Paul Scofield
Scofield in 1974.
Born	(1922-01-21)21 January 1922 Birmingham, England, UK
Died	19 March 2008(2008-03-19) (aged 86) Sussex, England, UK
Occupation	Actor
Years active	1940–2006[1]
Spouse	Joy Parker (1943-2008; his death)

David Paul Scofield, CH, CBE (21 January 1922 – 19 March 2008), better known as Paul Scofield, was an English actor of stage and screen. Noted for his distinctive voice and delivery, Scofield received an Academy Award and a BAFTA Award for his performance as Sir Thomas More in the 1966 film A Man for All Seasons, a reprise of the role he played in the stage version at the West End and on Broadway for which he received a Tony Award.

Early life[link]

Scofield was born in Birmingham, England, the son of Mary and Edward Harry Scofield.^[2] When Scofield was a few weeks old, his family moved to Hurstpierpoint, Sussex, where his father served as the headmaster at the Hurstpierpoint Church of England School.^[3] At the age of 12 he began attending the Varndean Secondary School in Brighton,^[4] where he took various roles in school plays.^[5]

Scofield began his stage career in 1940 with a debut performance in Desire Under the Elms at the Westminster Theatre, and was soon being compared to Laurence Olivier. He played at the Old Rep in Birmingham. From there he went to the Shakespeare Memorial Theatre in Stratford, where he starred in Walter Nugent Monck's 1947 revival of Pericles, Prince of Tyre.^[6]

Career[link]

Scofield was noteworthy for his striking presence and distinctive voice, and for the clarity and unmannered intensity of his delivery. His versatility at the height of his career is exemplified by his starring roles in theatrical productions as diverse as the musical Expresso Bongo (1958) and Peter Brook's celebrated production of King Lear (1962).

In his memoir Threads of Time, Peter Brook wrote about Scofield's versatility: "The door at the back of the set opened, and a small man entered. He was wearing a black suit, steel-rimmed glasses, and holding a suitcase. For a moment we wondered who this stranger was and why he was wandering onto our stage. Then we realized that it was Paul, transformed. His tall body had shrunk; he had become insignificant. The new character now possessed him entirely."^[7]

In a career mainly devoted to the classical theatre, Scofield starred in many Shakespeare plays and played the title role in Ben Jonson's Volpone in Peter Hall's production for the Royal National Theatre (1977). Highlights of his career in modern theatre include the roles of Sir Thomas More in Robert Bolt's A Man for All Seasons (1960), Charles Dyer in Dyer's play Staircase, staged by the Royal Shakespeare Company in 1966, the definitive Laurie in John Osborne's A Hotel in Amsterdam (1968), and Antonio Salieri in the original stage production of Peter Shaffer's Amadeus (1979).

He was subsequently the voice of the Dragon in another play by Robert Bolt, a children's drama The Thwarting of Baron Bolligrew. Expresso Bongo, Staircase and Amadeus were filmed with other actors, but Scofield starred in the screen versions of A Man for All Seasons (1966) and King Lear (1971).

Other major screen roles include the obsessed Nazi Colonel in The Train (1964), Strether in a 1977 TV adaptation of Henry James's novel The Ambassadors, Tobias in A Delicate Balance (1973), Professor Moroi in the film of János Nyíri's If Winter Comes (1980), for BBC Television, Mark Van Doren in Robert Redford's film Quiz Show (1994), and Thomas Danforth in Nicholas Hytner's film adaptation (1996) of Arthur Miller's The Crucible.

According to the DVD extras documentary for the movie The Shooting Party (1985), on the very first shot of the very first day of filming, all of the male lead actors, including Paul Scofield who was playing Sir Randolph Nettleby, were to come into shot on a horse-drawn shooting-break driven by the well-known film horse-master George Mossman. However as they turned the first corner, the break-plank that Mossman was standing on broke in two and Mossman was hurled forward and down falling between the sets of wheels, taking the reins with him. He was struck by a horse's hoof and concussed. The horses then shied and broke into a gallop. Rupert Frazer admitted that he was the first to jump off, landing safely, but bruised. Now out of control, the horses turned to the right when confronted by a stone wall causing the shooting-break to roll completely, catapulting the actors into a pile of scaffolding that had been stacked next to the wall. Robert Hardy stood up and realised to his amazement that he was unhurt. He looked across to see Edward Fox stand up, "turn completely green and collapse in a heap". He had broken 5 ribs and his shoulder-blade. He then noticed that Paul Scofield was lying very still on the ground "and I saw that his shin-bone was sticking out through his trousers". As the film takes place in October due to the partridge-shooting season, the filmmakers had to make a choice as to either delay filming for a year, or re-cast. Fortunately James Mason was just finishing filming Doctor Fischer of Geneva for the BBC and the schedule was changed to allow him to take over the part of Sir Randolph Nettleby six weeks later.^[8]

Scofield was appointed Commander of the Order of the British Empire (CBE) in the 1956 New Year Honours.^[9] He won the Academy Award for Best Actor for A Man for All Seasons and was nominated as Best Supporting Actor for Quiz Show. Theatrical accolades include a 1962 Tony Award for A Man for All Seasons.

In 1969, Scofield became the sixth performer to win the Triple Crown of Acting, winning an Emmy Award for Outstanding Single Performance by an Actor in a Leading Role for Male of the Species.

He was also one of only eight actors to win both the Tony and the Oscar for the same role on stage and film. He was appointed a Companion of Honour (CH) in the 2001 New Year Honours.^[10] In 2002 he was awarded the honorary degree of D. Litt by the University of Oxford.^[11]

In 2004, a poll of actors of the Royal Shakespeare Company, including Ian McKellen, Donald Sinden, Janet Suzman, Ian Richardson, Antony Sher and Corin Redgrave, acclaimed his Lear as the greatest Shakespearean performance ever.^[12] Scofield appeared in many radio dramas for BBC Radio 4, including in later years plays by Peter Tinniswood: On the Train to Chemnitz (2001) and Anton in Eastbourne (2002). The latter was Tinniswood's last work and was written especially for Scofield, an admirer of Anton Chekhov. He was awarded the 2002 Sam Wanamaker Prize.

Personal life[link]

Scofield married actress Joy Parker in 1943.^[6] The couple had two children; Martin (born 1945) (a Senior Lecturer in English and American literature at the University of Kent)^[4] and Sarah (born 1951).

He declined the honour of a knighthood on three occasions,^[4][13] but was appointed CBE in 1956 and became a Companion of Honour in 2001.

Scofield died from leukemia on 19 March 2008 at the age of 86 at a hospital near his home in Sussex, England.^[14] His memorial service was held at Westminster Abbey on 19 March 2009.

Filmography[link]

(For a slightly different, more exhaustive list, go here ^[15])

Television[link]

(for a different and more exhaustive list, go here here ^[16])

Discography[link]

Paul Scofield led the cast in several dramas issued by Caedmon Records:

• King Lear, directed by Howard Sackler (Text edited by G.B. Harrison), with Pamela Brown (Goneril), Rachel Roberts (Regan), Ann Bell (Cordelia); Wallace Eaton (France), John Rogers (Burgundy), Trevor Martin (Cornwall), Michael Aldridge (Albany), Andrew Keir (Kent), Cyril Cusack (Gloucester), Robert Stephens (Edgar), John Stride (Edmund), Ronnie Stevens (Fool); Arthur Hewlett (Curan, Doctor), Ronald Ibbs (Gentleman, Knight), Willoughby Goddard (Oswald). Eight sides, SRS 233 (first published 1965).
• Hamlet, directed by Howard Sackler, (Unabridged), with Diana Wynyard (Queen), Roland Culver (Claudius), Donald Houston (Laertes), Zena Walker (Ophelia), Wilfrid Lawson. Eight sides, SRS 232 (first published 1963).
• A Midsummer Night's Dream, directed by Howard Sackler, with Barbara Jefford, Joy Parker, John Stride, etc. Six sides, SRS 208 (first published 1964).
• T.S. Eliot, The Family Reunion, with Flora Robson, Sybil Thorndike, Alan Webb. Six sides, TRS 308.
• Charles Dickens, A Christmas Carol, with Ralph Richardson as Scooge. Scofield only narrated. (Caedmon),

Also:

• King Lear, with Harriet Walter (Goneril), Sara Kestelman (Regan), Emilia Fox (Cordelia), Alec McCowen (Gloucester), Kenneth Branagh (Fool), David Burke, Richard A. McCabe, Toby Stephens, etc. Released 2002 to coincide with Scofield's 80th birthday. (Naxos Audiobooks, 3CD set).
• Virgil, The Aeneid, Paul Scofield (narrator), Jill Balcon and Toby Stephens (readers). (Naxos Audiobook CD).
• T. S. Eliot, The Waste Land and Four Quartets (BBC Radiobooks CD).
• Sandor Marai, Embers (Penguin Audiobooks) - Narrator
• With David Suchet and Ron Moody, Scofield led the cast of a radio dramatization of the Narnia books by C.S. Lewis, which are available as CD issues. (Tynedale Entertainment) - Narrator
• Scofield recorded abridged readings of Dickens's A Christmas Carol and Bleak House (Blackstone Audiobooks).
• Façade (Sitwell-Walton), performed by Paul Scofield and Peggy Ashcroft, with London Sinfonietta conducted by William Walton. (Argo Records, 1972)
• Don Quixote: The Musical, with Roy Hudd as Sancho Panza. Based on Purcell and D'Urfey's The Comical History of Don Quixote. Later released on CD.(Musica Oscura, 1994)

(For a more exhaustive list, go here ^[17])

References[link]

External links[link]

Biography portal

Wikiquote has a collection of quotations related to: Paul Scofield

• Paul Scofield at the Internet Movie Database
• Paul Scofield at the British Film Institute's Screenonline
• Paul Scofield at the Internet Broadway Database
• BBC News Interview-Paul Scofield, A Man For All Seasons
• Paul Scofield at Find a Grave

• Obituaries:
  • The Guardian, 20 March 2008
  • The Independent, 21 March 2008
  • The Times, 21 March 2008
  • The Daily Telegraph, 22 March 2008

Henry Wadsworth Longfellow
Longfellow in 1868 by Julia Margaret Cameron
Born	(1807-02-27)February 27, 1807 Portland, Maine, United States
Died	March 24, 1882(1882-03-24) (aged 75) Cambridge, Massachusetts, United States
Occupation	Poet Professor
Literary movement	Romanticism
Signature

Henry Wadsworth Longfellow (February 27, 1807 – March 24, 1882) was an American poet and educator whose works include "Paul Revere's Ride", The Song of Hiawatha, and Evangeline. He was also the first American to translate Dante Alighieri's The Divine Comedy and was one of the five Fireside Poets.

Longfellow was born in Portland, Maine, then part of Massachusetts, and studied at Bowdoin College. After spending time in Europe he became a professor at Bowdoin and, later, at Harvard College. His first major poetry collections were Voices of the Night (1839) and Ballads and Other Poems (1841). Longfellow retired from teaching in 1854 to focus on his writing, living the remainder of his life in Cambridge, Massachusetts, in a former headquarters of George Washington. His first wife, Mary Potter, died in 1835 after a miscarriage. His second wife, Frances Appleton, died in 1861 after sustaining burns when her dress caught fire. After her death, Longfellow had difficulty writing poetry for a time and focused on his translation. He died in 1882.

Longfellow predominantly wrote lyric poems which are known for their musicality and which often presented stories of mythology and legend. He became the most popular American poet of his day and also had success overseas. He has been criticized, however, for imitating European styles and writing specifically for the masses.

Life and work[link]

Early life and education[link]

Longfellow was born on February 27, 1807, to Stephen Longfellow and Zilpah (Wadsworth) Longfellow in Portland, Maine,^[1] then a district of Massachusetts,^[2] and he grew up in what is now known as the Wadsworth-Longfellow House. His father was a lawyer, and his maternal grandfather, Peleg Wadsworth, was a general in the American Revolutionary War and a Member of Congress.^[3] He was named after his mother's brother Henry Wadsworth, a Navy lieutenant who had died three years earlier at the Battle of Tripoli.^[4] Young Longfellow was the second of eight children;^[5] his siblings were Stephen (1805), Elizabeth (1808), Anne (1810), Alexander (1814), Mary (1816), Ellen (1818), and Samuel (1819).

Henry Wadsworth Longfellow was enrolled in a dame school at the age of three and by age six was enrolled at the private Portland Academy. In his years there, he earned a reputation as being very studious and became fluent in Latin.^[6] His mother encouraged his enthusiasm for reading and learning, introducing him to Robinson Crusoe and Don Quixote.^[7] He printed his first poem – a patriotic and historical four stanza poem called "The Battle of Lovell's Pond" – in the Portland Gazette on November 17, 1820.^[8] He stayed at the Portland Academy until the age of fourteen. He spent much of his summers as a child at his grandfather Peleg's farm in the western Maine town of Hiram.

In the fall of 1822, the 15-year old Longfellow enrolled at Bowdoin College in Brunswick, Maine, alongside his brother Stephen.^[6] His grandfather was a founder of the college^[9] and his father was a trustee.^[6] There, Longfellow met Nathaniel Hawthorne, who would later become his lifelong friend.^[10] He boarded with a clergyman for a time before rooming on the third floor of what is now Maine Hall in 1823.^[11] He joined the Peucinian Society, a group of students with Federalist leanings.^[12] In his senior year, Longfellow wrote to his father about his aspirations:

I will not disguise it in the least... the fact is, I most eagerly aspire after future eminence in literature, my whole soul burns most ardently after it, and every earthly thought centres in it... I am almost confident in believing, that if I can ever rise in the world it must be by the exercise of my talents in the wide field of literature.^[13]

He pursued his literary goals by submitting poetry and prose to various newspapers and magazines, partly due to encouragement from a professor named Thomas Cogswell Upham.^[14] Between January 1824 and his graduation in 1825, he had published nearly 40 minor poems.^[15] About 24 of them appeared in the short-lived Boston periodical The United States Literary Gazette.^[12] When Longfellow graduated from Bowdoin, he was ranked fourth in the class, and had been elected to Phi Beta Kappa.^[16] He gave the student commencement address.^[14]

European tours and professorships[link]

After graduating in 1825, he was offered a job as professor of modern languages at his alma mater. The story, possibly apocryphal, is that an influential trustee, Benjamin Orr, had been so impressed by Longfellow's translation of Horace that he was hired under the condition that he travel to Europe to study French, Spanish, and Italian.^[17] Whatever the motivation, he began his tour of Europe in May 1826 aboard the ship Cadmus.^[18] His time abroad would last three years and cost his father $2,604.24.^[19] He traveled to France, Spain, Italy, Germany, back to France, then England before returning to the United States in mid-August 1829.^[20] While overseas, he learned French, Spanish, Portuguese, and German, mostly without formal instruction.^[21] In Madrid, he spent time with Washington Irving and was particularly impressed by the author's work ethic.^[22] Irving encouraged the young Longfellow to pursue writing.^[23] While in Spain, Longfellow was saddened to learn his favorite sister, Elizabeth, had died of tuberculosis at the age of 20 that May while he was abroad.^[24]

On August 27, 1829, he wrote to the president of Bowdoin that he was turning down the professorship because he considered the $600 salary "disproportionate to the duties required". The trustees raised his salary to $800 with an additional $100 to serve as the college's librarian, a post which required one hour of work per day.^[25] During his years teaching at the college, he translated textbooks in French, Italian, and Spanish;^[26] his first published book was in 1833, a translation of the poetry of medieval Spanish poet Jorge Manrique.^[27] He also published a travel book, Outre-Mer: A Pilgrimage Beyond the Sea, first published in serial form before a book edition was released in 1835.^[26] Shortly after the book's publication, Longfellow attempted to join the literary circle in New York and asked George Pope Morris for an editorial role at one of Morris's publications. Longfellow considered moving to New York after New York University considered offering him a newly-created professorship of modern languages, though there would be no salary. The professorship was not created and Longfellow agreed to continue teaching at Bowdoin.^[28] It may have been joyless work. He wrote, "I hate the sight of pen, ink, and paper... I do not believe that I was born for such a lot. I have aimed higher than this".^[29]

Mary Storer Potter became Longfellow's first wife in 1831 and died four years later.

On September 14, 1831, Longfellow married Mary Storer Potter, a childhood friend from Portland.^[30] The couple settled in Brunswick, though the two were not happy there.^[31] Longfellow published several nonfiction and fiction prose pieces inspired by Irving, including "The Indian Summer" and "The Bald Eagle" in 1833.^[32]

In December 1834, Longfellow received a letter from Josiah Quincy III, president of Harvard College, offering him the Smith Professorship of Modern Languages position with the stipulation that he spend a year or so abroad.^[33] There, he further studied German as well as Dutch, Danish, Swedish, Finnish, and Icelandic.^[34] In October 1835, during the trip, his wife Mary had a miscarriage about six months into her pregnancy.^[35] She did not recover and died after several weeks of illness at the age of 22 on November 29, 1835. Longfellow had her body embalmed immediately and placed into a lead coffin inside an oak coffin which was then shipped to Mount Auburn Cemetery near Boston.^[36] He was deeply saddened by her death, writing "One thought occupies me night and day... She is dead—She is dead! All day I am weary and sad".^[37] Three years later, he was inspired to write the poem "Footsteps of Angels" about her. Several years later, he wrote the poem "Mezzo Cammin" expressed his personal struggles in his middle years.^[38]

When he returned to the United States in 1836, Longfellow took up the professorship at Harvard. He was required to live in Cambridge to be close to the campus and rented rooms at the Craigie House in the spring of 1837,^[39] now preserved as the Longfellow House–Washington's Headquarters National Historic Site. The home, built in 1759, had once been the headquarters of George Washington during the Siege of Boston beginning in July 1775.^[40] Previous boarders also included Jared Sparks, Edward Everett, and Joseph Emerson Worcester.^[41] Longfellow began publishing his poetry, including the collection Voices of the Night in 1839.^[42] The bulk of Voices of the Night, Longfellow's debut book of poetry, was translations though he also included nine original poems and seven poems he had written as a teenager.^[43] Ballads and Other Poems was published shortly thereafter in 1841^[44] and included "The Village Blacksmith" and "The Wreck of the Hesperus", which were instantly popular.^[45] Longfellow also became part of the local social scene, creating a group of friends who called themselves the Five of Clubs. Members included Cornelius Conway Felton, George Stillman Hillard, and Charles Sumner, the latter of whom would become Longfellow's closest friend over the next 30 years.^[46] As a professor, Longfellow was well liked, though he disliked being "constantly a playmate for boys" rather than "stretching out and grappling with men's minds."^[47]

Courtship of Frances Appleton[link]

After a seven-year courtship, Longfellow married Frances Appleton in 1843.

Longfellow began courting Frances "Fanny" Appleton, the daughter of a wealthy Boston industrialist, Nathan Appleton^[48] and sister of Thomas Gold Appleton. At first, she was not interested but Longfellow was determined. In July 1839, he wrote to a friend: "[V]ictory hangs doubtful. The lady says she will not! I say she shall! It is not pride, but the madness of passion".^[49] His friend George Stillman Hillard encouraged Longfellow in the pursuit: "I delight to see you keeping up so stout a heart for the resolve to conquer is half the battle in love as well as war".^[50] During the courtship, Longfellow frequently walked from Cambridge to the Appleton home in Beacon Hill in Boston by crossing the Boston Bridge. That bridge was replaced in 1906 by a new bridge which was later renamed the. Longfellow Bridge.

During his courtship, Longfellow continued writing and, in late 1839, published Hyperion, a book in prose inspired by his trips abroad^[49] and his unsuccessful courtship of Fanny Appleton.^[51] Amidst this, Longfellow fell into "periods of neurotic depression with moments of panic" and took a six-month leave of absence from Harvard to attend a health spa in the former Marienberg Benedictine Convent at Boppard in Germany.^[51] After returning, Longfellow published a play in 1842, The Spanish Student, reflecting his memories from his time in Spain in the 1820s.^[52] There was some confusion over its original manuscript. After being printed in Graham's Magazine, its editor Rufus Wilmot Griswold saved the manuscript from the trash. Longfellow was surprised to hear that it had been saved, unusual for a printing office, and asked to borrow it so that he could revise it, forgetting to return it to Griswold. The often vindictive Griswold wrote an angry letter in response.^[53]

Fanny Appleton Longfellow, with sons Charles and Ernest, circa 1849.

A small collection, Poems on Slavery, was published in 1842 as Longfellow's first public support of abolitionism. However, as Longfellow himself wrote, the poems were "so mild that even a Slaveholder might read them without losing his appetite for breakfast".^[54] A critic for The Dial agreed, calling it "the thinnest of all Mr. Longfellow's thin books; spirited and polished like its forerunners; but the topic would warrant a deeper tone".^[55] The New England Anti-Slavery Association, however, was satisfied with the collection enough to reprint it for further distribution.^[56]

On May 10, 1843, after seven years, Longfellow received a letter from Fanny Appleton agreeing to marry him and, too restless to take a carriage, walked 90 minutes to meet her at her house.^[57] They were married shortly thereafter. Nathan Appleton bought the Craigie House as a wedding present to the pair. Longfellow would live there for the remainder of his life.^[58] His love for Fanny is evident in the following lines from Longfellow's only love poem, the sonnet "The Evening Star",^[59] which he wrote in October 1845: "O my beloved, my sweet Hesperus! My morning and my evening star of love!" He once attended a ball without her and noted, "The lights seemed dimmer, the music sadder, the flowers fewer, and the women less fair."^[60]

Longfellow circa 1850, daguerreotype by Southworth & Hawes

He and Fanny had six children: Charles Appleton (1844–1893), Ernest Wadsworth (1845–1921), Fanny (1847–1848), Alice Mary (1850–1928), Edith (1853–1915), and Anne Allegra (1855–1934). Their second-youngest daughter, Edith, married Richard Henry Dana III, son of the popular writer Richard Henry Dana, Jr., author of Two Years Before the Mast.^[61] When the younger Fanny was born on April 7, 1847, Dr. Nathan Cooley Keep administered ether as the first obstetric anesthetic in the United States to Fanny Longfellow.^[62] A few months later, on November 1, 1847, the poem "Evangeline" was published for the first time.^[62] His literary income was increasing considerably: in 1840, he had made $219 from his work but the year 1850 brought him $1,900.^[63]

On June 14, 1853, Longfellow held a farewell dinner party at his Cambridge home for his friend Nathaniel Hawthorne, who was preparing to move overseas.^[64] Shortly thereafter in 1854, Longfellow retired from Harvard,^[65] devoting himself entirely to writing. He was awarded an honorary doctorate of Laws from Harvard in 1859.^[66]

Death of Frances[link]

On July 9, 1861,^[67] a hot day, Fanny was putting locks of her children's hair into an envelope and attempting to seal it with hot sealing wax while Longfellow took a nap.^[68] Her dress suddenly caught fire, though it is unclear exactly how;^[69] it may have been burning wax or a lighted candle which fell on her dress.^[70] Longfellow, awakened from his nap, rushed to help her and threw a rug over her, though it was too small. He stifled the flames with his body as best he could, but she was already badly burned.^[69] Over a half a century later, Longfellow's youngest daughter Annie explained the story differently, claiming that there was no candle or wax but that the fire started from a self-lighting match that had fallen on the floor.^[61] In both versions of the story, however, Fanny was taken to her room to recover and a doctor was called. She was in and out of consciousness throughout the night and was administered ether. The next morning, July 10, 1861, she died shortly after 10 o'clock after requesting a cup of coffee.^[71] Longfellow, in trying to save her, had burned himself badly enough for him to be unable to attend her funeral.^[72] His facial injuries caused him to stop shaving, thereafter wearing the beard which has become his trademark.^[71]

Devastated by her death, he never fully recovered and occasionally resorted to laudanum and ether to deal with it.^[73] He worried he would go insane and begged "not to be sent to an asylum" and noted that he was "inwardly bleeding to death".^[74] He expressed his grief in the sonnet "The Cross of Snow" (1879), which he wrote eighteen years later to commemorate her death:^[38]

Such is the cross I wear upon my breast

These eighteen years, through all the changing scenes

And seasons, changeless since the day she died.^[74]

Later life and death[link]

Grave of Henry Wadsworth Longfellow, Mount Auburn Cemetery^[75]

Longfellow spent several years translating Dante Alighieri's Divine Comedy. To aid him in perfecting the translation and reviewing proofs, he invited friends to weekly meetings every Wednesday starting in 1864.^[76] The "Dante Club", as it was called, regularly included William Dean Howells, James Russell Lowell, Charles Eliot Norton and other occasional guests.^[77] The full three-volume translation was published in the spring of 1867, though Longfellow would continue to revise it,^[78] and it went through four printings in its first year.^[79] By 1868, Longfellow's annual income was over $48,000.^[80] In 1874, Samuel Cutler Ward helped him sell the poem "The Hanging of the Crane" to the New York Ledger for $3,000; it was the highest price ever paid for a poem.^[81]

During the 1860s, Longfellow supported abolitionism and especially hoped for reconciliation between the northern and southern states after the American Civil War. He wrote in his journal in 1878: "I have only one desire; and that is for harmony, and a frank and honest understanding between North and South".^[82] Longfellow, despite his aversion to public speaking, accepted an offer from Joshua Chamberlain to speak at his fiftieth reunion at Bowdoin College; he read the poem "Morituri Salutamus" so quietly that few could hear him.^[83] The next year, 1876, he declined an offer to be nominated for the Board of Overseers at Harvard "for reasons very conclusive to my own mind".^[84]

On August 22, 1879, a female admirer traveled to Longfellow's house in Cambridge and, unaware to whom she was speaking, asked Longfellow: "Is this the house where Longfellow was born?" Longfellow told her it was not. The visitor then asked if he had died here. "Not yet", he replied.^[85] In March 1882, Longfellow went to bed with severe stomach pain. He endured the pain for several days with the help of opium before he died surrounded by family on Friday, March 24, 1882.^[86] He had been suffering from peritonitis.^[87] At the time of his death, his estate was worth an estimated $356,320.^[80] He is buried with both of his wives at Mount Auburn Cemetery in Cambridge, Massachusetts. His last few years were spent translating the poetry of Michelangelo; though Longfellow never considered it complete enough to be published during his lifetime, a posthumous edition was collected in 1883. Scholars generally regard the work as autobiographical, reflecting the translator as an aging artist facing his impending death.^[88]

Writing[link]

Style[link]

Longfellow circa 1850s

Though much of his work is categorized as lyric poetry, Longfellow experimented with many forms, including hexameter and free verse.^[89] His published poetry shows great versatility, using anapestic and trochaic forms, blank verse, heroic couplets, ballads and sonnets.^[90] Typically, Longfellow would carefully consider the subject of his poetic ideas for a long time before deciding on the right metrical form for it.^[91] Much of his work is recognized for its melody-like musicality.^[92] As he says, "what a writer asks of his reader is not so much to like as to listen".^[93]

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.^[94] 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".^[95] His memorial poem to her, a sonnet called "The Cross of Snow", was not published in his lifetime.^[94]

Longfellow often used didacticism in his poetry, though he focused on it less in his later years.^[96] Much of his poetry imparts cultural and moral values, particularly focused on promoting life as being more than material pursuits.^[97] Longfellow also often used allegory in his work. In "Nature", for example, death is depicted as bedtime for a cranky child.^[98] Many of the metaphors he used in his poetry as well as subject matter came from legends, mythology, and literature.^[99] He was inspired, for example, by Norse mythology for "The Skeleton in Armor" and by Finnish legends for The Song of Hiawatha.^[100] In fact, Longfellow rarely wrote on current subjects and seemed detached from contemporary American concerns.^[101] 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.^[102]

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.^[103] 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".^[104] 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.^[105]

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.^[106] 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".^[107] In preparing the volume, Longfellow hired Katherine Sherwood Bonner as an amanuensis.^[108]

Critical response[link]

Longfellow and his friend Senator Charles Sumner

Longfellow's early collections, Voices of the Night and Ballads and Other Poems, made him instantly popular. The New-Yorker called him "one of the very few in our time who has successfully aimed in putting poetry to its best and sweetest uses".^[45] The Southern Literary Messenger immediately put Longfellow "among the first of our American poets".^[45] Poet John Greenleaf Whittier said that Longfellow's poetry illustrated "the careful moulding by which art attains the graceful ease and chaste simplicity of nature".^[109] Longfellow's friend Oliver Wendell Holmes, Sr. wrote of him as "our chief singer" and one who "wins and warms... kindles, softens, cheers [and] calms the wildest woe and stays the bitterest tears!"^[110]

The rapidity with which American readers embraced Longfellow was unparalleled in publishing history in the United States;^[111] by 1874, he was earning $3,000 per poem.^[112] His popularity spread throughout Europe as well and his poetry was translated during his lifetime into Italian, French, German, and other languages.^[113] As scholar Bliss Perry later wrote, Longfellow was so highly praised that criticizing him was a criminal act like "carrying a rifle into a national park".^[114] In the last two decades of his life, he often received requests for autographs from strangers, which he always sent.^[115] John Greenleaf Whittier suggested it was this massive correspondence that led to Longfellow's death, writing: "My friend Longfellow was driven to death by these incessant demands".^[116]

Contemporary writer Edgar Allan Poe wrote to Longfellow in May 1841 of his "fervent admiration which [your] genius has inspired in me" and later called him "unquestionably the best poet in America".^[117] However, after Poe's reputation as a critic increased, he publicly accused Longfellow of plagiarism in what has been since termed by Poe biographers as "The Longfellow War".^[118] His assessment was that Longfellow was "a determined imitator and a dextrous adapter of the ideas of other people",^[117] specifically Alfred, Lord Tennyson.^[119] His accusations may have been a publicity stunt to boost readership of the Broadway Journal, for which he was the editor at the time.^[120] Longfellow did not respond publicly, but, after Poe's death, he wrote: "The harshness of his criticisms I have never attributed to anything but the irritation of a sensitive nature chafed by some indefinite sense of wrong".^[121]

Margaret Fuller judged him "artificial and imitative" and lacking force.^[122] Poet Walt Whitman also considered Longfellow an imitator of European forms, though he praised his ability to reach a popular audience as "the expressor of common themes – of the little songs of the masses".^[123] He added, "Longfellow was no revolutionarie: never traveled new paths: of course never broke new paths."^[124] Lewis Mumford said that Longfellow could be completely removed from the history of literature without much effect.^[101] Towards the end of his life, contemporaries considered him more of a children's poet^[125] as many of his readers were children.^[126] A contemporary reviewer noted in 1848 that Longfellow was creating a "Goody two-shoes kind of literature... slipshod, sentimental stories told in the style of the nursery, beginning in nothing and ending in nothing".^[127] A more modern critic said, "Who, except wretched schoolchildren, now reads Longfellow?"^[101] A London critic in the London Quarterly Review, however, condemned all American poetry, saying, "with two or three exceptions, there is not a poet of mark in the whole union" but singled out Longfellow as one of those exceptions.^[128] As an editor of the Boston Evening Transcript wrote in 1846, "Whatever the miserable envy of trashy criticism may write against Longfellow, one thing is most certain, no American poet is more read".^[129]

Legacy[link]

The first Longfellow stamp was first issued in Portland, Maine on February 16, 1940.

Longfellow was the most popular poet of his day^[130] and is generally regarded as the most distinguished poet the country had produced. As a friend once wrote to him, "no other poet was so fully recognized his lifetime".^[131] Many of his works helped shape the American character and its legacy, particularly with the poem "Paul Revere's Ride".^[114] He was such an admired figure in the United States during his life that his 70th birthday in 1877 took on the air of a national holiday, with parades, speeches, and the reading of his poetry.

Over the years, Longfellow's personality has become part of his reputation. He has been presented as a gentle, placid, poetic soul: an image perpetuated by his brother Samuel Longfellow, who wrote an early biography which specifically emphasized these points.^[132] As James Russell Lowell said, Longfellow had an "absolute sweetness, simplicity, and modesty".^[121] At Longfellow's funeral, his friend Ralph Waldo Emerson called him "a sweet and beautiful soul".^[133] In reality, Longfellow's life was much more difficult than was assumed. He suffered from neuralgia, which caused him constant pain, and he also had poor eyesight. He wrote to friend Charles Sumner: "I do not believe anyone can be perfectly well, who has a brain and a heart".^[134] He had difficulty coping with the death of his second wife.^[73] Longfellow was very quiet, reserved, and private; in later years, he was known for being unsocial and avoided leaving home.^[135] He had become one of the first American celebrities and was also popular in Europe. It was reported that 10,000 copies of The Courtship of Miles Standish sold in London in a single day.^[136] Children adored him and, when the "spreading chestnut-tree" mentioned in the poem "The Village Blacksmith" was cut down, the children of Cambridge had the tree converted into an armchair which they presented to the poet.^[137] In 1884, Longfellow became the first non-British writer for whom a commemorative sculpted bust was placed in Poet's Corner of Westminster Abbey in London; he remains the only American poet represented with a bust.^[138] More recently, he was honored in March 2007 when the United States Postal Service made a stamp commemorating him. A number of schools are named after him in various states as well. Neil Diamond's 1974 hit song, "Longfellow Serenade", is a reference to the poet.^[139] He is a protagonist in Matthew Pearl's murder mystery The Dante Club (2003).^[140]

Longfellow's popularity rapidly declined, beginning shortly after his death and into the twentieth century as academics began to appreciate poets like Walt Whitman, Edwin Arlington Robinson, and Robert Frost.^[141] In the twentieth century, literary scholar Kermit Vanderbilt noted, "Increasingly rare is the scholar who braves ridicule to justify the art of Longfellow's popular rhymings."^[142] 20th century poet Lewis Putnam Turco concluded "Longfellow was minor and derivative in every way throughout his career... nothing more than a hack imitator of the English Romantics."^[143]

List of works[link]

"The Village Blacksmith" (manuscript page 1)

• Outre-Mer: A Pilgrimage Beyond the Sea (Travelogue) (1835)
• Hyperion, a Romance (1839)
• The Spanish Student. A Play in Three Acts (1843)^[52]
• Evangeline: A Tale of Acadie (epic poem) (1847)
• Kavanagh: A Tale (1849)
• The Golden Legend (poem) (1851)
• The Song of Hiawatha (epic poem) (1855)
• The New England Tragedies (1868)
• The Divine Tragedy (1871)
• Christus: A Mystery (1872)
• Aftermath (poem) (1873)
• The Arrow and the Song (poem)

Poetry collections

• Voices of the Night (1839)
• Ballads and Other Poems (1841)
• Poems on Slavery (1842)
• The Belfry of Bruges and Other Poems (1845)
• Birds of Passage (1845)
• The Seaside and the Fireside (1850)
• The Courtship of Miles Standish and Other Poems (1858)
• Tales of a Wayside Inn (1863)
• Household Poems (1865)
• Flower-de-Luce (1867)
• Three Books of Song (1872)^[106]
• The Masque of Pandora and Other Poems (1875)^[106]
• Kéramos and Other Poems (1878)^[106]
• Ultima Thule (1880)^[106]
• In the Harbor (1882)^[106]
• Michel Angelo: A Fragment (incomplete; published posthumously)^[106]

Translations

• Coplas de Don Jorge Manrique (Translation from Spanish) (1833)
• Dante's Divine Comedy (Translation) (1867)

Anthologies

• Poets and Poetry of Europe (Translations) (1844)^[52]
• The Waif (1845)^[52]
• Poems of Places (1874)^[106]

References[link]

Sources[link]

• Arvin, Newton. Longfellow: His Life and Work. Boston: Little, Brown and Company, 1963.
• Bayless, Joy. Rufus Wilmot Griswold: Poe's Literary Executor. Nashville: Vanderbilt University Press, 1943.
• Brooks, Van Wyck. The Flowering of New England. New York: E. P. Dutton and Company, Inc., 1952.
• Calhoun, Charles C. Longfellow: A Rediscovered Life. Boston: Beacon Press, 2004. ISBN 0-8070-7026-2.
• Gioia, Dana. "Longfellow in the Aftermath of Modernism". The Columbia History of American Poetry, edited by Jay Parini. Columbia University Press, 1993. ISBN 0-231-07836-6.
• Irmscher, Christoph. Longfellow Redux. University of Illinois, 2006. ISBN 978-0-252-03063-5.
• McFarland, Philip. Hawthorne in Concord. New York: Grove Press, 2004. ISBN 0-8021-1776-7.
• Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991. ISBN 0-06-092331-8.
• Thompson, Lawrance. Young Longfellow (1807–1843). New York: The Macmillan Company, 1938.
• Wagenknecht, Edward. Henry Wadsworth Longfellow: Portrait of an American Humanist. New York: Oxford University Press, 1966.
• Williams, Cecil B. Henry Wadsworth Longfellow. New York: Twayne Publishers, Inc., 1964.
• Sullivan, Wilson. New England Men of Letters. New York: The Macmillan Company, 1972. ISBN 0-02-788680-8.

External links[link]

Wikisource has original works written by or about: Henry Wadsworth Longfellow

Wikiquote has a collection of quotations related to: Henry Wadsworth Longfellow

Wikimedia Commons has media related to: Henry Wadsworth Longfellow

Sources

• Poems by Henry Wadsworth Longfellow and biography at PoetryFoundation.org
• Works by Henry Wadsworth Longfellow at Project Gutenberg – Plain text and HTML
• Works by Henry Wadsworth Longfellow at Internet Archive – Scanned books, many illustrated and original editions.
• Audio – Hear the Village Blacksmith
• Maine Historical Society Searchable poem text database, biographical data, lesson plans.

Other

• Longfellow National Historic Site in Cambridge, Massachusetts
• Wadsworth-Longfellow House in Portland, Maine
• Public Poet, Private Man: Henry Wadsworth Longfellow at 200 Online exhibition featuring material from the collection of Longfellow's papers at the Houghton Library, Harvard University.
• Longfellow's Translation of Dante rendered side by side with that of Cary and Norton
• Famous Quotations by Henry Wadsworth Longfellow

Peter Brook
Peter Brook at the Peter Brook: Empty Space Awards, London, in November 2009
Born	Peter Stephen Paul Brook (1925-03-21) 21 March 1925 (age 87) Chiswick, west London
Occupation	Director

Peter Stephen Paul Brook CH, CBE (born 21 March 1925) is an English theatre and film director and innovator, who has been based in France since the early 1970s.

Biography[link]

Life[link]

Brook was born in London in March 1925, the son of Simon Brook and his wife Ida (Jansen), two Jewish immigrants. He was educated at Gresham's School and Magdalen College, Oxford.

He directed Dr Faustus, his first production, in 1943 at the Torch Theatre in London, followed at the Chanticleer Theatre in 1945 with a revival of The Infernal Machine. In 1947, he went to Stratford-upon-Avon as assistant director on Romeo and Juliet and Love's Labour's Lost. From 1947 to 1950, he was Director of Productions at the Royal Opera House, Covent Garden. His work there included a highly controversial staging of Strauss’ Salome with sets by Salvador Dalí and also an effective re-staging of Puccini’s La Boheme using sets dating from 1899. A proliferation of stage and screen work as producer and director followed.

In 1951, Brook married the actress Natasha Parry; the couple have a daughter.

In 1970, with Micheline Rozan, Brook founded the International Centre for Theatre Research, a multinational company of actors, dancers, musicians and others which travelled widely in the Middle East and Africa in the early 1970s. It is now based in Paris at the Bouffes du Nord theatre.^[1] In 2008 he made the decision to resign as artistic director of Bouffes du Nord, handing over to Olivier Mantei and Olivier Poubelle in 2008.^[2]

Influences[link]

His work is inspired by the theories of experimental theatre of Jerzy Grotowski,^[3] Bertolt Brecht, Chris Covics, Meyerhold, G. I. Gurdjieff^[4] and the works of Edward Gordon Craig and Stuart Davis,^{[citation needed]} as well as Matila Ghyka.^[5]

Brook was influenced by the work of Antonin Artaud and his ideas for his Theatre of Cruelty. His major influence however was Joan Littlewood. Brook described her as "the most galvanising director in mid-20th century Britain".

In England, Peter Brook and Charles Marowitz undertook The Theatre of Cruelty Season (1964) at the Royal Shakespeare Company, aiming to explore ways in which Artaud's ideas could be used to find new forms of expression and retrain the performer. The result was a showing of 'works in progress' made up of improvisations and sketches, one of which was the premier of Artaud's The Spurt of Blood.

– Lee Jamieson, Antonin Artaud: From Theory to Practice, Greenwich Exchange, 2007

[edit] The Mahabharata

In the mid 1970s,^[6] Brook, with writer Jean-Claude Carrière, began work on adapting the Indian epic poem the Mahābhārata into a stage play which was first performed in 1985^[7] and then later into a televised mini series. The production using an international cast caused heated intercultural debate. Negative criticism came from Indian scholar Pradip Bhattacharya who felt that Brook's interpretation "was not a portrayal of a titanic clash between the forces of good and evil, which is the stuff of the epic... [but] the story of the warring progeny of some rustic landlord".^[8]

[edit] Tierno Bokar

In 2005 Brook directed Tierno Bokar, based on the life of the Malian sufi of the same name. The play was adapted for the stage by Marie-Helene Estienne from a book by Amadou Hampate Ba (translated into English as A Spirit of Tolerance: The Inspiring Life of Tierno Bokar). The book and play detail Bokar's life and message of religious tolerance. Columbia University produced 44 related events, lectures, and workshops that were attended by over 3,200 people throughout the run of Tierno Bokar. Panel discussions focused on topics of religious tolerance and Muslim tradition in West Africa.^[9]

Work[link]

Major productions for the RSC[link]

• 1950 Measure for Measure with John Gielgud (Shakespeare Memorial Theatre)
• 1952 The Winter's Tale with John Gielgud (Shakespeare Memorial Theatre)
• 1958 Titus Andronicus with Laurence Olivier (Shakespeare Memorial Theatre)
• 1962 King Lear with Paul Scofield
• 1964 Marat/Sade
• 1966 US an anti-Vietnam protest play with The Royal Shakespeare Company, documented in the film Benefit of the Doubt
• 1970 A Midsummer Night's Dream with John Kane (Puck), Frances de la Tour (Helena), Ben Kingsley (Demetrius) and Patrick Stewart (Snout): see 1970 Royal Shakespeare Company production of A Midsummer Night's Dream

Other major productions[link]

• 1955 : Hamlet with Paul Scofield
• The Visit with Alfred Lunt and Lynn Fontanne
• 1964 : Marat/Sade
• Oedipus with John Gielgud and Irene Worth
• 1971-72 : Orghast in Persepolis by Ted Hughes
• 1975 : The Ik by Colin Turnbull, adaptation Jean-Claude Carrière, Théâtre des Bouffes du Nord
• 1977 : Ubu aux Bouffes after Alfred Jarry, Théâtre des Bouffes du Nord
• 1978 : Mesure pour mesure by William Shakespeare, Théâtre des Bouffes du Nord
• 1979 : La Conférence des oiseaux (The Conference of the Birds) after Farid al-Din Attar, Festival d'Avignon, Théâtre des Bouffes du Nord
• 1979 : L'Os de Mor Lam by Birago Diop, Théâtre des Bouffes du Nord
• 1981 : La Tragédie de Carmen after Prosper Mérimée, Henri Meilhac and Ludovic Halévy, Viviane Beaumont Theater, Lincoln Center, New York
• 1981 : La Cerisaie by Anton Chekhov, Théâtre des Bouffes du Nord
• 1984 : Tchin-Tchin by François Billetdoux, mise en scène with Maurice Bénichou, with Marcello Mastroianni, Théâtre Montparnasse
• 1985 : Le Mahabharata, (The Mahabharata) Festival d'Avignon
• 1988 : The Cherry Orchard by Anton Chekhov, Majestic Theatre, Brooklyn
• 1989 : Woza Albert! by Percy Mtawa, Mbongeni Ngema et Barney Simon
• 1990 : La Tempête by William Shakespeare, adaptation Jean-Claude Carrière, with Sotigui Kouyaté, Théâtre des Bouffes du Nord
• 1992 : Impressions de Pelléas after Claude Debussy, Théâtre des Bouffes du Nord
• 1993 : L'Homme Qui after The Man Who Mistook His Wife for a Hat by Oliver Sacks
• 1995 : Qui est là after texts by Antonin Artaud, Bertolt Brecht, Edward Gordon Craig, Vsevolod Meyerhold, Stanislavski and Motokiyo Zeami
• 1995 : Oh les beaux jours by Samuel Beckett
• 1998 : Je suis un phénomène after prodigieuse mémoire by Alexander Luria
• 1998 : Don Giovanni by Mozart, création au 50ème Festival international d'art lyrique d'Aix-en-Provence
• 1999 : Le Costume by Can Themba
• 2000 : Hamlet by William Shakespeare, with Adrian Lester
• 2002 : Far Away by Caryl Churchill
• 2002 : La Mort de Krishna extrait du Mahabharata de Vyasa, adaptation Jean-Claude Carrière and Marie-Hélène Estienne
• 2003 : Ta main dans la mienne by Carol Rocamora
• 2004 : Tierno Bokar after Vie et enseignement de Tierno Bokar-Le sage de Bandiagara by Amadou Hampâté Bâ, with Sotigui Kouyaté
• 2004 : Le Grand Inquisiteur after The Brothers Karamazov by Dostoyevsky
• 2006 : Sizwe Banzi est mort by Athol Fugard, John Kani and Winston Ntshona, Festival d'Avignon
• 2008 : Fragments after Samuel Beckett
• 2009 : Love is my sin sonnets by William Shakespeare
• 2009 : 11 and 12 after Vie et enseignement de Tierno Bokar-Le Sage de Bandiagara by Amadou Hampâté Bâ
• 2010 : Warum warum by Peter Brook et Marie-Hélène Estienne after Antonin Artaud, Edward Gordon Craig, Charles Dullin, Vsevolod Meyerhold, Motokiyo Zeami and William Shakespeare