The Courtship of Miles Standish: / With Suggestions for Study and Notes

by Henry Wadsworth Longfellow

III.

Find details in the poem that you regard as particularly faithful to history. Find touches that illustrate historic statements like this: “The pioneers [Puritans] were rugged, strong, and inspired by an unshakable faith in their mission in the New World.” (People’s History of the United States.) See, for instance, line 599. Point out several examples of the customs, habits, and views depicted that are historic in the same way. Quote lines portraying the religious character of the Puritans; their faith in their mission. Cite passages depicting the hardships of the preceding winter. Find strongly visualizing touches portraying their condition as settlers. Also instances showing their relations toward the red men.

IV.

What length of time is covered by the narrative? Point out the events in the first and the last part that fix the time. What difference do you find if you take the actual history of the events as the basis for computing the time?

THE ACTION.

The poem presents an artistically finished story, in which the action begins with a statement of a definite issue, and moves on through complication and suspenses to a complete solution. Hence it is well adapted for the study of plot.

Every carefully constructed story begins with the presentation of an issue so contrived as to seize upon and arrest the attention of the reader. Something of momentous consequence to one or more of the characters is pending. The interests of the hero or the heroine are threatened by the interests of other characters. A collision between two opposing characters is unavoidable. The hero steps forward and enters upon a career clashing with the traditions and customs of his surroundings. His ambition sets up an aim and a purpose that cannot be attained without the risk of life or fortune. A struggle, at any rate, is impending and inevitable; and in the first situation of a well-constructed story the special nature of it is placed before the reader.

At this point the action begins. It seizes upon the attention of the reader by causing him to project his thoughts forward in anticipation of the action completed, the solution of the problem. As he follows the story his interest in the struggle is heightened by finding obstacles that challenge the very best powers of the hero and the heroine, and test to the utmost their strength and courage. These obstacles give rise to situations fraught with special points of interest, rousing curiosity or giving glimpses of character or the secret workings of the soul which the composure of ordinary life does not afford. In the course of the story there are subtle touches or character hints which endear the hero to the reader. At this stage it is something more than a struggle waged between comparatively unknown forces—a strong human interest is added, so that the reader conceives strong wishes and consummations of his own with reference to the outcome.

In a story there are several positions that determine the plot and mark the stages of the progress. These form the basis of its structure; and in the study of the plot they are very serviceable as points of departure. Thus we may recognize the point where we have sufficient introductory data to state the problem, or in other words, to formulate the issue. At what point do we feel prompted to wish for any certain kind of result to the struggle? What is the nature of the obstacles that aggravate and complicate the struggle? Do they rise subjectively out of the hero’s character, or are they brought in through the counterplay of other characters? At what point and through what occurrences does the story seem to point to a definite outcome? Through what means is the reader again led to entertain doubts and misgivings? In what way is the main problem solved? Is the struggle ended so that we feel that everything involved in the issue is fully terminated?