Longfellow's work on "The Poets and Poetry of Europe" appeared in 1845, and was afterwards reprinted with a supplement in 1871. The original work included 776 pages,{74} the supplement adding 340 more. The supplement is in some respects better edited than the original, because it gives the names of the translators, and because he had some better translators to draw upon, especially Rossetti. It can be said fairly of the whole book that it is intrinsically one of the most attractive of a very unattractive class, a book of which the compiler justly says that, in order to render the literary history of the various countries complete, "an author of no great note has sometimes been admitted, or a poem which a severer taste would have excluded." "The work is to be regarded," he adds, "as a collection, rather than as a selection, and in judging any author it must be borne in mind the translations do not always preserve the rhythm and melody of the original, but often resemble soldiers moving forward when the music has ceased and the time is marked only by the tap of the drum." It includes, in all, only ten languages, the Celtic and Slavonic being excluded, as well as the Turkish and Romaic, a thing which would now seem strange. But the editor's frank explanation of the fact, where he says "with these I am not acquainted," disarms criticism. This explanation implies that he was personally acquainted with the six Gothic languages of Northern Europe--Anglo-Saxon, Icelandish, Danish, Swedish, German, and Dutch--and the four Latin languages of the South of Europe--French, Italian, Spanish, and Portuguese. The mere work of compiling so large a volume in double columns of these ten languages was something formidable, and he had reason to be grateful to his friend Professor Felton, who, being a German student, as well as a Greek scholar, compiled for him all the biographical notes in the book. It is needless to say that the selection is as good as the case permitted or as the plan of the book allowed, and the volume has always maintained its place of importance in libraries. Many of the translations were made expressly for it, especially in the supplement; among these being Platen's "Remorse," Reboul's "The Angel and Child," and Malherbe's "Consolation." It is to be remembered that Longfellow's standard of translation was very high and that he always maintained, according to Mrs. Fields, that Americans, French, and Germans had a greater natural gift for it than the English on account of the greater insularity of the latter's natures.{75} It is also to be noted that he sometimes failed to find material for translation where others found it, as, for instance, amid the endless beauty of the Greek Anthology, which he called "the most melancholy of books with an odor of dead garlands about it. Voices from the grave, cymbals of Bacchantes, songs of love, sighs, groans, prayers,--all mingled together. I never read a book that made me sadder."{76}