THE OLD SCHOOLHOUSE, HAVERHILL, MASS.
In "School Days" he gives us another and a pleasanter picture:—
"Still sits the school-house by the road,[8]
A ragged beggar sunning;
Around it still the sumachs grow,
And blackberry-vines are running.
Within, the master's desk is seen,
Deep scarred by raps official;
The warping floor, the battered seats,
The jack-knife's carved initial;
The charcoal frescos on its wall;
Its door's worn sill, betraying
The feet that, creeping slow to school
Went storming out to playing!
Long years ago a winter sun
Shone over it at setting;
Lit up its western window-panes,
And low eaves' icy fretting.
It touched the tangled golden curls,
And brown eyes full of grieving,
Of one who still her steps delayed
When all the school were leaving.
For near her stood the little boy
Her childish favor singled;
His cap pulled low upon a face
Where pride and shame were mingled.
Pushing with restless feet the snow
To right and left, he lingered;—
As restlessly her tiny hands
The blue-checked apron fingered.
He saw her lift her eyes; he felt
The soft hand's light caressing,
And heard the tremble of her voice,
As if a fault confessing.
'I'm sorry that I spelt the word:
I hate to go above you,
Because,'—the brown eyes lower fell,—
'Because, you see, I love you!'"
It is probable that "My Playmate" is in memory of this same sweet little lady:—
"O playmate in the golden time!
Our mossy seat is green,
Its fringing violets blossom yet,
The old trees o'er it lean.
The winds so sweet with birch and fern
A sweeter memory blow;
And there in spring the veeries sing
The song of long ago.
And still the pines of Ramoth Wood
Are moaning like the sea,—
The moaning of the sea of change
Between myself and thee!"
Elsewhere in the poem we are told that the little maiden went away forever to the South:—
"She lives where all the golden year
Her summer roses blow;
The dusky children of the sun
Before her come and go.
There haply with her jewelled hands
She smooths her silken gown,—
No more the homespun lap wherein
I shook the walnuts down."
We also learn from the poem that he was the boy "who fed her father's kine." What a pretty little romance!—and, let us hope, not too sad a one. Shall we have one more stanza about this lovely little school-idyl? It is from "Memories":—
"I hear again thy low replies,
I feel thy aim within my own,
And timidly again uprise
The fringed lids of hazel eyes,
With soft brown tresses overblown.
Ah! memories of sweet summer eves,
Of moonlit wave and willowy way,
Of stars and flowers, and dewy leaves,
And smiles and tones more dear than they!"
The reading material that found its way to Farmer Whittier's house consisted of the almanac, the weekly village paper, and "scarce a score" of books and pamphlets, among them Lindley Murray's "Reader":—
"One harmless novel, mostly hid
From younger eyes, a book forbid,
And poetry (or good or bad,
A single book was all we had),
Where Ellwood's meek, drab-skirted Muse,
A stranger to the heathen Nine,
Sang, with a somewhat nasal whine,
The wars of David and the Jews."
Knowing, as we do, the great influence exerted upon our mental development by the books we read as children, and knowing that a rural life, such as Whittier's has been, is especially conducive to tenacity of early customs, it becomes important to know what the books were that first formed his style and colored his thought. It seems that Ellwood's "Davideis; or the Life of David, King of Israel," was one of these. The book was published in 1711, and had a sale of five or more editions. Ellwood, born in 1639, early adopted the then new doctrines of George Fox. He has written a quaint and pictorial autobiography, somewhat like that of Bunyan or that of Fox. In 1662 he was for six weeks reader to Milton, who was then blind, and living in London, in Jewin Street. It was he who first suggested to Milton that he should write "Paradise Regained."[9]
An idea of the execrable nature of his versification may be obtained from a few specimens. Upon the passing of a severe law against Quakers, he relieves his mind in this wise:—
"Awake, awake, O arm o' th' Lord, awake!
Thy sword up take;
Cast what would thine forgetful of thee make,
Into the lake.
Awake, I pray, O mighty Jah! awake,
Make all the world before thy presence quake,
Not only earth, but heaven also shake."
Another poem, entitled "A Song of the Mercies and Deliverances of the Lord," begins thus:—
"Had not the Lord been on our side,
May Israel now say,
We were not able to abide
The trials of that day:
When men did up against us rise,
With fury, rage, and spite,
Hoping to catch us by surprise,
Or run us down by night."
An opponent's poetry is lashed by Ellwood in such beautiful stanzas as the following:—
"So flat, so dull, so rough, so void of grace,
Where symphony and cadence have no place;
So full of chasmes stuck with prosie pegs,
Whereon his tired Muse might rest her legs,
(Not having wings) and take new breath, that then
She might with much adoe hop on again."
A striking peculiarity of Whittier's poetry is the exceedingly small range of his rhymes and metres. He is especially fond of the four-foot iambic line, and likes to rhyme successive or alternate lines in a wofully monotonous and see-saw manner. These are the characteristics of much of the lyric poetry of a hundred years ago, and especially distinguish the verses of Burns and Ellwood,—the first poets the boy Whittier read. Burns, especially, he learned by heart, and there can be no doubt that the Ayrshire ploughman gave to the mind of his brother-ploughman of Essex its life-direction and coloring,—as respects the swing of rhythm and rhyme at least. Indeed, we shall presently find him contributing to the Haverhill Gazette verses in the Scotch dialect. His introduction to the poetry of Burns was in this wise: He was one afternoon gathering in hay on the farm, when by good hap a wandering peddler stopped and took from his pack a copy of Burns, which was eagerly purchased by the poetical Quaker boy. Alluding to the circumstance afterward in his poem, "Burns," he says:—
"How oft that day, with fond delay,
I sought the maple's shadow,
And sang with Burns the hours away,
Forgetful of the meadow!
Bees hummed, birds twittered, overhead
I heard the squirrels leaping,
The good dog listened while I read,
And wagged his tail in keeping."
By the reading of Burns his eyes were opened, he says, to the beauty in homely things. In familiar and humble things he found the "tender idyls of the heart." But the wanton and the ribald lines of the Scotch poet found no entrance to his pure mind.[10]
He had other relishing tastes of the rich dialect of heather poetry. In "Yankee Gypsies" he says: "One day we had a call from a 'pawky auld carle' of a wandering Scotchman. To him I owe my first introduction to the songs of Burns. After eating his bread and cheese and drinking his mug of cider, he gave us Bonny Doon, Highland Mary, and Auld Lang Syne. He had a rich full voice, and entered heartily into the spirit of his lyrics. I have since listened to the same melodies from the lips of Dempster (than whom the Scottish bard has had no sweeter or truer interpreter); but the skilful performance of the artist lacked the novel charm of the gaberlunzie's singing in the old farm-house kitchen."
A page or two of these personal recollections of the poet will serve to fill out the picture of his boyhood life; and, at the same time, give the reader a taste of his often charming prose pieces:—
"The advent of wandering beggars, or 'old stragglers,' as we were wont to call them, was an event of no ordinary interest in the generally monotonous quietude of our farm life. Many of them were well known; they had their periodical revolutions and transits; we could calculate them like eclipses or new moons. Some were sturdy knaves, fat and saucy; and whenever they ascertained that the 'men-folks' were absent would order provisions and cider like men who expected to pay for them, seating themselves at the hearth or table with the air of Falstaff,—'Shall I not take mine ease in mine own inn?' Others poor, pale, patient, like Sterne's monk, came creeping up to the door, hat in hand, standing there in their gray wretchedness, with a look of heart-break and forlornness which was never without its effect on our juvenile sensibilities. At times, however, we experienced a slight revulsion of feeling when even these humblest children of sorrow somewhat petulantly rejected our proffered bread and cheese, and demanded instead a glass of cider.
"One—I think I see him now, grim, gaunt, and ghastly, working his way up to our door—used to gather herbs by the wayside, and call himself doctor. He was bearded like a he-goat, and used to counterfeit lameness, yet when he supposed himself alone would travel on lustily, as if walking for a wager. At length, as if in punishment for his deceit, he met with an accident in his rambles, and became lame in earnest, hobbling ever after with difficulty on his gnarled crutches. Another used to go stooping, like Bunyan's pilgrim, under a pack made of an old bed-sacking, stuffed out into most plethoric dimensions, tottering on a pair of small, meagre legs, and peering out with his wild, hairy face from under his burden, like a big-bodied spider. That 'man with the pack' always inspired me with awe and reverence. Huge, almost sublime in its tense rotundity, the father of all packs, never laid aside and never opened, what might there not be within it! With what flesh-creeping curiosity I used to walk round about it at a safe distance, half expecting to see its striped covering stirred by the motions of a mysterious life, or that some evil monster would leap out of it, like robbers from Ali Baba's jars, or armed men from the Trojan horse!"
"Twice a year, usually in the spring and autumn, we were honored with a call from Jonathan Plummer, maker of verses, peddler and poet, physician and parson,—a Yankee Troubadour,—first and last minstrel of the valley of the Merrimack, encircled to my wondering eyes with the very nimbus of immortality. He brought with him pins, needles, tape, and cotton thread for my mother; jack-knives, razors, and soap for my father; and verses of his own composing, coarsely printed and illustrated with rude woodcuts, for the delectation of the younger branches of the family. No love-sick youth could drown himself, no deserted maiden bewail the moon, no rogue mount the gallows, without fitting memorial in Plummer's verses. Earthquakes, fires, fevers and shipwrecks he regarded as personal favors from Providence, furnishing the raw material of song and ballad. Welcome to us in our country seclusion as Autolycus to the clown in Winter's Tale, we listened with infinite satisfaction to his readings of his own verses, or to his ready improvisation upon some domestic incident or topic suggested by his auditors. When once fairly over the difficulties at the outset of a new subject, his rhymes flowed freely, 'as if he had eaten ballads, and all men's ears grew to his tunes.' His productions answered, as nearly as I can remember, to Shakespeare's description of a proper ballad,—'doleful matter merrily set down, or a very pleasant theme sung lamentably.' He was scrupulously conscientious, devout, inclined to theological disquisitions, and withal mighty in Scripture. He was thoroughly independent; flattered nobody, cared for nobody, trusted nobody. When invited to sit down at our dinner-table, he invariably took the precaution to place his basket of valuables between his legs for safe-keeping. 'Never mind thy basket, Jonathan,' said my father, 'we shan't steal thy verses.' 'I'm not sure of that,' returned the suspicious guest. 'It is written, Trust ye not in any brother.'"
"Thou, too, O Parson B.,—with thy pale student's brow and thy rubicund nose, with thy rusty and tattered black coat, overswept by white flowing locks, with thy professional white neckcloth scrupulously preserved, when even a shirt to thy back was problematical,—art by no means to be overlooked in the muster-roll of vagrant gentlemen possessing the entrée of our farm-house. Well do we remember with what grave and dignified courtesy he used to step over its threshold, saluting its inmates with the same air of gracious condescension and patronage with which in better days he had delighted the hearts of his parishioners. Poor old man! He had once been the admired and almost worshipped minister of the largest church in the town, where he afterwards found support in the winter season as a pauper. He had early fallen into intemperate habits, and at the age of threescore and ten, when I remember him, he was only sober when he lacked the means of being otherwise."
Among the books read by Whittier when a boy we must number the "Pilgrim's Progress" of Bunyan.
In his "Supernaturalism of New England" the poet says: "How hardly effaced are the impressions of childhood! Even at this day, at the mention of the Evil Angel, an image rises before me like that with which I used especially to horrify myself in an old copy of 'Pilgrim's Progress.' Horned, hoofed, scaly, and fire-breathing, his caudal extremity twisted tight with rage, I remember him illustrating the tremendous encounter of Christian in the valley where 'Apollyon straddled over the whole breadth of the way.' There was another print of the enemy which made no slight impression upon me; it was the frontispiece of an old, smoked, snuff-stained pamphlet (the property of an elderly lady, who had a fine collection of similar wonders, wherewith she was kind enough to edify her young visitors), containing a solemn account of the fate of a wicked dancing party in New Jersey, whose irreverent declaration that they would have a fiddler, if they had to send to the lower regions after him, called up the fiend himself, who forthwith commenced playing, while the company danced to the music incessantly, without the power to suspend their exercise until their feet and legs were worn off to the knees! The rude woodcut represented the Demon Fiddler and his agonized companions literally stumping it up and down in 'cotillions, jigs, strathspeys, and reels.'"
So grew up the Quaker farmer's son, drinking eagerly in such knowledge as he could, and receiving those impressions of nature and home-life which he was afterward to embody in his popular lyrics and idyls. Above all, his home education saturated his mind with religious and moral earnestness. In the second part of this volume will be given some remarks on Quaker life in America, and an analysis of the blended influence of Quakerism and Puritanism upon the development of Whittier's genius. Enough has been said to show that the surroundings of his early life were of the plainest and simplest character, and not different from those of a thousand other secluded New England farms of the period.
We are now to follow the shy young poet out into the world. He is nineteen years of age. The circle of his experiences begins to widen outward; manhood is dawning; the village paper has taught him that there are men beyond the mountains. He thirsts for individuality,—to know his powers, to cast the horoscope of his future, and see if the consciousness within him of unusual gifts be a trustworthy one. To begin with, he will write a poem for "our weekly paper." Accordingly one day in 1826 the following poem, written in blue ink on coarse paper, was slipped by the postman under the door of the office of the Free Press, in Newburyport,—a short-lived paper, then recently started by young William Lloyd Garrison, and subscribed for by Farmer Whittier.
The poem is the first ever published by the poet, and is his earliest known production.[11] The manuscript of it is now in the possession of Whittier's kinsman, Mr. S. T. Pickard, associate editor of the Portland Transcript, in which journal it was republished November 27, 1880:—
THE DEITY.
The Prophet stood
On the high mount and saw the tempest-cloud
Pour the fierce whirlwind from its reservoir
Of congregated gloom. The mountain oak
Torn from the earth heaved high its roots where once
Its branches waved. The fir-tree's shapely form
Smote by the tempest lashed the mountain side;
Yet, calm in conscious purity, the seer
Beheld the awful devastation, for
The Eternal Spirit moved not in the storm.
The tempest ceased. The caverned earthquake burst
Forth from its prison, and the mountain rocked
Even to its base: The topmost crags were thrown
With fearful crashing down its shuddering slopes.
Unawed the Prophet saw and heard: He felt
Not in the earthquake moved the God of Heaven.
The murmur died away, and from the height,
Torn by the storm and shattered by the shock,
Rose far and clear a pyramid of flame,
Mighty and vast! The startled mountain deer
Shrank from its glare and cowered beneath the shade:
The wild fowl shrieked; yet even then the seer
Untrembling stood and marked the fearful glow—
For Israel's God came not within the flame.
The fiery beacon sank. A still small voice
Now caught the Prophet's ear. Its awful tone,
Unlike to human sound, at once conveyed
Deep awe and reverence to his pious heart.
Then bowed the holy man; his face he veiled
Within his mantle, and in meekness owned
The presence of his God, discovered not in
The storm, the earthquake, or the mighty flame,
But in the still small whisper to his soul.
It is characteristic of the man that his first poem should be of a religious nature. There is grandeur and majesty in the poem. The rhetoric is juvenile, but the diction is strong, nervous, and intense, and the general impression made upon the mind is one of harmony and solemn stateliness, not unlike that of "Thanatopsis," composed by Bryant when he was about the same age as was Whittier when he wrote "The Deity." It was probably owing to its anonymity that the first impulse of the editor was to throw it into the waste-basket. But as he glanced over the sheet his attention was caught: he read it, and some weeks afterward published it in the poet's corner. But in the interval of waiting the boy's heart sank within him. Every writer knows what he suffered. Did we not all expect that first precious production of ours to fairly set the editor wild with enthusiasm, so that nothing short of death or apoplexy could prevent him from assigning it the most conspicuous position in the very next issue of his paper?
But one day, as our boy-poet was mending a stone fence along the highway, in company with Uncle Moses, along came the postman on horseback, with his leathern bag of mail, like a magician with a Fortunatus' purse; and, to save the trouble of calling at the house, he tossed a paper to young Whittier. He opened it with eager fingers, and behold! his poem in the place of honor. He says that he was so dumfounded and dazed by the event that he could not read a word, but stood there staring at the paper until his uncle chided him for loitering, and so recalled him to his senses. Elated by his success, he of course sent other poems to the Free Press. They attracted the attention of Garrison so strongly that he inquired of the postman who it was that was sending him contributions from East Haverhill. The postman said that it was a "farmer's son named Whittier." Garrison decided to ride over on horseback, a distance of fifteen miles, and see his contributor. When he reached the farm, Whittier was at work in the field, and when told that there was a gentleman at the house who wanted to see him, he felt very much like "breaking for the brush," no one having ever called on him in that way before. However, he slipped in at the back door, made his toilet, and met his visitor, who told him that he had power as a writer, and urged him to improve his talents. The father came in during the conversation, and asked young Garrison not to put such ideas into the mind of his son, as they would only unfit him for his home duties. But, fortunately, it was too late: the spark of ambition had been fanned into a flame. Years afterward, in an introduction to Oliver Johnson's "William Lloyd Garrison and his Times," Mr. Whittier said: "My acquaintance with him [Garrison] commenced in boyhood. My father was a subscriber to his first paper, the Free Press, and the humanitarian tone of his editorials awakened a deep interest in our little household, which was increased by a visit he made us. When he afterwards edited the Journal of the Times, at Bennington, Vt., I ventured to write him a letter of encouragement and sympathy, urging him to continue his labors against slavery, and assuring him that he could do great things." Indeed, the acquaintance thus begun ripened into the most intimate friendship and mutual respect. Mr. Whittier told the writer that when he went to Boston, in the winter of 1828-29, he and Garrison roomed and boarded at the same house. Mr. Whittier frequently contributed to the Liberator, and was for a quarter of a century associated with Garrison in anti-slavery labors.
Before we pass with our young Quaker from the farm to the world at large, let us correct an erroneous statement that has been made about him. It has been said that he worked at the trade of shoemaking when a boy. The truth is that almost every farmer in those days was accustomed to do a little cobbling of his own, and what shoemaker's work Whittier performed was done by him solely as an amateur in his father's house.
In the year of his début as a poet (1826), he being then nineteen years of age, Whittier began attending the Haverhill Academy, or Latin School. Whether his parents were influenced to take this step for his advantage by the visit of the editor Garrison, and by his evident taste for learning, is not positively known, but it is quite possible that such was the case. In 1827 he read an original ode at the dedication of the new Academy. The building is still standing on Winter Street. While at the Academy he read history very thoroughly, and his writings show that it has always been a favorite study with him. He also contributed poems at this time to the Haverhill Gazette. Many of them were in the Scotch dialect: it would be interesting to see a few of these; but unfortunately no file of the Gazette for those years can be found. A friendly rival in the writing of Scotch poems was good Robert Dinsmore, the "Farmer Poet of Windham," as Whittier calls him. A few specimens of Farmer Dinsmore's verse have been preserved. Take this on "The Sparrow":—
"Poor innocent and hapless Sparrow!
Why should my moul-board gie thee sorrow?
This day thou'll chirp, and mourn the morrow
Wi' anxious breast;
The plough has turned the mould'ring furrow
Deep o'er thy nest!
Just i' the middle o' the hill
Thy nest was placed wi' curious skill,
There I espied thy little bill
Beneath the shade.
In that sweet bower, secure frae ill,
Thine eggs were laid.
Five corns o' maize had there been drappit,
An' through the stalks thy head was pappit,
The drawing nowt could na be stappit
I quickly foun',
Syne frae thy cozie nest thou happit,
Wild fluttering roun'.
The sklentin stane beguiled the sheer,
In vain I tried the plough to steer,
A wee bit stumpie i' the rear
Cam 'tween my legs,
An' to the jee-side gart me veer
An' crush thine eggs."
The following elegiac stanza, written by honest Robert on the occasion of the death of his wife, is irresistibly ludicrous:—
"No more may I the Spring Brook trace,
No more with sorrow view the place
Where Mary's wash-tub stood;
No more may wander there alone,
And lean upon the mossy stone,
Where once she piled her wood.
'T was there she bleached her linen cloth,
By yonder bass-wood tree;
From that sweet stream she made her broth,
Her pudding and her tea."
Mr. Whittier says that the last time he saw Robert, "Threescore years and ten," to use his own words,
'Hung o'er his back,
And bent him like a muckle pack,'
yet he still stood stoutly and sturdily in his thick shoes of cowhide, like one accustomed to tread independently the soil of his own acres,—his broad, honest face seamed by care and darkened by exposure to all the 'airts that blow,' and his white hair flowing in patriarchal glory beneath his felt hat. A genial, jovial, large-hearted old man, simple as a child, and betraying neither in look nor manner that he was accustomed to
'Feed on thoughts which voluntary move
Harmonious numbers.'"