"I have an affection for a great city. I feel safe in the neighborhood of man, and enjoy the sweet security of the streets"
About this Quote
Longfellow’s city isn’t the smoky, vice-ridden metropolis of later realist fiction; it’s a moral habitat. “Affection” is a deliberately intimate word, turning the “great city” from an anonymous machine into something you can love back. The surprise is the pivot from place to people: he doesn’t say he feels safe among buildings or institutions but “in the neighborhood of man.” That phrase carries a quiet argument about modernity: density, proximity, and strangers aren’t threats to the self; they’re a kind of shelter. Safety comes not from withdrawal but from being surrounded.
The most revealing move is the almost sensual phrasing of “sweet security.” Security is usually hard-edged - police, locks, walls. Longfellow softens it into something tasted, enjoyed. He’s selling an urban pastoral where the street replaces the meadow as the space that steadies you. The subtext is a rebuke to the romantic cult of solitude: the city, for him, can offer a steadier comfort than the lonely sublime.
Context matters. Writing in a 19th-century America that was rapidly urbanizing, Longfellow belonged to a class able to experience the city as sociability and culture rather than precarity. His confidence is aspirational, even ideological: “the streets” aren’t just thoroughfares but public commons that promise belonging. It’s also a poet’s sleight of hand: by casting the city as “neighborhood,” he shrinks the intimidating scale of modern life into something human-sized, legible, and, crucially, safe.
The most revealing move is the almost sensual phrasing of “sweet security.” Security is usually hard-edged - police, locks, walls. Longfellow softens it into something tasted, enjoyed. He’s selling an urban pastoral where the street replaces the meadow as the space that steadies you. The subtext is a rebuke to the romantic cult of solitude: the city, for him, can offer a steadier comfort than the lonely sublime.
Context matters. Writing in a 19th-century America that was rapidly urbanizing, Longfellow belonged to a class able to experience the city as sociability and culture rather than precarity. His confidence is aspirational, even ideological: “the streets” aren’t just thoroughfares but public commons that promise belonging. It’s also a poet’s sleight of hand: by casting the city as “neighborhood,” he shrinks the intimidating scale of modern life into something human-sized, legible, and, crucially, safe.
Quote Details
| Topic | Contentment |
|---|---|
| Source | Help us find the source |
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