"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.