Longfellow Reception in 19th-Century America : Iconization and Parodies

这项研究项目有两个目的。一是收集朗费罗诗歌的戏仿，分析戏仿者如何利用朗费罗作品的特点。通过对恶搞的考察，这项研究揭示了许多恶搞者都是敏锐的批评者，他们可以捕捉到朗费罗微妙的特点。与此同时，很明显，并不是所有的恶搞都是为了取笑这位受欢迎的诗人。一些恶搞者，比如巴亚德·泰勒，是朗费罗的亲密朋友。他们似乎试图通过模仿朗费罗的诗歌来了解他的诗歌的秘密。此外，还特别关注了女诗人菲比·凯里。她的恶搞表明，与流行的恶搞者除了通过部分修改摧毁他们的原作之外什么都不要求的观念相反，她使用恶搞作为一种表达论点的手段。在她的案例中，她认为女性不应该逃避现实，而应该策略性地参与生活。这项研究的另一个目的是通过研究关于这位流行诗人的所谓星辰来考察朗费罗是如何在那个时代成为偶像的。例如，本研究调查了引用朗费罗诗歌段落的日记。它们经常被用作礼品书，在19世纪，它们就像今天的贺卡一样。这些星辰帮助重现了朗费罗的人气。此外，这项研究还发现，克拉伦斯·布丁顿·凯兰是20世纪初一位被忽视的流行小说家，在朗费罗批评史上具有重要意义。凯兰写了一部小说《歌剧帽子》，主人公名叫朗费罗。这项研究表明，凯兰理想化了一种同质化的文化，就像19世纪的美国一样，在这种文化中，文化没有被划分为高雅和通俗。在凯兰的小说中，朗费罗是这种文化的缩影，并努力将其带回20世纪初的美国。

This research project has been pursued for two objectives. The first is to collect parodies of Longfellow's poems to analyze how parodists take advantage of the characteristics of his works. By examining parodies, this study has revealed that many parodists are acute critics who can pick up Longfellow's subtle peculiarities. At the same time, it has become apparent that not all parodies are intended to make fun of the popular poet Some parodists, like Bayard Taylor, are close friends of Longfellow's. It seems that they attempt to learn the secrets of his poetry by emulating his poems. Also, a special attention has been paid to a female poet Phoebe Cary. Her parodies show that contrary to the prevalent notion that parodists claim nothing except for demolishing their originals by partial modification, she uses parodies as a means to express a contention. In her case, she maintains that women should not flee from reality but get involved tactically with life.The other aim of this research is to examine how Longfellow became idolized in his time by studying what are called ephemerae concerning the popular poet For instance, this study has investigated diaries that quote passages from Longfellow's poetry. They were often used as gift books, which, in the nineteenth century, served like today's greeting cards. These ephemerae helped reproduce Longfellow's popularity. Also this research has found Clarence Budington Kelland, a neglected popular novelist of the early 20th century, significant in the history of Longfellow criticism. Kelland wrote a novel "Opera Hat," whose protagonist is named Longfellow. This study indicates that Kelland idealizes a homogeneous culture like that of nineteenth century America in which culture was not stratified between high and popular. Longfellow, in Kelland's novel, epitomizes this kind of culture and struggles to bring it back to early 20th-century America.