登陆注册
37887100000011

第11章 VI(2)

But he spoke almost as rarely of his friends as of himself. He liked the large, impersonal topics which could be dealt with on their human side, and involved characters rather than individuals. This was rather strange in Cambridge, where we were apt to take our instances from the environment. It was not the only thing he was strange in there; he was not to that manner born; he lacked the final intimacies which can come only of birth and lifelong association, and which make the men of the Boston breed seem exclusive when they least feel so; he was Longfellow to the friends who were James, and Charles, and Wendell to one another. He and Hawthorne were classmates at college, but I never heard him mention Hawthorne; I never heard him mention Whittier or Emerson. 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 ******, 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. As he grew older and feebler he ceased to go to Nahant; he remained the whole year round at Cambridge; he professed to like the summer which he said warmed him through there, better than the cold spectacle of summer which had no such effect at Nahant.

The hospitality which was constant at either house was not merely of the worldly sort. Longfellow loved good cheer; he tasted history and poetry in a precious wine; and he liked people who were acquainted with manners and men, and brought the air of capitals with them. But often the man who dined with Longfellow was the man who needed a dinner; and from what I have seen of the sweet courtesy that governed at that board, I am sure that such a man could never have felt himself the least honored guest.

The poet's heart was open to all the homelessness of the world; and I remember how once when we sat at his table and I spoke of his poem of "The Challenge," then a new poem, and said how I had been touched by the fancy of "The poverty-stricken millions Who challenge our wine and bread, And impeach us all as traitors, Both the living and the dead," his voice sank in grave humility as he answered, "Yes, I often think of those things." He had thought of them in the days of the slave, when he had taken his place with the friends of the hopeless and hapless, and as long as he lived he continued of the party which had freed the slave.

He did not often speak of politics, but when the movement of some of the best Republicans away from their party began, he said that he could not see the wisdom of their course. But this was said without censure or criticism of them, and so far as I know he never permitted himself anything like denunciation of those who in any wise differed from him.

On a matter of yet deeper interest, I do not feel authorized to speak for him, but I think that as he grew older, his hold upon anything like a creed weakened, though he remained of the Unitarian philosophy concerning Christ. He did not latterly go to church, I believe; but then, very few of his circle were church-goers. Once he said something very vague and uncertain concerning the doctrine of another life when I affirmed my hope of it, to the effect that he wished he could be sure, with the sigh that so often clothed the expression of a misgiving with him.

同类推荐
热门推荐
  • 无限城的打工仔

    无限城的打工仔

    无限次元城是可以连接并往返诸天世界的巨大城市,何洋则穿越到这里成了这里的一名打工仔职业者。从此,他穿越诸天,不断跳槽,不断成长;他可以在漫威宇宙与托尼·史塔克探讨尖端科技;也可以在木叶村外与五代火影纲手拼一拼肉身强度;他曾于伟大航路上垂钓巨型海王类;也曾在冥界地狱里自由穿梭,密会潘多拉。凭借在不同世界的工作经历,他逐渐成长为了一名传说级的打工仔。本书动漫无限流、综漫,但穿越世界也不完全局限于动漫世界。目前已写副本《龙珠》、《尼尔:机械纪元》、《哥布林杀手》、《鬼灭之刃》(柱灭之刃)、《斩·赤红之瞳》,《妖精的尾巴》正在进行中……《海贼》、《火影》、《圣斗士》、《漫威宇宙》等众多次元世界的旅程敬请期待。
  • 走向人文关怀的高中美术校本课程开发(谷臻小简·AI导读版)

    走向人文关怀的高中美术校本课程开发(谷臻小简·AI导读版)

    本书运用后现代课程理论和建构主义学习理论,深入探讨了如何开发凸显人文关怀的高中美术系列校本课程,针对高中美术教学存在的问题,充分利用各种资源,开发适应本校发展和学生使用的校本教材,构建人文性的师生关系,主动探索个性化的教学形式,把美术校本课程开发推向人文关怀的境界。
  • 白手帕红手帕

    白手帕红手帕

    《白手帕红手帕》以第一人称的口吻,讲述了中学教师章从初恋到结婚的漫漫情路历程。故事中,四个女人带着各自的宿命摇曳而来,与主人公铺排各具特色的床笫欢爱。
  • 李氏家族

    李氏家族

    这是一部引起读者关注的长篇小说。它全景式、多侧面地描绘了一个家族繁衍发展的兴衰史。在李氏家族的发展历史上,有闯皇城、告御状的男子汉;有心黑手辣、精明干练的少奶奶;有苦读三载、一举成名的新科状元;有万贯家财、可号动九州十三县的亏帮头子……生活在改革大潮的李氏后人中,有飞黄腾达的市长,为富不任的经理、醉生梦死的情人、离婚不归的媳妇……历史和现实的强大反差,祖先和后代的不同人物命运,构成了一幅幅丰富多彩的人生画卷。
  • 南岳记

    南岳记

    这是一个虚构的武侠世界,仅仅是我自己的武侠梦,在这里,有朝堂江湖的纠葛,有家仇国恨的羁绊,还有热血沸腾的战斗,更有荡气回肠的爱情;这里不仅有侠客,有为义而生,为义而死的武林豪杰;还有让人又爱又恨的江湖奸雄;当然,更少不了一笑倾城,再笑倾人的美人。朝堂与江湖的交织,野心与忠义的抉择。在剑走长虹的岁月里漂泊,让无数的江湖豪杰向往憧憬着,可在不断流逝的江湖岁月里,又有几人能做到自如洒脱?
  • 凶威盖世

    凶威盖世

    踏入异世,蹒跚而行,我欲傲立绝巅,俯瞰天下风云。前路漫漫,不知尽头,但若心之所向,纵有千般苦难,万般艰险,我也要伸出双手,撕出一片辽阔的天!本书qq群:120196126,欢迎大家加入。
  • 逃之夭夭

    逃之夭夭

    《逃之夭夭》是德国文坛泰斗马丁·瓦尔泽创作的一部充满哲人智慧、具有高度自传性的小说,回顾了作家一生与政治、爱情、文学批评的斗争总结。阅读《逃之夭夭》,很难将小说中的叙述者与作家本人截然分开,他们更像是互为代言人,共同面壁思索一生参与的政治斗争和文艺批评活动,回顾追逐过的那些恋人,他们擅长雄辩和战斗,也在一次次伤害后学会了逃之夭夭。“我遭受的痛苦,无一不来源于自身。”这是马丁·瓦尔泽在《逃之夭夭》中写到的一句话。尽管向他发起猛烈攻击的文学批评、政治斗争以及爱情中的苦闷似乎都来自外部及他人,但是瓦尔泽以他耄耋之年的智慧道出:真正的逃之夭夭,仍是自身的精神超越。要实现这种超越,瓦尔泽选择了卡夫卡式的反讽之路、荒诞之路。在瓦尔泽充满变形、夸张和大胆想象的情节中,闪烁着宝贵的幽默品质。
  • 夫君,我来自21世纪

    夫君,我来自21世纪

    (此文续集已出,欢迎亲们继续支持!!书名《夫君,我来自21世纪续集》)她,一朝穿越,竟然穿越到人人厌弃的相府五小姐身上,爹不爱,姨娘不疼,姐妹欺。哼,且看她如何斗翻姨娘,阴了姐妹。“想要算计我去给那老匹夫做小妾,那就得让你那宝贝女儿先去尝尝那老匹夫的滋味。”女子一脸倨傲,冷艳的眸子射出道道寒芒,朱唇勾起一抹骇人的残笑。他,戍王府世子,亦是人人闻风丧胆的喋血宫宫主,阴狠冷情。却独独钟情于她,在一场场阴谋算计中,为她,付出所有。“画儿,吾爱,此生唯你而已。”男子风华绝代的容颜在月华的流光中显得飘渺似仙,深邃的狭目璀璨如子夜的星斗。“若非死别,绝不生离。”这是他对她最美的承诺。一杯鸩酒,成了他与她的天涯。多年后,换了音容,茫茫人海,她是否还能将他认出?
  • 净世狂主

    净世狂主

    落叶纷飞,战士奔赴沙场。一坛烈酒,显我男儿本色。手提三尺青锋,踏歌而行。夕阳如雪,染红万里河山。一道孤影,印出万千战魂神弃大陆修炼等级,凡之境,人之境,将之境,帅之境,王之境,皇之境,灵之境,地之境,天之境,圣之境和神之境。灵魂境界为后天境、先天境,灵婴境和神婴境。意念微动,杀人于无形。
  • 重生之传奇农夫

    重生之传奇农夫

    重生九七年,宋山没有什么大志向,就想完成一个誓言,然后在这青山绿水之间种种田,养养鱼,过着采菊东篱下,悠然见南山的小日子……