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tranquillity. His eyes were blue-gray, very bright and brave, changeable under the influence of emotion (as afterward I often saw), but mostly calm, grave, attentive, and gentle. The habitual expression of his face was not that of sadness; and yet it was pensive. Perhaps it may be best described as that of serious and tender thoughtfulness. He had conquered his own sorrows thus far; but the sorrows of others threw their shadow over him.... There was a strange touch of sorrowful majesty and prophetic fortitude commingled with the composure and kindness of his features.... His spontaneous desire, the natural instinct of his great heart, was to be helpful,--to lift up the lowly, to strengthen the weak, to bring out the best in every person, to dry every tear, and make every pathway smooth."
Although naturally of a buoyant disposition and fond of pleasure, Longfellow lived as far as possible from the public eye, especially during the last twenty years of his life. The following note gives a hint of his natural gayety, and details one of the many excuses by which he always declined to speak in public; the one memorable exception being that beautiful occasion at Bowdoin, when he returned in age to the scenes of his youth and read to the crowd assembled there to do him reverence his poem entitled "Morituri Salutamus." After speaking of the reasons which must keep him from the Burns festival, he adds:--
"I am very sorry not to be there. You will have a delightful supper, or dinner, whichever it is; and human breath enough expended to fill all the trumpets of Iskander for a month or more.
"I behold as in a vision a friend of ours, with his left hand under the tails of his coat, blowing away like mad; and alas! I shall not be there to applaud. All this you must do for me; and also eat my part of the haggis, which I hear is to grace the feast. This shall be your duty and your reward."
The reference in this note to the trumpets of Iskander is the only one in his letters regarding a poem which was a great favorite of his, by Leigh Hunt, called "The Trumpets of Doolkarnein." It is a poem worthy to make the reputation of a poet, and is almost a surprise even among the varied riches of Leigh Hunt. Many years after this note was written, Longfellow used to recall it to those lovers of poetry who had chanced to escape a knowledge of its beauty.
In spite of his dislike of grand occasions where he was a prominent figure, he was a keen lover of the opera and theatre. He was always the first to know when the opera season was to begin and to plan that our two houses might take a box together. He was always ready to hear "Lucia" or "Don Giovanni" and to make a festival time at the coming of Salvini or Neilson. There is a tiny notelet among his letters, with a newspaper paragraph neatly cut out and pasted across the top, detailing the names of his party at a previous appearance at a theatre, a kind of notoriety which he particularly shuddered at; but in order to prove his determination in spite of everything, he writes below:--
"Now for 'Pinafore,' and another paragraph! Saturday afternoon would be a good time."
He easily caught the gayety of such occasions, and in the shadow of the curtains in the box would join in the singing or the recitative of the lovely Italian words with a true poet's delight.
The strange incidents of a life subject to the taskmaster Popularity are endless. One day he wrote:-- "A stranger called here and asked if Shakespeare lived in this neighborhood. I told him I knew no such person. Do you?"
Day by day he was besieged by every possible form of interruption which the ingenuity of the human brain could devise; but his patience and kindness, his determination to accept the homage offered him in the spirit of the giver, whatever discomfort it might bring himself, was continually surprising to those who observed him year by year. Mr. Fields wrote: "In his modesty and benevolence I am reminded of what Pope said of his friend Garth: 'He is the best of Christians without knowing it.'"
In one of Longfellow's notes he alludes humorously to the autograph nuisance:--"Do you know how to apply properly for autographs? Here is a formula I have just received, on a postal card:
"'DEAR SIR: As I am getting a collection of the autographs of all honorable and worthy men, and think yours such, I hope you will forfeit by next mail. Yours, etc.'"
And of that other nuisance, sitting for a portrait, he laughingly wrote one day: "'Two or three sittings'--that is the