Search Results

Keywords: Longfellow family

Historical Items

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Item 15485

Alice Longfellow, age 9

Contributed by: NPS, Longfellow House-Washington's Headquarters National Historic Site Date: circa 1860 Location: Boston; Cambridge Media: Photographic print

Item 15955

Henry Wadsworth Longfellow, Cambridge, ca. 1872

Contributed by: NPS, Longfellow House-Washington's Headquarters National Historic Site Date: circa 1872 Location: Cambridge Media: Albumen print

Item 15918

F.A. Longfellow and sons, ca. 1849

Contributed by: NPS, Longfellow House-Washington's Headquarters National Historic Site Date: circa 1849 Location: Boston Media: Daguerreotype

Tax Records

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Item 61414

37 Longfellow Street, Portland, 1924

Owner in 1924: Charles Sumner Cook Use: Dwelling - Single family

Item 61653

145 Longfellow Street, Portland, 1924

Owner in 1924: Alice E. Locke Use: Dwelling - Single family

Item 61657

173 Longfellow Street, Portland, 1924

Owner in 1924: Albert L. Davis Use: Dwelling - Single family

Exhibits

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Exhibit

Drawing Together: Art of the Longfellows

Henry Wadsworth Longfellow is best know as a poet, but he also was accomplished in drawing and music. He shared his love of drawing with most of his siblings. They all shared the frequent activity of drawing and painting with their children. The extended family included many professional as well as amateur artists, and several architects.

Exhibit

Longfellow: The Man Who Invented America

Henry Wadsworth Longfellow was a man and a poet of New England conscience. He was influenced by his ancestry and his Portland boyhood home and experience.

Exhibit

Home: The Longfellow House & the Emergence of Portland

The Wadsworth-Longfellow house is the oldest building on the Portland peninsula, the first historic site in Maine, a National Historic Landmark, home to three generations of Wadsworth and Longfellow family members -- including the boyhood home of the poet Henry Wadsworth Longfellow. The history of the house and its inhabitants provide a unique view of the growth and changes of Portland -- as well as of the immediate surroundings of the home.

Site Pages

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Site Page

Longfellow House-Washington's Headquarters

View collections, facts, and contact information for this Contributing Partner.

Site Page

Home: The Wadsworth-Longfellow House and Portland - The Wadsworth-Longfellow House, 1786-1960

The house has remained unchanged since that time. An unidentified member of the Longfellow family made this drawing.

Site Page

Home: The Wadsworth-Longfellow House and Portland - The Wadsworth-Longfellow House, 1786-1960

family home that the family called "the Old Original." At this time, Anne Longfellow Pierce was the only family member living in the house.

Lesson Plans

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Lesson Plan

Portland History: "My Lost Youth" - Longfellow's Portland, Then and Now

Grade Level: 6-8, 9-12 Content Area: English Language Arts, Social Studies
Henry Wadsworth Longfellow loved his boyhood home of Portland, Maine. Born on Fore Street, the family moved to his maternal grandparents' home on Congress Street when Henry was eight months old. While he would go on to Bowdoin College and travel extensively abroad, ultimately living most of his adult years in Cambridge, Massachusetts, he never forgot his beloved Portland. Years after his childhood, in 1855, he wrote "My Lost Youth" about his undiminished love for and memories of growing up in Portland. This exhibit, using the poem as its focus, will present the Portland of Longfellow's boyhood. In many cases the old photos will be followed by contemporary images of what that site looked like 2004. Following the exhibit of 68 slides are five suggested lessons that can be adapted for any grade level, 3–12.

Lesson Plan

Longfellow Studies: Longfellow's "The Village Blacksmith" and "Whitman's Song of Myself" - Alternative Constructions of the American Worker

Grade Level: 9-12 Content Area: English Language Arts, Social Studies
Most if not all of us have or will need to work in the American marketplace for at least six decades of our lives. There's a saying that I remember a superintendent telling a group of graduating high-school seniors: remember, when you are on your deathbed, you will not be saying that you wish you had spent more time "at the office." But Americans do spend a lot more time working each year than nearly any other people on the planet. By the end of our careers, many of us will have spent more time with our co-workers than with our families. Already in the 21st century, much has been written about the "Wal-Martization" of the American workplace, about how, despite rocketing profits, corporations such as Wal-Mart overwork and underpay their employees, how workers' wages have remained stagnant since the 1970s, while the costs of college education and health insurance have risen out of reach for many citizens. It's become a cliché to say that the gap between the "haves" and the "have nots" is widening to an alarming degree. In his book Wealth and Democracy, Kevin Phillips says we are dangerously close to becoming a plutocracy in which one dollar equals one vote. Such clashes between employers and employees, and between our rhetoric of equality of opportunity and the reality of our working lives, are not new in America. With the onset of the industrial revolution in the first half of the nineteenth century, many workers were displaced from their traditional means of employment, as the country shifted from a farm-based, agrarian economy toward an urban, manufacturing-centered one. In cities such as New York, groups of "workingmen" (early manifestations of unions) protested, sometimes violently, unsatisfactory labor conditions. Labor unions remain a controversial political presence in America today. Longfellow and Whitman both wrote with sympathy about the American worker, although their respective portraits are strikingly different, and worth juxtaposing. Longfellow's poem "The Village Blacksmith" is one of his most famous and beloved visions: in this poem, one blacksmith epitomizes characteristics and values which many of Longfellow's readers, then and now, revere as "American" traits. Whitman's canto (a section of a long poem) 15 from "Song of Myself," however, presents many different "identities" of the American worker, representing the entire social spectrum, from the crew of a fish smack to the president (I must add that Whitman's entire "Song of Myself" is actually 52 cantos in length). I do not pretend to offer these single texts as all-encompassing of the respective poets' ideas about workers, but these poems offer a starting place for comparison and contrast. We know that Longfellow was the most popular American poet of the nineteenth century, just as we know that Whitman came to be one of the most controversial. Read more widely in the work of both poets and decide for yourselves which poet speaks to you more meaningfully and why.

Lesson Plan

Longfellow Studies: Celebrity's Picture - Using Henry Wadsworth Longfellow's Portraits to Observe Historic Changes

Grade Level: 3-5, 6-8, 9-12 Content Area: Social Studies, Visual & Performing Arts
"In the four quarters of the globe, who reads an American book?" Englishman Sydney Smith's 1820 sneer irked Americans, especially writers such as Irving, Cooper, Hawthorne, and Maine's John Neal, until Henry Wadsworth Longfellow's resounding popularity successfully rebuffed the question. The Bowdoin educated Portland native became the America's first superstar poet, paradoxically loved especially in Britain, even memorialized at Westminster Abbey. He achieved international celebrity with about forty books or translations to his credit between 1830 and 1884, and, like superstars today, his public craved pictures of him. His publishers consequently commissioned Longfellow's portrait more often than his family, and he sat for dozens of original paintings, drawings, and photos during his lifetime, as well as sculptures. Engravers and lithographers printed replicas of the originals as book frontispiece, as illustrations for magazine or newspaper articles, and as post cards or "cabinet" cards handed out to admirers, often autographed. After the poet's death, illustrators continued commercial production of his image for new editions of his writings and coloring books or games such as "Authors," and sculptors commemorated him with busts in Longfellow Schools or full-length figures in town squares. On the simple basis of quantity, the number of reproductions of the Maine native's image arguably marks him as the country's best-known nineteenth century writer. TEACHERS can use this presentation to discuss these themes in art, history, English, or humanities classes, or to lead into the following LESSON PLANS. The plans aim for any 9-12 high school studio art class, but they can also be used in any humanities course, such as literature or history. They can be adapted readily for grades 3-8 as well by modifying instructional language, evaluation rubrics, and targeted Maine Learning Results and by selecting materials for appropriate age level.