The Countess was Miss Mary Ingalls, daughter of Henry and Abigail Ingalls, of Rocks Village. She was born in 1786, and is still remembered by a few old inhabitants as a young girl of remarkable beauty. She was of medium height, had long golden curls, violet eyes, fair complexion, and rosy cheeks, and was exceedingly modest and lovable. It was in the year 1806 that a little company of French exiles fled from the Island of Guadaloupe on account of a bloody rebellion or uprising of the inhabitants. Among the fugitives were Count Francis de Vipart and Joseph Rochemont de Poyen. The company reached Newburyport. The two gentlemen just mentioned settled at Rocks Village, and both married there. Mary Ingalls was only a laborer's daughter, and of course her marriage with the count created a sensation in the simple, rustic community. The count was a pleasant, stately man, and a fine violinist. The bridal dress, says Miss Davis, was of a pink satin, with an overdress of white lace; her slippers also were of white satin. The count delighted to lavish upon her the richest apparel, yet nothing spoiled the sweet modesty of her disposition. After one short year of happy married life the lovely wife died. Assiduous attention to a sick mother had brought on consumption. In the village God's-acre her gray tombstone is already covered with moss.
The count returned to his native island overwhelmed with grief. In after years, however, he married again. When he died he was interred in the family burial-place of the De Viparts at Bordeaux. He left several children.
Mr. Stedman, in his fine synthetic survey of American poetry, published in The Century, has remarked that most of our early poetry and painting is full of landscape. The loveliest season in America is the autumn, when, as Whittier beautifully says, the woods "wear their robes of praise, the south winds softly sigh,"—
"And sweet, calm days in golden haze
Melt down the amber sky."
We have plenty of idyls of autumn color, like Buchanan Read's "Closing Scene," and portions of Longfellow's "Hiawatha." But American winter landscapes are as poetical as those of autumn.[27] It is probable that the scarcity of snow-idyls hitherto is due to the supposed cheerlessness of the snow. But with the rapid multiplication of winter comforts, our nature-worship is cautiously broadening so as to include even the stern beauty of winter. There are already a good many signs of this in literature. We have had, of late, lovely little snow-and-winter vignettes in prose by John Burroughs of New York, and Edith Thomas of Ohio; and there is plenty of room for further study of winter in other regions of the United States. The most delicate bit of realistic winter poetry in literature is Emerson's "Snow-Storm." Mr. Whittier is an ardent admirer of that writer—as what poet is not?—and his own productions show frequent traces of Emersonianisms. He has prefixed to "Snow-Bound" a quotation from the "Snow-Storm," and there can scarcely be a doubt that to the countless obligations we all owe Emerson must be added this: that he inspired the writing of Whittier's finest poem, and the best idyl of American rural life. It is too complex and diffusive fully to equal in artistic purity and plastic proportion the "Cotter's Saturday Night" of Burns; but it is much richer than that poem in felicitous single epithets, which, like little wicket doors, open up to the eye of memory many a long-forgotten picture of early life.
"Snow-Bound" was published in 1860, and was written, Mr. Whittier has said, "to beguile the weariness of a sick-chamber." The poet has obeyed the canon of Lessing, and instead of giving us dead description wholly, has shown us his characters in action, and extended his story over three days and the two intervening nights,—that is to say, the main action covers that time: the whole time mentioned in the poem is a week. It is unnecessary to give here any further account of the idyl than has already been furnished in the account of Whittier's boyhood.
"The Tent on the Beach" is a cluster of ballads. In accordance with a familiar fiction, they are supposed to be sung, or told, by several persons, in this case three, namely, the poet himself, "a lettered magnate" (James T. Fields), and a traveller (Bayard Taylor). All of the poems are readable, and many of them are to be classed among Whittier's best lyrics. "The Wreck of Rivermouth," "The Changeling," and "Kallundborg Church" are masterpieces in the line of ballads. In "The Dead Ship of Harpswell" we have the fine phrase,—
"O hundred-harbored Maine!"
Whittier has now become almost a perfect master of verbal melody. Hearken to this:—