Indifferent poets comfort themselves with the notion that contemporary popularity is no test of merit, and that true poetry must always wait for a new generation to do it justice. The theory is not true in any general sense. With hardly an exception, the poetry that was ever to receive a wide appreciation has received it at once. Popularity in itself is no test of permanent literary fame, but the kind of it is and always has been a very decided one. Mr. Longfellow has been greatly popular because he so greatly deserved it. He has the secret of all the great poets--the power of expressing universal sentiments simply and naturally. A false standard of criticism has obtained of late, which brings a brick as a sample of the house, a line or two of condensed expression as a gauge of the poem. But it is only the whole poem that is a proof of the poem, and there are twenty fragmentary poets, for one who is capable of simple and sustained beauty. Of this quality Mr. Longfellow has given repeated and striking examples, and those critics are strangely mistaken who think that what he does is easy to be done, because he has the power to make it seem so. We think his chief fault is a too great tendency to moralize, or rather, a distrust of his readers, which leads him to point out the moral which he wishes to be drawn from any special poem. We wish, for example, that the last two stanzas could be cut off from "The Two Angels," a poem which, without them, is as perfect as anything in the language.