letters to the 'Boston Advertiser', after vainly offering them to more
aesthetic periodicals. However, I do not imagine that it was a very
smiling time for any literary endeavorer at home in the life-and-death
civil war then waging. Some few young men arose who made themselves
heard amid the din of arms even as far as Venice, but most of these were
hushed long ago. I fancy Theodore Winthrop, who began to speak, as it
were, from his soldier's grave, so soon did his death follow the earliest
recognition by the public, and so many were his posthumous works, was
chief of these; but there were others whom the present readers must make
greater effort to remember. Forceythe Willson, who wrote The Old
Sergeant, became known for the rare quality of his poetry; and now and
then there came a poem from Aldrich, or Stedman, or Stoddard. The great
new series of the 'Biglow Papers' gathered volume with the force they had
from the beginning. The Autocrat was often in the pages of the Atlantic,
where one often found Whittier and Emerson, with many a fresh name now
faded. In Washington the Piatts were writing some of the most beautiful
verse of the war, and Brownell was sounding his battle lyrics like so
many trumpet blasts. The fiction which followed the war was yet all to
come. Whatever was done in any kind had some hint of the war in it,
inevitably; though in the very heart of it Longfellow was setting about
his great version of Dante peacefully, prayerfully, as he has told in the
noble sonnets which register the mood of his undertaking.

At Venice, if I was beyond the range of literary recognition I was in
direct relations with one of our greatest literary men, who was again of
that literary Boston which mainly represented American literature to me.
The official chief of the consul at Venice was the United States Minister
at Vienna, and in my time this minister was John Lothrop Motley, the
historian. He was removed, later, by that Johnson administration which
followed Lincoln's so forgottenly that I name it with a sense of