* * * * *
"Die fain they would, if die they could,
But death will not be had;
God's direful wrath their bodies hath
Forever immortal made.
They live to lie in misery
And bear eternal woe;
And live they must whilst God is just
That he may plague them so."
Of the various literary children who may be said to have been nurtured on Anne Bradstreet's verses, three became leaders of New England thought, and all wrote elegies on her death, one of them of marked beauty and power. It remained for a son of the sulphurous Wigglesworth, to leave the purest fragment of poetry the epoch produced, the one flower of a life, which at once buried itself in the cares of a country pastorate and gave no further sign of gift or wish to speak in verse. The poem records the fate of a gifted classmate, who graduated with him at Harvard, sailed for England, and dying on the return voyage, was buried at sea. It is a passionate lamentation, an appeal to Death, and at last a quiet resignation to the inevitable, the final lines having a music and a pathos seldom found in the crabbed New England verse:
"Add one kind drop unto his watery tomb;
Weep, ye relenting eyes and ears;
See, Death himself could not refrain,
But buried him in tears."
With him the eighteenth century opens, beyond which we have no present interest, such literary development as made part of Anne Bradstreet's knowledge ending with the seventeenth.
CHAPTER VIII.
SOME PHASES OF EARLY COLONIAL LIFE.
Much of the depression evident in Anne Bradstreet's earlier verses came from the circumstances of her family life. No woman could have been less fitted to bear absence from those nearest to her, and though her adhesive nature had made her take as deep root in Ipswich, as if further change could not come, she welcomed anything that diminished the long separations, and made her husband's life center more at home. One solace seems to have been always open to her, her longest poem, the "Four Monarchies," showing her devotion to Ancient history and the thoroughness with which she had made it her own. Anatomy seems to have been studied also, the "Four Humours in Man's Constitution," showing an intimate acquaintance with the anatomical knowledge of the day; but in both cases it was not, as one might infer from her references to Greek and Latin authors, from original sources. Sir Walter Raleigh's "History of the World," Archbishop Usher's "Annals of the World," and Pemble's "Period of the Persian Monarchy," were all found in Puritan libraries, though she may have had access to others while still in England. Pemble was in high favor as an authority in Biblical exposition, the title of his book being a stimulant to every student of the prophecies: "The Period of the Persian Monarchy, wherein sundry places of Ezra, Nehemiah and Daniel are cleared, Extracted, contracted and Englished, (much of it out of Dr. Raynolds) by the late learned and godly man, Mr. William Pemble, of Magdalen Hall, in Oxford."
This she read over and over again, and many passages in her poem on the "Four Monarchies" are merely paraphrases of this and Raleigh's work, though before a second edition was printed she had read Plutarch, and altered here and there as she saw fit to introduce his rendering. Galen and Hippocrates, whom she mentions familiarly, were known to her through the work of the "curious learned Crooke," his "Description of the Body of Man, Collected and Translated out of all the best Authors on Anatomy, especially out of Gasper, Banchinus, and A. Sourentius," being familiar to all students of the day.
If her muse could but have roused to a sense of what was going on about her, and recorded some episodes which Winthrop dismisses with a few words, we should be under obligations that time could only deepen. Why, for instance, could she not have given her woman's view of that indomitable "virgin mother of Taunton," profanely described by Governor Winthrop as "an ancient maid, one Mrs. Poole. She went late thither, and endured much hardships, and lost much cattle. Called, after, Taunton."