Perhaps the final reason, or that which would in any case have indisposed him to join the company, was his want of sympathy with Emerson. Emerson and he were in fact of antagonistic intellectuality, both in the quality of the exquisite courtesy which distinguished them equally, and in the fibre of intellectual working and the quality of mental activity. Longfellow was of the most refined social culture, disciplined to self-control under all circumstances and difficulties; sensitive in the highest degree to the forms of courtesy, and incapable by nature as by training of an act or word which could offend the sensibilities of even a discourteous interlocutor,--capable at worst of an indignant silence, but incapable of invading the personality of another; not serene, but of an invincible tranquillity; with no sympathy for mystery or obscurity; supremely above the general and commonplace by the exquisite refinement to which he carried the expression of what the general and commonplace world felt and thought; remote from roughness in the form or the substance of his thought; in short, the _ne plus ultra_ of refinement as man and poet. Emerson was too serene ever to be discourteous, and was capable of the hottest antagonism without rudeness, and the most intense indignation without quickening his speech or raising his tone; grasping and exhausting with imaginative activity whatever object furnished him with matter for thought, and throwing to the rubbish heap whatever was superficial; indifferent to form or polish if only he could find a diamond; reveling in mystery, and with eyes that penetrated like the X-ray through all obscurities, and found at the bottom of them what there was to find; arrested by no surfaces, inflexible in his devotion to truth, and indifferent to all personalities or artificial conditions of men or things. Nothing but the roots of things, their inmost anatomy, attracted him; he brushed away contemptuously the beauties on which Longfellow spent the tenderness of his character, and threw aside like an empty nutshell the form to which an artist might have given the devotion of his best art, for the art's sake. In his temper there was no patience with shams, little toleration of forms. It would, I should think, be clear to one who was well acquainted with both men, that there was little in common between them beyond culture, but I never heard Emerson speak of Longfellow, and can only judge by induction that he never occupied himself much with him.