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Tacitus

Publius Tacitus (or Gaius Cornelius Tacitus; c. 56–after 117 AD), Roman orator, lawyer, and senator. He is considered one of antiquity's greatest historians.

Agricola (98)

 * In De vita et moribus Iulii Agricolae, Tacitus describes and praises the life of his father-in-law Gnaeus Julius Agricola, an eminent Roman general. It covers briefly the people and geography of Britain, where Agricola was stationed.

 * Idque apud imperitos humanitas vocabatur, cum pars servitutis esset.
 * Because they didn't know better, they called it "civilization," when it was part of their slavery.
 * Book 1, paragraph 21
 * Variant translation: Step by step they were led to things which dispose to vice, the lounge, the bath, the elegant banquet. All this in their ignorance they called civilisation, when it was but a part of their servitude.
 * As translated by Alfred John Church and William Jackson Brodribb

 * Auferre, trucidare, rapere, falsis nominibus imperium, atque, ubi solitudinem faciunt, pacem appellant.
 * To ravage, to slaughter, to usurp under false titles, they call empire, and where they make a desert, they call it peace.
 * Close of chapter 30, Oxford Revised Translation
 * Variant translations:
 * They plunder, they slaughter, and they steal: this they falsely name Empire, and where they make a wasteland, they call it peace.
 * Loeb Classical Library edition
 * To plunder, butcher, steal, these things they misname empire: they make a desolation and they call it peace.
 * As translated by William Peterson
 * More colloquially: They rob, kill and plunder and deceivingly call it "Roman rule", and where they make a desert, they call it "peace".
 * This is a speech by the Caledonian chieftain Calgacus addressing assembled warriors about Rome's insatiable appetite for conquest and plunder. The chieftain's sentiment can be contrasted to "peace given to the world" which was frequently inscribed on Roman medals. The last part solitudinem faciunt, pacem appellant (they make a desert, and call it peace) is often quoted alone. Lord Byron for instance uses the phrase (in English) as follows,

 * Mark where his carnage and his conquests cease! He makes a solitude, and calls it — peace.
 * Lord Byron, Bride of Abydos (1813), Canto 2, stanza 20

 * Et maiores vestros et posteros cogitate.
 * Think of your forefathers and posterity.
 * Chapter 32

 * Proprium humani ingenii est odisse quem laeseris.
 * It belongs to human nature to hate those you have injured.
 * Chapter 42; reported in Bartlett's Familiar Quotations, 10th ed. (1919)

 * Tu vero felix, Agricola, non vitae tantum claritate, sed etiam opportunitate mortis.
 * Thou wast indeed fortunate, Agricola, not only in the splendour of thy life, but in the opportune moment of thy death.
 * Chapter 45

Germania (98)

 * The Germans themselves I should regard as aboriginal, and not mixed at all with other races through immigration or intercourse. For in former times, it was not by land but on shipboard that those who sought to emigrate would arrive; and the boundless and, so to speak, hostile ocean beyond us, is seldom entered by a sail from our world.
 * Chapter 2

 * They even say that an altar dedicated to Ulysses, with the addition of the name of his father, Laertes, was formerly discovered on the same spot, and that certain monuments and tombs with Greek inscriptions, still exist on the borders of Germany and Rhaetia.
 * Chapter 3

 * On the whole, one would say that their strength is in their infantry, which fights along with the cavalry; admirably adapted to the action of the latter is the swiftness of certain foot soldiers, who are picked from the entire youth of their country, and stationed in front of the line.
 * Chapter 6

 * Scutum reliquisse praecipuum flagitium, nec aut sacris adesse aut concilium inire ignominioso fas; multique superstites bellorum infamiam laqueo finierunt.
 * To abandon your shield is the basest of crimes; nor may a man thus disgraced be present at the sacred rites, or enter their council; many, indeed, after escaping from battle, have ended their infamy with the halter.
 * Chapter 6

 * Mercury is the deity whom they chiefly worship, and on certain days they deem it right to sacrifice to him even with human victims.
 * Chapter 9

 * Quanquam severa illic matrimonia
 * However the marriage is there severe.
 * Start of chapter 18
 * This is in the sense that the matrimonial bond was strictly observed by the Germanic peoples, this being compared favorably against licentiousness in Rome. Tacitus appears to hold the fairly strict monogamy (with some exceptions among nobles who marry again) between Germanic husbands and wives, and the chastity among the unmarried to be worthy of the highest praise. (Ch. 18).

 * ...ibi boni mores valent quam alibi bonae leges.
 * ...good habits are here more effectual than good laws elsewhere.
 * End of chapter 19

 * No one in Germany laughs at vice, nor do they call it the fashion to corrupt and to be corrupted.
 * Chapter 19

 * Indeed, the crowning proof of their valour and their strength is that they keep up their superiority without harm to others.
 * Chapter 35

 * Dwelling on one side of the Chauci and Chatti, the Cherusci long cherished, unassailed, an excessive and enervating love of peace. This was more pleasant than safe, for to be peaceful is self-deception among lawless and powerful neighbours. Where the strong hand decides, moderation and justice are terms applied only to the more powerful; and so the Cherusci, ever reputed good and just, are now called cowards and fools, while in the case of the victorious Chatti success has been identified with prudence. The downfall of the Cherusci brought with it also that of the Fosi, a neighbouring tribe, which shared equally in their disasters, though they had been inferior to them in prosperous days.
 * Chapter 36

 * Their shields are black, their bodies dyed. They choose dark nights for battle, and, by the dread and gloomy aspect of their death-like host, strike terror into the foe, who can never confront their strange and almost infernal appearance.
 * Chapter 43

 * All this is unauthenticated, and I shall leave it open.
 * Chapter 46 (last text line)

Histories (100-110)

 * Rara temporum felicitate, ubi sentire quae velis, et quae sentias dicere licet.
 * Translation: It is the rare fortune of these days that one may think what one likes and say what one thinks.
 * Book I, 1

 * Indeed, when a ruler once becomes unpopular, all his acts, be they good or bad, tell against him.
 * Book I, 7

 * Once killing starts, it is difficult to draw the line.
 * Book I, 39

 * He possessed a peculiar talent of producing effect in whatever he said or did.
 * Book II, 80

 * Expugnatae urbis praedam ad militem, deditae ad duces pertinere.
 * The soldiers have the plunder of a city that is stormed, the generals of one which capitulates.
 * Book III, 19; Church-Brodribb translation

 * Divisa inter exercitum ducesque munia: militibus cupidinem pugnandi convenire, duces providendo, consultando, cunctatione saepius quam temeritate prodesse. ut pro virili portione armis ac manu victoriam iuverit, ratione et consilio, propriis ducis artibus, profuturum.
 * There is a division of duties between the army and its generals. Eagerness for battle becomes the soldiers, but generals serve the cause by forethought, by counsel, by delay oftener than by temerity. As I promoted your victory to the utmost of my power by my sword and by my personal exertions, so now I must help you by prudence and by counsel, the qualities which belong peculiarly to a general.
 * Book III, 20; Church-Brodribb translation

 * Some might consider him as too fond of fame; for the desire for glory clings even to the best men longer than any other passion.
 * Book IV, 6

 * Deos fortioribus adesse.
 * The gods are on the side of the stronger.
 * Book IV, 17

 * Vitia erunt donec homines
 * There will be vices as long as there are men.
 * Book IV, 74; Church-Brodribb translation

Annals (117)

 * Tiberii Gaique et Claudii ac Neronis res florentibus ipsis ob metum falsae, postquam occiderant, recentibus odiis compositae sunt. inde consilium mihi pauca de Augusto et extrema tradere, mox Tiberii principatum et cetera, sine ira et studio, quorum causas procul habeo.
 * The histories of Tiberius, Caius, Claudius, and Nero, while they were in power, were falsified through terror, and after their death were written under the irritation of a recent hatred. Hence my purpose is to relate a few facts about Augustus - more particularly his last acts, then the reign of Tiberius, and all which follows, without either bitterness or partiality, from any motives to which I am far removed.
 * Book I, 1; Church-Brodribb translation

 * Juniores post Actiacam victoriam, etiam senes plerique inter bella civium nati: quotus quisque reliquus qui rem publicam vidisset? Igitur verso civitatis statu nihil usquam prisci et integri moris: omnes exuta aequalitate iussa principis aspectare, ...
 * The younger men had been born after the victory of Actium; most even of the elder generation, during the civil wars; few indeed were left who had seen the Republic. It was thus an altered world, and of the old, unspoilt Roman character not a trace lingered. Equality was an outworn creed, and all eyes looked to the mandate of the sovereign, ...
 * Book I, 3-4; Loeb Classical Library translation by John Jackson (1931)

 * Pacem sine dubio post haec, verum cruentam.
 * No doubt, there was peace after all this, but it was a peace stained with blood.
 * Book I, 10; Church-Brodribb translation

 * Nihil deorum honoribus relictum, cum se templis et effigie numinum per flamines et sacerdotes coli vellet.
 * No honour was left for the gods, when Augustus chose to be himself worshipped with temples and statues, like those of the deities, and with flamens and priests.
 * Book I, 10; Church-Brodribb translation

 * Ne Tiberium quidem caritate aut rei publicae cura successorem adscitum, sed quoniam adrogantiam saevitiamque eius introspexerit, comparatione deterrima sibi gloriam quaesivisse.
 * He had not even adopted Tiberius as his successor out of affection or any regard to the State, but, having thoroughly seen his arrogant and savage temper, he had sought glory for himself by a contrast of extreme wickedness.
 * Book I, 10; Church-Brodribb translation

 * So true is it that all transactions of preeminent importance are wrapt in doubt and obscurity; while some hold for certain facts the most precarious hearsays, others turn facts into falsehood; and both are exaggerated by posterity.
 * Book III, 19
 * Variant: So obscure are the greatest events, as some take for granted any hearsay, whatever its source, others turn truth into falsehood, and both errors find encouragement with posterity.

 * Corruptissima re publica plurimae leges.
 * The more numerous the laws, the more corrupt the government.
 * Book III, 27
 * Variant translations:
 * The more corrupt the state, the more laws.
 * And now bills were passed, not only for national objects but for individual cases, and laws were most numerous when the commonwealth was most corrupt.

 * For I deem it to be the chief function of history to rescue merit from oblivion, and to hold up before evil words and evil deeds the terror of the reprobation of posterity.
 * Book III, 65

 * Viginti clarissimarum familiarum imagines antelatae sunt, Manlii, Quinctii aliaque eiusdem nobilitatis nomina. sed praefulgebant Cassius atque Brutus eo ipso quod effigies eorum non visebantur.
 * The busts of twenty most illustrious families were borne in the procession, with the names of Manlius, Quinctius, and others of equal rank. But Cassius and Brutus outshone them all, from the very fact that their likenesses were not to be seen.
 * Book III, 76; Church-Brodribb translation
 * According to | Lippincott's Monthly Magazine:
 * This line is the origin of Lord John Russell's phrase "Conspicuous by its absence"; of which Russell said "It is not an original expression of mine, but is taken from one of the greatest historians of antiquity". Similar phrases also are found in the tragedy Tiberius of Joseph Chénier and in Les Hommes Illustres of Charles Perrault.

 * Neque femina amissa pudicitia alia abnuerit.
 * A woman after having parted with her virtue will hesitate at nothing.
 * Book IV, 3; Church-Brodribb translation

 * Suum cuique decus posteritas rependit.
 * To every man posterity gives his due honour.
 * Book IV, 35; Church-Brodribb translation

 * Punitis ingeniis, gliscit auctoritas.
 * When men of talents are punished, authority is strengthened.
 * Book IV, 35.

 * He had talents equal to business, and aspired no higher.
 * Book VI, 39

 * He upbraided Macro, in no obscure and indirect terms, "with forsaking the setting sun and turning to the rising".
 * Book VI, 52, referring to Tiberius

 * What is today supported by precedents will hereafter become a precedent.
 * Book XI, 24

 * Habet aliquid ex iniquo omne magnum exemplum, quod contra singulos, utilitate publica rependitus.
 * Every great example of punishment has in it some injustice, but the suffering individual is compensated by the public good.
 * Book XIV, 44

 * non enim ignavia magna imperia contineri
 * Great empires are not maintained by timidity.
 * Book XV, 1

 * nisi impunitatis cupido retinuisset, magnis semper conatibus adversa.
 * The desire for safety stands against every great and noble enterprise.
 * Book XV, 50, in his account of Subrius Flavus’ passing thought of assassinating Nero while the emperor sang on stage.
 * Variant translation: "but desire of escape, foe to all great enterprises, held him back."

 * cupido dominandi cunctis adfectibus flagrantior est
 * Lust of absolute power is more burning than all the passions.
 * Book XV, 53

Quotes about Tacitus

 * Tacitus appears to have been as great an enthusiast as Petrarch for the revival of the republic and universal empire. He has exerted the vengeance of history upon the emperors, but has veiled the conspiracies against them, and the incorrigible corruption of the people which probably provoked their most atrocious cruelties. Tyranny can scarcely be practised upon a virtuous and wise people.
 * John Adams, diary entry, 31 July 1796

 * Of all histories I think Tacitus simply the best.
 * Francis Bacon, Advice to Fulke Greville on his studies, quoted in The Oxford Authors: Francis Bacon, ed. Brian Vickers (1996), p. 105

 * [Tacitus] has a higher reputation than other more learned historians, because he not only narrates events, but, so to speak, writes a commentary on his own narrative.
 * Maiolino Bisaccioni, Historia della guerre civili (1653), p. 1, quoted in Peter Burke, 'A Survey of the Popularity of Ancient Historians, 1450–1700', History and Theory, Vol. 5, No. 2 (1966), p. 151

 * The appeal of Tacitus' Germania to Englishmen as an account of their ancestors was to be a lasting one; its influence is still obvious in the high-Victorian scholarship of Stubbs, Freeman and Green... As a piece of ethnography, Tacitus' work has much charm, sowing in the mind images from heroic life: the lightly dressed warriors, bound by a touching loyalty to their chief, urged on in battle by their chaste wives; the assemblies, held in the open at new or full moon, clashing weapons as a sign of assent; the investiture of the young warrior with shield and spear; the villages of scattered houses, each surrounded by a clearing; everywhere the surrounding forest. Tacitean society is not one of absolute equality; there are important hereditary distinctions of rank. But the general impression is one of a hard, in some respects savage, but simple, spacious and independent life, and a society essentially transparent and free, bound together by intelligible, strong, yet largely voluntary loyalties.
 * J. W. Burrow, A Liberal Descent: Victorian Historians and the English Past (1981), pp. 109-110

 * He represented to the life...not only outward actions...but also the most secret of thoughts.
 * Girolamo Canini (d.1626), the prefatory 'del modo di cavar profitto della lettura' to Tacitus, Opera (1628), quoted in Peter Burke, 'A Survey of the Popularity of Ancient Historians, 1450–1700', History and Theory, Vol. 5, No. 2 (1966), p. 150

 * His bias against the dynastic system is plain; yet his accuracy, though severely probed by modern criticism, can rarely be impugned. Though sometimes an unfavourable interpreter of his facts, he will not blacken even Tiberius or Nero by crediting stupid rumours about them (Ann. 4. 1 1; 16. 6). His picture of capital and court is terrible, but its general truth is incontestable. His gaze is focused upon Rome; when he looks farther be approves the sturdy simplicity of North Italy and the provinces (Ann. 16. 5), and can pen a moving appeal for the preservation of the Empire (Hist. 4. 74). Though mistrustful of "civilization" and of its debilitating effects, he never despairs of human nature: even the Civil War produced examples of heroism, loyalty, and friendship (Hist. I. 3), and virtue is not confined to past ages (Ann. 3. 55). Napoleon called Tacitus a "traducer of humanity": from one who spent his powers in annihilating humanity this verdict is interesting, but simply untrue. In independent research and judgement, in essential truth, in the dramatic power and nobility of an enthralling style, Tacitus claims his place among the greatest historians.
 * Martin Charlesworth, 'Tacitus' in The Oxford Classical Dictionary (1949; 1957), p. 877

 * He was most diligent in explaining motives (in consiliis explicandis) and most penetrating in enquiring into causes; no one has seen more acutely or described more faithfully the arts of princes and of those around them.
 * Celio Secondo Curione, 'How to read history', De Historia legenda, in Artis Historicae Penus (1579), vol. II, p. 600, quoted in Peter Burke, 'A Survey of the Popularity of Ancient Historians, 1450–1700', History and Theory, Vol. 5, No. 2 (1966), p. 150

 * The most civilized nations of modern Europe issued from the woods of Germany, and in the rude institutions of those barbarians, we may still distinguish the original principles of our present laws and manners. In their primitive state of simplicity and independence, the Germans were surveyed by the discerning eye, and delineated by the masterly pencil of Tacitus, the first of historians who applied the science of  philosophy  to the study of facts. In his incomparable treatise, which contains, perhaps, more ideas than words, he has comprehended a description of the German manners, that has formerly exercised the diligence of  innumerable antiquarians, and employed the genius and penetration of the philosophic historians of our own times.
 * Edward Gibbon, The History of the Decline and Fall of the Roman Empire, Volume the First  (1776), p. 217

 * Moral purpose...is never absent from Tacitus' mind. The sequence of events on which he chooses to focus his attention provoked the sternest moral reflections. To him, as to many others, decline and disaster seemed due to vice. Virtue and vice are continually emphasized and contrasted. As Tacitus himself says, "I regard it as the foremost task of the historian to ensure that virtues are not left unrecorded, and that evil words and deeds are made subject to the fears inspired by posterity's denunciation."
 * Michael Grant, 'Introduction' to Tacitus, The Annals of Imperial Rome (1956), p. 14

 * [I]t seems that he is not really able to believe that an autocrat can be good. For he constantly stresses the evils of rule by one man. Perhaps this conviction is the central point of his philosophy. No amount of experience, he infers, can stand up against the corrupting effects of autocratic authority. "In spite of all his experience of public affairs, Tiberius was transformed and deranged by absolute power." So it was under Tiberius that freedom suffered its most fatal losses. As these are remorselessly described we do not feel two thousand years distant.
 * Michael Grant, 'Introduction' to Tacitus, The Annals of Imperial Rome (1956), p. 19

 * Human fate often looks black to Tacitus. So does human nature. Yet he is far from sceptical about the potentialities of the human spirit. Even in times of civil war and tyrannical government, he is able to point to human actions of extraordinary virtue, bravery, and pertinacity. Indeed he is a humanist, and one whose contribution to our western tradition of humanism has been immense and singularly inspiring.
 * Michael Grant, 'Introduction' to Tacitus, The Annals of Imperial Rome (1956), pp. 20-21

 * The outstanding quality of Tacitus is his brilliance as a literary artist. Racine called him "the greatest painter of antiquity". Others have compared his work not so much to a series of pictures as to a continuous frieze. But of his supreme artistic genius there can be no doubt. A large part of the artistry resides in his style – the aspect of his talent which a translator has least hope of reproducing. Now ancient readers usually recognized stylistic talent, and by no means found that it interfered with their enjoyment when history contained a strong infusion of rhetoric. But the style of Tacitus, as it had developed to its culminating point in these Annals, was indeed extraordinary. It displays a sharp, astringent contrast to the rotund periods of Cicero and to the flowing, "milky" diction of Livy.
 * Michael Grant, 'Introduction' to Tacitus, The Annals of Imperial Rome (1956), p. 22

 * Cornelius Tacitus is very good at teaching subjects how to live and act prudently, just as he teaches tyrants how to establish tyranny.
 * Francesco Guicciardini, Ricordi, in Opere di Francesco Guicciardini, ed. Emanuella Lugani Scarano (1970), vol. I, p. 732, quoted in Peter Burke, 'Tacitism', in T. A. Dorey (ed.), Tacitus (1969), p. 153

 * Tacitus I consider the first writer in the world without a single exception. His book is a compound of history and morality of which we have no other example.
 * Thomas Jefferson, to his grand-daughter Anne Cary Bankhead, in a letter dated 1808.

 * [Tacitus] is a great writer who is especially appropriate for great persons, that is, those who hold the tiller of the state or those who give advice and counsel to the helmsman. What part of civil and military prudence, and what emotions of men (even concealed), what fortunes or events does he not openly reveal or show under a veil? ... There is none among the Greeks or Romans, and I will confidently assert, there will never be any, who can be compared with Tacitus in the glory earned by his prudence of every sort.
 * Justus Lipsius, 'Adlocutio Itera', in C. Cornelii Taciti opera quae exstant (1607), quoted in Mark Morford, 'Tacitean Prudentia and the Doctrine of Justus Lipsius', in T. J. Luce and A. J. Woodman (eds.), Tacitus and the Tacitean Tradition (1993), p. 139

 * Tacitus goes beyond this common source to provide a level of detail and an acuteness of political perception that is unique to his version. Likewise, though Tacitus knew the common sources which Suetonius, Dio, and Plutarch used in their accounts of the Civil War of 69, his result is so different that we must attribute the final product to his own craft and intelligence rather than to his raw material.
 * Ronald Mellor, Tacitus (1993), p. 33

 * No international enterprise as yet has taken the initiative in collecting the hundred most dangerous books ever written. No doubt some time this collection will be made. When it is done, I suggest that Homer's Iliad and Tacitus' Germania should be given high priority among these hundred dangerous books. This is no reflection on Homer and Tacitus. Tacitus was a gentleman and, for all that I know, Homer was a gentleman too. But who will deny that the Iliad and the Germania raise most unholy passions in the human mind? It is fortunately not my task to speak here about the influence of Tacitus' Germania. One horror is enough for one day.
 * Arnaldo Momigliano, 'Some Observations on Causes of War in Ancient Historiography', Acta Congressus Madvigiant, Proceedings of the Second International Congress of Classical Studies 1954, vol. I (1958), pp. 119-211, quoted in A. D. Momigliano, Studies in Historiography (1966; 1969), pp. 112-113

 * Tacitus has written an entire work on the manners of the Germans. This work is short, but it comes from the pen of Tacitus, who was always concise, because he saw everything at a glance.
 * Montesquieu, The Spirit of the Laws, Book XXX, Section 2

 * If Juvenal is supreme over the poets of his time, Tacitus is as clearly monarch of the prose-writers. He was continuing the work of Livy and writing from the same republican standpoint. But for history-writing he had certainly discovered a finer style of rhetoric. Both are rhetoricians first and historians a long way after, but the packed epigrams of Tacitus say more in a line than Livy is  capable of thinking in a chapter. In describing a battle, a riot, or a panic, or in painting some tragic scene, such as the death of Vitellius, Tacitus is unequalled. The freedom that was permitted to him and Suetonius in depicting the crimes and follies of the earlier Cæsars affords remarkable evidence of the freedom of letters under Nerva, Trajan, and Hadrian. Here, again, it is necessary, as in the case of Juvenal, to beware of accepting too literally the severity of his criticisms upon the preceding generation. To praise the past at the expense of the present was one of the traditions of Roman literature. But Tacitus was the last of Rome's great historians and his loss was irreparable.
 * J. C. Stobart, The Grandeur That Was Rome: A Survey of Roman Culture and Civilisation (1912), pp. 289-290

 * These personal statements of Tacitus' aims and beliefs seem to be, if not wholly consistent, at least candid; but even the most superficial reading of his history will bring them into question. The claim to write "sine ira et studio" has been condemned by certain critics as sheer hypocrisy, and while most scholars have thought it honest in intention, few have considered the attempt successful. The aim of moral instruction, "ne virtutes sileantur", has been dismissed as political partisanship; his wish to trace events to their causes has been thought casual or pretentious. His views on philosophy and religion have been variously called agnostic, sceptical, stoic, fatalist, superstitious, and (as a last resort) "deeply original".
 * B. Walker, The Annals of Tacitus: A Study in the Writing of History (1952; 1960), p. 2

title: Tacitus


text:
Henry Wadsworth Longfellow

Henry Wadsworth Longfellow (27 February 1807 – 24 March 1882) was an American poet and one of the five members of the group known as the Fireside Poets.

Quotes

 * The warriors that fought for their country, and bled, Have sunk to their rest; the damp earth is their bed; No stone tells the place where their ashes repose, Nor points out the spot from the graves of their foes. They died in their glory, surrounded by fame, And Victory's loud trump their death did proclaim; They are dead; but they live in each Patriot's breast, And their names are engraven on honor's bright crest.
 * "The Battle of Lovell's Pond," poem first published in the Portland Gazette (November 17, 1820).

 * And dimly seen, a tangled mass. Of Walls and woods of light and shade. Stands beckoning up the Stelvio pass Varenna, with its white cascade. I ask myself is this a dream? Will it all vanish into air? Is there a land of such supreme. And perfect beauty anywhere! Sweet vision! Do not fade away; Linger until my heart shall take- Into itself the Summer day And all the beauty of the lake.
 * , Poems of places, Cadenabbia (1872)
 * And, (Lake) Como ! thou, a treasure whom the earth / Keeps to herself, confined as in a depth / Of Abyssinian privacy. I spake / Of thee, thy chestnut woods, and garden plots / Of Indian-corn tended by dark-eyed maids; / Thy lofty steeps, and pathways roofed with vines, / Winding from house to house, from town to town, / Sole link that binds them to each other ; walks, / League after league, and cloistral avenues, / Where silence dwells if music be not there: / While yet a youth undisciplined in verse, / Through fond ambition of that hour, I strove / To chant your praise ; nor can approach you now / Ungreeted by- a more melodious song, / Where tones of nature smoothed by learned art / May flow in lasting current. Like a breeze / Or sunbeam over your domain I passed / In motion without pause; but ye have left / Your beauty with me, a serene accord / Of forms and colors, passive, yet endowed / In their subinissivencss with power as sweet / And gracious, almost might I dare to say, / As virtue is, or goodness; sweet as love, / Or the remembrance of a generous deed, / Or mildest visitation of pure thought, / When God, the giver of all joy, is thanked / Religiously, in silent blessedness; / Sweet as this last herself, for such it is.
 * , Poems of places, Vols. XI–XIII, Lake Como. The Prelude (1876–79)

 * Music is the universal language of mankind — poetry their universal pastime and delight.
 * Outre-Mer.

This life of mortal breath Is but a suburb of the life elysian, Whose portal we call Death.
 * There is no Death! What seems so is transition;
 * Resignation, as reported in Hoyt's New Cyclopedia Of Practical Quotations (1922)

 * I heard the trailing garments of the Night Sweep through her marble halls! I saw her sable skirts all fringed with light From the celestial walls!
 * Hymn to the Night, st. 1 (1839).

 * Look, then, into thine heart, and write!
 * Voices of the Night, Prelude, st. 19 (1839).

 * There is a Reaper, whose name is Death, And, with his sickle keen, He reaps the bearded grain at a breath, And the flowers that grow between.
 * The Reaper and the Flowers, st. 1 (1839).

 * "Ah! this beautiful world!" said Flemming, with a smile. "Indeed, I know not what to think of it. Sometimes it is all gladness and sunshine, and Heaven itself lies not far off. And then it changes suddenly; and is dark and sorrowful, and clouds shut out the sky. In the lives of the saddest of us, there are bright days like this, when we feel as if we could take the great world in our arms and kiss it. Then come the gloomy hours, when the fire will neither burn on our hearths nor in our hearts; and all without and within is dismal, cold, and dark. Believe me, every heart has its secret sorrows, which the world knows not, and oftentimes we call a man cold, when he is only sad."
 * Hyperion, Bk. III, Ch. IV (1839).

 * Look not mournfully into the Past. It comes not back again. Wisely improve the Present. It is thine. Go forth to meet the shadowy Future, without fear, and with a manly heart.
 * Hyperion, Bk. IV, Ch. 8 (1839).

 * Thus, seamed with many scars Bursting these prison bars, Up to its native stars My soul ascended! There from the flowing bowl Deep drinks the warrior's soul, Skoal! to the Northland! skoal! —Thus the tale ended.
 * The Skeleton in Armor, st. 20 (1841).

 * No one is so accursed by fate, No one so utterly desolate, But some heart, though unknown, Responds unto his own.
 * Endymion, st. 8 (1842).

 * Thy fate is the common fate of all; Into each life some rain must fall, Some days must be dark and dreary.
 * "The Rainy Day", Bentley's Miscellany (December 1841).

 * I like that ancient Saxon phrase, which calls The burial-ground God's-Acre! It is just; It consecrates each grave within its walls, And breathes a benison o'er the sleeping dust.
 * God's-Acre, st. 1 (1842).

 * Standing, with reluctant feet, Where the brook and river meet, Womanhood and childhood fleet!
 * Maidenhood, st. 3 (1842).

 * O thou child of many prayers! Life hath quicksands; life hath snares!
 * Maidenhood, st. 9 (1842).

 * The shades of night were falling fast, As through an Alpine village passed A youth, who bore, 'mid snow and ice, A banner with the strange device, Excelsior!
 * Excelsior, st. 1 (1842).

 * Stars of the summer night! Far in yon azure deeps, Hide, hide your golden light! She sleeps! My lady sleeps!
 * The Spanish Student, Act I, sc. iii (serenade) (1843).

 * She floats upon the river of his thoughts.
 * The Spanish Student, Act II, sc. iii (1843).

 * I stood on the bridge at midnight, As the clocks were striking the hour, And the moon rose o'er the city, Behind the dark church-tower.
 * The Bridge, st. 1 (1845).

 * Never here, forever there, Where all parting, pain, and care, And death, and time shall disappear,— Forever there, but never here! The horologe of Eternity Sayeth this incessantly,— "Forever — never! Never — forever!"
 * The Old Clock on the Stairs, st. 9 (1845).

 * I shot an arrow into the air, It fell to earth, I knew not where.
 * The Arrow and the Song, st. 1 (1845).

 * And the song, from beginning to end, I found again in the heart of a friend.
 * The Arrow and the Song, st. 3.

 * In the valley of the Pegnitz, where, Across broad meadow-lands, Rise the blue Franconian mountains, Nuremburg, the ancient, stands. Quaint old town of toil and traffic, Quaint old town of art and song, Memories haunt thy pointed gables, Like the rooks that round thee throng.
 * Nuremburg (1846).

 * O holy trust! O endless sense of rest! Like the beloved John To lay his head upon the Saviour's breast, And thus to journey on!
 * "Hymn, For my Brother's Ordination", The Seaside and the Fireside (1850).

 * There is no flock, however watched and tended, But one dead lamb is there! There is no fireside, howsoe'er defended, But has one vacant chair!
 * Resignation, st. 1 (1849).

 * There is no Death! What seems so is transition; This life of mortal breath Is but a suburb of the life elysian, Whose portal we call Death.
 * Resignation, st. 5.

 * In the elder days of Art, Builders wrought with greatest care Each minute and unseen part; For the gods see everywhere.
 * The Builders (1849).

 * Nothing useless is, or low; Each thing in its place is best; And what seems but idle show Strengthens and supports the rest.
 * The Builders, st. 2 (1849).

 * God sent his Singers upon earth With songs of sadness and of mirth, That they might touch the hearts of men, And bring them back to heaven again.
 * The Singers, st. 1 (1849).

 * But the great Master said, "I see No best in kind, but in degree; I gave a various gift to each, To charm, to strengthen, and to teach.
 * The Singers, st. 6.

 * If we could read the secret history of our enemies, we should find in each man's life sorrow and suffering enough to disarm all hostility.
 * Driftwood (1857).

 * St. Augustine! well hast thou said, That of our vices we can frame A ladder, if we will but tread Beneath our feet each deed of shame!
 * The Ladder of St. Augustine, st. 1 (1858).

 * The heights by great men reached and kept Were not attained by sudden flight, But they, while their companions slept, Were toiling upward in the night.
 * The Ladder of St. Augustine, st. 10.

 * The trees are white with dust, that o'er their sleep Wave their broad curtains in the south-wind's breath, While underneath such leafy tents they keep The long, mysterious Exodus of Death.
 * The Jewish Cemetery at Newport, st. 2 (1858).

 * A boy's will is the wind's will, And the thoughts of youth are long, long thoughts.
 * My Lost Youth, refrain (1858), quoting Olaus Sirma

 * A Lady with a Lamp shall stand In the great history of the land, A noble type of good, Heroic womanhood.
 * Santa Filomena, st. 10 (1858).

 * Ye are better than all the ballads That ever were sung or said; For ye are living poems, And all the rest are dead.
 * Children, st. 9 (1858).

 * Between the dark and the daylight, When the night is beginning to lower, Comes a pause in the day's occupation, That is known as the Children's Hour.
 * The Children's Hour, St. 1 (1860).

 * I hear in the chamber above me The patter of little feet, The sound of a door that is opened, And voices soft and sweet.
 * The Children's Hour, St. 2.

 * Time has laid his hand Upon my heart, gently, not smiting it, But as a harper lays his open palm Upon his harp, to deaden its vibrations.
 * The Golden Legend, Pt. IV, The Cloisters (1872).

 * The grave itself is but a covered bridge, Leading from light to light, through a brief darkness!
 * The Golden Legend, Pt. V, A Covered Bridge at Lucerne.

 * I think I have proved, by profound researches, The error of all those doctrines so vicious Of the old Areopagite Dyonisius, That are making such terrible work in the churches, By Michael the Stammerer sent from the East, And done into Latin by that Scottish beast, Erigena Johannes, who dares to maintain, In the face of the truth, the error infernal, That the universe is and must be eternal; At first laying down, as a fact fundamental, That nothing with God can be accidental; Then asserting that God before the creation Could not have existed, because it is plain That, had he existed, he would have created; Which is begging the question that should be debated, And moveth me less to anger than laughter. All nature, he holds, is a respiration Of the Spirit of God, who, in breathing hereafter Will inhale it into his bosom again, So that nothing but God alone will remain.
 * The Golden Legend, Pt. VI, A travelling Scholastic affixing his Theses to the gate of the College.

 * Turn, turn, my wheel! All things must change To something new, to something strange; Nothing that is can pause or stay; The moon will wax, the moon will wane, The mist and cloud will turn to rain, The rain to mist and cloud again, To-morrow be to-day.
 * Kéramos, st. 3 (1878).

 * Thine was the prophet's vision, thine The exaltation, the divine Insanity of noble minds, That never falters nor abates, But labors and endures and waits, Till all that it foresees it finds Or what it can not find creates.
 * Kéramos, st. 9 (1878).

 * Art is the child of Nature; yes, Her darling child, in whom we trace The features of the mother's face, Her aspect and her attitude, All her majestic loveliness Chastened and softened and subdued Into a more attractive grace, And with a human sense imbued. He is the greatest artist, then, Whether of pencil or of pen, Who follows Nature.
 * Kéramos, st. 29.

 * What land is this? Yon pretty town Is Delft, with all its wares displayed: The pride, the market-place, the crown  And centre of the Potter's trade.
 * Kéramos, line 66; reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 187.

 * Three Silences there are: the first of speech, The second of desire, the third of thought; This is the lore a Spanish monk, distraught With dreams and visions, was the first to teach.
 * The Three Silences of Molinos (1878).

 * The holiest of all holidays are those Kept by ourselves in silence and apart; The secret anniversaries of the heart, When the full river of feeling overflows.
 * Holidays (1878).

 * In the long, sleepless watches of the night, A gentle face — the face of one long dead — Looks at me from the wall, where round its head The night-lamp casts a halo of pale light.
 * The Cross of Snow (1879).

 * Great is the art of beginning, but greater the art is of ending; Many a poem is marred by a superfluous verse.
 * Elegiac Verse, st. 14 (1879).

In Longfellow’s words, the beauty of Lake Como is so unbelievably paradisiac that he’s worried it can fade away at any moment. Like all kinds of happiness in this life.
 * Lines
 * Lines

''' No sound of wheels or hoof-beat breaks

The silence of the summer day,

As by the loveliest of all lakes

I while the idle hours away.

I pace the leafy colonnade

Where level branches of the plane

Above me weave a roof of shade

Impervious to the sun and rain.

At times a sudden rush of air

Flutters the lazy leaves o'erhead,

And gleams of sunshine toss and flare

Like torches down the path I tread.

By Somariva's garden gate

I make the marble stairs my seat,

And hear the water, as I wait,

Lapping the steps beneath my feet.

The undulation sinks and swells

Along the stony parapets,

And far away the floating bells

Tinkle upon the- fisher's nets.

Silent and slow, by tower and town

The freighted barges come and go,

Their pendent shadows gliding down

By town and tower submerged below.

The hills sweep upward from the shore

With villas scattered one by one

Upon their wooded spurs, and lower

Bellagio blazing in the sun.

And dimly seen, a tangled mass

Of walls and woods, of light and shade,

Stands beckoning up the Stelvio Pass

Varenna with its white cascade.

I ask myself, Is this a dream?

Will it all vanish into air-?

Is there a land of such supreme

And perfect beauty anywhere?

Sweel vision! Do not fade away;

Linger until my heart shall take

Into itself the summer day,

And all the, beauty of the lake.

Linger until upon my brain

Is stamped an image of the scene,

Then fade into the air again,

And be as if thou hadst not been.'''

 * There was a little girl, Who had a little curl, Right in the middle of her forehead. When she was good, She was very good indeed, But when she was bad she was horrid.
 * There Was a Little Girl
 * Often misquoted as "When she was good/She was very, very good".

 * O Bells of San Blas in vain Ye call back the Past again; The Past is deaf to your prayer! Out of the shadows of night The world rolls into light; It is daybreak everywhere.
 * The Bells of San Blas, st. 11 (March 15, 1882).

 * Though the mills of God grind slowly, yet they grind exceeding small; Though with patience he stands waiting, with exactness grinds he all.
 * Longfellow's translation of Friedrich von Logau, "Retribution", Sinngedichte III, 2, 24..

 * He that respects himself is safe from others; he wears a coat of mail that none can pierce.
 * From 'Michael Angelo' (published posthumously), as included in The poetical works, Houghton Mifflin (1887), p. 316.

 * The star of the unconquered will.
 * The Light of Stars, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * Oh, fear not in a world like this, And thou shalt know erelong,— Know how sublime a thing it is To suffer and be strong.
 * The Light of Stars, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * Spake full well, in language quaint and olden, One who dwelleth by the castled Rhine, When he called the flowers, so blue and golden, Stars, that in earth's firmament do shine.
 * Flowers, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * The hooded clouds, like friars, Tell their beads in drops of rain.
 * Midnight Mass, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * For Time will teach thee soon the truth, There are no birds in last year's nest!
 * It is not always May, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * The prayer of Ajax was for light.
 * The Goblet of Life, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * O suffering, sad humanity! O ye afflicted ones, who lie Steeped to the lips in misery, Longing, yet afraid to die, Patient, though sorely tried!
 * The Goblet of Life, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * My soul is full of longing For the secret of the Sea, And the heart of the great ocean Sends a thrilling pulse through me.
 * The Secret of the Sea, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * Books are sepulchres of thought.
 * Wind over the Chimney, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * This is the place. Stand still, my steed,— Let me review the scene, And summon from the shadowy past The forms that once have been.
 * A Gleam of Sunshine, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * The leaves of memory seemed to make A mournful rustling in the dark.
 * The Fire of Drift-wood, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * The surest pledge of a deathless name Is the silent homage of thoughts unspoken.
 * The Herons of Elmwood, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * He has singed the beard of the king of Spain.
 * The Dutch Picture, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

A Psalm of Life (1839)

 * Tell me not, in mournful numbers, "Life is but an empty dream!" For the soul is dead that slumbers, And things are not what they seem.
 * St. 1.

 * Life is real! Life is earnest! And the grave is not its goal; Dust thou art, to dust returnest, Was not spoken of the soul.
 * St. 2.

 * Not enjoyment, and not sorrow, Is our destined end or way; But to act, that each to-morrow Finds us further than to-day.
 * St. 3.

 * Art is long, and Time is fleeting, And our hearts, though stout and brave, Still, like muffled drums, are beating Funeral marches to the grave.
 * St. 4.
 * Cf. Andrew Marvell, Upon the Death of Lord Hastings (1649): "Art indeed is long, but life is short".

 * Trust no future, howe'er pleasant! Let the dead Past bury its dead! Act, act in the living present! Heart within, and God o'erhead!
 * St. 6.

 * Lives of great men all remind us We can make our lives sublime, And departing, leave behind us Footprints on the sands of time;
 * St. 7.

Travelling o'er life's solemn main, A forlorn and shipwrecked brother, Seeing, shall take heart again.
 * Footprints, that perhaps another,
 * St. 8.

 * Let us, then, be up and doing. With a heart for any fate; Still achieving, still pursuing, Learn to labor and to wait.
 * St. 9.

The Wreck of the Hesperus (1842)

 * It was the schooner Hesperus, That sailed the wintry sea; And the skipper had taken his little daughter, To bear him company.
 * St. 1.

 * "O father! I see a gleaming light. Oh say, what may it be?" But the father answered never a word, A frozen corpse was he.
 * St. 12.

 * Such was the wreck of the Hesperus, In the midnight and the snow! Christ save us all from a death like this, On the reef of Norman's Woe!
 * St. 22.

The Village Blacksmith (1842)

 * Under a spreading chestnut-tree The village smithy stands; The smith, a mighty man is he, With large and sinewy hands; And the muscles of his brawny arms Are strong as iron bands.
 * St. 1.

 * His brow is wet with honest sweat, He earns whate'er he can, And looks the whole world in the face, For he owes not any man.
 * St. 2.

 * Each morning sees some task begin, Each evening sees it close Something attempted, something done, Has earned a night's repose.
 * St. 7.

The Day is Done (1845)

 * The day is done, and the darkness Falls from the wings of Night, As a feather is wafted downward From an eagle in his flight.
 * St. 1.

 * A feeling of sadness and longing, That is not akin to pain, And resembles sorrow only As the mist resembles the rain.
 * St. 3.

 * Come, read to me some poem, Some simple and heartfelt lay, That shall soothe this restless feeling, And banish the thoughts of day.
 * St. 4.

 * Not from the grand old masters, Not from the bards sublime, Whose distant footsteps echo Through the corridors of Time.
 * St. 5.

 * Read from some humbler poet, Whose songs gushed from his heart, As showers from the clouds of summer, Or tears from the eyelids start.
 * St. 7.

 * And the night shall be filled with music, And the cares, that infest the day, Shall fold their tents, like the Arabs, And as silently steal away.
 * St. 11.

Evangeline: A Tale of Acadie (1847)

 * This is the forest primeval. The murmuring pines and the hemlocks, Bearded with moss, and in garments green, indistinct in the twilight, Stand like Druids of eld, with voices sad and prophetic, Stand like harpers hoar, with beards that rest on their bosoms.
 * Prelude.

 * Alike were they free from Fear, that reigns with the tyrant, and envy, the vice of republics. Neither locks had they to their doors, nor bars to their windows; But their dwellings were open as day and the hearts of their owners; There the richest was poor, and the poorest lived in abundance.
 * Part I, section 1.

 * When she had passed, it seemed like the ceasing of exquisite music.
 * Part I, section 1.

 * Silently one by one, in the infinite meadows of heaven, Blossomed the lovely stars, the forget-me-nots of the angels.
 * Part I, section 3.

 * Talk not of wasted affection, affection never was wasted; If it enrich not the heart of another, its waters, returning Back to their springs, like the rain, shall fill them full of refreshment; That which the fountain sends forth returns again to the fountain.
 * Part II, section 1.

 * Sorrow and silence are strong, and patient endurance is godlike.
 * Part II, section 1.

 * And as she looked around, she saw how Death the consoler, Laying his hand upon many a heart, had healed it forever.
 * Part II, section 5.

Kavanagh: A Tale (1849)

 * We judge ourselves by what we feel capable of doing, while others judge us by what we have already done.
 * Chapter 1.

 * Ah, how wonderful is the advent of spring! — the great annual miracle of the blossoming of Aaron's rod, repeated on myriads and myriads of branches! — the gentle progression and growth of herbs, flowers, trees, — gentle and yet irrepressible, — which no force can stay, no violence restrain, like love, that wins its way and cannot be withstood by any human power, because itself is divine power. If spring came but once in a century, instead of once a year, or burst forth with the sound of an earthquake, and not in silence, what wonder and expectation there would be in all hearts to behold the miraculous change! But now the silent succession suggests nothing but necessity. To most men only the cessation of the miracle would be miraculous and the perpetual exercise of God's power seems less wonderful than its withdrawal would be.
 * Chapter 13.

 * I am more afraid of deserving criticism than of receiving it. I stand in awe of my own opinion. The secret demerits of which we alone, perhaps, are conscious, are often more difficult to bear than those which have been publicly censured in us, and thus in some degree atoned for.
 * Chapter 30.

 * Give what you have. To someone, it may be better than you dare to think.
 * Chapter 30.

The Building of the Ship (1849)

 * Build me straight, O worthy Master! Stanch and strong, a goodly vessel, That shall laugh at all disaster, And with wave and whirlwind wrestle!
 * Lines 1-4.

 * For his heart was in his work, and the heart Giveth grace unto every Art.
 * Line 7.

 * And see! she stirs! She starts,—she moves,—she seems to feel The thrill of life along her keel, And, spurning with her foot the ground, With one exulting, joyous bound, She leaps into the ocean's arms!
 * Lines 349-354.

 * Sail forth into the sea of life, O gentle, loving, trusting wife, And safe from all adversity Upon the bosom of that sea Thy comings and thy goings be! For gentleness and love and trust Prevail o'er angry wave and gust; And in the wreck of noble lives Something immortal still survives.
 * Line 368.

 * And in the wreck of noble lives Something immortal still survives.
 * Lines 375-376.

 * Thou, too, sail on, O Ship of State! Sail on, O Union, strong and great! Humanity with all its fears, With all the hopes of future years, Is hanging breathless on thy fate!
 * Lines 378-382.

 * Our hearts, our hopes, are all with thee, Our hearts, our hopes, our prayers, our tears, Our faith triumphant o'er our fears, Are all with thee,—are all with thee!
 * Lines 396-399.

The Song of Hiawatha (1855)

 * Thus departed Hiawatha, Hiawatha the Beloved, In the glory of the sunset, In the purple mists of evening, To the regions of the home-wind, Of the Northwest-Wind, Keewaydin, To the Islands of the Blessed, To the Kingdom of Ponemah, To the Land of the Hereafter!
 * Pt. XXII, Hiawatha's Departure, st. 29.

Table-Talk (1857)

 * First published in the Blue and Gold edition of Drift-Wood (1857)

 * Don Quixote thought he could have made beautiful bird-cages and toothpicks if his brain had not been so full of ideas of chivalry. Most people would succeed in small things, if they were not troubled with great ambitions.

 * A torn jacket is soon mended; but hard words bruise the heart of a child.

 * Doubtless criticism was originally benignant, pointing out the beauties of a work, rather than its defects. The passions of men have made it malignant, as the bad heart of Procrustes turned the bed, the symbol of repose, into an instrument of torture.

 * We often excuse our own want of philanthropy by giving the name of fanaticism to the more ardent zeal of others.

 * Every great poem is in itself limited by necessity, — but in its suggestions unlimited and infinite.

 * If we could read the secret history of our enemies, we should find in each man's life sorrow and suffering enough to disarm all hostility.

 * As turning the logs will make a dull fire burn, so change of studies a dull brain.

 * The Laws of Nature are just, but terrible. There is no weak mercy in them. Cause and consequence are inseparable and inevitable. The elements have no forbearance. The fire burns, the water drowns, the air consumes, the earth buries. And perhaps it would be well for our race if the punishment of crimes against the Laws of Man were as inevitable as the punishment of crimes against the Laws of Nature, — were Man as unerring in his judgments as Nature.

 * Round about what is, lies a whole mysterious world of might be, — a psychological romance of possibilities and things that do not happen. By going out a few minutes sooner or later, by stopping to speak with a friend at a corner, by meeting this man or that, or by turning down this street instead of the other, we may let slip some great occasion of good, or avoid some impending evil, by which the whole current of our lives would have been changed. There is no possible solution to the dark enigma but the one word, "Providence".

 * "Let us build such a church, that those who come after us shall take us for madmen," said the old canon of Seville, when the great cathedral was planned. Perhaps through every mind passes some such thought, when it first entertains the design of a great and seemingly impossible action, the end of which it dimly foresees. This divine madness enters more or less into all our noblest undertakings.
 * Here Longfellow is translating or paraphrasing an expression attributed to a canon of Seville, also quoted as "we shall have a church so great and of such a kind that those who see it built will think we were mad".

 * I feel a kind of reverence for the first books of young authors. There is so much aspiration in them, so much audacious hope and trembling fear, so much of the heart's history, that all errors and short-comings are for a while lost sight of in the amiable self-assertion of youth.

 * Authors have a greater right than any copyright, though it is generally unacknowledged or disregarded. They have a right to the reader's civility. There are favorable hours for reading a book, as for writing it, and to these the author has a claim. Yet many people think that when they buy a book they buy with it the right to abuse the author.

 * Love makes its record in deeper colors as we grow out of childhood into manhood; as the Emperors signed their names in green ink when under age, but when of age, in purple.

 * When we reflect that all the aspects of Nature, all the emotions of the soul, and all the events of life, have been the subjects of poetry for hundreds and thousands of years, we can hardly wonder that there should be so many resemblances and coincidences of expression among poets, but rather that they are not more numerous and more striking.

 * The first pressure of sorrow crushes out from our hearts the best wine; afterwards the constant weight of it brings forth bitterness, — the taste and stain from the lees of the vat.

 * The tragic element in poetry is like Saturn in alchemy, — the Malevolent, the Destroyer of Nature ; but without it no true Aurum Potabile, or Elixir of Life, can be made.

The Courtship of Miles Standish (1858)

 * If the great Captain of Plymouth is so very eager to wed me, Why does he not come himself, and take the trouble to woo me? If I am not worth the wooing, I surely am not worth the winning!
 * Pt. III, The Lover's Errand.

 * But as he warmed and glowed, in his simple and eloquent language, Quite forgetful of self, and full of the praise of his rival, Archly the maiden smiled, and, with eyes over-running with laughter, Said, in a tremulous voice, "Why don't you speak for yourself, John?"
 * Pt. III, The Lover's Errand.

 * God had sifted three kingdoms to find the wheat for this planting.
 * Part IV.

 * Into a world unknown,—the corner-stone of a nation.
 * Part V; referring to Plymouth Rock

 * It is the fate of a woman Long to be patient and silent, to wait like a ghost that is speechless, Till some questioning voice dissolves the spell of its silence.
 * Part VI.

 * He is a little chimney and heated hot in a moment.
 * Part VI

Tales of a Wayside Inn (1863-1874)

 * Listen, my children, and you shall hear Of the midnight ride of Paul Revere, On the eighteenth of April, in Seventy-five; Hardly a man is now alive Who remembers that famous day and year.
 * Pt. I, The Landlord's Tale: Paul Revere's Ride, st. 1.

 * One, if by land, and two, if by sea; And I on the opposite shore will be, Ready to ride and spread the alarm Through every Middlesex village and farm For the country folk to be up and to arm.
 * Pt. I, The Landlord's Tale: Paul Revere's Ride, st. 2.

 * And yet, through the gloom and the light, The fate of a nation was riding that night.
 * Pt. I, The Landlord's Tale: Paul Revere's Ride, st. 8.

 * All things come round to him who will but wait.
 * Pt. I, The Student's Tale.

 * A town that boasts inhabitants like me Can have no lack of good society.
 * Pt. I, The Poet's Tale: The Birds of Killingworth.

 * His form was ponderous, and his step was slow; There never was so wise a man before; He seemed the incarnate "Well, I told you so!"
 * Pt. I, The Poet's Tale: The Birds of Killingworth, st. 9.

 * Ships that pass in the night, and speak each other in passing, Only a signal shown and a distant voice in the darkness; So on the ocean of life we pass and speak one another, Only a look and a voice, then darkness again and a silence.
 * Pt. III, The Theologian's Tale: Elizabeth, sec. IV.

 * And suddenly through the drifting brume The blare of the horns began to ring.
 * King Olaf's War-Horns, st. 2.

 * Stronger than steel is the sword of the Spirit; Swifter than arrows, the light of the truth; Greater than anger is love that subdueth.
 * The Nun of Nidaros, st. 9.

Morituri Salutamus (1875)

 * Let him not boast who puts his armor on As he who puts it off, the battle done. Study yourselves; and most of all note well Wherein kind Nature meant you to excel. Not every blossom ripens into fruit.
 * St. 11.

 * And now, my classmates; ye remaining few That number not the half of those we knew, Ye, against whose familiar names not yet The fatal asterisk of death is set, Ye I salute!
 * St. 13.

 * The scholar and the world! The endless strife, The discord in the harmonies of life! The love of learning, the sequestered nooks, And all the sweet serenity of books; The market-place, the eager love of gain, Whose aim is vanity, and whose end is pain!
 * St. 23.

 * Ah, nothing is too late Till the tired heart shall cease to palpitate.
 * St. 24.

 * For age is opportunity no less Than youth itself, though in another dress, And as the evening twilight fades away The sky is filled with stars, invisible by day.
 * St. 25.

The Masque of Pandora and Other Poems (1875)

 * as quoted in The Complete Poetical Works of Henry Wadsworth Longfellow (1891) pp. 250-256.

Much must he toil who serves the Immortal Gods.

With useless endeavour Forever, forever, Is Sisyphus rolling His stone up the mountain!
 * Chorus of the Eumenides: ...

I am alone. These faces in the mirrors Are but the shadows and phantoms of myself; They cannot help nor hinder. No one sees me, Save the all-seeing Gods... ''She lifts the lid. A dense mist rises from the chest and fills the room. Pandora falls senseless on the floor. Storm without.''
 * , waking: ...

Chorus of Dreams from the Gate of Horn: ... Fever of the heart and brain, Sorrow, pestilence, and pain, Moans of anguish, maniac laughter, All the evils that hereafter Shall afflict and vex mankind, All into the air have risen From the chambers of their prison; Only Hope remains behind.

Never by lapse of time The soul defaced by crime Into its former self returns again; For every guilty deed Holds in itself the seed Of retribution and undying pain.
 * Chorus of the Eumenides: ...

Never shall be the loss Restored, till Hath purified them with his heavenly fires; Then what was lost is won, And the new life begun, Kindled with nobler passions and desires.

Decoration Day (1882)

 * Published in The Atlantic (June 1882)

On this Field of the Grounded Arms, Where foes no more molest, Nor sentry’s shot alarms!
 * Sleep, comrades, sleep and rest

And started to your feet At the cannon’s sudden roar, Or the drum’s redoubling beat.
 * Ye have slept on the ground before,

But in this camp of Death No sound your slumber breaks; Here is no fevered breath, No wound that bleeds and aches.

Untrampled lies the sod; The shouts of battle cease, It is the Truce of God!
 * All is repose and peace,

Rest, comrades, rest and sleep! The thoughts of men shall be As sentinels to keep Your rest from danger free.

Your silent tents of green We deck with fragrant flowers; Yours has the suffering been, The memory shall be ours.

Bartlett's Familiar Quotations, 10th ed. (1919)

 * Hospitality sitting with Gladness.
 * Translation from Frithiof's Saga.

 * Who ne'er his bread in sorrow ate, Who ne'er the mournful midnight hours Weeping upon his bed has sate, He knows you not, ye Heavenly Powers.
 * Motto, Hyperion, book i.

 * Something the heart must have to cherish, Must love and joy and sorrow learn; Something with passion clasp, or perish And in itself to ashes burn.
 * Hyperion, book ii.

 * Were half the power that fills the world with terror, Were half the wealth bestowed on camps and courts, Given to redeem the human mind from error, There were no need of arsenals and forts.
 * The Arsenal at Springfield.

 * Where'er a noble deed is wrought, Where'er is spoken a noble thought, Our hearts in glad surprise To higher levels rise.
 * Santa Filomena.

 * Moons waxed and waned, the lilacs bloomed and died, In the broad river ebbed and flowed the tide, Ships went to sea, and ships came home from sea, And the slow years sailed by and ceased to be.
 * Lady Wentworth.

 * Build on, and make thy castles high and fair, Rising and reaching upward to the skies; Listen to voices in the upper air, Nor lose thy simple faith in mysteries.
 * The Castle-builder''.

 * He speaketh not; and yet there lies A conversation in his eyes.
 * The Hanging of the Crane.

 * All are architects of Fate, Working in these walls of Time.
 * The Builders.

 * I know a maiden fair to see, Take care! She can both false and friendly be, Beware! Beware! Trust her not, She is fooling thee.
 * From the German (In Hyperion).

 * She knew the life-long martyrdom, The weariness, the endless pain Of waiting for some one to come Who nevermore would come again.
 * Vittoria Colonna.

 * Alas! it is not till time, with reckless hand, has torn out half the leaves from the Book of Human Life to light the fires of passion with from day to day, that man begins to see that the leaves which remain are few in number.
 * ''Hyperion, book iv. Chap. viii.

 * Hold the fleet angel fast until he bless thee.
 * Kavanagh.

 * There is no greater sorrow Than to be mindful of the happy time In misery.
 * Inferno, canto v, line 121.

Resignation

 * The air is full of farewells to the dying, And mournings for the dead.

 * But oftentimes celestial benedictions Assume this dark disguise.

 * What seem to us but sad, funereal tapers May be heaven's distant lamps.

 * Safe from temptation, safe from sin's pollution, She lives whom we call dead.

Quotes about Henry Wadsworth Longfellow

 * Most of the books published during the five-year period leading up to, during, and after the invasion of Mexico were war-mongering tracts. Euro-American settlers were nearly all literate, and this was the period of the foundational "American literature," with writers James Fenimore Cooper, Walt Whitman, Edgar Allan Poe, John Greenleaf Whittier, Henry Wadsworth Longfellow, James Russell Lowell, Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne, and Herman Melville all active-each of whom remains read, revered, and studied in the twenty-first century, as national and nationalist writers, not as colonialists. Although some of the writers, like Melville and Longfellow, paid little attention to the war, most of the others either fiercely supported it or opposed it.
 * Roxanne Dunbar-Ortiz, An Indigenous Peoples' History of the United States (2014)

 * I wish I had known you,/Longfellow, but truly I did, as a small reader/with a book cracked wide, speaking aloud/on the old wooden stairs of my grandparents' home,/saying your words, between the daylight/and the dark, swinging them like small lanterns/which have brought me to this place/by your bed on a late day in June,/in your yellow house by the giant linden tree,/still wondering at words and the length of a mattress.
 * Naomi Shihab Nye Voices in the Air (2018)

 * Another poem that appeals to all bold, courageous souls in "The Warning," by Henry Wadsworth Longfellow, who, some critics aver, won more English hearts over to the anti-slavery cause than did the "Quaker Poet.
 * Katherine D. Tillman, "The Negro among Anglo-Saxon Poets" (1898)

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title: Henry Wadsworth Longfellow