerson most nearly of the moderns fulfil Wordsworth's prophecy that the ideal poet must be a philosopher as well? (b) How does his fusion of his impassioned feeling for the beauty of nature, and the truth symbolized, make his lyricism unique in quality? (c) How may his technique, so blamed, so unsatisfying to a craftsman, be just the best fitted to make the mind read this spiritual message ? (d) How, alone as yet among Americans, does his largeness of spirit belong to no particular country and no particular time ? Master- craftsman of Dainti- ness The Re- vealer of the Spiritual " Hermit Thrush of Singers" p. 8; Poems, p. 58; 9, p. 384; Warner's Syllabus B Minot Mtvtx SEnsfand poets Thomas Bailey Aldrich (1836- ) Nocturne, Learned' s Treas. Fav., p. 229; Poems, p. 59. Prescience, Knowles, p. 221; Stedraan-Hutchinson, Vol. 9, p. 383; Stedman's Anth., p. 383; War- ner's Lib., Vol. I, p. 316. Identity, Learned' s Treas. Am Stedman-Hutchinson, Vol. Lib., Vol. I, p. 315. The Unforgiven, Poems, p. 20. When the Sultan Goes to Ispahan, Whittier's Songs of Three Centuries, p. 150; Knowles, p. 253; Sted- man's Anth., p. 379. Edward Rowland Sill (1841-1887) The Fool's Prayer, Knowles, p. 205; Stedman-Hutch- inson, Vol. 10, p. 97; Stedman's Anth., p. 419; Warner's Lib., Vol. 34, p. 13442. Venus of Milo, Poems, 1st Series, p. i. A Morning Thought, Poems, 1st Series, p. Ill; War- ner's Lib., Vol. 34, p. 13443. Thomas W. Parsons (1819-1892) Paradisi Gloria, Knowles, p. 20I; Stedman-Hutch- inson, Vol. 7, p. 392; Stedman's Anth., p. 241; Warners Lib., Vol. 28, p. 11 121. On a Bust of Dante, Bryant's Lib., p. 814; Knowles, p. 185; Learned' s Treas. Am., p. 135; Stedman- Hutchinson, Vol. 7, p. 389; Stedman's Anth,, p. 237- (28) MINOR NEW ENGLAND POETS 29 The Poet of Trans- cendental- ism Singer of the Sea Revealer of ■Woman's Thought Jones Very (i8l3-i{ The Spirit Land, Bryant's Lib., p. 331; Whittier's Songs of Three Centuries, p. 176. The Dead, Stedman-Hutchinson, Vol. 7, p. 218; Sted- man's Anth., p. 174; Warner's Lib., Vol, 38, p. 15325- Celia Thaxter (1836-1894) The Sandpiper, Bryant's Lib., p. 446; Learned' s Treas. Am., p. 168; Stedman-Hutchinson, Vol. 9, p. 365; Stedman's Anth., p. 369; Warner's Lib., Vol. 37, p. 14763. Submission, Poems, p. 160; Whittier's Songs of Three Centuries, p. 296. Helen Hunt Jackson (1831-1885) Tides, Poems, p. 96. Thought, Emerson's Parnassus, p. 91; Knowles, p. 180; Poems, p. 109. Gondolieds, Knowles, p. 155; Poems, ^j. 32. Spinning, Poems, p. 13; Stedman-Hutchinson, Vol. 8, p. 507; Warner's Lib., Vol. 20, p. 8064. Elfish Sibyl Disciple of Whittier Emily Dickinson (1830-1J With a Flower, Poems, ist Series, p. 50. Setting Sail, Poems, 1st Series, p. 1 16. Drinking Song, Poems, 1st Series, p. 34. A Book, Poems, 3d Series, p. 29; Stedman's Anth., p. 320. The Chariot, Knowles, p. 264; Poems, ist Series, p. 138. Lucy Larcom (1824-1893) Hannah, Learned's Treas. Fav., p. 377; Warner's Lib., Vol. 40, p. 16651. A Strip of Blue, Learned's Treas. Am., p. 36; Sted- man's Anth., p. 299; Whittier's Songs of Three Centuries, p. 274. 30 MINOR NEW ENGLAND POETS The Bal- Nora Perry ( 1841-1896) The Love-Knot, Bryant's Lib., p. 143; Learned's Treas. Am., p. 297; Stedman's Anth., p. 424. Riding Down, Stedman-Hutchinson, Vol. 10, p. I02; Stedman's Anth., p. 424. Cressid, Stedman's Anth., p. 423. Celtic John Boyle O'Reilly ( 1844-1890) The Cry of the Dreamer, Warner's Lib., Vol. 27, p. 10S61; Whittier's Songs of Three Centuries, p. 355. James Jeffrey Roche ( 1847- ) The V-a-s-e, Poems, p. 63; Stedman-Hutchinson, Vol. 10, p. 421. Louise Imogen Guiney (1861- ) The Wild Ride, Stedman-Hutchinson, Vol. il, p. 310; Stedman's Anth., p. 666; Warner's Lib., Vol. 41, p. 16827. MINOR NEW ENGLAND POETS 31 ^uedtions on tf|i^ Minor M&m S^nglanS l^netd 1. The veteran ])oets have stood out by the breadth and earnestness and naturahiess of their work ; what is the general characteristic of the minor poets that follow ? 2. (a) How does Thomas Bailey Aldrich stand out as a leader in this strict interpretation of "Art for Art's Sake" ? (b) In " A Nocturne" how by one phrase does he call up Shakespeare's balcony scene? (c) What graceful touches in the poem ? (d) What minor strain in it makes the title, a ' ' Nocturne, ' ' especially fitting ? 3. (a) In " The Unforgiven " what in the second and third stanzas brings out the fixity of art ? (b) Yet how is the spirit symbolized just the opposite of the happy spirit crystallized in Keats' s " Ode to a Grecian Urn," where boughs cannot ever bid the spring adieu ? (c) What makes the siren's music so exquisite ? (d) How is color, music, and odor used to stamp the picture on the imagination ? 4. (a) In " Prescience " by what subtle way does he suggest "the sorrow that was to be " ? (b) In "Identity" by what phrases is the indefiniteness of the spirit's abode after death expressed ? (c) How is the doubt as to personal identity suggested ? (d) By its weird suggestive thought quality, why does it lend itself to the art of Elihu Vedder ? 5. (a) What oriental poem shows that he can treat a volup- tuous theme with New England purity? (b) How by fancy can he see an " innocent sultan " in his neigh- bor's house opposite? 32 MINOR NEW ENGLAND POETS 6. (a) What quality does Edward Rowland Sill have that is missed in Aldrich? (b) How does "The Fool's Prayer ' ' show in terse fashion that it is by our blunders rather than by our sins that we stay the cause of right? 7. (a) What two famous statues of Aphrodite are made the basis of "The Venus of Milo"? (b) What is sym- bolized by each in the poet's interpretation? (c) Under what imagery does he picture the subtlety of the one? (d) How does his language take on some- thing of the Greek calm and chastity ? 8. (a) In "A Morning Thought" what warning does the mortal give the angel if he would visit earth ? (b) How does the angel make that warning absurd? (c) What is symbolized by the message coming when the east is whitening ? 9. Why may the quality and number of the poems of Dr. Thomas Parsons make fitting his title " Hermit Thrush of Singers ' ' ? 10. What sonorous quality of tone in " Paradisi Gloria," and how is it secured by Latin derived words ? 11. (a) In his lyric "On the Bust of Dante," what qualities of the man could be seen from the bust ? (b) What qualities, also his, are unsuggested by his face ? (c) Who mocks our verdicts — and what judgment is given of Dante ? (d) What qualities make this lyric one of the finest in the English language — qualities that Dr. Parsons' s own study of Dante would be likely to create ? 12. In what form of verse does Jones Very, the mystic, express himself? MINOR NEW ENGLAND POETS 33 13. In "The Spirit Land" how does he show that the con- templation of God is the ''enchanted land" ? 14. (a) In "The Dead," who to Very's pure eyes are the really dead ? (b) Under what nature figure does he describe them ? 15. (a) Of what select audience may he always be sure? (b) What is his poetic kinship to Emerson ? 16. How did Celia Thaxter learn to love the sea? 17. (a) How does she suggest the coming storm in "The Sandpiper ' ' ? (b) How is the loneliness of the scene brought out ? (c) What lesson of trust is learned ? 18. (a) In "Submission," under what imagery is separation by death suggested ? (b) What does the steadfastness of the sparrow's song bring home to her? 19. Out of what terrible sorrows did Helen Hunt Jackson turn to poetry as consolation ? 20. How may "Spinning" symbolize her own resignation? 21. (a) In " Gondolieds " what song quality is notable? (b) In Lied I. how does the minor quality of the thought lie in a retrospect ? (c) In Lied II. how does the minor quality lie in a prophecy ? 22. (a) How does the sonnet "Tides" voice an intensity of feeling similar to that shown by Alice Meynell in her sonnet " Renouncement " ? (b) What is symbo- lized by the sea ? by the shore ? 23. (a) In "Thought" by what rare imagination has she shown that our will cannot command our thought? (b) What qualities has this sonnet that appealed so to Emerson that he heralded her first poems ? 24. How does the shy, intense personality of Emily Dickin- son, living a recluse all her life in a New England village, suggest Emily Bronte's personality? 34 MINOR NEW ENGLAND POETS 25. (a) What exquisite veiling of feeling is shown in " With a Flower"? (b) How does the fourth line show a stroke of the unexpected ? 26. (a) With what flashing imagery does she picture the enthusiasm a book or a poem rouses? (b) How does ' ' Setting Sail ' ' subtly express the exultation of the soul " flinging the dust aside " ? 27. (a) In the " Drinking Song " under what bacchanalian figures does she express her love for nature? (b) What elfish pictures of bees and butterflies, saints and seraphs, does she commingle? (c) How does "The Chariot ' ' express in sybilline form the last slow journey in the hearse to the grave, that opens eternity long looked for? 28. (a) How does Lucy Larcom in the background for " Hannah " show a resemblance to Whittier's " Skip- per Ireson's Ride"? (b) By what repetition is the effect of the faithfulness secured ? (c) What song of Thomas Hood's does its monotony suggest ? 29. (a) In '*A Strip of Blue" what does the fancy make of the sky? (b) Again, like Whittier, what thought of God comes to the humble, shut-in surroundings ? 30. (a) In Nora Perry's "The Love Knot " what repetition in each stanza keeps the provoking picture before one's mind ? (b) How did the wind help to enslave Ellery Vane? 31. (a) In "Riding Down" how is the breathless quality of the ballad secured? (b) What original variation of the refrain in the martial picture? (c) How is contrast eff"ectually used ? 32. (a) In " Cressid " by what refrain is the alluring beaixty MINOR NEW ENGLAND POETS 35 of Cressid painted? (b) How is the warning of the fatefulness of that beauty made ? 33. How does John Boyle O'Reilly show the Celtic sentiment in the " Cry of the Dreamer " ? 34. How is the Celtic wit shown by James Jeffrey Roche in the skit on the girls from Boston, New York, Phila- delphia, and the West ? 35. (a) How is the Celtic dash and chivalry brought out in Louise Cruiney's "Wild Ride"? (b) How does the third stanza give a touch of Celtic superstition ? (c) For v.'hat troops of Cromwell has this sometimes been called the battle song? National 3Eta: poctrg Syllabus C Poe snd Minor %nntht:tn Poets " Passion- ate singer oftheirrev- Edgar Allan Poe (1809-1849) ccable dead" Annabel Lee, Works, Vol. i, p. 344; Stedman's Memoriam Anth.,p. 151. Ulalume, Works, Vol. I, p. 335; Stedman's Anth., p. 151. Parables The Haunted Palace, Works, Vol. i, p. 346; Stedman's Anth., p. 149. The Conqueror Worm, Works, Vol. I, p. 348; Stedman's Anth., p. 149. The City in the Sea, Works, Vol. i, p. 352; Stedman's Anth., p. 147. Studies in The Bells, Works, Vol. I, p. 339; Stedman's Melody ^j^tij^ p ,^0 Israfel, Works, Vol. I, p. 362; Stedman's Anth., p. 148. The Raven, Works, Vol. i, p. 321 ; Stedman's Anth., p. 144. Personal To Helen, Works, Vol. I, p. 429; Stedman's Anth., p. 144. For Annie, Works, Vol. i, p. 364. "Father Abram Joseph Ryan (1839-1886) The Conquered Banner, Knowles, p. 119; Sted- man-Hutchinson, Vol. 9, p. 599; Stedman's Anth., p. 402. My Beads, Stedman-Hutchinson, Vol. 9, p. 601. (36) POE AND MINOR SOUTHERN POETS 37 Poets of the Lost Cause Creator of Tone- studies " Father Tabb" Lyricist of the War- spirit Paul Hamilton Hayne (1830-1886) Preexistence, Bryant's Lib., p 734; Whittier's Songs of Three Centuries, p. 309. In Harbor, Stedman-Hutchinson, Vol. 8, p. 465; Stedman's Anth., p. 319. Henry Timrod (1829-1867) Ode, Emerson's Parnassus, p. 258; Stedman's Anth., P- 317- Spring in Carolina, Warner's Lib., Vol. 37, p. 14962; Whittier's Songs of Three Centuries, p. 311. Sidney Lanier (1842-1881) An Evening Song, Knowles, p. 215; Learned's Treas. Am., p. 36; Poems, p. 151; Warner's Lib., Vol. 22, p. 8899. Song of the Chattahoochee, Knowles, p. 268; Poems, p. 24; Stedman-Hutchinson, Vol. 10, p. 147; Stedman' s Anth. , p. 434; Warner's Lib., Vol. 22, p. 8897. The Stirrup-cup, Poems, p. 45; Warner's Lib., Vol. 22, p. 8902. Marshes of Glynn, Poems, p. 14; Stedman-Hutchin- son, Vol. 10, p. 145; Stedman's Anth., p. 43$. John Banister Tabb (1845- ) Childhood, Knowles, p. 230. The White Jessamine, Knowles, p. 235. Francis O. Ticknor (1822-1874) The Virginians of the Valley, Stedman's Anth., p. 253. Little Giffen, Stedman's Anth., p. 254. 38 POE AND MINOR SOUTHERN POETS ^ttftdfions 0n ^oe anit lite Itttnotr Soutftern ^oefd 1. (^a) Which of all the major American poets has the great- est European reputation ? (b) How do the subjects of his poems show that he is the least national of them ? (c) Why was the raw civilization of the United States in the thirties particularly luicongenial to one who must live entirely as a man of letters? (d) How does his narrowness of range lead to his absolute mastery of his field? (e) How did his work continue on American soil the romantic revival made by Coleridge, Shelley, and Byron ? 2. What poems of his show his favorite mood of " passion for the irrevocable dead ' ' ? 3. (a) In "Annabel Lee," one of his last lyrics, what repeated refrain suggests man's realm? (b) What refrain expresses the purity of love? (c) What subtle hint that the maiden was heaven-born? (d) What insistence of man's indomitable will? (e) How do the constellations heighten his remembrance? (f)- How does the last repetend hold and prolong the motive, as might the end of a strain of music ? 4. (a) In " Ulalume " by what repetend at the beginning does he strike the mood of the poem? (b) What strange musical names does he use to suggest the " misty mid-region ' ' ? (c) How is his absolute loneli- ness brought out by his sole companion ? (d) How is his benumbed grief reawakened with new poignancy ? 5. (a) In "The Haunted Palace" what imaginative pic- tures of the mind in its sanity? (b) What lurid picture of its overthrow? (c) How is music used to typify t!ie mind before and after the overthrow ? POE AND MINOR SOUTHERN POETS 39 6. (a) Under what tragic imagery does "The Con- queror Worm ' ' express the absoUite hopelessness of man's fate? (b) In ''The City in the Sea" what strangeness is suggested by the Turneresque descrip- tion of the towers? of the rays that light the city? of the sea itself? (c) How is the Lethean calm suggested ? (d) What terrible picture of the city when it shall sink ? 7. (a) In "The Bells ' ' how are the types of joy, love, terror, delirium, sadness, and despair suggested ? (b) What vowel sound predominates in the first stanza? in the second? in the third? How are the three inter- woven in the last ? (c) How does the thought come that there are ghouls that gloat at man's despair? (d) What clue does Poe give as to his method of writing "The Raven " ? (e) What sense of deliber- ateness is shown in the quaint diction? (f) What symbolism in the raven ? in the bust of Pallas ? (g) What oriental accessories of decoration ? (h) What skill is shown in making the original refrain finally become a pointed answer to the questions? (i) How does the last verse echo again the thought that man's grief is the sport of demons? 8. (a) How does "Israfel," his finest lyric, express the rapturous harmony felt in heaven at the music ? (b) What was the secret of Israfel's power? (c) How does the poet express that he has the same secret, the ecstasy, but not the place ? 9. (a) What classic grace and delicacy does " To Helen " show, a poem said to have been written at fourteen ? (b) How is it happier in tone than any of his others? 40 rUE AND iMIN(3R SOUTHERN POETS (c) In the lyric "For Annie" under what imagery does he speak of life — an imagery used in "Mac- beth' ' ? (d) What repose does he find in death ? (e) What consciousness of love remains? (f) What symbolism in the use of the pansies ? 10. How is Poe an exquisite lyrist of one mood? 11. What two tendencies, preeminent in Poe, are found in the minor Southern poets ? 12. (a) How does Father Tabb in " The White Jessamine " prove loyal to the Southern tradition of a sad note ? (b) What phrases suggest the emotional quality? (c) Contrast this climbing jessamine with Aldrich's climbing white rose ? 13. (a) In " Childhood " what crispness of the words can be noticed in reading? (b) How can each stanza by itself constitute a brief poem ? 14. (a) What poem of Father Ryan's laments the "lost cause " ? (b) How does stanza three show the fervor for the flag? (c) What priest's resignation and wise counsel in the last stanza? (d) What three words have been passionately iterated in each stanza? 15. (a) How does "My Beads" embody religious ecstasy? (b) How have the beads served as a father confessor? 16. (a) How does Paul Hayne show that, tho' ruined by the war, he could in " Preexistence " have visions that left him rich in spirit ? (b) Of what poem of Low- ell's is it suggestive in thought ? 17. (a) What lines in "In Harbor" express the hopeless- ness of the outcome of life ? what the terrible struggle ? (b) By what strong simile does he suggest the joy that the harbor lights bring? (c) In lines POE AND MINOR SOUTHERN POETS 41 five and six what repetition suggests Poe's diction? (d) How does the sense of weariness and the desire for rest in the poem find its contrast in Arthur Hugh Clough's " Where lies the land to which the ship would go " ? I S. (a) How does Henry Timrod in his ' 'Ode ' ' express South- ern gallantry ? (b) With what sad picture does the ode close ? 19. (a) What delicate characterization opens his "Spring in Carolina " ? (b) To his imagination what does the yellow jasmine seem? (c) What hints of the riot in nature? (d) By what similitude does he suggest the feeling that in spring even the miraculous will not surprise us ? 20. How does his work show a less sad note than Hayne's? 21. Toe's aim had been to make a melody of words; what was Sidney Lanier's more ambitious aim ? 22. What two arts did he seek to unite? 23. What equipment did he have for his work ? 24. (a) In the "Evening Song" what literary illusion makes the richness of the sunset ? (b) How is the permanence of love suggested ? (c) What singing quality is notable ? 25. (a) In " The Stirrup-Cup ' ' what makes the cordial so rare that Time hands him in parting? (b) What great poets drank the draught ? (c) What frank acceptance of death? (d) How is a bold knightly spirit carried out in the abruptness of the structure ? 26. (a) What noble symbolism in " The Song of the Chatta- hoochee " ? (b) How is the tone of the swiftness of the mountain stream secured? (c) In stanza two 42 POE AND MINOR SOUTHERN POETS what allurements by tenderness are suggested? (d) What allurements of rest and coolness? (e) What allurements of imagination? (f ) How does the last stanza suggest the haunting of the ideal ? 27. (a) In "The Marshes of Glynn " what marvellously interlaced picture of the forest does Lanier weave by vowels, repetitions, alliterations, and varied metres? (b) What strength do the woods give the poet ? (c) What can he now seek ? (d) What knowledge of God do the marshes give him? (e) What intricate voweled picture of the marshes receiving the influx of the sea till they are one? (f) How do four short lines hold that moment? (g) How does the last stanza suggest, by full-mouthed vowels, the encom- passing of the infinite ? 28. What poem of Dr. Ticknor's uses the historic chivalry of the Golden Horseshoe Knights to bring out the feeling with which the Virginians took up the war ? 29. What poem pictures with rare power the chivalry of a ' ' poor white ' ' in the Southern army ? Pioneer in Fancy The Heroic Bard The Lost Dramatist The Orientalist SVLLAF.US D ^o^ts ot tft^ MtaSU states Joseph Rodman Drake (1795-1820) The Culprit Fay, Bryant's lib., p. 769; Stedman- Hutchinson, Vol. 5, p. 363; Stedman's Anth., p. 42; Warner's Lib., Vol. 12, p. 4854. The American Flag, Bryant's Lib., p. 536; Stedman- Hutchinson, Vol. 5, p. 378; Stedman's Anth., p. 46; Warner's Lib., Vol. 12, p. 4863; Whittier's Songs of Three Centuries, p. 156. Fitz-Greene Halleck (1790-1867) Joseph Rodman Drake, Bryant's Lib., p. 834; Knowles, p. 36; Leamed's Treas. Am., p. 221; Stedman's Anth., p. 37. Marco Bozzaris, Bryant's Lib., p. 524; Stedman's Anth., p. 36; Warner's Lib., Vol. 17, p. 6862. George H. Boker (1823-1890) Dirge for a Soldier, Bryant's Lib., p. 482; Knowles, p. 106; Whittier's Songs of Three Centuries, p. 290. Ballad of Sir John Franklin, Griswold's Poets, p. 591 ; Stedman's Anth., p. 261. Bayard Taylor (1825-1878) Bedouin Song, Knowles, p. 85; Learned' s Treas. Am., p. 130; Poems, p. 55; Stedman's Anth., p. 272, Warner's Lib., Vol. 36, p. 14533. The Song of the Camp, Leamed's Treas. Am., p. 218; Poems, p. 88; Stedman's Anth., p. 274; Warner's Lib., Vol. 36, p. 14537; Whittier's Songs of Three Centuries, p. 262. The Soldier and the Pard, Poems, p. 83. (43) 44 POETS OF THE MIDDLE STATES The Lryricist The Painter- Poet The Critic- Poet Register of Music, Art, and Letters Society Verse Richard H. Stoddard (1825- ) The Flight of Youth, Knowles, p. 129; Learned' s Treas. Am., p. 54; Stedman's Anth., p. 281 ; Warner's Lib., Vol. 35, p. 14033. Sorrow and Joy, Learned' s Treas. Am., p. 68. Adsum, Stedman- Hutchinson, Vol. 8, p. 236; Sted- man's Anth., p. 285. Thomas Buchanan Read (1822-1872) Drifting, Bryant's Lib., p. 751 ; Learned' s Treas. Am., p. 41; Stedman-Hutcliinson, Vol. 8, p. 34; Sted- man's Anth., p. 252; Warner's Lib., Vol. 30, p. 12095. The Closing Scene, Stedman-Hutchinson, Vol. 8, p. 37; Stedman's Anth., p. 250; Warner's Lib., Vol. 30, p. 12099; Whittier's Songs of Three Cen- turies, p. 279. Edmund Clarence Stedman (1833- ) Pan in Wall Street, Knowles, p. 188; Poems, p. 250; Stedman's Anth., p. 334; Warner's Lib., Vol. 35, p. 13866. The Discoverer, Knowles, p. 150; Poems, p. 80; Sted- man's Anth., p. ^;^y, Warner's Lib., Vol. 35, p. 13868. Toujours Amour, Knowles, p. 194; Learned' s Treas. Am., p. 295; Poems, p. 238; Warner's Lib., Vol. 35, p. 13865. Richard Watson Gilder (1844- ) Browning, Poems, p. 155. Handel's Largo, Poems, p. 210. The Stricken Player, Poems, p. 211. Henry Cuyler Bunner (1855-1896) The Way to Arcady, Knowles, p. 243; Stedman-IIutch- inson, Vol. Ii, p. 187; Stedman's Anth., p. 596; Warner's Lib., Vol. 7, p. 2743. A Triolet, Stedman-Hutchinson, Vol. Ii, p. 188; Sted- man's Anth., p. 597. POETS OF THE MIDDLE STATES 45 Society Clinton Scollard (i860- ) As I Came Down from Lebanon, Stedraan-Hutchinson, VoL II, p. 285; Stedman's Anth., p. 658. The Book-Stall, Stedman-IIutchinson, Vol, II, p. 2S6; Warner's Lib., Vol. 41, p. 16774. Chanter of ,_, , ___, . , „ n \ Comrade- Walt Whitman (1819-1892) ship and When Lilacs Last in the Dooryard Bloomed, Poems, p. ^^'T^oc- yg. Warner's Lib., Vol. 39, p. 15902. From "Out of the Cradle Endlessly Rocking," Sted- man-Hulchinson, Vol. 7, p. 506; Stedman's Anth., p. 227; Poems, p. 43. The Mystic Trumpeter, Poems, p. 39. O Captain ! My Captain, Stedman's Anth., p. 231. General John Brent .... Theodore Winthrop. Reading -pj^g Hoosier Schoolmaster .... Edward Eggleston. Popular Melodists "Bards of the Middle "West" Farm- balladist Nature Poets and Lyrists Syllabus E Poets of the H9e$t Alice Gary ( 1820-187 1) An Order for a Picture, Poems, p. 99; Warner's Lib., Vol. 40, p. 16459. Phoebe Gary (1824-1871) Nearer Home, Bates' s Cambridge Bk. , p. 123; Bryant' s Lib., p. 337; Leamed's Treas. Am., p. 94; Stedman's Anth., p. 297. John James Piatt (1835- ) The Mower in Ohio, Stedman-Hutchinson, Vol. 9, p. 239; Stedman's Anth., p. 349. Sarah Morgan Piatt (1836- ) After Wings, Stedman-Hutchinson, Vol. 9, p. Stedman's Anth., p. 374. 406; Will Garleton (1845- ) Betsy and I are Out, Stedman-Hutchinson, Vol. 10, p. 311; Warner's Lib., Vol. 41, p. 16671. Over the Hill to the Poor-house, Poems, p. 51. Maurice Thompson ( 1844- 1 901) The Bluebird, Stedman-Hutchinson, Vol. 10, p. 226; Stedman's Anth., p. 484; Whittier's Songs of Three Centuries, p. 355. Death of the White Heron, Stedman-Hutchinson, Vol. 10, p. 225. (46) POETS OF THE WEST 47 Nature Poets and Lyrists Sintcer of Childhood Human Nature Poet in Dialect Poet of the Rougher W^est Poet of the Mining Camp Poet of the Mexico- Californian Romance Edith M. Thomas (1854- ) A Flute, Stedman-Hutchinson, Vol. 11, p. 156. Syrinx, Stedman-Hutchinson, Vol. 11, p. 153; War- ner's Lib., Vol. 37, p. 14846. Eugene Field (1850-1895) Little Boy Blue, Knowles, p. 231 ; Learned's Treas. Am., p. 237 ; Poems, p. 8; Stedman's Anth., p. 528. Wynken, Blynken, and Nod, Knowles, p. 284; Poems, p. 128; Stedman-Hutchinson, Vol. 10, p. 613; Stedman's Anth., p. 526 ; Warner's Lib., Vol. 14, p. 5690. James Whitcomb Riley (1852?- ) Knee-deep in June, Poems, p- 91; Stedm.an-Hutchin- son, Vol. II, p. 132; Warner's Lib., Vol. 31, p. 12270. The Absence of Little Wesley, Knowles, p. 280. John Hay (1838- ) JimBludsoe, of the Prairie Belle, Bates's Cambridge Bk., p. 731 ; Warner's Lib., Vol. 18, p. 7108. Little Breeches, Bates's Cambridge Bk., p. 73b; Sted- man's Anth., p. 397. Francis Bret Harte (1839- ) Dickens in Camp, Bryant's Lib., p. 840; Learned's Treas. Am., p. 193; Whittier's Songs of Three Centuries, p. 301. Plain Language from Truthful James, Bates' s Cambridge Bk., p. 729; Emerson's Parnassus, p. 504; Sted- man-Hutchinson, Vol. 10, p. 12. Twenty Years, Poems, p. 204. Joaquin Miller (1841- ) Kit Carson's Ride, Stedman-Hutchinson, Vol. lO, p. 82; Warner's Lib., Vol. 25, p. 10032. 48 POETS OF THE MIDDLE STATES <@tt«sUon$ 0n Poets of tfia Sltiftdlj* and ^eatisrn States •I. In the early third of the nineteenth century the literary centre of America had changed from Philadelphia to what city ? 2. After the repression of Puritanism, and just before the earnestness that led to the Civil 'War, what spirit should we look for in the Knickerbocker School ? 3. Who were the leaders of these minstrels? 4. (a) In what poem does Joseph Rodman Drake show, even by its subject, that he was a pioneer in fancy ? (b) How is the scene of the poem American ? (c) What fanciful description does he make of fairy life ? (d) How does he faithfully preserve the exquisite scale of these minute beings ? (e) Contrast with the description of Queen Mab's chariot as given in Romeo and Juliet, Act I., Scene IV. 5. (a) In "The American Flag" what fancy does he show in accounting for the American colors, and the eagle ? (b) How does the last stanza reiterate it? (c) What similarity in the lives and deaths of Drake and Keats? 6. (a) How did Fitz-Greene Halleck embalm that seven years friendship with Drake ? (b) AVhat quatrain is perfect ? 7. (a) AVhat poem of his testifies as to the interest that was taken in Greek liberty ? (b) What English poet died in helping the Greeks ? (c) What fine descriptions of death in its various aspects ? (d) How is its spirit heroic, like the ring of Campbell's " Hohenlinden "? 8. After these Knickerbocker minstrels, what group of poets arose that attracted the literary centre to Boston ? POETS OF THE MIDDLE STATES 49 9. But at the same time what secondary group of younger poets gathered in New York ? 10. (a) Which one was well versed in the study of the Elizabethan drama and what use did he make of his knowledge ? (b) At this time what were the induce- ments for play writing ? (c) What play twenty-five years later was staged by Lawrence Barrett with great success ? (d) What might Boker have been had he lived to-day with its opportunities for the dramatist ? 11. What musical quality in his '* Dirge for a Soldier " ? 12. (a) How does " The Ballad of Sir John Franklin " show intensity of imagination ? (b) What dramatic ques- tioning put in several mouths marks the progress of the story ? (c) By what dramatic contrast of English scenery does he deepen the sense of cold ? 13. (a) What Quaker poet is our great traveler? (b) What race adaptability did he show ? 14. (a) In what poem does he place the scene in the Crimean War? (b) What three sweethearts' names does he use as typical of three nations? (c) How is the couplet at the end an artistic ending ? 15. (a) What poem shows a charming power of narration in blank verse? (b) What similarity in subject to Balzac's tale "A Passion in a Desert " ? (c) Upon what intensity of feeling does the poem hinge? 16. (a) How is the wild-fire rush secured in the "Bedouin Song"? (b) What phases of the desert heighten the picture ? (c) How does the refrain express the Oriental's love of the constellations and of his sacred Book ? (d) Compare this in virility with Shelley's ' ' Indian Serenade. ' ' 50 POETS OF THE MIDDLE STATES 17. What poet does Taylor truly describe when he says, " In Fancy's tropic clime your castle stands " ? 18. What lyric expresses the haunting sense of regret for what youth held, and what age misses ? 19. How does ''Love and Joy" tell again that joy, like youth, is something that can never be held ? 20. How does " Adsum," by imagination, see in the response of Colonel Newcome, Thackeray's own answer to the heavenly summons ? 21. What landscape painter is better remembered by the word-paintings he made ? 22. How does " Drifting" give a picture of Italy in color- ing, landscape features, and feeling? 23. (a) How does "A Closing Scene" hold the same descriptive quality in its pictures of Indian summer? (b) In its m.etre and melancholy, what standard English elegy is suggested ? 24. How has our best critic of nineteenth century verse shown in " Toujours Amour" a lyric of charming grace ? 25. (a) In what unique poem does he show that even a great money market may furnish classic inspiration ? (b) By fancy what does he see in a street musician ; in an old soldier ; an apple woman ; the brokers ; street waifs? (c) What is the secret of this enchant- ment? 26. (a) What poem, refined and highly imaginative, pictures the loss of a little child ? (b) How is the voyaging figure held to the very end ? (c) How is the sense of human loss merged in the marvel and delight at the child's gain ? POETS OF THE MIDDLE STATES §1 27. (a) What poet can publish in artistic verse the art news of the day ? (b) How does he use the beauty of Venice and its rhythmic tide to picture Browning's death ? 28. How does his " Largo ' ' express by rare choice of vowels the holiness of Handel's work ? 29. (a) By what rapid allusion does he call to mind Edwin Booth's dramatic roles? (b) How does the end stamp the man great in his own personality? (c) What suggestion comes of the fleetingness of the actor's art as compared with other arts? 30. Who has made himself a leader in the light, graceful French forms known as ' ' Vers de Societe ' ' ? 31. In his "Triolet" what is the line that appears the required three times ? 32. In "The Way to Arcady " how is worldly wisdom set against the wisdom of sentiment ? 33. In what poem does Clinton Scollard show that he can catch something of the Eastern languor and coloring ? 34. What lyric pictures just such a haunt as Charles Lamb would have frequented ? 35. (a) From conventional versifiers, to what poet do we turn for greatest contrast ? (b) Whose poet did he claim to be ? (c) By irony, with whom only has he gained favor in both Europe and America? 36. (a) At first sight, what is apparent in his poems as to rhyme, and as to the regularity of his lines ? (b) How is this characteristic not an invention of his own, but a revival of Bible lyricism ? (c) How would its style best lend itself to a chant such as a rhapsodist might make as he went from city to city ? 52 POETS OF THE MIDDLE STATES 37. (a) In ''Out of the Cradle Endlessly Rocking" what backward sweep of memory calls up a picture of him- self as a child? (b) How does the aria of the bird's song express first hai)piness, then longing, then despair? (c) By what massing does he project the bird's cry to the sea? to the moon? to the boy's heart ? (d) What motion -picture of the sea whisper- ing its secret, ends the poem ? 38. (a) What poem is in memory of President Lincoln? (b) What panoramic view of the country through which his coffin slowly passed? (c) What cataloguing of American cities ? (d) What visions of the war whose successful issue was Lincoln's work? (e) What chant to death, the supreme deliverer? (f ) At the last, how does he fuse the multiplicity of effects he has used, — of lilac, star, chant, comrades, and the "wisest soul of all " ? (g) What shorter poem, more nearly a lyric than is usual with Whitman, is a lament for Lincoln ? 39. (a) How does the "Mystic Trumpeter" bring up a kaleidoscopic pageant of the feudal world ? (b) How, a picture of war and wreck ? (c) How does the poet suffer with the enslaved and overthrown ? (d) How does the last strain give a vision of a future that is all joy and all health? (e) What large aspects of nature and life call out Whitman's imagination? .].o. Why was it that we cannot look to the West for litera- ture till the early sixties ? 41. How can we account for its place of birth being in the Ohio valley ? 42. With what two sisters, though bearing no distinct Western message, did Western poetry begin ? POETS OF THE WESTERN STATES 53 43. (a) What hymn did the younger write that still keeps its place ? (b) What traditional picturing of Heaven is in it ? 44. (a) What poem of the elder gives a simple tender pic- tiu-e of home life? (b) What is the one expression of the mother's face that must not be painted? 45., What qualities did their melodies have that made them so popular ? 46. AVhat other poetic partnership followed — this time that of husband and wife ? 47. How does "After Wings " show a sense of the mystery of life, and strike a deeper, more artistic note than the Gary sisters ? 48. (a) What distinctive Western background for "The Mower in Ohio" ? (b) What idyllic feeling in the poem ? (c) What suggestions of pioneer life ? 49. What poet sings of the hard Western farm life — terrors of mortgage and foreclosure ? 50. How does the rude sort of monologue become , almost dramatic ? 51. (a) What touch of humor is suggested in the cause of the quarrel in " Betsy and I are Out " ? (b) What picturing of "■ kind neighbors " ? 52. (a) What ballad shows a mother " thrown on the town " by her children? (b) How did this effect a change in state laws as to a v/idow's claim to her husband's estate ? 53. What two poets, " though well versed in books and often caged in cities," are nature lyrists? 54. How does "The Blue Bird" show a virile, fresh quality? 54 POETS OF THE WESTERN STATES 55. (a) What lyric is given from a hunter's standpoint? (b) What lines suggest by sound the flow of a low- land creek ? (c) What action in the lyric ? 56. What secret of the Oread does Miss Thomas betray in "The Flute"? 57. (a) What picturing of nature does she make eminently fitting for both Syrinx and Pan? (b) But what awakening shows that Arcadia is no more? 58. What poet understood the heart of childhood? 59. (a) What lyric is a lament for a lost child — a lament put into his playthings ? (b) What favorite nursery jingle that the title suggests, plays a subtle contrast, and so deepens the sadness ? 60. (a) In the " Dutch Lullaby" what three little Dutch- men do the eyes and the head become ? (b) Under what delightful expedition is sleep described ? 6 1 . (a) What poet used the Hoosier dialect to express homely, human nature? (b) How in "The Absence of Little Wesley" do the common things cry out the loneliness of the old grandfather ? 62. (a) How does *' Knee Deep in June" describe June by its effect on the old farmer ? (b) What expression at the end suggests the whole-souled abandon to nature ? 63. (a) In what ballad did John Hay express the nobleness that lies in these coarse, irreverent Western characters ? (b) In what rough language does Jim Bludsoe express his duty? (c) How was the safety of "Little Breeches" accounted for? (d) What practical view of the business of angels is volunteered ? 64. With what poet did Western poetry reach the Pacific Slope ? POETS OF THE WESTERN STATES 55 65. (a) What absolutely new field did he open and remain master of? (b) What poem gives a sportive squib at the Chinese — from a gambler's standpoint ? 66. (a) What Californian scenery is the background of " Dickens in Camp " ? (b) What character of Dick- ens's held the camp enthralled? (c) How does this show that, as in "Little Breeches," "a. child shall lead them " ? (d) What graceful symbolism does he find in ' ' this spray of Western pine ' ' ? 67. In "Twenty Years," by what subtle associations of sounds is a man's boyhood and faith brought back to him ? 68. What relationship have the poems of Riley, Hay, and Harte, wdth the realistic movement as expressed in short stories ? 69. What poet caught something of the Mexican romance that lingers in California ? 70. (a) In "Kit Carson's Ride," what picturing of the desert and the expanse of prairie is given? (b) What dash of movement? (c) What glorying in the wild beauty of the Indian girl ? (d) What love of color ? (e) How does the swing of the lines suggest Byron? (f) How does the sensuous quality suggest Swinburne ? 71. What does the early decline of his fame seem to indi- cate ? Unitarian- ism Transcen- dentalism CHAPTER IV Motional 5Eta: Ptosc ®fioasht Syllabus A Criticism of %it^ William Ellery Channing (1780-1842) Spiritual Freedom, Stedman-Hutchinson, Vol. 5, pp. 8-10; Warner's Lib., Vol. 9, p. 3521. Theodore Parker (18 10-1860) The Real Church, Stedman-Hutchinson, Vol. 6, pp. 514-515- Ralph Waldo Emerson (1803-1882) Nature Addresses and Lectures Nature : Nature the Minister to Man, ch. I, pp. 13-17; Spirit, ch. vii, pp. 65-69. The American Scholar : His duties, pp. 100-108; Importance of indi- viduality, pp. 113-115. Literary Ethics : The scholar's attitude to materialism, pp. 178-180. English Traits Solidarity of the English, pp. 98-100; Common sense of the English mind, pp. 221-223. Conduct ok Life Wealth : Its necessity, pp. 87-91; Its use, pp. 122-123. (56) CRITICISM OF LIFE 57 Transcen- LECTURES AND BIOGRAPHICAL STUDIES dentalism Character : Evolution of Religion, pp. 105-108; 113-117. Essays, First Series Self reliance, pp. 47-49. Compensation : Nature of the soul, pp. 1 16-122. Intellect : The Choice, pp. 318-321. The Over Soul, pp. 274-278. A. Bronson Alcott (i 799-1 J Emerson the Rhapsodist, Stedman-Hutchinson, Vol. 6, p. 21. Margaret Fuller (1810-1850) Impressions of Carlyle, Warner's Lib., Vol. 15, p. 6127. Evolution John Fiske (1842-1901) Idea of God Difficulty of Expressing the Idea of God, ch. i. The Power that Makes for Righteousness, ch. xiv. 58 ♦^ m ♦•* f^ S «*» & 6t « s ^ i^t ^ lT*V o ** g 00 ^ ti 7 ** ^ o PI o 8 a isr T3 c) IH a rS et 'So e _c ^ ° ,2 •B- c^ -^ ^ a c: a -^ 'En O -2 X •^O :^ ^ u 'Ed _ower of sovereignty lies not in the states, but in the people ? (c) What review of the debt owed 88 ORATORY to the Union? (d) What splendid vision of his ideal of the Union closes the address ? 10. How is his intense earnestness proved by the fact that the speech, read to-day, stirs the blood ? 11. How is it, judged by its grace of diction, beauty of imagery, march of thought, and sublimity of passion, perhaps the greatest recorded specimen of human eloquence ? 12. How does the majesty and nobility of his style always suggest the Roman ? 13. In the perfect balance and proportion of physical, mental, and emotional attributes found in his personality, what rank does he take as an orator ? 14. What orator stands for the academic, conventional type, who completely represents the culture of Boston ? 15. In his "Emigration of the Pilgrim Fathers," how does his vision of the Mayflower show consummate rhet- oric: ( I ) in the imagery ? ( 2) in the alternation of long and short sentences ? (3) in the figure of interrogation ? 16. How does the entire matter seem planned for graceful gesture and musical intonation ? 17. How does he close the school of formal oratory? 18. Of the newer school, what fervid orator sacrificed a brilliant social career to the anti -slavery cause ? 19. How is his characteristic ability to put himself on good terms with a hostile audience illustrated by his first speech in Faneuil Hall ? 20. How is his characteristic consummate adroitness illus- trated in his making a dignified, conservative audience at Harvard College applaud the assassination of the Czar before they knew what they were doing ? ORATORY 89 21. In " Toussaint I'Ouverture" what finished phrasing pictures the fames of Napoleon and Washington ? 22. How does the whole address show an impassioned moral belief in the capacity of the negro ? 23. What other Bostonian brought upon himself social ostra- cism by adopting the anti-slavery cause ? 24. Entering the Senate as the successor of Daniel Webster, how does his whole career show him a devoted advocate of the ideal rights of man ? 25. How dose the virulence of his personal invective, and the brutality of the blow by Brooks, show how far apart Northern and Southern temper had diverged ? 26. How does " The True Grandeur of Nations " illustrate the impressive dignity of his style when not on aboli- tion subjects? 27. How does Abraham Lincoln's oratory show a marked simplicity ? 28. How does his style in the " Gettysburg Address " and in the "Second Inaugural Address" show unique con- densation of thought : (i ) by the absence of any super- fluous detail? (2) by a veiled antithesis that shows he has considered both sides of the question ? 29. How is his style marked by a felicity of expression shown: (i) in ease of conscious power? (2) in the cadences that incorporate the sublimity of the Bible? (3) in the terse diction that surcharges emotion ? 30. How is the secret of his power that of Burns: " He held the key of the life of the people ' ' ? 31. In the pulpit oratory of Henry Ward Beecher, how does the sermon, " Gospel of Democracy," show his style to have the freedom of a personal conversation ? 90 ORATORY 32. What short sentence structure is noticeable? 33. What appeal to the practical common sense of men is made ? 34. Hou' is the test of his power well shown by his ability to hold so large and heterogeneous an audience as the Plymouth Church ? 35. In contrast to Beecher's oratory, how does that of Phillips Brooks, in the selections given, show a rushing impet- uosity of style ? 36. How is this marked in the longer sentences used ? 37. How is his appeal purely to the spiritual consciousness of man? 38. Who was the master of "occasional oratory"? At the unveiling of what statue in Central Park, New York, in 1885, did he give the selected address ? 39. How does it show an inheritance of the "conversa- tional style ' ' of Wendell Phillips ? (a) How does its rapidity suggest the impassioned quality of an orator ? 40. How does its grace fail to hide the strenuousness back of it — the appeal to the civic sense of Americans ? national 3Eta: Prose ^^ciugfit Syllabus F 3Iafur« Stafties Hermit of Henry David Thoreau (1817-1862) Walden Walden: Building a home, pp. 45-50; Personal aims, pp. 98-101; 105-107, or Carpenter, pp. 348-351; Sounds at evening, pp. 133-139, or Carpenter, PP- 351-353; Solitude, pp. 140-145, or Car- penter, pp. 353-355; Battle of the ants, pp. 246-249. A Week on Concord and Merrimac Rivers: A Village Festival, pp. 357-360; Carpenter, pp. 346-351- Winter : An icy morning, pp. 84-91 ; Death of a tree,, pp. 63-65. Excursions: On walking, pp. 161-165; Wildness of nature, pp. 185-189; Spaulding's farm transformed, pp. 207-209. Summer: Bird notes, pp. 330-331. "John of John Burroughs (1837- ) Birds " Fresh Fields: English woods — a contrast, pp. 39-43; 47-4S; Hunt for a nightingale, pp. I10-119. (91) 92 NATURE STUDIES "John of Birds " Discioles of Burroughs "Olive Thorne Miller " "Animal biog- rapher" Wake Robin: Song of the thrush, pp. 59-61; Whir of the part- ridge, pp. 75-77; Trick of the cow-bunting, pp. 70-72; Coming of the robin, pp. 14-16; Song of the vesper-sparrow, pp. 24-25; A snake-robber, pp. 37-40. William Hamilton Gibson (1850-1896) Sharp Eyes: Queer fruit from a bee's basket, pp. 114-I16; The grouse on snow-shoes, pp. 265-267. My Studio Neighbors: A tragedy in the bug world, pp. 58-68. Bradford Torrey ( 1843- ) The Foot- Path Way: Human nature of plants, pp. 208-215; ^ pin^ forest, pp. 237-242. *■ Frank BoUes (i 856-1 894) From Blomidon to Smoky: The penalty of being a man, pp. 219-222; Indi- viduality in birds, pp. 228-236. At the North of Bear Camp Water: A night alone on Mt. Chocorua, pp. 75-8l- Harriet Miller (1831- ) Little Brothers of the Air: A June round of calls, pp. 130-137; A comical crow baby, pp. 236-243. Ernest Seton-Thompson (i860- ) Wild Animals I Have Known: Story of the Springfield fox, pp. 185-225. NATURE STUDIES 93 C^uestions on Stafnvi^ Bttud{e« 1. What was the parentage and education of Henry Thoreau ? 2. What has proved the remarkable posthumous reputation of this man, who, dying at forty-four almost unknown, had published only two books ? 3. What two years' experiment of his demonstrated his own belief that man's happiness and higher life are inde- pendent of luxuries, or even of external refinements ? 4. What naive account does he give of his building his twenty-eight-dollar house ? 5. In "Personal Aims" what expression of his delib- erate purpose to prepare himself for authorship ? (a) How does he preach simplicity of life by " Keep your accounts on a thumb-nail " ? and (b) devotion to the ideal in " Let us take time to find the real things " ? 6. In "Sounds at Evening" by what process do the church bells become a sound worth importing into the wilderness ? (a) By what fancy do screech-owls repre- sent first, men, then, nature? 7. In " Solitude " what does he tell of his physical delight in nature, and the revelation " that the nearest in blood and the humanest was not a person ' ' ? 8. Yet how is the expression of the emotion done in a straightforward, honest way — more like a man observ- ing than feeling ? 9. Contrast the calm registration of feeling of this New England mystic, with the passionate identification with nature made in ' ' The Story of my Heart ' ' by the English Richard Jefferies. 94 NATURE STUDIES 10. How did Thoieau's keen observation combine with humor to recomit the battle, in the presidency of Polk, between the red republicans and the black imperialists ? 11. In ''A Week on the Concord River" how does his description of an annual cattle-show become under his loving hand and poetic fancy a veritable village festival ? (a) How is it human nature here in its rudeness that attracts him, just as it is the wildness of nature that charms him ? 12. (a) In "Winter" with what accuracy and delicacy of detail does he describe the landscape coated with glaze? (b) Yet with what characteristic coupling of pure nature and austere philosophy, does he hint that the winter snow " should show some track of a higher life than dogs could scent ' ' ? 13. In the death of the tree, murdered by guilty wood- choppers, what dramatic power is shown in entering with the tree's life? 14. In "Excursions" how does he show that nature is a holy land, which one who understands the art of walk- ing can conquer ? 15. Why does he champion the wildness of nature? 16. In " Spaulding"s Farm Transformed" how does the walker in familiar fields, by his best thought, find him- self in another land ? 17. How does "Bird Notes" show characteristically that while Thoreau wrote of the bird's song his real sub- ject is the purer view that the pure note suggests to man? 18. How does his style show (i) a grace of precision ; NATURE STUDIES 95 (2) a well-packed sentence; and (3), in contrast to Emerson, a remarkable sense of paragraph structure ? 19. How has Thoreau, by linking his philosophy of the calm joy of simple living, with nature themes, ensured for himself a permanence in literature ? 20. In contrast to Thoreau, how do the writings of John Burroughs show more of the naturalist and less of the moralist ? 21. (a) In "English Woods" what appreciation of nature in her milder and more human moods does he show ? (b) What discrimination of English and American poets, based upon the woods, shows this student of nature to be also a student of poetry? 22. In " Hunt for a Nightingale" how is his enjoyment of its note deepened by his memories of literature ? 23. How does his keen observing (i) report the partridge drumming; (2) thwart the trick of the cow-bunting; (3) apprehend the snake-robber? 24. How is his range shown in charming fancy which de- scribes (i) the coming of the robin, and (2) the vesper-sparrow's song ? 25. How do William Gibson's writings show the naturalist who can illustrate his studies with his brush ? 26. How do his odd titles give in a word-sketch his whole word-picture ? 27. How do his illustrations of the right bee seeking the right flower, and of the pollen, shaped like different fruits, show the scientific use that can be made of the imagination ? 28. How does the "Tragedy in the Bug-world" show his ability to humanize the life that lies below us in the vital scale ? 96 NATURE STUDIES 29. How does his work seem to bring the insignificant, com- mon things of nature to notice, and astonish us by their wonder? 30. How does Bradford Torrey suggest a less robust inter- preter of nature than Burroughs? 31. How does his method of studying a rare bird through a field-glass seem more reverent, if less scientific than the method of Burroughs, who would shoot the bird for study? 32. In the "Human Nature of Plants" how does he show his sensitiveness to their human qualities, and what delicate blending of their life is made with man's life? 33. How does the pine forest tell of the spiritual refreshment in nature that is * ' better than beauty and dearer than pleasure ' ' ? 34. What blending of naturalist and humanist is found in his work? 35. (a) In Frank Bolles's exploration " From Blomidon to Smoky," what longing is shown to overcome that fear which the animal world feels for man ? (b) How does he suggest the possibility of individuality in birds, and so to himself admit a powerful influence against their destruction ? 36. (a) How does his account of a night alone on Mt. Cho- corua have all the thrill and boldness of an explora- tion ? (b) Why does he find the wonders of creation told with more eloquence by night than by day ? 37. What different birds' -nests does Mrs. Miller give studies of in "A June Round of Calls " ? 38. What humorous hints of the discomforts bird students must suffer ? NATURE STUDIES 97 39. What humorous appreciation of the diiificulties of a crow- mother does the " Comical Crow-baby " show? 40. What writer has entered into animal life not only with a naturalist's insight, but with vicarious sympathy? 41. How does the "Story of the Springfield Fox" seem almost an animal biography ? 42. What foregleams, here, of the rational and moral im- pulses that find their culmination in man ? 43. Why does the school of nature writers seem to increase in popularity with the growth of towns and cities ? CHAPTER V Untioital ^ra: |3rose 2^ictlon Syllabus A Romance James Fenimore Cooper (1789-1851) of Forest and Sea THE SPY: Harvey Birch Outwitting the American Guard, ch. 28, pp. 368-386. Ilarvey Birch in the Presence of Wasliington, ch. 34, PP- 448-455- The Pilot; The Ariel and the Alacrity, ch. 18, pp. 219-235. Death of Long Tom Coffm, ch. 24, pp. 308-328. Leather Stocking Series The Deerslayer: Deerslayer Kills His First Indian, ch. 7, pp. 118- 136. Introduction to Chingachgook, ch. 9, pp. 156-169. Deerslayer Keeps His Word, ch. 27, pp. 505-525. The Last of the Mohicans: Hawk-eye and His Friends, ch. 3, pp. 33-42. Judgment of Tamenund, ch. 30, pp. 3S8-401. Death of Uncas, ch. 32, pp. 412-428. The Pathkinder: Leatherstocking in Love, ch. 18, pp. 287-309. The Block-House, ch. 22, pp. 379-397. The Scout to the Defense, ch 23, pp. 398-422. The Pioneers: The Panther, ch. 28, pp. 332-346. Death of Chingachgook, ch. 38, pp. 456-468. (98) Romance of Forest and Sea Colonial and Revo- lutionary Romances Adventure 99 The Prairie: A Buffalo Stampede, ch. 19, pp. 244-256. Death of Leatherstocking, ch. 34, pp. 465-479. William Gilmore Simms (1806-1870) The Yemassee: The Doom of Occonestoga, Manly, pp, 255-262; Warner's Lib., Vol. 34, pp. 13447-13460. John P. Kennedy (1795-1S70) Horse-Shoe Rodinson: Remarkable Adventure of Horse-Shoe and the boy Andy, Manly, pp. 210-217; Stedman- Hutchinson, Vol. 5, pp. 386^392. John Esten Cooke (1830-1886) The Virginia Comedians: The Races, Manly, pp. 351-358; Morris, Vol. 4, P-43S- L. ADVENTURE jC ;^ -z Pi o 2 'S ■ £ ^' 1-1 Pi K ri ^ -5 ■ O n Pi o ••: ?, . ^ •^ o W r^ ^ HH M O V, 5 :S S < ;i^ > hJ H IS OJ . (Si -s p^ ^ HH I > W c c 5 3 i5 > 2 u u a 2 z ■ N "^ -^ ■J-1 "^ "^ . . . CO 00 W CO 00 C<) 00 00 00 Qh Q iri 00 M ro >:!- ^ M CO l^ iri 00 00 OS „ IS a I- M ro "^ ■<*• "^f Tj- Lo i/-> 10 >o3 >0 ^ ^ t^ 00 S H 00 00 00 00 CO 00 00 00 00 00 00 00 00 00 00 00 00 M t-H M l-l NH l-N IH 1^ NN HM t-( HN tH NN »H ta 2 0-, O >- !- - •^ ii rzi o "3 h4 ^ 0) i> n a (L) CS H GJ -9 43 S 5 .s oj i H 1— > '^ i~t lU 'S a o 1 — > ts . o w CJ C T3 3 a C O 3 H oj < ^ 1.^ hAW ^ K , O W U S • * S z Oh • • • a o o vO vO o r-» ro vo o z a 00 00 00 00 CO 00 ON ON o S H 00 00 00 00 00 00 CO 00 OS o »H M l-t 114 l-l M b Q . > (/) ^ r^ riA -i< 4«1 r^ a ^.4 >- i!; ^ M >S o o o O o o o :> >. >H a > >- K" c u X ^ ^ & o ^ ^ ^ "i^ ^ 15 1 1) 0) a; z 12; ^ f§ 4 3 o m OS a >-i CJ 43 1— 1 H H H h ^ W s H Syllabus G k In New England (Largely the Short Story) Mary E. Wilkins (1862- ) /' -A Humble Romance: Gentian, pp. 250-265. The Conquest "of Humility, pp. 415-436. Sarah Orne Jewett (1849- ) A White Heron and Other Stories: A Wliite Heron, pp. 1-22. The Dulham Ladies, pp. 124-150. Alice Brown (1857- ) Tiverton Tales: A Second Marriage, pp. 230-262, or Atlantic, 1897, Vol. 80, pp. 406-417. Meadow Grass: Joint Owners in Spain, pp. 166-180, or Atlantic, 1895, Vol. 75, pp. 30-38. >--^ Elizabeth Stuart Phelps-V\^ard (1844- ) • Ja<«^,the-Eisherman: -the Fisherman. pftfef Sto%ve ( 181 1-1896) OM'sXlABlij: ' K^^snig in'Uncl"e';'rem's Cabin, ch. 4, pp. 22- 4& v;'7: ^^^M^^:^' -*:'*-ii.v'^ _ LOCAL PORTRAITURE 149 In the Showing the Feelings of Living Property on Chang- ^°"^^ ing Owners, ch. 5, pp. 35-44. Eliza's Escape, ch. 8, pp. 70-86. Topsy, ch. 20, pp. 264-280. The Slave Warehouse, ch. 30, pp. 365-482. Gassy, ch. 33, pp. 392-399. Thomas Nelson Page (1853- ) Marse Chan: Marse Chan. Joel Chandler Harris (1848- ) Uncle Remus: Reconstruction, pp. 201-214. Uncle Remus Initiates the Little Boy, pp. 3-7. Wonderful Tar-baby Story, pp. 7-1 1. How the Rabbit Was Too Sharp, pp. 1 6- 1 9. Ruth McEnery Stuart The Golden Wedding and Other Tales: The Widder Johnsing, pp. 95-126. Jessekiah Brown's Courtship, pp. 189-214. George W. Cable (1844- ) Old Creole Days: * " Posson Jone", pp. 149-175. Jean-ah Poquelin, pp. 179-209. Mary N. Murfree (1850- ) In the Tennessee Mountains: Drifting Dowo^Lost Creek, pp. 1-79. Dancin' Pai^y at Harrison's Cove, pp. 215-246. James Lane A|len (1849- ) The CHOii Invisible: A Kentucky Girl, ch. i, pp. 1-6. A Kentucky Town, ch. 2, pp. 7-25. Tlie Cougar, ch. 10, pp. 132-142. I50 LOCAL PORTRAITURE In the Mrs. Falconer, ch. 13, pp. 182-208. ^""^^ The Forest, ch. 15, pp. 223-236. Chivalry, ch. 20, pp. 299-316. A Wedding, ch. 21, pp. 317-340. The Reign of Law: The Hemp, pp. 3-23. David Gray, ch. 10, pp. 157-164. His Home Life, ch. 12, pp. 174-193. The Stonn, ch. 14, pp. 208-237. Gabriella, ch. 15, pp. 238-275. In the Francis Bret Harte (1839-1902) West Luck of Roaring Camp and Other Stories: Luck of Roaring Camp, pp. i-iS. Outca.sts of Poker Flat, pp. 19-36. Mary Hallock Foote ( 1847- ) The Cup of Trembling and Other Stories: The Cup of Trembling, pp. 1-53. Edward Eggleston (1837-1902) The Hoosier Schoolmaster: Spelling Down the Master, ch. 4, pp. 39-55. Hamlin Garland (i860- ) Wayside Courtships: Before the Low Green Door, pp. 253-262. A Member of the Third House: "The Gutter-snipe Must Rise," ch. 4, pp. 48-65. Alice French (1850- ) Stories of a Western Town: The Face of Failure, pp. 43-S9. Henry B, Fuller (1857- ) The CliI'I- Dwellers: Litioductiun, pp. 1-5. LOCAL PORTRAITURE 151 I" tl^e The Tenth Floor, pp. 6-19. The Twelfth Floor, pp. 46-59. In the Middle States Gallegher and Otiier Stories: Richard Harding Davis (1S64- ) Gallegher, pp. 1-57. Van Bibber and the Swan-boats, pp. 203-210. Van Bibber and Others: Van Bibber's Man-servant, pp. 37-43. Margaret Deland (1857- ) Mr. Tommy Dove and Other Stories: At Whose Door ? pp. 160-200. Brander Matthews (1852- ) Outlines in Local Color: A Letter of Farewell, pp. 19-32. The Vigil of McDowell Sutro, pp. 91-114. Paul Leicester Ford (1865-1902) Honorable Peter Stirling: His First Client, eh. 12, pp. 52-56. The Case, ch. 13, pp. 56-60. New York Justice, ch. 14, pp. 61-64. The Fight, ch. 15, pp. 65-71. 152 LOCAL PORTRAITURE <)}us$tions on Cocal ^ortraitttrc 1. What was the effect of the Civil War upon the barriers to a complete understanding and sympathy, between different parts of the country ? 2. What remarkable opportunities in America for a realism that portrays characters, distinctive of special parts of the country ? 3. What literary form has been used for most of these local portraitures ? 4. What is the difficulty in portraying the American type? 5. In "Criticism and Fiction," pp. 131-133, what rank does Mr. Howells give to the short story in America ? (a) Why might it be argued that it was peculiarly adapted to the American temperament? (b) What part has the success of the American magazine, played in the development of the short story ? 6. What writer has led in the portraiture of New England characters ? 7. In "Gentian" what condition of Alfred Toilet leads Lucy to deception ? (a) What struggles of conscience lead her to a foolish telling of the truth ? (b) How does Alfred's stubbornness become pitiably grotesque ? 8. In "The Conquest of Humility" what stern accept- ance of covert ridicule, galling sympathy, and betrayed trust did Delia show ? (a) What conscien- tious, vicarious atonement did Laurence Thayer offer ? (b) What sudden change showed the substratum of tenderness in an iron nature? 9. How are Miss Wilkins's stories characterized by an unsparing portrayal of the New England will and con- science that has run to excess, or grotesqueness ? LOCAL PORTRAITURE OF NEW ENGLAND 153 10. How does the pathos in these charaxters save them from being unpleasant ? 11. How is the native strength of the Puritan character revealed here — but revealed, exercised upon petty issues ? 12. What mastery of the terse, short sentence does Miss Wilkins's style show? 13. Who is the novelist of the northern New England coast as Celia Thaxter is its poet ? 14. In "The White Heron " what picture of a little New England girl full of wood-lore? (a) What " hand of the great world was put out to her " ? (b) Why did she thrust it aside ? (c) Against what charming nature background is the story set ? 15. In "The Dulham Ladies" what picture of the pedigree and importance of the chief characters? (a) What evidences of lost social ascendancy steal in ? (b) AVhat pathos and humor in the efforts to "observe the fashions of the day" ? (c) How is the spirit of the gentility in a decaying seaboard town brought out here? 16. What newer writer is presenting these portraits of a phase of New England character? 17. In "A Second Marriage" what portrayal of the New England punctiliousness in showing " proper respect for the dead ' ' ? (a) What revival of old associations by Aunt Ann? (b) What passionate absorption in her own spiritual inheritance, made Amelia forget Laurie's pain? 18. In "Joint Owners in Spain" what suggestion as to solving the "chronic difficulty" at the Old Ladies' 154 LOCAL PORTRAITURE OF NEW ENGLAND Home? (a) What disappointment came to Mrs. Blair as she searched for her "bunnit" ? (b) How did a piece of chalk preserve the New England inde- pendence and reserve? (c) How was the truth of the situation forced on INIrs, Mitchell ? (d) What per- manent solution did a ' * house of fancy ' ' make in the Old Ladies' Home ? 19. How does Miss Brown's work seem to be characterized by a subtle appreciation of the power of imagination in the New England woman ? 20. What writer knows the life of the Gloucester fishermen — that life studied by Kipling in "Captains Cour- ageous ' ' ? 21. In "Jack the Fisherman" what picture of the typical heredity and boyhood of such a calling ? (a) What did the church do for Jack? (b) What part does the " Rock of Ages " play in Jack's marriage and reform ? (c) What picture of the hard life of the fisherman's wife? (d) How did Teen keep her promise ? (e) How. does Jack find out what he has done? (f ) What sym- bolism in the tattooed crucifix on Jack's arm? (g) What faith of Mother Mary baptizes Jack's child ? 22. How does this work show a peculiar intensity that leads to an emotional quality in Mrs. Ward's style? 23. What New England writer portrayed a typical phase of American life, now passed away, and in so doing helped to make history ? 24. In " Uncle Tom's Cabin " what portrayal of the happy, comfortable life of the slave, introduces Uncle Tom ? 25. What picture of what e\en a kind master was forced LOCAL PORTRAITURE OF THE SOUTH 155 to do? (a) Howdo^s nature speak in Eliza, and duty in Uncle Tom ? 26. What picture of the pursuit of a slave? 27. In " Topsy " what picture of another kind master? (a) How does a New England woman grapple with the question of personally educating a black ? 28. What picture of an auction sale of slaves? 29. What picture of Legree's cotton-plantation, and a negro overseer ? 30. How does the persistent vitality of this book prove its genuine power? 31. What two Southern writers show the kindlier phases of slavery ? 32. In '' Marse Chan" what picture of " Marse Chan's dawg ' ' strikes the keynote of the story ? (a) What picture of the "duel" shows Southern honor? (b) What portrayal of ' ' Miss Anne ' ' shows the family pride of the Southern women? (c) How was it that " Miss Anne" sent a letter? (d) What picture of "'Marse Chan" coming home? (e) What question, that shows how ' ' Marse Chan ' ' is remembered by the faithful negro, closes the story? (f) How does the beauty and pathos of this tale gain in simplicity and strength from the old servant's dialect? 33. What story does "Uncle Remus" tell from the stand- point of a Southerner? (a) What picture of his guarding " Ole Miss and Miss Sally fom de Yankees ' ' ? (b) Why did he shoot a man fighting to free him — a Union soldier? (c) What recompense did Uncle Remus give the soldier for that bullet ? 34. With what story did Uncle Remus initiate the little boy 156 LOCAL PORTRAITURE OF THE SOUTH into the legends of the Old Plantation? (a) What effort did ' ' Brer Fox ' ' make "to be frens en live naberly" with "Brer Rabbit"? (b) How did ' ' Brer Rabbit ' ' get the better of him ? 35. What was the Tar-baby ? (a) How did " Brer Rabbit " " larn it ter talk ter 'spectable fokes ' ' ? (b) Why did "Brer Fox" laugh " twel he couldn't laugh no mo' "? 36. What was " Brer Fox's " original intention in disposing of "Brer Rabbit" and the Tar-baby? (a) What was the one thing ' ' Brer Rabbit ' ' did not wish done ? (b) How did " Brer Fox" know " he bin swop off" ? 37. What quaint and homely humor of the negro comes out in Uncle Remus ? 38. What contribution to folk-lore has Joel Chandler Harris made in these stories ? 39. How is the fable characteristic of the negro, in that he selects as his hero the weakest and most harmless of animals ? 40. How does helplessness and mischievousness triumph in every case ? 41. What writer has portrayed the "society life" of the colored people since the war ? 42. In " Widder Johnsing " what picture of the waiting for the formal announcement " the corpse is prepared to receive 'is friends" ? (a) How could the extent of the widow's grief at the funeral be measured? (b) What voluntary isolation did her widowhood show? (c) How did she succeed in getting the young minister to look especially after her spiritual welfare ? (d) What part did her cooking, and her bottles of LOCAL PORTRAITURE OF THE SOUTH 157 beer play ? (e) To what triumphant announcement was her conversion a preliminary ? 43. (a) In " Jessekiah Brown's Courtship" Avhat experience at a cake-walk made Jessekiah register a sacred vow to marry? (b) His "decided indecision" suggested what superstitious plan ? (c) What was the answer to his prayer ? (d) What progress did he make toward keeping his vow? (e) What made him " los' the thread of his speech" ? (f) What mutual congratu- lations were exchanged by Jessekiah and Fat Ann ? 44. How do these stories show the love for grandiloquent formalities, in the social life of the negro ? 45. What writer has pictured the Creole life in Louisiana? 46. In " Posson Jone " what trifling accident introduces St. Ange to Parson Jones? (a) What scruples of con- science arise that are iinally overruled by St. Ange ? (b) What picturesque assemblage gathered at the bull-fight that Sunday in New Orleans? (c) How does " Posson Jone" make "the tiger and' huffier lay down together ' ' ? (d) By what artifice did St. Ange induce him to leave the prison ? (e) What direct answer to prayer did Parson Jones receive, and his friends witness ? 47. How is the religious atmosphere used with a humorous effect ? (a) How is the aboriginal humanity that lies underneath any differences of faith, or language, brought out by this tale ? 48. In " Jean -ah Poquelin " what portrayal of the swamp land of Louisiana? (a) What dark suspicion fell upon old Poquelin ? (b) What portrayal of the march of American civilization into an old French tov/n? 158 LOCAL PORTRAITURE OF THE SOUTH (c) What picture of a charivarH (d) How was the mob hushed? (e) What lonely procession is watched out of sight ? 49. Does Cable's use of the Creole English give a unique charm to these stories ? 50. What writer has chosen the remote mountain districts of Tennessee for her field ? 51. In "Drifting Down Lost Creek" what description of Evander Price reveals how far behind in civilization these mountaineers are ? (a) What obstacle to love- making did C3'nthia's toothless, haggard, lazy mother prove ? (b) What took Evander away from the mountains? (c) What v/ild, new hope did the spring in the mountains rouse in Cynthia's heart ? (d) AVhat pilgrimage did she accomplish ? (e) Hov/ did she learn that Evander was pardoned? (f) AV^hat varying moods, and seasons of the mountains set off and transfigure this tragedy of a woman's life? 52. In the " Dancin' Party at Harrison's Cove" what was the feud between Jones and Rick Pearson ? (a) What picture of a "first-class coquette" ? (b) What pic- ture of the entrance of Rick and his outlaws ? (c) What stopped the " dancin' " ? (d) How was bloodshed prevented ? 53. How does this mountain life portrayed by IMiss Murfree show how far behind the march of civilization this phase of American life has fallen ? 54. What writer has taken the Blue Grass Region of Ken- tucky for his field ? 55. In "The Choir Invisible" what picture of Amy Fal- coner, riding down the avenue of the prirai^val woods, shows an old-time Kentucky girl ? LOCAL PORTRAITURE OF THE SOUTH 159 56. What two " far clashing tides of migration " met in this border town ? (a) What groups, and solitary figures, suggest the meeting of civilization with the primitive forest ? (b) What picture of a log-house and a gen- tlewoman who works with her own hands ? 57. What encounter in the schoolhouse with a cougar, shows how near was the savage life of the forest ? 58. What vista of scenes shows what Mrs. Falconer's child- hood, girlhood, and womanhood had been ? 59. What picture of the " ancient woodland street of war" and two men fighting out their brute strength ? 60. What triumph of fierce pride and honor shows the affinity between the chivalry of King Arthur's knights, and the nobility of this man and woman ? 6 1 . What picture of the wedding customs of early Kentucky? 62. In "The Reign of Law" what historic description shows the part hemp has played in Kentucky's devel- opment ? (a) What nature description show^s the "round year of the earth's ciianges that enter into the creation of the hemp ' ' ? (b) What symbolism in it ? 6^. What picture of a solitary "breaker" at work in the hemp field, and the beacon fire in the sky ? 64. What desolateness in David's home shows how a great nature may grow^ up in spite of environment ? 65. What picture of the ice-rain and great frost, and the damage it wrought ? 66. How is Gabriella a child of the revolution? (a) What, in the history of Southern womanhood, does her sup- port of self signify ? (b) How are she and Mrs. Fal- coner counterparts — although a hundred years lie betvi^een them? l6o LOCAL PORTRAITURE OP^ THE WEST 67. How has James Lane Allen more than any other Ameri- can writer, embedded his stories in nature ? 68. How is nature in his stories, not a background for action, but involved in the action itself? 69. How does his style of unusual beauty show (a) a rich- ness of texture? (b) a singular deliberation? (c) a strong emotional quality? 70. What writer, by his stories of the California gold-dig- gers, was the first to introduce the West into liter- ature ? 71. In " The Luck of Roaring Camp " what picture of the ''roughs" contributing "toward the orphan"? (a) What picturing of the christening of the child, shows irreverence prevented? (b) What signs of regeneration appear in the camp ? (c) What pros- perity came to the camp? (d) Why will the "winter of '51 be long remembered among the foot-hills"? (e) What straw did Kentuck cling to as he "drifted away on the shadowy river ' ' ? 72. In "The Outcasts of Poker Flat " what "spasm of vir- tuous reaction ' ' sent out a strange cavalcade ? (a) Why danger in a halt at that time of the year ? (b) What innocent addition to the camp ? (c) In what trap did Uncle Billy's rascality place the party? (d) What fine adaptability to innocence did the "outcasts" show? (e) What harmless amusements of an accor- dion and Homer helped pass a week ? (f ) What sac- rifices and heroism came from sin-begrimed natures? (g) Who was the "strongest and yet the weakest " in the company ? 73. How do these stories show the spiritual element in birth and death, felt even in rough communities ? LOCAL PORTRAITURE OF THE WEST i6i 74. What fine repression in Bret Harte's style makes every word help to cut the cameo-like sketches ? 75. What writer has shown a more recent mining life in Colorado and Idaho ? 76. In "A Cup of Trembling" what picture of the young brother going up the Dreadnaught road to a miner's log cabin ? (a) What picture of Jack and his isola- tion with Esme — walled in by the snow ? (b) What knowledge came to the young brother when he knocked in vain? (c) How did Jack find out his brother had been to the cabin ? (d) What common misery drew Jack and Esme apart ? (e) What watch was she left to keep ? (f ) What warning of the aval- anche did she have ? (g) What choice saved her from " the long life to the end" ? 77. What writer has dealt with the rude life of Indiana when it was the remote frontier ? 78. In " Spelling Down the Master ' ' what opinion of ** book larnin' ' ' had Mrs. Means ? (a) What part did a spelling-school play in the society of Hoopole County? (b) What picture of Squire Hawkins and his elo- quence? (c) What was the method of choosing sides? (d) What able opponent had the master in Jim Phillips? (e) How did " ole Mis' Meanses white nigger win ' ' ? 79. What writer has dealt with the dead level of existence in the farming communities of the West? 80. In "Before the Low Green Door" what picture of the hard, wearisome life of Matilda Bent, is portrayed in that communion with her friend? (a) What revul- sion of feeling speaks volumes? (b) How does the i62 LOCAL PORTRAITURE OF THE WEST Starved imagination go back to girlliood, as rest comes after thirty years of ceaseless toil ? 8 1 . In " The Gutter-snipe Must Rise ' ' how is Brennan shown to be a product of American society? (a) What approach did he make to Senator Ward? (b) By what arguments did he overcome the Senator's "old fashioned notions " ? (c) AVhat demand did Brennan make of the Railway Duke ? (d) How could the ' * gutter-snipe ' ' assure his rise ? 82. What characterization of the energy and self-confidence of a Westerner is made here by Mr. Garland? 83. Under what pseudonym has Alice French written stories of Western life ? 84. In " The Face of Failure " what picture of a melon farm in Iowa? (a) What victim of mortgages was Uncle Nelson? (b) What question did he have to settle? (c) What does he learn of Miss Alma's life as a business woman? (d) What story of his life does he tell her? (e) Why can he not accept Miss Alma's proposition? (f) How does Tim hope to pay off the mortgage ? 85. What picture of the material from which the Farmers Alliance and single-tax men are recruited ? 86. What writer has shown the congestion and rush of life in the greatest city of the West ? 87. In the "Introduction " what description of the "Clifton " shows its analogy to the homes of the Cliff Dwellers ? 88. In "The Tenth Floor" why is the ofifice of the Massa- chusetts Brass Company the gem of the establishment ? (a) How are "company" and "family" shown to be exchangeable terms? (b) What picture of the LOCAL PORTRAITURE OF THE MIDDLE STATES 163 "social exchange" that goes on here? (c) Why does Walraven regard his assignment to the West as a " mild sort of punishment " ? 89. In "The Twelfth Floor" what picture of a nervous, excitant Westerner? (a) Hov/ did he make Nev/ England seem " small, provincial, and left -behind " ? (b) What novitiate did Ogden go through to get used to the " human maelstrom " of Chicago? (c) What picture of the exterior and interior of a home in accord with " local society " ? 90. What writer made his reputation by showing a phase of life connected with the newsgathering for a great Eastern daily? 91. In " Gallegher " what is shown to be the chief charac- teristic of the unusual office boy ? (a) What " reason- ing of Gallegher" impresses the staff ? (b) How did he happen to play truant? (c) What detective work did he do on his own account ? (d) With what plan did the sporting editor, Byrne's man, and Gallegher attend the "big fight"? (e) What two pieces of acting by Gallegher evade the whole police force? (f ) How did he ' ' beat the town ' ' and bring ' ' Dwy- er's copy " ? 92. In what other stories has this writer shown the life of the "smart set " in New York? 93. What picture of Van Bibber's man, Walters, shows why he could be mistaken as a member of the Few Hun- dred ? (a) What dinner did he order at Delmonico's ? (b) What temptation came to him ? (c) What meet- ing of master and man at the " cafe " ? (d) What comment of Van Bibber shows his characteristic nonchalance ? i64 LOCAL PORTRAITURE OF THE MIDDLE STATES 94. With what pity does Van Bibber look on the park amusements for "ordinary people"? (a) What chatter of the little East-side girls interests him ? (b) What kindness of heart makes him go through an ordeal ? (c) What smile of understanding from The Girl He Knew made him buy "yards" of tickets for the swans? (d) How is the sympathy and tender- ness here, felt rather than expressed ? (e) How does Van Bibber himself stand as a delightful being — brave, witty, affable, and intensely aristocratic ? 95. What writer has shown the placid life in country to\vns of Pennsylvania? 96. In " At Whose DooV ? " why was Mary's conduct in marrying Henderson Dudley puzzling to the Friends ? (a) What double nature in the child perplexed the Quaker aunt? (b) What picture of the serene quiet of the Quaker home? (c) Why does Rachel decide to go to the theatre? (d) How is Rachel's confession of deceit received by her aunt ? (e) What picture of Rachel's appeal to Roger and his cool calculation ? (f ) How does her " childish impatience to end pain" leave her still misunderstood? (g) Was the Quaker training in fault ? 97. What writer has shown some of the phases of life among the "unemployed" in Manhattan? 98. In "A Letter of Farewell" what picture of Pat Mc- Cann's saloon, and the political power of the saloon- keeper? (a) What kindness in treatment has Mr. Malone after his " bad shock " ? (b) What does the letter show his life has been ? (c) How does he use the money for which he pawned his watch ? (d) What does he do with his last quarter ? LOCAL PORTRAITURE OF THE MIDDLE STATES 165 99. Why was McDowell Siitro so anxious to get a letter? (a) From the park bench on Union Square, what sights tantalized his hunger ? (b) What casual strayers ask him to ''take a drink"? (c) At what hotel does he stay all night " ? (d) How did he earn his breakfast? (e) What reply from the post-office clerk had he nerved himself to hear ? 100. What writer has shown some political phases of New York life? (a) In "Peter Stirling" why does a certain tenement and a doctor's analysis of milk make Peter Stirling take a client ? ( b) What was the result of Stirling's inspection of the cow-stables of the National Milk Company? (c) What difficulty in finding an owner of the company ? 10 1. What methods of New York justice are brought to light by Mr. Dummer'swish to settle? (a) What attitude of the District Attorney shows the meaning of ' ' shelved indictments ' ' ? 102. How did an appeal to the governor provide for the prosecution of the case ? 103. What was the one "dramatic incident" in the case? (a) What effective conclusion ended Stirling's argu- ment ? 104. Do all these different phases of American life hold any- thing in common ? National lEta; ^tose IFictiott Syllabus H « SIcetiel of SEuropean IDife AND Novel of Blanche Willis Howard Teuffel (1847-1898) European Life Plouvenec, ch. I, pp. 1-22. Village Gossip, ch. 2, pp. 23-53. " Passeur," ch. 7, pp. 100-112. Thymert, ch. 9, pp. 140-164. The Atelier, ch. 12, pp. 220-243. A Harvest, ch. 13, pp. 244-275. Forebodings, ch. 16, pp. 319-329. Francis Marion Crawford (1854- ) Saracinesca : The Palace, ch. 3, pp. 27-41. Corona d'Astrardente, ch. 6, pp. 6S-8j. The Duel, ch. 12, pp. 149-163. Sant' Ilario: A Plan, ch. 12, pp. 177-192. Exposure, ch. 30, pp. 423-434. Don Orsino: New Italy, ch. I, pp. I-15. Orsino, ch. 2, pp. 15-31. The Jubilee, ch. 5, pp 64-81. (166) THE HISTORICAL NOVEL 167 The Mary Hartwell Catherwood (1847- ) Historical Novel Romance of Dollard: The Husband, ch. 4, pp. 29-46. A River Cote, ch. 6, pp. 57-68. Bollard's Confession, ch. 12, pp. 109-117. Massawippa, ch. 14, pp. 128-145. ' The Heroes of Long Sault, ch. 19, pp. 186-198. (Gen.) Lew Wallace (1827- ) Ben Hur: A Roman Sea Battle, Book Third, chs. 4 and 5, pp. 148-161. A Chariot Race, Book Fifth, ch. 12, pp. 349-355; ch. 14, pp. 362-370. The Lepers, Book Sixth, ch. 2, pp. 392-403; ch. 4, pp. 409-423; Book Eighth, ch. 4, pp. 492- 499. Arthur Sherburne Hardy (1847- ) Passe Rose: Passe Rose Herself, ch. 2, pp. 16-25. Gui of Tours, ch. 3, pp. 25-35. Friedgris, ch. 8, pp. 95-107. A King's Daughter, ch. 10, pp. 131-145. Karle Himself, ch. 23, pp. 313-339. * Beulah Marie Dix Hugh Gwyeth: How One Set Out to Seek His Fortune, ch. 2, pp. 16-33- The End of the Journey, ch. 6, pp. 81-94. Beneath the Roof of Everscombe, ch. 20, pp. 324- 339- The Fatherhood of Alau Gwyeth, ch. 21, pp. 340* 357- 1 68 THE HISTORICAL NOVEL The (Dr.) Silas Weir Mitchell (1829- ) Historical j^o^gj Hugh Wynne: Washington at Valley Forge, Vol. 2, ch. 3, pp. • 46-55- Benedict Arnold, Vol. 2, ch. 8, pp. 121-137. John Andre, Vol. 2, ch. 9, pp. 138-164. Mary Johnston (1870- ) To Have and To Hold: In Which I Meet Master Jeremy Sparrow, ch. 2, pp. 9-17. In Which I Marry in Haste, ch. 3, pp. 18-26. In Which We Prepare to Fight the Spaniard, ch. 7, PP- 57-66. Audrey: The Cabin in the Valley, ch. i. Darden's Audrey, ch. 3. Winston Churchill (1871- ) Richard Carvel: A Man of Destiny, ch. 19, pp. 174-183. How the Gardener's Son Fought the Serapis, ch. 42, pp. 475-489- The Crisis: Abraham Lincoln, Book 2, ch. 2, pp. 123-132. In Which Stephen Learns Something, Book 2, ch. 3, PP- 133-140. The Question, Book 2, ch. 4, pp. 141-147. The Crisis, Book 2, ch. 5, pp. 148-160. The Man of Sorrows, Book 3, ch. 15, pp. 499- 515- NOVEL OF EUROPEAN LIFE 169 O^uestions xtn tf^e S^osael of Suropftan Stifc mift If^s SUlstorltal ^ouet 1. The realistic movement which has expressed itself in these local portraitures, has also shown itself in what studies of foreign life ? 2. In " Guenn " what picture of the Breton village of Plouvenec, and the fisher-folk, and of Guenn herself? 3. What picture of the interior of Guenn' s strange, dark, little Breton home ? (a) At what ' ' assemblage of her peers did she arrive late " ? (b) What village com- ments on artists' taste in color ? (c) What comment by Jeanne on the picture of old Josephe with her dis- taff? (d) How does Guenn show her contempt of painters? (e) What "bit of especial malice" satir- izes the jealousy of the women ? 4. What response came to Hamor's cry for * ' Passeur " ? (a) How does Guenn receive his offer to have her pose for him ? (b) What unconscious attraction and repulsion does she feel for Hamor ? 5. What picture of the priest of the fisher-folk — a priest who loves Virgil ? (a) What unfortunate topic does Hamor introduce at the breakfast ? (b) What defence does Thymert make for Guenn ? 6. What orders did Guenn' s father give her and how did he emphasize them? (a) What violent entrance into Hamor's atelier? (b) In what diplomatic fashion did Hamor make her at home ? (c) What tale of martial spirit does Hamor's untruth about the boxing-gloves bring out from Guenn ? y What sympathetic model did Guenn become ? (a) What sent her "in a fine fury flying over the churchyard lyo NOVEL OF EUROPEAN LIFE wall " ? (b) What appeal did Hamor make that won Guenn's "highest effort at any cost"? (c) What was the plan for the ''salon picture " ? (d) What inexpressible pain came to the priest as he visited Hamor' s atelier? 8. What to Guenn were the two worst sins? (a) What idle, kindly talk of Hamor cut her to the heart ? (b) What caprice of the moment did Hamor obey? (c) What maidenly instinct of Guenn gave him an unexpected answer ? (d) How has this story, by its strong analysis of both peasant and artist, become almost an American classic ? 9. What writer has presented an important study of Italian life, customs, and conditions, in a series of novels dealing with three generations of a family ? 10. In "The Palace" what picture of the solemn magnifi- cence that savored of feudal times, in which Prince Saracinesca and his son lived? (a) What picture of a fiery father ? (b) What difference of temperament in the son ? 11. In " Corona " what picture of the education of Corona? (a) What picture of the monk's keen insight into character? (b) What meeting between Corona and Donna TuUia? 12. In "The Duel " why did Del Ferice think it necessary to kill his antagonist ? (a) What difference in the style of fencing of the duellists ? (b) What foul play took place? (c) Why could Giovanni continue after his right arm was wounded ? 13. In " Sant' Ilario " what was Prince Montevarchi's plan for a forgery ? (a) How was Meschini the agent to carry it out? THE HISTORICAL NOVEL 171 14. What picture of the final meeting for a transfer of the Saracinesca property ? (a) How does the knowledge of the forgery come to light? (b) What honor in the innkeeper cousin ? 15. In "Don Orsino " what picture of New Rome under United Italy ? (a) What distinct parties ? 16. In ''Orsino" what picture of the education the Italian noble receives ? (a) What is the life that Orsino says he has to live ? 17. In "The Jubilee" what picture of the interior of St. Peter's? (a) What picture of Leo XIII.? 18. How is the charming style of Marion Crawford at its very best in these novels of Italian life ? 19. In the last decade how has the historical novel divided with the ' ' short story ' ' the honors of popularity ? 20. Yet how has the realistic movement made it very different from the historical romance of ante-bellum days ? 2 1 . What novelist has taken for her field that portion of his- tory which Francis Parkman has covered ? 22. In "Romance of Dollard " what picture of a censit- aire choosing his wife? (a) How does Monsieur Dulac, Commandant of Montreal, persuade Claire not to go back to the convent ? 23. In " A River Cote " what picture of a missionary priest, Dollier de Casson, of New France, and the solemn performance of his religious duties ? 24. In " Bollard's Confession " what does Dollard tell Claire of the Iroquois? (a) What solemn oath had he taken even before he went to Quebec ? (b) To whose pro- tection did he leave Claire ? 25. In " Massawippa " what picture of what the convent 172 THE HISTORICAL NOVEL tried to do for the Indian girls? (a) What guide answered Clnire's prayer to the Virgin? (b) What motive inspired the half-breed and "demoiselle"? 26. How many heroes were gathered at Long Sault to meet the Iroquois ? (a) What welcome did the chief give his daughter? (b) What was the reunion of Bollard and Claire? (c) What confession did Claire make? (d) How was the splendid defence of four days made against the Iroquois? (e) What desertion by the Hurons weakened the force that was to hold out three days more ? (f ) Who were the heroes of Long Sault ? (g) What part did this devotion play in the history of Canada ? 27. What writer has taken the historic time of Christ for the field of his novel ? 28. In *' A Roman Sea Battle " what picture of the gather- ing of the Roman and pirate fleets ? (a) What pic- ture of the slaves who rowed these galleys ? (b) Why were the slaves chained to their benches ? (c) What preparations were made for the fight ? (d) How did the idea of a fleet in manoeuvre break upon Ben Hur? (e) What made him think the beak of the Roman had won? (f) What knowledge that the Astrea was boarded ? (g) What picture of the sinking boat ? 29. In "A Chariot Race " what description of the specta- tors assembling in the circus ? (a) What description of the procession making the circuit of the course ? (b) What part did nationality play in deciding on the horses to be preferred ? (c) Why did Ben Hur yield the wall to the Roman for a time ? (d) What was the effect of Messala's blow? (e) How were the rounds THE HISTORICAL NOVEL 173 officially told off? (f ) What design did Ben Hur execute ? (g) What urging cries to his Arab steeds ? 30. In "The Lepers" what scheme had isolated mother and daughter eight years ? (a) Why was the freedom for which they had prayed and dreamed ''an apple of Sodom in their hands ' ' ? (b) What picture of the insidious growth of the horrible disease ? (c) How is its hideousness shown in the appearance of mother and daughter? (d) How, by the sacrifice they make? (e) What description of the coming of the Nazarene ? (f) Why were the lepers' cries drowned? (g) What cry of the crowd turned the Nazarene' s attention to the Avoman? (h) What transformation took place? (i) What restoration came to Ben Hur? 31. What writer has pictured the times of " that sun shining between two nights of barbarism and feudality" — Charlemagne ? 32. In "Passe Rose" what picture of a dancing girl who had followed the banners of Karle's army? (a) What safe and quiet life was she now leading? 33. In " Gui of Tours" why did Passe Rose go into the woods in spite of wood-fays? (a) What makes her flee? (b) What picture of one of Karle's captains? 34. How does Friedgris, the abbey porter, in dreams, review the captive train of Karle's army? (a) What picture of the two powers of the age standing face to face — in Rainal, and Robert, Count of Tours? (b) How did the dreamed awakening, accord with the real one ? 35. What picture of the princesses of Karle's household chatting over their needlev/ork ? (a) What picture of Rothilde, the Saxon captive? ' (b) What picture of " a girl who dared the will of Karle ? " 174 THE HISTORICAL NOVEL 36. What picture of Karle himself listening to the reading of his favorite book? (a) What thoughts may run through his mind ? (b) What tale of a plot against his life does Pusoc Rose tell ? (c) How did Agnes of Solier show '' she was in truth a king's daughter " ? 37. What individualization of characters, and epigrammatic style make this novel of unusual strength ? 38. In its ability to call up a life, turbulent yet full of poetry, how does it suggest the remarkable work of Maurice Hewlett in " Richard Yea and Nay " ? 39. What writer has taken the times of the Royalists and Parliamentarians for her field ? 40. In "Hugh Gwyeth " what picture of a Roundhead household ? (a) Why is Master Oldsworth a fine type of Puritan ? (b) What makes Hugh leave the Everscombe manor-house ? 41. In "The End of the Journey " what raid on the " inn folk ' ' gets the aqua vitce for Strangwayes ? (a) What was the outcome of the meeting with the King's captain ? 42. In " Beneath the Roof of Everscombe" what were some of the methods of torture used by the Roundheads? (a) Who rescued Hugh? (b) A¥hat news does Hugh hear as he is a captive ? (c) What way of release comes ? 43. How does Hugh get to Rainsford church to deliver his message? (a) What "trouble does the captain take to get him " ? (b) What share in this defence of the Cavaliers does Hugh have ? 44. What dash of incident, and vigor of style, give the work of Miss Dix an unusual virile quality? THE HISTORICAL NOVEL 175 45. What writer has taken the action of the Revolutionary- War, centred largely at Philadelphia ? 46. In ''Hugh Wynne" what contrast is drawn between Hugh's impressions of the troops of Washington at Valley Forge, and the grenadier British troops ? (a) What was his impression of Washington ? (b) What did Jack put on record as to the real George Wash- ington ? 47. What picture of hospitality dispensed in Philadelphia by Arnold ? (a) In what deep reverie did Hugh observe him? (b) On what "errand of moment" did he send Hugh ? 48. In "John Andre" what evidences are cited of the feeling aroused by the fall of Arnold? (a) What ' ' serene, untroubled visage ' ' did Andre present to his visitor? (b) With what letter does he entrust Hugh? (c) What does Hugh now learn as to "the errand of moment"? (d) What proposition to capture Arnold was suggested to Washington? (e) With what kindness did he "listen to a rash young man " ? (f ) What impression of Washington's firmness comes out here ? 49. How is the eighteenth century style, in which it is written, happy in suggesting the formal manners of that time ? 50. What writer has taken the earliest colonial period of Virginia history for her field ? 51. In "To Have and to Hold" what picture of the deserted river showed where the interest lay? (a) What picture of the various craft anchored off James- town shows the concentration of the colonists ? (b) 176 THE HISTORICAL NOVEL What picture of the procession of "Edwin Sandys' s Maids" ? (c) What contrast between this scene and a similar one in ' '■ The Romance of Bollard ' ' ? 52. In "In Which I Marry in Haste ' ' what face stood out among all the ring of rustics in the church, like Perdita at the village festival ? (a) What chivalrous defence wins Percy that face? 53. What picture of the Jamestown people in the palisades? (a) What hatred of Spain and Catholicism comes out ? (b) What English spirit speaks ? (c) What mustering of the Virginia Navy — "David and his pebble"? (d) How does the navy resolve itself into a consort ? 54. In " Audrey " what picture of a pioneer's cabin startled by a strange sound ? (a) What joyous company "bursts into the sunshine of the valley" ? (b) On what expedition was it bound? (c) What halt and feast showed the conviviality of Virginia life? (d) What drilling of the company took place? (e) What " quaint and pleasing title " did the governor give to. the "order of knights"? (f) What subtle hint in the shadow that fell on the valley at their departure ? 55. In " Darden's Audrey ' ' what picture of the "ruined town of Jamestown on May Day, 1727? (a) What appearance of Colonel Byrd and Evelyn Byrd, and Haward shows the traveled colonist ? (b) What distinction is drawn between the gay world which welcomed the three, and the three? (c) By what graciousness was the ice thawed? (d) In the race of six girls, what picture of Audrey in her dogwood chaplet? (e) How do the two, who are in the future to be rivals, have their first meeting ? (f ) What departure of the ' ' very especial THE HISTORICAL NOVEL 177 guests * ' before the races, took away the flavor of the court and the great world ? 56. How does Miss Johnston's power to group, to make con- trasts, to suggest subtly what is to come, together with her finish of style, and idiom of pure English, account for the unusual popularity her work is receiving ? 57. What writer has been equally at home with earlier and later periods of American history ? 58. In " Richard Carvel " what picture of "a man of des- tiny ' ' suddenly dropping his Scotch and merchant- captain manner? (a) What exploitation of his ward- robe reveals a human side ? (b) What story of the mutiny showed his courage ? 59. In the fight with the Serapis, what was the con- dition of the Bonhomme Richard to begin with ? (a) What fleet came in sight? (b) What prepara- tions were made for the resistance? (c) To "Are you struck, sir ?' ' what answer of Paul Jones ' ' bred hero worship " ? (d) What attack from the treacher- ous Alliance increased the odds ? (e) What genius of Paul Jones sent back one hundred and fifty released prisoners to the pumps? (f) What victory, famous in American navy records, was won ? 60. In " The Crisis" what impression did Stephen Brice get of the dignity of the Senatorial Candidate of the Republican Party in Illinois ? (a) What picture of the inn in the prairie town where he was to find " the homeliest man in the room " ? (b) What impression did he get of Lincoln from his story of the Quaker's apprentice ? 6i. How did Stephen learn that involuntary "sir" which 178 THE HISTORICAL NOVEL showed the homage thousands of Americans were to give this ' ' astonishing man ' ' ? (a) How did Lincoln characterize Stephen Douglas's followers ? (b) What conversation with the reporter showed a new side of Lincoln ? (c) How did Stephen find out that Lin- coln was not an abolitionist ? 62. In "The Question" how did Abe "show the shine he had taken to the Bostonian "? (a) What question did Abe produce from that tall hat? (b) What superb sacrifice struck Stephen Brice? (c) How was the story of Farmer Bell shown to be a parable of Douglas and Lincoln? 63. In "The Crisis" what picture of Little Giant and his panacea for slavery ? (a) What picture of the vigor of the young nation in the banners, delegations, and Lincoln's "Basket of Flowers"? (b) What com- posed this audience of sixteen thousand listeners to a political debate ? (c) What transformation came over "the grotesque figure with shrill falsetto voice," a's he continued speaking? (d) How did the "Ques- tion ' ' show the false construction of ' ' the secret parts of the engine that was to run the ship of state ' ' ? (e) What scriptural plainness of speech forced the truth home? (f) What picture of Lincoln, with a child on his lap, shows still another side of his nature ? 64. In "The Man of Sorrows " what picture of the city of Washington at the close of the war ? (a) How does Captain Lige caution Virginia regarding her interview with the President? (b) What precedence of cases like hers shows Lincoln's kindness ? (c) What was THE HISTORICAL NOVEL 179 Virginia's first impression of the President ? (d) What stories made her think he should have been a comedian ? (e) Why did she falter and stop in her tirade at " his mercy she had heard of " ? (f ) What allusions to Wash- ington's flag, showed the President's '' suffering with the South ' ' ? (g) With that quizzical look, what story did he tell that showed " what he was going to do with the rebels " ? (h) What consciousness of littleness and narrowness came to those two, who stood in the pres- ence of that greatness and charity which was Abraham Lincoln ? How does the ability to fuse, into a unified picture, such a confused and complex piece of history as the Civil War, show the large power of Mr. Churchill's constructive skill ? To centre the meaning of that struggle, in the character of Abraham Lincoln, shows what true conception of American democracy? The writer wishes to acknowledge her indebted- ness to Katharine Lee Bates's American Literature (The Macmillan Co.) for the greater portion of the subject divisions. For the suggestions, criticism, and encouragement during the progress of this book the writer is deeply indebted to her colleague, Miss Alice M. Brennan. (i8o) Slndex of ^utftors Adams, Henry, 78, 82, 83. Alcott, Amos Bronson, 57, 62, 63. Aldrich, Thomas Bailey, 28, 31, 32. Allen, James Lane, 149, 150, 158-159, 160. Austin, Jane, 2. Ballads of the Revolution, 7, 10. Bancroft, George, 77, 79. Barr, Amelia E., 8. Bay State Psalm Book, i, 4. Beecher, Rev. Henry Ward, 86, 89, 90. Bellamy, Edward, 66, 69. Boker, George Henry, 43, 49. BoUes, Frank, 92, 96. Bradford, Governor William, i, 4. Bradstreet, Mrs. Anne Dudley, r, 4. Brooks, Rt. Rev. Phillips, 86, 90. Brown, Alice, 148, 153, 154. Brown, Charles Brockden, 7, il, 108, 120 Browne, Charles Farrar, " Artemus Ward," 107, 112. Bunner, Henry Cuyler, 44, 51. Burroughs, John, 91, 92, 95. Bryant, William CuUen, 13, 18-19. Cable, George Washington, 149, 157, 158. Calhoun, John C, 85, 87. Carleton, Will, 46, 53. Catherwood, Mrs. Mary Hartwell, 167, 171, 172. Gary, Alice, 46, 52, 53. (181) i82 INDEX OF AUTHORS Gary, Phoebe, 46, 52, 53. Channing, Rev. William EUery, 5, 56, 59. Churchill, Winston, 8, 12, 17, 168, 177-179. Clay, Henry, 85, 87. Clemens, Samuel Langhorne, "Mark Twain," 107, 112, 113. Cogswell, Frederick Hull, 8. Cooke, John Esten, 99, 105. Cooper, James Fenimore, 8, 98, 99, 100-104. Craddock, Charles Egbert. See Murfree, Mary Noailles, Crawford, Francis Marion, 166, 170, 171. Curtis, George William, 86, 90, 107, iii. Davis, Richard Harding, 151, 163, 164. Deland, Mrs. Margaret, 151, 164. Dickinson, Emily, 29, ;^^, 34. Dix, Beulah Marie, 2, 167, 174. Drake, Joseph Rodman, 43, 48. Edwards, Rev. Jonathan, 2, 5. Eggleston, Edward, 45, 150, 161. Emerson, Ralph Waldo, 5, 16, 17, 25, 26-27, 5^, 57, 61-62. Everett, Rev. Edward, 85, 88. Federalist, 7, 10. Field, Eugene, 47, 54. Fiske, Professor John, 57, 64, 77, 82. Foote, Mrs. Mary Hallock, 150, 161. Ford, Paul Leicester, 8, 151, 165. Franklin, Dr. Benjamin, 6, 9, 10, 12. French, Alice, " Octave Thanet," 150, 162. Freneau, Captain Philip, 7, 10, 11. Fuller, Henry Blake, 150, 151, 162, 163. Fuller, Sarah Margaret (Marchioness d'Ossoli), 57, 63. Garland, Hamlin, 150, 161, 162. INDEX OF AUTHORS 183 Gibson, William Hamilton, 92, 95, 96. Gilder, Richard Watson, 44, 50, 51. Guiney, Louise Imogen, 30, 35. Hale, Rev. Edward Everett, 107, m, 112. Halleck, Fitz-Greene, 43, 48. Hamilton, Alexander, 7, 10. Hardy, Arthur Sherburne, 167, 173, 174. Harris, Joel Chandler, 149, 155, 156. Harte, Francis Bret, 47, 54, 55, 150, 160, 161. Hawthorne, Nathaniel, 2, 4, 122-131. Hay, Colonel John, 47, 54. Hayne, Paul Hamilton, 37, 40, 41. Hemans, Mrs. Felicia Dorothea, 2. Henry, Patrick, 6, 10. Holmes, Dr. Oliver Wendell, 15, 22, 23, 65, 67, 68, 112. Howells, William Dean, 132-138, 152. Irving, Washington, 106, 107, 108-110. Jackson, Mrs. Helen Hunt, " H. H.," 29, 33. James, Henry, Jr., 139-145- Jewett, Sarah Ome, 148, 153. Johnston, Mary, 2, 168, 175-176, 177. Judd, Rev. Sylvester, 17. Kennedy, John Pendleton, 99, 105. Lanier, Sidney, 37, 41, 42. Larcom, Lucy, 29, 34. Lincoln, President Abraham, 85, 89. Longfellow, Henry W^adsworth, 2, 13, 14, 19, 20. Lowell, James Russell, 14, 15, 20-21, 22, 70, 72-73, 74. Mabie, Hamilton W^right, 71, 75, 76. McMaster, John Bach, 78, 83, 84. ; Magazines, American, 146-147. 1 84 INDEX OF AUTHORS " Marvel, Ik," See Mitchell, Donald G. Mather, Rev. Cotton, 2, 4, 5. Matthews, Professor Brander, 151, 164, 165. Miller, Mrs. Harriet, " Olive Thome Miller," 92, 96, 97. " Miller, Joaquin," (Cincinnatus Hiner Miller,) 47, 55. Mitchell, Donald Grant, "Ik Marvel," 107, no, in. Mitchell, Dr. Silas Weir, 8, 12, 168, 175. Motley, John Lothrop, 77, 80. Murfree, Mary Noailles, " Charles Egbert Craddock," 149, 158. O'Reilly, John Boyle, 30, 35. Page, Thomas Nelson, 149, 155. Parker, Rev. Theodore, 56, 59. Parkman, Fra'ncis, 77, 80, 8i. Parsons, Thomas William, 28, 32. Perry, Nora, 30, 34, 35. Phillips, Wendell, 85, 88, 89, 90. Piatt, John James, 46, 53. Piatt, Mrs. Sarah Morgan, 46, 53. Poe, Edgar Allan, 36, 38-40, 41, 115-121, 126. Prescott, William Hickling, 77, 79, 80. Quincy, Josiah, 6, 10. Read, Thomas Buchanan, 44, 50. Rhodes, James F., 78, 83. Riley, James ^Vhitcomb, 47, 54. Roche, James Jeffrey, 30, 35. Ryan, Rev. Abram Joseph, " Father Ryan," 36, 40. ScoUard, Clinton, 45, 51. Cewall, Judge Samuel, i, 4, 5. Sill, Professor Edward Rowland, 28, 32. Simms, William Gilmore, 99, 104, 105. Smith, Captain John, i, 3. INDEX OF AUTHORS 185 Stedman, Edmund Clarence, 44, 50, 70, 71, 74, 75. Stimson, F. J., 2. Stockton, Frank, 107, 113, 114. Stoddard, Richard Henry, 44, 49, 50. Stowe, Mrs. Harriet Beecher, 17, 148, 149, 154, 155. Stuart, Mrs. Ruth McEnery, 149, 156, 157. Sumner, Charles, 85, 89. Tabb, Rev. John Banister, " Father Tabb," 37, 40. Taylor, James Bayard Taylor, 43, 49. Teuffel, Blanche Willis Howard, Baroness von, 166, 169, 170. Thanet, Octave. See French, Alice. Thaxter, Mrs. Celia, 29, 3$, 153. Thomas, Edith Matilda, 47, 53, 54. Thompson, Ernest Seton-, 92, 97. Thompson, Maurice, 46, 53, 54. Thoreau, Henry David, 73, 91, 93-94, 95, 124. Ticknor, Francis O., 37, 42. Timrod, Henry, 37, 41. Torrey, Bradford, 92, 96. Transcendentalism, 29, 58, 60, 61, 62, 63, 64, 124. Trumbull, John, 7, 10. Twain, Mark. See Clemens, Samuel L. Very, Jones, 29, 32, 33, Wallace, General Lew, 167, 172, 173. «' Ward, Artemus." See Charles Farrar Browne. Ward, Mrs. Elizabeth Stuart Phelps-, 148, 154. Warner, Charles Dudley, 65, 66, 68, 69. Washington, President George, 6, lo. Webster, Daniel, 85, 87, 88. Whipple, Edwin Percy, 70, 72. Whitman, Walt, 45, 51, 52, 71. l86 INDEX OF AUTHORS Whittier, John Greenleaf, i6, 23, 24, 25, 71, 75. Wilkins, Mary E., 148, 152, 153. Winthrop, Theodore, 45. Woolman, John, 7, 11, 12.