flames, that she died in a few hours. He was for a time prostrated by the blow. When he began to recover, he sought, like Bryant, relief from his sorrow in the work of translation. Throughout life he found pleasure in turning the thoughts of foreign poets into his native tongue. His various lyrical versions are sufficient to fill a good-sized volume. But he now gave himself to the serious task of turning Dante's "Divina Commedia," of which he had long been a devout student, into English verse. The translation closely follows the original, and is, perhaps, the most satisfactory version of the great Italian in our language.

The first series of "Tales of a Wayside Inn" was published in 1863, the two succeeding parts appearing in 1872 and 1873. The plan is obviously borrowed from Boccaccio and Chaucer. The Wayside Inn was an old tavern at Sudbury, and the characters supposed to be gathered there were all real. The youth

was Henry Ware Wales, a liberal benefactor of Harvard College. The young Sicilian was Professor Luigi Monti, an intimate friend, who for many years was in the habit of dining with the poet on Sunday. The Spanish Jew was Israel Edrehi, who is described as the poet knew him. The theologian was Professor Daniel Treadwell. The poet was T. W. Parsons, a man of real genius, but of very retiring nature. The musician was Ole Bull. The tales are borrowed from various sources, modern, medieval, Talmudic, and many of them possess great merit. "Paul Revere's Ride" is written with rare vigor. Among the other more notable tales are "The Falcon of Ser Federigo," "King Robert of Sicily," "Torquemada,” “The Birds of Killingworth," "The Bell of Atri," "The Legend Beautiful," and "Emma and Eginhard."

Longfellow early conceived the purpose "to build some tower of song with lofty parapet." In 1841 he noted in his

diary: "This evening it has come into my mind to undertake a long and elaborate poem by the holy name of Christ; the theme of which could be the various aspects of Christendom in the Apostolic, Middle, and Modern Ages." Though the task was long delayed, this lofty purpose was never relinquished, and through years of thought it slowly assumed definite shape. After nine years he set to work in earnest to compose "The Golden Legend," which was intended to illustrate Christianity in the Middle Ages. It gives a vivid picture of the manners of the thirteenth century. The story running through "The Golden Legend" is taken from the minnesinger Hartmann von der Aue. The poem was published in 1851, without any intimation of the larger work of which it forms the central part.

Nearly a score of years passed before another part of the trilogy of "Christus" appeared. It was properly entitled "The New England Tragedies," and is a sickening record of delusion, intolerance, and cruelty. Unfortunately the imagination. had but a small share in the work, which is little more than a skilful metrical version of official records. It was published in 1868 as an independent work, and was received rather coldly. Considered in its relation to the larger work, it must be judged unfortunate. It is depressing in itself; it does not represent the spirit of modern Christianity; and it leaves the trilogy of "Christus" incomplete.

"The Divine Tragedy," which was published three years later, in 1871, is a close metrical version of the Gospel history. It presents the successive scenes in the life of Christ in a graphic and interesting way. The effort to adhere as closely as possible to the language of the Gospels has prevented a very high degree of metrical excellence. With the publication of "The Divine Tragedy," the plan of the poet was revealed. Though "Christus" will always be read with gentle interest, especially "The Golden Legend," it can hardly rank among his greatest works.

Of his other poems, only a few can be mentioned.

"The

Hanging of the Crane" is a pathetic picture of the common course of domestic life. "Morituri Salutamus " is an admirable poem, written for the fiftieth anniversary of the class of 1825 in Bowdoin College. "Keramos" is a second successful effort in the manner of Schiller's "Song of the Bell." "A Book of Sonnets" shows Longfellow to have been a master in that difficult form of verse. The several small volumes of lyrics published in the later years of his life, while adding little to his fame, showed that the poetic fires within his breast were still burning brightly.

Longfellow had now lived beyond the allotted age of man. He had filled out a beautiful, well-rounded life. Both as a man and as a poet he had gained the respect and love of two generations. But at last, with little warning, the end came. On March 15, 1882, he completed his last poem, "The Bells of San Blas," with the words, ·

"Out of the shadows of night

The world rolls into light;

It is daybreak everywhere."

A little more than a week later, March 24, he passed away. The funeral service, in keeping with his unassuming character, was simple. Only his family and a few intimate friendsamong them Curtis, Emerson, and Holmes were present; but two continents were mourning his death.

"His gracious presence upon earth

Was as a fire upon a hearth;

As pleasant songs, at morning sung,

The words that dropped from his sweet tongue
Strengthened our hearts, or, heard at night,

Made all our slumbers soft and light."