Thomas Wentworth Higginson

Thomas Wentworth Higginson

Summary

Portrait of Thomas Wentworth Higginson Thomas Wentworth Higginson Henry Wadsworth Longfellow

But as yet we can boast of nothing farther than a first beginning of a national literature: a literature associated and linked in with the grand and beautiful scenery of our country,—with our institutions, our manners, our customs,—in a word, with all that has helped to form whatever there is peculiar to us, and to the land in which we live. We cannot yet throw off our literary allegiance to Old England, we cannot yet remove from our shelves every book which is not strictly and truly American.
Source: Gutenberg

Portrait of Thomas Wentworth Higginson Thomas Wentworth Higginson Henry Wadsworth Longfellow

It may be doubted, however, whether Longfellow, in his remarkable paper “On the Translation of Faust” 234 even if left to himself in making his version, could ever have reached the highest point attained by Goethe, from the mere difference between the two languages with which he and his original had to deal. The charm of Longfellow’s earlier versions is, after all, an English charm, and perhaps the quality of Dante can no more be truthfully transmuted into this than we can transmute the charms of a spring morning into those of a summer afternoon, or violets into roses.
Source: Gutenberg

Portrait of Thomas Wentworth Higginson Thomas Wentworth Higginson Henry Wadsworth Longfellow

Hawthorne, warm with early friendship, pronounces it “a most precious and rare book, as fragrant as a bunch of flowers and as simple as one flower.... Nobody but yourself would dare to write so quiet a book, nor could any other succeed in it. It is entirely original, a book by itself, a true work of genius, if ever there was one.” Nothing, I think, so well shows us the true limitations of American literature at that period as these curious phrases.
Source: Gutenberg

Get perspective with Kwize: daily news enlightened by great literature