Cover image for Paul Revere's ride : the landlord's tale
Paul Revere's ride : the landlord's tale
Longfellow, Henry Wadsworth, 1807-1882.
First edition.
Publication Information:
New York : HarperColins Pub., [2003]

Physical Description:
1 volume (unpaged) : color illustrations ; 23 x 29 cm
Program Information:
Accelerated Reader AR MG 5.7 0.5 68791.
Added Author:

Format :


Call Number
Material Type
Home Location
Item Holds
PS2271 .P32 2003 Juvenile Non-Fiction Childrens Area
PS2271 .P32 2003 Juvenile Non-Fiction Open Shelf
PS2271 .P32 2003 Juvenile Non-Fiction Open Shelf
PS2271 .P32 2003 Juvenile Non-Fiction Open Shelf
PS2271 .P32 2003 Juvenile Non-Fiction Open Shelf

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Written almost 150 years ago, Longfellow's stirring tale about Paul Revere's famous ride still resonates today. Now acclaimed artist Santore captures the spirit of Longfellow's powerful words and brings the poem to life with his own breathtaking illustrations. Full color.

Author Notes

During his lifetime, Longfellow enjoyed a popularity that few poets have ever known. This has made a purely literary assessment of his achievement difficult, since his verse has had an effect on so many levels of American culture and society. Certainly, some of his most popular poems are, when considered merely as artistic compositions, found wanting in serious ways: the confused imagery and sentimentality of "A Psalm of Life" (1839), the excessive didacticism of "Excelsior" (1841), the sentimentality of "The Village Blacksmith" (1839). Yet, when judged in terms of popular culture, these works are probably no worse and, in some respects, much better than their counterparts in our time.

Longfellow was very successful in responding to the need felt by Americans of his time for a literature of their own, a retelling in verse of the stories and legends of these United States, especially New England. His three most popular narrative poems are thoroughly rooted in American soil. "Evangeline: A Tale of Acadie" (1847), an American idyll; "The Song of Hiawatha" (1855), the first genuinely native epic in American poetry; and "The Courtship of Miles Standish" (1858), a Puritan romance of Longfellow's own ancestors, John Alden and Priscilla Mullens. "Paul Revere's Ride," the best known of the "Tales of a Wayside Inn"(1863), is also intensely national. Then, there is a handful of intensely personal, melancholy poems that deal in very successful ways with those themes not commonly thought of as Longfellow's: sorrow, death, frustration, the pathetic drift of humanity's existence. Chief among these are "My Lost Youth" (1855), "Mezzo Cammin" (1842), "The Ropewalk" (1854), "The Jewish Cemetery at Newport" (1852), and, most remarkable in its artistic success, "The Cross of Snow," a heartfelt sonnet so personal in its expression of the poet's grief for his dead wife that it remained unpublished until after Longfellow's death. A professor of modern literature at Harvard College, Longfellow did much to educate the general reading public in the literatures of Europe by means of his many anthologies and translations, the most important of which was his masterful rendition in English of Dante's Divine Comedy (1865-67).

(Bowker Author Biography)

Reviews 3

Booklist Review

Gr. 2^-5. Maybe it's the swelling tide of patriotism or just coincidence, but the spring publishing season has brought two new picture-book editions of Longfellow's "Paul Revere's Ride." Both are colorful, attractive, and well researched, and either book will make a good companion to Stephen Krensky's historically accurate prose version of the same events, Paul Revere's Midnight Ride (2002). Of the two new books, Vachula's version offers more decorative artwork--bordered paintings that place historical events within the context of a broader setting. The pictures, full-page and smaller on the verso, depict quiet scenes--a cat stalking through a churchyard; a picture of sheep and cattle in the farmyard with the small figure of Paul Revere riding by in the background. Figures in motion seem somehow arrested for a moment in time. In contrast, Santore's more dynamic paintings seem barely contained within the edges of the pages. They thrust the viewer right into the action, with cinematic close-ups of characters as well as broader scenes in which Revere urgently rides to spread the alarm and his countrymen rise up to battle the British. Even a relatively quiet churchyard scene is full of motion, with curving, crisscrossing paths that draw the eye precipitously down to the town and the river below. In the tradition of N. C. Wyeth and Howard Pyle, these dramatic pictures have great appeal. If there's money in the budget and room on the shelf next to the excellent editions of Longfellow's poem illustrated by Christopher Bing (2001) and Ted Rand (1990), consider both books, which provide new, yet traditional, visions of this classic American poem. --Carolyn Phelan

Publisher's Weekly Review

For Paul Revere's Ride: The Landlord's Tale by Henry Wadsworth Longfellow, Charles Santore assumes the perspective of the narrator's "friend." For "Listen, my children, and you shall hear/ Of the midnight ride of Paul Revere," an elderly, dapper gentleman leans forward in front of a fire that casts a mysterious light across his face; a view from the foot of the ladder into the tower of the Old North Church depicts the man's climb with two as-yet-unlit lanterns; and time seems to stop as Revere and his horse await the signal from across the Charles River. (c) Copyright PWxyz, LLC. All rights reserved

School Library Journal Review

Gr 2-8-Set in the Sudbury, MA, hostel of the author's "Tales of the Wayside Inn" fame, the poem is told as Longfellow wrote it-as a story being related to a group of 19th-century gentlemen gathered around a parlor fire 100 years after Revere's historic ride. Immediately, of course, the tale goes back in time to show details of the fateful night, and it does so beautifully. Santore's acrylic spreads, done primarily in somber blue, green, and brown tones, suggest the cover of night of the attempted secret attack, as well as the seriousness of the event itself. Each illustration conveys a tremendous sense of forward movement, not only from Revere's horse as he presses ever onward, but also from the body movements of the colonists as they rouse themselves for battle. The final painting showing Revere racing through clouds above a peaceful village with a large clock looming behind him gives the sense that this tale will continue to be told "through all our history, to the last." Less stylized than Jeffrey Thompson's version, The Midnight Ride of Paul Revere (National Geographic, 2000), and giving a more retrospective feel than that of Christopher Bing's you-are-there approach (Handprint, 2001), this edition should not replace either of those fine works. Rather, it should serve as a point of comparison, as a means of introducing young listeners to the many possibilities an artist faces when interpreting a classic piece of literature.-Nancy Menaldi-Scanlan, LaSalle Academy, Providence, RI (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.