Literary Shrines: The Haunts of Some Famous American Authors

by Theodore F. Wolfe

The house is a great, old-fashioned, bare and weather-worn edifice of wood,—"somewhat fallen to decay."—standing close upon the highway. Its two stories of spacious rooms are supplemented by smaller chambers in a vast attic; two or three chimneys, "huge and tiled and tall," rise through its gambrel roofs among the bowering foliage; a wing abuts upon one side and imparts a pleasing irregularity to the otherwise plain parallelogram. The wide, low-studded rooms are lighted by windows of many small panes. Among the apartments we find the one once occupied by Major Molineaux, "whom Hawthorne hath immortal made," and that of Dr. Parsons, the laureate of this place, who has celebrated it in the stanzas of "Old House at Sudbury" and other poems. But it is the old inn parlor which most interests the literary visitor,—a great, low, square apartment, with oaken floors, ponderous beams overhead, and a broad hearth, where in the olden time blazed a log fire whose ruddy glow filled the room and shone out through the windows. It is this room which Longfellow peoples with his friends, who sat about the old fireplace and told his "Tales of a Wayside Inn." The "rapt musician" whose transfiguring portraiture we have in the Prelude is Ole Bull; the student "of old books and days" is Henry Wales; the young Sicilian, "in sight of Etna born and bred," is Luigi Monti, who dined every Sunday with Longfellow; the "Spanish Jew from Alicant" is Edrelei, a Boston Oriental dealer; the "Theologian from the school of Cambridge on the Charles" is Professor Daniel Treadwell; the Poet is T. W. Parsons, the Dantean student and translator of "Divina Commedia;" the Landlord is 'Squire Lyman Howe, the portly bachelor who then kept this "Red Horse Tavern," as it was called. Most of this goodly circle have been here in the flesh, and our companion has seen them in this old room, as well as Longfellow himself, who came here years afterward, when the Landlord was dead and the poet's company had left the old inn forever. In this room we see the corner where stood the ancient spinet, the spot on the wall where hung the highly colored coat of arms of Howe and the sword of his knightly grandfather near Queen Mary's pictured face, the places on the prismatic-hued windows where the names of Molineaux, Treadwell, etc., had been inscribed by hands that now are dust.

Descendants of the woman who died of the "Shoc o' Num Palsy" are said to live in the neighborhood, as well as some other odd characters who are embalmed in Parsons's humorous verse. But the ancient edifice is no longer an inn; the Red Horse on the swinging sign-board years ago ceased to invite the weary wayfarer to rest and cakes and ale; the memory-haunted chambers, where starry spirits met and tarried in the golden past, were later inhabited by laborers, who displayed the rooms for a fee and plied the pilgrim with lies anent the former famed occupants. The storied structure has recently passed to the possession of appreciative owners,—Hon. Herbert Howe being one of them,—who have made the repairs needful for its preservation and have placed it in the charge of a proper custodian.

A longer way out of Boston, in another direction, our guest is among the haunts of the beloved Quaker bard. On the bank of the Merrimac—his own "lowland river"—and among darkly wooded hills of hackmatack and pine, we find the humble farm-house, guarded by giant sentinel poplars, where eighty-eight years agone Whittier came into the world.

Among the plain and bare apartments, with their low ceilings, antique cross-beams, and multipaned windows, we see the lowly chamber of his birth; the simple study where his literary work was begun; the great kitchen, with its brick oven and its heavy crane in the wide fireplace, where he laid the famous winter's evening sceneScenes of Whittier's Poems in "Snow-Bound," peopling the plain "old rude-furnished room" with the persons he here best knew and loved. We see the dwelling little changed since the time when Whittier dwelt—a dark-haired lad—under its roof; it is now carefully preserved, and through the old rooms are disposed articles of furniture from his Amesbury cottage, which are objects of interest to many visitors.

All about the place are spots of tender identification of poet and poem: here are the brook and the garden wall of his "Barefoot Boy;" the scene of his "Telling the Bees;" the spring and meadow of "Maud Muller;" not far away, with the sumachs and blackberries clustering about it still, is the site of the rude academy of his "School Days;" and beyond the low hill the grasses grow upon the grave of the dear, brown-eyed girl who "hated to go above him." We may still loiter beneath the overarching sycamores planted by poor Tallant,—"pioneer of Erin's outcasts,"—where young Whittier pondered the story of "Floyd Ireson with the hard heart."

Delightful rambles through the country-side bring us to many scenes familiar to the tender poet and by him made familiar to all the world. Thus we come to the "stranded village" of Aunt Mose,—"the muttering witch-wife of the gossip's tale,"—where Whittier found the materials out of which he wrought the touching poem "The Countess," and where we see the poor low rooms in which pretty, blue-eyed Mary Ingalls was born and lived a too brief life of love, and her sepulchre—now reclaimed from a tangle of brake and brier—in the lonely old burial-ground that "slopes against the west." Her grave is in the row nearest the dusty highway, and is marked by a mossy slab of slate, which is now protected from the avidity of relic-gatherers by a net-work of iron, bearing the inscription, "The Grave of the Countess."

Thus, too, we come to the ruined foundation of the cottage of "Mabel Martin, the Witch's Daughter," and look thence upon other haunts of the beloved bard, as well as upon his river "glassing the heavens" and the wave-like swells of foliage-clad hills which are "The Laurels" of his verse. In West Newbury, the town of his "Northman's Written Rock," we find the comfortable "Maplewood" homestead where lived and lately died the supposed sweetheart of the poet's early manhood.

Whittier's Amesbury Cottage

Whittier's beloved Amesbury, the "home of his heart," is larger and busier than he knew it, but, as we dally on its dusty avenues, we find them aglow with living memories of the sweet singer. In Friend Street stands—still occupied by Whittier's former friends—the plain little frame house which was so long his home. A bay window has been placed above the porch, but the place is otherwise little changed since he left it; the same noble elms shade the front, the fruit-trees he planted and pruned and beneath which the saddened throng sat at his funeral are in the garden; here too are the grape-vines which were the especial objects of his loving care,—one of them grown from a rootlet sent to him in a letter by Charles Sumner.

Within, we see the famous "garden room," which was his sanctum and workshop, and where this gentle man of peace waged valiant warfare with his pen for the rights of man. In this room, with its sunny outlook among his vines and pear-trees, he kept his chosen books, his treasured souvenirs; and here he welcomed his friends,—Longfellow, Fields, Sumner, Lowell, Colonel Higginson, Bayard Taylor, Mrs. Thaxter, Mrs. Phelps-Ward, Alice Cary, Lucy Larcom, Sarah Orne Jewett, and many another illustrious child of genius.