29th—English of America—sir, it is light, unreserved and accessible—grew dear again. My love of it returned like the glow in a brazier that I had watched passionately, then left all the Summer days, and to which I turned my apologetic face with Winter’s approaching steps.
Oya, oya, my book of Longfellow under the heavy coat of dust!
I dusted the book with care and veneration as I did a wee image of the Lord a month ago.
The same old gentle face of ’Merican poet—a poet need not always to sing, I assure you, of tragic lamentation and of “far-beyond”—stared at me from its frontispiece. I wondered if he ever dreamed his volume would be opened on the tiny brown palms of a Japan girl. A sudden fancy came to me as if he—the spirit of his picture—flung his critical impressive eyes at my elaborate cue with coral-headed pin, or upon my face.
Am I not a lovely young lady?
I had thrown Longfellow, many months ago, on the top shelf where a grave spider was encamping, and given every liberty to that reticent, studious, silver-haired gentleman Mr. Moth to tramp around the “Arcadie.”
Mr. Moth ran out without giving his own “honourable” impression of the popular poet, when I let the pages flutter.
Large fatherly poet he is, but not unique. Uniqueness, however, has become commonplace.
Poet of “plain” plainness is he—plainness in thought and colour. Even his elegance is plain enough.
I must read Mr. Longfellow again as I used a year ago reclining in the Spring breeze,—“A Psalm of Life,” “The Village Blacksmith,” and half a dozen snatches from “Evangeline” or “The Song of Hiawatha” at the least. That is not because I am his devotee—I confess the poet of my taste isn’t he—but only because he is a great idol of American ladies, as I am often told, and I may suffer the accusation of idiocy in America, if I be not charming enough to quote lines from his work.