...then only for a season Our partings are, nor shall we wait in vain Until we meet again! by which author?

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Multiple Choice

...then only for a season Our partings are, nor shall we wait in vain Until we meet again! by which author?

This line’s gentle, hopeful farewell and its formal, musical cadence fit Henry Wadsworth Longfellow’s lyric voice. Longfellow often writes in a measured, accessible style with a touch of classical grace, expressing friendship, parting, and the reassurance of reunion. The phrasing here—“partings,” “nor shall we wait in vain,” and “Until we meet again”—has that balanced, elevated diction typical of his 19th‑century American poetry, conveying consolation and enduring connection. Anne Bradstreet’s poetry comes from an earlier Puritan habit of devotional or domestic themes with a plainer, more austere style. James Russell Lowell writes lyric and political pieces with a sharper, sometimes ironic edge, not this especially sentimental farewell mood. Herman Melville’s writing, even when lyrical, leans toward sea imagery, complex symbolism, and darker or more philosophical tones. The tone and construction here align best with Longfellow’s, making him the correct author.

This line’s gentle, hopeful farewell and its formal, musical cadence fit Henry Wadsworth Longfellow’s lyric voice. Longfellow often writes in a measured, accessible style with a touch of classical grace, expressing friendship, parting, and the reassurance of reunion. The phrasing here—“partings,” “nor shall we wait in vain,” and “Until we meet again”—has that balanced, elevated diction typical of his 19th‑century American poetry, conveying consolation and enduring connection.

Anne Bradstreet’s poetry comes from an earlier Puritan habit of devotional or domestic themes with a plainer, more austere style. James Russell Lowell writes lyric and political pieces with a sharper, sometimes ironic edge, not this especially sentimental farewell mood. Herman Melville’s writing, even when lyrical, leans toward sea imagery, complex symbolism, and darker or more philosophical tones. The tone and construction here align best with Longfellow’s, making him the correct author.

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