Click to ENLARGE Painting by A. E. Jackson. THE CHILDREN'S HOUR.

Between the dark and the daylight,

When the night is beginning to lower,

Comes a pause in the day's occupations,

That is known as the Children's Hour.

*  *  *  *  *

They climb up into my turret,

O'er the arms and back of my chair;

If I try to escape they surround me,

They seem to be everywhere.

A · DAY · WITH

LONGFELLOW

A DAY WITH LONGFELLOW

The expression of serious and tender thoughtfulness, which always characterized the quiet face of Henry Wadsworth Longfellow, had deepened during his later years, into something akin to melancholy. The tragic loss of his beloved wife,—burned to death while she was sealing up in paper little locks of her children's hair,—had left its permanent and irrevocable mark upon his life. Still, he did not seclude himself with his sorrow: the professor of Modern Languages at Harvard could hardly do that. He remained the selfsame kindly, gentle, industrious man, welcoming with ready courtesy the innumerable visitors to the Craigie House.

This is a large old-fashioned house in Cambridge, Massachusetts—a place of grassy terraces, long verandahs, lilac bushes, and shady trees—a perfect dwelling for a man of cultured tastes, as the interior also testifies.

From the Poet's study, a spacious, sunny room upon the ground floor, he could look across the meadows behind the house to the distant silver windings of the River Charles. It was a most orderly room. Every book and paper lay where he could put his hand on it in a moment. Book-cases full of valuable volumes—precious first editions—busts and portraits,—were to be seen on every side. A certain austere simplicity was noticeable all over Longfellow's house. "His private rooms," it has been said, "were like those of a German professor." But the attractiveness and delightfulness of Craigie House arose not from any intrinsic opulence of its contents, but from the personality of the man who lived there. "By his mere presence he rendered the sunshine brighter, and the place more radiant of kindness and peace."

The Poet began his day, so long as age and health permitted, by a brisk morning walk. He would be out and about by six, observing and enjoying the beauty of earth and air, and subsequently recording his exquisite impressions:

The morning's post brought the first consignment of that enormous number of epistles which were at once an affliction and an amusement to him. The Poet was besieged by letters from ambitious aspirants seeking advice, and from self-styled failures, desirous of help. To these last he was peculiarly drawn, for he was distinguished by "a grace almost peculiar to himself at the time in which he lived—his tenderness towards the undeveloped artist, struggling towards individual expression." In short, his first desire was to help on people, and bring out the best in them.

Of apparent failure or success he recked little, believing, like Stevenson, that the true success is labour,—that pursuit, and not attainment is the worthiest object of existence; and his philosophy is summed up in the well-known words of The Ladder of Saint Augustine,

Constant requests for autographs formed the bulk of the day's budget, and these also never went unanswered—even when couched in terms the most mal à propos, much as those of the man who said that "he loved poetry in 'most any style,"—"and would you please copy your 'Break, break, break' for the writer?" Possibly the worst offenders, in this matter of autograph-hunting, were those multitudinous schoolgirls of whom Longfellow humorously complained that he was always "kept busy answering." They ignored the fact of his professional duties, and his own unremitting work; anything to get a reply in the handwriting of the celebrity! But he had a special delight in budding womanhood, and had depicted it with magical insight and rare delicacy of touch, in lines which have never been excelled in their charm and purity.

Click to ENLARGE Painting by W. H. Margetson. MAIDENHOOD.

The early instalment of letters attended to, the Poet could devote himself to his own affairs. He believed in working at poetry, methodically, systematically: although inspiration might flow with sudden fervour, it was not to be waited for. "Regular, proportioned, resolute, incessant industry," was the secret of his success, and the erasures and substitutions in his MSS. bear witness to his care in craftsmanship. The least conspicuous word must be as perfect as he could make it. Longfellow's creed, as expounded in The Builders, allowed for no scamped work.

Work, indeed, whether mental or physical, was his first instinct, and he has preached the gospel of honest work to the whole English-speaking world in some of the most familiar lines in the language.

Click to ENLARGE Painting by Dudley Tennant. THE VILLAGE BLACKSMITH.

Not for long, however, might Longfellow remain undisturbed in his sunny room. Sometimes he welcomed the opening door that saw "a little figure stealing gently in, laying an arm round his neck as he bent over his work, and softly whispering some childish secret in his ear." For this was no obstacle to the current of his tranquil thoughts. "My little girls are flitting about my study," he wrote to a friend, "as blithe as two birds. They are preparing to celebrate the birthday of one of their dolls…. What a beautiful world this child's world is! I take infinite delight in seeing it go on all around me."

It was with absolute sincerity that he had exclaimed:

But these were congenial moments. There were visitors much less desirable. "He was besieged," as one of his friends declares, "by every possible form of interruption which the ingenuity of the human brain could devise." For his admirers, whose name was legion, were not satisfied with hero-worship afar off: they must needs force themselves into his presence, and express their admiration vivâ-voce. Most amazing folks swooped suddenly down upon him, ruthless and unabashed.

Longfellow, always quick to see the comical side of a situation, would tell with great delight strange tales of his unexpected guests. "One man," he said, "a perfect stranger, came with an omnibus full of ladies. He introduced himself, then returning to the omnibus, took out all the ladies, one, two, three, four, five, with a little girl, and brought them in. I entertained them to the best of my ability, and they stayed an hour."

On another occasion, an English gentleman, with no letter of introduction, abruptly introduced himself, thus: "In other countries, you know, we go to see ruins, and the like—but you have no ruins in your country, and I thought," growing embarrassed, "I would call and see you!" Another strange gentleman accosted him with great fervour, "Mr. Longfellow, I have long desired the honour of knowing you. I am one of the few men who have read your Evangeline!"

All these worshippers at his shrine were received by the Poet with his unfailing courtesy and patience; but he was invariably adroit in warding off compliments. To applause and flattery he was impervious—reference to his own works was distasteful to him. His perfect modesty was the reflex of his natural reticence.

Longfellow regarded life from the standpoint of eternity, and thus was one who, in the words of à Kempis, "careth little for the praise or dispraise of men." His gaze was riveted upon that "Land of the Hereafter," to which he was always more than ready to set out, and in the departure of Hiawatha he had imaged his longing for the "Happiest Land."

Click to ENLARGE Painting by J. Finnemore. HIAWATHA.

Personal friends, of whom the Poet possessed many, would arrive in time for lunch, and be welcomed by the master of Craigie House at the gate in the lilac hedge. He would bring them into the large, cheerful dining-room, and the children would sit at a little table on the verandah, while the host, with his own hands, set the copper kettle singing, and made tea in the antique silver pot.

It was a peaceful, happy hour for the guests. Longfellow, unlike Tennyson, was never much of a talker: he was a listener and observer, who dwelt in a speaking silence—in what has been defined as a heavenly unfathomableness. Ruskin had written: "You come as such a calm influence to me … you give me such a feeling of friendship and repose." And this feeling was enhanced by the man's natural dignity and grace, the refinement of his features, the perfect taste of his dress, and the exquisite simplicity of his manners. Many have alluded to his soft, musical voice, to his steady blue-grey eyes, to the "innate charm of tranquillity," which gave a peculiar spiritual sweetness to his smile. But the man was even more, and better than the poet; so much so that a young enthusiast exclaimed "All the vulgar and pretentious people in the world ought to be sent to Mr. Longfellow to show them how to behave!" Nor was this calm the outcome of natural placidity—it had been attained through bitter suffering: it was that gleam of a hero's armour which the "red planet Mars" unveils to a tear-dimmed sight, when

After lunch, the guests would be taken round the house, and its various treasures pointed out: books in every corner, and on every wall pictures and portraits; antique furniture, interesting mementoes of every sort. It was a home well worth seeing: and an old-world air pervaded all, from the quaint drawing-room, with its old-fashioned, rose-festooned wall-paper, to the upper rooms with the Dutch-tiled hearths.

Later on, to those with whom he felt specially en rapport, Longfellow would read aloud some poems, new or old, his own, or those of other men. He was not a forcible or a dramatic reader; the simplicity which he loved "in all things," as he had said, "but specially in poetry," was evident also here. Yet perhaps no other man could have done equal justice to the lingering hexameters of his most successful poem—for such, by reason of its novelty, pathos, and beauty, Evangeline must always be considered. "It has become a purifying portion," says Rossetti, "of the experiences of the heart … a long-drawn sweetness and sadness"; and, though sixty years have elapsed since Evangeline first appeared, the ideal maiden of this "idyll of the heart" has lost no fraction of her loveliness.

In the course of the afternoon, some of the Poet's guests taking leave, others would accompany him to a concert, organ recital, or any other musical function which might be available. Longfellow was passionately fond of good music, and lost no opportunity of hearing it. His own lyrics are singularly susceptible, as all composers know, of an adequate musical setting.

Click to ENLARGE Painting by H. M. Brock. EVANGELINE.

Few short poems in the world have been so often sung as "Stars of the summer night"—"Good-night, beloved"—"The rainy day"—and other well-known verses. A most effective sense of sound and rhythm, joined with perfect simplicity of diction, evince the inherent artistry of a man who was no musician in the technical sense, but who could express himself in such lines as

After dinner, to which perhaps an intimate friend or two remained, the poet would remain awhile in his study: not actually at work, for his writing was only done in the morning hours, but considering and criticising work already accomplished, and carefully perusing that great translation of Dante which he considered, rightly or wrongly, as the most important work of his life. The twilight would slowly fade into the dusk of a "blindman's holiday," and then came the sweetest moment of the day.

Longfellow's intense affection for all little ones, his touching kindness to them, his sympathy with their most trivial joys or troubles, were focussed and centred in the love he bore to his own dear, motherless children.

A brief period of childish gaiety would supervene, to which the man of childlike heart responded readily; and when the little feet had pattered bedward, and the house was silent from the merry little voices, the father would sit on until midnight in his spacious empty room. He would occupy himself with letters—long, fragrant, pleasant gossips to his best and most familiar friends at a distance: till midnight came upon him unawares. "It is nearly one o'clock—I am the only person up in the house: my candle is sinking in its socket."

And a double loneliness descended upon him as his weary hand laid down the pen. He remained inert and brooding; the solitude was almost tangible. But this solitude was presently peopled by visions, fraught with ineffable consolation to a mind never out of touch with "other-worldly" influences.

"Empty is a horrid word," the Poet had written to a friend—but the room is no longer empty. It has become a habitation for other visitants than the motley throng of flatterers impelled by curiosity, who hindered his morning hours. Unspoken benedictions lie thick upon the air—the man's griefs are soothed away by the touch of invisible fingers. Patient, unselfish, indomitable, he resumes the burden of his daily life with new hope and courage for the morrow.