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The Complete Poetical Works of Henry Wadsworth Longfellow

Henry Wadsworth Longfellow · Public domain text

328,164 words · about 22 h 59 min to read

Period artwork: Interior of the Bodleian Library, 1845
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About this edition

The text of The Complete Poetical Works of Henry Wadsworth Longfellow comes from Project Gutenberg e-text #1365. It is in English and public domain in the United States. Project Gutenberg’s header and license text are removed, and RedLectern sets the text out for reading on screen; no words of the book are rewritten or summarized. More formats (EPUB, Kindle) · How RedLectern is built

This book also contains the text of these books, each also on RedLectern as a separate book: Evangeline: A Tale of Acadie, The Song of Hiawatha.

This book is long enough to be split into 13 parts, so each one loads quickly on its own.

About this book

Author
Henry Wadsworth Longfellow (1807–1882)
Language
English
Subjects
American poetry
Length
328,164 words · about 22 h 59 min
Sections
73 reader sections · Table of contents

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Contents (73)
  1. Opening about 7 min
  2. III. THE NEW ENGLAND TRAGEDIES. John Endicott Giles Corey of the Salem Farms Finale. St. John about 44 min
  3. Dramatis Personae under 1 min
  4. Act I about 6 min
  5. Act I, Scene III — PRECIOSA'S chamber. She stands at the open window about 6 min
  6. Act I, Scene IV — An inn on the road to Alcala. BALTASAR asleep on a bench. Enter CHISPA about 2 min
  7. Act I, Scene V — VICTORIAN'S chambers at Alcala. HYPOLITO asleep in an arm-chair. He awakes slowly about 7 min
  8. Act II, Scene I — PRECIOSA'S chamber. Morning. PRECIOSA and ANGELICA about 4 min
  9. Act II, Scene II — A room in the ARCHBISHOP'S Palace. The ARCHBISHOP and a CARDINAL seated about 13 min
  10. Act II, Scene V — The COUNT OF LARA'S rooms. Enter the COUNT about 1 min
  11. Act II, Scene VI — A retired spot beyond the city gates. Enter VICTORIAN and HYPOLITO about 3 min
  12. Act II, Scene VII — A lane in the suburbs. Night. Enter CRUZADO and BARTOLOME about 1 min
  13. Act II, Scene IX — The COUNT OF LARA'S chambers. LARA and his friends at supper about 1 min
  14. Act II, Scene X — Street and garden wall. Night. Enter CRUZADO and BARTOLOME about 2 min
  15. Act III about 7 min
  16. Act III, Scene III — A room in the PADRE CURA'S house. Enter the PADRE and HYPOLITO about 1 h 56 min
  17. Dedication about 30 min
  18. Introduction about 6 h 53 min
  19. The Complete Poetical Works of Henry Wadsworth Longfellow (part 6 of 13) about 1 h 58 min
  20. Dedication about 2 h 2 min
  21. Epilogue about 5 min
  22. Prologue about 1 h 58 min
  23. Epilogue about 7 min
  24. Dramatis Personae under 1 min
  25. Prologue about 2 min
  26. Act I, Scene I — Sunday afternoon. The interior of the Meeting-house about 10 min
  27. Act II, Scene I — JOHN ENDICOTT's room. Early morning about 8 min
  28. Act II, Scene III — A room in the Governor's house, Enter GOVERNOR ENDICOTT and MERRY about 4 min
  29. Act III about 8 min
  30. Act III, Scene II — A street. Enter JOHN ENDICOTT and UPSALL about 1 min
  31. Act III, Scene III — The prison. Night. EDITH reading the Bible by a lamp about 3 min
  32. Act IV about 6 min
  33. Act IV, Scene III — The Governor's private room. Papers upon the table about 4 min
  34. Act IV, Scene V — The Wilderness. Enter EDITH about 1 min
  35. Act V, Scene I — Daybreak. Street in front of UPSALL's house. A light in the window. Enter JOHN ENDICOTT about 2 min
  36. Act V, Scene II — The parlor of the Three Mariners. Enter KEMPTHORN about 3 min
  37. Act V, Scene III — GOVERNOR ENDICOTT'S private room. An open window about 3 min
  38. Dramatis Personae under 1 min
  39. Prologue about 2 min
  40. Act I, Scene I — The woods near Salem Village. Enter TITUBA, with a basket of herbs about 3 min
  41. Act I, Scene II — A room at JUSTICE HATHORNE'S. A clock in the corner. Enter HATHORNE and MATHER about 4 min
  42. Act I, Scene III — A room in WALCOT'S House. MARY WALCOT seated in an arm-chair. TITUBA with a mirror about 3 min
  43. Act II, Scene I — GILES COREY's farm. Morning. Enter COREY, with a horseshoe and a hammer about 7 min
  44. Act II, Scene III — COREY's kitchen. A table with supper. MARTHA knitting about 4 min
  45. Act III, Scene I — GILES COREY'S kitchen. Morning. COREY and MARTHA sitting at the breakfast-table about 2 min
  46. Act III, Scene II — A street in Salem Village. Enter MATHER and HATHORNE about 2 min
  47. Act III, Scene III — A room in COREY's house. MARTHA and two Deacons of the church about 4 min
  48. Act III, Scene IV — Meadows on Ipswich River, COREY and his men mowing; COREY in advance about 4 min
  49. Act IV about 9 min
  50. Act V, Scene I — COREy's farm as in Act II., Scene I. Enter RICHARD GARDNER, looking round him about 2 min
  51. Act V, Scene II — The prison. GILES COREY at a table on which are some papers about 3 min
  52. Act V, Scene III — A street in the Village. Enter GLOYD and others about 3 min
  53. Act I under 1 min
  54. Act I, Scene I — ANTIOCHUS; JASON about 3 min
  55. Act I, Scene II — ANTIOCHUS; JASON; THE SAMARITAN AMBASSADORS about 1 min
  56. Act I, Scene III — ANTIOCHUS; JASON about 1 min
  57. Act II under 1 min
  58. Act II, Scene I — THE MOTHER of the SEVEN SONS alone, listening about 4 min
  59. Act II, Scene II — THE MOTHER; ANTIOCHUS; SIRION, about 3 min
  60. Act III under 1 min
  61. Act III, Scene I — JUDAS MACCABAEUS in armor before his tent about 1 min
  62. Act III, Scene II — JUDAS MACCABAEUS; JEWISH FUGITIVES about 1 min
  63. Act III, Scene III — JUDAS MACCABAEUS; NICANOR about 2 min
  64. Act III, Scene IV — JUDAS MACCABAEUS; CAPTAINS AND SOLDIERS about 2 min
  65. Act IV under 1 min
  66. Act IV, Scene I — JUDAS MACCABAEUS; CAPTAINS; JEWS about 1 min
  67. Act IV, Scene II — JUDAS MACCABAEUS; JASON; JEWS, about 2 min
  68. Act IV, Scene III — JASON, alone about 1 min
  69. Act V under 1 min
  70. Act V, Scene I — ANTIOCHUS; PHILIP; ATTENDANTS about 1 min
  71. Act V, Scene II — ANTIOCHUS; PHILIP; A MESSENGER about 3 min
  72. Dedication about 1 h 7 min
  73. Scene II about 2 h 26 min

The opening of Act I

SCENE I.--The COUNT OF LARA'S chambers. Night. The COUNT in his dressing-gown, smoking and conversing with DON CARLOS.

Lara. You were not at the play tonight, Don Carlos;
How happened it?

Don C. I had engagements elsewhere.
Pray who was there?

Lara. Why all the town and court.
The house was crowded; and the busy fans
Among the gayly dressed and perfumed ladies
Fluttered like butterflies among the flowers.
There was the Countess of Medina Celi;
The Goblin Lady with her Phantom Lover,
Her Lindo Don Diego; Dona Sol,
And Dona Serafina, and her cousins.

Don C. What was the play?

Lara. It was a dull affair;
One of those comedies in which you see,
As Lope says, the history of the world
Brought down from Genesis to the Day of Judgment.
There were three duels fought in the first act,
Three gentlemen receiving deadly wounds,
Laying their hands upon their hearts, and saying,
"O, I am dead!" a lover in a closet,
An old hidalgo, and a gay Don Juan,
A Dona Inez with a black mantilla,
Followed at twilight by an unknown lover,
Who looks intently where he knows she is not!

Read on in Part 1 →

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