Introduction: “Out of the shadows of night / The world rolls into light”
Part One: The Beginning of the Late Career, 1861-1863
Chapter 1 – Pursuing Successful Publication Because of Personal and National Tragedy
Chapter 2 – Narratives of Recuperation and Loss in Tales of a Wayside Inn, the Second Day, and Part Third
Part Two: Commitments through the End of the 1860s
Chapter 3 – The Divine Comedy Translation: Art as Macrocosm and Microcosm
Chapter 4 – Flower-de-Luce as Symbol and Search: Ideals of Completion and Unity
Chapter 5 – The New England Tragedies and the Restless Yearning for Feminist Ideals
Part Three: Grand Projects of the Early 1870s
Chapter 6 – Anxiety about Personal Faith in Public Art: Solving the Problem of The Divine Tragedy
Chapter 7 – Christianity as an Incomplete Project: Belief and Unbelief in The Divine Tragedy and Christus: A Mystery
Chapter 8 – Three Books of Song and The Poets of Poetry of Europe: Continuities and Collisions of Faith
Part Four: Solace and Aesthetics in the Mid-1870s
Chapter 9 – New Directions: An Aesthetic Amalgam for Transcendence in the 1870s
Chapter 10 – Aftermath and the Arts of Personal Disclosure and Desire
Chapter 11 – The Imperatives of Love and the Beautiful in The Masque of Pandora and Other Poems
Part Five: Looking Inward and Outward, The Final Years, 1875-1882
Chapter 12 – Preparing for Charted and Uncharted Journeys
Chapter 13 – Kéramos and Other Poems: The Aesthetic Worldand the Inner Self
Chapter 14 – Ultima Thule as the Final Spiritual and Artistic Journey
Part Six: The Posthumous Collections
Chapter 15 – After March 24, 1882: Longfellow’s Posthumous Career
Chapter 16 – Visions of the Multiverse: In the Harbor—Ultima Thule, Part II and Michael Angelo: A Fragment
Epilogue – Posthumously Published Poems, Unpublished Verse, and the Archival Records