remarked to his friend that the small round table would need to be enlarged year by year as children should come into the family; and that later, when the "young guests" should grow up and make homes of their own, the table would close again and the two original members of the family be left alone once more. Thus the "sweet and pathetic poem of the fireside" was suggested to Longfellow. (See the Riverside Edition of the poem).

The title of the poem refers to an old custom equivalent to our "house-warming." As the last preparation for the occupancy of the new home, neighbors and friends gathered in it and placed the crane in the fireplace. The work of the housekeeper could then begin, and the family life could be taken up regularly. (For a fireplace containing the crane, see the picture of the Whittier kitchen, page 190).

II. At first reading one can easily discover the general structure of the poem. Part I is introductory, and represents the poet as remaining after the guests have spoken their good wishes and departed, and as sitting before the fire to dream about the coming life of the family just established. The other six parts contain the six pictures of home life that drift through the mind of the dreamer, and carry the founders of the family in his imagination from youth to old age. The table is represented as the gathering place, partly from the suggestion of Longfellow's words to Aldrich, and partly because the entire family meets more often at the table than anywhere else. Each picture is preceded by a prelude of six lines. This breaking of the poem by preludes would not be good in a continuous narrative or description, but is an excellent device for keeping separate a series of six pictures scattered over a period of fifty years. Tell what stage in the development of the family each picture describes.

III. After you thoroughly understand the general plan of the poem, study it in detail. Do not pass over a word or an expression without understanding it fully and recognizing its force in the poem. The following notes may be suggestive and helpful.

Lines 7-12: Who speaks these lines? See line 13. Explain the simile in lines 10-12. The word harmonious refers to the old belief that the spheres, revolving in their places, made music of ineffable beauty. Why does this simile exalt the home?

Lines 17-22: The prelude to the first picture speaks of the character and transitoriness of the pictures that drift through the poet's mind.

lines 21-22.

Line 31: Explain the simile.

Explain the simile in

Lines 37-42: The prelude to the second picture indicates that the picture has changed. Explain the figure. The "door" is that of the dining-room.

Lines 43-72: The diction of this part is governed largely by the comparison of the adored and indulged baby to a monarch. Make a list of the words brought into the poem on account of this comparison. The baby is finally compared to King Canute, who was obeyed implicitly by his subjects, but whose word had no power over the tide of the sea. Find the story in your English History. Why is the nurse compared to the sea? And why are the adjectives in line 69 applied to her? Other words in this part which should be associated are angel (line 45) and celestial (line 52). Entertain and guest go back to Longfellow's words to Aldrich. What line refers to the old proverb, "Speech is silvern, but silence is golden"? Is the playful tone good in the description of this picture?

Lines 73-78: The prelude to the third picture refers to the change of pictures in the poet's mind, and contains two beautiful similes taken from nature. Explain the figures.

Lines 79-99: The comparison of the children to royal persons is continued in this picture; what words are introduced because of this comparison? Observe the difference between the life and energy of the boy in III and the beauty of the little girl in IV. Explain the simile in lines 92-96. The last three lines of this part lead forward to the responsibilities and cares that must come into the lives of these children later on.

Lines 100-105: This prelude recalls the two figures used in prelude IV; explain exactly how. It then looks forward to the picture that follows (line 103). This is the first of the preludes to anticipate the picture; the others (except for a mere reference in prelude III) have simply indicated the fact of change. Explain the simile in lines 104-105.

Lines 106-129: For the reference to Ariadne (lines 107109) see your book on Greek mythology. Lines 113-115: The hopes and fears which the maidens are too shy to express are compared in simile to birds afraid to leave their nests. Lines 116-125: The young men of the family are compared to knights of old, who went out seeking adventure. Or they may be in pursuit of some ambition, which they will not give up though they find it hard to attain. The "lyric muse" that frequents the solitudes represents the emotions-feelings one may express if he can, but which he must bear alone. Their high expectations are referred to in line 126; hope and desire alternating with fear and discouragement in line 127; the fact that work and hope make life worth living is suggested in lines 128, 129.

Lines 130-135: This prelude indicates the passage of a