Though much of his work is categorized as lyric poetry, Longfellow experimented with many forms, including hexameter and free verse. His published poetry shows great versatility, using anapestic and trochaic forms, blank verse, heroic couplets, ballads and sonnets. Typically, Longfellow would carefully consider the subject of his poetic ideas for a long time before deciding on the right metrical form for it. Much of his work is recognized for its melody-like musicality. As he says, "what a writer asks of his reader is not so much to like as to listen".
As a very private man, Longfellow did not often add autobiographical elements to his poetry. Two notable exceptions are dedicated to the death of members of his family. "Resignation", written as a response to the death of his daughter Fanny in 1848, does not use first-person pronouns and is instead a generalized poem of mourning. The death of his second wife Frances, as biographer Charles Calhoun wrote, deeply affected Longfellow personally but "seemed not to touch his poetry, at least directly". His memorial poem to her, a sonnet called "The Cross of Snow", was not published in his lifetime.
Longfellow often used didacticism in his poetry, though he focused on it less in his later years. Much of his poetry imparts cultural and moral values, particularly focused on promoting life as being more than material pursuits. Longfellow also often used allegory in his work. In "Nature", for example, death is depicted as bedtime for a cranky child. Many of the metaphors he used in his poetry as well as subject matter came from legends, mythology, and literature. He was inspired, for example, by Norse mythology for "The Skeleton in Armor" and by Finnish legends for The Song of Hiawatha. In fact, Longfellow rarely wrote on current subjects and seemed detached from contemporary American concerns. Even so, Longfellow, like many during this period, called for the development of high quality American literature. In Kavanagh, a character says:
We want a national literature commensurate with our mountains and rivers... We want a national epic that shall correspond to the size of the country... We want a national drama in which scope shall be given to our gigantic ideas and to the unparalleled activity of our people... In a word, we want a national literature altogether shaggy and unshorn, that shall shake the earth, like a herd of buffaloes thundering over the prairies.
He was also important as a translator; his translation of Dante became a required possession for those who wanted to be a part of high culture. He also encouraged and supported other translators. In 1845, he published The Poets and Poetry of Europe, an 800-page compilation of translations made by other writers, including many by his friend and colleague Cornelius Conway Felton. Longfellow intended the anthology "to bring together, into a compact and convenient form, as large an amount as possible of those English translations which are scattered through many volumes, and are not accessible to the general reader". In honor of Longfellow's role with translations, Harvard established the Longfellow Institute in 1994, dedicated to literature written in the United States in languages other than English.
In 1874, Longfellow oversaw a 31-volume anthology called Poems of Places, which collected poems representing several geographical locations, including European, Asian, and Arabian countries. Emerson was disappointed and reportedly told Longfellow: "The world is expecting better things of you than this... You are wasting time that should be bestowed upon original production". In preparing the volume, Longfellow hired Katherine Sherwood Bonner as an amanuensis.
Other articles related to "style":
... Buddhist cuisine in any given place will be influenced by the native style of food there ... The origin of "Buddhist food" as a distinct sub-style of cuisine is tied to monasteries, where one member of the community would have the duty of being the head cook and supplying meals ... A more recent version, more Chinese in style, is prepared by the Ōbaku school of zen, and known as fucha ryōri (普茶料理?) this is served at the head ...
... In the beginning, Yvon Deschamps' never-named "character" was distinguished by his spectacular naïvete, which served as a vehicle for Deschamps to tackle delicate subjects such as racism ... In Nigger Black, for instance, the character recalled boyhood surprise upon learning that "Nègres" were no more nor less than human beings like him, neither better nor worse Us, we had some on our street they lived in the same houses we did, went to the same schools ...
... His distinctive style of painting, in which he used watercolour technique with oil paints, created lightness, fluency, and ephemeral atmospheric effects ... A prime example of his mature style can be seen in Rain, Steam and Speed - The Great Western Railway, where the objects are barely recognizable ... Dr Thomas Monro, the Principal Physician of Bedlam, was a significant influence on Turner's style ...
... The Badagutittu style, as its name indicates, is prevalent in Northern parts of South Canara, that is, from Padubidri to Byndoor and North Kanara ... The Badagutittu style was popularized by Shivram Karanth's Yakshagana Mandira at Saligrama village in Dakshina Kannada as a shorter, more modern form of Yakshagana ... Yakshagana Mandali is an exponent of this style of Yakshagana ...
... Johnson's boxing style was very distinctive ... Johnson's style was very effective, but it was criticized in the press as being cowardly and devious ...
Famous quotes containing the word style:
“A style does not go out of style as long as it adapts itself to its period. When there is an incompatibility between the style and a certain state of mind, it is never the style that triumphs.”
—Coco Chanel (18831971)
“There are neither good nor bad subjects. From the point of view of pure Art, you could almost establish it as an axiom that the subject is irrelevant, style itself being an absolute manner of seeing things.”
—Gustave Flaubert (18211880)
“I might say that what amateurs call a style is usually only the unavoidable awkwardnesses in first trying to make something that has not heretofore been made.”
—Ernest Hemingway (18991961)