I think his
reticence about his contemporaries was largely due to his reluctance from
criticism: he was the finest artist of them all, and if he praised he
must have praised with the reservations of an honest man. Of younger
writers he was willing enough to speak. No new contributor made his mark
in the magazine unnoted by him, and sometimes I showed him verse in
manuscript which gave me peculiar pleasure. I remember his liking for
the first piece that Mr. Maurice Thompson sent me, and how he tasted the
fresh flavor of it, and inhaled its wild new fragrance. He admired the
skill of some of the young story-tellers; he praised the subtlety of one
in working out an intricate character, and said modestly that he could
never have done that sort of thing himself. It was entirely safe to
invite his judgment when in doubt, for he never suffered it to become
aggressive, or used it to urge upon me the manuscripts that must often
have been urged upon him.
Longfellow had a house at Nahant where he went every summer for more than
a quarter of a century. He found the slight transition change enough
from Cambridge, and liked it perhaps because it did not take him beyond
the range of the friends and strangers whose company he liked. Agassiz
was there, and Appleton; Sumner came to sojourn with him; and the
tourists of all nations found him there in half an hour after they
reached Boston. His cottage was very plain and simple, but was rich in
the sight of the illimitable, sea, and it had a luxury of rocks at the
foot of its garden, draped with sea-weed, and washed with the
indefatigable tides.
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