"The vera priest was scared himsel',
His sermon he could hardly spell;
Auld carlins fancied they could smell
The brimstone matches;
They thought he was some imp o' hell,
In quest o' wretches."
He lived to a good old age, a home-loving, unpretending farmer, cultivating his acres with his own horny hands, and cheering the long rainy days and winter evenings with homely rhyme. Most of his pieces were written in the dialect of his ancestors, which was well understood by his neighbors and friends, the only audience upon which he could venture to calculate. He loved all old things, old language, old customs, old theology. In a rhyming letter to his cousin Silas, he says:—
"Though Death our ancestors has cleekit,
An' under clods then closely steekit,
We'll mark the place their chimneys reekit,
Their native tongue we yet wad speak it,
Wi' accent glib."
He wrote sometimes to amuse his neighbors, often to soothe their sorrow under domestic calamity, or to give expression to his own. With little of that delicacy of taste which results from the attrition of fastidious and refined society, and altogether too truthful and matter-of-fact to call in the aid of imagination, he describes in the simplest and most direct terms the circumstances in which he found himself, and the impressions which these circumstances had made on his own mind. He calls things by their right names; no euphuism or transcendentalism,—the plainer and commoner the better. He tells us of his farm life, its joys and sorrows, its mirth and care, with no embellishment, with no concealment of repulsive and ungraceful features. Never having seen a nightingale, he makes no attempt to describe the fowl; but he has seen the night-hawk, at sunset, cutting the air above him, and he tells of it. Side by side with his waving corn-fields and orchard-blooms we have the barn-yard and pigsty. Nothing which was necessary to the comfort and happiness of his home and avocation was to him "common or unclean." Take, for instance, the following, from a poem written at the close of autumn, after the death of his wife:—
"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.
That stream, whose waters running,
O'er mossy root and stone,
Made ringing and singing,
Her voice could match alone."
We envy not the man who can sneer at this simple picture. It is honest as Nature herself. An old and lonely man looks back upon the young years of his wedded life. Can we not look with him? The sunlight of a summer morning is weaving itself with the leafy shadows of the bass-tree, beneath which a fair and ruddy-checked young woman, with her full, rounded arms bared to the elbow, bends not ungracefully to her task, pausing ever and anon to play with the bright-eyed child beside her, and mingling her songs with the pleasant murmurings of gliding water! Alas! as the old man looks, he hears that voice, which perpetually sounds to us all from the past—no more!
Let us look at him in his more genial mood. Take the opening lines of his Thanksgiving Day. What a plain, hearty picture of substantial comfort!
"When corn is in the garret stored,
And sauce in cellar well secured;
When good fat beef we can afford,
And things that 're dainty,
With good sweet cider on our board,
And pudding plenty;
"When stock, well housed, may chew the cud,
And at my door a pile of wood,
A rousing fire to warm my blood,
Blest sight to see!
It puts my rustic muse in mood
To sing for thee."
If he needs a simile, he takes the nearest at hand. In a letter to his daughter he says:—