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His muse chose for theme no deep dramatic moments of the soul. He had not the intensity nor the insight of the great masters; had little of the grand manner, little of the creative imagination. He was, also, a stranger to the Byronic rebellion, the Shelleyan rapture. Yet the common experiences of life, the old regrets and longings of the soul, the discipline of patience, the grace of resignation, the heroism of self-surrender-these he knew and these he sang of with a sweet, tender beauty.
Yes, if there are no quick flashes of insight in his song, no rebellion in his blood-if he lacks the sacred rage of Whittier, the lip-curled scorn of Lowell, still he brings us something precious to the heart, something that supports the hopes and fortifies the faith of the people. Longfellow went to the past, to the distant and the old, not, like Rossetti, as a refuge from the ugliness of the present, but rather to bring the beautiful from far and eld to cheer and refresh the labor-worn To-day.
III. Hiawatha's Childhood. 166
VII. Hiawatha's Sailing... 177
VIII. Hiawatha's Fishing... 179
XIII. Blessing the Cornfields 195
XIV. Picture Writing...... 199
XVIII. The Death of Kwasind. 211
XXI. The White Man's Foot. 217
POEMS ON SLAVERY.
To William E. Channing...... 229
The Slave in the Dismal Swamp 230
The Slave singing at Midnight 231
The Occultation of Orion..... 291
To an Old Danish Song-Book.. 295
Walter von der Vogelweid.... 296
The Old Clock on the Stairs... 298
The Arrow and the Song.... 299
The Legend of the Crossbill... 302
310 The Ladder of Saint Augustine 330
The Fire of Drift-Wood....... 313