"If in some few instances, like Burns in view of his national thistle, I have—
'Turned my weeding-hook aside,
And spared the symbol dear,'I have been influenced by the comparatively innocent nature and simple poetic beauty of the traditions in question; yet not even for the sake of poetry and romance would I confirm in any mind a pernicious credulity, or seek to absolve myself from that stern duty which the true man owes to his generation, to expose error whenever and wherever he finds it."
One more instance. In one of his sketches he is describing an old custom called "Pope Night," which has been kept up in the Merrimack Valley in unbroken sequence from the time of the Guy Fawkes plot. The plot is commemorated by bonfires and effigies of the Pope and others, and Whittier quotes these lines of a song which is sung on the occasion:—
"Look here! from Rome
The Pope has come,
That fiery serpent dire;
Here's the Pope that we have got,
The old promoter of the plot;
We'll stick a pitchfork in his back,
And throw him in the fire."
Mr. Whittier was so broad-minded in regard to all matters pertaining to true growth, and withal so conscientious a student of the best versification, that is, the most natural, that we soon find him striving, at least, to free himself from all these minor faults.
Consequently his mannerisms more and more drop away. He is a born preacher. And presently we see in him a decided advance toward the delineation of what is simply true and beautiful, without the appreciable pause by the way, "to point a moral and adorn a tale." For a preacher is not a poet; and true poetic fire must be dimmed at once, and the divine afflatus be a lack-lustre thing, when appeals by pious exhortation are brought in to fill out rhyme and metre. Many of Whittier's purely religious poems are the most exquisite and beautiful ever written. The tender feeling, the warm-hearted trustfulness, and the reverent touch of his hymns speak directly to our hearts. The prayer-hymn at the close of "The Brewing of Soma" ("Dear Lord and Father of mankind," etc.), and such poems as "At Last" and "The Wish of To-day," are unsurpassed in sacred song. Some one has said that in Whittier's books we rarely meet with ideas expressed in such perfection and idiosyncrasy of manner that ever afterward the same ideas must recur to our minds in the words of this author and no other; that is to say, there are few dicta, few portable and universally-quoted passages in his writings. But exception must be made in favor of his best hymns. Their stanzas haunt the mind with their beauty, and you are obliged to learn them by heart before you can have peace. These purely religious productions show Whittier's work at high-water mark, and as long as the English language is spoken, they will be employed by those who require a vehicle for thought, by which the true worship may be served. There is only one poet in the world whose works will not suffer by reading his entire poetical productions in consecutive perusal, and that is Shakspere. Poetry should be read solely for the refreshment and elevation of the mind, and only when one's mood requires it. Unquestionably, if so read, all mannerisms that Mr. Whittier might have been accused of at an early stage in his authorship would not appear so conspicuous.
One of the mannerisms of our poet is his inclination toward the four-foot line with consecutive or alternate rhymes. Almost all of Burns's poetry is written as just described; and it is evident Mr. Whittier's ear was naturally inclined to it, from his early love for Burns, his patron saint, as it were, in those then untrodden fields. An ear educated by Tennyson, and the other Victorian poets, might be unable to grasp even the beauty of thought unless conveyed by their especial methods. One is pleased when rhymes are so masked, so subtly intertwined, and parted by intervening lines, that each shall seem like a delicate echo of that which preceded it,—the assonance just remembered, and no more.
A minor mannerism of Whittier is his frequent use of the present participle in ing, with the verb to be; "is flowing," "is shining," etc. The jingle of the ing evidently caught the poet's rhyme-loving ear, and sometimes it really has a very pretty effect. Certain it is he has used it with great skill, and given his readers insight into another of his versatile gifts.
As to the originality of our poet there is this to be said: He has a distinctively national spirit or vision; he is democratic in his feelings, and treats of indigenous subjects. His vehicle, his poetic forms and handling, he has treated as minor subjects for thought. He is democratic, not so powerfully and broadly as Whitman, but more unaffectedly and sincerely. He has not the magnificent prophetic vision, or Vorstellungskraft, of Whitman, any more than he has the crushing mastodon-steps of Whitman's ponderous rhythm. But he has thrown himself with trembling ardor and patriotism, into the life of his country. It is this fresh, New-World spirit that entitles him to be called original: he is non-European. He has not travelled much, nor mingled in the seething currents of Western and Southern life; but his strong sympathy has gone forth over the entire land. He also reflects faithfully the quiet scenes of his own Merrimack Valley. From his descriptions of these scenes we receive the impression of freshness and originality; and we recognize a master hand that can so portray them as to make us see the same places, though only on the printed page.