text:
The Song of Hiawatha
The Song of Hiawatha is an 1855 epic poem, in trochaic tetrameter, by Henry Wadsworth Longfellow, featuring a Native American hero. Longfellow's sources for the legends and ethnography found in his poem were the Ojibwe Chief Kahge-ga-gah-bowh during his visits at Longfellow's home; Black Hawk and other Sac and Fox Indians Longfellow encountered on Boston Common; Algic Researches (1839) and additional writings by Henry Rowe Schoolcraft, an ethnographer and United States Indian agent; and Heckewelder's Narratives.[1] In sentiment, scope, overall conception, and many particulars, Longfellow's poem is a work of American Romantic literature, not a representation of Native American oral tradition. Longfellow insisted, "I can give chapter and verse for these legends. Their chief value is that they are Indian legends."[2]
Longfellow had originally planned on following Schoolcraft in calling his hero Manabozho, the name in use at the time among the Ojibwe of the south shore of Lake Superior for a figure of their folklore, a trickster-transformer. But in his journal entry for June 28, 1854, he wrote, "Work at 'Manabozho;' or, as I think I shall call it, 'Hiawatha'—that being another name for the same personage."[3] Hiawatha was not "another name for the same personage" (the mistaken identification of the trickster figure was made first by Schoolcraft and compounded by Longfellow), but a probable historical figure associated with the founding of the League of the Iroquois, the Five Nations then located in present-day New York and Pennsylvania.[4] Because of the poem, however, "Hiawatha" became the namesake for towns, schools, trains and a telephone company in the western Great Lakes region, where no Iroquois nations historically resided.[5]
- 1 Publication and plot
- 2 Folkloric and ethnographic critiques
- 3 Cultural response
- 4 Notes
- 5 Bibliography
- 6 External links
Publication and plot[edit]
The poem was published on November 10, 1855, and was an immediate success. In 1857, Longfellow calculated that it had sold 50,000 copies.[6]
Longfellow chose to set The Song of Hiawatha at the Pictured Rocks, one of the locations along the south shore of Lake Superior favored by narrators of the Manabozho stories. The Song presents a legend of Hiawatha and his lover Minnehaha in 22 chapters (and an Introduction). Hiawatha is not introduced until Chapter III.
In Chapter I, Hiawatha's arrival is prophesied by a "mighty" peace-bringing leader named Gitche Manito.
Chapter II tells a legend of how the warrior Mudjekeewis became Father of the Four Winds by slaying the Great Bear of the mountains, Mishe-Mokwa. His son Wabun, the East Wind, falls in love with a maiden whom he turns into the Morning Star, Wabun-Annung. Wabun's brother, Kabibonokka, the North Wind, bringer of autumn and winter, attacks Shingebis, "the diver". Shingebis repels him by burning firewood, and then in a wrestling match. A third brother, Shawondasee, the South Wind, falls in love with a dandelion, mistaking it for a golden-haired maiden.
In Chapter III, in "unremembered ages", a woman named Nokomis falls from the moon. Nokomis gives birth to Wenonah, who grows to be a beautiful young woman. Nokomis warns her not to be seduced by the West Wind (Mudjekeewis) but she does not heed her mother, becomes pregnant and bears Hiawatha.
In the ensuing chapters, Hiawatha has childhood adventures, falls in love with Minnehaha, slays the evil magician Pearl-Feather, invents written language, discovers corn and other episodes. Minnehaha dies in a severe winter.
The poem closes with the approach of a birch canoe to Hiawatha's village, containing "the Priest of Prayer, the Pale-face." Hiawatha welcomes him joyously; and the "Black-Robe chief" brings word of Jesus Christ. Hiawatha and the chiefs accept the Christian message. Hiawatha bids farewell to Nokomis, the warriors, and the young men, giving them this charge: "But my guests I leave behind me/ Listen to their words of wisdom,/ Listen to the truth they tell you." Having endorsed the Christian missionaries, he launches his canoe for the last time westward toward the sunset and departs forever.
The story of Hiawatha was dramatized by Tale Spinners for Children (UAC 11054) with Jordan Malek.
Folkloric and ethnographic critiques[edit]
General remarks[edit]
Much of the scholarship on The Song of Hiawatha in the twentieth century, dating to the 1920s, has concentrated on its lack of fidelity to Ojibwe ethnography and literary genre rather than the poem as a literary work in its own right. In addition to Longfellow's own annotations, Stellanova Osborn (and previously F. Broilo in German) tracked down "chapter and verse" for every detail Longfellow took from Schoolcraft.[7] Others have identified words from native languages included in the poem.
Schoolcraft as a "textmaker" seems to have been inconsistent in his pursuit of authenticity, as he justified rewriting and censoring sources.[8] The folklorist Stith Thompson, although crediting Schoolcraft's research with being a "landmark," was quite critical of him: "Unfortunately, the scientific value of his work is marred by the manner in which he has reshaped the stories to fit his own literary taste."[9]
Intentionally epic in scope, The Song of Hiawatha was described by its author as "this Indian Edda". But Thompson judged that despite Longfellow's claimed "chapter and verse" citations, the work "produce[s] a unity the original will not warrant," i.e., it is non-Indian in its totality.[4] Thompson found close parallels in plot between the poem and its sources, with the major exception that Longfellow took legends told about multiple characters and substituted the character "Hiawatha" as the protagonist of them all.[10] Resemblances between the original stories, as "reshaped by Schoolcraft," and the episodes in the poem are but superficial, and Longfellow omits important details essential to Ojibwe narrative construction, characterization, and theme. This is the case even with "Hiawatha's Fishing," the episode closest to its source.[5] Of course, some important parts of the poem were more or less Longfellow's invention from fragments or his imagination. "The courtship of Hiawatha and Minnehaha, the least 'Indian' of any of the events in 'Hiawatha,' has come for many readers to stand as the typical American Indian tale."[11] Also, "in exercising the function of selecting incidents to make an artistic production, Longfellow . . . omitted all that aspect of the Manabozho saga which considers the culture hero as a trickster,"[12] this despite the fact that Schoolcraft had already diligently avoided what he himself called "vulgarisms."[13]
In his book on the development of the image of the Indian in American thought and literature, Pearce wrote about The Song of Hiawatha: "It was Longfellow who fully realized for mid-nineteenth century Americans the possibility of [the] image of the noble savage. He had available to him not only [previous examples of] poems on the Indian . . . but also the general feeling that the Indian belonged nowhere in American life but in dim prehistory. He saw how the mass of Indian legends which Schoolcraft was collecting depicted noble savages out of time, and offered, if treated right, a kind of primitive example of that very progress which had done them in. Thus in Hiawatha he was able, matching legend with a sentimental view of a past far enough away in time to be safe and near enough in space to be appealing, fully to image the Indian as noble savage. For by the time Longfellow wrote Hiawatha, the Indian as a direct opponent of civilization was dead, yet was still heavy on American consciences . . . . The tone of the legend and ballad…would color the noble savage so as to make him blend in with a dim and satisfying past about which readers could have dim and satisfying feelings."[14]
Historical Iroquois Hiawatha[edit]
There is virtually no connection, apart from name, between Longfellow's hero and the sixteenth-century Iroquois chief Hiawatha who co-founded the Iroquois League. Longfellow took the name from works by Schoolcraft, which he acknowledged as his main sources. In his notes to the poem, Longfellow cites Schoolcraft as a source for
"a tradition prevalent among the North American Indians, of a personage of miraculous birth, who was sent among them to clear their rivers, forests, and fishing-grounds, and to teach them the arts of peace. He was known among different tribes by the several names of Michabou, Chiabo, Manabozo, Tarenyawagon, and Hiawatha."
Longfellow's notes make no reference to the Iroquois or the Iroquois League or to any historical personage.
However, according to ethnographer Horatio Hale (1817–1896), there was a longstanding confusion between the Iroquois leader Hiawatha and the Iroquois deity Aronhiawagon because of "an accidental similarity in the Onondaga dialect between [their names]." The deity, he says, was variously known as Aronhiawagon, Tearonhiaonagon, Taonhiawagi, or Tahiawagi; the historical Iroquois leader, as Hiawatha, Tayonwatha or Thannawege. Schoolcraft "made confusion worse ... by transferring the hero to a distant region and identifying him with Manabozho, a fantastic divinity of the Ojibways. [Schoolcraft's book] has not in it a single fact or fiction relating either to Hiawatha himself or to the Iroquois deity Aronhiawagon."[citation needed]
In 1856, Schoolcraft published The Myth of Hiawatha and Other Oral Legends Mythologic and Allegoric of the North American Indians, reprinting (with a few changes) stories previously published in his Algic Researches and other works. Schoolcraft dedicated the book to Longfellow, whose work he praised highly.[15]
The U.S. Forest Service has said that both the historical and poetic figures are the sources of the name for the Hiawatha National Forest.[16]
Indian words recorded by Longfellow[edit]
Longfellow cites the Indian words he used as from the works by Henry Rowe Schoolcraft. The majority of the words were Ojibwa, with a few from the Dakota, Cree and Onondaga languages.
Though the majority of the Native American words included in the text accurately reflect pronunciation and definitions, some words seem to appear incomplete. For example, the Ojibway words for "blueberry" are miin (plural: miinan) for the berries and miinagaawanzh (plural: miinagaawanzhiig) for the bush upon which the berries grow. Longfellow uses Meenah'ga, which appears to be a partial form for the bush, but he uses the word to mean the berry. Critics believe such mistakes are likely attributable to Schoolcraft (who was often careless about details) or to what always happens when someone who does not understand the nuances of a language and its grammar tries to use select words out of context.[17]
Inspiration from the Finnish Kalevala[edit]
The Song of Hiawatha was written in trochaic tetrameter, the same meter as Kalevala, the Finnish epic compiled by Elias Lönnrot from fragments of folk poetry. Longfellow had learned some of the Finnish language while spending a summer in Sweden in 1835.[18] It is likely that, 20 years later, Longfellow had forgotten most of what he had learned of that language, and he referred to a German translation of the Kalevala by Franz Anton Schiefner.[19] Trochee is a rhythm natural to the Finnish language—insofar as all Finnish words are normally accented on the first syllable—to the same extent that iamb is natural to English. Longfellow's use of trochaic tetrameter for his poem has an artificiality that the Kalevala does not have in its own language.[20]
He was not the first American poet to use the trochaic (or tetrameter) in writing Indian romances.[20] Schoolcraft had written a romantic poem, Alhalla, or the Lord of Talladega (1843) in trochaic tetrameter, about which he commented in his preface:
"The meter is thought to be not ill adapted to the Indian mode of enunciation. Nothing is more characteristic of their harangues and public speeches, than the vehement yet broken and continued strain of utterance, which would be subject to the charge of monotony, were it not varied by the extraordinary compass in the stress of voice, broken by the repetition of high and low accent, and often terminated with an exclamatory vigor, which is sometimes startling. It is not the less in accordance with these traits that nearly every initial syllable of the measure chosen is under accent. This at least may be affirmed, that it imparts a movement to the narrative, which, at the same time that it obviates languor, favors that repetitious rhythm, or pseudo-parallelism, which so strongly marks their highly compound lexicography."[21]
Longfellow wrote to his friend Ferdinand Freiligrath (who had introduced him to Finnische Runen in 1842)[22][23] about the latter's article, "The Measure of Hiawatha" in the prominent London magazine, Athenaeum (December 25, 1855): "Your article . . . needs only one paragraph more to make it complete, and that is the statement that parallelism belongs to Indian poetry as well to Finnish… And this is my justification for adapting it in Hiawatha."[24] Trochaic is not a correct descriptor for Ojibwe oratory, song, or storytelling, but Schoolcraft was writing long before the study of Native American linguistics had come of age. Parallelism is an important part of Ojibwe language artistry.
Cultural response[edit]
Reception and influence[edit]
A short extract of 94 lines from the poem was and still is frequently anthologized under the title Hiawatha's Childhood (which is also the title of the longer 234-line section from which the extract is taken). This short extract is the most familiar portion of the poem. It is this short extract that begins with the famous lines:
- By the shores of Gitche Gumee,
- By the shining Big-Sea-Water,
- Stood the wigwam of Nokomis,
- Daughter of the Moon, Nokomis.
- Dark behind it rose the forest,
- Rose the black and gloomy pine-trees,
- Rose the firs with cones upon them;
- Bright before it beat the water,
- Beat the clear and sunny water,
- Beat the shining Big-Sea-Water.
In August 1855, The New York Times carried an item on "Longfellow's New Poem", quoting an article from another periodical which said that it "is very original, and has the simplicity and charm of a Saga... it is the very antipodes [sic] of Alfred Lord Tennyson's Maud, which is . . . morbid, irreligious, and painful." In October of that year, the New York Times noted that "Longfellow's Song of Hiawatha is nearly printed, and will soon appear."
By November its column, "Gossip: What has been most Talked About during the Week," observed that "The madness of the hour takes the metrical shape of trochees, everybody writes trochaics, talks trochaics, and think [sic] in trochees: ...
- "By the way, the rise in Erie
- Makes the bears as cross as thunder."
- "Yes sir-ree! And Jacob's losses,
- I've been told, are quite enormous..."
Parodies emerged instantly. The New York Times reviewed a parody of Hiawatha four days before reviewing Longfellow's Hiawatha. Pocahontas: or the Gentle Savage was a comic extravaganza which included extracts from an imaginary Viking poem, "burlesquing the recent parodies, good, bad, and indifferent, on The Song of Hiawatha." The Times quoted:
- Whence this song of Pocahontas,
- With its flavor of tobacco,
- And the stincweed [sic] Old Mundungus,
- With the ocho of the Breakdown,
- With its smack of Bourbonwhiskey,
- With the twangle of the Banjo,
- Of the Banjo—the Goatskinner,
- And the Fiddle—the Catgutto...
The New York Times review of The Song of Hiawatha was scathing.[25] The anonymous reviewer wrote the poem "is entitled to commendation" for "embalming pleasantly enough the monstrous traditions of an uninteresting, and, one may almost say, a justly exterminated race. As a poem, it deserves no place" because there "is no romance about the Indian." He complains that Hiawatha's deeds of magical strength pall by comparison to the feats of Hercules and to "Finn Mac Cool, that big stupid Celtic mammoth." The reviewer writes that "Grotesque, absurd, and savage as the groundwork is, Mr. LONGFELLOW has woven over it a profuse wreath of his own poetic elegancies." But, he concludes, Hiawatha "will never add to Mr. LONGFELLOW's reputation as a poet."[26]
Thomas Conrad Porter, a professor at Franklin and Marshall College, believed that Longfellow had been inspired by more than the metrics of the Kalevala. He claimed The Song of Hiawatha was "Plagiarism" in the Washington National Intelligencer of November 27, 1855. Longfellow wrote to his friend Charles Sumner a few days later: "As to having 'taken many of the most striking incidents of the Finnish Epic and transferred them to the American Indians'—it is absurd".[19] Longfellow also insisted in his letter to Sumner that, "I know the Kalevala very well, and that some of its legends resemble the Indian stories preserved by Schoolcraft is very true. But the idea of making me responsible for that is too ludicrous."[2] Later scholars continued to debate the extent to which The Song of Hiawatha borrowed its themes, episodes, and outline from the Kalevala.[27]
Despite the critics, the poem was immediately popular with readers and continued so for many decades; the 1911 Encyclopædia Britannica noted that "The metre is monotonous and easily ridiculed, but it suits the subject, and the poem is very popular." Early modernist poets mocked it and, in the twentieth century, the poem lost both esteem and popularity. The Grolier Club named The Song of Hiawatha the most influential book of 1855.[28] Lydia Sigourney was inspired by The Song of Hiawatha to write a similar epic poem on Pocahontas, though she never completed it.[29]
Longfellow's poem was taken as the first American epic to be composed of North American materials and free of European literary models. Earlier attempts to write a national epic, such as The Columbiad of Richard Snowden (1753-1825), 'a poem on the American war' published in 1795, or Joel Barlow's Vision of Columbus (1787) (rewritten and entitled The Columbiad in 1807), were considered derivative. Longfellow provided something entirely new, a vision of the continent's pre-European civilisation in a metre adapted from a Finnish, non-Indo-European source.
His work has inspired compositions by musicians since the 19th century. A musician who set his words said that the poem was an "Edda...[that] idealized the North American Indian and established an elevated type of man and prophet."[30] Soon after the poem's publication, composers competed to set it to music. One of the first to tackle the poem was Emile Karst, whose cantata Hiawatha (1858) freely adapted and arranged texts of the poem.[31][32]
Arthur Foote set the poet's words in "The Farewell of Hiawatha" (Op.11, 1886), dedicating it to the Apollo Club of Boston, the male voice group that gave its first performance.[33] In 1897 Frederick Russell Burton (1861 — 1909) completed his dramatic cantata "Hiawatha," also based on Longfellow's words.[34] At the same time he wrote "Hiawatha's Death Song", subtitled 'Song of the Ojibways', which set native words followed by an English translation by another writer.[35]
Longfellow's poem was the basis for a cantata trilogy, The Song of Hiawatha (1898–1900), by the African-English composer Samuel Coleridge-Taylor. He named his son Hiawatha. The first part, "Hiawatha's Wedding Feast" (Op. 30, No. 1),[36] was particularly famous for well over 50 years, receiving thousands of performances in the UK, the USA, Canada, New Zealand and South Africa. It has slipped from popularity in recent years.[37] It was followed by two additional oratorios: "The Death of Minnehaha" (Op. 30, No. 2) and "Hiawatha's Departure" (Op. 30, No. 4), which were almost equally popular. "The Death of Minnehaha" had a revival performance in Portland, Maine, in 2010.[38]
The first orchestral treatment was Robert Stoepel's Hiawatha: An Indian Symphony. The composer consulted with Longfellow, who approved the work before its premiere in 1859.[31] Another American treatment was Hugo Kaun's symphonic poems "Minnehaha" and "Hiawatha" of 1901.
Antonín Dvořák was familiar with the work in Czech translation. In an article published in the New York Herald on December 15, 1893, he stated that the second movement of his Symphony No. 9, From the New World, was a "sketch or study for a later work, either a cantata or opera ... which will be based upon Longfellow's Hiawatha' and that the third movement scherzo was 'suggested by the scene at the feast in Hiawatha where the Indians dance'".[39] Dvořák said that "the music of the negroes and of the Indians was practically identical." Some passages that modern listeners associate with African-American spirituals may have been intended by Dvořák to evoke a Native American ambience.[citation needed]
More popular settings of the poem followed publication of the poem. The first was Charles Crozat Converse's "The Death of Minnehaha", published in Boston around 1856. The hand colored lithograph on the cover of the printed song, by John Henry Bufford, is now much sought after.[40]
The next popular tune, originally titled "Hiawatha (A Summer Idyl)", was not inspired by the poem. It was composed by 'Neil Moret' (Charles Daniels) while on the train to Hiawatha, Kansas, in 1901 and was inspired by the rhythm of the wheels on the rails. It was already popular when James O'Dea added lyrics in 1903 and the music was newly subtitled "His Song to Minnehaha". Later treated as a rag, it went on to become a jazz standard.[41] Other popular songs have included "Hiawatha's Melody of Love", by George W. Meyer with words by Alfred Bryan and Artie Mehlinger (1908),[42] and Al Bowlly's "Hiawatha's Lullaby" (1933).
Composers wrote works for young performers. They include the English musician Stanley Wilson's "Hiawatha, 12 Scenes" (1928) for first grade solo piano, based on Longfellow's lines, and Soon Hee Newbold's "Hiawatha" for junior string orchestra (2003), a rhythmic composition in Dorian mode.[43]
Some musicians have used excerpts from the poem. Mike Oldfield used the sections "Hiawatha's Departure" and "The Son of the Evening Star" in the second part of his Incantations album (1978); he rearranged some words to conform more to his music. Laurie Anderson used excerpts from the poem's third section at the beginning and end of the final piece of her Strange Angels album (1989). Johnny Cash used a modified version of "Hiawatha's Vision" as the opening piece on Johnny Cash Sings the Ballads of the True West (1965).[44]
Artistic use[edit]
Artists also responded in number to the epic. The earliest pieces of sculpture were by Edmonia Lewis, who had most of her career in Rome. Her father was Haitian and her mother was Native American and African American. The arrow-maker and his daughter, later called The Wooing of Hiawatha, was modelled in 1866 and carved in 1872.[45] By that time she had achieved success with individual heads of Hiawatha and Minnehaha. Carved in Rome, these are now held by the Newark Museum in New Jersey.[46] In 1872 Lewis carved The Marriage of Hiawatha in marble, a work purchased in 2010 by the Kalamazoo Institute of Arts.[47]
Other 19th-century sculptors inspired by the epic were Augustus Saint-Gaudens; his marble statue of the seated Hiawatha (1874) is held by the Metropolitan Museum of Art;[48] Jacob Fjelde created a bronze statue, Hiawatha carrying Minnehaha, for the Columbian Exposition in 1893. It was installed in Minnehaha Park, Minneapolis, in 1912 (illustrated at the head of this article).
In the 20th century Marshall Fredericks created a small bronze Hiawatha (1938), now installed in the Michigan University Centre; a limestone statue (1949), also at the University of Michigan;[49] and a relief installed at the Birmingham Covington School, Bloomfield Hills, Michigan.[50]
Early paintings were by artists who concentrated on authentic American Native subjects. Eastman Johnson's pastel of Minnehaha seated by a stream (1857) was drawn directly from an Objibwe model.[51] The English artist Frances Anne Hopkins travelled in the hunting country of Canada and used her sketches from the trip when she returned to her studio in England in 1870. Her Minnehaha Feeding Birds was painted about 1880. Critics have thought these two artists had a sentimental approach, as did Charles-Émile-Hippolyte Lecomte-Vernet (1821-1900) in his 1871 painting of Minnehaha, making her a native child of the wild.[52] The kinship of the latter is with other kitsch images, like Bufford's cover for "The Death of Minnehaha" (see above) or those of the 1920s calendar painters James Arthur and Rudolph F. Ingerle (1879 – 1950).
American landscape painters referred to the poem to add an epic dimension to their patriotic celebration of the wonders of the national landscape. Albert Bierstadt presented his sunset piece, The Departure of Hiawatha, to Longfellow in 1868 when the poet was in England to receive an honorary degree at the University of Cambridge.[53] Other examples include Thomas Moran's Fiercely the Red Sun Descending, Burned His Way along the Heavens (1875), held by the North Carolina Museum of Art,[54] and the panoramic waterfalls of Hiawatha and Minnehaha on their Honeymoon (1885) by Jerome Thompson (1814 – 1886).[55] Thomas Eakins made of his Hiawatha (c.1874) a visionary statement superimposed on the fading light of the sky.[56]
Toward the end of the 19th century, artists deliberately emphasized the epic qualities of the poem, as in William de Leftwich Dodge's Death of Minnehaha (1885). Frederic Remington demonstrated a similar quality in his series of 22 grisailes painted in oil for the 1890 de-luxe photogravure edition of The Song of Hiawatha.[57] One of the editions is owned by the Metropolitan Museum of Art.[58] Dora Wheeler's Minnehaha listening to the waterfall (1884) design for a needle-woven tapestry, made by the Associated Artists for the Cornelius Vanderbilt house, was also epic.[59]
As noted above, parodies began to appear immediately the poem was published. Edward Wagenknecht has called it "the most parodied poem in the English language".[60]
In 1856, a slim book entitled The Song of Milkanwatha: Translated from the Original Feejee appeared, by "Marc Antony Henderson" (Rev. George A. Strong (1832–1912) and published by "Tickell and Grinne." It is a 94-page-long parody of Hiawatha, following it chapter by chapter. It contains the following passage:
- In one hand Peek-Week, the squirrel,
- in the other hand the blow-gun—
- Fearful instrument, the blow-gun;
- And Marcosset and Sumpunkin,
- Kissed him, 'cause he killed the squirrel,
- 'Cause it was a rather big one.
- From the squirrel-skin, Marcosset
- Made some mittens for our hero,
- Mittens with the fur-side inside,
- With the fur-side next his fingers
- So's to keep the hand warm inside;
- That was why she put the fur-side—
- Why she put the fur-side, inside.
Over time, an elaborated version developed that was sometimes attributed to Strong and titled "The Modern Hiawatha":
- When he killed the Mudjokivis,
- Of the skin he made him mittens,
- Made them with the fur side inside,
- Made them with the skin side outside.
- He, to get the warm side inside,
- Put the inside skin side outside;
- He, to get the cold side outside,
- Put the warm side fur side inside.
- That's why he put the fur side inside,
- Why he put the skin side outside,
- Why he turned them inside outside.[61]
David W. Solomons set this passage as a canon for 4 equal voices.[62]
Lewis Carroll wrote Hiawatha's Photographing, which he introduced by noting (in the same rhythm as the Longfellow poem) "In an age of imitation, I can claim no special merit for this slight attempt at doing what is known to be so easy. Any fairly practised writer, with the slightest ear for rhythm, could compose, for hours together, in the easy running metre of The Song of Hiawatha. Having then distinctly stated that I challenge no attention in the following little poem to its merely verbal jingle, I must beg the candid reader to confine his criticism to its treatment of the subject." A poem of some 200 lines, it describes Hiawatha's attempts to photograph the members of a pretentious middle-class family ending in disaster.
- From his shoulder Hiawatha
- Took the camera of rosewood,
- Made of sliding, folding rosewood;
- Neatly put it all together.
- In its case it lay compactly,
- Folded into nearly nothing;
- But he opened out the hinges
- Till it looked all squares and oblongs,
- Like a complicated figure
- In the Second Book of Euclid.[63]
In 1865, James Linen, a Scottish native and book binder in New York City, settled in California. He wrote about the Golden State, as in this excerpt from San Francisco (in imitation of Hiawatha)
- ANENT oak-wooded Contra Costa,
- Built on hills, stands San Francisco;
- Built on tall piles Oregonian,
- Deeply sunk in mud terraqueous,
- Where the crabs, fat and stupendous,
- Once in all their glory revelled;
- And where other tribes testaceous
- Felt secure in Neptune's kingdom;
- Where sea-sharks, with jaws terrific,
- Fled from land-sharks of the Orient;
- Not far from the great Pacific,
- Snug within the Gate called Golden,
- By the Hill called Telegraph,
- Near the Mission of Dolores,
- Close by the Valley of St. Ann's,
- San Francisco rears its mansions,
- Rears its palaces and churches;
- Built of timber, bricks, and mortar,
- Built on hills and built in valleys,
- Built in Beelzebubbian splendor,
- Stands the city San Francisco.[64]
During World War I, Owen Rutter, a British officer of the Army of the Orient, wrote Tiadatha, to describe the city of Salonica, Greece, where several hundred thousand soldiers were stationed on the Macedonian Front in 1916-1918:
- Tiadatha thought of Kipling,
- Wondered if he's ever been there
- Thought: "At least in Rue Egnatia
- East and West are met together."
- There were trams and Turkish beggars,
- Mosques and minarets and churches,
- Turkish baths and dirty cafés,
- Picture palaces and kan-kans:
- Daimler cars and Leyland lorries
- Barging into buffalo wagons,
- French and English private soldiers
- Jostling seedy Eastern brigands.[65]
Some Disney cartoons include episodes in which inept protagonists are beset by comic calamities on camping trips. Often these are introduced by a mock-solemn intonation of the lines about the shores of Gitchee Gummee. The most famous of these was the 1937 Silly Symphony Little Hiawatha, whose hero is a small boy whose pants keep falling down. The 1941 Warner Bros. cartoon, Hiawatha's Rabbit Hunt, featuring Bugs Bunny and a pint-sized version of Hiawatha, was nominated for an Academy Award.
Margaret Pietsch wrote a parody skit based on "Song of Hiawatha" in 1958; it has been performed many times, most famously on Saturday Night Live.
F. X. Reid (pen name of the British computer scientist Mike Shields) wrote a computing-oriented parody, "The Song of Hakawatha",[66][67] containing references to hacking, Unix and compilers.
- ^ Longfellow, Henry (1898). The Song of Hiawatha. New York: Hurst and Company. p. v.
- ^ a b Williams 1956, p. 316.
- ^ Williams 1956, p. 314.
- ^ a b Thompson 1922, p. 129.
- ^ a b Singer 1987.
- ^ Calhoun 2004, p. 199.
- ^ Osborn & Osborn 1942, p. 101-293.
- ^ Clements 1990.
- ^ Thompson 1966, p. xv.
- ^ Thompson 1922, p. 128-140.
- ^ Thompson 1966, p. xv-xvi.
- ^ Thompson 1922, p. 137.
- ^ Schoolcraft 1851, p. 585.
- ^ Pearce 1965, p. 191-192.
- ^ "One can conclude," wrote Mentor L. Williams, "that Schoolcraft was an opportunist." Williams 1956: 300, note 1
- ^ "Eastern Region Forest names". United States Department of Agriculture. Retrieved February 17, 2012.
- ^ A comprehensive list, "Native American Words in Longfellow's Hiawatha" has been published at Native Languages.org
- ^ Calhoun 2004, p. 108.
- ^ a b Irmscher 2006, p. 108.
- ^ a b Schramm 1932.
- ^ Osborn & Osborn 1942, p. 40.
- ^ Letter from Freiligrath to Longfellow, in S. Longfellow 1886: 269
- ^ This book by von Schröter (or von Schroeter) was published originally in 1819. A revised edition was published in 1834. complete texts
- ^ Williams 1956, p. 302-303.
- ^ 'The Song of Hiawatha, New York Times, 28 December 1855, p. 2
- ^ Anonymous, New York Times, 1855 December 28
- ^ Moyne 1963.
- ^ Nelson 1981, p. 19.
- ^ Watts, Emily Stipes. The Poetry of American Women from 1632 to 1945. Austin, Texas: University of Texas Press, 1978: 66–67. ISBN 0-292-76450-2
- ^ Frederick Russell Burton, Prefatory note to his cantata, Hiawatha, p.17, Archive
- ^ a b Pisani 1998.
- ^ Pisani also notes other 19th-century settings.
- ^ George P. Upton, The Standard Cantatas, originally published in 1888, republished in the UK 2010, pp.84-5
- ^ Burton, Frederick R. (1898). "Hiawatha: A Dramatic Cantata". Oliver Ditson Company. Retrieved February 22, 2012.
- ^ "Hiawatha's Death Song", PDF score for voice and piano accompaniment, Musicanea library
- ^ Coleridge-Taylor, S. (1898). Hiawatha's wedding feast: A Cantata for Tenor Solo, Chorus and Orchestra. New York: Novello, Ewer and Co.
- ^ Coleridge-Taylor - Hiawatha's Wedding Feast on YouTube
- ^ The Death of Minnehaha, Coleridge-Taylor on YouTube
- ^ Antonin Dvorak: "The New World" Symphony on YouTube
- ^ Bufford, John Henry. "Sheet Music: The Death of Minnehaha (c.1855)". Authentichistory.com. The Authentic History Center. Retrieved February 22, 2012.
- ^ Neil Moret: Hiawatha, a Summer Idyll on YouTube
- ^ Alfred Bryan, Artie Mehlinger and George W. Meyer (1920). "Hiawatha's Melody Of Love". Halcyon Days. Jerome H. Remick and Co. Retrieved February 22, 2012.
- ^ "Hiawatha", 2-minute excerpt, Sheet Music Plus site
- ^ Johnny Cash - Hiawatha's Vision & The Road To Kaintuck on YouTube
- ^ "Old Arrow Maker by Edmonia Lewis". Smithsonian American Art Museum. Smithsonian Institution. Retrieved February 22, 2012.
- ^ Richardson, Marilyn. "Hiawatha in Rome: Edmonia Lewis and Figures from Longfellow". Antiques & Fine Art Magazine (AntiquesandFineArt.com). Retrieved February 22, 2012.
- ^ Lewis, Edmonia (1874). "The Marriage of Hiawatha (photo)". artnet.com. Artnet Worldwide Corporation. Retrieved February 22, 2012.
- ^ "Metropolitan Museum of Art Announces Augustus Saint-Gaudens Exhibition". Art Knowledge News. The Art Appreciation Foundation. Retrieved February 23, 2012.
- ^ Fisher, Marcy Heller. The Outdoor Museum: The magic of Michigan's Marshall M. Fredericks. Wayne State University Press. p. 58. ISBN 978-0-8143-2969-6.
- ^ "LSA Building Facade Bas Reliefs: Marshall Fredericks". Museum Without Walls. CultureNOW. Retrieved February 23, 2012.
- ^ Tweed Museum of Art. "Eastman Johnson: Paintings and Drawings of the Lake Superior Ojibwe". Tfaoi.com. Traditional Fine Arts Organization, Inc. Retrieved February 23, 2012.
- ^ Illustrated in Celia Medonca's ARTECULTURA, Revista Virtual de Artes, com ênfase na pintura, 5 January 2012
- ^ "Departure of Hiawatha". Maine Memory Network. Maine Historical Society. Retrieved February 23, 2012.
- ^ "Fiercely the Red Sun Descending, Burned His Way Across the Heavens by Thomas Moran". Museum Syndicate. Jonathan Dunder. Retrieved February 23, 2012.
- ^ "Hiawatha and Minnehaha on Their Honeymoon by Jerome-Thompson". Art-ist.org. Famous Paintings. Retrieved February 24, 2012.
- ^ Thomas Eakins, Hiawatha, Hirshhorn Museum and Sculpture Garden
- ^ A reprint was published as a Nonpareil book in 2005, ISBN 1-56792-258-9; a partial preview is available on Google Books
- ^ "Hiawatha's Friends Frederic Remington (American, Canton, New York 1861–1909 Ridgefield, Connecticut)". Metmuseum.org. The Metropolitan Museum of Art. Retrieved February 24, 2012.
- ^ Candace Wheeler, The Development of Embroidery in America, New York: 1921, pp.133, 138
- ^ As cited by Jack Sullivan (1999). New World Symphonies. Yale University Press. ISBN 0-300-07231-7., p. 47-8
- ^ Speak Roughly to your Little Boy: a collection of parodies and burlesques, ed. M.C. Livingston, New York, 1971, p.61
- ^ Hiawatha or How to make Fur Mittens on YouTube
- ^ Phantasmagoria and Other Poems, London 1911, first published in 1869, pp.66-7; text online
- ^ James Linen (1865). The Poetical and Prose Writings of James Linen. W. J. Widdleton., p. 202
- ^ Cited by M. Mazower, Salonica, City of Ghosts, 2004, p. 313)
- ^ Reid, F. X. (1989). "The Song Of Hakawatha". Scotland: University of Strathclyde. Retrieved 7 November 2012.
- ^ Irmscher, Christoph (2006). Longfellow Redux. University of Illinois Press. pp. 123, 297.
- Calhoun, Charles C. (2004). Longfellow: A Rediscovered Life. Boston: Beacon Press.
- Clements, William M. (1990). "Schoolcraft as Textmaker", Journal of American Folklore 103: 177-190.
- Irmscher, Christoph (2006). Longfellow redux. University of Illinois.
- Longfellow, Samuel, ed (1886). Life of Henry Wadsworth Longfellow; with extracts from his journals and correspondence. Vol. II. Boston: Ticknor and Company.
- Moyne, Ernest John (1963). Hiawatha and Kalevala: A Study of the Relationship between Longfellow's 'Indian Edda' and the Finnish Epic. Folklore Fellows Communications 192. Helsinki: Suomen Tiedeakatemia.
- Nelson, Randy F. (1981). The Almanac of American Letters. Los Altos, California: William Kaufmann, Inc.
- New York Times. 1855 December 28. "Longfellow's Poem": The Song of Hiawatha, Anonymous review.
- Osborn, Chase S.; Osborn, Stellanova (1942). Schoolcraft—Longfellow—Hiawatha. Lancaster, PA: The Jaques Cattell Press.
- Pearce, Roy Harvey (1965). The Savages of America: The Study of the Indian and the Idea of Civilization. Baltimore: Johns Hopkins University Press.
- Pisani, Michael V. (1998). "Hiawatha: Longfellow, Robert Stoepel, and an Early Musical Setting of Hiawatha (1859)", American Music, Spring 1998, 16(1): 45–85.
- Schoolcraft, Henry Rowe (1851). Personal Memoirs of a Residence of Thirty Years with the Indian Tribes on the American Frontiers. Philadelphia: Lippincott, Grambo and Co.
- Schramm, Wilbur (1932). "Hiawatha and Its Predecessors", Philological Quarterly 11: 321-343.
- Singer, Eliot A. (1988). ""Paul Bunyan and Hiawatha"". In Dewhurst, C. Kurt; Lockwood, Yvonne R. Michigan Folklife Reader. East Lansing: Michigan State University Press.
- Steil, Mark (2005). Pipestone stages Longfellow's "Hiawatha". Minnesota Public Radio, 2005 July 22.
- Thompson, Stith (1922). "The Indian Legend of Hiawatha, PMLA 37: 128-140
- Thompson, Stith (1966) [1929]. Tales of the North American Indians. Bloomington: Indiana University Press.
- Williams, Mentor L., ed. (1991) [1956]. Schoolcraft's Indian Legends. East Lansing: Michigan State University Press.
External links[edit]
|Wikisource has original text related to this article:
|Wikimedia Commons has media related to The Song of Hiawatha.
- The Song of Hiawatha, complete, at Project Gutenberg: https://www.gutenberg.org/ebooks/19
- The Song of Hiawatha
- Unabridged audiobook, LibriVox
- Rena N. Coen, "Longfellow, Hiawatha and some 19th century painters", Papers Presented at the Longfellow Commemorative Conference, April 1–3, 1982, National Park Service, Longfellow National Historical Site
- The Song of Hiawatha in Yiddish (Yiddish) at the Yiddish Book Center's Steven Spielberg Digital Yiddish Library


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Are Maryland DUI Checkpoints Effective?
Howard County police recently set up a DUI checkpoint on Maryland Route 1. The checkpoint, which was located in North Laurel, began in the late evening on Friday night and extended into the early morning hours of Saturday. Police chose the location after examining DUI arrest data and traffic accident data where alcohol was involved. Howard County police did not release the exact hours of the DUI checkpoint, or how many officers were involved in the operation, but typical DUI checkpoints last roughly 6 hours and involve at least 10 police officers. Howard County did release the statistics of how many cars were stopped and how many arrests were made. In total, the DUI checkpoint resulted in 690 vehicles being stopped, and a total of 5 people being arrested. Of the 5 arrests, two were for driving on a suspended license, and 3 arrests were for DUI. One of the suspects arrested for DUI was 18 years old, and was also charged with a separate alcohol charge of underage drinking.
Howard County police reported that other drivers displayed signs of alcohol consumption, but these drivers were not arrested because they did not meet the legal criteria for impairment. Police officers distributed literature on the dangers of drinking and driving to all drivers that passed through the DUI checkpoint. DUI checkpoints are scheduled a few times per year in Howard County. Typically police will schedule a DUI checkpoint during times where alcohol consumption is higher than normal, such as during St. Patrick's Day and on the Fourth of July. This most recent checkpoint was scheduled after the Fourth of July DUI checkpoint was called off due to rain. Other Maryland jurisdictions such as Baltimore City and Anne Arundel County schedule DUI checkpoints as well, but Howard County holds DUI checkpoints with greater regularity.
Continue reading "Are Maryland DUI Checkpoints Effective?" »


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Salvation is not a covenant of works: Part 2 of the Walk Applied series
In Part 1 of the Walk Applied series, we discussed that those who are saved are the bride of Christ. We do understand that Jesus is coming back for his bride. We may not be able to fully comprehend what it means to be the bride and the bible does not tell us why Jesus wants a bride. We do know that to be the bride of Christ, we must be saved. Here in part 2 of the Walk Applied series, we will start to investigate what this all means.
A fundamental fact of salvation is that we are declared and judged righteous. To be saved, we must acknowledge three elemental propositions. First, we agree that we are sinners who are separated from God because of our sin. Second, we recognize that Jesus lived the perfect life and redeemed us by paying the only acceptable price for our sin that we could never pay. Third, we concur that we must submit our lives wholly to the one true living creator God of the Universe. When we come into agreement with God, we fulfill our end of the great Promise Covenant that God offers to us, and we are then re-born. Our spirit is then raised from the dead, and we are then judged perfect and righteous because we have complied with what God has asked us.
Many Christians fail to recognize that God's great offer to us is, in fact, a legal transaction. It is not somehow conditional on what we do after the fact. When we come into agreement with God's great promise covenant, salvation is signed, sealed and delivered. Paul lets us know for certain that it is a legal guarantee! We are sealed with God's seal!
Now it is God who makes both us and you stand firm in Christ. He anointed us, set his seal of ownership on us, and put his Spirit in our hearts as a deposit, guaranteeing what is to come. (2 Cor 1:21-22)
For many, however, salvation becomes a "covenant of works". Christians can easily find themselves believing that now they have to "do good things" or "stop doing bad things". It is a trap that even the most seasoned Christian can find themselves entwined in. Quite honestly, in my experience of over 20 years of mentoring, discipling, as well as restoring hurting Christians what it means for many is that if they do the following five things, they are more Godly people:
- Pray
- Read my bible
- Go to church
- Stop doing "bad" things
- Do more "good" things
Without question, these are worthwhile pursuits. The issue becomes very problematic, however, when a works orientation becomes the basis of our submissive intimacy with Christ. Christ died and rose again so that we might have an ongoing, intimate relationship with him, not to see how well we could stop doing bad things!
The bottom line of our participation in the promise covenant of salvation, then, is that we maintain a living, breathing, intimate, submissive relationship with Jesus on a daily basis. Unfortunately, for many Christians, working this spiritual relationship out on a daily basis such that it has a significant practical impact remains a mystery to many. In part 3 of the "Walk Applied" series, we will address the question of "Why did God allow the Fall"?
Other articles you might like:
The Walk Applied Series: Part 1: Jesus bride is the reason why we are here
Jeremiah 6 tells us to follow God's path for us
Your value as a Christian is equal to Jesus' life and death
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Mr. Marica contributes incisive and contemporary Christian commentary for Examiner.com on a regular basis. He holds an MA from Liberty University, and he is the Director of Godly Training Ministries. You can find out more about him by clicking here.
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Brighthouse Luxury Green Home Cleaning (www.nashvilleBrighthouse.com) is one of almost 1,000 companies in the U.S. and Canada that has agreed to provide free cleaning services to women fighting cancer. The venture is a partnership with Cleaning For A Reason, which maintains the website where cancer patients register for the service (http://www.cleaningforareason.org/cancer_patients_accept.html).
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Explore the Entrepreneurship.org Resource Center to find resources. Designed with entrepreneurs in mind, our resource center allows you to find materials to grow great ideas.
Healthcare entrepreneurs looking for some additional funding may be getting some good news from the angel investment side of the aisle.
According to the Center for Venture Research at the University of New Hampshire, the angel investor market is on the recovery train in 2011. The Durham, N.H.-based CVR says that angel capital funding for the first two quarters of 2011 was 4.7 percent higher than it was in the same period in 2010.
That "stabilization" – the word used by academics at UNH – comes on the heels of an atrocious performance for angel investors in the second half of 2008 and 2009, when average funding capital was down 30 percent.
Some other key figures from the CVR/UNH study of angel funding for the first half of the year:
Such stability is welcome in healthcare startup circles, but the climb back still remains a high one. The Center for Venture Research previously reported that U.S. angel investors invested $19 billion in 55,000 deals (about 35,000 small businesses) in 2008, with most of those investments in startup or very early-stage companies. Approximately 225,000 angel investors cut a check to a U.S. company in 2008, the CVR reports.
Researchers at CVR/UNH are taking great pains to remain realistic about any fragile recovery in the angel funding sector. But they do come out and use the "growth" word, albeit with a dose of caution.
"These data indicate that angels remain committed to this investment class and at slightly higher valuations than in 2010. While the market exhibited a stabilization from Q1 and Q2 2010, when compared to the market correction that occurred in 2008, these data indicate that the angel market appears to have reached its nadir in 2009 and has since demonstrated a slow recovery," said Jeffrey Sohl, director of the UNH Center for Venture Research at the Whittemore School of Business and Economics, in a statement.
So we'll call it good news for startup owners, especially healthcare entrepreneurs who are just getting rolling. As Sohl points out, angel investors are a big source of financing for brand new business owners. "Historically angels have been the major source of seed and startup capital for entrepreneurs, and this return to seed and startup investing is an encouraging sign. While there remains a need for seed and startup capital and a capital gap in this stage, if the return to seed and startup investing continues, this will signify an improvement in both new venture formation and job creation," Sohl adds.
Hopefully, the healthcare sector will see the first six months of the year acting as a springboard for the second six months – a trend that is not only welcome for entrepreneurs, but actually expected (on a moderate pace) by the CVR.
Let's keep our fingers crossed.
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IBM has begun a new promotion designed to convert Microsoft Office users to its Lotus Symphony productivity suite.The company said on Thursday that it will offer the Symphony package along with a collection of plug-ins free of charge.Microsoft users will be able to obtain the Symphony word processing, spreadsheet and presentation tools for Windows, Mac OS and Linux systems. Large enterprises can also purchase licensing agreements at a discount.IBM's aggressive new initiative comes as Microsoft faces legal challenges over the lynchpin of its Office suite. Canadian software firm i4i had accused Microsoft of violating its patents on XML components within Word, nearly halting sales of Word in the US.However, IBM maintains that its campaign is more about advocating Symphony's use of open standards than taking advantage of Microsoft's legal troubles."Today there are more innovative, open alternatives such as Symphony that compare favourably to Microsoft Office," said IBM Lotus general manager Bob Picciano."Symphony's open collaboration model can offer businesses limitless options cost-effectively at a time when many are increasingly concerned about investing in Microsoft Office."
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Unlike the last controversial Medicare and Medicaid head Donald Berwick, Obama's new pick to run the programs isn't getting a lot of opposition from congressional Republicans. In the clearest sign that nominee Marilyn Tavenner will likely have a smooth confirmation process in the Senate, House Majority Leader Eric Cantor actually praised her yesterday:
"I would hope to be able to support her," Cantor said. "Obviously, I'm not in the Senate, so I don't have that vote, but I do think she is qualified. Obviously, she'll be working for a president with an agenda that's quite different from mine."
Many stakeholders already thought Tavenner might be able to win Senate confirmation, based largely on the fact that Senate Republicans did not immediately attack her. Support from Cantor, one of Congress' leading conservative voices, will likely bolster her prospects.
While Cantor doesn't have a vote, he is the most high-profile conservative voice to support Tavenner so far. The reason may be that Tavenner has a reputation as the "anti-Berwick" – former colleagues describe her as a pragmatic consensus-builder, who works across partisan lines. HealthLeaders Media reports:
"She is not going to be a bomb thrower. She is not going to be tossing political hand grenades," says Virginia State Sen. Edd (CQ) Houck, D-Fredericksburg.
Although she served under a Democratic governor, Houck says Tavenner worked well with Republicans in the Virginia Senate. "Marilyn was agile and sensitive to the partisan differences. She was politically astute," he says.
It sounds like Republicans won this battle, and Tavenner will get an easy confirmation in Congress. Obama stood by Berwick for a long time, despite the Medicare chief's supportive comments about health care rationing, but in the end the president had to go with a choice that was low-key and nonpolitical.


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Please Note: These instructions are intended to provide employees with basic information required to access the Online W-2 Form. The screen shots are provided for general reference purposes only. Your computer screens may look slightly different depending on your access to the services contained within Drexel One. However, the steps contained below are the same for all employees. If you have any problems accessing the Online W-2 Form, please contact the Payroll Department at firstname.lastname@example.com.
If you are already familiar with logging on to the Drexel One portal and accessing the "Employees" tab, skip to step 4.
Step 1. Access the Drexel One home page
Use your internet browser to access the Drexel One home page at https://one.drexel.edu. There is a link to the Drexel One home page available in the lower left-hand corner of the Drexel University home page, http://www.drexel.edu.
Step 2. Log on to Drexel One
Log on to Drexel one using your e-mail user ID and password. If you have forgotten your password, click on the "Password Reset Wizard" link and follow the instructions.
Step 3. Select the "Employees" tab
From the Drexel One Main Menu, click on the "Employees" tab at the top left of the screen.
Step 3a. Address Verification
Once each academic term, you will be prompted to verify your Employee Campus Mailing address and your Employee Home address. When you are prompted by this automatic pop-up, please review your address information and e-mail any corrections/updates to Human Resources Information Systems at firstname.lastname@example.com.
Please include your correct address(s), university ID and the effective date of your change. Click on the "Continue" button to move on to the Employees Main Menu.
If you do not receive this pop-up message, you will automatically be taken to the Employees Main Menu; skip to Step 4.
Step 4. Select from the Employees Main Menu
Click the "Tax Forms" link.
Step 5. Select "On Line W-2 Year End Earnings Statement"
From the Tax Forms menu, select the "On Line W-2 Year End Earnings Statement" link to access the Online W-2 Form.
Step 6. Select the Tax Year and Employer
On the Select W-2 screen, choose the appropriate tax year and employer name from the drop-down boxes, then click "Display".
Please Note: The most recent tax year available will default into the "Tax Year" field. If you do not see the year the most recent tax year in the drop-down list, W-2's for that year have not yet been made available. W-2's will be made available for all years in which you earned taxable wages no later than January 31st of the following year.
You may only view and print W-2 forms for Drexel University and Drexel University College of Medicine from this site. Other employers for whom you may have worked during the year will report taxable wages to you on separate W-2 forms.
Step 7. View Unofficial W-2 Summary
An unofficial summary of your W-2 information will display. You may use this page to quickly access taxable wages, taxes withheld and other W-2 information; however, this page does not print out in an official IRS approved substitute form format.
To print an official, IRS approved W-2 form, click "Print" at the bottom left of the screen.
Please Note: To ensure that your official W-2 form prints correctly and on one page, first click "Bannerweb Help" and follow the instructions for setting the print margins on your browser.
Step 8. View/Print Official W-2 Form
An official version of your W-2 form will be displayed. This form meets IRS guidelines for substitute forms and may be used for all tax filing purposes.
You may print the form using the browser's print button, located at the top center of the screen. You may need to print several copies of the form for federal, state and local tax filings.
Once you have printed your W-2 forms, return to the previous screen by clicking the "Go Back" link below the W-2 form.
From the "W-2 Year End Earnings Statement" screen, log out of Drexel One using the "Logout" icon in the upper-right hand corner of the window. Be sure to close out of your browser once you have logged out of Drexel One.


text: Posted February 4, 2011 by Stuart Davidson in Graphics Cards 0 ASUS GeForce GTX 580 DirectCU II vs Gainward GeForce GTX 580 Phantom 3 Graphics Card Review 1. Introduction1. Introduction2. Gainward GTX 580 Phantom33. ASUS GTX 580 DirectCU 24. GTX 580 Comparison Photos5. Test System and Methodology6. Call of Duty: Black Ops7. Crysis: Warhead8. Civilization 59. Dead Space 210. F1 201011. Mafia 2 PhysX12. HAWX 213. 3DMark 1114. Media Playback15. GPU Assisted Computing16. Overclocking / Power / Noise / Temps17. Conclusion3. ASUS GTX 580 DirectCU 2 Gainward GeForce GTX 580 Phantom 3 Gainward package their Phantom3 in a stylish box with various logos on the outside that cover the key features of the card. Inside we find a software disc, discount voucher, documentation then the bundle is rounded off by a set of Molex to PCIe power cables and DVI to VGA dongle. Gainward use a similar PCB layout to the standard NVIDIA card however this is actually a custom design. The 11" black PCB is covered by a large 2.5 slot width cooler which has a plastic cover sitting over aluminium fins. Underneath the fins are six copper heatpipes and these sit on three 8cm low noise fans which draw air through the cooler, passing it onto the PCB. Equally as important to the redesign is the fact that this card has 3GB of GDDR3 available to the GPU rather than the standard 1.5GB. For outputs Gainward have gone with a much more desirable selection than the reference card and include dual DVI, full size HDMI and a DisplayPort connector. When gaming, or at the desktop, we can connect two screens at a time to this card and in SLI mode there is the option to add a third for surround gaming. For power inputs the Phantom3 has one 6-pin and one 8-pin connector, just like the reference card. NVIDIA clock the reference design card at 772MHz core and 1544MHz shader and 1000MHz memory. That isn't sufficient for Gainward though and as well as doubling the memory on this card they have overclocked it to 783MHz core, 1566MHz shader and 1005MHz memory. This is of course on the 512 CUDA cores which connect to the 3GB of GDDR5 via a 384-bit memory bus. PCIe 2.0, DirectX 11, DirectCompute 5.0, CUDA, PhysX and OpenCL are all supported on this card as is acceleration of high definition content and the card can output 7.1 audio over HDMI. Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17


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Stillpoint is a non-profit center devoted to spiritual development in Las Vegas, Nevada. Founded by a group of Roman Catholic women, its focus is interfaith and ecumenical. It is governed by a multi-denominational Board of Trustees.
The mission of Stillpoint is to provide a gathering place that is hospitable to and nourishing of the spiritual life. Our programs, informed by Incarnational Theology, provide opportunities for spiritual development, personal growth and social transformation. We welcome individuals and groups of all faiths that genuinely seek the Divine, and those who desire to embrace the sacred in their lives and world. Our goal is that all who come to Stillpoint can experience the invitation: "Be still and know that I am God."


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James Holmes: Police investigate Holmes' deliveries
The university declined to release any details of his academic record, citing privacy concerns, and at least two dozen professors and other staff declined to speak with the AP. Some said they were instructed not to talk publicly about Holmes in a blanket email sent to university employees.
Jacque Montgomery, a spokeswoman for the University of Colorado medical school, said that police have told the school to not talk about Holmes.
The university also took down the website for its graduate neuroscience program on Saturday.
Dan Keeney, president of DPK Public Relations in Dallas, said asking for silence from university employees because of a police investigation was appropriate, but taking down the website was "indefensible" for a publicly funded university unless the school believed it contained inaccurate information relating to the suspect.
"It's an indefensible action," he said. "It's disappointing to hear that they would take that action because it suggests that it's not in the public's interest to have access to that information and I think it is in the public's interest."
The school took down the neuroscience department's site at the request of faculty and staff who had privacy concerns, Montgomery said.
The University of Colorado also disclosed it was cooperating with police who were looking into whether Holmes used his position as a graduate student to order materials in the potentially deadly booby traps that police said they found in his apartment.
The apartment was booby trapped with jars of liquids, explosives and chemicals that could have killed "whoever entered it," Oates said, noting it would have likely been one of his officers.
Investigators spent hours removing the explosive materials Saturday.
Among the dead was a 6-year-old girl and a man who died on his 27th birthday and a day before his wedding anniversary. Families grieved and waited at hospitals, with police reporting 11 people still in critical condition as of Saturday.
While authorities continued to refuse to discuss a possible motive for one of the deadliest mass shootings in recent U.S. history, details about Holmes' background as a student and would-be scientist trickled out.
He had recently withdrawn from the competitive graduate program in neuroscience at the University of Colorado Denver, where he was one of six pre-thesis Ph.D. students at its Neuroscience Program to be funded by a prestigious grant from the National Institutes of Health. The program of 35 students is dedicated to training outstanding neuroscientists and academicians who will make significant contributions to neurobiology, the university said in a statement.
In the first year of the five- to seven-year program, students take classes and complete three, three-month research rotations in the labs of different professors.
Professors who worked with him either did not return calls or declined to comment, saying police and university officials had told them not to speak to the media.
At one point in the year, Holmes was engaged in research about RNA and was to present a paper May 8 about RNA Biomarkers, according to a class schedule. It was unclear if he presented the paper.
Holmes recently took an intense, three-part oral exam that marks the end of the first year. Those who do well continue with their studies and shift to full-time research, while those who don't do well meet with advisers and discuss their options, including retaking the exam.
University officials would not say if he passed, citing privacy concerns.
The university said Holmes gave no reason for his withdrawal, a decision he made in June.
Holmes was not allowed access from the institution after his withdrawal, which was "standard operating procedure" because he was no longer affiliated with the school, Montgomery said. Holmes had no contact with university police, she said.
A resume posted on Monster.com paints a picture of a brilliant young man brimming with potential: He worked as a summer intern at the Salk Institute for Biological Studies in La Jolla in 2006 and mapped the neurons of Zebra finches and studied the flight muscles of hummingbirds while an undergraduate at the University of California, Riverside.
Would you like to contribute to this story? Join the discussion.


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Dancing With The Stars
Dancing With the Stars 2013: Val Chmerkovskiy on Zendaya: "None of This Is Easy for Her" — Exclusive
There's a reason Val Chmerkovskiy is one of our favorite Dancing With the Stars pros — and no, it has nothing to do with his older brother Maks. Like it or not, Val is 100 percent himself on the hit ABC show, and we have to admire someone who doesn't play into the smoke and mirrors of reality TV. Did we mention he and his partner Zendaya are the ones to beat on Dancing With the Stars 2013?
Wetpaint Entertainment recently caught up with the chatty pro in his New York studio, and he insisted that just because it looks like choreography comes easy to 16-year-old Zendaya, that doesn't mean she doesn't work hard. Val also dished on his chemistry with former partner Kelly Monaco and the pros he's closest to off camera.
Wetpaint Entertainment: Some say you have an advantage because Zendaya is a dancer. Do you think its an advantage?
Val Chmerkovskiy: Well, I think I have an advantage every season. I'm a dancer. I think this time around, I've figured myself around the show a little bit better. I definitely feel like I have an advantage every season. I have a very positive, optimistic outlook on every partner that I have. Everyone holds certain talents and certain capabilities, and it's my job to bring the best out of them. So do I have an advantage? Aly Raisman is an Olympic gymnast and Kellie Pickler is a singer with a lot of fans. I think everyone has an advantage on Dancing With the Stars. And I'm not trying to weasel my way out of the fact that Zendaya is an incredible dancer.
Kellie and Derek look like they might be your biggest competition at this point.
[Kellie] looks good, but I think I have an incredible talent in Zendaya. She has a great attitude, and she wants to put in the work. At first, I was hesitant with this partnership because I'm a very passionate dancer. For me, ballroom dance is about a man and a woman and all of the chemistry between those two. So being partnered with a 16-year-old teen sensation was difficult in the beginning. But then, I realized that dancing is an art form and you have to use your imagination whenever you do anything creative, so I understood that I had to recreate myself. It's been a challenge, but I think it's been great. I love working with Zendaya and dancing with her. The friendship that we're building is great.
Is it also a relief to be partnered with a younger dancer? Because now it's about the dance, and it's not about the showmance. When you look at you and Kelly [Monaco] last season or Victor [Ortiz] and Lindsay [Arnold] this season, the chemistry kind of overshadows the dance.
We need to give Victor a heads-up about Lindsay being a Mormon because I don't know what kind of romance could happen there. You know it's a showmance then! You know nothing is happening. Now, with me and Kelly. I'm a Jewish kid from Brooklyn, and Kelly is a Philly chick, so that was up in the air. You know nothing is happening with Lindsay — trust me, I tried! [Laughs] I'm just joking. I was hesitant to come back and to be labeled the heartthrob. I think I am that, I guess, but I didn't want the backlash. Last season's chemistry with Kelly was so magnetic and so huge that it's still fresh. But I think me and Zendaya have great chemistry. Clearly, it's in a completely different form, but I am who I am.
The first two seasons were very difficult for me because I didn't transition into television very well. I have a very successful competitive dance background, but I have no experience in television. So all of that energy, and all of that popcorn and BS that people do on TV, I didn't have that. I didn't possess that, so the audience didn't really take me in. I didn't get as much exposure, and I was eliminated quite early. I was still considered "Maks' brother."
The audience didn't know you.
Yeah! But I'm glad I stuck with it, and production stuck with me, so now I don't have to act. This is me. I'm exactly who I was since day one. I'm glad I was paired up with Zendaya, so I'm not in that category where the audience is like, "Well, he's a little slut. He jumped from one chemistry to another!" We have a different story to tell this season, and my priority is always the dance. I know everyone says it's not a dance show — that it's about the personalities and the chemistry and the relationships — but for me, it's always been about the dance. If the audience doesn't want to vote for us and doesn't want to vibe with us, then that's on them. This time, I was given a younger individual, someone with a hip-hop background. She's not a hip-hop dancer, she's a hip-hop choreography dancer. She's given the choreography, and she remembers it and she does it. For hip-hop week, maybe she'll kill it! Then I won't know what the hell I'm doing.
The Brooklyn comes out when it's hip-hop week!
Oh, yeah, we're going to kill it. The point is, the more talent you give me, the more work I'm going to put in. So it's really motivating for me to have someone who can do the choreography, but I want the fans to know she's not picking this up in 20 minutes. She puts in four or five hours a work every day. We're not taking any short cuts. None of this is easy for her. My priority isn't to take what she's good at and build a routine around that, it's to completely erase that from her vocabulary. Let's challenge ourselves and recreate her completely. When they see her hit a pose or a ballroom line, they will be blown away. I know she is this teen hip-hop sensation, but maybe she picked the wrong genre because she looks incredible dancing ballroom.
You all spend a lot of time together behind-the-scenes. Is there anyone you're closest to? Giggy, perhaps?
I almost sat on Giggy, and that was nearly the end of Giggy.
What about newbie Gleb Savchenko?
Gleb is an awesome guy. I've known Gleb for a while. I'm probably the only one on the cast that really knows him because I've been competing longer than others. He's from Ukraine, but for the past 10 years, he lived and trained in Hong Kong. So when I was out there, we chilled in Hong Kong. He's a great guy. He's a very positive guy.
So Derek and Mark have a bromance and Maks and Tony had a bromance. Do you have a bro on the show?
I'm not about to have a bromance with anybody! I'm a romance guy. I don't have a bromance, but Tristan [MacManus] is my homie. He's just an amazing kid. And Sharna [Burgess] is an amazing person. She's badass.
To vote for Zendaya and Val, call 1-800-VOTE4-06 or text VOTE to the couple's number. Catch Dancing With the Stars on Mondays at 8 p.m. ET and Tuesdays at 9 p.m. ET on ABC.


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HIMBA and Zemba people from the Omuhonga and Epupa areas on Saturday marched from their villages to Okanguati, 120 kilometres from Opuwo, to protest against human rights violations against them.
A human rights activist from Earth Peoples, Rebecca Sommer, wrote that the groups' claimed violations are contained in two declarations submitted by Earth Peoples to the United Nations Rights of Indigenous Peoples (UNDRIP) in February.
The declarations were also handed over to Prime Minister Nahas Angula.
In these declarations, they denounced the planned hydro-electric dam in the Baynes Mountains, which they said would threaten their way of life and the natural environment that sustains it, and lead to a potential loss of land.
NamPower has indicated that it is considering putting up a hydro-electric dam in the area to bolster the country's power generation capacity.
But the marginal semi-nomadic communities claimed that they have not been consulted on these plans.
"We don't understand why we have to repeat ourselves over and over again, and the government of Namibia is not listening to us, and is continuing to push for the construction of the dam in the Baynes Mountains without our consent. We collectively refused the money offered to our communities and families that would have to relocate," Chief Hikuminae Kapika from the Epupa and Omuhonga area said.
The chief said mining companies were drilling holes in their land and cutting roads through their grazing lands.
"We don't know what they are digging out; we have no idea what they do to our water and land, and we don't want them here. Nobody asked us for our permission," said Kapika.


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Book Search
1-1 of 1 results for Author: richard mohr (sorted by Publication Date, showing all)
Law and Religion in Public Life
The Contemporary Debate
With religion at centre stage in conflicts worldwide, and in social, ethical and geo-political debates, this book takes a timely look at relations between law and religion. To what extent can religion play a role in secular legal systems? How do peoples of various faiths live successfully by both...
Published April 12th 2013 by Routledge


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Maputo — Mozambican President Armando Guebuza has reaffirmed his government's commitment to dialogue with the former rebel movement Renamo, in the search for a solution to the current politico-military tensions.
Speaking in Brussels on Tuesday at a meeting with Mozambicans resident in Belgium, Holland and Luxemburg, Guebuza stressed "We are seriously committed to the dialogue with Renamo. We shall continue. We are different in our way of acting and of thinking, but we are Mozambicans".
He pointed to the advances achieved in amending the electoral legislation, after long and tortuous discussions with Renamo, and the dialogue has now moved on the question of disarming Renamo.
Guebuza said he is confident this is the path to take, although it is not an easy one. He did not believe that war could be a solution to any problem, particularly to internal disputes within a country.
It would also not be easy to reintegrate into society those involved in Renamo's current military campaign. Nonetheless, the Mozambican government would do all in its power to ensure successful reintegration.
Guebuza insisted that there have been significant improvements in the country's development in recent years. He reminded his audience of the days when people could only read by the light of oil lamps, with the smoke stinging their eyes.
"This happened almost everywhere, and unfortunately it still happens in our country. But it happens much less than it used to", said the President.
The residents in the diaspora who spoke at the meeting urged Guebuza to ensure that the fruits of economic growth should be extended to all social classes, improving living conditions in both rural and urban areas.
They urged the government to pay particular attention to young people, since the future of the country lies in their hands.
Earlier in the day, Guebuza met with the President of the European commission. Jose Manuel Durao Barroso. On Wednesday and Thursday he will attend the Fourth EU-Africa summit.


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Guest Interviews
One of the joys of gardening is talking with other gardeners. My travels and the nature of my profession offer me the opportunity to speak with so many different people. Here are excerpts from some of our conversations.
Featured Article
Heritage Poultry Expert Frank Reese on Aylesbury Ducks
Heritage poultry expert Frank Reese visits the Garden Home Retreat to check out the Aylesbury ducks.
New Articles
- Green Building at Heifer International
- Jim Shults on Front Porch Plants
- Peony Planting with Greg Jones
- Renee's Garden Seeds
- Deer Defense with Betsy Clebsch
- Ruth Knopf and Noisette Roses
- Carla Tuene on Carolus Clusius
- Hosta with Henk Goeijers
- Seed Tips from Renee Shepherd
- Jim Long Demonstrates Making Bentwood Arbors
Showing 20 of 23 articles, page 2 of 3


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Personalize Your Man Cave! Put Your Feet Up & Enjoy A Unique Space!
Getting home from the office and going to the man cave can really change your attitude around before you have dinner and help the kids with their homework. Personalize his space with vinyl wall decals. Our relaxing time is the most enjoyable part of our day. With game room or man cave decor you can express the interests in your life that you "would rather be doing".
Yes! We Create Custom Orders!
Send us your custom text and/or ideas!


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Yesterday I attempted to convert our site from fixednosidebar to the new php.fixed template following the instructions in the conversion documentation (under converting discontinued templates). Since I had performed a site-wide search & replace to update to the new template, and there were numerous problems with the result, I went ahead and replaced the entire root folder with my backup.
This morning I am getting the following message when I try to connect to the host: "An FTP error occurred- cannot make connection to host. Access Denied. The file may not exist of there could be a permission problem."
Did I inadvertently do something that would cause this permission problem? How do I reestablish the connection?
I am working on unl.edu/art
Thanks for your help!