"Not lightly fall
Beyond recall
The written scrolls a breath can float;
The crowning fact,
The kingliest act
Of Freedom is the freeman's vote!"
Or take "After Election," a poem that cannot be read without a thrill of the nerves and a leaping of the heart. You have concentrated in that wild lyric burst the purest essence of democratic patriotism,—the trembling anxiety and yearning of a mother-heart. It is a poem celebrating a victory of peace with all the fiery energy of a war-ode (a significant fact that the advocates of gory war, as a source of poetic inspiration, would do well to ponder):—
"The day's sharp strife is ended now,
Our work is done, God knoweth how!
As on the thronged, unrestful town
The patience of the moon looks down,
I wait to hear, beside the wire,
The voices of its tongues of fire.
Slow, doubtful, faint, they seem at first:
Be strong, my heart, to know the worst!
Hark!—there the Alleghanies spoke;
That sound from lake and prairie broke,
That sunset gun of triumph rent
The silence of a continent!
That signal from Nebraska sprung,
This, from Nevada's mountain tongue!
Is that thy answer, strong and free,
O loyal heart of Tennessee?
What strange, glad voice is that which calls
From Wagner's grave and Sumter's walls?
From Mississippi's fountain-head
A sound as of the bison's tread!
There rustled freedom's Charter Oak!
In that wild burst the Ozarks spoke!
Cheer answers cheer from rise to set
Of sun. We have a country yet!"
To sum up now our analysis of the poet's character. We have seen that the central trait of his mind is love of freedom. (Even his religion, which is so profound an element in his nature, and so all-pervasive in his writings, will be found, on a deep analysis, to be a yearning for freedom from the trappings of sense and time, in order to attain to a spiritual union with the Infinite.) This love of freedom, this hatred of oppression, intensified by persecution, both ancestral and personal, stimulated by contact with Puritan democracy, as well as by the New England Transcendental movement, and flowering out luxuriantly in the long struggle against slavery,—this noble sentiment, and that long self-sacrificing personal warfare in behalf of the oppressed, form the true glory of Whittier's character. Shy, timid, almost an invalid, having a nervous horror of mobs and personal indignities, he yet forgot himself in his love of Man, overcame and underwent,—suffered social martyrdom for a quarter of a century, never flinching, never holding his peace for bread's sake or fame's sake, not stopping to count the cost, taking his life in his hand, and never ceasing to express his high-born soul in burning invective and scathing satire against the oppressor, or in words of lofty hope and cheer for the suffering idealist and lover of humanity, whoever and wherever he was. Whittier is a hero as well as a poet. He will be known to posterity by a few exquisite poems, but chiefly by his moral heroism and patriotism. As a thinker and a poet he belongs, with Bryant and Longfellow, to the pre-scientific age. The poetry of the future (of the new era of self-consciousness) will necessarily differ widely from that of the first half of this century. It will not be distinctively the poetry of Wordsworth, or Cowper, or Byron, or Longfellow, or Whittier. When the present materialistic and realistic temper of mind disappears from literature, and really noble ideal poetry returns, it will be vast in its scope and range, robust in its philosophy, unfettered by petty rhymes and classicisms, but powerfully rhythmic and harmonious. The writings of Shakspere, Goethe, Jean Paul, Hugo, Tennyson, Whitman, and Emerson are the magnificent proem to it. It will be built upon a scientific and religious cosmism. It will not discuss Apollo and Luna and Neptune, and the nymphs and muses, but will draw its imagery from the heaven-staining red-flames of the sun, the gulfs of space, the miracles of organic and inorganic life, and human society. It will draw its inspiration not more from the storied past than from the storied future foreseen by its prophetic eye. It will idealize human life and deify nature. It will fall in the era of imagination. (After it will come another age of criticism.) It will fall in the age of splendid democracies. And in that age men will look back with veneration, not so much, perhaps, to the scholar-poets as to the hero-poets, like Whittier, who put faith in the rights of man and woman, who did believe in divine democracy, and were not ashamed of it, but nursed it patiently through its puling infancy, well assured of its undying grandeur when it should come to man's estate.
We subjoin fittingly to this chapter a characteristic letter of Mr. Whittier's, in which he speaks lovingly of Robert Burns, that other poet of freedom and independence of thought for all men.
At the Burns festival in Washington, 1869, the following letter from John G. Whittier was read:
"Amesbury, 1st month, 18th day, 1869.
"Dear Friend,—I thank the club represented by thee for remembering me on the occasion of its annual festival. Though I have never been able to trace my ancestry to the Land o' Cakes, I have—and I know it is saying a great deal—a Scotchman's love for the poet whose fame deepens and broadens with years. The world has never known a truer singer. We may criticise his rustic verse and compare his brief and simple lyrics with the works of men of longer scrolls and loftier lyres; but after rendering to Wordsworth, Tennyson and Browning the homage which the intellect owes to genius, we turn to Burns, if not with awe and reverence, [yet] with a feeling of personal interest and affection. We admire others; we love him. As the day of his birth comes round, I take down his well-worn volume in grateful commemoration, and feel that I am communing with one whom living I could have loved as much for his true manhood and native nobility of soul as for those wonderful songs of his which shall sing themselves forever.
"They know little of Burns who regard him as an aimless versifier—'the idle singer of an idle lay.' Pharisees in the Church, and oppressors in the State, knew better than this. They felt those immortal sarcasms which did not die with the utterer, but lived on to work out the divine commission of Providence. In the shout of enfranchised millions, as they lift the untitled Quaker of Rochdale into the British Cabinet, I seem to hear the voice of the Ayrshire poet:—
"'For a' that and a' that,
It's comin' yet for a' that;
That man to man the world o'er
Shall brothers be for a' that.'"With hearty sympathy and kind greetings for the Burns Club of Washington,
"I am, very truly, thy friend,
"John G. Whittier."