目录

  • 1 Part 1: American poetry of colonial period
    • 1.1 Anne Bradstreet
    • 1.2 Philip Freneau
  • 2 ★Part 2: American poetry of romantic period
    • 2.1 William Cullen Bryant: To a Waterfowl
    • 2.2 Edgar Allan Poe: Annabel Lee
    • 2.3 Henry Wadsworth Longfellow: A Psalm of Life/The Tide Rises, the Tide Falls
    • 2.4 Walt Whitman: O Captain! My Captain!
    • 2.5 Emily Dickinson: Wild Nights—Wild Nights/I Heard a Fly buzz—When I died
  • 3 ★Part 3: American poetry of modernist period
    • 3.1 RobertFrost: The Road Not Taken/Stopping by Woods on a Snowy Evening
    • 3.2 Carl Sandburg: Fog/Grass
    • 3.3 Wallace Stevens:Anecdote of the Jar/The Snow Man
    • 3.4 William Carlos Williams: The RedWheelbarrow
    • 3.5 Ezra Pound: Ina Station of the Metro
    • 3.6 Hilda Doolittle: Oread
  • 4 Part 4: American poetry of contemporary times
    • 4.1 LangstonHughes: The Negro Speaks of Rivers/Dreams
    • 4.2 ElizabethBishop: The Fish
  • 5 Part 5: American novel of romanticism
    • 5.1 Washington Irving: Rip Van Winkle
    • 5.2 James Fenimore Cooper: The Last ofthe Mohicans
    • 5.3 Edgar Allan Poe: The Fall of theHouse of Usher
    • 5.4 Nathaniel Hawthorne: Scarlet Letter
    • 5.5 Herman Melville: Moby Dick
  • 6 ★Part 6: American novel of realism
    • 6.1 Mark Twain: The Adventuresof Huckleberry Finn
    • 6.2 Henry James: The Portrait of a Lady
  • 7 Part 7: American novel of naturalism
    • 7.1 Stephen Crane: The Open Boat
    • 7.2 ​ Theodore Dreiser: Sister Carrie
    • 7.3 Sherwood Anderson: Winesburg, Ohio
    • 7.4 Jack London: The Call of the Wild
  • 8 ★Part 8: American novel of modernism
    • 8.1 Sinclair Lewis: Babbitt
    • 8.2 Francis Scott Fitzgerald: The GreatGatsby
    • 8.3 ​William Faulkner: The Sound and the Fury
    • 8.4 ​Ernest Hemingway: The Sun Also Rises
    • 8.5 John Steinbeck: The Grapes of Wrath
  • 9 Part 9: American novel since 1945
    • 9.1 Jerome Salinger: The Cather in theRye
    • 9.2 Toni Morrison: The Bluest Eye
  • 10 Part 10: Critical perception of the changing society and life in American Drama
    • 10.1 Eugene O’Neil:Long Day’s Journey into Night
    • 10.2 Arthur Asher Miller: Death of a Salesman
Philip Freneau

Philip Freneau: The Wild Honey Suckle 




Philip Freneau

1752–1832


Known as the poet of the American Revolution, Philip Freneau was influenced by both the political situation of his time and the full, active life he led. He attended Princeton University, where James Madison was his roommate, and planned to become a minister. However, at Princeton he became engaged in political debates with fellow students and pursued his interest in writing.

 
Freneau was torn between his involvement in the social turmoil of his times and the more solitary life of writing. After graduation, he wrote a series of anti-British satires. In 1776 Freneau travelled to the West Indies, where he studied navigation and wrote, largely about his surroundings. In 1778 he returned to New Jersey, joined the militia, and served as a ship’s captain. He was eventually captured by the British and spent six weeks on a prison ship. By 1790, Freneau had published two collections of poetry. Encouraged by James Madison and Thomas Jefferson, Freneau established a newspaper, the National Gazette, in Philadelphia, which promoted Jefferson’s principles. By the early 1800s, Freneau had retired to his farm to write essays and poetry.
 
As a journalist and poet, Freneau was prolific. His poetry covers a variety of subjects, including the political situation, American Indians, nature, the sea, and naval battles. His political poems are often satiric, but his nature poetry is marked by lyricism and close observation of the details of the American landscape. Freneau’s work displays some of the characteristics of Romanticism—especially in its close attention to, and feeling for, nature.



The Indian Burying Ground

BY PHILIP FRENEAU

In spite of all the learned have said,

    I still my old opinion keep;

The posture, that we give the dead,

    Points out the soul's eternal sleep.

Not so the ancients of these lands—

    The Indian, when from life released,

Again is seated with his friends,

    And shares again the joyous feast.

His imaged birds, and painted bowl,

    And venison, for a journey dressed,

Bespeak the nature of the soul,

    Activity, that knows no rest.

His bow, for action ready bent,

    And arrows, with a head of stone,

Can only mean that life is spent,

    And not the old ideas gone.

Thou, stranger, that shalt come this way,

    No fraud upon the dead commit—

Observe the swelling turf, and say

    They do not lie, but here they sit.

Here still a lofty rock remains,

    On which the curious eye may trace

(Now wasted, half, by wearing rains)

    The fancies of a ruder race.

Here still an aged elm aspires,

    Beneath whose far-projecting shade

(And which the shepherd still admires)

    The children of the forest played!

There oft a restless Indian queen

    (Pale Shebah, with her braided hair)

And many a barbarous form is seen

    To chide the man that lingers there.

By midnight moons, o'er moistening dews;

    In habit for the chase arrayed,

The hunter still the deer pursues,

    The hunter and the deer, a shade!

And long shall timorous fancy see

    The painted chief, and pointed spear,

And Reason's self shall bow the knee

    To shadows and delusions here.

Source: The Longman Anthology of Poetry (2006)


Preview questions:

1. Why is Philip Freneau called a patrioticpoet?

2. Give a brief analysis of Philip Freneau's The Wild Honey Suckle.