In 1883 (January 7) died, in Boston, Whittier's brother, Matthew Franklin Whittier, whose daughter Elizabeth, before her marriage to Samuel T. Pickard, was house-keeper for a number of years for her uncle, the poet, at Amesbury. "Frank," as his associates called him, obtained, it is said, his position in the Boston Custom House through the influence of his brother. Says a friend (Mr. Charles O. Stickney):—
"Frank was not a poet, and being of a practical turn of mind, had the good sense not to attempt the impossible; but he was a man of intellect, an omnivorous reader, was well posted, and, though inclined to seclusion and taciturnity, was nevertheless genial and companionable; his conversation spiced with his quiet, quaint humor, which bubbled up in some happy mot, neat fun, or well-turned bit of satire which raised a laugh, but left no sting behind." His quaint, humorous dialect articles, over the signature "Ethan Spike," are said to have given Nasby and Artemus Ward their cue. They were chiefly contributed to the Portland Transcript, the Boston Carpet Bag, and New York Vanity Fair. They all purported to emanate from "Hornby," a "smart town" in Maine—"a veritable down-east wonderland, whose wide-awake citizens were up to the times and ready to settle any great question of the day at 'a special town meetin'.'" Mr. Spike was as intense in his anti-slavery views as his brother Greenleaf. Specimens of his work may be found in the Portland Transcript, January 10, 1846, the Carpet Bag, October 14, 1850, and November, 1851.
In 1884 Whittier's seventy-seventh birthday was observed at Oak Knoll, when the genial old bachelor received with courtesy and hospitality all who called. Gifts of flowers poured in to serve as foil to the two huge birthday cakes from relatives.
An editorial writer in one of Boston's chief dailies thus describes a visit to Mr. Whittier, made in 1884:—
"Mr. Whittier met us at the door of the pleasant house at Oak Knoll. He came out on the piazza, and shook us each by the hand, and said, 'I am glad to see thee.' He concerned himself about our rubbers and waterproofs in the hall-way, and said that we were kind to come. I had taken a great fit of shyness on seeing him, and was surprised to hear my friend speaking to him in the same quiet tone that she had used when alone with me. I listened, and reveled in silence as the old poet and the young artist spoke together. He led us into the parlor, and they talked of a landscape on the wall, of pictures, and of a portrait.
"Presently he said: 'It is a little cold here. Shall we go into my room?' He led the way to the bright library where most of his days are now spent. Mr. Whittier happened to glance from the window as we stood for a moment speaking with him: he saw our cab waiting for us on the drive. The rain had begun again. Then a wonderful thing befell.
"He forbade us to go away within the quarter hour; he forbade us to go for three hours. He went out and sent the cabman away, then he took us into the library. We sat down in front of the cheery open fire, and Mr. Whittier talked with us. He spoke of the claims of young people on life, it was different from any talk I had heard; in the face of my poets, I used to think that all good people believed that life is our creditor and hard taskmaster."
On October 24, 1884, a portrait of Whittier was presented by Charles F. Coffin, of Lynn, Mass., a devoted friend and admirer of his, to the Friends' School of Providence, R.I. It was painted by Edgar Parker, of Boston, and represents Whittier sitting in an arm-chair in an attitude of peaceful thought.
It is hung in Alumni Hall, between busts of Elizabeth Fry and John Bright, and is considered to be a worthy memorial of the poet. Letters on this occasion were read from James Russell Lowell, Dr. Holmes, E. P. Whipple, John Bright, George William Curtis, Boyle O'Reilly, Matthew Arnold, and others. From Mr. Whipple's letter the following is an extract:—
"I have had the privilege of knowing him intimately for many years, and of doing all I could through the press to point out his exceptional and original merits as a writer. My admiration of his genius and character has increased with every new volume he has published and every new manifestation of that essential gentleness which lies at the root of his nature, even when some of his poems suggest the warrior rather than the Quaker. One thing is certain: that the reader feels that the writer possesses that peculiar attribute of humanity which we instinctively call by the high name of soul; and, whether he storms into the souls of others or glides into them, his hot invectives equally with his soft persuasions mark him as a man; a man, too, of might; a man whose force is blended with his insight, and who can win or woo his way into hostile or recipient minds by innate strength or delicacy of nature."
In 1885 the poet's birthday was again quietly celebrated at Oak Knoll, and in the afternoon Mr. Whittier's portrait was unveiled before a large audience in the Town Hall of Haverhill.
In September, 1885, occurred a most interesting festival—the reunion of the graduates of the old Haverhill Academy, for whom the poet cherished to the end of his life an earnest and outspoken affection. It was here that Whittier got all the scholastic education he ever had outside of the district school; the reunion was thoroughly enjoyed therefore by him, although it was in his honor. For his health was pretty good, and he was in fine spirits. An interesting letter was received from the aged Miss Arethusa Hall, a preceptress in the Academy when Whittier attended it. Among others, Dr. Holmes wrote: "The class of 1829 [Harvard] has a bright record; but how much brighter it would have been if we could have read upon the triennial and quinquennial catalogues: Johannes Greenleaf Whittier, A. B., A. M., LL. D., etc! But what, after all, can all the degrees of all the colleges do for him whose soul has been kindled by that 'ae spark of Nature's fire,' which Burns caught from her torch on the banks of Ayr, and Whittier among the mists that rise from the Merrimack?"